Category Archives: Discography

Chris Brown – Collection (2005-2015) [FLAC]

Chris Brown - Collection (2005-2015) [FLAC] Download

Artist: Chris Brown
Album: Collection
Genre: R&B
Year: 2005-2015
Size: ~ 5.12 GB
Source: CDs
Format: FLAC (tracks + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

In November 2005, Chris Brown’s Scott Storch-produced “Run It!” — a rewrite of Usher’s “Yeah!” — topped the Billboard Hot 100, making the 16-year-old singer the first male artist in over a decade to achieve the feat with a debut single. While there was nowhere to go but down, at least in terms of chart positions, the pop-oriented R&B vocalist was only getting started. By the end of the decade, he was one of the biggest active pop stars, with a clutch of Top Ten singles and platinum albums to his credit, along with constant comparisons to Michael Jackson and several acting roles on the side. His momentum slowed little when, in 2009, he pleaded guilty to assaulting girlfriend Rihanna — one of the year’s biggest celebrity news stories. His commercial clout remained, as his successive albums regularly topped the Billboard all-genre and R&B charts.

Chris BrownBrown came from a small Virginia town called Tappahannock. Like a lot of kids born during the mid- to late ’80s, he was initially into his parents’ favorite music but eventually fell under the spell of hip-hop. Around the time he reached puberty, he discovered his singing ability and switched his focus away from MC’ing. A move to New York led to being discovered by Tina Davis, a Def Jam A&R executive who became the singer’s manager shortly after losing her position to the Sony-BMG merger. The Jive label, due in part to its track record with younger artists who had established longevity (like Britney Spears and Justin Timberlake), won the bidding war for Brown and lined up several production and songwriting heavyweights, including Jermaine Dupri, Bryan-Michael Cox, Dre & Vidal, Sean Garrett, and Storch, for his self-titled first album. An immediate Top Ten hit when it was released in 2005, Chris Brown not only featured the number one “Run It!” but two other Top Ten singles in “Yo (Excuse Me Miss)” and “Say Goodbye.” Exclusive, released in 2007 and a bit of a departure from the squeaky-clean image displayed throughout the debut, was even more successful, featuring the number one single “Kiss Kiss” and two other Top Five hits. Yet another Top Five hit came with “No Air,” a duet with Jordin Sparks that appeared on Sparks’ own self-titled album.
Graffiti In March 2009, Brown was charged with felonious assault of Rihanna — an altercation that had prevented his then-girlfriend from taking the stage at the Grammy Awards. Brown was scheduled to perform as well, but he did not appear and maintained a low profile for several months. A fairly substantial backlash resulted in Brown’s songs being pulled from rotation on several radio stations. Ultimately, however, it had little bearing on the progress of his music and acting careers; the week prior to the December release of his third album, Graffiti, the single “I Can Transform Ya” was well on its way to reaching the Top 20 of the Hot 100, and his acting roles — which had already included spots in Stomp the Yard and a recurring role on The O.C. — hadn’t shown any sign of drying up. Graffiti fell considerably short of gold-selling status, but it was nominated for a Grammy Award in the category of Best Contemporary R&B Album, and the Tank collaboration, “Take My Time,” was nominated for Best R&B Performance by a Duo or Group with Vocals.
F.A.M.E. Weeks after the 2011 Grammy Awards ceremony, Brown released his fourth album, F.A.M.E., which already had four singles on the charts. That album topped the Billboard 200 and the Hot R&B/Hip-Hop charts, and it also took the 2012 Grammy for Best R&B Album. During the ceremony, he performed a medley of “Beautiful People” (off F.A.M.E.) and “Turn Up the Music,” the latter of which previewed Fortune, his fifth album, released in May 2012 and an immediate chart-topper in the U.S. Brown toured Asia, Europe, and Africa during the rest of the year, and prepped his sixth album. A sequence of several singles that began with “Fine China” preceded X, released in September 2014, two weeks after he pleaded guilty to simple assault (for an altercation with a man, which had occurred the previous October). Less inspired by European dance-pop and more R&B-oriented than his previous release, the album included contributions from Lil Wayne, R. Kelly, Usher, Rick Ross, and Brandy, among many others. Four of its singles peaked within the R&B Top 10. Only five months after the release of X, Brown and Tyga, who had previously teamed up for one of those singles — “Loyal,” as well as the earlier “Deuces” — teamed up for Fan of a Fan: The Album. By the end of 2015, Brown released Royalty, his seventh proper album, which was propped up by the Top 20 pop hit “Back to Sleep.” The following year, “Grass Ain’t Greener” and “Party” preceded their early-2017 parent album, Heartbreak on a Full Moon.

Continue reading Chris Brown – Collection (2005-2015) [FLAC]

!!! (Chk Chk Chk) – Collection (1999-2017) [FLAC]

!!! (Chk Chk Chk) - Collection (1999-2017) [FLAC] Download

Artist: !!! (Chk Chk Chk)
Album: Collection
Genre: Punk
Year: 1999-2017
Size: ~ 7.23 GB
Source: CDs, Digital download
Format: FLAC (tracks + .cue / tracks)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

!!!, which can be pronounced by repeating any one-syllable percussive sound three times (e.g., “chk chk chk”), formed in 1996 after the demise of the Yah Mos; while on tour, members of that post-hardcore act envisioned forming a band oriented toward danceable music, and once they returned to their native Sacramento, California, they turned the concept into an actual group. The band quickly became an eight-member ensemble: Nic Offer on vocals, Mario Andreoni on guitar, Justin van der Volgen on bass, Dan Gorman on trumpet and percussion, Tyler Pope on guitar, Allan Wilson on saxophone and percussion, Mikel Gius on drums, and Jason Racine on percussion.

