Dave Melillo--Talk Is Cheap (EP 2006)

Artist-Dave Melillo
EP-Talk Is Cheap
Release Date-Jun 13, 2006
Label-Drive Thru
Genre/Style-Singer/ Songwriter Emo Punk-Pop
Format-mp3
Tracks-6 Songs

Biography-by Corey Apar

Singer/songwriter Dave Melillo (pronounced Mah-lil-loh) was born on June 12, 1988, spending his early years soaking up music in his New Jersey home before his family later moved to Celebration, FL. Performing early on in local musicals, Melillo started to take songwriting much more seriously following his family's relocation to the Sunshine State. Encouraged by his parents to explore music, he grew up listening to artists like Billy Joel, Meat Loaf, and Bruce Springsteen; Melillo eventually discovered the roster at Drive-Thru Records, and bands like the Starting Line ushered in a whole new genre of music for the burgeoning musician to explore. These groups not only altered the way in which Melillo listened to music, but in many cases their young ages proved to him that success was indeed possible for someone still in his teen years.

He began playing around town, recording some demos to put online for his friends to hear. Drive-Thru co-owner Richard Reines heard some of these songs, and after an impromptu performance at the label's office in late 2004, offered the young musician a deal. However, several major labels randomly appeared as well, wanting to sign him after hearing a song of his on a compilation; Melillo ultimately inked a deal with Drive-Thru. His label debut, Talk Is Cheap, was produced by Jamie Wisner (Dashboard Confessional, A New Found Glory) and completed in August 2005. Melillo hopped on the road, playing various dates with Hellogoodbye and a showcase at 2006's South by Southwest. The EP, originally released exclusively online for free download that April, was issued physically in stores in June 2006 with a bonus track appended. Melillo handled vocals, guitar, and piano parts on the release, and his backing band included bassist Matt Mendes, guitarist Clark Spurlock, and drummer Nate Mullins (the first two of whom he'd played with in previous bands). Summer dates were subsequently performed nationwide.

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Shawn Colvin--A Few Small Repairs (1996)

Artist-Shawn Colvin
Album-A Few Small Repairs
Release Date-Oct 1, 1996
Label-Columbia
Genre/Style-Singer/ Songwriter Adult Alternative Pop/ Rock Contemporary Folk
Format-mp3
Size-87M

Personal Rating-Recommended!

Review-by Chris Woodstra
A Few Small Repairs, the proper follow-up to Fat City, was recorded on the heels of Colvin's divorce. And while the album is certainly a response, she avoids the obvious clichés in dealing with the aftermath, revealing instead the complex thought processes and complete range of human emotion, from anger, sadness, confusion, yearning, and disillusionment to resolve and recovery. Colvin has always been a songwriter of note, but with A Few Small Repairs, she reaches new heights, painting hauntingly vivid images that address not only relationships but also life in general with great insight. The subject matter predictably gives a generally dark mood to the album, but musically, the album is both diverse and irresistibly catchy. The album marks a reunion with former collaborator/producer John Leventhal, and the two have found a perfect blend between words, music, and tasteful, organic arrangements for Colvin's finest effort to date.

Chart Information-
Year Album Chart Peak
1996 A Few Small Repairs The Billboard 200 39

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Cyndi Lauper--She's So Unusual (1984)

Artist-Cyndi Lauper
Album-She's So Unusual
Release Date-1984
Label-Portrait
Genre/Style-Pop/Rock New Wave
Format-mp3

Tracks-01. Money Changes Everything 02. Girls Just Want To Have Fun 03. When You Were Mine 04. Time After Time 05. She Bop 06. All Through The Night 07. Witness 08. I'll Kiss You 09. He's So Unusual 10. Yeah Yeah

Review-by Stephen Thomas Erlewine One of the great new wave/early MTV records, She's So Unusual is a giddy mix of self-confidence, effervescent popcraft, unabashed sentimentality, subversiveness, and clever humor. In short, it's a multifaceted portrait of a multifaceted talent, an artist that's far more clever than her thin, deliberately girly voice would indicate. Then again, Lauper's voice suits her musical persona, since its chirpiness adds depth, or reconfigures the songs, whether it's the call to arms of "Girls Just Want to Have Fun" or the tearjerking "Time After Time." Lauper is at her very best on the first side, all of which were singles or received airplay, and this collection of songs — "Money Changes Everything," "Girls," "When You Were Mine," "Time," "She Bop," "All Through the Night" — is astonishing in its consistency, so strong that it makes the remaining tracks — all enjoyable, but rather pedestrian — charming by their association with songs so brilliantly alive. If Lauper couldn't maintain this level of consistency, it's because this captured her persona better than anyone could imagine — when a debut captures a personality so well, let alone a personality so tied to its time, the successive work can't help but pale in comparison. Still, when it's captured as brightly and brilliantly as it is here, it does result in a debut that retains its potency, long after its production seems a little dated.

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Divine Weeks--Never Get Used to It (1986 and Rare)

Artist-Divine Weeks
Album-Never Get Used to It
Release Date-1986
Label-First Warning
Genre/Style-Alternative Pop/ Rock
Format-mp3
Size-97M
Quality-320kbps

Personal Rating-Rare!

Review-by Ned Raggett
Divine Weeks were perhaps one of L.A.'s best could-have-been bands — certainly the hype and attention they received through their existence was close to that given to groups like U2, but at least the music was good enough to warrant it. With its final album, the quartet took a strong bow on a nine-song set, seeing out one era of alternative rock the same year another was fully inaugurated in the public eye. Ironically, there's much on Never Get Used to It that could easily have fit on Ten — certainly vocalist Bill See has the same sense of passion and mission that Eddie Vedder brought to bear on his early work, and arguably with better results. His is a good, strong voice, passionate in the best way with just enough sweetness to balance out the rough rasps. As for the band as a whole, the members draw on everything from fiery classic rock burn to post-punk energy — R.E.M. could be as much of a touchstone as U2, but Divine Weeks sound more like a good '70s band eschewing dumbass soloing for crunch and flow. Both of the album's singles, "I Found Out" and "Preachin' to the Choir," are big, radio-friendly numbers blending funk-influenced rhythms into the inspiring feedback roar. See is at his best on the latter; the occasional comparisons to Jane's Addiction make a certain sense here, as the band lays it down big and strong behind his echo-laden belting. Other numbers like "Gingi and Me" continue the "big and loud" approach, but the band can also aim for something more subtle, as "Watershed" and the fine opener "Soul on Ice" shows — the latter by no means minimal, but just a touch more soothing in comparison. In sum, good stuff well worth the finding.

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Bitter:Sweet--The Mating Game (2006)

This album is contributed by AOI. Thanks so much!

If you want to contribute some albums to CocoaMusic, please contact me by echen812@hotmail.com

Artist-Bitter:Sweet
Album-The Mating Game
Release Date-2006
Label-Quango Music Group
Genre/Style-Electronica Adult Alternative Pop/ Rock
Format-mp3
Size-50M

Personal Rating-Recommended and Rare!

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

Review-by Rick Anderson The label says that the debut album from Bitter:Sweet (a duo featuring Supreme Being of Leisure Kiran Shahani and singer Shana Halligan) will appeal to fans of Serge Gainsbourg, Portishead, and Everything But the Girl. Hold up. How does that work again? Well, as it turns out, the album won't necessary appeal to all of those people all at the same time — the Gainsbourg fans will get a kick out of the loungey, horn-heavy "Mating Game" (and is that a theremin heard warbling in the background? yes? excellent), while those who got excited when Everything But the Girl got all jungley and electro will love the juxtaposition of cool, breathy vocals and jumpy breakbeats on "Our Remains" and the brilliant "Salty Air." For the Portishead contingent there's the spare and sulky funk of "Overdue" and the turntable-infused junglism of "Don't Forget to Breathe" (which also features really nice strings and a fun rhythmic changeup in the chorus). It all adds up to an album that captivates not by virtue of real originality, but by combining familiar elements in consistently enjoyable and occasionally surprising ways. Very nice.

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Scissor Sisters--Scissor Sisters (2004)

Artist-Scissor Sisters
Album-Scissor Sisters
Release Date-May 4, 2004
Label-Universal
Genre/Style-Pop/Rock Club/Dance
Format-mp3
Size-72M
Quality-HQ

Personal Rating-Recommended!

