Monday, October 31, 2005

Neil Young - Acoustic Afternoon

There are few musical artists who need the old canonization speech less than Neil Young. With his reputation preserved amongst us youngsters as the Godfather of Grunge (apparently based on little more than a predilection towards flannel), he's already known by all as the hip great-uncle amidst the Woodstock era's senile grandparents. Few have been able to maintain lyrical relevance for such an extended period, and none that I know of have grown in scope and melody to the degree Mr. Young has over his prolific career.

Acoustic Afternoon is a remarkable set of songs that focuses primarily on the popular classics in Young’s catalog (with wry humor, he refers to these as both “golden oldies” and “radio-whored”), but doesn’t ignore latter-day gems such as “Slowpoke” and “Pocahontas”. While the song selection is stellar, more fascinating is the engaging rapport between the artist and his audience. He readily takes requests, encourages crowd participation, explains (at length) the inspiration behind “Long may You Run”, and even asks someone to join him onstage and harmonize on “Too Far Gone”. Often quiet and always sweetly melodic, Neil Young's brief but immaculate performance feels like the perfect Sunday morning serenade.


Acoustic Afternoon - Part 1


Acoustic Afternoon - Part 2


Thursday, October 20, 2005

Devendra Banhart, Eric B. & Rakim....

Devendra Banhart - The Black Babies EP

If you have never listened to Devendra Banhart, you're likely to be startled by his beutiful and eerie acoustic melodies. His recordings are lo-fi and very intimate, creating an ethereal sound that many artists have attempted, but few succeed at mastering. The Black Babies EP is a collection of eight short songs, some of which appeared on Oh Me Oh My from the same label. He manages to develop a sound that is both complex and at the same time black in white in its simplicity. All songs are recorded on a four-track recorder and usually contain a high level of hiss. Banhart has claimed this is what happens when you don't know what you're doing, but it's apparent that this is his intent and it adds to the eccentric charm inherent on this EP.

In addition to the occassional crackle and whine, there are moments where you can hear a melange of murmurs eminating from the distant background, either by way of a passing car, a faint telephone ring, or what sounds like gunshots. The most important component of Black Babies, and all of Devendra's recordings, is the mellow and beautiful sound of his genre-defying voice.

Eric B. & Rakim - Paid in Full

On Paid in Full, the debut album by Eric B. and Rakim, the duo established themselves as a prominent force in a burgeoning NY hip-hop scene. Rakim, a rapper's rapper if there ever was one, is the Steven Segal of hip-hop (minus the gut, corny voice, and proclivity toward Native American garb): cool as steel, absolutely calm, absolutely deadly. His verbal assaults and rhythmic humor go hand-in-hand. He flows like Niagara Falls, stomping around the beat, galloping from one phrase to another, letting the words do the work. And as for Eric B... He comes up with some straightforward but effective backing tracks, favoring James Brown and 70's-era grooves, showcases his scratching prowess on a couple of nasty instrumentals, but all the while leaving room for the master to do his thing.

Saturday, October 15, 2005

Finally... some more Clipse.

Like far too many hip-hop acts, Malice and Pusha T - aka Clipse - vanished into obscurity after a spectacular debut. Judging by the dedicated following they earned with their ground-breaking Lord Willin', you'd think that their sophomore effort would be rushed to the shelves, but a series of industry miscues left the future uncertain. A messy merge with J Records led Arista to shuffle the duo to Jive/Zomba, an imprint historically unable to market gritty hip-hop (see Mobb Deep, Petey Pablo). For a hot second, it looked like the Brothers Thornton would sit idly while the supposedly-forthcoming LP Hell Hath No Fury marinated and lost relevance. These natives of Virginia Beach weren't about to let that happen. In an attempt to force Jive’s hand and get their contract voided, they grinded in the studio and cooked up a potent mixtape series - We Got It 4 Cheap. With the addition of two rumbling partners from Philly, Ab-Liva and Sandman, Clipse have evolved and flaunt a transcendent flow with the newly formed Re-Up Gang. Above all else, these deft lyricists are hustlers, and they’ll make their own breaks by whatever means necessary. As they say on “Run This Shit”, "Nigga, fuck Zomba/ I sell nose candy.../(you can call me) Willy Wonka".

