• An idea

    5 Feb 2010, 17:27 by vedekdrew

    I think I am going to go through the libraries of you my fellow music search of hidden goodies.

    BeBopDeLula WOWZERS!!!!!! BoYaKItTy!

  • My Best and Worst of 2009!!!

    31 Dec 2009, 20:53 by jlegend369

    This took me forever to compile. It took lots of searching through my library, catching up on some late-in-the-year releases, and going back and reminding myself of some of my faves from early in the year…The only rules were that the ALBUM (the Drake mixtape would have charted on my top, but it topped the mixtapes instead) had to be released in 2009 (thus, why an album like Beyonce’s “I Am… Sasha Fierce”, which had tons of hot singles this year, is not included on this list).

    Check out my picks below and PLEASE leave comments, questions, praise, hate, or suggestions for my lists…Thanks in advance!

    My Top 20 Albums of the Year
    20) Rihanna - Rated R
    Never would have thought she would be on my list over Chris Breezy, but once I finally gave in and listened to it, she edged him out...
    19) Melanie Fiona - The Bridge
    Soulful melodies and great production make this the female throwback album of the year...
    18) R. Kelly - Untitled
    Still one of the reigning king of modern R&B
    17) Kelly Clarkson - All I Ever Wanted
    Glad she went back to more of a pop sound on this one
    16) Robin Thicke - Sex Therapy: The Experience
    Most improved artist of 2009..."Something Else" sucked...this album is hot!
    15) Norah Jones - The Fall
    Love every album she makes...
    14) Mariah Carey - Memoirs of an Imperfect Angel
    Back on track with this album after the mediocre "E=MC²"
    13) Toddla T - Skanky Skanky
    Like drinking an energy drink
    12) Mary J. Blige - Stronger withEach Tear
    Surprisingly Mary album of the decade
    11) Mayer Hawthorne - A Strange Arrangement
    Male throwback album of the year
    10) Laura Izibor - Let the Truth Be Told
    VH1 constantly playing an introduction to her this summer is the reason for me checking out this album...I'm glad I did
    9) Tonéx - Unspoken
    The most underrated artist of the decade…immensely talented and his albums consistently expand boundaries
    8) Adam Lambert - For Your Entertainment
    I had very high expectations for this album as a fan of his from when he was on American Idol and he matched them with this great debut
    7) Kid Cudi - Man on the Moon: The End of Day
    Easily the hip-hop album of the year.
    6) Major Lazer - Guns Don't Kill People...Lazers Do
    This ridiculously catchy album is bursting with energy and will have you on your feet dancing in no time!
    5) Alicia Keys - The Element of Freedom
    Every track is beautiful...Alicia is 4 for 4 in terms of her albums in my book!
    4) Ryan Leslie - Ryan Leslie
    The production on this album is brilliant…just like R-Les himself
    3) The-Dream - Love vs. Money
    Another masterpiece from The-Dream. He definitely took a few risks on this one - and they wound up paying off
    2) Dirty Projectors - Bitte Orca
    It's hard to peg this album as any one style, but it works! From beginning to end rhythms and chords change, guitar licks come out of the blue, and background voices sing weird harmonies, but it is so amazing the way all of it comes together in this epic album!
    1) Maxwell - BLACKsummers'night
    This album was well worth the eight-year wait. One of the best albums of not only the past year, but also...the whole decade. A MUST-LISTEN for everyone. An INSTANT CLASSIC!

    5 Honorable Mentions (no particular order)
    Chris Brown - Graffiti
    k-os - Yes!
    LMFAO - Party Rock
    Chrisette Michele - Epiphany
    Black Eyed Peas - The E.N.D. (The Energy Never Dies)

    3 Albums I Discovered Through Best of Lists
    (still trying to figure out if/where they would place on my list...I might edit my list later Rihanna and Melanie beware!)
    Passion Pit - Manners
    Florence + the Machine - Lungs
    Fever Ray - Fever Ray

    Songs of the Year
    5) Laura Izibor - Shine
    4) Alicia Keys - Try Sleeping with a Broken Heart
    3) Laura Izibor - From My Heart To Yours
    2) Dirty Projectors - Stillness Is the Move
    1) Maxwell - Pretty Wings

