Chicory Tip - Son of My Father [1972]

Chicory Tip was a British pop group from Maidstone, Kent, comprising; vocalist Peter Hewson (born 1 September 1950, in Gillingham), guitarist Rick Foster, bass guitarist (born Richard Foster, in 1946) Barry Mayger (born 1 June 1946, in Maidstone), drummer Brian Shearer (born 4 May 1951, in Lewisham, South East London) and lead guitarist, keyboard player Rod Cloutt (born Roderick Cloutt, 26 January 1949, in Gillingham). The band formed in 1967, their name having been chosen by Peter Hewson who saw a coffee bottle that reminded him of chicory and they were signed to CBS Records. The first few singles flopped, although "Excuse Me Baby" in 1971 secured the band its first appearance on the BBC Television pop music programme, Top of the Pops. The group's finest moment came after studio manager Roger Easterby came across an advance copy of "Son of my Father", a song written by Giorgio Moroder and Pete Bellotte. Convinced of its potential, he secured the option to rush record the group's own cover version in competition with the original. The result was a Number One hit in the UK Singles Chart for three weeks in February 1972. it was one of the first hit singles prominently to feature a Moog synthesizer (in this case played by studio engineer and record producer, Chris Thomas). Two further Top 20 hits in similar vein followed, "What's Your Name", and "Good Grief Christina". Another release, "Cigarettes, Women and Wine" was heavily played on Radio Luxembourg but failed to chart, probably owing to a BBC Radio 1 ban because of its references to smoking. The group released one album, also entitled Son Of My Father.

4.5

Chicory Tip - Son of My Father [1972]

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Biffy Clyro - Puzzle [2007]

Although emo is often thought of as a direct descendent of punk and alternative, the genre's tricky song structures oftentimes teeter toward prog territory. Case in point: Puzzle, the fourth full-length by Ayrshire, Scotland's favorite sons, Biffy Clyro. While the riffs and singalong choruses bear a resemblance to Nirvana and the Foo Fighters, it's no secret that the members of this trio obviously know the ins and outs of their respective instruments — this is certainly not the sound of a band still finding its footing. "Saturday Superhouse" somehow manages to not sound far removed from all the fresh-faced MTV darlings, while also including enough interesting bits to not sound like a mere mainstream rock rehash. Harder to pin down tracks such as "Who's Got a Match?" bring to mind the quirky pop of Supergrass, and "Semi-Mental" is comparable to Weezer — if they spent more time studying their Rush records instead of Cheap Trick ones. Released in the U.K. several months ahead of the U.S., Puzzle already has a head start in the buzz sweepstakes — it's a certified smash overseas (nearly topping the album charts at number two, while "Saturday Superhouse" almost reached the Top Ten on the singles charts).

3.5

Biffy Clyro - Puzzle [2007]

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Sugarcult - Lights Out [2006]

For numerous pop-punk bands, there seems to be somewhat of a standard progression of albums. There are exceptions, of course, but for many, album number one is the hook-blasted, immediate satisfaction one. Album number two takes stabs at maturity with an oft-darker vibe. And then album number three rolls around and it's a crapshoot. By now (and often depending on the current label situation) the band has either gone off the deep end, been totally mainstream spit-shined, or managed to successfully combine elements of both earlier albums into a more focused record. Sugarcult have basically followed that progression and, thankfully, were able to end up in the last part of that sentence with their third offering and V2 debut, Lights Out. The quartet has now almost fully embraced the power pop/rock aspect of its sound, which has always been more American Hi-Fi than Green Day anyway. The songs are more gravel-coated than sugar-smacked, though, and vocalist Tim Pagnotta's voice is more weathered-sounding this time around to augment to the record's overall seasoned, somewhat disillusioned feel. Because regardless of the record's unfailing singalongability (check out the stirring power choruses of "Hiatus" and "Do It Alone"), there's just something about Lights Out that emanates band cynicism — not that this is a bad thing, since the music remains fun and catchy nonetheless. Both love and the music scene have left the guys confused and fed up, yet defiant, and tracks like the murky desire of "Los Angeles," the meditative sway of "Shaking," and the bitterly attitude-laced "Dead Living" ("Beauty lies in the ignorant/With the sound of selling out to the innocent") wade through these feelings well. Nothing on the album is quite as immediate as most of Sugarcult's past work, but that hardly matters; Lights Out has successfully balanced rock, grit, power, and pop, to leave the band sounding stronger than ever before.

