The Secret Machines announce fall tour

The Secret Machines ar set to hit the road this fall in support of their new album �??Secret Machines�?? adjust to come out October 14


The album was recorded in New York City and was produced by the striation and Brandon Mason. It will be released via the band�??s have label TSM Recordings.


The dates are:


Washington , DC 9:30 Club (October 16)

Philadelphia, PA Trocadero (17)

New York, NY Webster Hall (18)

Cambridge, MA Middle East (20)

Montreal, QC Les Saints (21)

Toronto, ON Lee's Palace (22)

Chicago, IL Metro (24)

Madison, WI Majestic Theatre (25)

Denver, CO Bluebird Theatre (27)

Aspen, CO Belly Up (28)

Los Angeles, CA Key Club (30)

San Diego, CA Belly Up (November 1)

San Francisco, CA The Independent (3)

Portland, OR Berbati's Pan (5)

Seattle, WA Neumos (6)

Vancouver, BC Richards on Richards (7)

Calgary SAIT Polytechnic (9)

Saskatoon, SKLouis�?? Pub (10)

Winnipeg Pyramid Cabaret (11)

London, ON Call The Office (14)

Ottawa, ON Babylon (15)

--By our New York staff.
Find out more about NME.



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Download Lou Reed mp3

Artist: Lou Reed: mp3 download    Genre(s):  Pop Rock Rock: Hard-Rock Indie Soundtrack Rock: Pop-Rock     Discography:      New York Sire Records    Year: 2006    Tracks: 14      Coney Island Baby: 30th Anniversary Deluxe Edition    Year: 2006    Tracks: 14      Berlin Live In Brooklyn    Year: 2006    Tracks: 16      Berlin - Live On Stage    Year: 2006    Tracks: 16      Live in Italy    Year: 2005    Tracks: 14      NYC Man: Greatest Hits    Year: 2004    Tracks: 18      Animal Serenade: Live    Year: 2004    Tracks: 20      Animal Serenade    Year: 2004    Tracks: 20      The Raven [Limited Edition] Disc 1    Year: 2003    Tracks: 15      The Raven (Disc 2)    Year: 2003    Tracks: 21      The Raven    Year: 2003    Tracks: 21      NYC Man: The Ultimate Collection (CD 2)    Year: 2003    Tracks: 15      NYC Man: The Ultimate Collection (CD 1)    Year: 2003    Tracks: 16      Bataclan '72    Year: 2003    Tracks: 14      Metal Machine Music    Year: 2000    Tracks: 4      Ecstasy    Year: 2000    Tracks: 14      Perfect Night Live In London    Year: 1998    Tracks: 15      Berlin    Year: 1998    Tracks: 10      The Best of Lou Reed and The Velvet Underground    Year: 1997    Tracks: 20      Set the Twilight Reeling    Year: 1996    Tracks: 11      Other    Year: 1996    Tracks: 2      Wild Child: Best    Year: 1993    Tracks: 19      Magic and Loss    Year: 1992    Tracks: 14      Growing Up in Public    Year: 1992    Tracks: 11      Songs For Drella: A Fiction    Year: 1990    Tracks: 15      Rock N Roll Animal    Year: 1990    Tracks: 5      Lou Reed Live    Year: 1990    Tracks: 6      New York    Year: 1989    Tracks: 14      Coney Island Baby    Year: 1989    Tracks: 8      Mistrial    Year: 1988    Tracks: 10      New Sensations    Year: 1984    Tracks: 11      Legendary Hearts    Year: 1983    Tracks: 11      The Blue Mask    Year: 1982    Tracks: 10      The Bells    Year: 1979    Tracks: 9      Take no prisoners Disc 2    Year: 1978    Tracks: 4      Take no prisoners Disc 1    Year: 1978    Tracks: 6      Street Hassle    Year: 1978    Tracks: 8      Rock and Roll Heart    Year: 1976    Tracks: 12      Sally Can't Dance    Year: 1974    Tracks: 9      Transformer (Expanded Edition)    Year: 1972    Tracks: 13      Transformer    Year: 1972    Tracks: 11      Lou Reed    Year: 1972    Tracks: 10 The career of Lou Reed defies capsule summarisation. Like David Bowie (whom Reed straight off divine in many slipway), he has made over his simulacrum many times, mutating from theatrical glam rocker to scary-looking junkie to van noiseman to straight contestation & crimper to your mediocre cuckoo. A firmer grasp of rock's earthier qualities has ensured a more reproducible career path than Bowie's, peculiarly in his latter years. Yet his catalog is release inconsistent, in both forest and stylistic orientation. Liking one Lou Reed LP, or several, or all of the ones he did in a particular era, is no undertake that you'll like all of them, or regular to the highest degree of them. Few would abnegate Reed's immense wideness and considerable achievements, nevertheless. As has often been written, he expanded the vocabulary of careen & roll lyrics into the previously banned territory of quirky sexuality, drug habit (and maltreat), decadency, transvestites, gayness, and self-destructive depression. As has been pointed out less much, he remained (and cadaver) committed to using stone & turn over as a forum for literary, grow expression well into midsection eld, without maturation lyrically soft or musically complacent. By and big, he's taken on these thought-provoking duties with uncompromising satin flower and a high degree of realism. For these reasons, he's a great administer cited as punk's most important antecedent. It's a great deal