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.

Product-
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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
or
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

Ratatat--Classics (2006)

Artist-Ratatat
Album-Classics
Release Date-Aug 22, 2006
Label-XL
Genre/Style-Instrumental Rock/Indie Electronic/Indie Pop/Indie Rock
Format-mp3
Size-98M
Quality-320kbps

Personal Rating-Recommended!

Biography-by Heather Phares Formerly known as Cherry, New York's rock-meets-electronica duo Ratatat features multi-instrumentalist/programmer Evan Mast and guitarist Mike Stroud. Mast is also the brains behind the pretty laptop pop of E*vax, and with his brother E*Rock he runs the indie electronic label Audio Dregs. Stroud also plays, in the studio and on tour, with artists including Ben Kweller and Dashboard Confessional. Between these duties (and Mast's job as a graphic designer), the duo found time to work on their collaboration. Mast worked beats and song ideas in his bedroom studio, which he gave to Stroud to develop while the guitarist was on the road. Though Mast and Stroud began working together in 2001, things began to really come together for the pair in 2003: in May, while they were still called Cherry, they played their first gig; by September they changed their name to Ratatat; and that November they issued their first single on Audio Dregs, which had a limited run of 1,100 copies. Dates with Franz Ferdinand, Interpol, and Batles followed, and Ratatat signed to XL Records. The duo's self-titled debut album arrived in spring 2004, coinciding with another round of dates with bands including !!!, Electrelane, and Tortoise, and two years later their sophomore record, Classics, was released.

Review-by Marisa Brown There's something strangely melancholic about Ratatat's sophomore record, Classics. Something that rests behind the dancey drum machine beats and the quirky synths, or even the alternating guitars. Outwardly it's a fun album, triumphant and full of majestic refrains and riffs — you could play it for your indie rock friends if you wanted to get them to dance a little and were too afraid to play Daft Punk or Juan Atkins — but there's still something in it, introspection gracenoted between the intricate (but never too ornate or over-complicated or even lush) instrument layers and classical arpeggios, contemplation sitting in bittersweet descents and acoustic guitar chords, French cinema- and IDM-induced reflection, that makes it somehow all very sad. It's music for the soundtrack of a film in which even though the sky is clear — there is sun, an open road perhaps — the characters have difficulty smiling. Even the more "upbeat" songs, "Lex," "Tropicana," or "Wildcat," for example, never completely shed their pensive skins, rub off the dirt that smudges their bellies and faces. Classics is a record that demands a bit of attention, something to assure it that you hear each phrase, each contradiction, each sound as it enters and leaves. Something to assure it that you know the spaces in which little happens are as important as those that are full. There are no solos here: just the comings and goings of thoughts and feelings and sounds, and though there is a circularity to the album, it's not boring; rather it just allows time for everything that Ratatat are trying to convey to manifest itself fully. Through its subtlety, Classics celebrates the nature and resilience of the human spirit while simultaneously acknowledging its defects, everything and anything you could ever ask an album to be, and nothing more, which is just enough.

Chart Information-
Year Album Chart Peak
2006 Classics Top Heatseekers 30
2006 Classics Top Independent Albums 34

Product-
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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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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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Smog--A River Ain't Too Much to Love (2005)

Artist-Smog
Album-A River Ain't Too Much to Love
Release Date-May 31, 2005
Label-Drag City
Genre/Style-Indie Rock Singer/ Songwriter Alternative Folk
Format-mp3
Size-69M

Personal Rating--One more album come from Smog. This is his latest recording. I hope you like it.

Review-by Thom Jurek

Smog's Bill Callahan goes back to the root on A River Ain't Too Much to Love, his first full-length offering in two years. While it's true that his name is nearly synonymous with lo-fi, in recent years Callahan has experimented with different — albeit simple — production techniques such as on Dongs of Sevotion and Rain on Lens. Supper, issued in 2003, was more direct, both sonically and personally, and that tack is followed here, though the framework is even sparser. On this, his 12th album, Callahan journeyed south from Chicago to Willie Nelson's Pedernales recording studio in Spicewood, TX. Accompanied by the Dirty Three's Jim White once more holding down the drum chair, and Connie Lovatt on bass and backing vocals, Callahan evokes the ethos and poetry of spooky American folk and country music without ever actually playing them in his own tomes, using mainly waltzes to frame them. Americana this ain't. Callahan has the ability to write first-person narrative songs that cannily juxtapose an evocative physcal landscape that metaphorically refernces deep emotional states; he uses it to great effect here. The skeletal "Say Valley Maker" equates the loss of and longing for love with a river's ability to both fertilize and strip bare the floor of a valley. Callahan's acoustic guitar plays a pair of repetitive figures, graced by an unidentified shimmering sound just above the threshold of silence, graced by White's restrained, rudimentary beat. "Rock Bottom Riser" is a song of resurrection, and again, it's a waltz. In the first verse, a nylon-stringed guitar hypnotically plays the changes in plectrum style, as White uses brushes to shift time while underscoring it, making the tune seem to float. The singer speaks with gratitude to the memory of an absent lover. As Joanna Newsom's piano underscores and fills the melody, Callahan's character finds a transformed sense of self in rising from his loss. It's slippery, lilting pace and restrained vocal create a tension that frames the tune's poignancy. The true nod to roots tradition here is also the album's centerpiece. His version of "In the Pines" is reverent without feeling staid, hampered by its place in history. A delicate, reedy, meandering tempo adorned in a simple guitar line and drums unpacks the melody, and Callahan's delivery is the seed of memory as it comes up from the ether, urging the singer to tell the whole story while keeping his composure. Travis Weller's edgy fiddle exposes the crack in the tale, however, and the grain of Callahan's voice walks the line between reverie and regret. A River Ain't Too Much to Love is a subdued, plaintive collection of songs that accompany silence; they encourage reflection without guile and unveil themselves without a hint of studied artifice.

