[2007] Ms. Kelly - Kelly Rowland [Mp3 Download]

Track Lists
01 Like This (Feat Eve)
02 Come Back
03 Ghetto (Feat Snoop Dogg)
04 Put It In
05 Flashback
06 Every Thought Is You
07 The Show (Feat Tank)
08 Interlude
09 Still In Love With My Ex
10 Love
11 Better Without You
12 This Is Love
13 Gotsta Go Pt 1 (Feat Da Brat) (Bonus Track)our Touch

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[2006] Cassie - Cassie [Mp3 Download]

Track Lists
01. Me & U
02. Long Way 2 Go
03. About Time
04. Kiss Me
05.Call U Out
06. Just One Nite
07. Hope You're Behaving (Interlude)
08. Not With You
09. Ditto
10. What Do U Want
11. Miss Your Touch
12. When Your Body Is Talking [Bonus]
13. Can't Do It Without You [Bonus]
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[2002] No More Drama - Mary J. Blige [Mp3 Download]

Track Lists
01. Love
02. Family Affair
03. Steal Away
04. He Think I Don't Know
05. PMS
06. No More Drama
07. Rainy Dayz (w/ Ja Rule)
08. Where I've Been (featuring Eve)
09. Beautiful Day
10. Dance For Me (Remix w/ Common)
11. No More Drama (Remix w/ P. Diddy)
12. Flying Away
13. Never Been
14. 2U
15. In The Meantime
16. Forever No More
17. Testimony

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[2003] The Diary of Alicia Keys - Alicia Keys [Mp3 Download]

Editorial Reviews@Amazon.com
Alicia Keys has more than lived up to the promise of her formidable debut Songs in A Minor, pushing beyond her flirtation with old-school soul and venturing into the modern world, even hiring Timbaland to guide her through the shoals of anthemic hip-hop on the breathless and funkified "Heartburn." Sounding like a hyperthyroid cheerleader, Keys unleashes a quirky sense of humor that no one even suspected she possessed. Her effortless singing on the beat-driven "Karma" is a wonder of sonics on this uplifting piece of pop philosophy, giving countless anxious woman hope that everything will work out as it's meant to, or on "Samsonite Man," where it won't. But despite her edgy styling and jazzy vocal posturing, Keys hasn't abandoned her love for old R&B and travels back in time, giving Gladys Knight's "If I Was Your Woman" a face lift it may not have needed, then turns around and recasts the song as the winsome and dramatic "You Don't Know My Name." But at its heart, The Diary of Alicia Keys is a gross misnomer. After listening to the disc, fans will know little more about the elusive diva than they did before, her lyrical style consistently more narrative than confessional. In fact, the title track doesn't delve into the singer's inner life, but instead is about a long-distance love affair, with Keys promising the object of her affection that: "I won't tell your secrets/Your secrets are safe with me/I will keep your secrets/Just think of me as the pages in your diary."--Jaan Uhelszki

Track Lists
01. Harlem's Nocturne
02. Karma
03. Heartburn
04. Medley: If I Was Your Woman/Walk on By
05. You Don't Know My Name
06. If I Ain't Got You
07. Diary
08. Dragon Days
09. Wake Up
10. So Simple
11. When You Really Love Someone
12. Feeling U, Feeling Me (Interlude)
13. Slow Down
14. Samsonite Man
15. Nobody Not Really (Interlude)

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[2003] Dangerously in Love - Beyonce [Mp3 Download]

Editorial Reviews@Amazon.com
The perfect timing of Beyonce Knowles’ career moves continues with the release of her debut solo album. Dangerously in Love’s best music is wildly up-to-date, craftily designed for both maximum street acceptance and positioning as some of the most cutting-edge stuff on current radio. The brash first single, "Crazy in Love," melds Jay-Z with an unstoppable Chi-Lites horn sample, shape-shifting into something brand new. Collaborations with Outkast’s Big Boi and Sean Paul also prick up the ears, while changes of pace like "Be with You" and "Speechless" achieve their aim with credibility. The disc becomes far too ballad heavy in its second half, but the key stuff is the noise she brings. --Rickey Wright

Track Lists
01. Crazy In Love
02. Naughty Girl
03. Baby Boy
04. Hip Hop Star
05. Be With You
06. Me, Myself And I
07. Yes
08. Signs
09. Speechless
10. That's How You Like It
11. The Closer I Get To You
12. Dangerously In Love 2
13. Beyonce Interlude
14. Gift From Virgo
15. Daddy

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[2006] The Cheetah Girls 2 [Soundtrack] [Mp3 Download]

Editorial Reviews@Amazon.com
The Disney Channel hits paydirt again with this new musical featuring the popular Cheetah Girls. Led by Raven-Symoné as Galleria (she gets three solo tracks), the aspiring pop stars hit Barcelona this time, and use the opportunity to sing a lot of catchy songs. The younger fans of High School Musical will dig this, especially since the movie's helmed by the same director, Kenny Ortega, and most of the songs are written by the same team. The kids perform most of the tracks together, Spice Girls­-style: "Why Wait" is a zippy tune that's a little like Kelly Clarkson Lite, while "Step Up" incorporates R&B backings into an anthem-like chorus and several songs integrate Latin spices and additional vocals from guest Belinda Peregrin, a fab Mexican singer. Sounds like Disney is on a roll. --Elisabeth Vincentelli

[2003] The Cheetah Girls [Soundtrack] [Mp3 Download]

Track Lists
01. Cheetah Sisters - Cheetah Girls
02. Cinderella - Cheetah Girls
03. Girl Power - Cheetah Girls
04. Together We Can - Cheetah Girls
05. C'mon - Sonic Chaos
06. Girlfriend - Char
07. Breakthrough - Hope 7
08. End of the Line - Christi Mac

Download The Cheetah Girls Soundtrack Special Edition

[2007]Jonas Brothers - Jonas Brothers [Mp3 Download]

Editorial Reviews@Amazon.com
To parents, they're the new Hanson. To kids who've been tuning into Radio Disney and flipping the pages of Tiger Beat, they're geniuses. Jonas Brothers, the sophomore effort from the close-knit, close-up ready trio of New Jersey boys, is a mercilessly catchy collection of short but sweet punk- and emo-flavored confections. "Goodnight and Goodbye" grabs hold with guitar-fueled urgency, "Still in Love" borrows from old-school acts like KISS to build a slighter, kid-friendlier brand of classic rock, and "Games" has a respectable go at ska without sacrificing much in the way of pure-pop accessibility. The whole disc follows suit--a couple of ballads slide in ("Hello Beautiful" is a pretty one), but the brothers don't do much to dispel the idea that for them, uptempo ditties are where it's at. Twelve-year-olds, take note: CDVU+, the new format pioneered by Disney, takes cuteness into account; because this disc is configured with bonus material, photos and posters of Nick, Kevin, and Joe are just clicks away. --Tammy La Gorce

