Hello, thanks for the respons on re-updating, clearly there is a need. I should have added yesterday that the requests are satisfied on a first come first go basis. As my back up ogg hard disk is nonresponsive currently, i most likely will post a flac instead~for the the pre medio 2011 posts~ but i would think that is not really a problem...
Today in the spotlight the first punk rock guitar hero, earning a cult following for his noisy but epic style a few years before the insouciant new music gained its name. Following in the footsteps of his idol and role model Keith Richards, Johnny Thunders (born John Anthony Genzale, Jr.) lived the ultimate rock & roll life, spending most of his days churning out tough, sloppy three-chord rock & roll and gaining nearly as strong a reputation for his decades-long struggle with addiction as for his music.....N'Joy
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Thunders made his greatest impact as a member of the New York Dolls, the proto-punk glam rockers of the early '70s. During the late '70s, he was a familiar figure on the New York punk scene, both with his band the Heartbreakers and as a solo artist. Thunders performed and recorded steadily until his death in 1991, turning out a series of records that inadvertently documented the struggles of his life and his art. Under the name Johnny Volume, Genzale began performing in high school with local combos Johnny & the Jaywalkers and the Reign (an unreleased Reign tune recorded in 1967 was released as a single after Thunders' death); after those bands ran their course, he joined Actress, which featured future Dolls Arthur Kane and Billy Murcia. Actress became the New York Dolls in 1971, with the addition of vocalist David Johansen, and Genzale renamed himself Johnny Thunders. After recording two acclaimed but commercially unsuccessful albums, the Dolls broke up. In 1975, Thunders and the group's drummer Jerry Nolan formed the Heartbreakers with former Television bassist Richard Hell and guitarist Walter Lure. Hell left the group shortly afterward to form the Voidoids and was replaced by Billy Rath. With Thunders leading the band, the Heartbreakers toured America and Britain, releasing one official album, L.A.M.F., in 1977. The group relocated to the U.K., where their popularity was significantly greater than it was in the U.S., particularly on the burgeoning punk scene. Thunders earned a reputation for powerful but inconsistent performances -- solid and rollicking one night, incoherent, sloppy, and drunken the next, sometimes veering between the two extremes in a single evening. After several months, the group returned to America, where they played a series of farewell gigs in New York.
Thunders went solo in 1978, recording So Alone with various rock and punk celebrities, including the Sex Pistols' Steve Jones and Paul Cook, Steve Marriott (Small Faces, Humble Pie), Peter Perrett (Only Ones), Paul Gray (Eddie and the Hot Rods, the Damned), and Thin Lizzy's Phil Lynott. After its release, Thunders and Peter Perrett played in the short-lived band Living Dead, while in 1980 Thunders teamed up with MC5 guitarist Wayne Kramer in the band Gang Wars, another project that soon fizzled out. During the early '80s, Thunders re-formed the Heartbreakers for various tours and periodic "farewell" shows in New York City, with their stage work documented on a series of live albums, often of dubious legality.
For most of the '80s, the only Johnny Thunders product available consisted of haphazard compilations of live tracks and demos. In 1984, Thunders rebounded with a surprisingly strong acoustic album, Hurt Me, followed in 1985 by Que Sera, Sera, a collection of new songs that showed he could still perform convincingly. Three years later, the guitarist recorded an album of rock and R&B covers with vocalist Patti Palladin, Copy Cats. And in 1991, German punk band Die Toten Hosen paid homage to Thunders by inviting him to play guitar on a cover of the Heartbreakers' "Born to Lose" on their album Learning English: Lesson One.
After recording with Die Toten Hosen, Thunders settled in New Orleans, where he planned to cut an album with local jazz and R&B musicians. However, only a few days later, Thunders was found dead in his room at the St. Peter House on April 23, 1991. Thunders' passing was shrouded in rumor and uncertainty; while it was widely believed he overdosed on drugs, friends insisted the guitarist was weaning himself off heroin with methadone, while others believed he was the victim of sadistic burglars who ransacked his room after feeding him LSD, and still others reported Thunders was struggling with an untreated case of leukemia. Though Thunders' passing was strange and chaotic, it was curiously appropriate -- no other rock & roller ever lived as hard and traveled as individual a path as Johnny Thunders.
