14 sep 2012, 08:04 av timcord
27 dec 2011, 14:22 av litesoundLiteSound won National Pop Music Award for The Best Music Video of the Year 2011 with their video See You In Vegas!
Check it out!
10 feb 2011, 23:31 av litesound
15 aug 2010, 21:57 av ricardobocasantLifehouse, hinder, better than ezra, sons of sylvia, kings of leon, the museum, needtobreath, tent avenue north, kutless, counting cross, circleslideLifehouse
18 mar 2010, 00:24 av innerearmediaBascom Hill – Inevitable
July 8, 2009
Bascom Hill is a band I’ve been following around since late 2006. They debuted with their album “Maybe” in 2005 and the smooth mainstream pop/rock sound they displayed was of a very high level already. I remember feeling impressed with how natural it sounded. They have a sound similar to Vertical Horizon, The Fray, John Mayer, Lifehouse, and other contemporaries, but I would especially refer to Vertical Horizon, because Bascom Hill showcases that same sound that has the roots in the songwriting but still comes together as a band sound.
On “Inevitable”, the band showcases that mix of pop and rock influences again. The production of the album is very well done and the songs come out in a way that mainstream radio can only embrace them. Catchy, uptempo singalongs with relatable lyrics. With a bit of luck this could very well be the band’s break out album.
Starting with the very catchy Go On which has that alternative pop feel reminiscent of Vertical Horizon on “Everything You Want”, the album is off to a very good start. With energy and passionate vocals this song has the right inensity to shine on the radio. Bascom Hill continues with another catchy pop/rock song called Between Poses. The song has the radio-friendliness of a The Fray song and the vocals are from a very high quality. If you aren’t singing along to the chorus after two listens I think you’re doing something wrong.
Then on to one of my favorites. My World is another song that needs to be heard on radio. It was actually the first song off “Inevitable” I heard and I was instantly convinced of its potential. Very catchy and the chorus, once again, is money in the bank. On Ever Wish, the band takes down the pace and that results in a beautiful acoustic, mid-tempo ballad. The lyrics speak to you, because of the universally recognizable message in them and the combination of the ’smaller sound’ of the song and the soothing vocals give this song just the right character. The band sticks to an (semi-)acoustic sounds on Hello, but they combine it with the uptempo catchiness from the previous songs. A very laid-back, yet energetic (interesting, right?) track and when Charlie Victor sings “you had already walked away..” I can just feel what he’s singing.
On Mystified, Bascom Hill shows a more gritty, rock & roll sound and the added energy and power doesn’t take away anything from the song. Just like on their debut CD, the band shows that they know how to balance between a more poppy and a more alternative sound. Good placement of the song too! A more soulful, soothing sound is shown on Ivy, which is a song that grows on you. The arrangement is actually very strong and with every listen I start to like it a little bit more.
Everytime I listen to For You, I just get silent and let the music take over. The subtle instruments, the touching vocals and the impressive build up of this song are excellent. I like how the acoustic guitar and the piano bring out the mood of this song with near perfection. It may not be the jumpy, uptempo radio single, but musically this is quite impressive. My initial thoughts were that Prettiest Girl isn’t the most memorable track on the album. It doesn’t hold a lot of tension or excitement in the arrangement and while musically and vocally it is performed perfectly and the song is very soothing, it has more of a bonus track feel to it than an actual album track.
Then back to one of my favorites. Save Me is another radio single candidate if you ask me. The pointy, uptempo song has a modern rock & roll feel and is an instant foot tapper. It’s quite danceable and has a killer chorus. Good hooks and outstanding musical delivery. One of the very best songs on the album. The title track, Inevitable, is a very cool rock & roll track with a very good beat to it. Mix it, press it onto a CDS and release it to radio and both pop & rock fans should both start to request this on their local stations.
We then get to the interesting album closer. Where’d You Go has a little bit of an americana/blues feel to it, especially in the intro and in the vocal vibe. It is slightly (just slightly) reminiscent of a John Mayer-esque song. It is quite different from the rest of the album, and the demo feel of the song really works. It’s like a dessert after the main course. And it tastes very well!
