Kubb

Biography
Its members are:

Harry Collier: lead vocals and bass
Dominic Greensmith: drums
John Tilley: keyboards
The band started to form when Harry met Ben Langmaid via mutual friend Rollo Armstrong (of Faithless fame). Rollo and Ben had studios in the same complex. Harry then met a friend of Langmaid's, Jeff Patterson. The threesome began writing together writing such songs as “Chemical”. Langmaid and Patterson however weren’t interested in being in the frontline of a band but Harry had energy and enthusiasm to spare.

Before long however the Kubb line-up was in place: Ex Reef member Dom Greensmith (drums) recruited via an old touring contact of Harry's; John Tilley (keyboards) fresh out Greenwich Conservatoire and recruited via an NME ad; and Adj (guitar).

Their songs have seen airplay on radio stations and they have headlined several tours in the UK, they have played two gigs at the Shepherd's Bush Empire, and have made guest appearances on Friday Night with Jonathan Ross (on December 16, 2005, and on the Jonathon Ross Radio Show on February 4, 2006). They also appeared on Jools Holland's show, Popworld, CDUK, the Des and Mel Show,The Friday Night Project with Justin Lee Collins and Alan Carr along with special guest Jamie Oliver and have appeared three times on Top of the Pops. They performed an iTunes Live from London gig at the London Apple Store, they have recorded a 'secret session' for Tiscali and the group appeared at V Festival and the Isle of Wight Festival.

Kubb have recently announced on MySpace that they are busy writing for their second album; also, guitarist Adj Buffone announced that he has left the band. Lead singer Harry Collier features on the 2006 Faithless single "Bombs".

source : http://en.wikipedia.org/wiki/Kubb_%28band%29

K-os

k-os' socially aware raps and heartfelt melodies captured the imagination of the widest range of music fans and critics on his debut Exit. So what does he do for an encore? On Joyful Rebellion, the much anticipated follow-up, k-os elevates his clever rhyme skills and keen sense of musicianship, concocting an even more unique brew of protest music that simultaneously appeals to crossover and rap purist audiences.

There is good reason to believe that this Toronto-bred emcee/vocalist is about to take the rap world by storm. Even with his first album, k-os was fielding personal invites to tour in North America and Europe with Grammy winners such as India.Arie, The Roots and Nelly Furtado, as well as rap luminaries De La Soul. He also collaborated with The Chemical Brothers on their "Get Yourself High" hit, while his video for "Superstarr Pt. Zero" was rated Next and Buzz-worthy by both BET and MTV. Even more impressive was k-os snagging "International Album of the Year" honors at The 2003 Source Awards, even though he was considered a new artist to American audiences. This marked a watershed moment for contemporary hip hop. For once, music mattered more than where an emcee hailed from, and it proved that consumers hadn't lost their ability to discern real talent from media hype.

While commercial rap has pushed some of the music's brightest lights into flight or fight mode, it's clear that on Joyful Rebellion, k-os intentionally chose the latter. "Hip hop is an abandoned ship, and its vanguards are moving on to other things," admits k-os. "Everyone wants to be a rock star, because they don't know how to take hip hop to the next level."

k-os is at the forefront of the generation of rap artists who are pushing the limits of hip hop culture (i.e. Andre 3000 of Outkast, Missy Elliot). He has even added to his musical repertoire by playing guitar and piano on a few of the new songs. Much like Lauryn Hill, the artist he's often compared to, this album is a testament to his rare ability to harmonize and emcee, ignoring any creative straitjackets imposed on him by narrow rap or R&B categorizations. Though k-os may be compared to many great artists, his versatility makes it almost impossible to truly compare him to any.

Produced and written by k-os, Joyful Rebellion draws heavily from and seamlessly fuses together the full range of musical experience; from rap to jazz, rock and pop, blues and reggae, and everything in between. Even with all of these flavours, Joyful Rebellion is stripped down and raw like his thoughts and raps. The acoustic guitars, tablas, classical strings and drum kicks all provide the right ingredients for this creative masterpiece.

k-os comments on the meaning behind the album title, saying, "Joyful Rebellion is about knowing that living the truth in life, you have to sort of rebel against the system, but at the same time you want to be happy about it. If the key in music is to reach out to a lot of people and to have them get down with your ideas and philosophies, why wouldn't you want to make it something that was joyful?"

The first single off the new album, "B-Boy Stance" is k-os' rap reclamation masterpiece that lyrically embraces hip hop's storied past, and is even made to sound like it could have been recorded during rap's Golden Age in the '80's. When k-os opens up the track over 808 drum kicks with a thoughtful soliloquy that states: "It's so hard to remain authentic, everything around me is changing...to the end of time, I think I'll remain, I think I'll just stay a b-boy standing in my B-Boy stance," it's an homage to the DJ's, dancers and graffiti writers of today and yesteryear.

Critics often question whether dope rhymes have become a thing of the past. k-os' no-holds-barred response can be found on "Emcee Murdah." Here he raps on the catchy hook that "money and fame, could lead to emcee murder" implying that if rappers could somehow diversify their singular focus from profits to prophets then there might be "hip hope."

"The Love Song," is a memorable symphonic sonnet, in which k-os implores youth to stand up for their rights and convictions, just as he does on the mic, despite what the outside world might think. Professing over sexy beats and DJ scratches "this is not a love song" while pleading with people "not to get high off their own supply" he is encouraging everyone to not believe the hype, but believe in your inner self.

On "Crucial," k-os' Caribbean (he's Trinidad-born) roots reggae leanings bleed through, and much like The Police's first hits, it showcases his abilities to incorporate hardcore reggae elements into pure pop songs. "Hallelujah" inhabits a mythic, introspective world where Bob Dylan-meets-Bob Marley for a dark modern day redemption song. The acoustic Latin guitar hop of "Commandante" (a song he wrote in Veradero, Cuba) still finds its way back to k-os' rap mission to "cut and slice irrelevance to the bone, and decapitate rappers that idolize Al Capone."

With newfound fame comes a whole new set of issues that most successful artists have to deal with. "Man I Used To Be" is an ode to the King Of Pop, providing a unique twist on some of the coping mechanisms that popular artists employ to deal with their celebrity.

Closer to home, "Crabbuckit" speaks to the age-old "crabs in the bucket" phenomenon that once threatened to derail k-os' commitment to his own rap dreams, prior to the awards and acclaim. "If everyone in your hometown is indie and underground and no ones yet swam to the surface, they start to have low self esteem, underachieve and believe it can't be done," relates k-os. Upright bass stabs, gospel hand claps and horn solos accessorize his vocal plea of hope...that there's "no time to get down, 'cause I'm movin' up."

"Dirty Water" features an exciting collaboration with fellow Canadian artist Sam Roberts. Although musically different in many ways, k-os and Sam do approach their craft with a similar sensibility. With great mutual respect and their individual talents, it is no surprise that the resulting track is something very special.

The most provocative song is the last track on the album "Papercutz." The track is directed at critics who hung off k-os' every word and wondered aloud about his decision to record another album despite saying Exit would be his first and last. "Papercutz" features rhyme contributions from the only artist he's collaborated with on both albums, spoken word prodigy Kamau. The upright bass blasts, mariachi horns and double time raps, push this track into futuristic rap territory and make it his most musically innovative track yet.

Joyful Rebellion asks us 'what's going on' in the Marvin Gaye tradition, but with a contemporary hip hop twist. It's an album sure to secure k-os' place in a progressive global rap movement filled with audiences that appreciate "next level" audio architecture and conscious rhymes.

source:http://www.sing365.com/music/lyric.nsf/K-OS-Biography/FFF8051451C8794F48256F1D0007F83D

Korn

Musical revolutions can foment in the oddest places: Athens, Georgia. Aberdeen, Washington. Bakersfield, California.

That's right, Bakersfield; a bleak, arid little town just west of Death Valley that could double as a David Lynch movie set-if there were anything going on, that is. As a kid Fieldy Arvizu spent much of his adolescence "standing around in dirt fields, drinking beer, watching other kids fight." At some point, Fieldy and some friends decided their time would be better spent taking out their frustrations on musical instruments instead.

And rock music would never be the same.

So Fieldy, James "Munky" Shaffer, David Silveria, Brian "Head" Welch, and eventually, an assistant coroner with a troubled past named Jonathan Davis left Bakersfield for Los Angeles and collectively became known as KORN. It helped that they all had common influences--the angry, urban stylings of hip-hop, the heavy, riff-driven angst of death metal. But the sounds emanating from this band's Huntington Beach rehearsal space would soon set an entirely fresh musical precedent--and set off a wave of imitators that eventually threatened to engulf the band itself.

After touring for nearly two years, KORN was signed by Immortal and released their now-classic eponymous 1994 debut. KORN opened with the prophetic, gravel-throated challenge "Are you ready?!" before kicking into the heaviest guitar sound yet heard in rock thanks to the team of Shaffer and Welch, who tuned their already-low 7-string guitars even lower and played with no regard for traditional harmonic consonance. The sound was metallic sludge, but tempered oddly by bassist Fieldy and drummer Silveria, who added a mix of porn-soundtrack funk and hip-hop rhythms that was puzzlingly aggressive and chill. Next, nursery-rhyme-like melodies were woven into the dark mix, helping make KORN the creepiest, heaviest debut since Black Sabbath. But Davis had no desire to sing about devils and witches; he was busy exorcising real-life demons. Songs such as "Faget" and "Shoots and Ladders" were discomfortingly personal confessionals of shattered childhood, and by album's end Davis was literally in tears in the harrowing "Daddy."

"Are you ready?!" Well, commercial radio sure wasn't. And neither was MTV. Not yet, anyway.

So KORN took their grisly show on the road someplace they knew it'd get noticed: back to the tour circuit, and a stint on Ozzfest. The band's unique sound may have been unfamiliar, but the kids knew it rocked mightily-and many of them could directly relate to Davis' grim lyrical obsessions. At that point in time, there was quite simply no band on earth like KORN.

And so they began to amass a following that would send their next album, 1996's brutal yet cheekily titled Life is Peachy, into platinum sales. And this time at least the press was ready. "...Perverts, psychopaths and paranoiacs" gushed the Chicago Tribune. "An ingeniously twisted piece of personal hell" raved Cleveland's Plain Dealer.