Me and Guiliani Down by the School Yard!!! spent their first few years developing their groove-oriented, post-punk-indebted sound while playing local house parties. At the same time, Offer, Pope, and van der Volgen were in a dub-inflected instrumental outfit called Out Hud. After releasing a 7″ on Hopscotch and a split single with Out Hud in 1998, the two bands issued a split full-length, a 1999 release jointly sponsored by Gold Standards Laboratories (a Sacramento label) and Zum (a San Francisco zine). After extensive touring of the States, !!! released a self-titled album on GSL in December 2000. Soon after, the band reentered the studio and recorded enough material for a follow-up. Some members moved to New York, but the group remained intact and active as it booked regional tours. In 2003, the band issued Me and Giuliani Down by the School Yard (A True Story), its first release — a ringing, hypnotic single nine minutes in length — for Touch & Go. It set the tone for 2004’s politically charged Louden Up Now, mixed to bold effect by Maurice Fulton. The relatively lighthearted Myth Takes and Strange Weather, Isn’t It? (their first for new label Warp) were the band’s third and fourth albums, released respectively in March 2007 and August 2010.
Thr!!!er Before their next album, there were some major personnel shifts, as longtime member Pope departed and was replaced by bassist Rafael Cohen, and drummer Paul Quattrone joined. The group’s fifth album, Thr!!!er, was released in April of 2013 and featured production by Spoon’s Jim Eno and vocals from Sonia Moore, a onetime backing vocalist for MC Hammer. They followed it up with an EP of remixes, R!M!X!S, later that year. To prep for the next album, Offer retreated to his N.Y.C. bedroom studio, working with Cohen and eventually finishing 40 songs. They cut it down to the best 30 and hit studios in N.Y.C., Los Angeles, and Austin to record them with help from Eno again, as well as Chris Coady and Patrick Ford, though most of the album was self-produced by the band. As If was released by Warp in October of 2015.
Shake the Shudder!!!’s next album was hatched in a practice space in Barcelona, where they began working out songs during lengthy recorded jam sessions before heading back to their N.Y.C. studio with Patrick Ford, where the core group of Offer, Cohen, Quattrone, Andreoni, and Gorman was augmented by a host of guest artists like Lea Lea, Meah Pace, Nicole Fayu, Cameron Mesirow, and Molly Schnick. The songs began to come together in late 2016 when the band, unnerved and inspired by the political climate, decided to head back to the studio, strip the nearly finished tracks down to the basics, and essentially start over. They recorded 17 songs in four days, then sent them to producers Joakim, Phil Moffa, and Matt Wiggins to give them extra dancefloor punch. The resulting record, 2017’s Shake the Shudder, was the band’s slickest and most focused to date.

Continue reading !!! (Chk Chk Chk) – Collection (1999-2017) [FLAC]

Caspian – Collection (2005-2016) [FLAC]

Caspian - Collection (2005-2016) [FLAC] Download

Artist: Caspian
Album: Collection
Genre: Rock
Year: 2005-2016
Size: ~ 2.63 GB
Source: CDs, Digital download
Format: FLAC (image + .cue / tracks)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Formed in 2004, Massachusetts post-rockers Caspian soon made a big enough name for themselves that by the onset of 2005, they were opening for scene legends Mono. Made up of members Philip Jamieson (guitars, keyboards, samples), Calvin Joss (guitar, glockenspiel), Chris Friedrich (bass), Joe Vickers (drums) and — since 2007 — Erin Burke-Morgan, Caspian released their first EP, You Are the Conductor, in late 2005. That was followed by a handful of regional and national tours, culminating in a deal with Dopamine Records, which would then release the group’s first full-length endeavor, The Four Trees, in 2007. Their second LP, the critically acclaimed Tertia, saw the light of day in the latter half of 2009, and was followed by a pair of European tours, a North American tour, and even a pair of shows in China. In 2011, the band headed back into the studio to begin work on their third long-player. The resulting Waking Season was produced by Matt Bayles and received glowing praise from both the fans and the press, with Spin magazine going so far as to call it “the Best Post-Rock Album of the Year.” The following three years proved to be tumultuous for the group, with the 2013 death of founding bassist Chris Friedrich casting a shadow over their recent success, but Caspian’s tenacity ultimately won out, and in 2015 they released their long-awaited fourth studio outing Dust & Disquiet.

Continue reading Caspian – Collection (2005-2016) [FLAC]

The Dandy Warhols – Collection (1995-2012) [FLAC]

The Dandy Warhols - Collection (1995-2012) [FLAC] Download

Artist: The Dandy Warhols
Album: Collection
Genre: Alternative
Year: 1995-2012
Size: ~ 3.81 GB
Source: CDs
Format: FLAC (tracks + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

