Christmas Bahumaanam is one of the best Christian Christmas Melodies album presented by Krupamayudu Ministries leaded by N. Daasu Babu. The singers who involved in the above album are Balaraj, Deva Kumari, Radha, Suvarna Latha, Mary and S.Prasad. Christmas Bahumaanam album details are as follows:

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E-Klipz is back with his new EP album, Empowerment. Featuring the hit single Christ Ova Everythang and new anthems Where My Souljahz At and Wild Out. Don’t sleep on this album, become empowered today..............


Tracklisting ::

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Fatherhood suits Shane Barnard and Shane Everett. Long nights on the road have been replaced with 2:00 a.m. feedings and princess fairytales. Worries about broken trailers and gear have been upstaged by deeper dreams and desires. With three daughters between them—Olive, Lillian and Lucy—the longtime college friends have a wealth of inspiration staring up at them every day.

Life looks a lot different for Shane & Shane from their days at Texas A&M University. In nearly 13 years, the evergreen college favorites have toured with everyone from Mat Kearney to David Crowder*Band, garnered three Dove Awards and sold more than 500,000 records. The two men are not only husbands and fathers now, but they’re also on staff at a local church in Dallas where they lead worship each month and teach a class at the church’s ministry leadership school, allowing them to put down roots and be involved in true biblical community for the first time. “I teach a songwriting class, and [Shane E] works with the students on the technical aspects of recording. These are both important parts of our time with students, but we really love pushing them to go deeper in their relationship with Christ,” shares Barnard, hitting on the duo’s very foundation that has remained unwavering through the years. One thing that hasn’t changed is Shane & Shane’s commitment to passionately sharing the Gospel.

It’s through this lens of fatherhood and community that Shane & Shane’s new record, The One You Need (Fair Trade Services), was born. In fact, Barnard began writing the title track—a poignant letter from daddy to daughter—a week before his daughter Lucy was born. “It’s the first desperate feeling of, ‘I want my girl to know Jesus.’ And that’s really what it boils down to,” says Barnard, who is married to singer/songwriter Bethany Dillon. “You do the best you can, parent the best you can to one chief end, that this new soul would find and love Jesus Christ.”

Everett, the father of two daughters, helped Barnard finish the song over the last year. He echoes Barnard’s sentiments, “I think the legacy we want to leave for our kids is for them to know Christ. Hopefully, we do all we can to exemplify what we say we believe. As a parent, that’s my prayer—that my daughters see the things I say backed up with my life, and that they will know the Lord.”

The duo’s priorities may lie at home, but they hope The One You Need will reach an even broader audience than Shane & Shane’s music ever has before. While worship has become a natural part of what they do, the songs on this new collection, while rooted in Scripture, stem from the community the Shanes and their families are now a part of.

“When traveling as much as we have, it’s easy to become detached. We have always attended church but never planted roots in one,” Everett explains. “Being on staff has been an eye-opening experience for us. Rubbing shoulders with broken, hurting people helps us not only in our own struggles, but lets us know how to pray and how much we desperately need a church community.

“We’re getting older; not old, just older. In our 30s the hard things in life just started to hit, giving us a new vocabulary of desperation and suffering, and [you realize] this place is broken,” continues Everett. “We long to know and go to the place that is not broken and will not break – Jesus.”

“There’s tragedy everywhere; and on top of that, if there’s not tragedy, people are spiritually worse off than if there is tragedy because they don’t have any connection to the Lord,” echoes Barnard. “So the Lord is actually using tragedy more than anything in our church and lives to draw people to Him.”

This new perspective has allowed Shane & Shane to consider the listener in their writing and recording for the first time. “This record has a handful of songs that have bits and pieces of Scripture sprinkled in them, but most are kind of like mini sermons, more than a meditation on a Scripture,” says Barnard. “We found ourselves asking the question, ‘What if I could tell my neighbor or family member one thing, what would that be?’ The Gospel, it just boils down to sharing the Gospel.”

