Audioslave is the debut studio album by American rock supergroup Audioslave, released on November 18, 2002, through Epic Records and Interscope Records. In the United States, it has been certified triple platinum by the Recording Industry Association of America. The album spawned the singles "Cochise", "Like a Stone", "Show Me How to Live", "I Am the Highway", and "What You Are"; "Like a Stone" was nominated for Best Hard Rock Performance at the 46th Grammy Awards. Background and release "Cochise" (2002) Duration: 21 seconds.0:21 For the introduction of "Cochise", Tom Morello created a helicopter-like sound with his guitar.[6] Problems playing this file? See media help. After Zack de la Rocha left Rage Against the Machine, the remaining members of the band began to look for a new vocalist. Producer and friend Rick Rubin suggested they contact Chris Cornell and played them the Soundgarden song "Slaves & Bulldozers" to showcase his ability. Cornell was in the process of writing material for a second solo album when Tom Morello, Tim Commerford, and Brad Wilk approached him, but he decided to shelve that and pursue the opportunity to work with them. Speaking about the first time Cornell jammed with the band, Morello said: "He stepped to the microphone and sang the song and I couldn't believe it. It didn't just sound good. It didn't sound great. It sounded transcendent. And ... when there is an irreplaceable chemistry from the first moment, you can't deny it."[7] The new quartet wrote 21 songs during 19 days of rehearsal and started recording their first album in late May 2001.[8][9] On March 19, 2002, the band announced they would be part of the 7th Ozzfest tour that summer, but three days later Cornell quit the group, and the Ozzfest dates were canceled. He rejoined the band six weeks later, after some management issues were resolved.[10] Rough versions of thirteen songs from the album were leaked onto various peer-to-peer file sharing networks on May 17, 2002, six months before the official release of the album, under the name "Civilian" (or "The Civilian Project").[11] In an interview with Metal Sludge that July, Morello blamed "some jackass intern at Bad Animal Studios in Seattle" for stealing some demos and putting them on the internet without the band's permission.[12] Later, he said that "It was very frustrating, especially with a band like this, there is a certain amount of expectation. For some people the initial time that they are hearing it was not in the form that you would have them hear it. In some cases they weren't even the same lyrics, guitar solos, performances of any kind."[13] Cornell was having problems with alcohol while making the album, and in late 2002 there was a rumor that he had checked himself into drug rehabilitation—a rumor that was confirmed when he conducted an interview with Metal Hammer from a clinic payphone.[14] He later said that he went through "a horrible personal crisis" during the making of the first Audioslave album, staying in rehab for two months and separating from his wife.[10] He remained sober until shortly before his passing in 2017. The album was released on November 18, 2002, in the United Kingdom and a day later in the United States.[15] The band toured through 2003, before taking a break from the road in 2004 to record their second album. Artwork The album cover was designed by Storm Thorgerson (with Peter Curzon and Rupert Truman), who, as leader of the group of artists known as Hipgnosis, was best known for his cover work for Pink Floyd. About it, he said: "We knew we were going to set this idea of the eternal flame, the graphic flame, in Lanzarote, a volcanic island, since volcanoes suited the brooding menace of Audioslave." Thorgerson also said that an unreleased version of the cover featuring a naked man looking at the flame was shot elsewhere at the same location, and "We so nearly used it, but we were not entirely sure of the nude figure."[16] Reception Critical Professional ratings Aggregate scores Source Rating Metacritic 62/100[17] Review scores Source Rating AllMusic [18] The A.V. Club (favorable)[19] Entertainment Weekly A−[20] NME 4/10[21] Pitchfork 1.7/10[3] Robert Christgau (dud)[22] Rolling Stone [23] Stylus Magazine F[4] Audioslave received mixed reviews from critics. Some critics lambasted the group's efforts as uninspired[20] and predictable.[24] Pitchfork's reviewers Chris Dahlen and Ryan Schreiber praised Cornell's voice, but criticized virtually every other aspect of the album, calling it "the worst kind of studio rock album, rigorously controlled -- even undercut -- by studio gimmickry". They described Cornell's lyrics as "complete gibberish" and called producer Rick Rubin's work "a synthesized rock-like product that emits no heat".[3] Jon Monks from Stylus Magazine also considered Rubin's production over-polished and wrote that, "lacking individuality, distinction and imagination this album is over-produced, overlong and over-indulgent".[4] Stephen Thomas Erlewine of Allmusic gave the album a mixed three stars out of a possible five, writing: "Occasionally, the group winds up with songs that play to the strengths of both camps," but more often "many of the songs sound like they're just on the verge of achieving liftoff, never quite reaching their potential."[18] On the other hand, other critics praised the supergroup's style as reminiscent of 1970s heavy metal and compared it to Led Zeppelin and Black Sabbath,[25][26] saying Audioslave add a much-needed sound and style to contemporary mainstream rock music[27] and have the potential to become one of the best rock bands of the 21st century.[28] In 2005, Audioslave was ranked number 281 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time.[29] Commercial The album entered the Billboard 200 chart at position number seven, after selling 162,000 copies in its first week.[30] It was certified gold by the RIAA less than a month after its release,[31] and by 2006 had achieved triple-platinum status.[32] It is the most successful Audioslave album to date, having sold more than three million copies in the United States alone. The singles "Cochise", "Like a Stone", "Show Me How to Live", and "I Am the Highway" all reached the top ten of Billboard's Modern Rock Tracks chart, with "Like a Stone" reaching number one,[33] and those four, plus "What You Are", reached the top ten of the Mainstream Rock chart, with "Like a Stone" again reaching the top spot.[34] Track listing All lyrics are written by Chris Cornell; all music is composed by Audioslave No. Title Length 1. "Cochise" 3:42 2. "Show Me How to Live" 4:38 3. "Gasoline" 4:39 4. "What You Are" 4:09 5. "Like a Stone" 4:54 6. "Set It Off" 4:23 7. "Shadow on the Sun" 5:43 8. "I Am the Highway" 5:35 9. "Exploder" 3:26 10. "Hypnotize" 3:27 11. "Bring Em Back Alive" 5:29 12. "Light My Way" 5:03 13. "Getaway Car" 4:59 14. "The Last Remaining Light" 5:17 Total length: 65:26