Bascom Hill makes music that falls into the most crowded genre of music possible. So a lot of critics might say it sounds like this or that, say it is nothing we haven’t heard before, etc. etc. I tend to disagree. Yes, there are similarities with other bands, I named a few myself. But Bascom Hill manages to display a sound of their own, and they bring quality, intensity and enthusiasm to the table. They show they have what it takes to make it. “Inevitable” is a record that shows diversity within the genre and shows that the band can easily pull off that variety. There is a high level of songwriting, convincing and believable delivery of the songs and an overall class that makes them not only noticeable but also ranks them among the top acts in their genre.
18 mar 2010, 00:01 av innerearmediaLifehouse - Smoke & Mirrors
March 2, 2010
Over the years, Lifehouse has been a very successful band in North America. Ever since they debuted with their album “No Name Face” (which featured hit singles Hanging by a Moment & Sick Cycle Carousel) they have been a steady force on American mainstream radio with their mix of infectious pop/rock and a more grungy rock edge.
While their second album, “Stanley Climbfall” didn’t get the same amount of mainstream success and the band had some label struggles afterwards, they came back strong with the anthemic self-titled pop album and after that with their fourth album “Who We Are” which was somewhat a return to their original sound.
On “Smoke & Mirrors” the band that once stole the hearts of young people with Hanging by a Moment and later consolidated their status as pop/rock icons with You & Me (which is now one of the leading choices for wedding ballads all over the world), the band shows they aren’t afraid to experiment with their sound and stretch it into places some fans might not have expected. Some of the songs seem a little safe, and some of the songs portray a more current feel and sound to them, while there are also songs that are influenced by progressive rock, americana and even the use of synthesizers isn’t something that scared off Lifehouse on this new album. In the end it may well end up to be the band’s real break out album, because it is a complete package and shows maturity and variety and is commercially very appealing. Almost all the songs on Smoke & Mirrors have a quality that makes them fit for radio airplay. And while the true rock fans may, at times, be a little disappointed with this album, or at least they might need some time to make the same adjustments that the band did, I would say that all in all, this is Lifehouse in optima forma.
The album starts off with All In, which is a track filled with killer hooks. It also is something you’d expect from Lifehouse, which is why it makes a smart opener of the album. Draw in new fans with a mighty, catchy, uptempo rock single, while you keep your old fans satisfied and excited because this is what they want to hear. Lyrically it’s not the band’s best track, but it’s something one can easily relate to and apply to many different situations in life. The riffs and hooks and infectious vocals make All In a serious candidate to become the follow up single for this album.
And right after the first track is finished, Lifehouse produces one of their masterpieces. Nerve Damage is a very organic and complete track that combines the band’s signature sound (think Just Another Name, The Joke, Better Luck Next Time, etc.) with a progressive rock edge that reminisces of the mid-seventies. With excellent, and at times somewhat mysterious, lyrics and an incredibly good bridge (comparable to Pink Floyd, Led Zeppelin, etc.), this song is a rock opus like you don’t hear anymore these days. Musically challenging and yet still very appealing to the listener. This song leaves a lot of room for improvising when played live and it’s one of those songs you can lose yourself in when you listen to it. One of the top tracks on this new album.
Had Enough, co-written by Chris Daughtry & Richard Marx is a bit of an anthemic pop/rock single, that fits with the stature of Lifehouse, as well as with the co-writers of the song. Daughtry, who also provides backing vocals for Had Enough, and Lifehouse have cross-over fanbases, which is why it makes sense they are embarking on a tour together. Both acts make a kind of rock that is commercially attractive and reaches out to the listeners through relatable lyrics and empathic vocals. The lyrics in Had Enough will speak to the broken hearted and the frustrated lovers, which is always a formula for success. Cause lets be honest, everyone knows how that feels. I would not be surprised to hear this on the radio someday soon.