“We need the Gospel every day. Our standing in the Lord is all Jesus, all the time,” adds Everett. “This record has been that for us, in writing it and singing through it and laboring over the lyrics. I don’t think we’ve ever labored over lyrics the way we have on this record.”
–more–

Each song wrestles with a deeper, underlying story or inner theological debate like the raw “Your Love Tears Me Up” or the unabashed fight to counter universalistic thought with “Because He’s God.” Many songs also came out of the songwriting class Barnard teaches. He vowed to write a song each week just like his students.

Stylistically, the duo dubs the self-produced album as “all over the map.” “It has everything from jazz to pop/rock, then folk, transitioning to modern worship—it’s crazy,” says Barnard. It may be musically diverse, but the heartbeat of Shane & Shane beats clearly through interlaced vocals and honest musings more akin to a pastor’s heart than a musician’s.

Music is second to the fierce calling they have to share Jesus. There’s been an intentional paradigm shift to make sure their calling remains true. The duo has simplified over the past two years, cutting 300 shows a year down to around 150, which meant taking inventory and making tough calls.

“We knew we needed to be home more. To do that, we had to make hard decisions. We had to let many staff members, who are also our friends, go,” shares Everett. “That’s tough, but we realized if things did not change and the pace of life did not slow down, we would miss out on our true calling—loving Jesus.”

“You shift down because you want to do what you’re called to do. It didn’t happen overnight. We’re still working on it,” adds Barnard. “Our goal is to get to a point where we do what we’re called to do—to love our families right, pastor right [and] love the Lord right.”

Simplifying and aligning their lives with their calling has made a significant impact on their music, making The One You Need an intersection of versatility, truth and artistic transparency.

“Hopefully it pushes people to love the Lord and to have a heart for their families or just know Jesus’ heart toward them,” says Everett.

Two voices. One mission. Shane & Shane are pointing us all to the One we need..........


Tracklisting ::

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When electro-rock sensation Lights first hit the music scene in 2008, she was just a songwriter with a synth and a dream. Her name may have been pluralized but Lights Poxleitner was a one-woman show who played and programmed her own instruments and sang her own lyrics.

This admirable self-reliance is rare in pop—in fact, Lights, signed a publishing deal at 16 and began writing songs for other artists—but after her 2008 self-titled debut EP (precocious enough to earn her a best new artist Juno) and gold-selling full-length follow-up The Listening, Lights was ready to open herself up to collaborations on her unexpectedly experimental album Siberia. And by choosing such leftfield collaborators as live electronic outfit Holy Fuck and rising rapper Shad, she also opened up her sound.

“It’s a huge step,” she readily admits. “For a year after my first record, I was confused and searching. I was writing all over the place and not finding anything that was essentially different. But after tour last year I was turned onto dubstep.”
The genre’s grimy beats and sonic minimalism influenced the creation of Siberia, if not necessarily shaping the music itself (though she does pay homage with a dubstep drop on “Fourth Dimension.”)

Rather, dubstep led Lights away from the “perfection” of her past work. “Everything was tuned and timed just right. The new stuff is raw and gritty but still pop with a focus on the melodies. It’s the marriage of those two that make it really different and unlike anything I’ve ever done before.”
This dirtier direction came from collaborating with Holy Fuck, a fellow Juno-winning, electronic-influenced Canadian act who she met when both played the dance stage at last year’s Reading and Leeds festivals in the UK. Impressed by their “grime and grit,” she decided to see what might happen when she infused her pop sensibilities with their experimental tendencies.

“I went over to Brian [Borcherdt’s] house with Graham [Walsh] and we just started jamming until something started to form, as opposed to the last record which was more structured and less live feeling. We wired old synths and toy synths through all these pedals and machines from their junk table,” she laughs. “They’re straight-up mad scientists.”

