Search results for caught giving road head
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2008-04-18 17:14:53 Description: This is pretty much self explainitory. My roommate and I were in the car and we caught some naughty people giving each other road head.<br /><br />*Not Porn* (More) This is pretty much self explainitory. My roommate and I were in the car and we caught some naughty people giving each other road head.<br /><br />*Not Porn* (Less)
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19, 01:00, 2007-10-07 21:24:33 Description: WORLD WAR I was known as The Great War, a name that referred to its international scale, its massive mobilization of men, munitions and supplies, and its terrible toll on human life. Some say that the (More) WORLD WAR I was known as The Great War, a name that referred to its international scale, its massive mobilization of men, munitions and supplies, and its terrible toll on human life. Some say that the young country of Canada came of age in this war. Canadians won glory in the Royal Flying Corps, where Billy Bishop and Raymond Collishaw survived long enough to become aces of the air, and Roy Brown downed the Red Baron. However, it was also in the gruesome war of the trenches that Canadians demonstrated their endurance and courage.
Canadians fought and died in battles at Ypres, Mount Sorrel, Beaumont Hamel, Courcelette, Vimy Ridge, Passchendaele, and Amiens. Sixty-nine Canadian soldiers earned the Victoria Cross in World War I, and by some strange coincidence, three of them lived on the same street -- Pine Street in Winnipeg, which was later renamed Valour Road in their honour.
CORPORAL LEO CLARKE won his V.C. in the trenches during the battle of the Somme. Clarke had found himself alone, under attack by 20 enemy soldiers. Instead of surrendering, Clarke attacked, emptying his revolver twice and then firing a German rifle he picked up from the ground. In the struggle that followed, a German officer bayonetted him in the knee before Clarke could shoot him. Wounded and bleeding, Clarke kept up the attack, and as enemy soldiers fled Clarke followed, killing four more and taking a prisoner. Though he was ordered to hospital, Clarke returned to battle the next day. Leo Clarke died in action a month later.
SERGEANT-MAJOR FREDERICK WILLIAM HALL was awarded the V.C. for giving his life to save a comrade at the battle of Ypres. With his company pinned down in the trenches by fierce enemy fire, Hall had gone out twice under cover of night to rescue injured men. On the morning of February 21, 1915, men in the trench heard the groans of an injured soldier on the battlefield. Hall and two others volunteered to go after him, but as they went over the top they drew heavy fire. The two other men were injured, and all were forced back to their trench. After a few minutes, Hall went out alone in broad daylight, with enemy guns waiting for him. He crawled out and across the field under a hail of bullets. Reaching for the fallen soldier, Hall managed to squirm himself under the wounded man and begin moving him on his back toward his lines. However, when Hall raised his head to find his way back to the trench, he caught a bullet in the head and died instantly.
At the battle of Passchendaele, LIEUTENANT ROBERT SHANKLAND led his men to a forward position which they held during a fierce counter-attack. Knowing that an accurate description of his company's position was critical to the Allied battle plan, Shankland made his way alone through the battlefield to Battalion Headquarters, delivered the necessary information, and returned the way he had come. Rejoining his men, Shankland carried on until the end of the battle. The citation of his Victoria Cross commends his personal courage, gallantry and skill, and emphasizes the example he set for the men under his command. Of the three Victoria Cross recipients from Valour Road, only Shankland survived the war.
The individual heroism of men like Clarke, Hall and Shankland is set against the background of the misery and horror of war. Canadians have rarely glorified their involvement in conflict; it is more characteristic of us to see the action of our soldiers in the Great War as the unavoidable and accepted duty of courageous men in the face of global tragedy. More than 50,000 young Canadians died in World War I. When it was over, the survivors returned home as older, sadder men, whose common hope was that there would never be another war like it again. (Less)
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324, 02:43, 2008-04-17 15:10:59 Description: Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the (More) Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the first time she'll see Ray Price in person. This mature audience in Laughlin, Nevada, seems to appreciate the fact that the living legend on stage, now in his early seventies, is still youthfully handsome, his voice as powerful and melodious as ever. Near the end of the show, Ray introduces a song written, he tells us, by a "dear friend" who brought him as a young Texas kid to Nashville and got him on the Grand Ole Opry. "I lived with my friend for almost a year before he passed away." He pauses, his eyes seeming to wander back to that long-ago time. "So, if you-all don't mind, I'd like to sing you one of the late Hank Williams' songs." The crowd responds with a huge ovation as Ray begins Hank's "Mansion on the Hill." After the show I'm set to interview Ray Price. I want to learn more about that famed friendship. It's a dramatic story, I feel, one that will say much about how a true friend can ease your path, whether you're on the way up--or the way down. The year was 1951. Early autumn. There was a slight chill in the air outside on Nashville's streets. Inside Studio C at station WSM, the atmosphere was tense for the dark-haired young singer from Texas. He had just driven all the way to Nashville, probably breaking a few speed laws on the way. If there were stars in the newcomer's intense blue eyes, he had every reason to be thrilled and enormously impressed. Ray Price was about to meet Hank Williams, the reigning country music star of the day. Not only that, Ray was going to sing on his show. Ray had a few minor recordings and some local Texas performances behind him. Twenty-eight-year-old Hank Williams was already a national phenomenon. Songs he'd written were blasting from every radio and juke box across the country. But ole Hank didn't let that stand between them. Ray, recalling that first meeting, says. "It was one of those instant friendships. I liked him; he liked me. For some reason we hit it off right away." They went to Hank's home after the show and talked for hours about their hopes and dreams. Price, a 25-year-old former veterinary student, had a clear, vibrant voice that many felt might be wasted just talking to horses. He had recently signed with Columbia Records. "All you need," Hank told him, "is a hit record. And I'm going to write one for you." Quite an offer. At that time Hank's songs were being grabbed up by big-name pop singers like Tony Bennett, Jo Stafford and Rosemary Clooney. Tunes like "Cold, Cold Heart," and "I Can't Help It If I'm Still In Love With You" were hitting the tops of the charts in both country and pop markets. Hank followed up on his promise. The day after they met, he took Ray with him to a singing engagement in Evansville, Indiana. During the miles of rolling countryside between Nashville and Southern Indiana, creative ideas flew back and forth. Hank and Ray ended up writing "Weary Blues from Waiting" together. Said Ray, "We'd think up a line, each one of us, and then we'd do another. When we got there it was all written. I didn't put my name on it because I couldn't; I was with another company." Quite a team. Hank, who has been dubbed "The Hillbilly Shakespeare," could capture heartfelt emotion with ease in a few poetic word pictures. By the end of his brief life, he'd written 129 songs, many of them still favorites today. Ray, a fine songwriter too, had the more powerful impressive voice. But in mid-October 1951, it must have made sense for Ray to record "Weary Blues from Waiting" in Hank's highly popular plaintive style. Columbia released "Weary Blues" in November and gave it a big advertising/publicity splash because it was, after all, a Hank Williams song. But it didn't turn out to be the big hit hoped for, the hit that would have led to the Grand Ole Opry, the mecca of all country music performers. Hank didn't let that stop him. A few weeks later, he phoned Ray, who was performing back in Texas, and gave him the big news. If he could be in Nashville by the next day, he had a spot on the Grand Ole Opry. Another frantic trip. Ray burned rubber off four tires getting there. In January 1952, Ray moved to Nashville and soon became a regular on the Grand Ole Opry. A world of possibilities was opening up for him. But while Ray was moving upward in his climb to fame, Hank began to hurtle into free fall. He'd reached the pinnacle of his brief career, and his meteoric blaze in the sun would soon burn out. Separation that January from his wife, Audrey, started off the downhill plunge. Severe problems from a recent back operation added fuel to increase the periodic drinking that had long plagued him. Hank began to drink more and more to ease the the pain and heartache. His career suffered. Although he was still writing and selling songs, he began to miss perfomances or, worse yet, stagger on stage drunk. Ray was quick to defend Hank on that score. "He was not the type to go out in public drunk. When he drank, he drank a glassful at one time, and then another glassful, until he was totally wiped out. And he would stay in his room. The operators or the promoters would drag him out drunk." Ray was hired to accompany Hank on his singing engagements. "They used to send me along to sort of look out for him," Ray explained. "They knew Hank liked me, that he'd listen to me." But Hank's drinking put Ray in a tight spot more than a few times. In a scathing review, a newspaper reporter described one of these performances in Richmond, Virginia, on Jan. 29, 1952. It told how Ray Price had to come on stage and apologize for Hank, stall the crowd by singing Hank's songs, and then declare a half-hour intermission. When Hank finally appeared, he was so drunk that fans began to demand their money back. Ray tried to calm everyone down, calling out, "We all love you, Hank, don't we?" How did it feel filling in for Hank on these tours? Ray's response was fond and overly modest. "There was no way I could fill in for Hank; all I could do was kill time for him." With a reminiscent smile, he added, "He was the top dog." Ray was not about to let Hank down. After Hank and his wife separated and Hank needed a place to stay, Ray came to his rescue. The two moved into a two-story stone duplex in Nashville. Ray lived upstairs and Hank on the first floor. Ray did most of the housework and looked after Hank while he recuperated from the back operation he'd undergone a few weeks earlier. At that point, Hank was optimistic he could patch things up with Audrey and go back to his home and family. But taking care of Hank proved as much of a challenge as touring with him. His alcoholism had advanced to the point where he wouldn't eat while he was drinking. But if Ray could get him to start eating, he'd straighten out. If the food wouldn't stay down, however, he'd reach for the bottle right away and just sit in his room and keep on drinking. The last straw was when Hank lost hope that Audrey would reconcile with him. When she filed for divorce Hank was devastated. According to Ray, who accompanied Hank to the property settlement discussions, Hank was overly generous, giving Audrey much more than was required. He wanted to prove to her how much he still loved her. The divorce went through anyway and plunged Hank into further gloom. In the brief year Hank and Ray knew each other, there was not much time for light-hearted moments, for the hunting and fishing they might have shared in happier times. "We went and tried to fish, but..." Ray's voice trailed off, seemingly reluctant to explain just why the fishing trip never came off. He shifted the subject. "He liked to shoot a pistol. We'd go out on the target range." Hank continued to write songs for Ray. One of them was "I Can't Escape From You," which Ray duly recorded. But Hank also offered Ray some of his biggest hits, songs like "Jambalaya," and "Take These Chains From My Heart." Hank would bounce them off Ray and ask "What do you think of it? I wrote it for you." When Ray predicted they would be hits, Hank would often change his mind and take them back to record himself. Possibly Hank recognized Ray's ability to spot a hit, an ability proven later when Ray helped "launch" the songwriting careers of such "greats" as Willie Nelson, Roger Miller, Harlan Howard, Bill Anderson and Kris Kristofferson. During the early months of 1952, living in the same house with Hank as his alcoholism progressed must have been difficult. One evening, Hank is said to have double-dated with singer Faron Young, but Hank preferred Faron's girl to his own. By the end of the evening when Hank was loaded, he called Faron into a bedroom and pointed a gun at him. He wanted to switch girls; he claimed to have fallen for Faron's date. Faron, understandably, agreed. Whether that story is true or not, Hank did end up marrying the girl, Billie Jean, later that year. But Billie Jean couldn't stop Hank on his downhill plunge. Hank finally became so far gone in his alcoholism that Ray, along with Don Helms, a member of Hank's band, were afraid he'd drink himself to death. They arranged to have him sedated and committed