Among the many unreleased Prince projects is the High album from 2000. The disc was complete and ready for production, but Prince pulled the plug and opted to release it via his then-burgeoning (and now defunct) online music club.
As Uptown writers note in the exhaustive chronology The Vault, the album is accessible and straightforward, likely another attempt at a commercial comeback (1999's Rave Un2 the Joy Fantastic had a similar intent, but ultimately failed.
By and large, the music on High is far more compelling than anything on Rave, and with smart marketing and single selection, I believe it could have had significant commercial impact. Alas. Many of the songs were later repackaged in the second incarnation of Prince's online music club, but spread across a few releases, losing any sense of consistency as to what the High album may have sounded like in its initial configuration. [Note: many of the tracks were also initially released via 2-track singles sold on the 2000Hit N Run tour.]
To that end, here is the original tracklist:
1. U Make My Sun Shine 2. My Medallion 3. Supercute 4. Golden Parachute 5. High 6. When Eye Lay My Hands on U 7. When Will We B Paid 8. Gamillah 9. Underneath the Cream 10. The Daisy Chain
Standout tracks here are "My Medallion," "Supercute," "The Daisy Chain" and "When Eye Lay My Hands on U." All are accessible yet interesting enough that they could have seen some success in the musical climate of 2000. But I digress.
The main motivation behind this post is a recent late night spin of volume 5 from the mind-bogglingly comprehensive The Work set of unreleased material. I haven't heard the High tracks in a while, and I was quickly reminiscing about bumping these tracks in my Cavalier (via Discman with cassette adapter, naturally) that summer. Suddenly, it's July 2000.
More importantly, "When Eye Lay My Hands on U" is a track that blows me away. There are so many layers here, not to mention the blistering guitar work. Take a listen:
And here's a great live take from the Montreaux Jazz Festival in 2009:
For years, I've bemoaned something that Prince, MJ and Madonna all have in common: Each has at least one video collection on the market, but none of the 1980s triple crown of pop has a definitive collection. That tide appears to be shifting. While it's still not "complete," Madonna's 2009 collection Celebration is a fairly comprehensive 2 dvd set covering 1983-2009 (still no "Gambler?" For shame). Prince's incredibly slim The Hits Video Collection remains his only career-spanning collection, and lacks many of the Purple One's promo films (too many to bother listing).
And then there's Michael Jackson. The artist who rather early on redefined music video as an art form and MTV as a cultural force. 1992's HIStory collection gathered the hits, some in truncated form (on the VHS release anyway). The companion volume repeated some of the hits from volume 1, along with videos from the HIStory album. 2001's Number Ones DVD rehashes the big hits, most in their edited forms.
So despite it being an obvious effort to cash in on posthumous Michael Mania, I was excited to get wind of Vision, a 3-DVD career spanning set of MJ's videos in original, unedited form.
The set chronicles Michael's career as a visual artist from Off the Wall through Invincible. And to have the full-length, unedited versions is a treat, as I hadn't seen many of these since their original MTV premieres. The 18+ minute version of "Bad," for example. Or the 9+ minute cut of "The Way You Make Me Feel." Or the 9+ minute version of "Smooth Criminal."
There is one censored cut, however. While the full 11 minutes of "Black or White" is here (zipper pulling, crotch grabbing, Simpsons' outro and all!), it is not the originally aired version, which included some graffiti-ed racial slurs in the dance segment. I believe that version is still available on Dangerous: The Short Films, however, so chalk one up for cashing in on those with completest tendencies (moi?).
It's also great to see the lesser known cuts, like "Another Part of Me," "Liberian Girl," "Give in to Me" and "They Don't Care About Us." It seems they were really going for a definitive collection here.
So much so that the bonus disc includes 7 videos that don't strictly fall under the banner of Michael Jackson - "Enjoy Yourself," "Blame it on the Boogie" and "Can You Feel It" (all by the post-Motown Jacksons), "Say Say Say" (the so-cheesy-it's-good duet with Sir Paul), Spike Lee's alternate "prison" cut of "They Don't Care About Us," "Why" (with nephews 3T, though none of them are Jermajesty) and the previously unreleased "One More Chance."
It wasn't until this bonus disc that I recalled a few cuts that are in fact absent. If we're talking Jacksons videos, absent here is "Torture" (which is in fact, a pretty torturous cut) and "2300 Jackson Street." If I recall my Pop-Up Video correctly, MJ didn't actually appear in the "Torture" clip, but they borrowed a wax figure from Madame Tusseaud's (!). Wikipedia also claims video clips for "Dreamer," "Goin' Places," "Even Though You're Gone," "Shake Your Body (Down to the Ground)" and "Body," though this is all news to me. My guess is most of these were clips from Bandstand and the like that aired on outlets like The Box.
Oh wow...there is definitely a video for "Body!" (Though again, no MJ.)
Thank god for YouTube. And of course, I had to check all of the others. There is a video for "Dreamer" [embedding disabled by request. BOOOOOO]
"Shake Your Body (Down to the Ground)" -
"Even Though You're Gone" -
"Goin' Places" -
Of course, some of these may actually be pulled from the Jacksons Variety Show.
Despite the absence of some of the Jacksons cuts, the collection is quite comprehensive (though I believe the video for "Gone Too Soon" is different than what I remembered).
It's a good thing that I bought this set over a semester break, because I ended up watching the bulk of it in one sitting. It does suck you in, particularly on the first disc. Sure, there's a dropoff point on disc 2, but if even the lesser videos weren't included, people like me would be quick to point out the omissions.
All told, this is the Michael Jackson video collection we've been waiting for. Given that it only touts 7 cuts, the bonus disc could have been padded with a number of other clips (the aforementioned Jacksons material, "We Are the World," etc.") But I'm splitting hairs here. Vision may be a bit of a rush job, but as the estate floods the market, this is one of the items that most fans actually want.
The sad thing is, I don't think we'll see anything like this from Prince until he dies, but that's another story altogether.
Well, here we are again. There's snow on the ground, presents being bought, and a half-completed stack of finals on my living room floor. Yes friends, it's that time of year, when your old pal Gonzo compiles what he thinks represents some of the best music released in the last twelve months.
2010 was an excellent year for music. By April, I felt overwhelmed by the sheer amount of good releases hitting shelves each week. That pace ebbed and flowed for the remainder of the year, but golly - this was surely one of the better years for music in recent history. As always, trying to narrow it all down to 80 minutes or less proved a challenge. But with perseverance and geeky obsession, I accomplished the mission. Ladies and gentlemen, I give to you:
PRESENT COMPANY EXPECT IT: GONZO'S 2010 MIX
1. LCD Soundsystem - "Dance Yrself Clean" This is Happening (Virgin)
Somehow I knew in June that this would end up kicking off the 2010 mix. I love the build in this song. For the first three minutes, you can barely hear what's going on (a la "Long Long Long"). Suddenly you're suckerpunched with that sixteenth note leading into a solid four-on-the-floor beat with some groovy synth punctuation as James Murphy's vocals become more soulful. And then there's the seemingly arhythmic break down which always throws me for a loop as well. I admit that I can't quite wrap my head around Murphy's lyrics, which critique the same hipster subculture that his career depends upon. Nevertheless, This is Happening was a winner with me from the moment I streamed it on the band's official website, and it is certainly deserving of all the attention that it's received this year.
