PIRATES WORLD

Shine On - JET

2008-10-22T10:51:00.000-07:00

"L'esprit D'escalier" – 0:23 (C. Cester, N. Cester, C. Muncey)
"Holiday" – 3:25 (C. Cester, N. Cester, C. Muncey)
"Put Your Money Where Your Mouth Is" – 2:32 (C. Cester, N. Cester, C. Muncey)
"Bring It on Back" – 4:09 (N. Cester)
"That's All Lies" – 2:43 (C. Cester, N. Cester, C. Muncey)
"Hey Kids" – 3:12 (this song is track 6 on the American version of the album)
"Kings Horses" – 3:20 (C. Cester, N. Cester)
"Shine On" – 4:36 (N. Cester)
"Come On, Come On" – 4:24 (C. Cester, N. Cester, C. Muncey)
"Stand Up" – 4:33 (C. Cester, N. Cester)
"Rip It Up" – 3:19 (C. Cester, N. Cester)
"Skin and Bones"– 3:17 (C. Cester, S. Hesketh)
"Shiny Magazine" – 3:28 (C. Cester, N. Cester)
"Eleanor" – 3:34 (C. Cester, N. Cester)
"All You Have to Do" – 4:38 (C. Cester, N. Cester, C. Muncey)
"Hold On" - 4:03

http://rapidshare.com/files/156537800/Jet-Shine_On-2006-RNS.rar

Dig Out Your Soul -Oasis

2008-10-22T09:43:00.000-07:00

1. "Bag It Up" Noel Gallagher 4:39
2. "The Turning" N. Gallagher 5:05
3. "Waiting for the Rapture" N. Gallagher 3:03
4. "The Shock of the Lightning" N. Gallagher 5:02
5. "I'm Outta Time" Liam Gallagher 4:10
6. "(Get Off Your) High Horse Lady" N. Gallagher 4:07
7. "Falling Down" N. Gallagher 4:20
8. "To Be Where There's Life" Gem Archer 4:35
9. "Ain't Got Nothin'" L. Gallagher 2:15
10. "The Nature of Reality" Andy Bell 3:48
11. "Soldier On" L. Gallagher 4:49

http://rapidshare.com/files/156516186/Oasis_-_Dig_Out_Your_Soul.rar

Annie Lennox - Songs Of Mass Destruction (2007)

2007-10-10T13:29:00.000-07:00

1. "Dark Road" - 3:47
2. "Love Is Blind" - 4:18
3. "Smithereens" - 5:17
4. "Ghosts in My Machine" - 3:30
5. "Womankind" - 4:28
6. "Through the Glass Darkly" - 3:29
7. "Lost" - 3:41
8. "Coloured Bedspread" - 4:29
9. "Sing" - 4:48
10. "Big Sky" - 4:02
11. "Fingernail Moon" - 5:02

http://rapidshare.com/files/61189588/annie_lennox.rar

Don't Forget to Say Thanks :)

Radiohead - Paragons Of Virtue 2007

2007-10-05T10:50:00.000-07:00

1 talk show host
2 bishop's robes
3 banana co (full band version)
4 polyethylene parts 1 & 2
5 pearly
6 a reminder
7 melatonin
8 meeting in the aisle
9 lull
10 climbing up the walls (zero 7 mix)
11 climbing up the walls (fila brazillia mix)
12 palo alto
13 how i made my millions
14 airbag (live in berlin)
15 lucky (live in florence)
16 fake plastic trees (acoustic)
17 wonderwall (oasis cover)
18 my iron lung (live at the forum,london)
19 creep (live in amsterdam)

http://rapidshare.com/files/60493676/Paragons_Of_Virtue.rar

Don't Forget to say THANKS

James Blunt - All The Lost Souls

2007-10-05T10:39:00.000-07:00

01 1973
02 One of the brightest stars
03 I'll take everything
04 Same mistake
05 Carry you home
06 Give me some love
07 I really want you
08 Shine on
09 Annie
10 I can't hear the music

http://rapidshare.com/files/60490222/James_Blunt_-_All_The_Lost_Souls.rar

Don't Forget to Say Thanks :)

Kelly Clarkson: My December

2007-08-28T00:00:00.000-07:00

http://rapidshare.com/files/51767963/Kelly_Clarkson_-_My_December_-_2007.rar

01. Can I Have A Kiss?
02. One Minute
03. How I Feel
04. Be Still
05. Chivas (Hidden Track)
06. Sober
07. Haunted
08. Yeah
09. Never Again
10. Maybe
11. Judas
12. Hole
13 Irvine

Don't Forget To Say Thanks

The Who -Ultimate Collection

2007-06-28T10:28:00.000-07:00

http://rapidshare.com/files/39654256/ThewhoCD1.rar

CD: 1
01 - Who - I Can't Explain
02 - Who - Anyway Anyhow Anywhere
03 - Who - My Generation
04 - Who - Kids Are Alright
05 - Who - Legal Matter
06 - Who - Substitute
07 - Who - I'm A Boy
08 - Who - Boris The Spider
09 - Who - Happy Jack
10 - Who - Pictures Of Lily
11 - Who - I Can See For Miles
12 - Who - Call Me Lightning
13 - Who - Magic Bus
14 - Who - Pinball Wizard
15 - Who - I'm Free
16 - Who - See Me Feel Me
17 - Who - The Seeker
18 - Who - Summertime Blues (Live)
19 - Who - My Wife
20 - Who - Baba O'Riley
21 - Who - Bargain
22 - Who - Behind Blue Eyes
23 - Who - Won't Get Fooled Again