Her other main collaborator was Shad, who she knew through a mutual friend. “He’s so humble and so intelligent,” she says, “and I knew he’d kill it.” Indeed, Shad drops his typically articulate knowledge on the crunchy, soiled “Everybody Breaks a Glass” and “Flux and Flow,” which Lights describes as “the perfect marriage of this sweet melody and the hardest beat ever. It’s about how that applies to life because you have to be soft and you have to be strong.”

Lyrically, the album is light years from her last, which was written when the singer, who spent much of her childhood travelling to places like the Philippines and Jamaica with her missionary parents, had left the nest and landed in Toronto. “A lot of those songs came from a sad but hopeful place. I was alone and pondering a lot. I’m a lot more aware of the person I am now and each of these songs is about an experience I’ve gone through,” she says. “This record came from a very happy place.”

Then why is it called Siberia? “It’s based on something that was said to me, that we could be happy even in a place like Siberia. It was such an inspiring thing to say, because Siberia is cold and a little daunting and represents unfamiliar territory.” That last bit is particularly sticky for Lights, who left her safe pop haven for these unexplored sonics, though the metaphor carries even further because despite being an infamous land of ice and exile, Siberia is epically beautiful and so is Siberia.

The dividend from her early award-winning success—not to mention her sprawling online footprint which includes over a half-million Facebook fans and over a quarter-million Twitter followers, not to mention a cult fanbase amongst the Comic-Con set—is her current artistic freedom.

Her up-for-anything experimentations with Holy Fuck produced an astoundingly eclectic album that belies its snow white title. Siberia’s diversity leapfrogs from the hip-shaking dance-pop of “Toes” and the arms-up anthem “Banner” to the singer-songwriter-y romantic ballad “Cactus in the Valley,” written on an acoustic guitar, and the nine- minute instrumental album closer “Day One” which sounds crafted by a rusty, lovesick robot—but that didn’t make recording her sophomore album any easier.
“For the first one, nobody had any expectations for what I was supposed to sound like. You write your first record only for yourself. You don’t have fans yet and there are no preconceptions. So I had to reinvent myself all over again, rediscover myself as an artist and remember I can do whatever I want.”
Siberia‘s beats skitter and thwack, the retro electronics fire like decomposing lasers and the analog synths dirty up her trademark pretty melodies, propelling Lights’ emotion-soaked but still-cute croon into her sprawling, imperfect new sound.

Call it anti-electro, dream-step or perhaps even grit-pop. Whatevs. Just rest assured that it’s the same bright Lights; she’s just built herself a bigg.....


Tracklisting ::

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“Writing about music is like dancing about architecture.”

No one knows who actually said it. This witty proclamation has been attributed to actors, authors, comedians, jazz musicians and yes, an architect. Regardless of who deserves credit, it makes sense and with that sentiment in mind I apologize for what you are about to read and ask you to skip to the part where you actually listen to the r...ecord. If you are like me, you will feel more like dancing than writing.

Mesmerizing. Atmospheric. Captivating. Stunning. Soaring. Lavish. Poetic.

Phil Wickham’s music has been called every flowery adjective in the thesaurus and some that may have even been made up. And while they are often accurate descriptors they are at the same time distracting. When hearing these buzz words it’s too easy to lump an artist into a meaningless equation consisting of two musical references, a vague genre title and a classic predecessor. Welcome to missing the point.

The point is that Wickham is at his core a humble and sincere artist who writes songs and worships God using the medium of music. It is with that brush that he paints images of a loving and creative God across the canvases of listeners’ hearts and minds. Although the evidence of this gift was apparent on Wickham’s previous release as well as his self released independent record, it has never been clearer and more developed than on the twelve tracks off his sophomore Simple Records album Cannons.

When naming the album Wickham was trying to find a metaphor for the brilliance and magnitude of creation. He needed a word that has not been overused and therefore gives listeners pause and compels them to consider the wonder of the world around them.

