punk goes classic rock full album download Punk goes classic rock full album download. PUNK GOES ACOUSTIC VOL. 3 | OUT NOW. More Punk Goes. Join the Fearless Family SUBSCRIBE. Punk Goes Acoustic, Vol. 3. Punk Goes Pop Vol. 7. Punk Goes Christmas: Deluxe Edition. November 27, 2015. Punk Goes Pop Vol. 6. Punk Goes 90s Vol. 2. Punk Goes 90’s Vol. 2 Vinyl. Punk Goes Christmas (Red/Green Vinyl) December 2, 2013. Punk Goes Christmas. November 5, 2013. Punk Goes Pop Vol. 5. November 6, 2012. Punk Goes Pop Vol. 4. November 21, 2011. January 25, 2011. Punk Goes Pop 3. November 2, 2010. Punk Goes Classic Rock. Punk Goes Pop 2. Punk Goes Crunk. Punk Goes Acoustic 2. Punk Goes Acoustic. October 21, 2003. Punk Goes Metal. An album addresses the age in which it came to life and often foreshadows the future. Launched in 200 0 , the Punk Goes… series embodies each ebb and flow of popular culture for nearly twenty years —with a twist . As such, the Fearless Records staple holds the distinction of being “the top-selling compilation in the alternative genre , ” tallying cumulative album sales in excess of 2.5 million and nearly a-quarter-of -a-billion streams to date. Its eighteen volumes encompass Punk Goes Pop, Vol. 1-6, Punk Goes Classic Rock , Punk Goes 80s , Punk Goes 90s, Vol. 1-2 , Punk Goes X , Punk Goes Crunk , Punk Goes Acoustic Vol, 1-2 , and Punk Goes Christmas . The catalog boasts exclusive contributions by multiplatinum award-winning talent — ranging from A Day To Remember, All-American Rejects, and Rise Again s t to Rise Pierce the Veil, All Time Low, Sleeping with Sirens, and Asking Alexandria. Not to mention, the legacy includes multiple Top 20 debuts on the Billboard Top 200 as well as Top 5 entries on the Top Independent Albums Chart, Top Modern Rock/Alternative Albums Chart, and Top Rock Albums Chart. It served as a game-changer for many acts including Tonight Alive, A Skylit Drive , and Juliet Simms housing their “most-streamed” songs. Now of legal voting age, Punk Goes… reintroduces itself in 2019 by way of Punk Goes Acoustic, Vol. 3 . The nineteenth installment welcomes acoustic contributions from the likes of Mayday Parade, Taking Back Sunday, Underoath, Set It Off, Grayscale, Circa Survive, and more. This time around, an A-list roster delivers stripped-down interpretations of fan favorites as well as a few surprises. As the latest volume showcases another side of heavy music, alternative, and punk royalty, it also boldly extends the legacy of Punk Goes… Follow a selected journey of the collection thus far below : Punk Goes Metal ( 2000 ) This one started it all! Punk powerhouses tried their hand at metal favorites. Among many highlights, AFI got down and dirty on “My Michelle” by Guns N’ Roses, and New Found Glory reached for Sunset Strip immortality on Warrant’s “Heaven.” Notably, it set a precedent for originals as well with The Aquabats! getting heavy on “Why Rock?” Punk Goes Pop ( 2002 ) Punk and metal might not be the strangest bedfellows, but punk and pop on the other hand… The Starting Line took on “I’m Real” by Jennifer Lopez and a pre- Fyre Festival Ja Rule. Stretch Armstrong tackled P!nk’s “Get This Party Started.” Meanwhile, Yellowcard’s rendition of Michelle Branch’s “Everywhere” racked up 3.8 million Spotify streams. Punk Goes Acoustic ( 200 3) Punk Goes Acoustic would be the first Punk Goes… album to entirely forego cover s. For the first time, it exclusively featured originals broken down to the bare essentials on acoustic. Finch’s “Letters To You” surpasses 1 million-plus Spotify streams. Punk Goes Pop, Volume 03 . ( 2010 ) Who would’ve imagined Miss May I adding metal to the JAY-Z, Kanye West, and Rihanna smash “Run This Town?” Well, they did on this one and cracked 3.8 million Spotify streams. Woe, Is Me turned up the heat on Katy Perry’s “Hot N Cold” and put down 4.3 million Spotify streams. Punk Goes X (2011) For Punk Goes X , Fearless Records united with ESPN’s X Games for a high-profile partnership. It touts a bevy of bangers played during the 2011 Winter X Games courtesy of Breathe Carolina, The Word Alive, Miss May I, and more. Punk Goes Pop, Volume 4 (2011) Punk Goes Pop, Volume 4 can be cited as the “most-streamed compilation in the series . ” The total number of Spotify streams eclipses a staggering 81 million. Tonight Alive’s “Little Lion Man” holds the distinction of “most-streamed song in the series” with a whopping 22.8 million Spotify streams. It also became the band’s “ number one most-streamed song . ” This would be followed by Pierce The Veil’s “Just the Way You Are” (14.5 million Spotify streams – and the band’s tenth most-streamed song), A Skylit