Albert Hammond Jr. – Como Te Llama – CD – FLAC – 2008 – CHS

Artist: Albert Hammond, Jr.
Title: Como Te Llama
Label: Rough Trade
Genre: Rock
Encoder: libFLAC 1.2.1 -8 -V
Quality: 931 Kbps Avg / 44100 Hz
Time: 45:59
Size: 299,57 MB
Rip Date: 2014-05-18
Str Date: 2008-06-17

Track List:

01. Bargain of a Century 3:09
02. In my Room 3:18
03. Lisa 3:46
04. GfC 3:09
05. The Boss Americana 2:56
06. Rocket 3:35
07. Victory at Monterey 3:58
08. You Won’t Be Fooled By This 3:01
09. Spooky Couch 7:18
10. Borrowed Time 3:11
11. G Up 2:40
12. Miss Myrtle 3:06
13. Feed Me Jack Or: How I Learned to Stop Worrying 2:52
and Love Peter Sellers

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Aerosmith – Just Push Play – CD – FLAC – 2001 – BUDDHA

Rel. date : 05.18.2014
Artist : Aerosmith
Album : Just Push Play
Label : Columbia Records
Catalog Nr.: 62088
Language : English
Genre : Rock
Source : CDDA
Size : 375.80 MB
URL :

T R A C K L i S T

01. Beyond Beautiful 04:45
02. Just Push Play 03:51
03. Jaded 03:36
04. Fly Away From Here 05:02
05. Trip Hoppin’ 04:27
06. Sunshine 03:38
07. Under My Skin 03:47
08. Luv Lies 04:27
09. Outta Your Head 03:22
10. Drop Dead Gorgeous 03:43
11. Light Inside 03:35
12. Avant Garden 06:36
———
50:49
50:49 min
375.80 MB

R E L E A S E i N F O R M A T i O N

Just Push Play is the 13th studio album by American rock band
Aerosmith, released on March 5, 2001, therefore the first
Aerosmith album of the 21st century. The album was co-produced by
song collaborators Marti Frederiksen and Mark Hudson. The album’s
first single, “Jaded”, became a major Top 10 hit in the U.S. and
around the world. As a result, Just Push Play was certified
platinum within a month of its release. Subsequent singles “Fly
Away from Here”, “Sunshine”, and “Just Push Play”, though
garnering some airplay, failed to impact the Hot 100 much,
although the latter two charted on the U.S. Mainstream Rock chart
and the former charted on the Adult Top 40.

Give Aerosmith credit for not only realizing something was wrong
after Nine Lives relatively flat-lined, but deciding to do
something about it. Ditching the outside producers who initially
liberated but eventually straitjacketed them, Steve Tyler and Joe
Perry seized control of the boards, working with the assistance of
Mark Hudson and Marti Frederiksen. (Forever the Stones fanatics,
Tyler and Perry dubbed this crew the Boneyard Boys, just like how
Mick-n-Keef are the Glimmer Twins.) So, this isn’t really a full-
fledged band affair and Hudson and Frederiksen’s fingerprints are
all over the place, but that doesn’t matter since the end result
is tighter, savvier, and better than anything since Pump. It’s
still far from perfect, however, since it suffers from a dearth of
memorable material, and the group members’ steadfast refusal to
act their age results in a couple of embarrassing slips into
stodginess (the “f*ckin’ A” chorus on the title track, a song
improbably titled “Trip Hoppin’,” or the ludicrous “Avant
Garden”). These mean that the record doesn’t come close to
matching the twin comebacks of Permanent Vacation and Pump, but
it’s a sleek, classicist hard rock record that sounds good —
better than Aerosmith has sounded in nearly a decade, as a matter
of fact, particularly when the group gets a hook as tuneful as
that of “Jaded.” Aerosmith sounds good enough on Just Push Play
that it almost makes you forgive the Heavy Metal refugee on the
front cover, a sexy robot illustration that looks far more out of
date than the music sounds.

