None of these CDs were ripped by me. Thanks to uploaders, maybe most are members of Demonoid's. In vol. III and IV of Smooth Jazz @flacpack I allowed myself some concessions in the choice of a few albums that, in a radical vision (and listening), really don't belong to the universe of smooth jazz's genre. 'Tim Weisberg ('High Risk') in Vol. III and David Sandborn ('Closer') in vol. IV are two examples, for less or more. But for those who are tolerant fans of the genre, will be not hard to forgive the overly generous criterion of choice.
I made a change in the list of albums of this Vol. IV. I've replaced 'Rick Braun - Kisses in the Rain [2001]' by 'Fourplay - Journey [2004]' because the track title (nº 2) of 'Kisses in the Rain' was corrupted. Anyone interested in downloading Rick Braun's album (with track nº 2 corrupted) there's a release of our Demonoid's fellow ibticktock here:

Feb 12, 2018 - Those who download illegally via torrent files should be aware of the. Torrents do not contain the file you wish to download, but instead,. Too often, though, the disc settles for the mediocre and the innocuous, the most obvious example being 'Til I Hurt You,' an undistinguished tune carefully tooled for airplay, featuring the indecipherably mumbled vocals of Michael McDonald. Some of the songs on the torrent get misidentified as band 'Tolgateers' due to. Wow, you deserve gold, too bad im poor asf though. Seeding is when you have finished download and proceed to allow it to upload to other people leeching. I think you need to offer some sort of proof of ownership, etc.

My bandwidth: 60 kBps. So be patient.

Feels Mp3 Download

01. Boney James - Send One Your Love [2009]

tracklist:

1. Wanna Show U Sumthin'
   
2. Send One Your Love
   
3. Stop, Look, Listen (To Your Heart)
   
4. Touch
   
5. Don't Let Me Be Lonely Tonight
   
6. Hold On Tight
   
7. I'm Gonna Love You Just A Little More Baby
   
8. City Of Light
   
9. Butter
   
10. I'll Be Good To You
    

Review

Released 11 days before Valentine's Day 2009, Boney James' album Send One Your Love seems intended to function as his romance-themed disc for the holiday. Not that any of the smooth-playing saxophonist's CDs wouldn't serve almost equally well as accompaniment to a candlelit dinner and all that comes after, but Send One Your Love is particularly suited to a night of love.

In Boney James' estimation, the height of tender emotion seems to be located on the R&B charts of the mid-'70s; in addition to the title tune, penned by Stevie Wonder, the album contains his jazzy treatments of the Stylistics' 'Stop, Look, Listen (To Your Heart),' Barry White's 'I'm Gonna Love You Just a Little Bit More Baby,' and the Brothers Johnson's 'I'll Be Good to You.'

In the case of 'Don't Let Me Be Lonely Tonight,' which here features a soulful vocalist over-emoting his way through the lyrics, Boney James may be recalling Nancy Wilson's version rather than the folk-pop one by its composer, James Taylor. But whether the familiar melodies are intended to recall young love for listeners or the tunes are originals, the music is typically soothing, making this another Boney James album much like its predecessors. (by William Ruhlmann/www.allmusic.com)

Biography

A solid saxophonist whose style falls on the R&B-ish and pop side of jazz, Boney James (who is heavily influenced by Grover Washington, Jr.) is a consistent best-seller who can always be relied upon to put on a colorful live show. Born James Oppenheim, he grew up in New Rochelle, NY. The future Boney James studied clarinet when he was eight, switching to saxophone two years later.

When he was 15, his family moved to Los Angeles. James was soon playing in a fusion band (Line One) which was strong enough to open for Flora Purim and the Yellowjackets. After a year attending U.C. Berkeley, he transferred to U.C.L.A. so he could continue playing with the band. He earned a degree in history but became a full-time musician after graduation, doubling on keyboards. James went on the road as a keyboardist with Morris Day in 1985 and eventually convinced Day that he should be playing saxophone instead.

