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Hüsker Dü - Warehouse: Songs and Stories flac album

Hüsker Dü - Warehouse: Songs and Stories flac album
  • Performer: Hüsker Dü
  • Title: Warehouse: Songs and Stories
  • Genre: Pop Rock
  • Style: Alternative Pop/Rock,Alternative/Indie Rock,American Underground,College Rock,Hardcore Punk,Punk/New Wave
  • Recording date: August, 1986 - November, 1986
  • Recording location: Nicollet Studios, Minneapolis, MN
  • Date of release: 1987
  • MP3 size: 1255 mb
  • FLAC size 1994 mb
  • Formats DMF APE MP3 AC3 MOD MMF
  • Duration: 01:08:35

Candy Apple Grey is the fifth album by the alternative rock band Hüsker Dü, released in 1986. It was their first major label album, though Warner Bros. had initially lobbied to release Flip Your Wig until the band decided to let SST have it. Candy Apple Grey also marks the completion of the band's transition from hardcore punk to a more well-rounded sonic style which would later come to be known as alternative rock or college rock

Comes with two printed b&w lyric inner sleeves. Recorded and mixed at Nicollet Studios, Minneapolis, Mn, August-November 1986. Mastered at Masterdisk, NY. Originally mastered by Howie Weinberg.

Warehouse: Songs And Stories. By: Hüsker Dü (1987, Rock). More albums from Hüsker Dü: Land Speed Record by Hüsker Dü. Candy Apple Grey by Hüsker Dü. Zen Arcade by Hüsker Dü. Spin Radio Concert by Hüsker Dü. The Living End by Hüsker Dü. Flip Your Wig by Hüsker Dü. New Day Rising by Hüsker Dü. View all albums . Warehouse: Songs And Stories. 1. These Important Years. 2. Charity, Chastity, Prudence And Hope. 3. Standing In The Rain. 4. Back From Somewhere.

Free download and listen Warehouse: Songs And Stories. Hüsker Dü. Style: punk. Tracks count: 20. Views: 14. Hüsker Dü - Up In The Air 03:06. Hüsker Dü - Friend, You've Got To Fall 03:20. Hüsker Dü - No Reservations 03:43.

Warehouse: Songs & Stories. LP (12" album, 33 rpm), Import. Hüsker Dü Format: Vinyl.

Продавец: НОВА ГЕОМАТЕРИАЛЫ - поставки строительных и геоматериалов. Адрес: Россия, Москва, Добролюбова, 3, 1, 413. ОГРН: 5167746195172

Track List

Title/Composer Performer Time
1 These Important Years Bob Mould Hüsker Dü 3:49
2 Charity, Chastity, Prudence, and Hope Grant Hart Hüsker Dü 3:11
3 Standing in the Rain Bob Mould Hüsker Dü 3:41
4 Back From Somewhere Grant Hart Hüsker Dü 2:16
5 Ice Cold Ice Bob Mould Hüsker Dü 4:23
6 You're a Soldier Grant Hart Hüsker Dü 3:03
7 Could You Be the One? Bob Mould Hüsker Dü 2:32
8 Too Much Spice Grant Hart Hüsker Dü 2:57
9 Friend, You've Got to Fall Bob Mould Hüsker Dü 3:20
10 Visionary Bob Mould Hüsker Dü 2:30
11 She Floated Away Grant Hart Hüsker Dü 3:32
12 Bed of Nails Bob Mould Hüsker Dü 4:44
13 Tell You Tomorrow Grant Hart Hüsker Dü 2:42
14 It's Not Peculiar Bob Mould Hüsker Dü 4:06
15 Actual Condition Grant Hart Hüsker Dü 1:50
16 No Reservations Bob Mould Hüsker Dü 3:40
17 Turn It Around Bob Mould Hüsker Dü 4:32
18 She's a Woman (And Now He Is a Man) Grant Hart Hüsker Dü 3:19
19 Up in the Air Bob Mould Hüsker Dü 3:03
20 You Can Live at Home Grant Hart Hüsker Dü 5:25


