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The Prodigy- Legends Live At Maida Vale
The Prodigy- Legends Live At Maida Vale Download from depositfiles Mp3 news
Published Date:
08/10/2007
Modified Date:
08/10/2007







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Published Date:
01/08/2008
Modified Date:
01/08/2008







25 most depressing songs

25. Sam Stone John Prine (1972)
A grim song about a strung-out former soldier that remains a favourite of audiences who prefer their Vietnam vets to be total losers.
24. My Immortal Evanescence (2002)
A whimpering post-breakup tune in which lead singer Amy Lee pitifully mourns the end of a relationship over a piano accompaniment that sounds like Pachelbel after the Prozac wore off.
23. You don't bring me flowers Neil Diamond & Barbra Streisand (1978)
Neil and Babs phoned in this turgid song with all the energy of a ping-pong match played in zero gravity.
22. The River Bruce Springsteen (1980)
The title cut from Springsteen's fifth album, The River is the blue-collar hero's 473rd song about how bad blue-collar life is, featuring yet another unemployed dope from New Jersey hitched to an unhappy girl named Mary (every girl in Springsteen's songs is called Mary).
21. Tell Laura I love her Ray Peterson (1960)
Tell Laura was the first of the infamous teenage car-crash songs of the early 1960s, where adolescents get incinerated in fiery auto wrecks due to their altruism and stunning lack of common sense.
20. All By Myself Celine Dion (1996)
The Canadian superstar's bombastic cover of Eric Carmen's 1970s hit about loneliness is the audio equivalent of the fire-bombing of Dresden.
19. Woman's Prison Loretta Lynn (2004)
Despite her extensive catalogue of tears-in-your-beer country songs, the legendary Loretta Lynn outdoes herself with this mind-blowing murder tune which puts her on death row for blowing away her cheatin' husband.
18. Prayers for Rain The Cure (1989)
The following are some of the words found in the lyrics to Prayers for Rain: shatter, dull, kill, stifle, infectious, hopelessness, rain, suffocate, dirt, nowhere, desolate, drab, killing, fracture, stale, strangle, entangle, deteriorate, drearily, tired.
17. The Freshmen The Verve Pipe (1997)
Not to be confused with the Verve, the American faux grunge band the Verve Pipe hit no 1 in the US with this tragic number about two young men dealing with the suicide of a girl they both dated and later dumped.
16. The Rose Bette Midler (1980)
The Divine Miss M's biggest and most manipulative hit was first heard over the final scene in the movie The Rose where Midler's rock-star character drops dead in front of a live audience.
15. Maggie's Dream Don Williams (1984)
Nashville may have a rich heritage of depressing music but this hemlock-gulping country weeper will force listeners to throw themselves into a vat of possum poo.
14. Comfortably Numb Pink Floyd (1979)
This classic rock dirge appears on Pink Floyd's notorious magnum opus The Wall, the one album you can never listen to in its entirety unless you own a bong the size of a mop.
13. Brick Ben Folds Five (1997)
(NB: Many listeners, including me, first assumed Brick was about a relationship ending. We discovered later that it's about a couple getting an abortion.
12. Ruby, Don't take your love to town Kenny Rogers and the First Edition (1969)
Upbeat music does nothing to obscure the creepiness of this early Kenny Rogers song. Ruby is about a paralysed man who sits at home every night while his trampy wife Ruby dolls herself up before heading out to pick up any Billy Bob, Wyatt, or Bubba she can find.
11. One Metallica (1988)
The heavy metal band raised the depression bar dramatically when it based its gruesome song One on the world's most depressing novel, Dalton Trumbo's Johnny Got His Gun; it makes Foxe's Book of Martyrs read like Helen Fielding.
10. People Who Died The Jim Carroll Band (1980)
While most punk music sounds like screaming winos crammed inside a runaway shopping cart, this violent death anthem goes way beyond the usual mohawk bellowings.
9. Sister Morphine Marianne Faithfull (1979)
Though not as well known as the Rolling Stones' earlier version she helped write, Marianne Faithfull's 1979 cover version of the morbid Sister Morphine is infinitely more debilitating, if only because of the craggy quality of her voice.
8. Hurt Nine Inch Nails (1994)
Marvellously covered in 2002 by Johnny Cash, the original version of Hurt closes out Nine Inch Nails's The Downward Spiral, the perfect album to crank while you're tossing live hamsters into a blender.
7. Strange Fruit Billie Holiday (1939)
Strange indeed and insufferable, too. This notorious anti-lynching song unfortunately helped cement Billie Holiday's reputation as a wounded torch singer, gardenia optional.
6. DOA Bloodrock (1971)
An ode to the ephemeral joy that comes from being a corpse who perished in a plane crash, the sick DOA describes the searing pain in the victim's body, his blood oozing out of him while his mangled girlfriend lies nearby.
5. Seasons in the Sun Terry Jacks (1974)
This mawkish translation of the Jacques Brel song Le Moribond hit no 1 and tormented a generation of radio listeners with its mortal sappiness and earworm chorus ("we had joy, we had fun ... ").