Track Lists
01. S.O.S
02. Hold On
03. Goodnight And Goodbye
04. That's Just The Way We Roll
05. Hello Beautiful
06. Still In Love With You
07. Australia
08. Games
09. When You Look Me In The Eyes
10. Inseparable
11. Just Friends
12. Hollywood
13. Year 3000
14. Kids Of The Future

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The Greatest Hits - Tommy Page [Mp3 Download]

Track Lists
01.Painting in My Mind
02.A Shoulder To Cry On
03.I'm Falling in Love
04.Whenever You Close Your Eyes
05.Madly in Love
06.Don't Give Up On Love
07.I Think I'm In Love
08.Don't Walk Away
09.I'll Be Your Everything
10.I'm Always Dreaming of You
11.Just Before (I Was Gonna Say I Love You)
12.Under The Rainbow
13.Close Our Eyes
14.Can't Change The Way You Don't Feel
15.Spend Tonight With You
16.The Hardest Thing I've Ever Had To Do
17.Time
18.A Shoulder To Cry On (Instrumental)
19.Missing You

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[2003] Ultimate Air Supply [Mp3 Download]

Track Lists
01. Lost In Love
02. All Out Of Love
03. Chances Listen
04. Every Woman In The World
05. The One That You Love
06. I Want To Give It All
07. Here I Am (Just When I Thought I Was Over You)
08. Sweet Dreams
09. Even The Nights Are Better
10. Two Less Lonely People In The World
11. Don't Be Afraid
12. Young Love Listen
13. Making Love Out Of Nothing At All
14. Just As I Am
15. The Power Of Love
16. Without You
17. Goodbye
18. Someone

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[2000] Half Hour of Power - Sum 41 [Mp3 Download]

Track Lists
01.Sum 41 - Grab the devil
02.Sum 41 - Machine gun
03.Sum 41 - What i believe
04.Sum 41 - T.H.T.
05.Sum 41 - Makes no difference
06.Sum 41 - Summer
07.Sum 41 - 32 ways to die
08.Sum 41 - Second chance for max headroom
09.Sum 41 - Dave's possessed hair
10.Sum 41 - Ride the chariot to the devil
11.Sum 41 - Another time around
12.Sum 41 - What we're all about (Bonus Track)

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[2001] All Killer No Filler - Sum 41 [Mp3 Download]

Editorial Reviews@Amazon.com
If you've heard Blink 182, the Offspring, or Green Day, you've heard Sum 41, with or without All Killer No Filler. The Canadian quartet's California punk formula is a well-worn one that seems to be working--all the way from the store to the Warped Tour. Set poppy, three-chord rock to hyperactive speeds, write songs about why you don't give a shit, and play up your juvenile-delinquent side for all it's worth (check out the "Going, Going, Gonorrhea" video with the band "doing all the dangerous and immature stuff you shouldn't try from the safety of your own home"). Of course, this has all been done before and will continue to be rehashed again as long as a silly, snotty attitude brings in the record company gold. While these punks are hardly walking down the block less traveled, they still packed All Killer full of hooks that should snag modern rock radio listeners. Peppy sing-along choruses, rolling drum solos, and guitar-driven anthems uncork the energy and brightly color this fast-moving, TRL-friendly disc. --Jennifer Maerz

Track Lists
01.Sum 41 - Introduction To Destruction
02.Sum 41 - Nothing On My Back
03.Sum 41 - Never Wake Up
04.Sum 41 - Pain for pleasure
05.Sum 41 - Rhythms
06.Sum 41 - Motivation
07.Sum 41 - In too deep
08.Sum 41 - Summer
09.Sum 41 - Handie This
10.Sum 41 - Crazy Amanda Bunkface
11.Sum 41 - All She's Got
12.Sum 41 - Heart Attack
13.Sum 41 - Fat lip

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[2002] Does This Look Infected - Sum 41 [Mp3 Download]

Track Lists
01.Sum 41 - The hell song
02.Sum 41 - Over my head
03.Sum 41 - My direction
04.Sum 41 - Still waiting
05.Sum 41 - A.N.I.C.
06.Sum 41 - No brains
07.Sum 41 - All messed up
08.Sum 41 - Mr. Amsterdam
09.Sum 41 - Thanks for nothing
10.Sum 41 - Huper insomnia para codrion
11.Sum 41 - Biily splee
12.Sum 41 - Hoooooooch

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[2005] Happy Live Surprise (Live in Ontario) - Sum 41 [Mp3 Download]

Track Lists
01.Sum 41 - The hell song
02.Sum 41 - My direction
03.Sum 41 - Over my head (Better off dead)
04.Sum 41 - A.N.I.C
05.Sum 41 - Never wake up
06.Sum 41 - We're all to blame
07.Sum 41 - There's no solution
08.Sum 41 - No brains
09.Sum 41 - Some say
10.Sum 41 - Welcome to hell
11.Sum 41 - Grab the devil
12.Sum 41 - Makes no difference
13.Sum 41 - Pieces
14.Sum 41 - Motivation
15.Sum 41 - Still waiting
16.Sum 41 - 88
17.Sum 41 - No reason
18.Sum 41 - I have a question
19.Sum 41 - Moron
20.Sum 41 - Fat lip
21.Sum 41 - Pain for pleasure
22.Sum 41 - Machine gun (Bonus Track)
23.Sum 41 - Nothing on my back (Bonus Track)

[2007] Underclass Hero - Sum 41 [Mp3 Download]

