Eminem - Encore (2004)

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2 377 13.78%
3 697 25.48%
4 592 21.64%
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Props Slaps
 11 years ago '05        #3121
justindlawson 2 heat pts
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[code]Artist : Maroon 5
Album : It Won't Be Soon Before Long
Label : A&M/Octone
Genre : Pop
Bitrate : 205 kbps avg
Source : CD (LP)
Playtime : 00:44:58 (69.7MB)
Rls date : 2007-05-12
Store date : 2007-05-22

1. If I Never See Your Face Again 3:21
2. Makes Me Wonder 3:31
3. Little Of Your Time 2:17
4. Wake Up Call 3:21
5. Won't Go Home Without You 3:51
6. Nothing Lasts Forever 3:07
7. Can't Stop 2:32
8. Goodnight Goodnight 4:03
9. Not Falling Apart 4:03
10.Kiwi 3:34
11.Better That We Break 3:06
12.Back At Your Door 3:47
13.Infatuation (Bonus Track) 4:25

Maroon 5's 2002 debut album, Songs About Jane, was the
kind of hit that doesn't happen often in the new
millennium -- a genuine word-of-mouth hit whose popularity
grew steadily after its release, largely due to the sweet,
sunny hit "This Love," a song sly and catchy enough to
stay on the adult pop charts for years without wearing out
its welcome. It also was catchy enough to engender years
of goodwill. Five years of goodwill, in fact, as the band
toured heavily while slowly tinkering away on their second
album, finally delivering It Won't Be Soon Before Long
(its title perhaps a pun on the gap between records,
perhaps not) half a decade after Songs About Jane. If that
delay sounds like a symptom of sophomore jitters, that's
not exactly true, since during that long stretch between
albums Maroon 5 worked Songs About Jane and, in a sense,
that album wasn't strictly their first album, either.
Maroon 5 evolved out of Kara's Flowers, a post-grunge pop
band whose 1997 debut never took off, not even when their
debut was reissued in the wake of Maroon's success, but it
did provide the group with the foundation for their
success; it's where they paid their dues and learned how
to be a pop band. Traces of Kara's Flowers could be heard
in Maroon's rockier moments on their debut, but under
their new name, the group began to develop an infatuation
with blue-eyed soul-pop, which they wisely develop on It
Won't Be Soon Before Long. More than develop, they
modernize it, borrowing elements of Justin Timberlake's
stylized synthesized soul, but Adam Levine is wise enough
to know that he's no young colt, like JT. He knows that
he's a pop guy, somewhat in the tradition of Hall & Oates,
but he isn't trying to be retro, he's trying to fill that
void, making records that are melodic, stylish, and
soulful, which It Won't Be Soon Before Long certainly is.
In every respect, It Won't Be Soon is a bigger album than
its predecessor: hooks pile up one after another, there's
not an ounce of fat on the songs, the production is so
immaculate that it glistens. If there were lingering
elements of Maroon 5's alt-rock past on Songs About Jane
-- primarily in its lazy, hazy vibe -- they're gone now,
replaced by the sleek, a.ssured sound of a band that's
eager to embrace its status as the big American mainstream
pop band of the decade. But Maroon 5 isn't desperately
grasping at the brass ring, they're playing it smart,
building upon the core strengths of their debut and
crafting a record that's designed to appeal to many
different listeners, from teens crushing on Nelly
Furtado's R&B makeover to adults looking for something
smooth and melodic. It Won't Be Soon Before Long appeals
to both audiences with an ease that seems effortless, but
like any modern blockbuster, this album was shepherded by
several different teams of producers, all brought in to
emphasize a different personality within the group. The
bulk of the record was cut with Spike Stent and Mike
Elizondo -- Stent worked with U2, Oasis, Bj÷rk, and Gwen
Stefani, while Elizondo had produced Fiona Apple and Pink
-- but Queens of the Stone Age producer Eric Valentine was
brought in for a couple of cuts, as was Mark Endert, who
mixed "This Love." There may have been three different
sets of producers, but the album is streamlined and
seamless, never seeming calculated even if it was clearly
made with an eye on mass appeal, and there are two reasons
for that. First, Maroon 5 has gelled as a band, developing
a clean, crisp attack that may bear traces of its
influences -- there are knowing references to Prince, the
Police, even OutKast sprinkled throughout (the keyboard on
"Little of Your Time" is a direct nod to "Hey Ya") -- but
it's a sound that's instantly identifiable as the band's
own signature. Nowhere is that more evident than in how
they can give soulful grooves like "If I Never See Your
Face Again" a rock edge -- or how they can suddenly
explode into shards of noise as they do on the coda of
"Kiwi" -- or how when the electronic instruments dominate
the production, the music still breathes like the work of
an actual band, not like something that was constructed on
a computer. But like with any good blue-eyed soul, the
reason that this album works is the songs themselves. Even
the flashiest production-driven tracks here -- the opening
one-two punch of "If I Never See Your Face Again" and
"Makes Me Wonder" -- aren't about feel; they're about the
songs, which are uniformly tight and tuneful, sounding
better with repeated plays, the way any radio-oriented pop
should. If some of the ballads aren't as distinguished as
the livelier tracks, they nevertheless are as sharply
crafted as the rest, and the end result is that It Won't
Be Soon Before Long is that rare self-stylized blockbuster
album that sounds as big and satisfying as was intended. ~
Stephen Thomas Erlewine, All Music Guide[/code]
 05-14-2007, 04:16 PM         #3122
lagirl4music 
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Yo whats goin on people, anyone heard of this guy Funky C his music is dope. My friend from UMGD took me to his show a while back, his style is so mixed. I just found his myspace and it said he has an album coming out on May 15th named “JOYA”. I want u guys to take a listen let me know what you think.
 11 years ago '07        #3123
Bobolob 
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$11 | Props total: 0 0

