Stone Temple Pilots – Albums Collection (1992-2010) [APE]

May 12, 2014, 8:21 am

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Stone Temple Pilots – Albums Collection (1992-2010) APE

Collection includes all six studio albums and one compilation by American rock band Stone Temple Pilots. STP went on to become one of the most commercially successful rock bands of the 1990s, selling nearly 40 million records worldwide, including 17.5 million units in the United States, before their dissolution in 2003. The band has had 16 top ten singles on the Billboard rock charts, eight of which peaked at #1, and one #1 album for Purple in 1994. That same year, the band won a Grammy for “Best Hard Rock Performance” for the song “Plush” from the album Core. Stone Temple Pilots were also ranked #40 on VH1′s The 100 Greatest Artists of Hard Rock.

Stone Temple Pilots were able to turn alternative rock into stadium rock; naturally, they became the most critically despised band of their era. Accused by many critics of being nothing more than ripoff artists who pilfered from Pearl Jam, Soundgarden, and Alice in Chains, the bandmates nevertheless became major stars in 1993. And the influence of those bands was apparent in their music, although Stone Temple Pilots did manage to change things around a bit. STP were more concerned with tight song structure and riffs than punk rage. Their closest antecedents were not the Sex Pistols or Hüsker Dü; instead the band resembled arena rock acts from the ’70s — they made popular hard rock that sounded good on the radio and in concert. No matter what the critics said, Stone Temple Pilots had undeniably catchy riffs and production; there’s a reason why over three million people bought their debut album, Core, and why their second album, Purple, shot to number one when it was released.
Following the success of Purple and its accompanying tour, the band took some time off, during which the group’s lead singer, Scott Weiland, developed a heroin addiction. In the spring of 1995, he was arrested for possession of heroin and cocaine, and was sentenced to a rehabilitation program. Following his completion of the program, Stone Temple Pilots recorded their third album. Released in the spring of 1996, Tiny Music…Songs From the Vatican Gift Shop, entered the charts at number four. Shortly after its release, Stone Temple Pilots announced that Weiland had relapsed and entered a drug rehabilitation facility, thereby canceling the group’s plans for a summer tour. Weiland’s drug problems and the group’s inability to support Tiny Music with a tour meant that the album couldn’t replicate the success of its predecessors — by the end of the summer, it had fallen out the Top 50 and had stalled at platinum, which was considerably less than what the group’s two previous albums achieved.
Still battling his personal demons, Weiland recorded a 1998 solo album, 12 Bar Blues, while the remaining members of STP recruited vocalist Dave Coutts to record a self-titled LP under the band name Talk Show. To the surprise of many, Stone Temple Pilots then reunited, although shortly after completing 1999′s No. 4 Weiland was sentenced to a year in a Los Angeles county jail for violating his probation, which stemmed from an earlier conviction for heroin possession. Even so, a newly rejuvenated Stone Temple Pilots and a sober Weiland emerged stronger than ever during the new millennium. The band got back to basics with Shangri-La Dee Da, released in summer 2001. Two years later, STP issued the ambitious greatest-hits package Thank You. The audio-only edition featured 15 tracks — 13 hits spanning the group’s entire career, an acoustic version of “Plush” dating from 1992, and the new track “All in the Suit That You Wear” — while a special CD/DVD format included three hours of videos, live performances, and behind-the-scenes footage.
Stone Temple Pilots took another break between 2003 and 2008, during which time Weiland found renewed success as the frontman of Velvet Revolver. After clashes with his bandmates resulted in his exit from the group, Weiland reunited with STP and embarked on a successful reunion tour in 2008, with ticket sales reportedly totaling $230,000 per show. The band returned to the studio one year later, emerging in 2010 with the release of its self-titled sixth album.

Biography by Stephen Thomas Erlewine, Allmusic.com

http://en.wikipedia.org/wiki/Stone_Temple_Pilots

http://www.stonetemplepilots.com/

Stone Temple Pilots were positively vilified once their 1992 debut, Core, started scaling the charts in 1993, pegged as fifth-rate Pearl Jam copyists. It is true that the worst moments of Core play like a parody of the Seattle scene — titles like “Dead and Bloated” and “Crackerman” tell you that much, playing like really bad Alice in Chains parodies, and the entire record tends to sink into gormless post-grunge sludge. Furthermore, even if it rocks pretty hard, it’s usually without much character, sounding like cut-rate grunge. To be fair, it’s more that they share the same influences as their peers than being overt copycats, but it’s still a little disheartening all the same. If that’s all that Core was, it’d be as forgettable as Seven Mary Three, but there are the hits that propelled it up the charts, songs that have remarkably stood the test of time to be highlights of their era. “Sex Type Thing” may have a clumsy anti-rape lyric that comes across as misogynist, but it survives on its terrifically lunk-headed riff, while “Wicked Garden” is a surprisingly effective piece of revivalist acid rock. Then, there’s the slow acoustic crawl of “Creep” that works as well as anything on AIC’s Sap and, finally, “Plush,” a majestic album rock revival more melodic and stylish than anything grunge produced outside of Nirvana itself. These four songs aren’t enough to salvage a fairly pedestrian debut, but they do find STP to be nimble rock craftsmen when inspiration hits.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Dead & Bloated (05:10)
02. Sex Type Thing (03:38)
03. Wicked Garden (04:05)
04. No Memory (01:20)
05. Sin (06:05)
06. Naked Sunday (03:49)
07. Creep (05:33)
08. Piece Of Pie (05:24)
09. Plush (05:14)
10. Wet My Bed (01:36)
11. Crackerman (03:14)
12. Where The River Goes (08:25)

Stone Temple Pilots had hits with Core, but they got no respect. They suffered a barrage of savage criticism and it must have hurt, since their second effort seems a conscious effort to distinguish themselves as a band not indebted to grunge. That didn’t get them anywhere, as they were attacked as viciously as before, but Purple is nevertheless a quantum leap over their debut, showcasing a band hitting its stride. They still aren’t much for consistency, and there’s more than a fair share of filler over this album’s “12 Gracious Melodies.” Still, this filler isn’t cut-rate grunge, as it was on the debut; it has its own character, heavily melodic and slightly psychedelic. That’s a fair assessment of the hits, as well, but there’s a difference there — namely, expert song and studiocraft. Yes, they were considerably more mainstream than their peers, but time has proven that that’s their primary charm, since they were unafraid to temper their grunge with big arena hooks and swirling melodies. It works particularly well on the tight, concise “Vasoline” and the acoustic-based “Pretty Penny,” but it really shines on the record’s two masterpieces, “Big Empty” and “Interstate Love Song.” “Big Empty” is ominous and foreboding, yet remains anthemic, a perfect encapsulation of mainstream alienation that is surpassed only by “Interstate Love Song,” a concise epic as alluring as the open highway. These two songs are so good (really, mainstream hard rock didn’t get better than these two cuts) that the unevenness of the rest of the record is all the more frustrating, but the filler here is better than before — and those singles are proof positive that STP was the best straight-ahead rock singles outfit of their time.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Meat Plow (03:37)
02. Vasoline (02:56)
03. Lounge Fly (05:18)
04. Interstate Love Song (03:14)
05. Still Remains (03:33)
06. Pretty Penny (03:42)
07. Silvergun Superman (05:16)
08. Big Empty (04:54)
09. ‘Unglued’ (02:34)
10. Army Ants (03:46)
11. Kitchenware & Candybars (08:06)

Purple established that Stone Temple Pilots were not one-album wonders but Tiny Music…Songs from the Vatican Gift Shop illustrates that the band aren’t content with resting on their laurels. Without abandoning their trademark hard rock, STP have added a new array of sounds that lend depth to their immediately accessible hooks. Dean DeLeo layers his guitar tracks to create distinctive, multi-textured sounds that make his riffs more powerful. Though there are hints of grunge scattered throughout the album, what makes Tiny Music impressive is how the band brings in elements of psychedelia, trancy shoegaze, jangle pop, and other forms of melodic alternative guitar pop. By accentuating their pop tendencies in both their riffs and melodies, they are able to slip in a number of creative arrangements which manage to expand their musical repertoire significantly. Although the lyrics are nearly as ambitious as the music, they simply don’t have the same weight. But with a band like Stone Temple Pilots, the music is what matters and Tiny Music showcases the band at their most tuneful and creative.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Press Play (01:21)
02. Pop’s Love Suicide (03:43)
03. Tumble in the Rough (03:18)
04. Big Bang Baby (03:23)
05. Lady Picture Show (04:08)
06. And So I Know (03:57)
07. Trippin’ on a Hole in a Paper Heart (02:56)
08. Art School Girl (03:35)
09. Adhesive (05:34)
10. Ride the Cliche (03:17)
11. Daisy (02:18)
12. Seven Caged Tigers (04:15)

It would be tempting to scour No. 4, Scott Weiland’s reunion with Stone Temple Pilots, for insights into his troubles, yet the group consciously avoids this throughout the album. That’s for the best, since it’s their hardest effort since their debut, Core. “Down” and “Heaven & Hot Rods” provide a powerful, brutal opening for No. 4 — it’s as if STP decided to compete directly with the new generation of alt-metal bands who prize aggression over hooks or riffs. With these two songs, the band’s attack is as vicious as that of the new generation, but they retain their gift for gargantuan hooks. Much of the album hits pretty hard — most explicitly on “No Way Out,” “Sex & Violence,” and “MC5,” — and even the ballads and neo-psychedelic pop have none of the swirling production that distinguished Tiny Music. That sense of adventure is missed, because even if the album finds STP returning to the muscular hard rock that made them, they always sounded better when they concentrated on melodicism. No. 4′s most effective moments have a variety of sonic textures and color — “Pruno” tempers its giant riffs with spacy verses; “Church on Tuesday” is a great pop tune, as are the trippy “Sour Girl” and “I Got You”; and the psychedelic “Glide” and closing ballad, “Atlanta,” have a sense of majesty. These songs anchor the heavier moments, instead of the other way around, and it all plays well together. As a matter of fact, No. 4 is as tight as Tiny Music. Even if it isn’t as grandiose or sonically compelling as that effort, it’s a record that consolidates all their strengths.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Down (03:48)
02. Heaven & Hot Rods (03:26)
03. Pruno (03:14)
04. Church On Tuesday (03:00)
05. Sour Girl (04:16)
06. No Way Out (04:19)
07. Sex & Violence (02:54)
08. Glide (05:00)
09. I Got You (04:15)
10. MC5 (02:42)
11. Atlanta (05:18)

No. 4 gave Stone Temple Pilots the comeback they were looking for, albeit a little later and a little differently than expected. Nearly a year after its release, “Sour Girl” gave the band its biggest hit in years, and it set up their fifth album, Shangri-La Dee Da, perfectly. They seized this opportunity by turning out the same record as the time before, splitting the difference between heavy rockers and sugar-sweet psych-pop tunes. That’s not a bad thing, nor is it unexpected, since they’ve basically been staking this same territory since Tiny Music, yet at this point, it feels as if the Pilots are comfortably within a musical groove, no matter how much turmoil they have privately. And, while this doesn’t result in a particularly surprising record, it’s not an album that’s bad, either. Here, as on 4, they’re not just better on the pop tunes, they’re phenomenal on the pop tunes. Regardless of their critical reputation, no rock band of their time turned out such a consistently dazzling streak of pop tunes. Sometimes, the rockers do catch hold — “Dumb Love” provides a gripping opening, “Hollywood Bitch” has a real sense of propulsion, the dreamy “Hello It’s Late” has a gentle rush of its own — but, by this point, they don’t seem as interesting as the excursions into psych-pop that gives Shangri-La Dee Da its real core. That’s nothing new, but that’s not a bad thing at all.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Dumb Love (02:51)
02. Days of the Week (02:35)
03. Coma (03:41)
04. Hollywood Bitch (02:43)
05. Wonderful (03:47)
06. Black Again (03:26)
07. Hello It’s Late (04:22)
08. Too Cool Queenie (02:47)
09. Regeneration (03:55)
10. Bi-Polar Bear (05:04)
11. Transmissions from a Lonely Room (03:15)
12. A Song for Sleeping (04:15)
13. Long Way Home (04:32)