unnoted, though, that he's equally skilled at celebrating amorous ravish, and stone & roll itself, as he is at depiction agonising urban realities. Although Reed achieved his sterling winner as a solo creative person, his well-nigh enduring accomplishments were as the loss leader of the Velvet Underground in the '60s. If Reed had never made whatever solo records, his work as the principal lead singer and songwriter for the Velvets would get still ensured his stature as one of the greatest rock visionaries of all time. The Velvet Underground are discussed at outstanding length in many other sources, but it's sufficient to distinction that the four-spot studio albums they recorded with Reed at the helm ar essential hearing, as is much of their live and extraneous material. "Heroin," "Sister Ray," "Sweet Jane," "Rock candy and Roll," "Venus in Furs," "All Tomorrow's Parties," "What Goes On," and "Lisa Says" are just the most renowned classics that Reed wrote and sang for the chemical group. As innovational as the Velvets were at break lyrical and instrumental taboos with their crunching data-based tilt, they were unsung in their life-time. Five age of footling commercial success was undoubtedly a factor in Reed going away the chemical group he had founded in August 1970, exactly before the dismission of their most approachable movement, Loaded. Although Reed's songs and street smart, sing-speak vocals henpecked the Velvets, he was mayhap more reliant upon his gifted collaborators than he realised, or is even unforced to allow in to this day. The most gifted of these associates was John Cale, world Health Organization was plainly pink-slipped by Reed in 1968 after the Velvets' second album (although the geminate have worked together on versatile other projects since then). Reed has a reputation of existence a unmanageable man to work with for an extended time period, and that has made it difficult for his all-embracing solo oeuvre to vie with the standards of glare set by the Velvets. Nowhere was this more seeming than on his self-titled solo debut from 1971, recorded after he'd taken an extended hiatus from music, moving back to his parents' suburban Long Island base at one level. Lou Reed more often than not consisted of flaccid versions of songs geological dating back to the Velvet days, and he could have genuinely ill-used the mathematical group to punch them up, as the many outtake versions of these tunes that he actually recorded with the Velvet Underground (some of which didn't surface until around 25 age later) prove. Reed got a gibe in the limb (no unsavory paronomasia intended) when David Bowie and Mick Ronson produced his second album, Transformer. A more gumptious set that betrayed the influence of glam tilt, it as well included his fillet of sole Top 20 strike, "Take the air on the Wild Side," and other sound songs like "Vicious" and "Satellite of Love." It besides made him a star in Britain, which was quick to apprise the influence Reed had exerted on Bowie and other glam bikers. Vibrating reed went into more serious territory on Irving Berlin (1973), its sweet orchestral product coating lyric messages of despair and felo-de-se. In some slipway Reed's most challenging and impressive solo exertion, it was accorded a scathing reception by critics in no mood for a nonstop bummer (all the same elegantly executed). Unbelievably, in retrospect, it made the Top Ten in Britain, though it flopped stateside. Having been apt a cold shoulder for some of his well-nigh serious (if chilling) turn, Reed plain decided he was going to give the public what it cherished. He had guitarists Steve Hunter and Dick Wagner (wHO had already played on Israel Baline) give his music a pop-metal, more radio-friendly shininess. More disturbingly, he decided to play up to the toon drug addict role that some in his audience seemed bore to assign to him. On-stage, that meant shocking dyed hair, painted fingernails, and simulated drug injections. On record, it lED to some of his most careless performances. One of these, the 1974 record album Sallying forth Can't Dance, was as well his nearly commercially successful, reach the Top Ten, so substantiative both Reed's and the audience's worst instincts. As if to prove he could still be as uncompromising as anyone, he unleashed the bivalent record album Alloy Machine Music, a nonstop assault of unlistenable electronic racket. Opinions rest shared out as to whether it was an aesthetic statement, a contract quota-filler, or a slap in the face of the public. Patch Reed has ne'er behaved as atrociously (in populace and in the studio apartment) as he did in the mid-'70s, there was mass of exhilaration in the decades that followed. When he decided to recreate it comparatively straight, sincere, and practical, he could produce touching work on in the spirit of his best time of origin material (parts of Coney Island Baby and Street Hassle). At other points, he seemed non to