The Best of the 2014 MTV Video Music Awards

Ahh, the VMAs-- our yearly reminder that pop culture has taken a drastic turn towards sheer ridiculousness. In 1995, Courtney Love crashed Madonna's on-screen interview. In 2009, the ever so self-centered Kanye West interrupted Taylor Swift's acceptance speech for Best Female Video to proclaim that Beyoncé had the best music video of all time (duh). In 2013, Miley Cyrus made history by 'twerking' all over Robin Thicke, forever scarring thousands of viewers. And in 2014, the ladies rose above their male counterparts. 

This year, Ariana Grande and Nicki Minaj opened the show with a performance that had Grande emerge from a spaceship for her electro-stomper “Break Free,” Minaj dancing in a jungle for “Anaconda” and then the pair united with Jessie J for ladies anthem “Bang Bang.” It was the sort of over-the-top fun that award shows are made for – even if Minaj teetered on the edge of showing all her glory with a wardrobe malfunction. Find Ariana's new album, "My Everything", in the catalog!




Although Ariana and Nicki killed it (if you will), Beyoncé's closing performance was by far the highlight of the night. Using her blockbuster, self-titled visual album – which she dropped without warning late last year – as the source material, she moved through an ambitious medley that pulled from the entire project. Beyoncé reigns supreme. Enough said. You can pick up a copy of her self-titled album at the Dundee Library by clicking here.

 You can also check-out music by other performers like Taylor Swift, Miley Cyrus, and Usher.

A Valentine From De La Soul

"Love sought is good, but given unsought better."

-William Shakespeare, Twelfth Night (III.i)

The best valentine that you, or anyone, will receive this year comes courtesy of the legendary hip hop trio De La Soul. In celebration of the 25th anniversary of their classic debut album 3 Feet High and Rising, the group is offering their entire discography for free download. Repeat: the entire De La Soul catalog can be legally downloaded for free via the group's website; from 3 Feet High and Rising and De La Soul is Dead (endlessly inventive albums on which producer Prince Paul completely redefined the art of sampling in popular music) to their more sober-minded '90s work and beyond. This give-away is not limited to studio albums, so even devoted fans can find rarities and instrumentals for download. This is an extraordinary opportunity to familiarize yourself with one of the most innovative musical acts of the last quarter century. But, you've got to be quick about it, as the offer expires when Valentine's Day expires.

What we're listening to: Master of My Make-Believe by Santigold

I'm still catching up on music from last year, so I'm just now listening to Santigold's album Master of My Make-Believe, which was released last spring.

Drawing obvious comparisons to M.I.A., Santigold is less aggressive in her style and delivery, but still has something to say. Her influences are abundant and eclectic. Karen O. and Nick Zinner of the Yeah, Yeah, Yeahs, were quite involved in this record, from Karen O.'s vocal and writing contributions to Nick's handling of guitar work on several tracks. Diplo, Switch, Q-Tip, and Dave Sitek from TV on the Radio, among others, all produced at least one track. She also mentioned in an interview that she gains visual inspiration for her live shows from artists such as David Byrne and Bjork, but I would go as far to say that she is influenced by them musically because those two artists come to mind when I hear Santigold's record-- it has that worldly and genre-bending vibe to it.

Two tracks in particular stand out to me: "Disparate Youth" and "This Isn't Our Parade." They're nothing alike. The former is more straightforward and perhaps her more representative sound, the latter is laid-back and as close to a ballad as she gets. Track 9, "The Keepers," has a bouncy beat, but damning lyrics. It's all about the contrast. A great record for repeated listens because different elements come forward each time. This disc would be perfect for parties.

Side note: "Disparate Youth" is featured in the current Honda commercial.

Music Roundup: My Top 10 Albums of 2012

Top Ten

The Seer - Swans
The music on The Seer is far more sophisticated than the Swans recordings of the early-'80s, when the band was about brutal noise and confrontation at the expense of all else. Michael Gira has refined his songwriting and expanded his thematic concerns throughout his long career, most notably with his Angels of Light project. But the dark drama and punishing intensity are still integral to the band's vision. The Seer is a sinister, droning masterpiece.

'Allelujah! Don't Bend! Ascend! - Godspeed You! Black Emperor
Certain artists inspire devotion, and GY!BE have had a devout following since their 1997 debut. 'Allelujah! is their first new record since 2002 (Yanqui U.X.O.);  a record comprised of two relatively long compositions and two shorter works that have been part of the collective's live repertoire. (The Guardian published a statement from the group coincident with the release of 'Allelujah!, providing some genuinely moving sentiments about the group's ambitions.) If you're unfamiliar with GY!BE, the ideal introduction is "The Dead Flag Blues," the legendary first track from the group's debut record. There's simply no better encapsulation of the what Godspeed You! Black Emperor is about. Follow that with the 'Allelujah! track "Their Helicopters' Sing" for further evidence of the visceral beauty of this group's music.

