Amy Winehouse "Tears Dry on Their Own" Rapidshare Music Video MV/試聴 視聴 mp3 PV 動画 映画 歌詞/뮤직 비디오/동영상

Outkast - ‘Idlewild Blue [Don’tchu Worry ‘Bout Me] Rapidshare Music Video MV/試聴 視聴 mp3 PV 動画 映画 歌詞/뮤직 비디오/동영상

Outkast are nothing but a duo with ambition. After daring to believe splitting to make a long-ass double LP of two totally separate albums could be a success, the pair decided to make a whole period feature film to accompany their latest release. ‘Idlewild Blue’ is the first release from the resulting, and much-delayed ‘Idlewild’ project, and although the album doesn’t feature as many highpoints as ‘Speakerboxxx/The Love Below’, this track – Andre 3000’s kind of future-blues take on Stevie Wonder’s ‘Superstition’ – is one of them.

Amy Winehouse "You Know I'm No Good" Rapidshare Music Video MV/試聴 視聴 mp3 PV 動画 映画 歌詞/뮤직 비디오/동영상

Sea And Cake "The Crossing" Music Video(Lyrics,Rapidshare,PV,無料,試聴,視聴,配信,MV,歌詞,動画,映画,mp3)

Something about scrolling backdrops and the Sea & Cake these days. Just two days ago, the beautifully breezy Everybody cut "Coconut" was used as soundtrack for a sideways-moving collage of cool frogs, Grateful Dead bears, and 8-bit breakdancers; here, it's more "real" than that, but just as single-angle minded. Director Lung sets a camera on a car roof and presses record. That's it. What we get's a vertical scroll down life's highway, with karoake subtitles so you can do your best Prekop. (via P4K)

Phil Collins "In the Air Tonight" Music Video

An urban legend has arisen around "In the Air Tonight". According to the legend, the lyrics are based on a tragic event Collins witnessed, usually a drowning (as in the song's lyrics), in which a man could have helped the victim, but did not do so. A common ending is that Collins invites this man to a show and sings the song to him, often with a spotlight pointed at him. Afterward, the man is arrested or, in some versions, is wracked with guilt and commits suicide. Some popular variations are:

* Collins saw a man drowning but was too far away to do anything, but a man nearby who could have saved him did nothing. (Other versions of this rumor claim that the drowning was not an accident, but murder.)
* While vacationing together, Collins' best friend went for a swim. He began to struggle in the water but Collins, having never learned to swim, could not help. Collins stopped and asked a passing jogger for help; the man refused and Collins' friend died.
* While at camp as a child, Collins awoke to find his counselor missing. Looking outside, he saw the counselor standing by the lake doing nothing to help a drowning boy. (In some versions, the counselor is intentionally letting the boy drown.) [3]
* Collins witnessed the rape of his wife and, years later, saw the man drowning but refused to help him.
* A young Collins and his best friend were at a lake when a man asked them if they wanted to go sailing. Collins had to eat dinner but promised to come back; when he did, his friend was missing and was never seen again.
* Collins, while on a pier with his wife, went down the pier for a brief moment, leaving his wife at the other end. When he returned, he saw that his wife was drowning, but before he could do anything, his wife had died. Collins realized next that there was a man that had stood at the end of the pier and watched the woman drown.
* When Phil was younger, he and friend had been playing by a water basin when his friend fell in. Phil, who hadn't learned to swim, ran to a neighbor's house for help. When the neighbor answered, he dismissed Phil's cries for help, as Phil had "cried wolf" in the past. When Phil returned to the basin, he found his friend had drowned in the meantime.
* When Collins was young, he and a friend were playing on a lake that was frozen over. His friend fell through the ice and Collins tried to help but couldn't, but there was a man on a bench that just sat there and didn't help.

Most stories lead up to Collins finding the guy while singing live and the audience blocked him in and forced him to listen to the song.

