The Music Of The 80s - Favorites, Classics And Rarities

[cruesome]

@Cruesome: Pare, salamat sa mp3 cd na binurn mo sa akin. Karamihan ng hinahanap ko at pinaplano pa lang na i-download sa Limewire e nandun na ata. Unang salang ko pa lang ng cd sa car stereo ko, "More Than Words Can Say" na agad ng Alias! Shet, nabalik ako bigla sa 1991! Habang ipit sa traffic, napapakanta pa ako ng "HEY! YOU'RE GIVING YOURSELF AWAY!" Ha, ha, 'langyang Ratt yan. Gasgas ata sa Power 105 yan dati. Pucha, lumalabas na edad ko dito a. Salamat uli!

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anytime bro.

 

 

eto, hayop na lovesong, the melody is so emotional, pero the lyrics, syeet, brutal. this song did not enjoyed a lot of airplays, and the video was banned.

 

You're All I Need

Motley Crue

The blade of my knife

Faced away from your heart

Those last few nights

It turned and sliced you apart

This love that I tell

Now feels lonely as hell

From this padded prison cell

 

So many times I said

You'd only be mine

I gave my blood and my tears

And loved you cyanide

When you took my lips

I took your breath

Sometimes love's better off dead

 

You're all I need, make you only mine

I loved you so I set you free

I had to take your life

You're all I need, you're all I need

And I loved you but you didn't love me Laid out cold

Now we're both alone

But killing you helped me keep you home

I guess it was bad

Cause love can be sad

But we finally made the news

 

Tied up smiling

I thought you were happy

Never opened your eyes

I thought you were napping

I got so much to learn

About love in this world

But we finally made the news

 

You're all I need, make you only mine

[hitman531ph]

Although Rick Springfield's music was frequently dismissed as vapid teen idol fare, his best moments have actually withstood the test of time far better than most critics would ever have imagined, emerging as some of the best-crafted mainstream power pop of the decade. A singer turned soap-opera star turned singer, Springfield was born Richard Springthorpe on August 23, 1949 in Sydney, Australia to a military man; the family moved around Australia and England a great deal during Rick's childhood, and he sought his escape from the difficulty of making friends in books and music. He formed a band in high school and eventually joined a '50s revival group called Rock House, moving on from there to join the teenybopper band Zoot in 1968. Zoot became one of the most popular groups in Australia until 1971, scoring several hits. Springfield went solo after the breakup and garnered his first U.S. success the following year with a re-recording of his Australian hit "Speak to the Sky"; the song reached number 14 in the U.S., but would prove to be his last major success for quite some time. Subsequent '70s albums stiffed, and record company difficulties prevented Springfield from recording after 1976.

 

In the meantime, Springfield had begun taking acting classes; he signed a contract with Universal Studios in 1980 and appeared on several television programs. Although Universal dropped him shortly thereafter, he was able to secure a recording contract with RCA on the strength of his demos; in the midst of recording his debut for the label, he was signed to play the young, eligible Dr. Noah Drake on General Hospital in 1981. Springfield's popularity skyrocketed, setting the stage for the release of Working Class Dog later that year. Powered by the classic single "Jessie's Girl," which eventually hit the top of the charts, and the Top Ten follow-up "I've Done Everything for You," Working Class Dog was a smash success, and Springfield eventually returned to his first love of music when concerts conflicted with his television career. The follow-up, Success Hasn't Spoiled Me Yet, was released in 1982, spawning the Top Ten smash "Don't Talk to Strangers"; 1983's Living in Oz offered more of the same, including the Top Ten "Affair of the Heart," "Human Touch",, "Souls", although it betrayed signs that the gears were beginning to wear down on the Springfield machine. Springfield made the leap to the big screen in 1984 with Hard to Hold, which was much more successful at the box office than with critics; the soundtrack spawned his last Top Ten hit to date, "Love Somebody." His career seemed to bottom out afterwards, although he recorded several more albums over the rest of the '80s, including his last 80s albums "Tao" in 1985 that produced the minor hits "Celebrate Youth" and "State of the Heart", and "Rock of Life" in 1988 which featured "Honeymoon in Beirut" and continued to land television roles into the '90s. In 1999, Springfield returned with a new album, Karma

[kneilmigz]

this album is one heck of a cd na walang tapon para sa akin, parang andaling maka relate, fave tracks ko syempre evrything about you, neighbour, tsaka busy bee....

