You Call That A Shuffle?

July 19, 2016

The shuffler was getting a little dusty from neglect and apparently it was also a little rusty as this one is a little lackluster, but you can’t win ’em all:

  1. Pop Will Eat Itself, Shortwave Transmission On “Up To The Minuteman Nine, from This Is The Day…This Is The Hour…This is This! Three stars. A filler track at just over a minute long, there’s not much to this track.  The dubby drum fills are nice, but otherwise this is mainly some sampled voice tracks spliced together over a basic beat.  PWEI hasn’t particularly aged well (this album is from 1989), but I still have a soft spot for them as they were an early introduction to sample-based/industrial electronic music.
  2. Guns N’ Roses, Sympathy For The Devil, from Greatest Hits.  Three stars.  I’m usually a sucker for covers, especially when an artist takes something familiar and puts a twist on the original or takes a song and reconstructs it to make it their own.  This is neither, it’s a by-the-numbers rote recitation.  Compared to the original, it’s flat and boring.  And, it’s over a minute longer!  There’s certainly much more you could do to butcher an original, so it’s not offensive, but based on some other covers they’ve released this is disappointing.
  3. Cults, TV Dream, from Static.  Three stars. Another track at just over a minute long.  For a band that relies somewhat regularly on a slow buildup and/or guitar grooves, a minute long song doesn’t give much time for either of those and this song just meanders for a minute.  It doesn’t act as a great transition piece between the songs before and after it so not sure what the band was thinking what purpose this track would serve.  Singer Madeline Follin has a sweet voice though, so the track is not unlistenably bad.  They, like GNR, are just capable of so much more.

Quick Hit or Miss – Catch Up Edition

July 18, 2016

I mentioned in my last post that I had some albums I wanted to write about. Here’s a few newish albums and my hit or miss thoughts:

A_Moon_Shaped_Pool

1. Radiohead, A Moon Shaped Pool. To cut to the chase, this is a Hit. Radiohead seems they can put out a cohesive and musically interesting album in their sleep. This goes in the top half of their canon for me, though it’s not without its small faults. Radiohead could always put out songs that had soaring orchestral feeling while using traditional rock instruments. Here they actually have quite a bit of real orchestration, starting with the strings in opener Burn The Witch and continuing throughout the album. It seems unnecessary in some places. My favorite track is Ful Stop with its menacing bassline and spacey effects. Identikit is also a standout and one of the more “traditional” Radiohead tracks here. And overall, even with those orchestral additions, this group of songs hews closer to earlier records than some of the more knob twiddling of recent efforts.

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2. James Blake, The Colour In Anything. I give Blake and his producers credit for putting himself up front and center in his music and he usually delivers. The skittering, clattering beats and music that back him most often take a back seat to Blake and his nice vocal range. The album has a consistent sound throughout, which works to a point. But at 17 tracks, I feel like it’s a few tracks too long. The funny thing is several of my faves are in the back half; after opener Radio Silence, my two other standouts are  tracks 11 (I Need A Forest Fire with Justin Vernon) and track 15 (Modern Soul).  I’d give it a qualified Hit.

Human_Performance_(Front_Cover)

3. Parquet Courts, Human Performance. They still have a sense of humor; opener Dust becomes the go-to indie rock song to sweep to. They still can tell a good story in the span of a 3-4 minute song. They still hold the stranglehold on being the NYC-est rock band out there. They still throw in a few curveball weirdo songs. They are America’s Kinks. So, yeah, Hit.

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4. Junior Boys, Big Black Coat. Mostly synth pop harkening back to the 80s with  a few dalliances into house music, this is a fun album. They get a little dark and serious to keep this from getting monotonous. Opener You Say That and album closer Big Black Coat are my two favorite songs, the latter being one of my most played of the year so far.  I give this one a Hit.

A Different Kind of Map (and a Fun Time Waster)

June 27, 2016

Been awhile since I posted. I have a backlog of albums I’ve been listening to that I want to put some words down on, but before I get to those I wanted to let you know about a great little site I recently found out about.  Every Noise at Once has a singular purpose: to map out musical genres to aid your exploration of music.  Currently it stands at 1491 unique genres that map to Spotify genres.  The home page displays the genres as a word map and it certainly seems overwhelming.  You can click on a genre to hear a representative sample of the genre.  Click on the arrow that appears when you hover over a genre and a new page will open with a map of the artists in that genre.

