Weird Al Yankovic Discography Download Torrent
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The 15-disc box set of puns and polka is a monument to pop music’s once symbiotic relationship with parody—a linkage that has dissolved in the wake of the monoculture’s demise.
Listening to the complete recorded works of “Weird Al” Yankovic—which is now easy to do, thanks to the release of the 15-disc Squeeze Box, which contains all 14 of his studio albums along with a disc of rarities, housed in a replica of his signature accordion—provides a graduate course in the junk culture of the 20th century. Sure, the songs he sent up are pillars of pop music—whether it was “Beat It,” “Smells Like Teen Spirit,” “Ridin’,” or “Blurred Lines”—but hearing Yankovic’s parodies provided a sense of their deep, lasting impact. It wasn’t simply that these familiar tunes were mocked; his send-ups underscored the ways that hits become part of the fabric of daily life. Joke songs are a tricky idiom even for clever musicians, but “Weird Al” finagled a robust career out of novelties. Chalk it up to smarts or good timing, but “Weird Al” Yankovic arrived at a time where the counterculture met the monoculture, beginning his career as an outsider and winding up as a beloved institution.
A nerd by birthright, “Weird Al” was always a step ahead of the curve. He started kindergarten a year too early and skipped second grade; growing up in the southern Los Angeles suburb of Lynwood, he was always the runt of the litter. To make matters worse, when he was six, his parents gave him an accordion, not a guitar, and he embraced the anachronistic instrument. Rock‘n’roll wasn’t really his thing; Al’s personal Elvis was Dr. Demento.
Weird Al Yankovic Discography Download Torrent Download
In addition to recording his albums, Yankovic wrote and starred in the film, UHF, and television show, The Weird Al Show. He has also made guest appearances on many television shows, in addition to starring in Al TV specials on MTV.
1983 'Weird Al' Yankovic 1984 In 3-D 1985 Dare To Be Stupid 1986 Polka Party! 1988 Even Worse 1988 Greatest Hits 1989 UHF 1992 Off The Deep End 1992 The Food Al Weird Al Yankovic - 18 Albums (1983 - 2009) [EAC-FLAC]. Related Torrents. Added Size Seeders Leechers; Recommended Links. The discography of American singer, songwriter, musician and parodist 'Weird Al' Yankovic consists of fourteen studio albums, ten compilation albums, eleven video albums, two extended plays, forty-six singles and fifty-four music videos. Since the debut of his first comedy song in 1976, he has sold more than 12 million albums—more than any. Download Weird Al Yankovic Discography torrent or any other torrent from category. Direct download via HTTP available as well. Download Weird Al Yankovic Discography Torrent - kickasstorrents. Weird Al Yankovic Biography by Jason Ankeny The undisputed king of song parody during the MTV era, he scored smashes topically mocking everything from new wave to gangsta rap.
Operating out of the darkest reaches of Pasadena, Dr. Demento—born Barret Hansen, so who could blame him adopting a nom de plume–specialized in airing the weirdest records he could find, a task suited for an ethnomusicology major masquerading as a ringmaster. Novelties were his métier, but he didn’t limit himself to old Nervous Norvous 45s he had excavated. He’d play new oddities, which is why Yankovic made it a mission to get himself onto the Dr. Demento show. Al passed along a tape to Demento in 1976, which got on the air but didn’t spark much attention. Things got going a few years later when Yankovic was studying architecture at Cal Poly, where he spent his spare time recording himself in the men’s bathroom, which had just enough echo to round out his sound.
”Weird Al” sent one of these bathroom recordings to Dr. Demento: a version of the Knack’s “My Sharona,” which he spun into “My Bologna.” Demento wasn’t the only one who liked it. Doug Fieger, the author of “My Sharona,” loved it and tipped off his record label, which released it as a single. (They assumed it was a one-shot novelty, though, and dispensed with Al after a single 45.) Almost immediately, he topped it with “Another One Rides the Bus,” a pumping parody of Queen’s “Another One Bites the Dust” that landed Yankovic on national television, including a spot on Tom Snyder in 1981.
Listening to these early singles now—along with various oddities on the bonus disc Medium Rarities, one of which is a frenetic “Pac-Man” set to the Beatles’ “Taxman”—what’s striking is Yankovic’s qualities. He’s not a polished performer; there’s a fevered desperation that gives the music a kinetic edge. Some of this nervous energy was dampened when he signed to Scotti Bros. and teamed with Rick Derringer, the guitarist who had a smash with “Rock and Roll, Hoochie Koo” in 1973. Derringer didn’t produce “Weird Al” as if he was a freak. He made sure the albums worked as pop records—a novelty within novelties, since the format usually placed jokes above hooks. Even with this polish, Al’s eponymous 1983 debut is ragged, almost confrontational in its jokes. While Yankovic’s instincts aren’t wrong, he’s too anxious to sell his premises, and the album relies on goofy original numbers that don’t bear the mark of a savvy pop stylist.
Almost immediately, Al sharpened his pop instincts. Credit confidence or craft, but 1984's “Weird Al” Yankovic in 3-D is where Yankovic hits his stride, maybe because he discovered his muse: Michael Jackson. “Eat It,” Yankovic’s parody of Jackson’s hungry, fevered “Beat It,” became a sensation, because his concept was clean and its accompanying video arrived just when MTV was starved for content. It’s impossible to extricate Yankovic’s rise from MTV and vice versa, which only reveals how they needed each other. The very existence of “Weird Al” parodies validated the network as something worthy of sending up, while “Weird Al” needed the boost into the mainstream because he was no longer singing about reruns and strange scenes from the Valley.
