Bryan Adams – Albums Collection 1980-2010 (17CD) + 2 DVD + 2 Singles [RE-UPLOADED]

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Bryan Adams – Albums Collection 1980-2010 (17CD) + 2 DVD + 2 Singles [RE-UPLOADED]

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A collection of 19 CD and 2 DVD, which includes all the studio albums by Bryan Adams at the moment, also 2 compilations of his best songs and 4 live albums. Additionally added 2 DVD - "Unplugged" and the bonus album "11", and two maxi-singles for the album "18 til I Die".

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Bryan Adams negotiated the shifting tides of the '80s so well that it never seemed like he was changing his music to fit the times. A veteran of the '70s studio arena rock game, Adams struck out on his own in the early '80s, turning into a star in his native Canada and making headway with his 1983 album, Cuts Like a Knife. All of this was a prelude to Reckless, the 1984 album that turned him into an international superstar, selling by the truckloads in North America, Europe, and Asia thanks to the hits "Run to You," "Heaven," and "Summer of '69." From that point on, Adams was the most unassuming of rock stars, riding high on the charts and selling out arenas, even breaking Billboard records with his power ballad "Everything I Do (I Do It for You)," but never quite dominating the public imagination (or earning the critical respect) as such peers as Bruce Springsteen and John Mellencamp. Nevertheless, Adams remained a formidable presence on the American charts into the mid-'90s, and while the popularity of his new records started to slip after that, he retained his audience in Canada and the U.K. and his '80s hits remained radio staples as he began a career as a photographer.

The son of an English diplomat, Bryan Adams was born in Kingston, Ontario, Canada, in 1959 and spent much of his childhood traveling Europe. His family set down roots in North Vancouver, British Columbia, in 1973, around which time he began seriously pursuing music, quickly getting into the thick of Vancouver's scene. Adams quit school and wound up as a replacement for Nick Gilder in the glam rock band Sweeney Todd, singing lead on the band's second album, If Wishes Were Horses…, when he was just 15. Not long after its 1977 release, Adams left the group and began his long, fruitful collaboration with Jim Vallance, then currently the drummer of Prism but looking to move into songwriting. The pair clicked and they soon assembled a demo tape for Adams, a tape that earned the singer a contract with A&M Records in 1978. Two years later, Adams' eponymous debut appeared in Canada, where it did respectably. A year later, his second album, the Bob Clearmountain-produced You Want It, You Got It, started to get Adams some play on album rock radio stations, a development that led to Adams and Vallance co-writing two songs with Gene Simmons for Kiss' 1982 LP, Creatures of the Night.

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Things started to break wide open for Adams in 1983 thanks to Cuts Like a Knife, an album that had a big, powerful album rock sound and the pop hooks that would later turn him into a star. The former could be heard on the singles "Cuts Like a Knife" and "This Time," while the latter was in bloom on the ballad "Straight from the Heart," the song that became Adams' first American Top Ten hit. It all paved the way for Reckless, the 1984 album that turned Adams into a superstar. Reckless had the right songs – particularly the brooding minor-key "Run to You," the skyscraping power ballad "Heaven," and the nostalgic heartland rocker "Summer of '69," but also the Tina Turner duet "It's Only Love," "Somebody," and "One Night Love Affair," all released as singles, meaning that over half the album was released as singles in true Thriller fashion – at the right time, all given videos that earned heavy rotation on MTV. As Adams supported the album with an international tour that lasted nearly two years, he surfaced in other ways: opening the American concert in Live Aid; co-writing Canada's Ethiopian famine relief charity single "Tears Are Not Enough"; and working steadily with Vallance on tunes for a number of other artists, including Loverboy, Roger Daltrey, Neil Diamond, Bonnie Raitt, and Glass Tiger, whose Adams/Vallance-written song "Don't Forget Me (When I'm Gone)" featured Adams on backing vocals.