    Mixtapes of the Year
    5) Novel - Suspended Animation
    4) Ne-Yo - Common Sense 101
    3) Mick Boogie & Terry Urban - 2009: The Grammy Remix Tribute
    2) Usher - The King Is Back
    1) Drake - So Far Gone

    Best Live Album of the Year
    Adele - iTunes Live from SoHo

    Top 5 Most Disappointing Albums
    5) 50 Cent - Before I Self Destruct
    4) Ciara - Fantasy Ride
    3) Joss Stone - Colour Me Free!
    2) Queen Latifah - Persona
    1) Kris Allen - Kris Allen

    Top 5 New Artists
    5) Mayer Hawthorne
    4) Laura Izibor
    3) Adam Lambert
    2) Kid Cudi
    1) Major Lazer

    My Most Anticipated Albums of 2010 (no particular order)
    Maxwell - blackSUMMERS'night
    Usher - Raymond vs. Raymond
    Missy Elliot - Block Party
    Erykah Badu - New Amerykah Part Two (Return of the Ankh)
    The-Dream - Love King

    Lauryn Hill
    Amy Winehouse
    Justin Timberlake
  • Hell, Yeah! Christina Aguilera got SOUL!

    2 Aug 2009, 01:41 by Alex_Stone91

    I think Christina Aguilera is the best popstar of her generation. She got SOUL. Definitely.
    This girl can really sing! Check out these amazing live performances by this beautiful blond hair blue-eyed chick:

    I Loves You Porgy <3:

    Homage to James Brown, just SPEECHLESS!

    A Song For You (featuring Herbie Hancock)

    Ain't No Other Man

    Walk Away
  • Artists I've Seen Live!!!

    23 Apr 2009, 02:09 by jlegend369

  • Best songs of 2008

    28 Dec 2008, 20:36 by mack2

    This is the best songs of 2008 according to me. I usually just pick one song per artist but this year it is unlimited songs per artist.

    Here's the list:

    1. Frida Hyvönen - Dirty Dancing
    2. Gnarls Barkley - Who's Gonna Save My Soul
    3. Frida Hyvönen - Enemy Within
    4. Hello Saferide - X Telling Me About The Loss Of Something Dear, At Age 16
    5. The Roots - Get Busy
    6. Håkan Hellström - För En Lång Lång Tid
    7. Scarlett Johansson - Falling Down
    8. Erykah Badu - That Hump
    9. Parken - Jag Har Varit Vilsen, Lisa
    10. Håkan Hellström - Kär I En Ängel
    11. Nick Cave & The Bad Seeds - Jesus of the Moon
    12. Hello Saferide - Middleclass
    13. Kleerup - 3am (feat. Marit Bergman)
    14. Lykke Li - Little Bit
    15. Raphael Saadiq - Let's Take A Walk
    16. Jazmine Sullivan - Bust Your Windows
    17. Ane Brun - Big in Japan
    18. The Roots - Rising Up (feat. Chrisett Michelle & Wale)
    19. Erykah Badu - Twinkle
    20. Veronica Maggio - Måndagsbarn
  • Best albums of 2008

    18 Dec 2008, 23:14 by mack2

    It was hard this year. The three albums on top have I listen to the most, but it was hard to decide the places between them. When I was thinking about the year I thought it was a good year, but I guess I have listen to a lots of older music (as usual) coz when I was about to list this years albums it was really hard to come up with really good albums.

    But here it is:

    1Hello Saferide - More Modern Short Stories From Hello Saferide
    2Frida Hyvönen - Silence Is Wild
    3Erykah Badu - New Amerykah Part One (4th World War)
    4Håkan Hellström - För Sent För Edelweiss
    5The Roots - Rising Down
  • Amy Winehouse: The Dangerous New Queen of Soul

    12 Apr 2008, 10:05 by Alex_Stone91

    Amy Winehouse is at the top of her game. In the past several months, the gritty and outspoken young woman from north London with a voice somewhere between Sarah Vaughan and Billie Holiday has become the musical success story of 2007. Her second album Back to Black has sold more than five million copies worldwide, soared up the charts on both sides of the pond, and produced three hit singles (with a fourth on the way). And just this past summer, she has graced the cover of the two biggest music magazines in the US; Rolling Stone, and Spin, which had the guts to call her “The Dangerous New Queen of Soul.”

    Mere hype? Absolutely not. Because plainly stated, Amy Winehouse is one of the best thing to happen to women in soul music in a decade.

