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Top 100 albums 1980 1989 Pitchforkmedia pack 2 di 3

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Top 100 albums 1980 1989 Pitchforkmedia pack 2 di 3

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Torrent info

Name:Top 100 albums 1980 1989 Pitchforkmedia pack 2 di 3

Total Size: 2.48 GB

Magnet: Magnet Link

Seeds: 0

Leechers: 0

Stream: Watch Online @ Movie4u

Last Updated: 2014-10-12 06:38:53 (Update Now)

Torrent added: 2009-08-30 04:17:47





Torrent Files List


034. Talk Talk - 1988 - Spirit of Eden (Size: 2.37 GB) (Files: 452)

 034. Talk Talk - 1988 - Spirit of Eden

  01 - The Rainbow.mp3

11.26 MB

  02 - Eden.mp3

10.95 MB

  03 - Desire.mp3

10.09 MB

  04 - Inheritance.mp3

7.91 MB

  05 - I Believe In You.mp3

8.49 MB

  06 - Wealth.mp3

8.96 MB

  folder.jpg

152.90 KB

 035. N.W.A. - 1989 - Straight Outta Compton

  01 - Straight Outta Compton.mp3

7.46 MB

  02 - Fuck Tha Police.mp3

10.24 MB

  03 - Gangsta Gangsta.mp3

9.78 MB

  04 - If It Ain't Ruff.mp3

6.61 MB

  05 - Parental Discretion Iz Advised.mp3

8.99 MB

  06 - 8 Ball (Remix).mp3

8.02 MB

  07 - Something Like That.mp3

5.04 MB

  08 - Express Yourself.mp3

8.06 MB

  09 - Compton's N The House (Remix).mp3

8.77 MB

  10 - I Ain't Tha 1.mp3

8.12 MB

  11 - Dopeman (Remix).mp3

9.52 MB

  12 - Quiet On Tha Set.mp3

6.96 MB

  13 - Something 2 Dance 2.mp3

6.20 MB

 036. Violent Femmes - 1983 - Violent Femmes

  01 - Blister in the Sun.mp3

3.39 MB

  02 - Kiss Off.mp3

4.07 MB

  03 - Please Do Not Go.mp3

6.09 MB

  04 - Add It Up.mp3

6.64 MB

  05 - Confessions.mp3

7.50 MB

  06 - Prove My Love.mp3

3.71 MB

  07 - Promise.mp3

3.56 MB

  08 - To the Kill.mp3

5.21 MB

  09 - Gone Daddy Gone.mp3

4.69 MB

  10 - Good Feeling.mp3

5.15 MB

  11 - Ugly.mp3

3.37 MB

  12 - Gimme the Car.mp3

7.01 MB

 037. The Replacements - 1985 - Tim

  01 - Hold My Life.mp3

6.18 MB

  02 - I'll Buy.mp3

5.07 MB

  03 - Kiss Me On The Bus.mp3

4.42 MB

  04 - Dose Of Thunder.mp3

3.17 MB

  05 - Waitress In The Sky.mp3

2.80 MB

  06 - Swingin Party.mp3

5.33 MB

  07 - Bastards Of Young.mp3

5.28 MB

  08 - Lay It Down Clown.mp3

3.44 MB

  09 - Left Of The Dial.mp3

5.16 MB

  10 - Little Mascara.mp3

5.22 MB

  11 - Here Comes A Regular.mp3

6.53 MB

 038. The Cure - 1989 - Disintegration

  01 - Plainsong.mp3

9.08 MB

  02 - Pictures of You.mp3

12.66 MB

  03 - Closedown.mp3

7.44 MB

  04 - Lovesong.mp3

6.24 MB

  05 - Last Dance.mp3

7.63 MB

  06 - Lullaby.mp3

7.66 MB

  07 - Fascination Street.mp3

8.65 MB

  08 - Prayers for Rain.mp3

11.27 MB

  09 - The Same Deep Water as You.mp3

16.88 MB

  10 - Disintegration.mp3

14.68 MB

  11 - Homesick.mp3

12.79 MB

  12 - Untitled.mp3

11.99 MB

  The Cure - Disintegration - Back.jpg

143.69 KB

  The Cure - Disintegration - CD.jpg

132.58 KB

  folder.jpg

109.55 KB

 039. The Stone Roses - 1989 - The Stone Roses

  01 - I Wanna Be Adored.mp3

6.82 MB

  02 - She Bangs the Drums.mp3

5.21 MB

  03 - Elephant Stone.mp3

3.95 MB

  04 - Waterfall.mp3

6.15 MB

  05 - Don't Stop.mp3

6.95 MB

  06 - Bye Bye Badman.mp3

5.64 MB

  07 - Elizabeth My Dear.mp3

1.20 MB

  08 - (Song for My) Sugar Spun Sister.mp3

4.50 MB

  09 - Made of Stone.mp3

5.84 MB

  10 - Shoot You Down.mp3

4.90 MB

  11 - This is the One.mp3

6.59 MB

  12 - I am the Resurrection.mp3

11.73 MB

  13 - Fools Gold.mp3

14.29 MB

  Stone Roses - The Stone Roses.m3u

0.93 KB

 040. Dinosaur Jr - 1987 - You're Living All Over Me

  01 - Little Fury Things.mp3

3.77 MB

  02 - Kracked.mp3

3.28 MB

  03 - Sludgefeast.mp3

6.99 MB

  04 - The Lung.mp3

4.55 MB

  05 - Raisans.mp3

5.32 MB

  06 - Tarpit.mp3

5.97 MB

  07 - In A Jar.mp3

4.98 MB

  08 - Lose.mp3

4.25 MB

  09 - Poledo.mp3

8.00 MB

  10 - Show Me the Way.mp3

5.10 MB

 041. Beastie Boys - 1986 - Licensed to Ill

  01 - Rhymin & Stealin.mp3

5.21 MB

  02 - The New Style.mp3

5.63 MB

  03 - She's Crafty.mp3

5.67 MB

  04 - Posse in Effect.mp3

3.07 MB

  05 - Slow Ride.mp3

4.46 MB

  06 - Girls.mp3

2.49 MB

  07 - Fight for Your Right.mp3

4.54 MB

  08 - No Sleep Till Brooklyn.mp3

5.62 MB

  09 - Paul Revere.mp3

4.87 MB

  10 - Hold It Now, Hit It.mp3

4.41 MB

  11 - Brass Monkey.mp3

3.46 MB

  12 - Slow and Low.mp3

5.21 MB

  13 - Time to Get Ill.mp3

4.77 MB

 042. Cowboy Junkies - 1988 - The Trinity Session

  01 - Mining for Gold.mp3

2.01 MB

  02 - Misguided Angel.mp3

