Entry #7: My Life: An Album Mini-Review Session

So a few months back I was tagged in a note by a buddy of mine asking me to do a simple thing about my favorite albums for each year I was born. Being the nerd that I am, I wrote little tidbits about each one. So lets begin shall we?

1988:

N.W.A.-Straight Outta Compton



Strangely enough, the only real competition for this year is Public Enemy. However, the power and cultural impact that Compton had more than merits its place over PE's It Takes A Nation of Millions. While the first three tracks are so well known for being these in-your-face gangsta tracks, the rest of the album does have some “diversity” to offer. Two of the best tracks are Ice Cube fronted “I Aint Tha 1” and “A Bitch iz a Bitch” which really talk about the same thing. I didn’t say it offers much diversity. Also, Eazy completely tears it up, as his verses are easily the most entertaining on the album. And “Express Yourself” is one of the best songs in hip-hop.

1989:

Beastie Boys-Paul’s Boutique



This album is the perfect picture of what a sophomore album should be. While on License to Ill, the Beastie’s really got into their trademark rhythm, Paul’s sees them rarely breaking into that, as each songs different vibe dictates a different rhyme scheme. And who can forget all of the sampling controversy this album caused? It’s ridiculous to think that what they did here was legal, but it definitely adds a bit of a gimmick to the album that guys like Girl Talk are employing today.

1990:

Primus-Frizzle Fry



To me, Frizzle Fry may be the most entertaining and memorable Primus albums. While the later Seas of Cheese and Pork Soda both offer their fair share of gems, this album is the sort of thing that just takes the entire idea of what they stood for and throws it in your face. Claypool has some of his best basslines here from “Groundhog’s Day” to “John the Fisherman” to “Too Many Puppies.” Just an awesome funky album.

1991:

Red Hot Chili Peppers-Blood Sugar Sex Magik



The Peppers at their best. While everything following this album sees them trying to capture the glory of this, they never have been able to come close to it. Although the mixing is a bit too low as far as the master volume is concerned, the content of the album more than makes up for the lack of loudness. Before Kiedis was doing his “Zephyr Song” style swooning he was ripping it up with tracks like “Mellowship Slinky in B Major” and “Sir Psycho Sexy” which are highlights of the album. And the rhythmic cohesiveness of Flea, Frusciante and Smith is stunning.

1992:

Rage Against the Machine-Rage Against the Machine



This album is perfect to me. It’s chaotic, it’s beautiful, it’s scary, and it never backs down. Zack de la Rocha’s sharp lyrics, combined with the master rhythm section of Tom Morello, Brad Wilk and Tim Commerford equal an incredibly fresh sound that has yet to be matched as far as quality is concerned. The ten tracks bounce off each other very well, moving the moods with ease. Morello plays some downright badass solos too, shame he didn’t continue them during the bands later years. And the mix is just spot on, making it great in every single aspect.

1993:

Wu-Tang Clan-Enter the Wu-Tang: 36 Chambers



“Bring Da Ruckus” is just a track that grabs you by the collar and says “Don’t you ever fuck with the Wu-Tang Clan because we will kill you.” That’s a damn strong first impression. RZA’s intricate beats are near flawless from track to track, and the youth and hunger of the emcees is unmatched. Method Man, Ghostface Killah, Raekwon and the GZA show both their chops as well as their desire to be famous. And that hunger, that drive, is what sets this album apart from every other Wu album.

1994:

Weezer-Weezer (The Blue Album)



Rivers Cuomo is a genius and he was so smart when he made The Blue Album. It’s ten tracks of pop glory that’s just stemming with nerdy imagery. While Rivers appeals to the mainstream, he also keeps those like him close with slightly more obscure tracks. And while Rivers’ “creativity” has proven to be the downfall of more recent Weezer albums, bassist Matt Sharp kept his mind honed in on this one.

1995:

Smashing Pumpkins-Mellon Collie and the Infinite Sadness



While ’95 packed a punch with GZA’s Liquid Swords and Presidents of the U.S.A’s self titled album, Mellon Collie still takes the cake as it’s best in my humble opinion. Corgan and the crew deliver a powerfully epic two disc masterpiece here, choc full of memorable tracks, perhaps the most memorable of the groups recorded history. Singles like “1979” and “Tonight Tonight” pad out the bittersweet classic, giving it the perfect tracks to send to the radio.

1996:

Cake-Fashion Nugget



Cake is a great band because they are so aware of how cheesy they are. And this album is really the epitome of that cheesiness. With tracks like “Italian Leather Sofa” and “Nugget” we see the boys toss and idea of seriousness to the curb. While tracks like “The Distance,” “Frank Sinatra,” and “Friend is a Four Letter Word” keep the crazyness down, the downright funkiness of the instruments, especially the bass take this to the next level. A great listen from start to finish.

1997:

Incubus-S.C.I.E.N.C.E.



Just like the Peppers, Incubus is one of those bands that absolutely rocked before they became rock mainstays, and S.C.I.E.N.C.E. is like getting kicked in the balls by someone who happens to be telling you are great story. You are in complete shock by the absurdity of what’s going on, but you can’t help but appreciate the greatness of what you are hearing. While B.I.G’s Life After Death seems to be the only other contender for ’97, Incubus’youth and energy take the prize of the year in my mind.

1998:

Pitchshifter- www. pitchshifter .com



’98 was somewhat of a barren year for albums that have had a lasting impact on me, but the more I think back, the more Pitchifter’s .com is the album that stands out for me. This was one of the first CD’s I ever purchased, and although it seems to epitomize the worst puberty-ridden years of my life, I can’t help but still enjoy the thrash/industrial vibe the U.K. boys send out. Tracks like “Microwaved,” “Please Sir,” and “WYSIWYG” have rocked for the past decade and I’m not tired of them yet. We’ll see how they fare in the future.

1999:

Mr. Bungle- California



10 tracks of sheer genius. When Mike Patton put out the prior two major label Bungle albums, their self titled debut and the twisted masterpiece Disco Volante, it was hard to grasp what the band really stood for because they went to such bizarre places. On this album they don’t appear to alienate anyone, and as strange as the songs are, they’re all sort of welcoming. I recommend this album to every rock fan I meet, and if I haven’t to you then here’s your invitation.

2000:

Jurassic 5- Quality Control



The rapping harmonies! They seem so absurd when you’re just talking about them, but when you pop in Quality Control, you understand completely how J5 has solidified themselves as hip hop icons. The diversity between each member, combined with their unified desire to entertain and be original makes this a near perfect album, chock full of memorable tracks. Jurassic 5 definitely prove that they are up to par with great hip hop groups such as A Tribe Called Quest and The Beastie Boys.

2001:

Oysterhead-The Grand Pecking Order



Another band I love pimping out. This super group made up of Primus’ Les Claypool, Phish’s Trey Anastasio and Police drummer Stewart Copeland mesh together in an oddly fantastic album that works incredibly well. Each member shines with their playing as well as their songwriting skills, as neither Claypool or Anastasio dominate the tracks with their trademarked sounds. And that’s not to say Copeland isn’t a focal point, as his drums add the perfect framework to the two string players chaotic tracks.

2002:

Queens of the Stone Age-Songs For the Deaf



With the catchy singles “No One Knows” and “Go With the Flow” Queens launched their careers into superstardom with this album, giving them fame they had never witnessed before. The already established chemistry of guitarist Josh Homme and bassist Nick Oliveri is only enhanced by the addition of Nirvana drummer and Foo Fighters frontman Dave Grohl behind the skins. His heavy hitting beats only add more energy to the already stoned out power rock that Homme and the boys spew out. The album not only sounds good, but it’s radio interludes add cohesiveness to an otherwise disjointed album. This year was one chock full of greats, but Songs definitely rings the most.