The Sun - Cat Power
Chan Marshall's career has had distinct musical phases that aren't always appreciated by the same audience; her stark, guitar-based recordings from the '90s often go unappreciated by those who favor her Southern soul influenced work. As a fan of her entire catalog, I'd like to think that The Sun represents yet another break/innovation. The soulful horn section has been replaced with warm synthesizers and electronic beats. There isn't much precedent for this type of production in Marshall's work, though it may have some superficial similarities with her guest spot on Handsome Boy Modelling School's 2004 record. The appeal of any Cat Power album is Marshall's voice, and it's invigorating to hear her sing with such directness on The Sun.

Four - Bloc Party
Bloc Party have always excelled at combining the best elements of  late-90s Blur and Radiohead with intense post-punk angularity. Those expected strengths are very much on display on the band's fourth record, but, really, nothing could have prepared me for the monster riffs of "Coliseum."

Cancer4Cure - El-P
The music of El-P is so idiosyncratic and distinctly his own that it's almost instantly identifiable. Forever at the margins of whatever can be considered "mainstream" hip-hop, El-P has consistently crafted innovative and intriguing music that reveals a profound appreciation for classic sampling. C4C is unquestionably one of El-P's finest records; a wild melange of samples and sounds that is, strangely, the most focused he has ever sounded.

Key to the Kuffs - JJ DOOM
You can pair MF DOOM with just about anyone and the results will, at the very least, be interesting. But his recent collaboration with MC/producer Jneiro Jarel is considerably more than a curio. Key to the Kuffs isn't a perfect record; and it suffers by comparison to Madvillainy, DOOM's beloved 2004 collaboration with Madlib. (To be fair, every recording suffers by comparison with Madvillainy.) Taken on a track-by-track basis, this is some of the best work DOOM has done in years. "Guv'nor" is almost certainly the standout, with its woozy production and lyrics that range far wider than DOOM's typical concerns.

awE naturalE - THEESatisfaction
I first heard TheeSatisfaction as guest artists on one my favorite records of 2011, Black Up by Shabazz Palaces. awE naturalE is the Seattle duo's debut full-length, and it easily exceeds all expectations in its seductive beauty and the seemingly effortless interplay between the singer (Cat) and the emcee (Stas).

Don't Be a Stranger - Mark Eitzel
My appreciation for this record may, to some extent, be tinged with nostalgia for the magisterial dolorousness of classic American Music Club. (Along with Red House Painters, A.M.C. were the demigods of slow-core.) But, taken on its own terms, Don't Be a Stranger is a beautifully crafted record that makes the most of Eitzel's unique voice and songcraft.

Between the Times and the Tides - Lee Ranaldo
As guitarist and co-founder of the band Sonic Youth, Lee Ranaldo's legacy as a rock innovator is secure. But, like his band-mates Kim Gordon and Thurston Moore, he has pursued various solo projects throughout has career. While the numerous side projects by Gordon and Moore are still pretty recognizable as Sonic Youth recordings (to the extent that Sonic Youth can be said to have a recognizable template), Ranaldo is pursuing musical ideas far afield of his full-time gig. From the darkly pulsing opening track, "Waiting on a Dream," to the gentle lyricism of "Stranded,"Between the Times and the Tides is a beautiful record that displays Ranaldo's maturation as a songwriter.

Mature Themes - Ariel Pink's Haunted Graffiti
Mature Themes is as strange as Ariel Pink himself. You just need to accept that Pink is working on another level, and the more time you spend with his songs, the more resonant they become. (Though I'm not sure there's any way to make sense of the almost unbelievably odd "Schnitzel Boogie.") Mature Themes isn't all experimentation and obfuscation; "Only in My Dreams" is as direct and charming a pop song as you could ask for, and the album's closer, "Baby," is a surprisingly soulful cover that just may be my favorite track of the year.

Other Highlights

2012 featured new music from some of my longtime favorites: Deerhoof (Breakup Song), Sun Kil Moon (Among the Leaves), Spiritualized (Sweet Heart, Sweet Light), Nas (Life Is Good), Mount Eerie (Clear Moon), and a late-entry from Big Boi (Vicious Lies and Dangerous Rumors). There were also a handful of newcomers who made an indelible impression: Frank Ocean (Channel Orange), Death Grips (The Money Store), and the surprisingly divisive pop singer Lana Del Rey (Born to Die). Say what you will about Del Rey's debut album, her single "Video Games" is an evocative song that feels emblematic of its moment in time, an impression that is only enhanced by its accompanying video.

