#483: Life After Death- The Notorious B.I.G.

Listened to: MP3

After seeing a small white boy walk past me yesterday wearing a Life After Death t-shirt, I felt it was high time I got back in the game. One of the quintessential rappers of the genre, Biggie Smalls, only released one album in his lifetime, the classic Ready To Die. Life After Death was intended to be his stellar follow-up, a double album featuring some of the biggest rappers in the game, among them Puff Daddy, Nas and Jay-Z, but Biggie was tragically shot two weeks before it’s release. It’s almost universally agreed that this is the album that solidified Biggie as a legend in the field, sparked a movement to more radio-friendly sounds in gangsta rap, and proved to be one of the most significant albums in rap history.
I can’t think of a better album to come back on.

The album begins with the intro “Life After Death (Intro)” which samples Biggie’s own “Suicidal Thoughts” (off of Ready to Die). It’s a reminder of how old rap albums used to be, with a sense of fun (The “Previously on…”) and a sense of drama (The soulful music and the ambulance sounds). The intro is also sadly ominous, starting the whole album on the idea of Big’s passing. The sound of “Biggie”s heart beat ceasing leads into the beat for the first song on the album, “Somebody’s Gotta Die”, a revenge track . “Somebody’s gotta die, if you go then I go.” is a chorus that keeps no secrets about Big’s philosophy on whether or not to turn the other cheek. A point of interest for anyone unfamiliar with the song is Notorious B.I.G.’s declaration of his desire to make this shooting as, well, as safe as a shooting can get. “See niggas like you do ten year bids/Miss the niggas they want/And murder innocent kids/Not I/One niggas in my eye/That's Jason/Ain't no slugs gonna be wasted”. See, a conscientious killer.

Now, I apologize for the length, but as we approach the track “Hypnotize”, I went to my usual source of fun facts, Wikipedia, and before someone changes it, I felt I should repost the synopsis of the song, as whoever wrote it earns my ultimate respect. So, without further ado, Wikipedia’s synopsis for “Hypnotize, the Grammy-nominated first single (I‘ll only ad that it samples on of my favorite Pink Floyd songs, “Young Lust”):

“The song begins with a narrator who is ill; generally in a worse way than other black men whom do not think their defecation possess an odor, pink alligators and residents of Detroit. However, the narrator wishes nothing but good tidings for the ruffians of Brooklyn.
Amongst his friends, if they display no characteristic of mental illness, the narrator states his willingness to be around them most evenings.

Mental illness plagues our narrator. He appears to suffer to schizophrenia. Early in the tale, he refers to himself as “Poppa.” “Poppa” has always worked well in a crowd, demonstrating little social awkwardness. He states he’s possessed these traits since he was a child, when he often wore Underroos brand undergarments. “Poppa” is affable, and chooses not to engage in fisticuffs with people that may disagree with him, deciding instead to turn the other cheek to their slanderous comments.

“Poppa” is also desirable by the women in the neighborhood, who will approach to two young gentlemen in the story, stating a desire to fornicate with them. The young gentlemen are “Poppa” aka Christopher Wallace and his associate Sean Combs, referred to in this instance as “Puff”, a shortened appellation of his self-applied nickname “Puff Daddy.” Mr. Wallace analogizes his friendship with Mr. Combs to the partnership of David Michael Starsky and Kenneth “Hutch” Hutchison. The fictitious duo were made popular by the eponymous police officer drama aired on ABC from 1975 – 1979.

Should Mr. Wallace discharge three rounds of ammunition at one’s cherry red BMW M-3 automobile?

Other male siblings of the narrator have been putting on a pantomime show recently, involving an elaborate visual display without speaking. Mr. Wallace on the other hand is more inclined to be vocal, and wishes to do so with his peers, a group that includes people of Cuban descent who are religious. Mr. Wallace carries with him a weapon, routinely asking those in close proximity if they would the relieve him of the burden of this firearm. If so, then said persons should display the firearm in a rather ostentatious manner. This trait and others form the common behavioral patterns of Mr. Wallace’s neighborhood, and he is well aware of it.

In addition to his bouts with multiple personality disorder, our narrator—now called “Biggie” by a chorus of unnamed females—appears to have vision problems, and thus is unable to witness the success of his hypnosis upon the women in this entourage. The women postulate Mr. Wallace’s hypnotic success is most closely correlated to his outsized personality, which in turns leads him to a very lucrative position relative to his peers.