You can also view the genres in a list and sort by a handful of filters.  So, if you wanted to find some super fast music, explore Neurostep and Darkstep.  A Spotify playlist will appear that will allow you to find out what Neurostep and Darkstep are; I had no ideas these were genres.  You can also search by an artist to find out what genres are associated with it.  I put in Portishead and it came up with the following genres: chamber pop, electronic, laboratorio, and trip hop.   Having never heard of laboratorio, I’ll go back to that genre and see what other bands come up.

It definitely seems like an interesting way to explore new music or just a good mind-veg while you’re sitting on your train or bus.  Also, as someone who spends probably way to much time organizing my online musical collection by genre, it will be a nice tool to help with that exercise.

Here is the link to the site: http://everynoise.com/engenremap.html

And here’s a nice little backstory from creator Glenn McDonald on the project: http://blog.echonest.com/post/52385283599/how-we-understand-music-genres

By The Numbers: Purple Rain by Prince

April 26, 2016

I did this a few months ago and it seemed like an appropriate time to take back a look at Prince’s 1984 classic, Purple Rain.  My rankings of the individual songs on this album make it one of the few albums where every song has either a four or five star rating.  Not surprising given the album’s status as Prince’s masterpiece, but it does makes it harder to rank the songs.  Basically, we’re dealing with two tiers and you could ask ten Prince fans to do this and you’d probably get ten different combinations, though I have a feeling the top 3 would be the three I chose in some order.

In re-listening to the entire album a bunch of times in the past week, I was struck by the variety of musical styles that the album offers (sometimes within one song), which may explain some of its appeal.  There’s something here for fans of a bunch of different genres, even though it’s often labeled a “pop” album.  He certainly took some chances with this record and the fact that there are no mis-steps or even “average” tunes makes this album even more impressive.  The other thing I noticed was that the sequencing and transitions between songs is marvelous. I certainly think this is an album to be heard in one sitting and I certainly wouldn’t reorder it to match my rankings below.

9. Track 7, I Would Die for U (four stars).  The “worst” song on the album is also its shortest by over a minute. This song is held together by a drum machine beat that holds together the arrangement. Piano, synths, handclaps and snare hits emerge during the chorus, but surrender to the drum machine during Prince’s first two verses. The chorus make it seem like this is Prince singing to a girlfriend/lover and professing that he would die for her. But the rest of the lyrics make it more likely this is God (or Prince on behalf of a higher being) singing to the collective us. “I’m something you’ll never understand”, “if you’re evil I’ll forgive you” and “I’m your messiah” are all not too subtle hints.  Also a little touch that seems odd but works. In the chorus, instead of going right from “darling if you want me to” to “I would die for you” as I’d expect most artists would, he throws in an extra “you” in front of the kicker line that emphasizes that he’s ready to die for YOU. Overall, a very good synth-pop song.

8. Track 2, Take Me With U (four stars).   Was Prince foreseeing Twitter and texting with his insistence on shortening “you” to “U” in his song titles?  Probably.  This tune starts with a slightly ominous synth and tom tom barrage that could have been score music for a dramatic scene in a Miami Vice episode. But instead of a shootout, we get a love scene. A jangly tambourine introduces a song that is a piece of 60s psychedelic guitar rock ala early Beatles. String flourishes and an upbeat, sunny guitar line buoy lyrics about love and wanting to be with be with your lover no matter where they are going.  If he wasn’t such a talent at songwriting,  I could imagine Paul McCartney having given these lyrics to Prince and telling him “I know you can do something better with this than that hack MJ”.  I also love his cadence in the delivery of the chorus, it’s so damn uplifting. Nice touch at end too when he bookends the track with that same ominous intro music and then fades it out on the cheery hook one last time.