Tracks-1. Laura 2. Take Your Mama 3. Comfortably Numb 4. Mary 5. Lovers in the Backseat 6. Tits on the Radio 7. Filthy Gorgeous 8. Music Is the Victim 9. Better Luck 10. It Can't Come Quickly Enough 11. Return to Oz

Review-by Johnny Loftus Midway through the 2000s, theft with an artful nod and wink has become quite fashionable, and frilly is the new black. Combos like Chromeo and the Electric Six are finding mileage in long-shuttered, retrospectively laughable genres like synth pop and new romantic, and revisiting disco's most damning elements with a vigor for recombination. The results certainly elicit some snickering, but they can also be too cool — or, for the insecure, too much of a guilty pleasure — to ignore. New York's Scissor Sisters access these ideas and more on their debut full-length for Polygram. The eponymous release is a gleaming composite of epic, unabashedly pretty '70s songwriting and fancy-pants disco hedonism, reflecting the decadent dance-pop afterglow of all that George Michael wrought. "Lovers in the Backseat" is powered by the androgynous groove of Michael's "Everything She Wants." "Jealous glances/Now I'm lookin' for another song on the radio," they sing. "I'll take it to a side street/In the shadows you can touch one another/And I'll just watch the show." This flirty, satiny sexuality tingles in every lyrical inch of Scissor Sisters, as the Sisters save their subtlety for the songcraft. Opener "Laura" is a swaggering, absolutely irresistible update of vintage Stevie Wonder, illustrated with piano breaks and a honking sax. "Take Your Mama" chirps in a high register, a honky chateau dreamland of the Beta Band covering Elton John. All of this wackiness occurs before Scissor Sisters drop their dusky dancefloor version of "Comfortably Numb." They're hopped up over a twittering glitterball beat, referencing Frankie Goes to Hollywood and the Bee Gees even as the song functions as a Floyd redux. "I! I! I've become...'fortably numb!" As fun as all of this is (and the lip-smack glam of "Music Is the Victim" is very, very fun), the Sisters' revisionism can also get them in trouble. "It Can't Come Quickly Enough"'s dance-pop is too accurate, getting the bland side way too right, while "Return to Oz" cribs from Pink Floyd without the salve of artful dance club redirection. Still, these missteps are forgivable when pseudonyms like Del Marquis and Paddy Boom populate the band. Like some of their in-the-know peers, Scissor Sisters are happy to raid rock and pop's simpering peony past to soundtrack the parties and prurience of the silvery present day.

Chart Information-
Year Album Chart Peak
2004 Scissor Sisters The Billboard 200 102
2004 Scissor Sisters Top Electronic Albums 1
2004 Scissor Sisters Top Heatseekers 1
2006 Scissor Sisters Top Electronic Albums 1

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Ayo--Joyful (2006)

Artist-Ayo
Album-Joyful
Release Date-June 20, 2006
Label-Universal
Genre/Style-R&B/Sou
lFormat-mp3
Size-68M
Quality-HQ

Official Site and Biography-http://ayomusic.artistes.universalmusic.fr/

Personal Rating-Not bad for a new artist

Tracks-1. Down On My Knees 2. Without You 3. Letter By Letter 4. How Many Times 5. And It's Supposed To Be Love 6. Watching You 7. Only You 8. Help Is Coming 9. These Days 10. Life Is Real 11. What Is Love? 12. Neva Been

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2 Albums come from Nickel Creek!

Artist-Nickel Creek (2 Albums)

Biography-by Steve Huey
Distinguished by their youth and eclectic taste, Nickel Creek became a word-of-mouth sensation on the progressive bluegrass scene and soon found their appeal spreading beyond the genre's core audience. Guitarist Sean Watkins, fiddler Sara Watkins (his younger sister), and mandolin/banjo/bouzouki player Chris Thile first started performing together in 1989, when all three were preteens and taking music lessons in their native San Diego. They met while watching the local band Bluegrass Etc., which put on weekly performances in a pizza parlor. A bluegrass promoter liked the idea of such a young band, and thus Nickel Creek was formed, with Thile's father Scott joining them on bass. Nickel Creek were regulars on the festival circuit through most of the '90s, and during that time, Thile recorded two solo albums, 1994's Leading Off... and 1997's Stealing Second. In 1998, with help from Alison Krauss, Nickel Creek landed a record deal with the roots music label Sugar Hill. Krauss produced their self-titled debut album, which was released in 2000; with the kids apparently all right, Scott subsequently retired from the band. Though it was decidedly a bluegrass record, Nickel Creek boasted elements of classical, jazz, and rock & roll both classic and alternative; naturally, the influence of progressive bluegrass figures like Krauss, Edgar Meyer, and Béla Fleck was also apparent. Perhaps aided by the success of O Brother, Where Art Thou?, which brought traditional roots music to a whole new collegiate audience, Nickel Creek became a slow-building hit; by early 2002, it had gone gold, climbed into the country Top 20, and earned a Grammy nomination for Best Bluegrass Album. Meanwhile, Sean released his solo debut, Let It Fall, in 2001, and Thile followed suit with Not All Who Wander Are Lost. Nickel Creek released their sophomore set, This Side, in 2002; it debuted in the Top 20 of the pop charts and went all the way to number two on the country listings. Even more eclectic than its predecessor, the Krauss-produced album turned indie rock fans' heads with a cover of Pavement's "Spit on a Stranger." This Side won a Grammy for Best Contemporary Folk Album in early 2003, after which Sean issued his second solo album, 26 Miles. In 2005, the group worked with producers Tony Berg and Eric Valentine (the latter had worked with Smashmouth and Queens of the Stone Age) to produce Why Should the Fire Die?, a dark and introspective collection of new material that found the trio steering even further away from their bluegrass beginnings.

Genre/Style-Contemporary Bluegrass/Contemporary Country

Album1-This Side
Release Date-Aug 13, 2002
Label-Sugar Hill
Format-mp3
Size-42M
Quality-128kbps
Personal Rating-Recommended!

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Album2-Why Should the Fire Die?
Release Date-Aug 9, 2005
Label-Sugar Hill
Format-mp3
Size-70M
Quality-HQ
Personal Rating-Recommended!

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World Top50 Albums Chart (14.08.2006 - 20.08.2006)

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 (14.08.2006 - 20.08.2006)
You can download this week's chart here-

File Format-Word
Size-104k

http://www.savefile.com/files/10677

Pulp--Hits (2003)

Artist-Pulp
Album-Hits
Release Date-Jun 24, 2003
Label-Island
Genre/Style-Alternative Pop/ Rock Britpop
Format-mp3
Size-121M
Quality-HQ

Personal Rating-Recommended strongly!

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

Review-by Stephen Thomas Erlewine
More than any other band of the '90s, Pulp were quintessentially British — not the same thing as being quintessentially Britpop, mind you, which is an entirely different thing. Though it was frequently fey, at least when Blur were concerned, Britpop was for the lager-loving lads, a patriotic celebration of the country, particularly its pop culture heritage. Pulp shared many of those same roots as their peers, plus they were pop obsessives, capturing the intuitive, subliminal things that separated the dedicated from the poseurs. They were the misshapes, misfits — the art-loving geeks grown beautiful who had a brief moment in the sun before they returned to the outskirts of pop life. To some observers, that might have looked like they were dropping the ball, but turning to the murky darkness of This Is Hardcore after the shining Different Class was artier and more natural than Blur's similar turn with 13, and they made better singles when they returned to arty darkness, too, as Hits, a glorious recap of their stint at Island in the '90s, illustrates. Pulp, of course, had been around long before they moved to Island, but it wasn't until the early '90s that they truly came into their own, starting with Pulpintro EP and the sublime "Babies" single. From there, they produced four terrific albums, including one stone masterpiece (1995's Different Class which, years later, stands alongside Parklife as the greatest testament of Britpop), the near-perfect His 'n' Hers, the fascinating decadence of This Is Hardcore, and the gorgeous Scott Walker-produced We Love Life. Each album has a different character, a different feel, but throughout it all, Pulp turned out tremendous singles that functioned within the context of the album and as their own entity because they were vividly imagined and sharply written, which may be why they hold together so well as their own album. Apart from the image-defining "Mis-Shapes," there's nothing missing from Hits, and while these are songs identified with their time, they transcend it, with even the new contribution, "Last Day of the Miners' Strike," holding its own on a collection of singles as strong as anything in '90s pop music.