to the Madison Sanitarium to undergo treatment. Hank Williams' biographers have written that Hank was so furious that he ordered Ray to move out of the house, then later apologized and begged him not to leave. Ray, who was already loading a truck, is said to have responded. "I've got to." Ray revealed to me that he moved out of the house at that time, but not out of Hank's life. He moved for personal reasons that had nothing to do with Hank. He continued to be very much involved with Hank's activities. In August, Hank's drinking problem became too much for the Grand Ole Opry, where he had been a top star. They fired him. After Audrey and the divorce, it was another devastating loss for Hank. He left town to go to work for the Louisiana Hayride in Shreveport. Ray remembers the day Hank left Nashville. As he was driving into town, he saw Hank in a service station, standing beside his Cadillac. Hank lifted his hand and motioned for Ray to stop. "Where are you going?" Hank asked as Ray pulled in. "Where are you going?" Ray wanted to know. "Back to Shreveport." He kind of laughed when he asked Ray, "You wanta come?" "I better not," Ray said. He would only see Hank alive one more time after that. Ray's career success continued to escalate in Nashville that fall as he became one of the the hottest entertainers in town. Hank had dreams of straightening out his life and returning to the Grand Ole Opry. It never happened. The final meeting of the two friends occurred at the Big D Jamboree in Dallas shortly before Christmas 1952. Hank caught sight of his friend and walked toward him smiling, singing a few lines from Ray's latest hit, "Don't Let the Stars Get in Your Eyes." They talked, and Hank suggested to Ray and his mother that he "might just come over and spend Christmas with you." They warmly invited him to do so, but Hank went back to his family in Alabama instead. Hank and Ray did make plans to get together in Ohio, however. They both had engagements in that state on New Year's Eve--Ray in Cleveland, Hank in Canton, fifty miles away. They arranged to meet in Canton on New Year's Day. By the end of 1952, the mid-section of the country was in the throes of a fierce winter storm. Hank, who had planned to fly to Canton, hired a chauffeur instead to drive him North in his powder blue Cadillac sedan. Ray was able to get the last flight out of Nashville. Hank couldn't sleep the night before that trip. He told his new wife, Billie Jean, that he saw "God comin' down the road." His health had been deteriorating. The trip was to prove his undoing. He died somewhere in West Virginia in the back seat of his Cadillac. The driver knew Hank had been drinking heavily and thought he had merely passed out. The death wasn't discovered until they pulled into the town of Oak Hill on New Year's day. Officially his demise was attributed to a heart attack. The meeting in Canton, Ohio, on New Year's Day between the two friends never took place. Instead, Ray was among a host of fellow performers bidding goodbye to the great Hank Williams at a massive funeral in Montgomery, Alabama, on January 4, 1953. All the stars of the Opry were there. The radio stations had been playing his music night and day. Fans wept. Hank was back in the fold again, a country music legend for all time. Hank Williams's career was brief, but unforgettable. In 1962, he one of the first performers to be inducted into the Country Music Hall of Fame. Ray Price is still a star, a living legend, who has helped revolutionize more than a few changes in country music. In 1956, Ray's unique recording of "Crazy Arms" was a top hit for forty-five weeks, knocking even Elvis off the charts. It clearly established Ray Price as a leading light in country music. But Ray, in 1967, went in a new direction and with his concert-calibre voice, backed by dozens of violins, soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Unperturbed by criticism that he had deserted country music, Ray went on to new cross-over heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." Erasing the boundaries between country and pop became a vital issue for Ray Price. He had long resented the fact that Hank's songs were eagerly gobbled up by the pop world, but the country singer himself found it more difficult to cross over at that time. Today, however, Hank Williams is a household word, and Ray, still touring throughout the country, pays tribute to his mentor at each concert. In 1996, Ray Price was inducted into the Country Music Association Hall of Fame. In 1999, he celebrates his fiftieth successful year in the music business. Hank would have been proud of his protege. If you have a story or anecdote about Ray Price that you think Ray's fans would enjoy, we invite you to submit it for possible publication on this site. We're looking for anecdotes that are amusing, cute, heartwarming, or illustrative of the qualities that have made Ray Price a legendary performer. Please email your entry to fan club president SANDRA ORWIG at rpfc40@aol.com. The Day Ray Price almost fell for me Every Sunday back in the 50's the Country Music stars came to the Lyric theater in Indianapolis IN, and I never missed a one. One Sunday when I was around sixteen or there abouts, I had went to see George Hamilton the 4th, and was sitting in the first row, when this good looking guy tried to go pass me for a seat (you know how those theater seats are *S*) and I stuck out my foot to trip him, he just about fell!! Then in a little bit, George said We have a special guest with us tonight and we'd like to get him up here to sing a song for you. Well this good-looking guy got up and went on stage, George said,we'd like for you to meet Mr. Ray Price! Boy was I embarrassed. So I'll never forget how Ray almost fell for me! *S* I have loved Ray ever since! Written by:Liz Puett Reprinted with permission from Dick Shuey's Country Music Stories His Usual Considerate Self It had been many years since I had seen Ray when he was at the Choctaw Festival in Tuskahoma, Ok, a few years ago. I was so excited at seeing him again, so I made a special shirt to wear. It was a red t'shirt and had the slogan, "I love Ray Price" printed in white. My greatest desire was to have my picture made with Ray. After the show he was signing autographs and I waited until he was almost through then asked him to sign my shirt. Then my son took our picture. My son then told me he thought the flash malfunctioned and he was not sure it would be a good picture. I said we would wait until he was finished and maybe try again. Before Ray had signed the last autograph someone was calling from the bus to hurry, they were running late and had to go. He said ok, but first he had one more picture. Then he walked over to me, smiling, and said, "Now, let's get a good picture." He had heard my son's comment and took time to redo the picture although he was running behind schedule. What a guy!!!. Oh, yes both pictures were good. At another concert some months later in Omaha, Texas, I had injured my leg and was on crutches or wheelchair. After the show the line was very, very long and I knew I could not stand that long. So I resorted to the wheelchair. As we approached the table we were talking with Cliff and I mentioned I wanted to take a picture with Ray. And I was wearing another special shirt that said 'I still love Ray Price' Ray heard us and immediately got up and came around the table. He helped me out of the chair, signed my shirt and my son took our picture. On that particular night Ray was fighting a severe cold and was very sick, but that did not keep him from being his usual wonderful, considerate self. I could go on and on and on about Ray. He sure made a hit with my son who grew up on Ray Price music. I even told Ray my son, also named Clifton, could say Ray Price almost as soon as he could say Mommy. Thanks for all you do to promote 'our guy'. Florine It Wasn't Just A Cock-and-Bull Story The first time I met Ray Price was at the Travis County Live Stock Show & Rodeo. My husband and I had only been married a couple of years and I told him I would love to go and see Ray Price. He told me sure we could go and that he had known Ray for many, many years and that he used to handle game roosters for Ray when Ray would fight them in Oklahoma and Louisiana. At this point I was glad to get to go but had major doubts about how well he knew Ray. We bought 4 front and center tickets and waited for what seemed like forever. The night finally come. We got all made up in our best rodeo clothes to go and see the great Ray Price. I didn't watch much of the rodeo for looking to see if Ray was at the autograph table and waiting to hear him sing. The whole way to the rodeo ( an hour drive one way) my husband kept saying him and Ray this, him and Ray did that. Me and the boys were really getting tired of hearing this and thinking that he was full of BS. Before Ray sang they announced he would sign autographs after the show. I set through the show in pure heaven. Ray's voice melting every bone. Right before he finished the last song I told my husband we had to hurry to the autograph place. We went and were first in line. In a few minutes a long, long line had formed. Earlier in the night I had bought a double album to get Ray to sign. My husband said don't buy it I'll get Ray to give you one. Again sure you will. I bought it anyway. We waited for what seemed like hours. The whole time my husband telling us more cute stories. Finally the lady behind us said sure you know him and laughed. That was what we had thought. About that time Ray came out stopped,looked at my husband and said 'Damn, boy, I haven't seen you for years.' They hugged and started talking as if they had just seen each other the day before. After we picked up our jaws, even the lady behind us, Ray chewed my husband out for buying the album and signed it for me. He told my husband that Duke and some of the other old group were up in the Ball Room. He told someone there with him to take us up to the Ball Room which was a black tie or suit and tie place. We were in jeans, western shirts, and boots. The materdee at the door told us you can't come in here you're not properly dressed an your not the type of people that come here. About that time the guy from Ray's band caught up with us and told him that they are guests of Mr. Price. You should have seen that guy jump threw the hoop. It was great. From then on we were believers. Every time we go and see Ray I ask for him to sing my favorite song For the Good Times and we stand in front of the band and it seems as if he is singing for just us. We had plans to go and see him again in Llano but he was sick. There would have been a second favorite to ask for this time Soft Rain. One day we will catch up with him and get it done. Friends and fans, The Skinners A Fan Club President Has Some Stories Too These reminiscences of fan club president Sandra Orwig are reprinted from her most recent newsleter. Ray was playing one of the largest Pennsylvania fairs with three other well-known country artists. Before the show began the head of the fair committee came to the bus and told Ray that if he did not want to autograph after the show he did not have to do so as the others were not going to do so. Ray's reply made me so proud. He said, "I don't care who autographs, I am." He was the top billed star and the only one that cared enough about his fans to stay out in the cold and sign every autograph. It was a very cold September night and Ray closed the show so it was very dark on the race track when he autographed. When he finished, Blondie said to him, "Let's go," and he said, "No, I have to go talk to Sandra's Dad." As most of you know, my father is handicapped and does not get to go see Ray often, but Ray made sure we were escorted to park by the bus and then, regardless of the cold, late hour and long trip ahead of him back to Texas, he took the time to talk with my Dad. Only one reason why he has "Touched My Heart." Sandra Orwig (from her newsletter #55) "His timeless music, incredible voice, and innovative genius have yet to be equalled by any other singer in today's country-music world." Ray Price is one of American music's truly great stars. He was inducted into Nashville's Country Music Hall of Fame in 1996, but has long shown his genius in other genres as well. After more than a half-century in the business, Ray can still belt out a song with the best of them, whether it's honky-tonk, country, pop, blues, jazz, or anything in between. With his May 2000 Buddha Records release--"Prisoner of Love"--Ray has delightfully proven this once again with a big-band-backed medley in many moods and styles. Audiences full of cheering fans still flock to his concerts whenever he's in town, and that's fairly often, for this vigorous Texan maintains a hefty tour schedule. On Inauguration Eve 2001, Ray was proud to be on stage in Washington, D.C., as one of the Texas performers who entertained enormous crowds at the Texas Black Tie and Boots Ball. This dynamic artist can be proud also of his role in the history of country music. In fact, he has helped to write that history as well as live it. He was born Noble Ray Price on January 12, 1926, near Perryville, Texas, and his musical talents became evident at an early age. While in college, Ray became a regular on KRLD radio's "Big D Jamboree" show in Dallas. On March 15, 1951, Ray signed with prestigious Columbia Records, and in 1952, moved to Nashville where his great friend and supporter was the legendary Hank Williams. Hank got Ray on the Grand Ole Opry and the two shared bachelor quarters during the last year of Hank's brief but memorable life. Ray's band was initially formed from the remnants of Hank