#477 - The Fugees - The Score

On the other side of my previous argument that rap is a genre that struggles to age well over the years is The Fugees' The Score. An album that perfectly blends a multitude of styles and genres, The Score is a testament to great music that takes you back to a time when you were young. Although the album is definitely 90's and lacks the swagger and glamor of contemporary artists, it is a fantastic example of what rap is capable of and the road it would take leading up to the current state of the genre.

The most recognizable and successful track on the album is definitely the wonderful cover of Roberta Flack's "Killing Me Softly." To be honest, I dig Lauren Hill and company's version of this song even more than the spectacular original. Despite its massive pop appeal (you could not turn on music television or the radio without hearing the song), "Killing Me Softly" is just one among an album of great tracks. The samples utilized on The Score are fun and wonderfully arranged. For instance, the sample taken from The Flamingos' "I Only Have Eyes for You" on "Zealots" is, perhaps, my favorite part of the album. Other samples include artists ranging from The Moody Blues to Enya to Bob Marley.

"Ready or Not" and "Fu-gee-la" along with the Flack cover are The Fugees at their best. Listening to this album now, I am incredibly saddened that this would be the last album The Fugees put out. While Wyclef has had his hands on a number of different projects (my favorite being his solo-release Carnival), I long for the days that the three of these talented artists combined forces to create something so eclectically phenomenal. Do yourself a favor; listen to this album and appreciate what a great year 1996 was for those of us who were finding ourselves at the time.

-d.

I’m writing this intro before I’ve started the cd. I have mixed expectations here. On one hand, I remember how inescapable The Score was, with a mix of soul and backpacker hip hop. But was I only impressed due to my youth? Were the lyrics that brilliant and the singing so beautiful? Despite commercial success, none of the Fugees has done much quality work since. Lauryn Hill had the only critically acclaimed album to come from the three. I have to wonder if Wyclef just lost his skill with words, or if he never really had it. Time to find some headphones and see….

The answers come quick. Wyclef can’t rap. Lauryn was such an immense talent. Praz is….there. Maybe I’m being harsh. Wyclef has some interesting things to say, he just uses so many corny analogies and gets a bit mush mouthed at times. He gets shown up by Praz, who doesn’t rely on accents to the same level. It’s a shame Praz hasn’t done more music since the Fugees breakup. His verses are filled with expert wordplay. He just lacks the charisma of his old cohorts. Then there’s Ms. Hill. So much ability packed into a beautiful package. She could out-rap anyone in the 90’s at her best, and sang with enough passion to do right by Roberta Flack. Unfortunately, she’s apparently a whole big bag of crazy. She sabotaged her own career by running from the industry, releasing odd statements and terrible leaked singles. During the short-lived Fugees reunion she reportedly requested everyone call her Miss or Empress. She’s taken to wearing ridiculous makeup and outfits onstage, regularly getting booed off by her audience for her rambling, often spoken word. performances. It’s like a modern R&B equivalent of Syd Barrett.

The Score is a masterpiece, though. By far the best work of any of the three members discographies, it’s great samples and perfect beats from front to back. Aside from some pointless attempts at the obligatory “rap sketch” there isn’t a wasted moment. There is always a message to be broadcast, always an emotion to transmit to the listener. You can’t exaggerate Hill’s talent. She had the magic that allowed her to not just tell a story, but actually make you live it. "The Mask" is one of those moments. She has a conversation with herself that feels like you walked between to girls on the street. It also has one of the most laidback, jazzy loops on the album. Great rainy day listening. "Fu-Gee-La" is the real showcase. For all the deserved praise of "Killing Me Softly," it’s two tracks earlier that every member of the group gives their very best. Great verses from everyone, a perfect hook and a sublime rhythm track. One of those songs I can hear all day and not get sick of.

In the end, The Score more than lives up to my memories. It’s fantastic from start to finish. The only complaints I have are the aforementioned skits and the questionable cover of "No Woman No Cry." But those are very minor concerns. It’s sad that we won’t hear something like this again. It’s so hard to find this much skill in one group, and with the inability of the Fugees to get passed their egos and disagreements, we can’t look to them to be that rare gem. But at least we’ve got this album to hold on to.

#478 - LL Cool J - Radio

I've said it before and I'll say it again. Rap is one genre that does not age very well. Case in point: LL Cool J's Radio. Upon its release, Radio was a groundbreaking album, well known for its hard hitting beats and storytelling lyricism. It was the first album release on Rick Rubin and Russell Simmons founded Def Jam Records. Listening to it now, I honestly just had a hard time getting through it.

In high school, I owned my fair share of LL albums: Mama Said Knock You Out, Mr. Smith, Phenomenon, and G.O.A.T. Looking back on them now, I don't feel the same way about them as I once did (barring a few select tracks). That is not to say I was every astounded by LL, but I found him relatively enjoyable (besides his constant focus on his lips and abs). (For reference, just press play on the link twice...don't worry about the high or low buttons) The point is I am able to name tracks off those albums that I would listen to at this point in time, even though not one of them would be included in my top 20 favorite rap songs. Unfortunately, Radi0 only provides me with one re-listenable track ("Rock the Bells").

This album is part of the particular group included on "greatest" lists due to their groundbreaking merit, despite their inability to capture modern listeners. It was one of the first rap albums to reach such a high magnitude of record sales. It was a fresh addition to the still newly emerging rap genre. Unfortunately, it just doesn't grab me and I am fairly positive Mike will reciprocate my argument.

No cover this week. Instead, LL Cool J's shining moment. Check out the 7:30 mark.

.d

Look, I love LL. I really don’t think you can find a more genuinely likable guy in rap. So don’t take any of the following complaints as dislike for the artist. I just don’t get this albums place on the list. It’s a good album, and it has historical significance out the ass. But does it really deserve to be higher than the albums we’ve already reviewed? Is this a better rap record than Life After Death? I’m not sure I can answer either of those in the affirmative. Undoubtedly this is one of the most influential pieces of hip hop, being the first to use traditional pop music formats (verse-chorus-verse-chorus)., but I don’t think this is even LL’s best. That would probably be Momma Said Knock You Out (in my opinion a more ambitious record).

Nonetheless, there’s a reason people voted Radio on the list. Right off the bat you get hit with Rick Rubin’s sparse production. Rubin has always been good at creating great music without having one typical sound that defines him. He’s the anti-Lil Jon. You actually have to get four tracks deep before you’ll find an instrument other than drums. The occasional piano of "I Can Give You More" keeps the album from getting to monotonous, and right in the nick of time. The positive side to the bare bones beats is LL’s insane lyrics. The kid was light years ahead of anyone else at the time. "I Can’t Live Without My Radio" is a nonstop assault, tearing apart everything that rap had been before the day Radio was released.

"Dangerous" might be the best boast track ever. This song, above all others here, should be required listening for any prospective mc. The only issue I have with it is that about half the song is just drumbeat with random scratching. That can get a tad boring, but the lyrical play is just too good to knock the song. "I Need A Bea"t was the hit single, which baffles me. Mostly a showoff track for DJ Cut Creator, it doesn’t have much to offer from LL’s standpoint. The constant cutting throws the beat off every stanza, which game me a wicked headache. Maybe it was top level deejaying at the time, but it’s practically prehistoric by today’s standards.

Maybe that’s part of my problem. For what was a groundbreaking album, it now seems to define an era that hasn’t aged all that well. The vocal’s are undeniable. You could put new music to them and half a hit any time you chose. But the production, while top shelf in 1985, has been rendered so obsolete by the advances Rubin himself has been most responsible for. So basically, Rick Rubin is so good at pushing the evolution of hip hop that he has made his older work sound bland. That says a hell of a lot about one man's talent and ability to stay relevant. Unfortunately, LL Cool J hasn’t had the same ability.

Here’s two competing covers. Lagwagon vs. Street Sweeper Social Club

-TFM

#479 - I Want to See the Bright Lights Tonight - Richard and Linda Thompson

If you feel you may need Zoloft, or have recently questioned life’s futility in anyway, do NOT listen to this album. You will be found with a belt around your neck. Things are pretty bleak by Richard Thompson’s view. On the other hand, if you have the strength to listen to this with an open mind, you can find some real beauty. The lyrics seem sad and depressed, but much like Harry Chapin or Leonard Cohen actually are more about a fascination with the art of surviving real life. If you can see what’s pretty about a dirty alley you will enjoy this.