My Music Year: 1988

After considerable deliberation, one stopgap exercise, and an awesome assist from Heather, I'm ready to endorse a music year. How did I settle on 1988? Was it my fond recollection of the molded plastic California Raisins that were so bountiful that year? It was not. My actual music-related memories of 1988 are fairly limited: I remember Fine Young Cannibals on the radio in my dad’s car (“She Drives Me Crazy” and  “Good Thing”), and Bobby Brown's "My Prerogative" was getting some serious play from my older sister. Oh, and the treacly "Living Years" by Mike + The Mechanics was an inescapable pop song. Apparently the New Kids on the Block were Hangin' Tough that year, but I don't really recall. (This Billboard compilation offers a fairly concise glimpse of what else people were listening to in '88.)

I was ten years old in 1988, and I was functionally illiterate as far as pop-culture goes. I didn't even have a tape deck. I think my only exposure to rap music had been a surreptitious viewing of the Beastie Boys' video "(You Gotta) Fight for Your Right (To Party)". It would be some time before I had the opportunity to understand the Beasties' oeuvre beyond that one song, but I did appreciate their sense of humor. (Yes, even I knew they were lampooning themselves.) I was so remarkably ignorant of popular music that I thought Simon & Garfunkel were a current group. (I'm not sure how to account for that misnomer, but I would guess it had something to do with PBS re-airing the duo's 1980 reunion concert.) What can I say? I lived in my own head-space, as many young people do, and I was content with my paperback copies of Sir Arthur Conan Doyle and Jules Verne.

It wasn't until I was thirteen or fourteen that I began developing musical tastes of my own, and once that happened, 1988 proved to be the wellspring of my musical interests. In an odd way, the music of 1988 would influence me considerably from my middle-school years to the present day. And let me tell you, there are few constants in my life that span those years. (I'm not strictly using "constant" in the Desmond Hume sense of the word, but you are encouraged to interpret it that way.)

The Rise and Fall of Wu-Tang: An Infodiscography

An enterprising designer named Jess Bachman has assembled an "infodiscography" of the legendary hip-hop group, Wu-Tang Clan. These visually striking graphics offer an insightful overview of the myriad Wu-affiliated releases, and are particularly useful for exploring the members' solo projects. The three-part series sets out to highlight the rise, fragmentation, and decline of the group. I would argue that the enduring artistic influence of the Wu-Tang Clan precludes anything like a decline, but it's a well executed project that can be especially useful to beginner or intermediate Wu aficionados. If you'd like to know which of these solo projects are available through the library, you can take a look at the list I've compiled in bibliocommons.

The "infodiscography" graphics themselves are quite large. Check out part one after the jump.

Music Roundup: My Top 10 Albums of 2011

My (Always Subjective) Top 10 List:


Apocalypse - Bill Callahan
I've said it before, and I'll say it again: If Bill Callahan puts out a new record, it will be my favorite record of the year. That's not mere dedication to a songwriter I've favored for two decades, but rather an acknowledgment that he gets better with each passing year. I would argue that Apocalypse, the latest from Callahan, is as evocative and frankly spellbinding as any work in the artist's catalog.
Standout tracks: "Baby's Breath" and "Riding for the Feeling"

Undun - The Roots
A percussive, soulful concept album that somehow, impossibly, improves upon the band's prior successes. By my count, this is the tenth Roots record that is an unequivocal classic. Tenth. Can you name another contemporary group with those credentials? I can't.
Standout tracks: This is such a cohesive work, there's little point in highlighting specific tracks.

Bad as Me - Tom Waits
Arguably less ambitious than your average Tom Waits album (there's no song-cycle or high-concept narrative on this one), Bad as Me still offers just about everything you could possibly want from the artist at this stage of his career: guttural crooning, dusty blues, early R&B, rockabilly, and, yes, Keith Richards and Marc Ribot on guitar.
Standout tracks: "Raised Right Men", "Get Lost", and "Hell Broke Luce"

House of Balloons/Thursday - The Weeknd
House of Balloons is The Weeknd's proper full-length debut, and it justifiably received most of the accolades. But the mix-tape that followed it, Thursday, was a compelling listen in its own right. I'm including both in my top ten list, because I can. The lyrics on these recordings range from amusing to clumsy, but the sound is guaranteed to make you woozy. In a good way. (These two albums are only available as digital downloads from artist's Tumblr page.)
Standout tracks: "What You Need", "The Party and the After Party" and "Lonely Star"

Bon Iver - Bon Iver
This self-titled album is the proper follow-up to Justin Vernon's critically acclaimed debut, For Emma, Forever Ago. Vernon's gentle voice and impressionistic lyrics are still the focal point, but this record features a much fuller sound. I think I favor the intimacy of the earlier album, but Bon Iver has some excellent songs that benefit from the enhanced instrumentation.
Standout tracks: "Calgary" and "Minnesota, WI"

