Two Day Old Shit

No Lames Up In Here: Dam-Funk/Master Blazter at Highline Ballroom 10.25.2011

2011-10-28T10:10:00.017-04:00

Anyone who really knows me knows how I feel about this man.

I feel strongly.

I had been looking forward to his New York show since the tickets first went on sale months ago, and I spent the days leading up to Tuesday night's set at Highline Ballroom by immersing myself in a healthy dose of Slave, Kleeer, Zapp and One Way (standard procedure for me, actually). I went with the only other two people who worship the Funk as much as I do, my best friend and my brother, and once we arrived, it was clear that the audience was strictly made up of people in the know: I'd be willing to bet that the venue wasn't even filled to half capacity that night. Which meant that we got to be front row for the majority of the show, I got to catch one of the giveaway copies of his new (free!) EP, InnaFocusedDaze, AND we got to hold his hand. He even let some randoms jam on his keytar.

For this tour, Dam is forgoing his usual live setup and instead is joined by Master Blazter, creating a funk trifecta: Computer Jay on keys and synthesizers (with triggers), J-1 on drums (and triggers) and Dam supplying keys, (candy red) keytar, vocals and the overall funk. Do. Not. Miss. This. They have been touring the country in a bus bringing the funk (not to mention hooking it up with secret last minute shows and DJ sets) and it truly is one of the best live music experiences one can have. The music this man makes is nothing short of gorgeous. Modern funk symphonies. I don't think anyone respects funk music and the history of it like Dam. It's an extension of himself- there is no distinguishing. Watching him perform is electrifying, almost hypnotic. He's a musical national treasure, and I think, my spirit animal.

His next full length album drops in the spring of next year so if the world really does end in 2012 I'll be fucking furious.

Apart from every single second of the show, I would have to say my favorite parts can be easily put into a top 5 list. In no particular order of G level, they are as follows:

5. After the encore of "Hood Pass Intact", Dam wrapped the show up by saying "you are now free to go, goodnight." (And I'm glad he said something. Because I would've stayed. Seriously.)
4. His 10 minute synth fueled diatribe where he yelled "FUCK DAVE CHAPPELLE, RICK JAMES WAS A REAL G"
3. The beautifully stripped down (it was almost acappella, save for him on keys) and smoothed out version of "I Wanna Thank You for (Steppin Into My Life)", complete with glowing blue spot light beams (one of the most romantic and sincere songs of all time in my humble opinion, and I may or may not have teared up)
2. The Vocoder/keytar Gap Band cover of "Burn Rubber (Why You Wanna Hurt Me)"
1. THE INSANE KEYTAR SOLO THAT HE PERFORMED WHILE LAYING DOWN, A MERE 6 INCHES FROM MY MELTED FACE

I leave you with this. You're welcome.

Scion A/V Presents: Dâm-Funk - Forever from Scion A/V on Vimeo.

Icebird/RJD2 at Brooklyn Bowl 10.11.2011

2011-10-13T11:25:00.008-04:00

Watching RJD2 perform songs off of his 2002 debut album, Deadringer, basically made me feel 17 again (couldn't help myself, not sorry). This doesn't really happen to me anymore, as the last time I felt younger (in a good way, and not in a sad "old trick at the club" way) while at a show, I was seeing Raphael Saadiq in 2009 during his The Way I See It tour, and I was reduced to the same adolescent screaming puddle of hormonal and melted "I would" that is usually, and more appropriately, suited for Tyrese concerts circa 1998. This is all just to say that the opening notes of "Smoke & Mirrors" does something to me, chemically. Aural time travel is always my favorite kind.

I went with my brother, which was delightful, but it was extra special because we were also there to see the amazing Chuck Palmer accompany RJ during both his solo set and his opening performance with Icebird, his new collaboration with musician Aaron Livingston (of the Philly based band the Mean, and this Roots' jam). Chuck is the older brother of our good friend Max, and if pressed, I'd say I could really only compare his drumming style to this:

Chuck and RJ went to high school together in Columbus, Ohio, and have been jamming off and on since then, which was evident during the second half of the show, when RJ took to his four turntables and Chuck joined him on his third song (he had opened with "A Beautiful Mine," a.k.a. the Mad Men theme song, and came out post-Icebird wearing a robot jumpsuit with a welding mask, and some sort of Vocoder attached to his crotch that he kept spinning). Their timing and energy worked beautifully together, and it was great to see/hear these songs get a live boost via Chuck's percussion, especially on "The Proxy" and their stellar encore, "Good Times Roll Pt. 2."

Icebird's debut album, The Abandoned Lullaby, which was released that day, is a nice blend of psychedelic funk, and the band, which features Livingston on vocals/guitar, Chuck on drums, a bassist, second guitar player and RJ on keys/Korg, had one of the best live vibes I have seen in a long time. The fun they were having was not only obvious, but contagious: when they came back out for their encore after RJD2's DJ set, they treated us to the best cover of Kelly Rowland's "Motivation" that I will ever hear, as Livingston laughed and said, "I could do this shit all night."

An Evening with Jon Brion at Le Poisson Rouge 10.2.2011

2011-10-03T19:35:00.011-04:00

It was extremely fitting that Jon Brion's first night of his Le Poisson Rouge run started off with the multi-instrumentalist/producer/song writer/musical genius idly playing chords from The Wizard Oz soundtrack. A veritable one man band, Brion seamlessly moves from keys to guitars to drums to the harmonica, all the while layering and looping each component (with the help of a MicroKorg), building the songs right before the audiences' eyes and ears. It's kind of like peeking behind the velvet curtain, and watching the Great and Powerful Oz himself.

There were some technical difficulties on the venue's end, resulting in several "live sound checks" from Brion (who jokingly commented, "when I showed up today, the owner was like 'man, you have a lot of stuff'"), but that was just further proof of Brion's consummate musicianship. To see him perform is to see him create, on the spot, off the top of his head and completely organically: that fluidity that comes so naturally (or seemingly naturally, anyway) makes watching Brion even more exciting than listening to him. His musical red herrings (like teasing the chords to the “Mister Rogers’ Neighborhood” theme song) are very rarely indications of what will actually come next.

Duplicating the same atmosphere of his long running weekly residency at Largo in L.A., Brion wove originals like “Ruin My Day” and “She’s At It Again” into Duke Ellington standards. He re-worked The Zombies' "This Will Be Our Year" via xylophone, covered Roxy Music's "More Than This," and, in what was the highlight of my week, unexpectedly turned an audience suggestion ("Born in the U.S.A.") into a Prince medley. For an artist who is known for his collaborations (he also did a great version of “Looks Like You,” a song he co-wrote with Evan Dando of the Lemonheads) and the roster of talented associates he usually plays with, sometimes it's better when the cameos don't show up. While waiting outside before the show, everyone, myself included, was throwing around names like Aimee Mann, Rufus Wainwright, and of course, Fiona Apple, as potential rumored guests. And while I would've loved to see Brion and Apple do "You Belong to Me” (or anything really, for that matter), I was just as excited to watch him lead the room in "When Doves Cry," at top volume.

We Like It Like That - The Story of Latin Boogaloo

2011-09-26T22:25:00.009-04:00

I stumbled across this amazing gem of a documentary while perusing egotripland.com this evening: We Like It Like That - The Story Of Latin Boogaloo. Several years in the making, New York Times writer and Latin soul aficionado Matthew Ramirez Warren's labor of love aims to shed light on the rise and then the abrupt fall of Latin boogaloo. Known as "the first Nuyorican music" a description given to it by longtime producer (and former trumpet player for the legendary Ray Barretto orchestra and Tipica '73) René López, boogaloo's life span was tragically all too brief, but luckily, not forgotten, as Warren brings viewers into the world of a refreshingly (although unfairly) under represented slice of music and New York City history.

Born out of the mixing tastes of Cuban, Puerto Rican and black teenagers and the clubs they would all frequent in 1960s East Harlem and the South Bronx, boogaloo became a platform for not only the changing of status quo musical styles, but for the identities and social climate of New York City's Latino youth. By fusing mambo, cha cha and son with R&B, soul, rock 'n roll and jump blues, the genre was truly a marriage of Afro-Cuban and Afro-American rhythms, and since it combined both Spanish and English lyrics, its appeal was widespread. But by 1970, it was gone, and salsa was king.

Utilizing interviews and first hand accounts of boogaloo's birth and death from seminal figures in the Latin music world like Joe Baatan ("Young, Gifted & Brown"), Joe Cuba ("Bang Bang") and Johnny Colon ("Boogalo Blues"), and the always delightful Bobbito Garcia, the film suggests that the music wasn't abandoned by fickle fans or a changing market, but rather was killed off, by old school Latin music purists (with the help of labels like the powerhouse Fania) who put pressure on clubs and booking agents to push boogaloo acts off the bill.

The film originally screened August 10th during a Central Park Summer Stage concert featuring Baatan and Colon. But due to funding needs, We Like It Like That won't be available for wide or DVD release unless it meets its Kickstarter goal of $15,000 by Sunday, October 9th. From the campaign's page:

Through Kickstarter we hope to raise enough funds to put us well on our way towards completing the film for submission to major film festivals, PBS, a possible theatrical release and a successful DVD release. Our reason for making this film has been to inform the public about this incredible period in New York City and Latin music history, and to put a spotlight on the music of these phenomenal artists, whose musical contributions have been overlooked for too long.

You can check out the film after the jump and support its Kickstarter campaign (and snag the epic poster, shown above, among other enticing incentives) here.

TDOS Obituaries: Cornell Dupree

2011-05-12T09:31:00.000-04:00

Sad morning for soul. Just found out the incomparable Cornell Dupree passed away a few days ago due to emphysema complications. This man is, and always will be, one of my desert island, top 5 favorites. It wouldn't matter if every single guitar player on Earth vanished, as long as his recordings were still around. Honestly. He is an absolute GOD. He is responsible for some odd 2,500 recordings, including "Respect", "Rainy Night in Georgia", "Soul Serenade" and even Mimi's "Emotions."

He is featured on Aretha's fantastic Aretha Live at Fillmore West and my personal favorite, Donny Hathaway's LIVE, (second half only). His solo on "Voices Inside (Everything Is Everything)" is literally magical. Even before he starts playing, Donny introduces him and says "from Fort Worth, Texas, by way of New York, or vice a versa, vice a versa, Cornell Dupree" and just the way he says it let's you know shit is about to get really real. And fast.

Dupree began playing guitar at 14, after he saw Johnny "Guitar" Watson perform, and not long after he was recruited by King Curtis to play with his band, the Kingpins. He found himself a regular staple at Atlantic Records and he began his life long career as one of the most sought out session players in the game. A choice Jerry Wexler quote, from his obit in the Washington Post:

“Time and again what we would get into was a hellacious mess as the three guitarists got in each other’s way,” said Wexler. “And so when Mr. Dupree, the pride of Fort Worth, came to our rescue, it was bye-bye to multiple guitarists because — miraculously, it seemed to me — one man playing rhythm and lead at the same time took the place of three.”

Truth.

R.I.P. Cornell.

STANK YOU, SMELLY MUCH

2011-04-14T10:04:00.006-04:00

GOOD MORNING TO US ALL!

Rembert Browne, you are a god. Waking up to this was like, all the Christmases I have ever experienced, the few Chanukahs where I got something cool, and that one time that I hugged Donnell Rawlings on the street in the Lower East Side. No, wait. Scratch all that. The way I feel right now is the way that Howard Carter felt when he found King Tut's tomb: GOLDMINE!

All goofs aside. This was one of the more inspiring and thought provoking pieces of music writing I have ever had the privilege of reading. I hope he submitted this for next year's Best Music Writing Series, IT'S IN THE BAG.

TDOS urges you. Nay, BEGS you, to read this fantastic gem of Stankified genius in its entirety. Fuck March Madness. This is the kind of bracket that I can get behind. Side note: I want to marry you.

Forest For The Trees.

2011-04-10T14:34:00.006-04:00

So. This started out as my usual waking up at 12:40pm to my cousin/roommate making me eggs and a warmed up chocolate croissant while I YouTube Aaliyah music videos Sunday afternoon slothing, but quickly turned into me searching for my favorite videos that take place in the woods. (I don't know either, just go with it.) As you may or may not know, I recently did a post about my top roller skating vids and now I am kind of inspired to continue to delve deep into the recesses of my mind/the World Wide Web to continue to bring you some of the best of the best xy and z themed vidjahs. Let's get started!

From the jump, babygirl usually preferred the ill Mad Max vibe. Biker chains, leather, eye patches, cages, post Apocalyptic settings...but in "4 Page Letter" she flipped her "California Love" game on its head and added a vegetative level. Part secret night club (it's called Redemption), part Sherwood forest outpost, part Lord of the Flies, this video is all kinds of dark, wooded futuristic fantasy. That ring of fire seduction dance? Ay yi yiiiiiiii.

Next up. Deborah Cox. The first time I saw this video on the Box, I was like, wait, HOW DID HE GET HERE? She's in some remote postbellum bayou house chilling with her girl all sad and alone and then BAM dude shows up with his biker crew all like, what? We always hang out on this dusty secluded forest road in tight tanks. The backdrop is all weeping willows, verandas, dirt roads, charmingly quaint black folks, misty lush greenery, abandoned one room churches and creaky shacks and even at the age of 12, I was like, hmmm, whoever did the treatment for this is romanticizing a certain something that maybe they shouldn't be...Apparently she's Canadian. She didn't know any better.

Speaking of Canucks, here we have Nelly Furtado (remember when she was the truth?) and the first half of "Turn Off The Light." Mud, spooky trees, creeping dancers and a DJ cutting in the brush. The video then takes a few different artistic paths (all of which I'm kind of into, even if they make no cohesive sense) but up until about the 1:37 mark it's straight up fabulous forestry.

Helen Folasade Adu. No one, and I mean no one, can pull off wooded nymph like this woman. Can you even fathom being lost in the woods (both theoretically and literally) and coming across this vision of beauty and salvation? No, you can't. Don't bother answering. From Wikipedia:

A nymph in Greek mythology is a female minor nature deity typically associated with a particular location or landform. Different from gods, nymphs are generally regarded as divine spirits who animate nature, and are usually depicted as beautiful, young nubile maidens who love to dance and sing; their amorous freedom sets them apart from the restricted and chaste wives and daughters of the Greek polis. They dwell in mountains and groves, by springs and rivers, and also in trees and in valleys and cool grottoes.

NAILED IT.

Jumping to the other end of the classy spectrum, we have Jenny From the Block I Would Never Like to Live On. Technically, this takes place in a jungle, but that is just another form of forest so it totally counts and besides, this is one of the most epic pre-millennium videos of all time. GOOD LORD DOES THAT PARTY LOOK LIKE FUN. I think we all can agree, we would have much rather been watching the countdown with La Lopez, under the glow of green lasers surrounded by shimmering dewy rain forest babes (her homegirls, duh) at her (idea of an) Amazon rave. Instead I was in my friend's basement drinking sparkling cider watching MTV secretly hoping that the world didn't end because I was only 13 and HAD SO MUCH LIVING TO DO.

I must say though: a French mani is NOT tropical chic, Jen.

OK, so technically this isn't a classic wooded setting per se, but it is an abandoned and overgrown with vegetation mental institution/kingdom/disco and that's good enough for my purposes so honorable mention for Missy Elliott! (Disabling issue, my b)

I would include MGMT's "Electric Feel" and Crazy Town's "Butterfly" but they both are basically the same thing to me so I won't.

Roll Bounce: Celebrating the Greatest Roller Skating Vids

2011-04-08T15:34:00.006-04:00

Today is the kind of day that needs this. Now, I have only roller skated a handful of times myself (R.I.P. Rainbo Roller Rink!) but if I had my druthers, this would be my preferred method of wheel based entertainment. Don't get it twisted though: I do NOT condone roller blading. That is just goofy. I'm talking cruising around a rink with your homies while disco and R&B blares and fools have roller skate dance offs and you try not to clutch the side of the rink too much because your crush is totally there but being a cool guy and like, not skating just hanging out by the arcade leaning on the Hoop Fever game all Catalano like and you are just like OMG THEY ARE PLAYING DRU HILL WHY WON'T YOU HOLD MY HAND AND GLIDE INTO PARADISE WITH ME?

Yeah, I saw Roll Bounce in the theaters.

De La Soul - Music - More Music Videos

Yes. Yes. And, yes.

2011-03-31T11:16:00.005-04:00

Just read this most excellent piece from Jozen Cummings over at The Awl. I urge you to check it out, especially for this excerpt:

It's not so much that the term "hipster R&B" is inaccurate. I'm no hipster, but if The Weeknd and Frank Ocean are getting mad love from people who consider themselves hipsters, then I suppose hipsters can call it whatever makes them feel comfortable. But as non-hipsters like to say, let's keep it all the way real. Calling it "hipster R&B" is a nice way of saying it's R&B that white people like (black hipsters notwithstanding), and here's my problem with that: It's myopic, lazy, and it sounds to me like a form of musical segregation that's not entirely based on genre.

Here's a proposal—how about we call it "nappy-headed pop"? If that sounds even slightly politically incorrect or lazy, then you understand my frustrations with the term "hipster R&B." It's not with the term "hipster"; it's with any hipster or white critic labeling a black artist "an R&B artist" just because he or she sings a little.

Couldn't have said it better myself. Oh, and also:

All this automatic categorization of black artists who sing harkens back to the social roots of the R&B genre. Before R&B was even called R&B, the record industry and magazines like Billboard categorized it as "race music," shorthand for any black artists who sang with a backbeat behind them. For years, white artists who made similar music never had to worry about being designated as "race music" until 1958, when Billboard began using "R&B" instead. The switch made it possible for acts like the late, great Teena Marie and current artists like Robin Thicke to chart in the R&B category. Unfortunately, many critics still referred (and refer) to those artists with the term "blue-eyed soul," which is a nice way of saying they're white singers that black people like. Equally hackneyed is calling black singers who white people like "hipster R&B"—or, for that matter, "nappy-headed pop".

You Say Hipster R&B, I Say Nappy-Headed Pop. Either Way, It's Offensive. [The Awl]

This Looks Promising.

2011-03-16T12:16:00.002-04:00

Stones Throw via Fuel TV's The Daily Habit

Music Journalism Time Machine

2011-03-10T02:01:00.006-05:00

Fourteen years ago yesterday, I was at Alexis Maule's house on the South Side of Chicago in her downstairs TV room, and MTV had the breaking news that Christopher Wallace, better known to us as The Notorious B.I.G., had been killed. This was only a handful of months after Tupac Shakur's murder, and two years after Selena's, and to date, those had been the only musicians whose deaths had shook my young self up. I remember the news about Biggie being the most shocking to me, however. Mostly because I had just started really listening to hip-hop seriously and Ready to Die in particular. Childhood me liked Pac alright, but not the way I liked Big. Not at all. As a 25 year-old, I could give you a concise and complex reasoning as to why I prefer him over Shakur, and some of those reasons would be lyrical prowess, cadence in his flow, overall production quality, growth as an artist over time (albeit short, for both) and contributions to the soundtrack of my life. But as a kid, who just knew she loved music that she loved, and had only the tiniest, babiest inkling of why, it was all about resonance. Not resonance as in, I understand, I too have Everyday Struggles, but more like, this music makes me feel something that I have never felt before. Simple and pure. Naturally, emotional response plays the largest part in my draw to any music to this day, as I believe it should for all, but when I was young, that was all there was. And that was all that mattered.

Anyways. Here's a fantastic piece from ego trip's "Chairman" Jeff(erson) Mao, written for The Source for their April 1997 issue. A few weeks after it hit the stands, Biggie was gone. Really great article. Makes me wish I had been born several years earlier.

The Notorious B.I.G. RIP: Final Source Magazine Interview [egotripland.com]

Open Post: A Haiku I Made From Sade Lyrics

2011-03-04T10:52:00.007-05:00

crown you with my heart
i can't give you more than that
it dives and it jumps

LOVE: A Two Day Old Shit x Ministry of Tishon Hip-Hop Lovesong Mixtape

2011-02-14T12:23:00.002-05:00

Happy Valentine's Day from Two Day Old Shit x Ministry of TISHON.

download here. xo.

Dusty Groove: The Vinyl Room

2011-02-07T14:42:00.006-05:00

I think it's safe to say that if I could hang out with ANY production crew, it would be Organized Noize.

I mean, if this hypothetical and delusional question was based on craft alone, and if I was a wizard, I would stand behind J Dilla all day and night just to soak in the ambiance of Genius, but chances are that once I got there I would go into catatonic shock and be rendered speechless and wouldn't even be able to offer to run to the store for him (my treat, obviously) so we wouldn't even be able to talk about how "Find A Way" changed my world forever and still continues to absolutely destroy every molecule in my being OR about the bass line on "Dynamite" and how it is the Greatest. Bass. Line. Of. All. Time.

But that would be totally cool because honestly, I would be content just watching him push a fader up and down. So, good thing that would never happen.

However, if we are talking about a mind blowing musical education session + the most fun I could ever have with my clothes on, you would find me in Atlanta in the Dungeon with Sleepy, Rico and Ray.

Just started absorbing this little underrated gem from 1998. I adore OutKast and Goodie Mob, but what I reallllllllly love more than anything, is Sleepy Brown's voice. It's the audible equivalent of a time machine. It's almost as if Curtis Mayfield, late '70s Marvin Gaye and Leon Ware all melted their honeyed voices into a Crock Pot, and then let it simmer all day. And when it was time to enjoy it, Organized Noize added a pinch of synth, a dash of crisp drumming, a ton of lush orchestration and a generous sprinkling of dreamy wah-wah riffs and then served it to you while you reclined on a cloud.