Adams succeeded Reckless in 1987 with Into the Fire, a bigger streamlined record that ironically didn't produce a huge hit; "Heat of the Night" and "Hearts on Fire" reached the Top Ten, but they didn't cut into public consciousness the way the singles from its predecessor did, and the album plateaued at platinum. In the wake of this lukewarm reception, Adams parted ways with Vallance – their last notable collaboration was Joe Cocker's 1989 hit "When the Night Comes," co-written with Diane Warren – and teamed with producer Robert John "Mutt" Lange, who had recently helmed Def Leppard's 1987 blockbuster Hysteria, for his next album, Waking Up the Neighbours. In spite of its rabble-rousing title, Waking Up the Neighbours wasn't a big rock & roll album, something its smash hit "Everything I Do (I Do It for You)" made plain. Written as the theme for the Kevin Costner film Robin Hood: Prince of Thieves, the power ballad – co-written by Adams, Lange, and the film's composer, Michael Kamen – was Adams' biggest hit, spending seven weeks at the top of the U.S. Billboard charts, an impressive stretch overshadowed only by its astonishing 16-week run at the top of the British charts, a feat that smashed all U.K. records. In the wake of this remarkable success, Waking Up the Neighbours appeared in September 1991, soon turning into Adams' second-biggest hit album, spawning the Top Ten hit "Can't Stop This Thing We Started" in addition to three other singles, "There Will Never Be Another Tonight," "Do I Have to Say the Words," and "Thought I'd Died and Gone to Heaven." For as successful as the album was in America, it performed better in Europe, beginning a pattern that would only increase over the course of the '90s.

Upon the conclusion of the two-year supporting tour for Waking Up the Neighbours, Adams released his first hits collection, So Far So Good, in time for the 1993 Christmas season; its new song, a power ballad called "Please Forgive Me," was another Top Ten hit. Not on the album was "All for Love," a song Adams co-wrote with Lange and Kamen and sang with Rod Stewart and Sting for the film The Three Musketeers; like "Everything I Do (I Do It for You)" before it, the song turned into a massive international hit, topping the U.S. charts in early 1994. As Adams worked on his next album with Lange, "Have You Ever Really Loved a Woman" – another Adams/Lange/Kamen movie tie-in power ballad, this time from the Marlon Brando/Johnny Depp romantic comedy Don Juan DeMarco – went to number one in the U.S. during the summer of 1995. His next album, 18 Til I Die, finally appeared in the summer of 1996, and while it performed very well in England, Canada, and Europe, thanks to the singles "The Only Thing That Looks Good on Me Is You" and "Let's Make a Night to Remember," it stalled in the U.S., failing to reach the Top Ten even though it did manage to go platinum. Toward the end of his tour for the album, Adams performed on MTV's Unplugged in September 1997, releasing an album of the occasion in December.

Adams parted ways with Mutt Lange for 1998's On a Day Like Today. The decision turned out to be somewhat ironic, as the album was his hardest-rocking effort in years, something that would seem to have fit Lange's specialty. The record continued Adams' downward trend in the U.S., peaking at a mere 102, but performed respectably in the U.K., thanks in part to his duet with the Spice Girls' Melanie C on "When You're Gone." Another hits compilation, The Best of Me, appeared internationally in 1999, and Adams spent the first years of the new millennium rather quietly, working steadily as a photographer and landing spreads in such major publications as Vanity Fair and Esquire. He published his first collection of photos, Made in Canada, in 1999, followed by Haven in 2000. Another collection, American Women, appeared in 2005.

Musically, he resurfaced on Chicane's 2000 dance hit "Don't Give Up" and collaborated with Hans Zimmer for the score to the 2002 animated feature Spirit: Stallion of the Cimarron; from that soundtrack, Adams had a minor adult contemporary hit in "Here I Am." Adams finally released Room Service, his first new album of the decade, in 2005; it, like its predecessor, didn't have much an impact in the U.S. but did fine overseas. A double-disc hits collection called Anthology also appeared that year, peaking at number 65 in Billboard. In 2006, Adams received a Golden Globe nomination for "Never Gonna Break My Faith," the song he wrote – and Mary J. Blige and Aretha Franklin performed – for Emilio Estevez's film Bobby. Two years later, he released his 11th album, aptly titled 11, which initially appeared in the U.S. under an exclusive license with Wal-Mart. It was his best-charting studio album in America since 1996, peaking at number 80, and it paved the way for another North American tour, this one featuring stripped-down, acoustic renditions of Adams' biggest hits. The shows stretched into 2010, during which time Adams continued to make additional headlines for his work as a celebrity photographer. Later that year, he released Bare Bones, a live album taken from his acoustic tour.

