Showing posts with label Love it. Show all posts
Showing posts with label Love it. Show all posts

Saturday, July 16, 2011

David Bowie - Hunky Dory

David Bowie - Hunky Dory
Published in 1971

For the third week in "Why the fuck have I never listened to an album by this artist, what am I slow?" July, I have chosen to disclose one of these albums that is truly shameful. True some people have probably never heard some of my favorite artists, and I am sure my music knowledge is imperfect to most, but this is truly shameful.

You see, I have never owned a David Bowie album. Well, that's not precisely true.

The only David Bowie album I have ever owned is a greatest hits compilation.

I know, boo hiss, boo hiss.  But I have a good reason, and it is due to me getting really into this album. I think I have figured out why albums have never appealed to me for David Bowie. It's because his songs are too good.

Yes, Matt I Write A Blog Glorifying The Art Form That is The Complete Album Butler may be admitting that sometimes singles are better than albums. Sometimes a song is so good that it overshadows that which surrounds it that it is a let down to listen to the rest of it.

Hunky Dory is so trancendent in it's first half that the second half an only be a disappointment. Seriously. Changes, Oh You Pretty Things and Life on Mars on one side of an album? Yeah, the game is over. We all lost. David Bowie cracked the code to the universe and this is what came pouring out of it.

Look, just listen to Life on Mars right now. I'll wait.

That is the moment that the first side of this album leaves off on. What the fuck can you do after that? Where can you go from there?

So, ultimately we get to the back of this album. What do you want me to say?  It's not great, for David Bowie. It could be great not in this context, and I quite like the songs, but compared to where we started, what can one do other than be a little disappointed.

It's still an album by one of the greatest artists of all time. It's still has three of my favorite songs. It's never going to be topped by a Nickleback album. It's just impossible for it to sustain the amazing pace of the first half.

This album is classic and perfect as it is. If you like a single by David Bowie you should be listening to it already, and if you don't know David Bowie, we should hang out and you'll love him.

"The third silence was his"
Matt

Saturday, June 18, 2011

Paul F. Tompkins - Freak Wharf

Paul F. Tompkins - Freak Wharf
Published in 2009

So,  who is Paul F. Tompkins?  Why is he on The Album Project?  Is Matt crazy?

Let's be clear.  Album means Album.  Comedy Albums are just as much of an album as a music album, and having things to say about them is something that I will be able to do, because I love comedy.

You see, I love comedy.  I listen to the Comedy Death Ray podcast, the Pod F. Tompcast, and Sklar Bro Country.  I watch tons of comedy on TV, the [adult swim] being a group of personal favorites.  I constantly quote comedy things, and I love laughing.  So, reviewing or whatever the fuck I do a comedy album is perfectly okay.

Paul F. Tompkins is one of the comedians that I have only been introduced to through podcasts, and have become a huge fan of since.  He is an incredible performer, making insane characters, and his stand up is pretty awesome too.  I cannot wait to go back to the states so I can see him live.  He's very quick, comes up with interesting premises, and his written stuff is very funny.

This album is a great showcase of the two sides of Paul F. Tompkins.  The first side, the improviser and performer is on display during three tracks, called the Riff Suite.  They are really good examples of a performer developing jokes in front of an audience.  Most of the time, he is obviously coming up with new things, and he totally gets involved with them.  He cracks himself up at times, but usually because what he is thinking about is very funny.

The second part is his written material.  Some of this stuff is just golden stuff.  Particularly amazing are The Sink and the Mirror and Cake V. Pie.  Go Ask Alice is off the chains as well, but on a totally different level.

I quite enjoy the way he comes up with new ideas, and uses the basic idea to continue the joke through it.  I find some of the stuff he says just amazingly funny.  It's hard not to just throw quotes at you here, but I would rather you listen to it and enjoy it than for me to tell you all the funny lines.  He cannot get popular enough in my opinion.

Anyway, weird short album project right?  Thanks!

"YOU ARE THE WORST MONSTER EVER!"
Matt

PS. Give Phil Five, pleeeeeeeease!

Monday, June 13, 2011

The Cure - Disintegration


The Cure - Disintegration
Published in 1989

Dear Mr. Lumsdon,

Due to your lobbying, and the thing which I will not talk about that occurred yesterday, I have acceded to your request to do The Cure.  Do not believe that this incessant lobbying will work every time, but in this case, you have won out.  Also, I will attempt to not make any jokes about how this album must reflect the state of your soul after that which must not be talked about, nor about how the title reflects what happened to your team in said event, nor how, if you were trying to throw me, this album would have depressed me enough to play like shit, but I played like shit anyway.  I'm just the kind of classy bastard to not hide behind these easily alluded to jokes.  I merely point you to Mr. Crabbs' reference to Matthew 20:16, and move along.

Onto The Cure:
Look, you either like them or you don't.  Actually, that's not true, let me start over.

Look, either you're depressed or you're not.  If you are, or have ever been, The Cure is going to sound a lot like what was going on in the deeper recesses of the cesspool that presumably is your mind.  If you're not, and have never been, you're going to need to stop lying to yourself, and think back a bit.

Depressing music, for what it is worth, is something about which I am of two minds. Sometimes, when you are feeling the emotions, or merely want to invoke a response from that part of your brain, it can be the most liberating and beautiful music.  Sometimes, when you are feeling good about life, and the world is not as shitty as it usually is, it can sound like a bunch of pretentious whining.  This is actually where The Cure succeeds, more than most "sad bands".  They make it really enjoyable to listen.  You want to hear more, because the feeling and the sound mesh so well together that you can't stop them, you can only participate.

I mean, I love The Cure, but seriously, I am just sitting here at work getting depressed.  It's some really low sounding music, and while that can be a great addition to a mood, sometimes it's just oppressive   Also, the singles, which are considerably more "upbeat" (it's a relative term in this case) are usually the least sprawling and the tightest of the album.  They are designed to get in and out, which is nice in a pop song.  The sprawl is in the emotional songs.  There is maybe one song on this album that is under 4 minutes.  That's an insane amount of time for some of these songs.

Oh, something weird that I hadn't noticed about The Cure.  At least on this album, a quarter of the song is dedicated to an intro, that slowly introduces all of the background parts, even before the lead guitar kicks in.  That guitar, by the way, plays very simple lines, that are picked up immediately by the vocals.  It's a strange way to do a song, because the lead in makes you really desire the vocals to kick in, then the guitar makes you think the vocals are kicking in, then the vocals kick in, which makes a ton of anticipation part of the beginning of every song.

The album sounds deep.  There is not much space in the songs, mainly due to the effects.  Reverb is The Cure's friend, and echo boxes must have been used a bunch on this album.  It's actually interesting to listen for the times when there isn't a sound on display.

I started out this essay of sorts with a sentence, and I'd like to go back to it.  Either you like it or you don't.  It's one of those divisive bands that either ignites the passions of fandom in you or you go, "What a bunch of emo crap" and I can't say that you're wrong.  There is a part of me that wants to tell the second group that true emo crap doesn't make you feel the way that this does, with it's peaks and valleys, emotional resonance and it's ability to make you feel feelings that are not part of your current state of being, but then I'd be called some sort of derogatory term for saying that.  So, I'll say it this way.  The next time you are feeling low, put on this album, and you might find something that resonates with you.  If you do, you're already a Cure fan, you just didn't know it yet.  But, if you are one of those people, like me, who feels emotions very deeply, do not put this album on if you are depressed.  Because this shit is like heroin.  You'll start feeling super depressed, and completely down, and you'll be dragged into the infinite spaces, as Pascal would say.

So Scott, on this, the day of your epic heartbreak for reasons not to be mentioned, when you have fallen so low from being so high, I would advise you not to listen to this album.  It will not console you, it will only deepen your depression over the terrible events that occurred yesterday.  It was lovely playing with you sir, and I hope we meet in the same situation again, and the result is exactly the same, bitch.

:heart:

"Disintegration is the best album ever!"
Matt

For those of you don't know:
What happened is this.  I'm playing hockey this spring season, and the playoffs started on Sunday.  My team, The Travellers was the number 8 seed going against the number one seeded Black Shaft Revelations.  In a shocking upset, the Travellers took the playoff series and moved on, eliminating the Black Shaft, which is Scott's team.  Afterwards, he told me that it was necessary for the Cure to come out soon.

