Write Here, There, And Everywhere

Wow, I haven't posted here in a bit. Well, let's do some catch up.

I have added another site to the places I write for. It's called Blinded by Sound and it's an awesome music site run by Josh Hathaway. You can find a link to my profile in the sidebar.

Well, here's everything I've been up to online since my last post:

Blogcritics

Reviewed Cee-Lo Green's latest album called The Lady Killer

Listed my Favorite Albums of 2010

Checked out a collection of Tweety & Sylvester cartoons on DVD

Reviewed RJD2's first album under his new alter ego The Insane Warrior called We Are The Doorways (a song is embedded below)


Reviewed the latest (and potentially final) Go! Team album called Rolling Blackouts

Blinded by Sound

My inaugural review for this site takes a listen to Daft Punk's score to Tron Legacy

My goal for 2011 is to create more content versus 2010. With three sites to contribute to (Blogcritics, Blinded by Sound, and ThaHipHop), I just might achieve it.

Here's What You've Missed

It's been a while since I've posted here. I haven't quite had the urge to do so but that doesn't mean I haven't done at least a little writing. So, here's the stuff I've done since the last post...

The first review is that of the re-issue of Passion Pit's debut album Manners. It was on my fave albums of 2009 list and the new version adds two bonus tracks. Here's an excerpt from the review which was first published on Blogcritics back in May:

The biggest test of an album is how it holds up over time. My opinions of some albums have changed over time and not necessarily for the better. Fortunately, Manners remains excellent nearly a year after its initial release. The three bonus tracks may not be enough for fans to double-dip but this release is perfect for anyone just discovering the group.

Next up, is a review of Janelle Monae's debut full-length The ArchAndroid. It's a likely shoo-in for one of my favorite albums of 2010. Here's an excerpt from the article which was first published on Blogcritics in June:

Monae tackles a wide variety of styles on this release from R & B/soul to rock, pop, and electronic. While it could have been a disjointed mishmash of an album, instead it's wonderful from start to finish. The ArchAndroid is endlessly creative and marks the official arrival of a unique voice in music.

Then, for a change, a DVD review. This one is of the Tom & Jerry: Deluxe Anniversary Collection. The H-B cartoons are great. Everything else is a little questionable. Here's an excerpt from that review also first published on Blogcritics in June:

To mark the occasion, Warner Bros. has released a new Deluxe Anniversary Collection DVD featuring 30 cartoons that span nearly every aspect of the Tom & Jerry legacy. Animation enthusiasts and collectors who have picked up the Spotlight Collection releases will probably be a bit disappointed. However, if you're a fan who just wants some cat-and-mouse antics at a reasonable price, this set is for you.

Finally, here's my most recent review. It's of The Chemical Brothers newest release Further. Further is not only a departure for the electronic duo...it's their best album in years. Here's an excerpt from that review which was first published on Blogcritics just a couple of days ago:

In a bold move, their new album contains just eight songs and no featured guest stars. Relying only on themselves (and a sparingly used female vocalist), the duo has crafted one of their best albums in years and an experience best enjoyed as a whole.

Well, that gets you up to date on my writing activities. I want to get back to blogging in the near future. I won't make any promises because when it comes to this blog, I usually don't keep them. Instead, I'll ask you to keep watching this space.

CD Review: More Malice by Snoop Dogg

In December 2009, Snoop Dogg released the full-length album Malice N Wonderland. It was a solid effort from the rapper spawning hits such as "I Wanna Rock," and "Gangsta Luv" featuring The Dream. Just a few months after releasing this album, Snoop returns with the new EP More Malice. Containing mostly new material, More Malice is more of a mixed bag than its predecessor.

More Malice contains eight tracks with five of them being brand-new. Three tracks are repeats from Malice N Wonderland. Two of them are remixes of songs that feature added guest stars ("Gangsta Luv" appears in its original version) . Fresh off The Blueprint 3, Jay-Z makes an appearance on "I Wanna Rock (The Kings G-Mix)." He pays tribute to "It Takes Two" in his verse, which is appropriate since "I Wanna Rock" samples the hip-hop classic.

Bun B joins Soulja Boy Tell 'Em on the G-Mix of "Pronto," one of the worst songs on Malice N Wonderland. Bun B does elevate the proceedings a bit but this track remains pretty bad. The main problem with this song is the terrible chorus by Soulja Boy Tell 'Em. Some voices still sound okay with Auto Tune but Soulja Boy's does not. Any momentum the verses have is killed every time the chorus is played again.

Kid Cudi joins Snoop Dogg on "That Tree," the best of the brand-new tracks. The unlikely duo work well together on this surprisingly fun song fueled by wonderful production by Diplo. "You're Gonna Luv Me" has Snoop showing a bit of his softer side. “So Gangsta” is notable mainly for its appearance by Butch Cassidy who tries mightily to fill Nate Dogg's shoes.

