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David Bowie - The man who sold the world.mp3 (5.583kb)
"The Man Who Sold the World" is a song by David Bowie. It is the title track of his third album, released in the U.S. in November 1970 and in the UK in April 1971. It was later re-popularised and introduced to a new generation by Nirvana's cover on their MTV Unplugged in New York album. In the wake of this cover, Bowie bemoaned the fact that when he performed the number himself he would encounter "kids that come up afterwards and say, 'It's cool you're doing a Nirvana song.' And I think, 'Fuck you, you little tosser!'
The song's themes have been compared to the horror/fantasy works of H.P. Lovecraft. The lyrics are also cited as reflecting Bowie's concerns with splintered or multiple personalities, and are believed to have been partially inspired by the nursery rhyme "The Psychoed", by William Hughes Mearns

James Blunt - 1973.mp3 (5.570kb)
In 2005, James Blunt was everybody's favorite overnight success story. In 2007, he's the guy who's making rock meaningful again. All the Lost Souls,, the sophomore effort from the Brit responsible for restoring the seriousness of "beautiful" as a compliment, brims with big build-ups, epic-sounding ballads, and lyrics to lose yourself in. The vibe, laid out neatly on first single and opening track "1973," is clear-eyed and heavy-hearted; in anybody over 35, it'll produce nostalgia tempered by hopefulness--here's a set that suggests rock has got its head screwed on straight again, that the path to real feelings need not necessarily be led by Norah Jones. In anybody younger, it'll cause the unsinkable suspicion that a lot of modern balladeers should be digging deeper. But in both cases it will satisfy. Compared with David Gray and Damien Rice last time out, this time Blunt seems to owe a debt to Barry Gibb--his voice quavers as sweetly and with the same delicate reach. Stand-outs on a brief but dud-less set include "I Really Want You," in which the sound of Blunt's breaking heart is set sparely and elegantly to something approximating the chirp of a cricket, the poignant and desperate "Give Me Some Love", and the VH-1 ready "Same Mistakes

Pet Shop Boys - To face the truth.mp3 (5.224kb)
You know it hurts me when you lie,Sometimes it even makes me cry
'Cause I'm so in love with you, If you don't believe what I have said
Take a look, my eyes are red, 'Cause I'm so in love with you
But all those sleepless nights in bed, When you've been out somewhere instead
I wonder if you care and cannot bear the proof, It hurts too much to face the truth
To face the truth
A lawyer with a case to prove, Would sift the evidence, then move
It's the only thing to do, So why then can't I face the facts?
Sift this evidence that backs, I am so in love with you
But all the nights when you have said, You must be somewhere else instead
I wonder where you go, but daren't expose the proof, It hurts too much to face the truth
To face the truth
You are the only one, the only one, You know it hurts me when you lie
Sometimes it even makes me cry, 'Cause I'm so in love with you
If you don't believe what I have said, Take a look, my eyes are red
'Cause I'm so in love with you, But all the nights you don't show up
I know it's time I should grow up, I ask you if you care, you stand and stare aloof
It hurts too much to face the truth, To face the truth
 

Jamie Scott - When will I see your face again.mp3 (5.506kb)
Jamie Scott ,' writes and produces his music under the name ' J.S. Baylin',(born February 12, 1982) and is the singer and writer behind the band 'Jamie Scott and the Town' . His music is heavily influenced by 70’s artists like Cat Stevens and James Taylor, and also by neo-soul artists like D’Angelo. He has released two singles, and has most recently appeared in Step Up, where he has sung on a song to the soundtrack.
Scott started playing guitar and piano at age seven. He grew up listening to his parents’ classic albums, and was influenced by artists like Stevie Wonder and Donny Hathaway. Inspired by singer/songwriters Simon and Garfunkel, Jamie Scott formed a duo in college and played acoustic shows in London. During this time, a dying aunt bought him a new piano. For the next three years, Jamie Scott spent his time playing records and writing music.

MuteMath- Typical.mp3 (3.937kb)
Mute Math have been labelled the New Big Thing, which is a pretty hefty label to carry. Somebody's going to be disappointed, and most bands aren't strong enough to carry the title.
But this solid self-titled debut just might rise above the average, with its solid rockers and knack for good harmonies. This fledgling band expands up the solid guitar pop with extra flourishes and solid melodies -- it's not the most mind-blowing, but it's a solid sound all around.
It kicks off with "Chaos," an infectious little song that is simply crammed with instrumental goodness -- sharp drums, swirling guitars and airy electronica. It's perhaps their catchiest song on here, and good way to get you into their music -- it's a more complex tune than it appears to be at first glance.
It's followed up by a colourful array of different sounds -- this music is almost paradoxical in its complex simplicity and solid subtlety. They dabble in various styles, including epic guitar pop, brief instrumentals, haunting electronica-edged pop, and even some colourful funky-edged pop. They wind down with "Stall Out," a softer song that quietly wraps the album up with an electropop edge.
Mute Math started impressing people with their "Reset EP," and as they gained a following, they started handing out their debut on concerts. You gotta love these boys for that alone. But the cycling complexity of their pop music is an extra reason to enjoy what they turn out on their debut. Mute Math makes a solid debut in their self-titled album, and prove that they are a new band that definitely is worth watching. Keep on rocking, boys.?

The Avalanches - Since I left you.mp3 (4.039kb)
The Avalanches are a DJ's dream come true -- six Aussies who took hundreds of sound snatches, and wove together a wildly playful kind of electronica. Their first (and so far, only) album, "Since I Left You," is a tangle of the delicate, the weird, and the incredibly danceable.
It kicks off with the sparkling "Since I Left You," but the best is yet to come. The Avalanches manage to attain both a typical "sound" and plenty of originality in their songs, such as the bleeps-and-horns "Different Feeling," the knob-twiddling basslines of "Radio," the sputtery dance number "Live At Dominoes," and the interference-laden Rastafarian rock "Flight Tonight."
But with all the dance tracks, the Avalanches have their softer side: the delicately upbeat "Two Hearts in 3/4 Time," the swaying "Electricity," the brief and staticky "Pablo's Cruise," and the gauzy, multilayered "Etoh." It rounds off with the majestically languid "Extra Kings," which has a long sweep of distortion and chaos in the middle.
It's almost too easy to dance to the Avalanches. They take almost a thousand mismatched sounds and manage to cobble them into some really brilliant music. What's especially brilliant is the way these patchwork dance tracks manage to find solid, simple grooves, and stick to them right to the end.

Bluefish feat Anita Kelsey - Been too long (Kasey Taylor & Chris Meehan Mix).mp3 (9.208kb)
I will wait for, summer to arrive
cause that’s when, You’ll come back to me,
come back to me, I’ve been waiting so long.
Try to remember, what we discovered
when we were, always together yeah
together yeah
and its been too long.
Seeing you there in my mind
walking up to me
the sun is shining on the sea
I can feel your eyes
they are burning right through me. Burning right through me.

