All Blues: Ah, what a classic. This song has such an elegance to it - everything is so smooth and blends so well together. We did this song for a project in a class when I went to the Berklee 5 week program in '09, so now, unfortunately, when I hear the bass line, all I hear is "do, sol, la, sol, te, sol, la, sol, do..." which is annoying. That really has no effect on my feelings towards the song though. I love how subdued everything is - I like it nice and low like that. Another very sweet, but simple melody (Miles sure is good at those). Definitely a great track to wind down with.
Flamenco Sketches: I feel like I should be taking a bubble bath with candles all around listening to this song. Yes, that would most certainly be the appropriate setting. I love Coltrane's part on this track, it's quite lovely. I love the flow everything has to it as well - the chord progressions, though simple, really carry you through the track. Beautiful piano part, Mr. Evans, simply beautiful. This is a long tune, so I won't go into every detail. Listen.
Flamenco Sketches (alternate take): As said in the title, this is an alternate take of of the previous tune. New approaches to solos, melody, and what not. A very good track, and interesting to listen to the slight changes made throughout.
Monday, December 5, 2011
Saturday, December 3, 2011
Songs of the Day
So What: If you don't know this song, you are a freak of nature. This is possibly Miles' most famous tune, and it is a great one. The melody is so simple, but so damn catchy - love it. Great solos by Miles and Coltrane, but I'm sure you all know that. If you don't know this tune, you better listen to it.
Freddie Freeloader: This is another über famous Miles tune, and it's a nice segway from "So What." They have similar rhythm and chord changes that makes the transition from one to the other very smooth. This right here is what I would call a proper swing - it lays back oh so nice. Wynton Kelly plays keys on this (opposed to Bill Evans on the rest of the album) and he definitely holds it down. I love the way that Miles solos. He really plays with the chord changes to make intriguing melodic lines, which is something that you don't hear done well enough. He and Coltrane have such different styles, but they work so well together - they contrast one another. I love the fast pace of Coltrane's solo and the laid back feel of Miles'. Julian Adderley holds it down on the alto sax. Paul Chambers holdin down his bass solo. So solid.
Blue in Green: I love how soft this song is while still having weight. I feel like it just sinks into your system. It also makes me kind of sad, which isn't exactly the best emotion to feel, but I love when music has any emotional effect, period, so that's a good thing in my book. Love, love, love the Evans/Chambers ending, especially Chambers using a bow. Great stuff.
Freddie Freeloader: This is another über famous Miles tune, and it's a nice segway from "So What." They have similar rhythm and chord changes that makes the transition from one to the other very smooth. This right here is what I would call a proper swing - it lays back oh so nice. Wynton Kelly plays keys on this (opposed to Bill Evans on the rest of the album) and he definitely holds it down. I love the way that Miles solos. He really plays with the chord changes to make intriguing melodic lines, which is something that you don't hear done well enough. He and Coltrane have such different styles, but they work so well together - they contrast one another. I love the fast pace of Coltrane's solo and the laid back feel of Miles'. Julian Adderley holds it down on the alto sax. Paul Chambers holdin down his bass solo. So solid.
Blue in Green: I love how soft this song is while still having weight. I feel like it just sinks into your system. It also makes me kind of sad, which isn't exactly the best emotion to feel, but I love when music has any emotional effect, period, so that's a good thing in my book. Love, love, love the Evans/Chambers ending, especially Chambers using a bow. Great stuff.
Thursday, December 1, 2011
Album Factoids
Kind of Blue
Released: August 17, 1959
Genre: Jazz
Label: Columbia
Producers: Irving Townsend, Teo Macero
Released: August 17, 1959
Genre: Jazz
Label: Columbia
Producers: Irving Townsend, Teo Macero
Week 61: Miles Davis
I figured it was about time I do a Miles album. Return to Forever is a pretty great segway into this as well, so why not. Obviously, I am hip to Miles, but I can't say that I've ever listened to a whole album of his, which I actually find quite disturbing. Practically against my religion. So, I'm gonna do myself a favor and start now, and start slow, which is why I'm doing the classic Kind of Blue. I'm excited.
Wednesday, November 30, 2011
Final Grade: A
There is not a single thing wrong with this album. I praise every person on this album for being an absolute genius, but especially Chick Corea and Stanley Clark. I have been blessed enough to see these guys play live, and let me tell you - it's incredible. The fact that Stanley can do what he does, and on an upright, is absolutely amazing. Chick, as always, is bad man on everything he plays. I love the latin feel that is present throughout the album - keeps ya movin. Great, great stuff.
Tuesday, November 29, 2011
Songs of the Day
Children's Song: The melodic relation to the title of this tune is instant. Or at least the melody Chick is playing with his left hand. The main melody is very child-like as well, but it has this slight eeriness to it that makes it a little deceiving - I dig it. I also really like how simple this song is, which adds to it being a "children's song." Very sweet.
Spain: For the Chick fans reading this (which I hope all of you are), you most certainly know this song as it is his most famous. I saw him play this live two weeks ago, and it was fantastic (but that's no surprise). I love that this is how they end this album, because it is definitely a closer. Such a great groove to it, and the melodies are incredible. The soft, slow intro is such a great start - it really enhances the groove when it picks up. I love the the unison melodic line with the claps in the back - so sweet. Everyone kills their solos. Definitely, definitely chick this one out. Dig, dig, dig, dig, dig.