7.05 MB

  03 - Blue Moon Revisited (Song for Elvis).mp3

6.37 MB

  04 - I Don't Get It.mp3

6.58 MB

  05 - I'm So Lonesome I Could Cry.mp3

7.74 MB

  06 - To Love Is to Bury.mp3

7.60 MB

  07 - 200 More Miles.mp3

7.87 MB

  08 - Dreaming My Dreams with You.mp3

6.23 MB

  09 - Working on a Building.mp3

5.49 MB

  10 - Sweet Jane.mp3

5.29 MB

  11 - Postcard Blues.mp3

4.42 MB

  12 - Walking after Midnight.mp3

8.67 MB

  folder.jpg

52.37 KB

 043. Run-D.M.C. - 1986 - Raising Hell

  01 - Peter Piper.mp3

3.91 MB

  02 - It's Tricky.mp3

4.08 MB

  03 - My Adidas.mp3

3.99 MB

  04 - Walk This Way.mp3

7.33 MB

  05 - Is It Live.mp3

3.44 MB

  06 - Perfection.mp3

4.20 MB

  07 - Hit It Run.mp3

4.12 MB

  08 - Raising Hell.mp3

6.90 MB

  09 - You Be Illin'.mp3

4.55 MB

  10 - Dumb Girl.mp3

4.81 MB

  11 - Son Of Byford.mp3

687.60 KB

  12 - Proud To Be Black.mp3

4.28 MB

  folder.gif

10.78 KB

 044. Kraftwerk - 1981 - Computer World

  01 - Computer World.mp3

7.42 MB

  02 - Pocket Calculator.mp3

7.96 MB

  03 - Numbers.mp3

5.32 MB

  04 - Computer World 2.mp3

5.24 MB

  05 - Computer Love.mp3

11.43 MB

  06 - Home Computer.mp3

9.57 MB

  07 - It's More Fun To Compute.mp3

6.05 MB

  folder.JPG

41.01 KB

 045. Prince - 1987 - Sign 'O' The Times

  Disc 1

   01 - Sign 'O' The Times.mp3

6.36 MB

   02 - Play In The Sunshine.mp3

7.83 MB

   03 - Housequake.mp3

6.89 MB

   04 - The Ballad Of Dorothy Parker.mp3

5.87 MB

   05 - It.mp3

6.78 MB

   06 - Starfish And Coffee.mp3

3.69 MB

   07 - Slow Love.mp3

5.85 MB

   08 - Hot Thing.mp3

7.80 MB

   09 - Forever In My Life.mp3

4.49 MB

  Disc 2

   01 - U Got The Look.mp3

5.54 MB

   02 - If I Was Your Girlfriend.mp3

6.37 MB

   03 - Strange Relationship.mp3

5.59 MB

   04 - I Could Never Take The Place Of Your Man.mp3

10.02 MB

   05 - The Cross.mp3

6.19 MB

   06 - It's Gonna Be A Beautiful Night.mp3

13.60 MB

   07 - Adore.mp3

8.56 MB

 046. XTC - 1982 - English Settlement

  01 - Runaways.mp3

6.91 MB

  02 - Ball And Chain.mp3

6.59 MB

  03 - Senses Working Overtime.mp3

6.83 MB

  04 - Jason And The Argonauts.mp3

9.59 MB

  05 - No Thugs In Our House.mp3

7.69 MB

  06 - Yacht Dance.mp3

5.84 MB

  07 - All Of A Sudden (It's Too Late).mp3

7.65 MB

  08 - Melt The Guns.mp3

10.55 MB

  09 - Leisure.mp3

7.04 MB

  10 - It's Nearly Africa.mp3

5.82 MB

  11 - Knuckle Down.mp3

6.82 MB

  12 - Fly On The Wall.mp3

5.37 MB

  13 - Down In The Cockpit.mp3

8.21 MB

  14 - English Roundabout.mp3

6.12 MB

  15 - Snowman.mp3

7.88 MB

 047. John Zorn - 1989 - Naked City

  01 - Batman.mp3

3.47 MB

  02 - The Sicilian Clan.mp3

6.03 MB

  03 - You Will Be Shot.mp3

2.75 MB

  04 - Latin Quarter.mp3

6.94 MB

  05 - A Shot in the Dark.mp3

5.34 MB

  06 - Reanimator.mp3

2.96 MB

  07 - Snagglepuss.mp3

4.03 MB

  08 - I Want to Live.mp3

3.58 MB

  09 - Lonely Woman.mp3

4.36 MB

  10 - Igneous Ejaculation.mp3

685.47 KB

  11 - Blood Duster.mp3

488.13 KB

  12 - Hammerhead.mp3

323.70 KB

  13 - Demon Sanctuary.mp3

1.24 MB

  14 - Obeah Man.mp3

592.24 KB

  15 - Ujaku.mp3

897.39 KB

  16 - Fuck the Facts.mp3

411.85 KB

  17 - Speedball.mp3

1.23 MB

  18 - Chinatown.mp3

7.79 MB

  19 - Punk China Doll.mp3

5.64 MB

  20 - N.Y. Flat Top Box.mp3

1.31 MB

  21 - Saigon Pickup.mp3

8.73 MB

  22 - The James Bond Theme.mp3

5.45 MB

  23 - Den of Sins.mp3

2.15 MB

  24 - Contempt.mp3

5.03 MB

  25 - Graveyard Shift.mp3

6.20 MB

  26 - Inside Straight.mp3

7.48 MB

  folder.jpg

18.65 KB

 048. R.E.M. - 1987 - Document

  01 - Finest Worksong.mp3

5.64 MB

  02 - Welcome To The Occupation.mp3

4.11 MB

  03 - Exhuming McCarthy.mp3

5.08 MB

  04 - Disturbance At The Heron House.mp3

5.21 MB

  05 - Strange.mp3

3.61 MB

  06 - It's The End Of The World As We Know It (And I Feel Fine).mp3

6.10 MB

  07 - The One I Love.mp3

4.92 MB

  08 - Fireplace.mp3

4.91 MB

  09 - Lightnin' Hopkins.mp3

4.75 MB

  10 - King Of Birds.mp3

5.55 MB

  11 - Oddfellows Local 151.mp3

7.51 MB

 049. Mission of Burma - 1982 - Vs

  01 - Secrets.mp3

4.55 MB

  02 - Train.mp3

4.28 MB

  03 - Trem Two.mp3

6.53 MB

  04 - New Nails.mp3

5.02 MB

  05 - Dead Pool.mp3

5.69 MB

  06 - Learn How.mp3

5.79 MB

  07 - Micha.mp3

5.48 MB

  08 - Weatherbox.mp3

5.24 MB

  09 - The Ballad of Johnny Burma.mp3

2.62 MB

  10 - Einstein's Day.mp3

6.54 MB

  11 - Fun World.mp3

6.30 MB

  12 - That's How I Escaped My Certain Fate.mp3

