Although singer-actress Liza Minnelli can count Academy Award-winning film roles, Tony Award-winning musical theater performances, Emmy Award-winning television specials, and gold-selling records among her accomplishments, she is primarily a concert performer whose career has been defined by a series of stage acts dating back to her nightclub debut in 1965.

Her best work in film, in the musical theater, and on television has taken advantage of and grown out of her reputation as a live performer, and many of the albums she has released under her own name are concert recordings. (She has also appeared on numerous soundtracks and cast albums.)

Since she began performing in the early '60s, Minnelli has displayed an energetic style that combines technical precision with warmth and enthusiasm, allowing her to transcend the contrary trends in popular music over the course of her career and maintain her status as a major star.

Her appearance opposite Robert De Niro in the 1977 film, New York, New York, gave Minnelli her best known signature song, "Theme from New York, New York". Frank Sinatra released a successful cover version (for his Trilogy: Past Present Future album) two years later and used it as his signature song as well, sometimes even duetting with Liza live on stage.

While many songs have been written about New York City, no song has captured the pride and elegance of the city quite like this one. The lyrics, "If I can make it there, I'll make it anywhere" sum up what many New Yorkers feel about their city: competition is intense, but success there is richly rewarded and very satisfying.

The song stresses personal responsibility in the line, "It's up to you, New York, New York," as it's a place where you can't expect a handout, but have an opportunity to succeed no matter who you are. This song also popularized New York as the "City that never sleeps," which is true in the literal sense that many businesses are open 24 hours, but also in the figurative sense that you are expected to always be at your best.

This scene is for sure part of a virtual top 10 famous movie moments. Two cinema titans on the lyrics of one of the most spectacular and audience-rising melody.

Led Zeppelin was the definitive heavy metal band. It wasn't just their crushingly loud interpretation of the blues - it was how they incorporated mythology, mysticism, and a variety of other genres (most notably world music and British folk) - into their sound. Led Zeppelin had mystique. They rarely gave interviews, since the music press detested the band. Consequently, the only connection the audience had with the band was through the records and the concerts. More than any other band, Led Zeppelin established the concept of album-oriented rock, refusing to release popular songs from their albums as singles. In doing so, they established the dominant format for heavy metal, as well as the genre's actual sound.

"Moby Dick" is an instrumental tune and drum solo of the band, featured on their 1969 album Led Zeppelin II. It was also known by the titles "Pat's Delight" and "Over the Top" during various points during the band's career.

According to Led Zeppelin drummer John Bonham's wife, Pat, the tune is named "Moby Dick" because his son, Jason, asked him to play "the long song". When John asked why, the boy replied, "It's big like Moby."

This was Zeppelin drummer John Bonham's showcase song on early tours. His solo would last up to 20 minutes, while the rest of the band would leave the stage and grab a smoke. Bonham sometimes drew blood performing this from beating his hands on his snare and tom toms. The name of Bonham's drum solo was later changed to "Over The Top" for the 1977 US tour. It used the "Out On The Tiles" riff as an intro instead.

This evolved out of a drum solo Bonham would play called "Pat's Delight," which was named after his wife. Jimmy Page would often catch Bonham jamming in the studio, and recorded parts of it, then pieced it all together.

Page added a guitar riff to the mix, which came from "The Girl I Love She Got Long Black Wavy Hair," a song Led Zeppelin recorded live for the BBC in the Spring of 1969. It appears on the BBC Sessions album. Jimmy Page remixed this to flow seamlessly into "Bonzo's Montreux" on the Led Zeppelin boxed set.

Led Zeppelin often borrowed from American Blues recordings, and the guitar riff in this song bears a strong resemblance to the 1961 Bobby Parker song "Watch Your Step." Led Zeppelin has faced criticism for using parts of obscure Folk and Blues songs and passing them off as their own, but it should be noted that riffs cannot be copyrighted, and many famous musicians have borrowed in a similar fashion. A notable example is The Beatles "I Feel Fine," which was also influenced by Parker's "Watch Your Step."