The psychedelic alternative quartet the Dandy Warhols formed in Portland, Oregon in 1994. Initially, the band invited comparisons to influences the Velvet Underground and Ride, but their cool, detached demeanors and knack for melody also provided America with an answer to Brit-pop. The Dandy Warhols were founded by Courtney Taylor (vocals, guitar), Zia McCabe (keyboards), Peter Holmstrom (guitar), and Eric Hedford (drums), who signed on with the independent label Tim/Kerr shortly after their formation. In 1995, the Dandies released their debut, Dandy’s Rule OK?, and while other rock bands may be a bit hesitant to spell out their influences, the Dandy Warhols decided to openly advertise it, as the album contained such song titles as “Lou Weed” and “Ride.”
The Dandy Warhols Come Down Capitol signed the group the same year, but the Dandys’ new label rejected a second album they submitted (claiming it didn’t have any “hits”). Disappointed but undeterred, the group reunited once more with the producer of their debut album, Tony Lash, and came up with Dandy Warhols Come Down, issued in 1997. While the album didn’t exactly establish the group as a household name, it did prove to be an underground fave, especially in Europe, where the group became the toast of the critics and enjoyed more substantial commercial success. The single “Not If You Were the Last Junkie on Earth” received modest attention, for which a promo video was filmed by renowned celebrity photographer David LaChapelle. As the band’s popularity began to increase, Hedford left the band to take up DJing in Portland, and Taylor’s cousin Brent DeBoer stepped in to play drums. In 2000, the band issued its third full-length, Thirteen Tales from Urban Bohemia. “Bohemian Like You” was a hit in the UK and on American college radio, going on to become one of their most iconic songs. Two summers later, founding member Peter Holmstrom married his longtime girlfriend and took her maiden name of Loew. Taylor also got a name change when he opted to go by Courtney Taylor-Taylor after an interviewer misinterpreted the pronunciation.
Welcome to the Monkey House Within months, Taylor-Taylor, Loew, McCabe, and DeBoer were back in the studio for a fourth album. Welcome to the Monkey House (2003), a tribute to Kurt Vonnegut, Jr.’s book of short stories, featured collaborations with Nile Rodgers, Duran Duran’s Nick Rhodes, and Evan Dando. The Dandy Warhols were also personally asked by David Bowie to be the opening act for his fall 2003 A Reality tour. That album spawned another hit for the band, the synth-disco jam, “We Used To Be Friends.” Though the band was relatively quiet during 2004, they remained prominent thanks to the fascinating documentary Dig!, which chronicled the love-hate relationship between the Dandy Warhols and the Brian Jonestown Massacre. The group returned with new music in 2005, when the uneven Odditorium or Warlords of Mars arrived that fall. Three years later, the Dandy Warhols released their sixth album, the return-to-form Earth to the Dandy Warhols, in both digital and physical formats on their own Beat the World label; the album also featured collaborations with Mark Knopfler and the Heartbreakers’ Mike Campbell. In 2009, the band decided to release a reworking of Monkey House titled The Dandy Warhols Are Sound, which, according to the band, presented their original vision of the 2003 album. 2010 saw big changes for the group, as they split with Capitol Records and released a greatest-hits from that era, which included a new track, “This Is the Tide,” the first Dandy’s song featuring DeBoer on vocals. The Dandies continued their maturation in sound with their ninth album, 2012’s This Machine. In 2013, the band rang in the 13th anniversary of their break-out third album, Thirteen Tales from Urban Bohemia, by reissuing a deluxe version of the LP and heading out on the road to perform the album live. The tour resulted in the band’s first-ever live album, Thirteen Tales from Urban Bohemia Live at the Wonder. A second live recording, Live at the X-Ray Cafe, was released by Voodoo Doughnut for Record Store Day in 2016. The EP captured their eighth gig ever from 1994. That same year, their growth continued on their ninth studio album, the patient and pastoral Distortland.

Continue reading The Dandy Warhols – Collection (1995-2012) [FLAC]

The Orb – Discography (1991-2017) [FLAC]

The Orb - Discography (1991-2017) [FLAC] Download

Artist: The Orb
Album: Discography
Genre: Electronic
Year: 1991-2017
Size: ~ 20 gb
Source: CDs
Format: FLAC (tracks + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

The Orb virtually invented the electronic genre known as ambient house, resurrecting slower, more soulful rhythms and providing a soundtrack for early morning ravers once the clubs closed their doors. The group popularized the genre as well by appearing on the British chart show Top of the Pops and hitting number one in the U.K. with the 1992 album U.F.Orb. Frontman Dr. Alex Paterson’s formula was quite simple: he slowed down the rhythms of classic Chicago house and added synth work and effects inspired by ’70s ambient pioneers Brian Eno and Tangerine Dream. To make the whole a bit more listenable — as opposed to danceable — obscure vocal samples were looped, usually providing a theme for tracks that lacked singing.
Paterson had worked as a roadie for Killing Joke during the ’80s, and began to be influenced by the explosion of Chicago house music in England during the mid- to late ’80s. He joined the A&R department of EG Records — the home of Brian Eno himself — and first recorded as the Orb with Jimi Cauty (who had played in the Killing Joke side project Brilliant and later gained fame as half of the KLF). The duo’s first release as the Orb, a failed acid house anthem named “Tripping on Sunshine,” appeared on the 1988 compilation album Eternity Project One. In May 1989, the Orb released the Kiss EP, a four-tracker dedicated to — and heavily sampled from — New York’s KISS-FM. Paterson had begun to DJ in London around this time, and Paul Oakenfold recruited him to man Land of Oz, the chillout room at his club Heaven.

Rainbow Dome MusickPaterson’s ambient sets incorporated a wide array of samples and sound effects, ranging from BBC nature recordings to NASA space broadcasts and special effects. With those samples mixed underneath the music of ambient pioneers such as Eno and Steve Hillage, his sets became popular alternatives for dancefloor victims and worn-out club kids. Hillage happened to be in the room one night when Paterson sampled his Rainbow Dome Musick album. The two became friends and later recorded together, Hillage contributing guitar to the Orb’s “Blue Room” single and Paterson working on the debut album by Hillage’s System 7 project (or 777, as it is known in the States due to copyright problems with Apple).
Peel SessionsThe Orb’s first actual foray into ambient house appeared in October 1989 on Paterson’s WAU!/Mr. Modo label. The 22-minute single “A Huge Ever Growing Pulsating Brain That Rules from the Centre of the Ultraworld,” which sampled ocean noises and Minnie Riperton’s “Loving You,” actually hit the U.K. charts that year. The single became popular with indie kids as well as club DJs, and earned Paterson and Cauty the chance to re-record the song in December 1989 for a John Peel session. (That version was released two years later, alongside their second session, on the Orb’s Peel Sessions album.)
In early 1990, Dave Stewart asked Paterson and Cauty to remix his single “Lilly Was Here”; the track hit the U.K.’s Top 20, and the Orb’s remix work soon became just as popular as their original material. Erasure, Depeche Mode, Yello, Primal Scream, and more than 20 other bands eventually received the remix treatment before Paterson began to cut back his remixing work in 1992. (One of the only outside remixes of Orb material occurred around this time when breakbeat pioneers Coldcut remixed the Kiss EP for a U.S.-only single.)

