Audio conversion perfected, effortlessly convert to mp3, FLAC, Apple lossless and more. dBpoweramp Music Converter™ has become the standard tool for audio conversions, over 30 million users world trust their converting to dBpoweramp.
mp3 Converter Convert mp3, m4a (iTunes)
& iPod), WMA, WAV, AIFF, AAC, FLAC, Apple Lossless (ALAC) to name a few.
High Speed Conversions Look for a mp3 converter which encodes using all CPU cores simultaneously, get the job done in double quick time.
Free converters come with a little extra (a spying toolbar, Trojan, malware, or virus), dBpoweramp has never bundled in 15 years, those wanting an mp3 converter, get just that and only that. No Trojan, no malware, no viruses.
Batch Convert Large numbers of files with 1 click, filter on mp3 or other file type.
Process the audio with Volume Normalize, or Sample / Bit Rate Conversion. dBpoweramp is a fully featured mp3 Converter.
Simplicity dBpoweramp integrates into Windows Explorer, an mp3 converter that is as simple as right clicking on the source file; Convert To. Popup info tips, Edit ID-Tags are all provided.
It is safe to say, no other audio program converts more multi-format audio files than dBpoweramp, we have spent 15 years perfecting format-compatibility and conversion stability. If converting FLAC to mp3, wma to mp3, or wav to mp3, dBpoweramp is the right choice.
New visual style, high DPI aware, 200% and 300% compatible
Configure dBpoweramp repurposed as dBpoweramp Control Centre, only elevates on changes to shell settings Configuration, if proxy server is enabled but no proxy server is set, it is disabled.
DSP Effects included as standard in all installs, DSP version number is now dBpoweramps version number
dBpoweramp Shell Tag Editor - looks up art with PerfectTUNES
Naming Section total rewrite Naming Added new values [track_unpad] [track_total_unpad] forunpadded track number and count
Naming [IFEQUALS] check will match from multiple stored values, such as one match from 3 genres
Naming added [REPLACE] function
Naming added [WORD] function to limit word count
dBpowerAMP Music Converter:
Can add or remove CPU Cores from converting whilst converting Nearly instant when converting 1000's of files if the file naming does not require ID Tags reading for filenames
Works with DSP effect 'conditional encoding' to allow programmable actions on files depending on their settings (such as copy 1:1 mp3, not encode)
Option to precache read the source file, more for non-ssd systems, improves read performance by 100%
New option (in configuration) 'Filename restricted characters'
When finalizing DSP Effects (such as 100K RG album gains being written), the display is now responsive
Lars Ulrich in Swedish Radio 6 hours ago MUSICIAN, SONGWRITER, DRUMMER - “Summer" is a Swedish radio show where a person is given free hands to speak about whatever they want and play their own choice of music. - I am more comfortable speaking in English after my 35 years in the USA, but I can still speak Danish and some Swedish: Systembolaget, Sportspegeln and Kungliga Tennishallen, for example! I am going to talk about life, work, and the music that got me on the right track in life. About Lars Ulrich: Lars Ulrich has for the last 35 years been the drummer in the heavy metal band Metallica, which he also founded together with James Hetfield in 1981.
The band has sold over 110 million records and been awarded nine Grammys and numerous other awards. In 2013, Metallica played concerts on every single continent in the world, including Antarctica. This spring, Metallica released a special live recording from 2003, recorded in the Bataclan concert hall in honor of the victims of the 2015 Paris terrorist attacks. All proceeds from the live album goes to charity. He is son to the Danish tennis player and jazz musician Torben Ulrich and saxophone player Dexter Gordon was Ulrich’s godfather. Lars Ulrich is also an avid collector of modern art. 1. Lars Ulrich or 2. Lars Ulrich or 3. Lars Ulrich Enjoy! //ChrisGoesRock
Size: 64.6 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Invluded Source: Japan 24-Bit Remaster Soul/funk LP from 1976 with the incredible crossover soul tune "You need love like I do".
The cliché says that imitation is the sincerest form of flattery, but few muster the sincerity of Bobby Williams -- a James Brown acolyte with a style and energy comparable to the Godfather himself, Williams transcends his faux-funk origins with grooves that are undeniably genuine. His second LP, 1976's Anybody Can Be a Nobody, moves past the low-budget grit of his debut Funky Superfly with a sound evoking the silky-smooth sensibilities of Miami funk.
