Labels: ambient popamoebaart rockcaliforniadream popprogrobert rich. New Math - "Invocation". Labels: californiagoth rocknew mathsynth pop.
Duster - "Topical Solution". Up Records, Labels: californiadream popdusterlo-fislowcore. Trespassers William - "Love You More". Labels: californiadream popslowcoretrespassers william. Hearts Of Space Records, Labels: ambientcaliforniarobert richsteve roach. Labels: americanacaliforniacountryfolk rocktiffany anders. Elektra Records, Labels: californiadel the funky homosapienhip hopinstant partyjazz rap.
Minutemen - "Anxious Mo-Fo". Labels: californiafunk rockminutemenpost-punk. Constance Demby - "The Longing". You have to admire New Agers' lack of comprehending that they can come off as cheesy or overblown when talking about their music. Labels: ambientcaliforniaconstance dembyinstrumentalnew ageworld of con fusion. Risk Records, Labels: californiadream popemomy art or photospretty pretentiousshoegazeshould've been a 1 hit.
Bethany Curve - "Long Beach". Unit Circle Rekkids, Labels: bethany curvecaliforniadream popeasy breezy beautifulshoegaze. Angry Samoans - "You Stupid Jerk". It was badly water-damaged and the booklet was stuck together; I later gave it to a thrift store or threw it away.
The song is originally from their album Back From Samoa. I don't think any of the band members were Samoan, or ever went there. The Muffs covered this song on their '93 debut album, under the name "Stupid Jerk. Today I played basketball a few games of four-on-four and several games of 21 for about two hours, and yesterday I shot by myself for three hours.
How much would I be willing to pay for a vial of Juliana Hatfield's sweat? You might be surprised! But before you completely freak out, just remember that this is Cursive we're talking about here. All the elements that made you love them in the first place, the jarring bursts of guitar, the melding of dissonance and melody, the power of Tim Kasher's vocals, are all still here. The Ugly Organ is another step forward in the evolution of one of indie rock's finest artists. The vocals tend to be a little nasal and whiny at times, especially on the slower tunes.
On the more upbeat stuff, the vocals are downplayed a bit. Overall, this is a solid release that journeys across a number of musical styles, but always seems to come home to jangly pop. This five-piece from the Netherlands comes at you with a throaty, scream-o, chunky style of hardcore that simply doesn't quit.
It's pounding, aggressive and violent. At the same time, Daredevil mixes in some catchy tempo changes and melodies that don't soften the intensity of the sound. His music is soft but certainly not weak, and it has an almost R. His style of lyrics and guitar work has been compared to that of The Beatles and Nick Cave, the vocal tone is a lot like what McCartney does; take it for what it's worth.
The overall vibe of this disc is soothing, just not all in a good way; maybe as soothing as a lonely man can get, I suppose. She carries us through powerful tracks of desperate, emotional rock and soft pop with polished, perfect vocals as she explores the depths of the search for lasting love. A truly great and inspired accomplishment. This five song EP is their third release. Fairly simplistic, but catchy and worthy of a listen. Little Music is a collection of early material by this Denver band.
They would have happily existed in the 's, due to their catchy psychedelic pop melodies. However, their use of fuzz in their guitars brings them back to the present. DNSS continues on its quest to get geeky indie rockers moving on the dance floors of America with this new four song EP.
Heather Dunn's vocal debut on "Sabley Goodness" is one of the disc's highlights, as are the hip grooves on the closing number, "Mega-Clash Version ".
For those of you who cringe at the thought of Johnson's monotone delivery, have no fear, it's kept to a minimum on Handclappin'.
My only question: why only four songs after a five year absence? That fact alone is worth some points in the mind of this reviewer.
There are no covers of classic Tap tunes like "Hellhole" or "Big Bottom", nor anything vaguely resembling '80s hair metal. Regrets is nothing revolutionary, just a solid alternative rock record. From ethereal slow jams to guitar-happy pop to noisy, raucous rock, Earlimart's frontman Aaron Espinoza leads the listener on a magnificent journey. Each of the 12 tracks seems to flow from one to the next, a complete package.
