Part: 1 : Natalie - Natalie (2005) Password: sharedmp3.net
ARTIST: Natalie
TITLE: Natalie
LABEL: Latium/Universal Records
GENRE: R&B
BITRATE: 201kbps avg
PLAYTIME: 0h 49min total
RELEASE DATE: 17 May 2005
RIP DATE: 30 Apr 2005
01. Goin' Crazy 4:54
02. Energy (Feat. Baby Bash) 3:30
03. Better Get It Right (Feat. Max 3:38
Minelli)
04. Ooh 4:39
05. You Don't Love Me No More 3:21
06. I Can't Wait 3:19
07. Stay 4:10
08. Something About You (Feat. 3:50
Russell Lee)
09. You're The One 4:36
10. Emptiness 4:16
11. Where Are You (With Justin 4:05
Roman)
12. Me Faltas Tu 4:53
Release Notes:
Former Houston Rockets dancer, Natalie, couldn't have choreographed a better
opening number onto the pop music scene.
Her single, "Goin' Crazy," has struck a deep chord with listeners. The sultry,
heartfelt ballad is currently blowing up phone lines across the country as one
of the top 10 most requested songs on the radio and one of the fastest chart
climbers on I-Tunes. Inspired by a past relationship, the Texas native penned
the track in just 15 minutes. The single hits the stores March 15th while her
debut album drops this May on Latium/Universal Records.
"I'm literally in the studio everyday, breathing, sleeping and eating music,"
says the twenty-something Latina. She was poised to pursue a more traditional
career with her degree in criminal justice but a chance audition with the
Houston Rockets changed her life. She landed onto the local music scene where
she danced for Houston artists and perfected her flow as a lyricist. While
creating mix tapes she realized a strong passion for not only music, but for
writing as well.
Fate stepped in a second time when she was rapping at a club. Charles Chavez,
president of Latium Entertainment spotted her and the rest is history. Latium
Entertainment is the management company to Frankie J., Baby Bash, Chamillionaire
and Play N' Skillz. Producers Happy Perez (Jadakiss, Mystikal, Master P) and
Play N' Skillz (Ludacris, Scarface, UGK, Krayzie Bone)are lending their platinum
touch to her album.
"I'm working with various producers in Houston and want people to recognize all
the musical talent we have here," explains the songstress. Influenced by the
likes of Jadakiss, Gwen Stefani, Usher, Beyonce' and Aaliyah, Natalie possesses
versatility like many of the musicians who have inspired her. "I want to be a
great entertainer," she says. "I love making all kinds of music from ballads, to
dance tracks and club tracks, all of these styles are going to be on my album."
It's no secret that Natalie is one to watch in the entertainment industry. Fans
can see her action on the upcoming Latium Entertainment tour with Frankie J.,
Baby Bash and many more.
Password: sharedmp3.net
ARTiST: Animal Collective
ALBUM: Merriweather Post Pavillon
BiTRATE: 202kbps avg
QUALiTY: EAC Secure Mode / LAME 3.97 Final / -V2 --vbr-new / 44.100Khz
LABEL: Domino
GENRE: Indie
SiZE: 83.21 megs
PLAYTiME: 0h 54min 42sec total
RiP DATE: 2009-01-09
STORE DATE: 2009-01-09
Track List:
--------
01. In The Flowers 5:22
02. My Girls 5:40
03. Also Frightened 5:14
04. Summertime Clothes 4:30
05. Daily Routine 5:46
06. Bluish 5:13
07. Guy's Eyes 4:30
08. Taste 3:53
09. Lion In A Coma 4:12
10. No More Runnin' 4:23
11. Brother Sport 5:59
Release Notes:
--------
With their constantly evolving sonic identity, in-your-face vocal mannerisms,
and open-ended ideas about what their music might "mean," Animal Collective seem
designed to inspire obsessive fans and vociferous detractors in equal measure.
Merriweather Post Pavilion, their latest full-length, has been anticipated to an
almost ridiculous degree, with blogs and message boards lighting up with each
scrap of new information or word of a possible leak. No one who's been looking
forward to it should be disappointed. Everything that's defined the band to this
point-- all those strands winding through their hugely diverse [CENSORED]-- is
refined and amplified here.
Since their inception, Animal Collective have wandered the territorial edges of
music, scoping out where boundaries had been erected and looking beyond them.
They've punctuated perfectly likeable indie rock songs with bleating
vocalizations. They've seeded pretty instrumentals with irritating noise.
They've juxtaposed West African rhythms and melodies cribbed from British folk.