Williams is more of a singer than a shouter this time around, and while some listeners may miss the gutbucket grooves of his previous disc, the record's maturation and sophistication are convincing. One of the all time indie funk classics of the 1970's, obscure vocalist Bobby Williams' gave James Brown a run for the money when he released "Funky Super Fly" in 1974.
The style of the album recalls James Brown at his funkiest, but with a sound that's even grittier featuring a tight horn section and some heavy funk jamming that really gets in the groove and stays there. On his second LP, 1976's "Anybody Can Be a Nobody," Williams moves past the grit of "Funky Super Fly" to reveal a more sophisticated style evocative of Curtis Mayfield mixed with the smooth stylings of Miami funk to produce a more mature sound, showing that he can be more of a singer than a shouter. Copies of the original LP fetches big bucks on the rare groove collector's market and fans of the album will be delighted to see it make its long overdue debut in the digital realm. All selections newly remastered. 01. Anybody Can Be A Nobody 05:00 02. You Need Love Like I Do 05:09 03. Portrait Of My Stepfather 04:40 04. These Arms Of Mine 04:00 05. Think I'd Better Rest 02:45 06. I Will Sing For You 04:15 07. Drop It On Me 03:32 08. Everybody Needs Love Sometime 05:09
Size: 143 MB Bitrate: 320 mp3 Found in DC++ World Artwork Included The Chinese Democracy Tour was a worldwide concert tour by hard rock band Guns N' Roses to promote the group's long-delayed album Chinese Democracy. The tour began in 2001. That year the band played three U.S. dates and a Brazilian one, while their 2002 tour included Asian, North American and a few European dates. The band did not tour again until May 2006, when it toured North America again and performed a major tour of Europe. The band's tour continued in 2007 with shows in Australia, New Zealand, Japan and Mexico.
Their first show after the 2008 release of Chinese Democracy was in Taiwan on December 11, 2009. In the same month the group played South Korea for the first time, as well as two dates in Japan. Since 2010 the tour has continued with concerts in North America, South/Central America, Europe and Australia. As of late 2010, the entire tour had attracted a total audience of about 4,000,000 people. The ten-year tour came to a close on the final day of 2011, with a New Year's Eve show in Las Vegas. Rumors started in February that Guns N' Roses would perform Spain and Italy in June, and continued through the year with comments from Irving Azoff about a Summer Stadium Tour but nothing happened.
On November 10, 2009 after speculation about shows in Japan, the band announced on their MySpace four dates in Asia and thirteen in Canada. More dates were added later for South America and Europe. On August 15, 2010, a cancellation notice for the remaining shows of the tour was posted on Rose's Twitter. The statement would later be refuted on the official Guns N' Roses Twitter and Facebook, with claims that the tweets were being looked into. Several hours later, the band confirmed that Axl's account had been hacked, and the band would in fact continue the tour.
Following the events that took place at the Reading Festival where the organizers pulled the plug on their set because they passed the curfew time, Axl Rose released the following message via his Twitter account: “Our start times at the Reading and Leeds festivals factually had nothing to do with us as the previous bands (who were great by the way) came off stage when they did and we went on within' our contracted and documented changeover time period. Whatever other nonsense anyone's choosing to write would appear intentionally false. Having the fans or our show penalized for how the event was run or simply the natural flow of events those evenings and for such minimal amount of overtime along with distortions and falsehoods by media, the promoter and or event organizers regarding the events seems a bit draconian and more than unfair to the fans. A simple question: If you are aware of our changeover time, the average length of our show and the general nature of how these types of festivals run all of which are no big secrets...why book us?
Is it simply because the lineup on our nights at both festivals sold well? So it's a cash grab with no respect for the fans or the band and somehow an unwanted inconvenience for the cities and law enforcement? If we're not wanted and just being used to line someone else's pockets or for fictitious tabloid fodder at the fans and our expense we're fine with going elsewhere. God forbid we would force ourselves on anyone. It's not that kinda party.