Spain: For the Chick fans reading this (which I hope all of you are), you most certainly know this song as it is his most famous. I saw him play this live two weeks ago, and it was fantastic (but that's no surprise). I love that this is how they end this album, because it is definitely a closer. Such a great groove to it, and the melodies are incredible. The soft, slow intro is such a great start - it really enhances the groove when it picks up. I love the the unison melodic line with the claps in the back - so sweet. Everyone kills their solos. Definitely, definitely chick this one out. Dig, dig, dig, dig, dig.
Monday, November 28, 2011
Songs of the Day
Captain Marvel: And we are back from the holiday madness! What a great song to pick up on! My dad has been bugging me about listening to this song all week, so I'm glad I finally got to it. What a cool tune. Such a great latin groove to it that really gets you moving. I really love the melody - it's got a great pace and feel to it that really adds a sweet touch to the groove, especially when doubled by Joe Farrell on the flute. His solo is crazy! Stanley Clark, you are a beast. That is the only word to describe you, and that's the only word that should be used. Holy moly. Upright bass? How is he playing an upright like that?? Insane. Chick is obviously a beast on the keys. Airto Moreira is holdin it down on the drums. Great, great track.
500 Miles High: This tune is crazy. You wouldn't know from the soft keys intro (oh, so sweet) into the ethereal verses with Flora Purim, but it happens. When the groove picks up, it never stops. Everyone gets a chance to do their thing, and everyone is crazy. Great Sax solo from Mr. Farrell. Stanley, my goodness! Chick is the man. This track clocks in at 9:11, so there's a lot in it, but definitely check it out, because it's bananas.
500 Miles High: This tune is crazy. You wouldn't know from the soft keys intro (oh, so sweet) into the ethereal verses with Flora Purim, but it happens. When the groove picks up, it never stops. Everyone gets a chance to do their thing, and everyone is crazy. Great Sax solo from Mr. Farrell. Stanley, my goodness! Chick is the man. This track clocks in at 9:11, so there's a lot in it, but definitely check it out, because it's bananas.
Tuesday, November 22, 2011
Songs of the Day
You're Everything: What a sweet way to start off the album. I'm not even gonna front, maybe it's the Fender Rhoades, but this keys intro sounds so much like my brother, Taylor, that it's kind of blowing my mind. God, do I love the sound of a Fender Rhoades. I can't get over how vocalist Flora Purim's accent makes it sound like she says "joo" instead of "you" - I love it! It's adorable. Dig the jazz pick up with the band. Sweet flute solo thanks to Joe Farrell. Sweet breakdown ending. Dig, dig, dig.
Light as a Feather: Steady jazz tune right here. There are a lot of really great things going on in this tune, too many to name with its eleven minute. For that reason, I'm gonna end it at this - listen to this song for bass player Stanley Clark. Holy moly. That is all.
Light as a Feather: Steady jazz tune right here. There are a lot of really great things going on in this tune, too many to name with its eleven minute. For that reason, I'm gonna end it at this - listen to this song for bass player Stanley Clark. Holy moly. That is all.
Monday, November 21, 2011
Album Factoids
Light as a Feather
Released: November 1972
Genre: Fusion
Label: Polydor
Producer: Chick Corea
Released: November 1972
Genre: Fusion
Label: Polydor
Producer: Chick Corea
Week 60: Return to Forever
Holy bajesus, I didn't even realize that it was week 60! I'm 3/5 the way there! And on time! Craziness. Anyway, this weeks suggestion comes from my brother, Jevon, and I think it's a very smart one. I'm familiar with Return to Forever's music because I saw them play in Spain in 09, but I've never listened to their studio stuff. I actually saw Chick Corea perform with my dad at the Blue Note in NYC last week, so I've got his sounds fresh in my head. After seeing them live, I'm definitely excited to listen to this album. "Spain" is the final track? This should be a good week.
Final Grade: B-
So, initially, I was definitely thinking I was gonna be able to get into this album and get rid of any preconceived notions I had about Florence + the Machine, but unfortunately, it didn't happen that way. The beginning of the album definitely had me intrigued. I was getting into her odd, yodel-like voice against the spacey, eerie, open feels of the grooves, which were maximized in the built up choruses...until that was all it was. After the first 4 songs, everything started to sound the same, and I couldn't differentiate one song to the next. I just wanted some stuff to be tighter, and not so open all the time. The reason for the B- is for the sole fact that I understand why so many people are into this band, and this sound. It's not my cup of tea, but for what they're going for, Florence + the Machine has it on lockdown. Gotta respect a band that knows their sound.
Sunday, November 20, 2011
Songs of the Day
Spectrum: I feel like I have to really start thinking of these songs individually, because contextually, they all sound the same. So, that out of the way, this track is okay. I wish she weren't so breathy on this track, and I'm over the shout-y chorus thing - it gets old fast. I like the layers in the chorus, and it's got a nice pick up to it. The harp and vocal breakdown is sweet. I got bored of the groove though. Not the best, not the worst.
All This and Heaven Too: The intro to this song got me excited - it has this Portishead feel to it that I really dig, but then it goes into a much cornier groove that I can't really get into. The verses are okay, but the chorus melody is pretty corny. Spacey, open feel? Of course. Not my cup of tea, this one.