Editorial Reviews@Amazon.com
Rise up, pop-punk fans, and salute Sum 41: With Blink-182 broken up and Good Charlotte going for a rock vibe, the boys from Ontario stand a chance at reinvigorating the entire stalled subgenre. Not just because the competition has thinned, but because Underclass Hero is just that great. Though nobody would accuse lead singer Deryck Whibley of sounding like Green Day's Billy Joe Armstrong, he bites into the politically charged lyrics that course through this 14-track set as hard: "March of the Dogs," "The Jester," and "Confusion and Frustration in Modern Times" are served up with a spasmodic sneer (and, in the case of the latter, a lyric that will resonate with legions of the exasperated: "Confusion's all I see/Frustration surrounds me/Solution's bid farewell/Sedation? What the hell"), and the title track comes bounding out of stereo speakers with both outrage and lit-up energy. On the lighter side, the ballad "With Me" is sweet and simple enough to recall Plain White Ts, and "Ma Poubelle," a French ditty, strikes a weird Beatle-y chord before rapidly dissolving. Does Sum 41 add up to the hottest pop-punk band going, then? For sure. Do the math. --Tammy La Gorce
Track Lists
01.Sum 41 - Underclass Hero
02.Sum 41 - Walking Disaster
03.Sum 41 - Spear Of The Devil
04.Sum 41 - Dear Father
05.Sum 41 - Count Your Last Blessings
06.Sum 41 - Ma Poubelle
07.Sum 41 - March Of The Dogs
08.Sum 41 - The Jester
09.Sum 41 - With Me
10.Sum 41 - Pull The Curtain
11.Sum 41 - King Of The Contradiction
12.Sum 41 - Best Of Me
13.Sum 41 - Confusion And Frustration In Modern Times
14.Sum 41 - So Long Goodbye
15.Sum 41 - Look At Me
16.Sum 41 - No Apologies (Bonus Track)
17.Sum 41 - This is Goodbye (Bonus Track)
18.Sum 41 - We're all to blame (Live) (Bonus Track DVD)
19.Sum 41 - Nothing on my back (Live) (Bonus Track DVD)
20.Sum 41 - Take A Look At Yourself

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[2007] NB - Natasha Bedingfield [Mp3 Download]

Track Lists
01. How Do You Do? ( Right Click ~> Save As Target)
02. I Wanna Have Your Babies
03. Soulmate
04. Who Knows
05. Say It Again
06. Pirate Bones
07. Backyard
08. Tricky Angel
09. When You Know You Know/I Think They're Thinking (Interlude)
10. (No More) What Ifs
11. Not Givin' Up
12. Still Here
13. Smell the Roses
14. Unwritten

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[2005] Unwriten - Natasha Bedingfield

Biography by Johnny Loftus @allmusic.com
Originally from New Zealand, Natasha Bedingfield grew up in southeast London, where she and her siblings were raised around music. By their teens, Natasha, brother Daniel, and sister Nikola had formed an R&B-based singing group. It didn't last, but the experience encouraged the Bedingfields to keep pursuing music. In 2001 and 2002 Daniel Bedingfield scored a hit with the single "Gotta Get Through This," and the following year it was Natasha's turn. Leaving university to sign with BMG, Natasha immediately started working on her first record. Buoyed by advance singles like "These Words" and "Single," Unwritten debuted at number one on the British charts. The golden reception for Bedingfield's rhythmic pop sound netted her platinum record sales and numerous BRIT awards. It also set up her assault on the American pop charts, which began in July 2005 with Unwritten's domestic release. In 2007 the single "I Wanna Have Your Babies" announced the coming of her sophomore effort, NB.

Track Lists
01. These Words (I Love You, I Love You)
02. Single
03. Unwritten
04. Silent Movie
05. Stumble
06. Peace Of Me
07. If You're Gonna
08. Drop Me In The Middle
09. We're All Mad
10. I Bruise Easily
11. The One That Got Away
12. Size Matters
13. Wild Horses

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Helloween Collection [Mp3 Download]

Biography by Ed Rivadavia @allmusic.com
Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential heavy metal band to come out of Europe during the 1980s. By taking the hard riffing and minor key melodies handed down from metal masters like Judas Priest and Iron Maiden, then infusing them with the speed and energy introduced by the burgeoning thrash metal movement, Helloween crystallized the sonic ingredients of what is now known as power metal. Sadly, just as they were on the verge of breaking to a wider audience -- even flirting with American success -- the band's meteoric rise was rudely interrupted by internal strife and a string of bad business decisions. These blunders kept them from ever regaining their original momentum, but Helloween took their hard-knock lessons in stride and continued to prosper in the international metal arena on their own terms. More importantly, they remained the benchmark by which most every power metal band is still measured.
Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist before morphing into Helloween in 1982, they signed with Germany's own fledgling Noise International two years later. With Hansen also handling vocals and the bulk of songwriting duties, the quartet recorded its self-titled debut mini-album in early 1985. The full-length Walls of Jericho and the Judas maxi-single followed the year after, and the media was soon buzzing over the band's thrash-fueled interpretation of classic heavy metal. Countless fans across continental Europe were also fast converting to the band's cause, but Hansen remained dissatisfied with his singing ability, and felt Helloween needed a proper frontman in order to achieve their full potential. Enter teenage vocalist Michael Kiske, whose high-pitched delivery followed in the footsteps of previous heavy metal banshees like Rob Halford and Bruce Dickinson.
The new chemistry proved as explosive on-stage as it did in the studio, and with their classic lineup now intact, Helloween were ready for the big time. Returning to the studio in early 1987, the band emerged in May with Keeper of the Seven Keys, Pt. 1, a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., even making tentative inroads into America at the time. The band toured relentlessly for the rest of the year and into 1988 (including a lengthy opening stint with Iron Maiden), but despite this manic work schedule, they still found time to record the aptly titled Keeper of the Seven Keys, Pt. 2. Released in September 1988, the record was another blockbuster that crashed the U.K. Top 30, but its uneven songwriting (especially from longtime leader Kai Hansen) revealed the beginnings of a major band crisis.
Helloween's watershed performance at that year's Donington Monsters of Rock Festival proved to be their crowning glory, but for Hansen, his dream come true also represented the culmination of his ambitions for the group. Shockingly, the guitarist soon announced his departure from the band he had helmed to the top, claiming that Helloween were now too big a beast for him to control. (He would soon make a fresh start with a new outfit called Gamma Ray, which, to no one's surprise, sounded remarkably like Helloween.) But the remaining members of Helloween weren't about to let their shot at stardom slip away, and after drafting former Rampage guitarist Roland Grapow, they got right back to work with a sold-out tour of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, wound up igniting a legal dispute that would sideline Helloween for nearly two years. Several live albums (Live in the U.K. for Europe, Keepers Live for Japan, and I Want Out: Live for the U.S.) were released to distract the fans during this hiatus, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to boot.
Confident that they'd accumulated little, if any rust from their extended layoff, Helloween finally returned to action with the oddly titled Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could compensate for the scattered, unfocused songwriting that dominated the album. Furthermore, the band's quirky attempts at humor had grown so forced that fans weren't sure what to make of furious metal anthems with names like the title track and "Heavy Metal Hamsters." The record bombed in no uncertain terms, as did its even more schizophrenic follow-up, Chameleon. Recorded in 1993 by an obviously shell-shocked band, its poor showing only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to launch a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary also decided to cut their losses at this time, leaving the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in new singer Andi Deris and drummer Uli Kusch to record 1994's Master of the Rings, a small but determined step in the right direction. Then tragedy struck, when former drummer Ingo Schwichtenberg -- a diagnosed manic depressive whose worsening condition had been partly to blame for his dismissal -- took his own life, throwing himself in front of a train near his native Hamburg.
Shaken to the core, but as driven as ever, Helloween dedicated 1996's The Time of the Oath to their fallen friend, and, coincidentally, the album turned out to be the strongest since their glory years, doing much to resurrect their career. The ensuing tour spawned the double-disc set High Live and confirmed the band's return to form as major players in the international metal arena (in Europe and Japan, they were arguably bigger than ever). Helloween continued to prosper with 1998's Better Than Raw, 1999's celebratory Metal Jukebox covers album, and 2000's The Dark Ride, and not even the departure of longtime members Grapow and Kusch could slow them for long. Now regarded as elder statesmen of Euro-metal, Helloween celebrated their achievements with 2002's Treasure Chest greatest-hits set. This was followed by 2003's Rabbit Don't Come Easy, which introduced new guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent replacement could be found in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more).

