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Brickfoot | All the Broken Pieces

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Rock: Psychedelic Rock: Retro-Rock Moods: Type: Sonic
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All the Broken Pieces

by Brickfoot

Released in 2004, Brickfoot's "all the broken pieces" finds the band in full control of their artistic vision. The entire album was written while on several International tours. Darker and more rock oriented than it's predecessors. As heard on MTV!
Genre: Rock: Psychedelic
Release Date: 

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  Song Share Time Download
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1. Sharks in Suits
4:32 $0.99
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2. Everything I Should Have Known
6:06 $0.99
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3. Torn Apart by Horses
5:06 $0.99
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4. Uppers & Downers
4:14 $0.99
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5. Transitions (in A Minor)
1:55 $0.99
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6. Brainwashed
3:01 $0.99
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7. Million Questions
7:19 $0.99
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8. Clones & Robots
2:49 $0.99
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9. Stranded
5:18 $0.99
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10. The Interlude
2:44 $0.99
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11. Death of the Machines
5:59 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
With the line-up of the band finalized in late 1998, Brickfoot emerged on the Baltimore club scene and gained attention from area bands, fans and industry due to their intense live shows and unique sense of songwriting. Singer/songwriter Steve Silver's melody lines send fans home with Brickfoot songs stuck in their heads. The rhythm section made up of bass player Chipper and drummer Jay T are tight and they keep it simple, writing their parts with the song in mind. Guitarist Frank Chiovaro's emotional, melodic and percussive playing rounds out the band's sound.

All the Broken Pieces is the first studio album to include more keys as the band went from the standard 4 piece band to adding keyboardist/multi instrumentalist Shane Burke to the fold. His influence is extremely noticeable through out the album.

In 1999, the band recorded a 2-song demo of some new material in a Delaware club owner's garage and took the tapes to Mitch Allan (SR-71), who mixed them. These songs were the 1st two for their debut album, Poly Carbon Lens (Independent 2000). A pop album with a heady side to it, the record garnered critical acclaim from regional press. Their fan base grew exponentially from this point, as the band played more than 150 dates in 2000 in support of the release.

By the summer of 2001, they had shared the stage with several national acts and played on national television. They entered into an agreement with Armed Forces Entertainment to tour overseas, entertaining the US military and NATO forces. In October of 2001, one month after 9-11-01, Brickfoot embarked on their first tour to the Caribbean. A month later they toured Europe, establishing them as an experienced touring act. In the spring of 2002, with an upcoming tour and sensing the need for a new release, the band recorded the live album, Fresh, Hot, Live! (Independent 2002), at the Hard Rock Café in Baltimore. Clearly a transitional album, Brickfoot captured the more raw, stripped down sound of their live show. Two days after its release, the band departed for a month and a half long tour of Asia, including all of Japan and South Korea. Amid typhoons and anti-American demonstrations, they hashed out demos for what would become their second studio album and third release, All the Broken Pieces (Independent 2004).

In 2003, between a brief tour to Greenland in the Arctic Circle and many club dates, the band slowly recorded tracks for All the Broken Pieces. Adding keyboard player Shane Burke to the fold, the band was able to experiment with new sounds, bringing a new dimension to the music. The band approached tracking differently this time. Each song added to the overall mood of the album, and their influences and personal experiences became the fuel and source of the material. During the recording of All the Broken Pieces, Brickfoot enlisted the talents of Keith Duckworth as permanent keyboard player adding the final element to a group that is not just five musicians, but a family of friends. The chemistry is quite indescribable until you witness the band live; they play music for the sake of playing music and it's quite apparent they love what they do.

In May 2004, Brickfoot performed in 8 countries in the Middle East including Afghanistan and Iraq on their 5th tour entertaining US and Coalition Forces. One show, in a palace once inhabited by Saddam Hussein, proved to be the most surreal experience, but meeting and playing music for thousands of young people from many different nations was the most rewarding. During this period the band started writing new material cultivated by the exhilaration from their travels.

In August 2004 Brickfoot is scheduled to begin recording in Los Angeles with Jim Fairchild (Grandaddy) and Aaron Espinoza (Earlimart) producing.