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Shortly after the disintegration of the New York Dolls in 1975, guitarist Johnny Thunders and drummer Jerry Nolan formed the Heartbreakers (not to be confused with Tom Petty's Heartbreakers). The original lineup consisted of the duo plus former Television bassist Richard Hell. The group played regularly in New York City, becoming part of the early CBGB punk scene. Thunders assumed the vocal duties, while the music was quite comparable to the trashy rock that the Dolls patented, except that just about every song was about either the pursuit of the opposite sex or drugs (all the bandmembers were addicted to hard drugs, so much so that at one point, Thunders considered changing the band's name to "the Junkies").
Hell's tenure in the band didn't last long, especially when it became clear that Thunders was the leader of the group, and there would be little room for Hell's original compositions (Hell would soon after resurface as the leader of Richard Hell & the Voidoids). Taking Hell's place in the group was Billy Rath, and a second guitarist, Walter Lure, was welcomed aboard as well. Although the Heartbreakers didn't have a recording contract, they were offered a slot as part of the Anarchy Tour (alongside such Dolls disciples as the Sex Pistols, the Clash, and the Damned) in the U.K. during the fall of 1976. The tour was banned at most dates due to the public's preconceived notion of punk, but it succeeded in creating a buzz overseas for the Heartbreakers, resulting in a recording contract with the Track label.
Their debut album, 1977's L.A.M.F. (short for the phrase "Like a Mother Fucker"), failed to catapult Thunders and his cohorts to the same commercial heights that the other bands on the Anarchy Tour were enjoying, but has subsequently gone on to become one of punk's all-time classics, spawning the drug abuse anthem "Chinese Rocks" (a song co-penned by the Ramones' bassist, Dee Dee Ramone). The quartet's hard-living lifestyle quickly began to take its toll on the group, as they split shortly thereafter, but would reunite from time to time over the years, right up until Thunders' drug-related death in 1991 (with Nolan following his longtime partner in crime to the grave in 1992). Numerous live Heartbreakers CDs have been issued over the years (such as Live at Max's Kansas City '79, Live at the Lyceum Ballroom 1984, and What Goes Around, plus a remixed version of their debut, retitled L.A.M.F. Revisited, among countless others), as well as a video/DVD that documented a 1984 reunion show in England, Dead or Alive.
Despite now being hailed as one of punk rock's most important and enduring statements, Johnny Thunders & the Heartbreakers' banshee wail of a debut, L.A.M.F., screamed in silence upon its 1977 release, doing a commercial nosedive worthy of an FAA investigation. Admittedly, the record didn't stand much of a chance in the soft rock quagmire of the late '70s, but its odds certainly weren't helped by abysmal distribution (the group's label, Track Records, went belly up soon after the record's release), the band's increasing drug-induced lethargy, and a mix that buried the group's roar deeper than Jimmy Hoffa. It's this mix that's often blamed for the record's quick demise -- rightly or wrongly -- with the result that L.A.M.F. has been re-released three different times with three different mixes. The most prominent of these re-releases -- 1984's L.A.M.F. Revisited and 1994's L.A.M.F.: The Lost '77 Mixes -- took very different approaches to unearthing the musical firestorm smoldering under the sonic sludge. In the case of Revisited, Thunders himself remixed the original tapes; he also rearranged the track order, dropping one song ("All by Myself") and adding two others ("Do You Love Me" and "Can't Keep My Eyes on You"). Sonically, the result was a welcome improvement over the original L.A.M.F., bringing the Heartbreakers' melodic sense into much clearer focus. Yet, strangely, Thunders' remix also added a layer of gloss to the recording that seemed totally at odds with the Lower East Side dirt-and-blood aesthetic of the band, sacrificing power and dynamics for clarity. The approach taken by The Lost '77 Mixes, however, is a much more comfortable fit. Taking the best of the 250 original mixes that the band and producer Speedy Keene made of all the tracks, The Lost '77 Mixes proves that the spit and punch were there all along. The versions here rock with a greasy, maniacal raunch missing on the curiously antiseptic Revisited. The production sheen is gone, giving the music a chance to hit harder and deeper. And hit it does. The guitars of Thunders and Walter Lure buzz and screech louder than ever before; Billy Rath's bass twists and pounds; and Jerry Nolan's drums swing and crash with a newfound violence. Two songs recorded at the original sessions but not used on the original album are also added here: "Can't Keep My Eyes on You," with Nolan on lead vocals, and "Do You Love Me." Thoughtful liner notes by Thunders biographer Nina Antonia round out a pretty cool package. L.A.M.F.:The Lost '77 Mixes may well be the definitive version of this long-neglected classic. It captures Johnny and the boys as they were meant to be recorded: rude, crude, and loud.
