#Corey Britz

[theadamantium]

Harri's Concert Photography // Bush // Budweiser Stage, Toronto // August 2024

www.adamrharrison.com

[ourpickwickclub]

Do you think that Corey and Kara Britz ever trade notes on GR and B? Such a small world that these siblings would each work with Blake and the Rat.

I do. And I think I have an idea how it goes since Corey and his wife have worn Blake and Gwen merch. I’m not remembering that wrong am I?

- B

[xthem4me]

A Safe Place

Album Review #15: Bush - Black And White Rainbows

Three years after Man On The Run, alternative rockers Bush return with their seventh album, and  third with their new lineup.  On Black And White Rainbows mastermind Gavin Rossdale leads the quartet through 15 songs, each one polished with fat, lush production, and each one powered by explosive choruses that feel as though the music and lyrics were plugged into a mathematical formula.  Full of grandeur, the blueprint the band works with here feels surfeit in the end.

Since Sixteen Stone (the British band’s 1994 debut), Rossdale has remained the driving force, and main songwriter.  It’s a crown he’s worn well considering that it’s his tunes that helped sell 10 million records in the United States alone.  But sales aside, the secret weapon that made older albums exciting is now evident with the release of this one.  He’s always collaborated.  Whether Steve Albini, Bob Rock, Page Hamilton (for the short lived, but great Institute), or the team of Clive Langer and Alan Winstanley (who I think brought out the best in Bush), it was these producers (though Albini prefers “recording engineer”) that added texture, and variation to each effort.  

On Rainbows Rossdale assumes all responsibility.  He’s credited as writer, producer, and even mixer.  This is clearly a personal effort.  Even without the tabloid fodder of his recent divorce from singer Gwen Stefani, the record’s lyrics and mellow vibe promulgate that this is a record about a man trying to find the color and vitality in his life.  “Mad Love,” with its double entendre title, is an infectiously great ballad, and defines the pace and mood of the album.  “I was feeling a prisoner,” Rossdale sings, and as past tense suggests, he no longer does, but I can’t help but feel that the music says otherwise.  

The band has stripped Black And White Rainbows of any abruptness, of any surprises.  Every song is boxed in by similar progressions (verse, pre chorus, chorus, rinse and repeat) that impede the expanse the band roams in.  There are moments of excitement, but they’re few and far between.  Perhaps Rossdale is a prisoner of apprehension, of what audiences have come to expect from him as an artist, and him assuming what they’d want to hear.

Inside the sleeve, even before we get any music, we get an excerpt from Thus Spoke Zarathustra, a text written by German philosopher Friedrich Nietzsche. The book deals with the concepts of eternal return, and will to power, among other heavy themes.  One would think that the soul searching quote, one that depicts “bold adventurers embarking on dreadful seas,” to paraphrase Nietzsche, would be examined profoundly, rather than executed with lines like ��hang onto yourself babe.”  And when Rossdale does escape his marital woes, he skims the surface of “people at war,” and “polar bears weeping over melting ice caps,” analyzing these social issues merely as a bystander, an announcer without rumination, without a personal point of view.    

Much like Neil Krug’s photos for this album (blurs of light and landscape, a woman’s neck and chest, obscured shots of flowers, oversaturated colors), we get snippets of goodness, snippets of depth.  Unfortunately, it never coheres.

There’s the orchestration of the Dave Stewart co-penned “Lost In You,” with its gorgeous harmonies; the alpine guitar arpeggios on the “sister rose” segment of “Nurse” helps the track soar; drummer Robin Goodridge pounding his way through the gloom of stand out track “Ravens” is visceral; the melancholic interplay between bassist Corey Britz and the ever fabulous guitarist Chris Traynor on the verses of “The Edge of Love” lifts Rossdale’s vocals.

Speaking of singing, I loved Rossdale’s instinctive surrender on the second verse of “Sky Turns Day Glo,” full of stretched notes, and gasps for air.  It’s a moment of humanity on a record that feels drained of it.  “Water” with its trip-hop groove, and chiming guitars shimmer against the “kaleidoscope of emotions,” and proves that Traynor can dredge more from sustained, harmonizing notes than the formulated staccato riffs that plague the rest of this album.  Even the verses of “The Beat of Your Heart” showcase a band in perfect synch with one another.  But then that chorus hits.  