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Ali Farke Toure & Toumani Diabate--In the Heart of the Moon (2005)

Artist-Ali Farke Toure & Toumani Diabate
Album-In the Heart of the Moon (Chinese Version)
Release Date-Sep 13, 2005
Label-Nonesuch
Genre/Style-World/New Age/Finger-Picked Guitar/Kora/African Folk
Format-mp3
Size-82M
Quality-HQ

Personal Rating-This album is FABULOUS! It was praised for Best Traditional World Music Album in 2005 Grammy award.

Review-by Thom Jurek In the Heart of the Moon is a duet recording by Malian guitar slinger Ali Farka Toure and Mandé lineage griot Toumani Diabate on kora. There are a few other players who contribute percussion here and there, and Ry Cooder plays a Kawai piano on a couple of tracks and a Ripley guitar on one, but other than these cats, this is a live duo set without edits or enhancements of any kind. There were three sessions in the conference room of the Mande Hotel in Mali, the first of which was on the eve of Farka Toure being elected mayor of his town, Niafunké. Most of the music here dates back to the Jurana Kura (translated as new era) cultural movement, which was part of the independence struggle in the 1950s and early '60s. The music created by the Jurana Kura for the guitar created a entirely new style of rhythmic fingerpicking. For those familiar with Farka Toure's blazing lead style, this disc may come as a shock. While he does solo many times here, he is also playing in balance with Diabate, whose kora has the larger lyric and harmonic palette, so he is in a supporting role. It doesn't matter. Whether the song is "Kaira" (written and performed by Diabate's father in the '50s and the earliest recorded track on the album, from before the Mande sessions), "Ai Ga Bani (I Love You)" and "Soumbou Ya Ya" (both written for young people during the Jurana Kura), or one of Farka Toure's originals near the end of the set, such as "Gomni," the style is the same. Everything echoes this earlier era because it has informed all Malian and Guinean music since. The purpose was to make people aware not only of its existence but to inspire and exhort. The music is insistent but not strident. It contains a gentleness and tenderness that seem to drip from the region, one of the poorest in the world. The players' focus and intensity are captured, but they make it all come off so easily that the listener gets lost in the pleasure of these gorgeous melodies and the call-and-response style of interaction between the players. Simply put, In the Heart of the Moon is nothing short of remarkable, and one of the best offerings World Circuit/Nonesuch have ever released.

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Smog--Doctor Came At Dawn (1996)

Artist-Smog
Album-Doctor Came at Dawn
Release Date-Sep 10, 1996
Label-Drag City
Genre/Style-Lo-Fi/Indie Rock/Sadcore
Format-mp3
Size-54M
Quality-192kbps

Personal Rating-Recommended!

Review-by Heather Phares Documenting romantic decay and deception with typically unflinching honesty, Bill Callahan recounts every painful detail of falling in and out of love over the course of The Doctor Came at Dawn. "You Moved In" recalls an affair's desperate, obsessive beginnings with grim humor: "You could have done better, but oh well." The song's eerie, foreboding strings and piano arrangement, as well as Callahan's deadpan vocals, give fair warning that The Doctor Came at Dawn's intimate sound hits close to home. The deadly aim of "Lize," a duet between Callahan and his sometime creative and romantic partner Cindy Dall, spares no one: "You don't make lies like you used to," they sing in near-unison, creating the tense, charged atmosphere of a stifled argument. As always, Smog walks the fine line between self-deprecation and self-parody; "Somewhere in the Night"'s handclaps and acoustic strumming make it sound like a rousing, inspirational folk song — except for the sneer embedded in Callahan's voice as he urges his beloved to devote herself to someone else. But The Doctor Came at Dawn is at its best when Callahan's sense of empathy emerges on the remarkable "All Your Women Things." Initially, it seems like a fetishistic ballad about keeping an ex-lover's things, but with deeper listening, it reveals itself as a very sincere (albeit unnerving) love song, praising his lover's different aspects: "How could I ignore your hardness, your softness, and your mercy?" Lyrically and emotionally complex, the song exemplifies the depth of Smog's songwriting. The album is also musically deep, with understated guitar, piano, and string arrangements that give the rich vocals and lyrics added impact. It might be Smog's darkest collection of songs, but it's also among Callahan's most mature and rewarding.

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World Top50 Albums Chart (Aug 21-Sep 03)

World Top50 Albums Chart (Aug 21-Aug 27)
and
World Top50 Albums Chart (Aug 28-Sep 03)

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 two weeks' charts here-
File Format-Word
Size-21K

http://www.live-share.com/files/28738/top50_worldwide_sales_Aug21-Sep03.zip.html

Cursive--Happy Hollow (2006)

Artist-Cursive
Album-Happy Hollow
Release Date-Aug 22, 2006
Label-Saddle Creek
Genre/Style-Indie Rock
Format-mp3
Size-63M
Quality-192kbps

Personal Rating-Recommended!

Review-by Marisa Brown

Having somewhat successfully escaped from the catacombs of post-divorce, lead singer Tim Kasher set his sights on a new problem for Cursive's next record: religion. Happy Hollow, comprised of "fourteen hymns for the heathen" — a table of contents is given in the closing track — candidly discusses problems with Christianity and its current manifestation in American society. Each song on Happy Hollow is sung from a different perspective, be it the priest's or parishioner's, and explores ideas of sin, untruth, and those murky areas where the right answer, the right thing to do, is anything but obvious. The album's not dismissing God or the idea of one ("Retreat!," aka "the church of doubting Thomas," is in fact addressed to God), but it does demand that people take control over their own lives and think for themselves ("You're not the chosen one/I'm not the chosen one" he sings repeatedly). It's a plea for progression, to not lose ourselves among unreasonable arguments given by hypocritical spokesmen; it's a call for the return to the Enlightenment, where the scientific process and rational thought rule. This is a touchy subject, though, and Kasher's aware of that, so while he certainly doesn't censor himself, he's also careful not to commit the same transgressions he's accusing the Church of. He doesn't moralize or pontificate ("I'm not saying who's right/I'm just saying there's more than one way to skin a religion," he admits in "Rise Up! Rise Up!," otherwise known as "hiding in confession"), but he does raise questions about the presumed righteousness and intolerance he believes are all too prevalent. It's confrontational but not dogmatic; he makes his point but he doesn't set it in stone.

