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Mylo Xyloto by Coldplay best college essay help

OK, confession time: a long, long time ago, I used to listen to Coldplay (including most of the songs from this album) whenever I could. Riding in the back seat of my mom’s car and having these (at the time) delightful tunes pumped into my ears through my little blue iPod Shuffle was the literal equivalent of heaven for my 11-year old self. Now I’m older, my musical tastes have slightly (read: completely) changed, and listening to this album as a whole for the very first time, there are some problems that I have to point out:

First, the concept itself: The usual “1984”-ish scenario, it tells the story of a group of people fighting back against an oppressive dystopian government not with violence, but with love, colors, and (of course) music. Like you would know that. In fact, when I first came across that theory, the first thing that crossed my mind was “Bull. Absolutely bull. I mean, just HOW could a Coldplay album with such generic love songs that I’ve already heard a million times before have such a loaded concept under it’s belt?” There’s only one possible answer: it can’t. Yes, you read that right. It absolutely can’t. No matter HOW much Coldplay tries to sneak in less-than-subtle hints and metaphors about the crushing grip of totalitarian rule, with the possible exception of “Us Against The World” and “Major Minus”, it’s all smothered in an endless array of tasteless pop music.

Oh, and speaking of the music, while there undeniably ARE some fairly decent songs in the mix (“Hurts Like Heaven” being a good example), others suffer from a lack of invention, uninspired songwriting, and hokey, cliched music videos (which even mar the good songs). And as if THAT weren’t bad enough, we get some electronica (the Rihanna duet “Princess of China”), guitar solos (“UFO”), and even some instrumentals that are CLEARLY meant to be an “introduction” of sorts to some of the more popular songs, which include (but is most definitely not limited to) the titular track, which leads straight into “Hurts Like Heaven” and “MMIX”, which thrusts the listener into the explosive “Every Teardrop Is A Waterfall”.

So basically, if you want to hear my opinion on the album, here it is in a nutshell: I don’t really like it. But then again, I can’t exactly hate it either. As I said before, there ARE some pretty good songs on the album (“Charlie Brown” among them), but in the end, the whole “dystopian” premise is just too muddled in the album’s overall cheeriness and uplift to really amount to much. Also worth noting: this album came right on the heels of the band’s none-too-cheery (but much better) 2008 alt-rock counterpart Viva La Vida. So you can probably imagine the reaction of longtime fans who were expecting another dose of that side of the band. Needless to say, they were too horrified and enraged at the sudden genre shift to even notice the (somewhat) canny concept. Even when everything FINALLY settled down and fans actually LISTENED to the album, they were STILL too confused (like I was) to even REMOTELY get the so-called “plot” and it’s true meaning at first (or second) glance. Bottom line? If you’re a longtime fan and have already heard the songs, fine, buy it. Trust me, you won’t be disappointed. But as for me, I prefer my albums to get their point across slightly more subtly and WITHOUT all the hokey songs and videos that perpetually extinguish any potential to be a true classic. Byso desperately trying to cram all their eggs in one basket, Coldplay ultimately ends up dropping them all on the pavement.

Rachmaninov: Symphonic Dances and Stravinsky: Symphony in Three Movements by Valery Gergiev and the descriptive essay help: descriptive essay help

If it’s not a consensus that Valery Gergiev has brought new life to the British musical scene that hasn’t been seen in decades, it should be. The LSO is attaining new heights, playing on a super-virtuoso level that isn’t very far from their European rivals. Both Rachmaninov and Stravinsky are composers that seem well suited to Gergiev’s temperament. Since Gergiev’s Rachmaninov 2nd with the LSO was beyond compare, a new Rachmaninov release was cause for great anticipation from this listener.

