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Ringo Starr - Ringo 2012

1/31/2012

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NEW MUSIC TUESDAY!!!

Oh, and it's my 24th birthday.

Now how did one of my favorite musicians and second favorite drummer of all time know and release an album to celebrate??

Ringo Starr, ladies and gentlemen. 

I have actually seen him and his All Starr band... I think 4 or 5 times. I've lost count. He tours every other year (which means I have a concert to attend this summer!), and always has an amazing line up. Seriously, if you hear he's in town, go!

So, as for the new album, of the 9 tracks two are covers, “Think It Over,” and “Rock Island Line” and two are new versions of his own songs, “Wings” and “Step Lightly.” Just to give you a little insight. And it's his SEVENTEENTH solo studio album.

Let's hear from Ringo.

Goof ball. I love him. Oh, and see Mom? They ARE touring this year!!

We kick things off with "Anthem," a classic rock sounding jam that I'm already seeing as being a great stage number. Ringo's got this thing with his voice where you can tell how simply he likes to keep things going. Let's face it - he wasn't the singing Beatle. He has words to share though, a true Peace & Love man at heart, and gets us going for this album with that reminder.

"Wings" may sound a little familiar, and it should if you're a Ringo fan for life. This is a re-recording of his 1977 hit from Ringo the 4th. Ringo redid this one because of a need for an update, and new, if you can believe it, reggae influences he's been listening to more and more in the past couple of years. It's also the lead single from this album.

Buddy Holly makes an appearance in the fun cover of "Think It Over." Er, well, his song does. What I've always loved about Ringo's take on music is how accessible it is. He consistently gives this good old-time feeling to every piece to does, and you can't help but get into it.

"Samba" immediately has this great Spanish feel to it. I've never heard Ringo go so far in range with his music. In concert, he knows you're there to hear the classics and have a good time. On his album though, he does what feels good. Hell, he's Ringo-frickin-Starr and can damn well do what he pleases. I like this chance he took here.

John Lomax gets covered in the next, sort of out-of-place-feeling song, "Rock Island Line." There's still a good old rock feel to it, and the piano that's highlighted throughout with the guitar is a reminder of who we're dealing with. It's weird to hear songs like this that didn't come from the 60's, as there is something entirely classic about it. I'm feeling like, more and more, the Beatles really did have their very own sound.

"Step Lightly" is another re-recording from 1973's Ringo. That was actually his most successful solo album release, and partially the reason for the title of this album - a throwback, sort of. While a lot of the newer material has the peace & love themes strewn throughout, these older songs have much more of a general song sound to them, being about romantic love and friends and whatnot. Okay, still sort of in the peace and love realm, but in a less direct way.

A new song this time, "Wonderful" is next. Have to love Ringo's positivity. "The worst it ever was was wonderful." What a nice reflection that we should all be so lucky to have on life and experiences. Actually, it does make you reflect on the past a little differently. Amazing how a song can manage to do that. 

"In Liverpool" serves for more reflection. As great as New York and America was, there was something special for them about Liverpool. You have to believe he's talking about his old bandmates when he speaks of the boys and their good times. He still keeps it simple vocally, but it's all honest art.

I have to say, "Slow Down" was probably my least favorite song on the album, so I feel it's a weak choice as a closing number. It's more of what Ringo's feeling at the time though, so you can't ask for too much more. The guy can sort of do whatever he pleases nowadays.


Added to My Playlist:
  • "Anthem" - Spotify
  • "Wonderful" - Spotify
FULL SPOTIFY ALBUM LISTEN LINK

This was truly an awesome birthday gift. It was really a cool gift for the world. This over-70-year-old Beatle is still alive and hopping (not so gracefully anymore, but he still gets the crowd going). He's recording more music than ever, and still touring. Who can ask for more from a legend?
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Best Song Written For Visual Media

1/30/2012

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This is the first one we're going to go ahead and start making picks for. I mean, okay, the logic is that not all of these songs are featured on full albums. Heh, okay, only the Family Guy one isn't. But why not go ahead and start making some picks after all?

This category is pretty interesting. When you think about it, it's almost like the Best Song category at the Oscars. Those songs are originals written for the purpose of the movie, sort of as these are.

So, I figured for some fun, we could see all the videos and evaluate the individual songs for what they're worth, then, oh boy.. I'll finally make my pick for a winner at this years awards!

First up is "Christmas Time Is Killing Us" from Family Guy. Sorry for the quality - it's the best I could find at the moment.

So, personally, and honestly, I think this show has done better than this before. They've had many musical numbers over the years, and this jut isn't one of their best ones. Granted, those elves are creepy as hell, and Santa is scary and fitting for the tone. But they're written better and shown much better.

Second up was "Born to Be Somebody" from Never Say Never. Yes, the Justin Beiber "movie." I can't believe I'm doing this either... *sadly* I can't find a particular scene from the movie featuring this song, so I surfed around and found the best put together visuals I could that include the song.
I cannot believe I'm going to say this, and will probably never live it down, but that was better than the first song we heard. Although, the guy is still a kid, and puberty needs to hit him like a ton of bricks. The 3D movie thing that was out for this was supposed to detail his rise to stardom, and really give his fans a look at his background, not to mention famous connections. The song works for that for sure.

Third on our list we have "So Long" from the movie Winnie the Pooh, done by She + Him. Here's the adorable credits from the movie that feature it:
Oh my goodness... that was way too cute. Okay, focus girl. The song itself does not scream Winnie to me, but it's really a cute number, so guess it goes well with the kid thing. If I remember right, there's a lot of saying goodbye in these stories, and a lot of life lessons overall, so maybe it does fit better than expected. Either way, very cute.

Fourth on the list is "Where the River Goes" from Footloose. I've been in this show and sound mixed for it, and this has got to be a new one for the new version of the movie, which I also have yet to see. Actually, there's a lot of new music on this soundtrack from the looks of it, and they went more country. I don't have a real video for it, but here's, at least, a visual and the song:
Personally, I would have loved to see Blake Shelton's new version of "Footloose," from this is a really great song. If you know the story well enough, like I do, it's actually a pretty intense but perfect song for Ren. At it's heart, this story's about having a passion for something. The Zac Brown Band did an awesome job with incorporating that into this song for sure.

"You Haven't Seen the Last of Me" from Burlesque, performed by Cher, is the next song nominated. I did actually see this one, and this song was actually performed in the movie itself. Let me tell you, I was actually slightly in tears during this song. Cher has got it. Check out the scene from the movie itself:
This song is what I believe the songs in this category should be. It was written to be a part of the story, not just as a song to continue marketing efforts for the movie. 

Finally, we have "I See the Light" from Disney's 50th animated film, Tangled.
Really a very pretty song and scene for this. The only thing that bothers me is the actual singing - it's very immature for a love scene, even for a Disney film. I also am sure that the lights have a lot to do with the movie, and thus the song really is well written for the film itself.

Time to pick a winner...

"You Haven't Seen the Last of Me" from Burlesque.

This song has everything I was judging these songs on. It was, first off, fitting for the visual media in context of what was going on and the characters involved. Secondly, it was extremely well written. Finally, it was well performed. Those were the three things I whittled down my decision based on. I really believe that this is the deserving song for this award for the 2012 Grammys.
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Kim Burrell - The Love Album

1/30/2012

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How do you not love that album title? It's just a nice thing to hear.

Kim is up for Best Gospel Album at this year's Grammys. This is her first nomination as far as I can tell, but this lady has been around and active in the gospel community for quite some time now. She's released 5 albums since 1995, and is described as "this generation's Ella Fitzgerald."

