November, 2009

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Day 44: The Smiths – The Queen Is Dead (1986)

Monday, November 30th, 2009

The Smiths - The Queen Is Dead

The Queen Is Dead! But is that really a bad thing? I guess not. It’s one rowdy and quite humorous funeral for the deceased Queen. Some people don’t like Morrissey, but I believe that hatred most likely comes from his attitude rather than from his actual talent, which is quite remarkable in my opinion. His voice is powerful and has this attractive originality that a lot of 80s singer lacked. Talking about 80s, I was really surprised to see that this album was made in the 80s since it has that late-60s/early-70s vibe that really caught my ears and kept my attention from the beginning to the end without ever being slightly boring. It should also be noted that even if Morrissey has a humorous style, you shouldn’t overlook his writing ability because of it. So let’s dig a bit deeper into this masterpiece from the short-lived group, The Smiths.

The whole album is a true treat. First of all, like I’ve said in the preceding paragraph, Morrissey has a really powerful and beautiful voice and he’s a great songwriter. He can easily sing about love, address critics with a bitter approach or sing about how some girls are bigger than others without ever losing your attention, because of it’s original yet familiar style that he keeps throughout the whole ride. People often tend to focus on Morrissey’s problems rather than his music and they then forget about how talented this man is. Each of the songs are written in an intelligent, yet humorous manner that perfectly suits Morrissey’s vocal style along with the rest of the band’s music. Let’s not overlook the rest of the band though. Let’s just say that without Johnny Marr’s talent, this album wouldn’t have been half as great as it is. Simply because the melodies are appealing, catchy, but also complex and meticulously crafted in a way that it deserves as much credit as Morrissey’s brilliant performance. Whether Morrissey is singing about big girls or the music industry, Marr is always there to back him up with some great guitar-playing that makes every single track even more memorable. The band’s versatility is also something worth noting since they can switch song styles but keep the same consistency in the quality of the material provided here. I especially love the band’s vibe which is hard to exactly define until you have at least listened to this album once. I highly recommend it to every music listener out there needing another classic to get their grubby paws on.

In 5 years, The Smiths were able to deliver one of the most memorable pop album of the 80s. Sadly a lot of people overlook Morrissey’s singing ability because of his personal problems, either with the group or with things he said in the past. But if you make abstraction of all those criticism you will see how much of a great singer he is. I seriously hope you enjoy this album as much as I did, or even more since it’s such a great album that should go down as one of the greatest albums in music history.

by Jean-Guy

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Day 43: Boris – Boris At Last: -Feedbacker- (2003)

Sunday, November 29th, 2009

Boris – Boris At Last: -Feedbacker-

Ladies and gentlemen, I give you “Maggot Brain’s” angrier, scarier and much more hyperactive younger brother, “Feedbacker!” This is one long track cut into five parts. After a tense start with slabs of noise escalating in volume and teasing a kick-off, part two fizzes into a surprisingly psychedelic display not altogether foreshadowed by its ominous predecessor.

Eventually the post-rock landscaping gives way to a stunning and lengthy bluesy solo, which is where the comparisons to the jaw-droppingly life (and death; you’ve heard the George Clinton story!)-affirming Funkadelic composition come in. The longer it goes the more it starts to scrape your eardrum, blasting off to an increasingly abrasive climax before being thoroughly murdered by some rapid blasts of guitar sound, followed by a sharp five minutes of noise rock riffage that represent the heart-pounding apex of the recording.