His fantastic solo (and most recent, unfortunately) album, 2006's Mr. Brown which I listen to on extensive repeat all the time, is a culmination of sorts; it marries his soul and funk pedigree with the sonic hip-hop aesthetics of Stankonia. But this record, Noize's first solo creative outlet, The Vinyl Room, is pure unadulterated hot, buttered, soul, with only a tiny mix of Dungeon Family humor filled skits thrown in.

The trio, using the moniker Sleepy's Theme, pretty much reinterprets the silky falsettos of Curtis Mayfield (fun fact, Sleepy Brown worked on the legend's last album, 1996's New World Order) and the layered melodies of Barry White without any pastiche or derivative results. For those who think this kind of record is a '70s cliche or knockoff, you are a. wrong and b. clearly don't know much about the immaculate blueprint that our beloved soul and funk giants created. Yes, Gaye, Mayfield, White, Ware, Hayes and co. left behind an often imitated but never duplicated legacy. But, they also left behind an invaluable text book that if studied properly and diligently, can be reinterpreted, extrapolated and re-imagined to create shimmering and gorgeous results. And this album, much like Maxwell's Urban Hang Suite, is proof that some people do their fucking homework.

Three of my favorite tunes on the album after the jump.

"Still Smokin'":

"Private Party" (ignore the ridiculous homemade YouTube video):

"Simply Beautiful":

Open Post: William Shakespeare's Romeo + Juliet: Music From The Motion Picture

2011-01-30T20:04:00.010-05:00

An absolutely perfect film soundtrack is extremely hard to come by. Most everybody has at least a few that come to mind, but I have recently found that many of my old go to favorites don't really hold up anymore (I'm not goofing. This used to be my shit when I was 11. Inappropriate, I know.) I guess that's to be expected. I mean, half the time certain movies I love(d) don't cut the mustard anymore, so it stands to reason that their accompanying scores have become little more than spotty playlists- a few solid gems sprinkled in there for sure, but straight through playability? Not happening.

At its best, an OST can serve as an amazing mix tape, a Cliff Notes like musical recap that triggers your recollection of certain scenes and exchanges of dialogue or a completely amazing stand alone record that regardless of any film's association, you would like to own. At its worst, it can be well, this.

But, in case you were curious (you weren't) the soundtrack of my really complex and important middle school life (the amount of side eye I am giving my childhood self right now is not even quantifiable) still holds up! Solid. Solid as a rock!

Baz Luhrmann's tropicalia drenched post-apocalyptic Mexico City take on the star crossed lovers will still, without any doubt, make me cry. The last montage of their (two week) courtship? Peering at each other through the fish tank? Those angel wings? The pool scene? Losing your virginity to your husband at 14 surrounded by a million saint candles and dolls? Leonardo DiCaprio's smooth as a baby's bottom chest peeping out from the most awesome of awesome Hawaiian shirts? Visually, the film is truly breathtaking, but then again, that's what Baz does best. That's a given. I mean, say what you will about Moulin Rouge! (wait, don't I'll get mad) it is nothing if not lush and gorgeous. His reconstructed Monte Marte is like a pop up book on absinthe (which was the point) and his attention to visual detail is always impressive. In Romeo + Juliet, he pulls off creating a world lost in a very specific aesthetic past (think Cuba), where everyone speaks in Shakespearean tongue, but hangs out with cholas and cross dressing disco loving gun toting roll dogs AND listens to the best of what the '90s had to offer sonically. That is not an easy task.

This soundtrack has it all. Garbage (I would die for you). Radiohead. The Cardigans (so I cry, and I beg, for you to, love me love meeeeeeeee). Butthole Surfers. DES'REE (no. words.). Everclear. Future B2K affiliated Quindon Tarver, who, when he appeared in the film as a young choir boy, literally had the voice of an angel (his cover of "When Doves Cry" is unfathomably magical, but, although featured in the film, it is technically only found on the second volume of the soundtrack along with the instrumentals). Kym Mazelle's cover of Candi Stanton's "Young Hearts Run Free" is one of the greatest disco/house tunes in my (not so) humble opinion. The pseudo creepy babytalk singing style of Stina Nordenstam that then takes a surprising turn and delves into a very decent and actually not awful sax solo breakdown on "Little Star" is understated wistful longing at its finest. There isn't a bad jam on this album. Don't believe me? Full track listing:

1. "#1 Crush" - Garbage
2. "Local God" - Everclear
3. "Angel" - Gavin Friday
4. "Pretty Piece of Flesh" - One Inch Punch
5. "Kissing You (Love Theme from Romeo + Juliet)" - Des'ree
6. "Whatever (I Had a Dream)" - Butthole Surfers
7. "Lovefool" - The Cardigans
8. "Young Hearts Run Free" - Kym Mazelle
9. "Everybody's Free (To Feel Good)" - Quindon Tarver
10. "To You I Bestow" - Mundy
11. "Talk Show Host" - Radiohead
12. "Little Star" - Stina Nordenstam
13. "You and Me Song" - The Wannadies

Flawless. Watch this if you still have a fence post up your butt:

Whaaaaaaaaaaaat. Give me my sin again indeed.

Don't be no fool when love really don't love you. PREACH.

Later, I'm busy weeping in my room.

My Special Monday Morning Tape For You, Special!

2011-01-17T14:45:00.003-05:00

Well, to quote Rob, it is Monday afternoon (I should have woken up earlier) but nevertheless, in celebration of the clown shoe convention that was last night's Golden Globes (Ricky Gervais, please, be mine) here are ten songs I believe have epic cinematic qualities. These picks all possess swelling crescendos, waves of complex melodic emotions, a lush sonic narrative and of course, would all work perfectly, or already have worked perfectly, as the soundtrack to characters realizing they are in love, staring out windows wistfully, having their hearts smashed, or having impeccably lit and expertly choreographed sex scenes.

Ay yi yi! That string intro is the audio equivalent of a film's protagonist thinking about a new crush and smiling. In fact, this whole song is just one gorgeous and silky tribute to new possibilities, feeling like you are 100 feet tall, and those electromagnetic vibrations that you emit when you meet someone that you just want to stare at, all day.

So, the Ray Charles duet version of this gem was totally used in a very young Lilo's remake of The Parent Trap (when the twins get separated and British Lohan has to go back to London with her mom (RIP Natasha Richardson), while Napa Valley Lohan has to be sad and ride horses with Dennis Quaid) but I really like Betty Carter doing this solo, because it takes melancholy to all sorts of new levels. Like, can't you just picture someone singing this in their apartment alone, wishing someone was there to finish the verse with them and tell them everything was going to be alright?

A pink and purple sunset. A rooftop in Brazil. A longing and wistful glance into an overpopulated, but oh so lonely and isolating city. A void in a heart that can be only filled with true love. Wait, no, I change my mind. Actually, this song is basically this Murakami story.

Speaking of Brother Ray: Correct me if I am wrong, but can't you just picture this song playing over a really bittersweet end of film montage of a doomed relationship? Meeting, falling in love, falling out of love, amazing highs, depressing and scary lows, fights, making up, a soul crushing break up. Like some Blue Valentine shit, but not to the music of Grizzly Bear.

The clip is in German, I think, but just jump to second :45 and you will know why this song can never again be used in another scene as effectively as it was used here. Look at Robert Forster's eyes. He pretty much sums up love at first sight during that first kitten soft guitar lick and drum roll. Then again, I think Pam Grier was created to strut out of a correctional facility to the sound of Bloodstone so, I mean, do with that what you will.

The title of this Let's Get It On session jam kind of says it all. I picture someone laughing and grinning to themselves while trying to grocery shop, remembering the night before. It's the complete emotional opposite of what using this other Let's Get It On masterpiece would be (it was used in a sad relationship fight/break up scene between Taraji P. Henson and Tyrese IN THE RAIN, in John Singleton's Baby Boy):

Here are two that have already been used, and exquisitely. In The Mood For Love is one big beautiful, bittersweet and staggeringly sad ode to forbidden love, all set to Spanish Nat "King" Cole.

Oh boy. Roy Hargrove and Shelby Johnson. This tune is kind of like having a whole pack of butterflies in your stomach while glowing and sauntering down the street, half tipsy, half dreaming. It would work perfectly in a film that will never be made.

It's Monday, so...

2011-01-10T12:40:00.011-05:00

I'm obviously lounging around watching some of my favorite music videos.

"WHO ARE THE ROOTS?" Best.

having a TV for a head must be kind of cumbersome, but I totally wouldn't mind it if it meant I got to cruise around with Saadiq and Tip all summer time like.

One of my favorite things Spike Jonze ever did. "The cookies, buttercrunch."

First of all, Big Boi and Andre 3000 are collectively the perfect man, and secondly (and what's most importantly is), there hasn't been a better wedding music video since "November Rain."

I wish Erykah and I were friends. And not in a creepy super fan way or anything (I swear), but more like, how hilarious IS she? I bet 'Dre wasn't even mad at her "Hey Ya" spoof. He probably was like, damn, my baby mama is the truth. The fake Ohio Players and Minnie Riperton are my faves but Erykah as Maggot Brain cannot be denied.

This song is supposedly about Pharrell. The tub shot has stuck with me since I saw it as a kid.

I think the aesthetic of this video is the '70s Harlem counterpart to Janet's Samuel Fosso and Malick Sidibe inspired "Got 'Til It's Gone."

I remember where I was the first time I saw this video. Molly Ferguson's basement. I was 8, maybe 9. Either way, the sublime casting of Iman, Eddie, Magic Johnson and Arsenio Hall coupled with MAGIC and one of the most beautiful songs about wistful and nostalgic romance ever written was too much for me and I don't think I ever recovered. Also, the awkward embrace MJ and Iman share makes me want to die on the inside. Like, Pharoah Murphy, you just got played by a warlock in black jeans and relaxed waves. Descend the throne while you still have some dignity.

I'm sure you think your mother is the most beautiful woman in the world, but I am here to tell you that you are wrong. Ay yi yi! Has anyone ever looked more sensuous in the history of sensuous than Sade cleaning her kid's dirty white sneaker or running while carrying dry cleaning? The answer is clearly no.

This video is like if Betty Draper and Pam Grier had a baby and it grew up idolizing Bridget Bardot and then I wanted to look just like it/stare at it all day. Obsessed.

BONUS:

R.I.P. Lady T

2010-12-27T13:52:00.005-05:00

Mary Christine Brockert, better known as R&B/funk diva Teena Marie, passed away yesterday at her California home. She was 54. Her 1979 debut album Wild and Peaceful, purposefully did not include a photo of the white singer, and as a result, many listeners (my mom included) and DJs believed the singer to be black.

Teena Marie, a protegee of the late Rick James and "Motown's first white act"* is not only one of the greatest funk vocalists, but a multi-instrumentalist (she played guitar, congas and keys) and a producer and arranger who was also responsible for what is known as "The Brockert Initiative," a landmark music law that made it illegal for a record company to keep an artist under contract without releasing any new material. The law, which arose from a legal battle Marie was fighting with Berry Gordy and Motown, helped other Motown acts like Mary Jane Girls and Luther Vandross leave the company and seek out supportive labels to work with.

After an almost 15 year hiatus, the creator of amazing funk love anthems like "Lovergirl," "Fire and Desire" (one of her duets with James), "Ooo La La La" (which was of course sampled by the Fugees) and the gorgeous multi-layered "Portuguese Love" reemerged with the Grammy nominated La Doña in 2004, and continued to release music up until her passing, with last year's Congo Square, her 13th album. A true diva, innovator, and soul filled legend, she will be missed, but somewhere in Heaven, she and Rick are having a ball.

* not technically true, as Rare Earth preceded her and the little known rock act The Rustix, who provided no hits for the label preceded them

Open Post: Dam-Funk Has Always Been Cooler Than You.

2010-12-12T18:35:00.008-05:00

So, this "new" (the tracks were all made between the years 1988-1992) album came out a short while ago, and it is the only thing I want to listen to, ever. I already have been obsessing over Dam-Funk for some time now, but when I copped this at Reckless Record s over Thanksgiving I pretty much stopped caring about anything else. Toeachizown is a flawless synth masterpiece, but this record, Adolescent Funk, is truly special because he made it while most of his peers were gang banging, drug selling and jerking off.

When I think back to my high school years, I remember getting high and listening to MF Doom and failing trigonometry. But Dam was killing it and making bedroom funk synth symphonies in his actual bedroom. I mean, fuck. It's not like I have ever tried or wanted to play a Casio SK-1, but still. I listen to this record and I think, "I was never, and will never be this cool. Deal with it." Just look at the cover photo: Jesus. Why wasn't he my high school boyfriend? Whoever that adorable piece in the cut out black dress and patterned nylons is knows what I'm talking about. She's looking at the camera like, yeah, we're in love. And yeah, we will have amazing 16 year-old sex to the sounds of Mtume and Kleeer. And yes, I will be keeping these hoops on. What a dreamboat.

All 14 tracks on this album are contagiously slinky and amazing, but my favorite is Side D which contains the kiss off "I Don't Love U" and the insanely repeatable "Attitude," a warning to any and all moody ladies out there. Dam does NOT think that shit is cute and he will ignore your pages. Young Dam is an introspective lover, a gentle genius who just wants to love you and treat you right, all night, but has no problem breaking hearts if need be ("I Don't Want U" and the love triangle jam "When I'm With U I Think Of Her"). All he asks is that you chill out on the drama and wear those tight spandex pants ("I Like Your Big Azz (Girl)"). Totally reasonable, I think.

The outro at the end of the album is my favorite end to this funk odyssey: a young heartbroken lady (perhaps one of the ones from the front or back cover art? There are several hot young things from Dam's seminal high school days featured, including the star of the show in the aforementioned backless number) apologizes for her nasty sass and admits that not only was she in the wrong, but that she deserved to be dumped and will use this experience in her future relationships. She also hopes they can still be friends. And loves him very much. I don't care if that message is genuinely from a resident of Dam's Heartbreak Hotel or is just his cousin doing the recording for him as a favor for $5 and a bag of Cheetos, it is the best use of an answering machine since the intro on Biggie's "One More Chance."

Peanut Butter Wolf put this gem together after listening to some of Dam's work from his formative years. He originally intended to release a couple 7-inches, but after his wife cried while listening to "It's My Life!" (really) he decided it all was too good to choose just two tracks. Dam told him to pick the songs, the artwork, (that must have been just as hard as picking the song selection, actually) and that he didn't want to see the project until it was complete. And here we are. Dam-Funk, to quote your exquisite poetry, "I Wanna Thank You for (Steppin Into My Life)."

Bucket List Achievements: Ann Powers Knows Who I Am

2010-12-11T13:10:00.009-05:00

My heart feels so full and wonderful right now, like it's a freshly blown balloon made out of hopes, dreams and the lifelong desire to become relevant in the field that matters to you.

Quick back story: I haven't been writing. At all. For those who care, or accidentally stumble upon TDOS, my last written expression is a half paragraph about the okayafrica festival. To put this into perspective, I have written more impassioned and thought provoking Trader Joe's grocery lists since then. (The Candy Cane JoJo's ice cream is really quite something.) At Thanksgiving, my mom, various cousins and friends all asked why I had stopped writing. My brother recently told me it made him sad to know that I no longer did the one thing that I had done for myself, regardless of whether or not I had a job (or even an internship) at a respected publication or had people reading my work, period. I have been told that it doesn't matter if I am blogging, scratching away on a napkin, or jotting down thoughts in a Lisa Frank notebook; I should be writing. Doesn't matter if it's good, if it's bad, or if it is documented proof that I am slowly going insane from hanging out with children all day (and there is the simplest reason for my lack of inspiration or willingness to create; cash does, in fact, rule everything around me, and being a nanny, while fulfilling and lucrative, wears the FUCK out of you). I moved to New York to someday be Touré. The white, Jewish, female Touré. Because I love soul music. Because I love R&B. Because I can happily produce 1,000 words on why I still, at the age of almost 25, can relate, in a completely not ironic way, to a Mariah Carey song. Because, after a satisfying, successful and resume building college career at Boston's best entertainment weekly, after running the best damn soul, R&B and slow jams radio program this side of the Mississippi, and after managing a staff of writers and photographers for one of the best college radio station's websites in the country, I knew I had something to offer. I had sat with legends, face to face, and asked them what made them tick, I had spoken to my heroes across time zones and oceans on the telephone, picking their brains and trying my best not to embarrass myself, and most importantly, I had learned from the best mentors, editors and writers around. I had, at the young age of 22, accomplished things I never thought I could. I had taken every opportunity thrown my way, worked ungodly hours, utilized the tools given me, and spent every waking minute working, and loving it.

And since then, I haven't done a fraction of any of that. Part of it is circumstance, I graduated at one of the worst times ever to try and find a job, of any kind, the industry in which I wanted to go into isn't what it used to be, I have an ego, but not that big of an ego to pursue music criticism, the music I care about isn't as fairly represented as it should be, I don't want to compromise my tastes, I'm a cry baby, I'm a girl and the only people I know who are successfully being published in this field are boys, boys that once were under my editorship in college, who I would like to say, I am so very proud of, and I mean that from the bottom of my heart, I'm too busy, I need money, I am not good enough, I am only one in a million. And of course, and most importantly, I gave up.

I admit this. And I will also admit that I have made plenty of excuses, reasons and justifications over the past year and a half too, but this is the first time I have said (or typed) out loud that I gave up. Threw in the towel. Blew it. Dropped any and all balls. But that's OK. Because I knew that someday my desire to talk shit, spout my unwanted and unwarranted opinions (which are totally right, by the way) and to blast superfluous blog posts about Charlie Wilson and Crystal Waters into the void of the internet would come back. I knew it would. My family and friends did too. Because the only thing that matches the amount of indignant self righteous taste making bullshit I have within me, is the support of my loved ones. No sarcasm, no jokes, no goofs. It's true. And I am grateful.

The only thing was, I didn't know how or when it would come back. But that's the whole crux of the biscuit isn't it? Writer's block, periods of depression, bird flu and Athlete's foot all have their own time tables, and no amount of tough love, Target brand foot cream or naps will make it end. I knew this, so I waited. I abandoned TDOS (I'm sorry to like, 2 people), I stopped applying for writing industry jobs, stopped networking, and waited. I waited almost a year. And then, one day (yesterday actually), the switch flipped.

My dear friend, co-blogger and music soul mate Ben sent me this email last night, at 6:30 PM:

Uh, your This Is It piece is in the other notable music writing appendix of BMW '10!!!! did you know that?! Congratulations! We need to celebrate this.

Hope all else is well by you.

Of course I did not know that. At that exact moment, I was watching Scooby-Doo with a five year-old. I had completely forgotten, that sometime last year I had in fact, in a bout of inspiration, submitted a few of my pieces to Daphne Carr and the gang at Best Music Writing for 2010 consideration. They politely let me know that they got my submissions, and thanked me. Quite frankly, I was just happy I got an email back from them. I then promptly forgot about all of it. (In fact, our good friend Kyle, who designed our lovely site, was the reason Ben found out in the first place. He just happened to be skimming through the list in the appendix and found me. Just like that. I probably wouldn't have known until I bought the book myself.)

I didn't believe it. I made Ben text me a picture of my name in the appendix. I then tried to Google my name and the book together, but all that came up was my LinkedIn profile. Trife. And when I just tried searching for a list of pieces included in this year's appendix, I came across this:

NYC Thanksgiving Week Double Header

Let's hear it for New York! While there is always a large number of critics in NYC who make it into the pages of BMW*, this is a true banner year for New Yorkers in the book. So, we have an extra special two day extravaganza of writers, henceforth named The Best Music Writing 2010 Thanksgiving Week Double Header:

Monday, November 22, 2010
7pm, Housing Works Cafe
126 Crosby Street New York, NY 1001
Free (please bring used books to donate)

Hosted by Guest Editor Ann Powers and Series Editor Daphne Carr
Readings by 2010 Contributors: Raquel Cepeda, Robert Christgau, Sasha Frere-Jones, Lola Ogunnaike, Starrene Rhett, Jody Rosen, Alex Ross, and Greg Tate

Tuesday, November 23, 2010
Free, 7pm, SouthPaw
125 Fifth Ave. Brooklyn, NY 11217
Hosted by Guest Editor Ann Powers and Series Editor Daphne Carr
Readings by 2010 Contributors: Nitsuh Abebe, Jon Caramanica, Jason Fine, Maura Johnston, Evie Nagy, Tavia Nyong’o, Christopher R. Weingarten

GOD FUCKING DAMN IT. Talk about being oblivious. Instead of being in a car for 14 hours on the way to Chicago, I could have been hobnobbing with Robert Christgau and Sasha Frere-Jones. Thanksgiving dinner this year was good, but not that good (with respect to my aunt's ginger cheesecake that she made just for me, of course). To be fair, they didn't contact me to let me know I was selected, and I assume this is because I wasn't published in the book, only included in the appendix. Which is totally fine, I just wish I wasn't a bonehead and had followed up.

The Best Music Writing series, for those of you philistines out there, is to put it simply, the truth. I have been pouring over these anthologies for years. It's like Christmas. Each piece in the book is a new gift to unwrap and all of them are worth unwrapping. The guest editors are some of my heroes, and the contributors are people I would be honored to share a Twix bar with, let alone an appendix. So now, Isabelle Davis, and her "notable" (!!!!!!!!!) blog post "That Really Was It: Michael Jackson's THIS IS IT" are hanging out on page 318 nestled between people like Rob Harvilla of the Village Voice, Jess Harvell of Idolator, NICK FUCKING HORNBY, GREIL MARCUS, KELEFA SENNEH, DANYEL SMITH, ROB SHEFFIELD and MY PERSONAL HERO, Touré. Touré. Fucking Touré.