Grab your headphones and prepare for one hell of a trip. Dischord admits they wanted to challenge people "who thought a new Discord band should sound like Fugazi. Sorta a punk Devo dance art thing going on, more synth than you ever saw in the '80s.
Good stuff, but nothing that's gonna stay in constant rotation for me. But with a voice like Mandell's, it's pulled off wonderfully. As a rule I pretty much never like female country vocalists, which makes it that much more amazing that this disc has gotten as much play around the office as it has.
Everything a country record should have, a little bit of sadness, a little bit of sharp-tongued wit, and a touch of rural sexy. The comparisons that came to mind quickly were Errortype and Ex-Number-Five.
I love the conversational and almost confessional style of the vocals. Sessions Records has put out some great stuff in the past few months, and this keeps pace. With J Robbins at the helm, these boys seemed to have steered a decisive direction.
Knowing that, however, this CD didn't rank high in my book. Endless Struggle brings to me songs that sound the same; every song has destructive vocals you have to read the words to know what they're sayingswindling guitar solos, sing-a-long anthems and their lyrics are slightly hypocritical. Any fan of the US Bombs and Antidote will totally dig this album. If you're not an "Oi Toy" then don't waste your time.
I will tip my hat to them, though, for they are the only Oi band I have heard to have their drummer use a double bass pedal. There's music, jokes and interviews, all funny. Organ and piano heavy songs are composed through the nostalgia of love, hope and desire that Faris fantasizes about during his self-imposed imprisonment inside the one-bedroom home and studio he lives at. Feeling the vibe of a 's era recording, this disc is balanced well with the low tempo atmosphere and accompanied by the tweaking of vocals and imaginative stories within each song.
The only downer is that midway through things Album) a little tired, but the majority of this stands up well because chances are taken that remain true to the overall project making the down time manageable. It seems like every song is centered around a simple, beautiful melody, which is eventually buried by more and more cacophonic sounds that tend to repeat until you are left in a hypnotized state.
Moss, now an official member of the "group. This album represents growth in his sound, not a departure. Much more edgy than what you'll find on the airwaves, aggression and attitude both flood this release, though there are a couple tracks that could crossover. Vocals are all the rage with the muffled "rah-rah-rah! This disc is pretty solid, not trying to be Limp Bizkit and not trying to be Pantera, just a little of each rolled into one, with a mean bass guitar to back it up.
It continues with the beautifully melodic structures they are known so well for. New vocalist Jason Gleason's first release with the band shows off his strong voice that can wail just at the right times and can definitely fill the shoes of ex-singer Chris Carrabba. That is apparent on some of my favorite tracks like "The Sound" and "Pride War. There's a jazzy feel to some of the slower tracks like "A Blank Page Empire. Don't get me wrong, the power of this emo-rock band is still very strong and with everything they've overcome, I think it can only grow from here.
It didn't start a fire but maybe they lit a match. It's just what you expect, too. It's a rough, raw recording, desperately in need of polishing given the genre. It's simply too minimal and that stands out like a sore thumb. They dance between pop and classic rock, using plenty of guitars and strong vocals that sit on top of the music. Throughout the track debut album are layered melodies balanced by creative tempo changes. There is a slight tinge of country inevitable in this style of music, but this is honest music that you can listen to and enjoy any time.
A mellow and enjoyable trip through the countryside. While Hello Amsterdam shares little musically with AMC, they do have a common emotional element in their songwriting. On the track "Carpet Diem" things change a bit compared to the first three tracks that are mostly ska and Jimmy Buffett rolled in one.
Much of this disc comes off as a demo that serves as an experiment with direction before releasing their full length. Trombones and keys are used heavily alongside the vocals of Kacknowski. This is mostly folkish country music. Elements of blues are there and added with just the right touch. Much of this chronicles the up and mostly down times of a desperate man in turmoil over his family, his life and a girl or two.
Entirely produced by Kidd, lyrics are full on getting buzzed, talking trash and boasting about his California upbringing. Throw in the hard-to-miss influences from Sublime and G. Love and you've got yourself a new battle cry for suburban youth - now that's gangsta! JC Inventing Edward. Full of the pitch of creative guitars lost on a walkabout layered with great ghost-like vocals and a beat that keeps everybody in touch; this recording should be kept away from the clinically depressed.