Speaking of drugs… Pusha T and Malice will brag without apology that they have cornered the market, both on the Chesapeake cocaine trade and the rap game. On Lord Willin', Clipse established that they were premier drug-dealing soliloquists, using dexterous rhymes that turn hustler into hero. On We Got It 4 Cheap, Vol. 2, their description of the production, purchase, and sale is unsurpassed… and the ingenuity of their punchlines is undeniably smooth. Reveling in moving weight might be indefensible, and some will be offended, but damn if it isn't fun to listen to. Pusha, whose luminous word selection and precise phraseology can be startling, takes Lil’ Kim’s nearly forgotten “Drugs” beat and gives us his double-edge sword reality on "The Ultimate Flow". His verse provides a rare glimpse into his vulnerability: “All these jewels, one should be humored and amused, but more often than not I find myself confused/ cruisin’ in that drop, but still I feel/ as if I’m nothin’ more than a hamster in the wheel.”

Some prankster on Amazon set the release date of “Hell Hath No Fury” for January 1, 2020. Jive/Zomba, take notice. More than just the Clipse diehards from VA are impatiently waiting for round two from this duo.


Clipse - I Got it 4 Cheap Vol. 2

Wednesday, October 12, 2005

Today's selections: Yeah Yeahs - Peel sessions, Wilco Live, The Streets, plenty more....

Today marks the one year anniversary legendary Radio 1 broadcaster John Peel's passing. Here is his obituary, courtesy of Uncut:

Peel's impact upon British popular music of the last 30 years is simply immeasurable. In the 1960s he championed Jimi Hendrix, Cream and the psychedelic underground of Pink Floyd and Marc Bolan's Tyrannosaurus Rex. In the 1970s he was the only Radio 1 DJ brave enough to play The Sex Pistols' "Anarchy In The UK" on air and became a fearless champion of punk rock. In the 1980s he proved crucial in furthering the careers of bands such as The Smiths, Joy Division, Echo & The Bunnymen, The Jesus & Mary Chain and not least The Fall. Even into the ‘90s and beyond, he proved just as important in promoting hitherto unknown US groups such as Nirvana and The White Stripes.

Peel was born John Robert Parker Ravenscroft in Heartfield near Liverpool in 1939. In spite of his public schooling, Peel traded on his Scouse roots in the ‘60s by becoming a DJ in Dallas at the height of Beatlemania. During his time there, he was an eye witness to the JFK assassination. He resumed his broadcasting career in London when returning to the UK at the end of the ‘60s, presenting the BBC's Top Gear and seminal hippy show The Perfumed Garden. By the mid ‘70s, John Peel had become a staple of night time Radio 1, breaking new groups and providing a platform for all manner of uncommercial esoterica deemed inappropriate for daytime schedulers. From reggae and punk to techno, world music and hardcore thrash metal, Peel never flinched at the shock of the new. Rather he championed it and introduced successive generations to the sounds that would, literally, shape their lives.

Among the thousands of musicians to benefit from Peel's patronage is Mike Joyce, drummer with The Smiths who recorded 4 sessions for his programme between 1983 and '86 and twice topped his annual listeners' Festive 50 poll.
"Every band needs some form of stepping stone and Peel was ours," says a devastated Joyce. "He was an intrinsic part of our success. I was only thinking about him yesterday because I found a sticker I'd kept from his surprise 50th birthday party in 1989. ‘He's bald, he's fat, he's where it's at!'. And he was. I used to feel literally humbled in his presence, one of the few people whom you felt literally lost for words. How many people must have walked up to him and said "John, if it wasn't for you"? I mean without him, The Undertones, The Buzzcocks, every band I've ever liked. It's unthinkable."

"John Peel was timeless," states Joyce. "All he was interested in was the music. I only listened to his show last week and he was playing some stuff that sounded like people fighting. I thought ‘what the hell is this?'. But you just know that to somebody, somewhere, they're thinking ‘this is fantastic'. And that's what was so great about him. He cared only about the music and he never stopped. The only thing that was ever going to stop him was the grave. He was unique, he was uncompromising and if it wasn't for him, and his producer John Walters, bands like The Smiths would never have broken through. It's not that he'll be missed. He'll just never be replaced."

Someone else indebted to Peel is punk legend Siouxsie Sioux who only last week filled in for Peel as guest presenter on his programme. "This news is totally unexpected and devastating," says Siouxsie. "John championed Siouxsie & The Banshees and many more when no-one else would, givingus our chance to discover what it was like to be in a studio with those early sessions. I know for a fact that those sessions were instrumental in getting us signed and releasing ‘Hong Kong Garden' as our first single in 1978."

