That Sound 1993

Although Billy Joel never was a critic's favorite, the pianist emerged as one of the most popular singer/songwriters of the latter half of the '70s. Joel's music consistently demonstrates an affection for Beatlesque hooks and a flair for Tin Pan Alley and Broadway melodies…

Life Of Agony - Rivers Runs Red + Ugly + Soul Searching Sun + 1989-1999
4x EAC | FLAC+CUE+LOG or MP3 CBR 320 | Complete Scanwork | 1,74 GB or 561 MB
1993/1995/1997/1999 | NY Hardcore scene/Alternative Metal | Roadrunner Records - Original U.S. pressings

Brooklyn, NY's crossover legends Life of Agony formed in 1989. They perfected their angst-filled hardcore/heavy metal hybrid along the way, obtaining a devoted audience in the process. Their first studio album, River Runs Red, was similar to their stage show at the time – straight-up energy and aggression in a hardcore/thrash format, with shards of heavy metal cutting through at times, and the group toured extensively upon its release. Once the tour was completed, LOA went directly back into the studio to work on their next album, 1995's Ugly, which signaled a complete overhauling of the band's signature heavy-duty sound. The album resembled the sounds of the alternative stars of the day, especially Stone Temple Pilots, and it wasn't greeted favorably by the record-buying public. LOA were still able to retain their audience, and the resulting tour was a success, as they opened for the likes of Ozzy Osbourne, Korn, Type O Negative, and Anthrax…

Though not a particularly well-known purveyor of classic death metal, Morta Skuld are easily one of the most powerful bands on the scene, as evidenced by the band's 1993 masterpiece, "Dying Remains". This record draws upon the Obituary school of death metal…that is, focused largely on slow or mid-tempo riffs over speed and blast beats, as well as containing (be it accidental or intentional) a very dark and grim atmosphere, conjuring up images of graveyards and tombstones and other shit…

Lead Vocalist is a compilation album released by Rod Stewart on 22 February 1993. It was released by Warner Bros. Records in the UK (WX 503) and Germany (WEA 9362 45258-1/2), but was never released in the US…

If you were wondering when Mick’s fans would finally show up again to buy some of his solo work, wonder no more. He gave them a good reason to buy this album as he obviously learned much between 1988-92 about both himself, as well as his partnership with Keith. He was more comfortable with his own brand of music, and it shows. Among the artists along for the ride include Lenny Kravitz, Billy Preston, and Flea of the Red Hot Chili Peppers. Track two [Sweet Thing] gives us another taste of the previously released Sex Drive, with an additional groove sprinkled on for good measure. Don't Tear Me Up followed to give Jagger a strong 1-2 punch. He covers James Brown’s Think in this release, but intelligently does no attempt to imitate him. The cover design was a terrible mistake, as it was conceived during the 'heroin-chic' period of the early 1990's and does not translate well today.

Anthrax replaced longstanding vocalist Joey Belladonna with John Bush (of Armored Saint) and released the surprisingly melodic and predictably pummeling Sound of White Noise. Producer Dave Jerden, who had worked with Bush on the last Armored Saint disc as well as releases for Alice in Chains and Jane's Addiction, helped Anthrax channel its energy into the shape of the post-Seattle metal sound. This ostracized some fans and attracted others, but the change is incidental; the music is relentless, like a brigade of tanks, and chances are you'll be too busy running for your life to worry who's at the wheel. Sound of White Noise cudgels the listener like nothing since Among the Living; Charlie Benante's drums are everywhere they want to be, a hailstorm of thundering blows backed up by Frank Bello's basslines…

Unit 4+2 was a one-hit wonder that probably deserved better. As one of the better acoustic-electric bands of the mid-'60s, the group stormed the charts with one memorable hit, "Concrete and Clay," scoring on both sides of the Atlantic, but they were never able to come up with a follow-up that was as catchy. The group originated with guitarist Brian Parker and an instrumental band from Hertfordshire called the Hunters, who recorded for the Fontana label in 1961. Parker left the Hunters in early 1962 and joined Adam Faith's backing band the Roulettes. He didn't stay long with the latter band, preferring to put together a group of his own with the emphasis on vocals. Parker recruited guitarists Tommy Moeller (with whom he began writing songs) and David Meikle, and singer Brian Moules, and the quartet played gigs at youth clubs and other local venues, and turned professional soon after.