[pic - click to view]



:D

1. The Trenches (Intro)
2. I'm Back
3. You Don't Pt. 2 (Raw Basement Version)
4. World Domination feat. Mingo& Arablak
5. Root Of Evil (Interlude)
6. INITOWNIT (Hot sh*t)
7. The Way It Is
8. Bad Day Part 2
9. Radio Raheem Droppin Jewels (Skit)
10. Love And Hate (Remix) feat. Camara, Crisis, Iceberg
11. Transportation
12. Frontline (Outro)
13. When U Listen feat. DJ Shame

Produced entirely by Cyrus Tha Great



Album is pretty good, my cousin Cyrus is a member of the group. I liked this sh*t alot though. Ill beats ill rhymes. Classic hip-hop.


4 mics
 11 years ago '07        #3124
Bobolob 
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$11 | Props total: 0 0
^^^^ Up
 05-16-2007, 08:21 PM         #3125
teeeeeeeemunney 
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$n/a | Props total:  

[pic - click to view]



Original article can be found at:
Rating: 4 of 5 stars

Rap metal is dead. Linkin Park are not, because they were always more than the meager sum of that combination -- more pop and classic rock in their riffs, hooks and drive, even on Collision Course, their 2004 mash-up with Jay-Z. On Minutes to Midnight, co-produced by Rick Rubin, Linkin Park are more of something else -- topical -- and furiously good at it. In the last song, "The Little Things Give You Away," the band coolly torpedoes George W. Bush's petty, disastrous arrogance on Iraq and New Orleans (for starters), building from acoustic strum and soft-shoe electronics to magisterial Seventies-arena guitar and lacerating disgust. "All you've ever wanted was someone to truly look up to you," Chester Bennington sings. "And six feet underwater/I do."

That's not all. Bennington is not going over old-girlfriend ground when he promises, "Your time is borrowed," in the hammering thrash of "No More Sorrow." And Mike Shinoda's state-of-disbelief rap "Hands Held High" comes with military-funeral drums and an "amen" chorus. This would be as much fun as a filibuster if Linkin Park did not pay equal attention to the punch and detail in the gritty stomp "Bleed It Out" and the balled-fist guilt of "What I've Done." "Shadow of the Day" is a too-literal echo of Joshua Tree-era U2, but most of Minutes is honed, metallic pop with a hip-hop stride and a wake-up kick. "What the fu*k is wrong with me?" Bennington barks over the jingle bells and distortion in "Given Up." The answer all over this record: nothing that getting off your a.ss can't fix.

