Fuckin' A's every ESSENTIAL album you should own thread

ardamus · Post by **ardamus** » Sat Jun 28, 2008 2:35 pm

Fuckin' A, I'm late to this thread and deserve a :fail:

.

But I want to make three requests:

1. Any MC5 you got.
2. Any Velvet Underground you got.
3. Any Gang Of Four you got.

You more than likely may have uploaded some of that earlier in this thread but I'm being lazy.

bradlizuck · Post by **bradlizuck** » Sat Jun 28, 2008 3:45 pm

that milo goes to college is a classic front to back.

Cowy · Post by **Cowy** » Sat Jun 28, 2008 4:37 pm

Fuckin' A wrote:Lou Reed - Transformer (1972)

Genre: Glam Rock
Bitrate: 192

1 Vicious 3:00
2 Andy's Chest 3:21
3 Perfect Day 3:48
4 Hangin' 'Round 3:37
5 Walk on the Wild Side 4:17
6 Make Up 3:01
7 Satellite of Love 3:44
8 Wagon Wheel 3:23
9 New York Telephone Conversation 1:35
10 I'm So Free 3:12
11 Goodnight Ladies 4:21

David Bowie has never been shy about acknowledging his influences, and since the boho decadence and sexual ambiguity of the Velvet Underground's music had a major impact on Bowie's work, it was only fitting that as Ziggy Stardust mania was reaching its peak, Bowie would offer Lou Reed some much needed help with his career, which was stuck in neutral after his first solo album came and went. Musically, Reed's work didn't have too much in common with the sonic bombast of the glam scene, but at least it was a place where his eccentricities could find a comfortable home, and on Transformer Bowie and his right-hand man, Mick Ronson, crafted a new sound for Reed that was better fitting (and more commercially astute) than the ambivalent tone of his first solo album. Ronson adds some guitar raunch to "Vicious" and "Hangin' Round" that's a lot flashier than what Reed cranked out with the Velvets, but still honors Lou's strengths in guitar-driven hard rock, while the imaginative arrangements Ronson cooked up for "Perfect Day," "Walk on the Wild Side," and "Goodnight Ladies" blend pop polish with musical thinking just as distinctive as Reed's lyrical conceits. And while Reed occasionally overplays his hand in writing stuff he figured the glam kids wanted ("Make Up" and "I'm So Free" being the most obvious examples), "Perfect Day," "Walk on the Wild Side," and "New York Telephone Conversation" proved he could still write about the demimonde with both perception and respect. The sound and style of Transformer would in many ways define Reed's career in the 1970s, and while it led him into a style that proved to be a dead end, you can't deny that Bowie and Ronson gave their hero a new lease on life ג and a solid album in the bargain.
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http://www.sendspace.com/file/pdi57q

This shit owns. I love Perfect Day and Satellite of Love.

Tommy Bunz · Post by **Tommy Bunz** » Sat Jun 28, 2008 5:13 pm

Want to contribute with an underappreciated 90's rock gem. One of my favorite albums.

Failure - Fantastic Planet (1996)

Genre: Grunge, In Space, On Heroin

1. Saturday Savior 4:27
2. Sargeant Politeness 4:05
3. Segue 1 1:54
4. Smoking Umbrellas 3:58
5. Pillowhead 2:09
6. Blank 5:38
7. Segue 2 1:16
8. Dirty Blue Balloons 4:23
9. Solaris 3:43
10. Pitiful 4:45
11. Leo 3:05
12. Segue 3 2:11
13. The Nurse Who Loved Me 4:25
14. Another Space Song 5:10
15. Stuck On You 4:28
16. Heliotropic 6:14
17. Daylight 6:00

Failure's "Fantastic Planet" is one of those albums that appeared and disappeared in a blink of an eye in 1996/97. It was a time for aggressive rock, and Limp Bizkit and Linkin Park (unfortunately) ruled the airwaves and our collective consciousness. If only "Fantastic Planet" were released a couple of years eariler or later, I think they would have had a much brighter future instead of such a brief blip on the radar. Instead the band self-destructed amidst bruised egos, "creative differences," broken relationships, and drug addiction.

The album takes you on a melancholy ride, full of the very elements that caused Failure to break up following the release (and commercial failure) of Fantastic Planet. However, each song is carefully arranged and reveals complex, unexpected twists and turns that just sound right. Each track builds a wall of sound reminiscent of the British "shoegazer bands." The album produced one single, "Stuck on You," which on the surface seems to be about a toxic relationship, but is actually about the nature of radio, how stations will play a song over and over until you can't get it out of your head even if you wanted to.

As a concept album, "Fantastic Planet" could be Joy Division/Radiohead's less-tightly-wound American cousin, rife with themes of isolation, disconnection, abandonment, loss, longing, and escape. Sign me up.

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http://www.megaupload.com/?d=4Z5U2F2O

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 5:25 pm

ardamus wrote:Fuckin' A, I'm late to this thread and deserve a .

But I want to make three requests:

1. Any MC5 you got.
2. Any Velvet Underground you got.
3. Any Gang Of Four you got.

You more than likely may have uploaded some of that earlier in this thread but I'm being lazy.

Actually I've posted all three. MC5 Kick Out the Jams, Gang of Four Entertainment!, and the Velvet Underground and Nico. Look back a few pages and you'll find em.

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 5:31 pm

Agree with everything malpractice has said about Control. I'll post this since she got me thinking about the film. Dead Souls and Atmosphere, among others, are my shit.

