Gee Street: 1994/1997
It was the late '90s that I got into hip-hop proper-like, Wu-Tang Clan leading the way. Little did I realize that a seed had been planted for that interest a few years prior, with the Gravediggaz debut, the second rap album I ever bought. I wasn't after anything deep or conscious, y'see, but all the crazy, humorous, horror lyricism and super-funky beats of 1-800-Suicide and Defective Trip caught my ear like little other hip-hop music at the time. That's probably how most 'non rap-fans' buy their first rapping records, something that's more a novelty than anything reflective of the culture. Like Beastie Boys doing the cock-rock fusion thing, or blatant smut-rap like 2 Live Crew, or a 'nerdcore' outing from MC Frontalot, or a comedy offering from Lonely Island. Some may dig deeper from those entry points, but for most such 'themed rap' allows folks to dig on hip-hop without getting caught up in the scene's broader topics.
That's all I really cared about going into Gravediggaz. I had no clue that the group contained two of the biggest producers residing on the Eastcoast at the height of their creative powers: Prince Paul and The RZA. Hell, I didn't even know who these guys were when I bought 6 Feet Deep, much less the legacy they'd created in but a few short years. I only clued in to the Wu-Tang connection after listening through The RZA Hits, and realized “Oh! The RZArector. I thought he sounded familiar.” Also, how was Diary Of Madman not on The RZA Hits? Yeah, that compilation was mostly about Wu-Tang highlights, but damn if that single doesn't deserve being considered in conversation of all-time classic, creepy RZA productions.
To this day, it boggles my mind that Paul and RZA not only teamed up so early in their careers, added another pair of relatively unknown MCs in Poetic (The Grym Reaper) and Arnold Hamilton (The Gatekeeper) to the project, but that they'd indulge in the ultra-niche 'horrorcore' genre in doing so. Aside from Bushwick Bill's 'Chuckwick' alias, no one was doing this kind of stuff. RZA's movie influences though, they must have extended beyond old-timey chop-socky kung-fu flicks. Maybe a little Tales From The Crypt comics on the side.
And if the topics of bad ghetto trips, ultra-violent demonic possessions, hanging tabernacles from testicles, and suggesting various methods of suicide are just a tad too out there for your sensibilities, you cannot deny the music on hand is top-grade shit. Prince Paul handles most of the beats in 6 Feet Deep, running through sample-heavy funk, off-kilter soul, and headbangin' boom-bap (Bang Your Head, appropriately enough). Meanwhile, RZA's shouty maniacal rapping, Grym's smooth flow, and Gatekeeper's gruff voice all play wonderfully off each other (Paul mostly sticks to the producer's roll). This album is equal parts grim-dark and hilarious as fuck, without ever falling into parody like so much 'horrorcore' often does. Only a right prude couldn't get into this album on some level.
Showing posts with label hip-hop. Show all posts
Showing posts with label hip-hop. Show all posts
Sunday, May 6, 2018
Friday, May 4, 2018
Hieroglyphics - 3rd Eye Vision
Hiero Imperium: 1998
Basically mandatory listening for anyone who figures themselves a 'true hip-hop head', though I wonder just how much weight such a proclamation carries in this day and age. Back in the '90s, the Hieroglyphics crew were one of the most respected underground collectives you could find. They were rappers who flirted with major labels, even found some minor success with them, but never compromised their integrity for that easy crossover money. They were thus dropped and forced them to go proper independent before they could release an actual debut with everyone involved.
3rd Eye Vision wasn't just the culmination of the years of hard work put in by Del Tha Funkee Homosapien, Souls Of Mischief, Domino, and Pep Love, but a mission statement that underground hip-hop could succeed on its own terms, supported by hardcore fans, with no major label backing sullying your vision. You had to work to find this music, and would be rewarded with hip-hop of greater class than what was polluting the charts. Heck, I only came upon this as a special request order in the music shop I worked for in the Canadian hinterlands, though the dude who wanted it couldn't pay the $30 for it. Me though, I had no problem snagging that CD for myself, after which the guy was quite sore about, but yo', I gave him a month to come through. Shit's too dope to just sit on our shelves unloved.
Of course, finding such music is now easy-peasy, so claiming righteous 'backpacker' cred in owning 3rd Eye Vision's a moot point. And as hip-hop has morphed and changed in the two decades since this dropped, does there remain much interest and necessity for an underground classic sporting some of the best MCs out of Oakland riding mint beats and jazz-funk samples while taking to task a culture long since removed from dated gangsta' tropes? Oh, you know that answer is a 'yes'!
The posse anthems - You Never Knew, The Who, Off The Record - are as earwormy as anything you might have heard from other rap collectives, each Hiero member proving just how part and parcel they are to the whole. Not that each MC doesn't get their own chance to shine solo though, each member given an eponymous short tracks to spit some bars scattered throughout the album. Hell, Del kinda' gets two such tracks, At The Helm a classic Funkee Homosapien sounding-off cut that ranks up with any of his best work.
While the album does run a tad long at twenty-one tracks, you feel it's warranted with so many skilled lyricists on hand. Heck, they probably could have done the double-LP deed, but considering every hip-hop artist was bloating the scene with such efforts, keeping things at a tight, sharp regular LP length was best. Get in, prove your point, get out, and reap the rewards as the hip-hop community celebrates your triumphant statement that underground rap could flourish in the new millennium. At least until crunk ruined everything.
Basically mandatory listening for anyone who figures themselves a 'true hip-hop head', though I wonder just how much weight such a proclamation carries in this day and age. Back in the '90s, the Hieroglyphics crew were one of the most respected underground collectives you could find. They were rappers who flirted with major labels, even found some minor success with them, but never compromised their integrity for that easy crossover money. They were thus dropped and forced them to go proper independent before they could release an actual debut with everyone involved.
3rd Eye Vision wasn't just the culmination of the years of hard work put in by Del Tha Funkee Homosapien, Souls Of Mischief, Domino, and Pep Love, but a mission statement that underground hip-hop could succeed on its own terms, supported by hardcore fans, with no major label backing sullying your vision. You had to work to find this music, and would be rewarded with hip-hop of greater class than what was polluting the charts. Heck, I only came upon this as a special request order in the music shop I worked for in the Canadian hinterlands, though the dude who wanted it couldn't pay the $30 for it. Me though, I had no problem snagging that CD for myself, after which the guy was quite sore about, but yo', I gave him a month to come through. Shit's too dope to just sit on our shelves unloved.
Of course, finding such music is now easy-peasy, so claiming righteous 'backpacker' cred in owning 3rd Eye Vision's a moot point. And as hip-hop has morphed and changed in the two decades since this dropped, does there remain much interest and necessity for an underground classic sporting some of the best MCs out of Oakland riding mint beats and jazz-funk samples while taking to task a culture long since removed from dated gangsta' tropes? Oh, you know that answer is a 'yes'!
The posse anthems - You Never Knew, The Who, Off The Record - are as earwormy as anything you might have heard from other rap collectives, each Hiero member proving just how part and parcel they are to the whole. Not that each MC doesn't get their own chance to shine solo though, each member given an eponymous short tracks to spit some bars scattered throughout the album. Hell, Del kinda' gets two such tracks, At The Helm a classic Funkee Homosapien sounding-off cut that ranks up with any of his best work.
While the album does run a tad long at twenty-one tracks, you feel it's warranted with so many skilled lyricists on hand. Heck, they probably could have done the double-LP deed, but considering every hip-hop artist was bloating the scene with such efforts, keeping things at a tight, sharp regular LP length was best. Get in, prove your point, get out, and reap the rewards as the hip-hop community celebrates your triumphant statement that underground rap could flourish in the new millennium. At least until crunk ruined everything.
Thursday, March 1, 2018
ACE TRACKS: February 2018
Whoo, not only did I finally polish off that seemingly endless backlog, but knocked off another main letter too! Yeah, it was only 'X', but gander: five albums made up that little block, which is more than pathetic 'Q' ever had. The next three largest letters in my collection are 'Y', 'J', and 'Z'. Kind of surprised 'Y' doesn't have many albums, as you'd think more artists would title their works with a 'You'. They sure like that 'No', tho'.
But yes, that means, after sixty-four months and nearly 1,400 reviews, the end is in sight. Baring complete societal collapse, I should be able to finish within the month that which I set out to do so many years ago – to listen to every item in my music collection in alphabetical order. Only... I won't be finished, will I? There's a whole new backlog that's been forming even as I was going through the last one, with at least a couple month's worth of material to work from. Not to mention the clutch of albums that make up “#, A, B, & Ck” that I never wrote reviews for. Can't forget those!
So yeah, even though I should wrap 'Y' and 'Z' by spring, I'm not finished, not by a long shot. I'm also considering a couple additional ideas, but will touch upon those later. For now, here's the ACE TRACKS for the month of February 2018:
Full track list here.
MISSING ALBUMS:
Various - United DJs Of America, Vol. 3: Josh Wink – Philadelphia, PA
Various - Rewind: Taylor – Resonance
Various - United DJs Of America, Vol. 14: DJ Soul Slinger
Various - X-Mix-2: Laurent Garnier - Destination Planet Dream
Percentage Of Hip-Hop: 7%
Percentage Of Rock: 7%
Most “WTF?” Track: Always the everlasting Oak Ridge Boys.
Obviously none of the X-Mix or United DJs Of America series are on Spotify, but aside from some of the oldest editions, plenty of their tracks are. Of course, if you really want to hear those X-Mix albums, the full VHS rips are on YouTube as well, so no excuses!
Because of the huge spotlight on those CDs, techno and house dominate this playlist, with a couple token glances of trance, progressive, rock, rap, synth-pop, ambient, downtempo, and country. No dark ambient though, which has to be a first in, like, forever. A very '90s sounding playlist, all said, even from the more modern tunes included.
But yes, that means, after sixty-four months and nearly 1,400 reviews, the end is in sight. Baring complete societal collapse, I should be able to finish within the month that which I set out to do so many years ago – to listen to every item in my music collection in alphabetical order. Only... I won't be finished, will I? There's a whole new backlog that's been forming even as I was going through the last one, with at least a couple month's worth of material to work from. Not to mention the clutch of albums that make up “#, A, B, & Ck” that I never wrote reviews for. Can't forget those!
So yeah, even though I should wrap 'Y' and 'Z' by spring, I'm not finished, not by a long shot. I'm also considering a couple additional ideas, but will touch upon those later. For now, here's the ACE TRACKS for the month of February 2018:
Full track list here.
MISSING ALBUMS:
Various - United DJs Of America, Vol. 3: Josh Wink – Philadelphia, PA
Various - Rewind: Taylor – Resonance
Various - United DJs Of America, Vol. 14: DJ Soul Slinger
Various - X-Mix-2: Laurent Garnier - Destination Planet Dream
Percentage Of Hip-Hop: 7%
Percentage Of Rock: 7%
Most “WTF?” Track: Always the everlasting Oak Ridge Boys.
Obviously none of the X-Mix or United DJs Of America series are on Spotify, but aside from some of the oldest editions, plenty of their tracks are. Of course, if you really want to hear those X-Mix albums, the full VHS rips are on YouTube as well, so no excuses!
Because of the huge spotlight on those CDs, techno and house dominate this playlist, with a couple token glances of trance, progressive, rock, rap, synth-pop, ambient, downtempo, and country. No dark ambient though, which has to be a first in, like, forever. A very '90s sounding playlist, all said, even from the more modern tunes included.
Tuesday, February 20, 2018
Raekwon - The Wild
Empire: 2017
I feel neglectful when it comes to Raekwon. It was his Immobilarity that opened my eyes to all that hip-hop could be in terms of narratives, and both Cuban Linx albums are stone-cold classics in the Wu pantheon. Unfortunately, his other albums don't spark much interest in yours truly. It's not that I doubt his verbal skills on any of his projects, but I've been burned a few too many times on 'mediocre Wu' to scope out everything all these MCs release. Rae's no less immune to the syndrome, a lesson learned with The Lex Diamond Story. Unless he's bringing something dope to the table with production to back it up that gets the knowledgeable heads I trust talking, I give his stuff a pass.
Turns out Mr. Woods has released an album that's gotten knowledgeable heads talking, or at least positively buzzing to such a degree that I haven't seen since Cuban Linx, Pt. 2. While by no means is it being hyped to Cuban Linx levels (because really, the only thing that could generate such talk is a Part 3), I figured it was about time I got myself re-associated with The Chef in The Wild.
And this... this is pretty darn good! Mind, I'd never go into a Raekwon joint expecting something revolutionary, not at this late stage of his career. Just bring me more of those vintage storytelling raps with witty street slang and a slew of solid beats to back them up, and I'm more than sated. Rae' easily delivers on the lyrical front, providing his usual assortment of street tales, reflective raps, and braggadocios boasts about living and maintaining his good life after so many years in the game. I was particularly thrown for a loop on Marvin, a retelling of the life of Gaye with Cee-Lo Green belting out a chorus as only he can. Where did Rae' find the inspiration to rap about that tale of triumph and tragedy? And damn, does producer Frank G ever provide the perfect soul loop for this tune (not to mention his other contribution of Nothing - methinks he gets Rae's vibe quite well indeed).
