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(no subject)	[Sep. 14th, 2008\|05:38 pm]Read Them Or Weep
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Gwen Stefani - Love, Angel, Music, Baby	[Dec. 23rd, 2004\|09:03 am]Read Them Or Weep
[mood \|6 stars] [music	Gwen Stefani ~ The Real Thing]Ok, I was really torn about buying this CD. Reading the reviews on Amazon.com certainly didn't help things much in that most of the bad reviews kept saying, "mundane lyrics" and "unoriginal pop" over and over again while all the good reviews seem to say, "Gwen Stefani rocks!" and "it has a good beat". Hmmm...not very convincing on the good side.But after listening to the album, I just couldn't understand what all the bitching was about. Is it because the album isn't aimed at the same skater-punk crowd that No Doubt originally catered to? Is it because the music is a little more schitzophrenic than anything Madonna, Britney, or Christina would put out? Is it because it doesn't sound as "self-made" as a Jewel album (she employed a "Who's Who" of the producer world on this album). But honestly, this is Gwen Stefani we're talking about. And if you really knew the history of No Doubt, then you would know that Gwen didn't even want to be in the band, but was talked into it by her brother Eric and has always been into her own thing.That being said, I think Gwen is probably proud of this album. Even if it is far from being an all-time classic.Most of the tracks have a retro-pop feel to them, especially Cool, Crash, The Real Thing, Serious, and Danger Zone with varying degrees of dance, pop-rock, and...well whatever genre you want to call Jane Child's music. This could be either a good or bad thing depending on what type of tunes you were into in the late 80s. Gwen takes us back again in a different way on Luxurious by sampling the Isley Bros. Between the Sheets in an almost identical fashion to how Notorious B.I.G. did it in Big Poppa and the result is actually very good; although I think it gets spoiled at the end with this corny "Ka-ching!" coda that was thrown in...but it could easily be edited out by any CD burning program :-D. Harajuku Girls is a strange song that I guess was an ode penned specifically for her Japanese fans. The references through the rest of the album to them are ok, but the song itself will probably leave most American listeners scratching their heads. The only single from the album so far is What You Waiting For? and it could very well be the only one. It's very radio-friendly and should do well in the dance clubs. But my personal favorite is by far Rich Girl which many have lamented is a 'weird' interpretation of If I Were A Rich Man from Fiddler on the Roof fame...but I know better. It's actually Gwen's take on a Jamaican dancehall anthem from the early 90s...also called Rich Girl. Unfortunately the name of the Jamaican chick who ragga-fied the Broadway tune originally is escaping me, but believe me Gwen and Eve do it justice. Gwen plays the 'urban card' two more times with Hollaback Girl which sorely misses the hip-hop mark she was trying to hit; but no more than your average teenybooper mallrat who tries to be 'down' and rap along with Jay-Z. Skip this track before she starts spelling out 'bananas'...trust me on this! Long Way To Go is the track that is produced by Andre 3000 and you can tell; it has a good message in that it addresses the issue with interracial relationships, but with the creative genius of Andre 3000 and Gwen's voice, I thought the end result would be a lot better. Andre just wasn't forceful in his delivery of this track like he was with just about every track on his own album. Oh well, they can't all be hits.This is a great CD to play in a convertible cruising on South Beach; ok, so last weekend I thought it enhanced my South Beach experience...but that's a little narrow. It's better to say that it's good to play in your local Wetseal department store where there are a lot of trendy trinkets and instances where you can tap your feet while sifting through the miniskirts in the clearance section. You go Gwen...you're the voice of pretty, fun-loving and hip young women everywhere.
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Gwen Stefani - Love, Angel, Music, Baby

[Dec. 23rd, 2004|09:03 am]Read Them Or Weep

[mood** |6 stars] [music**

Gwen Stefani ~ The Real Thing]Ok, I was really torn about buying this CD. Reading the reviews on Amazon.com certainly didn't help things much in that most of the bad reviews kept saying, "mundane lyrics" and "unoriginal pop" over and over again while all the good reviews seem to say, "Gwen Stefani rocks!" and "it has a good beat". Hmmm...not very convincing on the good side.But after listening to the album, I just couldn't understand what all the bitching was about. Is it because the album isn't aimed at the same skater-punk crowd that No Doubt originally catered to? Is it because the music is a little more schitzophrenic than anything Madonna, Britney, or Christina would put out? Is it because it doesn't sound as "self-made" as a Jewel album (she employed a "Who's Who" of the producer world on this album). But honestly, this is Gwen Stefani we're talking about. And if you really knew the history of No Doubt, then you would know that Gwen didn't even want to be in the band, but was talked into it by her brother Eric and has always been into her own thing.That being said, I think Gwen is probably proud of this album. Even if it is far from being an all-time classic.Most of the tracks have a retro-pop feel to them, especially Cool, Crash, The Real Thing, Serious, and Danger Zone with varying degrees of dance, pop-rock, and...well whatever genre you want to call Jane Child's music. This could be either a good or bad thing depending on what type of tunes you were into in the late 80s. Gwen takes us back again in a different way on Luxurious by sampling the Isley Bros. Between the Sheets in an almost identical fashion to how Notorious B.I.G. did it in Big Poppa and the result is actually very good; although I think it gets spoiled at the end with this corny "Ka-ching!" coda that was thrown in...but it could easily be edited out by any CD burning program :-D. Harajuku Girls is a strange song that I guess was an ode penned specifically for her Japanese fans. The references through the rest of the album to them are ok, but the song itself will probably leave most American listeners scratching their heads. The only single from the album so far is What You Waiting For? and it could very well be the only one. It's very radio-friendly and should do well in the dance clubs. But my personal favorite is by far Rich Girl which many have lamented is a 'weird' interpretation of If I Were A Rich Man from Fiddler on the Roof fame...but I know better. It's actually Gwen's take on a Jamaican dancehall anthem from the early 90s...also called Rich Girl. Unfortunately the name of the Jamaican chick who ragga-fied the Broadway tune originally is escaping me, but believe me Gwen and Eve do it justice. Gwen plays the 'urban card' two more times with Hollaback Girl which sorely misses the hip-hop mark she was trying to hit; but no more than your average teenybooper mallrat who tries to be 'down' and rap along with Jay-Z. Skip this track before she starts spelling out 'bananas'...trust me on this! Long Way To Go is the track that is produced by Andre 3000 and you can tell; it has a good message in that it addresses the issue with interracial relationships, but with the creative genius of Andre 3000 and Gwen's voice, I thought the end result would be a lot better. Andre just wasn't forceful in his delivery of this track like he was with just about every track on his own album. Oh well, they can't all be hits.This is a great CD to play in a convertible cruising on South Beach; ok, so last weekend I thought it enhanced my South Beach experience...but that's a little narrow. It's better to say that it's good to play in your local Wetseal department store where there are a lot of trendy trinkets and instances where you can tap your feet while sifting through the miniskirts in the clearance section. You go Gwen...you're the voice of pretty, fun-loving and hip young women everywhere.