 

ugly kid joe - america's least wanted

 

    http://images.amazon.com/images/P/B000001DVV.01._SCLZZZZZZZ_.jpg

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korek ka dyan cruesome.

 

yan na lang yata yung tape ko na gumagana since 90's.

 

gaya ng sabi lahat patok.

 

add ko lang yung goddamn devil, mr.record man, neighbor and panhandlin' prince. :cool:

[hitman531ph]

"WEIRD AL" YANKOVIC

King of Parody

 

The foremost song parodist of the MTV era, "Weird Al" Yankovic carried the torch of musical humor more proudly and more successfully than any performer since Allan Sherman. In the world of novelty records -- a genre noted for its extensive back catalog of flashes-in-the-pan and one-hit wonders -- Yankovic was king, scoring smash after smash over the course of an enduring career which found him topically mocking everything from new wave to gangsta rap.

Alfred Matthew Yankovic was born October 23, 1959, in Lynwood, CA. An only child, he began playing the accordion at age seven, following in the tradition of polka star Frank Yankovic (no relation); in his early teens he became an avid fan of the Dr. Demento show, drawing inspiration from the parodies of Allan Sherman as well as the musical comedy of Spike Jones, Tom Lehrer, and Stan Freberg. In 1973 Demento spoke at Yankovic's school, where the 13 year old passed the radio host a demo tape of home recordings; three years later, Demento played Yankovic's "Belvedere Cruising" -- an accordion-driven pop song written about the family's Plymouth -- on the air, and his career was launched.

 

Yankovic quickly emerged as a staple of the Demento play list, recording a prodigious amount of tongue-in-cheek material throughout his high-school career. After graduation, he studied architecture; while attending California Polytechnic State University, he also joined the staff of the campus radio station, first adopting the nickname "Weird Al" and spinning a mixture of novelty and new wave hits. In 1979, the success of the Knack's monster hit "My Sharona" inspired Yankovic to record a parody dubbed "My Bologna"; not only was the song a smash with Demento fans, but it even found favor with the Knack themselves, who convinced their label, Capitol, to issue the satire as a single.

 

After graduating in 1980, Yankovic cut "Another One Rides the Bus," a parody of Queen's chart-topping "Another One Bites the Dust" recorded live in Dr. Demento's studios; the song became an underground hit, and Yankovic followed it up with "I Love Rocky Road," a satire of Joan Jett & the Blackhearts' "I Love Rock 'n Roll." After hooking up with noted session guitarist and producer Rick Derringer, he signed to Scotti Bros., which issued his debut LP, "Weird Al" Yankovic, in 1983. The album featured the song "Ricky," a tune inspired equally by Toni Basil's hit "Mickey" and the I Love Lucy television series; issued as a single, it hit the Top 100 charts, and its accompanying video became a staple of the fledgling MTV network.

 

Ultimately, much of Yankovic's success resulted from his skilled use of music video, a medium not available in the era of Spike Jones or Allan Sherman; suddenly, not only could records themselves serve as parody fodder, but their video clips were ripe for satire as well. Additionally, MTV firmly established Yankovic's public persona; sporting garish Hawaiian shirts, frizzy hair, and an arsenal of goofy mannerisms, he cut a distinctly bizarre figure which he consistently exploited to maximum comic effect. After Michael Jackson's "Beat It" became the most acclaimed video in the medium's brief history, Yankovic recorded "Eat It" for his sophomore effort, 1984's "Weird" Al Yankovic in 3-D; the "Eat It" video, which mocked the "Beat It" clip scene-for-scene, became an MTV smash, and the Grammy-winning single reached the Top 15.