"Let's Make It To Love" is a great opening number for such an album. It sort of takes us out of the world and into this world of love that Kim wants us to be in for the remainder of the album. Yeah, it's a come-to-Jesus song, but I get where she's going with it overall.


The second song is also the primary single released from the album, called "Sweeter." This song gets under my skin for some reason, especially after seeing the video:

I cannot watch this video again, if for nothing else than the production quality, or lack-there-of. I don't think it's what she was going for in the song itself, which is also a little hard to listen to. I like gospel in some ways, but the pop influences on this song just don't work that well.

"Love So Pure" is more along the lines of what I expected from Kim. She's definitely not a classic gospel artist, and brings some jazz to the table that makes it all the more interesting. This is a song where she spins that in a way that completely works for her nature and voice. 

Kim is also a preacher at her own church, and I think the beginning of "Love's Holiday" is a good portrayal of how she might bring about the message. Here's the thing though - have you ever seen the episode of South Park where Cartman strikes it rich with his Christian band by just replacing pop song lyrics with Jesus' name? Okay, so a lot of these songs strike me in a similar way to that. Too many romantic notions.

"Open Up The Door" tones it down a little more. It's very gentle, and almost takes on an R&B feel overall. It's a great praise song that doesn't overpower us with a message, just a good relationship with God and acceptance of that. There's meaning in the voices as they sing.

Intriguing piano opening for "Is That The Way Love Goes?" and Kim takes on this beautiful blues tone to her voice and musicality here. I can tell where people get the Ella reference from. There's something so cool when you can tell a singer is just going for it and singing so naturally.

"A Lil' More Time" most definitely gets this groovy little beat and moves so well. It's really just a great life song I think. When aren't we all looking for more time to get things done, going, etc.? There are never enough hours in the day. I can see this as a great sone for the morning or even a wind-down at the end of the day.

Off the bat, "Jesus Is A Love Song" has me a little confused as to where we're going here. It's a lovely song in some way, though it's a little overly flow-y with the singers overlapping. It's just maybe got too much of the sound from "Sweeter" that wasn't entirely appealing. 

"Love Me In A Special Way" brings back some of Kim's preaching abilities. It reminds me of what a gospel album normally is - something live and a call to action or praise. This is the first time I think i've felt that same kind of musical approach as someone like Kirk Franklin, where there is a choir backing up a primary singer to bring in the power or passion behind it.

The final song of the album is "Pray For Love." We get a prayer of "Our Father" first, and a good close out, bringing is all back to love. We're re-entering the real world, but should take this with us.


Added to My Playlist:
  • "A Lil' More Time" - Spotify, YouTube

FULL ALBUM SPOTIFY LISTEN LINK

Overall, a really nicely done album. It's not one of my favorites, but I like that there is a theme to it, as well as an attempt to approach that from different angles. I think what she tried to do here was accomplished for sure.
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Jamie Grace - One Song At A Time

1/29/2012

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Here we go, back in to CCM. Like I said - knocking these nominations out!

Jamie is nominated for Best Contemporary Christian Music Song for her song "Hold Me." I know nothing about her, so here's a little background for those with me:

She's only 20 years old, and is signed to one of the most well-known CCM labels, Goatee Records. She's billed as a singer, rapper, songwriter, and actress. And she was diagnosed with Tourette Syndrome at the age of 11. 

And she as discovered solely on YouTube. Her page is FILLED with videos, from covers to her own, from live to lyric videos.

And there's the basics, so let's do this, k?


I love the sound we start with, but I'm telling you now, "Ready To Fly (Prelude)" is not a representation of the entire album. It is, however, what I would love to hear more of. She's got a completely unexpected Meg White-like voice here, and the recording is completely raw. It's simple and honest.

"Hold Me" features tobyMac, who is probably one of the most well-known individuals in CCM. I've met him and his gorgeous bright blue eyes before, and seen him live several times, and whew. He puts on a fantastic show and uses so many different techniques to create. Jamie getting to team up with him on this is great. I wouldn't have guessed she was this young based on this song. Definitely in her mid- to late-twenties, but not quite this young. She's got a perspective of a much more mature lady.

"With You" is about where I started to get worried that Jamie was going to go a little too cutesy on us for the remainder of the album. But I feel where she's going. She's showing her teenage song, but she's got some clever lyrics throughout. Some of these songs are going to come off a little awkward when you remember she's talking about God, not a boy.

The next one is a little obnoxious, though I can't place my finger on it. There's something about "Show Jesus." I think it's just a little too boppy for me. It's borderline reggae and I think pushing it a little farther may have actually served it really well.

I wanted to give y'all a chance to see these lyric videos I mentioned earlier. There's about 10 or so on her YouTube page. Here's the one for the next track, "Come to Me." 
I think this is the most inspirational song on the album. It's applicable to a lot of situations and walks of life, regardless of affiliation. It's just a great song of encouragement from one to another, no matter who that may be. The beat's really great and steady, and she's real about what she's saying. It's just an all-around good piece.

"God Girl" is really cute. It's got the sound of early Natasha Bedingfield and Nelly Furtado. A little hip hop beat with a girl checking out where she can go with her range all in one sentence. It's one of the ones all the girls in our youth group would probably have been dancing around while the guys were getting their mid-morning concert naps in.

I love a good CCM song that starts with piano and violin. "Holding On" is exactly what I'm a sucker for in this genre, even though it's a typical sound. This song's another about having strength and having faith in yourself and your abilities to be more than you think you are. It remains fairly simple and relatable musically throughout the song's progression, being a good song at the end of a rough day.

"You Lead" brings us back to that pop side she's got. It's easy to picture this on stage; this makes for a great live number. And arms in the crowd are swaying for the "on and on" part. It's a different take on praise, yet it fits this girl and the industry's take on the genre pretty perfectly.

The title track is next, "One Song At A Time." I love this title, and want to use it, but for something completely different. If the high-register little notes weren't keeping the beat in the background, I think this might actually have a totally different sound and be easier to hear. That piano is a little maddening, lol.

"1945" is probably one of my favorites from the album. It's got the same pop tone to it, but there's a usage of instruments here in ways that you wouldn't totally expect, at least in the verses. The lyrics are really just a reflection on times, just simple thoughts, about being a part of a different time. It's just a cool little number without over-thinking that can come far too often.

We end the album with a sweet ballad in "Not Alone."  I think this does a nice job of displaying her voice in a better way than the pop tunes. She's not a powerhouse singer, but she's got feel to her voice that you can't portray all the time in those more upbeat songs. And the song is a great closer as a different feel from the voice we've been partying with for 10 other tracks.


Added to My Playlist:
  • "Come To Me" - Spotify, YouTube
  • "Holding On" - Spotify, YouTube
  • "1945" - Spotify, YouTube
FULL ALBUM SPOTIFY LINK

I've got to hand it to this girl - she has got some chops. She has created a really great sounding pop album, and most songs don't get entirely too preachy on you at all. She's got her faith and sings about it how she wants. It's a fun debut album, and I really, sincerely hope that this girl keeps doing what she clearly loves.
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Pat Metheny - What It's All About

1/28/2012

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We're entering a bit of a different realm here. This album is nominated for Best New Age Album. New Age. It even sounds different as a genre title. And we're about to delve into one of the kings - an 18-time Grammy Award winner since 1983.

From his website:

"Whether purely acoustic or searingly electric, powerfully intense or deeply contemplative, highly composed or totally improvised, or even with some new fangled contraption of his own design, there is always that unmistakable Metheny sensibility at work that has stood at the forefront of jazz for what is now approaching four decades."

