R Indie: January 2008

Personal turmoil has always proved to be a creative elixir for musicians, so it's not surprising that Brandy Norwood would dip into that well for inspiration on her fourth album, Afrodisiac. In addition to her transformation from a teenage pop/TV star to an international music sensation, the 25-year-old vocalist followed motherhood with a divorce and also stepped away from longtime production partner Rodney Jerkins. In the process, Brandy cast herself in a much sexier and more mature light, which is reflected throughout these 15 songs.

Brandy's wisest moves were enlisting hip-hop guru Timbaland behind the boards and bringing Kanye West along for the ride as well. The Timbaland-produced songs, particularly the snappy title cut (with its intricately layered vocal tracks) and the slow-rolling funk of "Focus," gurgle with the Virginia-based maestro's trademark staccato beats and rich production style. Chicago native West is equally impressive, dueting with Brandy amid sweet, Gamble & Huff-flavored string arrangements in the autobiographical "Talk about Our Love." With its engaging and expressive tracks, Afrodisiac proves to be another victory for the old adage about great art emerging from emotional pain.

Latest music
Janet Jackson - Let Me Know Lyrics
M. Pokora - She's Dangerous Lyrics
OneRepublic - Stop & Stare Lyrics
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Tyrese - Comin To See You Lyrics

Hailing from the state of Florida, singer-songwriter Tom Petty has come to epitomize a new rootsy style of California rock'n'roll. Rhythmically, the music harkens back to the basic crunch of the Rolling Stones and the dancing pop of the Beatles, while Petty's gravelly vocals and sing-song narrative style suggest roots in the folk-blues Americana of Bob Dylan.

Years before R.E.M. returned to the jangly, Rickenbacker-infected timbre of the Byrds, Petty's nasal delivery and bell-like mix of guitars and vocal harmonies gave new life to the atmospheric ballad style of Roger McGuinn, David Crosby and company. GREATEST HITS is evenly divided between material from Petty's mid-'70s/early '80s breakthrough and the more mature work he's been doing with producer Jeff Lynne since 1989's Full Moon Fever.

The craft and content of his songwriting has grown more relaxed and accomplished with each passing album, whether alone or in tandem with Lynne and long-time lead guitarist Mike Campbell. Thus we move from the hard-churning outsider's anthem of "Refugee" with Benmont Tench's pulsing Hammond organ (from 1979's Damn The Torpedoes), to the moody Southern California metaphors of the transplanted rock exiles and doomed romantics who populate "Free Fallin'" and "Learning To Fly"--all examples of Petty's timeless, evocative songwriting.

Ex-Libertines Pete Doherty and his band Babyshambles offered up their second full-length with Shotter's Nation. For a band that's been dissolving since practically its inception, thanks to Doherty's problems with drugs and the law, Babyshambles make a remarkably good showing on their sophomore effort, turning in a batch of punky Britpop that gives equal allegiance to punch and hooks.

Tunes like "Carry On Up the Morning," "Delivery," and "Baddie's Boogie" show Doherty still has no shortage of rock-&-roll spirit in him, while "The Lost Art of Murder," which features an appearance by folk hero Burt Jansch, adds a touch of melancholy. Overall, the album provides a great rock romp that will please fans of Doherty and the Libertines.

One-woman cottage industry DiFranco remains true to her cause on her eleventh album (she's a seasoned vet at 28!). Still steadfastly independent, Little Plastic Castles , like all her previous releases, is available only through her own Righteous Babe label, as DiFranco wards off the majors who offer to make her what she already is; The Next Big Thing. Fans of the female acoustic songwriter gestalt who are too smart for Alanis and too cool for Patty Larkin will find reason to rejoice in this album.

While DiFranco's lyrics still focus on personal politics and modern societal ills, there are expansive touches added to the arrangements of many songs here. "Deep Dish" and several others benefit from some well-placed horn stabs, and pump organ, concertina and talking drum all make appearances. Despite upping the instrumental ante, though, DiFranco's (naturally) self-production remains uncluttered, getting to the heart of her very personal observations.

The follow-up to indie-rock collective New Pornographers' lauded ELECTRIC VERSION, 2005's Twin Cinema expands on that album's power-pop sound. Here the group, masterminded by singer/multi-instrumentalist A.C. Newman, has added a new member--vocalist/pianist Kathryn Calder (Newman's niece)--while both the songwriting and arrangements have become more adventurous.