http://www.discogs.com/Aerosmith-Just-Push-Play/release/370532

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ACDC – Let There Be Rock – REMASTERED – CD – FLAC – 1994 – BUDDHA

Rel. date : 05.18.2014
Artist : ACDC
Album : Let There Be Rock
Label : ATCO Records
Catalog Nr.: 92445-2
Language : English
Genre : Rock
Source : CDDA
Size : 276.39 MB
URL :

T R A C K L i S T

01. Go Down 05:31
02. Dog Eat Dog 03:35
03. Let There Be Rock 06:07
04. Bad Boy Boogie 04:28
05. Problem Child 05:25
06. Overdose 06:09
07. Hell Ain’t A Bad Place To Be 04:14
08. Whole Lotta Rosie 05:23
———
40:52
40:52 min
276.39 MB

R E L E A S E i N F O R M A T i O N

AC/DC: Let There Be Rock is a live concert motion picture
featuring the Australian hard rock band AC/DC, released
theatrically in September 1980 (see 1980 in music) and on
videotape the same year. It was filmed at the Pavillon de Paris in
Paris, France on 9 December 1979 (see 1979 in music), and also
contains interviews with members of the band, including lead
vocalist Bon Scott, who died two months after filming. The concert
film was re-released on a Blu-ray/DVD double pack along with a
collector’s tin, concert pictures, a souvenir guitar pick, and a
32 page booklet, or just as Blu-ray or DVD individual sets on 7
June 2011. Only 90,000 of the collectors tins were made, and each
labeled with a number out of 90,000 on the base of the tin.

Let There Be Rock, the fourth AC/DC album — and first to see
simultaneous international release — is as lean and mean as the
original lineup ever got. Shaved down to the bone — there are
only eight tracks, giving this a lethal efficiency even with a
couple of meandering jams — this is a high-voltage, brutal
record, filled with “Bad Boy Boogie.” It has a bit of a bluesier
edge than other AC/DC records, but this is truly the sound of the
band reaching its peak. There’s the near majesty of “Let There Be
Rock,” there’s Bon Scott acknowledging with a wink that “Hell
Ain’t a Bad Place to Be,” and then there’s the monumental “Whole
Lotta Rosie.” Which gets down to a key thing about AC/DC. If Led
Zeppelin were celebrating a “Whole Lotta Love,” AC/DC got down to
the grimy details in their leering tribute to the joys of sex with
a plus-sized woman. And that’s AC/DC’s allure in a nutshell —
it’s sweaty, dirty, nasty rock, music that is played to the last
call and beyond, and they’ve rarely done that kind of rock better
than they did here.

Original -REMASTERED- Press

http://www.discogs.com/ACDC-Let-There-Be-Rock/release/2457236

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ACDC – Highway To Hell – CD – FLAC – 1986 – BUDDHA

Rel. date : 05.18.2014
Artist : ACDC
Album : Highway To Hell
Label : Atlantic Recording Corp.
Catalog Nr.: 19244-2
Language : English
Genre : Rock
Source : CDDA
Size : 273.52 MB
URL :

T R A C K L i S T

01. Highway To Hell 03:28
02. Girls Got Rhythm 03:24
03. Walk All Over You 05:10
04. Touch Too Much 04:27
05. Beating Around The Bush 03:56
06. Shot Down In Flames 03:23
07. Get It Hot 02:35
08. If You Want Blood (You’ve Got It) 04:37
09. Love Hungry Man 04:17
10. Night Prowler 06:15
———
41:32
41:32 min
273.52 MB

R E L E A S E i N F O R M A T i O N

Highway to Hell is the sixth studio album by Australian hard rock
band AC/DC, released on 27 July 1979. It is also AC/DC’s fifth
international studio album. It was the last album featuring lead
singer Bon Scott, who died early the following year from over-
consumption of alcohol.

