Wu-Tang Clan - 8 Diagrams

Universal Motown: 2007

RZA was scoring movies. GZA was rapping about cars. Method Man was more interested in acting. Raekwon was holding out on the album everyone wanted from him. Masta Killa had a surprisingly solid debut though, and Ghostface was flying high, but overall, things weren't looking so hot for the Wu-Tang Clan. Then ODB died, and folks wondered if that would be the final wound that would end the hip-hop juggernaut. Fools. This, above all else, was the rallying cry to bring the Clan back together, in honour of their fallen brother. Proving all their doubters wrong that their time had passed probably wasn't a bad motivator either.

They had to find themselves in a bit of a pickle though. Hip-hop was a far different beast in the year 2007 compared to their '90s heyday. Crunk was now the hottest shit on the market. Meanwhile, Kanye West had almost single-handily put gangsta' rap to rest after beating 50 Cent in their duel of market supremacy (the infamous Graduation - Curtis showdown). Did the Wu have anything fresh on offer in this new world?

The RZA certainly did, in that he'd amassed an arsenal of instruments, offering more creative freedom than he'd ever had before. There's still funk and soul samples throughout 8 Diagrams, but unlike days of old where they'd be looped over a twitchy beat, there's more freeform funk going on here as instruments strut their stuff. It was a significant step forward in RZA's songcraft, though not everyone was entirely on board with it, Ghostface and Raekwon especially vocal about their concern over this change of musical direction for the Clan.

I can understand why. Musically, 8 Diagrams is a creative album, with plenty of strange, warped twists and turns of funk and soul coming at you. Unfortunately, it kinda' overshadows what the actual MCs of Wu-Tang bring to the table. Everyone sounds fine and all, some members more fired than their solo stuff (Method Man, Deck), though lacking much evolution in their usual topics of street tales, battle-raps, and livin' large. Plus, the bangers on this album don't go as hard as some of their classic material, tracks like Rushing Elephants and Wolves oddly muted for the energy they're trying to generate. The only time things get proper-Wu hard is Stick Me For My Riches, where Mathematics brings southern bounce to the party. Also, with so much musical exploration on RZA's part, the album doesn't really coalesce into anything more than an assemblage of tracks for their own sake. Aside from proving they were still kicking it, there's no real 'statement' being made about hip-hop at large by the Wu-Tang Clan here, as so many had expected

Ultimately though, 8 Diagrams is worth having just for the final track, Life Changes. Here, the Wu offer their final farewell to the deceased Russel Jones, one of the most heartbreaking pieces of hip-hop I've ever heard. You just ain't human if you don't feel something welling up from this song.

Gravediggaz - 6 Feet Deep

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.

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.

Corderoy & U4IC DJ's - 3 Spirit (Original TC Review)

SPX Digital: 2009

(2018 Update:
Did I rush this one out back in the day? My saved file doesn't have an IN BRIEF, nor the usual copywrite tag assigned to all TranceCritic reviews. I suppose I could use the WayBackMachine to find out, but eh, who really cares at this point what my Brief Byline was. Probably something generic, like so much trance was that year. Not this tune though, it stood out enough for me to scope a few more singles from SPX Digital after. Didn't hurt they were sending them to me as free promos either.

As producers, Dan Apps and Phil Collins (no, not that one) pretty much fall from the face of Lord Discog's records after this, but Corderoy's kept himself busy. He launched his own label called CDRY, has collaborated with a couple prominent names in this scene (Mike Koglin, Judge Jules), and released a steady clip of singles on various, respected prints like High Contrast, Enhanced, Perfecto... wait, didn't I just say he has his own label? Come to think of it, there's no mention of it in Discogs either, beyond his bio blurb. Guess it didn't turn out.)


