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*FREE* Direct Download - Nelly_Furtado-Loose_(International_Tour_Edition)-2CD-2007-VAG_IN .torrent

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ARTIST: Nelly Furtado
TITLE: Loose (International Tour Edition)
LABEL: Universal
GENRE: Pop
GRABBER: EAC (Secure Mode)
ENCODER: Lame 3.98b4 / -V2 --vbr-new
QUALITY: 212 Kbps Avg / 44.1 KHz / Joint Stereo
PLAYTIME: 1h 28min 44sec total
SIZE: 134.5MB
RELEASE DATE: 03-13-2007
RIP DATE: 08-12-2007


Track List
----------

Disc 1/2
--------
01. Afraid (Feat. Attitude) (Produced By 3:35
Timbaland & Danja)
02. Maneater (Produced By Timbaland & 4:25
Danja)
03. Promiscuous (Feat. Timbaland) 4:02
(Produced By Timbaland & Danja)
04. Glow (Produced By Timbaland & Danja) 4:02
05. Showtime (Produced By Danja) 4:16
06. No Hay Igual (Produced By Timbaland, 3:35
Danja & Nisan Stewart)
07. Te Busque (Feat. Juanes) (Produced By 3:38
Lester Mendez)
08. Say It Right (Produced By Timbaland & 3:43
Danja)
09. Do It (Produced By Timbaland & Danja) 3:41
10. In God's Hands/Interlude (Produced By 4:54
Rick Nowels)
11. Wait For You (Produced By Timbaland & 5:11
Danja)
12. Somebody To Love (International Bonus 4:56
Track) (Produced By Rick Nowels)
13. All Good Things (Come To An End) 5:11
(Produced By Timbaland & Danja)

Disc 2/2
--------
01. Let My Hair Down (Produced By Track & 3:38
Field)
02. Undercover (Produced By Lester Mendez) 3:56
03. Runaway (Produced By Rick Nowels) 4:16
04. Te Busque (Spanish Version) (Feat. 3:38
Juanes) (Produced By Lester Mendez)
05. No Hay Igual (Remix) (Feat. Calle 13) 3:40
(Produced By Timbaland, Danja & Nisan
Stewart)
06. All Good Things (Come To An End) 3:57
(Feat. Rea Garvey From Reamonn)
(Produced By Timbaland & Danja)
07. Crazy (Live From Radio 1 Lounge 3:25
Session) (Produced By Andy Rogers)
08. Maneater (Live From Sprint Music 3:00
Series) (Produced By Timbaland &
Danja)
09. Promiscuous (Live At The Orange 4:05
Lounge) (Feat. Saukrates) (Produced By
Daryn Barry)

Release Notes:

If Nelly Furtado's nearly impenetrable 2003 sophomore effort, Folklore, proved
anything, it was that this modern-day singer/songwriter is smart and ambitious
yet doesn't quite have a handle on those very qualities. Dabbling in worldbeat
and chronicling the perils of immediate success, she indulged herself without a
care for the audience -- and the audience responded in kind, as the album barely
cracked the Billboard Top 40, spawned no hits, and sold about a quarter of what
her Grammy-winning debut did. Clearly a rethink of some sort was in order for
her next album, and 2006's Loose, delivered about three years later, certainly
does present a different Nelly Furtado: one who is glammed up, sexed up, and
ready for the dancefloor. Borrowing liberally from Gwen Stefani's ghetto
fabulous makeover and a little bit from Justin Timberlake's sleek retro-'80s
moves on Justified, Furtado now has a sound that's straight 2006; with hooks
that feel as comfortable as bumper music on MTV as they do as background on cell
phone commercials or as ringtones, she can blend into the hyper-saturated media
culture of 2006, a move that may alienate fans who were won over by how her
debut, Whoa, Nelly!, sounded like nothing else in 2000. No matter how
club-friendly Loose is -- even its quieter moments, like the closing "All Good
Things (Come to an End)" (co-written in part by Coldplay's Chris Martin), feel
like ideal soundtracks to chill-out moments -- ultimately Furtado did not get a
swan-styled makeover, where her original personality has been chiseled and
chipped away so only a vestige of her remains. Remember, Furtado is nothing if
not smart, and she smartly picked Timbaland, one of the very best producers in
modern music, as her main collaborator for Loose. Timbaland helmed all but two
of the 12 main tracks here -- the album weighs in at 13 songs, but one is a
Spanish version of the Juanes duet "Te Busque" -- and he gives much of this
music a bracing feel, dense with old-school synths, subtle sample collages,
bone-crunching bass, cascading vocal hooks, and beats that sound so heavy it
takes careful listening to realize how nimble they are. Nowhere is this more
evident than on the killer opening triptych of "Afraid," "Maneater," and
"Promiscuous," three songs that trumpet Furtado's makeover and make it seem
pretty convincing, too -- particularly on "Maneater" with its circular,
minor-key bass and "Promiscuous" with its chorus that sounds like vintage
Prince. This is Timbaland at his best, and the only weak link is Furtado; no
matter how she growls on "Maneater" or murmurs on "Promiscuous" -- no matter how
much she sings about sex, period -- she just doesn't sound sexy. She sounds as
if she's striving to be sexy, which doesn't generate much carnal heat, but it
ultimately doesn't matter much since on all the heavy dance songs, of which
there are a bunch, she's mixed into the background on Timbaland's production,
functioning as another instrument, which helps the music work as just a stylish
wall of sound. Furtado doesn't fight against Timbaland's mix, which proves her
smarts more than anything on the showy Folklore; there's a reason why she chose
Timbaland as a collaborator, and she lets him shine for the first half of the
record, as they get the party rolling. Then on the second half of the record,
the old Nelly starts to show through. She gets to play the world traveler with
"No Hay Igual," where she deftly blends reggaeton and M.I.A., along with the
smooth Latin pop ballad "Te Busque." Her words gradually come to the forefront,
as on "Say It Right" -- a dark meditative piece that would have fit on her
previous records if it didn't have a Timbaland production -- or on the sweetly
ruminative "In God's Hands," and then on "Wait for You," which has
Indian-influenced hooks and a melody reminiscent of "I'm Like a Bird," both
strands are pulled together in a haunting fashion. It's on this final stretch of
the album that the Furtado and Timbaland pairing seems like a genuine
collaboration, staying true to the Nelly of her first two albums, but given an
adventurous production that helps open her songs up. Unlike the music on
Folklore, the idiosyncrasies intrigue instead of frustrate, and deliver on the
promise of her debut, when it seemed like Furtado could do anything. That said,
the music on the second half isn't nearly as immediate or addictive as
"Maneater" and "Promiscuous," two singles that were already deserved hits (in
the U.K. and U.S., respectively) when Loose was released. The genius on these
two songs is down to Timbaland, who not only crafts the sound but vocally
overshadows Nelly's mumbled raps on the latter. But Furtado is smart enough to
let him dominate here, since she knows that Timbaland has revitalized Nelly
Furtado both creatively and commercially with Loose, so it's only appropriate
that he hogs the spotlight on its two best moments.