Above & Beyond - Tri-State [2006]

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Godsmack-4 Albums

From left to right: Robbie Merrill, Sully Erna, Criss Angel, Shannon Larkin, Tony Rombola.

Godsmack is an American heavy metal band from Boston, Massachusetts formed in 1996. The band comprises founder, frontman and songwriter Sully Erna, guitarist Tony Rombola, bassist Robbie Merrill and drummer Shannon Larkin. Since its formation, Godsmack has released four studio albums, one EP, four DVDs, and one greatest hits collection.

Godsmack has sold over 10 million albums in the United States alone and millions more worldwide. They have also sold millions of singles in the U.S. including I Stand Alone and Straight Out Of Line both released from the Faceless album, and both went gold according to the RIAA. Making it their most commercially, successful album to date. Faceless also went gold in the U.K. being their only album to do so. The band has had two number one albums (Faceless and IV) on the Billboard 200, which comprises of all popular music. They have had fifteen top ten mainstream rock singles, making them the only band to ever do so. as well as four mainstream rock number one singles, a debut album selling over five million copies in just two years and have also been nominated for three Grammy Awards. Having spent a record-breaking 444 weeks in the top ten rock singles charts, Godsmack have become one of the most successful, influential american-rock bands of the last decade.
 Awake/                     
Faceless/
Godsmack [1997]/
[2004] The Other Side/
[2006] IV/
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Ozzy Osbourne - Blizzard of Ozz [1980]

Ozzy Osbourne's 1981 solo debut Blizzard of Ozz was a masterpiece of neo-classical metal that, along with Van Halen's first album, became a cornerstone of '80s metal guitar. Upon its release, there was considerable doubt that Ozzy could become a viable solo attraction. Blizzard of Ozz demonstrated not only his ear for melody, but also an unfailing instinct for assembling top-notch backing bands. Onetime Quiet Riot guitarist Randy Rhoads was a startling discovery, arriving here as a unique, fully formed talent. Rhoads was just as responsible as Osbourne — perhaps even more so — for the album's musical direction, and his application of classical guitar techniques and scales rewrote the rulebook just as radically as Eddie Van Halen had. Rhoads could hold his own as a flashy soloist, but his detailed, ambitious compositions and arrangements revealed his true depth, as well as creating a sense of doomy, sinister elegance built on Ritchie Blackmore's minor-key innovations. All of this may seem to downplay the importance of Ozzy himself, which shouldn't be the case at all. The music is a thoroughly convincing match for his lyrical obsession with the dark side (which was never an embrace, as many conservative watchdogs assumed); so, despite its collaborative nature, it's unequivocally stamped with Ozzy's personality. What's more, the band is far more versatile and subtle than Sabbath, freeing Ozzy from his habit of singing in unison with the guitar (and proving that he had an excellent grasp of how to frame his limited voice). Nothing short of revelatory, Blizzard of Ozz deservedly made Ozzy a star, and it set new standards for musical virtuosity in the realm of heavy metal.

Ozzy Osbourne - Blizzard of Ozz [1980]

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Plain White T's-All That We Needed

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The Black Keys - All Discography [2002-2006]

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The Alan Parsons Project - Pop Classics/The Definitive Collection [1989/1997]

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Stevie Wonder - Talking Book [1972]

After releasing two "head" records during 1970-71, Stevie Wonder expanded his compositional palate with 1972's Talking Book to include societal ills as well as tender love songs, and so recorded the first smash album of his career. What had been hinted at on the intriguing project Music of My Mind was here focused into a laser beam of tight songwriting, warm electronic arrangements, and ebullient performances — altogether the most realistic vision of musical personality ever put to wax, beginning with a disarmingly simple love song, "You Are the Sunshine of My Life" (but of course, it's only the composition that's simple). Stevie's not always singing a tender ballad here — in fact, he flits from contentment to mistrust to promise to heartbreak within the course of the first four songs — but he never fails to render each song in the most vivid colors. In stark contrast to his early songs, which were clever but often relied on the Motown template of romantic metaphor, with Talking Book it became clear Stevie Wonder was beginning to speak his mind and use personal history for material (just as Marvin Gaye had with the social protest of 1971's What's Going On). The lyrics became less convoluted, while the emotional power gained in intensity. "You and I" and the glorious closer "I Believe (When I Fall in Love It Will Be Forever)" subtly illustrate that the conception of love can be stronger than the reality, while "Tuesday Heartbreak" speaks simply but powerfully: "I wanna be with you when the nighttime comes / I wanna be with you till the daytime comes." Ironically, the biggest hit from Talking Book wasn't a love song at all; the funk landmark "Superstition" urges empowerment instead of hopelessness, set to a grooving beat that made it one of the biggest hits of his career. It's followed by "Big Brother," the first of his directly critical songs, excoriating politicians who posture to the underclass in order to gain the only thing they really need: votes. With Talking Book, Stevie also found a proper balance between making an album entirely by himself and benefiting from the talents of others. His wife Syreeta and her sister Yvonne Wright contributed three great lyrics, and Ray Parker, Jr. came by to record a guitar solo that brings together the lengthy jam "Maybe Your Baby." Two more guitar heroes, Jeff Beck and Buzzy Feton, appeared on "Lookin' for Another Pure Love," Beck's solo especially giving voice to the excruciating process of moving on from a broken relationship. Like no other Stevie Wonder LP before it, Talking Book is all of a piece, the first unified statement of his career. It's certainly an exercise in indulgence but, imitating life, it veers breathtakingly from love to heartbreak and back with barely a pause.

