Password: sharedmusic.net
Artist: ABC
Title: Traffic
Label: Borough Music
Genre: Rock
Bitrate: 201kbit av.
Time: 00:47:10
Size: 71.51 mb
Rip Date: 2008-04-28
Str Date: 2008-00-00
1. Sixteen Seconds To Choose 3:11
2. The Very First Time 3:38
3. Ride 3:37
4. Love Is Strong 4:06
5. Caroline 4:45
6. Life Shapes You 3:49
7. One Way Traffic 3:44
8. Way Back When 4:12
9. Validation 3:57
10. Lose Yourself 4:02
11. Fugitives 4:02
12. Minus Love 4:07
Release Notes:
ABC was the epitome of the flashy "new pop" sound that
dominated the British charts in the first half of the '80s.
The band's roots lay in the Sheffield electro-pop group Vice
Versa, which shifted gears when singer/songwriter Martin Fry
joined, moving towards a glam/soul sound that fitted in nicely
with the Duran Duran/Spandau Ballet New Romantic school. Fry's
Bowie/Roxy Music-influenced image and witty lyrics, along with
the band's smashing pop hooks and Trevor Horn's lush
production, earned the band a batch of hits straight out of
the gate with 1982's THE LEXICON OF LOVE. While ABC never
duplicated that album's success, they persevered through
stylistic shifts and personnel changes, achieving a longevity
few might have predicted.
Part: 2 : REM - In Time (The Best Of REM) (2005)
Password: sharedmusic.net
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ÝÄÄÄÄÄÄ Release Info ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÞÝ ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ Ý ÄÄÄÄÄÄÄÄ Þ
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Originally released : 05-01-2005
Release date : 03-28-2007
Album name : In Time (The Best Of REM)
Artist : REM
Ripped by : Team EOS
Genre : Alternative
Label : Warner
Encoding Software : Lame EOS
Quality : -V 2
Tracks : 18
Size of Files : 112,1 MB
Ä Track list ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÄÄÄ Ä Ä
01 05:14 Man On The Moon
02 05:07 The Great Beyond
03 04:08 Bad Day
04 04:01 What's The Frequency, Kenneth
05 04:46 All The Way To Reno
06 04:29 Losing My Religion
07 05:26 E-Bow The Letter
08 03:53 Orange Crush
09 03:58 Imitation Of Life
10 03:41 Daysleeper
11 04:03 Animal
12 04:08 The Sidewinder Sleeps Tonite
13 03:12 Stand
14 04:08 Electrolite
15 02:48 All The Right Friends
16 05:19 Everybody Hurts
17 03:36 At My Most Beautiful
18 04:18 Nightswimming
Total time: 76:15 min
Ä Release notes ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÄÄÄ Ä Ä
R.E.M. began their Warner contract in 1988 as the
biggest band to emerge from the college-radio-fueled
American underground. Fifteen years later, they
released In Time: The Best of R.E.M. 1988-2003, the
first overview of their long stint at Warner Records.
During that decade and a half, R.E.M. had a turbulent
journey. At the outset, their legend and influence as
one of the key -- if not the key -- bands of the
American underground was firmly in place, but their
success kept growing, culminating in a breakthrough to
international stardom in 1991 thanks to "Losing My
Religion" and Out of Time. For a few years there, they
were one of the biggest bands in the world, standing as
role models and godfathers for the alt-rock explosion
of the '90s; even as grunge ruled the U.S. and U.K.,
R.E.M. were having their biggest hits with the brooding
Automatic for the People (1992) and the guitar-heavy
return-to-rock Monster (1994). Then, midway through the
decade, the road got a little bumpy. The Monster tour
was plagued with problems, the most noteworthy being
drummer Bill Berry's on-stage aneurysm in 1995. He left
the band the next year, not long after the band parted
ways with Jefferson Holt, their longtime manager who
was immortalized in their 1984 song "Little America."
