Misfits – Famous Monsters (LP of the Week)

Does this compare with Danzig-era Misfits? Yes, however only genre wise, that is it punk rock, and horror punk at that. As a whole it is more playful than the Danzig-era Misfits, and it is modernised to fit in with mid to late 90s punk at the time of its release (1999). Danzig-era Misfits will go down well in punk history, whereas Michale Graves’ Misfits is more of a sidenote. Does that take away from enjoying the album, not a chance. Critics, and hardcore Misfits fans of the Danzig led Misfits may not approve, but it is a very catchy, melodic, and yes, fun punk rock album.

The cover image, a drawing actually based on a real press photo starts to tell the story. Michale Graves being the only one without a devilock, yet still fitting in. From the opening intro track, “Kong at the Gates”, it really does not let up. “The Forbidden Zone”, and “Lost in Space” starting the album out after the intro offer some great melodic, fast, and great sing along songs. Both clocking in just under two and a half minutes in classic punk fashion. “Saturday Night” is practically a punk crooner, it starts “there’s 52 ways to murder anyone”, I dare say, that sounds like the Misfits! Songwriting duties were handled by the entire band, and Daniel Rey, the producer, on a few tracks.

Without Danzig writing the lyrics, it is a definitely noticeable. Jerry Only, having been with the band since a month after formation, likely had plenty of input with his experience. Doyle Wolfgang von Frankenstein was a member of the original Misfits from 1982 on. Michale Graves along with Dr. Chud were the newcomers rounding out the new Misfits lineup. American Psycho was their first release together, in 1997, two years before their second and last album with this lineup, Famous Monsters. Famous Monsters being the first one of the two I heard.

The original Misfits material is essential punk rock listening (see Walk Among Us for one), with that said, is Famous Monsters the best punk album out there, no, and far from it. It does offer a good fun upbeat record!

Flogging Molly – Quadruple LP of the Week! (Swagger, Drunken Lullabies, Within a Mile of Home, Float)

In honour of yesterday (many people will be celebrating all weekend though!), a very special, quadruple LP of the week. That being all four Flogging Molly studio albums. A fifth one, Speed of Darkness, is set to be released May 24!

Flogging Molly do not own the most storied history, yet they have been together now for right around 14 years, more counting the time they were not fully Flogging Molly beforehand, with four full length records to their name (and of course a fifth soon!), and a few other various releases including a live CD/DVD.

Flogging Molly are fronted by Dave King, who prior to playing Celtic punk, and the like, fronted a metal band with Eddie Clarke of Motörhead. He eventually set to work on a solo album that did not work out, however everything happens for a reason. He went on to form a band that would eventually become Flogging Molly. Before being Flogging Molly, they would play at a Los Angeles club every Monday for a while called Molly Malone’s. Hence the band’s name.

They released an independent live album in 1997 called Alive Behind the Green Door, and Flogging Molly were officially born. Fast forward to 2000, and their proper debut record, Swagger is released on SideOneDummy.

Swagger starts with quite the wallop that is “Salty Dog”. Instantly the Celtic influence is heard, as is the upbeat punk rock mélange. Mostly an uptempo record, with “These Exiled Years” slowing it down. “Grace of God Go I” is a track with just Dave King’s vocals, and coupled with the songwriting it works very well. If it was not evident enough from his vocal style, “Grace of God Go I” illustrates his Irish heritage, having been born in Dublin. Not to forget the emotional and spine chilling closer “Far Away Boys”.

The arrangements are superb, making it difficult to believe it is their first studio album. All the pub playing most definitely helped. The album definitely does not shy away from the Celtic instrumentation, which includes tin whistle, fiddle, accordion, mandolin and banjo to name most. “Black Friday Rule” takes the cake as it is quite an impressive track. It clocks in just over 7 minutes. Within, of course there is a fiddle solo section, preceding that earlier in the song is practically a rockabilly instrumental portion.