Gergiev is often accused of being rushed and mechanical. These criticisms aren’t entirely unwarranted, but comparing his timing in the Symphonic Dances to fellow-Russian Ashkenazy’s, Gergiev is slower in every movement. Ashkenazy’s classic account is light in tone and spirit with the playing of the Concertgebouw to dazzle the listener. Gergiev takes a more deliberate approach. The crashing chords at the opening of the first movement aren’t just powerful, they’re hammer blows. But that’s not to say that his approach is a heavy-handed one. The thing that struck me that most was his ability to make the music sound fresh and effortless. These are dances and while Gergiev isn’t balletic, he finds a way to give the music a spontaneity that is apt for dance music. Ashkenazy is perhaps more danceable than Gergiev, but the latter is more dark and Russian in texture. I sense direction, a feel for the overall flow of the work. Gergiev had few peers when he took over the LSO, but he’s maturing. That is evidenced by the way he builds tension without letting go to soon, something particularly apparent at the closing of the final movement. For some, Ashkenazy’s lightness will be preferred above Gergiev’s brooding inspiration, but I think this recording is on a higher plane.

We enter a different world when we cross over into the Stravinsky. The product of a composer trying to convince the world with his newfound polytonalities, the symphony is full of jagged edges. My Rattle account with the Berlin Philharmonic was full of unrivaled playing, but Rattle tried to smooth out the work’s aggression and seemed to dawdle over every note and phrase, ultimately sounding mannered. Gergiev doesn’t match Rattle’s voicing abilities, but the absence of fussiness isn’t missed. I don’t sense that the work is being tamed; the LSO delivers even more bite than the Berliners. But Gergiev isn’t out to be menacing either. He doesn’t keep the music from sounding sarcastic and angry although I sense he’s trying to show us Stravinsky’s classicism. Some will be disappointed that Gergiev didn’t let hell break loose but he’s deeply committed. In fact, I’m not sure that jarring sounds are the main point of the symphony. Gergiev finds meaning in almost every bar, building momentum without losing the beauty of the individual moment. Ultimately this is a much more inspired reading than Rattle’s, but I wouldn’t have minded more aggressiveness.

It’s incredible to witness sensational musicians at the height of their powers. Gergiev is continuing to establish his reputation as one of the most exciting conductors alive and this disc catches him in great spirits.

Brave This Storm by Trivium english essay help: english essay help

As soon as I heard that David Draiman, the legendary ex-vocalist for Disturbed and the current front man for Device, was going to produce Trivium’s next album Vengeance Falls I did not hesitate to give it a listen. David Draiman has been singing since 1996 and has left his mark on over eight albums within that time; he has countless songs all written with immeasurable talent. With Draiman’s experience and expertise, Trivium should have the resource that they need to produce an amazing album. This was my notion when I began to search for the album. Since the CD has not yet been released, I was only able to find select songs on their YouTube channel. Their first single Brave This Storm immediately caught my attention. Not only was the name of the song enticing, but the song itself was catchy as well.

The first riff of the song is an all out adrenaline rush of thrash at neck breaking speeds. It screams “Trivium” through the heavy, but melodic spinning C# tuning of the instruments. This, thrown together with the speed at which the song is played, creates a sense of perfection. The first few seconds of the introduction are so fast that the audience almost struggles to keep up with the pace. Then the instruments slow into a more melodious symphony. Each note that is played brings along an air of richness along with a perfect blend of high and low notes. By this point, the listener is subconsciously bobbing their head to the song, enjoying the heavy, yet articulate introduction that Trivium brings to the table.

Less than a minute into the introduction, the singing begins. Instead of hearing the singing style of Matt Heafy, there is a hint of David Draiman’s vocal style. Unlike the majority of Trivium’s songs, there is a lot more singing in this piece instead of their trademark guttural screaming. The most frustrating part for the listeners is that Heafy has adopted a new way of singing from Draiman. Change is good of course, but the change that Trivium has in this song is not. It is as though Draiman has taken his unique singing styles and imposed them too heavily on the musical approach of Mathew Heafy. The band has produced five studio albums up to this point ( not counting the pendent release of Vengeance Falls) and, in many ways, they are still babies in the world of rock because they are continually changing and growing their musical styles. With Draiman’s enforcement on their latest album, the band is not able to show the full potential of what Trivium can do.