And with Halfway Gone, we come to another co-write. Jason Wade was assisted by Kevin Rudolph on this lead single. The, at times, funky and free sounding track has a fun feel to it while the lyrics press to a somewhat more serious matter. Of course there are several ways of interpreting the lyrics to this song, as we are used to with Lifehouse, but the upbeat, uptempo, danceable beat of the song contrasts this. It’s a very good choice for a lead single, even though it sounds more like a summer song than a winter song to me. However, the song is doing well in the States and is charting in Europe, Asia & Australia as well. It’s not exactly the first thing you would expect Lifehouse to release, but in some ways it’s also a breath of fresh air and it is working well for the band.
Lifehouse shows they are full of surprises on the next track. It Is What It Is has a very current feel to it, with influences from pop and even a little cross-over RnB in the production of the song gives this song a very nice sound. Though at some points it may be a tiny bit overproduced, it doesn’t really hurt the song. It Is What It Is may not be the most inspiring song title, as some reviewers have pointed out, but lets judge the song on its merits. It’s a mix of several different musical influences that mashes together perfectly. The vocals are very impressive and the beat (strengthened by a high quality rhythm section) gives the song enough drive to potentially become a multi-platinum selling hit single. The chorus really is money-in-the-bank and the lyrics are once again very easy to relate to. While the fans of the rock band Lifehouse may not get into this song right at the first listen, even they might warm up to it eventually. And this is where the real strength of this track lies. In its cross-over nature. It will be able to draw in fans from different genres without really chasing off the fans the band already possesses. One of the album’s more interesting songs if you ask me.
One of the best songs on the album is From Where You Are. With that said, it should not have been on the main album. This previously released song is amazing in it’s sentiment, feeling, simplicity and compassion. It’s the song Wade composed for the Allstate commercial awhile back and the lyrics are simply mind-blowing. There really isn’t much about this song I can criticize as it is just very impressive. However, musically it doesn’t really fit with the rest of the album and it comes off as rather strange, which I feel does not do justice to the song itself. I’ve talked about this to other people and many agree with me on this. One of my friends, however, made the remark that while it may be a weird choice for the album, this album might also need it. Because it’s the only track that really has a deeper, emotional layer to it. And when I think about it, I am inclined to agree with that. So I’m just seeing From Where You Are as the magnificent piece of songwriting that it is, more than that I see it as a key track on this album.
The title track is perhaps one of the most impressive songs on Smoke & Mirrors. With some westcoast and americana influences, this track may remind you of The Eagles & Tom Petty’s Refugee. Which isn’t weird as these bands (among others) have been influences to the band at one point or another. And everytime I hear this song I’m surprised at how catchy it is. I still don’t think it’s a very obvious choice for a radio single, but it might be an outside candidate anyway. Maybe not so much to become a huge hit single, but it would definitely satisfy a portion of underground fans. But most of all, this is just one heck of a driving song. Just picture yourself in your convertible driving down the highway. Sun shining on your head, Smoke & Mirrors blasting out your car speakers. Life doesn’t get any better than that.
Then another collaboration with Kevin Rudolph, Falling In. His influence isn’t nearly as obvious as it was on Halfway Gone, but this song, also, is a good candidate for radio airplay. It may not be an instant hit, but it could be one of those songs that lingers in the charts for weeks and weeks at end. It’s so easy to sing along to this sweet love song. It certainly could be described as a bit of a safe song, musically, and lyrically also, but sometimes simple isn’t so bad. As long as you can get the message across and execute it convincingly, I don’t see the problem with it. Is Falling In the most memorable song on the album? No, it absolutely isn’t, but it definitely is a song that is pleasant and sometimes that can just be enough.