Things take a harder turn on "Protocol" and "House Shoes." Both tracks feature Snoop by himself rapping with no hook for at least three minutes. "Protocol" is more interesting lyrically with a dismissal of rappers who use Auto-Tune ("We hit licks and gang bang / You on some T-Pain shit") and a comment on the lack of recognition for West Coast artists ("How the fuck ya'll gonna keep havin' all these award shows on the West Coast but ain't no mother fuckers from the West Coast winning no awards?"). "House Shoes" has a more interesting sound with some Arabian-style strings mixed with some sparse drums.

While it's nice that More Malice isn't a re-release of Malice N Wonderland, there isn't enough here to warrant a purchase. The G-Mixes are kind of unnecessary especially when one of them is of a bad song. The new songs are the highlights of the release but most of them (apart from "That Tree") don't make much of a real impact. More Malice might be an okay purchase if you get the CD/DVD version or if you want just the singles from Malice N Wonderland. Otherwise, Snoop fans should just buy a download of "That Tree" and wait for his next full-length album.

Music Review: The Colossus by RJD2

Three years after taking a detour into pop/rock with The Third Hand, artist/producer RJD2 returns with his new album The Colossus. The first album released through RJD2's own record label, The Colossus is his first major album to feature hip-hop in six years. While it isn't without some missteps, this album is a welcome return to form.

The album kicks off in grand fashion with the excellent instrumental “Let There Be Horns.” The song, with its forceful horns and strings, is a bit of a proclamation of RJD2's return. The track even ends with a chorus of cheers and applause in the background.

The other instrumental tracks fare pretty well too. Live flute courtesy of Heather Fortune give “Tin Flower” a mellow feel that gets utterly destroyed by the end of the song. “Small Plans” is a sort of controlled chaos as vocal samples, electronics, and other instruments shift around each other. Vocal samples are also put to good use on “The Stranger,” the creepy cousin of “The Horror.”

While The Colossus has RJD2 returning to hip-hop, it is not without some pop elements. Fortunately, he seems to have learned from his previous album and handed off most of the vocal work. Kenna is a welcome presence on “Games You Can Win.” Their styles work well together and hopefully, this is not the last time they collaborate.

Phonte Coleman of Little Brother and The Foreign Exchange shows off his singing chops on “The Shining Path.” The song has a nice, old-school R & B feel to it complete with some nice harmonies. There is also one vocal hip-hop track, “A Son's Cycle” featuring The Catalyst, Illogic, and NP. The lyrics aren't much to write home about but the production is amazing. The beat doesn't stay the same and changes to fit each MC.

The Colossus falters mainly whenever RJD2 decides to provide vocals. “Gypsy Caravan” is a failed attempt at 1960's-style rock. It's out-of-place to the point that it is almost unintentionally funny. On the other hand, “The Glow” is polarizing. It's a song you kind of like and hate at the same time. There are elements here that could make a great song but they're spoiled by silly lyrics. The main refrain of “Got the glow! / Got the glow!” is a little annoying but manages to stay in your head. What “The Glow” seems to be going for is better achieved in the album's closer “Walk With Me.” That track, with its bouncy, old-school beat is genuinely fun from start to finish.

If there's one theme that runs throughout The Colossus, it is acknowledging your past and looking towards the future. The album is balanced between the hip-hop fans have come to expect and the pop leanings of his more recent work. It contains a sequel to “Salud,” an interlude from Deadringer as well as subtle reference to that album's “Introduction.” It is a solid album from one of the more interesting and innovative artists out there, hip-hop or otherwise. There's no telling if RJD2's next work will be more pop-oriented, more hip-hop oriented, or something else entirely. However, as long as he focuses on making good music, we will be anticipating what's next.

My Favorite Albums of 2009

Another year has ended which means it's time for my annual Favorite Albums list. These are the albums that never stayed too far away from my ears in 2009. Of the twelve albums on my list, three of them are debut albums, three of them are “sequels” to great hip-hop albums, two of them weren't heard by me until December, and one is a mixtape.

Before we get to the main attraction, here are the honorable mentions:

Ancient Astronauts – We Are To Answer: The debut from the German duo is a solid combination of hip-hop and other genres that was sadly overlooked.

Animal Collective – Fall Be Kind EP: I never put EPs on my Favorite Albums list so this year-end release ends up here. I'm still amazed that they managed to legally sample The Grateful Dead.

Alex Goose – Blueprint 3 Outtakes: This collection of beats submitted (and apparently rejected) for Jay-Z's album is really quite good. Download it for free right now to hear for yourself.

Basement Jaxx – Scars: I am a fan of this duo but I haven't listened to this album enough to put it on my list.

Peter Bjorn & John – Living Thing: This is the first album I've ever listened to from the duo and I definitely enjoyed it.

Phoenix – Wolfgang Amadeus Phoenix: I listened to it and liked it, but I haven't listened to it enough to warrant inclusion on my list.

Wu-Tang – Chamber Music: While it's not a proper Wu-Tang Clan album, it is a nice tribute/throwback to the 1990's style of Wu-Tang music.

