Bic Runga--Beautiful Collision (2002)

Bic Runga is one of my favourite singers. Today I bought all her 3 albums and decided to share with you. Her music is really amazing and fabulous, although covers of these albums are not very good-looking.

Artist-Bic Runga
Album-Beautiful Collision
Release Date-Aug 27, 2002
Label-Sony International
Genre/Style-Singer/ Songwriter Adult Alternative Pop/ Rock
Format-Mp3
Size-102M
Quality-320kbps

Biography-by Jason Ankeny & Joslyn Layne A superstar in her native New Zealand while still in her teens, singer/songwriter Bic Runga was born in Christchurch in 1976; the product of a musical family — her mother was a Malaysian nightclub performer during the 1960s — she began playing the drums at the age of 11, and within a few years was also singing with local jazz groups. Upon learning guitar and keyboards, Runga began composing her first songs, and in 1994 she relocated to Auckland to pursue a professional music career. In 1995, aged 19, she made her Sony label debut with the single "Drive," which rocketed into the Top Ten on the New Zealand pop charts and garnered her the prestigious 1996 Silver Scroll award, an honor given for excellence in songwriting. After touring in support of Neil and Tim Finn, Runga issued a follow-up single, "Bursting Through," followed in 1997 by the Top Ten smash "Sway." Her self-produced debut LP Drive appeared later that same year and garnered New Zealand's top music awards. In the late '90s, Bic Runga spent some time based in New York City, where she began writing songs for her follow-up album. She continued to work on new songs after returning to New Zealand, and embarked on a NZ tour with Tim Finn and Dave Dobbyn in August and September 2000, resulting in the 2001 release Together in Concert: Live. Runga's Beautiful Collision hit stores in 2002; it was released internationally, and went 4x platinum in New Zealand, inspiring a re-release with a bonus disc the following year. 2003 also saw Runga found the record label Nu Shoo before kicking off another tour.

Official Site-http://www.bicrunga.com/

AllMusic Rating-90(Out 0f 100)
Amazon.com Rating-90
Personal Rating-Recommended!

Review-(By a consumer in Amazon.com)No matter what Bic Runga records from here onward, she'll probably always be associated with SWAY, one of those rare, perfect pop music moments--not bad results considering it came from her very first album (which is recommended). Yet Bic avoids sophomore jinx on BEAUTIFUL COLLISION with plenty of room to spare. Not to take anything away from her last album, but she has made great strides towards a more unified musical approach. Bic's growth as a songwriter shows up in virtually all of the songs here. The tunes grab you on the first listen, and don't let go with repeat hearings. A crucial factor in getting her songs across is Bic's flexible voice...very attractive and perfect for the quality lyrics. The music is more consistently reflective than before, favoring acoustic guitars rather than the occasionally amped-up tunes on her last album. BEAUTIFUL COLLISION certainly deserves the attention of anyone looking to see the singer/songwriter tradition pushed forward.

Product-
http://www.amazon.com/exec/obidos/ASIN/B0000AZKDI/onmeta2-20/ref=nosim
Download-
http://uploaded.to/?id=9e1ae6
or
http://www.filecoast.com/?pg=file&c1=2319137472&c2=UgpUPwM6

Bic Runga--Birds (2005)

Artist-Bic Runga
Album-Birds
Release Date-Dec 5, 2005
Label-BMG International
Genre/Style-Adult Alternative Pop/ Rock
Format-mp3
Size-102M
Quality-320kbps

Personal Rating-Recommended!

Review-Special Australian Tour Edition Of New Zealand Siren, Bic Runga's third album Birds. Includes a bonus five-track Live CD recorded on her tour of New Zealand in late 2005. Tracks on the bonus disc, 'Birds', 'Blue Blue Heart', 'Ruby Nights', 'Listen' and 'The Be All and End All'. Birds is a superb distillation of Bic Runga's incredible songwriting talent and her firm grasp on the universal language of romance. Undercurrents of subtle melancholy in songs like the breathtaking and spacious 'Captured' and 'Say After Me' flow through to uplifting notes of hope in first single 'Winning Arrow' and 'If I Had You'. Taking the role of album producer herself, Bic convened her band that included Neil Finn (Piano and Guitar) in Auckland's Monte Cecilia House in August 2005. Built in 1879, with wonderfully detailed architecture complete with parquet floors, elaborate ceiling roses, marble fireplaces and four-storeyed tower overlooking a wooded park. Bic's approach for the album harked back to jazz recordings of the 50s and beyond and the timeless pop recordings from before single instrument track-laying became the norm in the 1970s. There is a natural intimacy between instruments and voices playing live in the same room. By the time an eight piece string section and further instrumentation including French horn, flute, harp and clarinet had been added, the intricate arrangements and richly textured songs took shape. Sony. 2005.

Product-
http://www.amazon.com/exec/obidos/ASIN/B000ERU2UC/onmeta2-20/ref=nosim
Download-
http://www.filecoast.com/?pg=file&c1=2319136530&c2=et43BU7s
or
http://rapidshare.de/files/34920378/Birds.zip

Bic Runga--Drive (1998)

Artist-Bic Runga
Album-Drive

Release Date-Jul 21, 1998
Label-Sony
Genre/Style-Adult Alternative Pop/ Rock Singer/ Songwriter
Format-mp3
Size-95M
Quality-320kbps

AllMusic Rating-90(Out 0f 100)
Amazon.com Rating-90
Personal Rating-Recommended!

Review-by Tom Demalon New Zealand export Bic Runga not only wrote everything on her debut, Drive, but also played guitar and xylophone, and even served as producer. The result is a lovely first effort that hints at greater things to come. Using her engaging, childlike voice to full effect, Runga mostly ruminates on love lost and found, all within the confines of intelligent adult alternative pop. The arrangements are often sparse, as on "Drive," the violin-laced "Bursting Through," and "Suddenly Strange." She changes the pace a bit on the hypnotic "Swim," with Andrew Thorne adding some edgy guitar, and the country-tinged "Roll Into One," a plea for a lover to make his move.

Product-http://www.amazon.com/gp/explorer/B000009CZJ/2/ref=pd_lpo_ase/102-9499870-0464123?
Download-
http://rapidshare.de/files/34919628/Drive.zip
or
http://uploaded.to/?id=0c1409

Diana Krall--From This Moment On (New!)

Artist-Diana Krall
Album-From This Moment On
Release Date-Sep 19, 2006
Label-Verve
Genre/Style-Jazz/Swing/Standards/Popular Music Entry/Vocal Jazz
Format-mp3
Size-131M
Quality-320kbps

AllMusic Rating-80(Out 0f 100)
Amazon.com Rating-70

Review-Returning to the large ensemble sound of her 2005 success, Christmas Songs, pianist/vocalist Diana Krall delivers a superb performance on 2006's From This Moment On. Although having received a largely positive critical response for her creative departure into original singer/songwriter jazz material on 2004's The Girl in the Other Room, here listeners find Krall diving headlong into the Great American Songbook that has long been her bread and butter. While she's always been a pleasant presence on album, Krall has developed from a talented pianist who can sing nicely into an engaging, classy, and sultry vocalist with tastefully deft improvisational chops. But it's not just that her phrasing and tone are well-schooled. Having long drawn comparisons to such iconic and icy jazz singers as Julie London and Peggy Lee, Krall truly earns such high praise here. In fact, tracks like "Willow Weep for Me" and "Little Girl Blue" are drawn with such virtuosic melancholy by Krall as to be far and away some of the best ballads she's put to record. Similarly impressive big swing numbers like "Come Dance with Me" showcase her muscular rhythmic chops both vocally and on the keys. Backing her here is the always wonderful Clayton-Hamilton Jazz Orchestra, featuring some punchy and solid solo spots by trumpeter Terell Stafford, as well as the rhythm section talents of guitarist Anthony Wilson, bassist Robert Hurst, and drummer Jeff Hamilton.

Product-http://www.amazon.com/This-Moment-Diana-Krall/dp/B000GG4KTU/ref=pd_sxp_f_pt/102-9499870-0464123?ie=UTF8
Download-Download links in comments.

World Top50 Albums Chart (Sep 11-Sep 17)

I update World Top50 Albums sales Chart every week.
The chart is based on albums sales condition in 38 countries, but it's not official.

