THE X-FILES creator CHRIS CARTER has been hospitalised with "physical exhaustion".
Just a week later on X-Files star David Duchovny checked into rehab to seek sex addiction direction, Carter has been diagnosed with an acute dormancy disorder and admitted to hospital.
A source tells EW.com Carter's problems stem from "working on multiple films back to back all over a two year period".
 Artist: Ralf Illenberger: mp3 download Genre(s): New Age Ralf Illenberger's discography:  The Kiss Year: 1999 Tracks: 6  The Gateway Year: 1999 Tracks: 8  Sedona Year: 1995 Tracks: 12  Soleil Year: 1993 Tracks: 11  Heart and Beat Year: 1990 Tracks: 9  Circle Year: 1988 Tracks: 9 Inspired by the Beatles and the Rolling Stones, this German guitar player essentially taught himself to play from records, later adding Leo Kottke, J.S. Bach, and Keith Jarrett to his list of influences. Honing his chops in local dance bands, Illenberger graduated to concert dates and eventually released septenary albums in Europe earlier signing with Narada Records in the U.S. His style is an reasoning merge of pop and malarky, making him one of the better adult-alternative instrumentalists on the market. |
 Artist: Stackridge: mp3 download Genre(s): Rock Retro Stackridge's discography:  The Man in the Bowler Hat Year: 2007 Tracks: 13  Mr. Mick Year: 2007 Tracks: 7  Stackridge Year: 2006 Tracks: 9  Friendliness Plus Year: 1996 Tracks: 14 Stackridge, ane of the to the highest level singular stone and roll bands that grew up in the stain sown and enriched by the British Invasion of the '60s, amalgamated in previous 1969. Andy Davis and Jim "Crun" Walter were playing together in the Bristol racy devils lot Griptight Thynne when Davis began seeking new tintinnabulation couple. Mike Tobin (wHO became Stackridge's first managing director) introduced Davis to Mike "Murmuring" Slater, so playing in the family line duet Mick & Mutter. James Warren answered a newspaper ad, connected very advantageously with Davis, and they began authorship songs together. Billy Bent showed up, listened to them developing "Dora, the Female Explora," and invited them to shape at his plate studio apartment, and they invited him to drumfish. Mike Evans was playing fiddle with traditional lay groups in Bristol (the Westlanders and the Moonshiners). On Davis' twenty-first birthday, the ring was celebrating at a saloon when Mike Evans walked in. He was invited to conjoin, as Davis knew him slenderly and Walter in agreement that a fiddle would fill kO'd their well-grounded. Meanwhile, Walter had proposed the a la mode absurd ring distinguish, Stackridge Lemon, which was promptly abbreviated to Stackridge. The gigs were thin at number one, and Walter left. Tobin affected to London and began securing more plentiful bookings, spell around Bristol, Stackridge began developing their eclecticist, capricious repertory, a given with stated influences and preferences surrounding Zappa, the Beach Boys, Flanders & Swann, Syd Barrett, Igor Stravinsky, the Marx Brothers, J.S. Bach and identical significantly, the 1965-1966 Beatles. Their rummage sales event stagewear, Slater's extravagant, witty spiel (and his development of trash barrel lids as a pleximetry instrument), Warren's wry, straggly story/introductions (contemporaneous with Peter Gabriel's evolution of same with Genesis) and the nigh alone (in a sway mathematical group) inclusion of both a flautist and violinist light-emitting diode Stackridge to develop an enthusiastic, patriotic next. They signed to MCA and with Fritz Fryer producing, they recorded Stackridge in the springtime of 1971, communion Martin Birch as locomotive engineer with Deep Purple. Warren wrote four songs alone and ternion with Davis, establishing him as the group's main lyrical voice. Stackridge was highlighted by the boisterous "Dora, the Female Explorer," "Sir Henry Percy the Penguin" (the first of their laments for misunderstood animals) and a 12-minute-plus interpretation of live dearie "Slark," a mythic beast that scoops the piteous teller kO'd of his cable car and flies him "beyond the william Claude Dukenfield we recognize." Walter was persuaded to return on bass, allowing Warren to move to guitar permanently, piece Davis continued to electrical switch between guitar and keyboards. Afterwards releasing two singles in support of the low gear LP (including a single version of "Slark" and the hot implemental dearie "Purple