illmatic (nas)
This is my favorite hip hop album that I've heard. Grimy and melodic beats; thematically a little predictable (crime and braggadocio, assertions of authenticity) but lyrically dexterous. Great voice, great flow.
There are so, so many good tracks on this album. "The Genesis" has a nice, heavy buzz in its sound; "NY State of Mind" is awesome- dark, slowly fierce, intense, plus some of the quickest, most fluid rapping on the whole album. "The World Is Yours" has that great, fuzzy piano beat, and some of my favorite single lines- 'I keep fallin, but never fallin six feet deep' and 'I'm out for dead Presidents to represent me…' awesome. "Halftime" is pretty cool. "Memory Lane" mixes a darkly autobiographical lyrical bent with an upbeat, almost kidlike beat- a nice, fuzzy, sinister song. "Represent" is a particularly vivid, criminal song, it makes me think of some of Biggie's brutal crime story raps. And the fuzzy, synth beat is fantastic, one of my favorite beats. "It ain't hard to tell" is a good closer, cocky with a great, zippy, busy (but not overwhelming) beat.
I've written before that melodic beats are the key for me to enjoy hip hop, and this album provides them in spades. Plus Nas has a great voice and the rhymes are pretty incredible- he's just a relentless wordsmith. I'd like to read up more about this album and it's historical significance for rap music. What I've read so far is pretty interesting.
1994 was a pretty enormous year for east coast hip hop- Illmatic, 36 Chambers, Ready to Die. 36 Chambers was all right, kinda funny, kinda interesting, but overall my least favorite of these three. Ready to Die was pretty incredible, with a great mix of brutality, humor and melancholy. Lyrically that was probably the most distinct and interesting record- hard to top Biggie's voice. But I really, really like Illmatic. It's smart and melodic, and also makes for good casual listening. I can just listen to it while I'm doing anything. Very good one.
I'm looking forward to exploring more of the hip hop from this era and from the years before. Very cool record, very good one.
Thursday, April 30, 2009
album #43
station to station (david bowie)
I really liked every track on this album. This is a dark, weird, anxious record. Famously recorded amid a blizzard of cocaine, and I can certainly believe it. Wonderfully cool, synthetic sounds, and Bowie's yearning croon stretching throughout. It has taken me so long to try and put my finger on this album… it is still hard for me to totally capture what it feels like as a collective work, other than to say that it's dark, weird, and anxious. Like I already said.
"Station to Station" is ominous. It opens with a collage of fuzz, a paranoid, drippy guitar. Dark, icy, cabaret syrup. Then eventually, with “it’s too late- to be grateful” it reaches this fast, jamming, joyous pace. A great voyage- it starts in this futuristic, mechanical, scary place, and eventually surges into a fun, anthemic song. "Golden Years" is the most famous song here; fantastic, dark disco. "Word on a Wing" sounds like a cabaret ballad, a delicate song (except for Bowie’s loud, clear, powerful voice), with an anxiously, pleadingly sentimental tone. "TVC15" is awesomely weird, nice and upbeat and catchy. I love the viciously strange strings at the beginning and the refrain at the end. "Stay" stands out for the really nice guitars, the guitars drive the rythym in a nice, funky, uptempo way. Kindof a disco vibe, with more of that pleading vibe in the lyrics. And "Wild is the Wind," like the other Bowie records I've heard so far, closes the album with a surreal, pleading, distantly doomed vibe. It's a unique song, a steady beat, a tender lament, driven by a really nice, sad guitar. In many ways it sounds like an influence on the 80s.
In a way this reminds me of Ziggy Stardust- the way that Bowie takes (or perhaps introduces) the music of his time (on Ziggy, hard rock; here, funk and disco) and ties his darkness and surreality into the sound.
I have completely lost count of the adjectives I've tried to put into this music. Bowie's work is pretty fun, and also pretty difficult, to try and write about.
Now I'm trying to figure out which record I like more, this one or Hunky Dory. It's fascinating how appropriate those names are, on reflection. Hunky Dory… charming, cheerful, but almost a little embarassingly so. And the name Station to Station fits a philosophical vibe of this album… mechanical, the doom of inescapable sameness and rhythm. Hunky Dory has more masterpieces, but it might be a little more up and down… Station to Station is more consistently weird, dark, and fascinating. But I may be suffering from the recency effect here. This is a good debate to revisit.
