best love songs

This will be the first time the Monks will play in the UK and I am excited that we will be there. We have a few old friends living there who we are out of contact with and I hope they show up for our concert and identify themselves. We've always wanted to play London and now our time has arrived. I am always amazed at the great number of young people who show up for our shows and that Black Monk Time continues to sell. In the 60s it seemed nearly impossible to get attention from a substantial number of younger people. if I could have stopped the clock and put my age on hold in 1966 until today. I believe the Monks could make a very good career out of our singular brand of rock and roll right now. It's very gratifying to see that our sound and our song's meanings still carry good weight today. The Torquays were a group that played more traditional beat music but we were always experimenting with sounds and lyrics even as the Torquays. We met our managers in Stuttgart one fine day and they proved to be the catalyst that transformed us from a common beat band into The Monks and help us develop our very individual sound. They could see that we had potential and they simply pressed the right buttons to speed us up in the direction we were already travelling. They introduced the banjo to us which I love to this day and still use in some of my own songs. It set in so well with Roger Johnson's fantastic drumming and gave our rhythm section a truly unique sound. Roger's drums and Dave's banjo defined the Monk sound. Incredible. Sorry that many fans of those days couldn't see it our way. Very late at night after our Storyville gig in Koln we'd pack our gear and head for the studio. We'd had some very very good rehearsals and experience playing the Black Monk Time songs and we were indeed ready to record. The sessions were tiring because we'd played our gig and now were starting the recording sessions around 4:00 a m in the morning. We did the band tracks in a very large studio. We were spread out around the room and it was difficult being in musical contact with one another. I think we eventually moved closer together to ease the problem. Our producer Jimmy Bowien of Polydor was a very cool guy and we all liked him and his terrific enthusiasm for the project. We wanted to sound good and do a good job for him the managers and of course we wanted to please ourselves. One of the managers (Karl Remy) had brought a bottle of whiskey. He told me that I had to sing rougher press harder and that the whiskey would help me along in that direction. I suppose in hindsight that he was right but I know I had an incredible hangover after the vocal session was complete. Black Monk Time turned out pretty good considering how quickly it was recorded. These days. I find myself appalled when I hear that bands are taking months or even years to record albums. Overdub this overdub that clone the chorus with protools midi this midi that all manipulative stuff... I like bands that can get on stage and sound like their album sounds. simple and straight ahead. I don't think we are hearing enough of that sort of thing these days. When the Monks recorded except for the vocal overdubs it was all done in one tape pass. One. Pretty cool. I can't remember that there was much response at all! The Monks were pleased that we had an album out but I don't remember getting much feedback from fans or press at the time. I think it was ignored and quickly buried. Maybe it was too edgy for 1966. I know that there wasn't a single sweet note in Black Monk Time and I'm glad of it to this day. We made many of our audiences nervous.. I think our album did the same. In '66 many bands were looking away from songs about 'boy meets girl boy and girl fall in love' and were starting to get a bit deeper.. then you unleashed the ferocious sentiment of 'I Hate You'.. were you aware of how different and shocking that would have been at the time? Personally. I had the feeling that many of our songs had the possibility to insult and shock people. I thought then and I still think now that it was a good thing. When I listen today to 'I Hate You' it comes across as to me as a bluesy love song with the lyric.. "I hate you baby. but call me." Hell that's how a lot of relationships are. Love-hate. The Monk "look" was totally our manager's creation and anyone who tells you otherwise is full of crapola. I confess that I didn't like it at first but as time went on and I became used to it. I enjoyed the shock value that it carried. whether walking down the street with my robe and rope tie or taking the stage as a Monk in full regalia. It was a great look we got used to it and became our own. Hamburg had nothing to do with developing our sound. We came to Hamburg with the Monk sound already under our belt. But we ended up loving the Top Ten Club and the people who came to hear us there. The Hamburgians had a broader worldview and they weren't so shocked with the Monks as folks elsewhere in Germany were and they adopted us as their own. We made many friends there and to this day it is the best venue the Monks have ever played or ever will. When I think of Hamburg. I do yearn for the old days. You sang "Why do you kill all those kids in Vietnam/ Mad Vietcong!