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  <a href="/music-blog/blog/3740189/sticky-fingers-revisited-the-2015-reissue">Sticky Fingers Revisited – the 2015 Reissue!</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/u/16/a0395ef60564abc7aa2823248a193bed5ceb923c/medium/stickyfingers.jpg?1434208265" class="size_m justify_center border_" /><br><br>Everybody knows that <em>Sticky Fingers</em> is one of the all-time great rock and roll records.  This past week, the album was reissued again, but this time with extras.  So the million-dollar question is are the extras worth it?<br> <br>That depends – the recent Rolling Stones reissues of <em>Exile On Main St. </em>and <em>Some Girls</em> gave you a number of unheard songs, some of them with newly completed vocals from Mick Jagger and guitar from Mick Taylor.  With <em>Sticky Fingers</em>, the band admits that they already raided the cookie jar pretty heavily with the <em>Exile</em> reissue so there wasn’t as much left when they went back for this one.  Therefore, the extras of the “Deluxe Version” hinge on five alternate takes and five live cuts.  The first is an alternate version of “Brown Sugar” with Eric Clapton on slide guitar.  It’s pretty cool for historical reasons and has a good edgy feel.  “Wild Horses” lacks the electric leads and Keith’s harmonies and feels empty.  “Can’t You Hear Me Knocking” captures the band figuring out the song.  It’s pretty loose.  The alternate take of “Bitch” has a lot of fight to it and Jagger sings some alternate lyrics.  It is interesting to hear the song develop.  Eventually the track comes to an abrupt ending.  “Dead Flowers” sounds a little dirtier and is played a slightly faster than the final album version.  However, none of the alternate takes surpass the versions that are on the final official album.  They are fun, but not essential to the casual listener. <br> <br>The rest of the bonus disc features five <em>Sticky Fingers</em>-era live tracks from the Stones’ 1971 performance at the Roundhouse.  The five songs, “Live With Me,” “Stray Cat Blues,” “Love In Vain,” “Midnight Rambler,” and “Honky Tonk Women” are cool gritty examples of the Stones’ live power, but none of these songs are actually tracks from <em>Sticky Fingers</em>.  The fade-ins and outs show that these are clearly part of a longer concert.  Why not include tracks from <em>Sticky Fingers</em>? <br> <br>Lastly, if you pick up the digital version of the “Super Deluxe” <em>Sticky Fingers</em> or paid $152.98 for the physical box set, you get a bonus disc of a 1971 full concert at the University of Leeds.  The show features the Stones introducing the <em>Sticky Fingers</em> material to the crowd for the first time.  It’s pretty great and is a more rewarding listen than the five alternate takes and five live cuts on the standard “Deluxe Version.”<br> <br><em>Sticky Fingers</em> is an undeniable classic and rock fans of all generations should be familiar with it.  The question with the reissue is how much you want to invest in it.  If you want the bonus material and don’t want to spend $152.98 on the box set, I would recommend buying the $19.99 digital version so that you get the University of Leeds live material.  That is the way to maximize your "satisfaction." <br> <br>Essential Bonus Track: “Brown Sugar (feat. Eric Clapton)”<br> </div>
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  <a href="/music-blog/blog/3602484/another-beauty-from-fob">Another Beauty From FOB . . .  </a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/u/16/ef920da9f89ce7ca5c2257c2d637331967e3ad24/medium/fobamerican.jpg?1426447210" class="size_m justify_center border_" /><br>On the band’s second post-hiatus album, <em>American Beauty/American Psycho</em>, Fall Out Boy prove that they are still one of the boldest pop-rock bands around.  This year marks the tenth anniversary of FOB’s commercial breakthrough <em>From Under the Cork Tree</em>.  It would be easy for the band to rehash the past and do anniversary tour for that album.  That is not the band’s style.  They don’t need to.  They are still a vibrant and commercially-successful musical outfit cranking out hits.  As always, they never make the same album twice – yet anchored by Patrick Stump’s distinctive and soulful vocals and Pete Wentz’s clever lyrical wordplay, the band doesn’t lose touch.  