4

Sugarcult - Lights Out [2006]

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Panic at the Disco - Pretty. Odd [2008]

Tempting as it may be, don't read the dropping of the exclamation point from Panic at the Disco's name as a sign that the emo quartet is in a rush to be taken seriously. Don't even take their blatant aping of Sgt. Pepper's on Pretty. Odd as indication that Panic at the Disco wants to be taken seriously. There doesn't seem to be a serious bone within the bodies of any of the four members, but the wondrous thing about Pretty. Odd is that it's impossible to discern what silliness is intentional and what is accidental, the product of a band discovering the Beatles long after their 2005 debut A Fever You Can't Sweat Out turned into a hit. There's a startling naïveté to PATD's sudden immersion in symphonic psychedelic pop; the band is either too young or dumb to not realize that they're putting together familiar elements wrong, or that they shouldn't be attempting the baroque ballads and vaudeville shuffles that pepper this album...but they're smart enough to send-up the opening of Pepper's, twisting the Beatles' declaration that they were now Sgt. Pepper's Lonely Hearts Club Band around, claiming that they're they same band they always were. Of course this is a bald-faced lie, as the only clear remnants from PATD's debut are the overly complicated song titles and fussy lyrics, but few will complain as the group retain their theatrical ridiculousness while unveiling a newfound panache for pop, all derived from their desire to pattern themselves after the Beatles. Panic at the Disco are hardly the first modern rock band to slavishly follow the example of their peers — My Chemical Romance copied every one of Queen's exaggerated moves for The Black Parade, while the Killers treated Sam's Town as if it was a Springsteen coloring book — but PATD's clueless, audacious thievery of the Beatles pays back far greater dividends, partially because stealing from the Fab Four guarantees an emphasis on melody over style, but also because PATD shows far more humor than MCR or the Killers. That humor — and it's possible to laugh at and laugh along with the band in equal measure here — makes Pretty. Odd a giddy absurdity, as Panic at the Disco is determined to have it both ways: to make grand, pompous music while retaining their identity as pranksters. The album is so out of control, it's hard to tell whether the group planned Pretty. Odd to be a kaleidoscopic mess, or if occurred by happenstance, but that raggedness will appeal to the teens who loved A Fever You Can't Sweat Out, but this bafflingly blurred Brit-pop could hook in older listeners, too, either through its genuine tunefulness or through pop junkies who will marvel at how "Folkin' Around" comes startlingly close to re-creating the sound of the Byrds circa Sweetheart of the Rodeo, or how "Do You Know What I'm Seeing" is equal parts Morrissey parody and homage. It all adds up to a pretty and odd record and it erases no suspicions that the band aren't quite sure of what they're doing, but the glorious thing about Pretty. Odd is that the album works in spite of this...or perhaps because of it. Either way, this is a deliriously jumbled, left-field delight.

4

Panic at the Disco - Pretty. Odd [2008]

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Less Than Jake - Losing Streak [1996]

Now, this is the first Less Than Jake I've listened to and I was wondering what I was getting myself into when I saw the goofy cartoon on the front. But as soon as the first words, "This is the old dude..." flowed out of my speakers I forgot everything else and was immerse in this wonderful sound that catches your attention without you ever wondering or caring. The whole album maintains a crazy energy that anyone can get into while the lack of slowing down is never a problem to the listener. The mixture of the plunky guitar, great bass, simple but amazingly affective horns (and some sax), and the awesome vocals have a way of rolling through the mind with such great ease that you'll wonder why you haven't been doing this earlier. I'm not going to single out any songs as better than the others because they all have a way of fitting in just right making the whole album complete. However, if at all possible, try to listen to "Lockdown" to get a great example of the horn/bari sax section. There isn't much more to say that can't better be explained by listening to this album. Buy. Now.

