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Page Artiste Hüsker Dü


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  • Warehouse: Songs & Stories
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  • New Day Rising
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Détails sur le produit

  • CD (20 novembre 1992)
  • Nombre de disques: 1
  • Label: Warner Bros
  • ASIN : B000005JAM
  • Autres éditions : CD  |  Cassette  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 3.5 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 73.489 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Descriptions du produit

Killer 1987 swansong featuring "Could You Be The One", "She Floated Away" & "Up In The Air".

Critique

Les oiseaux de mauvaise augure ne donnent alors pas cher de la peau du trio de Minneapolis, convaincu que la signature sur une major va épuiser sa substance, sa créativité et sa capacité à rendre compte, en une poignée de minutes électriques, de la frustration de toute une génération.

Il est exact que beaucoup de fans de la première heure se sont détournés – confondant propreté cinglante du son et asepsie – de ce nouveau double album (après Zen Arcade et contre l’avis de la maison de disques elle-même, qui y voyait un suicide économique). Car Warehouse... est un disque vraiment produit, vraiment utilisateur des techniques de studio (pistes multiples, effets), vraiment travaillé au-delà d’une simple éruption punk.

On saura plus tard (c’est toujours après coup que s’établit le diagnostic) qu’avec cet enregistrement, cette capacité à construire des mélodies élaborées sans renier l’énergie initiale, Hüsker Dü construisait les bases du rock des années 90. Et on comprendra encore plus tardivement, que, dans le déchirement, les tensions et le drame (la mort du manager du groupe), ce serait leur vrai dernier disque.

Le quatrième grand album du trio en trois ans. Et Warehouse : Songs and Stories s’autorise même une – timide – incursion (117ème position) dans les charts américains.

