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Napalm Death has always been an interesting anomaly in the metal underground: generally considered to be the inventors of grindcore, the band eventually became a ragged patchwork of punk, death metal, and hardcore that was simultaneously sloppy, technical, unwaveringly ugly, and downright vicious. And political – proof being this recording made at a 2002 London animal rights benefit gig…

Arista had made it clear they would not accept any concept albums from the Kinks, and Sleepwalker, their first effort for the label, makes good on the band's promise. Comprised entirely of glossy arena rockers and power ballads, the album is more of a stylistic exercise than a collection of first-rate songs…

Real music is hard to find. If you've ever felt suffocated in the age of fakery and hype, then Savoy Brown's latest album The Devil To Pay is a blast furnace. Driven by classic blues and age-old human truths - but dragged into contemporary relevance by stinging musicianship and modern savvy - Kim Simmonds' new songs have arrived when we need them most. "In many ways," considers the legendary guitarist, "this is the best album I've ever done. It's fresh and new, and belongs to the twenty-first century". Released on Ruf Records in 2015 - and marking Savoy Brown's 50th year as pack-leaders of the British blues scene - 'The Devil To Pay' was born during a white-knuckle burst of inspiration.

Kingdom Come is the debut studio album by American rock band Sir Lord Baltimore, released on Mercury Records in 1970. This album is notable for the fact that its 1971 review in Creem contains an early documented use of the term "heavy metal" to refer to a style of music. It features very fast-paced, rhythm and blues-based rock 'n' roll with high levels of distortion in the guitar and, in some cases, the bass. Baltimore's heavy style can be compared to early Black Sabbath, the Stooges and MC5. Kingdom Come has received acclaim from critics and its influence on heavy metal music is well-noted. In his retrospective review, Marcos Hassan of Tiny Mix Tapes called it "one of those great records where not a second is wasted".

Brownsville Station - Motor City Connection (1975) {Wounded Bird Records WOU 9510 rel 2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 256 Mb | MP3 @320 -> 91 Mb
Full Artwork @ 300 dpi (png) -> 24 Mb | 5% repair rar
© 1975, 2005 Big Tree Records / Wounded Bird Records | WOU 9510
Rock / Boogie Rock / Hard Rock / Rock & Roll

If Yeah! and School Punks were nonstop parties, Brownsville Station's fifth album, Motor City Connection, is the hangover, the one where the group reckons with the aftermath of having a good time all of the time. Most of the original numbers are racked in guilt, heartbreak, and self-recrimination, tales of broken hearts and loneliness, highlighted by the moody and driving opener, "Automatic Heartbreak," the bitter yet swaggering "Self Abuse," and the proto-power ballad "You Know Better."

Before forming Motörhead, Ian Kilmister (aka Lemmy) could boast of having been a member of space rock cowboys Hawkwind and a career in horsebreaking (that's horsebreaking, not housebreaking). He was also, to top it all, the son of a vicar. Having been expelled from his former employers after a disagreement with border guards over the contents of his luggage, he took the name for his new band from the final song he'd written for Hawkwind…