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Sade - Discography
When Sade first came on the recording scene in the '80s, her record company, Epic, made a point of printing "pronounced shar-day" after her name on the record labels of her releases. Soon enough the world would have no problem in correctly pronouncing her name. Born Helen Folasade Adu in a village 50 miles from Lagos, the capitol of Nigeria, she was the daughter of an African father and an English mother. After her mother returned to England, Sade grew up on the North End of London.
WHAM! - Last Christmas (1992)
I love this christmas song. The album only has 3 songs. I thought it would have all the songs from the video they made. I couldn't find the video, so this will have to do.
Bloodhound Gang : One Fierce Beer Coaster
Originally released on the independent label Republic, the Bloodhound Gang's second album, One Fierce Beer Coaster, was picked up by DGC about two months after its release, allegedly because it had great word of mouth. And listening to the single "Fire Water Burn," it's possible to hear why -- the group's smarmy, smirky alternative funk metal, complete with junk culture references and "ironic" musical allusions, fits into the cycle that dominated modern rock during the mid-'90s.
Pulp Fiction
pulp fiction soundtracks
01. Dick Dale & His Del-Tones - Misirlou (Pumpkin And Honey Bunny) (2:29)
02. Samuel L. Jackson and John Travolta - Royale With Cheese (1:45)
03. Kool & The Gang - Jungle Boogie (3:07)
04. Al Green - Let's Stay Together (3:17)
05. Tornadoes - Bustin' Surfboards (2:29)
06. Ricky Nelson - Lonesome Town (2:15)
07. Dusty Springfield - Son Of A Preacher Man (2:28)
08. Centurians - Bullwinkle Part II (Zed's Dead, Baby) (2:31)
09. Chuck Berry - You Never CanTell (Jack Rabbit Slims Twist Contest) (3:14)
10. Urge Overkill - Girl, You'll Be A Woman Soon (3:10)
11. Maria McKee - If Love Is A Red Dress (Hang Me In Rags) (4:57)
12. Revels - Comanche (Bring Out The Gimp) (2:12)
13. Statler Brothers - Flowers On The Wall (2:25)
14. Samuel L. Jackson and John Travolta - Personality Goes A Long Way (1:03)
15. Lively Ones - Surf Rider (3:20)
16. Samuel L. Jackson - Ezekiel 25:17 (0:52)
01. Dick Dale & His Del-Tones - Misirlou (Pumpkin And Honey Bunny) (2:29)
02. Samuel L. Jackson and John Travolta - Royale With Cheese (1:45)
03. Kool & The Gang - Jungle Boogie (3:07)
04. Al Green - Let's Stay Together (3:17)
05. Tornadoes - Bustin' Surfboards (2:29)
06. Ricky Nelson - Lonesome Town (2:15)
07. Dusty Springfield - Son Of A Preacher Man (2:28)
08. Centurians - Bullwinkle Part II (Zed's Dead, Baby) (2:31)
09. Chuck Berry - You Never CanTell (Jack Rabbit Slims Twist Contest) (3:14)
10. Urge Overkill - Girl, You'll Be A Woman Soon (3:10)
11. Maria McKee - If Love Is A Red Dress (Hang Me In Rags) (4:57)
12. Revels - Comanche (Bring Out The Gimp) (2:12)
13. Statler Brothers - Flowers On The Wall (2:25)
14. Samuel L. Jackson and John Travolta - Personality Goes A Long Way (1:03)
15. Lively Ones - Surf Rider (3:20)
16. Samuel L. Jackson - Ezekiel 25:17 (0:52)
Brandy - Afrodisiac
album review:
I’ve given up trying to figure out Brandy. She’s hid out in the spotlight for too long, never tip-toeing outside her role as a teen diva-in-training, never catching flak for being a manufactured urban princess like Ashanti either. Ten amazing and terrifically impersonal years into her career, we don’t know any more about Brandy than we did in 1994, when she was a 15 year old newcomer who just
desperately wanted to be down.