Black Up - Shabazz Palaces
Remember the '90s rap group Digable Planets? Doesn't matter. Even if you were familiar with that group, you'd probably never have guessed that Shabazz Palaces is the current project for former Digable Planets rapper Ishmael Butler. This is an astoundingly relevant and forward-looking album, particularly as it comes from an artist who has been in the business since the Clinton Administration.
Standout tracks: "A Treatease Dedicated to the Avian Airless from North East Nubis"

Demolished Thoughts - Thurston Moore
A solo outing from Sonic Youth singer/guitarist Thurston Moore, Demolished Thoughts is essentially a singer-songwriter album that sounds a lot like Sonic Youth. I find that to be a pretty irresistible combination. The songs are uniformly strong on this record, but they reach greatness thanks to the gorgeous production, courtesy of Beck.
Standout tracks: "Circulation" and "Orchard Street"

W.A.R. (We Are Renegades) - Pharoahe Monch
This may be the most focused, concise Monch album yet. His lyrical delivery is always a thing to behold, and his work on W.A.R. just might be up there with his revered solo debut.
Standout tracks: "W.A.R." and "Black Hand Side"

Hot Sauce Committee, Part 2 - Beastie Boys
I never thought I'd be including a Beastie Boys album in my top ten, but here we are. I've enjoyed Hot Sauce Committee more than any Beasties record since...the '90s? This is a record by a group of guys who know their strengths and actually sound like they're having a good time. Bonus points for collaborating with Nas on "Too Many Rappers". I would endorse an entire of album of Nas rhyming over Beastie Boys beats.
Standout tracks: "Make Some Noise" and "Too Many Rappers"

Father, Son, Holy Ghost - Girls
I'll be honest, the big over-the-top climaxes on Father, Son, Holy Ghost don't always pay off. But when they do... If you can appreciate the idea of a decidedly idiosyncratic songwriter going all out, you owe it to yourself to give this a listen.
Standout tracks: "Honey Bunny" and "Love Like a River"

Runners Up/Honorable Mentions:

The Family Sign - Atmosphere

El Camino - Black Keys

Deerhoof vs. Evil - Deerhoof

The Book of David - DJ Quik

No Kings - Doomtree

I'll Never Get Out of This World Alive - Steve Earle

Ceremonials - Florence + the Machine

Tell Me - Jessica Lea Mayfield

The Only She Chapters - Prefuse 73

Fear of God II: Let Us Pray - Pusha T

Shaolin vs. Wu-Tang - Raekwon

The Whole Love - Wilco

Wild Flag - Wild Flag

Gil Scott-Heron: 1949-2011

Gil Scott-Heron died Friday, May 27th, at the age of 62. He was a fiercely engaged vocalist and lyricist whose work incorporated blues, jazz, soul, and stream of consciousness poetry. Best known for his fiery spoken-word performances of the 1970s, Scott-Heron's lyrics consistently explored themes of social justice, poverty, urban violence, and race. He is frequently cited as a formative influence on the evolution of hip-hop, and his work has been sampled by such notable artists as Mos Def and De La Soul. Most recently, Kanye West built a track around Scott-Heron's voice on the chart-topping album My Beautiful Dark Twisted Fantasy. He addressed his elder statesman status with both pride and chagrin on the 1994 album Spirits: "We got respect for you rappers and the way you be free-weighin', but if you're gon' be teachin' folks things, make sure you know what you're sayin' ." The compilation The Revolution Will Not Be Televised is an essential sampler of his work, but his is a legacy more varied and rewarding than a single disc can afford. (My personal favorite is the 1971 album Pieces of a Man.) Scott-Heron was experiencing something of a renaissance of late, with his 2010 album I'm New Here and its 2011 remix We're New Here garnering considerable critical acclaim. As engaging and insightful as both those records are, there isn't really a better introduction to this artist's work than the pointed media critique "The Revolution Will Not Be Televised":

Da Mystery of Chessboxin

You may not immediately associate the acclaimed hip-hop collective known as The Wu-Tang Clan with the tiny pieces of colorful plastic known as Legos. But, it's high time something was done about that. The anthemic track "Da Mystery of Chessboxin" comes from Wu-Tang Clan's justly lauded 1993 debut, Enter the Wu-Tang (36 Chambers). And here we have a clever little accompanying video, featuring all the synchronized sword-play and allegorical chess maneuvers you could wish for. Don't expect the slick polish of Michel Gondry's award-winning video for The White Stripes' "Fell in Love With a Girl". What you've got here is relatively low-tech stop-motion animation that nicely manages to capture the humor and menace of the original track. The highlight for me is the hilariously glowering Lego-man that denotes ODB. Green overalls! I also like the inclusion of several blank-faced figures (around the 2-minute and 2-minutes-30-second mark) which seem to correspond with the original album cover. I commend the Wu-Tang aficionado who put this video together, whoever he or she may be. I'm guessing it was done by a particularly industrious and inspired intern at Wu-Tang international headquarters, located in central Shaolin.

