Def Jam Recordings: 1986/1996
A landmark album of sorts, it proved you could trick white frat boys into liking that ‘black’ ‘rap’ ‘music’, provided it was bundled with as cliché a cock-rock anthem as you could make in the ‘80s. I think that was the point, Fight For Your Right an intentional parody of said culture, but of course the meat-headed jocks of the world wouldn’t get it. In fact, ask the Beastie Boys about their inspiration in creating Licensed To Ill, and they'll claim the whole album is one big joke. It's certainly goofy, I'll give it that, but for a collection of bratty hip-hop fronted by three white teenagers, it's held up remarkably well.
Does it have the stunning production later Beastie LPs hold? No, the technology just wasn't there in the mid-'80s, much less for a start-up label being run by some former punk guy who'd seemingly lucked out in signing future stars like LL Cool J and... okay, so only LL and the Beasties were the rising stars in Def Jam's early years; Slayer, too. Point is the bearded one Rubin didn't have much to work with other than bare-bones 808 rhythms, oodles of rock records to pilfer hooks and samples for, and a knack for a hook that complemented the Beastie Boys' back-and-forth raps. Already a successful formula for Run DMC, Licensed To Ill took the 'rock-n-hop' template to commercial heights never before seen, almost exclusively thanks to having a hit single that had nothing to do with hip-hop. Fortunately, The New Style, She’s Crafty, Rhymin & Stealin, and No Sleep Till Brooklyn prove it was a formula that could be milked more than once.
Even then, ol’ Rick and the Boys throw in a few clever tracks so Mr. 808 doesn’t get tiresome. Posse In Effect has a fun electro-snare splash going on, Paul Revere craftily loops its drum breaks in reverse, honking horns form the hook in Brass Monkey (that funky monkey junkie!), and pitched-up marching bells get lodged in your noggin’ after hearing Girls. Good stuff, given the limited sonics on display, and that’s not even getting into all the turntable scratches and cut-up samples throughout the album (most prominent though, in Time To Get Ill).
Then there’s the Boys themselves, showing mad skills on the mics- well, no, not really. We’re a long ways away from any sort of lyrical genius on Licensed To Ill, most songs consisting of shouting, call-and-response, and punk ‘singing’. Hey, it’s what MCA, Mike D, and King Ad-Rock had a prior background in, Rubin convincing them to also adopt raps into their arsenal. Though their punch lines are often witty (I always get a kick out of Ad-Rock’s lyrics in Girls), it’s still juvenile humour, a long ways away from the maturity found in their following albums.
For that reason, I can’t take Licensed To Ill seriously, but then neither did the Beastie Boys. Perhaps that’s how it’s never lost its charm, no matter how old I’ve grown.
Tuesday, January 14, 2014
Monday, January 13, 2014
Aes Dana - Leylines
Ultimae Records: 2009
Vincent Villuis has put together one of the best ambient and downtempo labels I've come across, and thus I have a great amount of respect for him; yet I struggle to get into his Aes Dana material. It’s not a matter of quality, as his music checks off all the things I enjoy of this genre (lush soundscapes, clever instrumentation, captivating atmosphere, the Ultimae Mixdown™). Unfortunately, Mr. Villuis has done such an impeccable job of gathering talent to Ultimae, he’s often overshadowed by them. Solar Fields, Asura, Carbon Based Lifeforms, holy cow, what a roster! Even his collaborative work with Solar Fields as H.U.V.A. Network is beyond stellar.
So why the problem with Aes Dana? I suppose it boils down to the minimalistic nature of his music. Villuis doesn’t often evoke the same uplifting emotional response his label chums do, perhaps a result of his industrial background. While not cold or uninviting as most industrialists go, there is a noticeable trend of it throughout the Aes Dana project, a nod to the dark ambient tone that scene embraces.
I haven’t heard every album under this banner (dang it, Ultimae, we need another round of re-issues), so I don’t know whether Leylines is the darkest Aes Dana album. Damn though, for an Ultimae LP, it’s dark. Oxyd oozes sinister strings and glitchy percussion as a thudding heart beats in the background, all of which complimented with gentle, disconcerting bells. Heights features disembodied voices and haunting orchestral arrangements, as though echoing off cathedral halls. And Signs is about as dark and ethereal as dark ambient gets. Even the uptempo cut Lysistrata has trademarks of industrial, utilizing a bassline that wouldn’t sound out of place on an EBM record. If Delerium had continued making music of this sort rather than seeking the bankable New Age market instead, I’ve little doubt they’d be producing what’s found on Leylines.
On the other hand, a number of Ultimae tropes do crop up. Tracks like Bam, Blossom, and Inter check off many requisite psy-dub sounds amongst the droning synths. Meanwhile, the whole middle section, including Lysistrata, is made up of that distinct slow-trance style the label practically made their staple, often coupled with moody synths and world-beat effects. Hey, I love this stuff, but I won’t deny it all sounding similar in bunches, a subtle, sonic soup one can easily pass by without much care. If you’ve heard enough Ultimae, you’ll recognize many of the sounds and arrangements Villuis creates here. And as he does prefer the minimalistic route in his music, the lack of strong melodic hooks leaves Leylines lagging behind the label’s best albums.
Not the highest recommendation for Aes Dana’s fourth, then, though only if you’ve yet to take the Ultimae plunge (I say again, what on Earth are you waiting for!?). Leylines is an enjoyable album on its own merits, a suitable musical companion for introspective times and places. A necessary addition to one’s chill-out collection, however, it is not.
Vincent Villuis has put together one of the best ambient and downtempo labels I've come across, and thus I have a great amount of respect for him; yet I struggle to get into his Aes Dana material. It’s not a matter of quality, as his music checks off all the things I enjoy of this genre (lush soundscapes, clever instrumentation, captivating atmosphere, the Ultimae Mixdown™). Unfortunately, Mr. Villuis has done such an impeccable job of gathering talent to Ultimae, he’s often overshadowed by them. Solar Fields, Asura, Carbon Based Lifeforms, holy cow, what a roster! Even his collaborative work with Solar Fields as H.U.V.A. Network is beyond stellar.
So why the problem with Aes Dana? I suppose it boils down to the minimalistic nature of his music. Villuis doesn’t often evoke the same uplifting emotional response his label chums do, perhaps a result of his industrial background. While not cold or uninviting as most industrialists go, there is a noticeable trend of it throughout the Aes Dana project, a nod to the dark ambient tone that scene embraces.
I haven’t heard every album under this banner (dang it, Ultimae, we need another round of re-issues), so I don’t know whether Leylines is the darkest Aes Dana album. Damn though, for an Ultimae LP, it’s dark. Oxyd oozes sinister strings and glitchy percussion as a thudding heart beats in the background, all of which complimented with gentle, disconcerting bells. Heights features disembodied voices and haunting orchestral arrangements, as though echoing off cathedral halls. And Signs is about as dark and ethereal as dark ambient gets. Even the uptempo cut Lysistrata has trademarks of industrial, utilizing a bassline that wouldn’t sound out of place on an EBM record. If Delerium had continued making music of this sort rather than seeking the bankable New Age market instead, I’ve little doubt they’d be producing what’s found on Leylines.
