The Concert Room

Adam Green - Minor Love Album Review

2011-03-25T04:15:00.000-07:00

ALBUM REVIEW OVER ADAM GREEN’S MINOR LOVE

Artist: Adam Green
Album: Minor Love
Label: Rough Trade Records
Total Length: 32 minutes, 35 seconds
Release Date: February 16, 2010

When reviewing any album, there are three questions a listener needs to know the answer to before having an informed opinion:
1. Are the concepts behind the music relevant?
2. Does the music contain depth and substance in its content? and
3. Is the style of the work impressive?
If we ask these three questions of Adam Green’s 2010 album, Minor Love , we can better understand the legacy of its artistry from our immediate perspective. Green poses many multi-conceptual themes, such as sisyphean drug usage and unrequited sex. The album is chalk-full of value judgments and ideas on his feeling about the human condition. On top of all of this substance, the album’s instrumentation (Green plays nearly each instrument on the album and recorded the album in near entire isolation) consists of his trusty guitar and the stylings of a well-produced, decade-in-the-making artist. Minor Love exists as his most succinct LP to date, with the fewest tracks (fourteen) and the shortest average song time: two minutes, twenty one seconds. Through his refusal to waste space with extended instrumental jams, he appeases today’s Twitter generation with its short attention span. As you’ll see further on in this review, Green shares many of current society’s ills and mental diseases.
Despite the album’s brevity, Green never cuts corners when it comes to his intricate lyricism. He skillfully uses an ekphrastic style to convey as much meaning (and double-meaning) as possible in his always-to-the-point lyrics. Consider Green’s poetic expertise as we review the rhyme scheme in the stanzas of “Cigarette Burns Forever”. Take note that every line ends with a two-syllable rhyme. Here’s the entire rhyme scheme for each of the five stanzas:

