Gang of Four – Discography (1979-2011) [FLAC]
flac – lossless | 5.28 GB | Post-Punk

Formed in 1977 by Leeds University students Jon King (vocals), Andy Gill (guitar), Dave Allen (bass), and Hugo Burnham (drums), Gang of Four (along with the Fall, Mekons, and Liliput) produced some of the most exhilarating and lasting music of the early English post-punk era of 1978-1983. Fueled by the fury of punk rock and radical political theory, Gang of Four successfully welded the two in an inspired display of polemics and music that addressed the vagaries of life in the modern world (including love and romance) as matters of political inquiry. Despite the fact that this sounds rife with the potential for being long on rhetoric and short on groove, such was not the case. What made Gang of Four’s polemical clang’n’roll so compelling was that it worked as harsh, bracing, and ultimately liberating rock & roll. With Allen and Burnham combining as a formidable and frequently very funky rhythm section, Gill didn’t play guitar as much as emit thick wads of semi-tuneful distortion, while King “sang” in a dry, declamatory fashion similar to that of the Fall’s Mark E. Smith. The rhythms were stripped down and jagged; at times Gill would dispense with guitar solos entirely and “play” non-solos, which were (surprise!) silence. Song titles sounded like the titles of radical political essays: “At Home He’s a Tourist,” “Damaged Goods,” “It’s Her Factory,” “Anthrax,” “To Hell with Poverty,” all of it openly challenging the audience’s preconceived notions about rock music, performance, the cult of celebrity, and the nature of politics. And in doing so, GOF conveyed rage, confusion, and loss of identity as well as any band of their time.
After three consecutive sensational albums, as well as a handful of EPs and singles, Allen left in 1982 to form the more danceable and less overtly political Shriekback, while Gill, King, and Burnham recorded the misguided “radical soul/R&B” record Hard with veteran American producers Ron and Howard Albert (who’d previously worked with Stephen Stills’ Manassas and Firefall). A near total disaster, Hard signaled that the end was nigh. Gill and King, who by this point had final say-so on the band’s musical and political direction, sacked Burnham, and the now “Gang of Two” released a so-so live album (At the Palace) and called it quits in 1984. But legends die hard, and Gang of Four experienced a mini-renaissance in the early ’90s with the release of two excellent collections (A Brief History of the Twentieth Century and The Peel Sessions Album). Gill and King put together a new Gang of Four and released the tepid but not disgraceful Mall in 1991. Another reunion, from 1995, yielded Shrinkwrapped. Three years later, a double-disc compilation — 100 Flowers Bloom — surfaced on Rhino, and the original lineup reconvened in 2004 to tour extensively and release 2005′s Return the Gift, featuring re-recordings of their early material. Gill and King continued with a new rhythm section and released 2011′s Content with financial support from their fans. They have always remained, to the ears of those opened wide by punk rock, an extremely important band.

1979 – Entertainment! [1995 Remaster]
1979 – Entertainment! [2005 Remaster]
1982 – Songs of the Free [2008 Remaster]
1983 – Hard [2008 Remaster]
1990 – A Brief History of the Twentieth Century
1990 – The Peel Sessions Album
1991 – Mall
1995 – Shrinkwrapped
1995 – Solid Gold & Another Day/Another Dollar
1998 – 100 Flowers Bloom
2003 – Hard/Solid Gold [2 LPs on 1 CD]
2005 – Return the Gift [2-CD Limited Edition]
2009 – Second Life [CD-Single]
2011 – Content

Album artwork and rip logs are included. Enjoy

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VA-Sun Of A Bastard Vol. 7-DE-CD-FLAC-2014-NBFLAC

Description :

Artist…: VA Title…..: Sun Of A Bastard Vol.7
Storedate: 00.00.2014 Rlsdate.. : 23.08.2014
Genre….: Punk CD-Year…: 2014
Type…..: Compilation Source….: CD
Encoder..: FLAC 1.2.1 Label…..: SunnyBastards
Quality..: 1052kbps – 44,1Hz – Stereo Language..: German

Url……: http://www.sunnybastards.de

Tracklist.. .

01.Eastside Boys – Born To Lose [03:28]
02.Volxsturm – Gegenschlag [03:46]
03.Emscherkurve 77 – Wurzeln [04:06]
04.4 Promille – Ueberdruck [03:44]
05.Long Tall Texas – What Part OF Fuck Off [03:04]
06.Dutch Ska Express – Somebody That I Used To Know [02:46]
07.Die Tornados – Try Again [03:47]
08.Hounds And Harlots – Fight Till The End [02:07]
09.Aggressive – No Matter [02:38]
10.Piratenpabst – Medien [03:12]
11.Enorm – Der Bauer [03:55]
12.Last Rough Cause – Politics And Religion [03:09]
13.Gimp Fist – The Price You Pay [02:26]
14.The Sensitives – Weird Things Happens At Night [02:33]
15.Oxo86 – Bier und Reggae [03:19]
16.Doerpms – Noten der Strasse [02:55]
17.Suspect – Zeiten aendern sich (nicht) [05:27]
18.United Bastards – Dein Leben deine Zeit [02:36]
19.Brigade S – Bloede Menschen bloede Lieder [01:30]
20.Halbstarke Jungs – Alles wird gut [03:24]
21.180 Grad – Unsere Stimme [03:27]
———
67:19 min
511,14 MB

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Green Day – American Idiot (2004/2012)
FLAC (tracks) 24 bit/192 kHz | Time – 57:20 minutes | 2,26 GB
Official Digital Download – Source: HDTracks.com | Front cover
Genre: Rock, Punk

American Idiot is the 2004 masterpiece from modern rock super group Green Day. It was one of the most anticipated albums of 2004. Inspired by The Who, American Idiot is an epic, unapologetic rock opera that follows the story of Jesus of Suburbia, an anti-hero character created by Billie Joe Armstrong. The politically-charged narrative would top the Billboard 200 and yield the hit singles “American Idiot,” “Boulevard of Broken Dreams,” “Holiday” “Wake Me Up When September Ends” and “Jesus Of Suburbia.” Selling over fourteen million copies worldwide, the album is listed on Rolling Stone’s “500 Greatest Albums of All Time”.

It’s a bit tempting to peg Green Day’s sprawling, ambitious, brilliant seventh album, American Idiot, as their version of a Who album, the next logical step forward from the Kinks-inspired popcraft of their underrated 2000 effort, Warning, but things aren’t quite that simple. American Idiot is an unapologetic, unabashed rock opera, a form that Pete Townshend pioneered with Tommy, but Green Day doesn’t use that for a blueprint as much as they use the Who’s mini-opera “A Quick One, While He’s Away,” whose whirlwind succession of 90-second songs isn’t only emulated on two song suites here, but provides the template for the larger 13-song cycle. But the Who are only one of many inspirations on this audacious, immensely entertaining album. The story of St. Jimmy has an arc similar to Hüsker Dü’s landmark punk-opera Zen Arcade, while the music has grandiose flourishes straight out of both Queen and Rocky Horror Picture Show (the ’50s pastiche “Rock and Roll Girlfriend” is punk rock Meat Loaf), all tied together with a nervy urgency and a political passion reminiscent of the Clash, or all the anti-Reagan American hardcore bands of the ’80s. These are just the clearest touchstones for American Idiot, but reducing the album to its influences gives the inaccurate impression that this is no more than a patchwork quilt of familiar sounds, when it’s an idiosyncratic, visionary work in its own right. First of all, part of Green Day’s appeal is how they have personalized the sounds of the past, making time-honored guitar rock traditions seem fresh, even vital. With their first albums, they styled themselves after first-generation punk they were too young to hear firsthand, and as their career progressed, the group not only synthesized these influences into something distinctive, but chief songwriter Billie Joe Armstrong turned into a muscular, versatile songwriter in his own right.

