New elvis - king of the road images on Photobucket

Elvis-Wow.jpg

Chambersaviator — Mon, 2 May 2011 02:26:00 MDT

Elvis-Wow.jpg

http:wwwrousefamilycomrockrootsp241

elvis-presley-biography-4.jpg

Chambersaviator — Mon, 2 May 2011 02:44:00 MDT

elvis-presley-biography-4.jpg

Seen here relaxing in 1956 Elvis Presley nwas about to explode onto the national nmusic scene

Elvis-Presley-bhi02.jpg

Chambersaviator — Mon, 2 May 2011 02:26:00 MDT

Elvis-Presley-bhi02.jpg

http:wwwlimetorrentscomElvis-Presley--The-Complete-Movie-Collection--DVDRip--Xvid-torrent-237274html

The World Through My Lenses hawaii island of oahu -Following Friend Photobucket

wilfredosrb — Sun, 15 Jul 2012 23:11:00 MDT

The World Through My Lenses hawaii island of oahu -Following Friend Photobucket - 456344_4080705297569_1345462228_o.jpg

When I was a child ladies and gentleman I was a dreamer I read comic books and I was the hero in the movie So every dream I ever dreamed has come true a hundred timesI learned very early in life that: Without a song the day would never end without a song a man ain't got a friend without a song the road would never bed -- without a song So I keep singing my song KDLady16 Elvis Presley quotes (American Singer and Actor widely known as the King of Rock and Roll 1935-1977)

Ray Charles quotRock amp Rollquot Atlantic Records 8006

foxmusic — Mon, 11 May 2009 01:21:00 MDT

Ray Charles quotRock amp Rollquot Atlantic Records 8006 - RB-LpRayCharlesRockNRoll.jpg