Johnny Thunders & The Heartbreakers - L.A.M.F Lost Mixes (flac 279mb)
01 Born To Lose 3:01
02 Baby Talk 2:20
03 All By Myself 2:50
04 I Wanna Be Loved 2:31
05 It's Not Enough 4:01
06 Chinese Rocks 2:52
07 Get Off The Phone 1:58
08 Pirate Love 3:54
09 One Track Mind 2:33
10 I Love You 2:21
11 Doin' Steady 2:42
12 Let Go 2:23
13 Can't Keep My Eyes On You 3:43
14 Do You Love Me 2:15
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Johnny Thunders & The Heartbreakers - L.A.M.F Demos, Outakes And Alternative Mixes (flac 334mb)
201 Born To Lose 3:02
202 Chinese Rocks 2:44
203 Let Go 3:17
204 Goin' Steady (Backing Track) 3:15
205 Baby Talk (Backing Track) 2:44
206 Pirate Love (Backing Track) 3:44
207 Born To Lose (Backing Track) 4:19
208 Chinese Rocks (Backing Track) 5:44
209 Do You Love Me? 2:27
210 Can't Keep My Eyes On You (Live) 3:42
211 Get Off The Phone 2:02
212 All By Myself 2:53
213 It's Not Enough 4:17
214 One Track Mind 2:34
215 Too Much Junkie Business 2:21
216 London Boys 2:28
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Following the drug-fueled implosion of the Heartbreakers, Johnny Thunders bounced back with his first solo outing, So Alone. Featuring a veritable who's who of '70s punk and hard rock -- Chrissie Hynde, Phil Lynott, Peter Perrett, Steve Marriott, Paul Cook, and Steve Jones, among others -- the record was a testament to what the former New York Dolls guitarist could accomplish with a little focus. Much like Thunders' best work with the Dolls and Heartbreakers, So Alone is a gloriously sloppy amalgam of R&B, doo wop, and three-chord rock & roll. Despite the inevitable excesses that plagued every Thunders recording session, Steve Lillywhite's solid engineering job and a superb set of songs hold everything together. A cover of the Chantays' classic instrumental "Pipeline" leads things off, and is a teasing reminder of what a great guitarist Thunders could be when he put his mind to it. The record's indisputable masterpiece is "You Can't Put Your Arms Round a Memory," a wrenching, surprisingly literate ballad in which Thunders seems to acknowledge that his junkie lifestyle has doomed him to the abyss. Songs like "Leave Me Alone," "Hurtin'," and the chilling title track continue the theme of life inside the heroin balloon. Fortunately, all this back-alley gloom is leavened by some memorably animated moments. "London Boys" is a scathing reply to the Sex Pistols' indictment of the New York punk scene, "New York." The funky "Daddy Rolling Stone" features the inimitable Lynott on background vocals, while the rave-ups "Great Big Kiss" and "(She's So) Untouchable" are terrific examples of Thunders' raunchy take on classic R&B. Sadly, Johnny Thunders never followed up on the promise of his solo debut. His subsequent records were a frustrating mix of drug-addled mediocrity and downright laziness. But for one brief moment, he seemed to put it all together. That moment is So Alone.