Joy Division - Substance 1977-1980 (1988)

Genre: Post-Punk
Bitrate: 192

1 Warsaw 2:25
2 Leaders of Men 2:35
3 Digital 2:50
4 Autosuggestion 6:08
5 Transmission 3:36
6 She's Lost Control 4:45
7 Incubation 2:52
8 Dead Souls 4:56
9 Atmosphere 4:10
10 Love Will Tear Us Apart 3:25
11 No Love Lost 3:43
12 Failures 3:44
13 Glass 3:53
14 From Safety to Where 2:27
15 Novelty 4:00
16 Komakino 3:52
17 These Days 3:24

After New Order released their own Substance compilation in 1987, it was perhaps inevitable that a similar and long-overdue collection would apply to Joy Division, especially given the out-of-print status of many of the band's singles. The end result turned up in 1988, and as a listen easily demonstrated that the same sheer sweep and energy that applied to the band over a full-length album similarly worked, even more so, with the focus of a 7" or 12" release. Though the earliest tracks like "Warsaw" and "Leaders of Men" were a strange sort of art punk, there was already something distinct about the group, and by the time of "Digital" and "Autosuggestion," it was perfectly apparent. The former centered around Curtis' circular declarations of repetition and angst, while "Autosuggestion" builds up slowly, carefully, before an invigorating final rush. After that, "Transmission," a cold blue laser light of power, sneaking on an echo of synth and Hook's commanding bass before Morris, recorded brilliantly by Hannett, simply takes control. And from there, up and up, the whole band reaching a peak with Curtis' anguished scream "And we could dance!" As gripping as that is, by the time of its final singles, Joy Division outstripped even that ג "Atmosphere" and "Dead Souls" arguably make some of the best singles ever, the former a haunting, minimal call, the latter an ever more wired and explosive portrait of demand on a soul, from some inescapable outside force. Then, of course, "Love Will Tear Us Apart," Joy Division's eternal calling card, the inadvertent final bow, the blueprint for endless cover versions, a portrait of love and connection endlessly turning in on itself to destruction, set to a beautiful melody and one of the band's warmest performances ever. All this and, on CD, a slew of the B-sides as well ג the best adjunct to the two albums anyone could want.

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http://www.sendspace.com/file/gxx4xj

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 5:41 pm

cascarrabias wrote:Not even Money Gripp's stamp approval, one I have the utmost respect for, will make me download a Cure album.

I have Disintegration, but could never get into the Cure. Then again I haven't really tried either.

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 5:53 pm

Ennio Morricone - Il buono, il brutto, il cattivo (1966)

Genre: Soundtrack
Bitrate: 320

1 Il buono, il cattivo, il brutto 2:38
2 Il tramonto 1:12
3 Il torte 2:20
4 Il deserto 5:11
5 La carrozza dei fantasmi 2:06
6 Marcetta 2:49
7 La storia de un soldato 3:50
8 Marcetta senza speranza 1:40
9 Morte di un soldato 3:05
10 L'estasi dell'oro 3:22
11 Il triello 5:00

A major influence on Western scores right into the nineties, Morricone's music utilizes quite a remarkable array of musical tools. There's a traditional element of Western underscore, with a brassy feel to it, but this is joined throughout by thundering percussion that includes a lot of bells, various arrangements of voices, clanging acoustic and electric guitars, and even a prepared piano. Aside from the famous title track with its Shadows influences, there's a lot here to recommend this particular score ג there are moments of intense drama and incredible beauty that are rarely heard in motion picture underscore, giving the work a classical feel. A cover of the title track provided Hugo Montenegro with a major British hit.

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http://www.sendspace.com/file/qre6m9

ardamus · Post by **ardamus** » Sat Jun 28, 2008 5:54 pm

Fuckin' A wrote:
ardamus wrote:Fuckin' A, I'm late to this thread and deserve a .

But I want to make three requests:

1. Any MC5 you got.
2. Any Velvet Underground you got.
3. Any Gang Of Four you got.

You more than likely may have uploaded some of that earlier in this thread but I'm being lazy.
Actually I've posted all three. MC5 Kick Out the Jams, Gang of Four Entertainment!, and the Velvet Underground and Nico. Look back a few pages and you'll find em.

Ok thanx.

ardamus · Post by **ardamus** » Sat Jun 28, 2008 5:56 pm

Fuckin' A wrote:Agree with everything malpractice has said about Control. I'll post this since she got me thinking about the film. Dead Souls and Atmosphere, among others, are my shit.

Joy Division - Substance 1977-1980 (1988)

Genre: Post-Punk
Bitrate: 192

1 Warsaw 2:25
2 Leaders of Men 2:35
3 Digital 2:50
4 Autosuggestion 6:08
5 Transmission 3:36
6 She's Lost Control 4:45
7 Incubation 2:52
8 Dead Souls 4:56
9 Atmosphere 4:10
10 Love Will Tear Us Apart 3:25
11 No Love Lost 3:43
12 Failures 3:44
13 Glass 3:53
14 From Safety to Where 2:27
15 Novelty 4:00
16 Komakino 3:52
17 These Days 3:24

After New Order released their own Substance compilation in 1987, it was perhaps inevitable that a similar and long-overdue collection would apply to Joy Division, especially given the out-of-print status of many of the band's singles. The end result turned up in 1988, and as a listen easily demonstrated that the same sheer sweep and energy that applied to the band over a full-length album similarly worked, even more so, with the focus of a 7" or 12" release. Though the earliest tracks like "Warsaw" and "Leaders of Men" were a strange sort of art punk, there was already something distinct about the group, and by the time of "Digital" and "Autosuggestion," it was perfectly apparent. The former centered around Curtis' circular declarations of repetition and angst, while "Autosuggestion" builds up slowly, carefully, before an invigorating final rush. After that, "Transmission," a cold blue laser light of power, sneaking on an echo of synth and Hook's commanding bass before Morris, recorded brilliantly by Hannett, simply takes control. And from there, up and up, the whole band reaching a peak with Curtis' anguished scream "And we could dance!" As gripping as that is, by the time of its final singles, Joy Division outstripped even that ג "Atmosphere" and "Dead Souls" arguably make some of the best singles ever, the former a haunting, minimal call, the latter an ever more wired and explosive portrait of demand on a soul, from some inescapable outside force. Then, of course, "Love Will Tear Us Apart," Joy Division's eternal calling card, the inadvertent final bow, the blueprint for endless cover versions, a portrait of love and connection endlessly turning in on itself to destruction, set to a beautiful melody and one of the band's warmest performances ever. All this and, on CD, a slew of the B-sides as well ג the best adjunct to the two albums anyone could want.
Code: Select all
http://www.sendspace.com/file/gxx4xj

I've heard alot about this band but never bothered to listen to them. I'll check this out, too. Thanx.