It sounds as if all instruments are equal in the mix, making the Celtic, and said arrangements all the more impressive. The album is very bass drum heavy, and “Devil’s Dance Floor” is a track centred and commencing with a tin whistle. “Sentimental Johnny” ups the ante, starting with a trumpet solo, and heavy on the accordion playing. The accordion player being former (I assume) professional skateboarder Matt Hensley! I believe he left the band for a little while, however it appears he actually has not missed playing on any of their releases.

No matter what time of the year, Swagger plays well, especially now.

Drunken Lullabies from 2002, and Within a Mile of Home from 2004, both continue in the vein of Swagger, only with Dave King et. al. showing their experience all the more.

Drunken Lullabies starts with likely a fan favourite, and for good reason, another great boisterous romp, the title track, “Drunken Lullabies” This continues to “What’s Left of the Flag” which starts off very traditional, and soon after is another up-tempo Celtic punk cut, Flogging Molly have come to do oh so well. Also very emotional knowing it is about his father who died at an early age, and yet it turns out, or sounds like for sure, to be a celebratory track rather than a sad one. To give an example of the lyrics, the chorus is as follows:

Walk away, me boys, walk away, me boys
By morning we’ll be free
Wipe that golden tear from your mother dear
Raise what’s left of the flag for me

“If I Ever Leave This World Alive” continues to expand their style repertoire, as an acoustic number, that continues to add layers of sound as it progresses. All the while, Flogging Molly continue to fuse traditional Celtic with folk, and of course punk in their own unique way, no more apparent than on “Swagger”. “Cruel Mistress” sounds like another one for the sea adding some Eastern European style to it as well. Both from Drunken Lullabies.

Within a Mile of Home starts nicely as well with a bang, with “Screaming at the Wailing Wall”. The party really gets going with another sea shanty that is “Seven Deadly Sins“. “Seven drunken pirates, We’re the seven deadly sins”, Dave King sings to close the chorus. The verses containing a pretty sweet drum beat. If one needed proof these guys (and gal) are good, Lucinda Williams is a featured guest on “Factory Girls”.

The songs on Within a Mile of Home can go from a quality drinking, celebratory song to the emotional, and still work together just fine. The former I am referring to is “To Youth (My Sweet Roisin Dubh)”, and the latter, the very emotional and moving “Whistles the Wind”. I do not know who “Whistles the Wind” in the wind is about, but it is a spine chilling song, that very near brought me to tears. Much of the most emotional music I know, is not labelled as emo (no disrespect to emo though, the good emo that is, the real stuff).

As I mentioned about Swagger, the arrangements dazzle again, look no further than “Tobacco Island”, that clocks at 5:17, the last 2:10 ending with a very nice banjo and fiddle instrumental. Once again, the drumming sounds great on the record. “Queen Anne’s Revenge” is a toe tapping romp, that has Dave King singing with a bit of a rasp, making it almost difficult to recognise him, yet, no surprise, it works!

Float, although it does have the Flogging Molly tracks one would come to expect, it is more of a somber, mature record. Mature in the sense it has a little less punk rock influence as Wikipedia refers to, and more traditional-ey. That is definitely not to take anything away from their previous three records. I still only have a handful of times I have listened to Float, so it is still very much growing on me. A few songs could fit well on Within a Mile of Home or Drunken Lullabies, however as a whole, Float is a great collection, and no doubt by this point, all the musicians are very proficient with their respective instruments. Perhaps that is the natural evolution that yielded this album for some deeper cuts. “Man With No Country” (worth noting) opens with a very nice bass intro, punk meets metal really, or vice versa. The title track “Float“, is an excellent track to illustrate my point(s).

Float, as with all Flogging Molly albums, most songs are pretty much credited to everyone. Well done, as everyone has an equal part, and as I mentioned earlier, all instruments are quite equal in the mix.