1. A / A / A / A
2. B / B / C / C
3. D / D / D / D
4. E / E / F / F
5. A /A / A / A

Notice Green’s aptitude for creating meaningful rhymes, better than most professional poets. Had you noticed that
a. rhymes that are consistently multisyllabic are difficult to achieve?
b. the entire first stanza rhymes with the entire last stanza?
c. with all four lines rhyming in stanzas one (1), three (3), and five (5); and with two halves of the lines rhyming together in stanzas two (2) and four (4), the rhyme scheme is quite symmetrical?
d. he displays the subject of the song through its rhyme pattern: Logically, an actual cigarette that could burn forever would have to start over at the end, just like how Green rhymes, “get her” [A] in the first stanza and the same rhyme, “bet-ter” [A] throughout the last?
Green is an auteur and knows exactly what he’s doing with his pen. He’s certainly well-versed in literary technique and the ideologies of twentieth-century philosophers. We’ll go over his poetic and ideological influences a bit further on. While we’re still on “Cigarette Burns Forever”, notice how he thoroughly covers the conceptual dilemmas of addiction to pleasure yet always finding incessant dissatisfaction:
“I fell into a life of leisure. I saw to a path of pleasure. Don’t it make it that much better, to find a cigarette that burns forever?”
The ending question is tongue-in-cheek speak for, “I’ll never be content in this life because no cigarettes actually burns forever.” I hope you’re a believer in the intellectual depth Green uses when discussing basic aspects of his daily life. Sometimes Green, the idiomatic motherfucker, means the exact opposite of what his words say definitionally.
As he has a good hold on the subjects of philosophy and poetry, it seems Green is a master of symbolism, too. Assuming the French’s view of the artist as auteur, we’ll say that Green really did make those oft-overlooked suggestions about the design of the album’s cover. Sure, the folks at Rough Trade Records probably made the final decision, though I bet a label so D.I.Y. gave Green a decent amount of control over his own product. Let’s analyze some of the symbolism he put on the album’s cover:
First, the photograph’s setting is New York, Green’s birthplace. The cover juxtaposes childish, bright pink handwriting over a vintage, black-and-white photograph of Adam. This recalls a consistently thematic lyric from 2008’s Sixes and Sevens, when he instructs artists to “make it old mixed with new” [“Be My Man”]. The scribbled handwriting on the bottom left displays Green’s often childish verse and emphasizes the fact that he writes the lyrics himself and doesn’t have his label use a type-font for the album cover. Green’s body position looks goofy, even humorous in the photograph, caught mid-dance. His body is overexposed and thus looks overly white. He mixes this with a very dark sepia background. This is all to show how he contrasts lightness and levity within a consistently darker subject material. The star popping out in the background of the skyline is obviously intentional, but why? I say it’s because this is the first album where Green honestly expresses his celebrité and what the expectations are for a star’s life with money and a wealth of substances. The theme of his celebrité is doubly represented by his body being so overexposed (now that he is more of a household name…get it?). The album’s drug motif is shown from the camera’s perspective, through the focus on blurring lights; diagonally-tilted angles (three total); and Green’s off-balance dancing. Lastly, if you’re wondering what fashion of sound he is going for in Minor Love, just check out his clothes on the front of the record: The boots and jeans are a throwback to his time spent in the anti-folk genre [albums: Friends of Mine, Garfield]; the suspenders and cane are in reference to his more recent days of croonier Broadway-type ballads [albums: Gemstones and Sixes & Sevens]. The leather jacket is part of the image found on Minor Love: a turn towards his new tight-knit and cohesive Rock and Roll sound, as a direct descendant in the bloodline of Buddy Holly after 50 years of evolving technology and America’s rapid decline of convention. His outfit, in its entirety, represents a comprehensive image both of Green’s previous and current styles.
On the subject of his previous musical styles, any Moldy Peaches’ fan should try the song “Oh Shucks,” employing the same shrill, grungy electric guitars and pounding drum kit as found in 2002’s Moldy Peaches 2000: Unreleased Cutz & Live Jams. I’ve discussed Green’s overarching career with a few friends who prefer The Moldy Peaches, and each of them said that this album was a turn back in the “right direction” (nearer to his Moldy Peaches origins), after nearly a decade of obscuring and over-polishing his former raw lo-fi energy. The lyrics in “Oh Shucks” are a return to Green’s simpler, less technical times when he was writing anti-songs with Kimya Dawson. The title line is “You’re a scumbag and I’m sad about that, oh shucks. That’s the way I like it--makes me want to shout…" Everyone knows Adam Green plays the novelty card exceptionally well, though its in instances such as this where the novelty is so thick that it coats the listener’s throat as they swallow, leaving a remembered taste and uncomfortable feeling for a decent while following consumption. Fortunately, Green spends most of Minor Love avoiding this pothole by offering his cheesiness in its best form: poignant camp.
Another literary card which Green overplays is his obsession with vulgarity. Pitchfork was apparently fed up with this theme in his previous five records. Their review on Minor Love begins with: “It's the end of an era: An Adam Green record without a single dick joke or crack-cocaine reference.” Sure, Pitchfork, this is technically true. The vulgar lines in this album aren’t about crack or the male phallus. To exemplify Green’s steady refusal to leave bodily humor alone, read the title line of track ten (10) “Castles and Tassels”, when Green sings, “Castles and tassels and flatulent assholes, I love you always.” Once again the snobs with happy-trigger over at Pitchfork jumped to this conclusion while disregarding its inaccurate implications. Some folks doubt that it’s possible, but doesn’t Green almost always use his brain to be vulgar in new, creative ways? His humor reminds me of Woody Allen—both communicate ideas deeply through both verbal slapstick and intellectual wordplay. Adam Green’s trashiness is still in tact, but if his suitors were to play one of his records for her parents, it should definitely be Minor Love, containing minimal vulgarity by the already-desensitized Green standard of what’s appropriate and what’s offensive.
Despite his trekking into the lyrical territories of novelty, camp, and vulgarity; Green’s lyrics are a thing of endless substance. He proves his philosophical chops on Minor Love in particular. I suppose its possible that Green happened upon these philosophies randomly, but one could easily make an undeniable argument that Green exudes postmodernity as well as any artist of his day. Many music critics claim Green’s postmodernity, but few give us reasons as to why. Let’s put Minor Love on the scales of the chief postmodernist, writer/composer Theodor W. Adorno (1903-1969), when he lists the six requirements for art to be considered postmodern in its nature. Green meets four of the requirements stated consistently throughout Minor Love, those being:
1. The album employs multiple interpretations;
2. The characters sang about are contextualized by moral detachment;
3. Green sings personally and from a point of constant self-reference; and
4. Minor Love frequently fulfills Adorno’s concept three-layered concept behind the Meta.
Firstly, on his ability to write through multiple interpretations—Green frequently speaks with a loose narrator’s tongue. Many of his metaphors go unannounced, and Green technically sings of literal objects while also discussing the many ideas represented by such physical things. This is exactly a way in which Green proficiently exemplifies T.S. Eliot’s proposal of the objective correlative—using the literal to speak figuratively. Eliot’s style was stuck in modernity, because he still believed in the absolute nature of being able to interpret intangibles physically. Green, in his postmodernity, instead uses Eliot’s tool in order to display multiple interpretations with a subjective and open-ended meaning. Here’s a lyrical example from the song “Buddy Bradley”:
“You were the flatulent one and I am the boy who has a gun. You ran into me with such force, now all I can be is Buddy Bradley.”
For posterity you just need to know that Buddy Bradley is an alcoholic slacker in a perilous pursuit of love, written into the 1990’s comic book HATE. Green conveys this character’s entire concept while singing out a story about having the wind knocked out of him by a woman and his own shortcomings that pop up thereafter by merely stating, “You ran into me with such force, now all I can be is Buddy Bradley.” However, directly before those two lines is a perfect example of when Green fulfills Eliot’s objective correlative. He does not intend for the statement “You were the flatulent one, and I am the boy who has a gun” to be interpreted literally. For example, 1) He obviously couldn’t possibly possess such a baritone voice, were he indeed a child. 2) Even though I’m willing to look the other way, it’s still technically illegal for children to possess firearms. And lastly, 3) If Adam Green’s ex-wife really was as flatulent as he says, he wouldn’t even have needed a gun to keep away her pursuers.
Anyway, its clear that this lyric uses two literal subjects: a boy and a gun, though its the multi-conceptual, definitional layeredness which the line is evoking that is necessary to view the world through the lens of postmodernity. In this lyric, Green is referring to any number of things beyond a gun—the gun could symbolize an ability to destroy her feelings; a foolhardy desire to act out; it could even be describing his own penis. This is the method by which Green purposefully allows for multiple interpretations of any number of his lyrical verses. Keep in mind: the more possible meanings that exist in a song, the more the lyrics are potentiated into something quite meaningful.
The second qualification of postmodernity that Green meets on Minor Love is an intentional detachment from morality. Try out this lyric from “Boss Inside” and try not to think of Green’s character as a sociopathic serial killer who can’t feel or cry, who contains murderous desires—“He wanted me to kill him but I took his life instead. Ugly moments strung together, and the poor guy couldn’t even find his temper. And he could no longer make me cry I guess the boss inside of him died.”
Don’t be confused by the point of view in these lines—given the context, he is singing about being in a dream-like state and talking to himself, agreeing to kill his alter-ego. Green is using a “he” in order to display a conversation he’s surely had with himself. Not to make Mr. Green feel even worse, but what’s more socially detached than speaking about yourself in third person? Once again, all fathers of the women Adam Green pursues should listen to these lyrics before letting their daughter out of the house. Sorry, but no one said postmodernism was actually popular or even socially acceptable to publicly display for the previous generation…
The third aspect of Adorno’s postmodernity found in Green’s Minor Love is the act of self-referencing. Green has mastered this technique, nearly always speaking from his own confessional standpoint. He obscures his truths as much as he reveals, though the desire to share his insides with the world is as overwhelmingly present as it always has been in his veteran career. As mentioned earlier, Minor Love is particularly honest compared to his past releases. He sings of dealing with fame and a short-lived marriage; he lists any number of substances he’s recently consumed; and he discusses wrestling with mental illnesses including schizophrenia and depression, to cut short a long list of that which he’s confessed on Minor Love. This style of writing is widely prevalent today, though this strong of a brand of Confessionalism didn’t exist until the middle of the twentieth century—but we’ll discuss more about Green’s poetic influences slightly later on.
The last qualification of postmodernity which Green meets on Minor Love is fulfilling the Meta. Remember Green’s skill in conveying multiple interpretations? He employs this technique all over Minor Love to sing in the Meta—in just two lines he can achieve Adorno’s three levels required for a piece of art to contain the Meta. He begins by speaking literally of simple objects (Level 1). The objects listed always have a possible loose interpretation that can include concepts outside of those exact objects (Level 2). In the next line, he’ll use this concept to discuss the state of universal humanity as it relates to the concept (Level 3). Thus, frequently throughout Minor Love, Green meets the requirements of achieving level three of three of Adorno’s philosophy on Meta-Art.
Let’s try an example from the song, “Give Them A Token,” when Green sings on needing to “give them a token to play.” In his own, cutesy superficial way, this line can easily be used to evoke images of a video game arcade (Level 1). More complexly though, Green is admitting to giving out a token song from the album for airplay, and against his will (Level 2). Keep in mind, “Give Them A Token” was the first single off of Minor Love. To complete the Meta, Green applies the idea of his own token song to discussing radio play in general, to the pursuit of not selling out, and to his life as a popular artist (Level 3). He triangulates the truth of the song by synthesizing double-meaning and extending it to a larger concept than either of the original double meanings could have originally implied.
While still on the subject of Adorno’s postmodernity, let’s discuss what Adam Green’s lyricism hath in common with two of Adorno’s recorded piano compositions. First, in Adorno’s “Three Short Piano Pieces” [1945], the piano exudes lightness; also, through the song’s offbeat nature, Adorno communicates surprise twists and endings to the listener. Green’s lyrics too are often humorously light and offbeat. Also, Green is even more so a master at skewing his audience’s expectations by leading them to expect one note and playing another.
Another Adorno song which instrumentally shares with Green’s lyrics is “Piano Piece” [1921]. Both Minor Love and “Piano Piece” display an obscured depression, mental anxiety, and the artist’s need for a cigarette. Both Green and Adorno are great acts to listen to while you become disheveled and grow out your facial hair.
As a testament to Green’s legendary artistry, it’s been pretty easy to relate his music to some of the twentieth-century’s top thinkers. This argument is great support of the fact that Green e has already carved out a relevant niche at the very beginning of the new millennium. More than filling a niche though, Green’s poetry stands on its own. To say that Green’s verse is poetic is quite the understatement. Minor Love shows influences from some of last century’s most forward-thinking poets, such as Stephen Crane, John Cage [composer/poet], John Berryman, and Robert Creeley.
We’ve already discussed Adam Green’s vulgarity and moral detachment. In the very beginning of the 20th century, Stephen Crane (1871-1900) was the first writer to master such a detached persona through his sociopathic word choice and heartless dealing with subject material. Crane must have pre-ascertained the trending of futuristic artists such as Green when opening those new doorways of language for the lost, creative souls who would follow him. Like Crane, Green too sings from the perspective of an objective speaker outside of his own character, feeling little for his self other than boredom and disdain. Green perfectly embodies Crane’s sociopathic lyricism over a century after it was first written.
To use a previous example of Green’s lack of sympathy and his abundance of social detachment, let’s re-read part of the lyric sheet for Minor Love’s “Boss Inside”, where Green openly sings about dreaming that he is a person outside of himself that kills the singer of the song: “He wanted me to kill him but I took his life instead. Ugly moments strung together…” once again, his fiancée’s parents won’t understand the wordplay and poetic value of such a line, and will only read murderous intentions. The truth though is that Green loves airing never-before-heard stories, even if that means exaggerating the truth of his capabilities in order to produce a shocking effect.
Green employs this tactic for reasons much more complex than mere shock value though, such as sharing about his problems to assist others, or absolving his sins through admittance. This isn’t to say that Green views this lifestyle choice as immoral. Remember that he has willfully ignored societally-shared morés. All of this is explained lyrically to further detail in the song “What Makes Him Act So Bad”, where he openly discusses censorship and the overwhelming drive “to act so bad.” He thoroughly comprehends some of the more complex reasons that he acts out. He also intentionally uses his sociopathic nature to the benefit of the amount of the material at his disposal; and also in the pursuit of wooing his young, often emotionally distraught audience with the promise of a more interesting life and comfort upon arrival.
Another writer in the lineage of Adam Green’s poetics is John Cage [1912-1992]. Cage wrote poems in nonsensical “English”, much further past the extent of Bob Dylan’s prose book Tarantula. Through his style of dreamy and overly subjective stories , Cage fulfills the terms of Deleuze and Guattari’s philosophy on the mandate of schizophrenia in 1972’s magnum opus, Anti-Oedipus. This philosophy states how insanity and multiple interpretations are more truthful than your everyday simple, learned knowledge. Mr. Green, too, meets this burden of schizophrenia head-on, when combining everyday subjects with nonsensical contexts to extrapolate greater truths about the subject material, with their meaning enhanced by abstraction. Green takes literal objects and abstracts them, synthesizing the two as he’s singing them, fulfilling his own Hegelian Dialectic in each of such lyrics. Remember the example we gave of this type of three-way triangulation of truth earlier about the song “Give Them A Token”.
The third poet to name, another twentieth-century master, is John Berryman (1914-1972). Berryman is widely known as the father of confessional poetry, beating Plath to the writing board by over ten years. Berryman was as schizophrenic as Cage’s poetry, and a dark-minded drinker with a death drive on overload. Adam Green’s musical persona shares many common interests with Berryman’s depraved mind. Green sings confessions of mental illness [on “Boss Inside”], of consuming endless substances [on “Cigarette Burns Forever”], desiring to die [on 2003’s “I Wanna Die”], and of feeling unlovable [as he sings on “Breaking Locks”, “I’ve been too awful to ever be thoughtful; to ever be nice”]. Berryman was the first poet to write personally on all of these depressive subjects, doing so half a century before Minor Love’s release date. On “Boss Inside”, Adam Green prepares the audience for his tale of depression by guitar-picking the depressing-ass key of A-Flat Minor (capo on the third fret). Within the lyrics, Green self-describes the song as “ugly moments, strewn together”. He tells a creative story of a suicidal dream we’ve mentioned twice already, while giving personal details. This is a greatly poetic current-day example of the genre Berryman created over half a century ago.
The latest dead poet I’ll compare Adam Green with is Robert Creeley (1926-2005). He fits Green’s style more so than the content within his songs. Creeley wrote pre-ekphrastic love poems using succinct punches and no wasted space. Green’s onslaught of action verbs and non-stop motion from one subject to the next executes Creeley’s framework for better poetry through more interesting, quicker production. The same applies to Green’s instrumentation throughout Modern Love: It’s brief, efficient, clean and clear. Another pillar of Creeley’s poetics is that he believed in skewing audience expectations (see 1956’s The Warning). Adam Green was perfecting the art of fucking with his audience even as a much younger band member with The Moldy Peaches. This just adds another one number to the multitude of poetic devices Adam Green employs on Minor Love.
Any literary critic should admit that Green is a perfect candidate for successor to any of these great poets of the last century. As a music critic, I say Minor Love is great support for such a bold statement on Green’s long-lasting legacy and historical relevancy. Did I mention yet that Adam Green’s great-grandmother was once engaged to Franz Kafka, before World War II? Mr. Green is finally meeting the unfulfilled intent of his great-grandmother: to have a culturally significant, literary patriarch as head of the family. I bet any of the poets or philosophers related above would be honored to include Adam Green in their artistic lineage.

