Wednesday, March 4, 2009
Natasha Bedingfield - Pocketful Of Sunshine (Deluxe Edition) (2008) Warren zevon-warren zevon-(collectors edition)-2cd-2008-rvp
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Tuesday, March 3, 2009
Deas Vail - Collapse (2006) The New Amsterdams - At the Foot of my Rival (2007)
Password: sharedmusic.net
Deas Vail - Collapse
ARTIST.....: Deas Vail
TITLE......: Collapse
LABEL......: Brave New World Records
URL........: http://www.deasvail.com
RIP DATE...: Oct-14-2006
STORE DATE.: July-00-2006
GENRE......: Rock
QUALITY....: VBR / 44.1Hz / Joint-Stereo
SIZE.......: 31,1 MB
Track Listing:
01 - This Place is Painted Red 04:36
02 - Anything You Say 03:58
03 - Follow Sound 05:48
04 - Light as Air (Demo Version) 03:28
05 - Standing Still (Demo Version) 02:39
ÄÄÄÄÄ
20:29 min
Release Notes:
Out of Russellville, Arkansas comes Deas Vail. Originally signed
to Rambler Records, they were readying the release of their debut
All the Houses Look the Same, when Brave New World Records came
along and took them, as well as The Wedding, under their wing.
Sadly for fans of the fledging band, the album was canceled before
it was released. But now, with a new label, they have prepared an
EP, featuring three tracks from the canceled debut and two new
cuts.
Deas Vail's sound can most easily be compared to that of Mae's.
Musichristian.com describes it as "intellectual pop music with a
melodic base." That's a pretty good way to describe it. The
instrumentals, and especially the vocals, give it a very ambient,
space-y feel as well. It's experimental in a sense, but
technically tight in most aspects. It's loud when it's soft, and
soft when it's loud, finding a place somewhere between thrilling
and soothing.
Instruments aside, Wes Blaylock's voice is, simply put,
remarkable. It would be wrong to say that it carries this EP,
because the ever-varying musical arrangements (pianos, strings…
etc.) keep you peaceably on the edge of your seat. Suffice it to
say that they're both above par, and perfectly complement each
other. Blaylock's vocal range is stunning and provides for a "no
barriers" approach to song crafting that shines through with
brilliant colors.
Musicianship isn't the only thing bold about these guys.
Lyrically, their faith speaks loud and clear. Whether writing
about our role in affecting the current generation, or realizing
the strength God provides for tasks so taxing, Deas Vail has a way
with words, and the power of the music gives the message of the
lyrics an even deeper meaning.
As catchy as it is powerful, Collapse is a record from a rare
breed of musicians that have that special something that makes you
say, "Now that's good." These guys are going places, and the
sooner you know about it, the better. I greatly anticipate a full
-length release in the hopefully-not-so-distant future.
Part: 2 : The New Amsterdams - At the Foot of my Rival (2007)
Password: sharedmusic.net
ARTiST: The New Amsterdams
ALBUM: At The Foot Of My Rival
BiTRATE: 187kbps avg
QUALiTY: EAC Secure Mode / LAME 3.97 Final / -V2 --vbr-new / 44.100Khz
LABEL: Arctic Rodeo Recordings
GENRE: Indie
SiZE: 71.45 megs
PLAYTiME: 0h 50min 29sec total
RiP DATE: 2008-05-09
STORE DATE: 2008-05-09
Track List:
--------
01. Revenge 1:46
02. Wait 3:03
03. Fountain Of Youth 2:57
04. This Day Is Done 3:02
05. Without A Sound (Eleanor) 3:22
06. Silverlake 3:08
07. Lost Long Shot 2:55
08. Hughes 3:13
09. A Beacon In Beige 2:45
10. Story Like A Scar 3:15
11. Fortunate Fool 2:50
12. Lay On The Rails 4:18
13. Drunk Or Dead 3:04
14. The Blood On The Floor 2:55
15. Ex's & Oh's 3:26
16. A Mile In Your Shoes 2:27
17. Guitarkansas 2:03
Release Notes:
--------
At the Foot of My Rival is the sixth album from THE NEW AMSTERDAMS, but for
frontman Matt Pryor, it's a milestone. "This album represents something I've
been working toward for a long time," he says.
Story Like a Scar, from 2006, sounded like home, but At the Foot of My Rival was
actually written and recorded at home, "underneath middle western moons," as
Pryor sings in his affecting regular-guy tenor on Lay on the Rails. "Over the
past couple of years I've been changing, trying to find out who I want to be,"
he reveals.
The star-maker machinery behind pop music would have you believe that the only
family rock stars have are their bands and that a wild life on the road is the
ultimate goal. Pryor, however, has purposely removed himself from the artifice
that attends life in the star-fucking meccas of N.Y. and L.A. (see track 11,
Silverlake); he's settled down in Lawrence, Kansas, with his wife and kids and
bandmates Dustin Kinsey (guitar), Eric McCann (bass) and Bill Belzer (drums),
"trying to be away less, trying to find balance," no longer the "prodigal son by
trade" he calls himself in Lost Long Shot. "Trying to capitalize on something
you used to be – an adult pretending to be a kid for the money – would mean
failure to me," he says.
Lyrically, much of At the Foot of My Rival feels like a man shedding
circumstances, relationships and illusions that no longer fit. The song Hughes,
which sounds like it's being played on a ramshackle veranda as the sun sets and
the fireflies rise, takes to task the director of such classics as Sixteen
Candles and Pretty in Pink, lamenting, "Hughes, you ruined me/ You promised me
make-believe."
In short order, though, the doors of this hushed, front-porch elegy are kicked
in by A Beacon in Beige" and [i]Story Like a Scar, which reiterate Pryor's
status as a writer of sticky pop hooks and recall the tumbling urgency of The
Get Up Kids, which he co-founded as a teen and with whom he toured for a decade.
Story Like a Scar – yes, there was no song called Story Like a Scar on the album
Story Like a Scar, but there is one on Rival – remembers "a friend who's gone."
"Someone who begins to drift, doesn't return phone calls, and then one day, no
one can find them. It can make you angry that you've been so easily forgotten.