The soul loops mostly dominate The Wild, which makes sense as Mr. Woods' own flow has taken on something of a mellow, husky soul itself as he's aged. He still finds time to fit in with current trends though, including a twitchy, synth-heavy cut with Lil' Wayne in My Corner (he don't rap much of anything new, but he does sound good rapping it), a gothic tune with synthy choirs and organs in M&N with P.U.R.E. (don't know him), and a slice of trap in You Hear Me to close The Wild out. It's... fine for trap, I guess? Doesn't really fit with the rest of Rae's vibe on this album though, especially as a closer. Don't worry, Shallah, you don't have to jump on every trend with your work. Like, no one remembers that 'crunk' jam off Lex Diamond.
I feel neglectful when it comes to Raekwon. It was his Immobilarity that opened my eyes to all that hip-hop could be in terms of narratives, and both Cuban Linx albums are stone-cold classics in the Wu pantheon. Unfortunately, his other albums don't spark much interest in yours truly. It's not that I doubt his verbal skills on any of his projects, but I've been burned a few too many times on 'mediocre Wu' to scope out everything all these MCs release. Rae's no less immune to the syndrome, a lesson learned with The Lex Diamond Story. Unless he's bringing something dope to the table with production to back it up that gets the knowledgeable heads I trust talking, I give his stuff a pass.
Turns out Mr. Woods has released an album that's gotten knowledgeable heads talking, or at least positively buzzing to such a degree that I haven't seen since Cuban Linx, Pt. 2. While by no means is it being hyped to Cuban Linx levels (because really, the only thing that could generate such talk is a Part 3), I figured it was about time I got myself re-associated with The Chef in The Wild.
And this... this is pretty darn good! Mind, I'd never go into a Raekwon joint expecting something revolutionary, not at this late stage of his career. Just bring me more of those vintage storytelling raps with witty street slang and a slew of solid beats to back them up, and I'm more than sated. Rae' easily delivers on the lyrical front, providing his usual assortment of street tales, reflective raps, and braggadocios boasts about living and maintaining his good life after so many years in the game. I was particularly thrown for a loop on Marvin, a retelling of the life of Gaye with Cee-Lo Green belting out a chorus as only he can. Where did Rae' find the inspiration to rap about that tale of triumph and tragedy? And damn, does producer Frank G ever provide the perfect soul loop for this tune (not to mention his other contribution of Nothing - methinks he gets Rae's vibe quite well indeed).
The soul loops mostly dominate The Wild, which makes sense as Mr. Woods' own flow has taken on something of a mellow, husky soul itself as he's aged. He still finds time to fit in with current trends though, including a twitchy, synth-heavy cut with Lil' Wayne in My Corner (he don't rap much of anything new, but he does sound good rapping it), a gothic tune with synthy choirs and organs in M&N with P.U.R.E. (don't know him), and a slice of trap in You Hear Me to close The Wild out. It's... fine for trap, I guess? Doesn't really fit with the rest of Rae's vibe on this album though, especially as a closer. Don't worry, Shallah, you don't have to jump on every trend with your work. Like, no one remembers that 'crunk' jam off Lex Diamond.
Tuesday, January 30, 2018
Ghostface Killah & Adrian Younge - Twelve Reasons To Die II
Linear Labs: 2015
Aawww yeah, you knew this concept was too good for just one album's worth of material. It was clear as a desert day that Adrian Younge and Ghostface Killah had great chemistry together, that they should work together on another project. So they reconvened a couple years later to tell another tale about twelve ways to die, this time with Ghost's old partner in prime, Raekwon. For the spirit of Tony Starks (Ghost's mobster alias) could not completely rest, his soul still trapped in those vinyl records his body was cremated into, waiting to emerge again should some poor sap spin them once more.
Fast forward a few years, and while tales of the Ghostface Killah taking out members of the DeLuca family in Italy persist, it didn't impact their syndicates across the globe, including a stronghold in New York City. As the '70s took hold and inner city black communities started gaining more influence, one man rose through the ranks to create his own mob fiefdom, Raekwon's character of Lester Kane in this tale. Gee, the Chef playing a mafioso type? Who'd have thought!
Natrually, a turf war breaks out. One of Kane's raids lands him a treasure trove of stolen goods from his enemies, including the legendary records said to hold the spirit of the Ghostface Killah (who's been idling away watching events unfold – this is technically a Ghostface album, so things are mostly told from his perspective). Also captured is Logan, the woman who betrayed Tony Starks to the DeLucas, plus her son who just may be his illegitimate child. When the DeLucas retaliate, however, they wipe out Kane's family too, urging Rae' to strike a deal with the devil: he'll release Ghostface from the record, and in exchange for gaining his power to exact his revenge, the spirit of Stark will take over Kane's body, killing him in the process.
Considering how tied the two have been throughout their careers, the symbolism of Ghostface and Raekwon merging into a single being to do dastardly deeds seems appropriate. In a surprise twist though, Ghost' reneges on the deal, instead taking over the body of... his own son! Hey, this still is a gothic horror tale, in the end!
*whew* Quite a recap there, and if it seems I skimmed over details, I didn't that much. Twelve Reasons To Die II is shockingly short as an album, barely a half-hour long. I was honestly slightly disappointed I didn't hear more from Rae' on this, nor was I too fussed with the guest rappers (mostly playing roles of each crime family's goons). Still, Adrian's score of blaxploitation funk and spooky soul remains ace, playing all the instruments, at times sounding like vintage RZA with Ghost' riding the beats. A couple more tracks of Ghost'kwon (Rae'face?) enacting their revenge would have made this better, but it's still a gripping ride nonetheless. Not sure where they can take the story after this though, if Starks is resurrected and all.
Aawww yeah, you knew this concept was too good for just one album's worth of material. It was clear as a desert day that Adrian Younge and Ghostface Killah had great chemistry together, that they should work together on another project. So they reconvened a couple years later to tell another tale about twelve ways to die, this time with Ghost's old partner in prime, Raekwon. For the spirit of Tony Starks (Ghost's mobster alias) could not completely rest, his soul still trapped in those vinyl records his body was cremated into, waiting to emerge again should some poor sap spin them once more.
Fast forward a few years, and while tales of the Ghostface Killah taking out members of the DeLuca family in Italy persist, it didn't impact their syndicates across the globe, including a stronghold in New York City. As the '70s took hold and inner city black communities started gaining more influence, one man rose through the ranks to create his own mob fiefdom, Raekwon's character of Lester Kane in this tale. Gee, the Chef playing a mafioso type? Who'd have thought!
Natrually, a turf war breaks out. One of Kane's raids lands him a treasure trove of stolen goods from his enemies, including the legendary records said to hold the spirit of the Ghostface Killah (who's been idling away watching events unfold – this is technically a Ghostface album, so things are mostly told from his perspective). Also captured is Logan, the woman who betrayed Tony Starks to the DeLucas, plus her son who just may be his illegitimate child. When the DeLucas retaliate, however, they wipe out Kane's family too, urging Rae' to strike a deal with the devil: he'll release Ghostface from the record, and in exchange for gaining his power to exact his revenge, the spirit of Stark will take over Kane's body, killing him in the process.
Considering how tied the two have been throughout their careers, the symbolism of Ghostface and Raekwon merging into a single being to do dastardly deeds seems appropriate. In a surprise twist though, Ghost' reneges on the deal, instead taking over the body of... his own son! Hey, this still is a gothic horror tale, in the end!
*whew* Quite a recap there, and if it seems I skimmed over details, I didn't that much. Twelve Reasons To Die II is shockingly short as an album, barely a half-hour long. I was honestly slightly disappointed I didn't hear more from Rae' on this, nor was I too fussed with the guest rappers (mostly playing roles of each crime family's goons). Still, Adrian's score of blaxploitation funk and spooky soul remains ace, playing all the instruments, at times sounding like vintage RZA with Ghost' riding the beats. A couple more tracks of Ghost'kwon (Rae'face?) enacting their revenge would have made this better, but it's still a gripping ride nonetheless. Not sure where they can take the story after this though, if Starks is resurrected and all.
Wednesday, November 29, 2017
LL Cool J - Mr. Smith
Def Jam Recordings: 1995
Can't be a proper hip-hop head without a little LL Cool J in my collection. Just a shame it's taken me this long to get some. No, wait, that's not true - I did have a Cool J album before, his G.O.A.T. album when I first got into hip-hop. I liked it enough to nab me a copy, but when it came time for the Great CD Pawning Of 2002 (unemployed ass gotta' pay for ramen noodles somehow), it didn't survive the purge. No great loss by most accounts, and while LL's remained an active name in the world of rap, I haven't been compelled to keep tabs on his music. That doesn't excuse me from skipping on his early classics though, so maybe this will finally get my ass hunting for those albums you're supposed to have, even if you're not a LL Cool J fan.
Actually, I think I've already accomplished this with Mr. Smith ...kind of. While not a critical darling on the same level as Bigger And Deffer or Mama Said Knock You Out, it was a successful commercial turnaround for LL after a weak jump on the gangsta fad of the early '90s. Propped up by Platinum-selling singles that catered to the lucrative R&B crowd, even folks who'd never bothered with his '80s output were buying this album up.
That's damn impressive considering how most rappers from the previous decade were constantly being upstaged by fresher talents. For sure those only after the grittiest, grimiest street tales wouldn't have much use for Mr. Smith, but there's a much wider audience than that in the Urban scene, and Cool J tapped into it perfectly. Hell, I remember Doin' It being quite the hit even in my backwoods region of Canada, if only because as snarky teenagers, we'd do mocking sarcastic renditions of the chorus. Joke's on us though, LL soon appearing on Demographic-Approved soundtracks like Beavis And Butthead Do America and Space Jam.
So the R&B tunes were the big hits (including Boyz II Men collab' Hey Lover, and Loungin with the Puff Daddy-produced duo Total). How's the rest of Mr. Smith, then? Good enough, I suppose – no embarrassing attempts at being thug at least. LL gets in several braggadocios cuts showing off his lyrical skills for 'real hip-hop heads', including Make It Hot, I Shot Ya, No Airplay, Mr. Smith, Get Da Drop On 'Em. He also gets in a couple wordplay cuts, one toying with movie titles (Hollis To Hollywood), another giving props to rap acts over the years (Hip Hop). This one's oddly placed in the album though, second track status when it feels like it should be plugged near the end as a tribute.
Production wise, most tunes are handled by a then-new talent called TrackMasters, who's smooth, Eastcoast style would lead them to producing such prominent names like Nas, Foxy Brown, Noreaga, Method Man, and Will Smith. Eh, I'll take Rashad Smith's dubby style myself. He later got Busta Rhymes.
Can't be a proper hip-hop head without a little LL Cool J in my collection. Just a shame it's taken me this long to get some. No, wait, that's not true - I did have a Cool J album before, his G.O.A.T. album when I first got into hip-hop. I liked it enough to nab me a copy, but when it came time for the Great CD Pawning Of 2002 (unemployed ass gotta' pay for ramen noodles somehow), it didn't survive the purge. No great loss by most accounts, and while LL's remained an active name in the world of rap, I haven't been compelled to keep tabs on his music. That doesn't excuse me from skipping on his early classics though, so maybe this will finally get my ass hunting for those albums you're supposed to have, even if you're not a LL Cool J fan.
Actually, I think I've already accomplished this with Mr. Smith ...kind of. While not a critical darling on the same level as Bigger And Deffer or Mama Said Knock You Out, it was a successful commercial turnaround for LL after a weak jump on the gangsta fad of the early '90s. Propped up by Platinum-selling singles that catered to the lucrative R&B crowd, even folks who'd never bothered with his '80s output were buying this album up.
That's damn impressive considering how most rappers from the previous decade were constantly being upstaged by fresher talents. For sure those only after the grittiest, grimiest street tales wouldn't have much use for Mr. Smith, but there's a much wider audience than that in the Urban scene, and Cool J tapped into it perfectly. Hell, I remember Doin' It being quite the hit even in my backwoods region of Canada, if only because as snarky teenagers, we'd do mocking sarcastic renditions of the chorus. Joke's on us though, LL soon appearing on Demographic-Approved soundtracks like Beavis And Butthead Do America and Space Jam.
So the R&B tunes were the big hits (including Boyz II Men collab' Hey Lover, and Loungin with the Puff Daddy-produced duo Total). How's the rest of Mr. Smith, then? Good enough, I suppose – no embarrassing attempts at being thug at least. LL gets in several braggadocios cuts showing off his lyrical skills for 'real hip-hop heads', including Make It Hot, I Shot Ya, No Airplay, Mr. Smith, Get Da Drop On 'Em. He also gets in a couple wordplay cuts, one toying with movie titles (Hollis To Hollywood), another giving props to rap acts over the years (Hip Hop). This one's oddly placed in the album though, second track status when it feels like it should be plugged near the end as a tribute.
Production wise, most tunes are handled by a then-new talent called TrackMasters, who's smooth, Eastcoast style would lead them to producing such prominent names like Nas, Foxy Brown, Noreaga, Method Man, and Will Smith. Eh, I'll take Rashad Smith's dubby style myself. He later got Busta Rhymes.
Sunday, October 22, 2017
The Prodigy - The Dirtchamber Sessions Volume One
XL Recordings: 1999
DJ mixes were proving rather bankable at the end of the '90s, some shifting equal numbers of units as LPs from established artists. Well shit, son, a few of those established artists were DJs before they made it big with their original productions. Wouldn't hurt to put out a mix or two while between albums, keep the brand out there, maybe drop a little music knowledge on unsuspecting crossover fans in the process. Actually, I don't think that worked. While working at a music shop when such mixes came out, every time a curious costumer only familiar with the radio hits would sample one, they couldn't figure out why there were so many songs all mashed together - they didn't even sound like the radio hits in the first place. (every. time.)
