Kaiser Chiefs "The Angry Mob" Rapidshare Music Video,Lyrics&review

I can prove anything
I'll make you admit again and again
I can prove anything
The way that it's read again and again

And its only cos you came here with your brothers too
If you came here on your own you'd be dead
Its only cos you follow what the others do
Its no excuse to say your easily lead

You can choose anything
You choose to lose again and again
You could do anything
Why should you do anything again

And its only cos you came here with your brothers too
If you came here on your own you'd be dead
Winding yourself up until your turning blue
Repeating everything that you've read

And here we go with the letter
Well can you fix it for me
Cos we need entertainment
To keep us all off the streets

So tonight you'll sleep softly in your bed Instant Song Lyrics

You can try anything
And no-one would know apart from you and me
You can stop anything
It's starts with just one and turns to two then three

Its only cos you came here with your brothers too
If you came here on your own you'd be dead
Raise a glass or two
You raise a fist or two
Get a shopping basket wrapped round your head

So here we go with the letter
Oh can you fix it for me
24 hour drinking
To keep us all off the streets

So tonight you'll sleep softly in your bed

We are the angry mob
We read the papers everyday day
We like who like
We hate who we hate
But we're also easily swayed

OOOOOOOH! I predict more anthemic, guitar-driven pop from those lovable likely lads, the Kaiser Chiefs.

Unfortunately, the trouble with Ricky Wilson is that the louder he shouts the less he seems to say.

The Angry Mob is everything you would expect from the Kaisers. Crunchy guitar playing the root notes? Check. Honky tonk piano being banged away in the background? Check. Po-faced Wilson reciting more working-classisms than you could shake a tabloid at? Check.

Two minutes through, the song shifts into one of those chanting crescendos for which the band is famed - a single verse repeated so many times that the football hooligans who will no doubt end up screaming it won’t need a second listen to commit it to memory.

Nothing new here.

Klaxons "It's Not Over Yet" Rapidshare Music Video MV/試聴 視聴 mp3 PV 動画 映画 歌詞/뮤직 비디오/동영상

Gwen Stefani "4 In The Morning" Rapidshare Music Video MV/試聴 視聴 mp3 PV 動画 映画 歌詞/뮤직 비디오/동영상

Guide Rating -

The Bottom Line

With the third release, Gwen Stefani gives wide exposure to the best song from her album The Sweet Escape. The song was co-written and produced by No Doubt bandmate Tony Kanal. Stefani's relationship with Kanal was the inspiration for her previous hit "Cool." Reflecting on and working with Tony Kanal seems to bring out the best in Gwen Stefani. This is a bittersweet ballad that will be remember as one of her best.

Pros

• Gentle, wistful ballad feel
• Sensitive, emotional lyrics

Cons

• Gwen's voice is a bit thin

Description

• Light keyboard runs tie the song together from intro through break
• Sweet, sensual vocals that gently soar in the choruses
• Midtempo beat perfect for a slow dance

Guide Review - Gwen Stefani - 4 in the Morning

Gwen Stefani has certainly turned her second solo album project The Sweet Escape around in public perception after the initial negative reception for the ill-fated first single "Wind It Up.". Now, the 3rd single "4 in the Morning" is not only likely to give her a 5th top 10 solo single but also boost her album sales. "4 in the Morning" is a wistful ballad of a relationship on the edge beautifully performed and produced.

Kicking off with beautiful keyboard runs before settling into a gentle midtempo beat, Gwen Stefani allows her signature vocals to sensually float and glide through the lyrical content. The song wisely ignores flashy touches in favor of a gentleness which will make it perfect slow dance and evening radio fare.

Kaiser chiefs "Ruby" Rapidshare Music Video+review+lyrics/MV/試聴 視聴 mp3 PV 動画 映画 歌詞/뮤직 비디오/동영상

Three years may have passed since Leeds’ finest the Kaiser Chiefs burst onto the pop scene, dazzling us with their cheeky monkey pop anthems and wry social commentary, but they’re still very much reaping the rewards.

In the past 12 months alone they have been recipients of Brit, Ivor Novello and NME awards, as well as continuing to dominate drive time radio and edge towards 2 million album sales in the UK.

And now, with the release of their brand spanking new single ‘Ruby’, t’Chiefs must prepare themselves for further additions to their ever expanding awards cabinet.

Produced by Stephen Street (Blur, the Smiths) and mixed by Cenzo Townsend (Hothouse Flowers, New Order), ‘Ruby’ is released on CD on 19th February and is backed by the B side ‘From the Neck Down’.

The band’s second album, Yours Truly, Angry Mob, is out on 26th February.

