NAPALM DEATH : (2005) The Code is Red..Long Live the Code

Had you dared to suggest back in the late '80s that Napalm Death -- not one of their supposedly more stable peers -- would be the ones to survive through thick and thin and become elder statesmen of extreme metal, you might have been laughed right out of the meat market. But here they are, still thriving decades on from grindcore's violent birth and 11 (that's 11!) studio albums into their career, despite continued challenges like the long-mooted, now seemingly official, departure of long-serving guitarist Jesse Pintado after a decade of work alongside mainstay Mitch Harris. Of course with this elder statesmen status comes the matter of (cough!) maturity, and that right there may be the single word that defines 2005's The Code Is Red...Long Live the Code, whether Napalm likes it or not. It also serves as the dividing line between those fans who have either stuck with or recently discovered the band, and those for whom Napalm Death may as well have died an excruciatingly painful, er, napalm death after releasing those two grindcore-defining first albums: Scum and From Enslavement to Obliteration. The latter are encouraged to take a hike right now, because even ultra-brief new punishments like "Right You Are" and "Pay for the Privilege of Breathing" only barely recall those early years, of which enduring bassist Shane Embury is the only remnant. Rather, though signature new material like "Silence Is Deafening," "Climate Controllers," and "Striding Purposefully Backwards" retains a concerted punk edge in its riffing and arrangements (a trend begun with 2000's revitalizing Enemy of the Music Business), Napalm's maturity (there's that word again), improved technical abilities, as well as a cleaner, more sophisticated production can't help but manifest themselves throughout this set. And yet, even as they prove that reinstating a certain punk ethos still won't get you back to Kansas again, these tracks carry an implicit challenge, daring even the most cynical of listeners to remain unmoved by the gigantic riffs unleashed by the title track or the colossal "All Hail the Grey Dawn" -- not to mention Barney Greenway's still inimitable throat of Armageddon. At this stage, all that's left to comment on are the guest appearances from Hatebreed's Jamie Jasta (pretty nondescript, somewhere in "Instruments of Persuasion"), old Carcass sparring mate Jeff Walker (more obvious in "Pledge Yourself to You"), and lending his unmistakable warble to "The Great and the Good," none other than Jello Biafra. In sum, while most certainly not likely to reconvert old-school grindcore purists, The Code Is Red...Long Live the Code shows Napalm Death in finer form than arguably any of their '90s efforts and lacking little in terms of the uncompromising fury and intelligence that helped make their name....by Ed Rivadavia, All Music

Tracks:
1. silence is deafening
2. right you are
3. diplomatic immunity
4. the code is red...long live the code
5. climate controllers
6. instruments of persuasion
7. the great and the good
8. sold short
9. all hail the grey dawn
10. vegetative state
11. pay for the privilege of breathing
12. pledge yourself to you
13. striding purposefully backwards
14. morale
15. our pain is their power
16. morale (bonus)

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THIN LIZZY: (1977) Bad Reputation

If Thin Lizzy got a bit too grand and florid on Johnny the Fox, they quickly corrected themselves on its 1977 follow-up, Bad Reputation. Teaming up with the legendary producer Tony Visconti, Thin Lizzy managed to pull of a nifty trick of sounding leaner, tougher than they did on Johnny, yet they also had a broader sonic palette. Much of this is due, of course, to Visconti, who always had a flair for subtle dramatics that never called attention to themselves -- witness Ziggy Stardust, which is layered with color but still sounds muscular -- and he puts this to use in dramatic effect here, to the extent that Lizzy sounds stripped down to their bare bones, even when they have horns pushing them forward on "Dancing in the Moonlight" or when overdubbed vocals pile up on the title track. Of course, they were stripped down to a trio on this record, lacking guitarist Brian Robertson, but Scott Gorham's double duty makes his absence unnoticeable. Plus, this is pure visceral rock & roll, the hardest and heaviest that Thin Lizzy ever made, living up to the promise of the title track. And, as always, a lot of this has to do with Phil Lynott's writing, which is in top form whether he's romanticizing "Soldiers of Fortune" or heading down the "Opium Trail." It adds up to an album that rivals Jailbreak as their best studio album...by Stephen Thomas, All Music

Tracks:
1. soldier of fortune
2. bad reputation
3. opium trail
4. southbound
5. dancing in the moonlight
6. killer without a cause
7. downtown sundown
8. that woman's gonna break your heart
9. dear lord

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THIN LIZZY : (1978) Live and Dangerous

Released in 1978, just as the hot streak starting with 1975's Fighting and running through 1977's Bad Reputation came to an end, Live and Dangerous was a glorious way to celebrate Thin Lizzy's glory days and one of the best double live LPs of the 70s. Of course, this, like a lot of double-lives of that decade -- Kiss' Alive! immediately springs to mind -- isn't strictly live; it was overdubbed and colored in the studio (the very presence of studio whiz Tony Visconti as producer should have been an indication that some corrective steering may have been afoot). But even if there was some tweaking in the studio, Live and Dangerous feels live, containing more energy and power than the original LPs, which were already dynamic in their own right. It's this energy, combined with the expert song selection, that makes Live and Dangerous a true live classic...by Stephen Thomas Erlewine, All Music

Tracks:
1. jailbreak
2. emerald
3. southbound
4. rosalie/cowgirl's song
5. dancing in the moonlight
6. massacre
7. still in love with you
8. johnny the fox meets jimmy the weed
9. cowboy song
10. the boys are back in town
11. don't believe a word
12. warrior
13. are you ready
14. suicide
15. sha la la
16. baby drives me crazy
17. the rocker