There is only one part throughout the entire song that vocally sounds like Trivium. There is a ten second line towards the end of the song that actually has the screaming that Trivium is known for. Their creativity in this song is literally compressed into a ten second interval. How is a band supposed to grow when they are limited to such an extent? It feels as though Draiman is suffocating the band by producing this album. He has traded their unique abilities for a mock version of himself. This song is not a true Trivium song, it is a David Draiman song disguised by the voice of Matt Heafy.

John Mayer essay help site:edu: essay help site:edu

Evenas we rushed to the Oakdale Theatre, knowing that we still had to find the girlwho’d sold us our tickets on eBay, we were thrilled to be on our way to thesold-out John Mayer concert.

We arrived, and though everything worked out,let me suggest that if you don’t have to resort to getting tickets on eBay,don’t. The whole process was way too stressful!

No one on the East Coasthad really heard of the opening band, Maroon 5, although they are a big hit inCalifornia. After watching them, I think their popularity here willgrow.

Mayer unexpectedly came out during one of the opening act’s songsand played with them, which was a pleasant surprise for all.

Then thelights went down except for a spotlight on a chair and microphone in the middleof the stage. Then he walked out – the 6′ 4″ Connecticut native was ready toperform for his home state.

The screams were loud as Mayer opened with”Love Soon,” followed by “No Such Thing.” The crowd went wildfor every song. At times he went off into wonderful jams that mesmerized thecrowd. He made each song special in a different way; in “Your Body is aWonderland,” he had the crowd sing along.

He also played with thelyrics; in one song he included his hometown, and dedicated a song to all hisfriends in the audience. This made the concert very special to the Connecticutcrowd.

After an hour and a half of performing, and switching guitars witheach song, Mayer began to wrap up. I knew he couldn’t leave without an encore,and he returned for four more songs before the show came to an end with “St.Patrick’s Day.”

We left in awe. From his voice to his ability to playthe guitar to his crazy facial expressions, John Mayer was the topic of ourconversation all night.

The Cranberries common app essay help: common app essay help

Like most beach-going, summer infatuated teenagers, I was not looking forward to the end of my warm-weather bliss. Nor was I ecstatic over the beginning of classes. Yet consistently through the summer I waited impatiently for September to begin. September 2, 1996 “The Cranberries” world tour finally reached Great Woods in Mansfield, Massachusetts. No other night or concert of summer ’96 could compare to that unbelievable entertainment experience. Cracker kicked off the evening in the right direction with some excellent music. The crowd immediately responded to the band’s enthusiasm and powerfully energetic tunes with its own vitality. The Cranberries opened up their night at Great Woods with “Forever Yellow Skies” off their most recent album, “To the Faithful Departed.” The night was loaded with all of the best songs this group has produced. Not one of their three albums was neglected. They covered everything possible in the given time. Dolores O’Riordan captivated the audience’s attention with her uniquely exquisite, beautiful voice. In addition to being a talented singer, guitar player, and pianist, she has some genuinely original, funky dance moves that she was not afraid to share with the world. Despite a knee brace from a recent injury, she kept the crowd on its feet and actively involved in the night’s festivities. She spread her energy and vibrancy to the crowd. The band did a wonderful job of keeping the entertainment level at its highest all evening. Like all other good things that eventually come to an end, this night did also. The band left the stage for awhile and left the crowd curious and anxious for more. After a short wait they returned for their encore performance. Great Woods in its entirety rocked to the sweet sounds of “Dreams,” one of the best songs ever written. It was the perfect ending to a perfect evening. The night that I had wished away my summer for remains the best I’ve ever had. As I sit in school these days, I remain in suspense awaiting next year’s visit from one of the best bands around. Their concerts are unlike any I have been to (and I have seen quite a few). They form a relaxed setting that allows people to be themselves. If you ever go to a Cranberries concert, you should expect to be surrounded by an extensive variety of people who share one common purpose … to jam