The thing is, even though it deals with such a formidable topic, Happy Hollow is still a whole lot of fun. It isn't anger or disillusionment so much that propels the record as it is bright horns and vocal lines with allusions to third-wave ska and even indie electronica. Cursive haven't reinvented themselves — the heavy guitars and conversational, intelligent lyrics and the occasional pained scream are all still there — but Kasher's vocals are less raw and the band's attention to strong, interesting phrases moves the album into musical territory that Cursive have usually passed over for something more angsty. It's unbelievably effective, with accessible, emotional melodies and provocative lyrics that bounce and roll against the synth chords and brass section. It's the Wild West in 2006, complete with gospel, new wave, and rock influences — it's a dissection of modern society and politics, of human fear and blindness, a kind of indie musical theater, with a full cast and plotline. It's Cursive at their finest, challenging and smart and absolutely riveting, a group that's been able to stay true to itself and its past while still being able to mature, and finally, finally sound as if they're having a little bit of fun doing it.

Product-
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http://www.savefile.com/files/52909

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Nouvelle Vague--Nouvelle Vague (2004)

Artist-Nouvelle Vague
Album-Nouvelle Vague
Release Date-May 11, 2004
Label-Peacefrog
Genre/Style-French Pop/Euro-Pop
Format-mp3
Size-106M
Quality-320kbps

Review-by Heather Phares

The best compliment that can be paid to Nouvelle Vague's self-titled debut album: it isn't as arch and smirking as a collection of bossa nova versions of new wave classics by fetching French and Brazilian chanteuses would suggest. Based on the concept alone, Nouvelle Vague seems similar to the work of jokesters like the Mike Flowers Pops or Richard Cheese and Lounge Against the Machine, but though the album is definitely playful, it works on a sincere level enough of the time to be more than just a goof. In fact, Nouvelle Vague's best moments are a tribute to how well written the words and melodies of these songs are; that they can withstand, and even thrive in, such different arrangements is no small feat. Smooth, smoky ballads, such as the opening track, "Love Will Tear Us Apart," provide many of the album's highlights. The Cure's "A Forest" gets a tropical twist, complete with jungle sound effects, while the Cult's "Marian" remains as dark as ever but is now much more delicate — call it gotha nova. On the other hand, the cover of the Dead Kennedys' "Too Drunk to Fuck" is a giggly, sassy, mischievous standout that bears virtually no resemblance to the original. Likewise, the serpentine version of Killing Joke's "Psyche" is radically different from the original, nor does it quite fit in with the rest of Nouvelle Vague's bright, breezy feeling, but its spooky vibe makes it one of the album's most interesting tracks. Two of the best covers come from a couple of the least well-known bands on the collection: Tuxedomoon's "In a Manner of Speaking" is transformed into a gorgeous, completely convincing torch song, and Josef K's "Sorry for Laughing" closes the album on a sweetly languid note. Not all of Nouvelle Vague is this inspired — the version of Depeche Mode's "Just Can't Get Enough" is overly fussy, and while the covers of songs like "I Melt With You" and "Making Plans for Nigel" are nice enough, they don't have the spark of the album's best moments. But even at its worst, Nouvelle Vague is still pleasantly witty background music. This unlikely, but mostly happy, marriage of new wave and bossa nova will probably disappoint or displease purists who believe that every version of "Love Will Tear Us Apart" should have the brooding intensity of the original, but everyone else can enjoy the album's playful elegance.

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Comets on Fire--Avatar (2006)

Artist-Comets on Fire
Album-Avatar
Release Date-Aug 8, 2006
Label-Sub Pop
Genre/Style-Indie Rock/Space Rock
Format-mp3
Size-65M

Review-by Thom Jurek Two full years after the dazzling acid-dredged, sonic song mash-up that was Blue Cathedral, Comets on Fire return, all members intact — despite many solo projects in the intervening years — with Avatar. There are distinct nods to the distant West Coast past on Avatar and yeah, it is a good thing For starters, the double- and even triple-tracking of Ethan Miller's voice on many of these cuts sounds like the triumvirate of Paul Kantner, Marty Balin, and Grace Slick of the Jefferson Airplane! The rhapsodic clamoring for ecstatic release sound in this method is beguiling, and offset by the sheer acid rock heaviness of the band's instrumental attack. Take the opener "Dogwood Rust" as an example. The cut sounds like it starts mid-jam with guitars soloing, with Ben Chasny and Miller going back and forth. The verse kicks in immediately and the sheer swirl of sound around them forces them to get over the top. The empire of psychedelic sound is formidable, so they have to. Everything from non-descriptive electronic noise, organ, thudding bass throb (Ben Flashman) and clamoring hypnotic drums (Sir Noel VonHarmonson and Utrillo Kushner) are played with force and menace. Those two guitars are the only real foil for the singers as they collide, counter, meld, and wind around one another with feedback and plenty of bite for seven-and-a-half minutes. By contrast, "Jaybird" begins calmly with the guitars twinning the blues in a riff that leads into the melody line. Sooner rather than later VonHarmonson's drums elevate the entire proceeding, ushering in splattering feedback electronics. Miller's vocals begin almost whispering, holding their own as the entire tune slowly builds into intensity. But the element of song is never lost. Chasny and Flashman hold it still for a moment or two, but the architecture is teetering and it has to flay off into many directions at once because the tune is being torn apart from the inside. Amazing. But that's how it is with Avatar: the notion of song comes first in each of these selections. All but one are given room to stretch: the only song here that isn't between six and eight minutes is the wooly, Blue Cheer-like wail of "Holy Teeth." The rest are fire breathers to be sure, but they take their time stoking the blaze. The slow, Quicksilver Messenger Service-esque melody of "Lucifer's Memory," is almost gentle as Kushner's piano and VonHarmonson's skittering backbeat carry Miller's voice — singing Kushner's lyric — as subsonic bass, while distorted guitars simply hold back until the cut breaks open in a gorgeous melodic swirl in the middle. The bridge section repeats over and again until, near the end of the cut, it just cracks wide open into the stratosphere without losing its sense of melody or harmony. "Sour Smoke" is a knotty, multi-storied instrumental narrative seemingly driven by one riff until the guitars start to unfold their schematic. The drum pattern keeps it all in one spot though the tune is traveling with twin arpeggios building all over the rhythm. There is a bluesy piano solo covering over a vocal chant hidden in the background; an electric piano covers over the bass and re-creates another layer of the rhythmic trance. Think Quicksilver Messenger Service's "Edward, the Mad Shirt Grinder" and you get an idea. There is jamming here, but it's scripted, with many parts written in, as the track feels more like a suite than a single song, all of it along a time pattern that changes timbres and tonalities, but never loses its focus to bridge the various harmonic segments. The set closes with Kushner's piano laying out the melodic frame for "Hatched Upon the Age." Miller begins his raspy vocal swell (which at times really does sound like John Bell of Widespread Panic) and the ever-present, overdriven guitar lines enter, sparingly at first under the organ, under the disciplined rocksteady bassline and the meandering piano. But then they cut in, sting, and retreat until they get their moment to explode near the end of the cut. Avatar is the next step from Blue Cathedral, where Comets on Fire are more involved as a band in crafting actual songs, messing around with dynamic and textural tensions, and getting the noise not so much to behave as to move in more controlled directions. It is an absolute gem of an album and an ecstatic listening experience: play very loud, please. Not only was Avatar worth the wait, but moreover, it is the mark of a band who is singular, taking from the past in order to create something new, something bold, at times accessible, and sometimes ugly, but more often than not, Avatar is stunningly beautiful, even if the definition of that word needs to expand a bit to embrace it.