He spent four years with Day and became in-demand for guest spots on tenor, alto, soprano, and flute, playing with Randy Crawford, Sheena Easton, the Isley Brothers, Bobby Caldwell, and others. He picked up his nickname while on tour with Crawford. After mentioning to a keyboardist that he was running out of food money, the musician replied that if he ate any less, he would have to be called Boney James.

The popular saxophonist made his debut as a leader with Trust in 1992 (Spindletop) and then in 1994 was signed by Warner Bros., where he recorded dates including Backbone, Seduction, Boney's Funky Christmas, Sweet Thing, Shake It Up, Ride, and Pure. In 2006, Boney made the move to Concord Records and released Shine. Send One Your Love followed in 2009. (by Scott Yanow/www.allmusic.com)

02. Dave Koz - Saxophonic [2003]

tracklist:

1. Honey-Dipped
   
2. Love Changes Everything
   
3. All I See is You
   
4. Just to Be Next to You
   
5. Let it Free
   
6. Undeniable
   
7. Saxophonic (Come on Up)
   
8. Definition of Beautiful
   
9. Sound of the Underground
   
10. Only Tomorrow Knows
    
11. I Believe
    
12. A View from Above
    
13. One Last Thing
    

Review

This likeable, ultra funky, and melodic saxman is one of the few smooth jazz performers whose consistent gold sales status, and omnipresence in the genre (including DJ'ing a morning show at one of the country's top stations, and two annual tours) makes him a crossover superstar. But his breakneck multi-media schedule is only part of the reason he can get away with only recording a new studio album every three or four years; his discs are usually so deep in picture perfect potential hit singles that Capitol can milk the album for that long with constant radio play.

He has a tough act to follow here after 1999's magnificent The Dance spawned no less than five Top Five contemporary jazz singles. He doesn't disappoint for a second, packing this sax-intensive collection with hook after hook amidst a mix of edgy funk, mid-tempo chill vibes, and some unique sonic experiments, including sampling old jazz tracks on the crazy-making, hip-hop scratcher 'Sound of the Underground,' featuring some nifty harmonies from trumpeter Chris Botti, and a colorful move into house music with 'Only Tomorrow Knows,' that may surprise those who always expect him to stay in the mainstream.

Whereas The Dance was cover-happy, Saxophonic stands strong on all original tunes, broken up four at a time by Acts One, Two, and Three, which are defined by the overall vibe of the section. Act One is funkified, slickly produced (Jeff Lorber and Brian Culbertson had a hand), heavy on the horn doubling and soul, (represented by the irresistible opener 'Honey-dipped').

Act Two has more ambience, and fresh, mid-tempo attitude, a balance of the feisty electronic hip-hop crackle of the title track, and the lush romance of 'Definition of Beautiful,' featuring vocals by labelmate Javier. Act Three offers the aforementioned experiments, plus a torchy ballad and a colorful thumping duet with Marc Antoine. The Curtain Call ballad, 'One Last Thing,' is a sweet, gospel-flavored sax-piano duet produced by Brian McKnight.

One curious disappointment flutters amidst all the success here; the tracks that advertise contributions by McKnight and Bobby Caldwell only use them in a minor backing capacity. Yes, this makes things more 'saxophonic,' but why bring such talent on the journey if they're hardly present in the mix? That gripe aside, with the abundance of future hits here, Koz can probably hold off till 2006 at least. (by Jonathan Widran/www.allmusic.com)

Biography

The latest contender for the instrumental pop saxophone throne, Dave Koz came out of nowhere after his self-titled 1990 release made it onto the Billboard contemporary jazz charts and stayed there several weeks. He has more fire and intensity in his work than Kenny G, and often sounds like a reworked David Sanborn. Koz also played on Arsenio Hall's show, which increased his popularity among the urban contemporary, light jazz, and pop audiences.

