That is some Saturday Night Live-ass horn work on this tune.
Oh, this is the first time we’ve had them, huh? The NY Citizens were a pretty early band in the third wave of ska, so this was all before some of the genre boundaries had settled down. As a result, they were much more English Beat than anything else, which wasn’t a popular referent for most of the other bands in the third wave.
[Read More]Every now and again I encounter a record that I can’t seem to be able to buy on digital, but is available on physical media. Usually it’s some older release that nobody has bothered putting onto digital marketplaces, but sometimes there will be some new vinyl-only release by somebody. Or worse, cassette-only. Chartreuse Bull was one of those when I first bought it, although it subsequently showed up on Bandcamp. But included in the LP when I bought it was a code to download a digital copy, and I appreciate that so much, thank you to their label.
[Read More]Touché Amoré is a bit of a genre Rorschach test: emo? Hardcore? Post-hardcore? All of them, I guess, and maybe folks will identify in whatever way that fits them into their tastes. Not me! I’ll identify them as whatever genre fits best with whatever through line I’m desperately trying to spot on any given day.
Like…uh…maybe I could talk about the distinction between the speed of hardcore versus that of extreme metal, and how to my ears one of the distinctions is that the drumming often becomes almost unmoored from the guitars in extreme metal for long stretches, while hardcore is usually more locked in. Which is all kinda bullshit, but this blog is all just bullshit anyway. Moving on!
[Read More]Ice Cube ended the explosive Death Certificate with a savage diss track on N.W.A, one that N.W.A wasn’t able to remotely respond to. They kind of didn’t really even try. While the homophobia in the song makes it jarring to listen to these days, I still can’t help but admire how hard Cube went at his former bandmates.
I was pretty bummed out by the dissolution of Cop Shoot Cop, another band that seemingly was destroyed by a major label contract. The marriage of the punishing rhythms and samples of industrial dance with Tod Ashley’s emotional lyrics and delivery was something pretty special. Luckily, Ashley didn’t wait too long to start up a new project which would quickly surpass Cop Shoot Cop. The first Firewater album, Get Off The Cross, We Need The Wood For The Fire, set the template for the rest of the band’s career. Borrowing bits and pieces from all sorts of music traditions, but centered around Ashley’s cynical world view, he described the band as a “wedding band gone wrong”. This is the first song on the first album, and what a way to kick things off.
[Read More]Title track of the first of their essential albums, and just a quick little gem. I wonder if I could learn this bass line?
AmeriKKKa’s Most Wanted is really a hybrid album, with the vintage Bomb Squad production married to Ice Cube’s flow. It’s a little bit of an awkward fit at times. Both artists are, of course, legends for a reason and some of the best ever at what they do. And it’s a great album, but I think Cube’s following couple albums bring things together a little bit better.
[Read More]There are several bands that I really only knew from later radio hits that were on when I was a kid. So, to me, they were just these bands that had some corny hits that I didn’t think much about. Kool & the Gang are absolutely in that cateogry, and Earth Wind & Fire is another. This is both an unfair evaluation of the hits that they had on the radio, but also fails to account for the long careers of these bands. Take EWF’s first album! It’s a fantastic blend of funk, R&B, jazz, and rock, and is incredibly impressive for a debut.
[Read More]Long running punk duo No Age fill out their sound by using the occasional sample, which helps keep things a little fresher than the formula might otherwise result in. At this point, six albums in, they’re really getting by on the strength of their strongwriting, but that songwriting is keeping up. This is from their 2020 album Goons Be Gone.
The Toasters were one of the key bands of the third wave, as they not only got things rolling very early and blazed a trail for other bands in New York City to follow, but they ran the most important label of the third wave, Moon Ska. Early on, the Toasters didn’t have as much punk in their sound, as this track from 1988 demonstrates.
[Read More]You’re Dead!, the incredible 2014 album by Flying Lotus, is a shimmering mass of fantastic ideas, with constant shifting across tracks, well-chosen guest artists, and lots of surprises across the length of the album. However, it’s one of those records that really works best as an album, and not as isolated cuts, as you miss the overall context of each song if you just listen to a piece.
[Read More]At what point does a prog rock album cross the border from rock into something else? How far can you stretch rock before it breaks? These aren’t questions being asked directly by Gabriel Riccio, who is the force behind this album, but those questions are certainly present. This is a concept album about…something, I dunno. It’s all very high concept. Let’s put it this way: this is the opening track to the album. This is how it kicks off. So clearly, he’s not going for accessible here.
[Read More]We here at Five Songs often find ourselves apologizing for our content around here. With the random nature of what shuffle coughs up, sometimes it’s not great.
Uh, in other news, here’s today.
The lesson of clipping., beyond any other, is how much space there still remains for rap to continue to stretch out across other types of music and how much there remains to experiment with. We’ve seen noise marry with rap with tremendous success, and that should indicate that there still remains so many frontiers left to conquer.
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