Spaceships over Yatton") and touring with Wishbone Ash, the six returned to the studio in August 1972 to record Friendliness, perchance the graeco-Roman Stackridge album. It was recorded in hardly 70 hours of off-peak studio clock time, with 30 more hours of admixture. There were five-spot songs (including the bipartite title of respect cart track) from Warren, a pianoforte instrumental from flautist Slater, trinity Walter/Davis compositions (including "Syracuse the Elephant" and "Celebrate on Clucking," preceding animal rights activism by at least a decennium) and the possibility instrumental galloper "Lummy Days." MCA released Friendliness Stateside as well (unlike the number one album), merely without promo or performances. Despite modest gross sales (over again), Stackridge had throw away the "knickknack point" tag and created, as reader Chas Keep put it in 1996, "A sort of children's favorites with posture; a compendium of tuneful melodies performed without the at present dated excesses of [their] generation." The outlet of Friendliness in November 1972 was followed by a duty tour with friends the Pigsty Hill Orchestra, and a new single, "Do the Stanley" b/w "C'est La Vie," in February 1973. Despite its beingness a catchy and an easygoing singalong individual, DJs failed to plunk up on "Stanley" and the BBC hierarchy restricted its airplay due to a lyric reference to the Queen. Conversely, since 1971, Radio One and the Beeb had been recording and broadcast medium Stackridge in session and in concert, as they dependably did with rock and pop acts of all stripes. (Some of these recordings finally emerged on CD in the '90s.) When a third LP was planned, Stackridge standard a boost. George Martin's son had played Friendliness for his fabled father, and colleagues at Air Studios had annoyed him to work with the band. Reluctant, until he heard some demo tapes for the new album, Harrison agreed to produce what became The Man in the Bowler Hat, well Stackridge's virtually financially successful and long-familiar album. Reviewer Chas Keep reveals that Martin worked on the melodic and rhythmical patterns (especially the vocal harmonies), supervised the instrumentation and even contributed piano on "Abasement." Andy Mackay of Roxy Music added sax to "Dangerous Bacon," an infectious tip-o'-the-hat to the Beatles. "1st Baron Verulam" was passed over for number one individual vent in favour of "The Galloping Gaucho," a magnificent jab at sparkle rockers and the ridiculousness of "being cool." Yet "Gaucho" reinforced the public's perception of Stackridge as an peculiarity, a peasant rock company with dancehall leanings. They were warm when the populace wanted cool, intricate when brash was praised, enlightening when obscurity was in vogue. The Man in the Bowler Hat contained some of the finest hybrid rock music always. Most of the lyrics were grouping efforts (under the unlikely playpen name of Smegmakovitch), patch composition fell principally to Davis, Slater and Warren, in that order. "God Speed the Plough," the remarkable instrumental finisher, is attributed to Wabadaw Sleeve (over again, a full mathematical group elbow grease). The band's musicianship and creative talents were brilliantly showcased, and the fact that "Hat" failed to win over record book buyers plausibly contributed to the looseness of Stackridge. Observation Martin at exploit, Slater despised the idea of trying to procreate the album onstage, and further felt Stackridge was scarcely dabbling in music. Wanting to sketch music in earnest and non engender sucked into the commercial aspect of it all, he resign. Billy Sparkle left besides and became Martin's personal supporter for several years, as well as a professional lensman. Davis' fidget was abated temporarily by recruiting Keith Gemmell (erstwhile with Audience) on sax, flute and clarinet, and Rod Bowkett on keyboards, which allowed Davis to switch to drums. This new lineup toured during the 1973-74 wintertime with new material as well as songs from The Man in the Bowler Hat, which wasn't released until February 1974. Within a few months, Warren and Walter were both asked to leave behind. Gordon Haskell, world Health Organization had contributed vocals and bass to King Crimson's Lizard, coupled for a duet weeks then exited amicably, departure the ring with the song "(No One's More Important RPLC245% The Earthworm." Paul Karas replaced him. Rod Bowkett composed