My name is in a book. My name, and the title of a piece I wrote, and believed in, is mentioned among a list of luminaries and recommended reading. Now allow me to be self indulgent and congratulatory for one quick, all caps second: SOMETHING I WROTE IS CONSIDERED NOTABLE BY PEOPLE WHO MATTER. I AM LISTED AS SOMETHING WORTH READING, ALONG WITH PEOPLE WHO SHOULD BE REQUIRED READING. I AM MENTIONED IN A BOOK ABOUT THINGS BEING GOOD. A BOOK WITH THE WORD "BEST" IN THE TITLE.

Now if you'll excuse me, I am going to celebrate.

Giving You True Notes Since 247,000 B.C.

2010-07-06T01:32:00.004-04:00

I am extremely excited that I have next Sunday off so I can attend the launch of okayafrica in Prospect Park. The free event not only features live music from the Roots, Talib Kweli (meh) and DJ J. Period, but will be hosted by Sahr Ngaujah, one of the two dudes who plays Fela Kuti on Broadway. Next Sunday also marks the end of the World Cup, so I'll have my vuvuzela ready. See you there!

okayafrica
Prospect Park Bandshell
Sunday 7.11.10
4pm
FREE!

The Bitch is Back.

2010-07-04T15:19:00.008-04:00

I probably should start this post off by apologizing for TDOS' six month hiatus/absence, but since it seems that the only people reading this blog are Chinese speakers who like using my last post about the FELA! musical as some sort of comment run chat room, I will instead just say: don't look a gift horse in the mouth. The Bitch is Back.

And the past two weeks have given us here at TDOS plenty of reason to reemerge from our hot and stuffy pit of apathy (a.k.a. the second year after you graduate college and can't get a job in your desired field and you have to put the package of beef jerky back at the store because you don't want to overdraw your checking account): Isabelle's religious experience at Maxwell's show at MSG on June 25th, The Roots' gorgeous new album How I Got Over, this week's highly anticipated release of Big Boi's Sir Lucious Left Foot: The Son of Chico Dusty, the Film Forum's run of The Agony and the Ecstasy of Phil Spector (Tony Bennett really does have it too easy) and the news that ?uesto is preparing to start a "supergroup" with the world's most reliable (she always blows it) soul singer, Amy Winehouse! Pretty much anything that happened prior to that doesn't really matter anyway, except of course this.

Say yeah yeah!: FELA! on Broadway

2010-01-28T11:45:00.006-05:00

If you haven't already, go. Just go. FELA! doesn't so much follow a linear story line, but rather, aims, and succeeds, via musical osmosis, in bringing Fela Kuti's story, Lagos, Nigeria, The Shrine and Africa '70 (Antibalas) to life before your eyes. I had the extreme privilege of being seated second row, dead center, where I could feel the sweat of Kuti's Queens flying off their bodies, and feel the magnetism and insane charisma that Kevin Mambo brought to his role as the legendary band leader, activist, multi-instrumentalist and international bad boy. I had been waiting since 2008 to see this show, and man, was it worth the wait. If anybody reading this wants to go, let me know, I would be honored to accompany somebody on their first viewing. I don't even want to give much more away, I wouldn't be able to truly do the show justice; the songs ("Water No Get Enemy" a personal favorite of mine, was exceptionally wonderful), the dances (nothing short of electrifying and bone chilling) the visuals (the tiny theatre was transformed into The Shrine at its height) and the overall ambiance can't even be accurately conveyed via text. GO. NOW.

FELA! on Broadway
The Eugene O'Neill Theatre
230 West 49th Street

TDOS Obituaries: Teddy Pendergrass

2010-01-14T11:59:00.007-05:00

After succumbing to a battle with colon cancer, soul master and legendary baritone Teddy "Teddy Bear" Pendergrass, died late last night in a hospital outside of his hometown, Philadelphia. He was only 59 and had managed to cheat death once before, surviving a paralyzing car accident in 1982 and successfully rebuilding his career, when people thought he would never sing again. After the jump, my favorite Teddy joint, from his Harold Melvin & the Blue Notes days.

The Obligatory Year End List, Two Day Old Style

2010-01-12T16:29:00.002-05:00

It's mid January, so I know all of you out there are probably just clamoring for my year end list, right? Sure, we could do this type of thing at the actual end of the year, but we like to keep you on your toes. So here's what I was listening to, in no particular order.

No Kids, Come Into My House: a thousand spins in, I still have no idea what to make of this debut, but it's an interesting, shifty, compelling little record. Our designer and sometime contributor Kyle, who put me on to this LP, came closest to pinning it down: "A little baroque ballad to start, into some slightly spazzy pop, then something with an anemic Biggie beat, to some barbershop quartet and salsa piano later on." So, maybe that helps? Key tracks: "The Beaches Are Closed," "Bluster In The Air"

Oh No, Dr. No's Oxperiment: Turkish garage rock samples are turned into some of the best beats of the year, courtesy of Madlib's little brother. This got a bunch more exposure when Mos Def tapped some of the beats for The Ecstatic. Key tracks: "Heavy," "Come Back," "Ohhhhhh"

Thao with the Get Down Stay Down, Know Better Learn Faster: Sad people dance, too. Key tracks: "Goodbye, Good Luck," "When We Swam"

Roseanne Cash, The List: straightforward covers album, ranging from the predictable to obscure, all perfectly produced by Cash's husband Jon Leventhal. It has a nice story behind it, to boot. Word is, Vol. 2 is on the way. Key tracks: "Miss the Mississippi and You," "Girl From the North Country," She's Got You"

Monsters of Folk, s/t: Not the all time classic I was hoping for, but put Mike Mogis, Conor Oberst, Yim Yames (f.k.a. Jim James, wtf) and M. Ward in a studio together and something worth listening will probably come out. These guys are the self appointed successors to the throne of Wilbury. Key tracks: "Magic Marker," "Whole Lotta Losin,'" "Losin Yo Head"

Mayer Hawthorne, A Strange Arrangement: He looks like a white boy wannabe, but this LP from Stones Throw has soul for real and it sounds like Hawthorne will be a heavy hitter in the soul revival movement. Key tracks: Key tracks: "Your Easy Lovin Ain't Pleasin Nothin," "The Ills," "Maybe So, Maybe No"

Phoenix, Wolfgang Amadeus Phoenix: perfect pop tunes from the French outfit. Who doesn't love the satisfaction of a late career breakthrough? Key tracks: "Lisztomania," "Countdown (Sick For The Big Sun)"

Karen O and The Kids, Where The Wild Things Are: this one I had my doubts about, but Karen O and her indie star studded posse crafted a pitch perfect score for Spike Jonze's masterpiece. The cover of Daniel Johnston's "Worried Shoes" will get you every time, unless you have no pulse. Related: I still can't believe they let Jonze make this movie. Key Tracks: "Igloo," "Worried Shoes," "All Is Love"

The xx, xx: just like me in 2009, these kids sound totally bemused by their love lives. Sparse electronic backing (it kind of smacks of Postal Service in a good way, only moodier) and boy girl vocals. Cold weather music, if you ask me. A good counterpoint to the manic breakup rock of Los Campesinos!.

Various Artists, Dark Was the Night compilation: Sure, there's a bunch of skippable filler on this two disc Red Hot compilation helmed by the Dessner brothers (The National), but there's also a few artists quietly contributing some the best songs of their careers. Very heavy on collaborations and fairly obscure covers (Dap Kings play Shuggie Otis? Yes please). And the show at Radio City Music Hall was a highlight of the year if not decade. Key tracks: David Byrne + Dirty Projectors, "Knotty Pine," Feist + Ben Gibbard, "Train Song," The National, "So Far Around the Bend," The New Pornographers, "Hey Snow White," Sharon Jones and the Dap Kings, "Inspiration Information"

You Should Be Here: Raphael Saadiq, Terminal 5, NYC, 12.4.09

2009-12-05T00:55:00.016-05:00

Top ten personal epiphanies that occurred during last night's show (in no particular order):

10. This performance is the closest thing to a Motown revue I will ever witness, Cholly Atkins' routines, in the pocket drumming and immaculate salmon colored suits included

9. The subtle subconscious ramifications of an outfit change cannot be ignored, especially if said salmon colored suit is involved

8. Raphael Saadiq may just have a 100% flawless career, starting with his tenure playing bass for Prince and Sheila E. at the age of 17

7. I have not felt this hormonally jubilant since a Tyrese show at the Chicago House of Blues circa 1998

6. 43 is the new 23

5. Nothing, and I mean nothing, is sexier than rolled up shirt sleeves*

4. Fashion glasses don't bother me if they are replicas of David Ruffin's

3. I still wish Lucy Pearl would reunite

2. After all these years, "Anniversary" still makes my heart flutter

1. I don't care how many times I hear the line "I got more than just a big stick and some money" I still believe it is pure poetry

*with the exception of the shirt sleeves being pushed up in order to better play a bass, and play it well. Very well.

Idolator Takes Another Turn

2009-11-11T16:00:00.001-05:00

Our favorite music blogger Maura has been ousted by parent company Buzznet, replaced at Idolator by two new writers who I will not try to be too hard on. Daily Swarm has all the details, and you can read Maura's goodbye post here.

From the looks of it, a high quality music blog has been replaced by yet another completely mediocre music blog. Too bad. Not a huge surprise--the blog has been bought and sold and had its staff cut a number of times since its inception. We'll keep an eye out for where Maura takes her music writing after this.

Meet Idolator's New Editors [daily swarm]
It's Time (For Me) To Say Goodbye [idolator]

Amerie's In Love & War: Womp & Womp

2009-11-09T22:09:00.006-05:00

Oh, Amerie. I waited for this. I was excited. I thought, and reasonably so, that this new album would be a continuation of Because I Love It, your best, and most elusive release (it didn't even drop in the States and was basically unreleased elsewhere since there was no press or promo done for it). I assumed it would be filled with all the things that make me love you so much: blaring horns, songs that Beyoncé probably should have done in 2003, a sassy exuberance that can really only come from a person when they genuinely love the music they are making (have you heard the unrelenting joy she exudes on Because I Love It's Sam and Dave sampling jam "Gotta Work"? Fucking contagious) and a kind of underdog mentality that stems from the fact that she never really became a public favorite. But no.

Maybe it was the move to Def Jam. Maybe it was the reuniting with longtime producer Rich Harrison, who helped define her sound but was absent from her last album, and apparently for the best. Or maybe, in an effort to effectively recycle elements of Because, she managed to dilute its essence into an album that only offers two stand out tracks (lead single "Why R U" and the stellar "More Than Love" which has her and Fabulous beefing over a lush and punchy Kool and the Gang riff).

The first half is upbeat and sort of a lazy version of what it should be, while the second half is syrupy and very I Am Sasha Fierce. Did people at her new label tell her to go more mainstream? To tone down the raw funk and soul that defined her style of R&B? To essentially, dumb it down? Because what we are left with here is an album that doesn't sound at all like Amerie. Redoing Mint Condition's "Pretty Brown Eyes" with Trey Songz? Employing the use of Lil' Wayne? Synth lines? Power ballads? What the fuck. Even the cover art is uninspired.

I'm going to go listen to "1 Thing" on repeat.

Ghostface Stories

2009-10-30T17:12:00.001-04:00

Last year we showed you this for Halloween. This year, something even better, courtesy of Jimmy Kimmel via the Daily Swarm. I present to you: Ghost Stories with Ghostface Killah.

So, that makes about as much sense as I expected. Shout to Midget Kiss.

WATCH: Ghost Stories with Ghostface Killah [daily swarm]

Retire for Real: The Trouble with Jay-Z

2009-10-29T17:37:00.001-04:00

Jay-Z said this to NYMag's Vulture blog on the subject of his "Death of Autotune" song:

I really just wanted to send a message to rap; I didn’t know it’d be a cultural dispute. I really wanted to have the conversation, like “are we just going to sound like each other? Everyone’s going to sound the same? That’s what we’re gonna do? Don’t ya’ll know this is dangerous? And this is just how rock and roll got pushed from the forefront?” We did this to rock and roll. Everyone was doing the hair-band thing on MTV with the tight pants. They all had the big hair, just different colored tights. It just became about more of a look and a sound than the emotion of the music. And that’s what hip-hop’s becoming. It’s losing the emotion — you can’t have emotion in the robotic voice. I can’t feel anything! And then everyone sounds the same. I really wanted to have the conversation amongst us. And it went outside the culture.

Jay? You can't have it both ways. Blueprint 3--the album you seem to think really broke free of the hip hop pack--would be the most tired thing you've released to date, had you not also released Kingdom Come and American Gangster. And it's not exactly high on emotional expression. Your words and your actions are completely at odds with one another. It's going to take a LOT more than eschewing heavy autotune use in order to breathe life back into hip hop. Maybe you gave a damn about the music contained on BP3, but it certainly didn't sound like it. Sure, "Empire State of Mind" is a pretty good track, but it doesn't sound like anything that couldn't have come out in 2003 (and while we're on the subject, it would have been among the weakest tracks you did release in that year). If you want to keep making music this boring, that's fine. You're way past the Three Classic Album Rule. But please, stop acting like you're here to save us.

Now, if you've read this blog before, you might know a bit about my feelings on the state of hip hop: that it's tired, it's boring, it's just one stop short of dead. Everyone's afraid to try something new, and any feeble attempt to do so gets so chopped up by meddling hands that it ends up a sad neutered excuse for a record. And that's just for the artists who care, which most of them don't seem to. Call me cranky, but I defy you to come up with a compelling argument to the contrary. The best I can do these days seems to be Kid Cudi, and again, that record came out completely lopsided (I still like it a lot more than anything on BP3).

The only silver lining that I could possibly conceive of here is right in line with Jay-Z's rock music/hair metal analogy: the revitalization that rock music saw in the days during and after the hair metal craze was a direct result of said craze; four kids in Forest Hills needed to be bored to death by rock radio before they could bring it back to life as The Ramones (and that's just one example). So here's hoping that Jay can move along the utter stagnation of hip hop to the point that some kid, somewhere, gets fed up and does something completely insane, original, interesting, vital, and fun. Or any of the above. If they're out there and you know it, let me know where I can hear it in the comments.

Jay-Z on DJ Hero, 'D.O.A.,' and His Future Career As a Bar Mitzvah Performer [vulture blog]

That Really Was It: Michael Jackson's THIS IS IT

2009-10-28T09:41:00.006-04:00

A lot has been said about Michael Jackson's THIS IS IT: Father of the year Joe Jackson claims that body doubles were used, his sister LaToya says that Michael would be horrified by the film's release; as a perfectionist, he wouldn't want fans to see him not giving his all, even in a rehearsal. Expectations were high for fans, especially for those who were supposed to see the concert, and many critics were skeptical. After all, Jackson needed this money. These dates were a way to help with his monstrous debt. And since he is one of the most beloved performers of all time, it would be easy, and not surprising at all, for him to simply phone in 50 shows and leave at least a few people satisfied, just happy to catch a glimpse of his former glory.

Well, after seeing the premiering 11:55pm show in Brooklyn last night with my brother, I can tell you this: The King of Pop still had a little fight left in him.

To be honest, I bought these tickets the day they were released a month ago in the hopes that the film would shed some subversive light on his health pre-death. Maybe unintentionally show Michael in a Demerol induced haze, stumbling through rehearsals. Perhaps prove to the world that he was in absolutely no condition to fulfill those 50 planned dates at the O2 arena in London anyway. I am not particularly proud of my initial interest in the documentary, but like most people, I am not completely immune to scandal consciously and unconsciously forming my opinions of someone I have never even met. I was looking for sensationalism. I will admit that. I was looking for a few bittersweet laughs at a fallen legend's expense. I will admit that too. But I got the complete opposite. And I am impressed.

This wasn't funny. Or fucked up. It wasn't even sad, in a pathetic sense or otherwise. Parts of it dripped with melodrama, but that was no surprise, his tastes often lead to that. Really, it was just fascinating. It basically was a run through of the concert that never was, about almost 2 hours of him just planning, singing, dancing and rehearsing his way through the elaborate set. There were explosions, a Swarovski embellished "Billie Jean" costume partially developed by scientists in the Netherlands, that was so bright you needed sunglasses to see it up close (not joking), aerialists hanging from chandeliers, the world's luckiest dancers (one of the best scenes was footage from the auditions held for back up dancers, all of them crying with joy at the prospect of dancing not with, but for the King), amazing musicianship (his female guitarist was particularly excellent, and the band was fantastic) and tons of insane footage that was meant to be projected over the stage for pretty much each song, basically serving as mini music videos, even though the majority of said songs already have pretty amazing music videos to begin with (the "Thriller" one, although filled with great makeup, costumes and special effects, was no match for John Landis' original and the video footage for "Earth Song" had me checking the time a lot).

It started with "Wanna Be Startin' Somethin'" and ended with "Man in the Mirror," and in between there was a Jackson 5 medley (complete with an exact replica of The Jackson 5 Show set, which was my favorite part), a reinterpretation of Gilda set to "Smooth Criminal" which via green screen had Jackson spliced into the night club setting with Rita Hayworth, a Chicago-esque performance of "The Way You Make Me Feel," and the whole time, Michael's immaculate attention to detail. Whether he was schooling (soft spokenly and politely of course) his musical director for not playing the EXACT key used on the original "The Way You Make Me Feel" record for the intro of the song, chastising his band for not letting the bass "simmer" enough, or stopping a number because the mix sounded like a "fist was being pushed through" his ear, he was completely at the helm. His voice, is still phenomenal, even if he wasn't going full throttle on each song (although he did a lot and during his duet with back up singer Judith on "I Just Can't Stop Loving You" he got carried away in the moment and really let loose, quite beautifully, and then told her teasingly it was "OK for you to do that, but I need to conserve MY voice").

Joe Jackson, once again, can die in a fire; those were 110% Jackson's moves, start to finish. He didn't miss a beat, he just moved a few seconds slower than normal, partially because it was rehearsal and a lot of sound check stuff, and of course partially due to health, but nevertheless: he not only kept up with his lithe dancers, he led them. This was no walk through. He jumped around, threw himself on the ground, crotch grabbed, air humped, moonwalked, "Thrillered," Jackson 5 "rolled" (you know, the classic hand/arm roll the boys did all in a line with the two-step) and maintained great measure in his singing the whole time. He made perfect sense every time he spoke, even if he used ridiculous metaphors and passively aggressively told everyone when they messed up that he was correcting them with "L-O-V-E" and even though he seemed exhausted, was shockingly alert.

I have always said that Michael, even as a child, looked the most comfortable while singing and dancing. All other times, he seemed uncomfortable in his later giant and skeletal frame, nervously waving, shyly smiling. This film solidified that. His element, is performing. Watching him lead rehearsals was like watching someone come back to life. I wasn't even paying attention to his looks; they didn't matter. His hair, his skin, his nose, none of those heavily criticized things were an issue. I mean, I am no fool. I know they showed the best days of rehearsals. I know things were edited, heavily. I know he wasn't always that lucid. But I also know what I saw and I know that I would have loved to see the final outcome. There was no scandal. No gossip. No circus show (other than the one on stage). No law suits. Just a legend who quietly was building his swan song, proving that even though his records weren't what they once were, his natural gift for entertaining, immaculately and joyously, had never left.

Uh...thanks?

2009-10-26T14:47:00.002-04:00

One of our favorite blogs is Idolator. They consistently bring thought provoking commentary to some of the most ridiculous happenings in the world of popular and independent music, and for that, we thank them.

Currently, they're counting down the fifty worst songs of the '00s. It's a dirty job, but... well, actually no one had to do it but I'm glad the Idolator crew has taken to it. Because it gives us great harsh lines like the following:

This is a “collaboration” like leprosy is a collaboration with your skin, with Wu-Tang’s involvement little more than their collecting royalties on a copy of Wu-Tang Forever some kid probably sold to a CD Warehouse in 1998. So basically you have 30 seconds of a Wu-Tang record you already own, a full-on pause, and then a really fucking loud Ozzy and Tony Iommi playing a completely dogshit moronic chorus. And then the Wu record again, but really quietly and sadly just playing by itself with an out-of-tune Cypress Hill noises on top of it. Loud rocks!

Doesn't matter what song they're talking about (it's some kind of horrible Ozzy/Wu-Tang collabo), but these are still worth a read.

