albums you should own

[sunrah]

Genre: Rock

1 Land of Sunshine 3:44
2 Caffeine 4:28
3 Midlife Crisis 4:23
4 RV 3:43
5 Smaller and Smaller 5:11
6 Everything's Ruined 4:33
7 Malpractice 4:02
8 Kindergarten 4:31
9 Be Aggressive 3:42
10 A Small Victory 4:57
11 Crack Hitler 4:39
12 Jizzlobber 6:38
13 Midnight Cowboy 4:12

Warner Bros. figured that lightning could strike twice at a time when oodles of (most horribly bad) funk-metal acts were following in Faith No More's and Red Hot Chili Peppers' footsteps. In response, the former recorded and released the bizarro masterpiece Angel Dust. Mike Patton's work in Mr. Bungle proved just how strange and inspired he could get given the opportunity; now, in his more famous act, nothing was ignored. "Land of Sunshine" starts things off in a vein similar to The Real Thing, but Patton's vocal role-playing is smarter and more accomplished, with the lyrics trashing a smug bastard with pure inspired mockery. From there, Angel Dust mixes the meta-metal of earlier days with the expected puree of other influences, including a cinematic sense of atmosphere. The album ends with a cover of John Barry's "Midnight Cowboy," which suits the mood perfectly, but the stretched-out, tense moments on "Caffeine" and the soaring charge of "Everything's Ruined" make for other good examples. Even a Kronos Quartet sample crops up on the frazzled sprawl of "Malpractice." Other sampling and studio treatments come to the fore throughout, adding quirks like the distorted voices on "Smaller and Smaller." The band's sense of humor crops up frequently — there's the hilarious portrayal of prepubescent angst on "Kindergarten," made all the more entertaining by the music's straightforward approach, or the beyond-stereotypical white trash cornpone narration of "RV," all while the music breezily swings along. Patton's voice is stronger and downright smooth at many points throughout, the musicians collectively still know their stuff, and the result is twisted entertainment at its finest.

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[sunrah]

Genre: Ska/Punk

1 Knowledge 1:42
2 Sound System 2:14
3 Jaded 1:51
4 Take Warning 2:44
5 The Crowd 2:11
6 Bombshell 1:03
7 Unity 2:13
8 Vulnerability 2:00
9 Bankshot 1:33
10 One of These Days 1:07
11 Gonna Find You 1:54
12 Bad Town 2:35
13 Smiling 1:46
14 Caution 1:28
15 Freeze Up 2:20
16 Artificial Life 2:05
17 Room Without a Window 1:32
18 Big City 2:16
19 Missionary 2:07

Among the best works of the rightfully maligned ska/punk genre, Operation Ivy's Energy is an unsurpassed, highly intelligent, extremely fun record. At the pinnacle of the East Bay punk scene, Operation Ivy sadly fizzled out just before the record was released, but left its mark and is frequently cited as an inspiration to all the bands that came later and played the same sort of music, though never as well. Bassist Matt Freeman and guitarist Tim Armstrong, who eventually formed Rancid, provided the musical foundation for the band, a then novel mix of raging punk and catchy ska, while singer/lyricist Jesse Michaels wrote thoughtful political songs from a personal perspective. The result, on this, their only full-length, was an album full of classic anthems which every one of their rabid fans at Berkeley's Gilman Street used to sing along to at their packed shows. From "Knowledge," a song covered by Green Day, to "Bankshot," a fantastic ska instrumental, to "One of These Days," a punk rock reworking of Nancy Sinatra's "These Boots Are Made for Walking," to the incisive political commentary of "Gonna Find You" and "Freeze Up," Energy succeeds at combining all sorts of elements into a thoroughly rewarding knockout of a record . The CD also includes Operation Ivy's exceptional Hectic 7", as well as several hard-to-find cuts from various compilations.

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[awaky]

parca numa' cand le vad copertile nu pot sa ma abtin sa nu le iau.

[sunrah]

^ sa ai pofta!