When you hear Fall Out Boy, you know it is them.<br> <br>Much of FOB’s new <em>American Beauty/American Psycho </em>centers around up-tempo arena jams that are sure to be blasted at sporting events for the next couple years.  “Centuries” is a prime example.  It was the album’s first single and has been used heavily on ESPN.  “Irresistible” and “Immortals” play into the same themes.  However, the real standouts on this album are the title track, “Novicane” and “Uma Thurman.”  “Uma Thurman” is a lot of fun and even makes a sample of the Munster’s surfy theme song sound pretty badass.  Meanwhile, “American Beauty/American Pyscho” and “Novicane” are pure adrenaline dance parties.  With an album that fixates on high-energy stadium rockers, the quieter moments (“The Kids Aren’t Alright” and “Jet Pack Blues”) are refreshing and welcome as well. <br> <br>At this point in their career, FOB is still as brash and bold as they were when they first rose to popularity.  They are not afraid to embrace arena pop-rock and they do it well.  Haters are gonna hate, but <em>American Beauty/American Psycho</em> is a welcome addition to the FOB catalogue.<br> <br>Essential tracks: “American Beauty/American Psycho”, “Uma Thurman” &amp; “The Kids Aren’t Alright”.</div>
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  <a href="/music-blog/blog/3535379/shawn-shelby-s-sparse-beautiful-debut">Shawn &amp; Shelby&#39;s Sparse &amp; Beautiful Debut</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/u/16/cf357a03964d604ba5edfefe7991e1c8879b4ccc/medium/shawnandshelbyep.jpg?1424138702" class="size_m justify_center border_" /><em>Sleeping In A Spell</em> is the beautiful debut release by Cleveland-based duo Shawn &amp; Shelby a.k.a Shawn Brewster and Shelby Lynn Sangdahl.  Many may already be familiar with the two’s work in their other band Oldboy.  What is most notably different comparing Shawn &amp; Shelby with Oldboy is the way the songs are arranged.  <em>Sleeping In A Spell</em> is a much more sparse presentation of their music.  In this new setting, the poetic elements of Brewster’s lyrics becomes a greater focal point.  Meanwhile, Sangdahl’s cello playing tastefully adds dynamics and drama to each track. <br> <br>The record consists of six songs: five originals and a cover of Iron &amp; Wine’s “Upward Over The Mountain.”  They are all warmly, yet crisply engineered by Jim “The Wizard” Stewart.  The opening track “Light” is one of Brewster’s prettiest melodies.  “The Sound of Breathing” could have fit well with Springsteen’s material on the <em>Devils And Dust</em> album.  <em>Sleeping In A Spell </em>is a consistently excellent EP.  However, the crown jewel of the collection is “Speed of Night”.  The song is both somber and exciting in its arrangement as Brewster’s guitar and voice musically converse back and forth with Sangdahl’s cello.  The song’s lyrics are rich in their imagery.  For example: “Sick of my sins.  Sick of all these cities and these sidewalks paving over hell.” And: “Bend me back and forth like a wire.  Watch me as I dance and shake like a liar."  "Speed of Night's" lyrics offers many great lines that brew with harsh, but vulnerable sincerity. <br> <br>All in all, <em>Sleeping In A Spell </em>is a promising and compelling debut that highlights the musical chemistry between Shawn &amp; Shelby.  It is now being offered at a “pay what you want” price on the group’s <a contents="bandcamp" data-link-label="" data-link-type="url" href="https://shawnandshelbymusic.bandcamp.com/releases" target="_blank">bandcamp</a>, so check it out.  If you’re looking for a soulful Americana record to listen to by the fire this ungodly cold February, this is it.  Put it on.  Open up that bottle of Malbec and let the winter winds howl.<br> <br> </div>
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  <a href="/music-blog/blog/3445972/the-best-records-of-2014">The Best Records of 2014</a>&nbsp;
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  <div class="message">Oh yeah – there was a lot to enjoy in 2014!  Here are the records that excited me the most! <br>The Rolling Clone Blogazine’s Top 5 Records of 2014:<br> <ol>    <li><strong>Weezer – <em>Everything Will Be Alright In The End</em></strong></li>