On the other hand, a number of Ultimae tropes do crop up. Tracks like Bam, Blossom, and Inter check off many requisite psy-dub sounds amongst the droning synths. Meanwhile, the whole middle section, including Lysistrata, is made up of that distinct slow-trance style the label practically made their staple, often coupled with moody synths and world-beat effects. Hey, I love this stuff, but I won’t deny it all sounding similar in bunches, a subtle, sonic soup one can easily pass by without much care. If you’ve heard enough Ultimae, you’ll recognize many of the sounds and arrangements Villuis creates here. And as he does prefer the minimalistic route in his music, the lack of strong melodic hooks leaves Leylines lagging behind the label’s best albums.
Not the highest recommendation for Aes Dana’s fourth, then, though only if you’ve yet to take the Ultimae plunge (I say again, what on Earth are you waiting for!?). Leylines is an enjoyable album on its own merits, a suitable musical companion for introspective times and places. A necessary addition to one’s chill-out collection, however, it is not.
Sunday, January 12, 2014
Raekwon - The Lex Diamond Story
Universal Records: 2003
Only Built For Cuban Linx is a classic, of that there's no debate; Part 2, released in 2009, was heralded as the follow-up everyone hoped of Raekwon. Unfortunately, no one knew whether we'd get such a sequel, so fans of Mr. Todd's music made do with what was sporadically offered instead. When it came out, Raekwon's third was received warmly enough, if not as a return to form then at least a decent effort. That perception's somewhat changed though in recent years. Unlike other 2000s LPs from the Wu-Tang, The Lex Diamond Story seems to be receding further from the collective hip-hop memory.
As an assortment of 2003 eastcoast criminology rap, Lex Diamond suffices. There aren't many surprises on the production front, though the tone does frequently jump from track to track – guess that's the price one pays for no longer having RZA providing all the beats. Instead, names like Brutal Bill, Andy C (no, not that Andy C), Crummie Beats, Zephla, Hangman 3, Ez Elpee, and Mizza handle the decks. Um, I don't know any of these names – I think I heard of Crummie Beats somewhere, but Lord Discogs lists Lex Diamond as his (their?) only entry, so I may just be blowing hipster smoke. Whatever, everyone involved (and nearly every track has a different producer credit) pretty much work with cinematic or jazz-n-soul loops and samples that'd been an eastcoast staple for over a decade by that point. Again, fine for the tone Rae' wants for this album (street raps by his street gangsta persona), but nothing particularly innovative for that year.
In fact, the few tracks that do break mode stand out from the rest for that very reason. That doesn't mean they're good tunes though. Ice Cream, Pt. 2 seems like a bad idea on paper – don't mess with a classic, right? - but DJ Khalid (who's done work for Dr. Dre's Aftermath print) provides a charming, silly cut for Rae', Method Man, and Cappadonna to once again use tasty frozen treats as pick up lines. Mike “Punch” Harper, on the other hand, creates a synth-heavy club jam on Wyld In Da Club, also featuring Raekwon's then-new pet project Ice Water Inc. (what happened to American Cream Team?). It sounds like a total trend-jump and in both cases, I wonder how either of them relates to a story about Lex Diamond's crime days.
And really, that's where this album suffers and quite possibly will continue to be relegated to forgotten solo-Wu joints. Say what you want about Immobilarity, but like both Cuban Linx, it maintains its theme for most of its running time – it feels like you're listening to proper long player. The Lex Diamond Story doesn't, often jumping from a Lex-related story to something totally unrelated. The final track - Once Upon A Time with somber pianos and singing from Tekitha (such a soulful voice) – is an admirable effort to tie everything together, but it's not enough.
Only Built For Cuban Linx is a classic, of that there's no debate; Part 2, released in 2009, was heralded as the follow-up everyone hoped of Raekwon. Unfortunately, no one knew whether we'd get such a sequel, so fans of Mr. Todd's music made do with what was sporadically offered instead. When it came out, Raekwon's third was received warmly enough, if not as a return to form then at least a decent effort. That perception's somewhat changed though in recent years. Unlike other 2000s LPs from the Wu-Tang, The Lex Diamond Story seems to be receding further from the collective hip-hop memory.
As an assortment of 2003 eastcoast criminology rap, Lex Diamond suffices. There aren't many surprises on the production front, though the tone does frequently jump from track to track – guess that's the price one pays for no longer having RZA providing all the beats. Instead, names like Brutal Bill, Andy C (no, not that Andy C), Crummie Beats, Zephla, Hangman 3, Ez Elpee, and Mizza handle the decks. Um, I don't know any of these names – I think I heard of Crummie Beats somewhere, but Lord Discogs lists Lex Diamond as his (their?) only entry, so I may just be blowing hipster smoke. Whatever, everyone involved (and nearly every track has a different producer credit) pretty much work with cinematic or jazz-n-soul loops and samples that'd been an eastcoast staple for over a decade by that point. Again, fine for the tone Rae' wants for this album (street raps by his street gangsta persona), but nothing particularly innovative for that year.
In fact, the few tracks that do break mode stand out from the rest for that very reason. That doesn't mean they're good tunes though. Ice Cream, Pt. 2 seems like a bad idea on paper – don't mess with a classic, right? - but DJ Khalid (who's done work for Dr. Dre's Aftermath print) provides a charming, silly cut for Rae', Method Man, and Cappadonna to once again use tasty frozen treats as pick up lines. Mike “Punch” Harper, on the other hand, creates a synth-heavy club jam on Wyld In Da Club, also featuring Raekwon's then-new pet project Ice Water Inc. (what happened to American Cream Team?). It sounds like a total trend-jump and in both cases, I wonder how either of them relates to a story about Lex Diamond's crime days.
And really, that's where this album suffers and quite possibly will continue to be relegated to forgotten solo-Wu joints. Say what you want about Immobilarity, but like both Cuban Linx, it maintains its theme for most of its running time – it feels like you're listening to proper long player. The Lex Diamond Story doesn't, often jumping from a Lex-related story to something totally unrelated. The final track - Once Upon A Time with somber pianos and singing from Tekitha (such a soulful voice) – is an admirable effort to tie everything together, but it's not enough.
Labels:
2003,
album,
gangsta,
hip-hop,
Raekwon,
Universal Music,
Wu-Tang Clan
Friday, January 10, 2014
King Cannibal - Let The Night Roar (2014 Update)
Ninja Tune: 2009
(Click here to read my original TranceCritic review.)
It took me some time in finding dubstep I could get behind. There was the dancehall influenced stuff, sure, and also the material Burial put out that was retroactively called ‘post-dubstep’ or ‘future-garage’ or whatever. Yet something straight-forward with the signature half-step beat and wobble basslines? Dear Lord, no! Too much of it struck me as gimmicky nonsense (even before brostep ever got popular), and while I’ll grant my general exposure to it during the late ‘00s wasn’t the best (for the love of God, stop playing those same Benga and Coki tracks over and over), there wasn’t much incentive for me to dig further.
Then I heard King Cannibal’s Flower Of Flesh And Blood. It wasn’t one of those “OMG, EVERYTHING ABOUT THIS GENRE/MUSICIAN IS THE GREATEST THING EVER!” moments – and yes, I have had tons of those over the years. Heck, it wasn’t even one of those “Ah, now I ‘get’ dubstep” moments. I got dubstep quite early on, as it’s a very simple form of music to get in the first place. What this track did, however, was prove to yours truly that dubstep could, in fact, not only be good, but really damn good!