Here's a little intro from the artist himself:

So, what's interesting about this being a Grammy nomination is that there are absolutely no original tracks on the entire album. Yet, the tracks are original, in a way. They are each personal takes on classic songs, and all on the Baritone Guitar. I listened to it all before I actually knew that, and did notice the familiar themes along the way - he actually does an outstanding job with many of them. And his description of it being intimate is so perfect. 

Also. 42 STRING GUITAR.

Okay, I want you guys to hear some of these. Here we go.

"The Sound of Silence" was originally a Simon & Garfunkel song. This is a duo that, obviously, everyone's heard of, and knows their music if they heard it. If you played a song for me, I probably wouldn't be able to directly identify it as theirs. I also can't name something of theirs off the top of my head. Yet, you KNOW what a great and legendary duo they are. Sorry, okay, I got a little off here. Regardless, this is one of the most relaxing things I think I've heard in quite a while. It almost has that feel of a temple. How in the world did this guy do all of this on one instrument by himself?

I listened to a lot of this album while I was cleaning my room on a really wonderful sunny day, and this song made me stop and just breathe for a while. It's a song by The Association originally, called "Cherish." There's this incredible feeling to it of falling in love... I think that's the only way I can describe the feeling itself. I cannot, for the life of me, place the original in my head, but I don't care. This is it. Fall back and listen.
I looked back to my computer to find out what the next song was called in the midst of it. It's "Alfie," a Burt Bacharach and Hal David 1965 composition, made popular by Cher. There's something about this song that's absolutely striking to me. Maybe I'm alone in this, but I hear strains of "Somewhere" from West Side Story in this as well, which just adds to the beauty.

"Pipeline" is a surf rock tune originally done by The Chantays in 1963. It sounds completely out of character for this album based on everything we've heard so far. However, once I actually saw Pat's look, I sort of understand more of how this was an influence on him. What I think is the coolest thing about that realization is how varied his music tastes actually are, and how he's unapologetically passionate for each and every one.

A slightly familiar little tune that won the 1965 Grammy for Record of the Year, "Garota de Ipanema," is next. You may know it as "The Girl from Ipanema," and it was originally performed by Antonio Carlos Jobim. Pat slows it way down in his version and takes it to a very different sounding place.
The Carpenters' classic, "Rainy Days and Mondays" is next. Now, since I'm waiting for the rest of the Royal Rumble to be posted, Pat can have more of my full concentration. I think my original reason for loving this adaptation is that there are themes of the Mary Tyler Moore theme song in it that had me singing "we're gonna make it after all" quietly to myself throughout the rest of the day. It's got a sound of hope and happiness.

"That's The Way I've Always Heard It Should Be" is an original from Carly Simon. The original is about break-ups and people leaving each other, and general bad relationships. Ugh, what a fun, fun subject to approach. We used Carly's version for a play I was in as transition music, and to this day it still always saddens me to hear it. Here's Pat's instrumental version and take on it:
Something's not quite the same without Carly's haunting voice of hurt and sadness though.

Also known as "Lujon," "Slow Hot Wind" is not a contemporary piece like so many of the others. It's a jazz piece composed for the tv series Mr. Lucky, then later used on soundtracks for the likes of The Big Lebowski. It's entirely unfamiliar to me. I don't know if it's how he's sliding on the guitar strings, or actually his breathing, but there sounds like there's extra breaths throughout that bring a gentle humanity to the track as a whole.

The Stylistics' "Betcha By Golly, Wow" comes up next. Prince also covered this at once point. I actually can't say I can place this one in my head either. It's an old soul number from 1970 though, and there's very much a good amount of soul in the guitar themes as they move through. God, how do people make a guitar sing like that?

Finally, to end the album, well, this happens.
I may be tearing up a little listening to this. It's so true to what the original song was actually, yet Pat even breathes more love and heart into the song with those strings. There's absolutely no need for words, in the song or here, because it's perfect. 


Added to My Playlist:
    • "Cherish" - Spotify, YouTube
    • "Alfie" - Spotify, YouTube
    • "Rainy Days and Mondays" - Spotify, YouTube
    • "And I Love Her" - Spotify, YouTube
FULL SPOTIFY LISTEN LINK

I don't know what to say other than that this was an incredible album to hear. I hope you'll take some time to meditate over some of these amazing tracks and enjoy familiar tunes in a way that just change everything.

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Ziggy Marley - Wild and Free

1/27/2012

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Nominated for Best Reggae Album, duh.

Ziggy Marley has always struck me as a really cool character, and the imitations never live up (you know who you are...). Anywhos, this particular album is his 4th studio one, and is said to be his most political and personal to date. The constant note on all the videos and reviews has been that "the themes are responsibility and hope, tempered hope and intemperate love." 

Now, right from the get-go, I'll tell you, this is something different from what we've ben experiencing. "Wild and Free," the title and first album track, which features Woody Harrelson, is all about smoking. More than that I guess, it's about accepting it. I guess legalization is where we're going to get political.

"Forward to Love" is the second track. I actually love the approach into the chorus - the choir that's brought in form of those BGVs a is really a great, simple punch to the words. Then this awesomely weird guitar parts plays. Now, sure, "baby, we can get hazy" is probably the least fitting lyric, but otherwise the song it really well done. Ziggy directed a remix video that features clips from his tour:

"It" includes Heavy D. It actually doesn't sound like your typical reggae at all until the voices come in. It's like something out of the rain forest though, just in listening to the bells in the background and even the improved voices throughout it. It's kind of an awesome send-off song.

I like the progression of the songs on this album. There's enough difference in each to keep it interesting, and the subjects are not all necessarily the same. "Changes," done with Daniel Marley, takes on a different tone from the previous ones, yet maintains the theme of differences that we've heard before. The idea of making changes for ordinary people is kind of interesting - more of a world view.

"Personal Revolution" literally starts off with a marching drum beat. We've now gone from the world and people in it changing to a very personal song of need for change. Man, I feel yah Ziggy. It's a song for personal strength and making it through, but it's rock-reggae, so it's something unlike anything I've ever heard before. Really an  incredibly done conceptual song.


I like "Get Out Of Town" specifically for the determination behind the music. The lyrics are okay, but the music is what drives this one completely. The combination of this almost western/folk sounding guitar as the small bass lick is really awesome. It almost has the feeling of something updated from the old Westerns of John Wayne.

"Road Less Traveled" leaves something to be desired somehow. It's not a bad song, but I don't care to listen to it again. I think the verses are maybe a little lost on me, or just sound like rambling without a true point. I do appreciate the musical risks being taken throughout though, in unexpected ways completely.

Interesting name for a song for our next one, "Mmmm Mmmm." And yes, I got the number of m's right. It's very much a chill, slow-down song this time, but still a reflection on the world. This time we include God's view in the mix. And the chorus is the "mmm's." The guitar comes in just a little bit from here to there, and I believe makes the entire mood of the song.

"Welcome To The World," appropriately, begins with a baby crying. "I can't promise it's a good place." In all honesty, it does sound like a child's song, even if it is being completely honest. The music even has that kid-ish sound that would have toddlers up and dancing a bit to the fun light piano sounds.

We're going a little 60's for "A Sign," which is probably the most classic-reggae song I've heard yet on this album. I really do dig how personal Ziggy takes the songs as messages to others. I don't know if he had particular people in mind when he created each, but it does seem like many of these songs are very pointed at someone in particular, no matter who's delivering them.

"Reggae In My Head" is just plain adorable. I don't know how else to totally describe it. It's only missing some steel drums, otherwise it would screen reggae sound all over it. There's even some cool different percussion instruments strewn throughout that make it different and enjoyable.

