The Beatles, also known as the White Album, is the ninth studio album by English rock group the Beatles, released on 22 November 1968. A double album, its plain white sleeve has no graphics or text other than the band's name embossed, which was intended as a direct contrast to the vivid cover artwork of the band's earlier Sgt. Pepper's Lonely Hearts Club Band. Although no singles were issued from The Beatles in Britain and the United States, the songs "Hey Jude" and "Revolution" originated from the same recording sessions and were issued on a single in August 1968. The album's songs range in style from British blues and ska to tracks influenced by Chuck Berry and by Karlheinz Stockhausen.
Most of the songs on the album were written during March and April 1968 at a Transcendental Meditation course in Rishikesh, India. The group returned to EMI Studios in May to commence recording sessions that lasted through to October. During these sessions, arguments broke out among the Beatles, and witnesses in the studio saw band members quarrel over creative differences. The feuds intensified when Lennon's new partner, Yoko Ono, started attending the sessions. After a series of problems, including producer George Martin taking a sudden leave of absence and engineer Geoff Emerick quitting, Ringo Starr left the band briefly in August. The same tensions continued throughout the following year, leading to the eventual break-up of the Beatles in April 1970.
On release, The Beatles received mixed reviews from music journalists. Most critics found its satirical songs unimportant and apolitical amid a turbulent political and social climate, although some praised Lennon and McCartney's writing. The band and Martin have since debated whether the group should have released a single album instead. Nonetheless, The Beatles reached number one on the charts in both the United Kingdom and the United States and has since been viewed by some critics as one of the greatest albums of all time.
Most of the songs for The Beatles were written during a Transcendental Meditation course with Maharishi Mahesh Yogi in Rishikesh, India, between February and April 1968. The retreat involved long periods of meditation, conceived by the band as a spiritual respite from all worldly endeavours – a chance, in John Lennon's words, to "get away from everything". Both Lennon and Paul McCartney quickly re-engaged themselves in songwriting, often meeting "clandestinely in the afternoons in each other's rooms" to review their new work." "Regardless of what I was supposed to be doing," Lennon would later recall, "I did write some of my best songs there." Author Ian MacDonald said Sgt Pepper was "shaped by LSD", but the Beatles took no drugs with them to India aside from marijuana, and their clear minds helped the group with their songwriting. The stay in Rishikesh proved especially fruitful for George Harrison as a songwriter, coinciding with his re-engagement with the guitar after two years studying the sitar. The musicologist Walter Everett likens Harrison's development as a composer in 1968 to that of Lennon and McCartney five years before, although he notes that Harrison became "privately prolific", given his customary junior status in the group.
The Beatles left Rishikesh before the end of the course. Ringo Starr was the first to leave, as he could not stomach the food; McCartney departed in mid-March, while Harrison and Lennon were more interested in Indian religion and remained until April. According to the author Geoffrey Giuliano, Lennon left Rishikesh because he felt personally betrayed after hearing rumours that the Maharishi had behaved inappropriately towards women who accompanied the Beatles to India, though McCartney and Harrison later discovered this to be untrue and Lennon's wife Cynthia reported there was "not a shred of evidence or justification".
Collectively, the group wrote around 40 new compositions in Rishikesh, 26 of which would be recorded in very rough form at Kinfauns, Harrison's home in Esher, in May 1968. Lennon wrote the bulk of the new material, contributing 14 songs. Lennon and McCartney brought home-recorded demos to the session, and worked on them together. Some home demos and group sessions at Kinfauns were later released on the 1996 compilation Anthology 3.The Beatles contains a wide range of musical styles, which the authors Barry Miles and Gillian Gaar each view as the most diverse of any of the group's albums. These styles include rock and roll, blues, folk, country, reggae, avant-garde, hard rock and music hall. The production aesthetic ensured that the album's sound was scaled-down and less reliant on studio innovation, relative to all the Beatles' releases since Revolver. The author Nicholas Schaffner viewed this as reflective of a widespread departure from the LSD-inspired psychedelia of 1967, an approach that was initiated by Bob Dylan and the Beach Boys and similarly adopted in 1968 by artists such as the Rolling Stones and the Byrds.
The only western instrument available to the group during their Indian visit was the acoustic guitar, and thus many of the songs on The Beatles were written and first performed on that instrument. Some of these songs remained acoustic on The Beatles and were recorded solo, or only by part of the group (including "Wild Honey Pie", "Blackbird", "Julia", "I Will" and "Mother Nature's Son").


Track Listing

1. Back in the U.S.S.R.
2. Dear Prudence
3. Glass Onion
4. Ob-La-Di, Ob-La-Da
5.  Wild Honey Pie
6. The Continuing Story Of Bungalow Bill
7. While My Guitar Gently Weeps
8. Happiness Is A Warm Gun
9. Martha My Dear
10. I'm So Tired
11. Blackbird
12. Piggies
13. Rocky Raccoon
14. Don't Pass Me By
15. Why Don't We Do It In The Road
16. I Will
17. Julia
18. Birthday
19. Yer Blues
20. Mother Nature's Son
21. Everybody's Got Something To Hide Except Me And My Monkey
22. Sexy Sadie
23. Helter Skelter
24. Long, Long, Long
25. Revolution 1
26. Honey Pie
27. Savoy Truffle
28. Cry Baby Cry
29. Can You Take Me Back
30. Revolution 9
31. Good Night