Download 9 albums
01.Helloween (1985)
02.Walls Of Jericho (1985)
03.Judas (1986)
04.Keeper Of The Seven Keys Part I (1987)
05.Keeper Of The Seven Keys Part II (1988)
06.Live In The U.K. (1989)
07.Pink Bubbles Go Ape (1991)
08.Chameleon (1993)
09.Master Of The Rings (1994)

Metallica Discography [Mp3 Download]

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METALLICA[1983] Kill 'Em All
METALLICA[1984] RIDE THE LIGHTNING
METALLICA[1986] MASTER OF PUPPETS
METALLICA[1988] ...AND JUSTICE FOR ALL
METALLICA[1991] METALLICA
METALLICA[1996] LOAD
METALLICA[1997] RELOAD
METALLICA[1998] GARAGE INC
METALLICA[1999] PLATINUM PLUS
METALLICA[2003] St. Anger
METALLICA[2004] The Unnamed Feeling EP

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Metallica Concerts[1982-2006] [Mp3 Download]

Biography by Stephen Thomas Erlewine & Greg Prato @allmusic.com
Metallica was easily the best, most influential heavy metal band of the '80s, responsible for bringing the music back to Earth. Instead of playing the usual rock star games of metal stars of the early '80s, the band looked and talked like they were from the street. Metallica expanded the limits of thrash, using speed and volume not for their own sake, but to enhance their intricately structured compositions. The release of 1983's Kill 'Em All marked the beginning of the legitimization of heavy metal's underground, bringing new complexity and depth to thrash metal. With each album, the band's playing and writing improved; James Hetfield developed a signature rhythm playing that matched his growl, while lead guitarist Kirk Hammett became one of the most copied guitarists in metal. Lars Ulrich's thunderous, yet complex, drumming clicked in perfectly with Cliff Burton's innovative bass playing. After releasing their masterpiece Master of Puppets in 1986, tragedy struck the band when their tour bus crashed while traveling in Sweden, killing Burton. When the band decided to continue, Jason Newsted was chosen to replace Burton; two years later, the band released the conceptually ambitious ...And Justice for All, which hit the Top Ten without any radio play and very little support from MTV. But Metallica completely crossed over into the mainstream with 1991's Metallica, which found the band trading in their long compositions for more concise song structures; it resulted in a number one album that sold over seven million copies in the U.S. alone. The band launched a long, long tour which kept them on the road for nearly two years. By the '90s, Metallica had changed the rules for all heavy metal bands; they were the leaders of the genre, respected not only by headbangers, but by mainstream record buyers and critics. No other heavy metal band has ever been able to pull off such a trick. However, the group lost some members of their core audience with their long-awaited follow-up to Metallica, 1996's Load. For Load, the band decided to move toward alternative rock in terms of image -- they cut their hair and had their picture taken by Anton Corbijn. Although the album was a hit upon its summer release -- entering the charts at number one and selling three million copies within two months -- certain members of their audience complained about the shift in image, as well as the group's decision to headline the sixth Lollapalooza. Re-Load, which combined new material with songs left off of the Load record, appeared in 1997; despite poor reviews, it sold at a typically brisk pace through the next year. Garage Inc., a double-disc collection of B-sides, rarities, and newly recorded covers, followed in 1998. In 1999, Metallica continued their flood of product with S&M, documenting a live concert with the San Francisco Symphony; it debuted at number two, reconfirming their immense popularity.
The band spent most of 2000 embroiled in controversy by spearheading a legal assault on Napster, a file-sharing service that allowed users to download music files from each other's computers. Aggressively targeting copyright infringement of their own material, the band notoriously had over 300,000 users kicked off the service, creating a widespread debate over the availability of digital music that raged for most of the year. In January 2001, bassist Jason Newsted announced his amicable departure from the band. Shortly after the band appeared at the ESPN awards in April of the same year, Hetfield, Hammett, and Ulrich entered the recording studio to begin work on their next album, with producer Bob Rock lined up to handle bass duties for the sessions (with rumors of former Ozzy Osbourne/Alice in Chains bassist Mike Inez being considered for the vacated position). In July, Metallica surprisingly dropped their lawsuit against Napster, perhaps sensing that their controversial stance did more bad than good to their "band of the people" image. In late summer 2001, the band's recording sessions (and all other band-related matters) were put on hold as Hetfield entered an undisclosed rehab facility for alcoholism and other addictions. He completed treatment and rejoined the band and they headed back into the studio in 2002 to record St. Anger, released in mid-2003. The recording of St. Anger was capped with the search for a permanent replacement for Newstead. After a long audition process, former Ozzy Osbourne/Suicidal Tendencies bass player Robert Trujillo was selected and joined Metallica for their 2003/2004 world tour. The growing pains the band experienced during the recording process of St. Anger were captured in the celebrated documentary Some Kind of Monster which saw theatrical release in 2004.

