lots of good picks in this thread, gonna highlight five great ones that people haven't mentioned yet
key glock - yellow tape
kahlil blu - dog
mozzy - beyond bulletproof
r.a.p. ferreira - purple moonlight pages
los & nutty - panagnl4e, vol. 2
I know we're all thinking it, so I'm just gonna say it.
Rivers Cuomo and Weezer are capital-C Cowards for changing the key for their cover of "Africa."
Had this album when I was ten, but my parents would only let me get the clean version. Which, mercifully, spared me from hearing "Kim" and instead replaced it with this novelty South Park homage
https://www.youtube.com/watch?v=_OfsxuVyOdk
Polo is so freakin good. he has superhuman melodic skill--it goes far beyond the general rap warbling crowd, he could be a massive radio hitmaker if he wanted to be. Future and Durk are obvious influences, yes, but the rapper he reminds me of most is Wiz Khalifa. Stylistically, I mean. Lyrically, he packs more substance into a single verse than Wiz's decade-long career.
The GOAT isn't quite as good as Die A Legend, true. It suffers a little bit from second album syndrome, but it's a great sign that Polo can work as well within the major label rap context as he can in his own siloed, sad world. It still has some gutting lyrics, and some moments where I stand in awe of his talent. I lost count of all the times he kept the same rhyme scheme for an entire 16-bar verse.
Oh, and if you're worried people won't notice, looks like The GOAT is set to move between 85-95k units in its first week.
one thing people don't usually mention about kraftwerk is that they were a hell of a lot of fun. important, yes, but they had a great sense of humor and we're crazy good live performers.
saw a bunch of these guys during a shoreline mafia show in november, mostly standard rap stuff of people shouting over their backing tracks. teejay opened, sada baby and lonnie bands popped up during the shoreline performance. sada is an unsurprisingly arresting stage presence, and he performed bloxk party *swoon*
teejay has some good stage banter, and the dj def enjoyed telling everyone to watch their wallets before and after he went on stage lol
You can't go wrong with any of the first 5-6 Roxy records. All fantastic.
The s/t features some excellent canonical glam singles.
Stranded is the one to turn to for expansive epics that mix hard rock and continental sophistication.
Country Life is a grab bag of Americana-inspired rockers, glam stompers, and eerie FYP-style moods. And "Out of the Blue," which is my personal favorite Roxy jam.
Siren is the true halfway point between the early experimentation and the latter-days smoothness.
not feeling this. individual bars are great, but the beats sound sloppy and unfinished. several of the songs sound very hodgepodge, like they were compiled out of old and new verses .
happy the guy finished his album, but doesn't work for me as a listening experience ¯\_(ツ)_/¯
Awesome piece about a masterpiece.
It's funny, i don't find Voodoo to be that difficult of a listen. It's at times hard to wrap your hand around the rhythms, and it's definitely not background music, but it's easy to mesmerized by the brilliant rhythm section and D's uncanny ability to lock in with them. I think that signature "Voodoo groove" that Jack mentions is a function of that deep deep pocket--an ingrained funk that comes from both supernatural feel and hours upon hours of practice and study.
I was surprised by Tom's low grade for the song, but then I realized I'd mostly been spending time with this cover version, which is much slinkier and sexier (and somehow taken more seriously?) than the original.
Yes, the album is lighter on samples than the original Chronic (how could it not be?), but some of the best moments on the record are samples. There's that indelible "Bumpy's Lament" flip on "Xxxplosive" (my favorite Nate Dogg moment, maybe ever?) and a much more esoteric choice on the brilliant "What's The Difference"
you see, i feel the exact opposite. "Bonny," "When Love Breaks Down," "Faron Young," "Appetite"--those are hits.
"One of the Broken," "Doo Wop In Harlem," "Jesse James Bolero," "We Let The Stars Go"--those songs hit me hard
This is a truly brilliant album, few albums get to the core of youth's inherent sadness as eloquently and beautifully as this album.
Speaking of turn-of-the-decade British classics, I hope you guys are planning a retrospective on Prefab Sprout's epic masterpiece Jordan: The Comeback, which is one of the few albums that hits me emotionally like Hats.
this song is a forgettably irritating piece of seventies fluff, but it's nearly saved by the crisp work of Steve God...I mean Steve Gadd. Wouldn't expect anything less from the man responsible for the greatest drum solo (or only good drum solo?) of all-time
https://www.youtube.com/watch?v=fG2seugAgnU
"Ocasek’s vocal delivery — a perfectly awkward throat-frog hiccup — had more to do with Buddy Holly than with any other singer in rock history"
there's more than a little bit of Bryan Ferry in there as well
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