Product-
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Darc Mind--Symptomatic of a Greater Ill (New!!)

Artist-Darc Mind
Album-Symptomatic of a Greater Ill
Release Date-Aug 29, 2006
Label-Anticon
Genre/Style-East Coast Rap
Format-mp3
Size-53M
Quality-HQ

Personal Rating-Recommended!

Biography-Darc Mind, a Long Island-based hip-hop group comprised of MC Kevroc and producer Webb D (aka X-Ray), were originally signed to Loud Records, and began recording their debut album, Symptomatic of a Greater Ill, at the end of 1995. After working on it for more than a year, a release date was set for 1997, but the album was shelved before it ever made it out. When Loud went under, it took independent label Anticon to reissue the record, who finally made Symptomatic of a Greater Ill available to the public's ears in mid-2006.

Review-by Marisa Brown It's not often that a hip-hop album released in 2006 sounds like it was made in the mid-'90s, right when rap was heading into a monumental change, towards greater commercialism and ubiquity. It's so infrequent, in fact, that the reason why Darc Mind's debut, Symptomatic of a Greater Ill, has such a Native Tongues-vibe is because it was actually recorded between 1995 and 1997, but due to label problems, wasn't released until nearly a decade later by Anticon. And it's the kind of album that makes you miss early Tribe, Organized Konfusion, and Eric B & Rakim, because it reminds you just how good hip-hop could be back then (of course, there's also a lot of great contemporary stuff, too, but that's not the point). MC Kevroc has a relaxed, nearly conversational style — it hardly seems like he's trying at all — but is still able to twist words around internal and end rhymes, metaphors and quick, complex phrasing (his delivery on "Knight of the Round Table" is wonderfully intricate and fast) and his lines, while still exuding a certain amount of confidence, are never arrogant or aggressive. "They press and try to trap but I break it with my boogie/…I'm staring straight ahead yet I see the whole court" he explains on "Rhyme Zone," but he is also willing to point some of the conventions in hip-hop, like in "I'm Ill," when he spits "Ill is the way I exaggerate my sense of self-worth." He's talented enough that he could get away with being even more overtly boastful, but his intelligence shows off his skills better than any simple battle rhyme could. The production on Symptomatic, which allows the skills of the MC to come through while still incorporating its own influences and ideas, is handled by the other half of Darc Mind, Webb D. It's straightforward, focusing on the hollow drums, but it brings in a dusty bass and keys and horn when necessary, a kind of grittiness inherent in the beats even though they're simple and clean that reflects urbanity and life itself. It's a great record, thoughtful and aware yet still laid-back and fun, and though it took a while to be released, it's better late than never to hear this, to be reminded of everything that hip-hop can be, both in the past and hopefully, continuing on into the future.

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Grizzly Bear--Yellow House (2006)

Artist-Grizzly Bear
Album-Yellow House
Release Date-2006
Label-Warp
Genre/Style-Experimental Rock Post-Rock/ Experimental Indie Rock
Format-mp3
Size-121M
Quality-320kbps

Personal Rating-Recommended!

Review-by Heather Phares On their second album (and Warp debut), Yellow House, Grizzly Bear takes a dramatic leap forward, delivering a collection of songs that sound awe-inspiringly huge and intimate at the same time. While the album is overall more polished and focused than their debut, nowhere is this (literally) clearer than in Yellow House's production. Though the artful lo-fi approach Grizzly Bear used on Horn of Plenty — which sounded like it was recorded on tapes that had been moldering away in musty cupboards, or gradually dissolving underwater — was extremely evocative in its own way, Yellow House's warmth, clarity, and symphonic depth gives Grizzly Bear's widescreen psychedelic folk-rock a timelessness that makes it seem even more dreamlike and unique. The album's structure and songwriting are much more focused, too, even though many of the tracks hover around five to six minutes long. Instead of presenting their experiments as fragments and snippets, as they did on Horn of Plenty, on Yellow House Grizzly Bear incorporates their ideas into pieces with natural, suite-like movements. "Central and Remote" moves seamlessly from fragile marimba melodies to acoustic guitar-driven verses and towering choruses. The best moments not only have a natural sound, but conjure up nature imagery as well: "Easier" opens the album with a gently exciting buildup of woodwinds, banjo, and acoustic guitar that could soundtrack the dawn of a late summer morning, while "Colorado" closes Yellow House with wide expanses of vocal harmonies and mountainous tympani. In between, there's more majestic beauty to be found, particularly on the gorgeously hazy love song "Knife," which combines lush Beach Boys harmonies with a little bit of the Velvet Underground's chugging cool. Elsewhere, "Plans" feels like a more brooding take on the High Llamas' intricate, symphonic/electronic pop, while "On a Neck, on a Spit" recalls Jim O'Rourke's freewheeling deconstruction of folk-rock and soft rock. However, these similarities feel more like allegiances than tracing over the work of these artists — Yellow House is a beautiful album in its own right, and required listening not just for fans of Horn of Plenty, but for anyone who enjoys ambitious, creative music with an emotional undercurrent.