Now, on to my Favorite Albums list, arranged alphabetically by artist name:

Animal Collective – Merriweather Post Pavilion: Animal Collective's music is an acquired taste but this album made it a little more palatable. This doesn't mean that their sound is suddenly conventional. That's not the case in the slightest. It just means that it's easier to enjoy the underlying sweetness beneath the upbeat “My Girls” or the ubridled joy that ends “Brother Sport.” Things still get a bit odd like the didgeridoo on “Lion in A Coma” or the way “Daily Routine” spends much of its running time threatening to drift away. There's no telling what direction this group will go on their next full-length but I'm pretty sure it won't be anywhere near boring.

Chester French – Love The Future: The debut album by pop duo Chester French (aka D.A. Wallach & Max Drummey) is an overlooked gem. The duo condenses influences far and wide into an album that's inventive and ambitious. The production is more lush than you would expect and the music keeps you guessing. The country feel of “Beneath The Veil” is immediately followed by the bounce of “Neal,” which almost sounds like a lost track from The Love Below. “The Jimmy Choos” turns dark towards the end while “Sleep” gets really strange. The “Country Interlude” is, in reality, neither country nor a real interlude. I can't wait to hear what these guys do next.

Drake – So Far Gone Mixtape: As someone who used to watch Degrassi: The Next Generation, I never imagined that the guy who played Jimmy Brooks would become 2009's hip-hop wunderkind. However, this mixtape erased any doubts and showcased Drake's boundless talent. While it's surprising that this originally free mixtape spawned two hit singles, what's more surprising to me is how self-assured it is. With its moody, enigmatic feel, it seems less like a mixtape and more like an album. Even when rapping over others' beats, they are from the likes of Peter Bjorn & John, Lykke Li, and Santigold. It makes sense that Drake is taking a long time to prepare his proper debut. This mixtape is a hard act to follow.

Grizzly Bear – Veckatimest: This album is the latest addition to my favorite albums of 2009 list. Before this album, I had never heard of Grizzly Bear, much less heard any of their music. The only reason I decided to check out this album is because I saw it on various year-end lists. The fact that it made my list should give you an idea how good this album is. Veckatimest is ear candy, plain and simple. It's easy to get lost in the album's relaxed atmosphere but when you actually pay attention, you're rewarded with fantastic arrangements and harmonies. After listening to this album, I plan to spend some of 2010 exploring Grizzly Bear's other work.

Jay-Z – The Blueprint 3: Of the three hip-hop “sequels” on my list, this one had the highest profile and the biggest sales. Jay-Z proved once and for all that he doesn't have to reference drugs to be on his A-game. This is a polished, mainstream hip-hop album. Jay-Z doesn't try to reinvent the wheel (most of the producers on this album have worked with him multiple times) but does deliver some solid music. I really liked the New York love letter “Empire State of Mind,” the “Did-he-just-say-that?” lyrics of “Thank You,” and the message of “D. O. A. (Death of Autotune).” While this album is not better than The Blueprint, it's more worthy of the name than the lackluster Blueprint 2.

Kid Cudi – Man On The Moon: The End of Day: Kid Cudi burst onto the scene with the hypnotic single “Day N Nite” and his debut also stands out from the crowd. Cudi sings, raps, and everything in-between on this quasi-concept album featuring narration by Common. His unique sound pairs introspective lyrics with a sonic backdrop that includes elements of hip-hop, pop, rock, and electronic music. Whether he's trading rhymes with Common and Kanye West over a Lady Gaga sample on “Make Her Say” or teaming up with MGMT on “Pursuit of Happiness,” Kid Cudi is anything but typical.

Maxwell – BLACKsummers' Night: It can be difficult for an artist to make a new album after a long hiatus, but Maxwell makes it seem effortless with this release. He eschews modern R & B trends and instead focuses on making excellent, timeless music. With only nine tracks and a running time of less than 40 minutes, everything has to be well-made in order for the album not to fail. Thankfully, that's the case from the beautiful “Pretty Wings” to the sparse “Playing Possum” and the electronic-tinged instrumental “Phoenix Rise.” If this album really is the first of a proposed trilogy, we can only hope the other parts are just as wonderful to listen to.

Method Man & Redman – Blackout! 2: It took 10 years for Method Man and Redman to reunite for another album but thank goodness they did. Hip-hop has changed a lot in the time between the first and second Blackout! but Meth and Red have not. They don't try to use autotune on every track or imitate younger, more popular artists. They just deliver the same brand of playful music that made them beloved back in the 1990's. As someone with fond memories of that era of hip-hop, I found it refreshing to hear these two together once again.

Mos Def – The Ecstatic: I have not been that fond of the music Mos Def has released since his superb solo debut Black on Both Sides. However, this album made me a believer again. He raps more than he sings. He sounds genuinely excited to be making music. His lyrics are good and the beats are appropriately daring. It takes a little time to appreciate what Mos Def has done here. Once you do, it's hard not to like the energetic “Supermagic,” the Black Star reunion “History” featuring Talib Kweli, or the addictive drums of “Quiet Dog.” Enthusiastic artist + great music = Ecstatic listener.

