Got Me Feeling Like Brody in Homeland

After their Watch the Throne album, both Kanye West and Jay-Z took unconventional routes to roll out their next solo albums. In lieu of a proper music video, West projected trailers on the side of building across the country guerilla style. Jay-Z on the other hand went the corporate route announcing his album in a four minute commercial during the NBC Finals, and just days before the release of Yeezus, of another religious inspired titled Magna Carta... Holy Grai, sponsored by a Smartphone who would give away a million downloads via an app. And instead of a single or music video, Jay-Z just released the lyrics sheet for multiple tracks which saw Jay bite not one, but two much beloved 1991 alt-rock tracks Smells Like Teen Spirit and Losing My Religion.

The anticipation was immediate because of that ad which featured Jay hanging out with producers Rick Rubin, Pharrell, Timbaland, and Swizz Beats who helmed some of Jay’s best tracks. In a later interview, Rubin admitted he had no involvement in the new album, Jay just brought him in for the documentary. As it turns out pretty much the whole album was produced by Timbaland with his hands on seventy percent of the album while Pharrell and contributed on two songs and Swizz only popped up once. So all that anticipation went out the door before the album dropped unless you had the app and would be getting an A-List album for free or if you wanted to hear just how Jay ruined the Nirvana and R.E.M. songs.

You will not have to wait to hear just how Jay-Z desecrated Smells Like Teen Spirit because it shows up on the title track that opens up the album. And just when you think it could not get worse, the “I am stupid and contagious” chorus is also sung by Justin Timberlake. Even had I had the free app, I would have deleted this track on principal alone. Heaven featuring lyrics from Losing My Religion is not much better. The track also sounds like it loops two notes from Stairway to Heaven (though not officially sampled) and it is hard not to cringe when Jay starts singing, “That’s me in the corner” off-key. It was cute when he did that to “And I wish I never met her at all” but not on a song like this.

It is apropos that Jay-Z gave away a million copies of the album because Magna Carta… Holy Grail just sounds like a mixtape which is not worth actually paying for. Half the songs sound they were created by Jay asking for song ideas in the studio, and people started shouting out random ideas: like “hey Hov, try Tom Ford… Picasso… Oceans (hey why don’t we get Frank Ocean on that track too?).” And some of the lyrics are just as puzzling like when Jay says he is “feeling like Brody in Homeland.” Huh? Is he being a traitor? Does he have crazy sex with law enforcement agents? Is he a Manchurian Candidate for a smartphone company? Does this mean Jay-Z cannot pleasure himself while in the presence of his naked wife? Did his daughter already drive over some homeless man? And why is he giving such a long shout out to Miley Cyrus? He spent more time on her than she did in Party in the U.S.A. (and then revealed she does not have a favorite song by him and does not even listen to Jay-Z). Then there is the Mommie Dearest sample in Jay-Z Blue: Blades of Glory it is not. Magna Carta… Holy Grail is just weird. But not even interesting, pushing boundaries weird, but what were you thinking weird. So congratulations to everyone who snagged the free app, because this mixtape is not worth actually putting money down for. Now if you excuse me I have a sudden urge to go buy a smartphone. Maybe an Blackberry.

Song to Download – BBC

Magna Carta… Holy Grail gets a on my Terror Alert Scale.

A Monster Is About to Come Alive Again

When you are dealing with a genius, you are going to have to put up with some eccentricities, be it Prince changing his name to an unpronounceable symbol or Van Gough cutting his ear off. Then there is the case of Kanye West. His trilogy school themed albums stand up against the first three albums of any artists ever. But after Graduation, West’s mother died and he broke up with his longtime girlfriend and instead on continue his college esthetics of those first three albums, he instead made an emo-rap album more depressing than any of the horrible shoe gazing of the time.

