[2006] Quietdrive - When All That's Left Is You [Album Download]

Review by Rohan Kohli @ absolutepunk.net
When it comes to rock, Quietdrive’s When All That’s Left Is You is like the marshmallows you find in Lucky Charms: while you know the actual cereal shit is probably good for you (i.e. all the cool indie bands), the marshmallows, oh-so-sugary and delightfully sinful, are the fun and delicious part. A mixture of pop bliss and alternative radio-readiness, Quietdrive’s debut full length won’t score you scene points on punk rock message boards; however, for those with a musical sweet tooth, this will definitely be your cup of tea—or should I say bowl of cereal?

This album is disappointing. No, not in terms of the songs—each track is an excellent pop song, but if you’ve been following Quietdrive for a while (and have overplayed their Rise From the Ashes EP like I have), then you’ll probably be a little upset to only find six actual new Quietdrive songs. All three songs from the EP have been included on the ten-song full length (the exact same versions too, except for an extended intro on “Rise From the Ashes”), as well as a cover of Cyndi Lauper’s “Time After Time.” While the cover is extremely well done, and almost sounds like it could’ve been another Quietdrive song, I’d much, much rather have an actual new song. Oh yeah, and the album clocks in at just over half an hour, so it’s over before you know it.

While the band’s Rise From the Ashes EP showcased three high-energy, up-tempo songs (“Rise From the Ashes, “Take a Drink,” “Maybe Misery”), When All That’s Left Is You most certainly explores other terrain. Quietdrive keeps things interesting by playing with tempos, dynamics, orchestral arrangements (vocalist Kevin Truckenmiller plays a mean violin live), and including all sorts of layers that one will only pick up on after repeated listens. The vocals are extremely strong and impassioned (great falsettos too), the production enormous, the songwriting catchy as hell: this is a great summer album.

As previously mentioned, I just wish there were more “new” songs on this album – that’s pretty much my only gripe. This is a really good pop record: if you like poppy stuff, you’ll probably like this, but if pop ain't your thing, then I wouldn’t suggest even coming close to this album. Now if you’ll excuse me, I need to go pour myself some Lucky Charms and get me some marshmallows.


Album Track List:
01. Rise From The Ashes
02. Get Up
03. Take A Drink
04. Let Me Go In
05. Rush Together
06. Maybe Misery
07. I Lie Awake
08. The Season
09. Time After Time
10. Both Ways
11. Rise From The Ashes (Acoustic)

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[2007] Sean Kingston - Sean Kingston [Mp3 Download]

Review by David Jeffries @ allmusic.com
When the 16-year-old singer Sean Kingston came on the scene it was with the single "Colors 2007," a nightmare walkin'/psychopath talkin' type track with dramatic bells, hardcore swagger, and a couple shoutouts to his Jamaican homeland and homeboys. Then came "Beautiful Girls," a pop-rap tune that took a bit of Ben E. King's "Stand by Me" and twisted into a pouty "she left me" lament that used the word "suicidal" as if itmeant "kinda sad." If you thought "Beautiful Girls" was the greatest sin against urban music since "Fergalicious" then Kingston's self-titled debut is not for you. The album claims "Colors 2007" as a bonus track and then loads up on enough gimmicks, high-profile samples, hooks, and ridiculous lyrics that it's the textbook definition of love it or hate it and shouldn't be approached by anyone who considers themselves "hardcore." Good news is that a slick swagger suits Kingston much better than the hardcore baller stance, and that he's more at ease comes through loud and clear. The unexpected side effect of this move towards pop and polish is that the Jamaican roots pay off splendidly as he takes more of a dancehall attitude towards his vocals, and trades reverent for playful, and serious for exciting. "Me Love" reclaims Led Zeppelin's "D'yer Mak'er" for the island of Jamaica with finger-snaps and glitter. "Got No Shorty" bounces on the "I Ain't Got Nobody" melody and offers "I'm lookin for love/Not askin' for much/Just a fine little shorty/With a big ol butt" without any shame. Paula DeAnda does an excellent Mariah Carey impression on the sunshine bright "There's Nothin" while "I Can Feel It" McGyvers a great puppy-love song out of everyday lyrics, a Phil Collins sample, and an air horn. Breezy, feel-good guilty pleasures abound on this lightweight pool-party of an album.

Track Lists
01. Intro
02. Kingston
03. Take You There
04. Me Love
05. Beautiful Girls
06. Dry Your Eyes
07. Got No Shorty
08. There's Nothin (feat. Paula Deanda)
09. I Can Feel It
10. Drummer Boy
11. Your Sister
12. That Ain't Right
13. Change
14. Colors 2007 (Reggae Remix) (feat. Vybez Kartel & Kardinal Official)

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[2007] Because Of You - Ne-Yo [Mp3 Download]

Review by Andy Kellman @ allmusic.com
In My Own Words, released in early 2006, was a major success for Ne-Yo. It was a number one album supported by two Top Ten singles and a third that peaked in the Top 20. As it kept gathering steam, the singer/songwriter/producer shrewdly continued to write for others: Rihanna's Top Ten "Unfaithful" and Beyoncé's number one "Irreplaceable" kept his profile on the rise through the end of the year. Indicating that he still has quality material to spare, Because of You comes just a little after a year after his debut, and it is just as solid. Though some of the accomplices remain, such as the Norwegian StarGate team (his partners on "So Sick," "Sexy Love," "Unfaithful," and "Irreplaceable") and Ron Feemster, the key to the album's potency and freshness is its differences from In My Own Words. None of the debut's singles were as upbeat as this album's lead single, "Because of You," a sophisticated yet youthful song for the dancefloor, one of many instances where it's evident that Ne-Yo has thoroughly absorbed Michael Jackson and Rod Temperton's rich vocal arrangements on Off the Wall. The album's closing quarter fulfills the contemporary ballad quota, but the preceding quarter provides imaginative and surprisingly adventurous arrangements, as well as some of the nastiest hooks. "Sex with My Ex," the wildest of these three songs, is somewhere between a screwed-and-chopped mix of Prince's "Delirious" and Diddy's "Last Night," its hard beat and synthesizer rays twisted into knots. It's also one of several moments where a newfound swagger is just as convincing as that of prime Usher. Making it to number one on your own, writing a major hit for one of the planet's most popular entertainers, and qualifying as the heir to R. Kelly can have that effect. Executive producer Jay-Z seems to know exactly what he has on his hands: on "Crazy," he completes his verse within the first 30 seconds, allowing his R&B franchise star to take over with no interruptions.

Track Lists
01. Because Of You
02. Crazy (feat. JAY-Z)
03. Can We Chill
04. Do You
05. Addicted
06. Leaving Tonight (feat. Jennifer Hudson)
07. Ain't Thinking About You
08. Sex With My Ex
09. Angel
10. Make It Work
11. Say It
12. Go On Girl

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Nelly Collection [4 Albums] [Mp3 Download]

Biography by Jason Birchmeier @ allmusic.com
When Nelly first debuted nationally in summer 2000, he seemed like a novelty, but it quickly became apparent that he was, in fact, an exceptional artist, a rapper with truly universal appeal. He wasn't from the East or West Coast, and wasn't really from the Dirty South, either. Rather, Nelly was from St. Louis, a Midwestern city halfway between Minneapolis and New Orleans. His locale certainly informed his rapping style, which was as much country as urban, and his dialect as well, which was, similarly, as much Southern drawl as Midwestern twang. Plus, Nelly never shied away from a pop-rap approach, embracing a singalong vocal style that made his hooks incredibly catchy. As a result, Nelly became an exceptional rapper capable of crossing all boundaries, from the Dirty South to the TRL crowd and everything in between. His first hit, "Country Grammar (Hot...)," became a summer anthem, and many more hits followed. In particular, his popularity peaked in summer 2002, when he topped seemingly every Billboard chart possible with his Nellyville album and its lead single, "Hot in Herre."