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The Beatles - The Beatles

Deep Purple - Machine Head

Machine Head is the sixth studio album released by the English rock band Deep Purple. It was recorded through December 1971 in Montreux, Switzerland, and released in March 1972.
Machine Head is often cited as a major influence in the early development of the heavy metal music genre. Commercially, it is Deep Purple's most successful album, topping the charts in several countries following its release. The album reached number 1 in the United Kingdom and stayed in the top 40 for 20 weeks. It reached number 7 in the United States, remaining on the Billboard 200 for 118 weeks.
Deep Purple initially planned to record Machine Head in December 1971, at Montreux Casino in Switzerland. A mobile recording studio owned by the Rolling Stones had been booked and hotel reservations made, but lead singer Ian Gillan contracted hepatitis. Cancelling a forthcoming tour of America, the band placed all their plans on hold, and Gillan was advised by his doctor to spend the next few months recuperating. Nevertheless, enthused by the new project, the band travelled to Switzerland to begin recording. The Casino was a large arena built in a complex of casinos, restaurants and other entertainment facilities. The band had performed there in May 1971 and enjoyed both the location and its owner, Claude Nobs. Amongst others, Led Zeppelin, Pink Floyd and Black Sabbath had all performed there. The Casino closed for refurbishments each winter, and so the band arrived there on 3 December. One last concert date remained, following which they were to have the location to themselves.
Machine Head hit the number one spot on the British charts within seven days of its release, remaining there for two weeks before returning in May for a further week. In the US, the album reached number seven, remaining in the charts for two years.
Rolling Stones Lester Bangs praised the lyrics to "Highway Star" and "Space Truckin" as well as the entire album's music, although he was less complimentary about the lyrics for the remaining songs: "In between those two Deep Purple classics lies nothing but good, hard-socking music, although some of the lyrics may leave a bit to be desired." Robert Christgau rated the album a B, writing "I approve of their speeding, and Ritchie Blackmore has copped some self-discipline as well as a few suspicious-sounding licks from his buddies in London." AllMusic critic Eduardo Rivadavia called Machine Head "one of the essential hard rock albums of all time."
Machine Head contains classical and blues influences. Blackmore confirmed that the chord progression for the solos in "Highway Star" was inspired by the work of 18th-century composer Johann Sebastian Bach. The song was actually composed by Blackmore and Gillan at the start of the Fireball gigs on a bus travelling to Portsmouth Guild Hall, in response to a question from a member of the press as to how the band created their material.
Kerrang! magazine listed the album at No. 35 among the "100 Greatest Heavy Metal Albums of All Time" in 1989.
In an Observer Music Monthly Greatest British Albums poll, Ozzy Osbourne chose Machine Head as one of his ten favourite British records of all time.
Machine Head is the subject of one of the Classic Albums series of documentaries about the making of famous albums. Machine Head was released on the multichannel formats DVD-Audio (2001) in a new 5.1 channel mix and SACD (2003) with the European quadraphonic mix, and more recently, also on SACD on 17 August 2011, by Warner Japan in their Warner Premium Sound series (Which has the same 5.1 channel mix as the 2001 DVD-Audio version).
A song entitled "When a Blind Man Cries" was recorded during these sessions, but not included on the album. Instead, it was used as the B-side on the "Never Before" single. The song appears as a bonus track on the album's 25th anniversary edition.
The supporting tour for Machine Head included a trip to Japan that would later become the double-live Made in Japan album. Four songs off Machine Head ("Highway Star", "Smoke on the Water", "Lazy" and "Space Truckin'") would be included on the final cut of the original Made in Japan LP.


Track Listing

1. Highway Star
2. Maybe I'm A Leo
3. Pictures Of Home
4. Never Before
5. Smoke On The Water
6. Lazy
7. Space Truckin'

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Deep Purple - Machine Head

Scorpions - Love at First Sting

Love at First Sting is the ninth studio album by the German rock band Scorpions. It was released on March 27, 1984 on Harvest/EMI and Mercury.
Love at First Sting is notable in that it was one of the first digitally recorded hard rock records ever released.
It became the group's most successful album in the USA, where it peaked at number 6 on the Billboard 200 chart in 1984, and went double-platinum by the end of the year, reaching triple-platinum status in 1995. The song "Rock You Like a Hurricane" reached number 25 on the Billboard Hot 100 chart in the same year, "Still Loving You" reached number 64 on the same chart, number 14 in Germany, number 3 in the French and Swiss Top 50.
The original cover art was created by Kochlowski, which is a German graphic design company. This cover art features a man and a partially nude woman locked in an embrace, with the man giving the woman a tattoo on her thigh. Despite the record company having shown the original cover art to retailers without any concerns, a complaint by Wal-Mart after the album was released resulted in PolyGram Records issuing a "clean" cover for use in several department store chains. The alternative cover was designed to be less controversial by simply showing a photo of the band members, which was the same photo as the one on the inner sleeve.
The album was recorded in 1983 and 1984 at Dierks Studios in Pulheim Stommeln, Germany.
Although the Scorpions had already achieved fame after 1982's Blackout, Love at First Sting brought them their biggest single of the decade, the slick anthem "Rock You Like a Hurricane," with some greatly underrated songs to back it up. The album opens with the hair-raising "Bad Boys Running Wild" and continues with songs such as the memorable "Big City Nights" and the half-ballad, half-powerhouse rocker "Coming Home." The record also contains what just may be the band's best ballad ever, the tear-jerking "Still Loving You." Considering the fact that it has some of their best-ever singles, Love at First Sting is definitely a must for all fans of the Scorpions.
Under the tutelage of sonic maestro Dieter Dierks, who may be the best heavy-metal producer in the world, Germany's Scorpions have evolved into one of the most powerful bands in the genre, right up there with England's Judas Priest. What this may mean to non-HM aficionados is hard to say. As is customary among head-bangers, the Scorps' lyrics – while certainly no more stupid than their non-Teutonic contemporaries' – essentially boil down to the choruses: They're "Bad Boys Running Wild," they want to "Rock You like a Hurricane," and so forth.
If there's a message here (apart from the de rigueur antiwarisms of "Crossfire"), it's all in the decibels. When Matthias Jabs is on lead guitar – as he is throughout side one of Love at First Sting – and drummer Herman Rarebell is drop-kicking the riffs along, this band can really burn. Jabs, who displays much of the flash of Eddie Van Halen (if not Van Halen's free-romping fretboard wit), is a true "monster" guitarist, in the classic HM mold. And in Klaus Meine, the Scorpions have a singer of unusual subtlety and considerable tonal control (note the relative delicacy of his approach to the ballad "Still Loving You").
Problems crop up only when Rudolf Schenker switches from rhythm to lead guitar, as he does on most of side two. His more languid, Sixties-rooted style is occasionally at odds with the band's neck-whipping dynamics and bombs-away instrumental ethos. Still, Love at First Sting – a thirty-two-track digital recording – does reach new high-tech highs of ear-melting aggression, and even offers some inventively colored vocal harmonies. Heavy-metal devotees should lap it up, and even HM skeptics might knock their noggins in tribute to the pure overkill of it all.