“Feedbacker” then contents itself by melting into a ten minute drone section with an unlikely ability to get you moving along to what is certainly a dense piece of music, then ending with a brief reprise and thus closing one of the most focused statements I’ve heard in a while. There’s a world of Japanese music out there that has certainly not been entirely traversed, and this is the exact kind of wonderment it can yield. This record’s effect is something tantamount to a soloing Hendrix being squished by a train.

by Michael

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Day 42: DJ Quik & Kurupt – BlaQKout (2009)

Saturday, November 28th, 2009

DJ Quik & Kurupt - BlaQkOut

When you think of G-Funk the image of Dr. Dre instantly pops into your head. While many have gone on to develop and advance this sub-genre of Hip-Hop, few have mastered it the way DJ Quik has and while his impact may not be felt on a grand scale, something he embellishes, he remains one of the more respected producers in the game. His early work with Eazy E, MC Eiht, and Snoop Dogg along with his funkadelic series of solo albums are lauded. This year he teamed up with another west coast legend, Kurupt, to bring us one of the years most enjoyable records.

Quik’s productions have never lacked the kind of funky rhythm that originated in
the early 90′s, but for this record it is readily apparent that he wanted to
bring a fresher sound. The opening title track features a laid back groove that
in his own words just “feels like Crenshaw”. Although it almost makes you believe
that he may be on cruise control for this album. He then extrapolates this beat
for the following track using a more high pitched sample and the tone for the
rest of the album is immediately set. You are getting a west coast G-Funk album
on steroids and while the album may not really offer anything substantial
lyrically, it is an easy listen compounded by Kurupt’s steady flow and Quik’s
off-kilter raps.

The strength of this album lies in its ambitious exploration of the funkiest
sounds that you can imagine. Just listen to “Moroccan Blues” and proceed to shake
your head at the bold inclusion of a sample taken from a TV show on the Travel
Channel. Or a song like “9x’s Outta Ten” which is on such an irregular tempo that
it almost doesn’t work. But such is the experimental nature of this album; it
should not surprise you that the creative climax of this album features no
rapping, or even a typical hip-hop beat. It is in “Exodus”, which is a reggae
pounding effort that features only four simple instructions shouted out
throughout; “Jump, stomp, pump, and reach again”. For myself, a long time
listener of west coast music, this is a progressive and satisfying listening
experience. For someone else, it could be something else entirely.

by Abid

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Day 41: Goodie Mob – Soul Food (1995)

Friday, November 27th, 2009

Goodie Mob - Soul Food

“Soul Food” is the 1995 debut from Atlanta based hip hop group Goodie Mob. Goodie Mob consists of Cee-Lo, Big Gipp, T-Mo & Khujo. Each member has moved on to solo and side projects (Cee Lo’s work with Danger Mouse is probably the most well known example). The entire album is produced by Organized Noize, who have also produced some classic songs with OutKast. This album is representative of an era where the South made hip hop that could rival any region as far as quality. Goodie Mob and OutKast debuted with high quality albums while legends like UGK and Scarface were also going strong (That’s not to say that the South still isn’t capable of this quality, but as we all know, the quality material is mostly overshadowed by what makes the most money). While ‘Southernplayalisticadillacmuzik’ is stylized and dealt with subjects like pimping, “Soul Food” is dark and minimalistic with inglorious crime narratives and a street level view of society. “Dirty South”, for example, details the drug game over a raw and gloomy beat (This is also where the term “dirty south” originated).

“Now if dirty Bill Clinton fronted me some weight
Told me to keep two, bring him back eight
And I only brought him five and stuck his ass for three
Do you think that Clampett will sick his goons on me?”
-Cool Breeze

Of course, there is a lot more to this album than cocaine stories. “Thought Process” is filled with contemplation and features an amazing guest verse from Andre 3K. “Cell Therapy” is littered with paranoia and mentions the shadowy subject of a “new world order”. I’m actually confident in saying the whole album is nothing short of great and I love it more than I ever have upon revisiting it.

“Soul Food” can be difficult to take in all at once, mainly due to how bleak the album sometimes is both lyrically and musically. The subjects are heavy, the beats are sparse and the verses struggle to find hope in a cold world. Don’t be too discouraged though, this is still a must listen.

by Kyle

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Day 40: Godspeed You! Black Emperor – Yanqui U.X.O. (2002)

Thursday, November 26th, 2009

Godspeed You! Black Emperor - Yanqui U.X.O.