Warning: Video Contains Explicit Lyrics and LEGO Weapons


Courtesy of Flavorwire

Wu-Tang at Congress Theater

Saturday night, the mighty Wu-Tang Clan, pride of Staten Island, took to the stage at Chicago's Congress Theater. But fans had to wait, and wait, for the pleasure. Doors opened at 7:30, but there was a long delay before anything happened on stage, and then what felt like a never-ending stream of opening acts made their appearances. First up was DJ Rude One, who was a fairly low-key presence on stage, but played an impeccable selection of records by East Coast hip-hop acts. (The inclusion of "Mind Playing Tricks on Me" by Houston rappers the Geto Boys was something of an anomaly, but it's a classic, so I'm not going to nitpick.) I was particularly impressed with the way he inter-weaved several tracks by Nas, making the unrelated songs into a sort of mini-suite. Next up was Que Billah, an artist I was completely unfamiliar with. The only conclusion I can make is that Billah is some kind of '90s rap revivalist: he took the stage with a posse of over-eager hype-men, one of whom wore a backpack the entire set; Billa himself removed his left shoe at one point to emphasize the importance of sneakers; and at least twenty minutes of his set was devoted to covers of iconic rap recordings by performers far more successful than himself. I don't really know what to make of Billa's placement on the night's roster. Next up was Chicago native and current candidate for 20th ward alderman, Rhymefest. He performed a sampling of songs from his current album El Che and his 2006 debut Blue Collar. Rhymefest was heavy on audience interaction, even bringing an audience member on stage to rap Kanye West's verse for one song. (His version was quite proficient, I thought.) To their credit, the opening acts seemed cognizant of their second-fiddle status. Both Rhymefest and Que-Billa made mention of having seen Wu-Tang perform on that same stage back in 2006, and Mr. Billa candidly posed the question, "Who can open for Wu-Tang?" It was after Rhymefest's set that the video screen onstage lit up with a giant yellow Wu-Tang logo. The crowd took this to mean that the headliners were up next, but no, it was tangential Wu-affiliate LA the Darkman who took the stage. His repeated statement "I'm LA the Darkman and I represent that mighty, mighty Wu-Tang" was cold comfort for many in the audience, myself included. The Darkman was a powerful presence onstage, standing alone in the harsh lights and frequently dropping verses without DJ backing. (He name-checked DJ Muggs, and performed the track "Devil in a Blue Dress" from the now-classic Muggs album Soul Assassins.) His flow was impressive, and many in the audience expressed familiarity with his songs, but no one seemed sorry to see his set come to an end. Anticipation was sky-high at this point, and the chants of "Wu-Tang, Wu-Tang" repeatedly reached crescendo and died away.

Music Roundup: My Top 10 Albums of 2010

Interestingly, almost none of the artists from my 2009 Music Roundup appear on this year's list. In fact, few of them released albums this year at all. MF Doom's out-of-nowhere live album is a notable exception, but it's Dan Auerbach who makes the list for the second consecutive year. Auerbach's 2009 solo album, Keep it Hid, was a definite favorite of mine, and this year he's back with an outstanding Black Keys album. As is always the case with my subjective "best of" lists, these titles are not ranked. This is just an opportunity for me to share some of my favorite musical experiences, in the hope that you might enjoy them as much as I have.

Hip-Hop Classics...Live!

According to Billboard, the acclaimed hip-hop crew Wu-Tang Clan will not only headline this summer's Rock the Bells Festival but will also perform their legendary 1993 debut album in its entirety. The hugely influential album, Enter the Wu-Tang (36 Chambers), is notable for its lyrical diversity, complex slang and allusion, and groundbreaking production by founding member RZA. The Wu-Tang Clan's sound has evolved considerably over the course of its five studio albums, but Enter the Wu-Tang is still considered a landmark in rap music and hip-hop culture. Several other seminal emcees are scheduled to perform live interpretations of their debut albums: KRS-One is set to perform the 1987 Boogie Down Productions album Criminal Minded, Rakim will perform his 1987 masterpiece Paid in Full, and consummate storyteller Slick Rick will perform 1988's The Great Adventures of Slick Rick. Other artists scheduled to perform at the festival include: Brother Ali, Clipse, DJ Muggs, Jedi Mind Tricks, and Murs. I'm hoping that a future headliner will be the Virginia Beach duo Clipse, performing their debut album Lord Willin'.