 

In addition to "Eat It," In 3-D also launched the minor hits "King of Suede" (a rewrite of the Police's "King of Pain") and "I Lost on Jeopardy" (a send-up of the Greg Kihn Band's "Jeopardy"), as well as "Polkas on 45," the first in a series of medleys of pop hits recast as polka numbers. Dare to Be Stupid, the first comedy record ever released in the new compact disc format, followed in 1985, and featured "Like a Surgeon," a takeoff of the Madonna hit "Like a Virgin." Like its predecessor, Dare to Be Stupid went gold, but 1986's Polka Party! fared poorly and charted only briefly, prompting many to write off Yankovic's career.

 

However, in 1988, Yankovic returned with the platinum-selling Even Worse, its title and album cover a reference to Michael Jackson's recent Bad LP. "I'm Fat," the first single and video, also parodied the lavish Martin Scorsese-directed clip for Jackson's hit "Bad"; shot on the same subway set used by Jackson, the video -- which portrayed Yankovic as a grotesquely obese tough guy -- won him his second Grammy. The next year, he starred in the feature film UHF, which he also co-wrote; a soundtrack appeared as well.

 

After an extended period of silence, he returned in 1992 with Off the Deep End, which featured the Top 40 hit "Smells Like Nirvana," a send-up of Nirvana's landmark single "Smells Like Teen Spirit." After 1993's Alapalooza, he resurfaced in 1996 with Bad Hair Day, his highest-charting record to date thanks to the success of the single "Amish Paradise," a takeoff of the Coolio hit "Gangsta's Paradise." The follow-up, Running With Scissors, appeared in 1999

[hitman531ph]

FOREIGNER

 

While quite a few arena rock acts of the '70s found the transformation into the '80s quite difficult, several acts continued to flourish and enjoyed some of their biggest commercial success: Journey, Styx, REO Speedwagon, and especially Foreigner. Foreigner's leader from the beginning has been British guitarist Mick Jones, who first broke into the music biz as a "hired gun" of sorts, appearing on recordings by George Harrison and Peter Frampton, and as part of a later-day version of hard rockers Spooky Tooth. By the mid-'70s, Jones had relocated to New York City, where he was a brief member of the Leslie West Band and served as an A&R man for a record company. But it wasn't long before Jones felt the urge to be part of another rock outfit as he sought to put together a band that would be able to combine elements of rock, progressive, R&B, and pop into a single, cohesive style.

Jones soon assembled a group consisting of ex-King Crimson sax player Ian McDonald and ex-Ian Hunter drummer Dennis Elliot (both of whom were British), along with New York musicians Al Greenwood (keyboards), Ed Gagliardi (bass), and Lou Gramm (vocals), the latter of which was previously a member of an obscure '70s outfit called Black Sheep. Jones found immediate songwriting chemistry with Gramm (one of the first songs they wrote together was the eventual hit "Cold As Ice"), resulting in the newly formed band taking the name Foreigner and signing a recording contract with Atlantic Records. Foreigner's self-titled debut was issued in 1977 and became an immediate hit on the strength of the hit singles "Feels Like the First Time," "Long, Long Way From Home," and the aforementioned "Cold As Ice," as the album would eventually go platinum five times over.

 

Foreigner avoided the dreaded sophomore slump with an even stronger follow-up release, 1978's Double Vision, which spawned such further hit singles as "Hot Blooded" and its title track, and the album stayed in the Top Ten for a solid six months. As a result, the album's success established the sextet as an arena headliner and would go on to become Foreigner's best-selling album of their career (selling seven million copies in the U.S. alone by 2001). The group's third release overall, Head Games, followed in 1979 and marked the first of many subsequent lineup changes for the group, as Gagliardi was replaced by ex-Peter Frampton and Roxy Music bassist Rick Wills. While the album was another big seller and turned out to be their most straight-ahead musically, both Gramm and Jones felt that the album failed to break any new ground, something that they sought to correct on their next album.