</ol><img src="//images.zoogletools.com/u/16/21a57bf12285c3924a5bd1e709c600c07b2300cd/medium/weezer.jpg?1414554462" class="size_m justify_center border_" /> <br>Weezer came back in a big way this year.  <em>Everything Will Be Alright In The End</em> modernizes the band’s signature sound and is their strongest record of the twenty-first century.  Read the RCB’s full review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/weezer-makes-things-right" target="_blank">here</a>.<br> <ol>    <li value="2"><strong>Jack White – <em>Lazaretto </em></strong></li>
</ol><img src="//images.zoogletools.com/u/16/1db599175d0c5f81d5216111ba6f7fc62ca3c73b/medium/lazaretto.jpg?1419988592" class="size_m justify_center border_" /> <br>Jack White’s second solo album continues to mash up the retro and the modern.  On <em>Lazaretto</em>, he gets funky on songs like “Three Women” and the title track, channels the Stones on “Just One Drink” and goes into guitar hero mode on “High Ball Stepper”.  It’s another perfect record from a true genius. <br> <ol>    <li value="3"><strong>Against Me! – <em>Transgender Dysphoria Blues</em></strong></li>
</ol><img src="//images.zoogletools.com/u/16/a920c2cf448e0e8fcaa4761994cbe40a5ea8c359/medium/transgenderdysphoria.jpg?1419988651" class="size_m justify_center border_" /> <br>This is a genuinely kick-ass punk record that also addresses some very important social issues.  Laura Jane Grace dug deep with these extremely personal songs.  <em>Transgender Dysphoria Blues </em>is one in-your-face collection that cannot be ignored.<br> <ol>    <li value="4"><strong>Sleeper Agent – <em>About Last Night</em></strong></li>
</ol><img src="//images.zoogletools.com/u/16/7894840fd2bf047d8f747c52c460ec78baf01e35/medium/sleeperagentabout.jpg?1419988714" class="size_m justify_center border_" /> <br>Sleeper Agent is one of the most under-rated indie rock bands.  The band’s sophomore album shows their continued development with great tracks like “Be Brave” and “Impressed”.  On <em>About Last Night</em>, Sleeper Agent deliver great songs that are also very catchy and fun.<br> <ol>    <li value="5"><strong>The Strypes – <em>Snapshot </em></strong></li>
</ol><img src="//images.zoogletools.com/u/16/1730bad8915282803205bdd4d44117320935e3af/medium/strypessnapshot.jpg?1419988804" class="size_m justify_center border_" /> <br>Fusing the best aspects of the Yardbirds with the Arctic Monkeys, the Strypes’ debut is a rockin’ good time.  The teenage band sounds amazingly seasoned.  They have the potential to be real contenders in the rock world.  If you missed this record, check out “I’m A Hog For You Baby” and try not to dance.  I dare you.<br> <br>The Honorable Mentions:<br> <ol>    <li value="6"><strong>U2 – <em>Songs of Innocence</em></strong></li>
</ol><img src="//images.zoogletools.com/u/16/40469d472697c9315fba4c60dc619bba38f14c69/medium/u2songsofinnocence.jpg?1412285574" class="size_m justify_center border_" /> <br>U2 made a lot of people mad when they suddenly appeared on their iPhones.  However, if you ignore all the fuss and just focus on the music, <em>Songs of Innocence </em>is an excellent record that sits comfortably next to the band’s best work.  Read the full RCB review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/u2-s-gift-horse-album" target="_blank">here</a>.<br> <ol>    <li value="7"><strong>Candy Hearts – <em>All The Ways You Let Me Down</em></strong></li>
</ol> <img src="//images.zoogletools.com/u/16/cf9bb1f3f70efd3bc4c913061ce58b7fdb600773/medium/candyhearts.jpg?1403735941" class="size_m justify_center border_" /><br>The Candy Hearts recall the best parts of golden age of emo pop-punk.  <em>All The Ways You Let Me Down</em> shows the band stepping up with its strongest release yet.  Read the full-RCB review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/candy-hearts-sugar-sweet-pop-punk" target="_blank">here</a>.<br> <ol>    <li value="8"><strong>5 Seconds of Summer – <em>5 Seconds of Summer</em></strong></li>
</ol> <img src="//images.zoogletools.com/u/16/897ab922e4ab3bf1e78f47c57d2afd26ae1ed350/medium/5-seconds.jpg?1419988892" class="size_m justify_center border_" /><br>I can see your eyes rolling, but here’s the thing – the songs on the band’s full-length debut are pretty much perfect.  I am a little ashamed and want to dislike this band, but I cannot.  They are too much fun.  “She Looks So Perfect”, “Don’t Stop” and “End Up Here” are absolute modern power-pop bliss.  Now you know my secret shame.  In 2015, it is okay to like this band.<br> <ol>    <li value="9"><strong>Black Keys – <em>Turn Blue</em></strong></li>