Saturday, May 28, 2011

Megadeth - Rust In Peace

Megadeth - Rust In Peace
Published in 1990

First up, thanks to Zach for suggesting this album.  

MEEEEEEEEEEETTTTTTTTTTAAAAAAAAAAAAAAAAALLLLLLLLLLLLLLLLLLLLLLL!

Sorry, I had to get that out.  Fucking Megadeth is one of those bands that you just purely enjoy if you enjoy any part of metal.  The guitar solos are awesome, the drums are pounding, the vocals are a mix of insane fantasy and UFO lore, and you know you're in for an insane ride the whole time.

Another reason that I am glad that Zach picked this album is because it has Hangar 18 on it.  Hangar 18 is one of the most fucking awesome songs of all time, and should guarantee that all members of Megadeth have VIP seats in metal heaven, surrounded by groupie angels and free "water".

Seriously, go find Hangar 18.  Put it on.  I'm telling you, when I think of a metal song, this is the song I think of more than any other.  Given my tilting toward lists, let me describe how to make a great metal song.

1. Get a kick ass band together.  Make sure your guitarist hasn't gotten laid throughout high school, but practiced arpeggios until his fingers bled, bones broke, and his parents were sued by the people next door to take his amp stack away. The vocalist must be the least talented member of the group, but must be able to wail guitar like back at the guitar, write some crazy D&D vocals and shit, and be humble enough to get the fuck out of the way when solo time comes.  Give the drummer an insane kit, double bass is essential, and tell him that if he gets off time, he's fucking fired.  The bassist must be as technically proficient as the guitarist, but he must be the guy that no one recognizes and most likely make the best financial decisions of the whole band. Also, he will most likely be the one who owns all the equipment you're using, so be nice to him. Whoever's garage you practice in will be your first manager, but will quickly be fired when record companies come calling.

2.  Riffs.  Riffs must be repeated at least a dozen times, and must include as many notes as possible, without breaking strings.  Also, the more powerful the sound the better, and allowing the notes to fade into feedback is a plus.  Make sure the bassist is driving the thing forward the whole time, and the drummer is about to get fired the entire time.  Take whatever you did, and do it faster.  Then faster. Then louder. Then Faster.

3.  Vocals.  Vocals are the part of the song known as "between the solos".  Vocals must reference Tolkien, mythology, paranormal subjects or magic in general, and provide a backdrop against which the guitarist can shred.

4.  Drums.  Fire the drummer, get a new one who is faster.

5.  Solos. arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios, arpeggios.

6. End the song on a resolved power chord.

7. Get a bunch of money, blow it on insane stage props, then make the money back.

8. Don't die of an OD.

And you'll have a successful metal song.  It's just that easy.

This album is insanely good.  I've never listened to a full Megadeth album before today, and I have to say, if this is representative of the whole, the catalog will soon be on my iTunes.  Seriously, it's 10 songs long, and every one of them is well done metal.  It's fun to listen to, and you can seriously bang your head to it.  If you have a metal loving bone in your body, you should pick this album up, and give it a couple of good listens.  If you hear anything you like in Hangar 18, get the album, you'll love it.

"Grandspa's Guitars?"
Matt

PS. Phil. Five. Give.

Friday, May 13, 2011

The Presidents of the United States of America - The Presidents of the United States of America

The Presidents of the United States of America - The Presidents of the United States of America
Published in 1995

Dear Paul O., this one is for you.

Take a big whiff right now.  You smell that?  Yessir, there is a bumper crop of nostalgia over yonder, and we're about to get to harvesting it.  It's going to be a long process, but at that first feel and taste of it, you'll be whisked back to your youth.  Indeed, it is time for us to talk about our childhoods, and make sure that everyone knows about this album.

You see, round these parts, in Album Country, we only know a few things for sure.  Why old man Johnson once whittled us up a sign with all them on it.  It went something like this.
1. Don't fuck with bears.
2. Sharks are bears of the sea.
3. Cee Lo Green does no wrong.
4. Fuck Cousin Jerry.
5. Nostalgia is a powerful thing, and it is addictive as fuck.
That sign has gone the way of the dodo, but the ideas remain true.  Especially the bear parts.

When we all get together and sing those old songs that we remember from our youth, we know that we are carrying on a tradition that goes back literally years.  Almost impossible to imagine that Albums were made that long ago, I know, but of course, you aren't from these parts.

Presidents of the United States of America is one of the base ingredients for my nostalgia pie.  I'll tell you why.  This shit is cut with pure awesomeness, and if you sprinkle a little listening on it, it is sweet and tasty, never leaving a residue.  You give it a try, you're bound to like it.

From Kitty to Naked and famous, the sounds of this album are like an incredible cornucopia of fucking wonderfulness.  This album is one of those albums that takes a little bit of investment, but the instant you like one song, you have found the album.  Every fucking song is good.  Every one.  Seriously. Every. Damn. Song. Is. Essential.

Okay, let's get real, and stop talking crazy.  This is a nostalgic album for me because it's one of the few that I remember listening to on my first CD player.  Yeah, I know, an actual musical disc based transportation device.  Little will my younger readers know, but once upon a time, you couldn't just steal all the music you wanted from the internet, you actually had to possess it.  If you are young enough that this is shocking, why are you reading this?  Seriously.  What the fuck are you doing on here, you gotta be what, 6 years old?  Fuck is a bad word and I am addressing it to you, you prepubescent monster.  I hate that guy.

I remember lying down on my mom's old wooden floor, reading a book and playing this album on repeat.  It's a great one for just sitting around and enjoying.  From the first track, it has a sound of it's own.  They sound different from almost anything else you can hear.  It's fucking awesome.  The vocalists are good, the drums are pounding, and the basitar and the guitbass are sweet as fuck.

You seriously should pick up this album and give it a listen.  It's spectacular.  You have to have some sort of rock in your heart place for you not to love this album.  For serious.  Literally.  Truly. For sure.

Listen to it, jerk.  And no six year olds on the blog.  That's number 6 now.

"I CAN SPEAK FRENCH, VERY LOUDLY!"
Matt

PS. Give Phil Five!  Your God demands it!

Saturday, April 30, 2011

Cee Lo Green - The Lady Killer

Cee Lo Green - The Lady Killer
Published in 2010

Okay, so I love Cee lo, as is obvious from my Gnarls Barkley album project, but The Lady Killer blew me away from the first bars of Bright Lights, Big City.

This, in less time than many other albums I love, has completely won me over. It's obviously crying out to be added to the rotation. My god, what a great album.

Let's talk about the song everyone knows already. Fuck you is perhaps the quintessential pop song. It's catchy, funny, well made, and it's completely danceable. I'd venture to say that it is nigh on untouchable this year, except for the fact that this great pop sog seems to be a dying breed.

This album is one of those albums that will stick with you, because it mixes the timeless with the current. It's obviously an album of the now, but at the same time it's got an incredible sense of musical history. Ceelo's voice is pure motown, which is perhaps the highest compliment that I can think to give him. He reminds me (and it's important to specify that I do not mean imitates,) of some of the great singers that I loved when my mom and I listened to (MD radio references in the house) 100.3, the oldies station.

Seriously, find a recent album that combines dowap and modernity so well. I dare you. I double dare you. If you can, yu will win an album project award for sticking my nose in my own bold claims. I'm thinking of calling it something super degrading.

Seriously, folks, it's a great album. I knew that this one was going on the project from the first song. It's that infectious. If you pick it up, not only do you get the best single of the summer, you get an awesome album of songs of longing and the second best single of the summer.

No, I mean that. Go find the video for Its Okay. I'd do it for you, but then I'd start embedding videos all the time, and no one wants that. Really. Monty Python sketches are more relevant to music commentary than you think.

It's just a spectacular song, right?  I know, I told you it up there. I can only tell yu thatthe rest of the album holds up next to it. There isn't a song that doesn't fit this amazing mold.

The whole of he album is like that. It's a showcase for great music, and that showcase is used in the best way. I actually think that this defies any normal catagory. It's Motown, but it's sampled. It's modern and timeless, as I said at the top. It's beatiful and perfect.

I guess what I am saying is
1. everyone was right about this album
2. get this album, it's not optional,
And 3. Ceelo, come here buddy, I'll give you a big man hug.

Album project over. Hope you enjoyed it. Nick Olmstead, get this album immediately, or I'll kill you. That's not a threat, it's a promise.