First impressions of the music are interesting. A unique mix of almost American country with British folk. Acoustic guitar backed by pan flute. Blues interrupted by a renaissance quartet. There’s no fear in these arrangements. It’s obvious to say that Thompson had no care for conventions. Yet it never sounds wrong. Somehow it always ties together. "Has He Got a Friend For Me" is a great example. In the beginning it could be mistaken for the Flying Burrito Brothers, then in come the wood flutes. Beautiful song though.

"The End of the Rainbow" is one of the most beautiful melodies I’ve heard. At it’s heart a very simple song it builds itself around a very open arrangement, allowing for lots of space to layer the different instruments. All of which lets the most dismal worldview ever put to song come through the lyrics. This is just the first verse and chorus:

I feel for you, you little horror

Safe at your mother's breast

No lucky break for you around the corner

'Cause your father is a bully

And he thinks that you're a pest

And your sister she's no better than a whore.

Life seems so rosy in the cradle,

But I'll be a friend I'll tell you what's in store

There's nothing at the end of the rainbow.

There's nothing to grow up for anymore

Yup. About sums that up, huh? I’ll wait while you go call a suicide prevention hotline.

Back? ……No?

………uh oh……

In all seriousness, this is quickly becoming my favorite discovery from the list so far. Most the really great albums I was already at least familiar with, but this one was completely new to me. I’d heard covers of one or two of these songs, not knowing the were covers. After a few listenings I’m ready to go on a road trip with this album playing, which for me says a lot. The title track is classic, as is "Withered and Died" (the most country song on here). I can’t delve too deeply into breaking each song down, as I don’t want to lessen the impact for anyone, but I need to add that Linda‘s voice is a perfect match. At times soft, at others strong, her sense of underplayed drama just adds to the creeping allure of the music. This is by far the most emotional music for me that we have reviewed, and I can’t recommend it highly enough. Especially for you cynics out there.

-the fat man

Once in awhile an album comes along that has been around for years and makes you re-evaluate your musical tastes. I Want to See the Bright Lights tonight is one of those albums for me. The minute I heard "The Calvary Cross" I got chills. Yep, that good. And just when I thought it couldn't get any better, the album included a live version of the song. Blew me away. I listen to it daily.

This album just does everything right and is extremely accessible, despite being a folk album. By which I mean, some folk albums get you weird looks from passengers in your car when they come on. This one, on the other hand, received this reaction: "Man, this song sounds fuckin' awesome. Who is this?"

From "When I Get to the Border" to the closing lines of "The Great Valerio," this album is an example of songwriting and musical composition done right. The album perfectly blends both Richard and Linda Thompson and allows them the ability to showcase their talents. Both artists are granted the right to show off their vocal pipes and rightfully so. While Richard provides the traditional male folk singer feel to the album, Linda offers us soulful ballads reminiscent of a Emmylou Harris type of female vocalist. Her voice is so effective that the listener disregards the lyrics which border on the verge of pitiful, especially on the track "Has He Got a Friend for Me."
With such a vast array of themes and subjects, the album could have definitely appeared scattered and haphazard. Instead, tracks such as "The Great Valerio," "Border," "The Calvary Cross," and the title track fuse to create something unique and wonderful.

I can't say enough about this album. I just read Mike's review and laughed because he shares my exact sentiments on this disc. By far, my favorite discovery and the exact reason we decided to undergo this epic (and often times, impossible) feat.

Switched it up this time around......M. Ward and Zooey cover.

-d.

#480 - George Michael - Faith

Let me just preface this post with this statement:

George Michael's Faith ranks pretty highly on my list of guilty pleasures, especially "One More Try."

Growing up, I thought George Michael was as cool as it gets. I mean, just look at the supermodels gracing his videos. Wow. As I grew up, my naivete faded and I found out that homosexuals existed in the world. This is in no way a criticism or slam against homosexuals. Instead, at such a young age I just wasn't aware homosexuals existed. Looking back, I have no idea how I didn't know. I mean, just listen to the lyrics of the album and you have to acknowledge that most of the adult world had to know. For God's sake, look at the Wham! videos. Enough said.

This album is pop gold. "Faith" with its iconic video that all but created the look of 'designer stubble.' "Father Figure" whose video has Michael stalker model Tania Coleridge. Do I really need to say anything about "I Want Your Sex" and its multiple parts. I believe it speaks for itself. Even the censors couldn't keep this song quiet. It blew up on the Billboard charts. And with a song titled "Monkey;" again, how did the world not catch on.

Catchy rhythms. Subtle funk elements. Pop bliss. I wish I had more to write about this album, but I believe the record speaks for itself. Michael did nothing spectacularly original, innovative, or even creative, but he did deliver a singable and danceable album.

Some may have thought I would include Limp Bizkit's version of "Faith." Those people are wrong.My choices this week: One rendition of "Faith" that was so awesome (the girl seems cool as hell, too) I had to include it. The other, so awful I only got through :30 of it.

-d.


Great timing to get to this album. While it appears George Michael has put his musical career on the back burner, he manages to keep himself in the news through his frequent arrests and basic self destruction. I’ve always been a fan, even of some the cornier Wham! songs, but the man can’t turn around without making himself into another punch line. But what of Faith, his first solo effort?

There’s really no better way you could start your first album than with a classic like Faith. No point in even talking about the song, as everyone has heard it. Then you throw "Father Figure" at everyone next? Ok, so Mister Panayiotou wanted to make a statement right off the bat. A little touch of synth-r&b with some gospel, and possibly an offer to teach the listener the pleasures of sweet man love. Stylistically it marks the emergence of Michael’s obsession with trying to sound like Freddie Mercury. Normally that’s a bad sign, but he’s pretty much the only singer in pop music with the voice to pull it off. Oh Queen, why did you take Paul Rodgers instead?

So maybe we can get a break from the run of singles? No? "I want Your Sex" was the first release from the album and pretty much got banned everywhere. It seems pretty tame in retrospect, but I vaguely remember hearing it on the radio and my seven year old mind exploding. It really isn’t half as graphic as its inspiration, Queen’s Hot Space album, specifically "Body Language" and" Get Down Make Love." Things finally lay off a bit as the record finally has to give us some breathing room. "One More Try" is a perfect prom season slow jam and was the third single to top the charts in a row ("Sex" peaked at number 2 despite the lack of play). "Hard Day" and "Hand To Mouth" are both typical 80’s club songs. Both good, but not really anything that stands out.

"Look At Your Hands" is a somewhat misguided attempt at getting bluesy. Again, it’s not bad, just misplaced and way out of George’s comfort range. He brings back the groove with "Monkey," the fourth and final number one. Not my cup of tea, but I can definitely imagine a rush of teenagers rushing to a dance floor or roller rink in white wash jeans and Relax t-shirts 23 years ago. Things end on the surprisingly nice jazz number, "Kissing A Fool." Seriously, you could hear this from a combo at your local jazz club. It’s a typical torch song, with Michael singing the part usually reserved for the breathless blond with a slit to her thigh. Trust me, it works.

It’s a great album. That’s why three of the songs ("Faith," "Father Figure," "Sex") are still common on the radio and in movies. I’m actually surprised it wasn’t ranked higher. I guess his reputation as lightweight pop from the Wham! days still carries over. Or maybe it’s the repeated arrests. Whatever. It’s a classic.

Cover is NIN doing some of the Queen I mentioned earlier (since Danny probably has a good one already). Check it.

