Daughtry-Leave This Town(2009)
Supernatural.mp3Pokerface__Acoustic_.mp3
Open_Up_Your_Eyes.mp3
Call_Your_Name.mp3
September.mp3
Life_After_You.mp3
Tennessee_LIne.mp3
Everytime_You_Turn_Around.mp3
Ghost_Of_Me.mp3
What_I_Meant_To_Say.mp3
No_Surprise.mp3
You_Don_t_Belong.mp3
Learn_My_Lesson.mp3
OR
Call_20Your_20Name(Mp3...
Everytime_20You_20Turn...
Ghost_20Of_20Me(Mp3alb...
Learn_20My_20Lesson.mp3
Life_20After_20You(Mp3...
| | No_20Surprise.mp3 |
Open_20Up_20Your_20Eye...
| | September.mp3 |
| | Supernatural(Mp3albums... What_20I_20Meant_20To_... Tennessee_20LIne.mp3 |
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The Cure - All Discography [1979-2004]
Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few were as enduring and popular as the Cure. Led through numerous incarnations by guitarist/vocalist Robert Smith (born April 21, 1959), the band became notorious for its slow, gloomy dirges and Smith's ghoulish appearance, a public image that often hid the diversity of the Cure's music. At the outset, the Cure played jagged, edgy pop songs before slowly evolving into a more textured outfit. As one of the bands that laid the seeds for goth rock, the group created towering layers of guitars and synthesizers, but by the time goth caught on in the mid-'80s, the Cure had moved away from the genre. By the end of the '80s, the band had crossed over into the mainstream not only in its native England, but also in the United States and in various parts of Europe. The Cure remained a popular concert draw and reliable record-seller rhroughout the '90s, and their influence could be heard clearly on scores of new bands during the new millenium, including many that had little to do with goth. Originally called the Easy Cure, the band was formed in 1976 by schoolmates Smith (vocals, guitar), Michael Dempsey (bass), and Laurence "Lol" Tolhurst (drums). Initially, the group specialized in dark, nervy guitar pop with pseudo-literary lyrics, as evidenced by the Albert Camus-inspired "Killing an Arab." A demo tape featuring "Killing an Arab" arrived in the hands of Chris Parry, an A&R representative at Polydor Records; by the time he received the tape, the band's name had been truncated to the Cure. Parry was impressed with the song and arranged for its release on the independent label Small Wonder in December 1978. Early in 1979, Parry left Polydor to form his own record label, Fiction, and the Cure was one of the first bands to sign with the upstart label. "Killing an Arab" was then re-released in February of 1979, and the Cure embarked on its first tour of England. The Cure's debut album, Three Imaginary Boys, was released in May 1979 to positive reviews in the British music press. Later that year, the group released the non-LP singles "Boys Don't Cry" and "Jumping Someone Else's Train." That same year, the Cure embarked on a major tour with Siouxsie and the Banshees. During the tour, the Banshees' guitarist, John McKay, left the group and Smith stepped in for the missing musician. For the next decade or so, Smith would frequently collaborate with members of the Banshees.
5
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Air Supply - Greatest Hits [1988]
You have to respect the genius of a group that can, without having to resort to using thunderous guitars (Megadeth, Pantera)or earth shattering bass (almost all modern R&B groups)still somehow grab your very soul and take it for an emotional ride not letting go until the very last harmonic crescendo. "Air Supply: Greatest hits" sets out with a very defined mission. To allow the listener to experience the deepest levels of romantic expression in the most addictive way possible. And man does it ever deliver. From one tune to the next it is never difficult to open your heart and let it cry out in joy, remembrance, longing and even youthful arrogance. To let it join in the soaring melodies of pure unadulterated, and unashamed realities of the feelings that can grow from love. (Almost ninety percent of Air Supply's songs include "love" in the title). Never before has a group been able to succeed so completely in that very common of goals. Listen to it and find out how much feeling is waiting just around the next spin of the disk.
