2010 January | The World of Pop Music

english pop songs online

Posted in Pop Music by admin on January 31, 2010

english pop songs online
Website that plays streaming audio?

I listen to the latest Western music (English) rock / rap / pop genre. for example, RHCP, U2, Hoobastank, Shakira's "Hips dont lie", etc. There is a website called raaga.com but plays only Indian languages. Any place like this? Most of these online radio stations suck big time. To suggest a good website. I like the line of songs and should keep playing so continuous and smooth.

Tunes.com – http://www.yahoo.com/Entertainment/Music/Listening_Booth/Archives/ http://www.dreamscape.com/morgana/despina Song Samples http://www.nyrock.com/index.html. http://www.geocities.com/ ~ htm / main.html ra_archive http://www.netradio.net/ http://www.bombradio.com/ http://members.aol.com/KCIXDJ/ lawn / enter.html http://listen.to/rasongs

The Calendar Song – Kids + Children Learn English Songs

Love Online

$17.98

Love Online, Brian Gari’s second collection of songs, is a musical about — well, it’s not great surprise that it’s about a couple that finds love online. He claims in his liner notes that these 15 are culled from over 45 songs that he wrote for this project, and if that’s true, the record benefits from the concentrated focus, since there are no slow spots (although, portions of the narrative may benefit from more songs, since there are a couple of places where it all moves a little quickly). Gari’s narrative is fairly simple and clean — Keith, a skeptic about the internet, logs on and falls in love with Sarah; the two have a connection, but she’s married, and the rest of the musical concerns the development of their relationship. This is a simple story, but it gives Gari a lot of room to draw character sketches — not just of the two main characters, but of Bill, Keith’s mildly obnoxious pal, or such incidental chracters as “Old Man Cobb.” The characterizations are delivered through songs that are tailored specifically to the musical, such as the nearly slapstick “I Know What Happened,” but there are several songs that are general enough thematically to stand on their own, and these happen to illustrate Gari at his strongest. “The Nicest Person I’ve Never Met” is a really fine ballad, intended to be a duet but working just perfectly sung solely by Gari, “You Must Have a Past” rushes by with an urgency with and the light bossa nova flair of “Sarah & Liza” in slyly infectious. Other moments on the record work just as well, and Gari, along with his co-producer/arranger/instrumentalist Jeff Olmsted on this record, give the music a sophisticated homemade feel that enhances the intimacy of the story instead of working against Gari’s musical aspirations. This production also fits Gari’s idiosyncratic blend of classic showtunes, ’70s singer/songwriters, ’60s pop, and early-’80s soft rock, giving it an appealing sheen. In that sense, this isn’t entirely different from Gari’s other work, yet Love Online is one of his best works, boasting not only a moving (yet witty) narrative, but several of his finest songs to date. ~ Stephen Thomas Erlewine, All Music GuidePerformers: Brian Gari – Piano

English Songs

$11.99

English Songs

Pop

$13.98

No matter which way you look at it, Pop doesn’t have the same shock of the new that Achtung Baby delivered on first listen. Less experimental and more song-oriented than Zooropa, Pop attempts to sell the glitzy rush of techno to an audience weaned on arena rock. And that audience includes U2 themselves. While they never sound like they don’t believe in what they’re doing, they still remove most of the radical elements of electronic dance, which is evident to anyone with just a passing knowledge of the Chemical Brothers and Underworld. To a new listener, Pop has flashes of surprise — particularly on the rampaging “Mofo” — but underneath the surface, U2 rely on anthemic rockers and ballads. “Discotheque” might be a little clumsy, but “Staring at the Sun” shimmers with synthesizers borrowed from Massive Attack and a Noel Gallagher chorus. Similarly, “Do You Feel Loved” and “If You Wear That Velvet Dress” fuse old-fashioned U2 dynamism with a keen sense of the cool eroticism that makes trip-hop so alluring. Problems arise when the group tries to go for conventional rock songs, some of which are symptomatic of the return of U2′s crusade for salvation. Pop is inflected with the desire for a higher power to save the world from its jaded spiral of decay and immorality, which is why the group’s embrace of dance music never seems joyous — instead of providing an intoxicating rush of gloss and glamour, it functions as a backdrop for a plea of salvation. Achtung Baby also was a comment on the numbing isolation of modern culture, but it made sweeping statements through personal observations; Pop makes sweeping statements through sweeping observations. The difference is what makes Pop an easy record to admire, but a hard one to love. ~ Stephen Thomas Erlewine, All Music GuidePerformers: Larry Mullen, Jr. – Loops, Percussion; Howie B – Keyboards, Turntables; Bono – Guitar, Vocals; Adam Clayton – Guitar (Bass); Marius de Vries – Keyboards; The Edge – Guitar, Keyboards, Organ, Vocals; Flood – Keyboards; Steve Osborne – Keyboards