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THIN LIZZY : (1979) Black Rose - A Rock Legend

Black Rose: A Rock Legend would prove to be Thin Lizzy's last true classic album (and last produced by Tony Visconti). Guitarist Brian Robertson was replaced by Gary Moore prior to the album's recording. Moore had already been a member of the band in the early '70s and served as a tour fill-in for Robertson in 1977, and he fits in perfectly with Lizzy's heavy, dual-guitar attack. Black Rose also turned out to be the band's most musically varied, accomplished, and successful studio album, reaching number two on the U.K. album chart upon release. Lizzy leader Phil Lynott is again equipped with a fine set of originals, which the rest of the band shines on -- the percussion-driven opener "Do Anything You Want To," the pop hit "Waiting for an Alibi," and a gentle song for Lynott's newly born daughter, "Sarah." Not all the material is as upbeat, such as the funky "S&M," as well two grim tales of street life and substance abuse -- "Toughest Street in Town" and "Got to Give It Up" (the latter sadly prophetic for Lynott). Black Rose closes with the epic seven-minute title track, which includes an amazing, complex guitar solo by Moore that incorporates Celtic themes against a hard rock accompaniment. Black Rose: A Rock Legend is one of the '70s lost rock classics.... by Greg Prato, All Music

Tracks
1. do anything you want to
2. toughest street in town
3. s&m
4. waiting for an alibi
5. my sarah
6. got to give it up
7. get out of here
8. with love
9. roisin dubh (black rose)

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THIN LIZZY : (1980) Chinatown

While Thin Lizzy's previous release, Black Rose, was a focused, inspired hard rock masterwork, its follow-up, 1980's Chinatown, was a letdown. Guitarist Gary Moore was a major reason for the predecessor's success, but he quit during the subsequent tour (eventually replaced by ex-Pink Floyd touring guitarist Snowy White). Also, leader Phil Lynott and guitarist Scott Gorham were indulging heavily in hard drugs by this point, which was obviously taking its toll. And since producer Tony Visconti was not on board again, the lively production that played such a prominent part in the success of their past few releases was noticeably absent. The first side contains the best material: the anthemic "We Will Be Strong," the pop perfection of "Sweetheart," the obviously autobiographical drug tale of "Sugar Blues," plus the British hit singles "Killer on the Loose" and the title track. The second side, however, is comprised almost entirely of bland filler, such as "Having a Good Time," "Didn't I," and "Hey You." While it's not their worst album (that "honor" would go to their next studio album, 1981's Renegade), Chinatown should have been a lot better, especially coming off such a stellar release as Black Rose...by Greg Prato, All Music

Tracks:
1. we will be strong
2.chinatown
3. sweetheart
4. sugar blues
5. killer on the loose
6. having a good time
7. genocide (the killing of the buffalo)
8. didn't I
9. hey you

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THIN LIZZY : (1982) Renegade

It is widely agreed among Thin Lizzy fans (and by the band themselves) that their 1981 release, Renegade, was their worst. The raw, rocking Lizzy of the past (Jailbreak, Black Rose, etc.) is nowhere to be found here; in its place is a keyboard-heavy rock band with blatant pop leanings and a production too similar to British heavy metal bands of the early '80s. New guitarist Snowy White never truly fit into the band (both musically and visually), and it was never more apparent than on Renegade. As with its predecessor, Chinatown, heavy drug use plagued the sessions, again resulting in an uninspired, unfocused affair (especially evident in Phil Lynott's flat vocals). The six-minute opener, "Angel of Death," doesn't measure up to past Lizzy epics, while the title track fails at trying to pull on the heartstrings with a tale about a misunderstood youth. The powerful Lizzy of old resurfaces briefly on such rockers as "The Pressure Will Blow," "Leave This Town," and "Hollywood (Down on Your Luck)," but the clean production almost neuters these potential heavy classics. A jazzy experiment, "Fats," proves to be an interesting one, but run-of-the-mill originals like "Mexican Blood" and "It's Getting Dangerous" far outnumber the highlights, making Renegade Lizzy's second disappointing release in a row....by Greg Prato, AMG

Tracks:
1. angel of death
2. renegade
3. the pressure will blow
4. leave this town
5. hollywood (down on your luck)
6. no one told him
7. fats
8. mexican blood
9. it's getting dangerous

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TIGERTAILZ : (2005) Bezerk

This album has absolutely some of the best glam rock/hair metal you will ever come across, it's a shame it was released in 1990 when that era in music was starting to die. These guys can rock with the best of that era; Motley Crue, Ratt and Poison being the most similar. Sorry to Bret and the boys, but these guys do Poison better than Poison.
If you like big guitars, big choruses and songs with hooks that will stay with you for days then buy this CD. From the opening of Sick Sex you know this album won't have any deep meaning or require alot of thought, just turn up the volume, sing along and rock. Some highlights include: Love Bomb Baby(perfect for radio or MTV), Noise Level Critical, Love Overload, Twist And Shake and Heaven(the obligatory ballad- and not a bad one).
It's too bad these guys weren't around 5 years earlier, I think they could have been big. If you are a fan of "Hair Metal/Glam Rock", definitely check this out. The songs simply rock and you can just have some fun listening to a great CD...by Beandog, Clinton IA

Tracks:
1. Sick Sex
2. Love Bomp baby
3. I can Fight Dirty Too
4. Noise Level Critical
5. Heaven
6. Love Overload
7. Action City
8. Twist and Shake
9. Squeeze It Dirty
10. Call of the Wild

