Mp3 music: Idle Race

Artist: Idle Race: mp3 download    Genre(s):  Rock     Idle Race's discography:      Back to the Story (cd2)    Year: 1996    Tracks: 22      Back to the Story (cd1)    Year: 1996    Tracks: 27 In the history of sixties British rock, Birmingham was a source of talent virtually in the same group discussion with Liverpool. Although the city never produced a mathematical grouping as big as the Beatles, it was a seething caldron of musical body treat and rest home to literally hundreds of groups whose activities and memberships were in a constant state of ferment, yielding acts of the Apostles such as the Move, the Moody Blues, and the Electric Light Orchestra, whose influences extended well into the 1970s and beyond. Perhaps the most significant of the Birmingham groups that didn't score it to the social movement line rank was the Idle Race. The radical occupies a strange focal point in the history of the city's medicine and, betwixt sixties and seventies rock candy, as a connection between Mike Sheridan & the Nightriders, the Move, the Electric Light Orchestra, and the Steve Gibbons Band. The Idle Race itself evolved out of one of the nigh promising of local early-'60s Birmingham bands, Mike Sheridan & the Nightriders, wHO recorded for EMI and later for Polydor and whose membership included a youth Roy Wood. After the latter's expiration to join the Move in 1965 and Sheridan's determination to stop playing regularly with the grouping, the other members -- Dave Pritchard, Greg Masters, and Roger Spencer -- tried and true renaming themselves the Nightriders for a time, initially with guitar player Johnny Mann (formerly of Carl Wayne & the Vikings, whose frontman too passed into the Move). Mann stop after just now a few weeks and was succeeded by Jeff Lynne. The reformed Nightriders had Lynne on lead guitar and support vocals, Roger Spencer on drums, Greg Masters on bass part, and Dave Pritchard on beat guitar and lead-in vocals. By the end of 1966, however, they'd begun evolving a new, more than ornate sound, mistily like to some of the experimental tracks that the Beatles were putting on their albums, solely more than playful and straightforward; to boot, Lynne had turn the dominant musical personality in the dance band. In later years, it would be called freakbeat -- the British equivalent of psychedelic touchwood (or, more than correctly, garage punk) music in America -- and seem like a coherent body of medicine, yielding thousands of cheerfully trippy pop/rock singles, simply in 1966, no one was exactly certain what the appeal of this music was. A name variety seemed in holy Order to go with their new sound, and the result, after flirt with the more poetic "Idyll Race," was the Idle Race. The change of name didn't aid them sell records, even so, and an other get with Polydor, dating from their years as the Nightriders, was soon terminated. Luckily, their one-time bandmate erstwhile distant Roy Wood helped nonplus engineers Eddie Offord (world Health Organization went on to record Yes) and Gerald Chevin interested in the Idle Race, and they agreed to record the Idle Race. The eventual result was a compact with the British weapon system of Liberty Records, which was starting to record a fair telephone number of promising U.K. artists, including Tony McPhee and the Groundhogs. An initial attempt at a debut single for the label, with a extend of Wood's "Here We Go Round the Lemon Tree," was aborted when the Move's adaptation off up as a B-side of one of their hit singles and began getting played. Lynne on the spur of the moment affected into still greater prominence, when 2 of his songs terminated up on both sides of the single that was released, "Imposters of Life's Magazine" b/w "Sitting in My Tree." The group was rewarded with a circle of press reporting but comparatively small sales. Three more singles followed o'er the next year, all featuring the upbeat psychedelic legal that was the group's strong point. In October of 1968, the group released its debut album, The Birthday Party, which contained all six of their single tracks from the preceding yr. That long-player was excessively challenging to accomplish mass success. A foreign shuffle of cheerful psychedelic pop/rock juxtaposed with the ambience of the English music hall and a mistily suggested dark side, The Birthday Party was a far outcry from the nigh easily enwrapped psychedelia, and it was a commercial failure. It did bring in the mathematical group critical respect, even so, non only from top disk jockeys only likewise accomplished music superstars -- including the Beatles -- and energetic artists (Marc Bolan among them) besides stated their enthusiasm for the Idle Race. Jeff Lynne was offered the chance to replace Trevor Burton in the Move, merely he refused, preferring to persist with the Idle Race, where he took on a still greater theatrical role in the defining of the group's reasoned, co-producing their succeeding few singles. The set faced 1969 with a large report in the press and a steady array of good gigs, simply no good chart success to speak of. Their promise was that a secondment, more accessible LP power succeed. The resulting album, produced by Lynne late in the wintertime of 1969, was The Idle Race. The group's second base album was nigh a mainstream psychedelic pop track record compared to its precursor, simply it still failed to capture the public's interest. In the wake of The Idle Race album's failure and their continued struggle for success, Lynne last jumped ship at the start up of 1970 in favour of joining the Move. Part as a result of their mutual origins and shared group family tree, the two bands are often compared to each former and their sounds are thought of as like, merely the Move had enjoyed relatively easy success and, so, sold hundreds of thousands of records in England (regular enjoying a number one tally at the time of their kickoff attempt to bait Lynne, late in 1968) and rated a reassessment in Rolling Stone, where the Idle Race weren't on anyone's microwave radar screen in America. To boot, the Move were a identical diverse band, every bit virtuoso at giving their have interpretations of American soul or folk-rock as psychedelia, though by the time Lynne coupled, he and Wood were on the same page, looking for a bigger and unique sound. Under Wood's and Lynne's leadership, the band finally transformed itself into the Electric Light Orchestra. The Idle Race continued, reduced to the original ex-Nightriders core of Pritchard, Masters, and Spencer, with guitarist/singer Mike Hopkins and singer/harmonica player Richie Walker. This interlingual rendition of the chemical group had lilliputian in vulgar with its before incarnation -- they enjoyed late international success with covers of Mungo Jerry's strike "In the Summertime" and Hotlegs' "Neanderthal Man," but these were a far cry from Lynne's original songs, and the chemical group seemed to deficiency a central focal point to its act upon. Pritchard exited, followed by Walker, Spencer, and Hopkins, piece Greg Masters kept the chemical group going away for a time with a new card that included guitarist/singer Steve Gibbons, ahead he finally left in 1972. One of his successors was none other than Move grad Trevor Burton -- by that prison term, all the same, the name "the Idle Race" seemed irrelevant as well as out-of-date, and he acknowledged this reality by decorous the Steve Gibbons Band. To the highest degree people, in speaking of the Idle Race, ar referring to the chemical chemical group as it existed during the eld 1966-1969 with Lynne in the lineup. That group's output got a young engage on life during the mid-'70s in the ignite of the succeeder of the Electric Light Orchestra. In 1974, Canada's Daffodil Records compiled the major part of the group's sixties output signal onto a two-LP define called Imposters of Life's Magazine, which was a choice importation for long time and highly prized -- as were original Idle Race albums -- by fans of Lynne's '70s work. Finally, in 1996, Premier Records released Back to a Story, a two-CD set of the finish official recordings of the Idle Race in its various configurations and lineups.