Track Listing

1. Bad Boys Running Wild
2. Rock You Like A Hurricane
3. I'm Leaving You
4. Coming Home
5. The Same Thrill
6. Big City Nights
7. As Soon As The Good Times Roll
8. Crossfire
9. Still Loving You

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Scorpions - Love at First Sting

Van Halen - 1984

1984 (stylized as MCMLXXXIV on the album's front cover) is the sixth studio album by American hard rock band Van Halen. Along with their debut, it is Van Halen's biggest-selling album, with 10 million copies shipped in the United States. 1984 reached number two on the Billboard 200 album chart and remained there for five weeks, behind Michael Jackson's Thriller (where Eddie Van Halen made a guest performance). It produced several memorable singles, including "Jump", Van Halen's only number one single on the Billboard Hot 100; the top-20 hits "Panama" and "I'll Wait"; and the MTV favorite "Hot for Teacher". 1984 was the last Van Halen album to feature lead singer David Lee Roth until 2012's A Different Kind of Truth, and the final full-length album with all four original members.

1984 features Van Halen's most prominent use of keyboards to date, particularly on the album's first two hit singles "Jump" and "I'll Wait", as well as the album's one-minute synthesizer and effects instrumental, "1984" (which had been previously incorporated into bassist Michael Anthony's solo on Van Halen's 1982 world tour).
The summer saw the release of the album's third single "Panama", which featured a heavy guitar riff reminiscent of Van Halen's earlier work (the engine noise was from Eddie revving up his Lamborghini, with microphones being used near the tailpipes). Later, a video of "Hot for Teacher" was released and played regularly on MTV, giving the band a fourth hit which further sustained sales of the album. Other songs on 1984 included "Girl Gone Bad", parts of which previously had been played during the 1982 Tour amidst performances of "Somebody Get Me a Doctor" (most famously at the US Festival show), the hard rock "Drop Dead Legs" and "Top Jimmy", a tribute to James Paul Koncek of the band Top Jimmy & The Rhythm Pigs. The album concludes with "House of Pain", a fiery, heavy metal song that dates back to the band's early club days of the mid-1970s.
During an interview for the King Biscuit Flower Hour radio show in 1985, Eddie claimed to have written, "Girl Gone Bad" in a hotel room that he and his wife at the time Valerie Bertinelli had rented. Valerie was asleep, and Eddie woke up during the night with an idea, he had to put on tape. Not wanting to wake Valerie, Eddie grabbed a small cassette recorder and recorded himself playing guitar while in the closet.
Eddie Van Halen claims to have written the arrangement for "Jump" several years before 1984 was recorded—in a 1995 cover story in Rolling Stone, the guitarist claimed that Roth had rejected the now-famous synth riff for "Jump" for at least two years before agreeing to write lyrics to it. In his memoir Crazy From The Heat, Roth confirms Eddie's account, admitting a preference for Van Halen's guitar work; however, he claims to now enjoy the song. Additionally in his memoir, Roth writes that he wrote the now-famous lyrics to "Jump" after watching a man waffle as to whether to commit suicide by jumping off of a skyscraper.
Reviews for 1984 were generally favorable. Robert Christgau rated the album a B+. He explained that "Side one is pure up, and not only that, it sticks to the ears" and that "Van Halen's pop move avoids fluff because they're heavy and schlock because they're built for speed, finally creating an all-purpose mise-en-scene for Brother Eddie's hair-raising, stomach-churning chops." He also called side two "consolation for their loyal fans--a little sexism, a lot of pyrotechnics, and a standard HM bass attack on something called 'House of Pain'."
J.D. Considine, a reviewer for Rolling Stone, rated 1984 four out of five stars. He called it "the album that brings all of Van Halen's talent into focus." He stated that ""Jump" is not exactly the kind of song you'd expect from Van Halen", but that "once Alex Van Halen's drums kick in and singer David Lee Roth starts to unravel a typically convoluted story line, things start sounding a little more familiar". Although he mentioned "Jump"'s "suspended chords and a pedalpoint bass in a manner more suited to Asia", he went on to state that "Eddie Van Halen manages to expand his repertoire of hot licks, growls, screams and seemingly impossible runs to wilder frontiers than you could have imagined." He concluded that "what really makes this record work is the fact that Van Halen uses all this flash as a means to an end—driving the melody home—rather than as an end in itself" and that "despite all the bluster, Van Halen is one of the smartest, toughest bands in rock & roll. Believe me, that's no newspeak."
A retrospective review by AllMusic's Stephen Thomas Erlewine was extremely positive. He noted that the album caused "a hoopla that was a bit of a red herring since the band had been layering in synths since their third album, Women and Children First". He further stated that "Jump"'s "synths played a circular riff that wouldn't have sounded as overpowering on guitar", but that "the band didn't dispense with their signature monolithic, pulsating rock." He also stated that "where [previous] albums placed an emphasis on the band's attack, this places an emphasis on the songs, and they're uniformly terrific, the best set of original tunes Van Halen ever had." He concluded that "it's the best showcase of Van Halen's instrumental prowess as a band, the best showcase for Diamond Dave's glorious shtick, the best showcase for their songwriting, just their flat-out best album overall. [...] [T]here's no way Van Halen could have bettered this album with Dave around (and they didn't better it once Sammy [Hagar] joined, either)."
With 1984 some critics felt Van Halen reached the pinnacle of its commercial and critical success.
At the end of the 1980s, Rolling Stone, which had previously been critical of Van Halen, ranked 1984 at number 81 on its list of the 100 Greatest Albums of the 1980s.
 

Track Listing

1. 1984
2. Jump
3. Panama
4. Top Jimmy
5. Drop Dead Legs
6. Hot for Teacher
7. I'll Wait
8. Girl Gone Bad
9. House of Pain

Download Link


Van Halen - 1984

Ozzy Osbourne - Blizzard of Ozz

Blizzard of Ozz is the debut solo album by British heavy metal vocalist Ozzy Osbourne, released on 20 September 1980 in the UK and on 27 March 1981 in the US. The album was Osbourne's first release following his 1979 firing from Black Sabbath. Blizzard of Ozz is the first of two studio albums Osbourne recorded with guitarist Randy Rhoads prior to Rhoads' death in 1982.
The album tracks "Crazy Train" and "Mr Crowley" were released as singles in 1980. "Crazy Train" went on to peak that year at number 9 on Billboard's Top Tracks chart. In January 2009, the song achieved a 2× Platinum certification status. Though it received little radio airplay upon its initial release, "Crazy Train" has become one of Osbourne's signature songs and a staple of classic rock radio playlists over the ensuing years.
The album was a commercial success, being certified 4x Platinum in the U.S., a feat Osbourne would not achieve again until the release of No More Tears in 1991.The album has sold over 6,000,000 copies to date worldwide, making it Osbourne's best-selling solo album. In the UK, it was the first of four Osbourne albums to attain Silver certification (60,000 units sold) by the British Phonographic Industry, achieving this in August 1981. It also ranked 13th on a Guitar World readers poll. In his autobiography, Osbourne readily admitted that at the time the album was being recorded, he felt he was in direct competition with his former band, Black Sabbath.
Blizzard of Ozz was controversially re-released in 2002 with the original bass and drum tracks replaced by newly recorded parts from bassist Robert Trujillo and drummer Mike Bordin; however, the original bass and drum tracks were reinstated for the 2011 release due to public outcry. A box set featuring both re-issued albums, the Blizzard of Ozz/Diary of a Madman 30th Anniversary Deluxe Box Set, was released, featuring both CD re-issues, 180-gram LP Vinyl versions of both albums (original album only), the "Thirty Years After the Blizzard" DVD Documentary, over 70 minutes of additional rare live performances and interviews, a replica of Ozzy's iconic cross, and a 2 sided poster.At the time of the album's recording, the band itself was billed as 'The Blizzard of Ozz', and the album was intended to be credited to the band with Osbourne's name in smaller print. In fact, when the band appeared at the Reading Festival in 1980 they were billed simply as "Ossie Osborne's (sic) New Band". According to Daisley, "When the album was released the words 'Ozzy Osbourne' were in bigger print than 'The Blizzard of Ozz' which made it look like an Ozzy Osbourne album called The Blizzard of Ozz. Randy (Rhoads) was never one to rock the boat. He knew he was in a situation which was a good opportunity for him being relatively unknown, so when Lee (Kerslake) and I were ousted, Randy had no allies and the act became 'Ozzy Osbourne' and no longer a band." Rhoads felt that he and Daisley were contributing the vast majority of the songwriting and arranging, and he had little interest in performing in a backing band for someone he felt wasn't contributing as much. Drummer Kerslake has maintained that Rhoads almost left the band in late 1981, due to this displeasure. "He didn't want to go (on tour with Osbourne). We told him we were thrown out. He said he was going to leave the band as he did not want to leave us behind. I told him not to be stupid but thanks for the sentiment," the drummer later recalled. Entertainment attorney Steven Machat, who was involved in the deal Osbourne signed with Jet Records, said in his 2011 book Gods, Gangsters and Honour: A Rock 'n' Roll Odyssey that Osbourne's soon-to-be manager and wife Sharon Arden was not happy with the level of creative input that Rhoads, Daisley, and Kerslake had in the Blizzard of Ozz album and did not want them to share the credit. Album producer Max Norman concurs that Daisley and Kerslake made considerable songwriting contributions during their time in the band, while also noting that the Osbourne camp "might want to dispute that now."

Track Listing

1. I Don't Know
2. Crazy Train
3. Goodbye To Romance
4. Dee
5. Suicide Solution
6. Mr. Crowley
7. No Bone Movies
8. Revelation (Mother Earth)
9. Steal Away (The Night)
10. You Looking At Me, Looking At You (Non-LP B-Side) (Bonus Track)
11. Goodbye To Romance (2010 Guitar & Vocal Mix) (Bonus Track)
12. RR (Bonus Track)

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Ozzy Osbourne - Blizzard of Ozz

John Lennon - Plastic Ono Band

John Lennon/Plastic Ono Band is the debut studio album by English rock musician John Lennon. It was released in 1970, after Lennon had issued three experimental albums with Yoko Ono and Live Peace in Toronto 1969, a live performance in Toronto credited to the Plastic Ono Band. The album was recorded simultaneously with Ono's debut avant garde solo album, Yoko Ono/Plastic Ono Band, at Ascot Sound Studios and Abbey Road Studios using the same musicians and production team, and featured nearly identical cover artwork.
John Lennon/Plastic Ono Band is generally considered one of Lennon's finest solo albums, documenting with honesty and artistic integrity his emotional and mental state at that point in his career. In 1987, Rolling Stone magazine ranked it fourth in its list "The 100 Best Albums of the Last Twenty Years" and in 2012, ranked it number 23 in "The 500 Greatest Albums of All Time".
Lennon's experience in primal therapy strongly influenced both the lyrical content of the album, pushing him toward themes of child-parent relationships and psychological suffering, and the simple yet intense style of the album's music. Throughout the album Lennon touches on many personal issues: his abandonment by his parents, in "Mother"; the means by which young people are made into soldiers, in "Working Class Hero"; a reminder that, despite his rage and pain, Lennon still embraces "Love"; and "God", a renunciation of external saviours. In the piano-driven climax of "God," after listing a handful of "idols" he does not believe in, including Jesus, Hitler, Elvis, Zimmerman (Bob Dylan), and Beatles, Lennon proclaims that he believes only in himself and Ono.
"Look at Me" dates from the period of The Beatles, and is built on a fingerpicking guitar pattern very similar to the one Lennon used in "Dear Prudence", "Happiness Is a Warm Gun", and "Julia". Lennon learned this technique from Donovan while the two were in Rishikesh. The album was released in Japan under the title ジョンの魂 (John no Tamashii^?), which translates as "John's Soul".
John Lennon/Plastic Ono Band was received with high critical praise upon release. Critic Greil Marcus remarked, "John's singing in the last verse of 'God' may be the finest in all of rock." In early 1971, the album reached number eight on the UK and went to number six in the US, spending eighteen weeks in the Top 100. The album was particularly successful in the Netherlands, knocking George Harrison's blockbuster All Things Must Pass from the top of the chart and remaining at number one for seven consecutive weeks. Robert Christgau named it the best album of 1970 in his year-end list for The Village Voice, and in a decade-end list, he ranked it 21st best from the 1970s. In a retrospective review for Rolling Stone, he wrote that the lyrics are political, existential, and carefully thought, while Spector's production is elegantly simple so each instrument resonates, including Lennon's voice: "Left out in the open, without protective harmonies or racket, Lennon's singing takes on an expressive specificity that anyone in search of the century's great vocal performances would be foolish to overlook."
John Lennon/Plastic Ono Band is generally considered one of Lennon's finest solo albums. In 2000, Q placed John Lennon/Plastic Ono Band at number 62 in its list of the 100 Greatest British Albums Ever. In 1987, the album was ranked fourth on Rolling Stone's list of the 100 best albums of the period 1967–87, and in 2003, it was placed at number 22 in the magazine's list of the 500 Greatest Albums of All Time. In 2006, the album was placed by Pitchfork Media at number 60 of its Top 100 Albums of the 1970s. In 2006, the album was chosen by Time as one of the 100 best albums of all time
 Track Listing

1. Mother
2. Hold On
3. I Found Out
4. Working Class Hero
5. Isolation
6. Remember
7. Love
8. Well Well Well
9. Look at Me
10. God
11. My Mummy's Dead

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John Lennon - Plastic Ono Band

Aerosmith - Toys in the Attic

Toys in the Attic is the third studio album by American rock band Aerosmith, released on April 8, 1975 by Columbia Records. Its first single release, "Sweet Emotion", was released a month later on May 19 and "Walk This Way" was later released on August 28 in the same year. The album is their most commercially successful studio LP in the US, with eight million copies sold, according to the RIAA.
Steven Tyler said that his original idea for the album cover was a teddy bear sitting in the attic with its wrist cut and stuffing spread across the floor. They decided, in the end, to put all of the animals in instead.
The album was ranked #229 on Rolling Stone's list of The 500 Greatest Albums of All Time. "Walk This Way" and the album's title track are part of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list.
For Aerosmith's previous album, 1974's Get Your Wings, the band began working with record producer Jack Douglas, who co-produced the album with Ray Colcord. In the liner notes to the 1993 reissue of Greatest Hits it was said by an unnamed member of the group that they "nailed" the album. At the beginning of 1975 the band started working at The Record Plant in New York City for the album that became Toys in the Attic. The sessions for Toys were produced by Douglas without Colcord - the album was engineered by Jay Messina with assistant engineers Rod O'Brien, Corky Stasiak and Dave Thoener. The songs for Toys were recorded with a Spectrasonics mixing board and a 16-track tape recorder. By this point, Aerosmith had fully matured as a band and Steven Tyler made sex the primary focus of his songwriting on the album.
According to producer Jack Douglas, "Aerosmith was a different band when we started the third album. They'd been playing Get Your Wings on the road for a year and had become better players - different. It showed in the riffs that Joe [Perry] and Brad [Whitford] brought back from the road for the next album. Toys in the Attic was a much more sophisticated record than the other stuff they'd done." In the band memoir Walk This Way, guitarist Joe Perry concurs, "When we started to make Toys in the Attic, our confidence was built up from constant touring." Preproduction took place in the attic at Angel Studios in Ashland, Massachusetts.When Toys in the Attic was released in April 1975, it eventually made #11 on the Billboard 200, a full 63 positions higher than Get Your Wings. The single release of "Sweet Emotion" became a minor hit on the Billboard Hot 100 reaching #36 in 1975 and "Walk This Way" reached #10 on the Hot 100 in 1977. The album also introduced to contemporary audiences a rock n' roll cover of "Big Ten Inch Record," which was originally an old R&B song recorded by Bull Moose Jackson in 1952. Rather than produce a rock reimagining, Aerosmith's cover largely stays true to the original song, down to its jazz-style instrumentation. For his review of Toys in the Attic for AllMusic, Stephen Thomas Erlewine called the album's style a mix of Led Zeppelin and The Rolling Stones riffs, and said it was filled with songs about sex with a different style than there ever was before. Greg Kot called the album a landmark of hard rock. For the Blender magazine review, Ben Mitchell called Toys in the Attic cocaine-influenced and mentions the songs "Toys in the Attic", "Walk This Way", and "Sweet Emotion" as "standout tracks".
Aerosmith make reference to the album and its lyrics in the song "Legendary Child". The line "But we traded them toys for other joys" refers to the title of the album and their struggles with addiction. It may also be referring to the title track of the same name. The line "I took a chance at the high school dance never knowing wrong from right" references lyrics from the songs "Walk This Way" and "Adam's Apple" respectively.

Track Listing

1. Toys In The Attic
2. Uncle Salty
3. Adam's Apple
4. Walk This Way
5. Big Ten Inch Record
6. Sweet Emotion
7. No More No More
8. Round And Round
9. You See Me Crying

Download Link

Aerosmith - Toys in the Attic

Dire Straits - Dire Straits

 

Dire Straits, is the eponymous debut studio album by the British rock band Dire Straits released on 7 October 1978 by Vertigo Records internationally and by Warner Bros. Records in the United States. The album produced the hit single "Sultans of Swing", which reached #4 on the Billboard Hot 100 chart and number 8 on the UK Singles Chart. The album reached #1 on album charts in Germany, Australia and France, #2 in the United States and #5 in the United Kingdom. Dire Straits was later certified double-platinum in both the United States and the United Kingdom.

Dire Straits was recorded at Basing Street Studios in London from 13 February to 5 March 1978. Knopfler used a few guitars for the recording, including a pair of red Fender Stratocasters—one from 1961 (serial number 68354) and one from 1962 (serial number 80470). He played his 1938 National Style O 14 fret guitar (serial number B1844) on "Water of Love" and "Wild West End." He also used a black Telecaster Thinline (serial number 226254) on "Setting Me Up". David played a black Fender Stratocaster and a Harmony Sovereign acoustic guitar. The album was produced by Muff Winwood, and engineered by Rhett Davies.

The single "Sultans of Swing" first broke into the United States top five early in the spring of 1979—being a hit a full five months after the album was released there—and then rose to number eight on the British charts. "Water of Love" was also released as a single in some countries, and charted in Australia, reaching number 54, and in the Netherlands, reaching number 28. In Europe, the album sold four million copies, and in the United States, it sold two million copies.
The album was remastered and released with the rest of the Dire Straits catalogue in 1996 to most of the world excluding the U.S. and on 19 September 2000 in the United States.
In a retrospective review for AllMusic, Stephen Thomas Erlewine gave the album four out of five stars, calling it "remarkably accomplished for a debut". Erlewine praised Knopfler's "spare, tasteful guitar lines and his husky warbling" and his "inclination toward Dylanesque imagery, which enhances the smoky, low-key atmosphere of the album."
In his review for Rolling Stone magazine, Ken Tucker wrote that the band "plays tight, spare mixtures of rock, folk and country music with a serene spirit and witty irony. It's almost as if they were aware that their forte has nothing to do with what's currently happening in the industry, but couldn't care less." Tucker singled out "Sultans of Swing" for its "inescapable hook" and "Bob Dylan-like snarl in its vocal". He also praised "Setting Me Up" as a "heavenly number, funny and bitter."

Track Listing

1. Down to the Waterline
2. Water of Love
3. Setting Me Up
4. Six Blade Knife
5. Southbound Again
6. Sultans of Swing
7. In the Gallery
8. Wild West End
9. Lions

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Dire Straits - Dire Straits

Nirvana - Nevermind

 

Nevermind is the second studio album by the American rock band Nirvana, released on September 24, 1991 by DGC Records. Produced by Butch Vig, Nevermind was the group's first release on DGC. Lead singer Kurt Cobain sought to make music outside of the restrictive confines of the Seattle grunge scene, drawing influence from groups such as the Pixies and their use of "loud/quiet" dynamics. It is their first album to feature drummer Dave Grohl.
Despite low commercial expectations by the band and its record label, Nevermind became a surprise success in late 1991, largely due to the popularity of its first single, "Smells Like Teen Spirit". By January 1992, it had replaced Michael Jackson's album Dangerous at number one on the US Billboard 200 chart. The album also produced three other successful singles: "Come as You Are", "Lithium", and "In Bloom". The Recording Industry Association of America (RIAA) has certified the album diamond (at least over 10 million copies shipped), and the album has sold at least 24 million copies worldwide. Nevermind was in part responsible for bringing both alternative rock and grunge to a large, mainstream audience, and has been ranked highly on lists of the greatest albums of all time by publications such as Rolling Stone and Time.
Cobain, Nirvana's main songwriter, fashioned chord sequences using primarily power chords and wrote songs that combined pop hooks with dissonant guitar riffs. His aim for Nevermind's material was to sound like "The Knack and the Bay City Rollers getting molested by Black Flag and Black Sabbath". Many of the songs on Nevermind feature shifts in dynamics, where the band changes from quiet verses to loud choruses. Dave Grohl said this approach originated during a four-month period prior to the recording of the album, where the band would experiment with extreme dynamics during regular jam sessions.
Guitar World wrote, "Kurt Cobain's guitar sound on Nirvana's Nevermind set the tone for Nineties rock music." On Nevermind, Cobain played a 1960s Fender Mustang, a Fender Jaguar with DiMarzio pickups, and a few Fender Stratocasters with humbucker bridge pickups. The guitarist used distortion and chorus pedals as his main effects, the latter used to generate a "watery" sound on "Come as You Are" and the pre-choruses of "Smells Like Teen Spirit". Krist Novoselic tuned down his bass guitar one and a half steps to D flat "to get this fat-ass sound."
Grohl said that Cobain told him, "Music comes first and lyrics come second," and Grohl believes that above all Cobain focused on the melodies of his songs. Cobain was still working on the album's lyrics well into the recording of Nevermind. Additionally, Cobain's phrasing on the album is often difficult to understand. Vig asserted that clarity of Cobain's singing was not paramount. Vig said, "Even though you couldn't quite tell what he was singing about, you knew it was intense as hell." Cobain would later complain when rock journalists attempted to decipher his singing and extract meaning from his lyrics, writing "Why in the hell do journalists insist on coming up with a second-rate Freudian evaluation of my lyrics, when 90 percent of the time they've transcribed them incorrectly?"

Track Listing

1. Smells Like Teen Spirit
2.  In Bloom
3. Come As You Are
4. Breed
5. Lithium
6. Polly
7. Territorial Pissings
8. Drain You
9. Lounge Act
10. Stay Away
11. On a Plain
12. Something in the Way

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Nirvana - Nevermind

Kiss - Love Gun

 

Love Gun is the sixth studio album by American hard rock band Kiss, released on June 30, 1977 by Casablanca Records. The album was remastered in 1997. It is notable for being their first album to feature a lead vocal performance from Ace Frehley, making it the first Kiss album to feature lead vocal performances from all four band members. It was also the last studio album to feature Peter Criss on every song, as he was replaced by session drummer Anton Fig for all but one song on 1979's Dynasty. Love Gun was certified platinum on June 30, 1977.

A cardboard "Love Gun" (assembly required) was included inside the album, along with a Kiss merchandise order form. Before Love Gun was completed, a Gallup poll indicated that Kiss was the most popular band in the United States, beating Aerosmith, Led Zeppelin and the Eagles. On August 26, 27, and 28 1977, Kiss recorded three shows at the LA Forum for their next release, the live album Alive II.
The album cover was painted by fantasy artist Ken Kelly, who previously contributed the cover for 1976's Destroyer.
Love Gun was Kiss' fifth studio album in three years (and seventh release overall, peaking at number four on Billboard), and proved to be the last release that the original lineup played on. By 1977, Kiss merchandise was flooding the marketplace (lunch boxes, makeup kits, comic books, etc.), and it would ultimately lead to a Kiss backlash in the '80s. But the band was still focused on their music for Love Gun, similar in sound and approach to Rock and Roll Over, their previous straight-ahead rock release. It included Ace Frehley's lead vocals on "Shock Me," as well as one of Kiss' best and most renowned hard rockers in the thunderous title track. The album's opener, "I Stole Your Love," also served as the opening number on Kiss' ensuing tour, while "Christine Sixteen" is one of the few Kiss tracks to contain piano prominently. "Almost Human" is an underrated rocker and features a great Jimi Hendrix-esque guitar solo from Frehley (no doubt due to ex-Hendrix producer Eddie Kramer manning the boards again), while "Plaster Caster" is a tribute to the famous groupies of the same name. The only weak spots on an otherwise stellar album are an obvious "Rock and Roll All Nite" ripoff titled "Tomorrow and Tonight," and a pointless remake of the Phil Spector-penned classic "Then He Kissed Me" (reworked as "Then She Kissed Me").  


Track Listing

CD-1

1.  I Stole Your Love
2. Christine Sixteen
3. Got Love For Sale
4. Shock Me
5. Tomorrow And Tonight
6. Love Gun
7. Hooligan
8. Almost Human
9. Plaster Caster
10. Then She Kissed Me

CD-2(Bonus-2014)

1. Much Too Soon (Demo)
2. Plaster Caster (Demo)
3. Reputation (Demo)
4. Love Gun (Teaching Demo)
5. Love Gun (Demo)
6. Gene Simmons Interview (1977)
7. Tomorrow And Tonight (Demo)
8. I Know Who You Are (Demo)
9. Love Gun (Live In Largo, Md 1977)
10. Christine Sixteen (Live In Largo, Md 1977)
11. Shock Me (Live In Largo, Md 1977)

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Kiss - Love Gun

Bob Dylan - Highway 61 Revisited

Highway 61 Revisited is the sixth studio album by the American singer-songwriter Bob Dylan, released on August 30, 1965 by Columbia Records. Having until then recorded mostly acoustic music, Dylan used rock musicians as his backing band on every track of the album, except for the closing 11-minute ballad, "Desolation Row". Critics have focused on the innovative way in which Dylan combined driving, blues-based music with the subtlety of poetry to create songs that captured the political and cultural chaos of contemporary America. Author Michael Gray has argued that in an important sense the 1960s "started" with this album.
Leading with the hit single "Like a Rolling Stone", the album features songs that Dylan has continued to perform live over his long career, including "Ballad of a Thin Man" and "Highway 61 Revisited". He named the album after the major American highway which connected his birthplace, Duluth, Minnesota, to southern cities famed for their musical heritage, including St. Louis, Memphis, New Orleans, and the Delta blues area of Mississippi.

Highway 61 Revisited peaked at No. 3 in the United States charts and No. 4 in the United Kingdom. The album was ranked No. 4 on Rolling Stone's "500 Greatest Albums of All Time". "Like a Rolling Stone" was a top-10 hit in several countries, and was listed at No. 1 on Rolling Stone's 500 Greatest Songs of All Time list. Two other songs, "Desolation Row" and "Highway 61 Revisited", were listed at No. 187 and No. 373 respectively.

In his memoir Chronicles: Volume One, Dylan described the kinship he felt with the route that supplied the title of his sixth album: "Highway 61, the main thoroughfare of the country blues, begins about where I began. I always felt like I'd started on it, always had been on it and could go anywhere, even down in to the deep Delta country. It was the same road, full of the same contradictions, the same one-horse towns, the same spiritual ancestors ... It was my place in the universe, always felt like it was in my blood."
When he was growing up in the 1950s, Highway 61 stretched from the Canada–US border through Duluth, where Dylan was born, and St. Paul all the way down to New Orleans. Along the way, the route passed near the birthplaces and homes of influential musicians such as Muddy Waters, Son House, Elvis Presley and Charley Patton. The "empress of the blues", Bessie Smith, died after sustaining serious injuries in an automobile accident on Highway 61. Critic Mark Polizzotti points out that blues legend Robert Johnson is alleged to have sold his soul to the devil at the highway's crossroads with Route 49. The highway had also been the subject of several blues recordings, notably Roosevelt Sykes' "Highway 61 Blues" (1932) and Mississippi Fred McDowell's "61 Highway" (1964).
Dylan has stated that he had to overcome considerable resistance at Columbia Records to give the album its title. He told biographer Robert Shelton: "I wanted to call that album Highway 61 Revisited. Nobody understood it. I had to go up the fucking ladder until finally the word came down and said: 'Let him call it what he wants to call it'." Michael Gray has suggested that the very title of the album represents Dylan's insistence that his songs are rooted in the traditions of the blues: "Indeed the album title Highway 61 Revisited announces that we are in for a long revisit, since it is such a long, blues-travelled highway. Many bluesmen had been there before [Dylan], all recording versions of a blues called 'Highway 61'.
In May 1965, Dylan returned from his tour of England feeling exhausted and dissatisfied with his material. He told journalist Nat Hentoff: "I was going to quit singing. I was very drained." The singer added, "It's very tiring having other people tell you how much they dig you if you yourself don't dig you."
As a consequence of his dissatisfaction, Dylan wrote 20 pages of verse he later described as a "long piece of vomit". He reduced this to a song with four verses and a chorus—"Like a Rolling Stone". He told Hentoff that writing and recording the song washed away his dissatisfaction, and restored his enthusiasm for creating music. Describing the experience to Robert Hilburn in 2004, nearly 40 years later, Dylan said: "It's like a ghost is writing a song like that ... You don't know what it means except the ghost picked me to write the song."
Highway 61 Revisited was recorded in two blocks of recording sessions that took place in Studio A of Columbia Records, located in Midtown Manhattan. The first block, June 15 and June 16, was produced by Tom Wilson and resulted in the single "Like a Rolling Stone". On July 25, Dylan performed his controversial electric set at the Newport Folk Festival, where some of the crowd booed his performance. Four days after Newport, Dylan returned to the recording studio. From July 29 to August 4, he and his band completed recording Highway 61 Revisited, but under the supervision of a new producer, Bob Johnston.

Track Listing

1. Like A Rolling Stone
2. Tombstone Blues
3. It Takes A Lot To Laugh, It Takes A Train To Cry
4. From A Buick 6
5. Ballad Of A Thin Man
6. Queen Jane Approximately
7. Highway 61 Revisited
8. Just Like Tom Thumb's Blues
9. Desolation Row

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Bob Dylan - Highway 61 Revisited

The Band - Music from Big Pink

Music from Big Pink is the debut studio album by the Band. Released in 1968, it employs a distinctive blend of country, rock, folk, classical, R&B, and soul. The music was composed partly in "Big Pink", a house shared by Rick Danko, Richard Manuel and Garth Hudson in West Saugerties, New York. The album itself was recorded in studios in New York and Los Angeles in 1968, and followed the band's backing of Bob Dylan on his 1966 tour (as the Hawks) and time spent together in upstate New York recording material that was officially released in 1975 as The Basement Tapes, also with Dylan. The cover artwork is a painting by Dylan.
The Band began to create their distinctive sound during 1967, when they improvised and recorded with Bob Dylan a huge number of cover songs and original Dylan material in the basement of a pink house in West Saugerties, New York, located at 56 Parnassus Lane (formerly 2188 Stoll Road). The house was built by Ottmar Gramms, who bought the land in 1952. The house was newly built when Rick Danko found it as a rental. Danko moved in along with Garth Hudson and Richard Manuel in February 1967. The house became known locally as "Big Pink' for its pink siding. The house was subsequently sold by Gramms in 1977, and since 1998, it has been a private residence. 
Though widely bootlegged at the time, the recordings Dylan and the Band made were first officially released in 1975 on The Basement Tapes, and then released in their totality in 2014 on The Basement Tapes Complete. By the end of 1967 The Band felt it was time to step out of Dylan's shadow and make their own statement.
The Band's manager Albert Grossman (who was also Dylan 's manager) approached Capitol Records to secure a record deal for a group still informally described as "Dylan's backing band". Stanley Gortikov at Capitol signed The Band—initially under the name The Crackers. Armed with news of a recording deal for the group, they lured Levon Helm back from the oil rigs where he had been working, to Woodstock where he took up his crucial position in the Band, singing and playing drums. Helm's return coincided with a ferment of activity in Big Pink as the embryonic Band not only recorded with Dylan but also began to write their own songs, led by guitarist Robbie Robertson.
After meeting with producer John Simon, the Band started to record their debut album in Manhattan at A&R Studios, on the 7th floor of 799 7th Avenue at 52nd Street in the early months of 1968. The Band recorded "Tears of Rage", "Chest Fever", "We Can Talk", "This Wheel's On Fire" and "The Weight in two sessions. Robertson has said that when Simon asked them how they wanted it to sound, they replied, "Just like it did in the basement."
Capitol were so pleased with the initial recording session, they suggested the group move to Los Angeles to finish recording their first album at Capitol Studios. They also cut some material at Gold Star Studios on Santa Monica Boulevard. The songs on Big Pink recorded in L.A. were "In A Station", "To Kingdom Come", "Lonesome Suzie", "Long Black Veil" and "I Shall Be Released".

Track Listing

1. Tears of Rage
2. To Kingdom Come
3. In A Station
4. Caledonia Mission
5. The Weight
6. We Can Talk
7. Long Black Veil
8. Chest Fever
9. Lonesome Suzie
10. This Wheel's On Fire
11. I Shall Be Released
12. Yazoo Street Scandal (Outtake)
13. Tears Of Rage (Alternate Take)
14. Katie's Been Gone (Outtake)
15. If I Lose (Outtake)
16. Long Distance Operator (Outtake)
17. Lonesome Suzie (Alternate Take)
18. Orange Juice Blues (Blues For Breakfast)
19. Key To The Highway (Outtake)
20. Ferdinand The Imposter (Outtake)

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The Band - Music from Big Pink