[Best Band] Paramore:That's What You Get Music Video DOWNLOAD Lyric & Latest Photo

Paramore is a Grammy-nominated American pop rock band that formed in Franklin, Tennessee in 2004. After several lineup changes, Paramore now primarily consists of Hayley Williams (lead vocals/keyboard), Josh Farro (lead guitar/backing vocals), Jeremy Davis (bass guitar), and Zac Farro (drums).

For the latest album is 'Misery Business' .Single released 11 February 2008.My first introduction to Paramore was on NME’s website with their 'Crush Crush Crush' video, and I was blown away. The music is good, by today’s damn-kids-standards it's really good. On top of that, the lyrics are excellent, and Hayley’s voice and singing talent is … spectactular. You don’t often get a voice that can so successfully lead melody against hard-rock guitar playing, and she does consistently through all of their songs that I’ve heard.

'Misery Business' – its good (maybe not as good as Crush Crush Crush) for sure. A bit of Alanis in there maybe? But once again Hayley – well done.

Fine – now my final word – Josh, Jeremy, and Zac – enjoy it while it lasts; she’s going to eventually leave you behind as all great stars must.

Music Video : That's What You Get

Oh! Lyrics
No sir
Well I don't wanna be the blame, not anymore
It's your turn to take a seat
We're settling the final score
And why do we like to hurt so much?
I can't decide
You have made it harder just to go on
And why, all the possibilities
Well I was wrong
That's what you get when you let your heart win, woah
That's what you get when you let your heart win, woah
I drowned out all my sense with the sound of its beating
And that's what you get when you let your heart win, woah
I wonder
How am I supposed to feel when you're not here?
Cuz I've burned every bridge I ever built
When you were here
I still try
Holding on to silly things, I never learn
Oh why, all the possibilities
I'm sure you've heard
That's what you get when you let your heart win, woah
That's what you get when you let your heart win, woah
I drowned out all my sense with the sound of its beating (beating)
And that's what you get when you let your heart win, woah
Pain, make your way to me, to me
And I'll always be just so inviting (so inviting)
If I ever start to think straight
This heart will start a riot in me
Let's start, start - hey!
Why do we like to hurt so much?
Oh, why do we like to hurt so much?
That's what you get when you let your heart win, woah
That's what you get when you let your heart win, woah
That's what you get when you let your heart win, woah
Now I can't trust myself with anything but this
And that's what you get when you let your heart win, woah

Latest Photo:Live show

Paramore - Riot

01 - For A Pessimist, I''m Pretty Optimistic

02 - That''s What You Get

03 - Hallelujah

04 - Misery Business

05 - When It Rains

06 - Let The Flames Begin

07 - Miracle

08 - Crushcrushcrush

09 - We Are Broken

10 - Fences

11 - Born For This

DOWNLOAD THIS ALBUM:

Part 1: http://www.uploadtoday.com/download/?71eb89a9c19db6b8dbf13b59f1eb2be7

Part 2: http://www.uploadtoday.com/download/?7227867d600eba4ba034146116a1f14f

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[New Artist] Jackie Greene : 'Giving Up The Ghost'

I'm very pleased to announce that new record, 'Giving Up The Ghost' will be available April 1st on 429 Records. The first single is titled: "Shaken" andI encourage you to help us get it played by calling in and requesting it on your local stations.

The album features guests like Phil Lesh, Larry Campbell, David Hidalgo (Los Lobos) Tim Bluhm, and many other fantastic musicians. I hope you will all pick up a copy or two. Or five.

NEW ALBUM IN STORES 4/1/08

TrackLists:
1. Shaken
2. Animal
3. I Don't Live In A Dream
4. Like A Ball & Chain
5. Uphill Mountain
6. Don't Let The Devil Take Your Mind
7. Prayer For Spanish Harlem
8. Downhearted
9. Follow You
10. Another Love Gone Bad
11. When You Return
12. Ghosts Of Promised Lands

"GIVING UP THE GHOST" SPRING TOUR

Hello all, our Spring tour in support of the the new record is starting in a couple weeks. We hope you'll come out and join us at some of the shows. We will be very lucky to have Tim Bluhm be opening most of the shows and Chris Webster as well. Some special guests in our sets will include a Mic Gillette (Tower of Power horns) and Saxaphonist extrodinaire, George Brooks. You never know who else might pop in. We're starting in Sacramento at the Empire. I hope to see some old familiar faces. It's been awhile since we played in Sacramento and I'm sure it will be a good time. Come on out!We will make all the usual stops for us...Denver, Portland, New York. Still in the process of creating a new website, so the check the calendar for updates go HERE

The first single from the record is called "Shaken" and you can help us by requesting it on your local station. The radio stations should have the song in a couple weeks. Remember to always be polite and never harass them, after all you may be speaking to an unpaid intern! Golden rule here, folks.If you want more info about helping this way email jackiegreenefan@yahoo.com

Hope to see ya guys on the road!

Official website:www.jackie-greene.com/

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JMC feat Remy Ma - Get Money

JMC feat Remy Ma - Get Money Music Video

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Taylor Swift - Picture To Burn [MV & Review]

Review: Taylor Swift, “Picture to Burn”

I think this is going to be a crystallizing record for Taylor Swift. It’s been selling briskly as a download long before it was ever released as a single, and it speaks more directly to the teenage audience than anything she’s released so far. That’s going to make it a huge hit for her.

However, for those who have been barely stomaching the MySpace teenybopper element of Swift’s music, this might be the record that turns them off completely. It’s so relentlessly adolescent, right down to her “nyah nyah nyah” vocal delivery, that her big revenge song ends up sounding like a kiddie version of “Before He Cheats.”

By the time she warned that her Daddy will beat him up if comes by the house again, I was done. I’m too old for this now, and I wouldn’t have enjoyed it when I actually was a teenager. I’ll check in again once her life experience catches up with her songwriting ability.

