Artist : Bonham Title Of Album: The Disregard Of Timekeeping Year Of Release: 1989 Label (Catalog#): CBS / Sony Group Inc. (ESCA-5011) Country : UK Genre: Hard Rock Quality : FLAC (*image + .cue,log,scans) Bitrate: Lossless Time: 57:40 Full Size: 406,0 MB
Artist : Beggars & Thieves Title Of Album: Beggars & Thieves Year Of Release: 1990 Label (Catalog#): MMG Inc. (AMCY-155 ) Country : USA Genre: Hard Rock Quality : FLAC (*image + .cue,log,scans) Bitrate: Lossless Time: 54:08 Full Size: 380,0 MB
Artist : True Brits Title Of Album: Ready To Rumble Year Of Release: 1992 Country : UK Genre: Hard Rock Quality : FLAC (*image + .cue,log,scans) Bitrate: Lossless Time: 49:03 Full Size: 343,0 MB
Artist : Chance Title Of Album: Dunes Year Of Release: 1993 Label (Catalog#): UGUM Proguction (UGU 00293) Country : France Genre: Progressive Rock Quality : FLAC (*image + .cue,log,scans) Bitrate: Lossless Time: 54:52 Full Size: 369,0 MB
Pared down to a trio, Creedence Clearwater Revival had to find a new way of doing business, since already their sound had changed, so they split creative duties evenly. It wasn't just that each member wrote songs -- they produced them, too. Doug Clifford and Stu Cook claim John Fogerty needed time to creatively recharge, while Fogerty says he simply bowed to the duo's relentless pressure for equal time. Both arguments make sense, but either way, the end result was the same: Mardi Gras was a mess. Not a disaster, which it was dismissed as upon its release, since there are a couple of bright moments. Typically, Fogerty is reliable, with the solid rocker "Sweet Hitch-Hiker," the country ramble "Lookin' for a Reason," a good cover of Ricky Nelson's "Hello Mary Lou," and the pretty good ballad "Someday Never Comes."
The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock. The Allmans were exceptionally gifted musicians, as much bluesmen as rockers. Skynyrd was nothing but rockers, and they were Southern rockers to the bone. This didn't just mean that they were rednecks, but that they brought it all together -- the blues, country, garage rock, Southern poetry -- in a way that sounded more like the South than even the Allmans. And a large portion of that derives from their hard, lean edge, which was nowhere more apparent than on their debut album, Pronounced Leh-Nerd Skin-Nerd. Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands.
It was designed to be a blockbuster and it was. Prior to Goodbye Yellow Brick Road, Elton John had hits -- his second album, Elton John, went Top 10 in the U.S. and U.K., and he had smash singles in "Crocodile Rock" and "Daniel" -- but this 1973 album was a statement of purpose spilling over two LPs, which was all the better to showcase every element of John's spangled personality. Opening with the 11-minute melodramatic exercise "Funeral for a Friend/Love Lies Bleeding" -- as prog as Elton ever got -- Goodbye Yellow Brick Road immediately embraces excess but also tunefulness, as John immediately switches over to "Candle in the Wind" and "Bennie & the Jets," two songs that form the core of his canon and go a long way toward explaining the over-stuffed appeal of Goodbye Yellow Brick Road.
A number one album in both the Top 200 and country album charts in early 1975, this was Ronstadt's breakthrough into wider stardom, spawning hit singles on both the country and pop charts. When describing the string of mid-70s albums that were the fruit of the partnership between singer Linda Ronstadt and producer Peter Asher, the word "curated" seems to fit best. The Ronstadt/Asher song choice alchemy here reached perfection for the first time. Every track feels and sounds exactly right, the sonics are stellar, and the arrangements and playing are transcendent.