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 5:58 pm

ardamus wrote:
Fuckin' A wrote:
ardamus wrote:Fuckin' A, I'm late to this thread and deserve a .

But I want to make three requests:

1. Any MC5 you got.
2. Any Velvet Underground you got.
3. Any Gang Of Four you got.

You more than likely may have uploaded some of that earlier in this thread but I'm being lazy.
Actually I've posted all three. MC5 Kick Out the Jams, Gang of Four Entertainment!, and the Velvet Underground and Nico. Look back a few pages and you'll find em.
Ok thanx.

MC5 is on the 2nd page, Velvet Underground is on the 3rd, and Gang of Four is on the 5th. Hope you enjoy them (unless you've heard them already).

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 6:32 pm

Massive Attack - Blue Lines (1991)

Genre: Trip Hop
Bitrate: VBR

1 Safe From Harm 5:18
2 One Love 4:48
3 Blue Lines 4:21
4 Be Thankful for What You've Got 4:09
5 Five Man Army 6:04
6 Unfinished Sympathy 5:08
7 Daydreaming 4:14
8 Lately 4:26
9 Hymn of the Big Wheel 6:37

The first masterpiece of what was only termed trip-hop much later, Blue Lines filtered American hip-hop through the lens of British club culture, a stylish, nocturnal sense of scene that encompassed music from rare groove to dub to dance. The album balances dark, diva-led club jams along the lines of Soul II Soul with some of the best British rap (vocals and production) heard up to that point, occasionally on the same track. The opener "Safe From Harm" is the best example, with diva vocalist Shara Nelson trading off lines with the group's own monotone (yet effective) rapping. Even more than hip-hop or dance, however, dub is the big touchstone on Blue Lines. Most of the productions aren't quite as earthy as you'd expect, but the influence is palpable in the atmospherics of the songs, like the faraway electric piano on "One Love" (with beautiful vocals from the near-legendary Horace Andy). One track, "Five Man Army," makes the dub inspiration explicit, with a clattering percussion line, moderate reverb on the guitar and drums, and Andy's exquisite falsetto flitting over the chorus. Blue Lines isn't all darkness, either ג "Be Thankful for What You've Got" is quite close to the smooth soul tune conjured by its title, and "Unfinished Sympathy" ג the group's first classic production ג is a tremendously moving fusion of up-tempo hip-hop and dancefloor jam with slow-moving, syrupy strings. Flaunting both their range and their tremendously evocative productions, Massive Attack recorded one of the best dance albums of all time.

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http://www.sendspace.com/file/z6ye1x

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 6:40 pm

The Flaming Lips - The Soft Bulletin (1999)

Genre: Psychedelic Rock/Pop
Bitrate: 192

1 Race for the Prize 4:18
2 A Spoonful Weighs a Ton 3:32
3 The Spark That Bled 5:55
4 Slow Motion 3:53
5 What Is the Light 4:05
6 The Observer 4:10
7 Waitin' for a Superman 4:17
8 Suddenly Everything has Changed 3:54
9 The Gash 4:02
10 Feeling Yourself Disintegrate 5:17
11 Sleeping on the Roof 3:10
12 Race for the Prize (Remix) 4:09
13 Waitin' for a Superman (Remix) 4:19
14 Buggin' (Remix) 3:16

I recently moved out of The Box. The Box was where I lived in Seattle for my first year-and-a-half-- a small room in a terrible house. I had an ogre of a next door neighbor named Richard who didn't like any decibel level that went above a whisper. Another neighbor, a homely looking mama's boy of some sort, had weird nasal problems that forced him to make this really loud noise that sounded like a collision between an orgasm, a yawn, a primal howl, and the deafening roar of a tortured honker.

The morning of my move, I checked my e-mail only to discover a rather unfortunate note in my box. A particular woman whose only flaw was in her geographic location (Jerusalem) told me not to come and visit her this summer, and that it was time for her to "get on with her life." I'll translate that: "bang other people without guilt." I saw it coming, but by e-mail? A year and a half of tortured long-distance amore dissolved via Hotmail? By a certain point, you're worth more than e-mail. A phone call. Shit, a letter would have done. No. Not only am I being broken up with, I also have to look at a banner ad for TalkCity.com. Can my life sink any lower?

Last night, I tried to figure out where my life was going. It seems to be on the course where I'm just thinking about where my life is (or isn't) going. Great. Wake me when it gets exciting.

Well, today, it got exciting. I was at work for about six hours when I decided to call my old number and retrieve my messages. There was my temp agency telling me not to go into work today. I guess the object was for me to find out before I left for work (it was 7:30 when they called), but instead, there I was working when and where I shouldn't have been. I called the agency and they said they'd call me back. I sat at my desk awkwardly. Should I be working? If so, why? If not, what should I be doing? I tracked down my supervisor who gave me two reasons for my termination. One was that the workload had dropped and they didn't need that many people. The second reason, of course, was that five people had commented to him that I didn't seem to love my job.

Well, duh. Sorry to go monosyllabic, but... well, duh. I sit at a desk. There's some asshole who insists on whistling all day, and man cannot live by headphones alone. Even today, before I found out I was already yesterday's employee, I commented to a co-worker, "Pretty soon, I'm gonna stab that guy in the throat." Of course, I wouldn't do that. But sometimes, I think that's my big misgiving in life-- no follow through. "I don't hate my job," I told my supervisor. This was true. Boring? Yes. Hate? No. This was going to be the job that gave me enough money to go on a vacation this fall.

