Most popular books - 2012 - Cheaper

This Is a list of the most popular books at this time!!

The Black Keys - El Camino

The Black Keys constituents Dan Auerbach and Patrick Carney's previous offering--"Brothers"--was their first conventional success, despite the fact that it had some noticeable weaknesses. Namely, it featured a large number of ballads and underwhelming up-tempo tracks, which were a huge contrast to the contents of the album's most endeared, hard-hitting predecessors, "Thickfreakness" and "Rubber Factory." Now, the Black Keys are back to fill a gaping void in the Alternative Rock scene. They have approached the project with much needed innovation and a revamped sound, in order to create something more than a sequel to their prior commercial success. This venture is marked by a fearless attempt to capture listeners by muscling full speed through perilous terrain, and it reaches its mark without once losing momentum--or a sense of humor. Auerbach and Carney were taking a risk by returning to the formula of the excessively produced "Attack & Release" and their biggest commercial single yet, "Tighten Up," from "Brothers," by once again teaming up with Brian "Danger Mouse" Burton--this time, allowing him full participation in the creative process. His fingerprints are prominent all over this release, but that--in and of itself--is not necessarily a bad thing. Have no fear--The Black Keys have not been recreated in the Gnarls Barkley image, and this is not, yet another spaghetti western for which Burton has such a glaring affinity. In fact, there is very little semblance to any of Burton's other projects. Instead, the end result is simply a more polished and accessible sound that still holds true to the band's character, with only the slightest hint of artistic surrender. The Black Keys began a gradual progression toward this style with their last few albums, so it seems like a natural development. What prevents the mishaps of years past is the band's increased awareness of what works and what will inevitably fall flat. Despite notable changes, the Black Keys of yesteryear are certainly recognizable in this compilation. There is the all-familiar hand clapping, foot stomping, and pounding bass set to a scenery of rough, fuzzy guitar licks. With "Little Black Submarines" they begin with a ballad-style intro that lacks the distracting falsetto that was oh-so-prominent in "Brothers," and halfway through, they turn it full throttle. The transition from haunting splendor to gripping intensity makes a gut-twisting impact that will leave fans salivating for the first opportunity to witness a live performance of this singular track. In "Gold on the Ceiling," the guys add some luster and opulence that breaks through the nebulous front. As a whole, the tracks are caffeinated diatribes about deceitful women, stolen money, and the like. Although there is some carryover of lyrical vulnerabilities and the overdone themes of their past works, the music's stylistically rich and witty peculiarities are all-encompassing, which protects the material from being unduly compromised. While fans of the band's earlier works might be irritated by the continued trend away from their frenzied, raw energy roots, El Camino is not a far cry from their origins. Carney returns from the watered down percussion that characterized the "Brothers" interval to his trademark assaults of his drum kit, and Auerbach reinstitutes his more coarse and rousing vocal approach. While it is a more mature and smooth sound, it is punched full of the requisite edginess, distortion, and oddball antics. Amidst the dark and broody mood are some heavy rhythms and thumping beats--thanks to the repeat collaboration with Danger Mouse--that culminates into a much more compelling and momentous successor to the vaguely bland, yet highly recognized, "Brothers." There is a sense of cinematic peril and waywardness that is incongruously alluring, and the temptation to ride shotgun through this adventure is palpable.