2. Ariel Pink's Haunted Graffiti - "Round and Round" Before Today (4AD) Official Website I'd never even heard of Ariel Pink until the buzz around Before Today began to circulate. Fellow WIUP DJ and occasional co-host Marc Morrison chose this one week for our summer program First Impressions. Upon first listen, I wasn't completely taken in by the album, but I could tell that it had room to grow on me. Turns out, I was right. A few late nights of writing spent with Before Today swung my opinion more fully. "Round and Round" remains my favorite track from the disc, and is very representative of the album's overall sound. It's indie rock meets AM Gold meets something slightly haunting (ergo, the name?). It's a catchy number, and I can't be the only one who thinks that the bridge pays homage to Julian Lennon's "Too Late for Goodbyes, can I?
3. Vampire Weekend - "Giving Up the Gun" Contra (XL)
2010 was perhaps the year of Vampire Weekend. They got quite a bit of attention for their 2008 self-titled debut, but the buildup and eventual success of Contra pushed them into the mainstream spotlight. The album is great, though I know many people have tired of it, claiming it wore its welcome pretty quickly. That may well be the case. I can no longer tolerate "Holiday," thanks to the excessively-run Honda ad featuring the track. I would have pegged them for a Target commercial, actually. Anyhow, the fact of the matter is that Contra is still a great album, even if we're sick of it. More than any other song from the album, "Giving Up the Gun" sticks out primarily because WIUP student DJs gave it heavy play. But it also has a lot going for it - a catchy melody, a stop-start chorus, and a relative lack of pretension (which can't be said for many VW songs).
I believe my introduction to the new Yeasayer was actually Alan Wilkis' remix of "Ambling Alp." The original version of that track was up for consideration on this mix, but "O.N.E." beat it out, in part once again because a few WIUP DJs gave it heavy play in the spring. It's surely the most dance-oriented track on the disc, which sees the band generally moving into a poppier realm. Odd Blood still sports a good deal of the darker, weirder elements of All Hour Cymbals, which is great. But I have to say, it's the poppier tracks that stand out. I also got to see them live back in September, and they put on an excellent show.
5. Twin Sister - "Around and Away We Go" Colour Your Life (Infinite Best)
A totally random discovery that happened to pan out. I stumbled upon Twin Sister over at Gorilla vs. Bear, who had posted a few tracks from the band's then-upcoming EP. Twin Sister put the entire EP up for free download, so I gave it a shot. And boy howdy, did it pay off. Twin Sister have a light, almost dream-like sound, but maintain a pop sensibility throughout. You can almost hear a bit of Tom Tom Club in there. There's also something rather charming about lead singer Andrea Estella's accent. It doesn't really sound like a New York accent (the band hails from Brooklyn), but I can't quite place it. They've toured extensively, though sadly not anywhere on my radar. Nonetheless, Colour Your Life is one of my top picks of the year - you know it's good when you download it for free (legally) yet make an eventual CD purchase as well. I'll be interested to see where Twin Sister goes from here.
7. Beach House - "Norway" Teen Dream (Sub Pop)
Official Website I'd heard Beach House's previous release (2008's Devotion) and liked it well enough. But it cannot hold a candle to Teen Dream. When I heard Teen Dream in January, I billed it as "an early contender for album of the year." While there have been a number of worthy challengers, I say with conviction that Teen Dream is hands down my favorite album of 2010. I've played the hell out of it for 11 months and it affects me just as deeply in December as it did in January. The album is so unbelievably gorgeous, so lushly arranged and produced. It was a perfect winter release, to be played at full volume in a warm abode while Snowmageddeon raged outside. To put things into perspective, by the time I get to ripping tracks for the year-end mix, I have a general idea of how it will take shape. In the interest of time, I'll rip 2, *maybe* 3 tracks from the pile of discs that I accrue. When it came to Teen Dream, I pulled 6 of the album's 10 tracks, because there are just that many standouts on the disc (though the other four tracks are good too!). "Norway" won out from those other 5 tracks simply for purposes of fit and flow. It was otherwise quite difficult to pick one track from this dynamite album. Victoria Legrand also has one of the most alluring, beautiful and unique voices in indie rock. Interesting range as well. I was fortunate enough to see Beach House over the summer, and they faithfully execute their material live, with the aid of a live drummer (which is generally a plus in my book). If this mix prompts you to buy one album, it should really be Teen Dream.
8. Band of Horses - "Laredo" Infinite Arms (Fat Possum) Official Website
Band of Horses has been around, but I admit that I hadn't heard them until this year. I heard "The Funeral" on the radio and thought it one of the most emotionally intense songs I'd ever heard. After acquainting myself with their first album, I was intrigued to hear of the pending release of Infinite Arms, their third album. I can't speak for what their second album sounds like (it's on my "to buy" list), but Infinite Arms has a hint of southern influence, which isn't quite the case with Everything All the Time. That southern flavor is probably most evident on "Laredo," the album's second single. That said, the song is indicative of the general vibe of Infinite Arms. This album gets the award for "Best disc for driving on the highway in the summertime." Perfect road trip music. So I thank an unnamed WIUP alum as well as blogging pal Pete Icke for hipping me to this wonderful band.
Speaking of bands that somehow escaped my radar until this year, Grinderman's second album was a surprise favorite. Nick Cave (along with a few Bad Seeds) fronts this dark, loud, straightforward rock outfit with a raw power (pun intended) unparalleled in 2010 rock releases. I believe I only checked out the album on account of some of the online buzz around it's release, which panned out in the end. "Worm Tamer" is the album's second single, (preceded by the equally in-your-face "Heathen Child"). Check out this live in-studio performance from the RAK Sessions in London:
10. The Dead Weather - "Die by the Drop" Sea of Cowards (Third Man)
2009 saw the introduction of The Dead Weather, yet another JW project. The band's debut hit shelves in July of last year. Sea of Cowards was in our grubby little paws by May. And let's not forget all of the touring in between! In some senses Sea of Cowards is more of the same brand of gritty rock and creepy blues established on Horehound, but it seems a bit more focused as an album, and in general an all around tighter execution. Seriously, when does Jack White sleep? This guy's productivity is reaching comical proportions. ?uestlove is the only other figure I can think of that might give White a run for his money, though I'm certainly not complaining. Word on the street is that 2011 will bring us a new album by country gal Wanda Jackson produced by White (they'll also be touring together), and who knows what else. I'm certainly looking (and listening) forward. 11. Sleigh Bells - "Tell 'Em" Treats (N.E.E.T./Mom and Pop)
While there was a lot of great music released this year, Sleigh Bells was one of those rare albums that made my ears perk up as I thought, "Well this sounds different than pretty much anything else I've heard before." It definitely has some echoes of labelmate M.I.A., but they aren't copping her style by any means. Most notably, Sleigh Bells are a hell of a lot nosier than M.I.A. The sheer amount of overmodulation on the album is reminiscent of the Stooges' Raw Power, while the music is a clash of pop hooks, punk ferocity and guitars, and danceable beats. Wikipedia categorizes the band as "Noise Pop." Usually I ignore such labels, but this one actually fits. They've taken aggressive, distorted noise and placed it within the 3 minute pop format. And somehow, it works.