Paid in Full - Eric B. & Rakim
Find it in the catalog!

The Great Adventures of Slick Rick - Slick Rick
Find it in the catalog!

Enter the Wu-Tang (36 Chambers) - Wu-Tang Clan
Find it in the catalog!

What we're listening to: BlakRoc

BlakRoc - BlakRoc
Find it in the catalog!

The Black Keys are singer/guitarist Dan Auerbach and drummer Pat Carney. Their sound is a gritty garage-rock hybrid of white-boy blues and earnest enthusiasm for the likes of Junior Kimbrough and Lightnin' Hopkins. Their string of outstanding records over the last decade has earned them a loyal following, but the BlakRoc project may seem like a curve-ball to even their loyalest of fans. BlakRoc is a collaboration between The Black Keys and a handful of preeminent rappers. Mos Def, RZA, Raekwon, Q-Tip, and others were enlisted to record rhymes over a bedrock of rhythmic Black Keys jams. If you're wary of another rap/rock crossover project, that reserve is more than justified. There have been very few successful pairings of these two broad genres, and quite a few notable failures, but the BlakRoc project succeeds on every level. The gritty precision of Auerbach's guitar and Carney's drums proves to be a perfect foil for these veteran emcees. There isn't a weak track on the record, but there are several highlights. "On the Vista" seems particularly noteworthy, as Mos Def makes a stronger argument for musical fusion on this two-and-a-half minute track than he managed on the entirety of his 2004 rap/rock album The New Danger. "Dollaz & Sense" is an opportunity to hear RZA (Abbott of the Wu-Tang Clan) alternate verses with Pharoahe Monch, which is a paring not to be missed. Perhaps the best example of the symbiotic sound these artists have created is the album's single. "Ain't Nothing Like You (Hoochie Coo)" features Jim Jones on the mic and Mos Def and Dan Auerbach harmonizing on the chorus. I challenge anyone to listen to this song and not sway along.

Previous albums by The Black Keys:

The Big Come Up (2002)

Thickfreakness (2003)

Rubber Factory (2004)

Chulahoma: The Songs of Junior Kimbrough (2006)

Magic Potion (2006)

Attack & Release (2008)

The forthcoming Black Keys album, titled Brothers, is due out May 18th.

My Top 25 Hip-Hop Records

This is a personal and subjective list of the twenty-five hip-hop records that I hold in the highest esteem. These albums are not ranked. If I had to come up with some sort of qualitative ranking system, I know that Enter the Wu-Tang (36 Chambers) and Illmatic would be near the top of the list. That's about as close as I can get to naming an all-time favorite rap record. I have ordered the albums chronologically, to give a sense of the art-form's progression; from the early party-centric crews (Sugarhill, Stetsasonic) to the aural and political revolution of Public Enemy, to the rise and ultimate mainstreaming of "gangsta" rap, and the ascendancy of the Wu-Tang Clan. Running through this roughly thirty year history is a lineage of left-field underground artists that, I would argue, are the truest creative legacy of the genre. I'm thinking of The Ultramagnetic MC's, De La Soul, and MF DOOM (the artist who probably comes closest to my ideal emcee). I have previously written about some of these albums and artists in greater depth. Feel free to check out my blog entries on MF DOOM, Raekwon's masterpiece Only Built 4 Cuban Linx, and Dälek's Gutter Tactics.

I want to emphasize that this list is entirely my own. There are innumerable "objective" lists of the Greatest Hip-Hop Records Ever, the majority of them placing Dr. Dre's The Chronic in a place of honor. My list does not include any records by Dr. Dre, Eminem, Ice-T, LL Cool J, N.W.A., and many other mainstays. These are not oversights, but preferences. Without in any way questioning their varying influence on the genre, those artists are not particularly interesting to me, and I see little point in duplicating the prevailing hierarchy. As for the reverse problem, many albums were left off my list for the sake of concision. Some albums I would like to have placed on my list include: Big Daddy Kane's Long Live the Kane, Gang Starr's Daily Operation, Little Brother's Get Back, the Mos Def & Talib Kweli collaboration Black Star, Slick Rick's The Great Adventure's of Slick Rick, and any of the five studio albums by A Tribe Called Quest. Follow the jump to view what did make my list.

Def Jux Record Label Announces Hiatus

The respected independent record label Definitive Jux is set to cease, or radically modify, its operations. Founded in New York City in 1999, Def Jux has been a mainstay of underground hip-hop, with an impressive roster of socially conscious artists. According to El-P, the label's co-founder and artistic director, Def Jux will not be releasing new records for the foreseeable future. El-P's announcement (which can be viewed on the label's website) is rambling, charming, and ultimately a little short on specifics. While this isn't exactly the end of an era, it's worth considering the significant contributions made by this trend-setting indie.