It's a hard thing to come to terms with. But at the same time, you can't chase
them down – you have to let go."
At the Foot of My Rival was recorded in his living room, with Revenge, Hughes
and the junkestra underpinning Lost Long Shot sounding particularly homemade
(full disclosure: the latter, actually a space heater and the chain on a
trash-can lid, was devised in Pryor's garage, which used to be a practice space
and has become a studio since Rival was recorded). The disc was produced and
engineered by Pryor and Colin Mahoney, a veteran New Ams collaborator and
Lawrence local who also mixed. By contrast, Story Like a Scar was recorded in
Nashville by Roger Moutenot (best known for his work with Yo La Tengo.)
As hearth-warmed and rootsy as Rival is, however, The New Ams have a deceptively
sophisticated sense of sonic architecture. Bassist Eric McCann, for example, has
emerged as a gifted arranger (note how he ramps up the intensity of Dead or
Drunk with strings and horns.) Likewise, Pryor understands how more can be less
when transmitting the intimacy of a song like Revenge, which is a demo recording
he made with "the crappy little talk microphone on my laptop."
And though Pryor is content in his home studio, writing material for The New
Ams, his band The Terrible Twos, as well as producing songs by other artists and
seeing to his own label (Elmar, named for his son Elliott Marshall), he's
certainly not immune from those dark thoughts that come in the night and refuse
to leave.
Lay on the Rails, Drunk or Dead and The Blood on the Floor all address
mortality. "This vested trust/ Beyond us/ So show me then/ I'm waiting," he
sings, almost chanting, in a chorus of reverb-soaked four-part harmony on Rails.
"I guess it's kind of a conversation with God," he confides, saying, "I've lost
this person and I don't understand why. It's not fair. I'm supposed to believe
that everything's going to be okay, but I need some kind of sign. Where is it?"
Nor is he blind to the Red State politics that surround the relatively liberal
confines of the college town he calls home. "What if the world's gone back to
the darkness before the enlightenment?" he wonders in Wait. A Beacon in Beige,
meanwhile, finds him reflecting on human rights of all sorts, singing, "Do you
love all your brothers? Do you? Or did you miss the light?"
Pryor even concedes that, left to his own devices, he tends to dwell on the
downside and that he forced himself to write a happy song for At the Foot of My
Rival. The result, [i]Fountain of Youth, is nonetheless much more than that; it
also suggests the easy musical and personal camaraderie he enjoys with Kinsey,
McCann and Belzer (who are also his conspirators in the aforementioned Terrible
Twos).
It's telling that this idyll has nothing to do with fame or fortune or status or
power or the other things deemed essential in our pursuit of happiness. To the
contrary, the scene is simply one of friends hanging out by the water on a
summer day, sharing a case of beer, having a laugh, living in the moment.
"We spent three months on the road touring for Story Like a Scar, but that was
over the course of a whole year," Pryor says. "We love playing shows and seeing
our fans – we know how lucky we are that people come to see us, but that's not
real life; real life is home, and home is now the center of what we do."
James Brown - The Singles Volume 4 1966-1967 (2007) (2 CD) Natasha Bedingfield - Pocketful Of Sunshine (Deluxe Edition) (2008)
Part: 1 : James Brown - The Singles Volume 4 1966-1967 (2007) (2 CD)
Part: 2 : Natasha Bedingfield - Pocketful Of Sunshine (Deluxe Edition) (2008)
Password: sharedmusic.net
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Title [The Singles Volume 4 1966-1967 ] °ÛÛ²
Artist [James Brown ] ÛÛ±
Label [Hip-O Select ] Genre [Funk ] ÛÛ°
Quality/Size [44.1 @VBR 102,9 MB Ripped [09-22-2008 ] ±ÛÛ
Grabbed from [CDDA ] Enc [Lame 3.97 ] ²ÛÛ
Website [http://www.hip-oselect.com ] ±ÛÛ
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Track Time Title ÛÛ
©--öª ©-- ©-- -ö- -ò óª - ª ÛÛ
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Cd1 ÛÛ
ÛÛ
01 02:37 Ain't That A Groove Part 1 ÛÛ
02 01:47 Ain't That A Groove Part 2 ÛÛ
03 02:39 New Breed (The Boo-Ga-Loo) (Part 1) ÛÛ
04 02:23 New Breed (The Boo-Ga-Loo) (Part 2) ÛÛ
05 02:49 It's A Man's Man's Man's World ÛÛ
06 02:58 Is It Yes Or Is It No ÛÛ
07 02:18 James Brown's Boo-Ga-Loo ÛÛ
08 01:56 Lost In A Mood Of Changes ÛÛ
09 02:47 Money Won't Change You Part 1 ÛÛ
10 02:23 Money Won't Change You Part 2 ÛÛ
11 02:35 This Old Heart ÛÛ
12 03:46 Don't Be A Drop Out ÛÛ
13 01:43 Tell Me That You Love Me ÛÛ
14 02:45 Let's Go Get Stoned ÛÛ
15 02:44 Our Day Will Come ÛÛ
16 02:43 The Christmas Song (Version 1) ÛÛ
17 02:48 The Christmas Song (Version 2) ÛÛ
18 02:55 Sweet Little Baby Boy (Part 1) ÛÛ
19 02:37 Sweet Little Baby Boy (Part 2) ÛÛ
20 02:54 Let's Make Christmas Mean Something This Year ÛÛ
(Part 1) ÛÛ
21 02:57 Let's Make Christmas Mean Something This Year ÛÛ
(Part 2) ÛÛ
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Cd2 ÛÛ
ÛÛ
01 02:54 Bring It Up ÛÛ
02 03:25 Nobody Knows ÛÛ
03 03:02 Kansas City ÛÛ
04 02:47 Stone Fox ÛÛ
05 02:38 It's A Gas Part 1 ÛÛ
06 01:57 It's A Gas Part 2 ÛÛ
07 03:22 Think ÛÛ
08 03:00 Let Yourself Go ÛÛ
09 02:28 Good Rockin' Tonight ÛÛ
10 02:36 I Loves You Porgy ÛÛ
11 02:47 Yours and Mine ÛÛ
12 03:01 Jimmy Mack ÛÛ
13 02:49 What Do You Like ÛÛ
14 03:37 It Won't Be Me ÛÛ
15 01:58 Mona Lisa ÛÛ
16 02:53 Cold Sweat Part 1 ÛÛ
17 03:16 Cold Sweat Part 2 ÛÛ
18 03:51 Get It Together (Part 1) ÛÛ
19 03:54 Get It Together (Part 2) ÛÛ
20 03:45 Get It Together (Part 1) (Version 1) ÛÛ
21 03:55 Get It Together (Part 1) (Version 2) ÛÛ
Totals ÛÛ
42 118:59 min ÛÛ
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James Brown: The Singles Vol. 4: 1966-1967, the next edition ÛÛ°