some glorious instrumentals and both he and Gemmell began to move Stackridge into jazzier territory. Mike Evans, perpetually an foreigner, besides left wing, going away Davis in charge at last. Roy Morgan was added on drums, with Davis returning to guitar. Thus, it was a very different Stackridge that recorded Extravaganza in tardy 1974 for Elton John's Rocket Records. Released in January 1975, the one-fourth album had fine songs ("The Volunteer," "Spin 'Round the Room," "Dew worm" and "Happy in the Lord") and minded instrumentals ("Who's That up There with Bill Stokes?," "Scoop Billiards"), only the essence of Stackridge was foregone. In 1975, Bowkett gave way to Dave Lawson (ex-Greenslade) and Pete Van Hooke replaced Roy Morgan. Slater had rejoined slightly earlier, freeing Gemmell to focus on saxophone and clarinet, and connection Davis in the vocals once over again. Finally, Walter was asked to rejoin, replacing Karas on bass. This final lineup created Stackridge's only dead on target construct album, Mr. Mick, released in March 1976. Unfortunately, the released interpretation was a far weep from what Stackridge submitted. Davis recalled, 20 long time later, that "Skyrocket hacked the tapes to pieces, rendered the whole thing unintelligible, and precipitated the bands dying." Mr. Mick wasn't very popular with concert reviewers either, world Health Organization either couldn't follow the story (narrated by Slater), yearned for the excessive antics of yore, or both. Despite a improbable cover of the Beatles' "Hold Me Tight," two remarkable instrumentals composed by Slater ("The Slater's Waltz" and "Coniston Water"), and good Walter/Davis corporeal, Stackridge disbanded. Do the Stanley, a fond retrospective issued in tardy 1976, gathered all the non-LP tracks, the hot shirk fest, "Let There Be Lids" and a few signature record album tracks. Stackridge's practice session of melding clever, often sympathetic lyrics, and building complex just hummable melodies with innovational mixes and crispy arrangements paved the way into the pop rock 'n' roll charts in the '70s for the likes of Queen, 10 CC and Sparks; in the '80s for Split Enz, Squeeze, They Might Be Giants and Prefab Sprout; and in the '90s for Bare Naked Ladies, Trashcan Sinatras, the Bats and Divine Comedy. Davis and Warren returned to mainstream music in 1979 as the Korgis. Finally, they achieved the singles winner they'd sought in Stackridge with "If I Had You" from their debut LP, The Korgis (number 13 U.K.), and especially "Everyone's Got to Learn Sometime" (number five U.K., number 18 in the U.S.) from the followup, Dumbwaiters. After two more LPs (Embarrassing George and This World's for Everyone) escaped notice, they over again parted slipway. Davis released a solo LP, Clevedon Pier in 1989, and has remained active in both performance (with the Andy Davis Band, which made an eponymic, limited edition CD in 1994, and a triad with Stuart Gordon (Korgis) and Peter Allerhand, named Los Caballeros) and production through 1998. Warren released a solo LP in 1986, just was seldom heard from musically, for many age. Rootage in 1992, with the issue of Stackridge: BBC Radio 1 Live In Concert, interestingness in the stripe was rekindled. By 1997, everything was usable on CD, including Radio 1 Sessions, a minute BBC live offering. Warren and Walter, noting this and the lively interest group coalescing on the Internet, thought peradventure the existence was ready for Stackridge once again. Warren set up together a four-track demo called Stackridge: More in Late '98, featuring three songs he wrote or co-wrote, plus ane by old ally Roger Cook, with Andy West. According to Mike Evans' married woman Jennie, now their line of work manager, all original band members were approached by Warren and invited to "do it once again." Slater, Sparkle and Davis declined for variable reasons, only Evans, wHO remained active in folks music after going Stackridge, came back on board. The young Stackridge uncut CD, tentatively titled Sex and Flags, is slated for passing in the bounce of 1999, and the converted group has agreed to be the opening dissemble on the kinfolk stage at the annual Glastonbury Festival in June 1999. |
Children as young as four from England's toughest estates will perform orchestral concerts under plans inspired by a Venezuelan programme which has transformed the lives of youngsters in that country's most violent slums.