Vacation – Seaway english essay help online: english essay help online

Pop-punk is my favorite style of music. The power chords, the melodies, and the guitar riffs can feel fun or melancholic, depending on how the artist utilizes them. Pop-punk had its heyday in the early to mid-2000’s, with bands like Blink-182, Bowling for Soup, and Green Day, and classic songs like “All The Small Things,” “Stacy’s Mom,” and “The Middle.” Recently though, pop-punk has begun to have something of a resurgence. Bands like Neck Deep, State Champs, and The Wonder Years, may not be very well known in the mainstream, they maintain a solid, dedicated fanbase and consistently put out great pop-punk music year after year. The latest release from one of these bands, Seaway, is titled Vacation and is one of the best pop-punk albums that I have ever had the pleasure of listening to.

From the album opener, titled “Apartment,” Seaway is showing off their musical talent. The guitar riff by lead guitarist Patrick Eichinger fits the song expertly and is uniquely memorable. The standout aspect of the album and Seaway in general, for me, is lead vocalist Ryan Locke’s unique, gravelly tone of voice. It gives the songs a certain angst and ups the energy tenfold.

Another standout song is the third track, “London.” Something about the song just captivates me and gets stuck in my head. It may be the punchy chorus or the story it tells. Whatever the reason, every time that I listen to the song, I want to start it over and listen to it all over again.

One of the last songs on the record, “40 Over,” shows Seaway using a slower tempo and more emotional lyrics. This juxtaposition offers a nice reprieve from the high energy found in most of the other songs. The passion in the voices of both lead singers, Ryan Locke and Patrick Carleton, is very clear and moving. The haunting yet beautiful guitar riff that opens the track is a perfect indication of what is to come.

Vacation is a glorious 38 minutes from start to finish. Whether it be the exuberant chorus of “Car Seat Magazine,” or the summertime vibes of “Lula on the Beach,” each song on the record is sure to delight.Seaway’s instrumentation and powerful vocals are shown off in full force in one of the best pop-punk albums of all time. Vacation is a must listen for pop-punk fanatics and newcomers alike.

Jenni Rivera: La Gran Senora write essay help: write essay help

Jenni Rivera “La Misma Gran Senora” came out during 2012. for example “Ahora Resulta” “que ahora que no valgo nada para ti”she says “im nothing to you now”“Basta Ya” “ ya no tenga remedio, mi camino sera un cementerio a” “Acambio De Que”“De contrabando ” “lo que sea de vez vez en cuando pero ama me” “ of contraband, once in awhile, but love me”

“Como Tu Mujer” “ pues mira tu, la esperanza mi igual vas a ser como tu mujer” its says ”you look your self, the hope is the same for me, i am your women”the many songs that there is in the worldlike “Love Again” she goes “there is no one in this world that ever gave me such a feeling of love and affection” a song can change you mood or someone going through the same .

I love hispanic music Jenni Rivera sings force of harmony there is a lot of feeling or when someone is going through something hard they need a little lifting, it talked about how in her life she struggled being a single mom raising her kids, she was also married before and some of the songs talk about her experience in the relationships and the good and bad times she always manages to stand up. in December 9,2012 her and part of the crew members that were on the plane some how disappeared and the people were trying to find out where the plane went and it turns out that her plane crashed and there was no sight of Jenni only the remains ofclothing, and her dresses and a crushed identification card.

The Wall by Pink Floyd college essay help online: college essay help online

The man must be a genius. Roger Waters- the bass player, composer, and creative guru behind one of the most celebrated bands in history- spawned a grand idea in his introspective head which needed to be ousted for the whole world to see. Obviously the exemplary insight into the stresses and pressures of the music business, The Wall came from an idea spawned from an incident during a live show. This is where some precursor- historical context is useful. Ahem; Roger and his fellow band mates, compromising Pink Floyd (Perhaps you’ve heard of them, yes?) were touring to promote their 1977 album, Animals. A stadium of adorning fans, perhaps excessively so, were oogling over the band as they played their songs, tired and worn from the demands of a World tour. Packed to the brim, these sold out shows were testament to the popularity of the band’s work. Previous hits like The Dark Side of the Moon and Wish you were Here, both stellar albums, would earn them an A-list label. A fan in the front row of a July 6, 1977 show was so rowdy and compulsive in Roger’s presence though, that Roger was provoked to spitting on him and cursing like a pirate.