</ol><img src="//images.zoogletools.com/u/16/89c08de9e751ecf4a8bea5cd95c1483166cda671/medium/turnblueblackkeys.jpg?1412285560" class="size_m justify_center border_" /> <br>The Black Keys turned away from the arena dominating sound of <em>El Camino </em>for a more psychedelic slow-burning experience.  It works.  Check out the full RCB review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/the-black-keys-new-turn-blue" target="_blank">here</a>.<br> <ol>    <li value="10"><strong>AC/DC – <em>Rock Or Bust </em></strong></li>
</ol><img src="//images.zoogletools.com/u/16/53614fff9b1120581811bf7ba78144ccc133f6a4/medium/rock-or-bust.jpg?1417670701" class="size_m justify_center border_" /> <br>In an age where EDM music and glossy over-produced soulless pop songs dominating the radio, AC/DC's unchanging rock and roll formula felt like fresh air.  <em>Rock Or Bust </em>rocks.  Read the full RCB review <a contents="here" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/ac-dc-rock-or-bust-rocks" target="_blank">here</a>.<br> </div>
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    <p class="post-info"><span data-time="2014-12-30T20:22:32-05:00" title="December 30, 2014 20:22">12/30/2014</span></p>

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  <a href="/music-blog/blog/3358784/ac-dc-rock-or-bust-rocks">AC/DC &quot;Rock or Bust&quot; Rocks</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/u/16/53614fff9b1120581811bf7ba78144ccc133f6a4/medium/rock-or-bust.jpg?1417670701" class="size_m justify_center border_" /><br>Throughout their 40-year career, AC/DC have never altered their signature sound.  They have never apologized for not growing artistically.  They have never written a ballad and for that, we salute them.  There is something so inherently primal and blood boiling about their music.  Even though one could argue that they are rehashing the same old themes and drum parts every time, their music is somehow still refreshing and hits you in the gut.  With rhythm guitarist Malcolm Young retired and sadly battling dementia, the band carries on with <em>Rock or Bust </em>using Malcolm and Angus’s nephew Stevie to fill in.  (Malcolm is credited as a co-writer, but does not play on any of the songs).  Although Malcolm’s presence is surely missed by fans and the band, ten seconds into listening to the opening title track, it is clear that nothing has changed.  The spark that is AC/DC continues to rock.  Though most of the members of the band are in their sixties, the band sounds as fierce as ever as Angus and Stevie deliver riff after electrifying riff.  Brian Johnson’s howl is intact too as he croons <em>double entendres</em> about sex, women and rock and roll.  <em>Rock or Bust </em>is a good time from start to finish, but be sure to enjoy the title track, “Play Ball”, “Rock The Blues Away” and “Baptism By Fire”.  40 years ago, AC/DC discovered a magic musical formula that they never needed to change.  <em>Because i</em><em>f it ain’t broken?</em><br> <br>Essential Tracks: “Rock or Bust” &amp; “Rock The Blues Away”</div>
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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/music-blog/blog/3358708/nothing-really-new-but-still-solid-foo">Nothing Really New, But Still Solid Foo</a>&nbsp;
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  <div class="message"><div><img src="//images.zoogletools.com/u/16/19597101cf2af239cdf879b0605825503bc3901e/medium/sonic-highways.jpg?1417668666" class="size_m justify_center border_" /></div><br>At this point, it would be tough for the Foo Fighters to make a bad record.  They are too talented and too consistent to fall into those traps.  On their new album <em>Sonic Highways</em>, the band stays within familiar territory.  There are some small sonic developments (a track with horns and one with an orchestra) but nothing groundbreaking.  It’s a solid and pleasant record.  None of its eight tracks are bad, but none of them really stun you.  The intro to the opener “Something From Nothing” is kind of similar to the opening to their song “Skin and Bones”, but diverges into an up-tempo rocker.  