/My brother died in Vietnam." How was this taken by the crowds and how did it feel singing it after being G. I.'s yourselves? As the lead singer on Monk Time it felt just fine to me. I still had friends in the U. S. Army who were being shipped to Viet Nam and I didn't want to see them killed because of stupid government policy. Some G. I s were taken aback by this song (Complication also) but I saw them as people who would do what their government wanted without question even if it was obviously wrong. The German crowds supported the song as did the Swedes. The band have been quoted as saying "The English bands thought they were big time... Until they heard us play". Did you try and annihilate the 'wet cloth' frontmen of the Brit Invasion boys? I don't know where you came up with that quote but it is totally false incorrect and pure bullshit. I had much respect for the English groups. there were a lot of them and they were such good players and singers and fun to hear. I think I liked their cheeky attitudes best of all which sometimes could be downright insulting but usually was so funny and full of humour that I'd be laying on the floor laughing myself into a puke. We had a number of English friends who we'd see every now and then on our circuits... The Image. Casey Jones and the Governors. there were more but names have faded for me. I hope some of these people show up in London when we play there. We had friends from other parts as well... Ricky Barnes and Isabella Bond from the Top Ten Club. Please set the record straight the Monks DID NOT and DO NOT bad mouth the Isles groups. Much respect. I bow my Monkish head to their accomplishments. I'd going to play and sing until I can't any longer. I have opportunities now to work with some very cool international folks on recordings and hopefully on stage as well and I plan on doing that. Who could ask for more? I've never really experienced the 9 to 5 job situation and I'm certainly too set in my rock and roll ways to think of going that way now.. yes... I'll play and sing myself to death. A fitting way to commit suicide.

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Oh let's communicate new Magnetic Fields. This is my first official post on the band and I anticipate there's very little affect in it as the bind seems to act their time with new material these days. Yes it's been 4 years since "i" was released and to tell the truth I had pretty much forgotten about Stephin Merritt and company. That's not to say I haven't picked up classics desire the 3-disc "69 Love Songs" a couple times each year for refresher courses but it's never to the point where I evaluate about The Magnetic Fields on a daily/weekly basis. Of course the new album "Distortion" has totally jogged my memory and suddenly I'm back in love with the bind again and they remain in my consciousness on a much more frequent basis. Quite frankly it's a lovely feeling. Now to be completely honest. I wasn't that inspired by "i," which was certainly a sound adjustment for the band with a new cerebrate on acoustic guitars and more personal lyrics. Not that having Stephin Merritt pouring his heart out on preserve makes it terrible but I never quite got used to it in comparison to the band's previous material. What's so wonderful is that "Distortion" pushes everything back in the right direction. I wouldn't call it a return to form because this record doesn't sound exactly desire the bind's early albums but rather a hodgepodge of sonics from all that old material. Like the cause to be perceived musicians that they are. The Magnetic Fields make all of it sound great and work to the best of its ability. The one thing I ordain not call Stephin Merritt is a liar. Albums and song titles mean what they say and say what they mean. When you call your record "69 like Songs" and then actually put 69 love songs on it that's truth. When you call an album "i" and then undergo all the song titles start with that letter (in alphabetical order no less) but also write about a bunch of autobiographical things (first person "I"-like writing) that's also truth. How then can you not expect tons of guitar fuzz and loud interference to not be in every track on an album titled "Distortion"? Once again this is a preserve that spews literal truth with its sound and printed evince being completely cohesive. What's also really satisfying about "Distortion" is that underneath all the fuzz and arbitrary noise there's a strong indie pop record (much like the band's very early material). Peel approve the layers and you've got a collection of really accessible material that could easily play on the communicate with some fanfare. That the band chose to not go that route and instead attempt something a little different and new for them is admirable. The last thing anybody really wants is another formulaic indie pop album anyways. And while at times the tracks can get a little down and depressing for the most part this is a really fun album. It was a little contend for me to come up with a couple other artists or albums to analyse this to but I think certain albums by Guided By Voices. Big Star and Roxy Music can all be mentioned in the same context as "Distortion." Once again I'm reminded of the magic that The Magnetic Fields bring to the table with one of the finest records I've heard thus far in 2008 (act in mind though we're still at the very beginning of the year).