Koz plays instrumental pop covers and some upbeat tunes, and generally sticks to the fusion production formula: background vocalists, synthesizers, and drum machines, a minimum amount of solo space, and so on. His sessions are available on CD and have been regularly released since his first appearance on the scene. Switch wired controller plus pc. Highlights include 1993's peppy Lucky Man, 1999's collaboration-heavy Dance, 2001's holiday treat A Smooth Jazz Christmas, and 2007's film music-themed At the Movies. Koz left EMI to sign with Concord in 2010 for the release of Hello Tomorrow, produced by John Burk and Marcus Miller. (by Ron Wynn/www.allmusic.com)

03. David Sanborn - Closer [2005]

In just three years, Boosie Badazz has gone from facing the death penalty at Louisiana's notorious Angola State Penitentiary (he was found not guilty on murder charges) to releasing a major-label LP with Young Thug, T.I. Boosie was a prolific recording artist even while locked up, but 'Touch Down' feels especially considered — he clearly spent his time inside thinking deeply about what this comeback album should mean. 'Touch Down 2 Cause Hell,' Boosie's sixth album and his first formal full-length since his release, could have emerged only from these circumstances. And Rick Ross. Touchdown 2 cause hell download. In the interim, his music became an ad hoc soundtrack to the protests on the bloody streets of Ferguson, Mo., and he's ascended to the current vanguard of weird Southern rap with tales of post-prison life that add essential new layers to today's music of police protest.

tracklist:

1. Tin Tin Deo
   
2. Señor Blues
   
3. Don't Let Me Be Lonely Tonight
   
4. Smile
   
5. Enchantment
   
6. Ballad of the Sad Young Men
   
7. Another Time, Another Place
   
8. Capetown Fringe
   
9. Poinciana
   
10. You Must Believe in Spring
    
11. Sofia
    

Review

Saxophonist and composer David Sanborn has always been a maverick. A top-notch technician, he has always imbued his playing with deep emotion -- indeed, that emotional element in his playing has been his signature since he began leading his own bands on record in the 1970s. He has wed modern jazz sophistication to the smooth jazz groove for many years now, and has followed his muse while remaining a commercially viable artist. Closer is another exercise in ambition for Sanborn and his sidemen. They include bassist Christian McBride, guitarist Russell Malone, Larry Goldings on electric piano and organ, vibist Mike Manieri, and drummer Steve Gadd, among others.

The material is a fine collection of pop tunes, standards, and surprises from the jazz canon. First, the bad news: Sanborn and vocalist Liz Wright team up for a version of James Taylor's 'Don't Let Me Be Lonely Tonight' that is as bland as soy milk. That said, Sanborn's read of Abdullah Ibrahim's 'Capetown Fringe' carries within it the joy and dignity of Ibrahim's original and proves to the public something Sanborn has been aware of all along -- that the composer's music is truly accessible to the masses.

Underscore this for the album's opener, a smoking little groove read of Gil Fuller and Chano Pozo's 'Tin Tin Deo.' Horace Silver's 'Enchantment' and 'Señor' are given fine finger-popping treatments, as are the stellar standards 'Ballad of the Sad Young Men,' 'You Must Believe in Spring,' and the beautiful 'Poinciana.' There is a lovely version of Charlie Chaplin's 'Smile' here, given chamber orchestra treatment. Sanborn contributes a pair as well, in the silvery ballad 'Another Time, Another Place' and the album's closer, the haunting 'Sofia,' with a fine string and horn treatment by Gil Goldstein. Once more, Sanborn has wed his commercial and creative aspirations into a thoroughly engaging whole. (by Thom Jurek/www.allmusic.com)

04. Eric Darius - On A Mission [2010]

tracklist:

1. Settin' It Off
   
2. Soulful Stride
   
3. Let's Go!
   
4. Uptown Swagger
   
5. Jean Marie's Groove
   
6. Kingston's Flavor
   
7. Butterfly
   
8. Move To It
   
9. Nu Trane Of Thought
   
10. My Prayer For Haiti
    

Biography

A smooth jazz saxophonist, Eric Darius was a Young Lion of sorts who began performing at a young age. A New Jersey native who grew up in Tampa, FL, Darius received his first saxophone at age ten and a year later was touring with the youth-based Sonny LaRosa & America's Youngest Jazz Band, which culminated in a performance at the Montreux Jazz Festival in Switzerland. He was an active member of his high-school jazz ensemble and released his own album Cruisin' at age 17. In 2004, Darius released his formal debut album, Night on the Town, on Higher Octave. Two years later he released Just Getting Started on Narada Jazz. In 2008, Darius signed to Blue Note and released Goin' All Out. (by Matt Collar/www.allmusic.com)