Mr. Wallace is a keen observer of the high-end women’s fashion of the time and has noticed women—referred to in this instance by a derogatory name given to females that are employed as prostitutes— in different parts of the country have an affinity for specific brands. According to Mr. Wallace, women in New York primarily wear DKNY, a brand made popular by Donna Karin. However, women in Miami and Washington, D.C. have stated a preference for Versace, at the time being headed up by the late Gianni Versace. The women residing in Philadelphia seems to have a desired to accumulate more wealth in addition for their likes of Moschino fashions, according to the observations of Mr. Wallace. Universally accepted and purchased by women who possess a derriere is clothing made by Coogi.

Mr. Wallace now has a question for the audience. He would like to know who among us is really excrement. The reason for his question is the homosexual behavior of his male siblings. This is not the case for our narrator’s alter ego Frank White, a reference to the Christopher Walken character in the 1990 movie “King of New York.” Our narrator in his persona of Mr. White drives a Lexus LX 450, with tinted windows. Said vehicle is well suited for discrete encounters with the opposite sex, says Mr. White, aka Mr. Wallace, aka “Poppa,” aka “Biggie.”
In general, Mr. Wallace notices most of the people who belong to an organized crime syndicate prefer to save their inquires until after the discharge of a firearm.

Instead Mr. Wallace is here to sing songs of verse set against a syncopated beat about topics such as marijuana, females, mammary glands, brassieres, sexual encounters with multiple partners simultaneously and fornication in an automobile.

Despite his obvious wealth and privilege and a hedonistic lifestyle, Mr. Wallace will still leave one on the pavement. He also has excellent fiscal discipline as he does not have a mortgage on his condominium nor does he owe any money on his main mode of transportation, his automobile.
Mr. Wallace now finds himself in some unspecified legal difficulties and must appear at arraignment. While in the court, he asks his attorney to pass a note to the plaintiff, which reads: “Your daughter’s tied up in a Brooklyn basement.” This rather bizarre legal maneuver was successful. As the legal proceedings advanced from arraignment to trial, the jury in Mr. Wallace’s case has reached a verdict of “not guilty.” Mr. Wallace will now be able to save his money for more leisurely pursuits, until such time as one of his male siblings can reach him.

Again, the women in the narrator’s repertoire inquire about Mr. Wallace’s poor vision. One may speculate that his lack of vision is related to glaucoma, a degenerative eye condition, which some doctors will prescribe marijuana to help alleviate pain. The women in the entourage, however, are still under a hypnotic trance induced by Mr. Wallace’s personality and wealth.

Mr. Wallace’s wealth allows him to accumulate many of the trappings of a millionaire lifestyle. He consumes escargot and drives an automobile that has a maximum speed of 160 miles per hour. In the event said automobile is involved in an accident, Mr. Wallace has the means to purchase a newer version, rather than filing a claim with an insurance company, paying the necessary deductible and waiting for the automobile to be repaired. Often times, repaired vehicles have a lower resell value. The time involved might also slow down the daily activity of his associates, which are quite busy, often times, the group is on the “run run run,” a reference to The Crystals’ song of 1963.

By this point, the narrator is aware that audience is feeling under the weather. One potential cause of the general malaise may be witnessing Mr. Wallace’s prolific sexual activity. Once he engages in conversation a woman, he’ll give her a writing instrument, provide her a phone number to call and arrange for an encounter at 10 pm. Said encounter results in fornication upon a Persian rug. Later, Mr. Wallace will sodomize the unnamed female at her place of employment, ejaculating into her anus, while not speaking. Other times, Mr. Wallace will vocalize his request that said female disrobe in an unhurried fashion. Once undressed, Mr. Wallace will engage in a sexual fantasy involving a Star Wars Episode IV fetish. His penis is the color one would expect an African-American’s penis to be.

The tale concludes with the narrator roaming about the neighborhood, collecting debts. For some debtees he suspects may have funds in a secure location, he’ll kindly request they reveal the location of their lock box.

All of this is rather remarkable considering Mr. Wallace has been unable to see for some time. Yet, his powers of hypnosis are strong. The women in his support troupe continue to testify to his remarkable hypnotic feats.”

We then move on to “Kick In The Door”, featuring The Madd Rapper (In one of my favorite what-I-hope-is-a-joke-jokes {you have to at least spend a second confused} on the album), in Biggie’s full-on attack on Nas, Ghostface Killa, and basically any other rapper who’s gotten “too big for their britches”, which is the term I’ll go with unless there’s a way I can sound even whiter. This track has one of my favorite beats on the album, a hip-hop modification of “I Put A Spell on You” by Screamin’ Jay Hawkins. It’s well known that Biggie was a big influence on Eminem, and that fact is obvious on a track like this. The beat, the rhythm, it’s clear Shady learned his attack moves from one of the masters. After “Kick In The Door” is the ever-eloquent “Fuck You Tonight” featuring R. Kelly, and I promise not to make any piss jokes while we talk about this track, so…let’s just move on. Though I will say for the record, only R. Kelly could make “You must be used to me spending’/ All that winin and dinin/Well I’m fuckin you tonight” sound like sweet talk.