SONGS MENTIONED ABOVE

Adam Green:
Off Minor Love
Track 02. Give Them A Token [mp3]
Track 06. What Makes Him Act So Bad [mp3]
Track 08. Cigarette Burns Forever [mp3]
Track 10. Castles and Tassels [mp3]
Off Friends of Mine:
10. I Wanna Die [mp3]
Off Sixes and Sevens:
13. Be My Man [mp3]

And lastly, before this article halves itself like the Titanic, an mp3 from the last centruy's beloved Theodor W. Adorno:

Theodor W. Adorno - Piano Piece [1921] [mp3]

Lady Gaga - Born This Way (The Country Road Version) - mp3 Premiere

2011-03-25T03:36:00.000-07:00

Photo Credit: Pop Justice

Song Produced by Lady Gaga and Fernando Garibay

Yesterday afternoon, I was checking updates on the blog's twitter account, where I follow any number of musicians. Around 5:00 pm I was surprised that amongst the mundane, I found the beginning of today's gem from Lady Gaga:

Transcription:

Lady Gaga [3:40 a.m.]:
Surprise Monsters!: Born This Way (The Country Road Version) will be released on Twitter tomorrow at 12am PST/3am EST 3/25.

Lady Gaga [11:52 p.m.]:
8 mins monsters!! (pouring glass of wine.)

Lady Gaga [12:00 a.m.]:
The Country Road Version of Born This Way. Produced By: Me + Fernando. Photo By: @popjustice ♥ http://bit.ly/goTPZf

I gave the song a listen. The instrumentation is completely fresh, with, as one might guess, a country take on it. The vocals have the same effect, so we fortunately avoided any sort of Ke$ha yodeling we all could have cringed for. Realistically, it's a head-turning endeavor that comes out simple, which threw me off in itself. There's nothing to really dislike about the song, and nothing to get crazy about either. That is, unless you're something like the 1,000,000 fans who ACTUALLY PURCHASED her iTunes single of "Born This Way" in its first five days. The song has been charting at #1 for 6 weeks now on those ever-a-changing Billboard Hot 100 Stats. So, is the song relevant and prevalent? Yes. Does it need my critique added to the pile-up of opinions on Gaga? Hell no. Thus, I present the mp3 premiere for pirates of her new song, Born This Way (The Country Road Version),

Lady Gaga - Born This Way (The Country Road Version) [mp3]

P.S. This was ripped off youtube.com at 5:25 a.m. CST. For now, we're running exclusive, unless you go to the youtube page she tweeted above (is it better to be hijacking the music industry instead of running it? .... One day.)

Purchase The Original Of What You Just Heard:

Lou Reed - Poetry Reading, NYC [1991]

2011-03-13T17:52:00.000-07:00

These tracks truly speak for themselves, made up of Lou Reed reading his poetry and lyrics for a crowd in New York City, 1991. Heroin is a lyrical masterpiece, so it’s great to hear how he gives these words creedence in the context of intimate poetry. Dirty Boulevard is a great testament of Lou Reed’s love/hate relationship with New York. It Wasn’t Me is a thrilling political piece where he spears those who blame him for being a “bad” influence and causing his listeners to “sin”. The timing can be weird, when someone has to read something originally written in 4/4 time, but listen for things beyond that. I’m so glad I found this poetry reading. Here’s a few tracks from it:

1. Heroin [reading]
2. Dirty Boulevard [reading]
3. Dime Story Mystery [reading]
4. It Wasn’t Me [reading]

Cop the whole thing on The Pirate Bay here:

Lyrics sections from these four songs:

HEROIN TEXT:

I don't know just where I'm going
But I'm gonna try for the kingdom, if I can
'cause it makes me feel like I'm a man
When I put a spike into my vein
And I tell you things aren't quite the same
When I'm rushing on my run
And I feel just like Jesus' son
And I guess that I just don't know
And I guess that I just don't know

I have made the big decision
I'm gonna try to nullify my life
'cause when the blood begins to flow
When it shoots up the dropper's neck
When I'm closing in on death
You can't help me now, you guys
And all you sweet girls with all your sweet talk
You can all go take a walk
And I guess I just don't know
And I guess that I just don't know

I wish that I was born a thousand years ago
I wish that I'd sailed the darkened seas
On a great big clipper ship
Going from this land here to that
In a sailor's suit and cap
Away from the big city
Where a man cannot be free
Of all the evils of this town
And of himself and those around
Oh, and I guess that I just don't know
Oh, and I guess that I just don't know

Heroin, be the death of me
Heroin, it's my wife and it's my life
Because a mainline in my vein leads to a center in my head
And then I'm better off than dead
Because when the smack begins to flow
I really don't care anymore
About all the Jim-Jims in this town
And all the politicians making crazy sounds
And everybody putting everybody else down

And all the dead bodies piled up in mounds
'cause when the smack begins to flow
And I really don't care anymore
Ah, when that heroin is in my blood
And the blood is in my head
Then I thank God that I'm as good as dead
And thank your God that I'm not aware
And thank God that I just don't care
And I guess that I just don't know
Oh, and I guess that I just don't know

DIRTY BOULEVARD TEXT:

Pedro lives out of the Wilshire Hotel
He looks out a window without glass
The walls are made of cardboard, newspapers on his feet
His father beats him 'cause he's too tired to beg

He's got 9 brothers and sisters
They're brought up on their knees
It's hard to run when a coat hanger beats you on the thighs
Pedro dreams of being older and killing the old man
But that's a slim chance he's going to the boulevard

He's going to end up, on the dirty boulevard
He's going out, to the dirty boulevard
He's going down, to the dirty boulevard

This room cost 2,000 dollars a month
You can believe it man it's true
Somewhere a landlord's laughing till he wets his pants
No one here dreams of being a doctor or a lawyer or anything
They dream of dealing on the dirty boulevard

Give me your hungry, your tired your poor I'll piss on 'em
That's what the Statue of Bigotry says
Your poor huddled masses, let's club 'em to death
And get it over with and just dump 'em on the boulevard

Get to end up, on the dirty boulevard
Going out, to the dirty boulevard
He's going down, on the dirty boulevard
Going out

Outside it's a bright night
There's an opera at Lincoln Center
Movie stars arrive by limousine
The klieg lights shoot up over the skyline of Manhattan
But the lights are out on the Mean Streets

A small kid stands by the Lincoln Tunnel
He's selling plastic roses for a buck
The traffic's backed up to 39th street
The TV whores are calling the cops out for a suck

And back at the Wilshire, Pedro sits there dreaming
He's found a book on magic in a garbage can
He looks at the pictures and stares at the cracked ceiling
At the count of 3, he says, I hope I can disappear

And fly fly away, from this dirty boulevard
I want to fly, from dirty boulevard
I want to fly, from dirty boulevard
I want to fly-fly-fly-fly, from dirty boulevard

I want to fly away
I want to fly
Fly, fly away
I want to fly
Fly-fly away
Fly-fly-fly
Fly-fly away
Fly away

DIME STORE MYSTERY LYRICS

He was lying banged and battered, skewered and bleeding
talking crippled on the Cross
Was his mind reeling and heaving hallucinating
fleeing what a loss

The things he hadn't touched or kissed his senses
slowly stripped away
Not like Buddha not like Vishnu
life wouldn't rise through him again

I find it easy to believe
That he might question his beliefs
The beginning of the Last Temptation
Dime Story Mystery

The duality of nature, Godly nature,
human nature splits the soul
Fully human, fully divine and divided
the great immortal soul

Split into pieces, whirling pieces, opposites
attract
From the front, the side, the back
the mind itself attacks

I know the feeling, I know it from before
Descartes through Hegel belief is never sure
Dime Store Mystery, Last Temptation

I was sitting drumming thinking thumping pondering
the Mysteries of Life
Outside the city shrieking screaming whispering
the Mysteries of Life

There's a funeral tomorrow
at St. Patrick's the bells will ring for you
Ah, what must you have been thinking
when you realized the time had come for you

I wish I hadn't thrown away my time
on so much Human and so much less Divine
The end of the Last Temptation
The end of a Dime Store Mystery

IT WASN'T ME TEXT

It wasn't me who shamed you, it's not fair to say that
You wanted to work I gave you a chance at that
It wasn't me who hurt you, that's more credit that I'm worth
Don't threaten me with the things you'll do to you
It wasn't me who shamed you, it wasn't me who brought you down
You did it to yourself without any help from me
It wasn't me who hurt you, I showed you possibilities
The problems you had were there before you met me
I didn't say this had to be
You can't blame these things on me
It wasn't me, it wasn't me, it wasn't me
I know she's dead, it wasn't me
[ Find more Lyrics on http://mp3lyrics.org/5tEH ]
It wasn't me who changed you, you did it to yourself
I'm not an excuse for the hole you dropped in
I'm not simple minded but I'm not father to you at all
Death exists but you do things to yourself
I never said give up control
I never said stick a needle in your arm and die
It wasn't me, it wasn't me, it wasn't me
I know she's dead but it wasn't me
It wasn't me who shamed you, who covered you with mud
You did it to yourself without any help from me
You act as I could've told you or stopped you like some god
But people never listen and you know that that's a fact
I never said slit your wrists and die
I never said throw your life away
It wasn't me, it wasn't me, it wasn't me
You're killing yourself, you can't blame me

Album Under Review: T.I. & His Collaborators - No Mercy

2011-03-13T16:40:00.000-07:00

T.I. No Mercy – Lit. Review of the Collaborations

FIX OF THE SYLABBLE-CHOPPERS

That slick hiccup of a bump snuffed up the sum of others humming. Here’s those hot collabs of his new album. Get that? What about so fresh hot track, stepped off the rack yesterday they’re mad by way of waiting for Mr. do-time to come home & be released & release steam & release these. It’s amazing so amazing amazing baby baby amazing so amazing amazing baby baby. Who wouldn’t love her brother called amazing? Eminem did get in on this mix, w/ his usual dose of rhymes and mindfuckery. Also, Kanye West & Kid Cudi did that collaboration with T.I. on this first & fulfilled each’s prospective goals---mmmmmm CuDi & head ‘Ye. Mr. TI knows of heady ye, right? I heard this heard this and this heard this so this glitch isn’t as sick as the rips in the mix, get fixed:

1. Welcome to The World (featuring Kanye West and KiD CuDi) [mp3]
5. That’s All She Wrote (featuring Eminem) [mp3]
10. Amazing (featuring Pharrell) [mp3]

Purchase What You Just Heard:

SXSW 2011 Featured Artists On Display with literary reviews and mp3’s

2011-03-13T13:49:00.000-07:00

Here's a list of the 7 artists I'm mostly looking forward to see at SXSW 2011. You definitely should have heard of these artists by now. If not, click around below and turn up your speakers!

