Sunday, June 15, 2008

Black Keys-Attack and Release



Of all the two-piece rock bands (Dresden Dolls, The White Stripes, The Kills, John & Jehn) out there making a royal racket, The Black Keys are by far the least affected by the last three decades of popular music, and evolution. Even more so than Jack & Meg. Which makes you check the album credits twice and then seek a second opinion--produced by celebrated uber-producer, superstar DJ and one half of Gnarls Barkley, the ubiquitous and really quite modern Danger Mouse?! No, your eyes do not deceive you, but thankfully neither do your ears. He may have brought a discipline and expensive sheen to Attack & Release, the riffing is buffed up real good, but this is essentially the same band that continues to live less of a life and more a Jimi Hendrix Experience. If there is a change it's that for the first time their foot is teased off the accelerator, with "Lies", "Remember When (Side A)" and "Oceans & Streams" loosening their shoulders and playing a more chilled brand of dusty sunset southern blues, adding in keys and new layers of texture (is that really a flute on "Same Old Thing"?!). There's still plenty of chance, on the massive Zeppelin-esque "Strange Times" and "Remember When (Side B)" for instance, to leave a boot mark though. More release than attack this time around, but the key still fits. --James Berry

Product Description
Limited Edition pressing of their 2008 album comes in double fold digipak packaging. On Attack and Release, Danger Mouse is more creative co- conspirator than traditional figure behind the boards. He doesn’t radically alter the duo ’s sound so much as coax out more of its inherent soulfulness, groove and bittersweet emotion. Two versions of 'Remember When' illustrate how the duo can swing easily from smoldering ballad to thrashing rocker. 'I’ m more pleased with the sound of this record than any one we’v e ever made,' says Carney, and Auerbach concurs: 'We never let it all go l ike we did for this one, anything was game. It was just fun to make, and that’s why I t hink it’s so successful.' V2. --This text refers to an out of print or unavailable edition of this title.

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On some level I agree with other reviewer. I totally understand why the Black Keys made this album. They are trying to move ahead musically but I feel that there are more weak songs on this album than any of their previous albums. Let me start by saying this is not like any other Black Keys albums. It is the Black Keys playing over some light trip-hop beats (provided by Danger Mouse aka the other half of Gnarls Barkley). The truth is that some of the songs on here are awesome and really capture the essence of what the Black Keys are all about (which as I see it is dirty mid fi rock and roll blues). On every Black Keys release until this one I could listen to the songs all the way through without skipping even one track. I love those albums, but this album I only kind of like. I skip a few songs when they come on. The songs I don't skip I love on this album though. If this is your introduction to the Black Keys I would start with one of their earlier albums. If you own all those, don't hesitate to buy this now. Just be aware that this is different than what you've heard before from The Black Keys.

Sunday, June 8, 2008

The Raconteurs-Consolers Of The Lonely



Product Description
Consolers Of The Lonely follows The
Raconteurs 2006 debut album Broken
Boy Soldiers, which went Top 10, was
Grammy® nominated for Best Rock
Album, and spun off a #1 Modern Rock hit. Led by singer-songwriter-guitarists Jack White of The White Stripes and Brendan Benson, The Raconteurs
relocated to Nashville and moved to
Warner Bros. Fascinating, engaging, and rocking, Consolers Of The Lonely
fulfills the promise of the teaming of
two masters of power pop.

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First of all, forget whatever you thought you knew about The Raconteurs. This album would be hard-pressed to be much more different from "Broken Boy Soldiers," their 2006 debut. From Jack's first searing guitar notes of the title track, which opens the album, through the quirky Dylan-esque "Carolina Drama" that closes it, this album shows that the Racs did not just drive up to the stop light and then continue on after the light changed. They hung a right and buried the gas.

What's different from "Broken Boy Soldiers"? The energy level is higher, for one thing. While there is a mix of different paced songs on the album, overall they've taken the energy to a new level. The first album had a "sound" that extended throughout the entire album; this does not. It's also not as polished an album as their first (and that's a good thing, not a bad thing - nor is it a criticism of "Broken Boy Soldiers"). While Brendan's pop-meister sensibilities and skills are evident (their cover of Terry Reid's "Rich Kid Blues" is a good example), they are not as pronounced as on "Broken Boy Soldiers". There are some rough edges to the sound that add to the energy and a dark edginess that lurks in the background ("Top Yourself" is an excellent example). Some of their influences, such as country, are more obvious (Dirk Powell's fiddling is lovely). And Jack III's love of the blues is much more evident. The use of the Memphis Horns on some tracks raised my eyebrows until I heard them; the use is sparing and fits beautifully (I can't begin to count how many rock songs have been ruined by the addition of horns - Jackie Bollweevil and Brendan Boy knew exactly what they were doing here). And some of Jack's slide work will positively make your skin crawl!

It's premature for me to add any detailed commentary on the individual songs (I've only given the album three careful [translate: headphones] listens, although it's been playing constantly since I got it), but "Carolina Drama" is definitely my fave so far - it's killer good. Side note: "Five On The Five" has evolved considerably since it was played in concerts on the 2006 tour.

What I can say is, even though it's only March, this is easily one of the best albums of 2008, and it's going to be very heavily played at this house for a long time to come. My advice is to buy this album, put it in your car stereo, turn it up all the way, and drive around town with all the windows down (even if it's snowing, and definitely in the rain) - that is what rock `n' roll was intended for, and this is most definitely rock `n' roll of the first order.

While this album is very different from "Broken Boy Soldiers", it is absolutely outstanding in every way. This is grand stuff, indeed. So much for the sophomore album jinx.

The Racs are back,
Pickin' up the slack.

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Jack White is so influential and popular right now that when he tells the record company that he wants this album released on a certain date or else he is going elsewhere...it happens!

Sometimes a rushed release date has its drawbacks such as mistakes in the packaging or poor sound quality. However, this album is superb in every way! The album artwork is cool with the retro photograph, the sound quality is great (the opening guitar sounds massive), and the songs are all well written and recorded.

I cannot top the other reviews here going into a whole lot of detail on the songs etc, but I have listened to the album all the way through at least 4 times. It is a little more rockin' than the first release. The guitars sound great (probably recorded really raw with an old tube amp and a microphone). It is a great album! If you like The White Stripes or The Raconteurs 1st album, then pick this one up...you won't be disappointed!

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Drama. (My one-word review)

This is not a continuation of Broken Boy Soldier. It is the Raconteurs creating a complete package of material that is in a whole 'nother building from BBS.

This release feels more collaborative and polished. Some songs do seem to have a bit too much going on with extended instrumentals and even some of the chorus/harmonizing might have been pared down because it comes off as a bit 'indulgent.' This is really my only complaint and it is minor. I gave it 5 not 4 stars.

A couple songs sound like what used to be called 'acid-rock' in the early 70's and would have fit in nicely between my Grand Funk Railroad lps and The Who. Specifically, Hold Up & These Stones...fit this description. They are 'reminiscent' not carbon copies.

"Old Enough" has an almost bluegrass flavour to it. Brendan and Jack harmonize as well as CSNY here.