“Last Day” features The Lox, a hip-hop group featuring Jadakiss and two other guys whose names you’ll forget immediately after reading this, which is a shame, ‘cause these guys have a great flow. The track as whole features a dark, eerie tone, sending shivers down your spine hearing the hook talk of living till their last day, and knowing Big’s last day occurred before the world even hear this track. It’s points like this on the album you have to imagine what it was like buying this album upon it’s release, and having it first sink in that he was gone. This track also features one of my favorite Biggie lines “You still apoligizin, analyzin, my size and your size and/realizin, a fist fight would be asinine/You just pop wines I must pop nines/Genuine steel piece, nozzle in your grill piece”.

The next track, “I Love The Dough” features Angela Winbush, and none other than HOVA himself, not to mention a synth playing “Da Ya Think I’m Sexy” by Rod Stewart. Sadly, while the beat is good, this track is under whelming. You come to expect more when two titans come together. Even if it’s not as memorable as “California Love” by Pac and Dre, it should at least be a sick cut, like “Renegade” with Jay and Em. Instead, you get a bland hook, dull rhymes, and a passionless Jay-Z. Biggie can be laid-back in his rhymes and make it sound sly, but someone like Jay-Z just sounds lazy if he’s not spitting fire. Luckily, the next track finds Big matched with somebody in his same chill style (a laid back delivery in the vein of Erik B. and Rakim) in “What’s Beef?” featuring Puff Daddy. The track may seem like another gangsta rap call-out, but at heart it’s a stark and brooding rumination on the world of hip-hop beefs and rivalries, as two men in the heart of the game sit back, resigned to the darkness of their chaotic kingdom. After a brief interlude (“The B.I.G. Interlude”) Puff rejoins Biggie on the track everyone remembers off the album.

The Grammy nominated (and should have been Grammy winner if it weren‘t for Puff‘s tribute to Bigge) “Mo’ Money Mo’ Problems” is undoubtedly one of the most famous, most popular, and most influential songs in the history of rap music. The song’s theme is apparent in the title, but it’s the unique soundscape of the track, it’s use of Diana Ross’ “I’m Coming Out”, it’s funk-infused bass line, it’s undeniable dance-appeal that allowed it to have mainstream appeal without lyrically losing any of it’s gangsta edge. Many have written in many ways about the negative impact of wealth and fame on their lives, especially in music, it being the theme of albums by such extremes as Eminem and Lady Gaga) but no piece of art has proven more anthemic of the idea then “Mo’ Money Mo’ Problems”. Biggie’s rhymes seem to move with an ease and agility on this track, as if he knew this would be the track to stand out in his legacy.

That track is followed up by the more generic rap track “Niggas Bleed”, and perhaps it’s a better track than I give it credit for, but anybody who’s read my reviews before will know how I feel when a truly remarkable track is followed by a bland one. It’s got a good flow, and after the first minute it begins to grow on you, it’s almost operatic sense of drama escalating as the gunshot sounds and laughs come in, and after you;ve forgotten the feelings you;ve gotten from “Mo’ Money…” you starty to really enjoy the track, including the sense of humor displayed in the ending. Disc 1 ends with “I Got A Story To Tell”, a track about Big’s favorite activities, “beatin’ up niggas and fuckin’ hoes”. This track also features one of the numerous references to the number 112 (Another song mentions room 112, and I’d point the rest out for you, but why not play lyrical Where’s Waldo?).

Disc 2 opens with “Notorious Thugs”, and I’ll be honest, them saying “Biggie” gets grating after the first 10 seconds. The track features Bone Thugs-N-Harmony and has Biggie spitting one of the fastest flows I’ve ever heard him utter. If nothing else, this track has to be applauded for the normally chill Notorious B.I.G.’s lyrical agility, not to mention the fire spit by Bone Thugs-N-Harmony on the second verse. This track is a great example of word acrobatics, and for any readers with the attitude of “anybody can rap, it takes no skill”, I dare you to try and lay down a track like this. Get back to me on that.