They've stayed on a single chord for 10 minutes. But Merriweather feels like a
joyous meeting in a well-earned, middle place-- the result of all their
explorations pieced together to create something accessible and complete.
Although it will be tagged as Animal Collective's "pop" album, Merriweather Post
Pavilion remains drenched in their idiosyncratic sound, a record that no one
else could have made. The album is named for a Maryland venue that last year
played host to Santana, Sheryl Crow, and John Mayer, but its songs won't be
heard on the radio, and besides, Animal Collective's M.O. requires them to exist
outside of rigid formats. Nonetheless, they've found a natural way to integrate
the sing-along melodies, sticky hooks, and driving percussion that have long
been hallmarks of celebratory popular music.
Animal Collective's two vocalists, Dave Portner (aka Avey Tare) and Noah Lennox
(aka Panda Bear), have never sounded better together, and the way their styles
complement each other is the story of the album. On the one hand you have
Panda's straightforward melodies, his fuzzy, head-in-the-clouds dreaminess, and
his instinctual trawl through pop music history. The tracks that favor his
songwriting typically have an underlying sense of drone, with everything moving
forward along a line in relation to some subliminal center: They begin, then
build, expand, and contract. Tare, meanwhile, tends to work within a more
classic pop structure, with clear bridges and snappy choruses, greater harmonic
development, and a sharper lyrical focus. Here, he reins in the blurting
vocalizations that he's so often used as punctuation (the hardcore faithful
might miss this unhinged emoting just a little). Both songwriters are on exactly
the same page and, working with sonic spelunker Brian "Geologist" Weitz and
producer Ben Allen (no Josh "Deakin" Dibb this time), they've found a sumptuous
musical background for their most accomplished songs.
Merriweather is the kind of album on which any song could be someone's favorite,
but two will likely reign as the choice picks: "My Girls" and "Brother Sport",
both of which leaked prior to the record's release, contain the album's most
effervescent moments, drawing from the communal energy of the group's
astonishing live show. "My Girls" grows from a synth-speckled, half-speed intro
into a booming electro-pop burner with handclaps and deep bass-- a towering
edifice of sound trailed by long wisps of West coast harmonies. The
Afro-Brazilian-flavored "Brother Sport" moves from one chanted melodic nugget to
the next before building to a huge swirl of psychedelic sound that encompasses
rave sirens and immersive tribal drums.
But these obvious peaks would have less resonance if not for the more subtle
moments. The oblong architecture of "Daily Routine" hearkens back to the band's
less stable earlier days, as it moves appealingly from an awkward organ-based
mid-tempo number to a long, droney coda that has the ego-pulverizing bliss of
shoegaze. The surging thrust of distortion and drumkick that propels "Summertime
Clothes" starts with an almost militaristic pomp, but the song soon reaches a
place of pure sweetness with a simple chorus hook ("I want to walk around with
you") that could have come from any point in the last 100 years. Similarly
out-of-time sentiments mark "Bluish"-- lines like "I'm getting lost in your
curls," or, "Some kind of magic in the way you're lying there"-- and the music
has the airy ease of 1970s soft-rock that weirdly winds up a little
disconcerting. And then "Also Frightened" has the dislocated swoon of first-wave
psychedelia, a "See Emily Play"-style mediation on the small insanity of
[CENSORED]hood softened with billowing layers of voices.
The lyrics focus on the body, basic human connection, the need to take care of
oneself, the puzzle of existence. Where the churning electronic sound, with its
fizzes and echoes and underwater cast, brings to mind altered states and the
confusing gap between the familiar and the strange, the words seem like a
running commentary on the essential mystery of being alive. Animal Collective
don't tell stories, and their music rarely has characters; there's little clever
wordplay and fewer money lines you'll repeat later on. Rather, the words
reinforce the sense of vulnerability that cuts through the music, and wind up
being an essential component on an album that oozes confidence from every pore.
Music obsessives talk a lot about originality-- whether it's important, or why
having a new sound should or shouldn't matter. In recent years, some fantastic
albums have turned a number of people off for being retreads, which has sparked
some interesting discussions. This album, which finds Animal Collective
completely owning their unique sound, feels like the crucial next step in that
conversation. What they've constructed here is a new kind of electronic pop--
one which is machine-generated and revels in technology but is also deeply
human, never drawing too much attention to its digital nature. It's of the
moment and feels new, but it's also striking in its immediacy and comes across
as friendly and welcoming. Animal Collective have spent the decade following
their own path, figuring out what their music is capable of while also working
to bring more listeners into their world. On Merriweather Post Pavilion, their
commitment has paid off tremendously.