2003:

Yellowcard-Ocean Avenue



Pop music at it’s finest to me. Ocean Avenue is an album that will bring me up no matter how down I may end up (and living the super-stressful, anger inducing life I love, that’s pretty stressful). Every track is memorable and it’s not hard to end up singing along whether you want to or not. And the musicianship’s not that bad either, especially for such a poppy group, the vocal harmonies especially add to the mix. So you can say I have no balls, or that I’m a pussy for liking this CD, but my response to you haters is that you are too afraid to admit how catchy this is.

2004:

Chronic Future-Lines in My Face



What I like the most about this hip-hop/pop-punk hybrid is the fact that it works. So many of these bands that try and fuse genres whilst staying marketable fail, that or they get caught up in the label game and end up tweaking their sound to the point that it becomes marketable. Chronic Future really seems to have a catchy sound that doesn’t seem like some executive told them to play a certain way. It’s a greatly underrated album that has a few gems, and the rest of the album is a good listen too.

2005:

System of a Down-Mesmerize/Hypnotize



Can I just saw that 2005 was ridiculous? We had Common’s Be, Kanye’s Late Registration, Gym Class Heroes’ Papercut Chronicles and Gorillaz Demon Days! But there is not much in music that can do what the sibling System albums did that year. Rick Rubin honed in System’s already lucrative sound and accentuated it, giving Daron Malakian a front row seat alongside frontman Serj Tankian. While some fans dislike Daron’s more prominent role in singing, I feel like it gives a different layer for the band to play off of. Tracks like “Hypnotize” feature beautiful back-ups from Tankian, which works surprisingly well. The chaotic aspect of this album also makes it a memorable one. With tracks like “Revenga,” “B.Y.O.B,” and “Attack!” just raping your earholes. I enjoy these albums so much it’s not funny. It’ll be awkward singing “Cigaro” when I’m like 40.

2006:

RX Bandits- …And the Battle Begun



Two years ago I would’ve definitely said the Chili Pepper’s Stadium Arcadium was the best album, but as the time has passed Stadium has kind of gotten stale and RX Bandits’ Battle has only become greater. The Bandits are so intricate, yet they are so accessible. The rhythmic chemistry amongst the players is so awesomely original that every time I listen to this CD I find something cool that I didn’t recall from the last time. But just like ’05, this year had a whole tone of winners. The Roots’ Game Theory is among my favorites, and John Mayer’s Continuum and Gnarls Barkley’s St. Elsewhere are definite contenders.

2007:

Just go down and read my blog.

2008:

Well that is yet to be said isn’t it?

But as of now I’ll say this. Vampire Weekend put out one hell of an album, Atmosphere’s When Life Gives You Lemons You Paint That Shit Gold is absolutely brilliant, The Cool Kids emerged as the new kings of hip-hop, Flight of the Conchords managed to translate their quirk to a record and Scars on Broadway rocked from front to back. Maybe if you come back in early 2009 you’ll have a clear answer. Until then…stay tuned!

Entry #6: The Qult Review

Let’s rewind to June of 2005. Me and the ska band I was in, Three Years Accident Free, were playing second stage supporting a pretty awesome band called Streetlight Manifesto. Being the respectful musicians that we were, we all watched the openers, there was an all black pop punk band called Whole Wheat Bread and this band called Gym Class Heroes. We all immediately assumed they were a generic ska band, I mean their name was Gym Class Heroes for God’s sake. But we went in to see them, and when their front man was a flashy dressed black guy inked out with gauged ears, we were all a bit taken aback. And when they started playing what they did was blow my mind. It was like catchy rock music with a charismatic MC as their front man. I bought their CD The Papercut Chronicles, bumped it a whole lot and pimped it out to anyone who liked good music. Some months later I was at Best Buy and I noticed they had a new CD, and after saying, “They sell this unknown band at Best Buy?” I bought it, and it was just as kick ass as their first. And then a few months later their track “Cupid’s Chokehold” got re-recorded and released as a cheesy love song single and it blew up. Now, a year and some change after they had their big hit, Gym Class Heroes have released The Quilt, and having that “I opened for you when you were unknown!” mentality, I eagerly bought it, and to put it bluntly, they’ve fallen from their graces.

The album starts with “Guilty as Charged,” a pretty catchy piece complete with a horn section and featuring R&B singer Estelle. The song is a welcome introduction, kind of saying “Hey people we’re gonna do something different but still be funky.” The next track, “Drnk Txt Rmeo” is yet another chronicle of front man Travis McCoy’s escapades with the ladies, and by this time around it seems kind of tired. Busta Rhymes hops on the next song “Peace Sign/Index Down” in an effort to add hip hop credibility to the group. And they fail. The song is repetitive and throws obscenities around like they have no meaning. Busta is one of the most innovative rappers around, his flow is by far one of the most intricate in the game, and yet in this track we see him dropping the F bomb and spitting lines like he’s just another mainstream rapper. The next two tracks, “Like Father Like Son” and “Blinded by the Sun” are two standouts, even though the latter is yet another song about girls. McCoy is downright bad ass when he spits “I called but you ignored it when you kissed him in the hallway. / Call me crazy, call me odd, call me what you want to. / But Karma is a bitch, I pray to god she always haunts you.” And the chorus, although repetitive, is very singable, regardless of the fact that the boys recruit Fall Out Boy’s Patrick Stump to sing another 80’s line. On “Like Father” we see McCoy go back into his past, avoiding his somewhat over the top metaphors and just spitting lyrics that hit the spot.




And while “Like Father” and “Blinded” are two high points, the next two tracks are by far the most annoying. “Catch Me If You Can” is a completely pretentious track where McCoy analyzes his youth, making rhymes about Hungry Hungry Hippos and other ridiculous nostalgia pieces. If you like listening to music and going, “Wow, that’s cool that he references a toy I played with when I was a kid!” then you may like the track, but it’s tough to take an MC seriously when he tries to seem legitimate while rapping about these things. “Cookie Jar” is an absolute disgrace to the band to be blunt. Featuring a guest appearance from current 15 minutes of fame cash-er The Dream, the song is another repetitive track about Travis’ problems with infidelity, and it’s blatant metaphor is so corny, especially when you have a T-Pain knockoff repeating the chorus, “I like girls / They like me…I want to be faithful / But I can’t keep my hands out the cookie jar.” Wow, I wonder what he means by that? The next track, “Live a Little” is another highlight, the now overbearing McCoy isn’t even on the track, as guitarist Disashi Lumumba-Kasongo sings a catchy pop song. The problem with it is that the group wants to clearly succeed as a power in hip-hop, and returning to their alternative routes doesn’t do them much good. The next few songs play off like typical Gym Class tracks, decent, but nothing particularly interesting. Oh and guess what? They bring the Dream back to sing a song called “Kissin’ Ears” and guess what it’s about?

The album ends on a decent note, the track “Home” feels like it belongs on Papercut and Lumumba-Kasongo’s second front-man track “No Place to Run” is another fun pop track with nicely layered pianos that don’t make you shake your head like on “Cookie Jar.” The last track “Coming Clean” is another perfectly good track, McCoy ends the album on a forgivable note, but yet again, he’s writing to a girl about something he may have done that would hurt her.