4.5

Less Than Jake - Losing Streak [1996]

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U2 - The Unforgettable Fire [1984]

U2 had a lot going for them in the early 1980's. With three solid albums under their belts including their U.S. breakthrough, `War', the lads of Dublin decided it was time to play with fire. In other words they were poised to release something uniquely out of tune with the garbage piling up on the empty-headed pop scene. As it is said, where there is smoke there's fire and where there is U2 you have an album here so good it laid waste to everything else on the charts in the Autumn of `84, while refreshingly misrepresenting the band as Ireland's response to the last call of new wave. Okay, TUF didn't soar to the top of the charts, but its methodic ascent gave us plenty of time to relish a selection of songs that would brand the band as true architects of their craft. So where does one begin to train the water on a conflagration that burned off the long grass of a field under an `Indian Summer Sky' during that certain Fall? Well, the phenomenal success of `Pride'{in The Name of Love}, one of their biggest singles ever, is a testament to the group's rallying cry for freedom and a blast heard `round the world, thanks to its radio- friendly composition. If this is their anthem song, then `Bad' is the LP's signature cut. All of the factors for a melodic equation merge here for a perfect U2 number; those powerful, unmistakable vocals, forceful, precision guitar playing, nimble drumming and a throbbing bass during the refrain. `Promenade' is a peaceful ride through the English countryside, but when the Edge plugs into `Wire' things really heat up. His tight and intense guitar work here, puts him in an elite class few other players occupy. `A Sort of Homecoming' is a lyrical gem forged not from a cauldron of gloom and doom, but rather from a warm safe seat by the fireplace. On this one, Bono and his mates wax positive singing of hope and salvation, as if an endearing phoenix has just risen from the ashes to bring its message of revelation. However, in naked contrast to most of TUF's content is the absorbing title track. Its suggestive story aside, this song is simply outstanding, with a fluctuating score, vital orchestration and adventurous vocals that puts the band's front man in a class also, few others deserve to be. There is, at the very tail end of the piece, a barely audible 4 or 5 note fade out. Brief, yet stirring, it is a conclusion that would give a cinematographer the closing shot of his dreams. This is the record that really brought U2 to the shores of America, where they would, only 4 albums into their recording career, blaze a trail through the musical wilderness of the 80's with nothing shy of the scope of the country in their sites. The Fire is still burning just as bright today, like a pilot light that's never had to be re-ignited...an eternal flame of a masterpiece.

4.5

U2 - The Unforgettable Fire [1984]

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Laibach - Opus Dei [1987]

Having gained a fair amount of underground attention throughout Europe, particularly in both Germany and England, Laibach made its first attempt at crossing over — in a way — with Opus Dei. An alliance with Mute records led to Rico Conning handling the production, while the group decided to spell out the connections between mega-arena rock & roll and fascist spectacle all the more directly. Two brilliant singles were the end result, the first being "Geburt Einer Nation," a German-language cover of Queen's then-recent smash hit "One Vision," transformed into a Wagner-ian stompalong that remained as catchy as the original but with far more disturbing overtones. Hearing guttural voices talking about "one world, one people" over stomping drums and dramatic horns makes for pure Big Brother nightmares — undoubtedly the point. Arguably even more fascinating was "Life Is Life," a hippie-ish song by the German group Opus that was reworked by Laibach into two different versions — the German-language "Leben Heisst Leben" and the English "Opus Dei." Both are amazing, dramatic, and, thanks to some soft keyboards, even beautiful — imagining a strutting, face-to-the-sun group of party members sweeping over the globe with these as accompaniment takes no effort at all. The dumbass metal soloing on the German-language version is especially hilarious. The other tracks on Opus Dei are a mixed but worthy bunch, showing the group trashing stylistic boundaries with more classical/hard rock/martial/dancefloor combinations. The results can be weirdly sweet like the start of "F.I.A.T." or explosive like "Leben-Tod" or the quick, nervous bombast of "Trans-National," but they're all good in their own ways. The CD includes four selections from Baptism as a bonus, that particular recording having not yet been released at the time of Opus Dei's appearance.

4.5

Laibach - Opus Dei [1987]

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Coil - Scatology [1984]

Comentário AM:

Coil's first official full-length album, Scatology, is one of the essential landmarks in the group's discography and, moreover, one of the '80s industrial scene's more vital and influential recordings. This is the first part of the essential Coil trilogy that also includes Hors eRotorvator and Love's Secret Domain. The 1984 album exhibits the group at its early industrial stage, in transition to the undefined genre of astral noise psychedelia that Coil would inhabit for the following decades without peer or precedent. The core duo of Peter Christopherson and John Balance are joined by Clint Ruin (aka Jim Thirlwell), whose role in the production cannot be underestimated, as well as Stephen E. Thrower, Throbbing Gristle's Alex Ferguson, vocalist Gavin Friday of the Wolfgang Press, and one Raoul Revere (who is in fact British camp pop legend and Soft Cell vocalist Marc Almond). "Restless Day" is a haunting rumination that defies description, other than being an utterly essential self-defining moment in the Coil paradigm, with an atmosphere hanging in the tense space between harsh noise and harmony that apparently causes time to cease. "The Tenderness of Wolves" features the vocals of Friday in one of the more poetic moments of the '80s post-industrial sound. At the album's somber end, this outstanding work finishes with a rendition of "Tainted Love" featuring Almond, who had made the track a new wave hit with Soft Cell. Here, however, the tune is given a bleak slow-motion version that could be read as a tragically suggestive commentary on the AIDS epidemic of the era. The album was originally released on Force & Form/Some Bizzare, and was the subject of numerous bootlegs and illegitimate versions. For the record, the 2001 version on Threshold House/ World Serpent is the only version authorized by the group. Maybe the numerous LP and CD versions that have appeared since its original release are suggestive of just how vital the album is, not only in the Coil discography but to the industrial electronica scene as a whole. Scatology is nothing short of essential.

4

Coil - Scatology [1984]

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JoJo [The High Road]

Released: October 17, 2006
# "This Time"
# "The Way You Do Me"
# "Too Little Too Late"
# "The High Road"
# "Anything"
# "Like That"
# "Good Ol'"
# "Coming for You"
# "Let It Rain"
# "Exceptional"
# "How to Touch a Girl"
# "Note to God"

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http://www.mediafire.com/?ondy1ngtuud

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Miranda Cosgrove [About You Now EP]

Released: 2009
01 About You Now
02 FYI
03 Party Girl
04 Stay My Baby (Spider Remix)
05 About You Now (Spider Remix)

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http://www.mediafire.com/?dryudznq5z2

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Marie Serneholt [Enjoy the Ride]

Released: March 29, 2006
# "Enjoy The Ride"
# "Wasted Love"
# "That's The Way My Heart Goes"
# "I Need A House"
# "Beyond Tonight"
# "I Love Making Love In The Morning"
# "The Boy I Used To Know"
# "Calling All Detectives"
# "Can't Be Loved"
# "Oxygen"

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http://www.mediafire.com/?tihmex5dmzj

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Jason Mraz-Albums

1. "Love for a Child (From the Casa Nova Sessions)"
2. "Coyotes (From the For a Girl in the New York Sessions)"
3. "Man Gave Names to All the Animals (From the Gospel Collection Sessions)"
4. "Mudhouse/Gypsy MC (Live from Amsterdam)"

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http://rapidshare.com/files/114588349/We_Steal.rar



1. "Make It Mine (From the Casa Nova Sessions)"
2. "Butterfly (From the Casa Nova Sessions)"
3. "Only Human (From the Casa Nova Sessions)"
4. "The Dynamo of Volition (From an All-Night Session)"

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http://rs90gc.rapidshare.com/files/136828084/JasonMrazWeDance.rar


01. I'm Yours (From the Casa Nova Sessions)
02. Live High (From an avacado salad session)
03. If It Kills Me (From the Casa Nova sessions)
04. A Beautiful Mess (From a raining Jane session)

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http://rs148l32.rapidshare.com/files/136799833/JasonMraz_WeSingEp.rar



1. The Dynamo of Volition (Live)
2. Life Is Wonderful (Live)
3. Rocket Man (Live)
4. Make It Mine (Live)
5. Details In the Fabric (Live)

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http://rapidshare.com/files/201006479/Mraz_Itunes_london.rar


1. "Welcome to Schubas (Medley)"
2. "Did You Get My Message? (Audience Rehearsal) (Live from Schubas)"
3. "Did You Get My Message? (Live from Schubas)"
4. "Snakes in Schubas (Live from Schubas)"
5. "Childlike Wildlike (Live from Schubas)"
6. "Welcome to Saratoga: Older Lover Undercover"
7. "Sleeping to Dream (Live from Montalvo)"
8. "God Rests in Reason (Live from Montalvo)"
9. "Life Is Wonderful (Live from Montalvo)"
10. "Did You Get My Message? (Live from Montalvo)"
11. "Please Don't Tell Her (Live from Montalvo)"
12. "Song for a Friend (Live from Montalvo)"
13. "10,000 Motherfuckers (Live from Montalvo)"
14. "The Beauty in Ugly (Ugly Betty version)"

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http://www.4shared.com/file/88083428/a8d171e4/Jason_Mraz_-_Selections_For_Friends.html


