Apr 10

Baroness – Purple (2015)
FLAC (tracks) 24 bit/96kHz | Time – 42:40 minutes | 952 MB | Genre: Rock
Official Digital Download – Source: HDTracks | Front cover | © Abraxan Hymns
Recorded: Winter 2015, Tarbox Road Studios, Cassadaga, New York

Purple is the fourth album from Baroness, produced by Dave Fridmann.

A bus accident in 2012 permanently altered reality for Baroness. While on tour to promote the just-released Yellow & Green, they crashed through a guardrail in heavy rain and fell 30 feet. Though all the members survived, drummer Allen Blickle and bassist Matt Maggioni each suffered fractured vertebrae and ultimately left the group. Frontman/guitarist John Baizley (who spent months in recovery) and guitarist Pete Adams enlisted drummer Sebastian Thomson (Trans Am) and jazz bassist Nick Jost (who also handles keyboards) as their new rhythm section. Purple was produced by Dave Fridmann (Flaming Lips, Sleater-Kinney) and issued on the band’s Abraxan Hymns label. Baroness’ penchant for using colors as album titles is apt here: Purple denotes both bruising and healing. Musically, this is an energetic (at times anthemic) hard rock album whose songs are drenched in hooks, soaring vocals, and vibrant singalong choruses; they’re scored for blistering twin guitars, a forceful, inventive rhythm section, and a boatload of sonic atmospheres. Throughout, influential references seemingly emerge at once: Mastodon, Wishbone Ash, The Obsessed, early Queen, Thin Lizzy, Iron Maiden, Metallica, etc. Fridmann is an equal collaborator: His creatively textured palette is dynamic and sprawling. Baizley’s lyrics continually reference the aftermath of trauma but never weigh down the songs. The first four tracks — “Morningstar,” “Shock Me,” “Try to Disappear” and “Kerosene” — are stone killers. Each contains a brief, speculative intro that gives way to a full-tilt rocker. Tightly written verses/chorus/verse/bridge structures are accompanied by massive riffing and biting, kinetic instrumental breaks. The spacious atmospherics that introduce “Chlorine & Wine” ring and sway before the drum kit, bassline, and dual guitars start cranking through riffs answered by thunder cracking fills. The twin lead guitar break here is the best one on the record. Like “Kerosene” on the first half, “The Iron Bell” and “Desperation Burns” are heavy, hard-hitting metallic jams with vast sound palettes that never minimize the attack factor. There are two things that each of these tracks share: the first is Baizley’s expressive vocal (remarkable given his limited range). The second is that they all seem to wed the heaviness of 2007’s Red Album to the finest melodic hooks from Yellow & Green. The instrumental “Fugue” is painted with billowing ambient sonics, serpentine leads, and electric piano, all guided by a nocturnal snare and hi-hat groove. The melancholy power ballad “If I Have to Wake Up (Would You Stop the Rain?)” pairs the Gothic longing of the Cure’s Robert Smith with the progressive rock of Porcupine Tree, and strains through Baroness’ signature crunch in a striking finish. Though not as “experimental” as their previous couple of records, as a whole Purple is far more focused, and it’s certainly more euphoric. Surviving a close brush with death resulted in a celebratory affirmation of life that equates physical bombast and rockist swagger with woozy, dreamy, rainbow-streaked beauty. –AllMusic Review by Thom Jurek

1 Morningstar 04:17
2 Shock Me 04:17
3 Try to Disappear 04:53
4 Kerosene 05:11
5 Fugue 02:35
6 Chlorine & Wine 06:49
7 The Iron Bell 04:25
8 Desperation Burns 04:14
9 If I Have to Wake Up (Would You Stop the Rain?) 05:42
10 Crossroads of Infinity 00:17

John Baizley – rhythm guitar, lead vocals
Peter Adams – lead guitar, vocals
Nick Jost – bass guitar
Sebastian Thomson – drums, percussion

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Apr 10

Circles Around The Sun (feat. Neal Casal) – Interludes For The Dead (2015)
FLAC (tracks) 24 bit/48 kHz | Time – 02:25:07 minutes | 1,58 GB | Genre: Rock
Studio Master, Official Digital Download – Source: Qobuz | © Rhino

Neal Casal Curated Quartet Composed Freewheeling Jams Heard During The Intermissions At The Historic Fare Thee Well Concerts

Those lucky enough to score a “miracle” ticket to the Fare Thee Well concerts this summer were treated to some potent psychedelic jams during the shows’ intermissions. The mysterious group behind those freewheeling tunes was Circles Around the Sun, a band convened by guitarist Neal Casal specifically for the project.