It was originally released by Albert Productions, who licensed the
album to Atlantic Records for release outside of Australia, and
was then re-released by Epic Records in 2003 as part of the AC/DC
Remasters series. On 25 May 2006, Highway to Hell was certified 7x
Platinum by the RIAA. In 2003, the album was ranked number 200 on
Rolling Stone magazine’s list of the 500 greatest albums of all
time.

Of course, Highway to Hell is the final album AC/DC recorded with
Bon Scott, the lead singer who provided the group with a fair
share of its signature sleaze. Just months after its release,
Scott literally partied himself to death (the official cause cited
as acute alcohol poisoning) after a night of drinking, a rock &
roll fatality that took no imagination to predict. In light of his
passing, it’s hard not to see Highway to Hell as a last testament
of sorts, being that it was his last work and all, and if Scott
was going to go out in a blaze of glory, this certainly was the
way to do it. This is a veritable rogue’s gallery of deviance,
from cheerfully clumsy sex talk and drinking anthems to general
outlandish behavior. It’s tempting to say that Scott might have
been prescient about his end — or to see the title track as
ominous in the wake of his death — trying to spill it all out on
paper, but it’s more accurate to say that the ride had just gotten
very fast and very wild for AC/DC, and he was simply flying high.
After all, it wasn’t just Scott who reached a new peak on Highway
to Hell; so did the Young brothers, crafting their monster riffs
into full-fledged, undeniable songs. This is their best set of
songs yet, from the incessant, intoxicating boogie of “Girls Got
Rhythm” to “If You Want Blood (You’ve Got It).” Some of the credit
should also go to Robert John “Mutt” Lange, who gives the album a
precision and magnitude that the Vanda & Young LPs lacked in their
grimy charm. Filtered through Mutt’s mixing board, AC/DC has never
sounded so enormous, and they’ve never had such great songs, and
they had never delivered an album as singularly bone-crunching or
classic as this until now.

Original CD Press

http://www.discogs.com/ACDC-Highway-To-Hell/release/5390273

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Zea – The Swimming City (2014) [FLAC]

Genre: Pop/Rock
Styles: Indie, Electronic, Alternative
Source: CD (log + cue)
Codec: FLAC
Bitrate: ~ 900 kbps
Bit Depth: 16
Sample Rate: 44.1 kHz

01 Sub Specie Ludens
02 People Shrink, People Grow
03 I Build My Own Town
04 1, 2, 3, I Saw the Devil Cry
05 All Words Have Been Here First
06 De Zwemmende Stad
07 Bathroom Gardening
08 Dark Minded Me
09 It’s Quiet
10 Exploding Head Syndrome
11 On Going Home
12 Ik kin der net by 

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Wye Oak – Shriek (2014) [FLAC]

Genre: Pop/Rock
Style: Indie
Source: CD (log + cue)
Codec: FLAC
Bitrate: ~ 1,000 kbps
Bit Depth: 16
Sample Rate: 44.1 kHz

01 Before
02 Shriek
03 The Tower
04 Glory
05 Sick Talk
06 Schools Of Eyes
07 Despicable Animal
08 Paradise
09 I Know The Law
10 Logic Of Color

Wye Oak, a Baltimore-based indie rock duo comprised of Jenn Wasner (guitar, vocals) and Andy Stack (drums, vocals), took their name from a symbolic 460-year-old tree in their home state of Maryland. Formed in 2006 under the moniker Monarch, Wasner and Stack recorded their first album gypsy style, bouncing around various basements and apartments, eventually landing a record deal with indie heavyweight Merge. The label would go on to release the act’s 2008 debut, If Children, as well as the 2009 follow-up Knot and 2010 EP My Neighbor/My Creator. By the time of their 2011 self-produced album, Civilian, which was also released by Merge, Wasner and Stack were producing the finest work of their career and firmly placed themselves near the top of the indie rock pile.      

