V Festival 2008 - Gigwise's Definitive Weather Guide

Both legs of this years V Festival look set to be hit by mixed weather conditions, the Met Office has said.


The event, which takes berth simultaneously in Chelmsford and Staffordshire, will be headlined by The Verve and Muse.


Speaking to Gigwise, a Met Office spokeswoman aforesaid that showers are expected over night on Friday in Chelmsford, which testament lead to damp atmospheric condition before the festival gets underway on Saturday.


Although temperatures testament reach a maximum of 22 degrees on both days, a mixture of �sunshine and showers� are expected passim the weekend.


In Staffordshire, the outlook �will generally be the same, if not a little cooler�, the spokeswoman added.


Tickets for this years V Festival have already sold out. You can buoy see Gigwise's 20 Acts to keep an eye on in 2008 HERE.

Bo Selecta! - V Festival 2007 Highlights



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Mp3 music: David Coverdale

Artist: David Coverdale: mp3 download    Genre(s):  Rock Other     David Coverdale's discography:      Into the Light    Year: 2000    Tracks: 12      Coverdale - Page    Year: 1993    Tracks: 11      Whitesnake - Northwinds    Year: 1988    Tracks: 17      Northwinds [Edition 2000]    Year: 1978    Tracks: 10      David Coverdale's Whitesnake    Year: 1977    Tracks: 11 Depending human beings Health Organization you ask, Whitesnake isaac M. Singer David Coverdale is either nearly single handedly responsible for guardianship bluesy severe rock music alive in the British charts during the late ‘70s/early ‘80s, or is only a Robert Plant clon wHO slay it big in the U.S. later in the ‘80s as an ‘MTV band' - by merging sexual Led Zeppelin sounds with pop metal/power ballads, and sexed-up videos. Born on September 22, 1951, in the British townspeople of Saltburn-on-Sea, Yorkshire, Coverdale was born into a kin unit wHO were avid euphony fans, which resulted in an early sake group in the guitar, before stir over to vocals. Coverdale shortly began fronting local rock outfits, including Denver Mule, The Government, River's Invitation, and The Fabulosa Brothers (from the tardy ‘60s through the early ‘70s). Looking for a new gig in 1973, Coverdale 1 day picked up the pop British music magazine Melody Maker, and answered an ad for a radical looking for for for a singer. Little did he cognise, that the grouping in head was Deep Purple. Purple had turn unrivalled of the world's top of the inning hard rock/heavy metal bands by 1973 (thanks for the to the highest degree part to their massive come to exclusive "Smoke on the Water" and such definitive albums as Machine Head and Made in Japan), simply when vocaliser Ian Gillan was ousted from the radical, a vacuity highly-developed. On the strength of his telling and songwriting talents, Coverdale was welcomed into the radical straight off, resembling a true life sentence ‘rags to riches' news report. The Coverdale-led variant of Purple got cancelled to a solid start with another hit album, 1974's Burn, plainly by the time of its reexamination (and second gear band button of the year), Stormbringer, cracks began to appear in the Purple armour. Guitarist/bandleader Ritchie Blackmore's involvement in the grouping began to wane about this time -- due to the former member's desire to incorporate funk into their flair -- resulting in his departure (Blackmore would go on to strain the progressive metal outfit, Rainbow). Instead of boxing it in, Coverdale remembered the name of a guitar player he heard a few years back on Billy Cobham's turning point jazz-fusion outlet, Spectrum, and figured he'd bring in a honest substitute for Blackmore. The guitar player in question was Tommy Bolin, wHO recognised the take in to use up Blackmore's fully grown shoes. Despite an underrated album, 1975's Come Taste the Band, this would prove to be Purple's last hurrah, as they split up a year later. It didn't contract long in front Coverdale re-emerged as a solo creative soul however, projected to his blues-rock/R n' B-based roots in the face of the era's burgeoning strong-armer movement, as evidenced by such releases as 1977's Whitesnake and 1978's Northwinds. In the treat of recording and touring behind these releases, Coverdale had assembled quite a patronage banding, specially unmistakable in the similitude guitar attack of Bernie Marsden and Micky Moody. As a answer, Coverdale