I didn't organize, arrange, authorize, have knowledge of or was even consulted about our being booked for these shows till after the fact nor did I choose to work with anyone I'm aware of other than our manager who was involved in arranging these dates. Yet it would appear we're amazingly often legally obligated to honor such arrangements whether against our will or better judgment. That's simply and unfortunately how this business often works with the artist and imo seems is legally supported to benefit managers, agents, promoters and ticket vendors. With how the fans and we were treated in the past I had what I feel were legitimate and now proven justified apprehensions. Yet we gave 100% and from where we stood it seemed as if the both the fans (who rocked!) and our camp were having fun and making the most of things. Why (and what would appear intentionally) risk having it go bad for everyone? Imo that's where true recklessness and negligence at both the fans and our expense would seem to be. Anyway...thanks again to all the fans who made our nights!! Peace!! Axl- 01. Chinese Democracy 03.34 02. Welcome To The Jungle 05.20 03. It's So Easy 03.15 04. Mr. Brownstone 04.32 05. Rocket Queen 07.14 06. Better 05.08 07. Motivation 03.15] 08. You Could Be Mine 06.45 09. Sweet Child O' Mine 05.38 10. Nightrain 05.40 11. Used To Love Her 03.08 12. Paradise City 07.47
Size: 156 MB Bitrate: 256 mp3 Ripped by: ChrisGoesRock Artwork Included Source: Japan SHM-CD Remaster Strung Up is a 1975 double live/compilation album by Sweet released by RCA Records in 1975. The first disc contains seven songs recorded live during a concert at the Rainbow Theatre, London on 21 December 1973. The second one contains ten selections of their songs recorded since 1973, including three songs that have not been released previously on any album, ("Burn On The Flame" and "Miss Demeanour") but only one ("I Wanna Be Committed") is brand new. The album also includes a unique mix of "Action" that comes to an abrupt end, and does not include the final decaying echo of the shorter single and longer Give Us a Wink album versions.
Strung Up was not originally released in the United States. In Japan it was released by Capitol Records under the title Anthology. In Italy it was released as 2 separate albums - the studio set entitled Strung Up (released 1975) and the live set entitled Live In England (1976). By late 1975, the Sweet were no more the power in pop land that they had once seemed to be. It was nine months since they broke away from songwriters Nicky Chinn and Mike Chapman, with whom they'd enjoyed almost unfettered success -- since that time, only "Fox on the Run" had suggested that the Sweet's own songwriting prowess was even vaguely capable of competing with the masters, and two further singles ("Action" and "The Lies in Your Eyes") had emerged as the band's worst performing efforts since their very earliest days. Time, then, to dig into the vault and see what could be done to salvage the situation -- time, then, for Strung Up, a double album comprised of three-year-old live material plus a mishmash of old and new studio work.
The concert recordings are the revelation. For all their reputation as mere purveyors of whatever their puppet masters offered them, the Sweet had developed into one of the most exciting live bands on the mid-'70s U.K. circuit, as sonically dynamic as they were visually alluring. Not for nothing had the band's sexually charged stage show been banned from one of the country's leading ballroom chains; not for nothing did Ritchie Blackmore join them on-stage in California one night. No matter how far their crown slipped in chart terms, in concert the Sweet would never let you down and, though the Strung Up tapes dated back to 1973 and a phenomenal show at the London Rainbow, they had not dated in the slightest. The studio cuts are less alluring, concentrating in the main on the self-composed B-sides that the band had long insisted upon, a few recent singles ("The Six Teens," "Fox on the Run," and "Action"), and a couple of songs laid down during the sessions for the band's last studio LP, Desolation Boulevard. In modern terms, it's the kind of compilation that would form the basis for a tremendous box set; at the time, however, it spoke more of the uncertainty with which the band's record label, if not the bandmembers themselves, viewed the future. And, tellingly, it sank like a stone. Live album: 01. "Hellraiser" Nicky Chinn, Mike Chapman 03:51 02. "Burning"/"Someone Else Will" 05:41 03. "Rock 'n' Roll Disgrace" 04:08 04. "Need a Lot of Lovin'" 02:52 05. "Done Me Wrong Alright" 08:06 06. "You're Not Wrong for Lovin' Me" 03:10 07. "The Man with the Golden Arm" Elmer Bernstein, Sylvia Fine 07:50 Compilation album: 08. "Action" 03:43 09. "Fox on the Run" 03:22 10. "Set Me Free" Scott 03:56 11. "Miss Demeanour" 03:26 12. "Ballroom Blitz" Chinn, Chapman 04:00 13. "Burn on the Flame" 03:34 14. "Solid Gold Brass" 05:27 15. "The Six Teens" Chinn, Chapman 03:58 16. "I Wanna Be Committed" Chinn, Chapman 04:01 17. "Blockbuster" Chinn, Chapman 03:12 Bonus Track: 18. "A.C.D.C."
Size: 248 MB Bitrate: 320 mp3 Found in OuterSpace Artwork Included By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance.