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We Are Catchers – We Are Catchers (2014) [FLAC]

Genre: Pop/Rock
  Styles: Indie Pop, Alternative
  Source: CD (log + cue)
  Codec: FLAC
  Bitrate: ~ 1,000 kbps
  Bit Depth: 16
  Sample Rate: 44.1 kHz

  01 Waters Edge
  02 Tap Tap Tap
  03 If You Decide
  04 Isabella
  05 The Fear
  06 Over the Hill
  07 If I Fell
  08 Thousand Steps
  09 Richer Man
  10 Where We Are

  We Are Catchers is built around the piano and vocals of Liverpool resident Peter Jackson. He writes hooky little tunes that have the bounce and feel of early Harry Nilsson and the loose warmth of a Beach Boys demo session. So far so good, right. If Jackson’s first album had been just him, his piano and ten songs that sound like the magical intersection of Laurel Canyon singer/songwriter craft and Brill Building snap, things would have been just fine. You would have walked away humming tunes like the instantly memorable “Isabella” and the peppy “Tap Tap Tap.” The end result is all that and more. Working with Bill Ryder-Jones (formerly of the Coral), Austin Murphy, Richard Formby, and Henry Broadhead, with production by himself, Ryder-Jones, and Darren Jones, We Are Catchers builds a small world of echoing sound to cushion Jackson’s jolly piano and quietly yearning vocals.

  The backing vocal harmonies, minimal drums, lonesome slide guitars, and other undisclosed instruments are so saturated with reverb that they billow around the melodies like ghostly swarms of warmth and comfort. It could have been recorded in an elevator shaft at the Brill Building or at the bottom of Laurel Canyon, it’s that deep and intimate at once. Jackson’s choice to record his songs this way gives them an emotional depth and impact they might not have had otherwise; sometimes hiding your feels behind a wall of protective musical coating just means the listener has to listen a bit harder and will get drawn in more deeply. It’s far preferable to being hit over the head with big emotional songs that spell everything out lyrically and musically. We Are Catchers lets you choose your level of engagement: listen to the pretty tunes or dig in and feel something. Either way, listening to the album is a treat and those who like their pop soft as clouds should find plenty to love.

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Water Liars – Water Liars (2014) [FLAC]

Genre: Pop/Rock
Styles: Alternative, Country-Rock, Indie
Source: CD (log + cue)
Codec: FLAC
Bitrate: ~ 1,000 kbps
Bit Depth: 16
Sample Rate: 44.1 kHz

01 Cannibal
02 War Paint
03 I Want Blood
04 Swannanoa
05 Let It Breathe
06 Tolling Bells (For Molina)
07 Ray Charles Dream
08 Vespers
09 Pulp
10 Last Escape
11 Turn Me On

Mississippi alt-country-rockers Water Liars are an especially fast-moving beast. After the band formed out of the ether of what seemed like a one-off afternoon jam session in 2011, its members quickly shed their other commitments and set off on a particularly accelerated path of creative energy, touring, recording, and releasing music at a nonstop pace. This self-titled album is their third full-length in just three years of existence, written and put to tape amid ceaseless live performances and the group expanding from a duo of Justin Kinkel-Schuster and Andrew Bryant with the inclusion of G.R. Robinson. Their development continues to quickly unfold in terms of songwriting, musicianship, and production alike, as the songs here feel instantly clearer and more intentional than the sometimes blurry sentiments of previous albums. Still present in abundance are the dark undertones of Kinkel-Schuster’s lyrics, themes of displacement, desperation, and hard living running through most of the songs.