The rest of us can enjoy a journey into the human psyche and come out better for the trip. A violin stringed interlude follows before the drumbeat laced "Momento" kicks in.
Distorted guitar work is up next and on "After The Catapults" acoustics take center stage. Though the vocals could have been more crisp, the diversity on this disc will keep you looking for their next release. Mandolin, drums, sax, and acoustic, electric, and bass guitar merge seamlessly and dreamily with Jim's wonderful vocalization. He is a lad of seven and twenty years, having performed for many years in London, and he is just beginning to build a fan base in Europe.
DP Jim Funk is their best genre, but they also tackle balladry, country western, honky tonk, reggae, and straight up rock and roll. The perfect quiet apartment filler for a soft Saturday afternoon. Mellow guitars and vocals that tickle the borders of sadness and joy. This one's really quite a gem. There are elements of Mineral and Elliot in the vocals and musically. It has the emo rock formula where it's very slow and dramatic and then builds up to a stop and then the rock comes in and it stays for more tracks.
I would recommend this to anyone that is a fan of Deep Elm bands like Camber and Brandtson. These guys know how to rock, and they're not afraid of you. The album has a smoky feeling to it, and Germano sounds like she is singing very close to your ear.
The album is thus somewhat unsettling, but you are unable to stop listening. The Pittsburgh-based trio Lorelei doesn't need any pansy ass guitars. Instead, they bring the rock with two basses, with results not unlike a Sonic Youth or Unwound. The two bass attack works surprisingly well. One bass locks in with the drums to form a solid foundation, while the second bass navigates the higher registers like an angry Peter Hook.
Mix in the fierce vocals of Susannah Mira, and you've got a potent batch of aggressive, energetic indie rock. Two guitarists and a drummer make layered textures, every once in a while adding vocals and keyboards, resulting in a space-rock feel.
His second album, Up In Flames aims to change the face of the genre. In fact, you might think this album was done with a full band.
His songs are layered and textured, like recent Chemical Brothers stuff. Many Birthdays have a way about them that sounds like a sort of modern new wave, without the annoying excitement that bands like The Faint and The Black Wave have.
Mellow and chill, kinda quirky, and eclectic as hell. This will keep you interested. The Abstract Door is unique; much of the noise is compiled neatly by the use of organs, synthesizers, strings, snares and wound tight by the mess of wind-up toys, downtown and living room sound bites, loops, cuts, echoes and a bit more for good balance.
Sound quality is better than expected for a home recording and the more far-out this gets with style the better it becomes. The originality within is refreshing and makes this a definite keeper; think of early Beck for comparison. It's a combination of classic rock and acid jazz that comes across like a jam session.
Musicians will particularly enjoy this creative 10 track debut from the Dallas, Texas based seven-piece. This is your standard rock fare -- jangly guitar, too much vocals with too much forced emotion. I will say, there are some creative and original parts to this with strong songwriting, but the genre is overplayed, to me, and, despite the lengths they go to "spice it up," it still doesn't get my attention.
This is a good disc filled with catchy riffs and smooth vocal harmonies, but there is still a gritty edge to the music which keeps it from falling into that lollipop type of pop punk. Good music to smash things to. Solid from start to finish, there's not a bad song among the eleven tracks. Who thought Alabama could crank out some serious indie rock?
Divided into two parts, it features 24 untitled tracks that flow from one to the other in a weird way. Samples of organs, video games, old '80s songs and other found sounds populate this album, all layered over sick hip hop beats.
Compiled fromthis CD includes mostly unavailable stuff from vinyl-only recordings, and some other unreleased tracks. The liner notes are pretty extensive, giving you more insight into the band. The drumbeats are infectious and the soundscape is layered in different elements while the rhymes are delivered at will and offers plenty of thought food to take in. These guys came together in Minneapolis and have since been building their sound every stop along the way. These six tracks will only force you to find their first full length Drums, and that's not a bad thing either.
