Download Ray Quinn mp3

Artist: Ray Quinn: mp3 download    Genre(s):  Rock     Discography:      Doing It My Way    Year: 2007    Tracks: 11 Count Ray Quinn among the ten thousand young singers launched to celebrity via the reality TV phenomenon of the early 21st century. Born April 25, 1988, in Merseyside, England, Quinn first earned notoriety as a child participant, in 2000 get-go a three-year stretch on the Channel 4 soap opera Brookside. His function as troubled stripling Anthony Murray even earned a 2002 Inside Soap Award as Best Young Actor. While attention the Merseyside Dance and Drama College, Quinn auditioned for the ITV amateur gift showcase The X Factor in 2006. Judge Simon Cowell ab initio deemed him unfit to succeed to the semifinal round of golf in the 16-to-24 historic stop family merely afterwards changed his reason, and Quinn eventually made it to the last round of three, losing to Leona Lewis. Cowell yet offered Quinn a record compress and in early 2007 he traveled to Los Angeles to cut his self-titled Sony BMG debut, a appeal of swing-era classics including "My Way" and "Ain't That a Kick in the Head." The album debuted atop the U.K. pop charts and earned the baby-faced Quinn a £100,000 sponsorship handle with Wella Hair Products.

Download Blood Sweat and Tears mp3

Artist: Blood Sweat and Tears: mp3 download    Genre(s):  Rock Pop Jazz Other     Discography:      The Definitive Collection    Year: 2003    Tracks: 17      Super Hits    Year: 2000    Tracks: 10      Raw Breed    Year: 1997    Tracks: 20      Blood, Sweat and Tears 3    Year: 1990    Tracks: 10      Brand New Day    Year: 1977    Tracks: 12      New City    Year: 1975    Tracks: 10      New Blood    Year: 1972    Tracks: 8      Greatest Hits    Year: 1972    Tracks: 11      4    Year: 1971    Tracks: 12      Blood, Sweat and Tears    Year: 1969    Tracks: 10      Child Is Father To The Man    Year: 1968    Tracks: 12      Live and Improvised - Disc Two    Year:     Tracks: 6      Live and Improvised - Disc One    Year:     Tracks: 7 No late-'60s American stem of all time started with as much melodic promise as Blood, Sweat & Tears, or completed their electrical potential more than than to the replete -- and then blew it all in a series of internal conflicts and wild life history moves. It could near sound shady, talk about a grouping that sold close to six billion records in tierce age and then wasted all of that momentum. Then once again, considering that none of the substructure members ever so intended to work together, peradventure the mathematical grouping was "lucky" later on a fashion. The roots of Blood, Sweat & Tears put down in unmatchable weekend of hastily assembled golf club shows in New York in July 1967. Al Kooper (born February 5, 1944, Brooklyn, NY) was an ex-member of the Blues Project, in motive of money and a tonic bug out in music. He'd been flirting with the notion, ontogenesis out of his admiration for malarkey bandleader Maynard Ferguson, of forming an electric tilt band that would use horns as much as guitarists, and malarkey as practically as john Rock as the base for their music. As he later related, he sawing machine the proposed group approach down somewhere midway 'tween James Brown's Famous Flames and the Count Basie Orchestra. Kooper hoped to upgrade sufficiency john Cash to get to London (where he would put such a band together) through a series of gigs involving some big-name friends in New York. When the smoking exculpated, thither wasn't enough to flummox him to London, but the gig itself produced a core group group of players world Health Organization were interested in operative with him: Jim Fielder (born October 4, 1947, Denton, TX), late of Buffalo Springfield, on bass, whom Kooper brought in from California; Kooper's late Blues Project bandmate, guitar player Steve Katz (born May 9, 1945, Brooklyn, NY); and drummer Bobby Colomby (born December 20, 1944, New York, NY), with whom Katz had been hanging out and also talk about starting a radical. Kooper in agreement, as tenacious as he was in charge musically -- having just get along sour of the Blues Project, who'd been organized as a finish cooperative and fundamentally voted themselves out of beingness, he was only prepared to bedevil into some other striation if he were vocation the shots. This became the radical that Kooper had pictured; it would feature a horn section that would be as out front end as Kooper's keyboards or Katz's guitar. Colomby brought in alto saxman Fred Lipsius (born November 19, 1944, New York, NY), a longtime personal idol, and from at that place the batting order grew, with Randy Brecker (born November 27, 1945, Philadelphia, PA) and Jerry Weiss (born May 1, 1946, New York, NY) connection on yellow pitcher plant and flügelhorns, and Dick Halligan (born August 29, 1943, Troy, NY) playing trombone. The young grouping was signed to Columbia Records, and the name Blood, Sweat & Tears came to Kooper in the awake of an after-hours jam at the Cafe au Go Go, where he'd played with a cut on his hand that had leftfield his hammond organ keyboard covered in blood. The original Blood, Sweat & Tears turned out to be one of the superlative groups that the sixties ever produced. Their sound, in contrast to R&B outfits that only victimised motor horn sections for embroidery and accompaniment, was a true loanblend of john Rock and jazz, with a strong element of soulfulness as the soldering agent that held it together; Lipsius, Brecker, Weiss, and Halligan didn't just regorge along on the choruses, but played complex, detailed arrangements; Katz played guitar solos as well as round accompaniment, and Kooper's keyboards stirred to the fore along with his telling. Their sound was bold, and it was all new when Blood, Sweat & Tears debuted onstage at the Cafe au Go Go in New York in September 1967, opening for Moby Grape. Audiences at the time were just acquiring used to the psychedelic explosion of the old spring and summer, only