opted to publication albums under the name of Whitesnake -- although it gave the world a good mother wit that it was a honest stripe, Coverdale was the unchallenged leader, as he'd be the only unvarying extremity throughout its many subsequent line-ups. Whitesnake built a rabid European following on the effectiveness of such albums as 1978's Snakebite and Trouble, 1979's Love Hunter, and besides benefited by ever-changing musical tastes, especially the rebellion of new UK-based heavy rock/heavy metal bands -- a movement dubbed ‘The New Wave of British Heavy Metal.' The ‘80s sawing machine Whitesnake get even larger in their native land, as they scored a major off individual with "Slang for Your Loving" (which even managed to scratch the centre of the U.S. singles charts), and offered further voiceless rocking albums as 1980's Ready An' Willing and Live in the Heart of the City, 1981's Come An' Get It, and 1982's Saints and Sinners. But contempt their succeeder back Coverdale had his sights place on breakage the U.S. mart.Coverdale enlisted late Tygers of Pan Tang/Thin Lizzy guitarist John Sykes into the Whitesnake ranks, a move that paid sour like a shot, as 1984's Slide It In became the group's biggest success in time in the U.S., just hardly absent the Top 40. Although cosmopolitan breakthrough success was just about the corner, Coverdale's tattle calling was set up into peril when he developed a serious sinus unwellness, which doctors thought crataegus laevigata prevent Coverdale from ever so vocalizing once again. This proved non to be the example, but as a outcome, not often was heard from the Whitesnake cantonment for all over two old age. Some feared that the break in action had killed Coverdale had laid-off Sykes from the band (even though he had penned and played on the bulk of Whitesnake's Slide It In, only highborn Whitesnake. The record album signaled a new path for Whitesnake, as they honed in direct on Led Zeppelin (both musically and in Coverdale's close vocal resemblance to Robert Plant), specially evident in the leadoff single/video, " Night." The television also asterisked Coverdale's girlfriend (and presently to be wife), B flick actress Tawny Kitaen, scene a tendency in which the group would play secondment fiddle to Coverdale and Kitaen playing out steaming scenes in Whitesnake's videos. But it did pay off wildly for Coverdale, as Whitesnake at lowest broke the stria salient time in the States -- near topping the album charts and spawning such further hit singles as "Here I Go Again" (a #1) and "Is This Love" - qualification them a bona fide arena headliner. Whitesnake's massive commercial success wasn't retentive durable, however, as the mathematical group basically repeated the same formula (with less than prima results) on 1989's Slip of the Tongue. By the metre the ensuing tour wrapped up in 1990, Coverdale's wedding was over, as was the group, as it appeared as though he'd all disappeared for the side by side few long time. With all of the Led Zeppelin comparisons still fresh in fans' minds, Coverdale provided more fuel for the fire, as he re-emerged in 1993 on board guitarist Jimmy Page, as part of the a-one group Coverdale-Page. Despite a individual album, Coverdale-Page and handful of gigs in Japan, the sum was implausibly light lived (in fact, many feel that the stillborn partnership helped convince Page to cop up once more with Robert Plant a class by and by). Coverdale pulled a disappearance act once more, finally resurfacing with a unexampled Whitesnake dress in 1998, and a collaborator off of releases, Restless Heart and the ‘unplugged' set, Starkers in Tokyo. With interest in ‘80s haircloth metallic element still at a tranquilize, both albums failed to grade meet a proper vent in the States, only an hearing static existed for the group in other parts of the domain. It was also about this time that a rumour began to circulate that Coverdale was to become Van Halen's next front end man, which at last proven to be off-key. By the sunup of the twenty-first century, nostalgia for ‘80s pop metal bands had emerged, and there was abruptly a demand at one time more than than for groups like Whitesnake. Sensing this, Coverdale put together another raw Whitesnake dress, and launched a co-headlining U.S. go with The Scorpions in early 2003. Later in the twelvemonth, Coverdale hopes to issue his number one genuine solo album since the afterward ‘70s.