Stevie Wonder - Talking Book [1972]

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Twisted Sister - Twisted Christmas [2006]

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VA - The Departed - OST [2006]

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George Strait - It Just Comes Natural [2006]

Just when you think that George Strait will soon be taking up the rocking chair and disappearing "somewhere down in Texas" he lays another release out there that comes closes to...well...perfection. IT JUST COMES NATURAL is simply marvelous and the title pretty much says it all about arguably the greatest country singer of all time. Nothing goes wrong with this one but, then, that's an old story with Mr. Strait. Tell me the last time one of his albums went south? In fact, because of his excellence, he seems sometimes to be overlooked. Just another perfect day for George. To overlook this album for any reason would be a mistake. One of the unique things about this offering is it has fifteen tracks. I went back and looked at my collection and discovered that, with few exceptions, George usually sticks to a simple ten. Maybe it used to be superstition for him. Maybe he thought that ten was a lucky number. Whatever the case, I'm glad he went with fifteen because, for the life of me, I can't say which of the tracks I'd leave out if ten were mandatory. Great stuff here. The title track and "Give It Away" are wonderful but, as is often the case with Strait's albums, some of the other tracks become my favorites. In the case of this album "I Ain't Her Cowboy Anymore" has quickly become one of my all time favorite George Strait Songs. But then, as I have already noted, every track here is simply splendid. Give a listen. I'm sure you won't be disappointed.

George Strait - It Just Comes Natural [2006]

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John Fogerty - The Blue Ridge Rangers/Revival [1973/2007]

With wonderfully chosen songs like "Hearts of Stone" and George Jones' classic country weeper "She Thinks I Still Care," John Fogerty's solo debut with The Blue Ridge Rangers has held up well over the last two decades. It isn't the most supple or technically proficient one-man recording of all time, but it's a wonderfully engaging record; upbeat, unpretentious, and loaded with good songs. Fogerty's rigid, no-frills drumming took a lot of heat for being mechanical, but no one has ever explained how Fogerty's abilities on the trap kit are significantly different from Creedence's Doug Clifford. In retrospect, this was a tremendously risky record to make; country music in the early '70s was regarded as the domain of right-wing, rock & roll-hating Nashville traditionalists, and it was reasonable to assume that fans (even staunch ones) wouldn't take kindly to this genre switch. While it wasn't a huge success, it was in no way a disaster, and perhaps more importantly, served as a much-needed rock & roll history lesson... Despite the obvious connection with the past and the Album Title plus the similarity with the cover photography from his previous "Blue Ridge Rangers" project. This represents a real return to form and possibly his best solo offering since the first "John Fogerty" Album. Revival it most certainly is but that in essence is probably exactly what most of his fans want to hear. C.C.R. Revisited. The problem with Creedence is that it all ended much too soon in acrimonious circumstances betweeen the Band Members and the Record Label Fantasy. It`s taken all this time for John Fogerty to come to terms with the demons of his past and release a complete Album worthy of his considerable talents as a song writer and performer. It`s very hard to select stand out tracks from this twelve song set. They'll all pretty damn good. However, "Long Dark Night" really kicks in hard. "Summer of Love" reminds listeners of C.C.R.`s appearence at the Woodstock Festival in 1969 and "I can`t take it no more" is a frantic outcry against the Bush Regime and more specifically The War in Iraq. But it is "Creedence Song" which gives the whole Album the feeling of Deja Vu perspective. On a personal note I have recently considered J.F.'s Live set lists to show too much adherence to the C.C.R. Song Book when his own material stands up well and deserves greater opportunity for a Live airing. Nothing currently available including the new Boss Album is much better than this. Good Time Rock 'N' Roll played with heart and sang with Soul. Welcome back with a vengence Foggy.

