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Rock Albums Download Rock Albums Download rock albums download Rock albums download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67a2bb0fcb054e3e • Your IP : 188.246.226.140 • Performance & security by Cloudflare. The 10 best 80s rock albums to own on vinyl. While it may be best remembered for its preened rockstars, tight jeans and regrettable haircuts, the 80s was a time of huge innovation when it came to rock music. By the time the decade gave itself over to monolithic dirge of grunge as the 90s rolled around, it had spawned new classics in the realms of gothic rock, prog rock, folk rock and pretty much everything in between. But with a genre boasting so much diversity in its canon, how do you go about furnishing your collections with its classics? Well, that's where we come in. We've assembled the quintessential collection of 80s rock cuts to provide the healthiest of foundations to every rock fan's record collection. AC/DC - Back In Black (Albert/Atlantic, 1980) There was a powerful significance in that title, and that none-more-black cover. Angus described Back In Black as “our tribute to Bon”, but it became so much more than that. The biggest-selling album of AC/DC’s career, and the second-biggest-selling ever (after Michael Jackson’s Thriller ) Back In Black is the mother of all comeback records and arguably the greatest hard rock album of all time. The way the band tell it, it was the worst of times and it was the best of times. Bon’s death had shook them, but this new singer gelled instantly and the ideas came thick and fast. The result was an album with so many classic songs: Shoot To Thrill, What Do You Do For Money Honey (a song that dates from the Powerage sessions), and of course that genius title track, built on a juddering riff that sounds like the blues if it was deconstructed by Satan and then rebuilt by Tony Stark. Out of tragedy came AC/DC’s greatest triumph. Released in July 1980, the album is still the second best-selling album of all time. Despite selling so many records, Back In Black didn’t reach #1 in the US. On its initial release it would only reach #4 in the charts across the pond, but did reach #1 in the UK, their home country, Australia, and France. Each time the album has been reissued, and reached the Billboards charts again, it has only managed to reach #1 on the Billboard Top Pop Catalogue. Dire Straits - Love Over Gold (Vertigo/Warner Bros, 1982) Okay, okay, we hear you: no Brothers In Arms ?! While we’d agree that Dire Straits’ follow-up album is an excellent piece of work that’s worthy of coverage, we’d argue that it’s more associated with the rise of the CD, and that this gem from 1982 is a far more interesting record, with an equally eye-catching piece of cover art. Releasing an album that starts with a 14-minute song might sound like commercial suicide, but writer Mark Knopfler had no intention of following cash – he just wanted to craft a collection of epic tunes. As it turned out, the cash would follow anyway, with Love Over Gold reaching #1 in the UK album charts and staying in the top 100 for a total of 200 weeks ( Brothers In Arms would eventually top it with 228 weeks). Recorded at New York’s Power Station in just over nine weeks and produced solely by Knopfler, the Love Over Gold recording sessions are notable for producing a number of songs that never made it to the final album, including The Way It Always Starts , Badges , Posters , Stickers And T-Shirts and the excellent Private Dancer , which ended up on Tina Turner’s comeback album. The huge success of Love Over Gold and the sheer accessibility of vinyl during the ‘80s means it’s possible to pick it up for under a fiver; represses are more in the £20 region. It’s a paltry price to pay for such an interesting album, and allows you to judge for yourself if opening with the 14-minute Telegraph Road was such a bad idea (it wasn’t). Bruce Springsteen - Nebraska (Columbia, 1982) Between The River , a 1980 double album which was immense in its scope and vision, and 1984’s Born In The USA , a giant hit, Bruce Springsteen recorded an album that was subtler in all possible ways – 1982’s Nebraska . Plain in instrumentation and presented with stark artwork, this atypical record may not be Springsteen’s loudest, brashest or most vivid work, but it’s definitely one of his most emotional. The creation of the album makes for a fascinating story. Springsteen recorded the whole thing solo, on a four-track tape recorder, in the bedroom of his home in January 1982. Using mostly acoustic guitar, a drum machine and a few extra instruments such as mandolin and organ, he created a suite of dark, folk-influenced songs that took a sombre view of life in America. The title track was based on the tale of Charles Starkweather, a serial killer from the ’50s, while Atlantic City considered the tale of a man forced to take a job in the criminal underworld. ‘ Johnny 99 ’ was about a factory worker who is laid off and kills a man in his desperation, and ‘ Highway Patrolman ’ concerns a police officer who lets his brother escape justice even though he has committed a murder. It’s powerful stuff, and a long way from the pyrotechnics of the albums which preceded and followed it. The resulting album went on to become a real gem in Springsteen’s catalogue. Kate Bush - Hounds Of Love (EMI, 1985) The ‘80s have been by far the most prolific decade of the British songwriter Kate Bush’s career so far: she released four albums in that period, the most experimental of which was The Dreaming (1982) and the most commercially successful Hounds Of Love (’85). Loaded with hit singles and sharp, precise songs that cut deep to the bone of the human condition, Hounds was a reaction to the obscure themes of its predecessor – and widely admired for exactly that reason. Bush, then as now one of the most accomplished composers and artistic visionaries of her generation, secured our attention this time with the album’s first single, Running Up That Hill (A Deal With God) . With a synth hook that wouldn’t go away once you heard it, and a virtuoso vocal performance from Bush which makes today’s giant-lunged X-Factor singers seem utterly outclassed, the song remains one of her best known, even more so than the songs from her Wuthering Heights era. Cloudbusting , accompanied by a video boasting the best special effects the mid-’80s could muster, continued Bush’s presence in the charts and radio, as did The Big Sky and the title track itself. Note that the singer rarely took the time to explain her lyrical themes with much clarity, leaving it to the listener to decipher what a big sky and so on actually were – but the public didn’t mind, lining up to buy Bush’s records and tickets for her gigs. There’s something very British about that: it wasn’t the videos or the words that sold Hounds Of Love to us, it was the amazing music and the mysterious vibe of Bush herself. Iron Maiden - Somewhere In Time (EMI/Capitol, 1986) Recorded both at Compass Point Studios in Nassau and at the legendary Wisseloord studio in Holland, Somewhere In Time marked a slight departure for Maiden, in that it featured the use of the then distinctly groundbreaking guitar synthesizer, something that had seldom been a feature in metal prior to that point. Guitarist Adrian Smith’s songs brought a fresh vibe and an air of radio-friendly oomph to the album too, perfectly complementing Steve’s compositions like instant live favourite Heaven Can Wait and the grandiose Alexander The Great . It may have been the most controversial Maiden album to date, but Somewhere In Time , with its magnificently inspired and detailed Derek Riggs artwork featuring Eddie in full-on cyborg mode, would go on to delight the diehard fanbase, ensuring that the band’s momentum was in no way diminished by a slight change in musical mood. Released in September 1986, Somewhere In Time was another great success for Maiden on both sides of the Atlantic. Despite having come close to collective collapse at the end of the World Slavery tour, there was no way that chief songwriter Steve Harris or manager Rod Smallwood were going to allow the band to take their foot off the gas, and so they immediately embarked on another colossal world tour to support the new album. Malfunctioning inflatables and ludicrous clobber aside, the Somewhere In Time tour was another unequivocal triumph for Maiden.
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