Written by Liz Rose & Taylor Swift

NEW Music Video

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Trina feat Keyshia Cole - I Got A Thang For You Music Video

Trina Feat Keyshia Cole - I Got A Thang For You

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[Interview] The Veronicas :Twin sisters Twin Attach!

Just to clear things up, the Veronicas are twin sisters from Brisbane, Australia, and have nothing to do with Archie Comics' raven-haired rich-girl Veronica Lodge or teen TV sleuth Veronica Mars.

In fact, neither of them is even named Veronica, nor do they know anyone with the name, all of which kind of begs the question: Why go with "the Veronicas" anyway?

"The name is something we thought about for a long time, and we wanted it to be a girl's name, but we didn't want it to be 'the Jesses,' " guitarist Jess Origliasso laughed. "We were very conscious of not wanting to make it a twin thing, because we think that's really tacky."

"We didn't want it to be called 'the Lisas,' either," singer Lisa Origliasso added. "So one day we saw the movie 'Heathers,' and there's a line where one girl asks, 'Are you a Heather?' and Winona Ryder's character answers, 'No, I'm a Veronica,' and so we went with that, because she was this kind of cool, unique chick with an attitude."

And attitude is one thing the Veronicas have in spades. At the age of 5, the Origliasso sisters enrolled in an after-school musical theatre club, but after a few years of toiling away in low-budget revues of "Godspell" and "Hair," they ditched the club and decided to get serious. They took private voice lessons and for the next several years put in time playing gigs in Brisbane and around Australia's Gold Coast

"We were getting tired of just doing nothing, and we figured that there was no better way to get experience than getting out there in front of people when you're that young," Jess said. "We were just kind of thrust out there and forced to make it

By the time they were 14, the sisters were playing covers of Elvis and Roy Orbison tunes, and making an honest-to-goodness living on the Australian festival circuit. And when Jess got a guitar for her 18th birthday, the Veronicas began banging out original songs, brief three-chord blurts that eventually found their way into the right hands. By the time they were 19, the Origliasso sisters had signed Engine Room, the Australian production team responsible for making the Vines bright (yet fleeting) international stars.

"They take Australian talent overseas, develop it and try to get a major label to pick them up," Lisa explained. "So we were really lucky to sign with them. They sent us over the top."

Or, more precisely, they sent them all around the world, to work with pop maestros like Sweden's Max Martin (Britney Spears, 'NSYNC) and Germany's Toby Gad (Milli Vanilli, Enrique Iglesias). And, after a year on the road, the Veronicas returned home with more than 60 songs and a contract with Sire Records.

Now, having just turned 20, they're prepping their debut album, The Secret Life of ... the Veronicas, a slippery, shiny mix of angsty lyrics and guitar solos, and they've just been tapped by Calvin Klein to be the faces of the designer's fall fashion campaign. It's the beginning stages of a full-fledged rock-and-roll invasion, and it's a whole lot cooler than anything their friends back in Brisbane are currently up to.

"We used to be jealous of all our friends who were just taking it easy while we were rehearsing and stuff," Lisa said. "But now were playing gigs while they're working at Mackey's."

"They don't say 'Mackey's' over here," Jess pointed out.

"Oh, right. Sorry. 'Mackey's' is Micky D's, McDonald's," Lisa laughed. "Sorry about that. That was my Australianess coming out."

[Music Video] The latest MV :This Love

[New Album Review] Hook Me Up

There is an old cliché phrase I was once taught that said: “If you go into something thinking it’s going to be bad, then it’s going to be bad. However, if you go into something with a positive attitude, then it will turn out well”. I would now like to condemn whoever it was that taught me this. On the back of the highly infectious title track/lead single, I was genuinely excited for the new album from former tween sensations The Veronicas, Hook Me Up. With any luck it wouldn’t be like their previous effort, The Secret Life Of…, which became incredibly lacklustre after the first four tracks (all of which, must be pointed out, were commercially released singles).

So, upon listening to the album, the questions have to be put. Is the album better than its predecessor? The answer is yes. Does it feature a new sound and direction for the Orglissano twins? Yes again. But have the Veronicas made a great album because of this? Sadly, no. Far from it. Hook Me Up is a disappointing album, filled with half-baked ideas and ignoring its potential to be a great pop album- or, even, a great dance album.

“Untouched” is an admittedly great opening track, featuring everything that is good about this album. A bizarre alt-pop wave of synths, string section sampling and dissonant guitar, with motor-mouth vocals in the verse, leading up to a great hook in the chorus. This fades out and right into “Hook Me Up”, the lead single and easily the best song on the album. At first, chances are you may not like it (I know that when I first heard it, I hated it). But the best thing about this song is how damn infectious it is, thus making it an excellent pop song with top harmonies and a synth hook Hellogoodbye would be envious of. The one-two punch of this song and the title track prove how good this album could have been. Unfortunately, it’s mostly downhill from here.

The next two tracks either suffer from trying to be too much at once (“This Is How It Feels”), and generally not going anywhere (“This Love”). It’s certainly a departure from the guitar pop-rock of their previous album, but it appears not all change is good in this case. As the album progresses from here, you can’t help but get the feeling that the band really need to pull a rabbit out of their hat. And while they certainly come close to it- “I Can’t Stay Away” features some lively beats, and “All I Have” features come catchy moments, live drums (exactly what this album needed more of), and some very cool use of a vocoder- but there is just too much filler and lazy song writing. Songs like “I Don’t Wanna Wait” and “In Another Life” both have great potential, but the best parts of the song aren’t furthered to make for a better overall.

And then there’s “Popular”- what can be said about this one? Basically, if Peaches went out and got completely hammered with Princess Superstar and they managed to have some kind of inbred lovechild with “Best Damn Thing”-era Avril Lavigne as the midwife, it would probably come out sounding something like this. And believe me, this is definitely not a compliment. Talking about the song, the girls say that the song is “taking the piss out of famous people”. However, in a similar vein to Good Charlotte atrocity “I Just Wanna Live”, you simply cannot tell and it comes off as vain and cheap.