Subtle, uncomplicated and easy like a country road in the spring, and just as beautiful. Upon the second listening I can tell you PM plays a nice emocore style that reminds me of Thursday, while their mates RWD are a hard hitting durge sort of thing. Both are good, but nothing that's gonna rock your socks into the night.
This instrumental quartet deals in doom metal with some of the lowest rumbles in music. The slow to medium tempo will put you in a trance you may never want to get out of. The electronic drumbeat keeps it flowing, the guitar, vocals, and keyboards keep it interesting. A few moments where the music wants to lag are buffered overall by an interesting musical conversation.
Pivot lost a bass player to Dashboard, and singer-guitarist Rob Helmsorig was Carrabba's guitar tech on an early Dashboard tour. Small world, ain't it?
Well, Pivot's back with two new members and a six song EP LP their tight, melodic indie rock that sounds like something out of the Vagrant catalog. That notwithstanding, the disc is pretty good pop music. Strong song structures combine with talent and humor to make this an enjoyable disc. Very catchy and fun. Harmonies combined with melodic pop punk reminded me of Midtown. The vocals are really strong but sometimes the talky screams sound out of place on the first track.
The screams seem to find their place by the second track though, which I think is named "Rewind," and they add a bit of aggression to this four song EP. The placement of keys is perfect and gives them a little bit of their own sound in the world of multi harmony indie pop punk bands.
All in all, it's rock n' roll for the soul. MP Redline vs. New Jersey's Redline sees a more metal influence in their heavy hardcore sound, while Born From Pain keeps a more old school attitude. Both bands are heavy as hell, full of double kick drums and crushing guitars. Youngs' vocals are breathy, wafting over varied sounds, mixing a folk sound with a new wave influence. I imagine myself in a Buddhist village or a Far East ritual dance.
It's rather emotionally-charged and really heavy stuff, a bit too much so for my likes. This is music, however, not simply screaming with a thunderous beat. Groove beats reminiscent of Biohazard mingle with straightforward fury like Litmus Green. Definitely not ground breaking material by any means but quite radio friendly.
The vocals are solid and sound a bit like Paul Simon and Elliott Smith. The songwriting is strong, as well; Zach has crafted some artful and enjoyable pop tunes. It most immediately reminds me LP Lou Reed back in his bad old days. This is a really great disc that tells a story and tells it so well that you will listen to it again and again. Their sweet, psychedelic pop music recalls the girl bands of the day, as well as Motown's sound. There is, however, a punk attitude bubbling under the surface.
I heard vocals on a couple of tracks, but they were full of echo, making them hard to understand. The songs could have stood on their own without the vocals. You will be hypnotized into staring at your shoes by these six tracks. The offering of 10 songs is decent, and grows on you a bit with time. Good diversity helps it stay interesting, and the rework of the old Seville staple "Waking Up" is great.
Whatever incarnation, Seville is always worth a listen. He's plenty hip-hop combined with an appreciation for sampling, particularly from familiar rock music. Shermy D might be fakin' the ghetto flavor, but his knack for pumping out catchy, rap songs is hard to deny. And if you doubt the level of enjoyment he can deliver, you've got to see this man work it live.
The Atlanta-based quartet's psychedelic pop is similar to that of LP Power and the Apples in Stereo, though the comparisons don't quite do Tomorrow Waits justice.
Silent Kids build upon the lo-fi pop foundation to create their own distinct sound and one of the great albums of so far.
Melodies are not foreign territory, sometimes coming close to The Appleseed Cast's latest stuff. However, they can be as intense as Converge, so you can tell these guys can do it all. This is their final album, recorded in but previously unreleased.
Josh once again croons himself silly on lead vocals and the music is pretty catchy. But the album is cover songs, and that doesn't really do it for me. I was hoping for more original material. It started off as such, but then it sort of dwindled off into standard radio issue pop music. It isn't particularly bad, but it does not maintain the momentum with which it begins.
There is a potential for something very cool here. Lush keyboards blend with electric guitars wonderfully, complemented by Tim White's laid-back vocals. Some of the catchy melodies grab you, but then the vocals let you go almost immediately.