The energetic title track sounds like an unlikely collaboration between Wire and Big Star, while "The Bones of an Idol" recalls mid-1970s Brian Eno. As always, alt-country star Neko Case steals the show, particularly on "These Are the Fables," an urgent, piano-based tune that spotlights her potent Patsy Cline-on-caffeine vocals. Destroyer's Dan Bejar also contributes a handful of songs, including the quirky T. Rex-meets-New Wave track "Broken Beads." The New Pornographers have enough talent and imagination to weave their various influences into their own unique sound, and the result is a buoyant, engaging collection of songs. Although some might have doubted that the band could top Twin Cinema, they may have done exactly that with the ambitious Twin Cinema.

On her first internationally released album, Colour the Small One, Australian singer Sia Furler presents a graceful and assured set that is rooted in chilled-out electronica. This may come as no surprise to fans of Sia's work with Zero 7, though instead of attempting to re-create that group's lounge/jazz sound, she opts for a gentle, folk-tinged vibe, even enlisting Beck for a writing assist on "The Bully," a breezy, though slightly ominous, track.

The real standout of Colour, however, is "Breathe Me," a gorgeously spare, soulful tune that was prominently featured in the final season of the lauded TV series SIX FEET UNDER. Exuding an invitingly dreamy atmosphere, Sia's record is sure to garner a coveted spot in café rotation alongside Beth Orton, Bjork, and other like-minded artists. (Note: The U.S. version includes four bonus tracks, including remixes of "Breathe Me" by Four Tet and Ulrich Schnauss.)

Of all the bands emerging in the mid-'90s who were labeled "post-rock," Scotland's Mogwai always seemed to be one of the closest to (gasp) an actual rock band. While their third album ROCK ACTION showed them edging ever closer to rockdom, with more conventional song structures and vocals, the follow-up is a hearty about-face. Happy Songs For Happy People is one of the band's more atmospheric efforts.

Whereas the band's early sound was often defined by angular, hypnotic guitar riffs a la Slint, Happy People is full of dreamy, ambient electronic textures that wouldn't sound out of place on, say, a Spiritualized album. There is the occasional vocal, but voices (like everything else) are used purely as texture here. The tracks occasionally build to powerful crescendos, but for the most part, this is a mesmerizing, meditative effort suggestive of autumnal introspection and long walks through twilight forests. Is that post-rock enough for you?

Artist: Morrissey
CD Title: Greatest Hits(Promo)
Released date: 01.11.2008
Label: Decca
Genre: Alternative, rock
Total time: 51' 10"
More info: Front cover

Song title
01. First of the Gang to Die (taken from You Are the Quarry)
02. In the Future When All's Well (taken from Ringleader of the Tormentors)
03. I Just Want to See the Boy Happy (taken from Ringleader of the Tormentors)
04. Irish Blood, English Heart (taken from You Are the Quarry)
05. You Have Killed Me (taken from Ringleader of the Tormentors)
06. That's How People Grow Up (previously unreleased)
07. Everyday Is Like Sunday (taken from Viva Hate)
08. Redondo Beach (taken from Live at Earls Court)
09. Suedehead (taken from Viva Hate)
10. The Youngest Was the Most Loved (taken from Ringleader of the Tormentors)
11. The Last of the Famous International Playboys (taken from Bona Drag)
12. The More You Ignore Me, The Closer I Get (taken from Vauxhall and I)
13. All You Need Is Me (previously unreleased)
14. Let Me Kiss You (taken from You Are the Quarry)
15. I Have Forgiven Jesus (taken from You Are the Quarry)

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Artist: Jeff Buckley
CD Title: "Grace"
Released date: August 23, 1994
Label: Columbia / Sony Music Canada Inc.
Genre: Alternative / rock
Type: MP3 format sound
Quality: 320(cbr) Kbit
Channels: 44Khz, j.stereo
Total time: 51' 48"
Total size: 119 mb
More info: Set covers

Gwen Stefani - What You Waiting For

Geri Halliwell - Desire

Mika - Life In Cartoon Motion

Best of Indie Rock 2006 by The modern music blog.