Bassist Bryce Soderberg gets a chance to show off his vocals on Wrecking Ball. And surprisingly this track is one of the most interesting songs on the album. This isn’t necessarily cause of Soderberg singing (even though he absolutely convinces as a vocalist!) but just as much cause of the musical basis of the song. When it comes to songwriting it has a bit of an indie rock edge to it, which perfectly suits the live feel the band produces during performances. And the infectious nature of the song, combined with great lyrics and a nice round and edgy feel to the song provides for a surprisingly good song that fits right in on Smoke & Mirrors.
Here Tomorrow Gone Today is a song that will turn off some of the old fans, the synthesizer, almost techno-influenced, overproduced nature of the song is something that isn’t really something that you’d expect from Lifehouse. And I admit I was caught off guard too when I heard this song, but the unexpectedness also makes it interesting for me. Cause if you give the song a chance you’ll hear that underneath all these bells & whistles there is a very decent rock track that is very, very catchy. Though I wouldn’t say it’s one of my favorite tracks, it sure is interesting.
One of the weaker tracks is By Your Side. Lyrically I think it’s pretty good, and both musically and vocally it’s on a good level, but it doesn’t really do much for me. It’s a good track, but it’s not a memorable track. Every time I listen to this song I feel like this could have been so much more. It has a bit of the early Lifehouse feel/sound to it, but it doesn’t completely follow through on that. That, and on this track the production takes away too much. While on some of the other tracks, the more present production works for the song, it doesn’t really on By Your Side. I can still enjoy this song, but it’s just not as memorable as it could’ve been, in my opinion.
With In Your Skin, Lifehouse ends the regular album on a high note. Lyrically it is probably my very favorite of this album. It’s also quite catchy and it covers the traditional Lifehouse sound with the pop/rock mix that has a slight edge. Yet it doesn’t sound old or boring or like something you hear all the time. It might not be the track everyone will be talking about, but for me personally, it is one of the album’s key tracks. It may also be the poet in me somewhat, but this song strikes a chord for me.
All That I’m Asking For is a song that just blows my mind. I’m not sure what I was expecting for this song, but the anthemic build up and the comforting vocals, combined with the poetical plea in the lyrics just makes me listen. This song also has a very current feel. I can really see this on a soundtrack, or even released as a radio single. It may be the most impressive track on the album. I’m sure there are a lot of people who are missing something in it, but I believe it sounds pretty much the way it was supposed to sound. I wonder why this didn’t make the actual album.
Then we finally hear a studio version of Crash & Burn, which is a song that got somewhat of a cult following among the Lifehouse fans after it was played live several times. The song is paced down slightly and the lyrics are altered a little bit, which makes it sound a little less energetic and passionate as the live version of the song that we originally grew to love. However, I have to admit that this way the build up of the song might come out better and it still has that certain swing and rawness to it that makes this band so good. Everything’s real and true and they don’t have to hide behind a lot of fancy musical tricks. They have the good and they deliver. And that is why Crash & Burn is such a fan favorite.
Fan favorite and album closer for No Name Face, Everything, gets re-recorded for the bonus part of this new record. The excellent songwriting and epic build up of the song is only rivaled by Simon off the same record in Lifehouse’s oeuvre. This song that can be interpreted as a testament to faith or love (or any other way that pleases you) is a guarantee for connecting with the existing fanbase. It has always been among the fans’ favorite songs and that is not going to change. I’m not sure if it brings too much extra to this album, but it’s a nice reach out to the longtime fans and a gesture that will surely be appreciated.
One of the most surprising songs is Near-Life Experience, on which Wade shows off vocals that remind one of David Gray & Bob Dylan. And even in the songwriting you can hear Dylan-esque influences. And while it takes a little getting used to because you really do not expect this kind of song from this band, it is actually quite the impressive song. Strong lyrics, impressive songwriting and a very solid way to end the album.
There is a remix of Halfway Gone on there too, which doesn’t really add much to the album. Though I can’t say it really bothers me either. Not the greatest remix, but it’s not bad either. It stays pretty true to the original song and tries to emphasize the danceable parts of it. I doubt it’s what the Lifehouse fans are waiting for, but they have a whole album to enjoy, so they probably don’t really mind it too much anyway.
