MUSIC REVIEWS
Dean's List= Highest Achievers
A= Excellent
B= There may be hope for you yet!
C= Pathetically average
D= Probation: One more like this and. . .
F= Pack your shit bro, the party's over.
B. Love, John Davidson, DeMarco Williams, John B. Moore, Matt Goldberg & Jon Latham
On the Dean's List
 LIL WAYNE - THA CARTER III (Cash Money/Universal) & JEAN GRAE - JEANIUS (Blacksmith)
Men are from Mars, women are from Venus… but both spit hot bars
DW: Lil Wayne is on another planet. No, really. Right now, the chart-topping MC is probably in a plush suite somewhere, getting high as BP premium off Codeine and Hawaiian Punch. But hey, if that's what it takes for the young man to create memorable product like this, by all means, keep sipping. Tha Carter III isn't a classic album -"Phone Home" is just too bugged out; "Mrs. Officer" is just too silly- but it has more classic moments than you've heard all year. Though fast-approaching overkill, "A Milli" is a sick bit of Wayne rants and frantic drums. "Let the Beat Build," "Playing With Fire" and the Fabolous-smashed "You Ain't Got Nuthin'" are certified dope for the streets, too, each worthy of more volume every time you play'em. Elsewhere, Weezy romances ("Comfortable"), ridicules ("Mr. Carter," with Jay-Z) and revives rap ("Dr. Carter"), all in a dizzying delivery that begs the question: Is this kid even human?
The career of Jean Grae, another out-of-this-world talent, leads one to ask, Why don't more people know about this rapper? The obvious truth is that she's a female in a music industry ravaged by pig-headed males. Get past that and actually listen to her stuff and you'll hear that some of the problem has been with Jean's production. Like Shaq from the free-throw line, the sounds were a touch off. By calling in soul assassin 9th Wonder to orchestrate the whole album with pounding 70s samples, all is now sunny in Grae's skies. Lyrically, Weezy, Jeezy, nobody wants to really see Jean. On "Billy Killer," "#8" and the salacious "Love Thirst," she drops so many stories you'd think she was paraplegic librarian. The Phonte-featured "The Time Is Now" is another special track, this one riding some of 9th's finest percussions to date. The sure-shot single Jean Grae needs to get the masses' attention ain't here. But with 9th behind the beats, at least the folks who love Wayne will at least know her name.
 Seun Kuti - Many Things (Disorient)
Like father, like son
BL: Bob Marley fans in search of the next reggae icon prematurely crowned son Ziggy his heir apparent before realizing that younger brother Stephen was the one who had inherited his father's voice, songwriting chops and sociopolitical concerns. Now, Seun Kuti (whose Yoruban name means "God has done great things") comes along with seven sizzling Afrobeat songs that prove him even more of a dead ringer for influential father Fela than his older brother, Femi Kuti.
Touring with Nigerian legend Fela from the age of eight, Seun learned to play the saxophone and piano, eventually performing as opening act with his father's band, Egypt 80. Now 25, Seun's debut finds him still accompanied by that band, and also proves them the tightest funk unit since the heyday of James Brown's JB's.
On killer jams such as the title track, "Na Oil" and "Mosquito Song," syncopated drums, subterranean basslines, rich guitar, warm organ and blazing horns create a furiously funky foundation as Seun sings passionately about the problems plaguing his homeland. From political corruption and greed to the fight against malaria, Seun Kuti tackles each topic with undeniable charisma and righteous fervor, freeing your mind while Egypt 80's relentless grooves ensure that your ass will follow.
 Liz Phair - Exile In Guyville Reissue (ATO)
The original blowjob queen
JD: It's been fifteen years since Liz Phair cleared the decks with her audacious debut album on then-tiny Matador records. Exile In Guyville shattered the independent rock ceiling for women—her coy but frank lyrics intertwined with jagged melodies to make a come-on album for the ages. And while many paved the way for women's issues in music, no one seemed to do it so well in such a vulnerable manner.
Even remastered, Exile comes off like a series of song sketches. Producer Brad Wood added a lot of studio sheen, but he couldn't dampen the strength or rawness of Phair's delivery. Her singing and playing is rudimentary, putting focus on her diary-fueled lyrics and simple pop melodies: the deft turns of wordplay on songs like "Divorce Song" belie the painful anthems found on "6'1." The sense of urgency, the artist's desire to be heard and understood, and the hurt of love still resonate years later.