2.64 MB

  13 - Forget.mp3

4.07 MB

  14 - OK-No Way.mp3

3.07 MB

  15 - Laugh The World Away.mp3

5.35 MB

  16 - Progress.mp3

4.11 MB

  WS_FTP.LOG

2.81 KB

 050. Spacemen 3 - 1987 - The Perfect Prescription

  01 - Take me to the other side.mp3

6.60 MB

  02 - Walkin' with Jesus.mp3

6.93 MB

  03 - Ode to Street Hassle.mp3

5.13 MB

  04 - Ecstasy Symphony.mp3

3.07 MB

  05 - Transparent Radiation (flashback).mp3

10.41 MB

  06 - Feel so good.mp3

7.16 MB

  07 - Things'll never be the same.mp3

9.59 MB

  08 - Come down easy.mp3

9.25 MB

  09 - Call the doctor.mp3

5.61 MB

  10 - Soul 1.mp3

8.67 MB

  11 - That's just fine.mp3

10.21 MB

  13 - Ecstasy.mp3

13.15 MB

 051. Leonard Cohen - 1988 - I'm Your Man

  01 - First We Take Manhattan.mp3

11.03 MB

  02 - Ain't No Cure for Love.mp3

8.69 MB

  03 - Everybody Knows.mp3

9.69 MB

  04 - I'm Your Man.mp3

7.61 MB

  05 - Take This Waltz.mp3

10.85 MB

  06 - Jazz Police.mp3

7.13 MB

  07 - I Can't Forget.mp3

8.14 MB

  08 - Tower of Song.mp3

9.67 MB

 052. Eric B. & Rakim - 1987 - Paid in Full

  01 - I Ain't No Joke.mp3

6.49 MB

  02 - Eric B. Is On The Cut.mp3

7.39 MB

  03 - My Melody.mp3

12.86 MB

  04 - I Know You Got Soul.mp3

8.40 MB

  05 - Move The Crowd.mp3

6.20 MB

  06 - Paid In Full.mp3

5.36 MB

  07 - As The Rhyme Goes On.mp3

7.00 MB

  08 - Chinese Arithmetic.mp3

7.48 MB

  09 - Eric B. Is President.mp3

10.95 MB

  10 - Extended Beat.mp3

6.40 MB

  folder.jpg

42.53 KB

 053. Mission of Burma - 1981 - Signals, Calls, and Marches

  00 - Mission Of Burma - Signals, Calls And Marches.m3u

0.76 KB

  00 - Signals, Calls And Marches.sfv

1.06 KB

  01 - That's When I Reach for My Revolver.mp3

5.21 MB

  02 - Outlaw.mp3

3.34 MB

  03 - Fame and Fortune.mp3

4.50 MB

  04 - This Is Not a Photograph.mp3

2.59 MB

  05 - Red.mp3

4.26 MB

  06 - All World Cowboy Romance.mp3

7.70 MB

  07 - Academy Fight Song [1980 7 Single].mp3

5.11 MB

  08 - Max Ernst [1980 7 Single].mp3

5.05 MB

 054. Big Black - 1987 - Songs About Fucking

  00 - Songs About Fucking.sfv

1.36 KB

  01 - The Power Of Independent Trucking.mp3

1.80 MB

  02 - The Model.mp3

3.90 MB

  03 - Bad Penny.mp3

3.30 MB

  04 - L Dopa.mp3

2.38 MB

  05 - Precious Thing.mp3

3.19 MB

  06 - Colombian Necktie.mp3

3.05 MB

  07 - Kitty Empire.mp3

5.50 MB

  08 - Ergot.mp3

3.26 MB

  09 - Kasimir S. Pulaski Day.mp3

3.79 MB

  10 - Fish Fry.mp3

2.90 MB

  11 - Pavement Saw.mp3

2.84 MB

  12 - Tiny, King Of The Jews.mp3

3.04 MB

  13 - Bombastic Intro.mp3

830.63 KB

  14 - He's A Whore.mp3

3.45 MB

 055. The Police - 1983 - Synchronicity

  01 - Synchronicity I.mp3

5.97 MB

  02 - Walking In Your Footsteps.mp3

6.29 MB

  03 - O My God.mp3

6.91 MB

  04 - Mother.mp3

4.74 MB

  05 - Miss Gradenko.mp3

3.55 MB

  06 - Synchronicity II.mp3

8.11 MB

  07 - Every Breath You Take.mp3

7.23 MB

  08 - King Of Pain.mp3

8.62 MB

  10 - Tea In The Sahara.mp3

7.08 MB

  11 - Murder By Numbers.mp3

7.83 MB

 056. King Crimson - 1981 - Discipline

  01 - Elephant Talk.mp3

5.82 MB

  02 - Frame By Frame.mp3

6.66 MB

  03 - Matte Kudasai.mp3

4.56 MB

  04 - Indiscipline.mp3

6.01 MB

  05 - Thela Hun Ginjeet.mp3

8.29 MB

  06 - The Sheltering Sky.mp3

11.04 MB

  07 - Discipline.mp3

7.17 MB

  08 - Matte Kudasai (Alternative Version).mp3

4.99 MB

  King Crimson - Discipline - Back.jpg

80.42 KB

  King Crimson - Discipline - Front.jpg

78.61 KB

  folder.jpg

28.01 KB

 057. Pixies - 1987 - Come On Pilgrim

  01 - Caribou.mp3

4.45 MB

  02 - Vamos.mp3

3.94 MB

  03 - Isla De Encanta.mp3

2.41 MB

  04 - Ed Is Dead.mp3

3.44 MB

  05 - The Holiday Song.mp3

3.02 MB

  06 - Nimrod's Son.mp3

3.21 MB

  07 - I've Been Tired.mp3

4.22 MB

  08 - Levitate Me.mp3

3.37 MB

 058. Elvis Costello - 1982 - Imperial Bedroom [Expanded]

  Disc 1 - Imperial Bedroom

   01 - Beyond Belief.mp3

3.63 MB

   02 - Tears Before Bedtime.mp3

4.06 MB

   03 - Shabby Doll.mp3

6.90 MB

   04 - The Long Honeymoon.mp3

5.62 MB

   05 - Man Out Of Time.mp3

8.33 MB

   06 - Almost Blue.mp3

3.64 MB

   07 - ...And In Every Home.mp3

4.68 MB

   08 - The Loved Ones.mp3

4.17 MB

   09 - Human Hands.mp3

3.81 MB

   10 - Kid About It.mp3

3.53 MB

   11 - Little Savage.mp3

3.86 MB

   12 - Boy With A Problem.mp3

2.96 MB

   13 - Pidgin English.mp3

5.62 MB

   14 - You Little Fool.mp3

4.80 MB

   15 - Town Cryer.mp3

5.97 MB

  Disc 2 - Imperial Bedroom (Bonus Disc)