English Songs: Pop Goes the Weasel, Blue, Chiggy Wiggy, You Don’t Have to Be a Baby to Cry, Beef and Butt Beer

$14.14

English Songs: Pop Goes the Weasel, Blue, Chiggy Wiggy, You Don’t Have to Be a Baby to Cry, Beef and Butt Beer

Pop Pop

$9.95

An eclectic collection of covers from one of jazz-pop’s most eclectic performers, Pop Pop travels from the stage to tin pan alley through Jimi Hendrix’s sky. Rickie Lee Jones cradles each of these songs with her pleading, gentle voice, backing them with subtle orchestration courtesy of notable performers including Robben Ford, Joe Henderson, and Charlie Haden. Her attention to love songs of the ’40s and ’50s demonstrates almost a longing for simpler times and simpler love, and these qualities are echoed in the treatment of songs like “My One and Only Love” and “I’ll Be Seeing You.” Her subdued take on the psychedelic Jimi Hendrix screamer “Up From the Skies” is slowed to a bluesy acoustic number, while the bratty refrain from Peter Pan’s “I Won’t Grow Up” seems blushingly sweet.While fans of the folk styles she demonstrated with her 1979 self-titled debut might not see as much merit in these soulful jazz interpretations, it still demonstrates Jones’ ability to evolve and her unwillingness to be pinned down into one category. ~ Zac Johnson, All Music GuidePerformers: Dino Saluzzi – Bandoneon; Terry Bradford – Vocals (Background); April Gay – Vocals (Background); Donny Gerrard – Vocals (Background); Michael Greiner – Harmonica, Hurdygurdy; Arnold McCuller – Vocals (Background); Arnold McCutler – Vocals (Background); Walfredo Reyes – Bongos, Brushes, Drums (Snare), Percussion, Shaker; Charlie Shoemake – Vibraphone; David Was – Vocals (Background); Robben Ford – Guitar, Guitar (Acoustic); Charlie Haden – Bass; Joe Henderson – Saxophone;

Love Songs

$7.98

This has 16 tracks from the mid-’80s to the late ’90s, but like other installments in Sony’s Love Songs series, it’s not synonymous with a greatest-hits compilation. Instead, it’s just an assortment of various songs from the catalog of one of the most popular romantic vocalists of the late-20th century, though there are of course a whole lot more than 16 “love songs” in the Iglesias discography. These particular ones seem to have been selected with an eye toward the North American market, as all are in English, and the program’s heavy on covers of era-spanning pop standards: “Mona Lisa,” “Can’t Help Falling in Love,” “When I Fall in Love,” “As Time Goes By,” the Willie Nelson-penned “Crazy” (popularized by Patsy Cline), Don McLean’s “Vincent (Starry Starry Night),” the Beatles’ “And I Love Her,” Morris Albert’s “Feelings,” Jacques Brel and Rod McKuen’s “If You Go Away.” It does have some of his big American hits in “To All the Girls I’ve Loved Before” (a duet with Willie Nelson) and “Moonlight Love,” yet it’s missing his smash duet with Diana Ross, “All of You.” Overall, it’s representative of the glossily produced, sentimental adult contemporary pop for which the singer’s most known to much of the English-speaking audience. ~ Richie Unterberger, All Music GuidePerformers: Julio Iglesias – Vocals; Willie Nelson – Vocals; Dolly Parton – Vocals