However, the ballsy sex talk ("Fuck and Run") doesn't seem so bold in retrospect, what with the pervasive nature of sexuality in today's culture. In that regard, Exile is a bit of a relic, a nostalgic bellwether of the postpunk era when mainstream rock and indie rock were blurring under the weight of Nirvana. It's a classic album, no longer a groundbreaker but more like a simple mile marker on the pop culture's journey to equality. |
The Cool Kids - The Bake Sale EP (Chocolate Industries)
Everything old is new (school) again
BL: Old school throwbacks with a new school sensibility, Chicago hipsters the Cool Kids may claim on their debut album that they're "bringing '88 back," but to my ears The Bake Sale EP plays like a time capsule straight outta 1989. You'd have to go back at least that far- to the year the Beastie Boys stunned fans with the game-changing Paul's Boutique and De La Soul expanded our concept of what rap music could be with 3 Feet High & Rising- to find hip-hop records that were so clearly invested in the simple act of having fun.
Which is not to say that the duo of Mickey Rocks and Chuck Inglish (who also recall the Neptunes, if Chad and Pharell dropped rhymes as hot as their beats) are lacking in lyrical substance: They cut wannabes to the quick with razor-sharp quips like, "I love the hypocrites/hate it until you make it/wack swagger jackers/but my steez ain't for the takin'," with a tossed-off cool that wears laissez-faire like a designer logo. From the opening "What Up Man" and the Rick Rubin-influenced "88" to the NWA-sampling "Gold & A Pager" and the LL-referencing "Jingling," the Cool Kids' debut establishes them as one of alt-rap's most exciting new acts in years, with a perfectly-paced 10 tracks that leave listeners hungry for more.
Weezer - Weezer aka "The Red Album" (DGC/Interscope)
Carefree rock a la Cheap Trick
JL: It's no secret who Rivers Cuomo's influences are. "In the Garage" off 1995's "Blue Album", as it is now dubbed, saw Weezer name-dropping Kiss. That arena rock mentality carries over in their live shows, but the last two studio offerings were yawns. On their latest self-titled album, Weezer turn the quirkiness and the amps up to 11. The chances Cuomo and co. take may put off some fans, but the formula was wearing thin anyway. The sum of the pieces equate to a fresh release from nerd rock's finest act.
The album's track list is filled with songs about individuality, playing rock music, and loving rock ‘n' roll. Leadoff track "Troublemaker" sets the pace with a rocking study of becoming a rock star. "Pork and Beans," the album's first single, may be the catchiest song from Weezer since "Buddy Holly." The epic "The Greatest Man That Ever Lived" finds Cuomo rapping, with choir harmonies and numerous stylistic metamorphoses. "Dreaming" has a strolling tempo, reminiscent of the genius that was evident on the band's masterpiece, Pinkerton.
Even with co-conspirators like Rick Rubin and Jacknife Lee, the name of the game on this album is fun. It is a fun record to listen to. Let the other critics talk about how the substance isn't there; that was obviously the idea. If there is no underlying theme, you can take it in song by song. What do you say? Take off your thinking caps, and practice your air guitar. Weezer wants you to have a good time. GRADE: B-
Dennis Wilson - Pacific Ocean Blue (Legacy)
Getting the deluxe treatment
JM: History is littered with drummers that tossed away their sticks and grabbed the mic (Dave Grohl, Phil Collins, Don Henley, etc.), often with uneven results. Former Beach Boy drummer Dennis Wilson was one of the few drummers who could actually pull off the switch.
Though he may have spent his brief musical career in the shadow of his older brother Brian, the re-released version of his 1977 solo record shows he was every bit as talented. Wilson's solo record was/is a big step away from the traditionally cheery, melody-soaked songs of the Beach Boys, leaning more towards achingly melancholy piano-driven efforts. Light on production and unnecessary instruments, Wilson uses little more than a piano and his voice to move the songs along.
The Legacy Records deluxe set treats this often neglected gem of an album right, with four bonus tracks that didn't make it on the original record and a second CD of Wilson's never released Bambu project: 16 rarely-heard tracks, and a new version of the unfinished song "Holy Man," with Foo Fighters drummer Taylor Hawkins on vocals. The package also comes with a 44-page book of photos and several essays about the musician.
Listening to Pacific Blue in its entirety, followed by the salvaged songs on Bambu, you can't help but mourn the short, but understatedly brilliant solo career of Dennis Wilson and what might have been had he not died in 1983. GRADE: A
1997 - On the Run (Victory)
Dreadful name, great sound
JM: Victory Records, one of the most powerful indie labels operating today, may be best known as the home to teeth rattling post-hardcore and metal acts, but oddly out of place on their roster is one of their best signings, the piano-heavy emo-tinged indie pop act 1997.
