Jun 10

The Goo Goo Dolls – Dizzy Up the Girl (1998/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 00:45:12minutes | 1,74 GB | Genre: Rock, Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Warner Bros. Records

Dizzy Up the Girl is the Goo Goo Dolls’ sixth studio album originally released in 1998. The record produced numerous hit singles, including “Slide”, “Black Balloon,” “Broadway,” “Dizzy,” and their most popular single “Iris” which made it to #1 on the U.S. Billboard Hot 100, Adult Top 40, Alternative Songs, and Pop Songs charts.

“Name” changed the game for the Goo Goo Dolls. Prior to that unexpected hit ballad, the Buffalo trio was pretty much content to turn out amiably sloppy rock & roll in the style of the Replacements. Like the latter-day ‘Mats, they weren’t adverse to cleaning up their sound a little bit, but once they had a hit, they were happy to jump headfirst into the mainstream, cleaning up their rockers until they shone and embracing acoustic power ballads instead of shunning them. In fact, “Iris” — their contribution to the City of Angels soundtrack and lead single for their sixth album, Dizzy Up the Girl — is a virtual rewrite of “Name.” The funny thing is, where most college rock bands of the Bush era sounded awkward as mainstream rockers, the Goo Goo Dolls actually sound better as a mainstream band, partially because they were hardly underground in the first place. Like a less mannered and conflicted Let Your Dim Light Shine-era Soul Asylum, the trio balances hard rockers with ballads. The difference is, they enjoy the mainstreaming of their music and respond with one of their catchiest sets of songs. There’s nothing new on the record apart from their willingness to polish their music so it reaches the widest audience. That will alienate whatever hardcore followers they have left, but that attitude will likely please anyone brought aboard with “Name” and “Iris.” –AllMusic Review by Stephen Thomas Erlewine

1 Dizzy 2:40
2 Slide 3:32
3 Broadway 3:58
4 January Friend 2:44
5 Black Balloon 4:09
6 Bullet Proof 4:37
7 Amigone 3:15
8 All Eyes On Me 3:57
9 Full Foever 2:51
10 Acoustic #3 1:56
11 Iris 4:51
12 Extra Pale 2:10
13 Hate This Place 4:23

Mike Malinin – drums
Johnny Rzeznik – lead and rhythm guitar, lead vocals
Robby Takac – bass guitar, lead vocals

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Jun 08

Sonic Youth – Washing Machine (1995/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 01:08:17 minutes | 2,55 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | @ Geffen Records, Universal Music

Sonic Youth’s ninth album Washing Machine is the first record to almost exclusively feature Kim on guitar rather than bass, and contains some of their lengthiest material since “Goo” and “Daydream Nation”, including the epic “The Diamond Sea” which drifts onward for an unprecedented 20 minutes, still the longest track on any SY album (excluding the SYR releases). Incidentally, “The Diamond Sea” would prove to be one of the band’s most popular songs, and it along with SY’s headlining spot on the summer Lollapalooza tour would introduce legions of new fans to their music.

After the regressive, low-key Experimental Jet Set, Trash & No Star, Sonic Youth appeared to be floundering somewhat, but Washing Machine erased any notion that the band had run out of things to say. Easily their most adventurous, challenging, and best record since Daydream Nation, the album finds Sonic Youth returning to the fearless exploration of their SST records, but the group has found a way to work that into tighter song structures. Not only are the songs more immediate than most of the material on their earlier records, the sound here is warm and open, making Washing Machine their most mature and welcoming record to date. It’s not a commercial record, nor is it a pop record, but Washing Machine encompasses everything that made Sonic Youth innovators, and shows that they can continue to grow, finding new paths inside their signature sound. ~~AllMusic Review by Stephen Thomas Erlewine