Yeah, yeah, the Hyperdub print kinda-sorta already did that, but I’m talking about the visceral thrills all the bro-steppers were going off on about. Flower Of Flesh And Blood has the same cavernous snare hits, the growling mid-range basslines (though rather similar to jungle tech-step), and an aim squarely at massive crowds. It’s also properly dark and nasty, not like all those try-hard attempts the likes of Excision and Datsik were offering – like the difference between Slayer and …anyone trying to be Slayer.
Maybe it helped that King Cannibal’s debut album wasn’t strictly a dubstep affair, though definitely owing much to the UK bass scene. With emphasis on the grimier aspects of the music than cheap thrills, Let The Night Roar has held up remarkably well while so much other dubstep of the time remains stuck in that era. Good ol’ Ninja Tune, they sure know how to pick ‘em, and if you missed out on this album the first time around, it wouldn’t hurt for you to give it a second chance. Unless, of course, you figure Borgore the height of dubstep sophistication.
And what of Le Cannibale De Roi? He released a Ninja Tune tribute mix the following year, titled The Way Of The Ninja. It features two-hundred fifty tracks from the label within seventy-four minutes of madness. The… fuck…!!? (!) I’m tempted to scope that out, for sure. As for Mr. Dylan Richards, his output dried up following Let The Night Roar. The… double-fuck…!!? (!!) What happened there? Did his Ninja Tune deal end? Is Lord Discogs being dishonest with me? Apparently he released an album called Kill The Lights as House Of Black Lanterns last year on Houndstooth. From what I’ve heard of it, it’s… different, I’ll give it that.
(Click here to read my original TranceCritic review.)
It took me some time in finding dubstep I could get behind. There was the dancehall influenced stuff, sure, and also the material Burial put out that was retroactively called ‘post-dubstep’ or ‘future-garage’ or whatever. Yet something straight-forward with the signature half-step beat and wobble basslines? Dear Lord, no! Too much of it struck me as gimmicky nonsense (even before brostep ever got popular), and while I’ll grant my general exposure to it during the late ‘00s wasn’t the best (for the love of God, stop playing those same Benga and Coki tracks over and over), there wasn’t much incentive for me to dig further.
Then I heard King Cannibal’s Flower Of Flesh And Blood. It wasn’t one of those “OMG, EVERYTHING ABOUT THIS GENRE/MUSICIAN IS THE GREATEST THING EVER!” moments – and yes, I have had tons of those over the years. Heck, it wasn’t even one of those “Ah, now I ‘get’ dubstep” moments. I got dubstep quite early on, as it’s a very simple form of music to get in the first place. What this track did, however, was prove to yours truly that dubstep could, in fact, not only be good, but really damn good!
Yeah, yeah, the Hyperdub print kinda-sorta already did that, but I’m talking about the visceral thrills all the bro-steppers were going off on about. Flower Of Flesh And Blood has the same cavernous snare hits, the growling mid-range basslines (though rather similar to jungle tech-step), and an aim squarely at massive crowds. It’s also properly dark and nasty, not like all those try-hard attempts the likes of Excision and Datsik were offering – like the difference between Slayer and …anyone trying to be Slayer.
Maybe it helped that King Cannibal’s debut album wasn’t strictly a dubstep affair, though definitely owing much to the UK bass scene. With emphasis on the grimier aspects of the music than cheap thrills, Let The Night Roar has held up remarkably well while so much other dubstep of the time remains stuck in that era. Good ol’ Ninja Tune, they sure know how to pick ‘em, and if you missed out on this album the first time around, it wouldn’t hurt for you to give it a second chance. Unless, of course, you figure Borgore the height of dubstep sophistication.
And what of Le Cannibale De Roi? He released a Ninja Tune tribute mix the following year, titled The Way Of The Ninja. It features two-hundred fifty tracks from the label within seventy-four minutes of madness. The… fuck…!!? (!) I’m tempted to scope that out, for sure. As for Mr. Dylan Richards, his output dried up following Let The Night Roar. The… double-fuck…!!? (!!) What happened there? Did his Ninja Tune deal end? Is Lord Discogs being dishonest with me? Apparently he released an album called Kill The Lights as House Of Black Lanterns last year on Houndstooth. From what I’ve heard of it, it’s… different, I’ll give it that.
Labels:
2009,
20xx Update,
drone,
dubstep,
grime,
King Cannibal,
minimal,
Ninja Tune,
techno
Thursday, January 9, 2014
Dirty South - Let It Go (Original TC Review)
Axtone Records: 2007
(2014 Update:
A little dated, this review, as electro house lingered on for a few years longer before the Swedish House Mafia upped the anthem potential, spurring on the anthem house revival (no, really, stop calling it Big Room, you gits) we're going through now. In fact, I'm surprised I didn't notice it before, but Axwell's remix here has all the hallmarks of the genre, right down to the sort of synth-plucks Rollo used back in the early '90s. Come to think of it, all of their biggest hits - even before becoming the supergroup SHM - relied on that trope. Fuck me, no wonder they were so popular.
Dirty South, then? He finally got around to releasing a proper album this past year, though released on his own Phazed Records print, and only digital at that. What, no one bothered to sign him before? Wasn't he supposed to be a top-tier electro house producer and remixer? He still has some fans, I guess, but has gotten lost in the shuffle now that everyone is making anthem house of this sort.)
IN BRIEF: Here yesterday, gone tomorrow.
Dragan Roganovic broke out of Australian obscurity quite quickly into his career. At first mostly tied to fellow Aussies TV Rock through their collaborations, Dragan soon brought his Dirty South project to the forefront on the strength of a string of high-profile remixes. Before long, he was getting tapped to lend his touch to singles from Fedde le Grand, Roger Sanchez, Tiësto, Kaskade, and David Guetta. Why him in particular? If these names are anything to go by, Dragan is quite chummy with the mainstream side of dance music, and he now is often contacted to provide a Big Electro-House Remix for such folk. Truthfully, when compared to the endless numbers of fart-house producers out there, there isn’t anything terribly unique in Dirty South remixes, but for whatever reason he gets the big singles handed to him and has built a tidy career out of it.
In fact, given that his remix work grabs most of the attention, you’d be forgiven in forgetting Dragan makes his own tunes too. He hasn’t released many, and they certainly don’t command as high a profile, but they are out there. Late last year, upon signing to Swedish house man Axwell’s Axtone label, Dragan released his first solo work in over a year, a simple little number titled Let It Go.
And yes, it is rather simple as far as house music goes; which isn’t necessarily a bad thing, but in Dragan’s case, Let It Go is quite run-of-the-mill too. There’s a catchy vocal, a serviceable guitar lick, marginal nu-electro elements, and your requisite main-room build-and-drop structure; mainstream sell-out Bob Sinclar gets by on much the same. Really, the only thing rescuing this Dirty South single from Ministry Of Sound compilation fodder obscurity are the beats, which have decent bounce to them when compared to other typical offerings; unfortunately, it isn’t enough to make this a memorable slice of house music either.
For the remix, Axwell himself gets the duties, and offers little as a result. His go at Let It Go rests somewhere between the main-room structure of the original and rote execution of tech-house simplicity. The beats aren’t as interested, and his hooks are marginal even by Swedish House Mafia standards. Sure, it’ll get the job done on the dancefloor, but praising it for that is like praising a car for getting you to where you’re going: it’s the least that’s expected for a pass.