It was also around this time when even I as one of Kanye’s most ardent defenders was having trouble sticking up for the guy after stunts like the Taylor Swift incident and the ill-timed “George Bush doesn’t care about black people comment.” But after his emo opus, Kanye was back on point with My Beautiful Dark Twisted Fantasy, Watch the Throne and even Cruel Summer had a couple hot tracks (if you are able to edit out Big Shawn). Apparently more accessible Kanye albums come in three because out next is Yeezus which one Rolling Stone writer said “makes Radiohead's Kid a look like Bruno Mars by comparison.” I believe he meant it like a compliment, but this listener did not take it that way.

Like most people, my first experience with Yeezus, was when West performed New Slaves and Black Skinheads on Saturday Night Live, not really the best idea considering the show’s legendary poor audio for musical guest, but considering the lo-fi feeling of the songs, it actually might have been appropriate. Based on the two songs alone, it sounded like he was trading in the annoying emo rock of the 00’s that he aped on 808’s and Heartbreaks for an even more darker time period with the new wave sound of the early eighties with bands like Joy Division.

As it turned out, those two songs were some of the most “musical” songs on the album Yeezus instead starts off with On Sight which sounds like it samples some Artari games from the eighties. And most of the songs follow that sparse industrial that throws in even weirder effect like the screaming in I Am a God or the weird almost air-horn distortion in Hold My Liqour, does turn into this psychedelic trip at the end that sounds like a hip-hop Pink Floyd (Guilt Trip also has a trippy Pink Floyd feel to it).

Yet the most surprising song on the album is the closer Bound 2 which musically sounds like classic Kanye with its sped up soul sample (looking back this was foreshadowed with snippets in On Sight and at the end of New Slave) but he still sounds as angry as he does on the rest of the album and some dark synthesizers seep through by the end of the song. I am not sure if the ending means that things are not as bad as the first nine tracks on Yeezus would suggest or it itself suggest on his next album Kanye will revisit his backpacking days. Either way, rumors suggest we will learn that answer sooner than later be it Watch the Throne II or Cruel Winter as soon as by the end of this year.

Song to Download – Bound 2

Yeezus gets a on my Terror Alert Scale.

Musings from the Back 9: Music Edition XVI

To put into perspective just how long it has been since Black Sabbath put out an album with Ozzy Osbourne, I had not even been born yet and I am old enough to remember when Dr. Dre started working on Detox. Really, when I think of Ozzy, I think of his cheesy power ballads from the lat eighties / early nineties. Which I guess is better than the generation or two that came after me who think Ozzy only as a reality star. But their reunion album 13 got me intrigued if only because it was being produced by Rick Rubin who may have the greatest batting average among producers since the band last released an album together. Unfortunately unlucky 13 is a rare swing and a miss as it turns out sounding exactly what a bunch of sixty year olds playing heavy metal would sound like. A Johnny Cash redefining album that Rubin produced, this is not. And it is mostly Ozzy’s fault who sounds phoned in (anyone who saw his reality show probably knows why) even though Tony Iommi’s riff are for the most part still haunting as ever. I just wished Rubin pushed them more. The most intriguing song on the album is Damaged Soul where the harmonica sends the song into a bluesy direction before getting drowned out by Iommi’s guitar. I just wished 13 had more moments like that.

13 gets a on my Terror Alert Scale.


Back in the late nineties, electronic music became such a big fad even Eric Clapton and R.E.M. were making albums that relied heavily on drum machines. At the same time, Barenaked Ladies were enjoying their biggest success creating music more organically. Fifteen years later we are in the second electronic boon and the Ladies finally jumped on board with the trend on their tenth studio album Grinning Streak (depending how you count them). They never drop the base or any of those other annoying trends in EDM these days, but the album is easily their more electronic embracing to date. Well that is primarily the opening song Limits, after that all the hints of electrics are tempered down. The rest of the album may have been more interesting if it were more like the opening track. And despite the title Grinning Streak, the trademark wit the band usually has is once again downplayed. I always thought the token rapper Ed Robertson was the fun guy in the group, but ever since Steven Paige has left the group, their album as much less fun.