When in Rome - The Promise.mp3 (3.444kb)
In the late 80s, When in Rome stormed onto the US music scene with "The Promise," and then vanished into obscurity as fast as they came. Chances are that if you're looking at this CD, you've heard "The Promise" and you want to know if the rest of the album is worth buying.
It might be - if you are an 80s alterno-euro-power-pop fan or a fan of power-piano-pop. Don't be looking for angst ridden, poignant tunes on the rest of this release that were typical of this era (like the classic "Don't You Forget About Me"). While their voices maintain that angst-ridden quality throughout that merges so well with the tune of "The Promise," the orchestration through most of the rest of the release is upbeat and happy, clashing with the angst. I will admit that I do like their voices, and I really enjoy what they do with the harmonies, which are often ignored in pop music.
However, the reason I enjoy and appreciate this release (and you should too if you are to enjoy it somewhat) is for its over-produced 80s power pop style. After "The Promise," "Heaven Knows" continues the driving euro-power-pop theme, however its tone is a bit more upbeat. While not so much on the over-produced side, "I Can't Stop," with its horns, driving beat, and female backing vocals makes you get up and dance happily around the room singing along. "Sight of Your Tears," despite its sad title, is orchestrally upbeat, powerful, driving and happy. "Wide, Wide Sea" is actually my favorite song on this release and what made me buy it after hearing a friend's tape. Something about the tune and lyrics really grabbed me; it's very upbeat, hopeful, and it makes me want to dance around. 

Garbage - Tell me where it hurts.mp3 (4.008kb)
Garbage have been plying their trade around arenas and festivals since 1995 when debut album Garbage went multi-platinum, winning them support slots with the likes of the Smashing Pumpkins and U2. Ten years on, with greatest hits compilation Absolute Garbage to promote, they have released yet another slice of dark yet sumptuously melodic indie-rock.
Their first release since announcing an indefinite hiatus in the middle of a world tour in 2005, 'Tell Me Where It Hurts' is a return to the moody, bittersweet love songs that first brought them to the public's attention. Underpinned by Shirley Manson's husky vocals and Butch Vig's unique drum work, the track soars with Arcade Fire-style violins before a creepy electronic breakdown interjects towards the end.
The band take a traditional message of unrequited love and mix it with their inimitable bitter sweet lyrics, with Manson imploring: "I've been loved but I didn't know how to feel it / And I've been adored but I don't know if I ever believed it." A classic return to form that will hopefully reignite the fire in the band's bellies, bringing with it an album of fresh material.

Nelly Furtado - Crazy (Gnarls Barkley Live Lounge Cover).mp3 (3.143kb)
Nelly Furtado is what you get when you cross the border of Canada via Portugal into Los Angeles searching for Hip Hop, peppered with percussive break beats; a truly exotic experience. Yeah…I know, thanks for the Geography lesson, but I like to keep things loose; kind of like how she does on tour; and whoa Nelly, does she know how to go retro.
The staging for the concert looked like an updated version of what Miami Sound Machine (Gloria Estefan) may have been touring with back in the 80's. Trust me, the rhythm is gonna get ya. At the beginning of the show the largest disco ball that I have ever seen descends from the rafter, and upon touching down on the second level of stairs, rises to reveal a stunning Furtado telling the audience to "Say It Right." She sauntered down middle of two flights of brightly painted white stairs with band members flanking each side staircase on both levels. The entire backdrop of the stage is a shimmer curtain made up of video projection lights that interplay with the lighting effects of the disco ball; it's very trippy!
Pulling from all three of her releases (Whoa Nelly, Folklore and Loose), Furtado treated fans to multi-facetted show that mixed dace hits with sultry ballads effortlessly. Furtado even threw in a cover of Gnarls Barkley's "Crazy" and Justin Timberlake's "Sexy Back", the latter of which was performed by the band while in the midst of one of her 5 costume changes. It may sound tacky, but it really worked and kept the party going. What also kept the flow of the show going were the four dancers whose skills ranged from Ballet to Krumpin, with the most impressive choreography happening during the song "Showtime."
 

Coldplay vs Radiohead - Scientist vs High & Dry.mp3 (3.897kb) LYRIC
Coldplay are a critically acclaimed English rock band from London. Formed in 1998, Coldplay achieved worldwide fame with their 2000 single "Yellow", followed by the success of their debut album, Parachutes. The group comprises vocalist/pianist Chris Martin, guitarist Jonny Buckland, bassist Guy Berryman and drummer Will Champion. Coldplay has been one of the most successful acts of the new millennium, selling over 35 million albums to date.
Coldplay's early material was compared to acts such as Jeff Buckley and Radiohead, while also drawing comparisons to U2 and Travis. Since the release of Parachutes, Coldplay have also drawn influence from other sources, including Echo and the Bunnymen and George Harrison on A Rush of Blood to the Head (2002) and Johnny Cash and Kraftwerk for X&Y (2005).
Coldplay have been an active supporter of various social and political causes, such as Oxfam's Make Trade Fair campaign and Amnesty International. The group have also performed at various charity projects such as Band Aid 20, Live 8, and the Teenage Cancer Trust.
 

a-ha - Stay on these roads (extended version).mp3 (5.761kb) LYRIC
I love this song a lot, my feeling so blue when I hear it. A little snap shot about the group, a-ha is a Grammy Award-nominated band from Norway. They are the best selling Norwegian band around the world with a total of 75 million records sold. They rose to fame during the 1980s, but continued to be globally successful in the 1990s and 2000s. The trio, composed of lead vocalist Morten Harket, guitarist Paul Waaktaar-Savoy (Pål Waaktaar until his marriage in 1994) and keyboardist Magne Furuholmen, formed in 1982 and left Norway for London in order to make a career in the music business. They chose the studios of musician, producer and soon-to-be-manager John Ratcliff, because it had a Space Invaders machine. The origin of the name "a-ha" comes from the lyrics of an early song ("Nothing To It"). After checking dictionaries in several languages, they found out that "a-ha" was an international way of expressing recognition, with positive connotations. It was short, easy to say and unusual.

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The Isley Brothers - For the love of you.mp3 (5.247kb) LYRIC
Here is this one song that is in the Alfie movie but not on the soundtrack, when Alfie and Lynette (his friend's girlfriend) are playing pool and the song that is played on the juke box before finally they make love. This song it's so awesome especially if you see the movie when Lynette sing along, so sexy.

And about the singer, The Isley Brothers all began singing in church under the tutelage of their parents, who were also musicians. The four eldest of Sally and O'Kelly Isley, Sr.'s six sons formed the group as a gospel quartet. They toured all over their area of Ohio and other areas in the Midwestern and Eastern side of the United States until Vernon was killed in bicycle accident at the age of 13. Shaken over the tragedy, the brothers decided to disband the group until their parents' coaxing got them back into music, when they were looking to branch out of gospel.

Mazzy Star - Fade into you.mp3 (4.618kb) LYRIC
"Fade into you" is one of my favorite song, ever. The song is slow, soft and brings me to enter unspeakable feeling. I bought this song as compilation album at Duta Suara, Sabang - Jakarta.

If you're not familiar with Mazzy Star, they are modern rock group lead by singer Hope Sandoval (who also wrote most of their material). Sandoval subsequently went solo, and they ended up only recording three CDs as Mazzy Star.

"Fade into You" was featured in Swept Away (Madonna), Lord of War (Nicholas Cage), Alias (Episode 4x05 "Ice"), Gilmore Girls (Episode 1x09 "Rory's Dance"), Without a Trace, Angus, as well as appearing prominently (perhaps also incongruously) in the film Starship Troopers. A cover version of this track also appears in the movie Dreamland which premiered at the Sundance Film Festival in 2006. A TV commercial for the Norwegian newspaper Dagbladet used this track in April 2007.