So all in all Gym Class Heroes make a perfectly listen-able album with The Quilt. The problem is that they have so much talent listenable just isn’t enough. McCoy is one of the most innovative rappers alive, he used to make tracks that picked out emo bands, or talked about how he was seduced by a teacher, or even about such heavy subjects as the unfair treatment of homosexuals. What happened to that Travis? And what happened to the simple band jams that we heard on Papercut Chronicles? The title seems to imply that the album is indeed like a quilt, sewn together from pieces of different things, but aside from a small handful of tracks, the entire album sounds the same. Maybe Gym Class Heroes were better as one of those bands guys like me opened for. I think the fame has gotten to their heads.

My Top 10 Frontmen

or Winch’s Listening Corner #6

Greetings loyal readers and it’s good to see you back here on my amazing blog. The last post seemed to have garnered the most attention out of every entry I’ve written, and since I enjoyed the format of it so much, I figured I should write another list. Now, anyone who knows me knows that I am a pretty avid musician as well as a music fan. I’ve played both guitar and bass in a band, and if there’s one thing I don’t pride myself in, it’s my voice. But the singer makes the band, as the saying goes it doesn’t matter how good the guitar player is, because all the girls will be looking at the singer. So without any further interruption, I present to you my top 10 frontmen of all time.

Oh, before I start don’t get mad that I didn’t put in McCartney/Lennon, the two of them are co-frontmen of the greatest band of all time. To qualify you need to be the sole frontman of the band. The criteria is simple, which person has the best voice, stage presence, and musical ability.

HONORABLE MENTIONS:

Maynard James Keenan- While I’m not a huge Tool fan, my first concert was A Perfect Circle and Maynard certainly is an incredible performer. Keenan’s voice is original and intricate. I apologize if I offend anyone by not putting him on the list, but I’m not in the niche that all the Maynard lovers are in.

Roger Daltry- Obviously he had the balls. The Who kicked some serious ass back in the day, not that they don’t anymore, but when they smashed their equipment at the end of every show, that was a thing of legend. Daltry has a phenomenal voice and if this list went up to 15 he’d be on it.

Jack Black- Humor aside, Jack Black would make one helluva metal singer if he hadn’t opted to be an actor. While The D is a joke band, there is no denying Black’s vocal chops.

Frank Zappa- Educate yourselves on Zappa, it’s worth every second.

Now…the list begins.

10. Billy Corgan



You know him from: The Smashing Pupkins, Zwan , solo
I think the 90’s was the best decade for music, and Billy Corgan is one of the reasons why. The Smashing Pumpkins were a band that experimented with rock music, adding textures no one had thought of before them, and Corgan was undoubtedly the captain of that ship. He was and still is meticulous, demanding perfect takes from his band members, which some say led to the demise of the original Pumpkins lineup. While Zwan kind of bridged the gap between old Pumpkins and the new incarnation, it did allow Corgan to make some upbeat poppy tracks which added even more credibility to his reputation. While some people don’t like his voice, I find it to be top perfect for the music he constructs.

9. Chris Cornell



You know him from: Soundgarden, Audioslave, solo (“You Know My Name” from Casino Royale)
Where do you start when you want to compliment Chris Cornell? The man’s voice was a staple of the 90’s (did I mention it was my favorite decade). Soundgarden saw the emergence of Cornell’s low swooning voice that could build into screams that maintained all the power of rock while avoiding that ugly 90’s metal scream. While I am ashamed to say that I listen to more Audioslave than Soundgarden, the diversity of Cornell’s voice is very present in the Audioslave recordings as well. That raspy yell in “Cochise” which is capped off with that like 25 second straight scream contrasts so well to his swoon of “Like a Stone” and “Be Yourself.” He’s just an awesome singer and there’s really no legitimate reason to dislike him.

8. Scott Weiland



You know him from: Stone Temple Pilots, Velvet Revolver, solo
Probably best known for his actions away from the microphone, Scott Weiland is yet another staple of 90’s alternative rock. Stone Temple Pilots showed off his vocal diversity from his lower-baritone-swoon to his poppy voice. Velvet Revolver added some bluesy-rock background for him to ‘slither’ all over, and if no one has ever seen a live performance by him in person or via video, the watch is necessary. He wriggles around the stage and oftentimes ends up without a shirt, leaving his twig like limbs flailing around in the air. He commands respect through his physical presence, regardless of how awkward it is, and sustains it by the range of his vocals.

7. Serj Tankian



You know him from: System of a Down, solo
The 00’s really gave System of a Down the chance to shine with their hit album Toxicity, and Tankian is undoubtedly the man listen to when this album is on. His voice bridges genres, giving System an audience broader than many other metal bands. He has a cooning singing voice that layers itself perfectly with the intricate guitar of Daron Malakian, and like a switch he can go from that coon to angry, thrashing screams with ease. The diversity of tracks from System, as well as his solo debut Elect The Dead give Tankian a perfect place to show off his talents. On some tracks it sounds almost like a new take on rapping, where Tankian talks in one pitch over the noodling of the other band members.

6. Zack de la Rocha



You know him from: Rage Against the Machine
Now many of the aforementioned singers have had one thing in common, vocal diversity. Zack de la Rocha however, has little to no diversity, he has two modes-rapping and screaming. But the thing about Zack that sets him aside from counterparts in his genre is that the sheer grit in his voice is incredible. Whether or not you are a fan of Rage, you can’t help but deny the fact that when the man has a microphone he is what you are listening to. His stage presence, with or without his trademark dreadlocks, is phenomenal, as he seemingly can’t stand still. His lyrics are powerful, and although there are a handful of Rage songs that repeat lines, (“Killing in the Name” especially) this repetition only adds momentum to de la Rocha, because once that chorus hits, he’s back in gear. While his rap career didn’t blossom, it is good to see Rage popping up every now and again for shows.

5. David Lee Roth



You know him from: Van Halen, solo
Where do you start when you talk about Diamond Dave? The man is a lunatic. Very rarely do I say something is badass when it’s wearing spandex, but Roth made it awesome. However, like de la Rocha, Roth doesn’t have too many musical modes. He can either sing or transform into a bird, because once he hits that loud screech there’s no turning back, and most of the time he’s yelling simple words like “Oh” and “Yeah” but Dave is another guy that you forgive his diversity because of his incredible over the top persona and stage presence. Although I don’t particularly like the way he and Van Halen do business, always kicking people out and letting them back in, I can’t help but forgive him when I see those old VH videos.

4. Damon Albarn



You know him from: Gorillaz, Blur, The Good The Bad and The Queen
Most people only knew Blur from “Song 2” and that was all they knew of Damon Albarn until Gorillaz burst onto the scene and Albarn’s simple vocal melody of “I’ve got sunshine in a bag” took the world by storm. But little do the masses know how influential Albarn is, fronting Blur through it’s epic career, and taking it to places that turned other members off, and after Blur’s demise focusing full force on Gorillaz. Both groups had two different Damon’s, Blur had the alternative frontman while Gorillaz had 2-D, the mastermind behind the beats and many of the songs vocals. Most people aren’t aware of The Good The Bad and The Queen, Albarn’s most recent work, which places him in the position of bandleader once again, this time his voice swooning over softer instruments. While many of the other men on this list are known to jump off anything they can, Albarn commands respect merely by standing still behind a piano, or even behind a curtain having a cartoon projected in front of him.