    This itself could be a bold statement. And normally there is something about the hyping of a white woman as the queen of a black music-genre that puts this writer’s quills on end. But there is no denying that Ms. Winehouse stands out from the typical female pop singer, white or black. For those of us frustrated with the reign of the pre-packaged plastic doll in music, it’s a relief to see a female artist who allows herself that most verboten of indulgences: being human.

    Part of it is her choice in sound. Jazz, soul, Motown, a bit of reggae and ska, all find their way into her songs. This isn’t the music of the sterile studio that crawls underneath stale lyrics like a plastic ivy plant. These are the songs of the sweaty dance halls and gin soaked R&B joints that should have never been pushed to the margins the way they have.

    Her image and voice might be part of it too. Ms. Winehouse is hardly the vapid sex object with the frail nightingale-ish voice we’ve become used to. She’s tattooed. She wears whatever she feels like (including the bee-hive). And she is a powerhouse! Her voice has an unusual depth and an undeniable strength. She sings from her gut, from her heart, and from someplace very,
    very real.

    But these are only part of a bigger picture. Ms. Winehouse’s voice, her image, her catalog and performances, are all part of the most genuine, heart-on-the-sleeve material to come from any woman in the pop-music mainstream in a long time. Perhaps that’s because Ms. Winehouse (gasp!) writes her own songs.

    Not only that, but she’s amazingly skilled at it, especially for someone of only 23 years. Heartbreak, lust, and even addiction are all things that she can sing about with a rare believability. “Tears Dry on Their Own,” set to be released on August 13th, is a perfect showcase. Its sound pulls heavily from “Ain’t No Mountain High Enough,” and Ms. Winehouse not only recaptures that song’s classic strut-and-sway, she makes it her own with a cocky swagger that has become trademark. Her lyrics, however, seem to pull a reversal on the song, as she speaks of being trapped in an endless cycle of bad lovers. That she can juxtapose one’s own destructive cycle with such defiantly strong music conjures up images of suviving despite all odds, a feeling that seems to be forgotten in most “neo-soul.”

    Her prior single, “Back to Black” features a piano and string backing reminiscent of Solid Gold at its best. Ms. Winehouse’s smoky voice is just enough to hold the listener’s heart in painful limbo as her lover returns to his old flame. The poetically blunt lyrics hit the listener in the gut: “He
    left no time to regret / kept his dick wet with his same old safe bet.” But if this almost vulgar honesty shocks then the chorus — which soldiers through the pain of heartbreak with noble grace — gives you no choice but to be drawn into her world of simultaneous anger and sadness:

    “We only said good-bye with words
    I’ve died a hundred times
    You go back to her
    And I go back to black.”

    If you’re not moved by this beautiful song, check your damn pulse.

    There is a dark side to all this. It seems impossible that anyone could write such nuanced and vivid songs without demons, and Ms. Winehouse has her
    fair share. Thanks to the spinelessness of the British tabloids, we know
    that her struggle with the drink has been more than just a minor nuisance.
    After her first record, even her label tried to intervene. But rather than
    hide that from the world, she turned it into her biggest hit yet; the Motown
    infused, attitude filled “Rehab. The message was clear, to the execs, the
    agents, and the tabloids: “screw you, and by the way, screw you again.”

    It’s impressive that Ms. Winehouse has no problem speaking her mind in both her music and otherwise. While she may share the petite, skinny build of the pop-istas, she knows that it comes at a heavy price. She has admitted that she used to suffer from eating disorders, the big taboo that most divas dare not speak of. After describing her past disorder as “a little bit of
    anorexia, a little bit of bulimia,” she elaborated “I’m not totally OK now, but I don’t think ANY woman is.” And in a society where we are expected to deal with the shit of life with a grin on our face, she has also admitted to a history of bipolar disorder.

    Mark Ronson, legendary DJ and producer of half of Back to Black said that “Amy is bringing a rebellious rock n’ roll spirit back to popular music… Those groups from the Sixties like the Shangri-Las had that kind of attitude: young girls from Queens in motorcycle jackets. Amy looks fucking cool, and she’s brutally honest in her songs. It’s been so long since anybody in the pop world has come out and admitted their flaws, because everyone’s trying so hard to project perfection. But Amy will say, like, ‘Yeah, I got drunk and fell down. So what?’”