Download all albums [LIVE] all over the world from 1982-2006
Part1 Part2

[2007] Bratz [Soundtrack] [Various Artists]

Track Lists
01. Rock Star - Prima J
02. Fearless - Daechelle
03. Love Is Wicked - Brick & Lace
04. Rainy Day - Janel Parrish
05. Open Eyes - The Bratz
06. Heartburn - NLT
07. It's All About Me - Chelsea Staub in the role of "Meredith"
08. Now or Never - Orianthi
09. Out From Under - Joanna
10. In Crowd - Sean Stewart
11. Express Yourself - Black Eyed Peas ft. Apl de Ap
12. My Life - Slumber Party Girls
13. Go Go - Jibbs Listen Listen
14. It Doesn't Get Better Than This - Alex Band
15. Saying Goodbye - Matt White
16. Invisible - Ashlee Simpson
17. Alter Ego - Clique Girlz
18. Tell Me - Dropping Daylight
19. If This Is - Lifehouse
20. Fabulous - Chelsea Staub in the role of "Meredith"
21. Bratitude - The Bratz

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Queen Discography [Mp3 Download]

Biography by Stephen Thomas Erlewine @allmusic.com
Few bands embodied the pure excess of the '70s like Queen. Embracing the exaggerated pomp of prog rock and heavy metal, as well as vaudevillian music hall, the British quartet delved deeply into camp and bombast, creating a huge, mock-operatic sound with layered guitars and overdubbed vocals. Queen's music was a bizarre yet highly accessible fusion of the macho and the fey. For years, their albums boasted the motto "no synthesizers were used on this record," signaling their allegiance with the legions of post-Led Zeppelin hard rock bands. But vocalist Freddie Mercury brought an extravagant sense of camp to the band, pushing them toward kitschy humor and pseudo-classical arrangements, as epitomized on their best-known song, "Bohemian Rhapsody." Mercury, it must be said, was a flamboyant bisexual who managed to keep his sexuality in the closet until his death from AIDS in 1991. Nevertheless, his sexuality was apparent throughout Queen's music, from their very name to their veiled lyrics -- it was truly bizarre to hear gay anthems like "We Are the Champions" turn into celebrations of sports victories. That would have been impossible without Mercury, one of the most dynamic and charismatic frontmen in rock history. Through his legendary theatrical performances, Queen became one of the most popular bands in the world in the mid-'70s; in England, they remained second only to the Beatles in popularity and collectibility in the '90s. Despite their enormous popularity, Queen were never taken seriously by rock critics -- an infamous Rolling Stone review labeled their 1979 album Jazz as "fascist." In spite of such harsh criticism, the band's popularity rarely waned; even in the late '80s, the group retained a fanatical following except in America. In the States, their popularity peaked in the early '80s, just as they finished nearly a decade's worth of extraordinarily popular records. And while those records were never praised, they sold in enormous numbers, and traces of Queen's music could be heard in several generations of hard rock and metal bands in the next two decades, from Metallica to Smashing Pumpkins.
The origins of Queen lay in the hard rock psychedelic group Smile, which guitarist Brian May and drummer Roger Taylor joined in 1967. Following the departure of Smile's lead vocalist, Tim Staffell, in 1971, May and Taylor formed a group with Freddie Mercury, the former lead singer for Wreckage. Within a few months, bassist John Deacon joined them, and they began rehearsing. Over the next two years, as all four members completed college, they simply rehearsed, playing just a handful of gigs. By 1973, they had begun to concentrate on their career, releasing the Roy Thomas Baker-produced Queen that year and setting out on their first tour. Queen was more or less a straight metal album and failed to receive much acclaim, but Queen II became an unexpected British breakthrough early in 1974. Before its release, the band played Top of the Pops, performing "Seven Seas of Rhye." Both the song and the performance were a smash success, and the single rocketed into the Top Ten, setting the stage for Queen II to reach number five. Following its release, the group embarked on its first American tour, supporting Mott the Hoople. On the strength of their campily dramatic performances, the album climbed to number 43 in the States.
Queen released their third album, Sheer Heart Attack, before the end of 1974. The music hall meets Zeppelin "Killer Queen" climbed to number two on the U.K. charts, taking the album to number two as well. Sheer Heart Attack made some inroads in America as well, setting the stage for the breakthrough of 1975's A Night at the Opera. Queen labored long and hard over the record; according to many reports, it was the most expensive rock record ever made at the time of its release. The first single from the record, "Bohemian Rhapsody," became Queen's signature song, and with its bombastic, mock-operatic structure punctuated by heavy metal riffing, it encapsulates their music. It also is the symbol for their musical excesses -- the song took three weeks to record, and there were so many vocal overdubs on the record that it was possible see through the tape at certain points. To support "Bohemian Rhapsody," Queen shot one of the first conceptual music videos, and the gamble paid off as the single spent nine weeks at number one in the England, breaking the record for the longest run at number one. The song and A Night at the Opera were equally successful in America, as the album climbed into the Top Ten and quickly went platinum.
Following A Night at the Opera, Queen were established as superstars, and they quickly took advantage of all their status had to offer. Their parties and indulgence quickly became legend in the rock world, yet the band continued to work at a rapid rate. In the summer of 1976, they performed a free concert at London's Hyde Park that broke attendance records, and they released the hit single "Somebody to Love" a few months later. It was followed by A Day at the Races, which was essentially a scaled-down version of A Night at the Opera that reached number one in the U.K. and number five in the U.S. They continued to pile up hit singles in both Britain and America over the next five years, as each of their albums went into the Top Ten, always going gold and usually platinum in the process. Because Queen embraced such mass success and adoration, they were scorned by the rock press, especially when they came to represent all of the worst tendencies of the old guard in the wake of punk. Nevertheless, the public continued to buy Queen records. Featuring the Top Five double-A-sided single "We Are the Champions"/"We Will Rock You," News of the World became a Top Ten hit in 1977. The following year, Jazz nearly replicated that success, with the single "Fat Bottomed Girls"/"Bicycle Race" becoming an international hit despite the massive bad publicity surrounding their media stunt of staging a nude female bicycle race.
Queen were at the height of their popularity as they entered the '80s, releasing The Game, their most diverse album to date, in 1980. On the strength of two number one singles -- the campy rockabilly "Crazy Little Thing Called Love" and the disco-fied "Another One Bites the Dust" -- The Game became the group's first American number one album. However, the bottom fell out of the group's popularity, particularly in the U.S., shortly afterward. Their largely instrumental soundtrack to Flash Gordon was coldly received later in 1980. With the help of David Bowie, Queen were able to successfully compete with new wave with 1981's hit single "Under Pressure" -- their first U.K. number one since "Bohemian Rhapsody" -- which was included both on their 1981 Greatest Hits and 1982's Hot Space. Instead of proving the group's vitality, "Under Pressure" was a last gasp. Hot Space was only a moderate hit, and the more rock-oriented The Works (1984) also was a minor hit, with only "Radio Ga Ga" receiving much attention. Shortly afterward, they left Elektra and signed with Capitol.
Faced with their decreased popularity in the U.S. and waning popularity in Britain, Queen began touring foreign markets, cultivating a large, dedicated fan base in Latin America, Asia, and Africa, continents that most rock groups ignored. In 1985, they returned to popularity in Britain in the wake of their show-stopping performance at Live Aid. The following year, they released A Kind of Magic to strong European sales, but they failed to make headway in the States. The same fate befell 1989's The Miracle, yet 1991's Innuendo was greeted more favorably, going gold and peaking at number 30 in the U.S. Nevertheless, it still was a far bigger success in Europe, entering the U.K. charts at number one.
By 1991, Queen had drastically scaled back their activity, causing many rumors to circulate about Freddie Mercury's health. On November 23, he issued a statement confirming that he was stricken with AIDS; he died the next day. The following spring, the remaining members of Queen held a memorial concert at Wembley Stadium, which was broadcast to an international audience of more than one billion. Featuring such guest artists as David Bowie, Elton John, Annie Lennox, Def Leppard, and Guns N' Roses, the concert raised millions for the Mercury Phoenix Trust, which was established for AIDS awareness. The concert coincided with a revival of interest in "Bohemian Rhapsody," which climbed to number two in the U.S. and number one in the U.K. in the wake of its appearance in the Mike Myers comedy Wayne's World. Following Mercury's death, the remaining members of Queen were fairly quiet. Brian May released his second solo album, Back to the Light, in 1993, ten years after the release of his first record. Roger Taylor cut a few records with the Cross, which he had been playing with since 1987, while Deacon essentially retired. The three reunited in 1994 to record backing tapes for vocal tracks Mercury recorded on his death bed. The resulting album, Made in Heaven, was released in 1995 to mixed reviews and strong sales, particularly in Europe. Crown Jewels, a box set repackaging their first eight LPs, followed in 1998. Archival live recordings, DVDs and compilations kept appearing through the new millennium. In 2005 the Queen name was revived but this time with "+ Paul Rodgers" appended to it. Rodgers, the former lead singer of Free and Bad Company, joined Brian May and Roger Taylor -- John Deacon remained retired -- for some live shows, one of which was documented on 2005's Return of the Champions, a double disc on the Hollywood label.