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Download 4 albums

Nelly - Da Derrty Version (2003)
Nelly - Nellyville (2005)
Nelly - Suit (2004)
Nelly - Sweat (2004)

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50 Cent Collection [4 Albums] [Mp3 Download]

Biography by Jason Birchmeier @ allmusic.com
Though he would later struggle with the nature of his fame as well as market expectations, 50 Cent endured substantial obstacles throughout his young yet remarkably dramatic life before becoming the most discussed figure in rap, if not pop music in general, circa 2003. Following an unsuccessful late-'90s run at mainstream success (foiled by an attempt on his life in 2000) and a successful run on the New York mixtape circuit (driven by his early-2000s bout with Ja Rule), Eminem signed 50 Cent to a seven-figure contract in 2002 and helmed his quick rise toward crossover success in 2003. The product of a broken home in the rough Jamaica neighborhood of Queens and, in turn, the storied hood's hustling streets themselves, 50 Cent lived everything most rappers write rhymes about but not all actually experience: drugs, crimes, imprisonments, stabbings, and most infamously of all, shootings. Of course, such experiences became 50 Cent's rhetorical stock-in-trade. He reveled in his oft-told past, he called out wannabe gangstas, and he made headlines. He even looked like the ideal East Coast hardcore rapper: big-framed with oft-showcased biceps, abs, and tattoos as well as his trademark bulletproof vest, pistol, and iced crucifix. But all-importantly, 50 Cent may have fit the mold of a prototypical hardcore rapper, but he could also craft a catchy hook. As a result, his music crossed over to the pop market, appealing to both those who liked his roughneck posturing and rags-to-riches story as well as those who liked his knack for churning out naughty singalong club tracks. And too, 50 Cent didn't forget about his posse. He helped his G-Unit crew grow into a successful franchise, spawning platinum-selling solo albums for his group members, lucrative licensing deals for the brand name, and sell-out arena tours to promote the franchise internationally. By the time of his third album (Curtis, 2007), however, 50 Cent faced a formidable backlash, particularly among hip-hop purists, who were displeased by his turn toward crossover pop-rap and thus away from street-level credibility.
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Download 4 albums
50 Cent - (Before) Curtir (2007)
50 Cent - Fully Loaded (2007)
50 Cent - Get Rich Or Die Tryin (2006)
50 Cent - Whoo Kid (Best Of ) (2007)

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Anthrax Collection [7 albums] [Mp3 Download]

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ANTHRAX - Taking the Music Back (2003)
ANTHRAX - Volume 8 - The Threat Is Real (1998)
ANTHRAX - Persistence of Time (1990)
ANTHRAX - State of Euphoria (1988)
ANTHRAX - Among The Living (1987)
ANTHRAX - Spreading The Disease (1985)
ANTHRAX - Fistful of Metal (1984)

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Anthrax Collection [ 10 albums] [Mp3 Download]

Biographyby Stephen Thomas Erlewine & Greg Prato @ allmusic.com
Nearly as much as Metallica or Megadeth, Anthrax was responsible for the emergence of speed and thrash metal. Combining the speed and fury of hardcore punk with the prominent guitars and vocals of heavy metal, they helped create a new subgenre of heavy metal on their early albums. Original guitarists Scott Ian and Dan Spitz were a formidable pair, spitting out lightning-fast riffs and solos that never seemed masturbatory. Unlike Metallica or Megadeth, they had the good sense to temper their often serious music with a healthy dose of humor and realism. After their first album, Fistful of Metal, singer Joey Belladonna and bassist Frank Bello joined the lineup. Belladonna helped take the band farther away from conventional metal clichés, and over the next five albums (with the exception of 1988's State of Euphoria, where the band sounded like they were in a creative straitjacket), Anthrax arguably became the leaders of speed metal. As the '80s became the '90s, they also began to increase their experiments with hip-hop, culminating in a tour with Public Enemy in 1991 and a joint re-recording of PE's classic "Bring the Noise." After their peak period of the late '80s, Anthrax kicked Belladonna out of the band in 1992 and replaced him with ex-Armored Saint vocalist John Bush -- a singer that was gruffer and deeper, fitting most metal conventions perfectly. Subsequently, their sound became less unique and their audience shrank slightly as a consequence, and after signing to Elektra for 1993's Sound of White Noise, the group left the label after just one more album, 1995's Stomp 442. At that point, Anthrax -- now a four-piece consisting of Ian, Bush, Bello, and drummer Charlie Benante -- built their own studio in Yonkers, NY, and after a three-year hiatus returned with their Ignition label debut The Threat Is Real, Vol. 8. 1999 saw the release of Anthrax's very first "hits" collection, titled Return of the Killer A's: The Best Of, also their first release for the Beyond label. The album included a cover of "Ball of Confusion," which featured a duet between current frontman Bush and former vocalist Belladonna. A proposed tour that was to include both vocalists was announced, but on the eve of its launch, Belladonna pulled out, reportedly for monetary reasons. The tour carried on, as Anthrax signed on to participate in a package tour during the summer of 2000 with Mötley Crüe and Megadeth, but left the tour after only playing a handful of dates. Anthrax appeared on the Twisted Sister tribute album Twisted Forever in 2001 (covering the track "Destroyer"), and began recording their next album the same year. In addition, guitarist Ian found time to regularly host the metal television program Rock Show on VH1, plus he appeared as part of the fictional metal band Titannica in the film Run, Ronnie, Run. VH1 programming heads eventually replaced Ian with Sebastian Bach, but the band was ready to head back into the studio anyway. New guitarist Rob Caggiano joined in the spring of 2002, just in time for the recording. A year later, Anthrax made their Sanctuary debut with We've Come for You All. The band's dynamic hadn't changed, and touring in support of that album was met with overwhelming success. The CD/DVD set Music of Mass Destruction: Live in Chicago, which arrived in spring 2004, celebrated Anthrax's two decades in the business. Then, in 2005, Anthrax's entire original lineup of Ian, Spitz, Belladonna, Benante, and Bello reunited for a tour and the CD/DVD retrospective Anhtrology: No Hit Wonders [1985-1991]. Anthrax also issued Alive 2, recorded during their summer 2005 reuninon tour.