Williams' band, the Drifting Cowboys. The band would later become the Cherokee Cowboys, and Ray himself would become known as the Cherokee Cowboy. Ray has always had an uncanny talent for recognizing quality in both music and musicians. The careers of many country music superstars, such as Willie Nelson, Roger Miller, Johnny Paycheck, Darrell McCall, Buddy Emmons, and Johnny Bush, began with Ray Price and the Cherokee Cowboys. Ray Price became noted for his magnificent show-stopping voice and honky-tonk hits throughout the 1950's. On the way to the top, he also helped revolutionize more than a few changes in country music. In 1956, when rock and roll was threatening to drown out the sounds of traditional country music, it took Ray's rendition of "Crazy Arms" to knock Elvis off the charts. That recording's 45 weeks at the top of the charts got people listening to country music again and clearly established Ray Price as a leader in the field. But Ray has never been so traditional that he didn't innovate. During the "Crazy Arms" recording session, he added drums and a 4-4 bass and shuffle rhythm that redefined the way country music was played for years to come. Then, just when everyone else in country was turning to that sound, Ray, in 1967, went in a new direction and added a large string section and with his concert-calibre voice soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Audiences were stunned by its beauty. His "Danny Boy" album made him new fans in sections of the country far beyond the Mason- Dixon line. But some in Nashville and the South thought he had deserted country music and didn't take it well. Unperturbed, Ray went on to new heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." He refused to accept boundaries between country and pop. Music was music. A lot of Ray's strong feeling about artificial boundaries in music goes back to his close association with his mentor and close friend, Hank Williams. Ray resented the fact that Hank's songs were eagerly accepted by the pop world but the country singer himself was not. At least in that day and age. A few year later he would have been, according to Ray. But not then. Erasing the lines between country and pop became a vital issue for Ray Price. With his own brand of individualism, he continues to cross musical boundaries and create songs and sounds for everyone. His latest album, "Prisoner of Love," was recorded with a 50-piece orchestra. It combines old country standards with beautiful ballads from all eras, and includes a few new songs never before recorded. This Country Music Hall of Fame legend is the soul of country music. He continues to be creative and expand conventional boundaries with his music, while never forgetting his roots. His timeless music and incredible commitment to performing has made him a bridge between the early days of country to today's contemporary country music. The Los Angeles Times has declared Ray Price to be 'a national treasure.' Another newspaper has compared him to Frank Sinatra. Ask any Ray Price fan, however, if that's true. Most of them will tell you that Ray Price has no equal anywhere when it comes to delivering a song and pleasing an audience. Born: January, 12, 1926 Years Active: 50's 60's 70's 80's 90's 2000's Related Artists: Kitty Wells, Harlan Howard, Carl Butler, Allan Sisters, Ferlin Husky sponsored content by biggerboat Released: 10/30/2007 1 disc / 21 Tracks Label: Warner Bros. Compare Prices Click for Additional Details Larry the Cable Guy Christmastime in Lar... 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Larry the Cable Guy Christmastime in Larryland Upcoming Concerts 12/01/07 Stafford Centre for the Performing Arts - Amphitheater Stafford TX view all tour information Ray Price has covered -- and kicked up -- as much musical turf as any country singer of the postwar era. He's been lionized as the man who saved hard country when Nashville went pop, and vilified as the man who went pop when hard country was starting to call its own name with pride. Actually, he was -- and still is -- no more than a musically ambitious singer, always looking for the next challenge for a voice that could bring down roadhouse walls. Circa 1949, Price cut his first record for Bullet in Dallas. In 1951, he was picked up by Columbia, the label for which he would record for more than 20 years. After knocking around in Lefty Frizzell's camp for six months or so (his first Columbia single was a Frizzell composition) Price befriended Hank Williams. The connection brought him to the Opry and profoundly affected his singing style. After Hank died, Price starting stretching out more as a singer and arranger. His experimentation culminated in the 4/4 bass-driven "Crazy Arms," the country song of the year for 1956. The intensely rhythmic sound he discovered with "Crazy Arms" would dominate his -- and much of country in general's -- music for the next six years. To this day, people in Nashville refer to a 4/4 country shuffle as the "Ray Price beat." Heavy on fiddle, steel, and high tenor harmony, his country work from the late '50s is as lively as the rock & roll of the same era. Price tired of that sound, however, and started messing around with strings. His lush 1967 version of "Danny Boy" and his 1970 take on Kris Kristofferson's "For the Good Times" were, in their crossover way, landmark records. But few of his old fans appreciated the fact. In the three decades following "For the Good Times," Price's career was often an awkward balancing act in which twin Texas fiddles are weighed against orchestras. Born in tiny Perryville, TX, Price spent most of his youth in Dallas. It was there where he learned how to play guitar and sing. Following his high school graduation, he studied veterinary medicine at North Texas Agricultural College in Abilene before he left school to join the Marines in 1942. Price stayed in the service throughout World War II, returning to Texas in 1946. After leaving the Marines, he initially returned to college, yet he began to perform at local clubs and honky tonks, as well as on the local radio station KRBC, where he was dubbed the Cherokee Cowboy. Three years later, he was invited to join the Dallas-based The Big D Jamboree, which convinced him to make music his full-time career. Shortly after joining The Big D Jamboree, the show began to be televised by CBS, which helped him release a single, "Your Wedding Corsage"/"Jealous Lies," on the independent Dallas label Bullet. Price moved to Nashville to pursue a major-label record contract in 1951. After auditioning and failing several times, Ray finally signed to Columbia Records, after A&R representative Troy Martin convinced the label's chief executive, Don Law, that Decca was prepared to give the singer a contract. Previously, Law was uninterested in Price -- he turned him down 20 times and threatened Martin never to mention his name again -- but he was unprepared to give a rival company a chance at the vocalist. Just before "Talk to Your Heart" became a number three hit for Price in the spring of 1952, Ray met his idol, Hank Williams, who immediately became a close friend. Over the next year, Hank performed a number of favors for Price, including giving him "Weary Blues" to record and helping him join the Grand Ole Opry. Ray also became the permanent substitute for Hank whenever he was missing or too drunk to perform. Following Williams' death in 1953, Price inherited the Drifting Cowboys. Following the success of "Don't Let the Stars Get in Your Eyes" in the fall of 1952, Price was quiet for much of 1953. It wasn't until 1954 that he returned to the charts with "I'll Be There (If You Ever Want Me)," a number two hit that kicked off a successful year for Price that also included the Top Ten singles "Release Me" and "If You Don't, Somebody Else Will." Instead of capitalizing on that success, he disappeared from the charts during 1955, as he spent the year forming the Cherokee Cowboys. Over the course of the past two years, he had realized that performing with the Drifting Cowboys had made him sound too similar to Hank Williams, so he decided to form his own group. Originally, most of the members were lifted from Lefty Frizzell's Western Cherokees, but over the years a number of gifted musicians began their careers in this band, including Roger Miller, Johnny Paycheck, Buddy Emmons, Johnny Bush, and Willie Nelson. Ray returned to the charts in 1956, first with "Run Boy" and then with "Crazy Arms," a driving honky tonk number that immediately became a country classic. The song was one of the first country records to be recorded with a drum kit, which gave it a relentless, pulsating rhythm. Until Price, most country artists were reluctant to use drums and the instrument was even banned from the stage of the Grand Ole Opry. The blockbuster status of the single helped change that situation. Spending an astonishing 20 weeks at the top of the country charts, "Crazy Arms" not only crossed over into the lower reaches of the pop charts, but it also established Price as a star. After the success of the single, he remained at or near the top of the charts for the next ten years, racking up 23 Top Ten singles between the 1956 and 1966. During this time, he recorded a remarkable number of country classics, including "I've Got a New Heartache" (number two, 1956), "My Shoes Keep Walking Back to You" (number one, 1957), "Make the World Go Away" (number two, 1963), and "City Lights," which spent 13 weeks at the top of the charts in 1958. The momentum of Price's career had slowed somewhat by the mid-'60s; though he was still having hits, they weren't as frequent nor as big. His musical inclinations were also shifting, bringing him closer to the crooning styles of traditional pop singers. Ray abandoned the cowboy suits and brought in strings to accompany him, making him one of the first to explore the smooth, orchestrated sounds of late-'60s and early-'70s country-pop. While it alienated some hardcore honky tonk fans, the change in approach resulted in another round of Top Ten hits. However, it took a little while for the country audience to warm to this new sound -- it wasn't until 1970, when his cover of Kris Kristofferson's "For the Good Times" hit number one, that he returned to the top of the charts. Over the next three years, he scored an additional three number one singles ("I Won't Mention It Again," "She's Got to Be a Saint," "You're the Best Thing That Ever Happened to Me"). By the mid-'70s, the appeal of his string-laden country-pop hits had diminished, and he spent the rest of the decade struggling to get into the charts. In 1974, he left his long-time home of Columbia Records to sign to Myrrh, where he had two Top Ten hits over the next year. By the end of 1975, he had left the label, signing to ABC/Dot. Though he hadn't changed his style, his records became less popular around the same time he signed to ABC/Dot; only 1977's "Mansion on the Hill" gained much attention. In 1978, he switched labels again, signing with Monument, which proved to be another unsuccessful venture. In 1980, Price reunited with his old bassist Willie Nelson, recording the duet album San Antonio Rose, which was a major success, spawning the number three hit "Faded Love." San Antonio Rose reignited Ray's career, and in 1981 he had two Top Ten singles -- "It Don't Hurt Me Half as Bad" and "Diamonds in the Stars" -- for his new label, Dimension. Price left Dimension in 1983, signing with Warner Records. He remained at the label for one year, and by that time, his new spell of popularity had cooled down considerably; now, he was having trouble reaching the Top 40. That situation didn't remedy itself for the remainder of the decade, even though he signed with two new labels: Viva (1983-1984) and Step One (1985-1989). By the late '80s, Price had stopped concentrating on recording and had turned his efforts toward a theater he owned in Branson, MO. For most of the '90s, he sang and performed at his theater in Branson, occasionally stopping to record. Of all of his '90s records, the most notable is the 1992 album Sometimes a Rose, which was produced by Norro Wilson. (Less)
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13, 03:03, 2008-05-08 07:16:12 Description: I was up very late working on the computer. It was 03.00 and it was a very warm and muggy night, so much so that I was sweating and had no t-shirt on even with the windows open so I went down to the (More) I was up very late working on the computer. It was 03.00 and it was a very warm and muggy night, so much so that I was sweating and had no t-shirt on even with the windows open so I went down to the kitchen to get a brew. I was drinking from the backdoor checking out the sky. The sky was covered in a light layer of haze/murk at a high elevation but light enough because I could still see the brighter stars. A giant blue flash lit up the N sky. I thought to myself 'that's lightning', I assumed it was a one off event due to the intense heat then another appeared in the NE and another in the E. These were big blue flashes like bombs going off then I heard the first rumble of thunder. I grabbed the camera and walked a short distance up the road for a better view. Those blue flashes turned to giant orange flashes which lit the entire sky up. They grew in frequency and seemed more concentrated in the S and SE over Magherafelt. I saw I-C, C-C, possible C to air and the first of many c-gs. Some looked like anvil crawlers however I can't say I seen any anvils. Very large and long moving orange coloured c-gs hit the ground from behind Maghera and approached in my direction giving out loud long duration rumbles of thunder. The lightning criss crossed the sky and became very unpredictable.