Frankly, had I gotten the chance to review this back when it first came out, Let It Go would have seemed decent, if not enduring (who’d even be able to recall it a year later, I wonder?). As we move deeper into this year of 2008, however, it just seems tired. A resurgent classic house revival has been upstaging all this electro-house stuff with cool class, funky fun, and soulful vitality, and I can’t help but suspect the trendy nu-electro material Dirty South produces will fall out of favor by year’s end. One can only hope.
(2014 Update:
A little dated, this review, as electro house lingered on for a few years longer before the Swedish House Mafia upped the anthem potential, spurring on the anthem house revival (no, really, stop calling it Big Room, you gits) we're going through now. In fact, I'm surprised I didn't notice it before, but Axwell's remix here has all the hallmarks of the genre, right down to the sort of synth-plucks Rollo used back in the early '90s. Come to think of it, all of their biggest hits - even before becoming the supergroup SHM - relied on that trope. Fuck me, no wonder they were so popular.
Dirty South, then? He finally got around to releasing a proper album this past year, though released on his own Phazed Records print, and only digital at that. What, no one bothered to sign him before? Wasn't he supposed to be a top-tier electro house producer and remixer? He still has some fans, I guess, but has gotten lost in the shuffle now that everyone is making anthem house of this sort.)
IN BRIEF: Here yesterday, gone tomorrow.
Dragan Roganovic broke out of Australian obscurity quite quickly into his career. At first mostly tied to fellow Aussies TV Rock through their collaborations, Dragan soon brought his Dirty South project to the forefront on the strength of a string of high-profile remixes. Before long, he was getting tapped to lend his touch to singles from Fedde le Grand, Roger Sanchez, Tiësto, Kaskade, and David Guetta. Why him in particular? If these names are anything to go by, Dragan is quite chummy with the mainstream side of dance music, and he now is often contacted to provide a Big Electro-House Remix for such folk. Truthfully, when compared to the endless numbers of fart-house producers out there, there isn’t anything terribly unique in Dirty South remixes, but for whatever reason he gets the big singles handed to him and has built a tidy career out of it.
In fact, given that his remix work grabs most of the attention, you’d be forgiven in forgetting Dragan makes his own tunes too. He hasn’t released many, and they certainly don’t command as high a profile, but they are out there. Late last year, upon signing to Swedish house man Axwell’s Axtone label, Dragan released his first solo work in over a year, a simple little number titled Let It Go.
And yes, it is rather simple as far as house music goes; which isn’t necessarily a bad thing, but in Dragan’s case, Let It Go is quite run-of-the-mill too. There’s a catchy vocal, a serviceable guitar lick, marginal nu-electro elements, and your requisite main-room build-and-drop structure; mainstream sell-out Bob Sinclar gets by on much the same. Really, the only thing rescuing this Dirty South single from Ministry Of Sound compilation fodder obscurity are the beats, which have decent bounce to them when compared to other typical offerings; unfortunately, it isn’t enough to make this a memorable slice of house music either.
For the remix, Axwell himself gets the duties, and offers little as a result. His go at Let It Go rests somewhere between the main-room structure of the original and rote execution of tech-house simplicity. The beats aren’t as interested, and his hooks are marginal even by Swedish House Mafia standards. Sure, it’ll get the job done on the dancefloor, but praising it for that is like praising a car for getting you to where you’re going: it’s the least that’s expected for a pass.
Frankly, had I gotten the chance to review this back when it first came out, Let It Go would have seemed decent, if not enduring (who’d even be able to recall it a year later, I wonder?). As we move deeper into this year of 2008, however, it just seems tired. A resurgent classic house revival has been upstaging all this electro-house stuff with cool class, funky fun, and soulful vitality, and I can’t help but suspect the trendy nu-electro material Dirty South produces will fall out of favor by year’s end. One can only hope.
Wednesday, January 8, 2014
GZA/Genius - Legend Of The Liquid Sword
MCA Records: 2002
We're long past the age where most post-millennial Wu-Tang solo albums are met with disappointment. Now, articles crop up of looking back at potential overlooked gems, of which there were a few, let’s be honest. Everyone kept expecting the Clan members to continue their mid-‘90s brilliance, all the while bypassing several solid hip-hop albums in their own right. And poor Gary Grice, did he ever get passed by. Beneath The Surface generated some initial excitement, true, and his work with DJ Muggs on Grandmasters got briefly hyped as well, but his other two albums not so much.
Yet while Pro Tools has recently gained some level of respect, Legend Of The Liquid Swords remains one of GZA’s least talked about albums. For the love of me, I cannot understand why. Did it come out at the wrong time? I’ll grant 2002 was not a good year to be making a lyrically conscious album when the burgeoning hot raps consisted mostly of “WHO! WHAT! WHEN! WHERE!”, but surely anything The Genius had to say should have turned heads.
Oh, I’m sure it did, but as all things Wu related during those times, if it wasn’t on par with the ‘90s material, it just didn’t matter. Legend Of The Liquid Swords is damn good, offering about what you’d expect of an eastcoast lyrical showcase, but the beats are mostly bare with funk and soul loops, allowing GZA the room to tell his tales. Tired in the early 2000s? Perhaps, what with Neptunes and Timbaland taking hip-hop down strange new roads (to say nothing of that Kanye kid Roc-A-Fella had behind the decks). DJ Premier and The RZA may have set a standard the decade prior, but the kids wanted new shit. Unfortunately, shit is what they mostly got in the following years (hiya, Soulja Boy).
Gladly, what may have sounded dated in 2002 comes off vintage all these years later – oh hindsight bias, never will you do me wrong! I honestly don’t think regular Wu-fans cared anyway, as when it comes to a GZA album, it’s always about the lyrics. And I can’t find Mr. Grice at fault on anything. Whether waxing nostalgic about the old days (Auto Bio, Fam that also features RZA and Masta Killa, and Sparring Minds with Inspectah Deck), detailing shady record business activities (Did You Say That, Knock Knock), or displaying wizardry with his words (everything!), GZA offers plenty for that intellectual side of your brain. Even the ‘fun’ track Fame is genius, using celebrity names to tell his story. Sample: “Larry’s Bird flew outta Nicholas’ Cage; Joe Tex messages from Satchel’s Paige; Betty Wrights letters with ink from Sean’s Penn; Infinite bars, you couldn’t tell where the song end; Glenn Close enough to quickly duck the tapes; Richard Gere ripped while he was climbin’ Bill Gates.”
Legend Of The Liquid Swords wouldn’t do much for the Wu-Tang Legacy, but it does sit nicely as a companion piece to GZA’s body of work.
We're long past the age where most post-millennial Wu-Tang solo albums are met with disappointment. Now, articles crop up of looking back at potential overlooked gems, of which there were a few, let’s be honest. Everyone kept expecting the Clan members to continue their mid-‘90s brilliance, all the while bypassing several solid hip-hop albums in their own right. And poor Gary Grice, did he ever get passed by. Beneath The Surface generated some initial excitement, true, and his work with DJ Muggs on Grandmasters got briefly hyped as well, but his other two albums not so much.
Yet while Pro Tools has recently gained some level of respect, Legend Of The Liquid Swords remains one of GZA’s least talked about albums. For the love of me, I cannot understand why. Did it come out at the wrong time? I’ll grant 2002 was not a good year to be making a lyrically conscious album when the burgeoning hot raps consisted mostly of “WHO! WHAT! WHEN! WHERE!”, but surely anything The Genius had to say should have turned heads.