"Top Yourself" is a lyrically fun, risque piece that probably could have been sub-titled: 'master of your own domain.' Nothing here the kiddies can't listen to. Subtlety abounds.

"Many Shades of Black" is uber-dramatic. The singing is sublime. The lyrics, melody and horns make it an atmospheric piece that makes me think of a small dark (aren't they all) nightclub featuring a band too good to be there. I don't know why....

"Carolina Drama" My review title uses a line from this song. It is a song with a driving beat, driving lyrics and a melody that you can't help but fall into. It is my favorite on the record and should become a classic, much like Eminem's, "Stan" or even "The Night the Lights Went Out in Georgia." Have a listen, you'll understand. It is brilliant and perfectly sung.

"Jack's Voice." Okay, it's not a song title but I have to comment. I think he is one of the most underrated singers out there. He pulls off a brilliant punk-like warble (in this and all his endeavors). He can sing sweetly. There is an 'unpredictable' aspect to his voice that is endlessly fascinating to listen to; random cracks that may or may not be intentional. Brendan is a fantastic singer. But for me, Jack is infinately more interesting.

The Best of (Special Edition 2CD)-Radiohead



adiohead's first-ever career retrospective, this 2 disc Limited Edition CD package includes 17 of the band's most popular tracks including "Creep," "Karma Police," "High and Dry," "Fake Plastic Trees," and "Optimistic," plus a bonus disc featuring 13 more standouts including tracks not featured on Radiohead's prior studio albums. The Limited Edition package also features an extended booklet and deluxe packaging.

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Music: 5 stars.... Compilation: 3 stars

When Radiohead decided with the "In Rainbows" album not to re-up with EMI, it was only a matter of time before the label would squeeze a few more drops out of the money machine that Radiohead was for EMI. The label simply had to find a good time and excuse to do so, and that time has come now (new tour!). The band has made clear that it has nothing to do with this "best of", all the while also acknowledging that EMI has the legal right to do this. Now the question is: is this compilation any good?

"The Best of Radiohead: Special Edition" (2 CDs, 30 tracks, 135 min.) is a very generous overview of Radiohead's best songs from the 7 albums it recorded for EMI. CD1 (17 tracks; 76 min.) brings the "greatest hits", and hence not surprisingly focuses on tracks from three albums: a whopping 6 tracks from 1995's commercial breakthrough album "The Bends", including the singles Just, My Iron Lung, High and Dry, Fake Plastic Trees, and Street Spirit (Fade Out) and also the fabulous title track. 1997's "OK Computer" album, viewed by many as one of the most important albums of the 90s, gets 4 tracks, including the singles Paranoid Android, Karma Police, No surprises, and also Lucky. 2000's so-called experimental "Kid A" album gets 3 tracks: Optimistic, Idioteque, and Everything In Its Right Place. With that, 75% of this "best of" compilation is filled. The remaining 3 studio albums get a mere 4 tracks: the monster hit Creep from 1993's "Pablo Honey"; Pyramid Song from 2001's "Amnesiac; and finally There There and 2+2=5 from 2004's "Hail to the Thief".

CD2 (13 tracks, 59 min.) brings deeper tracks from the various albums, and is just slightly more of a headscratcher to me than CD1. There are 2 singles that didn't make CD1 (Knives Out from "Amnesiac" and Go to Sleep from "Hail to the Thief"), and after that it's a bit all over the place: You and Anyone Can Play Guitar From "Pablo Honey"; Planet Telex from "The Bends" plus Talk Show Host, a B side of that era; Airbag, Let Down and Exit Music (For a Film) from "OK Computer"; The National Anthem and How To Disappear Completely from "Kid A"; I Might Be Wrong and Knives Out from "Amnesiac"; and even the live mini-album "I Might Be Wrong: Live Recordings" is represented with "True Love Waits".

In all, while it is always possible to split hairs and argue over the selection of the tracks, it is difficult to be upset with the final result. EMI actually did a pretty good job of it! I will say that I am not crazy with the sequencing of the album. I would have preferred a chronological sequencing, for one. Notice that on CD1 the 3 tracks from "Kid A" are scattered and buried in the second half for some reason. For anyone not all that familiar with Radiohead, if you are wondering whether to buy this, or to buy the single CD, I would urge to buy the single CD compilation. If you like what you hear there, the next step is to explore the individual studio albums of Radiohead. I have no idea to whom the 2CD Special Edition is marketed to, to be honest. The causal Radiohead fan doesn't need that much and the rabbit Radiohead fan already has all of this. But the music is fantastic, let there be not doubt about it.

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It's weird. If you would have asked me what one band I thought wouldn't have a greatest hits sort of record, Radiohead probably would've been on the top of the shortlist. Not because Radiohead don't have their far share of great tunes, but because if there was an album band in the ninties and early 00, it was Radiohead, where each record had it's own distinctive flow and feel.
Containing songs from their six EMI albums (nothing from "In Rainbows" is included here as it was recorded after their contract expired), "The Best Of" is surprisingly well done, with each album represented fairly well, and is a good primer for people who may not know much about Radiohead, or don't own any of their albums.
DISC ONE:
"The Bends" and "OK Computer" are best represented here probably, with five of disc one's tracks coming from "The Bends" and four coming from "OK Computer", while "Pablo Honey", "Kid A" and "Amnesiac" all account for the other eight songs.
Any song here that a caual fan would want are here, from their first hit single through their alt-rock radio staples "Fake Plastic Trees", "High and Dry" and "Karma Police". This disc also features some of their more experimental material, as "Everything In It's Right Place" (which is even odder sounding I think not leading off a record), and "Pyramid Song" represent. The selection of songs on this disc, the one that will be more widely availble as a single disc variation, is strong, and will please the casual listener.
The problems with the disc come down to sequencing, as it is weird to hear "Fake Plastic Trees" between "Optimistic" and "Idioteque". As a group with records that were individual entities, it provides for a slightly incoherant mix, which might confuse people, and doesn't help out the overall flow of the record.
Another problem with the first disc, again the one that is going to be more widely bought over time I have to believe, and I never thought that I would say this being a non-fan of these albums, is that "Amnesiac" and "Hail to the Thief" are underrepresented. By focusing so much on "The Bends" and "OK Computer", still my personal favorite Radiohead discs, it doesn't show Radiohead in it's fullest light. And I have to wonder where is "Sit Down, Stand Up", still one of the best Radiohead songs in my opinion.
But hey, you can't please everyone, so...
DISC TWO:
The bonus disc for this special edition is where you can find more album tracks, and is pretty cool in it's own right. It's pretty interesting to hear "Anyone Can Play Guitar" on the same disc as "I Might Be Wrong" and "The National Anthem". And the selection, too, is strong, with any lesser known more popular favorites (odd statement that), and the inclusion of "True Love Waits", availble on the live EP "I Might Be Wrong" is a nice choice.
The problem with this disc is it renders itself fairly worthless. Not the quality of music (in fact, the stuff from "Amnesiac", my least favorite record from the band, sounds better not on the album itself, if that makes sense), but one has to wonder who needs the second disc. It skimps on new material (no surprise as Radiohead did not endorse of support this product) or even remixes, meaning that fans who dig the band don't need it, and casual fans will shrug it off because the single disc edition already has everything they want.
The packaging and booklet for the record are strong, on par with what you see with most comps of this sort.
Overall, EMI put their work into putting together this record. It features everything that a casuel fan could ask for, and for those who decide to splurge on this edition will get a fairly strong overview of Radiohead's music thus far. It's a strong collection, well put together, flawed but for sure does what it was setting out to do. Fans probably don't need it, but newcomers will enjoy it.