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The best music albums according escorlo in mp3 change hosted at Rapidshare with end information from Wikipedia Forever Delayed is a greatest hits album by the released in 2002. The album included three singles which had never appeared on the earlier albums ("". "" and "") the latter being one of the band's two UK #1 hits along with "". Several songs were edited for length ("". "". "". "". "" and "") so that more tracks could fit onto the CD. The album entered the UK Album map at #4. The album featured two new songs; the hit "" and "". "Door to the River" was originally recorded in the sessions for the album but the band deemed the song to be too unfitting to the album's general style. "There By the Grace of God" can be seen as a foreshadowing of things to come as it features a more electronic/keyboard-heavy style that would eventually be the main style of the bind's next studio album. The tracklisting wasn't chronological; however it gave an excellent representation of the Manic's bring home the bacon so far and showed how far the bind had progressed musically and lyrically since they formed. The title of Forever Delayed is lifted from the lyrics of their song "Roses In The Hospital" (which ironically does not feature on the CD album). This title for their greatest hits package had also been planned for several years previous. Nicky Wire first mentions it in Everything - A Book About Manic Street Preachers published in 1998.

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I'm trying to make a cd with the best love songs ever for my friends wedding favor any suggestion? As- by Stevie Wonder.... Oh how much I love this song! I would love that played at my wedding :) That song in Dreamgirls that Jamie Fox was singing while they where showing pictures of Beyonce. It was very beautiful. All I can remember is that the song went something like this: The first measure I saw you all I could say was oh my. "I'm Gonna alter You My Wife" by the Whispers"You" by Jesse Powell"Ribbon In the Sky" by Stevie Wonder"Dontchange" by Musiq Ohhhh.. the waves are just so SEXY!!!! Hair Type: 3C/4A (unprocessed)12/12/07 - Ike finally defeat Tina to death.. wow... ~*~*~I love you. Andy!!! Always and forever!!!~*~*~ had to bring back lj for me and rick nah bkgirl1981 plz do me a favor get of our dude e-di(k Depends on the genre of music you want. Apparently. Frank Sinatra described this song as the best love song ever written. Please forbid calling your COCKY Attitude CONFIDENCE because your lack of Character reveals the truthScorpyo_Ice You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot delete your posts in this forumYou cannot edit your posts in this forumYou cannot create polls in this forumYou cannot vote in polls in this forum Bulletin Board Software by version 1.04procure ©2001-2006 This page was generated in 0.922 seconds.

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Joined: 29 Jun 2006 Online Status: Offline Posts: 152 Joined: 15 Feb 2007 Location: United States Online Status: Offline Posts: 177 Posted: 10 Sep 2007 at 1:43pm The Greatest enable... Tamika Scott on the Daddy's Little Girl Soundtrack!!! Joined: 07 Jun 2006 Location: United States Online Status: Offline Posts: 81 Posted: 10 Sep 2007 at 2:55pm You cannot affix new topics in this forumYou cannot say to topics in this forumYou cannot remove your posts in this forumYou cannot edit your posts in this forumYou cannot act polls in this forumYou cannot choose in polls in this forum Bulletin Board Software by version 1.04procure ©2001-2006 This page was generated in 1.578 seconds.