Download 10 albums
1990 - Persistence Of Time
1993 - Only
1993 - Sound Of White Noise
1994 - Live The Island Years
1995 - Stomp 442
1998 - Moshers 1986-1991
1998 - Volume 8 - The Threat Is Real
1999 - Return Of The Killer A's
2001 - Madhouse - The Very Best Of
2003 - We've Come For You All

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[1999] Keep The Faith - Bon Jovi [m4a Download]

Track Lists
01. I Believe
02. Keep The Faith
03. I'll Sleep When I'm Dead
04. In These Arms
05. Bed Of Roses
06. If I Was Your Mother
07. Dry County
08. Woman In Love
09. Fear
10. I Want You
11. Blame It On The Love Of Rock & roll
12. Little Bit Of Soul

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Incubus Collection [10 albums] [Mp3 Download]

Biography by Steve Huey @ allmusic.com
Incubus rose to become one of the most popular alt-metal bands of the new millennium, setting themselves apart from a crowded field with a somewhat less-negative outlook and tireless touring. Formed in 1991 in the San Fernando Valley suburb of Calabasas, CA, group members Brandon Boyd (vocals, percussion), Mike Einziger (guitar), Alex Katunich (aka Dirk Lance; bass), and José Pasillas (drums) were all tenth grade classmates when they got together. Their early funk-metal sound was heavily influenced by the Red Hot Chili Peppers, but broadened over the next few years to incorporate thrash, rap-metal, post-grunge rock, and grinding alt-metal à la Korn or the Deftones. By the time the group graduated from high school, they had already been playing all-ages shows around southern California on a regular basis. In 1995, Incubus added hip-hop turntablist DJ Lyfe (aka Gavin Koppel) to their lineup and recorded the independently released album Fungus Amongus. That, coupled with their strong local following, helped the band get a deal with Epic subsidiary Immortal.
Incubus' first major-label release was the six-song EP Enjoy Incubus, which was released in early 1997 and consisted of previous demos that were revamped in the studio. Later in the year, their first full-length album, S.C.I.E.N.C.E., was released. Incubus hit the road with a vengeance, opening for bands like Korn, Primus, 311, Sublime, and Unwritten Law. By the summer of 1998, the band had amassed enough of a following to land a slot on that year's Ozzfest tour. They also wound up the year as part of Korn's inaugural Family Values tour, by which time DJ Lyfe had departed and been replaced by DJ Kilmore (first name Chris). With their momentum and exposure slowly building, Incubus returned to the studio and delivered their follow-up album, Make Yourself, in late 1999. The group went right back out on the road, and their stint on the 2000 Ozzfest helped crystallize the new audience that the single "Pardon Me" was pulling in. Although Make Yourself barely broke the Top 50 on the album charts, it was a steady seller that eventually pushed past the double-platinum mark. The second single, "Stellar," was a smaller-sized hit on rock radio, but the album's biggest song didn't hit the airwaves until 2001; "Drive" was a left-field success that became their first Top Ten hit on the pop charts. Incubus expanded their audience by playing Moby's Area: One package tour that summer, and with "Drive" still fresh in the public's mind, released their next album, Morning View, in the fall of 2001. It entered the charts at number two, confirming that Incubus had diligently worked themselves into stardom. "Wish You Were Here," "Nice to Know You," and "Warning" were all popular on rock radio, and the band naturally toured heavily in support -- this time as a headliner.
In early 2003, Incubus became embroiled in a contract dispute with Sony and filed a lawsuit to have their deal terminated under California labor laws. In April, the band announced the departure of bassist Dirk Lance. Within days, fellow Incubus guitarist Mike Eiziger called upon his Time Lapse Consortium mate Ben Kenney to be Lance's permanent replacement. The group remained a part of the Sony empire, however, and released A Crow Left of the Murder on Epic/Immortal in early 2004, which hit number two on the Billboard Top 200. Some touring followed before Incubus headed home in November to take a well-deserved break. The guys spent the next two years individually exploring things outside of the band -- music, art, film, and literature endeavors all included -- though they also remembered to work on and finish their sixth album, recorded over a year's time in both L.A. and Atlanta. The resulting record, Light Grenades, appeared in late November 2006.

[1995] Fungus Amongus
[1997] Enjoy Incubus (EP)
[1997] S.C.I.E.N.C.E
[1999] Make Yourself
[2000] MTV Unplugged
[2000] When Incubus Attack Vol. I (EP)
[2001] Morning View
[2001] When Incubus Attack Vol. II (EP)
[2004] A Crow Left Of The Murder
[2004] Alive At Red Rocks
[2006] Light Grenades
[2007] Look Alive (Bonus CD)

Updated

Incubus Discography

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331 Collection [ 5 albums] [Mp3 Download]

Biography by Cub Koda @ allmusic.com
311 was formed in 1990 in Omaha, Nebraska by five self-described "friends for life" (singer/guitarist Nick Hexum, singer S.A. Martinez, guitarist Tim Mahoney, drummer Chad Sexton and the bassist known only as P-Nut), whose common link was a passion for both music and life that eventually brought them together to make music with a positive message behind it. After gigging locally (and by all reports quickly conquering the local music scene there), the quintet moved to Los Angeles, where they signed with Capricorn Records in 1991.
Since that time, 311 have released several albums, including 1992's Music, 1993's Grassroots, and 1995's 311 (aka the "Blue" album), the latter reaching number 12 on the album chart, selling three million copies worldwide, and sporting the tracks "All Mixed Up" and "Down."
In 1996, following a non-stop year of touring, the band released Enlarged to Show Detail, a home video of live performances taken from amphitheater shows in Kansas City and Denver, as well behind-the-scenes looks at life on the road. That the video has been certified platinum in sales is strong testament to the unique relationship the band has with its fans. In 1997, Transistor, a double album of new songs on one CD, was released, and the group mounted its most ambitious tour yet, a worldwide stretch of concerts intended to enlarge the band's already large and loyal fan base. "When we first started the band, we were always sure something good was going to happen," says drummer Chad Sexton, "and we've never gone backwards in any way since." Live followed in 1998, and a year later, 311 returned with Soundsystem. The band jumped to Volcano for From Chaos, which appeared in summer 2001, and followed that with Evolver two years later. By now 311 had been together over ten years, and they celebrated with a Greatest Hits comp. Released in July 2004, it included all of their hit singles, a few new tracks, and the band's gracefully-reggaeing cover of the Cure's "Love Song," originally from the soundtrack to Adam Sandler and Drew Barrymore's 50 First Dates. 311 came back with new material in August 2005 with the Don't Tread on Me LP.

Download 5 albums
311-From_Chaosl-2001
311-Grassrootsl-1994
311-Music-1993
311-Soundsystem-1999
311-Transistorl-1997

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Eminem Discography [Mp3 Download]

Biography by Jason Ankeny & Bradley Torreano @ allmusic.com
A protégé of Dr. Dre, rapper Eminem emerged in 1999 as one of the most controversial rappers to ever grace the genre. Using his biting wit and incredible skills to vent on everything from his unhappy childhood to his contempt for the mainstream media, his success became the biggest crossover success the genre had seen since Dre's solo debut seven years earlier. The controversy over his lyrics was the best publicity any musician could afford, and being the first Caucasian rapper to make a significant impact in years may have given him a platform not afforded to equally talented African-American rappers. A gifted producer as well, his talents always seemed overshadowed by his media presence, which was a mix between misunderstood genius and misogynistic homophobe. Both may be true, but his message spoke to legions of disaffected youth who had few role models in the rap world who could relate to the white lower-class experience.
He was born Marshall Mathers in St. Joseph, MO (near Kansas City), spending the better part of his impoverished childhood shuttling back and forth between his hometown and the city of Detroit. Initially attracted to rap as a teen, Eminem began performing at age 14, performing raps in the basement of his high school friend's home. The two went under the names Manix and M&M (soon changed to Eminem), which Mathers took from his own initials. Due to the unavoidable racial boundaries that came with being a white rapper, he decided the easiest way to win over underground hip-hop audiences was to become a battle rapper and improv against other MCs in clubs. Although he wasn't immediately accepted, through time he became such a popular attraction that people would challenge him just to make a name for themselves.
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Eminem - Dont Call Marshall (2002) /Alt
Eminem - E (2004) /
Eminem - Eminem Is Back (2004) /Alt
Eminem - EncorE (2004) /
Eminem - Infinite (1996) /Alt
Eminem - More Maximum (2002) /
Eminem - Off The Wall (2000)
Eminem - Psycho (2000) /
Eminem - Straight From The Lab LP (2003) /Alt
Eminem - The Anger Management Tour Live (2005) /
Eminem - The Eminem Show (2002) /Alt
Eminem - The Hits And Unrealesed Vol 2 (2004) /
Eminem - The Hits and Unrealeased Remaster(2004) /
Eminem - The Marshal Mathers LP (2000) /Alt
Eminem - The Slim Shady LP (2000) /Alt
Eminem - The_Slim_Shady_LP_Special_Edition-2CD-1999
Eminem Presents - The Re Up (2006) /
Enimem - Curtain Call - The Hit (2006) / Alt
Eminem - Conscience-1999
Eminem - Encore-2004-RNS
Eminem - Platinum_Collection-2001-REV
Eminem - Shady_Lane-2001-NXL
Eminem - The_Source_Tape-2003
Eminem - Gold_2000
Eminem - The_Singles_Boxset-11CD-2003-RNS