Up next is “Miss U” featuring 112, which opens with Biggie telling a story of a “nigga” that “just got moked out”, and the song is dedicated to “all the niggas that died in the struggle”. The track is a somber story, not of people dying, but of the people who lost someone they love. “Damn, they lost a brother - they mother lost a son/Fuck, why my nigga couldn't stay in NY?/I'm a thug, but I swear for three days I cried/I look in the sky and ask God why/Can't look his baby girls in the eye/Damn I miss you .” The second verse, where Big tells the tale of “Drew” is heart wrenching as well, but it isn’t until the end that you realize this track is also an unintentional apology to all those loved ones Big himself was leaving behind.

Lil’ Kim, who is featured on my favorite skit on Ready to Die, comes in to lay down some rhymes on “Another”, a track that sounds like an 80’s club-hit, you know, until you hear the lyrics. It’s fun track, and totally undercuts the beauty of “Miss U”, which might have been Biggie’s goal, not wanting to get too emotional all at once. Listen to Lil’ Kim’s verse on this song, and maybe a lot of you will revise that attitude that women can’t rap (despite the undeniable patriarchy of the industry, Kim held a good rep in the field until that whole prison and Dancing With The Stars thing). Though it should be noted Biggie couldn’t sing for shit.

“Going Back To Cali” is partly Biggie’s reflection on the east coast/west coast beef going on that ultimately resulted in he and 2Pac’s untimely demise. “If I got to choose a coast I got to choose the East/I live out there, so don't go there/But that don't mean a nigga can't rest in the West.” He admits to only having a beef with “those that violate me” and seems to be trying to bridge the gap between the two sides. Who knows what effect this track may have had, had it come out before those bullets were fired. “Ten Crack Commandments” is an interesting track from a sociological perspective if no other, as B.I.G. lays out ten rules for selling crack, such as never telling anyone how much money you’ve accrued and “Keep your family and business completely separated”. Musically, the track is nothing special, but as a window into the world of crack dealers and the life, this track is invaluable.

“Playa Hater” is a track that probably should have as much substance as the instrumentation alludes, but instead it’s an empty little joke Biggie warbles through. The track is followed by the equally under whelming “Nasty Boys”, which is just an irritating 5 minute waiting period before “Sky’s The Limit”, one of the best tracks on the album. Much like “Juicy” on Ready To Die, “Sky’s The Limit” features Biggie chronicling his upbringing. Fun fact: Spike Jonze directed the music video. Ok, maybe that’s only cool to me. Following up “Sky’s The Limit” is “The World Is Filled…”, which again suffers from being a bland track following a great one. However, the next track, “My Downfall” featuring rap forefather DMC, is one that can’t be missed, if just to hear two eras of hip-hop come together.

The final two tracks on the album really close it out right. First, “The Long Kiss Goodnight” has a great little piano thing going on while Big spits sick, violent rhymes, and the final track “You're Nobody (Til Somebody Kills You)” is not only a terrifyingly ominous ending, but it features a collaboration with his widow, the lovely Faith Evans. The track is as somber a goodbye as Biggie could offer us, and a dark, misty conclusion to the posthumous masterpiece that is Life After Death.

Bottom line, listen to Ready To Die before this to get a real feel for the talent and potential that was Biggie. But for any rap fan, this album’s essential.

Next album up, one of my favs, another great artist of the 90‘s final album, #311: Unplugged in New York by Nirvana.

#441: Tragic Kingdom- No Doubt

Listened to: Vinyl

In my humble (as humble as I’ve ever been on this thing) opinion, Tragic Kingdom is No Doubt’s finest album. Determined to succeed, despite their pop-ska sound totally clashing with the bleak, hip, grunge sound of the time, No Doubt’s third studio album features most of the songs your average radio-listener (back when radio had listeners) will recognize. Kicking off on “Spiderwebs”, one of the songs that defines the ska genre for me, alternating between laid back, brass heavy beats, and rock and roll guitar-centric heaviness. This track is one of the first to bring ska-pop to the radio, opening the door for The Mighty Mighty Bosstones, The Specials, and probably even more “indie” bands like MGMT. Just a theory. The album is pure saccharine joy. You can’t avoid wanting to gleefully pogo to that pounding drum, and the upbeat feel carries over into the next track, “Excuse Me Mr.” before you even get a chance to wipe the sweat off your brow. On tracks like “Excuse Me Mr.” and “Just A Girl”, Gwen Stefani proves herself one of the greatest women in rock (and lord knows I have high standards for that title). She’s got that unique voice, that colorful physicality that comes out over the record (come on, don’t act like you don’t picture her singing these tracks, when it gets to that dolphin-like bray during “excuuuse me”) and a damn hot attitude, a punk anger that apparently got lost during her solo career (we miss it, Gwen).