Warning illustrated their growing musical acumen quite impressively, but here, the music isn’t only tougher, it’s fluid and, better still, it fuels the anger, disillusionment, heartbreak, frustration, and scathing wit at the core of American Idiot. And one of the truly startling things about American Idiot is how the increased musicality of the band is matched by Armstrong’s incisive, cutting lyrics, which effectively convey the paranoia and fear of living in American in days after 9/11, but also veer into moving, intimate small-scale character sketches. There’s a lot to absorb here, and cynics might dismiss it after one listen as a bit of a mess when it’s really a rich, multi-faceted work, one that is bracing upon the first spin and grows in stature and becomes more addictive with each repeated play. Like all great concept albums, American Idiot works on several different levels. It can be taken as a collection of great songs — songs that are as visceral or as poignant as Green Day at their best, songs that resonate outside of the larger canvas of the story, as the fiery anti-Dubya title anthem proves — but these songs have a different, more lasting impact when taken as a whole. While its breakneck, freewheeling musicality has many inspirations, there really aren’t many records like American Idiot (bizarrely enough, the Fiery Furnaces’ Blueberry Boat is one of the closest, at least on a sonic level, largely because both groups draw deeply from the kaleidoscopic “A Quick One”). In its musical muscle and sweeping, politically charged narrative, it’s something of a masterpiece, and one of the few — if not the only — records of 2004 to convey what it feels like to live in the strange, bewildering America of the early 2000s.

Tracklist:
01 – American Idiot
02 – Jesus Of Suburbia
03 – Holiday
04 – Boulevard Of Broken Dreams
05 – Are We The Waiting
06 – St. Jimmy
07 – Give Me Novacaine
08 – She’s A Rebel
09 – Extraordinary Girl
10 – Letterbomb
11 – Wake Me Up When September Ends
12 – Homecoming
13 – Whatsername

About the Mastering: American Idiot was a multi-track digital session mixed through an analog desk with analog EQ and analog effects to an analog tape deck. It was delivered to Ted Jensen at Sterling Sound in NYC as an analog 1/2” 2-track master and converted to 192/24 digital.

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Supersnazz-Superstupid-REPACK-CD-FLAC-1993-POWDER

Description :

Artist ……….: Supersnazz
Release Date ….: 08.30.2014
Album ………..: Superstupid
Label ………..: SUBPOP
Catalog Number ..: SP209
Language ……..: English
Genre ………..: Punk
Size …………: 192.3
Source ……….: CDDA
URL ………….: http://www.subpop.com

01. breakout 02:22
02. johnny 03:01
03. black cat 01:32
04. sometimes 02:40
05. middle of the way 01:20
06. playing my guitar 03:02
07. uncle wiggly 02:48
08. hardcore 02:48
09. comanche 01:13
10. creeps 02:17
11. first time is the best time 01:37
12. papa oo mao mao 02:46
———
27:26
27:26 min
192.36 MB

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Supersnazz-Superstupid-CD-FLAC-1993-POWDER

Description :

Artist ……….: Supersnazz
Release Date ….: 08.29.2014
Album ………..: Superstupid
Label ………..: SUBPOP
Catalog Number ..: SP209
Language ……..: English
Genre ………..: Punk
Size …………: 192.3
Source ……….: CDDA
URL ………….: http://www.subpop.com

—————————————————

01. breakout. 02:22
02. johnny. 03:01
03. black cat. 01:32
04. sometimes. 02:40
05. middle of the way. 01:20
06. playing my guitar. 03:02
07. uncle wiggly. 02:48
08. hardcore. 02:48
09. comanche. 01:13
10. creeps. 02:17
11. first time is the best time. 01:37
12. papa oo mao mao. 02:46
———
27:26
27:26 min
192.36 MB

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VA-Hopelessly Devoted To You Vol 5-CD-FLAC-2004-POWDER

Description :

Artist ……….: VA
Release Date ….: 08.31.2014
Album ………..: Hopelessly Devoted To You Vol 5
Label ………..: Hopeless Records
Catalog Number ..: HR675-2
Language ……..: English
Genre ………..: Punk
Size …………: 351.2
Source ……….: CDDA
URL ………….: http://www.cduniverse.com

01. melee – new day 03:16
02. amber pacific – always you 04:06
03. thrice – motion without meaning 01:53
04. break the silence – comfort in cold 05:15
blood
05. avenged sevenfold – chapter four 05:43
06. against all authority – wet foot policy 03:09
07. common rider – where the waves are 01:44
highest
08. melee – francesca 02:58
09. stairwell – ancient ruins 02:54
10. amber pacific – leaving what you wanted 03:40
11. thrice – to awake and avenge the dead 03:08
12. break the silence – the likes of me 03:11
13. avenged sevenfold – eternal rest (live) 05:28
14. atom and his package – punk rock 02:34
academy (live)
———
48:59
48:59 min
351.24 MB

–

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Bad Brains – Discography (1982-2012) [FLAC]
flac – lossless | 4.7 GB | Hardcore Punk

By melding punk with reggae, Bad Brains became one of the definitive American hardcore punk groups of the early ’80s. Although the group released only a handful of records during its peak, including the legendary cassette-only debut, Bad Brains, they developed a dedicated following, many of whom would later form their own hardcore and alternative bands. As for Bad Brains themselves, they continued to record and tour in varying lineups led by guitarist Dr. Know into the late ’90s yet never managed to break out of their cult status.

Dr. Know (born Gary Miller), a former jazz fusion guitarist, formed Bad Brains in 1979, inspired by both the amateurish rage of the Sex Pistols and the political reggae of Bob Marley. Realizing that the lines between punk and reggae were already blurred in the U.K., he set out to replicate that situation in the U.S., and he recruited several similarly minded musicians — vocalist H.R. (born Paul D. Hudson), bassist Darryl Aaron Jenifer, and drummer Earl Hudson — to prove his point. Bad Brains quickly became one of the most popular punk bands on the East Coast, particularly in their hometown of Washington, D.C. Their live performances were legendary, but their recordings were difficult to find. Their debut single, “Pay to Cum,” was pressed in limited numbers, and their 1982 debut album was only issued in cassette form by ROIR. In addition to the Bad Brains tape, the group released a handful of other EPs in 1982, finally moving to PVC for 1983′s full-length debut, Rock for Light, which was produced by Ric Ocasek.

The handful of indie recordings Bad Brains left behind, as well as their live shows, made the band legendary in American hardcore, yet few potential fans could actually hear the band due to poor distribution and erratic touring. The band took three years to deliver the follow-up to Rock for Light, finally releasing I Against I on SST in 1986. In those three years, the group developed more heavy metal leanings, and the resulting record received mixed reviews. More importantly, it divided the band, with Dr. Know and Jenifer wishing to continue to pursue heavy rock, and H.R. and Hudson wanting to devote themselves to reggae. Over the next three years, the latter pair frequently left the band to make reggae albums before finally departing in 1989. They were replaced by Israel Joseph-I (born Dexter Pinto) and Mackie Jayson, respectively.

In the wake of the alternative rock boom of the early ’90s, Bad Brains were finally offered a major-label contract in 1993, releasing Rise on Epic later that year. The album bombed and the group was dropped. Maverick Records offered the group a contract in 1995, provided that the original lineup reunited. They did so and released God of Love that summer, to mixed reviews and poor sales. H.R. and Hudson left the band shortly after the album’s release, and the band was dropped by Maverick. In 1998 the band again reunited and began touring under the name Soul Brains.

In 2002, Reggae Lounge compiled remixes of Bad Brains’ ’80s hits and released a full-length dub album titled I & I Survived. The following year Caroline released Banned in DC: Bad Brains’ Greatest Riffs, a solid anthology compiling songs from their first album up to Quickness. For the next few years, the group members concentrated on solo endeavors, with a few scattered guest appearances on other bands’ albums or live shows. In 2006, Bad Brains reunited for a few shows at CBGB’s, which quickly sold out. With a resurging interest in the band, in early 2007, Megaforce announced that they had signed them to their roster. Under Beastie Boy Adam Yauch’s studio supervision, the original band went back to the studio for the first time in over a decade and recorded Build a Nation, an inspired attempt at returning to the band’s hardcore roots. In early 2011 the band began work on the next record. The record was initially titled “Let’s Have Fun”, but that title didn’t stick and was changed to Into the Future, an album which saw release in November of 2012.