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The White Stripes Collection [4 albums] [Mp3 Download]

Biography by Chris Handyside @ allmusic.com
Detroit minimalist rock duo (specifically, southwest Detroit minimalist rock duo) the White Stripes -- Jack White, guitar and vocals, Meg White, drums -- formed in 1997 (Bastille Day, to be precise) with the idea of making simple rock & roll music. From the red-and-white peppermint candy motif of their debut singles, self-titled album, and stage show to their on-the-surface rudimentary style, they succeeded wildly and immediately with that mission. Their first recordings were a mix of garage rock, blues, and the occasional show tune. In frontman Jack (a former drummer for Detroit country outfit Goober & the Peas), the White Stripes have a formidable songwriter, guitar player, and vocalist capable of both morphing between styles and changing the musical styles themselves; ranging from the folk blues of Blind Willie McTell to soaring Kinks-esque pop and narrative pop tunes worthy of Cole Porter and into deepest Captain Beefheart territory within the span of 15 minutes is not an uncommon listening experience with either the White Stripes live show or on record. In drummer Meg, the White Stripes have a minimalist percussionist who seems to sense intuitively exactly when to not play. The White Stripes are grounded in punk and blues, but the undercurrent to all of their work has been the aforementioned striving for simplicity, a love of American folk music, and a careful approach to intriguing, emotional, and evocative lyrics not found anywhere else in the modern punk, or garage rock (or among postmodern "blues" practitioners such as Jon Spencer, for that matter).
While they may have sprung from the Detroit rock scene, the White Stripes quickly gained a national following after two successive tours with indie rockers Pavement and Sleater-Kinney in 1999 and 2000. The White Stripes released their second LP, De Stijl, in 2000 and it further spread the group's reputation. They followed its release with successful tours of Japan and Australia and entered the Memphis studio of renowned producer Doug Easley for 2001's White Blood Cells. The album was a critical smash and the White Stripes soon found themselves, along with the Strokes and the Hives, at the forefront of the new wave of rock & roll bands poised to take over the world. The band certainly did their best to achieve world domination, appearing on Late Night with David Lettterman, being written about in Time, The New Yorker, and Entertainment Weekly, playing the MTV Movie Awards, and having their video for "Fell in Love with a Girl" in heavy rotation on MTV. They also made the tough decision to jump to a major label; White Blood Cells was reissued on V2 in January of 2002 and their first two records followed suit in June. The White Stripes truly became big time rock stars when their "Fell in Love with a Girl" clip was nominated for four MTV Video Awards, including Best Video of the Year (alongside Eminem and *NSYNC!), Breakthrough Video, Best Special Effects in a Video, and Best Editing in a Video. That summer the group also played four triumphant shows with the Strokes, two apiece in the bands' respective hometowns. In spring 2003 their fourth full-length, Elephant -- recorded in two weeks at London's Toerag Studio and dedicated to "the death of the sweetheart" -- arrived to nearly unanimous critical acclaim.
In 2005 the Stripes returned with Get Behind Me Satan, a dizzyingly diverse album that spanned disco-metal and light, marimba-driven pop and was written and recorded in two weeks that spring. While touring that year, the band covered Tegan and Sara's "Walking with a Ghost," which they released as a single at the end of 2005. That year, Jack White and his wife, model/singer Karen Elson, moved to Nashville, TN. White also formed the Raconteurs with Brendan Benson and the Greenhornes' Jack Lawrence and Patrick Keeler, and spent much of 2006 touring in support of the group's debut album, Broken Boy Soldiers. Early in 2007, the White Stripes announced they were working on a new album; Icky Thump, which included the first-ever Stripes songs with bagpipes and mariachi horns, was recorded in three weeks at Nashville's Blackbird Studio and was released that summer.

Download 4 albums
The_White_Stripes-Get_Behind_Me_Satan-2005
The_White_Stripes-The_White_Stripesl-2002
The_White_Stripes-White_Blood_Cells-2002
The_White_Stripes_-_Icky_Thump_(2007)

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Bon Jovi Collection [6 albums] [Mp3 Download]

Biography by Stephen Thomas Erlewine @ allmusic.com
Few bands embodied the era of pop-metal like Bon Jovi. By merging Def Leppard's loud but tuneful metal with Bruce Springsteen's working-class sensibilities, the New Jersey-based quintet developed an ingratiatingly melodic and professional variation of hard rock -- one that appealed as much to teenagers as to housewives. Bon Jovi skillfully employed professional songwriters to give their songs, especially their power ballads, an appropriately commercial sheen, inaugurating a trend that dominated mainstream hard rock and metal for the next decade. They also made simple performance videos that emphasized lead singer Jon Bon Jovi's photogenic good looks, and these clips helped propel 1986's Slippery When Wet and 1988's New Jersey into multi-platinum status around the world. Both records were criticized for being more pop than metal, as well as being targeted toward teenyboppers, yet the group managed to subtly change its image in the early '90s, moving away from metal and concentrating on straightforward arena rock and big ballads. The shift in style worked, and Bon Jovi were the only American pop-metal band of the '80s to retain a sizable audience in the '90s.

Jon Bongiovi spent most of his adolescence ditching school to play rock & roll, usually in local bands with his friend David Rashbaum. Bongiovi's cousin Tony owned the famous New York recording studio the Power Station, which was where Jon hung out. He was hired as a janitor, and soon he was recording demos at the Power Station with several famous musicians, including members of the E Street Band and Aldo Nova. One of these demos, "Runaway," became a hit on local New Jersey radio, and Bongiovi formed Bon Jovi to support the song, recruiting not only Rashbaum, but also guitarist Dave Sabo, bassist Alec John Such, and drummer Tico Torres. Soon, Bon Jovi was the subject of a major-label bidding war, and the group -- or, according to some reports, just Bongiovi -- signed to Polygram/Mercury in 1983. Upon signing, Jon changed his last name to Bon Jovi in order to de-emphasize his ethnic background, and Rashbaum adopted his middle name Bryan as his last name. Before the group entered the studio, Bon Jovi replaced Sabo with Richie Sambora.
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Bon Jovi-100000000_Bon_Jovi_Fans_Cant_Be_Wrong-4CD-2004
Bon Jovi-Bounce-2002-RNS
Bon Jovi-Cross_Road-1994
Bon Jovi-East_Rutherford-2CD-(Bootleg)-2005
Bon Jovi-Slippery_When_Wet-1986
Bon Jovi-Lost_Highway-2007