"Well, obviously the core concept Lana."
Matt

PS. Hey, I know I've been harping on this a lot, but Give Phil Five! Leave a comment, make beautiful weight loss possible by depriving me of beer.

Saturday, April 23, 2011

Michael Jackson - Thriller

Michael Jackson - Thriller
Published in 1982

"If you want to be starting something, you got to be starting something."

Dear Mr. Jackson,

When Anonymous suggested this album to me, I wasn't really sure what to do with it.  I mean, what do you say about a man who's life has been repeatedly looked at through many different lenses, and as someone who was born after Thriller, I don't have a great personal attachment to listening to it.  In fact, I didn't really know what to do with it.  You see, in my life, you were a bit of an anomaly.

For young people like me, there seemed to be two Michael Jacksons.  There was the broken, strange looking man, constantly living under the watchful eye of the police, accused of things that I don't want to get into here, and referred to the King of Pop in a derisive manner.  On the other side, we had the actual King of Pop, the man (and boy) who produced some of the greatest fucking music in history, created beats known the world over, an incredible performer, and a master of the landscape that was music for over two decades.  To this day, Thriller is one of the most indisputably great works ever created. To find a dissenting opinion, you need to look years and years after the fact, after the prism of the broken Jackson has been engaged.

As a young boy, growing up in the suburbs, if there was one thing that everyone agreed on, it was that Michael Jackson was amazing, and a damaged human being.  Out of this strange combination came some great art, but also some general insanity.  I wish that I had been mature enough to separate these facts out, and come to an adult conclusion then, but I was young and dumb, and I didn't know what to do with the guy who was black who became white, and how to reconcile this with your music.

I don't know how history will look at your life, whether as a heroic triumph over the adversity of your youth, or as the slow degeneration of a once a great artist, but for me, I'll always try to remember you as the great artist first, and I'll try to forget whatever else descends with you.  I do this not to apologize for your actions or the actions of those around you, but so I can look at you through the eyes of a kid who loved you.

I'd be hard pressed to find a kid who didn't love you.  I mean, come on, the Jackson 5's songs, for whatever shit happened to you to make them, revealed one of the greatest artists in history, and we have to appreciate that.  You were a musical idol to generations, and I will forever be your fan.

Let's talk about Thriller then.  Jesus Christ, you packed a shitload of hits into this thing, didn't you.  Ignoring the title track (don't worry, I'll get to it,) the track list of incredible songs is: Wanna Be Starting Somethin', The Girl is Mine, Beat It, and Billie Jean.  Some bands go for years without producing something equaling one of these songs, and you did four in months.  I mean, come on, who could even compete with that.

Wanna Be Starting Somethin', when played at a party, will still pack a dance floor, and as an update of the "Don't Stop Till You Get Enough" formula, it's a great song.  I'm a huge fan of Don't Stop, but Wanna Be Starting Something is amazing too.

The Girl is Mine, the duet with Paul McCartney now sounds a bit dated, and the reason is because this song has been covered to death, and the ones I remember are usually comedians doing it.  However, listening to it with fresh ears, I really enjoy everything up to the spoken word part.  The dialog between you and Paul is stilted and weird, and I couldn't really stay locked in for it.

Beat It, other than having one of the most ridiculous videos in history, is another song that is guaranteed to get everyone moving, wherever they are.  It's a song of great depth, and it's just fantastic to this day.

Billie Jean is another entry on the hit parade.  I mean, what it must have been like going out to dance during the mid-eighties.  I'm assuming they just played this album, then after forty two minutes, they repeated it.  What else could you do?

And then, there was a little thing called Thriller.  Thriller is perhaps the most successful seventh single off of an album ever, and there is a good reason for that.  The reason is that Thriller, the moment that it was even conceived in your beautiful, pop-producing brain, became a music genera to itself.  It was a novelty song that wasn't a novelty.  It was huge, bold, ambitious, and (and this was the hard part) just one of the best songs ever made.  No bullshit.  It's one of those songs that will speak to generations after we are all dead, and it will be packing dance floors for years to come.  

That is why this album is great, because it will leave a legacy that your life couldn't.  Michael Jackson, the person, the damaged idol, could never overcome the problems of this life, but Michael Jackson, the artist, transcended mere mortals, creating beauty and pop from nothing.  There are few albums that will ever be universally recognized as this one, and that should be what we remember you for.

The conflicted life that you led was not the end of the life that you'll have in music.  If there were comfort after death in anything, it would be somewhere in that statement.  The face of the world changed after Thriller, and your touch will be felt for a long time.

"Go forth and funk, my child." "Funk yourself, wookie!"
Matt

To Actual People Readers:  Yeah, I know, another weird one.  I actually had no idea how to write this one, and seeing as I had conflicting feelings about the artist in question, for no other reason than growing up when I did, I felt like this was the best way to write about this album.  If you have more thoughts on this album, please comment, also, make me lose some beer money, and post some comments.

PPS. Also, I forgot to say Quincy Jones, I love you and you're amazing.  I understand the influence you had on this album, and I love you for it.

PPPS. Happy Birthday to me, in three days!

Saturday, April 16, 2011

Gnarls Barkley - St. Elsewhere

Gnarls Barkley - St. Elsewhere
Published in 2006

Welcome back to the Matt loves Dangermouse in all of his forms variety hour, I'll be your host and chief lover of Dangermouse, Matthew "Oh, My God, I Love Dangermouse" Butler, Esqizzle.  This hour, we will be looking at the most impressive collaboration Dangermouse has made, and the only band that made me leave a job in the hands of my sister to go see them.

It would be an understatement to say that this was one of my favorite albums of all time.  This is in the running for the best album ever made by humankind, for Matthew Butler.  I could not tell you one song that I don't like, and I love all of them, in actuality.  Our contestants for song of the album are as follows.

Crazy - A sweet little number, recalling some of the great spaghetti western inspired songs, such as Clint Eastwood and others, one of the most popular commercial songs that I like ever.

Gone Daddy Gone - Awesome funky cover of an already awesome song? Sign me up!

Just a Thought - One of the weirdest tracks on the album, it has the strangest suicidal lyrics on any mainstream awesome song.

Necromancer - A great what the fuck song, it's impossibly well produced and Cee-lo knocks the mood out of the park.

Storm Coming - nominated for the first 5 seconds alone, the stutter sells it, and then it is followed by some of the most melodious production of the album.  Also, that 5 seconds is just part of an amazing intro.

And finally, The Last Time - a dancey number that closes out the album, it's just an astonishingly well made song, and one of my favorites to sing along to.

So, to recap, on an album of 14 tracks, six of them are in the running for best track of the album, and all 14 are in the running for second.

Allow me to drop some history here.  I bought this album because of two things. 1. Dangermouse, obviously. 2. Crazy was perhaps the best crossover hit that I had heard made in my lifetime.  For future aliens, this means that in the summer of 2006 you could literally go nowhere without hearing this song, and for once, that was a good thing.

I went in expecting to be blown away by the production, and I ended up becoming a Cee-lo fan for life.  The amount of personality on display in these 14 tracks is endearing in a way that even charismatic people would envy.  No matter what song he is doing, it sounds like he is pouring his whole being into making it the best performance of that song of all time.  Seriously, pick a track, and you'll hear a man's soul on display.

This disc didn't leave my CD player for months.  Months!  Incubus came out with a new album, and I had difficulty removing Gnarls Barkley!  It was the soundtrack to that part of my life!  How many albums have that kind of an effect on people?

I'm actually shocked that it took me this long to get this album again.  I just recently realized that I hadn't listened to it in months, since the great wipe and the desire to put new music on my iPod.  Listening to it now, I cannot understand why it wasn't the first thing that I downloaded and put on my iPod again.  I'm kind of an idiot.

The production is superior, the songs are great, the voice is awe-inspiring, and the album is fun.  It's like your favorite food, wrapped in your other favorite food, pushed in a blender, made into a milkshake, served with five guys, and the flavors mix together like beauty itself.  It's like raaaaaaaaaaaaaaaaaaaaaaiiiin, on your wedding day.  Wait, no, it's not like that last one.  Seriously, it's good.

Look, I'm not saying that we're not friends if you don't like this album, I'm saying that you're not a human being.  I don't care what genera of music you like, I don't care if you hate everything made after 1965, I don't care if you are made of swiss cheese, you will find something on this album that will enchant you and completely win you over.  This is not just Not Optional, it's almost an enforced torture to know that people out there have not listened to it.  It is simply a perfect album.

