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The Bottom Half

Rate It! Avg: 4.5 (61 ratings)
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The Bottom Half album cover
Disc 1 of 2
01
The Bottom Half
5:49
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02
Bright Lights, Big City
3:43
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03
Great American
3:11
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04
Higgins Sir
0:28
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05
Higgins
6:51
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06
Memories Of Home
4:21
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07
Atmosfarag
4:38
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08
Red Room
3:35
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09
Intentions Clear
4:55
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10
Home
3:28
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11
Divisions
10:02  
Disc 2 of 2
01
Words (A Cappella)
1:07
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02
Great American / Believe The Lie
3:20
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03
Believe The Lie
3:04
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04
Time Eater
0:31
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05
Never Cease
3:54
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06
Rocker
3:34
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07
Ready Noodles
0:11
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08
Higgins (Instrumental)
4:27
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09
The Heart Of Rock And Roll
0:18
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10
Fresh Start
3:02
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11
The Browning Special
0:31
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12
Ocean Billy
3:29
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13
Intentions Clear
2:38
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14
What Else?
0:57
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15
Alex's House
3:45
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16
End Of The Road
3:06
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17
Red Room Disco
2:03
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18
Rocco
2:32
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19
WWS
0:17
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20
The Weight Around
3:23
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21
Liquid
2:38
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22
Atmosfarag
1:56
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23
Words (Chorus)
1:58
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24
Memories Of Home
3:58
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25
Browning Family Creed
1:43
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26
Biscuits & Gravy
0:04
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27
Words (Intro)
2:00
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28
Words (Instrumental)
7:01
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Album Information

Total Tracks: 39   Total Length: 118:28

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tha shit

Lax420

this is the legit shit! incredibly affordable

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get this shit

cecilias

greatest band evaa

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Very Diverse

QwertMan

You really couldn't put a single genre to this album. Lots of good songs, not sure why there's so much more on the second disk than the first.

user avatar

I am in music heaven

LaughingCatFarm

Whenever I discover a new singer or group on eMusic and find more of their stuff I am in iPod heaven! Download ALL of these that you are able to.

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New MP3's McGee

MDProgger

Yay! 39 tracks? the 30 second samples alone taken together are 16 minutes long. Listen to them, read the AMG review. I don't need to say anything except I really like it! (alone taken together; I like that).

They Say All Music Guide

Let’s dispense with the “jam band heroes” tag right at the start. Widely hailed as the improvisational successors of the Grateful Dead and Phish, Umphrey’s McGee are nothing of the sort. As the band’s detailed liner notes make abundantly clear, their songs are painstakingly composed and meticulously structured, and whatever “improvisation” takes place is far removed from the sometimes aimless noodling of their acid-drenched antecedents. The process is admirably illustrated on Bottom Half, a two-CD compilation of odds and ends that never made the cut on 2006′s breakthrough album Safety in Numbers. The B-sides approach generally suggests inferior material. Not this time. Safety in Numbers was originally conceived as a two-CD set — one electric, the other acoustic. But that approach was abandoned when one of the band’s close friends died, and the resulting album took on a much more subdued and somber tone. Bottom Half resurrects the discarded songs, and particularly focuses on the group’s more electric and up-tempo side. The first CD features the typical Umphrey’s McGee grab bag of genre hopping — reggae riddims, folk strumming, Southern rock, progressive bluegrass jams (courtesy of special guest Béla Fleck), and jazz fusion excursions that wouldn’t have sounded out of place on late-’70s Weather Report or Al di Meola albums. They get Steely Dan funky on “Bright Lights, Big City” and “Iron and Wine,” and introspectively mellow on “Home,” all the while retaining their own signature sound. It all comes to glorious fruition on “Divisions,” a ten-minute Southern rock tour de force that showcases the band’s instrumental prowess, and which finds the band’s four soloists soaring off into an extended jam that conjures up fond memories of Dickey Betts and Duane Allman guitar duels. Not all of it works. “Memories of Home” can’t escape the maudlin clutches of its overly sentimental lyrics. And, in general, the singing is merely serviceable, and provides a few momentary lulls between the dazzling instrumental workouts. But at their best — and there are many such moments here — Umphrey’s McGee combine the finest aspects of virtuosity and soul. They can really play, and they can play with feeling and fire. The second CD is far more expendable, and will probably only be of interest to hardcore fans. The 28 fragments here — studio chatter, abortive starts, and demo tracks — provide an interesting glimpse into the studio habits of the band, but little else. So consider this 50 minutes of first-rate music and 70 minutes of filler. Fortunately, the filler is easily isolated and can be conveniently ignored. What’s left offers a convincing case for Umphrey’s McGee as an innovative and vital band, restlessly pursuing their decidedly non-improvisational Muse. – Andy Whitman

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