SpacePaterson and Cauty had been recording an album during the turn of 1989-1990, but the two split in April 1990 — a result of Paterson’s fear that the Orb had become known more as a KLF side project than an original act. Cauty stripped Paterson’s contribution to the recordings and released the eponymous album — credited simply as Space — later that year. (Cauty released another ambient album that year: Chill Out, this time with his KLF partner Bill Drummond.) In the meantime, Paterson had been working with Youth (from Killing Joke) on the new track “Little Fluffy Clouds,” with a melody incorporated from composer Steve Reich. The single appeared in November 1990, sparking the wrath of the sampled Rickie Lee Jones, whose dialogue with LeVar Burton — from the PBS children’s program Reading Rainbow — was sampled for the chorus and title of the track; Big Life later settled out of court for an undisclosed sum. Though the single failed to place in the charts, its laid-back vibe made it a big hit on the dancefloor.
Youth’s other commitments made it impossible for him to become a permanent member of the Orb, so Paterson decided to recruit Kris Weston (nicknamed Thrash for his punk/metal roots), a young studio engineer who worked on “Little Fluffy Clouds” and had recently left his previous band, Fortran 5. The Orb performed live for the first time just after the pairing, early in 1991 at London’s Town & Country 2 with Hillage on guitar. The group’s live dates soon became their forte, breaking down the boundaries that had previously separated electronic music from rock. An Orb show encompassed the best elements of performance hall and club, with colorful light shows and visuals, and a relaxed, positive groove rarely found in electronic circles.

The Orb’s Adventures Beyond the Ultraworld All this was fine and good, but the Orb had not yet released an album, the vehicle that virtually all modern musicians use to make artistic statements. Finally, in April 1991, The Orb’s Adventures Beyond the Ultraworld was released in England to considerable critical acclaim. Its popularity extended to the general public as well, pushing the double album into Great Britain’s Top 30 LP charts. By mid-1991, the Orb had signed a deal to release Ultraworld in the States, but were forced to edit the album down to one disc. (The full double-disc version was later released in the U.S. by Island.) Paterson and Thrash toured Europe during 1991, and compiled the Orb’s first two Peel Sessions that November. One month later, the duo released The Aubrey Mixes as a Christmas special. The album, a remix compilation with reworkings by Hillage, Youth, and Cauty, was deleted on the day of its release, but still managed to place in the U.K. Top 50.
In June 1992, the new single “Blue Room” hit the British Top Ten. The longest single in chart history at just under 40 minutes, it earned the Orb a spot on Top of the Pops, where they ruminated over a chess game and waved at the camera while a three-minute edit of the single played in the background. Released in July, the album U.F.Orb concentrated not on space, but the beings who inhabit it. (The actual “Blue Room” is an installation where the U.S. government allegedly keeps the relics of a 1947 saucer crash outside Roswell, New Mexico.) It hit number one on the British album charts, and also did well with critics, who praised it and the duo’s sold-out tour of England.

Adventures Beyond the Ultraworld: Patterns & Textures Version The non-album single “Assassin” — originally slated to feature vocals from Primal Scream’s Bobby Gillespie — followed in October, and it reached number 12 on the British charts. The U.S. release of U.F.Orb appeared two months later, with initial copies including a second disc with the full version of “Blue Room” plus mixes of “Assassin.” A limited-LP release of U.F.Orb in England included a live recording of the Orb’s appearance at London’s Brixton Academy in 1991. (The date was later released on video with an added CD soundtrack as Adventures Beyond the Ultraworld: Patterns and Textures.)
Live 93 Though the Orb had released several hours of recordings and many remixes during their first three years of existence, the beginning of 1993 prompted a dry spell of over a year-and-a-half. The problem wasn’t a lack of material; Paterson and Thrash continued to record, but Big Life Records had begun a controversial campaign to reissue several early singles. The Orb threatened to release no new material until the label promised to cease and desist, and negotiations stalled while the duo looked to opt out of their contract. In the meantime, Big Life spent 1993-1994 reissuing five CD singles and two other 12″ releases, including “Little Fluffy Clouds” (which hit the British Top Ten), “Huge Ever Growing Pulsating Brain,” and “Perpetual Dawn” (the second single from Ultraworld). Paterson finally signed an international deal with Island in 1993 and released the stopgap Live 93 later that year. The double-disc set — which hit number 23 in the album charts — included highlights from Orb appearances in Europe and Japan, and featured another clever dig at Pink Floyd: the cover has a large stuffed sheep suspended over a power station, la Floyd’s Animals cover.
Pomme FritzThe Orb’s first studio release for Island appeared in June 1994. Pomme Fritz (a “little album”) was quite a departure from ambient house, the field that had since caught up with Paterson’s revolution of the late ’80s. The album has a schizophrenic quality that portrays the group caught between two worlds: the pastoral ambience of the first two albums and the harsher, almost industrial rhythms that the Orb were pushing forward. Pomme Fritz made number six on the British charts, but critics hated it, charging that Paterson had finally disappeared up his own arse. They even compared him to Pink Floyd’s own Syd Barrett, who masterminded the psychedelic classic Piper at the Gates of Dawn, but later slipped out of the band as the world’s first — and most popular — acid casualty.
Pomme Fritz was also a watershed in that the role of Kris Weston had diminished greatly. Credited on Pomme Fritz only as an engineer, Weston did appear with Paterson on the August 1994 side project FFWD, the collaboration between Robert Fripp, Orb members Paterson and Weston, and Orb contributor Thomas Fehlmann (hence the name: Fripp, Fehlmann, Weston, and Doctor). By early 1995, Weston finally left the Orb to devote time to his own projects. Before the duo separated, however, they teamed for the Orb’s most famous live appearance: on a rave bill at Woodstock 2 with Orbital, Aphex Twin, and Deee-Lite.