    What her recent success tells us is that most people are sick of “perfection.” They want artists they can identify with. Ms. Winehouse is a deep, complex, often flawed person. As we all are. Not only does she admit it, she puts every inch of it in her songs. How brave, how personal, and how rare that is. Perhaps the reason she’s being called the new queen of soul is because she actually HAS soul.

    Here’s to you Ms. Winehouse. May your reign be long and prosperous.

    by Alexander Billet / August 9th, 2007
  • The History and Evolution of Rhythm and Blues

    3 Mar 2008, 23:31 by Alex_Stone91

    The History and Evolution of Rhythm and Blues

    Rhythm and blues (also known as R&B or RnB) is a popular music genre combining jazz, gospel, and blues influences, first performed by African American artists.
    In 1947, the term rhythm and blues was coined as a musical marketing term in the United States by Jerry Wexler of Billboard magazine.

    Late 1940s
    It replaced the term race music (which originally came from within the black community, but was deemed offensive in the postwar world. In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, and two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s. Jordan's band, the Tymphany Five(formed in 1938), consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano, bass and drums. Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues". Writer/Producer Robert Palmer described it as "urbane, rocking, jazz based music with a heavy, insistent beat". Jordan's music, along with that of Big Joe Turner and Wynonie Harris, is now also referred to as jump blues.
    In 1948, rca victor was marketing black music under the name Blues and Rhythm. That year found the Wynonie Harris song Good Rockin Tonight in the #2 spot, following band leader Sonny Thompson's Long Gone at #1.
    In 1949, the term rhythm and blues replaced the Billboard category Harlem Hit Parade. Also in that year, "The Huckle-Buck", recorded by band leader and saxophonist Paul Williams, was the #1 R&B tune, remaining on top of the charts for nearly the entire year. Written by musician and arranger Andy Gibson, the song was described as a "dirty boogie" because it was risque and raunchy. When Paul Williams and His Hucklebuckers toured, the concerts were sweaty riotous affairs that got shut down on more than one occasion. Their lyrics, which were written by Roy Alfred, were mildly sexually suggestive. One teenager from Philadelphia said "That Hucklebuck was a very nasty dance." Also in 1949, a new version of a 1920s blues song, "Ain't Nobody's Business" was a #4 hit for Jimmy Witherspoon, and Louis Jordan and the Tymphany Five once again made the top 5 with "Saturday Night Fish Fry".

    Early to mid 1950s
    Working with African American musicians, Greek American Johnny Otis produced many R&B hits in 1951, including: "Double crossing blues", "Mistrustin' blues" and "Cupid's Boogie", all of which hit number one that year. Otis scored ten top ten hits that year. Other hits include: "Gee Baby", "Mambo boogie" and "All nite long". The Clovers, a vocal trio who sang a distinctive sounding combination of blues and gospel, had the #5 hit of the year with "Don't You Know I Love You" on Atlantic Records. Also in July 1951, Cleveland, Ohio DJ Alan Freed started a late-night radio show called "The Moondog Rock Roll House Party" on WJW-AM (850). Freed's show was sponsored by Fred Mintz, whose R&B record store had a primarily African American clientele. Freed began referring to the rhythm and blues music he played as rock and roll.
    Ruth Brown, on the Atlantic Records label, placed hits in the top 5 every year from 1951 through 1954: "Teardrops from My Eyes", "Five, Ten, Fifteen Hours", "(Mama) He Treats Your Daughter Mean" and "What a Dream". Faye Adams‘s "Shake a Hand" made it to #2 in 1952. In 1953, the R&B record-buying public made Big Mama Thornton's original recording of Lieber and Stoller's Hound Dog the #3 hit that year. That same year The Orioles, a doo-wop group, had the #4 hit of the year with Crying in the Chapel.