And so, Roger Waters pondered just what he was feeling which prompted him to detest playing shows. This annoyance, this utter frustration and alienation he felt towards his devoted fans was so persistent that he mused about building a wall between him and his fans to isolate himself from their antics. BUILDING A WALL. ISOLATION. This was the initial concept behind what would become Pink Floyd’s next concept album (The band is famous for their albums which explore one or many similar themes- a ‘concept album’, which are rare among popular artists today). Wow! What great potential this ‘wall’ concept had. What’s more great is the music created and live performances of the album which would ensue after the creative inception.

The Wall caresses every span of your emotional spectrum thoughtfully, with catchy rock riffs, dark atmosphere, memorable lyrics and a story to do so. Yes, a story is to be had in this fantastic album! Although initially just about Roger’s disdain towards his audience, the project soon came to incorporate other traumas- metaphorical ‘bricks’ in his wall. Now, not just the wall has purpose, but even the separate bricks which comprise the goal of its construction are meaningful. Such traumas include the loss of a father figure, an over-protective mother, abusive school teachers, failed marriages, marred perceptions of love, and others.

Although the album follows a fictional character by the name of Pink, you’d find that Pink’s circumstances are very resembling to those of Roger. -The Wall had become autobiographical! Remorseful cries to a father figure who left for the war early in Roger’s life, “Daddy, what’d you leave behind for me?!” are immediately followed by Roger’s past tense reflection of these long-lasting scars, “All in all it was just a brick in the wall”. For lyrics saturated with pathos that will touch you, what’s awesome is the dark melodies that the band’s instrumentation supplies for Waters’ tragic appeals. The guitar that David Gilmour brings to the album is top notch; with the echoes on his guitar mimicking a lonely voice in an empty world, and the now legendary solos on songs like ‘Comfortably Numb’ and ‘Another Brick in the Wall, pt. 2’. Percussion and drums are also consistently tight, with a notably superb moment at the end of the song ‘The Happiest Days of our Lives’, before it segues into ‘Another Brick in the Wall, pt. 2’. Richard Wright’s keyboard work is the foundation of songs like ‘Nobody Home’, and provides a Hammond-organ style wail in the album’s first track, ‘In the Flesh?’

With a band whose history was in concept albums, they truly made the mother of all concept albums during their work on The Wall. Disturbing, thought provoking and scary, the album is sprinkled with sound effects and uncredited voices- much like Pink Floyd’s other seminal masterwork ‘The Dark Side of the Moon’. These propel the narrative of Pink’s (Roger’s) life forward until the epic climax of the album, where the wall that Pink builds crumbles to the ground amidst the roars of his peers, “Tear down the Wall! Tear down the Wall!” It’s stirring. It’s got a very well thought out premise. And It’s a classic rock gem you are missing out on if you haven’t already heard it. Go and listen to ‘The Wall’, by Pink Floyd, today. You will find something great to appreciate in it, as I do.

Dolly Parton Rosemont, Illinois Concert Review college essay help free: college essay help free

The iconic country music singer came to Illinois Thursday for her Better Day World Tour. The tour is to promote her new album that is also titled “Better Day”. All of the songs of the album are of a positive, uplifting nature and the concert had the same feel to it.