Flogging Molly are one of those bands that tend to shine with everything they release. I much look forward to Speed of Darkness. And in the meantime, go check out some Flogging Molly at your local independent record shop!

All Saints – All Saints (LP of the Week)

Well, I had another LP of the Week in mind as per my last post, but it is not exactly the best weekend music, so I will save it for next week.

So instead, the All Saints eponymous debut.

If the Spice Girls never happened, who knows how the All Saints career would have ended up. This is just my speculation, as their origins date back before the Spice Girls, even though their first album came out after the Spice Girls debut Spice. Even though the two groups are practically worlds apart, the Spice Girls perhaps prepared the world for the girl group once again. And no doubt the Spice Girls have sold more records, and do not get me wrong, I am a fan, however as a whole, I think All Saints have the stronger discography. They both have three albums to their name, but perhaps the All Saints hiatus after Saints & Sinners was a good one, as they then released the very solid Studio 1 in 2006. Whereas the Spice Girls had the turmoil of Geri Halliwell leaving and the likely rushed release of their last album. This resulted in the weak final effort that is Forever, barring any Backstreet Boys style comeback. I cannot see that happening, especially after their reunion tour a couple of years back.

Of course I mentioned how the All Saints are what would almost amount to being worlds apart from the Spice Girls. The Spice Girls being more teen pop orientated, while the All Saints are urban pop/R&B.

All Saints, is a fairly solid release. All the singles aside, some of the tracks are a little weak, mostly on the songwriting side, production is for the most part decent. These albums cuts could be qualified as ‘filler’ if you will. Songs that are okay, but not exactly groundbreaking, or even great. “Trapped” being an example. “Heaven” is a decent non single. Speaking of songwriting, Shaznay Lewis has a songwriting credit on most tracks, while the Appleton sisters and Melanie Blatt have a couple of credits. The group, along with Magnus Fiennes and Cameron McVey penned the aforementioned “Heaven”. The Appleton’s released an album (Everything’s Eventual)during the All Saints hiatus under the moniker Appleton in February 2003, which I have been meaning to listen to again. Shaznay Lewis also released her own solo album, Open, in July, 2004. Her album being very good, for the most part leaving the urban aspect out if I recall correctly, another one I have to listen to again, but that is a future LP of the week!

Where the album shines however is really the singles (“I Know Where It’s At”, “Never Ever”, “Under the Bridge”, “Lady Marmalade”, “Bootie Call”, and “War of Nerves”). To be honest though I just started playing the album again for the first time in a long time just a few days ago. So some of the tracks that were not singles could grow on me more. For instance “Beg” is not too bad. Although a single, it is not familiar to me as a single, the slow jam qualities of “War of Nerves” makes or a good slower track.

Until I just looked at the liner notes, as I Tweeted earlier today, I did not know “I Know Where It’s At” sampled Steely Dan’s “The Fez” (from 1976). A very nicely done sample, as to me I recognise that as the start of the first All Saints song I ever heard and saw (I chose it as a Music Video of the Day pick back on All Saints day!). Probably my all time favourite All Saints track. On it Shaznay Lewis shows she can spit (rap) a verse if required.

The two covers on the album, “Under the Bridge”, and “Lady Marmalade”, released as a double single are both quite good. The Red Hot Chili Peppers cover staying true to the original, while adding their personal touch, and omitting the “Under the bridge downtown, is where I drew some blood”! And I will take their version of “Lady Marmalade” over the Moulin Rouge cover with Christina Aguilera, Pink, Mya, and Lil Kim.

The All-Star Mix of “Never Ever” could have been omitted in favour of another track, or just left out period.

Finally, “Bootie Call” really shines as a very nice urban R&B/pop track, almost anthemic even in certain regards. And the video (which follows) is very easy on the eyes!

All in all, a solid effort, and no doubt influenced artists and groups to come, whether consciously or subconsciously.

