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03/01/2002 - 04/01/2002
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Monday, September 30, 2002
Various Artists- This Is How We Ball (An All Star Tribute to Lil' Wayne)
Ok, so the titile is a misnomer. But Chris Smith has never been known to send me a mix tape with a name that resembled anything like what was on the disc/tape (although the free jazz tape with the title "Chug it, pussay!" was surprisingly apt considering how it felt while I was listening to it while driving to work). In any case, the disc is 28 tracks of hardcore madness with Sharon Jones and the Tages thrown in as segues into...more hardcore. It's a brilliant mix tape as an introduction to a few bands I hadn't heard/was meaning to check out once I got high speed internet back. The VSS, City of Caterpillar ("Maybe They'll Grow Right Through" is the song and it is, frankly, as amazing as the work the members have done in Pg. 99), and Erase Errata are immediate highlights for me. And, of course, song titles are a key ingredient to the mix- as no hardcore band is worth its salt unless it has a sense of humor. ""Gluing Carpet to your Genitals does not Make you a Cantaloupe" by the Locust probably takes the cake here. Anyway, the point? Chris Smith makes exceptional mixes of specialized genres. Ask him for one, and I'm sure he'll be interested in a trade.
Sunday, September 29, 2002
I was never into the Wu that much before I met Gavin Mueller and Brett Berliner. They've guided me a bit to the good stuff, allowing me to slowly warm up to each individual member and their particular skills. In any case, it's no wonder that I had never seen the video for Raekwon's "Ice Cream" before this past summer, but it's quickly entered into my mind as one of the best early 90s rap videos before the extreme bling of later rappers. It's almost like the crowd during that Spike Lee produced Public Enemy video except instead of being socially conscious the group is conscious of the beauty of woman- no matter their color/flavor. I'm currently listening to the song and I can't get out of my mind the burned images of the girls with the shirts proclaiming their particular flavor (do they ever show their faces or just the shirt? must not be that vivid of a memory!) and the final scene where we see the camera panning out and RZA peeking out of the drivers seat of the ice cream truck, the driver of the Wu on its crazy journey to stardom.
Saturday, September 28, 2002
Dusted Magazine does a weekly list from two different artists about the top ten pieces of art in their lives at the moment. Definitely worth checking out.
Thursday, September 26, 2002
The Second Single
An interesting article about one-hit wonders and one-hit wonders to be. Do you agree with it? It seems like he only examined Vanessa Carlton's (weirdly misspelled as "Charlton" throughout the article) second single, while mentioning a few others in passing. I guess my interest in the article is thinking about artists who had their second single fail and then still went on to success after that. Anyone with any ready examples on that?
Saturday, September 14, 2002
Outline for Future Andrew WK Album
1. Idyllic album opening until dramatization of the following:
1a. Andrew WK loses his memory, perhaps in some partying-related accident.
2. He embarks on a quest in search of his lost self, said quest being rich with symbolic import; it's a real search for meaning.
3. He rediscovers who he is, and, more importantly, that he loves to party.
4. Epic closing track encapuslating the above, possibly titled "(I Remember When) We Partied So Hard."
Rick Moody on Elton John
A nice bit of rock criticism from the uneven and occasionally fascinating The Black Veil:
"Every kid who grew up in the seventies knew by heart all the songs on Goodbye Yellow Brick Road, the magnum opus of the young Elton John. Every American confused its barrelhouse piano and triplets with the double yellow lines on the highway of his life, with the cafeteria food of public schools; every kid had applied its awkward poetics to his life [...] A spooky dirge opened the record, when you first put it on your record player; sounds ridiculous now, that bell tolling synthetically in the background, the simulated cry of an owl. But at the time, this dirge summoned the ponderous, sober tones of grief, before giving way to a rave-up about a failed romance. This track was followed soon by 'Bennie and the Jets,' another song that everybody in my junior high school attempted to decipher: what exactly was a fatted calf and what was a mohair suit, and why was Elton's garbled pronunciation so appalling, and what was it with the fake audience applauding in the background? Also important in this initiation was 'Jamaica Jerk-Off,' whose fake reggae was meaningless to me since I'd heard almost none of the genuine form as played by Rastafarians, but whose celebration of self-abuse and sensuality hinted at a possible universe where people got to do things that I would never understand and never get to do [...] Elton was always playing somewhere, saving someone's life; his plane was always touching down; the bitch was always back."