1. Becuz 04:43
2. Junkie’s Promise 04:02
3. Saucer-Like 04:25
4. Washing Machine 09:33
5. Unwind 06:02
6. Little Trouble Girl 04:29
7. No Queen Blues 04:35
8. Panty Lies 04:15
9. Becuz Coda 02:49
10. Skip Tracer 03:48
11. The Diamond Sea 19:36

Thurston Moore – vocals, guitar, production
Kim Gordon – vocals, guitar, bass, production
Lee Ranaldo – vocals, guitar, production
Steve Shelley – drums, production
Kim Deal – additional vocals on “Little Trouble Girl”
Lorette Velvette – additional vocals on “Little Trouble Girl”
Melissa Dunn – additional vocals on “Little Trouble Girl”

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Jun 05

Pearl Jam – 2016-04-13 – Veterans Memorial Arena, Jacksonville, FL (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 02:44:04 minutes | 3,39 GB | Genre: Rock, Alternative
Studio Master, Official Digital Download – Source: livedownloads.com | © Pearl Jam/Monkeywrench
Recorded live 2016/04/13, Veterans Memorial Arena, Jacksonville, FL

The Pearl Jam 2016 North America Tour is an current concert tour by the American rock band Pearl Jam. The tour is scheduled to consist of twenty-five shows in the United States and Canada, including appearances at the New Orleans Jazz Festival and the Bonnaroo Music Festival. This is the first tour following the Latin American Tour that finished in 2015. The first leg of the tour started on April 8 in Sunrise, Florida and is scheduled to finish on May 12 in Toronto. The band are then scheduled to play at the Bonnaroo Festival in June, before playing two shows at Fenway Park, Boston and two shows at Wrigley Field, Chicago in August.
Additional festival appearances at the Ride Festival and the Pemberton Music Festival in July were announced after the arena dates had been published. Rolling Stone listed the tour as one of the 20 hottest tours of 2016.


Set 1
Elderly Woman Behind the Counter in a Small Town
Mind Your Manners
Hail Hail
Last Exit
Lightning Bolt
Army Reserve
Given to Fly
Setting Forth
Even Flow
Of the Earth
Glorified G
Unthought Known
Let the Records Play
Spin the Black Circle

I Won’t Back Down
I Am a Patriot
Just Breathe
Do the Evolution
Better Man
Encore 2:
State of Love and Trust
Rockin’ in the Free World
Yellow Ledbetter

Jeff Ament – bass guitar
Stone Gossard – rhythm guitar
Mike McCready – lead guitar
Eddie Vedder – lead vocals, guitar
Matt Cameron – drums
Boom Gaspar – Hammond B3 and keyboards

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Jun 05

Rob Thomas – …Something To Be (2005)
FLAC (tracks) 24-bit/48 kHz | Time – 50:03 minutes | 644 MB | Genre: Rock
Studio Master, Official Digital Download – Source: PonoMusic | © Atlantic Records

…Something to Be is the debut solo album from the Matchbox Twenty lead singer Rob Thomas. The album was released on April 5, 2005, and it debuted at No. 1 on the U.S. Billboard 200 albums chart, knocking out Mariah Carey’s The Emancipation of Mimi. This marked the first time that a male artist from a rock or pop group has debuted at number one with his first solo album since Billboard introduced the chart 50 years ago.