John Fogerty - The Blue Ridge Rangers/Revival [1973/2007]

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Strung Out - Blackhawks Over Los Angeles [2007]

Strung Out has been comfortably residing over at Fat Wreck for close to 15 years now, but it's clear from one listen to Blackhawks Over Los Angeles that the guys are hardly resting on their laurels. The band has perfected its metal-infused skatepunk to ridiculously tight, guitar-shredding proportions, razor sharp licks pairing with precise, rapid-fire drumming to knock listeners over again and again. But as always, Strung Out's aggression is perfectly complemented by the slightly worn yet fiercely passionate vocals of Jason Cruz; the subtle tenderness he brings to the table keeps their collective power in check, ensuring there to be just as much heart as muscle in the proceedings. Rich sonics dominate the apocalyptic landscape of Blackhawks, where the war comes right to American soil. Strung Out is frustrated, angry and disenchanted by the government and their seemingly endless bloodshed, yet through it all, Cruz manages to embody and convey a certain sense of hope. The blazing opener "Calling" probes "Does anybody out there get the message that I send?," while the exhilarating "A War Called Home" professes "I was the son of the promised land/whose father's youth was lost in Vietnam...Come sing along with me our song/It can't be wrong/We are the last remains to carry on." There is such a pressing urgency and invigorating vitality pervading these songs that you can't help but want to pump a first straight into the air (regardless of being stuck in the middle of traffic or a moshpit), and these qualities aren't lost even in the handful of more pop-oriented cuts like the excellent "All the Nations" and "Dirty Little Secret." To put it simply, Blackhawks Over Los Angeles is a bracing, forceful and straight-up rocking album that earns Strung Out one hell of a gold star.

Strung Out - Blackhawks Over Los Angeles [2007]

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Fiction Plane - Left Side of the Brain [2007]


Perhaps it could be just four years of familiarity with Fiction Plane. My first introduction to them being live and knowing in advance the genealogy that might have helped me like this right from the first play. That notwithstanding this album still stands up well after multiple playings and somehow I wish the band could get out the shadow of Sting and The Police. I am at a loss to explain their continuing obscurity and semi-cult status otherwise. It's probably a reflection of who's running the music industry these days, this band seems to grow more by word of mouth and the occasional exposure to someone going to see Sting and The Police. Certainly it is more in the genre of 80's and 90's rock (when radio play was actually enjoyable and the acts worth seeing) than alt indie and everything in popular music that's new for the third time or beaten like a dead horse. Certainly papa's genes show through more in the vocals of Joe than ever, but Left Side is definitely a keeper with nary a clunker and several really rather good tracks. It is a clear advance for the band but is still just a tick below "Everything ..." to me. I guess that's really not faint praise, either. It's a lie, Two sisters and Cold Water Symmetry to me seem tightest and best done. They are quick examples of the diversity seen in the music with Sisters and Symmetry coming out as my favorites. The Reggae influence that the Police brought to mainstream music back when comes out more with the phrasings, rhythms and syncopations so it's specious to deny some continuity father to son. It is however very welcome, but very critically said the more that you like the early Police the more this will appeal to you. Again, I don't consider that a knock because it only suggests, not defines the band. In the end it still comes down to talent and that came through in his musical genes as well as the voice. This is a worthwhile album and a band worth following in ocean of mostly just awful new music out there.

Fiction Plane - Left Side of the Brain [2007]


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Blonde Redhead - 23 [2007]