Some bands get no respect, no matter what they do, but Stone Temple Pilots suffered the slings and arrows of outrageous misfortune more than most. Some of this was brought on by themselves, particularly in the early days when they sounded like a mix of Pearl Jam and Alice in Chains and relied on macho bluster in their videos, but critics and rockists singled them out as the one band that typified how the establishment was going to sell out the alt-rock revolution that Nirvana kicked off in 1991, the year punk broke. By their second album, 1994′s Purple, they had not only gotten better and weirder than expected, they’d also had the benefit of being surrounded by bands that really were corporate alt-rock rip-offs. So not only had they gotten better, but circumstances made them seem better too, even if many critics still clung to their blind hatred of the band. Then, as the music continued to get more interesting, Weiland began his descent into drug addiction, cycling through jail and rehab innumerable times. There was a brief parting of the ways in 1997, as Weiland recorded a solo album and the remaining trio formed the short-lived Talk Show, but the group soldiered on into 2001, cutting solid records, yet they were ultimately derailed by Weiland’s addictions — which, in a charming display of empathy, made some of the band’s longtime critics gloat.
But, as the years pass, the turmoil gradually fades away (even though Weiland was arrested for DUI weeks before the release of this album), and the music stands at center stage, and it’s best heard on Thank You, a 14-track collection of the group’s hits (the album clocks in at 15 tracks, but “Plush” is repeated in a widely popular acoustic version). Though each record found STP trying different things and each has a clutch of good album tracks, they were at their best as a singles act, since that’s where the strengths — DeLeo’s knack for catchy, monstrous riffs, Weiland’s insanely hooky neo-psychedelic melodies, the band’s tight, propulsive rhythms, Brendan O’Brien’s clean yet intricate production — lie. Although they seemed rather cookie-cutter at first, thanks partially to the clobbering grunge of “Sex Type Thing” used as their debut single, the jumbled chronology of Thank You forces the listener to see each track as its own work and judge it on its own merits. And, based on that, it’s clear that Stone Temple Pilots were one of the great singles bands of the ’90s. Single for single, they had a dynamic mix of crunching hard rock and sugary, slightly trippy melodies, underscored by a real sense of urgency and perfect production by O’Brien, where each track unfolded with layer upon layer of sonic detail and no song outstayed its welcome. This was alt-rock played as classic rock — it played by the rules of ’70s album rock, but its amalgam of sounds and styles, where STP poached from metal, glam, bubblegum, the Beatles, and album rock in equal measure, was purely a creation of the ’90s, where postmodern aesthetics became part of the mainstream. And, within the mainstream, nobody did it better than Stone Temple Pilots. Yes, their peers certainly had more indie credibility, but great pop music isn’t about credibility; it’s how the music sounds, and STP made music that sounded great at the time and even better now.
With a few exceptions — the most notable being the charting singles “Unglued,” “Hollywood Bitch,” and “Pretty Penny,” though cases could be made for their acoustic cover of Zeppelin’s “Dancing Days,” Weiland’s spin-off “Mockingbird Girl” (not STP, but it fits musically), and the album tracks “Tumble in the Rough” and “Church on Tuesday,” but that’s nit-picking — Thank You contains all of their great songs, and there are many: the hazy, murky cavalcade of imagery in “Vasoline”; the swelling, mournful “Creep”; the neo-glam crunch of “Big Bang Baby”; the eerie, desolate late-night dread of “Big Empty”; the majestic “Plush”; the candy-coated rush of “Trippin’ on a Hole in a Paper Heart”; the silly but effective Alice in Chains homage “Wicked Garden”; the heavy, heavy monster sound of “Down”; the sighing cinematic “Lady Picture Show”; the effortless, incandescent power pop “Days of the Week”; the matter-of-fact, heartbreaking resignation of “Sour Girl”; and, best of all, the timeless travelogue “Interstate Love Song,” as great a driving song as has ever been recorded. These are the songs that have been classified as guilty pleasures by alt-rockers too consumed by conventional definitions of good taste, but ten years after STP’s peak, this music reveals itself as some of the best singles of the ’90s. Scoff if you want and call them the Guess Who of the ’90s, but this music has stood the test of time and this collection is nearly perfect.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Vasoline (02:56)
02. Down (03:50)
03. Wicked Garden (04:07)
04. Big Empty (04:55)
05. Plush (05:12)
06. Big Bang Baby (03:24)
07. Creep (05:34)
08. Lady Picture Show (04:08)
09. Trippin’ On a Hole In a Paper Heart (02:57)
10. Interstate Love Song (03:15)
11. All In the Suit That You Wear (03:41)
12. Sex Type Thing (03:40)
13. Days of the Week (02:37)
14. Sour Girl (04:18)
15. Plush (Acoustic Version) (03:50)

Stone Temple Pilots’ 2010 reunion album isn’t a song deep before Scott Weiland alludes to his checkered chemical past by singing “even when we used to take drugs,” which may not be a confession — the singer took great pains to claim he was writing in third person for this, the sixth STP album — but it’s easy to read between the lines, particularly when the song title invites you to do so. Despite Weiland’s knack for a fractured phrase, the kind that jams a verse or chorus into the brain, words have never been the reason to listen to Stone Temple Pilots, it’s always been their candied crunch, the way the filter ‘70s sleaze through psychedelic swirls. The brothers DeLeo are responsible for the former, and Weiland for the latter and, like it or not — the decade-long absence suggests that they surely don’t — they need each other, neither team sounding quite as good in their solo projects as they do working together. So, Stone Temple Pilots finds STP picking up where they left off, retaining the harder, diamond edge of Shangri-La Dee Da, balancing swagger and melody with an expert professional touch, offering everything as expected, except for the key ingredient of Brendan O’Brien, who produced every one of STP’s albums before this. In his stead come the DeLeo brothers, who somehow strip the group’s sound to the core while still managing to pile on six-string overdubs; it’s an STP record that’s de-frilled and guitar heavy, its bluntness extending to a direct quotation of “Dancing Days” in the guitar solo for “Hickory Dichotomy” and an open homage to prime Aerosmith on “Huckleberry Crumble.” Perhaps with another set of ears in the studio these allusions would be refined, and perhaps the entire set would be sharpened, anchored by a couple of surging singles, and possessing some sense of shifting texture, but as it stands, Stone Temple Pilots is a good solid record and an inadvertent testament to the fact that these guys need each other.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Between The Lines (02:50)
02. Take A Load Off (03:11)
03. Huckleberry Crumble (03:10)
04. Hickory Dichotomy (03:22)
05. Dare If You Dare (04:29)
06. Cinnamon (03:33)
07. Hazy Daze (02:59)
08. Bagman (02:45)
09. Peacoat (03:29)
10. Fast As I Can (03:33)
11. First Kiss On Mars (03:03)
12. Maver (04:53)
13. Samba Nova (03:35)
14. Vasoline [live from Chicago] (03:12)
15. Hickory Dichotomy [live from Chicago] (03:20)
16. Between The Lines [live from Chicago] (02:55)

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Mott the Hoople – Albums Collection 1969-2009 (21CD) [FLAC]

May 12, 2014, 8:24 am

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Mott the Hoople – Albums Collection 1969-2009 (21CD) FLAC

EAC | FLAC (Cue&Log) < 7 Gb | Scans
Genre: Hard Rock, Classic Rock, Glam Rock, Proto Punk | Time: 19:46:56

Mott the Hoople are one of the great also-rans in the history of rock & roll. Though Mott scored a number of album rock hits in the early ’70s, the band never quite broke through into the mainstream. Nevertheless, their nasty fusion of heavy metal, glam rock, and Bob Dylan’s sneering hipster cynicism provided the groundwork for many British punk bands, most notably the Clash. At the center of Mott the Hoople was lead vocalist/pianist Ian Hunter, a late addition to the band who developed into its focal point as his songwriting grew. Hunter was able to subvert rock & roll conventions with his lyrics, and the band — led by guitarist Mick Ralphs — had a tough, muscular sound that kept the group firmly in hard rock territory, even when flirting with homosexual imagery and glammy makeup. However, their lack of success meant that they inevitably splintered apart in the ’70s, with Ralphs forming Bad Company and Hunter launching a cult solo career.
Mick Ralphs (lead guitar, vocal), Verden Allen (organ), Overend Pete Watts (bass), and Dale “Buffin” Griffin (drums) formed Silence in 1968 and began playing around their hometown of Hereford, England. Early in 1969, the band added vocalist Stan Tippens and landed a record contract with Island (Atlantic in the U.S.), heading to London to record with producer Guy Stevens, whose first move was to change the band’s name to Mott the Hoople, after a Willard Manus novel. By the summer, Tippens was fired, later becoming the band’s road manager, and was replaced by Ian Hunter. Mott the Hoople’s eponymous debut album was released in the fall of 1969 and it became an underground hit, known for its fusion of Blonde on Blonde-era Dylan and heavy metal, as well for its straight cover of Sonny Bono’s “Laugh at Me” and its pounding instrumental version of the Kinks’ “You Really Got Me.”
Despite all of the attention, Mott the Hoople received, it didn’t sell well and neither did its poorly reviewed 1970 follow-up, Mad Shadows. The band returned in 1971 with the country-tinged Wildlife, which was its least popular record to date. Despite their lack of sales, Mott the Hoople had gained a cult following in Britain through their constant touring. At a concert at the Royal Albert Hall in July 1971, the band sparked a mini-riot that led the venue to ban rock concerts for a number of years. More than any of their previous releases, Brain Capers (1971) demonstrated the band’s live power, but when it failed to sell, the group was prepared to disband.
Just as the band was about to split, David Bowie intervened and convinced the group to stay together. Riding at the height of his Ziggy Stardust popularity, Bowie agreed to produce Mott’s next album and offered “Suffragette City” for the bandmembers to record. They refused the song, asking for “Drive-In Saturday” instead. They eventually settled for “All the Young Dudes,” which became the group’s breakthrough hit. An explicitly gay anthem recorded by a heterosexual band, “All the Young Dudes” became the anthem for the glam rock era, becoming a number three hit in the U.K. and a Top 40 hit in the U.S. in the summer of 1972. An album of the same name was released on Columbia Records in the fall, and it became a hit in the U.K. and the U.S.
Allen left the band before the recording of the group’s follow-up to All the Young Dudes, citing Hunter’s reluctance to record his songs. A concept album about a rock band struggling for success, Mott, released in the summer 1973, expanded the band’s success, receiving good reviews and peaking at number seven in Britain and number 35 in America. “All the Way from Memphis” and “Roll Away the Stone” became Top Ten hits in the U.K., confirming the band’s status as one of the leaders of the glam rock movement. In the summer of 1974, Hunter published Diary of a Rock Star to great acclaim in the U.K.
While the bandmembers were finally experiencing the success that they had desired, the group was beginning to fall apart. Frustrated with Allen’s departure, as well as the fact that his song “Can’t Get Enough” was out of Hunter’s range, Ralphs left Mott in late 1973 to form Bad Company with Paul Rodgers. He was replaced by former Spooky Tooth guitarist Luther Grosvenor, who changed his name to Ariel Bender upon joining the band; keyboardist Morgan Fisher also joined the group. The new lineup toured in late 1973, and the concerts were documented on 1974′s Mott the Hoople Live. The live record was released after The Hoople appeared in the spring, peaking at 11 in the U.K. and 28 in the U.S. on the strength of the singles “The Golden Age of Rock & Roll” and “Foxy Foxy.” Former Bowie guitarist Mick Ronson replaced Bender in the fall of 1974 upon Hunter’s request. Within a few months, the pair left the band to begin working as a duo. The remaining members of Mott the Hoople added guitarist Ray Major and vocalist Nigel Benjamin, truncating their name to Mott. The new incarnation of the group released Drive On (1975) and Shouting and Pointing (1976) to little attention before adding John Fiddler as their lead singer and changing their name to British Lions. They split up two years later.
Though the allegiance between Ian Hunter and Mick Ronson was short-lived, it was well-received and the two would continue to sporadically work together until Ronson’s death in 1993. Hunter pursued a moderately successful solo career, highlighted by his eponymous 1975 album and 1979′s You’re Never Alone with a Schizophrenic. Hunter’s “Ships” was covered by Barry Manilow in 1975, while Great White took his “Once Bitten, Twice Shy” into the Top Ten in the early ’90s.