I really liked every track on this album. This is a dark, weird, anxious record. Famously recorded amid a blizzard of cocaine, and I can certainly believe it. Wonderfully cool, synthetic sounds, and Bowie's yearning croon stretching throughout. It has taken me so long to try and put my finger on this album… it is still hard for me to totally capture what it feels like as a collective work, other than to say that it's dark, weird, and anxious. Like I already said.
"Station to Station" is ominous. It opens with a collage of fuzz, a paranoid, drippy guitar. Dark, icy, cabaret syrup. Then eventually, with “it’s too late- to be grateful” it reaches this fast, jamming, joyous pace. A great voyage- it starts in this futuristic, mechanical, scary place, and eventually surges into a fun, anthemic song. "Golden Years" is the most famous song here; fantastic, dark disco. "Word on a Wing" sounds like a cabaret ballad, a delicate song (except for Bowie’s loud, clear, powerful voice), with an anxiously, pleadingly sentimental tone. "TVC15" is awesomely weird, nice and upbeat and catchy. I love the viciously strange strings at the beginning and the refrain at the end. "Stay" stands out for the really nice guitars, the guitars drive the rythym in a nice, funky, uptempo way. Kindof a disco vibe, with more of that pleading vibe in the lyrics. And "Wild is the Wind," like the other Bowie records I've heard so far, closes the album with a surreal, pleading, distantly doomed vibe. It's a unique song, a steady beat, a tender lament, driven by a really nice, sad guitar. In many ways it sounds like an influence on the 80s.
In a way this reminds me of Ziggy Stardust- the way that Bowie takes (or perhaps introduces) the music of his time (on Ziggy, hard rock; here, funk and disco) and ties his darkness and surreality into the sound.
I have completely lost count of the adjectives I've tried to put into this music. Bowie's work is pretty fun, and also pretty difficult, to try and write about.
Now I'm trying to figure out which record I like more, this one or Hunky Dory. It's fascinating how appropriate those names are, on reflection. Hunky Dory… charming, cheerful, but almost a little embarassingly so. And the name Station to Station fits a philosophical vibe of this album… mechanical, the doom of inescapable sameness and rhythm. Hunky Dory has more masterpieces, but it might be a little more up and down… Station to Station is more consistently weird, dark, and fascinating. But I may be suffering from the recency effect here. This is a good debate to revisit.
Tuesday, April 28, 2009
album #42
q: are we not men? a: we are devo! (devo)
This was a pretty cool record but I never really got into it. Devo’s got their interesting style- the forceful guitar, the buzzing synth, strangely distant shouted/sung lyrics. They clearly had an influence on a lot of the music that came since then, a positive influence. But overall I don't quite love their sound. It’s not full enough for my tastes, the melody, the sound, it’s somehow not rich enough. There’s that tinny distance.
There was no song that I can point to and say, “I really loved this and want to listen to it again,” but I’d like most of them if they came up on shuffle. “Uncontrollable Urge” is a classic, the great guitar, the ‘Yeah!’s. The cover of “Satisfaction” was one of my favorites- makes that cool, halting, synthetic sound really work very well, it really inverts the tone of the original perfectly. “Space Junk” probably came closest to fitting the upbeat, melodic sound that I like. “Mongoloid” is pretty good; slow, spacey; strange synth. A nice, eerie sound to this one. “Jocko Homo” is cool, a classic- ‘we are devo,’ the answer traveling in various interesting musical directions. “Gut Feeling” is pretty good, that famous instrumental opening, building a great energy. And “Shrivel Up” was another one of my favorites. Probably comes closest to 'I love this and want to hear it again, a lot' territory. A dark edge to it, a bit menacing, catchy.
It’s tough to say. I think I like the individual songs but the album is not too fun to listen to, that distance gets tiresome. Mixed in a shuffle with other songs, Devo makes for a fun, eccentric change of pace. I like it, don’t love it.
This was a pretty cool record but I never really got into it. Devo’s got their interesting style- the forceful guitar, the buzzing synth, strangely distant shouted/sung lyrics. They clearly had an influence on a lot of the music that came since then, a positive influence. But overall I don't quite love their sound. It’s not full enough for my tastes, the melody, the sound, it’s somehow not rich enough. There’s that tinny distance.
