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Matthew Moore
Matthew Moore

Sugar Ray The Best Of Sugar Ray Album ~REPACK~ Full Zip



For more, please visit www.sugarray.com, www.facebook.com/OfficalSugerRay, twitter.com/sugarrayband (@sugarrayband) and twitter.com/mark_mcgrath (@mark_mcgrath).Initially known for his role as DJ in Kid Rock's legendary Twisted Brown Trucker band, Uncle Kracker soon staked his own claim for greatness via a unique stylistic synthesis of pop, rock, country, soul, blues, and even doo-wop. Known to his parents as Matt Shafer, the Detroit-based singer/songwriter made his stunning solo debut with 2001's #1 smash, "Follow Me," kicking off a run of top 10 multi-format hits like "In A Little While," "Smile," and of course, 2003's record-setting cover of Dobie Gray's classic "Drift Away." As if that weren't enough, the following year saw Uncle Kracker topping Billboard's "Hot Country Songs" chart for five consecutive weeks with "When The Sun Goes Down," his RIAA gold certified collaboration with country superstar Kenny Chesney.In addition to nearly non-stop touring, Uncle Kracker has made numerous high-profile TV performances, including NBC's The Tonight Show with Conan O'Brien, CBS' The Early Show Saturday Edition, ABC's Live! With Regis and Kelly, Fox's American Country Awards, and an electrifying joint performance with Kid Rock on the ABC special, CMA Music Fest: Country's Night To Rock.




sugar ray the best of sugar ray album full zip



Indeed, the proud Michigander has also maintained his role as one of Kid Rock's closest friends and collaborators, co-writing such blockbuster hits as "Bawitdaba," "Cowboy," "Forever," "Only God Knows Why," and 2008's #1 phenomenon, "All Summer Long." Though it all, the one and only Uncle Kracker has continued to push the musical boundaries between his beloved Detroit and inspirational Nashville, most recently earning abundant acclaim for the full-on country approach of 2012's Midnight Special.For more, please visit www.unclekracker.com, (@unclekracker), and www.facebook.com/unclekrackerofficial.With their indelible, organ-powered style, Smash Mouth has long provided the sun-dappled soundtrack to summertime fun. The Southern California-based combo has earned sales exceeding six million albums in the US alone, fueled by a streak of unforgettable chart-topping hits including "Can't Get Enough Of You, Baby," "Then The Morning Comes," and the #1 classics, "Walkin' On The Sun" and "All Star." Furthermore, the band's songs including distinctive covers like "I'm A Believer" and "Why Can't We Be Friends," performed in the inimitable Smash Mouth style have been featured in a breathtaking array of film and TV programs, including The Simpsons, Can't Hardly Wait, Half Baked, BASEketball, Deuce Bigalow: Male Gigolo, and of course, Shrek.


Loneliness never sounded so good. Boyz II Men's Evolution produced soothing R&B juggernauts in "4 Seasons of Loneliness" and "A Song For Mama," so this is really just a matter of preference. Evolution, Boyz II Men's third album, went double Platinum and earned a Grammy nomination for best R&B album. "A Song For Mama" was nominated the same year for best R&B performance by a duo or group with vocal.


Sticky Fingers is the 9th British and 11th American studio album by the English rock band the Rolling Stones. The Stones released it on 23 April 1971 on their new, and own label Rolling Stones Records. They had been contracted by Decca Records and London Records in the UK and the US since 1963. On this album Mick Taylor made his second full-length appearance on a Rolling Stones album (after the live album Get Yer Ya-Ya's Out!). It was the first studio album without Brian Jones who died two years earlier. The original cover artwork, conceived by Andy Warhol and photographed and designed by members of his art collective, The Factory, showed a picture of a man in tight jeans, and had a working zip that opened to reveal underwear fabric. The cover was expensive to produce and damaged the vinyl record, so later re-issues featured just the outer photograph of the jeans.


In a contemporary review for the Los Angeles Times, music critic Robert Hilburn said that although Sticky Fingers is one of the best rock albums of the year, it is only "modest" by the Rolling Stones' standards and succeeds on the strength of songs such as "Bitch" and "Dead Flowers," which recall the band's previously uninhibited, furious style.[27] Jon Landau, writing in Rolling Stone, felt that it lacks the spirit and spontaneity of the Rolling Stones' previous two albums and, apart from "Moonlight Mile", is full of "forced attempts at style and control" in which the band sounds disinterested, particularly on formally correct songs such as "Brown Sugar."[28] Writing for Rolling Stone in 2015, David Fricke called it "an eclectic affirmation of maturing depth" and the band's "sayonara to a messy 1969".[29] In a positive review, Lynn Van Matre of the Chicago Tribune viewed the album as the band "at their raunchy best" and wrote that, although it is "hardly innovative," it is consistent enough to be one of the year's best albums.[30] Writing for Slate, Jack Hamilton praised the album in a retrospective review, stating that it was "one of the greatest albums in rock 'n' roll history."[7]


Sticky Fingers was voted the second best album of the year in The Village Voice's annual Pazz & Jop critics poll for 1971.[31] Lester Bangs voted it number one in the poll and said that it was his most played album of the year.[32] Robert Christgau, the poll's creator, ranked the album 17th on his own year-end list.[33] In a 1975 article for The Village Voice, Christgau suggested that the release was "triffling with decadence", but might be the Rolling Stones' best album, approached only by Exile on Main St. (1972).[34] In Christgau's Record Guide: Rock Albums of the Seventies (1981), he wrote that it reflected how unapologetic the band was after the Altamont Free Concert and that, despite the concession to sincerity with "Wild Horses", songs such as "Can't You Hear Me Knocking" and "I Got the Blues" are as "soulful" as "Good Times," and their cover of "You Gotta Move" is on-par with their previous covers of "Prodigal Son" and "Love in Vain."[18]


Buckcherry: 'Buckcherry' - A painted lady adorns the cover of Buckcherry%u2019s self titled album which was released in 1999, but has more a feel of 1967 with the psychedelic patterns which swirl around the models naked torso. To appreciate the image fully, you'd have to buy the gatefold vinyl where it shows her bottom half.


Louis XIV: 'The Best Little Secrets Are Kept' - They're a chauvinistic band who treat women as sexual objects through their lyrics - ie "Pull your skirt up a little bit / Pull down your top and show me a little tit" - so it's only natural that their 2005 featured a naked female behind. We reckon they'll go full frontal for album number two.


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