World Top50 Albums Chart (Sep 11-Sep 17)
You can download this week's chart here-
File Format-Word
Size-107k
http://www.live-share.com/files/45587/World_Charts_11.09.2006_-_17.09.2006.doc.html

Yo La Tengo--I Am Not Afraid of You and I Will Beat Your Ass (2006)

Artist-Yo La Tengo
Album-I Am Not Afraid of You and I Will Beat Your Ass

Release Date-Sep 12, 2006
Label-Matador
Genre/Style-Alternative Pop/ Rock Indie Rock
Format-mp3
Size-111M
Quality-HQ

Biography and Official Site-http://www.yolatengo.com/

Entertainment Weekly Rating-100(Out 0f 100)
Pitchfork Rating-83
Prefix Magazine Rating-80
AllMusic Rating-80
Slant Magazine Rating-70

Review-After the elegant, introspective romantic narratives of And Then Nothing Turned Itself Inside-Out and the beautifully crafted but restrained pop textures of Summer Sun, it was hard not to wonder if Yo La Tengo was ever going to turn up the amps and let Ira Kaplan go nuts on guitar again, and for more than a few fans "Pass the Hatchet, I Think I'm Goodkind," the opening cut from YLT's 2006 album I Am Not Afraid of You and I Will Beat Your Ass, will feel like the reassuring sound of a homecoming — ten minutes of noisy six-string freak-out, with James McNew's thick, malleable basslines and Georgia Hubley's simple but subtly funky drumming providing a rock-solid framework for Kaplan's enthusiastic fret abuse. After the thematic and sonic consistency of their previous two major albums, I Am Not Afraid marks a return to the joyous eclecticism of 1997's I Can Hear the Heart Beating as One, though nearly ten years down the road Yo La Tengo sounds noticeably more confident in their embrace of different styles and less hesitant in their technique on this album — even Kaplan's gloriously unkempt guitar solos start to suggest a certain degree of well-earned professionalism. The songs also sound a shade less playful and more disciplined, though the group's ability to bring their distinct personality to so many different styles attests to their continuing love of this music and the quiet strength of their vision — the neo-Byrds-ian psychedelia of "The Race Is on Again," the homey horn-punctuated pop of "Beanbag Chair," the plaintive folk-rock on "Black Flowers," the aggressive Farfisa-fueled minimalisms of "The Room Got Heavy," and "Daphina," which suggests a John Fahey track transcribed to piano and then used as the root for a eight-minute exercise in low-key atmospherics, all function on a different level and each one satisfies. What's both engaging and impressive about I Am Not Afraid of You and I Will Beat Your Ass is that, as usual, these 15 songs always end up sounding like Yo La Tengo, whether they're upbeat guitar pop or dense loop-based drones, and if there's a bit less childlike élan here than in the past, there's also an intelligence and joy that confirms Yo La Tengo is still one of the great treasures of American indie rock, and they haven't run out of ideas or the desire to make them flesh in the studio just yet.

Chart Information-
Year Album Chart Peak
2006 I Am Not Afraid Of You And I Will Beat Your Ass The Billboard 200 66
2006 I Am Not Afraid Of You And I Will Beat Your Ass Top Independent Albums 3

Product-
http://www.amazon.com/exec/obidos/ASIN/B000GUK0HM/onmeta2-20/ref=nosim
Download-Two download links in comments!

Get Cape. Wear Cape. Fly--Chronicles of a Bohemian Teenager (2006)

Artist-Get Cape. Wear Cape. Fly
Album-Chronicles of a Bohemian Teenager
Release Date-Sep 13, 2006
Label-WEA
Genre/Style-Acoustic / Electronica / Indie
Format-Mp3
Size-91M
Quality-320kbps

Biography and Official Site-http://www.myspace.com/getcapewearcapefly

Review-Debut album from this exceptional singer/songwriter and Modern Folk artist who mixes acoustic guitars with just enough electronics to create a unique sound. Features the single tracks 'Call Me Ishmael', 'I Spy' and 'Chronicles Of A Bohemian Teenager Part One'. Atlantic.

Product-http://www.amazon.com/Chronicles-Bohemian-Teenager-Cape-Wear/dp/B000H30938/sr=8-1/qid=1159388965/ref=pd_bbs_1/102-9499870-0464123?ie=UTF8&s=music
Download-Two download links in comments!

The Click Five--Greetings from Imrie House (2005)

Artist-The Click Five
Album-Greetings from Imrie House

Release Date-Aug 16, 2005
Label-Lava
Genre/Style-Pop Underground/Teen Pop/Punk-Pop
Format-mp3
Size-68M
Quality-HQ

Biography and Official Site-http://www.theclickfive.com/

AllMusic Rating-70(Out 0f 100)
Amazon.com Rating-70(Out of 100)
Personal Rating-

Review-After selling 10,000 copies of its debut EP on the road as opener for disposable pop chanteuse Ashlee Simpson, Boston's Click Five brings forth its own recipe of hookified pop with Greetings From Imrie House. Claiming to draw from Cheap Trick and Matthew Sweet, a listen to the band's song cycle actually finds them closer to a hybrid of slick popsters the Calling and the much more credible Fountains of Wayne. Once learning that the band's first single "Just the Girl" was penned by the latter's Adam Schlesinger — who also wrote the album's other hit-contender, "I'll Take My Chances" — it all makes sense. Although this suit-clad group has a radio-ready, '80s-inspired sound thanks to producer Mike Denneen (Fountains of Wayne, Aimee Mann) that also recalls the Cars', much in part to guitar assistance in the studio from that band's axe-master Elliot Easton, the band still feels far more disposable than the Knack did back in 1979. That's not to say strong, punchy rockers like "Pop Princess" won't reap them instant acclaim.

Chart Information-
Year Album Chart Peak
2005 Greetings From Imrie House The Billboard 200 15
2005 Greetings From Imrie House Top Internet Albums 15

Product-
http://www.amazon.com/gp/explorer/B0009WFF6I/2/ref=pd_lpo_ase/102-9499870-0464123?
Download-Two download links in comments!

Jars Of Clay--Good Monsters (2006)

Artist-Jars Of Clay
Album-Good Monsters
Release Date-September 5, 2006
Label-Essential/Jive
Genre/Style-Gospel/CCM Adult Alternative Pop/ Rock
Format-mp3
Size-79M
Quality-HQ

Biography and Official Site-http://www.jarsofclay.com/main/

Review-by Jared Johnson The evolution to a pure rock sound on Jars of Clay's seventh studio album, Good Monsters, is not a far cry from traces of alternative rock that surface on nearly all of their recordings in one degree or another. Fans accurately predicted a return to a harder-edged rock outing after the band's three previous efforts — 2003's Furthermore and Who We Are Instead, as well as 2005's Redemption Songs — leaned primarily toward a stripped-down folk sound. Monsters stretches the four-piece band past any set of expectations and results in its boldest effort to date. Known for introspection and openness, their lyrics this time around offer no singular message other than an unapologetic admittance that they don't have all the answers. Songs bounce from haunting to lilting, pensive to provoking, ultimately creating a set list that is cohesive only in its self-examination. Among the many standouts, the jarring opener, "Work," manifests within seconds that acoustic guitars have been set aside in lieu of a more raw, glaring sound. "Dead Man (Carry Me)" gets going with a jangly guitar riff and heavy beats resembling secular contemporaries the Killers. "There Is a River" finds its place among the band's greatest, taking an Americana drive à la Counting Crows' "Mrs. Potter's Lullaby" or Ingram Hill's "The Captain." "Mirrors & Smoke" features a duet between lead vocalist Dan Haseltine and ex-Sixpence None the Richer frontwoman Leigh Nash. The bandmembers continue to bear sonic ode to Toad the Wet Sprocket and U2 on this record, but they draw upon enough of their own trademark sound that only isolated moments would evoke comparisons to the latter's mid-decade classic How to Dismantle an Atomic Bomb. Good Monsters doesn't aim for arena rock, but it remains well-crafted and vulnerable at the core. Jars of Clay bear the cross of being compared to their self-titled debut with every following record. Good Monsters is a departure from that debut, but assuredly a welcome one that yet again demonstrates the band's depth and talent.

Chart Information-
Year Album Chart Peak
2006 Good Monsters The Billboard 200 58
2006 Good Monsters Top Christian Albums 3
2006 Good Monsters Top Independent Albums 2

Product-
http://www.amazon.com/exec/obidos/ASIN/B000H7JCM8/onmeta2-20/ref=nosim
Download-Download links in comments!

Jars Of Clay--Redemption Songs (2005)

Artist-Jars Of Clay
Album-Redemption Songs
Release Date-Mar 22, 2005
Label-Essential/Jive
Genre/Style-Gospel/CCM Adult Alternative Pop/ Rock
Format-mp3
Size-80M
Quality-HQ

Biography and Official Site-http://www.jarsofclay.com/main/

Chart Information-
Year Album Chart Peak
2005 Redemption Songs The Billboard 200 71
2005 Redemption Songs Top Christian Albums 1
2006 Redemption Songs Top Christian Albums 1

Product-
http://www.amazon.com/exec/obidos/ASIN/B0007TFHHA/onmeta2-20/ref=nosim
Download-Download links in comments!

Jars Of Clay--Jars Of Clay (1995)

Artist-Jars Of Clay
Album-Jars Of Clay
Release Date-Oct 24, 1995
Label-Essential/Jive
Genre/Style-Gospel/CCM Adult Alternative Pop/ Rock
Format-mp3
Size-60M
Quality-128Kbps

Personal Rating-Recommended!

Biography-http://www.jarsofclay.com/main/
Official Site-http://www.jarsofclay.com/main/

Review-by James Chrispell Jars of Clay manage to put a bit of spirit into their rock & roll. But the spirit isn't one of deceased loved ones or demons, but of religious enlightenment. This album revolves around the band's Christian beliefs, but never comes off as preachy or judgmental. It includes the hit "Flood" and also covers such topics as child abuse and the manipulation of modern man. Produced with the help of Adrian Belew, this album shines.

Chart Information-
Year Album Chart Peak
1995 Jars of Clay Heatseekers 1
1995 Jars of Clay The Billboard 200 46
1995 Jars of Clay Top Contemporary Christian 1
1995 Jars of Clay Top Contemporary Christian 2

Product-
http://www.amazon.com/exec/obidos/ASIN/B00000053E/onmeta2-20/ref=nosim
Download-Download links in comments!

Mario Vazquez--Mario Vazquez (New!)