"I can't believe that it was only last week that I so enjoyed filling in for John whilst he was away," adds Siouxsie. "I was looking forward to reading his anecdotes of Peru in the paper when he got back and maybe doing it again for any of his next trips. You always knew that John said and played what he wanted, not what he was told to or ought to. A unique maverick of the radio has been lost and I feel so sad."

The Yeah Yeah Yeahs - John Peel Session pw-rya

For more, visit: http://www.bbc.co.uk/radio1/johnpeel/johnpeelday/2005/

The Streets - A Grand Don't Come for Free

“It was supposed to be so easy…” Whether A Grand Don't Come For Free is a better, more important record than The Streets' 2003 debut Original Pirate Material, I'm not quite sure... though it's certainly more ambitious in concept. The latter served as a series of brilliant sketches, while the former aspires to a broader, more wide-ranging canvas. The term 'concept album' seems oddly quaint when used in conjunction with an album as contemporary sounding as this one, yet that's what A Grand Don't Come Easy plainly is. Essentially it offers two tales, one involving lost money, the other lamenting a girlfriend first discovered, then lost also. It doesn't sound like much of a comedy, but in the hands of Mick Skinner, what else could it possibly be? It's one aspect of his work -- the wry humor -- that marks Skinner down as a singularly British talent. Oddly, few great records I recall possess cringe-inducing moments in the way A Grand Don't Come Easy does. These moments are limited to Skinner's penchant for delivering rhymes in in-furi-atingly chi-ld-like patt-erns -- an occasional proclivity that seems wholly unnecessary given his more natural, more naturally effective flow. Perhaps it's the idiot standing up to the savant? Still, these moments seem utterly inconsequential when measured against the brilliant, utterly original vitality of the remainder. Beyond innovative music steps, Skinner's real art is one of observation. The most accurate comparison his work might draw is not with another album, but with a book -- Trainspotting. As with the more successful literature of Irvine Welsh, Skinner is delineating a British youth culture that few have been able to accurately transcribe. In doing so, he's making extremely complex storytelling appear deceptively simple. If you've ever tried writing a story that involves the ingestion and descriptive effects of drugs, you probably know how silly you end up sounding. Typically Skinner makes it work for him -- as witnessed here by "Blinded by the Light". A considerable part of Skinner's success is that he's completely unafraid. He's quite prepared to run the risk of sounding silly, which is why "Dry Your Eyes", a song which potentially has 'sappy mess' written all over it, is in fact beautiful and honest and touching. Like most good literature, it's honest to the point of cruelty... which, in a nutshell, is what makes The Streets such riveting listening.


Additional Selections:


Of Montreal- If He Is Protecting Our Nation, Then Who Will Protect Big Oil, Our Children?

Wilco - Live Sessions 2005

DangerDoom - The Mouse and the Mask

Damien Rice - O

Elliott Smith - Either/Or

Wolf Parade - Apologies to Queen Mary pw-AlienOnAcid.com
Part 2

Ryan Adams - Heartbreaker

Black Rebel Motorcycle Club - Howl
Part 2

Tuesday, October 11, 2005

Final Katrina post...

I went to college deep in the belly of the dirty south, and coming from the ethnically and racially diverse DC area, to say that I experienced a culture shock would be a drastic understatement.
My blood would boil when some fucktard in philosophy would argue creationism or some stupid hag at the bar would regurgitate what her grandmother taught her about Jews going to hell... but you have to pick your battles (in the former case, I waited till after class and bludgeoned him with my #2 pencil; the latter was set up with my intellectually naive friend James (not you James M., the other one).

After a year of debating, pleading, and arguing with every person who uttered a racial slur or intolerant comment, I gave up. A self-righteous Yankee wasn't going to mend too many bridges in the South, and my fragile ego wouldn't allow 50% of the campus to dislike me. Once I lifted my self-imposed burden it was much easier to accept people and make some lifelong friends.

Yet three years later and 600 miles north, I still find myself inundated with the same narrow-minded Jim Crowism that I thought was left behind in Georgia. With every tragedy, election, or political firestorm comes a flood (no pun intended) of email propaganda containing carefully designed assertions ripe for plausible deniability, and emotional declarations that appeal to the lowest common denominator.