Leave My Body: I must say, we are ending on a high note with this one. I like the melody in the verses, the chorus is cool, the distance is actually working in their favor. I wish the group vocals in the chorus weren't so spacey though. The piano in the chorus is very cool, really dig it. I really dig the echo/faded out ending too. I can get down with it.
All This and Heaven Too: The intro to this song got me excited - it has this Portishead feel to it that I really dig, but then it goes into a much cornier groove that I can't really get into. The verses are okay, but the chorus melody is pretty corny. Spacey, open feel? Of course. Not my cup of tea, this one.
Leave My Body: I must say, we are ending on a high note with this one. I like the melody in the verses, the chorus is cool, the distance is actually working in their favor. I wish the group vocals in the chorus weren't so spacey though. The piano in the chorus is very cool, really dig it. I really dig the echo/faded out ending too. I can get down with it.
Saturday, November 19, 2011
Songs of the Day
No Light, No Light: This song reminds me a lot of the opening tune, but without that fresh sound. These songs are starting to blend together. I like that the first verse is low and contrasted by the fullness of the chorus, but I wish the second verse had stayed low instead of continuing the chorus height. I won't be surprised if I hear this song in a commercial or a trailer or something. It's ok.
Seven Devils: Initially, I was into this song, but my excitement didn't last too long. There's a cool eerie feel to this tune that I dig, which is much thanks to the piano line and the rubbing against the strings. This is one tune I wish wasn't so open and spacey (like every single song on this album) - I think that would actually help the creepy feel to it. I'm just yearning for something a little tighter and locked down. Too long of a track. *Sigh*
Heartlines: This is another one I was initially fooled into thinking it was cool. How could I not with that awesome percussion beat starting it off? Not really into the synth sound, but luckily it's not in there the whole time. Like the previous tune, I think this song would have worked better tighter, and not so open and spacey. I really want to like this song, but I'm kind of bored...
Seven Devils: Initially, I was into this song, but my excitement didn't last too long. There's a cool eerie feel to this tune that I dig, which is much thanks to the piano line and the rubbing against the strings. This is one tune I wish wasn't so open and spacey (like every single song on this album) - I think that would actually help the creepy feel to it. I'm just yearning for something a little tighter and locked down. Too long of a track. *Sigh*
Heartlines: This is another one I was initially fooled into thinking it was cool. How could I not with that awesome percussion beat starting it off? Not really into the synth sound, but luckily it's not in there the whole time. Like the previous tune, I think this song would have worked better tighter, and not so open and spacey. I really want to like this song, but I'm kind of bored...
Friday, November 18, 2011
Songs of the Day
Never Let Me Go: I don't know what that sound is in the intro of this tune, but I dig it. This song has a spacey feel to it that I really like. Spacey and mysterious - I can dig it. I'm getting into her voice more - it really works on these types of tunes. The hook vocals are sweet - they have a nice openness to them that fits with the spacey feel of it all. Looked up the lyrics, sweet stuff.
Breaking Down: I'm not really into this tune, which is disappointing because I really dug the last one. This one just sounds a little too corny. The effect on the piano doesn't work for me. I think I could like it in a different context, but not here. I'm glad it's not there the whole time. I like the verse string parts, but the rhythm they play in the hook adds to the corny factor. There's just a little too much going on all together.
Lover to Lover: My feelings on this one fall between "Never Let Me Go" and "Breaking Down." I dig the groove in the verses. There's a distance on the piano, and the way the bass sits well, but unfortunately, the hook kind of ruins it for me. I'm not into her voice on this one - it's a little overbearing. It's not doing anything for me. This title made me want more.
Breaking Down: I'm not really into this tune, which is disappointing because I really dug the last one. This one just sounds a little too corny. The effect on the piano doesn't work for me. I think I could like it in a different context, but not here. I'm glad it's not there the whole time. I like the verse string parts, but the rhythm they play in the hook adds to the corny factor. There's just a little too much going on all together.
Lover to Lover: My feelings on this one fall between "Never Let Me Go" and "Breaking Down." I dig the groove in the verses. There's a distance on the piano, and the way the bass sits well, but unfortunately, the hook kind of ruins it for me. I'm not into her voice on this one - it's a little overbearing. It's not doing anything for me. This title made me want more.
Thursday, November 17, 2011
Songs of the Day
Only If for a Night: This is a pretty cool opening tune - lots of power to it. I really like the intro with the piano and harp playing at that odd meter - very cool. The drop is pretty cool too - I like the heaviness it gives the beat, which is a cool contrast from the intro. I dig the group vocals, but I wish they were more in the forefront - they get a little lost among everything else going on. I also wish I could understand her a little better. Dig the intensity of the tune, it makes you pay attention. Great build. May be a little long, but it's not that big of an issue.
Shake It Out: This is a decent tune, but I don't like it as much as the first. I like that the beginning is low, and that it builds, but it stays high and doesn't come back down. I just want there to be a little more dramatic contrast. I also find the "shake it up" hook kind of corny, they coulda come up with something cooler. It's a decent tune, I just get a bored by the second chorus.