The Eagles, with their fifth album, had a number of hits, and with Joe Walsh added to the lineup, now had a guitar God in the band. This is the full album, cross-faded. - *** Fair Use Disclaimer - I do not own the rights to this video or music. All rights belong to the artist(s) and their publisher(s) or producer(s) ***

You are listening to the genuine Hi-Fi stereo sound transferred from the actual vinyl record in the best possible quality. ...and then there were three... is the ninth studio album by the English rock band Genesis. It was released on 31 March 1978 by Charisma Records and is their first recorded as a trio of singer/drummer Phil Collins, keyboardist Tony Banks, and bassist/guitarist Mike Rutherford, following the departure of guitarist Steve Hackett. The album marked a change in the band's sound, mixing elements of their progressive rock roots with more accessible material, and Collins contributing to more of the group's songwriting. The album reached No. 3 on the UK Albums Chart and No. 14 on the US Billboard 200. The lead single "Follow You Follow Me" became their highest charting at that point, reaching No. 7 in the UK and No. 23 in the US. The album was certified platinum by the Recording Industry Association of America (RIAA) in 1988 for selling one million copies in the US. Genesis: Tony Banks – keyboards Phil Collins – drums, vocals Mike Rutherford – basses, guitars 🔘 Side One: Down and Out Undertow Ballad of Big Snowbound Burning Rope 🔘 Side Two: Deep in the Motherlode Many Too Many Scenes from a Night's Dream Say It's Alright Joe The Lady Lies Follow You Follow Me