3. Robert Plant



You know him from: Led (fucking) Zeppelin, solo, most recently with Allison Krauss
Robert Plant is the voice of the 70’s. Everything about Zeppelin is top notch, and Robert Plant’s vocals are no different. He was one of the first frontmen who wasn’t afraid to really rock out and he’s gone down in the books as one of (many consider him to be the) best. And he was one of the first singers to really take advantage of his position as the front of the band, and his voice just completely changed the way that frontmen from that point onward performed. I feel like I don’t need to write anything about Robert Plant because you all know he’s the shit so I’ll stop.

2. Brandon Boyd



You know him from: Incubus
The women love him, and I gotta agree with them-in a completely heterosexual fashion. Boyd is one of those rockstars that you wish stayed young, but you appreciate the growth. Incubus started out as crazy funk thrashers with The Fungus Amongus and S.C.I.E.N.C.E. and Boyd was the leader of their pack, he would bounce all over the stage and scream and dance and every little thing they did was precise. And as Incubus aged (and as record labels pushed them) their sound became more tame, more emotional, and less screamy. But unlike so many bands that get castrated by record execs (Hoobastank for example) Boyd and Incubus kept their credibility and his voice brought them massive success. What I love about Boyd, is that as he grows his voice seems to go with him, while his lyrics and singing style get more and more mature you can still feel those hints of the early records popping out, I just wish he’d let them see the light of day.

1. Mike Patton



You know him from: Faith No More, Mr. Bungle, Peeping Tom, Tomahawk, Fantomas and I’m sure there are more.
If you know me this should not shock you. While many of these other guys may be diverse singers, with a few different modes, Mike Patton can sing anything and everything with precision and skill. Faith No More is alternative rock, Mr. Bungle is experimental, Peeping Tom is poppy, his work with the X-Ecutioners is hip-hop, and he has an album of classic Italian songs coming out. Honestly there is no way for this guy to mess up. And not only is he extremely talented when he sings, but his stage presence is unmatched. He’s done some ridiculous things on stage, once with Faith No More he ate garbage! There is no frontman who can compare to Mike Patton, many come close, but none can touch his level.

The Top 10 Albums of 2007

a.k.a. Winch's Listening Corner Entry 5

2007 was a year that seems to be looked upon with a sad face as far as the future is concerned. The years breakout hit “Crank Dat (Soulja Boy)” was featured on what many critics call the worst album of the year. And T-Pain, a man known for his computer-tweaked voice has been on top of the charts all year long. And who can forget the comeback of the year with Britney Spears? Well…while the year may be remembered for a whole load of its own musical feces, there were a fair share of noteworthy albums (contrary to some friends of mine, I think the Arcade Fire was lackluster). And with that I present to you my top 10 albums of 2007.

Before I begin the countdown , I’ll give a few brief honorable mentions…

Talib Kweli- Ear Drum- While Talib seems to have found beats that match his impressive rhyming skills, the album runs about 7 tracks too long and although it has its gems, it falls on its face during its second half.

Kaiser Chiefs- Yours Truly, Angry Mob- This is a solid listenable album from the Kaiser Chiefs, it just doesn’t ring that bell in my book. Maybe after a few more listens it would have knocked its way onto my list, but it’s too late for that now isn’t it?

Amy Winehouse- Back to Black- This album played really well for the first couple of plays and then it just kind of got tired. Maybe after a nice break from Amy, and maybe if she took a nice break from causing all sorts of trouble, this album will re-assert itself into my head. But until that day, Amy can’t make the cut.

Okay, now onto the main course…

10. Tomahawk-Anonymous

Tomahawk frontman Mike Patton has been associated with weird and bizarre music since his first band Mr. Bungle caught the eye of the public in the late 80’s. However, Tomahawk’s Anonymous seems to get about as weird as possible as far as a modern metal album is concerned. While Patton has done some music so strange, some consider it un-listenable (Fantomas for example) this album somehow keeps the listener keen in a very unusual way. The entire album is based on Native American culture, and many of Patton’s lyrics are derived from Native tales. While the words are oftentimes incomprehensible, the music in the background is very moody, ranging from pow-wow happy tunes, to grim tracks that feel like they belong in a horror movie. The album is not meant for everyone, but if you’re one of those people that truly understand the art that made Anonymous, you can appreciate it.

Standout Tracks- Mescal Rite 1, Red Fox, Antelope Ceremony

9. Beastie Boys- The Mix Up

Beastie Boys have been known to push the bar. They went from macho clowns to genre jumping innovators, and gained massive popularity along the way. However with their previous work To The Five Boroughs, critics said the Beastie’s were simply falling into a mold, not really doing anything particularly innovative. The Mix-Up is in the same vein, while Boroughs allowed the Boys to make a straight up hip-hop record, Mix-Up gives them the chance to jam out like they do on Ill Communication and Check Your Head. Although the album can be a bit tiring, it has a few funky gems that make it a good listen, and a must-have for all of those who enjoy throwing relaxed social events.

Standout Tracks- B For My Name, The Rat Cage, The Cousin of Death

8. K-Os- Atlantis: Hymns For Disco

For those unfamiliar with K-Os (pronounced like the word “chaos”) he is a musician hailing from Canada who started out strictly as an emcee and moved more and more from his debut Exit to his most recent effort Atlantis: Hymns for Disco. K-Os jumps from genre to genre with ease on this album and he shows his level of talent as a vocalist both by rapping tracks, making statements about the current hip-hop game, his life and shouting out his influces, and also by singing some straight up rock songs very well. This is worth a listen for anyone, as there is something for everybody on it.

Standout Tracks- Fly Paper, Sunday Morning, Valhalla

7. Queens of the Stone Age- Era Vulgaris

Ever since the huge release of Queens of the Stone Age’s Songs for the Deaf, the band seems to have fallen from their graces as one of the most creative and original rock bands that make it through to the MTV airwaves. With the departure of bassist Nick Oliveri, as well as guest drummer Dave Grohl of Nirvana and Foo Fighters fame, Queens has gone from being awesome and unique to the lead singer/guitarist Josh Homme show. While on Songs and earlier efforts, the band split up frontman duty and each member seemingly had their part in the creative aspect of the band, we only see the musical power of Homme. With the negatives out of the way allow me to say that Era Vulgaris packs same punch as QOTSA’s last album Lullabies to Paralyze, and although it’s not particularly innovative it still rocks hard. With the addition of some grungy keyboards, Homme seems to have added another dimension to his muddy rock sound that makes it feel extremely familiar, yet new. Overall the album is worth a listen, but it will come off as a bit stale to hardcore fans of QOTSA.

Standout Tracks- Turnin’ on the Screw, 3’s and 7’s, Make it Wit Chu

6. The Hives- The Black and White Album

Coming out of the huge “The” phase of the early 00’s, The Hives have set themselves apart from their counterparts in The Vines, The Strokes and The White Stripes. These Sweedish boys have struck gold yet again with The Black and White Album which packs the same punch as their breakout album Veni Vidi Vicious but has crisp, smooth mixing, rather than grimy, twangy, almost garage sounding mixing. While “real” music fans may scold The Hives and similar bands for writing simple songs and riffs, no one can argue with the energy in all aspects of the band, from the quick guitar to the punchy drums to the over the top vocals, this album came out of left field and entertained me to no end.

Standout Tracks- Tick Tick Boom, Well All Right!, T.H.E.H.I.V.E.S.