And I haven't even written about the (perhaps) even better sequel yet.

"The Plot Thinn-ens!"
Matt

PS. Hey, I know I've been bugging you a lot, but I wanted you to know that you should Give Phil Five, so I can get a new heart, to replace the one that I stuck on Dangermouse's doorstep with a knife through it with a note saying "You."  Thanks to Jack Handy for the idea!

Wednesday, April 13, 2011

Foo Fighters - The Colour and the Shape

Foo Fighters - The Colour and the Shape
Published in 1997
Wikipedia

I got some advice recently.  You see, if you go down to the bottom of this page, you'll notice that this blog has had something like 7,000 page views at this point.  While I wish this was because I was just that awesome, there is a more explainable reason.  

You see, on these here tubes, there is something called Google image search.  While I, myself, am not familiar with it, apparently, it collects images throughout the internets, and posts them to a convenient place to find them. I recently wrote about Radiohead's first two albums, with the intention of reaching the 30 or so of you a day who read my posts, and coincidentally (I swear), Radiohead put out a new album.  When Radiohead puts out a new album, searches for the old album go up.  And since I was a recent blog post with a large picture, Radiohead - The Bends is the most popular post of all time.

And yet, I figure that of the 2000 people who found the album art by my link, just a handful at most have read my posts.  So, I guess.  I don't really know, because no matter how much I labor the point, even those who do read these don't leave comments.  Which is fine with me, because I really write these for me.

But, since there is a page view count, and that count matters a little to me, I'm going to try to be more cognizant of the music world, and try to connect in a bit more.  This week, an album came out that I have not heard, but it is by a band that I quite enjoy.  As you can see from the title, it is the Foo Fighters.  I decided that since I am not some sort of criminal, I will wait for legal methods to listen to their new album, but in the meantime, I can review my favorite Foo Fighters Album.

That album is The Colour and The Shape.  I have several reasons for this.  One, the album start out with a bang, moving from the quiet Doll to the poundingly awesome Monkey Wrench, which is the first in a combo of six great fucking songs.  Two, Monkey Wrench is on this album, and it is the best non-Everlong song that the Foo Fighters came up with.  Three, I never got into the other ones as much.  Oh, Four, Everlong.

Let's talk about Everlong, which is one of the quintessential songs of the late 90's in my opinion.  Yes, I was eleven when it came out, but I remember that being one of the first songs that I listened to over and over, and I made sure that I sang along to in the car.  It was so much fun to sing, and I now realize that it's because it is a fucking great song, that just knocks it out of the park.  I don't think I want to live in a world where Everlong wasn't a huge success.

It is a dark, scary song.  It sounds very deep.  It is so much fun to sing along, and scream and shout.  Man, I want to go to a Norebang (a Korean Singing Room) that has it right now, just to belt it out.  AND IIIIIIIIIIII WONDER...

This is a band in the middle of figuring out where it is going.  It was a pretty "standard" rock act on it's first album, and this one has the inklings of the melodic and acoustic experiments that are coming in the future for them.  But really, it is a great rock album.

If you owned a radio, and listened to a station like the long lamented, much beloved, 99.1 HFS, and you are the same age as me, you probably remember listening to a ton of Foo Fighters.  They are a band that grows on you, and since they seem like genuinely good guys, it's a ton of fun rooting for them.  Also, they are just down the I-95 corridor, and if you're from near me, you're a hometown boy doing good.  

Dave Grohl has a vocal presence that just cannot be beat, and his ability to belt out these songs is great.  The drums are spectacular, the guitar is nuanced, and the bass holds the whole thing together.  I cannot really point to a misfire on the album, but the quieter songs (not including Doll) don't enchant me as much as the pounding rock songs.

If you haven't heard this album, it's a great one to pick up, and it will make you a fan of the Foo Fighters.  Your whole being will be suffused with the awesomeness of the songs, and you'll just like it.  It's a fun album, and it makes me glad to be writing about music.

So, if this one is shorter than most, it's because I wanted to get something out that was timely, and I don't have much more to say about this album.  You should be listening to it already if you have any sense, and I hope that you comment and tell me how much you enjoy it, or why you don't like it and use some really horrible slurs against me.

I love you guys,

"Mr. Madison, what you've just said is one of the most insanely idiotic things I have ever heard. At no point in your rambling, incoherent response were you even close to anything that could be considered a rational thought. Everyone in this room is now dumber for having listened to it. I award you no points, and may God have mercy on your soul. " (Thanks to Zach for reminding me of the quote)
Matt

PS. Comments!  Do you like this idea?  Do you think I should not do this?  Am I placating the man? Is this what selling out feels like, or is it just boredom?

PPS. Five Give Phil!

Friday, April 1, 2011

The Mighty Mighty Bosstones - Let's Face It

The Mighty Mighty Bosstones - Let's Face It
Published in 1997

Hi, and welcome to third wave ska month at... No, I'm just kidding.  We're going to get away from the theme stuff for a while, and just write about albums because we want to, damn your eyes.  So, here is the filtered understanding that I have of the Bosstones, through years of nostalgia and enjoyment.

The Mighty Mighty Bosstones play awesome music, and I may only be saying that because this was one of the first albums I ever owned, and may be directly responsible for me having this compulsion to listen to full albums.  Let me explain.  I didn't own a lot of music back in the day, when it was expensive and hard to know what to listen to.  I listened to that ever present mythical radio station known at 99.1 HFS at every opportunity.

Like Proust's tea cookies,  WHFS brings the memories of youth flooding back to me.  Riding in the car too and from places, listening in my room, hating DC 101.  Bob Wah, the Weasel, all the rest of the great DJ's and actually pretty strange music.  This was one of the last bastions of the alternative alternative rock station, at least in my area, and it kept that funk up until I was at least in late elementary school.  Since it turned into El Zol in high school, that's not a bad run.

I get these memories coming back from listening to this album.  It's astonishingly good, but back when I got the album, I was a big single kid.  I loved singles, because they were what I would listen to over and over, and I knew all the words to most of them, and they were fun.  However, in owning CDs, I came to realize something pretty incredible.  The singles were rarely the best song on the album.

Now, I know I am a card carrying member of the hipster militia for even uttering that sentence, but I think it is true for anyone who routinely listens to albums.  Think about your favorite album with a mega smash single on it.  Now think about your favorite track on that album.  Chances are, they are two different tracks.

The Bosstones are just incredible, straight across the board.  The horns are tight, the message is good, and the songs are well done.  They are just an excellent band, with excellent vocals.  Looking back, I'm glad that I found their album better than The Impression That I Get.  Let's talk about The Impression That I Get for a second.

It's a solid song.  Well written, sounds interesting, and the horns are awesome.  However, compared to songs like Another Drinking song and the Rascal King and a couple of others, it seems a bit simple and less interesting.  However, the fact that they were ubiquitous on the radio for that amount of time is a great thing, and I am sure that the catchyness is still being played on alt stations today.

Every song on here has a message, and that can get a little heavy handed, but I think the music more than makes up for that.  It takes a lot to write a good song about something real to people, and they dodge the hokey hole pretty well.  Also, who would be on the other side of these arguments but exactly the people you'd expect.

Another thing to know about the album is that it moves.  The longest song clocks in at 3:49, and that is because it has a long intro.  If you don't enjoy one song, the album gets over it pretty quickly, and the quick clip between songs gives you a big palette to find one that you enjoy.

I don't have much more to say about this album, because I enjoy it so much.  If you like ska at all, you've probably heard this album, and if you haven't you should.  If you haven't heard this album, you should, goes for everyone too.  It's a great album.

"The Furher does not say this, 'Achtung, baby.'"
Matt

PS. Write more comments, lose me some money, and some weight.  Give Phil Five.  Suggest albums!

Tuesday, March 29, 2011

Van Halen - Van Halen

Van Halen - Van Halen
Published in 1978

Sometimes, one realizes that they have more awesome friends than they thought they did.  I mean, one knew that their friends were fucking awesome, and knew that was why they were their friends, but it takes a special kind of moment to realize just how awesome their friends are in context.  That is why there is the Guest Album Project, and that is why I am proud to call these people my friends.  