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Pulp--Different Class (1995)

Artist-Pulp
Album-Different Class
Release Date-Oct 30, 1995
Label-Island
Genre/Style-Alternative Pop/ Rock Post-Punk
Format-mp3
Size-80M
Quality-HQ

Personal Rating-Recommended strongly!

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

Review-by Stephen Thomas Erlewine

After years of obscurity, Pulp shot to stardom in Britain with 1994's His 'n' Hers. By the time Different Class was released at the end of October 1995, the band, particularly lead singer Jarvis Cocker, were genuine British superstars, with two number two singles and a triumphant last-minute performance at Glastonbury under their belts, as well as one tabloid scandal. On the heels of such excitement, anticipation for Different Class ran high, and not only does it deliver, it blows away all their previous albums, including the fine His 'n' Hers. Pulp don't stray from their signature formula at all — it's still grandly theatrical, synth-spiked pop with new wave and disco flourishes, but they have mastered it here. Not only are the melodies and hooks significantly catchier and more immediate, the music explores more territory. From the faux-show tune romp of the anthemic opener "Mis-Shapes" and the glitzy, gaudy stomp of "Disco 2000" (complete with a nicked riff from Laura Branigan's "Gloria") to the aching ballad "Underwear" and the startling sexual menace of "I Spy," Pulp construct a diverse, appealing album around the same basic sound. Similarly, Jarvis Cocker's lyrics take two themes, sex and social class, and explore a number of different avenues in bitingly clever ways. As well as perfectly capturing the behavior of his characters, Cocker grasps the nuances of language, creating a dense portrait of suburban and working-class life. All of his sex songs are compassionate, while the subtle satire of "Sorted for E's & Wizz" is affectionate, but the best moment on the album is the hit single "Common People," about a rich girl who gets off by slumming with the lower class. Coming from Cocker, who made secondhand clothes and music glamorous, the song is undeniably affecting and exciting, much like Different Class itself.

Chart Information-
Year Album Chart Peak
1996 Different Class Heatseekers 34

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David Gilmour--About Face (1984)

Artist-David Gilmour
Album-About Face
Release Date-Feb 1984
Label-Columbia
Genre/Style-Prog-Rock/ Art Rock
Format-mp3
Size-84M
Quality-256kbps

Personal Rating-Recommended!

Review-by Tom Demalon David Gilmour released his second solo venture in 1984, following the apparent dissolution of Pink Floyd. He had released a record on his own in 1978, but About Face is much more accessible. Gilmour has a stellar band backing him, including Jeff Porcaro (drums), Pino Palladino (bass), and Anne Dudley (synthesizer). The songs on About Face show a pop sensibility that Pink Floyd rarely was concerned with achieving. Although the album didn't attract the attention of a Floyd release, several cuts did manage to get airplay. "Until We Sleep" is rife with shimmering synthesizers and cavernous drums, and "Blue Light" was a minor pop hit, with Gilmour's trademark delay-drenched guitar giving way to a driving, horn-laced rocker. Pete Townshend wrote two of the tracks: "Love on the Air" and the propulsive "All Lovers Are Deranged." Of course, there's more than enough of Gilmour's fluid guitar playing to satisfy, including the gorgeous "Murder," a gentle acoustic track that explodes with some fiery organ by Steve Winwood and concludes with a fierce coda. About Face is well-honed rock album that is riveting from beginning to end.

Chart Information-
Year Album Chart Peak
1984 About Face The Billboard 200 32

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Midlake--The Trials of Van Occupanther (2006)

Artist-Midlake
Album-The Trials of Van Occupanther
Release Date-Jul 25, 2006
Label-Bella Union
Genre/Style-Indie Rock
Format-mp3
Size-102M
Quality-320kbps

Personal Rating-Recommended!

Biography-by William Ruhlmann The lo-fi rock quintet Midlake was formed in Denton, TX, in 2000 by a group of musicians who had attended the North Texas School of Music together: Paul Alexander (bass, keyboards), Eric Nichelson (keyboards, guitar), Eric Pulido (guitar, keyboards, background vocals), Tim Smith (vocals, keyboards, guitar), and Mckenzie Smith (drums). They issued their own EP, Milkmaid Grand Army, in 2001, and sold 1,000 copies at their Texas gigs. They attracted the attention of Simon Raymonde, who signed them to his Bella Union label in the U.K., leading to European concerts and the recording of their first full-length album, Bamnan and Slivercork, which was released in July 2004. For their next album, the band changes gears and moved away from the psychedelic leanings of their debut toward a more '70s-influenced sound. 2006's The Trials of Van Occupanther featured the same lineup and a sound reminiscent of harmony-rich soft rock bands like America and Laurel Canyon troubadours like Neil Young and Gene Clark.

Review-by Tim Sendra Midlake's second album is a departure from their lo-fi, psychedelic pop-influenced debut. The Trials of Van Occupanther jumps with both feet into the '70s of Laurel Canyon troubadours and soft rock balladeers. It jumps like Bob Beamon right past any other current bands treading similar ground and jumps back into time, becoming one of the best examples of the sound and style you'll ever hear, date of release notwithstanding. The first thing you notice on the album is the stunning vocal harmonies; you might think you dropped in an America disc by mistake. (The best record America ever did, that is.) Tim Smith has the kind of voice you know could be a glass-shattering instrument on par with that of Buckley or Wainwright, but he keeps it dialed down to an intimate scale, which is a wise decision. His vocals bleed melancholy honesty, and the way it combines with Eric Pulido's voice will raise goose bumps. The arrangements provide a perfect bed for the vocals, with cottony layers of acoustic guitars and strings, gentle horns, restrained drums, and lyrical piano combining beautifully. The occasional surprises are effective, especially when they use some of the corniest synth sounds heard since Jan Hammer unstrapped his keytar for the last time, on "We Gathered in Spring" and "It Covers the Hillside." All of which is nice but isn't worth much without songs. Fortunately, Midlake writes unerringly tuneful melodies and thoughtful lyrics about topics other than love and introspection, and lays down plenty of gentle hooks. Nothing that you'll be singing in the shower for days at a time, but each song goes down smoothly and they add up to make The Trials of Van Occupanther a very pleasant, maybe even exciting in a restrained way, listening experience. You'll certainly find yourself reaching for it more often than you might expect; indeed, it has lasting power that many records that sound so good on first listen lack. Midlake might be stuck in the '70s, but they make it sound like the best place on earth.

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Beyonce-B'day (New!)

Artist-Beyonce
Album-B'day
Release Date-Sep 4, 2006
Label-Sony
Genre/Style-Contemporary R&B
Format-mp3
Size-69M
Quality-400kbps

Review-Beyonce Knowles rose to fame as a member of the R&B ensemble Destiny's Child. With Beyonce's father as a manager, the group garnered massive success with their 2001 album, SURVIVOR. Soon Beyonce, sporting a sexy yet girl-next-door image, broke out on her own, with major roles in the Austin Powers movie GOLDMEMBER and a hip-hop version of the opera CARMEN. With the release of her more eclectic solo debut, DANGEROUSLY IN LOVE, Beyonce became a full-fledged international superstar and role model.

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Justin Timberlake--Futuresex/Lovesounds (New)

Artist-Justin Timberlake
Album-Futuresex/Lovesounds
Release Date-Sep 12, 2006
Label-Jive
Genre/Style-Teen Pop
Format-mp3
Size-86M
Quality-160kbps

Review-America's funkiest white boy puts even more distance between his boy-band past and his present career with FUTURESEX/LOVESOUNDS, the follow-up to his 2002 smash JUSTIFIED. The album is set for a September 12 release and features a slew of money-in-the-bank producers including Rick Rubin, Timbaland, and Will.i.am.

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Steely Dan--Countdown to Ecstasy (1973)

Artist-Steely Dan
Album-Countdown to Ecstasy
Release Date-1973
Label-MCA
Genre/Style-Album Rock/Soft Rock
Format-mp3

Personal Rating-Recommended strongly!