7. Track 4, Computer Blue (four stars).  Wendy and Lisa from the Revolution start with a short spoken intro that suggests something kinky is about to happen. Don’t think I’d characterize this song as kinky, but it’s the weirdest song on the album. There’s some screechy sound effects and a little synth line that sounds like it would fit right in on a Todd Terje album. It’s mostly an instrumental track that apparently was part of a larger suite that got pared down for the final album. It still retains that spirit with a middle section that is quite different than the first and last third.  There’s one verse of lyrics, with Prince bemoaning his lack of finding a lover and then cymbals start getting bashed and there’s some guitar wailing that comes to a screeching halt with a snare drum punctuation.  Then a synth brings us down into another groove that’s a little less manic.  Like the last song, he brings back in the heavy drums and guitar for one last reprise, and adds in some Prince yelps worthy of an 80s hair metal leader singer.

6. Track 8, Baby I’m A Star (four stars).  This was the B-side to Take Me With You.  Obviously I like this song better.  This is the closest approximation to some of his earlier hits (say 1999) and the most obvious funk/R&B track on the record and has the feel of a Sly and the Family Stone track.  It’s high tempo throughout, building and building to a horn (which may actually be done with a synth) and synth breakdown and Prince yelping “baby”.  Musically, this sounds like what Mark Ronson was trying to recreate with Uptown Funk.  Lyrically, it’s a pretty straightforward piece about becoming a star, the chorus probably pretty accurately summing up Prince’s prescience  about what was coming with this album, “You might not know it now, baby, but I are, I’m a star/I don’t wanna stop til’ I reach the top.”

5. Track 3, The Beautiful Ones (four stars).  A good example of the genre-blending I mentioned at the top.  This one starts out as the slow jam of the record, with a plinky piano line and velvety synth and some sultry singing from Prince.  Here Prince is playing the one pining for an unrequited love, “don’t my kisses please you right/you were hard to find/the beautiful ones, they hurt you every time”.  Two verses later, he tells her he’s in love with her and asks “if we got married/wouldn’t that be cool?” though the last line he breaks from his falsetto and delivers it in a deadpan, but desperate questioning tone.  Then, the synths start twisting and swirling, giving off an eerie, definitely non-romantic vibe.  Prince is now screaming “do you want him, do you want me, cause I want you” and now there’s a guitar line that’s crept in and the drums are picking up and Prince is now acting as front man for a rock band.  I have to think Axl Rose was taking notes when he heard this.  And then the song dies out into nothingness, as unrequited love is wont to do.

4. Track 5, Darling Nikki (five stars).  This song rises just above the songs already mentioned, but I don’t think is generally mentioned in the same breadth as the three songs left.  Here, Prince’s desires do not go unrequited.  The song matter-of-factly starts with an introduction to Nikki, “I guess you could say she was a sex fiend” and Prince finds her in a hotel lobby “masturbating with a magazine”.  Next thing you know, Prince is back at her castle and after signing some paperwork “Nikki started to grind”.  The music is sing-songy guitar and mellow drums while he sings, and then erupts with crashing cymbal and guitar riffs between verses.  Soft-loud-soft (Pixies anyone?).  Then the double bass drums kick in, a hard synth rises to the front of the mix and a nasty little guitar solo.  The most overtly metal moment on the album.  Then, a weird little outro with some backwards looped vocals that resemble chanting monks and rain sound effects, perhaps denoting the religious experience of being with Nikki?

3. Track 6, When Doves Cry (five stars).  Here’s where we get into the really tough choices. How could this only be the third best song on an album?  Following up the oozing sexiness of Darling Nikki, he goes right in on a guitar solo and settles into a groove made entirely with synth and drums.  To match the subject matter of the lyrics, the entire vibe of the song has a pall over it even as it tries to make you dance.  For such a popular song, the lyrics are some serious stuff.  Prince laments about repeating the mistakes of his parents with his current mate, too bold and never satisfied, and is left standing alone in the cold world.  The lyrics also conjure some great imagery.  The chorus is obviously one, but the verse “dream if you can a courtyard/an ocean of violets in bloom/animals strike curious poses/ they feel the heat/the heat between me and you” is vivid and tangible. The prolonged outro has Prince lamenting through his guitar and assorted wails and grunts, part Jimi Hendrix, part James Brown.