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[2003] Hotel Paper - Michelle Branch [Mp3 Download]

Review by Stephen Thomas Erlewine @ allmusic.com
Part of the appeal of Michelle Branch on her 2001 debut, The Spirit Room, was that she came across as a spirited normal girl with an enthusiasm for music. She wasn't teasingly sexy like Britney Spears, nor was she a brat like the then-unknown Avril Lavigne; she felt like a real teenager, something that was enhanced by her direct songs and earnest vocals, which were the furthest thing from flashy. Sure, The Spirit Room could be a little too polished at times, but it was tempered by her eagerness to make a record, so it turned out quite endearing. But like many second albums, her sophomore affair, Hotel Paper, finds Branch two years older and a whole lot more "mature," in the sense that any remnants of that adolescent passion have been removed as she positions herself as a serious singer/songwriter in the adult alternative vein. Branch remains appealing -- her blend of pop and mild roots rock sounds good and she has a nice, plainspoken charm and straight-ahead voice -- but she's buried beneath the slick veneer of Hotel Paper's production (largely by John Shanks) and does not help herself with her compositions, which are vaguely ingratiating, but rarely rise above the generic level. All of it is too self-consciously serious, too preoccupied with turning Branch into a younger but more somber Sheryl Crow (who duets with Branch on the record's best track, "Love Me Like That"). Taken on the surface, Hotel Paper is fine -- it's big and shiny and it glides as easy as tunes on an adult alternative radio station on a summer's day -- but without that infectious spirit she displayed on The Spirit Room or songs as catchy as "Everywhere," the album doesn't have the detail of character that made Michelle Branch so appealing the first time out. In its place is a professional, polished album that's nice to listen to, but doesn't resonate for much longer than its playing time.

Track Lists
01. Intro
02. Are You Happy Now?
03. Find Your Way Back
04. Empty Handed
05. Tuesday Morning
06. One of These Days
07. Love Me Like That - Michelle Branch, Sheryl Crow
08. Desperately
09. Breathe
10. Where Are You Now?
11. Hotel Paper
12. 'Til I Get Over You
13. Everywhere
14. Game of Love - Michelle Branch, Santana
15. It's You

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[2001] The Spirit Room - Michelle Branch [Mp3 Download]

Review by Liana Jonas @ allmusic.com
You have to keep reminding yourself that 2001 newcomer Michelle Branch is only 17 years old when listening to her worthy pop/rock debut The Spirit Room. The 11-track set showcases this precocious artist on guitar (electric and acoustic) and a substantial vocal presence that blends innocence, passion, vulnerability, yearning, intensity, and tenderness all in one voice. She also has a knack for crafting melodic vocal leads, which further define her infectious sound. However, what truly shines through are the young musician's lyrics -- she handles much of the songwriting -- which are some of the most open, simple, and idealistic ruminations on love to drop in 2001. It's no surprise that the disc's first single release, the lively and heartfelt "Everywhere" -- with its electric-guitar power chords, spirited vocal delivery, and catchy chorus -- spread like wildfire on the radio. Elsewhere, the sugary mid-tempo rock ballad "You Get Me" is an endearing and clever spin on the romantic pairing of two misfits. There's nothing more fulfilling and powerful than having the unconditional understanding, acceptance, and love of another, particularly for those a bit "left of center," as the song explains, and Branch well captures the essence of this life treasure. The album's most captivating moment is the mesmerizing "Drop in the Ocean," which, to be sure, symbolizes Branch's Spirit Room. On it her voice, backed by slow and building synth chords, departs from its usual energetic sound and becomes throaty, deep, and ethereal. And Branch's lyrics -- "Love took me by the hand/love took me by surprise/love led me to you/and love opened up my eyes/I was drifting away like a drop in the ocean, now I realize/that nothing has been as beautiful as when I saw heaven's skies/in your eyes" -- take the musical depiction of love to a spiritual level, and that doesn't happen often in contemporary pop/rock, particularly not by a 17 year old. Of note is producer John Shanks' (Stevie Nicks, Melissa Etheridge, and BBMak, among others) great mix; textured backing vocals and overdubs, and a creative use of drum machines, modern beat sounds, and turntables set to a backdrop of rock music, puts a fresh spin on the genre. No doubt, Branch is an artist with a bright future, and that's lucky for music listeners. She has enough spirit to fill not just one room, but many.

Track Lists
01. Everywhere
02. You Get Me
03. All You Wanted
04. You Set Me Free
05. Something To Sleep To
06. Here With Me
07. Sweet Misery
08. If Only She Knew
09. I'd Rather Be In Love
10. Goodbye to You
11. Drop In The Ocean

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[2003] Lighthouse Family - Greatest Hits [Mp3 Download]

Track List
01. Lifted
02. Ocean Drive
03. High
04. Raincloud
05. Lost in Space
06. Loving Every Minute
07. (I Wish I Knew How It Would Feel to Be) Free/One
08. Question of Faith
09. Ain't No Sunshine
10. Goodbye Heartbreak
11. Run
12. Postcard from Heaven
13. Happy
14. I Could Have Loved You
15. Absolutely Everything

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The Chemical Brothers Collection [10 albums] [Mp3 Download]

Biography by John Bush @allmusic.com
The act with the first arena-sized sound in the electronica movement, the Chemical Brothers united such varying influences as Public Enemy, Cabaret Voltaire, and My Bloody Valentine to create a dance-rock-rap fusion which rivalled the best old-school DJs on their own terms -- keeping a crowd of people on the floor by working through any number of groove-oriented styles featuring unmissable samples, from familiar guitar riffs to vocal tags to various sound effects. And when the duo (Tom Rowlands and Ed Simons) decided to supplement their DJ careers by turning their bedrooms into recording studios, they pioneered a style of music (later termed big beat) remarkable for its lack of energy loss from the dancefloor to the radio. Chemical Brothers albums were less collections of songs and more hourlong journeys, chock-full of deep bomb-studded beats, percussive breakdowns, and effects borrowed from a host of sources. All in all, the duo proved one of the few exceptions to the rule that intelligent dance music could never be bombastic or truly satisfying to the seasoned rock fan; it's hardly surprising that they were one of the few dance acts to enjoy simultaneous success in the British/American mainstream and in critical quarters.

While growing up, both Rowlands and Simons grooved to an eccentric musical diet, ranging from the Smiths and Jesus and Mary Chain to Kraftwerk and Public Enemy. They met while taking the same history course at Manchester University, though neither were native Mancunians -- Rowlands enrolled because of the legendary Haçienda nightclub nearby, while Simons acknowledged the city as birthplace to the Smiths and New Order. The pair began sampling Madchester's vibrant nightclub scene together during 1989 and 1990, just at the peak of Britain's fascination with a DJing style named Balearic. Pioneered at the island hot spot of Ibiza during the mid-'80s, Balearic relied on a blend of early house music, Italian disco, rare-groove jazz and funk, Northern soul, hip-hop, and alternative dance. Original Balearic DJs like Trevor Fung, Paul Oakenfold, and Mike Pickering brought the sound back to indie clubs in London and Manchester, and the style proved very attractive to musical eclectics like Rowlands and Simons.
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Download all albums
Brother's Gonna Work It Out (1998)
Come With Us (2002)
Dig Your Own Hole (1997)
Electrobank (1997)
Exit Planet Dust (1995)
Kick Out The Jams
Music-Response (2000)
Push The Button (2005)
Singles 93-03 [2CD Limited Editon-2003)
Surrender (1999)

