Showing posts with label Not Optional. Show all posts
Showing posts with label Not Optional. Show all posts

Saturday, July 30, 2011

Ryan Adams - Gold

Ryan Adams - Gold
Published in 2001

First off, let's all thank Will for his album suggestion. He's good people. 

I'll be the first to admit that I have a have blind spot in my musical knowledge. I'm not the only one, and I certainly try to have a diverse taste in music, but country has largely remained a mystery to me. 

I think the reasons for this are a little interesting, so let's talk about it. First off, in my life time, country music has become a bastion of a certain kind of politics that I personally find distasteful. It's a shame that this even enters into the equasion, but popular country has seemed very right wing, and that rubs me the wrong way. This is not a deal breaker for me, obviously, because the gender and sexual politics of hip hop has not prevented me from finding great appreciation. 

Second, there is a deep undercurrent of religious subtext and overt text in country that doesn't appeal to me, mainly the overt stuff.  However, this is something that many of my favorite artist have that I don't and it isn't the end either. 

Thirdly, in mind and to my ear, it all sounds kind of samey. It just doesn't pull me in at all, and the structures all sound the same. I have gotten into bluegrass, folk, and everything that lives around country, but country is still a frontier for me.

Finally, there is an element of looking down from both sides involved. I think all of the above things somewhat strongly, and think those who write songs about the attractive qualities of farm equipment or putting footwear in the posterior of other human beings as if it is our countries sole contribution to the world are not using their songwriting ability to their highest potential. Then, they call me a liberal elitist snob who doesn't know anything from their giant piles of money, so they at least have the height on their side. It's a contentious relationship.    

This album might be my way in. Maybe. I'm definately a Ryan Adams fan now, so that means that I am into at least one country(ish) artist, but I cannot tell how representative he is of the whole of country music. I simply have not heard country music like this before. 

Will specifically asked me to talk about the second half of the album, so that is what I am going to focus more on, but the beginning of this album is a hit parade. The songs are well performed, massively open, and they are very inclusive. I quite enjoy the first half of this album, but it is obviously the easier side to like. 

The second half of this album is amazing. It's well written, smart, funny and engaging. It's a complex work written by someone who obviously has not pidgeonholed himself into one kind of music. 

If I were to single out a favorite song on the album, I would have to say that Sylvia Plath is far and away my favorite. It's a wildly quiet, with hints of humor and genuine emotion behind it.  It's one of those b sides that yu stumble across and are completely absorbed by. I'm happy to have this album on my iPod just for that song. 

The album is beautifully produced, and doesn't fall into the trap that many fall into of trying to sound a certain way. Some tracks are pure rock, some are ballads and some are more traditional country style songs, but they are wide open.

They're also smart. Just really smart songs. They have an elegance you rarely hear, and that is independent of any other consideration.

This is a great album, you should listen to it right now. Get on it, boys and girls.  Thanks again Will! 

"But enough of my yapping, let's boogie."
Matt

PS: Check out some of the blogs up and to the right. Comment, and tell me more albums. 

PPS. I love Johnny Cash, so any complaints must be filed with that in mind.    

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, 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!

Friday, May 6, 2011

Tool - Lateralus

Tool - Lateralus
Published in 2001

First off, thanks to Paul for recommending this album.  I actually have a ton to say about Tool, so this should be an interesting one.

I have several friends who are big Tool fans.  I try not to hold this against them.  It's one of those strange things that I have a problem with, but I think one of them clarified it for me.

You see, even Tool doesn't like Tool fans.  I know this for a fact, because Mr. Keenan beats the ever living shit out of his fans if they try to get close to him. I hope that video is up on Youtube, because it serves a warning about what everyone thinks about Tool fans.  So thank you Mr. Cooney for teaching me that I can like Tool and not be an asshole.

Not that I really like Tool, even to this day.  I've had a long and complicated history of loving some of their stuff and haaating other parts of it.  It is with this mindset that I get down to writing about Lateralus.

This is a great album by a band that is incredibly accessible to the wrong kind of people to be listening to this music.  The ideas of the album are deep and the music is incredibly complex, and these things make people feel like they are just like the person writing it.  The problem is, the people who are feeling that are not as deep as the people making the album.  They are just a bunch of drunken assholes in shirts, who tell you that just because you don't think that Tool is the greatest band in history, you are a fucking asshole.

