01 - We Die Young
02 - It Ain't Like That
03 - Killing Yourself

На пластинке указана продолжительность Killing Yourself 3:59,
реально же песня короче на минуту [2:59].
Слух: некоторые копии включали скрытый трека после Killing Yourself
не указанный в треклисте

01 - We Die Young
02 - Man In the Box
03 - Sea Of Sorrow
04 - Bleed The Freak
05 - I Can't Remember
06 - Love, Hate, Love
07 - It Aint Like That
08 - Sunshine
09 - Put You Down
10 - Confusion
11 - I Know Somethin (Bout You)
12 - Real Thing

[192 kbps]

01 - Brother
02 - Got Me Wrong
03 - Right Turn
04 - Am I Inside
05 - Love Song

[320 kbps]

01 - Them Bones
02 - Dam That River
03 - Rain When I Die
04 - Down In A Hole
05 - Sickman
06 - Rooster
07 - Junkhead
08 - Dirt
09 - God Smack
10 - Iron Gland
11 - Hate To Feel
12 - Angry Chair
13 - Would?

[192 kbps]

данный трек-лист исправлен мной лично,т.к. я получил копию
Австралийского релиза,в котором ровно как и в Европейском,
ранних Американском и Канадском изданиях неуказан Iron Gland,
а Down In A Hole идёт следом за Angry Chair,так что если есть желание
слушать первый релиз пластинки поменяй треки.

1. Them Bones
2. Dam That River
3. Rain When I Die
4. SickMan
5. Rooster
6. Junkhead
7. Dirt
8. God Smack
9. Intro (Dream Sequence)
10. Hate To Feel
11. Angry Chair
12. Down In A Hole
13. Would?

01 - Rotten Apple
02 - Nutshell
03 - I Stay Away
04 - No Excuses
05 - Whale & Wasp
06 - Dont Follow
07 - Swing on this

[224-320]
EP 1994 года выпуска не 1993, в '93 была произведена запись

01 - Grind
02 - Brush Away
03 - Grind
04 - Heaven Beside You
05 - Head Creeps
06 - Again
07 - Shame In You
08 - God Am
09 - So Close
10 - Nothin' Song
11 - Frogs
12 - Over Now

01 - Nutshell
02 - Brother
03 - Sludge factory
04 - No excuses
05 - Down in a hole
06 - Rooster
07 - Got me wrong
08 - Angry chair
09 - Heaven beside you
10 - Would
11 - Frogs
12 - Over now
13 - The killer is me

[128 kbps]

полная видео версия выступления DVD-Rip:

01 - All Secrets Known
02 - Check My Brain
03 - Last Of My Kind
04 - Your Decision
05 - A Looking In View
06 - When The Sun Rose Again
07 - Acid Bubble
08 - Lessons Learned
09 - Take Her Out
10 - Private Hell
11 - Black Gives Way To Blue

[Var]

бонус треки:
12 - Black Gives Way to Blue (Piano Mix)
13 - Your Decision (Live)

[Var]

бонус треки японского издания:
12 - Down in a Hole (Live)

01 - Hollow (вышел в ноябре 2012)
03 - Stone
10 - Phantom Limb (украден кем-то с радио-эфира, выдавлен мной из радио-рипа)

[320 kbps]

01 - Hollow
02 - Pretty Done
03 - Stone
04 - Voices
05 - The Devil Put Dinosaurs Here
06 - Lab Monkey
07 - Low Ceiling
08 - Breath On A Window
09 - Scalpel
10 - Phantom Limb
11 - Hung On A Hook
12 - Choke

FLAC
MP3 320Kbps

EPK 2009 (Electronic Press Kit)


A Looking In View (Video)


Check My Brain (Video)


Check My Brain - Making of ... (Video о создании клипа)


Your Decision - Official Teaser (Video)


Your Decision (Video)


Twenty-Three (Documentary 2013)


Hollow (Video)


Hollow - Making Off ... (Video о создании клипа)
you-tubr rip

оригинал видео:


Stone (Video)

01 - Lip Lock Rock
02 - Fat Girls
03 - Over The Edge


Layne Staley ("Candy") - вокал
Nick Pollock - гитара
Yanni Bacolas ("Johnny") - басс
James Bergstrom - ударные