Here's a handful of outstanding records on the Def Jux label:

The Cold Vein - Cannibal Ox

Find it in the catalog!

Funcrusher Plus - Company Flow

Find it in the catalog!

I'll Sleep When You're Dead - El-P

Find it in the catalog!

What we're listening to: Gutter Tactics

Gutter Tactics (2009) by Dälek

Dälek (pronounced "dialect") is a Newark-based hip-hop emcee, partnered with DJ/producer Oktopus. Utilizing live drums, guitars, keyboards, sitar, and extreme electronic manipulation, Dälek create a gritty musical amalgam that upends any preconceptions you may have regarding rap music. (This duo have virtually nothing in common with contemporary mainstream rap artists, e.g., Jay-Z or Lil Wayne. Their nearest approximation would probably be New York's Antipop Consortium, who also released an incredible record in 2009.) These innovative soundscapes have permanently consigned Dälek to the underground, paradoxically freeing them to pursue their avant-garde experimentalism. Gutter Tactics is Dälek's fifth album. Lyrically, MC Dälek is as engaged and politically acerbic as ever. His political preoccupations are particularly well integrated on the track "Los Macheteros/Spear of a Nation," where his discourse on Nelson Mandela is backed by a South African choral group. The sonic complexity of this recording makes it a perfect listen for headphones, but, at just about the five-minute mark of the track "Who Medgar Evers Was..." you may start to feel a bit woozy. Hang in there until track six, "A Collection of Miserable Thoughts Laced with Wit," where the duo wisely allow for some breathing room and create a strangely intimate experience. Gutter Tactics may be the most artistically advanced hip-hop production since Public Enemy's collage-masterpiece It Takes a Nation of Millions to Hold Us Back, on which The Bomb Squad essentially created the genre's modern template.

Find it in the catalog!

My Top 25 Albums of the Decade

The "best" albums of the Aughts? Nah. This is a list of the 25 albums that I have listened to and enjoyed and ultimately spent the most time with over the past ten years. I set out to make a modest list of 10 such albums, which quickly became 20, then inexplicably 26. After some deliberation, I sacrificed one and made it 25. (Apologies to Shellac's 2007 record Excellent Italian Greyhound.)

Many of the artists on my list had made waves in the preceding decade. Ghostface Killah had distinguished himself with the seminal Wu-Tang Clan records and his 1996 solo debut, but 2000's Supreme Clientele was still a shockingly advanced work of art. Sleater-Kinney had been indie stalwarts since the mid-'90s, and their 2002 album One Beat provided a stripped-down and cathartic sense of what the new millennium felt like. Modest Mouse had released records on the indie labels K-Records and Up before making their major-label debut with The Moon & Antarctica. Fugazi put the capstone on a stellar and incredibly influential career with their final album, The Argument. Bill Callahan bid farewell to his Smog alias in 2005 with what was quite possibly his finest work to date, A River Ain't Too Much to Love.

But some of the artists represented here were new faces in the '00s. The hip-hop duo Clipse hooked up with super-producers The Neptunes and recorded the incredibly self-assured debut, Lord Willin'. Emcee/musician/producer Madlib had his hands on more wax this decade than a candle-maker. His 2003 album Shades of Blue is a perfect example of the artist's ravenous - and yet somehow reverent - reinterpretation of classic sounds. And a young woman named Mathangi Arulpragasm, better known as M.I.A., introduced herself to a global audience with the endlessly inventive Kala. "No one on the corner has swagger like us..."

Music Roundup: My Top 10 Albums of 2009

It is difficult to recap the many songs/records/videos/performers that have made an impact on you in a given year. But, I've given it some thought and compiled a list of my personal - very subjective - top ten albums of 2009. These albums are not ranked. They are ordered alphabetically, which seemed the most democratic way to list them. (Although, in a way, every new Bill Callahan album will be my favorite album of the year.) I limited myself to "new" music released in 2009. So, this list doesn't include such recently released live recordings as James Brown's Live at the Garden or Leonard Cohen's Live at the Isle of Wight, 1970. Both of which are incredible, by the way. Feel free to comment or list some of your own favorites!

DOOM, Pt. 1

Underground hip-hop has an evil genius, and his name is DOOM, a/k/a King Geedorah, a/k/a MF DOOM, a/k/a Metal Face DOOM, a/k/a Metal Fingers DOOM, a/k/a Viktor Vaughn, a/k/a Zevlove X, real name Daniel Dumile (pronounced /duːməleɪ/). Part comic book villain, part doomsayer.