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There was only candidate for B/w 13.  It had to be dwell with their well-rehearsed tales of lost master tapes hard times out of the sun and battles with addiction.  But Michael Head’s gift has repeatedly drawn in people express emotion to back up resurrect the status of the former Pale Fountain.  And who but a lucky man ultimately finds his music bankrolled by a fan (one Noel Gallagher) very much in a lay to help?   No songwriter has done a better job in terms of reflecting the time in which he has lived and his own personal journey through it than Michael Head.  He has travelled from brassy eighties optimism and youthful exuberance to political grievance and Liverpudlian experience and then on again from the resignation of ambition and acceptance of his lot to renewed belief in his own talent – a periodic regeneration that puts you in mind of another recently revived measure traveller.  Perhaps inevitably gives a picture of their music that’s not quite end change surface before you set to debating whether Noel Gallagher picked the best songs from each represented album.  There is nothing from the first LP. 1988’s ’s songs redeemed by an acoustic or be re-recording.  ‘Someone’s knocking’. ‘What’s it desire’ and ‘The believers’ rest fair comparison with anything Michael Head wrote subsequently. which despite being credited to Michael Head & the Strands could still stand as a Shack release given that John plays on it and contributes the first of his songs to be recorded.  No doubt issues of space and licensing come into play but it is a pity that new admirers won’t immediately get to hear the liquid beauty of ‘Something like you’ and ‘Fontilan’ or the timeless folk of ‘Queen Matilda’ and ‘Hocken’s Hey’.  Their absence means justice isn’t quite done when it comes to indicating the range of mood and mode of which the brothers are capable. – the baggy scally swagger of ‘I experience You Well’ on which the Scousers embraced the sound of Madchester and the chimerical shape-shifting ‘Al’s Vacation’ a peculiar hybrid of a song ripped near its end by the searing sound of a record being scratched.  But there’s no space for any of the many fine flipsides Shack have turned in.  On this front the expanded version of ’s ‘Pull together’.  The anonymous sleeve notes go to the heart of it: ‘The songs recorded with Hugh Jones are both more turbulent and subtle but buoyed too with… a surging restless energy and a musical delicacy all as ever steeped in that gentle plangent inimitably graceful Northern psychedelia that Shack have made their own.’ weren’t quite complete as for some inexplicable reason ‘Comedy’’s best B side. ‘24 hours’ got left off.  Just another Shack mystery.  It’s a great upbeat song with an admittedly rambling but joyful compose which seems to celebrate 24 hours in the company of a girl who looks like ‘a young Julie Christie’ eating eat strawberries going to a fair to bed.  And music to match. -era Shack on board in the form of one or other of the two self produced B sides from the ‘Emergency’ twelve inch.  In ‘Liberation’ and ‘Faith’. Shack placed two of the most profound political and philosophical concepts places side by side; not so surprising at a time when Michael continue’s songwriting was at its most socially aware.  The pairing gives you an idea of how great and hinting at what was to come in the form of ‘Hocken’s Hey’.  Whose liberation which walls go tumbling drink is not clear but the blending of acoustic and electric guitars of Mick and John is crystal. ‘Faith’ a cover of the second and final single by Manicured go strides out defiantly wearing its chiming guitars with pride turning the angular funk-punk of the original into something approaching the ameliorate pop song.  Though written by Londoner Steve Walsh one of the few people who by Jon assail’s blinkered reckoning swam against the tide and headed north to Manchester after punk arrived. Shack’s reading of ‘Faith’ evokes for me the change state stretches of the Mersey beneath brick terraces painted red and the contrast between Liverpool’s two cathedrals – the massive red stone solidity of the Anglican connected by Hope Street to the unexpected mix of modern materials and stained glass that is the Catholic its go of aluminium spires forming what might be the basket of a giant pagan torch. But Steve Walsh’s song is about survival about a kind of faith that is taking one step and then the next thinking no further ahead.  Michael Head is also a (social) realist.  And in the end no matter how firm the faith he has to echo the concluding sentiment of ‘Faith’ and sing ‘you know it all boils down to nothing’.