1. Bonnie Prince Billy - The Letting Go
I'm sure of it, this album never gets old.
http://rapidshare.com/files/40091336/2006..Bon.nie.Pri.nce.Billy..The.Let.ting.Go.rar

2. Band Of Horses - Everything All The Time
If you played an album countless time and you still didn't bore, then it should be a treasure.
http://rapidshare.com/files/39833968/Everything_All_The_Time.rar

3. Drones - Gala Mill
Shout it loud! This album as strong as rock.
http://rapidshare.com/files/17601433/The_Drones.rar

4. Robyn Hitchcock - Ole! Tarantula
Embryo, are you ever gonna be born?

5. James Dean Bradfield - The Great Western
Politics, politics...Say the truths and be a repulsive person!
http://rapidshare.com/files/23423174/james_dean_bradfield_-_the_great_western.rar.html

6. Hold Steady - Boys And Girls In America
On your way Paul Westerberg.
http://rapidshare.com/files/34776929/America.rar

7. Sleepy Jackson - Personality
Yes we're singing sleepy but our melodies are catchy-sleepy.

8. Isobel Campbell & Mark Lanegan - Ballad of the Broken Seas
Mmm...! delicious music, tasty coffee...
http://rapidshare.com/files/22750177/Ballad_of_the_Broken_Seas.rar

9. Pernice Brothers - Live A Little
Beyond doubt, they relesed an album sounds better than Morrissey's Ringleader.
http://www.megaupload.com/?d=0IUB4LUP

10. The Decemberists - The Crane Wife
The Decemberists - O Valencia

Other Music Lists:
Top 10 Dance Song 2007
Top 50 Records of 2007
Best Songs of 2007
Best records of 2005

A funny thing happened to Nada Surf on the way to sure-fire late-'90s alt-rock stardom. Despite obtaining a decent amount of MTV exposure, their sardonic first single, "Popular," ultimately arrived just moments too late to capitalize on the era's short-lived mainstream fancy with geek rock. And with no quality second hit in sight, neither 1996's moderately successful High/Low nor its forgettable 1998 follow-up, The Proximity Effect, gained much traction outside the indie rock underground -- seemingly consigning the trio to the dreaded one-hit-wonder bin. Subsequently dropped by Elektra, Nada Surf settled into a prolonged state of hibernation (only drummer Ira Elliot was heard from, thanks to his regular session work), so that even committed fans would have to be forgiven for washing their hands of the group during this four-year silence. That is, until the belated and understated 2002 arrival of their revealing third opus, Let Go, on which Nada Surf showed that they refused to quietly fade away into gimmick-enforced exile by putting their faith into their own pop songwriting instincts. The resulting record takes its title quite literally, as layer after layer of preconceived notions and excess noise are stripped away to unveil both soft-spoken charm and intense newfound confidence. Upbeat, electrified fare like "Hi-Speed Soul" and the Foo Fighters-lite of "The Way You Wear Your Head" is now the exception to the rule established by predominantly acoustic numbers like "Blizzard of '77," "Fruit Fly," and "Neither Heaven nor Space," all of which strike a heartaching chord with their bewitching melancholy. The French-sung "La Pour Ca" offers a mesmerizing, Pink Floyd-styled laziness, while additional mellow highlights such as "Inside of Love," "Blonde on Blonde," and "Paper Boats" somehow manage to sound sadly introspective and positively sunny at the same time, welcoming the listener to doze in their arms. Not exactly a reinvention as much as a reaffirmation of their original purpose, Let Go seems to mark a new beginning for Nada Surf.

Coming as it did in the midst of the mid-80s "roots rock" trend, the title of Sonic Youth's second full-length album (cribbed from John Fogerty) and its strangely evocative front cover photo of a burning pumpkin-headed scarecrow, Bad Moon Rising almost seemed to fit in with the post-BORN IN THE USA genre of "Portrait of America" albums. But where albums by the Long Ryders or Green On Red saluted the working class or society's forgotten, Sonic Youth's idea of an American portrait included the nihilistic Manson Family narrative "Death Valley '69"--with guest vocals by poet/singer Lydia Lunch--and the nearly impenetrable "Brave Men Run (In My Family)." "I Love Her All the Time" is another highlight, foreshadowing the more pop-oriented direction of future albums. This expanded CD includes three bonus tracks, "Satan Is Boring," "Flower" and "Halloween."

Ladytron's first major blip on the radar was Another Breakfast With You, a tune forged from the same template of glacial synths and wry observation that make this album's Seventeen a contender for single of the year. Light and Magic sees their trademark electro-pop luxuriously fleshed out while avoiding the fries-with-that engorgement of Fischerspooner's; in fact the MMFF foursome (girls pout while men work the machines, natch) were ploughing this particular furrow long before some card slapped '-clash' on his old rope and started charging for it, and their devotion to the cause has yielded marvellously authentic results. Curled up in an adamantium time-bubble, their rhythms remain bluntly impassive while the synths slide over them like lipgloss, ballgown glamour roughing it on the dancefloor.