"Well, I noticed it, too," he said. "If five people see it and I do, too, then doesn't that tell you something?"

"Did you ever think of asking me?" I asked.

Of course, there wasn't a good answer for that, so I immediately shifted gears. "Hey, if five people came and told you that I was practicing black magic, would you believe them?"

"That's completely different." When I asked him why it was different, he changed the subject to me leaving.

And that was that. To top all of this shit off, I was supposed to interview Wayne Coyne of The Flaming Lips tonight. It didn't happen because my new roommate isn't a stickler for paying the long distance bill. I can see Mr. Coyne sitting by that phone wondering when I'm gonna call. That's a lie, by the way. Wayne has better things to do, and if I had just recorded the Album of the Year, I wouldn't care what anybody else thought.

That's right kids. Album of the Year. The Flaming Lips. Who knew? Sure, they had some great albums like Transmissions from the Satellite Heart and Hit to Death in the Future Head. They also had Zaireeka, a piece of shit. (And stop with the hate mail, already!) This time, no fat, no filler, no shit. This is one of those albums people are going to obsess over for many years to come. One of the only albums I can compare it to is Dark Side of the Moon-- a sonic exploration into a bunch of morbid themes that sound extra good when you've been kissing Ol' Lady Bong.

A big key to the success of The Soft Bulletin is producer Dave Fridmann. Fridmann's an aural genius who did wonders with his band Mercury Rev's last album, Deserter's Songs. As great as that album was, this is a bigger, bolder leap. Sure, the moment you hear the strings on the second cut, "A Spoonful Weighs a Ton", you're thinking 'bout the Rev. That's only half the battle, though:

The song alternates between pixie dust and angel dust-- first it flows, then it swaggers with a killer Moog-and-drum battle with the audience going Qui-Gon at the altar of the Bulletin. The following cut, "The Spark That Bled", is even more adventurous. Coyne's little boy vocals take on a philharmonic of yearning, tackling it down with its ambiguous "I stood up and I said 'Yeah'" chorus. 4AD used to be this dreamy-- now they're picking at leftover Red House Painters demos and wondering when people are going to like Kristin Hersh. (Never, by the way.) This is on Warner Brothers?!

Oh, but there's more. So much more. Drummer Steven Drozd gets mad props for his thundering percussion which, for the most part, was recorded on one microphone. Hard to believe during a dense number like my personal favorite track, "The Gash". As much as I giggled over the title, I was bowled over by the song. A gospel choir sings an inspirational (!) song of perseverance over tweaked synth tracks and louder-than-Christ funky drumming. I defy you to listen to it without seeing just how loud your stereo can get.

Drozd also makes quick work of "Waitin' for a Superman", another inspirational piece-- one that was inspired by the death of Coyne's father. The result is this band's "Losing My Religion". Seriously. If Top 40 gets ahold of this song, we're all going to be very, very sick of it. Still, it's an amazing track, a shuffling dirge with a few bells, and two amazingly well-placed trumpet blasts, but mostly just some slightly hungover piano.

Speaking of death, it's a lingering theme on The Soft Bulletin. "Suddenly Everything Has Changed" is a neat, twisty little ditty about how thoughts of mortality can attack you when you least expect it. "Feeling Yourself Disintegrate" is a more direct rumination on the subject, a dreamy blast of vacuum cleaner guitar and reverb, reverb, reverb! Again, hardly party music, but remember Dark Side of the Moon? Pass the bong. This is some good shit.

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http://www.sendspace.com/file/dhd82q

slimebucato · Post by **slimebucato** » Sat Jun 28, 2008 6:44 pm

^ that's a good album, but I could never enjoy it like yoshimi. you happen to have that? i haven't listened to it in a while. gonna grab soft bulletin and give it another listen.

i honestly have downloaded at least 50 albums from this thread. very, very, very appreciated. thanks a ton for doing this.

slimebucato · Post by **slimebucato** » Sat Jun 28, 2008 6:56 pm

The Gun Club - Fire of Love

1.Sex Beat
2.Preaching The Blues
3.Promise Me
4.She's Like Heroin To Me http://www.zshare.net/audio/14368856e9cc7536/
5.For The Love Of Ivy
6.Fire Spirit
7.Ghost On The Highway
8.Jack On Fire
9.Black Train
10.Cool Drink Of Water
11.Goodbye Johnny

Gun Club manages to melt punk rage, blues-drenched despair and schizophrenic psychobilly on their unforgettable, fantastic debut. Drived by Jeffrey Lee Pierce sneaky, eerie voodoo-howls, the wailing, bleak, storming up tempo guitar of Ward Dotson and the fierce manic beat of Rob Ritter-Terry Graham rhythm section, the band delivered their songs - haunting tales of sex, terror, damnation, violence & desperate love - with harsh, passionate abandon. Pierce's career was short and tragic, but he had the firepower to lead this fantastic combo through the recording of an album of timelessly roughshod and unruly psycho-punk-blues, perhaps the first - and easily the best - of its kind. "Fire of Love" is bona-fide rock'n'roll bliss, an album that defies time idyosincrasies and music ephemeral fashions.

A really great album. Check the sample track if you don't believe me.

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http://www.sendspace.com/file/xcb7ix

cornsnake · Post by **cornsnake** » Sat Jun 28, 2008 7:06 pm

this thread is still overwhelming. I just got to check out Faust--been curious about that for like 10years. thats cool. still have cancer from all the music

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 7:06 pm

slimebucato wrote:^ that's a good album, but I could never enjoy it like yoshimi. you happen to have that? i haven't listened to it in a while. gonna grab soft bulletin and give it another listen.

i honestly have downloaded at least 50 albums from this thread. very, very, very appreciated. thanks a ton for doing this.