OWEN PALLETT:

Formerly, the artist known as Final Fantasy is surnamed Pallett. Apparently #FF was taken. Shucks, so wow-much more nude name now.
What do you get when you mix queer theory as applied in multi-layered solo performances w/ stringed instruments and a man who is now sitting back in a home his records bought, playing video games & D-and-D and dying his hair blonde occasionally? #FF→#OP. I also saw him featured in OUT Magazine a few years back—hot shit oh wait I can’t I’m getting married oh well nice thought right nevermind. Regardless of that theory, Mr. Owen Pallett displays precise control of strings and looping effects through the roof. MINDBLOWING LYRICS IF/when you actually take the time to listen to them [they still won’t make sense]. I saw him play live at a bar/venue/record store in Oklahoma City (The Conservatory, 8911 N Western) back in 2005, 2006. There were only 25ish people in attendance.
I PROMISE this show will be nothing like that. At all…

As Final Fantasy:

1. Peach, Plum, Pear [mp3]
2. This Is The Dream Of Win & Regine [mp3]
3. The CN Tower Belongs to the Dead [mp3]
4. That’s When The Audience Died [mp3]

See a list of Owen Pallett's SXSW 2011 shows by clicking here

SPOEK MATHAMBO:

He changes the beat mid-song, turning on a dime and not looking back to those dusty paths now faded black after long gone from absence of master’s attack. Lift your African eye patch and see clearly these three things: the beats; the way the vocalist sings; and the sick-sick speaks (speakers) arranged around that nu-nu which he creates from within his dense, thick-lipped soul. Holler if you’re gonna see him at SXSW 2011 or definitely comment if you’ve ever seen Mathambo live. I hear the man’s a living myth, no idea about performance quality though. I hope quite such the passionate rush of blood to the front of my groin and guts - - -

1. Mshini Wam [mp3]
2. Jabajaws (Kid Kaio Remix) [mp3]

And a surprise
3. Spoek Mathambo – Ghost Of Bones EP [Unreleased mp3]

MICACHU

Thou music hath twinkled my spine in knots which it then unwinds. You’re music conveys 8 moods a song, all strewn throughout. The absence of instruments and lack of comfortable instrumentation can be characters of the music themselves. Micachu has a heavy imagination—sometimes hears music when it’s simply not there. Nonetheless, no one here dare says she’s not got a great ear. I have grown as an appreciator of music every time I play the Micachu album. I hope one day she’s more sought after than in her current state, which is desirable but hopefully not the end-game. While she may not take over Japanese charts, who’s to say she couldn’t be Ariel Pink-y in her career of being too weird and awkward live, into becoming one of the most technically proficient, best-produced and most sought-after acts of anyone in the know. You’re cool if you know Ariel Pink. Same will be true more massly with Micachu in Ms. Future. In the meantime, contemplate calculators.

1. Golden Phone [mp3]

Micachu and The Shapes songs:
2. Lips [mp3]
3. Calculator [mp3]
4. Guts [mp3]

JAMES BLAKE

Errybody be on that JB-dick y’ahm say’n? Onniways, dose plays make fer great debate on music’s future: defaced & under sutures? Hopeless was the fore-seer JB of his viewed scene; there even being a scene to view was bothersome to many folks in the wilderness. Man did math where scene =science of numbers & 1 / 2’s. Mr Blake finds his profit in this business so I say its“we” who boosted his image. But look above; glorious it is. If you’re a band, listen to these songs if you want a reason you should quit music right now. ‘Cause you will never be James Blake.

See a review on his new album, James Blake, here OR our post on his entire discography here

1. The Bells Sketch [mp3]
2. CMYK [mp3]
3. To Care (Like You) [mp3]
4. I Mind [mp3]

See a total list of James Blake's SXSW shows here

TORO Y MOI

In grooves which slip up and down the neck upon entrance into the brain-member, or the audial-member. Toro knows how to go inside those places behind yer throat and choke your swallow. Quite a following, follow quite harrowing. Fly as a heron or high as the heroin. Did ye dig these ditties already? If not & your tolerance for this soundfucker’s not shot; check the mp3 box below % make a stop.

OR, see one of five of his SXSW 2011 concerts listed here

1. Blessa [mp3]
2. Talamak [mp3]
3. Causers of This [mp3]

Click here for more Toro Y Moi sighting’s at SXSW

WYE OAK [already hosting songs]

I saw this band live back in August, 2010 at ACM in Oklahoma City. I found awe in the bravado of the stage presence of their attitudes; so thick that it has a physical clarity which wants, so tender it can be touched by anyone. And it’s willing to touch you back. They long to play their instruments; they mourn the dead musicians in front of you. They wail their sirens as part of their learned, dollar trade. Please buy this album to support this touring band. Also, check them out at SXSW 2011. STANDOUT TRACK: Holy Holy – this song’s physical texture is warm and inviting, yet detached enough to impress, while raw enough to evoke many emotions. I really dig this new ol’ type of dronin’ rock and roll.

Click for more Wye Oak here

2. Milk and Honey [mp3]
3. Tattoo [mp3]
4. I Hope You Die [mp3]

See Wye Oak's SXSW 2011 Shows by clicking here

SKRILLEX

How now about that sound terrorist! Heard him at a club in Oklahoma & people danced confusedly. Ha! Melting the wax of g-ma’s music collection, do so spinning or thrilling yeh? Gone was tradition by 2011; nonetheless when the shocks get ecstatic and spark and seem to burst at edge-seams – it gets well-listened to by its society. Try to see at least one of his three shows in Austin this upcoming weekend. PS Check song Two--Zedd’s at SXSW too.

1. My Name Is Skrillex [mp3]
2. Do Da Oliphant [mp3]
3. Scatta w/ Foreign Beggars, Bare Noize [mp3]
4. Scary Monsters And Nice Sprites – Zedd Remix [mp3]

List of Skrillex' SXSW 2011 shows here.

CLICK HERE FOR A COMPREHENSIVE LIST OF WHEN EACH OF THESE BANDS ARE PERFORMING!!!

Micachu Experiment w/ mp3

2011-03-12T18:05:00.000-08:00

---Swear, there's an mp3 below.

I've been neglecting this blog for over a day in order to start up a twitter (visible from our site now), and working on a new project which can't be unveiled to y'all yet. Before I consolidate the two worlds of music blogging and music tweeting, and come back here for good, I wanted to try an experiment.

Instead of tweeting about this blog 200+ times in three days, I decided to blog a bit about an mp3 I posted on my twitter. The song is Micachu and the Shapes - Lips off of the album "Jewellery".

Instead of reviewing the song and posting an mp3, I'm going to, to this post's demise, blog a tweet which contains SONG INFO, an MP3, and SONG REVIEW. It's just what we do, and in 140 characters or less.

Here's a link to the tweet with a link to an mp3 of the Micachu and the Shapes song "Lips".

Have I lost you?

Wait till you hear how lost I've become in the new project [a new site], to be unveiled in the coming two weeks. Followers, please plan to transfer...

Fuck it, to stick with tradition and appease y'all masses, here's a link to the actual mp3:

LIPS

http://dl.dropbox.com/u/15633933/02%20Lips%201.mp3

But did you see how EEASSSSSYYY the twitter one was? Goddamn, I didnt have to write a sixth of this much, or fix id3v2.2 tags. Oh well, I swear, I'll be back ASAP. Love, #TCR

SXSW 2011 mp3 Mix Pt. 3 [12 Tracks; Theme: Quality, Lesser-Known Artists + Guest Spot by B.o.B.]

2011-03-11T01:07:00.000-08:00

How about, instead of artists everyone’s heard of, let’s now focus on bands that you’ve AT MOST barely heard of, ever. The point of this post is to help expand your horizons this year at SXSW and put down the James Blake and Toro Y Moi singles you've been clinging to. SXSW celebrates an ever-diversifying “line-up” [as if you can ever fit over 2,000 bands into a solid line-up, much less posting the info into just one word document w/o a computer crash]. A large list of very popular acts is not the point of SXSW (just a perk); instead they've opened up the irrigation channels in music to include garage bands out of South America, etc. SXSW does a GREAT job of putting tens of thousands of people's worth of energy into improving the arts community, and providing the medium by which people act themselves. I also love that SXSW doesn't have an easily printable schedule--instead you have to find the venue or band or event host's webpage [or check /our massive flyers list w/ event info here] and give them your hits--which is a good thing. As you can see, this mix is perfectly themed for the overall attitude of SXSW. If you ask the event, it may even say they'd rather you see these shows and support those poor musicians who need resources; rather than give Mr. James Blake a golden throne and platinum spit bucket.

I’ll post a part 2 of this series VERY soon, so check back in soon. Happy festing!