For those more boned up on rave culture, DJ culture, and trainspotting culture though, such mixes were fun items to indulge in. A chance to revisit history, hear the origins of famous samples, discover the influences of a current crop of stars, and be reminded that big acts like The Chemical Brothers and The Prodigy had more in their arsenal than a knack for a catchy hook and a beefy beat.
The Dirtchamber Sessions was Liam Howlett's stab at a commercial DJ mix, and is as much a study in everything that created his unique brand of brash, bold dance music. Having come up through the sample-heavy era of DJing, laying out a dozen tunes in a computer-perfect sequence just wouldn't do for him either. There are forty-nine tracks listed in the credits, some barely twenty second snippets, all ranging from classic rave, vintage rap, bratty punk, and Madchester rock. Plus a Barry White tune lodged between Beastie Boys and Public Enemy, because why not?
There's also Bomb The Bass, Jane's Addiction, Frankie Bones, Sex Pistols, Meat Beat Manifesto, Herbie Hancock, James Brown, Ultramagnetic MCs (gotta' get in those Kool Keith verses), Digital Underground, Primal Scream, Renegade Soundwave, LL Cool J, T La Rock, KRS One, and loads more I'm not familiar with. Plus don't forget newer cats like Fatboy Slim, Propellerheads, and London Funk Allstars. The one that threw me for a loop though, was The KLF's What Time Is Love? - at that point I only knew them for their anthem house hits off The White Room. Of course the anti-establishment manifesto of Cauty and Drummond would be something Howlett would relate to, but all I thought was, “wow, never thought I'd hear such a commercial tune in a mix like this.”
As the above attests to, the tracklist is hectic and eclectic, with tons of mash-ups and quick mixes keeping the pace going. The Dirtchamber Sessions is also surprisingly short, not even forty-three minutes long. No sense blowing one's load in a Volume 1 I guess, but we never got a Volume 2. Might be interesting to hear a 'post-Millennium' follow-up, though I can't imagine it containing as dope of tracks as found here.
DJ mixes were proving rather bankable at the end of the '90s, some shifting equal numbers of units as LPs from established artists. Well shit, son, a few of those established artists were DJs before they made it big with their original productions. Wouldn't hurt to put out a mix or two while between albums, keep the brand out there, maybe drop a little music knowledge on unsuspecting crossover fans in the process. Actually, I don't think that worked. While working at a music shop when such mixes came out, every time a curious costumer only familiar with the radio hits would sample one, they couldn't figure out why there were so many songs all mashed together - they didn't even sound like the radio hits in the first place. (every. time.)
For those more boned up on rave culture, DJ culture, and trainspotting culture though, such mixes were fun items to indulge in. A chance to revisit history, hear the origins of famous samples, discover the influences of a current crop of stars, and be reminded that big acts like The Chemical Brothers and The Prodigy had more in their arsenal than a knack for a catchy hook and a beefy beat.
The Dirtchamber Sessions was Liam Howlett's stab at a commercial DJ mix, and is as much a study in everything that created his unique brand of brash, bold dance music. Having come up through the sample-heavy era of DJing, laying out a dozen tunes in a computer-perfect sequence just wouldn't do for him either. There are forty-nine tracks listed in the credits, some barely twenty second snippets, all ranging from classic rave, vintage rap, bratty punk, and Madchester rock. Plus a Barry White tune lodged between Beastie Boys and Public Enemy, because why not?
There's also Bomb The Bass, Jane's Addiction, Frankie Bones, Sex Pistols, Meat Beat Manifesto, Herbie Hancock, James Brown, Ultramagnetic MCs (gotta' get in those Kool Keith verses), Digital Underground, Primal Scream, Renegade Soundwave, LL Cool J, T La Rock, KRS One, and loads more I'm not familiar with. Plus don't forget newer cats like Fatboy Slim, Propellerheads, and London Funk Allstars. The one that threw me for a loop though, was The KLF's What Time Is Love? - at that point I only knew them for their anthem house hits off The White Room. Of course the anti-establishment manifesto of Cauty and Drummond would be something Howlett would relate to, but all I thought was, “wow, never thought I'd hear such a commercial tune in a mix like this.”
As the above attests to, the tracklist is hectic and eclectic, with tons of mash-ups and quick mixes keeping the pace going. The Dirtchamber Sessions is also surprisingly short, not even forty-three minutes long. No sense blowing one's load in a Volume 1 I guess, but we never got a Volume 2. Might be interesting to hear a 'post-Millennium' follow-up, though I can't imagine it containing as dope of tracks as found here.
Sunday, October 1, 2017
ACE TRACKS: September 2017
Five years now, and I still haven't finished going through my entire music collection. Well, technically six, since I started the listening process a year before I decided writing about the experience could turn into a blog. But the end is on the horizon for sure, the last of the large letters in 'W' now finished. Just a casual little jaunt to the finish line for the remaining three letters. Except there's that alphabetical backlog accumulated over the summer, a much heftier amount of material there. Like, nearly two months worth. I think I can get it all finished before the end of the year, but man, is it ever gonna' be tight.
Then what after that, I wonder? Do I go back to those missing albums from the start of my alphabetical arrangement? I'm starting to feel obligated to, just so it doesn't look like I'm deliberately avoiding items. Like all those ambient dub compilations, various entries in the Balance series, plus a few bona-fide classics that this blog would feel incomplete without me reviewing them (Big Men Cry, 6 Feet Deep, 604, Alter Ego, Blue Moon Station, Blade, CB4). *sigh* I'll never end this, will I? On that cheering note, here's the ACE TRACKS for September 2017.
Full track list here.
MISSING ALBUMS:
Sounds From The Ground - Widerworld
Percentage Of Hip-Hop: 20%
Percentage Of Rock: 13%
Most “WTF?” Track: The live Hybrid bits, if you 'd forgotten just how dope these guys used to be.
It may feel like there's a lot of Wu-Tang Clan on here, but really it's only two album's worth – an album and half even. What can you expect from the back-end of the letter 'W' anyway? The Wu dominate that realm, no matter what type of music you listen to. A decent variety of classic rock, modern psy-chill, mid-era downtempo, and Golden Era 'electronica' rounds out the rest, with the entirety of Hybrid's Live Angle set lumped at the end. Seriously, if you haven't heard it yet, you've no excuse now! Well, unless you just don't have Spotify, which kneels the question why you're even bothering with these Ace Tracks updates in the first place.
Then what after that, I wonder? Do I go back to those missing albums from the start of my alphabetical arrangement? I'm starting to feel obligated to, just so it doesn't look like I'm deliberately avoiding items. Like all those ambient dub compilations, various entries in the Balance series, plus a few bona-fide classics that this blog would feel incomplete without me reviewing them (Big Men Cry, 6 Feet Deep, 604, Alter Ego, Blue Moon Station, Blade, CB4). *sigh* I'll never end this, will I? On that cheering note, here's the ACE TRACKS for September 2017.
Full track list here.
MISSING ALBUMS:
Sounds From The Ground - Widerworld
Percentage Of Hip-Hop: 20%
Percentage Of Rock: 13%
Most “WTF?” Track: The live Hybrid bits, if you 'd forgotten just how dope these guys used to be.
It may feel like there's a lot of Wu-Tang Clan on here, but really it's only two album's worth – an album and half even. What can you expect from the back-end of the letter 'W' anyway? The Wu dominate that realm, no matter what type of music you listen to. A decent variety of classic rock, modern psy-chill, mid-era downtempo, and Golden Era 'electronica' rounds out the rest, with the entirety of Hybrid's Live Angle set lumped at the end. Seriously, if you haven't heard it yet, you've no excuse now! Well, unless you just don't have Spotify, which kneels the question why you're even bothering with these Ace Tracks updates in the first place.
Thursday, September 28, 2017
Various - Wu-Tang Meets The Indie Culture
Babygrande Music: 2005
When I was in the throes of my hip-hop honeymoon, two groups ruled supreme as all that was great within the genre. You know who these two groups are, because I've constantly name-dropped them for as long as this blog's been active again (five years, oh good God...). And as any 'young rap fan' can attest to, when you start following groups, you start thinking up potential pair-offs between them, like comic super-team cross-overs. How dope, thought Year 2000 Sykonee, would it be for Del Tha Funkee Homosapien and Inspectah Deck to trade lyrical atomic bombs! Casual and ODB riding a warped rhythm with their rugged, warbling flows! Souls Of Mischief sharing street tales with Ghostface and Raekwon! A-Plus and True Mathematics blending samples! Never mind the Wu and Hiero ran in such drastically different hip-hop spheres that these pairings could never to happen - I could at least dream of them.
And then it did happen! ...kind of. While not a full-on collaboration, the fact I'm holding a CD that includes Del, Casual, GZA, RZA, and U-God in the tracklist feels like a minor miracle in of itself. I guess having MF Doom, Ras Kass, Aesop Rock, Prodigal Sunn, R.A. The Rugged Man, J-Live, plus others is a nice bonus, if you're down for such acts too.
Wu-Tang Meets The Indie Culture is the brainchild of Dreddy Kruger, who appeared on a couple Wu affiliated tracks, but settled into an A&R role for the franchise, producing compilations and the like. When he launched his own print in Think Differently, he wished to bring more underground acts to the light, and figured mixing 'backpacker' rap acts with Wu-Tang stars was a good way of doing so. Providing the bulk of beats for all these MCs to spit their bars over is Bronze Nazareth, who's had a decent career in his own right following this record. He certainly gets the Wu aesthetic as laid out by The Abbot, funk and soul samples looping over gritty or smooth rhythms, as per each cut's lyrical context. Oh, and RZA handled his own 'blaxpoitation' beat for his team-up with MF Doom in Biochemical Equation, though the infamous masked MC lacks much spark in his verse. Kinda' happens when the 'collaboration' doesn't require everyone to be present in a studio.
That's unfortunately the vibe I get from Wu-Tang Meets The Indie Culture - a lot of disparate acts doing their minimum best for the project before they moved on to their own interests. There isn't anything wack on this CD, but nor does it elevate much higher than whatever excited ideas were probably germinating in your mind from the core concept.
Still, Dreddy Kruger believed in it enough to get enough recognizable names involved, his enthusiasm coming through in the paragraphs of liner notes. The highest praise I can give this is Wu-Tang Meets The Indie Culture is it's the best 'third tier' Wu project I've ever heard, though my sample-size is minuscule.
When I was in the throes of my hip-hop honeymoon, two groups ruled supreme as all that was great within the genre. You know who these two groups are, because I've constantly name-dropped them for as long as this blog's been active again (five years, oh good God...). And as any 'young rap fan' can attest to, when you start following groups, you start thinking up potential pair-offs between them, like comic super-team cross-overs. How dope, thought Year 2000 Sykonee, would it be for Del Tha Funkee Homosapien and Inspectah Deck to trade lyrical atomic bombs! Casual and ODB riding a warped rhythm with their rugged, warbling flows! Souls Of Mischief sharing street tales with Ghostface and Raekwon! A-Plus and True Mathematics blending samples! Never mind the Wu and Hiero ran in such drastically different hip-hop spheres that these pairings could never to happen - I could at least dream of them.
And then it did happen! ...kind of. While not a full-on collaboration, the fact I'm holding a CD that includes Del, Casual, GZA, RZA, and U-God in the tracklist feels like a minor miracle in of itself. I guess having MF Doom, Ras Kass, Aesop Rock, Prodigal Sunn, R.A. The Rugged Man, J-Live, plus others is a nice bonus, if you're down for such acts too.
Wu-Tang Meets The Indie Culture is the brainchild of Dreddy Kruger, who appeared on a couple Wu affiliated tracks, but settled into an A&R role for the franchise, producing compilations and the like. When he launched his own print in Think Differently, he wished to bring more underground acts to the light, and figured mixing 'backpacker' rap acts with Wu-Tang stars was a good way of doing so. Providing the bulk of beats for all these MCs to spit their bars over is Bronze Nazareth, who's had a decent career in his own right following this record. He certainly gets the Wu aesthetic as laid out by The Abbot, funk and soul samples looping over gritty or smooth rhythms, as per each cut's lyrical context. Oh, and RZA handled his own 'blaxpoitation' beat for his team-up with MF Doom in Biochemical Equation, though the infamous masked MC lacks much spark in his verse. Kinda' happens when the 'collaboration' doesn't require everyone to be present in a studio.
That's unfortunately the vibe I get from Wu-Tang Meets The Indie Culture - a lot of disparate acts doing their minimum best for the project before they moved on to their own interests. There isn't anything wack on this CD, but nor does it elevate much higher than whatever excited ideas were probably germinating in your mind from the core concept.
Still, Dreddy Kruger believed in it enough to get enough recognizable names involved, his enthusiasm coming through in the paragraphs of liner notes. The highest praise I can give this is Wu-Tang Meets The Indie Culture is it's the best 'third tier' Wu project I've ever heard, though my sample-size is minuscule.
Tuesday, September 26, 2017
Wu-Tang Clan - Wu-Tang Forever
Loud Records: 1997
The Wu-Tang Clan's sophomore album couldn't help but be a double-LP. I mean, it was already The Thing to do for most rappers of note in the mid-'90s (Tupac, Biggie, Bone Thugs, Master P), but at least it made sense for this dynamic group. Their debut Enter The Wu-Tang was as perfect an album as any dropped in hip-hop's history, and the half-dozen solo records from various members after proved there was no lack of dope material in their ranks. After so much unprecedented success as a rap conglomerate, they absolutely deserved more room to breathe, letting all these MCs have more opportunities to shine on the mic, and celebrate The RZA's five year plan coming to fruition. Concerns about filler and bloat? Oh come on, how could the Wu Empire falter in their moment of triumph, especially after such a glorious lead single in Triumph?
