Grunge pioneers who took the heavy sludge of '70s metal and infused it with the raw aesthetic of '80s punk to become an important band of the '90s. Collection includes: 'Louder Than Love' (1989); 'Badmotorfinger' (1991); 'Superunknown' (1994); 'Down On The Upside' (1996).

Songbook is an acoustic live album by American musician and Soundgarden vocalist Chris Cornell, released on November 21, 2011. The live album features songs recorded during Cornell's Songbook Tour, an acoustic solo tour which took place from March to May 2011 in the US and Canada, and is his first live album as a solo artist. The songs on the tour varied in every show, and the album was recorded during various shows on the tour, and includes songs from Cornell's whole career: solo material, Soundgarden songs, Audioslave songs, Temple of the Dog songs, as well as covers of Led Zeppelin's "Thank You" and John Lennon's "Imagine". The album debuted on Billboard 200 at No. 69.

100 tracks. Status Quo, Uriah Heep, Slade, The Allman Brothers Band, Thin Lizzy, The Guess Who, Lynyrd Skynyrd, Atomic Rooster, The Moody Blues, Steppenwolf, Blue Oyster Cult, Santana, Rainbow, Lou Reed, Kiss, Toto, Ted Nugent, Electric Light Orchestra, Iggy Pop, Rush, Motorhead, Cheap Trick, Judas Priest, REO Speedwagon, Yngwie Malmsteen, Soundgarden, Accept, Alice Cooper, Dio and more, and more…

Nirvana Nothing was ever quite the same after Nirvana. The band's second album, 1991's Nevermind, revolutionized popular music by bringing alternative rock above ground, introducing mainstream audiences to sounds and concepts that had previously existed only in shadowy record store corners and on low-frequency college radio airwaves. Nevermind's noisy, dissonant guitar rock, mumbled or howled surrealistic lyrics, and generally angsty punk attitudes were unlikely candidates for chart success, but the band undercut their grungy songs with enough pop melodicism to create a sound unlike anything average listeners had ever heard before, striking at the exact right moment to become an unprecedented success. Since Nirvana were rooted in an indie aesthetic but loved pop music, they fought their stardom while courting it, becoming some of the most notorious anti-rock stars in history.

Nirvana Nothing was ever quite the same after Nirvana. The band's second album, 1991's Nevermind, revolutionized popular music by bringing alternative rock above ground, introducing mainstream audiences to sounds and concepts that had previously existed only in shadowy record store corners and on low-frequency college radio airwaves. Nevermind's noisy, dissonant guitar rock, mumbled or howled surrealistic lyrics, and generally angsty punk attitudes were unlikely candidates for chart success, but the band undercut their grungy songs with enough pop melodicism to create a sound unlike anything average listeners had ever heard before, striking at the exact right moment to become an unprecedented success.

Analogue Productions (Atlantic Series) Celebrating the 75th Anniversary of Atlantic Records! 1992 multi-platinum album from the Stone Temple Pilots, a cornerstone of 1990s alt rock! Includes "Sex Type Thing" and "Wicked Garden". Hybrid Stereo SACD. Mastered by Ryan K. Smith direct to DSD from the original master tape.
Stone Temple Pilots roared on to the scene in 1992 with their raucous debut Core. A breakout success, the album peaked at No. 3 on the Billboard 200 chart, dominated radio waves with hits like "Sex Type Thing" and "Wicked Garden," and has been certified 8x platinum by the RIAA. The band also took home the 1994 Grammy Award for Best Hard Rock Performance for their smash single "Plush." Although it faced initial criticisms for being derivative of other grunge bands, such as Pearl Jam and Alice in Chains, time has gained Core recognition as a classic of the 1990s alternative rock era…

The Cure Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few are as enduring and popular as the Cure. Led through numerous incarnations by guitarist/vocalist Robert Smith, the band initially became well-known for its slow, gloomy dirges and Smith's exaggeratedly gothic look, a public image that often hid the diversity of the Cure's music. At the outset, they played jagged, edgy pop songs before slowly evolving into a more textured outfit. They were one of the bands that built the foundation for goth rock, but by the time goth caught on in the mid-'80s, the Cure had moved toward a more polished and thoughtful (if still often depressing) sound. By the end of the '80s, the band had crossed over into the mainstream not only in their native England, but also in the United States and in various parts of Europe.

Left without a drummer after Jimmy Chamberlin's dismissal, the Smashing Pumpkins took the opportunity to revamp their sound slightly which is what Billy Corgan claimed they were going to do on their fourth album anyway. Adore, however, isn't a drastic departure. Using dream pop ballads and the synthetic pulse of "1979" as starting point, the Pumpkins have created a hushed, elegiac album that sounds curiously out of time it's certainly an outgrowth of their previous work, but the differences aren't entirely modern. Whenever synthesizers are added to the mix, the results make the band sound like a contemporary of the Cure or Depeche Mode, not Aphex Twin. That's not necessarily a problem, since Adore creates its own world with layered keyboards, acoustic guitars, and a rotating selection of drummers and machines. There's none of the distorted bluster that cluttered Mellon Collie and none of the grand sonic technicolor of Siamese Dream. Adore recasts the calmer moments of those albums in a sepia tone, in an attempt to be modest and intimate. Only Billy Corgan would consider a 74-minute, 16-track album a modest effort, but compared to its widescreen predecessors, it does feel a bit scaled down. Still, Corgan's ambitions reign supreme. This is no mere acoustic album, nor is it electronica it is quiet contemporary art rock, playing like a concept album without any real concept. Its very length and portentousness tend to obscure some lovely songs, since all the muted production tends to blend all the songs together. But even with its flaws, Adore is an admirable record that illustrates the depth of the Pumpkins' sound, even if it ultimately isn't a brave step forward.