Tony Bennett - Duets II

Is it any surprise that Tony Bennett presides over this collection of songs like a loving parent, nurturing each of them to ensure beauty results? No, of course not. Indelibly present and in fine, oaken voice, his turn of phrase is expressive as ever. In fact, Bennett's warmth and charisma are still so strong they sometimes obscure the presence of his duet partners who simply do not have hearts as big as his to offer listeners. "Duets II" is much like the initial 2006 duets collection in that it is a glossy, sugary-sweet excursion into smoothed-over pop vocal performances with Mr. Bennett's skills guiding the way, singing life into all the nooks and crannies whether or not he and his given duet partner are a suitable pairing. His personality and status as America's foremost singer of songs must guide the way. Of note is his work with the late Amy Winehouse on "Body and Soul," a heartbreaking, apt tune for the chanteuse's final recording. Both are in their element, and the result is fraught with unrequited longing and slow-burning desperation. It is a fortunate teaming of two great talents bathed in instant pathos in its reminder of how fleeting art, like life, can be. Winehouse's voice was a fine instrument indeed, and "Body and Soul" showcases it. Duet partners who earn their keep on this collection include k.d. lang, Willie Nelson, Norah Jones, Natalie Cole, Andrea Bocelli, Faith Hill, Lady Gaga, Queen Latifah, Josh Groban and Alejandro Sanz, whose passion fills the timeless "Yesterday I Heard the Rain." Hill, in particular, sounds so enchanting alongside Bennett on "The Way You Look Tonight" that a full album collaboration between the pair would be a welcome prospect. "Speak Low" with Ms. Jones is absolute perfection - a simmering, wistful track that remains a Bennett concert staple and is ideally suited to Ms. Jones' brand of hush-hush, late-night intimacy. lang and Bennett duet on the evergreen, lovely "Blue Velvet" with exactness and care - apt considering their longstanding friendship - while Lady Gaga oozes energy and pep on the sprightly "The Lady is a Tramp," a three-minute slice of giddy fun which underscores her theatrical personality as well as her bold, caffeinated vocal ability. Bennett is clearly delighted to be recording with her, and their chemistry is refreshing. Clever, praiseworthy choices of material help Groban and Latifah sound just as welcome with Bennett at their side. Unfortunately, "How Do You Keep the Music Playing?" with Aretha Franklin is a squandered opportunity. Sung with profoundly moving emotional transparency by Bennett, both on record and in concert, it is not suited for Franklin's melismatic turn of phrase in which the lyrics often take a back seat to drama and flourish. Elsewhere, Sheryl Crow is unengaging on "The Girl I Love," just as she was singing Cole Porter in "De-Lovely" back in 2004 - her voice is much more suited to her own contemporary material. John Mayer has little presence next to Bennett on their selection, and Michael Buble sings on "Don't Get Around Much Anymore" with his trademark bland, self-interested swagger that runs a very thin emotional gamut. The upside is that it underscores the value of Bennett's versatility and self-effacing nature. Charles DeForest's "When Do the Bells Ring for Me," one of Bennett's finest recordings, is presented here as a spellbinding duet with Mariah Carey that ends the disc strongly. The pair should have recorded long ago. Although the song itself is not in Carey's key, both vocalists accommodate one another graciously, and magic results. "Duets II" certainly has the feeling of "product" - after all, Sony has invested great time and money into it, with only the highest promotional blitz and many of today's biggest, sparkliest stars alongside Bennett. Despite this it still has the warmth and feel of a genuine Bennett album due to his love, obviously still in the highest abundance, for the best songs ever written. Certain retailers carry exclusive versions with bonus tracks, so do your homework.

Bob Segers - Ultimate Hits

No rock icon has sealed his vault as tightly as Bob Seger. Six early albums have been out of print for decades, he has no box set, and the words "bonus track" seem to be anathema to him. He held back on a two-disc hits collection for years, but he's finally relented. Good thing. Previous sets didn't have his 1968 garage-jam classic "Ramblin' Gamblin' Man," and this set has a smoking cover of Little Richard's "Hey Hey Hey Hey (Going Back to Birmingham)." All the big hits are here, though nothing sounds as glorious as the live "Travelin' Man/Beautiful Loser" medley. An insane amount of material still remains locked up, however. Hey, Bob, cough it up!

Michael Bublé- Christmas

Michael Buble's first full-length Christmas album is old-fashioned in the best possible sense. He will be featured in an NBC Christmas TV special in December, and this collection does sound like the soundtrack to a classic holiday production. There is a bit of swing here,contemporary pop there, and a few special guests sprinkled around. Christmas is the top new holiday collection for 2011 and will appeal to the broadest possible audience as soundtrack to your Christmas celebrations or simply to accompany holiday decorating or giftwrapping.

Buy the album here:

Adele: 21 album

On January 24, Adele will release 21 in the UK, the highly anticipated follow-up to her Grammy Award winning debut, 19. There’s been an outpouring of overwhelmingly positive critical praise surrounding this record from various media outlets over the past few weeks, so I’m going to caution you now: Believe the hype. It really is that good. 21 was produced and co-written by a varied cast of talented musicians, including 19 producers Jim Abbiss and UK hit-maker Eg White, as well as Rick Rubin (co-president of Columbia Records) and Paul Epworth, the British producer responsible for–amongst many achievements–Florence + The Machine‘s flawless 2009 debut, Lungs. But despite the wealth of talented producers sitting behind the soundboard in the studio, it’s impossible to deny the true talent at the helm of this project: Adele. Like a modern day reincarnation of Dusty Springfield, the young UK songstress is a throwback to the legendary voices of yesteryear. Her voice’s soulful quality, technique, depth and sheer power is nothing short of awe-inspiring. But beyond being an adept vocalist, it’s Adele’s ability to emote that carries her a cut above most of today’s singers: When she’s angry, she burns. When she hurts, she bleeds. And we, as the listeners, feel it with every song. To think she was only 21 years old at the time of writing and recording this album? Well, it’s almost frightening. “Sure, she’s got it all / But baby, is that really what you want?” Adele taunts on the wicked, sauntering Ryan Tedder-produced “Rumour Has It”–one of the many bluesy, country-tinged offerings on the new record–a sound first introduced to her by the tour bus driver during her American tour last year, which resulted in a wealth of new influences including “Wanda Jackson, Garth Brooks, early Johnny Cash, early Dolly Parton, the Carter Family…especially June Carter.” Yet while the album is occasionally colored with flashes of bright, playful melodies as displayed on “Rumour Has It,” the bulk of the record is mired in sorrow and rage, as evidenced in the gigantic lead single, “Rolling In The Deep.” “The scars of your love, they leave me breathless / I can’t help feeling we could have had it all,” Adele achingly belts out during the song’s pounding chorus. If “Rolling In The Deep” is 21‘s raging storm, it’s the album’s closing moment that finds the dark clouds slowly rolling away. “Someone Like You,” is–as pop producer RedOne recently described Lady Gaga‘s upcoming single, “Born This Way”–almost too precious to talk about. “Never mind, I’ll find someone like you / I wish nothing but the best for you too,” Adele sadly assures herself above a simple, devastating piano melody. The song burns with a raw ache that we can both hear and feel. They just don’t write them like this anymore! Simply put: This song is everything. However, it’s “Set Fire to the Rain”–apart from the two aforementioned numbers–that may well be the album’s crowning achievement. Produced and co-penned by Fraser T Smith (Taio Cruz‘s “Break Your Heart”; James Morrison‘s “Broken Strings”), “Set Fire To The Rain” is a complete and utter triumph for the young chanteuse; an aching power ballad that packs enough of a punch to cause jaws to drop to the floor. “I set fire to the rain, watched it pour as I touched your face,” she cries out during the song’s dramatic, chill-inducing chorus as pianos and string crash and burn beneath the surface. The song plays like an instant classic and, with any luck, may become a pop standard for years to come when released as the album’s second single. Additional highlights include the white flag-waving surrender of “Take It All,” (“So is it over? Is this really it? / You’re giving up so easily, I thought you loved me more than this”) and the twangy “Don’t You Remember,” a simple, heartbreaking moment of mourning that finds Adele desperately searching for some sign of life from her former flame: “When was the last time you thought of me? Or have you completely erased me from your memories?” Adele woefully croons atop the song’s slow strumming guitar. There’s also the breathtakingly romantic bossa nova swing of “Lovesong,” Adele’s acoustic take on The Cure‘s oft-covered 1989 hit single. In the end though, it’s hard to spotlight particular standouts on a record complete with so many quality offerings. 21 is a gorgeous collection of honest lyricism and winning songcraft. It’s an incredibly personal experience, complete with a genuine depth and sincerity that trumps its predecessor and proves Adele to be even more of a force to be reckoned with than most had probably imagined. The album will undoubtedly go on to become one of the major contenders for many “Best Of ’11″ lists compiled later this year, and is nearly guaranteed as much–if not more–critical praise and recognition as her 19 received when award season comes rolling around once again. And let’s not forget, as it’s worth repeating: She’s still only 21 years old. you can buy her album here:

Justin Bieber: Under The Mistletoe

Christmas is “Bieberized” this season with the teenage dream’s first holiday set, ‘Under the Mistletoe.’It’s a mixed bag of new tunes, as Justin Bieber delivers a familiar fare of standards and classics. He takes liberties with some and is loyal with others! Overall, he’s all grown up — with a deeper voice that delivers sexier, more romantic lyrics encased in festive songs full of bells and whistles, literally.

The album is also rife with guest appearances, furthering its mass appeal. There’s something for everyone on ‘Under the Mistletoe,’ as The Biebs has invited stars from the R&B (Usher), country (The Band Perry), rap (Busta Rhymes) and diva (Mariah Carey) world to participate. It’s a smart marketing move, further casting the net to fans of other genres who might not be Beliebers … Yet.

Sonically, though, the most notable thing about ‘Under the Mistletoe’ is the growth and maturity of The Biebs’ voice. His vocals have deepened, and save for a scant few exceptions, you won’t find the higher registered teenage style we experienced on his previous releases. He’s on stronger footing, positioning himself as a viable R&B singer — complete with PG lyrics.

Thanks to the universal, genre-free appeal, ‘Under the Mistletoe’ is at once classic and modern — did you ever think you’d hear the colloquial term “shawty” used in a festive, holiday jingle? — but our boy Biebs handles himself well.

you can buy his cd here:

1. ‘Only Thing I Ever Get for Christmas’
The album begins with an uptempo, R&B-flecked love song about being satisfied with what you have, like the girl you love, during the holiday season. Here is where The Biebs’ is shifting towards the Justin Timberlake vocal model. It’s sprinkled with some festive cheer, too. 

2. ‘Mistletoe’
The Biebs uses the word “shawty” when singing about gathering around the fire, roasting chestnuts and following his heart like the Wisemen followed a star. His R&B vocals assert themselves again in this dreamy, almost reggae-style song, with a melody similar to Jason Mraz‘s ‘I’m Yours.’ We’re not in The Biebs’ age group, but our knees would buckle if he sang this to us. Without the lyrics, though, you’d never know this was a holiday song! 