Biography by Stephen Thomas Erlewine, Allmusic.com

http://en.wikipedia.org/wiki/Mott_the_Hoople

Albums:

Mott The Hoople (1969) Remastered Reissue 2003
Mad Shadows (1970) Remastered Reissue 2003
Wildlife (1971) Remastered Reissue 2006
Brain Capers (1971) Remastered Reissue 2003
All The Young Dudes (1972) Remastered Reissue 2006
Mott (1973) Remastered Reissue 2006
The Hoople (1974) Remastered Reissue 2006
Live (1974) 30th Anniversary Edition 2004
Rock And Roll Queen (1974)
Drive On (1975)
Greatest Hits (1976)
Two Miles From Heaven (1980) Remastered Reissue 2003
The Ballad Of Mott: A Retrospective (1993) 2CD
Fairfield Halls, Live 1970 (2007) Remastered Issue
Mott The Hoople – Original Album Classics (2009) 5CD Box Set

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Joe Bonamassa – Albums Collection 2000-2012 (17CD) [FLAC]

May 12, 2014, 8:27 am

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Joe Bonamassa – Albums Collection 2000-2012 (17CD) FLAC

Collection includes 10 studio albums and 4 live albums by American blues-rock guitar virtuoso Joe Bonamassa.

Guitar mastermind Joe Bonamassa, a young player with the childhood dream of playing music similar to legends like Stevie Ray Vaughan, Eric Clapton, and Jimi Hendrix, was 22 when he inked a deal with Epic. Hailing from Utica, New York, Bonamassa could play the blues before he could drive a car. He first heard Stevie Ray Vaughan at age four and was instantly taken by Vaughan’s high-powered playing. At age eight, he opened for B.B. King, and at age 12, he was playing regularly around upstate New York. It was soon thereafter that Bonamassa hooked up with the band Bloodline, which featured other musicians’ sons: Waylon Krieger (Robby Krieger’s son), Erin Davis (Miles Davis’ drummer kid), and Berry Oakley, Jr. (son of the Allman Brothers bassist). Bloodline released a self-titled album, but Bonamassa wanted to move on. In summer 2000 he guested for Roger McGuinn on Jethro Tull’s summer tour, later releasing his debut solo album, A New Day Yesterday. Produced by longtime fan Tom Dowd, the album marked a move toward a more organic and rock-sounding direction. He put together a power trio with drummer Kenny Kramme and bassist Eric Czar and hit the road to support the album.
Upon returning from the road, he hooked up with Dowd to record the muscular and sweeping studio disc So, It’s Like That and released a document of the tour, A New Day Yesterday Live. The following year, Bonamassa put out Blues Deluxe, featuring nine cover versions of blues classics alongside three originals. The muscular You & Me appeared in 2006, followed by the more acoustic-tinged Sloe Gin in 2007. A year later, Bonamassa released the two-disc live album Live from Nowhere in Particular, followed in 2009 by The Ballad of John Henry. Late in 2009 he released the DVD Live from the Royal Albert Hall with guest spots from Eric Clapton and Paul Jones. In 2010, the guitarist released his first disc for the Premier Artists label, Black Rock, featuring a guest appearance by B.B. King. It was followed by the debut album from Black Country Communion, a blues-rock supergroup that put him in the company of bassist/vocalist Glenn Hughes, drummer Jason Bonham, and keyboardist Derek Sherinian. Bonamassa, ever the overachiever, released his earthy Dust Bowl in March of 2011, followed by Black Country Communion’s 2 in June and by his unique collaboration with vocalist Beth Hart on a searing collection of soul covers entitled Don’t Explain in September.
In May of 2012, Bonamassa released Driving Towards the Daylight. The album reunited the guitarist with producer Kevin Shirley, who brought in Aerosmith’s Brad Whitford to play rhythm guitar on the 11 tracks. Driving Towards the Daylight was a significant blues hit — it topped the Billboard blues charts and debuted at number two on the overall British charts — and Bonamassa didn’t slow down. Early in 2013, he released a live CD/DVD set called An Acoustic Evening at the Vienna Opera House and prepared SeeSaw, a studio album of classic covers with vocalist Beth Hart. SeeSaw was released later in 2013, and Bonamassa and Hart followed it up with Live in Amsterdam in March of 2014.

Biography by MacKenzie Wilson, Allmusic.com

http://en.wikipedia.org/wiki/Joe_Bonamassa

http://www.jbonamassa.com/

Named after the early Jethro Tull classic, which he expertly covers here in a jaw-dropping performance, A New Day Yesterday is a fine debut by guitar ace Joe Bonamassa. And though his record company tried to ride the coattails of teenage guitar prodigies like Kenny Wayne Shepard and Jonny Lang and position him (misguidedly and much too late) as a straight-up prodigal blues kid, Bonamassa is really much more than a traditional bluesman. Rather, as best exemplified by the Jethro Tull number cited above, his bluesy take on Free’s “Walk in My Shadows,” or his hard boogie romp through Al Kooper’s “Nuthin’ I Wouldn’t Do (For a Woman Like You),” this excellent debut places the guitarist’s influences as much in classic ’70s hard rock as in the blues. Along with his deceptively age-wearied vocals (he was only 22 at the time of this recording), this unusual combination translates into the aggressive, soulful crunch heard on Bonamassa’s many original compositions. Among these, the jolting double whammy of “Miss You, Hate You” and “Colour and the Shape” (note the Anglicized spelling) are the most obvious standouts, but the guitarist also makes the Warren Haynes-penned “If Heartaches Were Nickels” his own with a tense, riveting performance. All in all, a promising debut.

Review by Eduardo Rivadavia, Allmusic.com

Tracklist:
01. Cradle Rock – 3:51
02. Walk In My Shadows – 3:27
03. A New Day Yesterday – 4:45
04. I Know Where I Belong – 5:38
05. Miss You, Hate You (Rock Radio Remix) – 3:40
06. Nuthin’ I Wouldn’t Do (For A Woman Like You) – 5:10
07. Colour And Shape – 5:03
08. Headaches To Heartbreaks – 4:56
09. Trouble Waiting – 3:26
10. If Heartaches Were Nickels – 7:51
11. Current Situation – 3:36
12. Don’t Burn Down That Bridge – 4:21
13. Miss You, Hate You (Original Full-Lenght Version – Bonus Track) – 6:05

Something of an odd release, A New Day Yesterday Live documents the final date of a 60-day jaunt during blues guitar prodigy Joe Bonamassa’s 2001 tour in support of his major-label debut bearing the same title, and (this is the odd part), released just a few months earlier. Just why his record company felt the need for it, then, is up for grabs (more promotion…thinking Bonamassa’s virtuosity came across stronger in a live setting…who knows?), but what’s clear is that the young guitarist’s trio lacked nothing in terms of on-stage presence and performing tightness as compared to what was heard on said studio album. Their kinetic reinventions of oft-overlooked ’70s rock classics such as Free’s “Walk in My Shadows” and Jethro Tull’s “A New Day Yesterday” instantly distinguish Bonamassa from teenage blues competitors such as the overly Stevie Ray Vaughan-reliant Kenny Wayne Shepherd or the more purist (and technically less dazzling) Jonny Lang, and his better-conceived originals (“Colour & Shape,” the wonderful “Miss You Hate You”) stand up under any circumstance — but again, so what? Didn’t listeners just buy their studio versions a few months ago? Yes, there’s the additional benefit of extended jamming and incendiary guitar soloing to expand upon their themes, but suffice to say that this set need only be sought out by Bonamassa fanatics, or, in the event that they’ve yet to hear the studio version, first timers, too — why not?

Review by Eduardo Rivadavia, Allmusic.com

Tracklist:
01. Jam Intro – 3:21
02. Cradle Rock – 3:38
03. Steppin Out/Rice Pudding – 5:32
04. A New Day Yesterday – 8:05
05. Miss You, Hate You – 7:20
06. Walk In My Shadows – 5:57
07. I Know Where I Belong – 10:14
08. Colour & Shape – 6:13
09. Trouble Waiting – 4:37
10. If Heartaches Were Nickels – 7:43
11. Dont Burn Down That Bridge – 8:22

Joe Bonamassa may well be a young guitar virtuoso, in line with the likes of Derek Trucks and John Mayer (like Jonny Lang and Kenny Wayne Shepherd before them) to be the Next Blues-Rock Guitar Hero. Unfortunately, he’s not much of a songwriter. So, It’s Like That, his sophomore solo effort, is filled with subpar tunes bloated with clichés. The production (by Clif Magness) is swell enough, though Bonamassa’s guitar sometimes sounds too carefully dirty, and his band — comprised of drummer Kenny Kramme and bassist Eric Czar — far too generic. Bonamassa shines when he is allowed to stretch out and explore, on songs such as the sonically varied “Pain and Sorrow.” There, on a long improvisation, he works through myriad modes of playing, textures, and musical ideas. And, since it is one of the album’s only extended tracks, it is also one of the album’s only redeeming moments — and the only thing that clearly separates Bonamassa from generic boorishness.

Review by Jesse Jarnow, Allmusic.com

Tracklist:
01. My Mistake – 4:53
02. Lie #1 – 4:22
03. No Slack – 5:05
04. Unbroken – 3:49
05. So, It’s Like That – 2:49
06. Waiting For Me – 3:54
07. Never Say Goodbye – 3:32
08. Mountain Time – 3:42
09. Pain And Sorrow – 10:37
10. Takin’ The Hit – 4:44
11. Under The Radar – 3:20
12. Sick In Love – 3:25
13. The Hard Way – 7:49

Joe Bonamassa’s first solo release in 2000, A New Day Yesterday, paid homage to classic ’70s blues/hard rock. Three years later, with the release of Blues Deluxe, the young guitarist is doing the same with the roots of the blues. Eight of the 12 tracks are covers: B.B. King’s “You Upset Me Baby,” John Lee Hooker’s “Burning Hell,” Buddy Guy’s “Man of Many Words,” Elmore James’ “Wild About You Baby,” T-Bone Walker’s “Long Distance Blues,” Freddie King’s “Pack It Up,” Albert Collins’ “Left Overs,” and Robert Johnson’s “Walking Blues.” The problem with about half of the disc is the difficulty of covering this type of material without being able to add much to it. At this relatively early stage in Bonamassa’s discography, it may have been a better idea if he would have mixed 70-percent originals with a few covers instead of vice-versa. It’s obvious Bonamassa has devoured this material, but his take on “Burning Hell,” for instance, doesn’t come close to matching the strength and realism of the original. The album’s strong points are the three originals — “Woke Up Dreaming,” “I Don’t Live Anywhere,” and “Mumbling Word” — and the Jeff Beck Group’s “Blues Deluxe,” which features smokin’ guitar pyrotechnics. Still, thanks to musicians like Bonamassa, the more traditional blues artists covered on this disc continue to gain just as much exposure as younger artists as Eric Clapton, Stevie Ray Vaughan, or Jimi Hendrix.

Review by Al Campbell, Allmusic.com

Tracklist:
01. You Upset Me Baby – 3:35
02. Burning Hell – 6:50
03. Blues Deluxe – 7:20
04. Man of Many Words – 4:11
05. Woke Up Dreaming – 2:51
06. I Don’t Live Anywhere – 3:42
07. Wild About You Baby – 3:39
08. Long Distance Blues – 3:53
09. Pack It Up – 4:04
10. Left Overs – 3:24
11. Walking Blues – 4:29
12. Mumbling Word – 3:28

Guitar hero Bonamassa may have dropped the “Smokin’” prefix from his performing name that he carried as a teenager, but he still specializes in superheated fret work. And for him, the faster it is, the better. Bonamassa sought to showcase the “heavier side of blues” on his fourth studio recording, emphasizing the approach used by the classic English blues-rockers. And he does just that with a hyperactive “Travellin’ South” that Ten Years After would have been proud to claim and a hard-edged remake of the B.B. King hit “Never Make Your Move Too Soon”. The title track, a Blind Faith favorite, is transformed into a frenetic live jam while Lowell Fulson’s “Reconsider Baby”, a staple of Bonamassa’s live show, is given an extended workout and features some of his most potent blues licks. Sometimes Bonamassa is in too much of a hurry for his own good, but his penchant for speed works especially well on a couple of instrumentals. He races through “Revenge of the 10 Gallon Hat”, a country-flavored tribute to mentor Danny Gatton, and the rapid-fire, Al Di Meola-influenced closer “Faux Mantini.”

