Ninety Niners

Helloween - Chameleon [1993]

2010-05-06T07:27:00.001-07:00

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Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential heavy metal band to come out of Europe during the 1980s. By taking the hard riffing and minor key melodies handed down from metal masters like Judas Priest and Iron Maiden, then infusing them with the speed and energy introduced by the burgeoning thrash metal movement, Helloween crystallized the sonic ingredients of what is now known as power metal. Sadly, just as they were on the verge of breaking to a wider audience -- even flirting with American success -- the band's meteoric rise was rudely interrupted by internal strife and a string of bad business decisions. These blunders kept them from ever regaining their original momentum, but Helloween took their hard-knock lessons in stride and continued to prosper in the international metal arena on their own terms. More importantly, they remained the benchmark by which most every power metal band is still measured.

Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist before morphing into Helloween in 1982, they signed with Germany's own fledgling Noise International two years later. With Hansen also handling vocals and the bulk of songwriting duties, the quartet recorded its self-titled debut mini-album in early 1985. The full-length Walls of Jericho and the Judas maxi-single followed the year after, and the media was soon buzzing over the band's thrash-fueled interpretation of classic heavy metal. Countless fans across continental Europe were also fast converting to the band's cause, but Hansen remained dissatisfied with his singing ability, and felt Helloween needed a proper frontman in order to achieve their full potential. Enter teenage vocalist Michael Kiske, whose high-pitched delivery followed in the footsteps of previous heavy metal banshees like Rob Halford and Bruce Dickinson.

The new chemistry proved as explosive on-stage as it did in the studio, and with their classic lineup now intact, Helloween were ready for the big time. Returning to the studio in early 1987, the band emerged in May with Keeper of the Seven Keys, Pt. 1, a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., even making tentative inroads into America at the time. The band toured relentlessly for the rest of the year and into 1988 (including a lengthy opening stint with Iron Maiden), but despite this manic work schedule, they still found time to record the aptly titled Keeper of the Seven Keys, Pt. 2. Released in September 1988, the record was another blockbuster that crashed the U.K. Top 30, but its uneven songwriting (especially from longtime leader Kai Hansen) revealed the beginnings of a major band crisis.

Helloween's watershed performance at that year's Donington Monsters of Rock Festival proved to be their crowning glory, but for Hansen, his dream come true also represented the culmination of his ambitions for the group. Shockingly, the guitarist soon announced his departure from the band he had helmed to the top, claiming that Helloween were now too big a beast for him to control. (He would soon make a fresh start with a new outfit called Gamma Ray, which, to no one's surprise, sounded remarkably like Helloween.) But the remaining members of Helloween weren't about to let their shot at stardom slip away, and after drafting former Rampage guitarist Roland Grapow, they got right back to work with a sold-out tour of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, wound up igniting a legal dispute that would sideline Helloween for nearly two years. Several live albums (Live in the U.K. for Europe, Keepers Live for Japan, and I Want Out: Live for the U.S.) were released to distract the fans during this hiatus, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to boot.

Confident that they'd accumulated little, if any rust from their extended layoff, Helloween finally returned to action with the oddly titled Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could compensate for the scattered, unfocused songwriting that dominated the album. Furthermore, the band's quirky attempts at humor had grown so forced that fans weren't sure what to make of furious metal anthems with names like the title track and "Heavy Metal Hamsters." The record bombed in no uncertain terms, as did its even more schizophrenic follow-up, Chameleon. Recorded in 1993 by an obviously shell-shocked band, its poor showing only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to launch a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary also decided to cut their losses at this time, leaving the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in new singer Andi Deris and drummer Uli Kusch to record 1994's Master of the Rings, a small but determined step in the right direction. Then tragedy struck, when former drummer Ingo Schwichtenberg -- a diagnosed manic depressive whose worsening condition had been partly to blame for his dismissal -- took his own life, throwing himself in front of a train near his native Hamburg.

Shaken to the core, but as driven as ever, Helloween dedicated 1996's The Time of the Oath to their fallen friend, and, coincidentally, the album turned out to be the strongest since their glory years, doing much to resurrect their career. The ensuing tour spawned the double-disc set High Live and confirmed the band's return to form as major players in the international metal arena (in Europe and Japan, they were arguably bigger than ever). Helloween continued to prosper with 1998's Better Than Raw, 1999's celebratory Metal Jukebox covers album, and 2000's The Dark Ride, and not even the departure of longtime members Grapow and Kusch could slow them for long. Now regarded as elder statesmen of Euro-metal, Helloween celebrated their achievements with 2002's Treasure Chest greatest-hits set. This was followed by 2003's Rabbit Don't Come Easy, which introduced new guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent replacement could be found in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more). ~ Eduardo Rivadavia, All Music Guide

01 First Time 5:29
02 When The Sinner 6:54
03 I Don't Wanna Cry No More 5:11
04 Crazy Cat 3:29
05 Giants 6:32
06 Windmill 5:14
07 Revolution Now 8:04
08 In The Night 5:35
09 Music 7:01
10 Step Out Of Hell 4:21
11 I Believe 9:11
12 Longing 4:14

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Helloween - Keeper Of The Seven Keys Part 1 (1987)

2010-05-06T07:26:00.001-07:00

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Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential heavy metal band to come out of Europe during the 1980s. By taking the hard riffing and minor key melodies handed down from metal masters like Judas Priest and Iron Maiden, then infusing them with the speed and energy introduced by the burgeoning thrash metal movement, Helloween crystallized the sonic ingredients of what is now known as power metal. Sadly, just as they were on the verge of breaking to a wider audience -- even flirting with American success -- the band's meteoric rise was rudely interrupted by internal strife and a string of bad business decisions. These blunders kept them from ever regaining their original momentum, but Helloween took their hard-knock lessons in stride and continued to prosper in the international metal arena on their own terms. More importantly, they remained the benchmark by which most every power metal band is still measured.

Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist before morphing into Helloween in 1982, they signed with Germany's own fledgling Noise International two years later. With Hansen also handling vocals and the bulk of songwriting duties, the quartet recorded its self-titled debut mini-album in early 1985. The full-length Walls of Jericho and the Judas maxi-single followed the year after, and the media was soon buzzing over the band's thrash-fueled interpretation of classic heavy metal. Countless fans across continental Europe were also fast converting to the band's cause, but Hansen remained dissatisfied with his singing ability, and felt Helloween needed a proper frontman in order to achieve their full potential. Enter teenage vocalist Michael Kiske, whose high-pitched delivery followed in the footsteps of previous heavy metal banshees like Rob Halford and Bruce Dickinson.

The new chemistry proved as explosive on-stage as it did in the studio, and with their classic lineup now intact, Helloween were ready for the big time. Returning to the studio in early 1987, the band emerged in May with Keeper of the Seven Keys, Pt. 1, a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., even making tentative inroads into America at the time. The band toured relentlessly for the rest of the year and into 1988 (including a lengthy opening stint with Iron Maiden), but despite this manic work schedule, they still found time to record the aptly titled Keeper of the Seven Keys, Pt. 2. Released in September 1988, the record was another blockbuster that crashed the U.K. Top 30, but its uneven songwriting (especially from longtime leader Kai Hansen) revealed the beginnings of a major band crisis.

Helloween's watershed performance at that year's Donington Monsters of Rock Festival proved to be their crowning glory, but for Hansen, his dream come true also represented the culmination of his ambitions for the group. Shockingly, the guitarist soon announced his departure from the band he had helmed to the top, claiming that Helloween were now too big a beast for him to control. (He would soon make a fresh start with a new outfit called Gamma Ray, which, to no one's surprise, sounded remarkably like Helloween.) But the remaining members of Helloween weren't about to let their shot at stardom slip away, and after drafting former Rampage guitarist Roland Grapow, they got right back to work with a sold-out tour of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, wound up igniting a legal dispute that would sideline Helloween for nearly two years. Several live albums (Live in the U.K. for Europe, Keepers Live for Japan, and I Want Out: Live for the U.S.) were released to distract the fans during this hiatus, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to boot.

Confident that they'd accumulated little, if any rust from their extended layoff, Helloween finally returned to action with the oddly titled Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could compensate for the scattered, unfocused songwriting that dominated the album. Furthermore, the band's quirky attempts at humor had grown so forced that fans weren't sure what to make of furious metal anthems with names like the title track and "Heavy Metal Hamsters." The record bombed in no uncertain terms, as did its even more schizophrenic follow-up, Chameleon. Recorded in 1993 by an obviously shell-shocked band, its poor showing only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to launch a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary also decided to cut their losses at this time, leaving the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in new singer Andi Deris and drummer Uli Kusch to record 1994's Master of the Rings, a small but determined step in the right direction. Then tragedy struck, when former drummer Ingo Schwichtenberg -- a diagnosed manic depressive whose worsening condition had been partly to blame for his dismissal -- took his own life, throwing himself in front of a train near his native Hamburg.

Shaken to the core, but as driven as ever, Helloween dedicated 1996's The Time of the Oath to their fallen friend, and, coincidentally, the album turned out to be the strongest since their glory years, doing much to resurrect their career. The ensuing tour spawned the double-disc set High Live and confirmed the band's return to form as major players in the international metal arena (in Europe and Japan, they were arguably bigger than ever). Helloween continued to prosper with 1998's Better Than Raw, 1999's celebratory Metal Jukebox covers album, and 2000's The Dark Ride, and not even the departure of longtime members Grapow and Kusch could slow them for long. Now regarded as elder statesmen of Euro-metal, Helloween celebrated their achievements with 2002's Treasure Chest greatest-hits set. This was followed by 2003's Rabbit Don't Come Easy, which introduced new guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent replacement could be found in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more). ~ Eduardo Rivadavia, All Music Guide

01 Initiation 1:21
02 I'm Alive 3:22
03 A Little Time 4:00
04 Twinlight Of The Gods 4:30
05 A Tale That Wasn't Right 4:43
06 Future World 4:02
07 Halloween 13:19
08 Follow The Sign 1:49

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Helloween - Keeper Of The Seven Keys Part 2 CD1 (1988)

2010-05-06T07:25:00.001-07:00

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Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential heavy metal band to come out of Europe during the 1980s. By taking the hard riffing and minor key melodies handed down from metal masters like Judas Priest and Iron Maiden, then infusing them with the speed and energy introduced by the burgeoning thrash metal movement, Helloween crystallized the sonic ingredients of what is now known as power metal. Sadly, just as they were on the verge of breaking to a wider audience -- even flirting with American success -- the band's meteoric rise was rudely interrupted by internal strife and a string of bad business decisions. These blunders kept them from ever regaining their original momentum, but Helloween took their hard-knock lessons in stride and continued to prosper in the international metal arena on their own terms. More importantly, they remained the benchmark by which most every power metal band is still measured.

Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist before morphing into Helloween in 1982, they signed with Germany's own fledgling Noise International two years later. With Hansen also handling vocals and the bulk of songwriting duties, the quartet recorded its self-titled debut mini-album in early 1985. The full-length Walls of Jericho and the Judas maxi-single followed the year after, and the media was soon buzzing over the band's thrash-fueled interpretation of classic heavy metal. Countless fans across continental Europe were also fast converting to the band's cause, but Hansen remained dissatisfied with his singing ability, and felt Helloween needed a proper frontman in order to achieve their full potential. Enter teenage vocalist Michael Kiske, whose high-pitched delivery followed in the footsteps of previous heavy metal banshees like Rob Halford and Bruce Dickinson.

The new chemistry proved as explosive on-stage as it did in the studio, and with their classic lineup now intact, Helloween were ready for the big time. Returning to the studio in early 1987, the band emerged in May with Keeper of the Seven Keys, Pt. 1, a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., even making tentative inroads into America at the time. The band toured relentlessly for the rest of the year and into 1988 (including a lengthy opening stint with Iron Maiden), but despite this manic work schedule, they still found time to record the aptly titled Keeper of the Seven Keys, Pt. 2. Released in September 1988, the record was another blockbuster that crashed the U.K. Top 30, but its uneven songwriting (especially from longtime leader Kai Hansen) revealed the beginnings of a major band crisis.

Helloween's watershed performance at that year's Donington Monsters of Rock Festival proved to be their crowning glory, but for Hansen, his dream come true also represented the culmination of his ambitions for the group. Shockingly, the guitarist soon announced his departure from the band he had helmed to the top, claiming that Helloween were now too big a beast for him to control. (He would soon make a fresh start with a new outfit called Gamma Ray, which, to no one's surprise, sounded remarkably like Helloween.) But the remaining members of Helloween weren't about to let their shot at stardom slip away, and after drafting former Rampage guitarist Roland Grapow, they got right back to work with a sold-out tour of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, wound up igniting a legal dispute that would sideline Helloween for nearly two years. Several live albums (Live in the U.K. for Europe, Keepers Live for Japan, and I Want Out: Live for the U.S.) were released to distract the fans during this hiatus, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to boot.

Confident that they'd accumulated little, if any rust from their extended layoff, Helloween finally returned to action with the oddly titled Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could compensate for the scattered, unfocused songwriting that dominated the album. Furthermore, the band's quirky attempts at humor had grown so forced that fans weren't sure what to make of furious metal anthems with names like the title track and "Heavy Metal Hamsters." The record bombed in no uncertain terms, as did its even more schizophrenic follow-up, Chameleon. Recorded in 1993 by an obviously shell-shocked band, its poor showing only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to launch a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary also decided to cut their losses at this time, leaving the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in new singer Andi Deris and drummer Uli Kusch to record 1994's Master of the Rings, a small but determined step in the right direction. Then tragedy struck, when former drummer Ingo Schwichtenberg -- a diagnosed manic depressive whose worsening condition had been partly to blame for his dismissal -- took his own life, throwing himself in front of a train near his native Hamburg.

Shaken to the core, but as driven as ever, Helloween dedicated 1996's The Time of the Oath to their fallen friend, and, coincidentally, the album turned out to be the strongest since their glory years, doing much to resurrect their career. The ensuing tour spawned the double-disc set High Live and confirmed the band's return to form as major players in the international metal arena (in Europe and Japan, they were arguably bigger than ever). Helloween continued to prosper with 1998's Better Than Raw, 1999's celebratory Metal Jukebox covers album, and 2000's The Dark Ride, and not even the departure of longtime members Grapow and Kusch could slow them for long. Now regarded as elder statesmen of Euro-metal, Helloween celebrated their achievements with 2002's Treasure Chest greatest-hits set. This was followed by 2003's Rabbit Don't Come Easy, which introduced new guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent replacement could be found in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more). ~ Eduardo Rivadavia, All Music Guide

01 Invitation 1:06
02 Eagle Fly Free 5:08
03 You Always Walk Alone 5:08
04 Rise And Fall 4:22
05 Dr.Stein 5:04
06 We Got The Right 5:08
07 Save Us 5:13
08 March Of Time 5:14
09 I Want Out 4:40
10 Keeper Of The Seven Keys 13:38

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Helloween - Keeper Of The Seven Keys Part 2 CD2 (1988)

2010-05-06T07:24:00.000-07:00

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Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential heavy metal band to come out of Europe during the 1980s. By taking the hard riffing and minor key melodies handed down from metal masters like Judas Priest and Iron Maiden, then infusing them with the speed and energy introduced by the burgeoning thrash metal movement, Helloween crystallized the sonic ingredients of what is now known as power metal. Sadly, just as they were on the verge of breaking to a wider audience -- even flirting with American success -- the band's meteoric rise was rudely interrupted by internal strife and a string of bad business decisions. These blunders kept them from ever regaining their original momentum, but Helloween took their hard-knock lessons in stride and continued to prosper in the international metal arena on their own terms. More importantly, they remained the benchmark by which most every power metal band is still measured.

Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist before morphing into Helloween in 1982, they signed with Germany's own fledgling Noise International two years later. With Hansen also handling vocals and the bulk of songwriting duties, the quartet recorded its self-titled debut mini-album in early 1985. The full-length Walls of Jericho and the Judas maxi-single followed the year after, and the media was soon buzzing over the band's thrash-fueled interpretation of classic heavy metal. Countless fans across continental Europe were also fast converting to the band's cause, but Hansen remained dissatisfied with his singing ability, and felt Helloween needed a proper frontman in order to achieve their full potential. Enter teenage vocalist Michael Kiske, whose high-pitched delivery followed in the footsteps of previous heavy metal banshees like Rob Halford and Bruce Dickinson.

The new chemistry proved as explosive on-stage as it did in the studio, and with their classic lineup now intact, Helloween were ready for the big time. Returning to the studio in early 1987, the band emerged in May with Keeper of the Seven Keys, Pt. 1, a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., even making tentative inroads into America at the time. The band toured relentlessly for the rest of the year and into 1988 (including a lengthy opening stint with Iron Maiden), but despite this manic work schedule, they still found time to record the aptly titled Keeper of the Seven Keys, Pt. 2. Released in September 1988, the record was another blockbuster that crashed the U.K. Top 30, but its uneven songwriting (especially from longtime leader Kai Hansen) revealed the beginnings of a major band crisis.

Helloween's watershed performance at that year's Donington Monsters of Rock Festival proved to be their crowning glory, but for Hansen, his dream come true also represented the culmination of his ambitions for the group. Shockingly, the guitarist soon announced his departure from the band he had helmed to the top, claiming that Helloween were now too big a beast for him to control. (He would soon make a fresh start with a new outfit called Gamma Ray, which, to no one's surprise, sounded remarkably like Helloween.) But the remaining members of Helloween weren't about to let their shot at stardom slip away, and after drafting former Rampage guitarist Roland Grapow, they got right back to work with a sold-out tour of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, wound up igniting a legal dispute that would sideline Helloween for nearly two years. Several live albums (Live in the U.K. for Europe, Keepers Live for Japan, and I Want Out: Live for the U.S.) were released to distract the fans during this hiatus, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to boot.

Confident that they'd accumulated little, if any rust from their extended layoff, Helloween finally returned to action with the oddly titled Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could compensate for the scattered, unfocused songwriting that dominated the album. Furthermore, the band's quirky attempts at humor had grown so forced that fans weren't sure what to make of furious metal anthems with names like the title track and "Heavy Metal Hamsters." The record bombed in no uncertain terms, as did its even more schizophrenic follow-up, Chameleon. Recorded in 1993 by an obviously shell-shocked band, its poor showing only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to launch a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary also decided to cut their losses at this time, leaving the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in new singer Andi Deris and drummer Uli Kusch to record 1994's Master of the Rings, a small but determined step in the right direction. Then tragedy struck, when former drummer Ingo Schwichtenberg -- a diagnosed manic depressive whose worsening condition had been partly to blame for his dismissal -- took his own life, throwing himself in front of a train near his native Hamburg.

Shaken to the core, but as driven as ever, Helloween dedicated 1996's The Time of the Oath to their fallen friend, and, coincidentally, the album turned out to be the strongest since their glory years, doing much to resurrect their career. The ensuing tour spawned the double-disc set High Live and confirmed the band's return to form as major players in the international metal arena (in Europe and Japan, they were arguably bigger than ever). Helloween continued to prosper with 1998's Better Than Raw, 1999's celebratory Metal Jukebox covers album, and 2000's The Dark Ride, and not even the departure of longtime members Grapow and Kusch could slow them for long. Now regarded as elder statesmen of Euro-metal, Helloween celebrated their achievements with 2002's Treasure Chest greatest-hits set. This was followed by 2003's Rabbit Don't Come Easy, which introduced new guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent replacement could be found in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more). ~ Eduardo Rivadavia, All Music Guide

Savage 7.73 M
Livin' Ain't No Crime 10.7 M
Don't Run For Cover 10.83 M
Dr. Stein (Remix) 11.57 M
Keeper Of The Seven Keys (Remix) 31.66 M

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Helloween - Master Of The Rings (1994)

2010-05-06T07:23:00.000-07:00

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Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential heavy metal band to come out of Europe during the 1980s. By taking the hard riffing and minor key melodies handed down from metal masters like Judas Priest and Iron Maiden, then infusing them with the speed and energy introduced by the burgeoning thrash metal movement, Helloween crystallized the sonic ingredients of what is now known as power metal. Sadly, just as they were on the verge of breaking to a wider audience -- even flirting with American success -- the band's meteoric rise was rudely interrupted by internal strife and a string of bad business decisions. These blunders kept them from ever regaining their original momentum, but Helloween took their hard-knock lessons in stride and continued to prosper in the international metal arena on their own terms. More importantly, they remained the benchmark by which most every power metal band is still measured.

Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist before morphing into Helloween in 1982, they signed with Germany's own fledgling Noise International two years later. With Hansen also handling vocals and the bulk of songwriting duties, the quartet recorded its self-titled debut mini-album in early 1985. The full-length Walls of Jericho and the Judas maxi-single followed the year after, and the media was soon buzzing over the band's thrash-fueled interpretation of classic heavy metal. Countless fans across continental Europe were also fast converting to the band's cause, but Hansen remained dissatisfied with his singing ability, and felt Helloween needed a proper frontman in order to achieve their full potential. Enter teenage vocalist Michael Kiske, whose high-pitched delivery followed in the footsteps of previous heavy metal banshees like Rob Halford and Bruce Dickinson.

The new chemistry proved as explosive on-stage as it did in the studio, and with their classic lineup now intact, Helloween were ready for the big time. Returning to the studio in early 1987, the band emerged in May with Keeper of the Seven Keys, Pt. 1, a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., even making tentative inroads into America at the time. The band toured relentlessly for the rest of the year and into 1988 (including a lengthy opening stint with Iron Maiden), but despite this manic work schedule, they still found time to record the aptly titled Keeper of the Seven Keys, Pt. 2. Released in September 1988, the record was another blockbuster that crashed the U.K. Top 30, but its uneven songwriting (especially from longtime leader Kai Hansen) revealed the beginnings of a major band crisis.

Helloween's watershed performance at that year's Donington Monsters of Rock Festival proved to be their crowning glory, but for Hansen, his dream come true also represented the culmination of his ambitions for the group. Shockingly, the guitarist soon announced his departure from the band he had helmed to the top, claiming that Helloween were now too big a beast for him to control. (He would soon make a fresh start with a new outfit called Gamma Ray, which, to no one's surprise, sounded remarkably like Helloween.) But the remaining members of Helloween weren't about to let their shot at stardom slip away, and after drafting former Rampage guitarist Roland Grapow, they got right back to work with a sold-out tour of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, wound up igniting a legal dispute that would sideline Helloween for nearly two years. Several live albums (Live in the U.K. for Europe, Keepers Live for Japan, and I Want Out: Live for the U.S.) were released to distract the fans during this hiatus, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to boot.

Confident that they'd accumulated little, if any rust from their extended layoff, Helloween finally returned to action with the oddly titled Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could compensate for the scattered, unfocused songwriting that dominated the album. Furthermore, the band's quirky attempts at humor had grown so forced that fans weren't sure what to make of furious metal anthems with names like the title track and "Heavy Metal Hamsters." The record bombed in no uncertain terms, as did its even more schizophrenic follow-up, Chameleon. Recorded in 1993 by an obviously shell-shocked band, its poor showing only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to launch a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary also decided to cut their losses at this time, leaving the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in new singer Andi Deris and drummer Uli Kusch to record 1994's Master of the Rings, a small but determined step in the right direction. Then tragedy struck, when former drummer Ingo Schwichtenberg -- a diagnosed manic depressive whose worsening condition had been partly to blame for his dismissal -- took his own life, throwing himself in front of a train near his native Hamburg.

Shaken to the core, but as driven as ever, Helloween dedicated 1996's The Time of the Oath to their fallen friend, and, coincidentally, the album turned out to be the strongest since their glory years, doing much to resurrect their career. The ensuing tour spawned the double-disc set High Live and confirmed the band's return to form as major players in the international metal arena (in Europe and Japan, they were arguably bigger than ever). Helloween continued to prosper with 1998's Better Than Raw, 1999's celebratory Metal Jukebox covers album, and 2000's The Dark Ride, and not even the departure of longtime members Grapow and Kusch could slow them for long. Now regarded as elder statesmen of Euro-metal, Helloween celebrated their achievements with 2002's Treasure Chest greatest-hits set. This was followed by 2003's Rabbit Don't Come Easy, which introduced new guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent replacement could be found in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more). ~ Eduardo Rivadavia, All Music Guide

01 Irritation 1:15
02 Sole Survivor 4:33
03 Where The Rain Grows 4:46
04 Why 4:11
05 Mr Ego 7:03
06 Perfect Gentleman 3:53
07 The Game Is On 4:40
08 Secret Alibi 5:49
09 Take Me Home 4:25
10 In The Middle Of A Heartbeat 4:30
11 Still We Go 5:09

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Helloween - Master Of The Rings (Us Bonus CD) (1994)

2010-05-06T07:21:00.002-07:00

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Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential heavy metal band to come out of Europe during the 1980s. By taking the hard riffing and minor key melodies handed down from metal masters like Judas Priest and Iron Maiden, then infusing them with the speed and energy introduced by the burgeoning thrash metal movement, Helloween crystallized the sonic ingredients of what is now known as power metal. Sadly, just as they were on the verge of breaking to a wider audience -- even flirting with American success -- the band's meteoric rise was rudely interrupted by internal strife and a string of bad business decisions. These blunders kept them from ever regaining their original momentum, but Helloween took their hard-knock lessons in stride and continued to prosper in the international metal arena on their own terms. More importantly, they remained the benchmark by which most every power metal band is still measured.

Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist before morphing into Helloween in 1982, they signed with Germany's own fledgling Noise International two years later. With Hansen also handling vocals and the bulk of songwriting duties, the quartet recorded its self-titled debut mini-album in early 1985. The full-length Walls of Jericho and the Judas maxi-single followed the year after, and the media was soon buzzing over the band's thrash-fueled interpretation of classic heavy metal. Countless fans across continental Europe were also fast converting to the band's cause, but Hansen remained dissatisfied with his singing ability, and felt Helloween needed a proper frontman in order to achieve their full potential. Enter teenage vocalist Michael Kiske, whose high-pitched delivery followed in the footsteps of previous heavy metal banshees like Rob Halford and Bruce Dickinson.

The new chemistry proved as explosive on-stage as it did in the studio, and with their classic lineup now intact, Helloween were ready for the big time. Returning to the studio in early 1987, the band emerged in May with Keeper of the Seven Keys, Pt. 1, a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., even making tentative inroads into America at the time. The band toured relentlessly for the rest of the year and into 1988 (including a lengthy opening stint with Iron Maiden), but despite this manic work schedule, they still found time to record the aptly titled Keeper of the Seven Keys, Pt. 2. Released in September 1988, the record was another blockbuster that crashed the U.K. Top 30, but its uneven songwriting (especially from longtime leader Kai Hansen) revealed the beginnings of a major band crisis.

Helloween's watershed performance at that year's Donington Monsters of Rock Festival proved to be their crowning glory, but for Hansen, his dream come true also represented the culmination of his ambitions for the group. Shockingly, the guitarist soon announced his departure from the band he had helmed to the top, claiming that Helloween were now too big a beast for him to control. (He would soon make a fresh start with a new outfit called Gamma Ray, which, to no one's surprise, sounded remarkably like Helloween.) But the remaining members of Helloween weren't about to let their shot at stardom slip away, and after drafting former Rampage guitarist Roland Grapow, they got right back to work with a sold-out tour of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, wound up igniting a legal dispute that would sideline Helloween for nearly two years. Several live albums (Live in the U.K. for Europe, Keepers Live for Japan, and I Want Out: Live for the U.S.) were released to distract the fans during this hiatus, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to boot.

Confident that they'd accumulated little, if any rust from their extended layoff, Helloween finally returned to action with the oddly titled Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could compensate for the scattered, unfocused songwriting that dominated the album. Furthermore, the band's quirky attempts at humor had grown so forced that fans weren't sure what to make of furious metal anthems with names like the title track and "Heavy Metal Hamsters." The record bombed in no uncertain terms, as did its even more schizophrenic follow-up, Chameleon. Recorded in 1993 by an obviously shell-shocked band, its poor showing only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to launch a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary also decided to cut their losses at this time, leaving the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in new singer Andi Deris and drummer Uli Kusch to record 1994's Master of the Rings, a small but determined step in the right direction. Then tragedy struck, when former drummer Ingo Schwichtenberg -- a diagnosed manic depressive whose worsening condition had been partly to blame for his dismissal -- took his own life, throwing himself in front of a train near his native Hamburg.

Shaken to the core, but as driven as ever, Helloween dedicated 1996's The Time of the Oath to their fallen friend, and, coincidentally, the album turned out to be the strongest since their glory years, doing much to resurrect their career. The ensuing tour spawned the double-disc set High Live and confirmed the band's return to form as major players in the international metal arena (in Europe and Japan, they were arguably bigger than ever). Helloween continued to prosper with 1998's Better Than Raw, 1999's celebratory Metal Jukebox covers album, and 2000's The Dark Ride, and not even the departure of longtime members Grapow and Kusch could slow them for long. Now regarded as elder statesmen of Euro-metal, Helloween celebrated their achievements with 2002's Treasure Chest greatest-hits set. This was followed by 2003's Rabbit Don't Come Easy, which introduced new guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent replacement could be found in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more). ~ Eduardo Rivadavia, All Music Guide

Grapowski's Malmsuite 1001 (In D-Doll) 14.97 M
Cold Sweat 8.6 M
Can't Fight Your Desire 8.5 M
Closer To Home 18.74 M
Silicon Dreams 9.5 M
Star Invasion 10.87 M
I Stole Your Heart 7.64 M

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Helloween - Pink Bubbles Go Ape (1991)

2010-05-06T07:21:00.001-07:00

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Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential heavy metal band to come out of Europe during the 1980s. By taking the hard riffing and minor key melodies handed down from metal masters like Judas Priest and Iron Maiden, then infusing them with the speed and energy introduced by the burgeoning thrash metal movement, Helloween crystallized the sonic ingredients of what is now known as power metal. Sadly, just as they were on the verge of breaking to a wider audience -- even flirting with American success -- the band's meteoric rise was rudely interrupted by internal strife and a string of bad business decisions. These blunders kept them from ever regaining their original momentum, but Helloween took their hard-knock lessons in stride and continued to prosper in the international metal arena on their own terms. More importantly, they remained the benchmark by which most every power metal band is still measured.

Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist before morphing into Helloween in 1982, they signed with Germany's own fledgling Noise International two years later. With Hansen also handling vocals and the bulk of songwriting duties, the quartet recorded its self-titled debut mini-album in early 1985. The full-length Walls of Jericho and the Judas maxi-single followed the year after, and the media was soon buzzing over the band's thrash-fueled interpretation of classic heavy metal. Countless fans across continental Europe were also fast converting to the band's cause, but Hansen remained dissatisfied with his singing ability, and felt Helloween needed a proper frontman in order to achieve their full potential. Enter teenage vocalist Michael Kiske, whose high-pitched delivery followed in the footsteps of previous heavy metal banshees like Rob Halford and Bruce Dickinson.

The new chemistry proved as explosive on-stage as it did in the studio, and with their classic lineup now intact, Helloween were ready for the big time. Returning to the studio in early 1987, the band emerged in May with Keeper of the Seven Keys, Pt. 1, a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., even making tentative inroads into America at the time. The band toured relentlessly for the rest of the year and into 1988 (including a lengthy opening stint with Iron Maiden), but despite this manic work schedule, they still found time to record the aptly titled Keeper of the Seven Keys, Pt. 2. Released in September 1988, the record was another blockbuster that crashed the U.K. Top 30, but its uneven songwriting (especially from longtime leader Kai Hansen) revealed the beginnings of a major band crisis.

Helloween's watershed performance at that year's Donington Monsters of Rock Festival proved to be their crowning glory, but for Hansen, his dream come true also represented the culmination of his ambitions for the group. Shockingly, the guitarist soon announced his departure from the band he had helmed to the top, claiming that Helloween were now too big a beast for him to control. (He would soon make a fresh start with a new outfit called Gamma Ray, which, to no one's surprise, sounded remarkably like Helloween.) But the remaining members of Helloween weren't about to let their shot at stardom slip away, and after drafting former Rampage guitarist Roland Grapow, they got right back to work with a sold-out tour of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, wound up igniting a legal dispute that would sideline Helloween for nearly two years. Several live albums (Live in the U.K. for Europe, Keepers Live for Japan, and I Want Out: Live for the U.S.) were released to distract the fans during this hiatus, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to boot.

Confident that they'd accumulated little, if any rust from their extended layoff, Helloween finally returned to action with the oddly titled Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could compensate for the scattered, unfocused songwriting that dominated the album. Furthermore, the band's quirky attempts at humor had grown so forced that fans weren't sure what to make of furious metal anthems with names like the title track and "Heavy Metal Hamsters." The record bombed in no uncertain terms, as did its even more schizophrenic follow-up, Chameleon. Recorded in 1993 by an obviously shell-shocked band, its poor showing only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to launch a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary also decided to cut their losses at this time, leaving the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in new singer Andi Deris and drummer Uli Kusch to record 1994's Master of the Rings, a small but determined step in the right direction. Then tragedy struck, when former drummer Ingo Schwichtenberg -- a diagnosed manic depressive whose worsening condition had been partly to blame for his dismissal -- took his own life, throwing himself in front of a train near his native Hamburg.

Shaken to the core, but as driven as ever, Helloween dedicated 1996's The Time of the Oath to their fallen friend, and, coincidentally, the album turned out to be the strongest since their glory years, doing much to resurrect their career. The ensuing tour spawned the double-disc set High Live and confirmed the band's return to form as major players in the international metal arena (in Europe and Japan, they were arguably bigger than ever). Helloween continued to prosper with 1998's Better Than Raw, 1999's celebratory Metal Jukebox covers album, and 2000's The Dark Ride, and not even the departure of longtime members Grapow and Kusch could slow them for long. Now regarded as elder statesmen of Euro-metal, Helloween celebrated their achievements with 2002's Treasure Chest greatest-hits set. This was followed by 2003's Rabbit Don't Come Easy, which introduced new guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent replacement could be found in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more). ~ Eduardo Rivadavia, All Music Guide

01 Pink Bubbles Go Ape 0:37
02 Kids Of The Century 3:52
03 Back On The Streets 3:23
04 Number One 5:13
05 Heavy Metal Hamsters 3:28
06 Goin' Home 3:51
07 Someone's Crying 4:18
08 Mankind 6:18
09 I'm Doin' Fine Crazy Man 3:39
10 The Chance 3:47
11 Your Turn 5:38

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Helloween - Walls Of Jericho CD1 (1985)

2010-05-06T07:20:00.000-07:00

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Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential heavy metal band to come out of Europe during the 1980s. By taking the hard riffing and minor key melodies handed down from metal masters like Judas Priest and Iron Maiden, then infusing them with the speed and energy introduced by the burgeoning thrash metal movement, Helloween crystallized the sonic ingredients of what is now known as power metal. Sadly, just as they were on the verge of breaking to a wider audience -- even flirting with American success -- the band's meteoric rise was rudely interrupted by internal strife and a string of bad business decisions. These blunders kept them from ever regaining their original momentum, but Helloween took their hard-knock lessons in stride and continued to prosper in the international metal arena on their own terms. More importantly, they remained the benchmark by which most every power metal band is still measured.

Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist before morphing into Helloween in 1982, they signed with Germany's own fledgling Noise International two years later. With Hansen also handling vocals and the bulk of songwriting duties, the quartet recorded its self-titled debut mini-album in early 1985. The full-length Walls of Jericho and the Judas maxi-single followed the year after, and the media was soon buzzing over the band's thrash-fueled interpretation of classic heavy metal. Countless fans across continental Europe were also fast converting to the band's cause, but Hansen remained dissatisfied with his singing ability, and felt Helloween needed a proper frontman in order to achieve their full potential. Enter teenage vocalist Michael Kiske, whose high-pitched delivery followed in the footsteps of previous heavy metal banshees like Rob Halford and Bruce Dickinson.

The new chemistry proved as explosive on-stage as it did in the studio, and with their classic lineup now intact, Helloween were ready for the big time. Returning to the studio in early 1987, the band emerged in May with Keeper of the Seven Keys, Pt. 1, a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., even making tentative inroads into America at the time. The band toured relentlessly for the rest of the year and into 1988 (including a lengthy opening stint with Iron Maiden), but despite this manic work schedule, they still found time to record the aptly titled Keeper of the Seven Keys, Pt. 2. Released in September 1988, the record was another blockbuster that crashed the U.K. Top 30, but its uneven songwriting (especially from longtime leader Kai Hansen) revealed the beginnings of a major band crisis.

Helloween's watershed performance at that year's Donington Monsters of Rock Festival proved to be their crowning glory, but for Hansen, his dream come true also represented the culmination of his ambitions for the group. Shockingly, the guitarist soon announced his departure from the band he had helmed to the top, claiming that Helloween were now too big a beast for him to control. (He would soon make a fresh start with a new outfit called Gamma Ray, which, to no one's surprise, sounded remarkably like Helloween.) But the remaining members of Helloween weren't about to let their shot at stardom slip away, and after drafting former Rampage guitarist Roland Grapow, they got right back to work with a sold-out tour of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, wound up igniting a legal dispute that would sideline Helloween for nearly two years. Several live albums (Live in the U.K. for Europe, Keepers Live for Japan, and I Want Out: Live for the U.S.) were released to distract the fans during this hiatus, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to boot.

Confident that they'd accumulated little, if any rust from their extended layoff, Helloween finally returned to action with the oddly titled Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could compensate for the scattered, unfocused songwriting that dominated the album. Furthermore, the band's quirky attempts at humor had grown so forced that fans weren't sure what to make of furious metal anthems with names like the title track and "Heavy Metal Hamsters." The record bombed in no uncertain terms, as did its even more schizophrenic follow-up, Chameleon. Recorded in 1993 by an obviously shell-shocked band, its poor showing only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to launch a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary also decided to cut their losses at this time, leaving the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in new singer Andi Deris and drummer Uli Kusch to record 1994's Master of the Rings, a small but determined step in the right direction. Then tragedy struck, when former drummer Ingo Schwichtenberg -- a diagnosed manic depressive whose worsening condition had been partly to blame for his dismissal -- took his own life, throwing himself in front of a train near his native Hamburg.

Shaken to the core, but as driven as ever, Helloween dedicated 1996's The Time of the Oath to their fallen friend, and, coincidentally, the album turned out to be the strongest since their glory years, doing much to resurrect their career. The ensuing tour spawned the double-disc set High Live and confirmed the band's return to form as major players in the international metal arena (in Europe and Japan, they were arguably bigger than ever). Helloween continued to prosper with 1998's Better Than Raw, 1999's celebratory Metal Jukebox covers album, and 2000's The Dark Ride, and not even the departure of longtime members Grapow and Kusch could slow them for long. Now regarded as elder statesmen of Euro-metal, Helloween celebrated their achievements with 2002's Treasure Chest greatest-hits set. This was followed by 2003's Rabbit Don't Come Easy, which introduced new guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent replacement could be found in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more). ~ Eduardo Rivadavia, All Music Guide

01 Walls Of Jericho+02-Ride The Sky 6:45
02 Reptile 3:45
03 Guardians 4:20
04 Phantoms Of Death 6:35
05 Metal Invaders 4:11
06 Gorgar 3:56
07 Heavy Metal 4:01
08 How Many Tears 7:16

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Helloween - Walls Of Jericho CD2 (1985)

2010-05-06T07:19:00.000-07:00

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Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential heavy metal band to come out of Europe during the 1980s. By taking the hard riffing and minor key melodies handed down from metal masters like Judas Priest and Iron Maiden, then infusing them with the speed and energy introduced by the burgeoning thrash metal movement, Helloween crystallized the sonic ingredients of what is now known as power metal. Sadly, just as they were on the verge of breaking to a wider audience -- even flirting with American success -- the band's meteoric rise was rudely interrupted by internal strife and a string of bad business decisions. These blunders kept them from ever regaining their original momentum, but Helloween took their hard-knock lessons in stride and continued to prosper in the international metal arena on their own terms. More importantly, they remained the benchmark by which most every power metal band is still measured.

Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist before morphing into Helloween in 1982, they signed with Germany's own fledgling Noise International two years later. With Hansen also handling vocals and the bulk of songwriting duties, the quartet recorded its self-titled debut mini-album in early 1985. The full-length Walls of Jericho and the Judas maxi-single followed the year after, and the media was soon buzzing over the band's thrash-fueled interpretation of classic heavy metal. Countless fans across continental Europe were also fast converting to the band's cause, but Hansen remained dissatisfied with his singing ability, and felt Helloween needed a proper frontman in order to achieve their full potential. Enter teenage vocalist Michael Kiske, whose high-pitched delivery followed in the footsteps of previous heavy metal banshees like Rob Halford and Bruce Dickinson.

The new chemistry proved as explosive on-stage as it did in the studio, and with their classic lineup now intact, Helloween were ready for the big time. Returning to the studio in early 1987, the band emerged in May with Keeper of the Seven Keys, Pt. 1, a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., even making tentative inroads into America at the time. The band toured relentlessly for the rest of the year and into 1988 (including a lengthy opening stint with Iron Maiden), but despite this manic work schedule, they still found time to record the aptly titled Keeper of the Seven Keys, Pt. 2. Released in September 1988, the record was another blockbuster that crashed the U.K. Top 30, but its uneven songwriting (especially from longtime leader Kai Hansen) revealed the beginnings of a major band crisis.

Helloween's watershed performance at that year's Donington Monsters of Rock Festival proved to be their crowning glory, but for Hansen, his dream come true also represented the culmination of his ambitions for the group. Shockingly, the guitarist soon announced his departure from the band he had helmed to the top, claiming that Helloween were now too big a beast for him to control. (He would soon make a fresh start with a new outfit called Gamma Ray, which, to no one's surprise, sounded remarkably like Helloween.) But the remaining members of Helloween weren't about to let their shot at stardom slip away, and after drafting former Rampage guitarist Roland Grapow, they got right back to work with a sold-out tour of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, wound up igniting a legal dispute that would sideline Helloween for nearly two years. Several live albums (Live in the U.K. for Europe, Keepers Live for Japan, and I Want Out: Live for the U.S.) were released to distract the fans during this hiatus, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to boot.

Confident that they'd accumulated little, if any rust from their extended layoff, Helloween finally returned to action with the oddly titled Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could compensate for the scattered, unfocused songwriting that dominated the album. Furthermore, the band's quirky attempts at humor had grown so forced that fans weren't sure what to make of furious metal anthems with names like the title track and "Heavy Metal Hamsters." The record bombed in no uncertain terms, as did its even more schizophrenic follow-up, Chameleon. Recorded in 1993 by an obviously shell-shocked band, its poor showing only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to launch a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary also decided to cut their losses at this time, leaving the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in new singer Andi Deris and drummer Uli Kusch to record 1994's Master of the Rings, a small but determined step in the right direction. Then tragedy struck, when former drummer Ingo Schwichtenberg -- a diagnosed manic depressive whose worsening condition had been partly to blame for his dismissal -- took his own life, throwing himself in front of a train near his native Hamburg.

Shaken to the core, but as driven as ever, Helloween dedicated 1996's The Time of the Oath to their fallen friend, and, coincidentally, the album turned out to be the strongest since their glory years, doing much to resurrect their career. The ensuing tour spawned the double-disc set High Live and confirmed the band's return to form as major players in the international metal arena (in Europe and Japan, they were arguably bigger than ever). Helloween continued to prosper with 1998's Better Than Raw, 1999's celebratory Metal Jukebox covers album, and 2000's The Dark Ride, and not even the departure of longtime members Grapow and Kusch could slow them for long. Now regarded as elder statesmen of Euro-metal, Helloween celebrated their achievements with 2002's Treasure Chest greatest-hits set. This was followed by 2003's Rabbit Don't Come Easy, which introduced new guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent replacement could be found in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more). ~ Eduardo Rivadavia, All Music Guide

Murderer (Remix) 10.44 M
Ride The Sky (Remix) 15.4 M
Intro / Ride The Sky (Live) 16.64 M
Guardians (Live) 10.14 M
Oernst Of Life 10.88 M
Metal Invaders 10.43 M
Surprise Track 4.85 M

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Helloween - Better Than Raw [1998]

2010-05-06T07:06:00.000-07:00

Click to Preview

Alongside Switzerland's Celtic Frost and Sweden's Bathory, Germany's Helloween were possibly the most influential heavy metal band to come out of Europe during the 1980s. By taking the hard riffing and minor key melodies handed down from metal masters like Judas Priest and Iron Maiden, then infusing them with the speed and energy introduced by the burgeoning thrash metal movement, Helloween crystallized the sonic ingredients of what is now known as power metal. Sadly, just as they were on the verge of breaking to a wider audience -- even flirting with American success -- the band's meteoric rise was rudely interrupted by internal strife and a string of bad business decisions. These blunders kept them from ever regaining their original momentum, but Helloween took their hard-knock lessons in stride and continued to prosper in the international metal arena on their own terms. More importantly, they remained the benchmark by which most every power metal band is still measured.

Helloween were formed in Hamburg, Germany, by guitarists Kai Hansen and Michael Weikath, bassist Markus Grosskopf, and drummer Ingo Schwichtenberg. Originally named Second Hell then Iron Fist before morphing into Helloween in 1982, they signed with Germany's own fledgling Noise International two years later. With Hansen also handling vocals and the bulk of songwriting duties, the quartet recorded its self-titled debut mini-album in early 1985. The full-length Walls of Jericho and the Judas maxi-single followed the year after, and the media was soon buzzing over the band's thrash-fueled interpretation of classic heavy metal. Countless fans across continental Europe were also fast converting to the band's cause, but Hansen remained dissatisfied with his singing ability, and felt Helloween needed a proper frontman in order to achieve their full potential. Enter teenage vocalist Michael Kiske, whose high-pitched delivery followed in the footsteps of previous heavy metal banshees like Rob Halford and Bruce Dickinson.

The new chemistry proved as explosive on-stage as it did in the studio, and with their classic lineup now intact, Helloween were ready for the big time. Returning to the studio in early 1987, the band emerged in May with Keeper of the Seven Keys, Pt. 1, a landmark recording that remains arguably the single most influential power metal album to date. Its volatile combination of power and melody would inspire an entire generation of metal bands, and transformed Helloween into bona fide superstars all over Europe and the U.K., even making tentative inroads into America at the time. The band toured relentlessly for the rest of the year and into 1988 (including a lengthy opening stint with Iron Maiden), but despite this manic work schedule, they still found time to record the aptly titled Keeper of the Seven Keys, Pt. 2. Released in September 1988, the record was another blockbuster that crashed the U.K. Top 30, but its uneven songwriting (especially from longtime leader Kai Hansen) revealed the beginnings of a major band crisis.

Helloween's watershed performance at that year's Donington Monsters of Rock Festival proved to be their crowning glory, but for Hansen, his dream come true also represented the culmination of his ambitions for the group. Shockingly, the guitarist soon announced his departure from the band he had helmed to the top, claiming that Helloween were now too big a beast for him to control. (He would soon make a fresh start with a new outfit called Gamma Ray, which, to no one's surprise, sounded remarkably like Helloween.) But the remaining members of Helloween weren't about to let their shot at stardom slip away, and after drafting former Rampage guitarist Roland Grapow, they got right back to work with a sold-out tour of the U.K. Impressed by the band's momentum, giant EMI stepped in and offered to sign them away from the ever troubled Noise Records, but in doing so, wound up igniting a legal dispute that would sideline Helloween for nearly two years. Several live albums (Live in the U.K. for Europe, Keepers Live for Japan, and I Want Out: Live for the U.S.) were released to distract the fans during this hiatus, and the band obtained added support from the mighty Sanctuary management team (Iron Maiden, W.A.S.P., etc.) to boot.

Confident that they'd accumulated little, if any rust from their extended layoff, Helloween finally returned to action with the oddly titled Pink Bubbles Go Ape in 1991. But no amount of EMI or Sanctuary muscle could compensate for the scattered, unfocused songwriting that dominated the album. Furthermore, the band's quirky attempts at humor had grown so forced that fans weren't sure what to make of furious metal anthems with names like the title track and "Heavy Metal Hamsters." The record bombed in no uncertain terms, as did its even more schizophrenic follow-up, Chameleon. Recorded in 1993 by an obviously shell-shocked band, its poor showing only exacerbated growing internal dissension, which culminated with the ousting of both Kiske (off to launch a solo career) and Schwichtenberg due to drug-related physical and mental health issues. Fair-weather friends EMI and Sanctuary also decided to cut their losses at this time, leaving the shattered remnants of Helloween to fend for themselves. Attempting to regroup as fast as possible, Helloween brought in new singer Andi Deris and drummer Uli Kusch to record 1994's Master of the Rings, a small but determined step in the right direction. Then tragedy struck, when former drummer Ingo Schwichtenberg -- a diagnosed manic depressive whose worsening condition had been partly to blame for his dismissal -- took his own life, throwing himself in front of a train near his native Hamburg.

Shaken to the core, but as driven as ever, Helloween dedicated 1996's The Time of the Oath to their fallen friend, and, coincidentally, the album turned out to be the strongest since their glory years, doing much to resurrect their career. The ensuing tour spawned the double-disc set High Live and confirmed the band's return to form as major players in the international metal arena (in Europe and Japan, they were arguably bigger than ever). Helloween continued to prosper with 1998's Better Than Raw, 1999's celebratory Metal Jukebox covers album, and 2000's The Dark Ride, and not even the departure of longtime members Grapow and Kusch could slow them for long. Now regarded as elder statesmen of Euro-metal, Helloween celebrated their achievements with 2002's Treasure Chest greatest-hits set. This was followed by 2003's Rabbit Don't Come Easy, which introduced new guitarist Sascha Gerstner and featured Motörhead's Mikkey Dee guesting on drums until a permanent replacement could be found in Stefan Schwarzmann (ex-U.D.O., Running Wild and many more). ~ Eduardo Rivadavia, All Music Guide

01 Deliberately Limited Prelimina 1:45
02 Push 4:47
03 Falling Higher 4:48
04 Hey Lord! 4:07
05 Don't Spit On My Mind 4:25
06 Revelation 8:23
07 Time 5:44
08 I Can 4:39
09 A Handful Of Pain 4:49
10 Lavdate Donibvm 5:12
11 Back On The Grownd 4:38
12 Midnight Sun 6:20

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Izzy Stradlin - Ride On [1999]

2010-05-05T00:13:00.002-07:00

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The gals dug Axl and the musicians dug Slash, but the man in the back, guitarist Izzy Stradlin, was just as much an integral part of Guns N' Roses. Stradlin's exit from the group in 1991 also signaled the beginning of the end for G N' R, as they became more of the "Axl Rose Show" and less of a full-fledged band. Born in Lafayette, Indiana on April 8, 1962, Stradlin (whose real name is Jeff Isbell) developed a deep appreciation of the Rolling Stones and particularly Keith Richards. It wasn't long before Stradlin had picked up the guitar himself and began penning his own Stones- and punk-inflected songs, which led to his relocation in Los Angeles, in search of his rock & roll dreams. Playing in several glam metal bands on the Sunset Strip, Stradlin fell on hard times, but continued to persevere. An old friend from Indiana, Axl Rose, followed Stradlin out to L.A., which eventually resulted in the formation of Hollywood Rose. Through numerous lineup changes, Hollywood Rose eventually became Guns N' Roses, with Rose and Stradlin joined by lead guitarist Slash, bassist Duff "Rose" McKagan, and drummer Steven Adler. Although the group fit in with the Hollywood glam scene, Guns N' Roses was a different beast entirely -- their roots laid in gritty punk and blues-rock -- a reaction (at least initially) to all the glossy pop that was glutting the charts and airwaves at the time. It was also around this time that Stradlin adopted a gypsy look, and played almost-exclusively classic-looking guitars (undoubtedly based on his hero Richards). Guns eventually signed with Geffen Records, and straightaway, issued one of hard rock's all-time classic and best-selling debuts, 1987's Appetite for Destruction. But such incredible success caused problems for the young band, especially concerning drugs. With rumors swirling of an impending breakup, the group issued a spotty compilation of an early indie EP with newly recorded acoustic tracks, 1988's Lies, but it wasn't until 1991 that G N' R finally got around to issuing a proper follow-up to Appetite -- the overblown, double-disc set Use Your Illusion. With Axl Rose's ego out of control, as evidenced by tardiness and riots at shows caused by his antics, Stradlin had just about had all he could handle (he was also trying to lead a drug-free lifestyle, which proved hard while on the road) and abruptly quit the band mid-tour in late 1991. It didn't take Stradlin long to form another band, as he launched the Stones carbon copy Izzy Stradlin & the Ju Ju Hounds, which broke up after issuing a moderately successful self-titled debut album in 1992 (Stradlin briefly re-joined Guns for a smattering of gigs the same year before departing for good). In the wake of the Ju Ju Hounds breakup, Stradlin became quite reclusive, disappearing from sight for several years. The late '90s saw him reappear with fervor, however, as he issued a string of solo albums -- 1998's 117°, 1999's Ride On, 2001's River, and 2002's On Down the Road, and even managed to play a handful of solo shows in Japan. Stradlin has also signed on to help out in the songwriting department for the new G N' R-related offshoot group, the Project (featuring Guns alumni Slash, McKagan, and latter-day drummer Matt Sorum), but will not be a touring member of the group. ~ Greg Prato, All Music Guide

Tracklist:
01 Ride On 5:27
02 California 3:26
03 Spazed 3:40
04 Primitive Man 2:43
05 Trance Mission 3:39
06 Needles 4:06
07 The Groper 3:33
08 Here Comes The Rain 3:56
09 Hometown 4:10
10 Highway Zero 2:58

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Izzy Stradlin - Izzy Stradlin And The Ju Ju Hounds [1992]

2010-05-05T00:13:00.001-07:00

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The gals dug Axl and the musicians dug Slash, but the man in the back, guitarist Izzy Stradlin, was just as much an integral part of Guns N' Roses. Stradlin's exit from the group in 1991 also signaled the beginning of the end for G N' R, as they became more of the "Axl Rose Show" and less of a full-fledged band. Born in Lafayette, Indiana on April 8, 1962, Stradlin (whose real name is Jeff Isbell) developed a deep appreciation of the Rolling Stones and particularly Keith Richards. It wasn't long before Stradlin had picked up the guitar himself and began penning his own Stones- and punk-inflected songs, which led to his relocation in Los Angeles, in search of his rock & roll dreams. Playing in several glam metal bands on the Sunset Strip, Stradlin fell on hard times, but continued to persevere. An old friend from Indiana, Axl Rose, followed Stradlin out to L.A., which eventually resulted in the formation of Hollywood Rose. Through numerous lineup changes, Hollywood Rose eventually became Guns N' Roses, with Rose and Stradlin joined by lead guitarist Slash, bassist Duff "Rose" McKagan, and drummer Steven Adler. Although the group fit in with the Hollywood glam scene, Guns N' Roses was a different beast entirely -- their roots laid in gritty punk and blues-rock -- a reaction (at least initially) to all the glossy pop that was glutting the charts and airwaves at the time. It was also around this time that Stradlin adopted a gypsy look, and played almost-exclusively classic-looking guitars (undoubtedly based on his hero Richards). Guns eventually signed with Geffen Records, and straightaway, issued one of hard rock's all-time classic and best-selling debuts, 1987's Appetite for Destruction. But such incredible success caused problems for the young band, especially concerning drugs. With rumors swirling of an impending breakup, the group issued a spotty compilation of an early indie EP with newly recorded acoustic tracks, 1988's Lies, but it wasn't until 1991 that G N' R finally got around to issuing a proper follow-up to Appetite -- the overblown, double-disc set Use Your Illusion. With Axl Rose's ego out of control, as evidenced by tardiness and riots at shows caused by his antics, Stradlin had just about had all he could handle (he was also trying to lead a drug-free lifestyle, which proved hard while on the road) and abruptly quit the band mid-tour in late 1991. It didn't take Stradlin long to form another band, as he launched the Stones carbon copy Izzy Stradlin & the Ju Ju Hounds, which broke up after issuing a moderately successful self-titled debut album in 1992 (Stradlin briefly re-joined Guns for a smattering of gigs the same year before departing for good). In the wake of the Ju Ju Hounds breakup, Stradlin became quite reclusive, disappearing from sight for several years. The late '90s saw him reappear with fervor, however, as he issued a string of solo albums -- 1998's 117°, 1999's Ride On, 2001's River, and 2002's On Down the Road, and even managed to play a handful of solo shows in Japan. Stradlin has also signed on to help out in the songwriting department for the new G N' R-related offshoot group, the Project (featuring Guns alumni Slash, McKagan, and latter-day drummer Matt Sorum), but will not be a touring member of the group. ~ Greg Prato, All Music Guide

Tracklist:
01 Somebody Knockin' 3:27
02 Pressure Drop 2:42
03 Time Gone By 3:44
04 Shuffle It All 6:20
05 Bucket O' Trouble 2:10
06 Train Tracks 4:26
07 How Will It Go 3:50
08 Cuttin' The Rug 5:02
09 Take A Look At The Guy 4:43
10 Come On Now Inside 6:58

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Izzy Stradlin - 117 Degrees [1998]

2010-05-05T00:13:00.000-07:00

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The gals dug Axl and the musicians dug Slash, but the man in the back, guitarist Izzy Stradlin, was just as much an integral part of Guns N' Roses. Stradlin's exit from the group in 1991 also signaled the beginning of the end for G N' R, as they became more of the "Axl Rose Show" and less of a full-fledged band. Born in Lafayette, Indiana on April 8, 1962, Stradlin (whose real name is Jeff Isbell) developed a deep appreciation of the Rolling Stones and particularly Keith Richards. It wasn't long before Stradlin had picked up the guitar himself and began penning his own Stones- and punk-inflected songs, which led to his relocation in Los Angeles, in search of his rock & roll dreams. Playing in several glam metal bands on the Sunset Strip, Stradlin fell on hard times, but continued to persevere. An old friend from Indiana, Axl Rose, followed Stradlin out to L.A., which eventually resulted in the formation of Hollywood Rose. Through numerous lineup changes, Hollywood Rose eventually became Guns N' Roses, with Rose and Stradlin joined by lead guitarist Slash, bassist Duff "Rose" McKagan, and drummer Steven Adler. Although the group fit in with the Hollywood glam scene, Guns N' Roses was a different beast entirely -- their roots laid in gritty punk and blues-rock -- a reaction (at least initially) to all the glossy pop that was glutting the charts and airwaves at the time. It was also around this time that Stradlin adopted a gypsy look, and played almost-exclusively classic-looking guitars (undoubtedly based on his hero Richards). Guns eventually signed with Geffen Records, and straightaway, issued one of hard rock's all-time classic and best-selling debuts, 1987's Appetite for Destruction. But such incredible success caused problems for the young band, especially concerning drugs. With rumors swirling of an impending breakup, the group issued a spotty compilation of an early indie EP with newly recorded acoustic tracks, 1988's Lies, but it wasn't until 1991 that G N' R finally got around to issuing a proper follow-up to Appetite -- the overblown, double-disc set Use Your Illusion. With Axl Rose's ego out of control, as evidenced by tardiness and riots at shows caused by his antics, Stradlin had just about had all he could handle (he was also trying to lead a drug-free lifestyle, which proved hard while on the road) and abruptly quit the band mid-tour in late 1991. It didn't take Stradlin long to form another band, as he launched the Stones carbon copy Izzy Stradlin & the Ju Ju Hounds, which broke up after issuing a moderately successful self-titled debut album in 1992 (Stradlin briefly re-joined Guns for a smattering of gigs the same year before departing for good). In the wake of the Ju Ju Hounds breakup, Stradlin became quite reclusive, disappearing from sight for several years. The late '90s saw him reappear with fervor, however, as he issued a string of solo albums -- 1998's 117°, 1999's Ride On, 2001's River, and 2002's On Down the Road, and even managed to play a handful of solo shows in Japan. Stradlin has also signed on to help out in the songwriting department for the new G N' R-related offshoot group, the Project (featuring Guns alumni Slash, McKagan, and latter-day drummer Matt Sorum), but will not be a touring member of the group. ~ Greg Prato, All Music Guide