But what gives the album true power is the subtly textured music, which evolves from ponderous, neo-psychedelic art rock to jazz fusion and blues-rock before turning back to psychedelia. It's dense with detail, but leisurely paced, creating its own dark, haunting world. Pink Floyd may have better albums than Dark Side of the Moon, but no other record defines them quite as well as this one. Some bands turn into shorthand for a certain sound or style, and Pink Floyd belongs among that elite group. The very name connotes something specific: an elastic, echoing, mind-bending sound that evokes the chasms of space. Pink Floyd grounded that limitless sound with exacting explorations of mundane matters of ego, mind, memory, and heart, touching upon madness, alienation, narcissism, and society on their concept albums of the '70s. Of these concept albums, Dark Side of the Moon resonated strongest, earning new audiences year after year, decade after decade, and its longevity makes sense.
That 1973 concept album distilled the wild psychedelia of their early years -- that brief, heady period when they were fronted by Syd Barrett -- into a slow, sculpted, widescreen epic masterminded by Roger Waters, the bassist who was the band's de facto leader in the '70s. Waters fueled the band's golden years, conceiving such epics as Wish You Were Here and The Wall, but the band survived his departure in the '80s, with guitarist David Gilmour stepping to the forefront on A Momentary Lapse of Reason and The Division Bell. Throughout the years, drummer Nick Mason and keyboardist Rick Wright appeared in some capacity, and the band's sonic signature was always evident: a wide, expansive sound that was instantly recognizable as their own, yet was adopted by all manner of bands, from guitar-worshipping metal-heads to freaky, hippie, ambient electronic duos. Unlike almost any of their peers, Pink Floyd played to both sides of the aisle: they were rooted in the blues but their heart belonged to the future, a dichotomy that made them a quintessentially modern 20th century band.
The Piper at the Gates of Dawn That blues influence, quickly sublimated and only surfacing on the occasional Gilmour guitar solo, was the foundation for the band's very name, as the group decided to splice the names of two old bluesmen -- Pink Anderson and Floyd Council -- as a tribute to the American music they loved so. These members of the early Floyd -- guitarist/singer Syd Barrett, bassist Roger Waters, keyboardist Rick Wright, and drummer Nick Mason -- were all architecture students at London Polytechnic, with the exception of Barrett, who was an art student and a friend of Waters since childhood. This version of the band started gigging regularly in 1965, with Barrett becoming the group's lead singer quite quickly. During this time, the group relied on blues and R&B covers, not unlike many of their British peers, but they wound up extending the time of their sets through extended instrumental jams, planting the seeds of space rock that would come to fruition not much later. During 1966, the group's increasingly adventurous sets became something of a sensation in the London underground, leading to a contract with EMI early in 1967. Their first single, "Arnold Layne," backed with "Candy and a Currant Bun," appeared in March of 1967, and it was banned from some radio stations due to its gender-bending lyrics, but the single wound up in the U.K.
Top 20 and the group's second single, "See Emily Play" -- a menacing, mincing stomp with a profound, lasting influence -- went into the Top 10, paving the way for the release of The Piper at the Gates of Dawn. On their full-length LP, Pink Floyd veered toward the experimental and avant-garde, particularly on the elastic, largely instrumental vamps "Astronomy Domine" and "Interstellar Overdrive," resulting in an album that had a significant influence not only upon its release but well beyond. It was also a hit in the U.K., reaching number six on the British charts. This was a sudden rush to stardom and complications arose nearly as quickly. Not long after the release of Piper, Barrett began showing clear signs of mental illness, to the point he would often freeze on-stage, not playing a note. At this point, David Gilmour -- a friend and associate of the band -- was brought in as a second guitarist, with the intention that he'd buttress the group's live performances while Barrett continued to write and record new material. This soon proved to be an impossible situation, and Barrett left the group, at which point the band's management also jumped ship, leaving the band without any kind of leader.