“Smoke & Mirrors”, in my opinion, is the album that will propel Lifehouse back into real stardom. Not just in the US but all over the world. It will need work in terms of promotion and marketing, but being on a major label, the possibilities for that should be present. With key tracks like Nerve Damage, It Is What It Is, Smoke & Mirrors, Wrecking Ball & In Your Skin, there is definitely growth to be seen, and with the overall current, modern feel to the album, the band embraces their commercial appeal and the combination of this may well provide the last step to worldwide mega success. Already they are gaining airplay in places they haven’t been on the air for years, so the first signs are good for them.
With a refreshing, surprising, and essentially solid album, Lifehouse is back. The album provides songs that are suited as radio singles, but the songs also have the edge to become energetic and powerful live songs, which will appeal to the fans of the rock side of Lifehouse. Overall it mixes the commercially attractive mainstream pop sound with the more edgy rock sound; a combination that opened the way to success for Lifehouse in the first place. It’s too early to say this is Lifehouse’s best album, but as time passes, it may well turn out to be.
17 mar 2010, 23:55 av innerearmediamr. a balladeer – Sorry, Kid
Marinus de Goederen, known as frontman of the band A Balladeer, is a gifted songwriter and lyricist and is now releasing his first solo album under the moniker ‘mr. a balladeer‘. In some aspects the sound of the album “Sorry, Kid” doesn’t deviate too far from a balladeer’s general sound, but in other aspects this album sounds quite a bit different.
Every songwriter has a certain signature in his or her music and so does de Goederen. In that aspect you can definitely hear the connection with a balladeer’s music, but whereas the a balladeer albums have a distinct band sound, this album is really a singer/songwriter album. And a very good one I might add. As I said in my preliminary thoughts on this album, the arrangements, the vocals and the instrumental execution are all soaked in emotion and subtle feelings. And essentially, to me, that is exactly what music is about. The basis of music is emotion and to make that emotional and personal connection with your listeners, that is what a good musician does. And in singer/songwriter music, that is absolutely key for me.
Marinus de Goederen gets that and he does it in a way that is absolutely convincing. He does not compromise on the music, and in that he delivers an album that is complete and touching and insanely impressive. “Sorry, Kid” is one of my favorite releases of 2010 so far, if not my very favorite. It literally and metaphorically strikes a chord for me.
The album starts off with Mars, which has an amazing arrangement, listen to how the different instruments and parts of the songs fall into place and add to each other. The song is like a well-oiled machine, where the wheels grab into one another and it works magically. Add to that Marinus’ empathic and intriguing vocals and you have an album opener that is world class.
Why Hitler Loved His Dog is not only an intriguing song title, it’s an intriguing song alltogether. The arrangement is richer than on the opener, fuller and more present. But the impact of the song is no less. Lyrically this song is also very strong. See, a singer/songwriter can tell you a story or give you a reasoning, or let you in by ‘painting a picture with words’. And this is done incredibly well on Why Hitler Loved His Dog. Once again, pay attention to the subtleties in the song.
Marinus posted the next song on his site a little while ago and my first reaction was: very familiar, very pleasant. And I still feel that way. And you gotta love a pop musician who is not afraid to use a clarinet in the arrangement. (It helps I play the clarinet myself ;) ). And you know what? I can actually imagine hearing this on the radio. It’s not particularly catchy or uptempo, but it has a nice round melody and some parts that just stick with you. And the sound of the song is very familiar. With that I don’t mean it sounds like a lot of other stuff, but it feels good, it feels like coming home to a familiar environment.
When A Law’s Been Broken is a grower for me. There’s just so much to hear on this track that it took me awhile to take it all in. I heard someone say that this track is what U2 would sound if that band were a singer/songwriter. I actually thought that was a rather clever comment. It has the epic feel of a U2 song and lyrically I can find some correlations too. But I was gravitating more towards Neil Young myself, combining different style influences into an epic song with a very rich and full arrangement with all kinds of subtle (as well as not so subtle) parts, going back and forth in intensity.