4.5
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Two Gallants - What the Toll Tells [2006]
It seemed quite hard to believe that Two Gallants could fulfill the expectation created by the quality of their first LP The Throes, but even the angels on the cover of this second album, What the Toll Tells, appear to be amazed that they have done so. And it is understandable. First, the production from new label Saddle Creek improves the sound of its predecessor, and the San Francisco-formed duo doesn't spare us a moment to miss it, opening with the rocky "Las Cruces Jail," probably the most powerful song of their short discography so far. After the second cut, the slow and beautiful "Steady Rollin'," this pair of friends manages to persuade you that they are capable of stunning you again with the similar poetic, sad stories that thrilled you on the previous album. To that end, they don't mind offering nine-minute pieces which rummage inside the most hidden and bitter emotions of human beings, building irregular structures where the rhythm and musical strength vary as a function of the story they tell, contrary to what is usual. It is worth pointing out, however, that in some moments the similarity of chords might cause a sense of reiteration and even a slight saturation, since the musical pulse could occasionally overwhelm the small quantity of instruments (guitar/harmonica/drums). Nevertheless, this just happens if we listen to it as background music without paying attention to what it's intended to convey and, on the other hand, it indicates that what Two Gallants do is neither folk nor rock, but a high quality folk-rock. So as you go through the album, you run into masterpieces like "Threnody," a harsh ballad about love, loss, and blame, with a crushing intensity that ends up tearing you apart, "Waves of Grain," a political complaint-turned-poem, and above all, "Age of Assassins," a brilliant example of this band's music, where in eight minutes vitalizing tempo highs and lows are combined with breathtaking metaphorical writing about the burden of life. This, together with Adam Stephens' dramatic voice and melancholic harmonica, results in an ideal soundtrack for the personal, decadent stories everyone has. Because it appears these beatnik-like guys have found the secret that only the greats know: to take the form as the substance, helping to evoke what it is inside of us instead of telling us how we are.
4.5
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Billy Bragg & Wilco - Mermaid Avenue [1998]
Do not be scared off by the premise of the project: a vaguely country-rock band and a Scottish folksinger reviving ancient Woody Guthrie lyrics. First of all, none of those descriptions do their discriptee justice; Wilco's one of the strongest songwriting groups in America today with the musical skills to back it up, Billy Bragg's a gifted balladeer and a brilliant folk-rocker and Woody Guthrie...well, that name ought to speak for itself by belonging to one of the greatest songwriters ever, author of a vast catalogue of topical, witty and beautiful songs that celebrate people, life, children and America in a way that has rarely been matched. Apparently, Woody's daughter Nora approached Wilco and Bragg about the possibility of collaborating to write music and record some of the thousands of songs that Woody wrote but never recorded. The result is a very impressive album. Maybe the key is that the artists, while certainly aware of Guthrie's incredible contributions, don't spend the album revering Guthrie, wringing their hands over being worthy of such a project. Wilco and Bragg jump right in and immediately get their hands dirty, opening with a song that's confusing and ribald but playing and hollering along with so much energy it will literally make you smile. Most of the Woody Guthrie releases now in print tend to focus on his political ballads and protest songs, so its fortunate that Wilco and Bragg chose lyrics that reflected a more personal side of Guthrie: love songs, songs about his children, songs lusting after Ingrid Bergman...Woody would have been unlikely to record such autobiographical songs, and its fortunate that someone did, leaving no doubt that Woody was more than just a powerful voice for others but a brilliant, introspective artist as well. Musically, the album's much like Wilco's "Being There," heavy on organ and acoustic guitar, with many large swells of sound. This might sound a little offensive to some, but this isn't a Woody replica, it's a modern band making these songs their own. The arrangements are straightforward and layered, which results in a rich, warm sound. Bragg's brogue works perfectly as a vehicle for Guthrie's rough lyrics, and Jeff Tweedy's boyish drawl lends an innocence and charm to the love songs that couldn't even be achieved by Guthrie. Woody was known to pass his guitars along to aspiring musicians to help them along; even better that he should pass along some songs not only to Wilco and Bragg, but through them, to the rest of us as well. This is probably more of a Wilco album than anything else, but with even greater-than-normal lyrics, and it's apparent how much Tweedy has taken from the classic understatement of Guthrie. Cannot recommend this album enough.