I don't mean to keep writing about Tool fans, but it's one of those groups of musical snobs that I cannot get over.  As is obvious by my blog, I attempt to have a diverse taste in music.  I really enjoy listening to things that are different, and I love finding something new that intrigues me.  So anyone who latches onto one band to the exclusion of great music elsewhere is doing themselves a terrible disservice, and they are doing the band a disservice.  If you are going to try to get people to like your favorite band, the best way is not to say, "this is a pile of shit that you are listening to, you need to listen to this and this alone."  People seem to be turned off by that.

Okay, Matt, it's time to focus on the album.  Please let these assholes get out of the way of you enjoying the album, so that we can all go home and feel good about ourselves.

Because of the asshole quotient of their fans, I have never actually listened to a Tool album all the way through, and I rolled my eyes at doing so when I heard this suggestion.  But because I love my readers and people who suggest things, I've been trying to open my mind to it, and I have to say, I'm incredibly impressed.

The music is driving, meaningful and deep. It has incredibly good song structures, and it always leaves you guessing where it is going.  The lyrics deserve to be singled out, because they inspire the perfect amount of pathos and rage, showing how well the band understands the lonelyness and anger that lie under isolation.  

The songs are well performed, and tight.  There are no wasted minutes, because this is an album of feeling, not an album of songs.  The music is designed to be listened to from one edge to the other.  The songs are spaced by intros and outros, letting the album flow from one place to another.

Schism, the big hit of this album is the closest thing that this album has to a popular song, but that is only because the rest of the album desires to be exclusive.  Schism is a great song.  It's one of the few songs that I heard on the radio and purely wanted to sing along to, because it just fucking speaks to people.  It's brilliantly written, and I can remember getting totally into it on trips and in cars all the time.

Parabola is an amazing fucking song too.  If you don't believe me, get this album, really get into it, sing along to Schism, and then wait for the moment when Parabola comes along.  You cannot miss it.  It's like a groundswell of immense sound after a quiet moment on the album.  Seriously, the album is worth it just for that moment.

The length of songs is actually one of the things that I think this album has going for it.  This band would be terrible at writing a three minute pop song, but given a canvas wide enough, they can create Last Supper like music.  Building complexity is only possible given the space to grow and change songs.  There is a bit of Dreamtheater in there, where the music is fantastically complex and requires multiple listens to get into, but of course, that is part of the appeal of the album.

It is a long fucking album though.  Clocking in at 79 minutes, it's something you really need to devote yourself to listening through.  Unless you get hooked early, you are going to be in for a long trudge.  It took me one or two listens before I was locked in and could really get into it, too.  The thing is, the mood that you have to be in is actually much more introspective (at least for me) than I thought it would be.

It's incredibly strange to me that these guys are known as a hard rock group, because all I hear is a fantastically emotional pleading group, looking for acceptance in a unforgiving and strange world.  Their purity in emotion is just hyper clear to me, and I love that they do this.  The musical contrast to this emotional tone creates a dissonance between the raw emotion and the rage that people feel under it.

And that is the space in which their fans lie.  When I think of the proto-tool fan, I think of the teenage kid who seems to desire to be a non-conformist (I was one of these as a teenager, so I can talk about them).  He thinks that the people around him are stupid and don't understand, and that they are against him.  He retreats into music and videogames because these are the places that have rules and make sense to him.  He finds peace in these things, and slowly understands that everyone else is going through the same thing, and finds his way out of his shell, or doesn't, retreating further, and not understanding why everyone doesn't understand him.  

So, Tool fans, the next time you are at a Tool concert, or buying Keenan's wine or whatever, please look around you, and recognize that there are people there with you, enjoying what you enjoy, and feeling your feelings.  Make it into a beautiful moment of collective catharsis, not a bunch of drunk assholes complaining about how no one understand them before they punch the guy in the same shirt as them right next to them in the face for something retarded.  Treat the women at the concert, not as objects, but as members of your tribe.  You'll find that you actually have a ton of friends.  And maybe, just maybe, if I hear you are doing better, I'll come to one of their concerts and hang out with you guys, and you can tell me why Tool is even better than I said here.

Look, I'm trying to keep writing, because this album is still on it's third play through, but seriously, this motherfucker is fucking 79 minutes long.  It would take a fucking book for me to write anything nearly as long as this.  It's one of those insane albums that I actually have less to say about than time it takes to listen to it.  This is my third time through, which means that I have spent a total of four hours listening to this album, and I could only start writing after two.

It's good.  Go get it. Listen to it (once), and if you like it (and I think you will), become a sane fan of Tool.  Thanks to Paul and Michael for getting me into them, just a little bit.  I know that I was hyper critical of your co-fans, but I think you guys are some of the sane ones.  Please make more fans like you, and we can go see the "amazing" shows that I hear about.  I just don't want sweaty assholes in my face the whole time for wearing the wrong color or liking the wrong album or something.