Passion Pit – Manners: This album is another relatively late addition to my favorite albums of 2009 list. I heard their song “Sleepyhead” in a commercial for the Palm Pixi, sought out their music, and now their debut full-length release is on this list. There's something unusually intoxicating about this album that I can't quite put my finger on. On paper, this music shouldn't work. The voice of lead singer Michael Angelakos is high-pitched and teeters between endearing and annoying. There are electronic and indie rock elements with splashes of funky 1980's pop and even the occasional children's choir. Somehow, it all makes sense together and the result is a blast to listen to. This is one case where I'm glad I sat through a commercial.

Raekwon – Only Built 4 Cuban Linx Pt. II: The original Only Built 4 Cuban Linx not only stands as one of the best Wu-Tang Clan solo albums ever, but also as one of the best hip-hop albums released in the 1990's. It seemed almost crazy for Raekwon to make a follow-up to such a seminal album but 14 years later, that's exactly what happened. Fortunately, this album turned out to be very good. Raekwon assembled a dream team of producers for this endeavor. It includes production by hip-hop greats such as Dr. Dre, Pete Rock, The RZA, Marley Marl, J. Dilla, and Erick Sermon among others. The gritty crime narratives of the original album return as well as the presence of Ghostface Killah on multiple tracks. The original album may be better but this “sequel” is a great album that stands on its own merits.

Royksopp – Junior: This is the third wonderfully crafted album by the electronic duo and it manages to evoke both of their previous albums without feeling like a retread. A variety of tracks from the bubbly “Happy Up Here” to the dark, epic pop of “The Girl and The Robot” keep things fresh throughout. The collaborations with unique female voices such as Robyn, Lykke Li, Anneli Drecker, and Karen Dreijer-Andersson also give the album a backbone that helps it stand apart. However, just like their previous works, this release leaves you begging for more even as you find more to like about it.

Check out a playlist featuring tracks from 11 of the 12 albums on this list on MOG.

CD Review: The Ecstatic by Mos Def

In recent years, Mos Def has become more well-known for his acting than his music. His latest album suggests that it should be the other way around. With a unique sound all its own, The Ecstatic is one of the more intriguing hip-hop albums released so far this year. While its quirks take some getting used to, this album is certainly worth your time.

The feel of this album is quite different from a lot of hip-hop efforts. Most of the tracks on the album (nine out of sixteen) are less than three minutes long. Three of those tracks are less than two minutes long.

However, don't let the length of the tracks fool you. None of them are pointless interludes or skits. Every track actually feels like a song. “Priority,” with its deceptively simple beat courtesy of producer Preservation, is both a highlight of the album and its shortest track.

Working with a variety of producers, Mos Def has created some interesting sounds for The Ecstatic. One thing that stands out is the use of Eastern music samples. “Supermagic,” gets the album off to a rousing start with passionate sampled vocals and some funky guitar. The stellar “Auditorium” glides over some beautiful strings with a Bollywood feel. The Madlib-produced track is aided by the appearance of hip-hop legend Slick Rick.

“The Embassy” starts off as a skit taking place on an airplane and becomes something else entirely. A smooth beat is interchanged with a jangling, Eastern music sample. Other tracks on the album sound closer to what many would expect of Mos Def. He reunites with Black Star colleague Talib Kweli on “History,”and teams with Georgia Anne Muldrow on the R & B-tinged “Roses.” The album's closer, “Casa Bey,” has him riding a jazzy track.

The Ecstatic is a solid album from start to finish. The production is top-notch and its sound makes it stand out from a lot of other hip-hop albums. Mos Def thankfully spends more time rapping than singing as well. The only thing about this album is that it can take some time to get into. Traditional song structures are thrown to the wind on some of the tracks here and that can be jarring.

However, this is an album that gets better with each listen as you begin to appreciate what Mos Def is doing. If you are a Mos Def fan or someone looking for hip-hop that's a bit more artistic, you should check out this album.

CD Review: We Are To Answer by Ancient Astronauts

After spending years remixing for others, German duo Ancient Astronauts have dropped their debut album We Are To Answer. Featuring hip-hop tracks alongside songs from other genres, this album has a surprising amount of variety that will appeal to hip-hop and non-hip-hop fans alike.

A mix of vocal tracks and instrumentals make up the 13 tracks of We Are To Answer. "I Came Running" is the first real song on the album and it's a dark, somewhat enigmatic instrumental. Moody vocal samples and keyboards help set the tone. While it is a very good song in its own right, it also feels like it could be the perfect backdrop for the right rapper.

"Everybody," another instrumental that appears later on the album, is almost the complete opposite of "I Came Running." It's an upbeat and funky crowd-pleaser. The drums are quite forceful here and the use of other types of percussion liven things up. The pace is quicker and less deliberate. The song floats by so quickly, you'll be surprised when it ends.

The first vocal track on We Are To Answer is "Classic" and this song very nearly lives up to its title. Imani and Bootie Brown of legendary hip-hop group The Pharcyde appear on the track, which is one of the best moments on the album. A great beat and well-timed scratches courtesy of DJ Icewater make this song instantly appealing, especially to fans of the earlier days of hip-hop. Raashan Ahmad of Crown City Rockers appears on the album's other standout vocal hip-hop track, "Risin High." The rather low-key beat lets Ahmad's lyrical gifts shine easily.