Biography by Stephen Thomas Erlewine, Allmusic.com

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Bryan Adams – Albums Collection 1980-2010 (17CD) + 2 DVD + 2 Singles [RE-UPLOADED]

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Made up of brisk, pop-perky guitar fair, Bryan Adams' first album gained a considerate amount of airplay in Canada, but his notoriety abroad was still a couple of albums away. At 21, Adams' voice sounds a whole lot younger than his age, but the album itself holds up well, comprised of simple but buoyant pop songs. The better tracks stem from the brisk but amicable "Hiding from Love," the well-sung "Give Me Your Love," and from the staunch keyboard zing of "Remember." But the other tracks are in no way disappointing, with "Win Some, Lose Some," "Wastin' Time," and "Don't Ya Say It" all containing a pleasurable albeit rudimentary pop formula. In his late teens, Adams had worked with writer Jim Vallance, collaborating and writing songs for Prism (who Vallance was a member of at one time) and Bachman-Turner Overdrive before he was signed to A&M. This partnership had payed off for Adams, and his musicianship and writing skills became stronger with each release. Although his big break came with the release of 1983's Cuts Like a Knife, an album that gave him his first three Top 40 singles, Bryan Adams makes for an interesting and entertaining debut, especially from a retrospective standpoint. His tapered guitar punch may still have been in the making, but it's obvious by the cuts on this album that he was destined to be a successful radio rocker.

Review by Mike DeGagne, Allmusic.com

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With its crystal-clear production, courtesy of Bob Clearmountain, You Want It, You Got It is state-of-the-art rock & roll of the post-Bruce Springsteen era: the guitars rev up, the bass drum is deeper than a well, the vocals are nasal and punky. The songs don't have the craft or commitment of Brian Adams' peers/competitors – Springsteen, Tom Petty, John Mellencamp – but you may not know it for the first few spins, just because the sound is so hot and infectious, and by then it may not matter. Actually, this is a much more enjoyable record in many respects than the rock & roll assembly line products Adams constructed once he hit the arenas. As it was, with this one, he was on his way. All he did later was take this approach and make it slicker.

Review by William Ruhlmann, Allmusic.com

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Side one of Bryan Adams' third album, 1983's Cuts Like a Knife, is simply perfect. "The Only One," "This Time," and the title track are mid-paced melodic rockers with drop-dead choruses and hooks; they set the mold for most of Adams' finest and biggest hits. Though it rocks a little harder, "Take Me Back" is just as radio-friendly thanks to its use of female backup singers, and the fantastic "Straight Through the Heart" is Adams' first of many great ballads. Side two opens with a few misfires, but recovers soon enough thanks to the gutsy guitar of "Don't Leave Me Lonely" and the rather saccharine (but still good) ballad "The Best Was Yet to Come." Adams would finally achieve chart-topping perfection on his next release, Reckless, but Cuts Like a Knife comes pretty close.

Review by Eduardo Rivadavia, Allmusic.com

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Bryan Adams capitalized on the momentum of Cuts Like a Knife with 1984's Reckless, a virtually flawless collection of melodic hard rock which would dominate radio for years to come. "Run to You" was a brilliant lead-off single which remains one of Adams' best songs ever, but its success still pales in comparison to follow-up smashes such as "Summer of '69," "It's only Love," (a duet with Tina Turner), and the ballad to end all ballads, "Heaven." Although some songs haven't aged very well (especially the overtly cheesy "Kids Wanna Rock"), these weak links are easily eclipsed by further highlights such as the cool rock of "One Night Love Affair" and the irrepressible pop chorus of "Somebody." Sales figures may point to 1991's Waking Up the Neighbors as the peak of Bryan Adams career, but the songs from Reckless will most certainly prove to be his lasting legacy.