And CD1 doesn't disappoint, almost a strong album experience in of itself. Yeah, the overlong Wu-Revolution opener reeks of pretentious hubris, that the Wu nation is willing to sit through a nearly seven-minute long sermon from Papa Wu. On the other hand, it does set a tone that the Clan is aware of social issues impacting black communities, and that they aren't gonna' just be another bunch of rappers glamorizing gangsta' lifestyles. Cool, but now that you've cleared your conscience, RZA, how about bringing the motha'fuckin' ruckus again? He done does that, Reunited showing off his newfound twitchy-soul production chops, follow-up For Heaven's Sake bringing the ghetto-grime to the fore, As High As Wu-Tang Get a fun bit of bouncy funk, Maria a boozy-woozy fest, and It's Yourz a good ol' stompin' crowd anthem.
And the rest of the Clan bring killer material to CD1 too, some of their all-time greatest lines ever dropped here (GZA: “Too many songs with weak rhymes is mad long; Make it brief, son - half short, twice strong.”). MCs that didn't much get spotlight in 36 Chambers have equal opportunities among the established stars, and a decent range of topics are covered among the ten tracks (lyrical showcases, street tales, conscious slabs, slum love, etc.). The only thing missing from CD1 is a definitive, stone-cold classic cut, but then they had to save something for CD2.
Disc number two starts off strong as well, Triumph the kick-off, followed by Impossible containing what RZA considers “one of the illest verses of all time”, Ghostface Killah vividly narrating the last moments spent with a dying friend on the street. Unfortunately, this is where that anticipated bloat starts to settle in, a run of average, oddball tracks leading to a slog of hip-hop between the islands of right dope shit (harrowing Little Ghetto Boys, ODB's wonderfully unhinged Dog Sh*t, the orchestral punch of Heaterz). Cheekily, the closing ghetto-soul of Second Coming is strictly handled by vocalist Tekitha, with nary a Clan member in sight.
CD2 is essentially a glorified B-side, but as mentioned, Wu-Tang Forever is easily worth the admission price for CD1.
The Wu-Tang Clan's sophomore album couldn't help but be a double-LP. I mean, it was already The Thing to do for most rappers of note in the mid-'90s (Tupac, Biggie, Bone Thugs, Master P), but at least it made sense for this dynamic group. Their debut Enter The Wu-Tang was as perfect an album as any dropped in hip-hop's history, and the half-dozen solo records from various members after proved there was no lack of dope material in their ranks. After so much unprecedented success as a rap conglomerate, they absolutely deserved more room to breathe, letting all these MCs have more opportunities to shine on the mic, and celebrate The RZA's five year plan coming to fruition. Concerns about filler and bloat? Oh come on, how could the Wu Empire falter in their moment of triumph, especially after such a glorious lead single in Triumph?
And CD1 doesn't disappoint, almost a strong album experience in of itself. Yeah, the overlong Wu-Revolution opener reeks of pretentious hubris, that the Wu nation is willing to sit through a nearly seven-minute long sermon from Papa Wu. On the other hand, it does set a tone that the Clan is aware of social issues impacting black communities, and that they aren't gonna' just be another bunch of rappers glamorizing gangsta' lifestyles. Cool, but now that you've cleared your conscience, RZA, how about bringing the motha'fuckin' ruckus again? He done does that, Reunited showing off his newfound twitchy-soul production chops, follow-up For Heaven's Sake bringing the ghetto-grime to the fore, As High As Wu-Tang Get a fun bit of bouncy funk, Maria a boozy-woozy fest, and It's Yourz a good ol' stompin' crowd anthem.
And the rest of the Clan bring killer material to CD1 too, some of their all-time greatest lines ever dropped here (GZA: “Too many songs with weak rhymes is mad long; Make it brief, son - half short, twice strong.”). MCs that didn't much get spotlight in 36 Chambers have equal opportunities among the established stars, and a decent range of topics are covered among the ten tracks (lyrical showcases, street tales, conscious slabs, slum love, etc.). The only thing missing from CD1 is a definitive, stone-cold classic cut, but then they had to save something for CD2.
Disc number two starts off strong as well, Triumph the kick-off, followed by Impossible containing what RZA considers “one of the illest verses of all time”, Ghostface Killah vividly narrating the last moments spent with a dying friend on the street. Unfortunately, this is where that anticipated bloat starts to settle in, a run of average, oddball tracks leading to a slog of hip-hop between the islands of right dope shit (harrowing Little Ghetto Boys, ODB's wonderfully unhinged Dog Sh*t, the orchestral punch of Heaterz). Cheekily, the closing ghetto-soul of Second Coming is strictly handled by vocalist Tekitha, with nary a Clan member in sight.
CD2 is essentially a glorified B-side, but as mentioned, Wu-Tang Forever is easily worth the admission price for CD1.
Monday, September 25, 2017
Snap! - World Power
Arista: 1990
They hadn't planned on it. Sure, they were having some fun dabbling in productions and all, but Michael Münzing already had a tidy career running clubs out of Frankfurt, all the while doing a little DJing on the side. And while he had some synth-pop success with Papa Sven and Luca Anzilotti as OFF, most of Münzing's productions were in service for the clubs he played at, even using sampling gear in his shows.
Still, any European DJ worth their salt at the turn of the decade couldn't help but notice the sounds coming out of clubs from Italy and Belgium (not to mention how sample-happy everything had gotten), American styled hip-hop and house music the new hotness. Never mind that such genres had never charted in Germany. Misters Münzing and Anzilotti figured they'd adopt an American-sounding alias, make a record or two for their own clubs and leave it at that. Only trouble is the resulting record became an international smash, a tune rinsed out at clubs, on radio, at sporting events, during high-school dances... and still does to this day. To imagine a world without The Power is to imagine a darkest timeline indeed.
There's more to the story surrounding that single of course (oh is there ever more!), but I've an album to get through here. Point is Münzing and Anzilotti had to follow that sudden anthem up with an LP, the duo and their newly minted 'Snap!' moniker going from strength to strength in the singles department. Ooops Up turned into another winner (though not quite as big in The US), and Cult Of Snap! showed they weren't afraid of injecting a little Afro-funk into their jams. And while “Benito Benites” and “John 'Virgo' Garrett III” had undoubtedly tapped into a nascent european-fusion of hip-house few others could replicate, it was rapper Turbo B who gave them their unmistakable charisma, Darren Butler's deep, aggressive American inflection often coming off like a Chuck D clone. Yeah yeah, he'd never be as politically charged as the Public Enemy frontman, but between his tone and Snap!'s wilful incorporation of Afrocentric music (in Germany!), it was enough to get Mr. Butler inducted into Afrika Bambaataa's Zulu Nation. Yes, really.
We all know the big hits off here, not to mention the charming house hit Mary Had A Little Boy (oh God, the high-school memories with this one!). The rest of World Power amounts to a little better than filler, and is probably quite wonderful if you dig those early '90s hip-house jams. Most of the tracks are just excuses for to Turbo B drop a bunch of brag raps (Believe The Hype, Witness The Strength), with Blasé Blasé the most charming with its strict Funky-Drummer throwback vibe and off-ball asides from a faux Flavor Flav (plus, that bassline!). The mid-album ballad I'm Gonna Get You probably sounds all kinds of corny on the surface, but I've no doubt 'friend-zoned' dudes everywhere play this as their anthem.
They hadn't planned on it. Sure, they were having some fun dabbling in productions and all, but Michael Münzing already had a tidy career running clubs out of Frankfurt, all the while doing a little DJing on the side. And while he had some synth-pop success with Papa Sven and Luca Anzilotti as OFF, most of Münzing's productions were in service for the clubs he played at, even using sampling gear in his shows.
Still, any European DJ worth their salt at the turn of the decade couldn't help but notice the sounds coming out of clubs from Italy and Belgium (not to mention how sample-happy everything had gotten), American styled hip-hop and house music the new hotness. Never mind that such genres had never charted in Germany. Misters Münzing and Anzilotti figured they'd adopt an American-sounding alias, make a record or two for their own clubs and leave it at that. Only trouble is the resulting record became an international smash, a tune rinsed out at clubs, on radio, at sporting events, during high-school dances... and still does to this day. To imagine a world without The Power is to imagine a darkest timeline indeed.
There's more to the story surrounding that single of course (oh is there ever more!), but I've an album to get through here. Point is Münzing and Anzilotti had to follow that sudden anthem up with an LP, the duo and their newly minted 'Snap!' moniker going from strength to strength in the singles department. Ooops Up turned into another winner (though not quite as big in The US), and Cult Of Snap! showed they weren't afraid of injecting a little Afro-funk into their jams. And while “Benito Benites” and “John 'Virgo' Garrett III” had undoubtedly tapped into a nascent european-fusion of hip-house few others could replicate, it was rapper Turbo B who gave them their unmistakable charisma, Darren Butler's deep, aggressive American inflection often coming off like a Chuck D clone. Yeah yeah, he'd never be as politically charged as the Public Enemy frontman, but between his tone and Snap!'s wilful incorporation of Afrocentric music (in Germany!), it was enough to get Mr. Butler inducted into Afrika Bambaataa's Zulu Nation. Yes, really.
We all know the big hits off here, not to mention the charming house hit Mary Had A Little Boy (oh God, the high-school memories with this one!). The rest of World Power amounts to a little better than filler, and is probably quite wonderful if you dig those early '90s hip-house jams. Most of the tracks are just excuses for to Turbo B drop a bunch of brag raps (Believe The Hype, Witness The Strength), with Blasé Blasé the most charming with its strict Funky-Drummer throwback vibe and off-ball asides from a faux Flavor Flav (plus, that bassline!). The mid-album ballad I'm Gonna Get You probably sounds all kinds of corny on the surface, but I've no doubt 'friend-zoned' dudes everywhere play this as their anthem.
Wednesday, September 6, 2017
Everlast - Whitey Ford Sings The Blues
Tommy Boy: 1998
Throughout hip-hop's history, there's been the ongoing side-story of The Next Great White Hope. I won't get into the nitty-gritty of this tale here, as I only have a mere [self-imposed word count], and it's a topic that could cover a couple volumes worth of perspectives. The bottom line is there's always someone out there called upon to be the torch-bearer of Caucasian representation in rap. Your Beastie Boys. Your Eminem. Your... um, Vanilla Ice. Yet one name always slips from this discussion, despite being one of hip-hop's most successful artists throughout the '90s, one Erik Schrody. You know him better as Everlast.
Not that I blame the initial apathy, his 1989 debut Forever Everlasting one corny-ass example of rap, even with an Ice-T bump (that video for The Rhythm!). Fortunately, he also realized label management was forcing him into a mould he didn't fit, so Mr. Schrody soon found himself teaming up with Danny Boy and DJ Lethal, creating a little group by the name of House Of Pain - you've definitely heard of them. That only lasted a half-decade though, so Everlast went back to the solo scene, taking on a new persona of 'Whitey Ford', and put some learned guitar skills to use.
Hey, rap and rock were already mingling by the late '90s, so why not try the same thing with the blues? It has a similar origin story (music of poor black communities; co-opted by a lot of white guys), and it had been so long since Everlast's first album, perhaps the public would buy him as a road-weary troubadour of the down-trodden. Heck, how many outside hip-hop circles even knew there was an 'Everlast' as part of House Of Pain?
Not many, I wager, throwing those expecting more blues-hop in the vein of mega-charter What It's Like for a loop when throwing on Whitey Ford Sings The Blues. Some of rap's respected talents drop in for a cameo (Prince Paul, Guru, Sadat X with a few verses), and there's a fair bit of the traditional hippity-hop throughout the album. Heck, the intro is a parody of The Fat Boys, about as retro as rap could get in '98. Throughout, you get Everlast rapping about getting money (Money (Dollar Bill)), haters (Tired), drug abuse (Painkillers), rockin' the mic (Praise The Lord), and funky beats (Funky Beat). And it's all perfectly solid rappity-rap that Everlast displays. About two-thirds of Whitey Ford Sings The Blues doesn't shake the rap foundations the slightest.
Yet we mostly remember this album for the times he goes blues crooner (Ends, What It's Like, Today, Death Comes Callin'). It was such a unique, fresh angle to take the genre, it couldn't help but stand out from the pack. Still, I don't think folks were eager hearing more of it either, no one capitalizing on this sound to such a degree in subsequent years, Everlast included. But hey, it got him that collab' with Santana. That's gotta' be a plumb feather in his hat.
Throughout hip-hop's history, there's been the ongoing side-story of The Next Great White Hope. I won't get into the nitty-gritty of this tale here, as I only have a mere [self-imposed word count], and it's a topic that could cover a couple volumes worth of perspectives. The bottom line is there's always someone out there called upon to be the torch-bearer of Caucasian representation in rap. Your Beastie Boys. Your Eminem. Your... um, Vanilla Ice. Yet one name always slips from this discussion, despite being one of hip-hop's most successful artists throughout the '90s, one Erik Schrody. You know him better as Everlast.
Not that I blame the initial apathy, his 1989 debut Forever Everlasting one corny-ass example of rap, even with an Ice-T bump (that video for The Rhythm!). Fortunately, he also realized label management was forcing him into a mould he didn't fit, so Mr. Schrody soon found himself teaming up with Danny Boy and DJ Lethal, creating a little group by the name of House Of Pain - you've definitely heard of them. That only lasted a half-decade though, so Everlast went back to the solo scene, taking on a new persona of 'Whitey Ford', and put some learned guitar skills to use.