Ray Charles was the musician most responsible for developing soul music Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form but Charles did even more to devise a new form of black pop by merging '50s RB with gospel-powered vocals adding plenty of flavor from contemporary jazz blues and (in the '60s) country Then there was his singing his style was among the most emotional and easily identifiable of any 20th century performer up there with the likes of Elvis and Billie Holiday He was also a superb keyboard player arranger and bandleader The brilliance of his 1950s and '60s work however can't obscure the fact that he made few classic tracks after the mid-'60s though he recorded often and performed until the year before his deathnnBlind since the age of six (from glaucoma) Charles studied composition and learned many instruments at the St Augustine School for the Deaf and the Blind His parents had died by his early teens and he worked as a musician in Florida for a while before using his savings to move to Seattle in 1947 By the late '40s he was recording in a smooth popRB style derivative of Nat King Cole and Charles Brown He got his first Top Ten RB hit with Baby Let Me Hold Your Hand in 1951 Charles' first recordings came in for their fair share of criticism as they were much milder and less original than the classics that would follow although they're actually fairly enjoyable showing strong hints of the skills that were to flower in a few yearsnnIn the early '50s Charles' sound started to toughen as he toured with Lowell Fulson went to New Orleans to work with Guitar Slim (playing piano on and arranging Slim's huge RB hit The Things That I Used to Do) and got a band together for RB star Ruth Brown It was at Atlantic Records that Ray Charles truly found his voice consolidating the gains of recent years and then some with I Got a Woman a number-two RB hit in 1955 This is the song most frequently singled out as his pivotal performance on which Charles first truly let go with his unmistakable gospel-ish moan backed by a tight bouncy horn-driven arrangementnnThroughout the '50s Charles ran off a series of RB hits that although they weren't called soul at the time did a lot to pave the way for soul by presenting a form of RB that was sophisticated without sacrificing any emotional grit This Little Girl of Mine Drown in My Own Tears Hallelujah I Love Her So Lonely Avenue and The Right Time were all big hits But Charles didn't really capture the pop audience until What'd I Say which caught the fervor of the church with its pleading vocals as well as the spirit of rock roll with its classic electric piano line It was his first Top Ten pop hit and one of his final Atlantic singles as he left the label at the end of the '50s for ABCnnOne of the chief attractions of the ABC deal for Charles was a much greater degree of artistic control of his recordings He put it to good use on early-'60s hits like Unchain My Heart and Hit the Road Jack which solidified his pop stardom with only a modicum of polish attached to the RB he had perfected at Atlantic In 1962 he surprised the pop world by turning his attention to country western music topping the charts with the I Can't Stop Loving You single and making a hugely popular album (in an era in which RBsoul LPs rarely scored high on the charts) with Modern Sounds in Country and Western Music Perhaps it shouldn't have been so surprising Charles had always been eclectic recording quite a bit of straight jazz at Atlantic with noted jazz musicians like David Fathead Newman and Milt JacksonnnCharles remained extremely popular through the mid-'60s scoring big hits like Busted You Are My Sunshine Take These Chains From My Heart and Crying Time although his momentum was slowed by a 1965 bust for heroin This led to a year-long absence from performing but he picked up where he left off with Let's Go Get Stoned in 1966 Yet by this time Charles was focusing increasingly less on rock and soul in favor of pop tunes often with string arrangements that seemed aimed more at the easy listening audience than anyone else Charles' influence on the rock mainstream was as apparent as ever Joe Cocker and Steve Winwood in particular owe a great deal of their style to him and echoes of his phrasing can be heard more subtly in the work of greats like Van MorrisonnnOne approaches sweeping criticism of Charles with hesitation he was an American institution after all and his vocal powers barely diminished over his half-century career The fact remains though that his work after the late '60s on record was very disappointing Millions of listeners yearned for a return to the all-out soul of his 1955-1965 classics but Charles had actually never been committed to soul above all else Like Aretha Franklin and Elvis Presley his focus was more upon all-around pop than many realize his love of jazz country and pop standards was evident even if his more earthy offerings were the ones that truly broke ground and will stand the test of time He dented the charts (sometimes the country ones) occasionally and commanded devoted international concert audiences whenever he felt like it For good or ill he ensured his imprint upon the American mass consciousness in the 1990s by singing several ads for Diet Pepsi He also recorded three albums during the '90s for Warner Bros but remained most popular as a concert draw In 2002 he released Thanks for Bringing Love Around Again on his own Crossover imprint and the following year began recording an album of duets featuring BB King Willie Nelson Michael McDonald and James Taylor After hip replacement surgery in 2003 he scheduled a tour for the following summer but was forced to cancel an appearance in March 2004 Three months later on June 10 2004 Ray Charles succumbed to liver disease at his home in Beverly Hills CA

Elvis Costello and the Attractions quotEvery Day I Play the Bootquot Vinyl Record

foxmusic — Mon, 11 May 2009 01:21:00 MDT

Elvis Costello and the Attractions quotEvery Day I Play the Bootquot Vinyl Record - ROCK-LP-ElvisCostelloEvereryDayIPla.jpg