And while Peachy served more to reinforce the band's core sound rather than innovate in the manner of the debut, it did introduce to the world to a side of the band no one ever suspected existed: humor. The bagpipe-driven cover version of War's "Lowrider" was just one example. An A-Z dictionary of vulgarity called "K@#%!" was another-though some critics and self-appointed moral guardians were put off by the language. One Zeeland, Michigan high school administrator told the press that KORN was "indecent, vulgar, and obscene" shortly after suspending a student for wearing a T-shirt that merely said "KORN." After the band filed a cease-and-desist order against the school on behalf of the student, he was reinstated. But the episode marks yet another milestone for the band: it was the first of many times the band would go to bat for its fans.

Years of touring followed again as the band fortified its fan-base to the degree that their next album, 1998's Follow the Leader, would debut at No. 1 on Billboard's Top 200. The band charted two bona fide singles with "Got the Life" and "Freak on a Leash," while the album's actual "rap-metal" tracks ("Children of the KORN" with guest rapper Ice Cube, and "All in the Family" with guest abuser Fred Durst) were some of the band's hardest-hitting to date, and reaffirmed their status as the band by which others would be judged in this genre.

Others seemed to agree. Rolling Stone christened Follow the Leader one of the best alternative albums of the '90s, praising KORN's ability to channel "their disgust with the state of the nation--and the generation doomed to inherit it--into booming, articulate violence."

Booming, articulate violence aside, Follow the Leader exposed yet another side of KORN.

When a 14-year-old boy suffering from terminal intestinal cancer requested to meet the band for a few minutes through the Make-A-Wish foundation, the band was stunned. And nervous. But they hit it off, and the few minutes turned into a day, and that turned into a few more days, and then a song-"Justin."

Reaffirming KORN's populist roots were their weekly live Internet video broadcasts from the studio during the album's making. These "after school specials" kept fans up on the progress of the record, offered them live, call-in Q&A sessions with the band themselves, and introduced them to guests running the gamut from members of 311, the Deftones, and Limp Bizkit to porn stars like Ron Jeremy and Randi Rage.

In yet another populist move, the band launched "KORN Kampaign '98," a political campaign-style American tour to promote their album that featured "fan conferences" in major cities throughout the country. KORN also put together a heavy-rock-and-rap arena circus, mockingly called the Family Values Tour, which featured everyone from Ice Cube to Limp Bizkit to Rammstein, and proved to be one of 1998's most successful tours. A live compilation CD, The Family Values Tour '98, was certified gold the following summer, when KORN performed an explosive set at Woodstock '99.

Meanwhile, KORN's record label Elementree was up and running just fine as its first signed act, Orgy, scored a platinum record for them with Candyass.

By now, almost every heavy band on the planet was playing down-tuned 7-string guitars (which were virtually extinct before KORN). The proliferation of sound-alike bands ironically placed the band in a tenuous position: Not only was KORN in danger of seeming "played out" in the very genre they spearheaded, the beginnings of a backlash to "rap-metal" chart domination were cropping up in the media. KORN knew that another Peachy or Leader, however great, however welcome by fans, and however commercially successful, would not do. It was time to reinvent themselves and break from the pack-a risky move given the band's traditionally loyal following. KORN took some time off to work on what would be one of the most important records of their career.

"We knew when we wrote this album that we were going to have to do something really great," Shaffer said at the time. "...We had to move forward, push the boundaries, and create something very personal."

In yet another nod to their audience, KORN allowed the fans to design the cover. Fans submitted their work, and one fan painting was chosen for the record's striking cover art. Several runners-up got limited-edition album covers of their own work.

Musically, Issues turned out to be the best album since the group's debut release, and eclipsed even that record in strength of songwriting. When Issues was finally released, all the band's efforts paid off wildly. For the second time in their career, they debuted at No. 1. They had yet another high-charting single with the eerie, crushing "Falling Away From Me." And the record went quadruple platinum. This was followed by yet another massively successful tour, which kicked off on Halloween 1999 at Harlem's historic Apollo Theater.

If Issues represented an artistic, critical, and commercial triumph at a crucial moment for the band, how would KORN respond to the inevitable pressure of its follow-up?

By making a better one: Untouchables. Using a 24-BIT sampling rate--twice the highest rate normally used for recording--KORN and producer Michael Beinhorn have created a rich sonic panorama. Unfathomably heavy, uncompromisingly introspective, and startlingly unique, Untouchables catapults KORN to yet another level.

But what should we expect? After all, this is a band marked by an insatiable desire to push the rock envelope. It's what makes them KORN.

Thanks to Meelis Magi for submitting the biography.

source:http://www.sing365.com/music/lyric.nsf/Korn-Biography/62593FBB6059AC5948256860002E6662

Kenny G

Early life
Kenny was born in Ann Arbor, Michigan, and first came into contact with a saxophone when he heard someone performing with one on The Ed Sullivan Show.[1] He learned how to play by practicing along with records (mostly of Grover Washington, Jr.), trying to emulate the sounds that he was hearing.[1] At Franklin High School he failed to get into the jazz band when he applied,[2] although was accepted the following year when he tried again.[3] He also played for his high school golf team,[3] a sport which he had loved ever since his older brother, Brian Gorelick, introduced it to him when he was ten years old.[3]


[edit] Career
Kenneth Gorelick began his career as a musician when he acquired his first professional job as saxophone soloist for Barry White's Love Unlimited Orchestra in 1976 at the age of 20,[4] while studying for a major in accounting at the same time.[5] After he graduated from the University of Washington he played with the funk band Cold, Bold & Together[5] before becoming a credited member of The Jeff Lorber Fusion.[4] He began his solo career after his period with Lorber.[4]

In 1982 Kenny G signed with Arista Records as a solo artist, after being heard by the president of the label, at that time Clive Davis.[4] He has released many solo albums and collaborated with various artists including Whitney Houston,[6] Toni Braxton,[7] Natalie Cole,[8] Steve Miller[9] (which marked the only time he appeared on a rock and roll album) and Aretha Franklin.[6] Influenced by the likes of Grover Washington, Jr., his own albums are usually classified as smooth jazz.

He received success quite early on, with both G Force and Gravity, his second and third studio albums respectively, achieving platinum status in the United States. These sales were topped by his fourth studio album, Duotones, which shifted over five million copies in the U.S. alone. His fifth studio album, Breathless, became the number one best selling instrumental album ever, with over 15 million copies sold, of which 12 million were in the U.S. He broke another record when his first holiday album, Miracles, sold over 13 million copies, making it the most successful Christmas album to date.[5]

Gorelick's 1999 single, “What A Wonderful World” stirred controversy among the jazz community regarding the overdubbing of Louis Armstrong's classic recording. A common criticism was that such a revered recording by a musician known especially for improvisation should not be altered.[10][11][12][13][14] The "duet" was produced by David Foster who also recorded the Natalie Cole and Nat King Cole duet. Gorelick stated at the time,"...I didn't want to spoil the original. I said, 'Whatever we do, if we're not going to make it better, let's throw it away and we won't do it.' So (Foster) guaranteed that it would be better, and I hope that we did a good job on it."[15] Some columnists countered the criticisms suggesting such a recording would bring classic jazz to a wider audience.[16] Nevertheless, Kenny G fans considered the live performance of this duet with Armstrong on a video taped backdrop a "show stopper."[17] Additionally, Gorelick has stated that all the proceeds from this single go to his Kenny G Miracles Foundation which "funnel(s) the money to charities to purchase musical instruments and to supplement funding for the arts in schools."[18]

As of 2003, Kenny G was named the 25th-highest selling artist in America by the RIAA, with 48 million albums sold in the USA as of July 31, 2006.[19] In 1994, Kenny G won the Grammy Award for Best Instrumental Composition for Forever in Love.


[edit] Personal life
Kenny G is currently married to wife Lyndie Benson, with whom he has two children – Max (aged thirteen) and Noah (aged nine). They have expressed an interest in saxophone and piano respectively.[20]

He plays golf regularly, and has a playing handicap

source : http://en.wikipedia.org/wiki/Kenny_G#Early_life

Kelly Clarkson

Who would have guessed that small town sweetheart Kelly Clarkson would eventually grow up and become one of America's brightest stars?

Certainly, not Kelly!

As a child growing up in Burleson, Texas, singing was far from her choice career.

Kelly wanted to become a marine biologist.

Lucky for the rest of the world, she quickly changed her mind upon seeing "Jaws," because it was only a matter of time before her true talent and passion were unveiled for the rest of the world to see.

Kelly's innate singing ability was first discovered in 7th grade after her junior high choral director heard her singing in the school hallway and encouraged her to sign up for the school choir. Up until that point, Kelly was considering joining the band!

Kelly immersed herself in choral activities throughout high school, starring in musicals ("Brigadoon"), performing overseas, and earning top honors as a member of the Texas All-State Choir.

Upon graduation, Kelly solidified her committment to music, working numerous jobs to finance her demo CD and market herself to record labels. Frustrated with the lack of results and unopened mail, she made her way to Los Angeles along with a friend, hoping for the best.

While in L.A., she found odd jobs to help make ends meet and wound up getting a role as an extra on Sabrina the Teenage Witch.

After answering a newspaper ad, she coincidentally hooked up with famed songwriter Gerry Goffin (("You Make Me Feel Like A) Natural Woman") through a mutual friend and began recording vocal demos of his songs. Little did Kelly know that the same song Goffin was famous for, would later provide her with a moment of clarity as she worked to achieve her dream.

Kelly's stay in Los Angeles was tragically cut short after Goffin grew ill, her apartment burned down, and her car got towed. Both emotionally and financially, Kelly was drained.

She turned home to recuperate and re-energize herself before heading back to L.A. Shortly thereafter, her best friend, Jessica, presented her with paperwork for American Idol, FOX Television's national talent search competition/television show.

Already jaded from an earlier stint on the WB's Popstars, Kelly was semi-reluctant, but signed the paperwork and went to the audition, hoping for the best.

Before you could say "You're going to Hollywood," Kelly was there.

After dozens of auditions, she found herself centerstage, among the top 30 contestants, and live on national television.

Belting out an energized rendition of Aretha Franklin's "Respect," she captured the hearts (and votes) of people from all over the United States and advanced to the top 10 finals.

Week after week, Kelly quietly gained ground, rising above the competition, enduring a whirlwind promotional calendar, in addition to the responsibility of preparing live performances every week.