Drive’s “Love the Way You Lie” (13.5 million Spotify streams – and the band’s number one most-streamed song), Woe, Is Me’s “Last Friday Night (T.G.I.F.)” (8.5 million Spotify streams), Silverstein’s “Runaway” (7.7 million Spotify streams), Chunk! No, Captain Chunk!’s “We R Who We R” (6.8 million Spotify streams), and The Downtown Fiction’s “Superbass” (5.6 million Spotify streams – and the band’s second most-streamed song). Punk Goes Pop, Volume 5 (2012) The release stands out as the second in the series to crash the Billboard Top 200, landing at #16 and selling 21,000 copies. It also made waves at #4 on the Top Independent Albums Chart, #2 on the Top Modern Rock/Alternative Albums Chart, and #5 on the Top Rock Albums Chart. Mayday Parade’s “Somebody That I Used To Know” [feat. Vic Fuentes] sold 15,000 copies first-week and soared to the Top 20 of the Billboard Rock Songs and Heatseakers Charts. Continuing the streaming success, Memphis May Fire’s “Grenade” clocked 11 million Spotify streams and became their second most-streamed song, and Issues’ “Boyfriend” mustered up 10.1 million Spotify streams as their third most- streamed song. Punk Goes Pop, Volume 6 (2014) On this standout, GRAMMY ® Award nominees August Burns Red made Miley Cyrus’s “Wrecking Ball” live up to its title and ratcheted up 8.6 million Spotify streams—their third highest tally. Punk Goes Christmas: Deluxe Edition (2015) It houses both covers and originals, making it a unicorn in the pack. August Burns Red recorded the “Home Alone Theme , ” ya filthy animals! Punk Goes Pop, Vol. 7 (2017) The most recent installment made waves throughout the rock world. The streaming success continued, spanning Andy Black’s “When We Were Young” [feat. Juliet Simms] (6.4 million Spotify streams – and Simms’ number one most-streamed song and Black’s fourth most-streamed song), Grayscale’s “Love Yourself” (3.2 million Spotify streams – and the band’s third most-streamed song), New Years Day’s “Gangsta” (2.8 million Spotify streams – and the band’s third most-streamed song), and more. In addition to features by Rock Sound and Kerrang! , Substream awarded it 4.5-out-of-5 stars in a glowing review. The Frontrow Report summed it up best as “one of my go to albums of the summer . ” Punk Goes Classic Rock. If you're a band covering a song, the goal should be to pay homage to the original while simultaneously making the song your own. Like a chef tinkering with a recipe, the idea is to make something familiar, but to freshen it up with new ingredients, new flavors that complement the dish while reinventing it. As with any genre, punk has quite a history with covers. Some are iconic, like Sid Vicious singing “My Way,” and some have been the focus behind entire bands, like the fun-times punk supergroup Me First and the Gimme Gimmes. Unfortunately, Fearless Records’ Punk Goes Classic Rock compilation is a whole other story. Most of the songs here are pretty faithful to the originals, but add extraneous, post-hardcore flourishes that just feel tacked on. Hit the Lights' cover of the Boston anthem “More Than a Feeling” clips along as a slightly faster than normal rendition until adding bass bombs to the iconic chorus, turning what would have been a fairly ho-hum cover into a tired, screamo cliché. All of the bombast of Queen’s “We Are the Champions” is sucked out of Mayday Parade’s version, replaced by a sparkling over-production and Auto- Tuned vocals. The one standout track on the album comes by way of blessthefall’s rendition of Aerosmith’s “Dream On.” While it starts out by the book, it slowly expands in a more ambient direction, giving the song an electronic twist that takes it in darker directions while still being faithful to the original. With how uninspired a lot of the covers found here are, it’s difficult to know what purpose an album like Punk Goes Classic Rock serves. Perhaps it’s just a matter of the songs tackled here being a little too iconic in the classic rock canon, or maybe the bands covering the songs didn’t take enough risks. Either way, it’s an uninspired journey through some classic jams that will probably only appeal to hardcore collectors. Various Artists (Punk) Punk Goes Classic Rock. Punk Goes. put out a compilation that was put forth to companies worldwide and was released to the world entitled 'Punk Goes Classic Rock'. Now, this isn't the first time that this has happened, this is something that you see compilations and cover albums done by solo bands as well as compilations of artists all the time. And this is usually a good thing. With bands such as Overkill, Metallica and Children Of Bodom in the Metal genre that have been able