   01 - The Land of Give and Take (Early Version of 'Beyond Belief').mp3

4.59 MB

   02 - Tears Before Bedtime (Alternate Version).mp3

4.73 MB

   03 - Man Out of Time (Alternate Version).mp3

4.99 MB

   04 - Human Hands (Early Version).mp3

3.58 MB

   05 - Kid About It (Alternate Version).mp3

4.04 MB

   06 - Little Savage (Alternate Version).mp3

4.25 MB

   07 - You Little Fool (Alternate Version).mp3

4.28 MB

   08 - Town Cryer (Fast Version).mp3

3.40 MB

   09 - Little Goody Two Shoes (Alternate Version).mp3

4.12 MB

   10 - The Town Where Time Stood Still (Alternate Version).mp3

3.81 MB

   11 - ...and In Every Home (Rehearsal).mp3

4.29 MB

   12 - I Turn Around.mp3

3.42 MB

   13 - From Head to Toe.mp3

4.07 MB

   14 - The World of Broken Hearts.mp3

3.75 MB

   15 - Night Time.mp3

4.14 MB

   16 - Really Mystified.mp3

3.37 MB

   17 - The Stamping Ground.mp3

4.72 MB

   18 - Shabby Doll (Demo).mp3

5.96 MB

   19 - Man Out of Time (Demo).mp3

5.06 MB

   20 - You Little Fool (Demo).mp3

4.54 MB

   21 - Town Cryer (Demo).mp3

4.18 MB

   23 - Imperial Bedroom.mp3

3.79 MB

  folder.gif

17.27 KB

 060. Bruce Springsteen - 1982 - Nebraska

  01 - Nebraska.mp3

5.40 MB

  02 - Atlantic City.mp3

5.15 MB

  03 - Mansion On The Hill.mp3

5.54 MB

  04 - Johnny 99.mp3

4.48 MB

  05 - Highway Patrolman.mp3

7.57 MB

  06 - State Trooper.mp3

4.22 MB

  07 - Used Cars.mp3

4.12 MB

  08 - Open All Night.mp3

3.59 MB

  09 - My Father's House.mp3

6.59 MB

  10 - Reason To Believe.mp3

5.25 MB

 061. Nurse With Wound - 1982 - Homotopy to Marie

  01 - I Am Blind.mp3

13.26 MB

  02 - Homotopy To Marie.mp3

19.67 MB

  03 - Astral Dustbin Dirge.mp3

21.78 MB

  04 - The Schmuerz.mp3

34.42 MB

  05 - The Tumultuous Upsurge.mp3

1.68 MB

  folder.jpg

30.75 KB

 062. R.E.M. - 1984 - Reckoning

  01 - HarborcOat.mp3

7.06 MB

  02 - 7 chineSe bros..mp3

7.68 MB

  03 - so. Central Rain.mp3

5.97 MB

  04 - Pretty Persuasion.mp3

6.60 MB

  05 - Time After Time (annElise).mp3

6.38 MB

  06 - second GuessinG.mp3

4.85 MB

  07 - letter Never seNt.mp3

5.45 MB

  08 - camerA.mp3

10.14 MB

  09 - (don't Go back To) ROCKVILLE.mp3

8.15 MB

  10 - little america.mp3

5.27 MB

  folder.jpg

59.77 KB

 063. Young Marble Giants - 1980 - Colossal Youth

  01 - Searching for the Night.mp3

3.75 MB

  02 - Include Me Out.mp3

2.62 MB

  03 - The Taxi.mp3

2.47 MB

  04 - Eating Noddemix.mp3

2.68 MB

  05 - Constantly Changing.mp3

2.74 MB

  06 - N.I.T.A..mp3

4.63 MB

  07 - Colossal Youth.mp3

2.47 MB

  08 - Music for Evenings.mp3

3.99 MB

  09 - The Man Amplifier.mp3

4.10 MB

  10 - Choci Loni.mp3

3.24 MB

  11 - Wurlitzer Jukebox.mp3

3.55 MB

  12 - Salad Days.mp3

2.67 MB

  13 - Credit in the Straight World.mp3

3.37 MB

  14 - Brand - New - Life.mp3

3.76 MB

  15 - Wind in the Rigging.mp3

3.01 MB

  16 - This Way.mp3

2.22 MB

  17 - Posed by Models.mp3

1.91 MB

  18 - The Clock.mp3

2.22 MB

  19 - Clicktalk.mp3

4.11 MB

  20 - Zebra Trucks.mp3

2.10 MB

  21 - Sporting Life.mp3

1.49 MB

  22 - Final Day.mp3

2.09 MB

  23 - Radio Silents.mp3

2.42 MB

  24 - Cakewalking.mp3

3.51 MB

  25 - Ode to Booker T..mp3

4.02 MB

  folder.gif

2.17 KB

 064. Television Personalities - 1981 - ...And Don't the Kids Just Love It

  01 - This Angry Silence.mp3

4.09 MB

  02 - The Glittering Prizes.mp3

4.87 MB

  03 - World of Pauline Lewis.mp3

4.20 MB

  04 - A Family Affair.mp3

4.62 MB

  05 - Silly Girl.mp3

3.70 MB

  06 - Diary of a Young Man.mp3

6.81 MB

  07 - Geoffrey Ingram.mp3

3.56 MB

  08 - I Know Where Syd Barrett Lives.mp3

3.96 MB

  09 - Jackanory Stories.mp3

3.67 MB

  10 - Parties in Chelsea.mp3

2.51 MB

  11 - La Grande Illusion.mp3

4.37 MB

  12 - A Picture of Dorian Gray.mp3

3.11 MB

  13 - The Crying Room.mp3

3.47 MB

  14 - Look Back in Anger.mp3

3.13 MB

  folder.jpg

8.31 KB

 065. Soft Boys - 1980 - Underwater Moonlight...And How It Got There

  Disc 1 - Underwater Moonlight

   01 - I Wanna Destroy You.mp3

3.94 MB

   02 - Kingdom Of Love.mp3

5.30 MB

   03 - Positive Vibrations.mp3

3.76 MB

   04 - I Got The Hots.mp3

6.82 MB

   05 - Insanely Jealous.mp3

5.60 MB

   06 - Tonight.mp3

4.92 MB

   07 - You'll Have To Go Sideways.mp3

4.54 MB

   08 - Old Pervert.mp3

5.62 MB

   10 - Underwater Moonlight.mp3

5.17 MB

   11 - He's A Reptile [bonus].mp3

6.60 MB

   12 - Vegetable Man [bonus].mp3

4.08 MB

   13 - Strange [bonus].mp3

3.97 MB

   14 - Only The Stones Remain [bonus].mp3

3.96 MB

   15 - Where Are The Prawns [bonus].mp3

8.53 MB

   16 - Dreams [bonus].mp3

6.80 MB

   17 - Black Snake Diamond Rock [bonus].mp3

6.20 MB

   18 - There's Nobody Like You [bonus].mp3

4.24 MB

   19 - Song #4 [bonus].mp3

6.45 MB

  Disc 2 - ...And How It Got There

   01 - Old Pervert [section 1].mp3

1.95 MB

   02 - Like a Real Smoothie.mp3

4.02 MB

   03 - Alien.mp3

3.74 MB

   04 - Bloat [extract].mp3

1.12 MB

   05 - Underwater Moonlight.mp3

7.10 MB

   06 - She Wears My Hair.mp3

6.82 MB

   07 - Wang Dang Pig.mp3

4.23 MB

   08 - Old Pervert [section 2].mp3

1.87 MB

   09 - Insanely Jealous.mp3

6.27 MB

   10 - Leave Me Alone.mp3

7.82 MB

   11 - Goodbye Maurice or Steve.mp3

3.23 MB

   12 - Old Pervert [section 3].mp3

730.47 KB

   13 - Cherries.mp3

3.97 MB

   14 - Amputated.mp3

6.10 MB

   15 - Over You.mp3

5.44 MB

   16 - I Wanna, Er... [extract].mp3

975.83 KB

   17 - Old Pervert [section 4].mp3

1.54 MB

  folder.gif

18.85 KB

 066. The Dukes of Stratosphear - 1987 - Psonic Psunspot

  01 - Vanishing Girl.mp3

4.60 MB

  02 - Have You Seen Jackie.mp3

5.38 MB

  03 - Little Lighthouse.mp3

7.46 MB

  04 - You're a Good Man Albert Brown.mp3

5.83 MB

  05 - Collideascope.mp3

5.48 MB

  06 - You're My Drug.mp3

5.34 MB

  07 - Shiny Cage.mp3

5.17 MB

  08 - Brainiac's Daughter.mp3

6.55 MB

  09 - The Affiliated.mp3

3.87 MB

  10 - Pale and Precious.mp3

7.31 MB
 

Announce URL:

Torrent description

Pitchforkmedia's top 100 albums of the 80's pack 2 of 3

PACK 1 ---> http://www.tntvillage.org/index.php?act=showrelease&id=72603

PACK 3 ---> http://www.tntvillage.org/index.php?act=showrelease&id=77228




In This Pack;

066: The Dukes of Stratosphear
Psonic Psunspot