Genre: Folk Rock/Singer-Songwriter

1 Speed Trials 3:01
2 Alameda 3:43
3 Ballad of Big Nothing 2:48
4 Between the Bars 2:21
5 Pictures of Me 3:46
6 No Name No. 5 3:43
7 Rose Parade 3:28
8 Punch and Judy 2:25
9 Angeles 2:56
10 Cupid's Trick 3:04
11 2:45 a.m. 3:18
12 Say Yes 2:19

Elliott Smith's third album sees his one-man show getting a little more ambitious. While he still plays all the instruments himself, he plays more of them. Several of the songs mimic the melody mastery of pop bands from 1960s. The most alluring numbers, however, are still his quietly melancholy acoustic ones. While the full-band songs are catchy and smart, Smith's recording equipment isn't quite up to the standards set by the Beatles and the Beach Boys. The humbler arrangements are better suited to the sparse equipment. "Between the Bars," for example, plays Smith's strengths perfectly. He sings, in his endearingly limited whisper, of late-night drinking and introspection, and his subdued strumming creates a minor-key mood befitting the mysteries of self. "Angeles" is equally ethereal — Smith's acoustic fingerpicking spins out notes which briskly move around a single atmospheric keyboard chord, like aural minnows swimming toward a solitary light at the surface of the water. The lyrics are a darkly biting rejection of the hypercapitalist dream machinery of Los Angeles (it would make a great theme song for Smith's label, Kill Rock Stars). Ironically, "Angeles" was included on the Good Will Hunting soundtrack, which won Smith the acclaim of Hollywood's biggest, brightest, and best connected voting body, the Academy of Motion Picture Arts & Sciences. Smith's stock in L.A. soared after he took his bow at the Oscars with Celine Dion and Trisha Yearwood. It might have been more interesting had he sung "Angeles."

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[sunrah]

1 Go Down 5:31
2 Dog Eat Dog 3:35
3 Let There Be Rock 6:06
4 Bad Boy Boogie 4:28
5 Problem Child 5:25
6 Overdose 6:09
7 Hell Ain't a Bad Place to Be 4:14
8 Whole Lotta Rosie 5:24

Let There Be Rock, the fourth AC/DC album -- and first to see simultaneous international release -- is as lean and mean as the original lineup ever got. Shaved down to the bone -- there are only eight tracks, giving this a lethal efficiency even with a couple of meandering jams -- this is a high-voltage, brutal record, filled with "Bad Boy Boogie." It has a bit of a bluesier edge than other AC/DC records, but this is truly the sound of the band reaching its peak. There's the near majesty of "Let There Be Rock," there's Bon Scott acknowledging with a wink that "Hell Ain't a Bad Place to Be," and then there's the monumental "Whole Lotta Rosie." Which gets down to a key thing about AC/DC. If Led Zeppelin were celebrating a "Whole Lotta Love," AC/DC got down to the grimy details in their leering tribute to the joys of sex with a plus-sized woman. And that's AC/DC's allure in a nutshell -- it's sweaty, dirty, nasty rock, music that is played to the last call and beyond, and they've rarely done that kind of rock better than they did here.

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[sunrah]

1 EXP 1:55
2 Up from the Skies 2:55
3 Spanish Castle Magic 3:00
4 Wait Until Tomorrow 3:00
5 Ain't No Telling 1:46
6 Little Wing 2:24
7 If 6 Was 9 5:32
8 You Got Me Floatin' 2:45
9 Castles Made of Sand 2:46
10 She's So Fine 2:37
11 One Rainy Wish 3:40
12 Little Miss Lover 2:20
13 Bold As Love 4:09

Jimi Hendrix's second album followed up his groundbreaking debut effort with a solid collection of great tunes and great interactive playing between himself, Noel Redding, Mitch Mitchell, and the recording studio itself. Wisely choosing manager Chas Chandler to record the album, since he was in the midst of a creative hot streak, Hendrix stretched further musically than the first album, but even more so as a songwriter. He was still quite capable of coming up with spacy rockers like "You Got Me Floating," "Up from the Skies," and "Little Miss Lover," radio-ready to follow on the commercial heels of "Foxey Lady" and "Purple Haze." But the beautiful, wistful ballads "Little Wing," "Castles Made of Sand," "One Rainy Wish," and the title track set closer show remarkable growth and depth as a tunesmith, harnessing Curtis Mayfield soul guitar to Dylanesque lyrical imagery and Fuzz Face hyperactivity to produce yet another side to his grand psychedelic musical vision. These are tempered with Jimi's most avant-garde tracks yet, "EXP" and the proto-fusion jazz blowout of "If 6 Was 9."