With each album since Melody of Certain Damaged Lemons, Blonde Redhead has made huge strides forward with their sound. Misery Is a Butterfly pitted fragile melodies against dark, swirling arrangements, and its tragic glamour turned the album into a cult favorite. On 23, the band trades the cloistered chamber rock of Butterfly for tone-bending dream pop and subtle electronics; while the wide open spaces sound a little bare at first, this streamlined approach ends up making this Blonde Redhead's loveliest and most accessible work yet. The group begins each album with a bold statement of purpose, and 23 is no different. The epic title track's delicate electronic rhythms, swooping, shimmering guitars, and majestically bittersweet melody pitch it somewhere between My Bloody Valentine and Asobi Seksu, showing how a more restrained Blonde Redhead can still sound lush and haunting. "Spring and Summer by Fall"'s streaming, comet-tail guitars and "Silently"'s thorny melody hark back to Melody of Certain Damaged Lemons, while "Heroine"'s vocoders sound surprisingly fresh, giving the song a fairy tale-meets-sci-fi vibe. This more whimsical, if not exactly lighthearted, feel flows through much of 23, especially on "Dr. Strangeluv," which boasts playful percussion and sparkling synths, and "Top Ranking," which layers Kazu Makino's vocals into futuristic girl group harmonies. However, Blonde Redhead hasn't ditched the brooding beauty of Misery Is a Butterfly entirely. "The Dress" is just as darkly stunning as any song on that album, with looping gasps and insistent guitars circling lyrics like "the fear starts creeping up when you have so much to lose," while "SW"'s melody and psychedelic brass interlude have a Butterfly-esque intensity. And as always, Blonde Redhead has a flair for haunting melodies, particularly on "Publisher," the chorus of which sounds peculiarly like Aerosmith's "Dream On." 23 is stunning — in fact, its only flaw might be that its track listing is a little top-heavy, resulting in an album with an amazing first half and a flip side that is only very good. Nitpicking aside, 23 is mysterious and modern, with an artfully strange beauty that is more memorable than perfection.

Blonde Redhead - 23 [2007]

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White Whale - WWI [2006]

Matt Suggs has been in the indie rock game for a long time. Starting with Butterglory in the mid-'90s, then moving on with a couple of fine, understated solo albums in the early 2000s, he has turned out nothing but high-quality product. His new group, White Whale, continues the run of excellent releases. Teaming with ex-Get Up Kid Robert Pope and three members of the Higher Burning Fire (John Anderson, Zack Holland, Dustin Than Kinsey), Suggs leaves understatement behind on WWI. The album is a larger-than-indie record that blends elements of folk, prog, post-rock, electronica, and chamber pop together, throws them mixed up on the big screen, and comes up sounding (mostly) like no one other than White Whale. The epic scale and ambition of the record can be summed up in one line — "Fidget and Fudge" expertly channels mid-'70s Pink Floyd. How you feel about that will either ratchet your interest up or send you running for the aisles. If you stick around you will find fine songwriting from Suggs and band on aching ballads like "Forgive the Forgiven," "One Prayer," and "The Admiral," as well as thrillingly dynamic rockers like "We're Just Temporary Ma'am" and first-class melodic indie rock tunes like "Yummyman Farewell." You'll also find an exciting level of sonic experimentation. Indeed, it is the care they put into the sound of the album that keeps them from slipping over the line into Coldplay or Keane territory on the ballads and from possible overindulgence on the longer songs. They use dub techniques, squelchy synths that pop up out of nowhere, cheesy drum machines, and varied guitar tones to keep listeners on their toes and to help puncture any pretensions that might otherwise creep in. It's hard to be too high and mighty when at any second a synth that sounds like a refugee from a Chicory Tip 45 might waltz in. It isn't easy to strike the right balance between ambition and emotion, scale and humanity; White Whale manage it with ease on WWI. Hats off to Matt Suggs for keeping his streak alive.

White Whale - WWI [2006]

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Texas - The Greatest Hits [2003]

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Sylver - Cross Roads [2007]

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Tristan Prettyman - Twentythree [2005]

Tristan Prettyman continues the 2005 renaissance of the female singer-songwriter with her highly entertaining debut album, Twentythree. Often referred to as a female Jack Johnson due to her surfing background and energetic acoustic style, Tristan Prettyman shows a greater depth of emotion that is all her own. This is an album you need to pick up and give multiple spins to. Prettyman is a refreshing change in a world of manufactured pop confections, and her honest and insightful yet breezy songs wash away the dreck of modern pop and invoke a laid back vibe perfect for summer and beyond. Prettyman's voice is often reminiscent of Heather Nova and Natalie Merchant; at times bouncy and rhythmic and other times soft and sultry. Her music is melodic and a jangly acoustic guitar plays a predominant role. Each song is structured in a fitting manner, hooking you with great melodies and vocals to match; this is a record you will singing along to in your car or at the beach. Prettyman's lyrics are mostly cheerful, infusing her songs with a energy sorely lacking nowadays. When she takes a turn for the serious, such as the painfully emotional tale of addiction in Song for the Rich, you pay attention. And that is really where Prettyman impresses. Instead of taking the easy way out and making a pure upbeat album, she includes songs that are darker, touching on every corner of her emotional palette. If you are looking for energetic singles, check out Love Love Love and Shy Like Me (featuring ex-boyfriend Jason Mraz) and the excellent Always Feel This Way. Song for the Rich and Electric are two songs that touch on the more somber moments, and Smoke is a great balance of upbeat melody with creatively flowing lyrics. Prettyman asks "Shouldnt it be that easy..to just be happy for a while", hinting at the challenges of love and life at an early age. With this album and an impressive live presence, Prettyman is well on her way to success as a musician and as a person.