[Virgin; 1987]

Despite their adoption of florid costuming and silly pseudonyms like Sir John Johns and The Red Curtain, it remains obvious that The Dukes of Stratosphear could be no other band than XTC. For one, Andy Partridge could never disguise his trademark throaty vocals, and two, the band's sense of songcraft is utterly distinctive. Partridge and Colin Moulding brought some of their best songs to the table for this side project, ensuring it all the life and vitality of the best records in XTC's back catalog. The Beatles/Kinks musichall of "You're a Good Man, Albert Brown", the phased paisley of "You're My Drug", and the Smile-worthy "Pale & Precious" stand wonderfully as single tracks, but as part of the same piece, and crowned with the beautifully frail pop blast "Vanishing Girl", they become a surreal rock-opera of opaque, hallucinogenic wonder. The 60s never sounded so good in the 80s. --Joe Tangari



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065: The Soft Boys
Underwater Moonlight
[Armageddon; 1980]

A psych-pop oddity released at the height of punk, and an incredibly important guitar record, Underwater Moonlight is ageless. Robyn Hitchcock's songwriting was at its demented peak with the kinky insect imagery of "Kingdom of Love", and on the effervescent title track, a saga of drowning lovers. The exuberantly malevolent "I Wanna Destroy You" dared punk to face itself in the mirror, and "The Queen of Eyes" updated The Byrds and found its way into the musical vocabulary of R.E.M. and their countless comrades in the early-80s underground. The Soft Boys were that ever elusive rarity-- muscle and brains in the same package, and the package they made was incredible. --Joe Tangari



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064: Television Personalities
...And Don't the Kids Just Love It
[Rough Trade; 1981]

The kids might have loved it but, given the relative obscurity of this album at the time of its release, not as much as they ought to have. Widely acknowledged as a defining influence on dozens of artists, Television Personalities seem to have been doomed to be the stepping stone to greatness without achieving a fraction of the notoriety of any of the other groundbreaking bands they left their mark on. But that can't detract from the no-frills attraction of this, their debut full-length; the hissy lo-fi techniques that would later come into vogue give And Don't the Kids Just Love It a closeness that wonderfully amplifies the simple directness and charm of the band's charming, wildly catchy twee-pop. Though its fuzzy aesthetics are a result of necessity rather than artistic intent, the album sounds remarkably prescient. Its sugar-high enthusiasm and impeccable hooks don't hurt, either. --Eric Carr



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063: Young Marble Giants
Colossal Youth
[Rough Trade; 1980]

The band would have put it more succinctly, but here's my take: Colossal Youth was Zen disco, new wave haiku, monk-punk that used sweetly perverted Ramones/Pistols minimalism to gently sketch out an exploded drawing of pop music. Though the album's spare, perfectly placed strokes of guitar, bass, organ, and voice would have more of an effect on mopey slowcore types and basement four-trackers, the ineffable thing about the Giants' music was how simultaneously haunting and cheery they could be. "Eating Noddemix" is music for brushing your teeth to the morning after an apocalypse, and the inimitable "Wurlitzer Jukebox" is a dance track for the last man on earth, with a geiger counter relentlessly ticking out the beat. Om, baby, yeah. --Brendan Reid



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062: R.E.M.
Reckoning
[IRS; 1984]

They were already huge underground, but this is the record that put R.E.M. on mainstream radio for the first time, unleashing the tide that eventually swept the word "alternative" into the national musical vocabulary. Musically, R.E.M. opened up their sound on Reckoning, driving things home more directly than on their debut. "Pretty Persuasion" was one of the band's most gorgeous songs, while the countrified second single "(Don't Go Back To) Rockville" was a welcome blast of fresh air on the increasingly artificial airwaves of the early 80s. The record occasionally drop hints that it's not as young as it sounds, but when it does, at least has the good taste not to turn attention from its wrinkles with caked-on mascara. Yeah, Stipe, I'm talking to you. --Joe Tangari



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061: Nurse with Wound
Homotopy to Marie
[United Dairies; 1982]

Steven Stapleton was at his most frightening in the early 1980s, his albums creating stark, edge-of-seat tension with pitch-black textures and forboding silence occasionally broken by scraping metal and humanoid scurrying. Homotopy to Marie is Stapleton's career apex, a twisted masterpiece of minimalism whispering terrifying suggestions of death rituals and torture chambers. This album creeps. It is horror. The 20-minute title track is avant-garde dismembered for sadists and perverts. "The Schm?rz" is hulking army men barking in reverse. "The Tumultuous Upsurge" is a grotesque death rattle with robotic toys laughing in proud hysteria. Do not play for children. --Ryan Schreiber





060: Bruce Springsteen
Nebraska
[Columbia; 1982]

The legend has Springsteen carrying around a four-track cassette of demos for the new album in a ratty back pocket and then deciding finally to release the tape as it was. Nebraska was a precursor to both the unplugged movement and the four-track bedroom folk that swept the indie world in the early 90s, but none of that would matter now if the music weren't so remarkably good. Springsteen's love of the band Suicide helped shape the claustrophobic sound, and the dawn of the Reagan era is usually cited as the album's chief thematic inspiration. Ultimately, the political climate of its birth is irrelevant, as Springsteen's novelist's eye for detail and character ensure that the stories remain timeless. Live versions of these songs with the E Street band confirm that these songs were meant to be performed by a single man, in a room, alone. --Mark Richardson