Since Matchbox Twenty is a faceless group, recognizable for its hits rather than its image, it’s easy to assume that the band is nothing more than a solo project in disguise for its frontman, lead singer and chief songwriter Rob Thomas (who should not be confused with Rob Thomas, the creator of UPN’s 2005 cult TV series Veronica Mars). Not only is he prominent in the band’s videos and press, but he scored the biggest hit of his career with “Smooth,” a song he penned and sung for Santana’s 1999 comeback, Supernatural. Even though Matchbox Twenty’s 1996 debut, Yourself or Someone Like You, was a big hit and spawned four radio hits, “Smooth” was bigger than any of them, making Thomas famous, if not exactly a star. Instead of striking out for a solo career in 2000, he returned to his band, releasing Mad Season that year and More Than You Think You Are two years later. While both records had different moods — the former was polished and radio-ready, the latter hit a little harder — both found Thomas working as part of a unit, not as a flashy frontman. This may have illustrated how Matchbox Twenty worked as a band; in particular, More Than You Think You Are sounded like the work of a driven, cohesive unit, even the songs weren’t quite up to snuff — but they also had to sound a little workmanlike, and certainly not the product of the savvy cross-cultural crossover creator of “Smooth.” Given the relatively lackluster reception of More Than You Think You Are, the timing was right for Thomas to launch his official solo career in the spring of 2005. It was time to give his music a new coat of paint, similar to how “Smooth” spun his career in a different direction, and that’s exactly what his solo debut, Something to Be, is: a slick new variation on Thomas’ signature sound.
With its anthemic choruses and achingly sincere sentiments, Something to Be is clearly the work of the lead singer/songwriter of Matchbox Twenty, yet it lacks the lean rock-oriented sound of the group’s albums, even if it is helmed by Matt Serletic, who has produced all three of the band’s records. Serletic and Thomas have made a conscious attempt to have this solo album feel lighter, brighter, and a little hipper than Matchbox Twenty’s music, adding slight drum loops and electronic elements to the rhythms while taking Thomas away from strictly guitar-based arrangements. Heavy on keyboards, elastic guitars, horns, insistent rhythms, and even the occasional gospel-inspired backing chorus or worldbeat inflection, this is a far splashier affair than the average Matchbox Twenty album, and that alone would make Something to Be a noteworthy solo record, since it is indeed a different beast than Thomas’ regular gig, but the fresher sound is married to a strong set of songs that play to his strengths as a craftsman of big, anthemic post-alternative mainstream rock. This isn’t edgy work by any means — and for as hooky and chorus-driven as it is, it’s music that becomes memorable through repeated plays, never quite catching hold upon the first listen — but it’s more colorful and well-constructed than a lot of contemporary mainstream rock in the mid-2000s, and it’s arguably more appealing than Matchbox Twenty’s earnest guitar rock, which can occasionally seem rather drab. With Something to Be, Thomas delivers an album that is at once familiar and fresh. It may not be something to win over the doubters, but it’s enough to give him a promising new beginning to the second decade of his recording career, not unlike how “Smooth” helped propel him through the post-grunge fallout of the new millennium. ~~AllMusic Review by Stephen Thomas Erlewine

1 This Is How A Heart Breaks 3:51
2 Lonely No More 3:46
3 Ever The Same 4:17
4 I Am An Illusion 4:51
5 When The Heartache Ends 2:52
6 Something To Be 4:30
7 All That I Am 4:29
8 Problem Girl 3:56
9 Fallin’ To Pieces 4:12
10 My, My, My 4:18
11 Streetcorner Symphony 4:08
12 Now Comes The Night 4:55

Rob Thomas – piano, lead vocals
Mike Campbell – guitar, soloist
Kyle Cook, Kevin Kadish, John Mayer, Rick Marty, Wendy Melvoin, Heitor Teixeira Pereora, Jeff Trott – guitar
Jill Dell’Abate – horn contractor
Mike Elizondo – bass guitar
Brandon Fields – saxophone
Gordon Gottlieb, Jonathon Haas, Joe Passaro, Eric Poland, Benjamin Herman – bells, marimba
Gary Grant – trumpet
Jerry Hey – trumpet, horn arrangements
Gerald Hayward – drums
Hasan Isakkut – kanun
Frank London – shofar
John O’Brien – programming
Robert Randolph – lap steel guitar
Matt Serletic – keyboards, background vocals
Shari Sutcliffe – horn contractor
Dan Tyminski, Cassidy, Greater Anointing, Pat Enright, Anika Ellis, Harley Allen, Matt Beck – background vocals
Dan Willis – dudok
Reginald Young – trombone

