Computer Wallpaper Background Biography
Source(Google.com.pk)
Computer walpaper following the promotion of Gentlemen, The Whigs further expanded into the public eye. In 1996, Dulli served as executive producer for the soundtrack for the Ted Demme film Beautiful Girls. The Afghan Whigs appeared in the film as a bar band, and contributed two songs to the soundtrack: Frederick Knight’s "Be For Real" and Barry White's "Can't Get Enough of Your Love, Babe".Dulli also was the only musician other than Dave Grohl to appear on the debut album from Foo Fighters.Eventually, however, work began anew on Afghan Whigs’ fifth full-length album, which would be called Black Love upon its release in 1996. The band started writing demos in March 1995; the actual recording, meanwhile, took place in both Seattle and Memphis-based studios, and featured new drummer Paul Buchignani replacing Steve Earle. The ambitious Black Love featured Whigs’ classics like the anthemic “Faded” in a song cycle influenced by the dark themes of film noir.Although previous releases explored liquor-drenched obsession, secrets and misery, Black Love stepped into a darker, seedier and complex side of Dulli’s persona,[42] passionately taking his obsession with murder and paranoia to their logical ends.[43] Dulli himself noted that the songs had a conceptual framework that reflected the structure of a film, influenced by noir-influenced writer James Ellroy and violent neo-noir films like Blood Simple;[44] other influences included pulp fiction novels, Kenneth Anger’s Hollywood Babylon,[18] and the crime photographs of Weegee.[45] Other lyrical inspirations included the troubled life of Temptations singer David Ruffin for the song “Blame, Etc.”;[46] album opener “Crime Scene Part One,” meanwhile, was allegedly influenced by the story of then-unproduced screenplay for the film The Million Dollar Hotel.Commercially, Black Love peaked at No. 79 on The Billboard Top 200 chart. In terms of critical reception, the album also received praise for finally capturing the power of the Whigs’ live show in a studio recording;[47] its lush yet funky musicality garnered comparisons to the Rolling Stones in their 1970s-era prime[48] and standing out once again from the day’s more conventional alternative rock.[49] in its distinctive embrace of black-music idioms.[50] The Whigs promoted Black Love with extensive touring, including a jaunt of large venues opening for a Neil Young tour that also featured Jewel.[51][52In the wake of Black Love’s commercial disappointment, The Afghan Whigs claimed neglect[53] and dishonest business dealings[54] with their label, Elektra, and eventually the two parted ways, with the Whigs signing to Sony/Columbia for their next album, 1965. The unamicable parting would cause Dulli to be treated for depression,[55][56] providing subject matter for songs like “Neglekted,” which had originally been named “Sylvia” as a swipe against then-Elektra head Sylvia Rhone,[51] that would feature on the band’s next full-length effort.Recorded in New Orleans[57] at Daniel Lanois’ famed studio[53][58] after a year’s hiatus where Dulli began another project known as The Twilight Singers,[51] 1965 – named after the year both Dulli and Curley were born[57] - would end up as the final Afghan Whigs album.
Influenced again by film noir, as well as the gritty wordplay of rappers like Nas,[59] 1965 would receive positive reviews in the press,[60] praising in particular the band’s continued flair for blending soul styles with rock.[61] In addition to their own headlining dates, Afghan Whigs went on tour with Aerosmith as the classic-rock group’s opening act.[52] During the live dates for 1965, Dulli was attacked following an Austin, Texas concert date and suffered a head injury that left him in a coma; two months after Dulli’s recovery, however, Afghan Whigs returned to the road.[62]In 2001, The Afghan Whigs broke up by circulating a press release announcement[63] which was picked up by the major music press:[3] in it, the band claimed their geographic disparity and family obligations of its core made it impossible for them to create new material together. In further interviews, Dulli clarified that theirs was an amicable split, and didn’t necessarily represent an “official breakup.
Source(Google.com.pk)
Computer walpaper following the promotion of Gentlemen, The Whigs further expanded into the public eye. In 1996, Dulli served as executive producer for the soundtrack for the Ted Demme film Beautiful Girls. The Afghan Whigs appeared in the film as a bar band, and contributed two songs to the soundtrack: Frederick Knight’s "Be For Real" and Barry White's "Can't Get Enough of Your Love, Babe".Dulli also was the only musician other than Dave Grohl to appear on the debut album from Foo Fighters.Eventually, however, work began anew on Afghan Whigs’ fifth full-length album, which would be called Black Love upon its release in 1996. The band started writing demos in March 1995; the actual recording, meanwhile, took place in both Seattle and Memphis-based studios, and featured new drummer Paul Buchignani replacing Steve Earle. The ambitious Black Love featured Whigs’ classics like the anthemic “Faded” in a song cycle influenced by the dark themes of film noir.Although previous releases explored liquor-drenched obsession, secrets and misery, Black Love stepped into a darker, seedier and complex side of Dulli’s persona,[42] passionately taking his obsession with murder and paranoia to their logical ends.[43] Dulli himself noted that the songs had a conceptual framework that reflected the structure of a film, influenced by noir-influenced writer James Ellroy and violent neo-noir films like Blood Simple;[44] other influences included pulp fiction novels, Kenneth Anger’s Hollywood Babylon,[18] and the crime photographs of Weegee.[45] Other lyrical inspirations included the troubled life of Temptations singer David Ruffin for the song “Blame, Etc.”;[46] album opener “Crime Scene Part One,” meanwhile, was allegedly influenced by the story of then-unproduced screenplay for the film The Million Dollar Hotel.Commercially, Black Love peaked at No. 79 on The Billboard Top 200 chart. In terms of critical reception, the album also received praise for finally capturing the power of the Whigs’ live show in a studio recording;[47] its lush yet funky musicality garnered comparisons to the Rolling Stones in their 1970s-era prime[48] and standing out once again from the day’s more conventional alternative rock.[49] in its distinctive embrace of black-music idioms.[50] The Whigs promoted Black Love with extensive touring, including a jaunt of large venues opening for a Neil Young tour that also featured Jewel.[51][52In the wake of Black Love’s commercial disappointment, The Afghan Whigs claimed neglect[53] and dishonest business dealings[54] with their label, Elektra, and eventually the two parted ways, with the Whigs signing to Sony/Columbia for their next album, 1965. The unamicable parting would cause Dulli to be treated for depression,[55][56] providing subject matter for songs like “Neglekted,” which had originally been named “Sylvia” as a swipe against then-Elektra head Sylvia Rhone,[51] that would feature on the band’s next full-length effort.Recorded in New Orleans[57] at Daniel Lanois’ famed studio[53][58] after a year’s hiatus where Dulli began another project known as The Twilight Singers,[51] 1965 – named after the year both Dulli and Curley were born[57] - would end up as the final Afghan Whigs album.
Influenced again by film noir, as well as the gritty wordplay of rappers like Nas,[59] 1965 would receive positive reviews in the press,[60] praising in particular the band’s continued flair for blending soul styles with rock.[61] In addition to their own headlining dates, Afghan Whigs went on tour with Aerosmith as the classic-rock group’s opening act.[52] During the live dates for 1965, Dulli was attacked following an Austin, Texas concert date and suffered a head injury that left him in a coma; two months after Dulli’s recovery, however, Afghan Whigs returned to the road.[62]In 2001, The Afghan Whigs broke up by circulating a press release announcement[63] which was picked up by the major music press:[3] in it, the band claimed their geographic disparity and family obligations of its core made it impossible for them to create new material together. In further interviews, Dulli clarified that theirs was an amicable split, and didn’t necessarily represent an “official breakup.
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