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Various Artists - Black Power: Music of a Revolution	[Dec. 22nd, 2004\|02:38 pm]Read Them Or Weep
[mood \|6 stars] [music	Johnnie Taylor ~ I Am Somebody (Part II.)]I picked up this up from Barnes & Noble last week because this double-disc set was priced the same as a regular CD. Oh, and because of the subject matter also, of course; but at first glance, most of the song titles eluded me. But I'm glad I purchased it. I think it's a shame that the memory of the Black Power movement is steadily fading away. It may not have been powerful on an organisational level, but it was just what the doctor ordered for a group of Americans who were told for hundreds of years that they were less than human.The disc combines music, spoken/word poetry, and monologues/speeches all together. All recordings range from 1968-1979. The opening track is by Huey Newton making a speech about the Blank Panther Party (The Black Panther Party Calls For) and in general I find the first disc to be a bit more militant and outspoken with tracks like Let's Clean Up the Ghetto by THe Philadelphia International All Stars and Blackenized by Hank Ballard. There are also hits like Say It Loud - I'm Black and I'm Proud by James Brown and Fight The Power by the Isley Brothers which is a reminder that there was a time when Black music in America could have strong socio-political messages and still be hugely popular. But you also have some rare gems such as beat-savvy Right On by the Sons of Slum and speeches from Huey Newton, Stokely Carmichael, Kathleen Cleaver, and Malcolm X that forever captures the messages conveyed by this brillant and forceful orators.The second disc is more melodic and more diverse. The immortal Message From A Black Man from the Temptations comes early in the disc and the spoken-word, Afro-centric rhythms of The Last Poets on When The Revolution Comes is a hidden surprise. A few more tunes that were once anthems but now pushed to the back burner follow including a live version of Curtis Mayfield's We're a Winner, Nina Simone's To Be Young, Gifted and Black, and The Staple Singers Respect Yourself are included; along with classic funk such as Parliament's Chocolate City and Dyke & The Blazers We Got More Soul which were both tunes that probably never made it past the underground although they're very danceable. But my favorites are definitely Be Thankful For What you Got which contains lyrics with a beautiful theme as well as a silky-smooth 70s soul melody and a superbly done Lift Ev'ry Voice and Sing by Miss Kim Weston where she takes a song which usually only sounds right when it's sung by a classically trained choir, and makes it her own. Hip-hop fans will love having the original inspiration for N.W.A.'s Express Yourself by Charles Wright & The Watts 103rd Street Rhythm Band. The CD closes with the very suitable Ain't No Stoppin' Us Now by McFadden & Whitehead which is miles away from anything else on the collection as far as style and popularity but somehow seems to fit right in anyway.Despite all these wonderful recordings however, I find the collection very tough to listen to casually. There's not enough of one genre to just play it straight through, and although the lyrical content is uplifting, it's a chilly reminder of the Black experience in America at that time. It would have also helped if the recordings were organised chronologically since there seems to be no rhyme or reason to the current track listing. And although quite a few of the songs charted, the majority are on the avant-garde side so even hardcore fans of funk or soul music may be a bit disappointed in the non-adherence to the pop music formula of the times.This CD is a soundtrack to a particular mode of Black thinking and philosophies during a particular time. To pass it off as just a collection of soul music would not be doing it or the Black Power movement much justice.
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Various Artists - Black Power: Music of a Revolution

[Dec. 22nd, 2004|02:38 pm]Read Them Or Weep

[mood** |6 stars] [music**

Johnnie Taylor ~ I Am Somebody (Part II.)]

I picked up this up from Barnes & Noble last week because this double-disc set was priced the same as a regular CD. Oh, and because of the subject matter also, of course; but at first glance, most of the song titles eluded me. But I'm glad I purchased it. I think it's a shame that the memory of the Black Power movement is steadily fading away. It may not have been powerful on an organisational level, but it was just what the doctor ordered for a group of Americans who were told for hundreds of years that they were less than human.The disc combines music, spoken/word poetry, and monologues/speeches all together. All recordings range from 1968-1979. The opening track is by Huey Newton making a speech about the Blank Panther Party (The Black Panther Party Calls For) and in general I find the first disc to be a bit more militant and outspoken with tracks like Let's Clean Up the Ghetto by THe Philadelphia International All Stars and Blackenized by Hank Ballard. There are also hits like Say It Loud - I'm Black and I'm Proud by James Brown and Fight The Power by the Isley Brothers which is a reminder that there was a time when Black music in America could have strong socio-political messages and still be hugely popular. But you also have some rare gems such as beat-savvy Right On by the Sons of Slum and speeches from Huey Newton, Stokely Carmichael, Kathleen Cleaver, and Malcolm X that forever captures the messages conveyed by this brillant and forceful orators.The second disc is more melodic and more diverse. The immortal Message From A Black Man from the Temptations comes early in the disc and the spoken-word, Afro-centric rhythms of The Last Poets on When The Revolution Comes is a hidden surprise. A few more tunes that were once anthems but now pushed to the back burner follow including a live version of Curtis Mayfield's We're a Winner, Nina Simone's To Be Young, Gifted and Black, and The Staple Singers Respect Yourself are included; along with classic funk such as Parliament's Chocolate City and Dyke & The Blazers We Got More Soul which were both tunes that probably never made it past the underground although they're very danceable. But my favorites are definitely Be Thankful For What you Got which contains lyrics with a beautiful theme as well as a silky-smooth 70s soul melody and a superbly done Lift Ev'ry Voice and Sing by Miss Kim Weston where she takes a song which usually only sounds right when it's sung by a classically trained choir, and makes it her own. Hip-hop fans will love having the original inspiration for N.W.A.'s Express Yourself by Charles Wright & The Watts 103rd Street Rhythm Band. The CD closes with the very suitable Ain't No Stoppin' Us Now by McFadden & Whitehead which is miles away from anything else on the collection as far as style and popularity but somehow seems to fit right in anyway.Despite all these wonderful recordings however, I find the collection very tough to listen to casually. There's not enough of one genre to just play it straight through, and although the lyrical content is uplifting, it's a chilly reminder of the Black experience in America at that time. It would have also helped if the recordings were organised chronologically since there seems to be no rhyme or reason to the current track listing. And although quite a few of the songs charted, the majority are on the avant-garde side so even hardcore fans of funk or soul music may be a bit disappointed in the non-adherence to the pop music formula of the times.This CD is a soundtrack to a particular mode of Black thinking and philosophies during a particular time. To pass it off as just a collection of soul music would not be doing it or the Black Power movement much justice.

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Various Artists - Darker than Blue: Soul from Jamdown (1973-1980)	[Oct. 3rd, 2004\|08:52 pm]Read Them Or Weep
[mood \|7 stars] [music	Freddie McGregor ~ Get Involved]Well this here is a compilation that features some music that is pretty much overlooked - even when it comes to the collectors' circles. That music is Jamaican soul music. Well; maybe that was the case as little as 5 years ago - before record companies like Trojan, Soul Jazz, and this one - Blood & Fire.First note to make is to take a look at the dates in the title. That's the key to knowing that while Jamaicans mirrored the Black music in America probably ever since the 1940's, this compilation isn't going to feature any tunes that sound like Temptations. It's more along the soul-funk strain. And that's clearing evidenced by the CD's first track, Ghetto Funk by The Boris Gardiner Happening f/Leslie Butler, with it's searing organ line and groovin' bass. The next stand-out track is the third one - Slipping Into Darkness by Carl Bradney. In fact, it amazing to think that these recordings were never really chart toppers. But it's good to know that this "novelty" music is starting to now get recognized.As the tracks progress, the sounds move from imitating pure funk/soul and acquiring their own Jamaican feel with the rhythm section getting into a loose reggae groove but with the soul melody still in the forefront. This can be evidenced in Gypsy Woman by Milton Henry, I'm Your Puppet by Jimmy London, For the Love of You by John Holt, and Baltimore by the Tamlins (followed by a cool rap track on the same rhythm done by Welton Irie). And of course, there are some well done covers like Ken Boothe's version of the Bill Withers classic Ain't No Sunshine. Well most of the tracks are covers...but I guess that's just the nature of the beast.If you like soul music or just collecting rarer stuff out of Jamaica you would probably like this album. I would definitely recommend it to any big fan of Black music from the 70s. And I wouldn't recommend it to someone who listens to any of the specific strains of reggae (dancehall, ska, rocksteady) and that's it. I mean, you might enjoy it - but none of the tracks would probably be 'reggae' enough for your likings.
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Various Artists - Darker than Blue: Soul from Jamdown (1973-1980)

[Oct. 3rd, 2004|08:52 pm]Read Them Or Weep

[mood** |7 stars] [music**

Freddie McGregor ~ Get Involved]

Well this here is a compilation that features some music that is pretty much overlooked - even when it comes to the collectors' circles. That music is Jamaican soul music. Well; maybe that was the case as little as 5 years ago - before record companies like Trojan, Soul Jazz, and this one - Blood & Fire.First note to make is to take a look at the dates in the title. That's the key to knowing that while Jamaicans mirrored the Black music in America probably ever since the 1940's, this compilation isn't going to feature any tunes that sound like Temptations. It's more along the soul-funk strain. And that's clearing evidenced by the CD's first track, Ghetto Funk by The Boris Gardiner Happening f/Leslie Butler, with it's searing organ line and groovin' bass. The next stand-out track is the third one - Slipping Into Darkness by Carl Bradney. In fact, it amazing to think that these recordings were never really chart toppers. But it's good to know that this "novelty" music is starting to now get recognized.As the tracks progress, the sounds move from imitating pure funk/soul and acquiring their own Jamaican feel with the rhythm section getting into a loose reggae groove but with the soul melody still in the forefront. This can be evidenced in Gypsy Woman by Milton Henry, I'm Your Puppet by Jimmy London, For the Love of You by John Holt, and Baltimore by the Tamlins (followed by a cool rap track on the same rhythm done by Welton Irie). And of course, there are some well done covers like Ken Boothe's version of the Bill Withers classic Ain't No Sunshine. Well most of the tracks are covers...but I guess that's just the nature of the beast.If you like soul music or just collecting rarer stuff out of Jamaica you would probably like this album. I would definitely recommend it to any big fan of Black music from the 70s. And I wouldn't recommend it to someone who listens to any of the specific strains of reggae (dancehall, ska, rocksteady) and that's it. I mean, you might enjoy it - but none of the tracks would probably be 'reggae' enough for your likings.