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TIGERTAILZ: (1995) Wazbones

After the moderate sucess of the amazing "Bezerk" tigertailz experianced problems with record labels and two members of the personnel leaving because of it. the follow up Wazbones was delayed for several years, when it finaly came out in '95 the world had lost what little interest it had. That doesn't mean it is bad, far from it. Wazbones makes huge head way in terms of lyrics and overall sound. While they were always heavier than there contemperies. (even to go as far as having a known thrash producer to oversee "Bezerk") wazbones takes it a step forward and delivers hard edged hooks and driving melodies. Each member excells, especialy Tate who's bass rumbles and pounds along very nicely. There are many standout tracks, T.Y.F.O, Belly Of The Beast, Perish and let your flesh instruct your mind. Unfortunatly after the release of this album the band split and have dissapered from view. Shame as judgeing from this they still had alot to offer. Definatly their finest album to date.... by P. Haves

Tracks:
1. tyfho
2. dirty needles
3. belly of the beast
4. pigface
5. love junkie
6. make me bleed
7. perish
8. let your flesh instruct your mind
9. love can kill
10. in the name of the gun
11. wazbones
12. i believe
13. show me
14. tyfho (version #1)
15. the final solution

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TIGERTAILZ : (1987) Young and Crazy

Tracks:
1. Star Attraction
2. Hollywood Killer
3. Ballerina
4. Livin' Without You
5. Shameless
6. City Kidz
7. Shoot to Kill
8. Turn Me On
9. She'z Too Hot
10. Young and Crazy
11. Fall in Love Again

D-load album :-) http://lix.in/9fe0e8
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TIGERTAILZ : (2006) Original Sin

Tracks:
1. Shoot to Kill
2. Turn Me On
3. Now You're on Your Own
4. Fall in Love Again
5. Young and Crazy
6. Star Attraction
7. Living Without You
8. Take It to the Limit
9. I Want You to Want Me
10. Cat Got Ya Tongue

D-load album :-) http://lix.in/676c1b
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MOTORHEAD: Live at Brixton

Bad record deals have plagued Motorhead's career, resulting in countless low-quality live recordings and pointless re-packagings, but 1994's Live at Brixton is one of the rare exceptions. Recorded during the band's 1987 tour, this set was originally chosen for release as their second official live album, No Sleep at All, but at the last minute, another, noticeably inferior concert recording was used. Combining classics from the band's early days ("Stay Clean," "Ace of Spades," "Metropolis") with more recent cuts ("Doctor Rock," "Orgasmatron," "Deaf Forever"), the album's only major downfall is the inclusion of too many mediocre tunes ("Dogs," "Traitor," "Stone Deaf in the USA") from the disappointing Rock'n'Roll album. Brand new track "Just 'Cos You got the Power" is one of the album's highlights; at over eight minutes, it shows a rarely seen, bluesier side of Motorhead. So if you haven't bought No Sleep at All yet, don't! Get this one instead...by Ed Rivadavia, All Music

Tracks:
1. Doctor Rock
2. Stay Clean
3. Traitor
4. Metropolis
5. Dogs
6. Ace of Spades
7. Stone Deaf in the USA
8. Eat the Rich
9. Built for Speed
10. Rock & Roll
11. Deaf Forever
12. Just 'Cos You Got the Power

D-load covers :-) http://sharebee.com/b4a9c9a1
D-load album :-) http://lix.in/835408
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MALEVOLENT CREATION : (1997) In Cold Blood

This remains MALEVOLENT CREATION's most brutal, uncompromising album to date, falling closer to pure Grindcore than Death Metal, but containing the power and brutality which the latter genre is known for, and MALEVOLENT CREATION helped to define. The production is massive and all-encompassing, with a particularly colossal drum sound, the band enlisted the amazing talents of Derek Roddy for the drum-chair on this effort, and the result is nothing less than you'd expect from the man, anyone who's heard him on NILE's "Black Seeds Of Vengeance" knows what I'm talking about...no "wink wink" necessary...
"In Cold Blood" has precious little to offer in the way of variety, but MALEVOLENT CREATION were not particularly known for that after all. The appeal of this album lies more in the fact that it is perfect for those "inconsolable times", when you would take great pleasure in murdering someone, something, anything really. I would choose "Nocturnal Overlord" for a soundtrack to such an endeavour, the most scathing opening-track MALEVOLENT CREATION has ever crafted, with an intro that will physically knock you down if you're not careful. The remainder of the album, with a few exceptions, is basically in a similar vein. Some of your more self-conscious critics might slag the band as not including enough differentiation between songs, too same-y maybe? Well, I agree in some ways, this isn't an album I will turn to when I'm in need of texture, there's always CYNIC for those times, but I also don't neglect the importance of albums like this. Was "Reign In Blood" a particularly "varied" album? Was it not the blatant relentlessness of said album that helped make it an all-time great? I feel "In Cold Blood" serves a similar purpose... Other skull-crushing cuts: tracks 2-13. You can just put this album in, set the player to "random", and get maximum bludgeoning potential no matter what. However, special notice goes to closing song "Seizure," I think the title itself kinda goes without saying...On a personal note, this album, a few years back, played a big part in my hook-line-&-sinker introduction to the vast topography of blasting Death Metal, whether that's a good or bad thing is anybody's guess. I suppose I could have found RHAPSODY at the same time and started wearing tight-fitting jockstraps and silken garments, so I can't complain...
Now put down that bong and go get this! ...by Gabe, Metal Observer