Greatest Pop And Rock Songs

$9.99

Greatest Pop And Rock Songs

20 Pop Songs

$9.93

20 Pop Songs

100 Greatest Pop Songs

$22.49

100 Greatest Pop Songs

Best Pop Songs 2000-2005

$20.65

Best Pop Songs 2000-2005

2000-2009 Best Pop Songs

$15.99

2000-2009 Best Pop Songs

Rock/Pop Guitar Songs for Dummies

$15.58

Want to learn the most popular pop and rock classics of the last 40 years? This book will teach you 34 top hits. It features note-for-note transcriptions in standard notation and tablature, lyrics, and helpful performance notes in plain English that point out cool tricks, techniques and tips. Songs include: Alive * All Along the Watchtower * Barracuda * Carry On Wayward Son * Detroit Rock City * Fortunate Son * Gimme Three Steps * Paperback Writer * Rhiannon * Smells like Teen Spirit * Wonderful Tonight * and more.

Greatest Pop Rock Songs

$15.99

Greatest Pop Rock Songs

German Pop Songs: Warum, Durch Die Nacht

$14.14

Purchase includes free access to book updates online and a free trial membership in the publisher”s book club where you can select from more than a million books without charge. Excerpt: The most famous song of the all-female German band Tic Tac Toe is Warum? (Why?). Released in 1997 and part of their second platinum album, Klappe Die 2te . For 7 weeks this song was number one in the Media Control Top100 Singles of 1997. This song is about a very close friend who developed an addiction to drugs. Warum could be interpreted as asking why she became addicted. English lyric summary, We shared every thought and feeling, partying, living for the moment, the happy life. But now her eyes are empty, her soul is gone, living in another world, prostituting herself to get money to pay her dealer for her drug addiction. And why? For the thrill, for the moment? Just for a piece of bad luck? Why? … More: http://booksllc.net/?id=23498781

Total Pop

$14.24

An amusing {\foreign pop} record, {^Total Pop} is highlighted by German and English female vocals, and electronic beeps and buzzes. The standout songs are both covers — {&”Push It”} and {&”Get Down Tonight.”} On the latter, {$Stereo Total} manages to sou

Exploring English With Online Corpora

$29.1

Exploring English With Online Corpora

Songs

$13.58

On this album of vocal jazz from Carolyn Graye, a Seattle resident and occasional traveler on behalf of the U.S. government, Graye sings with only the accompaniment of Jessica Williams on piano, giving the album a nice nightclub mood. The vocals are given just the right intonation to keep a smoky atmosphere in the mix, and the piano, while given a good deal of freedom, usually keeps to relatively simple riffing, only occasionally going for extended romps of arpeggios à la Art Tatum. The songs chosen are largely standards, though bits of newer material creep in here and there (while the sounds remain in the older styles, the lyrics present a more contemporary touch with references to America Online, among other things). Highlights include Ellington’s later adaptation of “Concerto for Cootie” in the classic “Do Nothin’ ‘Till You Hear from Me” and Freddie Hubbard’s “Up Jumped Spring,” which both give Graye the time she needs to stretch out on the vocals to her full ability. While the album doesn’t necessarily break any new ground on its course, it’s certainly worth a listen, as it’s a solid endeavor all around. Pick it up for another listen to what’s happening in the usually overlooked but quite vibrant Seattle jazz scene. ~ Adam Greenberg, All Music GuidePerformers: Carolyn Graye – Vocals