The project began when Casal was asked by video director Justin Kreutzmann to compose and record more than five hours of original music to be played along with the visuals Kreutzmann was preparing for the Fare Thee Well intermissions. “The idea was to not only show reverence for the past but to ultimately, move it forward. If there’s anything to be learned from the Grateful Dead, it is to dissolve your boundaries, push your limits, and discover your own voice in this world,” explains Casal, the lead guitarist and co-lyricist for The Chris Robinson Brotherhood and part-time member of Phil Lesh and Friends.

Casal was joined in the studio by keyboardist Adam MacDougall, a fellow member of Robinson’s Brotherhood and Lesh’s Friends. The balance of Circles Around The Sun consists of bassist Dan Horne (Beachwood Sparks, Jonathan Wilson) and drummer Mark Levy (The Congress). All of the music on INTERLUDES FOR THE DEAD was written collectively – with nothing prepared beforehand or added afterward – and recorded live by engineer J.P. Hesser.

Before attending the first Fare Thee Well concert in Santa Clara, no one in the group knew
quite what to expect. “We figured it would be low-volume background music that people would ignore in their eagerness to hear the headliners,” Casal recalls. “Fine by us, we were just there to dance and dig the music anyway. It was the surprise of our lives to find out just how wrong we were.”


Disc 1
1. Hallucinate A Solution 20:32
2. Gilbert’s Groove 12:21
3. Kasey’s Bones 21:05
4. Space Wheel 17:27

Disc 2
1. Ginger Says 11:46
2. Farewell Franklins 25:05
3. Saturday’s Children 9:25
4. Scarlotta’s Magnolias 10:43
5. Hat And Cane 11:30
6. Mountains Of The Moon 5:17

Neal Casal – guitar
Adam MacDougall – keyboards
Dan Horne – bass
Mark Levy – drums

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Apr 10

Hayden – Hey Love (2015)
FLAC (tracks) 24 bit/96kHz | Time – 44:53 minutes | 884 MB | Genre: Rock, Lo-Fi
Official Digital Download – Source: arts-crafts.ca | Front Cover | © Arts & Crafts Productions
Recorded: Skyscraper National Park, Revolution Recording

On Hey Love, Hayden’s eighth full-length record, the Toronto musician and songwriter writes the most intimate passage yet in his decades-deep story. The follow-up to 2013’s Us Alone, his sonically warm and emotive debut record on Arts & Crafts, is a heartrending love letter of hope and disarray, the album’s thirteen songs among Hayden Desser’s most affective, tactile, rousing yet restrained work to date. The title track, a languid anthem exposed by chiming pedal steel, introduces this dialogue – about loves both comfortable and disconnected, exhilarating and naive – with Hayden’s woozy pre-dawn falsetto propped up by a watchful chorus. Hayden sings plaintively: “It’s been so rough, we have been through more than enough / But without this love, there would be no reason for either of us.” On Hey Love’s first single “Nowhere We Cannot Go”, triumphant piano mingles with tattered synthesizer and electric guitar, conjuring resilience from the throes of personal reckoning. Both familiar and new, “Nowhere That We Cannot Go” places us on the rickety frontier of Hayden’s home studio, where the certainty of pain and reward both figure prominently on the horizon. No clearer is this heard than on “Troubled Times”, with its brilliant juxtaposition of the apocalypse-in-progress (“If it’s not one thing it is another / These are sure troubled times”) against a lilting backbeat and a soulful sun-soaked shuffle.