http://rapidshare.com/files/39673215/ThewhoCD2.rar

CD: 2
01 - Who - Let's See Action
02 - Who - Pure And Easy
03 - Who - Join Together
04 - Who - Long Live Rock
05 - Who - The Real Me
06 - Who - 5.15
07 - Who - Love Reign O'er Me
08 - Who - Squeeze Box
09 - Who - Who Are You
10 - Who - Had Enough
11 - Who - Sister Disco
12 - Who - You Better You Bet
13 - Who - Don't Let Go The Coat
14 - Who - Quiet One
15 - Who - Another Tricky Day
16 - Who - Athena
17 - Who - Eminence Front

http://rapidshare.com/files/39706148/ThewhoCD3.rar

CD: 3
01 - The Who - Substitute (Rare U.S. Single Version)
02 - The Who - I'm A Boy (Early Version)
03 - The Who - Happy Jack (Acoustic Version - Previously Unreleased)
04 - The Who - Magic Bus (U.K. Single Version)

Don't Forget to say Thanks:)

BRUCE SPRINGSTEEN (GREATEST HITS)

2007-06-27T04:45:00.000-07:00

http://rapidshare.com/files/38874108/Bruce_Springsteen_-_Greatest_Hits__UK_.rar

1. Born To Run
2. Thunder Road
3. Badlands
4. River
5. Hungry Heart
6. Atlantic City
7. Dancing In The Dark
8. Born In The USA
9. My Hometown
10. Glory Days
11. Brilliant Disguise
12. Human Touch
13. Better Days
14. Streets Of Philadelphia
15. Secret Garden
16. Murder Incorporated
17. Blood Brothers
18. This Hard Land

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The very best of KISS

2007-06-27T04:44:00.001-07:00

http://rapidshare.com/files/39085862/The_Very_Best_Of_Kiss.rar

Strutter
Deuce
Got To Choose
Hotter Than Hell
C'mon And Love Me
Rock 'n' Roll All Nite
Detroit Rock CityS
hout It Out Loud
Beth
I Want You
Calling Dr Love
Hard Luck Woman
I Stole Your Love
Christine Sixteen
Love Gun
New York Groove - Frehley, Ace
I Was Made For Loving You
I Love It Loud
Lick It Up
Forever
God Gave Rock 'n' Roll To You II

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KC and the sunshine band (greatest hits)

2007-06-27T04:42:00.001-07:00

http://rapidshare.com/files/38882310/KC___The_Sunshine_Band_-_The_Best_Of__1990_.rar

1. Sound Your Funky Horn
2. Get Down Tonight
3. I'm Your Boogie Man
4. (Shake, Shake, Shake) Shake Your Booty
5. Queen of Clubs
6. That's the Way (I Like It)
7. Keep It Comin' Love
8. Please Don't Go
9. Boogie Shoes
10. Let's Go Rock and Roll
11. Give It Up
12. Do You Wanna Go Party
13. I Like to Do It
14. Shotgun Shuffle
15. Wrap Your Arms Around Me
16. All I Want

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The very best of Robert palmer

2007-06-27T04:40:00.000-07:00

http://rapidshare.com/files/39037514/Robert_Palmer_-_The_Very_Best.rar

01 Addicted To LoveI
02 Bad Case Of Loving You (Doctor, Doctor)I
03 Simply IrresistibleI
04 Get It OnI
05 Some Guys Have All The LuckI
06 I Didn't Mean To Turn You OnI
07 Looking For CluesI
08 You Are In My SystemI
09 Some Like It HotI
10 Respect YourselfI
11 I'll Be Your Baby TonightI
12 Johnny & MaryI
13 She Makes My DayI
14 Know By NowI
15 Every Kinda PeopleI
16 Mercy Mercy Me I Want You

Gun's And Rose's (UNPLUGGED)

2007-06-27T04:38:00.000-07:00

http://rapidshare.com/files/39247822/Guns_And_Roses_-_Unplugged.rar

Best of RAY CHARLES

2007-06-27T04:36:00.000-07:00

http://rapidshare.com/files/39471457/Ray_Charles_-_2007_-_Best_of.rar

01 what’d i say (live)
02 hit the road jack (live)
03 georgia on my mind (live)
04 i’ve got a woman (live)
05 hallelujah i love her so (live)
06 let’s go get stoned (live)
07 mess around
08 you are my sunshine (live)
09 eleanor rigby (live)
10 night time is the right time (live)

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The Very BEST OF BOB MARLEY

2007-06-24T02:37:00.000-07:00

http://rapidshare.com/files/38868166/Bob_Marley_-_One_Love_-_The_Very_Best_Of.rar

1. Stir It Up
2. Get Up, Stand Up
3. I Shot The Sheriff
4. Lively Up Yourself
5. No Woman, No Cry
6. Roots, Rock, Reggae
7. Exodus
8. Jamming
9. Waiting In Vain
10. Three Little Birds
11. Turn Your Lights Down Low
12. One Love/People Get Ready
13. Is This Love
14. Sun Is Shining
15. So Much Trouble In The World
16. Could You Be Loved
17. Redemption Song
18. Buffalo Soldier
19. Iron Lion Zion
20. I Know A Place