Oh, I’m sure it did, but as all things Wu related during those times, if it wasn’t on par with the ‘90s material, it just didn’t matter. Legend Of The Liquid Swords is damn good, offering about what you’d expect of an eastcoast lyrical showcase, but the beats are mostly bare with funk and soul loops, allowing GZA the room to tell his tales. Tired in the early 2000s? Perhaps, what with Neptunes and Timbaland taking hip-hop down strange new roads (to say nothing of that Kanye kid Roc-A-Fella had behind the decks). DJ Premier and The RZA may have set a standard the decade prior, but the kids wanted new shit. Unfortunately, shit is what they mostly got in the following years (hiya, Soulja Boy).
Gladly, what may have sounded dated in 2002 comes off vintage all these years later – oh hindsight bias, never will you do me wrong! I honestly don’t think regular Wu-fans cared anyway, as when it comes to a GZA album, it’s always about the lyrics. And I can’t find Mr. Grice at fault on anything. Whether waxing nostalgic about the old days (Auto Bio, Fam that also features RZA and Masta Killa, and Sparring Minds with Inspectah Deck), detailing shady record business activities (Did You Say That, Knock Knock), or displaying wizardry with his words (everything!), GZA offers plenty for that intellectual side of your brain. Even the ‘fun’ track Fame is genius, using celebrity names to tell his story. Sample: “Larry’s Bird flew outta Nicholas’ Cage; Joe Tex messages from Satchel’s Paige; Betty Wrights letters with ink from Sean’s Penn; Infinite bars, you couldn’t tell where the song end; Glenn Close enough to quickly duck the tapes; Richard Gere ripped while he was climbin’ Bill Gates.”
Legend Of The Liquid Swords wouldn’t do much for the Wu-Tang Legacy, but it does sit nicely as a companion piece to GZA’s body of work.
Labels:
2002,
album,
conscious,
GZA,
hip-hop,
MCA Records,
Wu-Tang Clan
Tuesday, January 7, 2014
Infected Mushroom - Legend Of The Black Shawarma (Original TC Review)
Perfecto: 2009
(2014 Update:
For a late-period Infected Mushroom album, this has held up surprisingly well. Too much of their work instantly dates, whether it be doing crap nu-metal years after that scene died, or jumping on the brostep bandwagon like everyone else. Since they went for more an industrial sound here, though, it doesn't come off so tired. Something about industrial has allowed the genre to endure far longer than anyone would have believed, and while Infected Mushroom's offerings wouldn't have Trent Reznor quivering anytime soon, it's at least respectable enough takes on the sound. Or maybe I'm just showing '90s bias.
This definitely was an odd time for the group, getting picked up by Oakenfold's Perfecto print while suddenly finding themselves rubbing shoulders with trance-cracker jocks at the top of popularity polls. They've since plummeted and are no longer on Perfecto, so who knows what the future holds for Infected Mushroom. Maybe full-on garage rock?)
IN BRIEF: Back in the right direction.
Someone must have sent Infected Mushroom a memo informing them that nu-metal and that entire ilk was a dead genre, something that grew out of favor when all the teenagers that listened to it earlier this decade came of age. Sure, it’s a shame the group didn’t actually read the damn thing until after Vicious Delicious was released, but at least they have read it now. Their latest album, Legend Of The Black Shawarma, thankfully sees a lack of rap-metal leanings, power ballads, and, most thankfully, Amit Duvdevani hilariously awful attempts at gravel-throated earnest singing (even the mock singing in those Creed Shreds vids on YouTube are better). Oh, there are still problems to be had with this album, but IM have at least abandoned the worst bits of their last one. In the process, they’ve also managed to refine some of the things that did work, and the group comes off far more musically taught than they have in while. In a nutshell, they seem to mostly be done exploring, and are now solely focused on execution.
Cause for celebration, right? Perhaps. If you’ve stuck with them through their last couple albums, it certainly is, and definitely so if you’ve only just recently discovered Infected Mushroom. Of course, you’ll still find an army of IM old-schoolers who’ve written this album off as a continued degradation of the psy trance scene, but Infected Mushroom are quite removed from it at this point. Sure, they still retain a few instances of the music, but this album aims for a different audience than crusty hippies and cyber-trippers. And by ditching much of the teenager angst that permeated Vicious Delicious, it seems they’re after a more mature audience as well.
Or maybe not. The CD opens with a guest acoustic strum by Everlast, suggesting the duo ha
The CD opens with a bit of acoustic strumming that reminds me of Everlast, but quickly turns to chugging metal guitars, faux-funk breaks, a bit of psy wibble, a few wordly trappings, and, um… not much else. Poquito Mas is hardly much of a song, sounding more like a mish-mash of ideas IM are preparing you to hear once the album properly gets underway. Rather pointless, to be honest, even if it’s meant to be an intro.
From there, the album unfolds quite entertainingly. You have catchy EBM tunes like Sa’eed and Smashing The Opponent, blinding buttrock goa with Can’t Stop and Herbert The Pervert (now there’s some effective use of their guitars!), and even a credible ballad with Killing Time (having long-time alt-rock favorite Perry Farrell on vocal duties here certainly helps). Elsewhere, ‘Duvdev’ does carry on with the vocal duties, but his voice is fed through so many effects, it actually helps enhance the tracks.
The only real duff track in the opening half is End Of The Road, which seems to be a woeful attempt on IM’s part to do a ‘minimal’ track - that is, a whole bunch of aimless, tuneless dull beats and sounds, with a couple instances of false-climaxes (here’s the build, but forget about a payoff); it does come correct with a typical psy ending, but the lead up is pure toss.
That’s the first half done. The second half of Legend Of The Black Sha-Na-Na sees IM get their concept on; in other words, having satisfied the masses with catchy tunes, Erez and Amit are now ready to get prog rock/metal on our asses. In terms of ambition, the triple-dose of Project 100, Franks, and Slowly can’t be faulted, as there’s quite a bit going on between these three tracks; however, as a listening experience, it wanders aimlessly too much.
Changes in tone, abrupt shifts in time signature, overcooked effects, and just plain dull stretches dilute the great moments to be had. For instance, there’s an excellent burst of strong harmonizing between the psy effects and chugging guitars at the climax of Project 100, but the song needlessly carries on afterwards with dull faux-funk. Meanwhile, Franks and Slowly wander all over the place more so than Israeli psy often does, never seeming to come together as a solid musical outing. If you skip through a track by a few minutes at any given point, it sounds like you’re listening to an entirely different song, and trust me there isn’t much to bridge these disparate sections in a convincing fashion. Any island of quality is thusly lost in a sea of mediocre wibble. For every winning wailing guitar peak, there’s a pointless dinky bloop-bloop bit elsewhere (I’m looking at you, Slowly).
The trouble is then multiplied by just how plastic it all sounds. Granted, Infected Mushroom have long had that aesthetic about them, but it served them well when they were dishing out typical full-on psy (or, in the case of Legend Of The Black Shamwow ’s first half, EBM). In attempting complex prog structures, however, they’re shooting for bold musical statements that can’t be done justice with the hollow sonics they use.