2. Track 9, Purple Rain (five stars).  This is an epic ballad.  You know the lyrics, you’ve sung the chorus out loud in the shower, with your friends, or at a karaoke bar.  You know the guitar solo.  There’s a deliberate slowness to everything about the song, his vocals have an echo, the guitar and drums don’t ever really gain tempo.  After several other songs have shown, you expect Purple Rain to erupt into something different, whether it’s style or speed.  He stays the course here on both accounts.  Snare hits, cymbal crashes, the guitar riffs, and the vocals feel like they are fighting the reins that Prince is putting on the song, and since they can’t go faster, they all just get more intense.

1. Track 1, Let’s Go Crazy (five stars).  The iconic opening song that dramatically sets the stage for the rest of the album.  Beginning with that organ and Prince preaching to his listeners.  It’s basically an album opening skit, a bold move in that skits, as countless hip hop albums have shown, are almost always annoying and break up the flow of an album.  Here, it fits thematically and musically the transition from that organ line to that drum beat and the song proper is sublime.  When I hear this song, I feel it’s the refinement of Prince’s quest for the ultimate party song (see 1999), though it seems Prince’s ultimate time to party appears to be at the end of the world.  The funkiness of 1999 is replaced with a hard-charging rocker that still gets you dancing with a chorus getting to the crux of having a good time “let’s go crazy, let’s go nuts.”  If you happened onto the song as the guitar solo hits, you might think you’re listening to Eddie Van Halen going to town on a VH tune.  I definitely remember rocking out in my room as a ten year old kid whenever I heard this song on the radio.  Thirty-some years later and it still makes me feel like that ten year old, which I think is what Prince would have wanted.

There you have it.  My take on Prince’s classic.  Given Prince’s vigilant  protection of his copyright rights, this video probably won’t be up for long, but here’s a video apparently from the Purple Rain tour of Let’s Go Crazy.  If it’s gone by the time this post is up, do yourself a favor and listen to the whole album.

RIP Prince

April 21, 2016

Man, 2016 has been a rough year for musical legends from rock (Bowie), hip hop (Phife Dawg), country (Merle Haggard) and now pop and funk with Prince’s death today. As I’m writing this, I’m watching Purple Rain on MTV, who decided to scrap its regular (and terrible) programming and run videos and movies from one of MTV’s early stars.  The videos and songs from albums like Purple Rain, Around the World in a Day, Parade, and Sign O’ The Times were part of the soundtrack of my life as a youngster where radio and MTV still were the main ways to consume music for a kid.

I still listen to those classic albums and I’ve picked up a few more of his albums over the years, but I couldn’t keep up with his prolific output.  In 38 years, he put out 39 albums!  Part of that was a rush of albums in the mid-90s to get out of his contractual obligations to Warner Brothers. He also penned songs that became famous for other artists, like I Feel For You by Chaka Khan and Nothing Compares to U by Sinead O’Connor.  Like David Bowie, he also was involved in film, acting in and directing several movies, most famously the aforementioned Purple Rain.

A few other numbers.  1 Academy Award.  7 Grammys (same as Madonna).  4 MTV Music Awards (when that meant something).  5 number 1 singles.  1 of only a handful of Super Bowl halftime performances that people remember. Gaudy numbers for sure that would make most musicians not named MJ jealous.

The man matched his stamina in recording songs with mammoth sets in live shows.  He was at the top of my list of “must-sees” live and I thought I’d have several more times as he’d been touring extensively over the past few years.  From the remembrances of people today who saw him live, the words “special”, “memorable” and “amazing” were common.    He could pull off doing a cover of Radiohead’s Creep like it was nothing (thanks for sharing that Bryan!):

The last thing I’d like to mention is that because he’s so associated with pop music and R&B that it sometimes gets lost that the man was a wizard with the guitar.  Another video that’s been going around today is the 2004 Rock n Roll Hall Fame performance of While My Guitar Gently Weeps, featuring some other dudes and Prince.

I’d like to think that guitar disappeared to wherever Prince ended up today, waiting for him to pick it up and keep doing his thing.

You Call That A Shuffle?