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On Amazon U.K., a number of Radiohead fans are already complaining that this compilation is unwarranted, unnecessary and unjust, and I'm sure they'll be doing the same here soon. Many of these fans argue that Radiohead should not be anthologized because their albums should be heard as albums, not as parts of a collection. While I can respect that opinion to a point, Radiohead has released singles for every album, and I see no reason why those singles can't be anthologized for neophytes. Almost every band in history has been anthologized at some point. Why is Radiohead different? What makes them above a "greatest hits" collection? Even Pink Floyd has had the compilation treatment, and they are the epitome of the difficult to anthologize, album-oriented band.

Sure, I'll agree that new fans should check out the individual Radiohead albums (especially "The Bends," "OK Computer" & "Kid A"), but what's wrong with starting with this collection first? When I was younger, I was turned on to R.E.M. through the compilation "Eponymous;" I got into the Psychedelic Furs with "All of This and Nothing;" and I discovered Echo & the Bunnymen on "Songs to Learn and Sing." All of these bands were album-oriented artists, and hearing those collections made me go out and purchase the original albums by those bands. So, if you're already a die-hard Radiohead fan, obviously this compilation is not for you, but if you're new to the band, this is not a bad place to start.

Also, any fan could criticize certain omissions (for me, "Stop Whispering," "Morning Bell," and "You and Whose Army" were the most strangely M.I.A.), and certain albums get more exposure than others (seven songs from "The Bends" seems a bit excessive), but overall this compilation has a strong track selection. The track listing is a bit haphazard at times (a straightforward chronological order might have been preferable), but again, that's a minor complaint.

As for the also-prevalent fan criticism that this is a cash-grab from the record company, what compilation isn't? Record companies are in the business of making money (in exchange for promoting artists and bringing them to a wider audience), and I for one see nothing wrong with that, especially considering how many people download albums for free from P2P sites these days (wrong in my opinion), leaving record companies little choice but to try and make money wherever possible.

Finally, I like that this compilation is being issued as both a single-disc and a double-disc collection, depending on how interested you are in the band. If you've never heard anything besides "Creep" on modern rock radio, stick with the single-disc version. If, however, you've heard over half of the singles on the first disc, and you like them, you should probably consider getting the double-disc version. Overall, if you want a well-put-together collection by one of the most influential bands of the last fifteen years, ignore the naysayers and pick up this set. It's a great place to begin.

We Sing, We Dance, We Steal Things



Jason Mraz’s first set of all-new material in nearly three years, WE SING. WE DANCE. WE STEAL THINGS. sees Mraz continuing to tread his own distinctive artistic path, melding a variegated musical tapestry with passionate, personal lyricism. Among the highlights are collaborations with British tunesmith James Morrison and singer/ songwriter Colbie Caillat.

"I’m Yours," the album’s first single, was chosen due to the undeniable fan response to the song. A demo version of "I’m Yours" originally appeared on a limited release bonus EP Mraz put out with his last album. Today the song is an online sensation, with hundreds of usergenerated videos from more than 25 different countries now appearing on YouTube. Jason will be hitting the road this April on the "Music, Magic & Make Peace Tour".

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From the first track to last Jason Mraz dazzles, perplexes and scintillates on his high-octane 3rd full-length studio album "We Sing, We Dance, We Steal Things." His witty, highly individual lyrical style and organic, powerful backing band transform these songs into four minute detours into the mind of the most underrated singer/songwriter of the 2000s.

Lead single "I'm Yours" finally lands on its feet after many years in Mraz's setlists with its mellow, Hawaiian grooves, complete with visions of obligatory surfers and pineapple drinks in the background. It's just a slice of what "We Sing..." has to offer, however. "Lucky" is a sparse, melodic duet with Colbie Callait that transitions aptly out of "I'm Yours," while "Make It Mine" and "Live High" are classic Mraz with feel-good, enrapturing melodies designed to sweep listeners clean off their feet. "Make It Mine" is particularly upbeat, full of hand-claps and lush, horn-laden instrumentation. It should be a single, and if it becomes one it should give Mraz his first major hit since 2003's "The Remedy" if radio programmers have even a neuron left in their heads.

The subject matter is diverse on "We Sing..." but Mraz never suffers from mood swings. "Love For a Child," by far one of the most touching compositions of his career, touches on the effect of divorce on a young child ("When the house was left in shambles/Well, who was there to handle all the broken bits of glass?") while "Only Human" promotes environmental awareness without playing the blame game. "Details In the Fabric" featuring James Morrison is a moody, meditative look at life, love and relationships, while "Coyotes" takes Mraz's sonic pallete in new directions with layered vocals, percolating snyths and an awesome background chorus. His operatic vocals from "Mr. Curiosity" from his last LP make an appearance here.

Other tracks continue the unparalleled quality. "Butterfly" is an awesomely-produced ode to sexual chemistry ("You make my slacks a little tight/You may unfasten them if you like/That's if you crash and spend the night") with effervescent instrumentation and a mercurial, vigorous melody. "If It Kills Me" finds Mraz pining through cheeky, self-deprecating lyrics about the lady who's got everything except the insight to see he's her best match ("We get along much better than you and your boyfriend") while "A Beautiful Mess" bookends the sentiments of "Details In the Fabric" with a more optimistic outlook.

The album's arguable highlight, however, is the curiously-titled "The Dynamo of Volition." Replete from wall-to-wall with Mraz's entrancing singing/rapping style, the song is like "O. Lover" or "Forecast" from 2005's "Mr. A-Z" is that it perfectly captures Mraz's unrivaled melodic weightiness. The lyrics spew left and right in haphazard fashion, but whether or not they are all understood makes no difference. "...Volition" is an exemplary Mraz tune, with a melody powerful enough to hang over the listener, the kind of melody that paints a picture like a scene from an indie movie, that haunts in such a way that it is instantly classic and unforgettable. It says more than any words ever could.

Mraz has that rare kind of talent that puts him in the category of legendary musicians, those musicians with such blazing, inherent talent that it is simply cannot be learned or created. Elton John, Billy Joel, Stevie Wonder come to mind as those types of dynamic musicians that were born with such astounding abilities, and Mraz has what it takes to join their ranks if only more listeners would wizen up and find out what some of us have been lucky to know for over five years.

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I really liked Waiting for My Rocket to Come (2002) and Mr. A-Z (2005), and after waiting three years, it's finally time for more Mraz

This is a great album filled with a mix of rhythms for any musical taste, and he had me hooked from first single "I'm Yours", a fun, reggae-based summer-ready track, with lyrics like:

"Well you done done me and you bet I felt it
I tried to be chill but you're so hot that I melted
I fell right through the cracks
and now I'm trying to get back
Before the cool done run out"

After that, try "Lucky" featuring Colbie Caillat, a breezy mid-tempo number that's extremely addictive. I have it on "repeat" as I type this. These two songs alone make the album worthwhile.