Tracks:
1. Nocturnal Overload
2. Prophecy
3. Compulsive
4. Narcotic Genocide
5. Violated
6. Leech
7. In Gold Blood
8. Vision of Malice
9. Iii II
10. Preyed Upon
11. Millions
12. Condemned
13. Seizure

D-load album :-) http://lix.in/6f8212
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MALEVOLENT CREATION: (2000) Envenomed

Phil fasciana sent me an advance copy of ENVENOMED and i was completely blown away by it...it is definitely the band's best album to date. the opening track "homicidal rant" is a catchy uncompromising miserable masterpiece. dave culross has improved his playing by not only getting faster but also becoming more tempo-consistent with fills, double bass, and his trademark human-metronome blast beats. brett hoffman's voice is without a doubt the sickest sounding gurgle i have ever heard in my life. although i would like to hear him one day return to his early day almost-melodic style heard on "the ten commandments", there is no lack of vocal firepower on ENVENOMED especially on the track "night of the long knives", where he belts out the most painful ear-piecing scream ever executed by any death metal vocalist. bottom line...this guy knows what he's doing and he does it well. guitarists phil fasciana and rob barrett are tighter and clearer than ever, and this time bassist gordan simms is finally heard in the mix unlike 1998's underproduced yet classic album THE FINE ART OF MURDER. other high points of ENVENOMED...the "manic demise"-style track "kill zone" and the catchy "deviant's march". if i had to say something negative about this record just to be fair, i would mention the low mix and lack of bite of the rythym guitars. also missing from the band's former formula are brett's intelligent and well crafted lyrics not heard since the band's quirky 1993 effort, STILLBORN. if this makes sense, a perfect record is never "perfect". ENVENOMED is a masterpiece and everyone that can handle death metal should get this. check out my other reviews of MALEVOLENT CREATION coming soon.... by Oddity

Tracks:
1. Homicidal Rant
2. Night Of The Long Knives
3. Kill Zone
4. Halved
5. Serial Dementia
6. Bloodline Severed
7. Pursuit Revised
8. Conflict
9. Viral Release
10. The Deviant's March
11. Envenomed

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MALEVOLENT CREATION : (2004) Warkult

Seminal, prolific, and well nigh indestructible despite having weathered more musician turnover than Spinal Tap (at least 16 people have played in the band at one point or another) in their 15-year career, Malevolent Creation have, if nothing else, proved themselves to be as permanent as the genre itself. 2004's Warkult is something like their tenth LP of original material, and, although guitarist Phil Fasciana is now the sole remnant from 1991's debut The Ten Commandments, the band's corrosive brand of classic American death metal remains relatively intact. New school, meet the old school -- this is what death metal was originally built on: speedy, post-thrash riffing slung to lower depths of tuning and frequent time changes, and, certainly in Malevolent Creation's case, rough but generally intelligible cookie-monster vocals (if you really have to pay attention to the lyrics). Holding steadfast along these lines, Warkult (which, as its title would suggest, delves almost exclusively into subjects of warfare) gets going on a quickly building intro called "Dead March" before vomiting forth ferocious standouts like "Preemptive Strike," "Supremacy Through Annihilation," and "Shock and Awe." None of these will probably ever be considered absolute genre classics, but still deliver head-banging, fist-pumping, teeth-gnashing moments of death metal ecstasy, while bringing a welcome sense of continuity to Malevolent Creation's ongoing mission. [Most versions of Warkult also featured a bonus track called "Jack the Ripper" -- a cover of obscure Australian metal band Hobbs Angel of Death....by Ed Rivadavia, All Music

Tracks:
1. Dead March
2. Preemptive Strike
3. Supremacy TYhrough Annihilation
4. Murder Reigns
5. Captured
6. Merciless
7. Section 8
8. On Grounds of Battle
9. Tyranic Oppression
10. Ravenged by Conflict
11. Shock and Wave
12. Jack the Ripper

D-load album :-) http://lix.in/6b3c34
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MALEVOLENT CREATION : (1993) Stillborn

This is better than the horrible Fine Art of Murder, but not as strong as the first two (Ten Commandments and Retribution, both timeless classics!). While this album suffers from bad production and mediocre vocals (what happened Hoffman?!!!?), it is still a great listen. Sure, some don't like it, but i shure as hell love it! The songwriting here is top notch, great arrangements with lots of changes, cool riffs, makes me wanna smash something. I have their first albums, I like the stuff they did with Blachowicz of vocals (he was their bass player, took over vocals in 1995 with "Eternal") and have those two albums (Eternal and the fast as hell In Cold Blood, both albums deserve 4 stars...), but with Fine Art of Murder they lost me. The album opens with Dominated Resurgence, a track just chuck full of riffs and lots of energy. You get Phill Fasciana's classic riffs all over the place, and the drumming will grab you by the nuts. The album keeps the pace up until the 5th track, Stillborn, which begins slow but builds up to hyperspeed. The album closer is a mid paced song, but not as good as ther rest of the album.
Give this album a try, download some tracks or something (before you cough up the import price). Favorite tracks here have to be the first two...and Genetic Affliction (8). If your reading this review, you probably already heard some other reviewer in another place bash this album. The band isn't proud of this album (don't see why), and suffered the same fate as Suffo's Breeding the Spawn. Larry Hawke just blows Alex Marquez' drumming on Retribution out of the water!