5. Wu-Tang Clan- 8 Diagrams

The Wu-Tang Clan has been a dominant force in hip-hop since their debut in 1992 with Enter the Wu-Tang, and since then they have garnered a huge following from all colors, classes and ages. And after their highly successful stint on Rock the Bells over the summer, fans eagerly anticipated their next album, and lets just say 8 Diagrams delivers the necessary jolt mainstream hip-hop needs. While their may have been a rift between members Ghostface Killah and Raekwon against the guru beatmaker RZA, all the negative hype from Ghostface and Raekwon only make the album sound that much better the first time you play it. While it may not be as groundbreaking as Enter the Wu-Tang, this album brings a new, darker dimension to the Clan. With collaborations from George Clinton, Erykah Badu, John Frusciante, Dhani Harrison, Dexter Wiggle and others, the Wu re-assert themselves as the kings of hip-hop and command the respect they deserve through their verses and beats.

Standout Tracks- Unpredictable, Rushing Elephants, Starter

4. M.I.A.-Kala

My first taste of M.I.A. came from MTV’s constant play of her live performances between their quality programs like Next and The Ex-Effect. I must say I was hooked from the beginning as she sounded like a more chiseled Lady Sovereign. However, upon my purchase of Kala, I realized there was much more to M.I.A. than some grime rip-off. The beats are all entertaining and keep your head moving, and the lyrics range dabble in humor. While this album can be overbearing (especially with bass boost headphones) it never seems tired or overdone. I’m not a fan of electronica music, but for some strange reason M.I.A. hits the nail on the head. Give this one a listen if you’re up for some fun.

Standout Tracks-Bird Flu, $20, Paper Planes

3. Aesop Rock- None Shall Pass

Upon purchasing Aesop Rock’s None Shall Pass after hearing the single “Coffee” on MTVU, I was overwhelmed by the quality and originality of the music I was hearing. Aesop Rock has been infamous for combining high quality raps with sub-par beats, but on None Shall Pass the beats are on the same level as his rhymes. This album is particularly interesting because half of it plays like a rock album in the vein of some Rage Against the Machine while the other half plays like some hip-hop you’ve never heard before. Aesop Rock’s lyrics are supremely entertaining and his flow is complex and original, going places most mainstream and even some underground rappers wouldn’t dare. Now I don’t mean to say that Aesop Rock transcends his genre, but even the great hip-hop albums released this year don’t have the diversity presented in None Shall Pass.

Standout Tracks-None Shall Pass, Citronella, Coffee

2. Kanye West- Graduation

After shutting up 50 Cent after Graduation trampled over Curtis, Kanye West just sat back and let the listeners enjoy the downright awesome CD he put out this year. From the front to the back, this album is highly enjoyable and there is not one track that’s worth skipping. Although Kanye is no Talib Kweli by any means, his production makes up for his lack of tip top rhyming skills. And for once this year, every single released on the album is good, “Stronger” is probably the best track on the CD. Although sometimes he preaches to be something he’s not, claiming to be a genius at one point on the album, there is no denying the fact that Kanye West’s Graduation is easily the best and most fun hip-hop album of the year. For all those people that push for quality hip-hop on the radio, Kanye should be your savior.


Standout Tracks- Champion, Stronger, Barry Bonds

1.The Good, The Bad and The Queen-The Good, The Bad and The Queen

Damon Albarn is a name associated with quality. Blur is one of the defining bands of the 90’s, even if “Song 2” is their only major US hit. And Gorillaz did a good amount of turning heads by incorporating rappers like MF Doom and Del tha Funkee Homosapien into their rock/rap tracks. However with The Good, The Bad and The Queen, Albarn chills out, and makes arguably his best album yet. By calling in ex-Clash bassist Paul Simonon, Verve guitarist Simon Tong and Afro-beat drummer Tony Allen, TGTB&TQ effectively hooks in rock fans and keeps them in, all without the aid of distortion. Much of the albums success can be contributed to the production of Grey Album star and Gnarls Barkley member Danger Mouse, who treats the album as if it were hip-hop, making Simonon’s thumb plucked bass notes bounce through your subwoofer like it was a Pharrell beat. The album plays extremely well from front to back and although some may find it dull, this album hits the spot whenever it is needed.

Standout Tracks- History Song, Herculean, Kingdom of Doom

We're Not Worthy!

OR: Winch’s Listening Corner Number Four

I’ve noticed in my dealings with friends both in Connecticut, on Long Island and throughout the burrows of the internet, that people take pride in the music that they like. If someone clues his or her friends on to a band, they take pride in that and they are the ones who can claim that they turned on their posse to a certain artist or genre. Also, let it be noted that people in little local bands can take pride if they play a gig with a band that eventually gets a big break take pride in the fact that at one point in time that band was on a level similar to them (as I do so often with Gym Class Heroes and Patent Pending). And by no means is this pride in music wrong-in fact it makes for good conversation. But what happens when those responsible for turning on their friends-or just mega fans-take this pride in their artists too seriously? To be quite simple, the people come off as ignorant.
One major piece that makes over-confident music fans look ignorant is claiming to be loyal to one scene. This could be the white kid who has only been into hip-hop for a year, and claims to be some underground hip-hop aficionado or the kid who says he is a hardcore metal fan yet doesn’t own one piece of leather and only listens to the metal you’ll hear on Headbanger’s Ball. I’m not saying the people that are in these scenes are ignorant-just those that are…posers. Identifying yourself with one scene these days is foolish for many reasons, but if one makes that choice they need to have credibility towards it and they need to live out that scene. Although I am not a fan of their music in general, I must say I respect the punks that sport 10 inch mohawks and studded jackets, since they live the image that’s present throughout their music. So to wrap this minor subject up, don’t go sayin’ you’re something you’re not. And know what you are.
Another thing that bothers me is people putting their favorite artists on a pedestal above the rest of music. This really bugs me because people can get so defensive-and rightfully so in some cases-since they really love the artists. I know with me, I have gotten a handful of people tell me that Primus and Mr. Bungle suck, and those are two of my favorite bands, but I don’t get mad since I know it’s all about preference. Oftentimes this over-defensive idealism comes in from people that are fans of generic classic rock-specifically the Beatles and Led Zeppelin. Bands like the Doors, Who, Pink Floyd and Lynrd Skynrd also fit into this category, but generally the two gargantuan rock bands are the Beatles and Zep. People make it like the Beatles and Led Zeppelin are these untouchable deities that if tampered with, will kill whomever toyed with them. And when I say “tampered with” I mean anything-sampling, covering or mashing up. People hear Dangermouse’s Gray Album, or Puff Daddy’s “Come With Me” which features Jimmy Page playing the “Kashmir” riff and say “You can’t do that to The Beatles/Led Zeppelin” and when you ask why the answer is usually something along the lines of “Because it’s fucking Led Zeppelin!” Let me tell you something, Elvis stole “Hound Dog”. Think about that for a second. Elvis stole one of-if not-his biggest hit. Do people look at that and criticize Elvis for stealing someone else’s song? No, because apparently he is on a pedestal above everyone else. So why criticize Dangermouse for mashing up two great artists?
I’m not saying that all covers and samples should go without criticism, if it’s bad call it out, but if it’s good, it doesn’t matter who did it or who it is sampled. An example of this criticism is one of the tracks off the new Wu-Tang Clan album called “The Heart Gently Weeps” which as you may have guessed, samples the chord progression from “While My Guitar Gently Weeps”. It even has Dhani Harrison tracking guitar-but I think it’s a weak song, especially coming from the Wu-Tang Clan and I’m not afraid to criticize it, in fact I feel that if an artist misuses a sample they should be criticized even moreso. What pushes my buttons even more is the fact that people think these musicians would be offended to hear that they have been sampled or covered. Everyone who says “You can’t cover Classic Artist X” has obviously not heard Jimi Hendrix’s “All Along The Watchtower” which is a cover of Bob Dylan or even Johnny Cash’s cover of Nine Inch Nails’ “Hurt”. These artists are not angry that they are being covered, they are honored. Think about it in simple terms-being copied by someone is the greatest honor, right? Same theory applies in music. In fact, oftentimes these artists are very for being sampled or covered. Public Enemy’s Chuck D has openly allowed people to sample his music and now it seems like any and every rapper uses a Public Enemy sample-Chuck D’s not sitting saying “Saul Williams isn’t good enough to sample my music!” He’s saying “Damn, these people are influenced by me enough to take a bit of my tune and using it in theirs!” And this is not hip-hop exclusive-it is just as relevant in rock. As I mentioned before Jimmy Page appeared on the track with Puff Daddy, so that means he approved of what Sean Combs was up to. And Queen guitarist Brian May made a comment after William Hung (of all people) covered “We Are the Champions” he said that he will allow anyone to cover Queen as long as they do it in a creative fashion. And honestly, do you think Steven Tyler and Ozzy Osbourne were upset to hear guys like Eminem and Lil’ Jon sampling them? Hell no! They were getting exposure from these artists who obviously appreciated them enough to sample them.
So to summarize, no artist is untouchable and no artist is perfect. Now I’m not going and saying that all artists are on the same level, but all artists are subject to being used as a form of inspiration for other artists-and if this means Lil’ Jon samples “Crazy Train” so be it. All of you leather clad metal heads just change the channel or station!
So the bottom line is this music lovers, don’t be close minded. You’ll come off as an ignorant jerk and you may hurt someones feelings. All music is equal (except for Grindcore and modern Country…just kidding) and no artist is immune to any treatment. That’s not too hard is it?