My Favorite Things is a landmark album in jazz history. On the previous year's Giant Steps, Coltrane had established his credentials as a bebop master, composer and group leader. By 1960, he was ready to move on. On My Favorite Things, Coltrane is in transition, searching for another level to which to raise his music. A new group featuring McCoy Tyner on piano, Steve Davis on bass and Elvin Jones on drums supports Coltrane on this experiment in non-Western harmonics and controlled dissonance.

Unlike some of Coltrane's later recordings, My Favorite Things contains plenty of melodic elements, enough to please audiences mystified by free jazz. My Favorite Things sounds most like a typical 1950s jazz album on the Cole Porter ballad "Everytime We Say Goodbye," which Coltrane and company treat sweetly and lovingly. On the other three cuts--the title track and two Gershwin compositions, "Summertime" and "But Not For Me"--the ensemble picks up the tempo and infuses the tunes with a passionate frenzy. The band is brilliant throughout, Tyner providing particularly stellar support with both his rhythmic chord comping and melodic soloing. My Favorite Things belongs in any jazz fan's record collection.

R. Kelly's music is sometimes hard to separate from his borderline-absurd real-life misadventures, since his alleged misdeeds inevitably inform his recordings. While most artists are influenced by life unfolding around them, few people's private worlds bleed into their creative work in such a public and chaotic way. Heart-on-sleeve emotion has been a hallmark of Kelly's music, and as scandal has surrounded him, so have heartfelt pleas of forgiveness and repentance.

His ambitious 2004 double record, Happy People/U Saved Me, can be seen as a reaction to/against all this drama. The titles reflect the music within to perfection, the former containing infectious celebrations of life and love, the latter every inch a traditional gospel/soul record. When freeing himself to party on Happy People, Kelly lets loose a torrent of catchy, groove-laden love songs, most notably the clever "Love Signals." On U Saved Me, he gains gravity with a solemn grace that transcends his troubles, making a credible artistic conversion.

more pop music:
Madonna - Licorise
Alicia Keys - As I Am
Erasure - Storm Chaser

On Modern Music blog, i posted two great the compiled song albums under rapidshare links. Don't miss these rare songs.

Go to Indie Music Club vol.1

1. The Breeders - Cannonball
2. Enon - Rubber Car
3. The New Pornographers - Jackie
4. The Dears - Lost in the Plot
5. Death Cab For Cutie - Soul Meets Body
6. Rogue Wave - Debaser (The Pixies cover)
7. The Knife - Marble House
8. The Durutti Column - New Order Tribute
9. Liberty X - Just A Little Bit More
10. Flying Lizards - Tears

Top Modern Love Songs

1. Kristin Hersh - Hips And Makers
2. Seal - If I Could (feat. Joni Mitchell)
3. Joni Mitchell - Blue
4. Dionne Warwick - Walk On By
5. Carpenters - The Rainbow Connection
6. Kevin Ayers - Farewell Again (Another Dawn)
7. Livid - love song (Syd Barrett Cover)
8. The Blue Nile - Saturday Night
9. Scott Walker - Jackie
10. Lionel Richie And Diana Ross - Endless Love

Elephant won the 2004 Grammy Award for Best Alternative Music Album. The album was also nominated for Album Of The Year. "Seven Nation Army" won for Best Rock Song. The song was also nominated for Best Rock Performance By A Duo Or Group With Vocal

Lo-fi in production and uncompromising in approach, Elephant finds The White Stripes continuing to walk to the beat of their own pomo blues drummer in ignoring the enormous expectations heaped on the follow-up to 2001's smash White Blood Cells. Recorded in two weeks, this outing is packed with loose, soulful, and delightfully unpretentious songs that rage and howl. Jack and Meg White hit the ground running with the chugging shuffle "Seven Nations," with its infectious bass line and thudding cadence.

Surprises abound, from the wall of Queen-like harmonies that infuse the choppy, psychedelia-tinged "There's No Room for You Here" or a reading of Burt Bacharach's "I Just Don't Know What to Do With Myself" bursting at the seams with distorted guitar. Not surprisingly, the blues are never far from the equation, particularly on the heavy stomper "Ball and Biscuit" with its bursts of screaming guitar solos. Equally impressive is Jack White's slide guitar on the pleading "I Want to Be the Boy to Warm Your Mother's Heart" and six-string histrionics on the chugging "Girl, You Have No Faith In Medicine" that shakes and shimmies with Stooges-like aggression.