And that’s exactly the way she likes it, at least if Afrodisiac is any indication. Brandy wrote barely any of the lyrics herself, but the story she tells is still revealingly oblique. Afrodisiac’s being marketed as a coming-of-age record, but this isn’t the kind of “all growns up” we’re used to seeing from our female pop stars, all newly unwrapped sexuality prepackaged for maximum male hormonal meltdown—dams bursting, speeding trains, shooting fireworks, the previously coquettish young innocent dead and buried, completely eradicated so you don’t feel bad for leering at Moesha or a Mouseketeer, replaced by a brand-new fully-formed sex symbol.
Brandy briefly tries on that bare-all ensemble for “Come As You Are”, but it never quite seems to fit. Tellingly, she’d rather reminisce than stake out brazen new sexual territory—one of the album’s best and brightest cuts, “Turn it Up”, finds Brandy waxing nostalgic for Kid 'N Play's House Party, of all things.
I’ve given up trying to figure out Brandy. She’s hid out in the spotlight for too long, never tip-toeing outside her role as a teen diva-in-training, never catching flak for being a manufactured urban princess like Ashanti either. Ten amazing and terrifically impersonal years into her career, we don’t know any more about Brandy than we did in 1994, when she was a 15 year old newcomer who just
desperately wanted to be down.And that’s exactly the way she likes it, at least if Afrodisiac is any indication. Brandy wrote barely any of the lyrics herself, but the story she tells is still revealingly oblique. Afrodisiac’s being marketed as a coming-of-age record, but this isn’t the kind of “all growns up” we’re used to seeing from our female pop stars, all newly unwrapped sexuality prepackaged for maximum male hormonal meltdown—dams bursting, speeding trains, shooting fireworks, the previously coquettish young innocent dead and buried, completely eradicated so you don’t feel bad for leering at Moesha or a Mouseketeer, replaced by a brand-new fully-formed sex symbol.
Brandy briefly tries on that bare-all ensemble for “Come As You Are”, but it never quite seems to fit. Tellingly, she’d rather reminisce than stake out brazen new sexual territory—one of the album’s best and brightest cuts, “Turn it Up”, finds Brandy waxing nostalgic for Kid 'N Play's House Party, of all things.
Scarface - The Diary
album review: With the dissolution of the Geto Boys far behind him, Scarface follows the epic overreaching of The World Is Yours with The Diary, a refreshingly
modest album with a few really strong moments and little filler. Never short on ideas, Scarface had nonetheless gone a little too far with the 70-minute The World Is Yours. There was plenty of brilliance there, including the stunning "Now I Feel Ya," but you had to do some sifting to find it. That's less the case with the 43-minute Diary, which doesn't overextend its ambitions. Scarface here once again offers a laid-back gangsta ballad, "I Seen a Man Die," that's as thoughtful and somber as the style gets and also perhaps the album highlight. Elsewhere, he teams up with fellow gangsta veteran Ice Cube on "Hand of the Dead Body" and reprises his best-known song, "Mind Playin' Tricks 94." Not counting the interludes, there's only ten songs here, and they're nearly all produced by the team of N.O. Joe and Mike Dean. It may make the album a short listen, yet it also makes The Diary one of Scarface's most solid efforts, one where you rarely, if ever, feel inclined to skip a song. And that's something you can't say about the work of most rappers, particularly ones as creative as Scarface.
modest album with a few really strong moments and little filler. Never short on ideas, Scarface had nonetheless gone a little too far with the 70-minute The World Is Yours. There was plenty of brilliance there, including the stunning "Now I Feel Ya," but you had to do some sifting to find it. That's less the case with the 43-minute Diary, which doesn't overextend its ambitions. Scarface here once again offers a laid-back gangsta ballad, "I Seen a Man Die," that's as thoughtful and somber as the style gets and also perhaps the album highlight. Elsewhere, he teams up with fellow gangsta veteran Ice Cube on "Hand of the Dead Body" and reprises his best-known song, "Mind Playin' Tricks 94." Not counting the interludes, there's only ten songs here, and they're nearly all produced by the team of N.O. Joe and Mike Dean. It may make the album a short listen, yet it also makes The Diary one of Scarface's most solid efforts, one where you rarely, if ever, feel inclined to skip a song. And that's something you can't say about the work of most rappers, particularly ones as creative as Scarface.