Please comment back with feedback and thoughts-all is appreciated.

THE ULTIMATE CLUE ON!

Winch’s Listening Corner Entry 3:
The Ultimate Clue-On

Being a fan of music as a whole, and being a musician myself, I find there is no greater joy than using my own knowledge of music and genres to clue a friend into a band or musician. Over the past few years, with the aid of memory sticks, connected music libraries and crates full of CD’s, I’ve handed out a good share and done a good amount of cluing on. And I’ve been given my share of albums and have been clued on by my friends. Now, when people tell me about any particular artist, what usually hooks me is a brief explanation, or just comparing them to some other artist. And with that I’ve been given inspiration. In the next few minutes, I will give you a very quick “clue on” to 50 artists. A brief explanation, and a few guys to compare each one too. So, strap on your safety belts and get ready to go on a ca-razy ride!

(WRITERS NOTE: After looking through this completed list, I realize that I may offend some hardcore fans with my comparisons here. Please recognize the fact that I’m not trying to make people read this and say “Good bit on The Beatles!” but say “Hmmm…maybe I’ll give the Beatles the chance I never gave them.” Bottom line is this is not for the hardcore fans at all, but for the…how do you say it…n00bz.)

(I’ll start off with my personal favorites)
1. The Beatles- Every single band today is influenced by these guys, if you don’t at least give them a shot, you need to respect what they’ve done. If you like The Who, The Rolling Stones, or Bob Dylan, I’d listen to them.
2. Incubus- Probably the most musically versatile “pop” rock band. Incredible musicians, Boyd has an incredible voice, and these guys have evolved more than any other modern rock band out there. If you like Red Hot Chili Peppers, 311 or Deftones listen.
3. Devo- Don’t let “Whip It” be the base on your judgement of Devo, cause these guys combine mathematic and precise writing skills, with catchy, interesting riffs, not to mention they were quite controversial when they started off. If you like Gary Numan or They Might Be Giants check out Devo.
4. Red Hot Chili Peppers- One of the most musically talented popular rock acts today. A very well rounded band musically, with enough music to interest you for a while. If you like Primus, Incubus, or any of the 70’s Bass heavy funk listen to RHCP.
5. Primus- Humor and musical genius clash in this trio. Extremely overlooked by the big networks like Fuse and MTV, these guys are extremely influential in their genre and have changed the way the bass is looked at as an instrument. Similar artists are Mr. Bungle, Red Hot Chili Peppers, and Buckethead.
6. Beastie Boys- These guys have legitimately held their own in a genre dominated by another race for 20 years. Their original lyrics and rhyme flows make the Beasties stand out in a genre that seems extremely repetitive and has seemed to get more and more dull since it’s origin. If you like Eminem, Run- DMC or Public Enemy you’ll enjoy the Beasties.
7. Mr. Bungle- For those of us that skip songs every 10 seconds, Mr. Bungle is perfect, switching genres like its their job, this group lead by Mike Patton is a staple for any fans of anything abnormal and experimental. Similar artists include Estradasphere, The Mars Volta and Primus.
8. The Roots- One of the few mainstream hip hop “bands”. While other cats in the genre rely on machines to make the beats, the Roots have a full band to back MC Blackthought’s educated rhymes. If you like Jurassic 5, Mos Def, or Talib Kweli, these guys are right on target for you.
9. System of a Down- As these guys have gone on in their careers, they’ve gotten a lot smarter and more musical. Not just screaming anymore, SOAD now uses melodic vocal harmonies and intricate musicality to send their message to listeners. If you like Deftones, Rage Against the Machine or Korn, you’ll like these fellows.
10. Rage Against the Machine- The first huge rap-rock band. The grooves of the rhythm section combined with the politically charged vocals make for an emotional and original musical experience. If you like Primus, System of a Down or Audioslave, check out Rage.
11. Cake- A funky, original and enjoyable band, Cake draws in listeners with original vocal stylings and catchy bass licks. An interesting band that stands out among bland rock bands. Similar artists include Beck and Red Hot Chili Peppers.
12. Weezer- Pop and emotion in one band! Credited for making ‘emo’ popular, Weezer uses catchy guitar riffs and sing-along lyrics to woo listeners. Similar artists include Jimmy Eat World, Beck and Green Day.
(Now for some more obscure bands and artists)