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Jun 05

Pearl Jam – 2016-04-18 – Hampton Coliseum, Hampton, VA (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 03:07:53 minutes | 3,9 GB | Genre: Rock, Alternative
Studio Master, Official Digital Download – Source: livedownloads.com | © Pearl Jam/Monkeywrench
Recorded live 2016/04/18 – Hampton Coliseum, Hampton, VA

The Pearl Jam 2016 North America Tour is an current concert tour by the American rock band Pearl Jam. The tour is scheduled to consist of twenty-five shows in the United States and Canada, including appearances at the New Orleans Jazz Festival and the Bonnaroo Music Festival. This is the first tour following the Latin American Tour that finished in 2015. The first leg of the tour started on April 8 in Sunrise, Florida and is scheduled to finish on May 12 in Toronto. The band are then scheduled to play at the Bonnaroo Festival in June, before playing two shows at Fenway Park, Boston and two shows at Wrigley Field, Chicago in August.
Additional festival appearances at the Ride Festival and the Pemberton Music Festival in July were announced after the arena dates had been published. Rolling Stone listed the tour as one of the 20 hottest tours of 2016.


Set 1
Why Go
Mind Your Manners
Brain Of J.
I Am Mine
Setting Forth
Not For You
Even Flow
Long Road
Given To Fly

I Am A Patriot
Sleeping By Myself
Come Back
Lightning Bolt
In My Tree
Do The Evolution

Encore 2:
Elderly Woman Behind The Counter In A Small Town
Inside Job
Rockin’ In The Free World

Jeff Ament – bass guitar
Stone Gossard – rhythm guitar
Mike McCready – lead guitar
Eddie Vedder – lead vocals, guitar
Matt Cameron – drums
Boom Gaspar – Hammond B3 and keyboards

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Jun 04

Ryan Adams & The Cardinals – Follow The Lights (2007/2014)
FLAC (tracks) 24-bit/88,2 kHz | Time – 31:08 minutes | 633 MB | Genre: Rock, Alternative
Studio Master, Official Digital Download – Source: ProStudioMasters | Artwork: Front cover | © Lost Highway Records

Ryan Adams released this EP only a few months after his album Easy Tiger, considered by many critics to be his best. It’s a mixed bag of three original songs and four live studio recordings including a cover of the grunge classic Down in a Hole by Alice in Chains. This 2007 record was released in the UK under the title Everybody Knows.

The steady, streamlined Easy Tiger was a sure sign that Ryan Adams was attempting to straighten up and play the game, but its quickly released EP follow-up, Follow the Lights, takes this self-conscious sobriety to a whole different level, as it finds Adams writing two songs for the ABC drama October Road, then rearranging three of his own songs to fit the same hazy, mellow vibe of his new tunes, adding the previously unreleased “Blue Hotel” and a cover of Alice in Chains’ “Down in a Hole” to the mix. This isn’t so much a sell-out as yet another one of Adams’ savvy genre exercises — the only difference is, here he’s gunning for the Grey’s Anatomy adult-alternative crossover market instead of crafting a tribute to the Smiths or Grateful Dead. Adams pulls it off, possibly because the abbreviated length of the EP is just enough time for him to dwell in one place without being bored, but also because the lazy, low-key vibe emphasizes the empathy between him and his excellent backing band the Cardinals, who add warmth and a ragged humanity to Adams’ tunes. Indeed, the dullest moment here is “If I Am a Stranger,” where the Cardinals recede to the background, but the rest of the record places the band on equal footing with Adams, giving this a gently ramshackle appeal not all that dissimilar to either the Dead or the Band. The Cardinals help sell the new songs and a less insistent, strident take on “This Is It,” but where they really shine is on that wonderful reinvention of “Down in a Hole,” turning AIC’s dirge into heart-on-the-sleeve country-rock that is arguably Adams’ best single recording in recent memory. ~~ AllMusic Review by Stephen Thomas Erlewine