Review by Michael Point, Amazon

Tracklist:
01. Never Make Your Move Too Soon – 4:06
02. Travellin’ South – 3:51
03. Junction 61 – 0:49
04. Reconsider Baby – 6:52
05. Around the Bend – 5:11
06. Revenge Of The 10 Gallon Hat – 2:54
07. When She Dances – 4:54
08. Had to Cry Today – 6:50
09. The River – 5:30
10. When The Sun Goes Down – 2:45
11. Faux Mantini – 2:27

Despite his statement in the liner notes that “In an era where it is best to play it safe, I chose to take a risk…,” there isn’t much surprising or risky about young guitarist Joe Bonamassa’s fifth studio album. Most of his previous releases have mixed blues covers with his own originals, all played with a rocker’s attitude, volume and less-than-subtle approach. This one follows suit and even though he goes on to say that he “wanted to make a blues album, not a rock album that has blues on it,” as in the past; it’s impossible to claim that he has succeeded with You & Me. That doesn’t make this a bad or disappointing disc; quite the contrary, it’s a solid blues-rock release and arguably his best work to date. But as early as the second track, an original rocker titled “Bridge to Better Days,” Bonamassa takes off on an early Free/Savoy Brown-styled stomper. Things settle down and get more rootsy on the following two slow blues tracks, although a lovely Bonamassa original, “Asking Around for You,” adds strings, not exactly a touch most would associate with pure blues. Regardless, it’s extremely effective and when the strings return on a nine-and-a-half-minute cover of Led Zeppelin’s “Tea for One,” it is a spine-tingling experience and possibly this album’s finest moment. Drummer Jason Bonham, who is excellent throughout, brings additional authenticity to the song his dad first played on. Bonamassa unplugs for a few mid-disc tracks, including a cover of “Tamp ‘Em Up Solid” (oddly credited to Ry Cooder but typically known as a traditional piece, even on Cooder’s version). Twelve-year-old harmonica whiz L.D. Miller does his best John Popper imitation on a hyperactive version of Sonny Boy Williamson’s “Your Funeral and My Trial” (someone needs to inform the kid that playing lots of notes really fast doesn’t mean he has soul), and the instrumental titled “Django” shows that Bonamassa has been listening to Gary Moore’s “Parisienne Walkways.” It adds up to a quality Bonamassa disc that will please existing fans and might bring some new ones into the fold, but it’s also one that doesn’t take the chances that he claims might push the guitarist into uncharted territory.

Review by Hal Horowitz, Allmusic.com

Tracklist:
01. High Water Everywhere – 4:07
02. Bridge to Better Days – 5:07
03. Asking Around for You – 4:18
04. So Many Roads – 7:06
05. I Don’t Believe – 3:23
06. Tamp Em Up Solid – 2:31
07. Django – 4:57
08. Tea for One – 9:35
09. Palm Trees Helicopters and Gasoline – 1:47
10. Your Funeral and My Trial – 3:00
11. Torn Down – 4:28

For his seventh studio album, guitar wiz Joe Bonamassa has chosen to work again with producer Kevin Shirley, who produced the highly successful and huge-sounding You & Me for Bonamassa in 2006. This outing, though, is far from a ditto session, with a much more acoustic feel and a greater focus on Bonamassa’s singing, which unfortunately has been generally (and unfairly) overshadowed by his guitar playing. Bonamassa has also stepped up his songwriting (four of the 11 tracks here are originals; the rest are blues and hard rock covers) and cut way down on his clichés, delivering in the process his most varied and impressive album yet. The lead track, a version of Chris Whitley’s “Ball Peen Hammer,” is an atmospheric gem, as is the title tune, a cover of a song written by Bob Ezrin and Michael Kamen that first appeared on Tim Curry’s solo debut album in 1978. Bonamassa’s singing on both of these is wonderfully nuanced and shows he can do way more than just shout out blues-rockers. Also worth noting is his Dobro work on a fine cover of John Martyn’s “Jelly Roll,” and then there are the four originals — “Dirt in My Pocket,” “Richmond,” “Around the Bend,” and the striking “India” — which show Bonamassa’s continued growth and confidence as a songwriter. There are less of those flashy and jaw-dropping guitar leads on Sloe Gin (rest assured, he stretches out a few times on guitar, though), which is mostly a good thing, since it allows his increasing maturity as a writer and singer to shine through. This is a fine album, and one gets the distinct feeling that an even better one may be lurking just around the bend.

Review by Steve Leggett, Allmusic.com

Tracklist:
01. Ball Peen Hammer – 3:27
02. One Of These Days – 5:40
03. Seagull – 3:49
04. Dirt In My Pocket – 4:55
05. Sloe Gin – 8:14
06. Another Kind Of Love – 3:11
07. Around The Bend – 5:16
08. Black Night – 4:22
09. Jelly Roll – 2:13
10. Richmond – 4:31
11. India – 3:20

Two CD set. Live from Nowhere in Particular is the 2008 album from Joe Bonamassa, an US blues guitarist/singer. Guitar One Magazine has stated that ‘he just might be the best guitarist of his generation.’ His blues-rock style is similar to that of Stevie Ray Vaughan’s. In an interview in ‘Guitarist’ magazine (issue 265), Joe Bonamassa cited the three albums that had the biggest influence on his playing: John Mayall & the Bluesbreakers with Eric Clapton (the ‘Beano Album’), Rory Gallagher’s ‘Irish Tour’ and ‘Goodbye’ by Cream.

Tracklist:
CD 1 – 00:44:13
01. Bridge to Better Days – 5:28
02. Walk in my Shadows – 5:15
03. So Many Roads – 6:10
04. India-Mountain Time – 10:18
05. Another Kinda Love – 3:48
06. Sloe Gin – 7:20
07. One of These Days – 5:54
CD 2 – 00:54:28
01. Ball Peen Hammer – 4:24
02. If Heartaches Were Nickels – 4:08
03. Woke Up Dreaming – 7:59
04. Django-Just Got Paid – 17:53
05. High Water Everywhere – 4:49
06. Asking Around For You – 7:24
07. A New Day Yesterday-Starship Trooper-Wurm – 7:51

In 2007, Joe Bonamassa titled his album after a Bob Ezrin song. In 2009, he named his seventh studio album The Ballad of John Henry after one of the most enduring tales in American folk music. The difference between these two songs should signal a great difference between the two albums and that’s true, to a certain extent. The Ballad of John Henry is heavy on myth-making that translates to heavy guitars on several occasions, particularly on the epic six-minute title track, whose roiling minor-key riffs, orchestrations, and excursions into acoustic instruments are closer to prog than blues. While the rest of the record never gets as overblown as this, it shares similar thick sonics and a sober sensibility, an approach that treats Ike & Tina Turner’s “Funkier Than a Mosquito’s Tweeter” as sacred text and straightens out Tom Waits’ “Jockey Full of Bourbon.” This sobriety means that The Ballad isn’t a whole lot of fun — when Bonamassa sings that he’s “Feelin’ Good,” it feels a bit like drudgery — but this dogged approach does give the album some self-serious heft, adding the impression of weight that fits a record that feels like a summation of his strengths. His guitar and voice carry equal weight as he runs through SRV-styled slow blues, a shuffle or two, acoustic numbers, covers, and originals — everything that he’s dabbled with on previous albums is pulled together here, making for his most varied album and possibly his best, even if that heaviness means that it’s not necessarily the easiest to enjoy.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. The Ballad Of John Henry – 6:27
02. Stop! – 6:48
03. Last Kiss – 7:15
04. Jockey Full Of Bourbon – 5:22
05. Story Of A Quarryman – 5:00
06. Lonesome Road Blues – 3:09
07. Happier Times – 6:40
08. Feelin’ Good – 4:44
09. Funkier Than A Mosquito’s Tweeter – 5:00
10. The Great Flood – 7:39
11. From The Valley – 2:24
12. As The Crow Flies – 3:59

Guitarist Joe Bonamassa was opening for B.B. King when he was only eight years old and was a veteran of the road and gigging by the time he was 12, so it’s tempting to toss him in the all flash but no soul prodigy trash bin that has been filling up pretty well since Stevie Ray Vaughan shuffled off to blues heaven — but that would be a big mistake. Bonamassa has soul, plenty of it, and he plays guitar with a reverent grace, and sometimes lost in all this is that he’s a pretty good singer, too, sounding more than a little bit like a reconstituted Paul Rodgers. His stunning headline show from the Royal Albert Hall, which featured guest spots by Eric Clapton and Paul Jones, was released in 2009 on DVD and download versions of the songs have been available on iTunes for a while, but this two-disc set marks the first official release of the concert as an album in and of itself, and it’s simply wonderful, full of great guitar playing, solid singing, and with a horn section and double drummers on board, the sound is full and even majestic. Bonamassa is the real deal, and tracks here like the elegant opener “Django,” “The Ballad of John Henry,” the marvelous cover of Charley Patton’s “High Water Everywhere,” and a shifting, sprawling workout on Rod Stewart’s “Blues Deluxe” show a musician at the top of his game, one who has learned that a guitar lead should serve the song and not the other way around. Bonamassa isn’t some kid prodigy anymore — he’s grown up into one of the most soulful blues-rock performers on the planet. There’s plenty of proof of that here.

Review by Steve Leggett, Allmusic.com

Tracklist:
CD 1 – 01:06:51
01. Django – 3:44
02. The Ballad Of John Henry – 6:47
03. So It’s Like That – 2:56
04. Last Kiss – 7:18
05. So Many Roads – 6:16
06. Stop! – 5:56
07. Further On Up The Road (with Eric Clapton) – 5:45
08. Woke Up Dreaming – 10:06
09. High Water Everywhere – 5:07
10. Sloe Gin – 8:19
11. Lonesome Road Blues – 4:38
CD 2 – 01:05:18
01. Happier Times – 7:22
02. Your Funeral My Trial – 4:05
03. Blues Deluxe – 9:13
04. Story Of A Quarryman – 5:15
05. The Great Flood – 7:53
06. Just Got Paid – 10:44
07. Mountain Time – 10:43
08. Asking Around For You – 10:02

It’s a sign of Joe Bonamassa’s increasing profile that he got blues legend B.B. King to guest on his eighth album Black Rock — and if what you’re doing is good enough to rope B.B. in, there’s not much reason to change, so Bonamassa doesn’t tinker with his formula here, retaining a little of the folky undertow of The Ballad of John Henry, but with its remaining roots in a thick, heavy blues-rock more redolent of ‘60s London than the ‘50s Delta. Of course, Bonamassa has never shied away from his love of Brit-blues, even underscoring it with a good streamlined cover of Jeff Beck’s “Spanish Boots,” but he retains a healthy respect for all manners of classic blues, kicking out a Chicago groove on a cover of Otis Rush’s “Three Times a Fool,” reaching back to Blind Boy Fuller for “Baby You Gotta Change Your Mind” and ably replicating B.B.’s latter-day soul groove on a horn-smacked cover of Willie Nelson’s “Night Life.” Bonamassa has an ear for non-blues writers too, cherrypicking Leonard Cohen’s “Bird on a Wire” and John Hiatt’s “I Know a Place,” tying it all together with beefy lead lines, but the provocative moments on Black Rock are all self-penned, whether it’s the clattering stomp “When the Fire Hits the Sea,” the British folk lilt of “Quarryman’s Lament” and “Athens to Athens,” or the droning dramatic epic “Blue and Evil.” These are easily the most intriguing songs here, suggesting Bonamassa realizes that the familiar covers allow him to stretch out elsewhere, and while it might be interesting hearing him follow this path for a full album, what’s here on Black Rock is both satisfying and admirably, if reservedly, ambitious.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Steal Your Heart Away – 3:48
02. I Know A Place – 4:19
03. When The Fire Hits The Sea – 3:55
04. Quarryman’s Lament – 5:22
05. Spanish Boots – 4:39
06. Bird On A Wire – 5:21
07. Three Times A Fool – 2:03
08. Night Life – 3:26
09. Wandering Earth – 4:19
10. Look Over Yonder’s Wall – 3:27
11. Athens To Athens – 2:27
12. Blue And Evil – 5:44
13. Baby You Gotta Change Your Mind – 4:25

For his second solo album in a year — not counting his excursion with Black Country Communion — Joe Bonamassa, the hardest working blues-rock guitarist of the 21st century, strikes up a bit of a smoky Black Keys vibe, signaling that he’s not quite as devoted to the past as he may initially seem. It’s not the only trick he has up his sleeve, either. Appropriately enough for an album entitled Dust Bowl, Bonamassa kicks up some country dirt on this record, enlisting John Hiatt for a duet on the songwriter’s “Tennessee Plates” and bringing Vince Gill in to play on the lazy shuffle “Sweet Rowena.” These are accents to an album that otherwise sticks to Bonamassa’s strong suit of blues in the vein of Cream, Stevie Ray, and Gary Moore, but it’s just enough of a difference to give Dust Bowl a distinctive flavor and suggests that the guitarist’s constant work is pushing him to synthesize his clear influences into something that is uniquely his own.