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[2007] All of the Above - Hillsong United [Mp3 Download]

Hillsong United has come a long way, baby. Gone are the days of being a youth ministry band. Long forgotten are the times where the only names that came to mind when you mentioned Hillsong were Darlene Zsczech or Reuben Morgan. I would venture that today more people are waiting for new songs from Hillsong the "younger" than Hillsong the "elder".
Joel Houston, Marty Sampson, et al, have been leading worship for a long time now. Where once everything they recorded was new and fresh, they now, as veterans, no doubt discover what all musicians who record music for people discover. Starting fresh and staying fresh are two different things.
"All of the Above", United's newest, is tasked with following a successful string of albums. It is definitely a worthy next step, with well-written songs and excellent musicianship. It has a good balance of vertical songs (You, Oh Lord, are.... type songs) and horizontal songs (Listen everybody, let me tell you about God... type songs).
My main issue here is that, while good, this album doesn't open any new doors or step outside what has become a nice little box for this band. And they are too good for that to happen. The best of the best re-invent themselves every so often. This is the challenge for United. As good as this album is, it's not too distinguished from most of their other work.
While the band is tight and exuberant on "Break Free", "Solution", "My Future Decided" and even "Point of Difference", they really hit the mark on the songs where they take a more intimate track. They are able to blend softness with power chords, like on "Devotion" to bring a majesty that is their hallmark. And, as on other albums, they can bring it down into a "selah". There are a couple of moments on this hour and 15 minutes of music where spontaneity reigns and repeats.
"Hosanna", written and sung by Brooke Fraser, stands apart on the album and will probably be done in churches world-wide on Sunday mornings. It, too, breaks off into a riff that gives time and space to the worshiper. I like these moments that are off the printed page.
The final track is "Saviour King", and it, too, is one of my favorites. United is very good at creating songs that can jar you and then melt you, all in the same song. This one crescendos and then falls away.
All in all, "All of the Above" succeeds in that it is well-done. I, for one, would love to see them step out on their next album and hear something that's more "None of the Above".
Review By John Ausmus

Track Lists
01. Point Of Difference
02. Break Free
03. Desperate People
04. Devotio
05. Draw Me Closer
06. Lead Me To The Cross
07. Found
08. Hosanna
09. For All Who Are To Come
10. Solution
11. My Future Decided
12. Never Let Me Go
13. You
14. Saviour King

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[2007] All the Lost Souls - James Blunt [Mp3 Download]

Review by Stephen Thomas Erlewine @ allmusic.com
For as big a hit as it was, "You're Beautiful" wasn't necessarily representative of what kind of a singer/songwriter James Blunt is. It wasn't necessarily inaccurate, but it was misleading, suggesting that all this tremulously tuneful singer/songwriter wants to do is be sensitive -- that he aimed himself squarely at the middle of the road, crafting gentle music for housewives. That's not quite the case, as his 2007 sophomore effort, All the Lost Souls, makes plain. Surely, Blunt is wholly mainstream, a slicker, spirited variation on David Gray's elegantly upscale folk-pop, but he's not crassly commercial, deciding to disregard the path toward stultifying adult contemporary -- a path that "You're Beautiful" certainly pointed toward -- but he's also choosing to not write happy, harmless pop like Daniel Powter, still dwelling on moody, introspective midtempos. In other words, he still adheres to the Gray template the second time around, but he opens things up slightly with some spacey textures reminiscent of Coldplay and a heavy dose of classic popcraft, learned equally from Elton John, David Bowie, and Paul McCartney. Oddly, the sum total of these influences turns Blunt into the heir to that forgotten strain of wimpy, wispy songwriter-driven British pop of the '70s embodied by such once-stars as Al Stewart, Leo Sayer, and Gilbert O'Sullivan. The ghost of Gilbert echoes throughout "One of the Brightest Stars," and while this allusion is quite likely inadvertent, it also doesn't seem to be a coincidence that the opening song (and first single) on All the Lost Souls is a song that celebrates "1973," because much of this album feels like it could have been recorded and released during that mid-'70s heyday of sensitive pop. The main difference is not the clean, modern production with its slight digital flourishes -- things that push the rhythms forward on "Give Me Some Love," one of the livelier moments here -- but that Blunt isn't some quivering bedsit bard; he's the babe who enthusiastically shed his clothes in the "You're Beautiful" video, somebody whose confidence infuses his brokenhearted laments and makes them feel not quite so melancholy. This makes All the Lost Souls soothing, not haunting, and it also removes many of the quirks that distinguished '70s albums by McCartney, O'Sullivan, Sayer, and Elton, so this won't quite seduce that kind of pop fan (although this may hold more interest for them than they might initially think), nor will it win over anybody who can't quite get past the garbled, strangled soul affections of his voice, which remains his greatest liability -- but it will seduce anybody already won over by his 2005 debut, Back to Bedlam, since it's a tighter, more assured record than that. But chances are, they were seduced by Blunt already.
Track List
01. 1973
02. One Of The Brightest Stars
03. I'll Take Everything
04. Same Mistake
05. Carry You Home
06. Give Me Some Love
07. I Really Want You
08. Shine On
09. Annie
10. I Can't Hear The Music

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Blackmore's Night Collection [5 albums]

Biography by Bret Adams @ allmusic.com
Legendary Deep Purple and Rainbow guitarist Ritchie Blackmore (b. April 14, 1945, Weston-super-Mare, England) shifted his musical focus away from hard rock in the late 1990s and started concentrating on his love of Renaissance-era music. He formed Blackmore's Night with his fiancee, vocalist/lyricist Candice Night (b. May 8, 1971, Hauppauge, Long Island, NY), and recruited other musicians from around the world to combine elements of world music, Renaissance, new age, folk, and rock & roll. Blackmore didn't exactly retire his Fender Stratocaster, but he plays acoustic guitar almost exclusively in Blackmore's Night. His acoustic guitar melodies and Night's clear, ethereal voice blend with a host of instruments such as mandolins, keyboards, pennywhistles, violins, tambourines, military drums, and hurdy-gurdies. Blackmore once described the band's sound as "Mike Oldfield meets Enya." Blackmore and Night met in about 1989 when Deep Purple played soccer against employees of a Long Island radio station where she worked. Night, a former model, studied communications at the New York Institute of Technology and had her own radio show. Blackmore and Night discovered they shared a love of Renaissance culture and quickly became a couple. The formation of Blackmore's Night is tied to the efforts of his previous two bands. Blackmore left Deep Purple -- again -- after 1993's musically disappointing The Battle Rages On... album. Blackmore then revived Rainbow -- technically under the original Ritchie Blackmore's Rainbow moniker -- with largely unknown musicians for 1995's Stranger in Us All, and Night contributed lyrics for four songs. Blackmore didn't really want to call it a Rainbow project, but record company executives insisted the name recognition would make it easier to market the album. After Stranger in Us All, Blackmore decided to actually record Renaissance-inspired music. He'd loved the style for years, but he never really played it himself. Once he began playing the music at home, Night would casually start singing along. This innocent, informal practice germinated into Blackmore's Night. The debut album, Shadow of the Moon, was released domestically in 1998. Jethro Tull's Ian Anderson contributes flute on "Play Minstrel Play." Under a Violet Moon followed in 1999, and since a full tour was planned Blackmore consciously wrote more upbeat, stage-friendly music.