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[sunrah]

R.I.P. JEFF! Grace - albumul ce l-am postat cu doua pagini in urma ramane albumul meu preferat all time,
dar cam tot ce a scos e , asa ca m-am gandit sa urc toate materialele ce le am:


Jeff Buckley - Sketches For My Sweetheart The Drunk



Disc 1
1. The Sky Is A Landfill
2. Everybody Here Wants You
3. Opened Once
4. Nightmares By The Sea
5. Yard Of Blonde Girls
6. Witches' Rave
7. New Year's Prayer
8. Morning Theft
9. Vancouver
10. You & I

Disc 2
1. Nightmares By The Sea
2. New Year's Prayer
3. Haven't You Heard
4. I Know We Could Be So Happy Baby (If We Wanted To Be)
5. Murder Suicide Meteor Slave
6. Back In N.Y.C.
7. Demon John
8. Your Flesh Is So Nice
9. Jewel Box
10. Satisfied Mind

Assuming that I've heard correctly, this CD was compiled and released following Buckley's untimely death and that probably explains why the recordings have a certain rough feel to them at times. But no matter -- the unpolished production is actually perfect for Buckley's moody style. Jeff Buckley was one of those all-too rare artists whose power as a musician came not from slick producers but instead from the mournful yet exhilirating sound of his own voice. Though he died without acheiving the success that he deserved, Buckley had that most elusive of qualities -- a natural born charisma. He had one of those voices that could automtically posess the mind of the listener and that charisma comes through even in the most unpolished of recordings. Whenever I hear this unpolished album, its easy to imagine being in some obscure club and discovering, for the first time, a truly great talent with all the promise in the world ahead of him -- its the type of exhilirating feeling that I think everyone hopes to possess whenever they see some unknown band take the stage.
This is one of those CDs that to which I find myself continually drawn and its rare that a day goes by that I don't listen to at least one or two songs from it. Especially when one considers Buckley's eventual fate, the songs on this album have a certain fatalism on them. As a friend of mine put it, "It has a real drowning quality to it." I don't know if I'd go that far but the music is truly haunting as is Buckley's voice, its amazing range thankfully preserved here. Among the songs themselves, my personal favorites are the three that start off the second disk -- Nightmare by the Sea, New Year's Prayer, and especially Haven't You Heard. After the mournfully fatalistic feel of that first two songs, Haven't You Heard serves as a powerful remainder that Buckley was more than an obscure, moody folkie. Haven't You Heard, to me, stands as proof that Jeff Buckley was -- for lack of a less stereotypical term -- a true rock star. Unfortunately, that was a destiny he wouldn't get to witness for himself.

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Jeff Buckley - Live at Sin-é



Disc 1

1 Be Your Husband 4:55
2 Lover, You Should've Come Over 9:25
3 Mojo Pin 5:37
4 Monologue - Duane Eddy, Songs for Lovers 1:18
5 Grace 6:49
6 Monologue - Reverb, The Doors 1:40
7 Strange Fruit 7:43
8 Night Flight 6:40
9 If You Knew 4:28
10 Monologue - Fabulous Time for a Guinness 0:40
11 Unforgiven (Last Goodbye) 5:36
12 Twelfth of Never 3:35
13 Monologue - Café Days 0:15
14 Monologue - Eternal Life 0:36
15 Eternal Life 5:51
16 Just Like a Woman 7:26
17 Monologue - False Start, Apology, Miles Davis 1:03
18 Calling You 5:49

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Disc 2

1 Monologue - Nusrat, He's My Elvis 3:13
2 Yeh Jo Halka Halka Saroor Hai 6:09
3 Monologue - I'm a Ridiculous Person 0:39
4 If You See Her, Say Hello 8:18
5 Monologue - Matt Dillon, Hollies, Classic Rock Radio 1:33
6 Dink's Song 11:14
7 Monologue - Musical Chairs 1:09
8 Drown in My Own Tears 4:11
9 Monologue - The Suckiest Water 0:08
10 The Way Young Lovers Do 10:06
11 Monologue - Walk Through Walls 0:26
12 Je N'en Connais Pas La Fin 5:02
13 I Shall Be Released 5:21
14 Sweet Thing 10:36
15 Monologue - Sweet Thing 0:16
16 Hallelujah 9:15