Artist-Mario Vazquez
Album-Mario Vazquez
Release Date-Contemporary R&B
Label-AristaGenre/Style-Contemporary R&B
Format-mp3
Size-75M
Quality-HQ

Biography-by Marisa Brown Born and raised in the Bronx, Mario Vazquez made news in 2005 gossip circles when he left the television show American Idol for undisclosed "personal reasons" just after making it into the final 12. However, the day after the winner, Carrie Underwood, was announced, Vazquez found himself in Clive Davis' studios, auditioning for the label head. Davis was impressed, and signed the young singer to a record deal, the first young male Latin artist on Arista. In the spring of 2006 Vazquez's first single, "Gallery" (with an accompanying Spanglish version), was released, followed by a full-length album later in the summer of the same year.

Product-http://www.cduniverse.com/productinfo.asp?PID=7255335&style=music&frm=lk_RedRover&siteid=4
Download-Download links in comments.

(The file is uploaded by myself . Please download it as soon as possible. Don't forget to help me to click the advertisement above. )

The Veils--Nux Vomica (New!)

Artist-The Veils
Album-Nux Vomica
Release Date-Sep 14, 2006
Label-Rough Trade
Genre/Style-Alternative Pop/ Rock Indie Rock
Format-mp3
Size-102M
Quality-320kbps

Biography-by MacKenzie Wilson

As the son of keyboardist Barry Andrews (XTC, Shriekback), the Veils' Finn Andrews knew nothing else except a world full of music and art. He had plans to become a painter as a young lad; however, a move to his grandmother's abode in Devonport, New Zealand (near Auckland) with his mother pointed Andrews in a different direction during his teenage years. He frequented the local folk scene to escape the ho-hum of country living. Once consumed with his father's electronic work from the 1980s, Andrews was now interested in Patti Smith, Bob Dylan, and Tom Waits. In 2001, Andrews (vocals/guitar), then 18, returned to London. He befriended Ben Woollacott (drums), Adam Kinsella (bass), and Oliver Drake (guitar), and in a few months time the Veils were born. By fall, Rough Trade's Geoff Travis signed the foursome to the Blanco y Negro imprint, and immediately the Veils began working on their first album. They issued the single "Guiding Light" in 2002; however, contractual disparities and artistic differences with Blanco y Negro turned into a two-year battle until Travis signed the Veils to Rough Trade proper in mid-2003. Luckily, the Veils were able to keep songs recorded during that time. A second single, the lovelorn "Lavinia," was well received at indie rock radio in the U.K.. Shared dates with the Raveonettes, Beth Orton, and British Sea Power preceded the spring 2004 release of the Veils' debut, The Runaway Found. The album had only been out two months when Andrews announced the departure of Woollacott, Kinsella, and Drake. In late June 2004, Andrews explained via The Veils' website (http://www.theveils.com/) that a second album was already in the works, but that the original members would not be involved.

Product-http://www.amazon.com/Nux-Vomica-Veils/dp/B000H0MJES/sr=8-2/qid=1159209616/ref=pd_bbs_2/102-9499870-0464123?ie=UTF8&s=music
Download-
http://www.filesend.net/download.php?f=ecc0f8873d57ddbd93c20b31161b7888

(The file is uploaded by myself . Please download it as soon as possible.)

By the way, I add new download links for Akon's new album----Konvicted, Jay-Z and Shawn Colvin's new albums.
If you don't like me, Why not go away and leave me alone? Dare you say you never download even an album from here or internet? Take back your hypocrisy and go out from my site! I promise to find you out and block your IP forever by all means if you ruin my download links once more.

Guster--Goldfly (1997)

Artist-Guster
Album-Goldfly
Release Date-Mar 4, 1997
Label-Aware
Genre/Style-Alternative Pop/ Rock
Format-mp3
Size-40M
Quality-128Kbps

Personal Rating-Guster is one of my favourite bands(Maybe this isn't their best album). I will upload their other 3 albums recently.

Biography-Guster became one of the most successful bands to hit the East Coast scene in the late '90s. Through relentless touring and humorous stage banter with the crowd, the band developed a strong, grassroots fan base that spread rapidly with a strong presence on the Internet. The Boston trio developed a unique sound with two acoustic guitars and a bongo set, successfully defying the typical industry pigeonholing. They wrote short, infectiously catchy tunes about love, suicide, and absurdist rock star lifestyles.

Review-by Matthew Robinson Bursting on to the sonic scene with the driving "Great Escape," Guster's major-label debut quickly mellows into the insightfully deceptive "Demon" and the island chock of "Perfect" before revving back up to the strikingly produced "Airport Song." Though the album has many high points, this first single is the highest. Drifting in like a distant storm, this cryptic offering erupts into a seething and impressively arranged explosion. Combining the trio's competent guitar, bass, and hand percussion with a variety of accents ranging from strings to screams (not to mention a Ping-Pong ball coda), "Airport" is a shut-up-and-crank-it song which grabs the listener by the ears and reveals itself further with each triumphant listening. Fortunately, the album does not give up after this early peak. Though many of the songs are ambiguous in terms of verse-chorus contiguity and overall meaning, the rich and simple vocal and instrumental layering is clear and effective. Combining peppy sways and dances like "Perfect" and "Grin" with wild antic raves such as "Bury Me" and the gentle closer "Rocketship," Goldfly leaves little doubt as to why the band continues to sell out venues in their New England home and beyond.

Product-
http://www.amazon.com/exec/obidos/ASIN/B0000065JV/onmeta2-20/ref=nosim
Download-
http://www.yourfilelink.com/get.php?fid=179346
or
http://rapidshare.de/files/34432922/Goldfly.zip

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Jim Noir--Tower of Love (2006)

Artist-Jim Noir
Album-Tower of Love [My Dad]
Release Date-Feb 14, 2006
Label-My Dad Recordings
Genre/Style-Indie Pop
Format-mp3
Size-64M
Quality-HQ

Personal Rating-Recommended strongly!

Biography-by MacKenzie Wilson & Tim Sendra Singer/songwriter Jim Noir was born in 1982 in Davyhulme, Manchester, the same city that gave birth to Morrissey 23 years before. His dreams of making music started early; he was fascinated with TV as a young boy, and by middle school he was performing in talent shows and singing in various karaoke competitions. His performance of 808 State's "In Yer Face" with his friend Batfinks was a defining moment for the young Noir. It was also more than enough for Noir to decide that making music would be his life. In 2003, he landed a recording contract with the U.K. indie imprint My Dad Recordings. Noir already had notebooks full of songs, and three EPs — Eanie Meany, My Patch, and A Quiet Man — quickly followed by 2004. His pop sensibility is classic, echoing '60s psychedelic pop, '70s soft rock, and indie pop with an undercurrent of cheesy electronics. Mancunian locals the Beep Seals — Jack Cooper (vocals/guitar), Phil "Fingers" Anderson (keyboards/vocals), Milo Scaglioni (bass), and Ian Smith (drums) — joined Noir for the recording of his debut album. Tower of Love was released early 2006 on My Dad in the U.K. A performance at the annual South by Southwest conference in Austin, TX, introduced Noir to American audiences that March. HIs profile was further boosted from the use of his songs "Tower of Love" and "Eanie Meany" (with its naggingly catchy refrain "If you don't give my football back/ I'm gonna get my Dad on you") in brilliant Adidas ads that ran non-stop during the 2006 World Cup. Barsuk records signed Noir and released Tower of Love on August 8th in the U.S.

Review-by Tim Sendra On his debut album, Tower of Love, Jim Noir proves himself to be a first-class mix-and-match master, blending the cheesy drum machines and bubbling synths of indie electronic, the lo-fi guitars and adult-child vocals of indie pop, and the full-bodied and harmony-drenched arrangements of chamber pop into a swirling, soothing, and truly lovely Technicolor pop confection. Noir also proves himself to be an able student of great outsider pop of the '60s, '70s, and 2000s. There are echoes of British eccentrics like XTC, Kevin Ayers, and ELO to be found in the grooves of Tower. There is the pronounced influence of those renowned American nutters, the mid-'70s edition of the Beach Boys and their Love You album. There are comparisons to be made to the anything-goes spirit and sound of contemporary explorers like Super Furry Animals and the Beta Band. Best of all, if you happen to have never heard of any of those bands and just love a good melody played and sung sweetly by a likeable singer, you will love the record just as much as someone who can train-spot all the influences. There really isn't a weak song to be had, and the album flows past like a gentle stream winding its way through a summer meadow. Noir's crack hand at arranging provides many moments of pleasure: the lovely stacked vocal harmonies on the thrillingly peaceful "How to Be So Real," the smooth and EZ keys that decorate "Tower of Love," the loose-limbed and nearly funky bassline of "Key of C," and the twangy guitars that crop up unexpectedly in the absurdly peppy "A Quiet Man" are the work of someone with a firm grip on what it takes to make song burst into life. His songwriting is equal to his arranging skills, as catchy and richly constructed tunes like "Turbulent Weather," "I Me You I'm Yours," and "Turn Your Frown into a Smile" would make fellow Brits like Ray Davies or Rod Argent proud. The lyrics are light and breezy throughout, not liable to give Davies any pause but still quite likable, especially the songs about stealing footballs ("Eanie Meany") or the lighthearted threats. They help to bolster the childlike sense of wonder that the album is bathed in. You will be hard-pressed to keep from walking around all day grinning like a fish once you give the album an airing. In fact, doctors should prescribe a spin of Tower of Love to chase the blues away. The only problem with the record is that it paints Noir into a corner, as it will be hard to top. Chances are the effort will be worth hearing though, and if it is half as good as Tower of Love, you will want it in heavy rotation. Along with the Boy Least Likely To's similarly wonderful debut, this is the sound of perfect pop music in the mid-2000s.