This one is about Van Halen, one of the best examples of late 70's to 80's rock on record, and one of my favorite bands to listen to when I am on the road.  The write up is performed by one Zach Gallegos, a man I have frequently mentioned on the project, who is in the three album suggestions club, and has another one on the way.  Awesome write up, just awesome.

Hello TAP readers! This is my first post on TAP as a guest contributor to my friend Matt’s excellent site here. My name’s Zach, I’ve known Matt for longer than I care to admit and hopefully these entries will stand up to the previous work. I’ll warn the readers now that unlike Matt I am a bit more biased in my music selection. This doesn’t preclude me from doing different genres. I actually enjoy pretty much everything, no lie. Country, Metal, Hip Hop and I even have some French club tracks on the old iTunes. All this means is I don’t give a fuck if you want me to listen to something, I’m gunna do my own thing and you’re gunna like it. GOT IT?! YOU’LL READ THIS AND THEN LISTEN TO THESE ALBUMS AND YOU’LL FUCKING LIKE IT!!! Sorry, I have outbursts from time to time. Which brings me to my next point; if the cursing offends you then fuck you. Enjoy. 

My first album project contribution will be that of Van Halen’s “Van Halen”.  You see ladies and gentlemen the band Van Halen has a special place in my heart not only for dear Edward’s face melting licks but also that I grew up listening to Van Halen. Yes that’s right I’m 25 and grew up listening to Van Halen. The reason for this lies with my father. Van Halen was the first band my dad saw live and one of his, if not the, all time favorite. So yes ladies and gentlemen the cradle did indeed ROCK. This album to me though is the quintessential Van Halen test piece. It has everything a true Van Halen fan would want. Screaming licks from Eddie on tracks like Eruption and Ain’t Talkin Bout Love, a classic cover in You Really Got Me and of course the cool lyrical stylings of one David Lee Roth. And lord knows if you’re anything like me you prefer, dare I say DEMAND, David Lee Roth over one Sammy Hagar. I, unlike apparently most of the people who actually grew up in the 80’s, have not developed an immunity to the terribleness of Sammy Hagar. When I hear Sammy Hagar’s voice I want to perforate my ear drums. No I can’t drive 55 but I certainly can’t listen to you without contemplating homicide sir. I digress.  

I played a lot of guitar as a kid and Eddie Van Halen is a god to all guitar wielding prepubescent boys so naturally I’ve taken a stab or two at some of his classic riffs but for me nothing screams early Van Halen like the phaser in Ain’t Talkin Bout Love. That riff is powerful and crushing all the while simplistic. When Ain’t Talkin Bout Love comes on some of the TERRIBLE radio stations down here in the bible belt it is a GOD SEND (no pun intended). When you hear this song you can’t help but crank it, roll down the windows, look at Weezy next to you at the stop light and give him the nod. Yea I hear your subwoofer but do you FEEL that fucking phaser bro?! Didn’t think so.  

Now sadly like ANY great album there’s a track or two you could do without. For me it’s the overly typical 80’s tracks. Things like I’m The One or Ice Cream Man. But at the end of the day will you take these mediocre tracks with the likes of Jamie’s Cryin and Runnin With the Devil? Fuck yes you will because you’re a god damned American. And if you’re not an American I’d wager you’ll still be down to rock out. When I hear Van Halen’s signature sound I can’t help but get super motivated and I think if you were to put this album on you’d understand right away within the first 30 seconds of Runnin With the Devil. Between the beat on the drums and the pace of the guitar your blood boils. There are also some easily overlooked details in these tracks. One of my favorites is the haunting hook on Little Dreamer. That harmony on the “oooooh”s has this epic hollow feel that makes those little hairs you try to get rid of on your ears stand up.  

All in all this is one of the greatest rock works of all time let alone that decade. If you disagree I’m all for it but I want to hear why haters. TELL ME WHY!!! That’s all I’ve got for this entry but I look forward to hearing your opinions (no really I do please don’t be fooled). Also while you’re at it take some time to visit the sites linked on this page and if you can spare it Give Phil Five guys. Thanks for taking the time to read my bullshit.
And that, my friends, is why we have friends.

I think he nailed this album, one of my favorites of the era.  I don't have anything really personal to say about it, other than this is a great, not optional album, and you really should hear it, merely so you can hear Eddie Van Halen play it.

"Okay, Clone Wars." "Zing."
Matt

Saturday, March 19, 2011

Arcade Fire - Neon Bible

Arcade Fire - Neon Bible
Published in 2007

Timely!

Yeah, I am writing this in the week after Arcade Fire won Best Album at the Grammy's, thus lending it a tiny sliver of legitimacy.  Also, the fact that the Beibs got shut out is apparently big news in the more annoying misspelled rants segments of the population, so there is that.  Threatening a young jazz artist for beating your teen heartthrob: smart!  (Also, this is much the same population that got so upset at the Taylor Swift thing, but now, since it is the white kid who got cheated out of best new artist, it's fine for them to go after the black girl.  Awesome.)  I think Mr. Bieber handled himself with poise and grace, and his fans are going through that awkward period before they grow shame.  Also, I didn't watch any of this shit, and I don't give a shit about it. So there is that.

Anyway, you know what is a great band?  Arcade Fire.  You know how I know?  Because once you put on one of their records, you'll find it hard to turn it off.  It has a sound all of it's own, and it just works. The songs are unique, interesting, and well done.

I actually hadn't listened to Neon Bible that much before this week, because I am pretty sure Funeral is one of my favorite albums of all time, which isn't saying much, since everyone ever loves that album.  You could prove that people don't, and I won't believe you, to paraphrase Ford Prefect.

This album is a perfect continuation of that legacy.  It's exactly what I enjoyed about Funeral, put back into another group of songs, which are spectacularly beautiful and incredibly well made.  The sounds are clear, the vocals are amazing, and it's got an interesting lyrical grasp.

The theme of the album is some sort of manipulative religious groups theme, but it isn't so overt that you can't just listen to the music, and isn't incredibly wrong.  The album, though, should be judged on the musical merits, of which there are many.

Remember last week, when I complained that TVOTR was flat?  There is no problem with that here.  The wash of sound is given a place and it is highly defined.  Your ear can seek out individual lines inside the whole with no problem, and you can even hear the major movements without any real direction.  The music is deep and the individual parts are awesome.

This is a band that I would love to just see recording, because I have a feeling that it is an incredible process.  I imagine beautiful music coming from a gothic monstrosity, new from old and this is going off the rails, I need to stop this.

It's actually somewhat hard to talk about this album because it is too good.  I know I say that a lot, but you people keep suggesting awesome albums that I don't have a lot to say about, because they are too good to talk shit about.  So I have to look for some way in, and that always seems like a contrivance and a dumb thing to do.

Neon Bible is, as with all Arcade Fire albums, not optional.  Get them, listen to them, enjoy them.  Be happy you did.  Thank me.  Name your firstborns for me. 

"God said to Abraham, give me a son."
Matt

Want to see some words about whatever you like?  Suggest something in the comments or on facebook or email me or whatever.  Also, the more comments we get, the more you will deprive me of beer money, thus depriving me of more beer gut, thus making me lose more money!  Give Phil Five!

PS. My album of 2007 is In Rainbows, by Radiohead, because.

Monday, March 14, 2011

Radiohead - OK Computer

Radiohead - OK Computer
Published in 1997

OK Computer marks the moment in Radiohead's career where they stepped off the path and found a goldmine. The album begins in a wholly different way than either of their previous albums.  We are treated to a cello and bells, playing a melody that would sound completely out of place on either of the previous records.  This is the first indication that we are now in a new space.

Airbag, the albums first track, is one of the greatest songs to lead off an album ever.  It is a wide open, strikingly beautiful track, that is inviting and interesting.  The themes of the album are hit on, but the song is just well made and well performed.  No longer are we relying on pure guitar and bass to convey the music, there are synths, strings, drum machines and much more.  The guitar is present, and the bass is pounding, but they are awash in extra touches around the main parts.

Lyrically, Airbag is a sing along song about a car crash, the effects of modernity and the interaction of man and technology.  This is the theme of the album.  In a world where nothing is separated from technology, what happens is recorded, seen, processed and filtered through this technology.  Music is a powerful thing in this world, because it seems to be the one place where technology cannot touch, but as Radiohead shows, it has already permeated the gap, and is now in charge.