Review by Eduardo Rivadavia, Allmusic.com

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By the time he returned to the studio after almost two years of touring behind the remarkable success of 1984's Reckless, Bryan Adams' once fruitful collaboration with producer Jim Vallance had obviously staled. Most of the duo's songs for 1987's Into the Fire were lifeless and dull, and the album yielded only one successful single in "Heat of the Night." The arena rock of "Hearts on Fire" injects it with at least a little spark, but things quickly get ugly with the depressing title track and the truly awful "Only the Strong Survive." Not surprisingly, the album was Adams' last with Vallance, and his new partnership with producer John "Mutt" Lange (Def Leppard, AC/DC) would lead to his greatest success yet.

Review by Eduardo Rivadavia, Allmusic.com

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Bryan Adams's Live! Live! Live! is a straightforward live album, featuring his greatest hits replicated in concert. Adams' support band is professional and he is in fine voice, but the record doesn't offer any new interpretations of the hits, nor does it have much energy. Consequently, it isn't necessary for anyone but the most dedicated fans.

Review by Stephen Thomas Erlewine

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Although not as good as Reckless, Bryan Adams' 1991 album, Waking up the Neighbours, signaled his commercial apex. Bridging the time gap between '80s arena rock and '90s angst-ridden grunge, the album also ushered in an era in which Adams became more known for his sweeping power ballads than his straight-ahead rock tunes. This album, filled with nearly 75 minutes of showstopping arena rockers and mid-tempo ballads, churned out no less than five hit singles, the most notable being the Robin Hood Prince of Thieves theme "(Everything I Do) I Do It for You." That ballad spent seven weeks atop the U.S. pop charts, becoming the longest-reigning American chart-topper since Prince's "When Doves Cry" seven years earlier. The song also became a phenomenon in Europe, becoming Adams' biggest hit ever. Other singles which followed included the joyous rocker "Can't Stop This Thing We Started," which became a number two hit, the mid-tempo ballads "Do I Have to Say the Words" and "Thought I'd Died and Gone to Heaven," and the fun, straight-ahead rocker "There Will Never Be Another Tonight." Waking up the Neighbours was co-produced by Robert Jon "Mutt" Lange, and as a result, many of these songs sound as though they could have easily been Def Leppard recordings, especially "All I Want Is You," which sounds like "Pour Some Sugar on Me" part two. Nonetheless, Waking up the Neighbours is a fun album and perfect for those who expect nothing more than an old-fashioned good time from their rock & roll.

Review by Jose F. Promis, Allmusic.com

Waking up the Neighbours' will, with no sweat, reestablish Bryan Adams as the radio's hoarse purveyor of energy and fun. A scrupulously careful yet adamantly alive piece of work, this collaboration between the Canadian singer-guitarist and the Midas-touch songwriter-producer Robert John "Mutt" Lange alternates half-tamed sonic raunch like "Is Your Mama Gonna Miss Ya?" and "Hey Honey – I'm Packin' You In!" with eloquent mall ballads such as "(Everything I Do) I Do It for You," Adams's current planet-wide phenomenon, and the even moodier "Do I Have to Say the Words?" For further balance there is fairly soulful midtempo rock ("Depend on Me") and an oddly toned state-of-the-world finale called "Don't Drop That Bomb on Me."

Like most capable pop craftsmen hellbent on seizing the airwaves, Adams and Lange walk a fine line between familiarity and derivativeness, between the blazingly immediate and the outright stale. So some tunes on Waking Up the Neighbours have turned out too broad for anyone's taste. "House Arrest" doesn't convey much of the atmosphere of "justa havin' a ball," and the hectoring sing-along "There Will Never Be Another Tonight" collapses into silliness in no time flat. More often, however, all Adams and Lange's high-impact verses and choruses and bridges and subbridges work like charms. The arrangements are only faintly dressed up with well-chosen bits of keyboard and percussion, and Bob Clearmountain's mix emphasizes Adams's vocals and Keith Scott's memorable guitar hooks – not, as per current market fashion, the rhythm section.