There was no song that I can point to and say, “I really loved this and want to listen to it again,” but I’d like most of them if they came up on shuffle. “Uncontrollable Urge” is a classic, the great guitar, the ‘Yeah!’s. The cover of “Satisfaction” was one of my favorites- makes that cool, halting, synthetic sound really work very well, it really inverts the tone of the original perfectly. “Space Junk” probably came closest to fitting the upbeat, melodic sound that I like. “Mongoloid” is pretty good; slow, spacey; strange synth. A nice, eerie sound to this one. “Jocko Homo” is cool, a classic- ‘we are devo,’ the answer traveling in various interesting musical directions. “Gut Feeling” is pretty good, that famous instrumental opening, building a great energy. And “Shrivel Up” was another one of my favorites. Probably comes closest to 'I love this and want to hear it again, a lot' territory. A dark edge to it, a bit menacing, catchy.
It’s tough to say. I think I like the individual songs but the album is not too fun to listen to, that distance gets tiresome. Mixed in a shuffle with other songs, Devo makes for a fun, eccentric change of pace. I like it, don’t love it.
Monday, April 27, 2009
album #41
born to run (bruce springsteen)
This album grew on me in a hurry. The intense sincerity, Bruce's shout-singing excellence, the recurring themes of young, working class toughs with big dreams to get out of their grimy, oppressive towns, and the heartbreaking collapse of those dreams. Shiny cars, dirty streets, pretty girls. This album makes for a really nice combination of, thematic consistency and musical versatility. There were some tracks where I loved the thick, busy swirl of instruments; other songs where the twangy guitar and all that sax felt like too much, almost annoying a little.
"Thunder Road," for instance, is pretty good, but I fell in love with a slower, more subdued version of this song. I thought the entire sentiment of the song fit beautifully with the tender, acoustic version I heard. So I like this version but I can't love it, it just doesn't feel like the 'real' version for me. "Tenth Avenue Freeze Out" is really fun. Nice, upbeat, relaxed jam. "Backstreets" is a great, dramatic anthem- the organ gives it a very Dylan feel. And of course, some classic shout-singing on display in that one. "Born to Run" is the best Springsteen song- just beautiful, pounding energy, the surge of energy and passion. Classic. "Meeting Across the River," I liked a lot. A slow, melancholy song of a criminal in over his head- it feels almost theatrical, like the slow, sad number from a Broadway show. And "Jungleland" is a masterpiece. An epic. One of the most listenable ten minute songs I've heard, and a beautifully vivid story- almost west side story-esque.
Very relistenable, it grows well. Great stuff across the board.
This album grew on me in a hurry. The intense sincerity, Bruce's shout-singing excellence, the recurring themes of young, working class toughs with big dreams to get out of their grimy, oppressive towns, and the heartbreaking collapse of those dreams. Shiny cars, dirty streets, pretty girls. This album makes for a really nice combination of, thematic consistency and musical versatility. There were some tracks where I loved the thick, busy swirl of instruments; other songs where the twangy guitar and all that sax felt like too much, almost annoying a little.
"Thunder Road," for instance, is pretty good, but I fell in love with a slower, more subdued version of this song. I thought the entire sentiment of the song fit beautifully with the tender, acoustic version I heard. So I like this version but I can't love it, it just doesn't feel like the 'real' version for me. "Tenth Avenue Freeze Out" is really fun. Nice, upbeat, relaxed jam. "Backstreets" is a great, dramatic anthem- the organ gives it a very Dylan feel. And of course, some classic shout-singing on display in that one. "Born to Run" is the best Springsteen song- just beautiful, pounding energy, the surge of energy and passion. Classic. "Meeting Across the River," I liked a lot. A slow, melancholy song of a criminal in over his head- it feels almost theatrical, like the slow, sad number from a Broadway show. And "Jungleland" is a masterpiece. An epic. One of the most listenable ten minute songs I've heard, and a beautifully vivid story- almost west side story-esque.
Very relistenable, it grows well. Great stuff across the board.