Overall, it’s not enough.  From the awkward “Peace-s,” with its title turned into an acronym cheerleader chant, to the Rihanna tinged “Dystopia,” to the synths on “Ray of Light,” I can’t help but wonder what would happen if Rossdale stripped down the production a bit, if he took some left turns.  It’s all on point, the harmonies, the tones, but there’s no variety.  What if “Toma Mi Corazon,” was slowed to a reggae groove, something more fun to fit the sexiness of the track, and the Spanish singing, something more “beautiful and bizarre.”  Oh well.    

As Rossdale sings on “Lost In You,” ���I’ve seen the red of the sun, but it’s dull compared to what I have done,” I hope that he lives up to this line next time around.  Bush.  Thank you.   

SMOOCH-O-METER:

[thepermanentrainpress]

Gallery: Bush @ Abbotsford Centre - Abbotsford, BC Date: August 28th, 2018 Photographed by: Ray Maichin

[persistentvisionmedia]

Bush is a staple in rock and especially grunge. It’s as if they never left the scene. Going on hiatus in 2002, they reformed 8 years later in 2010. It is now another 8 years past and Bush is still on fire. Their performance at 101WKQX PIQNIQ was electric. Lead singer Gavin Rossdale ran through the far seats of the lawn mid-song sailing through half of the concert-goers. It was amazing to see a wave of phones and smiles hurl through the crowd as the band continued on with Machinehead as Gavin made his way around the stadium. Take a look through the photos of Bush’s set this past week.

Bush | 101WKQX PIQNIQ 2018 Bush is a staple in rock and especially grunge. It's as if they never left the scene.

[rockrevoltmagazine]

BUSH DO THE LITTLE THINGS TO DELIVER BIG ROCK SHOW IN BOSTON

BUSH DO THE LITTLE THINGS TO DELIVER BIG ROCK SHOW IN BOSTON

  The Boston House of Blues became the House of Rock August 11, 2017, as Beantown welcomed the Brits of Bush.  It’s the little things the quartet does that makes for a big rock show. Originally going by the name Future Primitive, Bush officially formed in 1992 after lead singer/guitarist Gavin Rossdale met guitarist Nigel Pulsford.  Rounding out the foursome was bassist Dave Parsons and drummer…

[wherewhereare]

I think some people need to take a look at other families and similar choices. For example: Corey Britz's wife and daughter spent the entire summer on the east coast with family while he was working, including a few weeks when he was actually in LA. There is also another couple I follow where the wife and 4 month old baby spent the whole summer in Greece with her family while her hubby was working his normal job in NYC. Every family is different.

yes they are.

[theadamantium]

Harri’s Concert Photography // Bush // History, Toronto // February 2023

https://www.adamrharrison.com

[ourpickwickclub]

I went to Corey Britz’s IG and saw the other day he posted a happy birthday picture for his wife and she’s wearing a Smithsworks hat in it. I just think it’s so funny and weird their connections to both GR and Blake through Kara. GR liked the post 🤪

It is a weird connection!

— M

[trastornadosrevista]

Stone Temple Pilots + Bush en el Teatro Opera: I know you like what’s on my mind

La pasada y calurosa noche de martes, el Teatro Opera Orbis vivió una noche noventosa. En el marco del Revolución Tour 2019, Stone Temple Pilots y Bush entregaron dos poderosos, refrescantes y emotivos shows, demostrando a pura distorsión y salvajismo que el rock and roll nunca debe ser dado por muerto.  

Liderados por un impecable Gavin Rossdale, a quien el paso de los años no parece afectarlo, los muchachos de Bush fueron los encargados de abrir la noche en el Teatro Opera Orbis. La mejor manera de describir a su intensa performance es calificarla como un tour de forcé ATP en el que la notoria pesadez de las guitarras se combina a la perfección con la esencia melódica que recorre cada una de sus canciones.  

Preparada originalmente para el Estadio Malvinas Argentinas, su propuesta sonó muy por encima de lo que el histórico teatro porteño estaba listo para recibir, algo que no pareció molestarle a ninguno de los asistentes. De principio a fin, todos los presentes estuvieron literalmente al borde de sus butacas –los que pudieron, claro, pegados al escenario– y disfrutaron de un viaje nostálgico que también posee un ancla muy firme en el presente.

No hay que engañarse con los chistes (malos) acerca de la muerte del viejo rock de guitarras en general: Bush se encuentra en gran forma y busca de forma consciente dialogar con el sonido de sus inicios. Montados sobre sus clásicos de siempre y su séptimo disco de estudio, Black And White Rainbows (2017), oscilaron continuamente entre el grunge y el rock alternativo, aprovechado a la perfección a Gavin Rossdale: pocos frontman tienen su nivel de hiperactividad e interactividad, quedando en claro que la edad es un mero detalle relegado al calendario.