Paranoid Android is another classic song.  The bass line is beautiful, the acoustic touch brings an interesting sound on top of it, and to also have an electric guitar come in just adds to the depth of the song.  The music is well performed, the sounds are beautiful, and Thom Yorke screams and shouts with the best of them.  The song progresses from one point in musical space to another, first starting as a bass and acoustic song, developing into a rock anthem, slowing down into a ballad, and returning to the anthem.  These tonal changes make the song develop into much greater than the sum of its parts.

In general, Thom Yorke alternates between a breathy whisper and singing right at the edge of his vocal range, threatening to  either go into falsetto, or playing just on that side of the vocals.  This means that his voice is dynamically attempting to move up and over a certain point, and the failure of the voice to do so intrigues us and brings us further into the song.  The exploitation of this natural feature of the human voice is one of the most brilliant things that Yorke can do.

Subterranean Homesick Alien is a song about longing for a greater experience.  The desire to see something from a different perspective and from a different place is a common one in Radiohead's music.  The voyeuristic elements are also interesting to look at.  Both the aliens and the singer are trying to present the people back home with a different perspective, the aliens in the form of home movies and the singer in the form of words.  Both of these experiences highlight the superficial elements of relating experience to another.  The movies, by definition are only an image of the experience at that time, which divorces them from the time and place that they are being viewed, and can only be experienced fully through the memory of creating them, while the narrative is flawed in that in the end, it must sound crazy to the other people around.  Once again, disconnection from human beings reigns.

Exit Music (For a Film) is another song about attempting to find connection and failing.  The singer is attempting to escape with someone else, and the song is presented as a narrative between this character and the singer.  The quietly whispered quality of the vocals and the layers of music present a strangely conspiratorial sound, that makes the song sound like it is being sung to you alone.  Even as the song expands, it remains a shared experience between you and the singer, a quiet rebellion, huddled in the woods around a fire, having escaped from an oppressive thing.  

There are two parts to Exit Music (For a Film) of equal importance.  First is the Wake and Escape part.  This establishes the narrative quality.  The song is communicated directly to us, the listener, and we are treated as the child in the relationship.  The imagery that is called to mind is of a hushed night time escape, running away from an oppressive force, that has held on too long.  The escape is cathartic and  triumphant.

The second part begins just after the line "Sing us a Song, a Song to keep us warm, there is such a chill, such a chill." At this moment, the heavily distorted baseline comes in.  The song that is sung is one of rebellion toward the force that once held us.  It is a revolutionary anthem, sung between conspirators against an oppressive figure that doesn't present itself to them.  However, this triumphant quality is stamped out by the end of the song, with the repeated refrain "We hope that you choke, that you choke, that you choke" sung in a quiet, high voice, like a child hiding in the woods.  The epic rebellion is only between this child and the original singer, and the hope is one of futility and sadness.  Sitting outside, escaped from the house, not yet to anywhere that could take you in, the end sounds like the oppressive darkness chokes off the lone voice in the cold world.

(Did that just get really dark?  I think it was a little dark.  My fault.)

Let Down is a lovely song, mixing the classic Radiohead sound with a lovely wash of noise effect.  The background has a constant sound of cymbals, which allows the guitar and vocals to ring out over the background, and even the bass comes through clearly.  There are several small repeated samples that make an impact, and the added noise is not distracting, but adds to the wash in a way that makes it interesting.  The main through line, which sounds like marimba to me, but might just be an electric piano, gives a great sound to the whole thing.

Perhaps the most popular song off of OK Computer, Karma Police was ubiquitous on alternative radio for a year or so.  It's a haunting song of great sing along lyrics.  The music once again takes advantage of the layers available, allowing a wailing vocal track in the background.  The piano based chorus segment drops well, and brings the listener in closer to the band.  The space created by the re-entry of the drums allows the effect to occur over and over again.

The bridge, with it's cries of "for a minute there, I lost myself" is well done, sounds like the other parts, and allows a strange guitar non-solo.  The guitar solo sounds more like a repeated alarm sound, not a solo, but it comes through at the moment when you expect the solo to occur.  It is then dwarfed at the end of the song by the lead in to Fitter Happier.

If I were to point to something that bothers me from this album, it would be Fitter Happier.  I think I understand why they used it, but now, over ten years later, the idea of a MC Hawking solo in the middle of this album seems absurd.  However, the background music is pretty incredible, and it allows this not to stick out like a sore thumb.  It is less distracting and thematically fits, I just wish that it wasn't so obvious.  Having human words come out of a robots mouth is a little too easy for me.

Electioneering  (I believe that the title comes from a Kurosawa film called Ikiru, which might be my favorite film of all time.) is a great rock song.  It's simply amazing, driving rock.  It is the closest thing to a normal song structure on this album, but it is just a driving monster song.  The music is well done, the guitar is awesome, and the drums just kick.  It is perhaps the easiest song to just listen to without context, but in context, it gives it a certain power that it is so simple.  The song structure is simple, but the song is not.  The lyrics are powerfully crafted, and the music is too.

Climbing Up the Walls is a pretty great song.  I think the beginning is more powerful than the end, and that it loses it's way somewhere halfway, but I think that it is a pretty fair representation of the insanity and desire that consumes people.  It's a fantastically well done beginning though, and totally fits inside the album, because the outro of buzzes and noises brings us into the prettiest song on the album

No Surprises is a perfect song.  The song is light and poppy sounding, with incredibly dark and strange lyrics. It has a lullaby quality to it, and a bit of a sing songy vibe to it.  The music is just perfectly beautiful and completely detoothed, which allows the lyrics to be biting and vicious.  If it is a lullaby, it is the lullaby that is sung to budding anarchists and criminals, a song of theft and destruction, a prayer to the god of the thieves.  It's also wonderful.

Lucky has a dreamlike quality.  The slow tempo allows the vocals to languish in the time, making the music that much sweeter.  The chorus kicks in with one of the most moving and singable lines from the album, with the note on "pull" almost being drawn out of you, involuntarily.  The song is performed with a tightness and clarity that many other artists lack.  It's a beautiful moment of dreamy clarity.

The Tourist is even slower in tempo than Lucky, and is almost so slow that it forces you to anticipate the beat.  The chorus of the song directly addresses this with "Hey man, slow down, slow down, slow down."  The main vocal sections are sung in harmony between two voices, allowing the snaking between these voices to create tension, and the music to interact with the voices.  It's a beautifully done piece of music.

So, why is OK Computer one of the most important albums of the last twenty years?  I think it is because it looks both forward and back.  It has a structure that is similar to the Dark Side of the Moon, which was a meditation on madness, while this is a meditation on Technology and Humanity.  I think that if it were not for this album, the musical landscape would have lost the diverse epic structure, and I think that we would be worse off for it.

I also think that it is important to remember how different this was than The Bends and Planet Telex.  "We have removed the traditional song structure, and are no longer aping the people who inspired us."  The imagery of stepping off the path is a good one.  The first two albums, while incredibly respectable pieces of work, were in line with what other bands would have done.  For that matter, nearly every album is similar to every other album that artist has done.  When we make something successful, the "that but more" principle comes into effect.  This is why some people get locked into structures, and instead of using the structure to build something new, they just build the same house over and over again.

Radiohead, by stepping this way, opened up an entirely new path for them to go.  Few bands have tried to go in such a different direction, and even fewer have succeeded, but this is a stellar effort.  To adopt this kind of change shows maturity in a musician, and it allows them to move to even newer places.  OK Computer was the first step, but the next one would be even further.

"That's a lot of scalps,"
Matt

PS. Yeah, another one bites the dust!  This will be posted on Wednesday, so, whenever you check TAP, make sure to check other times too.  Not only does it bump my view count and thus my ego, it also means that you get more TAP!

PPS. GP5!

PPPS.  Stay tuned for more of the Catalog Project!  Up next, Kid A and Amnesiac and blowing your mind.

Wednesday, March 9, 2011

The White Stripes - Elephant

The White Stripes - Elephant
Published in 2003

I have some spectacular friends.  One of the few friends that I got out of high school, that wretched hive of scum and villainy, is a man named Brian.  If you have looked through the archives, you will see him threatening hungerstrikes for me not having done The Beatles yet, you will see him with some incredibly well written comments, and you will generally see him everywhere.  So, I present to you, the first guest album project, by Brian G.  Bow down before him, ye mighty, and despair.