Bryan Adams became a superstar on the basis of Reckless, from 1984, an album released just as Bruce Springsteen's Born in the U.S.A. was beginning to exert its enormous influence over how guitar-defined popsters should think, sound and wear their denim. Three years later, with his dull Into the Fire, Adams let his always believable passion for melody and crunch lead him into attempts at the sort of topical, introspective songwriting that Springsteen and John Cougar Mellencamp sometimes can pull off. But between 1987 and right now, the Traveling Wilburys restored humor and the Black Crowes embraced vulgarity. However you may feel about this turn of events in the evolution of nonmetal, bestselling guitar pop, one thing seems certain: It's coaxed Bryan Adams back toward his natural calling.

Review by James Hunter, Rolling Stone

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Throughout the 1980s and early '90s, few contemporary rock artists were able to come up with as many lighthearted, guilty pleasures as Bryan Adams. This is especially evident through So Far So Good, which neglects all album fillers and compiles many of his most noteworthy songs, from such rockers as "Summer of '69," "Run to You," and "Cuts Like a Knife" to the equally popular power ballads "Heaven" and "(Everything I Do) I Do It for You." Also included is the all-new "Please Forgive Me," one of his best power ballads yet. It's not quite a perfect compilation, however; in particular, his Top 20 hits "She's Only Happy When She's Dancin" and "Thought I'd Died and Gone to Heaven" are overlooked. These are only minor flaws, though. There is no better introduction to Bryan Adams to date than So Far So Good.

Review by Barry Weber, Allmusic.com

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After experiencing enormous success in the early '90s with a handful of soundtrack contributions, Bryan Adams returned in 1996 with 18 til I Die, his first full-length album in five years. Since 1991's "(Everything I Do) I Do It for You," Adams' biggest hits have been big, sweeping power ballads; evidently constrained by that middle-of-the-road persona, 18 til I Die attempts to return to the rockin' good-time vibes of his earlier records. The sound is grunged up a little, and he appears on the album cover in a bizarrely glitzy mod suit – all meant to telegraph the message that even as Adams approaches 40, he remains a hip teen at heart. Of course, the music doesn't prove that to be true. He turns up the guitars for "The Only Thing That Looks Good on Me Is You," "Black Pearl," and "(I Wanna Be) Your Underwear," but that sort of raunch prevents the album from being much fun – he's simply trying too hard. On the effortless ballads, Adams remains a rock-solid adult contemporary craftsman, writing songs with embarrassingly catchy hooks and melodies. Unfortunately, the ballads don't sit comfortably alongside the rockers – they sound like the work of two different artists, one trying to sing to baby boomers, the other desperately trying to connect with teens. And while Adams might believe he'll stay a teenager until the end, he's most honest when singing songs to adults like himself.

Review by Stephen Thomas Erlewine, Allmusic.com

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Only two years after delivering his first live set, Bryan Adams returned with his second, MTV Unplugged. Of course, "unplugged" albums were in vogue in the '90s, but it has to be said that Adams arrived a little late in the game, several years after efforts by Eric Clapton and 10,000 Maniacs ruled the charts. Nevertheless, Adams' MTV Unplugged is a strong effort, featuring stripped-down versions of such staples as "Summer of '69," "Cuts Like a Knife," and "Heaven" that prove that he's a resourceful straight-ahead rocker with a knack for a hook. There's also a handful of surprises, like early cuts like "Fits Ya Good" and a few new songs, that keep the record interesting for dedicated fans, but the overall quality of the music makes the record one of his best efforts of the '90s.

Review by Stephen Thomas Erlewine, Allmusic.com

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Bryan Adams – Albums Collection 1980-2010 (17CD) + 2 DVD + 2 Singles [RE-UPLOADED]