in this acclaimed series,focuses on the Hardest Working Man ÛÛ
In Show Business in the midst of an extraordinary hit ÛÛ
streak. Opening in 1966 with "Ain't That A Groove," the set ÛÛ
follows JB as he courts convention with the string-laden ÛÛ
"It's A Man's Man's Man's World" while further exploding the ÛÛ
boundaries of R&B and pop music with his extraordinary "Cold ÛÛ
Sweat" in mid-'67. He also records his first Christmas ÛÛ
album, and fights with his record company while cutting ÛÛ
funky instrumentals for another. ÛÛ
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Whether fronting his own ever-expanding band or grooving ÛÛ
with New York studio musicians, JB was on fire. The story, ÛÛ
track by amazing track, is right here. ÛÛ
ÛÛ
James Brown: The Singles Vol. 4 also includes the great ÛÛ
Brown hits "Money Won't Change You," "Let Yourself Go" and ÛÛ
"Get It Together," among many others. Rarities include the ÛÛ
promotional, personal messages included on several of his ÛÛ
singles that were available only to radio stations; the ÛÛ
previously unavailable dance single "It's A Gas"; and ÛÛ
several alternate pressings. ÛÛ
#Rnotes ÛÛ
Each 2-CD volume in the series, James Brown: The Singles, ÛÛ
documents every seven-inch single release by JB. All tracks ÛÛ
are mastered from the original singles masters-many for the ÛÛ
first time-whereas previous James Brown CD releases used LP ÛÛ
or new mixes, and several tracks appear here on CD for the ÛÛ
first time, ever. ÛÛ
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°
Part: 2 : Natasha Bedingfield - Pocketful Of Sunshine (Deluxe Edition) (2008)
Password: sharedmp3.net
Natasha Bedingfield - Pocketful Of Sunshine (Deluxe Edition)
Artist.....: Natasha Bedingfield
Title......: Pocketful Of Sunshine (Deluxe Edition)
Label......: Sony
Store Date.: 000-00-0000
Genre......: Pop
Encoder....: Lame 3.97 / -V2 --vbr-new
Size.......: 92.8 MB
Track Listing:
01 - Put Your Arms Around Me 03:43
02 - Pocketful Of Sunshine 03:05
03 - Happy 03:40
04 - Love Like This (Feat. Sean Kingston) 03:42
05 - Piece Of Your Heart 03:47
06 - Soulmate 03:34
07 - Say It Again 03:32
08 - Angel 03:54
09 - Backyard 03:28
10 - Freckles 03:46
11 - Who Knows 03:47
12 - Pirate Bones 03:52
13 - Not Givin' Up 03:48
14 - Unwritten (Johnny Vicious Mix) 03:25
15 - The One That Got Away (Valentin Mix) 03:45
16 - Love Like This (Johnny Vicious Mix) 03:49
17 - Pocketful Of Sunshine (Stonebridge Mix) 03:33
18 - Angel (Moto Blanco Edit) 04:38
ÄÄÄÄÄ
66:48 min
Release Notes:
this chick LOVES anal...
thanks C4 for the orig
www.natashabedingfield.com
On Pocketful of Sunshine, Natasha Bedingfield sounds like Joss
Stone only bouncier. Nothing wrong with that. In fact, the
brightness and buoyancy of this record will keep it spinning long
after CDs that shoot for hipster credibility--with funked-up bells
and fancy production whistles--have been deposited back into their
jewel cases for all eternity. Check it out: "Love Like This," with
Sean Kingston, puts its hands in the air for puppy love--the kind
that'll bring you back to your "middle school kiss"--and a couple
of other songs follow the youth-themed suit. "Backyard"
time-travels to an idyllic [CENSORED]hood, while "Freckles" fleshes
out, for the benefit of the insecure, the beauty in imperfections.
Elsewhere, Bedingfield is her indomitably upbeat self. Opener "Put
Your Arms Around Me" reeks of reassurance and tenderness. "Happy"
implores would-be gloom-and-doomers to snap out of it, and while
the title track doesn't wander all that far lyrically, it benefits
from a chanted verse brimmed in (positive) attitude. The vibe,
overall, is beach-blanket warm and blue-sky ready. Sunshine earns
a pocketful, if not more, of pop-music props.
Monday, March 2, 2009
The Decemberists - The Crane Wife (2006) Ashbury Heights - Three Cheers For the Newlydeads (2007)
Password: sharedmusic.net
ARTIST: The Decemberists
TITLE: The Crane Wife
LABEL: Capitol Records
GENRE: Indie
BITRATE: 207kbps avg
PLAYTIME: 1h 00m total
RELEASE DATE: 2006-10-03
RIP DATE: 2006-09-25
Track List
----------
1. The Crane Wife 3 4:18
2. The Island:/Come And See/The 12:26
Landlord's Daughter/You'll Not
Feel The Drowning
3. Yankee Bayonet (I Will Be Home 4:18
Then)
4. O Valencia! 3:47
5. The Perfect Crime #2 5:33
6. When The War Came 5:06
7. Shankill Butchers 4:39
8. Summersong 3:31
9. The Crane Wife 1 & 2 11:19
10. Sons & Daughters 5:13
Release Notes:
http://www.decemberists.com/
http://www.myspace.com/thedecemberists
http://www.capitolrecords.com/
"I'm a poor, drunken orphan with nowhere to go but the grave," wailed a waifish
and non-plussed Mr. Chris Funk as he lay supine by the railroad tracks. The
crate of records he had been cradling in his nubile appendages now lay in pieces
on the ashen ground, his complete collected recordings of sixties psychedelic
luminary Rick "Paisley Dave" Rigmore scattered hit her and yon like so many dead
leaves beneath a diseased elm. Noting his neglect to accredit this phrase to its
rightful owner, chief engineer Jenny Conlee, her accordion neatly strapped to
her back, stepped lightly from the caboose and corrected his negligence with the
aplomb only an immigrant Hungarian could muster: "Dylan Thomas, sir! Please move
along!" But it was too late: an indelible bond had been soldered in that moment
of recognition. A few hours later, in a Turkish bath, they revealed their
stories to one another between sips of a strange, tangerine liqueur. Not far
from that spot, however, two young military dignitaries (John Moen, Nate Query),
appropriately lathered, overheard our two heroes' stories. Was it chance, then,
that lead the four unsuspecting bathers to seek to return their soiled
undergarments at the same kiosk where worked the poor, bespectacled Colin Meloy?