There is more than hip-hop to be found on We Are To Answer as Ancient Astronauts dabble in other genres. The instrumental "Dark Green Rod" is a drum and bass song benefited by Ulf Stricker's live drums. Two vocal tracks feature reggae sounds. The better of the two is "All of The Things You Do," featuring Tippa Irie. It's a fun, catchy track with a deeper message than you expect. Another instrumental track, "Lost in Marrakesh," has a smooth world music sound reminiscent of Thievery Corporation.

Kabanjak and Dogu, the members of Ancient Astronauts, have created something that will appeal to hip-hop fans and beyond in We Are To Answer. The duo's ease in shifting from hip-hop to reggae to electronic music in the short span of this album is quite remarkable. Works like this can often have a disjointed feel that can frustrate listeners. Even with a couple of missteps, that feeling is nowhere to be found here. We Are To Answer is an immensely enjoyable album and further proof of hip-hop's global reach.

CD Review: Junior by Röyksopp

After a long hiatus, Norwegian electronic duo Röyksopp return with their third release Junior. Teaming up with a variety of intriguing female vocalists, they have created an album of wonderful, immersive electropop. Whether you are an electronic music fan or more of a casual listener, this album offers up some great music.

The album begins with “Happy Up Here,” a wonderful, upbeat track that recalls the breezier portions of Röyksopp's debut, Melody A.M. combined with a little bit of the moodier elements of their last album, The Understanding. The result is light but also intoxicating. The song itself is as fleeting as the feelings it brings as it is less than three minutes long.

It is followed up by “The Girl And The Robot,” a decidedly darker track. Sweden's Robyn provides the vocals as she pines for her workaholic “robot” to be with her. This track pairs a pulsing beat with dark atmospherics such as strings and haunting background vocals to make it one of the album's highlights. It's a bit over-the-top but also so enjoyable that you'll want to sing along with the chorus: “In the night I call you up and / Wanna know when you're coming home / Don't deny me / Call me back / I'm so alone.” Indie darling Lykke Li brings her unique vocals to “Miss It So Much,” a lovely little track. The music's bubbly synths and heavy bass pair up well with Li's understated performance.

Anneli Drecker, who previously worked with Röyksopp on their first album, appears on three tracks. “Vision One” is an excellent reworking of the bassline of Stevie Wonder's “Too High.” Drecker's vocals keeps things steady as the melody goes off into bleepier directions. However, her best vocal performance is on “You Don't Have A Clue,” a mellow treat with a dark undertone. The somewhat dreamy quality of her vocals is put to good use and her refrain of “You're hiding from yourself / Yes you are / Yes you are” resonates. The one misstep is “True To Life,” but that's not her fault. That song is a bit clunky compared to the rest of the album.

Another previous Röyksopp collaborator featured on Junior is Karin Dreijer-Andersson of The Knife. Previously appearing on “What Else Is There?” from The Understanding, she is featured on two tracks. Both tracks use her abilities in different ways. “This Must Be It,” has more of an upbeat, celebratory feel. “Tricky Tricky,” on the other hand, is a lot angrier. There is a purposely cold feel to the music here and it's a credit to Andersson that she could sing the following line without making you want to laugh: “Is six afraid of seven cause seven ate nine? / I'm about to lose it a second time.”

Each Röyksopp album has had an epic instrumental and the one on Junior is one of their best. “Röyksopp Forever” is sort of a mini-journey through their career. The song starts off with a more minimal, relaxed feel (it samples Skylark's “Suites For My Lady”) and things steadily get more grandiose. At its high point, the song has a triumphant feel with insistent strings, ethereal background vocals, and a nice bassline hidden under everything else.

When Röyksopp released The Understanding, it was a dramatic departure from Melody A.M. Junior is not so much a departure from The Understanding as a melding of its sensibilities with that of Melody A.M. The result is an album that definitely deserves to be in their company. Röyksopp have crafted a great album of electropop that not only pleases fan but also manages to be accessible to nonfans. With rumors of a companion album called Senior, we may get to hear more from the duo soon. Even if we don't, whatever comes next will likely be worth the wait.

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Let's Take It Back To The Early 00's

Borders is currently in the midst of a CD/DVD clearance where most of their stock is 40% off. I took this as an opportunity to buy a couple of CDs I liked that I never bought.

The first one is the first Gorillaz album. I liked the singles they came out with but I didn't hear the album until my college roommate Paul bought it. I never actually bought a copy of my own and I wouldn't actually buy a Gorillaz album until Demon Days, which I enjoyed a lot as well.

In listening to the first Gorillaz album, I forgot how long it was. It also made me realize how catchy it is. It's hip-hop infused (thanks to Dan The Automator) but it's not really hip-hop. This album and Demon Days are different but enjoyable animals.

The other CD I picked up is The White Stripes' Elephant. This is the first White Stripes album I heard in its entirety and I enjoyed it quite a bit. For some reason, though, it took all the way until Icky Thump before I actually bought one of their albums. I've wanted to pick up this album for a while but I never did. Now, I finally have it and I remember why I liked it so much. I just love hearing Jack White play the guitar.