Mientras pasaban en fila “Machinehead”, “Chemicals”, “Sound Of Winter” y “This Is War”, las mil revoluciones de Corey Britz desde el bajo y la sequedad del golpeo de Robin Goodridge fueron más que suficientes como para levantar el alma en plena era de las máquinas. Sin salir de su habitual –muy bien trabajada y ejecutada– crudeza, Bush revivió un sonido que muchos dan por muerto y demostró que todavía existe un amplio público para este tipo de experiencias.

Mientras el cantante se metía a la gente en el bolsillo de la mano de su simpático español, canciones poderosas como “Greed Fly”, “Let Yourself Go” y “Swallowed” fueron un claro ejemplo de lo que define a Bush en este momento de su larga historia. No es tarea fácil hacer de la austeridad y el juego sonoro directo una virtud; ni hablar de su plasticidad para dar un espectáculo muy vívido, uno que no muchas bandas de la actualidad pueden siquiera imitar.  

El recorrido por toda la estructura (plateas bajas y altas) del recinto, con abrazos al público incluidos, mientras cantaba “Little Things” fue, sin dudas, el punto más alto de una noche en la que Bush conquistó a la Argentina. El cover de “Come Together”, al igual que las palabras de Rossdale en modo Zen acerca de cómo la música “nos une a todos”, fue un cliché perdonable que fue remediado por la emotividad de “Glycerine” y la demolición in situ durante el cierre de la mano de “Comedown”.

La previa a la visita de Stone Temple Pilots había despertado ciertos interrogantes, siendo el más importante de ellos la capacidad de su nuevo cantante, Jeff Gutt, a la hora de ocupar el rol de una leyenda como el difunto Scott Weiland. Su más reciente disco homónimo dejó en claro que el ex cantante de la banda de NÜ Metal, Dry Cell, posee el suficiente caudal de voz como para ocupar una posición tan importante. Lo que restaba averiguar era si tenía en su sangre todo eso que conforma a un notable frontman y, también, si podía mantener sobre las tablas el equilibrio justo entre el homenaje a Weiland y el showcase de sus propias virtudes.

Dos viejos lobos de mar como Dan y Robert De Leo entendieron a la perfección como encarar la noche en el Teatro Opera. Si el Revolución Tour pedía una revuelta, Stone Temple Pilots se encargó de entregarla sin rodeos: “Wicked Garden”, “Crackerman” y “Vasoline” fueron el mascarón de proa cuando se corrió el telón, estableciendo una batalla de riffs que levantó a todos de sus asientos y los hizo entrar en el siempre atractivo y peligroso juego de seducción y fuego.

Sin utilizar el megáfono, Gutt se lució en lo vocal exhibiendo un poco menos de rasposidad y potencia que su antecesor, pero se mostró como un más que digno reemplazo. Calcando sus movimientos y su vestimenta, hubo breves momentos en los que pareció canalizar su espíritu, aprovechando los problemas técnicos en la batería de Eric Kretz durante “Silvergun” y “Big Bang Baby” para mostrar la amplitud de su rango vocal y, de paso, salvar ambas canciones con la infaltable ayuda de un paciente público.

Ese límite entre el grunge, el rock de garage y el rock alternativo es el que la banda californiana eligió transitar, pero también mostraron flexibilidad a la hora de revisitar y reformular, en clave lisérgica, la clásica balada folk norteamericana en la sinuosa “Big Empty”. Tras la ovación, se escucharon innecesarios gritos de un par de exaltados durante la novedosa introducción de “Creep”, quedando todo atrás durante una notable versión de uno de sus más grandes clásicos que encontró a Jeff Gutt a punto caramelo.

Otro juego entre el bajo y la guitarra antecedió al estallido que se vivió de la mano de “Plush”, pero con el detalle a remarcar de que toda la primera parte fue interpretada cuasi a capella por un cantante por completo suelto. Banda y fanáticos se fundieron en un abrazo simbólico, cerrando un círculo y salando ambos una herida que será eterna. Nunca mejor momento para el regreso al ruedo con la desafiante y refrescante “Meadow”, primer single de su último disco, en la que con total lógica Gutt mostró todas sus cartas y una elogiable paleta de agudos.  