After all that, it makes the titular track a welcome, fun return to the material that worked in the first half of Legend Of The Black Shangri-La. As much as it may infuriate long-time IM fans, the duo seems to have found a comfortable niche in being more of an EBM group than a psy-trance one - they definitely show more aptitude for writing such music than they do in overly-ambitious prog. (by the way, the remix of Riders On The Storm is a love-it/leave-it affair; it’s serviceable, though hardly surprising if you’re at all familiar with IM’s sound)
Legend Of The Black Shawarma is not without its faults, but it is a step in the right direction again. Even if the album is split between catchy cuts and overcooked ambition, the gulf between the two isn’t nearly as pronounced as the split between full-on psy and rap-metal was on Vicious Delicious. You may want to give this a few listens over before making a firm purchasing decision, but it remains one of Infected Mushroom’s better albums in some time.
(2014 Update:
For a late-period Infected Mushroom album, this has held up surprisingly well. Too much of their work instantly dates, whether it be doing crap nu-metal years after that scene died, or jumping on the brostep bandwagon like everyone else. Since they went for more an industrial sound here, though, it doesn't come off so tired. Something about industrial has allowed the genre to endure far longer than anyone would have believed, and while Infected Mushroom's offerings wouldn't have Trent Reznor quivering anytime soon, it's at least respectable enough takes on the sound. Or maybe I'm just showing '90s bias.
This definitely was an odd time for the group, getting picked up by Oakenfold's Perfecto print while suddenly finding themselves rubbing shoulders with trance-cracker jocks at the top of popularity polls. They've since plummeted and are no longer on Perfecto, so who knows what the future holds for Infected Mushroom. Maybe full-on garage rock?)
IN BRIEF: Back in the right direction.
Someone must have sent Infected Mushroom a memo informing them that nu-metal and that entire ilk was a dead genre, something that grew out of favor when all the teenagers that listened to it earlier this decade came of age. Sure, it’s a shame the group didn’t actually read the damn thing until after Vicious Delicious was released, but at least they have read it now. Their latest album, Legend Of The Black Shawarma, thankfully sees a lack of rap-metal leanings, power ballads, and, most thankfully, Amit Duvdevani hilariously awful attempts at gravel-throated earnest singing (even the mock singing in those Creed Shreds vids on YouTube are better). Oh, there are still problems to be had with this album, but IM have at least abandoned the worst bits of their last one. In the process, they’ve also managed to refine some of the things that did work, and the group comes off far more musically taught than they have in while. In a nutshell, they seem to mostly be done exploring, and are now solely focused on execution.
Cause for celebration, right? Perhaps. If you’ve stuck with them through their last couple albums, it certainly is, and definitely so if you’ve only just recently discovered Infected Mushroom. Of course, you’ll still find an army of IM old-schoolers who’ve written this album off as a continued degradation of the psy trance scene, but Infected Mushroom are quite removed from it at this point. Sure, they still retain a few instances of the music, but this album aims for a different audience than crusty hippies and cyber-trippers. And by ditching much of the teenager angst that permeated Vicious Delicious, it seems they’re after a more mature audience as well.
Or maybe not. The CD opens with a guest acoustic strum by Everlast, suggesting the duo ha
The CD opens with a bit of acoustic strumming that reminds me of Everlast, but quickly turns to chugging metal guitars, faux-funk breaks, a bit of psy wibble, a few wordly trappings, and, um… not much else. Poquito Mas is hardly much of a song, sounding more like a mish-mash of ideas IM are preparing you to hear once the album properly gets underway. Rather pointless, to be honest, even if it’s meant to be an intro.
From there, the album unfolds quite entertainingly. You have catchy EBM tunes like Sa’eed and Smashing The Opponent, blinding buttrock goa with Can’t Stop and Herbert The Pervert (now there’s some effective use of their guitars!), and even a credible ballad with Killing Time (having long-time alt-rock favorite Perry Farrell on vocal duties here certainly helps). Elsewhere, ‘Duvdev’ does carry on with the vocal duties, but his voice is fed through so many effects, it actually helps enhance the tracks.
The only real duff track in the opening half is End Of The Road, which seems to be a woeful attempt on IM’s part to do a ‘minimal’ track - that is, a whole bunch of aimless, tuneless dull beats and sounds, with a couple instances of false-climaxes (here’s the build, but forget about a payoff); it does come correct with a typical psy ending, but the lead up is pure toss.
That’s the first half done. The second half of Legend Of The Black Sha-Na-Na sees IM get their concept on; in other words, having satisfied the masses with catchy tunes, Erez and Amit are now ready to get prog rock/metal on our asses. In terms of ambition, the triple-dose of Project 100, Franks, and Slowly can’t be faulted, as there’s quite a bit going on between these three tracks; however, as a listening experience, it wanders aimlessly too much.
Changes in tone, abrupt shifts in time signature, overcooked effects, and just plain dull stretches dilute the great moments to be had. For instance, there’s an excellent burst of strong harmonizing between the psy effects and chugging guitars at the climax of Project 100, but the song needlessly carries on afterwards with dull faux-funk. Meanwhile, Franks and Slowly wander all over the place more so than Israeli psy often does, never seeming to come together as a solid musical outing. If you skip through a track by a few minutes at any given point, it sounds like you’re listening to an entirely different song, and trust me there isn’t much to bridge these disparate sections in a convincing fashion. Any island of quality is thusly lost in a sea of mediocre wibble. For every winning wailing guitar peak, there’s a pointless dinky bloop-bloop bit elsewhere (I’m looking at you, Slowly).
The trouble is then multiplied by just how plastic it all sounds. Granted, Infected Mushroom have long had that aesthetic about them, but it served them well when they were dishing out typical full-on psy (or, in the case of Legend Of The Black Shamwow ’s first half, EBM). In attempting complex prog structures, however, they’re shooting for bold musical statements that can’t be done justice with the hollow sonics they use.
After all that, it makes the titular track a welcome, fun return to the material that worked in the first half of Legend Of The Black Shangri-La. As much as it may infuriate long-time IM fans, the duo seems to have found a comfortable niche in being more of an EBM group than a psy-trance one - they definitely show more aptitude for writing such music than they do in overly-ambitious prog. (by the way, the remix of Riders On The Storm is a love-it/leave-it affair; it’s serviceable, though hardly surprising if you’re at all familiar with IM’s sound)
Legend Of The Black Shawarma is not without its faults, but it is a step in the right direction again. Even if the album is split between catchy cuts and overcooked ambition, the gulf between the two isn’t nearly as pronounced as the split between full-on psy and rap-metal was on Vicious Delicious. You may want to give this a few listens over before making a firm purchasing decision, but it remains one of Infected Mushroom’s better albums in some time.
Monday, January 6, 2014
Bob Marley & The Wailers - Legend
Tuff Gong: 1984
Speaking of reggae...
This is where that Peter Tosh fella' below got his start, even penning some of The Wailers' most memorable hits (Get Up, Stand Up, One Foundation) - I'm sure he also influenced many other political songs from the group that became reggae staples for years to come. But yes, the main star of the enterprise was Robert Nesta Marley, or simply Bob to white stoners the world over.