After three of the most well-known No Doubt tracks, “Happy Now?” is a refreshing surprise to first time listeners. From the sliding bass intro, this track is intense. Those back-up vocals of “Are you happy?” hit me hard. This is the pop of the 90’s, for me. My musical mommies. This, Alanis, and Lisa Loeb (yes, Lisa Loeb). Listen to how intense Gwen is as she wails on these tracks. No poppy “Sweet Escape” here. Just intense rock and roll, mixed with juke-box pop, blended to perfection. The upbeat organ on “Different People”, the overall bouncy vibe can’t help but make you bounce in your seat. Oh, Ska. Reggae for white people. Just for clarification, and brevity, let’s talk quick about the next three tracks: “Hey You” is not a cover of Pink Floyd (tragically, as it would be awesome to here their take on it), “The Climb” is not a cover of Miley Cyrus (tragically, some people might actually think it is. Kids are dumb), and “Sixteen” is not an Iggy Pop cover (despite how AWESOME it would be). They’re all great tracks, and you’ll discover that when you listen to this album (Oh, I haven’t convinced you yet? The next two tracks ought to).

“Sunday Morning” (not Maroon Five’s for the record) is Gwen Stefani’s furious break-up song, the angry ska Blood On The Tracks, if you will. It’s intense, it’s peppy, it’s angry, it’s fun. It’s one of the most underrated songs in their entire catalogue, though it admittedly is easily forgotten when followed by what is likely No Doubt’s best track, the so-radio-beloved-you-couldn’t-escape-it-from-1996-to-2005-and-even now-and-then-it-crops-up “Don’t Speak”, a track that deserved al the Grammy’s it lost out on (Though Time Out Of Mind might have deserved Album Of The Year {this might be better, though, that‘s up for debate}, the completely forgotten “Sunny Came Home” {can anyone remember that track?} doesn’t beat out “Don’t Speak” in my book). Stefani’s impassioned vocals, that ahead-of-it’s-time-yet-so-90’s-vibe, everything on that track is brilliantly done, from the first strum of the guitar to that heavy, head-swinging chorus. And god damn, just listen to that acoustic solo.

The four tracks that close this album probably should have gone ahead of “Don’t Speak”, which would have been an amazing album closer, the kind that gives chills. But song placement is probably the only fault this album has. Even the last four tracks are unique, infectiously catchy, and pretty damn fun (see “You Can Do It” specifically if you don’t believe me). Tragic Kingdom is a terrific record (if I take the time to buy it on vinyl, it tends to be. Those things are expensive, and I ain’t got much money, dig?), and if you’ve ever heard a No Doubt track and loved it, odds are It’s on this album, and odds are you’ll love the rest. Yeah, it’s well worth the listen.

-Mike

Next up, a total change of pace, #483: Life After Death by Notorious B.I.G.

#238: Can’t Buy A Thrill- Steely Dan

Listened to: MP3

Say what you will about Steely Dan (Lord knows Nick and I did back in our second day of reviewing), but they have good sources for things. Their name comes from a Borroughs book, and this album’s title comes from a Bob Dylan song. I really do want to like them, and maybe, just maybe, I will. Let’s see. So, without further ado, let’s give Steely Dan a second chance.
Let’s just get it out right off the bat: The Steely Dan songs you know are on this album (besides maybe Home At Last, but that‘s only if you‘re me, my guitarist, or those guys we played with that one night). “Do It Again” opens the album, and even if you’re not a huge fan (which I’m not) you’ve got to admit this is a good song. The pitch-shifting organ, the laid-back beat, he fact that it sounds like the instrumental break-down part of “Can’t You Hear Me Knockin’” by The Rolling Stones, and…god damn, is that a sitar? I think that every time I hear this. That’s kinda badass.

“Dirty Work” takes on a lilting quality, a really gentle vibe that feels like a track off of the Godspell soundtrack. “Kings” is where you start to get an idea of what makes Steely Dan good enjoyable. It’s not the laid-back vibe (which could at times put one to sleep) but those harmonies. They’re so rich, so serene, and have such a relaxed power behind them, you can’t help but find some minor appeal. “Midnite Cruiser” is a chill, nice enough track, as is “Only A Fool Would Say That”. Let’s face it, none of these songs are my cup of tea. I also can’t stand a track the rest of my band loves, the popular Steely Dan staple, “Reelin’ In The Years”.It’s all too relaxed and sterile for my tastes, but for relaxed and sterile music, I can’t deny it it’s quality. These are talented composers and musicians, just doing something I don’t enjoy.