Tracks-1. Bodhisattva2. Razor Boy3. The Boston Rag4. Your Gold Teeth5. Show Biz Kids6. My Old School7. Pearl Of The Quarter8. King Of The World

Review-by Stephen Thomas Erlewine Can't Buy a Thrill became an unexpected hit, and as a response, Donald Fagen became the group's full-time lead vocalist, and he and Walter Becker acted like Steely Dan was a rock & roll band for the group's second album, Countdown to Ecstasy. The loud guitars and pronounced backbeat of "Bodhisattva," "Show Biz Kids," and "My Old School" camouflage the fact that Countdown is a riskier album, musically speaking, than its predecessor. Each of its eight songs have sophisticated, jazz-inflected interludes, and apart from the bluesy vamps "Bodhisattva" and "Show Biz Kids," which sound like they were written for the stage, the songs are subtly textured. "Razor Boy," with its murmuring marimbas, and the hard bop tribute "Your Gold Teeth" reveal Becker and Fagen's jazz roots, while the country-flavored "Pearl of the Quarter" and the ominous, skittering "King of the World" are both overlooked gems. Countdown to Ecstasy is the only time Steely Dan played it relatively straight, and its eight songs are rich with either musical or lyrical detail that their album rock or art rock contemporaries couldn't hope to match.

Product-
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Jessica Simpson--A Public Affair (New)

Artist-Jessica Simpson
Album-A Public Affair
Release Date-Aug 29, 2006
Label-Epic
Genre/Style-Dance-Pop/Teen Pop
Format-mp3
Size-74M
Official Site-http://www.jessicasimpson.com/

Product-http://product.half.ebay.com/_W0QQtgZinfoQQprZ55153575
Download-
http://rapidshare.de/files/30760570/JS-APA.zip
or
http://rapidshare.de/files/30648846/jess.rar
or
http://www.easy-share.com/611596.html

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Reupload for your requests!

I reuploaded these two albums because some file-hosters couldn't be used in some countries.

The new download links are added in comments and old download links are still valid.

Artist-Patricia Barber
Album-Verse

and

Artist-Lcd Soundsystem
Album-Lcd Soundsystem

Patricia Barber--Verse (2002 and Recommended)

Artist-Patricia Barber
Album-Verse
Release Date-Aug 27, 2002
Label-Blue Note
Genre/Style-Contemporary Jazz/Vocal Jazz
Format-mp3
Size-118M

Personal Rating-Recommended strongly!

Review-by Matt Collar Pianist/vocalist Patricia Barber is the Alanis Morissette of the jazz world. Her serpentine, poetic songs teeter between deftly witty and awkwardly Latinate. Each album is more ambitious than the last, taking her deeper into avant-garde territory both lyrically and instrumentally. Verse is no exception. Case in point: "I Could Eat Your Words," a canny bit of word play in the tradition of "Peel Me a Grape," in which Barber barely gets away with words like "provocation" and "syllogistically," only to sum things up with the devastating line, "sip the spit from your bittersweet rhyme." The indelible track here, though, has to be "If I Were Blue," featuring the line, "If I were blue, like David Hockney's pool/Dive into me and glide under a California sky/Inside your mouth and nose and eyes am I." It's perhaps the best thing Barber has ever written — it could be considered serious modern poetry if only it didn't rhyme. About the biggest complaint one can lodge against Barber is her insistent denial of melody. Her voice is soft, almost matter-of-fact, and she more or less hints at singing. Obviously, lyrical intent is more important to Barber than how she carries a tune, and her voice does seem more suited to whispering torch songs cabaret-style, such as on "Dansons la Gigue," than delivering any vocal gymnastics. It's just that sometimes her songs could be showcased better with a consistently delivered vocal melody. However, she makes up for her lack of sonorousness (to use a Barber kind of word) with intricate musical arrangements, this time around augmented by the Miles Davis-cum-Lester Bowie trumpet of Dave Douglas. Barber's is a world of cloaked intentions, and Douglas' playful vibrato works like the flame of a candle illuminating her soft, shadowy corners.

Chart Information-
Year Album Chart Peak
2002 Verse Top Jazz Albums 2

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Lunik--Ahead & Life is our side & Weather (3 Albums)

Artist-Lunik (3 Albums!)
Official Site and Biography-http://www.lunik.com/
A Nice Fan site-http://www.lunik-fans.com
Genre/Style-Rock & Pop/Indie Rock

Album1-Ahead
Release Date-Mar 11, 2003
Format-mp3
Size-80M

Album2-Life is our side
Release Date-03.10.2004
Format-mp3
Size-73M

Album3-Weather
Release Date-November 2004
Format-mp3
Size-44M

Product- http://www.amazon.com/
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(I upload these 3 albums for request.)
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Lcd Soundsystem--Lcd Soundsystem (2005 and Recommended)

Artist-Lcd Soundsystem
Album-Lcd Soundsystem
Release Date-Jun 21, 2005
Label-DFA/EMI
Genre/Style-Alternative Dance/Indie Electronic/Indie Rock
Format-mp3
Size-92M
Quality-128kbps

Personal Rating-Recommended!

Review-by Andy Kellman

If a music-nerd version of Animal House set in 2005 is ever made, "Daft Punk Is Playing at My House" — the boisterous opener of LCD Soundsystem — would make an ideal theme song for the fraternity on which it is based. The self-conscious, awkward music obsessives pledging into this fraternity would have to pass a complex trivia test, own a compulsory list of records, and, as a hazing ritual, ask to dance with someone in public. If LCD Soundsystem's James Murphy were the least bit open to the concept, he could be the fraternity's advisor. Judging from a handful of singles and this album, he'd be more than qualified. His first A-side, 2002's "Losing My Edge," laid all his cards on the table, name-checking nearly everything that has been branded indispensable by a record store clerk during the past 20 years. This is someone who clearly owns tons of records and cannot escape them when making his own music. Acid house, post-punk, garage rock, psychedelic pop, and at least a dozen other things factor into his songs, and he's not afraid to be obvious. On occasion, he doesn't even allow fellow nerds to play guessing games. This is the case with "Never As Tired As When I'm Waking Up" — drowsy/dazed John Lennon vibes through and through — as well as the drifting/uplifting "The Great Release" — an alternate closer to either of Brian Eno's first two solo records. Otherwise, Murphy's songs cough up references from his subconscious or are put together as if he's thinking more like a DJ, finding ways to combine elements from disparate sources. "Movement" careens into high-energy guitar squall after a pounding beat and cranky synths; "On Repeat" happily replicates the scratches and jabs of guitar heard from A Certain Ratio, PiL, and Gang of Four, but its mechanical pulse and curveball synth effects couldn't be any more distanced from those three groups. Nothing here exceeds the brilliance of "Beat Connection" or "Yeah." Like just about everybody else these days, Murphy's more skilled at creating isolated tracks than making full-lengths, even though this particular full-length has few weak spots and unfolds smoothly as you listen to it from beginning to end. The bonus disc, containing all the stray single tracks, adds a great deal of value.

Product-
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Vienna Teng--Warm Strangers (2004 and Recommended)

Artist-Vienna Teng
Album-Warm Strangers
Release Date-Feb 24, 2004
Label-Virt
Genre/Style-Adult Alternative Pop/ Rock
Format-mp3

Personal Rating-Recommended. About 1 month ago, I posted her newest amazing album here. I upload her second album today for request.

Biography-by Bradley Torreano Reaching the national spotlight at the end of 2002, pianist Vienna Teng had been an important part of the California singer/songwriter scene for a few years before then. A pianist since the age of five, Teng took piano lessons before moving on to improvisation. Writing feverishly throughout her youth, she eventually had a full album's worth of instrumentals by the age of 16. Going to Stanford to further her education, she released an EP while going to school and recorded most of Waking Hour before she graduated. After releasing the record independently and taking it on the road with her, she scored an agreement with Virt Records and got national distribution in the fall of 2002. Comprised of many intimate songs that detailed the issues of a young adult, her music fell between the uptempo approach of Ben Folds and the theatrical chamber pop of Rufus Wainwright. She followed up in early 2004 with the matured and critically acclaimed effort Warm Strangers, which charted on three separate Billboard charts. Touring with musicians like Joan Osborne, Shawn Colvin, and Patty Griffin over the years, Teng next hooked up with producer Larry Klein (Joni Mitchell, Madeleine Peyroux) for her next album, Dreaming Through the Noise, issued in July 2006. That summer was spent on shows with Duncan Sheik.