- Copyright 2016 Music Story


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Format: CD
Hüsker Dü est tout sauf un grand groupe (même si Bob Mould est un artiste exemplaire et qui compte) à cause de défauts rédhibitoires (dont une production beaucoup trop lisse sur ce "Warehouse"). Mais il reste les chansons, et celles sur ce disque me touchent énormément. C'est une mélancolie différente de celle de Dylan ou des Smiths, qui annonce peut-être celle de Pavement, que l'on retrouve ici. Ce n'est plus du hardcore, pas du rock mainstream, c'est "Warehouse", un disque qui me touche énormément. Dans le même genre, Flip your Wig est quasiment du même niveau, alors que je suis totalement hermétique à Candy apple grey, souvent présenté comme le faux jumeau de Warehouse. New day rising est très bon, mais beaucoup, beaucoup plus hardcore. Et Zen arcade, pour moi, c'est inaudible.
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Par Ben Linus le 11 août 2013
Format: CD Achat vérifié
JE CONNAISSAIS SUGAR,LE GROUPE POST-HUSKER DU, ET J'AIMAIS MAIS CET ALBUM (JE VAIS EN ECOUTER D'AUTRES POUR VOIR SI CELA SE CONFIRME) M'A TRES DECU...ON DIRAIT UN BROUILLON IMPARFAIT DE CE QUE BOB MOULD A REUSSI AVEC SUGAR ET DE CE QUE TOUT LE ROCK INDE US A REUSSI PAR LA SUITE...JE RESTE SCEPTIQUE MAIS MON AVIS CHANGERA PEUT-ETRE A L'ECOUTE DE LEURS AUTRES ALBUMS !?
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9e6cc360) étoiles sur 5 67 commentaires
26 internautes sur 27 ont trouvé ce commentaire utile 
HASH(0x9e5ff270) étoiles sur 5 HuDu's final masterpiece 23 avril 2000
Par Jay - Publié sur Amazon.com
Format: CD
By the time this record came out, it was clear that Husker Du was doomed. While Hart and Mould were on different artistic pages on Candy Apple Grey (Hart more poppish, Mould more personal), they don't even sound like they're reading from the same book in Warehouse. In any given song, the songwriter overdubs his own voice rather than getting backing from the other. Also, as on the Beatles' fragmented White Album, almost every songwriter alternates: Mould/Hart/Mould... And finally, the lyrics contain many frank elusions to the onrushing split -- Mould cries out "The biggest thing to me / Is making this thing work for life / We gotta turn it around," while Hart grimly states "Things didn't go exactly as they planned... There's a vacancy between them every day." Ultimately, the split seems inevitable to the listener -- Mould is simply too depressed and angry, Hart too screwed up and stubborn. However, this record stands as their final collaboration and artistic swan song.
The primary reason that this record is so good is simply the songs -- it is twice as long as their other records but is the most consistent set of their career. Warehouse plays more like an extended single album than an artsy, ambitious double LP such as Zen Arcade -- the songs are almost all straight ahead pop-as-punk, but are more forthright with their debt to 60's rock: Songs such as "Turn It Around" or "No Reservations" carry a singer-songwriter twist, while "She's a Woman" is pure pop and "Tell You Why Tomorrow" is an invigorating hit of psychedelia. In general, Hart experiments more but the overall quality of his songs are lower than Mould's, whose contributions are universally excellent -- he turns in not a single weak track, while several of Hart's tunes are simply a basis for having a good time in the studio.
Which brings me to the second strength of the record -- its production. Much like Pet Sounds, this album matches the band's more mature songwriting with a gorgeous, adventurous, broad-ranging sound, complete with cleaner multitracked guitar and vocal, various percussion techniques and endless studio effects, from the chiming clocks closing "Tell You Why Tomorrow" to the shimmering reverb carrying "Up in the Air" into "You Can Live at Home."
However, due to the fierce rivalry and tension between the band at the time of recording, the album is emotionally a mixed bag -- Hart tends to be more simplistic sad-pop or happy-pop as on the bubbly "Charity, Chastity, Prudence and Hope" or the grim but uptempo "She's a Woman", whereas Mould delivers a broader palette of veiled admonishments and pleas to Hart ("Friend You've Got to Fall," "Turn It Around") as well as incisive self-examination ("Bed of Nails," "No Reservations") and clear-eyed philosophizing ("These Important Years"). The album's closers are majestic and amzing: "Up in the Air" (which is Mould's veiled entreaty to Hart not to leave) and "You Can Live at Home" (which is Hart's epic jam declaring "I can be beautiful without you torturing me / Walk, walk away").
Ultimately, this album is a collection of 20 songs of the first order, fabulously produced and driven by one of the best songwriting teams since Lennon and McCartney. It stands as their final statement, and what an eloquent statement it is.
17 internautes sur 20 ont trouvé ce commentaire utile 
HASH(0x9e44ed2c) étoiles sur 5 Beautiful Debate 1 avril 2005
Par H. L. Thomas - Publié sur Amazon.com
Format: CD
I'm a Husker Du fan. I was lucky to see them live and then to see Bob Mould solo live (Sugar is a different beast altogether). I like so many have been a fan from the first blast of Land Speed Record. Their last studio recording really is beautiful, and it really does show the way that Grant Hart and Bob Mould challenged each other to the very end of the band. Norton's bass and presence held them together. Each release was a bit different from the other, but it is obvious that Flip Your Wig and Candy Apple Grey complete a story of a sound. This sound is infectious. The assault of guitar and voice is without a doubt the strongest of American rock. I have always viewed them as something of an American folk band with the politics being a politics of the emotive soul. Why? The lyrics explore every emotion possible and then some. And the music stands right beside the words presenting each and every song as the continuing story of Warehouse Songs. This band was pure genius and Warehouse Songs stands tall today. It is fast and then melodious. It has violent emotions and then tender insights ("she lifted her arms and floated away.."). Once in the car CD player this is a difficult disc to take out unless it is replaced with the Ramones Anthology or Elvis Costello Girls Girls Girls. Because I am a fan of the band I can't dismiss one recording over another the way that the epic Zen Arcade is pitched against the boom/crash of New Day Rising, so as a musical essay on it's own Warehouse Songs is fairly perfect.
And that's the way this disc is: fast American rock/punk and emotive song crafting.
I miss the pairing of songs that Mould and Hart were so talented at putting together.
16 internautes sur 20 ont trouvé ce commentaire utile 
HASH(0x9e61f6c0) étoiles sur 5 "Familiar places that we turned into gardens" 4 avril 2006
Par mwreview - Publié sur Amazon.com
Format: CD
Warehouse: Songs and Stories was the last Husker Du studio album. It was released in 1987. They are one of my all-time favorite bands and they seemed to get better and better with each album they made. In Warehouse they left their fans with a double-album filled with great tracks and absolutely no fillers. It's unfortunate that they broke up seemingly so soon, but both Grant Hart and Bob Mould continued with excellent solo records (I especially recommend Intolerance by Hart and Workbook and Black Sheets of Rain by Mould) as well as new bands Nova Mob and Sugar. Here is the warehouse-full of awesome tracks offered on this album:

"These Important Years" (Mould) 3:49: An excellent track to begin the album. Great rocker.

"Charity, Chastity, Prudence, and Hope" (Hart) 3:11: Grant Hart kept getting better and better as a songwriter and here he offers up some amazing rockers that even have a slight country rock sound. This track just flies and never lets up. The guitar solo is yeehaw good!

"Standing in the Rain" (Mould) 3:41: One of Mould's more popular tracks but it is not one of my favorites. It's good, of course, but seems a bit mundane.

"Back From Somewhere" (Hart) 2:16: Another country-style, yeehaw rocker by Grant Hart. I like Hart's vocals on this one (yeehaw style again).

"Ice Cold Ice" (Mould) 4:23: One of my favorite Mould tracks here. It begins with menacing guitar and then rocks. I wish Hart's backing vocals were clearer as I think it would have made the song even better. It sounds great on the live album The Living End.

"You're a Soldier" (Hart) 3:03: This song is just OK. I can actually take it or leave it. Anti-war songs are so prevalent and this one isn't very special. I don't like the backing vocals and the line "knocking over everything that's standing in your way. Can you tell me just how many did you kill today" line sounds like another song, but I can't put my finger on which song that is.

