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David Lee Roth - 1988 - Skyscraper (FLAC 24 48, vinyl, Warner Bros 925 671-1)

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Torrent File Content (23 files)

Description

Music : Rock : Lossless
      
 

24/48
vinyl rip. Warner Bros. Records 925 671-1. LP made in Europe.

Side 1
1. Knucklebones 3:18
2.
Just Like Paradise 4:03
3. The Bottom Line 3:37
4. Skyscraper 3:38
5. Damn Good 5:49

Side 2
1. Hot Dog And A Shake 3:19
2. Stand Up 4:39
3. Hina 4:40
4. Perfect Timing 3:41
5. Two Fools A
Minute 4:28

(David Lee Roth / Gregg & Matt Bissonette) - A1
(David Lee Roth / Brett Tuggle) -
A2,B2,B4
(David Lee Roth / Steve Vai) - A3,A4,A5,B1,B3,B5

Produced by David Lee Roth
Co-produced by
Steve Vai
Engineered by Magic Moreno

Mastered by Bernie Grundman

Album cover design and
package concept by Angelus / Roth
Art direction by Vigon Seireeni, L.A., Gina Vivona
Album photography by
Galen Rowell
The cover photographs of David Lee Roth were taken on the Northwest Face of Half Dome. The route
pictured is 2,000 plus feet of solid vertical rock.

Tracked at Capitol Records Studio
(A1,A2,A3,A4,B1,B2,B3,B4,B5), Smoketree Studio (A5)
Overdubbed at Smoketree Studio (A2,B1)
Vocals cut at
Sunset Sound (A5)
All guitars recorded at Stucco Blue Studio
Mixed at Smoketree Studio (A1), Conway Studios
(A2,B1,B3), Ocean Way Studio (A3,B2), Sound Castle (A4,A5,B4,B5)

Engineer: Magic Moreno
(A1,A3,A4,A5,B1,B2,B3,B4,B5), Doug Parry (A2,B1,B2), Steve Vai (B1,B2,B4), Milt Calice (B4)
2nd engineer: Pete
Doell (A1,A2,A3,A4,B1,B2,B3,B4,B5), Milt Calice (A1,A3,A4,A5,B1,B2,B3,B5), Bob Cats (A5), Darryl Krupnick (A5), Paul
Levy (A5), Stephen Shelton (A5)
Overdub engineer: Doug Parry (A2,B1), Steve Vai (A2,B1)
Overdub 2nd engineer:
Darryl Krupnick (A2), Paul Levy (A2)
Mixing engineer: Magic Moreno
Mixing 2nd engineer: Darryl Krupnick (A1),
Bob Cats (A1), Marnie Riley (A2,B1,B3), Gary Wagner (A2,B1,B3), Steve Holroyd (A3,B2), Champagne Jim (A4,A5,B4,B5)

David Lee Roth: words and vocals
Steve Vai: guitars, horns arrangement (B5)
Billy
Sheehan: bass (A1-A4,B1,B3,B4,B5), background vocals (A1-A3,B1,B2,B4,B5), fretless bass (A5)
Gregg
Bissonette: drums, percussion (A1,A2), background vocals (A1-A3,B2,B4,B5)
Brett Tuggle: keyboards,
background vocals (A1-A3,B2,B4,B5), computer programs (A2), computer programming (B2)
Gary Falcone:
additional background vocals (A1,B4)
Joe Pizzulo: additional background vocals (A1)
Tom Kelly:
additional background vocals (A2)
Tom Funderburk: additional background vocals (A2)
Todd Grace:
keyboard programming assistance (A2)
Richie Raposa: keyboard programming assistance (B2)
Dr. Funk,
PhD: synth bass (B4)
John Batdorf: additional background vocals (B4)
Magic Moreno:
background vocals (B5)

Vinyl etching:
R/S Alsdorf 925671-1AX M II
R/S Alsdorf 925671-1B D
II

Even as Skyscraper shot up the charts behind the momentum of its ultra-saccharine lead-off single
"Just Like Paradise," it was abundantly clear to anyone paying attention that the wheels were already falling
off the David Lee Roth bandwagon. Simply put, the collaborative spirit that had given their manic debut Eat 'Em and
Smile such legitimacy as a band project was collapsing under the unbearable strain of its leader's unstoppable ego. With
bass wizard Billy Sheehan already gone to form Mr. Big and guitar hero Steve Vai mostly flying on auto-pilot (if
spectacularly so), keyboard player Brett Tuggle seems like the most unwelcome presence on an album that squanders much
of its free-wheeling potential by trying too hard to achieve an exaggerated pop sheen. The aforementioned "Just
Like Paradise" is the obvious main offender, but promising examples of arena rock like "Stand Up" and
"Perfect Timing" also lose much of their bite through excessive studio tampering. Likewise, the largely
acoustic "Damn Good" and the overlong "Two Fools a Minute" (an unconvincing ode to Roth's lounge
lizard persona) go nowhere fast, and what the band was trying to achieve with the bizarre title track is still anyone's
guess. And while rockers like "Knucklebones" and "The Bottom Line" don't really impress or offend,
"Hina" and "Hot Dog and a Shake" are the album's only two clear standouts. The first's soothing,
interweaving guitar harmonies presaged Vai's Joe Satriani-inspired solo work while the latter finally explodes in the
over-the-top fashion of the first album, largely thanks to a Vai solo so fast, so hot not even he could keep up,
momentarily losing his fingering in the album's only spontaneous moment. - Eduardo Rivadavia, AMG                                                            Show Demonoid some love
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