1982 – Bad Brains [1996 Reissue]
1983 – Rock for Light [1991 Reissue]
1986 – I Against I
1988 – Live
1989 – Attitude: The ROIR Sessions
1989 – Quickness
1990 – The Youth Are Getting Restless: Live in Amsterdam
1991 – Spirit Electricity [EP]
1993 – Rise
1995 – God of Love
1996 – Black Dots
1997 – Omega Sessions [EP]
2001 – Soul Brains: A Bad Brains Reunion Live from Maritime Hall
2002 – I & I Survived (Dub)
2003 – Banned in D.C.: Bad Brains Greatest Riffs
2006 – Live at CBGB 1982 – The Audio Recordings
2007 – Build a Nation
2012 – Into the Future

Album artwork is included. Enjoy!!

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VA – No Thanks! The ’70s Punk Rebellion (4CD Box Set) (2003) [FLAC]
flac – lossless | 2.05 GB | Punk

Like all the great rock revolutions, punk was fueled by singles. Sure, there were a lot of tremendous albums, but all the artists that cut great LPs also had great 7″s — and in the case of Television and Patti Smith, they had independent singles released prior to their first albums that never appeared on their debuts. Since rock criticism tends to be album-driven, singles tend to get slightly overlooked, and since punk is a rock critic’s favorite, some revisionist historians paint the era as fueled by albums, not singles. Rhino’s excellent four-disc No Thanks! The ’70s Punk Rebellion corrects that error by focusing on the singles, winding up with a one-stop introduction and summary of the era that is as good as Loud, Fast & Out of Control, their similar set on early rock & roll. The compilers have bent the rules of punk slightly, deciding to include proto-punkers like New York Dolls, the Stooges, the Dictators, and Jonathan Richman, and then to not present the cuts in a strictly chronological order. This benefits the album, since these artists are in the same spirit of the bands they inspired, and the sequencing plays like a great mixtape. Rhino has also evenly balanced the set between American and British punk, including both early hardcore punkers the Dead Kennedys and British pub rock renegades like Nick Lowe and Ian Dury in equal measure. Though there’s a bit of difference between “California Über Alles” and “Heart of the City,” they deserve to be paired on this set because they both were genuinely independent, exciting 45s that crackled with energy and captured the spirit of punk, albeit in different ways. And that’s what makes No Thanks! work so well — it illustrates how diverse punk and new wave were in the late ’70s, but it places a premium on adventure and excitement, which means even artier bands like Pere Ubu and Suicide come across as pure rock & roll. If there is any flaw to the box, it’s that most record collectors will already own the lion’s share of these songs — in fact, if they own Rhino’s previous 1993 multi-disc punk retrospective D.I.Y., they’ll own no less than 53 of these songs (an additional 14 songs have appeared on other Rhino titles, making for a grand total of 67 of 100 songs already released by Rhino). While this is undoubtedly a problem for some collectors, it is also true that it functions more as an overview for fans that don’t already own a bunch of this on CD, and on that level it can’t be faulted. True, this may contain no tracks from the Sex Pistols, since John Lydon refused them permission (allegedly because Rhino chose not to release the 2002 Sex Pistols box set in the States), but every other major player is here, and the music here is so good they’re not missed at all. Finally, if a collector is wondering whether it’s worth the expense to buy this box, there are three rare singles that make their debut here: the aforementioned Television and Patti Smith singles, “Little Johnny Jewel” and “Hey Joe [version],” plus an early single version of the Pretenders’ “The Wait.” (Note: “Little Johnny Jewel” was released nearly simultaneously on an expanded reissue of Television’s Marquee Moon.) For those that can afford it, that’s reason enough to pick up the set.

Track Listing:

Disc: 1

1. Blitzkrieg Bop – Ramones
2. White Riot – The Clash
3. Heart Of The City – Nick Lowe
4. Boredom – Buzzcocks featuring Howard Devoto
5. (I’m) Stranded – The Saints
6. Neat Neat Neat – The Damned
7. In The City – The Jam
8. Final Solution – Pere Ubu
9. Roadrunner – The Modern Lovers
10. Little Johnny Jewel – Television
11. One Chord Wonders – The Adverts
12. Born To Lose – The Heartbreakers
13. Search And Destroy – Iggy & The Stooges
14. Let Me Dream If I Want To (Amphetamine Blues) – Mink DeVille
15. Oh Bondage Up Yours! – X-Ray Spex
16. 1 2 X U – Wire
17. Blank Generation – Richard Hell & The Voidoids
18. (Get A) Grip (On Yourself) – The Stranglers
19. Cherry Bomb – The Runaways
20. Personality Crisis – New York Dolls
21. Teenage Depression – Eddie & The Hot Rods
22. Two Tub Man – The Dictators
23. Hey Joe (Version) – Patti Smith
24. Your Generation – Generation X

Disc: 2

1. Lust For Life – Iggy Pop
2. Gary Gilmore’s Eyes – The Adverts
3. Satday Night In The City Of The Dead – Ultravox!
4. What Do I Get? – Buzzcocks
5. X Offender – Blondie
6. Lookin’ After No. 1 – The Boomtown Rats
7. Don’t Dictate – Penetration
8. Bingo Master – The Fall
9. Free Money – Patti Smith
10. The Modern World – The Jam
11. Chinese Rocks – The Heartbreakers
12. New Rose – The Damned
13. Ambition – Subway Sect
14. See No Evil – Television
15. Suspect Device – Stiff Little Fingers
16. Mannequin – Wire
17. Baby Baby – The Vibrators
18. Love Comes In Spurts – Richard Hell & The Voidoids
19. First Time – The Boys
20. Sonic Reducer – Dead Boys
21. Shot By Both Sides – Magazine
22. Mystery Dance – Elvis Costello
23. Trash – New York Dolls
24. The Day The World Turned Day-Glo – X-Ray Spex
25. Do Anything You Wanna Do – Eddie & The Hot Rods

Disc: 3

1. Ready Steady Go – Generation X
2. Teenage Kicks – The Undertones
3. Sex & Drugs & Rock & Roll – Ian Dury
4. Ever Fallen In Love (With Someone You Shouldn’t’ve?) – Buzzcocks
5. Rocket U.S.A. – Suicide
6. Mongoloid – Devo
7. Homicide – 999
8. Mr. Big – The Dils
9. Warsaw – Joy Division
10. Where Were You? – The Mekons
11. Lexicon Devil – The Germs
12. (My Baby Does) Good Sculptures – The Rezillos
13. The Wait – The Pretenders
14. We Got The Neutron Bomb – The Weirdos
15. Pablo Picasso – The Modern Lovers
16. Action Time Vision – Alternative TV
17. 2-4-6-8 Motorway – Tom Robinson Band
18. We Are The One – The Avengers
19. Borstal Breakout – Sham 69
20. Wasted – Black Flag
21. Sheena Is A Punk Rocker – Ramones
22. I Love Livin In The City – Fear
23. She’s So Modern – The Boomtown Rats
24. Ghosts Of Princes In Towers – Rich Kids
25. We’re Desperate – X
26. You Drive Me Ape (You Big Gorilla) – The Dickies
27. Dancing The Night Away – The Motors

Disc: 4

1. Hong Kong Garden – Siouxsie & The Banshees
2. Hanging On The Telephone – Blondie
3. Top Of The Pops – The Rezillos
4. Adult Books – X
5. The Sound Of The Suburbs – The Members
6. California =DCber Alles – Dead Kennedys
7. Another Girl, Another Planet – The Only Ones
8. (I Want To Be An) Anglepoise Lamp – The Soft Boys
9. Radio, Radio – Elvis Costello & The Attractions
10. Typical Girls – The Slits
11. Human Fly – The Cramps
12. Psycho Killer – Talking Heads
13. Babylon’s Burning – The Ruts
14. If The Kids Are United – Sham 69
15. Alternative Ulster – Stiff Little Fingers
16. Boys Don’t Cry – The Cure
17. She Is Beyond Good And Evil – The Pop Group
18. Is She Really Going Out With Him? – Joe Jackson
19. Get Over You – The Undertones
20. Love Like Anthrax – Gang Of Four
21. Peaches – The Stranglers
22. Into The Valley – Skids
23. You Can’t Put Your Arms Round A Memory – Johnny Thunders
24. Love Will Tear Us Apart – Joy Division

Album artwork and rip logs are included. Enjoy!