 

The band's lineup was cut back to just a quartet consisting of Jones, Gramm, Elliot, and Wills as super-producer Mutt Lange (who was fresh off the success of AC/DC's classic Back in Black) was enlisted to oversee the proceedings. The ploy worked and the resulting 1981 release, 4, was another massive seller, spawning such further hit singles as "Urgent" (which featured a blazing sax solo from Motown vet Junior Walker), "Jukebox Hero," and the power ballad "Waiting for a Girl Like You." Although the latter tune was a massive hit, it confused some of the band's following as to whether Foreigner was a hard rock band or balladeers. In 1982, a stopgap best-of set, Records, was released and featured ten of band's biggest hit singles, remaining a steady seller to this day (becoming Foreigner's second album to achieve sales of seven million by 2001).

 

It took Foreigner three years to complete a follow-up to 4 with Agent Provocateur being issued in 1984. The band made the transition to the MTV video age without a hitch with the over-the-top, gospel-inflected ballad "I Want to Know What Love Is" (which featured the New Jersey Mass Choir) becoming one of the biggest MTV and radio hits that year. But despite the single's success, there was a noticeable dip in sales for Agent Provocateur when compared to their earlier albums due to the fact that the album wasn't as focused and strong overall as their previous recordings. After a mammoth nine-month tour wrapped up a year later, both Jones and Gramm focused on non-Foreigner projects during 1986. Jones produced Bad Company's Fame and Fortune and co-produced Van Halen's hit debut recording with Sammy Hagar, 5150, while Gramm worked on a solo debut. The release of both Gramm's solo album, Ready or Not, as well as Foreigner's sixth studio album overall, Inside Information, came in 1987. While both were successful and spawned Top Ten hits (Gramm with "Midnight Blue" and Foreigner with "Say You Will"), tension between Gramm and Jones came to a head regarding the singer's desire to focus on his solo career, which led to Gramm's split from Foreigner in 1989.

 

The same year as his split from Foreigner, Gramm issued his second solo album, Long Hard Look, which proved to be not as successful as its predecessor, while Jones produced Billy Joel's Storm Front and issued a star-studded self-titled solo debut. Jones, Elliot, and Wills tried to keep Foreigner afloat with a new singer, Johnny Edwards, issuing a largely ignored album in 1991, Unusual Heat, while Gramm faired no better with a new outfit, Shadow King, issuing a forgotten self-titled debut the same year. Seeing the error in their split, both Jones and Gramm listened to the advice of Atlantic Records and reunited for the recording of three all-new tracks to be included on a more extensive "hits" collection. Issued in 1992, the 17-track The Very Best...And Beyond was Foreigner's most commercially successful release in several years along with the band's first live release, Classic Hits Live, issued a year later

[hitman531ph]

KENNY LOGGINS

The 80's Soundtrack Artist

 

While never viewed as an especially cutting-edge performer, Kenny Loggins (b. Jan. 7, 1947, Everett, Wash.) has managed to stay in business, integrity and sales intact, longer than almost all of his contemporaries. From country-rocking folkie to slick pop star to ubiquitous soundtrack presence, Loggins has, in the course of two decades, shifted his approach to music-making skillfully and without much noticeable compromise. Maybe he has gone the soundtrack route once too often--but consistent top 10 singles are, after all, awfully difficult to argue with.

Like many of his contemporaries, Loggins started out in comparative obscurity; he recorded with two little known late-'60s rock bands (Gator Creek and Second Helping) before signing a publishing deal with ABC/Wingate. As a result of that deal, the Nitty Gritty Dirt Band recorded four of his songs and scored a small hit in 1971 with "House At Pooh Corner." Columbia Records then stepped in and offered Loggins a recording contract. His first album's slated producer, former Buffalo Springfield/Poco member Jim Messina, became so involved with the recording it was credited to "Kenny Loggins with Jim Messina"--and thus began one of the more lucrative musical partnerships of the '70s. Together through 1976, Loggins & Messina recorded two platinum and five gold albums, and scored a top 5 single in 1972 with the jointly-penned "Your Mama Don't Dance" (which again hit the top of the charts 17 years later when covered by hard rock group Poison).