-David Fricke, Rolling Stone

props are much appreciated
 05-16-2007, 08:27 PM         #3126
The Impaler 
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Every damn track got a feature on it.
 11 years ago '06        #3127
NeverTrump 102 heat pts102
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$58,274 | Props total: 17435 17435
fu*kin rating an album before it comes out is not only pointless its just fu*kin retarded
 11 years ago '06        #3128
thirdb1587 9 heat pts
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$686 | Props total: 48 48
gotta say...i really think their old stuff was better. well at least they tried to be different, just didn't work
 11 years ago '04        #3129
skillz231213 
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$2,214 | Props total: 1 1
I hate when this happen i think the album is leak and its not
 05-17-2007, 02:48 AM         #3130
hiroglifix 
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i dunno where the thread starter came up wit like hundred titles

but yeah like that one guy said up there, these 18 tracks are given by alotta legit online cd stores and sh*t .


01. From Nothin' To Somethin' Intro (Produced by Reefa)
02. Yup I'm Back (Produced by Freebass)
03. Change Up (Feat. Akon) (Produced by Akon)
04. Make Me Better (Feat. Ne-Yo) (Produced by Timbaland)
05. Baby Don't Go (Feat. T-Pain) (Produced by Jermaine Dupri)
06. Return Of The Hustle (Feat. Swizz Beatz) (Produced by Just Blaze)
07. Gangsta Don't Play (Feat. Junior Reid) (Produced by Reefa)
08. Real Playa Like (Feat. Lloyd) (Produced by Polow Da Don)
09. Let's Make Love (Feat. Keyshia Cole) (Produced by Jermaine Dupri)
10. Diamonds (Feat. Young Jeezy) (Produced by Steve Morales)
11. Brooklyn (Feat. Jay-Z & Uncle murder) (Produced by Versatile)
12. I'm The Man (Feat. Red Cafe) (Produced by Reefa)
13. Hustla's Posterchild (Feat. Cassidy) (Produced by Neo Da Matrix)
14. Joke's On You (Feat. Pusha T) (Produced by Don Cannon)
15. What Should I Do (Feat. Lil' Mo) (Produced by Amadeus)
16. Foggin' Up The Windows (Produced by The Runners)
17. This Is Family (Feat. Ransom, Freck the Billionaire, Red Cafe, Joe Budden & Paul Cain) (Produced by Nova)
18. First Time (Feat. Rhianna) (Produced by Big Tank)
 11 years ago '06        #3131
dandman 
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$611 | Props total: 1 1
where's i shine you shine?
 11 years ago '05        #3132
mattdogg444 
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$14,580 | Props total: 947 947

[pic - click to view]



County Hound (Intro)(Prod. by Eminem)
That n*gga A Gangsta (Prod. by Rikanatti)
Gun Rule (Prod. by Eminem)
Ms. Jenkins (Prod. by Eminem)
Just Like Me (Prod. by Rikanatti & Keno)
Pistol Poppin' (featuring Eminem) (Prod. by Eminem & Luis Resto)
Thought Of suicide (Prod. by Ron Browz)
Lac Motion (Bonus) (Prod. by Eminem)
 11 years ago '05        #3133
mattdogg444 
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$14,580 | Props total: 947 947
for an EP its dope 4/5 mics...i was really feeling it and to be honest on the re up i thought he was garbage
 05-17-2007, 10:22 PM         #3134
DonTolo 
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its a good ep, four mics
 05-17-2007, 11:53 PM         #3135
juelzsantana444 
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 dandman said:
where's i shine you shine?
i no thats what i was wonderin cuzz that song is tight
 05-18-2007, 09:08 AM         #3136
ILLmag 7 
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4/5...sh*t is great...production is awesome
 11 years ago '06        #3137
Chater 
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$1,277 | Props total: 0 0
There were 2 notable suprises when listening to this..

Cashis raps good
Eminem's beats are good

They are both excellent and a 5/5 EP
 05-18-2007, 11:46 AM         #3138
S-DAWG 
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 Chater said:
There were 2 notable suprises when listening to this..