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The Clash – Sound System [11CD+DVD] (2013) [FLAC]
11CD + DVD | 8.59 GB | Punk

Most box sets are designed to enshrine an artist in the amber of posterity. The idea is that the artist has transcended their time, that they can now be appreciated outside of the context of their era. The digital age, where recordings from the past sit comfortably with tunes from the present, accelerates this trend, suggesting that all the classic artists exist upon their own continuum, that their development was almost a product of self-divination. What is interesting about Sound System is that it throws this notion out the window and celebrates the era that produced the Clash as much as it celebrates the band itself. As designed by Clash bassist Paul Simonon, Sound System looks like an old-school ghetto blaster, and it’s filled with replicas of fanzines, stickers, badges, press photos, posters, dog tags — all manner of period-specific tchotchkes that walk the line between nostalgia and commercial art. This aesthetic trickles down to the presentation of the music itself, with London Calling split over two CDs where it could easily fit onto one and Sandinista! taking up a full three discs. Such details slightly impede playability if Sound System is listened to as a series of CDs, but once the set is ripped and listened to digitally, the divided discs are simply another design flourish, one of many little things to appreciate. But Sound System is also attractive in delivering what effectively is the Complete Clash in one sitting. Apart from the disowned Cut the Crap, all the albums are here — the U.K. version of The Clash, Give ‘Em Enough Rope, London Calling, Sandinista!, Combat Rock — along with three discs of extras that include all the non-LP singles (i.e., the singles that were added to the U.S. pressing of the debut, plus everything that wound up on the clearinghouse Super Black Market Clash, such as the Cost of Living EP), oddities that appeared on the first Clash box Clash on Broadway in 1991, and B-sides; then, most attractively for collectors, previously unreleased mixes, outtakes from Combat Rock, “extracts” from the band’s first recording session in 1976, Polydor demos from that same year produced by Guy Stevens, and six live cuts from the Lyceum in 1979. Then, there’s the DVD which contains all the band’s promo videos, the Clash on Broadway video, the White Promo Film, footage from Sussex University in 1977, and individual selections from Clash compatriots Don Letts and Julian Temple. Perhaps there are still some stray tracks in the vaults — this seems to excavate all the unheard songs from Rat Patrol from Fort Bragg, aka the original version of Combat Rock and some cuts may be left behind — but this is as complete as we’ll get and if it doesn’t present any fresh revelations, it brings the Clash’s era back to life, both sonically and visually.

The set will contain all the albums, newly remastered, across eight CDs, plus a further three discs of demos, non-album singles, B-sides and rarities. Additionally Sound System comes with a DVD which features all of the band’s videos and unseen footage from the archives of Julien Temple and Don Letts.

The boombox packaging is designed by Paul Simonon and houses memorabilia including Clash Fanzines, poster, dog tags, stickers and badges.

A new 2CD set The Clash – Hits Back will also be released on the same day.

Sound System box set contains eight CDs (below) to cover the normal albums and a further four bonus discs with rarities – giving a total of 12 discs in this set.

1. The Clash [UK Version] (1 CD)
2. Give ‘Em Enough Rope (1 CD)
3. London Calling (double album, 2 CDs)
4. Sandinista! (triple album, 3 CDs)
5. Combat Rock (1 CD)
6. Sound System Extras (3 CDs)
7. Bonus DVD (1 Disc)

All newly remastered by The Clash with award-winning engineer Tim Young.

Sound System Extra CDs Full track listing:

Disc One

1. White Riot (Single version)
2. 1977 (B-side)
3. Listen (Capital Radio EP) / Interviews (Capital Radio EP)
4. Capital Radio (Capital Radio EP)
5. London’s Burning (Live B-side Remote Control)
6. Complete Control (Single version)
7. City Of The Dead (B-side)
8. Clash City Rockers (Original single version)
9. Jail Guitar Doors (B-side)
10. White Man In Hammersmith Palais (A-side)
11. The Prisoner (B-side)
12. 1-2 Crush On You (B-side Tommy Gun)
13. Time Is Tight (Black Market Clash)
14. Pressure Drop (B-side English Civil War)
15. I Fought The Law (Cost Of Living EP)
16. Groovy Times (Cost Of Living EP)
17. Gates Of The West (Cost Of Living EP)
18. Capital Radio (Cost Of Living EP)
19. Armagideon Time
20. Bankrobber (A-side)
21. Rockers Galore On A UK Tour (B-side)

Disc Two

1. Magnificent Dance (12”) 5:36 (available on Singles box set)
2. Midnight To Stevens (Outtake)
3. Radio One (B-side Hitsville UK)
4. Stop The World (B-side The Call Up)
5. The Cool Out (US 12” B-side of The Call Up)
6. This Is Radio Clash (A-side)
7. This Is Radio Clash (B-side 7” – different lyrics)
8. First Night Back In London (B-side Know Your Rights)
9. Rock The Casbah (Bob Clearmountain 12” mix) – PREVIOUSLY UNRELEASED
10. Long Time Jerk (B-side Rock The Casbah)
11. The Beautiful People Are Ugly Too (Outtake) – PREVIOUSLY UNRELEASED
12. Idle In Kangaroo Court (Outtake listed as Kill Time) – PREVIOUSLY UNRELEASED
13. Ghetto Defendant (Extended version – unedited) – PREVIOUSLY UNRELEASED
14. Cool Confusion (B-side Should I Stay Or Should I Go 7”)
15. Sean Flynn (Extended ‘Marcus Music’ version) – PREVIOUSLY UNRELEASED
16. Straight To Hell (Extended unedited version from Clash On Broadway) – PREVIOUSLY UNRELEASED

Disc Three

Extracts from The Clash’s first ever recording session at Beaconsfield Film School 1976. Recorded by Julien Temple

1. I’m So Bored With The USA
2. London’s Burning – PREVIOUSLY UNRELEASED
3. White Riot
4. 1977 – PREVIOUSLY UNRELEASED

Polydor Demos – The Clash’s second recording session November 1976 (Produced by Guy Stevens)

5. Janie Jones
6. Career Opportunities
7. London’s Burning – PREVIOUSLY UNRELEASED
8. 1977 – PREVIOUSLY UNRELEASED
9. White Riot – PREVIOUSLY UNRELEASED

Live at The Lyceum, London 28th December 1978

10. City Of The Dead
11. Jail Guitar Doors – PREVIOUSLY UNRELEASED
12. English Civil War
13. Stay Free – PREVIOUSLY UNRELEASED
14. Cheapstakes – PREVIOUSLY UNRELEASED
15. I Fought The Law

Bonus DVD

Julien Temple Archive – 6:20
White Riot Interview – 7:10
Promo and interviews with Tony Parsons
1977 1:87
White Riot 1:48
London’s Burning 2:05

Sussex University 1977

I’m So Bored With The USA 2:14 – PREVIOUSLY UNRELEASED
Hate & War 1:94 – PREVIOUSLY UNRELEASED
Career Opportunities 1:42 – PREVIOUSLY UNRELEASED
Remote Control 2:73 – PREVIOUSLY UNRELEASED

Don Letts Super 8 Medley 11:40

White Riot 1:52
Janie Jones 1:73
City of the Dead 2:04
Clash City Rockers 2:15
White Man in Hammersmith Palais 2:53
1977 1:41

Clash On Broadway – 19:50

London Calling
This Is Radio Clash
The Magnificent Seven
Guns Of Brixton
Safe European Home

Promo Videos

Tommy Gun 3:00
London Calling 3:20
Bankrobber 4:00
Clampdown (Live) 5:00
Train In Vain (Live) 2:10
The Call Up 3:10
Rock The Casbah 3:20
Should I Stay Or Should I Go (Live at Shea Stadium) 2:50
Career Opportunities (Live at Shea Stadium) 3:00

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Hüsker Dü – Discography (1982-1994) [FLAC]
flac – lossless | 3.01 GB | Post-Punk

Hüsker Dü and R.E.M. were the two American post-punk bands of the ’80s that changed the direction of rock & roll. R.E.M. became a superstar band; Hüsker Dü never was more than a cult favorite. Nevertheless, their albums between 1981 and 1987 have proven remarkably influential; they provided the sonic blueprint for the roaring punk-pop hybrid that crossed over into the mainstream in the early ’90s. Not only did they shape the sound of the music, they shaped the way independent bands made the transition to the major labels; they showed other bands that it was possible to record uncompromising music on a major label without losing any integrity or creative control. From the Replacements to Nirvana, the Pixies to Superchunk, nearly every major and minor band that appeared in the alternative underground in the late ’80s and ’90s owed a major debt to Hüsker Dü, whether they were aware of it or not.

