Unbelieveable - Various - The Greatest Hits Of The 90s (Vinyl, LP) download full album zip cd mp3 vinyl flac
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Report item - opens in a new window or tab. Description Postage and payments. Seller assumes all responsibility for this listing. Item specifics Condition: Used : An item that has been previously used. See all condition definitions — opens in a new window or tab. Amazing selection or Hit LPs from big artists from the 60s to 90s! NB - Pick your own or random selection: just let me know! If a selection, please let send the numbers of the records you want from the list below. If you do not send a list, in the first instance I will contact you to make sure the list hasn't got lost somewhere.
Select the number of singles you want, and send me a message with the number of that single, or write it in the order notes NB recently the order notes haven't always been getting through, however I have experienced no problems with messages. Records will be well packaged and shipped quickly.
IMPORTANT - due to the current virus situation delivery delays are probable and whilst most are arriving within a week, a delay is still possible at this time. Thank you for your understanding. Posting will be the next working day, sometimes even same day when possible! Surface noise will be present. More of a collection filler LP) for the artwork than the music. Generic Sleeve: This is a plain white or plain sleeve - not made for any particular release.
Records pictured are original selection: actual records available are as per list below. Occasionally, one or more choice may have already sold. I do try to get the records you want, but please send an alternative or two just in case.
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You're covered by the eBay Money Back Guarantee if you receive an item that is not as described in the listing. Everything that Lilith Fair later made trendy in the Nineties governs this album's haunting songs: introspection, empathy, accessible but inventive music and, most of all, an undeniable voice. Amid the album's springy New Wave melodicism, O'Connor's love of black music is evident, particularly in the gorgeous Prince-penned "Nothing Compares 2 U.
She's just above average in technical singing ability, but this girl from the projects of Yonkers, New York, became a cultural necessity because she had Everywoman crosses to bear and a superhuman ability to make you feel her. On her second album, My LifeMary J. Blige shows a rare gift for pouring her heart into a recording, to make her soul come through the speakers.
Collaborating with Sean "Puffy" Combs on original songs and interpolations of tracks by Barry White, Curtis Mayfield and Roy Ayers "My Life"Blige displays her ongoing struggle to love herself, and, as she says on the marquee single, to just be happy. The subtly autobiographical album ended up making her a megastar and crystallized the burgeoning hip-hop-soul movement. The apotheosis of the Unbelieveable - Various - The Greatest Hits Of The 90s (Vinyl dynasty, Only Built 4 Cuban Linx… is powered by the RZA's somehow off-balance, hyperdetailed production, Raekwon the Chef's verbal intercourse — lyrics so dense you need the Staten Island Rosetta stone to make sense of them — and Ghostface Killah's brilliant supporting role.
Ghostface's exuberance at finally getting to spit his style on the mike pulses through his every verse — where Raekwon comes off as a cool-criminal mastermind, Ghostface's larger-than-life persona leaps out through the speakers. Never before have the Tony Montana fantasies of young black men, the dreams of transforming giant bricks of pharmaceuticals into giant stacks of dead presidents, been portrayed with so much precision, poetry and pathos.
Following up their earthshaking Achtung BabyZooropa further embellished the new model U2. These are the superstars, after all, who audaciously reinvented themselves on their eighth album — exchanging chiming guitar for funkier riffing and dense, hip-hop-meets-industrial production, unrestrained wailing for insinuating talk-singing, fever for a bubbling heat.
Zooropatheir ninth outing, emphasized the shift: Instead of the mythic, desert-landscape cover shot of The Joshua Treethere's deconstructed video imagery; for the desperate spiritual questing of "I Still Haven't Found What I'm Looking For," they substitute the monochromatic dead-end musings of "Numb.
Cypress Hill's formula has been imitated so much, it's easy to forget how shocking it sounded at the time: crazy L. B-Real and Sen-Dog come on as a hip-hop Cheech and Chong, praising the sweet leaf with a devotion rarely seen beyond the parking lot at a Phish concert.
While the rappers twist their "Latin Lingo" into vato rhymes about blunts, guns and forties, D. Muggs pumps bongloads of bass into paranoid sound collages like "Hand on the Pump," and when you turn it up loud, the beat goes boo-ya. As Black-American-music royalty, Janet Jackson has had every significant moment of her growth recorded.
With Control, she had her cotillion. With Rhythm Nationshe announced her political and sexual awakening. And with Janet. Using soul, rock and dance elements, as well as opera diva Kathleen Battle, Janet unleashed her most musically ambitious record, guided, as always, by producers Jimmy Jam and Terry Lewis. Two albums before, she'd innocently sung, "Let's wait awhile. For many Depeche Mode fans, Violator is the crowning glory of the boys' black-leather period. In "Sweetest Perfection," "Halo" and "World in My Eyes," they turn teen angst and sexual obsession into grand synth-pop melodrama, and their attempt at guitar rock resulted in a hit with "Personal Jesus.
Recovering from the flop of 's LP) With a Panther, LL dusted himself off and brought a new edge and power to his big-mouthed style as he reached full manhood and hip-hop-veteran status. With huge punch lines, gigantic bravado and that LL voice filled with charisma and cool, Mama speaks of the less-dangerous side of street life — booming car radios and jingling babies and around-the-way girls with Fendi bags.