What the Water Gave Me: Ah yes, dynamic contrast, I'm glad you're back. This groove is pretty sweet. The slide guitar gives it a cool, eerie feel that works really well with Florence's sound. Her voice sounds very delicate, and fragile, which is a nice contrast against the heavier, darker feel of the groove. Dig that it's in 8. Group vocals are cool. Rock guitar with harp is very cool. Great build to the end, capped off with a cool outro. Dig.
Shake It Out: This is a decent tune, but I don't like it as much as the first. I like that the beginning is low, and that it builds, but it stays high and doesn't come back down. I just want there to be a little more dramatic contrast. I also find the "shake it up" hook kind of corny, they coulda come up with something cooler. It's a decent tune, I just get a bored by the second chorus.
What the Water Gave Me: Ah yes, dynamic contrast, I'm glad you're back. This groove is pretty sweet. The slide guitar gives it a cool, eerie feel that works really well with Florence's sound. Her voice sounds very delicate, and fragile, which is a nice contrast against the heavier, darker feel of the groove. Dig that it's in 8. Group vocals are cool. Rock guitar with harp is very cool. Great build to the end, capped off with a cool outro. Dig.
Wednesday, November 16, 2011
Album Factoids
Ceremonials
Released: October 31, 2011
Genre: Indie pop
Label: Island
Producer: Paul Epworth
Released: October 31, 2011
Genre: Indie pop
Label: Island
Producer: Paul Epworth
Week 59: Florence + the Machine
One week to 60 - woot woot! So, I'm gonna be honest, I'm not actually the biggest fan of Florence + the Machine, which I mainly credit to her voice (it's not really my cup of tea), but every review I've seen of this record says it's amazing, so why not give it a shot? I am really only familiar with their single "The Dog Days are Over" or whatever it's called, and it's definitely catchy, so I'm interested how they translate into a full album. Reviewing new albums is always fun too. And, we're off!
Final Grade: B+/A-
When my roommate, Dom, suggested I do this album, all he said was "you're gonna be happy all week," and I must say that I agree - what a cheerful album. The majority of the album, I wanna be up dancing in a circle of people, just having a good time. I love the strong African element to this album, I think that's really what got me happy. It's not too often you hear an entire pop album infused with such a heavy African element, and I really dug that. "I Know What I Know" and "Homeless" are definitely my two favorite tracks - so good. My main problem with the album was that I felt that the songs sounded too similar to one another, and when the groove did switch with the final two songs, it was too different. The songs were definitely cohesive, and that's always good, but they started to all sound the same. At least it was a good same. I think I'm gonna have to put this album in my car.
Tuesday, November 15, 2011
Songs of the Day
Under African Skies: You can't help but be happy when listening to this album, and I love that. Who doesn't wanna feel happy when they're listening to music? Really dig Linda Ronstadt on harmonies - the female vocal adds a nice warmth to the melody. Happy music.
Homeless: This song is pretty incredible. The group African chanting is really beautiful. I love how deep the bass vocals resonate - they provide such a great weight. Love the pick up in the end. You just gotta listen to it.
Crazy Love, Vol II: I feel bad that "sweet" is the only adjective that I use for every song, but that's literally the only word I think of. Dig the guitar parts - nice and light. The B section is a nice switch up, and I'm happy for that. I dig this groove, I just wish that it wasn't so similar to the rest. Not to say that I don't like what is similar between all the songs, I just want a little more variety. I'm still happy though, so I really can't hate.
That Was Your Mother: Well, this is a little different. Very hoedown-like (welcome back the accordion), may be a little too much for my taste. A little different than what I would have guessed for a groove switch up, but I'll roll with it. I should probably be in a circle dancing with some folks or something.
All Around the World or the Myth of Fingerprints: The opening drums to this made me think I was listening to "Take On Me" by a-ha - very similar, but that's the 80s for ya. I dig the subtlety of the guitar, but I wish the drums weren't so harsh and overshadowing it. These last two groove switches aren't exactly what I would have put, but they're decent. It's a little too hokey for my taste, but it may grow on me with a couple more listens.
Homeless: This song is pretty incredible. The group African chanting is really beautiful. I love how deep the bass vocals resonate - they provide such a great weight. Love the pick up in the end. You just gotta listen to it.
Crazy Love, Vol II: I feel bad that "sweet" is the only adjective that I use for every song, but that's literally the only word I think of. Dig the guitar parts - nice and light. The B section is a nice switch up, and I'm happy for that. I dig this groove, I just wish that it wasn't so similar to the rest. Not to say that I don't like what is similar between all the songs, I just want a little more variety. I'm still happy though, so I really can't hate.
That Was Your Mother: Well, this is a little different. Very hoedown-like (welcome back the accordion), may be a little too much for my taste. A little different than what I would have guessed for a groove switch up, but I'll roll with it. I should probably be in a circle dancing with some folks or something.
All Around the World or the Myth of Fingerprints: The opening drums to this made me think I was listening to "Take On Me" by a-ha - very similar, but that's the 80s for ya. I dig the subtlety of the guitar, but I wish the drums weren't so harsh and overshadowing it. These last two groove switches aren't exactly what I would have put, but they're decent. It's a little too hokey for my taste, but it may grow on me with a couple more listens.