I guess the importance of this collective of reggae musicians cannot be overstated. There were other names and bands that had a greater hand in developing the sound, true, but none came within an earshot of breaking into American radio. Then all of a sudden, folks picked up on these quirky, rugged roots rhythms emanating from Jamaica, almost exclusively from a practically all-star cast calling themselves The Wailers, fronted by an incredibly magnetic singer with crazy dreadlocks. Why is he even wearing his hair like that? Because he's a Rastafarian? What's that? Goodness, what else is going on in Jamaica? It all sounds so, like, laid-back and fun, man. They also like smokin' grass too. Oh man, I'm totally gonna be Jamaican now, it's kinda like being a hippie, right?
So I don't know if that's really what '60s burnouts thought of reggae music, but seeing how it's affected the hippie culture since, it wouldn't surprise me. Kind of a moot point though, as one doesn’t have to be of the crusty persuasion to enjoy Bob Marley; hence his broad appeal. The knack for a hook, the charming melodies and vocalizations, the poignant messages, and, perhaps key, the comprehensible lyrics (ain’t no thick Jamaican accents here, my friends), they were the total package for global domination. Sadly, after a brilliant decade of music, Marley died of cancer at the start of the ‘80s. And while The Wailers still tour performing all their classic jams (woot, I even saw them at a nearby folk festival), they ceased writing new tunes.
Obviously, a greatest hits package followed, arriving in ’84 as Legend. It’s been the definitive Bob Marley & The Wailers collection ever since, seeing countless re-issues, re-masterings, and remix supplements. Every tune you know of the group is here - Buffalo Soldier, Jamming, Stir It Up, I Shot The Sheriff, etc. – though depending on the version you find, not always in its best iteration. For instance, the first runs of Legend featured a live recording of No Woman No Cry, which for my money is the best way to hear the tune (obviously, since I paid for it). Its seven minutes long, so plenty of extended jams go down, but for some stupid reason, it’s been excised from newer copies of the CD in favour of an edited cut. Poor form, made even worse by the same thing happening to my all-time favourite Marley tune, Exodus. Dammit, I don’t care if it’s remastered, you don’t edit that dubby masterpiece! Be wary of such shenanigans if you get Legend for yourself.
Speaking of reggae...
This is where that Peter Tosh fella' below got his start, even penning some of The Wailers' most memorable hits (Get Up, Stand Up, One Foundation) - I'm sure he also influenced many other political songs from the group that became reggae staples for years to come. But yes, the main star of the enterprise was Robert Nesta Marley, or simply Bob to white stoners the world over.
I guess the importance of this collective of reggae musicians cannot be overstated. There were other names and bands that had a greater hand in developing the sound, true, but none came within an earshot of breaking into American radio. Then all of a sudden, folks picked up on these quirky, rugged roots rhythms emanating from Jamaica, almost exclusively from a practically all-star cast calling themselves The Wailers, fronted by an incredibly magnetic singer with crazy dreadlocks. Why is he even wearing his hair like that? Because he's a Rastafarian? What's that? Goodness, what else is going on in Jamaica? It all sounds so, like, laid-back and fun, man. They also like smokin' grass too. Oh man, I'm totally gonna be Jamaican now, it's kinda like being a hippie, right?
So I don't know if that's really what '60s burnouts thought of reggae music, but seeing how it's affected the hippie culture since, it wouldn't surprise me. Kind of a moot point though, as one doesn’t have to be of the crusty persuasion to enjoy Bob Marley; hence his broad appeal. The knack for a hook, the charming melodies and vocalizations, the poignant messages, and, perhaps key, the comprehensible lyrics (ain’t no thick Jamaican accents here, my friends), they were the total package for global domination. Sadly, after a brilliant decade of music, Marley died of cancer at the start of the ‘80s. And while The Wailers still tour performing all their classic jams (woot, I even saw them at a nearby folk festival), they ceased writing new tunes.
Obviously, a greatest hits package followed, arriving in ’84 as Legend. It’s been the definitive Bob Marley & The Wailers collection ever since, seeing countless re-issues, re-masterings, and remix supplements. Every tune you know of the group is here - Buffalo Soldier, Jamming, Stir It Up, I Shot The Sheriff, etc. – though depending on the version you find, not always in its best iteration. For instance, the first runs of Legend featured a live recording of No Woman No Cry, which for my money is the best way to hear the tune (obviously, since I paid for it). Its seven minutes long, so plenty of extended jams go down, but for some stupid reason, it’s been excised from newer copies of the CD in favour of an edited cut. Poor form, made even worse by the same thing happening to my all-time favourite Marley tune, Exodus. Dammit, I don’t care if it’s remastered, you don’t edit that dubby masterpiece! Be wary of such shenanigans if you get Legend for yourself.
Sunday, January 5, 2014
Peter Tosh - Legalize It
Columbia: 1976
An album you’re supposed to have, if you’ve ever been a pothead. You didn’t even have to smoke much, but having Legalize It in your collection signified support of legislation de-criminalizing the wacky-tabacky; or maybe you just needed a familiar, un-ironic record cover to roll your joints on. And yeah, I definitely was something of a ganja indulger when I picked up Peter Tosh’s debut solo album, but it was because I enjoy those vintage roots reggae jams, I swear!
Several others must have too, as Legalize It has gone down as a reggae classic, and seen several re-issues, remasterings, and remixes this past decade (though not as much as his old bandmate, Bob Marley). Heck, some have even gone so far as to give the album a super SACD upgrade, including full-on 5.1 Surround! As the cheap-ass cover to the left shows, I don’t have such a copy in my possession. I found it in a bargain bin, though as this is Columbia, it wouldn’t surprise me if it was one of those Columbia House options you got in the early ‘90s. It’s also about as tinny as a cheap CD transfer can be, which was about the extent I was willing to splurge on a marijuana protest album, even when I was taking tokes on a semi-regular basis.
Actually, title track aside, Legalize It isn’t much about drugs at all. As was a common theme with Mr. Tosh’s work (and for which he got in trouble with authorities for), protests against injustice and poverty is the name of the game …sometimes. He didn’t get really opinionated until his follow-up albums, but opts for a mix of tunes here. So we get the political stuff in Legalize It, Burial (lambasting gangsters and corrupt officials for never attending funerals of the poor …I think) and What’cha Gonna Do? (about a woman who’s family is being ruined by police and ticky-tacky arrests …I’m pretty sure). Following those, there’s tunes about how awesome Jah is (Igziabeher), pleasant love ditties (No Sympathy and Ketchy Shuby …maybe), and broken relationships (Til Your Well Runs Dry). Okay, I have to admit, I had to do some research online about these lyrics, because like all Jamaican music, their gloriously daft version of English can confound even a fifth level linguist expert (he even understands Scottish!).
Let’s face it though: the real reason to check out this album is for those lovely reggae jams. If your only exposure to the genre is Bob Marley or Sly & Robbie, you’ve missed out on what the genre has to offer, as their tunes were often wonderfully studio crafted works. Tosh, on the other hand, comes off more ramshackle and live – which really, is the best way to hear roots music. There’s something entrancing when hearing various instruments seemingly out of sync with each other, yet somehow maintains rhythmic consistency through it all. It’s, like, getting high, or something.
An album you’re supposed to have, if you’ve ever been a pothead. You didn’t even have to smoke much, but having Legalize It in your collection signified support of legislation de-criminalizing the wacky-tabacky; or maybe you just needed a familiar, un-ironic record cover to roll your joints on. And yeah, I definitely was something of a ganja indulger when I picked up Peter Tosh’s debut solo album, but it was because I enjoy those vintage roots reggae jams, I swear!
