Caspa - Madman feat. This is the best Beatles Bootleg so far, on best quality. Pre-order of Official Bootleg. Limelight 8. Amazing rare and ultra rare unreleased Beatles songs. These two documents include the best bootlegs I have downloaded in the following years, to and The Ultimate Bootleg Experience theultimatebootlegexperience7. It is a lightweight application that requires no installation. Hypnotize Zora Jones Bootleg - Spaceghostpurrp 5.
Bootleg recordings database, specially on The Rolling Stones. Become a member today to receive. Bursting with 35 bootlegs, remixes and unreleased projects, the bundle exhibits a wide variety of genres as well as unreleased art, phone and desktop backgrounds.
Bootleg, Live! Bootleg Songs, Live! Bootleg Songs Download, Download Live! Bootleg Songs, Listen Live! Bootleg LP Songs, Aerosmith Songs Add to that excellent quality bootlegs, encouragement to explore different musical genres, and you have the Beehive. Etiquetas: Album)Southside Johnny. Here, then, are 50 remarkable bootleg recordings selected from our own private March - U2 live bootlegs archive with over titles including full artwork and audio samples for CDs and vinyls too.
Too Bad " 3. Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Volume 4Volume 3Volume 2and Volume 1. Wild Honey Pie Released According to Miles see source referencesfor the Rolling Stones it started justBootleg English - download the album and listen online. The Continuing Story of Bungalow Bill Ain't Nobody But Me It's Raining Again You might think the song is directed at rich, complacent hippies — but the rich, complacent hippies in the Beatles would never write a song about that, would they?
The very antithesis of a moon-spoon-June love song. Lennon grew up a striking artistic personality, living, it needs hardly be said, at a time and in a place where this was barely recognized. Without getting too psychological about it, you can say this left him with lingering anger and displacement issues, manifesting in lots of drinking and random acts of cruelty many never forgot. As the Decade of the Beatles wore on, a growing realization of some of these issues put his sensibility on a collision course with the unprecedented circus of a professional life he had inadvertently found himself in.
The result in the latter years of the s was a lot of growing up, and out, in public, via this or that very personal, and sometimes not very attractive, artistic statement on the matter. Harrison had a very quick, and very subtle, sense of humor; those who knew him presumably saw a lot of that here, but to me it comes across as moralizing. This is a takeoff on Animal Farmand anything but subtle. Funny voices, too. Lennon thought he was striking blows against the empire with raspy, unproduced constructions like this.
Ladies and Gentleman, Arthur Alexander. This is a slow grinder, sung earnestly by Lennon. Ringo blasting through a Carl Perkins classic. Way too much echo on the track, though. Painfully plain, this is one of the first complete songs McCartney and Lennon wrote together. Simple is not the word; there are exactly 17 different words in the song, three of which manage to extend to two syllables.
This song, powered by a Beethoven-y harpsichord, an extravagant vocal track, and a rudimentary synthesizer, is supposedly not part of the extended medley on the second side of Abbey Roadbut its limited lyrics and aimless structure gives it the feel of a fragment. A story from the trip to India, where they saw a rich kid go on safari. A rare Ringo songwriting credit.
If you grew up with Abbey Road you probably still love it. This is a less interesting, blaring track. An effective rave-up, and one that has stood the test of time. The animation film Yellow Submarine was built around it years later.
The film was not written by the Beatles, and does not feature their voices either, but their inspiration made it a highly enjoyable cinematic experience, then and now.
The exuberance keeps on coming. And no one could reproduce the inherent manic feel of the Beatles. A tedious workout. I respect that Lennon is trying to strip down his work to elements, lose his ego, profess his love for Ono, and disappear to be reborn, all that shit.
The outro is interminable, undergirded with a roar of white noise, a nice effect. It finally ends, abruptly, with a sharp cut, mid-note. Later, Emerick came to feel Lennon was right. A promising rock-out of a beginning goes nowhere. Lennon and McCartney quickly became adept at creating magical pop songs out of common sayings.
What came to be called the Get Back sessions featured songs like this — a guitar or two, bass drums, maybe a keyboard, with natural voices on top.
You want to like songs like this — and particularly this song, with two of the most familiar voices in the world winding around each other with obvious pleasure. The documentary made of these sessions, Let It Beis an engrossing, wan, sometimes joyous, but ultimately troubled look at four friends who could no longer get it together to record earth-shattering music.
The band shelved the material and eventually re-formed to record and release Abbey Road. The Get Back session tracks, by this point a red-headed stepchild, were later refashioned to varying degrees by Phil Spector and put out under the name Let It Bewhich inadvertently became, in the eyes of the public, the Beatles sad swan song.
The Beatles early middle period was weird. This is one of them. A Smokey Robinson workout, and a favorite of the band from the start. With a sober nod to the past, they played it during the recording of Let It Be. The import supposedly delivered in this song is pointless. Its official name is merely The Beatles. Side one:. Side two:. After the manic and timeless success that was their first movie, the band and director Richard Lester went back to the well for Help!