In 1980, on 25 September - John "Bonzo" Bonham, of Led Zeppelin, died of asphyxiation on his own vomit. Although many had said that he died because alcohol abuse that day, it is well known the fact that he was the "reasonable" member of the band; according to the other members, he never took drugs and rearely drunk. Anyhow, the group decided to disband when they determined that their drummer cannot be replaced. Looking at this performance from the "Royal Albert Hall" concert in 1970, you can surrely agry.

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Aerosmith was one of the most popular hard rock bands of the '70s, setting the style and sound of hard rock and heavy metal for the next two decades with their raunchy, bluesy swagger. The Boston-based quintet found the middle ground between the menace of the Rolling Stones and the campy, sleazy flamboyance of the New York Dolls, developing a lean, dirty riff-oriented boogie that was loose and swinging and as hard as a diamond.

In the meantime, they developed a prototype for power ballads with "Dream On," a piano ballad that was orchestrated with strings and distorted guitars. Aerosmith's ability to pull off both ballads and rock & roll made them extremely popular during the mid-'70s, when they had a string of gold and platinum albums. By the early '80s, the group's audience had declined as the band fell prey to drug and alcohol abuse. However, their career was far from over -- in the late '80s, Aerosmith pulled off one of the most remarkable comebacks in rock history, returning to the top of the charts with a group of albums that equalled, if not surpassed, the popularity of their '70s albums.

The lineup: Steven Tallarico (born March 26, 1948) on vocals, Joe Perry (born September 10, 1950) on lead guitar, Ray Tabano on rhythm guitar, Tom Hamilton (born December 31, 1951) on bass, and Joey Kramer (born June 21, 1950) on drums.

The band released 14 studio albums and 4 live, between 1973 and 2008. They won numerous awards and achievements, being one of the most rewarded band in the music history.

They remained famous for many singles, from which "Walk This Way", "Sweet Emotion", "Dream On", "Crazy" , "I Don't Wanna Miss A Thing", "Pink" and some others.

"Crying" was released in the summer of 1993 as the third single from the hugely successful album "Get a Grip".

R.E.M. mark the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. While there were a number of hardcore and punk bands in the U.S. during the early '80s, R.E.M. brought guitar pop back into the underground lexicon.

Combining ringing guitar hooks with mumbled, cryptic lyrics and a D.I.Y. aesthetic borrowed from post-punk, the band simultaneously sounded traditional and modern. Though there were no overt innovations in their music, R.E.M. had an identity and sense of purpose that transformed the American underground.

"Losing My Religion" was released in 1991, from their "Out of Time" album.

The title is a Southern expression meaning "At my wit's end," as if things were going so bad you could lose your faith in God. If you were "Losing your religion" over a person, It could also mean losing faith in that person. The band claims this is not about religion, although the video is full of religious imagery. Some Catholic groups protested the video.

The video is based in part on Gabriel Garcia Marquez' A Very Old Man with Enormous Wings. The novel tells the story about an angel who falls down from heaven and how the people who make money displaying him as a "freak show."

The video was the first to show lead singer Michael Stipe dancing. The director hung out with the band to get ideas, and when he saw Stipe's spastic dance style, he thought it would look great in the video. Stipe (in Rolling Stone magazine): "I wanted to write a classic obsession song. So I did." Also, according to VH1's "True Spin" Michael Stipe wrote this song as a quasi-tribute to the Police's "Every Breath You Take." He was so inspired by the song that he wanted to create a song with a similar vibe. So it is about an obsession.

The song won the Grammy in 1991 for Best Pop Performance by a Duo or Group with Vocal.

It's extremely difficult to separate the facts of Hendrix's life from rumors and speculation. Everyone who knew him well, or claimed to know him well, has different versions of his state of mind in 1970. Critics have variously mused that he was going to go into jazz, that he was going to get deeper into the blues, that he was going to continue doing what he was doing, or that he was too confused to know what he was doing at all. The same confusion holds true for his death: contradictory versions of his final days have been given by his closest acquaintances of the time. He'd been working intermittently on a new album, tentatively titled First Ray of the New Rising Sun, when he died in London on September 18, 1970, from drug-related complications.