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Jeff Buckley was much more than the tragic rock god he has become. He was a soul singer who incorporated a passion for the blues and jazz into his folky brand of rock music. No Buckley release since his death in 1997 has captured this soulful essence the way his 1993 EP, Live At Sin-é, did (and does). Reissued by Legacy Recordings with an additional 17 tracks, Live At Sin-é, in its new form, is what 2000's Mystery White Boy (and the second disc of Sketches: For My Sweetheart The Drunk, for that matter) should have been: a private yet very public glimpse into the evolution of one of the most promising artists of the '90s. The album captures the folk movement of the East Village that was still flourishing in the early part of the decade—it's an artifact left over from when there were more artists on St. Mark's than fast food joints. The performances found here—recorded at the Sin-é Café in the summer of 1993—find Buckley disarmed, challenged, inspired and, above all, graceful. Only a handful of songs on the album are original compositions ("Mojo Pin" and "Eternal Life," both of which appeared on the original release, along with "Grace" and an early version of "Last Goodbye"), but the covers Buckley chose to perform seem tailor-made for him. He makes Dylan his own ("Just Like A Woman," "I Shall Be Released") and even manages to fit his little white-boy feet into Billy and Nina's shoes ("Strange Fruit," "Twelfth Of Never"). And, of course, there's Leonard Cohen's "Hallelujah," a song he transformed into something wholly unique on his landmark full-length debut Grace. The listening experience is at once disturbing and comforting—the double-disc set includes many amusing interludes, one of which is an impromptu impersonation of Jim Morrison while another nods to one of Buckley's contemporaries, Kurt Cobain. For fans of Buckley (both casual and hardcore), this new version of Live At Sin-é will be nothing short of a treasure. The album's liner notes read: "He was the Montgomery Clift of singer-songwriters, beautiful and bruised, struggling so hard to communicate you could feel it." One might call communication you can feel "music." And Live At Sin-é is beautiful communication indeed.

Jeff Buckley - Mystery White Boy (Live Album)




1. Dream Brother (Live) 8:50
2. I Woke Up in a Strange Place (Live) 5:05
3. Mojo Pin (Live) 6:06
4. Lilac Wine (Live) 5:19
5. What Will You Say (Live) 7:35
6. Last Goodbye (Live) 4:58
7. Eternal Life (Live) 5:58
8. Grace (Live) 5:39
9. Moodswing Whiskey (Live) 5:36
10. The Man That Got Away (Live) 3:47
11. Kanga Roo (Live) 10:23
12. Hallelujah/I Know It's Over (Medley) (Live)

Mystery White Boy, culled from Jeff Buckley's eight-month world tour of the same name, is not just another live album blighted by whoops and catcalls. Such was the reverence granted the ill-starred singer-songwriter's electrifying confessionals that hardly a whimper issues from the audience in 78 minutes--not, at least, until each gargantuan heart-and-soul epic ends. Buckley treated music like it was Shakespearean tragedy, and that grandiosity makes the live "Grace" and "Mojo Pin" at least the equal of their recorded counterparts. The gems, though, are the cover versions found here--especially a closing nine-minute rendition of Leonard Cohen's "Hallelujah" that lurches into a whispered chorus of the Smiths' "I Know It's Over." Ultimately, this posthumous collection is utterly captivating. --Louis Pattison

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[NskY]

Genre: Rock

1 Land of Sunshine 3:44
2 Caffeine 4:28
3 Midlife Crisis 4:23
4 RV 3:43
5 Smaller and Smaller 5:11
6 Everything's Ruined 4:33
7 Malpractice 4:02
8 Kindergarten 4:31
9 Be Aggressive 3:42
10 A Small Victory 4:57
11 Crack Hitler 4:39
12 Jizzlobber 6:38
13 Midnight Cowboy 4:12

Warner Bros. figured that lightning could strike twice at a time when oodles of (most horribly bad) funk-metal acts were following in Faith No More's and Red Hot Chili Peppers' footsteps. In response, the former recorded and released the bizarro masterpiece Angel Dust. Mike Patton's work in Mr. Bungle proved just how strange and inspired he could get given the opportunity; now, in his more famous act, nothing was ignored. "Land of Sunshine" starts things off in a vein similar to The Real Thing, but Patton's vocal role-playing is smarter and more accomplished, with the lyrics trashing a smug bastard with pure inspired mockery. From there, Angel Dust mixes the meta-metal of earlier days with the expected puree of other influences, including a cinematic sense of atmosphere. The album ends with a cover of John Barry's "Midnight Cowboy," which suits the mood perfectly, but the stretched-out, tense moments on "Caffeine" and the soaring charge of "Everything's Ruined" make for other good examples. Even a Kronos Quartet sample crops up on the frazzled sprawl of "Malpractice." Other sampling and studio treatments come to the fore throughout, adding quirks like the distorted voices on "Smaller and Smaller." The band's sense of humor crops up frequently � there's the hilarious portrayal of prepubescent angst on "Kindergarten," made all the more entertaining by the music's straightforward approach, or the beyond-stereotypical white trash cornpone narration of "RV," all while the music breezily swings along. Patton's voice is stronger and downright smooth at many points throughout, the musicians collectively still know their stuff, and the result is twisted entertainment at its finest.