It’s good that, at the very least, the Veronicas have gone for something different from the pop market at the moment. But it’s a bitter letdown that, even after all this change, most of the songs just aren’t very good. Not even the fantastic single can save this one. A pity, really, given how good this album could have been.

For fans only- though chances are you may not be much of a fan after this record, even if you were before.

Tracklist:

1. Untouched

2. Hook Me Up

3. This Is How It Feels

4. This Love

5. I Can't Stay Away

6. Take Me On The Floor

7. I Don't Wanna Wait

8. Popular

9. Revenge Is Sweeter Than You Ever Were

10. Someone Wake Me Up

11. All I Have

12. In Another Life

Release Date: 11/03/2007

DOWNLOAD LINKS:

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[Review] Shine a Light Documentary Movie

Concert films are constantly at war with themselves. If the musical act is transcendent, then a filmed document will never come close to reproducing the experience of seeing and hearing the act live, in the same way that an ordinary photograph can only serve, at best, as a reminder of a moment. Even a great, exact reproduction is still just a copy, not the original. If the act is merely average or worse, then why bother to record it?

The Rolling Stones have been captured performing in concert on film or tape numerous times, so the challenge that lay before Martin Scorsese was to do something different. After all, this is the man who redefined concert films with The Last Waltz in 1978, in which he eschewed the prevailing wisdom that a concert had to include generous allotments of time devoted to the concert goer's point of view. Instead, Scorsese kept the action tightly focused on the stage, allowing the audience to enjoy the interplay between the members of The Band and various guests who shared in the group's final performance. He balanced that with lively interviews; in the process, he helped to establish Robbie Robertson as a viable solo personality in the eyes of the film industry.

I should amend the previous paragraph to read like this: "The challenge that lay before Martin Scorsese was to do something different or so I thought!" As it turns out, my expectations for Shine a Light were far too high.

Because of Scorsese's track record as a documentarian, his legendary appreciation of music, and his expertise in using the soundtracks of his films to enhance the dramatic action, I imagined he was impelled to shoot the music doc because he had something new to say or because he wanted to coax some new insights from the group as they age into infinity. Instead, he made a routine documentary that could have been made by any competent director.

While I'm not a die-hard Stones fan, I definitely respect their legacy and can happily recall singing along many times with their hits over the years. There are probably at least 40-50 songs of theirs that are permanently burned into my memory banks, and I wouldn't have it any other way. (One of the more revealing moments of the doc comes when we see Mick Jagger compiling a set list, working from a printed list of song titles divided into categories such as "medium known," "well known," and 'the ones we don't really want to play again.') The concert, performed as a benefit at the Beacon Theatre in New York City, is razor-edged and sharply performed, at least to my ears. Watching it on a huge IMAX screen -- my first full-length experience with the format -- I was most impressed by the ear-splitting volume. I didn't feel the bass thumping in my chest, as I have at past live concert performances, and my ears didn't start bleeding, but it was definitely in the right vicinity to make you feel like you were right there at the Beacon Theatre.

Ah, but watching it -- there's the rub. Camera placement is always an issue for concert films. Neither the musical act nor the audience wants cameras getting in the way of the show, but if you're not going to have close-ups, then you might as well just plant the cameras next to a seat in the middle of the venue and let them roll. The thinking is that close-ups are essential to make you "feel like you're there," and also provides a view that you wouldn't get if you were actually in the venue.

That's been a decent working blueprint in in the past, but with IMAX the problem of close-ups is amplified. On the huge IMAX screen, with Mick Jagger's face the size of a building, I realized that a plethora of close-ups makes clear that Mick is performing, by which I mean, he's putting on a show for hundreds or thousands of people in the building, not performing for the camera. His exaggerated gestures, the extreme facial contortions, and the like, are perfect in front of large auditoriums, but in close-up you can see that he's playing to the cheap seats -- and looking right through you. While great actors can communicate volumes with their eyes, if you stare into Mick Jagger's eyes, nothing stares back. The same applies to Keith Richards and Ron Wood, and to guest performers Jack White and Christina Aguilera. (Buddy Guy is an exception. The man gives great stare.) The extreme amount of close-ups ends up distancing the viewer from the performer.

In a similar way, Shine a Light is profoundly obvious in its editing rhythms. Keith strums a chord to start a song, point camera at Keith. Mick sings, point camera at Mick. Ron Wood solos, point camera at Ron. Mick starts singing again, point camera at Mick, preferably in extreme close-up. It could be argued that Scorsese is simply sticking with the most dramatic action on stage at that moment, but Scorsese is a great filmmaker because he knows that some of the best, most revealing, most unexpected moments happen where and when you least expect them. What can't we have some variety? What can't we see what Ron Wood is doing when Mick is singing? Why can't we ever get close-ups of Chuck Leavell on keyboards?

And what's with the rote rotation of two or three songs followed by the most obviously ironic archival interview clips imaginable? Here's one such sequence: song, song, interview clip of Young Mick in the '60s: "How much longer do you think you'll be playing?" "Another year," cut to Old Mick in the 00's still playing. It's funny the first time, and then becomes a bit numbing. Didn't the Stones feel like talking, or do they feel they've said all they have to say at this stage of their careers?

As I noted above, I understand the limitations of concert films -- it sounds like the Stones absolutely did not want a cameraman on stage, etc. -- and I also understand that filmmakers cannot always get the clips they want. Most likely, if Scorsese's name were not on the film, I would have zero expectations and been pleasantly surprised to see that the Rolling Stones are still working hard in concert. But with Scorsese's name attached, I wanted more.

If you'd like to experience the Stones "live in IMAX," Shine a Light may be just the ticket. But if you're looking for something a little different, look elsewhere.

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[Chart]Mariah Carey :Touch my body On Top U.S. singles chart

By Fred Bronson

LOS ANGELES (Billboard) - Mariah Carey is on track to collect her 18th No. 1 on the Billboard Hot 100 singles chart next week.

"Touch My Body," the first single from her upcoming album, dipped one place to No. 15 on the latest survey, issued Thursday. But the fresh availability of a digital download should send the song hurtling to the top next week.