Several others must have too, as Legalize It has gone down as a reggae classic, and seen several re-issues, remasterings, and remixes this past decade (though not as much as his old bandmate, Bob Marley). Heck, some have even gone so far as to give the album a super SACD upgrade, including full-on 5.1 Surround! As the cheap-ass cover to the left shows, I don’t have such a copy in my possession. I found it in a bargain bin, though as this is Columbia, it wouldn’t surprise me if it was one of those Columbia House options you got in the early ‘90s. It’s also about as tinny as a cheap CD transfer can be, which was about the extent I was willing to splurge on a marijuana protest album, even when I was taking tokes on a semi-regular basis.
Actually, title track aside, Legalize It isn’t much about drugs at all. As was a common theme with Mr. Tosh’s work (and for which he got in trouble with authorities for), protests against injustice and poverty is the name of the game …sometimes. He didn’t get really opinionated until his follow-up albums, but opts for a mix of tunes here. So we get the political stuff in Legalize It, Burial (lambasting gangsters and corrupt officials for never attending funerals of the poor …I think) and What’cha Gonna Do? (about a woman who’s family is being ruined by police and ticky-tacky arrests …I’m pretty sure). Following those, there’s tunes about how awesome Jah is (Igziabeher), pleasant love ditties (No Sympathy and Ketchy Shuby …maybe), and broken relationships (Til Your Well Runs Dry). Okay, I have to admit, I had to do some research online about these lyrics, because like all Jamaican music, their gloriously daft version of English can confound even a fifth level linguist expert (he even understands Scottish!).
Let’s face it though: the real reason to check out this album is for those lovely reggae jams. If your only exposure to the genre is Bob Marley or Sly & Robbie, you’ve missed out on what the genre has to offer, as their tunes were often wonderfully studio crafted works. Tosh, on the other hand, comes off more ramshackle and live – which really, is the best way to hear roots music. There’s something entrancing when hearing various instruments seemingly out of sync with each other, yet somehow maintains rhythmic consistency through it all. It’s, like, getting high, or something.
Saturday, January 4, 2014
Leftfield - Leftism
Columbia: 1995
These ‘definitive electronica albums’ often weigh me down. Not for a lack of things to say, oh no – if anything, there’s too much to say, though undoubtedly covered far more extensively than I’d ever manage within self-imposed word count. Trouble arises when you know the narrative, understand the impact, and appreciate the execution, yet can’t always muster the spark that wins you over as it has so many others. I like Leftfield. I like Leftism. I like progressive house – whatever it was supposed to be even back in the day – and have nary an ill thought when it comes to this album. It’s also one of my least played LPs of those seminal mid-‘90s “supposed to have” electronic music releases. In fact, it took me years to finally get around to grabbing a copy, more as a sense of completist obligation rather than any urge to hear Open Up or even Inspection (Check One) again.
Part of the problem is Leftism’s very nature, an attempt at bringing their trend-setting sound into the mainstream consciousness. Not an entirely daft idea, and when Columbia signed Leftfield, I’m sure they figured they’d have similar success as Virgin did with all those other ‘rave’ groups (The Future Sound Of London, The Chemical Brothers, The Massive Attack, etc.). And they were right, Leftism getting sales, plaudits, and all that good stuff. Unlike those acts, however, something feels lost in Leftfield’s transition from underground taste-makers to crossover stars.
Perfect example is the new version of their first hit Song Of Life. The original was a prog-house staple, establishing all the chugging rhythms, clever samples, and dream-like qualities that defined the early scene. On Leftism, however, it opts for the chill road instead, nearly half the track devoted to a revamping of the Song Of Life b-side, Fanfare Of Life. Great sounding cut, of course, but clearly aimed at the home-listening demographic, as is much the album.
Right, Leftfield couldn’t simply release their old club hits in ’95 as they first appeared earlier that decade – the musical innovation arms race was blindingly fast at that time, and grooving, dubby house tunes were already coming off dated. To keep pace, Barnes and Daley dipped their hands in other genres. Techno crops up in Black Flute, Space Shanty, and Afro-Left (though again, the album version pales compared to the pounding Afro Ride cut on the single), breaks get their nod in Storm 3000, trip-hop finds its way care of Original, and chill-out has its moments with Melt and 21st Century Poem; all of which mixed through Leftfield’s trademark bottem-heavy, dubby soundscapes.
Does this sound like too much market-driven genre hopping? Congratulations then, you’ve discovered Leftism’s primary problem. Whether the duo believed they could pull off an ‘all-encompassing’ dance album, or it was mandated by overhead to cover every potential market, I haven’t a clue, but the result is a good sounding LP lacking, erm, progressive electronic music adventurism. We can’t scare away those potential Oasis fans, after all.
These ‘definitive electronica albums’ often weigh me down. Not for a lack of things to say, oh no – if anything, there’s too much to say, though undoubtedly covered far more extensively than I’d ever manage within self-imposed word count. Trouble arises when you know the narrative, understand the impact, and appreciate the execution, yet can’t always muster the spark that wins you over as it has so many others. I like Leftfield. I like Leftism. I like progressive house – whatever it was supposed to be even back in the day – and have nary an ill thought when it comes to this album. It’s also one of my least played LPs of those seminal mid-‘90s “supposed to have” electronic music releases. In fact, it took me years to finally get around to grabbing a copy, more as a sense of completist obligation rather than any urge to hear Open Up or even Inspection (Check One) again.
Part of the problem is Leftism’s very nature, an attempt at bringing their trend-setting sound into the mainstream consciousness. Not an entirely daft idea, and when Columbia signed Leftfield, I’m sure they figured they’d have similar success as Virgin did with all those other ‘rave’ groups (The Future Sound Of London, The Chemical Brothers, The Massive Attack, etc.). And they were right, Leftism getting sales, plaudits, and all that good stuff. Unlike those acts, however, something feels lost in Leftfield’s transition from underground taste-makers to crossover stars.
Perfect example is the new version of their first hit Song Of Life. The original was a prog-house staple, establishing all the chugging rhythms, clever samples, and dream-like qualities that defined the early scene. On Leftism, however, it opts for the chill road instead, nearly half the track devoted to a revamping of the Song Of Life b-side, Fanfare Of Life. Great sounding cut, of course, but clearly aimed at the home-listening demographic, as is much the album.
Right, Leftfield couldn’t simply release their old club hits in ’95 as they first appeared earlier that decade – the musical innovation arms race was blindingly fast at that time, and grooving, dubby house tunes were already coming off dated. To keep pace, Barnes and Daley dipped their hands in other genres. Techno crops up in Black Flute, Space Shanty, and Afro-Left (though again, the album version pales compared to the pounding Afro Ride cut on the single), breaks get their nod in Storm 3000, trip-hop finds its way care of Original, and chill-out has its moments with Melt and 21st Century Poem; all of which mixed through Leftfield’s trademark bottem-heavy, dubby soundscapes.
Does this sound like too much market-driven genre hopping? Congratulations then, you’ve discovered Leftism’s primary problem. Whether the duo believed they could pull off an ‘all-encompassing’ dance album, or it was mandated by overhead to cover every potential market, I haven’t a clue, but the result is a good sounding LP lacking, erm, progressive electronic music adventurism. We can’t scare away those potential Oasis fans, after all.
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