Despite the conceptual problems, there are striking moments in the first half, not least the cutaway to the credits, and of course the conceit of the foursome going home to a row of townhomes, all of which were connected inside. The Help! A sunny McCartney track. A Lennon song about a celebrity doctor who dispensed drugs to rich clients in Manhattan. There are various stories about whom or what this song is really about, but in the end the critical undertones seem sophomoric; after all, the Beatles had been surviving on amphetamines for nearly LP decade.
Signs of growth, but boy this is an uninteresting song. The intro is one of their drabbest. Another of the so-so unadorned Lennon songs from the last days of the Beatles. Too many of his songs consist of the title words repeated over and over in the chorus. The band played it on the famous rooftop concert in Let It Bebut it was left off the album.
The song, famously written as he waited for some friends on Blue Jay Way in the L. Some nice sounds though. This exercise in sound collage could be seen as slumming. Those who shelled out money for them at the time could take comfort only in the fact that they must have been more tedious to make than they were to consume.
A good, rough, and quite novel guitar sound kicks off this track, which the band thought was good enough to lead off Revolverone of the most significant rock albums ever made. Indeed, Harrison has three songs on the album. Sound and music and meaning came together for the band here in a way that it never would again. They were adults with an ever-changing, ever-more-pointed way of looking at the world; at the same time, the extraordinary tastefulness of the production techniques instilled by George Martin gave them powerful tools to capture those impressions.
McCartney and Lennon worked on this song, off and on, for months. Too many of the songs on Let It Be are just … minor. This has a hummable melody, a decent bridge, a rambling bass track by McCartney, and really not much else. Some people love this song. I guess this is a minor Beatles song, from the period just before things started to get really interesting, but the melody and the arrangement mix, here, as in so many other songs in their oeuvre, in a lovely and highly likable way.
Note the waltz time in the middle eight, with the melancholy insert from Lennon. A crisp and clean take on the Chuck Berry classic. The band barrels through the verses at top speed, not noticing they are supposed to done herky-jerky style.
As recorded, three minutes of pop glory set to a melancholy, aching melody, wrapped up in whistles, flutes, vocals, production swirls, and McCartney ululations. We take it all for granted now, but the sound spaces created on the track are exquisite.
The result is lulling and stately, a dream in audio Technicolor. Too much of the lyrics are clumsy. Is Paul himself the Fool on the Hill? A raucous song that tries to come up with a little social comment. Pepper to compare with the three or four landmark tracks he delivered on Revolver.
This song took its inspiration from a Corn Flakes commercial. There are a lot of groovy sound effects, but the story it tries to purvey is a little confused, and it clashes conceptually with the far more visionary treatment of the same subject in the last track on the album. McCartney can write a great rock song out of anything. Here we have JoJo andSweet Loretta, with other whimsical words strung together as if Something Must Break - Joy Division - Still (Vinyl mean something, which they most assuredly do not.
The Lennon-McCartney songwriting sessions were supposed to take care of vapid lyric conceptions like this. McCartney is barely even processing what he is saying. Infectious, unexpected, uplifting, highly tuneful. I sing along every time it comes out of a speaker within earshot, just as you do. A charming Harrison song from Help! The real star here is the sound. The vocals, with a ghostly aura around them, fill most of the recording; way in the back, a bass and a subtle drum track seem to exist on an entirely different plane.
The trouble with too many of his compositions is that they turn in on themselves; they have no meaning outside of the actual song, and neither do the funny guitar noises he comes up with here. The result? It never appeared on a normal band album in the U. LP release that vacuumed up a number of uncollected hits.
Still in the U. The album offers nowhere to stand, nothing concrete to grasp, only fleeting thoughts and questions, but very intentionally so.
Swedish hardcore band - check. The most influential hardcore album ever made - likely. Visceral, vein-popping energy and focus - yup. Best served on a spinning platter - but of course.
Few albums so completely sum up a genre of music as Exile On Main St. Rebellion, check. On the run from the taxman the band wrote and recorded a large portion of the album in the basement of rented villa in southern France. Drugs, check. Lots of heroine. Love, check. Mick Jagger got married during the making of the album. An album best viewed as a piece of art and an example of a band going in a completely different direction than anyone at the time and succeeding…you need this album.
In the lukewarm bathwater of the early s music scene, The Strokes came in and lit a fire. Their debut album pulls all the right energy from 70s and 80s garage rock, while feeling at home in the modern NYC.
With the above album cover deemed too racy for America, the band switched up the domestic version prior to release the rest of the world got the good stuff. It contains people, places, and events relative to the title. The songs are not about the state explicitly; they just make a reference to the state in one way sometimes direct, often indirect or another. Written and recorded after a move to rural New York with his wife, Moondance is the album that put the Northern Irish singer-songwriter on the map.