Download all albums
1973 - Queen
1974 - 1995 - Single Hits I
1974 - Queen II
1974 - Sheer Heart Attack
1975 - A Night At The Opera
1976 - A Day At The Races
1977 - News Of The World
1978 - Jazz
1979 - Live Killers
1980 - The Game
1981 - Flash Gordon
1981 - Greatest Hits I
1982 - Hot Space
1982 - Live USA
1984 - The Works
1985 - Mr. Bad Guy
1986 - A Kind Of Magic
1986 - Live Magic
1988 - Barcelona
1989 - The Miracle
1991 - Greatest Hits II
1991 - Innuendo
1995 - Made In Heaven
1998 - Greatest hits III
1999 - In Nuce
2001 - The Works (digital remasters)
Best ballads

Elton John Discography [Mp3 Download]

Biography by Stephen Thomas Erlewine @allmusic.com
In terms of sales and lasting popularity, Elton John was the biggest pop superstar of the early '70s. Initially marketed as a singer/songwriter, John soon revealed he could craft Beatlesque pop and pound out rockers with equal aplomb. He could dip into soul, disco, and country, as well as classic pop balladry and even progressive rock. His versatility, combined with his effortless melodic skills, dynamic charisma, and flamboyant stage shows, made him the most popular recording artist of the '70s. Unlike many pop stars, John was able to sustain his popularity, charting a Top 40 single every single year from 1970 to 1996. During that time, he had temporary slumps in creativity and sales, as he fell out of favor with critics, had fights with his lyricist Bernie Taupin, and battled various addictions and public scandals. But through it all, John remained a remarkably popular artist and many of his songs -- including "Your Song," "Rocket Man," "Goodbye Yellow Brick Road," and "Don't Let the Sun Go Down on Me" -- became contemporary pop standards.
The son of a former Royal Air Force trumpeter, John was born Reginald Kenneth Dwight in 1947. Dwight began playing piano at the age of four, and when he was 11, he won a scholarship to the Royal Academy of Music. After studying for six years, he left school with the intention of breaking into the music business. In 1961, he joined his first band, Bluesology, and divided his time between playing with the group, giving solo concerts at a local hotel, and running errands for a London publishing house. By 1965, Bluesology was backing touring American soul and R&B musicians like Major Lance, Doris Troy, and the Bluebells. In 1966, Bluesology became Long John Baldry's supporting band and began touring cabarets throughout England. Dwight became frustrated with Baldry's control of the band and began searching for other groups to join. He failed his lead vocalist auditions for both King Crimson and Gentle Giant before responding to an advertisement by Liberty Records. Though he failed his Liberty audition, he was given a stack of lyrics left with the label courtesy of Bernie Taupin, who had also replied to the ad. Dwight wrote music for Taupin's lyrics and began corresponding with him through mail. By the time the two met six months later, Dwight had changed his name to Elton John, taking his first name from Bluesology saxophonist Elton Dean and his last from John Baldry.
John and Taupin were hired by Dick James to become staff songwriters at his fledgling DJM in 1968. The pair collaborated at a rapid rate, with Taupin submitting batches of lyrics -- he often wrote a song an hour -- every few weeks. John would then write music without changing the words, sometimes completing the songs in under a half-hour. Over the next two years, the duo wrote songs for pop singers like Roger Cook and Lulu. In the meantime, John recorded cover versions of current hits for budget labels to be sold in supermarkets. By the summer of 1968, he had begun recording singles for release under his own name. Usually, these songs were more rock- and radio-oriented than the tunes he and Taupin were giving to other vocalists, yet neither of his early singles for Phillips, "I've Been Loving You Too Long" and "Lady Samantha," sold well. In June of 1969, he released his debut album for DJM, Empty Sky, which received fair reviews, but no sales.
For his second album, John and Taupin hired producer Gus Dudgeon and arranger Paul Buckmaster, who contributed grandiose string charts to Elton John. Released in the summer of 1970, Elton John began to make inroads in America, where it appeared on MCA's Uni subsidiary. In August, he gave his first American concert at the Troubadour in Los Angeles, which received enthusiastic reviews, as well as praise from Quincy Jones and Leon Russell. Throughout the fall, Elton John continued to climb the charts on the strength of the Top Ten single "Your Song." John followed it quickly in February 1971 with the concept album Tumbleweed Connection, which received heavy airplay on album-oriented radio in the U.S., helping it climb into the Top Ten. The rapid release of Tumbleweed Connection established a pattern of frequent releases that John maintained throughout his career. In 1971, he released the live 11-17-70 and the Friends soundtrack, before releasing Madman Across the Water late in the year. Madman Across the Water was successful, but John achieved stardom with the follow-up, 1972's Honky Chateau. Recorded with his touring band -- bassist Dee Murray, drummer Nigel Olsson, and guitarist Davey Johnstone -- and featuring the hit singles "Rocket Man" and "Honky Cat," Honky Chateau became his first American number one album, spending five weeks at the top of the charts.
Between 1972 and 1976, John and Taupin's hit-making machine was virtually unstoppable. "Rocket Man" began a four-year streak of 16 Top 20 hits in a row; out of those 16 -- including "Crocodile Rock," "Daniel," "Bennie and the Jets," "The Bitch Is Back," and "Philadelphia Freedom" -- only one, the FM hit "Saturday Night's Alright for Fighting," failed to reach the Top Ten. Honky Chateau began a streak of seven consecutive number one albums -- Don't Shoot Me I'm Only the Piano Player (1973), Goodbye Yellow Brick Road (1973), Caribou (1974), Greatest Hits (1974), Captain Fantastic and the Brown Dirt Cowboy (1975), Rock of the Westies (1975) -- that all went platinum. John founded Rocket, a record label distributed by MCA, in 1973 in order to sign and produce acts like Neil Sedaka and Kiki Dee. John didn't become a Rocket recording artist himself, choosing to stay with MCA for a record-breaking eight-million-dollar contract in 1974. Later in 1974, he co-wrote John Lennon's number one comeback single "Whatever Gets You Through the Night," and he persuaded Lennon to join him on-stage at Madison Square Garden on Thanksgiving Day 1974; it would prove to be Lennon's last live performance. The following year, Captain Fantastic became his first album to enter the American charts at number one. After its release, he revamped his band, which now featured Johnstone, Quaye, Roger Pope, Ray Cooper, and bassist Kenny Passarelli; Rock of the Westies was the first album to feature this lineup.