Download 5 albums
Blackmore's Kingdom
Ghost Of A Rose
Past Times With Good Company
Shadow Of The Moon
Under A Violet Moon

http://rapidshare.com/files/74493654/Blackmore_s_Night_-_1998_-__Blackmore_s_Kingdom.part1.rar
http://rapidshare.com/files/74496733/Blackmore_s_Night_-_1998_-__Blackmore_s_Kingdom.part2.rar

http://rapidshare.com/files/74617462/Blackmore_s_Night_-_1999_-_Under_a_violet_moon.part1.rar

http://rapidshare.com/files/86587814/Blackmore_s_Night_-_2003_-_Ghost_Of_A_Rose.rar

http://rapidshare.com/files/78876459/Blackmore_s_Night_-_2002_-_Past_time_with_good_company.part2.rar
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http://rapidshare.com/files/72084038/_1997__Shadow_Of_The_Moon.rar

http://rapidshare.com/files/74618131/Blackmore_s_Night_-_1999_-_Under_a_violet_moon.part2.rar
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[1996] Favorite Selections II - Dan Gibson [Mp3 Download]

Originating from eleven best-selling nature sounds recordings, FAVORITE SELECTIONS II reflects upon some of the highlights of the Solitudes series of recordings. Nature sounds expert Dan Gibson is recognized as a pioneer in this genre and the scope of his work is legendary. Authentic wildlife and ocean sounds are woven into classical and original compositions performed on a variety of instruments. The result is a soothing musical tapestry with Mother Nature providing the lead instruments.
Lead Artists: Dan Gibson, Compilation
Composers: R. Allen, B. Bacharach, H. Baer, H. Bekker, C. Desjardins, J. Herberman, M. Maxwell, G.F. Root, J. Strauss
Nature Sounds: Coot, American; Robin, American; Eagle, Bald; Wren, Cactus; Gull, California; Flicker, Common; Loon, Common; Raven, Common; Thrasher, Curve-billed; Dolphin, Pacific-spinner; Dolphin, Pacific-spotted; Dolphin, Rough-toothed; Quail, Gambel's; Thrush, Hermit; Wren, Marsh; Frog, Pacific Tree-; Blackbird, Red-winged; Kinglet, Ruby-crowned; Sparrow, Savannah; Thrush, Wood; Verdin; Sparrow, Vesper; Warbler, Canada; Warbler, Magnolia; Meadowlark, Western; Whale, Killer; Whale, Melon-headed; Nuthatch, White-breasted; Dove, White-winged; Wolf, Timber (adult); Blackbird, Yellow-headed


Track Lists
01. Arrival of Spring ( Right Click ~> Save As Target)
02. Giselle
03. Morning in Saguaro Valley
04. The Welcome
05. Huron Carol
06. Morning Song
07. Into the Sky
08. Laguna Pastoria
09. Roses from the South
10. Summers Eve on a Mountain Lake
11. The Beckoning

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[2001] Forest Piano - Dan Gibson [Mp3 Download]

Captivating bird calls and enchanting piano playing coexist beautifully on FOREST PIANO, from Dan Gibson's Solitudes. Pianist John Herberman provides a variety of original compositions that perfectly suit the environment created by bird calls on this peaceful, reflective recording. Featuring a wide variety of forest dwelling birds, such as the robin, pileated woodpecker, song sparrow and the northern oriole, this album leads the listener away from the harshness of everyday concerns and into a quiet, peaceful forest, where worries seem as fleeting as a morning dew.
Lead Artists: John Herberman, Dan Gibson
Composers: John Herberman
Nature Sounds: Robin, American; Catbird; Loon, Common; Crow, Common; Thrush, Hermit; Wren, House; Jay, Blue; Oriole, Northern; Ovenbird; Grosbeak, Rose-breasted; Sparrow, Song; Sparrow, Swamp; Sparrow, White-throated; Squirrel, Red; Thrush, Wood; Frog, Gray Tree-; Veery; Warbler, Magnolia; Woodpecker, Pileated

Track Lists
01. A Path To Solitude ( Right Click ~> Save As Target)
02. Beauty Abounds
03. Moody Afternoon
04. Ancient Stand
05. Summer Sublime
06. Chasing The Clouds
07. Dreaming By The Stream
08. Hymn To The Old Growth

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[2003] Pachelbel In The Garden - Dan Gibson [Mp3 Download]

At his time, Johann Pachelbel was considered one of the great masters of baroque music. Although many of his fugues and chorales still exist to this day, the piece of his that has truly stood the test of time is his "Canon in D Major," considered by many to be one of the most beautiful melodies ever created. PACHELBEL IN THE GARDEN, from the "Solitudes" series, features an assortment of variations of the "Canon" performed using piano, strings, winds, guitar and wordless vocals. The sense of peacefulness is furthered by Dan Gibson's nature sounds (birdsong, flowing fountain waters), which frolic in the background of each track.
Lead Artists: Michael Maxwell, Dan Gibson
Composers: J. Pachelbel
Nature Sounds: Robin, American; Thrasher, Brown; Cardinal; Catbird; Chickadee, Black-capped; Crow, Common; Finch, House; Thrush, Hermit; Wren, House; Jay, Blue; Dove, Mourning; Oriole, Baltimore; Ovenbird; Sparrow, Song; Thrush, Wood; Veery; Warbler, Canada; Warbler, Magnolia

Track Lists
1. Serenade
2. Pastoral
3. Pavan
4. Serenity
5. Elegy
6. Songbirds
7. Flourishing

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Michael W. Smith Collection [8albums] [Mp3 Download]

Biography by Sandra Brennan @ allmusic.com
Michael Whitaker Smith has become one of the most enduringly popular artists on the Christian Contemporary Music front and is also finding considerable success as a mainstream artist. He was born in Kenova, West Virginia, the son of an oil refinery worker and a caterer. He became a devout Christian at age ten and spent his teens hanging around with a solid support group of fellow believers who frequently gathered to play and make music. After high school, that support group split up, and Smith turned to alcohol, drugs and wild times. He scraped through a couple semesters of college and began honing his songwriting skills. In 1978, a songwriting company expressed interest in his songwriting, and he moved to Nashville, where he played with local bands, including Rose. He was still heavily into drugs and continued using until October 1979, when he suffered a sort of emotional mental breakdown that culminated in recommitting to Christ. The next day he auditioned for a new CCM group, Higher Ground, as a keyboardist. While touring with them, Smith cleaned up his act.
In 1981, he signed to Meadowgreen Music as a staff writer, where over the next few years he provided gospel hits for such artists as Sandi Patti, Kathy Troccoli, Bill Gaither and Amy Grant. He began touring as a keyboardist with Grant in 1982 and the following year, after releasing his first album, The Michael W. Smith Project, became her opening act. His debut album garnered him a Grammy nomination for Best Gospel Performance. Smith became a headliner following the release of his second album, Michael W. Smith 2. Afterwards, he changed musical directions and began recording more rock-oriented music in order to reach a younger audience. As a result, some of his songs became more secular and began breaking through to mainstream audiences. His first real shot at mainstream music came in 1991 when his label, Reunion Records, allowed Geffen Records to distribute his albums. They chose a two-pronged promo campaign with ads designed to appeal to both CCM audiences and to the mainstream pop audience. This has caused some controversy among his more religious fans, who feared that Smith was selling out to the more lucrative secular market, but Smith saw it differently, claiming that he is really only trying to get his message out to a wider audience and to help young people. Over his career, Smith has won both Dove and Grammy Awards, has topped Billboard charts and has been hailed by Keyboard magazine as one of the top keyboardists in rock.
Continuing his musical reign into the new millennium, Michael W. Smith had sold more than seven million records and had 25 number one hits. And Smith's undying commitment to music came with his first instrumental record entitled Freedom. This album, which was recorded in Ireland, featured backing from the Irish Film Orchestra Limited and contained Smith's personal songs composed with his classic piano arrangements. The live albums Worship and Worship Again arrived in 2001and 2002. 2004 saw the release of Healing Rain, Smith's first recording of new studio material since the turn of the millenium.