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The very best of Bob Marley

2007-06-24T02:34:00.000-07:00

http://rapidshare.com/files/38868166/Bob_Marley_-_One_Love_-_The_Very_Best_Of.rar
1. Stir It Up
2. Get Up, Stand Up
3. I Shot The Sheriff
4. Lively Up Yourself
5. No Woman, No Cry
6. Roots, Rock, Reggae
7. Exodus
8. Jamming
9. Waiting In Vain
10. Three Little Birds
11. Turn Your Lights Down Low
12. One Love/People Get Ready
13. Is This Love
14. Sun Is Shining
15. So Much Trouble In The World
16. Could You Be Loved
17. Redemption Song
18. Buffalo Soldier
19. Iron Lion Zion
20. I Know A Place

THE VEST BEST OF Foreigner

2007-06-23T04:43:00.000-07:00

http://rapidshare.com/files/38865653/FOREIGNER_-_THE_VERY_BEST.rar

Best Of John Lennon

2007-06-22T13:44:00.000-07:00

http://rapidshare.com/files/38766670/best_of_john_lenoncd1.rar
http://rapidshare.com/files/38769617/best_of_john_lenoncd2.rar

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The Smashing Pumpkins - Greatest Hits

2007-06-22T12:55:00.001-07:00

http://rapidshare.com/files/38762201/SPGrathits.rar

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VA Lovers Rock

2007-06-22T12:42:00.000-07:00

http://rapidshare.com/files/38757564/VA_-_Lovers_Rock.rar

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My Iron lung ( Radio Head)

2007-06-22T11:32:00.000-07:00

http://rapidshare.com/files/38747646/1994_-_my_iron_lung_ep.rar

White Stripes (ICKY THUMP)

2007-06-19T13:36:00.000-07:00

So what is it about Jack White? Right, he's very talented. Major guitarist, albeit overrated by those seeking a young titan to prove the guitar retains its glamour. Voice avid and emotional enough, words catchy sometimes and – crucially – tunes catchy often. Plus the color-coded packaging and knack for self-mythification. Still, what do the White Stripes have to say? What do they stand for? Why do simple pop fans care about minimal Jack and his mythical sister, Meg?

Part of the answer is that not so many simple pop fans do. The White Stripes are justly renowned for cracking a hit parade of mad compression and synthesized everything with naught but a guitar, a drum kit and some analog tape. But they've yet to break it wide open. The title track of their Warner Bros. debut, Icky Thump, is their first single to go Top Forty on Billboard's Hot 100 - Top Twenty-Six, to be precise. Lyrically, the song is a change. Elephant's "Seven Nation Army" and Get Behind Me Satan's "Blue Orchid" defy fame and a temptress with typical pop imprecision. "Icky Thump" has a topic: immigration! The song isn't easy to parse, but for once that's a plus ‚Äì it's genuinely complex, condensing hard moral conundrums into a narrative whose comic side is captured by the south-of-the-border video and whose intrusive guitar leaves conflict hanging rather than providing comfortable resolution.

The other part of the answer, sad to say, is that this cultural breakthrough is almost certainly an accident. That's because Jack White is less a songwriter than a sonic architect. Compared even with Lil Jon or Avril Lavigne, what his hits have in common isn't anything he stands for. It's instantly enticing musical constructions. On these the new album comes up slightly short. One telltale sign is a standout cover: "Conquest," an anti-sexist jump blues popularized by Patti Page in the Fifties and reconceived here as flamenco mariachi, with Jack laying on the vibrato and melisma and then flashing his steel-sharp guitar at fearless Mexican trumpeter Regulo Aldama, who duels him to a dead heat.

Two other top tracks show off Jack's songwriting per se: a broadly applicable philosophical closer called "Effect and Cause," and a cute Jack-and-Meg dialogue that recalls the band's earliest blues, "Rag and Bone," where the pair wander "Rich house/Doghouse/Outhouse/Old folks' house/House for unwed mothers. . . . Looking for Technics turntables to gramophones." Proudly, they build their music – and "make some money," yeah! - from the "Christmas trees" and "toilet seats" others discard. That's always been Jack's MO, and album to album - one every two years since White Blood Cells in 2001 - he's hauled new detritus into his theoretical garage. This time it's bagpipes, their wild-man-of-the-north mysticism balancing off the hit's south-of-the-border macho. But you can be sure we'll never find out how "Prickly Thorn, but Sweetly Worn"/ "St. Andrew (This Battle Is in the Air)" will fare on the Hot 100. The innocence lost of "Little Cream Soda," an old plaint for Jack by now, stands a better chance - as does "Bone Broke," about Jack's supposed money woes, and, right after "Icky Thump," the riff monster "You Don't Know What Love Is (You Just Do As You're Told)."