Corderoy then. Ever heard of him? Probably so, (and it was Corduroy that J’ had previously covered, in case you’re wondering) as the brothers had a minor hit way back in 2003 with their single Sweetest Dreams. Like so many producers that breakout with a hit, however, they never managed to repeat that success, releasing singles in the time being without much fanfare. Along the way, the brother named Dale crossed paths with a duo by the name U4IC DJs. Comprised of Dan Apps and Phil Collins (to my knowledge, no relation to Phil Collins), the new-formed trio have decided now is a great time to start up a net label called SPX Digital. Which brings us to their second digital single titled 3 Spirit. Goodness, but is this ever a dry intro.

That’s kind of the problem here, though. The very names ‘Corderoy’ and ‘U4IC DJs’ come across as rather dry; they certainly aren’t names that leap out at you when on a tracklist. Heck, we even had a recent Corderoy tune cross TranceCritic’s path a year and a half ago, and I’m sure no one noticed it (J’ certainly didn’t, at least not enough to single it out). And to be honest, this trio’s brand of trance isn’t exactly the kind to grab your attention either, as it’s so easily lost in the glut of yearly releases. If you’re familiar with the energetic brand of uplifting trance that tends to bubble just under the surface of the playlists of your typical Tiestin van Schulzenyonds, then you’ll be familiar with 3 Spirit’s tone.

Fortunately, this track does have a few things working in its favor, such that it just might make more of an impact should it be placed in a trance set properly (re: not mashed in with a string of similarly-structured tunes). The beats are suitably driving; the lead hook is a subtle bleepy thing with just enough off-beat quirk to lodge in your head; the uplifting strings that keep reaching for the lasers at the climax are just classy enough to not have your eyes roll into your head; and, most important, the breakdown is kept rather short, with an actual beat used in the following build so you’re not left standing around waiting for the action to return for long. About the only proper complaint to be had with 3 Spirit is how over-produced the climax sounds, with unnecessary side-chaining gumming things up; it isn’t to the cartoonish extremes Carl B’s been known to go, mind, but is there nonetheless.

The remixes are a well-rounded bunch, with their own series of plusses and minuses. Friend of U4IC and long-time associate of John Flemming, Steve Birch cranks the energy of 3 Spirit up a notch, letting the bleepy hook rather than the uplifting strings dictate the direction of his remix; there’s even less time for breakdowns here, which is good, but Birch really abuses the attack and delay washes, drowning much of the track in gratuitous effects. Ben Gold, meanwhile, cuts out the crap with his ’Raw’ remix, offering a banger of a tech-track; featuring a killer lead synth that simply kicks you in the kunt and the bleepy lead in support, there’s actually nothing wrong with this remix. Finally, Beta Blokka opts for a housier route, establishing a blissy atmospheric mood with subtle pads. This was actually looking to be my favorite remix out of the bunch, but is sadly undone by their choice of bassline, a kind of silly, muted, speed-garage farty thing that clashes horribly with the benign nature of the pads. I can dig on the attempt to give the track some ‘deep bass’ menace, but not when it uses corny out-of-sync ‘wobbles’.

Overall, this is a decent trance single. While I can’t see it getting Corderoy to be remembered for more than a breakout single, much less lighting the scene on fire, competent DJs of the genre should get some worthy mileage out of 3 Spirit.

Written by Sykonee for TranceCritic, 2009. © All rights reserved.

Euphoria - 2 Days Away

Bipolar Music: 1994

Sticking with the ultra-obscure material, we are. Not as obscure as a 'proper' attempt at a DJ mix CD from yours truly, but I'm apparently the only dude on Discogs who has a copy. Except for 'tripleaardvark', who uploaded the album to the Lord's archives, and is looking to offload it for forty bones. That's thirty-one Liberty Dollars, or twenty-two pounds of Sterling – a surprising amount of money, is what I'm saying, for something I'm sure almost no one outside the Vancouver district has heard of. Hell, I only got it as part of another person's CD collection, and when you agree to take one CD of theirs, you agree to take them all. That is the Rule, right?

I'm not sure how this person ended up with such an album to begin with – friend of a friend of a family member, perhaps? Euphoria (the thirty-eighth iteration of the handle according to Lord Discogs) is comprised of Andrew Duncan and Greg Kisser. Mr. Kisser has gone on to be a CBC TV director, while on the side playing out classic bar rock in the band Curds & Whey. Couldn't find much regarding Mr. Duncan though, Google revealing a few Vancouverites with such a name, a couple with obituaries.