Johnny Thunders - So Alone (flac 272mb)
01 Pipeline 2:21
02 You Can't Put Your Arms Round A Memory 3:45
03 Great Big Kiss 3:22
04 Ask Me No Questions 3:33
05 Leave Me Alone 2:47
06 Daddy Rollin' Stone 3:20
07 London Boys 2:50
08 (She's So) Untouchable 2:54
09 Subway Train 4:11
10 Downtown 3:13
11 Dead Or Alive 3:13
12 Hurtin' 3:06
13 So Alone 4:54
14 The Wizard 3:22
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Hurt Me is a rarity in Johnny Thunders' catalog -- a collection of acoustic recordings revealing that he could be a hell of a performer if he so chose. There are a number of predictable songs here, such as the classic "You Can't Put Your Arms Around a Memory," as well as some good covers. It's an anomaly in Thunders' catalog and all the better for it.
Johnny Thunders - Hurt Me More (flac 323mb)
01 Sad Vacation 2:17
02 Eve Of Destruction 1:20
03 Too Much Too Soon 1:08
04 Joey Joey 2:12
05 I'm A Boy I'm A Girl 2:26
06 Go Back To Go 1:15
07 I Like To Play Games 2:02
08 Hurt Me 3:12
09 Illagitammate Son Of Segovia 3:00
10 It Ain't Me Babe 0:22
11 Diary Of A Lover 2:49
12 I'd Rather Be With The Boys 1:57
13 You Can't Put Your Arms Around A Memory 2:54
14 She's So Untouchable 2:30
15 Ask Me No Question 2:05
16 She's So Strange 1:41
17 Lonely Planet Boy 1:38
18 M.I.A. 1:37
19 Cosa Nostra 1:19
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Today in the spotlight the first punk rock guitar hero, earning a cult following for his noisy but epic style a few years before the insouciant new music gained its name. Following in the footsteps of his idol and role model Keith Richards, Johnny Thunders (born John Anthony Genzale, Jr.) lived the ultimate rock & roll life, spending most of his days churning out tough, sloppy three-chord rock & roll and gaining nearly as strong a reputation for his decades-long struggle with addiction as for his music.....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Thunders made his greatest impact as a member of the New York Dolls, the proto-punk glam rockers of the early '70s. During the late '70s, he was a familiar figure on the New York punk scene, both with his band the Heartbreakers and as a solo artist. Thunders performed and recorded steadily until his death in 1991, turning out a series of records that inadvertently documented the struggles of his life and his art. Under the name Johnny Volume, Genzale began performing in high school with local combos Johnny & the Jaywalkers and the Reign (an unreleased Reign tune recorded in 1967 was released as a single after Thunders' death); after those bands ran their course, he joined Actress, which featured future Dolls Arthur Kane and Billy Murcia. Actress became the New York Dolls in 1971, with the addition of vocalist David Johansen, and Genzale renamed himself Johnny Thunders. After recording two acclaimed but commercially unsuccessful albums, the Dolls broke up. In 1975, Thunders and the group's drummer Jerry Nolan formed the Heartbreakers with former Television bassist Richard Hell and guitarist Walter Lure. Hell left the group shortly afterward to form the Voidoids and was replaced by Billy Rath. With Thunders leading the band, the Heartbreakers toured America and Britain, releasing one official album, L.A.M.F., in 1977. The group relocated to the U.K., where their popularity was significantly greater than it was in the U.S., particularly on the burgeoning punk scene. Thunders earned a reputation for powerful but inconsistent performances -- solid and rollicking one night, incoherent, sloppy, and drunken the next, sometimes veering between the two extremes in a single evening. After several months, the group returned to America, where they played a series of farewell gigs in New York.