Review by Stephen Thomas Erlewine, Allmusic.com

Tracklist:
01. Slow Train – 6:50
02. Dust Bowl – 4:33
03. Tennessee Plates (feat. John Hiatt) – 4:19
04. The Meaning Of The Blues – 5:44
05. Black Lung Heartache – 4:14
06. You Better Watch Yourself – 3:31
07. The Last Matador Of Bayonne – 5:24
08. Heartbreaker (feat. Glenn Hughes) – 5:49
09. No Love On The Street – 6:32
10. The Whale That Swallowed Jonah – 4:46
11. Sweet Rowena (feat. Vince Gill) – 4:34
12. Prisoner – 6:49

Joe Bonamassa is a guitar hero and a road dog — the blues-rock crusher plays up to 200 shows a year, and it’s significant that of the 15 albums he released between 2000 and 2012, four of them were live sets. When Bonamassa played the Beacon Theatre in New York City in November 2011, the marquee declared it “the guitar event of the year,” and something that important would certainly merit another live album, wouldn’t it? Beacon Theatre: Live from New York is a hefty two-disc set that features plenty of Bonamassa’s trademark guitar work, at once precise and bombastic and firmly rooted in the traditions of British blues, and for this show he had Paul Rodgers on hand to lend appropriately swaggering lead vocals to a pair of Free covers, “Fire and Water” and “Walk in My Shadows.” Two other guest singers pop up on this set: John Hiatt, whose craggy tone lends a welcome bit of texture to versions of two of his tunes, “Down Around My Place” and “I Know a Place,” and Beth Hart, who has collaborated with Bonamassa in the past and lends her voice to spirited versions of “Sinner’s Prayer” and “I’ll Take Care of You.” There’s no arguing the technical skill of Bonamassa and his band (Carmine Rojas on bass, Rick Melick on keys, and Tal Bergman on drums), who perform with the accuracy of a Swiss watch, but some might question his taste — there’s nothing the least bit subtle about Bonamassa’s big, burly sound, and the emotional shadings of these songs are pretty much trampled into the dirt by the end of disc one, while the presence of the guest stars unfortunately reminds listeners that Bonamassa’s vocals are not on a par with his skills on the fretboard. But if you’re already a convert, Beacon Theatre: Live from New York finds Bonamassa playing with all his might for a crowd who are clearly digging what he has to offer, and if, like many of his fans, you’re convinced he sounds stronger and more powerful on-stage, this album will tide you over nicely until he next rolls into your area.

Mark Deming, Allmusic.com

Tracklist:
CD1:
01. 72nd St. Subway Blues (01:05)
02. Slow Train (06:35)
03. Cradle Rock (04:22)
04. When the Fire Hits the Sea (03:43)
05. Midnight Blues (07:49)
06. Dust Bowl (07:06)
07. The River (06:36)
08. I’ll Take Care of You (05:41)
09. Sinner’s Prayer (05:04)
10. You Better Watch Yourself (04:10)
11. Steal Your Heart Away (03:52)
CD2:
01. Bird On a Wire (05:45)
02. Down Around My Place (05:51)
03. I Know a Place (04:38)
04. Blue And Evil (06:50)
05. Walk in My Shadows (04:58)
06. Fire and Water (04:38)
07. Mountain Time (12:32)
08. Young Man Blues (09:39)
09. If Heartaches Were Nickels (08:06)

He’ll never be the new Stevie Ray Vaughan, but at the rate blues-rock (emphasis on the latter) guitarist Joe Bonamassa is going, he can take a stab at being the next Gary Moore. Like the Irish guitarist, Bonamassa is influenced by the British blues-rockers more than the Americans they lifted their licks from. He’s also just as prolific; this is his thirteenth album in twelve years and that’s not including side projects with Black Country Communion and Beth Hart, and DVDs grabbed from his 200-night-a-year road schedule filled with sweaty, high-energy performances. Makes you tired just reading about it. Bonamassa isn’t much of a songwriter so he wisely contributes only four tunes to this disc’s eleven, with some relatively obscure deep blues covers from Howlin’ Wolf (“Who’s Been Talkin’”), Willie Dixon (“I Got All You Need”), and Robert Johnson (“Stones in My Passway”) gravitating toward his roots side. Also included are offbeat choices from Bill Withers (“Lonely Town/Lonely Street”) and Tom Waits (“New Coat of Paint”). For better or worse, they all end up sounding like Joe Bonamassa tracks, since he feeds them into his leathery rock sensibilities, churning out requisite hot guitar solos whether they serve the song or not. He’s left his road-hardened band on the sidelines and calls in top-notch session guys, including Aerosmith’s Brad Whitford, David Letterman drummer Anton Fig, and keyboardist Arlen Schierbaum, whose piano and organ add some much-needed R&B attitude to the hard rock attack. Bonamassa even relinquishes lead vocals to Australian Jimmy Barnes, who goes so over the top singing his own “Too Much Ain’t Enough Love” it seems like he is auditioning for AC/DC. Longtime producer Kevin Shirley gets a slick, professional sound from these guys, and when everyone is cooking and the material is solid, such as on the grinding Bonamassa original “Dislocated Boy” and the Wolf cover (including a spoken word sample of the blues legend that kicks off the tune), the arrangements and guitars mesh together like whisky and soda. What Bonamassa lacks in a distinctive sound and singing, he makes up for with sheer determination, which is almost enough to push the album from pretty good to pretty great, especially on the horn-enhanced slow blues of “A Place in My Heart” that explodes out of the speakers in a way Gary Moore could summon at will. In other words, this is a keeper if you’ve already bought into the guitarist’s more-is-more approach that has served him well thus far, and he shows no signs of abandoning it now.

Hal Horowitz, Allmusic.com

Tracklist:
01. Dislocated Boy (06:39)
02. Stones In My Passway (03:56)
03. Driving Towards The Daylight (04:49)
04. Who’s Been Talking? (03:27)
05. I Got All You Need (03:03)
06. A Place In My Heart (06:47)
07. Lonely Town Lonely Street (07:05)
08. Heavenly Soul (05:55)
09. New Coat Of Paint (04:06)
10. Somewhere Trouble Don’t Go (04:58)
11. Too Much Ain’t Enough Love (w\ Jimmy Barnes) (05:37)

Download:

↧

Black Stone Cherry – Hits, Rarities, and Live (2014) [FLAC]

May 13, 2014, 6:09 am

≫ Next: Steel Panther – Balls Out (2011) [FLAC]

≪ Previous: Joe Bonamassa – Albums Collection 2000-2012 (17CD) [FLAC]

Black Stone Cherry-Hits Rarities and Live-MAG-CD-FLAC-2014-GRAVEWISH Download

Black Stone Cherry-Hits Rarities and Live-MAG-CD-FLAC-2014-GRAVEWISH

Description :

Artist: Black Stone Cherry
Album: Hits, Rarities, and Live
Year: 2014
Rel. Date: 2014-05-09
Genre: Hard Rock
Label: Roadrunner/Team Rock
Encoder: FLAC 1.2.1
Quality: 44.1kHz, 2 channels

Thirteen years. Four albums.Fifty-plus songs.
Black Stone Cherry already have quite the back
catalogue, and when it came to cherry-picking
tracks for our covermount CD the southerners took
the reins, mixing up big studio hits with stinging
live cuts from Download 2013 (this disc is the
only place you can hear songs from their
headlining show on the second stage – and even
recorded two acoustic tracks exclusively for
Classic Rock.

1. Me and Mary Jane 4:09
2. Lonely Train 3:51
3. Blind Man 3:39
4. White Trash Millionaire 3:19
5. In My Blood 3:48
6. Fire and Water (Acoustic 3:17
7. Hell & High Water (Acoustic 4:18
8. Soul Creek (Live From Download 2013 5:53
9. Things My Father Said (Live From 4:11
Download 2013
10. Maybe Someday (Live From Download 2013 4:03
11. Blame It on the Boom Boom (Live From 8:21
Download 2013
48:49

Download Links :

http://rapidgator.net/file/42c6e8fb4da165f0b13df28527f746ad/Black_Stone_Cherry-Hits_Rarities_and_Live-MAG-CD-FLAC-2014-GRAVEWISH.rar.html

or:

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↧

Steel Panther – Balls Out (2011) [FLAC]

May 13, 2014, 7:41 pm

≫ Next: Chevelle – La Gargola (2014) [FLAC]

≪ Previous: Black Stone Cherry – Hits, Rarities, and Live (2014) [FLAC]

Steel Panther-Balls Out-CD-FLAC-2011-FORSAKEN Download

Steel Panther-Balls Out-CD-FLAC-2011-FORSAKEN

Description :

Artist : Steel Panther
Album : Balls Out
Label : Universal Republic
Genre : Hard Rock
Source : CD
Street Date : 2011-10-28
Quality : 1045kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 376.22 MB
Time : 47:28 min
Url : http://www.steelpanther.tv

1. In The Future 1:27
2. Supersonic Sex Machine 3:09
3. Just Like Tiger Woods 3:40
4. 17 Girls In A Row 3:41
5. If You Really Really Love Me 2:25
6. It Won’t Suck Itself 2:53
7. Tomorrow Night 2:57
8. Why Can’t You Trust Me 4:00
9. That’s What Girls Are For 3:38
10. Gold Digging Whore 3:54
11. I Like Drugs 4:18
12. Critter 3:38
13. Let Me Cum In 3:29
14. Weenie Ride 4:19

Second album from Steel Panther.

Enjoy, support.

Download Links :

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or:

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or:

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↧

Chevelle – La Gargola (2014) [FLAC]

May 14, 2014, 7:44 pm

≫ Next: Axxis – The Big Thrill (1993) [FLAC]

≪ Previous: Steel Panther – Balls Out (2011) [FLAC]

Genre: Pop/Rock
Styles: Alternative, Hard Rock
Source: WEB
Codec: FLAC
Bitrate: ~ 1,000 kbps
Bit Depth: 16
Sample Rate: 44.1 kHz

01 Ouija Board
02 An Island
03 Take Out the Gunman
04 Jawbreaker
05 Hunter Eats Hunter
06 One Ocean
07 Choking Game
08 The Damned
09 Under the Knife
10 Twinge

Inspired by the lurching riffs of Helmet and the soft/loud vocal dynamics of Tool, the Chicago-based trio Chevelle formed in 1995 with an aggressive, heavy sound. Comprised of brothers Sam (drums), Pete (vocals, guitar), and Joe Loeffler (bass), the band began playing parties and outdoor events, which quickly led to bookings at Chicago clubs when youngest member Joe was just 14 years old. In 1999, Chevelle released their Steve Albini-produced debut album, Point #1, on Squint Entertainment. Three years later — and following tours with bands like Filter, Sevendust, Powerman 5000, and Machine Head — the band had inked a deal with Epic and issued Wonder What’s Next, released in August 2002. The album went platinum by the following summer, propelled in part by its second single, “Send the Pain Below,” which became a number one hit on modern rock and mainstream radio. Main stage dates with the annual Ozzfest tour followed that summer, and 2003 brought a concert album, Live from the Road.