1. Follow The Lights 03:02
2. My Love For You Is Real 04:52
3. Blue Hotel 05:11
4. Down In A Hole 04:37
5. This Is It 03:32
6. If I Am A Stranger 04:44
7. Dear John 05:10

Ryan Adams — guitars, piano, banjo, vocals
Brad Pemberton — drums, percussion
Chris Feinstein — bass guitar
Jon Graboff — pedal steel, vocals
Neal Casal — guitars, vocals, cover photograph
James Candiloro — piano, keyboards

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Jun 04

Ryan Adams – 29 (2005/2014)
FLAC (tracks) 24-bit/96 kHz | Time – 49:24 minutes | 1,05 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © Lost Highway Records

29 is the eighth studio album by alt-country singer-songwriter Ryan Adams, released on December 19, 2005 on Lost Highway. Produced by Ethan Johns, and recorded prior to the formation of backing band The Cardinals, the album was the last of three released in 2005. Session guitarist JP Bowersock would later go on to join the Cardinals, subsequently recording Cold Roses and Jacksonville City Nights alongside Adams. The album’s cover art was drawn by Adams.

Heaven knows why Ryan Adams decided to release three albums in the calendar year of 2005. He’s always been prolific to a fault, boasting about completed unreleased albums when his latest work was just seeing the light of day, but he never saturated the market with new material the way he did in 2005, when it seemed he was trying to break Robert Pollard’s record for most music released within a year. Grinding out three albums in a year is a marathon, not just for Adams but for any of his listeners, and by the time he got to the third album, 29, in the waning weeks of December, he seemed like a winded long-distance runner struggling to cross the finish line: completing the task was more important than doing it well. There’s little question that 29 is the weakest of the three records Adams released in 2005, lacking not just the country-rock sprawl of Cold Roses but the targeted neo-classicist country that made Jacksonville City Nights so appealing. Which isn’t to say that 29 doesn’t have its own feel, since it certainly does. After opening with the title track’s straight-up rewrite of the Grateful Dead’s “Truckin’,” it slides into a series of quiet, languid late-night confessionals. It’s like Love Is Hell transported to a folk/country setting. ~~AllMusic Review by Stephen Thomas Erlewine

1. 29 05:48
2. Strawberry Wine 08:00
3. Night Birds 03:53
4. Blue Sky Blues 05:20
5. Carolina Rain 05:27
6. Starlite Diner 03:53
7. The Sadness 06:43
8. Elizabeth, You Were Born To Play That Part 05:12
9. Voices 05:08

Ryan Adams — Vocals, acoustic guitar, piano, electric guitar
Wayne Bergeron — Trumpet
JP Bowersock — Electric guitar, mandolin, acoustic 12-string guitar, guitarone
Jennifer Condos — Bass
Ethan Johns — Drums, bass, pedal steel guitar, chamberlin, synthesizer, acoustic guitar, ukulele, harpsichord, string arrangement, brass arrangement, conducting
Alan Kaplan — Trombone
Dennis Karmayzn, David Low — Cello
Bruce Dukov, Endre Granat, Phil Levy, Rafael Rishik, Anatoly Rosinsky, Lisa Sutton — Violin

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Jun 04

Ryan Adams – Love Is Hell (2003/2014) 
FLAC (tracks) 24-bit/96 kHz | Time – 01;07:39 minutes | 1,37 GB | Genre: Rock, Alternative
Studio Master, Official Digital Download – Source: ProStudioMasters | Artwork: Front cover | © Lost Highway Records

Love Is Hell is the fifth studio album by alternative country artist Ryan Adams, released on May 4, 2004. The album was originally released as two EPs, Love Is Hell pt. 1 and Love Is Hell pt. 2, at the insistence of Lost Highway, who deemed that the album was not commercially viable. A full-length version of the album was released when the EPs proved to be more of a commercial success than anticipated.