"Little Wing" was part of his second album "Axis: Bold as Love" (1967). This song was inspired by the 1967 Monterey Pop Festival, a concert held during 3 days of the "Summer of Love" (1967) featuring The Who, The Byrds, Janis Joplin, and many others. Attended by about 200,000 music fans, it happened 2 years before Woodstock. Jimi wrote about the atmosphere at the festival as if it was a girl. He described the feeling as "Everybody really flying and in a nice mood." He named it "Little Wing" because he thought it could just fly away.

The guitar on the song is played in a very unique style. Jimi frets the roots of chords with his thumb, and then elaborates on them. It often involves shifts of quartile to tertian harmony and vice versa. In theory it is quite similar to the Jazz style of chord melody. The percussion instrument that sounds like a xylophone is a glockenspiel, an instrument popular in marching bands containing steel bars that are stuck with hammers to produce notes. Jimi ran his guitar through a Leslie speaker to create an unusual sound. The Leslie speaker was designed for organs and contains a rotating paddle that distorts the sound.

In 1963 Jimi recorded a song that may have been a precursor to this. The song "Fox," which was one of his first recordings was played with sax player Lonnie Youngblood and sounded very similar to this.

This is one of the songs that had to be remixed just before the album was released when one of the master tapes went missing. No one ever found out what happened to the original tape but its been speculated that Jimi either accidentally left the tape in a taxi or purposely disposed of the tape because he wasn't satisfied with its sound.

This song, along with "Spanish Castle Magic," are the only songs Hendrix ever performed in concert from his Axis: Bold as Love album. He played this live only 8 times.

Hendrix has described this as being one of the few he likes from this album. He said "Little Wing" is "like one of those beautiful girls that come around sometimes." Hendrix enjoyed writing slow songs because it was easier to put emotion into them.

The same day they recorded "Layla," Eric Clapton and Duane Allman recorded this as a tribute to Jimi, who was one of their guitar heroes. Hendrix died 9 days later. He never heard their version of his song, which was released in 1970 on the Derek and the Dominos album, Layla And Other Assorted Love Songs.

Jimi Hendrix died on 18 September 1970.

"Abraxas" is the second album by Santana, the Latin rock n' roll group led by guitarist Carlos Santana. Consolidating their live success at the Woodstock Festival in 1969, and the interest generated by their first album the band took some time to issue a follow-up. Released in September 1970, the album's mix of rock and roll, blues, jazz, salsa and other influences made it a classic that defined Santana's early sound, and showed a musical maturation from their first album.

The meaning of this cover album would be absolutely blank without knowing the significance of the word "Abraxas".

The word Abraxas (or Abrasax or Abracax) was engraved on certain antique stones, called on that account Abraxas stones, which were used as amulets or charms. The name is found in the Greek Magical Papyri, and the word may be related to the word abracadabra, although other explanations exist. The name is also found in Gnostic texts such as the Gospel of the Egyptians. Abraxas has also been variously claimed throughout the centuries to be an Egyptian god, a demon, and to represent God and Satan in one entity and the dual nature of its essence.

The title of the album comes from a line from Herman Hesse's book Demian:"We stood before it and began to freeze inside from the exertion. We questioned the painting, berated it, made love to it, prayed to it: We called it mother, called it whore and slut, called it our beloved, called it Abraxas..."

When Carlos Santana was taken over to Mati Klarwein's studio to check out his artwork for a possible album cover, Klarwein happened to be out of the country, hanging out in Tangier with Timothy Leary. Guitarist and bandleader Santana loved one particular painting so much that he chose it to adorn Abraxas, his group's second album, and the arrangements were made without the two ever meeting face to face. To this day, Santana and Klarwein have not met or even spoken.

What attracted Santana to the work? "It was the congas between the angel's legs and the colors," he says. "I'd just discovered that music and color are food for the soul. When we looked at the painting, we said, 'Man, this is a great feast! Who did this?'"

Klarwein had painted the piece in 1963. He titled it The Annunciation, deriving its symbolism from the biblical story in which the archangel Gabriel announces to Mary that she will be giving birth to Jesus. The nude black Virgin Mary was a girlfriend of Klarwein's from Guadeloupe. Klarwein painted himself, wearing a straw hat, in the role of Joseph. A trio of Nigerian nomads are the Magi. Finally, a winged, crimson Gabriel is shown descending from heaven astride a conga drum. "Drums were always used to announce something," says Klarwein. "They were a medium of communication in Africa, and I put the angel announcing the birth by beating the drum." As Santana notes, "It fit like a hand and glove to the music."

