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Oasis, The Verve and Primal Scream are all indebted to the brilliance of The Stone Roses. Comprising of four Manchurian lads, their influence remains undiminished. Delivering some of the finest songs of all time, their reunion has been one of the most eagerly anticipated one of all time. Over a period of twelve years, the band

Lately by Alice Summers - A music Review
As a music aficionado I am always on the lookout for new and upcoming artists with a new sound. I recently

There was a time not too awfully long ago that when you would hear anything about indie rock bands, I would get a mental picture of skinny guys with half long hair and beards that aren't yet matured, wearing suit coats made of corduroy. I've been active in music for many years now so I know from experience that they often seemed to be writing music that if you asked them, they would tell you it sounded like "Soundgarden meets the Phantom of the Opera" or some other comparison that for guys like myself just could not get our heads around. You see, I liked hard rock music, some alternative, some metal, etc, but all of these styles had specific names and as a result

If you're in the process of setting up a home recording studio, microphone basics are a must. It's impossible to set up an optimised recording studio without taking the time to work out exactly what type of microphone is best going to meet your recording needs.
First of all, I'm going to discuss the microphone as a transducer, and explain what that means.

An article on the Yahoo main page on October 29 listed the ten scariest bands. The only two that made the list from my childhood are Kiss (#3) and Black Sabbath (#1).
Though I liked both bands, I cannot recollect having been scared of either of them. I can, however, vividly recall some popular songs from my youth that scared me each time they came on the radio.
These ten songs are actually legitimate hits, unlike "The Monster Mash" and other novelty tunes that get air play every Halloween. These scary tunes were recorded by famous artists, many of whom have been inducted into the Rock Hall of Fame.
Each one is scary for a different reason, be it an unusual musical instrument or uneasy tempo or chilling lyric. Here are the then scariest non-Halloween songs ever recorded.
"Loves Me Like a Rock" by Paul Simon: Even though it mentions the devil, the terrifying parts of the song are the haunting backing vocals by The Dixie Hummingbirds.
"Eleanor Rigby" by The Beatles: As a kid I was frightened not at all by the song's theme of growing old. What made me tremble was the octet of classical string instruments and the absence of any Beatles playing on it.
"25 or 6 to 4" by Chicago: I was always a little mystified about the title, but the frightening part of the song is the four-chord progression throughout that clamors for, and at the same time prevents, escape. It is temporarily relieved by the intrusion of brass instruments, only to quickly return.
"Space Oddity" by David Bowie: Countdowns are always scary to me, and the one starting this account of Major Tom is quite harrowing. Even eerier is the chaotic swirl of music that seems to endlessly pervade, especially after something goes wrong with the space capsule.
"Death on Two Legs" by Queen: Those who feel uneasy upon hearing the Bismillah and overall tone of "Bohemian Rhapsody" better stay away from the opening song on A Night at the Opera. This Freddie Mercury track about revenge creeps in with an innocent piano tinkle before being invaded by haunting howls and screams from John Deacon's bass and Brian May's quintessential electric guitar.
"Shock the Monkey" by Peter Gabriel: The song itself is frightening enough, with its electronic drums, spooky synthesizer, and animal-like squeals. What really makes me uneasy is the video, where Peter Gabriel is creepily painted with midgets and monkeys jumping him.
"In the Air Tonight" by Phil Collins: This vengeful tune has a slow, almost tortuous melody, lurking behind the singer's lyrics of hatred. By the time the drums thump in, any listener is checking fearfully over his shoulder.
"Randy Scouse Git" by the Monkees: Mickey Dolenz violently pounds a kettle drum to open the song, which then switches to a rag time piano melody to accompany obscure lyrics. The drum completely dominates the ending, leaving fans to wonder if this number was recorded by the same fun band that made "I'm a Believer" and "Cuddly Toy."
"Bungle in the Jungle" by Jethro Tull: Lions roar to open the song, which is a scary enough sound. Then, however, Ian Anderson's flute enters, and one is completely convinced that he will soon be devoured by crocodile nasties.
"You're So Vain" by Carly Simon: It is hard to imagine that anyone as pretty as Carly Simon could inspire fear, but just a few seconds into her biggest hit indeed causes discomfort. An ominous drum roll combines with a haunting piano piece to warn that someone (James Taylor? Warren Beatty? Mick Jagger?) is about to get skewered.

Punk rock is really hit or miss sometimes, and no album is more evident than the Clash's second record. "Give 'Em Enough Rope" was supposed to be a huge record for the mighty punkers, but when they chose Sandy Pearlman for the producer, things seemed to shift a little and the punk rock community let the band have it. Despite groans and gripes from fans, the band went

I really enjoyed the clear, cool sounds produced at this 1987 reunion of this Chicago blues band. It was thirteen years since they broke up and it was great to see this reunion. They still had the richness of sound and easy-going style that was steeped in inspiration from some of the greatest blues musicians of the genre.
Corky Siegel and Jim Schwall first met in 1964 while members of their college jazz band. When the pair discovered their mutual interest in the blues, they started playing as a duo in local Chicago night clubs like Pepper's and The Quiet Knight.