Grinning Streak gets a on my Terror Alert Scale.



Tom Petty once sang about the ups and downs of being a rock and roll star during Into the Great Wide Open and one line that always stick out to me is when he sings, “their A&R guy said ‘I don’t hear a single.’” That line comes up occasionally when I listen to albums like the last Jimmy Eat World album. Invented was good, but nothing on the album really stood out as being particularly great. Same goes for their latest Damage. You are still getting a solid ten song, which really does not add anything new to their catalogue. But alas I do not hear a single worth downloading and if you already own Bleed American and Furtures, you really do not need to add Damage to your library.

Damage gets a on my Terror Alert Scale.

Musings from the Back 9: Music Edition XV

A lot has been made about the sophomore slump, but the third album may be the hardest. Look at Coldplay, their debut was good and improved on their style with the follow. By their third album X&Y, they started to sound like just another Coldplay rip-off band that littered the English countryside by the middle of last decade. Luckily for Coldplay they started to evolve with their fourth album. Vampire Weekend recently just released that tricky third album, Modern Vampires of the City. And though their sound has not changed much from the Benetton anthems from that first album, Vampire Weekend had tweaked their sound enough not to fall prey to the same rut Coldplay did (it may also help that Vampire Weekend has yet inspired knock-off band). The best song from the new album is Diane Young which sound like a sound Vampire Weekend did for a Buddy Holly tribute album except it was not originally a Buddy Holly song. Go ahead and add the song to your summer 2013 playlist now.

Modern Vampire of the City gets a on my Terror Alert Scale.


Legacy artists have been doing duet albums with modern artists since Frank Sinatra did it over twenty years ago but last year Lionel Richie added a new twist to the concept: do an entire duets album with artists outside your genre. And though John Fogerty’s Wrote a Song for Everyone is not totally a country duets album, half of the guests are pure country acts like Brad Paisley who may not be the best duet partner lately (*cough*Accidental Racist*cough*); most of the others have country and folk leaning. The best here is the trippy version of Long as I Can See the Light with My Morning Jacket. And though the Jennifer Hudson assisted, Bourbon Street version of Proud Mary with Allen Toussaint and Rebirth Brass Band is another stand out, you cannot help but wonder how it would be better if they could have actually gotten Tina Turner to sing the song one more time. There are two new songs her but neither that memorable. But much like the Ritchie duets album, I am content with just having the original versions on my iPod.

Wrote a Song for Everyone gets a on my Terror Alert Scale.


The debut album from Eisley was extremely catchy and the band could have caught the indie pop wave of the past decade. Instead each successive album they released has gotten more and more melodic. By their fourth album, Currents, it almost sound like they are recording an Explosions In the Sky album with lyrics over them. I actually like the band better when they strip the sound down a little like when they do on songs like Milestone and The Night Comes.

Currents gets a on my Terror Alert Scale.

Musings from the Back 9: Music Edition XIV

I have never been much of a fan of traditional country music, but I do have a soft spot for the angry white chick sub-genre that popped up in the middle of the last decade. One of the best songs of the genre was Pistol Annies Hell on Heels (lead Annie Miranda Lambert may be the angriest of the angry white chicks), I do not even care if it was an ode to maneating. Their follow up album Annie Up starts off promising; you know just by the title alone you know I Feel a Sin Comin’ On is going to be good. And though it is not in the angry white girl vein, the laid back, front porch sing-a-long does not disappoint. The rest of Annie Up does disappoint, filled with songs that would not be good enough to appear on their first album. I was hoping the alleged marital strife between Lambert and husbandBlake Shelton, even if was unfounded, would produce better music.

Annie Up gets a on my Terror Alert Scale.