 

"It was one of the highlights of my life," Jim Messina said years later of his time with Loggins. "I considered my relationship with Kenny in the beginning very special, and a creative relationship. I learned a lot from him as a singer, and he helped me indirectly as a writer--in the sense that he was a very quality writer. There was a creative competitiveness there, a healthy competitiveness, that I think brought both of us up to a real special place."

 

Significantly, though, when Loggins and Messina split, it was Loggins' career that took off, while Messina's floundered by comparison. Loggins' first three solo albums each went platinum--Celebrate Me Home, Nightwatch, and Keep The Fire, all released between 1977-79--and, maybe more importantly, Loggins was striking up musical relationships with some of the dominant musical forces of the era. To wit: Fleetwood Mac's Stevie Nicks, who sang on the top 10 single "Whenever I Call You Friend," and the Doobie Brothers' Michael McDonald, with whom Loggins had written "What A Fool Believes" (a No. 1 Doobies hit in '79) and "This is It," a top 20 hit for Loggins, among many other tracks.

 

The next phase in Loggins' career is in some ways the most controversial: A series of hit singles from film soundtracks that, despite their success, may have altered the industry's perception of the singer. The onetime album rock staple was hitting top 40 radio regularly with hits from Caddyshack ("I'm Alright"), Footloose (the title track, written by Loggins and Dean Pitchford, topped Billboard's Hot 100 for three weeks and went platinum), Top Gun ("Danger Zone"), Over The Top ("Meet Me Halfway"), and even Caddyshack II (top 10 hit "Nobody's Fool"). What was the downside? First, Loggins had nothing to do with the writing of either "Danger Zone" or "Meet Me Halfway"--Giorgio Moroder and Tom Whitlock did--and secondly, few of those hits were to be found anywhere on his own albums, which had stopped their regular ascension to the top 40 with 1982's High Adventure .

 

By the time Columbia issued Outside: From The Redwoods, Loggins' live career retrospective of 1993, a notation in the CD booklet mentioned only five albums that were "also available from Kenny Loggins." Curiously not listed were 1980's Alive, 1982's High Adventure, and, most surprisingly, Back To Avalon, a comparatively recent 1988 effort. Did this mean Loggins' audience was vanishing? Not likely--his 1991 album Leap Of Faith had gone gold, after all, and included well-known adult contemporary hits like "I Would Do Anything" and "If You Believe." More likely, Loggins' "adult contemporary" audience was simply growing up and away--and wisely, like other singer-songwriters of his vintage, Loggins was preparing for it. By 1996, the co-writer of "Your Mama Don't Dance" had released Return To Pooh Corner on Sony Wonder, the children's division of his label

[hitman531ph]

DARYL HALL & JOHN OATES

The Dynamic Duo of the 80s

 

Daryl Hall began performing professionally while he was a student at Temple University. In 1966, he recorded a single with Kenny Gamble and the Romeos; the group featured Gamble, Leon Huff, and Thom Bell, who would all become the architects of Philly soul. During this time, Hall frequently appeared on sessions for Gamble and Huff. In 1967, Hall met John Oates, a fellow Temple University student. Oates was leading his own soul band at the time. The two students realized they had similar tastes and began performing together in an array of R&B and doo wop groups. By 1968, the duo had parted ways, as Oates transferred schools and Hall formed the soft rock band Gulliver; the group released one album on Elektra in the late '60s before disbanding.

 

After Gulliver's breakup, Hall concentrated on session work again, appearing as a backup vocalist for the Stylistics, the Delfonics, and the Intruders, among others. Oates returned to Philadelphia in 1969, and he and Hall began writing folk-oriented songs and performing together. Eventually they came to the attention of Tommy Mottola, who quickly became their manager, securing the duo a contract with Atlantic Records. On their first records -- Whole Oates (1972), Abandoned Luncheonette (1973), War Babies (1974) -- the duo were establishing their sound, working with producers like Arif Mardin and Todd Rundgren and removing much of their folk influences. At the beginning of 1974, the duo relocated from Philadelphia to New York. During this period, they only managed one hit -- the number 60 "She's Gone" in the spring of 1974.