    Mid to late 1950s
    Ray Charles came to national prominence in 1955 with "I Got a Woman". It was an upfront use of gospel music conventions in an R&B context. Big Bill Broonzy said of Charles' music: "He's mixing the blues with the spirituals... I know that's wrong." At the urging of Leonard Chess at Chess Records, Chuck Berry had reworked a fiddle tune with a long history, "Ida Red". The resulting "Maybellene" was not only a #3 hit on the R&B charts that year, but it also reached into the top 30 on the pop charts. Alan Freed, who had moved to the much larger market of New York City, helped the record become popular with white teenagers. Freed had been given part of the writers' credit by Chess in return for his promotional activities; a common practice at the time.
    Two Elvis Presley records made the R&B top five in 1957: "Jailhouse Rock"/"Treat Me Nice" at #1, and "All Shook Up" at #5, an unprecedented acceptance of a non-African American artist into a music category known for being created by blacks.
    Nat King Cole, a former jazz pianist who had had #1 and #2 hits on the pop charts in the early 1950s ("Mona Lisa" at #2 in 1950 and "Too Young" at #1 in 1951), had a record in the top 5 in the R&B charts in 1958, "Looking Back"/"Do I Like It".
    In 1959, two black-owned record labels, one of which would become hugely successful, made their debut: Sam Cooke's Sar, and Berry Gordy's Motown Records.[26] Brook Benton was at the top of the R&B charts in 1959 and 1960 with one #1 and two #2 hits. Benton had a certain warmth in his voice that attracted a wide variety of listeners, and his ballads led to comparisons with performers such as Cole, Frank Sinatra and Tony Bennett.

    1960s and 1970s
    Sam Cooke‘s #5 hit "Chain Gang" is indicative of R&B in 1960. By the early 1960s, the music industry category previously known as rhythm and blues was being called soul music, and similar music by white artists was labeled blue eyed soul. Sam Cooke, Nina Simone, Jackie Wilson,James Brown, Little Richardand Etta James were early popular stars of the soul genre. During the 1960s Beatles boom, both Charles and Brown claimed that they had always really been R&B singers. Little Richard proclaimed himself the "king of rockin' and rollin', rhythm and blues soulin'", because his music embodied elements of all three, and because he inspired artists in all three genres. Solomon Burke's early recordings for Atlantic Records codified the soul style, and his early 1960s songs "Cry to Me", "Just out of Reach" and "Down in the Valley" are considered classics of the genre.
    In 1961, Stax Records introduced Memphis soul with the Mar-Keys' "Last Night", an instrumental featuring horns, electric organ, and drums. The record label also released Carla Thomas's "Gee Whiz", which featured violins, piano, drums and backup singers. That same year, Motown had its first million-seller with Smokey Robinson and The Miracles's "Shop Around".
    Stax Records produced key soul recordings by Otis Redding, Wilson Pickett and Don Covay (who also recorded in New York City for Atlantic Records). Joe Tex's 1965 "The Love You Save" is a classic soul recording. An important center of soul music recording was Florence, Alabama, where the Fame Studios operated. Jimmy Hughes, Percy Sledge and Arthur Alexander recorded at Fame, and Aretha Franklin recorded in the area later in the 1960s. Aretha Franklin's 1967 recordings, such as "I Never Loved a Man (the Way I Love You) ", "Respect" (originally sung by Otis Redding), and "Do Right Woman-Do Right Man", are considered the apogee of the soul music genre, and were among its most commercially successful productions.
    Motown Records also contributed to the soul canon, although at the time, the Detroit-based label described itself as a manufacturer of pop music. Music by Motown artists such as Stevie Wonder, Gladys Knight, and Marvin Gaye did much to popularise the style, and the overall Motown sound did much to define what later became known as northern soul. In Chicago, Curtis Mayfield created the sweet soul sound that later earned him a reputation as the Godfather of northern soul.
    By the early 1970s, soul music had been influenced by psychedelic rock and other genres. The social and political ferment of the times inspired artists like Gaye and Curtis Mayfield to release album-length statements with hard-hitting social commentary. Artists like James Brown led soul towards funk music, which became typified by 1970s bands like Parliament-Funkadelic. By the end of the 1970s, disco and funk were dominating the charts.

    With the transition from soul and disco to R&B in the early to mid 1980s, new stars such as Prince and Michael Jackson rose in popularity. Jackson's Thriller re-popularized black music with pop audiences after a post-disco backlash among United States mainstream audiences.
    Female R&B singers such as Whitney Houston and Janet Jackson became very popular during second half of the 1980s, and Tina Turner came back with a series of hits with crossover appeal. Also popular was New Edition, a group of teenagers who served as the prototype for later boy bands.
    In 1986, Teddy Riley began producing R&B recordings that included influences from the increasingly popular genre of hip hop. This combination of R&B style and hip hop rhythms was termed new jack swing, and was applied to artists such as Keith Sweat, Guy, Jodeci, Bell Biv DeVoe, and the popular late 1980s/early 1990s work of Michael Jackson. Another popular, but short-lived group (with more pronounced R&B roots) was LeVert.