El slide de “Interstate Love Song” generó la enésima explosión en un lugar que hace rato era una caja de resonancia, moviéndose todos al ritmo de una melodía tan poderosa como cálida, mientras los hermanos sonreían de cara a la multitud. Con “Roll Me Under” volvieron a mostrar que el presente es también parte de su historia: sentida, veloz y enérgica, fue lo más cercano al rock más pesado y sucio de los ’90 y tuvo a Jeff recorriendo la planta baja, interactuando constantemente con la sombra de Weiland.

Esa suciedad originaria se hizo extensiva durante “Dead And Bloated” y “Trippin’ On A Hole On A Paper Heart”, dos pruebas contundentes de que el rock no morirá nunca jamás. Nadie en la audiencia cumplió con la simpática amenaza de “sacar las butacas y hacer pogo” que había corrido por las redes sociales en los días anteriores, pero lo cierto es que los asientos sobraron y quedó sobrevolando en el aire la pregunta acerca de que hubiese sucedido en un estadio con tanta energía tanto arriba como abajo del escenario.

La despedida, junto a la promesa de volver muy pronto, fue con una ajustadísima y fina versión de “Sex Type Thing” que convirtió al Opera en una verdadera caldera. Muchos se quedaron con las ganas de escuchar varias canciones más, pero lo cierto es que en poco más de una hora, los Stone Temple Pilots recorrieron y volvieron a poner en valor su rica historia. Nadie lo niega: el fantasma de Scott Weiland siempre estará acompañando y vigilando cada uno de sus pasos, pero es claro que estos guerreros han encontrado en la versatilidad y plasticidad de Jeff Gutt la razón para decidirse a hacer las valijas, llevarse lo puesto y salir a divertirse nuevamente alrededor del mundo.

Por Rodrigo López Vázquez

Fotografía: Víctor Guagnini - Cortesía de T4F Argentina

[country-wannabe]

This is interesting probably only to me, but Kara Britz is playing a gig this weekend with her brother Corey, who also plays for Bush/Gavin. Do they talk about their respective "bosses" when they get together. If Kara was ever to go to a gig and hang out with Bush, would she avoid mentioning who she worked for? and vice versa if Corey came to a Blake show? I mean I know music is incestuous, but still.

I doubt it... I mean Kara doesn't seem to think it's awkward. She gets along with Blake and Gwen just fine. I don't think it'd be that weird to talk about. I mean at least as long as Gavin wasn't around 😂

[biriyaa]

دانلود مستند Hired Gun 2016

دانلود مستند Hired Gun 2016

دانلود فیلم Hired Gun 2016 با لینک مستقیم

دانلود فیلم مستند – کیفیت ۷۲۰ بلوری – زیرنویس فارسی

فیلمستان مرجع دانلود فیلم خارجی و جدید

منتشرکنده : فیلمستان

ژانر : مستند , موسیقی

زبان : , انگلیسی

کشور : ایالات متحده آمریکا

رده سنی :Not Rated

کارگردان : fran strine

بازیگران : corey britz , kara britz , kenny aronoff , phil buckman

دانلود فیلم بزرگسالان خـلاصــه : مستندی در رابطه با نوازندگان گذرایی…

[alexbandfan]

Local de fundação: Los Angeles, Los Angeles County, California, Estados Unidos

Formação inicial da banda: 

Alex Band (vocal)

Aaron Kamin (guitarra) 

Billy Mohler (baixo)

Sean Woolstenhulme (guitarra)

Nate Wood (bateria).

Sean Deixou a banda em junho de 2002, para tocar no Lifehouse. Dino, que tocava com a cantora Laura Dawn, entrou em seu lugar. Dino é irmão de Rick, do Lifehouse. 

Segunda formação:  

Alex Band (vocal)

Aaron Kamin (guitarra)

Billy Mohler (baixo)

Dino Meneghin (guitarra)

Nate Wood (bateria)

Billy e Nate deixaram a banda em outubro de 2002.

Terceira formação:

Alex no vocal

Daniel Damico (guitarra base)

Justin Meyer (bateria)

Justin D´errico (guitarra solo)

Corey Britz (baixo e teclado). 

The Calling foi uma banda de rock alternativo, dos Estados Unidos, formada em 2001 na Califórnia e deu o que falar. Quem vivenciou o ano de 2002 lembra deles até hoje com o mundialmente hit Wherever You Will Go.

O The Calling começou em San Fernando Valley, na Califórnia EUA, quando Aaron Kamin e Alex Band se conheceram (em 1995). Aaron namorava a irmã mais velha de Alex. 

Alex lembra: "Minha irmã finalmente disse ao Aaron, 'Você quer tocar música com meu irmão ou quer me namorar?' Bom, nós ainda estamos tocando juntos".