April 18, 2016

220px-TearsRollDown 220px-St_Elsewhere_Cover_Art-2 220px-TheEssentialClash-2

 

Straight to the shuffle:

Tears for Fears, Sowing The Seeds of Love, from Tears Roll Down (Greatest Hits 82-92). Four stars.  This is the full version of the song, which more than the radio edit, shows how this is a full-on tribute to Sgt. Pepper’s era-Beatles.  The middle section of the song has orchestral swells and layered horns that is totally reminiscent of parts of several Sgt. Pepper songs.  A so-obvious tribute (Lennon would have been proud of the number of times the word “love” is uttered) could have backfired, but it works and stands on its own as a catchy pop song.

Gnarls Barkley, The Boogie Monster, from St. Elsewhere.  Three stars.  Yes, I have the entire album that has the Crazy song on it.  It’s actually a decent album, but there’s some misses and this is one of them.  There’s a decent organ line running through the song, but it’s just kinda of a flat song that doesn’t go anywhere and has ho-hum lyrics.  Given the title and lyrics, they were obviously going for a “scary” vibe, but it’s about as scary as The Wicker Man reboot (not scary).  And it throws in a dumb fellatio joke at the last second that has no discernible connection to the rest of the song.

The Clash, Police on My Back, from The Essential Clash (Disc 2). Four stars.  This song was originally written by Guyanese artist Eddy Grant and appeared on the sprawling and ambitious Clash album Sandinista!  The opening guitar riff sounds like a whirring police siren and propels the song forward throughout.  For the international influence of a lot of songs on this album and the origins of this song in particular, the Clash’s version come across as pretty straight-forward rock.  Bonus points for the train whistle sound effect to go with the lyrics about “running down the railway tracks.”

Quick Hit or Miss – Mayer Hawthorne, Man About Town

April 12, 2016

81Ht6uzTd6L._SY355_I didn’t even know Mayer had a new album coming out until my wife sent a text to me and our friends who used to live in the “valley” here in LA with a new song she’d heard called aptly, The Valley.  This song is one of the highlights of the new record, so makes sense it would get some radio airplay.

After a brief opening track that oddly reminded me of the beginning of Bohemian Rhapsody, this album settles into R&B with an pinch of 80s pop.  A few moments reminded me of Hall and Oates, particularly Book of Broken Hearts.  There’s a few slow jams (Breakfast in Bed and Get You Back) thrown in too.

The Valley has a catchy “oh oh oh” chorus and hand claps that provide a sunny backdrop to a song about a woman trying to escape the “valley” to make it in LA.  My favorite song on the album is the song that comes right before it, Fancy Clothes.  It’s a reggae-tinged song with more horns and guitar than most of the rest of the album.  I think the reason I liked it the most was it stood out as different than the rest of the tracks.

I think that’s my main problem with the album.  It’s good and consistent music with all the songs clocking in between 3:30 and 4 minutes long.  But that consistency can make it a little monotonous on repeated listens.  I’d give it a hit for throwing on in the backyard this summer or cherry-picking a few songs for a summer playlist, but I don’t think this one will keep me coming back.

Here’s Fancy Clothes, one of those songs I’d throw in a playlist:

RIP Phife Dawg

March 27, 2016

It’s been a busy week, but wanted to put down a few words in memory of Malik Taylor, better known to fans of A Tribe Called Quest as Phife Dawg.  Or the Five Foot Assassin. Or spitter of rhymes like “i never half step, cuz I’m not a half stepper/drink a lotta soda so they call me Dr. Pepper” and “Hey yo Bo know this and Bo knows that / But Bo don’t know Jack / cause Bo can’t rap.”

ATCQ, probably more than any other hip hop group, drew me full bore into hip hop as a teenager.  As a “rock n roll” kid, my exposure to hip hop was quite limited and I was drawn to the more rock beats of Beastie Boys and some Run DMC.  The debut from De La Soul was too foreign for me at the time.  I missed ATCQ’s debut in 1990, but for reasons I can’t remember now I bought their second album The Low End Theory.  CDs were new to me as my family had only recently gotten a CD player, and I had only a handful.  So, by default the discs I had got a lot of airplay.