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Jay Dee(J Dilla)--The Shining (2006)

Artist-Jay Dee(J Dilla)
Album-The Shining
Release Date-Aug 22, 2006
Label-BBE
Genre/Style-Underground Rap
Format-mp3
Size-50M
Quality-192kbps

Personal Rating-Recommended!

Review-by Andy Kellman

Months before he passed away, J Dilla asked fellow Detroiter and longtime associate Karriem Riggins to help him complete The Shining. With the album apparently 75 percent complete, Riggins — an accomplished multi-instrumentalist and producer in his own right — was handed the masters and went about the completion of the album as if he were inside the mind of Dilla. Though it's disjointed, a little bumpy, and — in places — perceptibly unfinished-sounding, The Shining is a very worthy addition to Dilla's discography. A slightly more in-depth synthesis of studio creations and live instrumentation when compared to the productions that have trickled out during 2005 and 2006, the album is drenched in soul — save for a couple space-age basslines and other fleeting forms of alien synthetics — and features an impressive raft of Dilla's favorite MCs and singers, big names and relative unknowns alike. And though it's less than 40 minutes in length, Dilla was always about brevity, which means the meandering is kept to a minimum. On "Baby," Dilla swaps lines with Guilty Simpson and Madlib in what amounts to an amusing locker-room boast fest. (Simpson, apparently a fan of The Surreal Life, claims he'll "Beat your dog like Flavor Flav.") The shamelessly gooey "So Far to Go," featuring Common and D'Angelo, expands Donuts' "Bye" to six minutes, allowing wide shafts of light to pour through the spaces between the subtle backbeat. "Dime Piece" is some prime 21st century quiet storm, a Dwele feature that coasts through twilight. Fittingly, the closing "Won't Do" is all-Dilla, from the beat to the nasty MCing to an impressive vocal hook that's nearly as dapper as anything delivered by Dwele. (Dilla's not given nearly enough credit for being a top-flight R&B producer from the very beginning; compare the Pharcyde's "Runnin'" to Mya's "Fallen," or check the instrumental versions of just about any one of his tracks.) It's impossible not to wonder exactly what this album could've been, or where Dilla would've gone with his skills after its release. But it's just as easy to marvel at the amount of quality music he generated while he was on this planet.
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De Rosa--Mend (2006)

Artist-De Rosa
Album-Mend
Release Date-Sep 5, 2006
Label-Chemikal Underground
Genre/Style-Indie Rock
Format-mp3
Size-41M
Quality-160kbps

Biography-by Marisa Brown Originally a five-piece group, when De Rosa broke up in 2003, three years after their inception, vocalist Martin John Henry decided to re-form the group instead of ending things completely, bringing on brothers Neil Woodside (on drums) and James Woodside (on bass, melodica, and mandolin). After a year spent working in the studio, De Rosa's debut album, Mend, was released on Chemikal Underground, and later that year guitarist Chris Connick, who had played on much of the record, as well as having toured with them previously, officially joined the band.

Review-by Stewart Mason The debut album by Scottish indie trio De Rosa (released on the Delgados' Chemikal Underground label, providing instant street cred) opens with a blast of guitar noise that suggests heavy-sledding post-rock artsiness to come. But nearly as quickly as it began, the atonal howl of the introduction is replaced by the straightforward, nervy indie rock of "Father's Eyes." Bursts of abstract noise occasionally pierce the songs, like the Sonic Youth-style howl of feedback that bisects the rattling post-punk rant "Camera" and the out-of-nowhere detuned percussion thwacks and broken-glass sounds at the climax of "All Saint's Day." On the whole, however, Mend is at heart a fairly traditional indie guitar album anchored by Martin John Henry's better than average vocals and the solid interplay of the three musicians. Henry resolutely avoids the pained falsetto, à la the Flaming Lips' Wayne Coyne, that so many similar bands have turned into an indie cliché; even on the largely acoustic, folk-influenced "Hopes and Little Jokes," he stays with an intimate conversational style that helps put across his fairly opaque lyrics. Although not conventionally hooky, the songs imprint themselves after only a couple of listens, making Mend one of the more intriguing U.K. indie debuts of 2006.

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Evanescence--The Open Door (New)

This album is contributed by Chris. Thanks so much!

Artist-Evanescence
Album-The Open Door
Release Date-Oct 3, 2006
Label-Wind Up Records
Genre/Style-Goth Metal/Post-Grunge
Format-mp3
Quality-128kbps

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

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M. Ward--Post-War (2006)

Artist-M. Ward
Album-Post-War
Release Date-Aug 22, 2006
Label-Merge
Genre/Style-Adult Alternative Pop/ Rock Indie Rock
Format-Mp3
Size-58M
Quality-192kbps

Personal Rating-Recommended Strongly!!!