Independent Montreal-based instrumental band Godspeed You! Black Emperor (named after a Japanese film) has been hailed as a pioneer in the post-rock genre and is still regarded as one of its finest and most influential outfits. The ensemble, a nonet, is certainly best known for its extensive instrumental yet utterly evocative songs and for its post-apocalyptic setting, which is only a front for the band’s political views. A typical Godspeed album contains five songs (all clocking in over fifteen minutes) which are all bearers of the band members’ revulsion for mainstream music.

“Yanqui U.X.O.”, released in 2002, is the band’s third and final studio album and was engineered by famed musician and mastermind Steve Albini. Here, the band opted for a more subtle and reserved approach setting itself apart from the preceding record, the widely praised “Lift Your Skinny Fists Like Antennas to Heaven”, which was more generous in dynamics, emotions, and in its telling of a story. However, “Yanqui” thus offers a more deep and cerebral message, shrouded in a minimalist and meditative mist. Although, Godspeed does have its moments of majestic and epic proportions, which are magnified by the use of genuine horn, violin and cello interventions (the band is a nine-piece after all). The band’s shimmering and beautiful guitars offer simple melodic fragments that attach themselves altogether to create harrowing ambiances heavy with tension as well as astonishingly beautiful harmonies. Godspeed bears deep resemblances with Explosions in the Sky, although with lengthier and more experimental song structures, and perhaps a darker significance.

It’s not really conceivable to divide this album into separate tracks, as all of them link together as a whole. Truly, this album deserves to be listened to, not only for its marvellous musical content, but for its message, which is perfectly relevant nowadays with the unceasing warnings of a forthcoming apocalypse and of imminent doom. And if the Day of Reckoning really occurs and that humanity will be plunged into obscurity and morphed into a devastated wasteland with no or few survivors left, well, Godspeed You! Black Emperor would unquestionably be the soundtrack to such a world.

by Kerry

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Day 39: Mos Def – Black On Both Sides (1999)

Wednesday, November 25th, 2009

Mos Def - Black On Both Sides

Mos Def is one of those guys that no matter who you are, you will end up loving. His charisma is a factor for sure, but when you start to notice his artistic work deeply is when you realize what a unique person he is in a music industry where the more and more we see/listen to, copies successful artists from the past and stereotypes based on genres.

How does Mos Def achieve this unique way of doing things? He tells you on the first track of his classic album “Black On Both Sides”. He puts the “mind over matter and soul before flesh”, not being afraid to be himself and being proud of what he is. This is only the beginning of what can be considered a freedom cry, an album filled with songs full of ideas (political and social), creativity and fun, similar to those sang by the oppressed black slaves of America. Mos rhymes about his roots addressing diverse subjects about the black race such as how black people heavily-influenced the music we know today, especially rock and roll, modern racism and the pride of being black, making the album title a perfect fit.

But this not a black-only directed album. Actually, the main goal of Mos Def here is to make the listener see that hip-hop is intelligent, creative and made for the people. Mos uses not only rhymes to express it, but sings and even plays some live instruments, with the help of the great Weldon Irvine.

And for the hip-hop listener, the album features Busta in top form, Q-tip helping in two tracks and the expected Kweli collaboration in “Know That”.

Quoting Common Sense “If revolution had a theme music, “Black On Both Sides” would be it”, an album filled with revolutionary music, the way that hip-hop should be done. A classic album that every hip-hop listener has to have in their collection.

by Arthur

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Day 38: John Zorn – Filmworks XXIII: El General (2009)

Tuesday, November 24th, 2009

John Zorn - Filmworks XXIII: El General

I have a huge amount of respect towards John Zorn. He is one of those musicians who you can tell are in it for the love of music and not money and fame. Even though he’s currently busy running his own not-for-profit record label, Tzadik, he still has found the time to release 5 albums this year and play gigs regularly. Like I said, this man loves music. Though the majority of his work is geared toward avant-garde and “radical Jewish culture”, his cartoon music recordings and the “Filmworks” series are a great entry level introduction to the world of instrumental music, and show that Zorn isn’t just a pretentious one trick pony.