Product-
http://www.amazon.com/exec/obidos/ASIN/B000BYY1PK/onmeta2-20/ref=nosim
Download-http://s1.upload.sc/request/0eb0579eedd8e20aa2240c5238519053
or
http://www.verzend.be/v/6725060/.html

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Bonnie Prince Billy--The Letting Go (New!)

Artist-Bonnie Prince Billy
Album-The Letting Go
Release Date-Sep 19, 2006
Label-Drag City
Genre/Style-Indie Rock
Format-mp3
Size-74M

Personal Rating-New and Recommended!

Review-by John Bush Will Oldham has usually preached the gospel of less-is-more, but after an own-covers record that emanated from the belly of Nashville itself (Bonnie Prince Billy Sings Greatest Palace Songs), followed by a collaboration with guitarist Matt Sweeney (Superwolf) and a churning live record (Summer in the Southeast), his work began to seem positively indulgent. The Letting Go is not quite as far a stretch, but it is yet another intriguing departure. Granted, its approach would strike most bands as skeletal, but compared to his last solo album of originals, 2003's Master and Everyone, it sounds downright gaudy. It was recorded in Iceland with a producer, Valgeir Sigurosson, who gets more out of Oldham's voice and songs than has ever been heard on record. Oldham's harmony companion, Dawn McCarthy from Faun Fables, takes a much larger role than her predecessor on Master and Everyone, and her credit for harmony arrangements tells you everything you need to know about how important she is to the success of this album. Oldham's songwriting is breathtaking, close to the best of his career, although little changed from the norm — his surreal, fatalistic take on Americana Gothic. "Cursed Sleep" is especially wonderful, with a string arrangement that harks back to Nick Drake's "Way to Blue," haunted vocals from McCarthy the chanteuse far in the background, and a set of lyrics that build up to a tragic peak ("Cursed love is never ended, cursed eyes are never closing, cursed arms are never closing, cursed children never rising, cursed me never despising"). To the other extreme is "Cold & Wet," a downright jaunty (despite the lyrics), fingerpicked blues of the type that Mississippi John Hurt would have recorded for Vanguard in the mid-'60s, and percussion from Dirty Three drummer Jim White that could be confused with electric drums or the worst recorded organic drum set ever heard. Truth to tell, since the quality of Oldham's songwriting has rarely wavered, the excellent arrangements and McCarthy's contributions make The Letting Go the best of his career to this point.

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Jonny Lang--Wander this world (New!)

Artist-Jonny Lang
Album-Wander this world
Release Date-Sep 19, 2006
Label-A&M
Genre/Style-Modern Electric Blues
Format-mp3
Size-77M
Quality-192kbps

Biography-by Stephen Thomas Erlewine Modern blues in the '90s had a weird phenomenon of teenage blues guitarists rocketing to popularity with their first album. The entire trend culminated with Jonny Lang, a guitarist from Fargo, North Dakota, who released his solo debut album Lie to Me when he was 15. At the age of 12, he attended a show by the Bad Medicine Blues Band and began playing with the group. Several months later he had become the leader, and the newly re-named Kid Jonny Lang & the Big Bang relocated from Fargo to Minneapolis and released their debut album, Smokin, in 1995. The LP became a regional hit, leading to a major-label bidding war and culminating in Lang's signing to A&M Records in 1996. Early in 1997, his major-label debut, Lie to Me, was released to mixed reviews; Wander This World followed late the next year.

Review-by Thom Jurek On 2003's Long Time Coming, Jonny Lang made the first turn from his rap as an itinerant blues-rocker to being a spiritually inspired rock and pop songwriter. Producer Marti Frederiksen took Lang's tunes and glossed them to the breaking point, leaving the album an unfocused, gobbledygook set of songs that had no center. Three years later, Lang returns with Turn Around. And the title does not refer to him turning back to his blues guitar slinger roots. Instead, the title refers to the biblical term that is the definition of the word "repent." (No mistake.) Lang's overt spirituality comes ringing through the mix created by Drew Ramsey Lang and Shannon Sanders. Turn Around is funkier, dressed in contemporary gospel, gritty rock and yes, the blues. Lang's still got a way to go as a songwriter, but the material here is infinitely better than it was on his last outing. The gospel underpinnings help because his "the Jonny Lang Thankful Choir" is no less than 13 voices strong. Unfortunately, the "anthem" on this record, "One Person at a Time," is just plain corny, talking about wishing for triple-platinum success, but if it "only reaches one set of ears/I will have fulfilled my purpose here...." C'mon. Nice sentiment, but as a song it's just plain lousy. Tracks like "Thankful," which utilizes the choir very effectively and employs duet vocalist Michael McDonald, is startlingly good. Another track that works well is "My Love Remains," which takes its opening riff from a very big radio hit of the '90s, and then inverts it. The track's real surprise is in Lang's falsetto vocal performance, which reveals a new depth for him as a singer. "Don't Stop for Anything," proves that Lang should just give up trying to be a hard rocker; he simply can't pull it off. Much better are his attempts at gritty soul, such as on "Anything's Possible (Don't Let 'Em)," which once again has dumb lyrics but as a singer's tune is a delight. It's as if he needs to prove to someone — perhaps only to himself — that he's arrived as a musician. The funky gospel and soul of "On My Feet Again" blends all of his talents as a singer, guitarist, and songwriter — with killer horns and choir in the pocket — and offers a real view of what this man is capable of. His acoustic numbers, such as "That Great Day" with mandolins, steel guitars, and a country gospel flavor are also noteworthy. Lyrically, he's singing from the heart, not his resentments on these tunes; he has nothing to prove to anybody anymore. It should also be noted that A&M is to be applauded for sticking by him with such a bold move. Ultimately, Turn Around is a great leap from Long Time Coming, and is an exciting if somewhat flawed hint at what is on the horizon as Lang develops further, becoming more confident in his role as a veteran instead of a boy wonder.

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Clay Aiken--A Thousand Different Ways (New!)

Artist-Clay Aiken
Album-A Thousand Different Ways
Release Date-Sep 19, 2006
Label-RCA
Genre/Style-Adult Contemporary
Format-mp3
Size-76M

Biography-by MacKenzie Wilson As the runner-up to Fox TV's second American Idol: The Search for a Superstar competition, vocalist Clay Aiken wowed television audiences in 2003 with his Southern charm, sweet demeanor, and bright, glorious voice, and became a pop star. Originally, Aiken planned to try out for the reality TV series The American Race, but went ahead and auditioned for the talent contest to please an encouraging friend. Out of 7,000 hopefuls, the Charlotte, NC, native won the hearts of the judges as well as millions of fans across the globe.

Born November 30, 1978, Aiken was singing at an early age. Unlike most young kids, Aiken was confident and ready to impress a crowd. He was already singing the Dolly Parton/Kenny Rogers classic "Islands in the Stream" at a local high school dance by age five. Two year later, he was buying albums through a mail-order catalog, eager to get his hands on any kind of music. Aiken's vocal talent was blossoming and by the time he reached his teenage years, he was a regular member of the Raleigh Boys Choir. Countless roles in various musicals, (The Music Man, Oklahoma!), stage plays, and playhouse shows allowed Aiken to hone his gift.

When it came time to go to college, music wasn't Aiken's calling per se. He studied special education instead and had dreams of attending William & Mary for a master's degree in administration. Before he could further his education, Aiken ended up wooing 21 million television viewers each week from February to May with his sensational singing voice. His rendition of Simon & Garfunkel's "Bridge Over Troubled Waters" sewed him a spot among America's hearts. Although he finished second to Ruben Studdard, Aiken's loss was not taken lightly. He landed a deal with RCA through Simon Fuller's 19 Recordings Limited within weeks of the show's finale.

That same month, Aiken's debut single, "This Is the Night," made history by going number one on Billboard's Hot 100 chart. It sold more than 392,000 copies during its first week, beating Elton John's record for "Candle in the Wind 1997." In October 2003, Aiken issued his studio full-length, The Measure of a Man. Once again, the little guy with the big voice made a big splash. The Measure of a Man sold 613,000 copies and went to number one on Billboard's Top 200 during its first week of release. His first holiday effort Merry Christmas With Love followed in November 2004. The album debuted at number one on Billboard's Top Holiday Albums chart, giving Merry Christmas With Love the biggest debut week sales figures for a Christmas album in SoundScan history. Aiken released A Thousand Different Ways in September of 2006.

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Westbound Train--Searching for a Melody (2003)

Artist-Westbound Train
Album-Searching for a Melody
Release Date-Sep 2003
Label-Megalith
Genre/Style-Ska Revival/Contemporary Reggae
Format-mp3
Size-83.5M

Review-by Rick Anderson The Stubborn Records label makes its welcome return to activity with this impressive debut album by Westbound Train, a ska and rocksteady band with roots in Boston and New Jersey. Led by trombonist and singer Obi Fernandez, Westbound Train deal primarily in smoothly swinging old-school grooves of the pre-reggae and early reggae variety, generally steering equally clear of the galloping up-up-up of traditional ska and the smoky mysticism of the roots period. These are all romantic songs: on "Carlene," Fernandez sings in a suave, laid-back voice that contrasts nicely with the lyrics' heartbroken plea, while his bandmates harmonize doo wop-style behind him and swing the proceedings with a gentle but fully assured groove; "Don't Cry" is a sturdy midtempo ska number that defies the object of the singer's former affections not to dance even as it invites her to leave. The syrupy-slow reggae rhythm of the title track frames a sweetly lovelorn lyric, which Fernandez sings almost — but not quite — perfectly in tune (nice falsetto, though). Highly recommended overall. [The album was reissued in 2003 on Megalith Records.]