01 - Sealed With A Kiss
02 - Ya Yeah Ya
03 - Glamorous Girls
04 - Don't Be Satisfied
05 - Hush, Hush
06 - Football


Layne Staley ("Candy") - вокал
Nick Pollock - гитара
Yanni Bacolas ("Johnny") - басс
James Bergstrom - ударные

I Can't Have You Blues
Whatcha Gonna Do
Social Parasite
Killing Yourself
+
Queen of the Rodeo (live)

были изданы на 1999 - Music Bank

Blood Tears Little Girl


Fairy Tale Love Story

01 - Suffragette City
02 - Bleed The Freak
03 - Social Parasite
04 - We Die Young
05 - Chemical Addiction
06 - Sunshine
07 - King Of The Kats
08 - The Real Thing
09 - Killing Yourself
10 - Sea Of Sorrow
11 - I Can't Remember
12 - Queen Of The Rodeo

Bleed The Freak [Demo]
Junkhead [Demo]
Rooster [Demo]
Sea Of Sorrow [Demo]
We Die Young [Demo]

Fear the Voices
Lying Season

были изданы на 1999 - Music Bank

Here I Lie

What the Hell Have I
A Little Bitter

[Var]

Get Born Again
Died

[192 kbps]

Another Brick in The Wall

записано Лейном Стейли совместно с музыкантами из Rage Against The Machine

Facelft VHS/DVD-Rip - live at The Moore Theatre (Seatle,WA) 22,12,1990

Alice In Blunderland

Would (Later with Jools Holland) 26.02.1993


Dirty Toy Land (03.03.1993)
01 - Dam That River
02 - Them Bones
03 - Would
04 - Rooster
05 - Junkhead
06 - Godsmack
07 - Bleed The Freak
08 - Put You Down
09 - It Ain't Like That
10 - Dirt
11 - Hate To Feel
12 - Angry Chair
13 - Man In The Box
14 - Rain When I Die
15 - Love Hate Love

Come And Save Me

Tsunami Relief Benefit Show
01 - The Killer Is Me
02 - No Excuses
03 - Heaven Besides You
04 - Brother
05 - Got Me Wrong
06 - Down In A Hole
07 - It Ain't Like That
08 - Again
09 - Would
10 - Angry Chair
11 - Them Bones
12 - Man In The Box
13 - Rooster

Would - 2006 - Would Live Rock Am Ring (исполняется с Джеймсом Хэтфилдом)

I Stay Away (with The Messina's Symphony, Benaroya Hall)

*в случае возникновения проблем при воспроизведении переименуй в *.avi

Lesson Learned (Later With Jools Holland 13.11.2009)


??.09.2009 - Would?


29.09.2009 - Check My Brain (at Jimmy Kimmel)


30.09.2009 - Your Decision (at Jimmy Kimmel)

iheart Stripped Session :
- Black Gives Way To Blue
- Check My Brain
- Got Me Wrong
- No Excuses
- Your Decision

BY KEN MICALLEF

There’s an enduring tale that goes something like this:
Seattle-based grunge rockers Alice in Chains only truly
existed when led by former vocalist and co-songwriter
Layne Staley, who overdosed in 2002 at the age of 35.
Staley’s gifts as a singer and songwriter were so enormous,
his talent so unique, that once he gave up the ghost,
Alice in Chains had no choice but to follow.
And for a couple years the remaining bandmembers
did just that. After the fall of Alice in Chains,
fellow founders Jerry Cantrell and Sean Kinney
dead-ended of the musical map, escaping into parts
unknown to recover, lick their wounds, and heal.
But Cantrell bristles at the notion that Alice in Chains
is anything less than a living, breathing entity.

“It’s always funny when I hear the odd
comment,” Cantrell says, “when someone says
‘It’s weird, man. They sound like Alice.’ Well,
we are Alice, dick. What are we supposed to
sound like? Are we supposed to sound like
Kansas? We were all necessary to the [band]
and nobody knows more of what we went
through and what we lost. But we didn’t
lose sight of what we are. And we aren’t any
diferent. We carry all those experiences:
the bad, the good, and the style, with us, and
into the future. That’s how we’ve made the
transition. It’s something that we’re very proud
of because it was f**king difcult as hell to do.
It was the hardest thing I’ve ever done in my
life to decide to move forward and do that.”