Dumile debuted as a guest emcee on the 3rd Bass track "The Gas Face," on their 1989 LP The Cactus Album. At that time, performing under his Zevlove X alias, he was forming a small crew of his own, known as K.M.D. (which included his brother Dingilizwe). K.M.D. released the Mr. Hood album in 1991, but the DOOM story nearly ended before it began. In 1993, Dingilizwe Dumile was killed in a traffic accident, and Elektra refused to release K.M.D.'s sophomore album, due to concerns over its cover art (depicting a "sambo" character) and militant political stance. Faced with these personal and professional crises, Dumile essentially threw in the towel, finding a legit day-job and devoting himself to raising his son.

If the story had ended there, Daniel Dumile would be little more than a footnote, a bit of trivia for hip-hop aficionados. But, in 1999, Dumile released the album Operation: Doomsday, under the newly assumed nom de guerre MF DOOM. Dumile borrowed his DOOM persona from the Marvel Comics character Dr. Doom, a Stan Lee/Jack Kirby super-villain, best remembered for his masked visage and ongoing feud with the Fantastic Four. Dumile used this startlingly off-center back-story as a point of digression; upending the late-90s fly-guy rap image by utilizing arcane pop-culture references, bizarre slang, and wicked humor. Oh, and he started wearing a mask.



Dumile's myriad DOOM-related releases, and his ever-growing list of guest appearances, can be overwhelming. For neophytes, the ideal starting point would be Madvillainy (2004), Dumile's acclaimed collaboration with hip-hop producer Madlib. The Madvillain project was DOOM at his most accessible; an oddly endearing collaboration that was widely considered one of the best albums of 2004. (Adult Swim fans may recognize the track "Money Folder" as a bumper between commercials on the Cartoon Network's late-night lineup.) And, in true Dumile fashion, even the album's cover art is a playful pop-culture homage:



That same year, the ever-more-prolific Dumile released another solo album, MM..Food? (2004). This interrogatively-titled record expanded on the DOOM mythology, while simultaneously providing enough food-obsessed couplets to satiate Alton Brown. My personal favorite food-related non-sequitur: "Ignore Cordon Bleu, stand up, get up!"

Dumile's most high-profile collaboration was The Mouse and the Mask, his 2005 record with Danger Mouse (the super-producer best known as half of the duo Gnarls Barkley). Tellingly, this record heavily samples various Adult Swim cartoons: Aqua Teen Hunger Force, Harvery Birdman, Sealab 2021, and Space Ghost. It's difficult to imagine a musical artist more perfectly suited to the Adult Swim crowd than Daniele Dumile.

Stay tuned for more DOOM arcana!

A Hip-Hop Classic Revisited: Only Built 4 Cuban Linx...

In the mid-to-late-90s just about everyone even tangentially involved with the Wu-Tang Clan had a solo project in the works. The groundbreaking group had revolutionized hip-hop with their debut album Enter The Wu-Tang (36 Chambers), and while still very much a unit, the nine individual members were determined to prove themselves as viable solo artists. Of this first wave of Wu solo projects, there were two undisputed masterpieces: Liquid Swords (1995), by GZA, and Only Built 4 Cuban Linx (1995), by Raekwon the Chef.

Imagine Brian De Palma's Scarface crossed with a '70s blaxploitation flick filmed on the New York borough of Staten Island and you'll have some idea of what to expect from Only Built 4 Cuban Linx. Raekwon crafted a hard-edged, powerfully realized crime saga, made even more frighteningly real by the imposing presence of fellow Wu-Tang member Ghostface Killah. This cinematic narrative style was virtually unheard of at that time, but proved to be hugely influential, its mark unmistakable on the work of fellow artists such as Nas (who appears on the track "Verbal Intercourse"), Notorious B.I.G., and Jay-Z.

Raekwon's debut set the bar so high that his subsequent solo work almost invariably disappointed his hardcore fan base, and his repeated hints at a possible sequel to Cuban Linx were difficult to credit as the years passed. And yet, fourteen years later, on September 8th, 2009, Raekwon made good on his promise. Not just a worthy followup to the original album, Only Built 4 Cuban Linx... Pt. II is a startling work of art that reaffirms Raekwon's greatest strengths: his intricate storytelling and his ability to choose complimentary collaborators. Ghostface is back and is no less intense in his role as Raekwon's foil, and producers Alchemist, Dr. Dre, Marley Marl, Pete Rock, and Erik Sermon lend their considerable talent to the project. (Track #2, "House of Flying Daggers", features beats by the late J Dilla, whose particular genius is still being felt three years after his early death.)

Only Built 4 Cuban Linx - Raekwon
Find it in the catalog!

Only Built 4 Cuban Linx... Pt. II - Raekwon
Find it in the catalog!