That will push Carey to second place among artists with the most No. 1s in the rock era. The record is held by the Beatles with 20. She is currently tied with Elvis Presley.

Carey's album, "E=MC2," the follow-up to her 2005 Grammy-winning smash "The Emancipation of Mimi," is due in U.S. stores on April 15.

The current Hot 100 champ is Leona Lewis, who becomes only the third British solo female artist in the rock era to reach the top with her debut chart entry, "Bleeding Love." The only other artists to achieve this milestone were Sheena Easton with "Morning Train (Nine to Five)" in 1981 and Petula Clark with "Downtown" in 1965.

Counting all U.K. solo females who have spent time at No. 1 on the pop singles chart, Lewis is the first to visit the penthouse since Kim Wilde had a one-week stay in June 1987 with her cover of "You Keep Me Hangin' On." Counting all U.K. acts that have reached the summit, Lewis is the first to do so since James Blunt occupied the top rung for one week in March 2006 with "You're Beautiful."

A little further down the latest Hot 100, Madonna's "4 Minutes" entered at No. 68. The Material Girl was last on the Hot 100 with "Sorry," which peaked at No. 58 in March 2006.

"4 Minutes" represents the 53rd entry of Madonna's career, but only the second single on which she shares billing with another musician: Justin Timberlake is credited as a featured artist. Madonna's first shared credit was "Me Against the Music," the 2003 single that was billed as Britney Spears featuring Madonna.

The new single comes from the album "Hard Candy," which is due in U.S. stores on April 29.

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[Photo] Simple Plan Live in European tour

Simple Plan played their first show of the European tour ,26 March 2008.I show you a few photo from this concert .For next concert at Cirkus Stockholm, Sweden ,Date 29 March 2008.

Official Site:www.simpleplan.com

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[Interview] Counting Crows talk to latest album & DOWNLOADS

Fourteen years ago this month, Counting Crows burst onto the music scene with the hook-laden single Mr Jones and the multi-platinum album, August And Everything After.

Their latest CD is split into two distinct parts - the angry, rock of Saturday Nights and the laid-back folk vibes of Sunday Mornings.

Lead singer Adam Duritz talks about his fight to get the record released, insomnia, and getting angry with fans.

The album was originally supposed to come out last November - did you have trouble finishing it?

Not at all. It's been done since last June. We pulled the record ourselves because the label didn't have any idea of how to put it out.

What happened?

There's this massive invention that allows everyone to reach everyone else in the entire world for free. It's called the internet and I was trying to explain that to the record label.

I wanted to put out a free "digital 45" - one song from each side of the record - to get the idea of the album's two different themes out there.

So the label didn't like the idea?

Well, they said no. So we pulled the record - and believe me they weren't happy with losing a Christmas release.

You eventually got your way. Do you think the tactic worked?

Put it this way - I got an email from a guy I know at Apple a month before the album was available, and the pre-sale version was at number eight on iTunes.

There was no single, we hadn't done any press at that point, there was no reason for us to be that high on the charts - except we did all this online stuff.

I don't know about the record business, but the music industry is not dead. It's a great time to be in a band because there's a tool that allows you to reach everyone for free.

You adopted the internet very early on [Duritz has kept an online diary for years]. Are you ever overwhelmed by the number of fans? Presumably some of them are a bit obsessive.

We have big arguments! You know, I promised them at the very beginning that I would be honest about everything and that meant that when I got angry with them, I would write angry stuff and we would have huge fights!

Has there ever been a point when you've thought: "I can't take this anymore" and decided to stop writing to people on the website?"

No, but there was about a year when I either began or ended every diary entry with "some of you are very unpleasant people!"

It began because I've been a good friend of the actress Mary Louise-Parker [Weeds, The West Wing] since we were kids. Someone from her fan club wrote to our site asking if anyone would like to raise money to buy a star on the Hollywood Walk Of Fame for her, and she just got savaged by our fans.

They laid into this poor girl who was, you know, just like them. She was somebody's fan. So I just ranted at them on every post - even the nice ones.

I'd write something beautiful like: "Everything is possible and your dreams can come true. By the way, some of you are very unpleasant people, love Adam."

Do you still suffer from insomnia?

I've always had problems - I have a dissociative disorder, which makes the world seem like it's not real. And when the world doesn't seem real, it can be really scary to let go and give up even more of it. So sleep has always been something of a problem.

It's particularly hard for me because of the gigs. A gig is like doing a workout that ends at 11:30. I don't get home 'til after one and I'm wired. So touring really adds to my insomnia.

Does it affect your writing?

A lot of my songs are about isolation and certainly that sensation is never quite as strong as it is in the middle of the night. But I've written a lot of songs in the daylight, too.

You're coming over to headline the Wireless Festival in UK this year - are you excited?

Oh yeah, that's cool. Headlining in Hyde Park? That's pretty cool.

We made our career in Europe by playing festivals, so I have a lot of love and reverence for those shows.

What's your favourite festival memory?

In the 1990s, we spent a whole summer where our end of the day ritual was to meet the guys from Gomez at the side of the stage and smoke cigarettes and drink cans of beer and watch Oasis.

Noel Gallagher is a genius. Those songs are great, and they're loud and they're fun. That's a really good way to spend the end of the day.

DOWNLOADS

1. Mr. Jones

2. Angel Of The Silences

3. Recovering The Satellites

4. Have You Seen Me Lately?

5. Daylight Fading

6. Mercury

7. Omaha

8. Round Here

9. Rain King

10. A Murder Of One

11. Goodnight Elisabeth

12. A Long December

13. Anna Begins

http://rapidshare.de/files/15694075/cc-woodstock.part1.rar http://rapidshare.de/files/15693885/cc-woodstock.part2.rar

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Gabriella Cilmi - Sweet About Me MV Lyrics & Downloads

Gabriella’s first single is called “Sweet About Me.”Her first studio album, titled Lessons to be Learned were released on February 18th 2008.