With the release of his highly personal 2013 album Us Alone, Canadian indie folk troubadour Hayden returned from a few years away from recording, sounding refreshed and also with a renewed sense of purpose in the stripped-down presentation of his always heart-melting tunes. Just about two years later, eighth album Hey Love sounds like he’s still riding that particular wave of inspiration, offering similarly spare-sounding tunes that hold deceptively simple instrumentation and hearty doses of melody delivered in the singer’s by now trademarked heartfelt mumble. Recorded mostly at Hayden’s Toronto-based home studio, the talented multi-instrumentalist songwriter employed everything from pedal steel guitar to vintage synthesizers to construct the intimate, melancholic moods of the album. First single “Nowhere We Cannot Go” rides buried electronic drums and layers of intermingled instruments, building on fuzzy synth and piano lines from a melancholic set of verses into a triumphant crescendo. The beautifully somber title track coasts by like an On the Beach-era Neil Young outtake, with soft falsetto vocal harmonies, glimmering slide guitars, and muted drums congealing nicely around sentiments of keeping a long-running love alive. It’s not a particularly urgent track, but the song’s power is in grace rather than bluster. This is the case for much of Hey Love, in both the subdued, gentle moments of soft chamber pop like “Five Seasons” and the pensive, upbeat tracks like “Time Ain’t Slowing Down for Us.” At this point, the songwriter sounds comfortable enough in his craft to stretch new arrangement ideas around his familiar lovelorn subject matter. Even-keeled and romantic even in the most downtrodden moments, Hey Love is another fantastic addition to the catalog of Hayden, maturing slowly and coming up with some of the nicer tunes of his run so far. –AllMusic Review by Fred Thomas
1. Hearts Just Beat 4:35
2. Troubled Times 4:39
3. No Happy Birthday 3:32
4. Nothing Easy Feels Good 2:01
5. Time Ain’t Slowing Down For Us 4:22
6. Orange Curtain Light 3:14
7. Come Back to Life 2:16
8. Nowhere We Cannot Go 3:52
9. Hey Love 3:30
10. If More Things Go Wrong 2:45
11. Five Seasons 2:46
12. Just Come Out Tonight 1:41
13. Shelter 5:40

Hayden Desser – Composer, Vocals
Howie Beck – Drums, Tambourine
Burke Carroll – Pedal Steel
Karen Graves – Violin
J.J. Ipsen – Piano, Pump Organ
Taylor Knox – Drums, Vocal Harmony
Jay McCarrol – Bass, Vocal Harmony
Liam O’Neil – Synthesizer

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Apr 10

Artist: Gentle Giant
Title: Octopus
Genre: Rock, Prog Rock, Sympho Rock
Artist: Gary Green (Electric guitars, maracas), Kerry Minnear (Piano, Hammond, Minimoog, electric piano, Mellotron, Clavinet, harpsichord, regal, vibraphone, tambourine, cello, lead vocals and backing vocals), Derek Shulman (Lead vocals, alto saxophone), Phil Shulman (Trumpet, alto saxophone, tenor saxophone, mellophone, lead vocals and backing vocals), Ray Shulman (Bass, violin, viola, electric violin, acoustic guitar, tambourine, backing vocals), John Weathers (Drums, bongos, varispeed cymbal, xylophone)

UK prog rockers Gentle Giant‘s fourth album, Octopus has been remixed (in part) by Steven Wilson for an expanded CD+Blu-ray audio reissue. The new edition of the 1972 album sees Wilson remix five of the eight tracks for stereo and 5.1 surround sound (this is due to missing multi-tracks). The remaining three tracks (Advent of Panurge, Raconteur Troubadour and The Boys in the Band) are the original stereo remixes on the CD and on the blu-ray have been processed through Penteo upmix software for 5.1 surround sound. Steven did this for Broken on Tears For Fears‘ Songs From The Big Chair, if you remember. Both discs also include a bonus track of a 16 minute live version of Extracts from Octopus, again newly mixed into stereo and 5.1 surround sound.

As well as the album tracks in 96/24 Stereo LPCM & DTS 5.1 Master Audio, the blu-ray element of this set contains a flat transfer of the original 1972 mix, and instrumental versions of the five stereo remixes, all in high resolution.

