Not About Marquis Grissom

Friday, October 05, 2012

NEW ADELE

This could be a real post...I am so in love... Adele is an angel of music - if she lost 100 lbs I would marry her Adele – Skyfall Lyrics

Wednesday, September 19, 2012

New Lupe is a FIASCO

Thursday, September 13, 2012

After taking a year and a half off to rest their road-weary bones and tend to some solo work, The Killers are back with Battle Born, the band’s fourth and most full-grown album. I hesitate to use the word “mature,” since these Vegas boys are still driven by their big, bleeding, collective teenaged heart, which still yearns to hop the first horse or hot rod out of Two Star Town and blaze the open highway to Neon City. But musically, Battle Born attains a nice balance of fire and glory and nuance that previous Killers efforts (or at least the past two) inevitably toppled over in their hell-bent quest for significance. The Details THE KILLERS Battle Born You can hear the band downshifting even during the big numbers. “Flesh and Bone,” the opener, and “Runaways,” a song title The Killers had to cop eventually, proves they can still project a thunderous, arena-ready anthem into the clouds. But unlike on 2006’s Sam’s Town, a rather exhausting listen that veered dangerously close to Meat Loaf bombast, the band isn’t constantly firing on all cylinders here, so finally there’s a real sense of space in the mix. And Brandon Flowers’ voice has never sounded better. (Has he gotten even cuter? No, that couldn’t be. Anyway …) After spending the last few years refashioning the alternative snarl that powered 2004 debut Hot Fuss into a more mainstream rock ’n’ roll croon, he no longer sounds like he’s doing a subpar Springsteen/Bono impression. On songs like “Miss Atomic Bomb,” the guy stands on his own—a rock god with a set of serious pipes. Flowers’ lyrics have gotten better, too. After giving the album several listens, I’ve yet to detect any lines that make my ears gag like the ones that seemed to drop every other minute in Sam’s Town. (I still cringe when I hear that “they say the devil’s water it ain’t so sweet” part from “When You Were Young.”) Perhaps the line about “a mystery under the neon light” qualifies, if only because you’ve heard Flowers sing something like it countless times, but he more than makes up for it with stuff like “We got engaged on a Friday night/I swore on the head of our unborn child/That I could take care of the three of us/But I have a tendency to slip when the nights get wild.” Battle Born also offers one moment of revelation in “From Here on Out,” a totally addictive country-rock number in which the band emulates The Eagles with such pinpoint accuracy it’s almost creepy. Here’s hoping Flowers keeps mining the Frey-Henley songbook for inspiration. The Killers – Battle Born Lyrics The Killers – Be Still Lyrics The Killers – Deadlines and Commitments Lyrics The Killers – Flesh And Bone Lyrics The Killers – From Here On Out Lyrics The Killers – Heart Of A Girl Lyrics The Killers – Here With Me Lyrics The Killers – A Matter of Time Lyrics The Killers – Miss Atomic Bomb Lyrics The Killers – The Rising Tide Lyrics The Killers – Runaways Lyrics The Killers – The Way It Was Lyrics

Tuesday, September 11, 2012

GOOD MUSIC SNIPPETS!!!

Could a "Cruel Summer" download leak be coming soon? The new Kanye West and G.O.O.D. Music compilation album is set for a release date of next Tuesday, but according to a recent report, some physical copies of the new album have been spotted out and about. Just yesterday, Complex.com posted a photo of a pile of copies of the new compact discs complete with price tags and parental advisory stickers on the front. The cover art is of a pure white, almost angelic female on the front holding her breasts, with what appears to be leaves around her. Apparently the image came from a Twitter and Instagram account owned by Elliot Wilson. The current release date for the album continues to be September 18th, after it was pushed back. Previously it was thought it might release in early August, then was pushed back to this month. With physical copies surfacing, it appears the album will be available next week. There's yet to be any sort of pre-order offered on iTunes as of this report, but Amazon offers a pre-order of the physical CD or vinyl copies of the new album. With that in mind, many expect that this album, "Cruel Summer," could be one of the best of the summer. It may also find itself leaked onto the internet, especially if there are physical copies of the CD floating around somewhere. This particular project is being boasted by Kanye West, but certainly doesn't have the top-notch security lockdown that his "Watch the Throne" project with Jay-Z had. Speaking of Jay-Z, he's featured on the new song "Clique," which is currently a #1 selling track on iTunes. It also features Big Sean of G.O.O.D. Music label, and Kanye West. The song will join 11 others on the new album including previous releases, "Mercy," "Cold," and "New God Flow." If the album leaks this week or weekend, expect to hear fan's hating or supporting the new music online. Will you be buying a copy of the new G.O.O.D. Music "Cruel Summer" album next week? We already explained the snippets over at Rap Genius! John Legend – Bliss Lyrics Kanye West – The One Lyrics Kanye West – Mercy Lyrics Kanye West – I Don't Like Lyrics Kanye West – Clique Lyrics Kanye West – Cold Lyrics Kanye West – New God Flow Lyrics Kanye West – To The World Lyrics Kid Cudi – Creepers Lyrics Malik Yusef – Sin City Lyrics Pusha T – The Morning Lyrics Pusha T – Higher Lyrics

Monday, September 03, 2012

NEW WEEZY!

