Atm 2003 12 (armadni Technicky Magazin)

Acoustic Samurai is an acoustic live solo album by Paul Gilbert, guitarist of the heavy metal band Racer X and of the hard rock band Mr. Big. It was recorded live in Tokyo's Hard Rock Cafe and released in 2003.

Unfathomable, unimaginable and infinite: the creation of the universe and will remain an eternal mystery to the story told by every culture on earth their own myths. To say this issue has the production team Avenue, Giorgio and Martin Koppehele with "Child Of The Universe" again created a concept work that is musically and visually an organic unity and takes the audience on a fantastic journey across the cosmos of the universe.

The band Steely Dan - in essence the musicianship and songwriting team of Walter Becker and Donald Fagen - has long divided the critics : some have marvelled at a highly imaginative blend of intelligent, "literary" lyrics and a carefully crafted influence of jazz and Latin rhythms within the rock template, whilst others have detected a certain coldness in the work, due perhaps to over-elaboration and perfectionism. Of course, deciding to name your b.nd after a dildo in William Burroughs's cult novel Th Naked Lunch will invite criticism , but none of those who questioned Steely Dan's Status at the top of the tree of 70s rock could ever seriously dispute the immaculate execution of their vision.

It's more mixing of stylized punk revival and hybridism with left-field musical experimentation and in-the-now pop culture lyrical references on Splinter, the Offspring's seventh full-length. "Never Gonna Find Me," "Long Way Home," and "Lightning Rod" each bristle with overdriven guitars and Dexter Holland's high-pitched bleating; they're somewhat workmanlike, but still roil with that precision fury particular to a veteran band. At the same time, Holland, guitarist Noodles, and bassist Greg Kriesel can't resist returning to the towel-slapping trash humor and mean-spirited loathing that typified past tracks like "Pretty Fly (For a White Guy)" and "Self Esteem." Lead single "Hit That" talks up baby daddies over a bopping bassline and keyboard right out of a Bloodhound Gang track, while "Spare Me the Details" subverts its lighthearted acoustic strum with foul-mouthed (on the clean version, anyway) attacks on a philandering girlfriend ("I'm not the one who acted like a ho"). "Da Hui" overdrives surf rock while paying homage to hardcore Hawaiian board riders, and "When You're in Prison" ends Splinter with sage advice about protecting your dignity in the clink.

Although it kicks off with the first (and only) song John Hammond has ever written, Ready for Love is a worthy and unusually varied follow-up to the surprise success of 2001's Wicked Grin. It would have been easy and possibly expected for Hammond to churn out another album of Tom Waits songs to capitalize on the unanticipated momentum created by Wicked Grin. After all, at age 60, considering he's been chipping away at his craft for the past 40 years, Hammond has certainly earned the right to coast on some better-late-than-never success. And the Waits catalog is bursting with plenty more gems perfect for the singer/guitarist to wrap his throaty, emotional blues voice around.

It's more mixing of stylized punk revival and hybridism with left-field musical experimentation and in-the-now pop culture lyrical references on Splinter, the Offspring's seventh full-length. "Never Gonna Find Me," "Long Way Home," and "Lightning Rod" each bristle with overdriven guitars and Dexter Holland's high-pitched bleating; they're somewhat workmanlike, but still roil with that precision fury particular to a veteran band. At the same time, Holland, guitarist Noodles, and bassist Greg Kriesel can't resist returning to the towel-slapping trash humor and mean-spirited loathing that typified past tracks like "Pretty Fly (For a White Guy)" and "Self Esteem." Lead single "Hit That" talks up baby daddies over a bopping bassline and keyboard right out of a Bloodhound Gang track, while "Spare Me the Details" subverts its lighthearted acoustic strum with foul-mouthed (on the clean version, anyway) attacks on a philandering girlfriend ("I'm not the one who acted like a ho"). "Da Hui" overdrives surf rock while paying homage to hardcore Hawaiian board riders, and "When You're in Prison" ends Splinter with sage advice about protecting your dignity in the clink.

Although he took a pop-metal detour during the '80s, guitarist Gary Moore was always a blues-rock guitarist at heart. After all, his chief instrument throughout his career has been a Les Paul that once belonged to Fleetwood Mac's Peter Green, and he played on the original version of Thin Lizzy's slow-burning bluesy tour de force "Still in Love With You." By the dawn of the '90s, Moore had grown tired of trying to keep pace with the Def Leppards of the rock world, and returned to his original love. The move paid off immediately for Moore, as 1990's Still Got the Blues was a worldwide hit, and as a result, the guitarist continued with this direction for much of the decade. The 2003 12-track compilation Blues Collection is true to its title, as it includes the cream of this aforementioned rootsy era.

It's more mixing of stylized punk revival and hybridism with left-field musical experimentation and in-the-now pop culture lyrical references on Splinter, the Offspring's seventh full-length. "Never Gonna Find Me," "Long Way Home," and "Lightning Rod" each bristle with overdriven guitars and Dexter Holland's high-pitched bleating; they're somewhat workmanlike, but still roil with that precision fury particular to a veteran band. At the same time, Holland, guitarist Noodles, and bassist Greg Kriesel can't resist returning to the towel-slapping trash humor and mean-spirited loathing that typified past tracks like "Pretty Fly (For a White Guy)" and "Self Esteem." Lead single "Hit That" talks up baby daddies over a bopping bassline and keyboard right out of a Bloodhound Gang track, while "Spare Me the Details" subverts its lighthearted acoustic strum with foul-mouthed (on the clean version, anyway) attacks on a philandering girlfriend ("I'm not the one who acted like a ho"). "Da Hui" overdrives surf rock while paying homage to hardcore Hawaiian board riders, and "When You're in Prison" ends Splinter with sage advice about protecting your dignity in the clink.