Sunday, April 19, 2009
album #40
the queen is dead (the smiths)
There are two famous, dominant aspects of The Smiths' sound- there's the witty, morose, pitch black prettiness of Morrissey's voice and lyrics. And there's the fast, jangly, versatile magic of Johnny Marr's guitars and compositions. They're like two cards leaning against each other, propping each other up. When they're in balance, the results are magnificent. "The Queen is Dead" makes for an awesome opening track, a dark energy that establishes a real sense of promise and significance for the rest of the record. It's a weird song, an airy orbit urgently, anxiously circling around Morrissey. "Cemetery Gates" is my favorite song on the album, besides the masterpieces I've known for years. It's upbeat, wonderful pop, with clever and sad lyrics. The second half of the album is defined by the old classics- "Bigmouth Strikes Again," darkly hilarious and urgent; "The Boy With The Thorn In His Side," lovely and melancholy; and "There is a Light That Never Goes Out," a beautiful, swooningly sad classic- one of the ultimate songs of youth, yearning, restlessness and heartbreak. Some of the other songs are nice; the weakest songs on the album come when Marr doesn't push back against Morrissey's glumness- there are a couple self indulgently whiny, slow sobfests mixed in.
Altogether a charming work. Several stellar examples of that Morrissey-Marr dynamic that marked the Smiths as one of their era's best, most influential and most unique bands.
There are two famous, dominant aspects of The Smiths' sound- there's the witty, morose, pitch black prettiness of Morrissey's voice and lyrics. And there's the fast, jangly, versatile magic of Johnny Marr's guitars and compositions. They're like two cards leaning against each other, propping each other up. When they're in balance, the results are magnificent. "The Queen is Dead" makes for an awesome opening track, a dark energy that establishes a real sense of promise and significance for the rest of the record. It's a weird song, an airy orbit urgently, anxiously circling around Morrissey. "Cemetery Gates" is my favorite song on the album, besides the masterpieces I've known for years. It's upbeat, wonderful pop, with clever and sad lyrics. The second half of the album is defined by the old classics- "Bigmouth Strikes Again," darkly hilarious and urgent; "The Boy With The Thorn In His Side," lovely and melancholy; and "There is a Light That Never Goes Out," a beautiful, swooningly sad classic- one of the ultimate songs of youth, yearning, restlessness and heartbreak. Some of the other songs are nice; the weakest songs on the album come when Marr doesn't push back against Morrissey's glumness- there are a couple self indulgently whiny, slow sobfests mixed in.
Altogether a charming work. Several stellar examples of that Morrissey-Marr dynamic that marked the Smiths as one of their era's best, most influential and most unique bands.
album #39
living with the living (ted leo)
This is a solid album. I didn’t quite love it the way I’ve loved other Ted Leo albums, but there were some really strong tracks. He definitely brings his classic energy and passion to the music. I’m not sure exactly what it is, if the songs are less melodic, or more predictable, or if the political connotations (or social connotations) have changed over the years to lessen his appeal for me. Regardless, solid work, with some flashes of brilliance.
The album gets off to a strong start. “Sons of Cain” is awesome, fast, catchy, classic Leo, one of the best tracks. “Army Bound” is good and solid. “Who Do You Love?” is nice and catchy, a hint of delicacy backed with Leo’s typically excellent, fast guitar. “Colleen” is also nice and catchy, a ballad with a fantastic guitar solo. And “Bottle of Buckie” is a good, sweet lull of a song. After that the album drops off a little, most of the other songs are either okay or good but too long. Good songs but not favorites.
I’m a little biased because of my familiarity with Ted Leo’s work- I wonder if I’m suffering from, boredom because I know his style, or a change of taste or what. But on the other hand, I still really enjoy his earlier work. Tough to say. Good stuff.
This is a solid album. I didn’t quite love it the way I’ve loved other Ted Leo albums, but there were some really strong tracks. He definitely brings his classic energy and passion to the music. I’m not sure exactly what it is, if the songs are less melodic, or more predictable, or if the political connotations (or social connotations) have changed over the years to lessen his appeal for me. Regardless, solid work, with some flashes of brilliance.
The album gets off to a strong start. “Sons of Cain” is awesome, fast, catchy, classic Leo, one of the best tracks. “Army Bound” is good and solid. “Who Do You Love?” is nice and catchy, a hint of delicacy backed with Leo’s typically excellent, fast guitar. “Colleen” is also nice and catchy, a ballad with a fantastic guitar solo. And “Bottle of Buckie” is a good, sweet lull of a song. After that the album drops off a little, most of the other songs are either okay or good but too long. Good songs but not favorites.