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deseori imi apare problema asta la sendspace.

Sorry, the free service is at full capacity.

un alt link ceva?

LE: m`am descurcat
http://rapidshare.com/files/50934286/Fa ... _1992_.rar

aici e linku in caz ca mai sunt si altii carora le face figuri sendspace

[awaky]

^ parola ?!

[NskY]

parola: marianskyesefulmeu

tre sa mearga.

sau incearca linkul asta http://rs149.rapidshare.com/files/43146 ... _1992_.zip

[sunrah]

Genre: Jazz Fusion

1 Peaches en Regalia 3:37
2 Willie the Pimp 9:16
3 Son of Mr. Green Genes 8:58
4 Little Umbrellas 3:04
5 The Gumbo Variations 16:55
6 It Must Be a Camel 5:15

Aside from the experimental side project Lumpy Gravy, Hot Rats was the first album Frank Zappa recorded as a solo artist sans the Mothers, though he continued to employ previous musical collaborators, most notably multi-instrumentalist Ian Underwood. Other than another side project — the doo wop tribute Cruising With Ruben and the Jets — Hot Rats was also the first time Zappa focused his efforts in one general area, namely jazz-rock. The result is a classic of the genre. Hot Rats' genius lies in the way it fuses the compositional sophistication of jazz with rock's down-and-dirty attitude — there's a real looseness and grit to the three lengthy jams, and a surprising, wry elegance to the three shorter, tightly arranged numbers (particularly the sumptuous "Peaches en Regalia"). Perhaps the biggest revelation isn't the straightforward presentation, or the intricately shifting instrumental voices in Zappa's arrangements — it's his own virtuosity on the electric guitar, recorded during extended improvisational workouts for the first time here. His wonderfully scuzzy, distorted tone is an especially good fit on "Willie the Pimp," with its greasy blues riffs and guest vocalist Captain Beefheart's Howlin' Wolf theatrics. Elsewhere, his skill as a melodist was in full flower, whether dominating an entire piece or providing a memorable theme as a jumping-off point. In addition to Underwood, the backing band featured contributions from Jean-Luc Ponty, Lowell George, and Don "Sugarcane" Harris, among others; still, Zappa is unquestionably the star of the show. Hot Rats still sizzles; few albums originating on the rock side of jazz-rock fusion flowed so freely between both sides of the equation, or achieved such unwavering excitement and energy.

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[sunrah]

Genre: Experimental

1 Paperhouse 7:29
2 Mushroom 4:08
3 Oh Yeah 7:22
4 Halleluhwah 18:32
5 Aumgn 17:22
6 Peking O. 11:35
7 Bring Me Coffee or Tea 6:47

With the band in full artistic flower and Suzuki's sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early '70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. "Paperhouse" starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both "Mushroom" and "Oh Yeah," the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights — three long examples of Can at its absolute best. "Halleluwah" — featuring the Liebezeit/Czukay rhythm section pounding out a monster trance/funk beat; Karoli's and Schmidt's always impressive fills and leads; and Suzuki's slow-building ranting above everything — is 19 minutes of pure genius. The near-rhythmless flow of "Aumgn" is equally mind-blowing, with swaths of sound from all the members floating from speaker to speaker in an ever-evolving wash, leading up to a final jam. "Peking O" continues that same sort of feeling, but with a touch more focus, throwing in everything from Chinese-inspired melodies and jazzy piano breaks to cheap organ rhythm boxes and near babbling from Suzuki along the way. "Bring Me Coffee or Tea" wraps things up as a fine, fun little coda to a landmark record.