She made her UK TV debut on December 14th 2007 when she sang her new single ‘Sweet About Me‘ on the UK television show, Later with Jools Holland.

She has already been compared to Amy Winehouse.The song Sweet About Me debuts on the UK Singles Chart at position 68 (9 March 2008).

Gabriella Cilmi - Sweet About Me Video






Lyrics

Verse 1:
Ohh watching me, hanging by a string this time.

Ohh easily, the climax of the perfect lie.

Ohh watching me, hanging by a string this time.

Ohh easily, smile worth a hundred lies.
If there’s lessons to be learned, I’d rather get my jamming words in first so, tell you something that I’ve found, that the worlds a better place when it’s upside down boy.
If there’s lessons to be learned, I’d rather get my jamming words in first so, when your playing with desire, don’t come running to my place when it burns like fire boy.

Chorus:
Sweet about me, nothing sweet about me, YehhSweet about me, nothing sweet about me, YehhSweet about me, nothing sweet about me, YehhSweet about me, nothing sweet about me, Yehh

Verse 2:
Blue, blue, blue, waves they crash as time goes by, so hard to catch.
Too, too smooth, ain’t all that, why don’t you ride on my side of the tracks.
If there’s lessons to be learned, I’d rather get my jamming words in first so, when your playing with desire, don’t come running to my place when it burns like fire boy.

Chorus:

Sweet about me, nothing sweet about me, YehhSweet about me, nothing sweet about me, YehhSweet about me, nothing sweet about me, YehhSweet about me, nothing sweet about me, Yehh(fading out)Sweet about me, nothing sweet about me, YehhSweet about me, nothing sweet about me, YehhSweet about me, nothing sweet about me, Yehh

DOWNLOAD THIS ALBUM:

Coming Soon.....

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[Chart] Danity Kane tops pop chart

NEW YORK (Billboard) - Danity Kane, a prefabricated MTV girl group, scored its second consecutive No. 1 on the U.S. album chart Wednesday, while pop-soul duo Gnarls Barkley's latest release entered at a disappointing No. 18 after being rushed out three weeks ahead of schedule.

Danity Kane's "Welcome to the Dollhouse" sold 236,192 copies in the week ended March 23, according to Nielsen SoundScan. It ranks as the second-biggest opening of the year, behind the 375,000-unit start for Jack Johnson's "Sleep Through the Static" in February.

Perhaps more incredibly, at a time when most artists are routinely suffering big sales drops amid a decadelong slump in the music industry, "Welcome to the Dollhouse" managed to sell about 2,000 copies more than Danity Kane's 2006 self-titled debut. The debut has sold 926,000 copies to date.

The MTV "Making the Band 3" troupe is signed to Sean "Diddy" Combs' Bad Boy imprint. It's a good day for Combs. The Los Angeles Times said it is reviewing a recent story linking the hip-hop mogul to the 1994 shooting of rapper Tupac Shakur, amid an online report that the paper may have relied on forged FBI documents. Combs strongly denied any involvement in the shooting.

The Grammy-winning Gnarls Barkley's second album, "The Odd Couple," sold 31,000 copies for its No. 18 start. Its 2006 debut, "St. Elsewhere," opened at No. 20 and peaked at No. 4 as the single "Crazy" turned into a monster hit. "St. Elsewhere" has sold 1.4 million copies to date.

"The Odd Couple" was rushed out last Tuesday, three weeks earlier than planned, likely because of an early leak on the Internet; online buyers accounted for 85% of the sales. A spokeswoman from the group's Atlantic Records label did not respond to an email seeking comment.

Elsewhere, the multi-artist "NOW 27" compilation held steady at No. 2 with 170,000 copies in its second week. Last week's champ, Rick Ross' "Trilla," fell to No. 3 with 90,000.

Rookie rapper Flo Rida may have recently topped Billboard's Hot 100 singles chart for a massive 10 weeks with "Low," but his debut album "Mail on Sunday" bowed at No. 4 with a relatively modest 86,000 copies. By contrast, "Low" has sold 3.3 million downloads since its November release, the biggest selling digital download of all time.

Johnson's "Static" slipped one to No. 5 with 67,000 in its seventh week. Sales to date stand at 939,000 copies.

Miley Cyrus' Disney double-disc "Hannah Montana 2 (Soundtrack)/Meet Miley Cyrus" soared 10 to No. 6 with 61,000. Additionally, her "The Best of Both Worlds Concert" set held at No. 10 with 51,000.

Snoop Dogg's "Ego Trippin"' slid four to No. 7 with 57,000. Blender magazine cover girl Taylor Swift's self-titled album jumped four to No. 8, also with 57,000.

Three weeks after it debuted at No. 1, Janet Jackson's "Discipline" now resides at No. 17. Its sales to date stand at about 310,000 copies; at the same point in its cycle, her previous release "20 Y.O." had sold 443,000 copies. The 2006 disc was considered a big disappointment.

Album sales, boosted by the Easter holiday, rose 11.3% over the prior week to 8.83 million units, but were down 1.1% compared to the same week in 2007.

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[Report] The Jonas Brothers vs Bush!

The Jonas Brothers at Monday's annual Easter Egg Roll at the White House

Is it just me, or is everything coming up Jonas these days?

Once a niche teenybopper act found on Radio Disney, the Jonas Brothers are currently crossing over from the kid's table and taking a seat alongside those financially viable enough to garner adult interest, thereby joining the ranks of the Olsen twins, Hilary Duff, team High School Musical and the ubiquitous Miley Cyrus.

In case you missed it, last night the three wholesome teen-age boys from New Jersey performed on ABC's hit reality show "Dancing With the Stars," days after playing Monday's annual Easter Egg Roll at the White House. ("How about the Jonas Brothers?" said President Bush, introducing the shaggy-haired boys with their skinny ties all akimbo.) Earlier this year they helped draw in the pre-teens with a cameo in the surprise box office juggernaut, "Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour" in 3-D.