There’s a certain edge on What The World Needs Now Is A Killer Storm that reminds me of Leonard Cohen. And coming from me, that is one of the greatest compliments you can get as I consider Cohen as one of the best 5 songwriters in the history of modern music. De Goederen builds up this song to a very exciting climax after which the song slowly winds down. I’m still not quite sure how to describe this song, but think of it this way: The songwriting edginess of Leonard Cohen, the tension of Pink Floyd, combined in a musical package designed by the talent of Marinus de Goederen.
Noah is a song that portrays that storytelling talent again. With a growing intensity, de Goederen tells the story of Noah. I really enjoy the vocals on this song and the passionate way the song is sung/story is told. Marinus’ voice breaks every now and then but that just makes this song even better to me. And it has such a pretty piano melody.
One Sunday is just a very beautiful song. The scene that he’s describing is something you can easily imagine. And in its own way this song is actually somewhat catchy. To me, it is also the song that comes closest to an a balladeer song. The way that layers and instruments are added to the song at certain key parts is quite good but most of all it’s the vocals that lead you through.
Then the shortest song on the album, How I Hurt My Heels. It’s one of those songs that takes you away for nearly 2 minutes. I’m not sure what else to say about it. Just from the first to the last note I’m gone from the world, and then it slowly sets me down again.
From the shortest to the longest song on the album. More or Less The Sort of Shit Ex-Lovers Get Restraining Orders For is an impressive song. Lyrically it’s the strongest song on the album, and musically it is also very impressive. I particularly like how the drums are adding to the songs tightness and emphasize certain parts of the song. The acoustic guitar mixes very well with Marinus soothing vocals and the whole song is just very complete.
The official album closer is Eleven, and my oh my, what a gem. It might be the end of the record, but ‘mr. a balladeer’ knows how to leave on a high note. The beautiful piano ballad is played with so much feeling that it even got me somewhat emotional. Sometimes a song speaks to you, and if you don’t have a heart of stone, this song will speak to you. Sheer beauty.
An instrumental track is added as a bonus track. The Hidden Track has a very endearing arrangement and is a very suiting and soothing end to the record for me. It leaves me very satisfied when the last note fades away.
I could throw out some superlatives and talk about how much I like this album, but I think you should listen to it and decide for yourself. Marinus de Goederen (mr. a balladeer) is a very gifted songwriter, already well-received as frontman of a balladeer, but he now proves he can stand his ground as a solo singer/songwriter also. “Sorry, Kid” is an incredibly impressive debut album and one that will have a prominent place in my CD collection. Check out his website, listen to some of his songs, be convinced and purchase this excellent masterpiece. You won’t regret it.
26 feb 2010, 00:15 av innerearmediaWed 24 Feb – Lifehouse - Smoke & Mirrors Tour 2010
The whole adventure started on tuesday as I was picking up my Portuguese friend at the airport in Germany. The next day we made our way to Amsterdam and met up with all our other friends from all over Europe. We hung out and waited in line from 3pm up until doors opened. It was cool when they waved to us, but too bad they didn't come out to talk for a few minutes. i was already severely sleep deprived but with enough chocolate, coffee and adrenaline, who cared? Singing songs in line, meeting new people, catching up with old friends and having a good time alltogether, it was not so bad at all. It was also kinda cool that Jimmy Alter talked to a few of my friends for their website.
So then doors opened, mayhem everywhere, I just took it easy and brought my jacket to the vestibule. My friends were holding my place at the stage anyway, haha. (I love my friends, they rock!) then Valerius, who were a little strange at times, and while they are more of a summer band to me, they sounded pretty decent. They just need to learn that Portugal and Den Bosch does NOT sound the same, haha.