Remixed By Steven Wilson (96/24 Stereo LPCM, DTS-HD MA 5.1)
1 The Advent of Panurge
2 Raconteur Troubadour
3 A Cry For Everyone
4 Knots
5 The Boys In The Band
6 Dog’s Life
7 Think Of Me With Kindness
8 River
9 Excerpts From Octopus (Live 1976)
Instrumentals (96/24 Stereo LPCM)
10 A Cry For Everyone
11 Knots
12 Dog’s Life
13 Think Of Me With Kindness
14 River
Original 1972 Album Mix (Flat Transfer, 96/24 Stereo LPCM)
15 The Advent Of Panurge
16 Raconteur Troubadour
17 A Cry For Everyone
18 Knots
19 The Boys In The Band
20 Dog’s Life
21 Think Of Me With Kindness
22 River

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Apr 10

Foo Fighters – Saint Cecilia EP (2015)
FLAC (tracks) 24 bit/192kHz | Time – 18:01 minutes | 606 MB | Genre: Rock
Official Digital Download – Source: saintceciliaep.com | © Foo Fighters

Tonight, Let me begin with a preface to a letter I wrote a few weeks ago from my hotel room in Berlin while on our final tour for this album. I felt the need to write this foreword in light of the heartbreaking tragedies of Nov. 13th, as this project has now taken on an entirely different tone. As has everything, it seems…

The Saint Cecilia EP was put into motion back in October of this year as a celebration of life and music. The concept being that, as our world tour drew to a close this week, we wanted to share our love of both with you in return for everything you have given us.

Now, there is a new, hopeful intention that, even in the smallest way, perhaps these songs can bring a little light into this sometimes dark world. To remind us that music is life, and that hope and healing go hand in hand with song. That much can never be taken away.

To all who were affected by the atrocities in Paris, loved ones and friends, our hearts go out to you and your families. We will return and celebrate life and love with you once again someday with our music. As it should be done. –Dave Grohl

1. Saint Cecilia 3’42
2. Sean 2’11
3. Savior Breath 3’11
4. Iron Rooster 4’11
5. The Neverending Sigh 4’45

Dave Grohl – lead vocals, guitar, drums
Chris Shiflett – lead guitar, backing vocals
Pat Smear – rhythm guitar; lead guitar, backing vocals
Nate Mendel – bass
Taylor Hawkins – drums, percussion, backing vocals

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Apr 10

Title: Eric Clapton – Slowhand at 70: Live at The Royal Albert Hall
Release Date: 2015
Genre: Blues Rock, Rock & Roll, Hard Rock, British Blues
Director: Blue Leach
Artist: Eric Clapton – electric and acoustic guitar, lead vocals; Chris Stainton – keyboards; Paul Carrack – keyboards, Hammond organ, background vocals; Andy Fairweather Low – keyboards, background vocals; Nathan East – bass guitar, background vocals; Steve Gadd – drums; Michelle John, Sharon White – background vocals

Slowhand at 70 – Live at the Royal Albert Hall is a concert film released by the British pop-rock musician Eric Clapton. It features a selection of songs, Clapton performed on May 21, 2015 while he played during his “70th Birthday Celebration” tour at London’s iconic Royal Albert Hall. While on tour in London, Clapton broke the 200th concert mark, making him the act, who has most performed at the British venue. The film was released from September 14, 2015 onwards via cinema broadcasting in various territories. The cinema release also featured an in-depth report about Clapton’s history at the Royal Albert Hall. A DVD, Blu-ray, compact disc and grammophone record release of the performance was released on November 13, 2015.

Eric Clapton booked a series of shows at his beloved venue the Royal Albert Hall in May of 2015, choosing to document this stint via a concert film and an accompanying album, both called Slowhand at 70: Live at the Royal Albert Hall. This is not the first live album of Clapton’s to be recorded at the Royal Albert Hall — 1991’s 24 Nights documented a near month-long residency at the London hall — and, generally, this performance does have a familiar feel, thanks in part to the set and in part to Clapton playing with a band who has been with him for a long time. There are a few surprises — Paul Carrack takes lead on “You Are So Beautiful,” played in tribute to then-recently departed Joe Cocker; Andy Fairweather-Low sings the closer, “High Time We Went” — but this is a lived-in, almost stately affair, relying heavily on blues and Slowhand staples, all taken at a dignified midtempo. Perhaps appropriately, Clapton’s performance isn’t fiery, but he does dig into these grooves and seems to enjoy being with his old mates, and playing his old tunes in his old haunt. –AllMusic Review by Stephen Thomas Erlewine