A Saucerful of Secrets In the wake of Barrett's departure, the remaining members of Pink Floyd developed a different musical identity, one that was expansive and eerie, characterized by the band's spacy, somber explorations and, eventually, Waters' cutting, sardonic lyrics. This transition took some time. In 1968, they released A Saucerful of Secrets, which contained Barrett's final composition for the group "Jugband Blues" and found the group moving forward, particularly on the instrumental sections. A Saucerful of Secrets also saw the group begin a long, fruitful collaboration with Storm Thorgerson's design team Hipgnosis; they'd wind up designing many iconic album covers for the band, including Dark Side of the Moon and Wish You Were Here. Hipgnosis emphasized album art, and albums are where Pink Floyd concentrated from this point forward. After the soundtrack to More, the group moved to EMI's progressive rock imprint Harvest and became the label's flagship artist beginning with the 1969 double-LP Ummagumma. Divided between live performances and experimental compositions from each member, the record wound up in the Top 10 in Britain and sowed the seeds of a cult following in the United States. Atom Heart MotherPink Floyd's next album, Atom Heart Mother, featured extensive contributions from composer Ron Geesin and wound up as the band's first number one album in the U.K.. The band embarked on an extensive supporting tour for the album and when they returned they delved even further into studio experimentation, learning the contours of the studio. Their next studio album, 1971's Meddle, bore the fruit from this labor, as did 1972's Obscured by Clouds, which was effectively a soundtrack to Barbet Schroeder's film La Vallee.
All the experiments of the early '70s were consolidated on their 1973 album Dark Side of the Moon, an album for which there simply was no precedent in their catalog. Deepening their music while sharpening their songwriting, Floyd created a complex, luxurious album with infinite space and depth. Partially helped by the single "Money," it was an immediate success, reaching number one on the U.S. Billboard charts and peaking at number two in the U.K., but what was striking was its longevity. Dark Side of the Moon found space on the Billboard charts and then it just stayed there, week after week for years -- a total of 741 weeks in all (once it finally dropped off the charts, Billboard began the Catalog charts, where Dark Side was a fixture as well). Dark Side of the Moon was a staple on classic rock radio but it also was a rite of passage, an album passed down to teenagers when they were turning to serious music, and it was an album that stayed with listeners as they aged. Animals Now established superstars, Pink Floyd dug deep on Wish You Were Here, their 1975 sequel to Dark Side of the Moon which functioned as an album-long tribute to Syd Barrett. Compared to Dark Side, Wish You Were Here wasn't quite a blockbuster but it was certainly a hit, debuting at number one in the U.K. and reaching that peak in the U.S., as well.
Floyd continued to tour steadily, often working out new material on the road. This is particularly true of 1977's Animals, which had its roots in several songs aired during the 1975 tour. During the Animals tour, Waters had a difficult experience with a Montreal crowd where he spit on a heckler, and he used this incident as the genesis for 1979's rock opera The Wall. Co-produced by Bob Ezrin, The Wall may be Floyd's most ambitious album, telling a semi-autobiographical story about a damaged rock star, and it's one of the band's most successful records, topping the charts throughout the '80s and turning into a pop music perennial along the lines of Dark Side. Part of its success in 1980 was due to "Another Brick in the Wall, Pt. 2," where an instrumental motif from the album was given a disco beat and an anti-authoritarian spin, leading to a genuine number one hit single from a band. Certainly, the single had more to do with the album's success than the live production of the album, as Pink Floyd only did a handful of dates in major cities. Nevertheless these shows, consisting of a wall being built across the stage during the first act and the band performing behind it during the second, were legendary (Waters would revive and update the production years later to great success).
The Final CutPink Floyd did attempt to film The Wall for a documentary film, but the footage was botched, so they decided to pursue a feature film directed by Alan Parker and featuring Boomtown Rat Bob Geldof in the lead role. The Wall arrived in theaters in 1982 and turned into a midnight movie staple. A year later, The Final Cut -- a further autobiographical work from Waters, its title a sly dig to his battles with Parker on the film -- arrived and it didn't come close to matching the chart success of any of its predecessors. Behind the scenes, things were tense. Rick Wright had been fired during the making of The Wall -- he was hired as a contract player during the recording and tour -- and Waters split after the release of The Final Cut, assuming that it was the end of the band. Waters released his debut solo album The Pros and Cons of Hitchhiking -- a piece that was pitched to Floyd in 1978, but the band chose The Wall instead -- in 1984 and not long afterward, Gilmour and Mason indicated they intended to carry on as Pink Floyd, so the bassist sued the duo for the rights to the Pink Floyd name.
