Sun – Jam House Wah

Sun – Jam House Wah
FLAC, EAC, LOG & CUE | Lossless Artwork | Size: 619 MB
Label/Cat#: Gun Records GUN 022 | Country/Year: Germany 1993
Genre: Grunge, Alternative Rock | Hoster: Filesonic

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Sun – Jam House Wah

Label: GUN Records
Catalog#: GUN 022
Format: CD, Album
Country: Germany
Released: 22 Mar 1993
Genre: Rock
Style: Alternative Rock, Grunge

Tracklist:

1 Intro 0:55
2 Water 4:45
3 Blisters 4:37
4 Honky Tonk Man 6:09
5 Grondraper 4:39
6 Smile 0:29
7 Jam House Wah 4:42
8 Tools 3:56
9 Like A Rolling Stone 6:27
10 Ego Problem D.T.B. 3:40
11 Yeah 5:10
12 Uncle Bob 5:39
13 Plastic Roses 5:09
14 Rain 5:39
15 Spanish Castle Magic 3:16
16 House Of Papermache 5:10
17 Spike Song 3:06

Barcode and Other Identifiers:

Barcode: 7 43211 33462 4
Other (Label Code): LC 6029

Sun was an Alternative rock band from Mönchengladbach, Germany with English lyrics and styles described as Crossover and Progressive rock.

The band was founded in 1991 by Ralf Aussem and Jörg Schröder. Sun was considered for long time on critics as “German answer” of Pearl Jam or Tool. Furthermore the band supported Pearl Jam on their Ten Release Tour in 1992 and also Monster Magnet in the year 1995.

Two years after founding their band they got their Majordeal on the label Gun Records. The band became good known by their albums Murdernature, XXXX and Nitro as also by co-projects for sequels of the serial rock sampler Crossing All Over. Further, the band used instruments atypical of rock, like English flutes.

In the year 2001 the band split up after different exchanges of bandmembers and severe illness of their singer. Their founder and musicwriter Ralf Aussem plays currently in the Scottish/German band Dead Guitars. wikipedia

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These Animal Men – Taxi for These Animal Men

These Animal Men – Taxi for These Animal Men
FLAC, EAC, LOG & CUE | Lossless Artwork | Size: 228 MB
Label/Cat#: Hut Rec. 7243 8 40277 2 8 | Country/Year: Europe 1995
Genre: Alternative Rock, Brit Pop | Hoster: Filesonic/Uploaded

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CD Info:

These Animal Men – Taxi For These Animal Men

Label: Hut Recordings
Catalog#: 7243 8 40277 2 8
Format: CD, EP
Country: Europe
Released: 1995
Genre: Rock
Style: Brit Pop, Punk

Tracklist:

1 You’re Always Right 2:44
2 Nowhere Faces 4:04
3 My Human Remains 5:06
4 False Identification 3:16
5 Wait For It 8:33

Credits:

Backing Vocals – Amanda Mae
Engineer [Assistant] – Derek Fudge, Nick Kirkland, Richard Bottom
Piano – Matt Willis
Producer, Engineer, Organ [Hammond] – Dave Eringa
Written By [Lyrics] – Boag, Hewings
Written By [Music] – These Animal Men

Notes:

Track 5 contains hidden track “You’re Always Right”

Label Code: LC 3098

These Animal Men were an English band who achieved minor fame in the 1990s as part of the New Wave of New Wave before splitting up after releasing two albums, in 1998.
These Animal Men formed in Brighton circa 1990, signing to Hut Records, an offshoot of Virgin Records in 1993. They gained some notoriety with their first few singles, which featured drug references in both the sleeve artwork and the song lyrics.

Their first album (Come on Join) The High Society was described by the music press, notably the NME, as being part of the New Wave of New Wave, (alongside contemporaries S*M*A*S*H with whom they shared their first significant release, “Wheelers, Dealers, Christine Keelers”).[citation needed]

Although this press attention undoubtedly contributed to their initial success (including a spot on Top of the Pops) the band tried to distance themselves from this movement in interviews.[citation needed] This was perhaps because they realized that when the press interest moved on to the next big thing, Britpop they would be left behind.[citation needed]

After a three year hiatus, punctuated by only one EP, Taxi for These Animal Men, they returned with their second album in 1997, Accident and Emergency. Despite reported difficulties encountered during recording, including the firing of Hussey, Accident and Emergency received some critical acclaim, but little commercial success. In 1998, the band broke up.