We end the album with "Elizabeth." No steel drums here either. There's a definite ending to the album with political tones even in the instrumentation itself. "Uncle Sam is a naughty old man. He says he wants you but he only wants to abuse you. ...Uncle Sam's gonna have his day." It's anti-establishment, to this unexpected sound backing it, which almost makes it hard to take seriously. However, it clearly means something to those involved.


Added to My Playlist:
  • "It" - Spotify
  • "Personal Revolution" - Spotify, YouTube
  • "Get Out Of Town" - Spotify, YouTube

FULL ALBUM SPOTIFY LISTEN LINK

While some of the album is mediocre lyrically, it's really, musically, a fantastically done piece of art as a whole. The use of instruments and variety in rhythms makes this fantastic. By far, this is the best reggae album I have heard in a very long time. Really, it's incredible the work he's done here, and the arrangements blew me away.
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Various Artists - The Bristol Sessions, 1927-1928: The Big Bang Of Country Music

1/26/2012

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All right y'all, now that we're caught up on dates, we can start knocking a few of these out more of these nominees. Countdown to Grammys: 17 days!

This one is another nominated for Best Album Notes as well as Best Historical Album. And, oh boy, it's 5 CDs long. But it's only in a range from July 1927 through August 1928. For a little over a year, and at 20+ songs per album, that's at least 2-3 songs a week - impressive at the time for so much to get done so quickly, and by a variety of artists. That's dedication.

Not sure who's going to be dedicated and stick with me for the whole thing, but we'll keep it as condensed yet interesting as possible, promise.

I wasn't able to find these notes online to copy and paste into here for y'all. Some info though, that will at least let us know if it's something worth reading:

These were written by Ted Olson (an ETSU professor) and Tony Russell. While some call the notes to have a lingering sound of academia, they are still deemed very impressive. The two essentially wrote a short book on the sessions and background of the musicians and engineers involved. As far as the recordings themselves go, “Johnny Cash once said that the Bristol Sessions are the single most important event in the history of country music,” said BCMA Board President John Rainero. “It’s amazing that those recordings are still having an impact, even today.”

You'll remember some of these artists, and you'll never have heard of some of the others. Jimmie Rogers and The Carter Family are the two biggest names known when talking abou these sessions, but there are many, many more to hear from tonight.

Ever been to Bristol? I have. It's both in Tennessee and Virginia, and I confused the hell out of my GPS driving around looking for a GPA, because I went between the states about 5 times. It's actually a pretty cute little town - definitely more modern now, but one that always is my welcoming point back home to Tennessee.

Let's get on into it, as this is probably going to be one of those all-day projects. Let's hope Mr. Cash doesn't disappoint with his opinions. :)



DISC 1

Brewer, Mooney, and Stoneman bring us the first two tracks to get going. "The Dying Girl's Farewell" is a very raw recording, I believe telling of the times we're about to listen to. It's harmonized though, with very simple musical accompaniment. The do add a few more instruments to "Tell Mother I Will Meet Her," and we're still welcomed with the boys singing all together. The harmonies aren't polished, but I think that only adds to the down-home feel. 

"The Mountaineer's Courtship" is the next one up, with Dunford and Stoneman. I've been trying to figure out if these were songwriters or the artists, but the site swears they're the performers - probably both though. Anywhos, eastern TN is actually pretty mountainy (my aunt was amazed by this the first time we drove through when I started college). The song is a cute back and forth on courtship and love. It's quite adorable really.

Stoneman takes on the next 9 songs, two of which are two separate takes of the same thing. He starts with "Midnight on the Stormy Deep" maintaining that same mountain feel. I think a lot of banjo is what we're dealing with here. "Sweeping Through The Gates" seems to be in the same vein, but with more singers accompanying him, and definitely more strings. The words are a little harder to decipher with so many involved though. The same goes for "I Know My Name Is There," a religious ditty, but this time with an echo of the choir. You can tell we're in the bible belt though, again, with another Jesus song  next in "Are You Washed In The Blood?" Not complaining - these are the things that were the basis of so much of today. 

"No More Good-Byes" is actually much more upbeat than I expected, but if I hear this out-of-tune choir one more time, I may scream. ...and I'm screaming. "The Resurrection [Take 1]" is just very hard to listen to, along with "The Resurrection [Take 2]" which sounds nearly identical. Just trying to remember that these were people with a passion for music  who just wanted to sing. The continue to do so for "I Am Resolved [Take 1]" where there is definitely some kind of leader to the group, but he gets lost. It keeps happening in "I Am Resolved [Take 2]" and my final note is that, while my heart appreciates the past, my ears love technological innovations.

Taking over for the next 6 tracks is Phipps. We're in for more bible belt music, but sometimes there can be the best early-music gems among these. "I Want To Go Where Jesus Is" finally gives us a little different sound, and the mixing is a lot more polished. It was probably the arrangement in the room at this point in the history of recording - singers are arranged for a better balance of leads and backgrounds, since individually recorded tracks weren't happening yet. A familiar old gospel song "Do, Lord, Remember Me" shows it with some really great trade offs of solo lines and BGVs coming in for support. "Old Ship of Zion" brings the same thing in, allowing a lead without loosing him. "Jesus Getting Us Ready for That Great Day" sounds almost exactly the same melodically, but... sure, it's a different song! 

In a funny little twist, we get a praise song in "Happy In Prison." I can only access clips of this album, so I don't know what the whole song is about, but it is oddly optimistic. I guess when your faith's that strong, you can find happiness anywhere. Phipps closes out his portion with "Don't Grieve After Me." I can't believe how similar a lot of these songs are. But I guess that's the reasoning for calling it sessions and not an album - this was a lot of experimenting and getting the sounds they liked.

Dunford and Stoneman hang out again for "What Will I Do, For My Money's All Gone," one of the first truly solo voices on a verse we've heard yet. It's kind of cool to be able to hear the record hiss as well throughout this. Oddly, like most people will probably tell you when they give it some thought, this is a comforting sound.

Dunford's alone for the next two, starting with another upbeat, strangely familiar sounding "The Whip-Poor-Will's Song." Someone's singing with him (the response if you hear it). He follows that up with something I never thought I'd hear recorded, "Skip To Ma Lou, My Darling." Whoa! Hahaha, I just love that this is coming from my speakers right now.

Again we get Dunford and Stoneman for "Barney McCoy." Same general sound, right? Don't tell me that music's different, because I hate lieers. It fits, for sure, but everything's been doing that.

Blue Ridge Corn Shuckers close us out with the last two songs, "Old Time Corn Shuckin', Pt. 1" and "Old Time Corn Shuckin', Pt. 2." The first finally brings a little different sound, as we are introduced to the band and what we're about to hear. The fiddle starts in on this awesome solo spot. Into part two, we've got more instruments going, and little to no vocals throughout either. It's a great old time jam session.


DISC 2

The Johnson Brothers kick off this next portion with four songs, the first of which are "The Jealous Sweetheart [Take 1]" and "The Jealous Sweetheart [Take 2]." We actually kind of slow things down a little bit! There's not much of a different between the two takes, to my ears, other than maybe a little more drag in the second one. "A Passing Policeman," I'm almost willing to bet, is a continuation of one of these takes. It sounds like another verse to the same story just based on melody alone. We only slightly depart from the same sounds for "Just A Message From Carolina" by a few little strums.

Reed takes on the next 6 songs. "The Wreck of the Virginian [Take 1]" and "The Wreck of the Virginian [Take 2]" are pretty simply done songs with a violin as the main, and seemingly only, instrument, completely following the singer as he sings along. "I Mean to Live for Jesus" is just a simple man's song of praise through everything, no matter what temptations are abound. It must have been so interesting to be a person of faith in the 20's. 