I’m a little biased because of my familiarity with Ted Leo’s work- I wonder if I’m suffering from, boredom because I know his style, or a change of taste or what. But on the other hand, I still really enjoy his earlier work. Tough to say. Good stuff.
album #38
middle cyclone (neko case)
Altogether a pleasant listen. This is an eclectic album with a few different currents running throughout- generally there's a tone of darkness and softness, and that tone is approached from a variety of angles. There are the tender, reflective, slow songs- a big empty sky of stars, a barely chilly night in the grass. There are the heavier, more suspenseful songs (but still on the slower side), a hint of mystery, Bond with a twang. And a few songs that master a quick, pop energy, with an undercurrent of sadness.
"This Tornado Loves You" is wonderful, my favorite track. The fast acoustic guitar, Neko's lovely, controlled howl, the music shifting and surging, maintaining a quick pace as it explores different melodic elements. And that beautiful, yearning refrain at the end. "I'm an Animal" is my other favorite. There's the proud tone, the dark energy of the beat, a low night time chant. Beautiful, defiant and intimate. Some of the other tracks that really stood out- "People Got A Lotta Nerve" is a prime example of an upbeat, good pop song with that quietly sad vibe. "Red Tide" features great guitar, a nice intensity, a feeling of heaviness and intrigue. "Magpie to the Morning" feels a little brief, a little incomplete, but what's there is a slow, tender, low beat; a yearning, yelping voice; it's a lovely night time song. And "Fever" is one of the most fun, distinct, experimental tracks on the album. An eclectic, lurching beat, with cool, hollow instruments.
A few songs are a little bit blandly plodding, but for the most part this album is strong all the way through. Even the weak songs have their moments. The quality of the songs varies but the consistent saving grace is the fine instrumentation and Neko's loud, lovely voice.
Altogether a pleasant listen. This is an eclectic album with a few different currents running throughout- generally there's a tone of darkness and softness, and that tone is approached from a variety of angles. There are the tender, reflective, slow songs- a big empty sky of stars, a barely chilly night in the grass. There are the heavier, more suspenseful songs (but still on the slower side), a hint of mystery, Bond with a twang. And a few songs that master a quick, pop energy, with an undercurrent of sadness.
"This Tornado Loves You" is wonderful, my favorite track. The fast acoustic guitar, Neko's lovely, controlled howl, the music shifting and surging, maintaining a quick pace as it explores different melodic elements. And that beautiful, yearning refrain at the end. "I'm an Animal" is my other favorite. There's the proud tone, the dark energy of the beat, a low night time chant. Beautiful, defiant and intimate. Some of the other tracks that really stood out- "People Got A Lotta Nerve" is a prime example of an upbeat, good pop song with that quietly sad vibe. "Red Tide" features great guitar, a nice intensity, a feeling of heaviness and intrigue. "Magpie to the Morning" feels a little brief, a little incomplete, but what's there is a slow, tender, low beat; a yearning, yelping voice; it's a lovely night time song. And "Fever" is one of the most fun, distinct, experimental tracks on the album. An eclectic, lurching beat, with cool, hollow instruments.
A few songs are a little bit blandly plodding, but for the most part this album is strong all the way through. Even the weak songs have their moments. The quality of the songs varies but the consistent saving grace is the fine instrumentation and Neko's loud, lovely voice.
Sunday, April 12, 2009
album #37
the velvet underground & nico (the velvet underground)
I really liked this album. Classic underground sixties rock- nice guitars, some fantastically strange instruments, very casually, frankly taboo subject matter, two fascinating voices- Lou Reed's thin and hard, Nico's low, mysterious, unconventionally sexy. This is a good example of an album I really liked, even if the individual songs didn't always capture my attention. The iconic tone, the strange instruments, the general coolness of this record was enough to win me over. And the songs that stand out are pretty damn good.
"Waiting for my Man," clearly about an uptown drug deal, is a really nice, guitar-driven jam. "Venus in Furs" is magnificent. So heavy, so sexy, so strange- amazing strings, this low, sultry, brutal intensity. It feels like a heavy trip. Like it can only be experienced in the dark, forty years ago, or lying on a brown carpet staring at the ceiling, while tremendously high. "All Tomorrow's Parties" feels like a chant or a prayer. The strange, intense instrumentation, the low beauty of Nico's voice. Those are my three favorites- "There She Goes" is a generally pretty good jam, and the antsy strings, wavering intensity of "Black Angel's Death Mirror" makes for good listening.