Tristan Prettyman - Twentythree [2005]

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Colbie Caillat - Coco [2007]

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Crosby, Stills, Nash & Young - Déjà Vu [1970]

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The National - Boxer [2007]


The National don't do anything radically different on Boxer, but then again, they don't really need to: their literate, quietly anthemic take on indie rock seemed to have arrived fully formed on their 2001 self-titled debut. Boxer just hones in even more precisely and intimately on the heartfelt territory the band covers, with punchy-yet-polished production and orchestration by the Clogs' Padma Newsome giving these songs an intimacy and widescreen expansiveness that rivals the Arcade Fire. The album's first four songs are among the National's finest work yet: "Fake Empire" begins as a dead-of-night ballad that echoes Leonard Cohen, then peppy brass and guitars turn it into something joyous. The brooding "Mistaken for Strangers" touches on the side of the band that could be mistaken for a more hopeful Joy Division, if lyrics like "You wouldn't want an angel watching over you?/Surprise surprise, they wouldn't want to watch" can be counted as hopeful. "Brainy," a borderline obsessive love song, shows off the remarkable, dark chocolate richness of Matt Berninger's vocals and how well they complement the band's occasionally bookish lyrics, while "Squalor Victoria" makes the most of Newsome's lavish string arrangements. The rest of Boxer is subtler, but no less accomplished, with each song supporting the other as a classic album should. "Apartment Story"'s hypnotic chug and "Slow Show"'s witty, knowing affection make them standouts, while the graceful, regretful "Ada" plays more like a short story than a song. As focused as it is ambitious, Boxer is riveting.

The National - Boxer [2007]


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Dropkick Murphys - The Singles Collection/Singles Collection, Vol. 2 [2000/2005]

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Henry Mancini - Days of Wine and Roses [1995]

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The Refreshments - Fizzy Fuzzy Big & Buzzy [1996]

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AQUA - AQUARIUM (1997)

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The Presidents of the United States of America - Presidents of the United States of America [1995]

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The Flaming Lips - Transmissions from the Satellite Heart [1993]

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The Young Fresh Fellows - Fabulous Sounds of the Pacific Northwest/Topsy Turvy [1989]

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Sum 41 - Chuck [2004]

In June 2004, Sum 41 was in Congo filming a documentary for charity when they found themselves caught in the midst of the country's ongoing hostilities. But a UN aid worker named Chuck Pelletier was instrumental in getting the band to safety, and a grateful Sum 41 named their fourth album in his honor. As they say in their liners, "Without him, we'd be dead. Chuck rules!" The experience also seems to have mellowed the group's sarcastic streak. From its aggressive metal and hardcore overtones to lyrics that rail against societal ignorance and a world gone wrong, Chuck is a few steps ahead of the smirking, jocular anthems that populated Sum 41's previous output. This suddenly sober outlook hasn't lessened the rock power, though. "Why is there no reason we all can't change?" Deryck Whibley wonders in "No Reason," but the cut also binds the rapid-fire pace of hardcore to a great chorus hook. Lead single "We're All to Blame" lashes out at greed with some vicious metal riffing, "Bitter End" takes its cues from the double-bass kicks and furious lead solos of Anthrax, and "There's No Solution"'s layered vocals, psychological fretting, and explosive chorus shift give it a Linkin Park feel. Sum 41 also avoids employing too many "serious" add-ons, such as string sections or synthesizers. Chuck does have a few passages of acoustic guitar (most effectively on the low-key "Slipping Away"). But like Sum 41's previous efforts, it's a concise album that clocks in at just over a half-hour, with a basic understanding that fast and loud is what the band does best. But this time around, Sum 41 has made sure to set its message at the same high volume.