Whatever the case, this 2 Days Away album doesn't seem to have much to do with where these musicians ended up, save the same level of instrument skill they brought to whatever project they've done (I'm assuming it's more than this). Despite Mr. Kisser's current rock contributions, this is absolutely not a rock album. If the cover art had you thinking New Age, you're on the right path, though it's not quite in that scene either. Aside from a few songs, most of these tracks have that late-'80s to early-'90s soft jazz, muzak sheen to it. The hall-effect drum kits, the ultra-crisp piano and guitar tones, the flat production that has you feeling like you're listening to jingles while being put on hold from overseas call centres. Certainly this isn't the fault of Misters Kisser and Duncan, as the studio they made this album in - Dynamic Sound Production, according to the liner notes – apparently specialized in exactly that!

Aside from vaporwave sorts looking for more sounds to plunder, I can't see many folks getting down to Euphoria's 2 Days Away. Still, there are a couple notable tunes on here in how they at least attempt something more than soft jangle muzak. The titular cut is comparatively ambitious with chill Balearic vibes, ethnic chants, and samples of folks anticipating events two days away (new job, retirement, DISNEYLAND!). Memories is a pleasant enough piece of piano ambient with subtle pads, rainfall, and sounds of someone struggling at the writer's desk. Boardwalk is just sounds of folks playing a board game, while Chance And Thyme gets funky with its beatcraft. Well, about as funky as you'd expect from two Vancouver guys making muzak destined for late-late night weather reports.

Various - (~)

(~): 2000

TRACK LIST:
1. Delerium - Heaven's Earth
2. S.E.T.I. - Mare Crisium
3. One Dove - Transient Truth
4. Bindu - Light At Heart
5. Deep Forest - Twosome
6. Influx - Dreamscape
7. Lore Carson & Graeme Revell - Fall In The Light
8. Banco de Gaia - Touching The Void
9. Banco de Gaia - 144K?
10. Rhythm Method - Goa: Season Of The Monsoon
11. Young American Primitive - Expanding
12. Pentatonik - Movements: Part 2

This was my first attempt at an actual DJ mix CD, and boy howdy did I ever go gonzo with its presentation. Fancy fonts, super-slick paper, pretentious liner notes, plus multiple copies to hand out to friends and family. For I had a tool in my (roommate's) possession that would allow me to craft a collection of music on par with the Northern Exposures and Global Undergrounds of the world: a cracked copy of ProTools! Of course, I didn't know much about the software to do a whole heck of a lot with it, but it was enough to make long, lengthy mixes such as I'd never been capable of in my way early efforts with live CD mixing (before turntable mimicking jog wheels were much of a thing).

As I've not become some expert, famed creator of globally recognized mix CDs, this obviously didn't turn out as I'd envisioned. A glance at the track list is a good indication why. The idea was to tell a story, with each track a distinct chapter, alternating between uplifting and melancholic moods. In trying to appeal to two audiences (friends and family), however, I left both confused and uninterested with my effort.

The obscure, underground ambient techno sounds from S.E.T.I., One Dove, Influx, and Young American Primitive was too unfamiliar for the family folk, while my peers were disappointed by the inclusion of so many 'poppy' offerings from Delerium, Deep Forest, Lore Carson, and Bindu. Maybe it wasn't such a hot idea to sequence them in an “up-down-up-down” fashion. Maybe it would have worked if I'd had a larger library of music at my disposal. Maybe, maybe, maybe.

So while some choices are naff (really, Year 2000 Sykonee, two songs in a row from The Magical Sounds Of Banco de Gaia?), there are a couple clever moments too. I'll defend the mix between Twosome and Dreamscape to the day I die, plus that hard cut from Goa: Season Of The Monsoon into Expanding works great after teasing the YAP cut throughout Rhythm Method's build. And since my copy of the Strange Days soundtrack was lost in the Great Pawning Of 2002, this remains my only outlet in hearing that lovely tune Fall In The Light that closed the movie out. Holy cow, was that ever a great soundtrack. I should buy it again. Can't be more than a couple dimes on the used market these days.