3. ‘The Christmas Song (Chestnuts Roasting on an Open Fire)’ Feat. Usher
With the help of his mentor Usher, Bieber puts a butter smooth stamp on a classic. Usher lets his protoge take center stage, as Bieber’s rich and silky voice is the showpiece among the harmonies, finger snaps and a bluesy guitar riff. 

4. ‘Santa Claus Is Coming to Town’
This fun holiday fave gets a modern, funkdafied update courtesy of Bieber and his boundless teenage energy. Teens will be cranking this for their high school holiday parties. Don’t be surprised if you find yourself grooving, as well. 

5. ‘Fa La La’ Feat. Boyz II Men
No, this is not an update of ‘Deck the Halls,’ although the familiar hook does show up in the song. It’s slow and sexy R&B jam where The Biebs harmonizes with Boyz II Men, telling a loved one that their heartbeat is like a melody. Swoon. Biebz II Men in the ’11, yo! 

6. ‘Christmas Love’
Sleigh bells ring in this warm and fuzzy lovers ditty, where The Biebs celebrates the fact that a loved one is better than any gift. He samples lyrics from Christmas standards, but it’s not quite a mashup. It’s still cute how he pulls lyrics from ‘Santa Claus Is Coming to Town’ and ‘Deck the Halls.’ He also shows off the breadth of his vocal range courtesy of some dynamic harmonies. 

7. ‘All I Want for Christmas Is You’ – Duet With Mariah Carey
Bieber tackles Mariah Carey’s modern classic, which was a huge hit for her in 1994, when he was one step beyond the twinkle in his father’s eye! It was a vocal workout for him to sing in the same key as Carey (per her request); but JB and Carey make a striking pair … Musically speaking. No worries for Nick Cannon. We gotta be honest. We like the newer, silkier, smoother, R&B’ier Bieber! 

8. ‘Drummer Boy’ Feat. Busta Rhymes
Pa rum pum pum pum. The Biebs takes the most liberty and artistic license with his re-do of the normally mild ‘Little Drummer Boy.’ He twists the song into a yard stomping rap song with a beat that won’t quit. It is based on ‘LDB’ and he is a percussionist, so you do the math. Busta Rhymes rapid-fires his lyrical parts. As much as it raises eyebrows on paper, it works, especially when JB encourages his fans to donate during the holidays. 

9. ‘All I Want Is You’
The holidays are always a ripe time for making amends, so this song laments the loss of a love one, starting out as a maudlin, melancholic offering before escalating into a speedier at track with a looped beat. It’s a Christmas party pooper — nobody wants to be left out in the cold. 

10. ‘Fa La La (A Capella)’ Feat. Boyz II Men *
We want to rechristen this ‘Fa La La-capella,’ since that’s what it is. The Biebs and the Boyz reprise an earlier song, and it’s all about their voices and their harmonies. The Boyz are perfect backup singers.

11. ‘Christmas Eve’
Chris Brown penned this slick, silky and layered R&B song and The Biebs offers up his best Brown impression. It’s the most mature and romantic song on the album and also features our boy wonder Justin going low, low, looooooooooooooow here and there. There’s also lots of studio treatment to his vocals. Presents? Who needs presents when you got your shawty! 

12. ‘Home This Christmas’ feat. The Band Perry
Thanks to twangy guitars and three-part harmonizing, Bieber and TBP inject ‘Under the Mistletoe’ with a little below the Mason-Dixon line energy. It’s another song about battling the elements (and life) to get home and into the arms of the one you love, who will be holding the door open with one hand and will have a cup of peppermint hot chocolate in the other. 

13. ‘Silent Night’ *
Bieber delivers a loyal take on this golden oldie, and it’s really the most respectful way he could have addressed such a holy, spiritual song. Backed by just a whimsical piano, his voice also goes higher than the rest of the album. It’s quite beautiful. It ain’t broke, so he didn’t try and fix it or tamper with a classic. Even your grandparents would love this. Nice work, JB. 

14. ‘Pray’ *
The song is quiet, contemplative and examines the spiritual side of Christmas, with Bieber reminding us to pray for the brokenhearted. The Biebs is an avowed Christian — remember his VMAs speech? — so he is also using his holiday album to remind people WHY we celebrate Christmas.

15. ‘Someday at Christmas’ *
Turn the clocks back, not because Daylight Savings Time is upon us but because this is a throwback to The Ghost of Bieber past. While most of ‘Under the Mistletoe’ is a showcase for his maturing voice, this is classic, young and innocent Biebs. He’s cherubic when he sings this Stevie Wonder classic. It’s like watching the evolution of Michael Jackson from ‘I Want You Back’ to ‘Billie Jean,’ only with a few icicles forming on his bangs!