"You Must Unload" continues to be string dominant, which I'll go ahead and say is Reed's typical sound. He also keeps up these early gospel/hymn songs as we move along. "Walking in the Way with Jesus [Take 1]" and "Walking in the Way with Jesus [Take 2]" keep that sentiment up. Ah, simpler times and simpler music.

We reunite with the Johnson Brothers for the next three tracks, starting with "Two Brothers Are We" (awwww). But holy cow, I am not a fan of that hallow, whine of a voice. "The Soldier's Poor Little Boy" continues the voice and the banjo dominance (which is easier to handle than the voice). But then, it all makes sense with "I Want to See My Mother (Ten Thousand Miles Away)." Honestly, they sound very much like Civil War songs, but who knows. 

Watson does the next two. Looks like we're heading into blues territory, give the next three have it in the title. "Pot Licker Blues" makes me giggle a little every time I say it. Seriously, say it out loud and tell me you don't laugh a little. No? This is totally one of those few times I'm okay that no one actually reads this (though I'd love you to prove me wrong on that by commenting!). The song's not nearly as funny. Neither is "Narrow Gauge Blues" though there's a sweet harmonica part in it that I haven't heard yet in this collection.

Shelton starts us off in their 4 song set with "Cold Penitentiary Blues." There's lyrics to this one this time, yet the music sounds familiar of everything else we've been hearing. The voice sings of the blues aspect though. "Oh Molly Dear" picks it up with the banjo with this incredibly familiar style of old folk music that you can tell has to have been an influence on later artists. "Pretty Polly" sort of has the same feel for me actually. I'd be interested to see how many folk artists name Shelton as an influence, though they're more likely to say the Sessions in general. Shelton closes out with "Darlin Cobra," another pretty classic folk sounding number.

Karnes has the next 5 songs. He brings in this much deeper voice with more power behind it, and a clearer sound, right off the bat with his first one, "Called to the Foreign Field." This is much more of a soul turn than the rest so far. It continues into "I Am Bound for the Promised Land," which includes banjos. Normally, something like that sound, along with the next one, "Where We'll Never Grow Old," which is this sweet song, and would be even more so if it weren't religious (nothing against it, I just wanted a romantic one for a sec). His voice works for these themes though, and continues to do so with "When They Ring the Golden Bells." His voice goes a little funky as he tries to hit the higher notes, but I'll deal. We close out our time with Karnes on "To the Work," and thus ends our clear voice of song.

Nester joins in for the next two songs, starting with "Train on the Island." Not loving this... at all. Not the vocals at least. The fiddle work is really great though. "Black-Eyed Susie" kind of rolls on in the same manner, which is respectable from one perspective, and terribly annoying from another.

We end this CD with Moonshiners and "Johnny Goodwin." It's a much lighter fiddle backing and the voices are clearer. Sounds like a cleaned up version of a lot of the harder-to-listen-to music from earlier. Overall, a nice way to end this part out with a single artist.


DISC 3

If you're still with me, you're awesome. I may fall in love with you by CD 5 if you remain through the whole way. We've reached the point of the Carter Family for the next 6 track, beginning with "Bury Me Under the Weeping Willow." It's definitely a much more light-hearted theme than I expected, given the title. "Little Log Cabin by the Sea" sounds slightly almost exactly the same as the first song, but I guess when you get on a kick that works, you stick with it, if these albums have been an evidence. Even "The Poor Orphan Child" has a similar sound. It is interesting to hear female and male mixes again though, as we haven't heard it in some time. "The Storms Are on the Ocean" allows the girl to sing a little more out instead of as a backup to the male. They keep up cute songs with "Single Girl, Married Girl," but at least change the pacing a little and allow soloists to make a sound. It's the most different so far. We end out set with the Carter Family with "The Wandering Boy," another roughly similar sounding song as the others, but I'm still happy to hear a female taking center stage.

The Alcoa Quartet comes in for the next two songs. "Remember Me, O Mighty One" gives this pretty great blend of voices together, a cappella. It's not polished, but not awful. Same goes, in a different way, for "I'm Redeemed." Singers step out for small solo lines throughout, and the dynamic variances here make it a great piece overall.

"Henry Whitter's Fox Chase" is the start of Whitter's two songs, and it's got to be the most intriguing song yet in this set. There's a harmonica, and then there some other noises in there providing the beat of sorts. The harmonica in this, "Rain Crow Bill" is the song, and I believe there's more than one at place. Pretty interesting piece as a whole.

The Shelor Family takes on the next 5 songs, beginning with "Big Bend Gal." It's actually an interesting recording use of reverb and ambiance. It's only slight, and probably has to do with the actual recording set up more than anything, but I totally get the feel of a barn dance. That feeling continues into "Suzanna Gal." I don't mean it in any negative way at all - the instrumentation is very impressive - it's just the sounds and how they're hitting that makes me thing that. "Sandy River Belle [Take 1]" and "Sandy River Belle [Take 2]" have the same sort of party quality to them as well. Almost like we're live. They're final number, "Billy Grimes, the Rover" keeps it up, even with a simpler sound, like it's toward the end of the dance.

Mr. & Mrs. J. W. Baker (which I think is adorable to name your act as) bring us "The Newmarket Wreck." Not completely sure what to make of these two in the small snippet I got, but they're telling a story. "On the Banks of the Sunny Tennessee" sounds very similar, but you can tell there's another story being told here as well. This is definitely part of the roots of country music.

Rodgers does the next two songs, starting with "The Soldier's Sweetheart." Very simple with a guitar and a man, very reminiscent of early, easy-going country. "Sleep Baby Sleep" is the same way (actually incredibly similar). He lets his voice float a little that provides comfort.

The Tenneva Ramblers have the next three songs. "The Longest Train I Ever Saw" makes me remember why I hate vibrato. Okay, not totally, but the way peoples' voices shake sometimes is just hard to deal with. This is true when any note gets held out and played with too much. Anywhos, it's like a funny band on the porch for "Sweet Heaven When  Die," and yes, I'm totally thinking of that scene from Family Guy. Then, to end, there's this just really funny sounding song, "Miss 'Liza, Poor Gal." Seriously, there's just something a little hilarious about it.

"Greasy String" is the first of the West Virginia Coonhunters' 2-song set. And now that I'm thinking about it, I can't get it out of my head - the violins in this completely sound like what a greasy string would probably sound like. Their second song, "Your Blue Eyes Run Me Crazy" is really just a funny little story about a southern girl. It's cute.

The Tennessee Mountaineers polish off this disc with two last songs. "Standing on the Promises" is first, and it's a choir basically, only slightly better than the early ones we heard. It's an old spiritual/gospel-ish song of sorts, almost in a march formation. Their song "At the River" is much of the same, and that's how we end out disc 3.


DISC 4

We've passed the halfway point! The Smyth County Ramblers kick off this set with two songs. Now, with a song name like "My Name Is Ticklish Reuben," I'm not sure what to expect. But, it sounds like your pretty classic fun fiddlin' song. "Way Down in Alabama" is much of the same. The voices here are quite good and blend well.

"Do Not Wait 'Till I'm Laid 'Neath the Clay" is the first of three songs from Karnes. His voice has much more of that down home quality to it, and his guitar is much clearer than previous ones we've been hearing. This continues into "The Days of My Childhood Plays," a reminiscent songs of days gone with good times and pleasant thoughts. Finally, he does "We Shall All Be Reunited" which keeps up an upbeat feel, yet his voice does give the sadness and hope that are needed for a song titled as such.