It’s falling from the clouds, A strange and lovely sound
I hear it in the thunder and rain, It’s ringing in the skies
Like cannons in the night, The music of the universe plays

“If people just took the time to look at the trees outside, the rain that’s falling, these bodies that are walking around… life is not just evidence that God exists, but more like the world acting as worship leader, inspiring us, but much louder than any concert you could ever imagine,” Wickham states. “Ultimately, I hope that by listening to these songs people will find the same inspiration to look outside of themselves and their circumstance to the world around them and truly worship God.”

For Wickham the desire he has for his albums and live show is always to lead people into worship. On Cannons he accomplishes this with a marked sonic shift and an added sense of urgency. Album opener “Must I Wait,” is a clear example of both with its driving tempo and use of layered synthesizers in place of the lush string arrangements of his self-titled debut.

“I think this last year and a half on the road has taught me a lot about who I want to be as an artist. And more than anything I really thought about the live show - there were moments touring where I would say to myself I wish I had this kind of song to play right now. So with Cannons I set out to work all of that experience into the record.”

“True Love” is one of those songs that Wickham wishes that he had with him over the past few years. The song is a classically bold lyrical challenge in the vein of Keith Green and others from the Jesus Movement era. The lyric offers an invitation to listeners to listen to the story of the Gospel and in the end a plea and a challenge.

Come close listen to the story about a love more faithful than the morning…
---
Search your hearts you know you can’t deny it Lose your life just so you can find it…

“I don’t ever want to leave the stage without giving people something to chew on, something to respond to. The most important question is ‘what are you going to do with Jesus?’”

Ask Wickham for the story behind Cannons and he’ll balk and say their really isn’t one story. He’s right and modest, there isn’t one – there are twelve. Twelve stories and one theme: open your eyes and look up.

Phil Wickham’s songs connect. He asks the right questions and he gives voice and words to our response. The songs speak to the heart of our experience, our relationship with God – and with that said, I’m finished dancing about architecture.............


Tracklisting ::

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Kutless is a Christian rock band from Portland, Oregon formed in 2000. Since their formation, they have released six studio albums including their latest, It Is Well. The band has also released a live album, Live from Portland. Currently, they have sold almost 2 million records.

Formed in Portland, Oregon as a Campus Worship band named Call Box. They performed during the 1999-2000 school year at Warner Pacific. Their first guitarist, Andrew Morrison, decided to leave the band shortly before they signed with BEC records. James Mead replaced Andrew at lead guitar. The Band changed their name to "Kutless" in October 2001 before releasing their first three track EP followed up by their full-length album in 2002 on BEC Recordings. Kutless chose their name because of a specific Bible verse. Romans 6:23 says, "For the wages of sin is death, but the free gift of God is eternal life in Christ Jesus our Lord" (NRSV). Because of this, the band says, "He took our cuts for us... leaving us 'Kutless'. Their first single was called "Your Touch." Their second single from their debut album, "Run," would go on to hold the record for the longest charting song in the history of the R&R Top 40 charts.

Kutless got their big debut between February and April 2003 when they opened up for Audio Adrenaline and MercyMe, two famous Christian bands at that time.In 2004, after releasing and selling over 250,000 copies of their second full-length album, Sea of Faces, Kutless would go on their first headlining tour, X 2004. That same year, Kutless was slated to perform at the 2004 Summer Olympics in Greece, but could not make it due to the airline canceling their flight. In 2005, Kutless played a Katrina Benefit Relief Concert in their hometown of Portland Oregon. They also released their first worship album, "Strong Tower." After recording but before release of "Strong Tower," bassist Kyle Zeigler and drummer Kyle Mitchell left the band to form VERBATIM Records, a nationally distributed record label based in the Portland, Oregon area. They were replaced with bassist Dave Luetkenhoelter and drummer Jeffrey Gilbert, who both came from the recently broken-up Christian rock band Seven Places. Kutless also went on the Strong Tower tour that year. Later in 2005, Kutless began recording their fourth full-length album. The album, "Hearts of the Innocent," was released on March 21, 2006. The band followed up with a tour, also featuring Stellar Kart, Disciple, and Falling Up.