The overwhelming success of Alice in
Chains’ 2009 comeback, Black Gives Way to
Blue, put the past to rest and opened the door to
the future. Joined by vocalist William DuVall,
Cantrell, Kinney, and bassist Mike Inez raised
the Alice spirit for a new generation. And far
from the gloomy, tortured souls their music
might suggest, these guys are whip-ass hilarious
as evidenced by the title of Alice in Chains’
latest album, The Devil Put Dinosaurs Here.

“Sarcasm is a prized commodity in this
band,” Cantrell laughs. “There’s no big message,
but it always amazes me that we as a people
don’t grow with the knowledge we gain. ‘The
devil put dinosaurs here to fool ya!’ It’s just like
someone saying ‘Jesus don’t like no queers!’ If
your belief system is teaching you to kill someone
because they believe diferently than you, if you
discriminate on any level, from sexual preference
to how someone gets their orgasm, then screw
you! ‘The Devil Put Dinosaurs Here’ speaks to
that kind of ignorance and hate and fear.”

Produced by Nick Raskulinecz, and
engineered by Paul Figueroa (both on return
duty from Black Gives Way to Blue), AiC’s latest
opus was tracked at Henson Recording Studios’
(formerly A&M) Studio D and benefted from
the studio’s extensive collection of plate reverbs,
which are housed in a separate building and
strategically isolated to cancel the noise pollution
coming of nearby Hollywood Boulevard.
Recording via Henson’s SSL SL 4072G+ console
and bouncing to a Studer A800 MKIII for tape
efects, Raskulinecz and Figueroa also brought
their own outboard gear. Cantrell’s monster
guitar sound was created from a collection of
seven amps and fve cabinets for a total of 15
guitar tracks (fve left, fve center, fve right) per
song! Raskulinecz and Figueroa paid special
attention to capturing Kinney’s titanic thump
and the Cantrell/DuVall harmonies, which eerily
resemble and extend the classic AiC sound. The
AiC vocal style is as much about Cantrell as it is
about anyone else, living or dead.

“When Layne and I worked together
vocally, we shared some infuences but he had
some that were unique to him,” Cantrell says.
“As a kid I sang these brooding, Bartok pieces
in school choir. It was creepy, and it stuck with
me. When Layne and I got together, that kind
of thing was there from him and me. That’s
what was great about it.

“I didn’t have a lot of confdence as a
singer then,” Cantrell continues. “But Layne
pushed me to sing my own sh*t. I was unsure,
especially standing next to a guy like Layne,
who had an amazing voice, was super talented
and so quick. He was a natural. I’m not. But
with Layne pushing me, my confdence grew.
William is real challenging, too—a natural like
Layne was. The way we work together is very
similar. The sound and style of the band is
intact because of Sean, Mike, and myself, and
what William brings to the band. That’s how
we are able to continue and be ourselves.”



CHASING THE DEVIL DOWN

AiC began The Devil Put Dinosaurs Here
sessions in July 2011 at Ocean Studios Burbank
with three completed songs, looking for
inspiration to strike.

“But it was too much pressure,” Raskulinecz
says. “So we pulled out, and built a home studio
for Jerry in his bedroom. We had to get him back
to basics. He’d get up in the morning and have
his cereal and write songs. Sean came over and
played drums, and we set up FXpansion BFD to
program drums. We gave Jerry all the tools he
needed. It was very productive. Then we moved
to Dave’s Room in North Hollywood to fesh out
and refne songs with the band before going into
Henson. We fnished in September.”

Though AiC used the SSL at Henson,
Raskulinecz and Figueroa added outboard
gear including Neve, API, and Shadow Hills
Industries Quad Gama mic pre’s (guitars and
vocals), a Hairball Audio 1176 Rev A Compressor
(mono room mic for drums), and Raskulinecz’s
secret weapon, a Martech MSS-10 mic preamp.

