Second Best To None

Biohazard - Early albums collection (1990-1996 +) [5 CD to 1 combined repost]
5x EAC Rip | FLAC+CUE+LOG or MP3 CBR 320 | Complete Scanwork | 1,67 GB or 563 MB
Biohazard / Urban Discipline / State Of The World Address / Mata Leão / Tales From The B-Side

When a Heavy Music fan sees the Biohazard logo at a doctor's office or medical laboratory, the first thing that comes to mind is Brooklyn based Hardcore legends BIOHAZARD. Established in 1987 in Brooklyn, when Hardcore music was at a pivotal point. The Brooklyn based band took Hardcore music to another level, and added a new flavor to the ever changing genre. Not only did every song have attitude and power, but it also had that urban feel that makes New York Hardcore such a unique musical style. Biohazard was one of the first bands to perfectly blend Hardcore Punk, Heavy Metal and Hip Hop.

Formed in 1967 by former Motions guitarist Robbie van Leeuwen, the Dutch quartet Shocking Blue originally had a lineup of VanLeeuwen on guitar, lead vocalist Fred DeWilde, bass player Klaasje Van der Wal, and drummer Cornelius Van der Beek, and the initial configuration of the band had a minor homeland hit with “Lucy Brown Is Back in Town” a year later in 1968…

One of the most enigmatic figures in rock history, Scott Walker was known as Scotty Engel when he cut obscure flop records in the late '50s and early '60s in the teen idol vein. He then hooked up with John Maus and Gary Leeds to form the Walker Brothers. They weren't named Walker, they weren't brothers, and they weren't English, but they nevertheless became a part of the British Invasion after moving to the U.K. in 1965. They enjoyed a couple of years of massive success there (and a couple of hits in the U.S.) in a Righteous Brothers vein. As their full-throated lead singer and principal songwriter, Walker was the dominant artistic force in the group, who split in 1967. While remaining virtually unknown in his homeland, Walker launched a hugely successful solo career in Britain with a unique blend of orchestrated, almost MOR arrangements with idiosyncratic and morose lyrics. At the height of psychedelia, Walker openly looked to crooners like Sinatra, Jack Jones, and Tony Bennett for inspiration, and to Jacques Brel for much of his material. None of those balladeers, however, would have sung about the oddball subjects – prostitutes, transvestites, suicidal brooders, plagues, and Joseph Stalin – that populated Walker's songs.