The band’s two songwriters, guitarist Bob Mould and drummer Grant Hart, both had a knack for writing songs that essentially followed conventional pop structures, complete with memorable melodies, but were still punk songs. Hüsker Dü took the Buzzcocks’ pioneering punk-pop and made it harder, both musically and lyrically. Throughout their career, Hüsker Dü never lost their edge, never turned down their amplifiers, never compromised their music. While Hart and bassist Greg Norton were an unfailingly strong rhythm section, Mould would prove to be one of the most influential guitarists of the decade. With his slashing rhythms, distorted strumming, and blazing leads, he set the stage for the alternative guitar heroes of the late ’80s and the ’90s.

Hüsker Dü formed in Minneapolis, MN, in 1979. Guitarist/vocalist Bob Mould was studying at Macalester College in St. Paul, MN, and working at a record store, which is where he met drummer/vocalist Grant Hart and bassist Greg Norton. The three musicians had diverse tastes, but all shared a love for hardcore punk rock. Naming themselves Hüsker Dü after a ’50s Danish board game (the name means “do you remember”), the trio began rehearsing in Norton’s basement.

In the early ’80s, Hüsker Dü developed a strong local following; nearly every local band, from the Replacements to Soul Asylum, sounded like the Hüskers. Both Mould and Hart wrote songs and sang lead. In 1981, they released their first single, “Statues,” on the local label Reflex, which was quickly followed by their debut album, Land Speed Record, which was released on New Alliance Records. Recorded live, Land Speed Record boasted 17 songs that lasted a full 26 minutes. Later that year, they released an equally fast and hard EP, In a Free Land.

In 1982, they moved backed to Reflex, where they released Everything Falls Apart, their first album recorded in a studio. By this time, Hüsker Dü had begun touring the United States relentlessly, traveling across the country in a van and playing small clubs. Along with the Minutemen, R.E.M., Black Flag, the Meat Puppets, and the Replacements, Hüsker Dü formed the core of a group of independent rock & roll bands that carved out a reputation for touring ceaselessly and getting their records played through college radio stations; they formed the core of the American rock underground in the mid-’80s. Hüsker Dü concerts were a nonstop barrage; the band rarely spoke to the audience and each song segued directly into the next, without interruption. In addition to touring constantly, Hüsker Dü was recording quickly, turning out the Metal Circus EP in 1983.

After Metal Circus, Hüsker Dü developed musically at a rapid pace, with Mould and Hart coming into their own as songwriters on 1984′s Zen Arcade, their first album for SST Records and their critical breakthrough. Zen Arcade was a double album — something that was completely unheard of in the underground — that showed the band stretching out musically, writing sharper pop songs as well as lengthy abrasive instrumentals. Critics embraced the record, as did independent rock fans. At the end of 1984, they released “Eight Miles High,” a cover of the Byrds song; it was only available as a single.

Hüsker Dü continued to record and tour at a blindingly fast speed throughout 1984 and 1985. Mould and Hart were beginning to develop an unspoken rivalry as well as a dependency on alcohol and speed. Nevertheless, the group was at its peak in 1985, turning out two albums. The first, New Day Rising, was released in the spring and showed the band moving closer to concise pop songwriting while accentuating their fierce sonic barrage. Flip Your Wig, released late in 1985, featured their cleanest, most accessible production, without making any concessions to mainstream rock. Both albums received excellent reviews, both in fanzines and some mainstream rock publications.

Following the release of Flip Your Wig, Hüsker Dü became the first of the mid-’80s independent post-punk bands to sign a contract with a major label, as they closed a deal with Warner Bros. Candy Apple Grey, the band’s first major-label album, appeared in 1986. During that year, tensions between Mould and Hart escalated. Mould began to clean up and Hart continued to sink further into drug and alcohol addiction. Nevertheless, they managed to write and record another double album, Warehouse: Songs and Stories. Although Warner didn’t want the band to release another double record, Warehouse was released in the spring of 1987, to uniformly positive reviews.

Hüsker Dü was preparing to launch a series of concerts to support Warehouse when their manager, David Savoy, committed suicide the night before the start of the tour. Hüsker played the tour anyway — they ran through the new album in order every night, without interruption — but Savoy’s suicide helped the inner-band turmoil reach a peak. Hart showed no signs of sobering — he was developing a heroin addiction — while Mould was clean. Following the Warehouse tour, the band played no more concerts for the rest of the year, which caused speculation that the group was breaking up. Those rumors were confirmed during the winter of 1987-1988, when Hart was fired and the band broke up.

Hart released a solo EP, 2541, on SST later that year, followed by a full-length album called Intolerance a year later. After its release, Hart shook loose his addictions and formed a new band, Nova Mob. Nova Mob released their debut album, The Last Days of Pompeii, in 1991; a self-titled second album appeared in 1994. Norton became a chef in Red Wing. Immediately after the breakup of Hüsker Dü, Mould embarked on a solo career. After releasing two solo albums — Workbook (1989) and Black Sheets of Rain (1990) — he formed a trio called Sugar in 1992. Between 1992 and 1994, Sugar released two albums: Copper Blue (1992) and File Under: Easy Listening (1994). Mould broke up the band in 1995 and returned to a solo career the following year.

1. Land Speed Record (1982)
2. Metal Circus [EP] (1983)
3. Zen Arcade (1984)
4. New Day Rising (1985)
5. Flip Your Wig (1985)
6. Candy Apple Grey (1986)
7. Warehouse: Songs and Stories (1987)
8. Eight Miles High/Makes No Sense at All [EP] (1990)
9. Everything Falls Apart and More (1993)
10. The Living End (1994)

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Green Day – The Studio Albums (1990-2009) (2012) [FLAC]
flac – lossless | 2.78 GB | Alternative Rock, Punk

Artist: Green Day
Format: CD
Release Year: 2012
Record Label: Reprise
Genre: Alternative, Rock & Pop
Number of Discs: 8

Since their formation in 1987 Green Day have developed in to one of the world’s biggest bands. From their first releases on Lookout Records to their 16 million selling Dookie and beyond, Green Day have continued to entertain and sell huge amounts of records in equal measures. As the box set contains all of the band’s albums, all the hit singles are also included, including, “American Idiot”, “Basket Case”, “21st Century Breakdown”, “Know Your Enemy” and “Wake Me Up When September Ends”. The set is packaged in a clam shell case with each album individually packaged in a paper sleeve.