1. The Black Angels - Telephone [mp3]
2. Charles Bradley - The World [Is Going Up In Flames] [mp3]
3. WIN WIN - Releaserpm featuring Lizzie Bougatsos [mp3]
4. Braids - Lemonade [mp3]
5. The Generationals - Trust [mp3]
6. Say Hi - Devils [mp3]
7. Chris Bathgate - No Silver [mp3]
8. Ivan & Alyosha - Glorify [mp3]
9. Menomena - Taos [mp3]
10. OFF! - Upside Down [mp3]
11. Surfer Blood - Swim [mp3]
12. The Dodos - Fables [mp3]

ALBUM ART:

SURPRISE! Easter Egg: B.o.B. will be at the mtvU awards and at Kiss and Fly (tickets for up to $500 a person). Instead of getting robbed, how about I play Robin Hood and do a little redistribution to...you, and...you...and, hold on a second. Still reading? "STOP! Now think about it."

B.o.B. - The Adventures of Bobby Ray

Track 2. B.o.B. - Nothin' On You (feat. Bruno Mars) [mp3]
Track 8. B.o.B. - Magic (feat. Rivers Cuomo of Weezer) [mp3]
Track 7. B.o.B. - The Kids (feat. Janelle Monae) [mp3]
Track 12. B.o.B. - Airplanes, Part II (feat. Eminem & Hayley Williams) [mp3]

HOW TO BUY JAMES BLAKE TICKETS for Sat. May 14, 2011 [The link's on this page]

2011-03-10T12:39:00.000-08:00

via Collective Concerts

ARTIST: James Blake
DATE: Saturday, March 14, 2011
TIME: 9 PM
PRICE: $20 Advance; $25 @ door
VENUE: The Rivoli
ADDRESS: 332 Queen St. West
Toronto, ON M5V 2A2, Canada
PHONE: (416) 977-5082

Age Requirements: Must be 19 years or older

Tickets available for James Blake @ TicketMaster [here]
They don't go on sale until Friday, March 11, 2011 10:00AM

GOOD LUCK HUNTING!

SXSW 2011 - 54 Shows You Don't Want To Miss [Pt. 2]

2011-03-09T18:41:00.000-08:00

Find Part One of this SXSW 2011 Suggested Shows Feed here. Updated w/ new info daily.

Let's start with a hot event: James Blake, Raphael Saadiq, Duran Duran, Bun B; etc.
and then we'll go into the rest. Congrats, we're about halfway through the 54 shows by everyone's favorite sxsw 2011 artists.

Suggested Acts: James Blake (9:15 PM); Raphael Saadiq (11:15 PM); Duran Duran (12:30 AM); Bun B (8 PM); Smith Westerns (10:15 PM) AND MORE . . .
Venue: Stubb’s BBQ
Address: 801 Red River Street; Austin, TX 78701
Date: WEDNESDAY March 16, 2011
Additional Details: OUTDOORS! Requires wrist band…

Suggested Acts: Bun B; Araab Muzik; DJ Nu-Mark of Jurassic 5); Ryan lewis; Grieves, Beats Antique, AND MORE . . .
Venue: The East Side Drive-In
Address: 1001 East Sixth Street
Date: Sunday, March 20, 2011
Time: 11 AM Doors – 10 PM; Afterparty: 9 PM – 3 AM
Host: illroots, etc.
Additional Details: ALL AGES

Artist: Donald Glover (Chidlish Gambino) [8 pm] AND MANY, MANY MORE . . .
Venue: Esther’s Follies
Address: 525 E 6th St
Date: Saturday, March 19
Host: SXSW Comedy
Additional Details: all ages

Suggested Acts: Aaron Lacrate; InnerPartySystem DJ Set; Fitz & The Tantrums; AND Surprise Performance
Venue: Stubbs
Address: 901 Red River Street; Austin
Date: Tuesday, March 15
TIME: 9 PM; Doors at 8:30
Additional Details: SXSW Badge Required

Suggested Act: Frankie & The Heartstrings AND MANY MORE
Venue: Antone’s
Address:
Date : 03-17-11
Time: 11 AM
Host: Live4Ever
Additional Details: A Two Finger Salute

Suggested Acts: Matt & Kim (5:30 PM); Theophilus London (12:30 pm); Foster The People (1:30 pm); Friendly Fires (3:30 PM) AND MORE . . .
Venue: Red River Garage
Address: 505 East Ninth Street [corner of 9th and Red River; across from Stubbs]
Date: Thursday March 17th
Time: 12 PM – 6:30 PM
Host: MTV

Suggested Acts: Omar Rodriguez Lopez Group (of The Mars Volta) AND MORE from his production company . . .
Venue: Emo’s Annex
Address: 603 Red River
Date: Saturday, Mar. 19th
Time: All Day Event
Host: Rodriguez Lopez Productions; Sargent House
Details: Opposite

Suggested Acts: Damien Jurado [4:15 PM] AND MORE . . .
Venue: Shakespeare’s
Address: 314 E 6th Street
Date: Thursday, 3/17
Host: Trailer Fire Records; The New Los Angeles Folk Festival

- - - - - - - -

Here are a few more resources to make your time at SXSW 2011 Better:

Link to Emo’s sxsw Full Calendar

Here's the biggest show, technically:

Auditorium Shores Stage (Lady Bird Lake)
Details: http://sxsw.com/music/shows/auditorium_shores
Suggested Bands for Thursday, March 17: The Strokes [8 PM] [Levi’s Presents]
Suggested Bands for Friday, March 18: Blue October [8 PM]
Suggested Bands for Saturday March 19: [Ground Control Touring Presents]: Kurt Vile And the Violators [3:30 PM]; Man Man [4:30 PM]; Bright Eyes [7:30 PM]
AND MORE
Address: 920 W. Riverside Drive 78704

- - - - -

HOT TICKETS w/ links to the event details. Click the VENUE for more info on that show.

These are all my favorite sxsw 2011 Performers who you won't want to miss, and a list of all their multiple shows:

- Skrillex Shows:
Emo’s – (Outdoors) 03/18
Maggie Mae’s – 03/18 11:10 PM
Mohawk’s Patio - 03/18 11:45 PM

- James Blake Shows:
Stubbs – 03/16 9:15 PM
Central Presbyterian Church – 03/17 1 am
French Legation Museum – 03/18 5:30 PM

- Toro Y Moi Shows:
Klub Krucial – 03/18 /11
512 Rooftop – 03/17/11
Radio Days Stage [Austin Convention Center] – 03/19 - http://schedule.sxsw.com/events?venue=Radio%20Day%20Stage%20Austin%20Convention%20Center
East Side Drive-In – 03/18 6:15 PM
Waterloo Records – Outdoors #FREE SXSW 2011 Concert - 03/17 1:30 PM
P.S. Toro gets credit for being the most prevalent popular artist at the fest [5 shows known of, in 3 days]

- Wye Oak Shows:
The Parish – 03/18 11:45 PM
Waterloo Records – 03/17 6:00 PM; #FREE SXSW 2011 Concert; In-store -

Kurt Vile Shows:
Auditorium Shores Stage – 03/19 3:30-4:30 PM;
Waterloo Records [see above flyer] – #FREE SXSW 2011 Concert In-Store 03/19 – 6 PM

-Talib Kweli Shows:
Emo’s Main Room; - March 16
Scoot Inn – 03/18 1:05 am until 2 am

-Josh Ritter Shows
Radio Day Stage [Austin Convention Center] 1:30 PM
ADDRESS: 500 E Cesar Chavez St (Exhibit Hall D)
- St David's Historic Sanctuary – 03/18 10:00 PM

-Owen Pallett Shows:
Purevolume – March 19, [12:45 am till over]
East Side Drive-In – March 18; 5:00-5:45 PM
Emo’s - March 17th

-BIG SHOW: Purevolume - RSVP Here
Full SCHEDULE
Suggested March 16 Acts: Moby [2 am]
Suggested March 17 Acts: The Limousines [12 am]; The Dears [1 AM]; The Bravery [2 AM]; InnerPartysystem [3 am]
Suggested March 18 Acts: Eisley [4 pm] Special Guest [5 PM]; Jamie Woon [2:15 am]; Mount Kimbie [3 am]
Suggested March 19 Acts: Owen Pallett [12:45 am]
AND MANY, MANY MORE

SXSW 2011 - 54 Shows You Don't Want To Miss [Pt. 1]

2011-03-09T18:07:00.000-08:00

SXSW 2011 Is Here! Check out this page for all your favorite artist's concerts. Some of the more popular shows listed here have up to 8 artists at just one event. Here's to simplifying your SXSW 2011 Trip. If I don't have what you need, you're going to need to google it. I googled all these. Basically, if you've heard of a band AND they're at sxsw 2011, then they're on this list. It will be worth it as I show my (wrist)band to get in to some of these great shows of SXSW 2011. Let's start with a great artist doing a show by themselves, Ariel Pink's Haunted Graffiti, then move right into it:

Artist: Ariel Pink’s Haunted Graffiti
Venue: Kiss & Fly
Address: 404 Colorado Street, Austin, TX 78701
Host: Dickies
Date: Saturday, March 19
Time: 12 am – 1 am
RSVP Here at the purevolume link

Date: Thursday March 17th
Suggested Acts: DeVotchKa (10 PM); Cold War Kids (12 AM) AND MORE . . .
Venue: Lustre Pearl
Address: 97 Rainey St.; Austin, TX 78700
Host: Dickies
Additional Details: There will be a Taco Truck and live poster printing.
- - -
Date: Friday March 18th
Suggested Acts: Alex Winston (4 PM); Noah & The Whale (9 PM); Gayngs (10 PM); Black Lips (11 pm); Little Dragon (12 AM) AND MORE . . .
Venue: Lustre Pearl
Address: 97 Rainey St.; Austin, TX 78700
Host: Dickies
Additional Details: There will be a Taco Truck and live poster printing.
- - -
Date: Saturday, March 19th
Suggested Acts: Asobi Seksu (2 PM); Tapes ‘n Tapes (4 PM) Okkerville River (5 PM) AND MORE . . .
Venue: Lustre Pearl
Address: 97 Rainey St.; Austin, TX 78700
Host: Dickies
Additional Details: There will be a Taco Truck and live poster printing.