F2K: Idolator Counts Down The 50 Worst Songs Of The ’00s, One By Ear-Splitting One [idolator]

Some New Stuff I've Been Listening To: Avetts, Hawthorne, Perkins, Cash

2009-10-22T16:00:00.000-04:00

The Avett Brothers - I and Love and You
This LP, the 5th one from the Avetts, is their major label debut, produced by Rick Mothafuckin Rubin. It is the band's most concise album; it doesn't have the sometime meandering quality of the others. Unfortunately, it is also the most boring of their albums. There are a few winners on here, but nothing comes close to the high points of Emotionalism or Mignonette. Good thing that these guys easily get the three album rule seal of approval, so they could decide that they were a Taylor Swift cover band and I'd give them a pass.* Key tracks: "Head Full Of Doubt/Road Full Of Promise," "Kick Drum Heart," "Slight Figure of Speech"

Mayer Hawthorne - A Strange Arrangement
This debut release on Stones Throw from Ann Arbor's Mayer Hawthorne is a short, smart, and masterfully crafted tribute to the Motown sound. Like Sharon Jones and the Dap Kings, Hawthorne specializes in what I'd call period soul, but instead of the James Brown/Aretha Franklin vibe that the Dap Kings put forward, Hawthorne is a pitch-perfect Motown replica. Vocal cues come from Smokey Robinson's falsetto, while the songwriting takes a page from the Holland-Dozier-Holland songbook. Key tracks: "Your Easy Lovin Ain't Pleasin Nothin," "The Ills," "Maybe So, Maybe No," "One Track Mind"

Dudley Perkins - Holy Smokes
This is one of the craziest things I've ever listened to, in any genre. Perkins is an emcee who takes his cues (and samples) from psychedelic soul. Could've swore on listening to this that it's a Madlib production from Stones Throw, but the whole thing was produced by Georgia Anne Muldrow (who has a new album out as well) and is released by Koch. But regardless, if you're into Madlib's brand of trippy hip hop, this is something you should cop (and for what it's worth, Perkins and the Stones Throw label have worked together in the past). Key tracks: "Uncle Ruckus," "Funky Soul," "E&R"

Roseanne Cash - The List
I'm an unabashed fan of the genre I like to call Father's Day music. These are albums that your dad will probably love, and they top the charts around Father's Day. Note that they don't need to be released around Father's Day for the phenomenon to occur; usually these are slow growers in terms of sales, so they need a good six months lead off. They always win Grammys. O Brother Where Art Though, Steely Dan, the Alison Krauss/Jimmy Page record Raising Sand, these are all classic Father's Day albums and artists. T-Bone Burnett is the unchallenged king of the genre, though he's usually behind the scenes. Well, this year my dad is getting a copy of The List for Father's Day. The story goes that Johnny Cash gave his daughter Roseanne Cash a list of the 100 essential songs that she had to know when she was in her early twenties (apparently, girl didn't know jack about country and blues). This album consists of covers of a dozen songs from the list, from traditionals to Merle Haggard, Hank Snow, Bob Dylan and others. A solid album of covers with guest appearances by Bruce Springsteen, Rufus Wainwright, Elvis Costello and Jeff Tweedy. Key tracks: "Miss the Mississippi and You," "Girl From the North Country" (I love that Johnny Cash included the one Dylan song that he duetted on in his list), "She's Got You"

*Not gonna lie, I'd actually be all about this.

The Avett Brothers' I and Love and You [amazon mp3]
The Avett Brothers' back catalog [emusic]
Mayer Hawthorne's A Strange Arrangement [emusic]
Dudley Perkins' Holy Smokes [emusic]
Roseanne Cash's The List [amazon mp3]

The Most! The Best! The Greatest! Forever!: Mixes by Cryptacize

2009-10-04T00:28:00.009-04:00

Soon after the release of their fantastic 2006 album Calamity, San Francisco band The Curtains went and did a stupid thing. They broke up. Well, that might be a little misleading, since the "band" was essentially just Chris Cohen, a former Deerhoof guitarist who wrote, performed and recorded the album almost entirely on his own. Luckily, Cohen continues to write similarly minimal, challenging pop music as a member of Cryptacize, which also includes guitarist/vocalist Nedelle Torrisi, who lent her voice on a couple of Calamity tracks, and toured with The Curtains in support of that record. Though it's hard for me not to compare Cryptacize's two albums-- 2008's Dig That Treasure and 2009's Mythomania-- to Calamity, and to feel that they don't quite measure up to the excitement and singularity of that earlier album, that's a bit unfair, seeing as Calamity is easily one of my top five records of the last decade, if not ever. In fact, I actually think Cryptacize has put out two quite-good albums, and has forged a unique sound that melds elements of Ennio Morricone's 60s western soundtracks (Mythomania's "I'll Take the Long Way"), stage musicals (Dig That Treasure's title track), and melody-heavy children's music (Dig That Treaure's stand-out tune, "Cosmic Sing-A-Long") into a compelling and engaging new form.

It's this combination of disparate influences in Cryptacize's music that makes the mixes up on their blog so enjoyable and illuminating. On February 16th of this year, Cohen posted his first mix-- there are now five-- with the note:

since finishing our album Mythomania, I've been rediscovering listening to music for pleasure! as everyone knows, there is so much music available everywhere and for free. it's like a dream come true to me - anything I ever want to hear. well anyway, I'm going to make a bunch of mixes - and here's the first one.

And with that, Cohen gives us a 60-minute compilation that's as eclectic and exciting as any you'll ever hear. It starts with a swaggering blues/gospel number from post-war vocalist/guitarist Arbee Stidham, featuring an ecstatic organ line and Stidham's booming baritone. The next track, from a 2005 album by avant-punk group The Howling Hex, explodes with a wonderfully simple, distorted guitar lick that repeats for the entirety of the 3:30 minute song, underneath alternating male/female vocals. Then we have an experimental Moog composition, which shows up in iTunes with the title "Pixillation (schwartz, bell labs, 1971)", followed by a track from a J.A. Adofo & City Boys International, who Last.fm describe as "Ghanaian highlife from the 70s and 80s". And the eclecticism never lets up from there. Each of the five mixes has it's own vibe, but all of them will have you thinking "that was great, who was that?" Occasionally the songs can tend toward a more experimental bent, but for the most part the music is accessible, and the majority of the more challenging songs are still palatable and rewarding upon repeated listens. Though there are a few recognizable names sprinkled throughout the mixes-- Les Paul, The Ronettes, Nina Simone, Queen, T. Rex--the vast majority are, to me, unknown treats. Ann Peebles' "Make Me Yours," from Mix #2, is one of the catchiest and most energizing songs that I've ever heard, while the song that opens that mix, "Motherless Child," sends chills down my spine.

Although you don't have to know Cryptacize to enjoy these compilations, it's definitely interesting to hear how each of the tracks is influential on the band's style-- the instrumentation of Tom Zé, the raw energy and simplicity of The Troggs, or the vivid, dreamlike imagery of Richard Harris' "Watermark". And to top it all off, Cohen has created a great series of "covers" for each of the compilations, all employing the same visual style of colorized, distorted photography, and a consistent typographic treatment: the text is uniformly Helvetica, with titles in quotes, all caps and italicized, and the remaining text in all lowercase. Though the covers aren't completely necessary-- most of the songs display their own album artwork in iTunes anyway-- their existence adds to the feeling of curation and care that has gone into the selection of each mix, and serves to hold them all together as a sort of boxed set--something much more considered and deliberate than the bulk of online music sharing.

If you're looking for a place to start, Mix #2, "Find Someone", is my favorite, though all have stellar tracks. Cohen has this to say about Mix #2, which articulates the juxtaposition and joy in each mix:

songs about looking for something or just beautiful songs.

please give Richard Harris a chance!
get inside of his brain!

the rest is sweet candy

Mix #1: "A Rainbow's Revenge"
Mix #2: "Find Someone"
Mix #3: "The Eternal City"
Mix #4: "The Edge of the World"
Mix #5: "Magic Glue"

Stuart Murdoch and the Three-Classic-Album Rule: God Help the Girl

2009-10-02T12:00:00.001-04:00

Is it a Belle and Sebastian album? A Stuart Murdoch solo effort? A crowdsourced theatre geek pet project? Yes, yes, and yes. Stuart Murdoch's said before that he wasn't involved in any side projects because Belle and Sebastian took up all of his time, and he micromanaged everything from production to art direction (I'm paraphrasing here). Shame, really, because he seems like the kind of artist very well suited to have his hands in all sorts of things. Enter God Help the Girl. The concept: God Help the Girl is the soundtrack to a nonexistent musical (it's also the name of the band), with vocals by three lovely young ladies who are up until now unknown, as well as Murdoch himself, and music played by all the members of Belle and Sebastian. So how is it?

Let me preface this by saying that I have a rule that if a band or an artist releases three or more classic albums, then any meandering experimentation they do can be excused (I reserve the right to give these artists a hard time regardless *cough* Jay-Z *cough*). You can call it apologist, and you may be right, but it seems fair to me. Belle and Sebastian reached this point early in their career (Tigermilk, The Boy With the Arab Strap, If You're Feeling Sinister, plus oodles of stellar EPs collected on the double disc Push Barman To Open Old Wounds), and on God Help the Girl, Murdoch really flaunts his achievements by meandering, HARD.

The album is good, not great. It's in some ways a return to the twee bedroom confessions that made us fall in love with B&S in the first place. In another way, it plays like Murdoch wants to have his Phil Spector girl group moment. In other ways still, it contains the worst and hammiest of Broadway musical songwriting. This isn't necesarily a bad thing, and after the non-stop pop barage that we've gotten from the band recently, it's refreshing. "Act of the Apostle" and "Funny Little Frog," both from the band's last effort The Life Pursuit, sound better for the orchestrated arrangements and female leads. Title track "God Help the Girl" has a nice bounce to it and stands with the best of Belle and Sebastian's upbeat pop arrangements. These new female vocalists, apparently selected by internet contests and anonymous Glaswegian classified ads, really hold their own. But a number of tracks ("Hiding 'neath My Umbrella," "Pretty Eve In the Tub") get lost in Broadway musical tropes and ultimately fall flat.

Here's the thing: a lot of the time, a musical works really well on stage and doesn't translate to a recording; unfortunately we don't know if these songs work on stage or film (they may very well) but they're missing something on record. With the right production team this could make a phenomenal musical. As it stands, we've just got a sort-of alright Belle and Sebastian album. Which, all things being relative, is a pretty great thing to have.

God Help the Girl [eMusic]

Beatles' Day is Upon Us!

2009-09-09T12:57:00.003-04:00

So, it's finally here: the entire catalog, all twelve albums plus Past Masters, remastered in (I'm told) pristine quality. Allan Kozinn in the Times says that "this music has dimension and detail that it never had before, and the new packaging reflects each album’s musical and cultural importance. Over all, the new discs sound substantially better than the Beatles’ original CDs, which EMI issued in 1987. The most striking and consistent improvements are a heftier, rounded, three-dimensional bass sound, and drums that now sound like drums, rather than something in the distance being hit." Joy!

I don't want to get back into how Apple Corps. and EMI dropped the ball in waiting this long. I'm far too busy spending all my energy on not impulsively buying the entire box set (leaning towards mono so that I can pore over all the nuances) from Amazon.

Looking, for some reason, for more Beatles' coverage? Check out Pitchfork's reviews of the albums, both individually and as a collection. These at first seemed like a silly joke ("great, I finally know that Sgt. Pepper is a 10/10") but turns out, they're a really well written analysis of records that, if you're like me, course through your veins.

Finally, if you want to read Chuck Klosterman beat a dead horse of a joke, check out his "review" over at the Onion. It gets old fast, but it's got some pretty great zingers.

How are you celebrating Beatles Day?

Long and Winding Road, Repaved [nytimes]
The Beatles, reviewed [pitchfork]
Chuck Klosterman Repeats the Beatles [the onion]

In Which Pitchfork Makes Sense of Lady GaGa and Millenial Pop

2009-09-03T16:18:00.001-04:00

Pitchfork's recent list of the top 500 songs of the 00's seemed a bit premature, as it's 2009. I'm sure it's just chock full of misplaced songs, missing entries, and love for artists who in no way deserve it. But to be perfectly honest, I haven't combed through the list at all, because the particulars don't concern me. I can't even think of 500 songs from the last 9 or so years, let alone rank them.

But if you're interested in what's been happening in pop over the last decade, then check out Tom Ewing's wrap-up essay, "The Decade in Pop." It's one of the best pieces of music crit I've read in a long time. He distills the list (I assume) into a thoughtful critique of just what the hell happened in the 00's, and how it shaped a new pop. I don't buy it all (the argument that American Idol is music criticism on a national scale seems a little flimsy to me), but what I kept thinking while reading this piece, which seems destined for next year's Best Music Writing anthology, was "this is on Pitchfork?!" Now, I don't hate Pitchfork as much as some, in fact I think it's a pretty alright central voice in online music writing, if at times a bit heavy handed. But aside from the odd well-written album review, I don't think I've ever read such a thought provoking piece on their site. Maybe it's that I haven't been paying attention all that much. Go check it out.

The Decade in Pop [pitchfork]
The Top 500 Tracks of the 2000s [pitchfork]

If You Read Only One Account of the Recording of We Are The World This Year...

2009-08-06T16:54:00.003-04:00

Taking the death of Michael Jackson a very loose reason for the post, you're going to want to check out this summary of the events that occurred at the recording of "We Are The World," the song that ended famine in Africa once and for all. (NOTE: I did not do a lot of background research, but I assume the combined power of Quincy Jones, Michael Jackson, Bob Dylan, Bruce Springsteen, Lionel Richie, Al Jarreau, Bette Middler, Paul Simon, Dan Akroyd, Cyndi Lauper, et al. was unstoppable. It was, right?)

At exactly 5.57am, Dylan's lines are played back over the monitors. Lionel Richie falls flat on his back, eyes closed, then dances awhile, waving his ladies' Reebok aerobic shoes in the air.

Pretty much all of it is that quotable. One more for the road:

Soon after, Al Jarreau corners Dylan by the piano. He's choked up. 'Bobby', Jarreau says, holding back tears, 'in my own stupid way I just want to tell you I love you.' Dylan slinks away without even looking at him. Jarreau walks to the door of the studio, looks back at Dylan, cries 'My idol,' bursts into tears and leaves.

It's basically unbridled pop music porn, a bit flighty but filled with fascinating little nuggets like the ones above. Also, Bob Dylan: not a hugger.

When Bob Met Michael Jackson [bob dylan encyclopedia]
via The Roundup [goings on/new yorker]

"Bad Habits" Official Video Premiere

2009-08-06T14:18:00.006-04:00

The second video from Maxwell's gorgeous BLACKsummers'night was just released. In it, he reluctantly(ish) cheats on his wife with actress Kerry Washington and shows us that while on hiatus, he apparently was working out 7 hours a day. I need a minute alone. Or like, an hour.

Maxwell "Bad Habits" [YouTube]

TDOS Obituaries: Baatin

2009-08-03T01:49:00.006-04:00

Co-founding Slum Village member Titus "Baatin" Glover passed earlier this weekend and was found in Detroit this Saturday. The reason for his death is unknown at this time, but foul play, which had been suspected, was ruled out yesterday. The 35 year-old rapper and Detroit native had told the Detroit Free Press that he was diagnosed with schizophrenia right after he left Slum Village in 2002, but had rejoined the group, performing with them at the Detroit Rock the Bells tour date recently and shooting the video for their single, "Cloud 9" (featuring Marsha Ambrosius, formerly of Floetry) off of their forthcoming album Villa Manifesto this past week. He will be missed.

My favorite Baatin contributions after the jump.

Slum Village "Climax (Girl Shit)" [YouTube]
Common f. Slum Village "Thelonius" [YouTube]
Slum Village "Forth & Back (Rock Music)" [YouTube]

These Stank Ass Rappers Make Me Sick.

2009-08-03T01:17:00.009-04:00

This 2000 clip sums up precisely how I feel about the majority of R&B/soul (Maxwell, Erykah and Saadiq you are excluded; thank you for continuing to make music that gives me pause) music that is being promoted/released thus far in 2009.

The Original Kings of Comedy [YouTube]

Weather Forecast for Thursday, August 6th: It's Gonna Rain Purple

2009-07-28T22:51:00.004-04:00

A friendly reminder from Two Day Old Shit:

This summer marks the 25th anniversary of Purple Rain, the greatest piece of semi-autobiographical celluloid to ever be created. It spawned the greatest soundtrack of all time (while simultaneously giving us an album that successfully chronicled the Seven Deadly Sins), managed to demonstrate Prince's phenomenal ventriloquist skills and gave the world the greatest power ballad it will ever know.

A simple tale really: a troubled yet talented Kid meets a total smokeshow named Apollonia. They fall in love and wear matching hoop earrings. Tragedy strikes and the Kid blows it by perpetuating the same violent cycle that his talented but troubled father created, and almost loses Apollonia to his dapper and smarmy musical nemesis, who has an amazing man slave named Jerome. The Kid finally learns to use his words, not his fists, and channels his frustration and anger into musical collaboration. He then wins the hearts of the club goers, his long suffering band and of course, his girl, in the end.

So, in celebration of the glory that is Purple Rain, Celebrate Brooklyn! is presenting the Purple Rain Sing-A-Long, which invites you to belt out "I Would Die 4 U" and "Computer Blue" to your heart's content, surrounded by the lovely Prospect Park Bandshell and hundreds of other adoring Paisley Park fans who would gladly purify themselves in any body of water Prince asked them to. Movie starts at 7:30pm, a suggested donation of $3 is encouraged.

C U There.

Maxwell is BACK. And, I Still Would.

2009-07-09T13:26:00.007-04:00

Oh hey! Its been a long time, and I know I shouldn't left you, without a dope post to step to. But sometimes, life (moving, job hunting, wallowing in your post-graduate, unemployed, broke and single pity) gets in the way. And when that happens, it usually takes something extra extra extra special to snap me out of my bummer fest. Luckily, my favorite Brooklyn born West Indian/Puerto Rican neo-soul wet dream has graced us with the first installment in an upcoming trilogy of pure unadulterated soul. Ladies and gentlemen, Maxwell is back.

It's been eight years since his last and third album, the lovely and shimmering Now (you know, the record with the super sensual and ethereal cover of Kate Bush's "This Woman's Work") and the countertenor has been laying very low ever since. Then, sometime last year, some whispers about a new project began floating around and he started doing some promo gigs. But it wasn't until he showed up at last year's BET Awards and performed "Simply Beautiful" in honor of Al Green that people besides die hard fans truly remembered him and remembered why he was so fantastic. To put it bluntly, he killed it (the Youtube linked there is great because towards the end a woman filming it starts singing along super off key to his hit "Fortunate") and if you were wearing pants they probably were off. He had cut off his trademark locks, but nothing else had changed: same sexual charisma, same gorgeous voice and the same Marvin Gaye circa "Come Live With Me Angel" vibe. And at this year's BET Awards (which I will not discuss further FUCK YOU JOE JACKSON YOU KNOW WHAT YOU DID) he performed the first single off of BLACKsummers'night, "Pretty Wings."

I have always thought if Maxwell's voice was anything other than his voice (uh, stay with me, this is going somewhere I promise) it would be the manifestation of laying in the world's most luxurious bed with the one person you wanted the most, just rolling around touching forever, while the temperature was a perfect balmy warmth, and your skin was bathed in shades of gold from a Sun that didn't burn. Hunger, anger, jealousy and insecurities didn't exist, and neither did clammy sweat. That's what I have always believed. Always (the song "Bad Habits" perhaps best demonstrates my hypothesis).

Well, the album dropped two days ago and for the past two days it's all I have been ingesting. A farewell to a love lost, the record is at once heartbreaking and uplifting, stimulating and numbing. Lush and vibrant horns (best illustrated on my second favorite cut "Cold"), soft guitar and pleading vocals ("Playing Possum") and the same haunting, beautiful yearning ("Fistful of Tears") that he always has exuded in his textured, emotive vocals ("Help Somebody") make this very worth the hiatus he put us through.

2010 and 2011 should give us the rest of his trilogy (and dare I call it too soon, trifecta?) but until then, don't treat this like a comeback. He never really left.

Please Let This Be The Song Of The Summer

2009-06-16T15:54:00.001-04:00

So, today a coworker sent over "LOL," a new Trey Songz/Gucci Mane/Soulja Boy collaboration about... well, I don't know really. I guess it's about Twitpic and sexting? Either way, I kind of can't stop listening to the stream over at The Fader blog. Kind of stupid and totally awesome is the only way I can think of to describe lyrics like "Shorty just text me, say she wanna sex me/ LOL smiley face, LOL smiley face/Shorty sent a a twitpic saying come and get this/ LOL smiley face, LOL smiley face." Also in bonkers hip hop today, this ode to a combination Pizza Hut/Taco Bell.

Trey Songz f. Gucci Mane & Soulja Boy, "LOL" [the fader]
Das Racist, "Combination Pizza Hut and Taco Bell (Wallpaper. Remix)" [the burning ear]

I Can't Think of Ten Great Ones Either

2009-06-14T14:41:00.001-04:00

You guys know how I like to complain about hip hop all the time, right? How no one makes decent LPs, no one cares about their live show, no one gives a fuck? Well, it really warmed my heart this weekend to see this piece by Free Darko blogger Dr. Lawyer Indian Chief (seriously) on the Straight Bangin blog. It's at once thoughtful and off-the-wall bonkers--in the good way.

Basically, Dr. LIC was asked to make a list of his top ten hip hop records since 2000, and he could only think of about six, so he penned this condemnation of the genre instead. It contains nuggets like:

That black male figurehead has been replaced by a white woman. Jim Jones would rather have Cory Kennedy on his jock than Chuck D at this point. Not exactly sure why this is (is it simple economics that white girls drive the market-->get white dudes to buy stuff/white people = 80% of America = buying public?), but it is. This whole steez has led to pointless Feist-sampling/MIA-jocking/Lady GaGa-collab’ing/KANYE STATING THAT HE KNOWS WHO PETER BJORN AND JOHN AND ANIMAL COLLECTIVE IS SO THAT HIPSTERS ARE LIKE WOW THAT IS SO SURPRISING and other nonsense that has generally resulted in music that sounds like the opposite of The Infamous or Livin’ Proof. Aside from the Lykke Li/Drake collab, which I really dug, rappers’ pursuit of validation of white women has created this super-faux “Pitchfork Media got Pharoahe Monch to play so it’s like the Roxy with Talking Heads and Afrika Bambattaa and Debbie Harry” in one room. Except it isn’t. It fucking sucks.

