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Аккорды и табы популярных песен и мелодий

Аккорды и табы популярных песен и мелодий

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clubtabguitar

LaBrAT. Once upon a time, in a land not far away, four pieces of scum, bound together by circumstances not beyond their control, hatched a hideous, diabolical plan to fuck with peoples' heads by defiling the conventions of modern music through dischordance, non-existant chord-progressions and irregular tempo changes. SICK of constantly seeing bands around them pathetically trying to pander to the whim of the masses, our four fuckwits locked themselves in the unused function room of a South-East London pub and went to work...
Make no mistakes; Labrat's music is brutal. Labrat hit like a bulldozer, trampling over anything that lies in their path, irrespective of the outcome. The music careers wildly through a visceral, racketeering vein that has served Raging Speedhorn so well in recent months. This is not music for the faint-hearted, not in the slightest.
With a handful of line-up changes along the way, the four-piece formed around London, three years ago. Once a more permanent line-up had taken shape, the band set about laying down tracks for their debut record. The result was the 'Theme For A Downer And Anthems Of Rejection' single- released in 1998 on Fear Family Assassins Records. The metal music press jumped on the record like a pack of starving hyenas, united in their general adoration and appreciation for the harsh, belligerent sounds on display.
A short tour of the UK beckoned following the single's release, as Labrat left a trail of destruction and caused a near-riot amongst 400 people at their show in Rugeley. Cardigan-wearing, floppy-fringed, lily-livered wimps sitting on stools with acoustic guitars pining and moping, this lot are not.
Much of 1999 was a flurry of activity. In March, the band appeared alongside Napalm Death, Iron Monkey and Medulla Nocte on 'Slayed In Britain', a Rock Radio Network feature intended to highlight the metal scene in the UK and was broadcast to over 250,000 listeners worldwide.
Another turning point for the band was their gig in May at London Borderline; it was an opportunity for the band to see just how widespread their popularity was. Later on in the year, Labrat would go on to outsell Tairrie B's latest band My Ruin in Newcastle.
Over the next year, much time was spent writing new material and honing their raw skills both in the rehearsal room and on the live circuit, playing anywhere that would have them. Tracks appeared on numerous compilations including 'Phuelled By Farmaceuticals' on 'Century Media Blitz 2' and most recently on Visible Noise sampler 'Visibility' with their song 'Merrick Sympathiser'. The track features abrasive guitars, almost primal growling and speeded drums whipped into chaotic frenzy with skull-cracking consequences.
In February 2000, Labrat were joined by Freebase for a handful of manic dates in Ireland. Leading on from the success of those dates, in the summer, the band organised a DIY co-headline tour of the UK with Subvert. A thousand copies of 'Homegrown Brutality', a spilt CD of the two bands was pressed up by Noisebox Records, and subsequently sold out.
More gigs with Skinlab, Raging Speedhorn and Earthtone9 have done nothing if not expand the band's growing legion of fans who are equally- if not more- enamoured with Labrat's brutal intensity as the press.
Due to personal differences, original singer Rob McAuslan left the band in April 2002. The band then drafted in not one, but two new growlers in the shape of Jamie Farrell (ex-Tangaroa/Sceptre Of Piss) and Martin Ives (ex-Morose) and are stronger than ever. Recent dates with Mistress, Cathedral and Rock Bitch have proved this. And their debut album 'Ruining It For Everyone' gained much critical acclaim in the British metal and rock press upon its release in May this year.
Labrat are about as subtle as a neon sign, and about as delicate and fragile as an ele

Moscow Red Multitalented Music Sensation from Russia!. You are Beautiful, Talanted and Creative! You enjoy to express yourself with an Art of Music! You deserve a great career in Show-Business! Moscow Red is your opportunity to grow and sign contracts with big produsers in Music Industry! Limited number of spots left for Audition - Hurry! Don't miss your chance!!!
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Milt Jackson. Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or Bags as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.
Milt Jackson started on guitar when he was seven, and piano at 11; a few years later, he switched to vibes. He actually made his professional debut singing in a touring gospel quartet. After Dizzy Gillespie discovered him playing in Detroit, he offered him a job with his sextet and (shortly after) his innovative big band (1946). Jackson recorded with Gillespie, and was soon in great demand. During 1948-1949, he worked with Charlie Parker, Thelonious Monk, Howard McGhee, and the Woody Herman Orchestra. After playing with Gillespie's sextet (1950-1952), which at one point included John Coltrane, Jackson recorded with a quartet comprised of John Lewis, Percy Heath, and Kenny Clarke (1952), which soon became a regular group called the Modern Jazz Quartet. Although he recorded regularly as a leader (including dates in the 1950s with Miles Davis and/or Thelonious Monk, Coleman Hawkins, John Coltrane, and Ray Charles), Milt Jackson stayed with the MJQ through 1974, becoming an indispensable part of their sound. By the mid-'50s, Lewis became the musical director and some felt that Bags was restricted by the format, but it actually served him well, giving him some challenging settings. And he always had an opportunity to jam on some blues numbers, including his Bags' Groove. However, in 1974, Jackson felt frustrated by the MJQ (particularly financially) and broke up the group. He recorded frequently for Pablo in many all-star settings in the 1970s, and after a seven-year vacation, the MJQ came back in 1981. In addition to the MJQ recordings, Milt Jackson cut records as a leader throughout his career for many labels including Savoy, Blue Note (1952), Prestige, Atlantic, United Artists, Impulse, Riverside, Limelight, Verve, CTI, Pablo, Music Masters, and Qwest. He died of liver cancer on October 9, 1999, at the age of 76.
#jazz #miltjackson #mjq #vibes

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