She was later provided with moment of clarity toward the middle of the competition.

When asked what the greatest thing to come out of the American Idol experience was, Kelly said, "the best moment for me was when I realized that I actually really wanted this. This is a public life now, and I wasn't sure if I wanted to do that part of it...The defining point was during my performance of "Natural Woman." I was on stage and the crowd was just going crazy, and I was like, I think I can do this."

It may have took Kelly a while to realize that she could handle it, but the American public showed no hesitation in casting their votes and naming Kelly Clarkson their American Idol on September 4, 2002.

Moments later, she took to the stage for an emotional performance of her first single, "A Moment Like This," capping off the competition and reminding millions of viewers why they tuned into the show week after week--to watch people's dreams come true: "Oh I can't believe it's happening to me/Some people wait a lifetime for a moment like this."

On October 5th, 2002, "A Moment Like This," shot straight from No. 52 to No. 1 on the Billboard charts, eclipsing the 38-year record of "biggest leap to No. 1," previously held by the Beatles' "Can't Buy Me Love," which went from No. 27 to No. 1 in 1964.

Her full-length solo debut is slated for March 4, 2003, and already, Kelly is attracting famed songwriters and producers like Diane Warren and the team of Jimmy Jam & Terry Lewis (Janet Jackson, Mariah Carey). Kelly also has a desire to showcase her songwriting skills on her solo album as well.

A No. 1 song, legions of fans, and an inner-drive that is unparalleled, Kelly Clarkson is on her way.
source:http://www.sing365.com/music/lyric.nsf/Kelly-Clarkson-Biography/D11A1FA15DBF378448256C7D00257284

Kelis

I want it to represent Kelis’ world. When you put on my record, I want you to feel that you've entered into a new dimension, some place where you haven't been before. You know when you go to a carnival and there's a funhouse where the colours are different and the music is distorted? It's reality but it's not really reality, you know what I mean? I kind of want it to feel like that…

- Kelis, on her dazzling new album, Wanderland


It's just under two years since we first got a chance to step into Kelis' world. Her debut album, Kaleidoscope, was a landmark record of psychedelic sci-fi soul that moved in an orbit all its own. When you take the generosity of spirit and higher love of vintage Stevie Wonder, give it the space age treatment of production superheroes The Neptunes, and add a born superstar barely out of her teens, you've got something very special indeed.

Last year, this “something very special” secured three Top 40 hits (“Caught Out There,” “Good Stuff” and “Get Along With You”), and cleaned up on the awards circuit, scooping the Brit for “Best International Newcomer,” the Q award for “Best video” (“Caught Out There”) and the NME gong for best “R&B Singer.” Kelis remembers: "As an artist you learn how to make the business, but all you really want is respect for your work. The fact that it happened at the first go around is kind of amazing. It was a surprise that anyone listened at all!"

They'll be listening again to Wanderland. Even more fearless than Kaleidoscope, it again rewrites the script, flinging the purest soul to the furthest sonic reaches. Pharrell Williams describes it as "Retro-pop. Year 3000. But retro. That doesn't make sense, but that's how we are." Complimenting Pharrell’s portrayal of their sound and style, Kelis herself sheds light on the title’s significance: "We're all wandering in this world searching for something, and this is my search."

Kelis' search began in Harlem, New York in 1980. The daughter of Pentecostal Minister Kenneth, and children's clothes designer Iveliss (hence Ke-lis), Kelis Rogers was always as individual as her name. The youngest of three daughters, she began travelling across America with her father (also a jazz saxophonist) to sing at his sermons, while soaking up the classic soul her mother played.

With a defiantly independent streak, it is no surprise Kelis didn't fit in at her predominately white Upper East Side private school. At 13, she was already looking elsewhere, becoming a model on the covers of fashion and teen magazines. A year later she enrolled in LaGuardia, the performing arts school immortalised in the movie, “Fame.”

Her first proper venture into music was a girl group called BLU (Black Ladies United), which didn't last long, but procured the ears of hip-hop producer Goldfinghaz, who gave her a spot on the second album by RZA side project, Gravediggaz. Leaving home at 16, she struck out on her own. It wasn't easy at first, but two years later she met Virginia Beach production duo Pharrell Williams and Chad Hugo, aka the Neptunes, and subsequently landed a deal with Virgin Records. Her first foray into the music world’s center stage on Ol' Dirty Bastard's delirious hit “Got Your Money,” a single which turned out to be the anthem of its time, set the stage for her first full length album, Kaleidoscope.

Even in the context of a golden age for cutting edge R&B, Kelis stood out from the crowd thanks to her sheer originality. A modern soul singer who attracts the attention of U2 and Moby, sings the praises of Basement Jaxx and Muse, defines her own image without using stylists, and has fresh and witty opinions to spare, all without throwing tantrums in hotel rooms, is not your usual off-the-peg vixen.

In the many months since Kelis’ distinct image made the world do a double take, this multi-talented phenom has certainly remained busy. "There are a lot of things that have happened, but I don't even know where to start," she laughs. “It's all one big blur. But this year things have finally settled down. Now it's more about dealing with situations rather than being surprised by them."

Dealing with these situations has allowed her to leave her mark in all circles of the world. She spent last summer taking her live show around European festivals, and subverting expectations yet again by covering “Nirvana's Smells Like Teen Spirit.” Bono was so impressed by the show’s bravado that he gave her a high profile support slot on U2's recent European tour.

Kelis has also been collaborating far and wide. In the past year, she's sung on Busta Rhymes’ “What It Is,” Moby’s “Honey” remix, Foxy Brown’s “Candy,” LFO’s “Dandelion,” and N*E*R*D’s “Truth Or Dare.” With further appearances on Guru’s “Jazzmatazz: Streetsoul” album and the hip-hop stars’ “Phil Collins Tribute” album, partnerships with rappers Outsidaz and German trance innovator Timo Maas are on their way.

And of course, there’s Wanderland. The album was recorded at her house in Virginia Beach with The Neptunes. And while the duo was credited with writing most of Kaleidoscope, this time Kelis took the song writing reins. "It was inevitable," she explains. "It's like you start off at a job, and the next year you get a promotion, you know what I mean? I wasn't ready last time, but (now) I had a much clearer idea of what I wanted to do."

This makes Wanderland a much more autobiographical record than its predecessor. “Easy Come Easy Go,” which features Korn's Fieldy on bass, tackles men’s responses to Kelis since she became famous. “Digital World” deals with the toll that last year’s touring schedule took on her love life. “Star Wars,” meanwhile, is a comic book-inspired anthem for the Star Trak clique, the collective of rappers and singers that she and The Neptunes have assembled. Apart from Fieldy and No Doubt (who play on “Perfect Day”), they're the only guest musicians on the album -- a refreshing change from the usual big name bombardment. "They're big names,” Kelis states as a matter of fact. “The people that I know are incredibly talented, so why go outside when you've got it at home?"

As for striking first single, “Young, Fresh & New,” Kelis retorts: "First of all, people that are older than me and have lived their lives differently are always questioning how it is I run my life. So (this single) is sort of like, ‘Nah-nah-nah-nah-nah. I’m 21, I’m happy, I’m doing exactly what I want, and who the fuck are you to tell me that I can’t?’ And also, I think it’s a reminder for those that maybe aren’t doing the things they want to do that we have the right to. It’s about taking a step and asking questions and recognizing that (we all) deserve more from life."

Kelis isn't sure what the future may bring. She plans to start a range of accessories called “Mizrebelle” this autumn and perhaps a clothing line with Pharrell, in addition to waiting for the right movie script to pop through her door. Beyond that the possibilities are wide open, and that's just the way she likes it.

In Kelis' world, there's still plenty of wandering to be done.
source:http://www.sing365.com/music/lyric.nsf/Kelis-Biography/15C7645A5E17D08C48256A8600145317

Keane

Vocals: Tom Chaplin / Piano: Tim Rice-Oxley / Drums: Richard Hughes

Keane formed in 1997 at a Hastings Secondary School.

In 2002, following several years of experimenting and honing their sound, Keane decided that they needed to get out and play live. They booked two acoustic gigs, one at the 12 Bar Club, another at the Betsey Trotwood. Fierce Panda mini-mogul Simon Williams caught the Betsey Trotwood gig, and asked Keane to put out a single on his label.

They chose ‘Everybody’s Changing’, a sweeping, majestic ode to feeling utterly lost when everyone else seems to know the score, which was recorded for zero pence. “The recording session was a little rough and ready – the song was literally made in a room in someone’s house,” Tom laughs. “And we had to go round to a different house to mix it, because the speakers broke.” It would be difficult to find origins more desperately indie, yet ‘Everybody’s Changing’ sounded like a Number One chart hit before you even got to the chorus, and it immediately began turning heads. Steve Lamacq decided that it was one of the best singles in Fierce Panda’s entire history – not bad for a label, which housed early releases from Coldplay, Idlewild and Supergrass. He declared that Keane were “somewhere between a scuffed Coldplay and a frankly bewildered Beautiful South”, hammering the single on his show and eventually calling the band in for a session on BBC 6Music. Xfm were on the case, too, with Clare Sturgess requesting a session from the band, while a Sunday Times profile noted that Keane were responsible for “three and a half minutes of pure pop loveliness”. NME wrote that ‘Everybody’s Changing’ was “indisputably mighty” and compared Keane with “‘Kid A’-era Radiohead covering A-ha”.

What all these people spotted – and what the rest of the world will shortly find out for themselves – is that despite the reference points, Keane’s beguilingly beautiful music really isn’t like anything else that’s out there right now. “Our songs have universal themes and are emotional,” Tim nods. “People want emotion. But that seems like quite a rare thing these days. I don’t think there are many bands who are making music which actually means anything. There’s nothing to identify with.”

Things, at last, were beginning to gather pace. Keane’s first UK tour saw Tom, Richard and Tim performing at venues up and down the country to audiences of between five and 300 people. They didn’t look like many other bands – there was no guitarist, a factor which might send some purists screaming into the hills but, Richard says, really wasn’t a conscious decision.

By the time spring 2003 rolled around, the boys were out on the road again, and labels were already putting offers on the table. “All we were after was the opportunity to make the right record with the right people,” Tom shrugs – which is where Island stepped in. “We’ve never wanted to be a small, cult band,” Tom adds. “We want to get our music heard by as many people as we possibly can, because that’s why we’re making it.”