Thanks slime. The fact that people like you are enjoying the music and downloading the albums makes me want to keep this going. More than happy to spread the wealth.

It's really a toss up between Yoshimi and Soft Bulletin for me, but lately I've been listening to Yoshimi a lot more.

Here ya go. Enjoy. I'm listening to this right now actually.

The Flaming Lips - Yoshimi Battles the Pink Robots (2002)

Genre: Psychedelic Rock/Pop
Bitrate: VBR

1 Fight Test 4:14
2 One More Robot / Sympathy 3000-21 4:59
3 Yoshimi Battles the Pink Robots pt. 1 4:45
4 Yoshimi Battles the Pink Robots pt. 2 2:57
5 In the Morning of the Magicians 6:18
6 Ego Tripping at the Gates of Hell 4:34
7 Are You a Hypnotist?? 4:44
8 It's Summertime 4:20
9 Do You Realize?? 3:32
10 All We Have Is Now 3:53
11 Approaching Pavonis Mons by Balloon (Utopia Planitia) 3:09

After the symphonic majesty of The Soft Bulletin, the Flaming Lips return with Yoshimi Battles the Pink Robots, a sublime fusion of Bulletin's newfound emotional directness, the old-school playfulness of Transmissions From the Satellite Heart, and, more importantly, exciting new expressions of the group's sentimental, experimental sound. While the album isn't as immediately impressive as the equally brilliant and unfocused Soft Bulletin, it's more consistent, using a palette of rounded, surprisingly emotive basslines; squelchy analog synths; and manicured acoustic guitars to craft songs like "One More Robot/Sympathy 3000-21," a sleekly melancholy tale of robots developing emotions, and "In the Morning of the Magicians," an aptly named electronic art rock epic that sounds like a collaboration between the Moody Blues and Wendy Carlos. Paradoxically, the Lips use simpler arrangements to create more diverse sounds on Yoshimi, spanning the lush, psychedelic reveries of "It's Summertime"; the instrumental "Approaching Pavonis Mons by Balloon"; the dubby "Are You a Hypnotist?"; and the barely organized chaos of "Yoshimi Battles the Pink Robots, Pt. 2," which defeats the evil metal ones with ferocious drums, buzzing synths, and the razor sharp howl of the Boredoms' Yoshimi. Few bands can craft life-affirming songs about potentially depressing subjects (the passage of time, fighting for what you care about, good vs. evil) as the Flaming Lips, and on Yoshimi, they're at the top of their game. "Do You Realize??" is the standout, so immediately gorgeous that it's obvious that it's the single. It's also the most obviously influenced by The Soft Bulletin, but it's even catchier and sadder, sweetening such unavoidable truths like "Do you realize that everyone you know someday will die?" with chimes, clouds of strings, and angelic backing vocals. Yoshimi features some of the sharpest emotional peaks and valleys of any Lips album ג the superficially playful "Fight Test" is surprisingly bittersweet, while sad songs like "All We Have Is Now" and "Ego Tripping at the Gates of Hell" are leavened by witty lyrics and production tricks. Funny, beautiful, and moving, Yoshimi Battles the Pink Robots finds the Flaming Lips continuing to grow and challenge themselves in not-so-obvious ways after delivering their obvious masterpiece.

Code: Select all

http://www.sendspace.com/file/wjlcy0

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 7:10 pm

slimebucato wrote:The Gun Club - Fire of Love

1.Sex Beat
2.Preaching The Blues
3.Promise Me
4.She's Like Heroin To Me http://www.zshare.net/audio/14368856e9cc7536/
5.For The Love Of Ivy
6.Fire Spirit
7.Ghost On The Highway
8.Jack On Fire
9.Black Train
10.Cool Drink Of Water
11.Goodbye Johnny

Gun Club manages to melt punk rage, blues-drenched despair and schizophrenic psychobilly on their unforgettable, fantastic debut. Drived by Jeffrey Lee Pierce sneaky, eerie voodoo-howls, the wailing, bleak, storming up tempo guitar of Ward Dotson and the fierce manic beat of Rob Ritter-Terry Graham rhythm section, the band delivered their songs - haunting tales of sex, terror, damnation, violence & desperate love - with harsh, passionate abandon. Pierce's career was short and tragic, but he had the firepower to lead this fantastic combo through the recording of an album of timelessly roughshod and unruly psycho-punk-blues, perhaps the first - and easily the best - of its kind. "Fire of Love" is bona-fide rock'n'roll bliss, an album that defies time idyosincrasies and music ephemeral fashions.
A really great album.
Code: Select all
http://www.sendspace.com/file/xcb7ix

Never heard of this group/album, but I'm checking this out. Thanks.

slimebucato · Post by **slimebucato** » Sat Jun 28, 2008 7:20 pm

Isis - Oceanic

1. "The Beginning and the End" ג 8:02
2. "The Other" ג 7:15
3. "False Light" ג 7:42
4. "Carry" ג 6:48
5. "-" ג 2:05
6. "Maritime" ג 3:03
7. "Weight" ג 10:46
8. "From Sinking" ג 8:24
9. "Hym" ג 9:13