Cool work across the board. A good listen.
I really liked this album. Classic underground sixties rock- nice guitars, some fantastically strange instruments, very casually, frankly taboo subject matter, two fascinating voices- Lou Reed's thin and hard, Nico's low, mysterious, unconventionally sexy. This is a good example of an album I really liked, even if the individual songs didn't always capture my attention. The iconic tone, the strange instruments, the general coolness of this record was enough to win me over. And the songs that stand out are pretty damn good.
"Waiting for my Man," clearly about an uptown drug deal, is a really nice, guitar-driven jam. "Venus in Furs" is magnificent. So heavy, so sexy, so strange- amazing strings, this low, sultry, brutal intensity. It feels like a heavy trip. Like it can only be experienced in the dark, forty years ago, or lying on a brown carpet staring at the ceiling, while tremendously high. "All Tomorrow's Parties" feels like a chant or a prayer. The strange, intense instrumentation, the low beauty of Nico's voice. Those are my three favorites- "There She Goes" is a generally pretty good jam, and the antsy strings, wavering intensity of "Black Angel's Death Mirror" makes for good listening.
Cool work across the board. A good listen.
album #36
enter the wu-tang (36 chambers) (wu-tang clan)
I liked this album, I didn't love it. Overall I like the gritty, hazy production, but generally I found the beats forgettable or unremarkable, and for my tastes I need an interesting, melodic beat to get into rap. The most interesting elements of this album, and this group, are the eccentric, playful Shaolin/kung fu mythology, the lyrical dexterity- fantastic rhymes and a good number of clever metaphors- and the versatile styles of the rappers involved.
It's fun hearing and examining the different paces and voices. Ol' Dirty Bastard sounds like a ghost trying to startle you. A vulgar, smoky ghost. GZA's got a good low, clear voice. Inspectah Deck's got a good, basic voice- reminded me a little bit of Jay Z. Ghostface Killah is an insanely talented, fast rhymer. Raekwon's got a hint of anger and energy and urgency in his voice, it's like he's really attacking you with his words. U-God's voice is a nice, low and rough, like a growling dog. RZA's got a good, tough, fast voice. Method Man's got the dusty flow.
The songs that really stood out: "Bring da Ruckus"- great kung fu samples, an aggressive, excellent opener, a great introduction to the mythology and the attitude of the group. "Shame on a Nigga," probably my favorite beat on the album. So damn fast, and brassy, with some nice piano mixed in and fantastic rhyming. Probably my overall favorite song. "Can it be all so Simple" makes me think of alien honey. A little plaintive and soulful, thoughtful bass, a slow, strange drip. "Da Mystery of Chessboxin," the beat just bears an incredible resemblance to Age of Empires. Otherwise it's a nice display of the Clan's versatile styles. "Wu-Tang Clan Ain't Nuthing Ta Fuck Wit" is a generally good song, good beat, good verses. "C.R.E.A.M." has a nice piano beat, one of the better beats on the album. "Tearz" is startingly harsh and sad, lyrically (a little brother shot to death, a friend who contracts AIDS). "Protect Ya Neck" makes for a great display of their various styles, each rapper gets their own verse and does their own thing with it.
The standout songs are all songs that I liked. The only ones I really Loved were "Ruckus" and "Shame." Good album, fun stuff, obviously more fun and more funny and more interesting than a lot of hip hop, but still not totally my thing. I need sweeter beats to really fall in love with it.
I liked this album, I didn't love it. Overall I like the gritty, hazy production, but generally I found the beats forgettable or unremarkable, and for my tastes I need an interesting, melodic beat to get into rap. The most interesting elements of this album, and this group, are the eccentric, playful Shaolin/kung fu mythology, the lyrical dexterity- fantastic rhymes and a good number of clever metaphors- and the versatile styles of the rappers involved.
It's fun hearing and examining the different paces and voices. Ol' Dirty Bastard sounds like a ghost trying to startle you. A vulgar, smoky ghost. GZA's got a good low, clear voice. Inspectah Deck's got a good, basic voice- reminded me a little bit of Jay Z. Ghostface Killah is an insanely talented, fast rhymer. Raekwon's got a hint of anger and energy and urgency in his voice, it's like he's really attacking you with his words. U-God's voice is a nice, low and rough, like a growling dog. RZA's got a good, tough, fast voice. Method Man's got the dusty flow.