and others here
Published Date:
07/03/2008
Modified Date:
07/03/2008







Prefuse 73
Guillermo Scott Herren has shuffled masks, personas, whatever you deem to call it, across albums. He composed angles of himself in tidal flats of bent circuits, guitars, electric steam, and vocal samples stretching from gossamer wistful to Def Jux righteous. Critics and writers call it “cut and paste” because they see the ProTools and laptop and landscaped terraces of drone and chirp. But these are personal campaigns. The commitment to mask shuffling has given him time to decide on purpose, or, rather, purposes. Savath & Savalas, for instance, has become a way for him to explore the music of Catalonia (Herren was born to a Catalan father and a half-Cuban, half-Irish mother). And Prefuse 73 is his avenue to prod the closed dome of hip-hop with a caustic presentation (meticulously furious) of something (electronic music) it’s had an already fraught relationship with since its formation. He began his work as Prefuse 73 on 2001’s Vocal Studies + Uprock Narratives, a still remarkably composed, if a little too rhythmically fettered, experiment in production. He asked: could hip-hop beats go beyond the ‘90s Virginia naked Prince tinfoil into realms where the 1-1-2 break beat skeleton would be the only recognizable song component for hip-hop fans? 2003’s One Word Extinguisher made it personal: Prefuse took the break-up album synthetic and hip-hop ready. Sonic pikes buried in sixteenth notes, bristle with lovers lockjaw rage for a half minute. And then the next track, all rage forgotten, the album sliding into untitled song after untitled song, opened valves exhaling lattice worked hums and sighs. It’s as emotional as I’ve ever heard electronic music and it’s one of my favorite albums of this young millennium. I am not ashamed to say I was guided by it through college, depression, drugs, airports, various steppes and marshes and city streets. And now, after the collaboration fascination piece, 2005’s Surrounded By Silence, and the 2006’s “not a real album” Security Screenings, Herren is a full time European. He is living in Barcelona, settled, and a father. I won’t play psychologist here (though, being the son of one, I’m damn near ready to), but his latest, Preparations reeks of comfort and assurance. It is prompt and controlled, a fine entry not just for Prefuse, but for the whole catalog of Herren. The anchor and compositional theme for Prefuse is deliberate on Preparations, more explicit here than anywhere else in this particular persona’s catalogue: featherweight snares and bass pounding out Prefuse’s first loyalty—the 4/4 boom-bap of South Bronx. Quite literally, these are the breaks. Wario grimaces may gild the lilies on “Noreaster Cheer,” but the roots are kick-snare. Even when the song opens into oxygenated smiles, the heartbeat remains. “Girlfriend Boyfriend” plays with nipped male vocals, digital squibs, and rippling drums. It, like all his songs, is a sonic analogy of Australian Aboriginal dot art: only three or four chroma, but punctuated and resequenced so rapidly that the audience has the illusion of platoons of tone. At fourteen songs, all tied together in rhythm (even the smorgasbord “Pomade Suite Version One” could have its basic beat knocked out on a ratty yard sale kit), the album is palatable, a fine starting point for any Prefuse newcomers, but with enough range, and self-referential range at that (try, Extinguisher vets, to listen to Preparation’s “I Knew You Were Gonna Go” and not have “90% Of My Mind Is With You” ushered back to your skull) to keep weathered fans satisfied. And that’s a good emotion. There’s less challenge in Preparations, not necessarily less at stake, just less, perhaps, to brood on. Prefuse 73 sounds freer, and yet more deliberately formal—most of the songs break down like classic hip-hop does, two-thirds of the way toward the end. The last time I reviewed Herren’s work I was prickly enough to say he was in a rut. Clearly that is no longer the case. Even though no art is ever a solo mission, for an artist and man who has so willingly explicated his own passions and outputs into the four winds and brought them together again, I think it’s only fair to appreciate what is, for now, a man in full.
Published Date:
18/12/2007
Modified Date:
18/12/2007