And much like the Cyrus concert ticket mayhem of last year -- remember the moms who stretched the truth to get their kids tickets? -- when the brothers put tickets for their Summer 2008 tour on sale Tuesday the newly released Jonas Brothers Fan Site was on the verge of crashing.

Fondly known among their core audience as "the JoBros," New Jersey-raised Joseph, Nicholas and Kevin Jonas seem to have blossomed into America's boy band du jour. Although they take their fashion cues from popular indie bands like The Killers and Hot Hot Heat (tight jeans, vests, foppish military jackets and unruly hair), it hasn't hurt that the boys are the sons of a pastor and got their start in the recording industry singing Christian music. Their current songs aren't particularly religious, but the lyrics are squeaky clean and likely beyond even the most devout parents' objections.

The Jonas Brothers grew up in Wyckoff, N.J., a bedroom community of Manhattan, where Nicholas cultivated something of a child actor's career on Broadway (think go-to boy for everything from Tiny Tim to Gavroche). Soon, his brothers joined in and they began touring in 2005, later opening for the Cheetah Girls, and most recently Cyrus. Three years later, they are one of the best-selling touring acts in the country.

Earlier this month, the Disney Channel ordered up a reality series about the boys ("Jonas Brothers: Living the Dream"), an original television movie ("Camp Rock") and there is a scripted series in the pipeline. With the full weight of the Disney empire behind them, the brothers are racking up guest television appearances as well, from more mature network specials like ABC's American Music Awards to kiddie cable mainstays like Disney's "Hannah Montana."

JoBros madness hit fever pitch this week when they launched a fan club site, Team Jonas, mostly to make it easier for fans to buy tickets to their summer tour which went on sale Tuesday. (Their last concert, at an 18,000-seat venue, sold out in two minutes).

Despite the snazzy new site--done mostly in black, white and yellow with an unexpected goth-meets-Juicy Couture feel--buying tickets was still problematic for most Jonas Brothers fans and those adults overseeing the family credit card, even those willing to pay the $35 membership fee to join the fan club.

"We kept at it, we cried, we laughed, we did 'campfire' until our fingers ached, we did the 'Jonas snap' until it felt like our arms were going to fall off," wrote one fan of her family's ticket-buying experience. "It took us over an hour of clicking and re-clicking and refreshing and starting over to finally get our code, but we ended up 10th row Nick's side in Sacramento. Woot!"

Another fan wrote: "It took an hour but I got tickets to 3 concerts!! The tickets [aren't great] but it doesn't matter cuz I am seeing the jo bros!"

Related links:

NEWEST PHOTO JONAS BROTHERS

Pre sale for summer tour

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[Interview] R.E.M. 'Accelerate' 2008 by MTV

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This is R.E.M. 2008

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We are saving the band

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A 21st century group

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Why 'Accelerate'?

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Is Michael Stipe 'Emo'?
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[Review] RICK ROSS BOSS Ft. T-PAIN : TRILLA Att.MV & DOWNLOADS

Rick Ross - Trilla
Album Review by: John Burnett

I've come to a disheartening and perplexing conclusion. I—like many rap heads—am addicted to crack rap. After mad years of hearing the same embellished Tony Montana motifs play out over different beats I still enjoy hearing properly executed rhymes about the wanton exploits of your respective neighborhood medicine man. And judging from the sales that are attached to some of these coke-laden rap discs, so do you. The narrator on this occasion happens to be Rick Ross and the cinematic experience is Trilla.

Based off of Port of Miami, I predicted two things for what I’d hear on Trilla. There was going to be some dope beats and probably a few (much sarcasm intended) references to coke. I was right about both but there was also an added bonus. Coming out on the back end, I’ve come to the realization either Rick Ross acquired an ill ghostwriter or dude’s flow has vastly improved. On the Bink! produced (and eerily Roc-A-Fella nostalgia inducing) “We Shinin’” I caught a surprise blow to the chin by the quote “am I a target for police because I puff E/not an artist I’m regarded as a Puffy/like a pimp I’mma skip past a Kim Porter/like a pimp order, pimp, I import her.” I mean this is Rick Ross right? The flow doesn’t fall off either with Ross tucked neatly between the church-like organs and wailing sample. Then there’s the literal gangster role call provided on the “Trilla Intro” where Ross oddly proclaims he’s rhyming with kush and lean on his breath. In the most sinister way possible Ross gruffly barks “I don’t give a fuck about death/cause death don’t give a fuck about flesh/cause flesh don’t give a fuck about mine/and never gave fuck about mine.”

RICK ROSS BOSS Ft. T-PAIN UNCUT VIDEO! TRILLA 3/11

Download Mp3s From Rick Ross - Trilla

Artist: Rick Ross
Title:Trilla
Genre: HipHop

01 - Rick Ross - Trilla Intro mp3
02 - Rick Ross - All I Have In This World (featuring Mannie Fresh) mp3
03 - Rick Ross - The Boss (featuring T - Pain) mp3
04 - Rick Ross - Speedin' (featuring R. Kelly) mp3
05 - Rick Ross - We Shinin' mp3
06 - Rick Ross - Money Make Me Come (featuring Ebonylove) mp3
07 - Rick Ross - Dj Khaled Interlude mp3
08 - Rick Ross - This Is The Life (featuring Trey Songz) mp3
09 - Rick Ross - This Me mp3
10 - Rick Ross - Here I Am (featuring Nelly & Avery Storm) mp3
11 - Rick Ross - Maybach Music (featuring Jay - Z) mp3
12 - Rick Ross - Billionaire mp3
13 - Rick Ross - Luxury Tax (featuring Lil' Wayne, Young Jeezy & Trick Daddy) mp3
14 - Rick Ross - Reppin' My City (featuring Triple C & Brisco) mp3
15 - Rick Ross - I'm Only Human (featuring Rodney) mp3


HAVE a nice songs!!
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Justin Timberlake ready to show in ESPY Awards

NEW YORK - Justin Timberlake is hosting an awards show — and it's not the Grammys.