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059: Guns N' Roses
Appetite for Destruction
[Geffen; 1987]

What are your friends' names? John? Paul? Evan? That's some weak shit next to the ultimate rock-o-nyms: Axl, Slash, Izzy, and Duff (yes, I am leaving out the drummer, the drug-addled Adler whose ejection begged the fantasy-question of how far gone you had to be to get the boot from these guys). Four different cults of personality! Five shaggy, fatless, tat-dappled Icaruses! Such creatures of instinct that Axl's channeling of Bowie and Iggy had to be accidental, right? This album can be summarized by a holy phrase: No filler. Thank god the original robo-rape art got banned; that skull-cross is the perfect visual accompaniment to an album that, along with displaying better songcraft and being more anthemic, was heavier than all of its competition. Alas, the band would later defy rock physics by bloating and disintegrating simultaneously. --William Bowers



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058: Elvis Costello
Imperial Bedroom
[Columbia; 1982]

Costello's famed collaboration with Beatles engineer Geoff Emerick came at a tumultuous time for the earnest rock and roller. With his marriage on the rocks and journalists touting a tryst with legendary NY groupie Bebe Buell, Imperial Bedroom marks Elvis Costello's most personal investment, an unflinching examination of fidelity, trust and the dishonesty of role-playing. He front-loaded the album with the most ambitious song he'd recorded to that point, explosive as the crashing thunderclap that introduces its bridge. To this day, the complicated layering and full bars overlapping in "Beyond Belief" make for an almost psychedelic listening experience, to say nothing of its astounding verse. Costello was already well-established as a master lyricist, but Imperial Bedroom makes clear he was not fucking around this time: "Charged with insults and flattery/ Her body moves with malice/ Do you have to be so cruel to be callous?" --Chris Ott



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057: Pixies
Come On Pilgrim
[4AD; 1987]

Compiled from a demo tape recorded in March, 1987 at Boston's Fort Apache studios, this disc served as the world's first taste of a band that would soon become one of the indie music world's all-time greats. It was, at the time, a curious release for 4AD who, The Birthday Party aside, largely favored jangly pop and gothic romance. But in retrospect, The Pixies would have been at home on any label, mapping their own rugged terrain with their trademark whisper/thunder dynamics and Frank Black's infamous turbulent screeching. Come On Pilgrim is filled with paradox: the narrator of "Caribou" mourns the torture of city life yet wishes for death as its namesake in the peace of wilderness; "Levitate Me" translates lyrics from a folk ballad to a shoegazing rocker; "I've Been Tired" is its most antic song. What possessed them? --Ryan Schreiber



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056: King Crimson
Discipline
[Warner Bros; 1981]

Were punk and new wave really so powerful as to banish prog from rock history? For a few English "dinosaurs", certainly not. Guitarist Robert Fripp had already earned his hip underground stripes working with Brian Eno throughout the 70s, but for this version of his celebrated prog outfit, he attempted to completely destroy the barriers that would segregate cliques. Keeping drummer Bill Bruford from the previous incarnation of the band, and adding guitarist/vocalist Adrian Belew (who'd played with David Bowie and on Talking Heads' earth-shattering Remain in Light) and bassist Tony Levin (who'd played with John Lennon and would go on to back Peter Gabriel), Fripp's gang played music as angular and tense as any post-punk group while as precise and rhythmically propulsive as a Bartok string quartet. Songs like the title track, "Thela Hun Ginjeet", and "Frame by Frame" are almost-danceable maxi-minimalist etudes, and obvious precursors to virtually all math-rock. --Dominique Leone



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055: The Police
Synchronicity
[A&M; 1983]

The Police were never a punk band, but that didn't stem accusations that the group were ditching their rock roots for adult contemporary. Nor were the Police ever New Romantics, but the themes suggest meaning behind the makeup: romanticism not from supposed individuality, but in the synchronous parallels of our modern lives. The band was indeed taking a distinct move toward pop with Synchronicity, but not from substance. Sting never shied away from the tensions below the surface: not just in "Every Breath You Take", but in songs like "Synchronicity II", in which "many miles away, something crawls from the slime at the bottom of a dark Scottish lake," its identity never revealed. Er... about that shadow on the door of the cottage... --Christopher Dare



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054: Big Black
Songs about Fucking
[Touch & Go; 1987]

Child molestation, urban decay, hopeless apathy, trucking, and racial commentary were all fair game to Big Black, and the screeching, clanking thud of their proto-industrial sound was only a shade less disturbing than their subject matter. Dave Riley's bass is a metallic, twisted train wreck, and Steve Albini's every word so bile-drenched it barely makes it past his lips. This, combined with the searing buzzsaw guitars and the violent percussive force of a jackhammer, will strip the enamel straight off your goddamn teeth. Their pervasive stench clings to the entirety of the burgeoning industrial movement, and Songs About Fucking is the still the biggest, baddest sound on the block; underestimate it at your own peril. --Eric Carr



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053: Mission of Burma
Signals, Calls & Marches
[Ace of Hearts; 1981]

Mission of Burma soundly countered the feel-good 70s rock and roll of The Cars (Boston's biggest export at the time), but their difficult, indulgent shows alienated most of their potential audience. As drummer Peter Prescott recently quipped in L.A.: "You guys are a lot nicer to us than your parents were." Signals, Calls & Marches housed their one inescapable hit, "That's When I Reach for My Revolver", which, in comparison to screaming post-punk/pre-hardcore numbers like "Outlaw" and "Fame and Fortune", sounds flat and somewhat dated. But "This Is Not a Photograph" holds up best of all, a delegate for the songs of Mission of Burma's first wave. --Chris Ott



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052: Eric B. & Rakim
Paid in Full
[4th & Broadway; 1987]

Although Rakim didn't invent the art of rhyming, he was the one who defined what it meant to be a hip-hop lyricist. With a flow that would've melted glaciers, Rakim handled the beat with a precision that sounded otherworldly to '87 ears, igniting an entire generation of MC imitators. On Paid in Full, he used rhymes like putty to sculpt a lyrical masterpiece that hasn't been touched since. "I Ain't No Joke", "Paid in Full", "Move the Crowd"... how could you even pretend to fuck with Rakim Allah? And, oh yeah, the beats were also on-point, regardless of who produced them. --Sam Chennault



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051: Leonard Cohen
I'm Your Man
[Columbia; 1988]

You know you're cool when you get all dressed up in shades and a blazer just to be eating a banana on your album cover. And dig the David Lynch font of the song titles. I'm Your Man is the perfect midpoint for Cohen's career-- it rivals the poetry of 1969's Songs from a Room, but labors under the resort-lounge production of the apocalyptic, Oliver Stoned 1992 release The Future (yo, everyone knows that 2001's Ten New Songs was a non-representative carjacking). My theory is that there are two Leonard Cohen robots, one of which is a genius lyricist, and one of which is a melodramatic, obtuse-voiced mercenary who will speak-croon over the most Karaokean arrangements. Yet who else sings lines as piercing as "It's Father's Day and everybody's wounded," or, "Let me be somebody I admire"? He talks to Hank Williams, he says we're talking to our pockets, and without his concrete odes to monkey-mailing there might not be a Smog, or even Iron & Wine. --William Bowers