One can surmise all one wants, but the truth should be known that, after
adopting the moniker The Decemberists, these five wan vagabonds began playing
their peculiarly styled pop music in various concert-halls and brothels all
across the globe.
Part: 2 : Ashbury Heights - Three Cheers For the Newlydeads (2007)
Password: sharedmusic.net
° ° °
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ÛÛßßßß ÜÜÜÜÛ²± °° Û²²ÛÛ ²Û²² Û²²ÛÛ ° Ü ÜÜÛßß ßßß ß °°ÜÜÜ ßßßÛÛÛÛ
ÜÜÜÛÛÛÛÛÛ²±°° °° ÛÛ²Û ²²°± ßÛÛÛ °±²ÛÛÛÛÛÜÜÜÜÜ
ßßÛÛÛÛÛÛÛ²±° Ripped ° ÛÛÛ ±²°°°± ÛÛ FUCK WHAT YOU HEARD! °±²ÛÛÛÛÛÛÛßß
°ÛÛÛÛ²±° by TEAM °° ÛÛ ±°° °° ÛÛ PRESENTS °±²ÛÛÛÛ°
²ÛÛÛ± FWYH °° Û ±° ° ß ±ÛÛÛ²
ÛÛÛ² ²ÛÛÛ
±ÛÛÛ° ARTiST....[ Ashbury Heights °ÛÛÛ±
ÛÛÛ± TiTLE.....[ Three Cheers For The Newly Deads ±ÛÛÛ
²ÛÛ² GENRE.....[ Electronic ²ÛÛ²
ÛÛÛ LABEL.....[ OutOfLine ÛÛÛ
²ÛÛ° KHZ.......[ 44,1 °ÛÛ²
±ÛÛ± MODE......[ VBRkbps / Joint-Stereo ±ÛÛ±
°ÛÛ± ENCODER...[ Lame 3.97 ±ÛÛ°
ßÜ ±ÛÛ² REL.DATE..[ Oct-05-2007 ²ÛÛ± Üß
° ßÛÛÜÛÛ² ²ÛÛÜÛÛß °
° ßÛ²²ÛÜ ÜÜÛ²²Ûß °
Ü ²±°ÛÛÛ²ÜÜÜÜÜ Ü ÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜ Ü ÜÜÜÜܲÛÛÛ°±² Ü
ÛÜÜÜÜܲ±ßßßßßß [TRACKLiST] ßßßßßß±²ÜÜÜÜÛ
²Û²ß Nr. TRACK ùùùùùùùùù TiME: ß²Û²
°Û± ________________________________________________________________ ±Û°
°Û± 01³ Bare your teeth ³ 03:39 ±Û°
°Û± 02³ Waste our love ³ 05:22 ±Û°
°Û± 03³ Smaller ³ 04:27 ±Û°
°Û± 04³ Stormbringer ³ 04:20 ±Û°
°Û± 05³ Derrick is a strange machine ³ 05:05 ±Û°
°Û± 06³ Cry havoc ³ 05:03 ±Û°
°Û± 07³ Swansong ³ 04:11 ±Û°
°Û± 08³ Illusion ³ 03:45 ±Û°
°Û± 09³ Angora overdrive ³ 04:19 ±Û°
°Û± 10³ Corsair ³ 04:38 ±Û°
°Û± 11³ Christ ³ 03:23 ±Û°
°Û± 12³ Suicide anthem ³ 04:19 ±Û°
°Û± 13³ Penance ³ 05:33 ±Û°
°Û± 14³ I paint nightscapes ³ 03:52 ±Û°
°Û± 15³ Eternity at an end ³ 04:22 ±Û°
°Û± ³ ³ _____ ±Û°
°Û² ³ TOTAL PLAYTiME (MiN):³ 66:18 ²Û°
±ÛÛÜ ÜÛÛ±
ܲ²Û²±°Û²ÜÜÜ Ü ÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜ Ü ÜÜܲ۰±²Û²²Ü
ß²Û²ß [RELEASENOTES] ß²Û²ß
±Û² ùùùùùùùùù ²Û±
°Û± ±Û°
°Û± Fresh, forceful, melodic…Swedish duo Ashbury Heights finally ±Û°
°Û± deliver their much-anticipated debut album for Germany's ±Û°
°Û± premiere Electro label Out Of Line. With an infectious mixture ±Û°
°Û± of catchy tunes, inexhaustible energy and an irresistible ±Û°
°Û± combination of coolness and lascivious glamour, this Swedish duo ±Û°
°Û± hit dead centre from the off. "Three Cheers For The Newlydeads" ±Û°
°Û± brings together pumping grooves, enthralling and alternating ±Û°
°Û± male and female vocals ( bringing back fond memories of the ±Û°
°Û± golden days of the Futurist and New Romantic movements ) ±Û°
°Û± reminiscent of The Human League, but with a grand scale sound ±Û°
°Û± that is firmly rooted in the here and now. ±Û°
°Û± ±Û°
°Û± Mixed by production wizard John Fryer ( Nine Inch Nails, HIM, ±Û°
°Û± Depeche Mode etc ) this album contains the two club hits "Cry ±Û°
°Û± Havoc" and "Penance"…two songs that have managed to generate a ±Û°
°Û± massive level of interest in Ashbury Height's debut even before ±Û°
°Û± it is released. The Swedish duo have managed to produce an album ±Û°
°Û± that can be categorized as Pop music without bearing any of the ±Û°
°Û± usual negative connotations in mind… a rare feat, these days. ±Û°
°Û± This is music with complex melodies that you can still sing ±Û°
°Û± along to, with huge beats and massive bass that virtually force ±Û°
°Û± you to dance and with an emotionality that will inevitably have ±Û°
°Û± you hooked. With "Three Cheers..." Ashbury Heights bring a ±Û°
°Û± welcome glam factor back into electronic music and its none the ±Û°
°Û± worse for that..enjoy,,,and dont spread to public ±Û°
±ÛÛÜ ÜÛÛ±
ÜÛÛ²ÛÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜ Ü ÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜ Ü ÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÛ²ÛÛÜ
Üß ²±Û²²Û±ßßßßßß [GROUPNOTES] ßßßßßß±Û²²Û±² ßÜ
° ÜÛÛÛÛ²° ùùùùùùùùùù °²ÛÛÛÛÜ °
° ÜÛÛ±ÛÛ°° °°ÛÛ±ÛÛÜ °
Üß ²Û±° FWYH : FUCK WHAT YOU HEARD, We're all about Family °±Û² ßÜ
²Û²° Dedication, Quality, Respect & LOVE for the music! °²Û²
²Û²° As the years passes,all our motives and objectives °²Û²
²Û²° remain,we want to give the best on dark electronic °²Û²
²Û²° genres,with the quality deserved for the only true °²Û²
²Û²° underground scene,the future might be these genres °²Û²
²Û²° °²Û²
²Û²° To all the artists that we release, some newcomers °²Û²
²Û²° & other established acts: We are sorry if you dont °²Û²
²Û²° understand the promotion we do, of your own work, °²Û²
²Û²° but if your music is full of quality,we are pretty °²Û²