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The Freelance Hellraiser - Want you to know.mp3 (4.200kb) LYRIC
Roy Kerr, aka The Freelance Hellraiser, is one of the most respected creators of the UK bootleg scene.
He gained fame with a mash-up called "A Stroke of Genius", which combined an instrumental edit of The Strokes' track "Hard To Explain" with Christina Aguilera's pop hit "Genie in a Bottle". Although originally greeted by a cease and desist order by RCA, the combination was subsequently a top ten UK hit for Scottish band Speedway, and Freelance Hellraiser went on to remix Aguilera's single "Fighter", as well as tracks for Placebo and ex-The Verve frontman Richard Ashcroft.
In 2004 he was commissioned by Paul McCartney to remix some lesser-known McCartney tracks as preshow entertainment for his tour of that year. Those tracks, and several more, have now been released as Twin Freaks.
In 2006 he made his album Waiting for Clearance, featuring such artists as Iain Archer and Snow Patrol frontman Gary Lightbody
'Waiting For Clearance' is the debut album from mashup producer extraordinaire, Freelance Hellraiser. Bolstered with guest appearances from stars such as Gary Lightbody of Snow Patrol and Harold Faltermeyer, the album fuses psychedelia anddance in a way not heard since Primal Scream's classic 'Screamadelica' album. Includes the singles 'Want You To Know' and 'You Can Cry All You Want'. "Want you to know" song also used for TV commercial Sony Ericsson.

Marillion - Kayleigh.mp3 (4.192kb) LYRIC
Contemporary critics of Marillion labelled them as clones of Peter Gabriel-era Genesis, based largely upon their extended songs, a prominent and Mellotron-influenced keyboard sound, distinctive other-worldly album artwork and the deeply fantastic and/or romantic lyrics of their Scottish frontman Fish. Initially a cult band appealing mainly to lovers of progressive rock, with the somewhat softer sound of Misplaced Childhood they came to the attention a much wider audience after the success of the single Kayleigh. With two continuous "suites" of music, one covering either side of the original LP, this album actually bears a much closer relation to The Wall-era Pink Floyd; like it, the music, although tuneful and expertly played, serves mainly as an emotional framework for a vehemently personal set of lyrics. Sometimes, as on the opening "Pseudo Silk Kimono", the lyrics are pretentious and empty; elsewhere, as on "Blind Curve", they are searching and punchy. Fish refined his vision to a peak on Marillion's next album Clutching At Straws, an often masterful examination of self-deception and self-loathing, before leaving the band for a solo career.

Solar Stone - Seven cities (Armin Van Buuren remix).mp3 (5.772kb) LYRIC
This is one of those rare, utterly beautiful pieces of trance music which has an extremely unique sound, even if the formulaic construction of the piece is not that original. By far the best version of this track is the full-length "Atlantis Mix," which is only on Part 1. This disc, Part 2, has the "Atlantis Edit" (also on disc one) and V-One's very clubby, very trancy remix. This remix has a nice sound to it, but in this mix we lose the unique beauty of the song, and it is transformed into just another trance-dance club song. Moreover, the harmony utilized is a bit jarring when the melody is introduced after the break; the two don't mesh very well. On the other hand, "Solar Stone's Coastal Mix" is a very elegant, non-house remix which maintains a very unique sound due to the subtlety of the production, but mostly to the rarity of this kind of beat in electronic music. Still, it's no "Atlantis Mix". The point is, this single is worth getting. But if you're going for only one, go for the first single.
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Jay Z - Show me what you got.mp3 (5.311kb)
Jay-Z returned with his comeback album on November 21, 2006 titled Kingdom Come. Jay-Z's comeback single, "Show Me What You Got", was leaked on the Internet in early October 2006, scheduled to be released later on that month, received heavy air-play after its leak, causing the FBI to step in and investigate. Jay-Z worked with video director Hype Williams, and the single's video was directed by F. Gary Gray (Friday, The Italian Job). The album features producers such as Pharrell Williams, Kanye West, Dr. Dre and Coldplay's Chris Martin (single entitled "Beach Chair"). This album has already sold 2 million copies in the US alone. Jay-Z made a guest appearance on the new Fall Out Boy album Infinity On High.
 

Tatyana Ali - Boy you knock me out.mp3 (5.673kb)
By the age of four, Ali had begun her singing career. She also appeared with Herbie Hancock on an episode of Sesame Street. By age seven, she won the Star Search television contest two times. Her breakthrough came when she was cast as Ashley Banks for the popular television sitcom The Fresh Prince of Bel-Air. She sang on various episodes of the show. On one of the shows Ali sings Aretha Franklin's "Respect" and the original song "Make Up Your Mind", Will Smith asked her if she seriously considered pursuing a musical career. Despite her singing ability, she concentrated on her acting career on Fresh Prince the next few years.
In the penultimate season of Fresh Prince, Ali began preparing herself for her musical debut. The result was the album Kiss The Sky, which was certified gold in early 1999. The album spawned the hit song Daydreamin', produced by Rodney "Darkchild" Jerkins, which peaked at #6 on the Billboard Hot 100 and on the UK Singles Chart. The album spawned two further UK hits, "Boy You Knock Me Out", featuring Will Smith, which peaked at #3 and is her biggest hit to date there; and "Everytime", which was her third top 20 hit in the UK, peaking at #20. Also with Will Smith, she made an appearance in his album Willennium for the track "Who Am I" with MC Lyte.
 

White Shoes & Couples Company - Tentang cinta (about love).mp3 (6.086kb)
Kelompok White Shoes & The Couples Company muncul di belantika musik Indonesia dengan membawa retrofilia atau kecintaan pada sesuatu yang berbau masa lalu. Cita suara (sound), lirik lagu, sampai kemasan album mereka gali dari zaman silam.
White Shoes, kita singkat saja demikian, menyodorkan retrofilia lewat album bertitel nama grup White Shoes & The Couples Company terbitan Aksara Records/Universal Music Indonesia. Mereka menghadirkan atmosfer musik yang mengingatkan pada musik pop Indonesia era akhir 1970-an atau awal 1980-an. White Shoes diawaki ”anak-anak” hari ini yang rata-rata kelahiran awal 1980-an. Mereka adalah Aprilia Apsari atau Sari sebagai vokalis, Yusmario (gitar akustik), Saleh (gitar elektrik), Ricky Surya Virgana (bas, cello), Aprimela Prawidiyanti (piano, biola), dan John Navid (drum). Mereka adalah mahasiswa Institut Kesenian Jakarta (IKJ). Musik mereka lahir dari kegemaran pada lagu lama yang disimak dari film Tiga Dara produksi era 1950-an, film Badai Pasti Berlalu, Ali Topan Anak Jalanan, sampai album-album Chrisye pada akhir 1970-an.

Tori Amos- I don't like Mondays.mp3 (4.083kb)
"I Don't Like Mondays" was a UK number one single for four weeks in July 1979. Written by Bob Geldof and performed by The Boomtown Rats, it was the band's second number one single.
Geldof wrote the song after reading a newspaper report on the shooting spree of 16-year-old Brenda Ann Spencer, who fired at children playing in a school playground across the street from her house. She killed two adults and injured eight children and one police officer. Spencer showed no remorse for her crime, and her only explanation for her actions when captured was "I don't like Mondays." The song was first performed less than a month later at the Fox Theatre, San Diego.
Despite being a major hit in the United Kingdom, it only reached #73 on the Billboard Hot 100, partly due to Geldof's antagonistic attitude towards the radio stations. The song was played regularly on Monday mornings by album-oriented rock format radio stations in the United States throughout the 1980s, although radio stations in San Diego, where the incident happened, refused to play the song for years due to the sensitivity of its subject matter. The song got to Number One in the UK single charts in July 1979, and was also covered by Tori Amos on her 2001 album Strange Little Girls.
 