Waters lost and Pink Floyd released A Momentary Lapse of Reason in 1987, just months after Waters released his own Radio KAOS. Bad blood was evident -- T-shirts on Waters' tour bore the question, "Which One's Pink?," an old lyric that now had greater resonance -- but Pink Floyd emerged victorious, as A Momentary Lapse of Reason turned into an international hit, and along with it racked up some hit singles, including "Learning to Fly," which was supported by the band's first music video. Most importantly, the band racked up significant box office returns on tour, playing to sold-out stadiums across the globe. This tour was documented on the Delicate Sound of Thunder live album. Pulse The success of A Momentary Lapse of Reason allowed Pink Floyd to dictate their own schedule and they took their time to return with a new album, eventually emerging in 1994 with The Division Bell. Greeted by warmer reviews than its predecessor, The Division Bell was another international success, and the accompanying tour -- which featured a performance of the entirety of The Dark Side of the Moon -- was a smash success. As before, the tour was documented with a live album -- this one was called Pulse, packaged in eye-catching artwork with a pulsing LED light -- and it performed respectably. After that, Pink Floyd went into effective retirement. The group was inducted into the Rock & Roll Hall of Fame in 1996, while Gilmour released some solo albums, including the acclaimed On an Island, but most of their efforts were devoted to managing their catalog. Long a beloved band of audiophiles, the group saw their catalog boxed and remastered several times, including 5.1 mixes on SACD in the early 2000s.
As the new millennium progressed, a détente arose between the Floyd and Waters camps, culminating in an unexpected reunion of the original lineup of Waters, Gilmour, Mason, and Wright at the 2005 charity concert Live 8. The reunion was a rousing success, sparking rumors of a more permanent arrangement, but Gilmour declined. Instead, Waters ramped up his touring -- he performed Dark Side in its entirety, then turned his attention to The Wall, touring that for years. Gilmour and Mason wound up appearing at a 2011 show in London, signaling that there was no ill will between the members. Barrett passed in 2006 from cancer and in 2008, Wright also died from the disease. In 2011, Pink Floyd launched an ambitious reissue project called Why Pink Floyd…? spearheaded by multi-disc, rarity-laden box set reissues of Dark Side of the Moon, Wish You Were Here, and The Wall; among the newly released exclusives was the original Alan Parsons mix of Dark Side, heavily bootlegged live tracks like "Raving and Drooling," and demos. Three years later, in 2014, The Division Bell was reissued to celebrate its 20th anniversary, but the bigger news was the announcement of a new album called The Endless River. Constructed using outtakes from the recording sessions for 1994's The Division Bell, the primarily instrumental album was co-produced by Gilmour, Roxy Music's Phil Manzanera, Youth and Andy Jackson, and featured heavy contributions from the late keyboardist Rick Wright, along with new work from Gilmour and Mason. The Endless River saw release in November of 2014. Pink Floyd - Live at BBC November 18 1974 (The Dark Side of The Moon Concert) 01. "Speak to Me" MasonInstrumental 02:33 02. "Breathe" Waters, Gilmour, WrightGilmour 03:01 03. "On the Run" Gilmour, Wateers Instrumental 04:56 04. "Time" (containing "Breathe (Reprise)") Mason, Waters, Wright, Gilmour Gilmour, Wright 06:30 05. "The Great Gig in the Sky" Wright, Clare Torry[nb 11] Clare Torry 06:44 06. "Money" Waters Gilmour 07:58 07. "Us and Them" Waters, Wright Gilmour, Wright 07:53 08. "Any Colour You Like" Gilmour, Mason, Wright Instrumental 03:42 09. "Brain Damage" Waters Waters 03:42 10. "Eclipse" Waters Waters 05:12 11. "Echoes" 23:29 Part 1: Pink Floyd BBC Part 2: Pink Floyd BBC or Part 1: Pink Floyd BBC Part 2: Pink Floyd BBC or Part 1: Pink Floyd BBC Part 2: Pink Floyd BBC
Size: 394 MB Bitrate: 320 mp3 Found at Various Places Some Artwork Included Guns N' Roses is an American hard rock band from Los Angeles formed in 1985. The classic lineup, as signed to Geffen Records in 1986, consisted of vocalist Axl Rose, lead guitarist Slash, rhythm guitarist Izzy Stradlin, bassist Duff McKagan, and drummer Steven Adler. The current lineup consists of Rose, Slash, McKagan, keyboardists Dizzy Reed and Melissa Reese, guitarist Richard Fortus and drummer Frank Ferrer. The band has released six studio albums, accumulating sales of more than 100 million records worldwide, including shipments of 45 million in the United States, making Guns N' Roses one of the world's best-selling bands of all time.