The ostensible content of "You Don't Know What Love Is" is also anti-sexist - get-up-stand-up counsel to a woman not his wife. But in essence it's a monster riff - bigger and slower than, for instance, "Blue Orchid." And that's the scoop on the architecture here. Jack hauled more than bagpipes to his garage to make Icky Thump, which is easily his loudest album - maybe he found a beat-up Marshall stack somewhere or a tube amp forgotten by history. Although the new constructions don't entice as consistently as they should, their noise stays with you. And what that noise stands for is itself. Once the White Stripes and their fashion-plate brethren the Strokes were hailed for reviving punk & roll basics. But they were cold bastards, emotional vocals and all - formalists through and through. Like his sometime heroes Led Zeppelin, Jack White builds monuments. They're suitable for awestruck visits. But they're no place to settle down.

http://rapidshare.com/files/38190104/whiteickythmpcd1.rar

http://rapidshare.com/files/38189960/whiteickythmpcd2.rar

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The Traveling Wilburys

2007-06-18T06:51:00.000-07:00

Unsurprisingly, the presence of these five legends ensures some excellent music. Two features really stand out when one listens to the record. Firstly, the songs are incredibly catchy and even when you listen to them the first time you get the nagging feeling that you've heard them all somewhere before (which, indeed, would be true for some of them). Secondly, the five of them do a good job of sharing the singing. For example, on the opening track 'Handle With Care', while Harrison has the lead vocals, Orbison, Petty and Dylan are all given significant cameos. This is a pattern that repeats itself on the other songs and ensures that the album sounds like a bunch of friends jamming together- which, for all intents and purposes, is what it is.
However, despite these plaudits it is also necessary to mention some negatives. While the impulsive nature of this creation is what makes it so captivating, it also ensures that a couple of the songs are not up to standard. 'Rattled' and 'Congratulations' sound too predictable and formulaic. It feels like someone has just come up with a few chords that have then been lazily expanded into an entire song.
These are definitely the exceptions, though. Three of the songs from the album- 'Handle With Care', 'Last Night' and 'End of the Line' were big hits and will be familiar to many people. The other material is of a similar style- good songs and fun songs, but not to be taken too seriously.
Although this is far from being the perfect album, Traveling Wilburys, Volume 1 is notable in that the whole feels considerably greater than the sum of its parts. It is necessary to overlook the weaknesses inherent in such an uncontrived creation, because it is this very spontaneousness that makes it so original and enjoyable. It is only very infrequently that five such famous artists can put aside their egos and come together in such obvious harmony to record a collection of songs. This album should be appreciated both for its quality and its rarity

http://rapidshare.com/files/37919733/TWCD1.rar
http://rapidshare.com/files/37928114/TWCD2.rar

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Dont forget to say thanks

Enrique (Insomniac)

2007-06-18T05:03:00.000-07:00

Poor old Enrique. He’s been losing sleep over this album. Insomniac is reputedly the result of six hard months studio graft, with at least 20 other tracks failing to measure up to the Latino love god’s exacting standards. Or maybe it just takes that long to make an album where nearly every track has a different producer. Either way this is an album that comes exquisitely polished but perhaps stretching itself too far.
Iglesias’ USP (apart from springing from the loins of an even more legendary Spanish singing sex symbol) is, of course, his voice. Discarding the flashier trappings of his ilk, he’s become known for the jeans, t-shirt and beanie look that allowed his fans to concentrate more fully on the unique ‘on-the-edge-of-tears’ tremble that adds such emotional depth to his craft. On more traditional fare like “Little Girl” and “Somebody’s Me” only a fossil could remain unmoved. Likewise on his other safe ground, the world pop of tracks like “Miss You”, he rarely falters, even if you get the feeling that it would always sound better in his native language. “Do You Know? (The Ping Pong Song)” sounds far better in its Spanish version as “Dimelo”.
But the plethora of ‘name’ producers show us that Enrique is longing to muscle in on the ever-burgeoning R & B market that’s supporting the likes of Timberlake. On “Push”, (featuring the obligatory dirty rap from Lil’ Wayne) he becomes unstuck. It’s ‘adult’ in a way that doesn’t play to his strengths. The bump ‘n’ grind seems mechanical and oddly unmoving. Likewise “On Top Of You” which, again, fails to coinvince in its sleaziness.
To be honest he’s no need to make this move towards clubland. He remains the king of latin-tinged heart-tugging and at least half of this album keeps him firmly on top. Just not in an R Kelly kinda way…

TO Download this album

http://rapidshare.com/files/37770287/Insomniac.rar

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Follow Your Dream!

2007-06-05T10:40:00.000-07:00

Today I read The Alchemist . It is awesome book must read for all.it just made me think that treasure i ahve been looking for i had that once in my life. just did not recognize it.I guess i should appreciate smalled things in life which we normally don't.We keep running after our goals hoping to find happiness in it but some times hapiness is no near to us just cant recognize them!

What Are we here for?

2007-05-29T12:02:00.000-07:00

Sometimes I just think what have i came here for . What is my purpose of Coming to this world??I think when god created me he must have some purpose to which i am here for? I am sure it is not just earning money and having all the materials things in life. Tom if i die what did i do? Looking back at my life I will say thats only what i did? Everybody has some expectations from me . I just cant take it some times.