050: Spacemen 3
The Perfect Prescription
[Fire; 1987]

Hipsters the world over have tried to assert that, of The Perfect Prescription and Playing with Fire, the latter is Spacemen 3's landmark achievement. You will never tell me this and escape unscathed. Though both are massively haunting works of dystopian misery and contented addiction, The Perfect Prescription's dreamweapon is its stunning melodic depth. Whereas Playing with Fire showed the band already splintering, the bulk of its songs written solo, The Perfect Prescription's tracklist consists entirely of collaborations between the band's two primary members, and proves they were at their euphonic best when working together. The record drips with harrowing accounts of habitual users denying their dependence, yet its droning astral reverence pressures you to try it yourself, replicating the bliss of the altered state in gossamer keyboards and celestially aligned vocals. This is your brain on drugs. --Ryan Schreiber

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049: Mission of Burma
Vs.
[Ace of Hearts; 1982]

Boston's finest art-punk trio-plus-tape-guy recorded just one studio full-length, and it's a massive legacy. Assessable not in tunes but in grinding velocity, it's texturally complex and high-energy. Roger Miller's guitar varies from hypnotic repetition on "Trem Two" to sounding like a power line flailing in a pool of rain, while the rhythmic noise divides into shards for Martin Swope's tape manipulations; Miller as vocalist is prone to outbursts and declamations, while Clint Conley sings with his vulnerabilities in barbed wire on his sleeve. --Chris Dahlen

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048: R.E.M.
Document
[IRS; 1987]

As addressed by the double-sided pun on the sleeve, "File Under Fire", Document featured a harder, more focused R.E.M. From "The One I Love" to "Fireplace", it was as if the band had become enflamed by the times. It was their most political album yet, with songs like "Exhuming McCarthy" and "Welcome to the Occupation" indicting the Reaganite indulgences of the 1980s. Avian imagery formed the album's other aesthetic undercurrent in "King of Birds" and "Disturbance at the Heron House", hinting at a phoenix-like rebirth. With their fifth album, R.E.M. emerged into the mainstream while managing to address politics with a dignity shared by few other visible acts of the era, at the same time offering a new path to the murmuring underground. Of course, they also gave us the timeless acronym "ITEOTWAWKI (AIFF)". --Christopher Dare

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047: John Zorn
Naked City
[Tzadik; 1989]

In many ways, John Zorn's po-mo mishmash Naked City project was the academic fruition of no-wave. Just like The Contortions and DNA (one of Zorn's faves), Naked City's effortless deconstruction of popular sounds seemed at once a reaction to the music, and completely apart from it. Ever wondered how the James Bond theme would sound if reinterpreted as noise-rock? They covered that. Always wished that those hardcore drummers could mix a little be-bop into their repertoire? Your wait was over. But Naked City was more than just raucous genre-bending; it was a visceral, sometimes violent (especially regarding the murder and bondage imagery Zorn associated with much of the music) display of controlled freedom-- and all of that performed by some of the most accomplished musicians to have ever been associated with rock. No New York, indeed. --Dominique Leone

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046: XTC
English Settlement
[Virgin; 1982]

Exit quirky English new wave, enter nervous breakdown. To Andy Partridge, it was clear XTC couldn't go on producing the same stage-ready sparxx at this point, and this double-LP was something of a sonic renaissance. The band's penchant for spiking the pop punch began a gradual shift towards the pastoral and "arty", yet these tunes could hardly be described as pretentious. Perhaps taking cues from the Talking Heads and The Police (XTC toured with both), world music touches began to creep into the band's mix, and a whole range of state-of-the-80s synth technology helped flesh out Partridge and Colin Moulding's still-maturing craft. "Ball and Chain", "Jason and the Argonauts", and "Snowman" are but a few of the songs from English Settlement that could not have appeared on any of their previous records, such was the complexity of the themes and arrangements. Of course, Partridge would soon explore these avenues to an extent that could no longer maintain the band's breakneck zeal in any capacity-- but that's another story. --Dominique Leone

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045: Prince
Sign 'O' The Times
[Paisley Park/Warner Bros; 1987]

Along with The White Album and Exile on Main Street, Sign 'O' The Times is the template for the perfect double album. Take an artist at the peak of his powers, give him the space to work all his crazy ideas to their logical conclusion, and then edit the results into a varied four-sided collection. Club classics ("Hot Thing", "U Got the Look"), ballads of epic rock ("The Cross"), sexy R&B ("Adore"), and flat-out amazing pop songs ("I Could Never Take the Place of Your Man," "If I Was Your Girlfriend") are all here in abundance. Oh yeah, he wrote, played, produced and sang just about everything himself, too. Was he the greatest quadruple threat ever? Listen and decide for yourself. --Mark Richardson

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044: Kraftwerk
Computer World
[Warner Bros; 1981]

The standard critic's line points to Computer World as the turn where the rest of electronic music caught the inside corner before dusting the dour Germans completely on the sad back stretch of the mid-80s. The truth is, Ralf and Florian were no longer interested in being ahead of the game in 1981, and Computer World was their chance to celebrate the arrival of the world that they'd been promising for so long. And what's a celebration without good pop songs? Ditties like "It's More Fun to Compute" and "Home Computer" show Kraftwerk at their most playful and self-aware, their electronics hadn't sounded this rich and warm since Autobahn, and the beautifully edited three-song stretch of "Pocket Calculator", "Numbers", and "Computer World 2" is perhaps Kraftwerk's finest sequence on record. Don't stop believing (until side two of Electric Caf?, that is.) --Mark Richardson

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043: Run-DMC
Raising Hell
[Profile; 1986]

Until I reached adolescence, I grew up in an isolated town in central Louisiana. Although the community was a majority African-American, most of us had only heard of hip-hop before Run-DMC. But after Jam Master Jay & Co dropped, there was a steady stream of cars headed to New Orleans in search of boomboxes and Adidas sneakers. Soon, the swamp was alive with the sounds of boom bap; and our parents and teachers watched in horror as we snapped, popped, and spat our way through childhood. Run-DMC took hip-hop out of the cities and introduced it to the world. They introduced us to a culture that is now the most wide-spread and influential youth culture in the world, making them every bit as important as Bob Dylan or the Rolling Stones. This is the group at their peak. [R.I.P. Jason "Jam Master Jay" Mizell: 01.25.62-10.30.02] --Sam Chennault

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042: Cowboy Junkies
The Trinity Session
[RCA; 1988]

