Stars: 2.75
Song: “As We Enter” and “Dispear”
Show: 5$
Collaborations have some intrinsic pitfalls and Nas and Damian sometimes lose their footing near the edge. Most songs work. A few do not. And even fewer are really good. Although the collaboration idea is intriguing, and I’m sure it helped with album sales, it comes off as a clash of the titans.
You notice this most in the production. Although Damian and Stephen Marley produced the whole thing, it seems like there is an obvious divide between hip-hop and rock-raggae. For one, there is a lot of live instrumentation, such as distorted guitars reverberating out into epic battle songs, nylon string acoustic ditties, tribal chanting, etc. which is not the sort of style Nas typically vibes with. Naturally, Nas kills the tracks rooted in straight up, sample-heavy hip-hop such as “Patience,” and is awkward when featured on Damian’s positive, “push on through,” cheese-ball, inspirational tunes such as “In His Own Words.” Nas’s style is in your face, and although he is a rapper with insight and wisdom, he’s not afraid to drop flows about drugs and violence. So when you have Damien singing la-di-da lyrics like “Only the strong will continue, do you have it in you?” or “I got love and endurance, I got new health insurance, so I count my blessings,” and you put it up against Nasty Nas, there is a bit of a collision.
But there a few songs that really triumph. The first track “As We Enter” rips. It’s a little misleading because it’s the only one where these two distant relatives cut out all the bull and just flow. Throughout the rest of the album, Damian takes a verse, rhymes one simple melodic line over and over, then the hook, then Nas takes a verse. Here, they throw the mic back and forth in a beautifully musical way. Nas will get cooking, and then mid sentence cut out and for a shot of Damian’s funky reggae. And they’ll flip it every other line or couple of words. It’s wicked fluid, fast, and catchy. Sadly, though, this is the only track of it’s kind.
“Dispear” is the best example of the album achieving what it set out to do. It incorporates Nas’s intense rhyme style and Damian’s spiritual reggae into a worldly discussion of poverty and war in a manor that does not come off trite—which a lot of the album does. A lot of the tracks like “Tribes at War” and “Aftrica Must Wake Up” chase this dragon, but they didn’t sharpen their swords enough to take it down.
day 37, Dr. Dog - Easy Beat
Stars: 2.75
Song: “Oh No”
Show: 20$
The friend who suggested this one was talking to me the day before about how much he loved Shame, Shame Dr. Dog’s new release from this past April. Not putting it all together, I then assumed that Easy Beat was this beloved follow-up to 2007’s Fate, and I had just remembered the title incorrectly. I got through 5 listens and half of a review before I realized my mistake. Easy Beat came out in 2005. Typically before I get going on a review, I check the discography to put the album in context, but in order to keep the review fresh, I try to keep myself from gathering to much more about the band, its history, and what critics think. In this instance, that tiny bit of research flipped Easy Beat on its head.
Even though I made a false, idiotic assumption, it actually brought some interesting insight to the way I process music. Thinking that Easy Beat was the highly acclaimed, Brooklyn adored, new hip and hot shit, I thought that I must be an alien, unable to vibe with my age group and social peers. I considered giving up on being a music writer (again) resigning to the fact that I will just never get it. I thought: “How could a band that was so polished and intricate on the verge of becoming the next big indie super-group just throw it all down the drain with a half-assed, “couldda done it better myself,” short on time, un-produced, un-edited, un-cared for, piece of doo-doo?” In fact, here is some of what I had down before I opened up Wikipedia:
“Stars: 2.5 (tops)
Favorite Song: “On No,” (even though it is actually two mini-songs, randomly and harshly cut in the middle, they happen to both be my favorites)
Since Fate, released in 2007, Dr. Dog has been receiving public and critical acclaim that has awarded them more money and time in the studio. Clearly, they blew most of that studio money on beers and breakfast during the making of Easy Beat, which is barely demo quality.”