05. Fourplay - Journey [2004]

tracklist:

1. Fields of Gold
   
2. Play Around It
   
3. From Day One
   
4. Journey
   
5. Rozil
   
6. Cool Train
   
7. Avalabop
   
8. The Firehouse Chill
   
9. Departure
   
10. 147 4th St
    

Personnel:

Bob James (Keyboards, Cover Painting)
Larry Carlton (Guitar, Composer)
Nathan East (Bass, Guitar (Bass), Vocals, Background Vocals, Composer)
Harvey Mason, Sr. (Drums, Drum Sequencing, Percussion, Vibraphone, Composer)

Review

Smooth jazz supergroup Fourplay bring more laid-back pop tunes and lite jams to the group's eighth studio album, Journey. There aren't many surprises here for anyone familiar with the genre. However, pianist Bob James is a brilliant composer and tasteful improviser, and he raises the bar here on tracks like the intricate 'From Day One' and the atmospheric 'Departure.' Similarly, drummer Harvey Mason's Brazilian jazz-inflected 'Rozil' stands out, as does bassist/vocalist Nathan East's title track, which calls to mind guitarist Eric Clapton's acoustic work. This is a pleasant album that should appeal to longtime fans.(by Matt Collar/www.allmusicguide.com)

06. Jeff Lorber - Heard That [2008]

tracklist:

1. Come On Up
   
2. Rehab
   
3. Don't Hold Back
   
4. You Got Something
   
5. Gamma Rays
   
6. Don't Stop
   
7. The Bomb
   
8. Take Control
   
9. Night Sky
   
10. Heard That
    

Review

It was some measure of the peculiarities of music marketing that 2008's Heard That, veteran keyboardist Jeff Lorber's debut for Peak Records, was categorized as 'contemporary jazz,' even though its musical style was essentially the same brand of pop-jazz fusion he had been playing since his first recording more than three decades earlier. But it was also some measure of the state of jazz itself, which arguably not only had not 'progressed' since 1977, but had actually 'regressed,' with many musicians re-investigating the traditional jazz that preceded 'contemporary jazz.'

Heard That was 'contemporary jazz' in the sense that nothing had come along that was any more modern than what Lorber and his associates came up with originally. Still, a listener encountering this album without any foreknowledge would be likely to take in the popping basslines, wah-wah guitar riffs, funk rhythms, occasional R&B vocals, and, of course, the leader's melodic soloing, usually on the electronic piano, and suppose that the 1970s never ended. A technical exception to that impression might come with the second track, Lorber's version of Amy Winehouse's hit 'Rehab.' But, of course, that tune itself sounds like something from the '60s, in particular the Ramsey Lewis jazz/pop hit 'The In Crowd,' a song Lorber covered already.

On the disc, Lorber collaborated closely with Rex Rideout, who co-produced with him and even joined in on keyboards, here and there, such that it was impossible to tell which of them was playing at any given moment. But the result still sounded like Lorber. Maybe the time had come to invent a new name for music played in this style. Could there be such a thing as 'retro-contemporary jazz'? If so, it might sound like this. Download pictures from samsung s7. (by William Ruhlmann/www.allmusic.com)

Biography

With a smooth sound bringing together elements of funk, R&B, rock, and electric jazz, keyboardist Jeff Lorber helped pioneer a genre of fusion later formatted under such names as NAC and contemporary jazz. Born in Philadelphia on November 4, 1952, he began playing the piano at the age of four, and as a teen performed with a variety of local R&B bands. Lorber's infatuation with jazz began during his stay at the Berklee College of Music, and after forming the Jeff Lorber Fusion he issued the group's self-titled debut in 1977. During the first half of the following decade, the band became one of the most popular jazz acts of the period, touring nonstop and even scoring a Best R&B Instrumental Grammy nomination for the radio hit 'Pacific Coast Highway.'