"Could You Be the One?" (Mould) 2:32: This is probably the most recognizable song from this album. They made a music video for it. I never thought I liked it that much but I find myself humming this track a lot, so it must be pretty addictive.

"Too Much Spice" (Hart) 2:57: Another yeehaw rocker by Hart. I love this stuff! I like the lyrics and Hart's vocals are crisp and clear and not barely audible like on some of his tracks. Definitely a sing-along-to song. And a rockin' guitar solo, too.

"Friend, You've Got to Fall" (Mould) 3:20: Catchy track. Up there with "Ice Cold Ice" and "Up in the Air" as my favorite Mould track on this album. Great guitar as always.

"Visionary" (Mould) 2:30: This track is OK, but is not a memorable as most of the others here. I don't care for the chorus that much.

"She Floated Away" (Hart) 3:32: A nice change-of-pace. It has a hard, pulsating beat between the verses, but at the verses and chorus it has a transporting almost gospel-like quality (well, not as gospel as "She Can See the Angels" off Hart's solo album Intolerance). Interesting track.

"Bed of Nails" (Mould) 4:44: Rough Mould rocker that bites like a rusty saw. The "Please don't drive your nails into this heart of mine" line always bugged me as it seems very contrived.

"Tell You Why Tomorrow" (Hart) 2:42: A track that builds with intensity and also has a groovy bass line.

"It's Not Peculiar" (Mould) 4:06: Starts out with this pulsating riff which if OK but when Mould actually sings to this riff "It's not peculiar, there's nothing to devise at all-a-a-a-a-a-a-all right." Yuck. The verses leading up to it are actually pretty good, and Hart's higher backing vocals help it a little but it just bugs me.

"Actual Condition" (Hart) 1:50: Another Hart rocker, but my least favorite. This one is a bit too yeehaw for my tastes.

"No Reservations" (Mould) 3:40: Nice, slower-paced track.

"Turn It Around" (Mould) 4:32: This song is the only one on this track that I really do not like. It is almost embarrassing to listen to. I'm surprised Mould wrote it. It is just so contrived, silly, and mundane. I like the line "But the biggest thing to me is making this thing work for life." That really hits it home but most of the other lyrics and the musical aspect of the song I can definitely leave. Oh well, one ringer out of 20 is not bad.

"She's a Woman (And Now He is a Man)" (Hart) 3:19: I LOVE THIS SONG!! It may be my all-time favorite Grant Hart track! Great lyrics, great vocals, rocks, never lets up! I can't praise it enough!

"Up in the Air" (Mould) 3:03: Mould turns it around (so to speak) with this track. Excellent, catchy track. The chorus with the backing vocals is superb.

"You Can Live at Home" (Hart) 5:25: Appropriate ending to an incredible double-album. A long rocker that sounds like everyone is involved in the vocals and fades out. The bass really drives this one.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x9e459750) étoiles sur 5 Fine collection of songs for a double album 1 août 2011
Par John Alapick - Publié sur Amazon.com
Format: CD Achat vérifié
Husker Du's final album, Warehouse: Songs and Stories, was a great way to go out and is a fine collection of songs for a double album. While their other double album, Zen Arcade, is the better and more eclectic release, Warehouse is the more influential. If you want to know where the more melodic rock bands from the `90s (especially Foo Fighters) found their sound, look no further than here. As for the songs, most of them are very good although there is some noticeable slippage in what would have been Side 4 of the original LP. Bob Mould's songs are definitely the stronger ones as "Could You Be the One?", "Friend, You've Got to Fall", "Visionary", "Standing in the Rain", and "These Important Years" have great melodies and are catchy as sin. "Ice Cold Ice" and "Bed of Nails" are heavier songs by Mould and they're just as good. Grant Hart also has some great tunes here in the driving "Charity, Chastity, Prudence and Hope", "Too Much Spice", "Back From Somewhere", "She's a Woman (And Now He Is a Man)", and the wicked "She Floated Away". The rest of the songs are all good although they tend to float from one to another although "You Can Live At Home" is a strong closer. That's to be expected. Not every double album could be London Calling. Still, Husker Du was a great band and there is a lot of goodness to be found here.
6 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x9e459ee8) étoiles sur 5 Husker Du's finest hour, and the best album of the 80's 30 juillet 1999
Par Un client - Publié sur Amazon.com
Format: CD
Songwriters Bob Mould and Grant Hart never tried to force the chemistry between each other, it was simply THERE. Like Lennon and McCartney, Mould and Hart tapped into the subconscious and made music that to this day hasn't dated the slightest bit. Together with Greg Norton, they simply blew away everyone by progressing from the raw aggression of "Zen Arcade" to the sublime maturity of "Warehouse". Maturity is a word I select because it shows people being forced to deal with their problems instead of simply yelling about them. "Warehouse" is an album to live by, and it only gets more rewarding as time goes on.
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