Also recommended are "Make it Mine" (jazzy with horns); "Butterfly" (funky, more horns); "Love for a Child" (soaring chorus, nice melody); "If it Kills me" and "A Beautiful Mess".

To quote from the ballad "Details in the Fabric" (with James Morrison):

"Hold your own
Know your name
And go your own way"

Let's hope Jason Mraz keeps on holding his own, and that we don't have to wait another three years for another album. Recommended to buy (not steal).

Rated: 4.5 stars

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Jason returns with a new voice after a soul enlightening tour including Hawaii and Australia where he dove into spiritual readings and the Hawaiian lifestyle. The lyrics of this new CD largely reflect those experiences in this introspective and personal album. Of the title, Jason says it best on his website: "What I love about mankind is that yes, we sing and we celebrate when we dance and we're foolish and we steal things. It's hard to have a new idea in music, in fashion, the land we walk on. It's all recycled. I think to say we stole it is a lot more fun."

Starting out the CD is "Make it Mine" with a retro 70's sound, lots of horn and lyrics that reflect his new perspective on life. In the same vein lyrically, he bolts out "Dynamo of Volition" with a lot of energy in classic Mraz style that early Mraz fans will definitely enjoy. In "Only Human" he is accompanied by his new funk retro sound as he reveals our human vulnerabilities.

"Lucky", with the talented Colbie Caillat making for a very nice match, has a subtle jazzy sound, and a beautiful blend of their voices. If you haven't checked out Colbie yet, you should. Ideal love transforms into something more carnal in the horn-fluttering retro funk song "Butterfly". The Jason sound we've come to know on previous CDs, this song delivers plays on words and tongue-twisting double-entendres that only Jason can turn.

He confesses tenderly his own past in "Love for a Child", a song about growing up too fast. "Details in the Fabric" is an emotionally gripping call to hang in there through the tough times. The lyrics of "Coyotes" belie the story of predatory search for love in NYC. Given the subject, it makes me scratch my head that he has a childrens chorus singing backup but is rescued by its very dynamic sound with his rapping style, operatic touches and at times Sting-like sound.

The four songs which I consider to be the crème de la crème of the CD are also on the EP "We Sing" as versions from different sessions. Those include the upbeat reggae sound of "I'm Yours", a tune already an online hit; his anthem "Live High"; the light-hearted pop ballad, "If it Kills Me" in which is he almost sounds a bit like Paul McCartney; and the melodic and nostalgic story of "A Beautiful Mess".

He is back rapping for "Mudhouse/Gypsy MC" live on the EP CD "We Steal Things", along with alternate cuts for "Love for a Child", "Coyotes", and "Man Gave Names to All the Animals".

The third EP CD "We Steal Things" contains excellent alternate cuts for "Make It Mine", "Butterfly", "Only Human", and "Dynamo of Volition".

More like Mr. A-Z than his first CD, "We Sing, We Dance, We Steal Things" largely has a melancholy introspective vibe. I think this CD will actually appeal to an older audience with its mostly mellow retro funk sound and revealing personal lyrics. Kenny Loggins fans will find some common ground there. Mraz is definitely stepping away from his safe pop platform and stepping out in a new direction musically. Here's to clear waters! Regardless of the stylistic changes he incorporates in the new CD, I think all fans will be happy with the "We Sing" EP CD and highly recommend it by itself with 5 stars. We all need a little Mraz in our ear.

3 Doors Down



Editorial Reviews
About the Artist
Universal Republic rock icons 3 Doors Down are putting up massive radio numbers with their first single, "Its Not My Time," from their soon-to-be released self-titled album, due in-stores on May 27. Their much anticipated fourth studio album has spawned rock's biggest radio hit of the year so far, with the debut single becoming the fastest moving song at Active Rock radio in the past five years. "The early radio success of "It's Not My Time" is an incredible indication of more great things to come from this band and this album," stated Monte Lipman, President & CEO of Universal Republic Records. "3 Doors Down have become a signature presence in rock through hard work and passionate songwriting that speaks directly to their audience. They have delivered a career-defining album that we cannot wait to get into the hands of fans." The new CD has already got internet fans buzzing, with talk of other choice tracks such as the adrenalin fueled "Train," and the rousing "It's The Only One You've Got", pointing to more milestones from the Mississipi fivesome, from a new album steeped in rock anthems and power-driven radio hits. The follow-up to their #1 debut album, 2005's Seventeen Days, lead singer Brad Arnold cites this effort as perhaps the most communal band effort. "3 Doors Down has always been about every band member giving everything we've got," says the singer/songwriter. "On this album we really wanted to make every song count. We owe it to our fans who have been there to support us from day one." The group's followers have embraced "It's Not My Time" in record numbers, making it one of the bigger request records of the new year. With nearly 13 million albums sold worldwide, the fiery group has rewritten the rock script on maintaining commercial success and securing rabid fan appeal without bowing to trends or compromising their grassroots approach. Braced by front-man Brad Arnold's enduring vocal power, 3 Doors Down has put together an amazing streak of powerful albums and chart-topping singles, including their 6 million selling 2000 breakthrough effort, The Better Life, and epic mega-hit signature songs such as the #1 "Kryptonite," and "When I'm Gone," from 2003's 4 million selling epic Away From The Sun. The group also broke with convention when writing the songs for the new album, holing up in a Nashville cabin together until the songs were completed, and then hightailing it down to Orlando, FL, to record the new CD with producer Johnny K. (he also helmed Seventeen Days).

Product Description
"We're not a band that just goes through the motions," says Chris. "We go at everything hard. What I'm most proud of about the new album is we left ourselves a way out. Everybody hit the proverbial brick wall. Everybody fell down and everybody got back up, then we all went back in the room and, what was great, was we found all these different paths to go down."

`Different' being the operative word here. Because what 3 Doors Down did after reconnecting with family, and `soul searching', was opt for a new process to the creative part of their relationship. One that emphasized the undeniable strength of the group. The fact that the sum is greater than any individual part. "It is all about getting in that room and hashing it out," recalls lead guitarist Matt Roberts. "If you look at a song like `Train,' it was one of the first songs we wrote for this album. It's kind of a building block that exemplifies the spirit of collaboration. Brad came with words and a melody and we hammered it out." "I remember I had that one in my head at home," laughs Brad. "I was singing it so much a friend threatened to kill me if I didn't get it down." Matt also remembers it as one of the `most fun songs to put together. "The best moments of this band have always been about keeping it a fun ride. You need that sense of accomplishment, but you also need to keep the process comfortable.". Adds Chris: "I think it's also fair to say we are one of the only `southern' bands who has the balls to put a song like `Train' out there these days."

The band rented an old farmhouse South of Franklin, Tennessee, where they would not only write songs, but live together, for a while. Says Brad: "The farmhouse was great because it became a wholehearted experience where we just focused on the writing. It was such a close-knit atmosphere, reconnecting us after we had been doing our own thing for a while. It set a cool mood for the entire record, writing out in the country around this fireplace in the basement. Just locking ourselves away and doing it."