In the wake of Hurricane Katrina, here is one that I have received no fewer than 6 times:


"What I have learned about Katrina"

*The hurricane only hit black family's property
*New Orleans was devastated and no other city was affected by the hurricane.
*Mississippi and Alabama each are reported to have a tree blown down.
*New Orleans has no white people.
*The hurricane blew a limb off a tree in the yard of an Alabama resident.
*When you are hungry after a hurricane steal a big screen TV.
*The hurricane did 23 billion dollars in improvements to New Orleans.
*New Orleans is now free of welfare, looters and gangs - and they are in your city.
*White folks don't make good news stories.
*Don't give thanks to the thousands that came to help rescue you, instead bitch because the government hasn't given you a debit card yet.
*Only black family members got separated in the hurricane rescue efforts.
*Ignore warnings to evacuate and the white folks will come get you and give you money for being stupid.

Somehow, some way, people I consider friends - many of whom proclaim to be “God-Fearing Christians” (BTW, why would you fear God? I thought he was supposed to be our friend) are spreading this crap around.

G.W. Bush, Tom “The Hammer” Delay, and apparently a bunch of white folks in the South would move heaven and earth to save the life of one woman in Florida to combat euthanasia (which it wasn’t anyway), but they’ll sit on their ass and not bat an eye as tens of thousands of poor men, women, children, babies, and elderly wither away in the New Orleans heat. These were vibrant, living AMERICANS without the means to escape their abandoned city. Surrounded by water, sewage, gasoline, and dead bodies, they seemingly had no one to turn to. Is this the culture of life that the “compassionate conservatives” claim to subscribe to? Truth be told, the same people that advertise their moral superiority would rather throw valuable time and resources toward one brain dead white women rather than focus energy on an immediate crisis that has enveloped a major US city filled with blacks. The culture of life wants a zero-tolerance for looters policy to sound imposing while children die of dehydration and bodies float in the streets.




They expect you to take care of yourself, and if you can't, then fuck you… you brought it on yourself. They want you to support your nation while some time this month the 17,000th American will be wounded, disfigured, mutilated and either returned to duty for another crack at making Iraqis happy or returned home to a lifetime subscription to Post-Traumatic Stress Disorder Monthly. We are bombarded with endless quasi-news about the disappearance of one white teenager in Aruba and her camera-whore of a mother, but when circumstances call for nuanced reporting, all points devolve into a blame game. It makes me want to make like Michael Douglas in “Falling Down” and go nutzo on them.

I know that some of my Republican friends--the reasonable ones—understand that not everyone was dealt the same hand at birth. Not everyone has a home, car, or family and friends they can rely on when the going gets tough. Unfortunately, far too many believe that they earned everything they have gotten in life (yeah, their parents might have given them a nudge, but they deserved it), and that no one, especially the government, should be allowed to take their hard-earned cash to help those in need. But that's their thing. Demonstrating overt elitism and feeling entitled actually works. It keeps the circle unbroken. If you saw Bush and Cheney casually, almost smugly, visiting the destroyed neighborhoods in Mississippi and New Orleans, you know the type of people I am talking about.




Wednesday, October 05, 2005

Visits to the dentist are no fun...



As if I needed to remind anyone, going to the dentist sucks. After getting a cativity drilled and filled this morning, I am just now getting to a point where I can feel the right side of my face. Turns out that at some time today I was gnawing on tounge like it was beef jerky... shit hurts.

Although I like my dentist compared to some of the evil SOBs I have experienced in the past, he still incorporates some of the same tactics used by other jackass medical professionals... If something is uncomfortable or painful- it is somehow my fault. While impaling me with a six-inch needle, he tells me that the pain is intensified by my "strong jaw muscles". Sorry doc, but I could have sworn it was the bayonet you just used to attack my gums.


Now on to the music...


Helium - The Magic City
The second full album from this Boston-based trio is a rich, complex effort that keeps you coming back again and again, and it grows with every listen. Guitarist, vocalist, and songwriter Mary Timony has a wealth of cool influences--from Krautrock and the Cars to the Velvets and vintage Pink Floyd--but all of them are filtered through her own distinctive personality, and married with lyrics that take an unromantic but nonetheless inspiring view of life in the modern world. Produced by Mitch Easter (Let's Active, R.E.M., Pavement), this is a lush, multi-layered disc full of such enticing touches as funky analog synths, cool overdriven guitar tones, Eastern percussion, and strings. The sound is almost as seductive as Timony herself.