#481 - The Smiths

I’ve tended to avoid The Smiths. I was just a bit too young to have listened to them before they broke up, and I found Morrisey’s solo efforts to be a bit pretentious and not really all that good. In turn, I never saw a reason to give his original band a shot. This album goes a long ways to making me reconsider my views. The Smiths were very similar to R.E.M., but more aggressive, much more rooted in punk. You can hear a fair bit of The Jam and Gang Of Four spread throughout, but Johnny Marr uses the same jangling guitar sound Peter Buck made famous in the U.S.
One of the things that made it hardest for me to get into the songs here is the icon himself. Morrisey has an annoying tendency to try to overtake a great riff with a dramatic moan. His voice is at it’s best when he sings in his lower register, with an almost disinterested sound. On a song like Miserable Lie he becomes a distraction when piping out random falsetto vocalizations over one of the heavier rhythm tracks. Freddie Mercury was an obvious hero, but he doesn’t have the voice or the outrageous flair that allowed Freddie to pull it off.
That’s not to say his performance is without merit. The Hand That Rocks The Cradle stands out with some of his better work. Despite the somewhat creepy lyrics (which despite denials from the band, seem to be pretty obviously about love for an underage acquaintance) it’s one of the best songs overall on the album. Great use of Marr’s arpeggio-laden guitar, smooth bass playing and very nice vocals. The drumming is pretty much the same as on the rest of the record; competent. There’s really no place in these songs for any flashy hi-hat or snare fills, but I wish he’d do something to mix it up a tad. Most songs have the same simple pop beat.
This Charming Man may be the best song here. Somehow, both ridiculously poppy and darkly obsessive. It’s like Walking On Sunshine adapted by someone on lithium. You can really hear how they influenced a generation of alternative bands though. Blur, Oasis, the Cranberries, the Housemartins and even Barenaked Ladies all wear their love for the Smiths on their sleeves.
The album goes out on a suitably morbid note with Suffer Little Children. The song created a stir when it was released, for mentioning some of the victims of the Moors Murders by name. The song is honestly on the disturbing side. For me it’s not the subject matter, just the comfort with which Morrisey can sing the lyrics, as well as the probably unnecessary use of a woman’s laughter (a reference to Myra Hindley, one of the murderers who was once described as the most evil woman in Britain).
A solid album, and from a historical perspective probably worthy of inclusion. But for me it’s just a nice distraction. I can’t really explain it, maybe it’s the lack of any big moments or emotional high points, but this one just didn’t grab me in the way I’d want from a record included in this list. Nowhere near bad, just not that enjoyable for me.

-tfm

Warning: The Smiths are not a band you want to pop into your car stereo to go for a summer drive.....especially with another person in the car. It only makes for an awkward drive. Actually, I've always felt The Smiths are a band best enjoyed alone. This probably explains the influence it has had upon certain bands. I don't like labeling music. I find it absurd and a simple outlet for those who are narrow-minded in their musical tastes. That being said, The Smiths are a definitive inspiration for the 'emo' music scene. Actually, I initially gave The Smiths a listen based upon a lyric from Brand New's "Mix Tape." Before then, I had only heard The Smiths as mentioned in Marilyn Manson's book The Long Hard Road Out of Hell (it was not a glowing statement in regards to the band or its listeners). I believe I was a freshman in high school when the Manson book came out, which reveals how young and naive my musical tastes were back then.

Regardless, The Smiths are a band I enjoy, at times, but I do find significant fault and considerable irritation at the warbling mentioned in Mike's critique. It's grating and unnecessary while dampening the genius of Marr's workmanship on the guitar. Morrissey has moments that showcase his unique and phenomenal voice, but he also has the inability to realize where the line signifying "over the top" is located and consistently steps over that line. Fortunately, this does nothing to sully the greatness of "Reel Around the Fountain," "You've Got Everything Now," "Pretty Girls Make Graves," and "This Charming Man."

Another great thing about The Smiths is their ability to write great and affecting lyrics that could be considered modern day odes to loss, love, and sometimes murder. In fact, "Suffer Little Children" is a creepy, but emotionally affecting account of the Moor Murders. While listening to this song, all I could think about was the painting of "Moor Murder"-er Myra Hindley (who along with her boyfriend, Ian Brady, murders five children between the ages of 5-10) constructed solely out of children handprints I saw at the Saachi Gallery in London, England a number of years back. I felt chills while looking at the painting and reading the back story. Those same chills came back upon listening to this album's conclusion.

I give this album a passing grade in terms of great albums, but mostly due for the inspiration it brought other artists. On the other hand, it does not make a lot of other lists due to its inaccessibility. This makes me wonder (and perhaps even wish I could witness) how the album was received and played during its release. Was the music scene accepting of such an album? Did friends play it at parties, in their cars, or simply locked away alone in their rooms? These questions plague my mind at inopportune times and for extended periods. I'm weird.

I decided to give this album's video to the man himself, Morrissey, due to its absolute over the top dramatic delivery. I personally love the "Agh!" outbursts and arm flairs.

-d.

#482 - Elvis Costello and the Attractions - Armed Forces

Until now, I had never listened to a complete Elvis Costello. My knowledge was limited to a few popular songs here or there. By the way, the album I am referring to is the 1993 Rhino re-issue of Armed Forces which includes nine additional tracks. I will say, it took me a few listens for this album to catch on. About three complete listens, actually, before I found myself humming the songs in my head at work. Initially, I was not that impressed. Even now, I don't know if "impressed" is the word I would use concerning this album.

I feel that it is a good album and I definitely enjoy listening to it, but I'm finding a hard time stamping my "greatest albums" approval on it. The album definitely has some stellar tracks, especially "Green Shirt," "Sunday's Best," "Accidents Will Happen," and "Oliver's Army." I thoroughly enjoyed the other tracks, as well. Except "Good Squad." Something about the background singer who bellows "goon squad" during the chorus that rubs me wrong.

The two tracks that rubbed me the right way (don't you just love the unintentional raunchiness seeping off that sentence) are "Green Shirt" and "Sunday's Best." The former kicking off with a bouncing beat which leads into a minute machine gun rattle drum banging. The chorus is absolutely delectable, by which I mean you will have it in your head for days. Word is this song was written about a BBC newswoman who despite looking attractive and well-dressed delivers all the horrors of the day. Which brings me to my next point. Despite one's opinions about Costello's music, one cannot deny his lyrical genius. The man not only writes great melodies (some in which his voice cannot equally match), but his wordplay is intelligent and witty. Equally fantastic is "Sunday Best." The keyboard sounds like something you would hear while enjoying elephants under the big top. Here, Costello's warble seems right at home. Such a simple, but wonderful song.

The bass lines are jumpy and tight. The keyboards keep the listener bouncing. The musicianship is excellent, even to the point where it makes Costello's famous warble seemingly wonderful. At first, I found it a bit off-putting, but in the end I came to warm up to it. Perhaps, even enjoy its' sound.

I definitely recommend it to anyone who has an open mind about music and is not bound to the mindless drone of modern pop. I insist you give it a few listens to grow on you. If you do, I have faith you will find yourself sitting at your cubicle, making a sandwich, mowing your lawn, etc. while singing to yourself, "You tease, you flirt, and you shine all the buttons on your green shirt."

I am going to give this album a passing grade on the "greatest album" report grade. Partly, due to my sheer enjoyment of the album, but mostly because I believe a great album should be one you find yourself playing over and over and this one definitely fits that description. Not my favorite album, but still humming it throughout the course of the day.

This album's cover song comes to you from your local insane asylum.

-d.

One of the three ‘angry young men’ along with Joe Jackson and Ian Dury, Elvis Costello has had an unpredictable career. Whether getting himself banned from NBC for playing "Radio Radio" on Saturday Night Live despite being told not to, or recording standards with Burt Bacharach he has had little care for conventions. Armed Forces is not his most controversial work or his best selling, but it is debatably his artistic zenith. There have been several releases with different song orders, so I chose a version that compiled every song that’s been associated with the album. I won’t even try to get into each one.

I tend to weigh my reviews heavily on the music, and from that standpoint this is a great record, but the lyrical content here is second to none. Costello is far and away one of the best songwriters of the last 40 years. It’s worth checking out just for the poetry and storytelling. "Goon Squad" is an aggressive number, carrying a bit of a Blondie influence. I love this song but I can’t help thinking of The Princess Bride every time I hear the chorus. "Accidents Will Happen" was already known as a great single (in a bit of fun symbolism the cover was printed inside out) but has become famous to a new generation through its use as the title of an extremely controversial episode of Degrassi: the Next Generation.