Throw in a startling appearance in the New Bands tent at the Reading and Leeds Carling Weekend, more plaudits for the boys’ second single ‘This Is The Last Time’. And, once again, it sounds like all the bands who’ve ever meant anything to anyone, but at the same time it only sounds like Keane.

“People often say that they wish they’d been around in the 60s,” Tom says. “But we’re happy just where we are. We love rock’s back catalogue, and now we’ve got a chance to add to it. After all, tunes never go out of fashion.”


January 2004

source:http://www.sing365.com/music/lyric.nsf/Keane-Biography/A79D1B73D636024148256E8700075B77

Kangta & Vanness

Birth Name
Chil Hyun Ahn


Trivia
Early 2006, Kangta collaborated with Vanness Wu of F4 from Taiwan, and formed Kangta & Vanness. Their first debut was in Thailand ending the ceremony for the 2006 MTV Asia Awards. They released their single "Scandal" and have been busy promoting their single all over Asia. "Scandal" was a success over Asia and released a repackage version in mid-July.
source : http://www.imdb.com/name/nm1214513/bio

Linkin Park

They're at it again! Chester, Mike and the rest of Linkin Park released another phenomenal album titled Meteora. Sophomore albums are famously tricky affairs. Musicians have their entire lives to pen their debut album, the theory goes, and a relatively short time to follow it up. But what if the debut in question is the biggest selling album in recent memory? And what if the music industry has Hollywood-like expectations for another instant blockbuster? That was the scenario Linkin Park faced when they entered the studio to record Meteora, the follow-up to their multi-platinum debut Hybrid Theory.

To those outside the band, the pressure to follow up that success might have seemed insurmountable. But within Linkin Park, vocalists Chester Bennington and Mike Shinoda, guitarist Brad Delson, turntablist Joseph Hahn, drummer Rob Bourdon, and bassist Phoenix weren't sweating it in ways you might expect. Instead of dwelling on outside expectations, they set to work, meticulously crafting each moment of each song to their own exacting standards. The bigger picture developed accordingly.

"We don't ever want to have the mindset where we need to sell 10 million albums each time out. That's ridiculous," says Bennington. "It's a blessing to sell that many albums; it doesn't happen very often in this business--even once in your career is an achievement. Our obligation is to our fans. We're not going to get too comfortable and say it's a given that people will run out and buy our albums." "And if you know us, you know the biggest pressure came from within the band," says Shinoda.

"We just wanted to make another great album that we're proud of," says Bourdon. "We focused on that, and worked hard to create songs we love. We're our own harshest critics." If you doubt that, consider this: Shinoda and Bennington wrote 40 unique choruses for Meteora's poignant first single, "Somewhere I Belong," before arriving at the best possible version.

The entire band, in fact, sounds more fully realized on Meteora. It's a rare achievement: A full integration of six members that still retains the unique qualities of each individual. The end result is the thumbprint style known as Linkin Park. "We don't really analyze the chemistry," says Bourdon. "We're just lucky and grateful that we found each other and that we work so well together."

"The collaborations are more seamless now," agrees Bennington. "Mike, for instance, knows more about me as a person, and I know more about him, so it's easier to write lyrics together. It's not possible to have secrecy in our relationship. You have to open up, because you want the other person to be on the same page. We're all that way with each other."

Thanks to AjWiT05@aol.com for submitting the biography.

source:http://www.sing365.com/music/lyric.nsf/Linkin-Park-Biography/9EF5136D3FAF011A4825698F0031F838

Linkin Park

They're at it again! Chester, Mike and the rest of Linkin Park released another phenomenal album titled Meteora. Sophomore albums are famously tricky affairs. Musicians have their entire lives to pen their debut album, the theory goes, and a relatively short time to follow it up. But what if the debut in question is the biggest selling album in recent memory? And what if the music industry has Hollywood-like expectations for another instant blockbuster? That was the scenario Linkin Park faced when they entered the studio to record Meteora, the follow-up to their multi-platinum debut Hybrid Theory.

To those outside the band, the pressure to follow up that success might have seemed insurmountable. But within Linkin Park, vocalists Chester Bennington and Mike Shinoda, guitarist Brad Delson, turntablist Joseph Hahn, drummer Rob Bourdon, and bassist Phoenix weren't sweating it in ways you might expect. Instead of dwelling on outside expectations, they set to work, meticulously crafting each moment of each song to their own exacting standards. The bigger picture developed accordingly.

"We don't ever want to have the mindset where we need to sell 10 million albums each time out. That's ridiculous," says Bennington. "It's a blessing to sell that many albums; it doesn't happen very often in this business--even once in your career is an achievement. Our obligation is to our fans. We're not going to get too comfortable and say it's a given that people will run out and buy our albums." "And if you know us, you know the biggest pressure came from within the band," says Shinoda.

"We just wanted to make another great album that we're proud of," says Bourdon. "We focused on that, and worked hard to create songs we love. We're our own harshest critics." If you doubt that, consider this: Shinoda and Bennington wrote 40 unique choruses for Meteora's poignant first single, "Somewhere I Belong," before arriving at the best possible version.

The entire band, in fact, sounds more fully realized on Meteora. It's a rare achievement: A full integration of six members that still retains the unique qualities of each individual. The end result is the thumbprint style known as Linkin Park. "We don't really analyze the chemistry," says Bourdon. "We're just lucky and grateful that we found each other and that we work so well together."

"The collaborations are more seamless now," agrees Bennington. "Mike, for instance, knows more about me as a person, and I know more about him, so it's easier to write lyrics together. It's not possible to have secrecy in our relationship. You have to open up, because you want the other person to be on the same page. We're all that way with each other."

Thanks to AjWiT05@aol.com for submitting the biography.

source:http://www.sing365.com/music/lyric.nsf/Linkin-Park-Biography/9EF5136D3FAF011A4825698F0031F838

Lindsay Lohan

Lindsay Morgan Lohan (1986 - )

In New York, NY, on 02 July 1986, Lindsay Lohan became the first child of a proud couple: Dina (a one-time Radio City "Rockette" and Wall Street analyst who now manages her daughter's career) and Michael Lohan (a long-time Wall Street trader who developed, then sold, his family's multi-million-dollar pasta business to fund and develop major studios and independent Hollywood productions). Three siblings (Michael, Aliana and Dakota) would follow in the years to come.

Lindsay started modeling (she was the first redheaded child ever signed by the prestigious Ford Modeling Agency) and acting at the tender age of 3. People in the business quickly recognized her talent, and she was hired to shoot more than 60 commercials; including spots for Pizza Hut, Wendy's and Jell-O (with Bill Cosby). A plum role soon followed on the television series Another World as the third actress (in late 1996 and early 1997) to play Alexandra "Alli" Fowler.

Around this time, USA Today says Lindsay also would become one of several New York-area children to appear in a Halloween skit on David Letterman, dressed as garbage (!).

It was not until 05 January 1997 that she knew she would be cast in a major motion picture. The director of The Parent Trap, Nancy Meyers, called Lindsay that day and told her that she had the part — or is that parts — of the twins. As you no doubt have seen (after all, you're here), Lindsay proved that she is an actress of considerable skill, deftly handling two different personalities in one single movie.

Lindsay was officially recognized for her talent as well; earning a Young Artist Award for Leading Actress (which she shared with Stepmom's Jena Malone), and nominations for a YoungStar Award and a Blockbuster Entertainment Award.

Early in 1999, Lindsay filmed another movie. Life-Size — originally a Wonderful World of Disney production later released on home video — allowed Lindsay to act with Tyra Banks.

In 2000, Lindsay won the role of "Rose" in Bette Midler's television sitcom, Bette. After shooting the pilot episode, the show's producers decided it would be easier on the crew — most of whom lived near Los Angeles — if filming moved to California. Lindsay gave up the role to stay in New York, and Los Angeles-area actress Marina Malota was pegged to take over the role of Midler's teen-aged daughter. The series was canceled only a few months later, due to sagging ratings and the strain on the show's stars (ironically, Midler had to fly cross-country from her New York home to film her own show).

In June, 2001, Lindsay completed filming the role of "Lexy Gold" in Get a Clue, the Disney Channel Original Movie of the Month for January, 2002 — later rescheduled for telecast in June, 2002.

Walt Disney Pictures announced on 31 July 2002 that Lindsay had signed on to play Anna Coleman in the theatrical remake of Freaky Friday. Updating yet another film from its vaults, Disney signed Lohan and Jamie Lee Curtis (A Fish Called Wanda) as the mother-and-daughter team who wake up one day in each other's bodies. Lohan — who already proved she could fill Hayley Mills' shoes and then some — took on a role that helped propel a young Jodie Foster to stardom.

In September, 2002, Lindsay appeared poised to fulfill her lifelong dream of becoming a singer when one of the biggest names in music, Emilio Estefan, Jr., took Lindsay under his professional wing. Estefan Enterprises announced a five-album production deal and the promise of an aggressive effort to "sell" her pop style "with a rock edge" to a major record label.

In 2003, Lindsay accepted the lead role in Disney's Confessions of a Teenage Drama Queen (originally a New Line project written for Hilary Duff, who had to pass due to her full schedule). Filmed in Toronto, Ontario, Canada, and in New York City, Queen is set for release early in 2004.

Later in 2003, leaving The Mouse behind (for now), Lindsay jumped over to Paramount Studios to re-team with Freaky director Mark S. Waters for Mean Girls. Principal photography ended in November, 2003. During filming, she began negotiations to star in Dramarama for Warner Bros.

Lindsay Lohan shares her birthday with the late US Supreme Court Justice Thurgood Marshall, the late civil rights activist Medgar Evers, the late King Olav V of Norway, former Philippine First Lady Imelda ("I have more shoes than you") Marcos, New Hampshire Congressman John Sununu, WWF wrestler Bret "The Hitman" Hart, retired NASCAR driver Richard "The King of Stock Car Racing" Petty, and the late Wendy's Restaurant founder Dave Thomas (really!). Fellow actors born on 02 July include Yancy Butler (Witchblade), James McNichol (General Hospital, brother of actress Kristy McNichol), Jerry Hall (Batman, ex-wife of Mick Jagger), Ron Silver (Billionaire Boys' Club), Brock Peters (Star Trek), Ken Curtis (Gunsmoke), and Polly Holliday (Flo on television, "Marva Kulp, Sr." in The Parent Trap).