Inxs (switch)

2007-04-27T00:37:00.000-07:00

This is NOT American Idol!"
...or so was the constant implied assertion of Rock Star: INXS, the CBS take on the Idol formula that turned TV-viewer votes, an actual band, a pile of contestants who were already seasoned performers, and some really good-looking hosts into poor ratings and an abbreviated season. Of course, one of the likely reasons for those poor ratings was that constant drive to separate this show from Idol. For one, the audience votes were never definitive -- the remaining members of INXS always had the final say as to who stayed and who went home, a shifting of responsibility which in turn leads to less audience devotion to a favorite contestant. There was also the vaguely unsettling spectre of Michael Hutchence, for whom the constant reminders of how great he was never quite overshadowed the fact that he was being replaced by a highly corporate television show. And then, of course, there was the questionable popularity of INXS, a band who would probably have had a hard time selling 100,000 copies in the United States if Hutchence was still around and making music with the band he defined.
Of course, the show went on, and J.D. Fortune, hardly a favorite at the beginning of the show, separated himself from the pack at the end (despite INXS's constant assurance that it was a very difficult decision) to win his place as lead singer of INXS. His debut with the band is the oh-so-cleverly titled Switch.
What Switch makes obvious is the fact that, for all its faux-rebellion and embrace of rock star cliché, Rock Star: INXS is still an American Idol clone; that is, Switch sounds like the kind of first album an Idol winner would make. It sounds rushed, undercooked, and a bit uncomfortable, and it even features a cameo from another contestant. Switch doesn't sound like an INXS album, it sounds like Rock Star INXS: The Album.
Fortune (a fantastic stage name that he actually took from his mother's maiden name), for his part, does an admirable job trying to fill the shoes of Mr. Hutchence -- when he's crooning, he sounds eerily similar to the departed vocalist, though when he explodes for the big climactic moments he sounds a bit more like Bowie by way of Scott Weiland, which isn't really as bad as it sounds. Predictably enough, Fortune sounds most comfortable on the songs that he helped write. Switch opens with two of those songs, "Devil's Party" (the less sinister, more fun-loving flipside of "Devil Inside"), and current single "Pretty Vegas", an incredibly catchy little ditty from which Fortune drew much of his support in the last few episodes of the show. The latter especially puts Fortune's strengths on display, giving him a chance to use his background as an Elvis impersonator to solid, delightfully smarmy effect.
What truly turns this album into an Idol-influenced beast is the presence of myriad guest songwriters, most of whom at least collaborated with primary INXS songwriter Andrew Farriss, but all of whom left an indelible mark on these songs. Desmond Child (famous for turning Bon Jovi into a hit machine) is here, The Matrix (who helped ruin Liz Phair) is here, and even Guy Chambers (Robbie Williams' longtime hitmaker) is along for the ride. The U2-lite that Child put together actually works pretty well for Fortune and the band on "Afterglow", a song that would seem to allude to Fortune's emulation and idolization of Hutchence. The Matrix also turns in a hit on "Perfect Strangers", which features some solid saxophone work, courtesy of Kirk Pengilly. Chambers, however, just doesn't quite know how to fit his songwriting style into the INXS template, as the maudlin "Us" ("You're shining in the darkness / When you open up your heart" is one of many choice lines) drives home. Chambers and The Matrix even team up on one song, the impressively awful "Hot Girls" which I think is supposed to sound like a party (with strippers, most likely) but comes off more like a dirty old man -- that is, uncomfortable and a bit inappropriate.
Switch finishes on the note of "God's Top Ten", a tribute to Hutchence that features Suzie McNeil, the last female Rock Star contestant voted off. Suzie actually makes a decent case that she'd have been a good fit for the band with a strong performance here that outshines Fortune's -- evidently, he hasn't learned to evoke "tender" too successfully as of yet. And, you know, that's the type of criticism that could be levied at the whole album. This does not sound like an established band that's had a chance to gel, it's more like the debut album by an artist that happens to have hired some solid studio musicians. Fortune hasn't had a chance to learn the ropes as much as he could, and Farriss hasn't quite perfected writing for him. Some of the songs are decent, but there's no identity to Switch. The tight corporate timetable called for an album, and quick, and the final product reflects that rush.
Fortunately, if Kelly Clarkson's proven anything in the last year, it's that an Idol's second album is the one to pay attention to. Perhaps despite Rock Star's Idolphobia, the same will hold true for INXS.

http://rapidshare.com/files/27993485/INXS_-_Switch.rar

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Sweet escape (gwen stefani)

2007-04-26T01:08:00.000-07:00

Why the fuck are we here? Yes, Love. Angel. Music. Baby. sold multi-millions. But last time I checked, Gwen had absolutely no plans for a follow-up this soon. From all accounts, the only people left in the room are a nervously tittering Interscope in one corner (wait…Trail of Dead, Lloyd Banks, and Fergie aren’t recouping?) and a genuinely frightened Pharrell in the other (Only gold, big fella? Maybe it needed another six months.) Hell, even the Harajuku girls stowed away on a slow boat back to Japan months ago. But here we are—again—hoping beyond hope for a single or two to sink our teeth into, one that we want to put in the 2006 or 2007 folder before we trash the rest and wash our hands of the whole thing. Well, I got news: it doesn’t work like that. L.A.M.B. had six singles. We’re going to be here for a while. Honestly? It’s not a terrible place to be. Getting past the hot-or-not grades we’re inevitably headed for, let me just take a moment and say that Gwen Is Good. Good for the pop landscape. Good for Pharrell. Good for us. When “Wind It Up” is on the radio, it’s preventing something far less interesting from getting played. I don’t care how much payola it costs: this is a positive. I mean, in all seriousness: When was the last time you heard your high school’s marching band, theater department, and hottest girl crowding into the recording studio together? Other possible singles: “Yummy” is the “Hollaback Girl” of The Sweet Escape. Pharrell brings the disco tetris so hard on this track that Gwen even rewards him at the end with a one-and-a-half minute outro. Before all that, though, she gets in this chorus:
I know you’ve been waiting But I’ve been out making babies And had the chef making donuts and pastries It’s time to make you sweat Sex and sugar is the flavor Ovens and beaters and graters Beats made of bongos and shakers It’s time to make you sweat Trust me, it’ll be 85420 on your karaoke remote in June 2007. Tony Kanal is back, by the way. He’s one-and-a-half for three: “Don’t Get It Twisted” is a Rock Steady outtake, “Fluorescent” has the good sense to bring in Angelo Moore on saxophone, and “4 in the Morning” is payback for the break-up. Speaking of guests, Martin Gore and that dude from Keane (not the fatty, not the guy who plays drums) both make appearances too. One is great and one is awful. Try to guess which. L.A.M.B. had some truly execrable moments—and The Sweet Escape doesn’t disappoint there either. “Orange County Girl” sees her flowing over a beat previously earmarked for Jamie Kennedy, “Now That You Got It” is her best Beastie Boy imitation over a “1 Thing” rip, and the title track features Akon occasionally yelping “wooo-ooo, eeee-ooo!” Special kudos, however, go to the utter monstrosity that is “Breakin’ Up,” a Fruity Loops-aided ode to the cell phone. Sample lyric:
TELLMECANYOUHEARMENOWTELLMECANYOUHEARMENOWTELLMECANYOUHEARMENOWTELLMECANYOUHEARMENOWTELLMECANYOUHEARMENOWWE’RE BREAKING UP!

http://rapidshare.com/files/27985076/Gwen.Stefani.Akon.Sweet.Escape.2007.rar

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Amy Winehouse (Back to Black)

2007-04-26T00:35:00.000-07:00

She's a brave lass, Amy Winehouse. It's rare to find any artist changing their approach between albums, and virtually unknown if their debut was a huge success; but for her follow-up to Frank, Winehouse has shifted her emphasis from jazz to soulful R&B. It's a measure of her talents that the shift should be so effective: it has focused her talent on a smaller target, with the result that the impact has been multiplied several times over. With Back to Black, she has nothing to prove; each time she starts a song, there's no need to impress with technique; just a direct, immediate expression of the core emotion.
That directness applies equally to her lyrics, whose sexual frankness and pottymouthed articulation leaves no room for misunderstanding. Lines such as "He left no time to regret/ Kept his dick wet/ With his same old safe bet" act like turbochargers on the emotion, bringing an unmistakable modern slant to the loping Fifties R&B of songs such as "Back to Black" and "Me & Mr Jones", an ironic Noughties equivalent of Billy Paul's affair anthem. When the same candid attitude is applied to female sexual obsession in "Wake Up Alone", the result is like Millie Jackson crossed with Peggy Lee, a blend of unashamed assertiveness and languid vocal power.
The lack of shame is probably the album's defining characteristic. From the opening "Rehab" to the closing "Addicted", there's none of the blame-shifting or hand-wringing apologia that American singers routinely employ. In the former - all fat horns, R&B feel and tubular bells punching up the lines - she refuses flip, therapeutic explanations for her melancholy and drinking ("There's nothing you can teach me/ That I can't learn from Mr Hathaway" - Donny, presumably); and in the latter, she gives equally short shrift to a flatmate's lover who smokes up all her stash without offering to replace it. If a man has treated her badly, as in "Tears Dry On Their Own", she doesn't whinge, just chides herself for placing too much faith in him: "I should just be my own best friend/ Not fuck myself in the head with stupid men"; and it's clearly hard for her to feel too guilty, in "You Know I'm No Good", about keeping two lovers on the go.
Productions, split almost equally between Salaam Remi and Mark Ronson, are perfectly sculpted to reflect the updated soul mode, with Motown-like grooves, Otis-style horn arrangements, and a rich, smoky Southern soul feel. But, for all its musical purchase on the past, what sets Winehouse's album apart from those of her peers is its rejection of genre clichés.

DOWNLOAD THIS: 'Rehab', 'Wake Up Alone', 'Back To Black', 'You Know I'm No Good', 'Me & Mr Jones'

http://rapidshare.com/files/27983260/10_-_Amy_Winehouse_-_Back_To_Black__2006__-_Soul_By_FEFE2003.rar

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Nelly Furtado (Loose)