A light shower began as a darker mass of cloud arrived which still looked high. I was taking images and caught a distant c-g then feeling excited I continued with more exposures when suddenly a bolt shot out from the S, passed over my head and hit the ground in the N very close to me and even closer to my house. These were violent c-gs so I ran for my life making this the 2nd time in less than a month in which I had to to run for cover from lightning. I watched the storm from home for the rest of the period. It produced non stop lightning and thunder until 04.30 when it became less frequent and slowly drifted away into the N or NW. As dawn was breaking I could see the dark shapes of towering cu against the twilight which was the only time during the 1.5 hour long event that I seen any convective clouds. It was both a frightening and exciting night!. This was quite a serious storm so I am surprised there have been no lightning damage reports in the media. Haven't got the images out of the camera yet, they are not great because of the wide angle making the bolts small but at least I caught my first c-g of the season on camera as well as a nice I-C. Got some video of the thunder also. I would love to know exactly how this happened and why we were not alerted to this?, From reading between the lines I assume that this has caught many people off guard. There was no mention of any weather like that on the television reports anyway. By Martin Mc Kenna
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269, 02:29, 2007-04-14 10:18:15 Description: MISFITS @ The Crest Theater - Sacramento, CA 1999..one should not drink too much coffee prior to filming without a tripod. http://misfits.com The Misfits are a horror punk band formed in 1977 and led (More) MISFITS @ The Crest Theater - Sacramento, CA 1999..one should not drink too much coffee prior to filming without a tripod. http://misfits.com The Misfits are a horror punk band formed in 1977 and led by singer and songwriter Glenn Danzig (born Glenn Anzalone) and later, bassist Jerry Only (born Gerald Caiafa). They were highly influential on the genres of heavy metal, punk and rock music in general. Though they ceased recording and performing in 1983, a new version of the band (led by Only and without founder and former frontman Danzig) began operations in 1995 (see below).
The early Misfits were often quite melodic, featuring Danzig's versatile singing, which had a style rooted in Italian tenors such as Mario Lanza and in 1950s doo-wop. Musically, the band has also displayed some Rockabilly influences (but not as much as Psychobilly bands). Early Misfits songs tended to have catchy, sing-along choruses, initially backed by Danzig's distorted keyboard accompaniments (circa 1977), and later by willfully crude guitar-rock. The band began as a largely untrained ensemble. After several lineup changes and increasing international acclaim, Danzig disbanded the original Misfits in 1983.
The band often wore corpse paint when performing, and bassist Jerry Only reputedly invented a hairstyle called the devilock, with the bangs coming to a point in front of the nose or chin, a style still worn by fans (A.K.A. Fiends) today and contributed to the foundation of Horror Punk.
When the band originally reformed, it featured Michale Graves on vocals, Jerry Only on bass, Dr. Chud (Cannibalistic Human Underground Drummer) on drums, and Jerry's brother Doyle on guitar. Doyle is currently estranged from the group and is working with a new group named Gorgeous Frankenstein, which formed in 2005. Doyle recently reunited with Glenn Danzig's band Danzig to perform special sets of Misfits songs on Danzig's Blackest of the Black 2005 and 2006 tour.
A third, "touring" incarnation of the band, without original singer Danzig, is presently led by the only other "constant" original member, bassist Jerry Only. Members of the touring group have included Marky Ramone (of the Ramones), and both drummer ROBO (who was a member of the original band), and guitarist Dez Cadena of Black Flag fame. http://myspace.com/themisfits History
The history of the Misfits can be split into two main eras. The first era marks the foundation of the group, founded and fronted by Glenn Danzig. The second era saw former members of the band with various new vocalists playing a mixture of new and old material.
[edit] Glenn Danzig era
[edit] Formation
In January of 1977, after singing in several garage bands such as Talus,Whodat and Boojang that mostly played Black Sabbath songs, twenty-one year old Glenn Danzig decided it was finally time to create something serious and original. As a tribute to Marilyn Monroe, he named his musical project after her final movie, The Misfits.
The Misfits, circa 1977.
The Misfits, circa 1977.
For weeks, Glenn wrote songs and practiced with friends and old band mates, trying to find a suitable lineup of musicians to bring his vision to life. The first complete Misfits lineup consisted of Jimmy Battle on guitar, his old band mate Manny Martínez on drums, Diane DiPiazza on bass, and Danzig on electric piano and vocals. However, after only about a month of practicing, both Jimmy and Diane left the band. In need of new band mates, Manny suggested that his friend, Jerry Caiafa, should audition for bass. Jerry, a young football player who had been voted most popular in his senior class at Lodi High School, had just received a bass guitar for Christmas and had only been practicing with it for two months. Despite Jerry's fledgling bass talents, Glenn accepted him into the band and offered to teach him how to play.
After three months of practicing, the trio headed into the studio to record their first single, "Cough/Cool". The single contained two keyboard-driven songs (the B-side was a version of the song, "She") that were quite different from the music they became known for. The title track was somber and poetic, and reminiscent of The Doors. The band released the single themselves through their own label, Blank Records.
Over the next several months, Glenn, Manny, and Jerry (who had adopted the stage name Jerry Only after a misspelling on the single liner notes) played a handful of gigs (their first two at CBGB in New York City) as they continued to practice and forge their own sound. Their experimental art rock style was met mostly with confusion.
By October 1977, British punk bands such as The Damned and New York punk bands like The Ramones began to have an influence on The Misfits. They decided to take the band in a more punk direction by adding guitarist Franché Coma to the band and ditching the keyboards, allowing Danzig to engage in antics typical of a punk frontman.
At this time The Misfits caught their first big break. Mercury Records wanted to use the name Blank Records for a subdivision, but Danzig had secured a trademark on the name. They contacted Glenn and offered him thirty hours of free time in a professional studio, in exchange for full use of the Blank Records title. Danzig accepted the offer and in January of 1978, The Misfits headed into a New York studio to record their first full length album.
Seventeen songs were recorded, featuring a unique combination of their early art rock material and a hard driving direction, akin to the powerful sounds of punk at that time. Excluding the songs "Teenagers from Mars" and "Return of the Fly", they wouldn't draw on B-movies for lyrical inspiration for at least another year, and at this point their lyrics instead portrayed a futuristic dystopia of television saturation, automaton-like submissiveness, and glamorized sex and violence. As 1977 drew to a close, Glenn and Jerry decided that Manny was too unreliable and asked him to leave the band. He was replaced by Jim Catania, aka "Mr. Jim".
Once the album was complete, the band shopped it around to various labels but no one was interested in releasing it (it would later see the light of day in 1997 as Static Age). The album was shelved and would remain (for the current time) unreleased. With no labels interested, the Misfits decided to take four tracks from the album and release them as an EP. In June 1978, the Bullet EP was released on their new label, Plan 9, which Danzig had named after the infamous Ed Wood movie Plan 9 from Outer Space.
[edit] The birth of horror punk
The Misfits, circa 1979.
The Misfits, circa 1979.
Around this time, both Glenn and Jerry decided they wanted to take the band in a more horror-themed direction. Glenn began to write more songs inspired by low-grade horror and sci-fi movies, and both he and Jerry began to adopt ghoulish appearances, with Jerry applying dark makeup around his eyes and Glenn painting bone designs on his clothes. The band started to play more frequently and began to go on small tours in support of the Bullet EP. In October of 1978, during a small tour through Canada, Franché Coma decided he couldn't handle touring and quit the band before the tour was complete. Guitarist Rick Riley stepped in temporarily to fill out guitar duties for the rest of the tour. Mr. Jim wasn't fond of the horror direction the band was heading in, and opted to leave the band once the tour was over. Within two months, Glenn and Jerry had recruited two new band members, drummer Joey Image, and guitarist Bobby Steele. Around this time, Jerry Only began to comb his hair in The Misfits signature hair style, which would later be dubbed the devilock.
In December of 1978, after less than two months, the new Misfits lineup began playing shows together. Over the course of 1979, The Misfits further evolved the horror elements of their music and their imagery, influenced by The Damned, who had recently regrouped in the proto-Goth lineup of the Machine Gun Etiquette album. Glenn and Jerry adopted a skull mascot for the band from an old poster they'd come across for a 1946 Republic movie serial, The Crimson Ghost (aka Cyclotrode X). Two more records followed on their Plan 9 label, the Horror Business EP and the "Night of the Living Dead" single, respectively. They began to establish a small but loyal fan base and decided to start their own fan club, which they called the Fiend Club. Glenn operated the Fiend Club from his mother's basement, where he would print out t-shirts, assemble records, mail out merchandise catalogs, book gigs, and respond to fan mail, making the Misfits exemplary practitioners of the DIY ethic.
As their popularity slowly began to increase within the underground American punk movement, many people started to consider The Misfits as the American equivalent of The Damned, whose singer, Dave Vanian, adopted the look of a classic vampire and sang in a brooding baritone. On June 26, 1979, The Misfits opened for The Damned at a gig in New York City. Before the show, Jerry spoke with Dave Vanian about the possibility of The Misfits doing a tour of the UK in support of The Damned.