“I’ve used the Martech on every lead vocal on
every record I’ve ever done,” Raskulinecz says.
“And a [Telefunken ELAM] 251. The Martech
is fast and punchy and clear, and it’s got a ton
of headroom. You can have a singer as loud
and heavy as Corey Taylor or someone as soft
and delicate as Geddy Lee, and it handles both
extremes and everything in the middle brilliantly.
The tube mic in conjunction with a solid-state
pre like the Martech is totally badass. It’s the
deciding factor in my vocal chain, followed with
a dbx 160XT: a crusty old compressor.”

The Devil Put Dinosaurs Here is a reverb lover’s
dream. Every song rocks, sways and convulses
in grand AiC style, but with gossamer reverb
trails that intensify the sense of darkness and
otherworldliness. Mixer Randy Staub (Metallica,
Bon Jovi, Bryan Adams, U2) performed his special
magic after fnal tracking; Raskulinecz used
SoundToys to create efects while recording.

“The SoundToys and Eventide plug-ins are
my favorites,” Raskulinecz says. “After we’d
sing the chorus and double harmonies, I would
create vocal delays and reverbs, and try out
all kinds of stuf to create space and ambience
and make it sound cool. On the title track, for
instance, check out the frst verse—the reverb
on the voice and fltered vocals that are panned
and phased—it’s really stony!”

Raskulinecz, Figueroa, and AiC also
exploited Henson’s collection of classic plate
reverbs for guitars, vocals, and drums.

“Henson’s plate room is isolated from
the studio on its own concrete foundation,”
Raskulinecz reports. “It’s a bunch of little
chambers and diferent-sized little rooms with
rounded corners and diferent angles and depths,
with a speaker on one end and a mic on the other.
The building is on rubber or springs so it doesn’t
pick up the trafc rumble. It’s three stories of
plates, four per foor—Western, EMT. Some of
the plates are regular old, self-contained EMT
140s, but they all sounded good.”

“We had the EMT 140 plate and the EMT 250
running while tracking everything,” Figueroa
recalls. “Nick and the band love something big,
lush, epic, and moody. Nick also used the Fractal
Audio Systems Axe-FX for reverb.”

“And we used a lot of tape on this record,”
Raskulinecz continues. “Every instrument was
hit with tape at one point. We’d record drums
in Pro Tools then bounce them to tape, then
Varispeed them down, then back to Pro Tools.
These days I use tape as an efect, not the main
medium. We striped fve reels with timecode
and had it ready to go. We do it all while the
band is there. If the tape machine works and
it’s synced, I use it all the time.”

Cantrell modestly describes his vocal and
guitar style as “meat and potatoes”; AiC’s
recording method is fairly basic as well. After
a scratch track was established, Kinney laid
down drum parts, followed by Cantrell’s guitar
stacks, Inez’s bass, and fnally, Cantrell and
DuVall’s vocals.



DRUMS OF DOOM

With his large frame and what Figueroa calls a
desire to “kill his snare and knock the cymbals
of the stands” Kinney produces a massive
drum sound. On these tracks, he was also aided
by an odd collection of ancient hieroglyphs
carved in the ceiling of Studio D’s live room.

“At the top of the ceiling is a four-foot
band of concrete,” Figueroa says. “It has these
grooves all the way round the top like someone
wiped their fngers through the concrete.
When we put the room mics up and Sean
started playing, that room became so massive
sounding—a really ambient room. The grooves
in the concrete difused the overall sound.”

Figueroa used Sennheiser MD421IIs on the
toms, “so we didn’t pick up so much cymbals;
Sean has big cymbals.” A Sennheiser e602
miked the inner bass drum, with a Neumann
U47 FET on the outside, and a Yamaha NS10
for sub-bass farther out front, with a blanket
over it. A Shure SM57 handled snare top, with
a Sennheiser MD441 catching the strainer.

Telefunken ELAM 251s worked as
overheads, placed six feet above Kinney’s
head, in a “V” shape. “He’s a big guy, so when
he swings his arms we don’t want him hitting
$60,000 worth of mics!” Figueroa says. “Then
we’d spot-mike each cymbal with an AKG 451
with a 10dB pad, aiming the mic between the
bell and the outer cymbal edge about a foot up;
that way, we had control over the cymbals. The
451 has a rich sound and it helps the snare.”