'The Mummy': Undead Again. By Kurt Loder

"Tomb of the Dragon Emperor," the third instalment of the sub-Indy "Mummy" series, achieves a new level of subness. Along with the usual lifts from the Jonesian canon � this time, an Ark-like sarcophagus, an arrow-barrage blasting out of booby-trapped walls, a rickety mexican valium bridge swaying over a mountain chasm, even a stage full of saltation showgirls in a Shanghai nightclub � we get an ill-starred romance between a mere man and his divinity sweetie (in the manner of "The Lord of the Rings") and a leaping trinity of large, hairy Himalayan Yetis world Health Organization look as if they're very late for a "Golden Compass" audition.

With Rob Cohen ("The Fast and the Furious") taking over from Stephen Sommers, world Health Organization directed the first two films, "Mummy 3" is an assembly line action motion picture clogged with special personal effects of a sort that will appear special only to those who've been bricked up in an ancient tomb for the last 10 years. It helps that the merrily likable Brendan Fraser is back as stalwart explorer Rick O'Connell, and that Maria Bello has been recruited to play his equally fearless wife, Evie, a purpose previously engaged by Rachel Weisz. (Weisz presumably had better things to do; in a better world, Bello would have, too.)

In the customary prologue, set in China "long agone," the overzealous King Han (Jet Li) is wiping out a succession of provincial warlords to get emperor of all the land. Han also has a pressing interest in immortality ("I have overly much to do in one lifetime"), so, afterward attaining royal supremacy, he dispatches a beautiful sorceress named Zi Juan (Michelle Yeoh) to find the secret of eternal life. Unwisely, when she returns with a Sanskrit spell suited to that role, Han double-crosses her, and she pronounces instead a curse that turns the emperor and his