That's what I'm talking about! He also actually says something negative about Dilla and then backs it up with so much evidence, you can't even get mad, just kind of disappointed in yourself for never realizing it. I'm gonna make you clickthrough for that line, though. And I'm not gonna repeat what he has to say about ?uestlove, but suffice it to say it chilled me to my core. And:

Here’s an interesting experiment: Pull out your Ice Cube and Paris albums from the Bush I presidency and listen to their anti-prez raps. Shit makes waaaaaaaaaaaaaay more sense and is oddly far more topical than any political rap produced in the past ten years. Putting the strange new Obama-era aside for a moment, let’s focus on Bush II era political rap, one of the greatest creative letdowns of our time. I remember reading some article in URB magazine right after 9/11 about how the fuckedupedness of the time would spur a renaissance in political rap. Never happened. Instead groups like dead prez et al. made the hip-hop equivalent of Farenheit 9-11, conspiratorial, jumbled oversimplification with an easily digestible “Fuck Bush” tagline.

Yeah! And he's looking at you too, Jigga:

Jay and Nas became de facto kingz after Biggie died for no real reason other than there was a throne to fill. This was also during the point in their careers that they both started snoozing hard. [...] These days we can’t accept an empty throne, so we have been stepping over each for the past few years trying to give the “crown” to people like Cam’ron, the Game, and Weezy. And seriously, I love Lil’ Wayne, but I once tried to tally the number of instances on The Carter III where dude makes an “I’m the shit”/actual pooping pun, and I lost track. The guy is great, Top 30 all time, sure. But, like I said, let’s have some standards.

Alright I guess I'm just reprinting the post at this point, but you get the idea, there's much more to it and if you care at all about the quality of popular music (hip hop, indie or otherwise) these days, get over there and take a look.

All That Glitters Ain't Shit [straight bangin]
(Thanks for the heads up, Jonathan)

Don't Feel Right: The Roots Picnic, Festival Pier, Philadelphia, 6.6.09

2009-06-08T13:52:00.002-04:00

So, remember when Isabelle interviewed ?uestlove for the Weekly Dig in January and asked him about the status of a then-unannounced 2nd annual Roots Picnic in Philly? We posted the interview here on the site, too. ?uesto told Isabelle that this year was going to be a two-day affair, among other tentative plans:

ID: Are you guys going to do another Roots Picnic this summer? I went to the first one.
?: Yes, we are. And this time I promise it's gonna be an actual picnic. We're new at this festival-throwing thing, so we forgot to figure in fatigue of the audience and how to protect them from the sun.

Well, a few months later the official announcement came: the second Picnic was going to be a one day festival again (fine by me, as I day tripped from NYC) featuring a lineup that was as amazing as ?uest alluded to. Antibalas, TV on the Radio, Black Keys, Santigold and the centerpiece of the lineup, Public Enemy playing the entirety of It Takes A Nation Of Millions To Hold Us Back, backed by not only the Roots but Antibalas as well.

Before I tell you how the performances were, I have a bone to pick. Festival Pier is a terrible, terrible venue. It's more of a concrete parking lot than a pier. The drinks are overpriced and the food is terrible. I will admit that all of this so far is par for the course when it comes to outdoor shows. Sad but true. That, I can get over. But you're gonna put thousands of people in the hot sun all day with no water fountain or cooler or anything? Last year, the weather was way worse--95 degrees and no cloud cover, as I recall. Maybe that's why they set up water coolers for everyone to stay hydrated. This year was much cooler and partly cloudy, so maybe we just didn't deserve complimentary water? Maybe I'm old fashioned or naive, but I believe that if you have a ten hour music festival you need to look after the crowd, especially when most of them paid upwards of $60 to attend. Adding insult to injury, security made me dump out my water on the way in ("For all we know, you have vodka in that bottle") and told me I could fill it up at the water fountain inside. The nonexistent water fountain. It must be the one that appears once you start hallucinating from lack of fluids. This was beyond an inconvenience; it was a risk to everyone's health, and basically felt like a huge 'fuck you' from the venue and the promoters. Of course, water was for sale at $3.50 a bottle, if you could afford it. Judging from the number of people I saw pass out (I counted five in my immediate vicinity) not everybody could swing that. People were dropping like flies all due to the negligence of those in charge. I'm not sure whose fault this was--Live Nation, Penn's Landing, the Roots, Okayplayer, or some other party all of whom I'm sure would just blame the other for the problems and call it a day--but it was severely disappointing. In my decade long career of concert going, I have never felt so abused and mistreated, which is saying quite a lot, since this is an industry that generally tries to do just that to its customers whenever possible. Perhaps worst of all, it made ?uestlove's words on this very blog feel fake.

So how was the music? It was phenomenal. The Roots always bring their A-game, and Antibalas' set was one of the most dynamic, sonically satisfying sets of my concert going career. Black Keys were a welcome break, bringing their stripped down blues licks to a crowd that seemed mostly disinterested. Their loss. Santigold, who bailed on the first Roots Picnic at the last minute, played a passable set marred by terrible sound (bass and voice turned to 11, drums buried in the mix) but hey, her backup dancers were pretty cool. Too bad she didn't show up last year, when I still cared. Busdriver played a great set, but as one of the only traditional emcee-and-a-DJ hip hop sets of the day didn't really stand up to a lot of the live instrumentation that was going on. Fun to watch for sure, though. TV on the Radio's set was hot like fire, with the Antibalas horns backing them up. It seemed like TVOTR were sort of the symbol of the day--a band encompassing rock, hip hop, soul, blues, and world music all in one place. You know, like Santigold thinks she does, only successful. The last act of the night was the Roots, who of course rocked the house (25 minute version of "You Got Me," anyone?), although I would have liked to see them play a longer, more wide-ranging set like they did at the 2008 Picnic. To be fair, the show was supposed to be over by the time they took the stage, so maybe they were pressed for time.

As expected, the highlight of the day was the Public Enemy/Roots/Antibalas set. It Takes a Nation... is one of the most dark, dense, difficult albums in the history of hip hop and watching these musicians breathe all of this life into the work was nothing short of a revelation. This performance actually exceeded my greatest expectation for it. The Second Annual Roots Picnic was a fantastic day of music, marred by conditions that had me fantasizing on a Woodstock '99 style uprising.

Please guys, next year, can we do this somewhere else?

So Anxious

2009-05-28T19:21:00.003-04:00

Next week kicks off Central Park's SummerStage. TV on the Radio gets things started Friday June 5th, but the acts I am super duper pumped for are Les Nubians (I have never gotten the chance to see the French-Cameroonian duo live before, as an unfortunate last minute email cancellation from Ticketmaster came right before a Boston gig my sophomore year), Q-Tip, Jazmine Sullivan aaaaaaannnnnnd (drum roll please): GINUWINE, JOE AND CHICO MOTHERFUCKING DEBARGE. On one stage! "So Anxious" and "Pony" live? "Stutter" and "No Guarantee"? 1999 to my face.

David Byrne Has Something To Say

2009-05-07T12:14:00.001-04:00

David Byrne, who's been blogging on his website since before 'blog' was even a word, posted some thoughts on Dark Was The Night: Live, and it's obviously more interesting than what I had to say. He sounds quite energized by the current state of indie rock. Sounds like he had fun:

Maybe it’s the headiness of being surrounded by so many creative folks, but it seems that popular music — some of it anyway — might be going through one of its periodic peaks. It also seems that rock music, or some sizable branch of it, has evolved from being a throwaway piece of merchandise for teens to a respectable art form. The transformation, made in fits and starts over many decades, seems more or less complete.

Click on over there for the rest.

05.05.09: New York -- Cinco de Mayo [david byrne journal]

Sparklehorse and Danger Mouse, Together At Last

2009-05-06T15:19:00.001-04:00

Gah! Maybe you remember a few years back, when Sparklehorse and Danger Mouse announced they'd be recording an album as Dangerhorse. This was after Danger did some production on Sparklehorse's fantastic Dreamt for Light Years in the Belly of a Mountain. Well, we never heard from Dangerhorse, but now comes word that this summer will see the release of Danger Mouse and Sparklehorse present Dark Night of the Soul, with a guest list that veers into is-this-really-happening territory. It's so far flung it reminds me of the appearances we saw on Gorillaz' Demon Days (another Danger Mouse production, come to think of it). The most interesting name on the list is David Lynch, but head over to DNOTS.com for the full rundown (Suzanne Vega? Black Francis? I'm so down--even Grandaddy's Jason Lytle, the vocalist I most confuse with Sparklehorse, is along for the ride).

Sparklehorse's work is always interesting, but sometimes lacks focus; this project is so enticing because focus is exactly what Danger brings to the table. Cee-Lo, MF Doom, Black Keys, yes even Gorillaz all were in the game of releasing meandering, far too long records until they hooked up with Danger Mouse, so here's hoping that this album finally delivers the disk I've always wanted from Sparklehorse. It's streaming right now on Chrysalis Music's blog, so head on over and check it out.

Dark Night of the Soul stream [chrysalis blog]
Stream Dark Night of the Soul [stereogum]

I Don't Wanna Burst Y'all Bubbles: Sharon Jones Shows Us How It's Done

2009-05-04T17:30:00.003-04:00

Last night was Dark Was The Night: Live, a performance that I reluctantly plunked down $50 to sit in the cheap seats, if only because the triple threat of a Feist-David Byrne-Dap-Kings concert had to be worth it. It was a night of mini-sets and collaborations between a handful of the artists on the Red Hot compilation, a double-disc loaded with original material produced by Aaron and Bryce Dessner of the National.

The show was better than I thought it would be--none of the acts disappointed, and some bands I was neutral on (Bon Iver, the National, My Brightest Diamond) turned in performances so strong that I've been digging much deeper into their discographies (this Boxer record is really very good, eh?). And getting to watch David Byrne duet with Feist was worth price of admission alone.

Sharon Jones and the Dap-Kings gave the most electrified performance of the night to close the festivities. Then came the encore: the indie clusterfuck elite (and I say that with adoration and respect, honest) took the stage to lead a singalong of Pete Seeger's "This Land is Your Land," a fine choice on the folk legend's 90th birthday. Then, halfway through, Sharon Jones returned to the stage to show these kids how it's done with the Dap-Kings' cover "This Land" (which you can find on their LP Naturally) Watch the video before it gets taken down.

The whole show stopping number became an embodiment of my love/hate relationship with indie rock today: there are interesting things happening and tons of great acts working, but even at the top of its game, it can't ever really be as much fun as Sharon Jones and the Dap- Kings. Luckily, there's no need to pick one or the other, something that Dark Was The Night highlights in its eclecticism and deft curation. Please pick up a copy--it's for a good cause and it's really much better than this sort of thing usually turns out.

This Land is Your Land @ Dark Was The Night [youtube]
Dark Was The Night [official site]
Red Hot Organization [official site]
Buy Dark Was The Night [eMusic]
Buy Dark Was The Night [amazon]

In Which I Pat Myself On The Back For Being The Last Indie Kid In The World To Listen To New Pornographers.

2009-04-15T16:34:00.004-04:00

Two Day Old Shit isn't just a classic Phife Dog line; it's also a way of appreciating music. Something new, or something garnering a lot of buzz, isn't always worth listening to. Waiting on something, sleeping on it even, brings pretty great rewards. For one thing, you can be sure you're not being sold a band solely on the basis of their cool factor. But the best part is discovering a new band, and then realizing they have a slew of albums for you to work your way through. That's a good feeling. Call it the Two Day Old Special.

So here's a quick roundup of some things I've slept on. They're not new, but they're probably better than anything that's come out so far this year. And for better or worse, they were so buzzy when they first came out, I couldn't give them a fair shot 'til now.

New Pornographers: My interest in the New Pornographers was piqued late in the game by an interview with Neko Case on Sound Opinions in February. Greg Kot asked what influences Case saw in her new LP, Middle Cyclone, another quality-yet-middling release from the alt country honky tonk queen. "The New Pornographers were a really big influence [on this record] in that they will have no less than five people singing at a time, and it's really gratifying--it's a super sugary cheap fix, and I can't help but want to do that. [...] Playing in that band is a huge influence, because it feels great to sing like that." It sounded like maybe the New Pornographers were a band I should be listening to instead of trying to make myself like Case's solo records. You know how it is: every Neko Case album that comes out, you try to listen, but it's a little boring about halfway through and even though you want to like it because she's a badass with a truly great voice and a top notch sense of humor, the songs kind of blend together and you don't really care about what she's singing about? Well, in the New Pornographers you get enough of the gal to satisfy your Neko craving, but the crew keeps things moving in a way that Case's solo albums never have for me. There are a ton of interesting personalities in this band, and they each bring their own flare to the table but they're still a band. It's not a case of competing personalities, but the whole is definitely greater than the sum of its parts. It's some of the strongest indie pop I've heard in years, and I'm kicking myself for not listening for so long. Twin Cinema is a good place to start, and I'm also digging their most recent, Challengers. I'm sure the other records are pretty good too.

Metric: Until my girl Claire dragged me to see an Emily Haines solo show, I always thought of her as "that woman in Broken Social Scene who isn't Feist." But she was so live, so charismatic and cool and together at that show that I began to think I should check out her work with Metric. Their new LP Fantasies is new school new wave, with lyrics ranging from the personal to the political. I don't know if I think this is a great album yet, but it's very good, and I'm looking forward to diving into the rest of their catalog.

The Avett Brothers: Holy hell, where has this band been all my life? I cannot stop listening to this North Carolina string band. I listen to it on the train, at my desk, cooking dinner, and cleaning up the apartment. It really feels appropriate for everything, especially now that the weather's getting a bit nicer. It's springy music, and while musically its a throwback, lyrically it runs the usual indie gamut from love songs to confessions of intense anxiety. Check out Emotionalism or Mignonette; I can't really vouch for the others. If finger picking and banjos are the kind of thing you're into, trust me on this one. You will love the Avetts.

The New Pornographers [eMusic]
Metric [eMusic]
The Avett Brothers [eMusic]
Neko Case interview [sound opinions]

Finally: The Beatles' Remasters

2009-04-13T18:02:00.004-04:00

Maura Johnston over at Idolator has a post today regarding the Beatles' reissues, something I've clamored for quite a bit and am pretty happy will be making it to the masses this September. I don't think that McCartney and company should be patting each other on the back, since it took them decades to do something that should have been at the top of their list from the beginning days of the CD format. But better late than never, I would say. I have faith that these albums are going to sound better than we've ever imagined, or at least better than they have on digital formats before (nothing beats my copy of Abbey Road on vinyl, "STEVE FISHNER" dymotape still intact). But Johnston isn't so sure that the project will perform very well:

[...]There was one question that was nagging at me every time I passed through another breathless announcement of the release. And that question is: Who, exactly, is going to buy these CDs?

Johnston makes the point that there aren't that many places to even buy CDs anymore, even if people wanted to, which more and more they don't. This is true, and Johnston is right about almost everything (especially "the way the music industry is hell-bent on shooting itself in the foot with dopey ideas like the ringle and Musicpass") save for one thing: people buy the Beatles' material no matter what. She claims that they've "fallen out of the habit," but I don't know that I'd go that far. This is anecdotal but I can pretty much guarantee that my dad, who I think is probably the target here, will pick up this remastered release. No, he doesn't buy CDs with the frequency he once did. In fact, he buys a lot more music via iTunes than he does from brick and mortar sources. But he bought The Beatles' 1, he bought Love, he bought Let It Be Naked, he bought the Capital Albums reissues, and if he bought all those superfluous releases, then he's probably going to buy the remastered catalog. Time will tell, but you should never underestimate the commercial power of the biggest band in the history of the world. As sometime Idolator Michaelangelo Matos points out in the comments to the post, the Beatles are recession-proof.

The Beatles' Remasters: Are They Really That Big A Deal in the Post-CD Era? [Idolator]
Earlier- Dropping the Ball: The Beatles [2DOS]

From Rhymefest, to You: The Manual

2009-04-08T12:30:00.002-04:00

It's looking like we're never going to see Rhymefest's long time coming LP El Che, which is a major bummer. I can only watch this video in anticipation so many times before it creeps up on me that it was posted almost two years ago.

But, good news! Rhymefest's new mixtape, The Manual, hit the internet this week, and while I haven't listened to it yet, I implore you to cop it from Fest's MySpace. Okayplayer promises "Fest rhymes over reworked versions of some golden era classics," something he's particularly well suited to do. And the tracklist features a three part "Native Tongue Medley," the prospect of which has me salivating on the keyboard. My hopes are high, especially after the man's previous mixtape turned out to be the best hip-hop album of 2008.

Rhymefest and Scram Jones present The Manual [free download at MySpace]
Rhymefest - The Manual [okayplayer]
Rhymefest w/ the Fresh Prince's Jazzy Jeff [YouTube]

This Is Going Out To Roadrunner Records

2009-04-07T15:26:00.002-04:00

I have no feelings one way or another regarding Amanda Palmer. But after seeing this, via Daily Swarm, she's a total winner in my book, even though I could take or leave her body of work:

If you ask me, this is right up there with carving "slave" on your face and holding a press conference announcing you will now go by a symbol instead of a name. But, you know, cheekier.

WATCH: Amanda Palmer Sings to Roadrunner Records [the daily swarm]

Upcoming: Dark Was The Night Live @ Radio City

2009-04-06T12:21:00.003-04:00

Dark Was The Night is a double disc compilation benefiting AIDS relief organization Red Hot, produced and compiled by Aaron and Bryce Dessner (the National). It features outtakes and covers by Bon Iver, Arcade Fire, Spoon, Sufjan, Iron and Wine and Stuart Murdoch to name just a few, as well as collaborations like Conor Oberst/Gillian Welch and Feist/Ben Gibbard. The record skews towards the kind of indie buzz bands I generally avoid, but there are certainly a few artists on here whose work is strong enough that you'll want to investigate further. There are also some you may want to delete from your iTunes straight off the bat. Anyway, it's bursting at the seams and I'm not going to try to give it a track by track rundown, but check it out because there's really something for everyone and it's all for a good cause.

But what I'm really stoked about with this whole Dark Was The Night business is the show that WFUV and The Bowery Presents are putting on, May 3rd at Radio City Music Hall. David Byrne was just added to a lineup that already featured Feist, Sharon Jones and the Dap Kings, the National, TVOTR's David Sitek (also the producer of all three YYY's albums), My Brightest Diamond, and Bon Iver among others. And it's not just going to be a performance of tracks from the compilation, either. Says Aaron Dessner in an interview on Pitchfork that essentially sold me on the tickets:

We're going to have two halves. The first half will be songs from Dark Was the Night, and then there will be a short intermission. And then afterwards, there will be mini-sets by different artists and collaborations, both things that relate to Dark Was the Night and some that don't. Not every artist will do a mini-set, but most will. That's basically it. We're trying to keep the show manageable in length, you know, so it's not four-and- a-half hours or something. But it will be a lot of music.

Which, when combined with the idea of seeing Feist, Sharon Jones, and granddaddy-of-it-all David Byrne, was enough for me to plunk down the $38 for cheap seats. Tickets are still on sale.

Dark Was The Night live - tickets [bowerypresents]
Dark Was The Night (Red Hot Compilation) [emusic]
The National's Aaron Dessner on Dark Was The Night, New National Album [pitchfork]

Sort Of Belle and Sebastian's New Album

2009-04-05T11:16:00.001-04:00

Found this on a friend's tumblr today:

God Help The Girl - an introduction from God Help The Girl on Vimeo.

Is Stuart Murdoch constructing his own girl group, playing Phil Spector to some kind of awesome Scottish Ronettes, or is he recording what will one day be his first movie musical? It's hard to tell from this meaty introduction video, but it looks like this June we'll have some sort of bizarro Belle and Sebastian album to listen to all summer. There's a song streaming from the band's official site.

ATTN: GIRLS ON THE INTERNET WHOSE FAVORTE BAND IS BELLE AND SEBASTIAN [amandalynferri]
God Help The Girl - an introduction [vimeo]
God Help The Girl [official site]

Prince wants to see Salma's crrrazy underwears, asks her infant to help.

2009-04-04T16:33:00.010-04:00

In case you haven't paid the super reasonable price of $77 to become a member of the Purple One's new(ish) website, lotusflow3r.com or picked up a copy of his new album(s) at your local Target for $11.98 (Prince's music economics 101: punish downloaders and reward retail consumers), perhaps you aren't aware of Prince's latest gem of a tune, "Valentina." I hadn't heard it yet, since he only streams like, three songs on his mind fuck of a flash site. But, thanks to Jody Rosen at Slate, it was brought to my attention and I have to get my hands on it, ASAP. It's no big deal, really, just a creepy ode to my favorite wet nurse, Salma Hayek. Sample lyrics:

"Hey Valentina tell your mama/ She should give me a call/ When she get tired of runnin'/ After you down the hall/ And she's all worn out/ From those late-night feedings."

And yes, the title of the song is the name of Hayek's baby girl and yes he shouts out Hayek's bff too:

"If Penélope wants to Cruz/ There ain't no way that we ain't gon' dance."

I'm sorry, what?

Happy Birthday Marvin.

2009-04-02T17:54:00.005-04:00

If he were still alive, Marvin Gaye would be 70 years-old today (and yesterday marked the anniversary of his 1984 death). What are your favorite Marvin Gaye albums and songs? Comment, please.