In November of 1979, The Misfits flew over to England for their tour with The Damned. However, Dave Vanian had not taken Jerry seriously and was surprised when Jerry showed up at his front door. Instead of turning The Misfits away, Dave tried his best to arrange for them to take part in the tour, but The Misfits weren't happy with the situation. After playing only two gigs, The Misfits dropped off the tour. Their return flight back to America wasn't until late in December, and so The Misfits were forced to kill time in England. Jerry spent some time with Sid Vicious' mother, who he had befriended after Sid's death. On December 2, Glenn and Bobby went to see a gig by The Jam in London, where they were harassed by skinheads while standing in line. Glenn broke off a piece of glass and used it to fend off the skinheads while Bobby ran to get help. However, when the cops arrived, they arrested Bobby and Glenn, for what they described as "threatening behavior". In an interview with Revolver in the October 2005 issue, Glenn went into greater detail about the event. He said the police found a knife in his possession and accused Glenn of being a "ripper" that had been stalking the area at the time. The police began to beat him, and Glenn fought back. He claims he did considerable damage to the police before they were finally able to subdue him. Glenn and Bobby then spent two nights jailed up in the London district of Brixton, during which time Glenn wrote the lyrics to the future Misfits song, "London Dungeon".
After the failed European tour, Joey Image decided to leave the band, and later formed the band The Mary Tyler Whores. Upon their return to America, The Misfits released the Beware EP and decided to take a short hiatus from the band in order to recover from their bad experience in England. After a four month break, Arthur Googy was recruited as the new drummer. Around this time, Jerry's younger brother, Doyle, who had been a huge fan of the band since the beginning, started learning to play guitar with help from Glenn and Jerry. The Misfits began working on a full length album, which they planned to release through Plan 9. In August of 1980, they went into the studio and recorded twelve songs. Jerry began to persuade Glenn that Doyle would fit into the band much better than Bobby Steele. Doyle began to practice with the band and even entered the studio to record his own guitar tracks for the twelve songs they had recorded. Bobby has said that during this time period, Jerry would purposely neglect to inform him of practices, in order to make Bobby look bad. Jerry denies these accusations. Regardless, in October of 1980, shortly before the band's annual Halloween show, Jerry informed Bobby that he was being replaced by Doyle, who was only sixteen at the time. Bobby Steele went on to form his own punk band a few months later, called The Undead (not the San Francisco band of the same name, also friends of the Misfits). On Halloween of 1980, what many people consider to be the classic Misfits lineup made its debut.
After only playing a few shows with the new lineup, they took a six month break from the band. During this time, instead of releasing the entire album they had recorded, they selected three songs from it and released it as the 3 Hits from Hell EP (in 2002, Caroline Records finally released the entire album, which they called 12 Hits from Hell, but the release was canceled at the last moment at Jerry and Glenn's request). Throughout the year of 1981, The Misfits continued to go into the studio to record tracks for a full length release, which they planned on calling Walk Among Us. Although they had planned on releasing the full length themselves through Plan 9, they got an unexpected offer from Slash Records to release the album. They accepted the offer and decided to rework the album before releasing it. On Halloween of 1981, The Misfits released the "Halloween" single through Plan 9, which consisted of two more tracks from the shelved full length they had recorded the previous summer.
Sometime in 1981, Glenn wrote the song "Archangel" for The Damned vocalist Dave Vanian to sing with The Misfits backing him. However, due to scheduling conflicts, Dave never recorded vocals for the song and it was set aside until 1983, when Glenn decided to re-record it with his next band, Samhain. http://onethirtyeight.com Walk Among Us
Walk Among Us.
Walk Among Us.
In March of 1982, Ruby/Slash Records released Walk Among Us, the first full length Misfits album to be available to the public. Walk Among Us would later be considered by most fans to be the quintessential Misfits album, as well as one of the best punk albums of all time. The band began playing shows again after nearly a year. They started to become notorious for their intense stage presence and brutal live performances. Doyle was a sports athlete like his brother, and shared his linebacker physique, which, coupled with their ghoulish appearance, caused some to view them as two of punk's most intimidating axemen. Between the brothers, Glenn Danzig would bellow out his morbid lyrics while thrashing around on stage or crawling around on the floor, sometimes throwing and receiving punches from the crowd. Despite Glenn's smaller stature at about 5'5", he was fond of fighting, and enjoyed taunting the crowd, and instigating violence.
Perhaps the most infamously violent Misfits show took place in San Francisco on April 10, 1982. During the show some people in the crowd began to throw cans of beer at the stage. After Doyle was nearly hit in the head with a full beer can, he smashed his guitar over a crowd member's head, instigating a full out riot.
Arthur Googy and Danzig argued often and finally, after a lengthy argument, Danzig kicked him out of the Misfits. The Misfits had to cancel their plans to record their next EP, which they had planned on calling Earth A.D..
In need of a drummer, they offered the role to Doyle's friend and classmate, Eerie Von, who had served as an occasional photographer and roadie for The Misfits. Eerie reluctantly turned down the offer because he had already committed to drumming for the local band Rosemary's Babies. Black Flag vocalist, Henry Rollins, who had become great friends with The Misfits during their west coast gigs, informed ex-Black Flag drummer, ROBO, that The Misfits were in need of a drummer. In July of 1982, ROBO flew to the east coast and joined the band.
Doyle graduated High School and began working full time at his father's machine shop with Jerry. They used their earnings to purchase new instruments (because they tended to smash theirs on a weekly basis), and to fund The Misfits tours, recording sessions, and album pressings. While they provided funding for the band, Glenn would handle the Fiend Club and work on composing new songs. A common misconception is that Glenn only wrote lyrics and sang for The Misfits. Glenn is a multitalented musician, and would often write new songs himself and later teach them to his band mates at practice, where the songs would become fleshed out (practices were usually held in Jerry's garage, which they referred to as "The Pit").
[edit] Dissolution
In September of 1982, The Misfits embarked on a large scale tour with their friends, The Necros, opening for them. During the tour, The Misfits stopped by a studio to record the instrumental tracks for the Earth A.D. EP while Glenn slept. On October 17, the band were arrested in New Orleans on the charges of grave-robbing while in search of the burial place of voodoo practitioner Marie Laveau. The Misfits denied the charges, and a witness reportedly attested that they had not even entered the cemetery gates. The band bailed themselves out of jail and skipped court to drive to their next performance in Florida. Upon returning from the tour, The Misfits released an album of live material called Evilive.
During this time Glenn was becoming increasingly dissatisfied with The Misfits, for reasons that are disputed. He began to write songs for a new band project, which he considered calling "Danzig", but instead chose to name "Samhain", after the ancient Celtic holiday which influenced the modern Halloween celebration.
In July of 1983, The Misfits went into the studio to finish working on Earth A.D. They decided to record and add two of their new songs to the album, making it closer to full length status. In order to make it a proper full length album, Glenn decided to record two of the songs he had intended for Samhain: "Bloodfeast" and "Death Comes Ripping". The resulting album was Earth A.D., a gritty, thrashy album which none of the members were quite satisfied with. In August, after a series of arguments with Glenn, ROBO decided to leave the band. Glenn became further disenchanted with The Misfits and began to audition musicians for his new band project.
On October 29, 1983 (see 1983 in music), The Misfits played their yearly Halloween show in Detroit, Michigan. Glenn had selected Brian Damage to be the new Misfits drummer. However, Brian got drunk before the show and continuously messed up the songs. After several songs Doyle escorted Brian off the stage and the drummer for the Necros filled in for the rest of the set. The band members were visibly upset with each other and Glenn informed the audience that it would be the last Misfits show ever. The next day the band members drove back home without saying a word to each other and went about their respective lives.
The last show of the original Misfits was at Greystone Hall, Detroit, Michigan, on Saturday, October 29th,1983, when the band showed up and played one of their longest sets (about 30 songs). This show was filmed.[citation needed]
[edit] Jerry Only era
[edit] Legal battle
After the demise of the Misfits, Glenn Danzig focused on his new band project, Samhain, which was darker and more experimental than The Misfits, with more emphasis on creating a grim atmosphere and less on poppy melodies. Meanwhile, Jerry Only and his brother Doyle moved to Vernon, New Jersey, where they went to work full time in their father's machine parts factory.
During this time, Only became more focused on his family and his baby daughter, Kathy. He became more serious about his Christian faith, and regretted some of the things he took part in during his time with the Misfits. He watched as Danzig continued to grow in popularity with Samhain, a band that Only viewed as Satanic. In 1987, Only decided to start a new band, one that would oppose the "dark path" chosen by Danzig. Together with Doyle, Only (who changed his stage name to "Mo the Great") started writing songs for a Christian heavy metal band with barbarian imagery, called Kryst the Conqueror. They then created the "Doyle Fan Club" to help spread the word about their new band. Despite Only's efforts, Kryst the Conqueror failed to gain a following. Although they released one limited edition EP, the band never played live.
Also in 1987, Samhain, after touring extensively and releasing two full-length albums and an EP, were signed to a major label and the band's name was changed to Danzig. Although the Misfits had gone mostly unnoticed during their seven years as an active band, by the late 80s, they were becoming icons of the underground music world, thanks in part to word of mouth, Metallica's public adoration for the band, and Danzig's success with Samhain. The Misfits' back catalogue had been reissued and was selling extremely well. Around this time, Only contacted Danzig about getting a cut of the Misfits' royalties, beginning a legal battle that lasted several years. Only concedes that Danzig wrote nearly all the lyrics and most of the music, but he contended that he and Doyle "wrote 25% or maybe 30% of the music,"[1] and deserved compensation. Danzig, on the other hand, insisted that he himself wrote all songs, and that the other Misfits' creative input was minimal at best.
In late 1988, Danzig, the band, released its eponymous debut album, the first release on star producer Rick Rubin's new Def American record label. Seven years later, in 1994 Danzig broke into the mainstream when the live video for its first album song, "Mother", became a hit on MTV, introducing thousands of new fans to Danzig's back catalog, and to his work with Samhain and the Misfits.
Around this time, many older punk bands began to do reunion tours, earning often hefty paychecks in the process. In 1994-95 Jerry Only and Doyle approached Danzig about reuniting as the Misfits, and they even went to his hotel room after a Danzig show in New Jersey. In interviews Only jokingly remarked that security escorted them from the property, and "we took that as a 'no'". Only decided to cease his pursuit of songwriting credits, and instead tried to reach an out-of-court settlement that would allow him to use "the Misfits" name and images. In 1995, Only and Danzig finally settled, with Only gaining the rights to record and perform as the Misfits, but sharing merchandising rights with Danzig.
[edit] A new beginning
Jerry and Doyle reformed The Misfits immediately, retaining Kryst the Conqueror drummer, Dr. C.H.U.D., and after Danzig rejected their offer to return as lead singer, they held open auditions for a new vocalist (Jerry had approached Damned vocalist Dave Vanian about filling the open position, but he declined the offer). Michael Emanuel, a nineteen-year-old New Jersey native, impressed them with his audition, and was soon established as the new vocalist, taking the stage name Michale Graves.