Sunday, November 13, 2011
Songs of the Day
Gumboots: Man, oh man am I happy that I'm reviewing this album as I get up - what wonderful tunes to start your day with! Another tune with accordion - I can dig it. I love that everything is so upbeat, happy, and African. It's pretty interesting, the way Paul has incorporated African music into all of the tunes thus far, and with such ease. Hearing true musical blends is always refreshing. Great background vocals, once again. I'm glad that this was a short tune - short and sweet.
Diamonds On the Soles of Her Shoes: A cappella African chant opening? Please, and thank you. So sweet. The groove that comes in is sweet, very beachy, much like the rest of the tunes. Paul's vocals have a lighter feel on this one, which I like. I'm gonna have to give a shout out to the bass on this one, because it is mad, mad funky. Horns are sweet too. I think it may be a little long, but I dig it.
You Can Call Me Al: I feel weird that I have used "sweet" to describe every one of these songs, but that's really the only adjective that comes to mind when I listen to these tunes. Today's three all sounded a too similar to me - that beachy, African, kinda country feel. I dig it, for sure, I just wish there was a little more variety between the three. I've actually heard this song before, which is actually refreshing. This tune definitely has more of the 80s drums and synth than the last two, which is nice, and I dig the staccato rhythms, but it's all still too similar. That is not to say that this tune is not catchy beyond reason, and that the other songs aren't the same, I just want a lil spice or somethin.
Diamonds On the Soles of Her Shoes: A cappella African chant opening? Please, and thank you. So sweet. The groove that comes in is sweet, very beachy, much like the rest of the tunes. Paul's vocals have a lighter feel on this one, which I like. I'm gonna have to give a shout out to the bass on this one, because it is mad, mad funky. Horns are sweet too. I think it may be a little long, but I dig it.
You Can Call Me Al: I feel weird that I have used "sweet" to describe every one of these songs, but that's really the only adjective that comes to mind when I listen to these tunes. Today's three all sounded a too similar to me - that beachy, African, kinda country feel. I dig it, for sure, I just wish there was a little more variety between the three. I've actually heard this song before, which is actually refreshing. This tune definitely has more of the 80s drums and synth than the last two, which is nice, and I dig the staccato rhythms, but it's all still too similar. That is not to say that this tune is not catchy beyond reason, and that the other songs aren't the same, I just want a lil spice or somethin.
Saturday, November 12, 2011
Songs of The Day
The Boy In the Bubble: Well, you sure don't hear accordion in too many pop songs. I wasn't sure of how I felt about it at first, but once it started getting in with the groove, I got more into it. I like how this is 80s synth mixed with African mixed with country - it's a very unique sound. Chanting background is very cool. It just makes me happy listening to it. The upbeat groove really helps make it a great opening tune. Dig it.
Graceland: What a sweet title track. I dig the beachy, country feel that's going on here. I especially love the groove that starts with the first chorus - the parallel rhythms are very cool. I don't know how to describe this song as anything but "sweet." There's a touch of funk in here well, mainly in the bass, and it really helps keep the groove fresh. It would probably sound kind of corny with out it. Such a sweet song about Elvis' home.
I Know What I Know: At first listen, I thought this was my least favorite song of the day, but I think it may be just the opposite. It's got a great upbeat, happy feel that makes me want to get up and dance in circles. The Afrcian background vocals are great, they make the song super cool. Love all of the different guitar parts that are going on. Sweet melody. I love the way he sings "party." The drums seem a little intense at times, but not enough for me to care. Awesome.
Graceland: What a sweet title track. I dig the beachy, country feel that's going on here. I especially love the groove that starts with the first chorus - the parallel rhythms are very cool. I don't know how to describe this song as anything but "sweet." There's a touch of funk in here well, mainly in the bass, and it really helps keep the groove fresh. It would probably sound kind of corny with out it. Such a sweet song about Elvis' home.
I Know What I Know: At first listen, I thought this was my least favorite song of the day, but I think it may be just the opposite. It's got a great upbeat, happy feel that makes me want to get up and dance in circles. The Afrcian background vocals are great, they make the song super cool. Love all of the different guitar parts that are going on. Sweet melody. I love the way he sings "party." The drums seem a little intense at times, but not enough for me to care. Awesome.
Friday, November 11, 2011
Album Factoids
Graceland
Released: August 12, 1986
Genre: Pop
Label: Warner Bros
Producer: Paul Simon
Released: August 12, 1986
Genre: Pop
Label: Warner Bros
Producer: Paul Simon
Week 58: Paul Simon
Ah yes, I'm finally getting around to Graceland. I'm familiar with Paul Simon's major singles, but I haven't listened to an album all the way through, and I hear this is the album to listen to. I'm looking forward to some old school pop - it'll keep me upbeat this week. Paul is also considered as one of the greatest songwriters, and as a new one myself, I'm looking forward to studying up.
Wednesday, November 9, 2011
Final Grade: A
Yup, we've got another A on our hands. This album is spot on from start to finish. The more I listen, the more I love. Man, talk about gettin the funk dooooown! The instrumentation is out of this world, and added with all the fun of the group vocals, it really makes for one hell of a group. Parliament, I bow down to you.
Songs of The Day
Placebo Syndrome: This is a very sweet tune, mainly thanks to the vocal melody and horn line. Granted, everything is great, but there's just something about the vocal melody that I really love. And same with the horn line - I love how staccato the line is. This is a nice, relaxing switch from the heavy funk from the majority of the album - it really helps with the balance of everything. Dig, dig, dig.