Mine are 1976's I Want You and 1978's Here, My Dear.

Two choice cuts from each record, after the jump.

This Is Getting Ridiculous

2009-04-01T17:39:00.001-04:00

The economy is fucked, your job is hanging in the balance (if you've still got it at all), and summer festivals are still charging a pretty sizable figure for admission. But the lineups aren't getting any less awesome. What's a listener to do?

Layaway, of course! From promoter Goldenvoice's All Points West lineup announcement:

Festival-goers now have the option to purchase 3-day festival tickets and 3-day parking passes on a payment plan. Layaway options (available online ONLY through May 29) are as follows: the 50% down payment option allows purchasers to pay a 50% deposit of the total order now, with the remaining 50% automatically deducted July 3; a multiple payment plan whereby purchasers initially pay 10% of the total order, with the remaining amounts automatically deducted in equal payments on May 4, June 3 and July 3.

Uh, alright. I guess that's one way to handle things. I just don't know how to decide between this and that Margaritaville I've had my eye on.

All Points West - 2009 Festival Dates and Lineup [brooklynvegan]

When Will Yeah Yeah Yeahs Have Their Album Moment?

2009-04-01T16:50:00.003-04:00

Yeah Yeah Yeahs' third LP, It's Blitz!, came out a few weeks back and it's sporting awesome album art and some pretty rollicking jams. Much has been made of the more synth-heavy sound for this record. That really got me excited at first, as I think this band's synth based songs are usually a lot more fun than the more straightforward guitar-driven numbers (I'm counting guitar synths as synths in this analysis). Have they ever recorded anything better than "Rich"? No, they have not.

For my money, this album doesn't sound like too much of a departure from the band's previous output. I think it's probably their strongest record to date, but I'm starting to wonder: are Yeah Yeah Yeahs ever going to release a classic, start-to-finish fantastic album? So far they've got three pretty good albums, but not a single one I want to listen to from beginning to end. It's not to say it'll never happen--this band is still fairly young, though by today's standards they can seem like dinosaurs--but when will Yeah Yeah Yeahs put out their Village Green Preservation Society, their Happy Hippopotamus, their Dutchess?* I hope we see it eventually, but if not, there's always the inevitable greatest hits collection.

Let us know what you think in the comments: can this band deliver a truly great album? Is this the one and I'm just not hearing it yet?

*Just kidding about The Dutchess. Sort of.

It's Blitz! Review [The L Mag]

Chicago Soul Stories: The Notations

2009-03-29T14:57:00.005-04:00

Great article by Dave Hoekstra in today's Sun-Times about Chicago soul men the Notations. Protégés of Curtis Mayfield, the group only released one self-titled album in 1973 (on Mayfield's Custom Records subsidiary, Gemigo) but they represent the unsung history of the city's relationship to soul music.

Most think of the blues and jazz when it comes to the Windy City, but the truth is, my hometown has produced more soul records than most give it credit for. Detroit, Memphis, L.A. and Philly housed the key players, but Chicago had tons of tiny labels, not to mention offices for many of the majors of the time.

Ken Shipley, who founded the Chicago based Numero Group in 2003 (the Numero Group is putting on the first Eccentric Soul Revue at the lovely Park West this Saturday; with Syl Johnson and the Notations headlining) puts it best: "Chicago has always gotten the short end of the stick as far as soul goes," he says.

"And Chicago produced more soul records than any other city in the country. Chicago goes blow to blow with Detroit in a heartbeat because we had more labels. Someone is doing a Ken Burns-type documentary on soul and they contacted us about licensing music. So I go, 'You guys coming to Chicago?' and they said they were skipping it. People think of Chess and the blues with Chicago. But every major record company had an office here. Brunswick [Tyrone Davis, Jackie Wilson, Gene Chandler] was here. OKeh [Major Lance, the great Walter Jackson]. Mercury [Jerry Butler]. King had an office here. And of course, Curtom, Vee-Jay and One-derful, the home of Otis Clay and Harold Burrage. It blows my mind people don't know more about Chicago's soul history."

The Notations offer a window to the soul [Chicago Sun-Times]

ECCENTRIC SOUL REVUE

WITH SYL JOHNSON, THE NOTATIONS, NATE EVANS, RENALDO DOMINO, THE KALDIRONS AND THE FINAL SOLUTION, BACKED BY THE UPTOWN SOUND

When: 7:30 p.m. Saturday
Where: Park West, 322 W. Armitage
Tickets: $22
Phone: (312) 559-1212;
ticketmaster.com;
numerogroup.com

The Supavillain

2009-03-26T16:56:00.005-04:00

MF Doom's new record, Born Like This, dropped earlier this week. eMusic, always towing the line between online download store and valid online music magazine, celebrates with A User's Guide to the Doomography. It's pretty comprehensive, hitting the high points of the pre-Doom days as well as his later work behind the mask.

As for Born Like This, I'm still on my first listen, but so far, so good. One track on there is "Ballskin," which was also on producer Jake One's White Van Music, while "Batty Boys" is either completely offensive or a nod of sympathy to the gay community. Actually, I'm pretty sure it's both (he's a uniter, not a divider). Meanwhile, "That's That" is driven by a violin sample, dotted with handclaps and the usual comic book sound effects. And on "Supervillainz," MF takes on the autotune with all the seriousness you'd expect, which is to say none. And of course we get further teased over the forever-in-the-works Doom/Ghostface album with a track featuring Tony Starks himself. In two words: cop it.

A User's Guide to the DOOMography [eMusic Essentials]
MF Doom's Born Like This [eMusic]

TDOS Obituaries: Uriel Jones

2009-03-25T15:51:00.004-04:00

The last living drummer from the Funk Brothers, Uriel Jones, passed yesterday at the age of 74, due to complications following a heart attack. He was one of the chief session musicians at Motown for two decades.

Originally Marvin Gaye's tour drummer, Jones began filling in for Benny Benjamin as his drug and alcohol use worsened. Jones went on to use his Art Blakey inspired, hard hitting and crisp style on Motown classics like Marvin and Tammi's "Ain't No Mountain High Enough," (and Diana's 1970 cover too) and Stevie's "For Once in My Life." He was also known for his extremely funky work, which was best displayed during the label's foray into the psychedelic, like with the Temps' "Cloud Nine."

Jones still played regularly with his fellow Funk Brothers and lamented missing a recent show last month. If you haven't seen Standing in the Shadows of Motown, it would behoove you to do so.

He is survived by his wife and three kids.

We here at TDOS will miss him greatly.

After the jump, a clip from Standing in the Shadows of Motown (embedding was disabled, unfortunately). Joan Osborne straight kills the Jimmy Ruffin gem, "What Becomes of the Broken Hearted,"which Jones originally recorded. You can see him playing with the late "Pistol" Allen, next to a picture of Benny Benjamin.

http://www.youtube.com/watch?v=gA0GcXV2njY

Versatile Motown drummer Uriel Jones dies at 74 [AP]

Bass For Your Face, Highs For Your Eyes: The Roots Jam, Highline Ballroom, NYC, 3.19.09

2009-03-20T16:46:00.001-04:00

There are many angles to take when it comes to the Roots' new job as house band for Late Night with Jimmy Fallon. I choose ambivalence, personally. I think Fallon lacks charisma or a compelling sense of humor, to say nothing of his interview skills. I think the band's talents as a house band are unmatched among bands working today--they're the tightest and most versatile around--but they'd be put to better use elsewhere. That being said, this is a band that's been on tour almost nonstop for over a decade, during which they find time to record studio albums that push the genre forward even though they get pretty much zero credit from said genre, not to mention radio. On top of that are staggering side projects, and when they do make it to your town, they always bring their A game, whether it's in Illadel or Amherst, MA. So yeah, they deserve this "break," which requires scare quotes because it's actually a full time job. I'm sure it gives them more time to write, record, produce, whatever it is the guys want to do, and that's great.

From a provincial standpoint, I had a hunch it meant a lot more chances to see the band play live in their new hometown (I guess they take the bus in from the 215 to 30 Rock each day, but still). That hunch was more than confirmed by the 14 (FOURTEEN!) shows the band scheduled at the Highline Ballroom (where for art thou, Wetlands) between March and June. Last night was the second of these shows, and it was truly a jam.

These shows are not your typical Roots show. For one thing, tickets are an incredibly cheap $10. $12.50 after fees. That's on par with going to the movies in New York, so take your pick. On top of that, the venue's relatively tiny. And while the Roots have been shoved in the Jam Band pigeonhole with increasing regularity, their shows are always set listed and tightly composed, even as the band melts face with their solos. Not so at these meandering sets that seem to be headed anywhere and everywhere.

The Jams are exactly what they sound like: the Roots are not playing their hits, or even lesser known album tracks. They're jamming. Maybe they're working on new material, trying it out for a crowd, or maybe they're just having fun. They're bringing out their friends, and they're creating organic experiences that go wherever the musicians want. Two weeks ago, at the first of these Jams, we were treated to guest emcees Talib Kweli, Pharoahe Monch, Dice Raw (I think he's an honorary member at this point), and John Forte, as well as neo-soul cats Chrisette Michelle and Raheem DeVaughn.

This week's show, however, had much less freestyling and a lot more straight up jams, with a ton of vocal performances to make us stand up and take notice. Fellow Soulquarian Bilal came out, and sounded even better live than he does on record. For a blast from the past, we had Corey Glover of Living Colour fame. The band's lineup has been stripped down, with no appearances from percussionist Knuckles or keyboardist Kamal, which is easier to take as studio wizard James Poyser has been sitting in on keys. Last night the group was also joined for a number of songs by members of Afrobeat powerhouse Antibalas. But all of these guests were overshadowed by old timer Dee Dee Bridgewater, who showed the young'ns how a real soul singer performs: she held the audience's rapt attention the whole time she was on stage, departing with the kiss off line "see, grandma can get down too." We also saw all too brief freestyles from Dice Raw, back for more, and DC emcee/Mark Ronson collaborator Wale. The band ended things with an exceedingly long but never boring version of their classic "You Got Me," which drifted into a particularly fun downbeat ska sound and then back to the classic until it deteriorated at the set's end. All I have to say is, there's twelve more of these shows coming up, who knows how many special guests, and tickets are still on sale. Get to it.

All The Cutie Pies, They All Know, They Can Always L-A-Y On My Pillow.

2009-03-18T13:53:00.003-04:00

[arts + entertainment]
RAPHAEL SAADIQ
By ISABELLE DAVIS

A venerable J Dilla of R&B, Raphael Saadiq has been shaping the contemporary soul movement for the last 20 years. Be it his role as a new jack swing pioneer in Tony! Toni! Toné!, his short-lived but sincerely missed Lucy Pearl (his email response to my wishful request for a reunion was "NO (wink)," so here's hoping), his "gospel-delic" solo work or his endless producer credits, the man has cemented himself in the annals of R&B history. With his latest record, The Way I See It, Saadiq takes several of Cholly Atkins' choreographed steps back to 1960s Detroit and gives us a record that could definitely pass Berry Gordy's "quality control" department.

His current tour includes snappy suits, sharp footwork and vocals reminiscent of David Ruffin, former member of Saadiq's favorite Motown act, The Temptations: "The harmony was so amazing and rich all the time. Then there were so many great lead vocal personalities to choose from. At any moment another voice would jump out and grab you."

And the nod to popular music's greatest musical stable was a natural choice. "I felt it was time for me to have the second wave of the sound that's been around me since I could remember. But with all original songs, this was really important for me, their songs were always too great for me to try and cover." But considering that he had Stevie Wonder and Funk Brother Jack Ashford on his record, I think it would be allowed if he tried.

[Raphael Saadiq. Thu 3.19.09. Paradise Rock Club, 987 Comm. Ave., Boston. 617.562.8800. 8pm/18+/$26.50. thedise.com]

music: Raphael Saadiq [Weekly Dig]

The TDOS Stimulus Package for Top 40 Radio

2009-03-17T11:13:00.001-04:00

We want to propose two provisions to save pop radio from itself: 1) Increased use of foot stomps for percussion (and I'm talking real feet on hard wood here, not some prerecorded Pro Tools business), and 2) a healthy amount of "doo-langs" and "she-doops." Even through the terrible sound quality in the above clip, this song sounds about 1000 times more vital than anything on the radio today.

The Velvettes - Needle in a Haystack [youtube]

TDOS Book Club

2009-03-01T23:30:00.004-05:00

Having read my fair share of biographical material on the man I consider to be God, it is safe to say that I know a little bit about the life of Marvin Gaye (Michael Eric Dyson's Mercy, Mercy Me: The Art, Loves and Demons of Marvin Gaye is pretty good, except for the R. Kelly comparison clap trap at the end). But for some reason, I had only read excerpts of David Ritz's heralded biography, Divided Soul: The Life of Marvin Gaye, which is the consummate bio on the man. It never was in stock at Border's or B&N and I always had it sitting in my Amazon cart just waiting to be purchased, but never got around to it, putting it off for the next splurge. Last week I decided these excuses were bullshit and after reading a book that contains a character that totally rips off Gaye's life story, I was angered into craving the real deal.

I cannot put this book down.

Apart from the fact that Gaye's life makes for a fantastic page turner (religion, sex, jealousy, infidelity, sexual fetishes, Motown, drugs, child abuse, heartbreak, depression, paranoia, Greek tragedy like family dysfunction, murder, Berry Gordy, etc.) this book is basically told by Marvin. Ritz and Gaye had planned on collaborating on a book together (and fun fact, Ritz is credited with co-writing "Sexual Healing," although, as you will learn in the book, that was not done without some legal issues that took a toll on the author and the musician's friendship), but unfortunately, Gaye passed before the project was started, one day shy of his 45th birthday. This was not the book Ritz intended to write. But lucky for us, he did. Based on years of intimate interviews with Marvin, his family, peers and friends, this book is the closest thing to an autobiography we could get. I already knew the general plot (as many do) but the anecdotes are what make this come to life and truly dance on the page (there is GREAT Motown dirt). I don't even want to write too much. This isn't a book review, just a plea for you to pick this up and immerse yourself in the world of Marvin. Heartbreaking, joyous, beautiful, ugly, complicated and organically simple all at once, Marvin Pentz Gaye, Jr.'s life is my favorite story of all time. It's overwhelming.

Because Ticketmaster Wasn't Evil Enough

2009-02-26T16:55:00.002-05:00

If you go see concerts in the United States, you should be paying attention to the Ticketmaster/Livenation merger. Check out Bill Wyman's great coverage here [via Idolator].

The Rise and Fall of Estelle Bennett

2009-02-17T10:22:00.003-05:00

Ben Sisario has a heartbreaking article in today's Times about the
troubled life of Estelle Bennett, the original Ronette who passed away
last week. A must-read for anyone interested in early pop history.

A Life of Troubles Followed a Singer's Burst of Fame [nytimes]

Giving You Something You Can Feel

2009-02-16T21:27:00.007-05:00

While flipping between shitty romantic comedies and turrrrrrible music videos that were devoted strictly to "love," I stumbled across this 1976 gem on BET: Sparkle. Starring Irene Cara (you know, of "Flashdance...What A Feeling" and "Fame" er, fame) in the title role, Sparkle is the story of the three Williams sisters (glamorous and bitchy Sister, demure and shy Sparkle and sassy and introspective Dolores) from Harlem who form a singing group, Sister and the Sisters, in 1958 with the encouragement of two neighborhood friends. Naturally, trials and tribulations ensue (racial inequality, drug use, abusive crime lord boyfriends by the name of Satin) and at the film's end, Sparkle is the only sister left standing (Sister ODs on cocaine and Dolores leaves Harlem to escape the ghetto and racial prejudice). She finally makes it and is performing at Carnegie Hall, opening for Brother Ray. The film, which is considered a cult classic (it inspired Dreamgirls and gave us this bomb ass En Vogue cover), could be just another Cinderella story, but, thanks to the genius of Curtis Mayfield, who created the film's amazing music, it's a fantastic slice of early 1960s R&B.

The movie's soundtrack was performed by none other than Aretha Franklin, who sings over the film's original score, replacing the vocals of Sparkle's stars. The gorgeous soundtrack gives us some of Aretha's most shimmering and lovely tunes like the classic "(Giving Him) Something He Can Feel," "Rock With Me," "Look Into Your Heart" and of course, "Sparkle." Only eight tracks deep, this soundtrack doesn't need any filler. It's flawless. If you haven't already heard it, please do. It's a real treat. I can't WAIT for the Whitney Houston backed remake to ruin everything: Jordin Sparks as Sparkle (Aaliyah was the first choice and actually would've been pretty good), Alicia Keys as Sister and Omarion (is this a goof?) as Stix, Sparkle's boyfriend and encouraging manager/mentor. Trife.

Fat Cow Loses Grammy

2009-02-09T10:48:00.007-05:00

This picture is on the front page of the Times' Arts section this morning, and in their online slideshow here. I think M.I.A.'s really let herself go since getting all of this mainstream attention. You know? It's like jeez, I get it, looks aren't everything, but would it kill a girl to do a few sit ups every now and then? No wonder she didn't even win any awards.

Three Acts Win Big at the Grammys [nytimes]

Crazy Backing Bands Dept.

2009-02-04T14:27:00.004-05:00

News broke a couple weeks ago that Booker T. Jones, he of legendary Stax session band Booker T. and the MG's, would be releasing a new album in the coming months. The shocking part of this, to me at least, is that he'd be recording with a band comprised of members of Drive-By Truckers and Neil Young. Today Pitchfork has a stream of a track from the album called "Warped Sister," and it's surprising to say the least. It has the in-the-pocket drumming you'd expect from a Booker T. project, and the man's organs are front and center but the real shock comes from the gritty guitar that leads you into the song. It drops to the background once Booker T.'s organ arrives, but the two mesh together throughout the song, giving it an almost grungy feel. A welcome surprise that does much to underscore how at home Booker T. can sound even outside the soul genre he's helped define. That organ's a lot like Nutella: you could spread it on a gym sock and it'd still make your mouth water. Potato Hole drops 4/21 on Anti records.

"Warped Sister" stream [p4k]
Booker T. Jones [official website]

The Rock and Roll Specialists

2009-02-03T15:22:00.004-05:00

Today's the anniversary of the day the music died: the 1959 plane crash in which Buddy Holly, Ritchie Valens, and The Big Bopper (J.P. Richardson) perished. No one knows the kind of music we'd be listening to today if Holly lived through the '60s, but try not to think about it; watch this video instead.

"Peggy Sue" Live in New York [youtube]

Prince Launches New Website, U R Welcome

2009-02-02T17:46:00.006-05:00

Last night, two very important things happened. One, a puppy got a boner during Animal Planet's Puppy Bowl V and had to be taken off the field. Two, Prince launched his new website, lotusflow3r.com. He threw some kind of intimate soirée which involved Anita Baker, a Kat Williams impression, fantastic covers during his (until the wee hours of 3am) performance (Sly & The Family Stone, Mary J. Blige, the Rolling Stones, Rick James) and apparently, shoes that emitted a red light with each step the Purple One took. After I got over my initial shock that I had NOT been invited, I was delighted to find that there are three new songs streaming on this site, and one of them, "Another Boy," is positively sublime. I need to know who the woman singing is. She's great. A new protégé perhaps? This song is so classic and straightforward Prince. It's like what Apollonia would've sang in Purple Rain if she hadn't gotten pimped out by Morris and blown it entirely with "Sex Shooter."

Live at Prince’s mansion: Everything but the pancakes [Pop & Hiss]

Sound Clash: The Roots vs. Antibalas, the Roxy, Boston, 1.29.09

2009-01-30T15:27:00.009-05:00

Sponsored by Redbull and hosted by Boston MC Akrobatik, this event was a musical clash of the titans: in one corner (or stage, rather), Philly's finest, the legendary Roots crew. Hardest working band in show business, twenty years strong, and by far and wide the best live showmen I have ever witnessed. In the second corner, Brooklyn's own United Colors of Afro-funk, Antibalas. The house band for the musical Fela!, the closest thing to Africa '70 possible, and in Questlove's words, the most "airtight" collective going (I'm almost positive this whole show was his idea too).

Boston's Roxy is relatively tiny, so even though it was sold out and packed, the actual crowd space was intimate. Sandwiched between each band's stage, the crowd whipped around every round to give their full attention to the spotlighted contestants. First was the warm up, fifteen minutes of breakneck jamming: the Roots threw down "Thought @ Work," "Here I Come" and "Game Theory." (As soon as they filed out, I noticed a special guest, though he went unannounced the whole night; holding down the organ front was Randy Watson-er James Poyser, legendary key man behind Al Green's latest, D'Angelo, Erykah, Common and every other Soulquarian production out there.) Then, it was Antibalas' turn: 12 members deep, vocalist/conga man Amayo's face painted and horns blasting. (This was the first time I had seen Antibalas play, and I could not have been more pleased. Cuban, West African, funk, dub, jazz...it's all there, and then some.)

