Showing posts with label 1993. Show all posts

Monday, August 31, 2026

Zounds – The Curse Of Zounds + Singles 1993 320 😎

* Enjoy, Reb 😎 Link 👇 *

Thursday, August 27, 2026

Joolz – 1983 - 1985 1993 320 😎

The funny thing is I thought I had posted this, maybe was while I was posting in Bob's Basement? Do I don't remember, well here it is now!!!

Joolz Denby (born as Julianne Mumford on 9 April 1955) is an English poet, novelist, illustrator, painter and tattooist based in Bradford, Yorkshire (UK). In 1975, at age 19, she married Kenneth Denby and took his family name. She first came to prominence touring as a spoken word performance poet. She began recording music and spoken word recordings in 1983, often in collaboration with New Model Army members or with Jah Wobble. She also wrote record and concert reviews for the UK magazine Spiral Scratch, and has on started publishing poetry collections and novels from 1986 onwards.

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Thursday, August 20, 2026

Straitjacket Fits – Blow 1993 320 😎

The first of three albums from New Zealand indie rock/pop group. The other two will follow, either later today or tomorrow.

Formed in Dunedin, New Zealand, 1986 by Shayne Carter (vocals/guitar), John Collie (drums) and David Wood (bass). Andrew Brough (vocals/guitar) joined soon after. In 1991 Brough left the group due to musical and personal differences between him and the rest of the band. Later that year Mark Petersen (guitar) joined the band. The band finished in February 1994 shortly after their performance at the Big Day Out festival at Mount Smart Stadium in Auckland. The second line up of the band regrouped to play a tour of the main cities of New Zealand in late April and early May of 2005. David Wood died suddenly, on the 17th of November 2010. In 2018 the remaining later line up reformed briefly & toured New Zealand with Carter's Dimmer.

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Wednesday, July 15, 2026

Wild Billy Childish and The Blackhands - Live in The Netherlands 1993 CD reissue 2008 flac😎

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Thursday, June 25, 2026

Liliput – Liliput 1993 320 😎

Liliput were originally called Kleenex, this Swiss band had to change their name in order to avoid legal trouble with the tissue manufacturers. This all-girl-band (mostly) with a very energetic and original sound was considered by some as a sort of "the new Slits". After a few records and various personnel and musical changes they split in 1983. The first 10 tracks on CD1 they were still Kleenex, all remaining tracks on CD1 and all of CD2 they were Liliput.

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Sunday, June 07, 2026

John Prine - 1993 - Great Days

John Prine - 1993 - Great Days @320

Rhino's Great Days: The John Prine Anthology is an excellent summary of John Prine's prime period, from his sublime 1971 eponymous debut to 1991's Missing Years. This (appropriately) draws heavily from his early recordings (including the aforementioned debut), but it also does a terrific job of finding songs on uneven albums, while giving weight to such classic albums as Bruised Orange. Although those previously mentioned albums are all worthwhile on their own terms (as are many of Prine's other records), this provides a nearly flawless recap of his career -- so much so that it's not only for neophytes, but also reminds longtime fans why they loved him in the first place. (AllMusic)

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Wednesday, June 03, 2026

The Doobie Brothers – Listen To The Music - The Very Best Of The Doobie Brothers 1993 320😎 Reposted with new link 😎

* Enjoy, Reb 😎 Link 👇 *

* Yesterday after reading a comment from Alain F. Bertrand, who missed an album because he had been away on holiday, I have decided to return to 3 month links for 320 and one month links for flac,etc. And have reposted this and will add a new link. *

Tuesday, June 02, 2026

The Trash Can Sinatras – I've Seen Everything 1993 320 😎

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Sunday, March 22, 2026

1993 - Smashing Pumpkins - Siamese Dream (Deluxe Edition 2011)

1993 - Smashing Pumpkins - Siamese Dream
(Deluxe Edition 2011) @ 320

More than any other band that ascended to alternative rock royalty in the 1990s, save for probably Pearl Jam, Smashing Pumpkins wore their classic rock influences proudly. Sabbath and Zeppelin heavily influenced their first record, Gish, and their 1995 double-album Mellon Collie and the Infinite Sadness was patterned after Pink Floyd’s The Wall. And “Cherub Rock,” according to Corgan’s own track commentary on the Deluxe Edition of Siamese Dream, borrows liberally from Rush. In fact, go through any Pumpkins lore through the ages, and while you’ll read as much about Corgan’s fondness for Depeche Mode or Sonic Youth, he scarcely hesitates to mention the titans of classic rock. Other bands, like Soundgarden for instance, definitely borrowed pretty obviously from Zeppelin and Sabbath, but were less honest about it at the time.

When considering all this, it shouldn’t be a surprise that Siamese Dream is the most massive album of the grunge era. The other big Butch Vig-produced album of the ’90s (not to limit to two), Nirvana’s Nevermind, has become more legendary, but Siamese Dream, which consumes all the space that one CD or two LPs will allow, is simply colossal. For one other notable influence on the band was My Bloody Valentine, whose own Loveless, for all its studio mastery, still likely contained fewer guitars than this. So with the ambition of the stadium rock of the ’70s, and shoegazer density, Corgan layered guitar on top of guitar, fuzzbox on top of fuzzbox. He took on the challenge of squealing thrift-store guitars on “Mayonaise,” constructed a city-sized anthem on “Cherub Rock,” and went back to pure abrasion on “Silverfuck,” just to show off.

As much as Siamese Dream was the product of chasing an elusive, immaculate pop ideal, it also proved the catalyst for some serious turmoil within the band. A pretty massive chunk of the album was performed by Corgan alone, though every song features Jimmy Chamberlin’s drums (thankfully – they’re some of the best in rock history). At one point, D’arcy Wretzky actually quit the band. James Iha essentially ended his friendship with Corgan, though he stayed in the band. Chamberlin ended up in rehab during the recording sessions, and would disappear for days at a time. It’s the stuff Behind the Music was made for. Despite everything falling apart behind the scenes, however, the record itself is absolutely perfect.

Corgan wanted to make his big, shiny pop record, and that’s essentially what he got, no matter how much fallout ensued in the process. It’s not a pop record by Top 40 radio standards, necessarily, though it did produce a few definite hits in the suicide referencing “Today” and anguished abuse narrative “Disarm.” It’s a rock record, first and foremost, a monument to the Olympian power of guitars, dense, explosive and ready to consume anything within a 100-foot radius. That it’s also a very pretty record is what sets it apart from much of the starting lineup of the early ’90s grunge all-star team. “Mayonaise,” a shoegazer ballad co-written by Iha, forgoes some of the band’s aggression for a fuzz-drenched ballad. “Soma,” which bears another Iha writing credit, is the psychedelic power ballad, swirling like bulbous forms in a lava lamp. And “Today,” erupting with heavy, crunchy riffs, is as glossy and tender as the band comes, no matter how hard they’re rocking out.

A lot of the bonus material packaged with Siamese Dream‘s deluxe version speaks to Corgan’s reputation as a perfectionist, in that the songs that never made it to the album, while good, are clearly not of the same caliber. “Pissant,” “Hello Kitty Kat” and “Frail and Bedazzled,” which all ended up on Pisces Iscariot in some form or another, all made for great b-sides. The demo versions of “Luna” and “Today” really only hinted at the potential within the songs in their rough forms. That said, the BBC performance of “Quiet,” though considerably rawer than the album version, has a compelling visceral intensity. And though I initially found the band’s cover of Depeche Mode’s “Never Let Me Down Again” disappointing, something about it struck me as much more appealing more than 15 years later. (Treblezine)

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(A Thankyou is always appreciated)