DISC 1: 1,039/SMOOTHED OUT SLAPPY HOURS:

1. At the Library
2. Don’t Leave Me
3. I Was There
4. Disappearing Boy
5. Green Day
6. Going to Pasalacqua
7. 16
8. Road to Acceptance
9. Rest
10. The Judge’s Daughter
11. Paper Lanterns
12. Why Do You Want Him?
13. 409 In Your Coffeemaker
14. Knowledge
15. 1,000 Hours
16. Dry Ice
17. Only of You
18. The One I Want
19. I Want to Be Alone

DISC 2: KERPLUNK!:

1. 2000 Light Years Away
2. One for the Razorbacks
3. Welcome to Paradise
4. Christie Road
5. Private Ale
6. Dominated Love Slave
7. One of My Lies
8. 80
9. Android
10. No One Knows
11. Who Wrote Holden Caulfield?
12. Words I Might Have Ate
13. Sweet Children
14. Best Thing in Town
15. Strangeland
16. My Generation

DISC 3: DOOKIE:

1. Burnout
2. Having a Blast
3. Chump
4. Longview
5. Welcome to Paradise
6. Pulling Teeth
7. Basket Case
8. She
9. Sassafras Roots
10. When I Come Around
11. Coming Clean
12. Emenius Sleepus
13. In the End
14. F.O.D./All By Myself

DISC 4: INSOMNIAC:

1. Armatage Shanks
2. Brat
3. Stuck With Me
4. Geek Stink Breath
5. No Pride
6. Bab’s Uvula Who?
7. 86
8. Panic Song
9. Stuart and the Ave.
10. Brain Stew
11. Jaded
12. Westbound Sign
13. Tight Wad Hill
14. Walking Contradiction

DISC 5: NIMROD:

1. Nice Guys Finish Last
2. Hitchin’ a Ride
3. The Grouch
4. Redundant
5. Scattered
6. All the Time
7. Worry Rock
8. Platypus (I Hate You)
9. Uptight
10. Last Ride In
11. Jinx
12. Haushinka
13. Walking Alone
14. Reject
15. Take Back
16. King for a Day
17. Good Riddance (Time of Your Life)
18. Prosthetic Head

DISC 6: WARNING:

1. Warning
2. Blood, Sex and Booze
3. Church on Sunday
4. Fashion Victim
5. Castaway
6. Misery
7. Deadbeat Holiday
8. Hold On
9. Jackass
10. Waiting
11. Minority
12. Macy’s Day Parade

DISC 7: AMERICAN IDIOT:

1. American Idiot
2. Jesus of Suburbia: Jesus of Suburbia/City of the Damned/I Don’t Care/Dearly Beloved/Tales of Another Broken Home
3. Holiday
4. Boulevard of Broken Dreams
5. Are We the Waiting
6. St. Jimmy
7. Give Me Novacaine
8. She’s a Rebel
9. Extraordinary Gril
10. Letterbomb
11. Wake Me Up When September Ends
12. Homecoming: The Death of St. Jimmy/East 12th St./Nobody Likes You/Rock and Roll Girlfriend/We’re Coming Home Again
13. Whatsername

DISC 8: 21ST CENTURY BREAKDOWN:

1. Song of the Century
2. 21st Century Breakdown
3. Know Your Enemy
4. ¡Viva La Gloria!
5. Before the Lobotomy
6. Christian’s Inferno
7. Last Night on Earth
8. East Jesus Nowhere
9. Peacemaker
10. Last of the American Girls
11. Murder City
12. ¿Viva La Gloria? (Little Girl)
13. Restless Heart Syndrome
14. Horseshoes and Handgrenades
15. Static Age, The
16. 21 Guns
17. American Eulogy: Mass Hysteria/Modern World
18. See the Light

Enjoy!!!

Download:

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https://www.oboom.com/3YBY4VJ2/GreenDayTheStudioAlbums199020092012FLAC.part2.rar
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http://rapidgator.net/file/028e62310f2c8978e5605586c61c0113/GreenDayTheStudioAlbums199020092012FLAC.part3.rar.html

Year Of Release:2014
Genre:Pop Rock, Punk
Format: FLAC, tracks
Bitrate:lossless
Total Size:235 MB

Tracklist

1. When You Know
2. A Thousand Miles Away From here
3. Love Against!
4. Someone Else
5. Fallen Angel
6. Your Head / Your Heart
7. Raised
8. 12/31
9. Darling You
10. Past Ideas Of The Future

Download:

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The Jam – Discography (1977-2002) [FLAC]
flac – lossless | 5.37 GB | Punk

The Jam were the most popular band to emerge from the initial wave of British punk rock in 1977; along with the Sex Pistols, the Clash, and the Buzzcocks, The Jam had the most impact on pop music. While they could barely get noticed in America, the trio became genuine superstars in Britain, with an impressive string of Top Ten singles in the late ’70s and early ’80s. The Jam could never have a hit in America because they were thoroughly and defiantly British. Under the direction of guitarist/vocalist/songwriter Paul Weller, the trio spearheaded a revival of mid-’60s mod groups, in the style of the Who and the Small Faces. Like the mod bands, the group dressed stylishly, worshipped American R&B, and played it loud and rough. By the time of the group’s third album, Weller’s songwriting had grown substantially, as he was beginning to write social commentaries and pop songs in the vein of the Kinks. Both his political songs and his romantic songs were steeped in British culture, filled with references and slang in the lyrics, as well as musical allusions. Furthermore, as The Jam grew more popular and musically accessible, Weller became more insistent and stubborn about his beliefs, supporting leftist causes and adhering to the pop aesthetics of ’60s British rock without ever succumbing to hippie values. Paradoxically, that meant even when their music became more pop than punk, they never abandoned the punk values — if anything, Weller stuck to the strident independent ethics of 1977 more than any other punk band just by simply refusing to change.

Weller formed The Jam with drummer Rick Buckler, bassist Bruce Foxton, and guitarist Steve Brookes while they were still in school in 1975; Brookes quickly left the band and they remained a trio for the rest of their career. For the next year, the band played gigs around London, building a local following. In February 1977, the group signed a record contract with Polydor Records; two months later, they released their debut single, “In the City,” which reached the U.K. Top 40. The following month, the group released their debut album, also called In the City. Recorded in just 11 days, the album featured a combinations of R&B covers and Weller originals, all of which sounded a bit like faster, more ragged versions of the Who’s early records. Their second single, “All Around the World,” nearly broke into the British Top Ten and the group embarked on a successful British tour. During the summer of 1977, they recorded their second album, This Is the Modern World, which was released toward the end of the year. “The Modern World” made it into the Top 40 in November, just as The Jam were beginning their first American tour. Although it was brief, the tour was not successful, leaving bitter memories of the U.S. in the minds of the band.

This Is the Modern World peaked in the British charts at number 22, yet it received criticism for repeating the sound of the debut. The band began a headlining tour of the U.K., yet it was derailed shortly after it started when the group got into a nasty fight with a bunch of rugby players in a Leeds hotel. Weller broke several bones and was charged with assault, although the Leeds Crown Court would eventually acquit him. The Jam departed for another American tour in March of 1978 and it was yet another unsuccessful tour, as they opened for Blue Öyster Cult. It did nothing to win new American fans, yet their star continued to rise in Britain. Bands copying the group’s mod look and sound popped up across Britain and The Jam itself performed at the Reading Festival in August. All Mod Cons, released late in 1978, marked a turning point in The Jam’s career, illustrating that Weller’s songwriting was becoming more melodic, complex, and lyrically incisive, resembling Ray Davies more than Pete Townshend. Even as their sound became more pop-oriented, the group lost none of their tightly controlled energy. All Mod Cons was a major success, peaking at number six on the U.K. charts, even if it didn’t make a dent in the U.S. Every one of the band’s singles were now charting in the Top 20, with the driving “Eton Rifles” becoming their first Top Ten in November 1979, charting at number three.

Setting Sons, released at the end of 1979, climbed to number four in the U.K. and marked their first charting album in the U.S., hitting number 137 in spring of 1980. At that time, The Jam had become full-fledged rock stars in Britain, with their new “Going Underground” single entering the charts at number one. During the summer, the band recorded their fifth album, with the “Taxman”-inspired “Start” released as a teaser single in August; “Start” became their second straight number one. Its accompanying album, the ambitious Sound Affects, hit number two in the U.K. at the end of the year; it was also the band’s high-water mark in the U.S., peaking at number 72. “That’s Entertainment,” one of the standout tracks from Sound Affects, charted at number 21 in the U.K. as an import single, confirming the band’s enormous popularity.