So I Set Up A Patreon

Clicky here to check it out!

I'm under no delusion that this will become a significant source of income. The purpose of my Patreon is to open up options for requests. While I'm fine with folks sending me material, it's also a little limiting to those who can actually afford it. This method shares the financial burden, so it's not completely on the requestor's part to buy and ship music to me.

Tiers are as follows:

$5 Donation: Request A Review.
Self explanatory. Request will be slotted as per my usual alphabetical stipulation.

$10 Donation: Request A Review, Plus Skip The Queue!
That's right. Your request gets slotted to the front of the line, alphabetical stipulation be damned!

$50 Donation: Request A Discography.
Reviews of an artist's album discography! This can include acts that I haven't reviewed yet (ie: Orbital, Autechre, Tupac, Metallica, etc.), or rounding out those I've only touched upon. Requested artist discography has to contain at least 3 LPs, with a max of 10 LPs requested (sorry, Merzbow fans). This is also open to DJ mixes.

Of course, all requests are subject to availability of requested items. My preferred sources are Bandcamp and Amazon (.ca, as shipping from .com or .co.uk is stoopid expensive), though have no problem using the Discogs Marketplace if the price is reasonable enough (<$30). CD also remains preferred, but if a digital version is more financially practical or simply the only option, I'll go with that. Also, the release must have an entry at Discogs, so no Soundcloud demo exclusives or some-such.

Since most folks are likely only interested in one request, you only have to contribute to the Patreon for the one month the request is given, after which you'll have to remove it once paid out. If you're interested in more than one request, however, simply keep your Patreon going and you can request a new item in the new month.

However, some you may just want to donate for the sake of it (!!). Patreon tells me that I should include exclusive content for such Patreons, so I've set up some Goals too, reviving a former feature in the process. Yes, it's a return of Spotify Suggestions!

Each week, Spotify creates a 30-track Discover playlist, providing songs and artists close to my listening tastes that I haven't really dug into. It's yielded some interesting offerings, and a handy way of nudging me out of my comfort zone. I've thought about doing Mini-Reviews of these, but never got around to it, so focused on the main stuff as I've been. Still, it could make for a nice little Patreon bonus, so let's go with that. Goals are thus as follows:

$10/month: mini-reviews of the first 5 songs from my Spotify Discover Weekly playlist, posted every Sunday.

$50/month: mini-review limit increased to 10 songs from my Spotify Discover Weekly playlist.

$100/month: mini-review limit increased to 20 songs from my Spotify Discover Weekly playlist.

$200/month: mini-reviews of all 30 songs from my Spotify Discovery Weekly playlist.


There, I think that covers it all. Again, I'm not expecting much out of this, but at least it's there for those who are interested. Seems a waste to not use these tools that are available to content creators, no matter how far-flung their corners of the interwebs may be.

ACE TRACKS: March 2018

It's a strange sensation, this. Not having any pressing need to push forward with another review soon. Even when I took the occasional month-long sabbatical, I still had a set date for when I'd hit the keyboard again. And while it's about 95% certain I'll pick things up again here, I don't have a particular day picked out for it either. It could be mid-month, it could me many months (not likely), all dependant on how fast and productive I am with other tasks demanding my current attention. With this new 'freedom', however, I can go about listening to whatever music I want, not worrying about any set schedule or orderly list. Why, I can even explore music outside my usual interests and expertise since there's no pressure to write reviews for them on an electronic music blog! Country! Jazz! Polka! Schlaagger! Zanzibaran taarab! Zouk! Hotel pop!

Or, y'know, just stay in my lane. That works too. Anyhow, here's the ACE TRACKS for March of 2018:


Full track list here.