More of their music videos from All Saints:

“I Know Where It’s At”
“Never Ever” and the American version.
“Under the Bridge”
“Lady Marmalade”
“War of Nerves”
“Let’s Get Started” originally by All Saints 1.9.7.5, and re-recorded for the album as “If You Wanna Party (I Found Lovin’)”
And going back into their history as All Saints 1.9.7.5 before the Appleton’s joined and replaced Simone Rainford, “Silver Shadow”. It still has the old school late 80s early 90s R&B style going, and Simone Rainford is on main vocal duties.

Lissie – Catching a Tiger review (and LP of the Week/2010)

Lissie, real name, Elisabeth Maurus, was born in Rock Island, Illinois, in the heart of the American Midwest. She plays folk tinged with country on occasion.

Catching a Tiger, Lissie’s debut has numerous down tempo tracks, yet as a whole it feels like a very upbeat record. After hearing her excellent EP, Why You Runnin’, released on Fat Possum, it took a few good listens for Catching a Tiger to fully grow on me. Now that it has, I can hear how good it is.

Lissie has a voice that is smooth, yet has a certain rawness to it that is teeming with Americana. It certainly helps when she sings about the Midwest and American places in general (“Appalachian farmer”, “Mississippi moonchild”, “By Georgia pinin’ declinin’”, “Fightin’ Illini”, “Gonna move to N’arleans singin’ psalms”, etc. all in the ingenious “Little Lovin’”. And of course a song about the Mississippi, “Oh Mississippi”). I am fortunate enough to say I know the Quad Cities (Rock Island Moline, IL, and Davenport and Bettendorf, IA), where she is from, as I have visited, so I know the role the Mississippi plays there. Where it flows from east to west (“But ’round these parts, you’re westward bound”).

The record (this album by the way would be awesome on vinyl) starts with the hauntingly good “Record Collector”. With a cacophony of interesting, fitting sounds. Similarly, “When I’m Alone” borders between a down tempo and a mid tempo track, at about 120 beats per minute and is in D Minor (had to look it up, I can’t quite pick out the key, yet..), making for a nice track, and it is bass (guitar) heavy. In fact, there is a quite a lot of tracks in minor keys, which actually suit her voice well (“Bully” as well). To be fair, her songs in a major key are awesome too (“Cuckoo”for one). “Everywhere I Go”, which is apparently in G Major, toes the line perfectly between major and minor. It is another song that is hauntingly good, many thanks to the simple yet very (very) effective concert bass drum accents, and plenty more in the mix, from the obvious electric guitar to the acoustic guitar, and Lissie’s overdubbed vocals. To borrow a term from a friend, it is very dense (he used it referring to another song). Unbelievably good song.

Lissie herself has writing credits on all the songs, and penned a couple all on her own as well. She also plays guitar. Musicians are not credited in the liner notes, so I cannot tell where she is playing to be certain, as “In Sleep” closes with a fairly significant guitar solo. And as mentioned above, I would love to see the credits for “Everywhere I Go”.

I cannot explain why exactly, but “Stranger” feels like a perfect song for the Quad Cities, perhaps not the lyrics. It is an impressive country tinged folk song with a great beat. As is the case for “Oh Mississippi” (song for the Quad Cities) even if it is more of a ballad for the Mississippi, yet does refer to the Quad Cities as I mentioned above.

“Little Lovin’” for a long time was my favourite Lissie song, and it is still great, with its great lyrics (“I’m gonna get to heaven, I’m gonna count to seven”), and simple beat derived from a bass drum pretty much the entirety of the song, to the spectacular coda. However, the entire album sparkles. it may me another cliché, but the album from start to finish is genius, while each individual track works great on its own.

Even though my quasi lists have been made for the best of 2010, and I did include Lissie’s debut, I’d have this in a one way tie for best album of 2010.

Highly recommended, no doubt about it.