“Fire In The Hole” is by far the most mellow track, and definitely lacking in the harmonies, and therefore the quality for me. “Brooklyn (Owes the Charmer Under Me)” takes on a bit more of a southern rock vibe (I did say a bit, not much) with the use of the slide guitar, which makes it a hair more enjoyable. Plus, once the harmonies come back in, I’m made a little bit of a happy camper. “Change of the Guard”’s mere organ sound makes it come off as cheesy, and I kinda hate the sound of the vocals. The guitar playing is enjoyable, and for what the music is, it’s quality. Just not my type of music.

The album ends on “Turn That Heartbeat Over Again” which is an enjoyable enough track, and a decent closer to what, to me, is a decent album. If you like Steely Dan’s style, it’s worth listening to. It is a great album for their kind of music. I wasn’t a fan, but it’s not like Pretzel Logic, which has no place on his list. This deserves to be on there (but much lower). It’s just not my dig.

-Mike

Next up, something that truly is my dig. #441: Tragic Kingdom by No Doubt.

#6: What’s Going On- Marvin Gaye

Listened to: CD

I remember this album so well from my high school days, I can tell you who I borrowed it from and when (what I can’t tell you is whether I gave it back to him or not). Possibly the greatest soul album of all-time (though there should be a healthy debate between it and Songs In The Key Of Life, but we’ll get to that another day), What’s Going On is a technical, musical, and thematic achievement across the board. To go track by track on this album as I do with others is a disservice to the album, as it’s a concept album, whose overall arc, flow, and beauty is lost by dissecting it. I will say my favorite tracks are the title track and “Mercy Mercy Me (The Ecology)”. Marvin Gaye’s voice floats through all the song, even as he’s pained and pleading with you to “save the babies”.

This is undoubtedly Gaye’s best album. Pick it up and give it a listen. Each track is it’s own unique world, but connected together to form the magnificent universe all the emotions of this record contain. You cannot ignore this album, otherwise you’re doing a disservice to yourself.

-Mike

Next up, #238: Can’t Buy A Thrill by Steely Dan. See you then.

#83: I Never Loved A Man The Way I Love You- Aretha Franklin

Listened to: CD

And here it is, ladies and gents. The album that brought the world Aretha. I can remember exactly where I bought this album. The Tower Records off of Sunrise Highway, along with Never Mind The Bollocks, Here’s The Sex Pistols, and we listened to both in John Luther’s basement the same day. It…it was a weird day.

The album kicks off with Aretha’s anthem. A song which kicked down the dors of female oppression, and is considered to be one of the most important pieces of art in the history of the women’s movement. It’s being written originally by a man (soul master Otis Redding) seems no to factor into the equation. And really, this IS Aretha’s song. Like how Jimi jacked Watchtower, Tina Turner took Proud Mary, and Johnny Cash claimed Hurt, Aretha took “Respect” and made it hers. “Respect” is a flawless single, it alone would be a masterpiece, but followed by Aretha’s unbeatable rendition of “Drown In My Own Tears” (Sorry, Ray Charles, but I prefer Ms. Franklin’s), it is only the most shining diamond in a pile of precious jewels.

The title track speaks to a feeling we’ve all had. Being in love with someone who’s just no damn good. The verse all feature Aretha berating the man for how bad he is, but in the chorus, she admits she’s “never loved a man the way that {she} love{s} {him}”. Just listen to the horn section blast while she wails it out at the end of this track. Aretha is a queen, and she can blast you away, or cradle you in her gentle tones, on a track like “Soul Serenade”. It’s less popular, more emotional tracks like these where the listener gets a real appreciation for Aretha’s voice, not her power. “Respect” and “I Never Loved A Man (The Way I Love You)” may be tracks with more life, but this track has enough soul to match. So maybe she’s not howling, or getting pissed, or burning the air with the beat. Aretha carries this track the same way she does with the next two (“Don’t Let Me Lose This Dream” and “Baby, Baby, Baby”). With the sheer beauty and range of her voice. There’s an emotion, soul to her voice that has never been matched by a female vocalist in the history of recorded music, in my opinion. There have been prettier voices, raspier voices, but for her genre, Aretha can not be dethroned. Aretha is to soul what Janis is for rock and Patti is to punk. Perfection.

It is unfortunate that for many of us (myself included), getting up to the track “Dr. Feel good (Love Is A Serious Business)” leads to us having the desire to listen to Motley Crue. I implore you to hold out at least until the album’s conclusion, or you’re gonna miss some great stuff, including this forgotten track. The organ, the piano, the saxophone, they all work as a perfect frame to Aretha’s emotive performance. Especially on tracks like this, that in other hands would have just been ok, you discover Aretha to be one of the master song interpreters, on the level of the King himself. The next track, “Good Times” is one that, for one of only two times on this album, I prefer a different cover version (in this case, The Rolling Stones). However, it is still a great performance of a Sam Cooke classic.