Trivia:

Lindsay also has worked as a model for Abercrombie & Fitch Kids (A&F Kids) and Calvin Klein Kids.

Her family's last name is pronounced "low-han" but, when speaking quickly, they tend to say "lowen".

Lindsay was raised on Long Island, NY, where her family still maintains its home. She hasn't ruled out moving to California, however, following high school.

Her birthday is 02 July, not 11 October. That birthday was shared by Annie James and Hallie Parker, Lindsay's characters in The Parent Trap.

Lindsay earned the roles of the twins after a six-month casting search. Later, Life-Size and Get a Clue were offered by Disney as part of a three-picture deal signed after Trap was filmed.

Immediately after Trap, Disney offered Lindsay the lead female role in Inspector Gadget but, having just finished seven months' work on The Parent Trap, she declined. The role instead was accepted by Michelle Trachtenberg. Soon, a rumor began to circulate that Trachtenberg "gave" the Trap role to Lohan, who later "gave" the Gadget project to Trachtenberg. The rumor is not true. (On the other hand, did you know Michelle's "birthday is on October 11th??! How weird is that?")

Following a self-imposed hiatus, Lindsay auditioned for Freaky Friday.

The body-switch comedy opened on 06 August 2003, and immediately took its place as the top comedy at the box office, earning well over $100 million in US release. Lindsay's singing debut, Ultimate, helped propel the film's soundtrack album into Billboard Magazine's Top 20 in under three weeks.

Ultimate was written for Friday by songwriters Jeff Coplan and Robert Ellis Orrall.
source:http://www.sing365.com/music/lyric.nsf/Lindsay-Lohan-Biography/62CB18258F54216C48256EE1000CC40D

Limp Bizkit

Limp Bizkit is a band from Jacksonville, Florida. They started out on around late 1994 giving free shows and concerts whenever they could get a gig. Yes i know its hard to believe but the Number 1 band in the nation once was nothing but your tipical Local Band trying to get a record deal. Fred and Sam met up and became good friends when Sam suggested his cousin, John Otto, to play the drums for the band. Later, Wes was brought into the picture along with House of Pains main man, DJ Lethal and Limp Bizkit was started. They got their name when Fred was talking to his friend (and now roadie) when said that "his brain was like a limp biscuit." So Fred liked it and the name of their band after it.

This is an awesome band that already has a large fan base from touring with Family Values, and other tours that tend to attract large crowds.It also helps when you open for bands such as Korn and the Deftones. Limp Bizkit, after all the struggles and shit they had to put up with, has the biggest fan crowd in North America with their first hit "Faith from the album 3 Dollar Bill Ya'll, then they really hit it big with there big hit "Nookie" which was on there sophmore album, Significant Other.

After "Nookie" took the top spot on every chart in Canada and US, it was time for Limp Bizkit to give alittle something back to the fans. That summer, Limp Bizkit started the now famous "Back to Basics Tour". This tour was a free tour, first come first serve basis and was ment to give something back to the fans and to thank them for their support. Soon after that Fred and the gang got ready to release their Junior (3rd) record to the public. Struggling with titles such as "Limpendence Day" and "The Chocolate Starfish and the Hotdog Flavored Water," Limp Bizkit finally decided on a name, "The Chocolate Starfish and the Hotdog Flavored Water." Around November/October they released the album. It was a total hit right away selling thousands within the first week. With hits such as "rollin" and "my generation" Limp Bizkit was back on top of the world.

Wes Borland dropped the group to set off in his own way, and this left the band short a guitarist. After trying Fred, and having a nation wide contest, then hadn't found anyone. John Otto, at a bar, was having fun. He ran into Mike Smith, former S.N.O.T native. They found each other talking, eventually jamming, and eventually touring.

Their fourth album is dropped Septemeber 23rd, and the first single off of it is "Eat You Alive". Results May Vary is the title of the album, and now is housing "Behind Blue Eyes" as it's single.

Thanks to Craig VanWagoner for submitting the biography.
source:http://www.sing365.com/music/lyric.nsf/Limp-Bizkit-Biography/6DE0F7FE249F3ED6482568C700000F65

Lily Allen

Lily Allen is the 21 year old strange glint in her eyes singer/writer who has been tearing up the web at a rate of knots. When she was a young girl- "I was very lonely actually. I went to 13 different schools so never had time to make enduring friendships. Music became a lifeline to me."

Born in Hammersmith, Lily grew up fast. "I listened to punk, ska and reggae when I grew up, courtesy of my parents' record collections. We moved around London... Shepherds Bush, Bloomsbury, Islington... and I absorbed all the music around me. I got expelled from various schools and was sent to boarding school as they thought it would be a restraining influence, but I ran away to Glastonbury and other places when I was 14. I was into jungle and drum and bass. It was obvious I didn't like authority. I guess I knew from an early age that I could never do a job where I'd have to sit in an office all day long."

Lily finally left school at 15 when it became obvious her creative needs were not being met. "I always read a lot. It was frustrating moving schools so much because I always felt I couldn't articulate my feelings as much as I wanted to. Books and music helped me do that. I became obsessed by quite arcane subjects, like second world war evacuation stories and books about 18th century aristocracy. I started to feel like I could have a voice. But I wanted to write about my own world in an entertaining way. So I did."

"Riding through the city on my bike all day
'Cause the filth took away my license...
Everything seems to look as it should
But I wonder what goes on behind doors
A fella lookin' dapper and he's sitting with a slapper
Then I see it's a pimp and his crack whore"

Lily's incisive lyrical observations belie her years. "A lot of female artists, and male ones for that matter, are boring singers who don't say anything. Certainly not to my generation. With the kind of music I do you have to be direct and quite literal. I don't play an instrument, which really makes me focus on the vocal melody, and the lyrics are incredibly important to me. I don't want to be part of a scene... the whole idea of that makes me feel sick... and most of the music I listen to is by outsider figures, which is where I feel happiest."

"There was a little old lady who was walking down the road
She was struggling with bags from Tesco
There were people in the city having lunch in the park
I believe that is called alfresco
Then a kid came along to offer a hand
But before she had time to accept it
Hits her over the head, doesn't care if she's dead
'Cause he's got all her jewelry and wallet"

Lily's current listening is not that of an average 20 year old. Even a cursory glimpse at her site shows a breathtaking appreciation of diverse music. Listed amongst a host of current and unsigned dance artists are names like The Specials, Rip Rig and Panic, T.Rex ("possibly the best band ever, ever!") The Slits, Blondie and Wreckless Eric. Oh, and Kate Bush "when she was my age", Prince and Eminem.

Lily signed to Parlophone in December. "Since then it's gone mad. The online support I got for my music grew quickly, then the next thrill was hearing it on the radio. The reaction has been so positive it's left me reeling a bit. But I'm happy and I know the songs can live up to people's expectations. I chose to make LDN a low key 7" release to start things at a decent level ? also I know that all the songs on the album are so strong that we have loads more singles in the bag."

source:http://www.sing365.com/music/lyric.nsf/Lily-Allen-Biography/F29715EB499672CF4825719A00473D8F

Lifehouse

"I don't have it all figured out," says 20-year-old Lifehouse singer-guitarist-songwriter Jason Wade. "You learn so many things every day, and it's overwhelming sometimes trying to see how it all fits together. I'm starting to realize that each day is a different road and a different journey, and you don't have to have it all figured out; you don't have to have all the answers to everything right now."

One of the things Jason hasn't figured out is how Lifehouse - which also includes bassist Sergio Andrade and drummer Rick Woolstenhulme (self-described "guitar guy" Stuart Mathis, who played on Lifehouse's early demos, joins the band onstage) - went from playing a few college shows to sharing the road with Pearl Jam, Fuel, Everclear and matchbox twenty.

Perhaps even more incomprehensible is how this recently obscure Los Angles band scored a #1hit on Billboard's Modern Rock Tracks chart, with "Hanging By A Moment," only ten weeks after the release of their debut album, No Name Face (issued Oct. 31, 2000, on DreamWorks Records). Jason, Sergio and Rick were equally incredulous at the appearance of their song "Everything" on the popular TV show "Roswell."

"It's all been unbelievable," Jason says of Lifehouse's success thus far. "We didn't expect any of this, but we're so grateful to have so many people hearing our songs. I really can't explain how it's happened."

In fact, the trio's frontman is hard-pressed to explain most of the unexpected twists his life has taken. His early years in Camarillo, Calif., for instance, would suggest an all-American boyhood, but then his family began touring the Far East, visiting Japan, Thailand and Singapore before moving to Hong Kong. Moreover, he admits to having little interest in music until his parents split up and the songs just started pouring out of him.

"This record deals a lot with self-discovery and breaking out of whatever your parents or your boss or whoever thinks you should be, says Jason of No Name Face. "It's about trying to find out for yourself who you're supposed to be - your purpose, your destiny in the world."

Reluctant to discuss his lyrics in detail, Jason feels they are infinitely open to interpretation. "That's the great thing about a song - a lyric may mean something totally different for someone else than it does for me and still be just as valid," he insists. A case in point is album closer "Everything": "We've been playing it on tour and when kids come up after the show, it seems like they always tell us how much they love that song. They don't really know what it's about, but they hear something in it that connects to them personally. That's why you don't have to tell the whole picture in the lyrics; you give a road to start on that people can relate to."

Jason understands firsthand how bleak life can seem without something or someone to relate to. "When I was a kid and we lived in Hong Kong, we lived in a small village and the people there hated us," he says. "They thought we were witches bringing trouble to their neighborhood. They lit firecrackers at our door every morning, and they actually stole our cat, cooked and ate it! I was totally scared and freaked out and I didn't have any friends."

After four difficult years, Jason's family moved back to the U.S., to Portland, Ore. Asked why, he ventures: "My parents had a lot of issues. But they wouldn't allow me to see the problems in their relationship. Our family was always peaceful; there was never any fighting or anything. We looked perfectly happy from the outside. It was like 'Pleasantville.' The worst part was that I couldn't acknowledge anything was wrong, so I couldn't do anything about it. I felt completely powerless."