The songs that really stood out: "Bring da Ruckus"- great kung fu samples, an aggressive, excellent opener, a great introduction to the mythology and the attitude of the group. "Shame on a Nigga," probably my favorite beat on the album. So damn fast, and brassy, with some nice piano mixed in and fantastic rhyming. Probably my overall favorite song. "Can it be all so Simple" makes me think of alien honey. A little plaintive and soulful, thoughtful bass, a slow, strange drip. "Da Mystery of Chessboxin," the beat just bears an incredible resemblance to Age of Empires. Otherwise it's a nice display of the Clan's versatile styles. "Wu-Tang Clan Ain't Nuthing Ta Fuck Wit" is a generally good song, good beat, good verses. "C.R.E.A.M." has a nice piano beat, one of the better beats on the album. "Tearz" is startingly harsh and sad, lyrically (a little brother shot to death, a friend who contracts AIDS). "Protect Ya Neck" makes for a great display of their various styles, each rapper gets their own verse and does their own thing with it.
The standout songs are all songs that I liked. The only ones I really Loved were "Ruckus" and "Shame." Good album, fun stuff, obviously more fun and more funny and more interesting than a lot of hip hop, but still not totally my thing. I need sweeter beats to really fall in love with it.
album #35
remain in light (talking heads)
I really liked this album a whole lot. It's a worldly, eccentric work- nice currents of funk and new wave, a joy to listen to. The album organizes itself very nicely on this arc, first it gets faster and faster, and then ends going slower and slower.
"Born Under Punches," the opener, is wonderful. Funky, mysterious, worldly. Cool lyrics. It feels like a twilight visit to a secret society in the jungle. It really feels like one of the defining Talking Heads songs, a compelling mix of primitivism and futurism. I love the low, rolling phrase “All I want is to be…" mixed in with the chants and the controlled sparks of the guitar. The next two songs get faster- "Crosseyed and Painless" is cool, funky and fast, "The Great Curve" gets frantic and searching- if "Crosseyed" was a jam, "Curve" is a mission. "Once in a Lifetime" is obviously a classic, and the moment where the chorus begins to fade into "Same as it ever was" feels like the turning point of the entire album, setting off the second half, which grows slower and more contemplative with every track.
"Houses in Motion" and "Seen and Not Seen" are both subtle and mysterious- the latter almost feels like a chant, opening a series of closing songs that evokes that 'jungle secret society' vibe once more, this time focusing on an individual setting out on his own, like a tribal ritual. "Listening Wind" is the lonely pilgrimage, the tribal youth speaking to himself as he wanders a mysterious landscape. And "The Overload" is a dark, ominous crawl.
Exciting, interesting combinations of instruments and witty, charming lyrics. The two types of songs I liked most were the fast, funky, poppy songs, and the songs that really capture the spirit of eccentric, worldy experimentation- the opener and "Houses" in particular. The closing tracks are a little too slow and drippy for my tastes, but in general a terrific, fascinating work.
I really liked this album a whole lot. It's a worldly, eccentric work- nice currents of funk and new wave, a joy to listen to. The album organizes itself very nicely on this arc, first it gets faster and faster, and then ends going slower and slower.
"Born Under Punches," the opener, is wonderful. Funky, mysterious, worldly. Cool lyrics. It feels like a twilight visit to a secret society in the jungle. It really feels like one of the defining Talking Heads songs, a compelling mix of primitivism and futurism. I love the low, rolling phrase “All I want is to be…" mixed in with the chants and the controlled sparks of the guitar. The next two songs get faster- "Crosseyed and Painless" is cool, funky and fast, "The Great Curve" gets frantic and searching- if "Crosseyed" was a jam, "Curve" is a mission. "Once in a Lifetime" is obviously a classic, and the moment where the chorus begins to fade into "Same as it ever was" feels like the turning point of the entire album, setting off the second half, which grows slower and more contemplative with every track.
"Houses in Motion" and "Seen and Not Seen" are both subtle and mysterious- the latter almost feels like a chant, opening a series of closing songs that evokes that 'jungle secret society' vibe once more, this time focusing on an individual setting out on his own, like a tribal ritual. "Listening Wind" is the lonely pilgrimage, the tribal youth speaking to himself as he wanders a mysterious landscape. And "The Overload" is a dark, ominous crawl.