Phipps has the next 6 songs, beginning with clapping for the beat in "If the Light Has Gone Out in Your Soul." I mean, there's a banjo, but the people are into it as well. "Went Up in the Clouds of Heaven" has those same slaps in it, from here to there. It's going to bug me that I don't remember the term for that sound, especially when "I Know That Jesus Set Me Free" uses it in a different way (not just 1-2, 1-2, 1-2; there's rhythm here!). "Shine on Me" is a much slower song, and I have to say, the voices are not all that great. It's tough. We're back with "Bright Tomorrow" though, singing our little hearts out in a seemingly party in the studio. We end with the girl's taking over a lot of the prominent vocals for "A Little Talk with Jesus."

"I Cannot Be Your Sweetheart" is the first one from Howard & Peak, and it's just so sad and heartbreaking. Poor guy. Now, musically, it's pretty happy, but the story is a sad one. The same kind of sadness is actually very evident in "Three Black Sheep." The voices tell it this time, instead of the lyrics.

Greene's got the next two, starting with "Good-Night Darling." Just a sweet little goodnight song, almost like a cowboy's song before he leaves on his adventure. Oh damn it, now I'm just going to think of Westerns the rest of this time. "Little Bunch of Roses" is like his song around the campfire that night when they've parted and he's on his own.

The Stoneman Family's next on is "The Broken-Hearted Lover." This one doesn't come across as sad at all musically, but then again, the emotions of these are not screamed through their music, or lyrics, or sometimes even titles.

Dunford does the next two songs. "Angeline, The Baker" has a similar sound of what we've been hearing musically with harmonicas, but he voice is much older and worn, which makes it a much more interesting listen. He has the same manner in "Old Shoes and Leggins," using a very old familiar melody, and it's a nice little song altogether.

The Stoneman Family is next with "We Parted by the River Side." It's actually interesting to hear more than one instrument for a minute here, with guitar and harmonic, and maybe some fiddle. The voice is clear, and the use of mics is getting better.

Stoneman looses the family for the next two. (No one laughed at that joke other than me, I'm guessing.) "Down to Jordan and Be Saved" doesn't have quite the clear voice anymore. It's almost that sound of someone having cotton in their mouths. "There's a Light Lit Up in Galilee" is better though, with that clear familiar voice again, until the chorus comes in, and I have a feeling the family is back.

Oh, yes, they are, for the last four songs on the album. "Going Up the Mountain After Liquor, Pt. 1" brings on this little story, I think. It's kind of hard to understand. "Going Up the Mountain After Liquor, Pt 2" seems to continue it, though I'm still sort of confused as to what the hell is going on. We move on to "The Spanish Merchant's Daughter" in a totally different tone, and an interesting take on a Spanish girl. We finish out the disc with "Too Late," a song about being over it, from the sound. Nicely done.


DISC 5

Anyone out there still with me? This is the home stretch! The first six songs on this one are done by the Stamps Quartet, beginning with "I'll Be Happy." Pretty standard to what we've been hearing, but quartet implies harmonies throughout voices. The do so with "Like The Rainbow," giving the bass (extreme bass, by the way) a chance to shine in this main solo. I was waiting for a female voice (dumb, it's a male quartet) in "Because I Love Him" but it's a song for Jesus, not an earthly man. They continue with praises together for "Come to the Savior." "Do Your Best, Then Wear a Smile" is probably my favorite title of the entire set honestly. It's also got this Charlie Chaplin sound to it that is cool to hear. We end our time with the Quartet on "We Shall Reach Home." It's got a piano backing (I didn't even notice that with the rest of the songs - so awesome to finally hear piano going on) and is a much more slowed down, solemn number.


The Smith Brothers do the next two songs. "My Mother Is Waiting for Me in Heaven Above" does keep up the tone you'd expect, as hard as it is to hear these voices. It's at least got that's right. Their second and final number is "She Has Climbed the Golden Stair," and it's a lot more of the same from the sound of it. 

Moving on to the Palmer Sisters, who give us the next four songs, starting with "We'll Sing on That Shore." These ladies have a great sound altogether. It's not quite beautiful, but they're solid, and continue that into "Singing the Story of Grace." "Help Me to Find the Way" keeps it simple. They only really use one small stringed instrument to accompany their otherwise a cappella harmonies. "He'll Be With Me" is their final song, and the lower harmonies help bring a richer sound to their close out number.

Tarter & Gray sing the blues, starting with "Brownie Blues" (which reminds me how much I need to finish this and eat lunch). It's most definitely got that nice folk blues feel to it; the guitar is fantastic. "Unknown Blues" has nearly the exact same sound, but there's different lyrics and just works as a general 'I've got the blues' song, even without good reason.

Carolina Twins take on the next 6 songs. "Where Is My Mamma?" still has the blues sound we've been experiencing, though this one sounds like it's from a couple of kids' perspectives. Frogie doesn't go this time, but "When You Go a' Courtin'" has a little harmonica lead in and instructions for what you're to do without him there. "I Sat Upon the River Bank" sounds almost exactly the same, no lie. I think I'm too used to variety to properly appreciate this. However, the Twins give a yodel and change it up a bit with "New Orleans Is the Town I Like Best." "She Tells Me That I Am Sweet" and "Mr. Brown, Here I Come" really do maintain the same sound, complete with yodeling, and close out this set.

We are on our final two songs! Shortbuckle Roark & Family are here to close us out, starting with "I Truly Understand, You Love Another Man." It's a mountain folk song, and, well, works for the title. It's understanding and not sad in the least bit. Just ready yo move on. And the final song for this 5-disc box set is... "My Mother's Hands" to close us out with the down home feeling.


Whew. We made it. Maybe - anyone still there? 

Yes, this is clearly an academically compiled set, meant to teach of the times and the people who made it. These were the roots of so much folk and country that we've heard ever since, and it's a great set of music of the times.

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Jay-Z & Kanye West - Watch The Throne

1/25/2012

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I remember when this came out and I was incredibly excited by the possibilities. I saw Jay-Z solo at Bonnaroo in 2010, and it was, by far, one of the best shows I've ever seen, let alone there. He was dead on, and those raps are not easy to begin with.

So, for him to do a collaborative album with someone like Kanye, who has a few awesome innovations himself, well, that's just bound to be good. I've heard a few of these tracks, but have yet to give this the proper full listen it deserves. 


This was nominated for 4 Grammys, including:
  • Best Rap Performance for "Otis"
  • Best Rap Song for "Otis"
  • Best Rap Album
  • Best Recording Package
I think Wikipedia puts this much better than I actually can: "Expanding on the dense production style of West's 2010 album My Beautiful Dark Twisted Fantasy, Watch the Throne incorporates orchestral and progressive rock influences, unconventional samples, and dramatic melodies in its sound. Jay-Z and West's braggadocio lyrics on the album exhibit themes of opulence, fame, materialism, power, and the burdens of success, as well as political and socioeconomic context."

Originally, this was only supposed to be a 5-song EP in-between other records for each artist, but it built into so much more, especially give then amount of work they've done together previously. It has produced many singles already (I'll try to mention each as we go), and hit #1 in the US on its debut, as well as in the UK, Sweden, Norway, Canada, and Australia.

"No Church In The Wild" includes Frank Ocean (there's a decent about of guest artists on here) starts things off. Already, there's the great wild beat to it, fitting of them both. It's a city beat, but there's a natural feel to the instrumental sounds used. If I have any loyal listeners, they know I'm about to complain about that auto-tune bridge thing worked in. At least the beat continues though. That's the best part. There's samples in this one from Phil Manzanera's "K-Scope," Spooky Tooth's "Sunshine Help Me," and James Brown's "Don't Tell A Lie About Me and I Won't Tell the Truth About You." 