The Chicago natives play endearing, lush pop that is separated from their contemporaries thanks to their trade off of boy/girl vocals. The addition of new singer Alida Marroni propels "On the Run" way past their decent, but decidedly uneven debut. Their latest record is stronger mainly due to the risks the band takes this time out. The Brian Wilson-like opening vocals on "January 19th" and the sing-along tracks like "Winds of Change" (probably one of the best emo songs Dashboard Confessional never wrote) show a band much more confident in their songwriting abilities.
That's not to say the album is flawless. There are musical risks that don't pay off, but the successes far outshine any missteps. With On the Run, the guys in1997 have used piano and stellar vocals to help define the new sound of Victory Records. GRADE: B
J-Live - Then What Happened? (BBE)
Progressive, except for the production
DW: The problem with J-Live's latest project is the same thing that's hindered Talib Kweli, the Roots and other progressive-minded MCs over the years- poor beat selection. All too often, important messages get lost amidst production that is neither complementary to the rhyme flow nor fulfilling to the listener. Then What Happened? could've been amazing, but with half the songs suffering from weak production, it settles for being just above average.
J-Live has made stirred bars his stock-in-trade. A former middle school teacher, he's never had a problem warning aspiring MCs about pitfalls of the rap game or the streets. He still takes the tutoring seriously on cuts like "Be No Slave" and "The Understanding." Sadly, for every poignant line about thoroughly reading contracts, there's a snare pattern that doesn't fit or a chorus coming about four summers too late (see: "Ooweee" and "The Zone").
As he wisely observes on the rare head-thumper "It Don't Stop," J-Live's fourth album is "not a wake, it's a wake-up." On the album's zenith, "The Upgrade," he shows exactly what he can do with the right production crew behind him, creating a track that's part ‘60s soul session and part ‘90s rap cipher, with J-Live and guests Oddisee and Posdunous going sick over a delicious backdrop. "I know it don't look like I swim or run track/But I'm flowing off of beats like that," spits Oddisee. Maybe so. We just wish his homeboy J-Live did more of it over the course of Then What Happened? GRADE: C
Twin Tigers - Curious Faces Violent Future (matthewrain)
The return of shoegaze
JD: Given the recent relapse of My Bloody Valentine, Swervedriver and other mid-‘90s U.K. guitar bands, it's no longer a surprise to find that classic shoegaze sound sprouting up in a new generation. Athens' Twin Tigers (a quartet, actually) don't lose themselves in fuzz and tremolo dive-bombing quite like the vintage shoegazers, but the influence is undeniable, at least in a Jesus and Mary Chain kind of way. Black Rebel Motorcycle Club is another obvious touchstone, although Twin Tigers don't wrestle with the blues as much as they push the other limits of alt-pop (the creepy falsetto on "Invisible Zombies," for example.) In fact, the song structure is loose throughout, save for the squiggly opening lead guitar on "Red Fox Run," which implodes in a way that would make …And You Will Know Us By the Trail of Dead or Sonic Youth proud. A solid EP, if somewhat unmemorable. GRADE: C+
RZA as Bobby Digital - Digi Snacks (Koch)
On some other ish
BL: Parliament-Funkadelic once sagely recognized that "America Eats Its Young," but I doubt even those forefathers of rap could've predicted how hip-hop would eat its old. While the rock world reveres its veterans (see: Rolling Stones, Eric Clapton), hip-hop's here-today-gone-tomorrow aesthetic tends to reserve icon status for those who live fast and die young (see: Tupac, Biggie).
As the visionary mastermind behind Wu-Tang Clan, RZA was a primary architect of the ‘90s hip-hop sound, producing over a half-dozen hit records in as many years. But despite concocting masterful soundtracks for films such as Ghost Dog and Kill Bill, RZA has seen his star fade a bit in recent years as knob-twiddlers such as Timbaland stole his thunder, with even Raekwon criticizing him as a "hip-hop hippie."
If Digi Snacks is too esoteric for hip-hop's mainstream, it also proves RZA remains one of the genre's most artful innovators. Like the Wu's 8 Diagrams, the third Bobby Digital LP showcases his impressive maturity and musical growth, from the bluesy groove that drives the throwback reminiscence of "You Can't Stop Me Now" and the thrilling boom-bap dissonance of "Drama" to the sultry funk of "Try Ta Yi Ya." It's not a perfect album-the copious singing occasionally undermines the impact of RZA's dense rhymes- but it's more than good enough to prove the man one of the most original artists in hip-hop. GRADE: B
Millencolin - Machine 15 (Epitaph)
Swedish Punks Hitting Their Stride
JM: After 15 years and seven full lengths, Millencolin has finally moved away from being just another skate-punk band with snarky lyrics and entered "influential punk-rocker" territory. After a three-year break, the Swedish band's latest offering is by far their best effort to date. Brimming with pop-worthy sing-along choruses, a driving rhythm section and perfect punk guitars, the sadly underrated band is bound to win over a whole new crowd with the new record while holding onto enough of their old sound to satisfy longtime fans.