Daniel Corrigan - Photography
Steven Fjelstad - Engineer
Grant Hart - Composer, Drums, Producer, Vocals
Hüsker Dü - Photography, Primary Artist
Bob Mould - Composer, Guitar, Producer, Vocals
Greg Norton - Bass, Guitar (Bass), Vocals
Howie Weinberg - Mastering
Comments: (6)
My love of pop music makes me believe that this album is not only Husker Du's best album, it is the best extensive collection of songs on an album that anyone has made. A double album that holds twenty songs on it, every one of them outstanding and every one of them different. The thing on here is Grant Hart and Bob Mould have each fully developed their own sound now, but they have always blended together in odd ways, which kind of makes this album sound like a greatest hits. But it is not a greatest hits, it is just one of the best albums ever made! In another universe, “Could You Be the One”, “Friend You’ve Got to Fall”, and “Up in the Air” are # 1 singles. Hell, “She Floated Away”, “Standing In The Rain”, “No Reservations”, and “It’s Not Peculiar” are bizarre abstractions of pop singles as well and just good enough to avoid any radio play, if you know what I mean. The band has perfected their sound, and their work ethic is strong enough that they were able to produce a truly magical record, where no genres can describe the magical song craft present. There are very good points made on here, whether they be about being young, breaking up, finding that special person, being famous, or just plain dealing with the oddness of life. “Like a shingle on a roof in a windstorm / should I let loose and fly”, “I’m begging you now a thousand pardons / for all of the wastelands we have been through”, “taking all of this is taking all of me / sometimes I wish I had the energy / when it falls apart like fragments of our lives / give a little bit and give a lot to die.” These are words to live by, and it is obvious how much the band has grown in the small amount of time. Even the subject matter for the songs are evolved far beyond what they used to be, as we have gone from the early days of “Pride” and “Guns at My School” to things like “Charity, Chastity, Prudence and Hope” and “She’s a Woman and Now He Is A Man”. Husker Du have evolved in five years faster than most bands do in 25 years. The music is also top notch, with plenty of tricks in structure and melody (the tempo shift of “Back from Somewhere”, Mould’s peculiar brand of repetition at the end of the gorgeous “Standing in the Rain”) and plenty of studio tricks that amplify the psychedelic tendencies (the reverb drenched coda of “You Can Live at Home”, the howling harmonies of “Ice Cold Ice” and “Bed of Nails”, the latter of which might be the only moment on the record that is a bit too overwrought). At twenty songs and 70 minutes, this can definitely be overwhelming to untrained ears and though the music in generally pop oriented and catchy in nature, there is a lot ot take in. Some have said that Hart and Mould have evolved beyond each other in songwriting styles here, but it still sounds pretty unified to me, I think are just both at their peaks. Merely 3 years after Zen Arcade, this is another concept record about…
I always found it astonishing how different a band Husker Du are on this album compared to the out and out hardcore punks they were only 2 or 3 years earlier on albums like Zen Arcade and New Day Rising. Alot of this music is very well crafted and energetically performed but lacks some of the raw aggression and rage that made them such a phenomenal band in the past. However there isn't a bad song to be found here. They obviously set out to make a well produced album more in line with their staus on a major label rather than just trying to please the hardcore fans they had in the past. They knew they couldn't go back to the way they were before without sounding like they were going through the motions. So as a result there's lots of hooks and melodies and as a double album it holds together quite well. I put this album on if I want a noisy pop/rock fix as well as re-visting some of my youthful memories discovering great bands like this one in the past. I would say this was the perfect way for Husker Du to close out their career before they became any kind of parody of the young punks they once were. It was time for them to move on and grow up a bit and I'm thankful that I did a bit of growing up of my own with Husker Du's amazing music in my life.
While I've enjoyed the two Husker Du albums I've heard previously, I must admit I am no connoisseur of their music. Having just litened to Warehouse: Songs and Stories for the first time, I can certainly hear the sound of a band dissolving. As such, it was surprisingly different from the prior two I had heard (Zen Arcade and New Day Rising), which represented a more cohesive sound from the band in the early part of their career. The composer of each individual song is plainly evident, Bob Mould's songs having a less radio-friendly, fuzzier, proto-grunge sound when compared to the more melodic yet still hard-edged songs written by Grant Hart. When a duo of primary songwriters begin to retreat from collaboration and work alone, that is never a good sign for a band's future.Despite (or perhaps because of) this friction, there are many great tracks on the record. By virtue of its length alone, it may have more highlights on it than Zen Arcade or New Day Rising. However, the overall album feels uneven in mood, direction, and overall identity. It feels like a patchwork of songs from two entirely different groups, which can sometimes be distracting, tiring even. It's almost as if Mould and Hart should have already broken up by this point and the songs on this record should have been split into two separate solo releases. It's a mess. An enjoyable mess, but a mess all the same.
I am a big fan of Husker Du but preferred the earlier releases and hadn't listened seriously to this one for some time. It's extremely sophisticated pop music played at a high tempo and intensity. Crowning achievement..
Critical acclaim aside, by the mid 80s Husker Du were one of the most prolifically consistent bands in America. This would be the Minneapolis trio’s second double album in three years, due in part to the joint song writing acumen and fierce competition between guitarist Bob Mould and drummer Grant Hart. Indeed, it’s a credit that the three could rent a rehearsal space and bang out twenty new songs so shortly after the release of their major label debut “Candy Apple Grey”. By 1987 their sound bore little resemblance to the high speed knockabout punk of earlier recordings in favour of a refined mix of post punk and power pop that would gather interest from a mainstream audience and influence the pre grunge brigade that were waiting for the turn of the decade. Over four beautifully packaged sides the band present the listener with an adrenaline rush of alternate Mould/Hart compositions highlighting Mould’s embittered realism and Hart’s ethereal outlook. All are performed with non-stop intensity and the usual surge of dynamic passion, which on reflection is a miraculous achievement given that both creative driving forces were at loggerheads over splits in the eventual running order (Hart claims he was restricted to 45%), and Mould’s continual mistrust of Hart’s credentials to play live, given that he was fueled by Heroin. “Warehouse...” is much maligned for its overall length and a woefully thin production effort. Most blame a lack of signature bass guitar input, but if one listens closely, although very low in the mix the bass rhythms are always there. What is missing is Hart’s bass drum, which makes for a tinny snare led sound,and undoubtedly has a major effect on the density and depth of the recording. Despite this, there are still some outstanding moments, particularly from Mould, who pens the ode to his breakdown with Hart on “Friend You’ve Got To Fall”. There’s a hint to the music of the future with his post break up band Sugar on “Could You Be The One?” and “Standing In The Rain”, and as ever he’s always capable of a killer hook, as on “Ice Cold Ice” and “These Important Years”.There’s always a sense that Husker Du never truly fulfilled their potential, and whilst “Warehouse: Songs And Stories” still contains some stunning mementos, given the subsequent breakdown and break-up of the band the album isn’t the historic swansong we all anticipated. The album is too long and the production is awful, but the great songs still overcome these handicaps with aplomb and shine with the vigor the band had always intended.
Song for song, as good as any post-punk album you're likely to hear, but there is a nagging sense of dislocation that undermines an otherwise great double set. The songwriting is as strong - maybe stronger - than ever, and the production, while much more sophisticated than it ever had been, never sounds like a desperate grab for commercial success (see The Replacements DON"T TELL A SOUL for details). But the synergy between Mould and Hart was fading fast, and it shows. A near-classic.
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