Download:

https://www.oboom.com/5GK97A99/ChevelleLaGargola2014FLAC.rar
or
http://uploaded.net/file/yvb5ny2y/ChevelleLaGargola2014FLAC.rar

or
http://rapidgator.net/file/1aa7b3c8635ef05d6f828b9859bd75df/ChevelleLaGargola2014FLAC.rar.html

↧

Axxis – The Big Thrill (1993) [FLAC]

May 21, 2014, 10:40 pm

≫ Next: Frontback – Born With a Secret (2013) [FLAC]

≪ Previous: Chevelle – La Gargola (2014) [FLAC]

Axxis-The Big Thrill-CD-FLAC-1993-FiXIE Download

Axxis-The Big Thrill-CD-FLAC-1993-FiXIE

Description :

ARTiST…: Axxis
ALBUM….: The Big Thrill

GENRE….: Hard Rock
LABEL….:
LANG…..: English
TYPE…..: Normal

YEAR…..: 1993
SOURCE…: CDDA
RIP.DATE.: 05-19-2014
ST.DATE..: 00-00-1993

ENCODER..: FLAC 1.2.1 Lossless
GRABBER..: EAC v1.0 beta 2
QUALiTY..: 998 kbps Avg 44.1kHz 2 channels

+ TRACK LiST +

01 Better World – Livin’ In The Dark 4:21
02 Against A Brick Wall 3:55
03 Stay Don’t Leave Me 4:11
04 Little War 4:22
05 No Advice 3:35
06 Love Doesn’t Know Any Distance 4:56
07 Heaven’s 7th Train 5:49
08 Brother Moon 4:52
09 Waterdrop 5:33
10 The Wolf 4:45
11 Road To Never Neverland 4:21

Total Size.: 11 Files/378.4MB/50:40 min

Download Links :

https://www.oboom.com/B8NURJ6T/Axxis-The_Big_Thrill-CD-FLAC-1993-FiXIE.rar

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http://rapidgator.net/file/1bdd519a1378d7526fc245a2a4478acd/Axxis-The_Big_Thrill-CD-FLAC-1993-FiXIE.rar.html

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↧

Frontback – Born With a Secret (2013) [FLAC]

May 23, 2014, 12:44 am

≫ Next: Wolfmother – New Crown (2014) [FLAC]

≪ Previous: Axxis – The Big Thrill (1993) [FLAC]

Frontback-Born With a Secret-CD-FLAC-2013-GRAVEWISH Download

Frontback-Born With a Secret-CD-FLAC-2013-GRAVEWISH

Description :

Artist: Frontback
Album: Born With a Secret
Year: 2013
Rel. Date: 2014-05-22
Genre: Hard Rock
Label: Rambo Music
Encoder: FLAC 1.2.1
Quality: 44.1kHz, 2 channels

Debut album from these Swedish rockers.

http://www.frontback.se

1. You Can’t Save Me When I’m Gone 4:03
2. Stay Away 3:27
3. Running For Better Days 3:37
4. Time Is Running Out 4:00
5. Everything 2:55
6. Rock Disease 3:16
7. Heartattack 3:49
8. You Lie 3:20
9. I Won’t Go 3:44
10. All I Wanna Do 4:05
11. You And Me 3:35
39:51

Download Links :

or:

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or:

http://uploaded.net/file/3bx8gl3w/Frontback-Born_With_a_Secret-CD-FLAC-2013-GRAVEWISH.rar

↧

Wolfmother – New Crown (2014) [FLAC]

May 27, 2014, 3:14 am

≫ Next: Led Zeppelin – Discography (Studio, Live & Compilation Albums 1969-2012) (17 albums, 83 issues, 109 CD) [FLAC]

≪ Previous: Frontback – Born With a Secret (2013) [FLAC]

Genre: Pop/Rock
Styles: Blues Rock, Hard Rock, Psychedelic
Source: WEB
Codec: FLAC
Bitrate: ~ 1,000 kbps
Bit Depth: 16
Sample Rate: 44.1 kHz

01 How Many Times
02 Enemy Is In Your Mind
03 Heavy Weight
04 New Crown
05 Tall Ships
06 Feelings
07 “I Ain’t Got No”
08 She Got It
09 My Tangerine Dream
10 Radio
11 I Don’t Know Why

Truly a band out of time, the Australian power trio Wolfmother were conceived in 2000 — about 30 years too late, considering that the musicians’ psychedelic brand of proto-heavy metal sounded similar to the late-’60s/early-’70s craft of Blue Cheer and Black Sabbath. Comprised of vocalist/guitarist Andrew Stockdale, bassist/organist Chris Ross, and drummer Myles Heskett, Wolfmother took the initiative of recording a four-track demo in 2004 for the purpose of booking shows. So sterling were the results, however, that the band soon found itself re-recording the material for official release via the local label Modular Records. A second EP, Dimensions, appeared in 2006, and Wolfmother made the jump to the majors in early 2006, courtesy of an American distribution deal with Modular through Interscope Records. A self-titled album debut appeared in May and reached the Top 40, resulting in a trophy for Best Hard Rock Performance at the 2007 Grammy Awards. Co-founders Ross and Heskett left the group the following year, leaving Stockdale and new members Ian Peres (bass, keyboards), Aidan Nemeth (guitar), and Dave Atkins (drums) to carry the torch with 2009′s Cosmic Egg.

Download:

http://upsto.re/R54N3n/WolfmotherNewCrown2014FLAC.rar
or
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or
http://uploaded.net/file/kcwtnywh/WolfmotherNewCrown2014FLAC.rar

↧

Led Zeppelin – Discography (Studio, Live & Compilation Albums 1969-2012) (17 albums, 83 issues, 109 CD) [FLAC]

May 29, 2014, 6:18 pm

≫ Next: California Breed – California Breed (2014) [FLAC]

≪ Previous: Wolfmother – New Crown (2014) [FLAC]

Led Zeppelin – Discography (Studio, Live & Compilation Albums 1969-2012) (17 albums, 83 issues, 109 CD) FLAC

Genre: Classic Rock & Hard Rock
Disc Publishing year: 1969-2012
Publisher (label): Atlantic, SwanSong, Warner / Chappell
Catalog number: see each album
Country: England
Audio Codec: FLAC (*. Flac)
Rip type: image +. Cue
Audio Bitrate: lossless

Studio albums

Led Zeppelin – Led Zeppelin – 12.01.1969
Led Zeppelin – Led Zeppelin – 1969 (Atlantic 32XD-520, Japan, 1st issue), 1986
Led Zeppelin – Led Zeppelin – 1969 (Atlantic SD 19126-2, USA), 1987
Led Zeppelin – Led Zeppelin – 1969 (Atlantic 240 031, Germany), 1987
Led Zeppelin – Led Zeppelin – 1969 (Atlantic 7 82526 A, USA, Remastered), 1993
Led Zeppelin – Led Zeppelin – 1969 (Atlantic 7567-82632-2, Germany, Remastered), 1994
Led Zeppelin – Led Zeppelin – 1969 (Atlantic 82632-2, USA, Remastered), 1994
Led Zeppelin – Led Zeppelin – 1969 (Atlantic WPCR-14843, Japan, Remastered), 2012

Led Zeppelin – Led Zeppelin II – 22.10.1969
Led Zeppelin – Led Zeppelin II – 1969 (Atlantic 32XD-565, Japan, 1st issue), 1987
Led Zeppelin – Led Zeppelin II – 1969 (Atlantic 19127-2, USA), 198?
Led Zeppelin – Led Zeppelin II – 1969 (Atlantic/BMG 19127-2, USA), 198?
Led Zeppelin – Led Zeppelin II – 1969 (Atlantic 240 037, Germany), 198?
Led Zeppelin – Led Zeppelin II – 1969 (Atlantic 7567-81526-2, Germany), 1990
Led Zeppelin – Led Zeppelin II – 1969 (Atlantic 7 82526-2 B, USA, Remastered), 1993
Led Zeppelin – Led Zeppelin II- 1969 (Atlantic 7567-82633-2, Germany, Remastered), 1994
Led Zeppelin – Led Zeppelin II – 1969 (Atlantic 82633-2, USA, Remastered), 1994
Led Zeppelin – Led Zeppelin II- 1969 (Atlantic WPCR-14844, Japan, Remastered), 2012

Led Zeppelin – Led Zeppelin III – 05.10.1970
Led Zeppelin – Led Zeppelin III – 1970 (Atlantic 32XD-566, Japan, 1st issue), 1987
Led Zeppelin – Led Zeppelin III- 1970 (Atlantic SD 19128-2, USA), 198?
Led Zeppelin – Led Zeppelin III- 1970 (Atlantic 250 002, Germany), 198?
Led Zeppelin – Led Zeppelin III – 1970 (Atlantic 7567-81527-2, Germany), 1990
Led Zeppelin – Led Zeppelin III – 1970 (Atlantic 7 82526-2 C, USA, Remastered), 1993
Led Zeppelin – Led Zeppelin III- 1970 (Atlantic 7567-82678-2, Germany, Remastered), 1994
Led Zeppelin – Led Zeppelin III- 1970 (Atlantic 82678-2, USA, Remastered), 1994
Led Zeppelin – Led Zeppelin III 1970 (Atlantic WPCR-14845, Japan, Remastered), 2012

Led Zeppelin – Led Zeppelin IV – 08.11.1971
Led Zeppelin – Led Zeppelin IV – 1971 (Atlantic 19129-2, Germany, Target CD), 1984
Led Zeppelin – Led Zeppelin IV – 1971 (Atlantic 32XD-335, Japan, 1st issue, Glass matrix), 1985
Led Zeppelin – Led Zeppelin IV – 1971 (Atlantic 32XD-335, Japan, 1st issue, Silver matrix), 1985
Led Zeppelin – Led Zeppelin IV – 1971 (Atlantic A2-19129, USA), 198?
Led Zeppelin – Led Zeppelin IV – 1971 (Atlantic 19129-2, USA), 199?
Led Zeppelin – Led Zeppelin IV – 1971 (Atlantic 250 008, Germany), 1987
Led Zeppelin – Led Zeppelin IV – 1971 (Atlantic 7 82526-2 D, USA, Remastered), 1993
Led Zeppelin – Led Zeppelin IV- 1971 (Atlantic 7567-82638-2, Germany, Remastered), 1994
Led Zeppelin – Led Zeppelin IV- 1971 (Atlantic 82638-2, USA, Remastered), 1994
Led Zeppelin – Led Zeppelin IV 1971 (Atlantic WPCR-14846, Japan, Remastered), 2012

Led Zeppelin – Houses Of The Holy – 28.03.1973
Led Zeppelin – Houses Of The Holy – 1973 (Atlantic 19130-2, Germany, Target CD), 1984
Led Zeppelin – Houses Of The Holy – 1973 (Atlantic 32XD-154, Japan, 1st issue ), 1985
Led Zeppelin – Houses Of The Holy – 1973 (Atlantic 19130-2, USA), 198?
Led Zeppelin – Houses Of The Holy – 1973 (Atlantic 250 014, Germany), 1987
Led Zeppelin – Houses Of The Holy – 1973 (Atlantic 7 82526-2 E, USA, Remastered), 1993
Led Zeppelin – Houses Of The Holy – 1973 (Atlantic 7567-82639-2, Germany, Remastered), 1994
Led Zeppelin – Houses Of The Holy – 1973 (Atlantic WPCR-14847, Japan, Remastered), 2012