12. Crystal Castles - "Celestica" II (Fiction) Official Website The sophomore disc from Crystal Castles took a very close second to the Beach House record as my pick for album of the year. They were certainly my two most played discs, with Crystal Castles having the added element of extreme anticipation. And the band certainly disappoint - there isn't a bad track on the album. From the "fun facts" file, Wikipedia claims that Crystal Castles II was recorded "in various places including a church in Iceland, a self-built cabin in northern Ontario, a garage behind an abandoned convenience store in Detroit, and the London studio of Paul "Phones" Epworth (Bloc Party)." But I digress. The album showcases Crystal Castles in a variety of modes, but none too far of a stretch - dancier tunes (such as "Celestica"), noisier, more aggressive tracks ("Doe Deer"), and darker electro tunes that have earned them the rather absurd label of "electro goth" ("Vietnam," "Violent Dreams"). And they put one hell of a live show. Aside from the seemingly endless DJs that preceded them, Crystal Castles' show at the Electric Factory was by far the best (and sweatiest) live show I saw in 2010. The icing on the cake is a remix of one of the album's tracks, a cover of Platinum Blonde's "Not in Love," featuring Robert Smith on vocals. I admit, it sounded like a bad idea, but holy cow, it works beautifully - dare I say I like it even more than the album cut. Check it out:
12. New Young Pony Club - "Lost a Girl" The Optimist (The Numbers)
You may recall that the New Young Pony Club's 2007 debut was a favorite of mine that year. That being the case, I was very much looking forward to The Optimist. It isn't as strong as its predecessor, but The Optimist is a solid effort in much the same vein as Fantastic Playroom. If ever there was a band that could be described as "hipster pop," this is probably it. I sure don't have a problem with it. I just wish they would tour the US.
13. Chromeo - "Night by Night" Business Casual (Atlantic)
Official Website Oh, we're dancin' now! Chromeo came back onto the scene this year with the follow up to their 2007 breakthrough/automatic dance party Fancy Footwork. It's an admirable return that follows the FF format, but Business Casual does leave one wondering just how long Chromeo can ride the wave of retro-'80s synth funk. In any genre , the retro game is only interesting for so long (I'm looking at you, Jurassic 5 and Amy Winehouse). While Business Casual is a fine disc, it does suggest that Chromeo's next move is going to have to step out side of the (talk)box for them to retain audience interest. But to end on a positive note, the songs on Business Casual maintain a too-sexy vibe. "Night by Night" is a great example of this - and the video is every bit as seductive as the song:
Speaking of retro, there's also a clear 1980s influence throughout Goldfrapp's Head First. Some call it a return to roller disco. I believe my hetero life partner said "Rocket" sounded "like Flashdance circa 2010." I'll take it. I was not a big fan of Goldfrapp's previous effort, 2008's Seventh Tree - but I had to respect their move to play outside of the electro sandbox for a bit (though I'm thinking I ought to revisit that album). Ultimately though, Goldfrapp is at their best when they're making dance music. Their decidedly retro approach on Head First works very well, a more playful contrast to their previous work (such as 2005's Supernature).
15. M.I.A. - "XXXO" /\/\ /\ Y /\ (N.E.E.T./XL/Interscope)
I didn't have much hope for M.I.A.'s third studio album (read: "Maya"). Her off-stage antics (most notably her feud with a New York Times writer) and schizophrenic Tweets seemed like she might be heading into Kanye territory. Upon hearing the album's stream via NPR's First Listen, I was pleasantly surprised. This is absolutely M.I.A.'s weakest album to date, but there are a number of gems scattered about. Quite simply, it would have been a great 10-track LP. Among those gems is "XXXO," which is apparently one of the biggest love-it-or-hate-it singles of the year (at least according to the blogosphere). I love it. One reviewer criticized the track for being so "club ready," but that's one of the things I like about it. It's a contrast to the multi-genre cultural amalgamation she's known for, true. But a welcome one, I think. I will say that in this track and others on the album, the references to Twitter, iPhone, the Internet, etc. seem incredibly forced. Maybe it's done tongue-in-cheek, I don't know. Nevertheless, "XXXO," "Born Free" (and it's controversial video), "Teqkilla," and "Tell Me Why" are standout tracks that make /\/\ /\ Y /\ a worthwhile album, if an overall less interesting one. She also loses points for not including a download code with the vinyl release (seriously?).
16. Robyn (feat. Snoop Dogg) - "U Should Know Better" Body Talk pt. 2 (Konichiwa Records)
Official Website Ever since Bowie's canned Outside trilogy, I've instinctually been skeptical of any artist announcing a multi-volume project to be released over time. 2010 may force me to rethink this position. Erykah Badu released the second installment of her New Amerykah trilogy this year, and Robyn met her goal of releasing the three-part Body Talk set over the course of 2010...sort of. I can't help feeling that the third installment (simply titled Body Talk) was a bit of a copout, boasting 5 new tracks and 10 cuts previously issued on Body Talk pts. 1 and 2. Seriously? Of course I bought it, but that's beside the point. So is this little tirade for that matter. I digress. While 2005's Robyn received international acclaim, I found much of it fairly pedestrian, save the electro-infused tracks that opened the album. But those two tracks were enough to leave me thinking "She has a great album in her. This just isn't it." So I was very excited when I heard that among other people, Philly's own Diplo would be doing production work on the Body Talk project. "This is exactly what she needs," I thought. And while Diplo was only involved in a few of the project's tracks, collectively Body Talk is the album I've been wanting Robyn to make. Her pop tendencies aren't buried, but given a makeover that makes these albums stand out amid the sludge of contemporary dime-a-dozen dance pop artists. Pop, electro, dancehall (hi, Diplo!), acoustic ballads and Swedish folk combine for a consistently enjoyable toe-tappin', booty-shakin' listen. Here's hoping that Robyn continues to innovate and reinvent her sound in interesting ways.
17. Janelle Monae (feat. Big Boi) - "Tightrope" The Archandroid (Bad Boy)
Being such a Prince fan, friends of mine will fairly often recommend an artist claiming, "they sound a lot like Prince." This was how I first learned of Janelle Monae. Skeptical, I gave The Archandroid a listen and wasn't that taken, especially after seeing her Prince tribute at the BET Awards. Her "look at me, I'm weird" shtick just seemed too contrived. Months later, I thought that I may have been too harsh, and gave it another listen.
I had been too harsh.
The Archandroid covers a lot of ground. It's soulful, it's funky, it's accessible yet unconventional. And guess what - I *can* hear the Prince influence on a few tracks. So all apologies to Ms. Monae - I was too quick to judge (this is why I try to give everything at least two spins before writing it off).