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Canonical C86 act The Flatmates are one of the most beloved bands amongst the Little Hits staffers as shown by our repeated references to the emit of their single “beam” (as above). In my own inspect my fondness for the Flatmates is such that their 1987 hit “Happy All the Time” was our wedding song as come up as the call track to the CD-r we handed out as a wedding favor. (I’m also fond of the entirely unrelated novel by the late Laurie Colwin come to evaluate of it.) Uncomplicated love songs are a neglected genre in the indie pop world and this one sweet without being cloying is one of the very best. Well we liked it! Not only that but our convocation was the Beach Boys’ original SMILE version of “Our Prayer,” and the recessional was Van close in Parks’ “Number Nine,” his 1966 recasting of the Ode To Joy. This is what happens when two pop obsessives get married. We saw one of our wedding guests measure weekend our painter friend Cathleen Daley and she mentioned that she comfort listens to our wedding CD in her studio and in fact has bought a be of albums as a result of it. So that was nice of her. A good choice. I accept. It put it on the (only so far. I adjudge) CD-R I made for my fiancee (now wife). … Had we been in a position to play a recorded song at the wedding woulda been Wreckless Eric’s ‘Whole Wide World’ though (also on the CD). Stewart-I experience what you convey. Our processional was the Chills’ “skid Bells,” and our recessional was the Zombies’ “This ordain be Our Year.”

It’s called. It all started when after I’d written a few demos of songs. I kept ending up at the awkward re-create of nearly-done but not-finished-yet. So I started thinking about making a website for my songs (some populate won’t see any act left in the anonymity granted by going online and giving yourself a new label and a specific realm to inhabit but for me it was a very simple flee from this weird teenage crisis my songwriting had hit). Once I’d made the decision to do something online I knew I should write original material for it. I wanted a scaffolding and a framework for this music to live on so I decided to write a song a month produced to my show standard of minimal production and very simple backing tracks. Then I thought to give the songs a bit of a difference I would only create verbally songs inspired by the month they’d been written in: “a calendarsong is not just a song I wrote this month”. I wrote some rules for the project desire a manifesto. Then I saw the best way of attracting listeners would be to change state the songs up for remix further adaptation and production. I’d put the remixes up against the originals for listeners to browse and analyse. Then as 12 songs make an album. I announced at the go away of the communicate that at the end of one year I’d release 12 remixes as the calendarsongs record. I’m now writing the measure calendarsong for the year and there are over 150 remixes. It has been a great develop for me as a songwriter and as a listener I am constantly surprised and delighted by the way my songs have been mutated and interpreted. I’m planning the release of the record and to add some value to the communicate will re-record my originals so the calendarsongs record will be a manifold album. Then there will be some gigs playing some of the remixes be with the remixers. I am going to do a gig at the end of at Pianos on October 21st. If you are comfort in the city and be to come along that would be great. I know you must get a lot of populate pestering you to check out their web-savvy-music ideas and of cover you might not fancy the music at all but I’d love to experience what you anticipate to the project as a whole. This is smart well-informed stuff that leverages Creative Commons licencing genuinely understands the online environment and is pretty great all go. I keep worrying that I’ve fallen exploit to a really savvy marketeer in the employ of a major corporate but actually. I kind of wouldn’t object if that was the case. This is just really clever. And like all the best creative online marketing ideas it’s non-replicable. You can’t go out and do your own calendar songs… nobody would care. You have to have your own idea of that calibre and be the only one doing it for this sort of thing to work. I evaluate that if you undergo a great idea like this and it fits with your vision and what you’d like to do or otherwise helps you to create a vision then by all means go for it. A great idea is a great idea and if you didn’t come up with this idea first it’s not the end of the world. I desire to think that my own ideas on how to create my own works how to finish them and how to present them to the public ordain eventually present themselves. schedule Songs is a great idea but it doesn’t fit my vision for myself at all. If it worked for someone else then fantastic. It gives hope to the be of us. I’m all about the remixing! Local acts like Sal Dub must do alright out of doubling their output with a remix album - makes comprehend now with all this lack of scarcity. A remix only takes me a couple of nights tops. When your short on ideas on how to get all interactive and viral its the obvious one when theres a wealth of myspace bedroom producers waiting to be tapped. I try not to thrust my zeal for remixing onto my clients but I’ll often declare it if they’re not express emotion to give whole original tracks away free. I evaluate it’s a good promotional partnership. I wouldn’t undergo time to put together a project for release otherwise. Matt my wife is recording an album soon and we be to undergo something alter for the limited edition cd’s which ordain hopefully mean populate ordain be more likely to buy the cd than just transfer the tracks for remove. Do you evaluate having wav’s of some vocals on the cd for re-mixers to play with would be a good idea? Is it better to undergo just vocals for remixers or would you rather undergo other tracks (wav’s) as come up? I evaluate that deadlines are a vital move of creativity rather than being an imposition upon it. This is the premise behind the RPM challenge - - where bands are challenged to create verbally and record an entire album in 28 days (I also participated in this taking the easy way out by naming each song after the day it was written). Johnathan Coulton had a similar notion of blogging a song per week and it was quite a success - So the.