When Elvis Costello's first record was released in 1977 his bristling cynicism and anger linked him with the punk and new wave explosion A cursory listen to My Aim Is True proves that the main connection that Costello had with the punks was his unbridled passion He tore through rock's back pages taking whatever he wanted as well as borrowing from country Tin Pan Alley pop reggae and many other musical genres Over his career that musical eclecticism has distinguished Costello's records as much as his fiercely literate lyrics Because he supports his lyrics with his richly diverse music Costello is one of the most innovative influential and best songwriters since Bob DylannnThe son of British bandleader Ross McManus Costello (born Declan McManus) worked as a computer programmer during the early '70s performing under the name DP Costello in various folk clubs In 1976 he became the leader of country-rock group Flip City During this time he recorded several demo tapes of his original material with the intention of landing a record contract A copy of these tapes made its way to Jake Riviera one of the heads of the fledgling independent record label Stiff Riviera signed Costello to Stiff as a solo artist in 1977 the singersongwriter adopted the name Elvis Costello at this time taking his first name from Elvis Presley and his last name from his mother's maiden namennWith former Brinsley Schwarz bassist Nick Lowe producing Costello began recording his debut album with the American band Clover providing support Less Than Zero the first single released from these sessions appeared in April of 1977 The single failed to chart as did its follow-up Alison which was released the following month By the summer of 1977 Costello's permanent backing band had been assembled Featuring bassist Bruce Thomas keyboardist Steve Nieve and drummer Pete Thomas (no relation to Bruce) the group was named the Attractions they made their live debut in July of 1977nnMy Aim Is True his debut album was released in the summer of 1977 to positive reviews the album climbed to number 14 on the British charts but it wasn't released on his American label Columbia Records until later in the year Along with Nick Lowe Ian Dury and Wreckless Eric Costello participated in the Stiffs Live package tour in the fall At the end of the year Jake Riviera split from Stiff Records to form Radar Records taking Costello and Lowe with him Costello's last single for Stiff the reggae-inflected Watching the Detectives became his first hit climbing to number 15 at the end of the yearnnThis Year's Model Costello's first album recorded with the Attractions was released in the spring of 1978 A rawer harder-rocking record than My Aim Is True This Year's Model was also a bigger hit reaching number four in Britain and number 30 in America Released the following year Armed Forces was a more ambitious and musically diverse album than either of his previous records It was another hit reaching number two in the UK and cracking the Top Ten in the US Oliver's Army the first single from the album also peaked at number two in Britain none of the singles from Armed Forces charted in America In the summer of 1979 he produced the self-titled debut album by the Specials the leaders of the ska revival movementnnIn February of 1980 the soul-influenced Get Happy was released it was the first record on Riviera's new record label F-Beat Get Happy was another hit peaking at number two in Britain and number 11 in America Later that year two collections of B-sides singles and outtakes called Taking Liberties was released in America in Britain a similar album called Ten Bloody Marys Ten How's Your Fathers appeared as a cassette-only release complete with different tracks than the American versionnnCostello and the Attractions released Trust in early 1981 it was his fifth album in a row produced by Nick Lowe Trust debuted at number nine in the British charts and worked its way into the Top 30 in the US During the spring of 1981 Costello and the Attractions began recording an album of country covers with famed Nashville producer Billy Sherrill who recorded hit records for George Jones and Charlie Rich among others The resulting album Almost Blue was released at the end of the year to mixed reviews although the single A Good Year for the Roses was a British Top Ten hitnnCostello's next album Imperial Bedroom (1982) was an ambitious set of lushly arranged pop produced by Geoff Emerick who engineered several of the Beatles' most acclaimed albums Imperial Bedroom received some of his best reviews yet it failed to yield a Top 40 hit in either England or America the album did debut at number six in the UK For 1983's Punch the Clock Costello worked with Clive Langer and Alan Winstanley who were responsible for several of the biggest British hits in the early '80s The collaboration proved commercially successful as the album peaked at number three in the UK (number 24 in the US) and the single Everyday I Write the Book cracked the Top 40 in both Britain and America Costello tried to replicate the success of Punch the Clock with his next record 1984's Goodbye Cruel World but the album was a commercial and critical failurennAfter the release of Goodbye Cruel World Costello embarked on his first solo tour in the summer of 1984 Costello was relatively inactive during 1985 releasing only one new single (The People's Limousine a collaboration with singersongwriter T-Bone Burnett released under the name the Coward Brothers) and producing Rum Sodomy and the