Prince, yes please, take me with you.
The first JSBX was really very much a transitional record between Pussy Galore and what the JSBX would become. There’s just enough of the spastic, unpredictable energy in the proceedings to retain that gutter punk feel. Spencer would continue to draw on those sounds and attitudes throughout the JSBX run, but it’s nowhere as overt as on the first record.
[Read More]Another classic Motown tune. I wish I could set up all my music streaming to just inject periodic Motown songs into whatever I’m listening to. Having a Four Tops song pop up in the middle of some Neanderthal death metal record would be pretty excellent.
I like the choral bits in this, and the well placed additions to the piano. It’s a lovely piece.
[Read More]The Flavor Flav joint on It Takes A Nation of Millions To Hold Us Back is the scar that sets off the perfection of the rest of the album perfectly. As a little goof, it’s fine, but it’s a trifle compared to the rest of the thing. It’s not inevitable that Flav’s songs will always be like this, not in a world with “911 Is A Joke”, but he’s just goofing on this one. I mean, he just starts making mouth noises on it.
[Read More]Corniest song we’ve had on here? Quite possibly!
This is from an early Bim Skala Bim album (Tuba City), from before they kind of settled down into a more traditional groove and started making their best tunes. It’s not a bad album, but it’s one of the last I’d go for from them as well.
Oh my god, that beat absolutely melted my brain. Sorry, can’t type more, it’s hard to see the screen nodding my head this much.
[Read More]Two two twenty two. Neat date!
Bee Thousand, the Guided By Voices breakthrough record, isn’t really notably different from their previous records. It’s as ramshackle and distracted as their previous albums, with the same penchant for memorable melodies floating in as frequently as they stagger out. Just as soon as a tune gets going properly, it’s on to the next. The hit rate on this album is higher than the previous records, so it’s probably the apotheosis of their early approach. After this, they’d slowly start getting more professional, so if you want the raw shit, this is your starting point, and then you can work backwards as far as you can stand.
[Read More]Hmm, gotta say this song hits a little different than it used to.
Yet another live-in-studio thing! Two yesterday, another today. This is from John Peel Sessions, the progenitor of all these projects. Well, not this particular one, the John Peel sessions in general. John Peel loved David Gedge, so Cinerama did a bunch of these things (as did the Wedding Present). This session actually preceeds the release of Va Va Voom, and this song would end up as their debut album opener. If you’re a huge Cinerama fan, it’s fun to hear things in an earlier form.
[Read More]This is from the split EP that Oneida made with Liars, Athiests, Reconsider, where both bands contributed two originals and a cover of the other band. Both bands are pretty restless in their styles, and true to form, the EP covers quite a bit of territory. It’s not a bad introduction to both bands, honestly, although it frankly won’t really tell you that much about how each band typically sounds. But it’ll give you a sense for if you like the general approach of both.
[Read More]This track was originally the A-side of a single, and it was later pulled onto the compilation Sink. It’s a fantastic example of the mid to late 80s stuff that Foetus was up to, this kind of noir-inflected, orchestrated industrial noise stuff. There’s something familiar about this song, with gestures towards obsolete but recognizable types of music. But it’s all arranged in disquieting ways, like a musical Frankenstein’s monster, all bolts and dead flesh arranged in a groteque parody of life.
[Read More]Curtis Mayfield was the leader of the Impressions, but when he went solo, he found another gear. This is the centerpiece of his first solo record, and it’s just incredible stuff. The urgency of the percussion, the punchy horns, just everything about this is a joy. This entire record is one of the greatest soul records ever made, and it along with Mayfield’s other early 70s records set a benchmark for other soul artists to try for.
[Read More]I love the hubris in naming the first track on your debut album “Greatest Rapper Ever”. It’s a little like the now forgotten Cinder Block naming their first LP Greatest Hits, something I think about a lot even though I’m probably the only person who ever thinks about Cinder Block. Including, likely, the members.
I’m sure other bands have done the same bit, but that one sticks with me.
[Read More]