Room mics included a pair of RCA 44s: one
in front of the drums, one behind. “The rear
one was amazing on the snare, placed three
feet behind Sean,” Figueroa says. “It added pop
to the entire kit. The one out front was aimed
diagonally across but pointed at the kick drum
and low, at head height. Then [we had] a pair
of Coles 4038s in the middle of the room, and
a pair of Neumann U87s up high at the rear of
the room. Those are all pretty much my go-
to mics for those positions. Nick and I came
up at Sound City, and these are the things we
learned from being in that drum room.”


“After we’d sing the chorus and double harmonies,
I would create vocal delays and reverbs, and try out
all kinds of stuf to create space and ambience
and make it sound cool. On the title track, for instance,
check out the frst verse—the reverb on the voice and
filtered vocals that are panned and phased—it’s really stony!”
— Nick RaskuliNecz


A MULTILAYERED MONSTER

Cantrell’s epic guitar crunch was mainly produced
by his two favorite models, a G&L Rampage and
various Gibson Les Pauls, including one that’s
covered in cigarette burns. His guitar arsenal on
The Devil Put Dinosaurs Here was augmented
with a Gibson SG, Raskulinecz’s Flying V, a
Rickenbacker, Fender, and various acoustics.

Amps and cabinet combinations were
equally diverse, comprising Cantrell’s long-
sufering Bogner Fish, Dave Friedman Marsha,
HiWatt, and a 1968 Laney Clip. Vintage
Marshall, Bogner Uberschall, and EVH (Eddie
Van Halen) cabinets projected Cantrell’s nasty
notes. With his amps placed in Studio D’s two
iso booths, Cantrell used the same four-amp/
cab combo for left and right, with a diferent
assortment for the center; guitars were used in
diferent confgurations for each track.

“It sounds like one big hand playing guitar
through the whole album,” Figueroa laughs.
“You’re hearing ten cabinets per track, at least. You
make sure your phase is tight, then listen back and
decide to maybe push that amp up to put more
teeth on it, or clean it up and push it for more
punch. The phase issue is huge. If that’s wrong,
it will screw up everything. Which leads to the
toughest thing about recording this record: staying
on top of the guitar tuning. Say you have three
guitar passes that are loud in the mix and we’re
stacking more guitars on top of that. If you’re of
just a little bit it creates a giant mess later. Some
of Jerry’s guitars are vintage and the saddles don’t
move, so tuning was the most challenging thing.

“After choosing an amp and cab
combination, we’d pick certain mics for each
one,” Figueroa continues. “Either a Neumann
U47 FET, Shure SM7 or SM57, through Neve
1073s and 1081s. Then we’d blend it all on
the return—one mic per cab, sometimes two,
making sure the phase was tight. We’d fip the
phase on one, then bring up the fader until the
other one disappeared, then un-phase it and
the guitar sound would be just massive. I’d have
guitar tones up, then Nick and I might clean
things up and roll of some low end, or gain
up an amp more. And if the guys didn’t like
something, they would tell us; they’re not shy.

DuVall and Cantrell both played guitar
with the latter taking the lion’s share of the
space or “laminates” on each track. “Stacks of
guitar, that’s me!” bellows Cantrell. “You have
one chance to make it f**king legendary and
larger than life, and stacking is what works for
me. The trick is not doing it so much where
the sound gets mushy. You have to be able to
double yourself well. If you get too many tracks
going you lose the edge. I think of it like tones,
or like layering a wood laminate. You put down
one layer of one kind of wood and another
layer of a diferent kind of wood, put a few of
them together and blend everything, and it
makes it stronger than any one [layer] would be
individually. It’s something I’ve always done.

“And I don’t always go for frst takes,”
Cantrell adds. “What’s important is knowing
what makes the song work and what the song
needs, and also what the song does not need.
The simplest stuf is usually the best stuf.
The song doesn’t need an extra part, or 32-
bar solos. You just have to listen to what the
particular thing is you’re doing.”