Com o tempo o namoro terminou, mas a amizade deles continuava, e os planos para formarem uma banda também.

Algum tempo depois, eles formaram uma banda chamada "Generation Gap" que não durou muito tempo, porque havia uma grande diferença de idade entre os integrantes e interesses diferentes também.  Os 3 eram velhos e um deles tinha até netos.  O baterista da banda, por exemplo, tinha 58 anos e o baixista 40. 

Alex lembra que eles achavam isso legal.

Para formar essa banda eles colocaram classificados nos jornais procurando baixista, guitarrista e baterista. Na época, eles tinham também um saxofonista, Benny Golbin.

Depois que Generation Gap acabou, então, Aaron e Alex continuaram investindo nesse sonho de ter uma banda. Ficaram por muito tempo escrevendo várias músicas.

"Nós nos trancamos e escrevemos mais ou menos 100 músicas. Nós sabíamos que o único jeito de ganhar o respeito das pessoas era escrever para chegar nos corações e nas mentes das pessoas", explica Aaron. 

Criaram a banda "Next Door", cujo nome não foi por acaso. Alex era vizinho de Ron Fair, um dos diretores da RCA. Aaron e Alex, então, sempre colocavam suas fitas demo na caixa de correio deste diretor.

Depois de muita insistência (por volta de 1999) eles assinaram um contrato.

Alex diz que quando enviou sua fita demo para a rádio ele e Aaron faziam vozes diferentes votando na música deles só para tocar!   

Em 2000 a banda apareceu no filme "Show Bar" (”Coyote Ugly) cantando "Wherever You Will Go", no Fiji Mermaid Club. 

Com a entrada de mais alguns músicos contratados eles formaram o The Calling e depois de 5 anos na "geladeira" lançaram o primeiro CD "Camino Palmero" com "Wherever You Will Go" como single. E a música virou um grande sucesso, e assim The Calling começou a dar entrevistas para rádios e abrir shows de alguns cantores famosos.

Outras músicas de sucesso do primeiro CD foram:  "Adrienne" e "Could It Be Any Harder".

Vale lembrar que Camino Palmero foi produzido por Marc Tanner, com oito faixas mixadas pelo legendário Chris Lord-Alge. O trabalho foi uma das maiores revelações de 2002, quando a banda The Calling saiu em turnê mundial, fazendo seus próprios shows e sendo bem aceitos. Ganharam o Prêmio de Artista Revelação no EMA e no ano seguinte o prêmio de melhor banda da rádio NJR.

Como mencionado no início desse post, Sean, Billy e Nate deixaram a banda The Calling em 2002.

Em novembro de 2003, os ex-músicos do The Calling (Nate e Billy) processaram Alex Band, Aaron Kamin e sua equipe acusando-os de má administração da banda e fraude.

Exigiram uma auditoria de todo o dinheiro gasto até então e alegaram que teriam combinado com Alex, Aaron e equipe que receberiam dinheiro de royalties, merchandise e de tours.

Contudo, Alex e Aaron reivindicaram que Nate e Billy não tinham direito a esse montante, visto que todas as músicas até então eram de autoria de Alex e Aaron.

Em 2004, Aaron e Alex, sozinhos, lançaram o novo álbum chamado "Two". No mesmo ano, Aaron deixou a parte visual da banda (sem participar de turnês), mas continuou na produção e composição de músicas.

Também fizeram sucesso com as canções "Our Lives", "Things will Go My Way" e "Anything", ainda que bem menos do que o álbum Camino Palmero.

Em 2005, Alex anunciou que faria carreira solo, deixando o The Calling parado por um tempo. Alex e Aaron fizeram um último show de despedida do The Calling em Temecula, no dia 6 de junho de 2005, antes de entrarem em hiato.

Em novembro de 2005, Alex anunciou que havia assinado um contrato (como artista de carreira solo) com Ron Fair, como parte da gravadora Geffen Records. A gravadora, no entanto, adiou o lançamento do primeiro álbum solo de Alex algumas vezes, o que o fez deixá-la em 2008.

Alex, então, criou sua própria gravadora independente, chamada AMB Records, pela qual finalmente lançou seu álbum We’ve all been there (2010) nos Estados Unidos. Ao redor do mundo, o álbum foi lançado pela EMI.