Biography-by Nate Cavalieri After a six-year stint with the trio Rodriguez, M. Ward began sketching out songs deeply rooted in the classic traditions of American country-folk. Rodriguez's home was in San Luis Obispo, CA, and they eventually recorded Swing Like a Metronome with Granddaddy's Jason Lytle. Ward's first solo effort came in the form of Duet for Guitars #2, which was written and recorded with the help of John King while Ward was living between Chicago and various locales on the West Coast. Eventually, Duets for Guitars #2 was placed in the hands of the ever-enigmatic Giant Stand mastermind Howe Gelb, who released it on his own Ow Om Recordings in the fall of 2000. The record enjoyed favorable reviews and a considerable amount of attention in underground rock circles and Ward supported it with a handful tours throughout the United States and Europe. His follow up, End of Amnesia, was released on Future Farmer in 2001. In 2003 he signed with Merge and released Transfiguration of Vincent, followed by Transistor Radio in 2005.

Review-by James Christopher Monger Laconic California indie minstrel M. Ward's fifth offering is a thrift shop photo album filled with histories that may or may not have been, dust bowl carnival rides, and slices of sunlit Western Americana so thick that you need a broom to sweep up the bits that fall off of the knife. Ward makes records that sound like he just wandered in off the street with a few friends and hit the record button, but what would feel lazy and unfocused in less confident hands comes off like a tutorial in old-school songwriting and performance that hearkens back to the days of Hank Williams and Leadbelly if they had had access to a modern-day studio. Post-War is not only Ward's best effort yet, it's one of the best records of the year. While his distinctive half-second-delay drawl assumes its usual position as the ghostly broadcast from a more sepia-toned time, the production is far grander than on his previous outings. Opener "Poison Cup," sounding for what it's worth like a cross between the Walker Brothers' "Sun Ain't Gonna Shine Anymore" and an outtake from Dennis Wilson's Pacific Ocean Blue, kicks things off with sneaky keyboard strings that fade into the real deal, reaching elegiac heights by the diminutive track's end. A catchy cover of Daniel Johnston's "To Go Home" features guest vocalist Neko Case breathing fire into the choruses with her trademark howl, the rowdy "Requiem" sounds like a Tom Waits version of Queen's "Fat Bottomed Girls," and the peerless "Magic Trick," with its brilliant refrain of "She's got one magic trick/just one and that's it/she disappears," kicks off a suite of tunes that snake their way through to the album's end like a shot of Apple Jack. Like early Pavement, Ward knows how to make sloppy sound succinct, and it's that magic mix of earnestness and apathy that makes Post-War the secret bounty that it is.

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Billy Ray Cyrus--Wanna Be Your Joe (2006)

Artist-Billy Ray Cyrus
Album-Wanna Be Your Joe
Release Date-Jul 18, 2006
Label-Next Door
Genre/Style-Contemporary Country
Format-mp3
Size-79M
Quality-HQ

Biography-by Tom Roland & Stephen Thomas Erlewine

Billy Ray Cyrus will forever be known for the catchy, lightweight single "Achy, Breaky Heart," which became a line-dancing anthem upon its 1992 release. "Achy, Breaky Heart" made Cyrus famous, but it also proved to be his undoing. No matter how he tried, he couldn't escape the song, nor could he replicate the success. Cyrus' music was never particularly innovative — it owed as much to the country-rock of the Eagles as it did to the new traditionalism of George Strait and the new country of Clint Black and Garth Brooks — but his musical worth became irrelevant in the wake of the success of "Achy, Breaky Heart" and its accompanying album, Some Gave All. The album became a crossover success after the single became a hit, spending 17 weeks on the top of the album charts. Part of Cyrus' success was due to his handsome, hunky good looks, and part of it was due to the catchiness of "Achy, Breaky Heart." However, both his good looks and the single were soon forgotten, and just two years after Some Gave All ruled the charts, Cyrus virtually disappeared from both the pop and country charts and became part of the long history one-hit wonders.

Enamored of baseball, Cyrus intended to become another Johnny Bench as he grew up in Flatlands, KY. While attending Georgetown College on a baseball scholarship, he bought a guitar and decided immediately that athletics wasn't the proper direction for his life. Instead, he formed a band called Sly Dog with his brother and gave himself a ten-month deadline for finding a place to play. One week prior to that cutoff date, the group went to work as the house band for a club in Ironton, OH, where they remained for two years. When a 1984 fire destroyed the bar — and Cyrus' equipment — he moved to Los Angeles to pursue his career. Eventually, he decided to return to Kentucky and commuted regularly from there to Nashville in search of a record deal. Grand Ole Opry star Del Reeves got Mercury Records to take a look, and division head Harold Shedd signed him in the summer of 1990. When his first album came out in mid-1992, Cyrus — with his good looks, sculpted body, and the infectious "Achy, Breaky Heart" — became an instant groundbreaking sensation. Spending five weeks at the top of the country charts, "Achy, Breaky Heart" made his debut album, Some Gave All, a blockbuster success. By the time it fell off the charts, it had sold over nine million copies and spent 17 weeks on the top of the pop charts.

Despite his attempts, Cyrus wasn't able to replicate the success of Some Gave All. He quickly followed the album with It Won't Be the Last in the summer of 1993. Initially, the album sold well, entering the pop charts at number three, but it fell far short of expectations by only reaching platinum status. Storm in the Heartland, delivered in the fall of 1994, managed to go gold, even though it was ignored by country radio. However, by the time it finished its chart run, Cyrus had slipped from the public's eye. When he returned with the harder-edged, introspective Trail of Tears in 1996, his audience had virtually disappeared — the album only spent four weeks on the charts and didn't even go gold. Shot Full of Love followed in 1998 and Southern Rain was issued two years later. In March 2001, Cyrus hit TV screens in the role of a country doctor moved to Manhattan in the sitcom Doc. He returned to music world with 2003's Time Flies and the gospel-inspired Other Side, and in 2006, the same year Cyrus appeared on The Disney Channel's Hannah Montana, starring his real-life daughter Miley, Wanna Be Your Joe came out.