Hey, rap and rock were already mingling by the late '90s, so why not try the same thing with the blues? It has a similar origin story (music of poor black communities; co-opted by a lot of white guys), and it had been so long since Everlast's first album, perhaps the public would buy him as a road-weary troubadour of the down-trodden. Heck, how many outside hip-hop circles even knew there was an 'Everlast' as part of House Of Pain?
Not many, I wager, throwing those expecting more blues-hop in the vein of mega-charter What It's Like for a loop when throwing on Whitey Ford Sings The Blues. Some of rap's respected talents drop in for a cameo (Prince Paul, Guru, Sadat X with a few verses), and there's a fair bit of the traditional hippity-hop throughout the album. Heck, the intro is a parody of The Fat Boys, about as retro as rap could get in '98. Throughout, you get Everlast rapping about getting money (Money (Dollar Bill)), haters (Tired), drug abuse (Painkillers), rockin' the mic (Praise The Lord), and funky beats (Funky Beat). And it's all perfectly solid rappity-rap that Everlast displays. About two-thirds of Whitey Ford Sings The Blues doesn't shake the rap foundations the slightest.
Yet we mostly remember this album for the times he goes blues crooner (Ends, What It's Like, Today, Death Comes Callin'). It was such a unique, fresh angle to take the genre, it couldn't help but stand out from the pack. Still, I don't think folks were eager hearing more of it either, no one capitalizing on this sound to such a degree in subsequent years, Everlast included. But hey, it got him that collab' with Santana. That's gotta' be a plumb feather in his hat.
Tuesday, August 1, 2017
ACE TRACKS: July 2017
Hey look, another month where I broke the 'twenty reviews' mark. That sure don't happen as often anymore, does it. I'm surprised I hit that mark at all, though perhaps I was eager to get at a few of the items in the queue, CDs with plenty o' talking points swirling at the floodgates of my... whatever it is that sends words from my brain to the fingers typing it all out. Is it an ether that does it? Like, some mystical fifth element that makes my words manifest in such a way that they penetrate your eyeholes, imprinting themselves in your memory membranes. No, really, think about that for a moment – it's practically magic that we can do that, man! At least, until we evolve antennae, where bio-chemical communications will render this clumsy electronic method moot.
Actually, another reason for getting more writing done is I've had less distractions this past month, the most significant of which is brushing off the ol' Hot Shots Golf 3 game again. Man, is that ever a time-warp of pop culture interests, what with playable characters such as the Aussie animal ranger, the Chinese martial artist, the mobsters, the John Daly clone, and all those Matrix clones. 2002 was weird. No music from that year in this playlist of ACE TRACKS, though.
MISSING ALBUMS:
Various - Waveform Transmissions (Volume One)
Various - Wave Forum
Various - The Wandering II Compilation
Refracted - Through The Spirit Realm
Various - Techno Explosion
Jiri.Ceiver - Head.Phon
Percentage Of Hip-Hop: 13%
Percentage Of Rock: 5%
Most “WTF?” Track: You cannot deny hearing Mo-Do will turn your head unlike any other tune here.
Moar! reviews means bigger playlists, and Moar! diversity! Well, not a whole lot – ain't no '70s stuff on here. Still, added a couple more '80s albums to the archives, which is always nice because I seriously lack material released that decade. It's those 'greatest hits' packages, see;always gumming up the accuracy of Year Tags.
Actually, another reason for getting more writing done is I've had less distractions this past month, the most significant of which is brushing off the ol' Hot Shots Golf 3 game again. Man, is that ever a time-warp of pop culture interests, what with playable characters such as the Aussie animal ranger, the Chinese martial artist, the mobsters, the John Daly clone, and all those Matrix clones. 2002 was weird. No music from that year in this playlist of ACE TRACKS, though.
MISSING ALBUMS:
Various - Waveform Transmissions (Volume One)
Various - Wave Forum
Various - The Wandering II Compilation
Refracted - Through The Spirit Realm
Various - Techno Explosion
Jiri.Ceiver - Head.Phon
Percentage Of Hip-Hop: 13%
Percentage Of Rock: 5%
Most “WTF?” Track: You cannot deny hearing Mo-Do will turn your head unlike any other tune here.
Moar! reviews means bigger playlists, and Moar! diversity! Well, not a whole lot – ain't no '70s stuff on here. Still, added a couple more '80s albums to the archives, which is always nice because I seriously lack material released that decade. It's those 'greatest hits' packages, see;always gumming up the accuracy of Year Tags.
Tuesday, July 25, 2017
Ice Cube - War & Peace Vol. 2 (The Peace Disc)
Priority Records: 1998
I feel the second volume of Ice Cube's War & Peace duo-album concept was better received than the first, as everyone finally accepted where Mr. Jackson was in his life. Sure, it'd be dope as all Hell if he came out with some fiery social commentary about The State Of The 'Hood, but after so much financial success, was he really the man for the task anymore? By the turn of the century, a lot of elder statesmen of rap were getting well paid, and couldn't realistically keep talking about 'ghetto shit' as a lived experience. Offer insight and commentary, sure, and perhaps provide helpful guidance to the young bucks coming up (but don't y'all think you can dethrone the G.O.A.T.s without a fight, no sir). If you wanted the serious conscious stuff though, there were other acts providing it, and Cube was more interested in maintaining a brand for himself than dropping heavy with the lyrical political.
Thus when he let it be known that The Peace Disc was going to be of a much lighter fare than anything he'd done in the past, folks were at least ready for it. Willing, that's another matter, many old Cube fans all but disowning the product sight-unheard, especially after the dismal reactions to The War Disc. On the other hand, It Was Good Day remained one of Cube's longest, endearing tunes, and he'd shown a somewhat friendlier side in his Friday movies. If anything, the aggro-gangsta posturing of The War Disc came off more disingenuous compared to club-ready singles like We Be Clubbin' and You Can Do It. Considering I heard the latter in even back-water 'clubs' of B.C. hinterland haunts, I'd say he succeeded in providing something fun.
And the bump-n-grind don't stop there, tracks like Can You Bounce? featuring a gnarly bassline, Gotta Be Insanity featuring the vintage P-funk, Waitin' Ta Hate featuring the vintage trunk-thump, and You Ain't Gotta Lie featuring Chris Rock dropping a bunch of hilarious brags. Elsewhere, Cube reunites with Dr. Dre and MC Ren for a little N.W.A. gangsta reflection, while hinting at a possible reunion (which they did do, but with Snoop Dogg filling in for the deceased Eazy-E). He also drops some knowledge on shady label businesses (Record Company Pimpin'), and offers an uplifting outlook for the youth with Krayzie Bone in Until We Rich. Plus a bunch of the usual gangsta crowing and hater grips scattered throughout, but who cares about those.
Frankly, beyond just being completely honest in its intents, what makes The Peace Disc better than The War Disc is the production. Vol. 1 somehow felt cheap and plastic as a lot of late '90s hip-hop does, but in Vol. 2, the beats bounce harder, the hooks land sharper, and the funk flows freer. Even the guest spots are of higher calibre (because who really gave a shit about Mr. Short Khop?). As a trifle hour of escapism then, War & Peace Vol. 2 succeeds, but that's all.
I feel the second volume of Ice Cube's War & Peace duo-album concept was better received than the first, as everyone finally accepted where Mr. Jackson was in his life. Sure, it'd be dope as all Hell if he came out with some fiery social commentary about The State Of The 'Hood, but after so much financial success, was he really the man for the task anymore? By the turn of the century, a lot of elder statesmen of rap were getting well paid, and couldn't realistically keep talking about 'ghetto shit' as a lived experience. Offer insight and commentary, sure, and perhaps provide helpful guidance to the young bucks coming up (but don't y'all think you can dethrone the G.O.A.T.s without a fight, no sir). If you wanted the serious conscious stuff though, there were other acts providing it, and Cube was more interested in maintaining a brand for himself than dropping heavy with the lyrical political.
Thus when he let it be known that The Peace Disc was going to be of a much lighter fare than anything he'd done in the past, folks were at least ready for it. Willing, that's another matter, many old Cube fans all but disowning the product sight-unheard, especially after the dismal reactions to The War Disc. On the other hand, It Was Good Day remained one of Cube's longest, endearing tunes, and he'd shown a somewhat friendlier side in his Friday movies. If anything, the aggro-gangsta posturing of The War Disc came off more disingenuous compared to club-ready singles like We Be Clubbin' and You Can Do It. Considering I heard the latter in even back-water 'clubs' of B.C. hinterland haunts, I'd say he succeeded in providing something fun.
And the bump-n-grind don't stop there, tracks like Can You Bounce? featuring a gnarly bassline, Gotta Be Insanity featuring the vintage P-funk, Waitin' Ta Hate featuring the vintage trunk-thump, and You Ain't Gotta Lie featuring Chris Rock dropping a bunch of hilarious brags. Elsewhere, Cube reunites with Dr. Dre and MC Ren for a little N.W.A. gangsta reflection, while hinting at a possible reunion (which they did do, but with Snoop Dogg filling in for the deceased Eazy-E). He also drops some knowledge on shady label businesses (Record Company Pimpin'), and offers an uplifting outlook for the youth with Krayzie Bone in Until We Rich. Plus a bunch of the usual gangsta crowing and hater grips scattered throughout, but who cares about those.
Frankly, beyond just being completely honest in its intents, what makes The Peace Disc better than The War Disc is the production. Vol. 1 somehow felt cheap and plastic as a lot of late '90s hip-hop does, but in Vol. 2, the beats bounce harder, the hooks land sharper, and the funk flows freer. Even the guest spots are of higher calibre (because who really gave a shit about Mr. Short Khop?). As a trifle hour of escapism then, War & Peace Vol. 2 succeeds, but that's all.
Sunday, July 23, 2017
Ice Cube - War & Peace Vol. 1 (The War Disc)
Priority Records: 1998
The first Ice Cube record many white metal fans bought, because they sure as Hell didn't know any better. Check it though, that scowling rapper guy, he's on the Family Values Tour, performing with nu-metal bands like Korn, Limp Bizkit, Orgy, and weird, angry Germans. They might have even recalled him from other stuff, like movies (Friday, Anaconda, that one about black youths in South Central), and something called Westside Connection where he sampled a Nine Inch Nails song. After pairing up with Korn though, folks well outside Ice-C's traditional scene were finally taking notice of his music output. And a good thing too, because by this point, many in hip-hop circles were writing Cube off as having lost the socially-conscious spitfire of his early work in lieu of lucrative movies and rock tours. War & Peace Vol. 1 all but cemented such notions.
Westside Connection did keep some embers glowing, proving Cube could still throw down lyrical beatdowns with the best of them. However, Common released a crushing dis' in The Bitch In Yoo, plus The Nation Of Islam forced various hip-hop groups to a peace summit so no more senseless deaths would arise from their beefs. It clearly sawed Cube's teeth off, changing focus to take on 'made-man' rap as the Don Mega. He's the king of his West Coast Mountain, yo', running these clubs and gangsta concerns, and like Hell he's gonna' relinquish that throne without a fight. Fine and all, such topics inspiring many rappers to be the best at their game. Trouble is, fewer hip-hop heads were buying it, seeing less of the 'hood narrator Ice Cube, and more O'Shea Jackson, business man and Hollywood actor. 'Don Mega' was just another mogul character, one that was quite played out by '98 in the hip-hop world (see: Puff Daddy, Master P, etc.), and definitely not one fans of older Cube cared to turn to for some social commentary. But hey, it's fun headbanging to crunchy guitars in Fuck Dying, amirite?
Another problem stems from production. There's the aforementioned rock-fusion, including Limos, Demos & Bimbos riffing on The Police's Behind My Camel I think (because sampling 'Sting' was cool). Much of The War Disc consists of Southern rap producers though, including N.O. Joe, E-A-Ski (notable for his work on early No Limit Records – Master P even cameos), and Bud'da, plus Cube on a few cuts himself. It's all got high-grade studio polish, but aside from a couple riffs and basslines, sounds like generic gangsta funk to my ears.
That all said, Cube does remain charismatic throughout, even when rapping about cliche topics. And when he does unleash some captivating narratives, such as the reflective Ghetto Vet, or nuttiness of Once Upon A Time In The Projects 2, it shows he could still tangle with hip-hop's best. Just a shame he so often settled for mediocrity here – good enough for all those metal kids checking him out for the first time, though.
The first Ice Cube record many white metal fans bought, because they sure as Hell didn't know any better. Check it though, that scowling rapper guy, he's on the Family Values Tour, performing with nu-metal bands like Korn, Limp Bizkit, Orgy, and weird, angry Germans. They might have even recalled him from other stuff, like movies (Friday, Anaconda, that one about black youths in South Central), and something called Westside Connection where he sampled a Nine Inch Nails song. After pairing up with Korn though, folks well outside Ice-C's traditional scene were finally taking notice of his music output. And a good thing too, because by this point, many in hip-hop circles were writing Cube off as having lost the socially-conscious spitfire of his early work in lieu of lucrative movies and rock tours. War & Peace Vol. 1 all but cemented such notions.