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Various Artists - Night Train to Nashville: Music City Rhythm & Blues (1945-1970)	[Apr. 29th, 2004\|10:22 pm]Read Them Or Weep
[mood \|7 stars] [music	Ruth Brown ~ Mama, He Treats Your Daughter Mean]Compilations can be funny things. Sometimes they give you all the best in one package; but more often times not. Of course, there's all kinds of underlying reasons as to why every other pop compilation seems to include Duran Duran's Reflex...and everyone is out to make a quick buck buy throwing together some collection. Of course, the vast majority of compilations are geared towards "casual buyers" who are just looking for some background music for their theme party: AKA the "karoake collectors".So when I saw this album, I knew I was taking a gamble. Gambling that some record label didn't just "inherit" some old masters from 2 defunct labels and release a bunch of terrible sounding relics. But the title won me over. Being a lover of all things from the soul/blues/R&B strain...I admit I don't own a huge variety of the genre. I enjoy my share of some obscure Northern Soul that the Europeans have managed to throw together on a CD; but Motown, Hi, Loma, Chess and Atlantic seem to pop up over and over again on the bindings of my recordings.And sometimes...just sometimes, you get lucky.This 2-CD set is nothing less than a precious piece of American musical history. It was actually compiled by the Country Music Hall of Fame's employee's (something I didn't find out until opening the packaging). The stylings of the tracks is more diverse than the title would lead you to believe - and yet they all have a similar "flavor" to them. Every word of every lyric is sung like it was felt a thousand times before it was ever recorded. You can also close your eyes and imagine the White youth in America (and other places...Anna (Go To Him) by Arthur Alexander is included...which was covered by the Beatles). You can hear the influence that this music had on the more "refined" soul of the northern locales. Conversely, you can also hear the influence that traditional country music had on R&B/early rock 'n' roll.The tracks appear in chronological order; yet the consistency in sould quality is amazing! And to keep things interesting, there are some off-the-wall bonus tracks such as a radio commerical by Little Richard himself.This is definitely a collection with more duds then gems...if there are any "duds" to begin with. For anyone who likes their soul with a bit of southern-fried crunch...these two CDs would satisfy you totally.
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Various Artists - Night Train to Nashville: Music City Rhythm & Blues (1945-1970)

[Apr. 29th, 2004|10:22 pm]Read Them Or Weep

[mood** |7 stars] [music**

Ruth Brown ~ Mama, He Treats Your Daughter Mean]Compilations can be funny things. Sometimes they give you all the best in one package; but more often times not. Of course, there's all kinds of underlying reasons as to why every other pop compilation seems to include Duran Duran's Reflex...and everyone is out to make a quick buck buy throwing together some collection. Of course, the vast majority of compilations are geared towards "casual buyers" who are just looking for some background music for their theme party: AKA the "karoake collectors".So when I saw this album, I knew I was taking a gamble. Gambling that some record label didn't just "inherit" some old masters from 2 defunct labels and release a bunch of terrible sounding relics. But the title won me over. Being a lover of all things from the soul/blues/R&B strain...I admit I don't own a huge variety of the genre. I enjoy my share of some obscure Northern Soul that the Europeans have managed to throw together on a CD; but Motown, Hi, Loma, Chess and Atlantic seem to pop up over and over again on the bindings of my recordings.And sometimes...just sometimes, you get lucky.This 2-CD set is nothing less than a precious piece of American musical history. It was actually compiled by the Country Music Hall of Fame's employee's (something I didn't find out until opening the packaging). The stylings of the tracks is more diverse than the title would lead you to believe - and yet they all have a similar "flavor" to them. Every word of every lyric is sung like it was felt a thousand times before it was ever recorded. You can also close your eyes and imagine the White youth in America (and other places...Anna (Go To Him) by Arthur Alexander is included...which was covered by the Beatles). You can hear the influence that this music had on the more "refined" soul of the northern locales. Conversely, you can also hear the influence that traditional country music had on R&B/early rock 'n' roll.The tracks appear in chronological order; yet the consistency in sould quality is amazing! And to keep things interesting, there are some off-the-wall bonus tracks such as a radio commerical by Little Richard himself.This is definitely a collection with more duds then gems...if there are any "duds" to begin with. For anyone who likes their soul with a bit of southern-fried crunch...these two CDs would satisfy you totally.

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Metric - Old Underground, Where Are You Now?	[Mar. 4th, 2004\|10:54 am]Read Them Or Weep
[mood \|9 stars] [music	Metric ~ I.O.U.]Every once in a while you get lucky; you run into something or someone that seems inconsequencial at first...but then you realize what a treasure it (or they) turn out to be!I still don't own this album. It was lended to me (a burned copy at that) by a friend who told me to "Check it out". That was about a week ago. I didn't think to listen to it until two days ago (and that was only because I liked their Dead Disco song that was on another mix CD I heard).Yet all I have to say is...wow. But then again, the music is like from my own personal version of sonic paradise. Dance ready (and sometimes funky) beats, an expressive and versatile femme-fatale lead singer, and lyrics that come from that punky-political strain - yet very real and personal...a vocalization of my feelings while I was eating Pop-Tarts for breakfast.On the other hand...not everyone is like me. The 'album' is short (10 tracks) and feels a bit incomplete. The dissenting opinion will argue that they sound too much like an updated Blondie, that the music is too simple (yet structured stangely - guitar riffs in weird spots...songs ending on harmonic notes in unexpected places...), or maybe that they just enough of anything. The music, no the songs just can't seem to 'settle down' and be comfortable. And then there is Emily Haines' intangible voice which quells your desire to have a sing-along.So I'll talk about the infamous Dead Disco first...not because it's the first track on the album...but because it was the first one I ever heard and contains a very mood-setting chorus:_Dead discoDead funkDead rock-n-rollRemodelEverything has been doneLalalala la la la lala la la_Rather if it's a glorification or lament about how 'new' music is just the reincarnation of the old stuff...I guess that's up for us to decide. But in the end, does it really matter? Isn't it about listening to the sounds that we like?And here's another lovely lyric from Succexy:_All we do is talk, sit, switch screensAs the homeland plans enemies...Inavasion so succexy..._Shocking. But only because it might all pass you by while you're dancing.This one is tough to find. Amazon has it and their Official Webpage offers a link where you can also purchase it online. In my opinon though, it's definitely worth the effort.
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Metric - Old Underground, Where Are You Now?