 

After they moved to RCA in 1975, the duo landed on its successful mixture of soul, pop, and rock, scoring a Top Ten single with "Sara Smile." The success of "Sara Smile" prompted the re-release of "She's Gone," which rocketed into the Top Ten as well. Released in the summer of 1976, Bigger than the Both of Us was only moderately successful upon its release. The record took off in early 1977, when "Rich Girl" became the duo's first number one single.

 

Although they had several minor hits between 1977 and 1980, the albums Hall & Oates released at the end of the decade were not as successful as their mid-'70s records. Nevertheless, they were more adventurous, incorporating more rock elements into their blue-eyed soul. The combination would finally pay off in late 1980, when the duo released the self-produced Voices, the album that marked the beginning of Hall & Oates' greatest commercial and artistic success. The first single from Voices, a cover of the Righteous Brothers' "You've Lost That Lovin' Feeling," reached number 12, yet it was the second single, "Kiss on My List" that confirmed their commercial potential by becoming the duo's second number one single; its follow-up, "You Make My Dreams" hit number five. They quickly released Private Eyes in the summer of 1981; the record featured two number one hits, "Private Eyes" and "I Can't Go for That (No Can Do)," as well as the Top Ten hit "Did It in a Minute." "I Can't Go for That (No Can Do)" also spent a week at the top of the R&B charts -- a rare accomplishment for a White act. H20 followed in 1982 and it proved more successful than their two previous albums, selling over two million copies and launching their biggest hit single, "Maneater," as well as the Top Ten hits "One on One" and "Family Man." The following year, the duo released a greatest-hits compilation, Rock 'N Soul, Pt. 1, that featured two new Top Ten hits -- the number two "Say It Isn't So" and "Adult Education."

 

In April of 1984, the Recording Industry Association of America announced that Hall & Oates had surpassed the Everly Brothers as the most successful duo in rock history, earning a total of 19 gold and platinum awards. Released in October of 1984, Big Bam Boom expanded their number of gold and platinum awards, selling over two million copies and launching four Top 40 singles, including the number one "Out of Touch." Following their contract-fulfilling gold album Live at the Apollo with David Ruffin & Eddie Kendrick, Hall & Oates went on hiatus. After the lukewarm reception for Daryl Hall's 1986 solo album, Three Hearts in the Happy Ending Machine, the duo regrouped to release 1988's Ooh Yeah!, their first record for Arista. The first single, "Everything Your Heart Desires," went to number three and helped propel the album to platinum status.

 

However, none of the album's other singles broke the Top 20, indicating that the era of chart dominance had ended. Change of Season, released in 1990, confirmed that fact. Although the record went gold, it only featured one Top 40 hit -- the number 11 single, "So Close." The duo hasn't released an album since 1997

[hitman531ph]

STEVIE WONDER in the 80s

 

After successful hits in the 70s like "Superstition", "You Are The Sunshine Of My Life", Stevie Wonder continues his success into the 80s. Stevie Wonder released the album Hotter Than July in 1980. The reggae-flavored "Master Blaster (Jammin')" returned him to the top of the R&B charts and the pop Top Five, and "Happy Birthday" was part of the ultimately successful campaign to make Martin Luther King's birthday a national holiday (Wonder being one of the cause's most active champions). Artistically speaking, Hotter Than July was a cut below his classic '70s output, but it was still a solid outing; fans were so grateful to have the old Wonder back that they made it his first platinum-selling LP.