Probot – Probot (LP of the Week)

I am not sure exactly how many people knew about this, even if it was reviewed in Rolling Stone. Many people likely still missed it. This release is a must for underground metal fans of the 80s, and recommended for fans of Foo Fighters (can not say all fans will appreciate it).

Probot is of course Dave Grohl’s metal project, wherein he plays the vast majority of the instruments on all tracks, and on many, all the instruments. Which in itself is quite impressive. The lyrics were written by the specific guest singer on each track.

Way before Dave found himself drumming for Nirvana, he was into punk rock and more specifically hardcore (Circle Jerks, Minor Threat, Battallion of Saints, Hüsker Dü, D.R.I., etc), and then of course metal.

The album starts off loud and fast with Cronos of Venom. It continues that way for “Red War” featuring Max Cavalera on vocals. The cornerstone of the album, as Dave Grohl writes in the liner notes is Lemmy (do I even have to say Lemmy from Motörhead? Probably not but I added it anyway) and “Shake Your Blood”. It definitely sounds like some vintage Motörhead.

I cannot say I am familiar with all the metal singers featured on here, and their original bands, as my early background was more punk/hardcore, while Dave Grohl obviously found his way to a lot of metal (he “liked it fast and weird (still does)” he writes in the liner notes). From what I do know, Dave pretty much nailed the music on the tracks (all his own music) as if it were the respective singers original bands — and the ones I am as familiar with, I can only feel it must be the case as well, as the vocals work well with his instrumentation.

Dave Grohl (Foo Fighters) Lemmy (Motörhead) Wino (The Hidden Hand, Place of Skulls, The Obsessed, etc.)

Aside from the aforementioned tracks, and also “Access Babylon” featuring Mike Dean of Corrosion of Conformity, it really is not as heavy as one might have expected thinking of a metal album. Dave, et. al. (Kim Thayil of Soundgarden has a couple of guest guitar parts), does a very nice job going through numerous styles of metal. Such as thrash of “Silent Spring” featuring Kurt Brecht (Dirty Rotten Imbeciles), the doom metal of “Ice Cold Man” (Kim Thayil plays additional guitar) featuring Lee Dorian (Cathedral, Napalm Death) and “My Tortured Soul” featuring Eric Wagner (Trouble), and the almost stoner metal of “Big Sky” featuring Tom G. Warrior’s (Celtic Frost, Hellhammer, Apollyon Sun) throaty voice which almost sounds like Dave Mustaine (on parts) over instrumentals that would fit for a Queens of the Stone Age track, even if it is more doom metal.

Likely everyone who knows him, knows Dave Grohl plays drum and guitar, but probably would not have thought of him as a multi-instrumentalist that would record an entire album.

Must hear tracks: “Centuries of Sin”, “Shake Your Blood”, “Access Babylon”, and “Ice Cold Man”. And of course check out the entire album! Also notable, King Diamond of Mercyful Fate closing the album on “Sweet Dreams” before Jack Black appears with the hidden track, “I Am the Warlock” (recommended for Tenacious D fans).

Read the official presser over at Southern Lord. And Wikipedia for more information and additional links.

Teedra Moses – Complex Simplicity (LP of the week)

A singer-songwriter in R&B these days seems quite rare. Of course many artists co-write, and have songs that are written solely by them now and then, but to write the entire album is quite a feat. And of course, she has written songs for other artists as well (she co-wrote “Dip it Low” for Christina Milian, among others for Teairra Marí, Trina, and Mary J. Blige).

She started working on music upon breaking her leg on a video set. Prior, she had been an assistant wardrobe stylist.

Really then, Teedra came out of nowhere to release Complex Simplicity on TVT Records.

The album title actually feels like a really good fit. It is smooth, soulful R&B. Makes for a great R&B record. A great listen. And since she wrote all the lyrics, and they all work very well, it would be worth following along with the lyrics to hear everything come into place. Simplicity, as it is very easy to listen to, and would work in just about all settings, from clubs to popular music radio stations, and complex to look deeper, and grasp all the elements working as one. Not unlike watching The Simpsons. Complex simplicity.

Paul Poli, Raphael Saadiq, Lil Jon are the producers. Raphael Saadiq is a featured guest on the moderately slow jam, “Take Me”. This track is a good example for the instrumental arrangements including a nice backing bass line. Following is a nice simple (yet again complex) track of Teedra being somewhat PO’d at another girl. It clocks in at 6:15, making it longer than one would expect from an R&B track.

The leadoff track, “Be Your Girl” would be a perfect example of what could easily be a single, a leadoff single as well for that matter. Actually, while looking around for her on the web I found the video for it on YouTube! (future MVOD I dare say!) So looks as though it was! That does not change the fact that easily numerous, if not all songs on the album could be singles.

Apparently Complex Simplicity is an underground classic, which is not a surprise, as it is just that good. Also, looks like a new album is in the works, but details seem scarce. According to her MySpace, she did put out a mix tape earlier this year (Royal Patience compilation …a love journey), so that is promising, but trying to get to her official website leads to a website not found page. Well, here’s hoping the album is released sooner or later instead of being shelved.

Edit (February 17, 2011): Looks like she has an album, The Lioness, ready to be released, but is in need of a record label. Read a little more over at The Allusic blog. Also her official website is up again, and check out her new video for “R U 4 Real” over at YouTube (available in HD!).

Rah Digga – Classic (review/LP of the week)

10 long years later, we have a second Rah Digga LP to listen to.

2004 should have seen the release of Rah’s second album, Everything Is A Story, on J Records, but it was another album that thanks to major label shenanigans, never saw the light of day. Everything happens for a reason.

Alas, now 2010, we have Classic. A straight up hip hop album. No collabo’s (collaborations), and just one producer. When I first heard via Rah’s Twitter that it would just be her rapping on the album, I was very happy to hear. Rah Digga’s excellent rapping really does not need guest spots, with her, it is all quality. I am a big fan of female rappers, however I have wished in the past that there would be less guests and skits on albums. Of course both can work in the albums favour (Eminem’s The Marshall Mathers LP), but it can also work against it (Lil Kim’s The Naked Truth).

With Rah Digga’s Classic, she is definitely straight spitting. The album clocks in just over 33 minutes, however with just Rah Digga on the album, it feels like it goes by really quickly. I’d love to hear a Lil Kim, or Trina album in that vein. To add another Rah Digga song reference, her rapping, is tight. She may speak big in her rhymes, but she can back it up.

The first official single is “This Ain’t No Lil’ Kid Rap”, and despite that, really it is an album with no singles, in that they could all be singles. To further elaborate, since it was a single producer (Nottz), the entire album feels like it came from the same session, and has the feel that it works perfectly as a whole.

“You Got It” samples “I Know You Got Soul”, the Bobby Byrd song, possibly via the Eric B and Rakim track of the same name from Paid in Full (1987) that also sampled it. “‘Soul’, like De La!”

A straight up excellent hip hop/rap record.

Metric – Old World Underground, Where Are You Now? (lp of the week/review)

2003 in Canadian music saw the release of Kathleen Edward’s debut, Failer, Sloan’s seventh, Action Pact, Sarah McLachlan released Afterglow, her fifth LP, Montreal ska heroes released their fifth as well, Mighty, and a band by the name of Metric released their commercial debut, Old World Underground, Where Are You Now? It should have been their second, as Grow Up and Blow Away never saw a release in 2001 (later released in 2007, with a slightly modified track listing). After that, the rest, as they say, is history. In regards to Canadian music, no doubt I am missing numerous releases, both major and small, I just used a few illustration purposes.

Since Old World Underground, Where Are You Now? they have been indie rock fan favourites in Canada. And with the release of Fantasies, and the song “Eclipse (All Yours)” on The Twilight Saga: Eclipse soundtrack, it is safe to say they are now known globally.