They say:

Digital Spy: “A fun, upbeat, enjoyable track that comes from one of the best bands currently around in the UK.”

NME: “Big and clever, the Kaisers won’t be going the way of the dinosaurs for a while yet.”

We say:

If it ain’t broke, don’t fix it. And so it goes with the Kaiser Chiefs’ ‘Ruby’, a ménage à trois of Graham Coxon-esque guitar, playground keyboard noodling and festival bound “Ahaa ahaa ahaaa” vocal hook.

Frontman Ricky Wilson was born for this kind of thing, injecting a romantic vulnerability into their anthem in waiting high jinks as he ponders, “Could it be, could it be that you’re just joking with me/And you don’t really see you with me?”

True, ‘Ruby’ brings nothing new to the table, but it does provide us with a delicious appetizer until the main course is served, much like their very first single ‘Oh My God’ did back in 2004 before the madness of Employment kicked in.

And as fans who have heard snatches of the new album on the band’s recent tour will tell you, Yours Truly, Angry Mob is going to be quite the melodic feast.

Ruby Lyrics

Gwen Stefani “The Sweet Escape” Rapidshare Music Video MV|뮤직 비디오|동영상|試聴 視聴 mp3 PV 動画 映画 歌詞

Gwen Stefani is clearly in the middle of a very peculiar musical phase. Her latest album The Sweet Escape is a rather mashed up affair, which blends various types of music within one track to baffling effect, leaving the listener confused and not a little perturbed by this musical mess. Her new single of the same name is in exactly the same boat.

'The Sweet Escape' is a clumpy, mixed bag. There are some great 'woo-hoos' from guest star and producer Akon that punctuate the chorus enjoyably, but on the whole it's not some of Stefani's best work. It sounds lazy, as if Stefani was forced into the studio to record it. There's no emotion or vocal interest, and whilst the song is technically fine, without any sense that Stefani cares about what she's singing - having her voice at a monotone throughout the track - it just sounds floppy and weak.

Prince "Sexy Mother Fucker" Rapidshare Music Video

Prince "Prince Musicology" Rapidshare Music Video

Prince "Call My Name" Rapidshare Music Video

Prince "Greatest Romance Ever Sold" Rapidshare Music Video

From his forthcoming album on November 9th 1999 that is being distributed through Arista Records, is this first single. First of all I love the cover. Parke has the best ideas! I love the plug on the back (He's holding a copy of the forthcoming album "Rave Un2 the Joy Fantastic"). The song is amazing. When I first heard it I thought it was ok with a catchy chorus but after hearing over and over again I realize how brilliant it really is. It must be heard lots to be appreciated but that doesn't usually happen on radio stations around where I live, they play it once in awhile and that's it. That's why it won't be a big hit on the radio, they'll just keep on replaying that other sampled crap. The hook in the track is amazing ("So this is where you end - and you and I begin") and the chorus will just get implanted in your brain. The remix is awesome as well. It has an instrumental part in it that has sounds of synthesizers that Prince used to use in the years of 81-82 but it's not dated sounding at all. Eve has a fair and respectable part on the remix. chorus and a bit of the bridge), it should (sometimes) feature someone else on the track, it should contain some new lyrics (all new lyrics except for chorus and bridge) and it should be funky (It really is), not just some cheap programmable drum beat for the clubs with the exact vocals from the original version. Another point about the original version, I'm glad he album version will be about a minute longer.

Prince "Te Amo Corazon" Rapidshare Music Video

It is almost two years since Prince released Musicology - his last "proper" album. Now the time has come for 3121, which is planned for release early next year. Te Amo Corazon heralds the coming of the latest installment of Prince's genius. Covered with lush strings, mellow, Latin-inspired drum work, bizarre guitar licks, and touching piano chords, Te Amo Corazon unveils as one of the most focused, accessible, easy-listening, but nonetheless complex and deep songs Prince has ever written. The song oozes atmosphere of love and passion and makes you wonder what it takes for the artist inspiration-wise to come up with such a gem.

Prince "Cinnamon Girl" Rapidshare Music Video

Prince "Fury" Rapidshare Music Video

There are often times where we see artists sampling great songs from others, and that has been considered a good or a bad move. Recently, the Red Hot Chili Peppers sampled Tom Petty & The Heartbreakers Mary Jane's Last Dance for their funky track, Dani California. Nevertheless, to spin a song of your own, and sample it into another song for an artists own self is considered even more ironic. That is the case for Prince, and his latest single, Fury, the third single from his album 3121. The song samples the opening hook from his 80's track 1999, and takes it into something else. The song actually is good, and delivers a unique feeling of funk, soul & pop. It is a really good track, that still shows that Prince hasn't lost his edge. I found this to be surprisingly upbeat and worth its price. This is a great song, and I hope it gets a lot of good airplay.