The album also demonstrates Santana's stylistic versatility, including tracks such as "Samba pa Ti" (a classic slow-burning, seductive piece) and "Incident at Neshabur", both being instrumentals. The latter has several rhythm and time signature changes consistent with its jazz feel. Latin percussion — congas, bongos and timbales, as well as a conventional rock drum setup, make this Santana's first foray into true Latin rhythm. In 2003, the album was ranked number 205 on Rolling Stone magazine's list of the 500 greatest albums of all time. The album achieved number 7 in the UK album charts.

This is "Samba pa ti"

Richard William Wright (28 July 1943 - 15 September 2008) was a self-taught pianist and keyboardist best known for his long career with Pink Floyd. Though not as prolific a songwriter as his bandmates Syd Barrett, Roger Waters and David Gilmour, he wrote significant parts of the music for classic albums such as Meddle, Dark Side of the Moon and Wish You Were Here, as well as for Pink Floyd's final studio album The Division Bell. Wright’s richly textured keyboard layers were a vital ingredient and a distinctive characteristic of Pink Floyd's sound. In addition, Wright frequently sang background and occasionally lead vocals onstage and in the studio with Pink Floyd (most notably on the songs "Time", "Echoes", and on the Syd Barrett composition "Astronomy Domine").

In 1978, he released his first solo album, Wet Dream. The following year, Floyd's leader Roger Waters fired Wright and re-hired him as a sideman; when the group reformed minus Waters to release 1987's A Momentary Lapse of Reason, Wright was back on board, although he wasn't reinstated as a full-time member until the supporting tour for 1994's The Division Bell. After he had regained his full-time status in Floyd, Wright returned to his solo career, releasing the new age album Broken China in November of 1996.

Richard Wright, one of the founding members of the British band has passed away at only 65, Monday morning.

This is one of his songs from 1978 "Dark Side Of The Moon' album- "Great Gig In The Sky":

The music was written by Ira Schuster and Jack Little, the lyrics by Joe Young. The song was published in 1932.

The Johnny Long Orchestra had a million seller of the song in 1946. This version was a slight revision of the Long band's 1940 version. Jerry Lee Lewis recorded a version in the winter of 1958/1959. Somethin' Smith and the Redheads re-charted the song in 1956.

This is a simple performance about joy, optimism, the fun and the pleasure of doing something and, of course, this is a song about a shanty in old shanty town.

In 1940, on this day (12 september), Johnny Long's Orchestra recorded this classic.

Pearl Jam rose from the ashes of Mother Love Bone to become the most popular American rock & roll band of the '90s. After vocalist Andrew Wood overdosed on heroin in 1990, guitarist Stone Gossard and bassist Jeff Ament assembled a new band, bringing in Mike McCready on lead guitar and recording a demo with Soundgarden's Matt Cameron on drums.

Thanks to future Pearl Jam drummer Jack Irons, the demo found its way to a 25-year-old San Diego surfer named Eddie Vedder, who overdubbed vocals and original lyrics and was subsequently invited to join the band (then christened Mookie Blaylock after the NBA player). Dave Krusen was hired as the full-time drummer shortly thereafter, completing the original lineup. Renaming themselves Pearl Jam, the band recorded their debut album, Ten, in the beginning of 1991, although it wasn't released until August; in the meantime, the majority of the band appeared on the Andrew Wood tribute project Temple of the Dog. Krusen left the band shortly after the release of Ten; he was replaced by Dave Abbruzzese.

Compared with the other grunge bands of the early 1990s, Pearl Jam’s style is noticeably less heavy and harkens back to the classic rock music of the 1970s. Pearl Jam has cited many punk rock and classic rock bands as influences, including The Who, Neil Young, and the Ramones. Pearl Jam’s success has been attributed to its sound, which fuses "the riff-heavy stadium rock of the '70s with the grit and anger of '80s post-punk, without ever neglecting hooks and choruses."