Matt adds that the unique setting soon sparked 26 or 27 song ideas. "But winter turned colder than expected in Tennessee. So we decided to head to a warmer climate." The band found a ten bedroom mansion in a remote section of Orlando, Florida. They brought in Seventeen Days producer, Johnny K. and turned the house into a recording studio.

The originality of the two locations rejuvenated the band's approach. They worked hard to capture that sense of camaraderie on the final product. Once they nailed it, they packed up and headed back to Nashville. Talking legendary mixer, Andy Wallace, into abandoning his NY studio, again, (he also mixed Seventeen Days in Nashville), and they began the final process of putting the pieces together.

This album features inspired musicianship as well as some intriguing personal refrains, like on one `band favorite,' "Let Me Be Myself." "That one touches on the wrongheaded notion of how we often try destructive methods to try and kill our pain," says Brad. "But I also want the songs to be open to interpretation. More universal. That one is really talking about anything you can get lost in." And the ballad "Pages": "I think it has a lot of meaning for the whole band. What we've gone through," says Matt. "Brad is pointing out what's going on with his personal situation and ours. It was a very meaningful song for us."

The group also nails their share of (in-yer'-face)-rockers like "Runaway." "It's the kind of song you put on only to get somewhere else," says Todd. "Put it on in your car and drive as fast as you can." He and several of the guys also touch on the last song of the album, "She Don't Want The World," one of the most unique 3 Doors Down offerings yet. "That song has really become one of my favorites. It doesn't have a big chorus or anything, just Brad telling a story." Adds Brad: "We even use loops on that one. We were so willing to try different things. I think one of the reasons this is such an important album for us is because every one of us was in a different place prior to any other record we've ever made. And I would say a `better' place. But it's the kind of record that never would have happened if we didn't get off that merry go round for awhile."

For Greg (former Puddle Of Mudd drummer, born in Louisiana, raised in Oklahoma), a song like the gutsy "It's The Only One You've Got," also exemplifies the band's `sixth-sense' for cooperation. A true democracy - right down the line. "Just the way that it went down. Chris was trying to learn another song and stumbled upon the riff for this song. Brad was like `hold on, I've got something for that.' Then someone else would join in. The whole thing happened quickly, and it turned out to be such an inspiring song. This has been the most collaborative experience I've ever been involved in. And the most satisfying."

"We just can't wait to put this sugar out and get back out on the road," agrees Brad. "It's definitely the one where we got our `grit back."

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Never has 3 Doors Down produced a more polished and reflective album. The first five tracks are among the strongest they've ever recorded. From the opening to "Train," it becomes apparent that this album will be heavier and darker than anything previously written. The singles are solid, and there is a great mixture of slow and melodic tracks along with heavier, more fast paced rock. If you're a 3 Doors Down fan, then this is likely the record that you've been waiting for!

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I agree that Three Doors Down's latest album is easily their strongest collection since The Better Life. I found Away from the Sun and Seventeen Days to be too dramatic and filled with self pity. But each new song in this one is a highlight. If you decide to buy it, get it at Best Buy which includes 2 bonus tracks -"Feet in the Water" and "Who Are You."

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When i got this cd I immidentlly put it my sterio and was trilled with the whole thing. My top six are(1.Let Me Be My Self(2.Pages(3.Citizen Soldier(4.Runaway(5.these days(6.when its over. One thing about this alblum is they did more softer songs ,whitch is something that always brings tracks up to the top of the charts.For example, the charts for 3 doors down music include(1.kryptonite(2.its not my time(3.citizen soldier(4.let me be myself(5.pages(6.here with out you(7.let me go(8.be like that(9.when im gone(10.away from the sun.Eight of the ten are soft.3 doors down are probobly the best modern era rock band of today becuase they top tracks and this alblum shows it.(bottom review of the cd out of ten.)
1.train 9.1 of 10
2.citizen soldier 9.4 of 10
3.its not my time 9.2 of 10
4.let me be myself 9.8 of 10
5.pages 9.6
6.its the only one you've got 9.3 of 10
7.give it to me 8.9 of 10
8.these days 9.4 of 10
9.your arms fell like home 8.8 of 10
10.runaway 9.6 of 10
11.when its over 9.5 of 10
12.she dont want the world 9.4 of 10

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I have listened to this album over and over and can't give it past four stars. There is something about the music that I love and can't get away from, but its also missing something. I just listened to Rikki Rockett's new album called "Glitter 4 Your Soul" and I think it has all the elements that this CD has plus a little more which is way it is the first album I have rated a 5 in over a year. It is definately a must hear for anyone who is wanting perfection.

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It's been a little over 3 years since 3 Doors Down released an album, and they finally return witht heir 4th album. Their first 2 I'd give 4.5 stars, and this one and their last I'd give 4 stars. Like the other albums they've released, it's short with 12 songs and just over 40 minutes. Unlike their last 3 albums, I would say this one doen't have any classic song, but it's more consistant through the entire album. Of the 12 songs, I'd say 4 are ok and the other 8 are good, a couple being real good but not classic material. I'd have liked to see maybe one or 2 more upbeat songs but none the less the album is nice and one I'd recommend.

#1 - 7.5
#2 - 8
#3 - 9
#4 - 9
#5 - 7.5
#6 - 6.5
#7 - 8.5
#8 - 8
#9 - 8
#10 - 7.5
#11 - 8
#12 - 8.5

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the guys from 3 Doors Down with their self titled release.

Kicking off this release with one of their more in your face, fist pumping songs in "Train" and then followed by the equally poignant and moving "Citizen/Soldier". They keep the music flowing throughout the rest of the cd and with this being a collective band effort in writing and all else. You get the feeling that they really took their time with making this and it shows throughout every song.

It ends with "She Only Wants The World" which is unlike any 3 Doors Down song that i've heard in sometime.

This will be the one that puts the band right back on top of the music charts and in the minds of their fans both old and new. 3 Doors Down is what it's about and others should take notice and recognize.

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These guys are, in my opinion, the best band of today. They recognize their fans and just give their all and deliver quality in everything they do. It has taken me awhile to really get into this disc. Train just bursts down the track as the opener. Citizen/Soldier is a great song and It's Not My Time just rocks. Numerous songs are rather slow, but sure enough the chorus kicks in and surprisingly the energy level increases. I just enjoy these guys so much.I just liked their prior discs a bit more. Given more spins, I'm sure the rest of the disc will grow on me.

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When I first heard the single "It's not my time", I immediately went to my music store to purchase the new CD and it wasn't available. It was worth the wait. I have enjoyed the new CD, especially "Train" and "When it's over". If you like 3 Doors Down, you won't be disappointed.

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I'm a huge fan. I love these guys, and I've been hooked since the day I bought The Better Life years ago. 3DD, in my opinion is the most talented band out there. I have always related to their music - they're just average guys who are passionate about the music.