This new incarnation of The Misfits (sometimes referred to as "The Newfits", "MisfitsTM", "The Jerry Only Band", or "Misfits 95") released their debut album, American Psycho, in 1997. The album was fairly well received, introducing The Misfits to a new generation of fans. However, many fans of the original Misfits had trouble accepting the band's renewed existence without its founder and key songwriter, Glenn Danzig, who usually refuses to acknowledge the new band's existence, and does so only with derision. Detractors also took issue with the new band's focus on a more "cartoony" image, and Jerry Only's apparent desire to make the band more family-friendly, by refraining from the use of vulgarities in their new songs.
In May of 1998, Michale Graves went on hiatus from the band. The Misfits were then briefly fronted by lead singer Myke Hideous of the New Jersey goth/deathrock band, The Empire Hideous, during their subsequent South American and European tour. Hideous was purportedly forced out by Jerry and Doyle for an unwillingness to "pump up" by lifting weights (The Misfits with Graves and Chud were featured as Characters in WCW wrestling), and left the band after the European tour. Hideous recounts details of his stint singing for the Misfits in his book "King of an Empire to the Shoes of a Misfit". Michale Graves rejoined the band later that year.
In October of 1999, The Misfits released Famous Monsters, a diverse album that further established their own sound apart from the Glenn Danzig era of the band. In 2001, The Misfits released Cuts from the Crypt, a collection of rare and unreleased "resurrected" Misfits tracks. On October 25, 2000, after months of internal band turmoil, Michale Graves and Dr. Chud officially quit the band during a performance at the House of Blues in Orlando. Doyle then took an indefinite hiatus from performing, effectively putting an end to another era of the band.
[edit] 25th anniversary and beyond
Only then took over lead vocals in addition to his bass duties, and recruited punk veterans Dez Cadena of Black Flag, and Marky Ramone of The Ramones to undertake a Misfits 25th Anniversary Tour, which lasted about three years, intermittently.
Freed from the Misfits' contractual obligations to Universal's Geffen and Roadrunner imprints, Only and Misfits confidant John Cafiero formed Misfits Records and launched their new label with two releases, the American debut of Balzac (a Japanese horror punk band strongly influenced by The Misfits and Samhain), and a new Misfits album featuring the band's retakes on ten 1950s rock classics, Project 1950. The album featured not only the punk rock all-star Misfits lineup of Only, Cadena and Ramone, but prominent appearances from 60's pop chanteuse Brendan Passey, Blondie keyboardist Jimmy Destri and also saxophonist Ed Manion from Southside Johnny & the Asbury Jukes. Cafiero also featured strongly on backing vocals.
Meanwhile Michale Graves and Dr. Chud had formed their own band, Graves, which released a single album before breaking up. In 2003, Michale Graves sang in Gotham Road. Currently, Graves is fronting his own solo project, Michale Graves, while Dr. Chud is fronting for his own band called Dr. Chud's X-Ward.
In December of 2004 Glenn Danzig performed a half hour worth of classic Misfits tracks, in the middle of his Danzig set. Joining him on guitar was none other than Doyle. It was the first time the two have performed together in 20 years, and the first time Doyle has taken to the stage since he went on hiatus. These shows have prompted rumors of a reunification of Jerry, Doyle and Glenn, although Danzig has repeatedly made public statements shooting down such rumors. Glenn and Doyle plan on performing more shows together, and Glenn has stated that this is as close as anyone will ever get to seeing a true Misfits reunion. Doyle and Danzig also performed together for approximately 30 minute sets during The 2006 Danzig Australian Tour.
Recently, Marky Ramone has left The Misfits 25 lineup, and the new lineup contains ROBO, formerly of the Glenn Danzig days of the Misfits, and originally of seminal hardcore punk band Black Flag. A full European tour has been booked with this new lineup, and some select dates in the U.S. have been announced. The UK leg of the tour had to be canceled due to a problem with ROBO's visa, and as a result the band could not play the City Invasion 2005 tour. A rescheduled UK tour followed in September.
Marky appeared alongside the new line up of The Misfits in late 2006 while touring as a member of Osaka Popstar.
The Misfits and their Japanese counterparts, Balzac, staged a show at Tony Bennett's studio complex in Englewood, N.J., for a possible future live CD and/or DVD release on Misfits Records. Original Misfits guitarist Franché Coma made a guest appearance to perform three songs from the Static Age LP. Meanwhile, Doyle returned to play with Danzig for the Blackest of the Black tour in the fall of 2005. Glenn claims that this will be his final tour, though he says he will continue to make music. He is currently slated as the producer for Doyle's upcoming band, Gorgeous Frankenstein, which currently lacks a lead vocalist, but will feature Argyle Goolsby on bass.
The Misfits are currently writing and recording material for a new studio album which they began work on in early 2006. The album will apparently feature Dez Cadena on guitar and ROBO on drums. They have yet to say whether Dez will contribute to songwriting and singing. The material planned for the new release, according to the band, is intended to be "the hardest, most aggressive Misfits material to see the pressing plant since Earth A.D.".
[edit] 30th "Anniverscary"
The Misfits will perform at the Desensitised festival on 8th September 2007. They will be one of four headline acts. http://www.myspace.com/desensitisedfestival is the website for tickets
The band will then perform a full UK tour to celebrate their 30th anniversary. Special guests are The Briefs.
It has been loosely confirmed that Michale Graves and Doyle will be returning for the 2007/2008 studio album. Dez Cadena has stated that two guitars will be featured on the new album, thus implying Doyle will be playing on the new album, although no real concrete evidence exists to back up this claim. Jerry Only has not yet commented on the status of the album.
As of June 25th, the new Misfits website has been launched, giving a list of tour dates, and confirming a US tour this fall, with dates to be added.
[edit] Legacy
The influence The Misfits have had on punk rock, and rock music in general, sometimes seems disproportionate to the publicity and critical attention they have received. Myriad bands have imitated The Misfits' style, such as Balzac, Blitzkid, The Coffin Caddies, The Bathory Boys, The Zombie Mafia, and Calabrese, and these bands have become known as horror punk. Psychobilly has various similarities with horror punk.
A number of bands have recently surfaced which, although in some cases less obviously horror punk, are still strongly visibly and audibly influenced by The Misfits. These include, most notably, bands such as AFI, Alkaline Trio, Marilyn Manson, Rob Zombie, Avenged Sevenfold, Wednesday 13 and the Murderdolls. Many musical groups whose resemblance to The Misfits seems far removed also cite the band as crucial influences, such as Metallica, Megadeth, Red Hot Chili Peppers, and Guns N' Roses. Other bands who hold The Misfits in high regard are Slayer, Pantera, NOFX and more recently, Slipknot. Many local New Jersey hardcore, punk, emo and alternative rock acts such as My Chemical Romance and The Banner, cite The Misfits as a main influence. Winnipeg born Breakcore artist Venetian Snares considers the Misfits a huge influence, inspired by the subtle, but frequent use of 3/4 time. Also New Jersey based bands Northfall Division and Royal Stigma cite The Misfits as a major influence. These underground 80s punk groups have used the lyrics from many Misfits songs as basis for the lyrics of their own songs.
The Misfits' far reaching influence is also evident in the vast number of fans from all different facets of the music world who follow the band. Wildly popular among punk rock fans, the band has also received much exposure to the heavy metal community from Metallica's numerous Misfits cover songs. Misfits fans themselves can often be easily discerned, as many completely immerse themselves in the band's imagery. At underground shows, and especially at Halloween, it is not uncommon to see many punks and metalheads dressed in black with Crimson Ghost facepaint and the devilock hairstyle. Black leather jackets, oversized leather boots, as well as gloves and bodysuits printed with the skeletal structure are also common.
The Misfits have greatly influenced the Grenade snowboard apparel company run by the two-time Olympic silver medalist and professional snowboarder Danny Kass, and his brother Matt. The Kass brothers grew up in New Jersey and are long time Fiends. Danny is a good friend of Jerry Only's son and used to skateboard on a halfpipe in the Only's back yard. Numerous Grenade products are Misfit tributes using or drawing from Misfits imagery. In classic Misfits tradition, Grenade allows 'soldiers' to enlist in their 'Army' to receive stickers and other items, following along the lines of the Misfits' Fiend Club. Grenade follows in the vein of DIY mentality displayed by the Misfits and many punk bands, and reflects its influence on snowboarding today.
Misfits posters and shirts have been spotted in numerous films and TV shows, such as Click, Men in Black, Detroit Rock City, Shorties Watchin' Shorties, as well as Saved by the Bell and CSI.
Recently My Chemical Romance did a cover of the song "Astro Zombies" for the Tony Hawk's American Wasteland videogame. The band Aiden did a cover of "Die, Die My Darling" for the Kerrang! magazine compilation. AFI have covered several Misfits songs, including "Halloween" on All Hallows E.P,"Last Caress" on the vinyl edition of Shut Your Mouth and Open Your Eyes and "Demonomania" on A Fire Inside E.P . Also in the Red Hot Chili Peppers video, "Dani California", lead singer Anthony Kiedis represented the Misfits by dressing like Glenn Danzig in a portion of the video. A Green Day side project known as The Network recently did a cover of the song "Teenagers From Mars" which originally appeared on the Misfits album Static Age. The Mexican rock band Molotov did a cover of the song "I turned into a Martian" with the song "Marciano" on their cover album Con Todo Respeto. The Texas Chainsaw Mascara covered "Halloween" for their MySpace in celebration of the holiday in 2006.
Caroline Records released an album titled "Violent World - A Tribute to the Misfits" that payed homage to the band with covers by various punk, hardcore and metal bands. It included the bands: Snapcase, Pennywise, Shades Apart, Tanner, Therapy?, Prong, 108, The Bouncing Souls, Goldfinger, Deadguy, Sick of it All, NoFX, Earth Crisis and Farside.
In 2002, during their Halloween show at the Metro, Alkaline Trio gave away 7" records to attendees. The two tracks on them were covers of Halloween and Children in Heat. Derek Grant, the drummer of Alkaline Trio once auditioned to be in the Misfits, but the spot was taken by Michael Graves. Both Derek Grant and Matt Skiba have admitted to being influenced by The Misfits. Derek Grant can often be seen with a devilock.
The 2002 release by NOFX, "45 or 46 Songs That Weren't Good Enough for our Other Records" features a cover of "Last Caress" that originally appeared on the Violent World Tribute.
In 2006 the band Sum 41 recorded a cover of the song "Attitude" for their MySpace and as a B-side for their new album expected to be released in early 2007.