²Û²° sure that a lot of people will spend their money °²Û²
²Û²° on your art. Our intention isn't to spread for the °²Û²
²Û²° masses, but just to promote good music, so all we °²Û²
²Û²° can ask is an apologize for any misunderstanding!! °²Û²
²Û²° You People deserve all our respect and attention!! °²Û²
²Û²° °²Û²
²Û²° As opposite to all the Xdcc & p2p lamerz that one °²Û²
²Û²° day will problaly destroy us all, our releases are °²Û²
²Û²° not supposed to be spread all round,but to be were °²Û²
²Û²° they are meant to stay! Behind doors & locked away °²Û²
²Û²° °²Û²
²Û²° __________________________________________________ °²Û²
²Û²° ùùùùùùùùùùùùùùùùùùùù [GREETS] ùùùùùùùùùùùùùùùùùùùù °²Û²
²Û²° °²Û²
²Û²° To our competition: AMOK, CMG, D2H, radial, SEVER °²Û²
²Û²° for all the good "fights", may you lose more than °²Û²
²Û²° win,there's no room for second place on this bizz °²Û²
²Û²° °²Û²
²Û²° To all the crews that have been an example for us °²Û²
²Û²° trough this years, many to enumerate, but we all °²Û²
²Û²° know "Who is Who", Props go to "WHO" deserves it! °²Û²
²Û²° °²Û²
²Û²° And finally, greets to all FWYH guys and their own °²Û²
²Û²° families, takes time and patience to go along with °²Û²
²Û²° all of this, so the warmest greets are to them!!!! °²Û²
²Û²° °²Û²
Ü°²ÛÛÛÜ ÜÛÛÛÛ²°Ü
°ß ÜÜÛÛÛ±°ÛÛÛÜÜÜ Ü ÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜÜ Ü ÜÜÜÛÛÛ°±ÛÛÛÜÜ ß°
ÜÛÛÛßßÛ²±±ÛÛßßß ßßßÛÛ±±²ÛßßÛÛÛÜ
ßÛ²ÛÛ ASCii By AyLieN OF CHEMICAL REACTiON 2oo2! ÛÛ²Ûß
ÛÛÛÛ Updated on 12-2006 ÛÛÛÛ
ÛÛÛÛ ÛÛÛÛ
ÛÛÛ FWYH : in Joint-Stereo forces ÛÛÛ
ÛÛÜ with Lame 3.90.3 ÜÛÛ
ÛÛ Alive since 2001 ÛÛ
ÛÜ ÜÛ
Sarah McLachlan - Afterglow (2003) VA - Slaves To The Rhythm – Trevor Horn (2008)
Password: sharedmusic.net
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Û Artist : Sarah McLachlan Û
Û Album : Afterglow Û
Û Bitrate : VBR 179 Average KB/s (High Quality 44.1 kHz Joint Stereo) Û
Û URL : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gvfoxqraldte Û
ÛÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÛ
Û Source : CD (LP) NFO [û] Û
Û Label : Arista SFV [û] Û
Û Year : 2003 M3U [û] Û
Û Genre : Pop/Rock JPG [û] Û
Û Ripper : NHH Û
Û Rip date : 2008-07-22 Û
Û Store date : 2003-11-04 Û
Û Rip tool : EAC 0.99 prebeta 4 (Secure Mode) Û
Û Encoder : Lame 3.97 -V2 --vbr-new Û
Û Size : 51.75 megs Û
Û [CENSORED]# : 50150 Û
Û Supplier : NHH Û
ÛÀúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúúÙÛ
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Û Total Tracks : 10 Û
Û 1. Fallen 3:47 Û
Û 2. World On Fire 4:22 Û
Û 3. Stupid 3:23 Û
Û 4. Drifting 3:23 Û
Û 5. Train Wreck 4:36 Û
Û 6. Push 3:55 Û
Û 7. Answer 3:57 Û
Û 8. Time 4:07 Û
Û 9. Perfect Girl 4:43 Û
Û 10. Dirty Little Secret 3:54 Û
Û ----------------------------------------------------------------------- Û
Û 40:07 Û
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ÛßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßßÛ
Û Review by Stephen Thomas Erlewine Û
Û Û
Û During the mid-'90s, Sarah McLachlan was a near-ubiquitous presence in Û
Û pop music, establishing adult alternative pop radio with 1994's Fumbling Û
Û Toward Ecstasy and 1997's Surfacing and spearheading the popular Lilith Û
Û Fair touring festival, but once the last Lilith wound up in 1999, she Û
Û retreated from the spotlight, had a baby, and seemingly retired from Û
Û music. Four years later, she made a typically subdued return with Û
Û Afterglow, her first album in six years. Not much has changed in the Û
Û time she was away. Afterglow is firmly within the McLachlan signature Û
Û sound -- a softly tuneful, mildly atmospheric blend of classic Û
Û singer/songwriterism and a touch of vaguely dreamy alternative pop, all Û
Û shined and immaculately produced by Pierre Marchand. Prior to its Û
Û release, the album was touted as the first collection of songs she wrote Û
Û entirely on piano, not guitar, but ultimately this doesn't make much of Û
Û a difference to the overall feel and effect of the album, which Û
Û perfectly dovetails with Surfacing. At times, the pacing is so languid Û
Û and the production so open-ended, the album kind of drifts away, but Û
Û it's not only in a pleasant fashion; it's also no different than its Û
Û immediate predecessor, which also could meander. In other words, after a Û
Û prolonged absence, Sarah McLachlan re-emerges with a record that could Û
Û have followed Surfacing by six months, not years. Some may call that Û
Û predictable, some may call it reliable, but there's little arguing that Û
Û Afterglow is a solid effort -- it won't win new fans, but it will Û