"Forget it Jake, it's Chinatown."
Matt

PS. Comment x 100 = Give Phil 5!  Matt - 5lbs. = Give Phil 5! Comment x 100 = Matt - 1Beer = Matt - lbs = Matt - 1Beer = Matt - lbs = Give Phil 5!

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!

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 26, 2011

The Hold Steady - Boys and Girls in America

The Hold Steady - Boys and Girls in America
Published in 2006

So, today is February 17th in my reality, but if you're seeing this, it's actually March 26th to you.  So, I'm working at about a month backlog, which is quite nice.  I've found that this is about as far ahead as I can get without getting burnt out.

I figured I'd do an inside The Album Project post for a couple of reasons.  First, I have no personal attachment to this album, so I can be more objective in the way I am treating it.  Second, Best of March is kind of boring to write about, because they albums are generally too good, but not my style.  Third, I'm sitting at school on graduation day, just waiting for time to pass.  So maybe I'll get a bit more of a backlog by the time this is done, but I can always spend some time on this.

When I sit down to write an album project, my first step is, unsurprisingly to listen to the album at least once.  I try to not do that much while I am doing that, chatting on the internet is the most time consuming task, and I don't find it that distracting.  I actually enjoy polling my friends that I chat with about their opinions about bands and sounds and what they like.  This makes it a lot easier for me to get the writing flowing too.  So, last night, after I finished writing some stuff for another project, I put on The Hold Steady, and just hung out and chatted with people.

Since I don't personally know that any of my friends were big fans, I just chatted and set up the header for this album project.  Usually just three searches on google, one for album cover, one for the wiki and, in this case, one for the AVClub.  I actually try to avoid reading these, because I am trying to give you just my opinions without being shaded by the outside.  Some albums are already spoiled for me, but these are usually the ones that I already have a bunch to say about.  The header, if you've noticed is the only thing that stays reasonably consistent through the whole project.  So, there is that.

I did all of that stuff last night, so that today, I could sit down and start writing.  I usually look for some kind of in on the album, or something that I have a bit to say about.  This is generally the hardest part of the writing process to me.  Once I get some words flowing out of me, I can usually just go until the end, but getting the flow started takes some doing.  (Notice: I have used this as the spike to get the writing flowing, so I am good to go for the rest of this project.)

The Hold Steady is the center of my world at this point.  It is dependent on the album, of course, because the more I enjoy the album, the more locked into it I get.  I try to listen to the album at least three times if I like it a ton, two times if I am not completely into it.  This number is entirely variable.

The album that I am listening to is actually pretty incredible on the second listen.  Last night, I was just trying to get locked into the album, and get a sense of the space and time of the album.  I usually will attempt to put the recording into a place, so with The Hold Steady, I am seeing a small empty bar, a place of dark wood, that is the place that everyone goes before the house party later that night.

Then, I attempt to look at the music itself.  It's interesting to me that The Hold Steady keeps an interesting tension between the subjects of the songs and the sound.  What I mean is that the songs are obviously about drugs, alcohol, sex and youth, but the world weary voice and the sound of the music is obviously designed to make you think that it is a retrospective look at the life lived.

The music is usually the next thing, because it (in a good album) enhances these themes or (in a bad album) detracts from them.  The Hold Steady's lead vocalist has an incredible talent for injecting every syllable with feeling and the tension that I mentioned before.  The hints of keyboard and the general talent on display is pretty amazing.  The songwriting is good, and the touches of jazz, blues, folk and other major styles really enhances the sound of the album.

About here is where I start thinking about good ways to wrap up the project.  I'm looking for that thing to go out on, that I am happy to leave the conversation at.  I usually have written myself into a corner praising the album at this point, so I have to think really hard about the things that I don't like.  For instance, while I understand that Chillout Tent needs the different voices to highlight the different perspectives, it was somewhat shocking and unfortunate, because the lead singers voice is so distinctive that it is difficult to listen to other voices when you could hear his.

Anyway, this album is incredibly good, well done, and really fun to listen to.  It actually reminds me of Bruce Springsteen a ton, which is a good thing.

I'd love to hear your thoughts, and hope you enjoyed this peek behind the album project.  I'm going to get to work on the next one.

"The parrot wipes it's beak, even though it is already clean."
Matt

PS. Comments are good! Give Phil Five! Want to write an album project?  Want to read one about your favorite album?

PPS. Thank God, Best of March is over.  HIPSTERS!

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.

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!