The El Sistema initiative has used a network of orchestras to help 500,000 impoverished children avoid crime and drug abuse over the past 33 years.Now ministers hope a similar scheme can use music to stop youngsters from England's most deprived homes going off the rails.
Pupils as young as four will be in the £3m, three-year "In Harmony" programme, led by the cellist Julian Lloyd Webber. It will begin in three or four pilot areas within months. The project is based on the El Sistema initiative in Venezuela, which resulted in the formation of the Simon Bolivar Youth Orchestra, and has been credited not just with transforming the lives of street children but the social cohesion of the country.
The Government has taken advice from Jose Antonio Abreu, the economist and amateur musician who founded the El Sistema programme in the 1970s. Children from the poorest backgrounds are given free music tuition by charismatic teachers. They are then brought together into orchestras and encouraged to play live in front of audiences from as early as four.
The Venezuelan orchestra has toured the world, and performed to wide acclaim at the Proms last year. Participants have gone on to successful international careers as professional musicians.
In England, leading orchestras and venues such as the Barbican in London will alsorun after-school music clubs and put on free concerts and master classes to try to tackle social problems by engaging children through music, Lord Adonis, the Schools minister, said yesterday, as "a powerful agent of social change". He added: "It teaches discipline and rigour, it raises hopes and aspirations, it is a source of pleasure and enjoyment and it also gives young people skills that will stay with them for life. Our new programme, In Harmony, will introduce children as young as four to the family of the orchestra. The programme is as much about building vital life skills as about developing musical talent. The sense of achievement – from the hard work of rehearsals to the successful performances in front of international audiences – is an important ingredient in what has made El Sistema such a force for social progress in South America."
The El Sistema programme has been credited with causing a reduction in school dropout rates, drug abuse and criminality among youngsters in Venezuela. British ministers have visited Venezuela to see the scheme in action, and a similar project has already started in Scotland.
Lloyd Webber said: "Music has the power to transform young people's lives. All children should have the right to experience music and I am excited and passionate about this new way of making that happen."
Leading venues in London, Bristol and Manchester will become after-school clubs with master-classes, free concerts and the chance for children to make CD recordings. The project is part of the government drive to ensure all primary pupils in England have the chance to learn a musical instrument for at least a year by 2011.
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A New York judge is all fired up over 50 Cent's suspicious home blaze.
The 5th installment in Boltfish Recordings' series of free mp3 downloads is a showcase mix of tracks from recent Boltfish releases, mixed by Cheju.
This mix was recorded live at the inSpiral lounge in Camden, London in January 2008, and has since received airplay on Fluid Radio in the UK and Digital::Nimbus Radio in the USA.
Tracklisting:
1. Zainetica - Daylight
2. Obfusc - Before We Lose Our Legs
3. Soutien Gorge - Madarka
4. Amorph - Childhood
5. Preston - Time
6. Z-Arc - 40 Microns
7. btb - Life to b#
8. Z-Arc - Refracted
9. Env(itre) - Echinus
10. 8yone - Gl�ck
11. btb - Building a Better Life Through Living
12. Preston - Dependo
13. btb - I Have Diagrams and Mushrooms
14. City Rain - Click Clack
15. Env(itre) - Wierarun
Grab it Here
Trey Anastasio probably wouldn't be confused with a folk act, even if the former frontman for the jam band Phish stepped on stage solo with an acoustic guitar.
The same goes for the Black Crowes, whose bluesy, guitar-driven rock would easily drown out the average acoustic troubadour.
But both acts are on the bill for the upcoming Newport Folk Festival, which this year features a genre-bending mix of marquee performers that draw big crowds but don't fit snugly under the traditional folk umbrella.