Throughout the mid-'70s, John's concerts were enormously popular, as were his singles and albums, and he continued to record and perform at a rapid pace until 1976. That year, he revealed in an interview in Rolling Stone that he was bisexual; he would later admit that the confession was a compromise, since he was afraid to reveal that he was homosexual. Many fans reacted negatively to John's bisexuality, and his audience began to shrink somewhat in the late '70s. The decline in his record sales was also due to his exhaustion. After 1976, John cut his performance schedule drastically, announcing that he was retiring from live performances in 1977 and started recording only one album a year. His relationship with Taupin became strained following the release of 1976's double album Blue Moves, and the lyricist began working with other musicians. John returned in 1978 with A Single Man, which was written with Gary Osborne; the record produced no Top 20 singles. That year, he returned to live performances, first by jamming at the Live Stiffs package tour, then by launching a comeback tour in 1979 accompanied only by percussionist Ray Cooper. "Mama Can't Buy You Love," a song he recorded with Philly soul producer Thom Bell in 1977, returned him to the Top Ten in 1979, but that year's Victim of Love was a commercial disappointment.
John reunited with Taupin for 1980's 21 at 33, which featured the Top Ten single "Little Jeannie." Over the next three years, John remained a popular concert artist, but his singles failed to break the Top Ten, even if they reached the Top 40. In 1981, he signed with Geffen Records and his second album, Jump Up!, became a gold album on the strength of "Blue Eyes" and "Empty Garden (Hey Hey Johnny)," his tribute to John Lennon. But it was 1983's Too Low for Zero that began his last great streak of hit singles, with the MTV hit "I'm Still Standing" and the Top Ten single "I Guess That's Why They Call It the Blues." Throughout the rest of the '80s, John's albums would consistently go gold, and they always generated at least one Top 40 single; frequently, they featured Top Ten singles like "Sad Songs (Say So Much)" (1984), "Nikita" (1986), "Candle in the Wind" (1987), and "I Don't Want to Go on with You Like That" (1988). While his career continued to be successful, his personal life was in turmoil. Since the mid-'70s, he had been addicted to cocaine and alcohol, and the situation only worsened during the '80s. In a surprise move, he married engineer Renate Blauel in 1984; the couple stayed married for four years, although John later admitted he realized he was homosexual before his marriage. In 1986, he underwent throat surgery while on tour, but even after he successfully recovered, he continued to abuse cocaine and alcohol.
Following a record-breaking five-date stint at Madison Square Garden in 1988, John auctioned off all of his theatrical costumes, thousands of pieces of memorabilia, and his extensive record collection through Sotheby's. The auction was a symbolic turning point. Over the next two years, John battled both his drug addiction and bulimia, undergoing hair replacement surgery at the same time. By 1991, he was sober, and the following year, he established the Elton John AIDS Foundation; he also announced that he would donate all royalties from his single sales to AIDS research.
In 1992, John returned to active recording with The One. Peaking at number eight on the U.S. charts and going double platinum, the album became his most successful record since Blue Moves and sparked a career renaissance for John. He and Taupin signed a record-breaking publishing deal with Warner/Chappell Music in 1992 for an estimated 39 million dollars. In 1994, John collaborated with lyricist Tim Rice on songs for Disney's animated feature The Lion King. One of their collaborations, "Can You Feel the Love Tonight," won the Academy Award for Best Original Song, as well as the Grammy for Best Male Pop Vocal Performance. John's 1995 album Made in England continued his comeback, peaking at number three on the U.K. charts and number 13 in the U.S.; in America, the album went platinum. The 1997 follow-up, The Big Picture, delivered more of the same well-crafted pop, made the Top Ten, and produced a hit in "Something About the Way You Look Tonight." However, its success was overshadowed by John's response to the tragic death of Princess Diana -- he re-recorded "Candle in the Wind" (originally a eulogy for Marilyn Monroe) as a tribute to his slain friend, with Taupin adapting the lyrics for what was planned as the B-side of "Something About the Way You Look Tonight."
With the profits earmarked for Diana's favorite charities, and with a debut performance at Diana's funeral, "Candle in the Wind 1997" became the fastest-selling hit of all time in both Britain and the U.S. upon the single's release, easily debuting at number one on both sides of the Atlantic; with first-week sales of over three million copies in the U.S. alone and 14 weeks in the top spot, it was John's biggest hit ever. For his next project, John reunited with Lion King collaborator Tim Rice to write songs for Disney's Broadway musical adaptation of the story of Aida; an album of their efforts featuring a who's who of contemporary pop musicians was released in early 1999, going gold by the end of the year. In late 2000, John landed a TV special with CBS, performing a selection of his greatest hits at Madison Square Garden; a companion album drawn from those performances, One Night Only, was issued shortly before the special aired. 2001's Songs from the West Coast was a return to form for John, who found critical success for the first time since the '80s. However, it wasn't until 2004's popular Peachtree Road album that he managed to match that success commercially. In 2006, John and Taupin released The Captain & the Kid, a sequel to 1975's Captain Fantastic and the Brown Dirt Cowboy.