The Dixie Chicks pretty much swept the 2007 Grammy Awards taking three of the top four awards (naturally they were ineligible for Best New Artist) and promptly took an extended brake. The two sisters in the group released an album under the moniker Court Yard Hounds in 2010 as they waited for lead singer Natalie Maines got the writing itch again. Seven years after releasing Taking the Long Way, Maines may not be ready to write with the Chicks just yet (though supposable something is “in the works”), but she is ready to record some music, as she just released a cover album Mother with songs from Eddie Vedder, Jeff Buckley, and Semisonic. There is one Dixie Chick song, Come Cryin’ to Me which was from the Taking the Long Way sessions which sounds about as good as a song that did not make that album would be. But the best of the set is the haunting title track version of the Pink Floyd classic and the new Ben Harper penned Trained where Natalie duets with the songwriter on a barn burner of a song. Though it is hard not to listen to the album and hope a proper Dixie Chicks album will not be far behind.

Mother gets a on my Terror Alert Scale.


It is really apropos that She & Him named their third album Volume 3 (the first two naturally were entitled Volume One and Volume Two; do not ask me why they spelled out the numbers on the earlier albums but opted for the numerical styling now) because their most recent outing sounds exactly like its predecessor to the point I was suspicious that it was just the same songs with different titles just to throw people off. Except it could not have been a complete rehash because there is nothing as catchy as In the Sun on the new album. It does not help that I went to look how much longer the album was the first time I listened to it and was shocked that I was not even half way through the forty minute album yet. Really the only song that stands out in this set is Together which features Zooey Deschanel singing in French (I think, I did not do very well in the subject back in high school).

Volume 3 gets a on my Terror Alert Scale.

Teacher Thinks that I Sound Funny but She Likes the Way You Sing

At the turn of the century, music got really sedate, the only videos getting played on MTV (when they played music videos) were bland teen pop or crappy rap-rock songs. It took something truly innovative to get noticed. Enter Fell in Love with a Girl and its Lego inspired music video which busted through the monotony of everything else in heavy rotation. Even better was that accompanying song by The White Stripes was great even without the awesome visuals. And though the strict adherence to only two instruments per song (so they would be able to play them as is live in concert) and a red, white, and black color palate, could have pegged the duo as a one hit wonder, but none listen to the album White Blood Cells, this month’s induction into the Scooter Hall of Fame, showed they were much more than a gimmick.

The White Stripes were blues rock at its finest. Though most of their songs clocked in at less than three minutes, Jack White was able to pump at least one great guitar riff into each of them. The songs range from the down and gritty Dead Leaves and the Dirty Ground, to the delta blues of The Union Forever, to the quick and simple Meg stomping Little Room, to the poppy acoustic Hotel Yorba which just begs to be sun along with.

As great as Fell in Love with a Girl is, the best track on the album just may be We’re Going to Be Friends. With just Jack and his acoustic guitar, he sings of a simpler time when worrying about the first day of school was your biggest problem. But it is also a day were you meet new friends that can last a lifetime. The song should be included in every graduation mix from now until the end of time. As The White Stripes showed, the simplest can also sometimes be the best.

Musings from the Back 9: Music Edition XIII

If it were not for Limp Bizkit’s fifth attempt at being relevant again, Fall Out Boy may have been the most unwanted comeback of the past year. Even worse is they called their album Save Rock and Roll (so when you look at the album, you will see Fall Our Boy Save Rock n Roll) even though they along with their whiney contemporaries destroyed the genre (good riddance My Chemical Romance, the world will not be anticipating your inevitable reunion at Coachella 2020). Apparently the band did not watch the Grammy’s this year which featured Mumford & Sons, The Black Keys, Jack White, and Fun., four critically and commercially successful rock albums, all fight for Best Album.

