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I first saw this cat at the Tralf in --- Frank De Blase
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Don’t let his skeletal arrangements and self-effacing charm fool you. Roger Houston (who once proclaimed himself “ While producer Nic Marinaccio wisely upholds --- Saby Reyes-Kulkarni
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In March 1970, after recording Déjà Vu with CSNY, Neil Young grabbed Crazy Horse and played two shows at the Fillmore East, the “church of rock and roll,” in The dusty fuzz of the guitars is more visceral here than on the well-known studio versions, particularly in “Everybody Knows This Is Nowhere.” The solo work by Young and Danny Whitten is sometimes reminiscent of David Gilmour’s dreaminess, and sometimes sounds as though the musicians are jabbing at notes that are on fire. Hustling out a backwoods stomp is “Wonderin’,” which feels as urban as it does rural and wouldn’t be out of place in anyone’s hands, from the Stanley Brothers to The Temptations. Closer “Cowgirl in the Sand” is the record’s shiniest gem, rocking for 16 minutes until its own jaw drops, reminding any studio wunderkind how much can be done with a five-piece and 40 minutes. --- Joel Leonard Chaffee
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Initially conceived to be an electronic-leaning rock group formed after the “hiatus” (read: demise) of Blink-182, +44 actually sounds like all those crappy late high-school/early college garage bands where the members play fast, possess little discipline, and even less artistry. Debut disc When Your Heart Stops Beating is one-part guitar thrashing, one part crappy lyrics, one part synthesizer, and one part b-o-r-i-n-g. The 12 tracks sound so much like one another, it’s sometimes difficult to tell the difference between songs. Only on the title track and “155” does any chemistry or interest come through. While I don’t necessarily miss the bodily function jokesters of Blink-182’s heyday, I was rather disappointed that the growth that Travis Barker and Mark Hopper showed on Blink’s final album didn’t sustain itself for this effort. Download the singles, save yourself some cash. --- Todd Rezsnyak
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