Westside Connection did keep some embers glowing, proving Cube could still throw down lyrical beatdowns with the best of them. However, Common released a crushing dis' in The Bitch In Yoo, plus The Nation Of Islam forced various hip-hop groups to a peace summit so no more senseless deaths would arise from their beefs. It clearly sawed Cube's teeth off, changing focus to take on 'made-man' rap as the Don Mega. He's the king of his West Coast Mountain, yo', running these clubs and gangsta concerns, and like Hell he's gonna' relinquish that throne without a fight. Fine and all, such topics inspiring many rappers to be the best at their game. Trouble is, fewer hip-hop heads were buying it, seeing less of the 'hood narrator Ice Cube, and more O'Shea Jackson, business man and Hollywood actor. 'Don Mega' was just another mogul character, one that was quite played out by '98 in the hip-hop world (see: Puff Daddy, Master P, etc.), and definitely not one fans of older Cube cared to turn to for some social commentary. But hey, it's fun headbanging to crunchy guitars in Fuck Dying, amirite?
Another problem stems from production. There's the aforementioned rock-fusion, including Limos, Demos & Bimbos riffing on The Police's Behind My Camel I think (because sampling 'Sting' was cool). Much of The War Disc consists of Southern rap producers though, including N.O. Joe, E-A-Ski (notable for his work on early No Limit Records – Master P even cameos), and Bud'da, plus Cube on a few cuts himself. It's all got high-grade studio polish, but aside from a couple riffs and basslines, sounds like generic gangsta funk to my ears.
That all said, Cube does remain charismatic throughout, even when rapping about cliche topics. And when he does unleash some captivating narratives, such as the reflective Ghetto Vet, or nuttiness of Once Upon A Time In The Projects 2, it shows he could still tangle with hip-hop's best. Just a shame he so often settled for mediocrity here – good enough for all those metal kids checking him out for the first time, though.
Tuesday, July 18, 2017
Wu-Tang Clan - The W
Loud Records: 2000
The first proper Wu-Tang Clan album I bought for myself, and not a bad one at that, but I can already hear the “tut-tut”ing from long time disciples. Why not get Enter 36 Chambers first, as you're supposed to do even if you're not a fan or the Wu-Tang Clan? Well, as the first Wu record I ever bought was The RZA Hits, it felt redundant springing for another record that had nearly half the same tracks on it (I was stupid for thinking that). Second, The W came out the following year I fell sway to the charms of hip-hop, so it was only logical I scoped that shit out post-haste, my honeymoon glow still preventing any sense of critical consideration.
The W has gone on to be one of the Clan's most difficult albums to talk about, in that it seems everyone has utterly conflicting feelings about it. They love that it's pared down to an easily digestible hour-long effort, yet surely the group had more to offer than just this? It's nifty hearing guest spots from other prominent rappers, but aren't they taking the limelight away from all the talent already within the group itself? All Clan members sound matured, sharp and on point, with even some of the weaker members finally coming into their own as lyricists, but have lost that spitting Hell-fire of their debut in the process. How great it is to hear the Wu over RZA beats for a full album (save a lone Mathematics cut), but only around half the tracks are actually memorable. Let's detail couple now!
Chamber Music: urgent strings with crackly samples. Careful (Click, Click): herky-jerky, sample-snapping, creepy woodwinds; definitely feels like you're in a claustrophobic gun-toting, warzone. Protect Ya Neck (The Jump Off): bouncy, loopy, with a great key-change mid-track, ruined by a lame U-God brag verse. Gravel Pit: even bouncier, a track totally aimed for the club, but at least RZA freely admits its intents, so it's a lot of fun (looks like they had fun playing cavemen in the video too).
Then there are weaker cuts, like the endlessly looping soul sample from Hollow Bones, and the plodding *thump-thump clap-clap* of One Blood Under W with Junior Reed. Ah well, the famed dancehall toaster gets a better track to close the album out on with the mournful Jah World. Speaking of guests, Snoop Dogg inexplicably appears with ODB in Conditioner with a bog-standard 'pimpz & hoes' verse. Okay, that's not accurate, the Dirt Dawg recording through a jail phone booth, hence the low-grade quality. I guess RZA realized there wasn't enough material there for a track, but Year 2000 Snoop's the last person up to the task of pinch-hitting for the Wu.
Okay, enough gripes. I do enjoy more than dislike stuff on The W, even if it comes off like much of the Clan's best material was now behind them. Then again, some of Method Man's lyrics in hidden track Clap have forever stuck with me. I don't know why.
The first proper Wu-Tang Clan album I bought for myself, and not a bad one at that, but I can already hear the “tut-tut”ing from long time disciples. Why not get Enter 36 Chambers first, as you're supposed to do even if you're not a fan or the Wu-Tang Clan? Well, as the first Wu record I ever bought was The RZA Hits, it felt redundant springing for another record that had nearly half the same tracks on it (I was stupid for thinking that). Second, The W came out the following year I fell sway to the charms of hip-hop, so it was only logical I scoped that shit out post-haste, my honeymoon glow still preventing any sense of critical consideration.
The W has gone on to be one of the Clan's most difficult albums to talk about, in that it seems everyone has utterly conflicting feelings about it. They love that it's pared down to an easily digestible hour-long effort, yet surely the group had more to offer than just this? It's nifty hearing guest spots from other prominent rappers, but aren't they taking the limelight away from all the talent already within the group itself? All Clan members sound matured, sharp and on point, with even some of the weaker members finally coming into their own as lyricists, but have lost that spitting Hell-fire of their debut in the process. How great it is to hear the Wu over RZA beats for a full album (save a lone Mathematics cut), but only around half the tracks are actually memorable. Let's detail couple now!
Chamber Music: urgent strings with crackly samples. Careful (Click, Click): herky-jerky, sample-snapping, creepy woodwinds; definitely feels like you're in a claustrophobic gun-toting, warzone. Protect Ya Neck (The Jump Off): bouncy, loopy, with a great key-change mid-track, ruined by a lame U-God brag verse. Gravel Pit: even bouncier, a track totally aimed for the club, but at least RZA freely admits its intents, so it's a lot of fun (looks like they had fun playing cavemen in the video too).
Then there are weaker cuts, like the endlessly looping soul sample from Hollow Bones, and the plodding *thump-thump clap-clap* of One Blood Under W with Junior Reed. Ah well, the famed dancehall toaster gets a better track to close the album out on with the mournful Jah World. Speaking of guests, Snoop Dogg inexplicably appears with ODB in Conditioner with a bog-standard 'pimpz & hoes' verse. Okay, that's not accurate, the Dirt Dawg recording through a jail phone booth, hence the low-grade quality. I guess RZA realized there wasn't enough material there for a track, but Year 2000 Snoop's the last person up to the task of pinch-hitting for the Wu.
Okay, enough gripes. I do enjoy more than dislike stuff on The W, even if it comes off like much of the Clan's best material was now behind them. Then again, some of Method Man's lyrics in hidden track Clap have forever stuck with me. I don't know why.
Tuesday, July 4, 2017
Gorillaz - Humanz (Proper Review)
Parlaphone: 2017
I wonder what comes first when Albarn and Hewlett reconvene for another Gorillaz saga: the music, or the concept. Like, I imagine ol' Damon would have a few demos kicking around, and ol' Jamie would have a few sketches laying about, but what's the process coming up with all the intriguing backstory for their multi-media creation. I mentioned in the Kayfabe Review of Humanz that Russel Hobbs, the Gorillaz drummer with a myriad of urban American influences and North Korean incarceration, was a dominating force in how the album turned out, but was that just the story Albarn and Hewlett concocted after the fact, or did they adapt the music to serve the narrative?
Another example: there's not much of 2-D/Albarn's singing voice on Humanz. That's because the Gorillaz cartoon front-man was lost on a Mexican beach, subsisting on rotting whale meat and coarse sand (it gets everywhere). Luckily, he eventually found his way back to the studio to offer his vocal talents, but in his absence, guest vocalists Murdoc and Russel rounded up (re: Albarn connected with) took over most of the singing duties. Was 2-D's story planned this way, or made up on the fly when Damon realized his voice was taking more of a backseat on Humanz. It's a fascinating conundrum, the Gorillaz process.
Much has been said about the musical drift from 'mutant pop' of older Gorillaz albums, instead going for more of a funk, house, and soul fusion. Can't deny it was a little off-putting for yours truly, having repeatedly consumed their previous works rather voraciously in anticipation of this one. Then again, when I first heard Plastic Beach, I was initially put off by it as well, sounding very little like Demon Days. And even Demon Days I put off for years, figuring it couldn't possibly match the dubby, erratic fun of the debut album. Yet I've replayed all those albums multiple times now, as I'm sure I will with Humanz. Albarn never gives us the same thing twice with Gorillaz, and while that can be frustrating for those hoping for retreads of Clint Eastwood or DARE or On Melancholy Hill, they clearly aren't paying attention to the project's expectation-dashing intentions.
Fortunately, as I already have an affinity for house beats, and can dig the funk and soul if its got that Motown or Chicago vibe going, I warmed to Humanz quite quickly. Saturnz Barz is just as catchy as any of the band's previous dub-fusion tracks of years past, it's nice hearing Jamie Principle in the slinky electro of Sex Murder Party, and who can resist the uplifting swing of Peven Everett's vocals in house jam Strobelite? Plus ending the album with pure jubilation collaboration of We Got The Power (Jarre! Jehnny! A Gallagher!!), whoo! Ending it with such a musical cliff-hanger does leave one expecting though, but fortunately there's a 2CD version with bonus tracks that carry the party on a little longer. Of course I sprung for it!
I wonder what comes first when Albarn and Hewlett reconvene for another Gorillaz saga: the music, or the concept. Like, I imagine ol' Damon would have a few demos kicking around, and ol' Jamie would have a few sketches laying about, but what's the process coming up with all the intriguing backstory for their multi-media creation. I mentioned in the Kayfabe Review of Humanz that Russel Hobbs, the Gorillaz drummer with a myriad of urban American influences and North Korean incarceration, was a dominating force in how the album turned out, but was that just the story Albarn and Hewlett concocted after the fact, or did they adapt the music to serve the narrative?
Another example: there's not much of 2-D/Albarn's singing voice on Humanz. That's because the Gorillaz cartoon front-man was lost on a Mexican beach, subsisting on rotting whale meat and coarse sand (it gets everywhere). Luckily, he eventually found his way back to the studio to offer his vocal talents, but in his absence, guest vocalists Murdoc and Russel rounded up (re: Albarn connected with) took over most of the singing duties. Was 2-D's story planned this way, or made up on the fly when Damon realized his voice was taking more of a backseat on Humanz. It's a fascinating conundrum, the Gorillaz process.
Much has been said about the musical drift from 'mutant pop' of older Gorillaz albums, instead going for more of a funk, house, and soul fusion. Can't deny it was a little off-putting for yours truly, having repeatedly consumed their previous works rather voraciously in anticipation of this one. Then again, when I first heard Plastic Beach, I was initially put off by it as well, sounding very little like Demon Days. And even Demon Days I put off for years, figuring it couldn't possibly match the dubby, erratic fun of the debut album. Yet I've replayed all those albums multiple times now, as I'm sure I will with Humanz. Albarn never gives us the same thing twice with Gorillaz, and while that can be frustrating for those hoping for retreads of Clint Eastwood or DARE or On Melancholy Hill, they clearly aren't paying attention to the project's expectation-dashing intentions.
Fortunately, as I already have an affinity for house beats, and can dig the funk and soul if its got that Motown or Chicago vibe going, I warmed to Humanz quite quickly. Saturnz Barz is just as catchy as any of the band's previous dub-fusion tracks of years past, it's nice hearing Jamie Principle in the slinky electro of Sex Murder Party, and who can resist the uplifting swing of Peven Everett's vocals in house jam Strobelite? Plus ending the album with pure jubilation collaboration of We Got The Power (Jarre! Jehnny! A Gallagher!!), whoo! Ending it with such a musical cliff-hanger does leave one expecting though, but fortunately there's a 2CD version with bonus tracks that carry the party on a little longer. Of course I sprung for it!
Labels:
2017,
album,
electro-pop,
funk,
Gorillaz,
hip-hop,
house,
Parlaphone,
soul
Gorillaz - Humanz (Kayfabe Review)
Parlaphone: 2017
This is a band that always flies too close the sun with each release, co-existing just long enough to make great music, then utterly flame out as tensions, strife, demons (figurative and literal), distractions, and ego get in the way. True, it's almost always the fault of Murdoc Niccals, but then again there wouldn't be Gorillaz without hisunholy deals vision – I mean, have you ever seen 2-D, Russel, or Noodles put out a proper solo album of their own? They may hate and resent his guts, but they cannot deny Murdoc provides them opportunities too.
But in this case, it seemed that Plastic Beach truly was destined to be their final work. Details are 'sketchy' over what happened at Point Nemo (because, haha, they're literally sketched in the Rhinestone Eyes video, hahaha!), but we finally do know where everyone disappeared to after the Boogieman's assault on the trash island, each involved on their own personal journeys of introspection, self-reflection, emancipation, and incarceration. This last one is most important, for we probably wouldn't have this Gorillaz album without it.
Murdoc could outrun pirates, gun-runners, and devils no problem, but one entity he could never escape is the record label, specifically EMI. They somehow tracked him down after his escape from Point Nemo, throwing him into a dungeon underneath Abbey Road studio, offering freedom on the condition he get back to making another contractually obligated Gorillaz album. That left him a pickle though, as all his former bandmates were missing elsewhere. Fortunately, resourceful sod that he is, Murdockidnapped aggressively invited a number of musicians to help make the album until he could find the other Gorillaz members (cyborg option outlawed in the UK?).