Fall Out Boy
Infinity on High 2007 The Chicago pop-punk band face high expectations for this fourth album after its predecessor, their major-label debut 'From Under The Cork Tree,' brought their first taste of mainstream success. Jay-Z (briefly) guests. uch of the critical antipathy towards emo can be summed up in a few short sentences. Just shy of ten years ago, no mainstream critics were writing about R&B, or even pop music for that matter. So a bunch of people got angry, set up zines and websites, and started writing about that stuff. Eventually they grew up and replaced the people they were rebelling against. We’re now in a world where, in year-end polls, Nelly Furtado ends up with the same "May as well place this" tedium that Radiohead used to receive and Beyonce goes about business exactly like Oasis and Dylan: turn up every 18 months, take a sh t on wax, then wait for the pundits to say "Sure, the last bowel movement from these I praised was actually no good, but I really think they've turned a corner here!" So the kids are listening to emo now? And the adults are scared? Good. What separates emo from most any other genre these days is that these bands are hungry. Even if Coldplay aficionado Jay-Z doesn't like the style, you can pretty much guarantee he wouldn't knock the hustle. Infinity On High is a great NY hip-hop record in everything but sound and location. Hooks, hooks, and more hooks embedded into a stream of issues: a desire to stake out one's territory, a need to take things to the next level (in terms of sales if not sound), a desire to convert mentions on the gossip pages into placement in the history books, and a thank you to the fans, f ck you to the haters. All five borough trademarks. And like any great hip-hop artist, Fall Out Boy want to be three things: loved, hated, and big. Scrap the third: they want to be the biggest. Those who get their necks broke as they stampede to the front be damned. The song title that fits this ethos best may well be called "The Take Over, The Break's Over," but it's lead single "This Ain't a Scene It's An Arms Race" where they get down to emo-ethering, resplendent with full-scale gospel choir and that thing they used to do in hair metal where they drop the instruments in the chorus so you can hand clap along.
Published Date:
18/12/2007
Modified Date:
18/12/2007







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Published Date:
18/12/2007
Modified Date:
18/12/2007







Verve rock London
The Verve wowed fans in London last night (13.12.07) with their biggest show in nearly a decade. The reformed band - Richard Ashcroft, Nick McCabe, Simon Jones and Pete Salisbury - played their largest show to date since their reunion this year at The O2.read more http://blog4rock.com/blog/2007/12/15/verve-rock-london/
Published Date:
18/12/2007
Modified Date:
18/12/2007







Album Review: Megadeth – ‘Warchest Box Set'
Track Listing1 Killing Is My Business...And Business Is Good! 2 The Skull Beneath The Skin 3 Peace Sells 4 Wake Up Dead 5 Devils Island 6 Set The World Afire 7 Into The Lungs Of Hell 8 Anarchy/Problems [session take] 9 Hook In Mouth 10 Liar 11 In My Darkest Hour 12 No More Mr. Nice Guy 13 “dark themes…” 14 Holy Wars…The Punishment Due [Casey McMackin demo] 15 Tornado Of Souls [demo] 16 Five Magics [demo] 17 Hangar 18 18 “keeping score…” 19 Symphony Of Destruction 20 Go To Hell October brings Megadeth fans a career spanning collection of tunes housed in a ‘Warchest’ that’s handpicked by Megadeth founder and front man Dave Mustaine. This set contains four CDs of music and one DVD of highlights 1992 concert recorded at the Hammersmith Odeon in London. Disc four of the set is a 75-minute set from the 1990 “Clash of the Titans” Tour at Wembley Stadium. The set also features 30 tracks that have been previously unreleased as well as three that are making their U.S. debuts (“Architect of Aggression [demo],” “One Thing,” and “Coming Home”) and a total of 68 musical tracks are presented and 10 tracks of live performances on the DVD. Since this is a career spanning set the band has had a change of band members during the years, beginning in 1983, but Mustaine has been the driving force behind the band as well as this box set. The box has the look of an ammo belt, a 36-page booklet, and a discography with tons of photos. This box is a treasure trove for the band’s fans and sure to please those Deth-heads that decide to lock and load. Visit blog4rock
Published Date:
09/10/2007
Modified Date:
09/10/2007



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