Tracks:
1. Dominated Resurgency
2. The Way of All Flesh
3. Dominion of Terror
4. Geared of Gain
5. Stillborn
6. Ordain the Hierarchy
7. Carnivorous Misgivings
8. Genetic Afliction
9. Ethnic Cleansing
10. Disciple of Abhorrence

D-load album :-) http://lix.in/af53f6
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MALEVOLENT CREATION : (2000) Manifestation

Now for my review. This is not another studio album by the band but it is a retrospective compilation or "best of" album. It is bassically a release package comprised of 2 CD's. The first CD features only songs from Eternal, Joe Black, In Cold Blood and The Fine Art Of Murder which are albums that the band released during their years on Pavement (now Crash Music). I'm pretty sure that some Malevolent die-hards and even the band itself is a little dissapointed with that because there were no songs from the band's first 3 albums. Personally, I would of wanted that but unfortunitely, life's a bitch. Anyway, this minior setback takes nothing away from this release because the song sellections are great. A lot of my favorite songs from those Pavement albums are here. So no big deal. The second CD is an enhanced CD featuring songs from their first 2 albums recorded live. The performances are devestating and totally brutal. There is also a CD-ROM portion of the CD with live footage. I've never been able to see it because I don't have a CD-ROM. So all in all, it's a great package and a true addition to the brutal collection of any Malevolent Creation maniac. So buy it and experience the f--king slashing manifestations of brutal death metal malevolence. Enjoy yourself and thrash away....by Ronald Placeres, Miami

Tracks:
1. In Cold Blood
2. Condemned
3. Nocturnal Overlord
4. Fine Art Of Murder
5. Scorn
6. Blood Brothers
7. Impaled Existence
8. Living In Fear
9. Manic Demise
10. To Die Is At Hand
11. Infernal Desire
12. Bone Exposed
13. Alliance Or War
14. Mass Graves
15. Joe Black
16. Self Important Freak
17. Multiple Stab Wounds (Live)
18. Eve of the Apocalypse (Live)
19. Slaughter of Innocence (Live)
20. Monster (Live)

D-load album :-) http://lix.in/6a0c84
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MALEVOLENT CREATION : (1996) Eternal

The signs weren't looking good for Malevolent Creation's 4th album - their previous album Stillborn (some good songs but dire production) had taken a critical mauling, they'd parted ways with their record label Roadrunner (in common with every other decent death metal band after the genre was no longer trendy enough for the label in the mid '90's), and had lost the talents of vocalist Brett Hoffman and drummer Alex Marquez. Against the odds Eternal is one hell of a comeback album, and ranks up there as one of the best albums the band ever released.
First off the production is excellent, with searing guitars and powerful drums. This is the album where Malevolent Creation started piling on the blast-beats, and drummer Dave Culross is so good you've forgotten Alex Marquez by the second track. The album is chock full of muscular riffs, with this album acting as the perfect midpoint between the mid-pace death metal of the bands debut release and the frantic speed-fests of their later albums. The only possible flies in the ointment are one fairly disposable filler track (Unearthly) and some sensitive listeners may take offence at the seemingly racist lyrics of They Breed (an issue which would allegedly lead to the dismissal of vocalist/bassist Jason Blachowiz), but the quality of the material here is so high that I have to give it maximum marks. For pure death metal, you'd be hard pressed to find a better album than this.... by Jane Aland, London

Tracks:
1. No Salvation
2. Blood Brothers
3. Infernal Desire
4. Living in Fear
5. Unearthly
6. Enslaved
7. Alliance of War
8. They Breed
9. To Kill
10. Hideous Reprisal
11. Eternal
12. Tasteful Agony

D-load album :-) http://lix.in/b9c0f1
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MALEVOLENT CREATION : (1998) The Fine Art of Murder

Malevolent Creation have gone through alot during this period when they released this album in 1998 there was a change lineup, infighting, censorship, attack from religious groups etc. but they still have managed to survive and make great music. They have unmatched sheer force and great songwriting ability and of course we have some great songs in here like Rictus surreal, Manic demise, the atmospheric title track that uses a synthesizer and Day of lamentation which is an accoustic and electic guitar ballad well its more like a doom metal song then theres Fracture with its spoken words done by Brett Hoffman and the aggresive opener To die is at hand. You could tell that they were trying something different with this album like an experimentation but the problem is with that it has low production values, the base is some times unlistenable and you could barely hear it however this is just a slight problem and does not ruin the overall experience, this is still a crushingly heavy and intense album with some hyperspeed riffs and intricate solos you name it this album has everything you want in a death metal album....by Puzzle Box, Kwait

Tracks:
1. To Die Is At Hand
2. Manic Demise
3. Instinct Evolved
4. Dissect The Eradicated
5. Mass Graves
6. The Fine Art Of Murder
7. Bone Exposed
8. Purge
9. Fracture
10. Rictus Surreal
11. Scorn
12. Day Of Lamentation
13. Scattered Flesh

D-load album :-) http://lix.in/aec102
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MALEVOLENT CREATION: (1992) Retribution

Retribution is Malevolent Creation at their best... Of course, I'm sure many people will disagree with me on account of their first album The Ten Commandments, however, although that album is top notch I find that Brett Hoffman's vocals on this effort are much better, more guttural, less "thrashy" and simply more brutal! The songs are powerful and aggressive and the guitar riffs are memorable (Rob Barrett would later leave to play with Cannibal Corpse). Being an album from 1992 there aren't blast beats from beginning to end like most death metal acts these days (or Malevolent Creation's recent stuff for that matter...), but then, that's what makes this album so good. The way the songs flow from one to another, the variety in song structure and Brett Hoffman's great vocals (which allow you to make out and consequently "sing" along with like on outstanding tracks like Slaughter of Innocence and Coronation of our Domain).
This is the kind of album that you can listen to over and over, keep for years and years (like I have) and always enjoy it as much as the first time simply because it's that good... by Darkminds