they were bowled over by what they heard -- that first adaptation of Blood, Sweat & Tears had elements of psychedelia in their work, but extensive it into realms of wind, R&B, and soul in slipway that had just been heard earlier in one band. The songs were attractive and thought-provoking, and the arrangements gave room for Lipsius, Brecker, and others to solo as well as play rippling ensemble passages, while Kooper's reed organ and Katz's guitar vainglorious in pulse, shimmering glorification. The group's debut album, Small fry Is Father to the Man, recorded in just iI weeks tardy in 1967 under manufacturer John Simon, was released to positive reviews in February 1968, and it seemed to betoken a outstanding future for all concerned. It remained one of the outstanding albums of its decade, right up there with Bob Dylan's Highway 61 Revisited and the Rolling Stones' Beggars Banquet. The only thing it didn't accept, which those other albums did, was a hit unmarried to receive radio play and help drive gross sales. Child Is Father to the Man was out on that point on its own, invisible to AM radio and the immense majority of the public, awaiting grapevine and any help the still fledgling stone press could apply it, and the band's touring to advertize it. Even as their debut was organism recorded, withal, elements of discontent had manifested themselves within the group that would sabotage their number one tour and their future. At low gear, these were disagreements or so repertory, which grew into issues of control, and then doubts about Kooper's ability as a lead vocalizer. With Colomby and Katz pickings the lead, the group broached the theme of acquiring a young vocaliser and moving Kooper over alone to playing the organ and composition. By the closing of March 1968, with Child Is Father to the Man nudging onto the charts and sales edging toward C,000 copies and some momentum finally edifice, Blood, Sweat & Tears blew apart -- Kooper left the lineup, pickings a producer's job at Columbia Records; at that same point in time, Randy Brecker announced his spirit to discontinue. Ironically, at around the same time, Jerry Weiss, who'd actually favorite Kooper's ouster, likewise headed for the door as well, to class the grouping Ambergris?, which lasted long sufficiency to turn off unitary album in 1970. That might've been the end of their tale, leave off that Bobby Colomby and Steve Katz byword the chance to pull their have band out of this fiasco. Columbia Records decided to stick with them spell Katz and Colomby considered several newfangled singers (including Stephen Stills), and really got as far as auditioning and rehearsing with Laura Nyro before they launch David Clayton-Thomas (born David Thomsett, September 13, 1941, Surrey, England). A Canadian national since the years of v, Clayton-Thomas at the clip was performing with his possess grouping at a small club in New York. He came on board, with Halligan touched over to keyboards, Chuck Winfield (born February 5, 1943, Monessen, PA) and Lew Soloff (born February 20, 1944, Brooklyn, NY) on yellow pitcher plant, and Jerry Hyman (born May 19, 1947, Brooklyn, NY) succeeding Halligan on the trombone. The new nine-member grouping reflected Colomby and RPLC238% vision of a band, which was heavily influenced by the Buckinghams, a mid-'60s outfit they'd both admired for its mix in of soul influences and their role of horns -- toward that end, they got James William Guercio, wHO had previously produced the Buckinghams, as producer for their proposed record record album. Though Kooper was done for from Blood, Sweat & Tears, the grouping was forced to swear on a identification number of songs that he'd inclined for the new record record album. The resulting album, simply called Blood, Sweat & Tears, was issued 11 months afterward Tiddler Is Father to the Man, in January 1969. Smoother, less challenging, and more traditionally melodious than its predecessor, it was ambitious in an accessible way, starting with its opening runway, an version of French expressionist composer Erik Satie's "Trois Gymnopedies" that transformed the languorous early 20th century classical work into a pop touchstone. Clayton-Thomas was the dominant personality, with Lipsius and the other jazzmen in the band acquiring their spots in the breaks of each song -- every bit important, and sooner more than recounting the singles drawn from the record album were all emended down, abbreviating or removing most of the featured floater for the malarky players. The number one single by the newfangled grouping, "You've Made Me So Very Happy," speedily rosebush to the number two spot on the charts and lofted the album to the cover of the LP listings as well. That was followed by "Spinning Wheel" b/w "More than and More," which also hit number two, which, in turn, was followed by the group's version of Laura Nyro's "And When I Die," some other gold-selling single. When the smoke cleared, that one album had yielded a career's worth of hits in the quad of six months, and the LP had won the Grammy as Album of the Year, selling 3 trillion copies in the buy. So much demand was created for work by Blood, Sweat & Tears that the at once 18-month-old Tiddler Is Father to the Man, with the different vocaliser and very different intelligent, made the charts anew in the summer and fall of 1969 and earned a atomic number 79 phonograph recording. The grouping before long faced the problem that every play with a massive success has had to confront -- where do you go from up? By devolve 1969, with 10 months of massive succeeder behind them, the record troupe was tidal bore for a followup record album. The grouping began recording Line, Sweat & Tears 3 patch the second album was still selling many tens of thousands of copies every week. This clip, the grouping would produce the album themselves, an unusual arranging for what was motionless essentially a new mathematical group, simply unmatchable the judge in agreement to, in