[Mar. 4th, 2004|10:54 am]Read Them Or Weep

[mood** |9 stars] [music**

Metric ~ I.O.U.]Every once in a while you get lucky; you run into something or someone that seems inconsequencial at first...but then you realize what a treasure it (or they) turn out to be!I still don't own this album. It was lended to me (a burned copy at that) by a friend who told me to "Check it out". That was about a week ago. I didn't think to listen to it until two days ago (and that was only because I liked their Dead Disco song that was on another mix CD I heard).Yet all I have to say is...wow. But then again, the music is like from my own personal version of sonic paradise. Dance ready (and sometimes funky) beats, an expressive and versatile femme-fatale lead singer, and lyrics that come from that punky-political strain - yet very real and personal...a vocalization of my feelings while I was eating Pop-Tarts for breakfast.On the other hand...not everyone is like me. The 'album' is short (10 tracks) and feels a bit incomplete. The dissenting opinion will argue that they sound too much like an updated Blondie, that the music is too simple (yet structured stangely - guitar riffs in weird spots...songs ending on harmonic notes in unexpected places...), or maybe that they just enough of anything. The music, no the songs just can't seem to 'settle down' and be comfortable. And then there is Emily Haines' intangible voice which quells your desire to have a sing-along.So I'll talk about the infamous Dead Disco first...not because it's the first track on the album...but because it was the first one I ever heard and contains a very mood-setting chorus:_Dead discoDead funkDead rock-n-rollRemodelEverything has been doneLalalala la la la lala la la_Rather if it's a glorification or lament about how 'new' music is just the reincarnation of the old stuff...I guess that's up for us to decide. But in the end, does it really matter? Isn't it about listening to the sounds that we like?And here's another lovely lyric from Succexy:_All we do is talk, sit, switch screensAs the homeland plans enemies...Inavasion so succexy..._Shocking. But only because it might all pass you by while you're dancing.This one is tough to find. Amazon has it and their Official Webpage offers a link where you can also purchase it online. In my opinon though, it's definitely worth the effort.

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Various Artists - The Best of the Beat Generation	[Jan. 8th, 2004\|01:55 pm]Read Them Or Weep
[mood \|9 stars] [music	Ken Nordine ~ My Baby]Rhino always seems to put out excellent compilations; but I definitely wasn't expecting something like this. Picked up in a used record store for a price that was definitely a steal...I was intrigued with the cover and the track titles (like Psychopathia Sexualis and A History of Jazz). But the purchase was sealed when the clerk who worked there tried to make an offer to buy it back from me!If the title leaves you scratching your head, that's ok. This is a collection of 'relics' from a time long past (50-40 years), yet still fresh even now (perhaps because of their 'underground' status then). Filed under the 'spoken word' category, this disc contains tracks of poetry, prose, jazz ditties, and other odes to the beatnik culture of the late fifties/early sixties.The very witty, sometimes shocking, talents of Jack Kerourc open the album. His run-on sentence form of recitation may make you miss the poignancy of his work...which actually heralds Negros as being much cooler than he and Harlem the 'happenin' place to be. Al "Jazzbo" Collins does a great version of Three Little Pigs (A Grimm Fairy Tale for Hip Kids) cloaked in the vernacular of beatnik slang. Bob McFadden, Bob Dorough, Ken Nordine, Langston Hughes, Lenny Bruce, Allen Ginsberg, and Shorty Petterstein all recite amazing poetry also. Not to mention being backed by the most complimentary be-bop jazz to accentuate it all. Carmen McRae contributes to the album's musical interludes with Coffee Time which is just as warm and cozy as a fresh cappuchino. But the true gem is the last track written and performed by William Burroughs...a legend in the beatnik/artsy circles in the sixties.For someone like me (who is a casual fan of jazz) it surprised me how much I loved this collection. It really, just somehow takes you there...to where they are...both culturally and intellectually. Now it's very obvious to my ears that be-bop is really poetry without words; and perhaps the type of poetry these people were writing was some sort of literary jazz. Amazing when you put them together...it seems to make perfect sense...Although it's probably not the easiest album to find, any serious collector of jazz shouldn't miss this one (or perhaps the sister box set of the title Beat Generation which came out 10 years prior); nor should anyone into contemporary prose or anyone into pop culture movements. Here's the link at Rhino's website for purchasing information. If you're looking for some jazz that isn't your everyday run-of-the-mill stuff...look no further my friend.
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Various Artists - The Best of the Beat Generation

[Jan. 8th, 2004|01:55 pm]Read Them Or Weep

[mood** |9 stars] [music**

Ken Nordine ~ My Baby]Rhino always seems to put out excellent compilations; but I definitely wasn't expecting something like this. Picked up in a used record store for a price that was definitely a steal...I was intrigued with the cover and the track titles (like Psychopathia Sexualis and A History of Jazz). But the purchase was sealed when the clerk who worked there tried to make an offer to buy it back from me!If the title leaves you scratching your head, that's ok. This is a collection of 'relics' from a time long past (50-40 years), yet still fresh even now (perhaps because of their 'underground' status then). Filed under the 'spoken word' category, this disc contains tracks of poetry, prose, jazz ditties, and other odes to the beatnik culture of the late fifties/early sixties.The very witty, sometimes shocking, talents of Jack Kerourc open the album. His run-on sentence form of recitation may make you miss the poignancy of his work...which actually heralds Negros as being much cooler than he and Harlem the 'happenin' place to be. Al "Jazzbo" Collins does a great version of Three Little Pigs (A Grimm Fairy Tale for Hip Kids) cloaked in the vernacular of beatnik slang. Bob McFadden, Bob Dorough, Ken Nordine, Langston Hughes, Lenny Bruce, Allen Ginsberg, and Shorty Petterstein all recite amazing poetry also. Not to mention being backed by the most complimentary be-bop jazz to accentuate it all. Carmen McRae contributes to the album's musical interludes with Coffee Time which is just as warm and cozy as a fresh cappuchino. But the true gem is the last track written and performed by William Burroughs...a legend in the beatnik/artsy circles in the sixties.For someone like me (who is a casual fan of jazz) it surprised me how much I loved this collection. It really, just somehow takes you there...to where they are...both culturally and intellectually. Now it's very obvious to my ears that be-bop is really poetry without words; and perhaps the type of poetry these people were writing was some sort of literary jazz. Amazing when you put them together...it seems to make perfect sense...Although it's probably not the easiest album to find, any serious collector of jazz shouldn't miss this one (or perhaps the sister box set of the title Beat Generation which came out 10 years prior); nor should anyone into contemporary prose or anyone into pop culture movements. Here's the link at Rhino's website for purchasing information. If you're looking for some jazz that isn't your everyday run-of-the-mill stuff...look no further my friend.

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Various Artists - Cold Mountain (Soundtrack)	[Dec. 24th, 2003\|02:53 pm]Read Them Or Weep
[mood \|8 stars] [music	Jack White ~ Great High Mountain]This is the first soundtrack that I've purchased in, well, a long time. Why? Well, for three reasons really:1) Even though I enjoy bluegrass/American rootsy-folk/Appalachian music, I own almost none. Shame on me. I 'discovered' Appalachian music (and fiddling!) while attending West Virginia University. Had to take a class in Appalachian culture...so of course I choose music. I never, ever before gave a second thought to 'hillbilly' music; until research led me to discover how closely related it is to Gaelic/Welsh and other folk music from the British Isles of the 16th, 17th, and 18th centuries. And then I saw it performed live. To make a long story short, I viewed my birthplace in a whole new light.2) The thing that brought this soundtrack to my light is that Jack White performs 5 of the songs. Yes, I'm a sucker, and the folks on The White Stripes message board ( Little Room ) were raving about it. And that's a tough crowd!3) I've fallen into the lovely rut of buying a lot of reggae lately. Not that I'm complaining...but I wanted a change...so why not a drastic one?Remember a soundtrack that came out not to long ago to that wonderful movie O' Brother, Where Art Thou?. Well yeah, this one falls along the same strain. Produced by the same man (T Bone Burnett), it presents an authentic, geographically specific style of music in a way that the entire world can appreciate. However, this collection is far more chilled, somber, and reverent than the aforementioned title.Going through the performers, let's first get Jack White out of the way. No remenants of the rocking riffs and vocals that he delivers with The White Stripes here. His performance does justice to folk music and yet it still familiar and distinctive; which will surely please purists and avid Jack White fans alike. Then there is Alison Krauss whose voice rings as clear and beautiful as mountain spring water. Even more surprising is that her two tracks were written by Elvis Costello, Henry Burnett, and Sting. Tim Eriksen comes through on three classic tracks that immediately sweep you back 150 years to rural America; proving that music can be timeless. But my absolute favorites have got to be the two performances given by The Sacred Harp Singers. It's a form of gospel singing called 'shape-note' which refers to how the music was originally notated. If you have never heard it before, it is truly glorious stuff. Imagine the regal (but unpolished) harmonies of a Catholic church choir, mixed in with the rhythm of American tempered gospel, phrased with a touch of Southern twang. Truly a treat. This soundtrack in my opinion is an excellent addition to any music collection; even if you do not have a preference for 'this kind' of music. 11 of the 19 tracks are traditional tunes, so it stands as a tiny piece of historic American culture; and in the day and age of electronic beats, computerized sounds, and multi-tracking...it's a welcome change of pace - a reminder that music in it's most basic forms can be quite satisfying.
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Various Artists - Cold Mountain (Soundtrack)