Product-
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Michael Learns to Rock (2 Albums for request)

Artist-Michael Learns to Rock (2 Albums)

Biography-by John Bush Michael Learns to Rock is one of the most popular Danish bands, in their homeland as well as the ever-eclectic Asian rim. The group was formed around a tiny bar band fronted by vocalist Jascha Richter and his sister, plus guitarist Mikkel Lentz and drummer Kare Wanscher. By 1988, Richter's sister had left and bassist Soren Madsen completed the lineup. Michael Learns to Rock released their self-titled debut album in 1991, and earned a release in America through Impact Records. Cleveland Int'l provided distribution for 1993's Colours, 1995's Played on Pepper, and 2002's Blue Night. Though the band remained unknown in the Western Hemisphere, Asian audiences continued to make them one of the most popular artists in the region.

Album1-Michael Learns to Rock
Release Date-Aug 13, 1991
Label-Impact
Genre/Style-Alternative Pop/ Rock
Format-mp3
Size-64m
Quality-192kbps
Product-http://product.half.ebay.com/_W0QQprZ3123399QQtgZinfo

Album2-Colours
Release Date-1993
Label-Cleveland Int'l
Genre/Style-Alternative Pop/ Rock
Format-mp3
Size-66M
Quality-192kbps
Product-http://product.half.ebay.com/_W0QQprZ3194968

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Celine--Elapsed Time (2006)

Artist-Celine
Album-Elapsed Time
Release Date-2006
Genre/Style-Indie Ectronica
Format-mp3
Size-79M
Quality-320kbps

Personal Rating-Not bad for a new singer. You can hear her several songs in her space first before you decide to download the whole album. Here is the link of her personal space.
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=33546227

Biography-http://avenueb.free.fr/Biography/Pages/Bio.html
Official Site-http://avenueb.free.fr/
Review-http://www.stylusmagazine.com/reviews/celine/elapsed-time.htm

Product-http://www.ear-rational.com/detail.php?id=27133
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These 5 albums are still available...

Download links of these five albums are still valid. Some file-hosters are indeed hateful.

All albums posted here only can be downloaded in a quite short period of time, so please download what you want as soon as possible.

Please go to http://www.amazon.com or http://www.cduniverse.com/ to purchase them if you like them.

Lily Allen - Alright Still

The Cure-The Head On The Door

Blood Meridian--Kick Up The Dust

The Mars Volta - De-loused in the comatorium

The Mars Volta - Scab dates

Download link-http://www.live-share.com/files/14693/Download_links.txt.html

Leigh Nash--Blue on Blue (New)

Artist-Leigh Nash
Album-Blue On Blue
Release Date-Aug 15, 2006
Label-One Son/Nettwerk
Genre/Style-Indie Pop/Adult Alternative Pop/ Rock
Format-mp3
Size-64M
Quality-320kbps
Tracks-11 Songs

Personal Rating-Recommended

Biography-by Megan Frye Leigh Nash is perhaps best known as the pixie-like singer with the heavenly voice from Sixpence None the Richer, a CCM group that enjoyed considerable fame in 1999 with the single "Kiss Me." She had started the band at age 14 with schoolmate Matt Slocum. Nearly half her life later, at age 27, Sixpence None the Richer split, albeit on good terms. Before the band called it quits, Nash had often considered working solo, if and when she would be band-less. Though the end of Sixpence left her a little distraught, Nash realized it was time to move on, and she and her husband moved from Nashville to Los Angeles. Soon after, Nash gave birth to a son. She decided to return to her roots a little, which consisted of Christian and country music, though she remained in touch with her pop influences. Nash's original musical inspiration came from classic country heroines Loretta Lynn, Patsy Cline, and Tanya Tucker — whose songs she used to learn on guitar long before the Sixpence days. With motherhood as an inspiration, she recorded Blue on Blue and moved back to Nashville to join Movement Nashville, a recently formed collective of musicians geared toward expelling the myth that Nashville's music scene consists only of country and Christian music. Blue on Blue was released in August of 2006.

Product-http://www.amazon.com/gp/product/B000GG4XFG/sr=8-1/qid=1156125936/ref=pd_bbs_1/002-0099682-6124014?ie=UTF8
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Joanna--This Crazy Life (New)

Artist-Joanna
Album-This Crazy Life
Release Date-Aug 15, 2006
Label-Geffen
Genre/Style-Teen Pop/Adult Contemporary
Format-mp3
Size-64M
Quality-192kbps

Biography-by Marisa Brown After winning a nationwide search for the title role in the 20th anniversary tour of the musical Annie, 12-year-old Joanna Pacitti thought her career in show business was set. However, things didn't turn out exactly as planned for the young performer, who had grown up singing in her father's barbershop in Mayfair, PA, a suburb of Philadelphia, when just three weeks before the show hit Broadway, Joanna was fired and replaced by her eight-year-old understudy. At 16, Joanna, armed with a demo of some her music, flew out to Los Angeles to meet with record executives, eventually signing to Geffen. As documented on a 2003 episode of the MTV show True Life, Joanna spent the next five years working on her debut album, This Crazy Life, which came out in 2006.

Product-http://www.amazon.com/gp/product/B000GPI1GY/sr=8-1/qid=1156125211/ref=pd_bbs_1/002-0099682-6124014?ie=UTF8
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Caribou--Start Breaking My Heart (2006)

Artist-Caribou
Album-Start Breaking My Heart
Release Date-May 9, 2006
Label-Domino/Leaf
Genre/Style-Shoegaze/Indie Electronic
Format-mp3
Size-173M
Tracks-20 Songs

Biography-by Kingsley Marshall Dan Snaith's early recordings as Manitoba underlined his status among the chattering electronic classes as one of the brightest talents to emerge during the early 2000s. Having already proved himself master of the sublime with his 2000 debut EP, People Eating Fruit, the Canadian's subsequent Paul's Birthday EP opened him out even further. After moving to London, he released an excellent second album (Up in Flames) in 2003 that saw him become a darling of critics. One year later, however, Snaith was forced to give up the name Manitoba after Dictators frontman Handsome Dick Manitoba sued for trademark infringement (despite the passing of 15 years since the release of the only material under his name, a 1990 LP by Manitoba's Wild Kingdom). Snaith renamed his project Caribou, his two previous full-lengths were reissued under the new monicker, and he released his first new Caribou record, The Milk of Human Kindness, in May 2005 for Domino.

Review-by Dean Carlson Caribou's Start Breaking My Heart is closer to Elliott Smith than Coldcut, and about as stable as a bull in a china shop full of unheard copies of Kid A, but this is the sort of production that niftily stands for modern solo melancholiacs with more to offer than a co-option of Warp back catalogs and egregious MOR. Responsibility for Start goes to Toronto's Dan Snaith, a twenty-something musician whose work is both technical enough for scholastic jazz ears and organic enough for acoustic traditionalists. Beats spring about but don't go all clickety-spangly. Homespun tunes swoon and sway but never whine. The work here is so good that you no longer eternally have to connect the words "classically trained" with pompous incompetence. [Originally released in 2001, Start Breaking My Heart was subsequently re-released after legal action from Handsome Dick Manitoba forced Snaith to change his billing from Manitoba to Caribou.]