Brodie Foster Hubbard has not only performed Misfits songs at his live shows, but fronts a Misfits tribute band called 138 with members of Night Wolf. The title and album cover of his second CD release, Legacy of Sentimentality, was an homage to the Misfits collection Legacy of Brutality. His third CD release, Don't Screw Up Like I Did, concludes with a cover of "Astro Zombies".
In common with the Ramones, The Misfits have had some of their songs covered by The Nutley Brass - on the album The Misfits Meet The Nutley Brass Fiend Club Lounge - in a lounge music style.
In the Lamb of God DVD Killadelphia, D. Randall Blythe, the band's vocalist can be seen wearing Misfits slip-on shoes in one of the hidden features when the band records their commentary.
[edit] Discography
[edit] "Original" Misfits
[edit] Studio albums
* Walk Among Us (1982)
* Earth A.D. (1983)
* Static Age (1997, recorded in 1978)
* 12 Hits From Hell (2001, recorded in 1980, not properly released)
[edit] Live albums
* Evilive (1982)
[edit] EP's
* Bullet (1978)
* Horror Business (1979)
* Night of the Living Dead (1979)
* 3 Hits from Hell (1981)
* Die, Die My Darling (1984)
[edit] Singles
* Cough/Cool (1977)
* Teenagers From Mars (1978)
* Halloween (1981)
* Who Killed Marilyn? (1981)
[edit] Compilations
* Beware EP (1980)
* Legacy of Brutality (1985)
* Collection I (1986)
* Collection II (1995)
* Box Set (1996)
[edit] "Resurrected" Misfits
[edit] Studio albums
* American Psycho (1997)
* Famous Monsters (1999)
* Project 1950 (2003)
* Untitled Misfits Album (2007/2008)
[edit] Live albums
* Evilive II (1998)
[edit] Singles
* Dig Up Her Bones (1997)
* The Day the Earth Caught Fire (2002)
* Monster Mash (1999)
* Psycho in the Wax Museum (2006)
* Scream! (1999)
[edit] Compilations
* Cuts from the Crypt (2001) (Less)
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![A JB ROMANCE...[[chapter 31]]](http://img.youtube.com/vi/VWeJaVAj37Q/2.jpg "A JB ROMANCE...[[chapter 31]]")
3, 02:52, 2008-05-24 23:04:28 Description: Lexi eventually caught up to joe and they began walking holding hands. They came up to a little boutique that was full of summer dresses. Joe pulled lexi in and told her to shop away. She looked (More) Lexi eventually caught up to joe and they began walking holding hands. They came up to a little boutique that was full of summer dresses. Joe pulled lexi in and told her to shop away. She looked through the dresses and saw the prices.
"Babe its too expensive here. I dont have money." She said with a sad face.
"dont worry about it. Just pick your favorite. Its on me." He said giving her a warm smile.
"You sure?"
"Yes now go go go!" He scooted her in the direction of the dresses.
"How about this one?" She asked taking out a pretty soft cotton dress.
"thats nice." Joe said.
"Wait. What am I buying a dress for anyways? You didnt tell me what tomorrow is." She said looking at the dresses to see if she saw something else.
"Well...Since we finished our little tour..my dad got us a good gig. We are going on tour with a kinda big group."
"Huh?" Lexi was confused by what he meant.
"Im leaving on tour again in like about two weeks. We are going to go on tour with aly and aj. We are going to open up for them."
"Youre leaving again..." Her voice became sad. She walked up to him and wrapped her arms around him. "How long this time?"
"Well longer than this last one for sure. But dont worry, we are going to do a lot of shows here in California."
[A.N. ok im not sure how exactly and when exactly they went on tour for reals..just bare with me here ok lol]
"Ok...so you still havent answered my question. Whats tomorrow?"
"Well..." he said pushing her hair behind her ear. "Tomorrow aly and aj are going to throw a party to celebrate their up coming tour. And I want to introduce you to everybody."
"Aww. Really?" She said smiling.
"Really." He leaned in and gave her a kiss. "You're important to me. I want people to know that."
"Thank you. But is it going to be casual, dressy, what?"
"Well its on the beach. Im just going to wear a flannel shirt I bought while I was on the road. So thats why I assumed you would want a summer dress. But hey what do I know. Im a dude!" He said laughing.
"A flannel! How did you know? Boys in flannels make me melt!" She said giggling.
"Well then I have to make sure im the only one wearing a flannel shirt right?"
"dont worry. No one will make it look as good as you." She went and got the pink dress. "I think this is the one." She said smiling.
"Ok. Lets take it." Joe paid for the dress and they headed out the door of the store walking hand in hand.
Lexi spotted a starbucks and decided to treat joe to at least a strawberries and cream frap since he did buy her a dress. They went in got their drinks nd headed out the door. They were laughing and enjoying each others company. Joe took a second to look at lexi and see how happy she was. But suddenly her expression changed and she was staring at something. She began to squeeze joes hand. He looked in the direction she was looking and couldnt believe his eyes. It was josh. He began walking towards them and joe immediately got in front of lexi who was shaking.
"Lex can I talk to you?" Josh asked trying to get her to look at him.
"Leave her alone!" Joe said holding his hand out to stop josh from getting any closer.
"Look stay out of it. This is between me and her."
"Yeah like im going to let you get near her again. You jerk! Just leave her alone! you've done enough damage."
"Look pretty boy! she can speak for herself." Josh said putting his finger in joes face. He tilted his head so lexi could see him. "Lex I just want to talk to you. Im really sorry." He held out his hand for lexi to take it...
--------
Oh no josh is back! Will lexi give him a chance to explain himself? Will joe even make it possible? THANKS FOR READING! =] RATE AND COMMENT PLEASE! NEXT ONE UP SOON! (Less)
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144, 00:04, 2009-01-06 00:20:35 Description: (Jess' POV)
I woke up in the bed that was now in the middle of the room. Kevin was next to me. I fely like someone had hit me on the head with a bus. I tried to get up but Nick was passed out (More) (Jess' POV)
I woke up in the bed that was now in the middle of the room. Kevin was next to me. I fely like someone had hit me on the head with a bus. I tried to get up but Nick was passed out across my legs with Soph cuddled into his side. WOAH! What happened last night? The last thing I remember is Joe giving me my 20th shot.
FLASHBACKK!
--
Kevin: Okay. Never have I ever kissed a person of the opposite sex whose name I didn't know.
I took a shot. Me Shelly and Kat were the only girls to shoot. But Nat, Drew and Joe also took a shot. Since I was sat by Kevin I had to go next.
Jess: Never have I ever got caught smoking, even when It was really obvious.
Nicole took a shot, so did Drew and Joe.
Kevin: You smoke?
Jess: I did. I was a stupid teenager.
He chuckled.
Nicole: Okay. Never have I ever liked more than 1 guy at once. Girls for the guys.
Soph, Nat and Hannah took a shot. I felt Kevin squeeze my hand tighter under the table. Now I feel kinda bad.
----
Jess: Ohh my head.
Nick jumped up.
Nick: I DIDN'T DO IT!
Jess: Do what?
Nick: Umm, what? Oh Nothing. Dreaming. Man my head fucking hurts. What the hell did we do last night? The last thing I remember is... Well i dont remember much,
Jess: Me Either. All I know is that was one Fucked up game of Never have I ever. But i'm like REALLY hungry, What do yah say little brother? Lets go get some food and bring the dead back something to settle their stomach and a little bit of coffee.
Nick: With what money?
Jess: Welll..
I hopped out of the bed being careful not to wake Kevin or Soph. I stepped over everyone that was on the floor, all passed out, until I got to Hannah.
Jess: I dont think Ms.I get Money from my Daddy will miss her credit card for too long.
He chuckled.
Nick: Cmon big sis. Lets go.
He put his arm around my shoulders in a brotherly way and we drove to a Cafe a couple blocks down. I drove.
Jess: When are you getting your license anyways? I mean, Cmon. You're 16.
Nick: FYI; I have my begginers. But I have to wait one more month until I get my license.
Jess: That is if you pass.
-----
FAST FORWARD!; Back at the motel.
(Still Jess' POV)
Nick and I walked in the door of the motel. I was laughing at one of his jokes. Everyone was up, but really groggy. Kevin was lid on the bed looking EXTREMELY hungover.
Nick: Hey all! We brought coffee and doughnuts.
Joe: Ughh, Food. So Hungry, So sick. Life is cruel.
Jess: Where Nicole?
Joe: Gone home to pack.
Jess: Wheres she going?
Joe: Shes coming home with us. And getting one of those apartments down the road. She got offered to go to college there.
I was speechless. I turned bright red. Joe looked at me.
Jess: T-t-t-t-thats Great.
Fucking stuttering. Suddenly Kat came out of the bathroom in Skinny jeans and a tank top, drying her hair with a towel. Nat came out after her, shirtless. His hair was wet too. Soph gasped.
Kat: H-h-hey big Sis. You're up!
Soph got up and walked towards Kat. An angry expression on her face. Kat Showered with Nat, and they probably screwed, Its either Nat is gonna get a beating, or Kat was going ot get a good yelling at. Nat stepped infront of Kat, boys got nuts. But he's also GONE nuts if he thinks he'll stop Soph from yelling at Kat. Soph looked up into Nat's eyes.
Soph: I wanna talk to my baby sister. Kat, bathroom. NOW!
Kat: Why the bathroom?
Soph: It seems to be where you do everything else. And plus, its the only room with a DOOR.
Kat walked towards the bathroom behind Soph. But before she did, Nat kissed her forehead and whispered "I'm sorry".
(Soph's POV)
Kat followed me into the bathroom.
Soph: Shut the door.
She did.
Kat: What do you want, Soph.
I put my hand on my forehead and inhaled deeply.
Soph: I want- I want to know.. if you had sex with him.
Kat: And If i Did?
Soph: I'll tell mom to send you back to boarding school in Texas.
----
ooooooooo. Drama.
I need to know something.
Who do you want Jess to be with?
KEVIN!
or
JOE?
hmmmm.
