|9. When the advance leaked way back when, I didn't quite embrace the "new wave"-ness of some of the songs. I knew where it was coming from, but I wasn't in tune with it yet. It would take me a year or so before I finally figured it out. He's pretty much doing the same thing he has been doing for the last 11 years, but with different music. It was still being done with a hip-hop approach. Immediately I understood the name of the album, and how the Recordios refer to the songs, but as far as what each song meant, I only knew half the story when the advance came out. I still think the album is better when "100 Metre Dash" in it.|
>will chris cornell ever do anything as good as his work in |
I only heard one song from that solo album. I really liked the Audioslave album, the lyrics still had the depth and crypticness (is that a word?) that his Soundgarde stuff had, from when they were still an "art" band.
>will billy corgan ever do anything as good as his work in
>do you think the really big fans of the strokes, the white
Half of their fans could care less, the other half are fully aware of it. When The White Stripes were on Sympathy For The Record Industry, they were loved for their genuine love of the blues, just as some had loved Pussy Galore, Jon Spencer Blues Explosion, or Boss Hog for Spencer's distorted twist of it. That's when music becomes a fashion to some, when these old bands are seen as "archaic", and it takes a new band with a new, younger, brigher face to feed it back to them. With grunge, you pretty much had the same thing, and fortunately these bands (Mudhoney, Nirvana, Tad, Soundgarden, Mother Love Bone) didn't hesitate from saying "we love The Stooges, MC5, The Wipers, Black Sabbath, and Kiss". These were guys who loved music that most people thought was dead, so when it came back to the public, it felt new. The thing is, it wasn't new, but it was a renewed energy in the music, and more importantly a renewed interest in what came before. I would like to think the same applies to a lot of these new bands, and fans who choose to dig deeper. I can see bands who are nothing more than copycat bands, record company inventions for the sake of having their own Hives. They would be doing songs for Nickelodeon or Chicken Of The Sea if it wasn't for someone who said "wear suits, rock hard, and go ahead and pierce your lip." The reason there are so many bands like this is that people are hungry. Including the bands, because "Melrose Place" is off the air. Remember anytime there was an important scene in "Melrose Place", and you'd hear a guitar solo to give the scene emphasis? The same guitarist is now probably waiting for an agent to call him and say "we need a new Hives."
Wasn't it Nelly who said that artists shouldn't get political in their music? Let's keep that in mind if and when a conscious movement happens again in hip-hop. I guarantee this will happen though. If a movement comes to be, mainstream magazines will look at all of these artists with powerful songs, a "renewal" of the 1989 spirit of hip-hop. But then it'll take someone else to write an article about "if this is a renewal of consciousness, where did that consciousness go?", and it will look into the countless underground albums that did speak out against the powers that be. Company Flow often looked into why things are the way they are, while mainstream rappers for the most part said "fuck it, I got money, I got a car, I got pussy, I'm living the good life." The Geto Boys celebrated all of these things too, but listen to that album on Def American. But listen to "Fuck 'Em", "Do It Like A G.O." and "City Under Seige". You have Bushwick Bill in "Fuck 'Em" deliverying a verse that may have been overlooked within the rise of West Coast hip-hop:
This was far from 2Deep's "I Didn't Do My Homework".
Last week's election results are going to spark something, and artists are going to have to take a big risk, especially artists who are signed to major labels. Jay-Z delivered a moving verse in the remix of that Panjabi MC song. What if Freeway does a song, and it talks about his hate for Bush's administration. Will that be the only reason that you can't download it from iTunes? Will a major label release that song on vinyl or CD as is? Or will there be more interaction between artist and fan on their websites?
"The youth vote" was very important in this election, and I am sure a lot of them were confused by the bullshit which happened, on both sides. It will take awareness in the next four years for these new voters to get a better look at the process that currently exists. In terms of the issues, hip-hop used to be very blunt. It has to be very blunt again, and I hope the next four years will make artists stand up and fight through music. Again, there is a risk factor, where one didn't exist before 14 years ago. Many artists were conscious, but it wasn't a billion dollar powerhouse. Money is involved, and the man on top may say "I don't like your views, let's take away your endorsements, your forthcoming tour, in fact, let me take away your contract."
There is a place for music made for dancing, for going to to the club and just let loose. But there is also a place for artists to speak out, in a genre of music known for its words. That's why it's called "rap", the old term which means "let's speak", or as I would say "we go talk story". After the 2000 elections, I was sure that the next four years would bring forth an uprising in rappers. After 9/11, I said "this is the perfect time". Like the movie "1941", nothing happened. There is tension in this country, and the best way to do it is through music. I want it to happen, because it needs to happen. Within the Vietnam war, Roberta Flack did "Business Goes On As Usual". A few years ago, country artist Kasey Chambers did a song about 9/11 that had nothing to do with kicking the enemies ass (as Toby Keith might say). Steve Earle did a song which talked about John Walker Lindh, and it pissed the country music world off. We all know what happened to the Dixie Chicks.
I don't want to know. There was so much tension in the group, that there was a breaking point. I think they would have went downhill, because this is the decade that gave us "The Morning After" and "Alone Again (Naturally)". I think it would have been a big vehicle for Paul, and John would not have had as much great music as he did in the 1970's.
I think George Martin wouldn't be involved, and yet all of them had said that Sir George was an important factor in most of their music.
Phil Spector contributed a lot to John's post-LET IT BE work, but I am not sure if Paul would have agreed to having him.
I don't want to answer this question anymore. The Beatles are locked in time, and I would prefer to keep them in that time machine. We all like to ask "WHAT IF?" but they broke up at the right time, because there was some incredible music to come out in the early 1970's, all of which would have been looked over for the sake of The Beatles. All bands from that point on looked at The Beatles as the blueprint. Lasting longer than The Beatles is something that every band wants to do.
>why are people so boring in their intolerance of "different
>predict the next fad in rock music (after retro rock).<
I think there are a lot of compilations out there. I used to be a huge soundtrack junkie, and I need to get back into it again. There's a comp called ABERFOYLE SPRINGS COMPILATION VOL.2 -WELL FLAVOURED BEATS or whatever its called. That one is great. Pick that up.
I don't know. Things are fucked, and artists don't even realize it. If it was me, I would be contributing to as many compilations as possible, not only to have my presence on a comp, but if I had any level of a following, someone might hear me and go "wow, these other artists sound pretty good too." It's all about helping each other, and I know that's done today. But Jay-Z extending a hand to R. Kelly obviously didn't work.
I like DO YOU WANT MORE a lot, followed by THINGS FALL APART and PHRENOLOGY.|
DO YOU WANT MORE? stands up for me because it's slick, and yet still has a rawness to it, without the extra dressing that the group, and specifically ?ues,t has admitted to adding over the years. "Lazy Afternoon", "Datskat", "Silent Treatment"... I love all of those songs, and especially "Distortion To Static". It has the feel of a jazz album, where it's laid back and relaxed, but you know it's hip-hop. It's funky, but it's "funk for us", if that makes sense (us, as in the hip-hop community). Stetsasonic may have been a hip-hop band, but there were some crap on BLOOD SWEAT & NO TEARS). DO YOU WANT MORE? doesn't have one bad song on there. The album also came out a time when the G-Funk was losing steam and during the rise of the Wu-Tang empire, it was a blue thumb sticking out, and the attitude on the album was "fuck it, this is what we are, we're not catering to anyone."
It was an album that places itself in the middle of the end of one era, and the beginning of the other, and it sounds like neither.