But this disc got the most airplay (even more than Nirvana’s Nevermind).  The beats, influenced by jazz, were amazing.  But, more than anything, it was the rhymes.  There was a youthful exuberance, wit, and humor (even when tackling serious subjects) that just speaks to a young person.  And Phife Dawg’s verses were all of those things.  For a nice list of some of his verses, look at this piece.  And a lot of those I can just hear him rapping them as soon as I saw them on the written page.

The wave of pieces and tributes that have come out in the past week is testament to Phife’s place in the canon of hip hop greats.  And for me personally, the fact that he, as an integral part of ATCQ, made me, and no doubt many others, love hip hop is a great legacy for any artist.  RIP.

Quick Hit or Miss – Thao & The Get Down Stay Down, A Man Alive

March 11, 2016

homepage_large.78ae8af7I listened to this album the other day and then immediately listened to it again.  The reason I did that was because I had to figure out whether this album seemed as good as I thought it was.  I’ve listened to it several more times and that feeling I had the first spin is still there.  This is a really good album.

Thao Nguyen takes on the personal subject of her father abandoning her family when she was young and its affect on her through her life. While this subject matter would lend itself to a dour album, I found this album to be vibrant and uplifting. There are certainly some dark spots, and the dichotomy between that dark and light is part of the album’s appeal.

A big part of that vibrancy is the involvement of Merrill Garbus, who produces here.  You might know her better as the artist Tuneyards.  Her mark on the album is distinct.  The first time through one of the thoughts I had was wow, Thao must really have dug the last Tuneyards album.  The rhythm section in the band is fantastic on this album, in a lot of songs guitar is secondary to the bass and drums.  One other comparison I’d make on the overall album is Beck’s Mellow Gold, with the kitchen sink/collage approach to instrumentation. Keyboards, xylophones, hand claps, tom toms, and various basses are sprinkled throughout the album.

The sequencing of the album is really good as well.  There’s a nice ebb and flow between those upbeat songs and the more downtempo ones.  Stand out tracks for me are Slash/Burn, Fool Forever, Give Me Peace, and closer Endless Love.  Lyrically, that last song really hits home on the duality I mentioned above as Thao starts by proclaiming that she has “an endless love no one can starve” but a little further into the song reveals that she “don’t want it, carve it out of me.”

This is a definite hit for me, I think there’s something here for a wide swath of music fans.  Here’s a link to the video for the leadoff song on the album, Astonished Man.

 

 

Quick Hit or Miss – David Bowie, Blackstar

February 29, 2016

Blackstar_(Front_Cover)I mentioned in my short post after his death that I would make sure to listen to his last album and post about my thoughts.  I’ve gone through the entire album a handful of times and what I’m most struck by is how “unrock” it is.  There’s a good bit of jazz elements, especially prominent placement of saxophone on the first three songs.  I learned researching this album that sax was the first instrument Bowie learned to play; I have to think this was a deliberate choice by Bowie to lean so heavily on that instrument in his final album.  The title track, which leads off the album, is a three part suite that has a good dose of that sax and singing that verges on Gregorian chanting at times.  The first and third parts of the song have a glitchy, post-OK Computer Radiohead vibe.

The sax stays in the fore in both the second and third songs.  Lazarus, the third track, is the best song on the album.  It’s got a great atmosphere with that sax and guitar stabs punctuating his pointed lyrics that definitely seem to be rooted in the knowledge of his impending death.  The fourth track, Sue, has a little drum n bass breakdown at the beginning and morphs into an uptempo and instrumental freak out at the end.  The energy slows down a bit on the next track, which to me has a dub sound.  Dollar Days is the track with the most prominent guitar and because of that it has a heavier sound than a lot of the other tracks.

It’s a testament to his innovative spirit that Bowie continued to stretch and look for new inspirations even at this point in his career, much less his life.  He could have easily put out a guitar-driven album that rehashed some of his “classic” works.  I would definitely put this in the Hit category; Lazarus is a bona fide entry into his best songs canon and the album as a whole has new things to discover on repeat listens.

Here’s the video for Lazarus:


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