Tracks:
1. Eve of the Apocalypse
2. Systematic Execution
3. Slaughter of Innocence
4. Coronation of Our Domain
5. No Flesh Shall Be Spared
6. The Coldest Survive
7. Monster
8. Mindlock
9. Iced

D-load album :-) http://lix.in/16c2db
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MALEVOLENT CREATION: (1991) The Ten Commandments

In the late 1980s and early to mid-1990s, the small Roadrunner label was home to numerous underground death metal, grindcore and thrash bands, many of which could not have cared less about appealing to rock's mainstream. One of the company's noteworthy grindcore/death releases of 1991 was Malevolent Creation's The Ten Commandments, a dark and morbid effort addressing such topics as dismemberment, torture, the occult and human sacrifice. This isn't a brilliant album, nor is it very distinctive. But it is exhilarating, and one of the things that makes it effective is Bret Hoffmann's tortured, choked lead vocals. While other grindcore singers are difficult or impossible to understand -- and make a point of being that way -- it's usually easy to understand the lyrics Hoffmann is belting out. So when the Florida band tears into such gruesome offerings as "Multiple Stab Wounds," "Remnants of Withered Decay," and "Thou Shall Kill!," one knows just how gruesome they are...by Alex Henderson, All Music

Tracks:
1. Memorial Arrangements
2. Premature Burial
3. Remnants of Withered Decay
4. Multiple Stab Wounds
5. Impaled Existence
6. Thou Shall Kill
7. Sacrificial Annihilation
8. Decadence Within
9. Injected Sufferage
10. Malevolent Creation

D-load album :-) http://lix.in/d780be
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MALEVOLENT CREATION : (1997) Joe Black

Another fine example of what MALEVOLENT CREATION can accomplish. This is their third album and it is not to be underestimated. It is full of powerful guitar riffs and the vocals are pure MALEVOLENT CREATION. Although this item is very good, my favorite still has to be "in cold blood" because it's a little faster and more brutal.
Anyway, no death metal collection would be complete without this album just because everything from MALEVOLENT CREATION is sick and twisted. Don't miss out on this one, and try the other ones out too; you won't be dissapointed... bt Ted Bylinski, Mont Saint

Tracks:
1. Joe Black
2. Self Important Freak
3. Sadistic Perversity
4. No Salvation (Re-mix)
5. To Kill (Re-mix)
6. Tasteful Agony (Re-mix)
7. Genetic Affliction ('93 Demo Version)
8. Raining Blood
9. Remnants Of Withered Decay ('90 Demo Version)
10. Impaled Existance ('90 Demo Version)

D-load album :-) http://lix.in/9db594
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MALEVOLENT CREATION : (2002) The Will to Kill

Veteran death metal band returns with their eighth full-length album. Eleven tracks of pure terror that brings new life to the patented Florida death metal sound. Crushing vocals by new singer, Kyle Simons, mixed by Jon Francois Degarians of the band Kataklysm. The album also features new drummer Justin D. Pinto. Crash Music. 2002.

Tracks:
1. The Will To Kill
2. Pillage And Burn
3. All That Remains
4. With Murderous Precision
5. Lifeblood
6. Assassin Squad
7. Rebirth Of Terror
8. Superior Firepower
9. Divide And Conquer
10. The Cardinals Law
11. Burnt Beyond Recognition

D-load album :-) http://lix.in/c98a6d
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GRAND FUNK RAILROAD: (1969) On Time

Grand Funk Railroad's 1969 debut is a wildly uneven affair. Although the exuberant energy and power-trio theatrics that would fuel their 1970s hits are in place, the group's songwriting and arranging abilities are very much in their infancy. The biggest problems in terms of songwriting are the often-amateurish lyrics: "Anybody's Answer" is a sincere but muddled attempt at a message song that expends a lot of energy without ever focusing on a particular target and "Heartbreaker" is a love lament that is content to trot out a series of well-worn heartbreak clichés. In terms of arrangements, the band often places an aimless jam where a tight instrumental break should be. The standout example of this problem is "TNUC," a loose-limbed tune that wears out its welcome with an overlong and unstructured drum solo. Despite these problems, there are some strong tunes in the mix: "Are You Ready" is an exuberant rocker built on one of Mel Schacher's trademark walking basslines and "Into the Sun" is a clever tune that starts as a mellow mid-tempo jam before blossoming into a stomping rocker with a funky guitar riff. Both of these sturdy tunes appropriately became mainstays of Grand Funk Railroad's live show for many years to come. "Time Machine" is another highlight, a bluesy shuffle built on Mark Farner's wailing vocals and a catchy, stuttered guitar riff. All in all, On Time is way too patchy of an album to please the casual listener but provides a few hints of and contains enough worthwhile moments to please the group's fans.... by Donald A. Guarisco, All Music

Tracks:
1. Are You Ready
2. Anybody's Answer
3. Time Machine
4. High on a Horse
5. T.N.C.U.
6. Into the Sun
7. Heartbreaker
8. Call Yourself a Man
9. Can't Be Too Long
10. Ups and Downs

D-load album :-) http://lix.in/ed4dce
D-load album :-) http://lix.in/b11dca
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GRAND FUNK RAILROAD: (1970) Closer to Home

