#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