Bookended by lush, vaudeville-like tunes created with Apple's longtime collaborator Jon Brion, Extraordinary Machine features production work by Mike Elizondo (50 Cent, Eminem) on all other tracks. Those expecting any hip-hop flourishes will be left empty-handed; this disc presents Apple working in her signature style, with her soulful, slightly mischievous voice carrying these confident, primarily piano-driven songs. The performer's penchant for confessional, witty lyrics is still apparent, but her approach is notably more subtle and mature here. While many tracks are gilded with adventurous arrangements that incorporate an arsenal of organs (Farfisa, Optigan, etc.), marimba, Moog bass, and other unusual instrumentation, Apple also shines when left to her own devices, as on the spare, melancholy ballad "Parting Gift." Listeners worried that the lengthy hiatus might have diluted Apple's potent, inventive aesthetic can sleep well; Extraordinary Machine more than lives up to the superlative in its title.

Dutch Pop-rock Heroes Racoon Are Back! "Another Day" Includes 13 Catchy Songs from Dutch Soil. This Album is the Long-awaited Follow Up to their 2001 Album "here We Go, Stereo".

Chart news
Mariah Carey - That Chick Lyrics
Carrie Underwood - Sometimes You Leave Lyrics
Janet Jackson - Can't Be Good Lyrics
Lil' Wayne - I'm Me Lyrics
Mary J Blige - Hurt Again Lyrics
Lee Ryan - Best Of You Lyrics

If David Lynch made movies in England, Richard Hawley would likely provide the soundtracks. The British singer/songwriter worked as a guitarist for Pulp and others before emerging as a distinctive solo artist, but the series of albums that began with his 2001 debut full-length, LATE Night Final, have proven Hawley to be a truly singular artistic figure. With a smooth, deep croon that suggests Ricky Nelson giving Mark Lanegan voice lessons, Hawley turns out a hushed, lonesome sound that pays homage to elegant '60s pop/rock a la Roy Orbison and Johnny Rivers. Coles Corner is as fine an exemplar of Hawley's approach as one could want, as twangy, reverb-heavy guitar lines dance around sparse orchestrations and gentle compositions full of satin-bedecked loneliness. Pitched perfectly in a sonic spot triangulated by Chet Baker's vocal albums, Sinatra's Only The Lonely, and the bachelor-pad pop of the Burt Bacharach/Jimmy Webb school, the wee-hours sound of Coles Corner suggests that, in the right hands, melancholy can be downright fun.

Recorded at Excalibur Studios, New York; Cherokee Recording Studios, Los Angeles, California; Saturn Sound, Studio City, California.

All songs written by David Lynch and Angelo Badalamenti except "In My Other World" (Julee Cruise, Louis Tucci).

The song "Fire Walk With Me" is from the Original Soundtrack TWIN PEAKS--FIRE WALK WITH ME.

When rock bands include a Hollywood actor among their ranks, more often than not the results are mediocre vanity projects. However, 30 Seconds to Mars proves to be an exception to this rule, with Jared Leto (renowned for roles in FIGHT CLUB and LORD OF WAR) capably fronting this intense pop-metal outfit. On the group's second album, A Beautiful Lie, Leto is a remarkably versatile vocalist and the band's sole songwriter, leading the quartet through potent tracks that recall A Perfect Circle and Deftones. For those who like emotive, high-energy alt-metal, 30 Seconds to Mars is sure to strike a chord, regardless of its famous connections.

Limp Bizkit's Fred Durst has a growing stable of talent that is building a track record of amazing successes; first with the wildcard explosion of Staind and then with the signing of melodic alt-rockers Puddle Of Mudd to his Flawless label. It's frightening how well the songs on Come Clean stick with the listener immediately. "Control" couples a sleaze-meets-Tool middle eight with STP-flavored guitar crunch. The single-worthy offerings "Nobody Told Me" and "Blurry" burn their way into one's consciousness with the soon-to-be-signature octave-unison vocals of Wes Scantlin.

Former Eleven/Chris Cornell drummer Greg Upchurch brings seasoned chops to the table, especially in "Basement" and "Out Of My Head." The lovesick parody of "She Hates Me" is destined for movie soundtrack infamy, even if it owes a great debt to early Suicidal Tendencies material (the chord progression could have been lifted from "I Saw Your Mommy"). Come Clean closes with the Soundgarden-meets-Jane's Addiction "Piss It All Away," the clearest evidence that Puddle Of Mudd are disciples of 90's rock, to great compliment.

It was nice to see Chris Cornell back with Audioslave, but it was. Then, they started to release some crappy records, following that they disbanded. Self titled record is still nice to listen. Plus the song Like A Stone rocks!