Orbus Terrarum Taking up the slack from Weston’s departure was Thomas Fehlmann. The Orb had previously remixed a single from his Sun Electric project, and most of Pomme Fritz was recorded at his Berlin studios. Finally, almost three years after U.F.Orb, the new and improved group released the Orb’s third studio LP, Orbus Terrarum. With a concept and a sound rooted solidly on terra firma, the album’s dense rhythms and return to natural samples heralded a turn away from the cosmic fascination within ambient house — which had been nurtured in large part by Ultraworld and U.F.Orb. During 1995, Paterson and Fehlmann mounted an ambitious world tour. After the release of a double-disc remix compilation, the Orb returned to the great beyond with the spacy sounds of 1997’s Orblivion. The retrospective U.F.Off followed in 1998, and though Paterson and company finished their fifth studio effort, Cydonia, soon after, Island delayed its release until the new millennium.
Bicycles & Tricycles A shift in labels was in order, so 2004’s Bicycles & Tricycles found the Orb on Sanctuary. Working their next label change into the album title, Okie Dokie It’s the Orb on Kompakt appeared at the end of 2005, as did the first volume in the rarities compilation series Orbsessions, released by the Killing Joke-associated label Malicious Damage. The Dream, released in 2007 in England, featured a change of lineup; joining the Orb were Youth, last heard on the hit single “Little Fluffy Clouds,” and Dreadzone’s Tim Bran. The record appeared in 2008 on the American label Six Degrees. One year later, another volume in the Orbsessions series appeared, a soundtrack recorded by Paterson and Thomas Fehlmann. (Although the film’s title was Plastic Planet, the record itself was titled Baghdad Batteries.) Youth and Paterson collaborated again on the Orb’s next proper album, Metallic Spheres, which also featured Pink Floyd’s David Gilmour contributing guitar and lap steel to the album’s two lengthy pieces.
C Batter C The 2011 release C Batter C featured a 17-minute Paterson/Fehlmann composition recorded for Battersea Bunches, a short film featuring Super 8 Paterson family footage from 1956. Seven remixes of the track filled out the disc. The next Orb project, 2012’s The Observer in the Star House, featured a starring role for seminal dub producer and longtime Orb influence Lee “Scratch” Perry, along with a remix of “Little Fluffy Clouds,” dubbed “Golden Clouds.” After they assembled a pair of box sets, History of the Future and History of the Future, Pt. 2, Paterson and Fehlmann returned to Kompakt for Moonbuilding 2703 AD, released in 2015.
COW / Chill Out, World! In 2016, the Orb celebrated the 25th anniversary of their classic debut full-length, Adventures Beyond the Ultraworld, by performing the album in its entirety at London venue Electric Brixton. The Orb continued to perform the album live during their subsequent U.K. tour, which also included material from their Kompakt-released COW / Chill Out, World!, described by the bandmembers as their most ambient release to date. That same year, they issued a series of short releases, including the Alpine EP and the Sin in Space series, which included a Moonbuilding remix collection, an Alpine “diskomiks,” and four remixes of tracks from the COW album. – Artist Biography by John Bush

Continue reading The Orb – Discography (1991-2017) [FLAC]

Third Eye Blind – Albums Collection (1997-2016) [FLAC]

Third Eye Blind - Albums Collection (1997-2016) [FLAC] Download

Artist: Third Eye Blind
Album: Albums Collection
Genre: Alternative
Year: 1997-2016
Size: ~ 2.55 gb
Source: CDs, Digital download
Format: FLAC (tracks)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Although often lumped into the post-grunge category, Third Eye Blind sported a brighter sound than many of their late-’90s peers, taking as much influence from classic pop/rock traditions as the angst-ridden music that dominated the decade. The group scored its first hit in 1997, when their debut single “Semi-Charmed Life” cracked the Top 10. Third Eye Blind built upon that success throughout the following three years, releasing a number of singles (three of which cracked the Top 10) while touring with the likes of U2 and Oasis. After taking a break during the early 2000s, the band returned in 2009 with its fourth studio album, Ursa Major.
Third Eye Blind hails from San Francisco, where singer Stephan Jenkins made his name as a solo musician after earning an English degree from the University of California at Berkeley. Jenkins soon decided to piece a band together. After several lineups failed to gel, former Fungo Mungo bassist Arion Salazar joined the group, which Jenkins had named Third Eye Blind (in reference to the metaphysical concept of a mind’s eye). At one of the band’s early shows, guitarist Kevin Cadogan — a former student of Joe Satriani who later became involved in the northern California ska and punk scenes — introduced himself to Jenkins. Cadogan subsequently joined Third Eye Blind in late 1995, bringing along former Counting Crows drummer Brad Hargreaves as well.

As Third Eye Blind worked on cementing its sound, Jenkins began earning major-label attention through his production of the Braids’ cover of Queen’s “Bohemian Rhapsody,” which became an international hit. He signed a publishing deal shortly afterward, reported to be the largest such deal ever presented to an unreleased artist. Meanwhile, Third Eye Blind cultivated a dedicated fan base by playing the Bay Area frequently, and the group’s original 14-song demo attracted attention from major labels. The buzz continued to build when the musicians finagled their way into a prized opening slot for Oasis’ April 1996 concert at the Civic Auditorium. The group was still unsigned at the time, but following their well-received performance (which included an encore — a rare opportunity for an opening band), Third Eye Blind became the subject of a bidding war.

Third Eye Blind The band eventually signed with Elektra/Asylum, a label that afforded them a considerable degree of artistic freedom. Jenkins was tapped as the band’s producer and received a production deal to help develop new groups, but his top priority remained Third Eye Blind. With Jenkins handling production studies, the band recorded their eponymous debut in San Francisco with the assistance of Eric Valentine, an engineer who had also worked on their early demos. The self-titled Third Eye Blind was released in the spring of 1997; by that summer, the introductory single “Semi-Charmed Life” had become a chart-topping modern rock hit. Spawning several more successful singles (including “How’s It Going to Be” and “Jumper”), the album broke into the Billboard Top 200 and remained there for over a year, establishing Third Eye Blind as one of the most popular bands of the late ’90s.
BlueBlue followed in 1999 and sold 150,000 copies within a month of its release. Although fans heralded it as the band’s strongest album, only one song — the sprightly “Never Let You Go” — matched the success of the band’s past singles. Tours across the globe followed throughout 2000, but by the time 2001 rolled around, the band had lost a crucial member (guitarist Cadogan, who co-wrote much of the band’s material before exiting the lineup) and opted for some time off. Tony Fredianelli soon climbed aboard as the band’s replacement guitarist, and Third Eye Blind turned its attention to several charity events. They played shows in support of the Tiger Woods Foundation and helped organize Breathe, a performance that promoted breast cancer awareness.
Out of the Vein By 2003, Third Eye Blind resumed their schedule with the release of their third studio album, Out of the Vein. Featuring the single “Blinded,” the album initially debuted at number 12 on the Billboard 200 chart. Nonetheless, due in part to poor marketing, a side effect of Elektra’s merger with Atlantic, Out of the Vein ultimately failed to ignite the same commercial sparks as its predecessor. Undeterred, the band quickly began work on a follow-up, but Jenkins’ lengthy battle with writer’s block slowed the production. In the interim, they released a 2006 best-of compilation and continued to tour. Finally, on the heels of the group’s tour of Japan in 2008, they released the digital EP Red Star, featuring the single “Non-Dairy Creamer.”
The following year, they returned with their long-awaited fourth album, Ursa Major. Produced by Jenkins and released on the band’s own Mega Collider Records, the album included two singles in “Don’t Believe a Word” and “Bonfire.” At the end of the group’s tour in 2010, they parted ways with Fredianelli, who was replaced by Irish guitarist Kryz Reid.