 

In 1981, Wonder began work on a follow-up album that was plagued by delays, suggesting that he might not be able to return to the visionary heights of old. He kept busy in the meantime, though; in 1982, his racial-harmony duet with Paul McCartney, "Ebony and Ivory," hit number one, and he released a greatest-hits set covering 1972-1982 called Original Musiquarium I. It featured four new songs, of which "That Girl" (number one R&B, Top Five pop) and the lengthy, jazzy "Do I Do" (featuring Dizzy Gillespie; number two R& were significant hits. In 1984, still not having completed the official follow-up to Hotter Than July, he recorded the soundtrack to the Gene Wilder comedy The Woman in Red, which wasn't quite a full-fledged Stevie Wonder album but did feature a number of new songs, including "I Just Called to Say I Love You." Adored by the public (it was his biggest-selling single ever) and loathed by critics (who derided it as sappy and simple-minded), "I Just Called to Say I Love You" was an across-the-board number one smash, and won an Oscar for Best Song. Also a soul classic is his duet with Dionne Warwick "It's You" in the same Woman in Red soundtrack.

 

Wonder finally completed the official album he'd been working on for nearly five years, and released In Square Circle in 1985. Paced by the number one hit "Part Time Lover" -- his last solo pop chart-topper -- and several other strong songs, In Square Circle went platinum, even if Wonder's synthesizer arrangements now sounded standard rather than groundbreaking. He performed on the number one charity singles "We Are the World" by USA for Africa and "That's What Friends Are For" by Dionne Warwick & Friends, and returned quickly with a new album, Characters, in 1987. While Characters found Wonder's commercial clout on the pop charts slipping away, it was a hit on the R&B side, topping the album charts and producing a number one hit in "Skeletons." It would be his final release of the '80s

[cruesome]

mga bro, napadaan ako kanina sa mrt station sa shaw blvd, may nakatinda na pirated dvd ng motley crue, bili kayo dali, cool yun.

 

di ko lang nga sure kung yung cencored edition yun or kung yung explicit. tsaka yung orig dami bonus/easter eggs, di ko din sure dito sa pirated, nonetheless okay na din. walang available locally nun, yung copy ko galing amazon.com kaya napamahal ako

 

ganito yung cover nun

 

http://images.amazon.com/images/P/B0000TAZLA.01._SCLZZZZZZZ_.jpg

[Immortal666]

@cruesome: I think "You're All I need" is the Crue's next best ballad with the ever popular "Home Sweet Home" as the best ofcourse. But damn, the lyrics aren't your typical power ballad lyrics. I like Mick Mars' solo on this song. What was wrong with the video? Why was it banned?

[Dr.Love]

You're All I Need's video was banned due to its violent scenes w/c were considered by the censors at that time to be unviewable. The video was in Motley Crue's Greatest Video Hits DVD.

[kneilmigz]

add ko lang

 

damn yankees - high enough, where you goin' now?, the silence is broken :cool:

 

the black crowes - hard to handle

 

:thumbsupsmiley:

[cruesome]

@cruesome: I think "You're All I need" is the Crue's next best ballad with the ever popular "Home Sweet Home" as the best ofcourse. But damn, the lyrics aren't your typical power ballad lyrics. I like Mick Mars' solo on this song. What was wrong with the video? Why was it banned?

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pang R13 yung vid, visual enactment of the lyrics

 

love isn't fatal, obsession is.

[Ericlin1170]

John Waite - Missing You

[Cradle of Filth]

black crowes are the taper-friendly rock and roll jam band that's sold over 15 million records and has been hailed by Melody Maker as "The Most Rock 'n' Roll Rock 'n' Roll Band in the World."

 

favorite ko to lalu na yung album nilang"shake your money maker" at "southern harmony"

 

eto yun mga fave kong songs nila "Hard to Handle," "She Talks to Angels," "Jealous Again," "Twice As Hard" and "Seeing Things," sa unang album

 

2nd album "remedy","Thorn in my pride","bad luck blue eyes,goodbye",Sometimes Salvation

 

Amorica,3rd album:"A Conspiracy",Ballad In Urgency" ,"Wiser Time","Descending"

 

idol ko talaga to!!!!