Oceanic is the next logical step for Isis after the ugly, grandiose Celestial, the Aaron Turner-led outfit's second full-length looking simultaneously inward and outward, reaching into the nether regions of outer space while still keeping its feet firmly earthbound. Yes, it's an ambitious record, one that isn't immediately consumed and digested -- rather, it consumes and digests the listener with grand and hypnotic waves of sound. Songs blur together as aggressive, post-hardcore guitar riffery trades with lengthy, meditative bouts of electronic exploration, a technique that would result in plodding, pretentious mush in less capable hands. Instead, Oceanic successfully mirrors the dense, unimaginable power of its namesake, combining the minimalist metallic art of Godflesh with the bipolar mood swings and Black Sabbath muscle of West Coast brethren Neurosis. Turner's deathcore growl-shouts serve to puncture the instrumental tension that balloons slowly and painstakingly inflates throughout the album's 63 minutes, with ex-Dirt Merchants singer Maria Christopher occasionally drifting hazily into the arrangements. "Weight," at nearly 11 minutes, doesn't necessarily move as much as it evolves toward its goal, starting with lazy, but purposeful, melodic whale songs before logically concluding with Christopher's repetitive dub vocal and a droning organ suggesting spiritual rebirth. OnlyIsis could get away with writing hardcore hymns about the inevitability of elemental forces and pull it off with such conviction and attention to detail. The album may initially seem to exist in hazy head space, but clarity comes with further submergence, assuming you're willing to lay back and float, letting the water take you into both conscious and subconscious realms. Oceanic is a masterfully complex symphony of majestic noise and melody, an all-consuming trip into the earth and mind that defies genre and, often, description -- simply put, a triumph.

This is what anger sounds like.

Code: Select all

http://www.sendspace.com/file/qtso82

slimebucato · Post by **slimebucato** » Sat Jun 28, 2008 7:22 pm

Thanks for Yoshimi. "Do You Realize" was one of my favorite songs for a while. Glad to give you an album to check out too after this thread. It' s a great one, you shouldn't be disappointed.

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 7:26 pm

slimebucato wrote:Isis - Oceanic

1. "The Beginning and the End" ג 8:02
2. "The Other" ג 7:15
3. "False Light" ג 7:42
4. "Carry" ג 6:48
5. "-" ג 2:05
6. "Maritime" ג 3:03
7. "Weight" ג 10:46
8. "From Sinking" ג 8:24
9. "Hym" ג 9:13

Oceanic is the next logical step for Isis after the ugly, grandiose Celestial, the Aaron Turner-led outfit's second full-length looking simultaneously inward and outward, reaching into the nether regions of outer space while still keeping its feet firmly earthbound. Yes, it's an ambitious record, one that isn't immediately consumed and digested -- rather, it consumes and digests the listener with grand and hypnotic waves of sound. Songs blur together as aggressive, post-hardcore guitar riffery trades with lengthy, meditative bouts of electronic exploration, a technique that would result in plodding, pretentious mush in less capable hands. Instead, Oceanic successfully mirrors the dense, unimaginable power of its namesake, combining the minimalist metallic art of Godflesh with the bipolar mood swings and Black Sabbath muscle of West Coast brethren Neurosis. Turner's deathcore growl-shouts serve to puncture the instrumental tension that balloons slowly and painstakingly inflates throughout the album's 63 minutes, with ex-Dirt Merchants singer Maria Christopher occasionally drifting hazily into the arrangements. "Weight," at nearly 11 minutes, doesn't necessarily move as much as it evolves toward its goal, starting with lazy, but purposeful, melodic whale songs before logically concluding with Christopher's repetitive dub vocal and a droning organ suggesting spiritual rebirth. OnlyIsis could get away with writing hardcore hymns about the inevitability of elemental forces and pull it off with such conviction and attention to detail. The album may initially seem to exist in hazy head space, but clarity comes with further submergence, assuming you're willing to lay back and float, letting the water take you into both conscious and subconscious realms. Oceanic is a masterfully complex symphony of majestic noise and melody, an all-consuming trip into the earth and mind that defies genre and, often, description -- simply put, a triumph.
This is what anger sounds like.
Code: Select all
http://www.sendspace.com/file/qtso82

I was thinking of uploading some isis. I love this album, although Panopticon is my favorite of theirs.

Money Gripp · Post by **Money Gripp** » Sat Jun 28, 2008 7:51 pm

slimebucato wrote:Isis - Oceanic

1. "The Beginning and the End" ג 8:02
2. "The Other" ג 7:15
3. "False Light" ג 7:42
4. "Carry" ג 6:48
5. "-" ג 2:05
6. "Maritime" ג 3:03
7. "Weight" ג 10:46
8. "From Sinking" ג 8:24
9. "Hym" ג 9:13

Oceanic is the next logical step for Isis after the ugly, grandiose Celestial, the Aaron Turner-led outfit's second full-length looking simultaneously inward and outward, reaching into the nether regions of outer space while still keeping its feet firmly earthbound. Yes, it's an ambitious record, one that isn't immediately consumed and digested -- rather, it consumes and digests the listener with grand and hypnotic waves of sound. Songs blur together as aggressive, post-hardcore guitar riffery trades with lengthy, meditative bouts of electronic exploration, a technique that would result in plodding, pretentious mush in less capable hands. Instead, Oceanic successfully mirrors the dense, unimaginable power of its namesake, combining the minimalist metallic art of Godflesh with the bipolar mood swings and Black Sabbath muscle of West Coast brethren Neurosis. Turner's deathcore growl-shouts serve to puncture the instrumental tension that balloons slowly and painstakingly inflates throughout the album's 63 minutes, with ex-Dirt Merchants singer Maria Christopher occasionally drifting hazily into the arrangements. "Weight," at nearly 11 minutes, doesn't necessarily move as much as it evolves toward its goal, starting with lazy, but purposeful, melodic whale songs before logically concluding with Christopher's repetitive dub vocal and a droning organ suggesting spiritual rebirth. OnlyIsis could get away with writing hardcore hymns about the inevitability of elemental forces and pull it off with such conviction and attention to detail. The album may initially seem to exist in hazy head space, but clarity comes with further submergence, assuming you're willing to lay back and float, letting the water take you into both conscious and subconscious realms. Oceanic is a masterfully complex symphony of majestic noise and melody, an all-consuming trip into the earth and mind that defies genre and, often, description -- simply put, a triumph.
This is what anger sounds like.
Code: Select all
http://www.sendspace.com/file/qtso82

Great upload. Not essential, but one of my favorite records of this decade.