Dopamine Over the next several years, Third Eye Blind continued to tour and work on new material. A free digital single, “If There Ever Was a Time,” released in support of the Occupy Wallstreet Movement, appeared in 2011. In 2015, they released their fifth studio album, Dopamine. Once again produced by Jenkins, the album was the first with bassist Alex LeCavalier, who’d joined as a full-time member in 2013. Anchored by the single “13thirteen on the Billboard 200.
We Are Drugs In March 2016, Third Eye Blind garnered attention for remarks Jenkins made criticizing the Republican Party while playing a benefit show for the charity organization “Musicians on Call” at Cleveland’s Rock & Roll Hall of Fame. While not technically a political event, the show was held in close proximity to the Republican National Convention with Republicans in attendance. The following October, the band released the EP We Are Drugs, featuring the politically and socially minded single “Cop vs. Phone Girl.” – Artist Biography by Stephen Thomas Erlewine

Continue reading Third Eye Blind – Albums Collection (1997-2016) [FLAC]

Gorillaz – Discography (2000-2017) [FLAC]

Gorillaz - Discography (2000-2017) [FLAC] Download

Artist: Gorillaz
Album: Discography
Genre: Alternative
Year: 2000-2017
Size: ~ 7.09 gb
Source: CDs
Format: FLAC (tracks/image + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Conceived as the first “virtual hip-hop group,” Gorillaz blended the musical talents of Dan “The Automator” Nakamura, Blur’s Damon Albarn, Cibo Matto’s Miho Hatori, and Tom Tom Club’s Tina Weymouth and Chris Frantz with the arresting visuals of Jamie Hewlett, best known as the creator of the cult comic Tank Girl. Nakamura’s Deltron 3030 cohorts Kid Koala and Del tha Funkee Homosapien rounded out the creative team behind the Gorillaz quartet, whose virtual members included 2-D, the cute but spacy singer/keyboardist; Murdoc, the spooky, possibly Satanic bassist and the brains behind the group; Russel, a drummer equally inspired by “Farrakhan and Chaka Khan” and possessed by “funkyphantoms” that occasionally rise up and provide some zombie-style rapping; and last but not least, Noodle, a ten-year-old Japanese guitar virtuosa and martial arts master. The group’s website, www.gorillaz.com, showcased Hewlett’s visuals and the group’s music in eye- and ear-catching detail.

Tomorrow Comes TodayGorillaz debuted in late 2000 with the Tomorrow Comes Today EP, which they followed early the next year with the popular Clint Eastwood single. A self-titled full-length debut album arrived in spring 2001. Gorillaz was a massive worldwide success and achieved platinum-level sales in the U.S.; worldwide, it sold over seven million copies. The group’s Svengalis were quick to capitalize, and released the B-sides collection G-Sides, the Phase One: Celebrity Takedown DVD, and the dub-inspired remix album Laika Come Home in 2002. The project soon went on hiatus, however, as Albarn resumed work with Blur for their seventh album, 2003’s Think Tank.
The Grey Album When he was ready to begin the next Gorillaz album, Albarn turned to Danger Mouse (the DJ behind The Grey Album, the infamous mash-up of the Beatles’ White Album and Jay-Z’s Black Album) and a host of other collaborators, including De La Soul, Shaun Ryder, Debbie Harry, Dennis Hopper, and Martina Topley-Bird. Although Del tha Funkee Homosapien and Nakamura did not return, 2-D, Russel, Murdoc, and Noodle were all present and accounted for on Demon Days, another Top Ten hit, which arrived in spring 2005. The album went double platinum in America and enjoyed even more success in the U.K.; it also received a host of Grammy nominations, a sign that the band had secured critical as well as commercial approval.
Plastic BeachGorillaz broke ground for a new album in 2007, but the project wasn’t released until 2010, when Plastic Beach marked the band’s third studio effort. Greeted to generally positive reviews, Plastic Beach received more attention for its tour, as ex-Clash members Paul Simonon and Mick Jones were both part of Gorillaz. During that tour, Albarn recorded a new Gorillaz album called The Fall on his iPad. Initially digitally released to fan club members on Christmas Day 2010, the album saw a wide official release in the spring of 2011. Unlike previous efforts that featured a vast array of guest artists, The Fall only featured four guest collaborations, three of whom (Bobby Womack, Mick Jones, and Paul Simonon) had appeared on Gorillaz tracks before.
The Singles Collection 2001-2011 Aside from the best-of compilation The Singles Collection 2001–2011, which was issued in November 2011, the following five years saw a period of inactivity in the Gorillaz camp, with rumors materializing about an apparent fallout between Albarn and Hewlett. However, these rumors were put to bed in early 2015 when Hewlett posted new illustrations of the virtual members online. Later that year, Albarn confirmed that a new record was indeed in the works. The following year passed and the first track to promote the record, the politically charged “Hallelujah Money” (featuring English musician and poet Benjamin Clementine), dropped in January 2017. The full-length effort, entitled Humanz, arrived in April 2017. Alongside Clementine, it featured appearances from Vince Staples, Popcaan, Danny Brown, Mavis Staples, Grace Jones, Jehnny Beth (Savages), and Albarn’s onetime rival Noel Gallagher. – Artist Biography by Heather Phares

Continue reading Gorillaz – Discography (2000-2017) [FLAC]

Steve Hackett – Albums Collection (1979-2015) [FLAC]

Steve Hackett - Albums Collection (1979-2015) [FLAC] Download

Artist: Steve Hackett
Album: Albums Collection
Genre: Rock
Year: 1979-2015
Size: ~ 13.9 gb
Source: CDs
Format: FLAC (image + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Steve Hackett is best known as the guitarist with Genesis during their best years as both a progressive and commercial band, across ten albums of their history. His arrival in the group’s lineup at the start of 1971, replacing original guitarist Anthony Phillips, provided the group with the last ingredient that it needed for success. In the years since, while Phil Collins may have enjoyed pop/rock stardom and an acting career, and his other bandmates have had their periodic successes, Hackett has come the farthest as a star performer and composer in his own right.