Los Lonely Boys - Sacred
Tex Mex Rocks
Great new long anticipated album from LLB. I dont think its a s good as their first album, but anything these guys do is great. Highlights are 'Oye Mamacita', 'My Lonliness' 'Orale'. Something here for everyone, country, rock, soul. Well Done!!
Michael Franks - Rendezvous in Rio
As one of the prime movers in that select sub-group of white folk-pop singers
who have found a home in Brazilian style (Kenny Rankin is a "similar urban AOR rival," to quote a customer review), contemporary jazz artist Michael Franks has aged pretty well--if not all that gracefully. As a guy who resorts to couplets like "The clothes on my back/Are too Pasternak," he probably shouldn't be waxing philosophical about how "feeble" and "pedantic" critics are ("The Critics Are Never Kind," a musical-derived number on which Van Gogh, Gauguin, and Degas commiserate). Franks also makes music his subject too often for his own good, celebrating "The Cool School" in self-congratulatory fashion and the first time he heard "Take Five"--he says Dave Brubeck's beloved version, though his use of bleating smooth jazz saxist Eric Marienthal to evoke the great Paul Desmond makes you wonder. But his vocals are breezy and intimate, and the instrumental settings provided by a cast including guitarist Chuck Loeb and keyboardist David Sancious are attractive without being too slick. Fans whose "inner harmony always turns blue in the end" won't be able to resist the wistful pull of the songs.
who have found a home in Brazilian style (Kenny Rankin is a "similar urban AOR rival," to quote a customer review), contemporary jazz artist Michael Franks has aged pretty well--if not all that gracefully. As a guy who resorts to couplets like "The clothes on my back/Are too Pasternak," he probably shouldn't be waxing philosophical about how "feeble" and "pedantic" critics are ("The Critics Are Never Kind," a musical-derived number on which Van Gogh, Gauguin, and Degas commiserate). Franks also makes music his subject too often for his own good, celebrating "The Cool School" in self-congratulatory fashion and the first time he heard "Take Five"--he says Dave Brubeck's beloved version, though his use of bleating smooth jazz saxist Eric Marienthal to evoke the great Paul Desmond makes you wonder. But his vocals are breezy and intimate, and the instrumental settings provided by a cast including guitarist Chuck Loeb and keyboardist David Sancious are attractive without being too slick. Fans whose "inner harmony always turns blue in the end" won't be able to resist the wistful pull of the songs.
Cypress Hill - Till Death Do Us Part
B Real: "Throw it on the wall/See if it sticks/If it don't work/Take another hit." Sen Dog: "Take another hit!" Those are not quotes. However, if Cypress Hill were to take the lead from every other MC who has declared honesty to be the only policy,
the group might've included lines like that somewhere near the beginning of their eighth album. More restless than ever, fleeting flirtations with Jamaican music of most stripes -- dancehall, dub, and ska included -- are handled clumsily. The results are as mixed as the approaches. The most problematic moment of all is the missed opportunity that is "What's Your Number?," where Rancid's Tim Armstrong is drafted in to help replicate the dubby lope of the Clash's "Guns of Brixton"; though it would've been more fitting to hear B Real spit another grimy rhyme in this setting, he chooses instead to spin a tale of picking up a woman. The highlights all take place when the group sticks to what it does best, though the pro-weed moments keep on getting increasingly dire. The Alchemist-produced and Tego Calderón-assisted "Latin Thugs" is one example of the group retaining its strengths, since it's full of fire and swagger. All points aside, the album is strictly for the devout fan base.