By the time he was 12, Jason's parents had divorced and he'd moved with his mom to the Seattle area. He spent most of his early days there alone in his room, pouring his heart out in poetry. "I was experiencing all the pain anyone feels when their parents get divorced. It opened up all this stuff," he confides. "But it also opened up this creative outlet for me. It's funny, because I was never a musical kid - never took lessons, never really listened to the radio. But I suddenly just started writing lyrics and coming up with melodies. We lived in the woods, and I'd take these long walks and the songs would just start happening."

Jason's mother had been musical. "My mom always had a guitar lying around the house," he recollects. "I finally just picked it up and learned how to play a few chords." Having found some solace in music, he eventually began reconciling himself to his new circumstances and settled into his new home.

This phase of his life ended, however, when his mother decided to relocate the family to Los Angeles. "I didn't want to move at all," he attests. "I'd finally made all these friends, and Washington had been a really a comforting place for me during the divorce. I thought it would be home forever."

So, at 15, Jason moved to L.A., where he hooked up with bassist Sergio Andrade and began blossoming as a songwriter. "I really didn't know anyone. Serge lived next door and we had a lot of stuff in common, like playing basketball and running," he says. "He'd just started playing bass, so we hung out a lot. We spent all our time jamming out in the garage, writing songs and helping each other get better."

Originally from Guatemala City, Sergio left his homeland at age 14 to move to California. He, too, had a musical parent. "My father played piano," he confirms, "and I ended up playing keyboards." He gravitated toward rock, pop and Latin styles, also playing trombone and flute in the school orchestra.

Sergio later switched to drums and then bass, becoming somewhat obsessed with the instrument - "All I did was play bass," he says. "I knew Jason was a talented guy, but that wasn't what mattered to me," Sergio continues. "I was still learning English and really didn't know anyone. I just wanted to be involved in music and make some friends."

The two paired with a drummer (who has since left the group) and after honing their sound for a few more months, inaugurated a Friday night residency at a local school auditorium. The gatherings were casual events where the band was afforded onstage jam time (some of these jams became songs, among them "Everything"). "They had a really good P.A. system there and we could do whatever we wanted," Jason reports. "We got smoke machines and lights and basically turned it into this little club scene. Kids would come from all over, and we started filling the place up. At one point we were getting, like, 450 people out every week. That went on for two years."

Word-of-mouth about the band soon reached No Name Face producer Ron Aniello, who let them make some rudimentary recordings at his home studio.

Drummer Rick Woolstenhulme also heard about the band through the grapevine. Born and raised in the Arizona farm town of Gilbert, he says he was one of those kids who was always pounding on things. "My mom plays piano, my dad plays piano and guitar and my brother plays guitar," Rick relates. "I guess they decided I was the next musician in the family, so they got me this beat-up old kit and I started taking lessons right away." Rick went on to attend The Los Angeles Music Academy and has played drums and percussion ever since.

"I was playing with this other group," he says of his earliest, accidental exposure to Lifehouse, "and Jason and Serge were practicing in the next room - I'd bump into them in the hallway." A while later, someone suggested to Rick that he check out a band called Lifehouse, who were looking for a new drummer. "The name didn't ring a bell for me. Even after I officially met these guys, we didn't make the connection right away," he recalls. "It was a couple weeks of 'I've seen you somewhere' and 'you look really familiar' before we figured it out."

Remarks Jason: "It was one of those weird coincidences. As soon as we met and started playing with Rick we knew he was the guy. It just clicked. We'd all go to the beach and Burger King and just do nothing together. We knew right away it was going to work." Attests Rick: "It was really smooth - I just sort of snapped on."

Sergio says of the band's collaboration: "Jason would usually have the song written before he'd bring it to us. Then we all kind of arrange it together. The way we work on songs feels really natural, which I think has a lot to do with us being tight as a band and as friends."

Aniello saw the progress Lifehouse was making but felt the band needed more time to develop before recording an album. So Jason kept on writing, and the trio continued to rehearse intensively and play gigs, including some at local colleges. Comments Sergio: "We went through a lot of phases trying to find our own sound. We learned from our mistakes. We'd see tapes of ourselves onstage and go, 'This is horrible.' But we'd just say, 'Okay, we gotta fix it,' and go back and practice some more."

Jason stayed in touch with Aniello. Two years passed, and then he played "Breathing" for the producer. "He got really excited about it," Jason says, "and he played it for his friend Jude Cole, who's our manager now.

"I was blown away by what I heard," says Cole. "Here were these teenagers skateboarding around their tract-house neighborhood and banging out this really deep music in the garage. I was totally moved by 'Breathing' - it was the kind of song that captures a moment in time, the kind you always remember where you were when you first heard it. Jason was only 17, but he already had that incredibly resonant voice. I was also impressed by his writing and guitar work. He had an instinctive understanding of how to create a mood. Even before Ron started playing me their other stuff, I knew I had to work with this band."

Cole immediately called DreamWorks Records principal Michael Ostin, who had been Cole's own A&R representative when Cole was a recording artist. In 1998, DreamWorks funded Lifehouse's first real demos, which Aniello produced.

Many of these tracks made their way to No Name Face. "When we tried to re-record some of the songs for the album, we just couldn't get the same spirit the demos had," Jason says. "The demos had been recorded right after the songs were written and even though they weren't perfect, they were so real, so honest." "Trying," for instance, is fundamentally the same recording Jason made at Ron's home studio when he was 15, with one significant change: "I had to go back in and re-record my vocals for the album because my voice had changed."

The rest of No Name Face was also laid down mostly at Aniello's home studio. "Ron's studio is right down the street from us," Jason says. "If we'd been working really late, we'd just spend the night there. We'd wake up, have breakfast with Ron and get right back to it. He's been like a father to me in a lot of ways, and the whole recording process had this homegrown, family feel that made it so easy to be creative. I wrote 'Hanging By A Moment' in the studio while we were finishing some other stuff."

Jason's trust in Aniello helped make these sessions a learning experience. "I came in wanting it to be all slick and fancy," he concedes. "I was so excited to be in the studio making a record - I wanted every instrument and every effect on the planet. Ron said pretty early that he felt the record should sound organic, that the production should be simple and transparent. I'd have all these ideas, and we did use some of them, but after a while I realized he was right. The record needed to sound more raw."

This sonic edge was indeed the right complement to Lifehouse's emotionally charged songs. Evidence of that can be found in the thousands of calls placed to Modern Rock stations across America requesting "Hanging By A Moment."

"The best thing about all this is being able to stay on the road," says Jason. "We've been meeting new fans in cities all over the country. It's so cool to hear what they think about the music, and it makes me feel so good when they say that one of our songs has helped them get through a rough time, that they were able to apply it to their own life."

To be sure, this is the sort of opportunity only afforded a band on the way up. But Jason and his mates have had no trouble staying grounded amid all the hubbub. After all, it's not like they've actually met Pearl Jam. "We love Pearl Jam," Jason says. "Once we got over the shock of actually being on tour with them, we went backstage to hang out with them. But security would never let us through the door. We tried a bunch of times and could never get in. I'm sure the band didn't even know about it. And, of course, security had no idea who we were - we were just some fans."

Being "just a fan," a music lover like any other, is what Jason is and always wants to be. "My ultimate goal in writing songs is simply to connect with people," he says, "and I hope that comes across in everything we do."

source:http://www.sing365.com/music/lyric.nsf/Lifehouse-Biography/EA4ABF0E8C5F916148256A0700080062

Lemar

Less than a year ago, Lemar Obika’s hopes of making it as a singer seemed to be dead in the water. Having actually achieved his ambition of securing a record deal with a major record label, the twenty five year old singer’s dream suddenly turned to dust when, before even getting a record out, his contract was cancelled: a victim of internal changes at the label.

This was a cruel blow for the twenty five year old Tottenham born singer who had spent nearly seven years building his reputation on the London R&B scene: performing alongside the likes of Destiny's Child and Usher along the way.

Reluctantly, Lemar returned to his old day job as an accounts manager at the Nat West Bank and weighed up his options. Chief amongst these was a return to full time education: the singer having earlier turned down a place to study Pharmacy at Cardiff University in favour of pursuing his singing career. As it turned out, however, fate was to have different plans in store for him.

"I'd left my keys in the staff cafeteria one lunch time and went back to get them," he remembers. "That's when I saw the TV advert for Fame Academy. It was completely a chance thing. I think if I hadn't of gone through what I'd gone through with my record deal I wouldn't really have been interested. But I really thought there was no other option - here was one final chance for me to say - 'This is me'. It really was the last straw."

As is so often the case, it would be this last throw of the dice that would provide an unexpected breakthrough. For having entered, not only did Lemar make his way through the qualifying rounds and onto the finals of the BBC Fame Academy show but his performances of Al Greens's - Let?s Stay Together and duet with Lionel Ritchie on Easy Like A Sunday Morning would become highlights of the programme’s ten week run.

With his all too obvious talent and charisma confirming him as an early favourite with the programmes huge audience, Lemar would eventually make it to the show?s final week before ending up coming third in the overall competition. Well aware of the pitfalls of appearing on such a programme, Lemar feels that overall Fame Academy was a positive experience: the key point for him is that he managed to achieve his success on Fame Academy whilst also managing to stay true to himself, both musically and personally.

“I had a lot of apprehensions about doing the show because the only thing you could compare it to at that point was Pop Idol,” he now admits. “I didn?t want to be ridiculed or forced to sing pop. In the advert they said you could sing your own genre of music and that’s what convinced me - because I felt there would be scope for me to do what I wanted to do. And it turned out to be true,” he says.

Certainly those viewing were struck by the authenticity of Lemar’s talents and his lack of affectation. Amongst the millions captivated by Lemar?s appearances was the Queen of UK R&B, Beverly Knight, who was so impressed by the aspiring singer that she wrote to the shows producers inviting him to join her onstage at her gig at the Hammersmith Apollo when he finished the show.

"I only caught Fame Academy on TV a couple of times and saw Lemar on both occasions,” says Beverly. “I just thought he was really good and promising, so I asked Lemar to join me at The Hammersmith Apollo. I perform a duet in my live shows and I thought it would be a perfect opportunity for him to showcase his talent within a more soulful and different environment.”

With the concert falling the day after Lemar actually left Fame Academy, it would be his first taste of life after Fame Academy and his first opportunity to really gauge public opinion. As it turned out he had no reason to worry. “The reception was absolutely amazing. I hadn?t even sung and there was a standing ovation. Then we sang her song Beautiful Contradiction together and the place went mad. So I was over the moon - it was like wow,” he says.

