Michael Jackson feat. Akon - Hold my hand DOWNLOAD HERE
Nicki Minaj - Right thru me DOWNLOAD HERE
Linkin Park - Waiting for the end DOWNLOAD HERE
Katty Perry - Tenage Dream DOWNLOAD HERE
Katty Perry - Fireworks DOWNLOAD HERE
Black Eyed Peas - The time ( Dirty bit )
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Rihanna feat. Drake - What's my name
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Kelly Clarckson - Already gone
Despite all the controversy over similarities in sound toBeyonce's "Halo," Kelly Clarkson's latest is a towering song in its own right. "Halo" made everyone feel warm and enveloped in love and security. "Already Gone" will break your heart, and Kelly Clarkson's delivery is nearly perfect here.
Pros
· Vocals balanced between pain and cool resignation
· Moving lyrics
Cons
· That backing track similarity to "Halo" is just a little too similar
Description
· Written by Kelly Clarkson and Ryan Tedder
· Produced by Ryan Tedder
· Released August 2009 by RCA
Guide Review - Kelly Clarkson - "Already Gone"
Yes, when you first hear the backing track forKelly Clarkson's single "Already Gone," you will be instantly reminded of Beyonce's "Halo." However, set those thoughts aside and you will be rewarded with hearing one of Clarkson's most powerful songs. The line, "We were always meant to say goodbye," sets the entire tone. Despite best efforts, some relationships are just never meant to last.
Kelly Clarkson shows off her range as one of today's best pop singers here. The tone of her vocals toe the line between underlying pain and an almost cold, removed sense of resignation. The effect is an utter lack of faith and hope for the future of the relationship described. Each line trails into an unknown, undefined distance. There is always an edge in her voice feeling as if she could be moved to tears, but she never allows herself to go over that line.
The powerful irony contained in "Already Gone" is that its stately backing track and slow, but steady beat would make it perfect for a slow dance. However, the tone and sentiment of the song would make it the most heartbreaking of songs for sharing a dance with a lover. This irony alone would put "Already Gone" on the short list of great breakup songs.
When I heard this song, I was shocked it was sung by kelly... she deserves credit for this song... she delivers this song with many emotions, especailly expressed in breakups... this is her first stepin to music like this.... and believe me she has more to move on too.. hoping her with the best
Buno Mars - Just the way you are
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Singing the hook of a number one song, Nothin’ on You, is a huge accomplishment, and following it closely with another top ten smash, Billionaire, is an unprecedented success. Now the man behind those hits, Bruno Mars, is making a play for the solo spotlight, and it’s hard to think of a better way for the multi-talented artist to make his official debut than with Just the Way You Are. Although Just the Way was also crafted by Mars’ production team The Smeezingtons - you may notice the familiar keyboard sounds - don’t automatically assume it’s simply another attempt at Nothing on You. While the song, like its musical siblings, is also somewhat upbeat, Bruno balances the track nicely with smooth, ballad vocals that fall somewhere between R&B and pop while Mars lyrically lets his special girl know that she’s perfect just the way she is. With a nice joint that can play both on the radio and when you’re alone with that special friend, could this be the hit that will put Mars on the solo map? We’ll know for sure when
is released this fall.
According to the Just The Way You Are Songfacts, the song was originally written with Cee-Lo Green in mind, but the Gnarls Barkley singer didn’t feel it was right for him.
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Hailing from the north-east of England, Alistair Griffin is a singer-songwriter whose own brand of indie pop has gained him fans far and wide and attracted the attention and praise of musical legends as auspicious and diverse as BeeGee Robin Gibb and the prince of darkness himself, Ozzie Osborne. Gibb, who discovered Alistair on a BBC Television talent search, described him as “a unique talent” and proved the point by writing and dueting with Griffin, reaching No5 in the UK charts. Won over by his anarchic sense of humour, as well as his music, Ozzie said, “This guy’s the dog’s bollocks”
Griffin’s style moves from anthemic indie pop with big choruses, through to thoughtful, acoustic, folk influenced songs. It’s this diversity and depth that makes him interesting and gives him wide appeal and perhaps what prompted Simon Cowell to say, “He’s excellent, I think he's very commercial.”
High praise indeed and a long way from the guy who left his North Yorkshire village for London, with only a guitar in his hand, his Dad’s jumper on his back and his Grandma’s shoes on his feet. Griffin went out and plied his trade on the streets of Notting Hill, playing outside its many bars and cafes. It was here, while busking on Portabello Market, that Griffin was spotted by the producer Trevor Horn. Impressed by his talent, he signed Griffin to his publishing company Perfect Songs.
For the last 18 months he has been penning songs for other artists, scoring hits all over Europe including a No 1 in Holland, establishing his pedigree as a proven hit writer. Along side his song writing Alistair also writes and performs comedy and has recently been snapped up by the BBC to write and perform in a new project. Alistair now plans to re-launch his solo career with a new album, packed full of perfect pieces of indie pop.
Atomic Tom - Take me out
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I saw Atomic Tom live for the first time a little over a month ago. You can read the review here. Then, last week, they released a video of them playing their single "Take Me Out" on iPhones on the B train going over the Manhattan bridge. The video has spread like wildfire, causing Arelene's Grocery to have the best problem a venue can have - too many people want to come see your show.
Arelene's to their credit was very smart about it. Atomic Tom was playing as part of the "No Pulp" Showcase, which had been booked months before their video went viral. Arlene's cleared the room after the band before Atomic Tom (Hollis Brown, who were also excellent) and then let people re-enter in this order: wrist bands, guest list, and first 50 people with CMJ badges.
The place was packed - with old fans and new. Atomic Tom are true rock professionals - their performance is similar to veteran rockers who have been doing it for decades. It seemed like the entire crowd was singing along with every song, but of course everyone sang - in two part harmony - to the last song of the night - "Take Me Out." Never underestimate the power of a viral video. The Video, "Take Me Out, by Atomic Tom Live on the NYC Subway" currently has over 2.6 million views. It was posted last Friday.
CEE LO GREEN
“IT’S OK”
It’s kind of ridiculous to “review” videos that are little more than animated lyric sheets.
But an argument is emerging in favor of the nascent art form: just look at the viral explosion of Cee Lo Green’s instantly infectious “F—k You” from over the summer. It was a great soul tune, crude, crass, funny as hell and at times, blisteringly honest. It also had the benefit of not being saddled with visuals that would otherwise distract from the song itself.
This has been the great dichotomy of music videos for the past 30 years: How do you convey your artistic message in a way that fully supports and even enhances the tune, so that the song is the soundtrack to an awesome short movie? It’s a rare triple bullseye so often missed, which is one of the reason “F—k You” was such a breath of fresh air.
Sure, there have been other “lyric” videos - Prince’s “Sign ‘O’ The Times” and George Michael’s “Praying for Time” come to mind – but Cee Lo Green was the first artist of the rock era to embrace the format with such gusto and to such great effect.
And let’s all be honest here. Wasn’t the official video kind of a letdown once we actually saw it?
So now we have “It’s Ok,” an equally-pleasing (and much less profane) pop-soul tune that again enters the pop consciousness by way of (clever) dancing lyrics and dancing “oooos.” And you know what? Instead of feeling like Green has gone to the same well a second time, it actually feels like he’s starting a new language here, one that gets people back to the basics.
At the end of the day it’s about the song and Green knows that. It’s more important for him to know you’re getting the full impact of the material, whether the intent is to be funny, scathing or ironic. The music isn’t just the soundtrack, it’s the heartbeat of the music video. And these initial “lyric” versions celebrate that, not to mention being cheap to produce.
It makes one think of how many other great songs might have benefited from such a lyrical approach as opposed to being saddled with crappy visuals.
Dennis Willis is an award-winning producer and host of the entertainment program Soundwaves. He is also KGO Radio's film critic and the author of the Flick Nation books.