Roy Eldridge

   
Artist: Roy Eldridge

   Genre(s): 
Jazz
   Pop
   Blues
   

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Discography:


   
 Decidedly

   Year: 2002   
Tracks: 4


   
 Fiesta in Brass

   Year: 1999   
Tracks: 21


   
 After You've Gone

   Year: 1991   
Tracks: 22


   
 Little Jazz Boogie

   Year:    
Tracks: 1

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One of the most exciting trumpeters to emerge during the swing geologic era, Roy Eldridge's combative approach, chancetaking style and strong musicianship were an inspiration (and an influence) to the next musical generation, most notably Dizzy Gillespie. Although he sometimes pushed himself farther than he could go, Eldridge never played a dull solo!


Roy Eldridge started extinct playing trumpet and drums in fair and circus bands. With the Nighthawk Syncopators he received a bit of attention by playacting a note-for-note recreation of Coleman Hawkins' tenor solo on "The Stampede." Inspired by the dynamic playing of Jabbo Smith (Eldridge would not discover Louis Armstrong for a few old age), Roy played with some territory bands including Zack Whyte and Speed Webb and in New York (where he arrive in 1931) he worked with Elmer Snowden (world Health Organization nicknamed him "Little Jazz"), McKinney's Cotton Pickers and most significantly Teddy Hill (1935). Eldridge's recorded solos with Hill, backing Billie Holiday and with Fletcher Henderson (including his 1936 strike "Christopher Columbus") gained a swell share of attention. In 1937 he appeared with his octet (which included brother Joe on contralto) at the Three Deuces Club in Chicago and recorded some outstanding selections as a loss leader including "Heckler's Hop" and "Wabash Stomp." By 1939 Roy had a bigger grouping playing at the Arcadia Ballroom in New York. With the go down of Bunny Berigan and the increasing predictability of Louis Armstrong, Eldridge was arguably the big top trumepter in jazz during this earned run average.


During 1941-42 Eldridge sparked Gene Krupa's Orchestra, recording classical versions of "Rockin' Chair" and "After You've Gone" and interacting with Anita O'Day on "Let Me Off Uptown." The difficulties of traveling with a White band during a racist point smart him as did some of the incidents that occurred during his stay with Artie Shaw (1944-45) only the music during both stints was quite memorable. Eldridge backside be seen in several "soundies" (short promotional photographic film devoted to single songs) of this epoch by the Krupa band, frequently in tie-up with O'Day, including "Let Me Off Uptown" and "Thanks for the Boogie Ride." He is likewise very prominent in the band's appearance in Howard Hawks' Ball of Fire, in an extended performance of "Drum Boogie" mimed by Barbara Stanwyck, pickings a long trumpet solo -- the snip was filmed soon later on Eldridge joined the band in late April of 1941, and "Drum Boogie" was a birdcall that Eldridge co-wrote with Krupa.


Eldridge had a transitory big band of his have, toured with Jazz at the Philharmonic and then had a bit of an personal identity crisis when he completed that his playacting was not as modernistic as the beboppers. A successful quell in France during 1950-51 restored his confidence when he completed that beingness original was more than significant than being up-to-date. Eldridge recorded steadily for Norman Granz in the fifties, was one of the stars of JATP (where he battled Charlie Shavers and Dizzy Gillespie) and by 1956 was oft teamed with Coleman Hawkins in a quint; their 1957 visual aspect at Newport was quite memorable. The sixties were tougher as recording opportunities and work became rarer. Eldridge had brief and unhappy stints with Count Basie's Orchestra and Ella Fitzgerald (feeling unneeded in both contexts) simply was prima his have group by the final stage of the tenner. He spent a great deal of the 1970s playing regularly at Ryan's and transcription for Pablo and, although his range had shrunk a bit, Eldridge's private-enterprise spirit was silent very much intact. Only a sober stroke in 1980 was able-bodied to stanch his horn. Roy Eldridge recorded throughout his life history for almost every label.