So I had to start over. My initial reaction was to apologize to them directly: “I am sorry, I had no idea you were so much younger. It was five years ago, and that’s a long time!” So I changed it to 3.25 stars, took out the snide parenthetical statements and wrote:
“Dr. Dog has come a long way since Easy Beat, but the album shows how they became the ‘modern-day Beatles.’ The layered harmonies over rock and roll rhythms that you, me, and critics have fallen in love with since 2007’s Fate is stripped down to it’s roots and bare essentials here. ”
But I stopped again. Not because I was enlightened once more with mind-blowing new information, but because I realized that what I was writing was a load of crap. Of course it is important to do your homework, but is context really enough to change my entire opinion of the album? It is the same music. Yes, it is true, Easy Beat does expose Dr. Dog’s roots, but does that make it a better album? It is still the same noise.
So I reached a conclusion, and in fact, a self assuring one. It is undeniable that everything affects the way we judge music, whether it be the person who suggested it to you, how you were feeling that day, the association you have with the group before you actually heard them, etc. So then, it is least corrupt to review music with as little knowledge associated to the album as possible. (However, this does not produce the most thorough, backed-up, and analytical review.) This is self affirming because that is primarily what I set out to do when I began this project: to write honestly, quickly and as uninformed as possible so that the only factors that influence the review are what I already know, what I am doing/feeling at the time, and most importantly, what I am hearing.
So what about Easy Beat? It has that stripped down, raw, played in a basement, rock and roll sound which is pretty endearing, but also a little unexciting. It’s got some good tracks, such as “The World May Never Know,” “Oh No (part I and II),” and “Wake Up,” but the majority of it sounds thin and thrown together. The wheels on this guy are wobbly, and it almost doesn’t make the trip, but luckily the album is an unbelievable short 37 minute ride. “Oh No,” has that early 60’s pop thing going on which is what has made Dr. Dog so famous, but most of the other tracks just come off garagey and undisciplined.
Ignore the stupid puppet, but the song should be the same:
Song: “Oh No”
Show: 20$
The friend who suggested this one was talking to me the day before about how much he loved Shame, Shame Dr. Dog’s new release from this past April. Not putting it all together, I then assumed that Easy Beat was this beloved follow-up to 2007’s Fate, and I had just remembered the title incorrectly. I got through 5 listens and half of a review before I realized my mistake. Easy Beat came out in 2005. Typically before I get going on a review, I check the discography to put the album in context, but in order to keep the review fresh, I try to keep myself from gathering to much more about the band, its history, and what critics think. In this instance, that tiny bit of research flipped Easy Beat on its head.
Even though I made a false, idiotic assumption, it actually brought some interesting insight to the way I process music. Thinking that Easy Beat was the highly acclaimed, Brooklyn adored, new hip and hot shit, I thought that I must be an alien, unable to vibe with my age group and social peers. I considered giving up on being a music writer (again) resigning to the fact that I will just never get it. I thought: “How could a band that was so polished and intricate on the verge of becoming the next big indie super-group just throw it all down the drain with a half-assed, “couldda done it better myself,” short on time, un-produced, un-edited, un-cared for, piece of doo-doo?” In fact, here is some of what I had down before I opened up Wikipedia:
“Stars: 2.5 (tops)
Favorite Song: “On No,” (even though it is actually two mini-songs, randomly and harshly cut in the middle, they happen to both be my favorites)
Since Fate, released in 2007, Dr. Dog has been receiving public and critical acclaim that has awarded them more money and time in the studio. Clearly, they blew most of that studio money on beers and breakfast during the making of Easy Beat, which is barely demo quality.”
So I had to start over. My initial reaction was to apologize to them directly: “I am sorry, I had no idea you were so much younger. It was five years ago, and that’s a long time!” So I changed it to 3.25 stars, took out the snide parenthetical statements and wrote:
“Dr. Dog has come a long way since Easy Beat, but the album shows how they became the ‘modern-day Beatles.’ The layered harmonies over rock and roll rhythms that you, me, and critics have fallen in love with since 2007’s Fate is stripped down to it’s roots and bare essentials here. ”
But I stopped again. Not because I was enlightened once more with mind-blowing new information, but because I realized that what I was writing was a load of crap. Of course it is important to do your homework, but is context really enough to change my entire opinion of the album? It is the same music. Yes, it is true, Easy Beat does expose Dr. Dog’s roots, but does that make it a better album? It is still the same noise.