Guns N' Roses' debut album, Appetite for Destruction (1987), reached number one on the Billboard 200 a year after its release, on the strength of "Sweet Child o' Mine", the group's only single to reach number one on the Billboard Hot 100. The album has sold approximately 30 million copies worldwide, including 18 million units in the United States, making it the best-selling debut album of all time in the US, as well as the eleventh best-selling album in the United States. The success of the debut was followed by the eight-song album G N' R Lies (1988) which reached number two on the Billboard 200. The twin albums Use Your Illusion I and Use Your Illusion II (1991) debuted at number two and number one on the Billboard 200 and have sold a combined 35 million copies worldwide, including 14 million units in the United States. The cover album "The Spaghetti Incident?" (1993) was the band's last studio album to feature Slash and McKagan.
After more than a decade of work and several lineup changes, Guns N' Roses released the long-awaited album Chinese Democracy (2008) which, at an estimated $14 million in production costs, is the most expensive rock album to ever be produced in music history. It debuted at number three on the Billboard 200 but undersold industry expectations, despite mostly positive critical reception. Classic era members Slash and McKagan both rejoined the band in 2016. Guns N' Roses has been credited with reviving the mainstream popularity of rock music, at a time when popular music was dominated by dance music and glam metal. Its late 1980s and early 1990s years have been described as the period in which the group brought forth a "hedonistic rebelliousness" reminiscent of the early Rolling Stones, a reputation that had earned the group the nickname "the most dangerous band in the world". The band's classic lineup, along with later members Reed and drummer Matt Sorum, was inducted into the Rock and Roll Hall of Fame in 2012, in its first year of eligibility.
Hollywood Rose: Hollywood Rose was an American hard rock group formed in 1983 and is best known as the precursor group for what would eventually become Guns N' Roses. The group was founded by Axl Rose, Izzy Stradlin and Chris Weber while they were aided during live shows by Rick Mars, Johnny Kreis, Steve Darrow and Andre Troxx. Rose, Stradlin and Weber, along with Kreis, recorded a five-song demo in 1984. However, after a number of lineup changes, which includes Weber and Kreis being replaced by Slash and Steven Adler (both then of Road Crew) respectively as well the departure of Stradlin, the group disbanded the same year. Hollywood Rose reunited briefly in 1985 with Rose, Stradlin, Weber and Darrow (Sonic Medusa, Rat Salad, Super Heroines, Decadents) returning and adding former L.A. Guns drummer Rob Gardner to the group. L.A. Guns founder Tracii Guns eventually replaced Weber. They changed their name to Guns N' Roses (combining the names of L.A. Guns and Hollywood Rose) with L.A. Guns bassist Ole Beich replacing Darrow. Eventually Guns, Gardner and Beich were replaced by former Hollywood Rose members Slash, Adler and their former Road Crew band mate Duff McKagan with this lineup becoming known as the "classic lineup" of Guns N' Roses. The five-song demo, recorded in 1984, was released in 2004 with the title The Roots of Guns N' Roses. A number of Hollywood Rose songs were included on the Guns N' Roses albums Live ?!*@ Like a Suicide (1986), Appetite for Destruction (1987), Live from the Jungle (1987), and G N' R Lies (1988).
Formation (1983): Prior to forming, guitarist Chris Weber was introduced to Lafayette native Izzy Stradlin, in the parking lot of the Rainbow Bar and Grill, by friend Tracii Guns, who was leading the first incarnation of L.A. Guns at this time, after Weber expressed an interest in forming a band. Soon afterwards, Weber and Stradlin started writing material and, at the suggestion of Stradlin, recruited his childhood friend, former Rapidfire and L.A. Guns singer Axl Rose, then known as Bill Rose. At the suggestion of Rose, the group called themselves AXL, with Rose adopting Axl as his first name. They played their first gig at The Orphanage in North Hollywood and played a few more shows before changing their name to Rose. The group soon changed their name, for the final time, to Hollywood Rose when Weber discovered that the name Rose was already being used by a New York band. During the group's live shows, they were aided by bassists Rick Mars, Andre Troxx and Steve Darrow along with drummer Johnny Kreis who remained the only consistent member of the group outside of Rose, Stradlin and Weber. After borrowing money from Weber's father, the group recorded a five-song demo in Hollywood in 1984. After playing a number of more shows, they appeared at the Music Machine in '84. Weber accidentally hit Rose with the headstock of his guitar. Rose stormed off and eventually fired Weber from the band with former Road Crew guitarist Slash joining the group. Unhappy at the firing of Weber, Stradlin left the group when Slash first came to rehearse, going on to join London. Slash's Road Crew band mate Steven Adler also replaced drummer Kreis during this time. The group continued to play more shows before eventually disbanding, playing their final show at The Troubadour in 1984. Rose went on to front L.A. Guns while Slash auditioned for Poison at the suggestion of former guitarist Matt Smith.