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In retrospect, it's hard not to have seen it coming. When Bryan Adams' eighth regular studio album, On a Day Like Today, was released nine days before his 39th birthday, it spent only two weeks in the charts, becoming his least successful effort since his debut 18 years earlier. The fall seemed sudden, but it had its roots back in 1991, when Adams made a classic Faustian bargain: the massive success of Adams' film-soundtrack ballad "(Everything I Do) I Do It for You" set him on a path of more such songs that destroyed his legitimacy as a mainstream rock album artist. The erosion did not become fully apparent until the release of his seventh album, 18 'Til I Die, which stopped at gold but spent nearly a year in the U.S. charts. By the time of On a Day Like Today, however, Adams simply had no contemporary audience left, and this was not the record to rebuild his career. It was defiantly bereft of ballads, nothing to break on the AC chart, and even if his rock audience had been listening, there was nothing here to rank with his earlier signature hits. Adams constructed a series of pleasant, catchy pop/rock songs, their tunes sometimes so derivative that they made you want to play Spot the Riff. The lyrics usually touch on romance, especially romantic triangles, but the words contain so many clichés that they are nearly generic. Some of the commercial failure of On a Day Like Today was due to the Universal-Polygram merger, which left the album an orphan with no marketing push. But Adams needed to seriously rethink his career, if he expected to have one as a front-line artist past the age of 40.

Review by William Ruhlmann, Allmusic.com

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Much like Disney's Tarzan, Dreamworks' animated epic Spirit: Stallion of the Cimarron opts for a mostly pop-based soundtrack instead of an instrumental score. Tarzan used the music of Phil Collins as a backdrop to its stunning visuals; Spirit: Stallion of the Cimarron features 15 new tracks from Bryan Adams to lend atmosphere to the tale of a runaway stallion's journey across the Old West. Adams' rousing, slightly sweet anthems are a good match to the film's look and theme, and they're also in keeping with the rest of his work. "Here I Am," "I Will Always Return," and "Don't Let Go" could fit in just as easily on his albums as on this collection. Likewise, "Get off My Back" sounds a lot like it could've been on 18 'Til I Die. There's some variety here as well, demonstrated by the vaguely Native American-influenced "Brothers Under the Sun" and understated ballads like "Here I Am" and "Nothing I've Ever Known." Not all of the diversity works well, however; the rebellious "You Can't Take Me" suffers from some shrill, tinny-sounding synths that make it difficult to listen to. The few instrumental excerpts at the end of the album round it out nicely, making Spirit: Stallion of the Cimarron is a pleasant and successful soundtrack, especially for Bryan Adams' fans.

Review by Heather Phares, Allmusic.com

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Bryan Adams released his ninth studio album, Room Service, in September 2004 in the U.K. and his native Canada, but it took seven months for the disc to receive American release. Frankly, the delay didn't really matter – not only did Adams' star lose its luster in the U.S. sometime after his 1993 hits collection, So Far So Good, but Room Service sounds like it could have been recorded in 1993. It's so far removed from any modern music, in either the adult contemporary or rock realms, that it sounds as if Adams unearthed a collection of punchy, polished pop/rock tunes and power ballads that he cut 15 years ago and released it as his new album. This is marginally better than 1996's 18 'Til I Die, where Adams seemed desperate to sound and (more accurately) look hip, but Room Service isn't as memorable as that effort because it offers up Bryan Adams by the numbers, so slick and safe that it evaporates after it finishes playing. It's not bad – it never takes enough risks to be bad; it's merely pleasant and professional – and surely Adams fans who have stuck with him this long will find it ingratiating, but it sure raises the question of why he even bothers to record new albums if he doesn't have anything new to say.

Review by Stephen Thomas Erlewine, Allmusic.com

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Spanning 36 tracks over the course of two CDs, 2005's Anthology is by far the most comprehensive Bryan Adams compilation yet released. While this doesn't have every charting hit he's had – minor singles like "Fits Ya Good" are missing in action – it does have every noteworthy hit, from "Lonely Nights" in 1982 to "This Side of Paradise" in 2005. Since his first compilation, 1993's So Far So Good, was frustratingly incomplete, it's nice to have Anthology be so comprehensive, even if it's exhaustive to a fault. There will be many fans that just want the first disc, which roughly spans from 1982 to 1993: it's the one that has his biggest and best songs, while the second disc, covering 1993 to 2005, has songs that not only were bigger in Canada and Europe than the U.S., but tunes that leaned toward bland adult contemporary, lacking the anthemic rock of the hits from the first disc. That said, there is no better Bryan Adams compilation on the market and fans that don't like his later work can just listen to the first disc, which is about as good a distillation of his prime years as there could be.