The legendary Marley Marl supplied the wildly danceable funk, the album was a tomahawk dunk — and LL's career, once again, was in full effect.
You have to put up with stuff to enjoy a Jane's Addiction album: noodly jamming, hyperbole and a hippie-ish insistence on music's pagan power. But give them a chance and you'll find yourself immersed in the crashing waves of Dave Navarro's guitar and Steven Perkins' polyrhythmic drums, and hear in Perry Farrell's screeching the call of the good god Pan. Ritual is the album most likely to convert skeptics. Not only does it LP) two great singles — the game of sonic peekaboo "Stop!
Hard rock became a weirder place. Surveying an American landscape littered with crushed hopes, Springsteen stares down the darkness but fights it only to a draw. That a rocker of this magnitude would make a folk album this forlorn spits in the eye of the rising Dow.
Throughout the album lonesome travelers and restless strangers battle their lives with drink, religion and the active search for somewhere better than here. No one needs convincing. The rugged, world-weary tones of Vitalogy were a head check for Pearl Jam, as Nice Guy Eddie Vedder and his stadium-grunge all-stars grappled with their strange new role as the world's biggest rock band. The Nineties were the all-time high-water mark of silly genre names, and trip-hop may be the silliest of all.
But Massive Attack really did invent a whole new style, manipulating hip-hop's boom and reggae's throb into their own slow-motion funk noir, inspiring Bristol, England, neighbors such as Tricky and Portishead to explore cinematic dance grooves heavy on the atmospherics. Their influence has spread to all corners of pop and rock, not to mention upscale shoe stores and cafes everywhere.
Daddy G, Mushroom and 3-D made their most majestic statement on Protectionwith colossal beats and first-rate vocal guests. Tricky makes a great cameo, but Tracey Thorn of Everything but the Girl steals the show in the eight-minute title track, a stand-by-your-woman soul ballad that takes off into outer space and gets home in time to do the dishes. All eyes were on him before he even said it. After a slew of arrests on both coasts elevated him to icon, and a near-death experience followed by months in jail made him a prison martyr, Tupac Shakur leapt out of the clink and into the most badass label in the industry: Death Row.
The most combustible MC of all time then proceeded to burn a hole through America with a twenty-seven-track double album filled with bluster, bravado, Cali funk and Tupac's towering ego. His MC skills aren't abundant, but he spits his rhymes with an arrogance rare even on Planet Hip-Hop and sits back as he magnetizes you like only the sexiest of outlaws can. Sleater-Kinney made good on the promise of the early-Nineties riot-grrrl movement, linking punk anarchy and radical-feminist insurrection.
On Call the DoctorTucker, Carrie Brownstein and then-drummer Lora McFarlane careen around in songs like "Hubcap" and "I'm Not Waiting," moving at warp speed from pretty to terrifying, from earnest observation to nearly incoherent rage. These weren't the first bandmates to focus female fury and desire to the beat of a kick drum, but they could make music as fully arresting as their ideas.
And no other rocker has Tucker's voice — a bloody wail that goes soft at the center, a voice that feels like flesh pressing against you. Some real-life girls mentioned on Pinkerton are ones Cuomo had crushes on but didn't date: a lesbian, a girl in one of his classes who rebuffed his invitation to a Green Day concert and an eighteen-year-old in Japan who wrote him a fun letter and with whom he became obsessed, wondering if she thought about him when she masturbated. With all those true confessions, it's no wonder that Cuomo is somewhat embarrassed by Pinkerton now — and that the record became a cornerstone of the next decade's emo movement.
Portishead don't make dance music, exactly — the torchy gloom beat of Dummy is music for staring into your Rob Roy at a. Geoff Barrow mixes a swellegant trip-hop pastiche of astro-lounge beats, plush soul keyboards and spy-movie guitars, with Beth Gibbons belting the bluesy cocktail ballads of a jaded Bond girl.
The seductively sleek torpor of "Sour Times" and "Glory Box" has inspired countless imitators, but Portishead got it perfect the first time with Dummya bizarre love triangle between a man, a woman and a sampler. Jay-Z took the pay cut from big-time hustler to MC in stride, spitting his smooth-criminal genius in a string of dense poetics about dealing the stuff, escaping the feds and dripping in diamonds all the way to the bank.
The case for best MC in the post-B. Proof that the gods of rock are unfair bastards: A former TV moppet from the not-so-dirty North hooks up with Wilson Phillips' producer and makes an opportunistic angst-rock platter that not only sells 13 million copies — it doesn't suck. In fact, it's damn near flawless, from the hello-it's-me phone rage of "You Oughta Know" to the sisterly "You Learn.
Jagged Little Pill is like a Nineties version of Carole King's Tapestry : a woman using her plain soft-rock voice to sift through the emotional wreckage of her youth, with enough heart and songcraft to make countless listeners feel the earth move.