Dolly arrived on stage right on time in a tight sequined turquoise dress singing a medley of “Light of a Clear Blue Morning”/”Walking on Sunshine” with parts of her new song “Shine Like the Sun” mixed with it. The crowd clearly adored Parton and was instantly on their feet the minute she arrived on stage. Next came “Jolene” complete with Parton on the acoustic guitar. Parton joked that she was glad we remembered her because she had been trying to forget her for years. “Better Get to Livin” was next from Parton’s last album “Backwoods Barbie”. Then Parton switched over to a bluegrass segment and had her stage crew bring out her banjo and an old time microphone. She and her band played a stellar rendition of “Dueling Banjos”. I was amazed and fascinated that Parton could play the banjo with those very long fingernails but she proved to be very adept at it. Next, Parton broke into a series of bluegrass songs that she has sung over the years including “Rocky Top”, “Help!”, “Shine”, “Mule Skinner Blues”, complete with her famous yodeling, and a very moving rendition of “Stairway to Heaven”. She told the audience that it was her husband’s favorite song but when he heard her version he thought it was sacrilege and should now be called “Stairway to Hell”. Parton then took the audience back to the hills of her Smokey Mountain home with songs like “Precious Memories”, “My Tennessee Mountain Home”, “Smokey Mountain Memories” and her signature song “Coat of Many Colors”. Throughout all these songs Parton played the autoharp, and dulcimer. Next on the list came Parton’s version of Dusty Springfield’s “Son of a Preacher Man” complete with a saxophone solo by Parton. Dolly then moved on to songs from her new album. She sang “Together You and I”, “Better Day”, complete with Parton on a gold rhinestone piano, and the duet “Holding Everything “with her producer Kent Wells. Dolly then talked about her new movie that she is staring in with Queen Latifa. Apparently Queen’s rap skills have rubbed off onto to Dolly because she broke out into a free verse rap that really wasn’t half bad. After the rap Dolly sang a few gospel numbers from the movie. Dolly’s voice was made for these types of songs and she sounded stellar on them. She even danced a little and joked that the film crew tried to teach her to dance but ended up pretty much just having to drag her around. Dolly then took a 15 minute intermission.

Right on the dot after her 15 minute break was up Parton bounded back onto the stage this time in a sparkly red sequined pantsuit. She started the second half of the show with her hit song “White Limousine” complete with Parton on the electric guitar. She then asked if there were any kids in the audience and when several yelled out she broke into the Hannah Montana theme song called “The Best of Both Worlds”. Miley Cyrus the star of Hannah Montana is Dolly’s goddaughter and Parton was on the show several times as Aunt Dolly. Dolly then went back to singing some new songs. These included “The Sacrifice” and “In the Meantime “complete with Parton doing two harmonica solos. The former was about the sacrifices Parton has had to make over the years to advance her career and the latter is about people needing to live in the here and now and to not worry too much about the future. Parton next did an a capella version of her song “Little Sparrow”. This was one of the most amazing moments of the whole show. Parton’s powerful voice resounded through the whole theatre and the audience remained so quiet that you could have heard a pin drop. Next, came Parton’s rendition of River Deep- Mountain High. She even completed the song with her own version of Tina Turner’s leg dance that wasn’t half bad and made the whole audience laugh in delight. After this Parton did a few of her most well known songs, including “Islands in the Stream”, “Here You Come Again”, and “9 to 5”, which got the whole audience on their feet clapping and dancing. For the encore came “I Will Always Love You” and “Light of a Clear Blue Morning”.

Over all the concert was spectacular. Parton’s voice has remained crystal clear, vibrant, and young sounding after all these years. Her voice never seems to change and is still powerful. Her voice is expressive at even the quietest whisper. She played a multitude of instruments and gave each and every song her all. She tells stories throughout the show and even a few jokes. She makes you feel like you’re her family and are sitting at her feet at a family gathering instead of at a concert. She still looks incredibly beautiful. You would never guess that she is 65; she looks no older than 45 or 50 and has the energy and tenacity of a 20 year old. Going to her concert was one of the greatest moments of my life and I will forever cherish the experience. If you get the chance to see Dolly live, I would truly recommend doing so. She is a true performer who knows how to work an audience and is truly a living legend or maybe even an angel among us.

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