The RoadHackett’s earliest experience in playing professionally came with groups named Canterbury Glass and Sarabande, making mainstream rock with a progressive/psychedelic edge. It was as a studio musician that he excelled, recording with a band called Quiet World in 1970. They were signed to the Pye Records label and released an LP titled The Road on that company’s progressive rock-oriented Dawn Records label. In late 1970, Hackett crossed paths with Genesis when he placed an advertisement in search of like-minded progressive musicians and Peter Gabriel responded — the group’s original guitarist, Anthony Phillips, had departed and they needed a replacement. He saw them in concert with a temporary substitute in the guitarist’s spot and approached them about joining. Hackett was in the lineup in January of 1971 and was quickly established as an integral part of their sound, though his concert work at their earliest gigs suffered from the fact that Hackett had little experience playing on-stage, which initially made him nervous. He subsequently became not only an essential part of the Genesis sound, but also of their image; his bespectacled figure, seated and bent over his instrument in studied concentration, helped to set the group apart from flashier progressive rock outfits of the era.
Foxtrot His skill and vast range opened up the group’s sound in new ways during their progressive rock phase; coupled with Phil Collins’ drumming in the mix, Genesis turned into a true virtuoso unit, as revealed on the albums Foxtrot, Genesis Live, Selling England by the Pound, and The Lamb Lies Down on Broadway, all among the finest progressive rock LPs ever conceived. Then, following the departure of lead singer Gabriel and his replacement by Collins, and their move toward a more commercial sound, Hackett proved equally adept; the difference was that their albums were now selling in the millions instead of the hundreds of thousands, and he was getting far more public exposure than ever before.
Voyage of the AcolyteHackett’s first solo album, Voyage of the Acolyte, dated from 1975 and was, in many ways, almost a lost Genesis album, featuring Collins and Michael Rutherford in its lineup of musicians. Coming out as it did in the wake of Gabriel’s departure from the group, it was a cause of some strain among the members, despite their participation, but Hackett stayed with the band through the tour behind the release of Wind & Wuthering, making his last appearance with the group on the Seconds Out live album, ironically just as the band was ascending into the top ranks of concert attractions and recording acts. Hackett’s first post-Genesis solo album was Please Don’t Touch!, which deliberately hewed very far away from his old group’s progressive sound and departed completely from Voyage of the Acolyte as well. He also put together his first touring band, which included Pete Hicks on vocals and John Shearer on drums, as well as brother John Hackett on flute and keyboards, with whom he subsequently recorded the Spectral Mornings album.
DefectorHackett’s sound advanced rapidly in the ’80s, through albums such as Defector — a fascinating musical/political fantasy — and the pop-oriented Cured. His concert work kept him busy throughout Europe, and the expanding fame of his old band led a steady stream of listeners to check out the work of the former Genesis guitarist, whose playing and personality were so prominent on those classic early albums. He also reunited with Peter Gabriel and Michael Rutherford, and then with all of his ex-bandmates for a pair of 1982 charity concerts. The following year he enjoyed a very successful European single in the guise of “Cell 151” from the Highly Strung LP, which helped propel that album to hit status. The mid-’80s saw him broaden his sound to include various elements of “world music” in his studio work, and he also to begin playing smaller, more intimate halls where his guitar skills could be better appreciated.
Time Lapse In 1986, Hackett hooked up with Yes guitarist Steve Howe to form GTR, a progressive rock unit that became a favorite of MTV and the rock press, generating a hit single (“When the Heart Rules the Mind”) in America and a platinum-selling album for Arista Records; GTR followed these up with an international tour. Hackett resumed his solo career in 1987, but with the momentum of GTR behind him, he now found crowds of tens of thousands eager to hear him play classical-style acoustic guitar and was becoming the arena rock version of Christopher Parkening or guitarist John Williams. His next major release was Time Lapse, a live retrospective of his work from several decades of music-making.
Blues with a Feeling In 1994, Hackett surprised most of his fans by turning back to his roots with Blues with a Feeling, an album built around the sounds of blues guitar and harmonica that harked back to his boyhood. This pointed to one of the ironies of Hackett’s career: as a member of Genesis, he was presumed by most fans to have been classically trained, but his music was actually derived from a multitude of influences, to which he’s always extended himself in order to embrace and absorb; thus, although originally a rock guitarist with blues roots, Hackett has performed with the London Symphony Orchestra and composed instrumental classical music based on Shakespeare’s A Midsummer Night’s Dream for EMI’s Angel Records label.
Watcher of the Skies: Genesis Revisited Even as his composing career ballooned in the ’90s, he also began playing more concerts and turned back to his progressive rock roots by performing Genesis’ classic repertoire. Working with a group that included such luminaries as ex-King Crimson alumni Ian McDonald and John Wetton, not to mention Genesis’ Chester Thompson, as well as the Royal Philharmonic Orchestra, Hackett released a live album titled Genesis Revisited, which was precisely that. During the ’90s, he fronted a group known as Steve Hackett & Friends, including former members of King Crimson, who had revived their classic progressive rock repertoire in dramatic new concert form, on CD and concert video.
To Watch the StormsHackett has continued to record well into the new century; numerous solo albums include To Watch the Storms, Metamorpheus, and Wild Orchids. Live Rails was released in 2011 and was followed by the moderately successful studio album Beyond the Shrouded Horizon later that year. In 2012, Hackett collaborated with Chris Squire from Yes under the moniker Squackett. Their album A Life Within a Day featured seasoned session drummer Jeremy Stacey, who was fresh from his work with Noel Gallagher’s High Flying Birds. That same year, Hackett released Genesis Revisited II, another collection of reworked early Genesis material, which became his most successful solo album to date.
Wolflight He returned in 2015 with his 26th solo effort, Wolflight, and subsequently set out on the Acolyte to Wolflight with Genesis Revisited Tour to promote the record and to celebrate the 40th anniversary of his first solo album. A live recording of the tour’s stop in Liverpool was released in 2016. Hackett returned to the studio with wife Jo and co-producer Roger King to develop and record his follow-up to Wolflight. Taking on a more world music-influenced feel, the album, The Night Siren, saw Hackett adding a different dimension to his sound, featuring vocals from Kobi Farhi and Mira Awad as well as introducing a variety of musical instruments from around the world. – Artist Biography by Bruce Eder