This positive response has been repeated virtually everywhere Lemar goes, whether it be on the nationwide Fame Academy tour that followed the TV show, or out on the street as Lemar goes about his daily business. He says: “Everyone has been so nice. From the streetest streetest cat to the most sort of middle class lady, everybody’s been great. I was just walking down the street now and this young guy came up to me and was like, ‘Yo, Lemar, you’e large’.”

It’s this mixture of street credibility and mainstream appeal, together with Lemar?s outstanding vocal abilities, which have seen the cream of the UK’s writing and production teams lining up to work with him. Stargate, So Solid Crew, Cut Father & Joe and Blacksmith are just a few of the names Lemar has been in the studio with amassing more that twenty seven songs in little over a month.

Lemar’s first single is set to be Dance (With You)- released August 11th. A song which Lemar describes as – “a cross between Michael Jackson and Musiq Soulchild.” The song cleverly manages the balancing act of staying true to the R&B scene where Lemar comes from and also keeping in tow the audience he built up with Fame Academy.

Says Lemar: “When I did the Fame Academy Tour I really saw that my audience is very broad: so I want to make sure that I incorporate people. On my album I want to pull in the street side and make sure there’s enough there for them, because that?s where I from, but I also don’t want to lose the audience that I built up on TV. So, it’s basically going to be soulful R&B, that will be the base, and when I do mainstream it will be tasteful and in keeping with that.”

With his days at Nat West less than a year behind him, whatever happens, Lemar says he will be keeping his feet firmly on the ground.

“I just want to take things one step at a time. The only thing I can do is to do what I feel is best and take whatever hail stones come my way,” he says.
source : http://www.sing365.com/music/lyric.nsf/Lemar-Biography/F866AB9DE267CFB948256E2900062902

Lee Ryan

Lee has always been an entertainer and attended a performing arts school as a child prior to joining one of Britain's most successful boy bands, Blue.

In 2001 Lee released his debut single with Blue, the anthemic All Rise, and at 17 he was the youngest member of the band. Notorious for his enthusiastic and mischievous performances, Lee soon became a favourite with fans old and young. As the band developed and its popularity grew, Lee's genuine musical ability as both a singer and songwriter became obvious, resulting in him co-writing and performing lead vocals on many of Blue's most successful releases.

Now in 2004 Blue has become one of the biggest-selling pop acts across the world, winning awards such as Best Newcomer at the BRIT Awards 2002, Best UK Band and Best Live Act at the Smash Hits Awards 2002 and Best Single, Best Newcomer and Best Pop Act at the Capital FM Awards. MTV Japan voted the band's One Love video as Best Pop Video whilst MTV Asia named them Best International Group.

The band has had major selling hits in Australia, New Zealand, Belgium, Sweden, Norway, Denmark, Hong Kong, Malaysia, Thailand and Ireland and has sold over 5 million albums and 3 million singles across the world.

During his career with Blue, Lee's vocal talents have brought him notoriety and respect with many of the key figures in today's music industry. He has already collaborated with world-class superstars such as Elton John (Sorry Seems to be the Hardest Word) and Stevie Wonder (Signed, Sealed, Delivered, I'm Yours) with Blue, whilst plans have been made for Lee to work with numerous other great talents as he develops his solo career in 2005.

Along with his musical talents, Lee has always had a passion for film and screen-writing, in fact he co-directed the video to his self-penned hit 'Breathe Easy' with video director Cameron Casey. He has also recently finished a film director's course at the Tisch School of the Arts in New York, as well as having his own production company.

After five years performing with Blue Lee has become an experienced and creatively rounded performer with talents and interests across all the arts.

Lee has universal appeal - his talent, good looks and charm mean he is one of the most popular celebrities performing today, whilst his drive, energy and enthusiasm make him one of the most exciting and creative artists to watch in 2005.

source:http://www.sing365.com/music/lyric.nsf/Lee-Ryan-Biography/370D4A88F25CB1A9482570510009795F

LeAnn Rimes

BORN: August 28, 1982

With her phenomenal early success, LeAnn Rimes has gone from being the little girl from Garland, Texas with the big voice to a contemporary, cosmopolitan young woman. Possessing one of the most spectacular voices in the business, as well as an incredible gift for performing, LeAnn made her motion picture debut in 2000 in the film "Coyote Ugly," stunning audiences with a fresh look and sound that are reflective of her growth as a young adult.

LeAnn recently ventured through the historic and rugged Yucatan Peninsula of Mexico to record a musical special for "Music in High Places." Airing on DirecTV throughout Spring 2001, and on VH-1 in June and July 0f 2001, the show is an excellent showcase for LeAnn's personality and extraordinary vocal talent. The special features acoustic performances on the picturesque beaches of Punte Morales; near the crocodile-infested swamplands of the Yucatan jungle; in the expansive ancient ball courts of Chich?n Itz? and atop the pyramids of Izamal. LeAnn also performs a chillingly beautiful a cappella version of "Amazing Grace" in the stunning 16th century San Bernadino de Siena Convent. While all of the performances bear LeAnn's musical trademark, her fun and adventurous spirit shines through as she explores the ancient ruins and interacts with the local people.

LeAnn was born August 28, 1982 in Jackson, Mississippi, and began singing before she reached the age of two. She moved to Texas a few years later, and by age 11, had recorded her first album, All That, which was released on a small, independent label. The buzz created throughout Dallas by this album garnered the attention of Curb Records. Shortly thereafter, LeAnn released her remarkable major label debut, Blue, which went multi-platinum. The title track from that album ultimately became one of her signature songs.

In the following year, LeAnn released You Light Up My Life: Inspirational Songs, and accomplished a feat never before achieved by a Country artis–the album debuted simultaneously on three Billboard Magazine charts (Pop, Country and Contemporary Christian). Next came The Early Years: Unchained Melody, a compilation of her compelling early work, which went multi-platinum. LeAnn had a massive hit with the #1 pop single "How Do I Live," which currently holds the Billboard chart record of 32 consecutive weeks at #1. This single also gave LeAnn the distinction of becoming the first Country artist ever to achieve triple-platinum certification from the Recording Industry Association of America (RIAA). She is also only the second woman, along with Whitney Houston, ever to earn this honor. "How Do I Live" has also recently passed the 200-week mark on the Top Country Singles Sales Charts; this is the first time any single has reached the 200 mark on any Billboard chart.

LeAnn's career has been marked by more than stratospheric record sales. In 1997, she won two Grammys, including "Best New Artist," which marked the first time a Country artist had ever captured that honor. She also won an American Music Award, three Academy of Country Music awards, a TNN Music City News award, Billboard's special "Hot 100" award, and the CMA "Horizon Award." LeAnn closed that year with four Billboard Music Awards, including "Artist of the Year." Overseas, she has also been awarded the BBC's prestigious "Rising Star" award.

In 1998, LeAnn recorded and released Sittin' On Top of the World. The album featured the hit single "Commitment," as well as "Looking Through Your Eyes," which was included on the soundtrack of the animated film "Quest for Camelot."

The following year, LeAnn released the self-titled LeAnn Rimes, which featured her unique interpretations of 11 Country standards including "Crazy," "I Fall To Pieces," "Leavin' On Your Mind," and "Me And Bobby McGee." The album produced the smash hit single "Big Deal." Among her professional and personal highlights that year, LeAnn credits recording "Written In The Stars," a duet with Elton John for the award-winning soundtrack to the Broadway musical, "Aida," and traveling to Europe to present a special Thanksgiving Day concert for the Pope. She also enjoyed serving as "Good Morning America’s" celebrity host for the American Music Awards.

LeAnn made her acting debut in 1997, starring in the ABC movie "Holiday in Your Heart," which aired to public and critical acclaim. The movie was based on the book of the same title, which LeAnn co-wrote with Tom Carter.

In 2000, LeAnn made her motion picture debut in Buena Vista's "Coyote Ugly" for producer Jerry Bruckheimer. In addition to appearing in a surprise cameo in the film, LeAnn recorded four Diane Warren songs for the soundtrack, including the hit single "Can't Fight The Moonlight." Both the album and song were huge multi-platinum hits in the U.S. and worldwide. The album was nominated for an American Music Award and the Blockbuster Entertainment Award in the category of "Favorite Soundtrack" and "Can't Fight The Moonlight" won the Blockbuster Entertainment Award for "Favorite Song From A Movie." LeAnn made another soundtrack contribution in 2000, recording the char--topping hit single "I Need You" for the television miniseries "Jesus." LeAnn donated her artist fee and royalties from the single to create a wing at the Vanderbilt Children's Hospital in Tennessee called the LeAnn Rimes Adventure Gym.

LeAnn will soon head back into the studio to record her eighth album, on which she hopes to take some musical departures and give voice to the new and exciting directions in which she is moving as an artist. She is also looking to explore more options in film and television.

LeAnn currently resides in Los Angeles.

source : http://www.sing365.com/music/lyric.nsf/SingerUnid/C0100F32491BC46B48256945000D8498

Leah Dizon

Leah Dizon (Ria Dizon?, born as Leah Donna Dizon on September 24, 1986) is a model, singer, and a TV personality in Japan, born in Las Vegas, Nevada, US.[1] She has two older brothers, an older sister, and two younger brothers. Her astrological sign is Libra, and her Chinese zodiac sign is Tiger. Her blood type is O.[1] Her ethnicities include Chinese, Filipino and French

Career
Leah Dizon received moderate success in America including the cover features of various import car magazines. However, her modeling career in the United States gained her much attention and a fanbase overseas, predominantly in Asia. One year after her pictures were posted up on the internet, she already had 2,000,000 hits from search engines.[1] Following the advice of her fans, Dizon sent a demo tape with model photographs of herself to a talent agency in Japan and in April of 2006, after being accepted, she immediately moved to Tokyo. In October 2006, she released her first photobook titled Petite Amie (Girlfriend in French), which was ranked as the third best selling photobook of that year.[2]

On February 14, 2007, she released her first CD single and DVD package, Softly under the record label Victor Entertainment(VIZL-216),[3] which peaked at number #7 in the Oricon Weekly Chart. At the same time, she also released her second photobook titled Hello! Leah.[4].