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Final Fantasy--He Poos Clouds (2006)

Artist-Final Fantasy
Album-He Poos Clouds
Release Date-Jun 13, 2006
Label-Tomlab
Genre/Style-Indie Rock
Format-mp3
Size-48M
Quality-HQ

Personal Rating-Recommended!

Biography-by James Christopher Monger Canadian violinist/singer/songwriter Owen Pallett has been a member of the groups Les Mouches and Picastro, as well as a touring member of the Hidden Cameras and Arcade Fire. Final Fantasy, essentially a one-man solo project with occasional help from drummer/engineer Leon Taheny, released its first full recording, Has a Good Home, in 2005 on the small Toronto-based cooperative label Club Blocks. It was followed in 2006 by He Poos Clouds on the Tomlab label.

Review-by James Christopher Monger Owen Pallett, the man behind the curtain of Toronto's aptly named Final Fantasy, describes He Poos Clouds as "an eight-song cycle about the eight schools of magic in Dungeons & Dragons." Deception (when used correctly) is one of the oldest and truest art forms, and Pallett should get an award for not producing either a wimpy and ironic whine-fest that utilizes childhood fantasies to dispel adult social anxieties or a sardonic lo-fi power metal record that pays "tribute" to the sword-wielding epics of Iron Maiden and Dio. Instead, the one-man classically trained Canadian string section — think Andrew Bird and Patrick Wolf — has created a gem of a baroque pop record that manages to appeal to both the bespectacled hipster and the disgruntled orchestra student. Employing a measured croon caught somewhere between Scott Walker and Louis Philippe with a soft Donovan-esque vibrato, Pallett assumes the position of narrator on the opening track, an ornate snapshot of youthful longing that manages to balance lyrics like "she has a heart that will never melt" and "but the quarry don't share his taste for Anne McCaffery" with equal parts heartbreak and bravado — he shares more than a little in common, both musically and lyrically, with the Divine Comedy's Neil Hannon. Alternately dissonant and willfully melodic, each track that follows carries with it the possibility of either a crushing sigh of defeat ("I'm Afraid of Japan") or a violent outburst of passion (the one-two punch of the lilting and rhythmic "Song Song Song" and ultra-dramatic/dynamic "Many Lives 49 MP"), making He Pools Clouds far more dangerous than it is cloying and pretentious, despite all of its intentions otherwise.

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Shawn Colvin--These Four Walls (New!)

Artist-Shawn Colvin
Album-These Four Walls
Release Date-Sep 12, 2006
Label-Nonesuch
Genre/Style-Singer/ Songwriter Adult Alternative Pop/ Rock Contemporary Folk
Format-mp3
Size-61M
Quality-HQ

Review-by Thom Jurek For starters, it's hard to believe — and wonderful to comprehend — that Nonesuch is doing such a bang-up job in 2006. Their roster is ever expanding from the Black Keys and Pat Metheny to Brad Mehldau and Sam Phillips, from Stephin Merritt to Shawn Colvin — they are an impossible label to predict, but their track record of late is impeccable. As for Colvin, it's been a while. Other than a video called Live in Bora Bora, and a greatest-hits collection, she hasn't recorded an album of new material in five years. But it was worth the wait. Working with longtime collaborator John Leventhal (who in addition to being producer is a virtual one-man band, though drummer Shawn Pelton and Rick DePofi help out on percussion and horns, respectively), and Colvin co-wrote almost the entire album with him. There are two covers — of the Bee Gees "Words" and Paul Westerberg's "Even As We Are" — Colvin wrote "I'm Gone" on her own. Sonically, you already know what to expect. This is an album drenched in acoustic guitars, some electric ones, gentle keyboards, and poignant songs. Colvin always gets to the meat of the matter in her lyrics. She trims it all back to the bone to see what's there, gleaming and gritty.

These Four Walls is a record of ups and downs, about taking responsibility and surviving one's mistakes. Tracks like "The Bird," with its jangly, ringing, 12-string electric guitars and claims of regret, resignation, and responsibility is a love song, but one that is wholly original. The characters are broken and while they trust in the redemption of love, they know it's just tough to get through: "What I like about time is it don't ask why/What I like about love is it makes me cry..." On the title cut, with only an acoustic guitar carrying her smoky lithe voice, Colvin states "I'm gonna die in these four walls/I've had enough and I've tried it all/I'll watch the day break and I'll see the night fall/In these four walls...Now I can see the life I have to make . ." Layered guitars, a mandolin, shuffling drums and Greg Leisz's pedal steel waft on in and carry it home. The now-ubiquitous Patty Griffin and Marc Cohn make vocal appearances on "Cinnamon Road," the album's centerpiece but far from its best track. Better are the sexy as all get out "Venetian Blue," the subtly yearning "Fill Me Up," which opens the set, and the poetic and utterly moving "Summer Dress." The two covers work alright, but they don't stack up to Colvin's and Leventhal's songs, which are more poignant, musical, and imaginative. The rocking "Let It Slide" (with a guest vocal from Teddy Thompson) is an example of what Colvin and her voice do best — emote matter of factly, where passion is a slow burn and precarious by nature — and the tune's chorus is infectious. While sonically and texturally there is not a whole lot different here, that's just fine. When you can write and sing like Colvin can, all you have to do is keep putting the songs out there. So many of her peers in the "grrrl revolution" of the '90s are struggling to find their way, while Colvin has been on hers continually, refining, recording only when she has something to say, and being so honest it's almost painful. These Four Walls is an achievement, another step on a gloriously rocky road that is far from its end.

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The Duhks--Migrations (New!)

Artist-The Duhks
Album-Migrations
Release Date-Sep 12, 2006
Label-Sugar Hill
Genre/Style-Progressive Bluegrass/Folk
Format-mp3
Size-52M
Quality-192kbps

Personal Rating-Recommended!

Review-by Ronnie D. Lankford, Jr. The Duhks kick off 2006's Migration with the spunky, jazzed up "(Mama Gonna Bargain with The) Ol' Cook Pot." The song sounds like something the Manhattan Transfer might have recorded had it been a jug band, and captures an easygoing, good-time vibe. This easygoing, good-time vibe, in fact, says a lot about the band. Like Nickel Creek, the Duhks are young and hip, they play and sing well and seem intent on crossing older folk stylings with new ones. One imagines the music — if a category is needed — might be called neo-neo-folk, or cool folk by hip young folks. Unlike Nickel Creek, the Duhks are less about innovation than finding the right sound. That sound circles around singer Jessica Havey's buoyant, breathy (with a touch of soul) lead vocals. The production has a professional sheen to it, and Migration, no matter how much the group shuffles the acoustic arrangements, has a similar upscale sound. Because of this approach, the Duhks often remind one more of professional performers than propagators of roots music. On their version of Tracy Chapman's "Mountains O' Things," for instance, the song is simply too pretty to call much attention to the anti-materialism of the lyric. In this sense, the Duhks remind one of folk-pop groups like the Waifs, turning the pathos of an old spiritual like "Turtle Dove" into a happy folk song. Migration, then, is an exuberant contemporary folk album that will remind listeners of folk's happier side.

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The Matches--Decomposer (New!)

Artist-The Matches
Album-Decomposer
Release Date-Sep 12, 2006
Label-Epitaph
Genre/Style-Punk-Pop/Indie Rock
Format-mp3
Size-72M
Quality-HQ

Review-by Corey Apar When the Matches first hit the scene with E. Von Dahl Killed the Locals, they were basically playing straight-up pop-punk, albeit much quirkier and caffeinated pop-punk than most. Lead singer Shawn Harris has a voice that makes songs sound especially restless and exuberant, and the band's sophomore effort, Decomposer, takes it all one step further to deliver in a way that few in the genre besides the Matches could really pull off convincingly. With the Oakland quartet working in multiple studios and with, count 'em, nine (!) producers — including Brett Gurewitz, Mark Hoppus, Tim Armstrong, John Feldmann, and Nick Hexum — everything seemed aligned to make sure this album sounded as patently assorted as possible. It could have all ended horribly with one too many ideas and cooks in the kitchen, but instead sounds like the best kind of controlled chaos. Not that the music is especially chaotic; it's just all pretty random and full of idiosyncrasies — consistently mashing together pop, rock, punk, and a dash of electronics — that make no two tracks alike, but somehow all fit together as a unified album. There's a totally string-driven opener ("Salty Eyes") leading into songs that groove on electro pulses and dance beats ("Drive," "You [Don't] Know Me"). Disparate entries continue with the spastic blast of "Lazier Than Furniture" and the cut-and-paste drum programming and guitar buoying "Little Maggots," as "Didi (My Doe, Part 2)" toys with particularly sunny vocal layering. So essentially, this album is just a fun mixed bag of musical oddities. The Matches have always had a cheeky sense of humor, and with Decomposer, they've managed to mix fun (not cheesiness) with ambition to wind up with a particularly distinctive and creative album to be proud of.