Pearl Jam has broadened its musical range with subsequent releases. By 1994’s Vitalogy, the band began to incorporate more punk influences into their music. The band’s 1996 album, No Code, was a deliberate break from the musical style of Ten. The songs on the album featured elements of garage rock, worldbeat, and experimentalism. After 1998’s Yield, which was somewhat of a return to the straight-ahead rock approach of the band's early work, the band dabbled with experimental art rock on 2000’s Binaural and folk rock elements on 2002’s Riot Act. The band’s latest album, 2006’s Pearl Jam, was cited as a return to the band’s early sound.

Critic Jim DeRogatis describes Vedder's vocals as a "Jim Morrison-like vocal growl."^[68] Vedder's lyrical topics range from personal ("Alive", "Better Man") to social and political concerns ("Even Flow", "World Wide Suicide"). When the band started, Gossard and McCready were clearly designated as rhythm and lead guitarists, respectively. The dynamic began to change when Vedder started to play more rhythm guitar during the Vitalogy era. McCready said in 2006, "Even though there are three guitars, I think there's maybe more room now. Stone will pull back and play a two-note line and Ed will do a power chord thing, and I fit into all that."

The band released a total of 8 studio albums between 1991 and 2006, 7 live albums and gathered several awards, including 4 MTV Music Video Awards, in 1993 (for "Jeremy" video) and one Grammy in 1996 (Best Hard Rock Performance - "Spin the Black Circle").

This is "Even Flow" from "Ten" album:

One of the most influential soul singers of the 1960s, Otis Redding exemplified to many listeners the power of Southern "deep soul" -- hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads.

Otis Redding was the star recording artist for Stax Records, a Memphis label that made classic Soul music. They never recovered from the death of Redding in 1967, and Stax was shut down in 1975. In 2001, construction started on a Soul music museum where the studios once stood.

Redding started to compose this while he was recovering from surgery removing polyps from his vocal chords. The doctors told him not to sing or talk for six weeks after the operation.

Stax guitarist Steve Cropper wrote this with Otis Redding. Cropper produced the album when Redding died, including this with various songs Redding had recorded the last few years. In a 1990 interview on NPR's Fresh Air, Cropper explained: "Otis was one of those kind of guys who had 100 ideas. Anytime he came in to record he always had 10 or 15 different intros or titles, or whatever."

Redding died in a plane crash on December 10, 1967, 6 weeks before this hit was released and 3 days after he recorded it. It was by far his biggest hit and was also the first ever posthumous #1 single in the US. Redding was a rising star moving toward mainstream success at the time of his
death. There is a good chance he would have recorded many more hits if he had lived.

When Otis recorded this, he and Cropper didn't have a last verse written, so he whistled it. He planned to return to Memphis and fill in the verse after performing in Madison, Wisconsin, but he died before he had the chance. When Cropper produced the song, he left the whistling in, and it fit the mood of the song perfectly. It is probably the most famous whistling in any song.

Redding wrote this soon after listening to The Beatles' album "Sgt. Pepper's Lonely Hearts Club Band", which had just been released. Shortly before he started recording "Dock of the Bay," Redding alluded to it as an extension of the Beatles' music. In 1966 and 1967, Redding performed "A Hard Day's Night" and "Day Tripper" at some of his concerts.

Redding recorded this with Booker T. & the MG's, the house band for Stax Records. They played with all the Stax artists, including Wilson Pickett, Sam & Dave, and Albert King. Redding died 5 months before Martin Luther King, Jr. was shot in Memphis, where this was recorded. The mood of peace and harmony evoked in this song gave way to angry racial tensions. Booker T And The MGs contained 2 whites and 2 blacks, standing out as an integrated band in a segregated city.

In 1993, the 3 remaining members of Booker T. & the MG's (Steve Cropper, Donald "Duck" Dunn, and Booker T. Jones), backed Neil Young on his tour. They ended each show with this song.

During the Vietnam War, this was very popular with American troops fighting there. The song portrayed quite the opposite of their reality. The song is featured in the 1987 film Platoon, an Oliver Stone masterpiece about the war in Vietnam.


Music licensing company BMI named this as the sixth-most performed song of the 20th century, with around 6 million performances. This won 1968 Grammy Awards for Best Rhythm & Blues Performance, plus Best Rhythm & Blues Song for writers Otis Redding and Steve Cropper.