Suggested Acts and Time: Indoors - Gold Panda (1 AM); Mount Kimbie (12 am); Jamie Woon (10 PM) AND MORE . . .
Venue: Emo’s
Address: 603 Red River Austin, TX 78701
Date: Tuesday March 15th
Host: Pitchfork / Intel

Suggested Acts: for Thursday March 17th: The Dears (4:05 PM); AND MORE . . .
Suggested Acts for Friday March 18th: Okkerville River (5 PM); Menomena (4:05 pm); Telekinesis (3:15 PM); OWEN PALLETT (Formerly Final Fantasy) (1:35 PM), AND MORE . . .
Venue: Flamingo Cantina
Address: 515 E 6th Street
Date: Friday March 18th
Time: 12 pm – 6 pm
Host: Under The Radar
Additional Details: #FREE SXSW 2011 Concert; Open to the Public

Thursday, March 17th;: at the Hill Stage: Low (5 PM) and Sharon Van Etten (4 PM) AND MORE . . .
Thursday, March 17th;: at The Valley Stage: Ted Leo – Solo (5:30 PM); Hanni El Khatib (1:30 PM); AND MORE
Friday, March 17th;: at the Hill Stage: !!! (CHK CHK CHK) (6 PM); James Blake (5 PM); Cults (4 PM); AND MORE . . .
Friday, March 17th;: at The Valley Stage: Sean Lennon (3:30 PM); John Vanderslice (2:30 PM)
Venue: French Legation Museum
Address: 802 San Marcos; Austin 78702
Hosts: Other Music & Dig For Fire
Additional Details: Event Page (important): http://frenchlegationmuseum.blogspot.com/2011/02/sxsw-dig-for-fire-other-music-line-up.html#comment-form

Suggested Acts for Wednesday March 16: Peanut Butter WOLF (1 AM) AND MORE . . Suggested Acts for Thursday, March 17: Big Sean (11 pm); J. Cole (12 am); and B.o.B. (1 AM); AND MORE . . .
Suggested Acts for Saturday, March 19: God-Des & She (11:45 PM)
Venue: Kiss and Fly
Address: 404 Colorado; Zip Code: 78701
Host: VICE, BET
Additional Details: Tickets Available at Door

Suggested Acts: Thursday, March 17, 2011: Mount Kimbie (3:45 PM) AND MORE . . .
Suggested Acts: Friday, March 18, 2011: Toro Y Moi (6:15 PM); Owen Pallett [Final Fantasy] (5:00 PM); Gold Panda (2:15 PM); Colin Stetson (1:30 PM) AND MORE . . .
Venue: At East Side Drive-In
Address: 1001 E Sixth St; Austin, TX 78702
Host: Offline
Additional Details: Live stream on Friday, 3/18

Suggested Acts: Asobi Seksu; Oh Land, Jeff The Brotherhood; AND MORE . . .
Venue: 501 Studios
Address: 501 I-35 (Fifth and Brushy); Austin, TX 78702
Date: Thursday, March 17, 2011
Time: 11 am-6 PM
Host: Prefix

Suggested Acts: Ted Leo (Solo) AND MORE . . .
Venue: The Eastside Drive In
Address: 6th St & San Marcos; 78702
Date: Saturday, March 19
Time: 11:30 am - ON
Host: FYF Fest / Fun Fun Fun Fest
Additional Details: #FREE SXSW 2011 Concert; ALL AGES; RSVP AT: http://mwtxparty.com/

Suggested Acts: Tennis, Summer Camp, Eternal Summers, Veronica Falls, Oupa (Daniel from Yuck) AND MORE . . .
Venue: Double Down Lounge
Address: 515 Pedernales St.
Date: March 17, 2011
Time: TBD
Host: Free Press Summerfest

Suggested Acts: Outdoor Stage - Toro Y Moi; Lord Huron AND MORE . . .
Venue:
Address: 611 East Seventh @ Red River
Date: Wednesday, 3/16/11
Time: Noon-6:00 PM
Host: Terrorbird Media and Force Field PR
Additional Details: First 100 Attendess receive a free gift bag. Also: Free Ben and Jerry’s ice cream at the venue.
#FREE SXSW 2011 Concert!!! ALL AGES

Suggested Acts for Wednesday March 16th: Fitz & The Tantrums (3 PM); Apex Manor (4 PM); Telekinesis (6 PM) AND MORE . . .
Suggested Acts for Thursday, March 17: Toro y Moi (1:30 PM – Inside); Wye Oak (6 PM)
Suggested Acts for Friday, March 18: And You Will Know Us By The Trail Of Dead (5 PM)
Suggested Acts for Saturday, March 19: Neon Trees (4 PM); Kurt Vile (And The Violators (6 PM)
Venue: Waterloo Records
Address: 600-A North Lamar, Austin, TX 78703
Additional Details: All of the Above Are #FREE SXSW 2011 Concerts; In the parking lot of Waterloo Records unless otherwise mentioned

Suggested Acts for March 17: Cults (6:00 PM) AND MORE . . .
SUGGESTED Acts for March 18th: Times New Viking (5-5:45 pm); Wild Flag (6:00 PM)
Venue: Urban Outfitters
Address: 2406 Guadalupe Street; Austin, TX 78705-4809
Additional Details: Exclusive Concert in back of the store

CLICK HERE for post part two of this sxsw 2011 Suggested Acts You Don't Wanna Miss Page.

Recency Under Review - Tuesday, March 08, 2011

2011-03-09T04:12:00.000-08:00

All 7 of these albums were released yesterday, March 08, 2011.

AUTHOR'S TOP PICK: Wye Oak - Civilian

I saw this band live back in August, 2010. I loved the stage presence of their attitudes; so thick that they have a physicality, so tender it can be touched by anyone, and it touches back. They long to play their instruments, they mourn in front of you, they wail their tools as part of their dollar trade. Please buy this album below to support this touring band. Also, check them out at SXSW 2011. STANDOUT TRACK: Holy Holy – this song’s physical texture is warm and inviting, yet detached enough to impress, while raw enough to evoke many emotions. I love this type of droning rock and roll.

Track 3. Holy Holy [mp3]
Track 5. Civilian [mp3]
Track 10. Doubt [mp3]

Gil Scott-Heron & Jamie XX – We’re New Here

A small revolt is outside your front door. This album mixes toro y moi’s up-and-down frequencies on the volumizer. It also includes smooth beats and synthetic, very busy / very minimalistic. The music contains many opposites and fascinates me regardless of its classicism. I hope these concepts stick around a minute in indie music. Thank God Scott-Heron is finally “be[ing] televised” on the internet. STANDOUT TRACK: NY Is Killing Me has groovy, masculine vocals with slick production from Jamie XX; this is a hit.

Track 4. Running [mp3]
Track 11. NY Is Killing Me [mp3]
Track 13. I’ll Take Care Of You [mp3]

Kurt Vile – Smoke Ring For My Halo

Oh melodious Mr. Vile, gracias for this new music which we’re about to ingest like bile. Thank you for providing interesting lyrics, droning yet nostalgic vocals, and a simple but unique acoustic guitar sound, also somewhat droning. What more can I say? I just became a big fan yesterday. STANDOUT TRACK: Try all three. Trust me. They’re each individual songs in their own beautiful ways. If I had to pick one though, try Ghost Town – beautiful, stripped down sounding something like a ghost from your more youthful days, say an old childhood friend who had died; that came back from the grave and decided to visit. No wonder they call it Ghost Town, yeah?

Track 2. Jesus Fever [mp3]
Track 6. Runner Ups [mp3]
Track 10. Ghost Town [mp3]

Cut Copy – Zonoscope

I must have blinked as this band fad-ed by. Many man was once a fan until the style once grand later became bland. They may have done something new back then, but they’re sticking to it. Nonetheless, if you want solid background music that does not demand too much attention, intrigue, or though, then listen to his album all the way the fuck through.

Track 4. Pharaohs & Pyramids [mp3]
Track 5. Blink And You’ll Miss A Revolution [mp3]
Track 9. Hanging Onto Every Heartbeat [mp3]

R.E.M. – Collapse Into Now

The band has so many sore spots on this album I would say it is too stained for these tracks to save it. However, these sweet spots hit a rhythm unlike their classics in the absence of any epic style, but more like a band that has a few more songs in them. Was it enough to warrant an entire album? No. Despite the band having so many completist fans, someone should introduce R.E.M. to the concept of an EP.

Track 6. Every Day Is Yours To Win [mp3]
Track 11. Me, Marlon Brando, Marlon Brando And I [mp3]
Track 12. Blue [mp3]

Alexi Murdoch – Towards The Sun

I’ve been watching him for years now. The production looks something like grass or old paint. Nonetheless, Mr. Murdoch, quite the veteran, has made what I’ll call his best album to date. These songs are much fresher than his mid-notties days, when it was more bland. Sure, the lyrics lack depth, and the instrumentation is far from challenging; nonetheless, this guy makes a great, simple, honest folk song. I forgot what he was good at. I’m glad this album reminded me so I don’t have to leave a dick review about the guy. STANDOUT TRACK: At Your Door

Track 2. At Your Door [mp3]
Track 3. Some Day Soon [mp3]
Track 6. Her Hands Were Leaves [mp3]

Grails – Deep Politics

Here I see some interesting intrumentals. All The Colors of the Dark has a catchy, snappy beat. Try that if you like hip-hop beats but want to stick to a near-Devotchka feel on the multitude of organic instruments. None of these songs feel stale. Thank god for new music like this. I’m now won over as a fan as of three hours ago. STANDOUT TRACK: Deep Politics – the title track begins with a swooning piano introduction, until the string section swells and breaks out into an electric guitar. This sets the stage for the band to slice your throat around the 2:38 mark.

