Richard Hawley - Richard Hawley

2007 re-issue of the debut mini-album from the British singer/songwriter who was then best known as the guitarist in Longpigs and touring guitarist with Pulp. Originally issued in 2001, this self-titled release now includes five bonus tracks: 'Caned', 'Cheap Spanish Whine', 'Sick Pay', 'Troublesome Waters' and 'Aran Loop'. Since this album's original release, Hawley has become one of the most beloved of UK songwriters (and one of the most in-demand musicians behind the scenes). 12 tracks in all. Setanta.
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Ani DiFranco - Out Of Range

1994's Out Of Range , quite possibly the finest of Ani DiFranco's many albums, finds the outspoken Buffalo, New York-based singer-songwriter moving away from the explicit political statements of her earlier records. Here she further explores the more autobiographical terrain of this album's immediate predecessor, PUDDLE DIVE, while also expanding on that album's tentative steps into a full-band sound.

Although Out Of Range still contains several voice-and-guitar pieces, Andy Stochansky's drumming and percussion are better integrated. Keyboards and horns also make guest appearances. Overall, the intimate, not-quite-lo-fi album sounds not unlike Liz Phair's EXILE IN GUYVILLE, a fact that probably helped trend-sniffing music journalists finally notice DiFranco-four years and six albums into her career. The astonishingly good songwriting, particularly on the stirring "Face Up and Sing" and the winsome "The Diner," undoubtedly helped as well. This is one of the '90s finest singer-songwriter albums.

Samantha Mumba - Gotta Tell You

"Baby, Come Over (This Is Our Night)" was nominated for the 2002 Grammy Award For Best Remixed Recording.

Samantha Mumba is ostensibly an R&B singer, but a close inspection of her debut disc Gotta Tell You reveals some ideas that extend beyond generic R&B production. "Body II Body" is constructed around samples from David Bowie's "Ashes to Ashes," and there's talk of "biorythms" and "spiritual attraction" amid the overwhelming carnality. "Baby Come Over" is pure pop, with a well-honed hook that could have come straight off a Britney Spears or Christina Aguilera album. "Lately" contains some undeniable gospel overtones, as well as orchestral backing. At the same time, there's plenty of solid R&B to found here, but there's enough stylistic variety to keep things from ever getting too monochromatic.

Nick Cave - and the Ass Saw the Angel

Cave's reading is very careful and deliberate, his voice reverberating and very occasionally verging on singing. Each of the read excerpts features minimal backing: the first with a stately, morose piano and harmonica; the second sports a sick, barreling barroom piano; and the third and fourth are less music and more the creepy chattering of rasping metal. The theater music is mostly instrumental, the only vocals are provided by Katy Beale on "Cosey's Lullaby" and "Beth's Sleepy River." It varies from the fairly straight-forward, if monumentally grim, intonation of tracks like "Sleepy River Piano" and "Sanctum" to the ambient industrial rattle of "Pa's Traps" and the genuinely distressing "Euchrid on the Run," with a stop along the way at sinister gospel (see "Angels"). A must for Cave fanatics, and the Ass Saw the Angel makes perfect accompaniment to reading the novel.

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Wire - Read and Burn 03

Just as the first two volumes in the Read and Burn series of EPs foreshadowed the triumphant reunion of Wire's original members on 2003's SEND album, so Read and Burn 03 offered hints of the band's subsequent full-length. While the earlier Read and Burns were full of in-your-face attitude a la Wire's classic debut album, PINK FLAG, 03 is a much more textured, low-key, arty affair seeming to suggest that the band's next release will be along the more refined lines of the second Wire album, Chairs Missing. Across the four tracks, a bed of moody, layered guitars and percussion supports vocals that are alternately spoken and intoned like prayers in a Latin mass. Ultimately, it's a statement to the continuing vitality of the reformed, 21st century Wire.

The Go Team - the Wrath of Marcie

Japanese exclusive release to commemorate their 2007 visit to Japan. This collection includes UK single-cuts, Live recordings, remixes (featuring Conelius) & more! Also comes with an enhanced video for 'Wrath Of Marcie'. Avex.

Iron and Wine - the Shepherd's Dog

Since his first album in 2002, Iron & Wine mastermind Sam Beam has remained consistent in both the quality and the general approach of his songwriting, but his production techniques have expanded gradually outward with each release. If the aforementioned, unadorned debut was Beam's Meet The Beatles, Shepherd's Dog is undoubtedly his SGT. PEPPER. It bears full-blown kaleidoscopic arrangements that utilize Eastern tonalities, a panoply of effects, atmospheric textures, and exotic percussion; the results can only be called psychedelic folk, but Shepherd's Dog, with its carefully crafted tunes and backing, bears little relation to the usual psych-folk suspects. While fans of Animal Collective et al., will be able to relate, the album owes more to the great art-folk singer-songwriter recordings of the late '60s/early '70s.

Blonde Redhead - Melody Of Certain Damaged Lemons

No track on this trio's fifth album follows, directly or logically, the shape or style of the track preceding it. And that's ok, as Blonde Redhead's modus operandi is to produce a head-spinning musical melange, amassed from a multiplicity of sources, that will leave you and your ears dazed but happy.

True to form, the band launches into an ethereal, Stereolab-influenced "In Particular" after the opening mini-track's sonic blast. There is an initial kitchen-sink, frenetic similarity between Blonde Redhead and Solex, though the former is the more verbal, softer of the two. This similarity is shattered, however, by "Loved Despite of Great Faults," a measured, modest ballad with just a touch of Brian Wilson's wistfulness to its late-Beatles-meet-the-Kinks patina. Throughout it all, Kazu Makino and Amedeo Pace trade off sweet and captivating vocals, breathing life into subtly compelling lyrics.

Jimmy Eat World - Futures

The road to success is not an easy one - but some handle its hurdles better than others. In 2001 Jimmy Eat World was a widely adored but criminally underappreciated band capable of drawing capacity crowds all over the world, but unable to find a record deal to their liking. Having just been unceremoniously spit out of the major label machinery, the band opted to record a new album entirely on its own dime and let labels come a-calling. The gambit more than paid off, with the resultant Bleed America (later re-titled Jimmy Eat World), yielding the hits "The Middle" and "Sweetness," and ultimately selling over 1.4 million copies in the U.S. By the time two full years of touring had wound down, they'd made triumphant breakthroughs everywhere from Saturday Night Live, being nominated for an MTV Video Music Award and topping, "Best Of" lists at Blender, Alternative Press, SPIN, USA Today, People and Rolling Stone to name a few. Not bad for a little band from Mesa! , Arizona. But then came the problem once all your rock dreams come true, what do you do for an encore? The band's new album, Futures, is the answer to that question. It's a sprawling, gorgeous, heavy-yet-quiet epic with songs ranging from ambitious hard rock to epic ballads. With the hard driving first single "Pain" kicking off the campaign to the beautifully constructed follow up single "Work," Futures is perhaps the best sounding record in Jimmy Eat World's career.

Bloc Party - Flux

News came yesterday from the Bloc Party camp of a new single -- news that would've excited us more a year or two ago, but still, Kele and Co.'s Silent ways have earned our ear for awhile to come. Premature evaluation says it's got a beat and we can dance to it. Except Kele sounds too much like Cher. Fair point: A lot of people like to dance to Cher.

Also, they flexed their new "Flux" on Conan last night, where it featured much less autotune on the vox, sounding more like the band we fell in love with on Alarm, even more new wave-y if that's possible. Only, that "We need to talk!" is so "We're gonna win this!" We'll bring you the Conan clip when it's YouTube'd.

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Lifehouse - From Where You Are Lyrics
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Fergie - Pick It Up Lyrics
R. Kelly - Crazy Lyrics

The Killers - Sawdust

Sawdust includes "All The Pretty Faces" (which was the b-side of "When You Were Young"); two movie soundtrack tunes, "Shadowplay" (a Joy Division cover from Control, Anton Corbijn's biopic of Ian Curtis) and "Move Away" (from Spiderman 3); as well as a cover of Kenny Rogers & The First Edition's "Ruby, Don't Take Your Love To Town" (written by Mel Tillis)

The collection will also contain songs which weren't completed for Hot Fuss and Sam's Town. The Killers recently went back into the studio to finish the tracks, including "Tranquilize" featuring Rock & Roll Hall of Famer Lou Reed.

Radiohead - Hail To The Thief

Hail To The Thief won the 2004 Grammy Award for Best Alternative Music Album and for Best Engineered Album, Non-Classical. "There There" was nominated for Best Rock Performance By A Duo Or Group With Vocal.

Not since the Beatles has a group managed to combine mass popularity and cutting-edge aesthetic triumphs so consistently as Radiohead, who by the time of Hail To The Thief had been on a roll since 1997's OK Computer (as great as The Bends was, it didn't garner the band mainstream attention). While Kid A and Amnesiac had been outre, boundary-pushing attempts to expand the pop-rock palette even beyond the ambitious OK Computer, Hail To The Thief incorporates the avant-garde techniques developed in that journey, applying them to more formal song structures. In this way, we get the best of both worlds on what just might be Radiohead's best album yet.