Released in 1986, Private Passion was Lorber's most successful outing yet, but at this commercial peak he stopped recording, instead turning to production and session work. He did not issue his first proper solo LP until 1991's Worth Waiting For, remaining both a prolific performer and producer for the rest of the decade. He recorded for Verve and Zebra in the '90s before moving over to Narada in the 2000s and releasing successful smooth jazz albums like 2003's Philly Style and 2005's Flipside. He released He Had a Hat on Blue Note in 2007. In 2010, Lorber released the '70s funk and soul inflected Heard That. (by Jason Ankeny/www.allmusic.com)

07. Larry Carlton - Fingerprints [2000]

tracklist:

1. Fingerprints
   
2. Silky Smooth
   
3. The Storyteller
   
4. 'Til I Hurt You
   
5. Slave Song
   
6. All Thru the Night
   
7. Lazy Susan
   
8. Chicks with Kickstands
   
9. Gracias
   
10. Crying Hands
    

Review

After a period of recording with Fourplay in the late '90s, Larry Carlton comes back under his own name with a collection that is typically both tantalizing and frustrating. It's tantalizing in that you get flashes and streaks of what this extremely gifted and eloquent guitarist can do when the material is good enough to inspire him. It's frustrating, however, because there isn't enough of it; Carlton can only do so much with the weak-to-middling tunes that take up the majority of the disc.

Nevertheless, the title cut is a fine example of the smooth jazz genre at its most ingratiating, with a nice groove and tasty guitar work. 'Slave Song' is even better, spangled with intriguing instrumental touches (including the multitracked saxes of Kirk Whalum); some great, funky octave work right in the pocket; and most unusually in the smooth jazz arena, a passionate instrumental chorus on the way to the fade.

'Gracias,' a Latin-flavored acoustic-guitar duet between Carlton and country music's Vince Gill, may be the album's masterpiece; together, the two create the disc's most beautiful tunes and licks, evoking memories of Chet Atkins' best celebrity duo sessions. Too often, though, the disc settles for the mediocre and the innocuous, the most obvious example being 'Til I Hurt You,' an undistinguished tune carefully tooled for airplay, featuring the indecipherably mumbled vocals of Michael McDonald. Yet Fingerprints' best stuff, in addition to Carlton's sterling efforts to make the rest come alive, redeems the package. (by Richard S. Ginell/www.almusic.com)

08. VA - Smooth Jazz Chill Out Lounge [2009]

tracklist:

1. Ruben Willmer Band - Love L.A.
   
2. Ty Pursglove - Sunshine At Night
   
3. Ramsey Gold - Circles And Grooves
   
4. Adrien Wilcox - Rendezvouz 72.5
   
5. Baby Colby - Cruising FM
   
6. Talon Bourne - Sweet Necessities
   
7. Bruce Andrews - Funky And Blue
   
8. Aiden Carter - Spring With U
   
9. Tyler Broughton - So Documentary
   
10. Mateo Flowers - Boots Are Knocking
    
11. Sean Pratt - Big Time Girl
    
12. Cody Hobart - Swirl Around
    
13. Kurt Bowett Trio - Route To Canada
    
14. Brian Berdwell - Less Mind More Fun
    
15. Dane Emerson - The Big Easy
    

09. The Rippingtons – Cote D'Azur [2011]

tracklist:

1. Cote D’Azur
   
2. Le Calypso
   
3. Bandol
   
4. Sainte Maxime
   
5. Postcard From Cannes
   
6. Passage To Marseilles
   
7. Provence
   
8. Riviera Jam
   
9. Rue Paradis
   
10. Mesmerized
    

Review

The Rippingtons have a long history of coming up with album titles and song titles that were inspired by foreign locations; their album titles have included Weekend in Monaco, Kilimanjaro, and Life in the Tropics, and their song titles have included 'Morocco,' 'St. Tropez,' 'Seven Nights in Rome,' 'One Summer Night in Brazil,' and 'Under a Spanish Moon.' Unfortunately, they also have a long history of making sure that the music itself isn't as interesting as the titles, which is to be expected when artists go out of their way to give smooth jazz/NAC radio stations the sort of innocuous background music they think program directors will accept. But Côte D'Azur, it turns out, has more going for it than many of the Rippingtons' other albums.