Track 2. All The Colors Of The Dark [mp3]
Track 4. Deep Politics [mp3]
Track 5. Daughters of Bilitis [mp3]

SXSW 2011 Mix [19 Tracks from the Largest Artists]

2011-03-09T02:58:00.000-08:00

SXSW 2011 is upon us [Music: March 16-20. To celebrate this festival, I toast with part two of a mix. Part one was posted here.

This full-length mix is meant for those interested in who the premiere groups which SXSW is showcasing this upcoming weekend. I plan to be in attendance [about a 6-hour drive away]. I plan on folding down the seats and sleeping in back of my car. I have gone with zero dollars before, and its fun even if all you can do is eat and walk the streets amongst the crowd of tens-of-thousands. Last year I got lost among the hundreds of musical groups, so I decided to do the world a service and post 19 more tracks from the next 19 biggest artists that everyone knows or should know, just in time for SXSW 2011:

1. The Appleseed Cast – As The Little Things Go
2. The Civil Wars – Barton Hollow [mp3]
3. Colour Revolt – 8 Years [mp3]
4. Eisley – Ambulance (Live) [mp3]
5. Flogging Molly – Requiem For A Dying Song [mp3]
6. French Horn Rebellion – Up All Night [mp3]
7. Gorilla Zoe – Echo [mp3]
8. Graham Colton – Pacific Coast Eyes [mp3] (from Oklahoma City)
9. Hoodie Allen – You Are Not A Robot [mp3]
10. Klaxons – Echoes [mp3]
11. Li’l Cap’n Travis – Violeta, Diamond of the Everglades [mp3]
12. Low – Try To Sleep [mp3]
13. Micachu And The Shapes – Calculator [mp3]
14. The Octopus Project – Fuguefat [mp3] (from Norman, OK)
15. Omar Rodriguez Lopez & ~~John Frusciante~~ – ZIM [mp3]
16. Peelander-Z – Go! Rio! [mp3]
17. A Place To Bury Strangers – Ego Death [mp3]
18. Spoek Mathambo - Mshini Wam [mp3]
19. The Vandelles – California Killer [mp3]

ENJOY and safe mix'd travelling!

Legends: Joy Division [1976-1980]

2011-03-08T01:14:00.000-08:00

Joy Division has been a favorite band of mine for a few years now. When I was younger, I never wanted to be like Ian Curtis. I wanted to be Ian Curtis. In some ways, I was. In other words, if you didn’t know by now, this band is worth obsessing over. This band is worth listening to every song they produced, and then sifting through each track, after many repeated plays, find your favorites. Here’s 5 of mine:

1. She’s Lost Control
"And she turned around and took me by the hand and said, I've lost control again. And how I'll never know just why or understand, she said I've lost control again. And she screamed out kicking on her side and said, I've lost control again. And seized up on the floor, I thought she'd die. She said I've lost control. She's lost control again."

2. Isolation
But if you could just see the beauty, these things I could never describe, these pleasures a wayward distraction. This is my one lucky prize.
Isolation, isolation, isolation, isolation, isolation.

3. Transmission
Radio, live transmission. Listen to the silence, let it ring on. Eyes, dark grey lenses frightened of the sun. We would have a fine time living in the night, left to blind destruction, waiting for our sight.

4. Love Will Tear Us Apart
When routine bites hard and ambitions are low, and resentment rides high but emotions won't grow. And we're changing our ways, taking different roads. Then love, love will tear us apart again.
Love, love will tear us apart again

Also, for those still listening, a live song from the Joy Division's hometown:

Atrocity Exhibition [Live at The Factory in Hulme, Manchester, England]

Purchase What You Just Heard:

SXSW 2011 Mix #1 [15 Tracks from 15 of the Artists with the Largest Markets]

2011-03-07T23:54:00.000-08:00

SXSW 2011 is upon us. To celebrate this festival, I toast with a mix:

This full-length mix is meant for those interested in who the premiere groups which SXSW is showcasing this upcoming weekend. I plan to be in attendance [about a 6-hour drive away]. I plan on folding down the seats and sleeping in back of my car. I have gone with zero dollars before, and its fun even if all you can do is eat and walk the streets amongst the crowd of tens-of-thousands. Last year I got lost among the hundreds of musical groups, so I decided to do the world a service and post 15 tracks from the 15 biggest artists that everyone knows or should know, just in time for SXSW 2011:

1. Asobi Seksu
Track: Thursday

2. Devotchka
Track: 100 Other Lovers

3. Erykah Badu
Track: Gone Baby, Don’t Be Long

4. God-Des & She
Track: Respect My Fresh

5. James Blake
Track: Mount Kimbie - Maybes [James Blake Remix]

6. John Vanderslice
Track: Sea Salt

7. Klaxons
Track: Echoes

8. Micachu And The Shapes
Track: Calculator

9. MSTRKRFT
Track: Easy Love

10. Noah and The Whale
Track: 5 Years Time

11. Skrillex
Track: Fucking Die 2 (€€ Cooper Mix)

12. Someone Still Loves You Boris Yeltsin
Track: I Am Warm And Powerful

13. Sondre Lerche
Track: Everyone’s Rooting For You [with the Faces Down Orchestra]

14. Toro y Moi
Track: Minors

15. Wye Oak
Track: I Hope You Die

Until I see you on the other side, here's to dreams of the sweet Austin skyline

Album Under Review: Do You Like PJ Harvey?

2011-03-07T20:38:00.000-08:00

PJ Harvey - Let England Shake

Do you like PJ Harvey? I don't. There are things to like about it, but not inherently within it. I enjoy the moat but not necessarily the citizens within. However, there is an English uprising allegegedly, with the youth, thus the godmother stakes her claim in the issues at hand. More hopeful and positive for future change, despite a grim outlook on status quo. Who's to blame? Not PJ Harvey. Here's four songs to whom the album belongs, dig the song titles, yeh?:

Track 2. The Last Living Rose
Track 4. The Words That Maketh Murder
Track 8. In The Dark Places
Track 11. Written On The Forehead

An Introduction to Mr. Sufjan Stevens for Dr. Salyers [Author's Repost from 2006]

2011-03-07T20:22:00.000-08:00

/ / /
EDITOR's Note: This is a Re-posting that originally appeared on this blog in 2006. It is the third in a series of reposting popular articles from the past. Maybe it's outdated, but evidently that doesn't mean it's irrelevant.
Over.////

An Introduction to Mr. Sufjan Stevens for Dr. Salyers

For ones who may be reading this outside of The King's College and wondering about these four as the chosen songs to introduce the much broader Mr. Stevens to Dr. Salyers, there is an explanation. The explanation requires meeting Dr. Salyers, or seeing him velasaraptoring around our campus. These four may seem among the quirkiest, though know that it is for very good reason. Therefore, chronologically:

Sufjan Stevens - I Saw Three Ships

Ah, the first listed song is a cover - a connection from a pre-Stevens-introductory existence (a Christmasy carol) to the post. (Hint: This was released in 2002, the second of an annual five-year Christmas project [including 2006 [unreleased], excluding 2004 [never released]]). The ending provides as an introduction to the humility of Mr. Stevens.

Sufjan Stevens - For the Widows in Paradise, for the Fatherless in Ypsilanti

Ah, a relatively normal song. This was included in order to add depth to the perception of Mr. Stevens, and to try to represent some of the broader lyrics of Sufjan Stevens. It can be assumed that God is the benevolent narrator for the line: "If you have a father, or if you haven't one, I'll do anything for you. I did everything for you." That is one mere example of such lyrical depth, and the song as a whole "speaks for itself".

Sufjan Stevens - Decatur, or, Round of Applause for Your Step-Mother!

Ah, "Decatur..." moves us back to the silly and strange, though it would be unfair and "irresponsible" to reduce the song to such adjectives. This song is from the concept album known as "Illinois", a collection of songs about a state that Mr. Stevens had merely visited before writing. The song may resemble a children's tale, but know that (according to what research I've done), this song required much study and investigation of the Illinois town Decatur. His noting of "the smell of the grain" and the loose, wild animals are real-life references to Decatur's weird past and present, as the town has a terrible grainy stench and animals from their zoo once escaped. A favorite line: "Stephen A. Douglas was a great debater, but Abraham Lincoln was the great emancipator."

Sufjan Stevens - Dear Mr. Supercomputer

Ah, yes, this song, "Dear Mr. Supercomputer", is my favorite from Mr. Stevens' latest album, entitled "The Avalanche". The song is in unique time, and during a sort of breakdown the all-girls chorus is chanting "1! 2! 3! 4! 5! 6! 7! All computers go to Heaven!" The album is another example of Sufjan's historical references, from Adlai Stevenson to The Vivian Girls.

And there is an introduction, directed toward Dr. Salyers, meant for any. Of course, if you have anything to say, please leave a comment.

(Editor's Note: There are a few items one must understand in order to begin to comprehend what is Sufjan Stevens. Item 1: Mr. Stevens is widely known as a Christian, and is described as the "liberal compassionate" type. Item 2: Mr. Stevens claims O.C.D., and this works out for the greatest good for the greatest number, as his songs have been written and re-written, and in the case of "Chicago", there are around ten different known versions, four having been officially released. Item 3: Mr. Stevens, despite offers from major labels, has maintained integrity and sticks with his label, Asthmatic Kitty. Item 4: Sufjan plays a great multitude of musical instruments, numbered around twenty. There certainly are other such items, though they shall be excluded for personal discovery, and for the sake of those who have already discovered.)