to pull this off. Sometimes, you're able to get to get a hit, other times you don't. Sometimes you just get one song off a particular album, sometimes you get a whole collection. However, this one should've been a f***ing ABORTION. First off, let's get started with the bare bones basics about this album: the title. The title is 'Punk Goes Classic Rock'. Now, I understand that it seems like a very straightforward title. Whenever you think of Punk though, who do you think of? You think about bands such as Bad Religion, The Sex Pistols and Black Flag and maybe some of you younger kids may think of Green Day, Blink 182 and The Offspring. But here's some examples of some of the bands that are on this album: you have Hit The Lights, Piece The Veil, Mayday Parade, Forever The Sickest Kids, Never Shout Never, A Skylit Drive, Blessthefall, etc. Is this really punk? NO! You know what is associated with at least half of these bands? EMO. Yeah, I know they were on Warped Tour and Warped Tour is traditionally a Punk festival. But whenever you go there and you listen to it, the first thing you wanna do is rip your f***ing eardrums out! Why? The music does not resemble the Punk that I remember and let me tell you something: the Punk that I remember was actually good. It was actually tolerable. It actually stood for something. It wasn't this bulls**t that sounds like emo music that's done by a bunch of people who look exactly like emos! Do I believe that Emo is an actual real genre? No. If it was, it would have it's own section because everybody and their f***ing mother wants to do it, but these bands DO NOT represent Punk music and if THIS is what Punk music is today, then the scene is D E A D. Now, let's get into some of the actual songs. Now, a lot of the original performers and songs you are gonna know very well. 'More Than A Feeling' by Boston, 'Paint It Black' by The Rolling Stones, 'Free Fallin'' by Tom Petty, there's a couple of Queen songs, a Def Leppard song, Aerosmith and a couple of Ozzy songs. There's SO many things to complain about I don't know what to start. Let's start with another bare-bones basic: the lyrics. If you don't know the lyrics to the song, even if it's just one or two words, I might be nitpicking but I don't care. If you don't know the lyrics to the song, DO NOT change them up and think "Well, nobody's gonna notice". People who know these songs WILL notice! "Love me like a bomb/Come on baby get it on" IT'S NOT THAT DIFFICULT. IT IS NOT really difficult, The Maine, for 'Pour Some Sugar On Me'. No, whenever you said "I don't f***ing know!", it wasn't right. Secondly, I understand that, like my introduction, a lot of these bands are able to take certain creative liberties in order to make cover songs fit a little bit better within their repertoire. But the covers present on this album are absolutely atrocious! These are murdering the original songs! Giving them a sound that absolutely makes me sick. It's something when modernization is not a terrible thing but in this case, this is where you take it to the retarded level! Whenever I'm listening to 'All Along The Watchtower' by Envy On The Coast, which of course was originally done by Bob Dylan and covered by Jimi Hendrix, you sort of expect a little something. You expect it to maybe sound a little bit like either one. And the result is just 'All Along The Watchtower' if it was a Punk song. Really not that good, really not that impressive and whenever you listen to it, the very first thing that comes in your mind is "This is s**t!". Never Shout Never pulls off 'Bohemian Rhapsody'? No, they don't. They absolutely DO NOT pull off this song. They destroy the feeling and the emotion. The crescendo right at the end right before "Nothing ever matters/Nothing more you see/Nothing really matters/Nothing really matters to me", they destroyed it! That's the moment when it's supposed to be an emotional turn, a tug at your heartstrings and it's supposed to make you really emotional and want to cry because it's that finale. They destroyed this song! And Blessthefall's cover of 'Dream On', let's not even get into it. Let's skip right to 'Crazy Train' covered by Forever The Sickest Kids. Now this is one of those songs that the first time I listened to it, I thought to myself "Okay. Maybe". In fact, the first time I listened to it was while I was at work and I actually uttered the words "This isn't bad. Bravo." I know why I said that now. I know exactly why I said that: because I was FAR F***ING AWAY FROM THE SPEAKERS! So, whatever I was hearing was whatever my mind wanted it to sound like mixed with what it actually was. Why? Because before writing