In French, the name Côte D'Azur refers to what is called the French Riviera in English – and according to Rippingtons leader Russ Freeman, the material on this early-2011 release was inspired by his many visits to the South of France. Côte D'Azur may not be especially French-sounding to American Francophiles who equate France with chanson and French pop. But it's important to remember that France, like the United States and Great Britain, is quite multicultural. France, for example, has many people of Arabic descent; so it makes perfect sense for 'Passage to Marseilles' to have a strong Middle Eastern/North African energy. France has its share of Caribbean immigrants as well, and the Caribbean flavor on 'Le Calypso' is equally appropriate. Thankfully, Freeman allows a certain amount of edginess to assert itself on this 40-minute CD.

Those who associate the Rippingtons with mind-numbing elevator music will be pleasantly surprised by how much edgier they sound on 'Passage to Marseilles' and 'Le Calypso' as well as on the funky 'Riviera Jam' and the flamenco-flavored 'Bandol.' That's the good news; the bad news is that Côte D'Azur has its share of elevator fluff as well, which is regrettable because on the best parts of the disc, Freeman sounds like he longs to liberate himself from the shackles of smooth jazz/NAC radio. But again, Côte D'Azur has its moments – and it's good to see Freeman allowing more edginess to emerge at least some of the time. (by Alex Henderson/www.allmusic.com)

Biography

One of the most popular groups in what is loosely termed 'contemporary jazz,' the Rippingtons were formed (and have been led ever since) by guitarist/keyboardist Russ Freeman (no relation to the veteran West Coast bop pianist of the same name). Freeman (born February 11, 1960, in Nashville) studied at Cal Arts and UCLA, and recorded Nocturnal Playground as a leader in 1985 for the Brainchild label, a one-man project.

In 1987, he was approached to record for the Japanese Alfa label and came up with the Rippingtons name for the all-star group he used on the disc (Moonlighting), an ensemble featuring David Benoit, Kenny G., and Brandon Fields. Their album was released domestically by Passport and became a hit. Freeman soon formed a regular touring band (usually including saxophonist Jeff Kashiwa, bassist Kim Stone, drummer Tony Morales, and percussionist Steve Reid), cut a second disc for Passport, and the group recorded regularly for GRP.

Russ Freeman writes all of the music for the Rippingtons, much of which falls in the pop/R&B genre. In the late '90s, the group moved over to the Windham Hill label, recording such albums as Black Diamond (1997), Topaz (1999), Live! Across America, and Life in the Tropics (both in 2000). For 2003's Let It Ripp, the band relied heavily on their horn section to carry the weight of the album. The Latin-flavored Wild Card followed in 2005. The band returned in 2009 with Modern Art. In 2011, The Rippington's released the South of France inspired Côte D'azur. (by Scott Yanow/www.allmusic.com)

10. Wayman Tisdale - Rebound [2008]

tracklist:

1. Rebound
   
2. Throwin' It Down (feat. Darren Rahn)
   
3. Front Runna
   
4. One on One
   
5. In Love
   
6. Never, Never Gonna Give Ya Up (feat. Toby Keith)
   
7. I Hope You Feel It Too
   
8. Watch Me Play Again (feat. Robert Wilson from The Gap Band)
   
9. I'll Do The Driving (feat. Brian Simpson)
   
10. Comin' Home
    
11. The Turnaround
    
12. Grateful (feat. Marvin Sapp)
    

Review

In the typically lengthy thank-you section included on his eighth CD, Rebound, Wayman Tisdale acknowledges his doctors, as well as the special devotion of associates, friends, and family during a troubled time, as his way of alluding to the bone cancer he suffered in the interim since his last album. 'When life tries to get you down,' he says at the outset of the title track that opens the disc, 'it's the perfect time for a rebound.' That is about as much reference as he makes to his physical challenge, however. Otherwise, the listener might suppose that things are flowing as smoothly as ever for him. Certainly, they are musically.

