In 2000, 3 Doors Down's debut The Better Life and its omnipresent single "Kryptonite" authoritatively established the Escatawpa, MS band as rock stars in the vein of fellow New Arena rockers Creed. After extensive touring and over 6 million albums sold, it might have been difficult for the band to focus on their sophomore release. But vocalist Brad Arnold, guitarists Matt Roberts and Chris Henderson, bassist Todd Harrell, and new drummer Daniel Adair (who took over to free Arnold from behind the kit) retreated to a rented house in sleepy Escatawpa to jam on ideas and lyrics that had been formulated over long months on tour.
What sophomore slump? Away From The Sun, released in November of 2002, immediately went Gold, and reached Platinum in early January 2003. It's a much more accomplished album than The Better Life, smoothing out most of the rough patches that slowed down the debut. Lead single "When I'm Gone" is a muscular blues-rocker that recalls Kenny Wayne Shepherd -- it's representative of the album's predominantly mid-tempo arrangements that focus on Arnold's contemplative lyrics. He doesn't proselytize like Creed's Scott Stapp, nor does he rely on obvious nu-metal clichés like Saliva's Joey Scott. Instead, Arnold's lyrics lean more towards the first-person confessional style favored by Southern rock mainstays such as the Allman Brothers or Lynyrd Skynyrd. While Universal/Republic might lump them in with the chest-thumpers and active rock doomsayers, Away From The Sun makes it clear that 3 Doors Down are really more comfortable where the sky is always blue.
With The Da Vinci Code, Dan Brown masterfully concocts an intelligent and lucid thriller that marries the gusto of an international murder mystery with a collection of fascinating esoteria culled from 2,000 years of Western history. A murder in the silent after-hour halls of the Louvre museum reveals a sinister plot to uncover a secret that has been protected by a clandestine society since the days of Christ. The victim is a high-ranking agent of this ancient society who, in the moments before his death, manages to leave gruesome clues at the scene that only his granddaughter, noted cryptographer Sophie Neveu, and Robert Langdon, a famed symbologist, can untangle. The duo become both suspects and detectives searching for not only Neveu's grandfather's murderer but also the stunning secret of the ages he was charged to protect. Mere steps ahead of the authorities and the deadly competition, the mystery leads Neveu and Langdon on a breathless flight through France, England, and history itself. Brown (Angels and Demons) has created a page-turning thriller that also provides an amazing interpretation of Western history. Brown's hero and heroine embark on a lofty and intriguing exploration of some of Western culture's greatest mysteries--from the nature of the Mona Lisa's smile to the secret of the Holy Grail. Though some will quibble with the veracity of Brown's conjectures, therein lies the fun. The Da Vinci Code is an enthralling read that provides rich food for thought.
Last update: 29-09-2007 17:48
[2007] Original Soundtrack - Music And Lyrics (Mp3 Download)
Review by Heather Phares as it shown on allmusic.com
Rather than just slapping together some pre-existing, heartwarming tunes, the soundtrack to the songwriters-in-love rom-com Music and Lyrics features custom-written songs that lovingly send up the sounds of '80s and 2000s pop. In fact, pop is so important to Music and Lyrics that "Pop!" is the name of the '80s group that Hugh Grant's character is a former member of, and Pop!'s sound is a fusion of New Romantics like ABC and Spandau Ballet mixed with a healthy dose of Wham!'s giddy but more mainstream new wave. On "Pop! Goes My Heart," Grant's voice bears an uncanny resemblance to ABC's suave frontman, Martin Fry. Meanwhile, "Meaningless Kiss" -- which was penned by Fountains of Wayne's chameleon-like songwriter, Adam Schlesigner -- is a terrific send-up of Wham!'s "Careless Whisper" that works because it gets all of the nuances right instead of going for obvious parody. Schlesinger also penned the soundtrack's main love song "Way Back into Love," which sounds especially charming in the demo duet between Grant and Drew Barrymore. Music and Lyrics also takes affectionate aim at the sound of 2000s pop with two Britney Spears-esque songs: with its twangy guitars and Middle Eastern-inspired melody, "Buddha's Delight" plays like a more demure version of "Toxic," while "Slam" nods to the Neptunes' slinky, percussive production on "I'm a Slave 4 U." Even with the inclusion of two songs that weren't created for the movie (the Sounds' "Tony the Beat" and Teddybears' "Different Sound"), Music and Lyrics feels more like the soundtrack from a musical than a romantic comedy, and only a few of the songs ("Bootytown," "Don't Write Me Off") feel like obvious parodies -- these are the best compliments that you can pay to this kind of project.
Last update: 29-09-2007 17:30
Harry Potter And The Deathly Hallows (pdf Download)
Readers beware. The brilliant, breathtaking conclusion to J.K. Rowling's spellbinding series is not for the faint of heart--such revelations, battles, and betrayals await in Harry Potter and the Deathly Hallows that no fan will make it to the end unscathed. Luckily, Rowling has prepped loyal readers for the end of her series by doling out increasingly dark and dangerous tales of magic and mystery, shot through with lessons about honor and contempt, love and loss, and right and wrong. Fear not, you will find no spoilers in our review--to tell the plot would ruin the journey, and Harry Potter and the Deathly Hallows is an odyssey the likes of which Rowling's fans have not yet seen, and are not likely to forget. But we would be remiss if we did not offer one small suggestion before you embark on your final adventure with Harry--bring plenty of tissues.
The heart of Book 7 is a hero's mission--not just in Harry's quest for the Horcruxes, but in his journey from boy to man--and Harry faces more danger than that found in all six books combined, from the direct threat of the Death Eaters and you-know-who, to the subtle perils of losing faith in himself. Attentive readers would do well to remember Dumbledore's warning about making the choice between "what is right and what is easy," and know that Rowling applies the same difficult principle to the conclusion of her series. While fans will find the answers to hotly speculated questions about Dumbledore, Snape, and you-know-who, it is a testament to Rowling's skill as a storyteller that even the most astute and careful reader will be taken by surprise.
Review by Ross Boissoneau as it written on allmusic.com
Mike Oldfield has always been a bit of a musical dilettante, and Voyager is no exception. If he didn't come by it honestly, one might almost suspect this album's Celtic influences derived from that music's being in vogue when this disc was recorded. There are certainly some enjoyable melodies herein, but nothing that rises above the ordinary. Oldfield's stinging guitar work is in evidence, and some synthesized bagpipes try to lend it an air of majesty, but ultimately this recording doesn't really voyage much of anywhere.
Review by Johnny Loftus at allmusic.com
Review by Amazon.com (Jeremy Pugh) 
Review by Heather Phares as it shown on allmusic.com
Review by Daphne Durham as it shown on amazon.com
Review by Ross Boissoneau as it written on allmusic.com
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