Along with a slightly matured sound, the band has also grown immensely in their songwriting, with snatches of brilliant political protest in songs like "Broken World." That's not to say that the band has turned into Europe's answer to Bad Religion. One just needs to listen to a slightly goofy track like the highly infectious first single "Detox," to be assured that the guys in Millencolin can still crack a smile. The band's evolution from just another skater band with a jones for So Cal pop/punk to one of Europe's best contemporary punk bands may have taken a while, but thanks to Machine 15, the trip was well worth it. GRADE: B+
We Versus The Shark - Dirty Versions (Hello Sir)
A fireball of post-punk fury
JD: Athens' We Versus the Shark is busy. They've already released a couple of EPs and a full-length, they've got the new Dirty Versions this summer, and they're releasing an album of (mostly obscure) covers piecemeal throughout the year. Dirty Versions may be the best introduction of all, a furious mixture of Gang of Four, Sonic Youth, and the Minutemen tearing up 11 tracks like a tanker truck driving through hell.
The fury is relentless, offering titles such as "Hello Blood," "I Am the Contempt Machine," "I Am a Caffeinated Corpse" and even "I Am Scared of Everything" under a bombardment of guitars and thunderous drums. The vocals- a mix of shouting and gut-busting howls- only serve to heighten the tension on what amounts to an ear-bleeder of an album. Be forewarned… and very, very afraid. GRADE: B+
Matthew Sweet - Sunshine Lies (Shout! Factory)
Like déjà vu all over again
BL: Though he's not always given the credit he deserves, Matthew Sweet was among the early innovators on Georgia's alt-rock scene, moving from Nebraska to Athens in 1983 and joining jangle-poppers Oh-OK. Formed by bassist Lynda Stipe (Michael's sister) and vocalist Linda Hopper (who would go on to front Magnapop), the band toured with local legends such as Pylon and Let's Active before breaking up in 1984. But in most casual fans' eyes, Sweet's career probably began with his 1991 classic, Girlfriend.
To be fair, the album remains the highlight of Sweet's 25-year career, and it's an apex he doesn't seem likely to best in this lifetime. Infusing the Revolver-era Beatles sound with bits borrowed from Big Star, Neil Young and R.E.M., the album's raw power-pop (made all the more edgy by guitarists Richard Lloyd and Robert Quine) became a smash with the college rock crowd, and numerous ‘90s alt-pop acts owe a debt to its considerable influence.
Nearly 20 years later, the 44-year-old Sweet's sound hasn't changed much, which lends added irony to the opening track, "Time Machine." There's still the liberal use of backwards masking, tape loops and other tricks straight outta the George Martin 101 production handbook; there's still jangly guitars, plaintive lead vocals and rich backing harmonies. When he deviates from the Beatlesque formula on the hard-driving "Room To Rock," Sweet almost sounds like a younger Tom Petty, cranking the distortion and volume to 11 like a twentysomething whippersnapper still fueled by piss and vinegar. But those moments are fairly few and far between, as songs like "Byrdgirl" and "Let's Love" take pedestrian retro paths he's explored much more fruitfully before. Too often, Sunshine Lies finds Matthew Sweet creatively bogged down by his reverence for the musical past. GRADE: C
Willie Nelson - Stardust Reissue (Legacy)
A certified classic
JD: Willie Nelson is a legend, a household name for so long that it's hard to remember that he got his start as a songwriter penning classics such as "Crazy" for Patsy Cline. He's been a star for so many decades, a ubiquitous celebrity and denizen of country music and one of its most recognizable faces, that it's shocking to recall that his first big album didn't contain even one of his own songs. Perhaps that's what gives Stardust such a lasting foothold in his path to fame.
Or maybe it's just the stunning performances on Stardust that make it undeniable. Nelson took ten pop classics, ranging from and blew them out of the water, he infused them not so much with country or folk music as much as he made them his own. Decades later, the key tracks on Stardust cling to the material as much as they do Nelson's voice and phrasing, blurring the line between original portrait and something entirely new. It's as if he steals the originals and makes them his own.
The reissue is a bit superfluous, tossing in a second disc of songs that Nelson recorded at the time that, while still engaging (particularly "What A Wonderful World"), gets a little winded from sixteen tracks. But the voice and the perspective are consistent, making for a logical extension of the brand. In the end, it might not be worth an upgrade but if nothing else, Stardust remains a touchstone to revisit. GRADE: A
«HOME |