“Funeral Pyre,” the band’s summer 1981 single, showed signs that Weller was becoming fascinated with American soul and R&B, as did the punchy, horn-driven “Absolute Beginners,” which hit number four in the fall of the year. As The Jam were recording their sixth album, Weller suffered a nervous breakdown, which prompted him to stop drinking. In February 1982, the first single from the new sessions — the double A-sided “Town Called Malice”/”Precious” — became their third number one single and the band became the first group since the Beatles to play two songs on BBC’s Top of the Pops. The Gift, released in March of 1982, showcased the band’s soul infatuation and became the group’s first number one album in the U.K. “Just Who Is the 5 O’Clock Hero” hit number eight in July, becoming the group’s second import single to make the U.K. charts.

Although The Jam was at the height of its popularity, Weller was becoming frustrated with the trio’s sound and made the decision to disband the group. On the heels of the number two hit “The Bitterest Pill,” The Jam announced their breakup in October of 1982. The band played a farewell tour in the fall and their final single, “Beat Surrender,” entered the charts at number one. Dig the New Breed, a compilation of live tracks, charted at number two in December of 1982. All 16 of the group’s singles were re-released by Polydor in the U.K. at the beginning of 1983; all of them recharted simultaneously. Bruce Foxton released a solo album, Touch Sensitive, and Rick Buckler played with the Time UK; neither of the efforts were as noteworthy as the Jam biography the two wrote in the early ’90s, which contained many vicious attacks on Weller.

Immediately after the breakup of The Jam, Weller formed the Style Council with Mick Talbot, a member of the Jam-inspired mod revival band the Merton Parkas. After a handful of initial hits, the Style Council proved to be a disappointment and Weller fell out of favor, both critically and commercially. At the end of the decade he disbanded the group and went solo in the early ’90s; his solo albums were both artistic and popular successes, returning him to the spotlight in the U.K. The legacy of The Jam is apparent in nearly every British guitar pop band of the ’80s and ’90s, from the Smiths to Blur and Oasis. More than any other group, The Jam kept the tradition of three-minute, hook-driven British guitar pop alive through the ’70s and ’80s, providing a blueprint for generations of bands to come.

1. In the City (1977)
2. This Is the Modern World (1977)
3. All Mod Cons (1978)
4. Setting Sons (1979)
5. Sound Affects (1980)
6. The Gift (1982)
7. Dig the New Breed (1982)
8. Snap! [2006 Reissue] (1983)
9. Direction Reaction Creation [Box Set] (1997)
10. The Jam at the BBC (2002)

Artwork is included in each album. Enjoy!!!

Download:

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Social Distortion-White Light White Heat White Trash-CD-FLAC-2010-NBFLAC

Description :

Artist…: Social Distortion Title…..: White Light White Heat White Trash
Storedate: 00.00.0000 Rlsdate.. : 15.09.2014
Genre….: Punk CD-Year…: 2010
Type…..: Album Source….: CD
Encoder..: FLAC 1.2.1 Label…..: Sony Music
Quality..: 1004kbps – 44,1Hz – Stereo Language..: English

Url……: n/a

Tracklist.. .

01.Dear Lover [04:44]
02.Don’t Drag Me Down [03:51]
03.Untitled [04:46]
04.I Was Wrong [03:59]
05.Through These Eyes [03:16]
06.Down On The World Again [03:22]
07.When The Angels Sing [04:15]
08.Gotta Know The Rules [03:28]
09.Crown Of Thorns [04:16]
10.Pleasure Seeker [03:33]
11.Down Here (with The Rest Of Us) [04:20]
12.Under My Thumb [02:50]
———
46:40 min
348,55 MB

Download Links :

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Joy Division – Official Discography (1979-2011) [FLAC]
flac – lossless | 8.6 GB | Post-Punk

Formed in the wake of the punk explosion in England, Joy Division became the first band in the post-punk movement by later emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the ’80s. Though the group’s raw initial sides fit the bill for any punk band, Joy Division later incorporated synthesizers (taboo in the low-tech world of ’70s punk) and more haunting melodies, emphasized by the isolated, tortured lyrics of its lead vocalist, Ian Curtis. While the British punk movement shocked the world during the late ’70s, Joy Division’s quiet storm of musical restraint and emotive power proved to be just as important to independent music in the 1980s.

The band was founded in early 1977, soon after the Sex Pistols had made their first appearance in Manchester. Guitarist Bernard Albrecht (b. Bernard Dicken, January 4, 1956) and bassist Peter Hook (b. February 13, 1956) had met while at the show and later formed a band called the Stiff Kittens; after placing an ad through a Manchester record store, they added vocalist Ian Curtis (b. July 15, 1956) and drummer Steve Brotherdale. Renamed Warsaw (from David Bowie’s “Warszawa”), the band made its live debut the following May, supporting the Buzzcocks and Penetration at Manchester’s Electric Circus. After the recording of several demos, Brotherdale quit the group in August 1977, prompting the hire of Stephen Morris (b. October 28, 1957). A name change to Joy Division in late 1977 — necessitated by the punk band Warsaw Pakt — was inspired by Karol Cetinsky’s World War II novel The House of Dolls. (In the book, the term “joy division” was used as slang for concentration camp units wherein female inmates were forced to prostitute themselves for the enjoyment of Nazi soldiers.)

Playing frequently in the north country during early 1978, the quartet gained the respect of several influential figures: Rob Gretton, a Manchester club DJ who became the group’s manager; Tony Wilson, a TV/print journalist and owner of the Factory Records label; and Derek Branwood, a record executive with RCA Northwest, who recorded sessions in May 1978, for what was planned to be Joy Division’s self-titled debut LP. Though several songs bounded with punk energy, the rest of the album showed at an early age the band’s later trademarks: Curtis’ themes of post-industrial restlessness and emotional despair, Hook’s droning bass lines, and the jagged guitar riffs of Albrecht.

The album should have been hailed as a punk classic, but when a studio engineer added synthesizers to several tracks — believing that the punk movement had to move on and embrace new sounds — Joy Division scrapped the entire LP. (Titled Warsaw for a 1982 bootleg, the album was finally given wide issue ten years later.) The first actual Joy Division release came in June 1978, when the initial mid-1977 demos were released as the EP An Ideal for Living, on the band’s own Enigma label. Early in 1979, the buzz surrounding Joy Division increased with a session recorded for John Peel’s BBC radio show.

The group began recording with producer Martin Hannett and released Unknown Pleasures on old friend Tony Wilson’s Factory label in July 1979. The album enjoyed immense critical acclaim and a long stay on the U.K.’s independent charts. Encouraged by the punk buzz, the American Warner Bros. label offered a large distribution contract that fall. The band ignored it but did record another radio session for John Peel on November 26th. (Both sessions were later collected on the Peel Sessions album.)

During late 1979, Joy Division’s manic live show gained many converts, partly due to rumors of Curtis’ ill health. An epilepsy sufferer, he was prone to breakdowns and seizures while on stage — it soon grew difficult to distinguish the fits from his usual on-stage jerkiness and manic behavior. As the live dates continued and the new decade approached, Curtis grew weaker and more prone to seizures. After a short rest over the Christmas holiday, Joy Division embarked on a European tour during January, though several dates were cancelled because of Curtis. The group began recording its second LP after the tour ended (again with Hannett), and released “Love Will Tear Us Apart” in April. The single was again praised but failed to move beyond the independent charts. After one gig in early May, the members of Joy Division were given two weeks of rest before beginning the group’s first U.S. tour. Two days before the scheduled flight, however, Curtis was found dead in his home, the victim of a self-inflicted hanging.

Before Curtis’ death, the band had agreed that Joy Division would cease to exist if any member left, for any reason. Ironically though, the summer of 1980 proved to be the blooming of the band’s commercial status, when a re-release of “Love Will Tear Us Apart” rose to number 13 on the British singles chart. In August, the release of Closer finally united critics’ positivity with glowing sales, as the album peaked at number six. Before the end of the summer, Unknown Pleasures was charting as well.