[Dec. 24th, 2003|02:53 pm]Read Them Or Weep

[mood** |8 stars] [music**

Jack White ~ Great High Mountain]This is the first soundtrack that I've purchased in, well, a long time. Why? Well, for three reasons really:1) Even though I enjoy bluegrass/American rootsy-folk/Appalachian music, I own almost none. Shame on me. I 'discovered' Appalachian music (and fiddling!) while attending West Virginia University. Had to take a class in Appalachian culture...so of course I choose music. I never, ever before gave a second thought to 'hillbilly' music; until research led me to discover how closely related it is to Gaelic/Welsh and other folk music from the British Isles of the 16th, 17th, and 18th centuries. And then I saw it performed live. To make a long story short, I viewed my birthplace in a whole new light.2) The thing that brought this soundtrack to my light is that Jack White performs 5 of the songs. Yes, I'm a sucker, and the folks on The White Stripes message board ( Little Room ) were raving about it. And that's a tough crowd!3) I've fallen into the lovely rut of buying a lot of reggae lately. Not that I'm complaining...but I wanted a change...so why not a drastic one?Remember a soundtrack that came out not to long ago to that wonderful movie O' Brother, Where Art Thou?. Well yeah, this one falls along the same strain. Produced by the same man (T Bone Burnett), it presents an authentic, geographically specific style of music in a way that the entire world can appreciate. However, this collection is far more chilled, somber, and reverent than the aforementioned title.Going through the performers, let's first get Jack White out of the way. No remenants of the rocking riffs and vocals that he delivers with The White Stripes here. His performance does justice to folk music and yet it still familiar and distinctive; which will surely please purists and avid Jack White fans alike. Then there is Alison Krauss whose voice rings as clear and beautiful as mountain spring water. Even more surprising is that her two tracks were written by Elvis Costello, Henry Burnett, and Sting. Tim Eriksen comes through on three classic tracks that immediately sweep you back 150 years to rural America; proving that music can be timeless. But my absolute favorites have got to be the two performances given by The Sacred Harp Singers. It's a form of gospel singing called 'shape-note' which refers to how the music was originally notated. If you have never heard it before, it is truly glorious stuff. Imagine the regal (but unpolished) harmonies of a Catholic church choir, mixed in with the rhythm of American tempered gospel, phrased with a touch of Southern twang. Truly a treat. This soundtrack in my opinion is an excellent addition to any music collection; even if you do not have a preference for 'this kind' of music. 11 of the 19 tracks are traditional tunes, so it stands as a tiny piece of historic American culture; and in the day and age of electronic beats, computerized sounds, and multi-tracking...it's a welcome change of pace - a reminder that music in it's most basic forms can be quite satisfying.

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The Strokes - Room On Fire	[Dec. 21st, 2003\|08:11 am]Read Them Or Weep
[mood \|6 stars] [music	The Strokes ~ The Way It Is]Well now, I'm not going to fib here and say that I didn't want to run and go buy this album the first day it was released. Was it because the Strokes are my favorite band? Not really. But I guess the marketing hype got to me too. I'm not necessarily ashamed to admit that; I mean I am only human!The only reason why I mention this is because before writing this review, I was trying to figure out just what do I think makes a good album? Should it be based purely on musicality? Or should approach, presentation, and 'context' (what's going on with other music at the same time) be put into consideration also? Well I decided that 'other elements' should definitely have a vote; but not necessarily a veto. Of course, I had the opinion of 'a little birdie' (a.k.a. seanp ) to help me out.The music on Room On Fire is definitely not bad. But it won't knock the wind out of you with powerful vocals, elaborate guitar riffs, or trendsetting beats. What it will do is just grow on you and feel like you've owned it a lot longer than you actually have; similar to clothes from a thrift store. Of course the 'unpolished' production adds to this effect.Before I heard the entire album, I found 12:51 to be a great song. But running through the tracks it seems to fade into the background and others seem to jump out more. The first one to do that was Reptilia which is easily the album's hardest rocking track. Automatic Stop is next and it's one of those reverse-love ballads that has a good melody and is a refreshing change from your average 'angry' song...in my opinion, this should have been the album's first single. But my favorite has to be Under Control where the lyric writing is smart, Julian Casablanca's singing is in it's true element, and the musical arrangement just contributes to the ear candy.Be warned however...this album is incredibly short (a little over 33 minutes in it's entirety). Just ask yourself though, do you really need epic recordings from The Strokes? In my opinion, their music just isn't 'deep enough' for that and being that they themselves (or perhaps the producers) realized that and spared me from buying tons of filler, then they are my heroes.To be honest, I truly don't know if the Strokes would even be taken seriously if it were the 1970s or 1980s; and perhaps there riding big time on the coatails of groups like The Cars, Television, and even The Velvet Underground. But it's cool that they're doing it in 2003...and have become popular doing it. I find it funny that The Strokes are part of the "New Modern Rock" wave...because their sound is quite retro in my book. So dash away your hopes of a sophisticated, innovative, and climatic aural experience and just play the music and enjoy.
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The Strokes - Room On Fire

[Dec. 21st, 2003|08:11 am]Read Them Or Weep

[mood** |6 stars] [music**

The Strokes ~ The Way It Is]Well now, I'm not going to fib here and say that I didn't want to run and go buy this album the first day it was released. Was it because the Strokes are my favorite band? Not really. But I guess the marketing hype got to me too. I'm not necessarily ashamed to admit that; I mean I am only human!The only reason why I mention this is because before writing this review, I was trying to figure out just what do I think makes a good album? Should it be based purely on musicality? Or should approach, presentation, and 'context' (what's going on with other music at the same time) be put into consideration also? Well I decided that 'other elements' should definitely have a vote; but not necessarily a veto. Of course, I had the opinion of 'a little birdie' (a.k.a.

seanp ) to help me out.The music on Room On Fire is definitely not bad. But it won't knock the wind out of you with powerful vocals, elaborate guitar riffs, or trendsetting beats. What it will do is just grow on you and feel like you've owned it a lot longer than you actually have; similar to clothes from a thrift store. Of course the 'unpolished' production adds to this effect.Before I heard the entire album, I found 12:51 to be a great song. But running through the tracks it seems to fade into the background and others seem to jump out more. The first one to do that was Reptilia which is easily the album's hardest rocking track. Automatic Stop is next and it's one of those reverse-love ballads that has a good melody and is a refreshing change from your average 'angry' song...in my opinion, this should have been the album's first single. But my favorite has to be Under Control where the lyric writing is smart, Julian Casablanca's singing is in it's true element, and the musical arrangement just contributes to the ear candy.Be warned however...this album is incredibly short (a little over 33 minutes in it's entirety). Just ask yourself though, do you really need epic recordings from The Strokes? In my opinion, their music just isn't 'deep enough' for that and being that they themselves (or perhaps the producers) realized that and spared me from buying tons of filler, then they are my heroes.To be honest, I truly don't know if the Strokes would even be taken seriously if it were the 1970s or 1980s; and perhaps there riding big time on the coatails of groups like The Cars, Television, and even The Velvet Underground. But it's cool that they're doing it in 2003...and have become popular doing it. I find it funny that The Strokes are part of the "New Modern Rock" wave...because their sound is quite retro in my book. So dash away your hopes of a sophisticated, innovative, and climatic aural experience and just play the music and enjoy.

