Password: sharedmusic.net
Artist : Dewey Cox (John C. Reilly)
Album : Walk Hard- The Dewey Cox Story
Source : CD
Year : 2007
Genre : Rock
Encoder : NMR
Codec : Lame 3.97
Quality : VBR, average 169kbps, joint stereo
ID3-Tag : Yes, Version 1 & 2.3
Posted By : BackDoor Man on 29-12-2007
Ripped By : Unknown
Posted to : alt.binaries.sounds.mp3
alt.binaries.sounds.mp3.2000s
alt.binaries.sounds.mp3.soundtracks
alt.binaries.sounds.mp3.full_albums
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Included : This Info-File (NFO)
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Review
by Stephen Thomas Erlewine
- All Music Guide
It goes without saying that a music movie lives or dies by its music, but it's particularly true with pop music parodies. If the music doesn't hit the right notes -- if it doesn't feel like the period it's meant to evoke, if the humor is either too broad or dry -- the movie crumbles around it, to say nothing of the soundtrack, which will be hard-pressed to stand on its own as an album. The gold standard for rock comedies is This Is Spinal Tap, as the music felt authentic, and Christopher Guest, Harry Shearer, and Michael McKean proved that lightning could strike twice with their folk music saga A Mighty Wind.
The soundtrack to the John C. Reilly-starring Walk Hard: The Dewey Cox Story belongs in such rarefied company. Like Spinal Tap, Walk Hard sets the bar high by attempting to create many sounds from the past, but where the Tap pretty much confined themselves to a bit of Merseybeat and psychedelia before settling into a metallic groove, the whole point of Walk Hard is to trace Reilly's Cox character -- based chiefly on Johnny Cash -- through the ins and outs of the '50s, '60s, and '70s, so there are more sounds here and thereby more pitfalls, all of which the music-makers miraculously manage to avoid. This is especially remarkable because the 15 songs on Walk Hard evoke many different artists: there is naturally Johnny Cash on the title track, the mariachi-flared "Guilty as Charged," and the cheerfully vulgar Johnny and June take-off "Let's Duet," but there are also two takes on Elvis ("[Mama] You Got to Love Your Negro Man," "[I Hate You] Big Daddy"), three on Dylan, Roy Orbis! on on the grandly melodramatic "A Life Without You (Is No Life at All)," and the Everly Brothers-styled "Darling," but this also leaves old-time rock & roll behind with the Beach Boys psych-pop pastiche "Black Sheep" and, bizarrely, a disco spin on David Bowie's "Starman."
That's a lot of ground to cover, but the songs work as music while still being funny. Sometimes, the jokes are big and obvious -- the double entendres on "Let's Duet" are hardly subtle -- but sometimes the humor is a bit sly, as on "Royal Jelly," which nails Dylan's stream-of-conscious romantic writing. Of course, that song wouldn't work if it weren't for John C. Reilly's delivery; he mimics the particulars of Dylan's cadence with the grace of Cate Blanchett, and his fine ear for detail is evident throughout this soundtrack, as he negotiates the twists and turns of the music with ease. Such a performance would be admirable if the songs weren't good, but since they're very fine, his singing helps turn Walk Hard into that rarest of things: a parody album that's almost as addictive as the real deal.
Tracklisting
------------
01 (2:47) - Walk Hard
02 (2:31) - Take My Hand
03 (2:44) - (Mama) You Got To Love Your Negro Man
04 (2:19) - A Life Without You (Is No Life At All)
05 (3:32) - Let's Duet
06 (2:35) - Darling
07 (1:49) - (I Hate You) Big Daddy
08 (2:51) - Guilty As Charged
09 (2:45) - Dear Mr. President
10 (1:53) - Let Me Hold You (Little Man)
11 (4:27) - Royal Jelly
12 (3:44) - Black Sheep
13 (3:40) - Starman
14 (3:44) - Beautiful Ride
15 (2:28) - (Have You Heard The News) Dewey Cox Died
Playing Time : 43:49
Total Size : 59.5 MB
I'll check the post after I make it and if it goes up properly I won't be making any full track reposts until after it clears the premium servers. After a reasonable amount of time I will be happy to help anyone who needs fills.
Extra par2 repair blocks will be posted as soon as I see a request for them.