Like any Ryan Adams album, Love Is Hell comes with a back-story, one that is carefully calculated to construct the enfant terrible’s self-myth. Love Is Hell was intended to be the official follow-up to 2001’s Gold — the album that was not a collection of demos (that was 2002’s Demolition), or the recorded-but-shelved albums 48 Hours or The Suicide Handbook, or even his alleged song-by-song cover of the Strokes’ Is This It. Longtime Smiths fan that he is, Adams teamed up with John Porter — the man who produced The Smiths, Meat Is Murder, and part of The Queen Is Dead — with the intention of creating his own mope-rock album, hence the title Love Is Hell. Americana label that it is, Lost Highway balked at releasing a stylized tribute to Mancunian rainy-day bedsit music and didn’t release it, encouraging Adams to record a different album, presumably one more in line with the label’s taste. In the press and on the web, our hero spread stories about how the label claimed it was “too depressing” and “dark,” thereby cultivating the myth that he’s a maverick genius, while the label cheerfully countered with the defense that it just knew that our boy could do better. Eventually, a compromise was arranged: Adams kicked out a new album, the self-descriptive Rock N Roll, while releasing the equally self-descriptive Love Is Hell as two EPs, the first hitting the streets the same day as the “official” album, the second arriving a month later. Five months after that, the full-length Love Is Hell, containing both EPs plus “Anybody Wanna Take Me Home” from Rock N Roll, was released, negating the worth of the individual EPs (which were, after all, merely two halves of one album) and likely irritating legions of fans who bought both EPs.
While it took longer than necessary to have the whole bloody affair of Love Is Hell released as its own entity, it’s hard not to view it as a companion piece to Rock N Roll, particularly because they’re two sides of the same coin. In effect, both Rock N Roll and Love Is Hell are tribute albums, each a conscious aping of a style and sound, both designed to showcase how versatile and masterful Adams is. But since he’s a synthesist more than a stylist, Adams, for all his bluster, winds up as a Zelig-styled character, taking on the characteristics of the artists he’s emulating — something that can be sonically pleasurable, but far from being the substantive work of mad genius that he relentlessly sells himself as. If Love Is Hell has the edge over Rock N Roll, it’s because it’s more carefully considered in its production and writing, and he manages to hide his allusions better than he does on Rock, where every title and chord progression plays like an homage. Here, he shoots for the Smiths and winds up in Jeff Buckley territory tempered with a dash of Radiohead circa The Bends. To claim that it is a dark affair is to criticize its milieu more than its substance, because the songs have the form and feel of brooding, atmospheric mope-rock, not the blood and guts of the music. Adams is fairly adept at crafting that mood — anybody who’s such a fan of rock history should be — sometimes relying more on a blend of attitude and atmosphere instead of songwriting. Such is the fate of a stylized tribute to a style with specific sonic attributes, but Adams also does come up with a clutch of effective songs: the epic sprawl of “Political Scientist,” which captures him at his best Buckley; the title track, which is nearly anthemic with its ringing guitars; the understated “World War 24”; the gently propulsive “This House Is Not for Sale,” which would fit nicely between a Julian Cope and Morrissey track on a college radio show from the late ’80s. “English Girls Approximately” is an effective Bob Dylan and Paul Westerberg fusion, and the closer, “Hotel Chelsea Nights,” is one of his best songs, a mildly anthemic soulful anthem with vague overtones of “Purple Rain.” Nevertheless, it’s telling that the best song here is a cover of Oasis’ “Wonderwall.” It’s a well-done cover but not much of a reinvention — Adams uses Noel Gallagher’s solo acoustic version of the song as a template, replacing strumming with fingerpicked guitars and altering the phrasing slightly — which is why the song itself shines through so strongly: it resonates how the other songs are intended to, but don’t. While it doesn’t fatally hurt Love Is Hell, since it is an effective mood piece, it does undercut it, revealing how Adams delivers the sizzle but not the steak. ~~AllMusic Review by Stephen Thomas Erlewine