Probably the most well known track here is a cover of Nick Lowe’s "(What’s So Funny ‘Bout) Peace Love and Understanding." It wasn’t included on the original British release but was switched in for "Sunday’s Best" on the American version. Outside of being insanely catchy, it seems to gain meaning every year, with it’s description of feeling so crushed by the state of things that you have to ask the title question. "Sunday’s Best" is in itself one of the more off the wall songs here. An almost off-putting carnival/calliope feel makes things feel a bit creepy. There’s really nothing bad on this entire album. A few tracks are a bit pointless, like the strangely funky "Moods For Moderns."Not a terrible song, it just doesn’t really fit in. Way to reminiscent of "Funky Town."

A little bit of local lore. Elvis met Stephen Stills and Bonnie Bramlett at the Holiday Inn here in Columbus in ‘79, and after spending time in the hotel bar Costello became annoyed and tried to end the conversation. Drunkenly deciding the only way to get away was to be so shocking and rude that the discussion would have to end, he referred to James Brown as a “jive ass nigger” and Ray Charles as a “lazy ignorant nigger”. In spite of the incredible stupidity of the idea, he had been working extensively with the Rock Against Racism organization for years, and quickly was forgiven after making amends. Nonetheless, a black eye that embarrassed him for years.
Altogether a great album, and one deserving of making the list. I’d have put this in my top two hundred, if not higher. Look for the later releases which brought back tracks from a bonus disc that came with the original UK version. There’s a great live cut of "Alison," the original of which, along with "Radio Radio," would make my top twenty five of all time. It’s worth the time and effort to track down. Regardless, this man is an institution, and one of the all time greats. Just buy it.

Instead of the standard cover, here’s the Beastie Boys helping Costello recreate his infamous SNL performance. Enjoy.

-tfm

So.....here's a recap

Thus far, the stats go as such:

Time The Fat Man and I have agreed on whether an album should have been included or not: 11

Times we have disagreed: 6

The largest and most adamant disagreement: Pearl Jam's Vitalogy

Albums we collectively agree should be on the list: 8

Albums we collectively despise: 3

Hope you're enjoying the bathroom material.

#483 - Notorious B.I.G. - Life After Death

On April 11, 1997, Entertainment Weekly writer David Brown gave Notorious B.I.G.'s two-disc Life After Death a C+ rating. Arguments and outrage have since followed. Now, while I do disagree with Brown's logic and basis for his review and I completely realize this may lose me some type of cred when it comes to this blog, I am not completely on-board when it comes to this Biggie album.

Don't get me wrong. I dig the album and, while I may not be a connoisseur of all thing hip-hop, I believe I am much more familiar with the genre and its' trappings, at least more so than Mr. David Brown. The problems is, while I listened to this album numerous times on my way to and from work and felt myself enjoying most of the tracks included, I had some reservations. The main concern being that I included the word "most" in the previous statement. Again, most of the songs are good tracks with some great tracks peppered in with them. Except, for every good song, there are plenty of unneeded moments. The main one that comes to mind would be the track, "Playa Hater," where Biggie felt the need to attempt to serenade us. Now, I am aware that the late rapper could have not been completely serious when he laid the track down but, regardless, it puts a definite strain on most eardrums. The end is entirely unlistenable (which I know is a word I just made up but it is the only fitting one I can find for the song) and I ended up having to turn it before the song even ended. Quite possibly ranked in my top 10 "Most Ridiculous Tracks Ever" list. Also, I could have done without "The Mad Rapper" skit. Other than these instances, I generally believe some of the songs could have been shorter without hurting them if some of Biggie's multiple choruses at the end of songs were to be removed. Also, Puff can sometimes hold a song together with his rambling, but in some cases it gets a bit tiring. "Take that, take that, take that."

The thing is that I like the album for the most part, but perhaps Mr. Brown had a point when he wrote that Biggie, or more likely Puff and any other producer on the album, could have "easily made a more effective single disc." Most of the tracks were good and great moments come in the form of "Hypnotize," "#!*@ You Tonight," "Mo Money, Mo Problems," "Notorious Thugs," "Going Back to Cali," "Nasty Boy," "Sky's the Limit," and the cleverly-titled "You're Nobody (Til Somebody Kills You)." Toss in "Miss U," "I Love the Dough," and "The World is Filled..." for good measure and you've got a spectacular album.

For those that would like to argue, take a look at Puff Daddy's contribution after this album was released No Way Out. Both albums are chock full of guest appearances and songs very much like those that appear on Biggie's album. The difference is that nearly every song is instantly recognizable to anyone given the album is being played. No Way Out also cleaned up at awards shows (despite another appearance from the irritating "Mad Rapper") from what I remember, which doesn't always mean something. Listen, I am in no way, shape, or form lauding Puffy as a greater rapper than the B.I.G. one, nor am I even implying that Diddy is even a "good" rapper, but no one can dispute the influence he had on the rap and hip-hop genre. Regardless of what side of the fence you are on, Puff Daddy did more to change (for better or worse) the rap industry into the mega-genre it is today than Biggie or Pac. Again, I'm not saying it was a good change, but a revolution, nonetheless. All of a sudden, white kids from the suburbs found rap accessible....ugh.

Life After Death has recognizable and memorable moments, but they can be easily lost amidst what I would apprehensively call "filler."

As much as I have to say about this album, I do not agree with David Brown's assessment in 1997 (besides the single disc comment) and I find particular fault in his statement that "gangsta rap has become numbingly ineffectual." How can anyone write something so ridiculous especially considering that the genre concerning the gangsta rap war between East Coast and West Coast rappers that culminated in the deaths of 2Pac and Biggie is "ineffectual?" Granted, David Brown's review was written right after Biggie's death and the album's release, but I would hope he would retract that statement when confronted with the legacy both rappers left to their respective music genre. I do not, absolutely do not, agree with a C+ rating, but I do give it a B+ rating.

But should I acknowledge a B+ as worthy of greatest albums list? In this case, I say "Yes." Despite my earlier arguments, I still can't stop listening to the album. Except for "Playa Hater." I wish I could scratch that garbage right off this album. Ugh.

P.S. Biggie sounds like his tongue doesn't even fit in his mouth in "I Got a Story to Tell" or he's eating and rapping....whichever.

Here it is....Biggie cover.

-d.

I’ve always had a love for early 90’s hip hop. But I fell more for the backpackers and freestylists, FuSchnickens, A Tribe Called Quest, Leaders of the New School, and De La Soul. I tended to find most of the more commercially successful rappers pretty weak. Unfortunately, I judged Biggie by his association with Puff Daddy, a genius in promotion but possibly the least musically talented man to ever hit the top ten. A real shame because this album deserves every bit of the acclaim that has been dropped on it.

The hits, of which there were several, are unsurprisingly the weak links here. Boring samples and nonstop chatter by the future Diddy completely wreck great verses by the big man. The real highlights come from the filler tracks, where most artists put their throwaway songs. "Kick In the Door" rides a completely unexpected horn sample through all sorts of braggadocio. Somehow the grain of the vinyl in the background makes the song all the more menacing, allowing it to overcome the clichéd rap sketch intro. The Lox make a hot appearance on "Last Day." Say what you will, but the Lox stepped up when guesting on bigger artists albums. The bass gets a bit repetitive, not helped by the choppy bit of synth strings, but the vocal tracks keep the music from dragging things down.

"I Love the Dough" is as smooth as expected, considering it features the two best MC’s to come out of New York in Biggie and Jay-Z. This time the sample is a great launch pad. Sweet bass, nice string hits. The only issue I have hear is the incessant wailing of the background vocalist. Why women vocalizing wordlessly became a staple of rap for a few years in the mid 90’s is beyond me. It’s a complete distraction and not even well done enough to redeem it. Thank goodness the two stars managed to live up to the collective hype.

