UMG - Blue Tears - Blue Tears - COMPACT DISCS [CD]

The first iteration of what would become Blue Tears began in the fall of 1982, when Gregg Fulkerson (lead guitar), was a senior at Chester County High School and Mike Spears (bass), Bryan Hall (rhythm guitar) and Phil Johns were students at Freed Hardeman University. The band was originally called Misfit. Through the next several years the band had a couple of name changes (NonStop, Sahara) and several vocalists and drummers came and went. The band made several recordings in Gregg's basement, but the first official recording was of their song InchStay With MeInch which was recorded at the Castle Recording Studio in Nashville, TN. InchStay With MeInch received much regional radio station airplay, and peaked at #2 on 92.3 FM Jackson, TN. The combination of radio airplay, devoted fans and multiple sold-out concerts at the Paramount and Malco theaters caught the attention of record industry professionals. One of these recordings landed on the desk of a Los Angeles-based record company. They signed a recording contract with MCA Records soon after. The band also changed their name to Blue Tears just two months prior to releasing their debut album. Blue Tears was made up of founding members Gregg Fulkerson, Mike Spears and Bryan Hall. They were re-joined by Charlie Lauderdale on drums. The debut album was released in June 1990 with lead single InchRockin' With the RadioInch getting a music video. A second single, InchInnocent KissInch also received heavy promotion. The album was originally titled InchThunder in the NightInch and was promoted as such but was eventually changed to a self-titled . Unfortunately, the band was dismissed as just another glam metal act in the genres fading wave. Blue Tears entered the studio in 1991 and banged out new tracks for a second album. The tracks included InchLong Way HomeInch, InchKisses In The DarkInch, InchWith You TonightInch, InchFol

I Silenti is the poetic expression of those who are silenced, the voiceless, of what has disappeared over time, of the blank pages of unwritten letters. It becomes a catalyst towards other ends those of comfort, healing, regeneration and beauty. The project is conceived around the Gypsy jazz singer and multi-instrumentalist Tcha Limberger. He embodies a musical and literary nomadism that extends into the geographical and timeless depths of orality. The fact that he has been blind from birth has protected him from the superfluity of appearances, so that he has always remained connected to the essential; from his prodigious voice, the most intense songs emerge; from his violin, the most moving melodies resonate. Beyond his universality, he is naturally at one with his people, the Roma. His sublime gift and his blindness are perhaps not unrelated to the trauma that his people have experienced, the 'forgotten Holocaust' that sealed their words with the convention of silence. Echoing this repertory, Monteverdi's madrigals were the first vocal works to express human emotions with their dramas, passions and joys. The music is rooted in the words and their meaning; from the very heart of these polyphonic pieces, Monteverdi created the opera as a new genre.

Good Charlotte's The Young and the Hopeless is punk-pop déjà vu. Rehashing worn clichés aplenty on each track, cuts such as InchThe AnthemInch emerge exactly as the title overtly implies a high-velocity, guitar-driven reason to lash out against the usual growing pains inflicted by parental authority and high-school drama.