18. The Roots (feat. Dice Raw) - "How I Got Over" How I Got Over (Okay Player)
Three words: "return to form." The Roots' body of work has been consistently good, but I admit that their last few records have been mixed bags. Not that they were bad, but they lacked the consistency of earlier discs like Do You Want More?!!!!??!, Illadelph Halflife and Things Fall Apart. How I Got Over is easily the group's best disc since at least 2002's Phrenology. There are some atypical guest appearances (Joanna Newsom, Monsters of Folk, that somehow work, sounding totally logical and natural. As always, the album is littered with social commentary. While the group's previous two records (2006's The Tipping Point and 2008's Rising Down) were generally dark in lyrical and musical tone, How I Got Over exudes a more positive vibe, one focusing on perseverance and triumph. Though I can't find the interview now, one Roots member (?uestlove or Black Thought, I believe) stated that The Tipping Point and Rising Down were reflective of the George W. Bush era, while How I Got Over is in some senses a snapshot of moving into Barack Obama's America. Musically, the album has a stronger soul element than previous efforts, almost a "Curtis Mayfield goes hip hop" sound. It makes perfect sense then, that The Roots' second project this year was Wake Up, a collaboration with vocalist John Legend (though I wasn't so taken with that album). As with M.I.A., The Roots lose some points for not including a download code with the vinyl edition, but I can overlook that given the quality of the music.
19. Cee-Lo Green - "F**k You" The Lady Killer (Elektra)
Undeniably the viral hit of the year. Sure, it's a bit of a novelty tune. Sure, absent the F-bomb it wouldn't have reached the level of success that it did. But you know what? It's a great track despite a pretty blatant pandering to shock value. Plus, it's Cee-Lo back on his own, redeeming himself from the slop of the second Gnarls Barkley album. To Cee-Lo's credit, The Lady Killer isn't another retro-'60s soul album, but has a somewhat wider breadth. (though the catchiest tracks do fall into that category). However, the radio friendly version ("Forget You") sounds so forced and awkward, and its regrettable that they even bothered trying to capitalize on a clean version of a song that's appeal is largely it's use of expletives. Speaking of awkward and regrettable, there was that Gwenyth Paltrow performance of "Forget You" on Glee (which I would in fact like to forget):
If you know me, you know that Prince is one of my biggest musical heroes. I love the little guy, but oftentimes he just says or does ridiculous shit (especially true of the last decade). The latest hubbub making the rounds on the web is no exception, unfortunately.
"The internet's completely over. I don't see why I should give my new music to iTunes or anyone else. They won't pay me an advance for it and then they get angry when they can't get it.
"The internet's like MTV. At one time MTV was hip and suddenly it became outdated. Anyway, all these computers and digital gadgets are no good.
"They just fill your head with numbers and that can't be good for you."
Yeah, tota.....hey, wait a minute. Something about that doesn't sound right. Let's see, MTV isn't hip, ok, numbers are bad, maybe, wait, what's this about the Internet being dead?
As a friend and colleague on the other side of this debate tweeted, "As a communications scholar, you should know that media forms, no matter how dominant they may seem, don’t last forever." And of course, I totally agree. At best, media evolve and merge into other forms. At worst, they die out completely.
For example, look at print newspapers. It's an industry that's been on its deathbed for the better part of a decade, a death expedited by the economic recession of 2008-present. Thousands of jobs cut, plummeting ad rates, many papers going online only or shutting down the presses completely. So here we have a perfect example of a medium that with the access and increasing portability of the Internet, has become simply outmoded.
Back to the matter at hand. The Prince of 2010 shuns web distribution of music because the Internet is "over" and "unhip." Pray tell, if you aren't distributing music digitally in 2010 (even via legal routes), where do you turn? Newspapers. I wish I were joking.
Repeating an experiment from 2007, Prince is slipping copies of his new disc 20Ten in a slew of UK-based print publications: Courier International in France, the Mirror and Daily Record in the UK, Het Nieuwblad in Belgium, and the German edition of Rolling Stone.
The irony is enough to choke upon.
Many of my geeky friends and I have been commenting on how amazing 2010 has been for music thus far. What has also been striking this year is artists' growing embrace of making their music available for free. Most often, this comes in the form of streaming. Spoon, LCD Soundsystem, Big Boi, Dead Weather, MIA, The Roots, Ratatat, Sleigh Bells - these are just a few of the artists who have made their music available free of charge online in the last 6 months, be it on their own websites, MySpace, NPR's First Listen, or some other venue. Then of course, you have artists such as Twin Sister (one of my 2010 picks) who put their latest EP up for free download (at 320kbps) ahead of its official release. Note also that personally, I've purchased all of these titles, save Big Boi, Ratatat and The Roots (and they're all great - I just haven't gotten around to them yet).
And let's not forget Radiohead's "pay what you want" experiment with 2007's In Rainbows (a model adopted by some indie folks including Girl Talk and Saul Williams). The "pay what you want" model yielded 1.2 million downloads of the Radiohead disc, averaging $8 per download (read: $9.6 million). The eventual physical release sold 166,602 in the US and UK alone (let's conservatively estimate $1,666,020 [$10/disc, of which the band sees $1-2) plus 100,000 copies of the $80 "discbox" edition ($8 million). The Internet didn't seem so 'dead' for In Rainbows. But that was a whopping three years ago. Web use and relevance really has taken a nosedive in that time period. Psych.
This makes Prince's recent statements even more perplexing. Does the rest of the music world have it wrong? Of course not. I'd venture to say it's proving rather successful, though this is pure conjecture (although it's worth pointing out that Sleigh Bells' Pittsburgh show sold out - I doubt that such bands could generate nearly the amount of buzz for themselves in the pre-web era).
The real fact of the matter is that Prince has never been able to make the Internet work in a way that is mutually satisfying to him and his fan base. I'll go polemic and say that every online venture he's embarked upon has been an utter failure. Here's a brief rundown:
Love4OneAnother.com This site sprung up around the time of Emancipation (1996-7). Horribly designed with no real content to speak of other than occasional diatribes that were characteristically cryptic. I also remember Prince was playing Vegas in 1999 or so, and was going to stream the whole show live, for free. Holy shit! All Prince fans ended up seeing on the web that night was an animated Windows Media Player logo. Buffering. The site closed shortly thereafter. Crystal Ball During Love4oneanother.com's reign, Prince released his Crystal Ball set, a 5-disc compilation of unreleased tracks and new music. Curiously, the release is now hailed as significant (as in this WSJ article from April), being one of the first major albums bypassing traditional record industry distribution and sales methods. That's not really how it played out, of course. The album was also available via Prince's now-defunct mail order service, 1-800-New-Funk. Anyhow, here was the deal - pay $65, get this exclusive 3cd set, plus 2 new cds, plus a t-shirt. It was also going to come in this innovative spherical package that somehow managed to hold the cds.
I went for it, obviously. The album was originally announced in the booklet to Emancipation in the fall of 1996. Prince also promoted it during his 1997 concert tour. Countless production and shipping delays got it to us in the spring of 1998. Even better, it was no longer an "exclusive" set. A 4-cd version hit shelves at Best Buy, Target and other major retailers weeks before fans who pre-ordered the set got theirs (more cheaply too - and with proper packaging). So really $65 got you the album later, at greater cost, plus an album of shitty new age music by Prince and a t-shirt that only seemed to come in XL. And that crazy crystal ball packaging idea ended up looking more like a puck. Prince's service also couldn't keep their records straight, levying multiple charges on a number of customers. I was one of those customers. However, they credited more orders than I purchased, so I actually profited on the deal. Sucka.