Biggie made an unfortunately prophetic statement with "What’s Beef." Calling rap feuds played out, it makes you wonder why he let his own issues with Tupac blow up to such levels. Obviously the money they both made by keeping the excitement of “whats he going to say next” simmering was the main draw. But it’s sad that he was able to speak on the pointlessness of those battles before succumbing to them. Oh and once again Sean Combs tries his best to ruin a good thing. Seriously, what’s with the high pitched laughing? Is that somehow supposed to be intimidating? Not to mention, how many times can you grunt and repeat “I don’t want no beef”? What kind of God would grant him continued existence instead of the genius in the room?
So there’s one hit I do love. "Notorious Thugs." Every time I listen to it I hear ‘itsboneandbiggiebiggie’ nonstop for at least a week. Great lyrics and perfect vocals all the way through. Biggie actually changes his flow to fit the Bone Thugs guys, spitting out words faster than it seems like his mouth should have been able to move. Again, the guests step up and don’t let the big name run away with the track. On a side note, I sold at least five prepaid cell phones to Bizzy before I realized who he was. Why he needed so many cell phones, we can only make assumptions….
The majority of the second cd doesn’t live up to the first, though. LL Cool J had the better "Going Back to Cali." "Nasty Boys" is just flat and boring. But there are some standouts. Too Short is a great addition to "The World is Filled…" and "Ten Crack Commandments" is a pretty hilarious classic. Despite denials by Diddy, "Long Kiss Goodnigh"t seems to be a pretty obvious post-mortem response to Tupac calling him out by name (its easy to forget how rare that was back then). Its hard to imagine the last verses weren’t aimed at him:

I'm flaming gats, aimin at, these fuckin maniacs, put my name in raps, what part the game is that? Like they hustle backwards I smoke Backwoods and Dutchies, ya can't touch me Try to rush me, slugs go, touchy-touchy You're bleeding lovely, with your, spirit above me or beneath me, your whole life you live sneaky Now you rest eternally, sleepy, you burn when you creep me Rest where the worms and the weak be Slugs hit your chest tap your spine, flat line Heard through the grapevine, you got fucked four times Damn that three to nine, fucked you up for real doe Sling steal slow, as for remorse, we feel no

Things finally come to an end with "You’re Nobody (Til Somebody Kills You)." I really can’t say much about this songs inclusion. Part of me says its a flagrant example of capitalizing on a tragic death to market a cd. The other part says I really doubt Biggie would have wanted it any other way. In the long run, this albums place as the greatest hip hop record of all time is still secure. Although several of attained huge sales and universal respect (notably Jay-Z) not one artist has matched the overall influence of these songs. Probably deserving of a much higher place on this list, Life After Death is everything it’s been hyped to be, which may be the most impressive thing about it.

Oh and here’s a blues version of Suicidal Thoughts.

#484 - Merle Haggard - Branded Man

I don't have much to say about this album. I'm sure there are Merle Haggard fans somewhere that would be in an uproar that I do not fully appreciate Branded Man, but there was nothing significantly moving for me about this album. I can understand if the subject matter was new for the time, but I don't even know if that is what helped include this album on Rolling Stone's list. I get it, Merle did time in San Quentin for robbery, but this album lacks any sort of bite that could be attributed with that experience. Instead of finding myself impressed while I was listening to the album, the main thought in my head was that it had to have been boring as hell to be the drummer on these tracks. The same boring beat or brush repeatedly.

The album had some highlights. I personally liked "Long Black Limousine" (a metaphor for a hearse for those of you with an IQ less than 30), because of its' story and Haggard's spoken-verse in the middle, and other tracks such as "Branded Man" and "Don't Get Married" (which is not a warning against matrimony but a plea for the girl to wait until he is out of prison for trying to steal her a ring). Other than that, I've got nothing. It's not that I dislike country, because I actually enjoy it, but I guess I'm more a Cash fan than a Merle fan. Sorry Merle, not worthy. Although, I can't say I'm as adamant about your music as this guy.

Also, I'm fairly sure ol' Merle would slap the pink off this guy's polo if he heard this garbage.

-d.


Merle Haggard is full of contradictions. He wrote the first of the now clichéd patriotic, conservative country songs, "Okie From Muskogee." Yet, it was actually a parody of the same people that embraced it. He’s a former drug addict, yet he was pardoned by Mr. Just Say No, Ronald Reagan. Once known for his tribute albums, he will be remembered as a great songwriter. Branded Man carries the theme over to his music, with songs ranging from laments for lost love to memories of prison.
"Branded Man" starts the album with what you could be forgiven to think is an autobiographical note. Actually written by Tommy Collins, the song deals with the stigma of being an ex-con. Some really great songwriting with lyrics about being followed by the black mark of a number next to your name. One of my favorite songs on this album is "Some Of Us Never Learn," for some of us an all too close to home story of the draw to call for one more. Very nice piano solo in the middle.
Probably the most accidentally humorous song I’ve heard in awhile is "Don’t Get Married." Not a warning to others, it’s a letter to his woman asking her to wait while he’s in prison. Theoretically, I’m sure this seemed heartwarming once, but now it just makes me giggle. "Go Home" is sadly ironic in our current political climate. The story of a man falling in love in Mexico, but having her chased away by his friends back in the states, because “her place isn’t with this man”. Both a poignant statement on interracial relationships and a general message against racism, it’s a great song musically as well. Great guitar and the best vocal work on this record.
Admittedly, I’m having trouble finding things to say about individual songs here. They’re all solid songs. Actually, they’re easily more than that. This is the early work of one of the great ‘outlaw’ singers, a man who will undoubtedly be remembered as one of the greats. I’m just hitting a wall with the large amount of country so far on the list. With three of the last six albums falling into one genre I tend to get bogged down. So consider my lack of enthusiasm at the moment to have no bearing on my enjoyment of these songs. Branded Man is a well-written and well-performed album deserving of its place on the list. Even for those that hate the entire genre, you should give this a listen for the great lyrics.

-tfm

#485 - Loretta Lynn - All Time Greatest Hits

This is a complaint you will reading often from me: Including "Greatest Hits" albums on any "essential," "best of" or "greatest albums" list is a cop-out. We all know that anytime you or your buddies, co-workers, acquaintances, etc. discuss your "Top 10" or "desert island" musical picks that including a "Greatest Hits" album is prohibited. But Rolling Stone's list has quite a number of them, which I think is bogus.

Moving on, if you have ever seen the biopic Coal Miner's Daughter or read about Loretta Lynn's life, you know that her songs are full of experience unlike many of today's female country artists who have any number of writers who pen songs for them. Read up on Loretta's life and you'll find that the lyrics of "Coal Miner's Daughter" is entirely true. Lynn was raised as one of eight children (the youngest being Crystal Gayle) and was married at the age of 13. By 19, she had more kids than I could ever imagine having with the man she would be with (although not entirely happily) for 50 years.

Loretta Lynn sang about the things she felt, experiences, and loved. When you hear her belt out these lyrics, you know she feels every word. She also sang about topics that were more or less taboo in their time. Songs like "Rated X" (about life after divorce and the societal status of a divorcee) and "The Pill" (self-explanatory) helped Lynn to become frequently banned. On the other hand, she penned many of the songs with themes that would soon become tradition for country music.

I enjoyed these songs, especially "Fist City," for their bravado and charm. From listening to the album, I feel, as if, I would have liked to knock back a beer or two with Loretta and talk about life. Her songs are the makings of melodrama without ever feeling pitiful. Even the song "As Soon As I Hang Up the Phone," which involves the singer receiving a phone call from her significant other informing her that the rumors are true and he has moved on, teeters the fence of soap opera without ever crossing the line. Perhaps, this is because this is the same woman who adamantly states, "Don't Come Home A-Drinkin' (With Lovin' On Your Mind)" or challenges hussies by singing, "You Ain't Woman Enough To Take My Man." Loretta Lynn was the original country gal bad-ass.

My only complaint about the album has to do with the fact that it is a "Greatest Hits" album. Not only because of what I have previously argued, but due to the inclusion of a number of songs concerning the same themes. On separate albums, these songs shine in their individuality, but crammed together (there are 22 tracks on this album) they lose their luster and sound the same, at times. I mean, six of the first eight tracks begin with the word "You" and a multitude of others with "Well." Like I said, if you weren't listening to them back to back to back, you would probably never realize this, but on this album it's obvious.

Despite this, I will deem this album as worthy, but with hesitation. Sorry Loretta, but you're on the verge.

