There are a bunch of long songs on YSIV (Young Sinatra 4), but I’m not sure that it totally works for me. Goodness knows I don’t have a problem with long songs in general, but I really kind of want more evolution over the course of a track than this exhibits.
See, now, this makes a point. Bellow through a bullhorn, pound away with some bass and drums, get the point across. Done.
[Read More]Is there such a thing as a math jam band? I think there might be.
This is just pure throwback to mid-90s Amphetamine Reptile stuff. It makes the Pavement band name a little off, though, they should have called themselves “Shitbeard” instead. Anyway, you know I’m a sucker for this stuff.
This is actually the song that kind of clangs the most from the second Vampire Weekend record. It just feels far too clever, like it’s trying too hard, and ends up ringing false to me. It seems more like the result of a computation than something genuine. I don’t know exactly why that is, but that’s what I get from it, and largely from the entire album. Like Ezra Koenig decided to build the song around that horchata/balaclava rhyme, just to get it out there.
[Read More]Vampire Weekend’s third album was a return to form to my ears. Contra was a little bit too scattered, and sounded a little bit tired, and just didn’t quite hang together. But Modern Vampires of the City had some of that ineffable charm back, with this song serving as a good example. This could easily have gone on the debut album, and that’s a high complement.
Hmmm. I wonder what I’ve said about Flying Saucer Attack in the past? I’m sure I had opinions. I am also not going to look. I shouldn’t have to do all the work here! I tag these things, go look it up yourself!
[Read More]Skinnerbox’s What You Can Do, What You Can’t is a charming album from the third wave, full of personality and a distinctive sound, especially King Django’s vocals. Alas, the followup record Demonstration, which gives us this tune, feels really flattened. It sounds to me like a bit of a cynical shot at radio play by injecting some punk into the sound, and it just kind of makes Skinnerbox sound like everybody else.
[Read More]Music Of My Mind was the album where Stevie Wonder found another gear. He was a one-man band at this point, and he had really mastered writing a complete record. From here through Songs in the Key of Life, there was nobody better, and that five album stretch might be the best anybody has ever made.
I’m not going to say anything revelatory about this song or album, so lemme just say that this song is such a goddamn blast in Rock Band, both on the drums and singing. Both at the same time is fuckin’ hard, though.
[Read More]It takes a lot of guts to cover anything from the sui generis Violent Femmes. It’s such a beloved album, and such an iconic set of performances, that you’re very much always going to be compared against perfection. I think the only way to go would be to really re-imagine the songs, but Gnarls Barkley doesn’t do that. So, uh, I’d rather just be listening to the Violet Femmes.
[Read More]This is ostensibly a cover of the Green Day song. This was a gift to us, I think, a while back. And I suppose you can see the intended joke here - it’s lulliby music! But also Green Day! Har! But overall, this is so far from anything resembling the original that you’d probably have to explain it to anybody to attempt to convey the levity. Please try to slip it in-between the giggle-snorts.
[Read More]From Sounds of Crenshaw, Vol. 1, this album is from producer Terrace Martin, who is best known for his work with Kendrick Lamar. On this album, he also has other folks in the Lamar orbit, such as Kamasi Washington (whose playing on the sax you’re listening to). A mix of R&B and jazz, it’s a very interesting album, and absolutely worthy of further exploration, although don’t expect anything as banging as, say, “LOYALTY.”
[Read More]Some all-time great bands in this go around!
About time funk legends and intergalactic weirdos Parliament showed up around here. I’m never really sure if it makes sense to do a little potted biography of famous acts here or not. Parliament is one of the names that George Clinton and his ensemble recorded under, Funkadelic being the other primary one. The two names grew out of a legal dispute over the name Parliament, and even after it was settled, Clinton and company continued releasing records under both names. Despite the name, Funkadelic actually concentrated more on psychedelic rock, and Parliament was the outfit that mostly played funk, although there was plenty of crossover in both directions. Mostly, what they were, was restlessly creative, always trying new things.
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