Blending jazz, soul, rock, and blues, the album contains a nostalgia that is easier to feel than describe. Some may scoff at the notion of putting such a young album on a list of this caliber…scoff on, we stand by it.
Drawing on bouts of paranoia and depression following their Slave Ambient tour, lead singer Adam Granduciel wrote his way through it. The result is a more personal, razor-sharp style that serves as the backbone of an album that feels equally at home in any decade in the past 40 years…in other words, timeless.
No pretense, just real music with a humanness that jumps off the vinyl. If listening to music on vinyl is a mild rebellion against the digital age, then Elephantthe fourth studio album by The White Stripes, is the French Revolution. Jack and Meg White chose to intentionally avoid modern recording technology or computers in the production process using an eight-track tape machine and decades-old gear while laying down the album in just two weeks. Ottawa, Ontario.
December 22, December 29, ISSN X. Melody Maker. Archived from the original on July 17, April 1, BBC Music. Archived from the original on February 12, May Archived from the original on April 16, Retrieved September 2, November 2, Archived from the original on December 28, May 20, Archived from the original on June 25, July 14, Archived from the original on July 15, Retrieved July 14, July Archived from the original on June 29, Retrieved October 21, Archived from the original on February 8, Retrieved April 14, Library and Archives Canada.
Retrieved December 16, April 30, GfK Entertainment Charts. Official Charts Company. Retrieved April 25, December 18, Music Canada. May 12, British Phonographic Industry. July 22, Recording Industry Association of America.
April 26, Brite, Poppy Z. Courtney Love: The Real Story. ISBN Christgau, Robert Christgau's Consumer Guide: Albums of the '90s. New York: St. Martin's Griffin. Crawford, Anwen Hole's Live Through This. New York: Bloomsbury Academic. Creswell, Toby Praharan, Victoria: Hardie Grant Publishing. Cross, Charles London: Sceptre. Grumet, Madeleine LP. Anne Sexton: Teacher of Weird Abundance. Lankford, Ronald Lanham, Maryland: Scarecrow Press.
I wanted to be able to completely control the lighting, and so an indoor pool was the only option. I scouted quite a few pools, but when I saw this pool in the YMCA in Central London, which was dark blue tiled with light blue lane stripes instead of the normal reverse colors, I knew it was the ideal location.
I wanted to give it an eerie underwater night-time feel, and this setting was perfect. We used a number of K and K lights around the pool edge. I used school kids as models and they pretty well ran riot. More than one month prior to its release, DJ John Peel broadcast the album on BBC radio 1 from an advance copy on a cassette, from the beginning to end, with no interruptions.
The Scream was released on 13 November It was an almost instant commercial success, peaking at No. The new edition featured a remastered version of the album on the first disc, while the second disc contained demo and live tracks together with the singles from that period. A single-disc edition of the reissue was released in The Scream was named "the best debut album of the year" by Sounds.
It's a This is music of such strength and vision that you just can't not be moved by the time they swing into the final climactic passage of 'Switch', LP closing track. Sweeting then noted that the musicians "have perfected a group sound which is powerful but streamlined", adding that "the words and music combine to produce coolly dazzling images". Several journalists from NME also praised the record. Nick Kent first stated that the band sounded "like some unique hybrid of the Velvet Underground mated with much of the ingenuity of Tago Mago -era Can.
Certainly, the traditional three-piece sound has never been used in a more unorthodox fashion with such stunning results. It is not, as some would say, chaotic — it is controlled.
Each instrument operates within its own space, its own time, as if mocking the lines of other instruments. Known rock is inverted, leaving just traces of mimicry of rock's cliches — satire that often bursts with glorious justification into shaking celebration as on "Helter Skelter". It is easy to gain attention by doing something which is crudely obviously out of the ordinary, but the Banshees have avoided such futile superficialities: it is innovation, not revolution, not a destruction but new building.
It has grown out of rock — Velvets, Station to StationBolan. And Siouxsie's staggering voice is dropped, clipped, snapped prominently above this audacious musical drama, emphasizing the dark colours and empty, naked moods. However, in her review of the album, NME' s Julie Burchill was unimpressed, stating that the Banshees sound was "a self-important threshing machine thrashing all stringed instruments down onto the same low level alongside that draggy sub-voice as it attempts futile eagle and dove swoops around the mono-beat.
Their sound is certainly different from the normal guitar-bass-drums-voice consequence. Kurt Loder gave a very favourable review in Rolling Stoneremarking that The Scream was a "striking debut album"; and that its "sound, stark though fully realized thanks partly to a most simpatico co-producer, Steve Lillywhiteis lent added intellectual dimension by a series of disturbingly ambiguous lyrical images".
During a BBC radio show, David Bowie mentioned a concert of the group given after their release of their first album: "I saw you Siouxsie and you were really excellent [ Record Mirror 's Ronnie Gurr wrote that " The Screama masterpiece that, for six months, I failed to recognise as such, was a harrowing listening experience.
NME rated it at No.
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