But I am not a Fall Out Boy hater, a couple of their songs made my Best of the Year lists. Despite the first single My Songs Know What You Did in the Dark (Light em Up) and its pretentious long title the band is known for, Save Rock n Roll is the band’s grown up album. Besides Light em Up, the rest of the album has “normal” titles and less tongue in cheek lyrics (Courtney Love spoken word diatribe on Rat a Tat notwithstanding). This album reminds me a lot of Blink-182’s “grown up” albums, they may have been musically better, but their songs where they would make prank phone calls about sodomy were more entertaining. Same for Save Rock n Roll where the album may sound better, but the most entertaining song is the one that sound most like their older work.

Save Rock n Roll gets a on my Terror Alert Scale.


Taylor Swift set up the template for country cross-over success. Hook in that country crowd then slowly creep closer and closer to pop music with every subsequent album until you are making crappy dubstep songs with Max Martin. It look like The Band Perry is copying that blueprint to a T. Much like Taylor did with Teardrops on My Guitar, Kimberly and her brother released a “Pop Remix” of If I Die Young to pop and adult contemporary stations. And that turn to the mass center continues on their sophomore album Pioneer which dips one toe into the country pool and the other in the pop world. The album starts off with their best song to date, the banjo infused Better Dig Two which is as much pop-rock as it is country. They continue to go back and forth and combine the two for the rest of the album, but none of it is very memorable. Maybe the true key to Taylor Swift's successes is dating and writing about douchebags when they inevitably break her heart.

Pioneer gets a on my Terror Alert Scale.


Last year I became obsessed with who the record companies would try to pass off as the “Next Adele.” First out the box was internet lightning rod Lana del Ray who was maybe the most prepackaged “indie” act ever with her devil may care attitude, thin voice, pretentious lyrics that wanted you to think they were much more important than they are, and music that borrows as much from retro sounds as it does modern day hip-hop. Though we never did get a Next Adele (at least until Emili Sandi manages to break out here stateside) you could call Jessie Ware the Next Lana Del Rey but Jessie comes off much less pretentious, less annoying and has a slightly better singing voice. The music is still draped in as many rap references while it borrows from music from the sixties (Wildest Moments is the best here which will grow on you with every new listen) but most songs come off as a little too sleepy and boring. But that is what makes her debut Devotion a great bedtime album, whether that is a good or bad thing may depend on how much Ambient you take on a monthly basis.

Devotion gets a on my Terror Alert Scale.

Don't Want to Argue, I Don't Want to Debate

There are fewer artists with better timing than "Weird Al" Yankovic. A novelty act who made funny parodies about food. His first album was quality entertainment by lampooning the likes of The Knack and even landed him a couple minor hits. But instead of becoming a musical footnote like the guys who sang My Sharona, his second album launched at a time when two cultural phenomenons collided, and he benefited from both. In 1984 MTV finally started airing music videos by black artist, most notably Michael Jackson whose video took him from being that cute kids from the Jackson 5 to the biggest act in music since The Beatles.

Enter “Weird Al” Yankovic to who took Jackson’s Beat It and, like My Sharona before it, turn it into an anthem about food. It was catchy as the original, but what made Al a household name was the accompanying music video with Al visiting the same tropes that Michael did in his video, ending up at the same West Side Story knife fight at the end, but all down with a Weird bent and rubber chickens. It became a template for Al where the video was almost important as the parody itself.

The only other music video Al made from "Weird Al" Yankovic In 3-D, this month's induction into the Scooter Hall of Fame, was almost as entertaining and is now underrated compared to the others that came afterward. Based on his other love. television (the album also featured an ode to The Brady Bunch to the tune of Safety Dance), I Lost on Jeopardy is set to the Greg Kihn song about boring love and turned into a song about the worst contestant ever in the history of game show, a contestant so bad, he did not even get take the Home Game with him. For the video, Al even wrangled Art Fleming, the original host, Don Pardo and Kihn himself. I have no proof to this claim, but I would like to believe it was this song that led to the Alex Trebeck reboot of the game show.