By chance, one of these musicians was guitarist Jeff Wootton, whom was letting a returning Russel crash on his couch. Seems Mr. Hobs had quite the experience after swimming all the way to Point Nemo, being mistaken not only for a whale, but also a North Korean kaiju, such that the isolationist nation captured him and put him on display. The experience helped him lose almost all the his mutated weight however, and upon being released and returning to London, heard word Murdoc was in the process of crafting another Gorillaz record. Mr. Hobs immediately joined him in studio to write and record for the album.
Humanz is thus filled with a fair bit of American-inspired funk, house, and soul. For sure there's other elements at work too, but for the most part it seems Russel's influence gave us the final result. About time, as he hasn't had much chance to share his muse throughout the Gorillaz discography since the first record. His time spent in a dictatorial country also apparently gave him a unique perspective in what sort of theme to approach the album with. For instance, what if Western society was also overrun by power-hungry lunatics at the highest levels of government, all the while allowing our culture to crumble around us. No way that could happen here though! Haha, ha.
This is a band that always flies too close the sun with each release, co-existing just long enough to make great music, then utterly flame out as tensions, strife, demons (figurative and literal), distractions, and ego get in the way. True, it's almost always the fault of Murdoc Niccals, but then again there wouldn't be Gorillaz without his
But in this case, it seemed that Plastic Beach truly was destined to be their final work. Details are 'sketchy' over what happened at Point Nemo (because, haha, they're literally sketched in the Rhinestone Eyes video, hahaha!), but we finally do know where everyone disappeared to after the Boogieman's assault on the trash island, each involved on their own personal journeys of introspection, self-reflection, emancipation, and incarceration. This last one is most important, for we probably wouldn't have this Gorillaz album without it.
Murdoc could outrun pirates, gun-runners, and devils no problem, but one entity he could never escape is the record label, specifically EMI. They somehow tracked him down after his escape from Point Nemo, throwing him into a dungeon underneath Abbey Road studio, offering freedom on the condition he get back to making another contractually obligated Gorillaz album. That left him a pickle though, as all his former bandmates were missing elsewhere. Fortunately, resourceful sod that he is, Murdoc
By chance, one of these musicians was guitarist Jeff Wootton, whom was letting a returning Russel crash on his couch. Seems Mr. Hobs had quite the experience after swimming all the way to Point Nemo, being mistaken not only for a whale, but also a North Korean kaiju, such that the isolationist nation captured him and put him on display. The experience helped him lose almost all the his mutated weight however, and upon being released and returning to London, heard word Murdoc was in the process of crafting another Gorillaz record. Mr. Hobs immediately joined him in studio to write and record for the album.
Humanz is thus filled with a fair bit of American-inspired funk, house, and soul. For sure there's other elements at work too, but for the most part it seems Russel's influence gave us the final result. About time, as he hasn't had much chance to share his muse throughout the Gorillaz discography since the first record. His time spent in a dictatorial country also apparently gave him a unique perspective in what sort of theme to approach the album with. For instance, what if Western society was also overrun by power-hungry lunatics at the highest levels of government, all the while allowing our culture to crumble around us. No way that could happen here though! Haha, ha.
Labels:
2017,
album,
electro-pop,
funk,
Gorillaz,
hip-hop,
house,
Parlaphone,
soul
Thursday, June 29, 2017
Gorillaz - G Sides
EMI Music Canada: 2002
By the point of Demon Days, springing for additional Gorillaz material seemed a no-brainer. Damon Albarn and Jamie Hewlett were so meticulous in expanding the brand's memorabilia and lore that you almost felt left out if you didn't check out every aspect of it. Nowadays, it's easy-pie doing so, most resources readily available online. It's also made doing interactive media all the more challenging for the duo, as among Gorillaz' many manifestos, one of them was to always use cutting edge technology in bringing their virtual band to the masses. It's gotten so technical that they've brought Murdoc and 2-D into our meat-space via remote imaging and cartoon holographic digital-quantum trickery, hackery, puppetry, wizardry, and 23@47~{ry. It's a far cry from their early, simple days, when having CD-ROM bonuses was about the peak of extra content.
I mean, that was one of the selling points of G Sides back when wasn't it? The two music videos included on the CD? It's honestly remarkable they fit two on here in the first place, most CDs only having room for one vid' at best. And while including Clint Eastwood would be rather redundant by 2002 (that got massive rotation on TV the year prior), no one had ever seen the Rock The House video yet. I don't know if that one ever aired, either debuting on G Sides, or as an unlockable on the original Gorillaz website. I barely even remember how that thing operated, only that it was considered state-of-the-art web design way back in 2001, with the original Gorillaz CD acting as a key to bonus features like cartoon shorts and the like. As I had a barely functional piece of junk PC at the time, I never got to explore 'Murdoc's Winnebago', and by the time I did get a computer that could, Gorillaz had already moved onto Phase 2, rendering the site obsolete. Oh well.
Obviously all that content is now easy to find online, meaning the only reason to get G Sides now is for the music. Okay, that was a reason back then too, though you must have been one hardcore fan to spring for this album – or just liked more of Mr. Hewlett's artwork. Gorillaz has evolved into a remarkable institution these days, but fifteen years hence, it was seen as little more than a novelty with a clever marketing campaign and some killer singles. That much of the debut album is filler, however, isn't brought up much anymore, seen as a bunch of genre fusion lacking a concise concept linking it altogether as later albums would. If you're down for more of such genre fusion, plus alternate versions of Clint Eastwood and 19-2000, then G Sides is a fun little bonus to the Phase 1 material. It's even got Noodle doing a couple solo outings with electro-pop Faust and trip-hop Left Hand Suzuki Method, singing in Japanese and all. It's as though she could make a whole Gorillaz album herself or something.
By the point of Demon Days, springing for additional Gorillaz material seemed a no-brainer. Damon Albarn and Jamie Hewlett were so meticulous in expanding the brand's memorabilia and lore that you almost felt left out if you didn't check out every aspect of it. Nowadays, it's easy-pie doing so, most resources readily available online. It's also made doing interactive media all the more challenging for the duo, as among Gorillaz' many manifestos, one of them was to always use cutting edge technology in bringing their virtual band to the masses. It's gotten so technical that they've brought Murdoc and 2-D into our meat-space via remote imaging and cartoon holographic digital-quantum trickery, hackery, puppetry, wizardry, and 23@47~{ry. It's a far cry from their early, simple days, when having CD-ROM bonuses was about the peak of extra content.
I mean, that was one of the selling points of G Sides back when wasn't it? The two music videos included on the CD? It's honestly remarkable they fit two on here in the first place, most CDs only having room for one vid' at best. And while including Clint Eastwood would be rather redundant by 2002 (that got massive rotation on TV the year prior), no one had ever seen the Rock The House video yet. I don't know if that one ever aired, either debuting on G Sides, or as an unlockable on the original Gorillaz website. I barely even remember how that thing operated, only that it was considered state-of-the-art web design way back in 2001, with the original Gorillaz CD acting as a key to bonus features like cartoon shorts and the like. As I had a barely functional piece of junk PC at the time, I never got to explore 'Murdoc's Winnebago', and by the time I did get a computer that could, Gorillaz had already moved onto Phase 2, rendering the site obsolete. Oh well.
Obviously all that content is now easy to find online, meaning the only reason to get G Sides now is for the music. Okay, that was a reason back then too, though you must have been one hardcore fan to spring for this album – or just liked more of Mr. Hewlett's artwork. Gorillaz has evolved into a remarkable institution these days, but fifteen years hence, it was seen as little more than a novelty with a clever marketing campaign and some killer singles. That much of the debut album is filler, however, isn't brought up much anymore, seen as a bunch of genre fusion lacking a concise concept linking it altogether as later albums would. If you're down for more of such genre fusion, plus alternate versions of Clint Eastwood and 19-2000, then G Sides is a fun little bonus to the Phase 1 material. It's even got Noodle doing a couple solo outings with electro-pop Faust and trip-hop Left Hand Suzuki Method, singing in Japanese and all. It's as though she could make a whole Gorillaz album herself or something.
Monday, May 1, 2017
ACE TRACKS: April 2017
So I was planning on a move this past month, but things didn’t quite pan out as initially planned, so I’m staying put for the short-term future at least. Before I came to this conclusion though, I had to give my notice of leaving, which was straight forward enough, and the management company that handles my building were quick in getting my flat up on local rental sites and even showings within the first weekend. Whoa, better actually tidy the apartment up a bit!
Of course, it didn’t matter, since I realized my move wasn’t happening fairly quickly, so no need to worry about people poking about my living space while out at work (you never know who might knick that Pete Namlook tribute box set). I still managed to get a glimpse of what my pad was going for on the websites though, and my jaw nearly dropped, the price 35% above my current rent! Dayum, I knew they were gonna’ renovate with floorboards and all, but that’s quite the ridiculous hike for what I currently have. Vancouver affordability continues to be bonkers.
One benefit of postponing a move, however, is all that money you’d been saving in anticipation? Well, now you’re flush with it, anxious to spend a little extra dough. And since I didn’t really have plans to vacation anywhere at this point (because move), I went and splurged on MOAR CDs! Felt some necessary classics from back in the day were missing for too long, plus indulged in a few of those annoying ‘limited run’ labels while I had the chance. Also, I felt it's about time I tackle another round of “[DJ Mix Series] On A Budget.” Which one will it be? You’ll have to wait until I get past the ‘V’s to find out. Don’t worry, that letter’s a relative speed-bump compared to everything else. Anyhow, here are the ACE TRACKS for the month of April, 2017.
Full track list here.
MISSING ALBUMS:
The Future Sound Of London - Environment Six & 6.5
S.E.T.I. - The Guide Lockstars of Astro Myrmex
Percentage Of Hip-Hop: 18%
Percentage Of Rock: 0%
Most “WTF?” Track: Gost - Reign In Hell (for ending so abruptly after a kick-ass start – sorry, the superior Dance With The Dead Remix isn’t on Spotify)
So there’s a lot of Czarface in this playlist. In fact, at current, all the Czarface, save maybe the odd tune floating about the internet ether that never made the cut on their albums. These things happen when you buy up an artist’s entire discography, though I can’t remember the last time I ever did that. ‘Tis difficult to do, especially if said artist has a long history. Was handy having Czarface being such a new project.
Aside from that, it’s all pretty standard stuff from one of my backlog treks. Ambient stuff, new Ultimae stuff, a smattering of ancient stuff, and a pinch of current stuff. A surprising lack of Cryo Chamber in this bundle though. Have I just not got much recent from the dark ambient label? Did Lustmord’s presence send them all scurry back to the shadows? Ah, no, there’s still another ‘half’ of this backlog to get through. Guess what’s hanging out down there!
Of course, it didn’t matter, since I realized my move wasn’t happening fairly quickly, so no need to worry about people poking about my living space while out at work (you never know who might knick that Pete Namlook tribute box set). I still managed to get a glimpse of what my pad was going for on the websites though, and my jaw nearly dropped, the price 35% above my current rent! Dayum, I knew they were gonna’ renovate with floorboards and all, but that’s quite the ridiculous hike for what I currently have. Vancouver affordability continues to be bonkers.
One benefit of postponing a move, however, is all that money you’d been saving in anticipation? Well, now you’re flush with it, anxious to spend a little extra dough. And since I didn’t really have plans to vacation anywhere at this point (because move), I went and splurged on MOAR CDs! Felt some necessary classics from back in the day were missing for too long, plus indulged in a few of those annoying ‘limited run’ labels while I had the chance. Also, I felt it's about time I tackle another round of “[DJ Mix Series] On A Budget.” Which one will it be? You’ll have to wait until I get past the ‘V’s to find out. Don’t worry, that letter’s a relative speed-bump compared to everything else. Anyhow, here are the ACE TRACKS for the month of April, 2017.
Full track list here.
MISSING ALBUMS:
The Future Sound Of London - Environment Six & 6.5
S.E.T.I. - The Guide Lockstars of Astro Myrmex
Percentage Of Hip-Hop: 18%
Percentage Of Rock: 0%
Most “WTF?” Track: Gost - Reign In Hell (for ending so abruptly after a kick-ass start – sorry, the superior Dance With The Dead Remix isn’t on Spotify)
So there’s a lot of Czarface in this playlist. In fact, at current, all the Czarface, save maybe the odd tune floating about the internet ether that never made the cut on their albums. These things happen when you buy up an artist’s entire discography, though I can’t remember the last time I ever did that. ‘Tis difficult to do, especially if said artist has a long history. Was handy having Czarface being such a new project.
Aside from that, it’s all pretty standard stuff from one of my backlog treks. Ambient stuff, new Ultimae stuff, a smattering of ancient stuff, and a pinch of current stuff. A surprising lack of Cryo Chamber in this bundle though. Have I just not got much recent from the dark ambient label? Did Lustmord’s presence send them all scurry back to the shadows? Ah, no, there’s still another ‘half’ of this backlog to get through. Guess what’s hanging out down there!