If you don't use par2 because you don't know how or don't have a program to use it, quickpar is very simple to use and is free.
http://www.quickpar.org.uk/
--
backdoor man
Part: 2 : Glen Campbell - Meet Glen Campbell (2008)
Password: sharedmusic.net
+----------------+------------------------------------------+----------------+
| |
| Artist : Glen Campbell |
| Album : Meet Glen Campbell-(Advance) |
| Bitrate : VBR kbps |
| |
+-------------------------------[Release Info]-------------------------------+
| |
| Label : Capital Records |
| Year : 2008 |
| Genre : Country |
| Rip date : Jul-16-2008 |
| Store date : Aug-19-2008 |
| Size : 49,6 MB |
| |
+--------------------------------[Track List]--------------------------------+
| |
|Track Listing: |
| |
| 01 - Sing 03:45 |
| 02 - Walls 03:32 |
| 03 - Angel Dream 02:29 |
| 04 - Times Like These 03:28 |
| 05 - These Days 03:30 |
| 06 - Sadly Beautiful 03:20 |
| 07 - All I Want Is You 04:15 |
| 08 - Jesus 03:11 |
| 09 - Good Riddance (Time Of Your Life) 02:36 |
| 10 - Grow Old With Me 03:39 |
| |
| ÄÄÄÄÄ |
| 33:45 min |
| |
+-------------------------------[Release Notes]------------------------------+
| |
| Enjoy... new album of covers from some of your favorite bands! |
| |
| It isn't accurate to call Glen Campbell "pure country," but his smooth |
| fusion of country mannerisms and pop melodies and production techniques |
| made him one of the most popular country musicians of the late '60s and |
| '70s. Campbell was one of the leading figures of country-pop during that |
| era, racking up a steady stream of Top Ten singles, highlighted by |
| classics like "By the Time I Get to Phoenix," "I Wanna Live," "Wichita |
| Lineman," "Galveston," "Rhinestone Cowboy," and "Southern Nights." |
| Boasting Campbell's smooth vocals and layered arrangements, where steel |
| guitars bounced off sweeping strings, those songs not only became |
| country hits, they crossed over to the pop charts as well, which was |
| appropriate, since that is where he began his musical career. |
| Originally, he was a Los Angeles session musician, playing on hits by |
| the Monkees, Elvis Presley, Frank Sinatra, and Merle Haggard. By the end |
| of the '60s, he had become a successful solo artist, and that success |
| would not abate until the late '80s, when he stopped having radio hits |
| and began concentrating on live performances at his theater in Branson. |
| |
| Campbell was born and raised in Delight, AR, where he received his first |
| guitar when he was four years old. Learning the instrument from various |
| relatives, he played consistently throughout his [CENSORED]hood, eventually |
| gravitating toward jazz players like Barney Kessel and Django Reinhardt. |
| While he was learning guitar, he also sang in a local church, where he |
| developed his vocal skills. By the time he was 14, he had begun |
| performing with a number of country bands in the Arkansas, Texas, and |
| New Mexico area, including his uncle's group, the Dick Bills Band. When |
| he was 18, he formed his own country band, the Western Wranglers, and |
| began touring the South with the group. Four years later, Campbell moved |
| to Los Angeles, CA, where he became a session musician. |
| |
| Shortly after arriving in California, Campbell earned the reputation of |
| being an excellent guitarist, playing on records by Bobby Darin and Rick |
| Nelson. In 1960, he briefly joined the instrumental rock & roll group |
| the Champs, who had the hit single "Tequila" two years earlier. The |
| following year, he released his debut single, "Turn Around, Look at Me," |
| on the small Crest label; the single reached number 62 later in the |
| year. By the summer of 1962, he had released "Too Late to Worry — Too |
| Blue to Cry" on Capitol Records; the single only spent two weeks on the |
| charts, peaking at 76. While he was tentatively pursuing a solo career, |
| Campbell continued to play professionally, most notably for Elvis |
| Presley and Dean Martin. Also in 1962, he played guitar and sang on |
| "Kentucky Means Paradise," a single by the one-off group the Green River |
| Boys, who released an album, Big Bluegrass Special. "Kentucky Means |
| Paradise" became a hit on the country charts, climbing to number 20. |
| Instead of pursuing a full-fledged country career after the single's |
| release, Campbell returned to studio work, and over the next two years |
| he played on sessions by Frank Sinatra ("Strangers in the Night"), Merle |
| Haggard ("The Legend of Bonnie and Clyde"), the Monkees ("I'm a |
| Believer"), the Association, and the Mamas & the Papas, among many |
| others. |
| |
| Following Brian Wilson's breakdown and retirement from the road in 1965, |