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Smoma--Casual Lounge (2005)

Artist-Smoma
Album-Casual Lounge
Release Date-2005
Label-ZYX
Genre/Style-Electronica
Format-mp3
Size-59M
Quality-128kbps

Tracks-1. Give Me the Night [Chill out Version] 2. Sweetest Taboo 3. My Baby Just Cares for You 4. Like a Chameleon 5. Inner City Blues 6. Change Your Mind 7. Georgy Porgy 8. Do It Again 9. Why Can't We Live Together 10. Summertime 11. Sing It Back 12. Ain't No Sunshine [Acoustic Version] 13. Give Me the Night [House Version][*] 14. Change Your Mind [Cool Version] [*]

Biography-http://www.smoma.com/
Official Site-http://www.smoma.com/

Review-This album by the laid-back jazz/pop group Smoma includes renditions of songs such as "Inner City Blues" and "Summertime." Features bonus material.

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Nirvana--In Utero (1993)

Artist-Nirvana
Album-In Utero
Release Date-Sep 21, 1993
Label-DGC
Genre/Style-Alternative Pop/ Rock Grunge
Format-mp3
Size-73M
Quality-HQ

Personal Rating-Recommended strongly!

Review-by Stephen Thomas Erlewine Nirvana probably hired Steve Albini to produce In Utero with the hopes of creating their own Surfer Rosa, or at least shoring up their indie cred after becoming a pop phenomenon with a glossy punk record. In Utero, of course, turned out to be their last record, and it's hard not to hear it as Kurt Cobain's suicide note, since Albini's stark, uncompromising sound provides the perfect setting for Cobain's bleak, even nihilistic, lyrics. Even if the album wasn't a literal suicide note, it was certainly a conscious attempt to shed their audience — an attempt that worked, by the way, since the record had lost its momentum when Cobain died in the spring of 1994. Even though the band tempered some of Albini's extreme tactics in a remix, the record remains a deliberately alienating experience, front-loaded with many of its strongest songs, then descending into a series of brief, dissonant squalls before concluding with "All Apologies," which only gets sadder with each passing year. Throughout it all, Cobain's songwriting is typically haunting, and its best moments rank among his finest work, but the over-amped dynamicism of the recording seems like a way to camouflage his dispiritedness — as does the fact that he consigned such great songs as "Verse Chorus Verse" and "I Hate Myself and Want to Die" to compilations, when they would have fit, even illuminated the themes of In Utero. Even without those songs, In Utero remains a shattering listen, whether it's viewed as Cobain's farewell letter or self-styled audience alienation. Few other records are as willfully difficult as this.

Chart Information-
Year Album Chart Peak
1993 In Utero The Billboard 200 1

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John Mayer--Continuum (New!)

Artist-John Mayer
Album-Continuum
Release Date-Sep 12, 2006
Label-Aware/Columbia
Genre/Style-Adult Alternative Pop/ Rock
Format-mp3
Size-69M
Quality-192kbps

Personal Rating-Recommended and New!

Review-Continuum is about as apt a title as it gets for John Mayer's third studio disc. Every element, from the peerless guitar playing to the plainspoken poetry of the lyrics to the breathy-sincere singing, makes a return from previous efforts. But to weakly pronounce this another worthwhile effort from an artist the world has come to expect a whole lot from and then call it a day would be no minor misdeed, because it's also the best, boldest disc he's ever made. Taking maturity as a theme throughout, Mayer tackles a batch of adulthood's bogeymen: indifference on the uptempo chart-climber "Waiting for the World to Change," aging on the melancholy-sweet "Stop This Train," and emotional trainwreckage on the big-rocking "In Repair." That's not to suggest he's turned overly introspective--check the Jimi Hendrix cover "Bold As Love," where he hits one home for guitarists who've been living in the shadow of legend everywhere, and the hard-charging "Belief," which benefits from a mesmerizing, liquid groove. Continuum may be the third in a series, but a creative cop-out this is not; Mayer is his generation's musical superman--powerful, unassailable, and magnetic. Hand that man a cape. --Tammy La Gorce

Chart Information-
Year Single Chart Peak
2006 Waiting On The World To Change Hot Adult Top 40 Tracks 4
2006 Waiting On The World To Change Hot Canadian Digital Singles 8
2006 Waiting On The World To Change Hot Digital Songs 7
2006 Waiting On The World To Change Pop 100 24
2006 Waiting On The World To Change The Billboard Hot 100 21

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The Black Keys--Magic Potion (New!)

Artist-The Black Keys
Album-Magic Potion
Release Date-Sep 12, 2006
Label-Nonesuch
Genre/Style-Blues-Rock/Punk Blues/Garage Punk
Format-mp3
Size-66M

Personal Rating-New and Recommended!

Biography-by Richie Unterberger The two-man duo comprising the Black Keys, singer/guitarist Dan Auerbach and drummer Patrick Carney, were in their early twenties when their debut, The Big Come Up, was issued in 2002. From Akron, OH, they play close-to-the-bone, raw blues-rock, the only instrumentation being Auerbach's guitar, Carney's drums, and the occasional organ. Auerbach had a fine, mature, lived-in blues voice for one so young, and the group's material worked in funk, soul, and rock influences from the likes of Jimi Hendrix and James Brown that avoided undue repetition of the overdone chord progressions and stock riffs common to so many such acts. Before the year's end, the band inked a deal with Fat Possum. The Black Keys' second album, Thickfreakness, was recorded in 14 straight hours one day in 2002. To prepare for its April 2003 release, the duo was handpicked by Sleater-Kinney as their opening act for their winter tour of North America. Rubber Factory followed in 2004 and earned notices as one of the best records of the year. A live DVD arrived in 2005, followed by the Chulahoma EP and the full-length Magic Potion in 2006.

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The Coral Sea--Volcano and Heart (2005)

Artist-The Coral Sea
Album-Volcano and Heart
Release Date-2005
Label-Red Clover
Genre/Style-Indie Rock
Format-mp3
Size-63M
Quality-HQ

Biography-by James Christopher Monger West Coast indie rock collective the Coral Sea blends the lush, orchestral side of '60s pop with the modern sensibilities of neo-psychedelic outfits like Mercury Rev, Sparklehorse, and Secret Machines. Formed in Santa Barbara, CA, around the talents of singer/songwriter/multi-instrumentalist Rey Villalobos, guitarist Duncan Wright, bass player James Garza, and drummer Matt Talmage, their debut recording, Volcano and Heart, was backed by a classical string quartet and released through Red Clover Records in summer 2006.

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The Thermals--The Body, the Blood, the Machine (2006)

Artist-The Thermals
Album-The Body, the Blood, the Machine
Release Date-Aug 22, 2006
Label-Sub Pop
Genre/Style-Indie Rock/Lo-Fi
Format-mp3
Size-61M

Biography-by Heather Phares A Portland, OR, supergroup of sorts, the Thermals feature Hutch Harris and Kathy Foster of the twee/folk-pop duo Hutch and Kathy and the All Girl Summer Fun Band, Kind of Like Spitting's Ben Barnett, and the Operacycle's Jordan Hudson. The group started in early 2002 as a way for its members to play just for the fun of it, but their insistent melodies and punk-inspired urgency won them a local following quickly. Death Cab for Cutie's Ben Gibbard was one of the Thermals' first fans and got the group in touch with Sub Pop, which signed them within four months of the band's formation. The Thermals released a single in January of 2003, followed by their full-length More Parts Per Million later that spring. Fuckin A, the Thermals' sophomore effort, marked their first release for Sub Pop in mid-2004. In the midst of recording the Thermals' third full-length, founding drummer Jordan Hudson left the group. Foster and Harris resumed recording and played all instruments on 2006's The Body, the Blood, the Machine. Drummer Caitlin Love joined the Thermals just in time for a European tour in spring 2006. Lorin Coleman, of the Portland indie rock act Virga, was added on drums in late summer.

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World Top50 Albums Chart (Sep 04-Sep 10)

World Top50 Albums Chart (Sep 04-Sep 10)

I update World Top50 Albums sales Chart every week.The chart is based on albums sales condition in 38 countries, but it's not official.

You can download this week's chart here-
File Format-Word
Size-105k

http://www.sendmefile.com/00464413
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http://depositfiles.com/files/261653/World_Charts_04.09.2006_-_10.0.html

The Fratellis--Costello Music (New)

Artist-The Fratellis
Album-Costello Music
Release Date-Sep 11, 2006
Label-Universal
Genre/Style-Garage Rock Revival/Indie Rock
Format-Mp3
Size-103M
Quality-320kbps

Tracks-
1. Henrietta
2. Flathead
3. Cuntry Boys & City Girls
4. Whistle For The Choir
5. Chelsea Dagger
6. For The Girl
7. Doginabag
8. Creepin Up The Backstairs
9. Vince The Loveable Stoner
10. Everybody Knows You Cried Last Night
11. Baby Fratelli
12. Got Ma Nuts From A Hippie
13. Ole Black 'N' Blue Eyes

Biography-by MacKenzie Wilson Glasgow's the Fratellis feature Jon Fratelli (vocals/guitar), Mince Fratelli (drums/vocals), and Barry Fratelli (bass). The witty indie rock trio, who formed in early 2005, maintain that their moniker is merely an homage to Barry's original surname, however other rumors suggest that the Fratellis borrowed it from the nemesis featured in Steven Spielberg film, The Goonies. Such trivia only added to the Fratellis growing appeal upon their performance debut in March 2005. Their limited-edition self-titled EP arrived a month later and sold out quickly thanks to "Creepin Up the Backstairs." The acoustic-driven tune, which is a little T. Rex, landed in regular rotation on Zane Lowe's Radio One program, and appearances on Later with Jools Holland and Top of the Pops followed in early summer. Second single "Henrietta" earned the Fratellis their first U.K. Top 20 hit. Third single "Chelsea Dagger" was burning up the U.K. Top 40 by August.