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Alicia Keys - The Diary of Alicia Keys	[Dec. 3rd, 2003\|11:35 pm]Read Them Or Weep
[mood \|8 stars] [music	Alicia Keys ~ Slow Down]Ok, I admit two things right off the bat: 1) For the longest time, I did not know that Alicia was the singer of "You Don't Know My Name" and 2) One big push for me to buy this album is that Best Buy was selling it for only $9.99. Now with that said, I feel far more comfortable writing this review (as it exposes my 'cluelessness' about Ms. Keys).Diary opens with a sweet piano intro on "Harlem's Nocturne". You immediately feel like you've been taken to a different place and time; you know, where acoustic instruments were and integral part of the "Black sound". Somehow, Alicia manages to pull off that classic feel of soul without hollow imitation or sounding 'retro' or dated. "Karma" presents some grandiose strings highlighting a strong vocal; "Heartburn" is a funky diddy that (I guess) is supposed to be the album's 'dance track'; the album version of "You Don't Know My Name" seems to flow a lot better in it's full version at 6 minutes and 6 seconds.But the best of Alicia comes out in "If I Ain't Got You" which feels like it should go into the books as one of the great soul odes of our time. "Nobody Not Really" should get the honorable mention spot. The other tracks are not bad. Surprisingly, I found the title track to be one of the weakest (Tony! Toni! Tone! don't help out much). Also the funky vocal effects on "So Simple" take some getting used to. I'm on the second run through of this album, and my ears still don't 'dig it' quite yet. And to be honest, it doesn't seem like this album is likely to produce a lot of singles; but how many 'great' albums do that anyway?So all in all, I feel that this might be one of the strongest R&B/Soul releases of 2003. True, I don't buy that much neo-soul (or whatever it's proper name is), but from a musical, creative, and quality standpoint this album holds it's weight quite well. I think that Alicia has further refined both her vocal and songwriting skills to a point where she really sounds like now other in the business. Perhaps the Grammy for her debut was awarded prematurely?
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Alicia Keys - The Diary of Alicia Keys

[Dec. 3rd, 2003|11:35 pm]Read Them Or Weep

[mood** |8 stars] [music**

Alicia Keys ~ Slow Down]Ok, I admit two things right off the bat: 1) For the longest time, I did not know that Alicia was the singer of "You Don't Know My Name" and 2) One big push for me to buy this album is that Best Buy was selling it for only $9.99. Now with that said, I feel far more comfortable writing this review (as it exposes my 'cluelessness' about Ms. Keys).Diary opens with a sweet piano intro on "Harlem's Nocturne". You immediately feel like you've been taken to a different place and time; you know, where acoustic instruments were and integral part of the "Black sound". Somehow, Alicia manages to pull off that classic feel of soul without hollow imitation or sounding 'retro' or dated. "Karma" presents some grandiose strings highlighting a strong vocal; "Heartburn" is a funky diddy that (I guess) is supposed to be the album's 'dance track'; the album version of "You Don't Know My Name" seems to flow a lot better in it's full version at 6 minutes and 6 seconds.But the best of Alicia comes out in "If I Ain't Got You" which feels like it should go into the books as one of the great soul odes of our time. "Nobody Not Really" should get the honorable mention spot. The other tracks are not bad. Surprisingly, I found the title track to be one of the weakest (Tony! Toni! Tone! don't help out much). Also the funky vocal effects on "So Simple" take some getting used to. I'm on the second run through of this album, and my ears still don't 'dig it' quite yet. And to be honest, it doesn't seem like this album is likely to produce a lot of singles; but how many 'great' albums do that anyway?So all in all, I feel that this might be one of the strongest R&B/Soul releases of 2003. True, I don't buy that much neo-soul (or whatever it's proper name is), but from a musical, creative, and quality standpoint this album holds it's weight quite well. I think that Alicia has further refined both her vocal and songwriting skills to a point where she really sounds like now other in the business. Perhaps the Grammy for her debut was awarded prematurely?

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Various Artists - Crooklyn, Vol. II (Soundtrack)	[Nov. 16th, 2003\|08:32 pm]Read Them Or Weep
[mood \|8 stars] [music	The Delfonics ~ La La (Means I Love You)]While I can barely remember the movie, this CD gets regular rotation in my CD player. I originally purchased this album because Crooklyn: The Soundtrack was missing the original version of People Make The World Go Round by the Stylistics; and this album had it.First released in 1994, this is not a brand-spanking new CD. But then again, the majority of the songs in this collection are from the late 60s/early 70s anyway, so I don't think that's an issue to take note of. What is of note are the absolute gems that are present. This soundtrack not only seems to be mated with the Crooklyn movie perfectly, but also with life in any Black urban area in America in the early 1970s.The CD starts off with the cool but conscious People Make the World Go Round which is absolutely timeless. The upbeat Signed, Sealed, Delivered I'm Yours (by Stevie Wonder) is next; but a special treat lies in Cymande's Bra - the third track - which I've never seen in any compilation before...not to mention you would be hard-pressed to find a Cymande album in it's entirety (in the United States...Cymande was never a chart topping group). 3 more hits follow: I'm Stone in Love With You by the Stylistics, Everybody Is A Star by Sly & The Family Stone and the absolutely classic Never Can Say Goodbye by the Jackson Five. You get a double whammy of heavy-duty soul next with Soul Power by James Brown and Soul Makossa by Manu DiBongo. Now at this point, most other soundtracks stop and put in either filler tracks, meaningless dialogue from the film, or some theatrical background score music (which I'm sure somebody out there listens to); but no way Jose, not here...as the punches keep rolling! La La (Means I Love You) by the Delfonics is next and reminds you that once upon a time, a male pop group could draw fans on vocal abilities alone. The psuedo-gospel soul anthem I'll Take You There by The Staple singers is also included as well as the Latin-American treat Puerto Rico by Eddie Palmieri that prods you to dance (well...at least to snap your fingers) to the catchy Spanish guitar and horns! The album draws from another Black pop icon from the 1970s when the Theme From Shaft by the one and only Isaac Hayes is featured. The last two tracks wrap the album up great: Tears of A Clown by Smokey Robinson & The Miracles and the all around good-feeling I Can See Clearly Now by Johnny Nash (nope...not Jimmy Cliff's version). And that folks...is the end of the soul party for today.The downfall of this collection - there's probably nothing on here that you probably haven't heard before. But with selections like this...do you really mind hearing them again?Spike Lee produced the soundtrack which was 'coordinated' by a Ms. Lisa Jackson; so I don't know who picked the songs for this wonderful collection. But whoever it was did one heck of a job. It is an oddity in that in plays more like a 'greatest hits' album than a soundtrack. There are few that can stand alone exclusive of their respective films; but this is definitely one of them. Oh, Crooklyn: The Soundtrack isn't terribly shabby either, but if I had to pick between the two...it would definitely be this one.
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Various Artists - Crooklyn, Vol. II (Soundtrack)

[Nov. 16th, 2003|08:32 pm]Read Them Or Weep

[mood** |8 stars] [music**

The Delfonics ~ La La (Means I Love You)]While I can barely remember the movie, this CD gets regular rotation in my CD player. I originally purchased this album because Crooklyn: The Soundtrack was missing the original version of People Make The World Go Round by the Stylistics; and this album had it.First released in 1994, this is not a brand-spanking new CD. But then again, the majority of the songs in this collection are from the late 60s/early 70s anyway, so I don't think that's an issue to take note of. What is of note are the absolute gems that are present. This soundtrack not only seems to be mated with the Crooklyn movie perfectly, but also with life in any Black urban area in America in the early 1970s.The CD starts off with the cool but conscious People Make the World Go Round which is absolutely timeless. The upbeat Signed, Sealed, Delivered I'm Yours (by Stevie Wonder) is next; but a special treat lies in Cymande's Bra - the third track - which I've never seen in any compilation before...not to mention you would be hard-pressed to find a Cymande album in it's entirety (in the United States...Cymande was never a chart topping group). 3 more hits follow: I'm Stone in Love With You by the Stylistics, Everybody Is A Star by Sly & The Family Stone and the absolutely classic Never Can Say Goodbye by the Jackson Five. You get a double whammy of heavy-duty soul next with Soul Power by James Brown and Soul Makossa by Manu DiBongo. Now at this point, most other soundtracks stop and put in either filler tracks, meaningless dialogue from the film, or some theatrical background score music (which I'm sure somebody out there listens to); but no way Jose, not here...as the punches keep rolling! La La (Means I Love You) by the Delfonics is next and reminds you that once upon a time, a male pop group could draw fans on vocal abilities alone. The psuedo-gospel soul anthem I'll Take You There by The Staple singers is also included as well as the Latin-American treat Puerto Rico by Eddie Palmieri that prods you to dance (well...at least to snap your fingers) to the catchy Spanish guitar and horns! The album draws from another Black pop icon from the 1970s when the Theme From Shaft by the one and only Isaac Hayes is featured. The last two tracks wrap the album up great: Tears of A Clown by Smokey Robinson & The Miracles and the all around good-feeling I Can See Clearly Now by Johnny Nash (nope...not Jimmy Cliff's version). And that folks...is the end of the soul party for today.The downfall of this collection - there's probably nothing on here that you probably haven't heard before. But with selections like this...do you really mind hearing them again?Spike Lee produced the soundtrack which was 'coordinated' by a Ms. Lisa Jackson; so I don't know who picked the songs for this wonderful collection. But whoever it was did one heck of a job. It is an oddity in that in plays more like a 'greatest hits' album than a soundtrack. There are few that can stand alone exclusive of their respective films; but this is definitely one of them. Oh, Crooklyn: The Soundtrack isn't terribly shabby either, but if I had to pick between the two...it would definitely be this one.