This album's cover is "Coal Miner's Daughter," which you can imagine the types of videos available. In the end, I choice this one not only because it is awful, but for the decorative sense.

-d.

Advanced Warning: The vast majority of what will follow is an angry rant. Anyone who has experienced my loud, wild eyed, lip frothing screeds can attest that the things I say may well cause hysteria, drug use, SIDS, and/or crying jags. I apologize in advance for any language and pray that putting my rage into writing will remove the worst of the vitriol.

Who the fuck puts a ‘best of’ cd on a list of the greatest albums of all time? That’s like me saying the Redwings are going all the way this year because Gordie Howe sure was great in ‘64. Doesn’t make any sense, right? That’s because I’d be talking out of my ass. I haven’t looked ahead to see how many more compilations are on this list, but I swear I may begin punching random children for each one that appears.

The main point of this whole list is to choose the best albums. ALBUMS! Not fucking songs. I love Queen, and their greatest hits is so stacked with great songs other bands should just give up and offer themselves as sacrifice to Freddie Mercury. But is it a great album the way A Night At the Opera is? Of course not. There isn’t a question. Could you imagine a compilation of Pink Floyd singles? It would destroy any cohesiveness and takes away from the art. Now, I know not all artists are interested in creating a sculpted soundscape that pulls you in from start to finish, but Rolling Stone chose the parameters, and then failed to stick by them.

Loretta Lynn has an undeniably great voice. Unlike most modern country singers, she has the ability to change her expression at will, leading to songs that tell a story in a way that is often lost any more. "After the Fire Is Gone" is a great example of this. Her interplay with Conway Twitty is tight, yet free to let emotion through. For most that would be a delicate balance, but with two talents of that magnitude it has a practiced ease. There are several songs featuring duets and they always ride that line expertly. Of course, the real point here is Lynn’s voice. She blasts her way through slow ballads and uptempo, borderline-rock alike. "Rated X" is a fun kiss off to both skanky behavior and lecherous men. "Louisiana Woman, Mississippi Man" is a classic bluegrassy love songs. Great fiddling and beautiful slide guitar. Regardless of your feelings on country music, just try not to tap your feet when the chorus kicks in.

That brings me to a point I made in my Steve Earle review. I complained about the lethargic musicians and bad arrangements. The complete opposite is true here. The group of instrumentalists assembled on these tracks is sickening in their abilities. Regardless of what’s happening with the melody, there is always some touch hidden deep in the mix. Whether it’s the wah guitar on "Trouble in Paradise" or the stride piano on "Out Of My Head and Back Into My Bed," the right touch is always found for the song. Considering most of these songs were recorded in the old Nashville days of ‘one and done’ recording sessions, it’s truly impressive what they accomplished.

Simply put, you either like Loretta Lynn or you hate the entire genre. I am obviously not a huge fan of country music, but talent transcends the boundaries of musical style. You will always find me happy to drink a Schlitz to some Willie or Johnny or Doug Kershaw or Gram Parsons, and you can keep Loretta Lynn on the list too. Pretty much the best female vocalist in country and western, her only competition probably comes from Emmylou Harris and Patsy Cline. That’s a pretty huge endorsement, and I hope even those that doubt give this one a chance.

Instead of a cover, here’s Patsy Cline’s version of one of my favorite songs from this collection, "She’s Got You."

-tfm

#486 - Funkadelic - Maggot Brain

An album like Funkadelic's Maggot Brain is the reason I even wanted to begin the epic task of listening to and reviewing Rolling Stone's 500 Greatest Albums. Before I even listened to this album, I was less than thrilled, despite seeing the title track included on numerous "best of" lists over the years (it was #60 on Rolling Stone's greatest guitar songs). Perhaps, I was not being as open-minded as I normally am when it comes to listening to the albums I've heard so far, but I am not a huge George Clinton fan. I absolutely hate "Atomic Dog." Hate it, for the same reasons that I hated the 2005 re-release addition of "Whole Lot of BS," which is just Clinton's spouting nonsense over music. Actually, the only song associated with Clinton I was familiar with and liked was his appearance on Outkast's "Synthesizer." Yes, I am aware that it was 80's Clinton, but I didn't live in the 70's so color me clueless, I guess. I had never heard the track and upon hearing it....blown away. I can't remember the last time I heard a mostly instrumental track and found myself in a separate world. I have since listened to "Maggot Brain" at least thirty times in this past week and every time it gets better. I have made it my personal quest to introduce the song to anyone who has not had the pleasure of hearing Eddie Hazel's mind-melting musical bliss (and I'm not exaggerating). Every person I have played this song for has been equally impressed, which makes its inclusion on "best of" lists absolutely legit.

Rumor has it, George Clinton told guitarist Eddie Hazel to "play like your mama just died" before he went in to lay down the track (which is also to rumored to have taken only one take). The result was 10-minute plus of musical heaven. Hazel's playing is very reminiscent of Jimi Hendrix. Other great Hazel moments on the album can be found on "Super Stupid" and "Hit It and Quit It."

Besides Hazel's wonderful guitar, I have to mention how much I enjoyed the Jew's harp on "Back In Our Minds." I don't know if I had ever heard a Jew's harp, but kudos to Funkadelic for its inclusion.

"Can You Get to That" was another track I would not have expected from a George Clinton album. The track mixes great acoustics with gospel while creating music that for some reason reminded me of Sanford and Son. I also was partial to the addition Temptations-like "I Miss My Baby" as well as the alternate mix of "Maggot Brain" on the 2005 re-issue. I'd also like to note that I was intrigued by "Wars of Armageddon," which combines random musings and sounds to create a mass of confusion perhaps mirroring the social struggles of the time. While I liked the wordplay used during the "power to the people" portion, I felt like Clinton and his band mates should probably have left out the fart noises towards the end. I am one of those who believes that a fart is always funny, but I don't know if funny is what the song was supposed to entail.

Regardless, great title track. Great album. Worthy.

Here's this album's cover, which is not ridiculous, but instead quite stellar. Also, how sweet is that man's guitar?

-D.



Everyone has been at a party at some point when someone threw on "Flashlight" or "Give Up the Funk." While those Parliament songs are great in their own right, George Clinton had already made one of the best albums of the decade with his other band, Funkadelic. If you only know P-funk from the late 70’s sound that was re-popularized through samples in 90’s rap, you won’t recognize this band. Owing quite a bit to Sly and the Family Stone, Maggot Brain ranges from straight ahead rock to soul to experimental jazz fusion. While some of Clinton’s work has been hit and miss, with some songs lapsing into hallucinogenic rambling, this represents psychedelic music taken to new heights.
The first track is "Maggot Brain." The story goes that Clinton told guitarist Eddie Hazel to imagine being told his mother had died, then finding out she hadn’t. What resulted is possibly the most emotionally charged solo ever put to vinyl. Ten minutes of wailing bends and soul wrenching squeals that words cannot hope to describe. You can hear how the other instruments were faded out in different sections to give the guitar an isolated sound. Anyone who has ever experienced the death of someone close can recognize the effect, simulating the feeling of the world falling away as the mind attempts to cope. I don’t know whether that was intended, but I was drained by the end and had to actually stop the record to gather my focus for the remainder. Truly exceptional.
"Can You Get To That" starts with a folksy acoustic jam that adds layers of voices til the song acquires a nearly gospel sound. A fun song that lightens the mood, acting as a buffer before the album takes off with "Hit It and Quit It." A sick groove and some amazing organ work complete the transformation, making "Hit It" stand out. Add another insane solo from Hazel at the end to carry you out. The most powerful vocal work shows up on "You and Your Folks, Me and My Folks." Some huge moments with immense power had to tear the throat of Billy Bass Nelson, and it harkens even more to Sly Stone.
"Super Stupid" keeps up the trend of versatility, as Hazel steps up to sing a footstomping rocker. Easily reminiscent of Hendrix or the Guess Who, my personal highlight is some great interplay between a soloing guitar and the bass. More than any other, this song would surprise casual fans. "Back In Our Minds" doesn’t really build to anything, instead just riding a nice bass groove. As a whole not that impressive but a lot of the individual performances make it worth a listen. Everything comes to an end with "Wars of Armageddon." Not so much a typical song as an extended freak out jam overlaid with seemingly random clips of speech. From a crying baby, to a studio audience laughing, to a man calling for equality these clips somehow make a story, although I admit to feeling like there is a meaning lying just out of my grasp. Or maybe they just were on a lot of acid. Whatever. Worth checking out for the great work of the musicians, especially Tiki Fulwood’s exemplary drumming. The man’s arms must have been seized up by the end, because he never stops, or misses a single accent over the nine minutes this carries on for.
So where does this stand in the end? From a purely instrumental perspective, it’s pure artistic genius. Anyone who questions if rock music can truly reach the level of ‘art’ can find their answer right here. At the same time, is it an album I would pull out regularly? Maybe not. There’s definitely a level of discomfort to letting yourself get too invested in these songs, as they don’t lack for confrontation both in the lyrics and in the form of opposing musical themes. It’s like the best paintings from Van Gogh. There is no denying the beauty, but sometimes that beauty comes from pain. But then, sometimes there is truth to the term ‘exquisite pain’.

-TFM

#487 - The Smashing Pumpkins - Mellon Collie and the Infinite Sadness

I remember the day that I got this album. It was Christmas of my 7th grade year. I remember spotting a gift early on under the tree that looked like a CD, but bulkier. I knew it had to be The Smashing Pumpkins epic double disc. I remember keeping this album in heavy rotation on my Sony Discman (it amazes me to think about how far music devices have come in such a short amount of time) on the way to football games or wrestling practice. Some songs were used for the trip to an event and some were reserved for the quiet ride back home. Sadly, I forgot about the album after awhile and upon seeing it on this list I went searching to unearth it from the multitude of CDs I have packed away in an attic in my mother's house. To my dismay, I did not find it amongst the lost audio souls of forgotten albums such as Trio's Da Da Da (yes I had the album), Silverchair's Neon Ballroom, Powerman 5000 Tonight the Stars Revolt, etc., which led me to the conclusion that:

A: Someone had borrowed it and never returned it (likely)

B: The girl I was dating at that time in junior high loved the Pumpkins, introduced me to them, and went on to cheat on me with a kid that always seemed to be wearing the Zero t-shirt (likelier)

C: I lost it (most likely)

Regardless, I spent the $17.99 at Best Buy and purchased the album, again. I opened the album and was flooded with a wave of nostalgia as I leafed through the liner notes, but then I became hesitant to listen to it. What if I lacked the same appreciation I formerly had for the album? I am not a huge Pumpkins fan, but loved Mellon Collie. What if Billy Corgan's voice made me want to stab my eardrums?

In the end, the album is just as I remembered it. A step away from alt-rock at the time. From the orchestral beginnings of the title track to aggression of "Zero." The album spawned six singles ("Tonight, Tonight," "Zero," "Bullet with Butterfly Wings," "1979," "Thirty-Three," and "Muzzle") and won a countless number of awards that year. It became The Smashing Pumpkins' most well-known and popular album, despite a number of mixed reviews most of whom critiqued Corgan's lyrics. To me, the lyrics are part of what makes the album great as well as the multi-dubbed guitar riffs throughout (I was not aware so much overdubbing was used until I had researched the album). If I were to have to offer a complaint, it would not be with the lyrics, but instead Corgan's voice, a mixture of angst, whine, anger, and soul, that ultimately fits with the music represented. Of course, the singles are phenomenal, but the other tracks are equally wonderful. There are 28 tracks on the album, so I'm not going to dissect every one, but some personal favorites outside of the singles are "In the Arms of Sleep," "An Ode to No One," "Take Me Down," "To Forgive," "Galapagos," and "Stumbleine."

The Smashing Pumpkins attempted to put together a concept album with Mellon Collie and the Infinite Sadness describing the cycle of life and death in terms of sunrise and sunset. I don't really see a accurate fit with the sequence of the track listing on the compact disc, but the concept The Pumpkins were looking for seems to be achieved by the alternate track placing on the vinyl edition. Regardless, superb album. Definitely worthy.

This album's cover song is brought to you by Al-Queda.

d.

So pretty much every double album in history has sucked pretty large amounts of ass. The only band capable of pulling the double off was Pink Floyd, and even they struggled. I mean a good third of the Wall is filler, yet it was the best two disc album out there. But then Mellon Collie came along and pretty much destroyed everything we knew about long records, about alternative rock, about how to structure music. Easily one of the most groundbreaking records of the last 30 years, it was the first time I realized you could actually wear down a cd over time like a cassette. I gave it a break and I was pretty curious how it would feel going back to these songs fifteen years later.

Pretty fucking awesome is how. The piano intro sent chills through me. Despite trying to not be swayed by sentimentality, I was immediately back in my ‘95 bedroom. Shag carpeting, Stone Temple Pilots poster over the bed, large speakers balanced precariously, inches from my head as I lay to sleep. For shit’s sake, this was such a huge part of high school it brings back smells. I literally can smell brass polish (which any horn playing band geek can testify will haunt your dreams for eternity). Ok, back to the music.

What can I say about Tonight, Tonight? It’s iconic, and for damn good reason. It’s the apex of orchestral rock. As overplayed as it was, no one complained because it was just too well done. Straight into the rolling thunder of Jellybelly, you find one of the greatest, simplest riffs around. Just straight gut punch rock. Then the bleeding harmonics of Zero launch you into a brilliantly intense ride. At times Billy Corgan reaches for Dave Mustaine.

levels of gravel in his throat. It just makes the hurt and rage all the more real.

I can’t keep writing blurbs about each song or I’ll be here all night. Bullet With Butterfly Wings was the first single, chosen over Jellybelly. I honestly believe this song kept rock alive. Through the dark years that followed of Fred Durst and Staind (easy targets, I know) if the DJ threw this on the local hard rock station, it made everything seem alright. Like rock wasn’t actually having the life choked out of it before our eyes. Fuck You (an ode to know one) is pretty much the most metal thing from the time. The level of fuzz on the guitars is both piercing and somehow smoothing, having the effect of a wave constantly crashing over you. I have one complaint about Love. A melody this memorable shouldn’t be smothered in phaser. I get the feeling Corgan wanted to hide what a great pop songwriter he could be.

Most of the rest of the first cd is beautiful ballads and at times, nearly Burt Bacharach level genius pop. Cupid De Locke, Porcelina of the Vast Oceans… they’re like lullabies after the emotional battle of the first 30 or so minutes. The second disc starts nicely, but finds a stride on the sparse love song Thirty-Three. One of the better vocal performances included here, the constant driving of the shakers and muted guitar riding the 8th notes adds the right level of urgency.

Now I have to admit something. I hate 1979. Like, the British against Diego Maradona level of dislike. Look, I know it’s akin to a definition of suburban teenage boredom to most. I just can’t stand it. The compressed drum machine, the repetitive root note bassline, it’s just very blah to me. Thankfully we are quickly rescued by Tales of a Scorched Earth. The adrenaline rush from the insane feedback and distortion weaving throughout makes me want to punch a senior citizen, or maybe a kitten. Don’t judge me assholes.

The last several songs slide at times into an almost ambient jazz. It would be easy to write them off til you think about how many bands probably wouldn’t be around without these songs to influence them. Coldplay, Mogwai, later Silverchair… none would sound the same if Smashing Pumpkins hadn’t had the balls to show a side of their music that could have sunk the album.

I realize I’ve mostly commented on the heavier songs. I’ve also managed to drag this out to nearly 800 words. Bottom line, great album. Deserves a much higher spot. Easily top 100. Disappointed to see it so low, but invigorated by a true piece of art.

Oh and to follow the lead, here’s a cover. Since I mentioned him earlier this is some Bacharach by Mr. Bungle.

-tfm

#488 - D'Angelo - Voodoo

I'm torn about this album. On one hand, I love the heavy jazz and early R&B feel of this album; from its slow and scintillating drum beat to its' thick bass lines. Honestly, I first listened to this album in its' entirety driving to work in the middle of the day and while I was "just okay" with the album I was less than overwhelmed. Gladly, I gave it another listen while laying in my bed one night and D'Angelo definitely deserves a great deal more credit than I had previously given him.