Review-Highly anticipated debut album from Glaswegian Indie sensations Comprising of singer Jon, drummer Mince and Barry on bass (and shouting), The Fratellis mix up a brilliant concoction of 70s glam, 60s songwriting and a pinch of Punk. Costello Music features 13 tracks including the hit singles 'Chelsea Dagger', 'Whistle For The Choir' and 'Henrietta', as well as cuts from their limited edition eponymous EP.

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I need your confirmation

To all the guys who requested albums on my guestbook recently:

I'm sorry I couldn't satisfied all your requests because I was really busy last week. I have searched these albums you requested today and they are all available.

So if you still need these albums, please confirm it and let me know. Here is the list of all requested albums:

Lemar-The Truth About Love
The Thermals-The Body, The Blood, The Machine
Coral Sea-Volcano and Heart
The Automatic-Not Accepted Anywhere
Nirvana-In Utero
Pirates of the caribean-soundtrack
Paris Hilton-Paris
The Fratellis - Costello Music
The Orson-Bright Idea

Richard Buckner--Meadow (New!)

Artist-Richard Buckner
Album-Meadow
Release Date-Sep 12, 2006
Label-Merge
Genre/Style-Country-Folk
Format-mp3
Size-47M

Review-by Thom Jurek "Pretty destroyed/comin' through/sees your spin/around the room...are you sitting down?" These are some of the lyrics from "Town," the opening track on Richard Buckner's Meadow, sung to an urgent progression of distorted electric and acoustic guitars and drums. As unsettling as this is, the song is chock-full of Buckner's inherent melodic sense, and it's easier to bear, somehow, this darkness and melancholy. Produced by J.D. Foster at his home studio, and at Buckner's, with some additional work done at Brooklyn Recording, this is an album of absences, of ghosts so far down the highway only their traces remain. Buckner's sense of rock & roll is infused with images from country, folk, the desert, the blues, early American popular music; virtually everywhere he's been. In some ways one can say that these ten songs are his own companion to his recording of some of the Spoon River Anthology on Hill. Each track here has a one word title except for the final one, "The Tether and the Tie." But Buckner's revisiting the cautious grief and optimism on Bloomed, too. Everything here is written in a state of absence, of the previous, the past, and how it can be reconciled. The gorgeous shimmering piano, drums and guitars intro on "Lucky" ease into the startling words: "Forgetting where the roads align, bowing out and back again/Something made it over/A chance to cross the shards you see...." These lyrics are held together by bridges and refrains that further underscore their poetry. Its strength is in the missing middle, the hole in the middle, the thing that needs to be revisited but can't quite be because it's already gone and only gray shadows remain.

This small group of players — Foster (Green on Red, Dwight Yoakam, Alejandro Escovedo), Buckner, Doug Gillard (ex-Guided by Voices), Rob Burger (Tin Hat Trio), Steve Goulding (Waco Brothers, Mekons, Freakwater, et. al), and Kevin March (Jeff Buckley, Guided by Voices) — focus on Buckner's melodies from the outside in. This is not music that tries to break out, it simply tries to hold itself together, and it does so beautifully. Where Buckner opens with what would, to others, be the beginning of the end: "Man, I was high/stepping out on goodbyes/And Once in a while/I'd stumble out into the open...All I thought was, 'How can I find it?'," the band covers him, they're in close, giving him just enough room to sing. He's on top of them confessing, letting it all fall out, but only because he has this intensely focused support and empathy. Musically, Meadow is perhaps Buckner's least formal album, though Since is a close second. Often what's happened on his albums, such as on Dents and Shells, or even the criminally underrated Devotion + Doubt, is that the darkness is rendered impenetrable by the instrumentation. Not so here. The symbiotic relationship these players have to the material and the singer takes it all further. You want to flinch when hearing these observations of a life broken further by its insistence on not hiding its brokenness and its poverty of ability to cement relationships, though not in spirit or heart which never quite gives up hope even as it surrenders one pairing, one grouping after another. No one writes love songs like these. They're funeral pyres adorned in fragrances, flowers, mementoes and rock & roll.

The hinge piece here is "Kingdom": "Kingdom calling, don't you want to come and hide/All the way to the other side?...What's lost, I knew but I thought couldn't be/all the time and everything...Downtown, let down, at the bottom of the lights/stray back, although/It's just too far the way we are...." One is reminded of the musicality of Robert Creeley's poems and the muscularity of Charles Olson's. But these songs are neither; they're infused by poetry but not of it. Meadow is not separate from Buckner's voice or his catalog, but it is fully inhabited by both. This is a culmination, a stepping stone to who knows where? In the final track where, sparsely accompanied, in his finest, most gentle voice, he croons near the end: "Something serves you right/Haven't you seen it move?/Always gone and almost new." There is no paradox here, just the embrace of what has passed being ever before us, haunting and moving with us like our shadows, into whatever comes next. Meadow is a new high-water mark.

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A New Poll

Hi guys,

I created a new poll because I really want to know which country you are from. Please Join me and let me know your answer. If your country isn't listed, you can add it by yourself. Thanks a lot! ^-^

Thanks for your participation last time and here is the final result:

Poll Title-Which music genres do you like?
Total Votes Cast-253 votes

Top 10 and proportion-
Rock-38 votes, 15%
R&B-28 votes, 11.1%
Jazz-23 votes, 9.1%
Blues-22 votes, 8.7%
Country-20 votes, 7.9%
Electronica-17 votes, 6.7%
Reggae-13 votes, 5.1%
Gospel-11 votes, 4.3%(Rap-11 votes, 4.3%)
Soundtrack-9 votes, 3.6%(Folk-9 votes, 3.6%)
New Age-8 votes, 3.2%(World-8 votes, 3.2%)

Lee

Now It's Overhead--Dark Light Daybreak (New!)

Artist-Now It's Overhead
Album-Dark Light Daybreak
Release Date-Sep 12, 2006
Label-Saddle Creek
Genre/Style-Indie Rock
Format-mp3
Size-58M

Personal Rating-Recommended!

Biography-by Heather Phares Athens, GA's Now It's Overhead mixes moody pop influences such as the Cure and Depeche Mode and the layered textures of bands like Spiritualized and My Bloody Valentine into lovelorn indie rock. Vocalist/multi-instrumentalist/producer Andy LeMaster, bassist/keyboardist/trumpeter/vocalist Orenda Fink, keyboardist/vocalist Maria Taylor, and drummer/vocalist Clay Leverett are also active in other Athens bands and projects: LeMaster, along with former Sugar bassist David Barbe and the Glands' Andy Baker, owns and operates the Chase Park Transduction Recording Studio, where he has worked with Japancakes, Azure Ray, Bright Eyes (of whom LeMaster is also a touring member), and Seaworthy, among others; Fink and Taylor also perform with Azure Ray. Now It's Overhead released their self-titled debut on Saddle Creek in mid-2001. Their sophomore album, Fall Back Open, which included guest spots by Bright Eyes' Conor Oberst and Michael Stipe, appeared in spring 2004. Two years later, after officially welcoming collaborator Brad Register (on guitar and keys) into the band, Now It's Overhead released Dark Light Daybreak, which showed a slightly more upbeat side to their usual brand of shoegaze-inspired rock.

Review-by Marisa Brown On their third album, Saddle Creek's Now It's Overhead don't stray much from the formula of layered guitars and vocals that they already displayed on their first two efforts, but that doesn't mean that Dark Light Daybreak is a monotonous or boring record. Rather, the band, as it's matured, has taken what they've previously done and expanded upon it, adding subtle new dimensions and intricacies. This results in something that is slightly more aggressive musically than what Now It's Overhead have played before, with songs like "Walls" — its quick, punchy chorus offset by a slower verse — or "Type A" — with a short, poppy, almost new wave guitar line and lyrics like "Blood pressure rising/Higher than it can get" — presenting a different, and welcome, side to Andy LeMaster's writing. There's still a darkness and weight to the album, but motion is now almost as important as still contemplation. The band has gone from midnight to the thick black haze before sunrise (as evidenced in the title) and there are signs, albeit small, of hope and movement. They haven't abandoned their aesthetic, though: there are plenty of long-held chords, background vocal harmonies, and continuous rhythmic eighth notes, this constancy of sound and avoidance of space giving the songs a feeling of lushness and heaviness even if there are actually few instruments playing. "Night Vision" sounds like it could easily belong on Fall Back Open and "Meaning to Say" is full and melancholy. Yet there's something noticeably different, too. "Believe What They Decide" is soft and slow, but it has a dobro-like electric guitar playing along with LeMaster's plaintive voice, giving it an almost neo-Western feel, like early morning on the empty, lonely prairie. That same idea is explored on the acoustic-guitar driven, suicidal "Let Up," bittersweet and mournful and echoing across the expanse. Sadness is omnipresent, yet there's a life to it that makes it seem less depressing, hopeless. While nothing on Dark Light Daybreak is mind-blowingly original, it's all very good, and each song only adds on to the effectiveness and beauty of the next, layering one upon another like the instruments themselves, and making a very solid, even great, album.