The first round was the "Cover", where the night's DJ threw out a tune and each band had to copy it in their relative style. The theme was TV shows, and it kicked off with a nod to Boston; "Cheers." Then came "The Jeffersons" and "Night Rider" (and I hate to spoil any of this for anyone, but I will just say it early on, none of this was a surprise for either band, I saw the very detailed set list, but who gives a shit, this show ruled and still was filled with improvisation). Then came round two, the "Takeover": each band started their own tune, and the other had to finish it to the best of their musical genre's ability. The Roots gave Antibalas "Star/Response," and Antibalas threw back "Payback Africa," before Black Thought went into his excellent "solo" joint "Please Don't Go." Third round was the "Clash", and the house DJ gave each band a genre they technically are not associated with (although both bands blend and defy genre at all times, incorporating elements from each of these): reggae, jazz and gospel (Poyser killed on the last, his organ is straight up Southern Baptist). The last round was the "Joker", the wild card, where each band brought on a guest of their choosing (and this was where I thought they would acknowledge Poyser's presence to the crowd) and Antibalas brought out Philly's DJ Rich Medina for some spoken word, and the Roots brought out saxophonist Gary Bartz to help out on their show closing "You Got Me" operetta.

The icing on the already epic cake was the finale, where both bands got on one stage (it was some Earth, Wind and Fire shit) and one of Antibalas' guitarists threw down a mean version of Michael McDonald's "What a Fool Believes" as Black Thought laughed and joined in (this is also where Tuba Gooding Jr. picked up Thought's denim jacket and started fanning him with it, James Brown style, and cloaked him with it like a cape), the whole crowd creaming in their yacht rock pants.

Was there a winner? No. Was it the best show I've seen in recent memory? Yes. Are you jealous? You should be.

Break You Off.

2009-01-28T18:16:00.006-05:00

The interview of my life.

[music]

?UESTLOVE
Ahmir Thompson on the phone from Seoul, South Korea
By ISABELLE DAVIS

Drummer, producer, DJ and music buff extraordinaire (he owns every episode of Soul Train and has a vinyl collection that rivals most), Ahmir "?uestlove" Thompson has been the musical director and leader of the legendary Roots crew for over 20 years now. Here, we discuss Antibalas stalking, the musical Fela! and the Roots' new gig as Jimmy Fallon's house band.

HI. VERY, VERY NICE TO MEET YOU, AHMIR.

Oh, hey. What's up? How you doing?

HOW'S ASIA GOING?

Oh, it's wonderful. It's great, you know.

FIRST OF ALL, CONGRATULATIONS ON LATE NIGHT WITH JIMMY FALLON. I THINK IT'S GREAT. HOW DID THIS COME ABOUT? WERE YOU GUYS JUST A NATURAL CHOICE?

Basically. I was the music supervisor for Chappelle's Show. So basically, Dave's partner, Neal Brennan, recommended me to both Jimmy and his producer. I think for a second Neal Brennan was going to be the producer of the Fallon show, but he declined because he has a movie development deal. But he still recommended that they hire me, to see if I was interested. You know, it was right up our alley. We've been doing this for 17 years and basically, you know, there's but so much you can see and travel in the world. From 1992 on, every year. And you know, we kinda wanted to slow down our schedule but not necessarily take a monetary dip. We tour to survive, so we can't just stay home or else, you know, we'd be in the poor house. This provides us the steady work and we get to stay home. And probably the best thing about it is, maybe for the first time in, like, eight years, I can finally devote a lot of hours to being in the studio. Which pretty much, after that 2000 run of Voodoo and Mama's Gun, and Common's two albums, you know, I pretty much stayed out of the studio unless it had anything to do with the Roots.

SINCE YOUR WEEKENDS WILL TECHNICALLY BE FREE, WHAT ARE SOME POTENTIAL PROJECTS?

We're going to keep the weekends open to do one-off gigs. I mean, we're retired from touring, but we'll still do as many weekend gigs as possible. Can't get totally
rusty.

ARE YOU GUYS WORKING ON ANY POTENTIAL NEW ALBUMS, SOLO PROJECTS?

We started our 11th, I'll say three weeks ago, before we came over here.

ARE YOU JUST GOING TO TAKE YOUR TIME WITH IT?

I think in a perfect world we're trying to have it ready for July.

I READ A WHILE BACK YOU WANTED TO DO YOUR GRACELAND ALBUM POTENTIALLY IN CUBA. IS THAT SOMETHING THAT WILL STILL HAPPEN?

Well, that album would have actually been Game Theory. And the place that we chose to do it ...we were prepared to move to New Orleans in May of 2005. But then Katrina happened and that sort of went out the window because we literally lost contact with the brass band that we adopted earlier that year. But actually, come to think of it, that's kinda how Tuba Gooding Jr. wound up in the group, our new tuba player. Even though we had lost a brass band, I still wanted to do a brass experiment.

AND BRASS HEAVEN WAS TOURING WITH YOU GUYS FOR A WHILE.

Yeah, they basically became our ... you know. I had no idea Philadelphia even had a New Orleans-esque brass band. So we did an augmented version of the original. I mean the original Brass Heaven's like, 13, 14 members. Out of those four cats, we kept Tuba.

ARE YOU GUYS GOING TO DO ANOTHER ROOTS PICNIC THIS SUMMER? I WENT TO THE FIRST ONE.

Yes, we are. And this time I promise it's gonna be an actual picnic. We're new at this festival-throwing thing, so we forgot to figure in fatigue of the audience and how to protect them from the sun.

IT WAS GREAT, BUT I'M NOT GOING TO LIE, ONE OF MY FRIENDS FAINTED. BUT SHE WAS NOT HYDRATING.

Yeah, we were throwing water out. We actually, we've confirmed two days of lineup.

CAN YOU SPILL ANY OF THE GOSSIP?

Absolutely not. But this lineup will kick ass. That's all I can say. This lineup will absolutely kick ass. I actually suggested we pull back a little bit because the lineup's so damn good that I don't know how we can top it next year. And plus it's spread out to two days. I'm not even worried about this year, I'm worried about the future. All I can say is we have a potential four great rock acts, two world acts, four hip-hop acts. I mean, these are tentative, they still have yet to confirm. It's gonna be a great mixture of the two.

I CHATTED WITH THE REVEREND AL GREEN A COUPLE MONTHS AGO AND I ASKED HIM IF HE WAS POTENTIALLY EVER GONNA DO ANOTHER ALBUM WITH YOU AND JAMES POYSER. AND HE ANSWERED WITH A VERY, VERY ENTHUSIASTIC "YES." IS THAT SOMETHING THAT COULD BE A POSSIBILITY FOR YOU DOWN THE LINE?

Yeah, you know, once you go Randy Watson, you can't go back.

AND SPEAKING OF WHICH, KUDOS ON THE GRAMMY NODS FOR THAT ALBUM.

Thank you. I promised him that he'd get one Grammy nomination, not four.

I THINK YOU WERE ROBBED FOR PRODUCER OF THE YEAR.

You know what? Actually believe it or not, I'm more happy that we got engineering. [Best Engineered Album, Non-Classical]

DO YOU MIND COMMENTING AT ALL ON THE RECENT BUZZ THAT [D'ANGELO'S] JAMES RIVER IS COMING OUT IN THE NEXT MONTHS?

He's not calling it James River and in a pleasant surprise, I'm one of the last elements to be added. Which basically means he's at least more than halfway done, which in D'Angelo speak is a miracle.

I'VE HEARD VARIOUS THINGS, LIKE, IT HAS A MORE ROCK ELEMENT, IT'S THIS, IT'S THAT. CAN YOU COMMENT AT ALL?

I can only go on, the material I've worked ... the last I touched this record was in 2004 and that was when he was going all the way rock. However, I am to believe at least in our conversations that he did 100 percent just actually a clean slate. I knew that Erykah's New Amerykah was real inspirational to him, so perhaps he's taken a more esoteric turn. But I'm actually not going to hear none of the material until I get to Los Angeles the day after tomorrow.

DO YOU MIND MY ASKING, SO YOU GUYS ARE COOL NOW?

Yeah, so under the bridge, we made up at Erykah's show earlier in March. It's history.

SO LET'S TALK ABOUT THIS SOUND CLASH. HAVE YOU GUYS EVER PLAYED WITH ANTIBALAS BEFORE?

I'm probably the world's biggest Antibalas stalker. I've always been a fan of theirs, but I didn't start my stalking mission probably until they became the house band for the Fela! musical. I still dream of that shit. That's probably the best entertainment ... I mean people ask me, "What's your favorite concert that you've been?" I'd probably have to say the seven or eight times I've seen that. Even now, like all the people that I meet, go and the people that I've bought tickets for, they're still speaking of it. To me, it's just perfect ... they're just so airtight. They do it with such ease and such quietness. The hardest thing in the world is to play quiet and be airtight. And the fact that they are just so studied without shaking is amazing to me.

WHAT WERE SOME OF YOUR FAVORITE ALBUMS OF 2008?

Um, 2008, um. I definitely, definitely, definitely dug Erykah's ... I mean even though I was part of that record, I still consider my role so minor that I can listen to it as a fan. I hate to be those artists that they, you know, mention their product first.

IF IT'S GOOD, IT'S GOOD.

Yeah, I've really enjoyed just, you know, her work. Raphael Saadiq, The Way I See It, was one of my favorite albums of the year. Probably the most surprising record, Q-Tip's The Renaissance. I would actually also say that this is probably the first time in a long time that a lot of singing albums made a registration in my list. I've really enjoyed and I'm very surprised and happy with Jazmine Sullivan's album, and who else? I also like Esperanza Spaulding's album. Santogold, her album was great. I'm also under the impression that TV on the Radio can do no wrong. We did a project with them this year that hopefully will come out in the first quarter. Our first collaborative effort is a gospel song. It's a duet between Tariq, Kyp and um, ahhhhhhhhhhhhhhhhhhhhhhhh ... ahhhhhhhhhhhh. Forgive me, I'm sorry. It's past midnight.

IS TARIQ EVER GONNA RELEASE THE SOLO WORK THAT'S BEEN FLOATING AROUND? IS HE MAYBE GONNA TAKE SOME TIME SINCE YOU GUYS WILL BE IN A MORE PERMANENT LOCATION TO DO THAT? WHAT'S THE REST OF THE BAND GOING TO DO?

I assume that all our studio activity will triple now that we are in one steady place. Not to mention, we actually convinced those guys to build us a studio in the dressing room.

ARE YOU GUYS GONNA BE IN ANY OF THE BITS? ARE YOU GONNA TRADE ZINGERS LIKE CONAN AND BAMBA DO?

Oh, yeah. I told Fallon instantly, like, anytime you come up with any "Year 2000"-esque skits, I'm singing that shit. I actually have my first meeting with them on the Monday after we do this Sound Clash.

THANK YOU SO VERY MUCH FOR TAKING THE TIME TO SPEAK WITH ME. AND AT THE RISK OF SOUNDING UNPROFESSIONAL AND TOTALLY STARSTRUCK, I'VE BEEN LISTENING TO YOU GUYS SINCE I WAS 10 OR 11, AND YOUR MUSIC HAS IMPACTED MY LIFE ... NOT JUST WITH THE ROOTS, BUT EVERYTHING. VOODOO MADE ME WANT TO BE A MUSIC JOURNALIST.

Alright! Thank you!

THE ROOTS VS. ANTIBALAS

THURSDAY 1.29.09

THE ROXY

279 TREMONT ST., BOSTON

617.338.7699

8PM/18+/$15

REDBULLSOUNDCLASH.COM

music: ?uestlove [Weekly Dig]

That's What I'm Talking About: Lil' Wayne

2009-01-27T15:53:00.007-05:00

So, Lil' Wayne is releasing a recalibration (or something) of Tha Carter III, and he's also releasing a rock album. Turns out these two albums are one in the same, and Weezy is calling the project Rebirth. Terrible idea? No, not at all! Although, yeah, the album could still be incredibly disappointing.

Still, I have to give major props to Lil' Wayne. I wasn't blown away by Carter III, but as you know I am all for any mainstream artist crossing over or bleeding into genres outside their scene. Mix it up for mixing it up's sake, na mean? Kanye's big experiment is, well, not as terrible as it sounded at first. Expectations aside, at least 'Ye has tricked a lot of people who claim they only like hip-hop into listening to something synthy and '80s and heartfelt. Same for this new Weezy project: I like where he was going on Carter III with the whole Sun Ra/Funkadelic/Bowie "I'm an alien" vibe, but I don't think the music on his record actually backed up any of that weirdness. Here's hoping Rebirth is experimental enough to finally deliver on those expectations.

And then there's the fact that the man has a work ethic unparalleled in today's music industry (furthermore in hip-hop its practically a miracle of science). You know this is going to be out sooner than Detox, and Dre's been working on that for a decade now.

Finally, here is a picture Idolator ran last week of Weezy standing next to Katie Couric, holding a green bowling ball:

You're welcome.

Lil Wayne's "Rock" LP: Will It Come Out Before "Detox"? [idolator]
Lil Wayne Performs at CMA Awards, Sort Of [vulture]

More Goosebumps

2009-01-23T12:20:00.002-05:00

At last indeed.

Crate Digging: The Supremes Sing Holland-Dozier-Holland

2009-01-20T17:50:00.005-05:00

I picked this up over the weekend at Dusty Groove, the consummate soul, R&B, funk, hip-hop and jazz record super store. I luckily live a stone's throw from the Chicago locale, which is like how all the addicts on Vh1's Sober House live up the hill from all their dealers in Hollywood.

Released in 1967, this album is superb. Now, I am not crazy about Diana Ross or her thin, reedy vocals, but I am crazy about Holland-Dozier-Holland and this was a truly golden find. Side one alone is home to two of my all time favorite songs: "You Keep Me Hangin' On" (best driving guitar line ever, Lamont Dozier was inspired by a news-flash radio signal and decided to use the Morse code like sound in the song) and "Love is Here and Now You're Gone." Side two kicks off with "It's the Same Old Song" and ends with "Love is Like a Heat Wave," but the lesser known gems are what truly round out this record. The somber and beautiful "You're Gone (But Always in My Heart)" and the lovely and twinkling "I Guess I'll Always Love You" are wonderful. But really, every song on this album is fantastic and some of the greatest pop song writing and studio instrumentation of all time is exhibited here.

Year End Lists: Last, But Certainly Not Least

2009-01-20T17:06:00.008-05:00

It's finally over. Sorry for the delay in getting our last pick up, but you should have been watching the inauguration anyway. Did you see Aretha Franklin's hat? So silly. Comments, complaints and cutting remarks welcome.

Ben's Pick:

1. Los Campesinos! - Hold On Now, Youngster
People like to throw around the term "navel gazing" as a catch-all for angst-ridden lyrics and youthful sentiment. Yeah, when you're in your early twenties, it seems like your life is the whole world. But is that so bad? That's what this album made me wonder; there's something so vital and immediate in this over caffeinated band's first over caffeinated album. The lyrics go beyond conversational; they are conversations between the band members, and they sound like they could erupt into fistfights. Meanwhile, laser beam synths fight for prominence with sharp dueling guitars and really mean violin solos (who knew?). To summarize this band and its debut record in one word, I'd have to say "energy"; and that shouldn't be surprising, given this is an album with lots of exclamation points (in addition to the one in the band's name, there's song names like "You! Me! Dancing!" and just about every line within the songs also sounds like it warrants one or seven). There are too many great lines to get into quoting them here, but suffice it to say that if you want the fun back in your rock records, this is a record well worth the $10 or whatever albums cost these days.

Isabelle's Pick:

1. Al Green-Lay It Down
Don't call it a comeback. He never left. He just needed what every great and legendary artist needs in this time of musical darkness: the permission to just be. No dance beats. No shitty and awkward duets with American Idol contestants. No Rolodex of hot shot producers. Just ?uestlove, James Poyser, the Dap-Kings and a few special friends (Spanky Alford, Anthony Hamilton, John Legend, Jaguar Wright and Corinne Bailey Rae, to be specific). This is perhaps the greatest American soul record to come out in almost a decade. And it's little wonder, because it was almost five years in the making, and like, twenty years over due. Completely organic, wonderfully engineered, gorgeously produced and simply beautiful.

Year End Lists: Friends of P

2009-01-15T14:44:00.006-05:00

A couple picks that even we didn't see coming on today's post. Let us know how you feel in the comments.

Ben's pick:

2. Cloud Cult - Feel Good Ghosts (Tea-Partying Through Tornadoes)
Their last two albums were phenomenal experiences to immerse yourself in, but they were a bit overlong and somewhat all over the place. Feel Good Ghosts, however, is the most concise and complete album of their career, the first one that's completely solid from start to finish. I've said this here before, but Cloud Cult is the kind of band that I should hate: they're environmentally conscious, they live together on a farm in Minnesota, they have two full-time live painters in the band, and their music is so sincerely honest and confessional that it can make listeners feel downright uncomfortable (okay, I do like that last part). But the bottom line is that the stories and characters that Craig Minowa conjures in this set of songs are some of the most fascinating in recent years. "The Story of the Grandson of Jesus" tells the story of a proselytizer who serves "communion of Cola and Twinkies, guess everyone has their own view," while "Journey of the Featherless" is a tale of a narrator who dreams of flying to heaven with paper wings, only to undergo a mysterious transformation. Weird? Yes, but this is one of Cloud Cult's greatest strengths.

Isabelle's pick:

2. The Roots - Rising Down
Every single Roots album loses and gains new fans, and that's because they never make the same album twice. This one is the "Blade Runner" record, as ?uestlove has described it: dark, futuristic, grimy, synthed out and slick. Kamal traded in his standard Fender Rhodes and Tuba Gooding Jr. once again proved that the sousaphone is not just for marching bands-it can be down right chill inducing. I love this album for several reasons. First of all, the aggression and emotional darkness is electrifying. Secondly, as is the case with EVERY Roots' show, the organic deconstruction that each song takes on live is like listening to a whole new song, and those subtle nuances are what it's all about. And thirdly, this album introduces us to new bass man Owen Biddle, who definitely can hang. Jimmy Fallon, I hope you know how lucky you are.

Los Campesinos!, Sound Fix, Brooklyn, 1.14.09

2009-01-14T21:25:00.009-05:00

"How's this one begin, again?"
"Feedback."

And with that, the feedback grew and Los Campesinos! started into "All Your Keyfabe Friends," the closing track from We Are Beautiful, We Are Doomed, their latest LP. That same kind of fly by the seat of their pants attitude is infectious on both of their albums and was in full force last night at the band's brief set at Sound Fix in Williamsburg. The band played what seemed like a setlist comprised of all my favorite songs by the band, serving as a delightful taste of what's in store on the band's upcoming tour (they'll be back in NYC 2/14-15). Without violinist Adele Campesino, the band was slightly handicapped but no less energetic for the wear; it took a song for them to warm up but from there, they whipped the room into a frenzy (also, I don't know how they would've fit another person on that already cramped stage). And then, before we knew it, "this is our last song, because they told us to only play like four, and we haven't learned the rest without violin yet," Gareth Campesino announced before the slow burning intro to "You! Me! Dancing!" The closer seemed to come just as the party was getting started, but it was hard to complain as this concert was one of the most pleasant (and free!) surprises I've had in a long time. All that, and I got home by 9pm sharp.

Los Campesinos! [myspace]
We Are Beautiful, We Are Doomed [eMusic]
Photo Credit: brooklynvegan

Year End Lists: Lap Dances and Dick Rubs

2009-01-14T15:07:00.004-05:00

Top three coming at you. Witty introductory remark.

Ben's pick:

3. Rhymefest - Mark Ronson presents Rhymefest in Man in the Mirror
Best hip-hop record of the year? You bet. And it never even came out in stores. Mark Ronson applies his pop scented hip-hop production to a concept mash up of a mixtape, employing nothing but Michael Jackson (and the Jackson 5, natch) samples spanning the King of Pop's career to craft the perfect sonic landscape for 'Fest and his cohorts to rhyme on. As an added bonus, we get remixes of classic Jackson-sampling hip-hop tracks like Ghostface's "All That I've Got is You" and De La Soul's "Breakadawn." The homage reaches a new level on "No Sunshine," which finds 'Fest riffing on Jackson riffing on Bill Withers. It's free, so if you don't have it already, there's really no excuse.

Isabelle's pick:

3. Estelle - Shine
I think Estelle is John Legend's way of making up for his shitty Liberace schtick these last few years. I believe that this is his way of saying I DO still have good taste and I AM a talented musician, see what I brought you? Pure British R&B/pop gold. Sassy, sexy, talent for days...Estelle is just amazing. She can rap, she can sing the shit out of anything, and she can write too. You already know how I feel about "American Boy." I feel just as good about the rest of this record. She and John Legend singing together is nothing short of beautiful, like Marvin and Tammi, except not in love and not as good, but you know what I mean. And this album has Cee-Lo!

Year End Lists: Ladies' Night

2009-01-13T13:37:00.009-05:00

It's getting close people. These next picks are crucial. For what, we don't know. Especially since it's January 13th. And congratulations Kanye! You won the iPod!
Ben's Pick:

4. She and Him - Volume One
Zooey Deschanel has been melting my heart since she played William Miller's older sister in Almost Famous. Even though she sings, hearing the news that she was pursuing a recording career, with M. Ward nonetheless, I braced myself for an indie scene clusterfuck of epic proportions. What I heard once I finally took the plunge and listened, was quite the opposite: Deschanel became the first actress-cum-musician that you don't want to poke in the eye with a sharp stick. Alternating between '60s style girl group stylings ("I Was Made For You," "Sweet Darling") and confessional ballads ("Change is Hard," "Sentimental Heart"), this album delivers emotional sincerity with a knowing wink. I'm still hoping that the title of this collection isn't just a hint at future endeavors. Volume One has a truly timeless feel; it's an album your dad will love (in a good way).