Lash the second album by the punk-folk band the Pogues Both projects were indications that he was moving toward a stripped-down folky approach and 1986's King of America confirmed that suspicion Recorded without the Attractions and released under the name the Costello Show King of America was essentially a country-folk album and it received the best reviews of any album he had recorded since Imperial Bedroom It was followed at the end of the year by the edgy Blood and Chocolate a reunion with the Attractions and producer Nick Lowe Costello would not record another album with the Attractions until 1994nnDuring 1987 Costello negotiated a new worldwide record contract with Warner Bros Records and began a songwriting collaboration with Paul McCartney Two years later he released Spike the most musically diverse collection he had ever recorded Spike featured the first appearance of songs written by Costello and McCartney including the single Veronica Veronica became his biggest American hit peaking at number 19 Two years later he released Mighty Like a Rose which echoed Spike in its diversity yet it was a darker more challenging record In 1993 Costello collaborated with the Brodsky Quartet on The Juliet Letters a song cycle that was the songwriter's first attempt at classical music he also wrote an entire album for former Transvision Vamp singer Wendy James called Now Ain't the Time for Your Tears That same year Costello licensed the rights to his pre-1987 catalog (My Aim Is True to Blood and Chocolate) to Rykodisc in AmericannCostello reunited with the Attractions to record the majority of 1994's Brutal Youth the most straightforward and pop-oriented album he had recorded since Goodbye Cruel World The Attractions backed Costello on a worldwide tour in 1994 and played concerts with him throughout 1995 In 1995 he released his long-shelved collection of covers Kojak Variety In the spring of 1996 Costello released All This Useless Beauty which featured a number of original songs he had given to other artists but never recorded himself Painted from Memory a collaboration with the legendary Burt Bacharach followed in 1998nnThe album was a success critically but it only succeeded in foreign markets outside of their home countries of the United States and Britain A jazz version of the record made with Bill Frisell was put on hold when Costello's label began to freeze up due to political maneuvering Undaunted Costello and Bacharach hit the road and performed in the States and Europe Then after Bacharach left Costello added Steve Nieve to the tour and traveled around the world on what they dubbed the Lonely World Tour This took them into 1999 where both Notting Hill and Austin Powers: The Spy Who Shagged Me featured significant contributions from Costello In fact he appeared with Bacharach in the latter as a pair of Carnaby Street musicians albeit street musicians with a gorgeous grand piano at their disposalnnContinuing his tour with Nieve he began singing the last song with a microphone forcing the audience to sit in complete silence as he usually performed Couldn't Call It Unexpected No 4 with nothing but his dulcet baritone filling the auditorium After the record company's various mergers ended Costello found himself on Universal Records and he tested their promotional abilities with a second greatest-hits record (The Very Best of Elvis Costello) The label promoted the album strongly making it a hit in his native Britain Unfortunately they also made it clear that they had no intention of giving a new album the same promotional push leaving him to venture into other fields as he awaited the end of his record contract His first project was an album of pop standards performed with Anne Sofie Von Otter which included a few songs originally written by Costello The album came out in March of 2001 on the Deutsche Grammophon label and it neatly coincided with the extensive re-release of his entire catalog up to 1996 under Rhino Records Each disc included an extra CD of rare material and liner notes written by Costello making them incredible treats for fansnnIn 2001 he found himself with a residency at UCLA where he performed several concerts and was instrumental in teaching music during the year He also began work on a self-produced album that featured Pete Thomas and Nieve -- now billed as a band called the Imposters -- entitled When I Was Cruel and the album finally saw release on Island Records in the spring of 2002 at the end of the year he released a collection of B-sides and leftovers from the album's sessions entitled Cruel SmilennWhen I Was Cruel kicked off another productive era for the ever prolific Costello In 2003 he returned with North a collection of classically styled pop songs pitched halfway between Gershwin and Sondheim The next year he collaborated with his new wife Diana Krall on her first collection of original material The Girl in the Other Room That fall Costello released two albums of original material: a classical work entitled Il Sogno and the concept album The Delivery Man a rock roll record cut with the Imposters My Flame Burns Blue from 2006 was a live album with Costello fronting the 52-piece jazz orchestra the Metropole Orkest On the album classic Costello songs with new orchestral arrangements appeared alongside new compositions and a performance of the entire Il Sogno The River in Reverse a collaboration with RB legend Allen Toussaint arrived in 2006 followed by Momofuku credited to Elvis Costello the Imposters in 2008 from Lost Highway