1. Somebody’s Knockin’ On My Door 7:08
2. Key to the Highway 5:06
3. Tell the Truth 6:37
4. Pretending 5:35
5. Hoochie Coochie Man 5:25
6. You Are So Beautiful” (Featuring Paul Carrack) 4:45
7. Can’t Find My Way Home” (Featuring Nathan East) 6:16
8. I Shot the Sheriff 9:30
9. Driftin’ Blues 6:30
10. Nobody Knows You When You’re Down and Out 3:32
11. Tears in Heaven 5:02
12. Layla 6:57
13. Let It Rain 5:35
14. Wonderful Tonight 3:55
15. Crossroads 6:07
16. Cocaine 8:51
17. High Time Went (Featuring Paul Carrack · Andy Fairweather Low) 5:37

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Apr 10

Green Day – Revolution Radio (2016)
FLAC (tracks) 24 bit/88,2 kHz | Time – 44:36 minutes | 949 MB | Genre: Rock, Alternative
Studio Masters, Official Digital Download – Source: HDTracks | Digital Booklet | © Reprise

Iconic alternative rock band Green Day release their 2016 album, featuring the single “Bang Bang”.

Green Day imploded after the December 2012 release of Tre, the final part of a triple-album project. The very unwieldiness of Uno, Dos, and Tre — all released in rapid succession in the autumn of 2012 — suggested that Green Day were perhaps suffering from a lack of focus, but the group wound up taking a forced hiatus once leader Billie Joe Armstrong entered rehab in the middle of the triple-album rollout. Given all this chaos, it’s hard not to view 2016’s Revolution Radio as a consolidation, a way for the band to shake off all distractions and get back to basics. Discarded alongside the mess and garage rock affectations that marked Uno, Dos, and Tre is any sense of concept at all — a marked departure from their work of the past 15 years. Green Day may no longer be writing rock operas, but despite a title that seems swiped from the Clash, Revolution Radio retains a sense of righteous indignation reminiscent of prime Who that the trio channeled on American Idiot and 21st Century Breakdown. Without a concept, the stabs at social significance sting a little harder — granted, Armstrong makes it impossible to miss the meaning of the anti-mass shooting “Bang Bang” or the self-explanatory “Troubled Times” — but this concentration on individual songs also shifts the focus back to how the band really can craft dynamic rock songs. Often, this means their best songs are the simplest — the heavy-booted swing of “Say Goodbye” or the frothy, clap-along “Youngblood” — but the mini-epic of “Forever Now” shows they’ve retained the flair for the dramatic that they developed on American Idiot. If Revolution Radio can seem a little too pat — the concluding ballad “Ordinary World” is a conscious callback to both “Good Riddance (Time of Your Life)” and “Wake Me When September Ends” — such discipline was needed after the ungainly sprawl of 2012. Here, Green Day have nothing more in mind than righting their ship, and that’s precisely what they do. ~~ AllMusic Review by Stephen Thomas Erlewine


1. Somewhere Now 4:09
2. Bang Bang 3:25
3. Revolution Radio 3:01
4. Say Goodbye 3:39
5. Outlaws 5:03
6. Bouncing Off the Wall 2:40
7. Still Breathing 3:45
8. Youngblood 2:33
9. Too Dumb to Die 3:24
10. Troubled Times 3:05
11. Forever Now 6:52
12. Ordinary World 3:01

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Apr 10

Green Day – 21st Century Breakdown (2009/2012)
FLAC (tracks) 24 bit/96 kHz | Time – 1:09:08 minutes | 1,49 GB | Genre: Rock
Studio Master, Official Digital Download | Source: HDTracks | Artwork: Front cover | © Reprise

Chart History/Awards
– Reached #1 on the Billboard 200.
– Reached #1 on Billboard‘s Top Modern Rock/Alternative Albums.
– Reached #1 on Billboard‘s Top Rock Albums.
– Includes the chart-topping hit “Know Your Enemy.”
– GRAMMY® Winner for Best Rock Album.