Û certainly satisfy the old ones. Û
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| | /|
' ' `-'
Part: 2 : VA - Slaves To The Rhythm – Trevor Horn (2008)
Password: sharedmusic.net
Artist.......: VA
Album........: Slaves to the Rhythm - Trevor Horn
Label........: Wienerworld Ltd
Genre........: Pop
Catnr........: WNRD2446
Source.......: DVD (Ac3 2.0)
Rip.date.....: Jul-29-2008
Str.date.....: Jun-16-2008
Quality......: VBR/44,1Hz/Joint-Stereo
Url..........: http://www.wienerworld.com
track title time
01. buggles - intro & video killed the radio star 04:58
02. buggles - living in the plastic age 06:03
03. dollar - give me back my heart 05:55
04. grace jones - slave to the rhythm 05:32
05. abc - poison arrow 04:22
06. abc - all of my heart 05:38
07. abc - look of love 05:53
08. art of noise - close to the edit 05:19
09. propaganda - dr. mabuse 08:00
10. yes - cinema 03:08
11. yes - owner of a lonely heart 07:50
12. belle & sebastian - i'm a cuckoo 03:46
13. belle & sebastian - step into my office 05:00
14. pet shop boys - left to my own devices 09:05
15. pet shop boys - it's alright 05:45
16. lisa stansfield - takes a woman to know 04:48
17. t.a.t.u. - all the things she said 04:51
18. seal - killer 09:46
19. seal - kiss from a rose 05:38
20. seal - crazy 07:30
21. frankie goes to hollywood - welcome to the 10:32
pleasuredome
22. frankie goes to hollywood - two tribes 04:47
23. frankie goes to hollywood - relax 04:00
24. va - ending 00:26
Runtime 138:32 min
Size 195,7 MB
Release Notes:
In 2004, Trevor Horn celebrated 25 years as one of the
world's most successful pop music producers. In Slaves to
the Rhythm, a unique Wembley concert in aid of the Princes
Trust in 2004, 13 of Trevor Horn's best selling acts,
guest musicians and a full backing orchestra, came
together to help celebrate - over two hours of
electrifying music, in one place, at one time, for one
man.
Artists performing in this very special DVD include Yes,
Seal, Pet Shop Boys, Frankie Goes to Hollywood, Grace
Jones, Lisa Stansfield, ABC, Art of Noise, Dollar,
Propaganda, Belle & Sebastian, Tatu and of course The
Buggles.
Trevor Horn's groundbreaking musical career reads like a
'who's who' of popular music. Starting with his own band,
The Buggles and the legendary global hit, 'Video Killed
The Radio Star', he then joined YES, first as band member,
then Producer. His production career continued with
artists such as Frankie Goes to Hollywood, ABC, Godley &
Creme, Paul McCartney, Seal, Simple Minds, Lisa
Stansfield, Rod Stewart, Tatu and the list goes on and on.
Uniquely, in the history of music, "Owner of a Lonely
Heart" with YES and "Relax" with Frankie Goes To Hollywood
resulted in Trevor being the only Producer to have
simultaneous number one records in both the UK and the
USA. His musical genius has created boundless worldwide
hits and in the process, played a hugely influential role
in shaping many artists careers as well as popular music
culture.
With the full concert, documentary and jukebox facility,
all the energy and excitement of Slaves to the Rhythm are
captured on this perfectly mixed DVD.
Sunday, March 1, 2009
OST - Walk Hard: The Dewey Cox Story (2007) Glen Campbell - Meet Glen Campbell (2008)
Part: 1 : OST - Walk Hard: The Dewey Cox Story (2007)
Part: 2 : Glen Campbell - Meet Glen Campbell (2008)
Password: sharedmusic.net
Artist : Dewey Cox (John C. Reilly)
Album : Walk Hard- The Dewey Cox Story
Source : CD
Year : 2007
Genre : Rock
Encoder : NMR
Codec : Lame 3.97
Quality : VBR, average 169kbps, joint stereo
ID3-Tag : Yes, Version 1 & 2.3
Posted By : BackDoor Man on 29-12-2007
Ripped By : Unknown
Posted to : alt.binaries.sounds.mp3
alt.binaries.sounds.mp3.2000s
alt.binaries.sounds.mp3.soundtracks
alt.binaries.sounds.mp3.full_albums
alt.binaries.sounds.mp3.nospam
Included : This Info-File (NFO)
: checksum (par2)
: repair blocs (PAR2)
Review
by Stephen Thomas Erlewine
- All Music Guide
It goes without saying that a music movie lives or dies by its music, but it's particularly true with pop music parodies. If the music doesn't hit the right notes -- if it doesn't feel like the period it's meant to evoke, if the humor is either too broad or dry -- the movie crumbles around it, to say nothing of the soundtrack, which will be hard-pressed to stand on its own as an album. The gold standard for rock comedies is This Is Spinal Tap, as the music felt authentic, and Christopher Guest, Harry Shearer, and Michael McKean proved that lightning could strike twice with their folk music saga A Mighty Wind.