The two standouts are the horn-infused “In The Clear” and the epic orchestral closer “I Am The River”.   In the canon of the Foos, <em>Sonic Highways </em>does not reach the heights of predecessors like 2011’s <em>Wasting Light </em>2005’s, <em>In Your Honor </em>or 1990s jewels <em>The Colour And The Shape</em> or <em>There Is Nothing Left To Lose</em>.  Yet, it is more consistent than commercial successes such as <em>Echoes, Silence, Patience &amp; Grace</em> and <em>One By One</em>.  All in all, it is the Foo Fighters, which means the album was made with thoughtful integrity.  And since it is the Foo Fighters, it is still way better than most of the competition. <br> <br>Essential tracks: “In The Clear” &amp; “I Am The River”</div>
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    <p class="post-info"><span data-time="2014-12-03T23:52:25-05:00" title="December 03, 2014 23:52">12/03/2014</span></p>

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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/music-blog/blog/3255592/gerard-way-s-brit-pop-experiment">Gerard Way&#39;s Brit-pop Experiment </a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/u/16/b82bf6270419293493cfb37d99bb53198d63ac3d/medium/gerard-way.jpg?1414555473" class="size_m justify_center border_" /><br>Gerard Way’s solo debut <em>Hesitant Alien</em> is an interesting experimental tribute to the Brit-pop of the 1990s and late-seventies Bowie.  From the instrumentation to the way the album is mixed, he definitely had a vision for what he wanted.  It is a big enough shift in sound that it is not unlikely that this will throw some My Chemical Romance fans for a loop on the first listen.  However, if you dig into the record, it becomes apparent that if some of these songs were given a more “commercial” mix they could have the poppy shimmer of Way’s former rock band.  For example, with a different mix, “Action Cat” could have worked on MCR’s <em>Danger Days</em> and “Brother” could have worked with <em>The Black Parade</em>.  The stand out track on the record is “Millions”.  The song blends power-pop and surfy-post-punk and is sure to get the mosh pit started. <br> <br>Essential Tracks: “Millions”, “Brothers” &amp; “Drugstore Perfume”</div>
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    <p class="post-info"><span data-time="2014-10-29T00:05:51-04:00" title="October 29, 2014 00:05">10/29/2014</span></p>

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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/music-blog/blog/3255573/weezer-makes-things-right">Weezer Makes Things Right</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/u/16/21a57bf12285c3924a5bd1e709c600c07b2300cd/medium/weezer.jpg?1414554462" class="size_m justify_center border_none" alt="" /><br>Weezer have never put out a “bad” album.  The music was always pleasant enough, but their more recent albums can be criticized for lacking the emotional depth that made their earlier work so compelling.  This month, Weezer released <em>Everything Will Be Alright In The End</em> and it is a true return to form.  It is clear that lead singer and songwriter Rivers Cuomo really wanted to deliver on this one.  He dug deep lyrically and, along with his band mates, came through big time.  “Back To The Shack”, “Lonely Girl”, “Da Vinci” and “The British Are Coming” are the clear standouts.  Sonically, they reflect the sound of the band’s 1990s work, but at the same time it is not a total rehash.  All in all, this is a delightful record that is sure to be one of this year’s bests. <br> <br>Essential tracks: “Back To The Shack”, “Da Vinci” &amp; “The British Are Coming”</div>
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    <p class="post-info"><span data-time="2014-10-28T23:48:01-04:00" title="October 28, 2014 23:48">10/28/2014</span></p>

