Guns N’ Roses – Chinese Democracy (2008)


01. Guns n’ Roses – Chinese Democracy (4:43)
02. Guns n’ Roses – Shackler’s Revenge (3:37)
03. Guns n’ Roses – Better (4:59)
04. Guns n’ Roses – Street of Dreams (4:47)
05. Guns n’ Roses – If the world (4:54)
06. Guns n’ Roses – There was a time (6:41)
07. Guns n’ Roses – Catcher in the rye (5:53)
08. Guns n’ Roses – Scraped (3:31)
09. Guns n’ Roses – Riad n’ the bedouins (4:10)
10. Guns n’ Roses – Sorry (6:15)
11. Guns n’ Roses – I.R.S. (4:29)
12. Guns n’ Roses – Madagascar (5:38)
13. Guns n’ Roses – This I love (5:34)
14. Guns n’ Roses – Prostitute (6:16)

Guns N’ Roses – Greatest Hits (2004)


1 Welcome to the Jungle
2 Sweet Child O’
3 Patience
4 Paradise City
5 Knockin’ on Heaven’s Door
6 Civil War McK
7 You Could Be Mine
8 Don’t Cry [Original Version]
9 November Rain
10 Live and Let Die
11 Yesterdays
12 Ain’t It Fun
13 Since I Don’t Have You
14 Sympathy for the Devil

Guns N’ Roses – Use Your Illusion II (1991)


1 Civil War
2 14 Years
3 Yesterdays
4 Knockin’ on Heaven’s Door
5 Get in the Ring
6 Shotgun Blues
7 Breakdown
8 Pretty Tied Up
9 Locomotive
10 So Fine
11 Estranged
12 You Could Be Mine
13 Don’t Cry [Alternate Lyrics]
14 My World

Guns N’ Roses – Use Your Illusion I (1991)


1 Right Next Door to Hell
2 Dust N’ Bones
3 Live and Let Die
4 Don’t Cry [Original Version]
5 Perfect Crime
6 You Ain’t the First
7 Bad Obsession
8 Back off Bitch
9 Double Talkin’ Jive
10 November Rain
11 The Garden
12 Garden of Eden
13 Don’t Damn Me
14 Bad Apples
15 Dead Horse
16 Coma

Guns N’ Roses – Appetite For Destruction (1987)


Guns N’ Roses’ debut, Appetite for Destruction was a turning point for hard rock in the late ’80s ? it was a dirty, dangerous, and mean record in a time when heavy metal meant nothing but a good time. On the surface, Guns N’ Roses may appear to celebrate the same things as their peers ? namely, sex, liquor, drugs, and rock & roll ? but there is a nasty edge to their songs, since Axl Rose doesn’t see much fun in the urban sprawl of L.A. and its parade of heavy metal thugs, cheap women, booze, and crime. The music is as nasty as the lyrics, wallowing in a bluesy, metallic hard rock borrowed from Aerosmith, AC/DC, and countless faceless hard rock bands of the early ’80s. It’s a primal, sleazy sound that adds grit to already grim tales. It also makes Rose’s misogyny, fear, and anger hard to dismiss as merely an artistic statement; this is music that sounds lived-in. And that’s exactly why Appetite for Destruction is such a powerful record ? not only does Rose have fears, but he also is vulnerable, particularly on the power ballad “Sweet Child O’ Mine.” He also has a talent for conveying the fears and horrors of the decaying inner city, whether it’s on the charging “Welcome to the Jungle,” the heroin ode “Mr. Brownstone,” or “Paradise City,” which simply wants out. But as good as Rose’s lyrics and screeching vocals are, they wouldn’t be nearly as effective without the twin-guitar interplay of Slash and Izzy Stradlin, who spit out riffs and solos better than any band since the Rolling Stones, and that’s what makes Appetite for Destruction the best metal record of the late ’80s.

1 Welcome to the Jungle
2 It’s So Easy
3 Nightrain
4 Out Ta Get Me
5 Mr. Brownstone
6 Paradise City
7 My Michelle
8 Think About You
9 Sweet Child O’ Mine
10 You’re Crazy
11 Anything Goes
12 Rocket Queen

Guns N’ Roses – Lies (1988)


While Guns N’ Roses debut album “Appetite for Destruction” (1987) initially failed to make a major impact, over the course of a few months, with singles like “Welcome to the Jungle” and “Sweet Child `O Mine,” almost overnight, Guns N’ Roses became the biggest band on the planet.

To capitalize on the band’s success, Geffen re-released Guns N’ Roses first release, the “Live like a Suicide” (1986) EP along with four new recordings. Together, these eight songs made up Guns N’ Roses second album “GN’R Lies” (1988).

Album Title: Lies
Release Date: 30th November 1988
Codec: WMA
Bitrate: 128kbps
File Size: 30.1 MB

Track Listing
1. Reckless Life
2. Nice Boys
3. Move To The City
4. Mama Kin
5. Patience
6. Used To Love Her
7. You’re Crazy [Explicit]
8. One In A Million [Explicit]


Faith No More – Album Of The Year (1997)


Faith No More’s 1997 release Album of the Year featured the talents of another new guitarist, Jon Hudson, who replaced Dean Menta (Menta only toured with the group in support of King for a Day before being dismissed). Like King for a Day, Album is more straightforward musically than past releases and remains one of FNM’s most focused and concise works. Recorded in bassist Billy Gould’s home studio, Album of the Year would turn out to be their last studio recording before splitting up in 1997. A trio of outstanding tracks ? “Stripsearch,” “Last Cup of Sorrow,” and “Ashes to Ashes” ? blend hard rock and pop melodicism the way only FNM can, while “Helpless” is an unpredictable composition that alternates between heavy guitar riffing and Mike Patton’s tempered vocals. The explosive album opener, “Collision,” and “Naked in Front of the Computer” show that the band can still compose prime heavy rockers, while other musical forms were included as well (the romantic ballad “She Loves Me Not,” the evil boogie of “Home Sick Home,” and the Middle Eastern sounds of “Mouth to Mouth”). For the gripping album closer, “Pristina,” the ’90s turmoil in Yugoslavia is used as a backdrop for a tale of lovers being separated due to war. Album of the Year was a fitting way for one of alt-rock’s most influential and important bands to end its career.