Flashlight: Ok, who doesn't know this song? If you don't know this song, then you are seriously out of touch, and are therefore required to listen to it. Talk about not only one of the greatest funk songs, but best songs ever, period. Funk at it's finest. Everything about this song is on point. I can't help but get down every time I hear this tune. Yes, yes, and more yes.
Flashlight: Ok, who doesn't know this song? If you don't know this song, then you are seriously out of touch, and are therefore required to listen to it. Talk about not only one of the greatest funk songs, but best songs ever, period. Funk at it's finest. Everything about this song is on point. I can't help but get down every time I hear this tune. Yes, yes, and more yes.
Tuesday, November 8, 2011
Songs of The Day
Wizard of Finance: At first, I wasn't sure how much I was feelin this tune. The opening solo sax isn't my favorite - it has the slightest air of smooth jazz that doesn't do much for me - but as soon as the groove starts, I forget all about it. The horn section together sounds much better. I dig that this a mellower groove, something that you can sit back to. Is it just me, or does chord progression sound exactly like "Something He Can Feel" by Aretha Franklin (or En Vogue, if you're more familiar to that version)? I just keep wanting to sing "givin him somethin he can feeeeeel" on top of it. Regardless, it's a super solid track, and yall should listen to it.
Funkentelechy: This is one funky groove, but I would expect nothing less just from the name alone. What I like most about this groove is how all of the parts have different things going on rhythmically. They're playing off one another, finding the opening between one another and filling it with awesomeness. It's always fun listening to people having fun. Cordell Mosson, my man, you are holdin that bass doooooown, and I love it. I love the horn part during "where'd you get that funk from" - so tight. This is another long tune at 10:59, but the groove is so solid, that you should have no problem listenin to this whole thing, especially if you have the means to get your groove on while doing so.
Funkentelechy: This is one funky groove, but I would expect nothing less just from the name alone. What I like most about this groove is how all of the parts have different things going on rhythmically. They're playing off one another, finding the opening between one another and filling it with awesomeness. It's always fun listening to people having fun. Cordell Mosson, my man, you are holdin that bass doooooown, and I love it. I love the horn part during "where'd you get that funk from" - so tight. This is another long tune at 10:59, but the groove is so solid, that you should have no problem listenin to this whole thing, especially if you have the means to get your groove on while doing so.
Monday, November 7, 2011
Songs of The Day
Bop Gun (Endangered Species): So, this guitar riff is one of the funkiest things, ever. I don't know what it is about it that's got me hooked, but there's something to it that's not standard funk, and it makes the rest of the groove that much funkier. Man, talk about a tight horn section! A tight horn section is essential to a funk band, and they've got it. I like that these guys are really all about the groove and vocals second. Group vocals are cool, they give a nice vocal base to the groove without taking it over. "Endangered species" B section is killin. This whole thing is killin. Holdin it the fuck down.
Sir Nose d'Voidoffunk (Pay Attention-B3M): Aight, so if it you weren't already convinced that these cats were high as fucking kites, this should do the trick. This song gets my vote off the bat solely off the fact that they quote the Looney Tunes theme in the very beginning. That is possibly one of the coolest musical quotes I've ever heard. Groove on this is right in the pocket. I like that this is a little more subdued than the previous, while remaining fierce. And "Three Blind Mice"? "Baba Black Sheep?" These cats are funky. I dig the dark, mysterious feel this groove has. Very Halloween, but maybe that's just me still slightly being in that mindset. Super long at 10:10, but the groove has enough slight switches and variations, that it is no problem gettin through this whole tune. Super funk.
Sir Nose d'Voidoffunk (Pay Attention-B3M): Aight, so if it you weren't already convinced that these cats were high as fucking kites, this should do the trick. This song gets my vote off the bat solely off the fact that they quote the Looney Tunes theme in the very beginning. That is possibly one of the coolest musical quotes I've ever heard. Groove on this is right in the pocket. I like that this is a little more subdued than the previous, while remaining fierce. And "Three Blind Mice"? "Baba Black Sheep?" These cats are funky. I dig the dark, mysterious feel this groove has. Very Halloween, but maybe that's just me still slightly being in that mindset. Super long at 10:10, but the groove has enough slight switches and variations, that it is no problem gettin through this whole tune. Super funk.
Album Factoids
Funkentelechy Vs. the Placebo Syndrome
Released: Nov. 28, 1977
Genre: Funk
Label: Casablanca
Producer: George Clinton
Released: Nov. 28, 1977
Genre: Funk
Label: Casablanca
Producer: George Clinton
Week 57: Parliament
Oh yes, funk funk funk, how I love you so. I'm in my school's PFUNK ensemble, and we're learning a couple tunes off this album, so I figure, why not kill two birds with one stone? I've vaguely listened to a few of their albums collectively, but this will be my first sit down for one of their albums (reviewing Funkadelic's Maggot Brain doesn't count). Doing two albums this week to catch my ass up, so why not make it funky? Gimme whatchu got, George.
Thursday, November 3, 2011
Takin a week off...
so... it's my birthday tomorrow, and I know that not much will be accomplished with the blog. therefore, I am going to take a "week" off, and will review 2 albums next week, starting monday. have a great weekend everybody!