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It has just dawned on me how many outlets my Beatlemania has had this year! First the Beatles Brunch on Easter then The Fab Four tribute concert in Vegas in June and Cirque du Soleil's "Love" in Vegas and now Across the Universe - a movie-musical with only Beatles' songs for its soundtrack. I knew that I was going to see it no matter what but (an A from Roger Ebert to a C- from Entertainment Weekly) had tempered my expectations. The good news is. I really liked it. The bad news is. I don't evaluate most populate ordain. Like many movies starring The Beatles themselves. Across the Universe was extremely trippy and cartoonish in parts and seems to have been produced by someone under the affect of many drugs. In more than a few scenes the song choices seemed forced like the writers were thinking: We really be to get in this song but how? Oh. I know let's name a character Prudence! Let's face it when the two main characters' names of a Beatles-inspired film are Jude and Lucy you have to evaluate the story's not going to be mind-blowing. But since I had seen the trailer and read a lot about the movie before seeing it. I knew all of these things and therefore wasn't disappointed. If anything. I was pleasantly surprised because I LOVED the guy who played Jude the main engrave. Jim Sturgess - my new movie star crush! I was extremely excited to see that he ordain be starring in 21 (not 'til walk of 2008 though) based on the schedule "Bringing Down the House," the true story of MIT students who figured out a card-counting plot to beat the odds in Vegas. He was just ameliorate in Across the Universe and since everyone in the movie sang the songs themselves he had a good express to boot. My bet is that we ordain be seeing much more of him in the future. I would've preferred someone else in the role of Lucy however. She was played by Evan Rachel Wood who is currently Marilyn Manson's girlfriend as unbelievable as that may seem since she looks so innocent and normal. So I couldn't get that vision of her and him together out of my head which was distracting. And while her voice was by no means bad. I didn't think it was alter for the movie - she sounded too formal when she sang. Other things to say about the film consider two fairly study surprise guest appearances (I won't fail it for you but if you check the trailer you will see both of them) and many small nods to cultural figures and lesser-known Beatles songs throughout. While I am a huge Beatles fan. I admit to being most familiar with their more popular songs.. so I didn't get that the character Sadie was a reference to their song. There were characters coming in through bathroom windows a shout-out to the Merry Pranksters and the Electric Kool-Aid Acid Test.. and on and on. My preserve explained all of these things to me after we got out of the theater!If you are on the fence about seeing this movie and keep in object that it makes the movie look much more normal than it actually is! But you can get a better idea of what the plot is about. The montage of weird scenes at the very end is more representative of what you'll be experiencing for over 2 hours. Which brings me to my other affect about Across the Universe - it was really long! For some cerebrate I thought it was going to run less than 90 minutes but it was 2 hours and 15 minutes! They covered A LOT of songs in that time so just settle in and enjoy the go. I will give them props for bringing something new to the songs - "Let it Be" and "Helter Skelter" were two of my favorites. My last bit of advice for anyone who sees this movie is to undergo patience.. in the beginning it seems like the story is jumping all over the place but it ordain as the Beatles would say come together. Yes. I'm corny. As the movie is not in wide channel yet you can to see if Across the Universe ordain be playing come you any measure soon. Let me know what you evaluate if you see it!- e This bring home the bacon is licensed under a. All logos pictures videos names and news stories are procure of their respective owners and are being used under the "fair use" principle of the procure law.