Thunders went solo in 1978, recording So Alone with various rock and punk celebrities, including the Sex Pistols' Steve Jones and Paul Cook, Steve Marriott (Small Faces, Humble Pie), Peter Perrett (Only Ones), Paul Gray (Eddie and the Hot Rods, the Damned), and Thin Lizzy's Phil Lynott. After its release, Thunders and Peter Perrett played in the short-lived band Living Dead, while in 1980 Thunders teamed up with MC5 guitarist Wayne Kramer in the band Gang Wars, another project that soon fizzled out. During the early '80s, Thunders re-formed the Heartbreakers for various tours and periodic "farewell" shows in New York City, with their stage work documented on a series of live albums, often of dubious legality.
For most of the '80s, the only Johnny Thunders product available consisted of haphazard compilations of live tracks and demos. In 1984, Thunders rebounded with a surprisingly strong acoustic album, Hurt Me, followed in 1985 by Que Sera, Sera, a collection of new songs that showed he could still perform convincingly. Three years later, the guitarist recorded an album of rock and R&B covers with vocalist Patti Palladin, Copy Cats. And in 1991, German punk band Die Toten Hosen paid homage to Thunders by inviting him to play guitar on a cover of the Heartbreakers' "Born to Lose" on their album Learning English: Lesson One.
After recording with Die Toten Hosen, Thunders settled in New Orleans, where he planned to cut an album with local jazz and R&B musicians. However, only a few days later, Thunders was found dead in his room at the St. Peter House on April 23, 1991. Thunders' passing was shrouded in rumor and uncertainty; while it was widely believed he overdosed on drugs, friends insisted the guitarist was weaning himself off heroin with methadone, while others believed he was the victim of sadistic burglars who ransacked his room after feeding him LSD, and still others reported Thunders was struggling with an untreated case of leukemia. Though Thunders' passing was strange and chaotic, it was curiously appropriate -- no other rock & roller ever lived as hard and traveled as individual a path as Johnny Thunders.
xxxxx xxxxx xxxxx xxxxx xxxxx
Shortly after the disintegration of the New York Dolls in 1975, guitarist Johnny Thunders and drummer Jerry Nolan formed the Heartbreakers (not to be confused with Tom Petty's Heartbreakers). The original lineup consisted of the duo plus former Television bassist Richard Hell. The group played regularly in New York City, becoming part of the early CBGB punk scene. Thunders assumed the vocal duties, while the music was quite comparable to the trashy rock that the Dolls patented, except that just about every song was about either the pursuit of the opposite sex or drugs (all the bandmembers were addicted to hard drugs, so much so that at one point, Thunders considered changing the band's name to "the Junkies").
Hell's tenure in the band didn't last long, especially when it became clear that Thunders was the leader of the group, and there would be little room for Hell's original compositions (Hell would soon after resurface as the leader of Richard Hell & the Voidoids). Taking Hell's place in the group was Billy Rath, and a second guitarist, Walter Lure, was welcomed aboard as well. Although the Heartbreakers didn't have a recording contract, they were offered a slot as part of the Anarchy Tour (alongside such Dolls disciples as the Sex Pistols, the Clash, and the Damned) in the U.K. during the fall of 1976. The tour was banned at most dates due to the public's preconceived notion of punk, but it succeeded in creating a buzz overseas for the Heartbreakers, resulting in a recording contract with the Track label.
Their debut album, 1977's L.A.M.F. (short for the phrase "Like a Mother Fucker"), failed to catapult Thunders and his cohorts to the same commercial heights that the other bands on the Anarchy Tour were enjoying, but has subsequently gone on to become one of punk's all-time classics, spawning the drug abuse anthem "Chinese Rocks" (a song co-penned by the Ramones' bassist, Dee Dee Ramone). The quartet's hard-living lifestyle quickly began to take its toll on the group, as they split shortly thereafter, but would reunite from time to time over the years, right up until Thunders' drug-related death in 1991 (with Nolan following his longtime partner in crime to the grave in 1992). Numerous live Heartbreakers CDs have been issued over the years (such as Live at Max's Kansas City '79, Live at the Lyceum Ballroom 1984, and What Goes Around, plus a remixed version of their debut, retitled L.A.M.F. Revisited, among countless others), as well as a video/DVD that documented a 1984 reunion show in England, Dead or Alive.