Tracklist:
01 Ain't It A Bitch 3:47
02 Gotta Say 3:15
03 Memphis 2:56
04 Old Hat 3:16
05 Bleedin 3:14
06 Parasite 1:36
07 Good Enough 2:47
08 117 3:10
09 Here Before You 3:47
10 Up Jumped The Devil 2:53
11 Grunt 4:27
12 Freight Train 3:25
13 Methanol 3:27
14 Surf Roach 2:24

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Izzy Stradlin - On Down The Road [2002]

2010-05-05T00:12:00.000-07:00

Click to Preview

The gals dug Axl and the musicians dug Slash, but the man in the back, guitarist Izzy Stradlin, was just as much an integral part of Guns N' Roses. Stradlin's exit from the group in 1991 also signaled the beginning of the end for G N' R, as they became more of the "Axl Rose Show" and less of a full-fledged band. Born in Lafayette, Indiana on April 8, 1962, Stradlin (whose real name is Jeff Isbell) developed a deep appreciation of the Rolling Stones and particularly Keith Richards. It wasn't long before Stradlin had picked up the guitar himself and began penning his own Stones- and punk-inflected songs, which led to his relocation in Los Angeles, in search of his rock & roll dreams. Playing in several glam metal bands on the Sunset Strip, Stradlin fell on hard times, but continued to persevere. An old friend from Indiana, Axl Rose, followed Stradlin out to L.A., which eventually resulted in the formation of Hollywood Rose. Through numerous lineup changes, Hollywood Rose eventually became Guns N' Roses, with Rose and Stradlin joined by lead guitarist Slash, bassist Duff "Rose" McKagan, and drummer Steven Adler. Although the group fit in with the Hollywood glam scene, Guns N' Roses was a different beast entirely -- their roots laid in gritty punk and blues-rock -- a reaction (at least initially) to all the glossy pop that was glutting the charts and airwaves at the time. It was also around this time that Stradlin adopted a gypsy look, and played almost-exclusively classic-looking guitars (undoubtedly based on his hero Richards). Guns eventually signed with Geffen Records, and straightaway, issued one of hard rock's all-time classic and best-selling debuts, 1987's Appetite for Destruction. But such incredible success caused problems for the young band, especially concerning drugs. With rumors swirling of an impending breakup, the group issued a spotty compilation of an early indie EP with newly recorded acoustic tracks, 1988's Lies, but it wasn't until 1991 that G N' R finally got around to issuing a proper follow-up to Appetite -- the overblown, double-disc set Use Your Illusion. With Axl Rose's ego out of control, as evidenced by tardiness and riots at shows caused by his antics, Stradlin had just about had all he could handle (he was also trying to lead a drug-free lifestyle, which proved hard while on the road) and abruptly quit the band mid-tour in late 1991. It didn't take Stradlin long to form another band, as he launched the Stones carbon copy Izzy Stradlin & the Ju Ju Hounds, which broke up after issuing a moderately successful self-titled debut album in 1992 (Stradlin briefly re-joined Guns for a smattering of gigs the same year before departing for good). In the wake of the Ju Ju Hounds breakup, Stradlin became quite reclusive, disappearing from sight for several years. The late '90s saw him reappear with fervor, however, as he issued a string of solo albums -- 1998's 117°, 1999's Ride On, 2001's River, and 2002's On Down the Road, and even managed to play a handful of solo shows in Japan. Stradlin has also signed on to help out in the songwriting department for the new G N' R-related offshoot group, the Project (featuring Guns alumni Slash, McKagan, and latter-day drummer Matt Sorum), but will not be a touring member of the group. ~ Greg Prato, All Music Guide

Tracklist:
01 You Bet'Cha 2:43
02 Gone Dead Train 3:11
03 Monkey'S 3:58
04 On Down The Road 3:35
05 Sweet Caress 3:36
06 Coke'N 3:35
07 Got Some News 3:51
08 Way To Go 3:51
09 Please Go Home 3:25
10 Lot To Learn 3:38

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Chris Cornell - Part Of Me [2009]

2010-05-04T06:28:00.000-07:00

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Chris Cornell's powerful voice is one of the most distinctive in alt-rock, first heard as the frontman for seminal grunge band Soundgarden, and later as he took the helm of Audioslave.

He was a founder member of the hugely successful Soundgarden in 1984, and stayed with them as they released several multi-million selling albums, until their split in 1997.

In 1991, while still with Soundgarden, he organised the Temple of the Dog project who released Temple of the Dog in tribute to Andrew Wood - the late singer of Mother Love Bone. Temple were an early incarnation of the mega-successful grunge rockers Pearl Jam who rose from the ashes of Mother Love Bone. He also guested with Alice Cooper on the album The Last Temptation.

After Soundgarden split Cornell recorded a solo album Euphoria Morning (1999), and though it was not vastly successful it earned him a 'Best Male Rock Vocal Perfomance' nomination at the Grammys of 2000.

While writing his second solo album, Audioslave were formed and he was asked to join them to provide vocals. The recording of the Audioslave album was hampered by Cornell's drug problems, for which he later received treatment. Since that time he has remained dry, to the betterment of his voice.

After the release of three Audioslave albums, Cornell announced his largely amicable departure from the band. He had, during the preceding year, written and performed the opening titles for the James Bond film, Casino Royale, and after the break from Audioslave he returned to his solo career, releasing his second solo effort Carry On (2007).

01 You Know My Name (Main Version) 4:02
02 You Know My Name (Pop Mix) 4:00

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Chris Cornell - You Know My Name [2006]

2010-05-04T05:52:00.000-07:00

Chris Cornell - Euphoria Morning [1999]

2010-05-04T05:41:00.000-07:00

Click to Preview

Chris Cornell's powerful voice is one of the most distinctive in alt-rock, first heard as the frontman for seminal grunge band Soundgarden, and later as he took the helm of Audioslave.

He was a founder member of the hugely successful Soundgarden in 1984, and stayed with them as they released several multi-million selling albums, until their split in 1997.

In 1991, while still with Soundgarden, he organised the Temple of the Dog project who released Temple of the Dog in tribute to Andrew Wood - the late singer of Mother Love Bone. Temple were an early incarnation of the mega-successful grunge rockers Pearl Jam who rose from the ashes of Mother Love Bone. He also guested with Alice Cooper on the album The Last Temptation.

After Soundgarden split Cornell recorded a solo album Euphoria Morning (1999), and though it was not vastly successful it earned him a 'Best Male Rock Vocal Perfomance' nomination at the Grammys of 2000.

While writing his second solo album, Audioslave were formed and he was asked to join them to provide vocals. The recording of the Audioslave album was hampered by Cornell's drug problems, for which he later received treatment. Since that time he has remained dry, to the betterment of his voice.

After the release of three Audioslave albums, Cornell announced his largely amicable departure from the band. He had, during the preceding year, written and performed the opening titles for the James Bond film, Casino Royale, and after the break from Audioslave he returned to his solo career, releasing his second solo effort Carry On (2007).

01 Can'T Change Me 3:23
02 Flutter Girl 4:25
03 Preaching The End Of The World 4:41
04 Follow My Way 5:10
05 When I'M Down 4:20
06 Mission 4:05
07 Wave Goodbye 3:43
08 Moonchild 4:02
09 Sweet Euphoria 3:08
10 Dissapearing One 3:48
11 Pillow Of Your Bones 4:29
12 Steel Rain 5:43
13 Can'T Change Me (French Vers.. 3:47

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Chris Cornell - Scream [2009]

2010-05-04T05:40:00.002-07:00

Click to Preview

Chris Cornell's powerful voice is one of the most distinctive in alt-rock, first heard as the frontman for seminal grunge band Soundgarden, and later as he took the helm of Audioslave.

He was a founder member of the hugely successful Soundgarden in 1984, and stayed with them as they released several multi-million selling albums, until their split in 1997.

In 1991, while still with Soundgarden, he organised the Temple of the Dog project who released Temple of the Dog in tribute to Andrew Wood - the late singer of Mother Love Bone. Temple were an early incarnation of the mega-successful grunge rockers Pearl Jam who rose from the ashes of Mother Love Bone. He also guested with Alice Cooper on the album The Last Temptation.

After Soundgarden split Cornell recorded a solo album Euphoria Morning (1999), and though it was not vastly successful it earned him a 'Best Male Rock Vocal Perfomance' nomination at the Grammys of 2000.

While writing his second solo album, Audioslave were formed and he was asked to join them to provide vocals. The recording of the Audioslave album was hampered by Cornell's drug problems, for which he later received treatment. Since that time he has remained dry, to the betterment of his voice.

After the release of three Audioslave albums, Cornell announced his largely amicable departure from the band. He had, during the preceding year, written and performed the opening titles for the James Bond film, Casino Royale, and after the break from Audioslave he returned to his solo career, releasing his second solo effort Carry On (2007).

01 Part Of Me 5:14
02 Time 4:39
03 Sweet Revenge 4:10
04 Get Up 3:35
05 Ground Zero 3:09
06 Never Far Away 5:06
07 Take Me Alive 4:36
08 Long Gone 5:15
09 Scream 6:14
10 Enemy 4:35
11 Other Side Of Town 4:48
12 Climbing The Walls 4:50
13 Watch Out 8:07

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Celine Dion - The Colour Of My Love [1993]

2010-05-04T04:23:00.001-07:00

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Rising from humble beginnings in the small town of Charlemagne, Quebec, Celine Dion became one of the biggest international stars in pop music history, selling more than 100 million albums worldwide. The youngest in Adhemar and Therese Dion's family of 14 children, Dion grew up in an environment full of the inherent chaos and material austerity that comes with such a large working-class family. However, the Dion household was also one filled with love for children and music, and her parents and siblings were important figures in the early development of her singing career. Celine began singing in her parents' piano bar when she was just five years old. By the age of 12 she had written one of her first songs, "Ce N'etait Qu'un Rêve" (It Was Only a Dream), which she recorded with the help of her mother and brother and shipped off to a manager named René Angélil, whose name they found on the back of an album by Ginette Reno, a popular Francophone singer. After weeks with no response from Angélil, Celine's brother Michel phoned him and said, "I know you haven't listened to the tape, because if you had, you would've called right away." Angélil dug up the tape and called the family back the same day to set up a meeting with Celine. When the 12-year-old performed in his office in Montreal, Angélil cried and set in motion the process of making her a québécois, and later international, star. He mortgaged his house to pay for her first two albums, producing a local number one single. In 1983 she became the first Canadian to have a gold record in France and she won a gold medal at the Yamaha songwriting competition in Japan. Her worldwide reputation was in the making, but success in the United States was not yet forthcoming.

When she was 18, Dion saw Michael Jackson performing on television and told Angélil that she wanted to be a star like him. Angélil's response was to order her to take 18 months off to remake her image. Dion underwent a physical transformation, cutting her hair, plucking her eyebrows, and having her teeth capped to cover up the incisors that had caused a Quebec humor magazine to dub her "Canine Dion." She was also sent off to English school to polish the language that would help her to break into the American market. When she emerged from this process, she had made an amazing transformation from teen star to adult chanteuse. The payoff came almost immediately. Her 1990 breakthrough album, Unison, was released in the U.S. by Epic Records and produced several hit songs, but it was her duet with Peabo Bryson on the theme song of Disney's Beauty and the Beast that was her true breakthrough.

"Beauty and the Beast" reached number one on the pop charts and won both a Grammy and Academy award. The song was also featured on her second English album, 1992's Celine Dion, which launched another Top Ten American hit with "If You Asked Me To," while spawning two additional Top 40 singles, "Nothing Broken But My Heart" and "Love Can Move Mountains." During this time there were also important developments in Dion's personal life. In 1988 Angélil crossed the line from manager to romantic partner when he kissed Dion one night after a show in Dublin. Fearful that fans would find the 26-year difference in their ages unsettling, the couple kept their relationship a secret for several years. But their 1994 wedding in Montreal's Notre Dame Basilica was celebrated not only by the 250 invited guests, but by millions of fans worldwide.

One of the hardest-working stars in show business, Dion continued to record and perform on a schedule that would kill most people. She recorded six albums between 1992 and 1996, when her album Falling Into You took her to a new level of stardom. The recording was a runaway hit, winning Grammys for both Album of the Year and Best Pop Album. 1996 also brought her another honor; she was asked to perform at the opening ceremonies of the Atlanta Olympics. Dion's longest tenure on the pop charts would come the following year, however, when she recorded "My Heart Will Go On," the theme song for James Cameron's blockbuster movie Titanic. "My Heart Will Go On" became omnipresent on the radio as Titanic fever swept the world, and when it was featured on her album Let's Talk About Love, it helped propel that recording to the top of the charts. By then, Dion had the power to gather a supporting cast of stars, and the album contained an amazing collection of artists, including Barbra Streisand, Luciano Pavarotti, and the Bee Gees. The album would win a host of awards and bring Dion a whole new world of fans.

Her appearance on VH1's Divas Live special with Aretha Franklin, Gloria Estefan, Mariah Carey, and Shania Twain proved popular as well and helped solidify Dion's position among not only current female pop singers but historical greats like Franklin. The continuing popularity of her recordings and live performances made her 1999 sabbatical seem like a tragedy to her fans, but Dion needed a break after more than a decade and a half of breakneck pace. In 1999, her husband Angélil was diagnosed with throat cancer. While the disease responded well to treatment and went into remission, the illness was a wake-up call for Dion, who decided to put a new emphasis on her family life and announced a temporary retirement so that she could spend more time at home and have a child. After undergoing fertility treatments, she gave birth to a son in January 2001. The Collector's Series, Vol. 1 was released during Dion's hiatus; it featured many of her best-loved songs, as well as a Spanish-language version of "All by Myself."

Dion returned to the public eye in a big way in March 2002 with A New Day Has Come. The album debuted at number one in over 17 countries, and was accompanied by a full-scale media blitz. But Dion's greatest challenge was yet to come. Despite millions of albums sold, the adoration of fans worldwide, and the validation of her peers, Dion's success was still hampered by image problems that had dogged her since the days of "Canine Dion." While many Americans adored her, just as many snickered at her québécois heritage and the relative the unorthodoxy of her marriage. There was also the issue of her relevancy to lucrative audiences existing outside of her pop vocal constituency. To combat these issues, Dion and her management made a series of bold moves that attempted to solidify her career and ensure its continuity as she entered her mid-thirties.

In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza at Caesers Palace, Las Vegas, called A New Day. The production would take place in a custom-built, 4,000-seat theater and would feature Dion as the centerpiece of a multimedia program designed and orchestrated by Franco Dragone, the Belgian theater impresario behind the modern circus phenomenon Cirque du Soleil. The project united Dion, her label Sony Music, Dragone's production company Creations du Dragon, Caesars parent Park Place Entertainment, and promoter Concerts West in a landmark multi-million-dollar alliance that hinged on Dion's ability to put fans in seats five nights a week for three years. In conjunction with the rollout of A New Day was an endorsement deal with German automaker DaimlerChryslter AG worth additional millions. The campaign placed Dion in a series of stylish black-and-white advertisements promoting the stylish allure of Chrysler's line of upscale automobiles.

The performer also recorded a brand-new song to accompany the spots. Debuting in early 2003, the campaign dovetailed into the March release of One Heart, Dion's first album since 2001's A New Day Has Come, which in turn heralded the opening of A New Day on March 25, 2003. That live Las Vegas show was documented on the summer 2004 release New Day: Live in Las Vegas, which was followed a few months later by Miracle, a collection of family songs designed as a tandem book/CD project between Dion and photographer Anne Geddes. The two-CD compilation On Ne Change Pas appeared in 2005, featuring her most popular French-language songs and a new collaboration with the operatic pop vocal foursome Il Divo, "I Believe in You (Je Crois en Toi)." A new French-language album, D'Elles, arrived in May 2007 and debuted at the top of the Canadian album chart. In November of that same year, Dion released the English-language Taking Chances and announced a tour of South Africa and Europe scheduled for 2008. ~ Stacia Proefrock, All Music Guide

01 The Power Of Love 5:43
02 Misled 3:31
03 Think Twice 4:48
04 Only One Road 4:49
05 Everybody's Talkin' My Baby Down 4:02
06 Next Plane Out 4:59
07 Real Emotion 4:26
08 When I Fall In Love - With Clive Griffin (featured In Sleepless In Seattle) 4:21
09 Love Doesn't Ask Why 4:09
10 Refuse To Dance 4:21
11 I Remember L A 4:12
12 No Living Without Loving You 4:23
13 Lovin' Proof 4:12
14 Just Walk Away 4:58
15 The Colour Of My Love 3:25

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Celine Dion - Falling into You [1996]

2010-05-04T04:03:00.000-07:00

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Rising from humble beginnings in the small town of Charlemagne, Quebec, Celine Dion became one of the biggest international stars in pop music history, selling more than 100 million albums worldwide. The youngest in Adhemar and Therese Dion's family of 14 children, Dion grew up in an environment full of the inherent chaos and material austerity that comes with such a large working-class family. However, the Dion household was also one filled with love for children and music, and her parents and siblings were important figures in the early development of her singing career. Celine began singing in her parents' piano bar when she was just five years old. By the age of 12 she had written one of her first songs, "Ce N'etait Qu'un Rêve" (It Was Only a Dream), which she recorded with the help of her mother and brother and shipped off to a manager named René Angélil, whose name they found on the back of an album by Ginette Reno, a popular Francophone singer. After weeks with no response from Angélil, Celine's brother Michel phoned him and said, "I know you haven't listened to the tape, because if you had, you would've called right away." Angélil dug up the tape and called the family back the same day to set up a meeting with Celine. When the 12-year-old performed in his office in Montreal, Angélil cried and set in motion the process of making her a québécois, and later international, star. He mortgaged his house to pay for her first two albums, producing a local number one single. In 1983 she became the first Canadian to have a gold record in France and she won a gold medal at the Yamaha songwriting competition in Japan. Her worldwide reputation was in the making, but success in the United States was not yet forthcoming.

When she was 18, Dion saw Michael Jackson performing on television and told Angélil that she wanted to be a star like him. Angélil's response was to order her to take 18 months off to remake her image. Dion underwent a physical transformation, cutting her hair, plucking her eyebrows, and having her teeth capped to cover up the incisors that had caused a Quebec humor magazine to dub her "Canine Dion." She was also sent off to English school to polish the language that would help her to break into the American market. When she emerged from this process, she had made an amazing transformation from teen star to adult chanteuse. The payoff came almost immediately. Her 1990 breakthrough album, Unison, was released in the U.S. by Epic Records and produced several hit songs, but it was her duet with Peabo Bryson on the theme song of Disney's Beauty and the Beast that was her true breakthrough.

"Beauty and the Beast" reached number one on the pop charts and won both a Grammy and Academy award. The song was also featured on her second English album, 1992's Celine Dion, which launched another Top Ten American hit with "If You Asked Me To," while spawning two additional Top 40 singles, "Nothing Broken But My Heart" and "Love Can Move Mountains." During this time there were also important developments in Dion's personal life. In 1988 Angélil crossed the line from manager to romantic partner when he kissed Dion one night after a show in Dublin. Fearful that fans would find the 26-year difference in their ages unsettling, the couple kept their relationship a secret for several years. But their 1994 wedding in Montreal's Notre Dame Basilica was celebrated not only by the 250 invited guests, but by millions of fans worldwide.

One of the hardest-working stars in show business, Dion continued to record and perform on a schedule that would kill most people. She recorded six albums between 1992 and 1996, when her album Falling Into You took her to a new level of stardom. The recording was a runaway hit, winning Grammys for both Album of the Year and Best Pop Album. 1996 also brought her another honor; she was asked to perform at the opening ceremonies of the Atlanta Olympics. Dion's longest tenure on the pop charts would come the following year, however, when she recorded "My Heart Will Go On," the theme song for James Cameron's blockbuster movie Titanic. "My Heart Will Go On" became omnipresent on the radio as Titanic fever swept the world, and when it was featured on her album Let's Talk About Love, it helped propel that recording to the top of the charts. By then, Dion had the power to gather a supporting cast of stars, and the album contained an amazing collection of artists, including Barbra Streisand, Luciano Pavarotti, and the Bee Gees. The album would win a host of awards and bring Dion a whole new world of fans.

Her appearance on VH1's Divas Live special with Aretha Franklin, Gloria Estefan, Mariah Carey, and Shania Twain proved popular as well and helped solidify Dion's position among not only current female pop singers but historical greats like Franklin. The continuing popularity of her recordings and live performances made her 1999 sabbatical seem like a tragedy to her fans, but Dion needed a break after more than a decade and a half of breakneck pace. In 1999, her husband Angélil was diagnosed with throat cancer. While the disease responded well to treatment and went into remission, the illness was a wake-up call for Dion, who decided to put a new emphasis on her family life and announced a temporary retirement so that she could spend more time at home and have a child. After undergoing fertility treatments, she gave birth to a son in January 2001. The Collector's Series, Vol. 1 was released during Dion's hiatus; it featured many of her best-loved songs, as well as a Spanish-language version of "All by Myself."

Dion returned to the public eye in a big way in March 2002 with A New Day Has Come. The album debuted at number one in over 17 countries, and was accompanied by a full-scale media blitz. But Dion's greatest challenge was yet to come. Despite millions of albums sold, the adoration of fans worldwide, and the validation of her peers, Dion's success was still hampered by image problems that had dogged her since the days of "Canine Dion." While many Americans adored her, just as many snickered at her québécois heritage and the relative the unorthodoxy of her marriage. There was also the issue of her relevancy to lucrative audiences existing outside of her pop vocal constituency. To combat these issues, Dion and her management made a series of bold moves that attempted to solidify her career and ensure its continuity as she entered her mid-thirties.

In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza at Caesers Palace, Las Vegas, called A New Day. The production would take place in a custom-built, 4,000-seat theater and would feature Dion as the centerpiece of a multimedia program designed and orchestrated by Franco Dragone, the Belgian theater impresario behind the modern circus phenomenon Cirque du Soleil. The project united Dion, her label Sony Music, Dragone's production company Creations du Dragon, Caesars parent Park Place Entertainment, and promoter Concerts West in a landmark multi-million-dollar alliance that hinged on Dion's ability to put fans in seats five nights a week for three years. In conjunction with the rollout of A New Day was an endorsement deal with German automaker DaimlerChryslter AG worth additional millions. The campaign placed Dion in a series of stylish black-and-white advertisements promoting the stylish allure of Chrysler's line of upscale automobiles.

The performer also recorded a brand-new song to accompany the spots. Debuting in early 2003, the campaign dovetailed into the March release of One Heart, Dion's first album since 2001's A New Day Has Come, which in turn heralded the opening of A New Day on March 25, 2003. That live Las Vegas show was documented on the summer 2004 release New Day: Live in Las Vegas, which was followed a few months later by Miracle, a collection of family songs designed as a tandem book/CD project between Dion and photographer Anne Geddes. The two-CD compilation On Ne Change Pas appeared in 2005, featuring her most popular French-language songs and a new collaboration with the operatic pop vocal foursome Il Divo, "I Believe in You (Je Crois en Toi)." A new French-language album, D'Elles, arrived in May 2007 and debuted at the top of the Canadian album chart. In November of that same year, Dion released the English-language Taking Chances and announced a tour of South Africa and Europe scheduled for 2008. ~ Stacia Proefrock, All Music Guide

01 I'm Alive 3:29
02 Right In Front Of You 4:12
03 Have You Ever Been In Love 4:06
04 Rain, Tax (It's Inevitable) 3:24
05 A New Day Has Come (Radio Remix) 4:17
06 Ten Days 3:36
07 Goodbye's (The Saddest Word) 5:17
08 Prayer 5:32
09 I Surrender 4:45
10 At Last 4:16
11 Super Love 4:15
12 Sorry For Love 4:09
13 Aun Existe Amor 3:51
14 The Greatest Reward 3:27
15 When The Wrong One Loves You Right 3:46
16 New Day Has Come 5:39
17 Nature Boy 3:45

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Celine Dion - A New Day Has Come (Australian Bonus Track) [2002]

2010-05-04T03:50:00.000-07:00

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Rising from humble beginnings in the small town of Charlemagne, Quebec, Celine Dion became one of the biggest international stars in pop music history, selling more than 100 million albums worldwide. The youngest in Adhemar and Therese Dion's family of 14 children, Dion grew up in an environment full of the inherent chaos and material austerity that comes with such a large working-class family. However, the Dion household was also one filled with love for children and music, and her parents and siblings were important figures in the early development of her singing career. Celine began singing in her parents' piano bar when she was just five years old. By the age of 12 she had written one of her first songs, "Ce N'etait Qu'un Rêve" (It Was Only a Dream), which she recorded with the help of her mother and brother and shipped off to a manager named René Angélil, whose name they found on the back of an album by Ginette Reno, a popular Francophone singer. After weeks with no response from Angélil, Celine's brother Michel phoned him and said, "I know you haven't listened to the tape, because if you had, you would've called right away." Angélil dug up the tape and called the family back the same day to set up a meeting with Celine. When the 12-year-old performed in his office in Montreal, Angélil cried and set in motion the process of making her a québécois, and later international, star. He mortgaged his house to pay for her first two albums, producing a local number one single. In 1983 she became the first Canadian to have a gold record in France and she won a gold medal at the Yamaha songwriting competition in Japan. Her worldwide reputation was in the making, but success in the United States was not yet forthcoming.

When she was 18, Dion saw Michael Jackson performing on television and told Angélil that she wanted to be a star like him. Angélil's response was to order her to take 18 months off to remake her image. Dion underwent a physical transformation, cutting her hair, plucking her eyebrows, and having her teeth capped to cover up the incisors that had caused a Quebec humor magazine to dub her "Canine Dion." She was also sent off to English school to polish the language that would help her to break into the American market. When she emerged from this process, she had made an amazing transformation from teen star to adult chanteuse. The payoff came almost immediately. Her 1990 breakthrough album, Unison, was released in the U.S. by Epic Records and produced several hit songs, but it was her duet with Peabo Bryson on the theme song of Disney's Beauty and the Beast that was her true breakthrough.

"Beauty and the Beast" reached number one on the pop charts and won both a Grammy and Academy award. The song was also featured on her second English album, 1992's Celine Dion, which launched another Top Ten American hit with "If You Asked Me To," while spawning two additional Top 40 singles, "Nothing Broken But My Heart" and "Love Can Move Mountains." During this time there were also important developments in Dion's personal life. In 1988 Angélil crossed the line from manager to romantic partner when he kissed Dion one night after a show in Dublin. Fearful that fans would find the 26-year difference in their ages unsettling, the couple kept their relationship a secret for several years. But their 1994 wedding in Montreal's Notre Dame Basilica was celebrated not only by the 250 invited guests, but by millions of fans worldwide.

One of the hardest-working stars in show business, Dion continued to record and perform on a schedule that would kill most people. She recorded six albums between 1992 and 1996, when her album Falling Into You took her to a new level of stardom. The recording was a runaway hit, winning Grammys for both Album of the Year and Best Pop Album. 1996 also brought her another honor; she was asked to perform at the opening ceremonies of the Atlanta Olympics. Dion's longest tenure on the pop charts would come the following year, however, when she recorded "My Heart Will Go On," the theme song for James Cameron's blockbuster movie Titanic. "My Heart Will Go On" became omnipresent on the radio as Titanic fever swept the world, and when it was featured on her album Let's Talk About Love, it helped propel that recording to the top of the charts. By then, Dion had the power to gather a supporting cast of stars, and the album contained an amazing collection of artists, including Barbra Streisand, Luciano Pavarotti, and the Bee Gees. The album would win a host of awards and bring Dion a whole new world of fans.

Her appearance on VH1's Divas Live special with Aretha Franklin, Gloria Estefan, Mariah Carey, and Shania Twain proved popular as well and helped solidify Dion's position among not only current female pop singers but historical greats like Franklin. The continuing popularity of her recordings and live performances made her 1999 sabbatical seem like a tragedy to her fans, but Dion needed a break after more than a decade and a half of breakneck pace. In 1999, her husband Angélil was diagnosed with throat cancer. While the disease responded well to treatment and went into remission, the illness was a wake-up call for Dion, who decided to put a new emphasis on her family life and announced a temporary retirement so that she could spend more time at home and have a child. After undergoing fertility treatments, she gave birth to a son in January 2001. The Collector's Series, Vol. 1 was released during Dion's hiatus; it featured many of her best-loved songs, as well as a Spanish-language version of "All by Myself."