A hip-hop mod squad from the streets of Dirty Jersey, the Fugees combined streetwise flash with righteous boho cool on their second album to become the biggest rap franchise this side of the Wu-Tang Clan. The Fugees prove themselves a damn fine wedding band with their covers of "Killing Me Softly" and "No Woman, No Cry," but LP) hit even harder in gems like "Family Business," trading vocals over a loop of Godfather-style acoustic guitar. The Score crosses boundaries of gender and geography, reinventing hip-hop as music for an international refugee camp of brothers and sisters with the inner-city blues.
Lauryn and Wyclef took different roads on their solo joints, but The Score laid down the blueprint for the Fugees' vision of the world as a ghetto. The showstopper: "Red Light Special," an impossibly steamy make-out ballad that undresses and caresses everyone with ears to hear it. CrazySexyCool established TLC as pop pros who could do it all, combining the body slam of hip-hop and the giddy uplift of a jump-rope rhyme without breaking a nail. As Butt-Head so eloquently put it, "This chick is weird.
On Rid of Me, she summons the thunder of classic Seventies rock with help from producer Steve Albini. Harvey wails about that not-so-moist feeling in "Dry," proclaims herself "king of the world" in "Ft. Queenie" and raises hell in "Man-Size," putting her leather boots on to go stomp the whole planet into submission. It had been five years since Appetite for Destruction, so when Use Your Illusion I and II — separate albums released simultaneously — dropped, they exploded, Unbelieveable - Various - The Greatest Hits Of The 90s (Vinyl.
Slash and Izzy Stradlin let fly a brutal twin-guitar assault, taking all "the trash … dumped into the brain" and firing it back with machine-gun fury. A soaring version of Dylan's "Knockin' on Heaven's Door" is their can't-we-all-just-get-along plea. Guns n' Roses couldn't — even with themselves.
But these albums stand on their own incendiary terms, souvenirs of a season in hell. The title echoes HarvestYoung's countryish album of two decades earlier, and the music recalls its gentle flavor. Harvest was a mellow bestseller, an uncharacteristic middle-of-the-road pit stop in a decade of deeply personal and sometimes highly eccentric releases, and Harvest Moon also sounds as if it was made for lazy hammock-swinging afternoons.
But beneath its placid surface are the craggy scars of middle age, when holding onto and cherishing love see the title track is a lot more difficult than finding it.
Technically, this album isn't instrumental — Bilinda Butcher's dreamy croon wafts throughout, gently defining post-punk girlishness. Guitarist and resident genius Kevin Shields also sings sometimes. But the instrumental quality of the vocals — the fact that they matter as tone, not language — helps define Loveless ' new paradigm. No more would experimental bands require pompous poets ranting about lambs on Broadway. Sonic textures, from electrical-storm dissonance to feather-soft harmonics, could carry meaning and hit the gut.
Imparting this truth and setting the stage for post-rock, electronica, Garbage and Beck, My Bloody Valentine vanished into the ether they'd generated. If they never return, Loveless was enough. But this brutish beauty gave Soundgarden a lock on the "Led Zeppelin for the Nineties" crown.
A heavy-metal band with punk-rock nobility and no time for lemon-squeezin' corn, guitarist Kim Thayil, bassist Ben Shepherd and drummer Matt Cameron hammer Chris Cornell's vocal anguish in "Fell on Black Days," "Black Hole Sun" and "Like Suicide" into brilliantly warped power-thump sculpture.
It's rare when forty years into a career, an artist unleashes an indisputable masterpiece. Johnny Cash pulled it off, though. American Recordings was the brainchild of Cash and producer Rick Rubin, who had the genius to recognize that Cash's incomparable voice alone with an acoustic guitar and a clutch of great songs was a can't-miss proposition.
American Recordings is stark, stirring and, at times, even funny. Best of all it restored a master to much-deserved pre-eminence. The nice guys finished first. Queens-born and -bred A Tribe Called Quest brought you egoless hip-hop that let you dance to their smooth, jazzy sounds, chock with horns and upright bass and chill alongside their laid-back attitude. His distinct nasal voice light and delicious, his liquid flow as warm and comforting as an electric blanket, his natural charisma shining through the speakers, Q-Tip makes The Low End Theory feel like an easy conversation with an old friend.
The nineteen tracks on Being There are spread across two CDs — a sound aesthetic decision. Each disc functions as a self-contained entity digestible in a single forty-minute sitting.
Together, both halves aspire to the nervy sprawl of double-album predecessors such as London Calling and Exile on Main Street, records that forged unified personal statements out of a bewildering variety of styles.
Being There is a product of ambitious versatility, particularly in the string-band textures conjured by multi-instrumentalist Max Johnston and the pliant rhythms of bassist John Stirratt and drummer Ken Coomer. Dre—produced album, which earned Em respect, fortune, fame and a lawsuit from his mom.
Trent Reznor has the shock-antic instincts of an old Hollywood B-movie producer. Binding type Hardback 9 Paperback Add to cart. Queen - Queen Greatest Hits: We. Greatest Hits Audio CD. Pink - Greatest Hits So Far!!! Thriller Audio CD. Lynyrd Skynyrd - Thyrtyth Anniversary
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