And now this happened again on Monday morning, April 16 2007 at College campus in Virginia became a killing field. At least 33 people are dead in the worst mass shooting in modern American history. Two guns were recovered, a 9 mm pistol and a 22-caliber pistol carried by Cho Seung-Hui. See the details at http://www.cnn.com/2007/US/04/16/vtech.shooting/index.html

Sova - Biarkanlah aku.mp3 (4.003kb)
Album pertama Sova yang dikasih tajuk "Tempo Tantrum" boleh dibilang begitu sensual dan menghipnotis, dengan unsur-unsur vibrasi dan ritem unik yang melekat hingga menggambarkan kayanya pengalaman bermusik dari east coast hingga style breakbeat soul yang dikombinasikan dengan berbagai macam elemen ambience elektronik. Walhasil, Sova mendapat nominasi Anugerah Musik Indonesia Award 2003 kategori best dance/house/electronic music.
Dengan variasi-variasi elektronik-funk yang dimiliki, mereka mengeksplor lebih dalam aura chillout dan downtempo, seperti di single pertama mereka yang mengagumkan, "Biarkanlah Aku...", dan "Ikuti Aku", yang terinspirasi oleh groove downtempo, deep soul, dan jazz. Makanya, jangan heran juga kalo dahi kita mengernyit tanda mencerna.
Di saat-saat sendiri kita, track kayak "Kehilangan", bisa jadi temen baik yang cukup menghibur. Atau "Miminiregeh" waktu kita jalan di satu sore di mana langit jingga mendominasi. Kalau ada satu kata yang cukup buat deskripsi musik sebuah duo bernama Sova, kata "cool" saja belumlah cukup. Percayalah!

Imagination - It's just an Illusion.mp3 (4.818kb)
A superb compelation of great songs,from one of the best and most talented funk/soul bands, of the 80s. Great song writing,leee johns smooth high pitched vocals,nice synth bass lines, and hypnotic rythms, combine to what I can only describe as sensualy charged and seductive.Just listen to great hits such as; "Body talk", " In and out of love",Or, "just an illusion", and youll know what I mean. This is really classy music,smooth, and super cool.It takes me back to my teenage years dancing in the night clubs of, rotherham,and sheffield.It still sounds as good today, as it did then. This is a 2 cd collection. on disc 2, you'll find some really nice remixes, making this album great value for money.A timeless classic of great hits, from a under rated talented grop.

Stephen Simmonds - For you.mp3 (5.131kb)
Born to a Jamaican father and a Swedish mother and raised in Stockholm, singer-songwriter Stephen Simmonds proves on his debut release that he's perfectly at home getting to the heart of the groove. A solid and, for the most part, soulful album, Spirit Tales displays Simmonds's reverence for Stevie Wonder's bittersweet, modulating minor chord swells and love credos--in "Judgment Day," Simmonds even croons "Love is in need of love today," echoing Wonder's classic Songs in the Key of Life opener. The whole affair gets almost too derivative at times, borrowing dollops of Stevie (the hook on "Universe" mirrors "Village Ghetto Land" in the most obvious way), as well as dabs from the Beatles (the piano loop from "One" sounds just like the intro on "Let It Be") and smidgens from D'Angelo (the syncopated "If I Was Your Man," though it makes sense since the ubiquitous Raphael Saadiq co-wrote it). But ultimately, Simmonds pulls through and comes across as a passionate, driven performer who will, hopefully, find his own style in albums to come.

Carly Simon - Nobody does it better.mp3 (4.991kb)
Singer and songwriter Carly Simon magically walked the tightrope between what was commonly referred to as folk and pop music in the early 1970s and gradually emerged from the shadow of other folk titans to become a pop singer of verve and moment, earning herself a place in the pantheon of very successful singers like Joni Mitchell, Judy Collins, and a number of others like Carol King who were on the pop charts and in the folk clubs earlier in their career. This album is a wonderful summary of the best of her efforts throughout her career, including those early years. From her breakthrough hits like -That's The Way I've Always Heard It Should Be- and -Anticipation- to later smash singles like -Loving You Is the Right Thing To Do- and -You're So Vain- (rumored to be written about everyone from James Taylor to Mick Jagger, but more likely a joke aimed at actor Warren Beatty) is all here.
This collection successfully gathers the best of those early years in one place, and then adds to it those superb follow-on efforts with a second CD that reprises her second stage efforts with another collection of more adult-centered pop hits. Even though I usually prefer to sample an artist in context in their early albums, even I have to admit this is a great comprehensive overview of the collective efforts from Carly Simon. There are a lot of good songs here, like the terrific -Legend In Your Own Time- about then beau James Taylor, and the rocking -Mockingbird-, a duet done with Taylor. This is a terrific greatest hits album by an artist who is often under-appreciated. This is one I heartily recommend. Enjoy!

Chemical Brothers - Star guitar.mp3 (6.056kb)
While other people will search for hidden drug references and just talk about the Chemical Brothers in general, here's a review that focuses on the actual single. "Star Guitar" is the second single for the Chemical Brothers' "Come With Us" album, the first being "It Began in Afrika", another highly recommended single if you liked "Come With Us". Anyway, on with the review:
1. Star Guitar (Edit) -- a quick little ditty similar to the "It Began in Afrika" edit. It's a nice little tune for those of you who don't like too much repetitiveness.
2. Star Guitar -- the version you've heard off the album. A sweeping tune filled with ambience and trance moods all centering around a faint vocal proclaiming that "you should feel what I feel" and that "you should take what I take".
3. Star Guitar (Pete Heller's Expanded Mix) -- I heard Pete Heller's Park Lane Vocal on Moby's "South Side" single and thought it was pretty boring. It's grown on me since then and so has this remix of "Star Guitar". Unfortunatley, Heller centers on the "you should feel" part of the vocal, so it gets pretty repetitive and at over eight minutes, you might wanna hit the "Skip" button for this one.
4. Star Guitar (Pete Heller's 303 Dub) -- Ah, here we are, a much better attempt by Heller. The 303 Dub is a wild combination of melodies and harmonies from the song and, if I'm not mistaken, there are minimal, if no, amounts of vocals. But, it all pales in comparison to what you hear next.
 

Al Green - Tired of being alone.mp3 (2.666kb) LYRIC
One of the must-own soul albums, Greatest Hits is fattened with five extra tracks in this reissue. Al Green brought the Memphis Sound into the '70s by slightly softening it, melding smooth funkiness with his miraculous voice and innate sensitivity: his love songs, while perfect for the bedroom, are as conversational as they are blatantly seductive. By adding the likes of "Belle," a 1977 single that's a near-goodbye to the pop life, to the original lineup of "Let's Stay Together," "Look What You Done for Me," "Call Me," and the others, this edition of Greatest Hits also intriguingly fills out the story.

Vanessa Paradis - Be my baby.mp3 (3.456kb) LYRIC
I'm pleasantly surprised this CD is actually still in print. When it came out in 1992, it didn't quite make a splash on the charts, despite production from Lenny Kravitz. Still, this is an overall agreeable CD that Kravitz fans should consider. Lenny is a musician who sounds as though he hasn't listened to a note of music past 1979, explaining the retro feel of this album. There's psychedelica in the catchy "Always Be My Baby," as well as the 1970s soulful swagger of "Natural High" and "Just As Long As You Are There." But while "Vanessa Paradis" is a fun listen, the lyrics are amazingly banal and cliche-ridden, showing once again that Lenny Kravitz is no gifted wordsmith. And Paradis's voice, a girlish warble, lacks both strength and personality to carry any of these songs. Still, if you're a Kravitz diehard, this album may qualify as a worthy listen out of curiosity.