If you were smart enough to check out the Ikue Mori album I recommended last week (which by the way was apparently recorded under the supervision of Zorn) you’ll be right at home with “El General”, just add a tad bit of South-American influence and voilà. It even has Marc Ribot on the guitar. It’s not quite as good, though.

Since it’s basically just a soundtrack it loses some of the comforts of a regular album. It can’t go hog wild, except for the song that plays during the title sequence, perhaps. You don’t want to distract the viewer from the movie. It also can’t build up to a climax at the end of the song just like that, which results in the songs having a nice and consistent flow that is enjoyable to listen to, but doesn’t really move you anywhere. In fact, that’s how I would describe the album. You sit on a chair, moving nowhere, while the world around you keeps moving, taking you to places that don’t exist.

“El General”, the movie, is a “glimpse into the life of Mexican President Plutarco Elias Calles.” I haven’t seen it, but honestly I wouldn’t say the music is greatly Mexican influenced. The overall sound scape takes me to somewhere more like an alternative version of Cuba where rhythm is outlawed. “El General”, the album, is not necessarily a very deep experience that shatters the way you listen to music, but it’s a nice little album to listen to when you’re alone at night, working; or if you want a sequel to Painted Desert.

by Saku

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Day 37: Stevie Wonder – Innervisions (1973)

Monday, November 23rd, 2009

Stevie Wonder - Innervisions

Stevie Wonder’s name has always inspired respect in the music industry and “Innervisions” proves why. I guess most of the people reading this are like me, the first Stevie song they ever heard was a really catchy and poppy song (In my case it was “I Just Called To Say I Love You” while for some it may well be “Superstition”). Well, prepare to be surprised; “Innervisions” is really different from some of his later summer hits or synth-pop singles. You’re going to hear a really soulful and raw Stevie that will blow your mind with his amazing vocals. Stevie sings every single line with an unprecedented passion and power that will likely blow you away on the very first listen.

The album itself is quite an impressive feat musically. With this record Stevie didn’t want you to hear the music, he wanted you to feel it, sounds a bit corny doesn’t it? But when you hear some songs like “Visions” you’ll understand exactly what I mean. Contrary to Wonder’s later records, this one is not really a decadent album with a ton of hits. It’s actually a really deep album approaching diverse subject matters with a really mature attitude that perfectly suits Stevie’s vocals. Talking about those vocals, Stevie has one of the most beautiful and powerful voices in music history. At some point, you’ll even get chills because of how powerful and emotional his voice can be. Only a handful of singers can actually transport you into their songs with only their voice. Of course, there is some music backing Stevie’s vocal talent. The melodies are a lot less catchy than some of his later songs but here they are probably the most beautiful ones of his career . Whether it’s a really slow and emotional song or a more uptempo, decadent one, the musical arrangement always finds a way to take you wherever Stevie wants to. This is the kind of musical experience that everybody wants to experience at least once in their lifetime.

For those who didn’t know, 3 days after the release of “Innervisions” Stevie had a big car accident which could have easily been fatal. The accident put him in the coma for ten days and caused serious head injuries to Stevland. As I think about it, this album nearly became Stevie’s last one. In a second, we could have lost one of the most important individuals in music history. I think everybody should take a listen to “Innervisions” or any other Stevie album as a matter of fact, just to understand how passionate and talented Stevie Wonder is. We should also thank god that this pillar in music is still with us today and went on to release a lot of great records after his nearly-fatal accident. We should all take a moment to thank Stevland Hardaway Morris for his passion and devotion that contributed positively to the beautiful and growing art of music that we know today.