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Soul Hooligan - Music Like Dirt	[Nov. 12th, 2003\|05:47 pm]Read Them Or Weep
[mood \|5 stars] [music	Soul Hooligan ~ Addicted]Music nowadays is such a peculiar art it seems. The clear cut lines that define one genre from another are breaking apart. Not to mention single performers or groups who adopt more than one with vigor - and without apology.Not that we mind, but it keeps us (the listeners) on our toes.Soul Hooligan is a good example of this phenomena. They fit right into your collection rather you're into hip-hop, dance, electronica or even blues. Their major label (Maverick) debut album wraps up their 'vision' quite nicely; but it's not the type of introduction that stands out as being memorable.The first track (and single) entitled Algebra is not bad, but it sounds a lot like the Gorillas to me. I didn't feel like I was listening to anything fresh until the second track Addicted hit my ears. Turn Your Head Around is a strong followup, but you start to think you are listening to remix dance revisions of Oasis. The album's best song in my opinion is the fourth one, Soul Searching, with it's raw vocals, innovative & likable breakbeat loops, and smartly arranged piano riff.But the remainder of the album seems to fizzle out. The second single, Psychedelic Soul is a good song...but non-definitive. Dave Jay sings wonderful, wonderful vocals on Night Owl, which should have been utilized a whole lot more than just on that one measley track (he's the 'just the rapper' on the other tracks...what were they thinking!) It's just not nice to tease folks. Start the Day is just a re-hash of Addicted, but by now you really appreciate the beat of that particular rhythm...but again, it's a tease at only 2:18 (with a 45 second intro at that). Stoop Kid just stands out like a sore thumb on this album; Whose to Say just seems to drag on, and on, and on; and the closer, Time Goes By does little to boost the overall quality of this record.One thing is for sure; all the members of this trio are quite talented (all play multiple instruments and the album was self-produced). But they just missed the mark...somehow some way. It's truly a shame because you can tell their ambitions were sky-high (there is some amazing work on this album) just not quite enough so overall it's just 'average'. What a shame though. I'll keep my eye on them...their second release might be killer. I think they're worth holding out for.
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Soul Hooligan - Music Like Dirt

[Nov. 12th, 2003|05:47 pm]Read Them Or Weep

[mood** |5 stars] [music**

Soul Hooligan ~ Addicted]Music nowadays is such a peculiar art it seems. The clear cut lines that define one genre from another are breaking apart. Not to mention single performers or groups who adopt more than one with vigor - and without apology.Not that we mind, but it keeps us (the listeners) on our toes.Soul Hooligan is a good example of this phenomena. They fit right into your collection rather you're into hip-hop, dance, electronica or even blues. Their major label (Maverick) debut album wraps up their 'vision' quite nicely; but it's not the type of introduction that stands out as being memorable.The first track (and single) entitled Algebra is not bad, but it sounds a lot like the Gorillas to me. I didn't feel like I was listening to anything fresh until the second track Addicted hit my ears. Turn Your Head Around is a strong followup, but you start to think you are listening to remix dance revisions of Oasis. The album's best song in my opinion is the fourth one, Soul Searching, with it's raw vocals, innovative & likable breakbeat loops, and smartly arranged piano riff.But the remainder of the album seems to fizzle out. The second single, Psychedelic Soul is a good song...but non-definitive. Dave Jay sings wonderful, wonderful vocals on Night Owl, which should have been utilized a whole lot more than just on that one measley track (he's the 'just the rapper' on the other tracks...what were they thinking!) It's just not nice to tease folks. Start the Day is just a re-hash of Addicted, but by now you really appreciate the beat of that particular rhythm...but again, it's a tease at only 2:18 (with a 45 second intro at that). Stoop Kid just stands out like a sore thumb on this album; Whose to Say just seems to drag on, and on, and on; and the closer, Time Goes By does little to boost the overall quality of this record.One thing is for sure; all the members of this trio are quite talented (all play multiple instruments and the album was self-produced). But they just missed the mark...somehow some way. It's truly a shame because you can tell their ambitions were sky-high (there is some amazing work on this album) just not quite enough so overall it's just 'average'. What a shame though. I'll keep my eye on them...their second release might be killer. I think they're worth holding out for.

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Operation Ivy - Energy	[Nov. 10th, 2003\|02:53 am]Read Them Or Weep
[mood \|9 stars] [music	Operation Ivy ~ Smiling]Despite the fact that this is the album that squashed all my previous fears about listening to punk when I bought it in 1998; I'll try my best to leave personal attachment alone and be objective about this album. And in being as 'objective' as possible...this is a very good release.If you want to be technical about it the current release is actually Energy plus 7 extra tracks from various EPs; but whatever. This is the only readily available release from Operation Ivy put out by Lookout Records. So don't worry about 'investing' into an extensive Op Ivy collection because this is it...and really it's all you need.I've heard some descriptions of Op Ivy as being "ska-punk"; but after listening to them, I take that description with a grain of salt. The band does not flip-flop between the two genres, nor do they try to fully encompass (and then mal) both. This is pure punk - in the sense of the political lyrics, the "in-your-face-do-or-die" vocals, and the loud and fast guitar riffs. The ska part comes in I suppose because of the innovative "skatting" done by the lead guitar on many of the verse sections of songs mated with a more deliberate pace.Out of 27 tracks on this album everyone is bound to have their different faves. Mine are easily Sound System (track 2) with its reggae-on-caffeine backing rhythm; Take Warning (track 4) with its universal lyrics that speaks to all youth in any subculture (hahaha...past & present); Vulnerability (track 8) which is just bare and uninhibited punk rock; Bankshot (track 9) which has a rockabilly flavor but I've known skinheads to dance to it also (it's just that good...); Missionary (track 19) contains a depth of meaning and historical perspective that you would never expect out of a 2 minute and 7 second song; and finally Hoboken (track 22) speaks to anyone whose from a small town and/or anyone who just wants to frickin' escape.Of course I could list more and more accolades but in the sake to not be redundant...I won't. As far as criticisms, if punk utterly repulses you, you'll probably hate this album anyway; and the only criticisms I can think of would be condoned by folks who just don't like music that is political, loud, fast, and....well "short" (the longest track time on the album is Bad Town at 2:35...and it stands out as being long!). However, keep in mind that Operation Ivy has somehow managed to take a style of music which is played bladly and written crudely all too often and crafted masterpieces of it somehow/someway. Everytime someone talks about Operation Ivy they like to bring up Rancid; just because some members of the aforementioned outfit joined with some other lads and formed the later. Why? Rancid is an entire different sound and it's like talking about New Edition then eluding to Bell Biv DeVoe constantly. I believe Operation Ivy produced high quality material that deserves its very own spotlight. This album is the testament to that.Try it and see for yourself. Be careful though, you might just like it too.
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Operation Ivy - Energy