Jack White is an unassuming man whose presence does not impose upon itself. It is not until the pick hits the steel that you feel the room flex and can feel the music in your chest in the reverse fashion of how the mute can talk with a microphone pressed to their throats. Meg White follows suit in the duo, being the milk to Jacks thrashing cheerios. No one enjoying cereal ever mentions the milk unless it is past its prime, and this milk may have a bit of a twang to it, but fuck it, it has 2 weeks left before it makes you pee out your backside. When you think White Stripes, I immediately think of a few things. The first is the unfortunate fact that they broke up in February; if that will stick or not we will see, but I don’t see them getting back together. Jack carries on with the Raconteurs and the Dead Weather - both of which rock in their own right.

Seven nation army comes on with the bass line that could have been written by a 6th grader. This song is always found in a lot of authors 'top 50 rock songs of all time' list; and I agree with that. If nothing else, this song got the Stripes a ton of play and expanded their base more than any other single. I was glad to hear the band known for their garage rock sound getting play on the radio - I sensed this as a small step in the improvement of a steadily declining radio scene. 

Black math is exactly how it sounds. If the kings of yesterday would have relied on composite boxes of wood topped with metal strings rather than the black magic of royal lore - this is the jam you would flex to slay the fucking dragon. This is another simple hard hitting song that I am sure was first played in a basement or garage somewhere.

Just when you are verging on the side of face melting status, they slow it down without being dreary. 'I just don’t know what to do with myself', 'in the cold cold night', 'I want to be the boy to warm your mothers heart' and 'You’ve got her in your pocket' show a departure from the beginning of the album by telling a bit more of a story and also giving Meg a chance to step up to the mic. It works to keep this album very sessionable in that you can listen to it start to finish over and over and not grow tired of it. With that being said, you wouldn’t find any of those 4 songs on my Stripes mix tape.

Please note that this may look like a separate paragraph, but that is only because I couldn’t find a button on my computer to make this block of text a completely different level of being. This artifact of text is not on the same three dimensions as the rest of this piece. This is where the album gets fucking gritty; it drinks tiger blood and pisses grungy bluesy excellence. If you were to play 'Ball and Biscuit' through a 50s tube amp you are hearing the air vibrate in the method in which God intended and that only Jack White could be the epi-center of. As good as the album cut is, I cannot urge you more to find a video of the live performance. The improvise riffs and the dirty grit of it come through in a way that the polished studio cut couldn’t show. Seven Nation Army is very similar in this regard - I urge you to find a set where they mashed together 'Death Letter' with 'Seven Nation Army' on youtube. The transition between the two is one of those moments where you see what a live show should be.

Winding down the album, we have some solid songs which are led by the popular single 'Hardest Button to Button'. Multiple singles off Elephant made for some serious air time on the better rock stations. IF you didn’t know the Stripes before Elephant, you knew them now. The only song that I can’t explain on this entire album is the final track. The skit with Holly Golightly makes no sense but it shows the range that the Stripes Have. Although this is never the end of the Stripes for me - whenever the hiss comes on that indicated the end of the record it always leads to one of two foregone conclusions - dropping that fat needle back on 'Ball and Biscuit' or cuing up White Blood Cells or Icky Thump.

"Right now you could care less about me, but soon enough you will care by the time I'm done"

Fucking sick, am I right?  I have the coolest friends.

As for my opinions on things, I am pretty sure that Brian completely nailed this album.  It's driving, well crafted, and just a beautiful album.  It's one of those albums that every person needs to experience, because it just is that cool.  The drums are pounding, and the guitar is solid as fuck.

Of course, as they have just broken up, we must expect that this is going to be one of those albums that just lives on as a ghost.  One of those band that everyone will say they saw in their prime, and one of those bands that those of us who didn't will wish we had.  They play some spectacular rock, and they are just great.

It's personal story time.  My dad was in a punk band in Detroit, Michigan (the setting for Robocop) in the late 70's.  They were called the Denizens, and I have to say, they actually rock.  If they had come out twenty years later, they would have been hailed as a great classic punk act, but because they were ahead of classic punk, they never quite got that far.  They were seriously good, and I remember singing their songs as a kid.

In the early 2000's my dad's band got back together.  In Detroit.  They were going to play one show, and so we took a vacation up to the brown/tannest place on Earth, and went to a place called the Bohemian house.  To say that this concert took place in a bad part of town was an understatement, and since it is in Detroit, that understatement is an understatement.  The house was really cool though, with a bunch of really nice people.

My dad was the closing band.  A group called the Fondas came out and rocked out a bit, played some quality music. The whole event was for this guy Jim (I think)'s birthday, and so he got dressed up in his rock star best.  He had on khakis and a pink button up shirt, no tie.  He got warmed up with the band a tiny bit, and then they started playing.

They killed.  It was a room full of the most incredibly diverse group of people I have ever seen,  My dad's generation on down to my sister, who is three years younger than me, and the place was fucking into it in a way that I have rarely seen at a concert.  The whole place was into the concert, they were doing some really cool stuff, and a huge group of Detroit musicians were in the room.

I couldn't take my eyes off this one person, who was standing next to a central pillar in the room with a large, dreaded black guy.  I knew that I knew her from somewhere, but I couldn't remember where, until I really thought about it, and I had seen her on TV.

Meg White was at my dad's concert.  That is some fucking insane shit that I couldn't make up.  Seriously.  It was just one of those things that I still to this day, kick myself for not going up to her and just saying something small, about how she was influential and how cool it was for her to be at my dad's concert.  Writing it out now, I'm glad that I just treated her like a person, and didn't bother her.  I really enjoyed the concert, I enjoyed the hell out of my dad going up and blowing people away, and I thought that he was a pretty cool dad for doing it.

So, that was my brush with an incredibly famous, interesting, and seemingly very nice person.  If I was wrong, and she wasn't there, I feel like an idiot, but I'm not wrong.

Anyway, thanks to Brian, I hope that you will write more projects, and whoever out there has an album that they want to knock out of the park like Brian did, I will always provide space for you to vent your feelings, heart and soul.

"Danger in Disneyland"
Matt

PS.  Five Phil Give!

PPS.  Want to read a little more about my dad's band?  Go here.

Saturday, March 5, 2011

Kanye West - My Beautiful Dark Twisted Fantasy

Kanye West - My Beautiful Dark Twisted Fantasy
Published in 2010

So guess what, this is going to be the first one that I write on a computer in a while, so that means it will have longer sentences, with nice subclauses, and a bit more structure.  Writing on my iPod is good for a lot of things (mostly getting album projects done while in transit from one place to another) but it is not good for style.  I notice myself conserving words, stopping myself from ranting and raving, and generally making this a less interesting read.  However, you don't care about that, you're wondering why I have two links in my little intro up there (If you weren't, good for you, you care more about what I wrote than what I am doing.)

I have an obsession.  I am addicted to the AVClub, the sister publication of the Onion, and I have been for several years now.  As you may have noticed (music blog, general nerdy asides, limitless tolerance for pop culture knowledge, Star Wars obsession, etc.) I am a bit of a nerd.  I like to soak subjects in, and when I find a good place to do so, I will read their archives, their sidebars, and even discussions about things that I have never watched or cared about to this point.  So, I use the AVClub as one of my main soaks.  (By the way, Wikipedia is the other, but it's a little dry.  Encyclopedia Dramatica, however. . .)

The best way to get an honest opinion about something, in my opinion, is to ask them straight up about what they care about, and then ask them to break that thing down into better, worse, and terrible.  For instance, I would tell you that when starting to read Star Wars books, you could not go wrong with the X-wing Series, mainly because Wedge Antilles is a great character, Rogue Squadron is one of the most dynamic presences in the book, and your ability to be engaged with the world is much greater.  I would tell you not to immediately start out with the Young Jedi series, however, I would tell you that to understand the overarching plot for the last 15? years in the books, you would have to read through it at some point.  I would tell you to ignore the Han Solo Trilogy until you were fully locked in, and so on and so forth.  (I had to stop myself there, let's just leave it at that. Point made, right?)

When I get obsessive about something I want to consume it voraciously.  I've read nearly all of the Boxcar Children novels, because I read the first one, enjoyed it, and every day for a summer, in about an hour, I'd kill one of them.  I've more recently (in college) become obsessive about sports, or at least knowledgeable enough about them to enjoy them.  I now cruise ESPN.com everyday, looking for interesting stories. So, when I got a little obsessive about Pop Culture, the AVClub seemed the perfect fit.