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Barbara Carr--Down Low Brother (2006)

Artist-Barbara Carr
Album-Down Low Brother
Release Date-May 16, 2006
Label-Ecko
Genre/Style-Soul/Soul-Blues
Format-mp3
Size-60M
Quality-HQ

Review-by Steve Leggett Barbara Carr has seen a career resurgence the past few years by delivering a series of midtempo albums specializing in a kind of retro-soul heavy on the steamy, sordid side of things. To her credit, the songs she sings about relationships going down the tubes seldom have her playing the role of the victim, and she projects a strong "don't mess with me" stance in most of them. She also gets pretty bawdy and explicit when it comes to the sexual details of these various crumbling scenarios, making her the contemporary queen of blue urban soul, and she's well aware that a little controversy is a good marketing tool. In the case of Down Low Brother, it is the title tune that will undoubtedly stir things up, as she holds forth on the dilemma of finding her man in bed with another man. Carr sings the song from the perspective of how this situation reflects on the woman in the equation, turning what is basically another song about a love triangle into something else again. This doesn't mean it's a great song, but it certainly is an interesting one. In the end, that's the problem here. The songs on Down Low Brother all too often get by on Carr's forceful persona rather than on any claim to sharp writing or execution, and when tracks work here, like the oddly titled "You're Gonna Mess Around and Get Bit By My Dog Trying to Get to My Cat" or the breezy, percolating "When You're Cheatin'," it is Carr's powerful directness that gives them momentum and a certain edginess. Too often, though, the material here (most of it written by producer John Ward with Raymond Moore) spins its tires loudly without actually going anywhere. Carr can carry a song a good long way simply on her vocal largesse and tough-as-nails persona, but that still doesn't make what she's singing a great song. In the end, Down Low Brother is an OK album, occasionally even a highly interesting one, but it unfortunately falls well short of being a great one.

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Audioslave--Revelations (2006)

Artist-Audioslave
Album-Revelations
Release Date-Sep 5, 2006
Label-Epic/InterscopeGenre/Style-Post-Grunge/Heavy Metal
Format-mp3
Size-78M
Quality-HQ

Review-by Stephen Thomas Erlewine Given the short distance separating Audioslave's second album Out of Exile in 2005 and its third Revelations in 2006, it's easy to assume that the Rage Against The Machine/Soundgarden supergroup has finally turned into an actual working band — either that or the group is working hard to get to the end of their contract so they can go their separate ways (a suspicion stoked by the flurry of Chris Cornell-centric press surrounding its release, including the announcement that he's recording a solo album and will be singing the theme song for the new James Bond film Casino Royale on his own). Whether or not either theory is proven true over time doesn't change the fact that Revelations builds upon Out of Exile, sounding even more like the work of a genuine band than its predecessor. In light of this record, Out of Exile feels driven by Cornell, which itself was a shift away from the Rage-driven debut. Here, the two are integrated fully into a distinctive sound, one that's tight and focused, one that's aggressive but not overly heavy. Also, Audioslave has become increasingly rhythm-driven instead of riff-driven; even on the slower songs and heavy rockers, the pulse and pull of the rhythm defines the song more than the riff. Given this emphasis on rhythm, it's not a surprise that Audioslave displays an overt funk and soul influence here, ranging from the hard funk of "One and the Same" to the Motown homage of "Original Fire." This not only makes Revelations sound like the result of a working band, one that likes to jam together, but it also gives it a lighter feel in its tone, a feeling that Cornell runs with on his lyrics and singing, which is considerably less tortured and brooding than before. All this doesn't necessarily make Revelations a fun album — making music is serious work for Audioslave and they expect the same from their audience — but it does make for their most colorful, diverse and consistent record yet.

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Bob Dylan--Modern Times (New)

Artist-Bob Dylan
Album-Modern Times
Release Date-Aug 29, 2006
Label-Aug 29, 2006
Genre/Style-Political Folk/Rock & Roll
Format-mp3
Size-91M
Quality-HQ

Personal Rating-Recommended strongly!

Biography-http://en.wikipedia.org/wiki/Bob_Dylan
Official Site-http://www.bobdylan.com/moderntimes/home/main.html

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The Dirty Dozen Brass Band--This Is Jazz, Vol. 30 (1987)

Artist-The Dirty Dozen Brass Band
Album-This Is Jazz, Vol. 30
Release Date-Aug 1987-Jan 1993
Label-Sony
Genre/Style-Jazz/New Orleans Brass Bands/New Orleans Jazz
Format-mp3
Size-60M

Personal Rating-Recommended!

Biography-by Scott Yanow The Dirty Dozen Brass Band in its prime successfully mixed together R&B with the instrumentation of a New Orleans brass band. Featuring Kirk Joseph on sousaphone playing with the agility of an electric bassist, the group revitalized the brass band tradition, opening up the repertoire and inspiring some younger groups to imitate its boldness. Generally featuring five horns (two trumpets, one trombone, and two saxes) along with the sousaphone, a snare drummer, and a bass drummer, the DDBB was innovative in its own way, making fine recordings for Rounder, Columbia, and the George Wein Collection (the latter released through Concord). Guest artists have included Dr. John, Dizzy Gillespie, and Danny Barker. Unfortunately, the group became much more conventional over the years, still using R&B riffs but with a standard (and less distinctive) rhythm section. The DDBB re-emerged in 1999 with John Medeski as its producer, and many called the group's Buck Jump release a return to classic form. The group then returned in 2002 with yet another surprising album, Medicated Magic. Two years later, the band made their Artemis label debut with Funeral For A Friend.

Review-by John Bush Spanning four LPs and almost six years, This Is Jazz presents the best of the Dirty Dozen Brass Band. Compiled and annotated by their producer Scott Billington, the set does a great job of picking and choosing from the group's Columbia material. Collaborations with Dr. John ("It's All Over Now") and Branford Marsalis ("Moose the Mooche") work well, but the most enjoyable tracks are simple group jams like "Charlie Dozen" and "Gemini Rising." The bluesy "Don't You Feel My Leg," with New Orleans legend Danny Barker, is a special highlight.