Tuesday, August 21, 2012

Zee XX

The xx are four 20-year-olds from South London who make predominantly slow, furtive pop music, mostly about sex. They are also one of the stranger recipients of UK hype in recent memory. They have no calling-card song; members of the Pitchfork staff have ID'd no fewer than four songs ("Basic Space", "Crystalised", "Islands", "Infinity") as "the one." They are not fashion plates, nor likely to be. Their list of influences is potent but imperfect: Young Marble Giants (too shaggy and heavy-lidded); Japan (too robust and theatric); Glass Candy (too quick and glammy). Without one gimmick song they'll never be able to reproduce, without an alternate agenda, without a set-in-stone hip influence, the xx start to sound like a real actual band, even if, after dozens of listens, it's nearly incomprehensible to think that a group so fresh-faced produced xx.
Strongly influenced by modern R&B-- the group made hay with an early cover of Womack & Womack's "Teardrops", while UK copies of xx come packed with their version of Aaliyah's "Hot Like Fire"-- the xx use a drum machine to complement their copiously tidy compositions. Unlike contemporary R&B fetishists Hot Chip or Discovery, who have clearly spent long hours internalizing Timbaland, the Neptunes, and other radio cognoscenti, the xx incorporate more abstract elements of the genre: a liberal use of bass tones and an unwavering focus on sex and interpersonal relationships.
Singer-guitarist Romy Madley Croft in particular seems all but incapable of uttering a line that isn't a come-on, a post-coital musing, or a longing apology for a lack of one of the former. During "Islands" or "Basic Space", her voice takes on a pleasant soft-pop vibe, like Stevie Nicks'. When Madley Croft sings, during "Shelter", "Maybe I had said/ Something that was wrong/ Can I make it better/ With the lights turned on," it's unclear whether lights-turned-on activity is sex or... something besides sex. She's not some purring kitten, though, merely reflective about a subject we don't often associate with teenagers and self-awareness.
Croft's sparring partner, bassist Oliver Sim, usually fills in the other spaces via either his responsive vocals or ever-present bass. (His best trick: momentarily interrupting the divine verses of "Islands" with four short thumbings). Sim's voice, papery and affectless, is a sticking point for some, but pop music has plenty of room for ugly male voices, especially those with such pleasant friends. Importantly, both Croft and Sim seem like they're singing not because they have the best voices but because they have the most to say (and, purely speculatively, possibly to one another), something that would align them with an indie rock tradition as long as the genre is old, (and folk and blues long before that).
Their voices provide plenty of friction, however, in the context of the xx's slight, expert compositions. Working without a live drummer, the xx manipulate airy, lingering negative space as well as any band going. Initially hospital-tile sterile, xx rewards volume and repetition like few other albums this year. Nudge the knob clockwise to hear sparse guitars decay, bass notes wobble. Amid these delicate environs, Croft and Sim can seem like they're working on different agendas, but the cagey back-and-forth on "Basic Space" is exquisitely timed, and the lovers' mumbles of "Heart Skipped a Beat", over a clacking drum machine, acquire their own weird logic. Jamie Smith (he of the "Basic Space" remix) and Baria Qureshi are responsible for most of the drums/loops/keyboards (and some of the guitars), and they're adept at knowing when to jump in, picking up "Stars" just as Sim seems to get bored with it, spicing "VCR", the band's quaintest, simplest pop song ("You/ You just know/ You just do"), with small xylophone melodies.
That all said, the record is not a complete break with recent sounds: tune in during certain moments of "Crystalised", and you'll hear the flecked, staccato guitars of Interpol. "Infinity"'s slow-strummed electric chords feel like late-period Radiohead. But xx is nervy and self-contained, the product of a new band thinking a lot harder about topics-- sex, composition, volume-- than we are accustomed to new bands thinking. It is so fully formed and thoughtful that it feels like three or four lesser, noisier records should have preceded it. The xx didn't need a gestation period, though xx is nuanced, quiet, and surprising enough that you might.

Slaughterhouse – Where Sinners Dwell Lyrics
Slaughterhouse – Coming Home Lyrics
Ryan Leslie – Riviera Flow (feat. Raekwon) Lyrics
Lil Wayne – No Lie Remix Lyrics
Slaughterhouse – Truth Or Truth, Pt. 1 Lyrics
Schoolboy Q – Party Lyrics
Kendrick Lamar – Westside, Right on Time Lyrics
Ellie Goulding – Anything Could Happen Lyrics

STEREO IQ PREVIEW: we explain the sexual lyrics of The XX

The xx – Angels Lyrics
The xx – Chained Lyrics
The xx – Fiction Lyrics
The xx – Missing Lyrics
The xx – Our Song Lyrics
The xx – Reunion Lyrics
The xx – Sunset Lyrics
The xx – Swept Away Lyrics
The xx – Tides Lyrics
The xx – Try Lyrics
The xx – Unfold Lyrics

Wednesday, July 25, 2012

NEW RICK ROSS!!!

This is the first movie with the duo Hill & Spencer, who would give the Italian western a new breath (and a new face) in the years to come. But this is not a comedy: it’s dark, sinister and violent. The film opens with a magnificent scene: a welcome party is waiting for the train to arrive, but when it does, it rolls on, and on, into the barricade at the end of the line. The train seems empty, but in reality it was robbed and all the passengers were massacred, except for one, a wounded man who was left for dead and apparently has lost his senses. It’s a discomforting scene, setting the tone for the film’s sinister atmosphere. Shortly after, we learn the only survivor lived long enough to tell the name of the bandit who robbed the train to a man called Hutch, who works as an investigator for an insurance company. The name, Bill San Antonio, belongs to a man who is believed to be shot in a duel by a gunman called Cat Stevens. Hutch reckons Cat also wants to find out what is going on, and proposes to join forces, but Cat prefers to work alone. He shakes off Hutch and sets out to find Bill San Antonio, with Hutch on his trail. When Cat is captured by the bandits, Hutch saves his life. Now the two men team up "to steal the stolen money" from the sadistic bandit and annihilate his gang in a final showdown.