NPG Music Club During and following his dispute with Warner Bros., Prince boasted that he envisioned a world where he could deal directly with fans, delivering music to their doorsteps, or their computers. Better yet, he raved about how much material from the Vault he could put out in such a venue. Enter NPGMC - the NPG Music Club. I believe this started in February of 2001 (I recall getting a cryptic Valentine's Day email leading up to the launch). Initially, there was a monthly membership fee of I around $100. This gave you access to content updated on a monthly basis that included live material, exclusive new music, unreleased music from the vault, videos, chats, web radio shows. You also got first dibs on concert tickets (a perk that I enjoyed thanks to a friend with a membership). It started strong. Then updates came with less frequency and volume. In light of this, in 2006 or so the fee was reduced to somewhere around $25 for a lifetime membership. This is when I figured "what the hell" and signed up. Guess what website went dark four months later?
Social Networking Prince briefly engaged in social networking, but in a very short period of time, his MySpace and Facebook pages disappeared.
3121.com With the 2006 release of his 3121 album, Prince launched a new website bearing the album's name. Content and membership perks were to come. They didn't. The site went dark.
Lotusflow3r 2009 saw the release of Prince's Lotusflow3r. Prince promoted the new album ahead of release via mplsound.com, featuring a snippet of the new record. The site closed within a month. In its wake was Lotusflow3r.com, another membership-based site. For just $77, members got a year's subscription, which included the new albums ($9.99 at Target, by the way), and regularly updated exclusive content. One problem - there was but a mere trickle of content made available to members over the course of the year. Dissatisfied fans grew even more furious when they were charged $77 for an automatic renewal in early 2010. The site went dark this past spring.
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After the first few flops, many Prince fans (myself included) took the line that hey, the Internet is new - we haven't figured out exactly how to harness it. At least Prince was experimenting, right? Bucking the system? Sticking it to old man Warner?
Fair enough, but nearly 15 years later, he still hasn't made it work for him while so many others (indie and major) have. And this most often comes at fans' expense.
Speaking of which, there is one way in which Prince has mastered the web: as a means to seek and sue his fans. This all began in 1997 when Prince's legal representation began sending cease and desist letters to maintainers of Prince fansites. Infractions included posting lyrics (in whole or in part) to compositions by Prince, posting Prince's likeness (which technically are property of the photographer/publishing agency in question), and using the symbol. Yes, the symbol that Prince insisted he be addressed by, the symbol that he sent out to the press so that they could avoid referring to him as Prince. There may have been some legitimate takedowns too (posting of music, etc.), but the fact of the matter was that Prince was going after the very folks who still found him relevant.
Then there was his more recent tirade, going after eBay, Pirate Bay and YouTube. You may recall this headscratching story from a few years back:
The woman sued Prince and UMG in response - and I believe she won (though I can't seem to find any coverage of the verdict). Coming full circle, there was also a brouhaha when Prince's cover of Radiohead's "Creep" (performed at Coachella in 2008) began making the rounds on YouTube. Prince ordered the videos be taken down, despite the fact that he has no stake in the rights of the composition or its performance. Radiohead admirably prodded him to cease the takedowns. It was a groovy cover, though.
In short, it seems to me that Prince's dismissive stance toward the Internet is a product of his inability to use it effectively. Despite all his talk of "freeing the music" and "interactivity" in the 1990s, Prince 's constant blunders on the web have led him to shift blame from his own poor business and marketing decisions to the medium itself. I can't make much sense of it beyond that. While giving albums away free in newspapers is fine, that actually costs him more upfront than digital distribution. If it's piracy he's worried about, newsflash: not creating a digital version isn't going to prevent piracy. France's Courier International will be the first to hit stands with the disc this Thursday. Let's see how many torrents there are of 20Ten by evening.
Maybe it's all a ruse, like when Prince changed his name to the symbol in 1993 for "spiritual purposes," then admitted in 2004 that it was an attempt to get out of his contract with Warner Bros. (who by the way, Prince met with recently - ostensibly to distribute 20Ten in the US). Maybe this is pulling the proverbial wool over our eyes and he'll unleash an efficient and effective digital wonderland as 20Ten begins to hit shelves/doorsteps. Maybe. But I've learned full well by now that when it comes to Prince, you don't hold your breath.
I had a road trip this weekend for a wedding. As the weekend approached, I thought I would make good use of the 8-hour drive to get some work-related reading done, and maybe even some recreational reading. What really happened was that I took a series of power naps, ate too much trail mix, and listened to music. The only reading I did in the car was from The James Brown Reader.
But I also got to catch up on one of my very favorite regular podcasts. I've mentioned Popdose here before. The site is one of the most consistently entertaining and informative pop culture news sites out there, and the writers lack the pretension that oozes from so many other such sites. They've also got a great podcast. Which brings me back to the purpose of this post. Popdose's most recent podcast featured an extended chat with Steve Almond, author of the new book Rock and Roll will Save Your Life. I haven't read the book yet, but it's on my short list for summer reading. Listen to the podcast, and I bet you'll add it to your own list.
This is all rather serendipitous. Marc Morrison (my co-host on First Impressions and fellow music geek) recently had on- and off-the-air discussions about the level of pretension and snobbery in music criticism. Now, don't get me wrong - we all have some level of snobbery here (mine tends to shine in discussions about Journey and the Black Eyed Peas). But it's to the point where I generally don't even bother reading reviews until after I've heard an album, if at all. It's not even just that reviewers tend to be pretentious, but also that other peoples' reviews often steer me wrong. Most recently, I was looking forward to the new Band of Horses LP, Infinite Arms. The night before the album's release, I read Pitchfork's scathing review. Within moments, I went from planning to buy it the next morning to vowing not to buy it at all. I won't get into the specifics (you can read the review for yourself), but this is a perfect example of the pretension that tends to shape Pitchfork reviews and by extension, frustrates the hell out of me. (I ended up streaming the album from NPR and buying the damn thing anyway. Because it's good.)
A former music critic, Steve Almond shares this frustration, but articulates it much better than I. A month or so ago, Almond wrote a sort of teaser editorial for his book in the Boston Globe. Almond's piece so perfectly expresses my own frustrations with much music criticism and my feelings on music more generally. It's a short piece that I recommend you read. But I want to quote Almond's basic point, which resulted from an epiphany while covering an MC Hammer concert:
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The very idea of music criticism — of applying some objective standard to the experience of listening to music — suddenly struck me as petty and irrelevant. I spent several more months as a critic, but my essential belief in the pursuit evaporated.
I’d come up against a concept I’ve since come to think of as the Music Critic Paradox: the simple fact that even the best critics — the ones, unlike me, with actual training and talent — can’t begin to capture what it feels like to listen to music. Because listening to music is a collaborative endeavor. Fans don’t just sit there (as critics do) parsing the technical merits of a song. They bring to each song their own emotional needs: their lust and sorrow, their hopes and heartbreak.
[...]