In 3-D was also notable for being the first album that featured the now routine polka where Al broke out his accordion to sing a medley of song from the sixties and seventies classic from Devo to Iron Butterfly. Had there been another video made from the video, it most likely would had been for The Theme of Rocky XIII, naturally a parody of Eye of the Tiger (theme to the third movie), it is a shame that he did not dust the song off for his movie UHF and the song gets only more relevant as Sylvester Stallone inches closer to his thirteenth installment of his franchise. Being such a fan of The Police, King of Suede (a parody of King of Pain) and always been one of my favorite in Al’s catalogue. It is weir to thing that “Weird Al” Yankovic first released his first song thirty-five years ago next year. Hopefully we do not have to wait until then to hear what food will inspire his parody of Call Me Maybe.

Woke up on the Wrong Side of Rock Bottom

Noel Gallagher, who wrote all the songs for Oasis, once said the first line of every song is the most important and what he spent the most time working on. By that philosophy, the fist line in the first song off your first album must be the most important in a singer’s career (maybe not so much for Gallagher who started with “I live my life in the city, there’s no easy way out”). Kacey Musgraves came up a line to start off her major label debut album Same Trailer Different Park that really sets the tone for the next forty minutes when she sings on the opening track Silver Lining, “Woke up on the wrong side of rock bottom.” Do you even need to ask after that if this is a country album?

The next couple songs start out with a couple dozies of their own: “Who needs a house up on a hill when you can have one on four wheels?” (My House) and “If you ain’t got two kids by 21 you’re probably gonna die alone.” (Merry Go Round) But she does not stop with writing a good first line, Merry Go Round can be taken as either a biting commentary about small time life or a lament of it depending on which side of the Mason-Dixon Line you live with a chorus that goes, “Momma’s hooked on Mary Kay, bother’s hooked on Mary Jane” and if you guessed that “daddy’s hooked on Mary two doors down” get yourself a cookie.

But the best written song on the album is Follow Your Arrow which also starts off with a very memorable opening line, “If you save yourself from marriage you’re a bore, if you don’t save yourself for marriage you’re a (w)horrible person.” The be who you are anthem (“kiss lots of boys, or kiss lots of girls if that is something you’re in to”) is much catchier and a lot less annoyingly pretentious than the annoying pop songs with the same message of recent years by Lady Gaga or Ke$ha.

Musically, Musgraves comes across like a early female Ryan Adams with more traditional country influences and a much better sense of humor than someone who would stop a concert cold because someone request he play Summer of 69. But where Adams excelled at what he would call “sad bastard” songs (It Is What It Is is the best of these songs on Same Trailer Different Park), Kacey is much more adept at barn burners like on Stupid and Blowin’ Smoke both which could be one of the better songs if they found their way into Miranda Lambert’s catalogue (Musgraves wrote Lambert’s current hit Mama's Broken Heart).

Though Same Trailer Different Park sticks mostly to traditional country, the sleepy Back of the Map is one of the few times Kacey goes for the adult contemporary track that many pop-country acts shoot for these days, and turns out to be one of the best songs on the album. When it comes down to it, Same Trailer Different Park may be the best country album I have listened to since the last American album Johnny Cash released when he was alive.

Song to Download – Stupid

Same Trailer Different Park gets a on my Terror Alert Scale.

In Time the Rockies will Crumble, Gibraltar will Tumble, They’re Only Made of Clay

At age sixty-seven, Eric Clapton has recorded twenty-eight studio albums, twenty as a solo artist, so are we really supposed to expect much from the twenty-ninth? For a guy once regarded as “God” sure. Really the most notable aspect of Old Sock (do not ask) is that it is the very first released not on a major label but on his own record label Bushbranch (again, do not ask). Like most of his albums from this millennium, Old Sock relies heavy on covers, there are two covers, and features a bevy of guest stars that you probably will not know are there unless you are reading along with the liner notes.