Dion returned to the public eye in a big way in March 2002 with A New Day Has Come. The album debuted at number one in over 17 countries, and was accompanied by a full-scale media blitz. But Dion's greatest challenge was yet to come. Despite millions of albums sold, the adoration of fans worldwide, and the validation of her peers, Dion's success was still hampered by image problems that had dogged her since the days of "Canine Dion." While many Americans adored her, just as many snickered at her québécois heritage and the relative the unorthodoxy of her marriage. There was also the issue of her relevancy to lucrative audiences existing outside of her pop vocal constituency. To combat these issues, Dion and her management made a series of bold moves that attempted to solidify her career and ensure its continuity as she entered her mid-thirties.

In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza at Caesers Palace, Las Vegas, called A New Day. The production would take place in a custom-built, 4,000-seat theater and would feature Dion as the centerpiece of a multimedia program designed and orchestrated by Franco Dragone, the Belgian theater impresario behind the modern circus phenomenon Cirque du Soleil. The project united Dion, her label Sony Music, Dragone's production company Creations du Dragon, Caesars parent Park Place Entertainment, and promoter Concerts West in a landmark multi-million-dollar alliance that hinged on Dion's ability to put fans in seats five nights a week for three years. In conjunction with the rollout of A New Day was an endorsement deal with German automaker DaimlerChryslter AG worth additional millions. The campaign placed Dion in a series of stylish black-and-white advertisements promoting the stylish allure of Chrysler's line of upscale automobiles.

The performer also recorded a brand-new song to accompany the spots. Debuting in early 2003, the campaign dovetailed into the March release of One Heart, Dion's first album since 2001's A New Day Has Come, which in turn heralded the opening of A New Day on March 25, 2003. That live Las Vegas show was documented on the summer 2004 release New Day: Live in Las Vegas, which was followed a few months later by Miracle, a collection of family songs designed as a tandem book/CD project between Dion and photographer Anne Geddes. The two-CD compilation On Ne Change Pas appeared in 2005, featuring her most popular French-language songs and a new collaboration with the operatic pop vocal foursome Il Divo, "I Believe in You (Je Crois en Toi)." A new French-language album, D'Elles, arrived in May 2007 and debuted at the top of the Canadian album chart. In November of that same year, Dion released the English-language Taking Chances and announced a tour of South Africa and Europe scheduled for 2008. ~ Stacia Proefrock, All Music Guide

01 I'm Alive 3:29
02 Right In Front Of You 4:12
03 Have You Ever Been In Love 4:06
04 Rain, Tax (It's Inevitable) 3:24
05 A New Day Has Come (Radio Remix) 4:17
06 Ten Days 3:36
07 Goodbye's (The Saddest Word) 5:17
08 Prayer 5:32
09 I Surrender 4:45
10 At Last 4:16
11 Super Love 4:15
12 Sorry For Love 4:09
13 Aun Existe Amor 3:51
14 The Greatest Reward 3:27
15 When The Wrong One Loves You Right 3:46
16 New Day Has Come 5:39
17 Nature Boy 3:45

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Celine Dion - Let's Talk About Love [1997]

2010-05-04T03:38:00.000-07:00

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Rising from humble beginnings in the small town of Charlemagne, Quebec, Celine Dion became one of the biggest international stars in pop music history, selling more than 100 million albums worldwide. The youngest in Adhemar and Therese Dion's family of 14 children, Dion grew up in an environment full of the inherent chaos and material austerity that comes with such a large working-class family. However, the Dion household was also one filled with love for children and music, and her parents and siblings were important figures in the early development of her singing career. Celine began singing in her parents' piano bar when she was just five years old. By the age of 12 she had written one of her first songs, "Ce N'etait Qu'un Rêve" (It Was Only a Dream), which she recorded with the help of her mother and brother and shipped off to a manager named René Angélil, whose name they found on the back of an album by Ginette Reno, a popular Francophone singer. After weeks with no response from Angélil, Celine's brother Michel phoned him and said, "I know you haven't listened to the tape, because if you had, you would've called right away." Angélil dug up the tape and called the family back the same day to set up a meeting with Celine. When the 12-year-old performed in his office in Montreal, Angélil cried and set in motion the process of making her a québécois, and later international, star. He mortgaged his house to pay for her first two albums, producing a local number one single. In 1983 she became the first Canadian to have a gold record in France and she won a gold medal at the Yamaha songwriting competition in Japan. Her worldwide reputation was in the making, but success in the United States was not yet forthcoming.

When she was 18, Dion saw Michael Jackson performing on television and told Angélil that she wanted to be a star like him. Angélil's response was to order her to take 18 months off to remake her image. Dion underwent a physical transformation, cutting her hair, plucking her eyebrows, and having her teeth capped to cover up the incisors that had caused a Quebec humor magazine to dub her "Canine Dion." She was also sent off to English school to polish the language that would help her to break into the American market. When she emerged from this process, she had made an amazing transformation from teen star to adult chanteuse. The payoff came almost immediately. Her 1990 breakthrough album, Unison, was released in the U.S. by Epic Records and produced several hit songs, but it was her duet with Peabo Bryson on the theme song of Disney's Beauty and the Beast that was her true breakthrough.

"Beauty and the Beast" reached number one on the pop charts and won both a Grammy and Academy award. The song was also featured on her second English album, 1992's Celine Dion, which launched another Top Ten American hit with "If You Asked Me To," while spawning two additional Top 40 singles, "Nothing Broken But My Heart" and "Love Can Move Mountains." During this time there were also important developments in Dion's personal life. In 1988 Angélil crossed the line from manager to romantic partner when he kissed Dion one night after a show in Dublin. Fearful that fans would find the 26-year difference in their ages unsettling, the couple kept their relationship a secret for several years. But their 1994 wedding in Montreal's Notre Dame Basilica was celebrated not only by the 250 invited guests, but by millions of fans worldwide.

One of the hardest-working stars in show business, Dion continued to record and perform on a schedule that would kill most people. She recorded six albums between 1992 and 1996, when her album Falling Into You took her to a new level of stardom. The recording was a runaway hit, winning Grammys for both Album of the Year and Best Pop Album. 1996 also brought her another honor; she was asked to perform at the opening ceremonies of the Atlanta Olympics. Dion's longest tenure on the pop charts would come the following year, however, when she recorded "My Heart Will Go On," the theme song for James Cameron's blockbuster movie Titanic. "My Heart Will Go On" became omnipresent on the radio as Titanic fever swept the world, and when it was featured on her album Let's Talk About Love, it helped propel that recording to the top of the charts. By then, Dion had the power to gather a supporting cast of stars, and the album contained an amazing collection of artists, including Barbra Streisand, Luciano Pavarotti, and the Bee Gees. The album would win a host of awards and bring Dion a whole new world of fans.

Her appearance on VH1's Divas Live special with Aretha Franklin, Gloria Estefan, Mariah Carey, and Shania Twain proved popular as well and helped solidify Dion's position among not only current female pop singers but historical greats like Franklin. The continuing popularity of her recordings and live performances made her 1999 sabbatical seem like a tragedy to her fans, but Dion needed a break after more than a decade and a half of breakneck pace. In 1999, her husband Angélil was diagnosed with throat cancer. While the disease responded well to treatment and went into remission, the illness was a wake-up call for Dion, who decided to put a new emphasis on her family life and announced a temporary retirement so that she could spend more time at home and have a child. After undergoing fertility treatments, she gave birth to a son in January 2001. The Collector's Series, Vol. 1 was released during Dion's hiatus; it featured many of her best-loved songs, as well as a Spanish-language version of "All by Myself."

Dion returned to the public eye in a big way in March 2002 with A New Day Has Come. The album debuted at number one in over 17 countries, and was accompanied by a full-scale media blitz. But Dion's greatest challenge was yet to come. Despite millions of albums sold, the adoration of fans worldwide, and the validation of her peers, Dion's success was still hampered by image problems that had dogged her since the days of "Canine Dion." While many Americans adored her, just as many snickered at her québécois heritage and the relative the unorthodoxy of her marriage. There was also the issue of her relevancy to lucrative audiences existing outside of her pop vocal constituency. To combat these issues, Dion and her management made a series of bold moves that attempted to solidify her career and ensure its continuity as she entered her mid-thirties.

In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza at Caesers Palace, Las Vegas, called A New Day. The production would take place in a custom-built, 4,000-seat theater and would feature Dion as the centerpiece of a multimedia program designed and orchestrated by Franco Dragone, the Belgian theater impresario behind the modern circus phenomenon Cirque du Soleil. The project united Dion, her label Sony Music, Dragone's production company Creations du Dragon, Caesars parent Park Place Entertainment, and promoter Concerts West in a landmark multi-million-dollar alliance that hinged on Dion's ability to put fans in seats five nights a week for three years. In conjunction with the rollout of A New Day was an endorsement deal with German automaker DaimlerChryslter AG worth additional millions. The campaign placed Dion in a series of stylish black-and-white advertisements promoting the stylish allure of Chrysler's line of upscale automobiles.

The performer also recorded a brand-new song to accompany the spots. Debuting in early 2003, the campaign dovetailed into the March release of One Heart, Dion's first album since 2001's A New Day Has Come, which in turn heralded the opening of A New Day on March 25, 2003. That live Las Vegas show was documented on the summer 2004 release New Day: Live in Las Vegas, which was followed a few months later by Miracle, a collection of family songs designed as a tandem book/CD project between Dion and photographer Anne Geddes. The two-CD compilation On Ne Change Pas appeared in 2005, featuring her most popular French-language songs and a new collaboration with the operatic pop vocal foursome Il Divo, "I Believe in You (Je Crois en Toi)." A new French-language album, D'Elles, arrived in May 2007 and debuted at the top of the Canadian album chart. In November of that same year, Dion released the English-language Taking Chances and announced a tour of South Africa and Europe scheduled for 2008. ~ Stacia Proefrock, All Music Guide

01 The Reason 5:01
02 Immortality 4:11
03 Treat Her Like A Lady 4:05
04 Why Oh Why 4:51
05 Love Is On The Way 4:26
06 Tell Him 4:51
07 Where Is The Love 4:56
08 When I Need You 4:12
09 Miles To Go (Before I Sleep) 4:39
10 Us 5:46
11 Just A Little Bit Of Love 4:06
12 My Heart Will Go On 4:41
13 I Hate You Then I Love You 4:43
14 To Love You More 5:28

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Celine Dion - All The Way...A Decade of Song [1999]

2010-05-04T03:18:00.000-07:00

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Rising from humble beginnings in the small town of Charlemagne, Quebec, Celine Dion became one of the biggest international stars in pop music history, selling more than 100 million albums worldwide. The youngest in Adhemar and Therese Dion's family of 14 children, Dion grew up in an environment full of the inherent chaos and material austerity that comes with such a large working-class family. However, the Dion household was also one filled with love for children and music, and her parents and siblings were important figures in the early development of her singing career. Celine began singing in her parents' piano bar when she was just five years old. By the age of 12 she had written one of her first songs, "Ce N'etait Qu'un Rêve" (It Was Only a Dream), which she recorded with the help of her mother and brother and shipped off to a manager named René Angélil, whose name they found on the back of an album by Ginette Reno, a popular Francophone singer. After weeks with no response from Angélil, Celine's brother Michel phoned him and said, "I know you haven't listened to the tape, because if you had, you would've called right away." Angélil dug up the tape and called the family back the same day to set up a meeting with Celine. When the 12-year-old performed in his office in Montreal, Angélil cried and set in motion the process of making her a québécois, and later international, star. He mortgaged his house to pay for her first two albums, producing a local number one single. In 1983 she became the first Canadian to have a gold record in France and she won a gold medal at the Yamaha songwriting competition in Japan. Her worldwide reputation was in the making, but success in the United States was not yet forthcoming.

When she was 18, Dion saw Michael Jackson performing on television and told Angélil that she wanted to be a star like him. Angélil's response was to order her to take 18 months off to remake her image. Dion underwent a physical transformation, cutting her hair, plucking her eyebrows, and having her teeth capped to cover up the incisors that had caused a Quebec humor magazine to dub her "Canine Dion." She was also sent off to English school to polish the language that would help her to break into the American market. When she emerged from this process, she had made an amazing transformation from teen star to adult chanteuse. The payoff came almost immediately. Her 1990 breakthrough album, Unison, was released in the U.S. by Epic Records and produced several hit songs, but it was her duet with Peabo Bryson on the theme song of Disney's Beauty and the Beast that was her true breakthrough.

"Beauty and the Beast" reached number one on the pop charts and won both a Grammy and Academy award. The song was also featured on her second English album, 1992's Celine Dion, which launched another Top Ten American hit with "If You Asked Me To," while spawning two additional Top 40 singles, "Nothing Broken But My Heart" and "Love Can Move Mountains." During this time there were also important developments in Dion's personal life. In 1988 Angélil crossed the line from manager to romantic partner when he kissed Dion one night after a show in Dublin. Fearful that fans would find the 26-year difference in their ages unsettling, the couple kept their relationship a secret for several years. But their 1994 wedding in Montreal's Notre Dame Basilica was celebrated not only by the 250 invited guests, but by millions of fans worldwide.

One of the hardest-working stars in show business, Dion continued to record and perform on a schedule that would kill most people. She recorded six albums between 1992 and 1996, when her album Falling Into You took her to a new level of stardom. The recording was a runaway hit, winning Grammys for both Album of the Year and Best Pop Album. 1996 also brought her another honor; she was asked to perform at the opening ceremonies of the Atlanta Olympics. Dion's longest tenure on the pop charts would come the following year, however, when she recorded "My Heart Will Go On," the theme song for James Cameron's blockbuster movie Titanic. "My Heart Will Go On" became omnipresent on the radio as Titanic fever swept the world, and when it was featured on her album Let's Talk About Love, it helped propel that recording to the top of the charts. By then, Dion had the power to gather a supporting cast of stars, and the album contained an amazing collection of artists, including Barbra Streisand, Luciano Pavarotti, and the Bee Gees. The album would win a host of awards and bring Dion a whole new world of fans.

Her appearance on VH1's Divas Live special with Aretha Franklin, Gloria Estefan, Mariah Carey, and Shania Twain proved popular as well and helped solidify Dion's position among not only current female pop singers but historical greats like Franklin. The continuing popularity of her recordings and live performances made her 1999 sabbatical seem like a tragedy to her fans, but Dion needed a break after more than a decade and a half of breakneck pace. In 1999, her husband Angélil was diagnosed with throat cancer. While the disease responded well to treatment and went into remission, the illness was a wake-up call for Dion, who decided to put a new emphasis on her family life and announced a temporary retirement so that she could spend more time at home and have a child. After undergoing fertility treatments, she gave birth to a son in January 2001. The Collector's Series, Vol. 1 was released during Dion's hiatus; it featured many of her best-loved songs, as well as a Spanish-language version of "All by Myself."

Dion returned to the public eye in a big way in March 2002 with A New Day Has Come. The album debuted at number one in over 17 countries, and was accompanied by a full-scale media blitz. But Dion's greatest challenge was yet to come. Despite millions of albums sold, the adoration of fans worldwide, and the validation of her peers, Dion's success was still hampered by image problems that had dogged her since the days of "Canine Dion." While many Americans adored her, just as many snickered at her québécois heritage and the relative the unorthodoxy of her marriage. There was also the issue of her relevancy to lucrative audiences existing outside of her pop vocal constituency. To combat these issues, Dion and her management made a series of bold moves that attempted to solidify her career and ensure its continuity as she entered her mid-thirties.

In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza at Caesers Palace, Las Vegas, called A New Day. The production would take place in a custom-built, 4,000-seat theater and would feature Dion as the centerpiece of a multimedia program designed and orchestrated by Franco Dragone, the Belgian theater impresario behind the modern circus phenomenon Cirque du Soleil. The project united Dion, her label Sony Music, Dragone's production company Creations du Dragon, Caesars parent Park Place Entertainment, and promoter Concerts West in a landmark multi-million-dollar alliance that hinged on Dion's ability to put fans in seats five nights a week for three years. In conjunction with the rollout of A New Day was an endorsement deal with German automaker DaimlerChryslter AG worth additional millions. The campaign placed Dion in a series of stylish black-and-white advertisements promoting the stylish allure of Chrysler's line of upscale automobiles.

The performer also recorded a brand-new song to accompany the spots. Debuting in early 2003, the campaign dovetailed into the March release of One Heart, Dion's first album since 2001's A New Day Has Come, which in turn heralded the opening of A New Day on March 25, 2003. That live Las Vegas show was documented on the summer 2004 release New Day: Live in Las Vegas, which was followed a few months later by Miracle, a collection of family songs designed as a tandem book/CD project between Dion and photographer Anne Geddes. The two-CD compilation On Ne Change Pas appeared in 2005, featuring her most popular French-language songs and a new collaboration with the operatic pop vocal foursome Il Divo, "I Believe in You (Je Crois en Toi)." A new French-language album, D'Elles, arrived in May 2007 and debuted at the top of the Canadian album chart. In November of that same year, Dion released the English-language Taking Chances and announced a tour of South Africa and Europe scheduled for 2008. ~ Stacia Proefrock, All Music Guide

01 The Power Of Love 4:48
02 If You Asked Me To 3:55
03 Beauty And The Beast 4:04
04 Because You Loved Me 4:35
05 It's All Coming Back To Me Now 5:32
06 Love Can Move Mountains 4:01
07 To Love You More 4:41
08 My Heart Will Go On 4:42
09 I'm Your Angel 5:31
10 That's The Way It Is 4:03
11 If Walls Could Talk 5:19
12 The First Time Ever I Saw Your Face 4:09
13 All The Way 3:53
14 Then You Look At Me 4:11
15 I Want You To Need Me 4:36
16 Live 3:58

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Celine Dion - A New Day... Live In Las Vegas [2004]

2010-05-04T00:30:00.000-07:00

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Rising from humble beginnings in the small town of Charlemagne, Quebec, Celine Dion became one of the biggest international stars in pop music history, selling more than 100 million albums worldwide. The youngest in Adhemar and Therese Dion's family of 14 children, Dion grew up in an environment full of the inherent chaos and material austerity that comes with such a large working-class family. However, the Dion household was also one filled with love for children and music, and her parents and siblings were important figures in the early development of her singing career. Celine began singing in her parents' piano bar when she was just five years old. By the age of 12 she had written one of her first songs, "Ce N'etait Qu'un Rêve" (It Was Only a Dream), which she recorded with the help of her mother and brother and shipped off to a manager named René Angélil, whose name they found on the back of an album by Ginette Reno, a popular Francophone singer. After weeks with no response from Angélil, Celine's brother Michel phoned him and said, "I know you haven't listened to the tape, because if you had, you would've called right away." Angélil dug up the tape and called the family back the same day to set up a meeting with Celine. When the 12-year-old performed in his office in Montreal, Angélil cried and set in motion the process of making her a québécois, and later international, star. He mortgaged his house to pay for her first two albums, producing a local number one single. In 1983 she became the first Canadian to have a gold record in France and she won a gold medal at the Yamaha songwriting competition in Japan. Her worldwide reputation was in the making, but success in the United States was not yet forthcoming.

When she was 18, Dion saw Michael Jackson performing on television and told Angélil that she wanted to be a star like him. Angélil's response was to order her to take 18 months off to remake her image. Dion underwent a physical transformation, cutting her hair, plucking her eyebrows, and having her teeth capped to cover up the incisors that had caused a Quebec humor magazine to dub her "Canine Dion." She was also sent off to English school to polish the language that would help her to break into the American market. When she emerged from this process, she had made an amazing transformation from teen star to adult chanteuse. The payoff came almost immediately. Her 1990 breakthrough album, Unison, was released in the U.S. by Epic Records and produced several hit songs, but it was her duet with Peabo Bryson on the theme song of Disney's Beauty and the Beast that was her true breakthrough.

"Beauty and the Beast" reached number one on the pop charts and won both a Grammy and Academy award. The song was also featured on her second English album, 1992's Celine Dion, which launched another Top Ten American hit with "If You Asked Me To," while spawning two additional Top 40 singles, "Nothing Broken But My Heart" and "Love Can Move Mountains." During this time there were also important developments in Dion's personal life. In 1988 Angélil crossed the line from manager to romantic partner when he kissed Dion one night after a show in Dublin. Fearful that fans would find the 26-year difference in their ages unsettling, the couple kept their relationship a secret for several years. But their 1994 wedding in Montreal's Notre Dame Basilica was celebrated not only by the 250 invited guests, but by millions of fans worldwide.

One of the hardest-working stars in show business, Dion continued to record and perform on a schedule that would kill most people. She recorded six albums between 1992 and 1996, when her album Falling Into You took her to a new level of stardom. The recording was a runaway hit, winning Grammys for both Album of the Year and Best Pop Album. 1996 also brought her another honor; she was asked to perform at the opening ceremonies of the Atlanta Olympics. Dion's longest tenure on the pop charts would come the following year, however, when she recorded "My Heart Will Go On," the theme song for James Cameron's blockbuster movie Titanic. "My Heart Will Go On" became omnipresent on the radio as Titanic fever swept the world, and when it was featured on her album Let's Talk About Love, it helped propel that recording to the top of the charts. By then, Dion had the power to gather a supporting cast of stars, and the album contained an amazing collection of artists, including Barbra Streisand, Luciano Pavarotti, and the Bee Gees. The album would win a host of awards and bring Dion a whole new world of fans.

Her appearance on VH1's Divas Live special with Aretha Franklin, Gloria Estefan, Mariah Carey, and Shania Twain proved popular as well and helped solidify Dion's position among not only current female pop singers but historical greats like Franklin. The continuing popularity of her recordings and live performances made her 1999 sabbatical seem like a tragedy to her fans, but Dion needed a break after more than a decade and a half of breakneck pace. In 1999, her husband Angélil was diagnosed with throat cancer. While the disease responded well to treatment and went into remission, the illness was a wake-up call for Dion, who decided to put a new emphasis on her family life and announced a temporary retirement so that she could spend more time at home and have a child. After undergoing fertility treatments, she gave birth to a son in January 2001. The Collector's Series, Vol. 1 was released during Dion's hiatus; it featured many of her best-loved songs, as well as a Spanish-language version of "All by Myself."

Dion returned to the public eye in a big way in March 2002 with A New Day Has Come. The album debuted at number one in over 17 countries, and was accompanied by a full-scale media blitz. But Dion's greatest challenge was yet to come. Despite millions of albums sold, the adoration of fans worldwide, and the validation of her peers, Dion's success was still hampered by image problems that had dogged her since the days of "Canine Dion." While many Americans adored her, just as many snickered at her québécois heritage and the relative the unorthodoxy of her marriage. There was also the issue of her relevancy to lucrative audiences existing outside of her pop vocal constituency. To combat these issues, Dion and her management made a series of bold moves that attempted to solidify her career and ensure its continuity as she entered her mid-thirties.

In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza at Caesers Palace, Las Vegas, called A New Day. The production would take place in a custom-built, 4,000-seat theater and would feature Dion as the centerpiece of a multimedia program designed and orchestrated by Franco Dragone, the Belgian theater impresario behind the modern circus phenomenon Cirque du Soleil. The project united Dion, her label Sony Music, Dragone's production company Creations du Dragon, Caesars parent Park Place Entertainment, and promoter Concerts West in a landmark multi-million-dollar alliance that hinged on Dion's ability to put fans in seats five nights a week for three years. In conjunction with the rollout of A New Day was an endorsement deal with German automaker DaimlerChryslter AG worth additional millions. The campaign placed Dion in a series of stylish black-and-white advertisements promoting the stylish allure of Chrysler's line of upscale automobiles.

The performer also recorded a brand-new song to accompany the spots. Debuting in early 2003, the campaign dovetailed into the March release of One Heart, Dion's first album since 2001's A New Day Has Come, which in turn heralded the opening of A New Day on March 25, 2003. That live Las Vegas show was documented on the summer 2004 release New Day: Live in Las Vegas, which was followed a few months later by Miracle, a collection of family songs designed as a tandem book/CD project between Dion and photographer Anne Geddes. The two-CD compilation On Ne Change Pas appeared in 2005, featuring her most popular French-language songs and a new collaboration with the operatic pop vocal foursome Il Divo, "I Believe in You (Je Crois en Toi)." A new French-language album, D'Elles, arrived in May 2007 and debuted at the top of the Canadian album chart. In November of that same year, Dion released the English-language Taking Chances and announced a tour of South Africa and Europe scheduled for 2008. ~ Stacia Proefrock, All Music Guide

01 Nature Boy 4:13
02 It'S All Coming Back To Me Now 3:37
03 Because You Loved Me (Love The 2:28
04 I'M Alive 4:15
05 If I Could 5:15
06 At Last 3:29
07 Fever 2:52
08 I'Ve Got The World On A String 2:23
09 Et Je T'Aime Encore 4:42
10 I Wish 4:13
11 I Drove All Night 4:47
12 My Heart Will Go On (Love Them 5:24
13 What A Wonderful World 4:47
14 You And I (Studio Recording) 4:05
15 Ain'T Gonna Look The Other Way 4:24

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Celine Dion - Taking Chances World Tour: The Concert [2010]

2010-05-04T00:14:00.000-07:00

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Rising from humble beginnings in the small town of Charlemagne, Quebec, Celine Dion became one of the biggest international stars in pop music history, selling more than 100 million albums worldwide. The youngest in Adhemar and Therese Dion's family of 14 children, Dion grew up in an environment full of the inherent chaos and material austerity that comes with such a large working-class family. However, the Dion household was also one filled with love for children and music, and her parents and siblings were important figures in the early development of her singing career. Celine began singing in her parents' piano bar when she was just five years old. By the age of 12 she had written one of her first songs, "Ce N'etait Qu'un Rêve" (It Was Only a Dream), which she recorded with the help of her mother and brother and shipped off to a manager named René Angélil, whose name they found on the back of an album by Ginette Reno, a popular Francophone singer. After weeks with no response from Angélil, Celine's brother Michel phoned him and said, "I know you haven't listened to the tape, because if you had, you would've called right away." Angélil dug up the tape and called the family back the same day to set up a meeting with Celine. When the 12-year-old performed in his office in Montreal, Angélil cried and set in motion the process of making her a québécois, and later international, star. He mortgaged his house to pay for her first two albums, producing a local number one single. In 1983 she became the first Canadian to have a gold record in France and she won a gold medal at the Yamaha songwriting competition in Japan. Her worldwide reputation was in the making, but success in the United States was not yet forthcoming.

When she was 18, Dion saw Michael Jackson performing on television and told Angélil that she wanted to be a star like him. Angélil's response was to order her to take 18 months off to remake her image. Dion underwent a physical transformation, cutting her hair, plucking her eyebrows, and having her teeth capped to cover up the incisors that had caused a Quebec humor magazine to dub her "Canine Dion." She was also sent off to English school to polish the language that would help her to break into the American market. When she emerged from this process, she had made an amazing transformation from teen star to adult chanteuse. The payoff came almost immediately. Her 1990 breakthrough album, Unison, was released in the U.S. by Epic Records and produced several hit songs, but it was her duet with Peabo Bryson on the theme song of Disney's Beauty and the Beast that was her true breakthrough.

"Beauty and the Beast" reached number one on the pop charts and won both a Grammy and Academy award. The song was also featured on her second English album, 1992's Celine Dion, which launched another Top Ten American hit with "If You Asked Me To," while spawning two additional Top 40 singles, "Nothing Broken But My Heart" and "Love Can Move Mountains." During this time there were also important developments in Dion's personal life. In 1988 Angélil crossed the line from manager to romantic partner when he kissed Dion one night after a show in Dublin. Fearful that fans would find the 26-year difference in their ages unsettling, the couple kept their relationship a secret for several years. But their 1994 wedding in Montreal's Notre Dame Basilica was celebrated not only by the 250 invited guests, but by millions of fans worldwide.

One of the hardest-working stars in show business, Dion continued to record and perform on a schedule that would kill most people. She recorded six albums between 1992 and 1996, when her album Falling Into You took her to a new level of stardom. The recording was a runaway hit, winning Grammys for both Album of the Year and Best Pop Album. 1996 also brought her another honor; she was asked to perform at the opening ceremonies of the Atlanta Olympics. Dion's longest tenure on the pop charts would come the following year, however, when she recorded "My Heart Will Go On," the theme song for James Cameron's blockbuster movie Titanic. "My Heart Will Go On" became omnipresent on the radio as Titanic fever swept the world, and when it was featured on her album Let's Talk About Love, it helped propel that recording to the top of the charts. By then, Dion had the power to gather a supporting cast of stars, and the album contained an amazing collection of artists, including Barbra Streisand, Luciano Pavarotti, and the Bee Gees. The album would win a host of awards and bring Dion a whole new world of fans.

Her appearance on VH1's Divas Live special with Aretha Franklin, Gloria Estefan, Mariah Carey, and Shania Twain proved popular as well and helped solidify Dion's position among not only current female pop singers but historical greats like Franklin. The continuing popularity of her recordings and live performances made her 1999 sabbatical seem like a tragedy to her fans, but Dion needed a break after more than a decade and a half of breakneck pace. In 1999, her husband Angélil was diagnosed with throat cancer. While the disease responded well to treatment and went into remission, the illness was a wake-up call for Dion, who decided to put a new emphasis on her family life and announced a temporary retirement so that she could spend more time at home and have a child. After undergoing fertility treatments, she gave birth to a son in January 2001. The Collector's Series, Vol. 1 was released during Dion's hiatus; it featured many of her best-loved songs, as well as a Spanish-language version of "All by Myself."

Dion returned to the public eye in a big way in March 2002 with A New Day Has Come. The album debuted at number one in over 17 countries, and was accompanied by a full-scale media blitz. But Dion's greatest challenge was yet to come. Despite millions of albums sold, the adoration of fans worldwide, and the validation of her peers, Dion's success was still hampered by image problems that had dogged her since the days of "Canine Dion." While many Americans adored her, just as many snickered at her québécois heritage and the relative the unorthodoxy of her marriage. There was also the issue of her relevancy to lucrative audiences existing outside of her pop vocal constituency. To combat these issues, Dion and her management made a series of bold moves that attempted to solidify her career and ensure its continuity as she entered her mid-thirties.

In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza at Caesers Palace, Las Vegas, called A New Day. The production would take place in a custom-built, 4,000-seat theater and would feature Dion as the centerpiece of a multimedia program designed and orchestrated by Franco Dragone, the Belgian theater impresario behind the modern circus phenomenon Cirque du Soleil. The project united Dion, her label Sony Music, Dragone's production company Creations du Dragon, Caesars parent Park Place Entertainment, and promoter Concerts West in a landmark multi-million-dollar alliance that hinged on Dion's ability to put fans in seats five nights a week for three years. In conjunction with the rollout of A New Day was an endorsement deal with German automaker DaimlerChryslter AG worth additional millions. The campaign placed Dion in a series of stylish black-and-white advertisements promoting the stylish allure of Chrysler's line of upscale automobiles.

The performer also recorded a brand-new song to accompany the spots. Debuting in early 2003, the campaign dovetailed into the March release of One Heart, Dion's first album since 2001's A New Day Has Come, which in turn heralded the opening of A New Day on March 25, 2003. That live Las Vegas show was documented on the summer 2004 release New Day: Live in Las Vegas, which was followed a few months later by Miracle, a collection of family songs designed as a tandem book/CD project between Dion and photographer Anne Geddes. The two-CD compilation On Ne Change Pas appeared in 2005, featuring her most popular French-language songs and a new collaboration with the operatic pop vocal foursome Il Divo, "I Believe in You (Je Crois en Toi)." A new French-language album, D'Elles, arrived in May 2007 and debuted at the top of the Canadian album chart. In November of that same year, Dion released the English-language Taking Chances and announced a tour of South Africa and Europe scheduled for 2008. ~ Stacia Proefrock, All Music Guide

01 Opening 1:16
02 I Drove All Night 4:24
03 The Power Of Love 4:02
04 Taking Chances 4:07
05 It'S All Coming Back To Me Now 3:33
06 Because You Loved Me 3:16
07 To Love You More 3:17
08 New Mego'S Flamenco 3:07
09 Eyes On Me 4:07
10 All By Myself 5:06
11 Shadow Of Love 3:06
12 Alone 4:28
13 My Love 6:53
14 The Prayer 4:52
15 Soul Medley 3:15
16 It'S A Man'S Man'S Man'S Man'S World 3:06
17 Love Can Move Mountains 4:39
18 River Deep, Mountain High 5:18
19 My Heart Will Go On 5:45

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Skid Row - Revolutions Per Minute [2006]

2010-05-02T03:51:00.000-07:00

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Skid Row were one of the very last hair metal bands to hit the mainstream before grunge took over in the early '90s. While the band's self-titled debut employed standard pop-metal riffs and generic lyrics (albeit to great commercial success), 1991's Slave to the Grind and 1995's Subhuman Race broke away from the pop-metal mold with uncharacteristically hard, thrashy guitars and unique songwriting techniques. Though personal differences and changing trends would eventually tear the core lineup apart by 1996, Skid Row showed tremendous promise during their short time in the spotlight.

Based in New Jersey, Skid Row were formed in 1986 by bassist Rachel Bolan and former Bon Jovi guitarist Dave "The Snake" Sabo. The pair added guitarist Scott Hill, drummer Rob Affuso, and a larger than life vocalist named Sebastian Bach to the lineup by early 1987, and the band spent the next year and a half playing a series of local clubs in the eastern U.S. Having remained in contact with Jon Bon Jovi, Sabo convinced the established rock star to land Skid Row a record deal with Mercury Records. In 1989, the band released its first album, Skid Row, which went multi-platinum on the strength of the Top 40 singles "18 and Life" and "I Remember You." Success came with a backlash, however -- the bandmembers had naïvely signed away much of their royalties, and Sebastian Bach's wild, often childlike behavior landed the group in additional trouble. During the subsequent tour, Bach garnered harsh criticism for a T-shirt he publicly sported displaying the message "AIDS KILLS FAGS DEAD." Suits were also filed against Bach after a concert during the supporting tour, where the singer allegedly threw a glass bottle into the crowd and injured a young female fan.

Nonetheless, Skid Row's muscular songcraft retained a devoted audience. Released in 1991, Slave to the Grind debuted at number one on the Billboard chart, an unprecedented accomplishment for a metal band. While the album did not chart any real radio hits, Grind received stronger critical praise and eventually reached platinum status. However, like so many of their peers, Skid Row lost much of their fan base during the grunge invasion of the '90s. As Nirvana stormed the scene in 1992, Skid Row took a hiatus, waiting out the grunge period and pondering breakups (ironically, Nirvana had once gone under the name Skid Row in the '80s). Skid Row returned in 1995 with Subhuman Race, which surprisingly charted in the Top 40 but otherwise did not attract any real attention.

During the supporting tour, tensions between the group members ran high and Skid Row disbanded shortly afterward. Bach went on to form the Last Hard Men with Smashing Pumpkins drummer Jimmy Chamberlin, but the group broke up after recording a cover of Alice Cooper's "School's Out" for the Scream soundtrack in 1996. Plans to record new songs for the Skid Row greatest-hits album, 1998's Forty Seasons, fell through, and Bach went on to form a solo project and portray the title role in the Broadway musical Jeckyll and Hyde. In mid-2000, Skid Row re-formed with new singer Johnny Solinger and toured as the opening band for Kiss' farewell tour. They released Thickskin with Solinger in 2003, followed by Revolutions Per Minute in 2006. Meanwhile, Sebastian Bach enjoyed a surge in popularity when he appeared in a VH1 reality show opposite Ted Nugent and Scott Ian. ~ Barry Weber, All Music Guide

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01 Disease 3:32
02 Another Dick In The System 3:16
03 Pulling My Heart Out From Under Me 3:29
04 When God Can'T Wait 2:15
05 Shut Up Baby I Love You 3:16
06 Strength 5:06
07 White Trash 2:53
08 Your Lie 2:44
09 Nothing 3:29
10 Love Is Dead 3:38
11 Let It Ride 4:03
12 You Lie (Bonus Track) 2:43

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Amy MacDonald - A Curious Thing [2010]

2010-05-02T03:44:00.000-07:00

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Amy MacDonald is a Scottish singer/songwriter from Glasgow. Born on August 25, 1987, she studied social sciences while attending university and, like many teenagers, spent her days dreaming of pilgrimages to music festivals such as T in the Park. Inspired by the songwriting skills of Francis Healy, the 12-year-old MacDonald picked up a guitar that had been left lying around the house from her father's pop group days. She taught herself the instrument by following "how to play guitar" advice on the Internet rather than taking structured lessons. With the desire to write songs as good as Travis' best work, she began playing with a community music group before graduating to solo shows in the local area. The gigs featured MacDonald, her acoustic guitar, and a set of cover songs including "Everybody Hurts" and a slow version of "Mad World." Before long, her slew of performances in local coffeehouses turned into a mini-tour of Scotland, where she performed with Travis and fellow Scot Paolo Nutini. Festival appearances followed, including stints at Glastonbury, T in the Park, and V. She secured a recording deal with Vertigo Records (part of the Universal Music Group umbrella, and home to the Killers and Razorlight) before issuing two singles: "Poison Prince," a song about the tortured life of Pete Doherty offered as a limited online-only release, and "Mr. Rock & Roll," which finally launched MacDonald into the Top 20. Her debut album, This Is the Life, was released at the end of July 2007, where it climbed to number two during its first week on the charts (and, later, reached number one in several countries). ~ Sharon Mawer, All Music Guide

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1. Don’t Tell Me That It’s Over 3:15
2. Spark 3:07
3. I Got No Roots 4:30
4. Love Love 3:17
5. An Ordinary Life 3:36
6. Give It All Up 2:55
7. My Only One 3:32
8. This Pretty Face 3:57
9. Troubled Soul 4:46
10.Next Big Thing 3:30
11.Your Time Will Come 4:32
12.What Happiness Means To Me 9:20

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Amy MacDonald - A Curious Thing [2010](Deluxe Edition) 57:43

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Jon Bon Jovi - Young Guns II (Soundtrack) [1992]

2010-05-02T03:43:00.000-07:00

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Review by William Ruhlmann @allmusic.com

Abandoning his rough-and-ready rock & roll band, Jon Bon Jovi took a stab at respectability with Blaze of Glory, the non-soundtrack to the film Young Guns II. Given his cowboy songs on Bon Jovi albums, it made sense that he'd be "inspired" by the Western, and he filled these songs (written without the help of bandmate Richie Sambora or Desmond Child) with references to shoot-'em-ups. Mainstream rock producer Danny Kortchmar put together the studio band, along with guest stars Jeff Beck, Elton John, and Little Richard, and the sound had more space and less drive than the lite-metal of Bon Jovi. Unfortunately, that kind of approach puts the spotlight squarely on the singer/songwriter, and Jon wasn't quite up to the scrutiny. The New Jersey cowboy tried to howl his way through, and his still-faithful fans dutifully bought the record, but Jon wasn't really ready to carry off a starring role without his usual supporting cast.

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01.Billy Get Your Guns 4.43 M
02.Miracle 4.72 M
03.Blaze Of Glory 7.67 M
04.Blood Money 2.36 M
05.Santa Fe 5.21 M
06.Justice_In_The_Barrel 6.25 M
07.Never_Say_Die 4.49 M
08.You_Really_Got_Me_Now 2.21 M
09.Bang_A_Drum 4.22 M
10.Dyin_Aint_Much_Of_A_Livin 4.38 M
11.Guano_City 1.15 M

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Place Vendome - Streets of Fire [2009]

2010-05-02T03:41:00.001-07:00

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The semi-all-star project assembled in 2005 is still around. For whatever reasons, PLACE VENDOME turns out to be more than just an one-off project and – assuming you’re a fan of melodic Hard Rock music and already possess the excellent 2005 same-titled release – the anticipation can grow really high in relation to what a follow-up CD offers 3 ½ years later.

Wow, a hole ’intro’ paragraph without a reference to the voice of the band. Michael Kiske portrayed a different self (well, he occasionally does it post-’WEEN) and from one side ensured he can virtually sing anything he wants plus it was now granted that he would take the mic with him in a possible second PLACE VENDOME album. Well here it is, with the same lineup around (Ward, Zafiriou and Reitenauer are all PINK CREAM 69 members while Werno comes from the VANDEN PLAS camp). Are there any changes prior to the music released, indeed? Of course. Parallel to the Frontiers philosophy, songwriting for most (if not all) the tunes in "Streets Of Fire" was a duty loaded on other people. ’Pasting’ the label’s Press release, Torsti Spoof (LEVERAGE) offered "Dancer", "Changes", "Believer" and the title-track "Streets of Fire", Ronny Milianowicz (SAINT DEAMON and songwriter for PRIMAL FEAR) wrote "Surrender Your Soul", "Completely Breathless" and "A Scene In Replay", while Robert Sall (WORK OF ART, W.E.T.) supplied "Follow Me" and "Valerie". This leaving three songs penned by Dennis Ward? Ooops, just saw there’s a song written by Magnus Karlsson ("My Guardian Angel").

Anyway, Press releases usually exaggerate on stuff – else we’d be working 24/7 to buy every single CD out – but this one was accurate at – at least – one point: "Streets Of Fire" is more ’AOR’ than its 2005 predecessor. The melodies are more widespread plus the production/sound brings the keyboards a little bit more in the foreground (the mix is superb, don’t worry). The rhythm section keeps pounding while the guitars have gone a little bit more gentle. Kiske’s singing is one helluva great session again, while he seems to have been more ’educated’ to the audience performing for.

The pair of ’opening’ tracks "Streets Of Fire" and "My Guardian Angel" feature the same ’intro’ pattern, with the latter being mellower but with a more hook-ing solo. "Completely Breathless" is more moody, a mild tune (piano fills included here) with up-sound refrains that reveal Kiske’s majestic voice once more. "Follow Me" builds up a more AOR/melodic Rock portrait with a wishful couple and a generous ’optimism’ chorus. "Set Me Free" sees again a keys prologue, then to present a ’rich atmosphere’ mid-tempo harmonic cut with an autobiography vibe and "Believer" steps on classic AOR fast-ace hooks and features a joyful chorus you’ll be in love with if fan of the genre. "Valerie..." rolls on in a similar path.

"A Scene In Reply" smooths things up again; the keys/piano part is an ace in here as the chorus unfolds in cheerful Euro-AOR mood (the solo is striking...), "Changes" features melody changes from the couple to the bridge to the chorus, retaining a solid placid temper and "Surrender Your Soul" does add spark in a fast tempo ’boulevard’ attitude. "Dancer" is one of the best tunes in "Streets OF Fire", a high-energy melodic rocker (Kiske is the ruler in the refrains) with some kick-ass soloing, and "I’d Die For You" wraps up this beautiful album in a WestCoast/AOR mood with emotional vocals and some ’moonlit night’ backup leads/piano parts, later to transform into a symphonic QUEEN-shading intermezzo/outro.

Michael Kiske does seem to mark this PLACE VANDOME album again but the songs are of equal significance, too. They’d stand proud with his voice, anyway. ’Living next door’ to the debut, we can possibly say "Streets OF Fire" is not that identical but just as convincing. If you adored the band’s(?) first album then you’ll fall in love with this AOR/Melodic Rock follow-up CD, too.

P.S.: A video for the song "My Guardian Angel" is included as a bonus goodie on the album (not sure if there will be a special edition out or not).

Members: Dennis Ward, Kosta Zafiriou, plus Gunther Werno, with Michael Kiske on vocals. Magnus Karlsson guest on track 13 playing the acoustic guitar.

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01.Streets OF Fire
02.My Guardian Angel
03.Completely Breathless
04.Follow Me
05.Set Me Free
06.Believer
07.Valerie (The Truth Is In Your Eyes)
08.A Scene In Replay
09.Changes
10.Surrender Your Soul
11.Dancer
12.I'd Die For You

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Avantasia - Angel Of Babylon [2010]

2010-05-02T03:41:00.000-07:00

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Avantasia was an all-star side project headed by Tobias Sammet, lead singer of the prog-tinged German power metal band Edguy. While recording a guest appearance from Blind Guardian singer Hansi Kursch with his regular band, Sammet conceived of a massive-scale rock opera featuring the cream of the current power metal scene. He spent a year composing the material, named the "band" Avantasia, and recruited a variety of vocalists to tell his story: Gamma Ray's Kai Hansen, Stratovarius' Timo Tolkki, Virgin Steele's David DeFeis, Angra's Andre Matos, Warrior's Rob Rock, and Within Temptation's Sharon Den Adel. For the backing band, Sammet gathered guitarists Jens Ludwig (Edguy) and Henjo Richter (Gamma Ray), bassist Markus Grosskopf (Helloween), and drummer Alex Holzwarth (Rhapsody). The album, The Metal Opera, was filled with tried-and-true fantasy themes and anthemic, progressive pomp-metal; it was released by Century Media in the summer of 2001. ~ Steve Huey, All Music Guide

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01.Stargazers 21.82 M
02.Angel Of Babylon 12.54 M
03.Your Love Is Evil 8.88 M
04.Death Is Just A Feeling 12.36 M
05.Rat Race 9.56 M
06.Down In The Dark 10.05 M
07.Blowing Out The Flame 11.18 M
08.Symphony Of Life 10.33 M
09.Alone I Remember 10.99 M
10.Promised Land 10.94 M
11.Journey To Arcadia 16.68 M

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Godsmack - The Oracle [2010]

2010-05-02T03:40:00.001-07:00

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The Boston-based alternative metal group Godsmack originally comprised vocalist Sully Erna (a devout Wiccan), guitarist Tony Rambola, bassist Robbie Merrill, and drummer Tommy Stewart. After debuting in 1997 with All Wound Up, Godsmack signed with Universal, which in 1998 reissued the LP as a self-titled effort with a handful of new tracks; at that point Stewart -- who'd left the group in mid-1997 and was replaced by drummer Joe d'Arco -- returned to the lineup on a permanent basis. The band's audience built slowly but surely, and Godsmack was certified gold in 1999, the same year the group was invited to join the Ozzfest tour; by the next year, it had sold over three million copies, thanks to hit singles like "Whatever" and "Keep Away." In 2000, the group again played Ozzfest, and released their second proper album, Awake, that fall. In January 2001, Awake earned the band a Grammy nomination for Best Rock Instrumental Performance for the song "Vampires," and by March, it had sold two million copies. Hot on the heels of their continuing success, their single "I Stand Alone" propelled the hype of the movie The Scorpion King in March 2002. As the single maintained Godsmack's strong presence at modern rock radio into the summer, founding member Tommy Stewart left the band in June. The David Bottrill-produced (Peter Gabriel, Tool, Mudvayne) album Faceless appeared in April 2003. It also marked the debut of ex-Amen drummer Shannon Larkin. The all-acoustic Other Side arrived in spring 2004. In 2006, Erna stepped behind the board to helm IV, a collection of new material that reached number one while both retaining the group's trademark heft and expanding their sonic palette. ~ Jason Ankeny, All Music Guide

01 Cryin' Like A Bitch 3:23
02 Saints & Sinners 4:10
03 War & Peace 3:09
04 Love-Hate-Sex-Pain 5:15
05 What If? 6:35
06 Devil'S Swing 3:30
07 Good Day To Die 3:55
08 Forever Shamed 3:23
09 Shadow Of A Soul 4:44
10 The Oracle 6:22

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Shadow King - Shadow King [1991]

2010-05-02T03:40:00.000-07:00

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Shadow King was a short-lived arena rock/hard rock band that was led by Foreigner vocalist Lou Gramm. When Gramm (born May 2, 1950, Rochester, NY) formed Shadow King in 1991, he was taking a leave of absence from the multi-platinum Foreigner. The singer had been doing well as a solo artist -- his 1989 solo outing Long Hard Look was a big hit -- and it was unclear whether or not he would be singing with Foreigner again. Sounding a lot like Foreigner, Shadow King consisted of Gramm on lead vocals, Vivian Campbell on guitar, Kevin Valentine on drums, and Bruce Turgon on bass. Shadow King was hardly the first time that Gramm and Turgon had worked with each other -- back in Gramm's pre-Foreigner days, they played together in a '70s band called Black Sheep (which shouldn't be confused with the East Coast rap group). Gramm was with Black Sheep until 1976, first as its drummer and then as its lead singer; that year, he left Black Sheep (which recorded a few albums for Capitol) to become Foreigner's lead singer. Reunited in Shadow King, Gramm and Turgon became songwriting partners -- together, they co-wrote most of the material on Shadow King's self-titled debut album, which Atlantic released in 1991. Shadow King's first album turned out to be its last; by 1994, Graham was back with Foreigner -- and Shadow King was history. ~ Alex Henderson, All Music Guide

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01.What Would It Take 4:23 10.26
02.Anytime, Anywhere 4:27 10.42
03.Once Upon A Time 5:25 12.69
04.Don't Even Know I'm Aliv 5:09 12.07
05.Boy 4:05 9.57
06.I Want You 4:30 10.55
07.This Heart Of Stone 4:37 10.82
08.Danger In The Dance Of Love 3:58 9.30
09.No Man's Land 4:14 9.92
10.Russia 3:47 8.87

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Dragonforce - Inhuman Rampage [2006]

2010-05-02T03:19:00.001-07:00

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The U.K.-based power metal sextet Dragonforce formed in 1999 around the twin-guitar assault of Herman Li and Sam Totman, keyboard player Vadim Pruzhanov, and the powerful vocals of ZP Theart; drummer David Mackintosh and bass player Adrian Lambert joined the lineup later. Dragonforce had already toured with the likes of Halford and Stratovarius before the release of their debut, 2003's Valley of the Damned. The success of that record earned the melodic rockers a worldwide audience, resulting in a string of sold-out concerts in Asia and Europe. The group's sophomore effort, Sonic Firestorm, was released in 2004, followed by Inhuman Rampage in 2006 and Ultra Beatdown in 2008. ~ James Christopher Monger, All Music Guide

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01.Through The Fire And Flames 16.85 M
02.Revolution Deathsquad 18.05 M
03.Storming The Burning Fields 12.19 M
04.Operation Ground And Pound 17.73 M
05.Body Breakdown 15.98 M
06.Cry For Eternity 18.8 M
07.The Flame Of Youth 15.31 M
08.Trail Of Broken Hearts 13.55 M
09.Lost Souls In Endless Time 14.57 M

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Dragonforce - Ultra Beatdown [2008]

2010-05-02T03:19:00.000-07:00

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The U.K.-based power metal sextet Dragonforce formed in 1999 around the twin-guitar assault of Herman Li and Sam Totman, keyboard player Vadim Pruzhanov, and the powerful vocals of ZP Theart; drummer David Mackintosh and bass player Adrian Lambert joined the lineup later. Dragonforce had already toured with the likes of Halford and Stratovarius before the release of their debut, 2003's Valley of the Damned. The success of that record earned the melodic rockers a worldwide audience, resulting in a string of sold-out concerts in Asia and Europe. The group's sophomore effort, Sonic Firestorm, was released in 2004, followed by Inhuman Rampage in 2006 and Ultra Beatdown in 2008. ~ James Christopher Monger, All Music Guide

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01 Heroes Of Our Time 7:15
02 The Fire Still Burns 7:52
03 Reasons To Live 6:25
04 Heartbreak Armageddon 7:42
05 The Last Journey Home 8:15
06 A Flame For Freedom 5:20
07 Inside The Winter Storm 8:11
08 The Warrior Inside 7:14

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Bonus Track:
01 Strike Of The Ninja 3:18
02 Scars Of Yesterday 7:46

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Bonus Track:
01 E.P.M. (Bonus) 7:24

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Dragonforce - Sonic Firestorm [2010]

2010-05-02T03:02:00.000-07:00

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The U.K.-based power metal sextet Dragonforce formed in 1999 around the twin-guitar assault of Herman Li and Sam Totman, keyboard player Vadim Pruzhanov, and the powerful vocals of ZP Theart; drummer David Mackintosh and bass player Adrian Lambert joined the lineup later. Dragonforce had already toured with the likes of Halford and Stratovarius before the release of their debut, 2003's Valley of the Damned. The success of that record earned the melodic rockers a worldwide audience, resulting in a string of sold-out concerts in Asia and Europe. The group's sophomore effort, Sonic Firestorm, was released in 2004, followed by Inhuman Rampage in 2006 and Ultra Beatdown in 2008. ~ James Christopher Monger, All Music Guide

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Tracklist:
01 My Spirit Will Go On 7:54
02 Fury Of The Storm 6:46
03 Fields Of Despair 5:25
04 Dawn Over A New World 5:12
05 Above The Winter Moonlight 7:30
06 Soldiers Of The Wasteland 9:47
07 Prepare For War 6:15
08 Once In A Lifetime 7:46
09 Cry Of The Brave (Bonus Track) 5:45

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Avantasia - The Wicked Symphony [2010]

2010-05-02T02:55:00.002-07:00

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Avantasia was an all-star side project headed by Tobias Sammet, lead singer of the prog-tinged German power metal band Edguy. While recording a guest appearance from Blind Guardian singer Hansi Kursch with his regular band, Sammet conceived of a massive-scale rock opera featuring the cream of the current power metal scene. He spent a year composing the material, named the "band" Avantasia, and recruited a variety of vocalists to tell his story: Gamma Ray's Kai Hansen, Stratovarius' Timo Tolkki, Virgin Steele's David DeFeis, Angra's Andre Matos, Warrior's Rob Rock, and Within Temptation's Sharon Den Adel. For the backing band, Sammet gathered guitarists Jens Ludwig (Edguy) and Henjo Richter (Gamma Ray), bassist Markus Grosskopf (Helloween), and drummer Alex Holzwarth (Rhapsody). The album, The Metal Opera, was filled with tried-and-true fantasy themes and anthemic, progressive pomp-metal; it was released by Century Media in the summer of 2001. ~ Steve Huey, All Music Guide

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01.The Wicked Symphony 21.73 M
02.Wastelands 10.83 M
03.Scales Of Justice 11.64 M
04.Dying For An Angel 10.41 M
05.Blizzard On A Broken Mirror 14 M
06.Runaway Train 20 M
07.Crestfallen 9.33 M
08.Forever Is A Long Time 11.66 M
09.Black Wings 10.65 M
10.States Of Matter 9.12 M
11.The Edge 9.69 M

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Dragonforce - Valley Of The Damned [2003]

2010-05-02T02:55:00.001-07:00

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The U.K.-based power metal sextet Dragonforce formed in 1999 around the twin-guitar assault of Herman Li and Sam Totman, keyboard player Vadim Pruzhanov, and the powerful vocals of ZP Theart; drummer David Mackintosh and bass player Adrian Lambert joined the lineup later. Dragonforce had already toured with the likes of Halford and Stratovarius before the release of their debut, 2003's Valley of the Damned. The success of that record earned the melodic rockers a worldwide audience, resulting in a string of sold-out concerts in Asia and Europe. The group's sophomore effort, Sonic Firestorm, was released in 2004, followed by Inhuman Rampage in 2006 and Ultra Beatdown in 2008. ~ James Christopher Monger, All Music Guide

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01.Invocation Of Apocalyptic Evil 0.53 M
02.Valley Of The Damned 16.48 M
03.Black Fire 13.25 M
04.Black Winter Night 14.92 M
05.Starfire 13.49 M
06.Disciples Of Babylon 16.66 M
07.Revelations 15.74 M
08.Evening Star 15.23 M
09.Heart Of A Dragon 12.34 M
10.Where Dragons Rule 13.35 M

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Slash - Slash (Deluxe Edition) + Bonus Track [2010]

2010-05-02T02:55:00.000-07:00

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As the lead guitarist for Guns N' Roses, Slash established himself as one of hard rock's finest and most soulful soloists during the late '80s, technically adept yet always firmly grounded in the gritty Aerosmith and Stones licks he loved. Slash was born Saul Hudson on July 23, 1965, in Stoke-on-Trent, England, to artistic parents both involved in the entertainment industry; his mother was a clothing designer who worked on David Bowie's film The Man Who Fell to Earth, and his father designed album art for such artists as Neil Young and Joni Mitchell. The family eventually moved to Hollywood, where Hudson attended junior high, received his first guitar, and met future GNR drummer Steven Adler. With Hudson adopting the nickname Slash, given to him by a family friend, the two formed a band called Road Crew; although it proved unsuccessful, it was the vehicle through which they met and eventually joined up with the other members of Guns N' Roses.

The Gunners debuted in June 1985, and even before Appetite for Destruction was released in 1987, the band acquired a reputation as notorious alcohol and drug abusers. As their popularity soared, the reserved Slash established himself as an important part of the band's visual image, with a top hat and a mound of shaggy black hair covering his face as he typically staggered around the stage with a cigarette dangling from his mouth. Hedonistic excess consumed most of the band, with such incidents as Slash and Duff McKagan's drunken, profane acceptance of the band's American Music Award on live television. In 1990, opening for the Rolling Stones, Axl Rose's infamous on-stage pronouncement that he would leave the band if certain members did not stop "dancing with Mr. Brownstone" (using heroin) was primarily directed at Slash and Adler; Slash kicked his habit within a year, but Adler did not and was fired. In 1992, Slash courted controversy again with a product endorsement for Black Death vodka. Later that year, he was married to actress and model Renee Sorum, a union that lasted five years.

Meanwhile, in spite of controversy and personnel turnovers, Guns N' Roses had actually continued to record music. After the Use Your Illusion sets of 1991 and the 1993 punk covers album The Spaghetti Incident?, the band went on hiatus. Slash formed a side project called Slash's Snakepit, which consisted of fellow Gunners Matt Sorum (drums) and Gilby Clarke (guitar), plus bassist Mike Inez and vocalist Eric Dover. The group released an album in 1995 titled It's Five O'Clock Somewhere; Slash hit the road with a slightly different touring lineup, with Brian Tichy and James LoMenzo signing on as the rhythm section. In 1996, Slash put together a different band to play at a blues festival in Budapest, an endeavor that evolved into Slash's Blues Ball. Featuring vocalist/harmonica player Teddy Andreadis, rhythm guitarist Bobby Schneck, saxophonist Dave McClarem, bassist Johnny Griparic, and drummer Alvino Bennet, Slash's Blues Ball devoted themselves primarily to a repertoire of classic blues covers, plus occasional GNR and Snakepit material.

Rumors about the status of Guns N' Roses had been swirling for some time, and in October 1996 it was confirmed that, owing to his unwillingness to follow Axl Rose's interest in industrial and electronic music, Slash was no longer a member of the band (although he left the door open for a reunion if Rose decided to return to guitar-based rock & roll). He gigged off and on with the Blues Ball into 1998, although a rumored live album never materialized. Instead, Slash decided to re-form the Snakepit in 1999 with an entirely different lineup (the original members were by this time involved in other projects, and the Blues Ball was more suited to touring than developing original material). Raspy-voiced singer Rod Jackson and ex-Venice drummer Matt Laug came on board, along with Blues Ball bassist Griparic (now Johnny Blackout) and Teddy Andreadis, who contributed keyboard and harmonica work. After trying out ex-Alice Cooper guitarist Ryan Roxie, Slash settled on rhythm guitarist Kerry Kelly, who had previously worked with Warrant and Ratt.

The new Snakepit played some gigs together and in the spring of 2000 completed a new album, which was originally slated to be released on Interscope/Geffen. However, feeling that a more traditional guitar rock album would get lost in the promotional shuffle, Slash moved over to Koch, which finally released Ain't Life Grand in October 2000. A few years later, Slash teamed up again with McKagan and other notable rockers to form the supergroup Velvet Revolver, who released their first album in 2004. ~ Steve Huey, All Music Guide

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01 Ghost Feat. Ian Astbury 3:35
02 Crucify The Dead Feat. Ozzy Osbourne 4:04
03 Beautiful Dangerous Feat. Fergie 4:38
04 Back From Cali Feat. Myles Kennedy 3:36
05 Promise Feat. Chris Cornell 4:40
06 By The Sword Feat. Andrew Stockdale Of Wolfmother 4:51
07 Gotten Feat. Adam Levine 5:02
08 Doctor Alibi Feat. Lemmy Kilmeister 3:09
09 Watch This Dave Feat. Dave Grohl And Duff Mckagan 3:47
10 I Hold On Feat. Kid Rock 4:16
11 Nothing To Say Feat. M. Shadows Of Avenged Sevenfold 5:26
12 Starlight Feat. Myless Kennedy 5:26
13 Saint Is A Sinner Too Feat. Rocco Deluca 3:27
14 We'Re All Gonna Die Feat. Iggy Pop 4:32

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Bonus Track:
01 Sahara (Feat. Koshi Inaba) 3:58
02 Baby Can'T Drive (Feat. Alice Cooper & Nicole Scherzinger) 3:20
03 Paradise City (Feat. Fergie & Cypress Hill) 5:14

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Lifehouse - Smoke & Mirrors 2CD [2010]

2010-05-02T02:52:00.000-07:00

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Biography by Andrew Leahey@allmusic.com

Led by singer/songwriter Jason Wade, Lifehouse emerged in the early 2000s with a commercial blend of pop/rock melody and throaty, post-grunge vocals. Wade, who originally tagged the band Blyss upon its inception in 1996, was raised by missionary parents in a variety of locales. He eventually settled in Los Angeles with his mother and took a keen interest in songwriting. Bassist Sergio Andrade lived next door, and the two spent hours in Wade's garage, fine-tuning their original compositions and laying the brickwork for Lifehouse's cathartic, accessible sound. Those rehearsals paved the way for a self-released album, Diff's Lucky Band, as well as a series of shows at church worship services. Lifehouse resisted the temptation to become a full-fledged Christian band, however, and instead signed a contract with DreamWorks Records as an alternative rock trio. Drummer Jon Palmer completed the lineup.

No Name Face marked the band's official debut in the fall of 2000. The album enjoyed double-platinum sales on the strength of "Hanging by a Moment," which was the most played radio track of 2001. In a market dominated by teen pop, Lifehouse stood out as champions of guitar-based music, and their unexpected success drew them back inside the studio to work on a follow-up album. With Brendan O'Brien handling production duties, Wade led his band through the recording of Stanley Climbfall during the spring and summer of 2002. The record was released on DreamWorks the following September, but it failed to match the sales of its predecessor. Lifehouse's lineup splintered soon after, with Andrade exiting the group to pursue alternate projects.

Wade pieced together a revised Lifehouse and returned in early 2005 with a self-titled third album. For the touring that followed its release, Wade and percussionist Rick Woolstenhulme were joined by former AM Radio bassist/vocalist Bryce Soderberg, who remained with the group for its return to alternative rock on 2007's Who We Are. Smoke & Mirrors appeared two years later, sporting a collaboration with rapper/songwriter Kevin Rudolf on the leadoff single "Halfway Gone."

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01.All In 5.81 M
02.Nerve Damage 6.31 M
03.Had Enough 5.56 M
04.Halfway Gone 4.94 M
05.It Is What It Is 4.77 M
06.From Where You Are 3.97 M
07.Smoke & Mirrors 7.1 M
08.Falling In 5.4 M
09.Wrecking Ball 6.9 M
10.Here Tomorrow Gone Today 4.91 M
11.By Your Side 5.43 M
12.In Your Skin 5.59 M

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Def Leppard - Retro Active [1993]

2010-05-02T02:35:00.002-07:00

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Review by Eduardo Rivadavia @allmusic.com

Retro Active is a collection of outtakes and leftovers spanning Def Leppard's entire career. Kicking off the disc, "Desert Song" and "Fractured Love" are two of its most distinctive tracks, harkening back to the band's early (pre-success) days with their rough power chords. After paying homage to some of their heroes with a set of covers (Sweet's "Action" and Mick Ronson's "Only After Dark"), the band tackles a couple of solid, but hardly groundbreaking ballads — "Two Steps Behind" and "Miss You in a Heartbeat" — before stretching out (with mixed results) on the folky "From the Inside." Taken from the Hysteria sessions, the classy "I Wanna Be Your Hero" is another pleasant surprise, and the band reaches all the way back to the beginning by re-recording their first demo "Ride into the Sun." Overall, this is an interesting release which marks the end of a long chapter in the band's history, following the death of guitarist and guiding force Steve Clark. While casual fans might find it confusing, Leppard fanatics will revel in its diversity and informative liner notes.

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01.Desert Song 7.21 M
02.Fractured Love 7.15 M
03.Action 5.05 M
04.Two Steps Behind (Acoustic Version) 5.87 M
05.She's Too Tough 5.04 M
06.Miss You In A Heartbeat 5.59 M
07.Only After Dark 5.31 M
08.Ride Into The Sun 4.39 M
09.From The Inside 5.85 M
10.Ring Of Fire 6.45 M
11.I Wanna Be Your Hero 6.18 M
12.Miss You In A Heartbeat 6.76 M
13.Two Steps Behind (Electric Version) 6.2 M
14.Miss You In A Heartbeat 5.7 M

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Third Eye Blind - Ursa Major [2010]

2010-05-02T02:35:00.001-07:00

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Track List: Disc #1/2

College radio darlings-turned-major label powerhouse Third Eye Blind return
after nearly six years for their long-awaited fourth album, URSA MAJOR. A potent
blend of metal, punk, and 60s rock influences cut against guitarist Tony
Fredianellis and singer Stephen Jenkins keen songwriting instincts, the album
is a back-to-basic return to the groups core sound.

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Track List: Disc #1/2

01. Can You Take Me 3:20 , 5.88 MB
02. Dont Believe A Word 4:00 , 6.50 MB
03. Bonfire 4:07 , 6.30 MB
04. Sharp Knife 4:26 , 6.67 MB
05. One In Ten 2:49 , 3.43 MB
06. About To Break 3:55 , 5.77 MB
07. Summer Town 4:51 , 7.40 MB
08. Why Cant You Be 5:25 , 6.81 MB
09. Water Landing 4:29 , 5.98 MB
10. Dao Of St. Paul 4:04 , 5.22 MB
11. Monotovs Private Opera 4:18 , 5.54 MB
12. Carnival Barker 1:23 , 1.74 MB

Track List: Disc #2/2

01. Non Dairy Creamer 4:28 , 6.64 MB
02. Red Star 4:02 , 6.33 MB
03. Monotovs Private Opera 4:20 (Acoustic) , 4.95 MB
04. Bonfire (Live) 4:38 , 6.66 MB
05. Why Cant You Be (Feat. Kimya Dawson) 5:27 , 7.14 MB

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Phantom X - This Is War [2010]

2010-05-02T02:35:00.000-07:00

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"Phantom X" is an American power metal band currently on their third release "This is War". I have to say I am not really familiar with the band's previous works but coming across this amazing album cover (reminded me of "Stryper- To Hell with the Devil") together with the fact that the album is released by "Perris Records", intrigued me too much to leave this release on the shelf.

It is fair to say that over the past few months one has come across a good number of ambitious power metal albums including "Iron Mask", "Dream Evil", "Gamma Ray" and "Freedom Call". Never the less, "Phantom X" latest album stands up to the competition; "This is war" may not be the catchiest, fastest or most aggressive album amongst the latest power metal releases yet it has the quality of a CLASSIC album.
By the time the first song "This is war" kicks in, you know the band is not set to impress, just deliver a solid classic-metal attack through the listener's stereo and they succeed at that! Yes "Phantom X" are technically proficient as well as effective songwriters, still their focus is on directness; naturally any unnecessary progressions or musical experimentations are left behind for the sake of "This is war" being as straightforward as possible.

Despite the flawless production, (a must for any post-2000 album) the material on `This is war" could date sometime during the mid 80s when the international Power metal scene was building momentum. Really, there is no other way of putting it; `This is war', `Forever midnight', `Chaos in paradise', `Twilight', `Cries in the night' make direct reference to the earliest power metal works and what is more important is that it sounds authentic and unforced.

I believe the new "Phantom X" album is the American response to the previously mentioned European power metal bands and their latest works. For anyone hooked to the early Power metal sound "This is war" is a must; plus if you have bought any of the previously mentioned bands/albums, "Phantom X" will unquestionably give you more of the stuff you enjoy.

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01. Call To Arms.mp3 , 2.93 MB
02. This Is War.mp3 , 9.83 MB
03. Forever Midnight.mp3 , 9.58 MB
04. Chaos In Paradise.mp3 , 9.05 MB
05. Into Battle We Ride.mp3 , 14.60 MB
06. A Strange World (chapter 8).mp3 , 12.69 MB
07. The Lord Of The Sword.mp3 , 8.73 MB
08. Twilight.mp3 , 2.89 MB
09. Blood Of Eden.mp3 , 8.29 MB
10. Discovery II (chapter 9).mp3 , 6.08 MB
11. Whore Of Babylon.mp3 , 9.20 MB
12. Cries In The Night.mp3 , 14.01 MB
13. Deep Six Down (chapter 10).mp3 , 10.16 MB

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Disturbed - The Sickness (10th Anniversary Edition) [2010]

2010-05-02T02:34:00.000-07:00

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Ten years seems like yesterday with the way time flies. I was a high school freshman when Disturbed's debut album came out, and it was one of the cd's I heard to help get me through high school. To celebrate the 10th anniversary, The Sickness was remixed by Neal Avron (who also did Indestructible) and remastered by Ted Jensen (Slipknot, Metallica, Bullet For My Valentine), and was repackaged with two bonus tracks ("God Of The Mind" and "A Welcome Burden," both recorded during the album's sessions, and previously available on soundtracks to Dracula 2000 and Valentine, and the Sickness import) and new expanded artwork as well as a nice holographic cover. Now, the question that previous owners probably have on their minds: is it really worth it? Hell yes. The remixing and remastering does make a difference. What was raw and visceral is now even more upfront and more darker sounding in my opinion. I honestly felt like I was listening to a new album. Plus, if you weren't happy with the 47 minute and 47 second length, you've got two bonus tracks that push it over 54 minutes. All in all, if The Sickness is your choice for favorite Disturbed album, then you should get this.

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01.disturbed-voices.mp3 , 5.34 MB
02.disturbed-the_game.mp3 , 6.45 MB
03.disturbed-stupify.mp3 , 7.02 MB
04.disturbed-down_with_the_sickness.mp3 , 7.56 MB
05.disturbed-violence_fetish.mp3 , 5.71 MB
06.disturbed-fear.mp3 , 6.01 MB
07.disturbed-numb.mp3 , 6.40 MB
08.disturbed-want.mp3 , 5.98 MB
09.disturbed-conflict.mp3 , 7.43 MB
10.disturbed-shout_2000.mp3 , 6.72 MB
11.disturbed-droppin_plates.mp3 , 6.02 MB
12.disturbed-meaning_of_life.mp3 , 6.16 MB
13.disturbed-god_of_the_mind.mp3 , 5.09 MB
14.disturbed-a_welcome_burden.mp3 , 5.80 MB

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Timo Tolkki - Classical Variations & Themes [2003]

2010-05-02T02:31:00.000-07:00

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Biography @en.wikipedia.org

Tolkki started playing guitar at the age of 7. As a young teenager, Tolkki practically slept with his guitar and it was not uncommon for him to practice 8 hours a day.

Tolkki joined Stratovarius in 1984. Prior to this, he had already played with the bands Antidote, Thunder and Road Block. At the beginning of his career with Stratovarius, he served as vocalist as well as handling all lead and rhythm guitars, and at times bass guitar (until long-term bassist Jari Kainulainen was hired). This led to an important decision after the band's third album, Dreamspace, which was to be the acquisition of singer and trained vocalist, Timo Kotipelto, in 1994. This was largely due to Tolkki's desire to evolve the 'sound' and overall musical direction of Stratovarius (which ultimately resulted in the remaining original members of the band, Tuomo Lassila and Antti Ikonen, being unceremoniously fired), as well as feeling the need to concentrate more exclusively on his own guitar work.

In that same year, Tolkki released his first solo album, Classical Variations and Themes, which had at the time been one of his longtime ambitions. The album turned out to be quite different from his work with Stratovarius; comprising influences of neo-classical metal and a focus on primarily instrumental compositions. In 2002 he released his second solo album, Hymn to Life, which showed a much more personal side; dealing with such emotional issues as his relationship with God and his late father.

At one point in 2004, he was diagnosed with bipolar disorder following a nervous breakdown, which occurred some months after Stratovarius disbanded. After a period of rehabilitation, he went on to make a full recovery later that year and subsequently opened Goldenworks Mixing Suite, which was to be his own recording studio.

Tolkki then created a metal opera called Saana - Warrior of Light. Part One was released on March 14, 2008. It featured a number of guest vocalists, including soprano Jennifer Sowle in the lead role, as well as Aino Laos, Janette Sainio and Heikki Pöyhiä of Twilightning in other roles.

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01 Lord Of The Rings 5:41
02 Fire Dance Suite 4:57
03 Guitar Concerto 2:52
04 Northern Lights 2:17
05 Capriccio In A Minor 1:08
06 Back To The Ice Age 4:02
07 Death Of The Swan 3:53
08 Soldiers Prayer 4:04
09 Flying Samir 3:01
10 Sunwinds 2:40
11 Greensleeves 1:51

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Axel Rudi Pell - One Night Live [2010]

2010-05-02T02:17:00.000-07:00

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German guitarist Axel Rudi Pell is one of heavy metal's masterminds, thanks to his spiraling playing techniques and pinch-hitting riffs which crafted Pell as a mainstay in the hard rock genre for the majority of the hair metal '80s. His first band, Steeler, kicked off a mild career in Europe during the early part of the decade, issuing three albums (Steeler [1984], Rulin' the Earth [1985], Strike Back [1986]) prior to 1987's Undercover Animal, which signaled the beginning of Pell's long-sought solo career. This professional jaunt allowed Pell to fully expose his riveting playing power and collaborations between he and other musicians. His 1989 debut Wild Obsession showcased ex-Steeler's bassist Volker Krawczak and vocal charm from Charlie Huhn, but 1991's sophomore effort proved Pell's determination. Nasty Reputation was heavier, throttling with Rob Rock on vocals and a definitive stance for Pell to also breach upon neo-classical influences. Later albums such as Black Moon Pyramid (1996) and Oceans of Time (1998) were exquisitely mastered, churning similar sounds of Rainbow and Deep Purple. Axel Rudi Pell proved his single star status, almost celebratory, like guitar wizard Yngwie Malmsteen, throughout the '90s as well, issuing a slew of releases while remaining a chief force among the German charts. ~ MacKenzie Wilson, All Music Guide

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01 Tear Down The Walls 6:25
02 Strong As A Rock 8:14
03 Medley: Masquerade Ball-Casbah-Tales Of The Crown 14:37
04 Drum Solo 4:31
05 Rock The Nation 6:11
06 The Temple Of The King 9:18
07 Mysteria 9:46
08 Fool Fool Eternal Prisoner 13:38

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MGMT - Congratulations [2010]

2010-05-02T02:16:00.002-07:00

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Finding an unlikely middle point between Suicide's hostile proto-electro punk art noise and the sardonic, studied, but ultimately pop-friendly sound of the Flaming Lips, MGMT started as electroclash musical terrorists but quickly transmogrified into an eclectic, brainy pop group with heavy psychedelic overtones. MGMT first formed in 2002, during Ben Goldwasser and Andrew Van Wyngarden's freshman year as art students at Wesleyan University in Middletown, CT. At first the band was known as the Management, and its shows consisted mostly of backing tapes, synthesizers, and prerecorded vocals playing as Goldwasser and Van Wyngarden engaged the audience in a manner somewhere between performance art and good old-fashioned punky hostility. By their senior year, things had toned down considerably on-stage and the duo was augmenting its live sound with backing musicians.

Upon graduating, MGMT released an electro-rock EP, Time to Pretend, on the tiny indie Cantora Records in 2005. Good reviews, especially for the title track, and extensive touring brought the duo to the attention of British producer Steve Lillywhite in his role as an A&R executive for Columbia Records, which signed the band for a major long-term deal in 2006. Regrouping in Brooklyn, the duo enlisted producer Dave Fridmann to create the entirely different-sounding Oracular Spectacular, a far more musically expansive album that was released digitally in late 2007 (a traditional CD release followed in January 2008). Additionally, MGMT served as Of Montreal's opening act for their extensive 2007 tour, during which Van Wyngarden and Of Montreal frontman Kevin Barnes began sketching out ideas for a new collaboration called Blikk Fang. ~ Stewart Mason, All Music Guide

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01 04:06 It’s Working , 6.89 MB
02 04:09 Song For Dan Treacy , 6.84 MB
03 02:30 Someone’s Missing , 3.74 MB
04 04:16 Flash Delirium , 6.26 MB
05 03:40 I Found A Whistle , 5.67 MB
06 12:10 Siberian Breaks , 18.53 MB
07 04:32 Brian Eno , 6.98 MB
08 04:31 Lady Dada’s Nightmare , 6.98 MB
09 03:55 Congratulations , 5.60 MB

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Cinderella - Live At The Mohegan Sun [2010]

2010-05-02T02:16:00.001-07:00

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Hard rock band Cinderella gained success in the mid-'80s, turning out a series of million-selling albums and hit singles while placing music videos in heavy rotation on MTV. By the mid-'90s, the group's mass popularity had subsided due to professional setbacks and perceived changes in taste. But they continued to tour regularly well into the 21st century.

Cinderella was founded in Philadelphia, PA, in 1983 by singer/songwriter/guitarist/keyboardist Tom Keifer (born January 26, 1961) and bassist Eric Brittingham (born May 8, 1960), who quickly added lead guitarist Jeff LaBar (born March 18, 1963). Guitarist Michael Kelly Smith and drummer Tony Destra were also early members of the band, but they left in 1985 to form Britny Fox. Cinderella then added drummer Jody Cortez and continued as a four-piece. Insisting on playing original material, they performed in clubs and bars in Pennsylvania and New Jersey, and in 1985 Jon Bon Jovi caught one of their shows. He was sufficiently impressed to alert his record company, Mercury, which signed the band. Their debut album, Night Songs, was released in June 1986. Shortly after its completion, Cortez left the band and was replaced by Fred Coury (born October 20, 1964). The LP was not an immediate success, but it gained momentum gradually while the band toured extensively as an opening act to promote it. It broke into the Billboard chart in July, and the track "Shake Me," although it failed to chart as a single, got enough radio attention to turn up on Billboard's Album Rock Tracks chart in August. On October 1, the album was certified gold. That month, Mercury released a second single, "Nobody's Fool," accompanied by a music video that earned play on MTV; it broke into the charts in November and peaked at number 13 in February 1987. Its success further stimulated sales of the album, which was certified platinum in December 1986 and broke into the Top Ten by the end of the year; it peaked at number 3 in February 1987, and that same month was certified double platinum. In April, Mercury released a third single, "Somebody Save Me," which peaked at number 66 in May. (The album was certified triple platinum in May 1991.)

Having broken through to popular success with Night Songs, Cinderella returned with their second album, Long Cold Winter, in July 1988. Radio initially focused on the track "Gypsy Road," giving it a Top 20 ranking in the Album Rock Tracks chart, but Mercury did not release it as a single at first (although in the U.K., where it was released as a single, it charted). Instead the power ballad "Don't Know What You Got (Till It's Gone)" was released as a single in August, and it peaked at number 12 in November. The album reached number ten in September, the same month it was certified gold and platinum simultaneously, with a double-platinum certification following in November. (It was certified triple platinum in January 1997.) As the group continued to tour relentlessly through 1988 and 1989, Mercury broke more singles from the LP. "The Last Mile," released in December, peaked at number 36 in March 1989; "Coming Home," released in March, hit number 20 in June; and "Gypsy Road," finally put on 45 a year after the release of Long Cold Winter in July 1989, and backed by a live version of the Rolling Stones' "Jumpin' Jack Flash," got to number 51 in September.

Again, Cinderella came off the road and spent a year crafting its third album, Heartbreak Station, which appeared in November 1990. Although it was a hit out of the box, going gold in January 1991 and platinum in February, the album encountered more resistance than the band's previous efforts, peaking at number 19, with no multi-platinum certifications forthcoming. Leadoff single "Shelter Me" peaked at number 36 in February, and the title song reached number 44 in April. More disturbing than this mild commercial disappointment, however, were problems within the band. Coury departed, and Cinderella initially replaced him with Kevin Valentine, then hired noted session drummer Kenny Aronoff temporarily before bringing in Kevin Conway. Then, after the U.S. leg of the Heartbreak Station tour had ended and the band was gearing up to go to Japan in 1991, Keifer woke up one morning and found he couldn't sing. Doctors initially were unable to figure out what was wrong, but a specialist finally diagnosed paresis of the laryngeal nerve controlling the left vocal cord. Keifer was forced to undergo two throat operations, followed by extensive therapy. Cinderella managed to put a track, "Hot and Bothered," on the chart-topping Wayne's World soundtrack, released in February 1992, but otherwise the band was out of commission for an extended period of time.

In the meanwhile, fashions changed. Cinderella had been part of a "pop-metal" movement including Bon Jovi, Great White, and Ratt, who preceded them, as well as Poison, the enormously popular Guns N' Roses, and L.A. Guns, who followed them. But when "grunge" rockers Nirvana, boasting a neo-punk style, broke through to success in the fall of 1991 with their album Nevermind and single "Smells Like Teen Spirit," the record labels suddenly became enamored of their stripped-down approach. Suddenly, instead of the teased and blown-dry coiffures and skin-tight stage costumes of the pop-metal bands, it was the dirty-hair-falling-in-the-face, flannel-shirt-and-jeans look of Nirvana frontman Kurt Cobain that was all the rage. Soon, the pop-metal groups were written off with a new epithet, dismissed as "hair metal" bands. By the time Keifer & Co. finally emerged with the fourth Cinderella album, Still Climbing, in November 1994, it could only manage to spend one week at number 178 before disappearing. Mercury promptly dropped the band.

Cinderella's touring opportunities also dried up, and while the group did not formally disband in 1995, it became inactive for lack of offers. Keifer moved to Nashville in 1997 and worked on his songwriting, eventually getting cuts on albums by Andy Griggs and Lynyrd Skynyrd. By 1998, there was enough interest by promoters for Cinderella to reunite (with Coury rejoining) for a tour. On October 2 and 3, they appeared at the Key Club in Hollywood, CA, and recorded the show for an album, Live at the Key Club, released on Cleopatra's Dead Line label in July 1999. Unfortunately, the disc was also licensed out to other labels over the years and has confused consumers by also appearing under the titles In Concert and Live From the Gypsy Road. Meanwhile, Cinderella had been signed to Sony's Portrait label by famed record executive John David Kalodner, who was also signing other hard rock bands of the '80s. But initial Portrait releases were not successful, and Cinderella's contract was canceled. Nevertheless, a faithful fan base supported continuing road work by the band, which reunited in the summer of 2000 for a tour with Poison, followed by a second outing by the two groups in 2002. In 2005, VH1 sponsored the Rock Never Stops package tour, which Cinderella headlined, supported by Ratt, Quiet Riot, and Firehouse, with dates extending through the summer. ~ William Ruhlmann, All Music Guide

01 Intro 1:36
02 Night Songs 3:16
03 The Last Mile 3:16
04 Somebody Save Me 3:40
05 Heartbreak Station 5:18
06 Coming Home 5:29
07 Shelter Me 5:42
08 Nobody'S Fool 6:35
09 Gypsy Road 4:31
10 Don'T Know What You Got (Till It'S Gone) 6:14
11 Shake Me 6:25
12 Fallin Apart At The Seams 5:10
13 Push Push 2:51
14 Still Climbing 4:27

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Noel Gallagher -The Dreams We Have As Children [2009]

2010-05-02T02:02:00.000-07:00

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01 Fade Away 5:06
02 Listen Up 4:48
03 Half The World Away 4:04
04 The Butterfly Collector 4:25
05 All You Need Is Love 3:26
06 Don'T Go Away 4:04
07 Sad Song 4:22
08 Wonderwall 4:48
09 Slide Away 6:14
10 There Is A Light That Never Goes Out 4:47
11 Married With Children 3:22

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Axel Rudi Pell - The Crest [2010]

2010-05-02T01:59:00.001-07:00

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01 Prelude Of Doom (Intro) 1:32
02 Too Late 5:58
03 Devil Zone 6:08
04 Prisoner Of Love 5:56
05 Dreaming Dead 7:39
06 Glory Night 5:45
07 Dark Waves Of The Sea 8:00
08 Burning Rain 5:44
09 Noblesse Oblige 4:08
10 The End Of Our Time 6:15

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Meat Loaf – Hang Cool Teddy Bear [2010]

2010-05-02T01:59:00.000-07:00

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Tracklist:
1. Peace On Earth (10.50 MB)
2. Living On The Outside (8.34 MB)
3. Los Angeloser (6.95 MB)
4. If I Can't Have You (8.19 MB)
5. Love Is Not Real (12.21 MB)
6. Like A Rose (5.74 MB)
7. Song Of Madness (8.80 MB)
8. Did You Ever Love Somebody (6.21 MB)
9. California Isn't Big Enough For Me (7.81 MB)
10. Running Away From Me (6.03 MB)
11. Let's Be In Love (7.88 MB)
12. If It Rains (6.84 MB)
13. Elvis In Vegas (9.43 MB)

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Michael Bolton - One World One Love [2009]

2010-05-02T01:42:00.001-07:00

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Ready For You 9.12 M
Just One Love 9.64 M
Need You To Fall 8.39 M
Hope It's Too Late 7.2 M
Can You Feel Me 9.11 M
The Best 9.34 M
Murder My Heart 9.31 M
You Comfort Me 8.5 M
Sign Your Name 8.01 M
Invisible Tattoo 9.24 M
Survivor 8.96 M
Crazy Love 6.4 M

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Michael Bolton - Bolton Swings Sinatra [2006]

2010-05-02T01:42:00.000-07:00

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You Go To My Head 4.91 M
Fly Me To The Moon (In Other Words) 3.93 M
For Once In My Life 4.78 M
Summer Wind 3.28 M
My Funny Valentine 4.91 M
I've Got You Under My Skin 5.03 M
That's Life 4.46 M
The Second Time Around (With Nicollette Sheridan) 4.27 M
The Girl From Ipanema 4.27 M
Night And Day 5.57 M
They Can't Take That Away From Me 4.38 M
New York, New York 4.62 M

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Dream Theater Once In A Live Time 2CD [1998]

2010-05-02T01:19:00.000-07:00

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Disc 1
1. A Change Of Seasons I , 5.41 MB
2. A Change Of Seasons II , 4.26 MB
3. Puppies On Acid, 1.93 MB
4. Just Let Me Breathe , 8.08 MB
5. Voices , 14.51 MB
6. Take The Time, 16.92 MB
7. Keyboard Solo , 2.62 MB
8. Lines In The Sand , 18.14 MB
9. Scarred , 12.98 MB
10. A Change of Seasons IV , 4.53 MB
11. Ytse Jam, 5.72 MB
12. Drum Solo , 9.60 MB

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Disc 2
1. Trial Of Tears , 19.46 MB
2. Hollow Years, 9.65 MB
3. Take Away My Pain, 8.62 MB
4. Caught In A Web , 7.24 MB
5. Lie , 9.27 MB
6. Peruvian Skies , 10.76 MB
7. Guitar Solo , 11.13 MB
8. Pull Me Under , 11.33 MB
9. Metropolis , 8.61 MB
10. Learning To Live, 5.80 MB
11.A Change of Seasons VII , 5.24 MB

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Dream Theater - Scenes From A Memory [1999]

2010-05-02T01:16:00.000-07:00

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1. Regression
2. Overture 1928
3. Strange Deja Vu
4. Through My Words
5. Fatal Tragedy
6. Beyond This Life
7. Through Her Eyes
8. Home
9. The Dance of Eternity
10. One Last Time
11. The Spirit Carries On
12. Finally Free

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Dream Theater - The Silent Man [1994]

2010-05-02T01:07:00.000-07:00

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1. The Silent Man (LP Version)
2. Take The Time (Demo Version)
3. Eve (Non Album Track)

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Dream Theater - Systematic Chaos [2007]

2010-05-02T01:05:00.000-07:00

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1. In The Presence of Enemies Pt.1 (9:00)
2. Forsaken (5:36)
3. Constant Motion (6:55)
4. The Dark Eternal Night (8:51)
5. Repentance (10:43)
6. Prophets Of War (6:01)
7. The Ministry of Lost Souls (14:57)
8. In The Presence of Enemies Pt.2 (16:38)

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Dream Theater - Through Her Eyes [2000]

2010-05-02T01:04:00.000-07:00

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1. Through Her Eyes (Radio Edit), 6.11 MB
2. Through Her Eyes (Alternate Album Mix), 8.33 MB
3. Home (Live), 19.72 MB
4. When Images and Words Unite (Live medley), 21.80 MB
I Pull Me Under
II Under A Glass Moon
III A Fortune In Lies
IV Only a Matter of Time
V Take The Time

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Dream Theater - Train Of Thought [2003]

2010-05-02T01:01:00.000-07:00

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1. As I Am, 14.26 MB
2. This Dying Soul, 20.96 MB
3. Endless Sacrifice , 20.87 MB
4. Honor Thy Father, 18.72 MB
5. Vacant, 5.41 MB
6. Stream Of Consciousness , 20.62 MB
7. In The Name Of God , 26.06 MB

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Dream Theater - When Dream And Day Unite [1989]

2010-05-02T00:55:00.000-07:00

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1. A Fortune In Lies, 11.93 MB
2. Status Seeker , 9.81 MB
3. The Ytse Jam , 13.22 MB
4. The Killing Hand , 19.90 MB
I The Observance
II Ancient Renewal
III The Stray Seed
IV Thorus
V Exodus
5. Light Fuse And Get Away , 16.92 MB
6. After Life , 12.47 MB
7. The Ones Who Help To Set The Sun , 18.49 MB
8. Only A Matter Of Time , 15.09 MB

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Axel Rudi Pell - Tales Of The Crown [2008]

2010-05-02T00:49:00.000-07:00

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German guitarist Axel Rudi Pell is one of heavy metal's masterminds, thanks to his spiraling playing techniques and pinch-hitting riffs which crafted Pell as a mainstay in the hard rock genre for the majority of the hair metal '80s. His first band, Steeler, kicked off a mild career in Europe during the early part of the decade, issuing three albums (Steeler [1984], Rulin' the Earth [1985], Strike Back [1986]) prior to 1987's Undercover Animal, which signaled the beginning of Pell's long-sought solo career. This professional jaunt allowed Pell to fully expose his riveting playing power and collaborations between he and other musicians. His 1989 debut Wild Obsession showcased ex-Steeler's bassist Volker Krawczak and vocal charm from Charlie Huhn, but 1991's sophomore effort proved Pell's determination. Nasty Reputation was heavier, throttling with Rob Rock on vocals and a definitive stance for Pell to also breach upon neo-classical influences. Later albums such as Black Moon Pyramid (1996) and Oceans of Time (1998) were exquisitely mastered, churning similar sounds of Rainbow and Deep Purple. Axel Rudi Pell proved his single star status, almost celebratory, like guitar wizard Yngwie Malmsteen, throughout the '90s as well, issuing a slew of releases while remaining a chief force among the German charts. ~ MacKenzie Wilson, All Music Guide

Higher 16.71 M
Ain't Gonna Win 11.13 M
Angel Eyes 11.36 M
Crossfire 12.3 M
Touching My Soul 14.97 M
Emotional Echoes 11.72 M
Riding On An Arrow 13.56 M
Tales Of The Crown 19.13 M
Buried Alive 13.07 M
Northern Lights 14.57 M

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Dream Evil - In The Night [2010]

2010-05-02T00:46:00.000-07:00

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01.Immortal 10.62 M
02.In The Night 7.45 M
03.Bang Your Head 8.84 M
04.See The Light 8.39 M
05.Electric 8.79 M
06.Frostbite 8.04 M
07.On The Wind 8.59 M
08.The Ballad 11.13 M
09.In The Fires Of The Sun 10.74 M
10.Mean Machine 9.36 M
11.Kill, Burn, Be Evil 6.54 M
12.The Unchosen One 8.29 M
13.Good Nightmare (Bonus Track) 9.16 M
14.The Return (Bonus Track) 8.1 M

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Axel Rudi Pell - Kings And Queens [2004]

2010-05-02T00:44:00.000-07:00

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German guitarist Axel Rudi Pell is one of heavy metal's masterminds, thanks to his spiraling playing techniques and pinch-hitting riffs which crafted Pell as a mainstay in the hard rock genre for the majority of the hair metal '80s. His first band, Steeler, kicked off a mild career in Europe during the early part of the decade, issuing three albums (Steeler [1984], Rulin' the Earth [1985], Strike Back [1986]) prior to 1987's Undercover Animal, which signaled the beginning of Pell's long-sought solo career. This professional jaunt allowed Pell to fully expose his riveting playing power and collaborations between he and other musicians. His 1989 debut Wild Obsession showcased ex-Steeler's bassist Volker Krawczak and vocal charm from Charlie Huhn, but 1991's sophomore effort proved Pell's determination. Nasty Reputation was heavier, throttling with Rob Rock on vocals and a definitive stance for Pell to also breach upon neo-classical influences. Later albums such as Black Moon Pyramid (1996) and Oceans of Time (1998) were exquisitely mastered, churning similar sounds of Rainbow and Deep Purple. Axel Rudi Pell proved his single star status, almost celebratory, like guitar wizard Yngwie Malmsteen, throughout the '90s as well, issuing a slew of releases while remaining a chief force among the German charts. ~ MacKenzie Wilson, All Music Guide

The Gate 2.45 M
Flyin' High 9.34 M
Cold Heaven 12.26 M
Strong As A Rock 11.27 M
Forever Angel 13.88 M
Legions Of Hell 19.99 M
Only The Strong Will Survive 12.79 M
Sailing Away 13.48 M
Take The Crown 15.69 M
Sea Of Evil 19.41 M

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Axel Rudi Pell - Diamonds Unlocked [2007]

2010-05-02T00:43:00.000-07:00

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German guitarist Axel Rudi Pell is one of heavy metal's masterminds, thanks to his spiraling playing techniques and pinch-hitting riffs which crafted Pell as a mainstay in the hard rock genre for the majority of the hair metal '80s. His first band, Steeler, kicked off a mild career in Europe during the early part of the decade, issuing three albums (Steeler [1984], Rulin' the Earth [1985], Strike Back [1986]) prior to 1987's Undercover Animal, which signaled the beginning of Pell's long-sought solo career. This professional jaunt allowed Pell to fully expose his riveting playing power and collaborations between he and other musicians. His 1989 debut Wild Obsession showcased ex-Steeler's bassist Volker Krawczak and vocal charm from Charlie Huhn, but 1991's sophomore effort proved Pell's determination. Nasty Reputation was heavier, throttling with Rob Rock on vocals and a definitive stance for Pell to also breach upon neo-classical influences. Later albums such as Black Moon Pyramid (1996) and Oceans of Time (1998) were exquisitely mastered, churning similar sounds of Rainbow and Deep Purple. Axel Rudi Pell proved his single star status, almost celebratory, like guitar wizard Yngwie Malmsteen, throughout the '90s as well, issuing a slew of releases while remaining a chief force among the German charts. ~ MacKenzie Wilson, All Music Guide

The Diamond Overture (Intro - Axel Rudi Pell) 4 M
Warriror (Riot) 8.62 M
Beautiful Day (U2) 11.05 M
Stone (Chris Rea/The Law) 15.23 M
Love Gun (Kiss) 9.45 M
Fools Game (Michael Bolton) 9.22 M
Heartbreaker (Free) 15.98 M
Rock The Nation (Montrose) 9.48 M
In The Air Tonight (Phil Collins) 19.88 M
Like A Child Again (The Mission) 11.11 M
Wont Get Fooled Again (The Who) 14.35 M

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Axel Rudi Pell - Oceans Of Time [1998]

2010-05-02T00:41:00.000-07:00

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Slaves Of The Twilight (Intro) 4.37 M
Pay The Price 14.56 M
Carousel 18.49 M
Ashes From The Oath 22.16 M
Ride The Rainbow 11.38 M
The Gates Of The Seven Seals 24.47 M
Oceans Of Time 17.97 M
Prelude To The Moon (Opus #3 Menuetto Prelugio) 11.77 M
Living On The Wildside 11.33 M
Holy Creatures 15.17 M

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Axel Rudi Pell - Shadow Zone [2002]

2010-05-02T00:38:00.002-07:00

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The Curse Of The Chains 3.23 M
Edge Of The World 12.08 M
Coming Home 16.01 M
Live For The King 18.7 M
All The Rest Of My Life 18.4 M
Follow The Sign 10.16 M
Time Of TheTruth 18.88 M
Heartbreaker 15.22 M
Saint Of Fools 11.34 M
Under The Gun Shadow Zone 15.49 M

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Axel Rudi Pell - Magic [1997]

2010-05-02T00:38:00.000-07:00

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German guitarist Axel Rudi Pell is one of heavy metal's masterminds, thanks to his spiraling playing techniques and pinch-hitting riffs which crafted Pell as a mainstay in the hard rock genre for the majority of the hair metal '80s. His first band, Steeler, kicked off a mild career in Europe during the early part of the decade, issuing three albums (Steeler [1984], Rulin' the Earth [1985], Strike Back [1986]) prior to 1987's Undercover Animal, which signaled the beginning of Pell's long-sought solo career. This professional jaunt allowed Pell to fully expose his riveting playing power and collaborations between he and other musicians. His 1989 debut Wild Obsession showcased ex-Steeler's bassist Volker Krawczak and vocal charm from Charlie Huhn, but 1991's sophomore effort proved Pell's determination. Nasty Reputation was heavier, throttling with Rob Rock on vocals and a definitive stance for Pell to also breach upon neo-classical influences. Later albums such as Black Moon Pyramid (1996) and Oceans of Time (1998) were exquisitely mastered, churning similar sounds of Rainbow and Deep Purple. Axel Rudi Pell proved his single star status, almost celebratory, like guitar wizard Yngwie Malmsteen, throughout the '90s as well, issuing a slew of releases while remaining a chief force among the German charts. ~ MacKenzie Wilson, All Music Guide

Swamp Castle Overture (Intro) 5.17 M
Nightmare 12.17 M
Playing With Fire 10.1 M
Magic 21.53 M
Turned To Stone 12.07 M
The Clown Is Dead 27.95 M
Prisoners Of The Sea 12.01 M
Light In The Sky 11.39 M
The Eyes Of The Lost 16.16 M

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Axel Rudi Pell - Black Moon Pyramid [1996]

2010-05-02T00:36:00.000-07:00

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German guitarist Axel Rudi Pell is one of heavy metal's masterminds, thanks to his spiraling playing techniques and pinch-hitting riffs which crafted Pell as a mainstay in the hard rock genre for the majority of the hair metal '80s. His first band, Steeler, kicked off a mild career in Europe during the early part of the decade, issuing three albums (Steeler [1984], Rulin' the Earth [1985], Strike Back [1986]) prior to 1987's Undercover Animal, which signaled the beginning of Pell's long-sought solo career. This professional jaunt allowed Pell to fully expose his riveting playing power and collaborations between he and other musicians. His 1989 debut Wild Obsession showcased ex-Steeler's bassist Volker Krawczak and vocal charm from Charlie Huhn, but 1991's sophomore effort proved Pell's determination. Nasty Reputation was heavier, throttling with Rob Rock on vocals and a definitive stance for Pell to also breach upon neo-classical influences. Later albums such as Black Moon Pyramid (1996) and Oceans of Time (1998) were exquisitely mastered, churning similar sounds of Rainbow and Deep Purple. Axel Rudi Pell proved his single star status, almost celebratory, like guitar wizard Yngwie Malmsteen, throughout the '90s as well, issuing a slew of releases while remaining a chief force among the German charts. ~ MacKenzie Wilson, All Music Guide

Return Of The Pharaoh (Intro) 4.24 M
Gettin' Dangerous 10.38 M
Fool Fool 12.41 M
Hole In The Sky 11.49 M
Touch The Rainbow 15.06 M
Sphinx' Revenge 8.47 M
You And I 10.15 M
Silent Angel 12.22 M
Black Moon Pyramid 22.85 M
Serenade Of Darkness (Opus #1 Adagio Con Agresso) 9.83 M
Visions In The Night 9.44 M
Aqua Solution 2.33 M
Aquarius Dance 9.95 M
Silent Angel (Guitar Version) 9.66 M

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Axel Rudi Pell - Eternal Prisoner [1992]

2010-05-02T00:31:00.000-07:00

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German guitarist Axel Rudi Pell is one of heavy metal's masterminds, thanks to his spiraling playing techniques and pinch-hitting riffs which crafted Pell as a mainstay in the hard rock genre for the majority of the hair metal '80s. His first band, Steeler, kicked off a mild career in Europe during the early part of the decade, issuing three albums (Steeler [1984], Rulin' the Earth [1985], Strike Back [1986]) prior to 1987's Undercover Animal, which signaled the beginning of Pell's long-sought solo career. This professional jaunt allowed Pell to fully expose his riveting playing power and collaborations between he and other musicians. His 1989 debut Wild Obsession showcased ex-Steeler's bassist Volker Krawczak and vocal charm from Charlie Huhn, but 1991's sophomore effort proved Pell's determination. Nasty Reputation was heavier, throttling with Rob Rock on vocals and a definitive stance for Pell to also breach upon neo-classical influences. Later albums such as Black Moon Pyramid (1996) and Oceans of Time (1998) were exquisitely mastered, churning similar sounds of Rainbow and Deep Purple. Axel Rudi Pell proved his single star status, almost celebratory, like guitar wizard Yngwie Malmsteen, throughout the '90s as well, issuing a slew of releases while remaining a chief force among the German charts. ~ MacKenzie Wilson, All Music Guide

Streets Of Fire 11.77 M
Long Time 9.72 M
Eternal Prisoner 17.31 M
Your Life (Not Close Enough To Paradise) 11.75 M
Wheels Rolling On 10.9 M
Sweet Lil' Suzie 16.56 M
Dreams Of Passion 10.49 M
Shoot Her To The Moon 10.55 M
Ride The Bullet 9.79 M

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Axel Rudi Pell - Nasty Reputation [1991]

2010-05-02T00:28:00.000-07:00

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German guitarist Axel Rudi Pell is one of heavy metal's masterminds, thanks to his spiraling playing techniques and pinch-hitting riffs which crafted Pell as a mainstay in the hard rock genre for the majority of the hair metal '80s. His first band, Steeler, kicked off a mild career in Europe during the early part of the decade, issuing three albums (Steeler [1984], Rulin' the Earth [1985], Strike Back [1986]) prior to 1987's Undercover Animal, which signaled the beginning of Pell's long-sought solo career. This professional jaunt allowed Pell to fully expose his riveting playing power and collaborations between he and other musicians. His 1989 debut Wild Obsession showcased ex-Steeler's bassist Volker Krawczak and vocal charm from Charlie Huhn, but 1991's sophomore effort proved Pell's determination. Nasty Reputation was heavier, throttling with Rob Rock on vocals and a definitive stance for Pell to also breach upon neo-classical influences. Later albums such as Black Moon Pyramid (1996) and Oceans of Time (1998) were exquisitely mastered, churning similar sounds of Rainbow and Deep Purple. Axel Rudi Pell proved his single star status, almost celebratory, like guitar wizard Yngwie Malmsteen, throughout the '90s as well, issuing a slew of releases while remaining a chief force among the German charts. ~ MacKenzie Wilson, All Music Guide

I Will Survive 11.63 M
Nasty Reputation 9.57 M
Fighting The Law 7.73 M
Wanted Man 8.81 M
When A Blind Man Cries 10.62 M
Land Of The Giants 24.01 M
Firewall 8.87 M
Unchain The Thunder 8.09 M
Open Doors /Pt. 1: Experience/Pt. 2: The Journey/Pt. 3: [Instrumentals] 10.9 M

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Axel Rudi Pell - Wild Obsession [1989]

2010-05-02T00:27:00.000-07:00

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German guitarist Axel Rudi Pell is one of heavy metal's masterminds, thanks to his spiraling playing techniques and pinch-hitting riffs which crafted Pell as a mainstay in the hard rock genre for the majority of the hair metal '80s. His first band, Steeler, kicked off a mild career in Europe during the early part of the decade, issuing three albums (Steeler [1984], Rulin' the Earth [1985], Strike Back [1986]) prior to 1987's Undercover Animal, which signaled the beginning of Pell's long-sought solo career. This professional jaunt allowed Pell to fully expose his riveting playing power and collaborations between he and other musicians. His 1989 debut Wild Obsession showcased ex-Steeler's bassist Volker Krawczak and vocal charm from Charlie Huhn, but 1991's sophomore effort proved Pell's determination. Nasty Reputation was heavier, throttling with Rob Rock on vocals and a definitive stance for Pell to also breach upon neo-classical influences. Later albums such as Black Moon Pyramid (1996) and Oceans of Time (1998) were exquisitely mastered, churning similar sounds of Rainbow and Deep Purple. Axel Rudi Pell proved his single star status, almost celebratory, like guitar wizard Yngwie Malmsteen, throughout the '90s as well, issuing a slew of releases while remaining a chief force among the German charts. ~ MacKenzie Wilson, All Music Guide

Wild Cat 8.47 M
Call Of The Wild Dogs 8.91 M
Slave Of Love 10.66 M
Cold As Ice 14.63 M
Broken Heart 11.87 M
Call Her Princess 7.71 M
Snake Eyes 12.05 M
Hear You Calling Me 11.35 M
Return Of The Calyph From The Apocalypse Of Babylon 2.02 M
(Don't Trust The) Promised Dreams 14.79 M

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Toni Braxton - Pulse [2010]

2010-05-02T00:08:00.000-07:00

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01 Yesterday 3:48
02 Make My Heart 3:2
03 Hands Tied 3:53
04 Woman 3:51
05 If I Have To Wait 3:56
06 Lookin' At Me 3:20
07 Wardrobe 3:31
08 Hero 4:32
09 No Way 3:31
10 Pulse 3:47
11 Why You Won'T Love Me 4:41

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Scott Weiland - Happy In Galoshes [2008]

2010-05-02T00:06:00.000-07:00

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After first rocketing to fame as the frontman for grunge-era favorites
Stone Temple Pilots, singer Scott Weiland later mounted a solo career.
Born October 27, 1967, in Santa Cruz, CA, he was raised outside of
Cleveland, but moved back to the West Coast at the age of 15, immersing
himself in the thriving Orange County punk scene. In 1987 Weiland
founded the band Mighty Joe Young with guitarist Robert DeLeo; later
rechristened Stone Temple Pilots, the group became one of the biggest
acts of the mid-'90s, following the lead of artists like Nirvana and
Pearl Jam to top the charts with their angst-ridden hard rock sound.
However, their success did not come without a price, and following the
group's second LP, 1994's Purple, it was revealed that Weiland had
become a heroin addict. After a stay in rehab, he returned to Stone
Temple Pilots to record their third record, 1996's Tiny Music...Songs
from the Vatican Giftshop. However, after Weiland suffered a relapse in
his ongoing battle with drugs, the group was forced to cancel their
upcoming tour; when the other three members subsequently recorded an
album with a different singer under the name Talk Show, STP's continued
existence appeared shaky at best, and Weiland went solo to record 1998's
12 Bar Blues.

Problems stemming from drug abuse continued to dog Weiland during the
late '90s as his album faltered commercially and a subsequent arrest for
buying heroin ultimately landed the troubled singer in jail.
Nonetheless, STP reconvened for the 1999 album No. 4 featuring the hit
single "Sour Girl" — purportedly inspired by the breakup of Weiland's
marriage. Despite the success of the album, STP officially parted ways
around 2001 surrounding speculation that a fight between Weiland and
DeLeo was to blame. Post his time with STP, Weiland still seemed unable
to avoid controversy as a car crash on his birthday in 2003 landed him
in rehab. Around this time, former Guns N' Roses members guitarist
Slash, bassist Duff McKagan, and drummer Matt Sorum auditioned Weiland
for their new band. The trio took to Weiland immediately, and the newly
christened hard rock ensemble Velvet Revolver released their debut
album, Contraband, in 2004. The album sold well and the band even picked
up a Grammy for Best Rock Song for the single "Slither" in 2005. Weiland
was also onboard for Velvet Revolver's 2007 sophomore effort, Libertad.

01 - Missing Cleveland 04:14
02 - Tangle With You Mind 03:43
03 - Blind Confusion 04:22
04 - Paralysis 03:51
05 - She Sold Her System 04:32
06 - Fame 03:26
07 - Killing Me Sweetly 04:33
08 - Big Black Monster 03:24
09 - Crash 03:47
10 - Beautiful Day 05:10
11 - Pictures And Computers 06:50
12 - Arch Angel 04:39
13 - Be Not Afraid 06:20

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Alias - Never Say Never [2009]

2010-05-02T00:05:00.000-07:00

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If he played with the antenna enough, young Brendon Whitney could pick up the late-night music television show Friday Night Videos all the way out in his rural, small-town hometown of Hollis, ME. Watching Cosby kid Malcolm-Jamal Warner host the program and present a cross-section of hip-hop videos blew the 13 year old's mind and put him on the path to becoming the underground producer and Anticon associate best known as Alias. A drum machine Christmas present from his parents introduced him to the world of beat-creating. He was well practiced when at age 17 he first met rapper Sole. Three years later, Sole and Alias were members of the Live Poets, which would morph into Deep Puddle Dynamics around 1998 with the addition of Slug and Doseone. More work with the members of the Anticon label's crew influenced Alias to move near the label's headquarters in East Oakland, CA. Work with many of the label's acts followed along with his 2002 solo debut, The Other Side of the Looking Glass, which included Alias' beats and vocals. Both released in 2003, the EP Eyes Closed was all-instrumental while the full-length Muted was mostly instrumental. With each release, his music began to rely less on sampling and more on his own keyboard work. Remix work for others kept Alias behind the computer and drum machine, but he was also looking for more organic and interactive outlets. Since his younger brother Ehren had been growing as a musician in his own right, Alias flew him out to Oakland to work on a full-length. Credited to Alias & Ehren, Lillian was released in 2005. Three years later and influenced by a move back home, the warmer and welcoming album Resurgam appeared. ~ David Jeffries, All Music Guide

01 Woman Enough 4:31
02 Xtcoi 3:44
03 How Much Longer Is Forever 4:10
04 Give Me A Reason To Stay 4:36
05 Wild Wild One 4:47
06 Pleasure And Pain 4:50
07 The Warden 5:12
08 Bare Necessity 4:0
09 All I Want Is You 5:03
10 Call Of The Wild 5:36
11 Diamonds 4:15
12 Play Me A Song 2:00
13 We Want It All 5:23
14 Perfect World 4:33
15 Into The Fire 4:37
16 Who Do You Think You Are 4:09
17 When I'M With You (Live Acoustic Version) 3:45

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Bullet for My Valentine - Fever [2010]

2010-05-01T23:32:00.000-07:00

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01 Your Betrayal 4:51
02 Fever 3:57
03 The Last Fight 4:19
04 A Place Where You Belong 5:06
05 Pleasure And Pain 3:53
06 Alone 5:56
07 Breaking Out, Breaking Down 4:04
08 Bittersweet Memories 5:08
09 Dignity 4:29
10 Begging For Mercy 3:56
11 Pretty On The Outside 3:55

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Bon Jovi - Superman Tonight [2010]

2010-05-01T23:29:00.000-07:00

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01 Superman Tonight (Album Version) 5:14
02 We Weren'T Born To Follow (Live From The Bbc Radio Theatre) 4:23
03 Superman Tonight (Live From The Bbc Radio Theatre) 5:28
04 Living On A Prayer (Live From The Bbc Radio Theatre) 6:36

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Roland Grapow - Kaleidoscope [2003]

2010-05-01T23:21:00.000-07:00

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Roland Grapow was born in 1959. He first began his recording career working with metal band Rampage. The first album he recorded with that group was 1980's Victim of Rock. They also released a second CD before Grapow left the group. That one was released in 1982 and entitled Love Lights Up the Night. In 1988, he joined Helloween and has been with the band ever since. However, he has found the time to release a couple of solo albums. ~ Gary Hill, All Music Guide

Walk On Fire 6.2 M
Under The Same Sun 7.42 M
The Hunger 8.38 M
A Heartbeat Away 7.47 M
Hidden Answer 6.95 M
Till The End 5.28 M
Kaleidoscope 9.29 M
Angel Face 7.96 M
Listen To The Lyrics 5.39 M
Reaching Higher 7.11 M
Lord I'm Dying 6.35 M
Separate Ways (Worlds Apart) 7.53 M

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Deftones - Diamond Eyes [2010]

2010-05-01T23:12:00.000-07:00

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01-deftones_-_diamond_eyes-ysp.mp3 (5.13 MB)
02-deftones_-_royal-ysp.mp3 (6.53 MB)
03-deftones_-_cmnd-ctrl-ysp.mp3 (4.57 MB)
04-deftones_-_youve_seen_the_butcher-ysp.mp3 (5.76 MB)
05-deftones_-_beauty_school-ysp.mp3 (7.73 MB)
06-deftones_-_prince-ysp.mp3 (6.51 MB)
07-deftones_-_rocket_skates-ysp.mp3 (7.84 MB)
08-deftones_-_sextape-ysp.mp3 (5.58 MB)
09-deftones_-_risk-ysp.mp3 (6.18 MB)
10-deftones_-_976-evil-ysp.mp3 (7.32 MB)
11-deftones_-_this_place_is_death-ysp.mp3 (6.52 MB)

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Sevendust - Cold Day Memory [2010]

2010-05-01T23:09:00.000-07:00

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01. Splinter 3:54
02. Forever 3:26
03. Unraveling 3:59
04. Last Breath 3:48
05. Karma 3:52
06. Ride Insane 3:15
07. Confessions (Without Faith) 4:06
08. Nowhere 3:29
09. Here & Now 4:07
10. The End Is Coming 4:34
11. Better Place 4:21
12. Strong Arm Broken 3:39

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Keane – Night Train [2010]

2010-05-01T22:44:00.000-07:00

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1. House Lights
2. Back In Time
3. Stop For A Minute (feat K’naan)
4. Clear Skies
5. Ishin Denshin (You’ve Got To Help Yourself) (feat Tigarah)
6. Your Love
7. Looking Back (feat K’naan)
8. My Shadow

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Guns N' Roses - Use Your Illusion II [1991]

2010-05-01T22:42:00.000-07:00

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At a time when pop was dominated by dance music and pop-metal, Guns N' Roses brought raw, ugly rock & roll crashing back into the charts. They were not nice boys; nice boys don't play rock & roll. They were ugly, misogynist, and violent; they were also funny, vulnerable, and occasionally sensitive, as their breakthrough hit, "Sweet Child O' Mine," showed. While Slash and Izzy Stradlin ferociously spit out dueling guitar riffs worthy of Aerosmith or the Stones, Axl Rose screeched out his tales of sex, drugs, and apathy in the big city. Meanwhile, bassist Duff McKagan and drummer Steven Adler were a limber rhythm section who kept the music loose and powerful. Guns N' Roses' music was basic and gritty, with a solid hard, bluesy base; they were dark, sleazy, dirty, and honest -- everything that good hard rock and heavy metal should be. There was something refreshing about a band who could provoke everything from devotion to hatred, especially since both sides were equally right. There hadn't been a hard rock band this raw or talented in years, and they were given added weight by Rose's primal rage, the sound of confused, frustrated white trash vying for his piece of the pie. As the '80s became the '90s, there simply wasn't a more interesting band around, but owing to intra-band friction and the emergence of alternative rock, Rose's supporting cast gradually disintegrated, as he spent years in seclusion.

Guns N' Roses released their first EP in 1986, which led to a contract with Geffen; the following year, the band released their debut album, Appetite for Destruction. They started to build a following with their numerous live shows, but the album didn't start selling until almost a year later, when MTV started playing "Sweet Child O' Mine." Soon, both the album and single shot to number one, and Guns N' Roses became one of the biggest bands in the world. Their debut single, "Welcome to the Jungle," was re-released and shot into the Top Ten, and "Paradise City" followed in its footsteps. By the end of 1988, they released G N' R Lies, which paired four new, acoustic-based songs (including the Top Five hit "Patience") with their first EP. G N' R Lies' inflammatory closer, "One in a Million," sparked intense controversy, as Rose slipped into misogyny, bigotry, and pure violence; essentially, he somehow managed to distill every form of prejudice and hatred into one five-minute tune.

Guns N' Roses began work on the long-awaited follow-up to Appetite for Destruction at the end of 1990. In October of that year, the band fired Adler, claiming that his drug dependency caused him to play poorly; he was replaced by Matt Sorum from the Cult. During recording, the band added Dizzy Reed on keyboards. By the time the sessions were finished, the new album had become two new albums. After being delayed for nearly a year, the albums Use Your Illusion I and Use Your Illusion II were released in September 1991. Messy but fascinating, the albums showcased a more ambitious band; while there were still a fair number of full-throttle guitar rockers, there were stabs at Elton John-style balladry, acoustic blues, horn sections, female backup singers, ten-minute art rock epics with several different sections, and a good number of introspective, soul-searching lyrics. In short, they were now making art; amazingly, they were successful at it. The albums sold very well initially, but while they had seemed destined to set the pace for the decade to come, that turned out not to be the case at all.

Nirvana's Nevermind hit number one in early 1992, suddenly making Guns N' Roses -- with all of their pretensions, impressionistic videos, models, and rock star excesses -- seem very uncool. Rose handled the change by becoming a dictator, or at least a petty tyrant; his in-concert temper tantrums became legendary, even going so far as to incite a riot in Montreal. Stradlin left by the end of 1991, and with his departure the band lost their best songwriter; he was replaced by ex-Kills for Thrills guitarist Gilby Clarke. The band didn't fully grasp the shift in hard rock until 1993, when they released an album of punk covers, The Spaghetti Incident?; it received some good reviews, but the band failed to capture the reckless spirit of not only the original versions, but their own Appetite for Destruction. By the middle of 1994, there were rumors flying that the band was about to break up, since Rose wanted to pursue a new, more industrial direction and Slash wanted to stick with their blues-inflected hard rock. The band remained in limbo for several more years, and Slash resurfaced in 1995 with the side project Slash's Snakepit and an LP, It's Five O'Clock Somewhere.

Rose remained out of the spotlight, becoming a virtual recluse and doing nothing but tinkering in the studio; he also recruited various musicians -- including Dave Navarro, Tommy Stinson, and ex-Nine Inch Nails guitarist Robin Finck -- for informal jam sessions. Remaining members were infuriated by Rose's inclusion of childhood friend Paul Huge in the new sessions when both Stradlin and Clarke were excluded from rejoining the band. And a remake of the Rolling Stones' "Sympathy for the Devil" was essentially the straw that broke the camel's back, as Rose cut out some of the other member's contributions and pasted Huge over the song without consulting anyone else. By 1996, Slash was officially out of Guns N' Roses, leaving Rose the lone remaining survivor from the group's heyday; rumors continued to swirl, and still no new material was forthcoming, though Rose did re-record Appetite for Destruction with a new lineup for rehearsal purposes. The first new original GNR song in eight years, the industrial metal sludge of "Oh My God" finally appeared on the soundtrack to the 1999 Arnold Schwarzenegger film End of Days. Soon after, Geffen issued the two-disc Live Era: '87-'93.

2000 brought the addition of guitarists Robin Finck (of Nine Inch Nails) and Buckethead. 2001 was greeted with Guns N' Roses' first live dates in nearly seven years, as the band (who consisted of Rose plus guitarists Finck, Buckethead, bassist Stinson, former Primus drummer Brian "Brain" Mantia, childhood friend and guitarist Paul Huge, and longtime GNR keyboardist Dizzy Reed) played a show on New Years Eve 2000 in Las Vegas, playing as well at the mammoth Rock in Rio festival the following month. On New Years Eve 2001, the band played almost the exact same set as the year before.

An appearance at MTV's 2002 Video Music Awards helped garner interest in the new lineup, but a rusty performance from Rose and an interview where he said his new album wasn't coming out anytime soon didn't do much to further their cause. That summer, the band started on their first tour in almost eight years, and they managed to fulfill all of their commitments in Europe and Asia. Sadly, they caused a violent and destructive riot in Vancouver when Rose failed to show up for the first date of their North American tour. While he was up to his old shenanigans with the retooled lineup, former Stone Temple Pilots vocalist Scott Weiland, Slash, Sorum, and McKagan formed the successful Velvet Revolver in spring 2002.

And so years passed and still no new GNR album, to the point where it became a joke to many. The album was long billed as Chinese Democracy, and occasionally session recordings would leak and make their way onto Internet file-sharing networks. A fascinating article written by Jeff Leeds for The New York Times, published March 2005, revealed how tangled and costly the making of the album had become. According to the article, titled "The Most Expensive Album Never Released," Rose began work on the album in 1994 and racked up production costs of at least 13 million dollars. Producers involved with the album at one time or another include Mike Clink, Youth, Sean Beavan, and even Roy Thomas Baker. (Curiously, Moby claimed to have been offered the job as well.) Marco Beltrami and Paul Buckmaster were allegedly brought in for orchestral arrangements, and there was a revolving door of guitarists. In 2006, the album seemed closer to release, as Rose began surfacing in public and even took his band on the road for some shows. ~ Stephen Thomas Erlewine & Greg Prato, All Music Guide

Download via Ziddu

01.Civil War 17.66 M
02.14 Years 10.02 M
03.Yesterdays 7.5 M
04.Knockin' On Heaven's Door 12.84 M
05.Get In The Ring 13 M
06.Shotgun Blues 7.79 M
07.Breakdown 16.27 M
08.Pretty Tied Up 10.98 M
09.Locomotive 19.95 M
10.So Fine 9.45 M
11.Estranged 21.57 M
12.You Could Be Mine 13.15 M
13.Don't Cry (Alt. Lyrics) 10.89 M
14.My World 3.23 M

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Guns N' Roses - The Spaghetti Incident? [1993]

2010-05-01T22:38:00.003-07:00

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At a time when pop was dominated by dance music and pop-metal, Guns N' Roses brought raw, ugly rock & roll crashing back into the charts. They were not nice boys; nice boys don't play rock & roll. They were ugly, misogynist, and violent; they were also funny, vulnerable, and occasionally sensitive, as their breakthrough hit, "Sweet Child O' Mine," showed. While Slash and Izzy Stradlin ferociously spit out dueling guitar riffs worthy of Aerosmith or the Stones, Axl Rose screeched out his tales of sex, drugs, and apathy in the big city. Meanwhile, bassist Duff McKagan and drummer Steven Adler were a limber rhythm section who kept the music loose and powerful. Guns N' Roses' music was basic and gritty, with a solid hard, bluesy base; they were dark, sleazy, dirty, and honest -- everything that good hard rock and heavy metal should be. There was something refreshing about a band who could provoke everything from devotion to hatred, especially since both sides were equally right. There hadn't been a hard rock band this raw or talented in years, and they were given added weight by Rose's primal rage, the sound of confused, frustrated white trash vying for his piece of the pie. As the '80s became the '90s, there simply wasn't a more interesting band around, but owing to intra-band friction and the emergence of alternative rock, Rose's supporting cast gradually disintegrated, as he spent years in seclusion.

Guns N' Roses released their first EP in 1986, which led to a contract with Geffen; the following year, the band released their debut album, Appetite for Destruction. They started to build a following with their numerous live shows, but the album didn't start selling until almost a year later, when MTV started playing "Sweet Child O' Mine." Soon, both the album and single shot to number one, and Guns N' Roses became one of the biggest bands in the world. Their debut single, "Welcome to the Jungle," was re-released and shot into the Top Ten, and "Paradise City" followed in its footsteps. By the end of 1988, they released G N' R Lies, which paired four new, acoustic-based songs (including the Top Five hit "Patience") with their first EP. G N' R Lies' inflammatory closer, "One in a Million," sparked intense controversy, as Rose slipped into misogyny, bigotry, and pure violence; essentially, he somehow managed to distill every form of prejudice and hatred into one five-minute tune.

Guns N' Roses began work on the long-awaited follow-up to Appetite for Destruction at the end of 1990. In October of that year, the band fired Adler, claiming that his drug dependency caused him to play poorly; he was replaced by Matt Sorum from the Cult. During recording, the band added Dizzy Reed on keyboards. By the time the sessions were finished, the new album had become two new albums. After being delayed for nearly a year, the albums Use Your Illusion I and Use Your Illusion II were released in September 1991. Messy but fascinating, the albums showcased a more ambitious band; while there were still a fair number of full-throttle guitar rockers, there were stabs at Elton John-style balladry, acoustic blues, horn sections, female backup singers, ten-minute art rock epics with several different sections, and a good number of introspective, soul-searching lyrics. In short, they were now making art; amazingly, they were successful at it. The albums sold very well initially, but while they had seemed destined to set the pace for the decade to come, that turned out not to be the case at all.

Nirvana's Nevermind hit number one in early 1992, suddenly making Guns N' Roses -- with all of their pretensions, impressionistic videos, models, and rock star excesses -- seem very uncool. Rose handled the change by becoming a dictator, or at least a petty tyrant; his in-concert temper tantrums became legendary, even going so far as to incite a riot in Montreal. Stradlin left by the end of 1991, and with his departure the band lost their best songwriter; he was replaced by ex-Kills for Thrills guitarist Gilby Clarke. The band didn't fully grasp the shift in hard rock until 1993, when they released an album of punk covers, The Spaghetti Incident?; it received some good reviews, but the band failed to capture the reckless spirit of not only the original versions, but their own Appetite for Destruction. By the middle of 1994, there were rumors flying that the band was about to break up, since Rose wanted to pursue a new, more industrial direction and Slash wanted to stick with their blues-inflected hard rock. The band remained in limbo for several more years, and Slash resurfaced in 1995 with the side project Slash's Snakepit and an LP, It's Five O'Clock Somewhere.

Rose remained out of the spotlight, becoming a virtual recluse and doing nothing but tinkering in the studio; he also recruited various musicians -- including Dave Navarro, Tommy Stinson, and ex-Nine Inch Nails guitarist Robin Finck -- for informal jam sessions. Remaining members were infuriated by Rose's inclusion of childhood friend Paul Huge in the new sessions when both Stradlin and Clarke were excluded from rejoining the band. And a remake of the Rolling Stones' "Sympathy for the Devil" was essentially the straw that broke the camel's back, as Rose cut out some of the other member's contributions and pasted Huge over the song without consulting anyone else. By 1996, Slash was officially out of Guns N' Roses, leaving Rose the lone remaining survivor from the group's heyday; rumors continued to swirl, and still no new material was forthcoming, though Rose did re-record Appetite for Destruction with a new lineup for rehearsal purposes. The first new original GNR song in eight years, the industrial metal sludge of "Oh My God" finally appeared on the soundtrack to the 1999 Arnold Schwarzenegger film End of Days. Soon after, Geffen issued the two-disc Live Era: '87-'93.

2000 brought the addition of guitarists Robin Finck (of Nine Inch Nails) and Buckethead. 2001 was greeted with Guns N' Roses' first live dates in nearly seven years, as the band (who consisted of Rose plus guitarists Finck, Buckethead, bassist Stinson, former Primus drummer Brian "Brain" Mantia, childhood friend and guitarist Paul Huge, and longtime GNR keyboardist Dizzy Reed) played a show on New Years Eve 2000 in Las Vegas, playing as well at the mammoth Rock in Rio festival the following month. On New Years Eve 2001, the band played almost the exact same set as the year before.

An appearance at MTV's 2002 Video Music Awards helped garner interest in the new lineup, but a rusty performance from Rose and an interview where he said his new album wasn't coming out anytime soon didn't do much to further their cause. That summer, the band started on their first tour in almost eight years, and they managed to fulfill all of their commitments in Europe and Asia. Sadly, they caused a violent and destructive riot in Vancouver when Rose failed to show up for the first date of their North American tour. While he was up to his old shenanigans with the retooled lineup, former Stone Temple Pilots vocalist Scott Weiland, Slash, Sorum, and McKagan formed the successful Velvet Revolver in spring 2002.

And so years passed and still no new GNR album, to the point where it became a joke to many. The album was long billed as Chinese Democracy, and occasionally session recordings would leak and make their way onto Internet file-sharing networks. A fascinating article written by Jeff Leeds for The New York Times, published March 2005, revealed how tangled and costly the making of the album had become. According to the article, titled "The Most Expensive Album Never Released," Rose began work on the album in 1994 and racked up production costs of at least 13 million dollars. Producers involved with the album at one time or another include Mike Clink, Youth, Sean Beavan, and even Roy Thomas Baker. (Curiously, Moby claimed to have been offered the job as well.) Marco Beltrami and Paul Buckmaster were allegedly brought in for orchestral arrangements, and there was a revolving door of guitarists. In 2006, the album seemed closer to release, as Rose began surfacing in public and even took his band on the road for some shows. ~ Stephen Thomas Erlewine & Greg Prato, All Music Guide

Download via Ziddu

01.Since I Don't Have You 9.91 M
02.New Rose 6.06 M
03.Down On The Farm 7.85 M
04.Human Being 15.67 M
05.Raw Power 7.33 M
06.Ain't It Fun 11.65 M
07.Buick Makane 6.1 M
08.Hair Of The Dog 8.97 M
09.Attitude 3.32 M
10.Black Leather 9.47 M
11.You Can't Put Your Arms Around A Memory 8.21 M
12.I Don't Care About You 11.2 M

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Guns N' Roses - Use Your Illusion I [1991]

2010-05-01T22:38:00.002-07:00

Click to Preview

At a time when pop was dominated by dance music and pop-metal, Guns N' Roses brought raw, ugly rock & roll crashing back into the charts. They were not nice boys; nice boys don't play rock & roll. They were ugly, misogynist, and violent; they were also funny, vulnerable, and occasionally sensitive, as their breakthrough hit, "Sweet Child O' Mine," showed. While Slash and Izzy Stradlin ferociously spit out dueling guitar riffs worthy of Aerosmith or the Stones, Axl Rose screeched out his tales of sex, drugs, and apathy in the big city. Meanwhile, bassist Duff McKagan and drummer Steven Adler were a limber rhythm section who kept the music loose and powerful. Guns N' Roses' music was basic and gritty, with a solid hard, bluesy base; they were dark, sleazy, dirty, and honest -- everything that good hard rock and heavy metal should be. There was something refreshing about a band who could provoke everything from devotion to hatred, especially since both sides were equally right. There hadn't been a hard rock band this raw or talented in years, and they were given added weight by Rose's primal rage, the sound of confused, frustrated white trash vying for his piece of the pie. As the '80s became the '90s, there simply wasn't a more interesting band around, but owing to intra-band friction and the emergence of alternative rock, Rose's supporting cast gradually disintegrated, as he spent years in seclusion.

Guns N' Roses released their first EP in 1986, which led to a contract with Geffen; the following year, the band released their debut album, Appetite for Destruction. They started to build a following with their numerous live shows, but the album didn't start selling until almost a year later, when MTV started playing "Sweet Child O' Mine." Soon, both the album and single shot to number one, and Guns N' Roses became one of the biggest bands in the world. Their debut single, "Welcome to the Jungle," was re-released and shot into the Top Ten, and "Paradise City" followed in its footsteps. By the end of 1988, they released G N' R Lies, which paired four new, acoustic-based songs (including the Top Five hit "Patience") with their first EP. G N' R Lies' inflammatory closer, "One in a Million," sparked intense controversy, as Rose slipped into misogyny, bigotry, and pure violence; essentially, he somehow managed to distill every form of prejudice and hatred into one five-minute tune.

Guns N' Roses began work on the long-awaited follow-up to Appetite for Destruction at the end of 1990. In October of that year, the band fired Adler, claiming that his drug dependency caused him to play poorly; he was replaced by Matt Sorum from the Cult. During recording, the band added Dizzy Reed on keyboards. By the time the sessions were finished, the new album had become two new albums. After being delayed for nearly a year, the albums Use Your Illusion I and Use Your Illusion II were released in September 1991. Messy but fascinating, the albums showcased a more ambitious band; while there were still a fair number of full-throttle guitar rockers, there were stabs at Elton John-style balladry, acoustic blues, horn sections, female backup singers, ten-minute art rock epics with several different sections, and a good number of introspective, soul-searching lyrics. In short, they were now making art; amazingly, they were successful at it. The albums sold very well initially, but while they had seemed destined to set the pace for the decade to come, that turned out not to be the case at all.

Nirvana's Nevermind hit number one in early 1992, suddenly making Guns N' Roses -- with all of their pretensions, impressionistic videos, models, and rock star excesses -- seem very uncool. Rose handled the change by becoming a dictator, or at least a petty tyrant; his in-concert temper tantrums became legendary, even going so far as to incite a riot in Montreal. Stradlin left by the end of 1991, and with his departure the band lost their best songwriter; he was replaced by ex-Kills for Thrills guitarist Gilby Clarke. The band didn't fully grasp the shift in hard rock until 1993, when they released an album of punk covers, The Spaghetti Incident?; it received some good reviews, but the band failed to capture the reckless spirit of not only the original versions, but their own Appetite for Destruction. By the middle of 1994, there were rumors flying that the band was about to break up, since Rose wanted to pursue a new, more industrial direction and Slash wanted to stick with their blues-inflected hard rock. The band remained in limbo for several more years, and Slash resurfaced in 1995 with the side project Slash's Snakepit and an LP, It's Five O'Clock Somewhere.

Rose remained out of the spotlight, becoming a virtual recluse and doing nothing but tinkering in the studio; he also recruited various musicians -- including Dave Navarro, Tommy Stinson, and ex-Nine Inch Nails guitarist Robin Finck -- for informal jam sessions. Remaining members were infuriated by Rose's inclusion of childhood friend Paul Huge in the new sessions when both Stradlin and Clarke were excluded from rejoining the band. And a remake of the Rolling Stones' "Sympathy for the Devil" was essentially the straw that broke the camel's back, as Rose cut out some of the other member's contributions and pasted Huge over the song without consulting anyone else. By 1996, Slash was officially out of Guns N' Roses, leaving Rose the lone remaining survivor from the group's heyday; rumors continued to swirl, and still no new material was forthcoming, though Rose did re-record Appetite for Destruction with a new lineup for rehearsal purposes. The first new original GNR song in eight years, the industrial metal sludge of "Oh My God" finally appeared on the soundtrack to the 1999 Arnold Schwarzenegger film End of Days. Soon after, Geffen issued the two-disc Live Era: '87-'93.

2000 brought the addition of guitarists Robin Finck (of Nine Inch Nails) and Buckethead. 2001 was greeted with Guns N' Roses' first live dates in nearly seven years, as the band (who consisted of Rose plus guitarists Finck, Buckethead, bassist Stinson, former Primus drummer Brian "Brain" Mantia, childhood friend and guitarist Paul Huge, and longtime GNR keyboardist Dizzy Reed) played a show on New Years Eve 2000 in Las Vegas, playing as well at the mammoth Rock in Rio festival the following month. On New Years Eve 2001, the band played almost the exact same set as the year before.

An appearance at MTV's 2002 Video Music Awards helped garner interest in the new lineup, but a rusty performance from Rose and an interview where he said his new album wasn't coming out anytime soon didn't do much to further their cause. That summer, the band started on their first tour in almost eight years, and they managed to fulfill all of their commitments in Europe and Asia. Sadly, they caused a violent and destructive riot in Vancouver when Rose failed to show up for the first date of their North American tour. While he was up to his old shenanigans with the retooled lineup, former Stone Temple Pilots vocalist Scott Weiland, Slash, Sorum, and McKagan formed the successful Velvet Revolver in spring 2002.

And so years passed and still no new GNR album, to the point where it became a joke to many. The album was long billed as Chinese Democracy, and occasionally session recordings would leak and make their way onto Internet file-sharing networks. A fascinating article written by Jeff Leeds for The New York Times, published March 2005, revealed how tangled and costly the making of the album had become. According to the article, titled "The Most Expensive Album Never Released," Rose began work on the album in 1994 and racked up production costs of at least 13 million dollars. Producers involved with the album at one time or another include Mike Clink, Youth, Sean Beavan, and even Roy Thomas Baker. (Curiously, Moby claimed to have been offered the job as well.) Marco Beltrami and Paul Buckmaster were allegedly brought in for orchestral arrangements, and there was a revolving door of guitarists. In 2006, the album seemed closer to release, as Rose began surfacing in public and even took his band on the road for some shows. ~ Stephen Thomas Erlewine & Greg Prato, All Music Guide

Download via Ziddu

01.Right Next Door To Hell 6.98 M
02.Dust N' Bones 11.47 M
03.Live And Let Die 7.1 M
04.Don't Cry (Original) 10.89 M
05.Perfect Crime 5.5 M
06.You Ain't The First 6.02 M
07.Bad Obsession 12.58 M
08.Back Off Bitch 11.61 M
09.Double Talkin' Jive 7.8 M
10.November Rain 20.66 M
11.The Garden 12.36 M
12.Garden Of Eden 6.19 M
13.Don't Damn Me 12.22 M
14.Bad Apples 10.22 M
15.Dead Horse 9.85 M
16.Coma 23.52 M

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Guns N' Roses - Appetite For Destruction [1987]

2010-05-01T22:38:00.000-07:00

Click to Preview

At a time when pop was dominated by dance music and pop-metal, Guns N' Roses brought raw, ugly rock & roll crashing back into the charts. They were not nice boys; nice boys don't play rock & roll. They were ugly, misogynist, and violent; they were also funny, vulnerable, and occasionally sensitive, as their breakthrough hit, "Sweet Child O' Mine," showed. While Slash and Izzy Stradlin ferociously spit out dueling guitar riffs worthy of Aerosmith or the Stones, Axl Rose screeched out his tales of sex, drugs, and apathy in the big city. Meanwhile, bassist Duff McKagan and drummer Steven Adler were a limber rhythm section who kept the music loose and powerful. Guns N' Roses' music was basic and gritty, with a solid hard, bluesy base; they were dark, sleazy, dirty, and honest -- everything that good hard rock and heavy metal should be. There was something refreshing about a band who could provoke everything from devotion to hatred, especially since both sides were equally right. There hadn't been a hard rock band this raw or talented in years, and they were given added weight by Rose's primal rage, the sound of confused, frustrated white trash vying for his piece of the pie. As the '80s became the '90s, there simply wasn't a more interesting band around, but owing to intra-band friction and the emergence of alternative rock, Rose's supporting cast gradually disintegrated, as he spent years in seclusion.

Guns N' Roses released their first EP in 1986, which led to a contract with Geffen; the following year, the band released their debut album, Appetite for Destruction. They started to build a following with their numerous live shows, but the album didn't start selling until almost a year later, when MTV started playing "Sweet Child O' Mine." Soon, both the album and single shot to number one, and Guns N' Roses became one of the biggest bands in the world. Their debut single, "Welcome to the Jungle," was re-released and shot into the Top Ten, and "Paradise City" followed in its footsteps. By the end of 1988, they released G N' R Lies, which paired four new, acoustic-based songs (including the Top Five hit "Patience") with their first EP. G N' R Lies' inflammatory closer, "One in a Million," sparked intense controversy, as Rose slipped into misogyny, bigotry, and pure violence; essentially, he somehow managed to distill every form of prejudice and hatred into one five-minute tune.

Guns N' Roses began work on the long-awaited follow-up to Appetite for Destruction at the end of 1990. In October of that year, the band fired Adler, claiming that his drug dependency caused him to play poorly; he was replaced by Matt Sorum from the Cult. During recording, the band added Dizzy Reed on keyboards. By the time the sessions were finished, the new album had become two new albums. After being delayed for nearly a year, the albums Use Your Illusion I and Use Your Illusion II were released in September 1991. Messy but fascinating, the albums showcased a more ambitious band; while there were still a fair number of full-throttle guitar rockers, there were stabs at Elton John-style balladry, acoustic blues, horn sections, female backup singers, ten-minute art rock epics with several different sections, and a good number of introspective, soul-searching lyrics. In short, they were now making art; amazingly, they were successful at it. The albums sold very well initially, but while they had seemed destined to set the pace for the decade to come, that turned out not to be the case at all.

Nirvana's Nevermind hit number one in early 1992, suddenly making Guns N' Roses -- with all of their pretensions, impressionistic videos, models, and rock star excesses -- seem very uncool. Rose handled the change by becoming a dictator, or at least a petty tyrant; his in-concert temper tantrums became legendary, even going so far as to incite a riot in Montreal. Stradlin left by the end of 1991, and with his departure the band lost their best songwriter; he was replaced by ex-Kills for Thrills guitarist Gilby Clarke. The band didn't fully grasp the shift in hard rock until 1993, when they released an album of punk covers, The Spaghetti Incident?; it received some good reviews, but the band failed to capture the reckless spirit of not only the original versions, but their own Appetite for Destruction. By the middle of 1994, there were rumors flying that the band was about to break up, since Rose wanted to pursue a new, more industrial direction and Slash wanted to stick with their blues-inflected hard rock. The band remained in limbo for several more years, and Slash resurfaced in 1995 with the side project Slash's Snakepit and an LP, It's Five O'Clock Somewhere.

Rose remained out of the spotlight, becoming a virtual recluse and doing nothing but tinkering in the studio; he also recruited various musicians -- including Dave Navarro, Tommy Stinson, and ex-Nine Inch Nails guitarist Robin Finck -- for informal jam sessions. Remaining members were infuriated by Rose's inclusion of childhood friend Paul Huge in the new sessions when both Stradlin and Clarke were excluded from rejoining the band. And a remake of the Rolling Stones' "Sympathy for the Devil" was essentially the straw that broke the camel's back, as Rose cut out some of the other member's contributions and pasted Huge over the song without consulting anyone else. By 1996, Slash was officially out of Guns N' Roses, leaving Rose the lone remaining survivor from the group's heyday; rumors continued to swirl, and still no new material was forthcoming, though Rose did re-record Appetite for Destruction with a new lineup for rehearsal purposes. The first new original GNR song in eight years, the industrial metal sludge of "Oh My God" finally appeared on the soundtrack to the 1999 Arnold Schwarzenegger film End of Days. Soon after, Geffen issued the two-disc Live Era: '87-'93.

2000 brought the addition of guitarists Robin Finck (of Nine Inch Nails) and Buckethead. 2001 was greeted with Guns N' Roses' first live dates in nearly seven years, as the band (who consisted of Rose plus guitarists Finck, Buckethead, bassist Stinson, former Primus drummer Brian "Brain" Mantia, childhood friend and guitarist Paul Huge, and longtime GNR keyboardist Dizzy Reed) played a show on New Years Eve 2000 in Las Vegas, playing as well at the mammoth Rock in Rio festival the following month. On New Years Eve 2001, the band played almost the exact same set as the year before.

An appearance at MTV's 2002 Video Music Awards helped garner interest in the new lineup, but a rusty performance from Rose and an interview where he said his new album wasn't coming out anytime soon didn't do much to further their cause. That summer, the band started on their first tour in almost eight years, and they managed to fulfill all of their commitments in Europe and Asia. Sadly, they caused a violent and destructive riot in Vancouver when Rose failed to show up for the first date of their North American tour. While he was up to his old shenanigans with the retooled lineup, former Stone Temple Pilots vocalist Scott Weiland, Slash, Sorum, and McKagan formed the successful Velvet Revolver in spring 2002.

And so years passed and still no new GNR album, to the point where it became a joke to many. The album was long billed as Chinese Democracy, and occasionally session recordings would leak and make their way onto Internet file-sharing networks. A fascinating article written by Jeff Leeds for The New York Times, published March 2005, revealed how tangled and costly the making of the album had become. According to the article, titled "The Most Expensive Album Never Released," Rose began work on the album in 1994 and racked up production costs of at least 13 million dollars. Producers involved with the album at one time or another include Mike Clink, Youth, Sean Beavan, and even Roy Thomas Baker. (Curiously, Moby claimed to have been offered the job as well.) Marco Beltrami and Paul Buckmaster were allegedly brought in for orchestral arrangements, and there was a revolving door of guitarists. In 2006, the album seemed closer to release, as Rose began surfacing in public and even took his band on the road for some shows. ~ Stephen Thomas Erlewine & Greg Prato, All Music Guide

Download via Ziddu

01.Welcome To The Jungle 10.42 M
02.It's So Easy 7.75 M
03.Nightrain 10.22 M
04.Out Ta Get Me 10.01 M
05.Mr. Brownstone 8.73 M
06.Paradise City 15.57 M
07.My Michelle 8.4 M
08.Think About You 8.82 M
09.Sweet Child O' Mine 13.59 M
10.You're Crazy 7.53 M
11.Anything Goes 7.88 M
12.Rocket Queen 14.23 M

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Michael Franks - Tiger in the Rain [1979]

2010-04-28T07:16:00.000-07:00

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An enormously popular performer in the late '70s and early '80s, Franks performed folk/rock songs while in high school, then became a literature student at UCLA and a part-time performer. He taught undergraduate music courses in the early '70s at both UCLA and Berkeley, then provided scores for the films Count Your Bullets and Zandy's Bride. He made his first album in 1973, then enjoyed success with a string of late '70s albums on Warner Brothers. He has worked with the likes of Flora Purim, Kenny Rankin, Ron Carter, the Crusaders, David Sanborn, Toots Thielemans, Eric Gale, and others, and has had songs recorded by The Manhattan Transfer, Patti Labelle, Carmen McRae, and the Carpenters. ~ Ron Wynn, All Music Guid

01 Sanpaku 4:11
02 When It's Over 3:03
03 Living On The Inside 5:36
04 Hideaway 4:09
05 Jardin Botanico 3:30
06 Underneath The Apple Tree 5:51
07 Tiger In The Rain 4:17
08 Satisfaction Guaranteed 3:37
09 Lifeline 6:09

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Michael Franks - The Camera Never Lies [1987]

2010-04-28T07:10:00.000-07:00

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An enormously popular performer in the late '70s and early '80s, Franks performed folk/rock songs while in high school, then became a literature student at UCLA and a part-time performer. He taught undergraduate music courses in the early '70s at both UCLA and Berkeley, then provided scores for the films Count Your Bullets and Zandy's Bride. He made his first album in 1973, then enjoyed success with a string of late '70s albums on Warner Brothers. He has worked with the likes of Flora Purim, Kenny Rankin, Ron Carter, the Crusaders, David Sanborn, Toots Thielemans, Eric Gale, and others, and has had songs recorded by The Manhattan Transfer, Patti Labelle, Carmen McRae, and the Carpenters. ~ Ron Wynn, All Music Guid

01 Face To Face 4:23
02 I Surrender 4:03
03 The Camera Never Lies 3:38
04 Lip Service 4:12
05 When I Think Of Us 4:18
06 Island Life 4:18
07 Now You're In My Dreams 4:09
08 Doctor Sax 5:49
09 Innuendo 5:51

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Michael Franks - Skin Dive [1985]

2010-04-28T07:06:00.000-07:00

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An enormously popular performer in the late '70s and early '80s, Franks performed folk/rock songs while in high school, then became a literature student at UCLA and a part-time performer. He taught undergraduate music courses in the early '70s at both UCLA and Berkeley, then provided scores for the films Count Your Bullets and Zandy's Bride. He made his first album in 1973, then enjoyed success with a string of late '70s albums on Warner Brothers. He has worked with the likes of Flora Purim, Kenny Rankin, Ron Carter, the Crusaders, David Sanborn, Toots Thielemans, Eric Gale, and others, and has had songs recorded by The Manhattan Transfer, Patti Labelle, Carmen McRae, and the Carpenters. ~ Ron Wynn, All Music Guid

01 Read My Lips 3:38
02 Let Me Count The Ways 4:30
03 Your Secret's Safe With Me 4:36
04 Don't Be Shy 5:05
05 When I Give My Love To You 4:20
06 Queen Of The Underground 4:26
07 Now I Know Why (They Call It Falling) 4:51
08 Please Don't Say Goodnight 4:48
09 When She Is Mine 5:23

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