Posts

Kool & the Gang, “Funky Man”

The second Kool & the Gang record was a live album, including a couple tunes from the first record, but mostly otherwise new songs. They followed it up with another live record with more new material, which was an interesting move. Anyway, both live records rule, like all early Kool & the Gang material.

The Beatles, “Please Please Me”

It’s pretty fascinating that the band went from this to Sgt. Pepper’s Lonely Hearts Club Band in just four years. I guess that sort of rapid evolution can happen when you release nine albums in those four years.

Fall Out Boy, “Saturday”

Pop punk is one of those genres that never really changes or evolves, and just relies on sappy emotion and snappy songs. You really need to nail the catchy songs and the energy or it’s going to come across as limp or manufactured. When done right, though, it’s delightful. That said, the first couple Fall Out Boy records totally nail it, so happy for this to come up.

Mad Caddies, “Nobody Wins at the Laundromat”

When ska-punk just kind of turns into punk with horns, I start some losing interest. Sure, it can still be good, but there are a lot of great straight-up punk bands that they’re going to be competing with. I’m not that desperate for horns.

Calexico, “Cumbia de Donde”

OK I LIED GIVE ME ALL THE HORNS I NEED THEM RIGHT NOW

Edge of the Sun is one of the more, uh, sunny albums from Calexico’s later career. This bouncy tune is the most sunniest of the lot, but it’s by no means alone being charming. If you’re a big fan of Feast of Wire (which you should be), this is a pretty good one to go to next.

Hayaino Daisuki, “Haiiro Ikotsu Gakidou”

A side project of Discordance Axis’s Jon Chang (that’s him howling), Hayaino Daisuki translates to “I like speed”. And, you know, fair enough. Personally, I enjoy the thrash rhythms and the flaming guitar solos. It’s not meant to be anything other than a lark, but it’s an excellent lark.

Bear vs. Shark, “What A Horrible Night For a Curse”

I’ll spare you all my questioning if this band really exists again, and just listen to it along with you all.

Zeke, “Action”

Fuck yeah garage rock! Spending a bunch of flowery words on this seems anthithetical to the spirit of things, so, again: fuck yeah!

Uncle Acid & The Deadbeats, “Black Motorcade”

Kind of a horror-themed psych band, Uncle Acid & the Deadbeats mostly trade in atmosphere. When it’s effective, it’s creepy and unsettling. But they miss as often as they hit for me, and when it misses, it’s just kind of meandering. This album (The Night Creeper) doesn’t work for me as well as the other album I have (Blood Lust).

Camper Van Beethoven, “One of These Days”

I think my tolerance (or even enjoyment) of the violin has been more or less a straight line upwards. I used to think that the violin was an obnoxious affectation in Camper Van Beethoven, irritating and not rockin’. Now, of course, I think it’s probably the best part of the proceedings.

The Kinks, “Animal Farm”

Even more broadly, my tolerance (and enjoyment) of folk inspired stuff has also increased over time. So something like this from the Kinks also hits me better. Am I mellowing as I get older? Well, I also listen to more extreme metal, so who knows?

East of the Wall, “Naif”

Hmm, some research shows that I bought this five years ago…and I don’t really remember it. It’s easy to see why I picked it up, though. Seems kind of up my alley. I guess it probably slipped through the cracks, and I should give it an honest spin.

Has-Lo, “Everything Is”

A delicate song here from Has-Lo, in a contemplative mood. He’s good in this mode, though.

Nots, “Rat King”

Their 2016 album, Cosmetic, is a relatively short record, but it makes up for it with the energy it has. I’m always down for some noisy punk, especially if it’s willing to get kind of strange, so of course I was always going to like this.

J-Zone, “Edit These”

Well, I would have played this on the radio for my audience of, like, four.

Ghostface Killah, “Mighty Healthy”

Supreme Clientele is widely regarded as the best Ghostface solo album, which I guess I have trouble arguing too much with. It also demonstrated that Ghostface could thrive even without the RZA doing all the beats, as he only had a few songs on the record. It’s still an extremely Wu-Tang-sounding recording, which of course is a good thing, but on later albums Ghostface would explore his sound more. But still, it’s just a great record, and still sounds fantastic today.

My music server died the other day, and I kept going. Now, my laptop died. Still here!

Boris, “Tu, la la”

From Heavy Rocks, the 2011 version, and is a good example of Boris at the more tuneful end of things. It’s a very solid record, definitely worth listening to if you like Boris.

Prefuse 73, “7th Message”

I think I like Prefuse 73 the best when he’s at his most hip-hop influenced. That’s one of the reasons his first record is still my favorite, and this song is a great example of what I love. The samples and cuts here are very hip-hop, and add a lot to the tune.

The streak is alive!

New York Ska-Jazz Ensemble, “Low Blow”

This is from the second New York Ska-Jazz Ensemble record, Low Blow. To recap, the NYSJE was assembled from a bunch of folks from various bands in NYC, including the Toasters, the Scofflaws, and one member of the Skatalites. They play a mix of originals and compositions by other people, with this being one of the originals. All three albums are solid, and I recommend them.