The album starts up with a reggae version of Further on Down the Road by Taj Mahal (who contributes harmonica and banjo to the album) and also dips back into the island sound on Peter Tosh’s Till Your Well Runs Dry. Clapton’s old buddy, and sometime recording partner, J.J. Cale contributes vocals and guitars to the softly sung Angel. Another Clapton contributor, Steve Winwood from the Blind Faith days, plays the organ on Still Got the Blues. While Chaka Khan sings back up on the rare original track Gotta Get Over which stands as one of the best on the album, a funky song and one of the rare tracks where Clapton lets loose on his guitar.

Clapton also spends some time dipping into the old standards much like Paul McCartney did on his latest album, and the Beatles shows up on All of Me (most famously done by Billie Holiday) playing the bass and providing backing vocals. He also breaks out the old Leadbelly old timey classic Goodnight Irene and even closes the album with Love Is Here to Stay written by the Gershwin Brothers. Eric Clapton has clearly mellowed as he has gotten older, I just wished he would unleash one more guitar god album before putting on another pair of old socks.

Song to Download – Gotta Get Over

Old Sock gets a on my Terror Alert Scale.

Words Are Only in My Mouth

Kate Nash rode the wave of neo-pop music coming out of England late last decade following in the footsteps Lily Allen and Amy Winehouse. Her first two albums were filled with fun throwbacks sounding songs filled with enough snark satisfy any jaded music listener. But something happened after that as she dyed her hair darker and started sounding more like a Riot Grrrl than her poppier sound when she released her Death Proof EP where her trademark snark gives way to pure anger.

Her third full length album Girl Talk tends to bridge the gap between her earlier retro-pop style and Death Proof’s angry nineties white girl style. The new album does feature two songs from Death Proof, the title track from the EP and Fri-end which comes after the album opener Part Heart. They are followed by songs like Sister, where she gets screamier the more the song drags on, and fits in very well with her bass guitar heavy darker sound.

But I like it much better when she reverts back to her original sound like on songs like OMYGOD! Cheesy stylization aside, this is where she goes back to her one woman girl group sound. The best is on 3AM which would not sound out of place on those first two album but more danceable. Girl Talk ends with a duo of surprisingly sparse songs (even more surprising than Rap for Rejection where Nash, well, raps). First up is the acoustic sing along You’re So Cool, I’m So Freaky which is followed by Lullaby for Insomniacs which for the most part drops even the acoustic guitar. It ended up being a better turn than the angrier start to the album.

Song to Download – 3AM

Girl Talk gets a on my Terror Alert Scale.

I Got More Rhymes than the Bible's Got Psalms

It is time of year again where it is time to put on some green, fill out your brackets while sipping on a Shamrock Shake. And of course thanks to seeing it in the House of Pain video, pin on your “Expletive deleted) me I’m Irish” button even if you do not have any relative from the Emerald Isles. Jump Around will be getting plenty of play over the next couple weeks as one of the preeminent Irish song that does not even feature bagpipes and is this month’s induction into the Scooter Hall of Fame.

Sure Jump Around will get any St. Patrick’s Day party pumping, but it is in the pantheon of great party starting of all time at any party throughout the year. Really, if you put the song on, every guy in between the ages of twenty and fifty will stop whatever they are doing and start shouting, and jumping, along. The only other songs that have the same effect on such a wide range of males are Glory Days and N.W.A.’s Automobile.

From the opening royal horns, you knew you were witnessing something new, and then the screaming sample kicked in and the song kicked into high gear like a dirtier and grimier version of the rock tinged rap invented in the early Def Jam day. It is almost four minutes of a full frontal assault where Everlast is serving everyone up like John McEnroe even if it is your girl (the sound effect there may be the most entertainly offensive sound effect ever in a song).

One of the few disappointments on the group’s debut album it turns out the prelude song from the Jump Around video does not actually precede the song, but it shows up as a full song later as House of Pain Anthem for anyone who want to jam to it. It is one of the few slower songs on the album while rest it filled with plenty of (expletive deleted) kicking songs (including Put on Your (Expletive Deleted) Kickers) featuring the likes of B-Real from Cypress Hill, Son Doobie of Funkdoobiest, and the great Pete Rock adds a verse to his remix of Jump Around.