This set is a companion to "With The Lights Out". It features all of the available studio material that was not included in that box set. It also features some unreleased radio performances in stellar quality. Everything on this set is mastered with care from the best available sources. Everything is a major upgrade to the "Outcesticicde" series. You may ask, "Is this version worth downloading if I already have a previous upgrade?" The answer is YES! The entire set has been overhauled. Every track on the set has been re-equalized and remastered to audiophile standards, and not record company standards like WTLO. Several tracks that used to have NR were totally re-done from scratch, with some deft EQ moves to reduce hiss the natural way. "Montage Of Heck" (long version) finally comes from a much better source that is free of NR. This will probably be the final upgrade of "Loose Ends" for quite a long time. I have gotten better and mastering and I have completely stopped using NR, and this is the first version of "Loose Ends" with which I am totally pleased with the results. I guarantee that these are the best sounding versions of these tracks that you will find. Feel free to seed this anywhere you can, but please do not sell it, and please discard all previous versions of "Loose Ends" if you can.

Nirvana Nothing was ever quite the same after Nirvana. The band's second album, 1991's Nevermind, revolutionized popular music by bringing alternative rock above ground, introducing mainstream audiences to sounds and concepts that had previously existed only in shadowy record store corners and on low-frequency college radio airwaves. Nevermind's noisy, dissonant guitar rock, mumbled or howled surrealistic lyrics, and generally angsty punk attitudes were unlikely candidates for chart success, but the band undercut their grungy songs with enough pop melodicism to create a sound unlike anything average listeners had ever heard before, striking at the exact right moment to become an unprecedented success.

Nirvana Nothing was ever quite the same after Nirvana. The band's second album, 1991's Nevermind, revolutionized popular music by bringing alternative rock above ground, introducing mainstream audiences to sounds and concepts that had previously existed only in shadowy record store corners and on low-frequency college radio airwaves. Nevermind's noisy, dissonant guitar rock, mumbled or howled surrealistic lyrics, and generally angsty punk attitudes were unlikely candidates for chart success, but the band undercut their grungy songs with enough pop melodicism to create a sound unlike anything average listeners had ever heard before, striking at the exact right moment to become an unprecedented success. Since Nirvana were rooted in an indie aesthetic but loved pop music, they fought their stardom while courting it, becoming some of the most notorious anti-rock stars in history.

DYNAMIC FM RECORDING FROM RIO 1993 Organised and sponsored by the Souza Cruz tobacco company - owners of the Hollywood cigarette brand - the Hollywood Rock festival ran initially as a one off event in 1975, and then seven times more between 1988 and 1996 at multiple venues simultaneously around Brazil. Hollywood Rock welcomed a wide variety of big names across the years, including the likes of Bob Dylan, Bon Jovi, Aerosmith, Whitney Houston and Page & Plant. However, the fifth edition in 1993 would be considered by many to be the best.

Nirvana Nothing was ever quite the same after Nirvana. The band's second album, 1991's Nevermind, revolutionized popular music by bringing alternative rock above ground, introducing mainstream audiences to sounds and concepts that had previously existed only in shadowy record store corners and on low-frequency college radio airwaves. Nevermind's noisy, dissonant guitar rock, mumbled or howled surrealistic lyrics, and generally angsty punk attitudes were unlikely candidates for chart success, but the band undercut their grungy songs with enough pop melodicism to create a sound unlike anything average listeners had ever heard before, striking at the exact right moment to become an unprecedented success.

During the late 1980s, whilst pop, rap and glam metal dominated the American airwaves, underground musicians sought an antidote. During the middle of the decade, from Seattle in the west to New York in the east, bands immersed in a less highly polished, raw and more powerful sound began to emerge, fusing punky garage band attitude with meaningful, often disenchanted lyrics and lashings of distortion to create something new. The “grunge” tag quickly took hold, absorbing bands from all over the States and becoming a social phenomenon, drawing countless other underground and college circuit bands into its orbit in the process. Overnight, macho rock was dead.

Nirvana Rock/grunge band from Aberdeen, Washington, USA, formed in 1987. Emerging from the Seattle grunge scene of the late 1980s/early 1990s, Nirvana was a power trio of musicians who brought a new aesthetic to the rock scene of the time. They had already released their debut LP "Bleach" with Sub Pop, but their 1991 major-label debut for DGC/Geffen Records, "Nevermind" broke the band and grunge into the mainstream of America. Singer/guitarist Kurt Cobain's death by suicide in April 1994 brought the band to an end.