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  <a href="/music-blog/blog/3214823/u2-s-gift-horse-album">U2’s Gift Horse Album</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/u/16/40469d472697c9315fba4c60dc619bba38f14c69/medium/u2songsofinnocence.jpg?1412285574" class="size_m justify_center border_none" alt="" /><br>So much has been said about U2’s surprise “free” album, <em>Songs of Innocence</em>.  Rumor has it that the band earned 100 million dollars from Apple.  Questions have been raised:  Is it a violation of privacy for Apple iCloud users to have this album “forced” upon them? Is this just another instance of Bono and the Illuminati trying to take over the world?  These questions have their place.  However, here at <em>The Rolling Clone Blogazine, </em>the only questions to be asked are: “What is the music like and is it any good?”<br> <br>First off, if Apple is going to give you a free album, this is a pretty good choice.  Love or hate the band, U2 is always looking forward and not afraid of modern production and new sounds.  At the same time, you can listen to this record and still know that you are listening to U2.  Tribal rock drumming, spacey guitars and soaring arena-sing-along vocals – yep, all of these elements are here in spades. <br> <br>U2 is one of the biggest bands around, but for a large number of people this “free” album may be their introduction to the band.  Bono and Co. know this and make the record extremely accessible.  <em>Songs of Innocence </em>is not as daring of an album as their last studio effort, 2009’s <em>No Line On The Horizon</em>, but it is a lot more fun and upbeat.  Each track is anchored by a memorable pop melody.  The album opens with “The Miracle (Of Joey Ramone)”.  Driven by a dirty rhythm guitar riff and woah chants, the song is infectious.  The follow up, “Every Breaking Wave” is classic U2 and reminiscent of their sound on <em>All That You Can’t Leave Behind</em>.   “California (There Is No End To Love)”, a driving pop song, and “Song For Someone”, a beautiful ballad, keep the listening experience enjoyable and friendly.  The strongest material is at the front of the record.  The later tracks (“This Is Where You Can Reach Me Now” and “Raised By Wolves”) on the record may require a second or third listening to get into them, but ultimately remain pretty accessible for people who like rock music in general.  All in all, as a consumer, there really is no reason not to get this album, especially since it is free (until October 14) and the artist is still getting paid.  You can be critical of its commerciality and/or the way it was delivered to you, but on the whole, it is still easily one of the year’s best albums, so quit complaining. <br> <br>Essential tracks: “The Miracle (Of Joey Ramone)”, “Song For Someone” &amp; “Every Breaking Wave”.<br> </div>
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  <a href="/music-blog/blog/3042691/foxy-shazam-s-gonzo-mess">Foxy Shazam’s Gonzo Mess</a>&nbsp;
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  <div class="message"><img src="//images.zoogletools.com/u/16/8922d97a257ba4c0a4c446726dc52bb7552fbd24/medium/covergonzo.jpg?1403820031" class="size_m justify_center border_none" alt="" /><br>Steve Albini producing Nirvana = good idea.  Apparently, Steve Albini producing Foxy Shazam = bad idea.  <em>Gonzo</em>, the follow-up to 2012’s (and <em>Rolling Clone Blogazine’</em>s winner of album of the year), <a contents="The Church of Rock and Roll" data-link-label="" data-link-type="url" href="http://danmiraldi.com/blog-rcb/blog/foxy-shazam-takes-you-to-church" target="_blank"><em>The Church of Rock and Roll</em></a>, is a bit of a letdown.  With Albini at the helm and the band recording live in the studio, something got lost in translation.  A lot of the record sounds like a cross between Deep Purple with horns and the first Foo Fighters record, but not in a good way.  The band comes off as self-indulgent and missing much of its infectious charisma and over-the-top attitude.  The mixes are muddy as if the respective band members were arguing over whose instrument should be the loudest.  Eric Nally is one of the best frontmen around, but on <em>Gonzo </em>he appears uninspired and overpowered by the cacophony surrounding him. <br> <br>With a band as good as Foxy Shazam, it is hard to write off the album completely.  Tracks like “Shoe Box” and “Don’t Give In” could have turned out cool.  Perhaps if they had reteamed with the Darkness’s Justin Hawkins, a man who understood and knew how to direct the band? </div>
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    <p class="post-info"><span data-time="2014-06-26T18:03:13-04:00" title="June 26, 2014 18:03">06/26/2014</span></p>

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