On the March 28, 2006, an episode of NBC's Scrubs, "My Bright Idea," incorporated a significant portion of the song "All of the Words" from Sea of Faces during the final scene. The episode hit an eleven week ratings high, and was among the first Scrubs episodes that could be downloaded on iTunes. Laura Hutfless from the William Morris Agency said, "Placing the Kutless song, 'All the Words', on Scrubs was truly a team effort. We at William Morris were all very pleased with the way the song was incorporated into the television show and are thrilled that millions of Americans have now been exposed to this incredible band. I'm confident that this is only the beginning for Kutless as they continue to give their audience captivating and inspirational music and win new fans everyday." Kutless’s video "Shut Me Out" has been placed on an exclusive Microsoft/Wal-Mart DVD give-a-way. Consumers who purchase the new Xbox game "The Apprentice," featuring Donald Trump, will receive a copy of Kutless's new video. This is estimated to be in the hands of 350,000 gamers. Plus, Target Stores announced that the "Shut Me Out" video will play nationwide in all stores on Target TV (Red Channel) beginning in May (from Big Machine Media). Suzuki Motor Corporation announced that it will be the sole sponsor of the band's Hearts of the Innocent tour..............


Tracklisting ::

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Matthew Joseph West (born April 25, 1977) is a Contemporary Christian musician from Nashville, Tennessee. He has released four studio albums and is known for his #1 hits "More", "You Are Everything", and "The Motions". He was nominated for five Dove Awards in 2005, two of which were for his major label debut album Happy.

First starting out as an independent musician in the late 1990s, he released three independent albums before signing with Universal South Records. With the release of his Dove Award-winning debut album Happy (2003) came the success of his first radio single "More", which stayed at #1 on Christian AC charts for nine weeks and received two Dove Award nominations. His second record History (2005) was followed by a 2006 re-release of the originally independent album Sellout. In 2007 he faced vocal issues which threatened his career with two months of prescribed vocal rest. His third studio album Something to Say (2008) also enjoyed chart success with #1 hits "You Are Everything" and "The Motions".

In addition to his main solo career, West has worked as a songwriter for many Christian musicians and groups such as Point of Grace, Mandisa, and Natalie Grant, as well as mainstream country acts Rascal Flatts and Billy Ray Cyrus.

Matthew West was born on April 25, 1977 in Downers Grove, IL. As a child he was a fan of his hometown baseball team, the Chicago Cubs, and wanted to eventually have a career in baseball. He played baseball throughout high school, becoming team captain as a senior. He was hoping for a college baseball scholarship but instead ended up receiving a four-year music scholarship at Millikin University in Illinois. He graduated from Millikin in 1999...........


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The band began when David Crowder, from Texarkana, Texas, realized that almost half of the students at Baylor University were not attending church. Finding this very surprising, since it is a Christian university, he and Chris Seay started University Baptist Church (Waco, Texas) in 1995 while he was still a student. Crowder led worship there and continued to do so throughout the year. The church's congregation grew, as did the band's lineup.

Crowder began writing songs to incorporate into the worship times at the church and eventually the church released an independent CD, Pour Over Me, followed by All I Can Say in 1999. These CDs brought the band to a wider audience and invitations to festivals and events followed. The band was signed to sixstepsrecords/Sparrow Records and has released six more albums to date (see discography). The band tours the United States continuously, but make it back to their home church in Waco, Texas relatively often. It has been said[by whom?] that Kyle Lake, University Baptist Church's former pastor and also longtime friend of the band, had a strong influence on the band's music in terms of content and inspiration both during his life and after his death.

With their September 2005 release, A Collision, David Crowder Band explored a new realm of musical diversity. The album houses a mix of bluegrass, folk, alternative, and worship, woven together with a touch of electronic ambience. This release landed them the No. 2 spot on the iTunes Music Store and the No. 39 spot on Billboard 200 only one day after its release.

On the same day as the release of A Collision, their song "Turkish Delight" was released on the Music Inspired by the Chronicles of Narnia compilation CD. This song, which is a reference to the magical Turkish Delight in C. S. Lewis's book The Lion, the Witch and the Wardrobe, has an old-school disco feel.