malpractice · Post by **malpractice** » Sat Jun 28, 2008 8:07 pm

slimebucato wrote:Isis - Oceanic

1. "The Beginning and the End" ג 8:02
2. "The Other" ג 7:15
3. "False Light" ג 7:42
4. "Carry" ג 6:48
5. "-" ג 2:05
6. "Maritime" ג 3:03
7. "Weight" ג 10:46
8. "From Sinking" ג 8:24
9. "Hym" ג 9:13

Oceanic is the next logical step for Isis after the ugly, grandiose Celestial, the Aaron Turner-led outfit's second full-length looking simultaneously inward and outward, reaching into the nether regions of outer space while still keeping its feet firmly earthbound. Yes, it's an ambitious record, one that isn't immediately consumed and digested -- rather, it consumes and digests the listener with grand and hypnotic waves of sound. Songs blur together as aggressive, post-hardcore guitar riffery trades with lengthy, meditative bouts of electronic exploration, a technique that would result in plodding, pretentious mush in less capable hands. Instead, Oceanic successfully mirrors the dense, unimaginable power of its namesake, combining the minimalist metallic art of Godflesh with the bipolar mood swings and Black Sabbath muscle of West Coast brethren Neurosis. Turner's deathcore growl-shouts serve to puncture the instrumental tension that balloons slowly and painstakingly inflates throughout the album's 63 minutes, with ex-Dirt Merchants singer Maria Christopher occasionally drifting hazily into the arrangements. "Weight," at nearly 11 minutes, doesn't necessarily move as much as it evolves toward its goal, starting with lazy, but purposeful, melodic whale songs before logically concluding with Christopher's repetitive dub vocal and a droning organ suggesting spiritual rebirth. OnlyIsis could get away with writing hardcore hymns about the inevitability of elemental forces and pull it off with such conviction and attention to detail. The album may initially seem to exist in hazy head space, but clarity comes with further submergence, assuming you're willing to lay back and float, letting the water take you into both conscious and subconscious realms. Oceanic is a masterfully complex symphony of majestic noise and melody, an all-consuming trip into the earth and mind that defies genre and, often, description -- simply put, a triumph.
This is what anger sounds like.
Code: Select all
http://www.sendspace.com/file/qtso82

mike patton is on this isis record so you know i approve!

damn, this thread is killin it.
sooo much good stuff
it makes me excited even though i own pretty much all of it already.. haha.

im still warming up to M2C because i feel like im gonna get :copy:

'd in some obscure hiphop thread, but im right at home here in good ol RR!

malpractice · Post by **malpractice** » Sat Jun 28, 2008 8:15 pm

speaking of patton..

fantomas - the director's cut (2001)

1 The Godfather (2:45)
2 Der Golem (2:37)
3 Experiment In Terror (2:39)
4 One Step Beyond (2:57)
5 Night Of The Hunter (Remix) (0:57)
6 Cape Fear (1:47)
7 Rosemary's Baby (3:19)
8 The Devil Rides Out (Remix) (1:37)
9 Spider Baby (2:25)
10 The Omen (Ave Satani) (1:48)
11 Henry: Portrait Of A Serial Killer (3:07)
12 Vendetta (1:58)
13 Untitled (0:03)
14 Investigation Of A Citizen Above Suspicion (3:59)
15 Twin Peaks: Fire Walk With Me (3:27)
16 Charade (3:03)

i know a lot of patton stuff can be hard to listen to if you arent a big fan (and sometimes even if you are), but this is a really great record that's fun for everybody!

that twin peaks track is one of the most chilling songs ever.
fantomas is also my favorite patton project to see live (aside from maybe mr bungle).

http://www.megaupload.com/?d=5E0F6EAH

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 11:00 pm

malpractice wrote:speaking of patton..

fantomas - the director's cut (2001)

1 The Godfather (2:45)
2 Der Golem (2:37)
3 Experiment In Terror (2:39)
4 One Step Beyond (2:57)
5 Night Of The Hunter (Remix) (0:57)
6 Cape Fear (1:47)
7 Rosemary's Baby (3:19)
8 The Devil Rides Out (Remix) (1:37)
9 Spider Baby (2:25)
10 The Omen (Ave Satani) (1:48)
11 Henry: Portrait Of A Serial Killer (3:07)
12 Vendetta (1:58)
13 Untitled (0:03)
14 Investigation Of A Citizen Above Suspicion (3:59)
15 Twin Peaks: Fire Walk With Me (3:27)
16 Charade (3:03)

i know a lot of patton stuff can be hard to listen to if you arent a big fan (and sometimes even if you are), but this is a really great record that's fun for everybody!

that twin peaks track is one of the most chilling songs ever.
fantomas is also my favorite patton project to see live (aside from maybe mr bungle).

http://www.megaupload.com/?d=5E0F6EAH

What's the sound quality on this? My copy is 128 kbps and I need to upgrade.

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 11:02 pm

malpractice wrote:
slimebucato wrote:Isis - Oceanic

1. "The Beginning and the End" ג 8:02
2. "The Other" ג 7:15
3. "False Light" ג 7:42
4. "Carry" ג 6:48
5. "-" ג 2:05
6. "Maritime" ג 3:03
7. "Weight" ג 10:46
8. "From Sinking" ג 8:24
9. "Hym" ג 9:13