But having said that, I'm disappointed in the new album. It's hard to explain what I don't like about it, other than it's too clinical. It just sounds like the band went from music as their lives to music as a job. The talent is there, but I'm not feeling the power or the flow that they've spoiled me with the first 3 albums. My wife said that the album sounds rushed. I'm not so sure what it's missing, other than it's missing something. I put on a song like Father's Son from their last album and I just FEEL it.

I heard a live version of "It's not my time", and this new studio version doesn't compare. They made it more "poppish" and it lost something in the translation. It's a great song but it could've been so much better. Everyone else seems to love this version though, so I know I'm in the minority on this one.

"She don't want the world" is my favorite on the new album. It reflects their evolution but still keeps to their roots. "When it's over" almost channels their first album, and it's growing on me.

The rest of the album sounds like they showed up to work one day and cut a bunch of tracks. The songs *almost* do it for me, but they just fall short. They're still my favorite band, but this album could've been better than it is.

Hopefully the new album will grow on me over time, but for now I'll be getting my fix from the previous albums.

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Nothing more,nothing less.That seems to be the theme for 3 Doors Down.For me,it's also kind of the group's achillies heel.Several years between each of the releases of their last two cd's and not much has changed musically for the group.The sound has stayed the course throughout the bands career.It would be nice to see the group kind of step outside the box a bit and yet keep some of thier sound mixed in.Of course this is kind of a good thing as well,as you kind of know what to expect and you know you're going to get a solid cd.

This is the case with the groups self titled fourth cd.Nothing on here will catch any 3 Doors Down fans by suprise.Though,most of it is sure to please anyone who has been a fan.That is of course,unless you keep waiting for them to switch it up a bit.For me,this cd actually a bit better overall than anything they have done since "The Better Life".The only song here I could honestly live without is "Citizen/Soldier".It just lacks the hook most of their songs have.The lryics I can appreciate and it's cool that they make songs for the troops,just not very catchy to me.
Highlights are:Train
It's Not My Time
Let Me Be Myself
Pages
It's The Only One You've Got
Runaway

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3 Doors Down have been a band I've followed since their breakthrough hit "Kryptonite." I've always thought they're a little underrated for their talent, though they have had a good degree of success. Two years or so following "Seventeen Days" (a disappointing album in my opinion), the band returns with their self titled album, an album quite a bit superior to their previous effort. While I'll say right off the bat that I don't think there is any particular song on here that is quite on the same level as my favorite songs by the band (such as "Kryptonite", "When I'm Gone", and "Here Without You"), overall to me this is their best album to date on a song by song basis.

It kicks off with an album highlight, the southern fried rocker, "Train." Lead singer Brad Arnold sings "put me on a train mama" to a background of rollicking guitar riffs. This is set to be the next single, and no doubt will be big on rock radio. "Citizen/Soldier" is a song that was released as a tribute to the National Guard last year, and was not originally planned to be on the album. It's for sure a welcome addition though, as it 's also an album highlight. The lyrics work wonderfully as a thank you to those who risk their lives for their country. The first main single, "It's Not My Time" is next, and it does come the closest to capturing that pop rock magic that "When I'm Gone" and "Kryptonite" were able to achieve. Should be the biggest hit off the album, and a great song to add to their list of pop-rock crossover hits.

The album has a slew of ballads to accompany the head bangers, consisting of "Let Me Be Myself", "It's the Only One You've Got", "Your Arms Feel Like Home", and "She Don't Want the World", which surprisingly are all some of the best songs on the album. My favorite of them would be "It's the Only One You've Got", which has probably the best lyrics of any song they've done to date, the chorus going: "Hide behind your walls of maybe nevers, forgetting that there's something more than just knowing better, your mistakes do not define you now, they tell you who you're not, you've got to live this life you're given like it's the only one you've got."

"Your Arms Feel Like Home" is a love song with hit written all over it, especially when it goes into that classic booming power ballad chorus. Brad Arnold has dubbed "Let Be Myself" his favorite off the album, and it is yet another winner with solid lyrics, although a bit repetitive. "She Don't Want the World" is a song with a darker vibe, and it's one of the most unique songs they've ever done. My personal favorite though is the rockin' rocker, "Give It to Me." The song has an awesome riff laden chorus, and is the song I get stuck in my head the most. This will be huge at rock radio if released. About the only song on the album I've yet to warm up to is "These Days", but just skipping one song is way more than I can say for most albums.

3 Doors down is a great progression of "The Better Life" and "Away From the Sun" albums that made me such a fan of the band. If your a 3DD fan, I doubt you'll be disappointed. 4.5/5 Stars

My Top 5:
1. Give It to Me
2. It's Not My Time
3. Train
4. It's the Only One You've Got
5. Your Arms Feel Like Home

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I have been a 3DD fan since their song KRYPTONITE and on their new album from the song TRAIN to SHE DON't WANT THE WORLD...there is a song for every type of mood you're in. If you feel like kicking someones butt, then crank up CITIZEN/SOLDIER. If you're tired of people putting you down then turn on LET ME BY MYSELF. Perhaps you're tired of being told no or you can't do it then play IT'S NOT MY TIME. While they didn't stray too far from their original sound (and why should they there's nothing wrong with it) there is still a harder sound to their new music. On the other hand, their eeriest song is SHE DON'T WANT THE WORLD which i understand to be about a girl who has acclimated herself to her lifestyle and then finally has a revelation and moves on, is very reminiscent of Phil Collins "In the Air Tonight", is the last song on the album, an odd choice, but somehow fits to end. 3DD has been gone for 3.5 years and have now come back better than ever, this album is definitely a MUST buy. Brad and the boys have worked hard on this album and it shows, from the vocal range to the music arrangements, it all works. If you too are a 3DD fan, then this album will not disappoint.

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I've Liked 3DD since the better life, i've loved all there CDs and i know every fans been waiting for new one. the self titles Awesome!!! the only people that won't like these song's are the ones who compare them to their favorite songs. i promise if you sit down put on those big stereo headphones and just listen you'll love it!!!! theres so much drive and feeling behind theses 12 song's. if you've lived any of the storys in these song's you'll really feel the music and isn't that what good music is? something you feel. i really like all the song's you can tell how hard they worked on it its pure 3DD!!!
So For that Thank You 3 Doors Down!!!

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...I guess I should start off by saying that I'm a huge 3dd fan. They, along with the goo goo dolls and nickelback, are my favorite rock band. The Better Life was a great cd. Away From The Sun was even better, a classic IMHO. Then came Seventeen Days. At first, I was *slightly* disappointed. The singles were gold, but the rest was a little lackluster. After a few spins, though, it grew on me and became a worthwhile addition to my 3dd collection.

Flash forward 2 1/2-3 years later. 3 Doors Down release their self-titled record, and I'm in line to get it the day it comes out. Pop it in my cd player, and...disappointment.

I can't say I was thrilled with the single citizen/solider, nor was I with It's Not My Time, but I was definatly hoping for something more from the rest of the songs. One after another played, and all I could think of was how high my expectations for this new record were. Maybe too high? Perhaps, because after a couple of spins, I'm convinced this is their worst record to date. It certainly isn't bad, don't get me wrong, but given what this band has done in the past, it isn't what I'd expected either.