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2018
2019
2020
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2024
20xx Update
2562
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302 Acid
36
3FORCE
3six Recordings
4AD
6 x 6 Records
75 Ark
7L & Esoteric
808 State
A Perfect Circle
A Positive Life
A-Wave
a.r.t.less
A&M Records
A&R Records
Abandoned Communities
Abasi
Above and Beyond
abstract
AC/DC
Ace Trace
Ace Tracks Playlists
Ace Ventura
acid
acid house
acid jazz
acid techno
acoustic
Acroplane Recordings
Adam Beyer
Adam Ellis
Adam Freeland
Adham Shaikh
ADNY
Adrian Younge
adult contemporary
Advanced UFO Phantom
Aegri Somnia
AEI Music
Aes Dana
Afgin
Afrika Bambaataa
Afro-house
Afterhours
Agoria
Aidan Casserly
Aira Mitsuki
Airwaves
Ajana Records
Ajna
AK1200
Akshan
album
Aldrin
Alex Smoke
Alex Theory
Alice In Chains
Alien Community
Alien Project
Alio Die
All Saints
Alpha Wave Movement
Alphabet Zoo
Alphaxone
Altar Records
Alter Ego
alternative rock
Alucidnation
Ambelion
Ambidextrous
ambient
ambient dub
ambient techno
Ambient World
Ambientium
Ametsub
Amon Amarth
Amon Tobin
Amplexus
Anabolic Frolic
Anatolya
Andrea Parker
Andrew Heath
Androcell
Anduin
Andy C
anecdotes
Aniplex
Anjunabeats
Annibale Records
Anodize
Another Fine Day
Antares
Antendex
anthem house
Anthony Paul Kerby
Anthony Rother
Anti-Social Network
Anzio Green
Aoide
Aphasia Records
Aphex Twin
Apócrýphos
Apollo
Apollo 440
Apple Records
April Records
Aqua
Aquarellist
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Arcade
Architects Of Existence
Archives
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arena rock
Arista
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Arpatle
Artifact303
Arts & Crafts
ASC
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Asia
Asian Dub Foundation
Astral Engineering
Astral Projection
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AstroPilot
AstroPilot Music
Asura
Asylum Records
ATB
ATCO Records
Atlantic
Atlantis
atmospheric jungle
Atom Heart
Atomic Hooligan
Atomine Elektrine
Atrium Carceri
Attic
Attoya
Audiobulb Records
Audion
AuroraX
Autechre
Autistici
Autumn Of Communion
Auxilary
Auxiliary
Avantgarde
Avatar Records
Aveparthe
Avicii
Axiom
Axs
Axtone Records
Aythar
B.G. The Prince Of Rap
B°TONG
B12
Babygrande
Balance
Balanced Records
Balearic
ballad
Bålsam
Banco de Gaia
Bandulu
Barker & Baumecker
Battle Axe Records
battle-rap
Bauri
Beastie Boys
Beat Buzz Records
Beat Pharmacy
Beatbox Machinery
Beats & Pieces
bebop
Beck
Bedouin Soundclash
Bedrock Records
Beechwood Music
Benny Benassi
Bent
Benz Street US
Berlin-School
Beto Narme
Beyond
bhangra
Bicep
big beat
Big Boi
Big Dada Recordings
Big L
Big Life
Bill Hamel
Bill Laswell
Bill Leeb
BIlly Idol
BineMusic
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Biophon Records
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BKS
Black Hole Recordings
black metal
black rebel motorcycle club
Black Swan Sounds
Blanco Y Negro
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Blend
Blood Music
Blow Up
Blue Amazon
Blue Hour
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blues
blues rock
Bluescreen
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Botchit & Scarper
Bows
Boxed
Boys Noize
Boysnoize Records
BPitch Control
braindance
Brandt Brauer Frick
Brasil & The Gallowbrothers Band
breakbeats
breakcore
breaks
Brian Eno
Brian Wilson
Brick Records
Britpop
Brodinski
broken beat
Brooklyn Music Ltd
Bryan Adams
BT
Bubble
Buffalo Springfield
Bulk Recordings
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Burned CDs
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Buttertones
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Canibus
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Capitol Records
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Captured Digital
Carbon Based Lifeforms
Caribou
Carl B
Carl Craig
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Carol C
Caroline Records
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Carpe Sonum Records
Castroe
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chemical breaks
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chiptune
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Christmas
Christopher Lawrence
Chromeo
Chronos
Chrysalis
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cinematic soundscapes
Circle of Pines
Circular
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Cirrus
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City Of Angels
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Claptone
classic house
classic rock
classical
Claude Young
Clear Label Records
Clementz
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Cloud 9
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Club Cutz
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coldwave
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comedy
Compilation
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Conjure One
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conscious
Control Music
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Cooking Vinyl
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Cosmos Studios
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country rock
Covert Operations Recordings
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Craig Richards
Crazy Horse
Cream
Creamfields
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Crockett's Theme
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Crossing Mind
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crunk
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Cryobiosis
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Cube Guys
Culture Beat
Curb Records
Current
Curve
cut'n'paste
CYAN
Cyan Music
Cyber Productions
CyberOctave
Cyclic Law
Cygna
Cymphonica
Cypher 7
Cypress Hill
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Czarface
D York
D-Bridge
D-Fuse
D-Topia Entertainment
Daar
Dacru Records
Daddy G
Daft Punk
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Dan The Automator
Dance 2 Trance
Dance Pool
Dance With The Dead
dancehall
Daniel Heatcliff
Daniel Lentz
Daniel Pemberton
Daniel Wanrooy
Danny Howells
Danny Tenaglia
Dao Da Noize
Daphni
dark ambient
dark disco
dark psy
darkcore
darkside
darkstep
darksynth
darkwave
Darla Records
Darren Emerson
Darren McClure
Darren Nye
DAT Records
Databloem
dataObscura
David Alvarado
David Bickley
David Bridie
David Cordero
David Guetta
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DDR
De-tuned
Dead Coast
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Deadmau5
Death Grips
death metal
Death Row Records
Decimal
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Deejay Goldfinger
Deep Dish
Deep Forest
deep house
Deeply Rooted House
Deepwater Black
Deetron
Def Jam Recordings
Del Tha Funkee Homosapien
Delerium
Delsin
Deltron 3030
Denshi Danshi
Depeche Mode
Der Dritte Raum
Derek Carr
Detroit
Deviant Records
Devin Underwood
Devroka
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DFA
DGC
diametric.
Dido
Dieselboy
Different
DigiCube
Dillinja
Dirk Serries
dirty house
Dirty South
Dirty Vegas
Dis Fig
disco
Disco Gecko
disco house
Disco Pinata Records
disco punk
Discover (label)
Disky
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Distant System
Distinct'ive Breaks
Disturbance
Divination
DJ 3000
DJ Brian
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DJ Dan
DJ Dean
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DJ Heather
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DJ Merlin
DJ Mix
DJ Moe Sticky
DJ Observer
DJ Premier
DJ Q-Bert
DJ Shadow
DJ Soul Slinger
DJ-Kicks
Djen Ajakan Shean
DJMag
DMC
DMC Records
Doc Scott
Dogon
Dogwhistle
Dooflex
Doom Poets
Dopplereffekt
Dossier
Dousk
downtempo
dowtempo
Dr. Alban
Dr. Atmo
Dr. Dre
Dr. Hook & The Medicine Show
Dr. Octagon
Dragon Quest
dream house
dream pop
DreamWorks Records
Drexciya
drill 'n' bass
Dronarivm
drone
Dronny Darko
drum 'n' bass
DrumNBassArena
drumstep
drunken review
dub
Dub Pistols
dub techno
Dub Trees
Dubfire
dubstep
Dubtribe Sound System
DuMonde
Dune
Dusted
Dyadik
Dynatron
E-Mantra
E-Z Rollers
Eardream Music
Earth
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Earthling
Eastcoast
Eastcost
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EastWest
Eastworld
Eat Static
EBM
Echodub
Ed Rush & Optical
Editions EG
EDM World Weekly News
Ektoplazm
Electric Universe
electro
Electro House
Electro Sun
electro-funk
electro-pop
electroclash
Electronic Dance Essentials
Electronic Music Guide
Electrovoya
Elektra
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em:t
EMC update
EMI
Emiliana Torrini
Eminem
Emmerichk
Emperor Norton
Empire
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Encym
Engine Recordings
Enigma
Enmarta
Ensiferum
Enya
EP
Epic
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EQ Recordings
Equal Stones
Erased Tapes Records
Eric Borgo
Erik Vee
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Escape
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Esoteric Reactive
Espacio Cielo
ethereal
Etic
Etnica
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Euphoria
euro dance
eurodance
eurotrance
Eurythmics
Eve Records
Everlast
Ewan Pearson
Exitab
experimental
Eye Q Records
Ezdanitoff
F Communications
Fabric
Facture
Fade Records
Faex Optim
Faint
Faithless
Falcon Reekon
Fallen
False Mirror
fanfic
Fantastisizer
Fantasy Enhancing
faru
Fatboy Slim
Fax +49-69/450464
Fear Factory
Fedde Le Grand
Fehrplay
Feist
Fektive Records
Felix da Housecat
Fennesz
Ferry Corsten
FFRR
Fictivision
field recordings
Filter
Filteria
filters
Final Fantasy
Firescope
Five AM
Fjäder
Flashover Recordings
Floating Points
Flowers For Bodysnatchers
Flowjob
Fluke
Fluxion
Flying Lotus
folk
Fontana
footwork
Force Intel
Fountain Music
Four Tet
FPU
Frame
Frame Of Mind
Francis M Gri
Frank Bretschneider
Frankie Bones
Frankie Knuckles
Frans de Waard
Fred Everything
freestyle
French house
Front Line Assembly
Frou Frou
fsoldigital.com
Fugees
full-on
Fun Factory
Function
funk
future garage
Future Sound Of London
Futuregrapher
futurepop
g-funk
G-Prod
gabber
Gabriel Le Mar
Gaither Music Group
Galaktlan
Galati
Gang Starr
gangsta
garage
Gareth Davis
Gary Martin
Gas
Gasoline Alley Records
Gee Street
Geffen Records
Gel-Sol
Genesis
Geometry Combat
George Issakidis
Gerald Donald
Get Physical Music
ghetto
Ghostface Killah
Ghostly International
Glacial Movements Records
glam
Gliese 581C
glitch
Glitch Hop
Global Communication
Global Underground
Globular
goa trance
Goasia
God Body Disconnect
God's Groove
Gorillaz
gospel
Gost
goth
Grammy Awards
Gravediggaz
Green Bay Wax
Green Day
Grey Area
Greytone
Gridlock
grime
Groove Armada
Groove Corporation
Grooverider
grunge
Guru
Gustaf Hidlebrand
Gusto Records
GZA
H:U:M
H2O Records
Haddaway
Halgrath
happy hardcore
hard house
hard rock
hard techno
hard trance
hardcore
Hardfloor
Hardly Art
hardstyle
Harlequins Enigma
Harmless
Harmonic 33
Harmonic Resonance Recordings
Harold Budd
Harthouse
Harthouse Mannheim
Hawtin
Headphone
Hearts Of Space
Hed Kandi
Hefty Records
Helen Marnie
Hell
Hercules And Love Affair
Hernán Cattáneo
Herne
Hexstatic
Hi-Bias Records
Hic Sunt Leones
Hide And Sequence
Hiero Emperium
Hieroglyphics
High Contrast
High Note Records
Higher Ground
Higher Intelligence Agency
Hilyard
hip-hop
hip-house
hipno
Hollywood Burns
Home Normal
Honest Jon's Records
Hooj Choons
Hope Records
horrorcore
Hospital Records
Hot Chip
Hotflush Recordings
house
Howie B
Huey Lewis & The News
Human Blue
Humanoid
Hybrid
Hybrid Leisureland
Hymen Records
Hyperdub
Hypertrophy
Hypnotic
Hypnoxock
I Awake
I-Cube
i! Records
I.F.
I.F.O.R.
I.R.S. Records
Iboga Records
Icarus Music
Ice Cube
Ice H2o Records
ICE MC
IDM
Iempamo
Ignis Fatum
Igorrr
Ikjoyce
illbient
ILUITEQ
Imogen Heap
Imperial Dancefloor
Imploded View
In Charge
In Trance We Trust
Incoming
Incubus
Indica Records
indie rock
Indisc
Industrial
Infastructure New York
Infected Mushroom
Infinite Guitar
influence records
Infonet
Inhmost
Ink Midget
Inner Ocean Records
Innovative Leisure Records
Insane Clown Posse
Inspectah Deck
Instinct Ambient
Instra-Mental
Intellitronic Bubble
Inter-Modo
Interchill Records
Internal
International Deejays Gigolo
Interscope Records
Intimate Productions
Intuition Recordings
ISBA Music Entertainment
Ishkur
Ishq
Island Def Jam Music Group
Island Records
Islands Of Light
Italians Do It Better
italo disco
italo house
Item Caligo
J-pop
Jack Moss
Jackpot
Jacob Newman
Jafu
Jake Stephenson
Jam and Spoon
Jam El Mar
James Blake
James Holden
James Horner
James Lavelle
James Murray
James Zabiela
Jamie Jones
Jamie Myerson
Jamie Principle
Jamiroquai
Javelin Ltd.
Jay Haze
Jay Tripwire
Jaydee
jazz
jazz dance
jazzdance
jazzstep
Jean-Michel Jarre
Jefferson Airplane
Jerry Goldsmith
Jesper Dahlbäck
Jessy Lanza
Jimmy Van M
Jiri.Ceiver
Jive
Jive Electro
Jliat
Jlin
JMJ
Joel Mull
Joey Beltram
John '00' Fleming
John Acquaviva
John Beltran
John Digweed
John Graham
John Kelly
John O'Callaghan
John Oswald
John Shima
Johnny Cash
Johnny Jewel
Jon Hester
Jonny L
Jori Hulkkonen
Joris Voorn
Jørn Stenzel
Josh Christie
Josh Wink
Journeys By DJ™ LLC
Joyful Noise Recordings
Juan Atkins
juke
Jump Cut
jump up
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