Review by Stephen Thomas Erlewine, Allmusic.com

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Never one for subtlety, Bryan Adams once had a flair for hooks so grand and universal that they filled arenas and blanketed the airwaves. In 2008, some 11 studio albums into his career (according to Adams' own calculation, apparently taking soundtracks into consideration, because by a simple count of studio albums 11 seems to be his tenth full-length proper album), his fondness for obvious hooks had flattened into clichés, with all of 11 feeling like something he'd done before, some ten or 15 years previously. To a certain extent, Adams' refusal to acknowledge shifting fashions was admirable – especially for somebody who has made a name for himself in the new millennium with his fashionable photography – but 11 is such a relic of '90s mainstream rock that it almost feels as if it were cryogenically frozen in 1993 and unfrozen later. It's all cavernous drums, shimmering guitar textures cribbed from U2, rockers that don't rock, and ballads that are so stately they don't quite seem to end. This outdated sound would have been forgivable, even charming, if Adams retained his knack for big hooks that could suck you in despite your better instincts, but 11 is resolutely devoid of memorable melodies. It doesn't quite seem like Adams is incapable of writing hooks anymore but rather that he can't be bothered, that he'd rather be pursuing his photography and that he just completed this album because it was about time to get another record out there. He's enough of a pro to create an album that sounds for all the world like the kind of glistening, gleaming Bryan Adams album his fans have grown to love, but the stilted predictability of 11 offers a reason why he hasn't had a big American hit since the mid-'90s: he sounds like he's stuck in that time and has no desire to leave it. [A CD/DVD edition was also released.]

Review by Stephen Thomas Erlewine, Allmusic.com

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Inspiration can sometimes take a while to strike. Take Bryan Adams, for instance. Some 13 years after he cut an MTV Unplugged album, Adams decided to once again strip down his songs to acoustic, to take them down to their Bare Bones, to coin a phrase that’s used for the title of this 2010 collection. Culled from performances from his 2010 North American tour, Bare Bones doesn’t skimp on the hits but it does dig deep into his catalog, possibly due to Adams soliciting song suggestions via Twitter, a move that also indicates how this intimate performance is geared toward fans who have stuck with him through the years. Certainly, they’re the audience who will appreciate the subtle rearrangements and surprise songs but the thing is, listeners how long ago stopped paying attention to Adams due to the over-calculation of his studio records or the spectacle of his live show will find this his most appealing set in years. Backed by just his acoustic guitar and sometimes a piano, Adams sounds lean, his voice wearing handsomely, his charm put to the forefront. This setting turns such slick also-rans as “Only Thing That Looks Good on Me Is You” into a fun little rocker and reveals the strong bones of such perennials as “Cuts Like a Knife” and “Summer of 69,” making his body of work seem consistent in a way no hits compilation has managed.

Review by Stephen Thomas Erlewine, Allmusic.com

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Bryan Adams – Albums Collection 1980-2010 (17CD) + 2 DVD + 2 Singles [RE-UPLOADED]

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"The Only Thing That Looks Good on Me Is You" is a rock song by Canadian singer Bryan Adams released in 1996. The song was the first single from Adams' seventh studio album "18 til I Die". The song peaked at #6 in the UK became hit all over Europe, but only reached #52 in the US. It is ranked at #47 in Blender's list of the "50 Worst Songs Ever". Adams was nominated for Grammy Award for Best Male Rock Vocal Performance but lost to Beck's "Where It's At". Adams was also nominated for "Juno Award for Best Producer" (also for "Let's Make a Night to Remember").

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Bryan Adams – Albums Collection 1980-2010 (17CD) + 2 DVD + 2 Singles [RE-UPLOADED]

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"Let's Make a Night to Remember" is a rock song written by Bryan Adams, and Robert John "Mutt" Lange for Adams' seventh studio recorded album 18 til I Die (1996). The song's musical-style and production were heavily inspired by rock and pop music from the 1980s, and its lyrics chronicle a relationship. This was the third single from the album to chart in the U.S., peaking at #24 on the Billboard Hot 100.