MISSING ALBUMS:
ZerO One - zerO One
Mick Chillage - Zen Diagrams
Plank & Ishq - Zeal Monachorum
Various - Frankie Bones: You Know My Name
Various - Y9: Nine Years Of Psychonavigation Records

Percentage of Hip-Hop: 0%
Percentage Of Rock: 30%
Most “WTF?” Track: Wednesday Campanella - Uranium-Chan (so wonderfully unexpected of anything)

Reverse alphabetical order! I mean, it kinda' makes sense to give the Z and Y songs top billing since I just finished going through Y and Z albums. Surprising there even is a few tracks like that here – artists don't often title tunes with those letters.

Very heavy on the '70s music and music that sounds like it could have been made in the '70s. There's also music that sounds like it could be from the '80s, but is clearly made in the Nowies, some music from the '00s, and... wow, nothing from the '90s? That's got to be a first. Pole Folder at least sounds like he could have been from the '90s though, so close enough.

I DID IT! I DID IT! ...and yet, there's still so much to do.

Well.

Guess I should write something here. I mean, this was originally the endpoint, the stretch goal, the final target, the reason for all existence. Okay, maybe not that significant an achievement, but definitely a task I was determined to do to completion, and by José, I actually did it, even if it took far longer than initially intended. To what end, though? What have I learned in listening to every album I own in alphabetical order? Have I gained any greater insight into my music consuming habits, any deeper understanding of my own sense of self for having done this? Or was this all just one big silly diversion for everyone involved, something to wile the months away like a never-ending Let's Play series. Come to think of it, why did I even start this in the first place? Cue the flashback dissolve.

I've mentioned my motivation in doing this was to spice up my listening habits, but what was the ignition that spurred me forward? To my recollection (it's been over seven years now), I'd hit a state of utter apathy with contemporary music. I felt no desire to explore new stuff because all the new stuff I was being told was the best contemporary music had to offer was frightfully dull. The critical vanguards of electronic music may have moved on from 'minimal', but they remained devoted to 'deep and serious' sounds – or had flash-in-pan infatuations with funky novelties like disco edits. Meanwhile, the popular stuff was reaching peak bro, the likes of Guetta and Skrillex dominating the discourse.

If I'd seriously dug around, I'm sure I'd have found items that tickled my ears just fine, but the drive to do so simply wasn't there. I kept glancing back to the past, wondering what I may have missed or overlooked, including what I'd amassed in my own collection to that point. Over the course of nearly twenty years, I'd gathered around 500 albums into my possession, and while I had some favourites, many others had gone neglected in that time. With precious little new inspiring me, I figured then was as good as any point to revisit everything in some orderly fashion.

Writing about it was furthest from my mind, but after a year had passed, I realized there were plenty of notes, ideas and opinions germinating with each item I listened to. Was there much interest in music bloggers anymore though? Everything was moving on to video reviews and podcasting, which seemed like a fun idea if I could find an angle for it. Maybe I could just start writing again, get the creative fires sparking, see where it led me, and worry about the other stuff later. And since I'd just be writing for myself, I wouldn't have to worry about all those niggling formalities 'proper music journalists' do, which made the TranceCritic experience an utter chore towards its end. Take a few creative chances here and there for my own amusement, while waxing philosophical should the inspiration strike me. Mmm, that's the stuff.

Another reason I revisited all my music was the killer combo of record store closures and financial constraints. Even if I wanted to go hunting about for new tunes, my options had substantially dwindled by the year 2011. Yet, I soon found myself gainfully employed, and online stores like Amazon and Bandcamp were providing me with greater access to obscure items than I'd ever had before. As a result my CD collection has nearly tripled in size from when I first started this adventure, a feat I would have found unfathomable back then. No wonder my early estimates of when I'd finish were woefully under-guessed.

Not only did increased purchasing power help fill in a bunch of blanks I'd passed over, but spurred me on to unexpected discoveries of other items along the way. Some I'd never have even stumbled upon if it wasn't from what little 'research' I do for these reviews. All the dark ambient's the most obvious example, but plenty others too (modern ambient techno, ancient Berlin-School krautrock, synthwave ....Oak Ridge Boys). If there's any real takeaway from having devoted so much time to this blog, it's how I'm enjoying that insatiable hunt for music like never before.