In 3-D also established the blueprint he’d follow for the next 30 years: It was anchored by spoofs of current hits, interspersed with originals styled after vaguely familiar tunes and precisely one polka medley. Dare to Be Stupid, the record that swiftly followed In 3-D, in 1985, was distinguished by his affection for trash culture detritus—he covered the theme song for “George of the Jungle” and wrote an ode to “Slime Creatures from Outer Space,” the kind of 1950s B-movie that would’ve been on constant rotation on local TV in the ‘70s—but what was more noteworthy is how the silly single “Like a Surgeon” was overshadowed by Yankovic’s title track, which could easily be mistaken for a Devo original. Polka Party!, delivered just a year later, saw Al continue to improve as a songwriter—“Don’t Wear Those Shoes” is a nice slice of pure pop, while “Christmas at Ground Zero” peddles its pitch-black humor with a smile—but the record stalled his chart momentum, which could be attributed to his pop parodies being somewhat subpar: Just the titles “Living With a Hernia” and “Addicted to Spuds” suggests he was grasping at straws.
Weird Al Yankovic Songs
“Weird Al” bounced back with Even Worse, a 1988 album that found him reconnecting with Michael Jackson for a hit, but the more interesting elements lay elsewhere. It took savage wit to turn “Mony Mony” into “Alimony,” and the Beastie Boys spoof on “Twister” worked because it concentrated on the sound, not the words. The album amounted to a considerable commercial comeback, but Yankovic allowed himself to be distracted by Hollywood, releasing the muddled film UHF and its messier soundtrack in 1989. Arriving too late to be a sensation, UHF disappeared, and while the film has its cult, the soundtrack feels like an afterthought, as if “Weird Al” didn’t have the time to polish his compositions. Its failure helped to position Off the Deep End as a genuine comeback in 1992. The first album Yankovic produced on his own—he severed ties with Derringer after UHF—Off the Deep End clicked due to its “Smells Like Teen Spirit” parody, but it was also a richer album than its predecessors, thanks to satires delivered with a light touch, originals that weren’t tied to a specific style, and production that was more precise than Derringer’s, and also more colorful.
Alapalooza, released in the fall of 1993, slowed his momentum slightly, because none of its big songs was tied to the times. Its lead single, “Jurassic Park,” revived Jimmy Webb’s florid 1960s standard “MacArthur Park,” the polka was grounded on “Bohemian Rhapsody,” and spoofing the Red Hot Chili Peppers via the Flintstones seemed too conscious of corporate synergy. Al soon bounced back. After a year of compilations, “Weird Al” took his first stab at hip-hop with “Amish Paradise,” the first single off of Bad Hair Day, and scored another MTV hit. Unlike its predecessor, Bad Hair Day seemed to understand the currents of culture, particularly the nonsense kicked up in the wake of Nirvana: The Presidents of the United States parody “Gump” was dead on, and “The Alternative Polka” lent zest to a familiar trope.
Running With Scissors, from 1999, is where the mature “Weird Al” Yankovic arrives. Less eager to please and more confident in his craft, he doesn’t go for easy jokes; he picks the right modern hits to mock (the Offspring’s “Pretty Fly (For a White Guy)” gets spun into “Pretty Fly for a Rabbi”). There’s evident care given to the originals, and when he digs into the past, there’s a context: An ode to the Star Wars prequels, “The Saga Begins,” benefits from its association with Don McLean’s “American Pie,” since both are artifacts of the ‘70s. From this point on, Yankovic’s records are clean, polished, and assured, capitalizing on formula instead of being beholden to it. While “Weird Al” remained a prisoner of pop—his hits would come when there was a song that was undeniable—he made better, smoother records. Poodle Hat (2003) has no classics, but it goes down easily. Straight Outta Lynwood blew up in 2006 because “White & Nerdy” (a parody of Chamillionaire’s “Ridin’”) became his first Top 10 single, its success disguising his increasing musical ambition: He’s as comfortable with the florid stylings of the Beach Boys (“Pancreas”) as he is with modern R&B (“Confessions Part III,” “Trapped in the Drive-Thru”). Despite a pair of Lady Gaga parodies, Alpocalypse (2011) found Yankovic retreating from the modern world slightly, reworking the Doors, Meat Loaf, and Queen for his originals—a subtle sign that Yankovic was entering his middle age. Mandatory Fun received a big boost in 2014 when “Weird Al”’s fans rallied to get the album to No. 1, but it also was a worthy chart-topper, as it was executed about as perfectly as a “Weird Al” album can be. The parodies “Handy,” “Foil,” and “Word Crimes” were sharp, and the originals were robust.
Mandatory Fun was the last album Yankovic owed RCA, which may be what precipitated the release of Squeeze Box, but “Weird Al” has also been hinting that he’s not eager to cut another record at any point in the future. Maybe this is due to the state of the record industry, but the pop world since 2014 hasn’t kicked up many singles ripe for his kind of satire: hits so big, they feel like wallpaper. That time is passing. Squeeze Box feels like a testament not just to Yankovic’s career, but to an entire era in American popular culture: a time where a guy as strange and nerdy as him could wind up chronicling all the nation’s odd undercurrents in song—songs that catapulted this one-time outsider into the epicenter of pop culture, where he became as iconic as the stars he mocked.