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CD26,49 €

Alternativ und Indie - Erschienen am 28. Oktober 2014 | Rhino - Elektra

Auszeichnungen Pitchfork: Best New Reissue
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CD14,99 €

Alternativ und Indie - Erschienen am 20. Januar 2011 | Rhino - Elektra

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Alternativ und Indie - Erschienen am 25. November 2016 | Rhino - Elektra

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CD14,49 €

Pop/Rock - Erschienen am 27. Oktober 1998 | Columbia

With 1965, the Afghan Whigs finally made the gritty soul record just always out of their reach -- seamlessly integrating the R&B aspirations which have textured the band's sound since the beginning, the music simmers with raw energy, its deep, dark grooves not so much white-boy as simply white-hot. Recorded in New Orleans, the album is plainly the product of its environment -- sultry, sleazy, and more than a little menacing; here more than ever, Greg Dulli is the frontman you love to hate, strutting and swaggering his way through standout tracks like "Something Hot," "Uptown Again," and "John the Baptist" with predatory aggression. (Who else would deliver a lyric like "I got the devil in me, girl" as though it were a pickup line?) Still, for all its cocksure arrogance, 1965 is nevertheless a sincere tribute to the classic music recalled by the album's title -- lyrics aside, even if Dulli did sell his soul, he's somehow managed to get it all back. © Jason Ankeny /TiVo
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CD14,49 €

Pop/Rock - Erschienen am 27. Oktober 1998 | Columbia

With 1965, the Afghan Whigs finally made the gritty soul record just always out of their reach -- seamlessly integrating the R&B aspirations which have textured the band's sound since the beginning, the music simmers with raw energy, its deep, dark grooves not so much white-boy as simply white-hot. Recorded in New Orleans, the album is plainly the product of its environment -- sultry, sleazy, and more than a little menacing; here more than ever, Greg Dulli is the frontman you love to hate, strutting and swaggering his way through standout tracks like "Something Hot," "Uptown Again," and "John the Baptist" with predatory aggression. (Who else would deliver a lyric like "I got the devil in me, girl" as though it were a pickup line?) Still, for all its cocksure arrogance, 1965 is nevertheless a sincere tribute to the classic music recalled by the album's title -- lyrics aside, even if Dulli did sell his soul, he's somehow managed to get it all back. © Jason Ankeny /TiVo
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CD7,99 €

Alternativ und Indie - Erschienen am 10. Januar 1992 | SUB POP

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CD19,49 €

Alternativ und Indie - Erschienen am 12. März 1996 | Rhino - Elektra

The Afghan Whigs hit a high-water mark with 1993's Gentlemen, an album that upped their game musically and plumbed the depth of Greg Dulli's self-loathing with its tales of a ladies' man whose attitude toward women (and himself) borders on the malignant. It was the band's finest and most most ambitious work, and the band was faced with the challenge of trying to top it. The Afghan Whigs' follow-up, 1996's Black Love, ultimately missed the mark, though not for a lack of trying. The performances were every bit as strong as those on Gentlemen, as Rick McCollum's mix of hard rock riffing and wailing slide guitar grew even stronger and the rhythm section laid down a beat that hit hard but retained a bit of their more graceful R&B influences. And vintage soul and funk were a significantly bigger part of the band's formula this time out, with the keyboards on "Bulletproof," the strings and percussion on "Blame, Etc.," and the hip-hop-influenced percussion on "Going to Town" serving as key signifiers. While the band was in great form on Black Love, Greg Dulli's songwriting wasn't as impressive; Black Love lacks the thematic unity and power of Gentlemen, the melodies just aren't as compelling, and while songs like "My Enemy," "Honky's Ladder," and "Night by Candlelight" are striking and well crafted, their strength points to the fact many of the other songs don't quite click. And as a lyricist, here Dulli was reworking the themes he'd explored in depth on Gentlemen and Congregation, and by this time he'd just about run out of juice. The Afghan Whigs were just too good a band to make an album that wasn't worth hearing, and the musicians blaze hard on Black Love, but the closer one scrutinizes the work, the more this record feels like a misstep after the excellence of Gentlemen and Congregation. © Mark Deming /TiVo

Alternativ und Indie - Erschienen am 12. März 1996 | Mute

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The Afghan Whigs hit a high-water mark with 1993's Gentlemen, an album that upped their game musically and plumbed the depth of Greg Dulli's self-loathing with its tales of a ladies' man whose attitude toward women (and himself) borders on the malignant. It was the band's finest and most most ambitious work, and the band was faced with the challenge of trying to top it. The Afghan Whigs' follow-up, 1996's Black Love, ultimately missed the mark, though not for a lack of trying. The performances were every bit as strong as those on Gentlemen, as Rick McCollum's mix of hard rock riffing and wailing slide guitar grew even stronger and the rhythm section laid down a beat that hit hard but retained a bit of their more graceful R&B influences. And vintage soul and funk were a significantly bigger part of the band's formula this time out, with the keyboards on "Bulletproof," the strings and percussion on "Blame, Etc.," and the hip-hop-influenced percussion on "Going to Town" serving as key signifiers. While the band was in great form on Black Love, Greg Dulli's songwriting wasn't as impressive; Black Love lacks the thematic unity and power of Gentlemen, the melodies just aren't as compelling, and while songs like "My Enemy," "Honky's Ladder," and "Night by Candlelight" are striking and well crafted, their strength points to the fact many of the other songs don't quite click. And as a lyricist, here Dulli was reworking the themes he'd explored in depth on Gentlemen and Congregation, and by this time he'd just about run out of juice. The Afghan Whigs were just too good a band to make an album that wasn't worth hearing, and the musicians blaze hard on Black Love, but the closer one scrutinizes the work, the more this record feels like a misstep after the excellence of Gentlemen and Congregation. © Mark Deming /TiVo
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CD16,99 €