A Kinda Sorta Review

I've put up an impromptu review of Isbjerg's Dilla tribute Danish Donuts up on my MOG. What do I mean by "impromptu review"? Well, I was just planning to write a simple post about it but the more I wrote, the more it actually sounded like a simple review instead. It was completely unintentional. It's like my subconscious really wanted me to write a music review.

As a side note, I'm probably picking up Royksopp's new album this Tuesday. I like the first single, "Happy Up Here." It reminds me a bit of the stuff from their first album.

CD Review: Universal Mind Control by Common

After two critically acclaimed albums with Kanye West at the helm, Common goes in a different direction with his new album Universal Mind Control.  Executive produced by Pharrell Williams and produced entirely by The Neptunes and Mr. DJ, this album isn’t without its charms.  However, it's also not nearly as good as Common's previous work.

The first thing that sets Universal Mind Control apart from Common’s previous two albums is the sound.  While his recent music has been more organic, the music on this album is very electronic.  In fact, there are no samples to speak of on the entire album.  Fortunately, that doesn’t mean that the beats aren’t good.

The Neptunes provide most of the production on the album and come up with some interesting, unusual sounds.  The title track has a futuristic sound complete with spacey synths, artificial drums, and Pharrell Williams’ robotic vocals.  “Punch Drunk Love” floats on an odd combination of 1980’s sounds, a variety of layered vocals (both normal and auto-tuned), and Kanye West on the chorus. Even with its hard-hitting drums and synths, “Gladiator” has a quirky feel thanks to a weird piano bridge and horns that seem to come out of nowhere.

If you’re looking for examples of Common’s lyrical prowess, you’ll have to look elsewhere.  Lyrics take a back seat on Universal Mind Control and this, more than anything, sinks the album. “Sex 4 Suga” actually features this terrible line:  “But I don't mind being behind / 'Cause I'ma touch you where the sun don't shine.” More often than not, the lyrics are just pretty shallow.  The exception is “Changes,” a track produced by Mr. DJ and geared towards young people. This is the only song on the album that's close to the type of music fans expect from Common.

Universal Mind Control can probably be best described as a diversion, a chance for Common to make some lighter, more party-oriented music.  It's reminiscent of Q-Tip's debut solo album, Amplified, in that respect.  The problem with the album isn't that Common decided to make this type of music...it is that the music itself isn't that good.  It's unfortunate that smart artists like Common feel that the only way to make a party album is to dumb things down.  This album isn't nearly as bad as some hip-hop but for Common it's a bit of a letdown.

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Sterfish's 10 Favorite Albums of 2008: Deluxe Edition

When I first started my favorite albums of 2008 list, I didn't realize how difficult it would be. How difficult was it? Well, my list of honorable mentions has eight albums on it and there are three EP's I would include if this were not a list of albums. I also did not properly listen to some great 2007 releases until 2008.

Thus, in the spirit of those re-releases record companies love, this is a Deluxe Edition of my favorite albums of 2008 list and is full of extras. As always, this list isn't ranked. Everything is presented in alphabetical order by artist name.

Now, my 10 favorite albums of 2008:

Black Milk – Tronic: I first noticed this producer/rapper from Detroit with an Internet release (see honorable mentions below) that came before this commercially released album. I didn't hear this album until only a month before 2008 ended but it left an impression on me. The production is top-notch, the lyrics pretty strong, and the guest appearances (what few there are) are solid. It's a great hip-hop album that deserves your attention.

Coldplay – Viva La Vida or Death and All His Friends: The best way for me to describe this album is audio comfort food. Excellent production, wonderful melodies, and pretty good songwriting lead to a very enjoyable album. From the celebratory atmosphere of “Viva La Vida” to the infectious beat of “Lost!” and the beauty of “Lovers in Japan,” there is a lot to like. While it may be reminiscent of a certain Irish rock band, I'd rather they acknowledge their influences instead of overthinking their music to mush.

Girl Talk – Feed The Animals: It takes a lot of talent and skill to take artists as diverse as The Jackson Five, Lil Wayne, Nirvana, and The Beach Boys (among countless others) and merge them together into a great party album that's part mix and part mash-up. No matter what genre you enjoy most, there is something to like here. You'll never think of your favorite songs the same way after you finish listening to this.

Gnarls Barkley – The Odd Couple: Cee-Lo and Danger Mouse's follow-up to St. Elsewhere doesn't have an instant crossover hit like “Crazy.” Instead, this album is a richer experience overall. Whether it's the haunting “Who's Gonna Save My Soul,” or the upbeat craziness of “Run,” there is just so much good stuff to be found here. While it's more of a pop album than their last one, it gets better with every listen.

Hot Chip – Made In The Dark: This is an album that I started to like a bit more after I wrote my review. There's a nice mix of great dance tracks (“Ready For The Floor,” “Shake A Fist”) with more delicate, slower songs (“Made In The Dark”). I've been following this group since their first album, Coming On Strong, and it's something to see how much they've grown.