Comment and let me kow, because if you dont then i have to guess. And either way I dissapoint someone I think. (: (Less)
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4, 01:12, 2008-04-22 10:07:22 Description: Brothers in Arms: Road to Hill 30 Yes, Brothers in Arms: Road to Hill 30 is another World War II shooter, but don't hold that against it. It's a disservice to think of Brothers in Arms as a (More) Brothers in Arms: Road to Hill 30 Yes, Brothers in Arms: Road to Hill 30 is another World War II shooter, but don't hold that against it. It's a disservice to think of Brothers in Arms as a Call of Duty wannabe, because it isn't your regular twitch-based action game. What developer Gearbox wants to do with Brothers in Arms is take the concept of Full Spectrum Warrior (however, you can actually shoot a rifle) and mate it with historical realism of the highest order. The result is a tactical shooter that combines real-world infantry tactics with artificial intelligence that acts and behaves as a real human being would. In Brothers in Arms, you'll follow the real-life exploits of an actual paratroop platoon during the D-Day invasion of Normandy. The amount of historical research that went into the game is staggering. Gearbox staffers scoured the national archives for maps and aerial photos of Normandy, and then they took several trips to France to see the terrain firsthand. The places you'll encounter in the game are exactly as they looked in 1944 (I've seen the photos to prove it), and the battles that you'll wage are all taken from historical record. How these battles unfold, though, is up to you as you play a squad leader directing your men on the fly. In between issuing fire and movement orders to your troops, you'll have to take up your own weapon to engage the enemy. The overall experience is nothing less than harrowing, riveting, and exciting. Brothers in Arms is the kind of game that will require you to use your brain to analyze the battlefield while hot virtual lead flies above your head. Of course, it helps that the game looks amazing. Gearbox built its own graphics engine for Brothers in Arms, and both the PC and Xbox versions are simply beautiful to behold. The sound effects and voice acting are also top-notch (the cast includes numerous actors from Band of Brothers, though the paratroop unit in the game isn't the same one featured in the famed HBO miniseries). Everything about Brothers in Arms screams that it's an impressive labor of love. More importantly, Brothers in Arms represents where the genre should be headed. Heavily scripted first-person shooters have hit a wall in terms of creativity, but by opening up the battlefield and letting tactics and AI rule, developers can create games that challenge gamers' minds as well as their reflexes. Nexus: The Jupiter Incident Nexus: The Jupiter Incident is the kind of game that's rarely made anymore, and that's a real shame. If you're a veteran gamer (basically, anyone approaching or over 30), you'll know that PC gaming was once dominated by space games like Wing Commander and TIE Fighter. However, the emergence of first-person shooters and real-time strategy games doomed the genre. That's why Nexus evokes such anticipation for me. Here's a jaw-dropping space combat game that isn't a glorified twitch-action game or a simplified RTS. It represents old-school tactical space combat (the kind that most of us only have fond memories of) but with ultramodern graphics. In Nexus, you'll get caught up in an interstellar war between various species, Earth's in danger, blah, blah, blah. Yes, the plot is fairly par for the sci-fi course, but what makes Nexus so special is its gameplay. You'll be given tactical command over vessels that range from nimble frigates to heavier battleships, as well as squadrons of fighters. You can jump from vessel to vessel while giving orders, such as to hammer on an enemy vessel's shield or to disable a certain component on another ship. The action then comes to life thanks to the gorgeous graphics engine. Nexus is a game that really lives up to the term "cinematic." The visuals are the stuff of a sci-fi fan's dreams, and you'll sit enraptured as you see capital ships and fighters trade fire in the depths of space. This is an engine so good it's screaming for someone to license it for, say, a Star Trek or Star Wars game. Between missions, you'll have the opportunity to refit each vessel with different weapons and components, such as better maneuvering thrusters, more-powerful engines, and stronger shields. Meanwhile, your main character and your crews will gain experience over time. Furthermore, you'll even be able to choose which of three fields you want your character to specialize in. With its blisteringly cool visuals and promising gameplay, Nexus is a modern-day vision of what used to be. (Less)
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3, 01:12, 2007-09-11 01:24:31 Description: Brothers in Arms: Road to Hill 30
Yes, Brothers in Arms: Road to Hill 30 is another World War II shooter, but don't hold that against it. It's a disservice to think of Brothers in Arms as (More) Brothers in Arms: Road to Hill 30
Yes, Brothers in Arms: Road to Hill 30 is another World War II shooter, but don't hold that against it. It's a disservice to think of Brothers in Arms as a Call of Duty wannabe, because it isn't your regular twitch-based action game. What developer Gearbox wants to do with Brothers in Arms is take the concept of Full Spectrum Warrior (however, you can actually shoot a rifle) and mate it with historical realism of the highest order. The result is a tactical shooter that combines real-world infantry tactics with artificial intelligence that acts and behaves as a real human being would.
In Brothers in Arms, you'll follow the real-life exploits of an actual paratroop platoon during the D-Day invasion of Normandy. The amount of historical research that went into the game is staggering. Gearbox staffers scoured the national archives for maps and aerial photos of Normandy, and then they took several trips to France to see the terrain firsthand. The places you'll encounter in the game are exactly as they looked in 1944 (I've seen the photos to prove it), and the battles that you'll wage are all taken from historical record. How these battles unfold, though, is up to you as you play a squad leader directing your men on the fly. In between issuing fire and movement orders to your troops, you'll have to take up your own weapon to engage the enemy. The overall experience is nothing less than harrowing, riveting, and exciting. Brothers in Arms is the kind of game that will require you to use your brain to analyze the battlefield while hot virtual lead flies above your head.
Of course, it helps that the game looks amazing. Gearbox built its own graphics engine for Brothers in Arms, and both the PC and Xbox versions are simply beautiful to behold. The sound effects and voice acting are also top-notch (the cast includes numerous actors from Band of Brothers, though the paratroop unit in the game isn't the same one featured in the famed HBO miniseries). Everything about Brothers in Arms screams that it's an impressive labor of love. More importantly, Brothers in Arms represents where the genre should be headed. Heavily scripted first-person shooters have hit a wall in terms of creativity, but by opening up the battlefield and letting tactics and AI rule, developers can create games that challenge gamers' minds as well as their reflexes.
Nexus: The Jupiter Incident
Nexus: The Jupiter Incident is the kind of game that's rarely made anymore, and that's a real shame. If you're a veteran gamer (basically, anyone approaching or over 30), you'll know that PC gaming was once dominated by space games like Wing Commander and TIE Fighter. However, the emergence of first-person shooters and real-time strategy games doomed the genre. That's why Nexus evokes such anticipation for me. Here's a jaw-dropping space combat game that isn't a glorified twitch-action game or a simplified RTS. It represents old-school tactical space combat (the kind that most of us only have fond memories of) but with ultramodern graphics.
In Nexus, you'll get caught up in an interstellar war between various species, Earth's in danger, blah, blah, blah. Yes, the plot is fairly par for the sci-fi course, but what makes Nexus so special is its gameplay. You'll be given tactical command over vessels that range from nimble frigates to heavier battleships, as well as squadrons of fighters. You can jump from vessel to vessel while giving orders, such as to hammer on an enemy vessel's shield or to disable a certain component on another ship. The action then comes to life thanks to the gorgeous graphics engine. Nexus is a game that really lives up to the term "cinematic." The visuals are the stuff of a sci-fi fan's dreams, and you'll sit enraptured as you see capital ships and fighters trade fire in the depths of space. This is an engine so good it's screaming for someone to license it for, say, a Star Trek or Star Wars game.
Between missions, you'll have the opportunity to refit each vessel with different weapons and components, such as better maneuvering thrusters, more-powerful engines, and stronger shields. Meanwhile, your main character and your crews will gain experience over time. Furthermore, you'll even be able to choose which of three fields you want your character to specialize in. With its blisteringly cool visuals and promising gameplay, Nexus is a modern-day vision of what used to be. (Less)
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6, 02:19, 2009-03-01 06:52:48 Description: Ron Artest was hitting from all angles, Yao Ming was scoring inside and the Chicago Bulls were staring at a 17-point deficit with little time remaining.
Ben Gordon knew it didn't look good. So (More) Ron Artest was hitting from all angles, Yao Ming was scoring inside and the Chicago Bulls were staring at a 17-point deficit with little time remaining.
Ben Gordon knew it didn't look good. So he and Derrick Rose painted a different picture.
Rose scored 16 of his 22 points in the fourth quarter, and the Chicago Bulls rallied to beat the Houston Rockets 105-102 on Saturday night.
Trailing 99-82 with just under six minutes left, the Bulls outscored the Rockets 23-3 the rest of the way to pull out a dramatic win in their first home game since the deaths of franchise icons Norm Van Lier and Johnny "Red'' Kerr.
Rose and Ben Gordon (16 points) each scored 11 during that stretch. John Salmons hit a free throw with 11.1 seconds remaining to make it 105-102, then blocked Artest's off-balance 3-pointer just before the buzzer to preserve the win and break the Rockets' season-high six-game win streak.
"We kind of caught them by surprise,'' Gordon said. "We just pounced on them and took control of the game.''
It was a stunning, swift turn, with a dose of controversy sprinkled in.
Artest, who scored a season-best 32 points, argued vehemently for a foul after the final shot and had to be escorted away by Rockets center Dikembe Mutombo.
"They fouled me, but that's all right,'' he said. "That's not why we lost. It was a foul. That was a bad non-call. Everybody makes mistakes. That was a big mistake.''
It was a bitter end to an otherwise outstanding performance in which Artest set a career-high by hitting 6 of 12 3-pointers.
Yao added 17 points, Luis Scola scored 16 while grabbing 11 rebounds, but the Rockets let what looked like their first road win in more than a month slip away.
For that, Artest pointed the finger at himself.
"I take the blame for the loss,'' he said. "I could have helped us sustain the lead we had.''
Coach Rick Adelman said his team became "very, very non-aggressive'' over the closing minutes - a sharp contrast to the way Gordon and Rose performed.
Gordon's jumper tied it at 102 with just over a minute left, and Rose gave the Bulls a 104-102 lead when he scored in the lane with 32 seconds remaining.
"In Minnesota and some other places, I always missed the shot, but I finally hit one,'' Rose said
Artest then missed two 3-pointers from the left side before Salmons grabbed the rebound and hit the first of two 3s. Yao rebounded the second attempt, giving the Rockets a chance to tie, but they nearly turned the ball over out of a timeout before Salmons blocked Artest's 3.
Besides the late sparks from Rose, Gordon and Salmons, the Bulls got 19 points and nine rebounds from Tyrus Thomas.
The Rockets were coming off a 6-0 homestand, but they continue to struggle on the road, with four straight losses. They have not won on an opponent's court since beating Detroit on Jan. 25.
The news wasn't all good for the Bulls, either. X-rays taken on Luol Deng after he left the game revealed a likely stress fracture in his right tibia, and he could miss the rest of the season. The leg had been bothering him for several weeks, and Deng thought it was just a sprain.
Now, it looks like something more serious.
"I had a play in the first half, where I jumped up and I felt it,'' said Deng, who's scheduled for an MRI on Monday.
Notes: Rockets coach Rick Adelman, who played with Van Lier in Chicago, remembered him as "a terrific competitor and Johnny's been here forever. I can't remember when he wasn't here. It's unfortunate and a shame that had to happen. It was the same day you lost two people who were so important to the organization.'' ... There will be funerals in Chicago for Van Lier on Monday and for Kerr in suburban Oakbrook Terrace, Ill., on Thursday. ... Bulls F Tim Thomas hyperextended his left knee in the first half and played just seven minutes. ... The Rockets waived little-used shooting guard Luther Head before the game. A Chicago product, he appeared in only 22 games this season and has been out since Jan. 10 with a right foot injury. (Less)
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