13. Public Enemy- The first politically charged hip-hop group, the pressing lyrics of Chuck D combined with the humor and over-the-top antics of Flavor Flav make for an original listening experience. Similar artists include Run-DMC, N.W.A. and the Beastie Boys.
14. Andrew W.K.- Extremely high-energy music, A.W.K. has extremely simple lyrics and music that gets listeners pumped up and ready to rock. A very fun musical experience if you’re not thinking “This is simple and stupid!” Take it for what it is! If you like Deftones and Green Day, Andrew will make you smile.
15. RX Bandits- Once a ska band, these guys have taken a more progressive and original sound. With a good message and an incredibly emotional singer, RX Bandits are sure to get you thinking and tapping your foot. Similar artists are Less Than Jake and The Mars Volta.
16. Smashing Pumpkins- This well documented rock band has roller coaster like albums, with straight up rock tracks, to soothing songs with large string sections adding textures and emotion. One of the best bands to come out of the 90’s. Similar artists include Stone Temple Pilots and Soundgarden.
17. Chronic Future- This is what happens when you successfully combine pop punk and hip-hop. A very well made hybrid band, Chronic Future rocks out with an unparalleled sound. If you like Linkin Park, Limp Bizkit or Rage Against the Machine, check out these guys.
18. Bela Fleck and the Flecktones- Fusion, jazz and funk all in one package. The Flecktones have all mastered their instruments and perform original tracks that highlight each member, and show off their ability to click as a group. Similar artists include Victor Wooten’s Soul Circus, Jaco Pastoreus and Herbie Hancock.
19. Buckethead- One of the best shredders who is not afraid to leave the realm of guitar tapping and screeching. With his latest album “Enter the Chicken,” Buckethead has done anything and everything to show off his diversity while still holding the title of the most original shredder in the business. If you like Primus, System of a Down or Parliament, Buckethead will tickle your fancy.
20. K-Os- This fellow successfully hops from rock to hip hop and everything in between without causing any sort of stir. Original sound, beats and production help make K-Os stand out in a genre where everything sounds more and more the same. Similar artists include The Roots, Jurassic 5 and even a bit of John Mayer.
21. Deadsy- This synth-heavy numetal band uses heavy distortion and blaring keys to take a different look at the metal genre. They also tap into their roots, covering the likes of Rush’s “Tom Sawyer” and The Rolling Stones’ “Paint it Black”. If you listen to Korn, Deftones, or Limp Bizkit check out Deadsy.
22. Del Tha Funkee Homosapien- Cousin of hip-hop legend Ice Cube, Del writes rhymes that play off like no other hip-hopper. These rhymes are backed with original beats that keep listeners interested. Check out Del if you like MF Doom, Heiroglyphics, or Mos Def.
23. John Mayer Trio- This “side project” was the first the world saw of Mayer’s evolution from an acoustic pop singer to an educated musician. Mayer’s heavily trained guitar skills are put on display alongside bassist Pino Palladino and drummer Steve Jordan. Similar artists include Stevie Ray Vaughn, The Jimi Hendrix Experience and John Butler Trio.
24. Men, Women, and Children- MW&C add a dash of techno/dance to rock in order to produce a completely original sound. Combining electronic drumbeats and keyboards with a live band proves to work with these guys. Similar artists include Peeping Tom, Maroon 5 and RX Bandits.
25. Oysterhead- This super-group made up of Primus bassist Les Claypool, Phish guitarist Trey Anastasio, and Police drummer Stuart Copeland funk things up with their original psychadelic-funk hybrid. Each musician adds equally to the equation, making for a well-rounded musical experience. If you’re into The Grateful Dead, Phish, or Primus, check out Oysterhead.
26. The Raconteurs- Jack White’s newest project replaces the weakness of Meg White’s drumming skills and the lack of a full band, and does so in a way that makes Stripes-haters go “Wow, he is good.” Their blues/rock sound gives both the feel of an older blues band with the originality of a newer rock band. Similar artists include (newer) Bob Dylan, John Butler Trio, and The Hives.
27. Reverend Horton Heat- Known by many for their song “Psychobilly Freakout” on Guitar Hero II, Reverend Horton Heat has been a rockabilly mainstay for many years. Combining the pluck-along guitars of country and bluegrass with the attitude and edge of 90’s post-punk, the Rev. gets the job done in a cool way. If you like Oysterhead, X and Y, check out these fellows.
28. White Zombie- Although Rob Zombie is now a metal icon, he was once a newcomer looking for his niche, and White Zombie is where he found it. They take the grit of metal and give it a pyschadelic twist that some with Rob had stuck with into his solo career. Similar artists include Rob Zombie, Korn and Black Sabbath.
29. That One Guy- That One Guy created his own instrument dubbed “The Magic Pipe,” which in actuality is two metal pipes connected, each with one upright bass string, the pipe is also covered with drum pads, and TOG carries a cowbell pedal and snare drum along. This solo experience mixes looped effects and the originality of the pipe itself. Similar artists include Mr. Bungle, Primus and Buckethead.
30. Rahzel- The king of beat-boxing, Rahzel’s music is mostly a way for him to show off how well he can mimic sounds without the aid of any machines. Although his album features produced beats, the Rahzel experience is present throughout. If you enjoy The Roots, Peeping Tom, and Fatboy Slim, listen to Rahzel.
31. The Good, The Bad and The Queen- This UK supergroup made up of ex-Clash bassists Paul Simonon, Blur/Gorillaz frontman Damon Albarn, Verve guitar player Simon Tong and afrobeat drummer Tony Allen is successful due to its laid back music. Combined with the extremely high quality production of Danger Mouse, TGTB&TQ are a band that are most definitely worth the listen if you like Blur, The Doors or K-Os.
32. The Darkness- Another band that shouldn’t be judged by their big hit. These guys all rock on their instruments and the vocals of Justin Hawkins just tear through any stereo system. Similar artists are Jet, Queen and Led Zeppelin.
33. Lady Sovereign- The Queen of the UK’s ‘grime’ movement, the SOV combines original, up-tempo beats with humorous lyrics. Still young, she has a lot of room to evolve and grow as the years go. Similar artists include The Streets, Eminem and Dizee Rascal.
34. Big D and the Kids Table- This aggressive Boston based ska band is known throughout the ska scene as one of the prominent bands in the genre. Take Less Thank Jake or Reel Big Fish and make them mean jerks, and that’s what you get from Big D. Similar artists include the Mighty Mighty Bosstones, Less Than Jake and Spring Heeled Jack.
35. Mike Falzone- Slated from my hometown of Stratford CT, Mike Falzone takes acoustic pop/rock and adds in a hint of hip hop in the production stage. A unique sound, and a promising future make Falzone stand out over the rest of the open mic crowd. Similar artists include (early) John Mayer, Jack Johnson and Jonnie Proud.
36. Danger Doom- This duo of M.F. Doom and DJ Dangermouse made their LP “The Mouse and The Mask” for the cats at Adult Swim, and it really is awesome. The quality of the lyrics and production, combined with the humor of Adult Swim interludes makes Danger Doom a worthwhile listen. Check out Danger Doom if you dig Del, Jurassic 5 and Talib Kweli.
37. Patent Pending- Hailing from Long Island, these guys have made a name for themselves opening for the likes of Gym Class Heroes and Matisyahu. They combine pop punk with ska and a little bit of screamo. It’s tough to compare these guys to anybody, so just give them a listen.
38. Black Star- The combined hip-hop power of Mos Def and Talib Kweli shine in this record that made them the stars they are now. While both men have gained quite the followings at solo artists, this debut is what opened that door for them. Check out Black Star if you dig The Roots, Jurassic 5 or either Mos or Talib’s solo stuff.
39. Beck- Although Beck is relatively well known and respected throughout the alternative community, he is overlooked by many casual music fans. I feel that Beck is just a fountain of musical genius, he has made punk, pop, and hip hop albums over the past decade and a half and has done it well. And that’s a tough thing to do. Check out Beck, no matter who you like, there’s some Beck for you.
40. Flogging Molly- Another relatively well known group, Flogging Molly takes punk music and tosses in traditional Irish instrumentation for what is a very cool and fun music experience. Similar artists include Dropkick Murphy’s, Green Day, and The Tossers.
41. Gym Class Heroes- I know you’ve all heard “Cupid’s Chokehold” by now, and maybe some of you have gone and picked up As Cruel As School Children, but how many of you have gone back and listened to their first major album? If you want to hear some solid tracks, and only one “emo/rap” hybrid, check out their other stuff, a good band nonetheless though. If you like any Fall Out Boy, The Roots or K-Os you will enjoy G.C.H.
42. Kenny Wayne Shepherd Band- This bluesy rock group had a hit in the mid nineties with “Blue on Black” which you may have heard on your local classic rock station. Shame the radio doesn’t play more of Kenny’s rockin’ stuff, because it really is cool and good. If you like Jimi Hendrix, newer John Mayer, and Stevie Ray Vaughn listen to Kenny.
43. Phantom Planet- Known for performing the song “California” which was used as the theme to The O.C, Phantom Planet is a very diverse sounding indie band. The mixing on their self titled album adds to their very crunchy ad straightforward sound. Similar artist would be The Strokes, Franz Ferdinand and Modest Mouse.
44. Pitchshifter- This U.K. group didn’t really hit it off too well in the states, however a handful of their tracks made it on the Twisted Metal 3 soundtrack. They take electronic beats and layer them over aggressive guitars and thought provoking lyrics. If you like Marilyn Manson, Deadsy, or Nine Inch Nails definitely check out Pitchshifter.
45. The Presidents of the United States of America- They had two minor hits in the 90’s with “Lump” and “Peaches” but the Presidents have a really cool sound that no one else seems to be able to touch. The guitarist and bassist don’t actually play a guitar and a bass, but their own hybrid instruments, the guitbass and basstar. Check out The Presidents if you like Primus or Phish (I’m on a roll with these P’s).
46. Return to Forever- This 70’s prog group formed by keyboard legend Chick Correa took fusion and progressive music and combined it with medieval themes to create the album The Romantic Warrior. A staple in progressive music’s history, RTF puts their brain into their kickin’ tunes. Check out these cats if you dig Weather Report or Herbie Hancock.
47. RJD2- This funky DJ serves up some really cool beats and turns them into legitimately good 3-5 minute tracks. Although they may sound better with lyrics behind them, they are still cool background tracks for any intense car ride or crazy chase you may find yourself involved in. If you like The Streets, Fatboy Slim or The X-Ecutioners, you should give RJD2 a try.
48. The Streets- a.k.a Mike Skinner, The Streets are a one man barrage that brought the grime movement to the UK’s mainstream music rotation. With spoken word lyrics that are funny, emotional and to be simple good, and self made beats, The Streets stand out in a genre defined by sampling other peoples music. Similar artist include Lady Sovereign, Dizzee Rascal and Eminem.
49. They Might Be Giants- This nerdy rock band is simply awesome. I wish I knew more about their pasts, but all I can say is that they are a very fun musical experience, that can be enjoyed by people of all ages. It’s tough to compare TMBG to anyone, but if I had to, I’d say some of Primus’ more toned down stuff, Devo and Gary Numan.
50. William Shatner- Captain Kirk made an album back in his heyday with fellow Trek cast member Leonard Nimoy, and after a long lapse from the music biz, he returned with the Ben Folds produced Has Been. It is a goofy album that pokes fun at Shatners, and at the same time actually has some damned good tracks. If you like Ben Folds, Star Trek, and stupid pop culture things then Shatner’s music career is something you’ll dig.