To this day, from the release of 2003′s Old World Underground, Where Are You Now?, to 2009′s Fantasies, I think it is safe to say Metric really have their own sound, of indie rock meets new wave, making them fairly unique.

Old World Underground, Where Are You Now? is a solid release from start to finish. It really helped pave the way for what Metric have become, the evolution of the band one might say started with this album, at least stylistically for what they would become. Likely this would have been the case if Grow Up and Blow Away did see a release in 2001, however it is hard to say for sure, seeing as after the release of Old World Underground, Where Are You Now?, they were touring like mad, and out of the touring is where Live It Out, their second released album, came. Grow Up and Blow Away, is more a mellow, rock album, with considerably less new wave influence. “Soft Rock Star” is a very nice mid tempo track from said album, with its funky bass line, and vocals that fit the song title.

The tone is set quickly on Old World Underground, Where Are You Now? with “IOU”. It mellows out a little with “Hustle Rose”, and picks up again with the political and very enjoyable “Succexy”. I believe the first Metric track I heard was “Combat Baby“. A very fitting first track. Also, a track I am looking forward to rocking out to on Rock Band 3!

As I mentioned above, the Metric sound is fairly unique, and that is the case with Emily Haines’ voice. CMJ likened her voice to “a more enthusiastic Ladytron-ette”. I have to agree in part, as she does sound a little like Helen Marnie, however their respective voices work well for their respective genres.

Fans and those that are not yet fans of Metric can do no wrong with checking out their first commercially available album.

Music videos from Old World Underground, Where Are You Now?:

Calculation Theme
IOU
Combat Baby
Succexy
Dead Disco

Speech Debelle – Speech Therapy (review/LP of the week)

Speech Debelle’s Speech Therapy was released a year ago, and went on to win the Mercury Prize (awarded to the best album from the United Kingdom or Ireland). Well deserved in my opinion.

Speech Debelle, real name Corynne Elliot, was born in London, and had a decent upbringing, until at the age of 19, she was forced out of her home, and found herself moving from hostel to hostel or staying at friends’ houses (“2 am in my hostel bed, my eyes them red, my belly ain’t fed, I got butter but I aint got bread and I’m smoking on my last cigarette” from “Searching”).

She began writing poetry and rapping at the age of 13. Later on, upon returning to her Mum’s home, she began calling record labels, and ended up signing with Big Dada.

What makes Speech Debelle’s music unique is her personal lyrics, and scaled down, minimal instrument backing, and beats. Most instruments were recorded separately. As this is a hip hop album, that being impressive, in that the beats were not made/arranged by computers. Thus giving it an organic feel, be it consciously or unconsciously.

Fairly simple, and with only two guest spots, it makes for a fresh take on hip hop today, be it from the United Kingdom, or globally. The minimalist approach is due to working with producer Wayne Bennett, who said “well, let’s try and do it all acoustic. Let’s do it like a folk record. She says she just wants to tell these stories. Let’s go back to the oldest simplest forms of music where people just told stories, which is like country and folk and that sort of stuff.” And this worked out for Speech, as she wanted to make a “hip-hop Tracy Chapman record”!

Micachu featured on “Better Days” is in a way reminiscent of Dido on Eminem’s track “Stan”. A little chilling, during the chorus, yet catchy enough to feel the need to nod with the beat. Speech explains how “‘Wheels In Motion’ was influenced by a Coldplay song, I think it’s called ‘Speed Of Sound’ — which I love — and the piano mix especially.” The song also features a guest spot from South Londoner Roots Manuva. Towards the end, and to close out the track on “Bad Boy”, the standard drumming goes into a drum and bass section, which reminds me of The Roots great song “You Got Me” featuring Erykah Badu that ends with an awesome instrumental part with ?uestlove on drums and Leonard “Hub” Hubbard on bass.