The Lamb Lies Down On Broadway Genesis Side one: 00:00 The Lamb Lies Down On Broadway 04:54 Fly On A Windshield 07:37 Broadway Melody Of 1974 09:48 Cuckoo Cocoon 12:01 In The Cage 20:14 The Grand Parade Of Lifeless Packaging Side two: 23:02 Back In N.Y.C. 28:36 Hairless Heart 30:55 Counting Out Time 34:36 Carpet Crawlers 39:50 The Chamber Of 32 Doors Side three: 45:38 Lilywhite Lilith 48:25 The Waiting Room 53:41 Anyway 56:50 Here Comes The Supernatural Anaesthetist 59:47 The Lamia 1:06:49 Silent Sorrow In Empty Boats Side four: 1:09:47 The Colony Of Slippermen 1:18:00 Ravine 1:20:04 The Light Dies Down On Broadway 1:23:36 Riding The Scree 1:27:44 In The Rapids 1:30:06 It The Lamb Lies Down on Broadway is the sixth studio album by Genesis. It was released as a double album on 22 November 1974 by Charisma Records and is their last to feature original frontman Peter Gabriel. It peaked at No. 10 on the UK Albums Chart and No. 41 on the Billboard 200 in the US. It is their longest album to date. While the band worked on new material at Headley Grange for three months, they decided to produce a concept album with a story devised by Gabriel about Rael, a Puerto Rican youth from New York City The Bronx. As "The Lamb," who is suddenly taken on a journey of self-discovery and encounters bizarre incidents and characters along the way. The album was marked by increased tensions within the band as Gabriel, who insisted on writing all of the lyrics, temporarily left to work with filmmaker William Friedkin and needed time to be with his family. Most of the songs were developed by the rest of the band through jam sessions and were put down at Glaspant Manor in Wales using a mobile studio. Peter Gabriel explained to The Daily Telegraph September 30, 2014 that the album "was intended to be an intense story of a young rebellious Puerto Rican in New York who would face challenges with family, authority, sex, love and self-sacrifice to learn a little more about himself. I wanted to mix his dreams with his reality, in a kind of urban rebel Pilgrim's Progress." The full story is in the liner notes of the album. This was the basis for an elaborate stage production Genesis performed at concerts. It was on this tour that Peter Gabriel decided to leave the band. There are references to classic songs throughout the album, and this track recalls "On Broadway," which was a hit for The Drifters in 1963. Genesis keyboard player Tony Banks used a cross-handed technique to create the jaunty rhythm. He described it in a Songfacts interview: "the two hands are playing almost percussively, alternatively. So, you appear to be playing faster than you are. I really like the effect. It's very rhythmic. I just find it's an exciting way to play." On their 1974 tour, Genesis played the album from start to finish. Gabriel wore several costumes throughout the show, including a grotesque mask during "The Colony Of Slippermen." This was the first song and title track to the double album which was the last Peter Gabriel contribution to Genesis. The Lamb Lies Down On Broadway was a song-cycle whose hero Rael shared a name with "Rael (1 and 2)," a track on The Who's 1967 album, The Who Sell Out. Mojo April 2010 asked Peter Gabriel if it was a conscious tribute to The Who's Pete Townshend. He replied: "It was a subconscious tribute because I certainly wasn't aware of it at the time. I spent a long time thinking of that name, like Ra the Sun God. But I was a big Who fan, so it may have got in there. Obviously Townshend created much of the musical environment and delivered the angst with an intelligence and passion and extraordinary musicality. But to this day, as a drummer, I think Keith Moon was the unacknowledged genius. He was like Jimi Hendrix: when he was on - and he wasn't always - it flowed out of him in a free way that was inspiring, driving, magnificent." Peter Gabriel's insistence on writing the story and all the lyrics himself for The Lamb Lies Down On Broadway created friction amongst his bandmates. Tony Banks recalled in Uncut magazine October 2008: "Having done 'Supper's Ready' (the 23-minute song on Foxtrot)) we decided we wanted to go for a concept album, and make a double album. We agreed the concept, which Peter came up with. Then he said that he really wanted to write all the lyrics, which was difficult for us because we'd always split all the lyrics among us all." During the writing sessions at Headley Grange, Gabriel found himself separated from the rest of the band, which caused some friction. He insisted that having devised the concept he should write the lyrics, leaving the majority of the music in the charge of his bandmates. This was a departure from the band's usual method of songwriting, as lyrical contributions on previous albums had always involved the other members. This situation left Gabriel often secluded in one room writing the lyrics, and the remaining four rehearsing in another. In one instance Gabriel was unable to meet a scheduled deadline to have the lyrics finished, leaving Rutherford and Banks to write words for "The Light Dies Down on Broadway". At other times, Banks and Hackett suggested lyrics they thought would fit "The Lamia" and "Here Comes the Supernatural Anaesthetist" respectively, which Gabriel rebuffed. Further disagreements arose during the writing period when Gabriel left the group for a short period having accepted an invitation from film producer William Friedkin to collaborate on a screenplay, after he took a liking to Gabriel's surreal story printed on the sleeve of Genesis Live (1973). In Gabriel's absence Collins suggested having the new studio album be purely instrumental, thinking it would favour the other members as Gabriel had made some of their earlier songs too lyrically dense, but the idea was rejected by the rest of the group. Friedkin, however, was not prepared to split the band over a mere idea and Gabriel resumed work on the album. Matters were complicated further when Gabriel spent additional time in London when his first wife Jill underwent a risky and difficult birth of their first child in July 1974, leaving Gabriel often travelling back and forth. Rutherford later admitted that he and Banks were "horribly unsupportive" of Gabriel during this time, and Gabriel saw this as the beginning of his eventual departure from Genesis The album received a mixed critical reaction at first, but it gained acclaim in subsequent years and has a cult following. The songs "Counting Out Time" and "The Carpet Crawlers" were released as singles in the UK in 1974 and 1975, respectively; both failed to chart. A single of "The Lamb Lies Down on Broadway" was released in the US. Genesis promoted the album with their 1974–75 tour across North America and Europe, playing the album in its entirety. The album reached Gold certification in the UK and the US. The album was remastered in 1994 and 2007.