Despite now being hailed as one of punk rock's most important and enduring statements, Johnny Thunders & the Heartbreakers' banshee wail of a debut, L.A.M.F., screamed in silence upon its 1977 release, doing a commercial nosedive worthy of an FAA investigation. Admittedly, the record didn't stand much of a chance in the soft rock quagmire of the late '70s, but its odds certainly weren't helped by abysmal distribution (the group's label, Track Records, went belly up soon after the record's release), the band's increasing drug-induced lethargy, and a mix that buried the group's roar deeper than Jimmy Hoffa. It's this mix that's often blamed for the record's quick demise -- rightly or wrongly -- with the result that L.A.M.F. has been re-released three different times with three different mixes. The most prominent of these re-releases -- 1984's L.A.M.F. Revisited and 1994's L.A.M.F.: The Lost '77 Mixes -- took very different approaches to unearthing the musical firestorm smoldering under the sonic sludge. In the case of Revisited, Thunders himself remixed the original tapes; he also rearranged the track order, dropping one song ("All by Myself") and adding two others ("Do You Love Me" and "Can't Keep My Eyes on You"). Sonically, the result was a welcome improvement over the original L.A.M.F., bringing the Heartbreakers' melodic sense into much clearer focus. Yet, strangely, Thunders' remix also added a layer of gloss to the recording that seemed totally at odds with the Lower East Side dirt-and-blood aesthetic of the band, sacrificing power and dynamics for clarity. The approach taken by The Lost '77 Mixes, however, is a much more comfortable fit. Taking the best of the 250 original mixes that the band and producer Speedy Keene made of all the tracks, The Lost '77 Mixes proves that the spit and punch were there all along. The versions here rock with a greasy, maniacal raunch missing on the curiously antiseptic Revisited. The production sheen is gone, giving the music a chance to hit harder and deeper. And hit it does. The guitars of Thunders and Walter Lure buzz and screech louder than ever before; Billy Rath's bass twists and pounds; and Jerry Nolan's drums swing and crash with a newfound violence. Two songs recorded at the original sessions but not used on the original album are also added here: "Can't Keep My Eyes on You," with Nolan on lead vocals, and "Do You Love Me." Thoughtful liner notes by Thunders biographer Nina Antonia round out a pretty cool package. L.A.M.F.:The Lost '77 Mixes may well be the definitive version of this long-neglected classic. It captures Johnny and the boys as they were meant to be recorded: rude, crude, and loud.
Johnny Thunders & The Heartbreakers - L.A.M.F Lost Mixes (flac 279mb)
01 Born To Lose 3:01
02 Baby Talk 2:20
03 All By Myself 2:50
04 I Wanna Be Loved 2:31
05 It's Not Enough 4:01
06 Chinese Rocks 2:52
07 Get Off The Phone 1:58
08 Pirate Love 3:54
09 One Track Mind 2:33
10 I Love You 2:21
11 Doin' Steady 2:42
12 Let Go 2:23
13 Can't Keep My Eyes On You 3:43
14 Do You Love Me 2:15
xxxxx
Johnny Thunders & The Heartbreakers - L.A.M.F Demos, Outakes And Alternative Mixes (flac 334mb)
201 Born To Lose 3:02
202 Chinese Rocks 2:44
203 Let Go 3:17
204 Goin' Steady (Backing Track) 3:15
205 Baby Talk (Backing Track) 2:44
206 Pirate Love (Backing Track) 3:44
207 Born To Lose (Backing Track) 4:19
208 Chinese Rocks (Backing Track) 5:44
209 Do You Love Me? 2:27
210 Can't Keep My Eyes On You (Live) 3:42
211 Get Off The Phone 2:02
212 All By Myself 2:53
213 It's Not Enough 4:17
