Rocket From the Crypt

As long as I’m resurrecting various hobbies and activities, for anybody that is curious, I’ve got a game design that I’ve been working on that’s pretty far along. I’ve been blogging about it on my other site, with the articles available here. I actually just made what I think is potentially a very cool rules change, and I can’t wait to try it out. OK! Let’s crank up the tunes!

Rocket From the Crypt, “Birdman”

For most of the summer, I’ve been listening to a lot of punk and various punk-inflected rock bands. It’s kind of me circling back to one of my forever loves in music, driven by discovering see/saw. It’s a genre that really just kind of thrives on execution, which is funny for a genre with a reputation for sloppiness. But execution doesn’t mean precision, just that the band’s songs, energy, and approach have to be aligned for things to really work.

Rocket From The Crypt, “Good Bye”

RFTC almost in a Smashing Pumpkins kind of mode here. Can’t decide which band would be more insulted by that comparison.

Señor Coconut, “Pisco Control (Jive Electico)”

Señor Coconut’s album of Kraftwerk covers done in a Latin style is a delight, a charming re-interpretation of the Kraftwerk originals that really highlights the beating heart at the center of those shiny, robotic songs. Alas, the first Señor Coconut record (this one, El Gran Baile) is sort of a testing ground for some of those ideas of merging electronic music with Latin style, and it’s not nearly as much fun.

Rocket From The Crypt, “My Arrow’s Aim”

There’s a non-trivial amount quality in rock that is just purely in how things sound. The tone of the instruments, the production, the arrangements - there’s an alchemy there that works extremely well, and nailing the formula of the sound can propel a band a long way just on its own. And RFTC always sounded great, one of the reasons they were always a ton of fun.

Ghostface Killah, “Run”

On The Pretty Toney Album, Ghostface really broke out from the shadow of the Wu-Tang Clan. Not that he transcended it or anything, but this record is really off on its own thing, it doesn’t really sound like a Wu-Tang record. Other than Ghostface’s presence, of course. But I think that’s a good thing, it’s enabled him to have a great career, with no real barriers to where he wanted to go. Because of that, it’s probably my second favorite Ghostface record.

Gang Starr, “Take It Personal”

DJ Premier is one of the best to ever do it, and Daily Operation captures him near the top of his form. His beats are spare but bracing, with everything having a purpose, which is to hit hard. Guru is similarly direct, without a lot of embellishment, leading to a record that sounds almost businesslike. That’s not a complaint or anything, it’s nice to hear something that takes itself seriously and has the chops to back it up.

Slimm Calhoun, “This Young G”

As you can probably hear, Slimm Calhoun is an OutKast protégé, famous for his guest spots with them. He did eventually release an album on their label, The Skinny, which is a decent record. If you really enjoy Stankonia-era OutKast (and you should!), this is a good listen.

Ennio Morricone, “The Mission”

Enjoy!

Noname, “Regal”

Always a treat for Noname to pop up! That flip when the verse starts is a delight, and her flow here is absolutely perfect. And those jazz/funk drums? Mmmm, just a banger all around.

Rocket From The Crypt, “Guilt Free”

The essential insight of Rocket From The Crypt, that garage rock is even more fun with a saxophone involved, is an elemental truth of music. It’s a lesson that more bands should learn.

The Mr. T Experience, “Our Days Are Numbered”

Like, this is a perfectly good song. But, let’s add a sax and see how it smokes!

Helmet, “I Know”

I’m going to avoid the obvious joke of saying this song needs a sax. It absolutely does not. It just needs to be cranked to tooth-rattling volume to be perfect.

P.D.Q. Bach, “Six Contrary Dances, S. 39: VI. Moving right alongo”

P.D.Q. Bach, the parody composer, makes truly dumb music that can largely only be appreciated by smart people. Or, maybe more accurately, culturally educated people. The truth is, I sort of catch only a subset of the gags in it, because I’m nowhere near knowledgeable enough in Western classical music to get all of it. But even if you don’t catch all the jokes, the music itself is pretty fun even without them.

Arsonists, “Language Arts”

The Arsonists did their own production, which makes things like flipping these strings here so well all the more impressive. They never really got much attention at the time, but this kind of throwback stuff still sounds pretty fresh.

The Skoidats, “Last Night”

Ska punk, leaning heavily on the punk end of things, out of Missoula. They put out a couple records in the late 90s and then disappeared with most of the rest of the scene. It’s ok enough, as these things go, but can probably be skipped.

Black Eyes, “Deformative”

Always enjoy songs that sounds like somebody set the wrong speed on the turntable.

Filibuster, “Fat Cat”

Well, here’s a real rarity for you. This album came out in 1995, pretty early in the third wave of ska, and I had totally forgotten about it until now. I can usually pull up some details about all these forgotten third wave acts, your Articles and Los Hooligans or whoever, but folks? I got absolutely nothing. Not bad, though!