1. Political Scientist 04:34
2. Afraid Not Scared 04:13
3. This House Is Not For Sale 03:53
4. Anybody Wanna Take Me Home 05:31
5. Love Is Hell 03:18
6. Wonderwall 04:09
7. The Shadowlands 05:18
8. World War 24 04:16
9. Avalanche 05:07
10. My Blue Manhattan 02:22
11. Please Do Not Let Me Go 03:35
12. City Rain, City Streets 03:47
13. I See Monsters 03:54
14. English Girls Approximately 05:41
15. Thank You Louise 02:50
16. Hotel Chelsea Nights 05:11

Ryan Adams – vocals, guitars, piano, and other instruments
New York Band on tracks 2, 3, 4, 5, 12, 14:
Paul Garisto – drums
John Pisano – bass
Joe McGinty – piano
Johnny McNabb – lead guitar
New Orleans Band on tracks 6, 7, 8, 9, 10, 11, 13, 15, 16:
Greg Leisz – lead guitar, pedal steel
Ricky Fataar – drums on all except 10, 11, 13, 15
Hutch Hutchinson – bass on all except 10, 13, 15
Ian McLagan – B3 organ, Wurlitzer electric piano on all except 11, 13, 15, 16
Jon Cleary – piano, Wurlitzer electric piano, rhythm guitar on all except 10, 11, 13
Ruth Gottlieb – violin on all except 11, 16
Sarah Wilson – cello on all except 11, 16

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Jun 01

Mudcrutch – 2 (2016)
FLAC (tracks) 24-bit/48 kHz | Time – 43:15 minutes | 519 MB | Genre: Rock
Studio Master, Official Digital Download – Source: livedownloads.com | Front Cover | © Reprise Records

2 is Mudcrutch’s second album released by Reprise Records. The album is the follow-up to the band’s 2008 eponymous debut which Rolling Stone called “a country-rock instant classic” in a rave four star review. The new album is produced by band members Tom Petty and Mike Campbell with Ryan Ulyate. All members of Mudcrutch contribute songs on their new album 2. The album includes seven originals written by Tom Petty, with band members Mike Campbell, Tom Leadon, Randall Marsh and Benmont Tench composing one each.
Mudcrutch was initially formed in 1970 in Gainesville, Florida and is the precursor to the legendary Tom Petty & The Heartbreakers. Tom Petty (bass/vocals), Tom Leadon (guitar/vocals), Benmont Tench (keyboards/vocals), Mike Campbell (guitar/vocals), and Randall Marsh (drums/vocals) make up the band’s current line-up. In 1974, Mudcrutch was signed to Shelter Records and moved to Los Angeles where they released one single, “Depot Street”, to very little fanfare. The band broke up in 1975 and could have settled for being a legend, but instead Mudcrutch rose from the ashes in 2008 to remind us that the golden age of rock and roll bands still had a few treasures to unearth. Their debut, made some thirty-three years later, was an unexpected hit.