Years later, Collins commented on the legends about the song in a BBC World Service interview:
“ I don't know what this song is about. When I was writing this I was going through a divorce. And the only thing I can say about it is that it's obviously in anger. It's the angry side, or the bitter side of a separation. So what makes it even more comical is when I hear these stories which started many years ago, particularly in America, of someone come up to me and say, 'Did you really see someone drowning?' I said, 'No, wrong'. And then every time I go back to America the story gets Chinese whispers, it gets more and more elaborate. It's so frustrating, 'cos this is one song out of all the songs probably that I've ever written that I really don't know what it's about, you know. ”

The urban legend is referenced in the song Stan by Eminem in the following lyrics:

You know the song by Phil Collins, "In the Air of the Night" [sic]
About that guy who coulda saved that other guy from drowning
But didn't, then Phil saw it all, then at a show he found him?

Putting the rumors to rest once and for all, Collins stated on VH1 Classic's "Classic Albums" series that he came up with "99%" of the lyrics on the spot, based on what he felt the vibe was of the dark chords he had improvised over the ominous drum beat. He was "just messing around for fun," completely unaware that what he was creating would ultimately be the staple song from his next album.

Most fans understand the real meaning of the lyrics as: Phil was involved in a separation with his wife Andy. Its almost universally accepted that this was the emotional catalyst for the lyrics in this track and others in later songs and albums including his work within Genesis. Most fans agree that some lyrics are purely metaphorical and not fact as the urban legends espouse. eg "drowning". Most fans see this as saying there was a lack of support within the relationship. Other parts of the song are interpreted as anger, guilt, regret and marital infidelity. The discovery of lies and feelings of foreboding eg. "I can feel it coming in the air tonight". It's believed that Phil simply penned his experiences into a set of lyrics explaining events and actions that took place in a difficult period of his life. No hidden meanings, just an outpouring of emotions; a collection of genuine thoughts and feelings. So yes, a song written while messing around for fun, but generated by strong emotions caused by what most fans believe as real emotional hurt caused by the breakdown of his marriage, leading up to the unfortunate separation and divorce from his first wife Andy.

Chrisette Michele "If I Have My Way feat.Vanessa Williams" Rapidshare Music Video MV/試聴 視聴 mp3 PV 動画 映画 歌詞/뮤직 비디오/동영상

Newton Faulkner "Dream Catch Me" Rapidshare Music Video MV/試聴 視聴 mp3 PV 動画 映画 歌詞/뮤직 비디오/동영상

Acoustic power pop rock with a surfy sideline makes the perfect summer record and Newton Faulkner has bucket loads of it. Dream Catch Me is a lovely ditty with a real Cornwall touch, despite the fact he actually hails from Surrey.

The upbeat and melodic single from the ginger dreadlocked songwriter has already had masses of radio play, casting Newton's raspy vocals into the limelight. His strong voice and the lovely tune distract from the awful electric percussion, which seems so out of place in a song that oozes natural and raw talent. He sounds a little like an X-Factor finalist, but hopefully his song writing will see him through.

Dream Catch Me is worth a listen. It's catchy, has a little bit of everything from the heart wrenching chorus to undertones of the rock ballads and it makes you want to hear a little bit more of what Newton has to offer. The track's release is also perfect timing following his summer of flitting from festival to festival, where he has seen some positive reactions.

Amy Winehouse "Rehab" Rapidshare Music Video

Rating:

Bold looks and a voice beyond her years make Amy Winehouse worthy of note. Here, on the opening number from her forthcoming album 'Back To Black', Winehouse seems to have ditched her jazz influences and headed firmly for the territory of girl groups from the past.

With sweeping strings, soulful trumpets and Christmas bells, 'Rehab' is so retro it almost hurts. It's utterly derivative but works on every level, and with her dark, sultry vocals, Amy has produced a song as rich and decadent as a fabulous dessert.

It's akin to a musical timewarp, albeit with a modern twist, and what could be more of the moment than a track wilfully putting down the notion of rehab? Simply ace.

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.