Download all albums
1969 - Empty Sky
1970 - 11-17-70
1970 - Elton John
1970 - Tumbleweed Connection
1971 - Friends Soundtrack
1971 - Madman Across The Water
1972 - Honky Chateau
1973 - Don't Shoot Me I'm Only The Piano Player
1973 - Goodbye Yellow Brick Road
1974 - Caribou
1974 - Greatest Hits
1975 - Captain Fantastic And The Brown Dirt Cowboys
1975 - Rock Of The Westies
1976 - Blue Moves
1976 - Here And There
1977 - Greatest Hits Volume 2
1978 - A Single Man
1979 - Victim Of Love
1980 - 21 At 33
1981 - The Fox
1982 - Jump Up
1983 - Too Low For Zero
1984 - Breaking Hearts
1985 - Ice On Fire
1986 - Leather Jackets
1987 - Greatest Hits Volume 3
1987 - Live In Australia With The Melbourne Symphony Orchestra
1988 - Reg Strikes Back
1989 - Sleeping With The Past
1990 - The Very Best Of
1991 - To Be Continued
1992 - Rare Masters
1992 - The One
1993 - Duets
1994 - Reg Dwight's Piano Goes Pop
1994 - The Lion King Soundtrack
1995 - Made In England
1996 - Love Songs
1997 - The Big Picture
1999 - Elton John And Tim Rice`s Aida-
1999 - The Muse Soundtrack
2000 - One Night Only The Greatest Hits Live
2001 - Songs From The West Coast
2002 - Greatest Hits 1970-2002
2004 - Peachtree Road
Tribute To
Two Rooms - Celebrating The Songs Of Elton John & Bernie Taupin/

[2005] Best of Groove Coverage [Mp3 Download]

Biography by Jason Ankeny @ allmusic.com

Euro-trance duo Groove Coverage emerged as one of the most successful German club acts of its generation with a series of crossover chart smashes. DJ Novus (born Markus Schafferzyk) and producer Axel Konrad co-founded the project in the summer of 2001. After a pair of underground club favorites, "Hit Me" and "Are U Ready," they recruited vocalist Mell, who took center stage on the breakthrough Groove Coverage hit "Moonlight Shadow," a Mike Oldfield cover that earned the group its first German Top Ten hit. Mell's pregnancy forced her to go on hiatus from the group, however, and with pinch-hitter vocalist Verena, Groove Coverage scored its second consecutive Top Ten entry with "God Is a Girl," co-written by Lou Bega of "Mambo No. 5" fame. In the autumn of 2002 the duo issued its debut full-length, Covergirl, supporting its release with a tour across western and central Europe. Mell returned in 2003, although Verena continued contributing additional vocals to 2004's 7 Years and 50 Days, an album highlighted by its blockbuster cover of Alice Cooper's "Poison." The LP also generated the hits "She" and "Runaway," the latter a smash in Australia, Canada, and Japan as well. After a series of singles including "Holy Virgin," "On the Radio," and "21st Century Digital Girl," Groove Coverage issued its third full-length, 21st Century Digital Girl, in mid-2006.
Track Lists
01. Moonlight Shadow
02. Poison
03. God Is A Girl (Album Version)
04. Runaway
05. 7 Years & 50 Days (Radio Edit)
06. End
07. She
08. Moonlight Shadow(Piano)
09. Remember
10. Million Tears
11. Beat Just Goes
12. Are You Ready
13. Moonlight Shadow (Warp Brothers Remix)
14. Poison (Friday Night Possee Remix)
15. God Is A Girl (Axel Konrad Remix)
16. End (Special D Remix)

[2004] Feels Like Today - Rascal Flatts [Mp3 Download]

Editorial Reviews@Amazon.com
Somewhat remarkably, the youthful trio Rascal Flatts has an uncanny ability to sound 20-something going on 13. They are often dismissed as just another slick, contrived "boy band," though that hasn't kept them from chart-topping success. Admittedly, these Rascals do sound slick and even generic on run-of-the-mill teem anthems like "Fast Cars and Freedom" and "The Day Before You." Yet, on a few shining tracks like "Bless the Broken Road," "When the Sand Runs Out," and a lovely hidden cut called "Skin," the chic threesome also betrays poise, maturity, and thoughtfulness amid its chart-conscious predictability. --Bob Allen

Track Lists
01. Where You Are
02. Bless The Broken Road
03. Then I Did
04. Feels Like Today
05. Fast Cars And Freedom
06. When The Sand Runs Out
07. Here's To You
08. The Day Before You
09. Break Away
10. Holes
11. Oklahoma-Texas Line
12. Love Another Day

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[2006] Me and My Gang - Rascal Flatts [Mp3 Download]

Editorial Reviews@Amazon.com
This fourth effort from the soft-rock-masquerading-as-country band Rascal Flatts moved more than 721,000 copies its first week out, which let the female-friendly trio rub elbows with some mighty heady company. Only four other country artists (Garth Brooks, Shania Twain, the Dixie Chicks, and Tim McGraw) have rolled out numbers like that, and only 24 other acts total (including Eminem, 50 Cent, U2, and Coldplay). So what's the hook, besides Gary LeVox's wounded tenor and Joe Don Rooney's boy-band face? Clearly, it's the songs. Or it usually is. On Me and My Gang, "What Hurts the Most" is the one that'll end up on a tape loop in your head, though "Yes, I Do" memorably frames romantic yearning and regret with ersatz reggae rhythms, and the sexy "Cool Thing" does a slow burn. The problem? New producer Dann ("King of Excess") Huff bloats too many tunes with screaming, by-the-book guitars and general bombast. And despite his über success with Faith Hill and Keith Urban, Huff has never really understood what makes country, well... country. Instead, he insultingly works in a snippet of steel guitar and a couple of family lyrics--e.g., the melodramatic "Ellsworth" is meant to pull the heartstrings of anyone who's seen the cruelty of Alzheimer's--and thinks he's thrown Nashville a bone. Worse, "Backwards" boringly reworks that hoary ol' country joke "What do you get when you play a country song backwards?," the title song is a Big & Rich ripoff, and even God gets dragged in for a half-baked attempt at middle-America resonance ("He Ain't the Leavin' Kind"). C'mon now. Call these boys pop and be done with the pandering. Joe Don's famously photographed derrière got a fairer crack than this. --Alanna Nash

Track Lists
01. Stand
02. What Hurts The Most
03. Backwards
04. I Feel Bad
05. My Wish
06. Pieces
07. Yes I Do
08. To Make Her Love Me
09. Words I Couldn't Say
10. Me And My Gang
11. Cool Thing
12. Ellsworth
13. He Ain't The Leavin' Kind

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