Later in 1998, Boag, Hewings, Warnock and Hague formed “Mo Solid Gold” with a new singer, K, (a.k.a. K.A. Hepburn) taking over vocals from Boag and Hewings. The output, a hybrid of the TAM sound and Northern soul, was the 2001 album Brand New Testament released on EMI/Chrysalis records. Singles for the tracks “David’s Soul,” “Personal Saviour,” “Safe from Harm,” and the self-titled “Mo Solid Gold” followed, but despite initial good reviews, the group broke up less than a year later.

In 2007, Hewings and Boag formed the band The Orphans with drummer Kev (since replaced by Paul Emons) and producer/keyboardist Tim Howarth. The Orphans released their first album Muff, a blend of glam, punk and garage rock, in 2008 on the Hail Mary label.

The Orphans continue to gig and are currently putting the finishing touches on the follow-up to Muff.

Original TAM drummer Stevie is currently drumming with former Beta Band front man Steve Mason. wikipedia

 

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Therapy? – Born In A Crash

Therapy? – Born In A Crash
FLAC, EAC, LOG & CUE | Lossless Artwork | Size: 257 MB
Label/Cat#: A&M 540 158-2 | Country/Year: Europe 1993
Genre: Alternative Rock, Grunge | Hoster: Filesonic/Uploaded

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Therapy? – Born In A Crash

Label: A&M Records
Catalog#: 540 158-2
Format: CD, Mini-Album
Country: Europe
Released: 1993
Genre: Rock
Style: Alternative Rock

Tracklist:

1 Turn 3:52
2 Speedball 2:33
3 Bloody Blue 1:14
4 Neck Freak 4:57
5 Opal Mantra 2:29
6 Innocent X (Live) 3:37
7 Potato Junkie (Live) 3:47
8 Nausea (Live) 3:29

Credits:

Producer – Therapy? (tracks: 1 to 5)
Producer, Mixed By – Chris Sheldon (tracks: 1 to 5)
Recorded By – Chris “Limp Wristed” Leckie (tracks: 6 to 8)
Written-By – Therapy?

Notes:

Full color cover artwork.

Tracks 6, 7, 8: Recorded Live USA April/May 1993.

Barcode and Other Identifiers:

Barcode: 7 31454 01582 0
Other (Rights Societies): BIEM/STEMRA
Other (Labelcode): LC 0485

Born in a Crash is a European compilation mini-album release by the band Therapy?. It was released on August 25, 1993 on A&M Records. All tracks were previously released in the UK on different EP’s. Tracks 1, 2, 3 and 4 originally featured on the Face The Strange EP, and tracks 5, 6, 7 and 8 originally featured on the Opal Mantra EP.[1]

The mini-album was released on CD only. wikipedia

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The Alarm – King Biscuit

The Alarm – King Biscuit
FLAC, EAC, LOG & CUE | Lossless Artwork | Size: 545 MB
Label/Cat#: King Biscuit 70710-88049-2 | Country/Year: US 1999
Genre: Alternative Rock | Hoster: Filesonic/Uploaded

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Alarm, The – King Biscuit

Label: King Biscuit Flower Hour Records
Catalog#: 70710-88049-2
Format: CD, Album
Country: US
Released: 1999
Genre: Rock
Style: Alternative Rock

Tracklist:

1 For Freedom
2 Marching On
3 Reason 41
4 Up For Murder
5 The Deceiver
6 The Stand
7 Blaze Of Glory
8 3rd Light
9 Tell Me
10 Across The Border
11 68 Guns
12 Unsafe Buildings
13 Marching On
14 We Are The Light
15 (Bonus Interview)

Barcode and Other Identifiers:

Barcode: 707108804928

Review

by Steve Huey

Recorded at Boston’s Paradise Theatre in 1983, King Biscuit Flower Hour is a typically passionate performance by the Alarm, which was broadcast on the titular syndicated radio program. Even though the group had yet to issue a full-length album in the United States, their frequent U.K. single releases already provided a vast majority of the material needed to fill out a standard-length concert. The band’s performances strike a nice balance between tight professionalism and raw vigor, and their commitment to the material is total (if unsubtle), making this an exciting listen for devoted fans. allmusicguide

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Anne Clark – The Sitting Room

Anne Clark – The Sitting Room
FLAC, EAC, LOG & CUE | Artwork | Size: 114 MB
Cat#: Virgin 256 865 | Country/Year: Germany 1992, 1982
Genre: Dark Wave, Abstract | Hoster: Filesonic/Uploaded

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Anne Clark – The Sitting Room

Label: Virgin Schallplatten GmbH
Catalog#: 256 865
Format: CD, Album
Country: Germany
Released: 1992, 1982
Genre: Electronic
Style: Abstract, Ambient

Tracklist:

1 The Sitting Room 2:21
2 Swimming 1:41
3 An Ordinary Life 2:41
4 Shades 1:53
5 Short Story (Party Mix) 1:52
6 The Power Game 0:45
7 All We Have To Be Thankful For 4:14

Anne Clark (born 14 May 1960, Croydon, London, England) is an English poet and songwriter. Her first album, The Sitting Room, was released in 1982, and she has released over a dozen albums since then.