"I've been working on leaving my label for a while now, and moving to somewhere else to put this record out finally and give it the push it deserves...and I'm happy to announce that I will be putting the record out ON MY OWN! With help from good friends in the business and an amazing team, I'm putting together my own Label. This gives me the freedom to make my own decisions, to invest in myself, and to do what I want, when I want. This is the way to go these days in the music business and I am sooooooo lucky to be able to do it. There are no firm details as to when exactly the record will be released, but I am doing everything in my power to make the process as speedy as possible. I will let you all know of course as soon as I find out more.”

Entre as músicas da carreira solo, estão: Last Goodbye; Hold on to You (em homenagem a sua ex-mulher, Jennifer Sky); I'm Coming Home; Please; Tonight; The Truth e Take Hold of Me.

Em 15 de agosto de 2013, Alex apresentou a banda The Calling com novos músicos contratados. Fizeram um show em homenagem a sua volta no Bally’s Atlantic City em 17 de agosto de 2013.

No dia seguinte, Alex foi sequestrado. Os bandidos lhe roubaram e bateram nele. Um dos colegas notou o sumiço do cantor, encontrou-o tempo depois e Alex foi levado ao hospital onde foi tratado e teve alta. O episódio aconteceu em Lapeer, Michigan.

Depois de alguns shows, a banda se desfez novamente.

Em outubro e 2016, a banda The Calling apareceu com uma nova formação e fizeram um show em Manila, nas Filipinas.

Anunciaram um tour pela Austrália que, infelizmente, teve de ser adiado devido a problemas com vistos.

Em julho de 2017, The Calling anunciou que se juntaria à banda Lifehouse como suporte para a turnê australiana, durante a qual Alex anunciou que lançaria novas músicas em 2018.

Ex-“membros” (ou ex-músicos contratados) da banda

Alex Band - lead vocals, songwriter (1996-2005, 2013–present)

Aaron Kamin - lead guitar, songwriter (1996-2005)

Sean Woolstenhulme - rhythm guitar (1996-2002)

Billy Mohler - bass (1996-2002)

Nate Wood - drums (1996-2002)

Dino Meneghin - rhythm guitar (2002-2003)

Sean Kipe - lead guitar, backing vocals (2013)

Jake Fehres - bass (2013)

Art Pacheco - drums (2013)

Ex-“membros” contratados para tours

Kaveh Rastegar - bass (2004)

Corey Britz - bass (2004-2005)

Justin Derrico - rhythm guitar (2004-2005)

Justin Meyer - drums (2004-2005)

Al Berry - bass (2016)

Sobre a Banda Maybe Solitude

Antes de existir o The Calling e as demais bandas mencionadas acima (), Alex e Jethro Rothe-Kushel (produtor e melhor amigo de longa data de Alex) formaram, juntos, a banda Maybe Solitude. Naquela época Alex tinha 12 anos. Ele era responsável pela voz e Jethro ficava no teclado.

Jethro dirigiu o primeiro clipe da banda, com a música Dormant Prayer.

Quando a Maybe Solitude acabou, aí sim Alex conheceu Aaron Kamin e toda a história restante se desenrolou.

Vale lembrar que foi nessa época (da Maybe Solitude) que Alex começou a fazer pequenas representações em público. Sua primeira música apresentada publicamente foi Mocking Bird. 

Curiosidades

The Calling teve três passagens pelo Brasil: 2002, 2003, 2004.

A banda americana The Calling estourou em 2002 com o lançamento da música Wherever You Will Go, primeiro single do álbum Camino Palmero. A música chegou ao topo das paradas de sucesso do Reino Unido, Austrália e Itália. Nos Estados Unidos, ela foi a quinta música mais tocada do ano de seu lançamento e foi eleita recentemente pela revista Billboard a música pop adulta de maior sucesso na década no país.

Os singles seguintes, Adrienne e Could be any harder, não conseguiram a mesma repercussão do primeiro single, mas serviram pra mostrar que The Calling não era banda de uma música só.

Em 2003, a banda gravou For You, que fazia parte da trilha sonora do filme O Demolidor. A música foi lançada como o carro-chefe para a promoção da trilah sonora, ganhando até um clip com cenas do filme.

Os singles do segundo álbum da banda foram: Our lives, Things Will Go my Way e Anything.  