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[sunrah]

Genre: Death Metal

1 Flattening of Emotions 4:29
2 Suicide Machine 4:22
3 Together as One 4:08
4 Secret Face 4:35
5 Lack of Comprehension 3:43
6 See Through Dreams 4:24
7 Cosmic Sea 4:27
8 Vacant Planets 3:48

Human is the fourth album released by Death in 1991. It marked the beginning of a major stylistic change for Death. The actual sound of the album is much more technically accomplished and progressive than Death's previous efforts. The lyrics are now more introspective and meaningful as opposed to the gore based lyrics of the band's first two albums or the social commentary on Spiritual Healing. This new style would be more and more prevalent on all following Death albums.

Human is widely seen as Death's most accomplished work, and one of extreme metal's defining albums, with indications such as being Death's bestselling album, with sales of over 70,000 in the United States, being ranked number 82 on the October 2006 issue of Guitar World magazine's list of the greatest 100 guitar albums of all time, and having one of Death's two music videos which was made for the song "Lack of Comprehension", which received some airplay on MTV. It also continues to accumulate extremely positive reviews to this day.

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[sunrah]

Genre: Dream Pop

1 Ivo 3:56
2 Lorelei 3:42
3 Beatrix 3:13
4 Persephone 4:26
5 Pandora 5:33
6 Amelia 3:31
7 Aloysius 3:28
8 Cicely 3:29
9 Otterley 4:16
10 Donimo 6:12

The opening two numbers of Treasure are simply flawless, starting with "Ivo," where gently strummed guitar and low bass support Fraser's singing; then suddenly added, astonishing chimes and steady percussion build up to a jaw-dropping Guthrie guitar solo. Topping that would be hard for anyone, but in "Lorelei," the Twins do it, with an introductory, breathtaking guitar surge leading into one of Fraser's best vocals, compelling in both its heavenly and earthly tones and rolls. Not a word may be understandable, but it isn't necessary, while the music, driven on by a pounding rhythm, is as perfect a justification of digital delay pedals and the like as can be found. As Treasure continues, the accomplished variety is what stands out the most, whether it be the gentle, futuristic-medieval pluckings on "Beatrix," the understated moody washes and Fraser whispers on "Otterley," the upbeat guitar lines of "Aloysius," or the slightly jazzy touches on "Pandora." The concluding number ends the record on the peak with which it began. "Donimo" starts with a mysterious mix of mock choir sounds, ambient echoes and noises, and Fraser's careful singing before finally exploding into one last heavenly wash of powerful sound; Guthrie's guitar, Raymonde's steady bass, and drum machine smashes provide the perfect bed for Fraser's final, exultant vocals. Treasure lives up to its title and then some as a thorough and complete triumph.

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[sunrah]

1 Rocks Off 4:33
2 Rip This Joint 2:22
3 Shake Your Hips 2:59
4 Casino Boogie 3:34
5 Tumbling Dice 3:47
6 Sweet Virginia 4:26
7 Torn and Frayed 4:18
8 Sweet Black Angel 2:58
9 Loving Cup 4:25
10 Happy 3:05
11 Turd on the Run 2:38
12 Ventilator Blues 3:24
13 I Just Want to See His Face 2:53
14 Let It Loose 5:18
15 All Down the Line 3:50
16 Stop Breaking Down 4:34
17 Shine a Light 4:17
18 Soul Survivor 3:49

Greeted with decidedly mixed reviews upon its original release, Exile on Main St. has become generally regarded as the Rolling Stones' finest album. Part of the reason why the record was initially greeted with hesitant reviews is that it takes a while to assimilate. A sprawling, weary double album encompassing rock & roll, blues, soul, and country, Exile doesn't try anything new on the surface, but the substance is new. Taking the bleakness that underpinned Let It Bleed and Sticky Fingers to an extreme, Exile is a weary record, and not just lyrically. Jagger's vocals are buried in the mix, and the music is a series of dark, dense jams, with Keith Richards and Mick Taylor spinning off incredible riffs and solos. And the songs continue the breakthroughs of their three previous albums. No longer does their country sound forced or kitschy -- it's lived-in and complex, just like the group's forays into soul and gospel. While the songs, including the masterpieces "Rocks Off," "Tumbling Dice," "Torn and Frayed," "Happy," "Let It Loose," and "Shine a Light," are all terrific, they blend together, with only certain lyrics and guitar lines emerging from the murk. It's the kind of record that's gripping on the very first listen, but each subsequent listen reveals something new. Few other albums, let alone double albums, have been so rich and masterful as Exile on Main St., and it stands not only as one of the Stones' best records, but sets a remarkably high standard for all of hard rock.

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