“Do Right Woman, Do Right Man” is one of the more sentimental of the album’s tracks, and one where Aretha’s voice seems most like it’s gliding, rather than attacking. If you ever want to show the range of one of music’s greatest women, look no further than this album. Go from something like the title track to this, and the skill, the mastery, and beauty and the brilliance are undeniable. “Save Me” brings the rock feel back to the album, with the best bass line of any song on this collection. The album closes on the Sam Cooke classic “A Change Is Gonna Come”. While I prefer the Otis Redding cover, it’s undeniable that Aretha brings her own unique panash to the a song, and it’s a great way to close a brilliant album.

This album contains some of the greatest soul songs ever composed, and performed by one of the greatest and most influential soul singers to ever live (though not THE greatest. Sorry, Rolling Stone’s 100 Greatest Rock And Roll Singers list. Nobody’s buying it). It’s virtually flawless, and THE definitive Aretha album. This is a shining example of a gifted performer at her peak. For those who only see Aretha as the woman with the funny things on her head at various ceremonies, do yourself a favor and look this one up. A true classic.

-Mike

Next up, one of the greatest, #6: What’s going On by Marvin Gaye.

#315: Surfer Rosa- The Pixies

Listened to: MP3

Ah, The Pixies first album. Who are The Pixies, you ask? Only one of the most influential bands of the late 80’s. Influenced who, you ask? Well, Nirvana, The Smashing Pumpkins, and pretty much any alternative band thereafter. You don’t listen to “hipster” bands, you say? Ugh. Ok, are you a tool? Yes? Ok, then you know them as “that song at the end of “Fight Club”. Yeah, you liked that movie, right? ‘Cause it was cool how they hit each other, right? Ok, good. Now, the grown-ups are gonna discuss good music. Run along and get sterilized, now.

Surfer Rosa brought the world Black Francis’ song-writing, a blend of soft and loud, rock and pop, howling and whispering, kick-ass and…just kick-ass. The album opens on “Bone Machine”, and it’s a great feeling to just imagine what it was like putting the needle down on this record for the first time, before it was a classic. Hearing David Lovering’s pounding drums, Black Francis yelling and wailing, and hearing Kim Deal’s slightly off yet so perfect harmonies. Just listen to that almost cacophony that drops out for the calm “Your bone’s got a little machine”. This opened up a whole new world of song-writing, friends. Nothing would smell like teen anything were it not for songs like this. Track number 2, “Break My Body”, shows how perfectly Black could craft a simple pop song, and then decide to mask all that pop in distorted vocals and guitars, and do it so perfectly as to create something even better. This is rock and roll. This is violent, nasty, gritty, while still being indie, and unique, and breaking the molds just as it fills into them.

“Something Against You” is a frenetic free for all of guitar sounds. You have Sex Pistols punk meets Sublime upstrokes, while Francis’ vocals were recorded through a guitar amp, giving it that sick, growling, indecipherable sound. This, of course, was brilliant producer Steve Albini’s idea. You remember him from Rid Of Me, don’t you? “Broken Face” keeps the punk feel from the last track, but now goes for a bizarre, high pitched chorus, and the concern on the vocals is not so much to make notes as to make noise. Many bands try this and sound like shit, but The Pixies, under the guidance of Albini, make masterpieces.

“Gigantic” is the only song on the album not by Black Francis. It is written and sung by bassist Kim Deal, and due to this the song takes on a much more pop feel. Maybe it’s just because her vocals are cleaner than Francis’, but that doesn’t make the song any less great than any other on the album. The song repeats the same bass line, supposedly influenced by Lou Reed. It’s about a girl watching a black man have sex with another woman. You can guess why it’s called “Gigantic”. “River Euphrates” sounds very similar to the type of material that would appear on their next album, 1989’s Doolittle, but quite frankly, once you’ve heard this album a few times, “River Euphrates” is just 2:33 you kill before the next track, the most popular off of the album, and one of the tracks that even your most “mainstream” friends know by The Pixies.