Singer Michael Stipe, guitarist Peter Buck, and Mike
Mills struggled to find their footing as a trio as they
tackled more ambitious projects that found an ever more
selective audience. Truth be told, this transition
started on the final Berry album, 1996's New Adventures
in Hi-Fi, which found R.E.M. expanding their sonic
template to acclaim from critics and hardcore fans,
even if they started to see the audience they won over
the previous decade start to shrink.
All this means the Warner era for R.E.M. doesn't
represent one particular phase of their career --
during their time at Warner, they went through two
phases, with the first half being the culmination of
their rise and the second being their awkward return to
cult status. This divide is clear and fairly easy to
pinpoint. In his track-by-track liner notes (neatly
mirroring his notes for the 1987 rarities comp Dead
Letter Office), Buck claims that dividing line is pre-
and post-"Losing My Religion," which is true at least
as far as stardom goes, but it could be argued that the
classic period ended with Automatic, since that
follow-up to Out of Time showed that R.E.M. could not
only live with the fame, but flourish within it.
Everything that followed Automatic came from a
different narrative and derived from a different
starting point, one that was removed from the jangle
pop that lay at the heart of their first ten years as
recording artists. Related, yes, but quite different --
more self-conscious, heavily produced, and deliberate,
occasionally reaping great results but just as often
sounding labored. It was a great contrast to early
R.E.M., where the music seemed to flow naturally and
easily. Though it has no early IRS material, In Time
paints this contrast effectively, not only through the
Green and Automatic material, but even through more
recent material -- the new song "Bad Day" and the 2001
revamp of "All the Right Friends" (contrary to Buck's
claim in the liners that the band did cut this for IRS;
it even appeared as a bonus track to a European reissue
of Dead Letter Office). Both are built on a swirling,
jangling folk-rock guitar line, propulsive rhythms,
intertwined vocal harmonies, and urgent vocals from
Stipe. In other words, they sound like classic R.E.M.,
and they should -- they date from the '80s and bear
co-writing credits with Berry. Unfortunately, they
sound much fresher than the other new song, the overly
fussy "Animal," which is the problem with In Time in a
nutshell: the two phases of R.E.M.'s career don't sit
well together, but here, they're given close to equal
space. R.E.M. the quartet does get more time than
R.E.M. the trio, and the latter did produce some really
nice tracks, which are chronicled here: "The Great
Beyond" is a minor masterpiece, "All the Way to Reno"
is the best of their faux-lounge phase, and "Imitation
of Life" and "Daysleeper" are good classicist R.E.M.
Still, the immaculate production of Pat McCarthy's work
with Buck, Mills, and Stipe has a denser, heavier, more
laborious feel than Scott Litt's work with Berry, Buck,
Mills, and Stipe, and the two not only don't fit
together, the oddity of the pairing points out that
there are a number of missing singles -- a full 17, if
international releases and radio-only hits are counted
(and, given the nature of '90s rock, they do count).
And these aren't minor songs, either; they're modern
rock radio staples: "Pop Song 89," "Texarkana,"
"Drive," "Ignoreland," "Bang and Blame," "Strange
Currencies," "Crush With Eyeliner," "Bittersweet Me,"
and "Shiny Happy People," the latter of which is
roundly hated by the band yet nevertheless should be on
a hits compilation for the sake of completeness. Of
course, not all the songs could fit on a mere 18-track
compilation -- and if they went for a double-disc set,
they'd be better off with a career-spanning set -- but
the song selection leaves something to be desired, even
if it does present a reasonably accurate portrait of
R.E.M. the adult alternative pop band, and it certainly
does point out the inconsistencies of the band's Warner
work. So, in that sense, In Time is an effective
collection, but it also remains a little disappointing
since it not only could have been done better, but by
its very nature, this compilation can't help but point
out the creative cul-de-sac R.E.M. found themselves in
at the end of their Warner career. It's not the fate
that anyone would have predicted in 1988.
Ä Contact ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÄÄÄ Ä Ä
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