2007-04-26T00:02:00.000-07:00

elly Furtado’s “Promiscuous” is pretty much in charge of my life right now. It tells me when to sleep, when to eat, when to brush my teeth, when to floss. In fact, just the other day I was in the middle of making a peepee and “Promiscuous” told me to stop. And let me tell you, that burrrrrrrrrrrrrrrrnnnns. I was just told by a friend to go see United 93 because it will “destroy my day.” Well, if Nelly Furtado’s “Promiscuous” says I can go then I’ll go, but until then... So, at the behest of my Sith lord master let me be the first to launch the necessary preemptive defense: Loose is not Nelly Furtado’s desperate attempt at a pop superstardom that has unjustly eluded her. Yes, Folklore was self-indulgent (“Powerless”) and awkward (“Try”) and met the most appropriate of critical and commercial mehs. But it was mostly shit because it wasn’t what it was supposed to be. Following her absolutely mesmerizing appearances on Ms. Jade’s “Ching Ching” and Missy Elliott’s “Get Ur Freak On (Remix)” (to make no mention of Timbaland’s underrated remix of “Turn Off the Lights”), Folklore’s Furtado-as-earnest-singer-songwriter was like Superman III: sort of enjoyable, but wtf? The creative marriage between Furtado and Timbaland, though delayed, has finally come to fruition: she’s found the perfect collaborator to match her voracious appetite for all things pop; he, on the other hand, has filled the void. Lost among the many subplots surrounding Aaliyah’s tragic plane crash was the loss of Timbaland’s true muse. Is it really any wonder dude gained 500 lbs, threw all his eggs in the basket of some backup singer named Kiley Dean, saw his Beat Club imprint crumble, and productivity decline? Not to mention idly looking on while younger, hungrier producers (Ye, Cool & Dre, Rich Harrison), some of whom were actually his protégés (Scott Storch), passed him in the right lane? Due in large part to his partnership with up-and-coming producer Danja (who assists Timbo on each of his nine contributions to Loose) and his collaboration with Furtado, Timbo’s experiencing something of a creative rejuvenation. And until Justin Timberlake’s forthcoming record inevitably says otherwise, Loose finds Timbaland at another creative apex. Where Love/Angel/Music/Baby tried too hard to be all things to all Gwen Stefanis, Loose is focused in its schizophrenia. Furtado is creatively versatile where one could argue Stefani is merely a chameleon of fashion. Take for instance Loose’s indisputable highlights: The wicked “No Hay Igual,” which finds Nelly and Timbo absolutely ripping reggaeton better than nearly everyone who actually does reggaeton, and the undeniable 80s dance-pop of “Do It.” On the former Furtado sings, “Huele mi cuerpo, tú me encantas, el tiempo pasa no quiero otro, no hay igual,” which roughly translates to “Smell my body, you enchant me, the time comes that I do not want another one, there is no equal.” (Thanks BabelFish!) On the latter she conjures the ghost of Vanity, weaving her wickedly mischievous falsetto through Timbaland’s synth splashes. The two songs couldn’t possibly be more different, yet the duo manages to convincingly pull off both of them. The rest of the record finds Furtado similarly traversing myriad sounds and styles: the Rhythm Nation posturing of hypnotic opening track “Afraid,” complete with chanted group a capella vocals, the slinky bounce of “Maneater,” and the sullen balladry of “All Good Things” and “What I Wanted.” Yes, even the ballads are effective, most notably the sultry “Showtime,” its 6/8 shuffling beat accented by Danja’s programmed electro-smacks and Furtado’s intimate vocal harmonies. Now, we’d be remiss if we didn’t acknowledge that the clumsy lyrical stylings that have infected a sizable portion of Furtado’s work are frighteningly abundant throughout Loose. “Let My Hair Down” features such brainmelters as “Let’s start a frat / Gamma Gamma Gamma Phat!” and “I do like sports / But I don’t like wearing shorts,” but giving a crap is optional. Beat’s hot enough. But the question remains: Will Loose transport Nelly Furtado from impish pop milf to that sweet Timberlake superstardom? The answer: most likely not. Loose is hardly the relentless radio-friendly fare “Promiscuous” would seem to imply. But she’s shaken off the disappointment of Folklore, forged a significant creative bond with a pop music force, and made a great record in the process. Now free me from your grasp!

http://rapidshare.com/files/27976592/Nelly_Furtado_-_Loose.rar

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Led Zeppelin IV

2007-04-25T18:22:00.000-07:00

Encompassing heavy metal, folk, pure rock & roll, and blues, Led Zeppelin's untitled fourth album is a monolithic record, defining not only Led Zeppelin but the sound and style of '70s hard rock. Expanding on the breakthroughs of III, Zeppelin fuse their majestic hard rock with a mystical, rural English folk that gives the record an epic scope. Even at its most basic — the muscular, traditionalist "Rock & Roll" — the album has a grand sense of drama, which is only deepened by Plant's burgeoning obsession with mythology, religion, and the occult. Plant's mysticism comes to a head on the eerie folk ballad "The Ballad of Evermore," a mandolin-driven song with haunting vocals from Sandy Denny, and on the epic "Stairway to Heaven." Of all of Zeppelin's songs, "Stairway to Heaven" is the most famous, and not unjustly. Building from a simple fingerpicked acoustic guitar to a storming torrent of guitar riffs and solos, it encapsulates the entire album in one song. Which, of course, isn't discounting the rest of the album. "Going to California" is the group's best folk song, and the rockers are endlessly inventive, whether it's the complex, multi-layered "Black Dog," the pounding hippie satire "Misty Mountain Hop," or the funky riffs of "Four Sticks." But the closer, "When the Levee Breaks," is the one song truly equal to "Stairway," helping give IV the feeling of an epic. An apocalyptic slice of urban blues, "When the Levee Breaks" is as forceful and frightening as Zeppelin ever got, and its seismic rhythms and layered dynamics illustrate why none of their imitators could ever equal them.