ESPN has lined up the 27-year-old singer-actor to host its annual ESPY Awards show this summer, celebrating some of the best and funniest moments in sports over the past year.

The ceremony, to be held at the Nokia Theatre L.A. Live in Los Angeles on July 20, will be televised live on ESPN, the network said Wednesday.

Timberlake says he's a sports junkie.

"I'll do my best to deliver a great show, as I do not want to be roughed up backstage by these athletes who are bigger, faster and stronger than me," he said.

Timberlake will be in the summertime movie, "The Love Guru," with Mike Myers and Jessica Alba. He recently showed a different kind of stage presence when he inducted Madonna into the Rock and Roll Hall of Fame.

ESPN is owned by the Walt Disney Co.
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[Concert] NOLA Jazz Festival '08

Man, we've gotten buried with a such a barrage of non-stop festival announcements that we've neglected some our favorite festival mainstays. Case in point, the New Orleans Jazz & Heritage Festival.

This festival -- which has pretty much set the standard for city-oriented festivals in the U.S. -- is set to take place April 25-27 and May 1-4. Here are a few of the bigger names making appearances this year:

The Neville Brothers, Stevie Wonder, Billy Joel, Jimmy Buffett, Tim McGraw, Santana,Maze feat. Frankie Beverly, Sheryl Crow, Widespread Panic, Dr. John, Al Green, Diana Krall,Keyshia Cole, Robert Plant and Alison Krauss, The Raconteurs, Irma ThomasSteel Pulse, John Prine, Elvis Costello and Allen Toussaint, Randy Newman, Bobby McFerrin and Chick Corea, O.A.R., Galactic, The Roots, Dianne Reeves, Michael Franti & Spearhead, Burning Spear, Ozomatli with Chali 2na, Rebirth Brass Band, Kenny Wayne Shepherd, Tower of Power, Delbert McClinton, John Hammond, Cassandra Wilson, Keb’ Mo’, The Count Basie Orchestra feat. Patti Austin, Pete Fountain, The Derek Trucks Band, Richard Thompson, Bela Fleck and Abigail Washburn, The Radiators, James Cotton, Cupid, The John Butler Trio, Del McCoury, Vernel Bagneris: Jelly Roll & Me, Terence Blanchard with the Louisiana Philharmonic Orchestra, Buckwheat Zydeco, John P. Kee & the New Life Community Choir, Cowboy Mouth, Byron Cage with Kim Burrell, Bishop Paul S. Morton, Sr. and the Greater St. Stephen Choir, Trinitee 5:7, Lizz Wright, Voices of the Wetlands Allstars, Dirty Dozen Brass Band, The Bad Plus, Carolina Chocolate Drops, Bettye LaVette, Trombone Shorty & Orleans Ave., Gene “Duke of Earl” Chandler, Preservation Hall Jazz Band, Davell Crawford’s N.O. R & B Orchestra, Henry Butler, Beausoleil avec Michael Doucet, Leo Nocentelli’s “Rare Gathering," Lee Boys, Harlem Blues and Jazz Band, MOOV of Martinique, Jackson Southernaires, Big Jay McNeely, Paul Porter of the Legendary Christianaires, Nicholas Payton and thousands more!

They've now released the set times for all seven days of the festival, hooking us up with their scheduling "Cubes" to help us wade through the enormous mess of artists and bands:

April
Friday 4/25

Saturday 4/26

Sunday 4/27

May

Thursday 5/1

Friday 5/2

Saturday 5/3

Sunday 5/4

Like other massive music festivals, this can be a bit overwhelming to schedule properly. Try as you might, you probably just can't check out every band your little heart desires. Of course, Jazz Fest is great in the sense that even when you get off track, you're bound to wander into some bar or by a random street corner and catch a great show by musicians you may have never even heard.

Anybody going this year?

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[Review] R.E.M. - Accelerate att. MV & Download

It's still a dog : R.E.M. find hope despite the (recent) times.

There's a well worn concept in music criticism - one probably applied more rigidly to rock than anywhere else - known as 'the career arc'. Variations can be found, but the most commonly utilised version follows thusly:

a) underground darlings

b) slow move to alt.mainstream / mainstream-mainstream recognition

c) big album explosion / 'biggest band in the world'

d) more 'selective' appeal / shadow of artistic and/or commercial self

e) honorary elders of rock, feted for growing old gracefully.

Whilst there is also many an example you could use to illustrate this, it could be argued that - at least currently - R.E.M. represent the condition more so than most. The real question is, can they finally tick box e, having struggled trapped in box d (at least on record) for the best part of a decade. Before I bore you with what will probably be another precis of what has brought about that decade of artistic inertia, without indulging once again my theories on critical revisionism (or how we crap on those who have served us best for the slightest errant move), I do need to admit that personally I will put the Murmur to Automatic For The People run up there with pretty much any decade long run of albums you care to mention. I'd also contend that New Adventures in Hi-Fi, a vastly underrated album then and now, would have extended that run had it not been predeced by the self-consciously glam/grunge hybrid that was Monster (not a bad record in itself, but certainly strained and contrived in areas).

What is also true however, is that the real monster that has dogged the latter part of the band's career has been the departure of Bill Berry in 1997, and the inescapable ceasura it created between the light and the shade of their output. The first three albums the triumvirate R.E.M. put out have seen a band floundering, unsure of where to go, of who to be, of exactly what that band is now supposed to represent. Up and Reveal would have both made good 5 or 6 track ep's, characterised as they both were by distinct high points surrounded by muddled lethargy. Stick Leaving New York and The Ascent Of Man (from the otherwise dreary and anaemic Around The Sun) on, and you could cobble together a good post-Berry R.E.M. sampler - but still something well below that which went before.

So now they're back. Again. With another new modus operandi designed to kick start the creative motors, embodied by the 'live rehearsal' week in Dublin last year. The fact that those shows, and the new songs aired within, were greeted with no short measure of positivity bode well, but then again, R.E.M.'s live chops have never really been in question. It's actually all about how - IF - they could take this new impetus and allow it to invigour and embolden them in the studio, rather than be hamstrung once more by the studio environment. Let's face it, making an off-the-cuff, punky, live sounding record can end up sounding utterly contrived if not handled correctly.