Download 8 albums
Michael W. Smith - Freedom
Michael W. Smith - Devotions
Michael W. Smith - Healing Rain
Michael W. Smith - The Second Decade
Michael W. Smith - Worship
Michael W. Smith - Stand
Michael W. Smith - I'll lead you home
Michael W. Smith - Live the Life

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[2007] Graduation - Kanye West [Mp3 Download]

Review by Andy Kellman @allmusic.com
Graduation's pre-leak talk wasn't as substantive as it was with Kanye West's first two albums. As with just about any other artist's third album, it had to be expected. The College Dropout was one of the most anticipated debuts of the early 2000s, while Late Registration had people wondering why Kanye would feel the need to work so extensively with multi-instrumentalist rock producer Jon Brion (the J Dilla of the chamberlin) and whether or not Kanye's hubristic tendencies would get the better of it. With Graduation, there was Takashi Murakami's artwork, a silly first-week sales competition with the decreasingly relevant 50 Cent, and chatter about synthesizers running wild. That was about it, but it all seemed loud and prevalent, due in part to a lack of high-profile rap albums released in 2007. Graduation is neither as bold nor as scattered as The College Dropout, and it's neither as extroverted nor as sonically rich as Late Registration. Kanye still makes up for his shortcomings as an MC and lyricist by remaining charmingly clumsy, frequently dealing nonsense through suspect rhyme schemes: "I never be picture-perfect Beyoncé/Be light as Al B. or black as Chauncey/Remember him from Blackstreet, he was black as the street was/I never be laid-back as this beat was." The songs that are thematically distanced, introspective, and/or wary -- there are many of them -- are, in turn, made more palatable than insufferable. That his humor remains a constant is a crucial aspect of the album, especially considering that most other MCs would sound embittered and hostile if they were handling similar subjects, like haters new and old, being a braggart with a persistent underdog complex, getting wrapped up in spending and flaunting, and the many hassles of being a hedonist. Those who have admired Kanye as a sharp producer while detesting him as an inept MC might find the gleaming synth sprites, as heard most prominently throughout "Flashing Lights" and "Stronger," to be one of the most glaring deal-breakers in hip-hop history. Though the synthesizer use marks a clear, conscious diversion from Kanye's past productions, highlights like "I Wonder," "The Glory," and "Everything I Am" are deeply rooted in the Kanye of old, using nostalgia-inducing samples, elegant pianos and strings, and gospel choirs. So, no, he's not dreaming of fronting A Flock of Seagulls or joining Daft Punk. He's being his shrewd, occasionally foolish, and adventurous self.

Track Lists
01. Good Morning
02. Champion
03. Stronger
04. I Wonder
05. Good Life - T-Pain, , Kanye West
06. Can't Tell Me Nothing
07. Barry Bonds - Lil Wayne, Kanye West
08. Drunk and Hot Girls - Mos Def, Kanye West
09. Flashing Lights - Dwele, Kanye West
10. Everything I Am - DJ Premiere, Kanye West
11. Glory
12. Homecoming
13. Big Brother

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[2007] The Altar And The Door - Casting Crowns [Mp3 Download]

Review by Jared Johnson @ allmusic.com
Expectations ran sky-high for Casting Crowns' third studio album following a couple of years as Contemporary Christian Music's best-selling and most-played artist. The looming question wasn't whether lead singer and songwriter Mark Hall would drastically change his formula -- that was doubtful after the group's first two albums were certified Platinum faster than any other artist in CCM history (Jars of Clay was the only other group to accomplish the feat). The question for fans was whether or not the runaway success would change the band's heart. Casting Crowns rose to prominence due to Hall's "painful but true" storytelling of the Christian condition and his comforting calls to reform. The Alter and the Door picked up where Lifesong left off, this time with a slightly greater dose of rock. This time around, songs centered on the disconnect between the faith believers feel during worship and the doubt that plagues them during the rigors of daily life. In other words, how to overcome the spirit being willing but the flesh being weak. Where former albums drew their strength from ballads and AC pop, Alter gave the world upbeat rock classics. The first three tracks showcase more grunge guitar than could be heard on all of Lifesong. "What This World Needs" is a tense, fast-paced rocker that opens the album with the same urgency as Jars of Clay's "Work." "Every Man" and "Slow Fade" also draw on mature rock themes. The band still offers a handful of its signature ballads, reaching a pinnacle on "The World Is Alive" and "I Know You're There." Casting Crowns gave fans no reason to be disappointed on Alter, and anyone living under a rock who was unfamiliar with the band at the time of its release would find little to dispel the group's reign among CCM artists.

Track Lists
01. What This World Needs
02. Every Man
03. Slow Fade
04. East To West
05. The Word Is Alive
06. The Altar And The Door
07. Somewhere In The Middle
08. I Know You're There
09. Prayer For A Friend
10. All Because Of Jesus

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[2007] Saviour King - Hillsong [Live] [Mp3 Download]

Review @ christianitytoday.com
Sydney's Hillsong Church has released a Hillsong Live project like clockwork every year since 1992, and though it'd be easy to mistake this systematic process for shrewd marketing, in reality the worship team remains committed to regularly providing new songs for the church. As worship leader Darlene Zschech so insightfully notes regarding their sixteenth live recording, no matter how much work she and the others put into the writing, "the true test of any song … is always the church, as they decide which songs help them express what is pounding in their hearts."

So true, but when a calendar dictates new music rather than creativity, the album's songwriting is bound to vary from exceptional (Blessed, Mighty to Save) to forgettable (For All You've Done, God He Reigns), and somewhere in the middle like Hope or this one. On the surface, Saviour King sounds like virtually every other Hillsong Live album—a strength and weakness in itself. Specifically, "I'm Not Ashamed" and "Break Free" are identical to most every other upbeat rocker from Hillsong in recent years, and yes, there are approximately ten prayerful power ballads that resemble one another. For a collection of all-new songs, they just don't sound all that new.

At least the worship team has apparently instated a six-minute rule this time, smartly keeping their songs tighter and more focused—this is a church resource after all. The single exception is the title track, an epic highlight that builds from quiet lyrical simplicity into a powerful finale.

These projects succeed most when Hillsong is willing to stretch musically; their best songs being those that translate to multiple styles and settings. Saviour King too often sounds stuck in a template—one song is interchangeable with another. Which works for churches resembling Hillsong in worship style, but not for those seeking distinctive worship anthems to adapt to their own congregation's approach. After 16 albums, you generally know what to expect from Hillsong, but I can't help thinking they'd better serve the church by better serving the song and pacing their creative process.

Track Lists
01. I'm Not Ashamed
02. Break Free
03. In Your Freedom
04. You Are My Strength
05. Lord of Lords
06. One Thing
07. To Know Your Name
08. God of Ages
09. In the Mystery
10. You Saw Me
11. Hosanna
12. Here in My Life
13. You Are Faithful
14. Saviour King

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