Product-
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The Velvet Teen--Cum Laude (2006)

Artist-The Velvet Teen
Album-Cum Laude
Release Date-2006
Label-Slowdance
Genre/Style-Indie Rock
Format-mp3
Size-64M
Quality-256kbps

Tracks-1. 333 2. Flicking Clint 3. Rhodekill 4. False Profits 5. Tokyoto 6. Noi Boi 7. Spin the Wink 8. Bloom 9. Building a Whale 10. In a Steadman Spray 11. Around the Roller Rink 12. Gyzmkid

Review-by Marisa Brown For some bands, any stylistic change — even slight — can be equated with trying to follow current trends, to increase the fan base. But in the case of the Velvet Teen's Cum Laude, there are no signs of selling out; it's more for reasons of musicianship and experimentation, for wanting to push themselves further, that their third full-length record incorporates elements of electronica and math rock (sonically) and jazz (structurally). Perhaps it's the fact that former drummer Logan Whitehurst has been replaced with a much more aggressive and talented Casey Deitz, who favors intricate, nearly hard bop rhythms over the standard rock beats that Whitehurst supplied. This addition changes the Velvet Teen's sound quite drastically, giving them — as fuzzy guitar riffs and keyboards move steadily over the driving bass — an expansiveness within their songs strangely reminiscent of Joshua Tree. But Cum Laude is, with its grittiness and fractured chords, more Dismemberment Plan than U2. Drums bang frenetically along while Judah Nagler — the distortion on his voice often rendering the lyrics unintelligible — yelps and sings through verses about love and sadness. It's exciting, occasionally fractured, interesting music that isn't afraid to have instrumental solos and breakdowns or to play on a riff without ever losing its accessibility. Nagler's melodies are simple and catchy (in that sweeping, Muse-like way), and while the guitar and bass occasionally try to deconstruct what they had previously laid out, it never gets too complex or hard to understand. The Velvet Teen manage to keep that nice pop sensibility that made them great in the first place while still continuing to develop their sound and their musical vision, something that often stumps other bands. Cum Laude is fun and emotional without being trite, challenging and intelligent without being difficult, progressive without being abstract. With one foot firmly in structure and one in experimentation, the band has found a way to advance itself and its music without having to drastically change, creating an example that demands to be applauded and emulated, and an album that needs to be listened to.

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Ron Sexsmith--Time Being (2006)

Artist-Ron Sexsmith
Album-Time Being
Release Date-July 4, 2006
Label-WEA
Genre/Style-Singer/ Songwriter Adult Alternative Pop/ Rock
Format-mp3

Tracks-1. Hands Of Time 2. Snow Angel 3. All In Good Time 4. Never Give Up 5. I Think We're Lost 6. Reason For Our Love 7. Cold Hearted Wind 8. Jazz At The Bookstore 9. Ship Of Fools 10. Grim Trucker 11. Some Dusty Things 12. And Now The Day Is Done

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

Review-8th full length album from the Canadian star. 'Time Being' sees Ron reunited with legendary producer Mitchell Froom (Paul McCartney, Elvis Costello, The Corrs, Crowded House, Daniel Powter) who produced Ron's first three albums for Interscope. 12 tracks in all. V2. 2006.

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Lyfe Jennings--The Phoenix (New)

Artist-Lyfe Jennings
Album-The Phoenix
Release Date-Aug 15, 2006
Label-Sony Urban Music/Columbia
Genre/Style-Contemporary R&B
Format-mp3
Size-87M
Quality-192kbps

Personal Rating-Recommended

Review-by David Jeffries

What's surprising about Lyfe Jennings' career is that not only does his soulful music recall the freedom the soul genre experienced in the early '70s but how his major label, Sony, gives him that freedom in the rather stilted 21st century. Listening to his sophomore effort, The Phoenix, the question could be raised as to who is responsible for the album's heavy Kanye West and John Legend influence. Legend's emotional, piano-driven style rears its head often and West's elaborate ambition is all over the place, but a couple listens in, it's obvious that Jennings is responsible for all the unique moves and doubtful that Sony told him, "We need you to be our Kanye." The fact Sony gave the man's debut plenty of time to sink in with the public — they worked it for an eternity by 21st century standards — is a clue, but the proof is all over The Phoenix, a giant of an album with giant rewards, giant flaws, and grand swoops of unbridled creativity that somehow got Sony's stamp of approval. First off, there's a song-explaining interlude between practically every track, something that wears out its welcome in three listens or so. The interludes that bridge "Goodbye" (excellent and achingly poignant), "Let's Stay Together" (silky smooth), and "Biggie Nigga" (uplifting and fascinating) are especially clumsy, with Lyfe explaining how he faced the "making up is easier than breaking up" conundrum and made the more difficult choice, then made the easier choice, then dumped his lady for another girl who made him feel like the Notorious B.I.G. The chitter-chatter undermines this killer trilogy of songs, but if you want a really strange move, check out how the tougher-than-tough "Slow Down" (with G-Unit member Young Buck) uses the Gilligan's Island theme for its hook. As part of the whole, it works beautifully, as do the outlandish lyrics dropped into "Biggie Nigga" ("I was breast-fed by Godzilla") and "The River" ("I'm cursing the vagina that gave life to me"), since they're surrounded by eye-level views of Lyfe's past and his delivery is always convincing. On top of it all, he pulls off the tricky "sexual abstinence" song ("S.E.X.") without a hitch, throws out enough bold ideas and grand statements for two West records, and his raspy voice is as rich as ever. The Phoenix is a crazy, big, flawed album, but it's a trip, and a riveting one that anyone who loved his debut will want to take.

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La Rocca--The Truth (2006 and Their Debut Album)

Artist-La Rocca
Album-The Truth
Release Date-Aug 8, 2006
Label-Dangerbird
Genre/Style-Alternative Rock
Format-mp3
Size-75M
Quality-320kbps

Official Site-http://www.myspace.com/laroccamusic

Biography and Review-
So how do 4 Irish boys end up playing rock n' roll in Los Angeles, preparing to cut their first long-player on Sunset Blvd, far from the dirty streets of Dublin? We can tell you it's a long and winding road that brought us here. 4 devils in the city of angels. The Irish have a history with the Americans, and we want to be part of that history. Hailing from Dublin city, we are a 4 piece rock 'n roll band. We have our own thing going on, something special. Unique, fresh, exciting. Classic in a sense. But more. College friends Nick and Alan met Bjorn, and later his brother Simon, in Cardiff, and what started as a drunken jam ended up here, 3 years later. It's only apt that we took our name from a favoured watering hole, the La Rocca cocktail bar, you'll understand why once you meet us.

In mid-2005 we signed our first record deal with Dangerbird Records, situated in the heart of happening Silverlake. Chrysalis Publishing USA became our close friends this year too, so it is only right that we should pack our duffle bags and set up camp in the USA. We've just recorded an album with Mr. Tony Hoffer (Beck, Air, Supergrass, Belle & Sebastian) and can't wait to be travelling the world playing it to people this year. We look forward to giving you something original and inspiring when we meet.

Product-
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Kelis-Kelis Was Here (New)

Artist-Kelis
Album-Kelis Was Here
Release Date-Aug 22, 2006
Label-Jive
Genre/Style-Urban/Contemporary R&B
Format-mp3
Size-100M

Biography-Harlem-bred vocalist Kelis left her parents' home at 16 and landed a deal with Virgin four years later. In mid-1999, Kelis was singing alongside rap troublemaker Ol' Dirty Bastard on his cut "Got Your Money," and her signature Technicolor spiraled Afro sparked critics' interests. Kelis captured feminist desires on her debut, Kaleidoscope, released in December 1999. Two years later, she teamed up with the Neptunes once again for Wanderland. The sophomore effort was only released in Europe — due to political reworkings within the U.S. wing of Virgin — which compelled Kelis to leave for Arista. 2003's Tasty followed and yielded the Top Ten hit "Milkshake," another Neptunes production. In 2006, her fourth album (Kelis Was Here) was released through Jive, led by the duly assertive "Bossy."

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It is a principle of mine...

I bought these CDs yesterday. I just want to spend my money on really excellent albums. It's a principle of mine.

I post this picture here in order to tell you that if you like some albums i posted here, do not forget to go to music store to purchase them. They deserve to be paid for.