I recommended this amazing record on my other blog The Modern Music Xiu Xiu - Woman as Lovers.

It was one of the most underrated indie rock records in 2007. I think this is one of the best The Shins album. You should listen several times to consider how good the record is.

Track List:
Sunflower
Can You Heal Us Holy Man
Wild Wood
Instrumental Part 1
All The Pictures On The Wall
Has My Fire Really Gone Out
Country
Fifth Season
Weaver
Instrumental 2 Part 2
Foot Of The Mountain
Shadow Of The Sun
Holy Man Reprise
Moon On Your Pajamas
Hung Up

There have been many duos in the history of pop music, but few, if any, like the Bird and the Bee. Consisting of Greg Kurstin (all instruments except horns) and Inara George (vocals, and daughter of late Little Feat guitarist Lowell George), Bird and the Bee craft sleek, refined pop songs rich with edgy humor, all seductively conveyed by George's distinctively cool, feathery voice. With its elegant mix of alt-rock catchiness (think Blondie, XTC, Stereolab) and some Brazilian bossa nova touches, The Bird and the Bee is a noteworthy debut disc.

01 Captain And Tenille - Do That To Me One More Time.mp3
02 Lipps, Inc. - Funkytown.mp3
03 Diana Ross - Upside Down.mp3
04 Kool And The Gang - Celebration.mp3
05 Lionel Richie And Diana Ross - Endless Love.mp3
06 Joe Cocker And Jennifer Warnes - Up Where We Belong.mp3
07 Dexys Midnight Runners - Come On Elieen.mp3
08 Michael Sembello - Maniac.mp3
09 Lionel Richie - All Night Long (All Night).mp3
10 Tears For Fears - Everybody Wants To Rule The World.mp3
11 Jan Hammer - Miami Vice Theme.mp3
12 Ready For The World - Oh Sheila.mp3
13 Robert Palmer - Addicted To Love.mp3
14 Steve Winwood - Higher Love.mp3
15 Michael McDonald And Patti Labelle - On My Own.mp3
16 Kim Wilde - You Keep Me Hangin' On.mp3
17 Belinda Carlisle - Heaven Is A Place On Earth.mp3
18 Tiffany - I Think Were Alone Now.mp3

If you want more 80s music, check out 80s Music on The MM blog.

Black Celebration, Depeche Mode's fifth album not counting compilations, is one of their best. Martin Gore's lyrics are less strident and more personal--even the politicized "New Dress" is couched in humanistic detail instead of slogans--and his mostly minor-key melodies have a certain dark majesty.

The production and arrangements move further into the atmospheric, somewhat industrial realm first tentatively explored on the preceding Some Great Reward, with more impressive results. "Fly On the Windscreen," a song previewed in a much different arrangement on the singles compilation Catching Up With Depeche Mode, sounds more convincing in this form, and it's one of the band's best-ever efforts. As a whole, Black Celebration is one of the better Goth-pop records of its time.

Dave Gahan - Hourglass
Depeche Mode - A Broken Frame
Depeche Mode - Violator

The Wire (p.68) - "[T]here's plenty of low slung tension, and a characteristically heavy drum sound, accompanied by chunky guitar riffs....Niblett takes the old quiet-loud dynamic and stretches it to unexpected lengths..." Mojo (Publisher) (p.102) - 3 stars out of 5 - "[R]emarkably compelling..."

1. When You Gonna Learn
2. Too Young to Die
3. Blow Your Mind
4. Emergency on Planet Earth
5. Space Cowboy
6. Virtual Insanity
7. Cosmic Girl
8. Alright
9. High Times / Deeper Underground
10. Canned Heat
11. Little L
12. Love Foolosophy
13. Corner of the Earth
14. Feels Just Like It Should
15. 7 Days in Sunny June
16. (Don't) Give Hate a Chance
17. Runaway
18. Radio

C'mon, C'mon was nominated for the 2003 Grammy Awards for Best Rock Album and Best Engineered Album (Non-Classical)."Soak Up The Sun" was nominated for the 2003 Grammy Award for Best Female Pop Vocal Performance. "It's So Easy" was nominated for the 2003 Grammy Award for Best Pop Collaboration With Vocals.