Criticizing a particular band or song might make you, and some of your readers, feel smart or sophisticated. But it rarely does anything to advance the cause of art. After all, you can’t rescind the pleasure someone derives from a particular piece of music. All you can do is deride that pleasure, which strikes me as a fairly stingy way to make a living.
I myself still write about music a good deal. But I devote myself almost exclusively to spreading the gospel of those bands that I love. As for the bands I don’t like (and there are still plenty of those) I tend to assume someone else will.
---- I love music, and I love reading. Ergo, reading about music is one of my favorite things. But I read so little in the way of what is traditionally thought of as music criticism or hell, even music journalism (looking around the house, it appears I only buy music magazines when one of my favorite artists dies. I bought more magazines in the weeks following MJ's death than I probably ever have). But two things that I do love reading are 1) legitimately informative writing on music and 2) peoples' personal experiences/relationships to certain works. To put it in Almond's terms, I enjoy reading proselytizations of pop music. This is perhaps why I love the 33 1/3 book series - they're clearly labors of love. Moreover, the books in the series tend to be deeply informative (as in the books on Bowie's Low and the Stones' Exile on Main Street) or personal ruminations on what a particular album means to the author (Michaelangelo Matos' take on Prince's Sign 'O' the Times is a particularly good example of this) or a combination of the two.
What Almond's point boils down to is that being a music fan isn't about consuming a product, being duped by tastemakers or any other externality. Being a music fan is ultimately about emotion. In short, music criticism becomes less about criticizing the music, and more about criticizing the listener and their enjoyment of that music.
I'll stop here, but the discussion the Popdose boys had with Almond was really smart and insightful, and I can't wait to read the book. I'll try to report back when I do.
Saturday April 10th marked the twentieth anniversary of the release of Public Enemy's Fear of a Black Planet. Recently, the University of Iowa held a series of events marking the occasion (shout out to Kembrew). I was sadly unable to attend the festivities at my most recent alma mater. But the buzz around these events through my still maintained Iowa channels prompted me to ruminate on the album.
1988's It Takes a Nation of Millions to Hold Us Back will no doubt be the Public Enemy album that goes down in history as the essential disc (honestly, it already has). But its follow up is not to be overlooked, for reasons I'll explain shortly. But first, I want to offer some personal reflections, because Fear is without a doubt the PE album that holds the most significance for me.
The year was 1990. Your old pal Gonzo was a mere 8 years old. These was the era of the hi-top fade, of Yo! MTV Raps. Of The Fresh Prince, 3rd Bass and Humpty Hump. Enter "911 is a Joke."
In the context of the comedy pop-rap that was so popular at the time, "911" was definitely on the radar of our white suburban ears. While the song is certainly comedic, the critique embedded within was of course lost on an eight-year old. But it was nonetheless an introduction.
To be quite honest, my exposure to Public Enemy was limited in the ensuing years. This is not doubt partially due to the fact that so few of their songs were suitable for airplay. We just didn't have access to it given our age and demographic. I do recall seeing the video for "Burn Hollywood Burn" on Yo! MTV Raps once though, and I clearly remember being taken aback by the all-around aesthetic assault.
Once again, the critique was entirely lost on me, but I just remember being struck by the video. Not necessarily liking it, but just finding it an awful lot to digest. The only other memory of Public Enemy from the era that I recall is watching the video for "Can't Truss It" off of 1991's Apocolypse '91: The Enemy Strikes Black. For a few years after that, Public Enemy May as well have not even existed in my world.
In fact, I had no interest in hip hop for quite a few years. Again, we're talking about predominantly white Pittsburgh suburbs here. Sure, white suburban youth were the dominant consumers of gangsta rap, but I was too mired in alternative and classic rock to care. In my early teenage years, I had become resistant to hip hop. Not for any social or political reason.
That gradually changed due to the guitarist in one of my high school bands, who turned me on to a number of artists that remain important to me (Bowie, the Police, the Pixies). He loved Public Enemy. Hearing various tracks in his car, I started to warm up to them. I then ordered Fear from one of those mail-order music clubs, figuring that was the album that at least had a few familiar songs. Long story short, it blew my mind.
The term "sonic assault" may be overused in discussions about Public Enemy, but it's such an accurate descriptor of their overall sound. It's aural chaos - particularly for a 15 year-old steeped in straightforward commercial rock. It sounded like a riot - sirens, layers and layers of samples, and a vocal delivery that was uncompromising to say the least. Public Enemy and Fear of a Black Planet was the point at which I changed my tune about sampling. Fear taught me that sampling could be more than lifting an old beat. This was the first moment at which I understood that sampling could be used in incredibly creative ways. To this day, I can't identify many of the samples the Bomb Squad utilized (sometimes embarrassingly so - like when it's a Prince track).
And those lyrics were eye-opening. I don't exaggerate in saying that the lyrics on Fear of a Black Planet were among the first media texts to stimulate my thinking about race. I'm not going to say that at 15 I understood every nuance of Chuck's lyrics or even that I had literacy in all of the cultural references. But songs like "Anti-Nigger Machine," "Burn Hollywood Burn," "Fear of a Black Planet" and of course "Fight the Power" (here in remixed form, but nonetheless my first exposure to the track) - raised issues about race, culture and society that were provocative, even to a white 15 year-old suburbanite.
Coming back to music more specifically, Fear was a gateway for me. It was the first hip hop album I ever purchased, and really opened up my mind and tastes to the genre. Shortly to follow were Tribe, De La Soul, Wu-Tang, Grandmaster Flash and the Furious Five, etc. I don't consider myself to be a hip hop aficionado by any stretch of the imagination. Even so, Fear of a Black Planet opened my ears to an entirely new (to me) musical world.
And of course I went out and grabbed all of the other PE releases at the time. They made many great records, including the landmark It Takes a Nation of Millions to Hold Us Back. But I believe that Fear is where Public Enemy perfected their sound. Fear is a little more polished and focused (musically and lyrically) than what preceded and followed it. It's truly the high watermark in the band's catalog.
In closing, here's a video for "Brother's Gonna Work it Out," which I didn't even know existed until right now.
Friends, lovers, countrymen - another year is about to pass us by. How is this possible?
I admit I was nervous. By May, I felt that 2009 was letting me down. There just wasn't much in the way of music that moved me. But the summer and fall rectified that, and 2009 ended up churning out some pretty great tunes, some of which I am here to share with you. Once again, I found myself forced to shave seconds off of many song intros and outros just to fit it all onto one disc. And once again, I have succeeded. Rock on. However, my one disclaimer here is that I didn't have much time to devote to these notes. But it's all about the music anyway. And I look forward to hearing your mixes/reading your lists soon. Also, I plan on making a post reflecting on the entire decade in the coming weeks, so stay tuned for that.