Tom Petty reunited his original Gainesville band Mudcrutch for a lark in 2008. Their eponymous album and short accompanying tour didn’t carry the feeling of unfinished business so much as a good-natured ramble through the past. Some old originals were excavated, new songs written, and old favorites covered, all wrapped up in a charmingly ragged little record that gave Petty a bit of a creative jolt. Afterward, he led the Heartbreakers through excursions in blues and garage rock, but that relaxed country-rock vibe proved irresistible, so he reconvened Mudcrutch for a second record in 2016. Titled 2, this second Mudcrutch LP isn’t quite a straight sequel. Any of the loose ends left hanging from 2008 have been tied: 2 is streamlined and tight, the cover songs excised in favor of brand-new compositions from every member of Mudcrutch. Just because all five musicians contribute at least one song, that doesn’t necessarily make Mudcrutch a democracy. Petty remains the quintet’s undisputed leader, writing seven of the 11 songs and setting the tone for 2, emphasizing a thick, swampy guitar grind that nevertheless finds space for the country breeze of Tom Leadon’s “The Other Side of the Mountain,” Randall Marsh’s AM ’70s throwback “Beautiful World,” Benmont Tench’s retro-boogie “Welcome to Hell,” and Mike Campbell’s garage raver “Victim of Circumstance.” All of these provide grace notes to a strong set of Petty originals that range from heartbroken ballads (“Beautiful Blue”) and psychedelic stompers (“Hope”) to Byrdsian jangle (“Save Your Water”) and a revival of “Trailer,” a Southern Accents outtake given a nice sludgy rendition illustrating that the main charm of Mudcrutch is their casualness. Nobody here is attempting a major statement; they’re simply laying back and tossing off songs, but 2 is executed with precision, which is what keeps it crackling. It’s a good-time record, but one intended to showcase how Mudcrutch hit harder and dig a bit deeper than they initially seemed to do. –AllMusic Review by Stephen Thomas Erlewine

1. Trailer 03:17
2. Dreams of Flying 03:59
3. Beautiful Blue 06:37
4. Beautiful World 03:08
5. I Forgive It All 04:14
6. The Other Side of the Mountain 03:17
7. Hope 03:11
8. Welcome to Hell 03:30
9. Save Your Water 03:12
10. Victim of Circumstance 02:37
11. Hungry No More 06:13

Tom Petty, lead & backing vocals, bass guitar
Mike Campbell, lead guitar
Tom Leadon, rhythm guitar, backing & lead vocals
Benmont Tench, keyboards, backing & lead vocals
Randall Marsh, drums

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May 28

Elvis Presley – 24 Karat Hits (1997/2013)
DSF Mono/Stereo DSD64/2.82MHz | Time – 01:01:08 minutes | 2,42 GB | Genre: Rock
Official Digital Download – Source: AcousticSounds | Digital Booklet | © RCA Records

Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.

Had Elvis Presley done nothing else but record “That’s Alright, Mama,” his place in pop music history would be secure. With his first regional hit, Presley fused rhythm and blues with country, put a handsome white face out front for audiences to see, and in so doing legitimized beat music for white audiences. It is no understatement to call Presley the chief catalyst of the rock-and-roll era. During the 1950s, Presley’s records spent a collective 53 weeks in the number one chart position. Only the Beatles can boast similar sales success.
Presley’s monumental accomplishments continued until his untimely death in 1977. After a stint in the Army, he spent a decade making profitable but forgettable movies. Then in 1968 he reestablished his artistic relevance with a spectacular television special and several great albums. During the last decade of his career, Presley’s live show was the hottest ticket in America. A great singer first and last, Presley was equally adept at raunchy blues, lilting boogie, operatic pop, and country tear-jerkers. ~~ AllMusic Review by AllMusic

1.  Heartbreak Hotel
2.  Love Me
3.  Don’t Be Cruel
4.  Hound Dog
5.  Love Me tender
6.  All Shook Up
7.  (Let Me Be Your) Teddy Bear
8.  Jailhouse Rock
9.  Wear My Ring Around Your Neck
10. A Big Hunk
11. Stuck On You
12. It’s Now or Never
13. Are You Lonesome Tonight
14. Surrender
15. (Marie’s The Name) His Latest Flame
16. Little Sister
17. Can’t Help Falling In Love
18. Good Luck Charm
19. She’s Not You
20. Return To Sender
21. (You’re The) Devil In Disguise
22. Crying In The Chapel
23. In The Ghetto
24. Suspicious Minds

Elvis Presley – vocals, guitar
Floyd Cramer – piano
Scotty Moore – guitar
Boots Randolph – sax.
Hank Garland – bass, guitar
Charlie Hodge – harmony
Bob Moore – bass
D.J. Fontana – drums
Hoyt Hawkins, Neal Matthews, Gordon Stoker, Ray C. Walker – vocals

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