Alternativ und Indie - Erschienen am 12. März 1996 | Elektra Records

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CD9,99 €

Alternativ und Indie - Erschienen am 5. Mai 2017 | SUB POP

Nur ganz leicht öffnen die Afghan Whigs im Opener die Tür zum neuen Album und doch blendet das Licht bereits, das durch die schmale Fuge scheint. "Birdland" ist das glitzernde Vorspiel zum großen Dulli-Drama: "So in a haze of feverish lights the satyr arrives to the throne". Der sparsamen Ouvertüre, Dullis hochstimmiges Greinen nur von spukhaftem Chor eingeleitet und von Orchesterpartikeln getragen, folgt die Cinemascope-Breitseite auf dem Fuße. "Arabian Heights" verdrahtet die typischen Whigs-Ingredienzen: Ein mauerdickes Riff zwischen Heavyness und Eleganz, synkopierter Groove, fließend arrangiert. Passgenau gefolgt von der ersten Single des Albums, "Demon In Profile", mit seinen schwülen Streichern, den Gitarren aus dem Riffschränkchen von George Harrison und einer unwiderstehlichen Piano-Tonfolge, wie beiläufig aus dem Ärmel in die Tasten gefallen. Wir schreiben Album Nr. 2 nach der Reunion der einstigen Grunge-Adepten aus Cincinnati, die ihren Stil heuer kaum merkbar verrücken, stattdessen Attitüde und Anspruch lediglich weiter verfeinern. Wer da auf Revision alter Preziosen vom Schlage "Retarded", "Conjure me" oder "Amphetamines & Coffee" wartet, der tut das auch weiterhin vergeblich. Die Afghan Whigs anno 2017, mit Dulli und Bassist Curley nur noch zwei Original-Mitglieder im Line-up, haben ihren Sound mittlerweile so klar sortiert, dass man sie binnen Sekunden erkennt. Es gibt diesen ganz bestimmten Akkordwechsel, wie ihn nur die Whigs spielen, und wenn Greg Dullis Stimme einsetzt, ob flehend oder im Falsett, dem Soul um Häuserecken nachjagend oder leicht neben der Spur schreiend, ist der Fall eh klar. Für das Noisey-Magazin hat der Sänger und Kopf der Band, der das Album zudem auch produziert hat, gerade die eigene Diskografie bewertet und "Black Love" als seinen persönlichen Favoriten auf die 1 gesetzt. Kaum ein Zufall, dass "In Spades" den Faden des Klassikers von 1996 in Teilen aufnimmt: Die Songs dampfen und schwitzen, sind vertontes Hinterzimmer-Drama aus dem Sexclub um die Ecke. Hier werden übervolle Whiskeygläser von einem Ende der Bar ans andere geschoben, wird im Séparée getuschelt, enden Stories auf dem nassen Asphalt, steigt die Sonne über dem Boulevard und verscheucht die Nachtgestalten zurück in ihre Löcher. Zehn Songs sind es geworden, bei gut 36 Minuten stoppt die Uhr. Das ist übersichtlich, gleichsam klassische Vinyllänge, dabei sind die Tracks so opulent aufgebaut und detailgespickt, dass es einem, im besten Sinne, deutlich länger vorkommt. Und wenn der elegische Rausschmeißer "Into The Floor" (darf man eigentlich noch Powerballade sagen?) mit seinen dezenten Anklängen an Don Henleys "Boys Of Summer", endet, geht die Repeat-Taste zurück auf die 5: "Oriole" ist ein Kernstück des Albums. Eröffnet von luftigen Akustikgitarren, akzentuiert von Vibraphon-Geklöppel, sich windend, steigernd, abfahrend - ein Roadmovie von einem Song, Zähnezeigen im Rückspiegel, die Sonnenbrille etwas nach vorn gerutscht, aus dem Kofferraum wehen ein paar Dollarnoten in den Wüstenwind und die Knarre im Handschuhfach gilt es auch noch verschwinden zu lassen. Große Platte. Große Band. Großes Kino. © Laut
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CD9,99 €

Alternativ und Indie - Erschienen am 14. April 2014 | SUB POP

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CD9,99 €

Alternativ und Indie - Erschienen am 14. April 2014 | SUB POP

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CD1,79 €

Alternativ und Indie - Erschienen am 18. Februar 2014 | SUB POP

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CD1,79 €

Alternativ und Indie - Erschienen am 24. April 2007 | Rhino

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CD9,99 €

Alternativ und Indie - Erschienen am 1. April 1990 | SUB POP

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CD9,99 €

Alternativ und Indie - Erschienen am 5. Oktober 1992 | SUB POP

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CD1,79 €

Alternativ und Indie - Erschienen am 8. März 2017 | SUB POP

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CD1,79 €

Alternativ und Indie - Erschienen am 19. April 2017 | SUB POP

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CD1,79 €

Alternativ und Indie - Erschienen am 26. Juli 2017 | SUB POP