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Widespread Panic--Night of Joy (2004)

Artist-Widespread Panic
Album-Night of Joy
Release Date-Mar 23, 2004
Label-Sanctuary
Genre/Style-Southern Rock/American Trad Rock
Format-mp3
Size-88M

Review-by Thom Jurek Recorded live at the House of Blues in South Carolina, this Widespread Panic date featured the addition of the Dirty Dozen Brass Band playing alongside them. It makes for an entirely different 'spread show to be sure. While the insanely long sprawling jams are all but absent here — only on the final cut, "Rebirtha," do we get anything over 15 minutes, everything else is ten or under — in place of that are tight, raucous, funky, gritty rock & roll tunes that traverse the worlds of R&B, Latin, and jazz, along with hard-spun, gritty Southern rock. From the opening sequences in "Thought Sausage," the multi-valent percussion drives the band down into itself to concentrate on the tighter grooves rather than the more spacious ones. The New Orleans backbeat in the band's cover of "Use Me," by Bill Withers moves the tune into a whole other sphere. The Dozens punch up the bassline and strut it out more. The only drawback is that John Bell seems unsure of how to deliver the lyric with this new wash of sound behind him. Likewise, "Bayou Lena," feels a bit stilted — while the horns are free and easy and add a ton of life to the tune's atmosphere, the Panics seem unwilling to pull out all the stops. But these are minor complaints. Tracks like "Bust It Big," and "Old Neighborhood," and the wailing trance-out soul grit in "Arleen" more than make up for it. And of course the diehards get the acid groove beauty of "Rebirtha" to tide them over until the next multi-disc live set comes along. This is an experiment to be sure, but one that works well for the most part.

Chart Information-
Year Album Chart Peak
2004 Night of Joy The Billboard 200 157
2004 Night of Joy Top Internet Albums 157

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The Black Crowes--The Lost Crowes (New)

Artist-The Black Crowes
Album-The Lost Crowes
Release Date-Aug 29, 2006
Label-American
Genre/Style-Hard Rock/Southern Rock
Format-mp3
Size-178M

Review-by Stephen Thomas Erlewine The Lost Crowes is right — only hardcore fans will know of the music on this two-CD set, and even then, chances are they haven't heard it. And it's not like this is an odds-n-sods collection of outtakes and B-sides, either: The Lost Crowes contains two complete unreleased albums called Tall and Band, recorded in 1993 and 1997, respectively, but in the vaults until now. They're interesting companion pieces, too, since they not only have different feels but were shelved for different reasons. Tall metamorphosed into the sprawling 1994 masterpiece Amorica, with a handful of its songs popping up elsewhere, including 1996's Three Snakes and One Charm; Band was simply left behind as the group moved on to By Your Side. Not surprisingly, Tall sounds like a rough draft of Amorica; a lot of the ideas are in place, along with such Crowes classics as "A Conspiracy," "Wiser Time," "Nonfiction," and "Cursed Diamond," but the sound isn't as full-bodied, nor is the band as wooly. This means Tall isn't as rich or robust as Amorica, but it's sure interesting to hear the roots of that album, and the previously unheard songs from these sessions — such as the dirty funk of "Tied Up and Swallowed," the lazy hillbilly roll of "Thunderstorm 6:54," and the sweet acoustic "Tornado" — fit into the cross-stitched fabric of Amorica quite well. There's a seed of a great album in Tall and the Crowes found that seed and made it grow for Amorica; this may not be as good — and it's understandable why it was reworked — but it's certainly worthwhile for any fan to hear.

If Tall did indeed need some reworking before it was released to the general public, it's a mystery why the band didn't release Band as is in 1997. Sonically falling halfway between the ragged Amorica and the hard-edged Three Snakes, this is a great Crowes album showcasing their skills as songwriters and as a loose yet muscular jam band. On the fringes of this album there is some country and the band does stretch out to improvise, but it never feels aimless, because there is an immediacy to the performances and because there are some terrific songs that center the album in a way that was lacking on Three Snakes. There is a hard-driving R&B and soul vibe here, ranging from the churning down-home funk of "Another Roadside Tragedy" and "Never Forget This Song" to the relaxed Faces-styled groove of "If It Ever Stops Raining," which is complemented by the few country flourishes, such as the mandolins on "Lifevest" or the high lonesome fiddles of "My Heart's Killing Me." This is the Black Crowes at their best, turning out classicist rock that flows so natural and easy it feels like these songs have always existed. It would have been great to have Band out in 1997, but having it arrive about ten years later only emphasizes how classic the Crowes sound at their peak, since it doesn't sound like a revival: it sounds like part of a tradition. And thankfully that tradition now contains these two albums, which do rank among the more interesting (Tall) and best (Band) records they've ever done.

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The Decemberists--The Crane Wife (New)

Artist-The Decemberists
Album-The Crane Wife
Release Date-Oct 3, 2006
Label-Capitol
Genre/Style-Chamber Pop/Indie Rock/Indie Pop
Format-mp3
Size-82M

Biography-by Linda Seida Colin Meloy leads the Decemberists, a five-piece outfit whose pop sound has listeners comparing the band with the likes of Neutral Milk Hotel and Belle & Sebastian. Meloy, who hails from Missoula, MT, is the main songwriter for the group. Rounding out the lineup are Ezra Holbrook on drums, Nate Query on upright bass, Jenny Conlee on accordion, and Chris Funk on theremin and pedal steel guitar. Frontman Meloy previously devoted some time to an alternative country group before breaking off to pursue his craft as a singer/songwriter in the city of Portland, a period that eventually led to the Decemberists' formation. He also holds a degree in creative writing. In addition to her duties on the accordion, Conlee also plays piano. Funk is the band's newest member. Before Hush Records released the Decemberists' first album in 2002, the group put out an EP of five tracks. Their full-length debut, Castaways and Cutouts was re-released that same year on the Kill Rock Stars label, and the band began to accumulate a serious fan base. 2003 saw the release of Her Majesty, another fine collection of theatrical indie pop with british folk sensibilities that further cemented their growing reputation as a band to watch. The following year they released the five-part epic EP The Tain, based on the 8th century Irish poem of the same name, followed by their third full-length Picaresque in 2005.

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