| Glen Campbell became a touring member of the Beach Boys for several |
| months. At the end of his tenure as the group's temporary bassist, the |
| Beach Boys offered him a permanent spot in the band, but he turned them |
| down when they wouldn't allow him to have an equal cut of the group's |
| royalties. A few months after rejecting the band's offer, the Beach |
| Boys' record label, Capitol, offered Campbell a full-fledged contract. |
| His first release under his new long-term Capitol contract was a version |
| of Buffy Sainte-Marie's "The Universal Soldier," which peaked at number |
| 45. For much of 1966, he continued to pursue studio work, but he |
| released "Burning Bridges" toward the end of the year, and it climbed to |
| number 18 on the country charts early in 1967. |
| |
| During 1967, Capitol pushed Campbell as a country recording artist, and |
| their breakthrough arrived in the late summer when his folky country-pop |
| rendition of John Hartford's "Gentle on My Mind" became a Top 40 hit on |
| both the country and pop charts. By the end of the year, he had released |
| a cover of Jimmy Webb's "By the Time I Get to Phoenix," which reached |
| number two on the country charts, and number 26 on the pop charts. Early |
| in 1968, "Gentle on My Mind" won the Grammy Award for Best Country & |
| Western Recording of 1967. Campbell's success continued in 1968, as "I |
| Wanna Live" became his first number one hit and "Dreams of the Everyday |
| Housewife" reached number three. The following year, CBS television |
| hired him to host the variety show The Glen Campbell Good Time Hour, |
| which became quite popular and helped establish him as not only a |
| country star, but a pop music superstar. |
| |
| Throughout the late '60s and early '70s, Campbell continued to rack up |
| hit singles, including the number one hits "Wichita Lineman" (1968) and |
| "Galveston" (1969), plus the Top Ten singles "Try a Little Kindness" |
| (1969), "Honey Come Back" (1970), "Everything a Man Could Ever Need" |
| (1970), and "It's Only Make Believe" (1970). In 1968, he began recording |
| duets with Bobbie Gentry, and they had hit singles with their versions |
| of two Everly Brothers songs: "Let It Be Me," which reached 14 in 1969, |
| and "All I Have to Do Is Dream," which peaked at number six in 1970. |
| Also in 1969, he began a film career, appearing in the John Wayne movie |
| True Grit that year and Norwood the following year. |
| |
| By 1972, Campbell's record sales started slipping. After "Manhattan |
| Kansas" reached number six that year, he had trouble having Top 40 hits |
| for the next two years. Furthermore, his television show was canceled. |
| As his career slowed, he began sinking into drug and alcohol addiction, |
| which continued even through his mid-'70s revival. In 1975, he returned |
| to the Top Ten with "Rhinestone Cowboy," a huge hit that reached number |
| one on both the country and pop charts. Over the next two years, he had |
| a number of Top Ten country hits, including "Country Boy (You Got Your |
| Feet in L.A.)" and "Don't Pull Your Love"/"Then You Can Tell Me |
| Goodbye," which also reached the pop charts. In 1977, he had his final |
| number one hit with "Southern Nights," which topped both the country and |
| pop charts. |
| |
| Following the success of "Southern Nights" and its follow-up, |
| "Sunflower," Campbell stopped reaching the country Top Ten with |
| regularity, yet he had a string of lesser hits and was an immensely |
| popular performer in concert and television. During the mid-'80s, he |
| experienced a brief commercial revival, as the singles "Faithless Love," |
| "A Lady Like You," and "The Hand That Rocks the Cradle" all reached the |
| country Top Ten. By that time, he had begun to clean up his act. Over |
| the course of the mid-'80s, he kicked his addictions to drugs and |
| alcohol and became a born-again Christian. Appropriately, he began |
| recording inspirational albums, yet he didn't abandon country music. As |
| late as 1989, Campbell's smooth, synth-laden contemporary country-pop |
| was reaching the country Top Ten; his last two Top Ten country hits were |
| "I Have You" (1988) and "She's Gone, Gone, Gone" (1989). |
| |
| Campbell began recording less frequently in the early '90s, especially |
| since he could no longer reach the charts and the radio, since they were |
| dominated by new country artists. Over the course of the decade, he |
| gradually moved into semi-retirement, concentrating on golf and |
| performing at his Goodtime Theater in Branson, MO. In 1994, he published |
| his autobiography, Rhinestone Cowboy. |
| |
+----------------------------------------------------------------------------+
