Kool and the Gang

Do I still remember how to do this? I guess I’ll find out!

I took a break from the grind of daily music blogging last October, because it was starting to wear me out. Needing to figure out something to say about these songs each day felt like I was really straining, and it wasn’t serving the purpose of a creative outlet nor a reminder of songs I’d forgotten about it. It was a slog, unfun, and I had proven to myself that I was capable of blogging every single day but I no longer wanted to do so. This project is, in the end, for myself. There are no ads, no monetization, and frankly, no audience. If I’m not having fun, there’s no point.

Touché Amoré, “Limelight”

Now, I’m kinda sitting here wondering what it would sound like if Touché Amoré covered Rush. Or the other direction! Maybe a split single, with them covering each other. I’d listen to that.

Harvey Milk, “Brown Water”

Just had Harvey Milk the other day, this is nice. Well, not nice exactly. It’s nice they came up again? Anyway, it seems like I don’t even see much discussion of the band, they don’t seem to be anybody’s touchstone or point of comparison. I guess I don’t really know why that is, except that I suppose I don’t ever reference them either. Anyway, this record (Courtesy and Good Will Toward Men) is excellent, you should listen to it.

Cypress Hill, “Hand on the Pump”

It’s kind of incredible that a song as weird as this one made as much of an impact on popular culture as it did. Not that it doesn’t smoke, it does, but everything from the odd vocal loop, to B-Real’s nasal vocal, to the squeaky noises all over, to the sing-song chorus is off-kilter. It’s fantastic stuff! Just odd.

Common, “Black America Again”

The title track from Common’s 2016 album, he used a lot of guest artists on the record, with the biggest one on this track. Stevie Wonder sounds great, as always, and Common in general turns in a fine performance across the whole album. I think it’s his best record since Be.

Therapy?, “He’s Not That Kind Of Girl”

Therapy? were kind of an industrial metal band, kind of an alt-metal band, kinda punk at times, I guess, sorta grungy…I guess they were just kind of heavy, you know? They were often pretty sardonic, which again sort of aligns them towards industrial metal, like the Revolting Cocks or Ministry. I guess there’s some Butthole Surfers here too.

Well, whatever - this is from a singles collection released in 2000, pulling together the usual grab bag of stuff. It’s not bad, but also pretty unnecessary.

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.

The Orb, “Blue Room [Edit]”

The Orb’s U.F.Orb was a big hit for ambient house, which is still a relative measure, but still. Like all electronic albums that got big, there were a host of remix singles and things that were put out. This comes from one of those singles, and is a tidy 3:12 mix of the song. This same single includes a 40:00 mix of the song, in case you wanted more. You can simulate it by playing this track thirteen times in a row.

DJ Logic, “Abyss”

My kids and I often joke about “dog logic”, where dogs try to reason about the world from their first principles, and it leads to some funny places. So now, I’m trying to figure out what are the axioms of DJ logic, and what the precepts you’d reach based on them. But it’s late, and my head hurts, so I can’t really follow this through to its conclusion.

Rage Against the Machine, “Calm Like A Bomb”

The last proper Rage album, The Battle of Los Angeles is also my favorite of their records. It shows the most focus, and they refined their attack to the point of total relentlessness on this one.

The Dillinger Escape Plan, “Jim Fear”

Meanwhile, about a month before Rage released that record, the Dillinger Escape Plan put out Calculating Infinity which…uh, kind of puts “total relentlessness” into perspective.

Priests, “Youtube Sartre”

This is a fantastic song name, and I’m afraid to search to see if there is anybody who refers to themselves as this. I hope not!

Canibus, “Get Retarded”

Canibus mostly made battle rap, and this track kind of gives you more or less the full range of his subject matter on this album (called Can-I-Bus). He never really evolved from here, and I didn’t follow him after this album.

Throbbing Gristle, “Beachy Head”

Industrial pioneers Throbbing Gristle’s third album, 20 Jazz Funk Greats, is their best and most influential album. Ranging widely around the musical map, the restlessness is part of what makes it great. This song, for instance, is just a bit of atmospheric disquiet named for Beachy Head, a notorious suicide location that the band is actually pictured standing on for the cover. It’s easy to forget that this is from 1979.