Happy holidays, and may the funk be with you in 2010. Ladies and gentlemen, I give you:
Twisted and Deranged: 2009 in Song
1. The Raveonettes – “Gone Forever” In and Out of Control (Vice Records)
The Raveonettes returned with the follow-up to 2007’s Lust Lust Lust (featured on that year’s annual mix). Like it’s predecessor, In and Out of Control doesn’t cover a whole lot of new ground, but that doesn’t make it a bad album. Admittedly, some songs are perhaps poppier than most of the band’s material (the singles “Bang” and “Last Dance,” for example), but they are still quite good, incredibly catchy, and downright enjoyable tunes. I do like the bits where they let noise take over (as in Lust’s “Aly, Walk With Me”), and the first portion of “Gone Forever” captures that well. I also feel like the Raveonettes are at their best when they’re in a minor key, with excessive reverb on the guitars and vocals, adding up to an overall ominous song quality. “Gone Forever” is a winner there. Official Website On MySpace
Either the Arctic Monkeys haven’t done anything to impress me up to this point, or I just haven’t been paying attention. I heard this song in heavy rotation on KRUI. I liked it the first time I heard it, but it really sucked me in by the third or fourth listen. I love the structure of the song, the complementary way the chorus plays off of the verse, and the buildup of Alex Turner’s vocals. For some reason, my fantasy mind can hear David Bowie doing this with Iggy Pop during the Berlin period. Humbug is a solid listen throughout, and I know must retrace my steps and check out their previous albums. Official Website On MySpace
3. The Dead Weather – “I Cut Like a Buffalo” Horehound (Third Man)
Another year, another Jack White project. Seriously, every year that I make one of these mixes, there’s some sort of Jack White production that warrants representation. With The Dead Weather, we have the rhythm section of White’s *other* side project, The Raconteurs (who in turn came from The Greenhornes), The Kills’ Alison Mosshart and White (on drums!!!!). Frankly, it’s a perfect match up. I aimed to include “Treat Me Like Your Mother,” but opted for “I Cut Like a Buffalo” due to time constraints. No matter. This a wonderfully weird track (how in fact, does one cut like a buffalo?), accompanied by a video showcasing Jack White’s patented brand of creepy:
4. Bat For Lashes – “Daniel” Two Suns (Astralwerks)
I was a pretty big fan of Bat for Lashes’ 2007 debut, Fur and Gold, but Two Suns offers a more consistent and richly textured album. Although this saw release early in the year, “Daniel” became one of my most played tracks of fall 2009. And to be honest, it may be the track on this mix that I’ve listened to more than any other. The rhythm, emotional vibe and Natasha Khan’s hauntingly beautiful vocals give this one a lot of replay value in my book (er, on my digital music device). Official Website On MySpace
5. The XX – “Shelter” The XX (XL Recordings)
The XX's self-titled debut not only gets my seal of approval, but also stands as my top pick for 2009. They have a mellow, almost atmospheric vibe (Wikipedia describes them as “dream pop,” whatever that means), and I openly admit that I have a soft spot for male/female vocal interplay. The album is mellow, sparse and moody in equal measure. I highly recommend checking it out.
I’ve never been a huge fan of the Yeah Yeah Yeahs, but I’ve always liked them pretty well. Listening to 2009’s It’s Blitz, this song immediately struck a chord . It’s a ridiculously beautiful, fragile track that has what I would call a cinematic quality to it. I can just see this being used to great effect on some especially emotionally draining episode of Six Feet Under or something like that. It also has this slow, progressive build that adds to its ultimate intensity. I don’t know, I’m just a big softy.
7. Antony & the Johnsons – “Kiss My Name” The Crying Light (Secretly Canadian)
I’ve heard a few Antony tracks over the years, but never paid them much mind. Earlier this year, I was hipped to 2008’s Hercules and Love Affair project, which I liked quite a bit. Shortly after, I caught Antony and the Johnsons performing “Aeon” on David Letterman:
Watching this performance, it finally clicked – I felt like I got it. In checking out The Crying Light LP, I immediately became a fan. I admit that part of it is a fascination with Antony’s performance of gender (if pop music scholars aren’t writing on this already, they will be very soon). But more than that, it’s the emotion and the richness of many songs’ arrangements that make The Crying Light one of my favorite albums of 2009.
8. Thao with the Get Down Stay Down – “When We Swam” Know Better Learn Faster (Kill Rock Stars)
Double-entendre I’m sure, but I can’t quite make out the metaphor completely. Thao with the Get Down Stay Down hail from San Francisco, and have put out four records since 2005. Thao has also done some solo work and collaborations with other artists. Go figure, I never heard of them until this fall. I know that this comes as a shock given my perennial hipness, but even old Gonzo misses a beat now and again. I don’t really have much else to say here, but it’s a good album.
9. YACHT – “Psychic City” See the Mystery Lights (DFA Records)
Another ditty that’s been in heavy rotation on KRUI. What’s odd is that this song reminds me of Iowa City, but clearly I didn’t live there while the song was out, and I wasn’t aware of it during my visit. That association is either a byproduct of hearing it on KRUI, or a suggestion that KRUI has a “sound.” Or both. But I digress. I took to the song pretty immediately, and made hearing the album a priority once I learned who the artist was. The See Mystery Lights album tends stick with this indie rock dance vibe, which I can totally get down with. And in Claire Evans’ vocals, I hear echoes of The Waitresses’ Patty Donahue. I like.
10. Phoenix – “1901” Wolfgang Amadeus Phoenix (Glass Note)
Count me among the many who had never heard Phoenix until 2009. And if we’re going strictly on the number spins each album received, Wolfgang Amadeus Phoenix would probably win my pick for album of the year. But I already gave my top spot to The XX. However, I can say without doubt that “1901” was *the* song of 2009. The single started making the rounds months ahead of the album’s release, with a flood of remixes to follow (at the band’s urging). I definitely got sucked into the (well-deserved) hype, and sought it out pretty immediately upon release (shout out to Paul’s CDs). It’s a great, straightforward rock record that veers towards pop, but manages to do so without losing integrity. I admit I was a little upset that it took practically no time for this to happen:
…but on the other hand, I kind of expected it. Nonetheless, still a great album, and a great tune. Official Website On MySpace
11. The Bird and the Bee – “Love Letter to Japan” Rayguns Are Not Just the Future (Blue Note)
The Bird and the Bee were a late entry on the first of my annual mixes back in 2006. In the interim, they’ve put out a few EPs with somewhat mixed results. Their second full length, Ray Guns Are Not Just the Future is an equally mixed bag. It’s not that they’re putting out bad material, just that the ”Bird and the Bee sound” as a whole doesn’t seem to be progressing very much. They’re still delightful, I’d just like to see some evolution. And that is likely why this little gem captivates me. Lyrics aside, my take home message from this song is "don't give up on The Bird and the Bee just yet."
12. Annie – “My Love Is Better” Don’t Stop (Smalltown Supersound)
We have now officially entered the dance portion of the 2009 mix . At long last, we have the follow up to the Scandanavian pop princess’s debut Anniemalism. After multiple delays and leaks, the wait for Don’t Stop was worth it (although absent is last year’s single “I Know Your Girlfriend Hates Me”). This is electro dance pop at its finest. The ballads don’t work nearly as well as the dance numbers, but the strengths of the latter outweigh the weaknesses of the former. It would be perhaps too easy to label Annie the 21st century Norwegian Kylie Minogue. But I just did anyway.