Final Grade: B
This is a solid album, but I'm grading it a little tougher because I know how unbelievable EWF is. Seeing that Jessica Cleaves is dead center on the cover, I was expected her to be featured more than she was, and I was disappointed that she wasn't. I was also surprised when she was featured, because she sounded exactly like Phillip Bailey, and frankly, didn't bring much to the sound. I guess that is probably why they didn't have a female singer following this album. Solid grooves from start to finish, but I know that there is better EWF out there. But still definitely worth the listen for those of you who don't know the album.
Wednesday, November 2, 2011
Songs of The Day
Zanzibar: Only one today, and there's not too much to say about it extensively. It's 13 minutes long, so you can see how it would be difficult to depict every change that occurs. It's essentially a very long, funky jam with a solid latin feel. I dig it. It's just very long. If you have the time, you should listen to it.
Tuesday, November 1, 2011
Songs of The Day
The World's a Masquerade: The opening high pitch in the beginning is almost impossible to stand, but they bring it down just in time to not make you want to kill someone. It's high. I don't think it's very necessary, but whatever. This is a pretty solid groove, but it's not my favorite. Since I am more familiar with EWF's sound, I know that there are songs of theirs better than this. It's just a little overdone. I wish they were gettin down and funky instead of staying so mellow. It's also a little long.
Clover: I feel the same way about this groove as I do about the previous, which is disappointing. Not to say that they don't sound good - they are most definitely holding this groove down - I just know that they have much better material out. Verdine is seriously holding it down though.
Clover: I feel the same way about this groove as I do about the previous, which is disappointing. Not to say that they don't sound good - they are most definitely holding this groove down - I just know that they have much better material out. Verdine is seriously holding it down though.
Sunday, October 30, 2011
Build Your Nest Build Your Nest
So, I can't find this song anywhere, which is disappointing. I will continue my quest.
Songs of The Day
Evil: Now this is how you start an album. Talk about groove. Love the latin feel to the groove, keeps you swayin. The mbira is incredible on this - really helps make the groove. Everyone is holding it down - tight, super in the pocket, but what else would I expect from the greats? Phillip Bailey, as always, sounds incredible on the vocals. Harmonies are on point. Solid, solid, solid.
Keep Your Head to the Sky: This song features female vocalist, Jessica Cleaves. EWF only had a female vocalist for three years; Sherry Scott 1970 through 72, and Jessica for 73. This song is sang by both Bailey and Cleaves, but I really couldn't tell you who's who, because they sound insanely similar. Love the mellow groove, and how it keeps me swayin. Of course, my favorite part of the song is the a cappella ending. Great harmonies! And when it goes to the ladies super high - holy bajesus. Craziness - I get down with it.
Build Your Nest Build Your Nest: Funky, funky, yum, yum - that is how I feel about this song. Just solid funk - nothing too crazy, it just about the groove and the pocket. I love how they say "build your nest," especially "nest" with no T - they work it. Groovin.
Keep Your Head to the Sky: This song features female vocalist, Jessica Cleaves. EWF only had a female vocalist for three years; Sherry Scott 1970 through 72, and Jessica for 73. This song is sang by both Bailey and Cleaves, but I really couldn't tell you who's who, because they sound insanely similar. Love the mellow groove, and how it keeps me swayin. Of course, my favorite part of the song is the a cappella ending. Great harmonies! And when it goes to the ladies super high - holy bajesus. Craziness - I get down with it.
Build Your Nest Build Your Nest: Funky, funky, yum, yum - that is how I feel about this song. Just solid funk - nothing too crazy, it just about the groove and the pocket. I love how they say "build your nest," especially "nest" with no T - they work it. Groovin.
Friday, October 28, 2011
Album Factoids
Head to the Sky
Released: May 1973
Genre: Funk
Label: Columbia
Producer: Joseph Wissert
unfortunately, the only picture with Jessica Cleaves in the album cover... had to switch it up.
Released: May 1973
Genre: Funk
Label: Columbia
Producer: Joseph Wissert
unfortunately, the only picture with Jessica Cleaves in the album cover... had to switch it up.
Week 56: Earth, Wind & Fire
Now, of course I am very familiar with Earth, Wind & Fire (and I would hope that those of you reading this are as well), but I am completely unfamiliar with their early stuff when they had female vocalist (first Sherry Scott, who was replaced by Jessica Cleaves on this album). I feel like that's going to add a whole new element to the sound. The only album I've listened to fully is That's The Way of the World, so I'm excited to add another to my repertoire.
So, to add on to Bilal...
He did a workshop at Berklee today, which was incredible, and I had the chance to go on stage and sing with him. Super crazy. He's incredible, it was such an honor.
Wednesday, October 26, 2011
Final Grade: A-
Bilal is the fucking man. I haven't heard any recent artist with harmonies like his in a minute - that's a problem - but man, oh man am I glad he's doin them. He has such unique vocal lines and melodies - it's so nice to hear that vocal creativity hasn't been lost. Really interesting grooves all around, with some serious gems thrown in ("White Turns to Gray" has been on repeat like no other). Definitely a good album to have when you're just relaxing around the house, doin your business and whatnot. Wish I didn't have to miss out on his show tomorrow, but at least I got to see him last week!