Her experimental music occupies a region bounded roughly by electronic, dance (techno applies on occasion) and possibly avant-garde genres, with varying hard as well as romantic and orchestral styles.

Clark is mainly a spoken word artist. Many of her lyrics deal critically with the imperfections of humanity, everyday life, and politics. Especially in her early works she has created a gloomy, melancholy kind of atmosphere bordering on weltschmerz.

In 1982, Anne Clark published her first album, The Sitting Room, with songs written by herself. On the following albums, Changing Places (1983), Joined up Writing (1984) and Hopeless Cases (1987), Clark benefited from an acquaintance from the Warehouse: keyboardist David Harrow contributed as the co-author. The songs created by this team, such as “Sleeper in Metropolis,” “Our Darkness,” and “Wallies,” have since been considered milestones of the 1980s and 1990s.

In 1985, Clark released the album Pressure Points. It was created in collaboration with John Foxx, who wrote the music and plays on the first five tracks..

In 1987, Clark went to Norway for three years, where she worked with Tov Ramstad and Ida Baalsrud, among others. In cooperation with Charlie Morgan, she released the album Unstill Life in 1991 on SPV Records. Tracks included The Moment, Unstill Life, Abuse and Empty Me. This album was also released in the USA on Radikal Records. During 1992, she released a non-album collaboration on maxi-CD (SPV) with Ida Baalsrud, who both played the violin part and co-wrote If I Could; furthermore, there was also a remix of Our Darkness included on the last track of the CD. At the very end of 1992, in December, Charlie Morgan unexpectedly died of cancer at the age of only 36, which caused many planned collaboration projects to be abandoned.

After several months of reorientation, Clark eventually released The Law is an Anagram of Wealth in 1993, once again in collaboration with Tov Ramstad; the other musicians involved were Paul Downing, Martyn Bates (of the band Eyeless in Gaza), and Andy Bell (not of Erasure fame but talented musician and programmer) and completed a major European Tour.

Just one year later, in 1994, Anne Clark ventured into a style that she had not experimented with before: acoustic music. This eventually culminated in the release of Psychometry (1994), which featured a concert recorded live on stage in the Passionskirche in Berlin-Kreuzberg. wikipedia

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Blind Melon – Soup

Blind Melon – Soup
FLAC, EAC, LOG & CUE | Lossless Artwork (400dpi) | Size: 480 MB
Cat#: Capitol 7243 8 33934 2 8 | Country/Year: Europe 1995
Genre: Alternative Rock, Grunge | Hoster: Filesonic/Uploaded

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Blind Melon – Soup

Label: Capitol Records
Catalog#: 7243 8 33934 2 8
Format: CD, Album
Country: Netherlands
Released: 1995
Genre: Rock
Style: Alternative Rock

Tracklist:

1 Galaxie 2:40
2 2×4 4:00
3 Vernie 3:14
4 Skinned 1:57
5 Toes Across The Floor 3:04
6 Walk 2:47
7 Dumptruck 3:40
8 Car Seat (God’s Presents) 2:42
9 Wilt 2:29
10 The Duke 3:36
11 St. Andrew’s Fall 4:11
12 New Life 3:34
13 Mouthful Of Cavities 3:33
14 Lemonade 3:36

Credits:

A&r – Tim Devine
Art Direction – Blind Melon, Chris Jones (30), Tommy Steele (2)
Art Direction, Design [Insert & Cd] – Jeffery Fey
Bass – Brad Smith
Drums, Percussion – Glen Graham
Engineer [Additional] – Ken Lomas
Engineer [Assistant] – Mike Napolitano
Engineer, Mixed By – Andy Wallace
Guitar – Christopher Thorn, Rogers Stevens
Management – Chris Jones (30)
Mastered By – Howie Weinberg
Photography – Danny Clinch
Producer – Andy Wallace, Blind Melon
Vocals – Shannon Hoon
Written-By – Blind Melon

Notes:

Recorded at Kingsway Studios, New Orleans, November ’94 – January ’95 and at Ultrasonic Studios, New Orleans, December 9-18, 1994.
Mixed at Soundtracks, New York City.
Mastered at MasterDisk.