Genesis, with their self-titled album from 1984, complete and cross-faded. - *** Fair Use Disclaimer - I do not own the rights to this video or music. All rights belong to the artist(s) and their publisher(s) or producer(s). ***

Making Movies is the third studio album by British rock band Dire Straits released on 17 October 1980 by Vertigo Records internationally, Warner Bros. Records in the United States and Mercury Records in Canada. The album includes the single "Romeo and Juliet", which reached #8 on the UK Singles Chart, as well as “Tunnel of Love,” featured in the 1982 Richard Gere film An Officer and a Gentleman. Making Movies reached number one on the album charts in Italy and Norway, number 19 in the United States and number 4 in the United Kingdom. Making Movies was later certified platinum in the United States and double-platinum in the United Kingdom. It's regarded as one of Dire Straits’ best albums. - *** Fair Use Disclaimer - I do not own the rights to this video or music. All rights belong to the artist(s) and their publisher(s) or producer(s). *** Track List: 01 Tunnel Of Love 02. Romeo & Juliet 03. Skateaway 04. Expresso Love 05. Hand In Hand 06. Solid Rock 07. Les Boys

Communiqué is the second studio album by British rock band Dire Straits, released on 5 June 1979[2] by Vertigo Records internationally, Warner Bros. Records in the United States and Mercury Records in Canada. The album featured the single "Lady Writer," which reached number 45 on the Billboard Hot 100 chart and number 51 on the UK Singles Chart. The album reached number one on album charts in Germany, Spain, New Zealand, and Sweden, number 11 in the United States and number 5 in the United Kingdom. Communiqué was later certified gold in the United States, platinum in the United Kingdom and double-platinum in France. It is the last album to feature David Knopfler, who would later depart from the band during the making of their following album and the last with the original lineup. - *** Fair Use Disclaimer - I do not own the rights to this video or music. All rights belong to the artist(s) and their publisher(s) or producer(s). *** Track List: 01. Once Upon A Time In The West 02. News 03. Where Do You Think You're Going? 04. Communiqué 05. Lady Writer 06. Angel Of Mercy 07. Portobello Belle 08. Single Handed Sailor 09. Follow Me Home

1 The Eve of the War - 00:00 2 Horsell Common and the Heat Ray - 09:06 3 The Artilleryman and the Fighting Machine - 20:42 4 Forever Autumn - 31:19 5 Thunder Child - 39:03 6 The Red Weed (Part 1) - 45:13 7 The Spirit of Man - 51:08 8 The Red Weed (Part 2) - 1:02:50 9 Brave New World - 1:09:41 10 Dead London - 1:21:55 11 Epilogue (Part 1) - 1:30:32 12 Epilogue (Part 2) - 1:33:15 13 The Spirit of Man (Dubulladub) - 1:35:18 14 Dark Autumn Dub - 1:39:33 15 Forever Autumn (Remix 95) - 1:48:24 16 Epilogue (Part 2) / The Eve of the War (Remix 95) - 1:52:46 Jeff Wayne's Musical Version of The War of the Worlds is the debut album by Jeff Wayne, retelling the story of The War of the Worlds by H. G. Wells. Original video: https://youtu.be/uJrbz0wiT28