So I reached a conclusion, and in fact, a self assuring one. It is undeniable that everything affects the way we judge music, whether it be the person who suggested it to you, how you were feeling that day, the association you have with the group before you actually heard them, etc. So then, it is least corrupt to review music with as little knowledge associated to the album as possible. (However, this does not produce the most thorough, backed-up, and analytical review.) This is self affirming because that is primarily what I set out to do when I began this project: to write honestly, quickly and as uninformed as possible so that the only factors that influence the review are what I already know, what I am doing/feeling at the time, and most importantly, what I am hearing.
So what about Easy Beat? It has that stripped down, raw, played in a basement, rock and roll sound which is pretty endearing, but also a little unexciting. It’s got some good tracks, such as “The World May Never Know,” “Oh No (part I and II),” and “Wake Up,” but the majority of it sounds thin and thrown together. The wheels on this guy are wobbly, and it almost doesn’t make the trip, but luckily the album is an unbelievable short 37 minute ride. “Oh No,” has that early 60’s pop thing going on which is what has made Dr. Dog so famous, but most of the other tracks just come off garagey and undisciplined.
Ignore the stupid puppet, but the song should be the same:
day 36, Bill Withers - Still Bill
Stars: 4
Song: “Use Me,” but of the songs I didn’t know before “Another Day to Run”
Show: 38$
I was excited when I saw a Bill Withers studio album on my list because up until now I’ve only heard a couple live jams and a Best Of collection. Unfortunately, as it turns out, Still Bill practically is the Best Of. I knew six of the ten songs, which made for the first morning commute sing along I’ve had in a while. But following the rules of the blog, since I knew most of the songs I am not going to spend a full day on it or review it too carefully. I’ll just make it quick.
Bill Withers is, in my opinion, the 70’s soul/funk guy to listen to. I’ll vibe on him over Stevie or Curtis any day. Bill has a way of pocketing a groove, and still keep it edgy. This album showcases Mr. Withers’ ability to create a funky smooth, yet heavy groove, like nijas fighting underwater. Remember when recording was mostly live and we couldn’t putts around with computers to do touch ups? Well, you feel that on these tracks. They are raw, but the band is so tight, that little imperfections become like funky syncopations in texture and rhythm.
Still Bill is a sure bet to get your dirty funk-face in full effect. And it is true what Momma said; if you keep making that face it is going to get stuck like that, especially if you keep Billy Dubs in your stereo.
Song: “Use Me,” but of the songs I didn’t know before “Another Day to Run”
Show: 38$
I was excited when I saw a Bill Withers studio album on my list because up until now I’ve only heard a couple live jams and a Best Of collection. Unfortunately, as it turns out, Still Bill practically is the Best Of. I knew six of the ten songs, which made for the first morning commute sing along I’ve had in a while. But following the rules of the blog, since I knew most of the songs I am not going to spend a full day on it or review it too carefully. I’ll just make it quick.
Bill Withers is, in my opinion, the 70’s soul/funk guy to listen to. I’ll vibe on him over Stevie or Curtis any day. Bill has a way of pocketing a groove, and still keep it edgy. This album showcases Mr. Withers’ ability to create a funky smooth, yet heavy groove, like nijas fighting underwater. Remember when recording was mostly live and we couldn’t putts around with computers to do touch ups? Well, you feel that on these tracks. They are raw, but the band is so tight, that little imperfections become like funky syncopations in texture and rhythm.
Still Bill is a sure bet to get your dirty funk-face in full effect. And it is true what Momma said; if you keep making that face it is going to get stuck like that, especially if you keep Billy Dubs in your stereo.