    During the early 1990s, new jack swing/R&B group Boyz II Men, the most successful R&B male vocal group of all time, re-popularized classic soul-inspired vocal harmonies. Several similar groups (such as Shai, Soul For Real, Az Yet, All-4-One, and Dru Hill) followed in their footsteps. Boyz II Men and several of their competitors benefited from producers such as Babyface and Jimmy Jam and Terry Lewis. As a solo artist, Babyface and contemporaries such as Brian McKnight eschewed prominent hip hop influences, and recorded in a smooth, soft style of R&B.
    In contrast to the works of Boyz II Men, Babyface, and similar artists Other R&B artists from this same period began adding even more of a rap/hip hop sound to their work.
    The synthesizer-heavy rhythm tracks of new jack swing was replaced by grittier East Coast hip hop-inspired backing tracks, resulting in a genre labeled hip hop soul by producer Sean Combs. Hip hop soul artists such as Mary J. Blige, R. Kelly, Monica, Brandy, Ginuwine and Aaliyah brought more of hip hop slang, style, and attitude to R&B music. This subgenre includes a heavy gospel influence in terms of vocal inflections and sounds. The style became less popular by the end of the 1990s, but later experienced a resurgence.
    During the mid 1990s, Mariah Carey, girl groups TLC, En Vogue and SWV and Boyz II Men brought contemporary R&B to the mainstream.
    Mariah Carey, Boyz II Men and TLC released albums in 1994 and 1995—Daydream, II, and CrazySexyCool respectively — that sold over ten million copies, earning them diamond RIAA certification.
    Other top-selling R&B artists from this era included Vanessa L. Williams, Toni Braxton, Ginuwine, Mary J. Blige, Brandy, Monica, Usher and R. Kelly, and groups En Vogue, Blackstreet, Salt-N-Pepa, SWV, Jodeci/K-Ci & JoJo and Destiny's Child in the late 1990s.
    In the late 1990s, neo soul (which added 1970s soul influences to the hip hop soul blend) arose, led by artists such as D'Angelo, Erykah Badu, Lauryn Hill, and Maxwell.

    The 2000s and the nu soul
    By the 2000s, the cross-pollination between R&B and hip hop had increased. Mainstream modern R&B has a sound more based on rhythm than hip hop soul had, and lacks the hardcore and soulful urban "grinding" feel on which hip-hop soul relied. That rhythmic element descends from new jack swing. R&B began to focus more on solo artists rather than groups as the 2000s progressed.
    But soulful R&B continues to be popular, with artists such as Alicia Keys,Joss Stone, Corinne Bailey Rae, Amy Winehouse and John Legend, showcasing classic influences in their work. Their genre is called "nu soul" and it's a 1970s-influenced soul music with influences from jazz, funk and hip hop.
  • Anyone like the sound of the talkbox? Check out my tracks thanks Clive

    2 Mar 2008, 21:11 by Clive_Knightley

  • Best albums of 2007

    28 Dec 2007, 21:34 by mack2

    2EldkvarnSvart Blogg
    3DJ Jazzy JeffThe Return Of The Magnificent
    4Anna JärvinenJag fick feeling
    5CommonFinding Forever
    6Talib KweliEar Drum
    7Jens LekmanNight Falls Over Kortedala
    8MoneybrotherMount Pleasure
    9Jill ScottThe Real Thing: Word And Sounds Vol. 3
    10 Maia HirasawaThough, I'm Just Me
    11 Sharon Jones and the Dap-Kings 100 Days, 100 Nights
    12Anthony HamiltonSouthern Comfort
    14Sa-RaThe Hollywood Recordings
    15Kanye WestGraduation
    16FamiljenDet snurrar i min skalle
    18Alicia KeysAs I Am
    19Bruce SpringsteenMagic
    20The HivesThe Black and White Album
    21Ne-YoBecause of You
    22Shout Out LoudsOur Ill Wills
    23Frida HyvönenFrida Hyvönen Gives You: Music From The Dance Performance Pudel
    24Prodigy of Mobb DeepReturn Of The Mac
    25Royce da 5'9"The Bar Exam

    Feel free to comment if you want...