the wake up up of the previous album's gross revenue. And then issues of image and politics entered into the photo. When Al Kooper light-emitting diode the chemical group, in that respect was no doubtfulness of how hip and tuned in Blood, Sweat & Tears were, to the rock candy culture and the counterculture -- by his possess explanation, Kooper was a resident "monstrosity" wherever he went in those days, and they were a boldness sufficiency ensemble to talk for themselves with their music. But the newfangled group's music, and their use of horns, in particular, was more traditional, and it made them a short suspect among rock listeners. "Spinning Wheel," specially, was the kind of song that invited covers by the likes of Mel Tormé and Sammy Davis, Jr., and was the sort of "rock" hit that your parents didn't mind listening. And "You've Made Me So Very Happy," for all of the soul of David Clayton-Thomas' singing, also had a kind of debonaire pop-band edge that made the mathematical group appear closer in spirit to the Tonight Show banding than, say, to the Rolling Stones. Combining the precariousness of exactly world Health Organization and what Blood, Sweat & Tears were, and how coolheaded they were, was a conclusion that they made in early 1970, to contract a tour of duty of Eastern Europe on behalf of the U.S. State Department. A few other rock bands had played Eastern Europe in front, just never on behalf of a politics, practically less one that, at that special time, was singularly unpopular with a set of Blood, Sweat & Tears' potential fan base over the war in Vietnam. There was something awfully untimely with this picture in May 1970, simply the chemical group was forgetful to it. The reasonableness for the tour was a pragmatic one, according to some sources. Clayton-Thomas was a Canadian with selfsame uncertain visa condition in the United States, and the State Department indicated that it would be a draw more agreeable about their singer working here if the ring did them this favor. It was a coup for the governance, acquiring one of the hottest rock 'n' roll acts in the world to represent the government in the Eastern bloc nations -- just it too took place just at the time of the Kent State massacre, in which iV students were shot to death by National Guardsmen, an effect that Nixon chose to capitalize on politically. And it got worse when they came back, after eyesight the law in Bucharest, in particular, have a tearing hand to any audience spontaneousness; a statement was issued on the group's behalf, upon their come back, trumpeting the virtues of American exemption -- this, one month after Kent State, with the murders of the students soundless an open injury and the extreme right-winger rioting that had ensued in cities like New York (where the police had through with nothing to catch a mob of building workers from attacking anyone with long hair and invading City Hall) soundless fresh in peoples' minds. In June 1970, Blood, Sweat & Tears were the only act hipper than the Johnny Mann Singers putt out feel-good messages about the United States political science. It was on their return to America, amid these doubtful vocation moves, that Stock, Sweat & Tears 3 was released. Under the best of conditions, it would have been likewise much to hope that it could match its forerunner, and the truth was that it didn't. Despite some attractive songs, the record album never achieved the same shuffle of accessibility and divine steering displayed by the before album. The album shipped gold and topped the LP charts for deuce weeks in mid-1970, and the single "Hi-De-Ho" made it to number 14, only the edge was off and the numbers racket didn't keep soaring week afterward week as the egregious sales of their prior two LPs had. More distressful, the chemical chemical group was starting to engender criticized in the rock 'n' roll press, non directly for their State Department duty tour -- though that couldn't birth made a lot of reviewers and columnists overly predisposed to go easy on the striation -- just over wHO and what they were (and that was where the ill-famed go did move into into the picture). A lot of rock candy critics mat up that Blood, Sweat & Tears were a pretentious bulge chemical group that splashed in horn riffs, piece others argued that they were a jazz kit trying to kick the bucket as a rock dance banding -- either way of life, they weren't "nonpareil of us" or portion of wHO we were. Oddly sufficiency, some members of the jazz press liked them, merely that was short aid -- at any time afterward the early '40s, nothingness reviewers in 10% reached no more than than a slight per centum of listeners. And careless of what the critics aforementioned, a heap of serious jazz listeners wHO were the same days as the bandmembers thought the group was fluff, jazz-lite. Their ikon problem grew only worse when the group accepted an employment to come along at Caesar's Palace in Las Vegas -- the play mecca had never been known as friendly to stream stone acts, and the grouping felt it was doing journeyman military service by opening up Caesar's Palace to performers under 30. Instead, it multiplied their difficulties -- Vegas and what it delineate were near as bad as Nixon. In the meantime, another work, Chicago, produced by James William Guercio, broke large in 1970, likewise on the Columbia label, and avoided all of these pitfalls and internal problems and over up stealth a immense lump of Blood, Sweat & Tears' audience. It seemed as though, after an extraordinary run for of chance, the radical couldn't catch a break; their musical contribution to the Barbra Streisand plastic film The Owl and the Pussycat did nil to heighten their image. The group's fourth album, begun in early 1971, was the first that ran into real trouble in the making, which showed from the presence of terzetto producers in the credits, and even Kooper was delineate in the songwriting and arranging department. The fourth album, issued in June 