Though this isn't a return to the straight-ahead pop structures of The Bends, the guitar does make a welcome return here. There are plenty of glitchy electronics and atmospheric keyboards, etc., but they're integrated with traditional "rock" instrumentation" in a completely organic way. Though they remain art-rockers to the end, with Thom Yorke expressing carefully wrought angst both personal and political, Radiohead injects some blood into things as well. The occasional hard-grooving funk rhythm and crazed rock guitar riff keeps even the airiest sentiments well anchored, making Hail To The Thief as well balanced as it is progressive.

Ratatat - Classics

Ratatat established their eclectic take on instrumental rock on their 2004 self-titled debut. The follow-up, Classics, released in 2006, improves on the band's intriguing mix of dancey, hip hop-influenced beats, stadium-sized guitars, burbling bass, swirling synths, and various instrumental exotica. Falling somewhere between post rock, electronica, prog rock, and indie rock, Classics blends genres deftly, throwing in a wealth of musical ideas and just enough postmodern irony to keep things cheeky. Ratatat's giddy fusion has enabled them to play bills with acts as diverse as Interpol and Mouse on Mars; Classics finds them honing their stylistic studio mix-mash to a fine art.

Duran Duran - Falling Down

Duran Duran's next album, Red Carpet Massacre, will be released in mid-November. The legendary band collaborated with Justin Timberlake on “Falling Down,” the first single from the new album. The legendary band has placed 21 singles in the Billboard Hot 100 and 30 in the Top 40 of the UK Singles Chart, and have sold more than 85 million records during their more than thirty years together.

Music for the soul
Brandy - What Have You Done For Me Lyrics
Pitbull - The Anthem Lyrics
Westlife - Home Lyrics
Leona Lewis - I Will Be Lyrics
Michelle Williams - Curiosity Lyrics
Gary Allan - Watching Airplanes Lyrics

MIA - Kala

Even before M.I.A. (Maya Arulpragasam) debuted in 2005 with Arular, the blogosphere was already abuzz about her, engaging in the kind of discourse normally reserved for academic dissertations. Whether hailed as a canny postmodern pastiche or dismissed as inauthentic cultural pirating, the music, a lively pan-global mash-up of regional dance music styles, seemed to be emanating simultaneously from every ghetto, favela, and council-flat within earshot. As if to call out her detractors, M.I.A. returns for another shot of explosive, politically charged and globally conscious dance music on her second album, KALA.

Lacking the patchwork quality of the debut, KALA is a more cohesive and polished affair, though it matches its predecessor for shear visceral thrills. Recorded across several different continents, and featuring the production talents of Timbaland, Switch, and Blaqstarr, as well as longstanding collaborator Diplo, the globetrotting beat makers mine sources as varied as funk carioca, Baltimore bounce, and the occasional ludicrously placed sound-effect (a squawking chicken). The gloriously bombastic lead single, "Boyz," kicks off the party with a blaring horn loop, carnival percussion, and a stuttering Bollywood vocal sample, while M.I.A. merrily chants the chorus in her sing-song faux patois. The twittering, beat-heavy "Bird Flu" sounds a bit like what you might expect--jagged beats create syncopated poly-rhythms, while birds chirp feverishly against Arulpragasam's bratty invective. But the irreverent cultural re-appropriation doesn't stop at her borrowing from the third world; clever nods to the Clash, New Order, and even Jonathan Richman appear in unexpected and cheeky combinations, offering further proof that M.I.A.'s potent cross-cultural grab bag is as sonically audacious as ever.

The Verve - The Thaw Sessions

Three weeks ago, in their first interview together for nine years, The Verve recounted to NME the exact moment that they started making music together again.

"We all decided," Richard Ashcroft told us, "That rather than meeting for a cup of coffee or a beer or whatever, we should meet in a studio where we can do what we do. Straight away."

Now, in a phenomenally exciting world exclusive, The Verve are giving away the first fruits of the recording session – the actual first 14 minutes they laid down together – through NME.com. No rehearsal, no fine tuning, no limits: just Richard Ashcroft, Nick McCabe, Simon Jones and Pete Salisbury back together in a room, making music.

The first new material by The Verve in 10 years is now just a click away...

Kylie Minogue - Confide In Me

Meant as a statement of her new direction, Kylie Minogue's fifth album no longer featured the Stock-Aitken-Waterman production gloss and found the diminutive singer working with hip dance producers like David Seaman. From the first notes of the opener "Confide in Me," you know this is not the teen pop queen of old. Kylie Minogue (also note the use of her last name on the cover) wanted to sound grown up, and she pulls it off with ease. While it is still dance-pop, there's atmosphere and style in the songs that wasn't there on Let's Get to It. Definitely the start of the second phase of her career.

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