Recorded at the Jimi Hendrix constructed Electric Lady Studios in Manhattan, Voodoo is chock full of inspiration from artists such as Marvin Gaye, Prince, Hendrix, Al Green, and a multitude of early R&B greats. Word has it that the recording of this album consisted of a number of musical minds sitting in the studio studying bootleg performances of the greats. The summation of these sessions, Voodoo became a neo-soul classic, bringing (along with D'Angelo's first effort Brown Sugar) the genre to the forefront of the music world.

The album as a whole is wonderful in its' entirety, but, with the exception of "Untitled (How Does It Feel?)" lacks memorable tracks. In fact, the only other major single off the album was "Left & Right" (featuring Method Man and Redman,) which actually seems a bit alien and inappropriate given the albums deep submersion in the old-school jazz and R&B schools. This track, although decent, is exactly the type of song D'Angelo had claimed he was disappointed about in terms of the direction R&B had taken towards becoming pop music. It sounds as if it falls within such other hits of the time as the Method Man and Mary J. Blige collaboration "All I Need."

The issue with writing a critique of this album is that, although I was thoroughly satisfied with its components, I felt it lacked more than one memorable song. At its closure, I do not feel overwhelmed, nor can I name one specific song that I absolutely love. Musically, I appreciate the craftsmanship, but in the same vein as I would appreciate listening to classical music while I'm writing. Perhaps, the main issue is D'Angelo's voice while, although mimicking the R&B greats and Prince's delivery, lacks the force those previously mentioned artists exhibit. His whisper works, but doesn't grab you the way those voices of Teddy Pendergrass, Marvin Gaye, Otis Redding, Sam Cooke, Al Green, or Lenny Williams have held us over the years. To me, that is the glaring problem of modern-day R&B. Besides, the hip-hop influenced production of the genre that has led it down a less than stellar path, the issue remains that aside from Rihanna (which is a subject that could easily lead me down an anger-infused tirade if I let it) there are no distinguishable voices in R&B. The closest we've come in the last few years would be Alicia Keys, John Legend, and Raphael Saadiq.

Again, I appreciate the production and musical savvy of D'Angelo's album, but I think all the credit is given because he and a number of other attempted to create a new R&B renaissance while holed up in Electric Lady Studios over the span of something like five years. Ultimately, they came up with what appears (at least in my humble opinion) an album that is "just okay" with one great and memorable track.

This album's cover song isn't an actual cover, but equally enjoyable; thanks to Jamie Foxx.

-d.

Despite great reviews and respect from musical peers, this albums genius was mostly overlooked by its audience. Rarely is music this overshadowed by some abs and a bit of pelvic bone. It’s a shame too. There are some really great songs here, by far the best of that era in R&B. Of course, when you’re up against Sisqo, can you really lose? Seemingly his career (and sadly his mental state) were destroyed in the long run by his sex appeal, and he has ducked the spotlight ever since. His downward spiral into addiction and self destruction led this man to become that man.

Let’s just get this out of the way. Untitled (How Does It Feel) was written as an homage to Prince, and it certainly lives up to its inspiration. A sparse bit of soul that builds intensity simply by holding off the climax til the last second, then ending the song abruptly. It borders on cruelty to the listener, yet adds to the beauty of the song. The final screams are a highlight, not just of this album, but of the entire neo-soul movement.

The entire album is a credit to the balance of great songwriting and great musicians. Some of the best in the world are featured throughout. Pino Palladino, Raphael Saadiq, Amhir Thompson and Charlie Hunter all take turns building the songs. They accomplished what is almost lost in modern r&b, sculpting music that is shocking in its brilliance without over riding the vocals. They never rely on a beat to carry a whole song. Also, when was the last time you heard a guitar solo on a soul cd? Common place in the seventies, the idea of recruiting a great band to back a solo artist has all but disappeared.

Spanish Joint has a nice Latin jazz feel, with a busy horn part. Feel Like Makin’ Love Is a very simple groove anchored by the insanely tight combo of ?uestlove ‘s drums and Pino’s bass. Makes me wish Pino has replaced Hub in the Roots (nothing against the immensely talented Owen Biddle). The only song I’m not a huge fan of is Left & Right. It’s not bad at all, but the inclusion of Method Man and Redman breaks the flow of the record. The music is good, and the verses put forth by both are solid, but stylistically it just doesn’t fit.

All in all, Voodoo is a great addition to the list. Haven’t listened to it in years, and I’m glad to have these songs back in my head. Hell, I’m inspired to get back to working on my soul chops. If you don’t know some of these musicians, click here for Hunter and here for Pino (yes it’s with John Mayer and yes it is still amazing).

TFM

#489 - Steve Earle - Guitar Town

Honestly, not much to say here. Not to say that this is a bad album, just not glaringly great despite the appearances of Bucky Baxter (steel guitar for others such as R.E.M., Ryan Adams, and Bob Dylan), Richard Burnett (guitarist and producer for the likes of Neil Diamond, Mark Knopfler, Billy Joel, and others), and Emory Gordy Jr. who played in Elvis Presley's TCB Band.

Steve Earle's Guitar Town is the quintessential "hit the road" country album. What sets it apart is that it provided country music that even rockers could enjoy. Earle offers us some okay guitar riffs (although the one towards the 2:00 mark here sounds like Orbison's "Pretty Woman") and songs about the everyman in Reagan era 1986. The title track is arguably the album's most well known song, but "Someday" (which also reminds me of my hometown much like it probably does for all listeners) was used in the film adaptation of The Bridge to Terabithia. Little trivia for you there. That's right....all I could muster up for this critique was that it was in a children's movie. The track "Hillbilly Highway" shows early signs of what was to come later with "Copperhead Road," which brings me to my main argument towards this album's inclusion on the list. Why not Copperhead Road? Why this album on the list of the 500 greatest albums? In my opinion, this album offers nothing but some old-fashioned country, steering wheel tapping tracks for a cool summer day, but does not make for a great album. Maybe Earle hadn't dabbled in heroin yet.

This week's cover song inclusion comes to you from this guy.

-d.

Hoo Boy…..

Where do I start. Should I jump right into how a record titled Guitar Town has absolutely no impressive guitar playing? Or how the terribly corny arrangements make every song sound vaguely like a Kidz Bop version of Put Me In Coach? I get that this was recorded at a crossroads in country music. The pop aspect was coming into play and soon America would be flooded with Garth Brooks and Alan Jackson cds. But that doesn’t excuse any of the garbage I just listened to.

Synthesizer really has no place in country, especially not in a song called Hillbilly Highway. That really kind of destroys any outlaw creditability the old Sun Records gang built up. This whole mess pretty much represents the antithesis of Gram Parsons. Overly thought out, yet underperformed. Over produced, yet underwhelming. The vocals are sloppy and lazy throughout. There’s no energy and some words are practically mumbled, that is when they’re even in tune. Occasionally there is actually a decent melody, but I quickly recognize it as being ripped straight from a Tom Petty song.

My Old Friend the Blues was clearly written to be played on jukeboxes in every redneck bar in the country. I actually have a soft spot for slow country ballads, probably from hearing them a lot growing up in a farm town. But this is everything that’s wrong with the genre. Insincere and juvenile, the lyrics would only seem deep to a child or someone who has received blunt force trauma to the head. Perhaps a mule kick. Yet it’s easily the most listenable song here. Let me bring up Parsons again. Compare this to the original version of Love Hurts. Hear the difference? If not, go get a dowel rod and a hammer. No really, we can wait. Alright, now hammer that shit straight through your ears because you don’t deserve them.

I can’t stress enough the level of suck on display here. It’s like someone decided “hey, I’m gonna try to be the next Willie Nelson, except without the brilliant songwriting or musicianship or originality or taste or soul or….”. It hurts me to listen to this. I’m angry at Steve Earle. I’m angry at the people who voted this into the top 500 (especially above ZZTop). I can’t fathom why this was ranked, or even why it was released in the first place. Often when a performance is truly breathtaking we refer to it as effortless, thanks to the immense talent of the performer. This time I use the word effortless because clearly, no effort was put into the making of this album.

-TFM