4.5
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Sonata Arctica - End of This Chapter: Best of Sonata Arctica [2005]
Finnish prog metal quartet Sonata Arctica specializes in a soaring, orchestral variation on European heavy metal, fusing the sweeping, romantic bombast of bands like Europe with the over-the-top instrumental chops of Dream Theater. Born in 1996, the band, which included vocalist Tony Kakko, guitarist Jani Liimatainen, drummer Tommy Portimo, keyboardist Mikko Harkin, and bassist Janne Kivilahti, recorded a handful of demos before releasing their first single, "UnOpened," on Spinefarm Records in July of 1999. Producer Mikko Karmila (Children of Bodom, Stratovarius, Nightwish) recorded and mixed Sonata Arctica's full-length debut, Eliptica, and the album was released in 2000 by Spinefarm and Century Media Records. Following a successful tour with Rhapsody and Stratovarius, the group put out a six-song EP, Successor-MCD, which featured live tracks, a pair of covers, and other previously unreleased material. Sonata Arctica were rewarded with various awards and honors around this time: Hard N' Heavy magazine voted them Newcomer of the Year, as did Emma, the Finnish Music Awards. Kivilahti quit the band in late 2000 and was replaced by Marko Paasikoski before work began on the band's second full-length album. With producer Ahti Kortelainen behind the boards, Sonata Arctica recorded Silence at Tico-Tico studios in time for a 2001 release.
4.5
Sonata Arctica - End of This Chapter: Best of Sonata Arctica [2005]
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Whitney Houston - The Ultimate Collection [2007]
Finally! Whitney Houston decides to release an Ulitmate Collection of her greatest hit songs. I know she released her Greatest Hits package back in 2000, but we all know that was tragic. With all the remixes of her great songs. Now with this collection, it has all the original songs and all are remastered. Who can ever forget this woman, with her amazing voice. I've been there with her from the start with 1985's "You Give Good Love". Now the last 2 albums she has released "Just Whitney" and "One Wish", were not up to her standards. I am glad she did not include any tracks from those albums on this collection. The only flaw I have to this album is that it is missing a few Ultimate Hits, like "You Give Good Love" #3 hit,"All The Man I Need" #1 hit,"Miracle" #9 hit,"Heartbreak Hotel" #2 hit,"Love Will Save The Day" #9 hit,"My Name Is Not Susan" #20 hit,"I Believe In You & Me" #4 hit,"Step By Step" #15 hit,and "Count On Me" #8 hit. Besides those songs missing, this is an Ultimate collection by the one and only Whitney Houston. I recommend this album to you!
4.5
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The Shadows - Another String of Hot Hits and More! [2000]
The Shadows are usually thought of as the quintessential British instrumental group and, along with the American band the Ventures and the Swedish group the Spotnicks, one of the most popular instrumental groups in the world. But that barely tells the story of their true significance in the history of British rock & roll — including the fact that they were the first home-grown British rock & roll band to dominate the U.K. charts; or that they weren't originally an instrumental group, either. The band's roots go back to Chesthunt, Hertfordshire, in early 1958, when a young Indian-born singer/guitarist named Harry Webb joined with drummer Terry Smart and guitarist Norman Mitham to form a group that they ended up calling the Drifters — at the time, none of the records by the American R&B group of the same name, founded by Clyde McPhatter, had been released in England, so they had no inkling of the name's already being used.... The Shadows — often referred to informally as "the Shads" by their fans — officially disbanded in 1968, on the tenth anniversary of their signing to EMI. Bennett devoted himself to a second career as a producer and arranger, while Marvin and Welch formed a Crosby, Stills & Nash-type trio with John Farrar in the '70s, with harmony vocals to match. But in spite of some gorgeous recordings, they were never able to leave the Shadows legacy behind, and by 1973, the group had been officially reactivated with Farrar as a member. The group remained active throughout the '70s and '80s, switching to the Polydor label with the start of the latter decade and still selling large numbers of records and CDs, as well as concert tickets in England and around the world. Marvin embarked on a solo career in 1990 which left the Shadows inactive for the next decade or so. But they reunited in 2004 for a series of farewell concerts that ended up being extended into the following year, and yielded a live album and a concert DVD.
5
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