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