Exciting, interesting combinations of instruments and witty, charming lyrics. The two types of songs I liked most were the fast, funky, poppy songs, and the songs that really capture the spirit of eccentric, worldy experimentation- the opener and "Houses" in particular. The closing tracks are a little too slow and drippy for my tastes, but in general a terrific, fascinating work.
Thursday, April 2, 2009
march recap
-$435 +$556 (not including rent)
march goal: $14 spent per day, hard max. and earnings that equate to $15-20 per day.
march result: $14 spent per day. and earnings of $17.94 per day.
Congratulations! This was your best money month so far, and you held precisely to your $435 cap. And financially, April will be a bonanza.
april goal: $14 spent per day, Hard Max (including dues, boston trip, metrocard.) earnings that equate to $25-30 per day.
think of it as a monthly allowance of $420, and once you spend it, there is nothing left to spend.
Music: Ten albums reviewed.
Museums: no written reflections. A brief, conversational visit to MOMA with the Porter brothers.
Fount: currently suspended by Meagan. We'll see…
Paintings: Zero progress.
Artwork: Another big leap forward. I've got my illustration portfolio organized on a chart right now. My goal is 20 pieces. I have 9 complete and 9 in progress.
Exercise: No progress.
Cartoons: Didn't quite make it into the idea month I wanted, bad writer's block. Still two packets out.
Improv: Feeling good in class. 6 performances, 3 okay, 1 pretty good, 2 great. (1 501, 2 ST, 3 Z)
Drawings: the doodle blog is looking like a solid success, keep it up! 73 followers.
Miscellany: Spent the second half of the month working a steady temp day job. Watched The Office (British). Dating a cool new girl. Read and reviewed Dreams From My Father. Had some film/sketch auditions. Eventful, fun CG/NJ bus trip. Participated in an Onion video! It'll come out in September. Shot fun, hilarious Ernie Gumboldt video, one of my favorite, most successful video projects. Lost internet connection for about two weeks, which disrupted the rhythm of some projects, but it's okay now.
april targets…
music: 10 albums reviewed
museums: 1 written reflection
paintings: 1 significant work completed and submitted (ali and dave portrait)
artwork: complete the catalogue of 20 illustrations. Submit to Austin gallery show.
exercise: 5 workouts
cartoons: work on drafts of all the december idea file.
improv: 4 performances, submit personal notes to coach B.
drawings: keep it up
march goal: $14 spent per day, hard max. and earnings that equate to $15-20 per day.
march result: $14 spent per day. and earnings of $17.94 per day.
Congratulations! This was your best money month so far, and you held precisely to your $435 cap. And financially, April will be a bonanza.
april goal: $14 spent per day, Hard Max (including dues, boston trip, metrocard.) earnings that equate to $25-30 per day.
think of it as a monthly allowance of $420, and once you spend it, there is nothing left to spend.
Music: Ten albums reviewed.
Museums: no written reflections. A brief, conversational visit to MOMA with the Porter brothers.
Fount: currently suspended by Meagan. We'll see…
Paintings: Zero progress.
Artwork: Another big leap forward. I've got my illustration portfolio organized on a chart right now. My goal is 20 pieces. I have 9 complete and 9 in progress.
Exercise: No progress.
Cartoons: Didn't quite make it into the idea month I wanted, bad writer's block. Still two packets out.
Improv: Feeling good in class. 6 performances, 3 okay, 1 pretty good, 2 great. (1 501, 2 ST, 3 Z)
Drawings: the doodle blog is looking like a solid success, keep it up! 73 followers.
Miscellany: Spent the second half of the month working a steady temp day job. Watched The Office (British). Dating a cool new girl. Read and reviewed Dreams From My Father. Had some film/sketch auditions. Eventful, fun CG/NJ bus trip. Participated in an Onion video! It'll come out in September. Shot fun, hilarious Ernie Gumboldt video, one of my favorite, most successful video projects. Lost internet connection for about two weeks, which disrupted the rhythm of some projects, but it's okay now.
april targets…
music: 10 albums reviewed
museums: 1 written reflection
paintings: 1 significant work completed and submitted (ali and dave portrait)
artwork: complete the catalogue of 20 illustrations. Submit to Austin gallery show.
exercise: 5 workouts
cartoons: work on drafts of all the december idea file.
improv: 4 performances, submit personal notes to coach B.
drawings: keep it up
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