This is the trio's fourth album and the record that really broke them through to a more commercially successful level of metal masters such as Led Zeppelin and Black Sabbath. Rather than rushing headlong back into their typical hard, heavy, and overamplified approach, Grand Funk Railroad began expanding their production values. Most evident is the inclusion of strings on the album's title track, the acoustic opening on the disc's leadoff cut, "Sins a Good Man's Brother," as well as the comparatively mellow "Mean Mistreater." But the boys had far from gone soft. The majority of Closer to Home is filled with the same straight-ahead rock & roll that had composed their previous efforts. The driving tempo of Mel Schacher's viscous lead basslines on "Aimless Lady" and "Nothing Is the Same" adds a depth when contrasted to the soul-stirring and somewhat anthem-like "Get It Together." The laid-back and slinky "I Don't Have to Sing the Blues" also continues the trend of over-the-top decibel-shredding; however, instead of the excess force of other bands, such as MC5, Grand Funk Railroad are able to retain the often-elusive melodic element to their heavy compositions....by Lindsay Planer, All Music

Tracks:
1. Sin's a Good Man's Brother
2. Aimless Lady
3. Nothins is the Same
4. Mean Mistreat
5. Get It Together
6. I Don't Have to Sing the Blues
7. Hooked on Love
8. I'm Your Captain

D-load album 1 :-) http://lix.in/26f79e
D-load album 2 :-) http://lix.in/c0d9e6
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GRAND FUNK RAILROAD: (1971) Survival

By the time Grand Funk Railroad came to make Survival in January 1971, Cleveland Recording had moved to new quarters, and the group had become a national phenomenon, its last two albums Top Ten million-sellers. They spent a relatively luxurious six weeks or so on the record, and the results showed; Survival was the best-sounding and the best-played album they had yet made. Such assessments are, of course, relative, however. The group's playing remained rudimentary, especially in the rhythm section, and its sense of song construction was simple and repetitious. Singer/songwriter/guitarist Mark Farner sang in a strained, limited tenor lyrics that yearned for basic satisfactions ("Comfort Me," "I Want Freedom"), then led the lengthy instrumental passages with either simple guitar patterns or simple organ patterns. The band's choice of covers, Traffic's "Feelin' Alright" and the Rolling Stones' "Gimme Shelter," indicated taste (and that they were short of material), but their interpretations were inferior. This may have been Grand Funk's first real studio album, but they still sounded like they hadn't quite figured out how the studio differed from the stage and what added dynamics might be necessary to make a recording successful... by William Ruhlmann, All Music

Tracks:
1. Country Road
2. All You've Got is Money
3. Comfort Me
4. Feelin' Alright
5. I Want Freedom
6. I Can Feel Him in the Morning
7. Gimme Shelter

D-load album :-) http://lix.in/7622a9
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GRAND FUNK RAILROAD: (1970) Live Album

Either you love or you hate it. Live Album by Grand Funk Railroad was a smash when released and those who loved it played it to death. A hard rock phenomenon of the waning days of the Sixties, Grand Funk proved over and over that they were the live performing act of the time, and this album is a testament to their in-concert power... by James Chrispell, All Music

Tracks:
1. Introduction
2. Are You Ready
3. Paranoid
4. In Need
5. Heartbreaker
6. Inside Looking Out
7. Words of Wisdom
8. Mean Mistreater
9. Mark Say's Alright
10. T.N.C.U.
11. Into the Sun

D-load album 1 :-) http://lix.in/9c7b91
D-load album 2 :-) http://lix.in/2cc852
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GRAND FUNK RAILROAD: (1973) We're an American Band

Having made several changes in their business and musical efforts in 1972, Grand Funk Railroad made even more extensive ones in 1973, beginning with their name, which was officially truncated to "Grand Funk." And keyboardist Craig Frost, credited as a sideman on Phoenix, the previous album, was now a full-fledged bandmember, filling out the musical arrangements. The most notable change, however, came with the hiring of Todd Rundgren to produce the band's eighth album. Rundgren, a pop/rock artist in his own right, was also known for his producing abilities, and he gave Grand Funk exactly what they were looking for: We're an American Band sounded nothing like its muddy, plodding predecessors. Sonically, the record was sharp and detailed and the band's playing was far tighter and more accomplished. Most important, someone, whether the band or Rundgren, decided that gruff-voiced drummer Don Brewer should be employed as a lead singer as often as guitarist Mark Farner. Brewer also contributed more as a songwriter, and the results were immediate. The album's title song, an autobiographical account of life on the road written and sung by Brewer, was released in advance of the album and became a gold-selling number one hit, Grand Funk's first really successful single. Despite the band's previous popularity, for many, it must have been the first Grand Funk record they either heard or bought. Elsewhere on the album, Farner contributed his usual wailing vocals and guitar, singing of his heartfelt, if simpleminded, political concerns. But We're an American Band really belonged to Brewer and Rundgren, and its success constituted a redefinition of Grand Funk that came just in time.... by William Ruhlmann, All Music

Tracks:
1. Creepin'
2. The Railroad
3. Black Licorice
4. Loneliest Rider
5. Walk Like a Man (You Can Call Me Your Man)
6. Ain't Got Nobody
7. Stop Lookin' Back
8. We're an American Band

D-load album :-) http://lix.in/eb6412
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GRAND FUNK RAILROAD: (1975) Caught in the Act