However, where the songs on their fantastically troubled sophomore album, Wyoming, seemed entrenched in the type of depression that only results in complete abandon and oblivion, there’s more a sense of struggle in songs like “Pulp” and the uphill push of “I Want Blood.” Whether fighting against alienation, pushing back against spiritual darkness, trying to salvage a tattered relationship, or simply trying to make ends meet in a sinking economy, the songs here have a sense of going into battle much more than they do giving in to the demons. Sonically, there’s more glittering piano all over the record, expanding the guitar-drum template of earlier work and opening up the songs up to deeper dynamics. The heart-wrenching lonely walk of “Tolling Bells (For Molina)” tackles the pain of loss in the form of a tribute to departed Songs: Ohia/Magnolia Electric Co. songwriter Jason Molina, and “Ray Charles Dream” momentarily drops the alt-country trappings for something that nearly resembles power pop. Water Liars continues the band’s speedy progression into an increasingly sculpted and richly produced entity, and hints at the possibility that they have a lot more to say and won’t be slowing down anytime in the near future.

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Uh Huh Her – Future Souls (2014) [FLAC]

Genre: Pop/Rock
Styles: Indie, Synthpop
Source: CD (log + cue)
Codec: FLAC
Bitrate: ~ 1,000 kbps
Bit Depth: 16
Sample Rate: 44.1 kHz

01 Innocence
02 It’s Chemical
03 Time
04 Shine
05 Bullet
06 Strange Design
07 Nuthin Without Your Love
08 Fine Lines White Lies
09 Hustle Me
10 Interconnect

Perhaps best known in the role of Alice Pieszecki on Showtime’s The L Word, Leisha Hailey was also the woman behind Uh Huh Her, an electro-pop duo that made some waves on the indie circuit following the release of their debut album in 2007. Hailey, formerly of the jangly, Indigo Girls-esque duo the Murmurs, decided to make a return to the music biz following a five year break; she was subsequently introduced to Mellowdrone bassist and keyboardist Camila Grey in early 2007 and the pair hit it off. Billing themselves as Uh Huh Her (a reference to PJ Harvey’s chart-topping 2004 album), the duo holed up in Grey’s home in Los Angeles and recorded their debut long-player, I See Red. An ethereal affair that nodded to the nocturnal, dance-oriented synth of acts like Metric and Ladytron while simultaneously building on Hailey’s alt-rock roots, the disc was released on Plaid later that year. In August 2008, Uh Huh Her returned with Common Reaction on RCA.     

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Tokyo Police Club – Forcefield (2014) [FLAC]

Genre: Pop/Rock
Styles: Alternative, Indie
Source: WEB
Codec: FLAC
Bitrate: ~ 900 kbps
Bit Depth: 16
Sample Rate: 44.1 kHz

01 Argentina
02 Hot Tonight
03 Miserable
04 Gonna Be Ready
05 Beaches
06 Toy Guns
07 Tunnel Vision
08 Through the Wire
09 Feel the Effect

Tokyo Police Club took their time delivering the follow-up to their heart-on-sleeve second album, Champ. Though they began writing songs in 2011, Forcefield didn’t arrive for another three years; during that time, they also recorded Ten Days, Ten Covers, Ten Years, which found them reworking a decade’s worth of songs from artists ranging from Moby to Miley Cyrus in quick succession. That fondness for pop surfaces in these songs, which are among the band’s most crafted in a number of ways. The ambitious “Argentina (Parts I, II, III)” begins Forcefield with a tale of wanting, having, and leaving as it moves from punchy to tender to purposeful over the course of nearly nine minutes. By contrast, “Hot Tonight” echoes the riff from Cyrus’ “Party in the USA” and delivers Tokyo Police Club’s version of a summertime hit. Both tracks are big changes from Champ’s vulnerability and emphasize Forcefield’s slick production, which takes some of the sting out of the album’s darker tracks; “Gonna Be Ready”‘s tumbling riffs are closer to Taylor Swift’s insanely hooky “I Knew You Were Trouble” than the rawness of the band’s previous album. Tokyo Police Club worked with co-producer Doug Boehm, who has also collaborated with the French Kicks, and Forcefield often recalls how that band managed to sound sophisticated and unpretentious at the same time. This is particularly true of “Through the Wire” and “Feel the Effect,” which glides along so prettily that it’s easy to miss — and forgive — the fact that David Monks admits to his bad behavior but never apologizes for it.     

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