Sum 41 - Chuck [2004]

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Soulfly - Prophecy/Dark Ages [2004/2005]

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K'Naan - The Dusty Foot Philosopher [2006]

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Pig Destroyer - Phantom Limb [2007]

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The Sex Pistols - Kiss This: The Best of the Sex Pistols [1992]


The Sex Pistols may have only been together for two years in the late '70s, but they changed the face of popular music. Through their raw, nihilistic singles and violent performances, the band revolutionized the idea of what rock & roll could be. In England, the group was considered dangerous to the very fabric of society and was banned across the country; in America, they didn't have the same impact, but countless bands in both countries were inspired by the sheer sonic force of their music, while countless others were inspired by their independent, do-it-yourself ethics. Even if they didn't release any singles by themselves, there was an implicit independence in the way they played their music and handled their career. The band gave birth to the massive independent music underground in England and America that would soon include bands that didn't have a direct musical connection to the Sex Pistols' initial three-minute blasts of rage, but couldn't have existed without those singles. Guitarist Steve Jones and drummer Paul Cook were regulars at a boutique owned by their manager, Malcolm McLaren; bassist Glen Matlock worked at the store. Vocalist John Lydon, who would later perform under the name Johnny Rotten, met the rest of the group at the shop and was asked to join the band. While the band played simple rock & roll loudly and abrasively, Rotten arrogantly sang of anarchy, abortion, violence, fascism, and apathy; without Rotten, the band wouldn't have been threatening to England's government — he provided the band's conceptual direction, calculated to be as confrontational and threatening as possible. The publicity caused by their caustic first single "Anarchy in the U.K." caused the band to be dropped by their record label, EMI. Matlock was fired before their next single "God Save the Queen," which was released on Virgin; it was banned by the BBC. Matlock's replacement was Sid Vicious, a tough street kid who, unlike the rest of the band, couldn't play his instrument.After releasing one album in 1977, the band headed over to the U.S. for a tour in January of 1978; it lasted 14 days. Rotten left the band after their show at San Francisco's Winterland Ballroom on January 14, heading back to New York; he would form Public Image Limited later that year. McLaren tried to continue the band but Cook and Jones soon turned against him. In the two decades following the Sex Pistols' implosion, an endless stream of outtakes, demos, repackagings, and live shows were released on a variety of labels, which only helped their cult grow. In 1996, to celebrate their impending twentieth anniversary, the Sex Pistols reunited, with original bassist Glen Matlock taking the place of the deceased Sid Vicious. The band embarked on an international tour in June of 1996, releasing the Filthy Lucre Live album the following month. Four years later, Julien Temple (who helmed the band's first movie, The Great Rock & Roll Swindle) directed the documentary film The Filth & the Fury.

The Sex Pistols - Kiss This: The Best of the Sex Pistols [1992]


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Ramin Djawadi - Prison Break - OST [2007]

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Kaki King - Everybody Loves You [2003]


Simply put, Kaki King possesses the most original voice on the acoustic guitar in a generation. Her sound, full of gorgeous tapped melodies and popping basslines, is as deeply emotional as John Fahey's, as technically savvy as Preston Reed's, and as energetic as Leo Kottke's (à la 6- and 12-String Guitar, Greenhouse, and Mudlark). Citing these legendary players is not for the sake of comparison in style or approach, but in metaphor only for she sounds only like herself. King's thumb over the neck and simultaneous double-handed melody line playing is a muscular approach to the instrument to be sure, but in her melodies. harmonic runs and basslines become checkpoints to the musical cosmos; they are complex, indescribable emotional pathways to the heart as well as the mind. There is no "math" in her playing. She goes too far inside the musical labyrinth for that and speaks like a guitarist whose virtuosity lies not only in her technique — which is truly and literally stunning — but in her "singing" voice on the instrument. King is a songwriter for the guitar — and not like Michael Hedges either. This is the music of luminous motion, where trains, planets, and constellations meet at some interstitial point; where earth and sky kiss lustily. For every workout like "Close Your Eyes & You'll Burst Into Flames," where time signatures blur under percussive roils and thumping subharmonies, there are nearly pastoral vistas like "Joi." The manner of counterpoint used in the title track would make most flamenco guitarists jealous for the way it continually moves further into itself and adds body and dimension to the ground of its assertion. The intimate masterwork here is the closer, "Fortuna," where shape-shifting genres and guitar styles weave through and around one another to offer a meditation on love, grace, and the willingness to speak instrumentally and vocally of deeper unspecified truths, secret histories, forceful desires, and chimerical states of being before slipping out the back door with intimate, tender, smart-assed humor. If this seems like an unspecific way to tell about this song, it is; here is music so heartbroken, so gloriously individual and fathomless, one can only venture how knotted the heartworm highways of its origin are. Everybody Loves You is the most auspicious, tender, and tough instrumental debut by any guitarist in a decade at least. It is singular in approach and peerless in execution; and in its poetic, raggedly graceful manner, it is simply a treasure of individuality and idiosyncratic virtuosity, visceral truth, and verve.