Isabelle's Pick:

4. Erykah Badu - New Amerykah, Part One (4th World War)
I swear to everything sacred Erykah Badu is not human. She is a magical and spectacular goddess who was sent to Dallas, Texas to melt face. Seeing her live is life changing, and seeing her perform this album live was an out of body experience. "Telephone," her gorgeous tribute to her mentor and friend Dilla, brought tears to my eyes the first time I heard it. I cannot wait for the next Amerykah installment. I just want to hang out with her. You know, cruise around Brooklyn, smoking a j, listening to music that hasn't been invented yet, talking about André 3000. I mean that in the least creepy way possible, really.

Year End Lists: Good Sounds Sound Good

2009-01-12T17:05:00.006-05:00

You get it by now, don't you? Below, our picks for the fifth best album that came out this year. First commenter gets a free iPod!*

Ben's pick:

5. Alphabeat - This is Alphabeat
Does anyone do power pop like the Danes? No. Maybe that country is not as bright and sparkly as its musical exports would have us believe. Nonetheless, if there were any justice, this band would rule the pop charts. I dare you to listen to "Fascination"and not want to dance. Ditto for almost every track on here.

Isabelle's pick:

5. Raphael Saadiq - The Way I See It
I cannot stress enough how much I love Raphael Saadiq. To me, he is the J Dilla of R&B. He has been behind like, 75% of the music that I love since I was I don't know, 10. Everything he touches turns to gold. This album was a departure from his prior "gospeldelic" records and instead was a straight up love letter to Motown. A Funk Brother on percussion? Check. Stevie Wonder playing harmonica on "Never Give You Up"? Double check. Snappy doo-wop steeped R&B? Triple check.

*Void outside the U.S. and in all 50 states.

Year End Lists: We Just Can't Get Enough of Partie Traumatic

2009-01-09T12:25:00.003-05:00

Just kidding! Alright, you know the drill. Below are our picks for the 6th best album of the year. Let us know why they make you angry, in the comments.

Ben's pick:

6. Frightened Rabbit - The Midnight Organ Fight
A bummer of a record in the best possible way from this Scottish four piece. More of a breakdown album than a breakup album (though you could make a case for both), singer Scott Hutchison lures you in with lyrics that cut like a knife, like this line from "Keep Yourself Warm": "It takes more than fucking someone you don't know to keep warm/ Do you really think that for a house beat you'll find love in a hole?" The best part is this album's truly a grower; come for the anxiety laced story, stay for the music, which is raw, tight, and incredibly well produced (see also Liver! Lung! FR!, the live version released in late 2008). Last but not least, this album is perfectly paced, sucking you in at the first track with "The Modern Leper" and refusing to let you go.

Isabelle's pick:

6. 88-Keys - The Death of Adam
A punani concept album? That isn't offensive? And also fantastic? Seems too good to be true. However, producer extraordinaire 88-Keys didn't want to release just any solo record, and as a result, pulled off the unthinkable: a cohesive, fun, entertaining and above all, thought provoking story. With excellent cameos from BFFs Kanye West, Bilal, J*Davey, Phonte of Little Brother and Redman, this album is one of the greatest hip-hop records to come out in a dog's age.

The Year in Rock Writing

2009-01-09T11:22:00.003-05:00

This PopMatters roundup, the Best Music Scribing Awards of 2008, is probably of interest to a lot of our readers. Broken into a few rundowns, there are bronze, silver, and gold medal categories for music writing and a not-to-be-missed worst writing of the year category, including that Black Kids review in which Pitchfork got even more obnoxious than usual.

The Best Music Scribing Awards of 2008 [PopMatters]

Year End Lists: Punctuality is One of Our Resolutions

2009-01-08T14:48:00.002-05:00

OK, OK. We know we promised one album per day. But just like you, we can be lazy, irresponsible and prone to lying. Don't despair though. The guilt was killing us, and we are atoning with two picks each right now.

Ben's Picks:

8. The Black Keys - Attack and Release
The blues rock two piece shows Jack White how it's meant to be done. 2004's Rubber Factory, the only other Black Keys record I'm very familiar with, was a great album of blues jams, but this album, produced by the brilliant Danger Mouse (and it sounds like he brought his keyboards with him!), truly takes the band a step further conceptually. Rather than just blasting you with gritty guitar and drums, this set of songs swirls around you, unraveling more with each listen.

7. Vampire Weekend - Vampire Weekend
Sometimes divorcing yourself from the buzz works really, really well. This was one of those cases: when this band's name started whipping around the internet early in 2008 I didn't want to know anything about it. Eventually, I heard the record, and I was blown away. It's such a nice record, I can't believe there was all that buzz about these breezy melodies and vaguely African rhythms. This isn't a new trick (see: everything the Talking Heads recorded) but these kids are doing it well on this LP.

Isabelle's Picks:

8. Jazmine Sullivan - Fearless
Philly jawns stand up. This album would be higher up on my list, but there are like three tracks ("After the Hurricane," "Dream Big" and "Live a Lie" could all be better) that I feel hold this record back from flawless greatness. Otherwise, Missy Elliott's protege's album has been on repeat since dropping. "Call Me Guilty" is the best abused woman revenge tune around and of course the first singles "Need U Bad" and "Bust Your Windows" are stellar. My favorite one though, is "In Love with Another Man," which is all emotion, a bittersweet ballad about being unable to move on, even though it's in every one's best interest.

7. Rhymefest - Mark Ronson presents Rhymefest in The Man in the Mirror
Technically not an album per se, but nevertheless, a cohesive and amazing effort from one of my favorite rappers out there. First of all, the "conversations" between 'Fest and MJ are nothing short of perfection and secondly, this tided me over marvelously because Rhymefest's "sophomore" record El Che got pushed back to '09. This mix tape is the ultimate low key party or BBQ record--it revisits every fantastic Jackson tune from his childhood days on, with the added bonus of Rhymefest's straight up genius.

Year End Lists: Two Hip-Hop Records That Actually Didn't Suck

2009-01-05T16:02:00.015-05:00

Yeah, our best albums of 2008 list is late. Think of it like Nicorette: we're just trying to wean you off of the year end content slowly so you don't freak out and beat your spouse. There's no use arguing--although we encourage it in the comments.

Ben's pick:

9. Tim Fite - Over the Counter Culture
You know how I spent the whole year complaining about how hip-hop has no life, no verve, none of the sense of adventure or immediacy that made it such a vital form in the first place? Well, singer-songwriter/hip-hop folkie Tim Fite knows what I was talking about. Far flung beats, live instrumentation, even some scratching are to be found here, along with some of the most darkly comic and creative wordplay I've heard in a long time. On album opener "Place Your Bets," Fite gets deep on some anatomy shit: "Tell me true/ Can you ever win back the limb you lose?/ Or do you just lose your limbs again and again/ Until your life lies limbless/ There's limits to how much independence you can give an appendage/ Before the end of the hand is definitive/ That's why this tale is regenerative." Another highlight is "I've Been Shot," an ode to taking a cap to boost your record sales. "You know that I'm better than the next guy/ Even though we both sound exactly alike/ Is that Jadakiss or is that Tim Fite?" muses Fite on "It's All Right Here," winking at the stagnant rap scene he's trying to single handedly represent. [NOTE: I finalized my list and wrote this summary before realizing this record came out in February of 2007. Typical late discovery for me, but you know what? I don't care, this record was huge for me this year, and you can just comment your heart out if it bothers you.]

Isabelle's pick:

9. Q-Tip - The Renaissance
Having this album on my list is huge for me. Apart from some random singles (like the wonderful Dilla-d out "Let's Ride" and "Get Involved," a Saadiq collaboration from the PJ's soundtrack) Tip's solo career has been less than titillating for me. However, with this new record, we finally get the passion and essence of the former ATCQer that we have been missing. Even his track with Norah Jones is dope. With cameos from Saadiq, Amanda Diva and the mighty D'Angelo, The Renaissance eschews all that flashy "Vivrant Thing" bullshit and brings Tip back to basics. He produced the whole record himself, apart from the Dilla beat used for "Move," and the result is strictly butter.

Year End Lists: It's Like an Advent Calendar...But Without Chocolate and a Few Days Late

2009-01-02T20:12:00.012-05:00

The new year is here and we are all looking forward to a musically productive and provocative '09. That being said, here at 2DOS we don't like our superior opinions getting lost in the end of the year clusterfuck. So starting now, we'll be revealing one record per day from each of our Top Ten Albums of 2008 lists. And don't worry. We know you're sick of these lists, but trust us; Lil' Wayne is NOT going to be mentioned. And as always, let us know what you think in the comments!

Ben's pick:

10. Baby Elephant - Turn My Teeth Up!
Turn My Teeth Up shows that he knows how to bring Worrell’s experimentation into a cohesive work of funk-pop-soul-jazz-rock. The record is rounded out by guest vocals from David Byrne, Reggie Watts and George Clinton, among others. This is the album I was hoping Gnarls Barkley would release this year.

Isabelle's pick:

10. Mariah Carey - E=MC²
God is she my favorite crazy. I will hang out in her Hello Kitty themed room any day of the week if it means she cranks out more bouncy R&B gems like "I'm That Chick" and "Touch My Body." Yes, it's not as epic as The Emancipation of Mimi, but it is pure pop greatness, from the Queen of Pop Greatness. The "Mine Again" of the album is the James Poyser produced "I Wish You Well," which makes me cry, further proving that just like Mariah, I am forever a 12 year-old girl. Also, props to Mimi for having the balls to name her record after the mass-energy equivalence formula, because we all know she can barely add.

It's a Sad Day When You Got Young Buck Cryin' on the Phone...

2009-01-02T15:53:00.005-05:00

As I returned to work this morning, I found myself wondering what happened to Skillz' Rap-Up, his annual one-liner filled wrap up in verse of the year's events. So was Idolator, I guess, because they linked me to the track which just hit his MySpace. Enjoy! And check out Skillz' Million Dollar Backpack LP, it really is quite good--after all, the man's got more than just one novelty track a year going for him.

'08 Rap-Up [MySpace]

Year End Lists: Ooh...That's My Song!

2008-12-19T21:51:00.003-05:00

As the new year approaches and the year end lists start multiplying, it's time for us at Two Day Old Shit to take a look at our iTunes' play count and decide which songs truly made '08 so musically great. You may find that many of these songs come from records featured on our top albums of the year lists, but since we are equal opportunists here at 2DOS, some of these picks were the solitary bright spots on otherwise disappointing and embarrassing records. That's just how we roll.

So, here are our Top 5 Songs of 2008; the jams that we played repeatedly, considered using as ring tones (but didn't because we didn't want the magic to wear off and wanted to pretend that we are adults) and listened to so much that they drove roommates, family and friends completely up the wall (my number one pick led my sister to call me "thirsty"). Enjoy! And please, let us know what your favorite songs from the past year were.

Isabelle's picks:

5. 88-Keys f. Bilal "M.I.L.F."
My favorite part of Adam's saga, this second to last track on the brilliant Death of Adam (a "punani concept" album) has the magical and totally weird Bilal (I swear he is an alien) cooing about baby mama drama and the ins and outs of unplanned parenthood over twinkly piano. Getting baby trapped NEVER sounded this good before.

4. Erykah Badu "Honey"
The last song on her spectacular New Amerykah, Part One (4th World War), "Honey" doesn't exactly fit with the rest of the albums tone, but that's why it was placed last on the track list; it's a bouncy palette cleanser to a record heavy with politics, death and reflection. And the video is hilarious.

3. Jazmine Sullivan "Bust Your Windows"
This tangoish scorned woman lament is way more interesting once you consider that she admits to feeling worse after she destroyed her cheating man's shit. I like a little bit of emotional struggle in an angry relationship song. 'Cause let's be real: no one feels 110% great about spray painting their man's Basquiat painting.

2. Al Green f. Anthony Hamilton "You've Got the Love I Need Babe" All the elements of this tune are amazing on their own, and together, they make Southern soul greatness: Al Green. ?uestlove. James Poyser. Anthony Hamilton. Dap-Kings. Spanky Alford. The fluttering guitar arpeggios Spanky plays are just beautiful (especially the one that fades out at the song's end, where Green goes "won't you play that one more time?") and the punchy horn soaked chorus is so Hi Records.

1. Estelle f. Kanye West "American Boy" Holy shit, do I love this song. So catchy, so breezy, so R&B disco charming. It's the ONE thing Will.i.am did right all year (will the Brazilian consulate PLEASE take away this man's visa?). The sample for "American Boy" comes from Will.i.am's terrible song "Impatient" (which incidentally, makes me feel like I am shopping in a Zara in Ibizia) but with Estelle's sexy and coy vocals (and Kanye's amusing little rap) it got turned into one of the best club tracks ever.

Ben's picks:

5. Los Campesinos! “We Are Beautiful, We Are Doomed”
This band’s first album (also released this year) was a much more fun release, but their best song lies in the second package of songs they gave us this year. The band coasts on Gareth Campesinos!’s verbal stops and starts until he goes into full-on, over-caffeinated threats: “You said he got his teeth fixed/I’m gonna break them.” The best part? He sounds fucking delighted at this prospect. This song gets extra points for featuring the ultra rare indie rock spoken breakdown.

4. Santogold “Say Aha”
Surf-techno-hip hop? Yes please.

3. Black Kids – "I’m Not Going To Teach Your Boyfriend How To Dance With You"
This song, all gawky synth lines and Robert Smith-aping vocals, boils down all the best synth pop tricks into one of those indie jams that you can’t tell if you’re supposed to dance to or not. I think you are. Too bad this is the only thing worth listening to by this band (so far).

2. MIA – "Paper Planes"
The best, most innovative, banging beat to come out all year. Kala (which actually dropped in 2007, though the “Paper Planes” single was released this February) is nowhere near as strong as 2005’s Arular, but this track stands as the greatest of MIA’s career thus far. “Straight to Hell” + MIA’s swagger = unfuckwithable jam.

1. Estelle f. Kanye West – “American Boy”
Looks like Isabelle and I are on the same page here. Much as I thought I’d be sick of this one, somehow I never tired of the grinding synth pulse of this new classic. Will.i.am, who I will go on record as saying I think is one of the best producers working today (though I concede this is only true half the time) takes one of the most terrible tracks from his truly awful solo record and makes lemonade.

Soul America

2008-12-17T00:33:00.006-05:00

Tonight wrapped up Nelson George's Soul Cities, an excellent Vh1 Soul production, which showcases a different soul steeped American city each week. It debuted in November with Philly (here George chatted with ?uestlove, Kenny Gamble and Leon Huff) and it's finale found us across the country in L.A., (on the way there were stops in Chicago, Memphis, New Orleans and the Bay area) where George ate Roscoe's House of Chicken 'n Waffles with Angie Stone, shopped the aisles of Amoeba and caught up with Babyface. If you haven't seen this delightful half hour show, do check it out On Demand (or just tune into Vh1 Soul, they repeat like crazy). Nelson George (pictured above with Goapele from the Bay episode) is awkward on camera, but extremely enthused, and watching him take a trip down memory lane while he digs through vinyl and eats delicious soul food is very enjoyable. And very enviable, may I add. Hosting this show would be my dream gig as it allows a platform for spotlighting my three loves: soul music, meat and record stores.

My only complaint? I wish it was longer.

Growing Pains

2008-12-15T11:57:00.004-05:00

I was planning on coming in this morning and penning a post about how ridiculous, how truly beyond disappointing, the Kanye performance on SNL was. It was baffling. But then I saw the fine folks at the Vulture blog beat me to the punch:

Standing in front of a huge plasma screen that made him look like Coldplay's iTunes commercial, he dispensed with the Auto-Tune, improvised new lyrics for "Heartless," and generally sang in a way that would turn even the most well-behaved household pet into an ungovernable killer.

Surf on over there for a clip, if you must. I don't hate the album, but if this is Kanye's new sound (turns out that 808s & Heartbreak is NOT an elaborate practical joke, as I originally assumed), he needs to find a new approach to the live performance.

Kanye Responsible for Funniest SNL Moment in Weeks [vulture]

Year End Lists: The Two Day Old Specials

2008-12-12T14:56:00.009-05:00

Here at 2DOS, we respect the fact that what's newest isn't always best, and that sometimes coming to a record or an artist after their buzz has had some time to wear off a bit can be more rewarding than being the first on the block to rep the latest buzz band. Sometimes the two day old shit is just the hardest stuff out there. Sometimes you have to go as far back as the '50s.

It is with that in mind that we bring you our first in a series of year end lists, this one focusing on albums and songs that returned to heavy rotation after extended time apart this year, or things we discovered behind the curve. Enjoy, and please let us know what you rediscovered during 2008 in the comments.

Isabelle's Picks:

5. Tony! Toni! Toné!'s House of Music
New Jack Swing favorites Tony! Toni! Toné! supply three of my favorite '90s jams on this superb album: "Thinking of You," "Let's Get Down" and "Lovin' You." And DJ Quik's collabo with the Oakland trio is still the blueprint of how R&B/rap duets should roll.

4. Ray Charles' Modern Sounds in Country and Western, Volume Two
Unlike the first installment of Modern Sounds, this volume offers two sides: one gives us schmaltzy string ballads and the other brings the swinging up tempo magic of Brother Ray's take on "You Are My Sunshine" (the fantastic duet with growling powerhouse and Raelette, Margie Hendrix). Although this was never released on CD, the tunes can be found on The Complete Country & Western Recordings: 1959-1986 an awesome Ray box set.

3. D'Angelo's Live at the Cirkus, Stockholm, Sweden
OK, if you are lucky enough to locate this via torrent, eBay (sup Sweden!) or a sketchy Berklee College of Music connection, then thank your lucky lucky lucky stars 'cause this is one of the BEST live albums ever captured. The year is 2000, the tour is the Voodoo extravaganza, ?uestlove is the band leader/musical director, and Pino Palladino is the bass man. Oh, Anthony Hamilton (pre-fame) sings fierce background vocals and the star of the show, D'Angelo, is a force of nature; part James Brown, part Marvin Gaye, a dash of Sly Stone and a shit load of gritty and sexy funk.

2. Camp Lo's Uptown Saturday Night
Look, anybody who has the balls to use Dynasty's "Adventures in the Land of Music" successfully gets my vote. "Luchini AKA This Is It" is a classic and the rest of the blaxploitation love letter album follows suit: "Black Nostaljack AKA Come On" and "Coolie High" feel as if they are straight out of a Pam Grier film, and kudos go to producer Ski (he contributed to Reasonable Doubt). Even the cover is a nod to that special musical time and place, the '70s: it's a direct homage to Marvin Gaye's I Want You album art.

1. Willie Hutch's The Mack: Original Motion Picture Soundtrack
Speaking of blaxploitation, here is my number one rediscovery. I would like to start off by saying I first saw this legendary 1973 film at the age of 8 (great parenting Deb and James). It's about a pimp and stars Max Julian and Richard Pryor and is set in Oakland. Besides a killer score and soundtrack by Willie Hutch, this film has given us so much culturally: not only did UGK sample the brilliant "I Choose You" for my favorite song "International Players Anthem (I Choose You)" BUT thanks to the classic Annual Players Ball scene in the flick, we got the title for OutKast's first tune and this, the greatest sketch of all time:

Chappelle's Show

The Playa Hater's Ball

Charlie Murphy Clips
Buy Chappelle's Show DVDs

Black Comedy
True Hollywood Stories

Ben's Picks:

5. Voxtrot's self-titled LP
This was one of the buzziest bands of 2007, right? I don’t know, I wasn’t really paying attention. I first heard them at the end of ’07, when the buzz was already starting to subside. But this year, I could not stop listening to the band’s debut self-titled LP. Their early EPs are also very good.

4. Sonic Youth's body of work
This was always a band I was more interested in as a cultural force than musicians. That’s how I came to read Goodbye 20th Century, David Browne's excellent biography of the band that convinced me to give some of their records another chance. The seemingly inevitable drop-off in quality as the band hits their 20-year anniversary is virtually nonexistent: in retrospect, their 2004 LP Sonic Nurse is as great a record as the middle period breakthrough Sister (1987) was. This music is some of the most rewarding in all of alt rock, if you have the discipline to listen to it. That sounds obnoxious, but SY can be like homework in that way.

3. Cloud Cult's Advice From the Happy Hippopotamus and The Meaning of 8
Alright, I had 2006’s Advice From the Happy Hippopotamus on my iTunes for a long time long before I fell in love with Feel Good Ghosts, their latest LP. That new one inspired me to go back and retry both Happy Hippo and 2007’s The Meaning of 8, and now Cloud Cult are truly one of my favorite bands of all time—they strike the fine line between emotionally confessional and totally obnoxious, and between being adventurous and getting lost up your own ass. Also their show this November was the best one I saw all year.

2. The Rentals' Return of the Rentals
Matt Sharp, original bassist for Weezer, recorded debut The Return of The Rentals as a side project, and I never listened to it much til this year. Is it better than the Blue Album? The Blue Album wins by a hair. Is it better than everything Rivers Cuomo and co. have put out since Sharp left the band (after 1996’s Pinkerton)? Most definitely.

1. George Harrison’s All Things Must Pass
So this dropped practically the minute the Beatles called it quits for good, and yet it still remains the greatest solo work by any former Beatle. It didn’t hurt that George had the largest catalog of solo tunes to choose from when the band disbanded, and it definitely doesn’t hurt that the band backing up George on these songs is essentially Derek and the Dominoes, not to mention Billy Preston, and a young Phil Collins (wtf). Okay, Phil Spector’s production is at its most treacly and overdone here, but the songs and the playing are more than strong enough to overcome that fact. Bonus points for “Wah Wah,” one of the greatest shut-up-you-fucking-baby songs of all time.

So, readers, what was it that you came (back) around to over the last year?