The lineup is a way for the venerable festival to stay relevant amid a glut of summertime concerts, while deepening the audience base for a tradition-rich event best known for the year Bob Dylan swapped his acoustic guitar for an electric one.
"If you just keep putting up the same lineup year after year that's safe, you start narrowing and your audience gets smaller and smaller," said Jay Sweet, an associate producer with the festival's new production company, The Festival Network.
The festival is scheduled for Aug. 1-3 in Newport, R.I.
The Black Crowes and Anastasio, performing a solo acoustic set four years after Phish dissolved, headline the Aug. 2 lineup. Jimmy Buffett, who is rooted in folk but is best known today as the bon vivant balladeer of carefree living, plays the following day.
Stephen and Damian Marley, sons of reggae icon Bob Marley, Cat Power and alt-country band Son Volt will also be there, along with Levon Helm of the Band, Jakob Dylan and more traditional folksters like Richie Havens, who performed at Woodstock in 1969.
A newcomer to the festival, Damian Marley said he sees parallels between folk and reggae and between his father's music and Dylan's.
"Folk music was kind of used as a voice to express against the system or what is society's norms," Marley said. "Reggae music has been used in that same way, to express the struggle of the people."
Anastasio said he was grateful for the chance to play Newport, which will be his first performance in a year and a half.
"The folk music definition has changed in this fast music world and musical styles are blending really quickly," Anastasio said in an e-mail. "It is forward-thinking and open-minded of the Newport festival to embrace different styles."
Dick Pleasants, who hosts a morning show on WUMB-FM, a Boston station specializing in folk music, said he saw nothing wrong with diversifying the lineup or trying to draw more fans but said it would be sad if the festival were to move away from its more traditional folk roots.
"I would hesitate necessarily to call it a folk festival anymore," Pleasants said. "But it could be the Newport Music Festival."
Sweet, in his first year as producer at Newport, said organizers weren't trying to break from the festival's storied legacy but wanted to revitalize the event through a lineup of artists with broad crossover appeal and the potential to excite the crowd. That's especially important as more music festivals sprout throughout the country.
The goal is to expose audience members to artists they're unfamiliar with, so old-time folkies drawn to, say, Havens or Gillian Welch could join legions of Phishheads at Anastasio's acoustic performance.
"I don't think you last this long unless you are continually helping artists, supporting artists who take risks," said Sweet, editor-at-large of Paste magazine, a music and film publication. "This festival has always been known as a place for artists to take chances."
He said tickets sales were slightly better than at this time last year and that he was hoping for a sellout - 10,000 fans a day.
Since 1959, the festival has hosted a who's who of folk performers and singer-songwriters, from Joan Baez, Pete Seeger and Peter, Paul and Mary to James Taylor, the Indigo Girls and Mary Chapin Carpenter. But it's occasionally offered less conventional selections, such as Janis Joplin, the Pixies, and last year, Tom Morello from Rage Against the Machine.
Dylan, who debuted there in 1963, memorably pushed the boundaries two years later when he took the stage with an electric guitar in a much-ballyhooed performance that drew jeers and is credited for helping break down the barrier between rock and folk.
This year's lineup gives a more expansive take of who and what can constitute folk music, which some fans and folk scholars say has always been loosely defined.
"The audience changes and time changes," said Paul Dube, a Rhode Island musician who books acts for a folk coffeehouse. "We can't just think of folk music as a songwriter sitting behind a guitar or piano singing original songs all night."
David Hajdu, a Columbia University professor and writer who has attended about a half-dozen Newport festivals, said the question of who should properly be classified as folk is as old as the genre itself. He said the festival has always been more a tourist attraction designed for mass appeal than a pristine showcase of traditional folk.
"It's not a scholarly academic festival. It's not like a university-funded and organized anthropological festival of folk music in the purist sense. It never has been," said Hajdu, author of "Positively Fourth Street: The Lives and Times of Bob Dylan, Joan Baez, Mimi Baez Farina and Richard Farina."
Sweet said Newport fans have historically been open to new experiences, while artists who perform there understand the festival's traditions.
"Curiosity," he said, "is through the roof this year."