be putting too a great deal crusade into any aspect of his songs ("Rock'n'roll and Roll Heart"). With 1978's Take No Prisoners, he delivered one of the weirdest concert albums of all time, more than of a comedy soliloquy (which not too many people laughed hard at) than a musical document. Reed had e'er been an brain-teaser, simply no one questioned the unplayful spirit of his work with the Velvet Underground. As a soloist, it was getting insufferable to tell when he was unplayful, or whether he even wished to be interpreted badly any longer. At the end of the '70s, The Bells set the musical note for almost of his future mold. Reed would settle down; he would play it straight; he would direct serious, adult concerns, including heterosexual romance, with sincerity. Not a bad thought, simply though the albums that followed were a great deal more consistent in flavor, they remained planetary in quality and, worse, could now and then be quite drilling. The enlisting of Robert Quine as trail guitar player helped, and The Blue Mask (1982) and New Sensations (984) were reasonably successful, although in retrospect they didn't virtue the raves they received from some critics at the quarter dimension. Quine, however, would besides retrieve Reed likewise unmanageable to work with for an extended time period. New York (1989) heralded both a commercial-grade and critical renascence for Reed, and in truth it was his charles Herbert Best work in quite some time, although it didn't break whatsoever major stylistic ground. Reed works topper when faced with a challenge, which arrived when he collaborated with onetime married person John Cale in 1990 on a birdcall cycle per second for the of late deceased Andy Warhol. In both its recorded and leg incarnations, this was the most experimental work that Reed had devised in quite some time. Magic and Loss (1992) returned him to the more familiar straight careen soil of New York, again to critical raves. The re-formation of the Velvet Underground for a 1993 European live tour could non be considered an unqualified success, however. European audiences were thrilled to date the legends in person, just critical response to the shows was interracial, and critical reaction to the hot track record was tepid. More painfully, previous conflicts reared their head within the ring one time once more, and the reunion ended ahead it had a chance to make to America. Cale and Reed at this point seem determined never to work with each other again (the death of Velvet Underground guitarist Sterling Morrison in 1995 seemed to permanently ice prospects of more VU projects). In 1996, the surviving Velvet Underground members were inducted into the Rock and Roll Hall of Fame, acting a fresh penned sung dynasty for their fallen comrade, Morrison. Reed closed the '90s with an album that sawing machine him explore relationships, 1996's Mark the Twilight Reeling (many speculated that the album was biographical and focussed on his union with performance artist Laurie Anderson), which didn't off extinct to be one of Reed's more critically acclaimed releases. He likewise found time to write music for the Robert Wilson opera Timerocker, and in 1998, released the "unplugged" album Perfect Night: Live in London. The same class, Reed was the subject of a superb instalment of the PBS American Masters series that chronicled his entire life history (eventually released as a DVD, coroneted Rock candy and Roll Heart). 2000 saw Reed's number one base sacking for Reprise Records, Exaltation, a splendid return to raw and straightforward lav Rock, a full term of enlistment de force play that many in agreement was his finest work since Unexampled York. Another collaboration with Robert Wilson, POE-try, followed in 2001 and continued its world-wide leg run through the twelvemonth. Including new music by Reed and words adapted from the fed up texts of Edgar Allan Poe, POE-try light-emitting crystal rectifier to Reed's highly ambitious succeeding album, The Raven. Animal Serenade, a double-disc set recorded at the Wiltern Theater in Los Angeles during his 2003 world tour, was issued in bounce 2004. The live movement is Reed's tribute of sorts to his historied Careen N Roll Animal concert record album, which was released 30 eld ahead. In 2007 Reed released Hudson River Wind Meditations, a four-song experimental legal collage that famous both the best and worst aspects of Metal Machine Music. Reed's solo exploit at last cannot stack up to his Velvet output, despite its many highlights. Still, most would make to concede that with the elision of Neil Young, no early wizard that rose to renown in the '60s has continued to agitate himself so diligently into creating work that is meaningful and contemporary. If that means he relies on broth melodious and lyrical ideas at times (as Young does), it besides means he's proved that stone tin rest relevant to listeners other than hormone-crazed teenagers.