Last FM, Jovem Pan FM Santos, wikipedia sobre Alex Band e Imdb, vagalume, this blog, melodia crítica

[gailpage]

"Songs In The Key Of Soul" will be an unforgettable celebration of the music that has shaped the sound of today delivered by two of Australia's most dynamic singers, Dino Jag and Gail Page (The Voice 2015), and backed by a powerhouse group of stellar musicians. How do you truly describe Soul Music? It's more than just a sound... It's a feeling that touches your inner flame and sets your spirit free! It's a feeling that emerged from the pits of slavery with Gospel Music and evolved into Soul Music through artists such as Ray Charles, James Brown, Aretha Franklin, Stevie Wonder, Etta James and so many more. These classic artists will be honored with some of their greatest songs as will be the ones that followed such as Prince, Amy Winehouse and Michael Jackson. But that flame is still burning bright today with many current artists continuing to move and inspire such as Adele and Ed Sheerin, and 'Songs in the Key of Soul' will shine a light on them too. DINO JAG - International award-winning singer songwriter Dino Jag unleashed his ‘Breakthrough’ EP to critical acclaim in November 2016. Recorded at the legendary Sunset Sound Studios in Hollywood with Grammy Award Winning Producer Jeff Bova at the helm it featured some of the best in business, Aaron Sterling (Drums - John Mayer), Corey Britz (Bass - Bush), Tim Pierce (Guitar - Bruce Springsteen), Jeff Bova (Keyboards - Michael Jackson), Carroll Hatchet (Backing Vocals - Bette Midler) & Bernard Fowler (Backing Vocals - The Rolling Stones), which has become a major milestone in Dino’s career. “Dino Jag is about to take over your ears.” – Paste Magazine “His voice possesses a special touch, an invisible aura that pulls you into the world created by his lyrics and decorated by the music and his voice. I can only say: watch out world!” – Wolf In A Suit “Dino Jag has clearly cracked the code for pop songwriting, and he winningly replicates this formula six times over the course of the simply enjoyable Breakthrough EP.” – The Big Takeover GAIL PAGE - Winner of 3 international Chain awards, Gail has one of the most powerful voices you’ll ever hear, as became quite evident when she became a national TV success under the wing of Ricky Martin during the 2015 season of Channel 9’s The Voice. Be prepared to be moved. Gail doesn't just sing, she tells a story. And the stories are from the heart. They convey the emotions of a life's journey, messages of hope and strength and the uncanny ability to touch something inside every person that hears them. Expect at least a goose bump or two. It isn't just the clarity and power of her voice, nor simply the genuine emotion behind the songs, she's one of a kind, unique, powerful and touching. "Close your eyes and you'd swear you're in New Orleans listening to one of the greats - Nina Simone, Aretha Franklin- then again, modern comparisons bring Toni Childs to mind - but wait, now she's singing the most beautiful rendition of an Eva Cassidy song. Gail is a musical chameleon unlike any other.” – Central Coast Express

There’s a definite Nina Simone kind of lilt, though Page’s range is broader and her delivery more supple – soft and velvety one minute, dark and powerful when it needs to be and deeply imbued with the wear and tear of having lived: a real woman’s voice.” – Mark Mitchell, Drum Media THE BAND - Enrico Mick Morena (Drums), Tristan Rodda (Bass), Dave Ross (Keys), George Klironomos (Guitar) and Russell James ( Keys). "Songs In The Key Of Soul" promises to be a highly memorable evening as Dino Jag & Gail Page come together for the very first time with a powerhouse band to celebrate the music that has moved and inspired them and so many of the great artists of today. “Songs In The Key Of Soul” makes its debut during the Umbrella Winter City Sounds music festival in Adelaide on Friday 14th July at the Arkaba Hotel.

Tickets available now from Moshtix: http://bit.ly/2qJXAsl $25 (+bf) -- Earlybird (until Sun 11/6) $30 (+bf) -- Presales $35 -- At Door (if not sold out) Doors Open 7.30pm (limited seating available) 

[redstreakgirl]

I loved meeting BUSH band members Chris Traynor, Corey Britz, Gavin Rossdale, and Robin Goodridge before their Tempe concert!

[conchaps-blog]

Energetic and euphoric - Bush: ‘Black and White Rainbows’ album review

With over 10 million records sold, Bush are one of Britain’s most successful 90′s bands.

Their first two albums saw them deliver a solid, powerful grunge style, and build a strong core following.

1999′s ‘The Science of Things’ marked a move into alternative and electronic rock, but was still well-received by fans and critics alike.

However, 2001′s ‘Golden State’ performed poorly in the charts, and due to this plus a lack of support from their record label, the band disbanded in 2002.

Lead singer Gavin Rossdale and drummer Robin Goodridge were joined by bassist Corey Britz and lead guitarist Chris Traynor for the band’s re-forming in 2010.