By 1975, Grand Funk Railroad had reached a new level of fame and fortune thanks to pop-friendly albums like We're an American Band and Shinin' On. However, they had not dropped the turbo-charged rock & roll that built their early success and that fact is proven by this exciting double-live album. Caught in the Act covers all the highlights of their catalog up to that point, including both the major hits and a generous sampling of album-track favorites. All the songs benefit from the amped-up live atmosphere and several improve over the studio versions thanks to the consistent high level of energy that the band pours into each tune. The best example is the latter phenomenon one-two punch of the albums' opening tracks: "Footstompin' Music" leaps out of the speakers with a galloping beat and pulsing organ that effortlessly outstrips its album version, then the band smoothly segues into a barnstorming, revamped version of "Rock 'N' Roll Soul" that tacks an infectious "Nothin' but a party" chant onto the song's beginning. Even the hits add new frills that keep them feeling like rote run-throughs: "The Loco Motion" is soulfully fleshed out by the addition of female backing vocals and hard rock muscle applied to "Black Licorice" transforms it into a speedy, fist-pumping rocker. Another big highlight is the atmospheric version of "Closer to Home," which sports a tighter, more complex arrangement than its studio counterpart and makes an excellent showcase for Craig Frost's skills on a variety of keyboard (he nimbly recreates the song's orchestral coda with an elegant performance on the Mellotron). The end result is a live album that is the equal of the studio's best studio-recorded outings. Simply put, Caught in the Act is a necessity for Grand Funk Railroad fans and may even attract non-fans with its effective combination of energy and instrumental firepower....by Donald A. Guarisco, All Music

Tracks:
1. Footstompin' Music
2. Rock and Roll Soul
3. I'm Your Captain & Closer to Home
4. Heartbreaker
5. Some Kind of Wonderful
6. Shinin' On
7. The Loco-Motion
8. Black Licorice
9. The Railroad
10. We're an American Band
11. T.N.C.U.
12. Inside Looking Out
13. Gimme Shelter

D-load album :-) http://lix.in/2c7636
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GRAND FUNK RAILROAD: (2002) Live - The 1971 Tour

This Grand Funk Railroad concert recording from Detroit, Chicago, and Shea Stadium on the band's enormously successful 1971 tour captures them in all their mega-stadium excess. Extended beyond the breaking point versions of "T.N.U.C." (nearly 18 minutes), "Inside Looking Out" (over 15 minutes, including a pro-pot intro), ten minutes of "Into the Sun," and nine minutes of what has to be the most plodding version of the Stones' "Gimme Shelter" ever recorded for better or worse portray this trio in all their over-the-top glory. In concert, the least funky band ever to have the word "funk" in their name pounded out tough, workingman rock with as little subtlety as possible, aiming to please the fan sitting in the last row of the stadium. While that may have made for an invigorating concert experience, having to endure this music without the live stage show as distraction is a headache-inducing chore. The sound, while acceptable for 1971 standards, is still brittle and harsh, and Mark Farner's wah-wah-heavy guitar is exactly what Spinal Tap had envisioned with their amps that went to 11. Since this was recorded in the band's earliest period, none of the more pop elements that gave them the hits that softened their sound are in the set. That leaves this as the definitive live document of these years. It's not nearly as listenable or eclectic as 1975's Caught in the Act, which they recorded as a quartet, but does depict the group in all its uncut power, glory, and volume. Brash, noisy, and abrasive, Grand Funk Railroad earned their money by giving the people what they wanted in a show full of raw energy and blistering hard rock. In retrospect, its appeal is limited, but if you were there, you'll appreciate this souvenir. If not, after hearing this warts-and-all recording, you may wonder what all the excitement was about....by Hal Horowitz, All Music

Tracks:
1. Intro (Also Sprach Zarathustra)
2. Are You Ready
3. Footstompin' Music
4. Paranoid
5. I'm your Captain
6. Hooked on Love
7. Get It Together
8. T.N.C.U.
9. Inside Looking Out
10. Gimme Shelter
11. Into the Sun

D-load album :-) http://lix.in/970eff
D-load album :-) http://lix.in/0f3c05
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FEAR FACTORY: (1992) Soul of a New Machine

Soul of a New Machine ushered in the '90s alternative metal era, even if few realized it at the time. Fear Factory were quite ahead of their time in 1992, the year Roadrunner Records released Soul, their debut album (though not technically their first, which would be the later-unearthed, Ross Robinson-produced Concrete demo album). The band didn't fit neatly into any of the metal camps of the day: thrash metal (Pantera, Slayer, Sepultura), crossover metal (Metallica, Megadeth, Ozzy), industrial metal (Ministry, Nine Inch Nails, Godflesh), death metal (Morbid Angel, Death, Obituary), grindcore (Napalm Death, Brutal Truth, Lawnmower Deth), and so on. This fact alone made Fear Factory an anomaly among the market-driven metal field of the day. That Roadrunner even gave them a chance regardless goes to show how much promise Fear Factory exhibited at the time -- market or no market, Roadrunner sensed there was something special about this band and decided to take a chance. And indeed there was something special about Fear Factory, as Soul of a New Machine went on to demonstrate. One of the top two death metal producers of the day, Colin Richardson, flew from England into Los Angeles (only days after the 1992 riots had ravaged the city), and for the next four weeks, he produced what would become a downright groundbreaking metal album.... by Jason Birchmeier, All Music

Tracks:
1. Martyr
2. Leechmaster
3. Scapegoat
4. Crisis
5. Crash test
6. Flesh Hold
7. Lifeblind
8. Scumgrief
9. Natividad
10. Big God / Raped Souls
11. Aris Above Oppression
12. Self Immolation
13. Suffer Age
14. Woe
15. Desecrate
16. Escape Confusion
17. Manipulation

D-load album :-) http://lix.in/d301da
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Bitrate = mp3 - 160kbps
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