Those looking for another album in the vein of Away From The Sun will be sorely disappointed, although I'm sure there are plenty of people who will enjoy this record too. For now though, I'll toss it aside, pop in Away From The Sun or The Better Life, and vibe.

(The best buy version features two bonus tracks; Feet In The Water and Who Are You. Both are listenable and go well with the rest of the record)

Accelerate



Accelerate, the first studio album in four years from R.E.M., finds modern rock’s most acclaimed band returning to the stripped-down, guitar-driven power that first enraptured fans. Helmed by the band and, for the first time, Jacknife Lee (co-producer of U2’s ’05 Grammy® Album Of The Year How To Dismantle An Atomic Bomb, The Hives and Snow Patrol), Accelerate puts the 2007 Rock And Roll Hall Of Fame group once again firmly behind the wheel of alternative rock, a genre R.E.M. helped invent.

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After the last album, 2004's "Around the Sun", I have to admit I had given up on REM as that album marked the lowest and most disappointing point yet in their rich and illustrious career yet. When word came out last year that REM was yet again prepping a new album to be released in 2008, I kinda rolled my eyes. Then a funny thing happened: I heard the first single "Supernatural Superserious" and boy that song just rocked! Now comes the new album.

On "Accelerate" (11 tracks; 35 min.) REM attacks with a vigor not heard since "Monster" and "New Adventures in Hi-Fi" (the last album with original drummer Bill Berry). From the opening sounds of "Living Well's the Best Revenge", REM sounds completely reinvigorated and rejuvenated, and what a joy it is to hear. The album goes from one highlight to the next. The songs are short and to the point, they make their point and move on. Track 4 "Hollow Man" is when you think you'll catch your breath, and you do for about 15 seconds, before that songs also crashes in to your speakers. "Houston" follows and is the only weak track on the album, in my opinion. The second half kicks off with the rousing title track, and we're off to the races again: "Until the Day Is Done" and "Mr Richards" are superb. "Horse to Water" is one of my favorites with an irresistible sing-along chorus of "I'm not that easy/I am not your horse to water/I hold my breath I come around") sing-along, and "I'm Gonna DJ" is a killer track to close this set (with such choice lines of "Death is pretty final/I'm collecting vinyl/I'm gonna DJ at the end of the world"). It truly is remarkable that some how REM has rediscovered its musical focus and muse. Peter Buck's guitar work is among the best he's ever done, Stipe sounds like he's actually enjoying the songs, and Mills' harmonizing back vocals are really great (check out "Living Well", for example, but surely some credit of this resurgence must go to producer Jacknife Lee.

I can't emphasize enough how pleasantly surprised I am by this album, even shocked. I truly didn't think that REM had another great album in them, but I am more than happy to say that I was flat wrong and in my book "Accelerate" brings REM back to relevance, after so many disappointing years. I had the opportunity to see REM headline the Langerado Music Festival in early March in South Florida, and they play a bunch of songs from "Accelerate", and it all sounded fantastic. Welcome back REM, we've missed ya! "Accelerate" is one of the early favorites for top album of the year. Highly recommended!

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This is it. This really is the one: the killer comeback R.E.M.'s long-suffering original fans have been hoping for since the band detoured into electronic introspection in 1998. Peter Buck's guitars are front and centre, driving the tracks rather than decorating their edges. Mike Mills can finally be heard again on bass and backups. Stipe's vocals are as rich and complex and scathing as ever, but for the first time in a decade he sounds like he believes every word. And finally, at long last, it feels like a human being is manning the drums again. It's exuberant, angry, joyous, wild - everything the last three albums, for all their deep and subtle rewards, were not. Superficially, this feels like the true successor to "New Adventures in Hi-Fi", or what that album itself might have been had the band bunkered down in the studio for a month rather than putting down tracks on the road. But in reality it's better. Ten years of studio-based experimentation and tweaking a new line-up have paid off. Tight, rich and consummately professional, the immediate loose-and-live feel of "Accelerate" is deceptive. This really is an exquisitely crafted album that repays close listening, just as the last three did for those of us who bothered. The crucial difference is that it ultimately feels less studied, less worried-over, less cautious - because it doesn't need to be. The band sound present, engaged, completely confident in their direction and abilities. Best of all, they sound like they're enjoying themselves again. And that joy is irresistible. No matter what your view of the last three albums (I liked them all), you've got nothing to complain about here. This kind of music really is what R.E.M. do best, and they deliver it in spades.

(P.S. Make sure you grab the non-album track "Redhead Walking" from iTunes: a great novelty song and surely destined for a Tarantino film soundtrack.)

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(4.5 *'s) `Accelerate' is R.E.M.'s best effort in ages. Surely meant to put them back in the limelight, the C.D. puts the pedal to the metal and seldom stops to look back. Reminiscent of some of the evocative folk of 'Automatic for the People,' the new songs, draw more from the power of 'Monster (CD + DVD+ A) (Dig)' and the most progressive songs from 'New Adventures in Hi-Fi'. Especially in comparison to 'Monster,' these selections are more fluid and fast-forward than their aforementioned predecessors. The best comparison is to say these songs are their most engaging power pop since `Life's Rich Pageant'.

As usual some of their lyrics are as elusive as their band name suggests, but you don't have to have to go through the printed words with a fine-toothed come, either. For the finger-wagers, they jump-start the album with the worthy "Living Well Is the Best Revenge". Turning the tables on the judgers, Michael Stipe sonorously sings:

"Don't turn your talking points on me./ History will set me free./ The future is ours/ And you don't even rate a footnote."

On "Man-Sized Wreath"* Peter Buck continues his admirable guitar snarl for a song about the tug-of-war between repression and attainment of "carpe diem". (At least that's what I think it means.) Unless the song resonates about believing what is true beyond popular deception--in which case there are plenty of images recalling "Begin the Begin," a theme that resonates often for their post 9/11 R.E.M. observations on the entire C.D.

The best song is the one that debuted early, "Supernatural Superserious," where they find their best groove (and probably their best single) in at least a decade. It is an infectious tune that invites teens (and everyone else) to have the courage to be oneself despite the temptation to be on stage and perform for others. (And speaking of stages, their drummer seems to fit the bill, giving the songs the thrust they've been lacking since the departure of Bill Berry.)

In the slower gears, they still have perfectionist layers with the Tex-Mex folkie-flavored "Houston," a call to hope, and the truly beautiful "Until the Day Is Done," which scotches the pensive beauty of "I Wanted to Be Wrong" from their middle-of-the-road predecessor, 'Around the Sun'.

Not content to simply commiserate about today's crisis, they look to hope in "Sing for the Submarine," probably their most idiosyncratic cut. Using the R.E.M. trademark of dreaming, they resolve to "pick it all up and start again" after fighting against despair ("...This is where you give into the machine/ Lift up your voice, feel gravity's pull,/ And drown out the sirens' ring.) Echoing this theme of enlightened nonconformity is "Mr. Richards," a portrait of populist leader (and a flashback to "World Leader Pretend" from 'Green') who is all bluster and no substance ("Mr. Richard you're forgiven/ For a narrow lack of vision/ But the fires are still raging on.")