1971, unwell at number tenner on the charts, nowhere near the big top, and none of its singles chapped the Top 30. It was or so this clock time that the membership began shifting and chip. By 1971, the mathematical group was fundamentally divided into three factions, the rock 'n' roll regular recurrence discussion section pitted against the idle words players, and the singer between them both, and no one happy with what anyone else was doing. Clayton-Thomas no yearner enjoyed working with the rest of the band and chose to going later the release of the fourth record album to pursue a solo career. Despite this loss, the grouping carried on, and the label was uncoerced to carry them a bit longer -- after all, Blood, Sweat & Tears had sold a lifetime's worth of LPs, and the 2 subsequent albums, though disappointing in its awaken, were good successes by any conventional criterion, and one constantly hopes that lightning volition strike twice. Bob Doyle took the vocalist fleck for a few months, and was so replaced by Jerry Fisher; elsewhere in the card, Fred Lipsius, who'd been thither from the initiate and had put the original horn section unitedly, eventually called it quits and was replaced by Joe Henderson, wHO, in turn, was succeeded by Lou Marini, Jr., and Dick Halligan, who'd replaced Kooper on keyboards after the number one band's dissolution, was succeeded by Larry Willis, spell Steve Katz got a bit guitar player to play sour of in the person of George Wadenius. All of these personnel changes lED to an extended period of inactivity for the band, which Columbia Records made up for by releasing Blood, Sweat & Tears' Greatest Hits in 1972 -- this was plausibly a small sooner than they mightiness differently receive done it, under ideal circumstances, but the record album became a Top 20 album and earned a amber criminal record prize and was a very pop catalogue item for many days; 1 vantage that its original LP rendering offered the casual fan was that its songs were all the shorter, single edits of their hits, which were otherwise just available on the original 45 revolutions per minute records. In September 1972, this lineup released an record album, appropriately enough called New Blood, which never made the Top 30 despite some good moments, accompanied by a single, "So Long Dixie," which didn't crack the Top 40. By this time, they'd turned more toward jazz, recognizing that the rock 'n' roll hearing was slowly drifting out of their reach. Founding members Jim Fielder and Steve Katz called it quits during this flow, Katz preferring to ferment in the more than rock-oriented area of Lou Reed. With replacements aboard, Blood, Sweat & Tears continued performing, merely their following LP, humorously (or was it ominously?) entitled No Sweat, released in 1973, never rosebush higher than act 72 on the charts, and that was a hit compared to its successor, Mirror Image, which peaked at number 149. By this time, people were qualifying through the lineup like a revolving door, and regular Jaco Pastorius put in some clock time playing sea bass for the group, all without going much of an impression on the public. The stopper might've been pulled right around hither, but for the render of Clayton-Thomas, whose solo vocation had fizzled. Now fronting an outfit billed officially as Blood, Sweat & Tears Featuring David Clayton-Thomas, they released a modestly successful comeback album, New City, in 1975, which -- despite a few lapses in creative thinking and taste, and a range that encompassed Allen Toussant ("Life story") and Randy Newman ("Naked Man," complete with a Mozartian parenthesis) -- featured some of the group's best jazz sides in long time as advantageously as superb performances by Clayton-Thomas. The latter included a rare venture (for this group) into acoustic guitar blues on their rendition of John Lee Hooker's "One Room Country Shack." The resultant single, a adaptation of the Beatles' "Got to Get You Into My Life" (which, peculiarly sufficiency, hoped-for the single release of a remixed interpretation of the British band's own recording) never made the Top 40, but the record album did well enough to justify an ambitious circuit that yielded a double-LP concert album, Hot and Improvised, that was issued in Europe (and, 15 geezerhood later on, in America). Columbia Records dropped the group in 1976, and a brief association with ABC Records light-emitting diode nowhere. The group was caught betwixt their previous Columbia rivals Chicago, world Health Organization continued to have airplay and chart regularly with new releases, and purer nothingness ensembles such as Return to Forever and Weather Report, world Health Organization had captured the instant in the press and in front the public. In the ending, even Bobby Colomby, world Health Organization had trademarked the group's make selfsame early subsequently Kooper's outlet in 1968, gave up playing in the isthmus, pickings a corporate place at Columbia. Clayton-Thomas has kept the circle alive in the decades since, fronting versatile lineups that cover to perform regularly and record periodically, mostly updated renditions of their classic material. The coming of the CD geological era, and the tone ending of expanded versions of their first base iI albums, fostered new interest in the group's early history, which was furthered by the nineties button of Kooper's Soul of a Man, which presented unexampled concert renditions of the 1967-era group's repertory. During the first-class honours degree decade of the 21st century, Wounded Bird Records likewise belatedly reissued the band's post-BST4 albums on CD, with surprising winner -- Unexampled Blood and, regular more so, Unexampled City, sounded rather good musically, divorced from their origins by virtually 30 age. The radical nominate cadaver active behind Clayton-Thomas, and their recordings through 1972 -- especially the low album still extract a powerful response from those millions who've heard them.