By January of the following year, Hook, Morris, and Albrecht (now Bernard Sumner) had formed New Order, with Sumner taking over vocal duties. Also in 1981, the posthumous release of Still — including two sides of rare tracks and two of live songs — rose to number five on the British charts. As New Order’s star began to shine during the ’80s, the group had trouble escaping the long shadow of Curtis and Joy Division. “Love Will Tear Us Apart” charted for the third time in 1983, and 1988 also proved a big year for the defunct band: the reissued single “Atmosphere” hit number 34 and a double-album compilation entitled Substance reached number seven in the album charts. Seven years later, the 15th anniversary of Curtis’ death was memorialized with a new JD compilation (Permanent: Joy Division 1995), a tribute album (A Means to an End), and a biography of his life (Touching From a Distance) written by his widow, Deborah Curtis. In 1999, the Factory label began a program of concert-performance reissues — all overseen by the remainder of the original lineup — with Preston Warehouse 28 February 1980.

1979 – Unknown Pleasures
1980 – Closer
1981 – Still
1988 – Substance
1995 – Permanent
1997 – Heart and Soul (4-CD Box)
1999 – Preston 28 February 1980
2000 – The Complete BBC Recordings
2001 – Les Bains Douches 18 December 1979
2007 – Unknown Pleasures [Collector's Edition] (2-CD)
2007 – Closer [Collector's Edition] (2-CD)
2007 – Still [Collector's Edition] (2-CD)
2008 – The Best of Joy Division
2010 – +- Singles 1978-1980 (10-CD Box)
2011 – Total: From Joy Division to New Order

Each album is guaranteed CDDA. Album artwork is also included. Enjoy!!!!!

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VA-Punk-O-Rama 4 Straight Outta The Pit-CD-FLAC-1999-MAHOU

Description :

Artist : VA
Album : Punk-O-Rama 4 Straight Outta The Pit
Bitrate : 1030kbps

Source : CD
Label : Epitaph Records
Year : 1999
Genre : Punk
Ripper :
Rip date : 2011-11-19
Store date : 1999-00-00
Rip tool : EAC
Encoder : FLAC.1.2.1.
Size : 433.34 megs

Track List

1. Pennywise – Fight It 2:15
2. Pulley – Second Best 1:49
3. H2O – Faster Than The World 2:17
4. Rancid – 1998 2:46
5. Heideroosjes – Watch Me Play 2:25
6. The Bouncing Souls – Hopeless Romantic 2:07
7. Ten Foot Pole – The Getaway 3:41
8. All – Think The World 1:21
9. New Bomb Turks – Snap Decision 2:23
10. Bad Religion – Generator 3:19
11. Dwarves – I Will Deny 1:39
12. Straight Faced – Let’s Do This 1:23
13. Agnostic Front – It’s My Life 2:29
14. Beatsteaks – Panic 2:39
15. Man or Astro-Man? – Theme From Eeviac 2:32
16. VooDoo Glow Skulls – They Always Come Back 3:23
17. Zeke – Kicked In The Teeth 1:56
18. Gas Huffer – Don’t Panic 1:46
19. Tom Waits – Big In Japan 4:04
20. Gentleman Jack Grisham – Someone To Love? 2:52
21. Union 13 – A Life’s Story 2:09
22. 98 Mute – Picture This 2:05
23. Osker – Lucky 2:14
24. I Against I – The Best Place In The World To Leave 1:03
25. NOFX – Kids Of The K Hole 2:17

Download Links :

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Year Of Release: 2014
Genre: Alternative, Indie, Post-punk
Format: FLAC, tracks
Bitrate: lossless
Total Size: 868 MB

Tracklist

01. All the Rage Back Home (4:22)
02. My Desire (5:00)
03. Anywhere (3:12)
04. Same Town, New Story (4:09)
05. My Blue Supreme (3:09)
06. Everything Is Wrong (3:32)
07. Breaker 1 (4:13)
08. Ancient Ways (3:00)
09. Tidal Wave (4:17)
10. Twice as Hard (4:56)

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Ewig Frost-Dirty Tales-CD-FLAC-2014-k4

Description :

a r t i s t :: Ewig Frost
t i t l e :: Dirty Tales
d a t e :: 2014-00-00
l a b e l :: Dead Center Productions & Discos Macarras
g e n r e :: Punk
s o u r c e :: CD
b i t r a t e :: 1102kbps avg
e n c o d e r :: FLAC 1.2.1 -8 -V
t r a c k s :: 9
p l a y t i m e :: 22:52
s i z e :: 180.4MB

tracklist

1 The Hellhound Blues 3:45
2 The Railroad To Hell 2:31
3 Black Rollin’ Thunder Clouds 2:58
4 Nothin’ But Silence 2:51
5 The Boys Are Back 1:52
6 Underhand Game 1:45
7 Numb & Deluded 2:52
8 ‘S Leben Frisst Di Auf 1:33
9 Mit Sturm Und Drang 2:45

Download Links :

https://www.oboom.com/MW9WMWR7/Ewig_Frost-Dirty_Tales-CD-FLAC-2014-k4.rar

or:

http://rapidgator.net/file/ef7280563f8da0c170d5ae2595fb2295/Ewig_Frost-Dirty_Tales-CD-FLAC-2014-k4.rar.html

or:

http://uploaded.net/file/e3haaooc/Ewig_Frost-Dirty_Tales-CD-FLAC-2014-k4.rar

The Offspring-Ignition-Remastered-CD-FLAC-2008-FORSAKEN

Description :

Artist : The Offspring
Album : Ignition
Label : Epitath Records
Genre : Punk
Source : CD
Street Date : 2008-06-17
Quality : 1085kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 304.81 MB
Time : 37:23 min
Url : http://offspring.com/

1. Session 2:32
2. We Are One 3:59
3. Kick Him When He’s Down 3:16
4. Take It Like A Man 2:55
5. Get It Right 3:06
6. Dirty Magic 3:48
7. Hypodermic 3:21
8. Burn It Up 2:42
9. No Hero 3:22
10. L.A.P.D. 2:45
11. Nothing From Something 3:00
12. Forever And A Day 2:37

The predecessor to “Smash”, “Ignition” has sold 625K to date.
Here it is re-mastered, with every metallic power chord and sing
along chorus the way it sounded in the studio.

Download Links :

https://www.oboom.com/GCDKW33H/The_Offspring-Ignition-Remastered-CD-FLAC-2008-FORSAKEN.rar

or:

http://rapidgator.net/file/a827c99eaa910aaf0eb02b789834a227/The_Offspring-Ignition-Remastered-CD-FLAC-2008-FORSAKEN.rar.html

or:

http://uploaded.net/file/onbepa66/The_Offspring-Ignition-Remastered-CD-FLAC-2008-FORSAKEN.rar

The Offspring-Smash-Remastered-CD-FLAC-2008-FORSAKEN

Description :

Artist : The Offspring
Album : Smash
Label : Epitath Records
Genre : Punk
Source : CD
Street Date : 2008-06-17
Quality : 995 kbps / 44.1kHz / 2 channels
Encoder : FLAC 1.2.1
Size : 330.26 MB

Smash is a generous helping of guitar power-pop. The delightful
Middle-Eastern surf guitar on “Come Out And Play” hides harsh
sentiments in poppy guitar riffs. Singer Dexter Holland mocks the
school systems that think the solution to school violence is to
keep them separated,” to segregate rather than educate the kids
about the dangers of carrying guns. As Holland advises his fans
Hey pay no mind/If you’re under eighteen you won’t be doing any
time.” Offspring’s power is in writing anthemic guitar rock that
effortlessly slips from genre to genre. From the humorous
ska-flavored “What Happened To You?” to the sing-along guitar
riff in “No Self Esteem

Download Links :

https://www.oboom.com/ZNC89L8M/The_Offspring-Smash-Remastered-CD-FLAC-2008-FORSAKEN.rar

or:

http://rapidgator.net/file/4721ce67010e9bb605f092135b27c7ed/The_Offspring-Smash-Remastered-CD-FLAC-2008-FORSAKEN.rar.html

or:

http://uploaded.net/file/ihoaloai/The_Offspring-Smash-Remastered-CD-FLAC-2008-FORSAKEN.rar