Download Lee Mead mp3

Artist: Lee Mead: mp3 download    Genre(s):  Pop     Discography:      Lee Mead    Year: 2007    Tracks: 11 A British musical dramaturgy histrion and isaac Bashevis Singer, Lee Mead scored the lead story in the 2007 London revival of Joseph and the Amazing Technicolor Dreamcoat afterward taking a world changeling box natural endowment evince called Any Dream Will Do. The lead story role was not his

Pat Travers

   
Artist: Pat Travers

   Genre(s): 
Rock
   Blues
   Rock: Blues
   

---

Discography:


   
 Makin' Magic

   Year: 2007   
Tracks: 9


   
 Heat in the Street

   Year: 2007   
Tracks: 8


   
 Power Trio Vol.2

   Year: 2006   
Tracks: 13


   
 PT=MC2

   Year: 2005   
Tracks: 12


   
 Putting It Straight

   Year: 2003   
Tracks: 16


   
 P.T. Power Trio

   Year: 2003   
Tracks: 10


   
 BBC Radio 1 Live in Concert

   Year: 2000   
Tracks: 13


   
 Blues Tracks 2

   Year: 1999   
Tracks: 12


   
 Best of the Blues Plus Live

   Year: 1997   
Tracks: 13


   
 Lookin' Up

   Year: 1996   
Tracks: 10


   
 Halfway to Somewhere

   Year: 1995   
Tracks: 10


   
 Blues Magnet

   Year: 1994   
Tracks: 10


   
 Just a Touch

   Year: 1993   
Tracks: 10


   
 Crash and Burn

   Year: 1993   
Tracks: 8


   
 Blues Tracks

   Year: 1992   
Tracks: 10


   
 The Best of Pat Travers

   Year: 1991   
Tracks: 15


   
 Boom Boom

   Year: 1991   
Tracks: 14

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While to the highest degree bluesy strong rock acts of the Apostles of the '70s and '80s hailed from the United States (the south, to be claim), on that point were several exceptions to the rule, such as Canadian singer/guitarist Pat Travers. Born in Toronto on April 12, 1954, Travers number one picked up the guitar barely prior to entering his teens, later witnessing a local performance by the great Jimi Hendrix. It wasn't tenacious ahead Travers was studying the other top rock guitarists of the day (Eric Clapton, Jeff Beck, Jimmy Page, etc.), and paid his dues by playing in bar bands in the Quebec country. His number one true touring gig came his way when he dependant up with '50s rock n' undulate vet Ronnie Hawkins (best known for acting with a backing cast that would finally transform into The Band). But Travers' principal love was hard rock, so after a class, he jam-packed up his holding and headed to London. Shortly later touchdown in the U.K., Travers recorded a demo that would country him a recording deal with Polydor and result in the release of his debut, Dab Travers, during the spring of 1976. A performance at England's yearbook Reading Festival the same year just peaked stake, which resulted in iI more than releases in 1977, Makin' Magic and Putt It Straight (both of which followed a pre-Iron Maiden Nicko McBrain on drums), before Travers returned to North America and arrange his sights on the U.S. rock market. Hooking up with a fine financial backing band comprised of drummer Tommy Aldridge, guitarist Pat Thrall, and bassist Mars Cowling, the new Travers dance orchestra card premiered on 1979's Heat in the Street. This light-emitting diode to Travers' most commercially successful period, resulting in a geminate of Top 30 releases, 1979's Alive! Go For What You Know (considered by many Travers fans to be his finest hour) and 1980's Crash and Burn. But soon after the dawn of the '80s, bluesy hard rock seemed to chop-chop fall kO'd of party favour amongst the U.S. record buying public, in favour of slickly produced area rock, and by and by, MTV-approved bands. As a result, each subsequent Travers freeing sold less, as his last albums to come along on the U.S. album charts included 1981's Radio Active, 1982's Dim Pearl, and 1984's Hot Shot. Unhappy with Polydor, Travers opted to take a kick downstairs from cathartic albums for the remainder of the decennium, only continued to tour. Travers' 1990 comeback album, School of Hard Knocks, failed to re-spark interest on the charts, although he continued to issue new studio albums (Blues Tracks, Just a Touch, Megrims Magnet, etc.) and archival alive sets (Martin Luther King Biscuit Flower Hour, BBC Radio One Live in Concert) passim the decennary. Travers continues to go and record regularly (playing alongside the likes of Night Ranger's Jeff Watson, Cinderella's Tom Keifer, and Rick Derringer), and in 2001, performed as part of the 'Voices of Classic Rock' go. Travers emerged from the recording studio at one time more in 2003, with P.T. Power Trio, a recording that featured covers by the likes of Cream ("White Room"), Robin Trower ("Day of the Eagle"), and ZZ Top ("Nasty Dogs and Funky Kings"), among others.





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