[Nov. 10th, 2003|02:53 am]Read Them Or Weep

[mood** |9 stars] [music**

Operation Ivy ~ Smiling]Despite the fact that this is the album that squashed all my previous fears about listening to punk when I bought it in 1998; I'll try my best to leave personal attachment alone and be objective about this album. And in being as 'objective' as possible...this is a very good release.If you want to be technical about it the current release is actually Energy plus 7 extra tracks from various EPs; but whatever. This is the only readily available release from Operation Ivy put out by Lookout Records. So don't worry about 'investing' into an extensive Op Ivy collection because this is it...and really it's all you need.I've heard some descriptions of Op Ivy as being "ska-punk"; but after listening to them, I take that description with a grain of salt. The band does not flip-flop between the two genres, nor do they try to fully encompass (and then mal) both. This is pure punk - in the sense of the political lyrics, the "in-your-face-do-or-die" vocals, and the loud and fast guitar riffs. The ska part comes in I suppose because of the innovative "skatting" done by the lead guitar on many of the verse sections of songs mated with a more deliberate pace.Out of 27 tracks on this album everyone is bound to have their different faves. Mine are easily Sound System (track 2) with its reggae-on-caffeine backing rhythm; Take Warning (track 4) with its universal lyrics that speaks to all youth in any subculture (hahaha...past & present); Vulnerability (track 8) which is just bare and uninhibited punk rock; Bankshot (track 9) which has a rockabilly flavor but I've known skinheads to dance to it also (it's just that good...); Missionary (track 19) contains a depth of meaning and historical perspective that you would never expect out of a 2 minute and 7 second song; and finally Hoboken (track 22) speaks to anyone whose from a small town and/or anyone who just wants to frickin' escape.Of course I could list more and more accolades but in the sake to not be redundant...I won't. As far as criticisms, if punk utterly repulses you, you'll probably hate this album anyway; and the only criticisms I can think of would be condoned by folks who just don't like music that is political, loud, fast, and....well "short" (the longest track time on the album is Bad Town at 2:35...and it stands out as being long!). However, keep in mind that Operation Ivy has somehow managed to take a style of music which is played bladly and written crudely all too often and crafted masterpieces of it somehow/someway. Everytime someone talks about Operation Ivy they like to bring up Rancid; just because some members of the aforementioned outfit joined with some other lads and formed the later. Why? Rancid is an entire different sound and it's like talking about New Edition then eluding to Bell Biv DeVoe constantly. I believe Operation Ivy produced high quality material that deserves its very own spotlight. This album is the testament to that.Try it and see for yourself. Be careful though, you might just like it too.

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Al Green - Greatest Hits	[Nov. 9th, 2003\|10:21 am]Read Them Or Weep
[mood \|8 stars] [music	Al Green ~ You Ought To Be With Me]Years ago, my mother had this album on vinyl. Needless to say, back in those days Al Green was not really my style; Culture Club was my style. In many ways, I'm glad I waited however. Now I fully appreciate the genre of soul music and the impact it has had on American culture. Al Green now signifies more to me than just 'some guy' singing about 'mushy stuff'.The CD release is superior to the vinyl in that it includes 5 bonus tracks, Livin' For You, Sha-La-La (Make Me Happy), L-O-V-E (Love), Full of Fire, and Belle. But the true gems are duplicated on both formats. The opening track, Tired of Being Alone hooks you in immediately. Al's signature voice tugs at the heartstrings. My personal favorite, I'm Still In Love With You is the third track, and it's a lovely mix of a sad song, a love song, and a finger snappin' song all in one. Of course Al Green is the master of easy, non-forced soul stylization; an amazing accomplishment when you look at the range he sings in. By the time you get to the sixth track, the classic Let's Stay Together, I'll be highly surprised if you haven't latched on to your significant other by then (that is...if they are nearby).Towards the mid-section to the end of the album, we're presented with more great material that's not readily played on the airwaves anymore...like Let's Get Married which is a gem of a tune (it was the closing track in the first release). Belle closes this collection; it's a curiosity in that I heard (somewhere) that he wrote the song for none other than Patti LaBelle...whom he was quite smitten with at the time. In fact, that's probably the only gripe that I have with this album - Al's more popular tunes are presented all at the beginning. True it's not something I mind...but the casual listener may turn off the disc at the halfway mark!I can't imagine not recommending this CD to someone who enjoys soul/R&B...even in the slightest. It's rawer than the majority of material that was being released on Motown at that particular point in time. Plus Al has sung the soundtrack for love and loving better than anyone else it seems.
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Al Green - Greatest Hits

[Nov. 9th, 2003|10:21 am]Read Them Or Weep

[mood** |8 stars] [music**

Al Green ~ You Ought To Be With Me]Years ago, my mother had this album on vinyl. Needless to say, back in those days Al Green was not really my style; Culture Club was my style. In many ways, I'm glad I waited however. Now I fully appreciate the genre of soul music and the impact it has had on American culture. Al Green now signifies more to me than just 'some guy' singing about 'mushy stuff'.The CD release is superior to the vinyl in that it includes 5 bonus tracks, Livin' For You, Sha-La-La (Make Me Happy), L-O-V-E (Love), Full of Fire, and Belle. But the true gems are duplicated on both formats. The opening track, Tired of Being Alone hooks you in immediately. Al's signature voice tugs at the heartstrings. My personal favorite, I'm Still In Love With You is the third track, and it's a lovely mix of a sad song, a love song, and a finger snappin' song all in one. Of course Al Green is the master of easy, non-forced soul stylization; an amazing accomplishment when you look at the range he sings in. By the time you get to the sixth track, the classic Let's Stay Together, I'll be highly surprised if you haven't latched on to your significant other by then (that is...if they are nearby).Towards the mid-section to the end of the album, we're presented with more great material that's not readily played on the airwaves anymore...like Let's Get Married which is a gem of a tune (it was the closing track in the first release). Belle closes this collection; it's a curiosity in that I heard (somewhere) that he wrote the song for none other than Patti LaBelle...whom he was quite smitten with at the time. In fact, that's probably the only gripe that I have with this album - Al's more popular tunes are presented all at the beginning. True it's not something I mind...but the casual listener may turn off the disc at the halfway mark!I can't imagine not recommending this CD to someone who enjoys soul/R&B...even in the slightest. It's rawer than the majority of material that was being released on Motown at that particular point in time. Plus Al has sung the soundtrack for love and loving better than anyone else it seems.

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The White Sripes - De Stijl	[Nov. 5th, 2003\|09:21 am]Read Them Or Weep
[mood \|7 stars] [music	The White Stripes ~ Apple Blossom]They say that "De Stijl" is Dutch for "The Style", but I find both the title and the cover a bit misleading. In general the album is raw and the antithesis of anything pop...but that's just my opinion.The opening track, You're Pretty Good Looking (For a Girl) is nice & hum-able...but it's not until the second track, Hello Operator that Jack White really unleashes both the vocals and on the guitar. The following tracks flow seemlessly like a bluesy-rock fairy tale that takes you back to a place and time when music wasn't over-mixed, over-tracked, and over-digitized.Many classify The White Stripes in the 'punk' category, but the only two tracks on this album that come close to being punk are Let's Build A Home and Jumble, Jumble (right next to each other); so don't expect to pogo to this one. Slated as their 'blues' album, it's not the greatest 'rock/blues' that money can buy but it rounds out the repetoire of this modern rock duo. From beginning to end, it's a very listenable list. Well; the last track, their cover of Your Southern Can Is Mine can be passed over if you ask me.Probably the best album from The White Stripes as a whole, but if you're looking for the singles turn to either White Blood Cells or Elephant instead.
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The White Sripes - De Stijl

[Nov. 5th, 2003|09:21 am]Read Them Or Weep

[mood** |7 stars] [music**

The White Stripes ~ Apple Blossom]They say that "De Stijl" is Dutch for "The Style", but I find both the title and the cover a bit misleading. In general the album is raw and the antithesis of anything pop...but that's just my opinion.The opening track, You're Pretty Good Looking (For a Girl) is nice & hum-able...but it's not until the second track, Hello Operator that Jack White really unleashes both the vocals and on the guitar. The following tracks flow seemlessly like a bluesy-rock fairy tale that takes you back to a place and time when music wasn't over-mixed, over-tracked, and over-digitized.Many classify The White Stripes in the 'punk' category, but the only two tracks on this album that come close to being punk are Let's Build A Home and Jumble, Jumble (right next to each other); so don't expect to pogo to this one. Slated as their 'blues' album, it's not the greatest 'rock/blues' that money can buy but it rounds out the repetoire of this modern rock duo. From beginning to end, it's a very listenable list. Well; the last track, their cover of Your Southern Can Is Mine can be passed over if you ask me.Probably the best album from The White Stripes as a whole, but if you're looking for the singles turn to either White Blood Cells or Elephant instead.

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