Day 35, Erykah Badu - New Amerykah Part II (Return of the Ankh)
Stars: 2
Favorite Song: “Out of My Mind, Just in Time,” “Turn Me Away (Get MuNNY)”
Show: 5$
New Amerykah Part II (Return of the Ankh) isn’t bad. Nor is it good. It is just…nice. The grooves are funky and steady, the samples are tight, and Erykah sings just fine, but there is an obvious lack of substance. Generally, I’m okay with that, but put into the context of this project where it is stacked up against some of the best albums of all time (according to my subjective friends) New Amerykah (Return of the Ankh) just gets trampled.
Take the single “Window Seat” about wishing to go away and hide, yet wanting to be missed. For starters, this is a very immature thought; something that a spoiled child struggles with when he/she runs away from home for twenty minutes. On top of that, there isn’t a single emotionally effective lyric in the whole song. It is mostly crap like this: “I need your attention, yes. I need you next me. I need someone to clap for me…I just wanna chance to fly, a chance to cry, and a long bye bye....” Real riveting stuff.
But this album isn’t trying to be thought provoking or important. It is supposed to groove and be fun, and flowery, and mindless. And the times when Mrs. Badu is aware this is when it is most successful. “Turn Me Away (Get MuNNY)” does exactly that. It is about trying to get that paper-paper money-money, and using people to get it: “I look like a model. I do what I gotta.” The reason I give this song more credit is because the song is aware that it is complete junk, and so Erykah is able to play with it more. It is awesome in the same way that Lil’ Mamma’s “Lip Gloss” is. In fact, “Turn Me Away” would score well behind the image of a giggling 19 year old gold-digger with her bimbo friends up in her bedroom smearing layers of polyurethane lip gloss on their faces, gearing up for a big night on the town.
But when it is all said and done, you have to make a choice. Are you going to let your pretentious, intellectually driven brain get in the way of New Amerykah Part II? I say let it go and just enjoy yourself. You may find that the sexy samples and funky bass-lines help you deal with the fact that you are a “recovering undercover over-lover recovering from a love a [you] can get over.”
Favorite Song: “Out of My Mind, Just in Time,” “Turn Me Away (Get MuNNY)”
Show: 5$
New Amerykah Part II (Return of the Ankh) isn’t bad. Nor is it good. It is just…nice. The grooves are funky and steady, the samples are tight, and Erykah sings just fine, but there is an obvious lack of substance. Generally, I’m okay with that, but put into the context of this project where it is stacked up against some of the best albums of all time (according to my subjective friends) New Amerykah (Return of the Ankh) just gets trampled.
Take the single “Window Seat” about wishing to go away and hide, yet wanting to be missed. For starters, this is a very immature thought; something that a spoiled child struggles with when he/she runs away from home for twenty minutes. On top of that, there isn’t a single emotionally effective lyric in the whole song. It is mostly crap like this: “I need your attention, yes. I need you next me. I need someone to clap for me…I just wanna chance to fly, a chance to cry, and a long bye bye....” Real riveting stuff.
But this album isn’t trying to be thought provoking or important. It is supposed to groove and be fun, and flowery, and mindless. And the times when Mrs. Badu is aware this is when it is most successful. “Turn Me Away (Get MuNNY)” does exactly that. It is about trying to get that paper-paper money-money, and using people to get it: “I look like a model. I do what I gotta.” The reason I give this song more credit is because the song is aware that it is complete junk, and so Erykah is able to play with it more. It is awesome in the same way that Lil’ Mamma’s “Lip Gloss” is. In fact, “Turn Me Away” would score well behind the image of a giggling 19 year old gold-digger with her bimbo friends up in her bedroom smearing layers of polyurethane lip gloss on their faces, gearing up for a big night on the town.
But when it is all said and done, you have to make a choice. Are you going to let your pretentious, intellectually driven brain get in the way of New Amerykah Part II? I say let it go and just enjoy yourself. You may find that the sexy samples and funky bass-lines help you deal with the fact that you are a “recovering undercover over-lover recovering from a love a [you] can get over.”
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