Proud new mama joins daddy for "Lift Off." By the way - my one gripe with Jay-Z - the Beyonce tease at Bonnaroo SUCKED. K, gripe over. But really, this song isn't going too much for me. I don't know - maybe it's trying a little too hard to be something impressive? There's just something a little boring here. Nevertheless, this is one of the singles that was released from this album.

"NIggas In Paris" is one of the singles released, complete with video:

This one made it to #5 on the US Billboard Chart, and #1 on the R&B and Rap Charts (separate charts). There's a sample from Reverend W.A. Donaldson's "Baptizing Scene," as well as dialogue between Will Ferrell and Jon heder from Blades of Glory. Yes, this is the complete official video from Kanye's page, complete with ads for downloading. Looks kind of like something someone made with a scrap-booking program, eh? It's not exactly the most appealing song to begin with, just by lyrics and sound alone. But it's hilarious in some spots, and I think that was the whole point.

Next up is the song that scored them two more Grammy nods aside from the full-album ones, "Otis." Mr. Otis Redding is appropriately credited as the third artist here.
Kind of cool now to be able to tell that some footage from the last video came from this. Love how Jay-Z comes in and absolutely makes that rap work right over the sample of Otis Redding's "Try A Little Tenderness." The mix of that song is just great. James Brown's "Don't Tell A Lie About Me And I Won't Tell A Truth About You" makes another appearance in sampling, and Audio Two's "Top Billin'" is in there too. While this only made it to #12 on the US charts (#2 on R&B and Rap charts), it's a really cool use of sampling and a simply done but cool video for playback.

"Gotta Have It" is the latest single released. James Brown is making another appearance, this time with three songs sampled, including our old friend "Don't Tell A Lie About Me And I Won't Tell A Truth About You," and two more: "People Get Up And Drive Your Funky Soul" and "My Thang." Who knew James Brown was this hood? Ha. I crack myself up sometimes. It's got a pretty cool beat, and the mix is done pretty well. Not a bad job at all.

Nina Simone's "Feeling Good" is sampled in the next song, "New Day." Yeah, right off the bat, hating the auto-tune here. It's like the entire vocal backing to the song, and I get that it's the sample's doing. Why couldn't this have been Michael Buble's version of that song? It's just dead for me there, I can't ignore it.

"That's My Bitch" makes me question my allegiance to this album and these artists, but I'll give them their one. Usually Jay-Z keeps it all pretty relatable, or at least clean enough in subject for everyone. Oh well. James Brown is sampled again, this time with "Get Up, Get Into It, Get Involved," along with Incredible Bongo Band's "Apache."

Damn skippy I tried to find out if GNR was sampled for "Welcome To The Jungle." No one is actually credited with samples for this one. Oh well. It's a cool approach to the subject of being tired from it all. I can only imagine how run down these guys get from everything they've got going on, but they keep going. 

"Who Gon Stop Me" sounds really familiar - actually in the rap, not the music. Flux Pavillion's "I Can't Stop" is quite obviously sampled in the background. It's kind of a great rap rhythm over it, and additional chorus theme. It's a little dirty, but who cares sometimes? It's a good, intense movement and they keep it pumping the whole time.

Indiggo's "La La La" and Quincy Jones' "Celie Shaves Mr./Scarification" are sampled for "Murder to Excellence." I think this is where some of those socioeconomic statements come in. It's kind of a statement on coming from the bad times and horrible stereotypes and happenings (i.e. black-on-black murder) to the better life, building up, etc. It's about making a change, and there's even this cool transfer in music from one thing to another, almost sounding like two separate songs.

"Made In America" includes Frank Ocean again. It's got a really great backing to it musically, and is, again, about making it to more. I think this one would really make an awesome single. Radio, even mainstream, would probably pick this up with a little censoring. It's a lot about blacks in particular, but it's still a pretty powerful song about some incredible people, and serves as a great tribute to so many.

This one hasn't charted in the US, but "Why I Love You" is a single from the album, and includes Mr Hudson. It samples "I Love You So" by Cassius. Oh wow, how has this not charted? I've heard this - a lot. About half of the sampled music in here really bothers me, but it's halfway tolerable. It's kind of cool how they let the sampled piece be the entire chorus, instead of just rapping over it. These guys definitely did different things with their samplings throughout the album. Also, the ending trade-off of words is awesome.

"Illest Motherfucker Alive" (I never said I would censor the words in my blog, sorry) starts completely quiet. Um. Kay. Waiting... It's an 8:23 long song, so let's see how this goes. And then at about three minutes in, we get music. It's actually an expansion of this little theme with horns we've been hearing after a couple of other tracks with no real explanation. The song itself, I feel, was not worth the wait. It's a bunch of uneceesary bragging with a epic operatic voice in the background.

The next one is the final single that we have to share a video for off this album, "H*A*M."
Like how I snuck a little live video in there? Thought you would. ^_^ It's made it to #23 on the US charts (#24 on R&B, #14 on Rap). It's not exactly the best piece on the album. "H*A*M," by the way, stands for "hard as a motherfucker." Just thought I'd solve that mystery for you. I think what makes this song unique is probably what makes it stand out - there's these operatic voices again, actually almost like female versions of the original Gregorian chants, that have their own solo spot, then cary the backing of the rest of the song. Super cool and different to hear.

"Primetime" sampled Orange Krush's "Action." You can kind of feel that the album's winding down. There's something a little less intense here, but the lyrics keep rolling on. It's just missing something to take it to the next level, but gets kind of close with those intense build moments that happen momentarily in the middle of verses. They don't continue or do anything, but it's interesting to the ear.

Finally we have "The Joy" which credits Curtis Mayfield as the third artist and closes out the album. Curtis' "The Makings Of You (Live)" as well as Syl Johnson's (also a Grammy nominated artist, btw) "Different Strokes" are sampled. It's kind of a great way to end the album as a whole. It's a bunch of styles and cool moments from songs compiled together, speaking to the interesting combination we've gotten with the album as a while. 


Added To My Playlist:
  • "Otis" - Spotify, YouTube
FULL ALBUM SPOTIFY LISTEN LINK

Okay, here's the deal. I did really enjoy listening to this entire thing. There was a lot I didn't get total enjoyment out of, but there's a lot I enjoyed and appreciated that they did musically.

Jay Z knows how to pick singles - he's got some of the best ones out there that have been stuck in all of us for ages. Kanye's had a few as well. "Run This Town" is one of the better artist combo songs we've had some along in quite some time. An entire album may have been a little much, but they did manage to do a great job experimenting with different types of music and ways of using their samples. Overall, a really awesome job done by all.
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Primal Fear - Unbreakable

1/24/2012

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NEW MUSIC TUESDAY!!!

(almost caught up)

(also, next Tuesday's my birthday - I already have a plan to do Ringo Starr's new album in celebration. ^_^)

So, Primal Fear is a heavy metal band, and this is their ninth studio album, an impressive number. Their website covers an extensive history of the band, both in English and... Swedish? as well as band member bios. I take it back - they're German. Shows how much I know. It kind of only goes up through their last album or so, but it's got a lot of good info on their discography.

I don't know, this awesome awesome punk version of "Like A Prayer" is on my playlist right now... hope these guys can stack up!

"Unbreakable (Part 1)" is like a movie score start. There's a joke on a few reviews and message boards that these guys name everything after movies, and so maybe that's where this comes from. It's epic though - straight out of some of the best movies you've seen. It builds and leads in to whatever we're about to hear in a thrilling way.

What we're about to, and are now, hearing, is "Strike." This is not a new sound in anyway, but a welcome one form this band. All high-pitched, all fast. It doesn't necessarily strike me as anything special, but it's a cool start and lead in.