In middle school, and to this day, the Onion is a source of laughs.  It's one of the most incredibly smart and silly pieces of humor in print today.  I haven't seen Sportsdome yet, but I'm pretty sure I am the target audience.  So, the first time I clicked over to their sister site, the AVClub, I felt like I was finding a place where my sense of Pop Culture was respected.

Sarcasm, hipsterism, Wire-obsession, and more, it was obviously a place that reflected my sense of the ridiculous and (I will say it) beauty of Pop Culture.  I think over the last four or five years, I have read nearly all of their running columns, and I have completely loved 95% of it.  Some stuff I agree with, some I don't, but it is all written with people like me in mind.

So, out of respect to the AVClub, and the den of hipster douchebags that it is, I've decided to make March "Best of the AVClub."  I'll be writing about the best of 2006-2010.  Luckily, I've already covered one, in my most abstract of essays, but Phoenix needed to be written about that way, then.  So, here we go, with the Best Album of 2010 - My Beautiful Dark Twisted Fantasy.

There is an amazingly schizophrenic aura to a man like Kanye West.  I am completely sure that this is where his divisive reaction comes from, and I couldn't write this essay without actually dealing with it.  So, let's do what everyone has to do when Kanye West is being discussed in a public forum.

1. What he said about George Bush: My personal opinion is that Kanye went off the cards because he believed what he was saying.  The fact that it hurt Bush so much, means that there was something there that was true.  I don't think his intention was to call the President racist, but the way it came out, it obviously had that connotation.  However, if Kanye had said something like "George Bush doesn't care about poor people, and this is the way we can help those people, so please call this number," it may have softened the blow.  However, I like Kanye, and I am not a huge Bush fan, so I might be biased.

2. Taylor Swift:  Rude: Yes.  Bad for his image: Yes. Yelled at a pretty, tiny, white girl: For sure.  Wrong: ??? Look, I'm amazed that I haven't been forced to listen to some "new country", because my friends seem to be the vindictive types who want me to do "Now 6" (Jake :glares:), but I don't like Taylor Swift.  I think her songs are pretty, but pedestrian, and really, incredibly, mundane.  Beyonce is Beyonce.  Not much more creative, in my opinion, but has a ton more personality, and at least a hint of funk in her soul.  I want her to succeed because she seems so genuinely awesome.  Also, if her and Jay want to hang out, I'm available constantly.

3. His music.

Which is the problem.  One and Two take so much away from number Three, that it makes it hard to feel like you're on his side.  I'm supposed to feel like, fuck Kanye, he's mean to people and rude, and an asshole to authority figures, and blah blah blah.

Well, fuck that.  I'll say it now, hyperbole and all, but Kanye West is perhaps the greatest album maker of the 00's.  He's incredibly complex, spectacularly equipped to make great music, and if you don't think so, you pay too much attention to the news, and not enough to the music.

That's right, "Mr. Alternative Radio is the only radio I will listen to" is saying that Kanye West, for better or worse, is one of the greatest artists of our time.  His contentious personality would overshadow this, but that would be if his personality came anywhere near as bad as his albums are good.  And let's be clear, Kanye's albums are spectacular.

My Beautiful Dark Twisted Fantasy is the last in a string of incredible fucking albums.  808's and Heartbreak is one of the most haunting and interesting albums I have ever heard, and is the only justified use of Autotune outside of Mr. and Mrs. Autotune themselves (T-Pain and Akon[T-Pain gets to be Mr. because did a song with Lonely Island and was on Aqua Teen Hunger Force).  Graduation - "Stronger", "Can't Tell Me Nothing", "Champion", do I have to list the whole album?  Late Registration is one of the best sophmore albums ever made, and it came out one year after his first. And if you don't like College Dropout, you need to stop eating lead paint, but some headphones on, and listen to that shit.

Look, I'm trying to calm down on this, but seriously, I could write an entire month on Kanye alone.  I love his albums, because they are made as albums, and even distracting ass side skits don't take it away.

One thing I've discussed with friends, and I think I read this on the AVClub, is the idea of a Pop Culture pass.  For instance, no matter what Christopher Walken does, I will always love him, because he is an amazing actor.  He earned his pass when he appeared in the watch scene in Pulp Fiction, if not in Deer Hunter.  Same with Samuel L. Jackson, Michael Jackson, Ian McShane, and the list goes on.

So, I have to do this.  Kanye, barring any unforeseen circumstances, where you do something more incredibly dumb than the brilliance you show in music, I hereby bestow upon you a Pop Culture Pass.  I don't give a shit who you tell off, I want you to charge the stage if you want to, I don't care what you say, if you keep putting out albums, I'll keep listening to them and buying them.

My Beautiful Dark Twisted Fantasy is in the running for the best album Kanye has ever done.  However, with his five albums, you have to anticipate that every one of his albums is in the running.  Personally, 808's and Heartbreak is probably my favorite, but that depends on mood, of course.

Listening to this album is to hear . . . brilliance?  Perfection? Insanity?  Who makes an album in these days, that has a theme, a consistent sound, and is intended as a whole?  Why is Kanye West so much better than everyone else?

The sound of the album, to me, is an orchestral beat pumped through a classic game boy speaker, with lush vocals and samples on top of the spectacular backgrounds.  The beats are well done, the whole thing sounds lush and full.  The autotune of 808's is used sparingly, if at all.  The difference between the albums is pretty astounding, to hear that two years later, this is his new sound.

Maybe that is part of it, that it always sounds new.  No one else sounds like Kanye.  The Neptunes (another of my favorite producers, and I love N*E*R*D) are sometimes as good as Kanye, but I find their brilliance to be less consistently through the roof.  There is no missed opportunity, no wasted time.

The guests are tight, doing their best to slam out incredible performances.  If you haven't heard Monster yet, that would be the track that I would say is the best of the album, however, I can tell you that if you put it on shuffle, one would be hard pressed to catch a bad song, since I haven't heard one on here.  Now, some are less than others, but when you're on the 30th floor of a building, and everyone else is down at the third or fourth, the 29th floor is pretty high too.

I'm listening to Runaway right now, and while the intro is slow, the song is actually doing something that few pop songs do.  It's building.  It's building to a new level, and to a new verse, and to a climax.  He's using sparseness to create a full and rewarding upward slope.  The verses are nice, and the chorus is well done, but the developing beat is fucking spectacular.  Even when something drops out, it is in the service of something bigger coming back on.

I think one thing that might be hard for some people is the language and subjects he chooses to talk about, so let's talk about that for a second.  Yes, it's all about money, sex and power, but of course, so is everything else.  In some ways, the bluntness of it is refreshing, and the words that are used are poetic in a way that you almost need to divorce from the voice to appreciate.  The lyrics are fast and unrelenting, but, and this must be said, clear and distinguishable.  As much as I love Necro, I can't hear what the fuck he is saying a great deal of the time.  This is not a problem with Kanye.

Look, I'm going to tell you a secret.  If you divorce yourself from reading about pop culture, then the art is just art, and you can listen to it unbiased.  However, if you read the pop culture, and understand that it is the most meaningless of news and enjoy it for it's novelty, you can appreciate the art just as much.  The moment you take it seriously, though, you are lost.  If Kanye has proven anything, it's that he needs to be on the mic, because what he creates on a mic and in a studio is frankly astonishing, and whatever he does after that, I don't need to care about.

This album is a hedonistic, destructive, apocalyptic, maniacal, self-centered, insane, schizophrenic, mess.  If you don't hear it once, you've missed out.  It is firmly Not Optional.  With this, a masterstroke, I give one Kanye West, his lifetime pass.

Next week, on the Album Project - The Best of the AVClub: TV on the Radio's - Dear Science, 2008's best album.

"I shall unleash a firestorm of humility the likes of which the universe has never seen."
Matt

PS.  I figure I should do the Album that I listened to most of the year and the one that I think was probably my favorite of the year, what with this being number 1 March and all.  So, my number one is, of course, Plastic Beach, by Gorillaz.  Too good to ignore, I listened to it on repeat for days.  Some Kind of Nature is one of my favorite songs ever.

PPS.  The AVClub just did an article on one of my (obviously) favorite subjects, how long does it take to get an album.  It's written articulately and well, and is much like my own opinion on it.  Also, it's better than anything I'll write this year, so thanks to the AVClub for making my writing pale in comparison!