But the best song on the set after the original Jump Around is very appropriate for the month Shamrocks and Shenanigans. Go ahead and skip the original version and go straight to the Butch Vig Remix (who was between coming off producing Nirvana’s Nevermind and forming Garbage when he remixed the track). The fuzzed out track is one of the great lost alternative songs from the Golden Age of Alternative Rock and should be added to any St. Patrick playlists you are working on this month.

Some of Those that Wear Forces Are the Same that Burn Crosses

Back in the post-Nirvana wild west of early nineties MTV, it seemed like anyone could get their fifteen minutes of fame no matter how weird they were (seriously, remember Ween?). Thinking back it is amazing that a band like Rage Against the Machine could get so big: two number one albums and three multi-platinum albums. Sure they did not invent the rap-metal fusion, which probably goes to Faith No More (unless you count the time Run-DMC teamed up with Aerosmith). But as good as Faith No More was, their rapping always seemed like a novelity, and I am sure in some circles they are just considered a one hit wonder.

Even more amazing was how Rage became such pioneers in the musical landscape (just do not blame them for the blasphemy that turned out to be Limp Bizkit, the douchebag you knew in college with the “Free Mumia” sign in his window even though he could not tell you the difference between Mumia and Mustafa, or Paul Ryan) was there was a very strong message which can been seen right on their debut album cover, this month’s induction into the Scooter Hall of Fame, which depicts a monk who set himself on fire protesting an anti-Buddhist regime. It was only highlighted by the opening track Bombtrack which repeated the line, “Burn, burn, yes you’re gonna burn.”

Rage Against the Machine even had their breakout MTV moment when the former music channel picked up their most politically charged song and video Freedom as a Buzzworthy selection and put it into heavy rotation. In-between a vigorous live show, featuring a very sweaty fat young kid, the video gave us a history lesson about Leonard Peltier who did not receive a fair trial when convicted of killing two FBI officers. But for the most agro for your buck, there is Killing in the Name Of which builds and builds until lead singer Zack de la Rocha (and pretty much every male under the age of forty within earshot) starts screaming “(Expletive deleted) you I won’t do what you tell me.”

Rage Against the Machine (WARNING: the next line will make you feel old) turned twenty late last year and included the prerequisite rerelease with plenty of different version that includes demo full DVD of a concert and music videos (the most bare bones version you can currently download for only $2.99) which will have frat boys and Paul Ryan raging for another twenty years.

I Won’t Treat You Like You’re oh so Typical

When you hear the name Tegan and Sara you probably conjure up adjectives like folky, moody, and / or lesbian. But like indie queen Liz Phair before them, being indie darlings does not do a very good job at paying the bills. Despite six well received albums, the sisters never managed to have a hit songs on the charts here stateside and were not even able to get one until their last album in their Canadian homeland. They look to change that with the release of the decisively more poppy seventh album Heartthrob.

Much like when I first heard Phair’s no longer being exiled in guyville pop turn with Why Can’t I, my first thought when I heard Closer, the first single off of Heartthrob, was, this is catchy, but I feel a little dirty considering the source. But where Phair when full mainstream on those album with songs of the chick rock pop of the early 00’s, Tegan and Sara travel back to the syth-pop mainstream of the 80’s (and carried on today by bands like Metric).

To get this sound they brought in producer Greg Kurstin of The Bird and the Bee who gave a similar sound to It's Not Me, It's You - Lily Allen’s sophomore album. The problem though is the album sounds too homogeneous and even at just over a half an hour it starts to drag on eventually with the lack of diversity. Heartthrob manages to draw the line very well where they are poised to pick up more pop minded fans without alienating their core fan base, but I’ll probably continue to walk with the ghost instead.

Song to Download – Closer

Heartthrob gets a on my Terror Alert Scale.