The group reunited, briefly, with Rose, Stradlin, Weber and Darrow returning along while L.A. Guns drummer Rob Gardner also joined the group. Weber, who left to move to New York City, was soon replaced by Tracii Guns. The group changed their name to Guns N' Roses (combining the names of L.A. Guns and Hollywood Rose) with the lineup consisting of Axl Rose, Tracii Guns, Izzy Stradlin, Ole Beich (also formerly of L.A. Guns) and Rob Gardner. Beich was eventually replaced by Duff McKagan (formerly of Fastbacks, The Fartz, 10 Minute Warning and Road Crew) while Guns left the group (after a falling out with Rose), being replaced by Slash. McKagan went on to book shows taking place between Sacramento and Seattle, which was dubbed "The Hell Tour". During this time, Gardner quit the group and was replaced by Steven Adler with this lineup becoming known as the "classic lineup" of Guns N' Roses. A number of Hollywood Rose songs would be included on a number of releases by Guns N' Roses such as "Anything Goes" (from Appetite for Destruction), "Reckless Life" and "Move to the City" (both from Live ?!*@ Like a Suicide and G N' R Lies) as well as "Shadow of Your Love" (from Live from the Jungle). In 1998, former guitarist Weber sued Axl Rose, claiming that he co-wrote two songs he was not credited for, "Shadow of Your Love" and "Back Off Bitch" (from Use Your Illusion I).
The US release of their 1st album
Appetite for Destruction: Guns N' Roses' debut album Appetite for Destruction was released July 21, 1987. The album underwent an artwork change after the original cover design by Robert Williams, which depicted a surrealist scene in which a dagger-toothed monster vengefully attacks a robot rapist, was deemed too controversial. The band stated the original artwork was "a symbolic social statement, with the robot representing the industrial system that's raping and polluting our environment." The revised cover was done by Andy Engell, based on a design by tattoo artist Bill White Jr., who had designed the artwork for a tattoo Rose had acquired the previous year. The artwork featured each of the five band members' skulls layered on a cross.
In the U.S., "Welcome to the Jungle" was issued as the album's first single, with an accompanying music video. Initially, the album and single lingered for almost a year without performing well, but when Geffen founder David Geffen was asked to lend support to the band, he obliged, personally convincing MTV executives to play "Welcome to the Jungle" during the network's after-hours rotation. Even though the video was initially only played once at 4 a.m. on a Sunday, heavy metal and hard rock fans took notice and soon began requesting the video and song en masse. The song, written in Seattle, was about Los Angeles. The music video took place in New York. According to Rose, the inspiration for the lyrics came from an encounter he and a friend had with a homeless man while they were coming out of a bus into New York. Trying to put a scare into the young runaways, the man yelled at them, "You know where you are? You're in the jungle baby; you're gonna die!" The song was featured in the 1988 Dirty Harry film The Dead Pool, starring Clint Eastwood, and members of the band had a cameo appearance in the film. Disc 1: 01. Ain't Goin' Down 02. Get In The Ring 03. Don't Damn Me 04. Sentimental Movie (Duff on lead vocals) 05. Think About You 06. Welcome To The Jungle 07. Yesterdays 08. Mama Kin 09. Back Off Bitch 10. Heartbreak Hotel 11. Just Another Sunday 12. West Coast Junkie 13. Welcome To The Jungle (Take 2) 14. Instrumental Jam 15. You're Crazy 16. Crash Diet 17. Shadow Of Your Love Disc 2: 19. Reckless Life 20. My Way Your Way (Anything Goes) 21. Get In The Ring 22. Double Talkin' Jive 23. Don't Damn Me 24. Bad Apples 25. Dead Horse 26. Coma 27. Garden Of Eden 28. Sympathy For The Devil 29. Whole Lotta Rosie 30. Move To The City 31. Jumping Jack Flash 32. Move To The City 33. You're Crazy 34. Don't Damn Me #1 Disc 3: 35. Studio Medley (24 Minutes) Part 1: Link 1 Part II: Link 2 Part III: Link 3 or Part 1: Link 1 Part II: Link 2 Part III: Link 3 or Part 1: Link 1 Part II: Link 2 Part III: Link 3