Artist: VA
Title: Electro Good 2012
Date of Realise: 12.02.2012
Genre: Electro House
Total Tracks: 30
Format: MP3
Quality: 320kbps
Total Time: 02:52:59min
Size: 399.08 MB

Èñïîëíèòåëü: Nas
Ñòðàíà: USA
Àëüáîì: Soul Ultimate Experience Vol. 2 Good Music
Æàíð: Rap | Hip - Hop
Ãîä âûõîäà: 2011
Ôîðìàò: mp3 | 256 Kbps
Ðàçìåð: 64.24 Mb

Nearly as much as Metallica or Megadeth, Anthrax were responsible for the emergence of speed and thrash metal. Combining the speed and fury of hardcore punk with the prominent guitars and vocals of heavy metal, they helped create a new subgenre of heavy metal on their early albums. Original guitarists Scott Ian and Dan Spitz were a formidable pair, spitting out lightning-fast riffs and solos that never seemed masturbatory. Unlike Metallica or Megadeth, they had the good sense to temper their often serious music with a healthy dose of humor and realism. After their first album, Fistful of Metal, singer Joey Belladonna and bassist Frank Bello joined the lineup. Belladonna helped take the band farther away from conventional metal cliches, and over the next five albums (with the exception of 1988's State of Euphoria, where the band sounded like it was in a creative straitjacket), Anthrax arguably became the leaders of speed metal. As the '80s became the '90s, they also began to increase their experiments with hip-hop, culminating in a tour with Public Enemy in 1991 and a joint re-recording of PE's classic "Bring the Noise."

The Motors were a good old-fashioned singles group at a time when singles were looked down upon as a form of musical expression, and at least two of their singles--the exhilarating "Dancing the Night Away" and the moody, synth-sweetened "Airport," which sounds like a punk-influenced 10cc--are all-time power pop classics. Because of this emphasis on singles, the Motors' three albums are scattershot, and the 17-track compilation AIRPORT is by far the most essential Motors release. Pub-rock vets Nick Garvey, Andy McMasters and (for the first two albums) Bram Tchaikovsky were unafraid to reference earlier songs; the joyous "Forget About You" is a dead ringer for the Grass Roots' Gary Zekley-penned "Sooner Or Later"; less enchantingly, "Love and Loneliness" cops Steve Stills' horrid "Love the One You're With." Garvey in particular is a terrific pop singer, and the best tracks here are as good as British power pop gets.