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First Time visitors... New Music Bloggers... gratify cerebrate to us using if you be us to post your updates here why this is so important.. also we ordain only post pre-2007 releases. New releases. "leaked" or "advanced" will not be posted. Remember to Share Fair... There is no such thing as "free downloads". Somebody is always paying the price. By all means support the artists and please BUY the music you desire visit concerts buy merchandise. It's one thing to be able to discover a whole new world of music you might otherwise never undergo had find to but it would be pretty stupid not to recognise and value the creative genius of the populate involved. So gratify allow everybody their fair share and "". Where to Buy?MP3 not good enough for you? Looking for the Hi-Fi quality of the real thing after you open something here you really desire? No problem we compiled a special summon with links where you can buy the real thing change surface most of those really old and rare albums you might have discovered via music blogs. Schoolyard Heroes - AbominationLABEL: Stolen TransmissionSchoolyard Heroes are rewriting all the rules you’ve known before. They’re here to emit in your face and mouth a much-needed kick in the crotch of the music scene. So don’t be afraid include the inevitable end because as Abomination proves death can be one badass dance celebrate. Abominations was released on 18 September on Visit the band's website @ Careful its kind of gory..(official by: Stolen Transmission posted free of charge) Zeon said... Midnight Mix: The Piano Under The ChandelierFive instrumental melancholy meditative piano pieces. Eluvium. Max Richter. Craig Armstrong. Sarah McLachlan. Broken Spindles. Zeon said... Weekend Special: Ladies Sing The BluesFour ladies with their haunting melancholy voices determined to fill your sleepless nights with beguiling lullabies. TRESPASSERS WILLIAMSUSANNA & THE MAGICAL ORCHESTRAESSIE JAINTHE INNOCENCE MISSIONDJ Infinite said... September go & Bass from... EchelonDJ Bootsie CyantificJ Majik & WickamanBlu Mar TenBachelors Of ScienceAntibreakChris SU. Optiv & AxiomNucleus & ParadoxFreshStakkaD Product & SurgeThe UpbeatsPhace & N. PhectBlalGodfather said... Natalie Cole - Leavin'Natalie Cole - like SongsAaron Neville - Love SongsStevie query - like Songs 20 Classic HitsPhil Collins - Both SidesPhil Collins - Live & Loose In ParisPhil Collins - move into the lightVarious Artist - The beat Acoustic Album In The World... EverSakalli said... Jon ennoble - Sarabande (1976) (@256)Gomorrha - I Turned To See Whose Voice It Was (1972) (@256)go - A Show of Hands (Live 1988) (@256)willy99 said... WILDSAFARI Updates:BILLY BOB THORNTON - Beautiful DoorCOUNTING CROWS - August And Everything After (Deluxe Ed. Bonus And be Tracks)PEGI YOUNG - Pegi YoungKELLY DALTON - The like In Every BarJOE PURDY - Canyon JoeCHUCK PROPHET -Soap And WaterEightfires said... Bar sit Classic - pass EditionTango Desnudo The assort Of Telepopmusik T-One - Music For Angels Pickin' My Feeds... Georgia Blues 1928-1933Gass - Juju 1970 (featuring Peter Green)Kebnekaise - Electric Mountain 1993 (Compilation album)Richard Page - Shelter Me (1996)Vitalic - Bells EP Sarah Bettens - "Shine"International alt-rockster Sarah Bettens just released her second solo album. emit which was produced by Brad Wood (Sunnyday Real Estate. Placebo. Smashing Pumpkins. Ben Lee). This highly anticipated new release is the follow up to her hugely successful debut solo effort emit which earned her the 2006 European adjoin Breakers allocate for beat New Artist. Listen @ MySpaceVisit her websiteCheck her out in this Full Live contrive @ (unofficial by =M=posted free of charge)

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