67 years ago, on the 9th of September 1941, Otis Redding was born. For many he remained the only king of blues in music history.

'Nessun dorma' ('None Shall Sleep') is an aria from the final act of Giacomo Puccini's opera Turandot, and is one of the best known tenor arias.

The aria is sung by Calaf, Il principe ignoto (The unknown prince). In the preceding act, Calaf had challenged Princess Turandot to guess his name by dawn. If she did, she could execute him, but if she did not she would have to marry him. The cruel and emotionally cold princess then decreed that none of her subjects was to sleep that night until his name was discovered. If they failed, all would be killed.

'Nessun dorma' achieved pop status after Luciano Pavarotti's recording of it was used as the theme song of the BBC televison coverage of the 1990 FIFA World Cup in Italy. It subsequently reached #2 on the UK Singles Chart, the highest placing ever by a classical recording.

It went on to become both Pavarotti's signature aria and a sporting anthem in its own right, especially for soccer. Pavarotti sang 'Nessun dorma' at his final performance, the finale of the Opening Ceremony of the 2006 Torino Winter Olympics. His Decca recording of the aria was played at his funeral during the flypast by the Italian Air Force, exactly one year ago.

This is one performance you want to begin your day with....

With their angst-filled hybrid of Van Morrison, the Band, and R.E.M., Counting Crows became an overnight sensation in 1994. Only a year earlier, the band was a group of unknown musicians, filling in for the absent Van Morrison at the Rock & Roll Hall of Fame ceremony; they were introduced by an enthusiastic Robbie Robertson.

Early in 1993, the band recorded their debut album, August and Everything After, with T-Bone Burnett; it was released in the fall. It was a dark, somber record, driven by the morose lyrics and expressive vocals of Adam Duritz; the only up-tempo song, "Mr. Jones," became their ticket to stardom.

What made Counting Crows was how they were able to balance Duritz's tortured lyrics with the sound of the late '60s and early '70s; it made them one of the few alternative bands to appeal to listeners who thought that rock & roll died in 1972. Recovering the Satellites followed in 1996, and in 1998 they issued the two-disc Across a Wire: Live in New York.

Counting Crows' third studio album, This Desert Life, appeared in 1999. In the midst of recording and collaborating with Ryan Adams on his sophomore album, Gold, Duritz joined his band in the studio as well. The fruit of those sessions was the Steve Lillywhite-produced fourth album, Hard Candy.

The next year saw the release of the best-of Films About Ghosts, and in 2004 Counting Crows reminded fans of their ability to write a hit single with "Accidentally in Love," which appeared on the Shrek 2 soundtrack. Two years later, New Amsterdam: Live at Heineken Music Hall, recorded from a show on February 6, 2003, was made available to the public.

Counting Crows recorded 5 studio albums, one compilation and 2 live albums. Moreover they had over 15 singles and 8 movie soundtracks.

This is "Big Yellow Taxi" from their 2002 "Hard Candy" album.

This song is about life and the evolution of it. It may sound pathetic, but sometimes i miss simplicity. And this song is simple though meaningful.

Of all the major alternative rock bands of the early '90s, the Smashing Pumpkins were the group least influenced by traditional underground rock. Lead guitarist/songwriter Billy Corgan fashioned an amalgam of progressive rock, heavy metal, goth rock, psychedelia, and dream pop, creating a layered, powerful sound driven by swirling, distorted guitars.

The video showed the band floating on clouds in the night sky. It is based on the 1902 film "Trip to the Moon", by George Meiles. His name is the name of the ship at the end of the music video.

This won 6 MTV Music Video Awards: Video of the Year, Breakthrough Video, Best Direction Best Special Effects, Best Art Direction, and Best Cinematography. It was also nominated for Viewer's Choice Award and Best Editing.

Pumpkins bass player D'arcy liked the sets from the video a lot, so she put them in a barn on her farm.

This was written in the key of C instead of G, but Corgan couldn't sing it in C. It was recorded with a 30-piece string-section.