So you think you know Sheryl Crow, eh? Well, the closest thing to what one might consider a "trademark" Crow tune on C'mon, C'mon is probably "Soak up the Sunshine," whose ironic good-timey feel and slide guitar recall Tuesday Night Music Club. "You're An Original" is a ' 70s-style bluesy hard-rocker whose stylistic bent is further underlined by the guest vocal appearance of Lenny Kravitz. The low-key "Safe and Sound" combines Beatlesque chord progressions with contemporary R&B loops for an interesting meld of sounds. The plangent guitars of the title track are the most obvious example of Crow's debt to early-'70s rock, with passages that seem to have Every Picture Tells A Story stamped all over them. The cheesecake inner-booklet photos and incongruous presence of Gwyneth Paltrow on "It's Only Love" may suggest that Crow has been spending too much time with her press agent, but her obvious commitment to solid songcraft is the reigning element on C'mon, C'mon.

Madonna's 11th studio album – and her last with Warner Bros – will be named Licorice, stateside reports have said. Former Billboard editor Larry Flick's OutQ radio show said the 13-track album would be released next April. Two of the Queen of Pop's new tracks also got an airing; Candy Shop and the Kanye West-featuring The Beat Goes On. According to fan websites, Justin Timberlake, Timbaland and Pharrell Williams all guest on the new CD. OutQ also claimed that Licorice, understood to have been presented to Warner Bros bosses this week, will include a reworked version of The Devil Wouldn't Recognise You. Licorice is set to be Madonna's last studio album with Warner Bros, not withstanding a new greatest hits collection, before she begins her ten-year contract with Artist Nation. The groundbreaking deal encompasses the entire Madonna brand, from music and tours to DVDs and official merchandise.

Look Forward to These Songs

Estelle - American Boy Lyrics

Faith Evans - Maybe Lyrics

Janet Jackson - Discipline Lyrics

Cheri Dennis - Flow Wit Me Lyrics

Wyclef Jean - If You Wanna Lyrics

Ciara - Ahh Lyrics

Lil' Wayne - Pill Poppin Animal Lyrics

Furthering the incredibly prolific run that it began in 2005 with Nightbird, the beloved British synth-pop duo Erasure presents its third major release of '07 with Storm Chaser. Largely consisting of remixed tracks that originally appeared on the previous Light At The End Of The World album, this collection includes the pulsing Koishi & Hush Club mix of "Storm in a Teacup" and DJ Manolo's beat-heavy mix of "Sucker for Love," along with "Early Bird," an energetic collaboration with Cyndi Lauper.

1 Storm In A Teacup (Single Version) 03:28
2 Sucker For Love (Extended Mix) 06:39
3 Golden Heart (Grn`s `Golden Glow` Radio Edit) 03:47
4 Early Bird (feat. Cyndi Lauper) 03:13
5 Storm In A Teacup (Koishi & Hush Club Mix) 07:33
6 Sucker For Love (Dj Manolo Remix) 09:21
7 Storm In A Teacup (Extended Mix) 05:58
8 When A Lover Leaves You (Oscar Salguero Remix) 03:51
9 Glass Angel (The Equalateral Mix) 07:55

Rykodisc is proud to announce the release of the new Joe Jackson record on January 28, 2008. Entitled, Rain, it's the first Jackson record since the brilliant and critically acclaimed Volume 4 was released in 2003. While Volume 4 and the seven-month tour that followed featured the reunion of the original, iconic Joe Jackson Band, Rain, was made with three of those four members: Jackson (vocals and keyboards), Graham Maby (bass/vocals) and Dave Houghton (drums/vocals). The record was produced by Jackson, and recorded in his newly-adopted city of Berlin at Planet Roc studios.

The common thread running through the record is its simplicity; where Jackson's distinctive piano and voice, Maby's intricate and melodic bass and Houghton's tough and tender drums are all you hear. A rich yet stark production by Jackson and mixed by Paul Kolderie and Sean Slade, Rain boasts a broad, grand sound, open yet tightly wound and focused at the same time, that emphasizes Jackson's sterling songcraft -- a unique amalgam of pop, rock, jazz and classical ideas and lyrics with deep, sympathetic glimpses into the human spirit written by a man who is keenly sensitive, sharp and complex.

Deus's first full-length outing since 1999 (and its only album to get decent distribution in the United States up to that point), 2006's Pocket Revolution showcases the Belgian alt-rock band's eclectic and adventurous sound. On this bold 12-track set, the ensemble revels in a densely layered aesthetic that features surging guitar lines and propulsive rhythms, along with keyboard and violin textures courtesy of multi-instrumentalist Klaas Janzoons. While the group, led by singer/guitarist Tom Barman, presents moments that hint at straightforward rock (the driving opener "Bad Times"), Deus seems more inclined to take slightly experimental routes, as on the Raymond Carver-inspired, Krautrock-tinged "What We Talk About (When We Talk About Love)," and "Sun Ra," an extended tune that nods to the avant-garde jazz pioneer of the same name. Given Deus's fearlessly dynamic approach and eclectic influences, fans of forward-thinking rock are sure to appreciate Pocket Revolution.