Barcode and Other Identifiers:

Barcode: 7 24383 39342 8
Matrix / Runout: 8339342 4-5-7-NL
Other: EMI UDEN
Other (Mastering code): L046
Other (Mould code): 15AL
Other (Label code): LC 0148
Other (UK distribution code): CDEST 2261
Other (Italy distribution code): 070
Other (France distribution code): PM 520
Other (Rights Societies): BIEM / STEMRA

Review

by Greg Prato

Most ’90s rock bands who enjoyed massive breakthrough success with their debut album seemed to follow it up with an effort similarly styled to its predecessor, hence guaranteeing repeat success. This proved not to be the case with Blind Melon. It appeared as though the band rejected the jovial spirit of No Rain and focused on much darker material for their follow-up, Soup. While it did not match the commercial success of the debut, Soup proved to be a challenging, gripping record that is just as strong and perhaps even more rewarding. Shannon Hoon was in the throes of drug addiction (which would prove fatal only two months after the album’s release), and his experience at a drug detox is clearly detailed in the Zep-groover, “2×4.” Hoon’s lyrics often examine his growing sense of mortality, as evidenced in “The Duke,” “St. Andrew’s Fall,” and “Car Seat,” while “New Life” shows Hoon hoping that the birth of his baby daughter will put his life back on track. The country-tinged “Skinned” is written from the standpoint of notorious killer, Ed Gein, the anthemic rocker, “Galaxie,” appears to deal with a troubled relationship, and “Vernie” is a tribute to his grandmother. Some of the tracks prove hopeful (“Walk”), while others are steeped in despair (“Toes Across the Floor,” “Wilt”). Soup deserved to be another big hit, but due to MTV and radio’s abrupt abandonment of the band, harsh reviews from close-minded critics, and worst of all, Hoon’s untimely death mid-tour, all hopes of the album receiving the attention it deserved were extinguished. Soup is one of the most underrated and overlooked great rock albums of the ’90s.

allmusicguide

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Chris Cornell – Carry On

Chris Cornell – Carry On
FLAC, EAC, LOG & CUE | Artwork | Size: 541 MB
Cat#: Interscope 0602517348837 | Country/Year: Europe 2007
Genre: Alternative Rock | Hoster: Filesonic/Uploaded

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Chris Cornell – Carry On

Label: Interscope Records
Cataloq#: 0602517348837
Format: CD, Album
Country: Europe
Released: 2007
Genre: Rock
Style: Alternative Rock

Tracklist:

1 No Such Thing 3:44
2 Poison Eye 3:57
3 Arms Around Your Love 3:34
4 Safe And Sound 4:16
5 She’ll Never Be Your Man 3:24
6 Ghosts 3:51
7 Killing Birds 3:38
8 Billie Jean 4:41
9 Scar On The Sky 3:40
10 Your Soul Today 3:27
11 Finally Forever 3:37
12 Silence The Voices 4:27
13 Disappearing Act 4:33
14 You Know My Name 4:01
Bonus Track
15 Today 3:03

Credits:

Engineer [Assistant] – Dave Colvin
Lyrics By, Music By – Michael Jackson (tracks: 8)
Mastered By – Stephen Marcussen
Producer, Mixed By – Steve Lillywhite
Recorded By, Mixed By – Todd Parker
Written-By – Chris Cornell (tracks: 1 to 7, 9 to 15), David Arnold (tracks: 14)

Notes:

(P) & (C) 2007 Suretone / Interscope Records
Made in the EU

Recorded and mixed at NRG Recording studios, No. Hollywood, CA. Mastered at Stephen Marcussen Mastering, Hollywood, CA.

Review

by Stephen Thomas Erlewine

Chris Cornell’s first solo album, Euphoria Morning, was released just after Cornell had shaken the shackles of Soundgarden and he was making a definitive break from their heavy heavy sound by indulging in bucolic singer/songwriter clichés. It went nowhere commercially but led him toward Audioslave, where he spent three albums pushing and pulling against the core of Rage Against the Machine. If Euphoria Morning was breaking from the past, Carry On is about reconnecting to it, returning Cornell to music that feels more comfortable than Tom Morello’s staccato riffs. Right from the beginning, he pushes out arena-filling riffs that feel more at home on a Soundgarden record — not as heavy and certainly not as tortured, but something more mature and more recognizably of Cornell’s lineage than much of Audioslave. It sets the stage for a record that’s seems like a rare hard rock maturation, but soon Cornell returns to the singer/songwriter mannerisms that seemed appropriate on his first debut — he was stretching his legs after Soundgarden, after all — but now feel anemic, particularly because they’re executed with quivering sensitivity and a near belligerent tunelessness. These are the songs that feel forced — as affected as his coffeehouse cover of “Billie Jean” — but when Cornell loosens up and gives the music backbone (and a backbeat), he not only comes alive as a performer but the writing is sharper and better, pointing a way toward an artistic middle age that’s richer and more compelling than what’s heard on the bulk of Carry On. allmusicguide

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