Angie Stone - More than a woman.mp3 (5.732kb)
Mahogany Soul perfectly describes the rich, deep, and lived-in music Angie Stone makes. This veteran singer/songwriter, who was one-third of rap trio Sequence, led acid-jazz combo Vertical Hold, and had a major hand in creating D'Angelo's Brown Sugar, follows up 1999's critically acclaimed Black Diamond with another collection of grown-up R&B that's sexy, satisfying, and smart. Along with (wo)manning the helm herself, Stone links up with like-minded visionaries.

Chief among them are Raphael Saadiq, who produced the single "Brotha," which moves with a purposeful, rugged, old-soul swagger, and Andrea Martin, coproducer with Swizz Beatz on the vibrant and aching "Wish I Didn't Miss You," which features a dope "Backstabbers" loop and Stone's husky vocals. At 17 cuts, there's a bit of drag, but not enough to deter you from Stone's wise and determined ease, and on the gritty "Twenty Dollars," Stone gives all those R&B princesses something to really chew on. 

Lily Allen - Little things.mp3 (4.097kb)
Being, as she is, the daughter of prominent British actor Keith Allen, the cynics could easily dismiss the rise of Lily Allen as an act of backroom nepotism, a talent-free starlet helped to the stage by the right connections. But one listen to her debut album Alright, Still dispels any doubts about young Ms. Allen's star quality. Possessed of a feisty wit and taste for urban storytelling that should see her compared to Mike "The Streets" Skinner, these 11 tracks of sunshine-friendly reggae pop cover topics including frustrating potential closing-time suitors ("Knock 'Em Out"), being happy when your ex is having a bad time ("Smile"), and having a little brother who likes a bit of a smoke--and not just of the tobacco variety ("Alfie"). Wisely, however, Allen doesn't let the grittiness of the subject matter tarnish the golden pop suss of the songs, a suite of gleaming productions by names including Mark Ronson and Gwen Stefani collaborator Greg Kurstin that take inspiration from the lighter end of reggae and vintage rocksteady. Doubtless some corners of the press will pillory her as a poor role model, but there's an engaging honesty to the likes of "LDN"--a love song to a city filled with teenage muggers, pimps, and crack whores, narrated by someone who's cycling because "the filth took away my license." Like father, like daughter.

Badly Drawn Boy - Nothings gonna change your mind.mp3 (6.262kb)
His third album, Have You Fed the Fish?, introduced more guitars and an increasingly mainstream pop sound which was not welcomed by all critics. The album is a play on Gough's minor celebrity status and namechecks fellow musicians such as Madonna and John Lennon. Another three singles and a long American tour accompanied the album.
After his long spell in America, Gough suffered from homesickness and decided to record his next album closer to home. Recorded in a studio in Stockport, Manchester, One Plus One Is One was a portrait of his personal life. Documenting a death of a close friend and the loss of a grandfather in the Battle of Normandy, the album was highly intimate at times. Released in 2004, it was not a great commercial success, and Gough decided to leave his contract with XL Recordings after only one single was released. He is currently signed to EMI.
Two years went by before news arrived of a new Badly Drawn Boy album, Born in the U.K., which aims to explain Gough’s experience of growing up in the United Kingdom. The album will be promoted with a small UK tour, profits from which will be donated to Oxfam, a charity which "offers the chance for thousands of people to use music to achieve something together, which is an idea that gets me excited," said Gough.

45dip - a man & a woman.mp3 (6.427kb)
Track listing of Acid Lounge :

"Lizzie's Balloon" – 4:48
"Geisha Vampire" – 4:15
"Augerin Orbit" – 6:00
"Green Tomatoes" – 7:05
"Beer Star" – 5:04
"Bug Juice" – 3:49
"Motorcity" – 5:02
"Searchin' for Marden Hill" – 5:40
"Parker Street Story" – 5:40
"Scar Culture" – 4:33
"Underwater" – 3:42
"A Man & A Woman" – 4:33

Robbie Williams - Lovelight.mp3 (5.836kb)
With the help of producer/songwriters William Orbit, Mark Ronson, Jerry Meehan, Joey Negro and Soul Mekanik (plus guests as diverse as The Pet Shop Boys and Lily Allen), Robbie Williams has achieved a most radical transformation. Gone is the slick, pop-rogue of yesteryear: in his place is a new Robbie that raps, embraces club beats and (mostly) favours personal indulgence over cheesy, universal pop. Recent single "Rudebox", all electronic riddims and slack-rap vocal delivery, was just the start of this transition. The rest of Rudebox completes the remarkable overhaul with several eclectic covers - from Manu Chau's "Bongo Bong" and Lewis Taylor's underground classic "Lovelight," to subversive takes on The Human League ("Louise"), My Robot Friend ("We're The Pet Shop Boys") and Stephen Duffy ("Kiss Me") – and tracks such as "Keep On", "Good Doctor" and "Dickhead", which confirm his quite bewildering quest to becoming a comedic, Staffs-accented version of The Streets.
Slightly more serious are his attempts at what he describes as 'wonky pop'. Songs like "Viva Life On Mars", his odd ode to Madonna ("She's Madonna"), the dark "The Actor" and catchy club-hit-in-waiting "Never Touch That Switch" all feature innovative production and interesting arrangements. Toward the end, we get "The 80s" and "The 90s", two more amusing "rap"-tracks that cover the singer's adolescence and his Take That years respectively; these underline the nostalgic, end-of-an-era feel of the LP. Audaciously eclectic and admirably upfront, Rudebox is overtly a form of personal catharsis. Not all the experiments work, but they're better than you might think, and now they're off his chest it'll be interesting to see where the new Robbie Williams heads to next

Miami DJ Collective - Bitter sweet symphonies (edited by Nayos).mp3 (5.824kb)
'Cause it's a bittersweet symphony this life
Trying to make ends meet, you're a slave to the money then you die
I'll take you down the only road I've ever been down
You know the one that takes you to the places where all the veins meet, yeah
No change, I can't change, I can't change, I can't change,
but I'm here in my mold , I am here in my mold
But I'm a million different people from one day to the next
I can't change my mold, no, no, no, no, no
Well, I've never prayed,
But tonight I'm on my knees, yeah
I need to hear some sounds that recognize the pain in me, yeah
I let the melody shine, let it cleanse my mind , I feel free now
But the airwaves are clean and there's nobody singing to me now
 

Muse - Starlight.mp3 (4.915kb)
The first single from the album to be released in the UK, "Supermassive Black Hole", was first released as a standalone download on May 9 2006. Reactions to the new single have been very diverse as it represents an extreme departure from the style of the band's existing work. The single was officially released online on June 12, with the CD release taking place on June 19. The CD release contained the B-side "Crying Shame". The second single to be released from Black Holes and Revelations is to be "Starlight" which will be released on 4th September. "Knights Of Cydonia" has been declared the first single in the US though no release date has been scheduled. The song has already began charting in the Rock Top 20 and has been accompanied by a humorous 7 minute Promotional video which was filmed in Romania. 