Then Lifehouse was there, yeehaw!, from circus tune to Everything, it was one hell of a show. Musically it was great, but I think I might have seen them do even better pure musically. But when it comes to stage presence and connecting with the audience, they have grown immensely and this is probably the best I've seen them do to this day. I think my highlights were Spin, AIEGFO, Wrecking Ball & Blind. I think especially Blind was performed with near perfection. It was funny when I saw Jason & Bryce chuckle about our Simon sign (which we slid next to the setlist). Unfortunately they didn't play it. But to speak in the words of Lifehouse: "And if [we] fall and crash & burn, at least we both know that [we] tried".
At one point this guy was working his way towards the stage, passed a note on to Ben and then Ben showed Jason and he asked something like: "This is for real?" And then he was like: "Who just gave this note to our guitar player? You got something to say? Come on up here!" So then a bald guy climbed on stage and Jason told us he was gonna take over for a few minutes. He then invited his girlfriend on stage and asked her to marry him. And of course she said yes. It was very cute how it was all spur of the moment/makeshift. He didn't even have a ring yet, but at that point he figured this was the opportune moment cause his girlfriend really loved Lifehouse. Good for them :) We talked to them afterwards and they seem really nice people. I wish them all the best!
We waited around, bought Smoke & Mirrors and talked to Winnie (head of the crew) who actually remembered me from the two minutes I talked to him in Massachusetts in 2007 (good memory!). Got a chance to thank him for giving me a few of Jason's guitar picks back then :) He didn't know if or when the guys would come out, so after a while we had to go outside and figured we'd wait there since they had to come out sooner or later. But they must've snuck out right after the show, cause no one saw them and even Winnie (who was the last of the Lifehouse people to leave) had no idea where they went. He didn't know where they were, didn't have a place to sleep yet and didn't have a phone on him. That was insane. But he's such a kind person. We talked to him a little more and gave him some stuff for the band that he promised to deliver :) I hope he figured things out last night.
We then made our way to our stop for the night (which was a whole other adventure, lol). But all the memories are something I will remember for many, many lifetimes.
Thank you to everyone I met yesterday and helped to make this experience as memorable as it is. I hope you all had a splendid time. I know I did.
Edit: Photos, reviews, videos, etc. of the people I went to the show with can be found here
10 feb 2010, 00:37 av xlovestoryx1992
Jump - Kris Kross
That's The Way Love Goes - Janet Jackson
I Swear - All-4-One
This Is How We Do It - Montell Jordan
Tha Crossroads - Bone thugs-n-harmony
Hypnotize - Notorious B.I.G
Too Close - Next
Livin' La Vida Loca - Ricky Martin
Maria Maria - Santana feat. The Product G&B
All For You - Janet
Foolish - Ashanti
Get Busy - Sean Paul
Yeah! - Usher feat. Ludacris & Lil John
Hollaback Girl - Gwen Stefani
SOS - Rihanna
Makes Me Wonder - Maroon 5
Bleeding Love - Leona Lewis
Boom Boom Pow - The Black Eyed Peas
OMG - Usher feat. Will.I.Am
8 jan 2010, 18:47 av AlfaddurAlbums :
1.VERTICAL HORIZON - Burning The Days
2.J.R. RICHARDS (DISHWALLA)- A Beautiful End
3.DOVES - Kingdom of Rust
4.SWITCHFOOT - Hello Hurricane
5.John Hampson - Shiny New Album
6.OUR LADY PEACE - Burn Burn
7.CREED - Full Circle
8.BREAKING BENJAMIN - Dear Agony
9.SISTER HAZEL - Release
10.THIRD EYE BLIND - Ursa Major
11.THREE DAYS GRACE - Life Starts Now
12. DREG - The Pariah, The Parrot, The Delusion
13.AMERICAN RADIO - Drive
14.ADELITAS WAY - Adelitas Way
15.CAVO - Bright Nights, Dark Days
Ryan STAR (ex Stage) - Last Train Home EP
David Hodges - The Rising EP
ASH - A-Z Series
Matthew Mayfield - Five Chances Remain Hers & Maybe Next Christmas