Kanye West – 808s & Heartbreak: You know an artist is great when their failures are this good. This ambitious combination of 1980's-esque electropop and hip-hop doesn't entirely work. When it's bad, it's kind of frustrating and silly. However, when it's good, it's really good. Tracks like “Paranoid” and my personal favorite, “Welcome To Heartbreak,” are some of the most interesting music I heard in 2008. I wish more artists were willing to “fail” as beautifully as Kanye did.

N.E.R.D. – Seeing Sounds: This underrated album is one of the more purely enjoyable albums I heard in 2008. The group's hip-hop/rock hybrid sound is played with a bit more here. “Spaz” manages to feature rock guitars, speedy electronic drums, and hip-hop beats without feeling like a disjointed mess. There are times when it's a little ridiculous (“Everybody Nose”) or self-indulgent (“Sooner or Later”) but it's never boring, which is more than I can say for some albums.

Portishead – Third: This is the comeback of 2008. You'd think that a new album after more than 10 years would sound a bit dated or stale but that's not the case here. This group made the bold choice to update their music for the times and the result is stunning. There is a surprising amount of variety but it never feels like anything other than a Portishead album. Let's hope we don't have to wait another decade to hear the next one.

Rhymefest – Man In The Mirror: This “dedication album”, released free on the Internet, is a loving tribute to Michael Jackson and a stellar work in its own right. Overseen by Mark Ronson, it cleverly combines dozens of samples of songs and interviews from Jackson's entire career with new audio from Rhymefest. Rhymefest “talks” to Michael about a variety of things while paying tribute to him by rapping over tracks that sample his work. It's a great album that never, ever, could've been released any other way.

Solange – Sol-Angel and The Hadley St. Dreams: This album was the most pleasant surprise of 2008. Beyonce's younger sister sets herself apart by combining her love of old-school R & B with her quirkier side. The list of collaborators is impressive (Thievery Corporation, Cee-Lo, Mark Ronson, The Neptunes, The Freemasons) and so is the music. Solange is an artist who can sing about her regrets over a smooth soul beat one day (“T.O.N.Y.”) or sample Boards of Canada the next (“This Bird”). She'll probably never be more popular than her sister...but her music just might be better.

Bonus List #1 – The Honorable Mentions:

Black Milk – Music From The Color Purple: This Internet-released collection of instrumental beats was my first introduction to this producer/rapper. The beats take songs by a certain artist and make them damn near unrecognizable...and funky at the same time.

Murs & 9^th Wonder – Sweet Lord: Another free Internet release, this is an album that's good enough to want to pay for. Both rapper and producer are on point and there are some great tracks to be found.

Nas – (untitled): This album did not live up to the hype nor its controversial former name. However, it's still a pretty solid Nas album with some good tracks including the hilarious “Fried Chicken” with Busta Rhymes.

Nine Inch Nails – Ghosts I-IV: I love instrumental music, so I enjoyed this massive collection from Trent Reznor and crew. With the group no longer tethered to a record label, I hope we see more experiments like this.

The Roots – Rising Down: Any album that starts with a recording of an angry exchange between a group and their former label is not going to be a happy one. This album is darker than their last but, unfortunately, not quite as hard-hitting. It's still quite good so it's unfortunate that it got completely overlooked.

Snoop Dogg – Ego Trippin: This is probably one of the most interesting albums of Snoop's career. He's not afraid to do whatever he wants whether it's a Roger Troutman-inspired jam (“Sexual Eruption”), a remake of a classic song by The Time (“Cool”) or a country track (“My Medicine”). Never let it be said that Snoop follows the crowd.

Various Artists – Verve Remixed 4 & Verve Remixed Christmas: 2008 was the year I got into the Verve Remixed compilations and these two, both released in 2008, are my favorites. Verve Remixed 4 is worth a purchase for a stellar James Brown remix by Kenny Dope alone. Verve Remixed: Christmas is a worthy addition to my holiday music collection.

Bonus List #2 – Great EP's of 2008

AmpLive – Rainydayz Remixes: This collection of hip-hop remixes of tracks from Radiohead's In Rainbows is approved by the group and a lot better than it should be. Released for free on the Internet and featuring rappers like Del The Funkee Homosapien and Too $hort, this collection respects the spirit of the original tracks while giving them some flavor.

Animal Collective – Water Curses: Featuring tracks not used on Strawberry Jam (one of my favorite albums of 2007), this collection is a little less manic and more fun.

Janelle Monae – Metropolis The Chase Suite: This is a stellar debut that combines multiple genres (including hip-hop, rock, and R & B) into something unique. “Many Moons” is one of my favorite tracks of 2008. I cannot wait for this artist to release a full-length album and really let her artistry shine.

Bonus List #3 – Great Albums of 2007 Not Recognized Until 2008

Daft Punk – Alive 2007: A fantastic live album that has the duo remixing and reinterpreting their catalog in wonderful ways.

Ghostface Killah – The Big Doe Rehab: Yet another excellent Ghostface album that proves that if it ain't broke, don't fix it.

Lupe Fiasco – The Cool: A larger, more ambitious album with plenty of great songs.

Panda Bear – Person Pitch: This solo album from the Animal Collective member is a bit psychedelic and more accessible than AC's work.