Kaki King - Everybody Loves You [2003]

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Morphine - Yes [1995]

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The Animals - Retrospective [2004]

For those who have suffered through not so great to just plain terrible compilations (including some of those old LPs with almost unrecognizable versions of the old Animals standards) there is finally a compilation that you can trust, and is well done, plus pretty comprehensive. Most of the debate has been on the early songs, and "We've Gotta Get Out Of This Place" in particular. This IS the US version of that song (with the lyric "My Little Girl You're So Young and Pretty"). All of the other early singles check out pretty much right in line with the times on the original MGM label 45 rpm records, with one (good) exception: "House of the Rising Sun." This CD is an ABKCO release, and they also re-released most (if not all) of the early Animals 45's sometime in the 70's or 80's on light blue abkco labels. "House of the Rising Sun" came back there as the UK single version (4:18) with the long organ solo and ending intact (House also charted two additional times in the UK in 1972 and 1982). The original US MGM single (K13264) and radio play version chopped out most of the organ solo plus faded out the end before the final verse for a total time of 2:58. The playing time of 'House' on this CD is 4:31 (the song is exact, the 45 rpm disc just tracks 13 seconds faster). I think most fans prefer the "full length" version as presented here, but for the adamant (US) original singles collector, you now know. I'm not as familiar with the Eric Burdon & War era singles (except to note that "Sky Pilot" is the full 7 minute version, and for the 45 single, the song was split into part 1 on one side and part 2 on the other), so hopefully someone else will comment on that. This is a great collection, get it and enjoy!

The Animals - Retrospective [2004]
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Birdman/Lil Wayne - Like Father, Like Son [2006]


Cash Money's rise and fall has been talked to death, but it's important to note that the 2006 collaboration between Birdman (Cash Money CEO) and Lil Wayne (Birdman's "surrogate son" and Cash Money's president) lands while the label is on the upswing. Critically, they're doing better than ever, respected in a way they weren't back when they had Juvenile and Mannie Fresh. The biggest reason of all is Lil Wayne's Tha Carter 2, so Birdman bumps him up to president and suddenly the rapper who was evolving with more complex lyrics, strange vocal rhythms, and risky production choices is creative director of the label that used be the down-low dirty-dirty. Like Father, Like Son is a celebration of Wayne and Cash Money's success, a testament to the allegiance the two feel toward each other, and most likely a way for Birdman to set Wayne on the right path as label boss. When it came to singles, Tha Carter 2 stalled after the leadoff "Fireman," so it's no big surprise this album is filled with hooks, infectious beats, and that trunk-rumbling weekend music Cash Money was built on. Synthesized horns blast out "Stuntin' Like My Daddy"'s triumphant melody, while the instantly gripping "Know What I'm Doing" works because it's keep-it-simple-stupid swagger music like the Big Tymers used to kick. Birdman might be reinforcing what Cash Money was built on, but he's well aware of his boy's talent and gives the freedom-craving, forward-looking baller adequate room to roam. The woozy "Leather So Soft" had to be Wayne's idea, "Army Gunz" features one of his most broken deliveries yet, and on the title track he offers, "I'll put you niggas in the closet in the shirt space/Niggas yellow like Sesame Street's Bert face." Production comes primarily from TMIX — the UGK-sampling "1st Key" is his masterwork — although Scott Storch stops by for the so-so "You Ain't Know," a great argument the beat-maker is spread too thin in his prolific 2006. The mix of familiar and strange is fascinating, the team-up feels like family, and at 20 tracks long, the album doesn't wear out its welcome. There's probably too much get money/stack-paper for those who want Wayne to speak on the injustices New Orleans has suffered post-Katrina, or to get to work on Tha Carter 3, but that's not what Like Father, Like Son is about. This is the sure sound of Cash Money steadying the ship and getting back on course.
Birdman/Lil Wayne - Like Father, Like Son [2006]

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The Hives-3 Albums

The Hives performing live at the Eurockéennes 2007
The Hives are a rock band from Fagersta, Sweden that first rose to prominence in the early 2000s as a leading group of the garage rock revival. Their breakthrough came with the release of the "best-of" compilation Your New Favourite Band, featuring their most commercially successful song "Hate to Say I Told You So". The band produces punk-influenced garage rock songs and wear matching black and white suits.
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Taylor Swift - Taylor Swift (Deluxe Edition)