Trace Adkins--Dangerous Man (New)

Artist-Trace Adkins
Album-Dangerous Man
Release Date-Aug 15, 2006
Label-Capitol
Genre/Style-Contemporary Country
Format-mp3
Size-80M
Quality-256-320kbps

Tracks-
1. Dangerous Man
2. Ladies Love Country Boys
3. I Came Here To Live
4. Swing
5. Ain't No Woman Like You
6. Southern Hallelujah
7. I Wanna Feel Somethin'
8. High
9. Fightin' Words
10. Stubborn One, The
11. Ride
12. Words Get In The Way
13. Honky Tonk Bodonkadonk

Biography-by Steve Huey
Trace Adkins helped keep country's traditionalist flame burning during the crossover-happy late '90s, mixing classic honky tonk with elements of gospel, blues, and rock & roll. Adkins was born in the small Louisiana town of Sarepta in 1962, and took up the guitar at an early age; he went on to study music at Louisiana Tech, where he also played football, and worked on an offshore oil rig after graduating. His finger was severed in an accident while on the job, and once several years had passed, he returned to music with the gospel quartet the New Commitments. In the early '90s he began to pursue a solo career, playing honky tonk bars and clubs as often as he could, and honing a powerful, wide-ranging baritone voice in the process. He spent several years on the circuit, and finally moved to Nashville to try his luck in the industry; he was quickly signed to Capitol by Scott Hendricks, who'd produced the likes of Brooks & Dunn, Faith Hill, and Alan Jackson. Adkins issued his debut album, Dreamin' Out Loud, in 1996, and it established him as a rising star. The lead single, "Every Light in the House," went to number three; "I Left Something Turned on at Home" hit number two; and "(This Ain't) No Thinkin' Thing" went all the way to number one. His 1997 follow-up album, Big Time, spawned another Top Five hit in "The Rest of Mine," and "Lonely Won't Leave Me Alone" just missed the Top Ten. However, it wasn't quite the commercial powerhouse of Dreamin' Out Loud; neither was its follow-up, 1999's More, which featured just one Top Ten single in the title track. Nonetheless, all three albums made the country Top Ten. 2001's Chrome brought Adkins into the Top Five of the country album charts for the first time, as the Top Ten lead single "I'm Tryin'" proved to be his biggest hit since "The Rest of Mine." In July of that year, Adkins was arrested for drunk driving and later pled guilty. The title track of Chrome belatedly climbed into the Top Ten in early 2003. Capitol released Greatest Hits Collection, Vol. 1 in July of 2003 and its companion DVD, ideo Hits, in February 2004 with Adkins's fifth studio album, the December 2003 release Comin' on Strong, sandwiched in between. In 2005, Adkins had a major hit with "Honky Tonk Badonkadonk" from his album, Songs About Me. The album Dangerous Man was released a year later.

Product-http://www.cduniverse.com/productinfo.asp?PID=7246549&style=music&frm=lk_RedRover&siteid=4
Download-http://www.live-share.com/files/11404/Download_links.txt.html
(You can find the real download links in a small wordpad file.)

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World Top50 Albums Chart (Aug 06-Aug 13)

Hi, everyone,

I'm back. :)

World Top50 Albums Chart (Aug 06-Aug 13)

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 (Aug 06-Aug 13)
You can download this week's chart here-
File Format-Word
Size-100k

http://www.live-share.com/files/11397/World_Charts_07.08.2006_-_13.08.2006.doc.html

World Top50 Albums Chart (July 31-Aug 06)

By the way, I changed the download links of the 6 albums which I posted yesterday.

I plan to travel to Belgium this week. No update on my site until friday.

World Top50 Albums Chart (July 31-Aug 06)

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 (July 31-Aug 06)
You can download this week's chart here-

File Format-Word
Size-105k
http://www.savefile.com/files/8359063

Rick Springfield--Working Class Dog (1981 and Recommended)

Artist-Rick Springfield
Album-Working Class Dog
Release Date-1981
Label-RCA
Genre/Style-Power Pop Pop/Rock
Format-mp3
Size-60M
Quality-256Kbps

Personal Rating-Recommended

Review-by Stephen Thomas Erlewine Forget that Rick Springfield was a soap star for a moment and listen to his music, because he made some of the finest guitar-driven mainstream pop/rock of the early '80s. Working Class Dog is his finest moment, filled with expertly crafted pop songs, highlighted by the massive hit "Jessie's Girl."

Chart Information-
Year Album Chart Peak
1981 Working Class Dog Pop Albums 7

Product-http://www.amazon.com/gp/product/B000002W55/sr=8-1/qid=1155507712/ref=pd_bbs_1/002-0099682-6124014?ie=UTF8
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Oneida--Happy New Year (2006 and Recommended)

Artist-Oneida
Album-Happy New Year
Release Date-Jul 11, 2006
Label-Jagjaguwar
Genre/Style-Indie Rock
Format-mp3
Size-60M
Quality-192kbps

Personal Rating-Recommended

Review-by Marisa Brown Reflecting the cyclical nature of earth and life itself, Oneida's eighth full-length album, Happy New Year, presents ideas of death and rebirth, and the continuity, and yet tenuousness, of existence. It's a poetic work of circling guitars and melodic phrases and vocal lines repeating and layered like monastic chants. The opener, "Distress," is comprised of a four-line phrase about the fleeting nature of beauty ("So fades the lovely blooming flower/Frail, smiling solace of an hour/So soon our transient comfort flies/And pleasure only blooms to die"), with modal harmonies and haunting, sparse background music, while the dark musings of "The Misfit" explore the notion of evil and perfidiousness, referencing perhaps the character in Flannery O'Connor's "A Good Man Is Hard to Find." But the band isn't trying to present an image of hopelessness, of a hell, or even a limbo from which you can never escape. Rather, they seem to be exploring the realm of purgatory, where, though it may require a great deal of time and sacrifice, there is hope of redemption. Both "Up with People" and "History's Great Navigator's" offer suggestions for improvement ("Open your eyes, the things you see/Are determined by the height of the ground you seize" and "Cross your heart, hope to die/Calm your voice, set your eye/Turn your back and go," respectively) as the band grooves along with quick drums and purposeful noise; it's all very much planned, controlled, with Oneida, acting as Virgil, guiding listeners along. Though the screeches and rumblings that occur in some of the songs (though as an album, Happy New Year is much less hard than what the band has previously produced) may occasionally seem arbitrary, in fact everything is very tightly contained. The idea of messiness is only put there to add effect, not because Oneida are losing control of their message and their statement. The record may not promise happiness or salvation, but it does propose ideas that can be contemplated in the time between the winding melodies and riffs, and perhaps one day, we too, like the Pilgrim, can continue on alone.

Product-
http://www.amazon.com/exec/obidos/ASIN/B000FUF84S/onmeta2-20/ref=nosim
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Amy Millan--Honey from the Tombs (2006 and Recommended)

Artist-Amy Millan
Album-Honey from the Tombs
Release Date-Jul 11, 2006
Label-Arts & Crafts
Genre/Style-Contemporary Folk Singer/ Songwriter Indie Rock
Format-mp3
Size-68M
Quality-256kbps

Personal Rating-Recommended

Review-by Marisa Brown Amy Millan has already proven herself a talented indie pop singer with her bands Stars and Broken Social Scene, so the fact that her voice carries over so well to other genres should come as no surprise. In her debut solo album, Honey from the Tombs, Millan explores her folkier side, with songs (all of which were written long before her Stars days) that tell tales of lost love and regret, an acoustic guitar and her own layered vocals her only constant companions. Not that the album is a lonely affair: Millan enlists plenty of help to help fill out her sound. There's guitar and vocal assistance from Dan and Jenny Whiteley (from Crazy Strings), as well as additional instrumentation from both sets of bandmates. But even though there's a certain lushness to the record, the words, and Millan's voice, are so forlorn that the overwhelming sentiment that comes through is loneliness, as if the players behind her are simply illusions, as if in fact she is there by herself. And it's this particular emotion that sits so calmly within the notes that makes Honey from the Tombs more than just another folk album. The songs themselves, if taken apart structurally, are no better and no worse than any other ones: they're musically sound but not extraordinary, and while there are some great, poetic lines, most of the actual power in Millan's work is from the sincerity in the simplicity of it all. "Singing's always easy when you're drinking," she admits, "So pour me up another before bed." She allows herself to show a weakness that's all too human, the weakness of old lovers who will never be forgotten, of distant memories still sharp like broken whiskey bottles. And it's precisely that weakness that makes Honey from the Tombs such a compelling and touching record. It doesn't have to be complicated by abstract imagery or unusual chords, because it already has everything it needs.