English Journeys English Folk Songs

$9.99

English Journeys English Folk Songs

Cabaret Songs

$17.98

The cabaret song recital is a corner of a corner of the classical music scene — an event attended mostly by serious vocal music enthusiasts. This is too bad, for such recitals cross the conventional pop/classical boundary and provide the perfect opportunity to make an art song lover out of a fan of American and British pop standards (or, if the need arises, vice versa). The disc weaves together two such recitals by the offbeat English mezzo soprano Sarah Walker and veteran accompanist Roger Vignoles, recorded live in 1982 and 1988. They are sterling examples of the form, with Gershwin, Vernon Duke, Charles Ives, and Benjamin Britten all resting comfortably side by side on the program. Several of the songs are very funny (Walker breaks the audience up in these), and all are intelligently chosen: Gershwin’s parodies of European song forms (By Strauss, The Jolly Jack Tar, and The Lorelei — she had a most immoral eye!) are all here, while from the “classical” side Britten (with his collaborator W.H. Auden) and Ives play off popular song genres of their own times. George and Ira Gershwin are represented by nine songs here, and Walker shows herself a superior interpreter of their music, especially for a non-American. She pronounces the letter “r” like an American, with tongue rolled up so that its tip is way back in the mouth. She does not try to sound like a Broadway singer, but she gets the rhythmic freedom of Gershwin’s lines, which ought to sound like they were being blown by a jazz saxophonist or trumpeter — and if a singer does that, she can be as operatic as she likes. Sample her natural treatment of the chorus in The Man I Love, track 2. One key feature of a good cabaret song recital is the unearthing of obscure gems, in which category Gershwin’s The Half of It Dearie Blues and Britten’s Tell Me the Truth About Love certainly fall. Even more unusual are the four 20-second settings of Dorothy Parker epigrams by Margaret Mallory and English jazz pianist John Dankworth’s piquant realization of Spike Milligan’s indictment of English Teeth (Three cheers for the Brown, Grey, and Black!). The only complaints are incidental. One recital apparently encouraged audience applause throughout, while the other held it for section breaks, and since material from the two concerts is intertwined, the applause appears at disconcertingly random intervals. The copy received for review was also missing half its printed song texts, but that doesn’t matter — with diction and directness like Walker’s, you won’t need them. Recommended to anyone who likes light song recitals or Gershwin, or to any singer looking for some great crowd pleasers to spice up a concert of her or his own. ~ James Manheim, RoviPerformers: Roger Vignoles – Piano; Sarah Walker

Hal Leonard ROCK/POP GUITAR SONGS FOR DUMMIES

$20.69

Play the most popular pop & rock classics from the last 40 years with the Rock/Pop Guitar Songs for Dummies, a book that will teach you how to play 34 top hits on guitar. It features note-for-note transcriptions in standard notation and tablature, lyrics, and helpful performance notes in plain English that point out cool tricks, techniques, and playing tips.

English Settlement

$15.98

Andy Partridge’s discovery of the 12-string guitar set the tone for English Settlement, an album that moved away from the pop gloss of Black Sea in favor of lighter, though still rhythmically heavy, acoustic numbers with more complex and intricate instrumentation. There are plenty of pop gems — “Senses Working Overtime” stands as one of their finest songs — but the main focus seems to be the more expansive sound; most of the songs are drawn out to near-epic length, ultimately taking some of the impact of the songs away. Despite several terrific tracks, English Settlement seems more a transitional album than anything else, although the textural sound of the album is quite remarkable, indicating the direction they would take in their post-touring incarnation. ~ Chris Woodstra, All Music GuidePerformers: Dave – Guitar (12 String Electric), Guitar (Nylon String), Percussion, Prophet 5, Spanish Guitar, Vocals (Background); David Gregory – Fuzz Guitar, Guitar, Guitar (12 String Acoustic), Guitar (Electric), Keyboards, Korg Synthesizer, Piano; Andy Partridge – Angklung, Animal Sounds, Brass, Guitar, Guitar (12 String Acoustic), Guitar (Acoustic), Guitar (Electric), Korg Synthesizer, Percussion, Prophet 5, Sax (Alto), Vocals, Vocals (Background); Terry Chambers – Drums; Hans Devente – Vocals; Colin Moulding – Bass, Fretless Bass, Korg Synthesizer, Percussion, Piano, Vocals, Vocals (Background); Hugh Padgham – Vocals