Led Zeppelin – Physical Graffiti (2CD) – 24.02.1975
Led Zeppelin – Physical Graffiti – 1975 (Swan Song 55XD-661-2, Japan, 1st issue), 1987
Led Zeppelin – Physical Graffiti – 1975 (Swan Song 32P2-2739-40, Japan, 2nd issue), 1988
Led Zeppelin – Physical Graffiti – 1975 (Swan Song SS 200-2, USA, by JVC), 1987
Led Zeppelin – Physical Graffiti – 1975 (Swan Song SS 200-2, USA, by WEA), 1987
Led Zeppelin – Physical Graffiti – 1975 (Swan Song 289 400, Germany), 1990
Led Zeppelin – Physical Graffiti – 1975 (Atlantic 7 82526-2 G-H, USA, Remastered), 1993
Led Zeppelin – Physical Graffiti – 1975 (Swan Song 7567-92442-2, Germany, Remastered), 1994
Led Zeppelin – Physical Graffiti – 1975 (Swan Song WPCR-14848-9, Japan, Remastered), 2012

Led Zeppelin – Presence – 31.03.1976
Led Zeppelin – Presence – 1976 (Swan Song 32XD-628, Japan, 1st issue), 1987
Led Zeppelin – Presence – 1976 (Swan Song SS 8416-2, USA), 198?
Led Zeppelin – Presence – 1976 (Swan Song 259 402, Germany), 198?
Led Zeppelin – Presence – 1976 (Atlantic 7 82526-2 F, USA, Remastered), 1993
Led Zeppelin – Presence – 1976 (Swan Song 7567-92439-2, Germany, Remastered), 1994
Led Zeppelin – Presence – 1976 (Swan Song WPCR-14850, Japan, Remastered), 2012

Led Zeppelin – In Through The Out Door – 15.08.1979
Led Zeppelin – In Through The Out Door – 1979 (Swan Song 32XD-423, Japan, 1st issue), 1986
Led Zeppelin – In Through The Out Door – 1979 (Swan Song 16002-2, USA), 198?
Led Zeppelin – In Through The Out Door – 1979 (Swan Song 259 410, Germany), 1986
Led Zeppelin – In Through The Out Door – 1979 (Swan Song 7567-90374-2, Germany), 1990
Led Zeppelin – In Through The Out Door – 1979 (Atlantic 7 82526-2 I, USA, Remastered), 1993
Led Zeppelin – In Through The Out Door – 1979 (Swan Song 7567-92443-2, Germany, Remastered), 1994
Led Zeppelin – In Through The Out Door – 1979 (Swan Song WPCR-14851, Japan, Remastered), 2012

Led Zeppelin – Coda – 19.11.1982
Led Zeppelin – Coda – 1982 (Swan Song 32XD-629, Japan, 1st issue), 1987
Led Zeppelin – Coda – 1982 (Swan Song 20P2-2030, Japan, 2nd issue), 1988
Led Zeppelin – Coda – 1982 (Atlantic 7-90051 2, USA), 1990
Led Zeppelin – Coda – 1982 (Atlantic 7 82526-2 J, USA, Remastered), 1993
Led Zeppelin – Coda – 1982 (Swan Song 7567-92444-2, Germany, Remastered), 1994
Led Zeppelin – Coda – 1982 (Swan Song WPCR-14852, Japan, Remastered), 2012

Live albums

Led Zeppelin – The Song Remains The Same (2 CD) – 28.09.1976
Led Zeppelin – The Song Remains The Same – 1976 (Swan Song 55XD-568-9, Japan, 1st issue), 1987
Led Zeppelin – The Song Remains The Same – 1976 (Swan Song SS 201-2,USA), 1990
Led Zeppelin – The Song Remains The Same – 1976 (Swan Song 289 402, Germany), 198?
Led Zeppelin – The Song Remains The Same – 1976 (Swan Song 7567-90303-2, Germany), 1993
Led Zeppelin – The Song Remains The Same – 1976 (Swan Song AMCY 2439-40, Japan), 1997
Led Zeppelin – The Song Remains The Same – 1976 (Swan Song R2-513936, Japan, Remastered), 2008

Led Zeppelin – BBC Sessions (2 CD) – 11.11.1997
Led Zeppelin – BBC Sessions – 1997 (Atlantic 7567-83061-2, Germany), 1997
Led Zeppelin – BBC Sessions – 1997 (Atlantic AMCY 2401-2, Japan), 1997

Led Zeppelin – How West Was Won (3 CD) – 27.05.2003
Led Zeppelin – How West Was Won – 2003 (Atlantic 7567-83587-2, Germany), 2003
Led Zeppelin – How West Was Won – 2003 (Atlantic WPCR-11585-7, Japan), 2003

Led Zeppelin – Celebration Day (2 CD) – 19.11.2012
Led Zeppelin – Celebration Day – 2012 (Atlantic/Swan Song 8122-79688-7,EU), 2012

Compilations

Led Zeppelin – Remasters (2 CD) – 1990
Led Zeppelin – Remasters – 1990 (Atlantic 7567-80415-2, Germany), 1990

Led Zeppelin – RetroActive Promo Box Set (3 CD) – 2001 – Mastering by Dave Collins
Led Zeppelin – RetroActive Promo Box Set – 2001 (Warner/Chappell RA-003 3, USA), 2001

Led Zeppelin – Early Days & Latter Days (2 CD) – 2002
Led Zeppelin – Led Zeppelin Early Days. The Best Of Led Zeppelin Volume One – 1999 (Atlantic 7567-83619-2, Germany), 23.11.1999
Led Zeppelin – Led Zeppelin Latter Days. The Best Of Led Zeppelin Volume Two – 2000 (Atlantic 7567-83619-2, Germany), 20.03.2000

Led Zeppelin – Mothership (2 CD) – 13.11.2007 – Mastering by John Davis
Led Zeppelin – Mothership – 2007 (Atlantic/Swan Song WPCR-14841-2, Japan), 2012

Download:

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http://rapidgator.net/folder/2567096/LedZ3ppelin.html

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http://ul.to/folder/d77mya

↧

California Breed – California Breed (2014) [FLAC]

June 3, 2014, 2:22 am

≫ Next: De La Cruz – Street Level (2013) [FLAC]

≪ Previous: Led Zeppelin – Discography (Studio, Live & Compilation Albums 1969-2012) (17 albums, 83 issues, 109 CD) [FLAC]

California Breed-California Breed-CD-FLAC-2014-FORSAKEN Download

California Breed-California Breed-CD-FLAC-2014-FORSAKEN

Description :

Artist : California Breed
Album : California Breed
Label : Frontiers Records
Genre : Hard Rock
Source : CD
Street Date : 2014-05-19
Quality : 1005kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 390.36 MB
Time : 51:43 min
Url : http://www.californiabreed.com/

1. The Way 3:54
2. Sweet Tea 3:52
3. Chemical Rain 4:38
4. Midnight Oil 4:45
5. All Falls Down 5:07
6. The Grey 3:55
7. Days They Come 4:17
8. Spit You Out 3:38
9. Strong 4:26
10. Invisible 4:44
11. Scars 4:10
12. Breathe 4:17

Enjoy

Download Links :

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↧

De La Cruz – Street Level (2013) [FLAC]

June 3, 2014, 2:27 am

≫ Next: Echo Code – One More Played Out Tragedy (2009) [FLAC]

≪ Previous: California Breed – California Breed (2014) [FLAC]

De La Cruz-Street Level-CD-FLAC-2013-GRAVEWISH Download

De La Cruz-Street Level-CD-FLAC-2013-GRAVEWISH

Description :

Artist: De La Cruz
Album: Street Level
Year: 2013
Rel. Date: 2014-06-01
Genre: Hard Rock
Label: Frontiers Records
Encoder: FLAC 1.2.1
Quality: 44.1kHz, 2 channels

Australian Glam Hard Rock band. Debut album.

https://www.facebook.com/DeLaCruzAustralia

1. Street Level 3:52
2. Girls Go Wild 3:32
3. Turn it Up 3:51
4. Legions of Love 3:03
5. Gimme Love 4:21
6. Cherry Bomb 2:51
7. Dreaming 5:18
8. Invincible 4:22
9. Worlds Collide 3:04
10. S.E.X. 2:45
11. Set the Night 3:22
12. Shine 3:36
43:57

Download Links :

https://www.oboom.com/KRKBEP7E/De_La_Cruz-Street_Level-CD-FLAC-2013-GRAVEWISH.rar

or:

http://rapidgator.net/file/b18ae62cd9f004d7888229e44ad6b516/De_La_Cruz-Street_Level-CD-FLAC-2013-GRAVEWISH.rar.html

or:

http://uploaded.net/file/ypjehjb9/De_La_Cruz-Street_Level-CD-FLAC-2013-GRAVEWISH.rar

↧

Echo Code – One More Played Out Tragedy (2009) [FLAC]

June 3, 2014, 4:11 am

≫ Next: Genuflect – The Shadow Side (2009) [FLAC]

≪ Previous: De La Cruz – Street Level (2013) [FLAC]

Echo Code-One More Played Out Tragedy-CD-FLAC-2009-FATHEAD Download

Echo Code-One More Played Out Tragedy-CD-FLAC-2009-FATHEAD

Description :

ARTIST: Echo Code
TITLE: One More Played Out Tragedy
LABEL: N/A
GENRE: Hard Rock
SOURCE: CD
ENCODER: FLAC 1.2.1
BITRATE: 929kbps avg
PLAYTIME: 0h 42min total
RELEASE DATE: 2009-02-24
RIP DATE: 2014-05-31
CATALOG: N/A

Track List:

1. The Hellbound Train 1:16
2. Liar 5:01
3. Smoke 5:07
4. The Mirror 4:14
5. Rob Me Blind 5:05
6. Rivers of Nothing 3:37
7. Quicksand 4:45
8. Trapped 4:22
9. Wreckage 4:05
10.Granted 5:07

http://www.reverbnation.com/echocode

Download Links :

https://www.oboom.com/U3WRF6VX/Echo_Code-One_More_Played_Out_Tragedy-CD-FLAC-2009-FATHEAD.rar

or:

http://rapidgator.net/file/377ccc3bde574a039a262d168764148b/Echo_Code-One_More_Played_Out_Tragedy-CD-FLAC-2009-FATHEAD.rar.html

or:

http://uploaded.net/file/eai7ueil/Echo_Code-One_More_Played_Out_Tragedy-CD-FLAC-2009-FATHEAD.rar

↧

Genuflect – The Shadow Side (2009) [FLAC]

June 3, 2014, 4:43 am

≫ Next: Mustasch – Sounds Like Hell, Looks Like Heaven (2012) [FLAC]

≪ Previous: Echo Code – One More Played Out Tragedy (2009) [FLAC]

Genuflect-The Shadow Side-CD-FLAC-2009-FORSAKEN Download

Genuflect-The Shadow Side-CD-FLAC-2009-FORSAKEN

Description :

Artist : Genuflect
Album : The Shadow Side
Label :
Genre : Hard Rock
Source : CD
Street Date : 2009-03-13
Quality : 1002kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 298.27 MB
Time : 39:21 min
Url :

1. Head Hearse 4:38
2. Lonely Road 2:55
3. Bullet 3:31
4. Devil Dance 4:01
5. Curtain Call 3:29
6. Lavation 4:15
7. Ring In The Dead 3:57
8. Dying Today 3:02
9. Slowlyfallingfaster 2:26
10. Long Way Home 3:27
11. Nihilist 3:40

Second album from Genuflect.

Enjoy, support.