After a quarter-century of punk and postmodern excesses, it's always something of a surprise to find young musicians who not only recall a past era's musical indulgences, but also revel in them. This Lava Records debut is the latest fruit of Porcupine Tree mainstay Steven Wilson's obsession with prog, a mania that dates to the late '80s when the "band" was little more than a fantasy, though one with a remarkably imaginative--if entirely fictional--history and bio. But that pipedream eventually became a real "alt prog" cult fave, with these dozen ambitious songs finding a focus that occasionally eluded the band on half-hour soundscapes like its underground hit, "Voyage 34." Tracks like "Gravity Eyelids" have a retro-psychedelic feel that would have done the XTC alter ego Dukes of Stratosphear proud, with Wilson's pure melodic tenor pushing it beyond the merely baroque. But the collection is also a strong statement of another crucial Wilson/Porcupine retro-sensibility: The album has unified musical statement. "Lips of Ashes" and "Prodigal" serve up the sort of impressionistic, harmony-rich musings that Pink Floyd has rarely managed since Wish You Were Here, while "The Creator Has a Master Tape" punctuates the rich harmonies of tracks like "Heart Attack in a Layby" with Crimson-esque metallic thrash and processed vocals. While the band's instrumental prowess sometimes slums its way into the free-form jazz noodling of past efforts, the album remains one of the band's fullest achievements. --Jerry McCulley
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I liked this album from the first moment I first listened to the opening song of the album, "Kids are on high street" ... This is the first rock album I have truly enjoyed this year, and I think it is one of the best of Madrugada. What I like in music , "The Deep End" has it all: great lyrics, great music and "fresh" sound. Sivert Høyem's vocals are excellent, and totally fit in to the music. I have been listening to the deep end again and again, enjoying the beautiful lyrics.
Great work again from Madrugada!

On its second Sub Pop album, Descended Like Vultures, the San Francisco quartet Rogue Wave makes a notable departure from its debut, Out Of The Shadow. While the earlier disc has an airy, lo-fi sound that's enhanced by subtle electronics, much of Vultures is amped-up indie-rock bolstered by dense arrangements. "Publish My Love" features alternately chiming and driving surges of guitars, while "10:1" careens along on layered keyboard lines and a propulsive beat. Frontman Zach Rogue often sounds like a less troubled younger brother of Elliott Smith, particularly on the record's mellower moments, including the folk-tinged "California" and the dreamy "You." Although Rogue Wave fans may initially be perplexed by Vultures, the album reveals a more ambitious aspect of the band, and repeated listens reveal its many charms.

International pressing of the worldwide #1 album from this Swedish songstress features the same tracklisting as the UK edition and contains one bonus track over the Swedish edition ('With Every Heartbeat'). Robin Miriam Carlsson AKA Robyn is a Swedish pop singer-songwriter and is widely known in her home country. Robyn was known in the late '90s for her dance-pop hits "Show Me Love" and "Do You Know (What it Takes)". She has since started to gain mainstream success in the United Kingdom again, due to the massive critical and commercial success of her single "With Every Heartbeat". Universal. 2007.

Music moment

Mariah Carey - Shake It Off Lyrics

Seal - Dance Floor Anthem Lyrics

Natalie Imbruglia - Scars Lyrics

Jason Fox - Coffee Girl Lyrics

Eva Cassidy - Who Am I To Say Lyrics

Backstreet Boys - Satellite Lyrics

Fresh off his Berlin trilogy (Low, Heroes, Lodger), David Bowie released Scary Monsters, an album that continued the cool, detached, electronic-flavored sound he'd been experimenting with on the aforementioned records. Robert Fripp's distinctively angular guitar style contributes greatly to the resulting Kraftwerk-flavored funk of "Fashion" and the jittery paranoia of the title track. Elsewhere, Bowie updates the saga of Major Tom with "Ashes to Ashes" and turns to Tom Verlaine for the new wave nihilism of "Kingdom Come" which also features Fripp on guitar.

Robert Fripp was far from the only great guest invited to play on Scary Monsters. Pete Townshend's swirling guitar on "Because You're Young" made it an underrated classic in Bowie's canon. SCARY MONSTERS proved to be David Bowie's last musical effort for a while as he spent the next three years pursuing a career in acting before returning to the studio in 1983 to record LET'S DANCE.

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