There are also some alt-country moments from this Chapel Hill quartet. Unlike the loose funkiness most commonly associated with ska, "Mirror in the Bathroom" is as coiled, paranoid and jumpy as Joy Division's Unknown Pleasures, only with a more danceable beat. Singer Dave Wakeling has since admitted that the lyrics are about cocaine addiction and its attendant paranoia, making sense of the almost creepy self-absorption of the song, but its real power comes from the knife-sharp interplay of the band, who were easily the tightest and most exciting of the ska revival acts.
Decades later, "Mirror in the Bathroom" is still as musically exciting as it is lyrically disturbing. Although a masterful pop ballad, and extremely successful it went Top Ten in"Eternal Flame" is somewhat removed from the Bangles' sound and vibe. Led by a gentle, lilting melody, the traditional melody seems ready-made for an artist such as Anita Baker or Whitney Houston. The song features a dramatic bridge that takes the song to a wonderfully emotional place, and adds to the overall dynamics of the piece.
In the end, it doesn't fit the Bangles' catalog well, but it remains a minor pop standard. 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. Labels: 80 Jams From The 80'sgnr. Labels: 80 Jams From The 80'smusic videospixies.
It was one heck of a way to come to public attention and still stands out as a peak of the Pet Shop Boys' career, not to mention arguably being one of the first hip-hop singles to go top of the charts. That may seem strange, but it's pretty obvious Tennant is delivering the verses in his own English style of flow; he confirmed in later years that the source of inspiration was the Grandmaster Flash single "The Message. Fugazi is without a doubt one of the most important independent bands of the '90s, influencing so many not only with their progressive and incessant musical style, but also their diligent and uncompromising work ethic.
There is something in the moving bass line, aggravated guitar, and sprawling interplay of Ian MacKaye's and Guy Piccotto's voices that is strong and addictive, often unavoidable. Labels: 80 Jams From The 80'slive videos. Originally released by the fledgling Enigma Records in and picked up by Geffen in early when the lascivious novelty single "Sex I'm A Lyrical obsessions aside, Pleasure Victim actually holds up quite well as a piece of early-'80s synth pop, with two very good tunes "Tell Me Why" and "Masquerade" and one masterpiece of the genre, the gimmicky and atmospheric "The Metro," the one song where Nunn's limited vocal abilities are put to their best use.
It is a love song that goes a bit perverse at the end. One of his most respected classic funk songs, "Controversy" addresses certain speculation about Prince at the time such as his sexuality, religion and racial background, and how he could not understand the curiosity about him.
The song has two main verses, a few choruses, with the title repeated throughout the track. Towards the middle he recites the Lord's Prayer in full, which fueled the fire for some to say the song was blasphemous. Labels: 80 Jams From The 80'sprince. With more distorted guitars, this song could be a straight-up punk rock number.
Instead, the driving clean electric guitar textures offered a new and enigmatic sound in Having already revolutionized hip-hop, Eric B. Most noticeably, Eric B.
Follow the Leader may not have broken much new ground, but it captures one of the greatest pure hip-hop acts at the top of its form, and that's enough to make the album a classic. Labels: 80 Jams From The 80'seric b and rakim. It's big, and anthemic, and it sounds, for lack of a better descriptive term, American. Clearly, this song was designed for one main purpose: to crack the US charts in a big way, which it in fact did. Opening with a pealing guitar curlicue and featuring not one but two hard-rocking guitar solosthe song dismisses the band's weedy synth-pop roots in favor of a more muscular sound.
Jimmy Somerville's soaring tenor may take some getting used to, but the songs, many of them dealing with homophobia and alienation none more eloquently than "Smalltown Boy"are compelling vignettes about the vagaries of life as a gay man.
Cynics predisposed to dismissing entire genres of music based on trendiness or a limited appeal "dance music is for dancing, not listening" miss the point in lumping this in with more mindless forays into techno or neo-disco. As the Pet Shop Boys the world's greatest disco band proved a few years later, you can have substantive content and wrap it up in a compelling, visceral, dance-oriented package.
Few bands understood this better, or earlier, than Bronski Beat. The lyrics of "Planet Earth" name-check the new romantic movement that spawned the group "like some new romantic looking for the TV sound" and present the kind of bleak futuristic scenario popular with these groups as the song's narrator looks at the night sky and tells any aliens who may be watching that "there's no sign of life.