Download Links :

https://www.oboom.com/3SPM9RJD/Genuflect-The_Shadow_Side-CD-FLAC-2009-FORSAKEN.rar

or:

http://rapidgator.net/file/58b937694481c1009d58ba9f353753fc/Genuflect-The_Shadow_Side-CD-FLAC-2009-FORSAKEN.rar.html

or:

http://uploaded.net/file/sre8ydvp/Genuflect-The_Shadow_Side-CD-FLAC-2009-FORSAKEN.rar

↧

Mustasch – Sounds Like Hell, Looks Like Heaven (2012) [FLAC]

June 3, 2014, 8:00 am

≫ Next: WAMI – Kill The King (2014) [FLAC]

≪ Previous: Genuflect – The Shadow Side (2009) [FLAC]

Mustasch-Sounds Like Hell Looks Like Heaven-CD-FLAC-2012-GRAVEWISH Download

Mustasch-Sounds Like Hell Looks Like Heaven-CD-FLAC-2012-GRAVEWISH

Description :

Artist: Mustasch
Album: Sounds Like Hell, Looks Like Heaven
Year: 2012
Rel. Date: 2014-06-01
Genre: Hard Rock
Label: Gain
Encoder: FLAC 1.2.1
Quality: 44.1kHz, 2 channels

1. Speed Metal 3:07
2. The Challenger 3:46
3. Never Too Late 5:21
4. Cold Heart Mother Son 3:07
5. Morning Star 4:00
6. Dead Again 4:30
7. Your Father Must Be Proud of You 3:07
8. Destroyed By Destruction 2:40
9. I Don’t Hate You 4:03
10. Northern Link 1:26
35:07

Download Links :

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or:

http://rapidgator.net/file/7dfe1284d1f57d1744bb4fce53b1ca88/Mustasch-Sounds_Like_Hell_Looks_Like_Heaven-CD-FLAC-2012-GRAVEWISH.rar.html

or:

http://uploaded.net/file/a6omr21c/Mustasch-Sounds_Like_Hell_Looks_Like_Heaven-CD-FLAC-2012-GRAVEWISH.rar

↧

WAMI – Kill The King (2014) [FLAC]

June 3, 2014, 6:28 pm

≫ Next: Reckless Love – Reckless Love (2010) [FLAC]

≪ Previous: Mustasch – Sounds Like Hell, Looks Like Heaven (2012) [FLAC]

WAMI-Kill The King-CD-FLAC-2014-FORSAKEN Download

WAMI-Kill The King-CD-FLAC-2014-FORSAKEN

Description :

Artist : WAMI
Album : Kill The King
Label : Metal Mind
Genre : Hard Rock
Source : CD
Street Date : 2014-05-06
Quality : 961 kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 365.36 MB
Time : 50:42 min
Url : http://wamiband.com/wami/

1. Exodus (The Red Sea Crossing) 5:52
2. The Rider 4:26
3. Wild Woman (You Oughta Know) 4:25
4. Guardian Of Your Heart 4:35
5. One More For Rock’n’roll 4:30
6. Heart Of Steel 5:30
7. The Resistance 4:06
8. Young Blood 3:52
9. Get Out Of My Way 3:11
10. Transition 5:47
11. I Don’t Wanna Lose You 4:28

The names associated with this new project are true legends on
the hard rock scene: on the vocals – Doogie White (Rainbow,
Michael Schenker, Yngwie Malmsteen), on the drums – Vinny Appice
(Black Sabbath, Heaven & Hell, DIO), on the bass – Marco Mendoza
(Thin Lizzy, Whitesnake), who join forces with the 15-year-old
Polish guitarist Iggy Gwadera (Anti Tank Nun).

Download Links :

https://www.oboom.com/NC7GHYAQ/WAMI-Kill_The_King-CD-FLAC-2014-FORSAKEN.rar

or:

http://rapidgator.net/file/8a0f3fbf66d4167e400142dadf20a8da/WAMI-Kill_The_King-CD-FLAC-2014-FORSAKEN.rar.html

or:

http://uploaded.net/file/vh137tck/WAMI-Kill_The_King-CD-FLAC-2014-FORSAKEN.rar

↧

Reckless Love – Reckless Love (2010) [FLAC]

June 7, 2014, 7:45 am

≫ Next: Revolver Avenue – Bring You Back To Life (2014) [FLAC]

≪ Previous: WAMI – Kill The King (2014) [FLAC]

Reckless Love-Reckless Love-CD-FLAC-2010-FORSAKEN Download

Reckless Love-Reckless Love-CD-FLAC-2010-FORSAKEN

Description :

Artist : Reckless Love
Album : Reckless Love
Label : Mercury/Universal
Genre : Hard Rock
Source : CD
Street Date : 2010-02-24
Quality : 1072kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 328.05 MB
Time : 40:38 min
Url : http://www.recklesslove.com

1. Feel My Heat 3:46
2. One More Time 3:36
3. Badass 4:04
4. Love Machine 3:43
5. Beautiful Bomb 3:12
6. Romance 3:16
7. Sex 4:02
8. Back To Paradise 3:56
9. So Yeah!! 3:26
10. Wild Touch 4:08
11. Born To Rock 3:29

First album from Finnish glam band Reckless Love.

Enjoy, and support bands you like.

Download Links :

https://www.oboom.com/OGQNFVGR/Reckless_Love-Reckless_Love-CD-FLAC-2010-FORSAKEN.rar

or:

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or:

http://uploaded.net/file/9hx4mtrh/Reckless_Love-Reckless_Love-CD-FLAC-2010-FORSAKEN.rar

↧

Revolver Avenue – Bring You Back To Life (2014) [FLAC]

June 7, 2014, 7:46 am

≫ Next: Stutterfly – Broken In Pieces (2002) [FLAC]

≪ Previous: Reckless Love – Reckless Love (2010) [FLAC]

Revolver Avenue-Bring You Back To Life-CD-FLAC-2014-FORSAKEN Download

Revolver Avenue-Bring You Back To Life-CD-FLAC-2014-FORSAKEN

Description :

Artist : Revolver Avenue
Album : Bring You Back To Life
Label : R.A. Records
Genre : Hard Rock
Source : CD
Street Date : 2014-03-27
Quality : 926 kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 256.53 MB
Time : 36:37 min
Url : http://www.facebook.com/RevolverAvenue

1. Prelude 1:24
2. This Is Your War 4:01
3. Bring You Back To Life 3:54
4. Heaven & Hell 3:30
5. Face The Storm 3:56
6. Bridges Burn 3:06
7. Lost, Never Found 4:11
8. Cold World 4:22
9. Those Days 4:35
10. What If 3:38

Hard rock with metal influence from Oslo, Norway.

Download Links :

https://www.oboom.com/8H0506FJ/Revolver_Avenue-Bring_You_Back_To_Life-CD-FLAC-2014-FORSAKEN.rar

or:

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or:

http://uploaded.net/file/k30tm14n/Revolver_Avenue-Bring_You_Back_To_Life-CD-FLAC-2014-FORSAKEN.rar

↧

Stutterfly – Broken In Pieces (2002) [FLAC]

June 7, 2014, 9:55 am

≫ Next: Slade – Discography (Studio, Live & Compilation Albums 1969-1997) [FLAC]

≪ Previous: Revolver Avenue – Bring You Back To Life (2014) [FLAC]

Stutterfly-Broken In Pieces-CD-FLAC-2002-FORSAKEN Download

Stutterfly-Broken In Pieces-CD-FLAC-2002-FORSAKEN

Description :

Artist : Stutterfly
Album : Broken In Pieces
Label : Sterile Records
Genre : Hard Rock
Source : CD
Street Date : 2002-06-08
Quality : 987 kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 394.04 MB
Time : 53:43 min
Url :

1. Through Me 4:57
2. Gun In Hand 5:56
3. Silent Scream 4:04
4. Frail 4:18
5. Out Of The Mud 4:35
6. Hollow 4:22
7. Insecure 4:09
8. Out Of Spite 5:46
9. Sick Pig 3:43
10. Life’s Disease 2:42
11. Flames Adorn The Silence 9:11

First studio album from Stutterfly.

Enjoy, support.

Download Links :

https://www.oboom.com/6RYE91K7/Stutterfly-Broken_In_Pieces-CD-FLAC-2002-FORSAKEN.rar

or:

http://rapidgator.net/file/db8aad2559e91fadee53193f07c48419/Stutterfly-Broken_In_Pieces-CD-FLAC-2002-FORSAKEN.rar.html

or:

http://uploaded.net/file/087opb0x/Stutterfly-Broken_In_Pieces-CD-FLAC-2002-FORSAKEN.rar

↧

Slade – Discography (Studio, Live & Compilation Albums 1969-1997) [FLAC]

June 8, 2014, 10:56 am

≫ Next: Rainbow – Discography (Studio, Live & Compilation Albums 1975-1995) [FLAC]

≪ Previous: Stutterfly – Broken In Pieces (2002) [FLAC]

Slade – Discography (Studio, Live & Compilation Albums 1969-1997) FLAC

Genre: Hard Rock
Release Country: UK, Germany, USA, Japan, France
Release Year: 1984-1993
Publisher (label): Polydor, BMG Auriola, RCA, CBS, Castle
Catalog number: see each album
Country: England
Audio Codec: FLAC (*. Flac)
Rip type: image +. Cue
Audio Bitrate: lossless
Size: 8.26 GB

Studio Albums

1969. Ambrose Slade – Beginnings
1969. Ambrose Slade – Beginnings (Polydor 849 185-2,UK) 1991

1970. Slade – Play It Loud
1970. Slade – Play It Loud (Polydor 849 178-2,Germany) 1991

1972. Slade – Slayed
1972. Slade – Slayed (Polydor 849 180-2,Germany) 1991

1974. Slade – Old, New, Borrowed and Blue
1974. Slade – Old, New, Borrowed And Blue (Polydor 849 181-2,Germany) 1991

1974. Slade – Slade in Flame
1974. Slade – Slade in Flame (Polydor 849 182-2,Germany) 1991

1976. Slade – Nobody’s Fools
1976. Slade – Nobody’s Fools (Polydor 849 183-2,Germany) 1991

1977. Slade – Whatever Happened To Slade
1977. Slade – Whatever Happened To Slade (Polydor 849 184-2,Germany) 1991

1979. Slade – Return to Base
1979. Slade – Return To Base (BMG Ariola, 74321 44303 2,Germany) 1997

1981. Slade – We’ll Bring The House Down
1981. Slade – We’ll Bring The House Down (RCA BMG 74321 10564 2,Germany) 1992

1981. Slade – Till Deaf Do Us Part
1981. Slade – Till Deaf Do Us Part (BMG Ariola 290 587,Germany) 1992

1983. Slade – The Amazing Kamikaze Syndrome
1983. Slade – The Amazing Kamikaze Syndrome (RCA BMG ND74342,Germany) 1983

1984. Slade – Keep Your Hands Off My Power Supply
1984. Slade – Keep Your Hands Off My Power Supply (CBS ZK 39336,Japan) 1984

1985. Slade – Crackers The Christmas Party Album
1985. Slade – Crackers The Christmas Party Album (Castle CCSCD 401, EU) 1993

1985. Slade – Rogues Gallery
1985. Slade – Rogues Gallery (RCA PD 70604,Japan Press For Germany) 1985

1986. Slade – You Boyz Make Big Noize
1986. Slade – You Boyz Make Big Noize (CBS ZK 40908,USA) 1986

Live Albums

1972. Slade – Slade Alive!
1972. Slade – Slade Alive! (Polydor 841114-2,France) 1991

1978. Slade – Slade Alive Vol. Two
1978. Slade – Slade Alive Vol. Two (Polydor 849 179-2,Germany) 1993

1982. Slade – Slade On Stage
1982. Slade – Slade On Stage (BMG RCA ND74343,Germany) 198?

Compilation Albums

1973. Slade – Sladest
1973. Slade – Sladest (Polydor 837 103-2,UK) 1993

1991. Slade – The Slade Collection 81 – 87
1991. Slade – The Slade Collection 81 – 87 (RCA,BMG Ariola ND 74926,Germany) 1991

1991. Slade – Wall Of Hits
1991. Slade – Wall Of Hits (Polydor 511 612-2,Germany) 1991

1993. Slade – The Slade Collection, Vol. 2
1993. Slade – The Slade Collection, Vol. 2 79 – 87 (BMG Ariola,74321 18186 2,Germany) 1993

1997. Slade – Feel the Noize – Greatest Hits
1997. Slade – Feel the Noize – Greatest Hits (Polydor 537 105-2,Germany) 1997

Download:

http://upsto.re/d/Azpnm/Slade

http://rapidgator.net/folder/2587598/Slade.html

https://www.oboom.com/#folder/LWGLXPED/Slade

http://ul.to/folder/2sksxj

↧