The comeback album would come a year later, with ‘The Sea of Memories’ reaching no.18 on the US Billboard chart.

The 20th anniversary of Bush 1.0′s 6x Platinum debut ‘Sixteen Stone’ was celebrated with the release of ‘Man on the Run’ in October 2014.

Which brings us on to the third album by this second incarnation of Bush, ‘Black and White Rainbows’.

"Loud guitars, guttural vocals, stop-start rhythms, and extreme dynamics," @bushofficial 7/7! @allmusic OnSale https://t.co/XIcX53F78I pic.twitter.com/iIZGEhYUE6

— Belly Up Aspen (@BellyUpAspen)

23 March 2017

One of the immediate things to stand out is the energy throughout the whole album - the band produce some quality melodies, and Rossdale’s vocals are powerful and emphatic.

The album opens with lead single ‘Mad Love’, which has been speculated to be referring to Rossdale’s ex-wife Gwen Stefani. Regardless of whether it is or not, what cannot be questioned is that it is a phenomenal song.

Opening with a catchy riff, it immediately draws your attention - add a sing-along chorus and some emotive, passionate vocals and you’ve got a real gem.

‘Peace-S’  also opens with a catchy riff - before breaking down to a jagged, angsty track. Rossdale calls on us to ‘hold on to your innocence, hold on to your soul’. The bridge and Traynor’s solo are welcome additions to a solid effort.

‘One of the most immediate things to stand out is the energy throughout the album’

‘Water’ begins with the lyrics ‘I will always be yours, you stole my heart some time ago’ - the consequences of his broken marriage can be quite easily read into through the lyrics here. It’s not the best song on the album, but it’s not unpleasant.

‘Lost in You’ is a heartfelt ballad-type track, with terrific vocals married with an excellent melody led by Goodridge’s drums. Definitely one of the strongest tracks on the album, and some powerful lyrics too.

‘Sky Turns Day Glo’ is one of the album’s highlights - with a euphoric, if lyrically full of holes, chorus. The vocals are brimming with passion and testosterone, and the verses contain some excellent lyrics such as ‘Don’t turn your back on me, these are delicate days’.

10 days later and I STILL have #blackandwhiterainbows on continuous replay.. #cantstopwontstop 😁💕@GavinRossdale @bushofficial @CT3GUITAR

— Alicia Mc (@dottie2881)

20 March 2017

There’s a bit of culture added to the mix as the band go Spanish (well a little bit) for ‘Toma Mi Corazon’. Rossdale’s distorted vocals work really well with the techno-inflected melody and the chorus is very strong indeed.

‘All the Worlds Within You’  sees Rossdale at his most contemplative, with lyrics such as ‘I’ve turned myself into someone, I should have been all along’. However, the energy remains as the band deliver a slick backdrop to the 51-year old frontman.

‘Nurse’ begins with a harder rockier melody, but this is a red herring as it’s one of the calmer songs on the album. The lyrics are very good, but it just lacks that special something, and next to the other tracks on this album it is poor.

‘All the Worlds’ sees Rossdale at his most contemplative’

‘The Beat of Your Heart’ is another moody, contemplative track but with an excellent, upbeat melody. The lyrics are decent, but no more than that. A solid track overall.

‘Dystopia’ is a just-under three minute track that really sees the band turn up the techno, to great effort. Rossdale’s vocals flow brilliantly over the electro beats and the backing vocals from Britz in the chorus are excellent. The lyrics are arguably the best on the entire album - excellent and infectious.

The techno train continues on ‘Ray of Light’, another ear-worm. The lyrics are decidedly average, with references to ‘candy’ and ‘lipstick face’. But the vocals are excellent again, especially in the uplifting chorus.

‘Ravens’ is a real dud, just a slow, meandering song. The only real disappointing song on the album. Not a lot to say on this one.

‘Nothing But A Car Chase’ sees the mood turn darker and reflective once more, with Rossdale providing a detached, jarring vocal. Lyrics are solid, as is the melody.

‘The techno train continues on ‘Ray of Light’, another ear-worm’

‘The Edge of Love’ is an acoustic-led track, which unfortunately falls a bit flat. The lyrics are decent but the overall song lacks the punch and ‘hook’ of the other tracks.

‘People At War’ is a five and a half minute reflection of the world outlook at present - it’s a solid song, and a good closer to a very solid album. Rossdale’s vocals are calm and considered, and well delivered, and the lyrics are thought-provoking and raw.

Check out the official video for ‘Mad Love’ below: (All copyrights owned by the band and related parties)