21st Century Breakdown is the band’s highly anticipated sophomore rock opera. Following the success of American Idiot, the album would top various Billboard charts and won the GRAMMY® Award for Best Rock Album. The platinum masterpiece includes the hit singles “Know Your Enemy” and “21 Guns,” two tracks that exemplified the band’s exhilarating vocal harmonies and stellar guitar-work. It is included on Rolling Stone’s “Best Albums of 2009.”

American Idiot was a rarity of the 21st century: a bona fide four-quadrant hit, earning critical and commercial respect, roping in new fans young and old alike. It was so big it turned Green Day into something it had never been before – respected, serious rockers, something they were never considered during their first flight of success with Dookie. Back then, they were clearly (and proudly) slacker rebels with a natural gift for a pop hook, but American Idiot was a big album with big ideas, a political rock opera in an era devoid of both protest rock and wild ambition, so its success was a surprise. It also ratcheted up high expectations for its successor, and Green Day consciously plays toward those expectations on 2009’s 21st Century Breakdown, another political rock opera that isn’t an explicit sequel but could easily be mistaken for one, especially as its narrative follows a young couple through the wilderness of modern urban America. Heady stuff, but like the best rock operas, the concept doesn’t get in the way of the music, which is a bit of an accomplishment because 21st Century Breakdown leaves behind the punchy ’60s Who fascination for Queen and ’70s Who, giving this more than its share of pomp and circumstance. Then again, puffed-up protest is kind of the point of 21st Century Breakdown: it’s meant to be taken seriously, so it’s not entirely surprising that Green Day fall into many of the same pompous tarpits as their heroes, ratcheting up the stately pianos, vocal harmonies, repeated musical motifs, doubled and tripled guitars, and synthesized effects that substitute for strings, then adding some orchestras for good measure. It would all sound cluttered, even turgid, if it weren’t for Green Day’s unerring knack for writing muscular pop and natural inclination to run clean and lean, letting only one song run over five minutes and never letting the arrangements overshadow the song. Although Green Day’s other natural gift, that for impish irreverent humor, is missed – they left it all behind on their 2008 garage rock side project Foxboro Hot Tubs – the band manages to have 21st Century Breakdown work on a grand scale without losing either their punk or pop roots, which makes the album not only a sequel to American Idiot, but its equal.

01 – Song Of The Century
02 – 21st Century Breakdown
03 – Know Your Enemy
04 – Viva La Gloria!
05 – Before The Lobotomy
06 – Christian’s Inferno
07 – Last Night On Earth
08 – East Jesus Nowhere
09 – Peacemaker
10 – Last Of The American Girls
11 – Murder City
12 – Viva La Gloria? (Little Girl)
13 – Restless Heart Syndrome
14 – Horseshoes And Handgrenades
15 – The Static Age
16 – 21 Guns
17 – American Eulogy: Mass Hysteria/Modern World
18 – See The Light

About the Mastering:
21st Century Breakdown was a digital master at 96K and was mastered at that resolution by Ted Jensen at Sterling Sound in NYC.

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Apr 10

Green Day – ¡Tré! (2012)
FLAC (tracks) 24 bit/96 kHz | Time – 46:43 minutes | 1,03 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks.com | Front cover | © Reprise

Green Day, the iconic Punk/Pop trio, has released the third and final installment in their highly-acclaimed trilogy Uno! Dos! Tre!. The album features twelve brand new Green Day tracks and includes the standouts “Brutal Love,” “X-Kid” and “99 Revolutions.” Tre! is a blazing set that showcases the band’s rich diversity.