Taylor Swift - Taylor Swift (Deluxe Edition)Taylor Swift - Taylor Swift (Deluxe Edition) (November 6, 2007)

1 Tim McGraw
2 Picture To Burn
3 Teardrops On My Guitar
4 A Place In This World
5 Cold As You
6 The Outside
7 Tied Together With A Smile
8 Stay Beautiful
9 Should've Said No
10 Mary's Song (Oh My My My)
11 Our Song
12 I'm Only Me When I'm With You (Bonus Track)
13 Invisible (Bonus Track)
14 A Perfectly Good Heart (Bonus Track)
15. Taylor's 1st Phone Call With Tim McGraw (Bonus Track)

DL: Taylor Swift (Deluxe Edition)

Deluxe Edition (Bonus Tracks Only)
12 I'm Only Me When I'm With You
13 Invisible
14 A Perfectly Good Heart
15. Taylor's 1st Phone Call With Tim McGraw

DL Link 1: Deluxe Edition (Bonus Tracks Only)
DL Link 2: Deluxe Edition (Bonus Tracks Only)
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OST-Transformers 2007


01. Linkin Park - What I’ve Done
02. Smashing Pumpkins - Doomsday Clock
03. Disturbed - This Moment
04. Goo Goo Dolls - Before It’s Too Late
05. The Used - Pretty Handsome Awkward
06. HIM - Passion’s Killing Floor
07. Taking Back Sunday - What’s It Feel Like To Be A Ghost?
08. Styles Of Beyond Feat. Mike Shinoda - Second To None
09. Armor For Sleep - End Of The World
10. Idiot Pilot - Retina And The Sky
11. Julien-K - Technical Difficulties
12 .Mutemath - Transformers Theme
Transformers 2007
Or
www.uploading.com/files/SSTCRLT3/OST___Transformers__2007__by_Steve_Jablonsky.rar.html
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The Flower Pot Men - Let's Go To San Francisco

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George Thorogood & the Destroyers - The Best of

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Doobie Brothers - Long Train Runnin': 1970-2000


01. Nobody
02. Slippery St. Paul
03. Listen To The Music
04. Rockin' Down The Highway
05. Toulouse Street
06. Cottonmouth
07. Jesus Is Just Alright
08. White Sun
09. Natural Thing
10. Long Train Runnin'
11. China Grove
12. Dark Eyed Cajun Woman
13. Clear As The Driven Snow
14. South City Midnight Lady
15. You Just Can't Stop It
16. Spirit
17. Pursuit On 53rd St.
18. Black Water
19. Eyes Of Silver
20. Down In The Track
21. Another Park, Another Sunday
22. Sweet Maxine
23. Neal's Fandango
24. Music Man
25. Slack Key Soquel Rag
26. Take Me In Your Arms
27. Texas Lullaby
28. I Cheat The Hangman
29. Wheels Of Fortune
30. Losin' End
31. Takin' It To The Streets
32. It Keeps You Runnin'
33. Echoes Of Love
34. Nothin' But A Heartache
35. Chinatown
36. There's A Light
37. Little Darling
38. You Belong To Me
39. Open Your Eyes
40. Minute By Minute
41. Dependin' On You
42. Don't Stop To Watch The Wheels
43. What A Fool Believes
44. Here To Love You
45. Dedicate This Heart
46. Real Love
47. No Stoppin' Us Now
48. One Step Closer
49. Keep This Train A-Rollin'
50. South Bay Strut
51. One By One
52. Wynken, Blynken And Nod
53. The Doctor
54. South Of Border
55. Time Is Here And Gone
56. Need A Little Taste Of Love
57. Dangerous
58. Excited
59. This Train I'm On
60. Rollin'on
61. Little Bitty Pretty One
62. Daughters Of The Sea
63. Armadillo Death Chant
64. Osborne
65. Four Days Gone
66. Spiel
67. Lovin' My Way Back Home
68. Pat's Song
69. Blue Jay
70. Peace In The Valley
71. Mambo Waltz
72. Outside Of Barstow
73. Argentine Grape
74. Shuffle
75. Takin' It To The Streets
76. We Would Sail Away
77. Jesus Is Just Alright
78. Olana

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OST - Juno

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Meat Loaf - Very Best of

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James Last - Very Best of

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