Rebound is another characteristic contemporary jazz effort for Tisdale, in which his fluid bass playing is heard within the context of highly programmed rhythm tracks. To provide contrast, a few vocals turn up, the most high-profile of them being country star Toby Keith's turn at Barry White's 'Never, Never Gonna Give Ya Up.' Seeking legitimacy, Keith plays it straight, never hamming the song up as much as White himself did, but that keeps it from being as fun as it might be. More impressive is the Gap Band's Robert Wilson on 'Watch Me Play Again,' which draws a parallel to that bass-happy group, and gospel singer Marvin Sapp also makes a strong impression on the closer, 'Grateful,' which also may speak implicitly to Tisdale's resolve to overcome his illness and get back to plucking his bass. (by William Ruhlmann/www.allmusic.com)

Biography

Most athletes who moved into the recording business during the '90s found rap to be their forte, but Wayman Tisdale shifted the field to contemporary jazz with his 1995 debut album, Power Forward, recorded for the Motown subsidiary MoJazz. A 1984 Olympic gold medalist in basketball, All-American at the University of Oklahoma, and member of the Phoenix Suns, Tisdale plays bass in his Fifth Quarter Band. He signed with MoJazz in 1995, releasing Power Forward later that year. By 1996, his second album, In the Zone, had appeared; Decisions followed two years later; Face to Face was issued in early 2001.

In 2003 the gospel album Presents 21 Days was released, while the next year saw Hang Time. In 2006 Tisdale's seventh record, Way Up!, featuring guest artists Bob James, Dave Koz, and George Duke, among others, came out. In 2007, Tisdale was diagnosed with bone cancer, but he recovered sufficiently to release his eighth album, Rebound, in 2008, featuring a version of Barry White's 'Never, Never Gonna Give Ya Up' with country star Toby Keith on vocals. Ultimately, Tisdale passed away on May 15, 2009, at age 44 after battling bone cancer for two years. (by John Bush/www.allmusic.com)

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Download In the Air Tonight by Phil Collins

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Phil Collins In the Air Tonight lyrics

Kickasstorrents

I can feel it coming
in the air tonight, oh Lord
And I've been waiting for this moment
for all my life, oh Lord
Can you feel it coming in the air tonight,
oh Lord, oh Lord
Well if you told me you were drowning,
I would not lend a hand
I've seen your face before my friend,
but I don't know if you know who I am
Well I was there and I saw what you did,
I saw it with my own two eyes
So you can wipe off that grin,
I know where you've been
It's all been a pack of lies
And I can feel it coming
in the air tonight, oh Lord
Well I've been waiting for this moment
for all my life, oh Lord
I can feel it coming
in the air tonight, oh Lord
Well I've been waiting for this moment
for all my life, oh Lord, oh Lord
Well I remember, I remember,
don't worry, how could I ever forget
It's the first time,
the last time we ever met
But I know the reason
why you keep your silence up,
oh no you don't fool me
Well the hurt doesn't show,
but the pain still grows
It's no stranger to you and me
I can feel it coming
in the air tonight, oh Lord
Well I've been waiting for this moment
for all my life, oh Lord
I can feel it in the air tonight,
oh Lord, oh lord
Well I've been waiting for this moment
for all my life, oh Lord
I can feel it coming
in the air tonight, oh Lord
And I've been waiting for this moment
for all my life, oh Lord
I can feel it in the air tonight,
oh lord, oh lord, oh lord
Well I've been waiting for this moment
for all my life, oh lord, oh lord
I can feel it in the air tonight,
oh lord, oh lord, oh lord, oh lord
And I've been waiting for this moment
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And I can feel it in the air tonight, Oh Lord..
I've been waiting for this moment,
all my life, Oh Lord, Oh Lord

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