The line, "And the embers never fade in your city by the lake, The place where you were born" in a reference to Corgan's home city of Chicago, where Billy was born, raised, and still spends significant time. It is about a moment when he realized that he had become successful and his life was going to change dramatically. His dreams and ambitions were being realized and he knew he would have to be away from home. He knows he's changed in some ways, but he remains the same person in many more ways. The song has an acoustic reprise on the single where Billy sings the line.

Post-rock is a music genre characterized by the use of musical instruments commonly associated with rock music, but utilizing rhythms, harmonies, melodies, timbre, and chord progressions that are not found in rock tradition. Simply put, it is the use of 'rock instrumentation' for non-rock purposes. Practitioners of the genre's style typically produce instrumental music.

As with many musical genres, the term is arguably inadequate as a concise descriptor: for example, Don Caballero and Mogwai were among the more prominent bands of the 1990s described as post rock, but the two bands' music has very little in common besides the fact that they are both largely instrumental. As such, the term has been the subject of backlash from listeners and artists alike.

The post-rock sound incorporates characteristics from a variety of musical genres, including ambient, jazz, electronica, and experimental.[3] Early post-rock groups also often exhibited strong influence from the krautrock of the '70s, particularly borrowing elements of "motorik", the characteristic krautrock rhythm.

Post-rock compositions often make use of repetition of musical motifs and subtle changes with an extremely wide range of dynamics. In some respects, this is similar to the music of Steve Reich, Philip Glass, and Brian Eno, pioneers of minimalism.[24] Typically, post-rock pieces are lengthy and instrumental, containing repetitive build-ups of timbre, dynamics and texture.

Some bands, such as Rachel's and Clogs, combine post-rock with classical music, while others such as Godspeed You! Black Emperor are so far removed from popular music in their sparseness of arrangement and use of repetition, that they are frequently compared to minimalism.

Wider experimentation and blending of other genres have recently taken hold in the post-rock scene. Isis and Pelican, among others, have fused metal with post-rock styles. The resulting sound has been termed post-metal.

Today, despite criticism of the term, post-rock has maintained its prominence and the genre has been subject to no shortage of groups claiming the title. Post-rock outfits Explosions in the Sky, Pelican and Mono have risen in popularity, showing the longevity of the disputed genre.

This is Explosion in the Sky with their performance in Seattle, in 2007 - "The birth and death of the day"

Gilberto family is from a famous musical family in Brazil. Bebel's father is João Gilberto, her mother is the singer Miúcha, and her uncle (Miúcha's brother) is Chico Buarque de Hollanda. She learned how to sing with Miúcha, and since she was a child, she was already participating in professional musicals like Saltimbancos and Pirlimpimpim.

Bebel Gilberto has been recording with worldly famous artists like Kenny G, David Byrne, Amon Tobin, Smoke City, the Thievery Corporation, Towa Tei, Caetano Veloso, Chico Buarque, and João Gilberto. Gilberto also has had worldwide success as a songwriter with the song "Technova."

In 1991, Gilberto moved to New York (where she was born) and began gigging in clubs, performing at the Lincoln Center, and working with David Byrne and Arto Lindsay, among others. In that year, she participated (together with Gal Costa, Naná Vasconcelos, and Laurie Anderson) in a tribute to Carmen Miranda, idealized by Arto Lindsay. She had noted participation in the productions that aimed at the dance music market with a Brazilian bossa nova scent, co-writing (with Deee-Lite's DJ/producer Towa Tei) the worldwide hit "Technova." She also appeared in singles by the Thievery Corporation ("Só Com Você") and the duo Arling & Cameron (on "Sem Contenção"). By the end of the '90s, she was living in England.

In 1998, Gilberto had a duet with João Gilberto in his Carnegie Hall concert. Her first solo album, Tanto Tempo, came finally in 2000 (Ziriguiboom) and had a good performance at the world music charts. Tanto Tempo went on to earn two Latin Grammy Nominations for Best New Artist and Best Música Popular Brasileira Album in 2001. Its companion Tanto Tempo Remixes was also issued that same year. Gilberto hooked up with producer Marius de Vries for her second album shortly thereafter. The introspective self-titled effort appeared in mid-2004, followed three years later by Momento, which featured appearances from Brazilian Girls and Orquestra Imperial.

Here is a warm, chill out melody about August...the most beauteous month of all year.