Speech Debelle had particular sounds in mind for the album, enable to find those sounds, Wayne had session musicians come in and play particular instruments for her. A couple of tracks have strings on them, and apparently Speech would say something to the effect ‘I want that sound they put in movies when someone dies — violins!’ They aid the personal, story telling feel.

If this was the hip hop Tracy Chapman album, Speech said the next one is going to be a hiphop Ray Charles album!

Main source used:
Wayne Bennett & Speech Debelle: Recording Speech Therapy

Double LP of the Week Marina and the Diamonds – The Family Jewels and Ladyhawke

Having returned from being out of town for a few days, and not really listening to music, two albums that I listened to before leaving ended up causing a few of their songs to be stuck in my head at various points. I’ll start with the most recent release.

Ever since the first, and subsequent listens, the Marina and the Diamonds debut, The Family Jewels, has only kept getting better. I wrote a brief review a few weeks ago.

The lead off track, “Are You Satisfied”, is a fairly standard indie pop track, in that it is not especially unique. That is not to say it is bad at all. However “Shampain”, an intentional misspelling of Champagne, is quite good. It is apparently a forthcoming single. “I Am Not a Robot” is a very good track, it has been stuck in my head numerous times. One that I do not mind going around in my head at all!

“Mowgli’s Road” is another that had been going around in my head. More so just the rhythm, as I have not followed along with the lyrics very much. Alongside with the video, it definitely feels like it is telling a story. Speaking of the rhythm, it is one that is well worth following the beat with the feet!

The next track, actually the first single released as a double a-side with “Mowgli’s Road”, is a slower song, and fits well with “Are You Satisfied”, in that it does not have anything special about it, aside from being a good track. I did not link the video for it in my mini review, so here it is on Youtube, “Obsessions”.

“Hollywood”, is about celebrity culture, not to mention the American Dream as well. The video does a nice job satirising just that. “Hollywood” was the first song I heard from Marina and the Diamonds, and how she states about not wanting to be the ‘typical‘ pop star, I do not think she has to worry about that. Quoting from the song a good line,

“Oh my god, you look just like Shakira
No no, you’re Catherine Zeta”
Actually, my name’s Marina.

As I mentioned in the mini review, “The Outsider” has some new wave aspects in it, even feeling like it goes back to the 80s.

The latter third of the album settles down a fair amount. I like how she can manage songs that do a good job storytelling, and do not necessarily stick with the standard songwriting structure, “Rootless”, for example. And Marina can also do the silly, zany tracks well, as well as more standard songs, while keeping them good.

I have no doubt that she does have a future. I would like to see her have more songwriting to her name.

The next album is one that has been out for a while, but I only really started listening in full relatively recently. It is the self-titled debut from New Zealand’s Ladyhawke.

Ladyhawke’s Ladyhawke, real name, Phillipa “Pip” Brown, would probably be more indie rock, and also has new wave elements, however more in the vein of Goldfrapp, or Ladytron. Therefore leaning toward synthpop or electropop.

I am partially surprised that “Manipulating Woman”, the second track, was not a single, as it is definitely catchy, and has been one that has been stuck in my head as noted in the introduction to this blog entry.

The album does have a throwback to the 80s a tad, however as the CMJ review put it, “nostalgic but modern and (just slightly) more grown-up.”

I kind of find the album hard to describe, but the fact it contains electro and synth elements says plenty. Perhaps Ladytron junior, or a more playful version of Ladytron.

The fact that she writes all her songs, and is a multi-instrumentalist to boot says a lot about Phillipa.

Check out the NME video Track by Track.

The videos:

Back Of The Van
Paris Is Burning
Dusk Till Dawn
My Delirium
Magic

Obligatory links:

http://www.marinaandthediamonds.com/
http:/www.myspace.com/marinaandthediamonds

http://www.ladyhawkemusic.com/
http://www.myspace.com/ladyhawkerock