On March 19, 2007, the band officially started recording its album titled Remedy; the band also revealed the album's website, http://www.remedyiscoming.com/, which allows fans to follow the band via live webcams, and discover more about the album. Famously controversial rock musician Ted Nugent made a special guest appearance on the album, on the song "We Won't Be Quiet". Remedy was released on September 25, 2007. The day after its release, it reached No. 4 on the iTunes Music Store.

On July 16, 2008, the band announced via its website that it would be releasing a brand new live album and DVD set on August 19, 2008. The title was announced as being Remedy Club Tour - Live, and the cover art was released along with a trailer for the DVD.

On David Crowder's Xanga entry from January 31, 2009, he mentioned the preproduction of the band's next studio album. On Mike Hogan's MySpace entry from March 4, 2009, he confirmed that actual recording and production had commenced and provided directions for getting to the live webcam feed, which is in a page simply titled "Church Music". This is the name of the new album, released on September 22, 2009. The first single off the album is a cover of John Mark McMillan's song "How He Loves".

The band hosted Crowder's Fantastical Church Music Conference September 30 through October 2, 2010 at Baylor University in Waco, TX. Other presenters at the conference included Louie Giglio, Rob Bell, Israel Houghton, Hillsong London, Matt Redman, Jars of Clay, Matt Maher, Leeland, David Dark, Gungor, Derek Webb and others.

On February 5, 2011 the band announced the official start to recording of a new album.

The band often incorporates unconventional instruments and elements into their music, such as making use of Smule's "I Am T-Pain" iPhone app.

On July 21, 2011 the band announced that a Christmas album, Oh For Joy, would be released on October 4, 2011.....


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Toby McKeehan (born Kevin Michael McKeehan; October 22, 1964), better known by his stage name TobyMac (styled tobyMac), is a Christian recording artist, music producer, rapper, singer-songwriter, and author.

TobyMac was one of the first Christian rappers.[citation needed] He was first known for being a member of the Christian singing trio DC Talk, staying with them from 1987 until their announced hiatus in 2000. He has since continued a successful solo career with the release of four studio albums: Momentum (2001), Welcome to Diverse City (2004), Portable Sounds (2007), and Tonight (2010), as well as two remixed albums of the first two albums titled Re:Mix Momentum and Renovating Diverse City, respectively.

Between DC talk and his own solo career, he has sold more than 10 million albums. TobyMac has had six No. 1 hit CHR singles including "Gone", "Made to Love" and "Lose My Soul." His live concert CD+DVD combo album, Alive and Transported, was released in 2008 and received the Grammy Award for Best Rock or Rap Gospel Album at the 51st Grammy Awards in 2009. His fourth studio album, Tonight, was released on February 9, 2010.........


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The concept of the album mainly focuses on the aftermath of the battle between God and Satan. Its beginning picks up from the very last part of "The Finisher," the last track on their previous album Son of the Morning, where took place the final battle between God and Satan in which ends in God severing the horns of satan and now as the starting of the aftermath in this album, Satans horns have fallen to the ground, causing both God and Satan to vanish. Now all of humanity is left wondering what happened, and so the first half of the album is everyone coming to the general consensus that God and Satan are both dead; that they have killed each other in battle, so now there in no fear of Hell, nor awarding of Heaven.

The album also follows two characters, one being an overzealous religious type who feels betrayed that he had devoted his life to God and that God has abandoned him and everything and it drives his faith to unfurl and it reveals that he had a shallow understanding of God. The other character is his daughter, who was a profound atheist, but became proven wrong after being a witness of the battle between God and Satan. This delays her questioning Christians and why they read God and Satan in different, less violent ways than she has just seen them. Towards the end of the album, she finds a group of believers who give her all the answers to her questions. The album then ends with the destruction of the world that is somehow due to everything that has happened..........


Tracklisting ::

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