214 One Track Mind 2:34
215 Too Much Junkie Business 2:21
216 London Boys 2:28
xxxxx xxxxx xxxxx xxxxx xxxxx
Following the drug-fueled implosion of the Heartbreakers, Johnny Thunders bounced back with his first solo outing, So Alone. Featuring a veritable who's who of '70s punk and hard rock -- Chrissie Hynde, Phil Lynott, Peter Perrett, Steve Marriott, Paul Cook, and Steve Jones, among others -- the record was a testament to what the former New York Dolls guitarist could accomplish with a little focus. Much like Thunders' best work with the Dolls and Heartbreakers, So Alone is a gloriously sloppy amalgam of R&B, doo wop, and three-chord rock & roll. Despite the inevitable excesses that plagued every Thunders recording session, Steve Lillywhite's solid engineering job and a superb set of songs hold everything together. A cover of the Chantays' classic instrumental "Pipeline" leads things off, and is a teasing reminder of what a great guitarist Thunders could be when he put his mind to it. The record's indisputable masterpiece is "You Can't Put Your Arms Round a Memory," a wrenching, surprisingly literate ballad in which Thunders seems to acknowledge that his junkie lifestyle has doomed him to the abyss. Songs like "Leave Me Alone," "Hurtin'," and the chilling title track continue the theme of life inside the heroin balloon. Fortunately, all this back-alley gloom is leavened by some memorably animated moments. "London Boys" is a scathing reply to the Sex Pistols' indictment of the New York punk scene, "New York." The funky "Daddy Rolling Stone" features the inimitable Lynott on background vocals, while the rave-ups "Great Big Kiss" and "(She's So) Untouchable" are terrific examples of Thunders' raunchy take on classic R&B. Sadly, Johnny Thunders never followed up on the promise of his solo debut. His subsequent records were a frustrating mix of drug-addled mediocrity and downright laziness. But for one brief moment, he seemed to put it all together. That moment is So Alone.
Johnny Thunders - So Alone (flac 272mb)
01 Pipeline 2:21
02 You Can't Put Your Arms Round A Memory 3:45
03 Great Big Kiss 3:22
04 Ask Me No Questions 3:33
05 Leave Me Alone 2:47
06 Daddy Rollin' Stone 3:20
07 London Boys 2:50
08 (She's So) Untouchable 2:54
09 Subway Train 4:11
10 Downtown 3:13
11 Dead Or Alive 3:13
12 Hurtin' 3:06
13 So Alone 4:54
14 The Wizard 3:22
xxxxx xxxxx xxxxx xxxxx xxxxx
Hurt Me is a rarity in Johnny Thunders' catalog -- a collection of acoustic recordings revealing that he could be a hell of a performer if he so chose. There are a number of predictable songs here, such as the classic "You Can't Put Your Arms Around a Memory," as well as some good covers. It's an anomaly in Thunders' catalog and all the better for it.
Johnny Thunders - Hurt Me More (flac 323mb)
01 Sad Vacation 2:17
02 Eve Of Destruction 1:20
03 Too Much Too Soon 1:08
04 Joey Joey 2:12
05 I'm A Boy I'm A Girl 2:26
06 Go Back To Go 1:15
07 I Like To Play Games 2:02
08 Hurt Me 3:12
09 Illagitammate Son Of Segovia 3:00
10 It Ain't Me Babe 0:22
11 Diary Of A Lover 2:49
12 I'd Rather Be With The Boys 1:57
13 You Can't Put Your Arms Around A Memory 2:54
14 She's So Untouchable 2:30
15 Ask Me No Question 2:05
16 She's So Strange 1:41
17 Lonely Planet Boy 1:38
18 M.I.A. 1:37
19 Cosa Nostra 1:19
xxxxx xxxxx xxxxx xxxxx xxxxx
2 comments:
Hello Rho,
Please would it be possible to have Johnny Thunders Hurt Me re-upped? I reckon the man was at his best with the mournful acoustic doings.
Kind regards,
tf
thanks Rho!
grn
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