The album is, from the off, fast and furious, (except in the areas where it's fucking fast, and the odd part which is a bit slower). Opener Living Well Is The Best Revenge comes out of the speakers like it's just shot Marvin in the face, a bastard cousin of Iggy's Funtime, the intro all Buck's razor-edged jangles, and Mills' high end bass notes tumbling and cascading down the scale, as Stipe's declamatory hollering bashes its way through. Man-sized Wreath follows a similar path, with shears of guitar underpinning the verses, before the chorus bounces in with Mills' long harmonising "Ah"'s perfectly underscoring the chorus and its exultation of 'kicking out on the dancefloor like you just dont care'. Michael...I've seen you dance......

One of the frustraions of the R.E.M. of the last 10 years has been that the lead singles have been false promises - Imitation Of Life, Daysleeper, and Leaving New York promised much and the rest delivered little. Certainly Supernatural Superserious meets the first criteria, another perfect choice for a lead track, not as intense and rasping as much of the rest of the album, but ebullient and melodic. The sombre piano opening of Hollow Man does give you the willies a bit, puts the "Shit the bed lads, not again" monkey in the room, but its a great false start, its simplicity and shifts in pace offering patches of breath from the overall rush without losing the momentum.

Houston introduces more shifts of pace as we hit the mid-section of the record, takes the pace down, mixing high end organ with low, coarsing guitar, reminiscent of the cello on Sweetness Follows. There is an obvious reference to open with ('if the storm doesn't kill me the government will'), Stipe the polemicist back, but the actual song taps into a more personal sense ('I've got to get that out of my head'), a perspective of and from the south of America, not dwelling on the damage the politicians did in the aftermath of Katrina. Yes it is bluntly acknowledging that damage but spends more time on, however cliched it might sound, the spirit of the people and places Stipe connects with, strong in the face of the weakness and disregard of their leaders, the strength of the associations he has with the places winning out over the desolation -

'Houston is filled with promise....And Galveston sings like that song that I loved

It's meaning has not been erased...' .

Similar pronouncements are made on Until The Day Is Done ; think the undulating acoustic guitar of Swan Swan H, the deep atmospherics of Drive, but without the layers and layers that you might have come to expect over recent years, allowing full rein to Stipe's treatise on how 'the verdict is dire, the country's in ruins / providence blinked facing the sun' - this contexting of 'providence', the foreseeing care and guidance of God or nature over the creatures of the earth, which 'America Inc.' specifically reserves for itself above any other, damns the gap illuminated between what is projected, and what actually is. Mr.Richards follows on and makes something out of the wasted melody that made up Chorus and the Ring, a tepid drawl from Reveal, and continues its examination of the body politic, reminding the titluar every-politician that 'you're mistaken if you think we'll just forget.... Pay attention...we know what's going on'.

Sing for the Submarine stands out due to being more dense and obtuse, with an instrumental breakdown akin to something Comets On Fire would work out for about half an hour, all mountainous drums and searing guitars, falling into a plucked, doleful resolution. Lyrically its more of Stipe's opacity, but punctuated with telling self references to 'electron blue', how he can 'feel gravity's pull' and 'the world as we know it, the high speed train, we'll pick it all up and start again'. The relative calm is forgotten with the closing tracks however ; Horse To Water is a flail of crunching guitars and breakneck drums, and closer I'm Gonna DJ is daffy and teasingly throwaway, but perhaps, given its recent tenure in the R.E.M. live set is a testament to how much the live experience has informed this record - so why not finish it in the same way. And then its all over, in just over half an hour! I'd defy most to not just put it on again. And again.....

Accelerate is a wonderful balance of nods, glances and in some places heavy leaps towards former glories, but ones imbued with a confidence and belief that produce R.E.M.'s most cohesive record since Automatic..., their ballsiest record since Life's Rich Pageant. It's no blithe patchwork of old references, more a joyous celebration of the freeing potency of reconnection, both the nub of the problem and the epiphanous movement forward being best described in the title track, which has riding on top of its juggernauting drums and excoriating guitars lines such as 'Where is the rip cord, the trap door, the key?

Where is cartoon escape hatch for me?

No time to question the choices I make

I've got to fall in another direction....accelerate'.

Thankfully, eventually, they've only just gone and cracked it haven't they - and cracked it hard! Yes, they have done so by tapping into their past, but in doing so have released themselves from that fruitless identity quest they were on, and have discovered that what was important about the Stipe quote of 1998 , "A three legged dog is still a dog, it just has to learn to run differently", was not the latter part but the former. It's still a dog, its ability to run is instinctive. R.E.M. forgot what they were due to assumptions that they would have learn to be something different in order to survive. They have reminded not only us, but themselves why they were, and thankfully are once more, such an important band.

Release date: 31/03/08
Artist website: www.remhq.com
Label: Warners

### R.E.M. Accelerate: Previews of Every Song ###

### Download R.E.M. Accelerate

ARTIST : R.E.M

TITLE : Accelerate

LABEL : Warner Bros

GENRE : Rock

BITRATE : 208 kbps avg

SOURCE : CD (LP)

PLAYTIME : 00:34:34 (54.6MB)

STORE DATE : 2008-03-30

Track List ----------

1. Living Well Is The Best Revenge 3:12

2. Man-Sized Wreath 2:33

3. Supernatural Superserious 3:23

4. Hollow Man 2:39

5. Houston 2:05

6. Accelerate 3:33

7. Until The Day Is Done 4:08

8. Mr. Richards 3:46

9. Sing For The Submarine 4:50

10. Horse To Water 2:18

11. I'm Gonna Dj 2:07

Produced by Jacknife Lee & R.E.M. www.remhq.com

Download Links:http://rapidshare.com/files/99852551/-Accel3rate.rar.html

Mirror:http://www.shareonall.com/-accel3rate_bihl.rar

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