Great Big Sea's Alan Doyle smiles on 'Fortune's Favor'

Henri Texier Quartet

   
Artist: Henri Texier Quartet

   Genre(s): 
Jazz
   

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Discography:


   
 Paris-Batignolles

   Year: 2000   
Tracks: 6

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Bicasso

Neutering DVD sets of key music ignites fan fury

WORDS AND MUSIC: When the first season of WKRP In Cincinnati arrived on DVD, fans of the show were justifiably livid that almost all of the musical cues � pop songs played on-air by DJs Venus Flytrap and Johnny Fever � were missing, and that when the song was integral to something happening onscreen, the scene would be trimmed to avoid looking nonsensical in the absence of music. The practice of removing copyrighted music is common enough that companies like Viacom/Paramount routinely include a fine print warning � �some music may have been changed� � on disc sets where music has either been excised or replaced with generic substitutes.

The DVD set of season two of The Fugitive � the �60s thriller starring David Janssen � recently hit the shelves after undergoing just such treatment -- despite the fact that the first season was released with all the original musical cues. According to a story in Variety this week, the score for the second season didn�t rely on a specially-composed score or public domain music, but from a mix of music by Pete Rugolo � author of the show�s theme � and cues taken from a range of music libraries. Untangling the legal knots created by the show�s music editor, Ken Wilhoit, 40 years ago proved so daunting that Paramount simply stripped out all of the show�s background music except for Rugolo�s intro and outro credit themes, a move that many fans have called �sickening,� while stating that they would be returning their purchases.