The soundtrack to the John C. Reilly-starring Walk Hard: The Dewey Cox Story belongs in such rarefied company. Like Spinal Tap, Walk Hard sets the bar high by attempting to create many sounds from the past, but where the Tap pretty much confined themselves to a bit of Merseybeat and psychedelia before settling into a metallic groove, the whole point of Walk Hard is to trace Reilly's Cox character -- based chiefly on Johnny Cash -- through the ins and outs of the '50s, '60s, and '70s, so there are more sounds here and thereby more pitfalls, all of which the music-makers miraculously manage to avoid. This is especially remarkable because the 15 songs on Walk Hard evoke many different artists: there is naturally Johnny Cash on the title track, the mariachi-flared "Guilty as Charged," and the cheerfully vulgar Johnny and June take-off "Let's Duet," but there are also two takes on Elvis ("[Mama] You Got to Love Your Negro Man," "[I Hate You] Big Daddy"), three on Dylan, Roy Orbis! on on the grandly melodramatic "A Life Without You (Is No Life at All)," and the Everly Brothers-styled "Darling," but this also leaves old-time rock & roll behind with the Beach Boys psych-pop pastiche "Black Sheep" and, bizarrely, a disco spin on David Bowie's "Starman."
That's a lot of ground to cover, but the songs work as music while still being funny. Sometimes, the jokes are big and obvious -- the double entendres on "Let's Duet" are hardly subtle -- but sometimes the humor is a bit sly, as on "Royal Jelly," which nails Dylan's stream-of-conscious romantic writing. Of course, that song wouldn't work if it weren't for John C. Reilly's delivery; he mimics the particulars of Dylan's cadence with the grace of Cate Blanchett, and his fine ear for detail is evident throughout this soundtrack, as he negotiates the twists and turns of the music with ease. Such a performance would be admirable if the songs weren't good, but since they're very fine, his singing helps turn Walk Hard into that rarest of things: a parody album that's almost as addictive as the real deal.
Tracklisting
------------
01 (2:47) - Walk Hard
02 (2:31) - Take My Hand
03 (2:44) - (Mama) You Got To Love Your Negro Man
04 (2:19) - A Life Without You (Is No Life At All)
05 (3:32) - Let's Duet
06 (2:35) - Darling
07 (1:49) - (I Hate You) Big Daddy
08 (2:51) - Guilty As Charged
09 (2:45) - Dear Mr. President
10 (1:53) - Let Me Hold You (Little Man)
11 (4:27) - Royal Jelly
12 (3:44) - Black Sheep
13 (3:40) - Starman
14 (3:44) - Beautiful Ride
15 (2:28) - (Have You Heard The News) Dewey Cox Died
Playing Time : 43:49
Total Size : 59.5 MB
I'll check the post after I make it and if it goes up properly I won't be making any full track reposts until after it clears the premium servers. After a reasonable amount of time I will be happy to help anyone who needs fills.
Extra par2 repair blocks will be posted as soon as I see a request for them.
If you don't use par2 because you don't know how or don't have a program to use it, quickpar is very simple to use and is free.
http://www.quickpar.org.uk/
--
backdoor man
Part: 2 : Glen Campbell - Meet Glen Campbell (2008)
Password: sharedmusic.net
+----------------+------------------------------------------+----------------+
| |
| Artist : Glen Campbell |
| Album : Meet Glen Campbell-(Advance) |
| Bitrate : VBR kbps |
| |
+-------------------------------[Release Info]-------------------------------+
| |
| Label : Capital Records |
| Year : 2008 |
| Genre : Country |
| Rip date : Jul-16-2008 |
| Store date : Aug-19-2008 |
| Size : 49,6 MB |
| |
+--------------------------------[Track List]--------------------------------+
| |
|Track Listing: |
| |
| 01 - Sing 03:45 |
| 02 - Walls 03:32 |
| 03 - Angel Dream 02:29 |
| 04 - Times Like These 03:28 |
| 05 - These Days 03:30 |
| 06 - Sadly Beautiful 03:20 |
| 07 - All I Want Is You 04:15 |
| 08 - Jesus 03:11 |
| 09 - Good Riddance (Time Of Your Life) 02:36 |
| 10 - Grow Old With Me 03:39 |
| |
| ÄÄÄÄÄ |
| 33:45 min |
| |
+-------------------------------[Release Notes]------------------------------+
| |
| Enjoy... new album of covers from some of your favorite bands! |
| |
| It isn't accurate to call Glen Campbell "pure country," but his smooth |
| fusion of country mannerisms and pop melodies and production techniques |
| made him one of the most popular country musicians of the late '60s and |
| '70s. Campbell was one of the leading figures of country-pop during that |
| era, racking up a steady stream of Top Ten singles, highlighted by |
| classics like "By the Time I Get to Phoenix," "I Wanna Live," "Wichita |
| Lineman," "Galveston," "Rhinestone Cowboy," and "Southern Nights." |
| Boasting Campbell's smooth vocals and layered arrangements, where steel |
| guitars bounced off sweeping strings, those songs not only became |
| country hits, they crossed over to the pop charts as well, which was |
| appropriate, since that is where he began his musical career. |
| Originally, he was a Los Angeles session musician, playing on hits by |
| the Monkees, Elvis Presley, Frank Sinatra, and Merle Haggard. By the end |
| of the '60s, he had become a successful solo artist, and that success |
| would not abate until the late '80s, when he stopped having radio hits |
| and began concentrating on live performances at his theater in Branson. |
| |
| Campbell was born and raised in Delight, AR, where he received his first |
| guitar when he was four years old. Learning the instrument from various |
| relatives, he played consistently throughout his [CENSORED]hood, eventually |
| gravitating toward jazz players like Barney Kessel and Django Reinhardt. |
| While he was learning guitar, he also sang in a local church, where he |
| developed his vocal skills. By the time he was 14, he had begun |
| performing with a number of country bands in the Arkansas, Texas, and |
| New Mexico area, including his uncle's group, the Dick Bills Band. When |
| he was 18, he formed his own country band, the Western Wranglers, and |
| began touring the South with the group. Four years later, Campbell moved |
| to Los Angeles, CA, where he became a session musician. |
| |
| Shortly after arriving in California, Campbell earned the reputation of |