All the Broken Pieces is dedicated to the memory of Elliott Smith.

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Reviews


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MUSIC MONTHLY - Brad Cox

Brickfoot has mastered its 'sound'
All The Broken Pieces is an original and unique album, reminiscent of when art actually mattered. There is nothing overly contrived or forcibly poppy about their latest release, and for Baltimore, that is to be respected. There is a hint of an ingrown Beatles influence, but it is not overly abundant or apalling, nor does it share the ring with such obvious counterfeits, as, Oasis. It's a comfortable record from top to bottom, and like it or not, you will slip under Steve Silver's melodic spell. "Sharks In Suits,""Everything I Should Have Known,"and"Torn Apart By Horses," all have a similar sound; but are all respectably different in the same regard. Brickfoot has mastered its 'sound', and "All The Broken Pieces" is a fine tangible piece of expression, and example in musicianship. The production, done by the band itself, and engineered by Mike Mcaree, is stellar, alongside the presentation (CD artwork and layout - thank god, it's got lyrics) I heard "Torn Apart By Horses" on 98 Rock's morning show, and was floored. The intro starts off spacey, like that of a spacey Incubus breakdown; only to kick into an off-time Rush styled riff - excellent! Something pulls the 'drawn and quartered' feeling into the visual realm; maybe it's the restricted vocals that make you want to scream on behalf of the singer. It's great no matter what! On the heavier end of things, "Clones & Robots" starts off with a Star Trek based computer sounding sequence, and onto a killer riff. "Stranded" brings to life my initial Beatles reference. "Death Of The Machines" is very Pink Floydish in nature, yes! ...a simple guitar solo with finesse. For a band that has entertained us for years, and risked their own lives to entertain our U.S. troops, Brickfoot seems to be on the path that few walk, that path, THE REAL!
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Patrick C. Taylor

"Sharks in Suits," my vote for the first really great song of 2004.
Okay, let’s talk again about the benefits of the file-sharing community for lesser-known artists.

Ever since Elliott Smith died, I’ve been on a downloading jag, searching for anything remotely related to Smith’s music, from rarities, to live concerts, to tribute songs and covers and even the music of Elliott Smith fans. On sweetadeline.net’s Elliott Smith Discussion Board, I’ve found some interesting musicians like Sam & Me and Mark Martucci who are still obscure at best, but very talented.

And one night on SoulSeek, I found some live Elliott Smith covers that I liked a lot by Steve Silver. I noticed that the SLSK name of the person sharing the songs was similar, so I asked the guy if he was the guy who did those covers, or if he was just a fan. In fact, it was Steve Silver, and he also let me know that he was the frontman of a band named Brickfoot that was just about to release a new album, All the Broken Pieces, in February, and that it was mastered by the same guy who also worked on Grandaddy’s last two albums.

Normally, I’m a little nervous about talking to musician when I like their music. But I had no idea who this guy was. I hadn’t really heard his music, so I was pretty comfortable talking with him. He gave me some good advice about a script I’m writing that has to do with the music scene. He even offered to queue up the new album for me to download, even though it wasn’t coming out commercially for another two months. He just wanted my opinion of it, and I told him I could do that one better and review it for my music review site.

I’m all for musicians sharing their music online in order to get heard. I talk all about it in a recent article on the Articles and Interviews page (“MP3 and Obscurities”). So you have a guy like Steve, who isn’t obsessed with collecting a dime from every single person who listens to his songs… he just wants as many people to listen to his music as possible, and hopefully make a living off of it. He’s smart enough to know, too, that you don’t get to that point by guarding your songs. The more people who hear the music, the more who will buy it.

The fact of the matter is this. Pretty soon, MTV will not be the mass majority. Clear Channel will not be the voice to the masses. It’s the internet that everyone is turning to in order to find new music. The fact is, it’s not the obscure bands that are the minority. It’s the popular artists pushed in the mass media that are the small, select and ever-shrinking group. Those pushing the pop product that must go platinum twice-over in order to make a profit are becoming dinosaurs. The emerging, engaging music scene is on the web, on places like SoulSeek and Kazaa. It’s still in a larval state at the moment, trying to find its feet, occasionally stumbling (like when those corporate motherfuckers shuttered MP3.com). But it’s the way of the new century. Give it a few years and you’ll see. There’s going to be a renaissance, erroneously classified by the major record labels as a collapse of the industry. It’s going to be the bands like these that are successful then, and it’s not just going to be a few handfuls that anyone can name… it’s going to be thousands of artists whose music is being shared, who are being discovered one fan to another at a time. Ahh, the mind boggles.