Here is the album

http://foxysardar.files-upload.com/189075/Ledzepiv.rar.html

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Macy Gray ( Best of Macy Gray)

2007-04-25T01:01:00.000-07:00

In more ways than one, Macy Gray is a bit like the Dan Marino of neo-soul: full of promise and potential but never truly reaching her full blossom. Having only reached the Top Ten promised land once (and Top 40 only three times) in her five-year career on the good ship Epic, it's hard to call this a "very best of" and get excited about the songs held within the packaging. Starting off with the one-two chronological punch of "I Try" and "Do Something," the air starts to leak out of the ball ever so slowly as the compilation progresses, leaving a deflating feeling by the time the new additions are reached. And while "Love Is Gonna Get You" is as delightful as anything she's done in the past few years (the Philly soul strings and Memphis-styled production values make it infectiously delicious), the unforgivable atrocity that is her interpretation of Aerosmith's classic "Walk This Way" cancels that feeling out rather quickly. Nevertheless, if you wanted all of her hits together in one package, this is most definitely the place to start

http://www.sendspace.com/file/sgtyl5

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The Who

2007-04-25T00:40:00.000-07:00

The Who are an English rock band who first emerged in 1964. The primary lineup consisted of Pete Townshend, Roger Daltrey, John Entwistle, and Keith Moon. The Who came to prominence in the 1960s and grew to be considered one of the greatest[1] and most influential[2] rock bands of all time, in addition to being "possibly the greatest live band ever."[3]
The Who rose to fame in the United Kingdom with a series of top ten hit singles (including the celebrated "My Generation") and top five albums, beginning in 1965 with "I Can't Explain". They first hit the top ten in the USA in 1967 with "I Can See For Miles". The 1969 release of Tommy was the first in a series of top five albums for the group in the USA.
Keith Moon died in 1978, after which the band released two more studio albums, Face Dances and It's Hard, with drummer Kenney Jones, before officially disbanding in 1983. They reformed on several occasions during the 1980s and 1990s to perform at special events such as Live Aid and for tours such as the tour celebrating their 25th anniversary and the 20th anniversary of Tommy. The band focused on live performance during this period. In 2000, the three surviving members began to discuss the possibility of recording an album of new material, but Entwistle died in 2002, which delayed recording. The two remaining members, Townshend and Daltrey, continue to perform as The Who. Their most recent studio album, Endless Wire, was released in 2006.
From mod rockers to rock operas to hard rock, The Who reigned triumphant as prime contenders, in the minds of many, for the title of World's Greatest Rock Band. - The Who's display at the Rock and Roll Hall of Fame.

Download the best of who

http://foxysardar.files-upload.com/189032/TheWho.rar.html

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Macy gray (big )- album reviews

2007-04-24T22:51:00.000-07:00

Macy Gray is best known for her distinctive, raspy singing and flamboyant sense of style—and though there's no way to hide the peculiarities of her voice, she goes a long way toward minimizing her eccentricity on her fourth album, Big. This is not to say that her previous records were outrageously out-there, but they did crackle with a certain manic energy. They also benefitted from her willingness to experiment with the conventions of neo-soul as she played up a larger-than-life persona that owed an aesthetic debt to the freaky funk stars of the '70s.

Yet Big is mainly comprised of amiable yet unmemorable R&B ballads that lack the unrestrained emotion and obvious hooks of her break-through hit "I Try," much less the unashamed yet mature sexuality that informed her highly underrated sophomore effort, The Id. Too much of the record settles into a mid-tempo haze that would be unremarkable if not for her vocal performance—but Gray's presence alone is not enough to elevate the mediocre songwriting.

The record features several guest appearances from high-profile stars—Nas, Fergie, Natalie Cole—but, curiously, most of them recede into the background. However, Justin Timberlake stands out on the upbeat funk-rocker "Get Out." Though he only cheers Gray on at the start and sings the relatively understated chorus, his pop mojo is in full effect—the track is sexy, groovy, and modern.

Will.I.Am of Black Eyed Peas produced the similarly excellent "Treat Me Like Your Money," but he nearly derails his own ingratiating, Prince-esque track when he provides a hacky, obnoxiously rapped cameo near the end. Both songs hint at a better, more exciting direction for Gray's music, but they come too late in the running order, and seem out of place on an album that is otherwise uninspired.

Download : http://rapidshare.com/files/26585287/magabig.zip

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Deep Purple - Machine Head (1972)

2007-04-24T22:11:00.000-07:00

Led Zeppelin's fourth album, Black Sabbath's Paranoid, and Deep Purple's Machine Head stand as the Holy Trinity of English hard rock. These recordings provide the blueprint followed by virtually every heavy rock & roll band since the mid-'70s. Though probably the least celebrated of the three, Machine Head contains the mother of all guitar riffs in "Smoke on the Water," a song that needs no further explanation. The album also features the classic "Highway Star," which epitomizes all of Deep Purple's intensity and versatility, while featuring perhaps the greatest soloing duel ever between guitarist Ritchie Blackmore and organist Jon Lord. Also in top form is singer Ian Gillan (simply one of the finest singers of his generation, bar none), who explodes with amazing power and range throughout. Gillan lets the band take over on the largely instrumental "Lazy," which would evolve into an incredible live jam. The plodding shuffle of "Maybe I'm a Leo" shows some signs of age, but "Pictures of Home" and "Never Before" remain vital, displaying Purple at their melodic best. Another tremendous Blackmore riff drives the marvelous "Space Truckin'," a fitting end to one of the essential hard-rock albums of all time.Review by Ed Rivadavia(allmusic.com)
1.Highway Star (6:08)
2.Maybe I'm A Leo (4:52)
3.Pictures Of Home (5:07)
4.Never Before (4:00)
5.Smoke On The Water (5:42)
6.Lazy (7:22)7.Space Truckin' (4:33)

http://4filehosting.com/file/7925/MachineHead-rar.html

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