Lightning Seeds - Pefect.mp3 (4.972kb)
See the rivers filled with rain, I wish it could be blue again, Hazy petrol nights
Crimson sun on traffic lights, A perfect day a perfect night, Tell me all those perfect lies
And lie back in the garden till it's light, Streets get full up every night
With people buzzing round the lights, And waving at the taxis driving by
Now tomorrow's here today And yesterday's todays just fade away
Watch the morning chase the night, Rolling home, it's getting light
Feeling sleepy, full of wine, Fall in bed, just in time, The perfect stare of perfect eyes
That kiss you as they tell you lies And wonder where you're going, where've you been
In towers high with time to fill, Gardens on your window sill, In between the pavement and the sky
Now tomorrow's here today And yesterday's todays just fade away
Tell me why all the words will never come out right, Fumbling blind, I've been driving through the danger signs

A perfect day a perfect night, Tell me all those perfect lies And lie back in the garden till it's lightPerfect silence me and you, It's really me, I really do, Remember every moment magnified, Now tomorrow's here today And yesterday's todays just fade away
Tell me why all the words will never come out right, Fumbling blind, I've been driving through the danger signs.

John Legend - Again (live).mp3 (4.435kb)
TIt takes guts, if not outright egomania, to abandon your given surname and adopt a loaded one like Legend, but the former John Stephens must have sensed that loftiness would one day be his calling card: Once Again, the follow-up to the Grammy-gobbling, platinum pile-on that was Get Lifted, surpasses expectations. Not that it bears much relation to its predecessor. Again again trots out a stable of talented, modern-minded producers--Raphael Saadiq, Legend comrade Kanye West, and the unsinkable will.i.am--but it's nowhere near as self-conscious about embracing the old-school as the knowing, R&B edge-skimming Lifted. Don't expect a derivative mash of smudgy, nostalgia-filching sounds, though, because despite its retro leanings, what's in store somehow crackles with currency. Call it neo-retro if you must, but never call it unimaginative: first single "Save Room" coasts, drifts, and floats along a ponderous path spiked by a cool keyboard-y crescendo; second single "Heaven" busts out a big, busy beat over a slow seduction; and a couple of selections--"Each Day Gets Better" and "PDA"--are so bright and twirly they seem custom-made for dizzy love scenes or jaunty, sunny-day skips through the park. Maybe the most unusual track is "Show Me," a rock song that pilfers elements of Hendrix and finds Legend climbing a few octaves to sound, weirdly, like Jeff Buckley, but it works: so slippery is its beat and so affecting are its hope-laced lyrics that, oddness aside, it's among the disc's best. Sandwiched as it is among 14 songs that all sound like future classics, that's saying something. 

Stevie Wonder - For once in my life.mp3 (4.582kb)
For Once In My Life is a very good Stevie Wonder from 1968. As was the theme for Motown albums from the era, it contains a couple of hit singles, covers of non-Motown songs and covers of Motown songs. "For Once In My Life" shows off Mr. Wonder's beautiful voice. "Shoo-Be-Doo-Be-Doo-Da-Day" is fiery number that has a southern soul style and "You Met Your Match" is in the same vein. Some other good songs include "I Don't Know Why", "God Bless The Children" & "Do I Love Her". 

U2 ft Green Day - The saints are coming.mp3 (4.801kb)
The youthful faces that stare out from the cover of this latest collection of singles from Irish rockers U2 suggests that the focus of the album is, perhaps, their lauded yet under-represented early days. A quick glance through the tracklisting shows that not to be the case, however. There are examples of their rawer 80s sound - "Pride", "I Will Follow", "New Year's Day" - but where, older fans may well ask, are songs like "The Electric Co", "Gloria", "I Threw A Brick", "Fire" from Boy and October? Similarly, songs like "With Or Without You", "I Still Haven't Found What I'm Looking For" and "Where The Streets Have No Name" were on The Best Of 1980-1990, whilst "Beautiful Day", "One", "Mysterious Ways" and "Stuck In A Moment You Can't Get Out Of" were all on The Best Of 1990-2000. U218 does have the advantage of featuring more recent tracks, including their collaboration with Green Day, "The Saints Are Coming" and a new song, "Windows In The Skies". Whilst dedicated followers of the band may see this as a missed opportunity to offer fans some genuinely rare gems, it still remains a collection of mighty pop music masterpieces

Groove Bandit - Gelora asmara.mp3 (6.131kb)
Datanglah... Katakanlah cintamu
Katakan bahwa Kau, menginginkan diriku
Datanglah.. Bawalah bunga-bunga
Agar kau dapat membuat, Diriku terbang

Aku di sini, duduk manis menantimu
Aku pun ingin membuat, Kau tak menyesal
Bahwa Kau telah, memilih diriku ini
Yang akan terus membuat, hidupmu indah

Datanglah... nyatakan janji cinta
Yang akan kau ucapkan, itu yang terakhir, oo...
Datanglah... bawalah aku pergi
Bersama dengan semua, gelora asmara 

Cassie - Long way 2 go.mp3 (5.247kb)
'Cassie' is the the debut album from the exciting and wildly talented US R'n'B artist of the same name. Combining smooth, modern R'n'B sounds with a distinctive singing voice, hervocal stylings have been compared to everybody from Ciara to Beyonce. Includes the tracks 'Me & U' and 'Miss Your Touch'.

The video for the single was shot in Los Angeles during the week of August 20, 2006, and its world premiere was on MTV's Total Request Live on September 12, 2006. The video debuted on the show's top ten video countdown on September 14, subsequently peaking at number three. It begins with shots of the ocean near Los Angeles and cuts to Cassie checking her laptop with her dog. On the social networking website she visits, she denies "friend requests" from men she believes are unworthy. A video screen opens, and her producer, Ryan Leslie, responds to Cassie's lines in the song: "You're not into it?". 

Smoma - Eyes without a face.mp3 (6.815kb)
The turbulent lives of two handsome and high-priced Miami plastic surgeons may be one of the more unusual premises for a television series, but the FX Channel's Nip/Tuck combines sudsy sex and biting wit with the emotional quandaries involved in body modification in a way that makes for an engrossing--and occasionally gross--hourlong drama. The show benefits greatly from its two leads--Dylan Walsh as the troubled "good" surgeon and Julian McMahon as his predatory (but equally troubled) "bad" partner--as well as Joely Richardson as Walsh's wife and Roma Maffia as the surgeons' nurse. If Nip/Tuck does have a stumbling point, it's in its occasionally glib dialogue (series creator Ryan Murphy was a writer for the verbally flashy high school series Popular), which can clash with an episode's more dramatic and poignant moments. The show also doesn't shy away from showing the more gruesome aspects of plastic surgery, but viewers can often see more stomach-churning images on the top-rated CSI. But the strength of the performances and the originality of the premise make these rough spots manageable for viewers looking for an interesting spin on the usual "doctor show." The five-DVD set offers an extended version of the pilot and all 12 episodes of the first season as well as a trio of documentaries (one on the show itself, another on its special effects, and a third, "Realistic Expectations," on real-life plastic surgeons). A gag reel (amusingly titled "Severed Parts"), a selection of deleted scenes for most episodes, and a music video for the title theme ("A Perfect Lie" by the Engine Room) round out the box. Eyes without a face is also one of soundtrack in the second season when they play CD during the operation with a woman who has massy face caused of a gun shot by her best friend.

Snow Patrol - Chasing cars.mp3 (5.236kb) LYRIC
Snow Patrol are frequently compared to Coldplay in the press, which seems strange as they write far better songs and do not appear to be quite so self-hating, nor as rich. Their delightfully dour little pop songs do touch on the melancholic side of things, but the lyrics are wonderfully slice-of-life descriptions. Singer/lyricist Gary Lightbody gives a shout-out to Sufjan Stevens when on the punchy "Open Your Eyes" he sings, "The anger swells in my guts." Perhaps a better comparison would be American indie-rock act Sebadoh? Regardless, this band continues to surprise. If you went to see this mixed Scottish/Irish group on tour after hearing their wistful, breakout third album Final Straw, you might have been a bit confused by the rock juggernaut confronting you. Eyes Open is their most straightforwardly rock record yet, and thanks in large part to producer Garret Lee, it's their best. If there was ever perfect music to get lost to while driving around confused about a relationship, this is it. 