Cashis raps good
Eminem's beats are good

They are both excellent and a 5/5 EP
x__S-DAWG___
 05-21-2007, 11:45 PM         #3139
South$ide12 
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that block on smash is not on there.......i seen the right tracklist for his album its gonna be fire
 05-23-2007, 08:08 AM         #3140
pullmyfinger714 
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Unlike some of you youngin’s, I can remember back to a time when R&B was actually...well, good. No one gave a damn about a Destiny’s Child (TLC had that sh*t on lock), Usher still had some sort of artistic integrity, and you had Aaliyah, Jodeci, Boyz-II-Men and Dru Hill all throwing down.
Fast forward a few years, and R&B is in a real slump. Aaliyah and Left Eye’s lives ended in tragedy, and the great R&B groups of yesteryear disappeared. D’Angelo got into that car accident, and had been M.I.A. since (sidenote: dude is coming back, and yes, he will be a problem). Now, you’ve got mediocre acts like Mario, Omarion, and Marques Houston runnin’ it (can anyone really tell the difference between these guys?), but in comes Ne-Yo. With an actual quality voice, and songwriting ability to boot, Ne-Yo took the R&B world by storm with his 2006 debut In My Own Words. Around that time, it was revealed that the talented young artist was responsible for writing some of the biggest hits in recent times (Mario’s Let Me Love You being one of them).
Because he is such a formidable presence in a slumping genre and solidifying his hitmaking ability by penning Rihanna’s Unfaithful and Beyoncé’s Irreplacable, all eyes are on Ne-Yo for his sophomore album – Because of You. In terms of pure singing ability, Ne-Yo remains solid on the entire record; however, he won’t amaze you much either. It is undisputable that when it comes to singing, Ne-Yo ranks near the top of current R&B artists. His voice is crisp and smooth; unfortunately, he doesn’t really push himself to give a performance that would have him pushing the limits of his singing ability. Ain’t Thinking About You is a particular example of this, as it suffers from a mediocre singing effort.
Because of You is almost all Ne-Yo, as he keeps the guest list to only two. Saying that he chose his company wisely is an understatement; the singer enlisted the services of none other than Jay-Z and Jennifer Hudson (of Dreamgirls fame). Hov chimes in on the first 30 seconds of Crazy, but his effortless flow sets the confident tone for the song. On Leaving Tonight, Jennifer Hudson and Ne-Yo’s back and forth is one the most rewarding tracks on the record, as Ms. Hudson’s singing pushes Ne-Yo to keep up with her considerable voice. The song, a tale of the doubts in a relationship, is far and away the standout track of the record.
In terms of hit-making ability, there isn’t really anything here that matches In My Own Words’ s3xy Love, So Sick and When You’re Mad. Because of You comes close, but only because it’s almost a replica of his previous singles. This is prevalent in other tracks such as Can We Chill, Angel and Make It Work; if someone told me those songs were leftovers from his previous album, I wouldn’t have trouble believing it.
What really makes this album shine is Ne-Yo’s undeniable songwriting talents. Do You is a touching song attributed to a love that has long since passed: “First off let me say congratulations/Heard that you just had a baby girl/If she looks anything like her mother/She’s the prettiest thing in the world.” The song has a lamenting tone, which is a welcome departure from the often upbeat, syrupy sweet R&B songs tailor-made for casual listeners. Addicted and s3x With My Ex both have Ne-Yo channeling Prince. On s3x With My Ex, Ne-Yo gets particularly freaky: “I...really like the way you go/ Beggin me to not kiss right there/ Oh and you suddenly just lose control/ Beggin’ me to smack it and pull yo’ hair.”
When it comes down to it, you can chalk Because Of You as another “W” for Ne-Yo. It spawns a few more hits, and has a few really standout tracks. The thing about the album that’s regrettable is that Ne-Yo’s sound really hasn’t evolved since his last LP. It seems like the mentality he took with this record was “If it ain’t broke, don’t fix it.” While he certainly is successful in that department, Ne-Yo squandered an opportunity to make something even better. However, in a world where good R&B is so sparse, this is a welcome addition.
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