Where does that leave me now, though? What's next? My initial plan once I reached The Hacker & Eric Borgo's Zone was to move on to another non-music writing project I'd put on the backburner, but I've devoted nearly six years to this little corner of the interwebs – seems anticlimactic to just up and leave it fallow as is.

Besides, I'm not really done, am I? Even as I ran through this final stretch of CDs, I was still acquiring new music along the way, 80 album's worth (holy cow, how did that happen!?). Plus, there's all those CDs I listened to in the first year that I never wrote reviews for, and it's just wrong to not include some of my all time favourite albums in this blog. My last Banco de Gaia review can't be You Are Here, it must be Big Men Cry! All said, I've currently got at least another 200 reviews I can do, which I'm obviously going to do. It must be done, the OCD compels me.

But I feel I could do more, explore ideas for other features. Bring back 5-song mini-reviews or Spotify Suggestions (senseless or otherwise). Maybe even get a Patreon going for request reviews. Yeah, I know I've got nowhere near the readership to make a living off that service – I'm hilariously bad at self-promotion – but as I may not be so gainfully employed at my regular job in the next couple years (yay restructuring), it's foolish of me not to consider alternative means of income, even if it's little more than side-scratch.

Food for thought anyway. For now, I'm taking a little break from the blog to focus on another project that demands attention. Let me know if any of these ideas are of interest, or if you might have suggestions of your own.

Neil Young & Crazy Horse - Zuma

Reprise Records: 1975

Sometimes the best way to get out of a depressive funk is to abandon one group of music buddies, reconvene with another group of music buddies, and hang out on the beaches of Malibu getting all up in that mid-'70s bachelor life. Lots of booze, lots of 'rawk', probably some drugs too, though none of that super-heavy shit that had been going around, leading to too many deaths of colleagues. Or maybe a little on the psychedelic bent, Zuma marking the point where Neil Young started singing about ancient Aztec and Incan lore, the sort of stuff one can't help but be inspired by after ingesting a little psilocybin. Me, I just go and listen to every album I own in alphabetical order, but if writing music about Cortez the killer and mythical lady-birds is what does it for you, have at it, guy.

Weird inspirations aside, one of the reasons Zuma came to fruition is Young's old band Crazy Horse had found themselves a new guitarist after the passing of Danny Whitten. It'd only been a few years since then, but in Neil Young terms, that's practically a lifetime, a whole stage of his career cycled through. Insisting he come and check out the dude's chops on the axe (or however you say it), Mr. Young was impressed at how well he could perform both lead and rhythm guitar parts on such classic Crazy Horse collaborations like Cowgirl In The Sand and Down By The River.

That's because this here Frank Sampedro was a huge fan of the group, often jamming away on his own to the album Everybody Knows This Is Nowhere. So much so, in fact, that ol' “Pedro” joked he'd probably played those songs more than Young and Whitten ever had. Feeling that familiar fire that made their earlier works such kinetic monuments to classic rock, The Young & The Restless Horse hit the studio with the same carefree approach as before, cranking out tunes about blue barstools, stupid girls, and other love-lorn chestnuts.

Aside from Cortez The Killer though (sounding kinda' short to my ears at seven-and-a half minutes, since I'm used to the live Weld version), Zuma doesn't have much in the way of classic Young material. Some good, solid rock music, for sure, a few tunes of which are little more than excuses for the band to just go off while bemoaning past relationships (as I said, a total bachelor fest). There's also Danger Bird, the closest thing to a companion piece to Cortez The Killer in its epic sense of scope, though it doesn't reach the seven minute mark, nor has been trotted out for live sessions as often, so it's unsurprising the song goes overlooked in the annals of Young et Cheval de Fou music.

Which is Zuma in a nutshell. The players involved were basically rediscovering their synergy with this outing, and would create greater works together after this.