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Silver Age

4.7 out of 5 stars 95 customer reviews

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Vinyl, September 4, 2012
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Editorial Reviews

Bob Mould s 2012 album Silver Age, out on Merge, is the acclaimed singer-songwriter and Sugar/Hüsker Dü founder s first album of all-new studio material since 2009 s Life and Times. Inspired and informed by Bob s recent shows opening for Foo Fighters as well as his shows commemorating the 20th anniversary of Sugar s 1992 debut Copper Blue in which he performs that album in its entirety, Silver Age presents ten Mould compositions in the punishingly loud, melodically sparkling pop/rock vein of the Sugar catalogue that Merge reissued on July 24, 2012.

Featuring Bob s live band of drummer Jon Wurster (Superchunk) and bassist Jason Narducy (Split Single, Verbow), Silver Age ranks among the best work of any phase of Bob Mould s expansive career. With tracks like opener "Star Machine, " the cathartic title track, "The Descent, " the reflective "Round the City Square, " the celebratory "Keep Believing, " and the somber simmer of closer "First Time Joy, " Silver Age is rife with future classics set to take their rightful places in Bob s live set list alongside staples from Sugar, Hüsker Dü, and his earlier solo work.
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Product Details

  • Vinyl (September 4, 2012)
  • Number of Discs: 1
  • Label: Merge Records
  • ASIN: B008MA7VLG
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (95 customer reviews)
  • Amazon Best Sellers Rank: #166,891 in Music (See Top 100 in Music)

Customer Reviews

Top Customer Reviews

Format: Audio CD
"Here we go again." It's the very last line of the very last song of Bob Mould's SILVER AGE. And with those words, a journey ends and begins.

On the heels of a brutally honest autobiography published last year, Bob Mould seems to have exorcised some personal demons, affording him the opportunity with SILVER AGE -- arguably his finest album in decades -- to make music as a whole person.

An integrated self who seems much more comfortable now embracing all of the work he has done -- from his haunting first solo effort Workbook (1989) to the entire Hüsker Dü and SUGAR catalogs -- Mould seems to be making no apologies these days. At 51, he has no time for secrets. Likewise, there's little need to pull out the keyboards as he had been doing (to the consternation of many fans). And, rest assured those of you reading this review to inform your decision to buy or not to buy: on SILVER AGE, there's definitely no autotune.

Reminiscent of SUGAR's seminal COPPER BLUE (which Mould is, not coincidentally, out playing in support of that album's 20th anniversary and has claimed as the inspiration for the new album), SILVER AGE is very much the unrelenting sonic assault one would expect from a power pop trio. It's a formula that Mould helped pioneer in the eighties and early nineties, and his signature sound is all over the new record. Blistering riffs are played along / beside / within / on top of and during a barrage of power chords. Melodies rise above the noise, often signaled by faint harmonics or sudden shifts in dynamics. The layers of sound obtained from three basic instruments never ceases to amaze.

SILVER AGE is quintessential Mould.
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Format: MP3 Music
I have loved Bob since '88, when I heard the opening of "See a Little Light". This album seems to drop some where in between Workbook and Copper Blue. There isn't one misstep on this album. Even the free flow at the end of "Steam of Hercules" feels like it belongs. The first single, "The Descent", let's you know what you are in for on this album.
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Format: MP3 Music Verified Purchase
I can't begrudge Bob for exploring his muse since Sugar disbanded. He had already invented "modern rock" with Husker Du and Sugar, and his two first solo efforts. How can you fault him for wanting to explore other directions. And those other directions yielded some great music, but for me never replicated what I appreciated most about his music.

And now this new album Silver Age came out of nowhere. WOW. It is like the last two decades were folded out of the time-line and reconnected with Copper Blue. Seamlessly.

I played Copper Blue, Beaster, all of the Husker Du catalog, and Workbook, Black Sheets of Rain, Hubcap endlessly for decades. And now that same feeling is back!

This is the music Bob Mould was meant to play. Catchy, guitar heavy pop with deeply emotional lyrics.

I feel 20 years old again.

Thanks Bob.
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Format: Audio CD
I'll keep it short and sweet.

If you loved Husker Du, liked Mould's first two solo albums, loved Copper Blue & Beaster, but didn't really care for most of the records that followed -- Silver Age is for you.

The tunes are sharp, the rhythm section is tight & pounding, Mould's guitar blasts and shimmers as hugely as it ever has, and he's in great voice.

Though he never really went away, as far as this old fart is concerned Bob is back!

For further proof, look for his performance on Letterman the other night. FIERCE!
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By Stargrazer on September 9, 2012
Format: Audio CD
Silver Age is like a breath of fresh air in Bob Mould's catalog. After a series of mannered and overworked-sounding albums that struggled to reconcile his interest in electronica with his diffidence toward ear-shredding electric guitar -- an instrument he was clearly born to play -- Silver Age represents a positive, decisive move towards the latter. Essentially a power trio record with Jason Narducy on bass and Jon Wurster on drums, Silver Age sounds like it was committed to tape while the songs were still fresh, avoiding the stillborn sound of many tunes off the last handful of (often decent, but labored feeling) albums. I'll do my best not to repeat the obvious comparisons being made by most professional reviewers, but suffice to say that Silver Age is a clear high-water mark in a great and varied career; and that Merge Records continues their trend of bringing out the best in their artists.

As far as rhythm section goes, this one couldn't do a better job of underpinning Mould's swift, characteristically catchy noise pop. Superchunk's Jon Wurster practically delivers a rock drumming treatise with precise, driving rolls and fills and gut-punching (in all the right ways) kick drum. Narducy largely stays out of the forefront but remains perfectly in the pocket of Mould's waves of guitar, giving his snarling layers of guitar some traction and gravity. For Mould's part, whatever ambivalence he felt toward the electric guitar post-Last Dog And Pony Show, he seems to have rediscovered his clarity of purpose. While he also does contribute keyboards to Silver Age, you don't even really notice their presence for the first couple spins.
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