Arriving earlier than expected but last as planned, Green Day’s third album of 2012 concludes their pop-punk trilogy not on a triumphant note but on one of confusion. Green Day’s blueprints for 2012 and beyond may have been trashed by Billie Joe Armstrong’s unexpected entry into rehab but that doesn’t alter the albums themselves, which aren’t necessarily a carefully constructed trilogy but rather an outpouring of energy, the group pushing out every completed song it had. ¡Tré!’s two predecessors had clear identities: ¡Uno! was the arena rock record; ¡Dos! was the punk-garage lark. In contrast, ¡Tré! feels like leftovers, the songs that didn’t fit either theme, a collection of songs capturing the band at its loosest and poppiest, throwing away tunes without much care. It’s hookier and not as ponderous as ¡Uno! but not quite as breakneck as ¡Dos!, never delving into the sleaze of “Fuck Time,” never feeling like a last grasp at adolescence the way ¡Dos! did at its best. Instead, ¡Tré! is a morning-after record, sometimes regretful, sometimes unrepentant, divided between unapologetic partying and amends for their wayward ways. On the whole, ¡Tré! winds up on the happier side of the scale: the rhythms are insistent, the hooks immediate, the veneer bright and cheerful, never once regretting the chaos that happened the night before. But underneath this good time is the slight, perhaps unconscious, admission that things cannot continue as they did before. There is not the desperation or the hedonistic pulse that ran through ¡Dos!, but rather a shrugging admission that the time for partying is over. So there’s a bittersweet undertow to ¡Tré!, a feeling underscored by Armstrong’s rehab: he could no longer continue trying to recapture his youth, but dammit if he doesn’t come close to doing so at times throughout ¡Tré!

01 – Brutal Love
02 – Missing You
03 – 8th Avenue Serenade
04 – Drama Queen
05 – X-Kid
06 – Sex, Drugs & Violence
07 – A Little Boy Named Train
08 – Amanda
09 – Walk Away
10 – Dirty Rotten Bastards
11 – 99 Revolutions
12 – The Forgotten

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Apr 10

Green Day – ¡Dos! (2012)
FLAC (tracks) 24 bit/96 kHz | Time – 39:28 minutes | 890 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks.com | Front cover | © Reprise

Chart History/Awards
Dos! reached #3 on Billboard‘s Top Rock Albums.

The GRAMMY Award-winning band Green Day releases the second installment of their ongoing album trilogy. The thirteen-track collection is garage rock at its finest. The memorable record showcases an array of musical styles and includes the standouts “Stray Heart,” “Ashley” and “See You Tonight.” Tre, the concluding chapter, is slated for a release in December, 2012.

Two days after the release of Uno!, the first installment of an ambitious punk-pop trilogy from Green Day, Billie Joe Armstrong checked into rehab for various substance problems, problems that reached a head during an on-stage meltdown at a radio festival the weekend prior to the album’s release. Needless to say, the band’s complicated plans for 2012 and 2013 were adjusted, with the supporting tour scrapped and the concluding LP Tre! moved up from January to December. Amidst the chaos, the one thing unaffected was Dos!, which appeared according to schedule in November of 2012. While certainly cut from the same cloth as Uno!, Dos! has a different feel than its cousin. Green Day pushed all of their Who-inflected arena rock onto the first of the albums, leaving Dos! a high-octane collection of garage pop and hooky punk. At the outset, Billie Joe declares it’s “Fuck Time,” and he’s not entirely kidding, either. This is the “Makeout Party” album, a breakneck sprint through songs about girls (“Ashley,” “Amy”), wild ones, and “Nightlife,” the latter awkwardly incorporating a rap from Lady Cobra. Armstrong spits out profanities as he thrashes on his guitar, pounding out hooks that dig in immediately, possibly because they recall anything from ’60s frat-rock to ’70s punk. In that sense, Dos! recalls Green Day’s terrific 2008 busman’s holiday Foxboro Hot Tubs (indeed, “F*** Time” began as a FHT song), but this feels more hedonistic, even if the production is crisper and clearer than Stop Drop and Roll!!!! Maybe it’s all due to the knowledge of Armstrong’s post-recording breakdown, but he feels positively desperate to have a good time at all costs, grasping for a quickly fading past. Clearly, all the partying caught up to him, but while he was racing recklessly, he cut this terrific little party record.

01 – See You Tonight
02 – F*** Time
03 – Stop When The Red Lights Flash
04 – Lazy Bones
05 – Wild One
06 – Makeout Party
07 – Stray Heart
08 – Ashley
09 – Baby Eyes
10 – Lady Cobra
11 – Nightlife
12 – Wow! That’s Loud
13 – Amy

About the Mastering: Dos! was a 96/24 multi-track digital session mixed through an analog desk with analog EQ and analog effects. It was delivered to Ted Jensen at Sterling Sound in NYC as 96K digital mixes and mastered at 96/24.

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