It's amazing how many of the stylistic tropes of The Trinity Session have come to be a standard fare of the underground music scene. Now it would almost seem like an indie music clich?, but there just weren't many slow, country-tinged bands recording the Live 1969 version of "Sweet Jane" in 1988. Cowboy Junkies created a sound from VU's street poetry, traditional folk songs, Hank Williams, and Patsy Cline, then recorded it all live through a single microphone in a church in Toronto with the studied reverence of Midwestern graduate students. It still sounds great in the dark. --Mark Richardson

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041: Beastie Boys
Licensed to Ill
[Def Jam; 1986]

[Bowers:] Ryan, why is this on the list? [Schreiber:] Mmmfhhmm... [Bowers]: Dude, wake up! How'd you get a Twinkie in your effin' hair? Why are we honoring Licensed to Ill? Hasn't it become the frat lodestone it was supposedly lampooning? Wasn't it beneath them? Wasn't it condescending? Didn't even their concerts on this album's tour amount to statements of contempt for their audience, like their dumb videos? Wasn't this a callous move by Rick Rubin/Russell Simmons to cash in on "Walk This Way" rock-hop with a bunch of vaudevillian palefaces? [Schreiber:] You mean Elvises? This album is epochal. Think to when you first heard it. Then think to the last time you played it, how good the songs you didn't skip were. [Bowers:] You're right. In 1986 and in 2002, "The New Style", "Paul Revere", "Rhymin' and Stealin'" and "Hold It Now Hit It" made/make no sense and made/make perfect sense, as the Beasties rant like used car salesmen about fast food, hard drugs, and general malfeasance over rickety-suave backbeat clusters. And "Brass Monkey" keeps stealing my brain's lunch money. [Schreiber:] Then quit yer bitchin'. --William Bowers






040: Dinosaur Jr.
You're Living All Over Me
[SST; 1987]

It's appropriate that one of the most revolting, festering cysts on rock and roll's enduring legacy grew out of contempt for the incomparably deluded fratboys and prissy, politically correct dilettantes at UMASS, Amherst College, Holyoke, Hampshire, and of course, Smith. Dinosaur Jr recorded three albums in this environment before succumbing to a then-infamous personality clash between bassist Lou Barlow and lead singer/guitarist J Mascis; You're Living All Over Me is the finest document of their struggle, combining elements of H?sker D?, Sonic Youth, Jimi Hendrix and hardcore punk in a bubbling cauldron of disease. Mascis' wavering whine skirts annoyance thanks to even more grating, explosive distortion-- it's a low-fidelity overload unheard of in 1987, save perhaps for Big Black's turgid racket or Sonic Youth's Bad Moon Rising. The brutal onslaughts "Sludgefeast" and "Tarpit" are countered by a pair of twang pop songs ("In a Jar" and a version of Peter Frampton's "Show Me the Way"), but there's an economical middle ground where you'll find "Raisans", "The Lung" and "Little Fury Things", the best of Barlow-era Dinosaur Jr's proto-grunge rock. --Chris Ott

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039: The Stone Roses
The Stone Roses
[Silvertone; 1989]

The Stone Roses arrived so fully formed upon the release of their debut that it destroyed them altogether. This record simultaneously gathers the disparate strands of UK rock in the 80s and predicts the Britpop of the 90s. Guitar hooks drip from the stereo like honey spiked with acid and a dab of arsenic. Vocalist Ian Brown exudes boredom and venom in equal measure, calmly repeating, "I wanna be adored/ You adore me," as a mantra and confidently declaring, "I Am the Resurrection," as though it were pre-written. And it all sounded so good you believed it, even if just for a moment. --Joe Tangari

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038: The Cure
Disintegration
[Fiction/Elektra; 1989]

A titan of an album (clocking in at 70+ minutes with its two cassette/CD bonus tracks), Disintegration outlines every reason The Cure inherited the word "atmospheric" following the demise of Joy Division; though it wants for a single as glorious as "Just Like Heaven", Disintegration stands unquestionably as Robert Smith's magnum opus. The title track is without peer in their catalog, a tyrannical eight-minute epic swirling with formless, distant melodies and sinister, writhing lyrics. "Pictures of You", at 7? minutes, was nicely trimmed and remixed for 1990 radio play, but as with "Fascination Street" (the album's lead single, also heavily edited), the sonorous guitar architecture heard on the album version wins out every time. More than these highlights, Disintegration stands alone for its preamble: scant few albums released in the 1980s can boast an opener as grand as "Plainsong", the most breathtaking, shimmering anthem the band ever recorded. --Chris Ott

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037: The Replacements
Tim
[Sire; 1985]

With a shave and a shower, the 'Mats didn't sound half bad. After wiping the puke off their shoes, they were almost ready for their big date with radio. Almost. Even armed with the rough-and-tumble love letter "Left of the Dial", Tim couldn't break through at any frequency that reached past the campus line-- the angst was too ahead of its time, and Paul Westerberg's voice still refused to stick to the fantastic melodies that kept flowing from his brain. Though The Replacements couldn't quite bust down the door here, they did leave it hanging off its hinges, and when the next wave of uncompromising bands (who knew that the 'Mats got a raw deal) finally came of age, they just waltzed right in. --Brendan Reid

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036: Violent Femmes
Violent Femmes
[Rough Trade; 1983]

Using minimal instrumentation to convey maximal sexual frustration, the Violent Femmes showed that you don't need a distortion pedal to be punk, "Kiss Off" and "Add It Up" being two mini-sagas that absolutely seethe with uncompromised hormone overflow (read: "why can't I get just one FUCK!"). But unsung heroes shine as well, particularly the bittersweetness of "Good Feeling" and the pleading "Prove My Love". I used to feel sorry that the Femmes were stuck playing the same material through their graying years, but they can at least take comfort in the fact that their debut will be loved as long as there are horny 10th graders in the world; in other words, forever. --Rob Mitchum

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035: N.W.A.
Straight Outta Compton
[Ruthless/Priority; 1988]

While Public Enemy and Boogie Down Productions tried to take the high ground, NWA didn't bother with either coherent political platforms or constructive pro-unity messages. NWA was dangerous in the most immediate and scary sense. In their music, you could hear the reckless adrenaline of youth pumping through the nihilistic heart of South Central L.A., where the average man didn't make it out of his twenties. And with Dre on the boards and Ice Cube writing the rhymes, theirs was a very well-stated malaise. It must be noted that the album was funded with crack money and assailed by everyone from the morality police to the FBI. While many imitators have tried, no one has been able to capture the rage and vitality of Straight Outta Compton. --Sam Chennault

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034: Talk Talk
Spirit of Eden
[EMI; 1988]

There aren't many records out there like this one, a collection of meditative songs so abstracted by their arrangements that it's impossible to pin them to their era. Talk Talk created something so uniquely their own on Spirit of Eden that the only people to effectively traverse that terrain again were Talk Talk themselves, on their 1991 masterpiece Laughing Stock. Instrumental timbres combined in strange ways to create new sounds, and Tim Friese-Greene's production allowed for massive dynamic shifts and passages of glassy clarity. Common modern tags for genreless music like obscuro and post-rock needn't apply-- Spirit of Eden is the sound of elegance itself. --Joe Tangari

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