Okay. Away from the fantasy, back to the review. I downloaded the Brickfoot album and wished Steve good luck on the Elliott Smith tribute concert in Baltimore at which his band was going to perform (I’m hoping someone was recording at the concert, by the way, because I’d love to hear how it turned out). And then the next morning I got up and listened to the album. Well, here’s some portions of what I e-mailed Steve…

Hey, I listened to All the Broken Pieces this morning. I liked it a lot, I'm already going through it again.

I like how I wouldn't have picked up on your influences just by listening to the album, but when I think about the bands you mentioned to me, it's kind of like "oh yeah, that makes sense." You know, like the synthesis of those things becomes its own sound.

The musicians he mentioned to me, by the way, were Elliott Smith, Grandaddy, Quasi, Flaming Lips, Super Furry Animals, Heatmiser, Polyphonic Spree and Ween. Like I said, it’s only when you hear that from him that you start to pick up on those influences in the songs.

Actually, it kind of reminds me of some of the great British rock that's out there right now. Have you heard the Electric Soft Parade's album Holes in the Wall? I flashed to that a few times. Listen to their song "Silent to the Dark." It's like a pop song that manages to turn into something else completely halfway through. That's the kind of thing that I liked about All the Broken Pieces was the way it could make interesting shifts like that.

I also recommended the night before that he listen to Fiver’s Eventually Something Cool Will Happen, which is produced by Grandaddy’s Jason Lyttle. I think anyone who likes Fiver will like Brickfoot and the switch is true as well. Both bands are playing in the same terrain as Grandaddy without sounding the least bit derivative.

PS. "Sharks in Suits," my vote for the first really great song of 2004.

True. It’s a great song. This is the Must Download Song for anyone looking to see if they like Brickfoot. It’s a great album opener, with its pace-setting drum intro. The guitar part is laid on top and that, then comes in the kicker, the piano part, and then the startling bursts of sound before the bridge. It’s an exciting way to start the record. ~but I know that I’ll get away from you if I’m smart enough~ Something tells me that if this song were stripped down to the bare essentials, the Elliott Smith influence would be a lot more evident… which goes for the second song, “Everything I Should Have Known,” as well. That song also has an interesting change two-thirds of the way through, where it ends and starts again with a totally different tone.

Listening to a song like “Torn Apart by Horses” or the several instrumental transition songs, I wonder if Steve has heard Failure’s Fantastic Planet, as well, but I doubt it. That’s the interesting thing, how the resulting music that Brickfoot made reminds me of music I doubt they were trying to emulate at all. My curiosity now is whether Steve would like the albums that his reminds me of, although I know that musicians can get a bit ruffled when they’re told that their music sounds like someone else’s, jumping into defense mode. I never mean it as a slight to compare one artist’s music to another’s. The connections are often slight and arbitrary, and certainly not meant to compare the bands in terms of quality. The only reason I do it so often in reviews is because I know that when I read a record review, that’s all I’m looking for is the comparison to a band I like. Call me shallow.

In any case, this is a great CD, and to my surprise, it’s entirely independently released, being sold exclusively at the band’s webpage, www.brickfoot.com. If not for the internet file-sharing community (especially the small community of long-term Elliott Smith mourners), I never would have heard of the band. Let’s be glad for what we have (and what hopefully cannot be taken away from us).
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Col Hammer

Outstanding!
I've been following BRICKFOOT since they began. I didn't think they could top thier Poly Carbon Lens CD, but, with this release of "All The Broken Pieces", they outdid themselves. I told them that they couldn't possibly top this one, then I heard four of their new songs they are working on and damn if they haven't done it again. Can't wait until the next CD.
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