"Give Em Hell" is a little more inviting as a song. There's more variation to the voices and melodies that before, and it makes for a more interesting song to listen to. There's also more to enjoy with the lyrics for some reason, as it's definitely a power heavy meal song.

The next one is the lead single, "Bad Guys Were Black." 

I love this one. It's nothing innovative, but is reminiscent of all the good classic metal. The drum, I think, along with the bass beat, are what gets me the most. It's excellent head banging music and just a ton of fun in a weird way.

"And There Was Silence" follows that. One thing I've noticed (sort of characteristic of the style) if that the songs are impossibly long. Most are 5 minutes + a piece, largely due to long guitar solos, and even longer drum rolls on the ends. It's not awful, but it does get a little old after so many songs. 

A call out to everyone to join the "Metal Nation" is next, to kind of prove me a little wrong given this slightly different sound. It's actually a pretty interesting thing to hear after having put so many other albums out. It's almost like a call out to get more people to listen to this music. It works though.

"Where Angels Die" brings in this dark tone that I think I've secretly wanted the entire album. James Durbin may be playing in my head a little here. God, this is a twisted little song. It's exactly what I think you'd expect to hear here.

We're now up to "Unbreakable (Part 2)" but this time it's not an instrumental piece of epic awesomeness. It's an actual song with lyrics. It's another classic sound to another track of the album. I actually feel like I've heard something like this or extremely close to it. It's just hard to shake that feeling.

"Marching Again" starts with this very ghostly lead in, then brings on these strings that are just hauntingly enchanting. The rest of the song goes downhill from there. Sorry, but that's how I feel about this. It's just not that great.

We get more of that epic heavy feel again from "Born Again." It asks a lot of hard questions about God and our relationships there. There's a heavy touch on death and the afterlife. It's just a heavy song all around, but no worries - we get a lonnngggg guitar solo to help out the pain

"Blaze of Glory" screams its name in the guitar licks that come in throughout. I honestly zoned out, because it was pretty typical, and missed the beginning of "Conviction" completely. Actually, it wasn't until I heard him yelling "conviction" that I realize it sounded just slightly different.

The final song is "Night of the Jumps." Unfortunately, at this point, I'm completely disinterested. I don't know how to best explain that. It's just that so much of the album sounded alike. This is a good ending song though - it's a final celebration of sorts. 


Added To My Playlist:
  • "Unbreakable (Part 1)" - Spotify, YouTube
  • "Give Em Hell" - Spotify, YouTube
  • "Bad Guys Wear Black" - Spotify, YouTube
FULL ALBUM SPOTIFY LISTENING LINK

A lot of this had too similar of a sound, but that's sort of what the genre calls for. There were some definite gems in there, and the band hit things the way they should given a long history of success. They proved they can still make a studio album that's exciting and exactly what loyal listeners are probably looking for.
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Wiz Khalifa - Rolling Papers

1/23/2012

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Picture
Nominations: Best Rap Performance and Best Rap Song, both for "Black and Yellow."

Love the album art on this one actually. Really a cool thing done with the smoke and light.

The title, according to Wiz, has a deeper meaning than just smoking papers. Er, sort of. It's about his contracts that came in when his career took off... and how he rolled up and smoked. It's also about him not using paper to really write anything. He jots notes and stuff, but doesn't ever write full songs down on paper.

This is Wiz's third independent album, and his first two Grammy nominations. And yes, I know how much that sounded like the announcer's voice over when someone wins an award.

"When I'm Gone" starts us off with this little pleasant piano intro that doesn't scare me away as much as I thought the album would. But the song, while having a cool background sound, is not about anything deep after death. It's just about spending money on drugs and alcohol before he's dead. No, seriously, that's what the song is about. Again, great backing music though.

"On My Level" (featuring Too Short) was released as one of the singles with this video:

So here we get a video all about drinking and smoking. Eh, not necessarily my cup of... champaign? Ha. See, get what I did there? I can see the appeal to some people on a party night maybe, but even the beat's a little dull to enjoy on a good night. Maybe at the mellow end of the night.

"Black and Yellow" is the Grammy nominated song here, and what scored him both of the nods he got. Here's the video:
I'm just proud of myself to be able to say I've heard this before! It's actually meant to be a tribute some of Pittsburgh, which I didn't know (Stealers colors, woo). Nice city by the way - I was there a few months ago. Looks really interesting and I wish I had seen more of it. Nice to hear about something other than substances in one of his songs. Kind of a cool tribute song as a whole; good times for Pittsburgh!

"Roll Up" is the next song, and the next video I have to share with y'all:
I kind of adore this musically. That sentence sounds kind of funny describing this, but it's kind of a fantastic mix. The video leaving something to be desired, but that's not necessarily what we're concerned with, now is it? No. Priorities here. And taking up space with ramblings. Yup. I like the music.

First track in a bit without a video, "Hopes & Dreams" is up next. There's this cool guitar at first, almost reminiscent of the oldies we were enjoying yesterday from Music City. But, of course, there's a DJ involved mixing it a little more. And it's kind of maybe about a stripper. 

"Wake Up" has this pretty dreamy chorus and bridges. The raps are kind of shmeh, but the beat's pretty nice and fits. It's about making it in a career. Pretty cool to hear with someone who is managing to hit it bigger and bigger these days.

There is most definitely a lighter ignition at the beginning of "The Race." Ah, life and bitches y'all, life and bitches. Sorry, that's just what I'm getting from here. It's a little hard to relate to - go figure. Not a bad song in any way, just un-relatable a little bit. Not bad though.

"Star Of The Show" features Chevy Woods, and it kicks off with a phone conversation that I'm not sure entirely fits here. It's just a dude telling another dude to wake up. The song itself it about staying away from fake people, because everyone just wants to be famous. I guess if I had to look a little deeper into the artist, it's about his early career and the lessons he learned coming up.

The next one's another single, "No Sleep." 
"Good weed and cold drinks - that's the recipe." Actually, this is an awesome party anthem. And the video's kind of funny. Overall, really dig the beat and music going on here, sans the video itself (it's just too flashy and hard to watch). It's a great song otherwise!

"Get Your Shit" has this fantastic beginning actually, totally mesmerizing. I actually wish it weren't a breakup song, because the lyrics kill it for me. The music throughout is really great though - the mix is fantastic. The rest of it's just hard to hear and enjoy. I understand he's actually pretty torn about it, but still.

I knew right from the start with this weird windy voice in the background that "Top Floor" was going to drive me insane. Honestly, just that one little element is literally giving me a headache. 

It's okat though. "Fly Solo" brings in this sweet use of guitar and is a much better time. It's a rap song, but with so much good lighter rock behind it. It's entirely well done, and the subject matter is even pretty great. It's a good solo anthem and sort of encouraging even in the sad parts.

"Rooftops" featuring Curren$y is okay. It's a lot more of rising up from the bottom to the top of the heap in rap. It's a lot more of the same thing we hear a lot in rap. I guess that's the big thing in the genre - being able to make it to the fame.


The final song, "Cameras" has this really nice final feel to it as a whole. It's full of lyrics about the amazement of finally being where you wanted to be, and the journey there. Even the music feels like a good close out.


Added to My Playlist:
  • "Roll Up" - Spotify, YouTube
  • "No Sleep" - Spotify, YouTube
  • "Fly Solo" - Spotify, YouTube
Full Spotify Listening Link


I'm surprised at how much I actually enjoyed this. It's not at all what I expected. It was light enough to remain enjoyable, but had enough rap and hardness to qualify in the category appropriately. The entire work was really well thought-out and compiled and I look forward to seeing where this goes and what's next.
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