13. Royksopp – “Happy Up Here” Junior (Astralwerks)
I know it’s beyond cliché to sample P-Funk at this point, but they do it so well – and with one of my favorite tracks, “Do That Stuff.” (Truth be told, I don’t think it’s a sample proper.) Another of my favorites from this disc (“Vision One”) incorporates Stevie Wonder’s “Too High” to great effect. The whole Junior album is in this electro-funk-pop vein, and it’s a winner. Also, I’m told Royksopp is slated to release a companion album in 2010, appropriately titled Senior, so keep an (or an ear) out for that. Official Website On MySpace
14. Kid Cudi – “Make Her Say” (Feat. Kanye West and Common) Man on the Moon: The End of the Day (Motown)
I had to work Lady GaGa in here somewhere. While “Poker Face” probably gets my vote for best Top 40 jam of the year, this reimagining by Kid Kudi, Kanye and Common takes the song to the next level. I’ve never been much a fan of Kanye West. Frankly, I think his own work is overrated, but every once in a while he does something that I love (though usually it’s a production credit). I’d also like to go on record as saying that Common is probably the only rapper that can utter a line like “get up on this conscious dick.” Kid Cudi’s debut album isn’t an amazing piece of work, but this and the inclusion of last year’s single “Day N Nite” make the album worthwhile, and make me think he’s someone to keep an eye on.
15. Major Lazer feat. Mr. Lex and Santigold –“ I'll Make Ya” Guns Don’t Kill People…Lazers Do (Downtown)
I’m pretty into the respective production styles of Diplo and Switch. So when I caught wind that they were producing a reggae/dancehall record, I was amped. This was definitely my jammin'-out-in-the-car disc for summer 2009. It could stand some editing, but there are some real bangers on the album, this one included. I believe this premiered on their MySpace page, but when I saw Santogold/Santigold earlier this summer, she played a bit of it live, only further raising my anticipation. Speaking of bangers and Santigold…
16. N.A.S.A. – “Whatchadoin?” Feat. Spank Rock, MIA, Santogold, Nick Zinner The Spirit of Apollo (Anti)
Holy hell. I have to give credit to Markadelphia over at IckMusic for hipping me to this one. Mark wrote a glowing review of the record, and in particular the Karen O., Fatlip and ODB track “Strange Enough.” That track is great, but “Whatchadoin?” and its all-star lineup are what sealed the deal for me on the N.A.S.A. record. On this track, we have Baltimore’s own Spank Rock, MIA, Santogold and Nick Zinner. I admit I know nothing about Nick Zinner. But just the thought of this collaboration had my mind reeling. And the track itself does not disappoint. The rest of the album is a similarly star-studded affair. N.A.S.A. man the DJing and production duties, while vocals are taken up by the likes of David Byrne, Chuck D., Method Man, Chali 2na, RZA, Kool Keith, Tom Waits, Lykke Li, Del, Ghostface and more. It’s the all star jam of the year. Not infallible, but pretty damn good throughout.
17. Amanda Blank – “Might Like You Better” I Love You (Downtown)
Speaking of Spank Rock, his frequent sidekick Amanda Blank dropped her solo debut this year as well. Actually, she opened for Santogold, and that little taste of the album got me pretty excited. I didn’t even realize that the core of this song is lifted from a Romeo Void track (thanks, Mike C. for bringing this to light). Blank is definitely running with the crass and explicit lyrics she contributed to the Spank Rock tracks, and that is a-ok with me. She also does an on-point cover of “Make Up” by Vanity 6. Way to win me over.
18. Kid Sister – “Life on TV” Ultraviolet (Downtown)
Another oft-delayed and much anticipated release, we finally got the debut from Chicago’s Kid Sister this year. Kid Sister is one of those artists who successfully generated an internet buzz via MySpace and the blogosphere, particularly with her Kanye west collaboration “Pro Nails” (which even made it onto Comcast’s On Demand service). Kid Sister bills herself as a rapper, though I think that’s not an entirely accurate characterization of her music. I’d say she’s more pop with hip hop leanings. There were a number of tracks slated for inclusion on my little mix, but I ultimately chose this one because a) “Pro Nails” is a little old at this point b) this one just flowed best in the mix and c) I’m a media scholar, and it’s about TV. I won’t lie, one of my first thoughts upon hearing it was “This would be a good prelude to the TV lecture in my 101 course.” And so it shall be, next semester.
19. Felix Da Housecat – “We All Wanna Be Prince” He Was King (Nettwerk Records)
It goes without saying that this floored me when I first encountered it. It’s a blatant homage that unabashedly lifts nearly every move from the Prince playbook, including constant lyrical references to Prince jams. And it works so damn well. I mean, listen to that little moan in the song’s intro! Felix really constructed a tribute that succesfully capture the sound of the 1999 era. Besides such perfect execution of Prince’s style, what I love about this song is that truer words were never spoken – we do all wanna be Prince! At least I do.
20. Alan Wilkis – “N.I.C.E.” Pink and Purple (Wilcassettes)
Last year, Alan Wilkis released his debut album, Babies Dream Big. You may recall that the album’s track “It’s Been Great” made last year’s list. This summer, Alan dropped an EP that was even better than Babies, and was for all intents and purposes, right up my alley. With Pink and Purple, Wilkis embraces his funkiness whole-heartedly, incorporating influences from the late 1970s and 1980s such as Prince, MJ, the Gap Band and Rick James (among others). The result is a head-bobbin’, body-movin’ set can, would and should have you dancing. Alan was kind enough to chat with me earlier in the summer – check out our discussion for some insight into Pink and Purple. Alan has also been hard at work on a slew of great remixes – keep your eyes peeled on this blog to catch a listen.
Hallelujah! Well, you know that I went out to get Prince’s Lotusflow3r set the day it was released, following which I posted a lengthy review. To recap briefly, disc one is his latest protégé (Bria Valente). It is also filler. The other two discs however, have Prince in solid form with the guitar-baesd Loutusflow3r disc and the synth dance vibe of MPLSound. I generally try to avoid making this next claim, but I do think that it could be a dynamite single disc collection. Alas. But the whole set was something like $10, so I shouldn’t complain too much. Predictably, I’m most drawn to MPLSound. And that disc will forever remind me my dissertation defense/visit to Iowa City, because it was one of two CDs that I had access to during my stay (the other was MGMT, which will now produce similar associations). I knew from the getgo that “Dance 4 Me” was going to be what made the cut for the year-end mix, though I would like to have included “Ol’ Skool Company” (admittedly for its radio and drumming references). But “Dance 4 Me” is a standout jam, breaking out the Camille voice, turning on that “I’m Prince, you want me” charm, embracing the synths and the Linn LM-1 drum machine, and generally just making me want to get down. Prince, I salute you for recuperating yourself after that Planet Earth disaster in 2007.
Aceyalone-The Lonely Ones (Deconstruction) Camera Obscura-My Maudlin Career (4AD) El Michaels Affair-Enter the 37th Chamber (Fatbeats) M. Ward-Hold Time (Merge) Maxwell-Blacksummer’s Night (Columbia) Rainbow Arabia-Kabukimono (Manimal) Sonic Youth-The Eternal (Matador) The Very Best-Warm Heart of Africa (Green Owl Records)