Moby - In my heart.mp3 (6.483kb)
Moby (born Richard Melville Hall on September 11, 1965 in Harlem, New York, and raised in Darien, Connecticut) is an American singer, electronic musician and the name of his live band.
Moby is best known for singles like "Go", "Porcelain", "New York, New York" with Debbie Harry, "South Side" with Gwen Stefani, "We Are All Made of Stars" and "Lift Me Up". He has also released music under the names Voodoo Child, Barracuda, UHF, The Brotherhood, DJ Cake, Lopez, and Brainstorm/Mindstorm.
Moby plays keyboard, guitar, and bass guitar. He took his nickname from the novel Moby-Dick which was written by Herman Melville, his great-great-granduncle.

The name Moby comes from the Herman Melville classic Moby-Dick. He claims he was able to trace his ancestry back to Melville, and so chose the name Moby in tribute. He is a vegan, non-denominational Christian and self-proclaimed "simpleton" (for his often sincere and idealistic political assessments). He has expressed pro-choice views. Moby lives in New York City's Little Italy, where he's lived for a decade in a small apartment in a five-story building across the street from David Bowie. Until recently he co-owned a small restaurant and coffee shop called TeaNY, where he occasionally waited tables. He also organized the Little Idiot Collective, a group of artists that also includes cartoonist and musician James Kochalka. 

"In My Heart" was also featured in commercials for the Nokia Nseries phones. 

Tori Amos - Professional widow.mp3 (3.454kb)
The very famous remix of th great song by Tori "Professional Widow" it's very nice. I heard this single a few months ago with the intention of complete my Tori Amos collection. The single begins with the album cut, and continues on with the remixes of the song. As I think other remixes of tori are great, as Jackie's strengh of Don't make me come to vegas, this is a bit noise... The music is appropriate for the lyric, but in deed hte reaso I love Tori is because her music, as Kate Bush music, becomes atemporal... You can listen Raspberry Swirl, for example, now and you think is a song published this very year. By the way, when you listen this single you have only this idea with the album's cut. The remixes are become older and they seem for another world. It's like Tori herself talking about this music in the great "glory of 80's". But at the end, it's a good remix, but listening today you don't feel comfortable and you want to finish the listening. By the way, there are a few remixes that look nice. 

Orson - No tomorrow.mp3 (4.031kb)
Like everyone else, 'No Tomorrow' enticed me to buy this album. Although the other songs aren't as catchy or original as that, some are good (e.g. 'Tryin' to help') and at worst, some are just OK. To state the obvious, it depends what you like - for example, I could imagine rock fans being disappointed that it's not heavier, having heard 'No Tomorrow'. Overall I think the songs are well-crafted and well played, and the album works well as a whole and has quite a laid-back vibe. Having said that, I think that in a few years' time, probably the only song that will stick in my mind is 'No Tomorrow' 

James Morrison - You give me something.mp3 (5.087kb)
He grew up on artists like Otis Redding, Al Green, Cat Stevens, The Kinks and Van Morrison. He always loved songs where the singer would sing with real soul, like they really believed in what they were singing about. Those are the kinds of songs that really stayed with him. He can't sing a song about something he don't believe in. 
He was born in Rugby in 1984 and moved around a bit through Northampton and Derby until they eventually stopped and settled in a little village called Porth in Cornwall. 
His Uncle used to play the guitar and watching him made he want to learn. he remember him showing a blues riff which got he started. He'd listen to tunes on the radio and try to learn to play and sing along to them. He was about thirteen at this point. 
He found that singing and playing guitar was a way for him to release any frustration he had at the time. Not that he couldn't express himself any other way, just that music has a more powerful way of doing it. He like being creative but it took him a few years of playing other people's stuff before he could create his own style of songwriting. 

Scissor Sisters - I don't feel like dancing (ft Elton John).mp3 (6.452kb)
Since not liking the Scissor Sisters is tantamount to not liking fun, let's just assume that everyone already adores this band and go on from there, OK? The Sisters' hotly anticipated second full-length feel like a streamlined continuation of their debut. It's hard to imagine no one had ever called an album Ta Dah! before, but then these sexy troubadours have no trouble subtly reworking the past to make it almost-new and always joyous. They may have emerged in a brief window when campy pastiche rock seemed like the next big thing, but just as their friends Fischerspooner did with the electroclash "movement," the Scissor Sister possess an elevated enough sense of fun, popcraft, and good enough connections to carry them for years. Hell, the first track on this album, the wonderful confection "Don't Feel Like Dancin," was co-written with Sir Elton John, and it sounds like Abba, Fleetwood Mac and Xanadu all at once. Other tunes might have you thinking of Bowie or the Bee Gees or Prince or Pink Floyd or even the Carpenters, but only as cagily reimagined in a glittery, wonderful, post-Hedwig/ Velvet Goldmine world.

Eskobar - Someone new (ft. Heather Nova).mp3 (4.954kb)
Like Kent, Mew, and Saybia, Eskobar is a very good indie pop/rock band from Scandinavia that deserves much wider appreciation. All the songs on this album are in English, so there's no language barrier to prevent the world from listening to it. In fact, one of the songs ("Someone New," featuring the Bermudan singer-songwriter Heather Nova) got some airplay on MTV, so I'm surprised nobody's bothered to review any of Eskobar's albums on the net. 
So far, Eskobar has released four albums, but I think that this one provides the best introduction to their music. Like the other Scandinavian bands I mentioned, Eskobar is heavily indebted to recent Brit-pop: lead singer Daniel Bellqvist emphasizes the fragility of his voice, there are a lot of electronic/ambient effects, and so forth. What distinguishes Eskobar is that they're also influenced by techno pop, so most of their tracks are dance-oriented rather than shoe-gazing. I've never heard them live, so I'm not sure how the three members recreate all these effects live. Fortunately, this release includes five bonus tracks, all of which are acoustic and may give an inkling of what they're like live. 

Duncan Sheik - Barely breathing.mp3 (3.992kb)
Sometimes you find the gems, and sometimes they seek you out. This one plopped through the mailbox with a note saying it reminded someone of Talk Talk--at least, that was what they thought. They were wrong; it's much better than that. If you can imagine Nick Drake arranged by The Blue Nile, you'll have a pretty good idea where Duncan's coming from. And while that may not be the most cheerful place in the world--the overwhelming shade of the album seems to be blue--it produces some lovely songs. Sheik has one of those husky, whispery voices that makes emotions almost transparent, and the spare arrangements that frame it are like windows. Sounds airy, I know, but it's true. And since his songs happen to be damn good, the view, thought bleak, is one you can't take your eyes from. While there may never be a new Nick Drake, in Duncan Sheik there might just be a worthy heir.

Counting Crows - Colour blind (Cruel Intentions soundtrack).mp3 (4.011kb)
I got into Counting Crows after hearing the beautiful 'Colourblind' on Cruel Intentions. At first, I thought they were REM, because Adam Duritz's voice resembles that of Michael Stipe in my opinion. Sophisticated, soulful, cheerful, heart-tugging, beautiful and classic are just some of the words I would use to describe this song. This is truly a masterpiece of a song, and every part of it seems to have hidden connotations, all the way to the pictures in the sleevenotes. 
The songs on this album seem relevant to any feelings, be they happy or heartbroken, and it seems to be a type of music which the majority of people accept, making it a great song to listen to with everybody. This song is beautifully written and the idea of so many instruments playing the song at the same time is a beautiful thought. 