R.E.M. has never shied away from social and political commentary, but in a few short songs, they find recourse in love and music. In one of their best propulsive songs since "Departure," "Horse to Water" expresses regrets when desire is tainted by harm. ("You lead a horse to water, and you watch him drown.") No less revealing is "Hollow Man," a confessional about those "loose lips" situations that flatten the spirits in lovers' lives.

Ending the album ably, "I'm Gonna DJ" is another progressive gem that jubilantly speaks of music laying down heaven on earth. Taking some of the vintage ideas and musical motifs in their past, R.E.M. goes "back to the future" and fast-forwards with some of their most accessible music in years. Indeed if 'Accelerate' doesn't take this band back to the top, it is hard to imagine anything else will.

(*At the Sasquatch Festival in George, WA, Michael Stipe introduced the song, telling the audience that the lyric was about his indignation toward President Bush during a recent tribute to the Rev. Dr. Martin Luther King where he lay a wreath at the grave site of the late civil rights leader. "Begin the Begin" states "tiger run around the tree/Run, turn, and then follow," a line in reference to blind followers of authority (allegedly the late Jerry Falwell), a closer interpretation of "Man-sized Wreath" than "carpe diem".)

Evil Urges



1. Evil Urges
2. Touch Me I'm Going To Scream Pt. 1
3. Highly Suspicious
4. I'm Amazed
5. Thank You Too!
6. Sec Walkin
7. Two Halves
8. Librarian
9. Look At You
10. Aluminum Park
11. Remnants
12. Smokin from Shootin
13. Touch Me I'm Going To Scream Pt. 2
14. Good Intentions

Indestructible



Japanese pressing of Disturbed's 2008 full-length. This version includes exclusive bonus track, 'Parasites'. Warner.

Track Listings1. Indestructible
2. Inside the Fire
3. Deceiver
4. Night
5. Perfect Insanity
6. Haunted
7. Enough
8. Curse
9. Torn
10. Criminal
11. Divide
12. Façade

Narrow Stairs



After relentless touring, performances on Saturday Night Live, and appearing on the cover of Spin and Paste Magazines, Death Cab for Cutie brings us Narrow Stairs. Following up their DVD collection, Directions, which sold over 30,000 copies and their platinum selling album, Plans, was no easy task but Narrow Stairs has already been praised by MTV.com as the band’s most daring and adventurous effort to date.

1. Bixby Canyon Bridge
2. I Will Possess Your Heart
3. No Sunlight
4. Cath
5. Talking Bird
6. You Can Do Better Than Me
7. Grapevine Fires
8. Your New Twin Sized Bed
9. Long Division
10. Pity And Fear
11. The Ice Is Getting Thinne

All I Intended to Be



On her second Nonesuch disc, Emmylou Harris assembles an extraordinary cast of veteran musicians and fellow singers, all of them longtime friends, for a set that indeed showcases this Nashville icon, and 2008 CMA Hall of Fame inductee, as all she has intended to be - a singularly expressive vocalist, a brilliant interpreter of other people's songs, a graceful and confident songwriter. In particular, the album displays Harris's ability to bring new life to songs that may have been overlooked, forgotten or lost along the way. Some of the most affecting material here may be the least well-known - though not for long: John Wesley Routh's celtic/country "Shores Of White Sands" and trucker-poet Michael Germino's heartrending story-song, "Broken Man's Lament." Harris has chosen these songs with conceptual care. Like much of the gently uplifting All I Intended To Be, the stories may be bittersweet, the characters may be downtrodden, but somehow a sense of redemption always vanquishes regret. The shared history of all the artists involved deepens the feeling of hard-won wisdom that informs All I Intended To Be. Producer Brian Ahern was behind the boards for such early Harris classics as Elite Hotel, Pieces of the Sky and Blue Kentucky Girl. The players and guest stars are not only a veritable who's-who from the worlds of country, bluegrass and folk, but they have each intersected with Harris throughout her four-decade career as a recording artist. They include Dolly Parton, singers Pam Rose and Maryann Kennedy, dobro player (and longtime Seldom Scene member) Mike Auldredge, keyboardists Glenn D. Hardin (of Harris's Hot Band and Elvis Presley's legendary TCB combo) and Bill Payne (of Little Feat). Two songs - the June Carter tribute, "How She Could Sing The Wildwood Flower" and the breathtakingly beautiful "Sailing Round the Room" - were co-written by and performed with Kate and Anna McGarrigle. Singer-songwriter Karen Brooks, whose own eighties-era version of "Shores of White Sands" was the inspiration and thematic jumping-off point for this entire album, contributes backing vocals throughout; Randy Sharp, Brooks' singing partner, did the vocal arranging. (Harris won a 2005 Best Country Vocal Performance Grammy for her rendition of Sharp's "The Connection.") Harris's own songs, like the heartache ballad "Gold" and the elegiac "Not Enough," blend seamlessly with work by Patty Griffin ("Moon Song"), Merle Haggard ("Kern River") and Billy Joe Shaver ("Old Five and Dimers," from which the album title is taken). Harris revives what is arguably Tracy Chapman's most eloquent song, "Fast Car" notwithstanding - "All That You Have Is Your Soul," a cautionary tale with a simple but profound prayer of a chorus. Displaying the maturity, elegance and ease that distinguished All The Road Running, her best-selling 2006 collaboration with Mark Knopfler. Harris has created a riveting emotional and spiritual journey. All That I Intended To Be is everything a listener and fan could hope for.

Coldplay-Viva La Vida



Coldplay- Viva La Vida [Full]
If you want the song message me and ill send you the link! And Com'on Who Doesn't Want This Song On There MP3! NEW ALBUM COMES OUT JUNE 17!!!!! Go check out some more coldplay songs from there new album Viva La Vida On my profile! Coldplay - Viva La Vida Lyrics I used to rule the world Seas would rise when I gave the word Now in the morning I sweep alone Sweep the streets I used to own I used to roll the dice Feel the fear in my enemy's eyes Listen as the crowd would sing: "Now the old king is dead! Long live the king!" One minute I held the key Next the walls were closed on me And I discovered that my castles stand Upon pillars of salt and pillars of sand I hear Jerusalem bells a ringing Roman Cavalry choirs are singing Be my mirror my sword and shield My missionaries in a foreign field For some reason I can't explain Once you go there was never, never an honest word That was when I ruled the world (Ohhh) It was the wicked and wild wind Blew down the doors to let me in. Shattered windows and the sound of drums People couldn't believe what I'd become Revolutionaries wait For my head on a silver plate Just a puppet on a lonely string Oh who would ever want to be king? I hear Jerusalem bells a ringing Roman Cavalry choirs are singing Be my mirror my sword and shield My missionaries in a foreign field For some reason I can't explain I know Saint Peter will call my name Never an honest word But that was when I ruled the world (Ohhhhh Ohhh Ohhh) I hear Jerusalem bells a ringing Roman Cavalry choirs are singing Be my mirror my sword and shield My missionaries in a foreign field For some reason I can't explain I know Saint Peter will call my name Never an honest word But that was when I ruled the world Oooooh Oooooh Oooooh