The Magic City - Part 1

The Magic City - Part 2

Monday, October 03, 2005

Ghostface - "The Wonderful World of Wallabees"

Ghostface (a.k.a. Ironman, a.k.a. Tony Starks, a.k.a. the Wally Champ, a.k.a. Pretty toney, ni Dennis Coles) is rap's voice of desperation. Born Dennis Coles, he was raised like a rumble fish on the streets of Staten Island, where an alias like Ghostface Killah isn't just for the stage, it's protection from the law, the gangsters, and Mom. It's a name that withdraws young Dennis Coles from the emotional chaos of growing up poor. You can hear that poverty scarred him, but he's a stronger man for it. He spits lyrics that sound desperate. He might be wailing, but he regrets the fact that he's going to have to kill you with the punch-line of his rhyme. He's not afraid to be seen crying at your funeral either. It's not personal. It's just the hot soul samples and hard beats and the fact that whatever you've seen in your life, Ghost has seen it twice. He's a ghost, he'll be here when you're dust. His collaborations with Raekwon, and the dozens of Wu-Tang Clan gems aside, Ghostface made classic solo albums in an industry that turns its back on anyone who boasts more than two albums before they're shot dead. In 2005, Ghostface Killah is older and better, and after (count 'em) four previous solo records, his fifth is a compilation of some of the more memorable masterpieces of an unfailing discography. "The Wonderful World of Wallabees" has a varied collection of the hardcore, bare-knuckled tracks such as "Daytona 500" and the stellar "Apollo Kids" to the quintessential Ghostface soul tracks "All That I Got Is You", and "Child's Play". Don't try to pretend you didn't get cher grind on in your college living room while listening to "Cherchez la Ghost" from Supreme Clientele. Watch him blow your face off with the graffiti-soul of "Malcolm", or the insane classic RZA-produced "poisonous Darts", and see if you can dispute that Ghost is the strongest of the clan.

Ghostface - "The Wonderful World of Wallabees"

Part 2 of "The Wonderful World"

Ghostface's claustrophobic rhymes have produced some of the most confusing verses to emerge from the hip-hop scene. Here are 10 that have left me dumbfounded:

10) "All rise meet the preacher this pro dueler been diagnosed
Diabetic kleptic i'm your host
Rock the vanilla suede British
Staten Island mall menace"

9) "You 14 karat gold slum computer wizard"

8) "Aiyyo, this rappin's like Ziti,
facin me real TV
Crash at high-speeds, strawberry, kiwi"

7) "Flower grabbed Tiff his man with the sideburns

hat fell off
We herd his wigworms"

6)
"Scientific, my hand kissed it
Robotic let's think optimistic
You probably missed it, watch me dolly dick it
Scotty watty cop it to me, big microphone hippie"

5) "The fortune teller Tucker sleepin gas umbrella
A war where they're gunnin in the back of Armanbella"

4) "Gasoline CREAM wrapped in hospital bands
Model vans, Michael Davis, it's me against housin
Extraordinary pro-black, sold God creations to control thousands
Catch me at the flicks, Apollo rap Fredick Douglas"

3) "Smashed a fresh ball of wax ceasar
Flashy penthouse that overlooks the vista
Wally Moc' have tie, swimmin trunks
Three chunks of ice sit in Johnny Walker for advice"

2) "Wax janitor, black Jack Mulligan from Canada
Slam dance, tarantula style, youse a fan of the
Monopoly king, Slavic poetry
Carnegie Hall's off the hook, let's push through the armory"

1) "Aiyyo spiced out Calvin Coolidge, loungin with 7 duelers
The Great Adventures of Slick, lickin with 6 rugers
Rock those, big boy Bulotti's out of Woodridge
Porch for the biggest beer, season giraffe ribs
Rotissiere ropes, hickory scented mint scented glaze
Perfected find truth within self, let's smoke
All hail to my hands, 50 thou' appraisal
Dirty nose with the nasal drip, click flipped on fam
Dancin with Blanch and them bitches, flickin goose pictures
Kick down the ace of spades, snatch Jack riches
Olsive compulsive lies flies with my name on it
Dick made the cover now count, how many veins on it
Scooby snack jurassic plastic gas booby trap"


Seriously... wtf?