1 Collision
2 Stripsearch
3 Last Cup of Sorrow
4 Naked in Front of the Computer
5 Helpless
6 Mouth to Mouth
7 Ashes to Ashes
8 She Loves Me Not
9 Got That Feeling
10 Paths of Glory
11 Home Sick Home
12 Pristina

Faith No More – Angel Dust (1992)


Warner Bros. figured that lightning could strike twice at a time when oodles of (most horribly bad) funk-metal acts were following in Faith No More’s and Red Hot Chili Peppers’ footsteps. In response, the former recorded and released the bizarro masterpiece Angel Dust. Mike Patton’s work in Mr. Bungle proved just how strange and inspired he could get given the opportunity; now, in his more famous act, nothing was ignored. “Land of Sunshine” starts things off in a vein similar to The Real Thing, but Patton’s vocal role-playing is smarter and more accomplished, with the lyrics trashing a smug bastard with pure inspired mockery. From there, Angel Dust mixes the meta-metal of earlier days with the expected puree of other influences, including a cinematic sense of atmosphere. The album ends with a cover of John Barry’s “Midnight Cowboy,” which suits the mood perfectly, but the stretched-out, tense moments on “Caffeine” and the soaring charge of “Everything’s Ruined” make for other good examples. Even a Kronos Quartet sample crops up on the frazzled sprawl of “Malpractice.” Other sampling and studio treatments come to the fore throughout, adding quirks like the distorted voices on “Smaller and Smaller.” The band’s sense of humor crops up frequently ? there’s the hilarious portrayal of prepubescent angst on “Kindergarten,” made all the more entertaining by the music’s straightforward approach, or the beyond-stereotypical white trash cornpone narration of “RV,” all while the music breezily swings along. Patton’s voice is stronger and downright smooth at many points throughout, the musicians collectively still know their stuff, and the result is twisted entertainment at its finest.

1 Land of Sunshine
2 Caffeine
3 Midlife Crisis
4 RV
5 Smaller and Smaller
6 Everything’s Ruined
7 Malpractice
8 Kindergarten
9 Be Aggressive
10 A Small Victory
11 Crack Hitler
12 Jizzlobber
13 Midnight Cowboy
14 Easy (Bonus)

Faith No More – The Real Thing (1989)


Starting with the careening “From Out of Nowhere,” driven by Bottum’s doomy, energetic keyboards, Faith No More rebounded excellently on The Real Thing after Mosley’s firing. Given that the band had nearly finished recording the music and Patton was a last minute recruit, he adjusts to the proceedings well. His insane, wide-ranging musical interests would have to wait for the next album for their proper integration, but the band already showed enough of that to make it an inspired combination. Bottum, in particular, remains the wild card, coloring Martin’s nuclear-strength riffs and the Gould/Bordin rhythm slams with everything from quirky hooks to pristine synth sheen. It’s not quite early Brian Eno joins Led Zeppelin and Funkadelic, but it’s closer than might be thought, based on the nutty lounge vibes of “Edge of the World” and the Arabic melodies and feedback of “Woodpeckers From Mars.” “Falling to Pieces,” a fractured anthem with a delicious delivery from Patton, should have been a bigger single that it was, while “Surprise! You’re Dead!” and the title track stuff riffs down the listener’s throat. The best-known song remains the appropriately titled “Epic,” which lives up to its name from the bombastic opening to the concluding piano and the crunching, stomping funk metal in between.

1 From Out of Nowhere
2 Epic
3 Falling to Pieces
4 Surprise! You’re Dead!
5 Zombie Eaters
6 The Real Thing
7 Underwater Love
8 The Morning After
9 Woodpecker from Mars
10 War Pigs
11 Edge of the World

Stone Temple Pilots – Shangri-La Dee Da (2001)


No. 4 gave Stone Temple Pilots the comeback they were looking for, albeit a little later and a little differently than expected. Nearly a year after its release, “Sour Girl” gave the band its biggest hit in years, and it set up their fifth album, Shangri-La Dee Da, perfectly. They seized this opportunity by turning out the same record as the time before, splitting the difference between heavy rockers and sugar-sweet psych-pop tunes. That’s not a bad thing, nor is it unexpected, since they’ve basically been staking this same territory since Tiny Music, yet at this point, it feels as if the Pilots are comfortably within a musical groove, no matter how much turmoil they have privately. Here, as on 4, they’re not just better on the pop tunes, they’re phenomenal on the pop tunes. Regardless of their critical reputation, no rock band of their time turned out such a consistently dazzling streak of pop tunes. Sometimes, the rockers do catch hold ? “Dumb Love” provides a gripping opening, “Hollywood Bitch” has a real sense of propulsion, the dreamy “Hello It’s Late” has a gentle rush of its own ? but, by this point, they don’t seem as interesting as the excursions into psych-pop that gives Shangri-La Dee Da its real core. That’s nothing new, but that’s not a bad thing at all.

1 Dumb Love
2 Days of the Week
3 Coma
4 Hollywood Bitch
5 Wonderful
6 Black Again
7 Hello It’s Late
8 Too Cool
9 Regeneration
10 Bi-Polar Bear
11 Transmissions From a Lonely Room
12 A Song for Sleeping
13 Long Way Home

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