And I've got more in my head!

Listening Corner #2: Mix Tape 101

When you go out for a drive with your friends, do you get tired of the same old songs on the radio? Do you wish that you could be in control of what you listen to from start to finish? Well make a mixtape! Don’t know how? Well you’ve come to the right place! I will try to make the process of a making a mix of playlist easy so that everyone can be burning 5 star mixes in no time at all!

I’ll be breaking it down into steps that should be relatively easy to follow. Also, I am assuming all of you readers have a broad range of music you listen to, if you don’t than I fear you may not benefit from these tips. Your fault for being so close minded. So let us get started then.

1. Starting Off- One very easy way of hooking someone into a mix or playlist is how you start it. If you open your mix with a song that has no energy or lacks a clear hook you can be automatically destined for disaster. This is the time in the mix to put a song that has 100% energy throughout. Something that will make listeners shake their head and nod along. My personal favorite mix starter is Dick Dale and the Deltones “Misirlou,” the simple reason being that it kicks off with energy and is consistent with it. Also, the Pulp Fiction soundtrack offers a few seconds of dialogue before the song starts, so it kind of preps you for the energy about to ensue. Anything that just launches people into the CD.
2. Artist Dominance- I’ve noticed that a lot of mixes fail because they are overloaded with the same artist. One thing that a good mix does is make listeners say “This is good, what band is this?” or say “I like these guys.” When I make a mix it never has the same artist appear more than once, now this can be hard to do since a lot of bands have multiple songs that are good. But you can show off you’re musical knowledge if you simply avoid repeating artists. Don’t put that second Doors song on the mix if you know none of your friends have listened to TV On the Radio.
3. Genre Dominance- This is a really easy one to avoid if you have a big library of music. Don’t put the same basic genre back to back. Now this isn’t as broad as say going in a Rock-Hip Hop-Rock-Hip Hop order. It can be whittled down to not making the mix go Pop punk-Pop punk-Metal. Mix up the genre order, it keeps the sound fresh. If you have too much of the same genre it can get tiring, and once someone gets bored of the mix for a legitimate reason like too much of the same thing, you know you’ve made a bad mix, or at least organized it badly. Make track one classic rock, track two hip hop, track three progressive, track four classic rock, track five pop punk. It’s not a hard concept to grasp.
4. Make it fun- Put on something funny to break between the tunes. Give the listener a quick laugh before giving them another good track. TV show bits from like the Simpsons and Seinfeld, or comedian bits are great. Or you can just put a track that’s an inside joke or something. Anything that will crack a smile is good. This is the place where Mitch Hedberg can be used incredibly well.
5. Clue in the listeners, but not too much- If you listen to music that your friends don’t put some tracks from those artists on the mix if you think they will go over well. If none of your friends like metal, don’t try to clue them into Killswitch Engage. But if you know your friend likes The Hives but they’ve never listened to The Strokes, put on a Strokes song. But don’t overkill this idea. Don’t make the mix 20 songs that nobody has ever heard. Make it something like 50/50, so listeners can sing along and also get clued into new artists or genres.
6. Listen to your mix- This one is another one that’s really simple. Listen to the CD you’ve made before you put it to use. If you’re making a CD or playlist for a party you’re throwing, REMEMBER haste makes waste. If you make your mix and send it out 10 minutes later you could have made some bad mistakes. I make my mixes about a week in advance and just shuffle through it on my way to class. And if I go “eh, I dunno how this song fits,” I pull it and look for another one that fits the bill. Refine it so it’s perfect before you put it out there. I know if I put out my first drafts of mixes I would not be very happy with my own outcome.
7. Make sure the mix isn’t turned off- With iPods out nowadays, it’s really easy for a friend to simply unplug your tunes and put in theirs. If people disagree with three of the first five tracks of your mix and ask to change it don’t let them! Your mix is a work of your art!
8. Don’t be afraid to take a chance- If you feel like the mix is solid, but you’re not sure that all of the potential listeners will like it go out on a limb and try. If you are worried about one track, and you are confidant about every other there is no reason not to take a chance.
9. Be aware of your audience- If you’re going to have your playlist playing in the car for some long drive, make sure you’re not going to offend anyone with what you have on the mix. This is another really easy one, don’t put on songs that are offensive to a certain race, and if you have some uptight people, don’t put overly profane tracks on.
10. End it well- This step is similar to the very first step. All you need to do is end with a bang. It doesn’t need be a big bang, just make it a good ending. The perfect mix ender is “The End” by the Beatles. It packs some energy that makes the listener tap their foot, and then slows down and ends on a nice open chord with a nice last line to leave the listeners satisfied. A song that ends quietly can make the listeners go “Man, that was a good ending” and that’s what you want now isn’t it?

So that’s it! It’s not too hard to follow. Hopefully I gave you some good advice. If you have any ideas or methods that you use feel free to leave them. Until next time…