Friday, September 13, 2002
Nelly feat Kelly Rowland "Dilemma"-
Nelly's second superhit in a row. Kelly's wonderful chorus serves to both inflate Nelly's popularity (as the voice of the listener) and, as the anygirl, allow millions of boys around the world to believe that there is still some hope for them in their own pseudo-relationships. Nelly's part? The idol. Of course, every boy wants to be him. He gets all the drugs, the money and the girls. His slacker role in the whole affair is another bonus, he refuses to get so torn up about all of this, but the obsession remains' . For all we know, he has the same millions of girls that feel the same way as Kelly. These two singles are a brilliant one-two punch, first he tells the girls to take their clothes off, then he tries at least, to show us that he can be sensitive.
Tuesday, September 10, 2002
Re: VMA Article
Well done article, but I have one gripe. No mention of P. Diddy's jaw-dropping performance? The guy had perfect choreography, a host of dancers, celebrity guest collaborators, flames, lights, and what looked to be a troop of Cirque du Soleil rejects bouncing up and down while Busta Rhymes shouted, "Don't this hit make my people want to jum jump?" It made me want to jump, but alas, I was captivated by my television as P. Diddy pranced through about 7 live rap videos. Say what you will about his music or his business tactics, but this man is the undisputed king of spectacle. Best part: performing "I Need A Girl Part 2" live in front of his former flame J. Lo. Sure Puffy, it's not about her. This stuck out in my mind much more than G'n'R's embarassing return (Axl can't even make it through "Welcome to the Jungle" without getting winded?) or Avril's acceptance of the MTV Career Kiss of Death award. I mean, the man had a full orchestra, for chrissakes.
is it just me or does lavigne's latest sound a bit like something off of Andrew WK's album?
Sunday, September 01, 2002
My favourite Amazon reviews (Nick Southall's UK edition)...
1; This first effort shows a fantastical disregard for the English language by a Hungarian still clearly trying to do a Ferenc Puskas and get one over on the English. Describes the record wonderfully.
***** 2002 Greatest rock explosion, 22 August, 2002
Reviewer: vian from Hungary, Budapest
After two long years of the success Rated R album, the two hombres (Josh Homme and Nick Olivieri co-operated with Dave Grohl and Mark Lanegan in some track) are made probably the most colourful and distracting musical trip in this year: the opening drum-loop is introducing the Millionaire with Nick punky screaming, "No One Knows" could be familiar from MTV, Song For The Dead is involve Mark Lanegan agitating and gloomy vocals, the Sky is Falling is sedate after that. The Six Shooter is another Olivieri mayhem, the next Hanging Tree is a fast and pure rock song. Another Love Song is completely different as the previous with the tambourines and slowly leading the final Song For The Deaf with another Lanegan vocal, a hypnotic bass theme and a perfect middle part. From the first second 'till the last have a grip on the audience. And confine stronger...
2; This particular effort is once again from one of our growing number of foreign imports, who, while they may not have the same technical grasp of English linguistics as their indiginous counterparts, certainly know how to infuse the language with colour and imagery. This particular review drifts into something akin to tonal meta-poetry at the end. Wonderful.
***** avant hardcore, 12 November, 2000
Reviewer: alper mazman (email@example.com) from istanbul, turkey
i think this is little differ from the other fugazi albums. its not only hardcore. you wait the song finish but it still going on you wait the refrain but it never come again i think its something different i called it avant hardcore i think you realy like it.
I think you will agree that this is the greatest record review ever.