Continue reading Steve Hackett – Albums Collection (1979-2015) [FLAC]

Robben Ford – Discography (1972-2015) [FLAC]

Robben Ford - Discography (1972-2015) [FLAC] Download

Artist: Robben Ford
Album: Discography
Genre: Blues
Year: 1972-2015
Size: ~ 8.36 gb
Source: CDs
Format: FLAC (image + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Robben Ford has had a diverse career. He taught himself guitar when he was 13 and considered his first influence to be Mike Bloomfield. At 18 he moved to San Francisco to form the Charles Ford Band (named after his father, who was also a guitarist), and was soon hired to play with Charlie Musselwhite for nine months. In 1971, the Charles Ford Blues Band was re-formed and recorded for Arhoolie in early 1972. Ford played with Jimmy Witherspoon (1972-1973), the L.A. Express with Tom Scott (1974), George Harrison, and Joni Mitchell. In 1977 he was a founding member of the Yellowjackets, which he stayed with until 1983, simultaneously having a solo career and working as a session guitarist. In 1986, Ford toured with Miles Davis and had two separate periods (1985 and 1987) with Sadao Watanabe, but he really seemed to find himself in 1992 when he returned to his roots: the blues. Ford formed a new group, the Blue Line, and subsequently recorded a couple of blues-rock dates for Stretch that are among the finest of his career. In 1999, he released Sunrise on Rhino and Supernatural on Blue Thumb. Ford signed to the Concord Jazz label in 2002 and released Blue Moon that same year, followed by Keep on Running in 2003 and Truth in 2007. That same year, he was a billed special guest on Larry Carlton’s Live in Tokyo. He followed this with the predominantly live Soul on Ten in 2009. In 2013, Ford began his label association with Provogue, and issued the studio album Bringing It Back Home, comprised mostly of blues and R&B covers played by an all-star band. Later that year, he recorded an album with a crack band in a single day at Nashville’s Sound Kitchen Studio. The end result, titled A Day in Nashville, was issued in February of 2014. A year later, Ford returned with Into the Sun, a bright soulful album produced by Niko Bolas and featuring guest spots by ZZ Ward, Keb’ Mo’, and Warren Haynes. – Artist Biography by Scott Yanow

Continue reading Robben Ford – Discography (1972-2015) [FLAC]

Kasabian – Discography (2004-2014) [FLAC]

Kasabian - Discography (2004-2014) [FLAC] Download

Artist: Kasabian
Album: Discography
Genre: Alternative
Year: 2004-2014
Size: ~ 6.67 Gb
Source: CDs,
Format: FLAC (tracks + .cue)
Quality: lossless
Sample Rate: 44.1 kHz / 16 Bit

Description:

Kasabian took the British press by storm in the early 2000s by mixing traces of the Stone Roses, Happy Mondays, and Primal Scream with Oasis-sized confidence and DJ Shadow-influenced electronics. Named after Linda Kasabian, Charles Manson’s getaway driver-turned-state witness, the Leicester-based group also stole a page from the Band by moving into a remote farmhouse to brew its music. Communal life and a slew of shared influences produced an electronic, rock-oriented sound that harked back to the Madchester days of baggy pants and druggy dancing. Kasabian expanded that sound on later albums, but the band’s foundation remained rooted in swaggering, fragmented dance textures and boisterous rock & roll.

With his acerbic approach to interviews, swaggering lead singer Tom Meighan quickly became a darling of the press during the band’s infancy, and Kasabian’s revolutionary logos and sleeve art only added to the excitement. Foldout poster sleeves, 10″ versions, and hand-stenciled covers accompanied singles like “Club Foot,” “L.S.F,” and “Processed Beats.” The hype paid off as Kasabian’s self-titled debut cracked the Top Five in October 2004, just one month after its U.K. release. Four singles landed in the Top 20 within six months, establishing the bandmates as rock & roll royalty in the process.

Empire Founding guitarist Chris Karloff left the lineup two years later, citing creative differences with the remaining members. Kasabian’s second album, Empire, had already been recorded, and guitarist Jay Mehler was brought aboard to replace Karloff during live performances. (Mehler eventually became an official member in 2008.) Empire was ultimately released in August 2006 and debuted atop the U.K. charts, with the title track soon becoming the band’s third Top Ten hit. The band took home an NME Award in 2007 and began work on another album later that year. Dan the Automator was brought in to share production duties with Sergio Pizzorno, and the resulting U.K. chart-topper, West Ryder Pauper Lunatic Asylum, appeared in 2009. Automator would return for the 2011 album Velociraptor!, featuring the lead single “Switchblade Smiles.” In 2013, Mehler left the group and joined former Oasis frontman Liam Gallagher in his group Beady Eye, but the band carried on as a four-piece and recorded a new album with Pizzorno in the producer’s chair. Named after the album’s total running time, 48:13 arrived in 2014, featuring the lead single “Eez-eh.” The group returned in 2017 with their sixth studio album, For Crying Out Loud. – Artist Biography by David Jeffries

Continue reading Kasabian – Discography (2004-2014) [FLAC]