this review, I was actually right next to the speakers. I can hear every tone, each and every word, each and every piece of atmosphere that is in this song and it just boggles my mind why I ever thought it was good. It is atrocious! First off, if you can't play the guitars, I understand substituting the instruments but let me tell you that it RUINS the sound and absolutely destroys it, annihilates it and it does not sound anything like the original and I can't stand it. The Almost doing 'Free Fallin'' by Tom Petty. Whenever you're improvising right in the middle, doing you're own little thing in there, cool and all. But, it's something you want to do live, not on a studio representation. I can't believe half of these bands signed off on this. But then I remembered something else. Typically, whenever a cover is done, it is an artist's representation of their influences. THAT IS NOT THE CASE WITH THIS ALBUM! Why? It's because there has been SIXTEEN different compilations by the same parade of artists that have absolutely nothing to do with Classic Rock. We have 'Punk Goes Pop', 'Pop Goes Crunk', 'Punk Goes Christmas' WHAT THE F**K IS NEXT? 'Punk Goes Country'? 'Punk Goes Opera'? 'Punk Goes Space Opera'? 'Punk Goes Latin'? 'Punk Goes Jazz'? 'Punk Goes This' and 'Punk Goes That'! 'Punk Goes To The Grave' I HOPE THEY F***ING DO. Because THAT'S where these bands deserve to be! This is NOT a representation of Classic Rock as it is just commercialism. Do you think I'm full of it? Go right ahead! Do you like these bands and hate my opinion and think this review as atrocious, then go ahead, s**t all over my review, but it's the goddamn truth! What's next, are you gonna throw My Chemical Romance, Limp Bizkit, Panic! At The Disco, Blood On The Dance Floor, Black Veiled Brides, Avenged Sevenfold, Slipknot, etc. into one giant compilation and say "It's one style of music" but it's really not. You might as well call it 'Country Goes Western' or 'This Goes That'. And now I refer back to my sentence at the start of this long and exhaustively angry review: These are NOT Punk bands. These are Emo bands. This an atrocity of a compilation. If anything, this is something that should be banned from the shelves and if they really wanna do this, they should take a lot more time, a lot more effort, they should re-do everything and make it sound a lot better because this is awful. This is absolutely disgusting. This is what the music business does not need. If you want it to be 'Punk Goes Classic Rock', get Black Flag to play a Pink Floyd or a Rush song and I'm not really a fan of either two bands anymore. Some people consider them Progressive Rock, some people consider them Classic Rock. I don't care, shut up. Have a band of the ACTUAL Punk genre play a Led Zeppelin song. It's not that hard. It really isn't. AVOID THIS AT ALL COSTS. This is one of those albums that if you buy it and listen to it, I really pray to God that you go outside, smash it with a baseball bat, take a s**t on it, kick it and then all of a sudden decide to let your dog eat the f***ing remains. THIS IS AWFUL. That being said, 'Punk Goes Classic Rock' gets a nice, blistering 1 star out of 5. Why? Because unlike anything that I've ever done or listened to, it was recorded, it was put on a CD, it was packaged and it was sold. That's it. I'd have more talent masturbating than what this CD has to offer. 'Nuff said. DOWNLOAD ALBUM PUNK GOES POP 2,3,4 & CLASSIC ROCK ALBUMS. Punk Goes Pop 2 ini adalah seri ke 8 dari Album album Punk Goes yang dikeluarkan oleh fearless records…Album ini dibuat olehFearless Records , meliputi lagu lagu pop yang tercover dengan musik punk danKedelapan di album SeriSecara keseluruhan . Punk Goes pop 2 dirilis pada tanggal 9 Maret 2009, di Inggris, dan 10 Maret 2009 di Amerika Serikat. Album debut ini menduduki pringkat di nomor 15 di Billboard 200, menjual 21.000 kopi dalam minggu pertamaPeluncuran album. Punk goes classic rock full album download. Track 1 originally performed by Boston. Track 2 originally performed by The Rolling Stones. Track 3 originally performed by Tom Petty. Track 4 originally performed by Queen. Track 5 originally performed by Kiss. Track 6 originally performed by 38 Special (2). Track 7 originally performed by Journey. Track 8 originally performed by The Outfield. Track 9 originally performed by Blue Öyster Cult. Track 10 originally performed by Ozzy Osbourne. Track 11 originally performed by Def Leppard. Track 12 originally performed by Bob Dylan, covered by Jimi Hendrix. Track 13 originally performed by Eddie Money. Track 14 originally performed by Queen. Track 15 originally performed by Aerosmith.