the group might've included lines like that somewhere near the beginning of their eighth album. More restless than ever, fleeting flirtations with Jamaican music of most stripes -- dancehall, dub, and ska included -- are handled clumsily. The results are as mixed as the approaches. The most problematic moment of all is the missed opportunity that is "What's Your Number?," where Rancid's Tim Armstrong is drafted in to help replicate the dubby lope of the Clash's "Guns of Brixton"; though it would've been more fitting to hear B Real spit another grimy rhyme in this setting, he chooses instead to spin a tale of picking up a woman. The highlights all take place when the group sticks to what it does best, though the pro-weed moments keep on getting increasingly dire. The Alchemist-produced and Tego Calderón-assisted "Latin Thugs" is one example of the group retaining its strengths, since it's full of fire and swagger. All points aside, the album is strictly for the devout fan base.
Mary J. Blige - No More Drama
In the past, that voice has conveyed untold worlds of pain and anguish, but on Blige's fifth studio album, No More Drama, it's put to good use mining the foreign terrain of happiness, contentment, and other emotions seemingly antithetical to the soul singer's tragedy-filled milieu.
Jennifer Rush - Heart over mind
album review: I first heard of Jennifer Rush when her duet with Elton John, "Flames Of Paradise" hit the Top 40, and I was taken by the resonant, deep but exotic voice that accompanied Elton. The rest of the album is a combination of fiery guitar rock and heavy synthesizers, not like Ron Nevison's brand. Four producers cooked the broth that became Heart Over Mind, along with well-known songwriters and session musicians, and the differing styles make a symphonic mlange of 80's synth/rock guitar music.
The intense keyboards and crunchy rock guitars, the latter done here by Bon Jovi's Ritchie Sambora demonstrate that sound in "I Come Undone" which has the intensity of Cutting Crew's "I Just Died In Your Arms." Ellen Shipley, well known for her association with Belinda Carlisle's solo albums, wrote and did backing vocals for here.
Desmond Child produced and co-wrote "Down To You" call it a power keyboard ballad, highlighted by sheets of synths over which Jen's voice rises in its glory.
Rilo Kiley
It's fairly safe to say Jessica Simpson fans aren't going to dig Rilo Kiley: The
production is tinny, the lyrics are hyper-literate, and they just haven't got around to covering that ballad from Top Gun--which just leaves more for rest of us to enjoy. Part new-wave keyboards, part folky acoustic guitars, the music on More Adventurous is unexpectedly beautiful. "Does He Love You" and "I Never" are odd pop songs, filled out with soft verses and sweet choruses. "We could be daytime drunks if we wanted...All of your failures are training grounds." singer Jenny Lewis intones on "The Absence of God." Oh, and it's not all that uppity. But still, it's a major source of refreshment for anyone feeling parched by the mainstream creative drought.
production is tinny, the lyrics are hyper-literate, and they just haven't got around to covering that ballad from Top Gun--which just leaves more for rest of us to enjoy. Part new-wave keyboards, part folky acoustic guitars, the music on More Adventurous is unexpectedly beautiful. "Does He Love You" and "I Never" are odd pop songs, filled out with soft verses and sweet choruses. "We could be daytime drunks if we wanted...All of your failures are training grounds." singer Jenny Lewis intones on "The Absence of God." Oh, and it's not all that uppity. But still, it's a major source of refreshment for anyone feeling parched by the mainstream creative drought.
Justin Timberlake - FutureSex/LoveSounds 2006
notes: America's funkiest white boy puts even more distance between his boy-band past and his present career with FUTURESEX/LOVESOUNDS, the follow-up to his 2002 smash JUSTIFIED. The album is set for a September 12 release and features a slew of money-in-the-bank producers including Rick Rubin, Timbaland, and Will.i.am.