Yes, let’s get this out of the way, “Where Is My Mind?” was at the end of Fight Club. Yes, they used in in an HBO commercial for The Dark Knight. But all that goes away when you hear “Stop!” Then you’re just engrossed in the song. Francis said he was inspired by a small fish chasing him in the Caribbean. I’m not sure how on led to the other, but thank god it did. The structure of the song, the chords, the melody, even the “ooos” in the background, everything on this song is great. Bizarre, creepy, indie, rock and roll, pop perfection. Every note the guitar plays strikes a sonic blow to your mind, and the jarring drop-out, with just the echoing “oo” at the end is terrific. Undoubtedly, one of the best songs on the 80’s (then again, I hate the 80’s). “Cactus”, a song I first heard on Bowie’s Heathen album, is another example of the mix of soft and loud vocals The Pixies are famous for. The verses of this song are hidden behind pounding bass, guitar and drums, and only when Kim Deal comes in do you even know there’s singing happening. At the mid-point, they spell out Pixies (Bowie spelled out David on his record), though that’s something you don’t even notice till your third or fourth listen. Well, now you’ll notice it. Sorry I ruined that for you.

Here’s one of my favorites on the album, “Tony’s Theme”. Just for the way the scream out “To-ny!” for the chorus. It just seems like it had to be so much fun to play. “Oh My Golly” is the track that gave the album it’s title, with the lyric “Besando chichando con surfer rosa.” Yes, they are speaking in Spanish and then shouting “Oh My Golly”. there is no way to explain the elements of this song and make it sound as awesome as it is. By all logic, it shouldn’t work, but it does. “Oh My Golly” has one of the best bass lines and best choruses of any song on this album, and is one of it’s true highlights, especially with that drum and bass interlude towards the end. At the end of “Oh My Golly”, you hear Black explaining something Kim said in the studio. Albini tacked it on thinking it would sound cool. He later regretted it, proving even gifted producers make mistakes.

(That still doesn’t excuse Phil Spector)

“Vamos” is one of the more erratic tracks on the album, but once again, when Kim’s back-ups come on, the song becomes infectiously catchy. Try not to bounce around to that bass line. I dare you. Again, this song shouldn’t work, but god damn it, it does. You never hear something like this on a studio album. Maybe live, when the guitarist is drunk and fucking around, but never on a studio album. You say that a lot while listening to Surfer Rosa, and that’s what makes it so unique.

“I’m Amazed” (which begins with Kim explaining how a teacher from her school got fired for being “into field hockey players”) and “Brick Is Red” go on to confirm the point I’ve been trying to make in this review, which is that The Pixies genius comes not from rebelling against or pandering to mainstream music, but fusing alternative styles of playing recording, and applying them to songs which at their core are pop.

Without a doubt, The Pixies are one of the most influential bands in recent memory, and if their sold out reunion shows prove anything, it’s that they may finally be getting their due. The band is unique, incredibly talented, and certainly worth a listen. Surfer Rosa is a genius album, and maybe some folks won’t dig it, but if I’ve turned at least one person on to these guys, I’ve done my job on this blog. So give Surfer Rosa a listen. I don’t think you’ll regret it.

-Mike

See you next for #83: I Never Loved A Man The Way I Love You by Aretha Franklin. Yep, right after The Pixies. I love this gig.

P.S. Kim Deal is one of the most underrated women in rock. Just sayin’.

#69: Superfly- Curtis Mayfield

Listened to: MP3

Superfly (or Super Fly, depending on which way you want to write it). A social statement? Yes. One of the most popular film soundtracks of the 70’s? Yes. A revolutionary and influential soul album? Yes. A great record? You bet your sweet ass it is.

Opening on “Little Child Running Wild”, this album proves to be as alive and funk today as it was in it’s heyday, while still being a time-capsule to the type of blaxploitation films of the 70’s. Having never seen Super Fly, the soundtrack alone suggests the protagonist is either a cop, a detective or a pimp. Curtis Mayfield’s voice carries these tunes, as it’s soft without being too mellow. These songs all have a smooth, sexy funk vibe, the type of music that just doesn’t find it’s way into films anymore (besides Black Dynamite). Strung throughout all these tracks is an anti-drug message, and a very obvious ones, especially on tracks like “Little Child Running Wild” (“Gotta take the pain away”) and “Pusherman”. To go track by track would be an insult to the album, since all the tracks work together so well. They all keep that street-wise, funky groove. But let me just say the two tracks that I love off of this album are “Pusherman”, not only for it being the Taxman of drugs, and the title track, “Superfly”, one of the coolest, funkiest, greatest movie theme songs of all time. Yes, when this comes on my iPod on the tredmill, I do proceed to stop running and begin to strut.

This review isn’t brief for lack of things to say, but rather that great funk, like great jazz or great comedy, loses something when it is explained or dissected. Rock and pop, classical and rap, these can be picked apart for lyrics, or movements, but funk is a collective magic. It’s not guitars, or lyrics, or melodies that makes funk great. It’s a magical, natural synergy. And look no further than Super Fly for funk that works at it’s best. I absolutely recommend this album.

-Mike

Up next is #315: Surfer Rosa by The Pixies.