01. Galaxy (Live)
02. Keep On Hoping (Featuring Raul Midon) [Live]
03. Mr. Curiosity (Live)
04. On Love, In Sadness (Live)
05. Wordplay (Live)
06. Geek in the Pink (Phil Tan Remix)

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http://rapidshare.com/files/145298687/Acidgentlemen.blogspot.com-GeekAcrossGalaxy-06.rar

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1. The Remedy [I Won't Worry]
2. I'll Do Anything
3. Common Pleasure

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http://rapidshare.com/files/227358380/Jason.Mraz.2005.Jimmy.Kimmel_Live_EP_by.mariofalcao.rar


1. Halfway Home ( Live at Eagle's Ballroom)
2. I'm Yours ( Original Demo)
3. Wordplay (Lilywhite version)

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1. Burning Bridges (Unreleased Version)
2. I'm Yours ( Original Demo)
3. Wordplay ( LilyWhite Mix)

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http://rapidshare.com/files/199457744/_2005__Wordplay_EP.rar


# "Tonight, Not Again"
# "Not So Usual"
# "Dialogue
# "No Doubling Back"
# "You and I Both"
# "Absolutely Zero"
# "1000 Things"
# "Common Pleasure"
# "Curbside Prophet"
# "Sleeping to Dream"
# "Unfold"
# "No Stopping Us"
# "The Remedy (I Won't Worry)"
# "After an Afternoon"
# "Too Much Food"

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Part 1: http://www.4shared.com/file/95915355/3e678020/Jason_Mraz_Live_at_The_Eagles_Ballroom__2004__part_1.html
Part 2: http://www.4shared.com/file/95918878/8cdfa923/Jason_Mraz_Live_at_The_Eagles_Ballroom__2004__part_2.html


# "You Make Me High (Spinning)"
# "On Love, In Sadness"
# "Dead End"
# "Galaxy"
# "The Darkest Space"
# "Love Is Real"

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http://www.megaupload.com/?d=KLHV4S2T

1. "After An Afternoon"
2. "Childlike Wildlife"
3. "All That Lies"
4. "Older Lover Undercover"
5. "Water"
6. "What We Want"
7. "Sleeping to Dream"
8. "You and I Both (Radio Edit)"

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http://www.megaupload.com/?d=F9CE1MXV

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Elliott Yamin [Fight for Love]

Audio CD (May 5, 2009)
Original Release Date: May 5, 2009
1. Let Love Be
2. Know Better
3. Fight for Love
4. You
5. Can't Keep on Loving You
6. Don't Be Afraid
7. You Say
8. Apart from Me
9. Cold Heart
10. How Do I Know
11. This Step Alone
12. Someday

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Top 100 Hip-Hop (2008) Top 100 Hip-Hop (2008)

http://rapidshare.com/files/213945816/BM100HHRB.part1.rar.html
http://rapidshare.com/files/213945868/BM100HHRB.part2.rar.html
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http://rapidshare.com/files/213974711/BM100HHRB.part7.rar.html

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Jonas Brothers [Lines, Vines and Trying Times]

Released: June 12, 2009
01. World War III
02. Paranoid
03. Fly With Me
04. Poison Ivy
05. Hey Baby
06. Before The Storm (Featuring Miley Cyrus)
07. What Did I Do To Your Heart
08. Much Better
09. Black Keys
10. Don’t Charge Me For The Crime - Featuring Common
11. Turn Right
12. Don’t Speak
13. Keep It Real

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http://rapidshare.com/files/247729799/Lines__Vines___Trying_Times.rar

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Danny Elfman [Hellboy II: The Golden Army - Original Soundtrack]

Audio CD (July 15, 2008)
1. "Introduction"
2. "Hellboy II Titles"
3. "Training"
4. "The Auction House"
5. "Hallway Cruise"
6. "Where Fairies Dwell"
7. "Teleplasty"
8. "Mein Herring"
9. "Father and Son"
10. "A Link"
11. "A Troll Market"
12. "Market Troubles"
13. "A Big Decision"
14. "The Last Elemental"
15. "The Spear"
16. "A Dilemma"
17. "Doorway"
18. "A Choise"
19. "In the Army Chamber"
20. "Finale"

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http://rapidshare.com/files/130593782/OST-Hellboy_2_The_Golden_Army_2008__Danny_Elfman_.part1.rar

Part 2: http://rapidshare.com/files/130649345/OST-Hellboy_2_The_Golden_Army_2008__Danny_Elfman_.part2.rar

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