Musik-Streaming
Hören Sie dieses Album mit unseren Apps in hoher Audio-Qualität
Testen Sie Qobuz kostenlos und hören Sie sich das Album anHören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps
Abonnement abschließenHören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps
Download
Kaufen Sie dieses Album und laden Sie es in verschiedenen Formaten herunter, je nach Ihren Bedürfnissen.
Paul Westerberg's best work has always been about passion as much as craft, and that's been the biggest sticking point with his post-Replacements solo career. From a strictly technical standpoint, his work on 14 Songs and Eventually was superior to the stuff he wrote for Hootenanny or Sorry, Ma, Forgot to Take out the Trash, but there was a heart, soul, and emotional intensity in his loud, fast, and sloppy rock & roll that was absent from the output of "Paul Westerberg, Professional Songwriter." To many fans, the trouble seemed to be that Westerberg just didn't feel like rocking out, but the lower-key Suicaine Gratifaction made clear that wasn't the only problem; while that album was a step in the right direction, much of it still sounded like Westerberg was writing to order, and the album's calm surface sounded just a bit forced. Dropped by his second major label and left to his own devices, Westerberg recorded Stereo in his basement, mostly in the middle of the night and with Westerberg providing all of the (minimal and mostly acoustic) musical accompaniment through the miracle of overdubbing. And for whatever reason, Stereo is the first Westerberg solo disc that captures the elusive feel and emotional resonance of his best Replacements tunes; no, it doesn't rock, but if you loved the side of Paul Westerberg that came up with stuff like "Within Your Reach," "If Only You Were Lonely," or "Here Comes a Regular," the good news is he's found a way to tap back into that mindset and he's captured it on tape. The Westerberg who wrote Stereo is older, wiser, and wearier than the kid who made Let It Be, but he still hasn't quite figured out the details of love, relationships, and how to make all of that stuff work, and he has plenty to say about the subject that's funny, heartbreaking, and straight from the gut. With more than its share of flubbed notes and technical mistakes (two songs are cut short when the tape runs out and Westerberg's young son makes an unscheduled appearance on "We May Be the Ones") and occasional goofs (most notably the cover of "Mr. Rabbit"), Stereo seems a bit less than polished or professional, but it always sounds like it comes straight from Paul Westerberg's heart and that's what really makes the difference. It's an inspiring return to form from one of rock's best songwriters, and proves his muse still visits on occasion -- good news for all. [The initial pressings of Stereo also include Mono, the lo-fi rock album from Westerberg's nom de basement side project, Grandpaboy, which plays faster, looser, and a lot louder than Stereo, but still maintains many of the same virtues; they're two very different albums, but are well matched in this package.]
© Mark Deming /TiVo
Sie hören derzeit Ausschnitte der Musik.
Hören Sie mehr als 100 Millionen Titel mit unseren Streaming-Abonnements
Hören Sie diese Playlist und mehr als 100 Millionen Tracks mit unseren Streaming-Abonnements
Ab 14.99 CHF/Monat
PAUL WESTERBERG, Composer, Performance, MainArtist
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Composer, Performance, MainArtist
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Composer, Performance, MainArtist
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Composer, Performance, MainArtist
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Composer, Performance, MainArtist
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Composer, Performance, MainArtist
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Performance, MainArtist - Drywood Music, Composer
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Performance, MainArtist - Drywood Music, Composer
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Composer, Performance, MainArtist
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Composer, Performance, MainArtist
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Composer, Performance, MainArtist
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Composer, Writer, Performance, MainArtist
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
PAUL WESTERBERG, Performance, MainArtist
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
Albumbeschreibung
Paul Westerberg's best work has always been about passion as much as craft, and that's been the biggest sticking point with his post-Replacements solo career. From a strictly technical standpoint, his work on 14 Songs and Eventually was superior to the stuff he wrote for Hootenanny or Sorry, Ma, Forgot to Take out the Trash, but there was a heart, soul, and emotional intensity in his loud, fast, and sloppy rock & roll that was absent from the output of "Paul Westerberg, Professional Songwriter." To many fans, the trouble seemed to be that Westerberg just didn't feel like rocking out, but the lower-key Suicaine Gratifaction made clear that wasn't the only problem; while that album was a step in the right direction, much of it still sounded like Westerberg was writing to order, and the album's calm surface sounded just a bit forced. Dropped by his second major label and left to his own devices, Westerberg recorded Stereo in his basement, mostly in the middle of the night and with Westerberg providing all of the (minimal and mostly acoustic) musical accompaniment through the miracle of overdubbing. And for whatever reason, Stereo is the first Westerberg solo disc that captures the elusive feel and emotional resonance of his best Replacements tunes; no, it doesn't rock, but if you loved the side of Paul Westerberg that came up with stuff like "Within Your Reach," "If Only You Were Lonely," or "Here Comes a Regular," the good news is he's found a way to tap back into that mindset and he's captured it on tape. The Westerberg who wrote Stereo is older, wiser, and wearier than the kid who made Let It Be, but he still hasn't quite figured out the details of love, relationships, and how to make all of that stuff work, and he has plenty to say about the subject that's funny, heartbreaking, and straight from the gut. With more than its share of flubbed notes and technical mistakes (two songs are cut short when the tape runs out and Westerberg's young son makes an unscheduled appearance on "We May Be the Ones") and occasional goofs (most notably the cover of "Mr. Rabbit"), Stereo seems a bit less than polished or professional, but it always sounds like it comes straight from Paul Westerberg's heart and that's what really makes the difference. It's an inspiring return to form from one of rock's best songwriters, and proves his muse still visits on occasion -- good news for all. [The initial pressings of Stereo also include Mono, the lo-fi rock album from Westerberg's nom de basement side project, Grandpaboy, which plays faster, looser, and a lot louder than Stereo, but still maintains many of the same virtues; they're two very different albums, but are well matched in this package.]
© Mark Deming /TiVo
Informationen zu dem Album
- 1 Disc(s) - 13 Track(s)
- Gesamte Laufzeit: 00:44:35
- Künstler: Paul Westerberg
- Komponist: Various Composers
- Label: Vagrant Records
- Genre: Pop/Rock Rock Alternativ und Indie
© 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records ℗ 2002 BMG Rights Management (US) LLC d/b/a Vagrant Records
Verbesserung der AlbuminformationenWarum Musik bei Qobuz kaufen?
-
Streamen oder downloaden Sie Ihre Musik
Kaufen Sie ein Album oder einen einzelnen Track. Oder hören Sie sich mit unseren hochqualitativen Streaming-Abonnements einfach den ganzen Qobuz-Katalog an.
-
Kein DRM
Die heruntergeladenen Daten gehören Ihnen ohne jegliche Nutzungsbeschränkung. Sie können sie sooft herunterladen wie Sie möchten.
-
Wählen Sie das Format, das am Besten zu Ihnen passt
Sie können beim Download Ihrer Einkäufe zwischen verschiedenen Formaten (FLAC, ALAC, WAV, AIFF...) wählen.
-
Hören Sie Ihre Einkäufe mit unseren Apps
Installieren Sie die Qobuz-Apps für Smartphones, Tablets und Computer und hören Sie Ihre Musikeinkäufe immer und überall.