On May 30, 2007, Dizon released her second single ????
, which also peaked at #7 on the Oricon Weekly Chart. The title track is described as a 'grooving, up-tempo dance song' and the single features 2 B-sides: Could you be that one? and ?????~ Love Story.[5] The title track, ????
is being used in a Lotte TV ad[6] while Could you be that one? is being used in a PlayStation 3 Ninja Gaiden Sigma TV ad, with Dizon starring in both commercials.

Her third single entitled L?O?V?E U was released on August 8, 2007. [7]

Leah will be releasing her debut album "Destiny Line" September 12th, 2007. The CD+DVD Edition is to contain 14 tracks, 10 of which was penned by Leah herself the single PVs as well as a special album PV "Again and Again". The CD Only Edition will contain the digitally released remix of ????
, called (yasutaka nakata-capsule mix).

Leah Dizon's third photobook titled Heaven, will be released October 5th, 2007. It will include a DVD.
source : http://en.wikipedia.org/wiki/Leah_Dizon

L.A. Guns

History

Foundation, merge with Hollywood Rose and reformation (1983-1985)
In the 1980s, Tracii Guns formed the band known as L.A. Guns with singer Michael Jagosz, bassist Ole Beich, and drummer Rob Gardner. Michael Jagosz was sent to prison for a short time and was replaced by singer Axl Rose. Axl soon quit to form Hollywood Rose and was replaced by Michael Jagosz after he had returned from his time in prison. After a while, Tracii Guns, Rob Gardner, and Ole Beich combined L.A. Guns and Hollywood Rose, with members Axl Rose and Izzy Stradlin. When this happened the new band became known as Guns N' Roses, which explains the name, Guns for L.A. Guns, and Roses, for Hollywood Rose. Tracii quickly left the band due to differences with Axl Rose.


Reformation (1985-1988)
For the second lineup of L.A. Guns, Tracii recruited Mau Maus and The Joneses drummer Paul Mars Black on lead vocals and guitarist Mick Cripps (who switched to bass) and teamed up with drummer Nickey "Beat" Alexander. They were later joined by ex Dogs D'Amour first singer, Robert Stoddard on rhythm guitar. This lineup demoed and gigged in 1985 and 1986, with Black contributing to most of the material that would be recorded on their debut album.

Paul was replaced by Phil Lewis of the British band, Girl. Mick then switched to guitar when Robert left, and former member of Faster Pussycat, Kelly Nickels, was added on bass. L.A. Guns then recorded their first album, released in 1988 on Vertigo Records, L.A. Guns. The debut album spawned the singles "One More Reason" and "Sex Action" along with many other L.A. Guns classics.


Classic lineup (1988-1992)
On the first album's supporting tour, Nickey was replaced by former W.A.S.P. drummer Steve Riley and this lineup remained until 1992. In 1989, they released their second album Cocked & Loaded. It contained the smash radio and video hit, "The Ballad of Jayne" which brought the album to gold sales status (over five hundred thousand sold), this was the commercial peak of their career. The album also contained the hits, "Never Enough" and "Rip & Tear". The band also released two home videos coinciding with these two albums, "One More Reason" (1989) and "Love, Peace, & Geese" (1990).

During 1991, the band released their third album Hollywood Vampires on Polydor Records. The album failed to re-achieve the gold status of Cocked & Loaded, but did spawn a few hits such as "Kiss My Love Goodbye" and "It's Over Now". And in 1993, their first album, L.A. Guns, reached gold status as well. Guns participated in the supergroup Contraband the same year. The L.A. Guns released a five song EP titled Cuts in 1992 and then in 1994 their fourth album Vicious Circle, drummer Michael "Bones" Gershima played on parts of these recording as this was around this time Phil Lewis fired drummer Steve Riley. Riley later returned to the band for the Vicious Circle club tour. After this, the L.A. Guns were dropped from Polygram (Vertigo/Polydor) Records. Phil Lewis and Mick Cripps then left the band.


Experimentation (1993-1998)
July 1995 saw Tracii Guns and Steve Riley recruit vocalist Chris Van Dahl and guitarist Johnny Crypt after seeing them perform with their band Boneyard. Six months into recording sessions, Kelly Nickels left the band and Johnny was asked to switch to the bass to avoid having to seek out and deal with yet another member. In 1996, the new L.A. Guns released their sixth record, titled American Hardcore. This new album built on the heavy music from Vicious Circle and projected a darker image for the band. They toured throughout 1996 and into 1997 when Tracii let Chris go in hopes of regaining Phil Lewis and the band's former glory. Phil refused, and so Chris was replaced by singer Ralph Saenz. Tracii, Steve, Johnny, and Ralph toured for the remainder of '97 and in early '98 released the six song EP Wasted.

Halfway through the band's 1998 Rock Never Stops tour, Ralph quit to form his own band, leaving Tracii to do another singer change. Joe Lest? from Bang Tango and Jizzy Pearl from Love/Hate were considered as candidates. Tracii and Steve picked Jizzy and quickly geared up to tour. L.A. Guns toured clubs with Jizzy in late 1998 and early 1999 when they released Shrinking Violet, produced by former Guns N' Roses guitarist Gilby Clarke. This release was followed shortly by Johnny Crypt's departure.


Reunion (1999-2003)
Tracii and Steve had been talking with their former bandmates, Phil, Mick, and Kelly about a reunion album and tour. When Johnny found out about the reunion he left on February 6, 1999. The reunion album Greatest Hits and Black Beauties was released on Deadline Records around the same time as Shrinking Violet.

While this reconstituted version of L.A. Guns was recording, Pearl released an album under the Love/Hate moniker called Let's Eat. As for the other L.A. Guns, the reunion tour was not ready to happen, so they then recruited Dad's Porno Mag and Gilby Clarke bassist Stefan Adika to tour in support of Shrinking Violet. Stefan was later replaced by Turd, Dio, Alice Cooper, and Eric Singer Project (ESP) bassist Chuck Garric and toured with Poison, Great White, and Ratt on the Exiled From The Mainstream tour in the summer of 1999. As of September 1, 1999, Jizzy and Chuck were fired from the band as the classic lineup of Tracii Guns, Steve Riley, Phil Lewis, Kelly Nickels, and Mick Cripps prepared for the full blown reunion. L.A. Guns set out on the reunion tour in October of 1999 and recorded a live album in their hometown of Hollywood, the album called Live: A Night on the Strip was released the following year.

After the reunion, Mick and Kelly couldn't commit to the summer 2000 tour, so they were replaced by guitarist Brent Muscat and bassist Muddy, respectively. Ratt and L.A. Guns teamed up with Warrant for a remainder-of-the-summer tour, which L.A. Guns dropped off in August due to booking problems.

In August 2000, L.A. Guns re-recorded and re-released Cocked & Loaded retitled Cocked & Re-Loaded on Deadline Records. Mick Cripps again rejoined the band briefly (Brent left) in late 2000 to record an album with the band, entitled Man In The Moon, which was released on Spitfire Records in April of 2001. Mick played keyboards on the album, but did not tour to support it. Muddy later left the band after a short promo tour for Man In The Moon. He was replaced by Adam Hamilton for the winter of 2002 Man In The Moon club tour.

In 2002, Andy Johns was hired to produce the next release, Waking the Dead. This album features Adam Hamilton as the new bass player. Hailed by fans as one of the strongest and heaviest material LA Guns has ever recorded, the album features "OK, Let's Roll" - dedicated to Todd Beamer and the people who rushed the cockpit of Flight 93 during the events of September 11, 2001 attacks.


L.A. Guns without Tracii Guns (2002-present)
During September 2002, founding guitarist Tracii Guns became very interested in a new project, entitled Brides of Destruction, with M?tley Cr?e bassist Nikki Sixx. Guns saw the project as an opportunity to recapture the mainstream credibility he had held in the late '80s and therefore became lead guitarist for the outfit. In 2004, Brides of Destruction embarked on a World Tour, and the future of L.A. Guns was in doubt until both Steve Riley and Phil Lewis told the "Hairball John Radio Show" that the band would continue despite Guns' involvement in Brides of Destruction.

With a new guitarist named Stacey Blades, L.A. Guns released the covers album Rips the Covers Off. They had gone through several guitarists since Tracii Guns departed in October 2002. The band released the album Tales from the Strip in August 2005, which was met with critical acclaim from both sides of the Atlantic, hailed as the best L.A. Guns album in years. It is the only L.A. Guns album not to feature Tracii Guns (with the exception of the Japan-only live album).


A second L.A. Guns forms (2005)
In 2005 a remastered set of demos, which were recorded around the time L.A. Guns wrote their first album (before Phil Lewis joined) was released, featuring Paul Black on vocals. Soon after this, as the Brides of Destruction's second album did not maintain the success of the first, Tracii Guns put together a "solo" band and focused his attention on that.


LogoThe line-up for the Tracii Guns Band, featuring former L.A. Guns members, Paul Black, Nickey "Beat" Alexander, and Tracii Guns, as well as Tracii's son Jeremy Guns was announced. The band are now also going under the L.A. Guns name, regardless of the fact that the Phil Lewis version are still together, recording and touring. It should also be noted that Tracii Guns owns 50% of the rights to the L.A. Guns name and Steve Riley owns the other half.

The second L.A. Guns has caused some arguments amongst the L.A. Guns fanbase, some fans have argued that the Tracii Guns Band is the "true" L.A. Guns as it features more original members. Other fans dispute this arguing that as Paul Black never appeared on any of the L.A. Guns albums until the demos featuring him were released in 2005, as well as the fact that Nickey Alexander never toured in support of the L.A. Guns records. Other fans see Phil Lewis as the "true" L.A. Guns singer due to the less notable material released during his departure from the band.

In an odd twist on October 10, 2006, Phil Lewis joined Paul Black and Tracii Guns onstage at "Cathouse 20th Anniversary" (a Hollywood club, ran by Riki Rachtman and Taime Downe), the two frontmen dueted a version of the band's song "Rip and Tear".[1]


Recent events
On August 29, 2006, Phil Lewis' L.A. Guns released "Loud and Dangerous: Live From Hollywood", a live compilation featuring the bands current line up, including a DVD of some recent live tracks as part of the package.

On March 2007, bassist Adam Hamilton has been replaced by Scott Griffin.

On July 15, 2007, Paul Black's L.A Guns performed at glam metal festival "Rocklahoma."
source : http://en.wikipedia.org/wiki/L.A._Guns