- Critic score
- Publication
- By date
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UncutSo wild and stripped-down it makes The White Stripes sound like Yes. [Jan 2004, p.102]
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Westerberg's not making sensitive statements or trying to write a pop song as good as "Alex Chilton" here. As such, it's the best music he's made in years.
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More fun than Come Feel Me Tremble.
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Garage rock at its finest, messiest and most welcomingly insignificant.
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Dead Man Shake is a kick in the pants that shouldn't be missed.
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For simple gut-level satisfaction it's more engaging than the bulk of his post-Replacements catalog, though anyone expecting a masterpiece will be in for an unpleasant awakening.
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MojoAn engaging genre exercise. [Dec 2003, p.112]
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I can't imagine a single Westerberg fan being displeased with Dead Man Shake.
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A shambolic, blues-based record that will repel purists of the 12-bar form but delight anyone who brings a six-pack and a cockeyed sense of humor to the party.
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Ramshackle, jumpy and curiously charming, Dead Man Shake is full of Westerberg's trademark spastic vocals and nimble guitar work, only now determinably fuzzed up and shrouded in Sun Records spunk.
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Rolling StoneThe songs aren't as urgent or as memorable as the cracked gems he used to write, but his voice is wonderfully ragged. [13 Nov 2003, p.99]
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Entertainment WeeklyWesterberg plays blues dress-up with bar-band enthusiasm but not much depth. [24 Oct 2003, p.106]
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MagnetThe tunes wear thin before the bluesman gimmick does. [#61, p.110]
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BlenderIt's great fun, but Come Feel Me Tremble has more ballast. [Nov 2003, p.123]
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Alternative PressEven Westerberg knows that he can do better. [Jan 2004, p.108]
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Q MagazineA moribund collection of ragged but never rugged songs. [Jan 2004, p.114]
User score distribution:
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Positive: 2 out of 3
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Mixed: 1 out of 3
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Negative: 0 out of 3
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scottbNov 21, 2003
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BrianMOct 30, 2003