Before the dawn of the lucrative DVD business, music contracts on TV shows made no provision for royalties or rights after original runs and syndication. Today, music is negotiated with clauses that bear impressively inclusive language reserving right of usage for �any and all media now known or hereinafter devised.� This wasn�t the case as recently as a decade ago, and the change has seen profits from DVD sets diminish by the requirement of paying between ten and forty thousand dollars US per track � the Variety story recalls that licensing Motown songs for season one of Murphy Brown cost a million dollars, while rights issues probably means that shows like The Wonder Years will either hit the market with their music stripped out or not at all. (The Murphy Brown season one box retailed on amazon.com for a sale price of just $20.99, as of yesterday.)

While CBS Paramount executives refrained from answering Variety�s queries about the Fugitive set in favour of a press statement explaining their actions, the editor of the web site TVShowsOnDVD.com told the trade paper that moves like this are pushing fans into buying pirate sets, or illegal downloads, which you�d think someone in marketing or PR at Viacom would have figured out by now.

In somewhat related news, it seems that pilot episodes of two more fall shows � Steven Bochco�s legal drama Raising The Bar and Leverage, a TNT show starring Timothy Hutton � hit the online file-sharing networks this week. You�d start to think, at this point, that Hollywood woke up one morning with a newfound deathwish and an ambition to see how quickly they can go the way of Vaudeville or the telegraph.

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• Diaz Dating Aniston’s Ex?
• Bands as Indiana Jones - Friday Fun
• Tim Russert Autopsy: He Had an Enlarged Heart
• Paloma San Basilio

James Cotton

   
Artist: James Cotton

   Genre(s): 
Blues
   Avantgarde
   

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Discography:


   
 Fire Down Under the Hill

   Year: 2000   
Tracks: 10


   
 Feelin' Good

   Year: 1997   
Tracks: 10


   
 Deep in the Blues

   Year: 1996   
Tracks: 14


   
 Best of the Verve Years

   Year: 1995   
Tracks: 20

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Materia

   
Artist: Materia

   Genre(s): 
Drum & Bass
   

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Discography:


   
 Basic (BASIC003)

   Year: 2004   
Tracks: 2

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Tom Principato and Jimmy Thackery

   
Artist: Tom Principato and Jimmy Thackery

   Genre(s): 
Blues
   

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Discography:


   
 Partners In Crime

   Year: 1996   
Tracks: 11

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Natalie Imbruglia - Imbruglia Divorce Will Help My Music

Australian pop star NATALIE IMBRUGLIA has taken something positive from her split from rocker husband DANIEL JOHNS - their painful break up has given her music a major boost.

The Torn hitmaker admits that she makes her best records when she has experienced painful events in her life, and her impending divorce has given her plenty of material for her new album.

Imbruglia wrote her 1998 debut, Left of the Middle, about a broken heart and it went on to be a major international success.

Her two subsequent albums, made while she was happily married, have failed to emulate the success of her first record - debuting in the U.K. at number three and 12 respectively.

And she is convinced that her forthcoming third studio album, the follow up to last year's (07) greatest hits compilation, will be her best work in years.

She says, "After a break from songwriting, my life experiences have really helped me to be more creative. I think when it comes to creativity, I am more inspired by suffering than happiness."

Imbruglia and Silverchair frontman Johns split in January (08) after five years of marriage.

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• Lindsay Lohan opens up about life post-rehab
• Sabina Joaquin
• Celebrity chef Keith Floyd collapses
• XM to Air Exclusive Live Coverage of 2008 CMA Music Festival

Popa Chubby

   
Artist: Popa Chubby

   Genre(s): 
Blues
   Rock
   

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Discography:


   
 Stealing the Devil's Guitar

   Year: 2006   
Tracks: 14


   
 Wild Live!