Although much was made of the yuppie-baiting line about a Deadhead sticker on a Cadillac although one rather doubts that Henley was driving a beat-up Datsun at the time himselfthe song's overall feel is much more personal and intimate than that soundbite suggests. It's truly Don Henley's masterpiece. A homage to Paul Westerberg's underdog songwriting hero, "Alex Chilton" succinctly captures Big Star fans' feelings about that band's music with one simple line: "I'm in love with that song.
In the view of Westerberg and other fans, Chilton's intelligent power pop anthems and gorgeous ballads should have resulted in rock stardom for him and his band, where those "millions" did flock to see him. The beauty of the writing is that the author can create such a wishful scenario, even if it is only imagined. Alas, the similarly influential Replacements also enjoyed precious little commercial success and, like Big Star, never really graduated beyond cult-band status, while those directly influenced by them reaped far more rewards.
Obviously, this is one reason Westerberg identified with Chilton. I chose the album cover Labels: 80 Jams From The 80'sthe replacements. The track starts with sputtering snare drum rolls erupting against a wall of twisting guitars that are so saturated with effects as to sound otherworldly. Labels: 80 Jams From The 80'smy bloody valentine. One of the first hardcore bands to shrug off the distinction between punk and metal, Suicidal Tendencies — formed in Venice, California in as a personal soapbox for fiery singer Mike Muir and once voted both Worst Band and Best New Band by the readers of Flipside magazine — made its intentions to not be contained by genre or expectations known early by selling scads of its first album, produced clearly by Glen E.
Half-sung, half-recited and built on repeated sudden tempo changes, "Institutionalized" is a unique, devastating centerpiece. One of the era's quintessential expressions of teen dislocation, it converts generation gap misunderstandings into a complete communications breakdown, encapsulating all the punk sociology of such films as Repo Man and Suburbia in four minutes.
First released on the soundtrack for the film Do the Right Thing, an extended version was released in on Public Enemy's third album, Fear of a Black Planet. The song has largely served as the political statement of purpose for the group, and is their biggest single. The album produced by Todd Rundgren and released in received favorable reviews upon release, and yielded the minor hit singles "I Can't Take It" as credited, the only Cheap Trick song written solely by lead singer Robin Zander, though actually co-written with Pete Comita and the Rick Nielsen-penned "Borderline", which was debuted on The Alan Thicke show.
The then-band members Jon Brant, Bun E. Carlos, Rick Nielsen and Robin Zander consider it one of their best albums. Labels: 80 Jams From The 80'slive videostodd rundgren. It was one of two new tracks included on their greatest hits album, Rock 'n Soul Part 1.
The song was released as a single and entered the Billboard Hot singles chart in Octobereventually spending four weeks at number two at the end of the year and into the next. The arrangement is dominated by Jonathan Segel's wavery violin line and a couple of enthusiastically strummed acoustic guitars, as lead singer David Lowery sing-speaks nonsensical lyrics in a yelping voice that sounds like Jonathan Richman's southwestern cousin after a long session with a beer bong.
The difference is that the song has an incredibly catchy singalong chorus and a bouncy, country-ish tune that has neither the hardcore punk nor the ethnic folk influences of the rest of the album. Immediately adopted by 's black-clad teenage hipsters as the key novelty song of the burgeoning American indie scene along with the Dead Milkmen's "Bitchen Camaro""Take the Skinheads Bowling" eventually bit Camper van Beethoven on their collective posterior, giving the group a reputation as goofy jokesters that proved impossible to shake as they tried to grow artistically on their later albums.
Naturally, "Love Bites" had the LP big, polished Def Leppard sound, but it wasn't choked with the melodramatic sentiment of most '80s power ballads, nor the usual power ballad pose of bad boys with sensitive hearts of gold.