Diana Ross - The Definitive Collection
notes: Recording information: 1970 - 2006. At a mere 20 songs, a Diana Ross collection claiming to be 'definitive,' is immediately suspect. Is it possible to define one of pop music's most iconic divas in the space of a single CD? Motown's DEFINITIVE COLLECTION tackles the problem first by excluding Ross's work with the Supremes and focusing only on her solo endeavors. The album also opts for singles over choice album cuts, and while the selection might not pass muster with diehard Ross fans, it provides a solid introduction to the singer's peak moments. Naturally, the #1's are here: "Touch Me in the Morning," "Theme from Mahogany (Do You Know Where You're Going To)," and her duet with Lionel Richie on "Endless Love," among others. Ross's pop-funk hits are faithfully represented ("Upside Down;" "Love Hangover"), as is her essential duet with Marvin Gaye on "My Mistake (Was to Love You)." In short, while the album may be too brief, every song here is a glittering gem, underscoring the Motown diva's rightful place in pop music history.
Shania Twain - Man! I Feel Like A Woman
review: Since the release of Shania Twain's 12-times-platinum Come On Over in 1997, this track has been among the most obvious single choices among the steady stream of releases to both pop and country radio. Already a hit at her home base (It peaked at No. 4 on Hot Country Singles & Tracks in June), there's no reason that "Man!", with its coquettish turn of phrase, shouldn't have the same kind of appeal as her earlier "That
Don't Impress Me Much". There are plenty of tasty ingredients that radio traditionally searches out here-great tempo, attitude, a hook that sells like ice cream in summer (including a guitar riff that conjures the ubiquitous "Spirit In The Sky"), and the instantly recognizable vocals of a woman who is a fond acquaintance of so many millions out there now. This is country crossover at its best and that little something different that radio says it is always after, remixed gently to add a pop touch without stripping it of its vital twang. And wait until you catch this videoclip, which features Twain imitating Robert Palmer in his groundbreaking 1986 clip for "Addicted to Love," complete with buffed and blank-eyed male models in the background. Hilarious. This is all good; go for it.
Don't Impress Me Much". There are plenty of tasty ingredients that radio traditionally searches out here-great tempo, attitude, a hook that sells like ice cream in summer (including a guitar riff that conjures the ubiquitous "Spirit In The Sky"), and the instantly recognizable vocals of a woman who is a fond acquaintance of so many millions out there now. This is country crossover at its best and that little something different that radio says it is always after, remixed gently to add a pop touch without stripping it of its vital twang. And wait until you catch this videoclip, which features Twain imitating Robert Palmer in his groundbreaking 1986 clip for "Addicted to Love," complete with buffed and blank-eyed male models in the background. Hilarious. This is all good; go for it.
Christina Aguilera - Best Of
bio:After Britney Spears, Christina Aguilera was the most popular female singer of the late-'90s teen pop revival. Unlike many of her contemporaries, Aguilera was a technically skilled singer with a genuinely powerful voice, belting out her uptempo dance numbers and ballads with a diva's panache. Born Christina Maria Aguilera on December 18, 1980, on Staten Island, her parents were of Irish and Ecuadorian stock and her father's military career meant the family moved quite a bit during her childhood. They eventually settled in Pittsburgh, PA, where Aguilera began performing in talent shows at age six, with considerable success. She appeared on Star Search in 1988 (though she didn't win) and in 1992 joined the cast of the Disney Channel's The New Mickey Mouse Club, which also included Spears, future *NSYNC members Justin Timberlake and JC Chasez, and Felicity star Keri Russell. ..
Tori Amos - Tales of a Librarian
album review: When Tori Amos appeared in the early 1990s with Crucify
and the subsequent album Little Earthquakes, she reawakened an interest in the art of the female singer / songwriter. Indeed it's doubtful the likes of Alanis Morissette would have enjoyed quite so much exposure without the pioneering efforts of the Newtonian ice-maiden.
and the subsequent album Little Earthquakes, she reawakened an interest in the art of the female singer / songwriter. Indeed it's doubtful the likes of Alanis Morissette would have enjoyed quite so much exposure without the pioneering efforts of the Newtonian ice-maiden. That's not to say that everything touched by Tori has turned to gold - some of her lyrics still raise many a quizzical eyebrow, and the infamous suckling pig shot that adorns Boys For Pele wasn't exactly a great piece of animal rights publicity. The overall impact though is one of the last decade's most important solo artists, which is caught in this handsome collection of 20 songs, four of them new.