   Year: 2005   
Tracks: 10


   
 Ten Years With Popa Chubby: the Very Best of Popa Chubby CD2

   Year: 2005   
Tracks: 10


   
 Ten Years With Popa Chubby: the Very Best of Popa Chubby CD1

   Year: 2005   
Tracks: 17


   
 Big Man Big Guitar: Popa Chubby Live

   Year: 2005   
Tracks: 12


   
 Peace, Love and Respect

   Year: 2004   
Tracks: 12


   
 The Hungry Years

   Year: 2003   
Tracks: 11


   
 Live in Marseille (2003.06.14)

   Year: 2003   
Tracks: 16


   
 Live At FIP (CD2)

   Year: 2003   
Tracks: 9


   
 Live At FIP (CD1)

   Year: 2003   
Tracks: 7


   
 Brest Breathes the Popa's Blues (2003.08.21)

   Year: 2003   
Tracks: 12


   
 The Good, the Bad and the Chubby

   Year: 2002   
Tracks: 13


   
 Popa Chubby Black Coffee Blues Band

   Year: 2002   
Tracks: 11


   
 One Night Live In New York City

   Year: 2002   
Tracks: 9


   
 Presents New York City Blues Again

   Year: 2001   
Tracks: 13


   
 How'd a White Boy Get the Blues?

   Year: 2001   
Tracks: 10


   
 Flashed Back

   Year: 2001   
Tracks: 13


   
 Popa Chubby Presents New York City Blues

   Year: 1999   
Tracks: 18


   
 New York City Blues Nr.2

   Year: 1999   
Tracks: 3


   
 Brooklyn Basement Blues

   Year: 1999   
Tracks: 11


   
 Popa Chubby

   Year: 1998   
Tracks: 16


   
 Jimi Hendrix Music Festival

   Year: 1996   
Tracks: 9


   
 It's Chubby Time

   Year: 1996   
Tracks: 10


   
 Hit the High Hard One (Live)

   Year: 1996   
Tracks: 12


   
 Hit the High Hard One

   Year: 1996   
Tracks: 11


   
 Booty and the Beast

   Year: 1995   
Tracks: 15


   
 Old School

   Year:    
Tracks: 10


   
 Gas Money

   Year:    
Tracks: 10

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Born Ted Horowitz in the Bronx, NY, Popa Chubby was the boy of a confect shop owner. At 13, Chubby began playing drums; shortly thereafter, he observed the music of the Rolling Stones and began playing guitar. Although he grew up in the 1970s, Chubby took his cue from artists of the 1960s, including Sly & the Family Stone, Jimi Hendrix, and Eric Clapton, among others. By the time he was in his early twenties, he enjoyed and played blues medicine, but as well worked for a spell backup tinder poet Richard Hell. Chubby's start heavy violate was victorious a national blues endowment lookup sponsored by KLON, a public wireless station in Long Beach, CA. He won the New Artist of the Year award and opened at the Long Beach Blues Festival in 1992. Chubby has continued to play more than cc club dates a twelvemonth through the 1990s. His Sony/Okeh debut, Prize and the Beast, was produced by longtime Atlantic Records engineer/producer Tom Dowd, whose recordings by Aretha Franklin, Ray Charles, Wilson Pickett, and others ar legendary. In 1994, Chubby released several albums on his possess Laughing Bear label, It's Chubby Time and Gasolene Money, before landing his handle with Sony Music/Okeh Records for Dirty money and the Beast, his major-label debut, released in 1995. In 1996, the 1 (800) PrimeCD label released a springy recording of Chubby's, Strike the High Hard One. Two years later, One Million Broken Guitars was released on Lightyear Records; Brooklyn Basement Blues followed in 1999. In 2000, Chubby signed with the Blind Pig label and released How'd a White Boy Get the Blues? in 2001. The phonograph recording turned out to be a little difference, incorporating elements of contemporary pop and hip-hop. 2002's The Good, the Bad and the Chubby showed great evolution in the artist's songwriting and included the Sep 11 commentary "Individual Let the Devil Out." Blind Pig released a aggregation of early Chubby recordings, The Hungry Years, in 2003. Troubled by the warfare in Iraq, Chubby released his almost political album, Peace, Love and Respect, a twelvemonth later. Two albums antecedently uncommitted entirely in France -- Live at FIP and Wild -- were compiled by the Blind Pig label and released as Heavy Man Big Guitar in 2005, followed by a young studio set called Stealing the Devil's Guitar a twelvemonth later. Electric Chubbyland, a two-disc set of Chubby covering Jimi Hendrix songs, appeared from Dixie Frog that same year, and then was repackaged and issued as two single discs by Blind Pig in 2007.