In fact, "Love Bites" is moody and even kind of sinister, creeping along quietly until bursting into a chorus featuring lines like "love bites, love bleeds The record company decided upon a double A-side release and were redeemed when "Der Kommissar" reached number one in German-speaking countries in January In the United States and the United Kingdom, Falco's hit didn't fare as well, despite topping charts throughout Europe and Scandinavia during spring and summer In the summer of the British rock band After The Fire recorded an English version of the song, also called "Der Kommissar", and released it as a single, but the record floundered.
Coming off a tour opening for Van Halen, After The Fire was working on material for a new album when in December the group announced onstage during a concert that they were breaking up.
There's a certain gonzo quality about "Stigmata" that Ministry didn't quite match until "Jesus Built My Hotrod," which wasn't nearly as dark; that combination made "Stigmata" one of the most striking of Ministry's guitar rockers.
My version of the 80's comes and goes I seem to remember stuff, and then it fades and comes back. Occasionally I get into "80's mode" where I enjoy lots of 80's media all at once, which is when things "rise to the surface. A few weeks ago I found myself reading the wikipedia entry on Ducktales. And earlier today, some random Shel Silverstein poems was he 80's? I'd post some clips here, but I think I'd rather just recommend a Youtube search since I can't decide which clips would work best.
Needless to say, I miss the days of car chases and explosions, both of which are pretty much never on TV in Moving on While bored at work, I spent a fairly huge amount of the past week or so throwing together a decently unfuckwitable list of 80 amazing songs from the 80's I'm also expecting these opinions to change over time, as my 80's list from 10 years ago likely would look very different from the one that will start here tonight.
Hour Zero - Odd Man Out 2. Bernie - You Got Issues live 3. GLU - Ma Woman 4. Splice - Mackerel Sky 5. Dowcet - Training For Space 7. Hot Beat Faktory - Project 2 8.
Axiomatic - Dawn 9. Some Band - Rooftop Blues Factor 8 - The Ascend - All We Need Hyve - Mackerel Sky Splice - Tonight Preston Creed - Crush Seitz and Sounds - Gimme that Bone The Smooth Hands - Handjob City live 3. The Juicebox Institute - Broken 4.
Hot Beat Faktory - Yelp 9. Lowt Ide - Ceiling live Hoveral - American Sneakers The Juicebox Institute - Heed Lip Keebler LP Rock Part 2 Smile Democracy - White People Buds Vs. Dowcet - Friends GLU - Friends Remix Hospital - Don't Come To Ohio Lowt Ide - Bonus Track In an effort to eliminate redundancy, it's been decided that t.
Many of the songs on these 2 compilations will be available here in future posts. And so instead a new collection has been compiled: A 2-disc set or 2-zip file set, whatever. Trumbull Scene: The Big Hits features more than half of the songs from Vol 1 and Vol 2, plus many other previously unavailable treasures from the t.
The original version of "Mackerel Sky" from Hyve. All 3 tracks from The Juicebox Institute's mp3. And so much more Download Disc 1 Download Disc 2 And here's some additional information or "liner notes" regarding Trumbull Scene: The Big Hitsseeing as how everyone reading this is more than likely on the verge of bursting with hardly contained excitement at the mere announcement of this release Disc 1 1. Hour Zero "Odd Man Out" Bernie "You Got Issues live "
Happy New Year - Unknown Artist - The Production Master! Holiday/Seasonal (Vinyl, LP), Ne Me Dis Pas Adieu - Various - Bonanza Festival Country (CD), All I Want - Various - DJ Supervittu Presents : Stockholm Tapes Volume 1, Disco 1980-84 (CDr), Young Birds (Radio Edit) - Various - Trance 2007 Vol.1 Music 4 The Next Generation (CD), New Power Generation - Prince - Graffiti Bridge (CD, Album), Version - James Ruskin - Point 2 (File, MP3, Album), Long Black Train - Danbert Nobacon and The Bad Things - Woebegone (CD, Album), A Love To Call My Own - Al Martino - Take My Heart (CD), My House - Eligh - Gandalfs Beat Machine (Vinyl, LP, Album), Key To Eternity - Aïboforcen - Face (Of) Death (File, Album), Im With You - September Jones - Give Me All Your Love (Vinyl), Endless Pathway - Wendy & Bonnie - Genesis (Vinyl, LP, Album), Untitled