Album Under Review: Devotchka - 100 Lovers

2011-03-06T15:27:00.000-08:00

Devotchka

The new Devotchka album was recorded in Arizona. The tracks sound familiar to fans, though once again this is another 2011 album with exemplary production. The band hath outdone itself not in lyrics or vocals, but in instrumentation and overall feel. While their sound is not as groundbreaking as it once was, there’s not much room for this kind of band to develop when they already started at the limits. Here are four songs off the new album, entitled “100 Lovers”

Devotchka - 100 Lovers

Track 2. All The Sand In All The Sea [mp3]
Track 4. The Common Good [mp3]
Track 6. Sunshine [mp3]
Track 12. The Man From San Sebastian [mp3]

Lastly, here's the video that came from this album, the semi-title track, "100 Other Lovers":

The Line-up: Uffie, Robyn, and Ke$ha

2011-03-06T14:46:00.000-08:00

These three women, lined up to change the world; unlike the other ones, lined up to see them or changing lanes or clinging to coke lines. These three women, wrapped up in linens and examined as is. Three women at a restaurant with no make-up on, run them through a background check. Robyn is more lyrically carefree, all about the dance anthem. Ke$ha is lyrically dumber/funner. Uffie is lyrically more mischievous and intellectual. All three have solid vocals and mess around on the 1’s and 2’s quite a bit. Here are 3 mp3 examples of each, in case you don’t have enough information to judge for yourself.

Uffie

1. Read To Uff [from Hot Chick EP]
2. Pop The Glock [from Sex Dreams and Denim Jeans]
3. Art of Uff [from Sex Dreams and Denim Jeans]

Robyn

1. Dancing On My Own [from Body Talk]
2. Call Your Girlfriend [from Body Talk]
3. Dancehall Queen [from Body Talk]

Ke$ha

1. Your Love Is My Drug [Single]
2. We R Who We R [from Cannibal]
3. Grow A Pear [from Cannibal]

Purchase What You Just Heard:

Artist Under: James Blake - Four Songs For Quick Revue

2011-03-05T23:33:00.000-08:00

Here are four albums with one song example from each. They are all EP's or singles by James Blake, released within the last two years. Below are small writings on or around each.

James Blake - Air and the Lack Thereof

Sparing The Horses [2009] MP3

Quiet intro until builds into snaps where the mind’s edges clap together. Syncopate the tune please and quit freaking me out, man. Oh wait, those vox, so great. Thanks.

James Blake - The Bells Sketch EP

The Bells Sketch [2010] MP3

The Bells Sketch has a long-ol’ intro, though the meltdown of skin and bone once arrival occurs is quite nice. My ears started twisting, and the music screwed itself into the brain canal. The music was a clamp upon the back of my neck. James Blake is a manipulator of the hand which affects.

James Blake - CMYK EP

CMYK [2010] MP3

The beginnings of science and questioning, an omniplex polytone with no colors yet known till the sprinkling of light into our eyes. Look I found oh it’s inside me. DAMN. Found her… please listen to this so I don’t guess at the meaning alone any longer. It’s nice, to be played on speakers, or powder, or New Year’s.

James Blake - Klavierwerke EP

Tell Her Safe [2010] MP3

Who’s yelling in the bathtub, oh my love? How did you fit a piano into the space within my brain. How did the tinkling and clicking enter my bloodstream, and swim through as if a clipper ship, so narrow and thin.

Discovery: Of Weekend AND Riot [Addendum]

2011-03-05T23:06:00.001-08:00

[Discovery]

Discovery was formed from Rostam Batmanglij of Vampire Weekend [keyboard/production] and Ra Ra Riot’s Wes Miles [vocals]. The combination makes for excellent pop, which expanded until flying away, in my town this past summer. The acceptability of the music mixed with its functional erraticism causes surprise on first listen and ear-warmth thereafter, as the ear wormeth. Here is a revue of Vampire Weekend; Ra Ra Riot; and lastly, Discovery.

Parts of

1. Vampire Weekend [members: Ezra Koenig, Rostam Batmanglij, Chris Tomson, Chris Baio]

b. Taxi Cab [track 5 off Contra]
c. Giving Up The Gun [track 8 off Contra]

Plus Parts of

2. Ra Ra Riot [members: Wes Miles, Mathieu, Milo Bonacci, Alexandra Lawn, Rebecca Zeller, Gabriel Duquette]

a. Boy [track 2 off The Orchard]

c. Dying Is Fine [track off Ra Ra Riot EP]

Make for a new

3. Discovery [members: Wes Miles; Rostam Batmanglij

b. Osaka Loop Line [track 2 off LP]

mp3's indluded within equation as purplish links.

DONALD GLOVER IS ... Childish Gambino

2011-03-05T22:50:00.000-08:00

Donald Glover [Community] is the mastermind of Childish Gambino, who would would fuck a bitch to pass the time. That's the same first rhyme of his new song titled "Freaks and Geeks" [mp3]. He used the title as the final punchline. Fuck the old English rule against such. Check the attitude in the video. Is he acting or just acting how he wants? My guess is the second. Either way, it's cool.

Discovery: Of Weekend and Riot

2011-03-05T22:39:00.000-08:00

1. Vampire Weekend [members: Ezra Koenig, Rostam Batmanglij, Chris Tomson, Chris Baio]

a. Horchata [track 1 off Contra]
b. Taxi Cab [track 5 off Contra]
c. Giving Up The Gun [track 8 off Contra]

Plus Parts of

2. Ra Ra Riot [members: Wes Miles, Mathieu, Milo Bonacci, Alexandra Lawn, Rebecca Zeller, Gabriel Duquette]

a. Boy [track 2 off The Orchard]
b. Too Dramatic [track 3 off The Orchard
c. Dying Is Fine [track off Ra Ra Riot EP]

Make for a new

3. Discovery [members: Wes Miles; Rostam Batmanglij

a. Orange Shirt [track 1 off LP]
b. Osaka Loop Line [track 2 off LP]
c. I Wanna Be Your Boyfriend [featuting Angel Deradoorian] [track 4 off LP]
d. Carby [featuring Ezra Kenig] [track 7 off LP]

mp3's indluded within equation as purplish links.

Album Under Review - Destroyer [One of the best parts of pornography is...]

2011-03-04T00:37:00.000-08:00

Destroyer released Kaputt [aptly titled] on January 25, 2011. Before reading on, please consider the album name with its image. I love the implication of some suicide pact.
Now onto the revue: The songs seemed slow to my taste, though these few stood out hysterically. For fans, the divergence isn’t un-overcome-able. The natural bursts of sparse noise are quite nice, plus production got greater since my better Destroyer days, when Margot Tenenbaum’s record player was more the goal. This is music for fans of viewing Peter Sarstedt’s body after he died. Don’t get me wrong, the smell has been sterilized and it’s a well-made body. Trust me—-you want to look at this beautiful body, don’t you? Come on. Run your fingers through the hair of these next foor tracks.

Track 2. Blue Eyes
Track 3. Savage Night At The Opera
Track 5. Poor In Love
Track 7. Downtown

P.S. Standout track: Track 6, go find it elsewhere. Also, I'll tell you that I hate disco.

Post #51: More Free Weezy [Free-write Attempt]

2011-03-04T00:11:00.000-08:00

Wayne walked in here all fixed up. Look at you. How many are there like us out there? Since when did Chris get in? Were you remained unhit after the incident? Yeah man.

Milli got here fixed up with a white boy. Roman walked in, ended his verse with an unrehearsed 4-line rhyme for same syllable count as Nick and Em’. Did you bring your aluminum translator? How many feet till the bottom of a shallow video set in a tub thrice his size? Six-Seven, since Way went to Heaven, yeh.

Is this under deconstruction? I find such doubtful. Thusly, wasn’t Mugsy born early? How now have thou sprout 6-7? Switch the lever. Hell no.

Check the first three at communion by the coatrack on hurry route. Keep these three wet until moldy and deleted. Pity abound but

I’m fresh out.

A Milli (James Blake Refix)

Chris Brown - Look At Me Now featuring Lil Wayne and Busta Ehymes

Roman’s Revenge featuring Nicki Minaj

New Lil Wayne - 6 Foot Seven Foot Video [via MTV]

Lil Wayne - Music - More Music Videos

P.S. Let me speak clearly: If anyone says they don't "get" the video, tell them it's their fault. The direction is simple--Hype Williams decided to visually display Weezy's loose-tongued lyrics, set in a dream. This is obvious.

And a classic from Tha Carter II days [2005], "Oh Shooter", featuring Robin Thicke [AOL Sessions]:

Watch 6'7 after the six o' clock news.
Watch "Oh Shooter" after Woodstock.

Album under Review: Talib Kweli - Gutter Rainbows

2011-03-03T03:40:00.000-08:00

Talib Kweli is now in his third decade of making tapes, CD's, and mp3's. After a long solo history and roof-opening groundwork with Black Star, he is still at the top point of his game. Gutter Rainbows offers a retrospective on life from a confidently-lipped rapper who has his concepts sealed shut. This artist is not in crisis, yet bore the world’s eyes upon his shoulders and spit it out. Check these four soungs from his new release.

Artist: Talib Kweli
Album: Gutter Rainbows
Release Date: January 25, 2011
Length: 49:13

Track 3. So Low
Track 4. Palookas featuring Sean Price
Track 7. Wait For You featuring Kendra Ross
Track 9. Cold Rain

[Track 1 produced by Shuko; Track 2. Marco Polo; Track 3. S1; Track 4. Ski Beatz]

“You ain’t got a verse better than my worst one.” – Talib Kweli

Purchase What You Just Heard: