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domingo, 31 de marzo de 2013

Tyler, The Creator - Wolf (Album) [iTunes Plus AAC M4A]


Genres: Hip-Hop/Rap, Music, Rap, Underground Rap, Alternative Rap, Hardcore Rap
Released: 01 April 2013


Chris Brown - Fortune (Deluxe Version) (Album + LP) [iTunes Plus AAC M4A]


Genres: R&B/Soul, Music
Released: Jun 29, 2012


This album is Mastered for iTunes. Vocalist and celebrity Chris Brown follows 2011's F.A.M.E. with Fortune. He brings a refocused dance-floor finesse to this album, adding techno-inspired intensity to songs like "Turn Up the Music" and "Don't Wake Me Up," as well as a serious dubstep heaviness to tracks like "Bassline." This direction works well for Brown, as he's got the right melismatic tone to float above these DJ-friendly cuts. The R&B swagger of his earlier records comes through on the hip-hop–inflected "Till I Die" and the slinky "2012."


Chris Brown - F.A.M.E. (Deluxe Version) (Album) [iTunes Plus AAC M4A]


Genres: R&B/Soul, Music, Dance, Contemporary R&B
Released: Apr 04, 2011


Chris Brown's career was trending sharply downward. The singer’s self-titled debut went double platinum. Exclusive went single platinum. 2009’s Graffiti fell well short of gold-sales status, though it was nominated for a Grammy in the category of Best Contemporary R&B Album: far and away the worst disc to receive the honor. Rather than vanish and position himself for a spectacle-like comeback, Brown wisely continued to release new music through 2010. The offhandedly belligerent “Deuces” hit that summer and topped the R&B/Hip-Hop chart, while Brown also appeared on numerous singles headlined by others, including Twista’s Top Ten “Make a Movie.” By the time F.A.M.E. was released in March 2011, the album’s variety of styles was already known. A total of five songs, including the slinking pop-R&B of “Deuces,” had hit various singles charts. The bleepy rap track “Look at Me Now,” where Brown displays some competence as an MC but is devoured by Lil Wayne and Busta Rhymes' rapid-fire verses, was one of them. The celebratory “Yeah 3x” and the anthemic “Beautiful People,” a pair of club singles, nodded to Eurodance. And then there was the smoothly percussive “No BS,” a slow jam with chivalrous sweet nothings like “I’m-a leave it in when we do it” and “Don’t you be on that b******t.” Despite the success of some of these pre-album singles, they don’t represent the best of F.A.M.E. On the earnest ballad “Up to You,” the Michael Jackson/SWV-sampling “She Ain’t You,” and the remorseful “All Back” (written and produced by Timothy Bloom, one to watch), Brown plays to his strength as a boyish, romantic pop-R&B singer, while “Say It with Me” shows that he can handle harder grooves that are more R&B than pop. This all makes F.A.M.E. the equal of Forever, if not slightly better, and it hints that Brown’s best is yet to come.


Chris Brown - Graffiti (Expanded Version) (Album) [iTunes Plus AAC M4A]


Genres: R&B/Soul, Music, Contemporary R&B
Released: Dec 08, 2009


Chris Brown started work on Graffiti in 2008, but the album’s course changed — along with everything else in his life — in February 2009, when Brown’s physical attack on Rihanna ignited a media firestorm that threatened to derail his career. The excellent “I Can Transform Ya,” “What I Do” and “Wait” exemplify Brown’s talent for futuristic, club-oriented R&B, and show what the album would have looked like had the Rihanna incident never happened. Regardless, the most crucial songs on Graffiti are those that address the assault. In “Crawl,” “So Cold,” “Famous Girl” and “Fallin’ Down” Brown speaks directly to Rihanna, and to his credit, he manages to express anguish, regret, and affection in a way that he hadn’t been able to in interviews. The closing song, “Gotta Be Ur Man,” is overbearing and desperate, and Graffiti is better ended with “I’ll Go,” which strikes the proper tone of acceptance and love: “If I don't come back, girl your love was worth it, that's the one thing I know / And if I don't make it back, girl remember that I said I'd go.”


Chris Brown - Exclusive (The Forever Edition) (Album) [iTunes Plus AAC M4A]


Genres: R&B/Soul, Music, Hip-Hop/Rap, Contemporary R&B
Released: Nov 01, 2007


The instant number one hit "Run It!" proved to be no fluke. Two other songs from Chris Brown's debut album were moderate to major hits, enabling the entertainer to become a popular music star with platinum sales, not just a brief crush for thousands upon thousands of tween-aged females. Brown's second act, released almost exactly two years after his first, takes a "don't fix it if it ain't broke" approach, offsetting the innocent and age-appropriate material with a handful of songs that are squarely placed within lil' Lothario territory. When he works with Johnta Austin and Stargate, out comes young courtship fodder that is boyish enough to be reinterpreted by squeaky clean American Idol contestant David Archuleta ("You're my sweetheart and I'm so glad that you're mine"); switch the collaborators to Jazze Pha and Lil Wayne, and you get come-ons like "You like 28s on a Hummer/'Cause you the number one stunner" and "That's it, babygirl/Put it on my zipper." The two modes have had a popularity-maximizing effect, to say the very least. Falling into the relatively edgy category, the T-Pain collaboration and lead single "Kiss Kiss" duplicated the chart success of "Run It!," and perhaps only someone as likable and harmless as Brown could get away with "And I get a little mannish, and you see the bandanna hangin'/That means I'm like a bandit." You've got to credit Brown and his songwriters and producers for cranking out another handful of easy to remember hits that cover the bases, from upbeat and carefree numbers to go-to mixtape ballads that push all the right target-demographic buttons.


Chris Brown - Chris Brown (Album) [iTunes Plus AAC M4A]


Genres: R&B/Soul, Music, Pop, Contemporary R&B
Released: 08 May 2006


The week "Run It!" was released, it went straight to the top of the Billboard Hot 100 and became the first single from a male artist to debut at that spot. That's no slight feat, especially for a reheated version of Usher's "Yeah!" made by a fresh-faced teenager who reps a little town in Virginia that rhymes with "grab a hammock." On "Run It!," Chris Brown is boosted by production from Scott Storch and an appearance by Juelz Santana. The song's way of tempering Brown's small-town innocence with hard-edged backing and a guest spot from an MC of ill repute is clearly a strategy to make the singer appeal to more than tween girls. (Had Brown been coming up in the early '90s, Quincy Jones — not Dr. Dre — might've produced him and Prince — not Luther Campbell — might've assisted, which just goes to show how much R&B has changed in 15 years.) Chris Brown, a durable debut album, almost always involves an even push-and-pull between what appeals to kids who don't consider street credibility and those who do, all the way down to the visuals: check the album cover, featuring the singer's strained "Don't mess with me!" face, and compare it to the photo spread inside, featuring Brown's natural "Pinch my cheeks!" face. He doesn't often try to sound harder or more demonstrative than necessary, unlike a lot of singers his age who have sprouted during the late '90s and early 2000s, and he rarely oversteps the kind of romantic territory that most teens find relatable. Toughness comes instead from the beats, whether they're provided by the Underdogs, Dre & Vidal, Cool & Dre, or the overworked Storch. While Brown's audience will be almost exclusively 18 and under, few of his fans will feel sheepish in owning this album. He's a refreshing presence, a high-schooler who's neither as family friendly as Will Smith nor as comically vulgar as Pretty Ricky.


Robin Thicke - Love After War (Deluxe Version) (Album) [iTunes Plus AAC M4A]


Genres: R&B/Soul, Music, Neo-Soul, Soul, Contemporary R&B, Rock
Released: Dec 06, 2011


One of the more compelling and original-sounding singers of modern-day R&B, Robin Thicke has transitioned into a highly respected soul superstar. He's also an in-demand songwriter and producer, working with artists as diverse as Jennifer Hudson and 50 Cent. Love After War is his fifth studio album, and it finds the Canadian crooner doing what he does best: serving up slick and seductive jams primarily about ladies, love, loss, and lust. The first half is more upbeat, with big horn arrangements, faster BPMs, and high-octane vocals, especially on the synth-laced "I'm an Animal" and the instantly likable, righteously optimistic anthem "The New Generation." The title track is a subtle nod to Marvin Gaye's classic "After the Dance." The album's second half is generally mellower, slower, and more sensitive, with smooth guitar-laced joints like "Cloud 9" and "Full Time Believer." Where his last LP (Sex Therapy) was loaded with features, this has only one: longtime homie Lil Wayne shines on the single "Pretty Lil' Heart."


Robin Thicke - Sex Therapy - The Experience (Deluxe Version) (Album) [iTunes Plus AAC M4A]


Genres: R&B/Soul, Music, Contemporary R&B, Rock, Soul, Neo-Soul
Released: Dec 15, 2009


A GRAMMY-winning singer, songwriter, and producer, Robin Thicke has long since escaped the shadow of his famous father, becoming a reliable go-to guy for quality modern R&B, collaborating with a wide variety of artists, including Usher, Lil Wayne, and Michael Jackson. Known for his falsetto vocal tone, lush arrangements, and bedroom-obsessed lyricism, he's kind of like a white R. Kelly, with a slightly more subtle approach and far less courtroom drama. Sex Therapy is his fourth full-length, and runs the gamut from gentle ballads ("2 Luv Birds") to more aggressive club jams ("Shakin' It 4 Daddy") and breezy party starters such as "Meiplé" with Jay-Z. The jazzy vamp of "Million Dolla Baby" and vaguely tropical "Jus Right" are also impressive; for extra bonus tracks, check out the enhanced version The Experience.


Robin Thicke - Something Else (Deluxe Edition) (Album) [iTunes Plus AAC M4A]


Genres: R&B/Soul, Music, Soul, Contemporary R&B, Neo-Soul, Pop, Adult Contemporary
Released: Sep 30, 2008


Looking like a Europop album from 1997 or 1998, Something Else's sleeve design would be much more indicative if it grafted a bunch of little Robin Thicke heads onto each dancing and playing body in Ernie Barnes' Back to Sugar Shack, the painting used for Marvin Gaye's I Want You. Not only would it be apt, it would play to Thicke's predilection for populating his covers with several images of himself. But it would obviously cause some problems. While a few songs do modernize the sound and feel of Gaye's steamy 1976 classic — filled as they are with serene sexual energy and lush, impeccably layered arrangements built on rolling bongos, liquid basslines, and Thicke's acutely Gaye-indebted upper register — there are several inspirations floating throughout, including indications that Thicke has a deeper understanding of Brazilian music, correctly believes that Philadelphia International did not flame out in the mid-'70s, and has transitioned into doing rocking R&B à la Van Hunt (cool, relaxed, natural) rather than pre-New Radicals Gregg Alexander (forced, awkward, unintentionally seriocomic). Following The Evolution of Robin Thicke, which went to the top of the R&B/Hip-Hop Albums chart and reached number five on the Billboard 200 (there was an Oprah appearance), Something Else features improvements in every aspect. From the tropical serenade opener to the album's quietly dazzling true close (the somber Lil Wayne collaboration "Tie My Hands" is really a bonus cut, having already appeared on Tha Carter III), Thicke has shed his affectations to the point where it's much easier to detect the sincerity he once obscured with hubristic tendencies. No longer a show-off, he sounds much more sure of himself; he would not have been able to pull off a socially conscious Southern-styled ballad like "Dreamworld," whether from a writing or singing standpoint, in 2003. Though his sources remain numerous, this is his most focused, least scattered, and least dilettantish set, and it benefits greatly from its brevity relative to The Evolution. That means everything has a deeper resonance — especially the ballads, of which there are several. The man does know his audience. [The Circuit City exclusive edition offers free downloads.]


Thicke - A Beautiful World (Album) [iTunes Plus AAC M4A]


Genres: R&B/Soul, Music, Soul, Contemporary R&B, Rock, Singer/Songwriter, Adult Alternative, Neo-Soul
Released: Dec 13, 2002


Beautiful World marks the debut from one of Alan Thicke's sons, Robin. Like Morrissey, Thicke rides his last name, but musically he's on track with Jamiroquai and Justin Timberlake. He comes up with a delectable pop mix that's part Motown and part funk, giving Beautiful World a wide musical palette of sensuality and color. Thicke sets things up to be an emotional roller coaster that is self-searching and hungry for love, and such a move is impressive, but from the album opener, "Oh Shooter," one can sense the album struggling to develop into a full, solid set. Lyrically, Thicke is a little green, and as a singer his angel-like falsetto doesn't stretch far enough. He's riding the neo-soul/blue-eyed soul wave of the new millennium, which is definitely a welcomed effort inside the world of radio-tailored pop music. Unfortunately, that poses Beautiful World to get lost in the shuffle. Those who will take the time to really listen to Thicke's sweet stories will find Beautiful World to be enjoyable. "Brand New Jones" is a sunshiny groove layered in golden, synth hooks. "Flowers in Bloom" and the title track swoon with a springlike appeal; quick electronic beats soar throughout the latter, making for a feel-good moment. "When I Get You Alone" samples Beethoven's Symphony No. 5 for a funky R&B cut, and Thicke is stylishly slick throughout this sexy romp until the words, "Baby girl, you the sh*t/That makes you my equivalent" cheese things out. "I'm 'a Be Alright" doesn't do much better, for Thicke's vocals are hushed for some added sexual appeal, Lenny Kravitz-style, but it's already been done before. "Cherry Blue Skies" allows the album to bounce back just a bit before coming to a close. It's too bad Thicke didn't make Beautiful World as strict and raw as this perfect smooth soul standout, but it's safe to say that it's a sign of good things to come. Thicke has potential and Beautiful World is real, but much too focused on being a hardcore soul thing. Remy Shand pulled it off, but Thicke tried too hard.


sábado, 30 de marzo de 2013

Nicki Minaj - Pink Friday (Deluxe Version) (Album) [iTunes Plus AAC M4A]


Genres: Hip-Hop/Rap, Music, R&B/Soul, Contemporary R&B, Rock, Rap
Released: Nov 22, 2010


verything Nicki Minaj touches turns if not into gold then at least into something much more interesting. After making her name as a dynamite special ingredient to everyone else’s records, she finally lands her own debut album, 2010’s Pink Friday. Her guests, from Rihanna to will.i.am, may be there to bump up her profile, but they are no match for Minaj’s rapid-fire attack. Only Eminem on the truly nasty “Roman’s Revenge” can keep pace with her, as she tries out new personas — Roman Zolanski and his mom, Martha — with gleeful ease. Minaj tackles hip-hop and princess pop à la Gwen Stefani (“Right Thru Me”). She lets Rihanna deliver the radio-friendly sweet hook of “Fly” while she talks herself in blazing circles. “Moment 4 Life” is Minaj and Drake mixing it with newfound intensity. Kanye performs up to her level on the manic panic of “Blazin’.” “Check It Out” with will.i.am rides the sample of the Buggles’ “Video Killed the Radio Star.” The Deluxe Version of the album includes five bonus tracks, including the ‘80s dance groove “Girls Fall Like Dominoes.” If anyone represents 2010, it is Darling Nicki.


viernes, 29 de marzo de 2013

Kanye West - 808s & Heartbreak (Bonus Video Version) (Album) [iTunes Plus AAC M4A/M4V]


Genres: Hip-Hop/Rap, Music, R&B/Soul
Released: Nov 24, 2008


808s & Heartbreak is an anomaly in the pop landscape: a nearly extemporaneous work that hews to its author’s emotional and creative needs rather than audience expectations. Precipitated by the death of West’s mother and his subsequent split with his fiancé, 808s & Heartbreak is a radical departure from Kanye’s career trajectory. Where Late Registration and Graduation presented a parade of colors delivered with a self-deprecating sense of humor, 808s is cold and mechanical. Despite its icy sheen though, the undercurrent of loss and despair comes through the strange grooves of “Love Lockdown,” “Coldest Winter,” and “Welcome To Heartbreak.” At times the album seems one-dimensional, but its significance comes as much from its concept and its audacity as it does from the music itself. For Kanye to take his art in a drastically different direction just as his superstardom is at its zenith shows an uncommon amount of courage. Though 808s & Heartbreak will not go down as the fullest realization of West’s musical talent, it may go down as the most important statement in the man’s career.


Kanye West - Graduation (Album) [iTunes Plus AAC M4A]


Genres: Hip-Hop/Rap, Music, Alternative Rap, East Coast Rap
Released: Sep 11, 2007


If College Dropoutwas our introduction to an underdog and Late Registration a victory lap for a newly anointed champion, then Graduation crystallizes Kanye West's stratospheric success in 24-carat surround sound. Like the teddy bear mascot being hurtled into outer space on the album's cover, Kanye's third album pushes his reflexive rhymes and musical imagination to places only hinted at on his previous two albums.Anyone can rap about cash, but Graduation sounds likes a million bucks: "Good Life" is a layer cake of silver-gilded synths that lets the listener bask in Kanye's luxurious dream life for three vivid minutes, while the Daft Punk-sampling "Stronger" beams us into a futuristic dance party, awash in neon color and surround sound audio. Though Kanye's increasing wealth hasn't helped to curb his obsession with fashion brands and jewelry, he never stops investigating himself and his motives. "To what much is given, much is tested," he raps on the hit "Can't TellMe Nothing," which resembles nothing else on contemporary radio. "I feel the pressure, under more scrutiny / And what I do? Act more stupidly." Kanye's egomania will always be a fully-fledged part of his persona, but even as the superstar in him looms large, the self-critical upstart of College Dropout is there checking his every move.


Kanye West - Late Registration (Album) [iTunes Plus AAC M4A]


Genres: Hip-Hop/Rap, Music, Alternative Rap, East Coast Rap, Hip-Hop
Released: Aug 12, 2005


Kanye West could easily coast after the near-universal acclaim he received for 2004’s The College Dropout. Instead, he challenges himself and raises his game by arguing with himself and hiring soundtrack maestro and one-time Fiona Apple producer Jon Brion as a co-producer for Late Registration, an album good enough to trash any talk of a “sophomore slump.” More engaged with music and the world than ever, West here makes the kind of multilayered sound that few hip-hoppers – or pop musicians, period – have achieved in a while. It’s a set undeniable enough that even his detractors will have a hard time poking many holes in it.


Kanye West - The College Dropout (Album) [iTunes Plus AAC M4A]


Genres: Hip-Hop/Rap, Music, East Coast Rap, Alternative Rap, Hip-Hop
Released: Feb 10, 2004


College Dropout poses ethical questions about living poor and wanting (and achieving) more. ("I'll Fly Away," "Spaceship," and "All Falls Down" are prime examples.) There are moments of fierce determination on "Through the Wire" and "Never Let Me Down" that give the record additional lift. The Chicago producer aimed the magnifying glass inward to reveal a bifurcation of expectations as "the first nigga with a Benz and a backpack." On "Graduation Day," a voice chastises him for not making songs for the kids. "Jesus Walks" asks pointed questions about the role of religion in music. And West does this with a magician's sleight-of-hand, a generous amount of sweetener, and a cheetah's ear for hooks. Overhyped? Nah, College Dropout deserved every Grammy award it won and more.


*NSYNC - *NSYNC: Greatest Hits [iTunes Plus AAC M4A]


Genres: Pop, Music, Electronic, R&B/Soul, Dance, Adult Contemporary, Teen Pop
Released: Oct 25, 2005


Hard to believe that *NSYNC released a mere three proper albums over the course of a mere three years in their reign as one of the two most-popular boy bands in the great teen pop boom at the turn of the millennium. Given their constant presence on the charts, on MTV, on the airwaves and on magazine covers, it seems like their time in the spotlight lasted much, much longer, but such mass multimedia saturation only gives the illusion of longevity and it doesn't give much of an indication of the durability of the group's music, either. Of course, pop music isn't necessarily meant to be durable — it's meant to exist in the moment, and once that moment passes, the hit singles of a given day either wind up as classics that retain some of their initial power, or they become an aural snapshot of a given moment, a way to revisit a particular place in time. And nowhere is that better illustrated than on *NSYNC's first compilation, 2005's lean 12-song Greatest Hits. Appearing four years after their final album, 2001's Celebrity, Greatest Hits contains every one of their 11 non-holiday-themed Billboard Hot 100 singles, adding "I'll Never Stop" — previously featured as a bonus track on certain foreign-market pressings of No Strings Attached — to round things out. Since this has all the hits, along with surprisingly detailed liner notes from Chuck Taylor, this not only is a good overview and introduction to *NSYNC, but it's also their most consistent and enjoyable album since their proper records, like most teen pop records, were cluttered with filler. But that doesn't necessarily mean that their hits have stood the test of time. This collection proves that *NSYNC's music evokes a time and place — the heady days of the Y2K roll-over, just before the stock market crashed, just before George W. Bush took office — but it doesn't transcend their era. This is because the group not only doesn't have much on-record charisma, but their singles are constructed as records, existing entirely on the surface, lacking the backbone of a strong song. There are hooks scattered throughout here — almost all arriving on the chorus, whether on propulsive dance numbers like "Bye Bye Bye" or on ballads like "Tearin' Up My Heart" — but the tracks rarely, if ever, have the narrative momentum of a good song. This is not as great a trouble as it may seem — after all, these singles were hits because of their sound, which is gleaming, attractive and proudly, even defiantly, lightweight. It may not be lasting, but it's a real pleasure for many listeners and anyone that wants to relive *NSYNC's glory years will find this satisfies their needs.


Foo Fighters - Foo Fighters: Greatest Hits [iTunes Plus AAC M4A]


Genres: Rock, Music, Adult Alternative, Alternative, Grunge
Released: Oct 30, 2009


Kurt Cobain’s death signaled the end for Nirvana. No one expected its drummer, Dave Grohl, to leave his kit behind and front one of the most successful hard rock groups of the next decade. Yet that’s exactly what happened. Grohl’s pop sense has proven strong, drawing from the heavy but hummable roots of the Descendents and Hüsker Dü and taking them to modern rock heights. His strong sense of humor, evident in the band’s videos, pushes aside the dark, mournful tones of grunge for the evergreen pop hooks of “Everlong,” “My Hero,” “Learn to Fly” and “The Pretender.” Foo Fighters began as a solo project (“This Is a Call,” “Big Me”) with a self-titled debut album recorded at home with Grohl as its only member. Other members were signed up in order to pull off live shows and Grohl has never looked back. This retrospective includes two new cuts, the Tom Petty Americana of “Wheels” (Grohl played drums for Petty’s Heartbreakers) and the acoustic-to-electric anthem power of “Word Forward,” plus an acoustic version of “Everlong.”


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