Product-http://www.amazon.com/gp/product/B000FCUSZU/sr=8-1/qid=1155506914/ref=pd_bbs_1/002-0099682-6124014?ie=UTF8
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Scritti Politti--White Bread Black Beer (2006 and Recommended)

Artist-Scritti Politti
Album-White Bread Black Beer
Release Date-Apr 10, 2006
Label-Rough Trade
Genre/Style-Alternative Pop/ Rock Dance-Pop/New Wave
Format-mp3
Size-116M
Quality-320kbps

Personal Rating-Recommended

Review-by Andy Kellman Unless you go strictly by the lyrics and/or the circumstances, the third and fourth Scritti Politti comeback albums are not very dissimilar. They're principally bright-colored guitar pop albums, though 2006's White Bread Black Beer features neither the guest MCs nor the deeply hip-hop-rooted arrangements that speckled 1999's Anomie & Bonhomie. Beneath that, everything on White Bread Black Beer was written and played by Green Gartside at his house, and the sleeve design of the album is credited in part to an Alys Gartside. That's Green's wife. (For some longtime fans, Green's marriage might take longer to comprehend than the Miles Davis appearance on Provision.) While crippling uncertainty continues to play a role in Green's life and the frequency with which he records, he's clearly in a frame of mind that was previously foreign to him, or at least one that he has never exposed before. Lines like "Very strange about love, you can feel the sun, there is no end," "You will never need to doubt me," and "When I'm with you, baby, I know just who I am" seem very unlike the person who once wrote "The 'Sweetest Girl,'" yet there's no reason to have a problem with them, especially since they're cooed and crooned in a voice that has always seemed to be ideal for expressions of love and happiness. It remains inconceivable that anything other than some kind of honey-based elixir has ever slid down Green's throat; despite being in his fifties, he still sounds every bit the bright-eyed boy, even when he's alluding to the powders and liquids he has ingested. The songs, as far as the writing goes, are routinely terrific; however, the ones that rely most on convenient synthesized elements are a bit dainty and rudimentary and deserve to be made without the limitations of a home studio. The major exceptions are a pair of weightless lullabies, in addition to "Dr. Abernathy," a song that snaps into a merry super-powered bounce worthy of prime XTC. Its implanted references to philosophers who held court in 19th century German universities (Hegel) and on 20th century New York streets (Brand Nubian) are a dead giveaway that Green acted alone.

Product-
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Tom Petty--Highway Companion (2006 and Recommended)

Artist-Tom Petty
Album-Highway Companion
Release Date-Jul 25, 2006
Label-American Recordings
Genre/Style-Album Rock/Heartland Rock
Format-mp3
Size-65M
Quality-320kbps

Personal Rating-Recommended

Review-by Stephen Thomas Erlewine Tom Petty's concept for his third solo album is laid bare in its very title: it's called Highway Companion, which is a tip-off that this record was made with the road in mind. As it kicks off with the chugging Jimmy Reed-via-ZZ Top riff on "Saving Grace," the album does indeed seem to be ideal music for road trips, but Petty changes gears pretty quickly, down-shifting to the bittersweet acoustic "Square One." Although the album ramps back up with the '60s-styled pop of "Flirting with Time" and the swampy, Dylan-esque "Down South," the quick move to the ruminative is a good indication that for as good as Highway Companion can sound on the road, Petty looks inward on this album just as frequently as he looks outward. Perhaps this is the best indication that this is indeed a solo affair, not a rock & roll record with the Heartbreakers. Petty of course doesn't go it completely alone here: his longtime guitarist Mike Campbell is here as is producer/co-writer Jeff Lynne, who helmed Petty's 1989 solo debut, Full Moon Fever, and the Heartbreakers' 1991 Into the Great Wide Open and now returns to the fold 15 years later. Lynne's previous Petty productions were so bright, big, and shiny, they would have been suitable for an ELO album, and given that track record, it would be easy to assume that he would follow the same template for Highway Companion, but that's not the case at all. Highway Companion has as much in common with the rustic, handmade overtones of 1994's Wildflowers as it does with the pop sheen of Full Moon Fever — it is precise and polished, yet it's on a small scale, lacking the layers of overdubs that distinguish Lynne's production, and the end result is quite appealing, since it's at once modest but not insular. But Highway Companion also feels a little off, as if Petty is striving to make a fun rock & pop record — a soundtrack for the summer, or at least a good drive — but his heart is in making a melancholy introspective album, where he's grappling with getting older. This gives the album a sad undercurrent even at its lightest moments, which makes it ideal for driving alone late at night. Since it arrives after the bombastic The Last DJ, it's refreshing to hear Petty underplay his themes here, and it also helps that Lynne helps toughen up his songcraft. All this makes Highway Companion at the very least another typically reliable collection from Petty, but at its core, it's moodier than most of his records. It has a lot in common with Petty's divorce album, Echo, but it's coming from a different place — one that's content, yet still unsettled. That may mean that this album isn't quite as fun as it initially seems on the surface, but that bittersweet undercurrent does indeed make Highway Companion a good partner for long nights on the road.
Chart Information-
Year Album Chart Peak
2006 Highway Companion The Billboard 200 4
2006 Highway Companion Top Canadian Albums 5
2006 Highway Companion Top Internet Albums 4

Product-
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The Format--Dog Problem (2006 and Recommended)

Artist-The Format
Album-Dog Problems
Release Date-Jul 11, 2006
Label-The Vanity Label
Genre/Style-Indie Pop
Format-mp3
Size-98M
Quality-320kbps

Personal Rating-Recommended
Official Site-http://www.theformat.com/

Review-by Corey Apar Tired of lamenting the split from a significant other locked in a dark room with Bright Eyes on repeat? Ready to turn that pain into a joyous singalong outside under the bright sun? Lucky for you, Arizona's the Format — barely appearing phased at being dropped by Atlantic in 2005 — have arrived with their self-released sophomore full-length, Dog Problems. Sure the album is mostly about singer Nate Ruess' most recent breakup and subsequent broken heart, but seriously, it's hands-down the feel-good album of the summer. After all, the heartache-induced lyrics of sarcasm and bitterness are in direct contrast to the sonic warmth emanating from every note-filled corner. Deftly elaborating on the sweet indie pop affair of 2003's Interventions and Lullabies, the guys have moved past straightforward ditties to craft songs that incorporate a wide range of instruments, tones, and occasionally, full-on orchestrations. "Time Bomb" immediately launches forth with exuberant vocal harmonies before the key-dancing chorus boogies to the front; the ironically catchy "The Compromise" — which is the defiant result of Atlantic asking for a pop hit — can be called radio-friendly in the best sense of the term. From a whimsical, carnival-esque air that appears sporadically throughout, the Format mix in horn sections, piano, banjo, handclaps and pretty much whatever else was lying around the studio when recording commenced. But every element is cleanly pulled off with such effortless charm, grace, and style that the songs in no way feel bogged down under the weight of the bands' ambition. The music never sounds forced or like the band is simply trying to be different through gimmicks; they've just matured into a new skin that fits as delightfully as their old. The Format were already showing obvious signs of being unable to write a bad song on Lullabies, but Dog Problems simply glows from beginning to end. It's like the music (both the gentle songs and high-energy ones) just can't help being fun and catchy, even if for some reason it didn't want to. The Format skirts cheesiness and cliché trappings by simply knowing how to make likable pop music that is entertaining and smart — and they've absolutely never sounded better.
Product-
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Discography of The Mars Volta (3 Albums)

Artist-The Mars Volta
Album-Discography(3 Albums)
Biography-http://www.themarsvolta.com/bio/
Official Site-http://www.themarsvolta.com/


Album1-De-Loused in the Comatorium
Release Date-Jun 24, 2003
Label-Universal
Genre/Style-Post-Hardcore Post-Rock/ Experimental
Format-mp3
Size-84M
Quality-192kbps
Personal Rating-Recommended
Tracks-10 Songs
Chart Information-
Year Album Chart Peak
2003 De-Loused in the Comatorium The Billboard 200 39
Product-
http://www.amazon.com/exec/obidos/ASIN/B00009V7T2/onmeta2-20/ref=nosim


Album2-Scab Dates
Release Date-Nov 8, 2005
Label-Universal
Genre/Style-Post-Hardcore Post-Rock/ Experimental
Format-mp3
Size-115M
Quality-320kbps
Tracks-12 Songs
Chart Information-
Year Album Chart Peak
2005 Scabdates The Billboard 200 76
Product-
http://www.amazon.com/exec/obidos/ASIN/B000BLI3IY/onmeta2-20/ref=nosim


Album3-Amputechture
Release Date-Sep 12, 2006(New!!)
Label-Universal
Genre/Style-Post-Hardcore Post-Rock/ Experimental
Format-mp3
Size-100M
Quality-320kbps
Tracks-8 Songs
Product-http://www.amazon.com/gp/product/B000GPI1BO/sr=8-1/qid=1155423006/ref=pd_bbs_1/002-0099682-6124014?ie=UTF8


Download-http://www.yourfilelink.com/get.php?fid=153233


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