Product-http://www.cduniverse.com/productinfo.asp?PID=7267019&style=music&frm=lk_RedRover&siteid=4
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Carbon Leaf --Love, Loss, Hope, Repeat (New!)

Artist-Carbon Leaf
Album-Love, Loss, Hope, Repeat
Release Date-Sep 12, 2006
Label-Vanguard
Genre/Style-Celtic Pop Adult Alternative Pop/ Rock
Format-mp3
Size-72M

Review-by Stewart Mason Pitched somewhere between John Mayer's earnestness and the genial hacky-sack-on-the-quad pop of the Dave Matthews Band, Carbon Leaf have made it to their seventh album on an abundance of sunny good vibes and a relative paucity of genuinely interesting musical ideas. Produced by British pure-pop master Peter Collins (responsible for hits by everyone from Tracey Ullman to Bon Jovi), Love Loss Hope Repeat is utterly faultless AAA-radio pop. There are hooks aplenty, especially in first single "Learn to Fly" and the gimmicky Matchbox 20-style pop/rock of the title track, and singer Barry Privett has a smoothly appealing voice that's the band's best feature by far. However, there's no real spark of personality on this perfectly arranged, pristinely recorded album. The songs are tuneful but bland, the musical equivalent of a chain-restaurant pizza: tasty and comfortingly familiar (and no doubt quite handy to have around the dorm when the munchies strike), but completely forgettable.

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Carbon_Leaf___Love_Loss_Hope_Repeat.rar.html

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Alpha Blondy--The Prophets (1989)

Artist-Alpha Blondy
Album-The Prophets
Release Date-1989
Label-Capito
Genre/Style-Reggae-Pop/Contemporary Reggae
Format-mp3
Size-38M
Quality-160kbps

Personal Rating-Recommended! This is one of his best albums ever.

Biography-by Sandra Brennan

Hailing from the Cote d'Ivoire, Alpha Blondy is among the world's most popular reggae artists. With his 12-piece band Solar System, Blondy offers a reggae beat with a distinctive African cast. Calling himself an African Rasta, Blondy creates Jah-centered anthems promoting morality, love, peace and social consciousness. With a range that moves from sensitivity to rage over injustice, much of Blondy's music empathizes with the impoverished and those on society's fringe. Blondy is also a staunch supporter of African unity and to this end, he sings to Moslem audiencess in Hebrew and sings in Arabic to Israelis. Some of his best known songs include "Cocody Rock," "Jerusalem" and "Apartheid Is Nazism."

He was born a member of the Jula tribe in Dimbokoro and named Seydou Kone after his grandfather. His grandmother Cherie Coco raised him. He was always a rebellious child and for this, Coco named him "Blondy," her unique pronunciation of the word "bandit." When he started performing professionally, he took on the name Alpha (the first letter in the Greek alphabet) so his name literally translates to "first bandit." Though he grew up listenting to African folkloric music such as yagba and gumbe, his primary musical influences were such Western bands as Deep Purple, Pink Floyd, Hendrix, the Beatles, Creedence Clearwater Revival, and soul artists like Otis Redding. Later Bob Marley's music tremendously affected Blondy. Though he wanted to become a musician, his family expected him to become a respectable English teacher. He studied English at Hunter College in New York, and later in the Columbia Univeristy American Language Program. Outside of class, he would play music in Central Park and in Harlem clubs where occasionally house bands would let him sing his Bob Marley covers in French, English, and various West African languages. One night, record producer Clive Hunt heard Blondy sing and invited him to record six songs. Unfortunately, Hunt absconded with the tape. Shortly afterward, he returned to the Ivory Coast where he was arrested for threatening the ambassador at the New York Ivorian embassy because the diplomat felt that Blondy's English was too good for him to be an Ivorian native. While at the police station, Blondy's temper again flared and he slapped a policeman (after the cop slapped him first). He spent a week in jail and then stayed briefly at th Bingerville Asylum in Abidjan, where he was declared reasonably sane and released. Soon afterward, he began honing his songwriting and performing skills. Later, he dedicated an album to the patients of Bingerville.

Blondy got his big break from friend, Fulgence Kass, an employee of Ivory Coast Television who helped him land a spot on the Premiere Chance talent show. Singing three of his own tunes plus Burning Spear's "Christopher Columbus," the young artist was a hit with the audience. Blondy then hooked up with producer G. Benson who recorded his eight-song debut album Jah Love in a single day. The most popular song, "Brigadier Sabari," was an account of Blondy's run-in with an Abidjan police street raid in which he was nearly beaten to death. It was the first time a West African artist had dared to mention random police brutality in public. After releasing the album, he and the newly formed Solar System band signed to EMI. They recorded his second album Cocody Rock in Paris in 1984. Later he returned to Tuff Gong to record his third album Jerusalem (1986). By the release of his 1987 album Revolution, Blondy had established himself as an international artist. Three years before he had been voted the number one artist by a Radio France international poll. His popularity continues to grow, and he continues steadily releasing albums. His 1992 album Masada was released in over 50 countries around the world and went double-gold in France. Yitzhak Rabin followed in 1998; Paris Percy appeared in spring 2001. Although it was recorded in 1999, the album Elohim appeared in 2002 in Europe and three years later in America. The career-spanning Akwaba: The Very Best of Alpha Blondy was also released in 2005. Review-by J. Poet Blondy's first international release under a new worldwide contract with EMI is as soulful and militant as past efforts, with an added gloss to the production that may win new listeners.

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Bloc Party--Live in Intonation Festival 2006 (2006)

Artist-Bloc Party
Album-Live in Intonation Festival 2006
Release Date-Jun 25, 2006
Label-Connect
Genre/Style-Live(Indie Rock)
Format-mp3
Size-135M
Quality-256Kbps

Biography and Official Site-http://www.blocparty.com/

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Blue Highway--Lonesome Pine (2006)

Artist-Blue Highway
Album-Lonesome Pine
Release Date-Apr 25, 2006
Label-Rebel
Genre/Style-Country/Progressive Bluegrass
Format-mp3
Size-58M
Quality-HQ

Review-by Ronnie D. Lankford, Jr. Combining crack musicianship, solid vocals, and good songs, Blue Highway gained a reputation as a premiere bluegrass supergroup in the mid-'90s at Rebel Records. Between 1995 and 1998, the band cut three albums for the label, It's a Long, Long Road, Wind to the West, and Midnight Storm. And as so often happens, the band, for one reason or the other, moved on to a new label. But as the Rebel compilation states, it all started here, and Lonesome Pine collects cuts from all three albums to create a portrait of a young bluegrass group on the make. Listening to early cuts like "In the Gravel Yard" gives the impression that members Shawn Lane, Wayne Taylor, Tim Stafford, Jason Burleson, and Rob Ickes knew what they were about from the start. Blessed with three lead singers, a distinctive dobro player, and fine harmony, songs like the lead track sound traditional without sounding old-fashioned. One oddity is that Lonesome Pine is only 44 minutes, which means there should've been room for nearly 30 more minutes of music on this disc. This takes nothing away from the 13 songs here, but the album, as excellent as it is, could've been an even more definitive collection.

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Lionel Richie--Coming Home (New!)

Artist-Lionel Richie
Album-Coming Home
Release Date-Sep 12, 2006
Label-Island
Genre/Style-Contemporary R&B
Format-mp3
Size-76M

Review-by Andy Kellman Lionel Richie's eighth studio album as a solo artist is led by "I Call It Love," a lightly buoyant and bittersweet single produced by Swedish hitmakers Stargate, the same team that helped boost Ne-Yo's In My Own Words. It's an ideal match, one that should've been made more than once. Too much of Coming Home is merely pleasant — particularly the adult contemporary fare, with the exception of "I Love You" — or too conscious of remaining with the times. While the likes of "Why" and "Up All Night" involved Richie's songwriting in some capacity, just about any twentysomething vocalist could be fronting them; the same goes for the Jermaine Dupri-produced "What You Are." The stab at emotionally cleansing reggae of the Bob Marley variety, "Stand Down," comes up short as well. That said, at least half the album should satisfy Richie's longtime followers.

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Muddy Waters--The Anthology: 1947-1972 (2001)

Artist-Muddy Waters
Album-The Anthology: 1947-1972
Release Date-Aug 28, 2001
Label-MCA/Chess
Genre/Style-Chicago Blues
Format-mp3
Size-186M

Personal Rating-I Recommend this album to you strongly. It was included in "The Best 500 Albums In History" list selected by Rolling Stone magazine.

Tracks-50 Songs!

Review-by Stephen Thomas Erlewine
There have been countless collections of Muddy Waters' classic Chess material released over the years, but Chess began to whittle down the domestic catalog toward the late '90s. The triple-disc Chess box remained in print, but they added two single-disc collections that each covered a specific period in Waters' career at Chess. Then, in 2001, MCA/Chess released The Anthology, a double-disc set that essentially contained much of those two single-disc collections, with several extra tracks, remastering and new liner notes. This still didn't correct the lack of a concise, single-disc overview with all the hits — something that Muddy, Chuck Berry, and Howlin' Wolf all desperately need — but if you're going to be buying two discs to get the full Muddy Waters story, you should get this instead of two separate disc, since it's simply easier. Besides, this, even if it does contain a bunch of familiar material, nevertheless contains some of the greatest music of the 20th Century, and if you're not going to get the box but still want a comprehensive Muddy set, this is it.

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