Oceanic is the next logical step for Isis after the ugly, grandiose Celestial, the Aaron Turner-led outfit's second full-length looking simultaneously inward and outward, reaching into the nether regions of outer space while still keeping its feet firmly earthbound. Yes, it's an ambitious record, one that isn't immediately consumed and digested -- rather, it consumes and digests the listener with grand and hypnotic waves of sound. Songs blur together as aggressive, post-hardcore guitar riffery trades with lengthy, meditative bouts of electronic exploration, a technique that would result in plodding, pretentious mush in less capable hands. Instead, Oceanic successfully mirrors the dense, unimaginable power of its namesake, combining the minimalist metallic art of Godflesh with the bipolar mood swings and Black Sabbath muscle of West Coast brethren Neurosis. Turner's deathcore growl-shouts serve to puncture the instrumental tension that balloons slowly and painstakingly inflates throughout the album's 63 minutes, with ex-Dirt Merchants singer Maria Christopher occasionally drifting hazily into the arrangements. "Weight," at nearly 11 minutes, doesn't necessarily move as much as it evolves toward its goal, starting with lazy, but purposeful, melodic whale songs before logically concluding with Christopher's repetitive dub vocal and a droning organ suggesting spiritual rebirth. OnlyIsis could get away with writing hardcore hymns about the inevitability of elemental forces and pull it off with such conviction and attention to detail. The album may initially seem to exist in hazy head space, but clarity comes with further submergence, assuming you're willing to lay back and float, letting the water take you into both conscious and subconscious realms. Oceanic is a masterfully complex symphony of majestic noise and melody, an all-consuming trip into the earth and mind that defies genre and, often, description -- simply put, a triumph.
This is what anger sounds like.
Code: Select all
http://www.sendspace.com/file/qtso82
mike patton is on this isis record so you know i approve!

damn, this thread is killin it.
sooo much good stuff
it makes me excited even though i own pretty much all of it already.. haha.

im still warming up to M2C because i feel like im gonna get 'd in some obscure hiphop thread, but im right at home here in good ol RR!

What kind of hip-hop are you into? I'm guessing Def Jux/Atmosphere/MF Doom...

Fuckin' A · Post by **Fuckin' A** » Sat Jun 28, 2008 11:59 pm

Al Di Meola - Elegant Gypsy (1977)

Genre: Jazz
Bitrate: 192

1 Flight Over Rio 7:16
2 Midnight Tango 7:28
3 Mediterranean Sundance 5:14
4 Race With Devil on Spanish Highway 6:18
5 Lady of Rome Sister of Brazil 1:46
6 Elegant Gypsy Suite 9:16

[quote]Guitarist Al di Meola's second record as a leader is generally an explosive affair, although it does have a fair amount of variety. With Jan Hammer or Barry Miles on keyboards, electric bassist Anthony Jackson, drummer Lenny White (Steve Gadd takes his place on the "Elegant Gypsy Suite"), and percussionist Mingo Lewis on most of the selections, di Meola shows off his speedy and rock-ish fusion style. He was still a member of Return to Forever at the time and was a stronger guitarist than composer, but di Meola did put a lot of thought into this music. The brief "Lady of Rome, Sister of Brazil" (an acoustic guitar solo) and "Mediterranean Sundance" (an acoustic duet with fellow guitarist Paco de Luc

Sucka Ducka · Post by **Sucka Ducka** » Sun Jun 29, 2008 12:19 am

Fuckin' A wrote:
DLG wrote:
b0mbs_of_death wrote:Gentlemen, you are out doing yourselves.

FYI Megadeth sucks. I hate Dave Mustaine and his faggoty assed voice.
considering deleting you as a last.fm friend.

this thread is out of control. I have a decent chunk of these, but those that I don't I've been all over. Some incredible albums in here.

Fuckin' A · Post by **Fuckin' A** » Sun Jun 29, 2008 1:01 am

The Fall - This Nation's Saving Grace (1985)

Genre: Post-Punk
Bitrate: 192

1 Mansion 1:21
2 Bombast 3:08
3 Barmy 5:20
4 What You Need 4:49
5 Spoilt Victorian Child 4:13
6 L.A. 4:09
7 Vixen 4:01
8 Couldn't Get Ahead 2:36
9 Gut of the Quantifier 5:15
10 My New House 5:15
11 Paint Work 6:38
12 I Am Damo Suzuki 5:41
13 To N.K. Roachment: Yarbles 1:22
14 Petty (Thief) Lout 5:20
15 Rollin' Dany 2:23
16 Cruiser's Creek 4:17

"Feel the wrath of my Bombast!" exhorts Smith on this follow-up to their groundbreaking Wonderful and Frightening World of... the Fall, and this collection is ample proof of the pure confidence the group had at this time. Stompers like "Barmy," "What You Need," and the mighty "Gut of the Quantifier" are all led by Brix Smith's twanging lead hooks, filled by distorted guitars and bludgeoning drums, on top of which Smith rants with conviction. But it's the departures from this sound that mark the real interest here: The synth-driven "L.A." looks ahead to the Fall's experiments with electronica; "Paint Work" is an impressionist piece interrupted by Smith accidentally erasing over some of the track at home; and "I Am Damo Suzuki," a tribute to Can's lead singer, which borrows its arrangement from several of that group's songs. The Fall sound mysterious, down-to-earth, and hilarious all at the same time. The CD reissue adds the singles "Cruiser's Creek" and "Couldn't Get Ahead" as well as their B-sides making this an essential purchase.

Code: Select all

http://www.sendspace.com/file/760v6v

malpractice · Post by **malpractice** » Sun Jun 29, 2008 3:17 am

Fuckin' A wrote:What kind of hip-hop are you into? I'm guessing Def Jux/Atmosphere/MF Doom...

oh man, ouch!

im not one of those scene girls.

no, i do like most of the def jux/RSE artists. i think sean is a good dude. im a fan.

scarface/geto boys ive been listenin to lately,

of course, del is probably my favorite emcee even though his newest stuff isnt that great, i still love his classic albums and deltron kicked ass.. love dilated peoples/evidence's solo joint.. oh and i really love noisy crossover stuff like dalek, but that shouldnt be a surprise. but

kind of pisses me off.

what i mostly meant was, my knowledge of punk/metal/hardcore/noise bands is far greater than my hiphop knowledge in terms of being able to recite track listings and years that shit was released and background info from memory.

do i pass??