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Never Stop

September 14, 2010 | Format: MP3

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Song Title
Time
Popularity Prime  
30
1
5:44
30
2
3:51
30
3
7:10
30
4
4:22
30
5
9:15
30
6
3:59
30
7
7:41
30
8
4:41
30
9
9:08
30
10
2:26
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Product Details

  • Original Release Date: September 14, 2010
  • Release Date: September 14, 2010
  • Label: eOne Music
  • Copyright: (C) 2010 E1 Music
  • Total Length: 58:17
  • Genres:
  • ASIN: B0041A6RUC
  • Average Customer Review: 4.7 out of 5 stars 14 customer reviews
  • Amazon Best Sellers Rank: #92,357 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Top Customer Reviews

Format: MP3 Music Verified Purchase
The Bad Plus are best known for their fantastic covers. "Everybody Wants To Rule The World" and "Smells Like Teen Spirit" are the best known examples. To date, every album has featured several covers of rock songs. To be sure, they had their own material which was fantastic, exciting, and fresh.

We always knew they didn't need to do covers, but they did it anyway, almost as an anchor for each album release. Their most recent prior album "For All I Care" featured vocals for the first time and included a whole bunch of covers. The group said they wanted to "shake things up."

Well, now that I'm shaken up, they do it again, only 19 months after their last release! "Never Stop" is all original material! Almost as a warm-up, a kind of stylistic overture, the album starts with "The Radio Tower Has A Beating Heart." It's prog jazz with no apologies. The title song "Never Stop" has me hoping they won't. It's probably the most accessible cut for new listeners. "You Are" is another fine example of how wide open the sound of this trio can be.

The more melodic numbers, "People Like You," "Snowball," and "Bill Hickman At Home" are more traditional in shape and sound. However, when the performer is The Bad Plus, more traditional is still very progressive.

The album ends with "Super America," a wonder tune that pays homage (in a very Bad Plus way) to Americana and the wide open plains.

I hope they never stop doing all original albums. Even if they don't stop doing covers.
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Format: Audio CD
Overview:

For the first time ever the Bad Plus, who are known for their clever jazz arrangements of modern pop & rock tunes, have released an album with all original material. After several albums of doing a mixture of covers and originals, the Bad Plus did a CD of all covers with "For all I care", and now with "Never Stop", a CD of all originals. The Bad Plus is a jazz trio featuring Ethan Iverson on piano, Reid Anderson on bass, and Dave Kingman on drums. Their sound is very modern post bop (post modern post bop?) with a strong flare for the avant-garde. On "Never Stop" they've gone big with grandiose, epic, original anthems. They've written 10 great songs, each one epic and post modern. It's hard to choose which are my favorites. This is CD is a must have for Bad Plus fans. Fans who like their originals are going to be in heaven when they hear this release. Also fans of the piano/bass/drum jazz trio not familiar with the Bad Plus will probably enjoy seeing where these guys have taken this classic jazz format.

Song Highlights:

Radio Tower Has a Beating Heart - The song opens with grandiose, cascading waves of sounds. Iverson's crashing piano chords almost sound like waves crashing on a rocky shore. After about 3 minutes of this crashing background with an interwoven piano solo the songs cleans up into pretty melody.

Never Stop - This song sounds like a modern pop/dance tune. It is an upbeat and epic anthem. When's the last time a jazz trio made you want to jump out of your seat and jump around?

You Are - This tune has a driving bass line with a lengthy reflective piano solo. The piano solo has dark overtones and is sad and epic.
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Format: Audio CD Verified Purchase
The glowing reviews from largely self-selected fans of The Bad Plus cast doubt on the controversial aspects of their peculiar music, being a truly novel, category-defying, amalgation of avant-garde free jazz and alternative rock; however, many jazz enthusiasts still scratch their heads. And yet, and yet their energetic musical structures, or destructures, captivate. Dave King's drum work particularly is a creative force both in its chopping up of rhythm and its various tones. The piano is a percussive instrument, a lesson relearned as Ethan Iverson hammers the keys with melodic phrases and din. The bass of Reid Anderson also acts percussively but with additional layering of riffs. Artists search for their own special voice. The Bad Plus certainly has developed their now recognizable sound. Those on the frontier sometimes go to extremes in pushing the boundaries, as I personally believe this group has done previously. Even so, it is in service to jazz. This album is somewhat more tame and much better developed than, for instance, Prog. The tunes are entirely their own compositions. My favorites are track 5, People Like You, and track 7, Snowball, with their slower ballad foundation. Track 9, Bill Hickman at Home, with its honky-tonk New Orleans piano and snare and brushes, allows the band's humor an outlet. Anderson also gets to step out with his solo bass improvisation. They end well in the brief Super America, a propulsive, hand-clapping, ditty.
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By Seed on September 15, 2010
Format: MP3 Music
This is the album I've been waiting for. A complete album of original music composed by Anderson, Iverson, and King. They've always had a knack for improving the songs they've chosen to cover, but their writing is on another tier. I had the chance to hear many of these songs during performances by the band in the last two years. It delivers, well worth the wait.
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Format: Audio CD
Before popping in a CD by The Bad Plus, you already know to expect that which cannot be expected. This innovative, off-kilter, and outright odd trio from Minneapolis, MN is comprised of pianist Ethan Iverson, bassist Reid Anderson, and drummer Dave King (not our MT writer), and has earned a spot on any eclectic jazz mix tape for their ability to defy the taxonomic containers of genres in lieu of a fusion, if not commentary, on how music translates thought to emotion.

So that is what we are left with - emotions.

Never Stop is an entirely instrumental disc - without Wendy Lewis on vocals as in their previous album, For All I Care. So that leaves us with deciphering the jazz code, translating elements like meter, rhythm, cadence, and chords in to digestible experiences - an activity that requires a strong ear.

What first pops out to me about Never Stop is that it is relentlessly jagged. Ubiquitous throughout the entire album, phrasing stabs in unpredictable bursts that interrupt the listeners' expected flow of each song. Outside the realm of simple syncopation, off-beats of off-beats of off-beats punctuate each song with conviction, trying their damnedest to interrupt your comfortable listening process. Even compared to the jazz genre as a whole, this unpredictable phrasing is considerably avant garde.

I must make the distinction for you that there are important differences between avant garde and absurdest Neo-Dada noise music e.g. Yoko Ono's nauseating brand of art. There is, indeed, many layers of thoughtful construction and musicality buried within each track of Never Stop. They are just woven and layered in a manner that requires some careful listening and decoding.

Nor is it true that this album lacks any discernible structure or beat.
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