Prince "Black Sweat" Rapidshare Music Video

In the summer of 2004, I saw Prince on two of his stops at the Palace of Auburn Hills. He was touring in support of his much-vaunted comeback album, Musicology, and the set list was tooled to match that record's mood: heavy on hits, often in medley form, with few idiosyncrasies and a "family-friendly" veneer on even the notorious '80s material. Hence when performing "I Feel For You," Prince changed the words "it's mainly a physical thing" to "it's mainly a spiritual thing;" while "D.M.S.R."'s 1982 instruction to "work your body like a whore" was replaced with the more modest "work it like you want some more." And it was good, for what it was; the man is pushing 50, after all, and with all those rumors about door-to-door Witnessing, it's a wonder we got to hear nuggets like "Automatic" and "Let's Work" in the first place. I mean, what were you expecting? Assless pants?

But on the second night, something strange happened. Prince was midway through "The Question of U"'s ripping blues guitar solo when he threw his axe to the ground. Then, suddenly, he was on the ground too, crawling slowly toward the fallen guitar like he'd just stepped out of the video for "When Doves Cry." Time seemed to stop. Would he stand up? Or would he start humping things? In short, were we about to witness the return of the "old" Prince, the sexy Prince, the Prince all of us in the audience really wished was in Auburn Hills that evening? I had a mental image of the Kid's impish grin as he performed the hell out of "Darling Nikki" in Purple Rain, stripped to the waist and dripping with sweat; I saw Jehovah himself, the lips beneath his gray beard curled with shock, his eyes covered piously against the sacrilege to come. It was a surreal, intense, thrilling moment...and then, it was over. Prince stood back up. He finished his show with consummately performed, if safe, renditions of hits like "Kiss" and oldies like Sam & Dave's "Soul Man." He came back with an encore of Musicology's sweet, gorgeous - but hardly Dirty Mind-ed - "Call My Name." And he left, his last show in metro Detroit concluded and not another flash of the Prince we once loved. It was good...for what it was.

Flash forward a year and a half later, and Prince is already on the verge of yet another comeback. The rumblings that have announced his upcoming 25th (!) album, 3121, have been uniformly positive - and, for the most part, as modest as the creative/commercial rebirth that was Musicology. There's "Te Amo Corazon," the quietly pretty excursion into Latin-flavored balladry that slipped out late last year, and "Beautiful, Loved and Blessed," a pleasant duet with new protege Tamar, reminiscent of both Prince's lengthy side career as a Svengali and the better moments from the slow jam-heavy second disc of 1996's Emancipation. Both are decent enough tracks, two guarantees that our little man will at least be receiving the VH1 airplay he deserves this summer. But they've got nothing on "Black Sweat," a lean, raw hunk of bona fide Paisley Park-worthy electro-funk which sounds to these ears like the long-awaited delivery on the promise Prince made to me when he dropped to all fours on the Palace stage, one and a half long years ago.

Not that this is Sign O' the Times-worthy stuff, mind you; let's not get too excited. The track's minimalist beatbox and synth arrangement, coupled with even more minimalist lyrics, actually suggest that it would fit in just fine on The Black Album, with all the pros and cons that statement suggests. But the Devil is in the details, and "Black Sweat" succeeds simply because it contains the crux of Prince's entire songwriting career in its first line alone: "I don't wanna take my clothes off," he coos in that unmistakable falsetto, his voice sounding not a day older than it was in 1981 - "but I do." It's a throwaway line to be sure, the product of a man who's been writing sleek, frank come-ons and just-as-enticing self-reprimands since most of America was still boogie-ing to Kool & The Gang. But it's also the most concise expression yet of this Artist's trademark conflicted sexuality, that same give-and-take which resulted in the near-breach of middle-aged Christian decorum I witnessed in Auburn Hills... and for that reason, it strikes me as a sign of exciting things to come.

Prince's momentum maintains itself nicely through the single, as well, propelling its synthetic bump and grind forward with enough pants, grunts and squeals to make the Prince of Musicology blush, if not necessarily the Baby Jesus cry. Is it up there with his best material? Hardly. What it is, however, is a perfectly enticing taste of the album to come; a promise of yet another step away from Prince's self-satisfied, self-indulgent noodling era, which has more than accomplished its job of whetting at least this fan's musical appetite. Shout it to the hillsides, folks: the sexy is back. God Save the Prince.