Tuesday, October 25, 2011
Songs of The Day
Sorrow Tears and Blood: This is a pretty cool tune, and definitely different from the ones preceding it. I dig the feel of the intro, it makes me feel like I'm inside the tornado in the Wizard of Oz. There's a great "world music" sound to this - lots of different mixtures of latin, tribal - I dig it. Oh hey, Common! Diggin the spoken word he's putting down. I can get down with the mellow groove that the song eventually gets into, but I dig the initial groove better - I'm glad it turns back around. Solid vocals, but no surprise there. Everything about this tune is much more relaxed than the majority on the rest of the album. Like I said, pretty cool tune.
Sweet Sour You: Initially, I wasn't sure how I felt about this song being the closer. It's an interesting track, the instrumentation and harmonies are very unique, but I was wondering how strong this track was as the ending point. The B section groove is so on point though, it made me change my mind. The groove is super steady, which is always good. Love the "oo oo's" at the end. I dig it.
Sweet Sour You: Initially, I wasn't sure how I felt about this song being the closer. It's an interesting track, the instrumentation and harmonies are very unique, but I was wondering how strong this track was as the ending point. The B section groove is so on point though, it made me change my mind. The groove is super steady, which is always good. Love the "oo oo's" at the end. I dig it.
Monday, October 24, 2011
Songs of The Day
Hands Of Time: Steady, steady groove on this one. It really is all about being in the pocket, and these cats definitely got it right. The opening vocal harmonies on this are so phat, I really do not understand why that sequence isn't sung again. Regardless, the vocal harmonies are great throughout, and it's nice to hear more complex, interesting harmonies in modern music. Groove breakdown/deconstruction section is cool - interesting to hear it so bare. Dig it.
Hollywood: This is my first somewhat questionable tune on the album, but I think that it's just going to take a few listens to get used to. I definitely dig the synth, out-there beat that's going on (a nice switch up from previous tunes), and the harmonies are kind of insane, but I think their insanity is part of the problem. The harmonies are so full and out there, but the beat is already so strange that together, it's tiny bit too strange. I actually dig it a lot, it's just all a little difficult to jump into - you gotta ease.
White Turns To Gray: Damn, is this one sexy song. My first note just says "ugh." Yes, precisely that. That is much thanks to the bass holding it the fuck down. The first vocal line gives me a stank face. Scratch that, this whole song is giving me stank face. I almost don't want to give anything away. Listen to it.
Hollywood: This is my first somewhat questionable tune on the album, but I think that it's just going to take a few listens to get used to. I definitely dig the synth, out-there beat that's going on (a nice switch up from previous tunes), and the harmonies are kind of insane, but I think their insanity is part of the problem. The harmonies are so full and out there, but the beat is already so strange that together, it's tiny bit too strange. I actually dig it a lot, it's just all a little difficult to jump into - you gotta ease.
White Turns To Gray: Damn, is this one sexy song. My first note just says "ugh." Yes, precisely that. That is much thanks to the bass holding it the fuck down. The first vocal line gives me a stank face. Scratch that, this whole song is giving me stank face. I almost don't want to give anything away. Listen to it.
Sunday, October 23, 2011
Songs of The Day
Make Me Over: This is one solid groove. Dig pretty much everything about it. And Bilal's vocals are just so smooth on top of everything - so suave. Love the minimal number of harmonies, but I love how crazy they are - so great. The short chords on the piano are super sweet. There's just a great weight to all the instrumentation, and I dig it hard. Great build to the end. Guitar riff/drum solo ending is awesome. Yup.
Get Out Of My Hair: The intro to this is interesting...pretty funny actually. I won't ruin it for you. This is another heavy groove, and I definitely dig it. Love that the guitar riff is the melody in the chorus - when they meet, it gives a great fullness to the melody. I love the layers in the vocals, they're very cool and add a cool dimension to the groove. The hook lyric "just get out my fro" - so funky. This is pretty stanky.
Lord Don't Let It: I think the A section to this tune is so beautiful. I love all of the instrumentation, and the vocal harmonies are on point. I do like the B section, but not with the A section. I like it by itself, but then when it returns to the A section, I remember that I liked that section so much more. On the fence about this one. The freak out section at the end of this is the shit though.
All For Love: This is a pretty solid soul groove. I dig the super up feel it's got - it's a nice swing. That's probably much thanks to the heaviness of the piano. Great vocals, but no surprise there. Just an overall solid tune that doesn't need much explanation.
Get Out Of My Hair: The intro to this is interesting...pretty funny actually. I won't ruin it for you. This is another heavy groove, and I definitely dig it. Love that the guitar riff is the melody in the chorus - when they meet, it gives a great fullness to the melody. I love the layers in the vocals, they're very cool and add a cool dimension to the groove. The hook lyric "just get out my fro" - so funky. This is pretty stanky.
Lord Don't Let It: I think the A section to this tune is so beautiful. I love all of the instrumentation, and the vocal harmonies are on point. I do like the B section, but not with the A section. I like it by itself, but then when it returns to the A section, I remember that I liked that section so much more. On the fence about this one. The freak out section at the end of this is the shit though.
All For Love: This is a pretty solid soul groove. I dig the super up feel it's got - it's a nice swing. That's probably much thanks to the heaviness of the piano. Great vocals, but no surprise there. Just an overall solid tune that doesn't need much explanation.
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