Figueroa describes Inez’s Warwick
Moonbird as the band’s secret weapon.
“It’s got this great low-end growl and note
defnition.” The Warwick ran to a Little Labs
PCP [Instrument Distribution Box], split
of to a Martech/Jensen DI, into a SansAmp
through a Neve, into a ’70s Ampeg SVT head
to two SVT 8x10 cabs. Figueroa used either
a Neumann U47 FET or an AKG D112 three
inches from the cone and dead center. A Neve
2254 for compression, Teletronix LA2A, and
dbx 160X completed Inez’s signal chain.



HIGH-SPEED DRAGSTERS, CHEVY TRUCKS, AND LAYNE STALEY

The vocal sound that appears consistently
on every Alice in Chains record is Cantrell—
spooky, ghostly, and bizarre.

“Jerry sang on a ton of those old records,
‘Rooster,’ ‘Down in A Hole,’ ‘Man in the Box,’”
Raskulinecz says. “[On] all those hits, his voice
is right there next to Layne’s. And when Jerry
and William sing now, it’s reminiscent of Jerry
and Layne. William is the polar opposite of
Layne, his voice is bright and powerful, and he
has such an amazing range. And the harmonies
didn’t die; it’s still Jerry.”

DuVall and Cantrell sang until Raskulinecz
was happy, laying down “tons of vocal tracks,”
Cantrell says. “We even sang the same track
multiple times to have a slight wash across the
background, to get the performances tight to
create a larger vocal. You’d think that would
remove the edge, but we did it so many times
we were locked in. That gave us a unique vocal
sound on the record.

“William is a high-speed dragster; he’s nitro,”
Cantrell adds. “I’m more like a Chevy truck. I
kind of just plod along. But my good old Chevy
truck will last a long time. William gets up there,
and gets gas behind it. I don’t have that sort of
range, I am a medium to low plodder. That’s how
we difer in styles. Layne and William are similar.
Layne had gas and he could hit that nitro button
and go to the next level with some teeth on it.”

“With Jerry, he sings it until I tell him he’s got
it,” Raskulinecz says. “Then we comp. I’m listening
to his tone and pitch, how throaty it is, and the spit
and the pronunciation. All these little things that
comprise a great vocal take. He wants to hear a
fnal comp; then he might change little things. He
might re-sing something small as well. We want
performance, not perfection. The more you do it,
the more the chances of getting an amazing take.
There’s no tuning on this album, not a word.”

Cantrell tracked vocals through a
Soundelux 251 into the Martech, followed
by dbx 160X compression. “With the 251,
the Martech is really wide open and clean,”
Figueroa says. “The image in the speaker is
right in your face. We’re not using EQ when
tracking, just mic, mic pre, and compressor.
So it’s wide open and as honest as it can
be. William had a couple mics, between a
Neumann U47 and a Shure SM7 through a
1081 or 1073 into a similar dbx 160X. Then I
brought the Shadow Hills in. It’s so silky—a
great pre to have in the chain.”



BOY, YOU’RE GONNA CARRY THAT WEIGHT

Cantrell has a reputation. He’s cagey, he’s
sensitive. Journalists who have misquoted him,
or asked the wrong question with the wrong
attitude, have been denied access forevermore.
But consider Alice in Chains’ history. “He not
busy being born is busy dying,” Dylan said, and
that applies to anyone trying to move on from
tragedy with some degree of grace and their
mind/soul/body intact. Cantrell carries that
weight, and after one listen to The Devil Put
Dinosaurs Here, you would have to say he does
it admirably.

“When we put the room mics up and Sean started playing,
that room [at Henson] became so massive sounding —
a really ambient room. The grooves in the concrete difused
the overall sound.”
—Paul Figueroa

“Jerry has tried to carry this thing on and
move it forward, and he’s put a lot of pressure
on himself,” Raskulinecz says. “Sean and Jerry
both put pressure on themselves to make sure
what they’re doing is great and the right thing
for Alice in Chains. Layne and Jerry were really
tight. They were friends before they were even
in a band together. It was a deep thing. They did
it all together. And when Layne died, it broke
Jerry’s heart. Not many bands could recover
from that. It’s a big legacy to carry.”