| being an excellent guitarist, playing on records by Bobby Darin and Rick |
| Nelson. In 1960, he briefly joined the instrumental rock & roll group |
| the Champs, who had the hit single "Tequila" two years earlier. The |
| following year, he released his debut single, "Turn Around, Look at Me," |
| on the small Crest label; the single reached number 62 later in the |
| year. By the summer of 1962, he had released "Too Late to Worry — Too |
| Blue to Cry" on Capitol Records; the single only spent two weeks on the |
| charts, peaking at 76. While he was tentatively pursuing a solo career, |
| Campbell continued to play professionally, most notably for Elvis |
| Presley and Dean Martin. Also in 1962, he played guitar and sang on |
| "Kentucky Means Paradise," a single by the one-off group the Green River |
| Boys, who released an album, Big Bluegrass Special. "Kentucky Means |
| Paradise" became a hit on the country charts, climbing to number 20. |
| Instead of pursuing a full-fledged country career after the single's |
| release, Campbell returned to studio work, and over the next two years |
| he played on sessions by Frank Sinatra ("Strangers in the Night"), Merle |
| Haggard ("The Legend of Bonnie and Clyde"), the Monkees ("I'm a |
| Believer"), the Association, and the Mamas & the Papas, among many |
| others. |
| |
| Following Brian Wilson's breakdown and retirement from the road in 1965, |
| Glen Campbell became a touring member of the Beach Boys for several |
| months. At the end of his tenure as the group's temporary bassist, the |
| Beach Boys offered him a permanent spot in the band, but he turned them |
| down when they wouldn't allow him to have an equal cut of the group's |
| royalties. A few months after rejecting the band's offer, the Beach |
| Boys' record label, Capitol, offered Campbell a full-fledged contract. |
| His first release under his new long-term Capitol contract was a version |
| of Buffy Sainte-Marie's "The Universal Soldier," which peaked at number |
| 45. For much of 1966, he continued to pursue studio work, but he |
| released "Burning Bridges" toward the end of the year, and it climbed to |
| number 18 on the country charts early in 1967. |
| |
| During 1967, Capitol pushed Campbell as a country recording artist, and |
| their breakthrough arrived in the late summer when his folky country-pop |
| rendition of John Hartford's "Gentle on My Mind" became a Top 40 hit on |
| both the country and pop charts. By the end of the year, he had released |
| a cover of Jimmy Webb's "By the Time I Get to Phoenix," which reached |
| number two on the country charts, and number 26 on the pop charts. Early |
| in 1968, "Gentle on My Mind" won the Grammy Award for Best Country & |
| Western Recording of 1967. Campbell's success continued in 1968, as "I |
| Wanna Live" became his first number one hit and "Dreams of the Everyday |
| Housewife" reached number three. The following year, CBS television |
| hired him to host the variety show The Glen Campbell Good Time Hour, |
| which became quite popular and helped establish him as not only a |
| country star, but a pop music superstar. |
| |
| Throughout the late '60s and early '70s, Campbell continued to rack up |
| hit singles, including the number one hits "Wichita Lineman" (1968) and |
| "Galveston" (1969), plus the Top Ten singles "Try a Little Kindness" |
| (1969), "Honey Come Back" (1970), "Everything a Man Could Ever Need" |
| (1970), and "It's Only Make Believe" (1970). In 1968, he began recording |
| duets with Bobbie Gentry, and they had hit singles with their versions |
| of two Everly Brothers songs: "Let It Be Me," which reached 14 in 1969, |
| and "All I Have to Do Is Dream," which peaked at number six in 1970. |
| Also in 1969, he began a film career, appearing in the John Wayne movie |
| True Grit that year and Norwood the following year. |
| |
| By 1972, Campbell's record sales started slipping. After "Manhattan |
| Kansas" reached number six that year, he had trouble having Top 40 hits |
| for the next two years. Furthermore, his television show was canceled. |
| As his career slowed, he began sinking into drug and alcohol addiction, |
| which continued even through his mid-'70s revival. In 1975, he returned |
| to the Top Ten with "Rhinestone Cowboy," a huge hit that reached number |
| one on both the country and pop charts. Over the next two years, he had |
| a number of Top Ten country hits, including "Country Boy (You Got Your |
| Feet in L.A.)" and "Don't Pull Your Love"/"Then You Can Tell Me |
| Goodbye," which also reached the pop charts. In 1977, he had his final |
| number one hit with "Southern Nights," which topped both the country and |
| pop charts. |
| |
| Following the success of "Southern Nights" and its follow-up, |
| "Sunflower," Campbell stopped reaching the country Top Ten with |
| regularity, yet he had a string of lesser hits and was an immensely |
| popular performer in concert and television. During the mid-'80s, he |
| experienced a brief commercial revival, as the singles "Faithless Love," |
| "A Lady Like You," and "The Hand That Rocks the Cradle" all reached the |
| country Top Ten. By that time, he had begun to clean up his act. Over |
| the course of the mid-'80s, he kicked his addictions to drugs and |
| alcohol and became a born-again Christian. Appropriately, he began |
| recording inspirational albums, yet he didn't abandon country music. As |
| late as 1989, Campbell's smooth, synth-laden contemporary country-pop |
| was reaching the country Top Ten; his last two Top Ten country hits were |
| "I Have You" (1988) and "She's Gone, Gone, Gone" (1989). |
| |
| Campbell began recording less frequently in the early '90s, especially |
| since he could no longer reach the charts and the radio, since they were |
| dominated by new country artists. Over the course of the decade, he |
| gradually moved into semi-retirement, concentrating on golf and |
| performing at his Goodtime Theater in Branson, MO. In 1994, he published |
| his autobiography, Rhinestone Cowboy. |
| |
+----------------------------------------------------------------------------+
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