The Killers - When you were young.mp3 (4.185kb)
Returning to their home town of Las Vegas must have re-energized The Killers. Recorded in the Palms Hotel recording studio, the new release Sam's Town showcases the band's growth with a stronger and more musically diverse sound while still retaining the catchiness of Hot Fuss. Brandon Flowers and The Killers have created an interesting and catchy album that avoids the dreaded sophomore curse and positions them well for future albums. 
The addictive "Sam's Town" rhythmically has the same punch as "Somebody Told Me" but is less reliant on synths and more on electric guitar. The piano-based "Enterlude" showcases a softer sound with Brandon Flowers' voice fragile and emotional before it amps up and punches into the rocker and first single "When You Were Young." Despite its title, the soaring "Bling(Confession of a King) has shades of the late 80's U2 musically but Flowers can't quite match Bono's vocal style.

Kate Bush - Hounds of love.mp3 (2.855kb)
At first listening, HOUNDS OF LOVE would seem to have little in common with Kate Bush's previous work; in some ways, however, it is a logical extension, for throughout her earlier work she had increasingly fused unlikely instruments with synthesizers while gradually leaving behind certain vocal affectations. For HOUNDS OF LOVE she would repeat this, fusing distinctly Irish-sounding instruments with synthesizers while continuing to downplay her extraordinary range to create a remarkably clean yet multi-layered sound that serves her material remarkably well. At the same time, she worked her penchant for macabre and bizarre imagery into a much more subtle idiom. The resulting HOUNDS OF LOVE seems, to me at least, like a combination of the melodic delicacy of her earliest recordings with the raw power of her immediately previous THE DREAMING.

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2pac ft. Richard - Until The End of Time.mp3
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30 Seconds to Mars - Beautfiul Lie.mp3
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A Ha - Stay On These Roads.txt
A HA - Take on me.MP3
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aaliyah f. timaland - we need a resolution.mp3
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Action Figure Party - Action Figure Party.mp3
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After 7 - Baby, I'm For Real.mp3
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afterlife.mp3
Agnelli & Nelson - Embrace.mp3
Agnes Carlsson - Young Hearts Run Free.mp3
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a-ha - Forever Not Yours.mp3
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a-ha - Stay On These Roads (Extended Version).mp3
A-HA - Stay On These Roads.txt
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Aha - The living daylights.mp3
ahmad dani - kau dan dia.MP3
ain't nothing like the real thing.mp3
Air supply - Lost in Love.mp3
Air Supply - Making Love Out Of Nothing At All.mp3
akon ft eminem - smack that.mp3
al green - how can you mend a broken h.mp3
Al Green - I'm So In Love With You.mp3
Al Green - I'm So Tired Of Being Alone.mp3
al green - Let's Get Together.mp3
Al Greene - I'm So In Love With You.mp3
Al jarreau - After All.mp3
al jarreau - let me love you.mp3
Al Jarreau - We're in this love together.mp3
Al Jarreau-Your Song.mp3
al jerrau - Ain't No Sunshine.mp3
al jerreau - its not hard to love you.mp3
Alanis Morissette - Ironic.mp3
alanis morissette - That I Would Be Good.mp3
Alanis Morissette - You Oughta Know.mp3
Alanis Morissette-Thank U.mp3
alanis morissetteYou Learn (Accoustic).mp3
alanis morrisette - crazy.mp3
Alanis Morrisette - Uninvited .mp3
Alannah Myles - Black Velvet.mp3
alcazar - crying at the discoteque.mp3
Alejandro Sanz - Quisiera Ser.mp3
alex gopher - I Wanna Rock With You (krikor remix).mp3
Alexa - Dewi.mp3
Alexa - Jangan Pernah Pergi.mp3
Ali Campbell - That Look In Your Eyes.mp3
alicia keys - fallin.mp3
ALICIA KEYS - IF I AIN'T GOT YOU.mp3
alicia keys - like youll never see me again.mp3
alicia keys - superwoman.mp3
alicia keys - teenage love affair.mp3
alicia keys - tell you something.mp3
alicia keys - unbreakable.mp3
Alicia Keys f- Stevie Wonder & Lenny Kravitz - If I Ain't Got You & Higer Ground (Live MTV VMAs 2004).mp3
Alicia Keys Feat. LL Cool J - Teenage Love Affair (Official Remix) ( 2oo8 ) [ www.MzHipHop.com ].mp3
Alicia Keys-If I Aint Got You.mp3
alicia keys-no one.mp3
alicia keys-you don't know my name.mp3
ALISON MOYET - THAT OLE DEVIL CALLED LOVE.mp3
All Saints - Black Cofffee.mp3
All Saints - Marmalade (remix).mp3
all saints - pure shoes.mp3
all saints - rock steady.mp3
all saints - under the bridge.mp3
allison kraus - when you say nothing at all.mp3
Always_come_back_to_you(Mirchiworld_DSL).mp3
alwaysontime.mp3
amanda nicholas - carry me away.mp3
amazing.mp3
american hi fi - flavor of the.mp3
American Idol 4 - Week 5 - Anwar Robinson - I Know I'll Never Love This Way Again.mp3
american pie soundtrack - Stranger By The Day.mp3
amerie - i'm coming.mp3
amy winehouse - rehab (remix ft jay z).mp3
Anastacia-Left Outside Alone.mp3
anda - tentang seseorang.mp3
andien - my funny valentine.mp3
andity - Semenjak Ada Dirimu (Other Version).mp3
Andra & The Back Bone - MainHati.mp3
andra & the backbone - Sempurna.mp3
Andrea Bocelli - Ave Maria.mp3
andrea bocelli - lincontro (featuring bono).mp3
Andrea Bocelli & Sarah Brightman - Time To Say Goodbye (Con Te Partiro).mp3
andrea mendez - bring me love.mp3
angelica bofil - something about you.mp3
Anggun - snow on the sahara.mp3
Anggun - Still Reminds Me.mp3
Angie Martinez - 06 - Take You Home (feat. Kelis).mp3
Angie Stone - More Than A Woman.mp3
Angie Stone-I Wanna Thank Ya.mp3
ann murray - You Needed Me.mp3
annie lennox - love song for a vampire.mp3
annie lennox - waiting in vain.mp3
annie lennox - Why (acoustic).mp3
ant adam - Wonderful.mp3
anwar robinson - You Are the Sunshine Of My Life.mp3
apollo 440 - charlie's angels.mp3
architech - body groove.mp3
Aretha Franklin - I Say A Little Prayer For You(1).mp3
Aretha Franklin & Michael McDonald - Ever Changing Times.mp3
Arika kimble-Everything U Need.mp3
Armand Van Helden - Full moon.mp3
Armand van Helden - U don't know me.mp3
Armin Van Burren - Solar Stone - Seven Cities.mp3
Armin Van Buuren - Kyau Vs Albert - Velvet Morning (Aalto Remix).mp3
arrested development - honeymoonday.mp3
arrested development - Tennessee.mp3
artful dodger - Please Dont Turn Me On.mp3
artful dodger - re rewind.mp3
artful dodger feat. romina johnson - Movin' Too Fast.mp3
Artful Dodger vs. Dreem Team - It Ain't Enough.mp3
Artful-Dodger-Woman Trouble.mp3
Artfull dodger - Twenty For Seven.mp3
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