Wu-Tang Clan – 8 Diagrams: A sometimes difficult album that dares to tweak the Wu-Tang sound. It's not their best but does remind you of Wu's earlier, more experimental days.

Music Review: Feed The Animals by Girl Talk

In an era where mash-ups, remixes, and mixtapes are plentiful, it takes a lot to stand out from the crowd. Girl Talk (aka Gregg Gillis) certainly does so on his newest album Feed The Animals. Drawing from an unbelievably wide variety of songs and genres, Gillis has not only crafted a great party album but also one of the best albums released in 2008.

For those who are unfamiliar with Girl Talk's work, his style of music involves combining elements from many different songs into something new. It would be easiest to describe it as a "mash-up" but it's really something quite unique. While most mash-ups are meant to be singular tracks, the songs on Feed The Animals are really meant to be listened together as a cohesive work. Each one flows easily into the next one, like a DJ mix.
However, with over 300 songs sampled across the entire album, it's a lot more intricate than most mixes. Many dance/DJ artists sample obscure tracks or make familiar samples unrecognizable. Girl Talk does neither. If you have been a fan of popular music at any moment in the last 20-30 years, you will probably be able to recognize at least one or two of the songs sampled.

All the samples used don't matter unless the music made with them is good and fortunately, Feed The Animals is very good. It's immensely entertaining from start to finish. The music is always changing and songs progress in unexpected ways. Some of the album's best moments come from successfully combining hip-hop tracks with ones from very different genres. "Set It Off" pairs Jay-Z's "Roc Boys (And The Winner Is)" with Radiohead's "Paranoid Android" which gives Hova's lyrics a darker tone than the original celebratory beat that surrounded them. One can't help but laugh at the combination of Eminem's raunchy "Shake That" with Yael Naim's sweet, Apple-approved "New Soul" in "No Pause." The hard-hitting drums of Lil Mama's "Lip Gloss" are replaced with the hard guitars of Metallica's "One" on "Like This" for a combination that works far better than it should.

While the clever combinations of samples are what drives the album, it's the actual construction that makes it great. A lot of the samples used on Feed The Animals are small and are used to transition to the album's larger moments. The opening drums of "In The Air Tonight" by Phil Collins lead to the Busta Rhymes/Police combination on "What It's All About." A very short clip from OutKast's "Ms. Jackson" leads to the Vanilla Ice/Jackson 5/Rihanna/Queen sequence that ends "What It's All About." It's these smaller elements that keep things moving and help make everything else seem that much better.


No matter what kind of music you like, Girl Talk's Feed The Animals will keep you moving. It makes unfamiliar genres palatable whether it's classic rock for a pop fan or heavy metal for a hip-hop fan. It's the perfect album for the music lover who is likely to have anything and everything on their MP3 player. It's detailed in its construction but still insanely fun to listen to. If you haven't heard it yet, it's worth checking out.

Feed The Animals is available in a variety of formats from Illegal Art.

The Other "Lost" Review

I wrote the following review of Missy Elliott's album Under Construction back in 2002. Like the review of Cee-Lo's debut album, it was published in Blackboard. It's never been published on the Internet before today. I'm posting the review in its original form, which is noticeably easier to read than the Cee-Lo review. Enjoy!

CD Review: Missy Elliott - Under Construction
(Originally written in 2002 and presented in its original version)

In the past few years, Hip-Hop has lost many artists: Biggie, 2Pac, Big Pun, Aaliyah, Lisa “Left Eye” Lopes, and most recently Jam Master Jay. It is fitting then that Missy Elliott’s fourth album “Under Construction” is dedicated to them. Plain and simple, this album is a celebration of Hip-Hop at its most fun, creative, and innovative.

Missy and Timbaland look back to move forward in creating the music on this album. Most of the songs contain at least one sample from classic Hip-Hop songs ranging from Run DMC’s “Peter Piper” on “Work It” to Beastie Boys’ “Paul Revere” on “Funky Fresh Dressed.” A whole song is “reimagined” with “Bring The Pain” which samples the classic Method Man song and even has him contributing a verse. However, this doesn’t mean that the duo’s innovation isn’t present. Timbaland brings the electro-funk to songs like “Ain’t That Funny” and “Slide.” “Play That Beat” sounds only faintly of Timbaland, with its traditional drum pattern and horn sample.

Missy’s lyrics have always been her weakest point, but she continues on her twisted, sometimes silly, yet sexy path for the most part. Beyonce Knowles lends her voice to “Nothing Out There For Me” which has Missy trying to convince Beyonce to go out partying (and leave her man in the process). “P***ycat” isn’t as nasty as the title implies and has Missy worrying about trying to keep her man sexually. When Missy changes it up, she succeeds. “Gossip Folks” (featuring Ludacris) has Missy responding to the various rumors about her in a Cee-Lo-esque flow. “Can You Hear Me” is an emotional collaboration with TLC that pays tribute to both Aaliyah and Lisa “Left Eye” Lopes. The mutual sadness is evident when Missy sings “I know you in real good hands/With God but damn I miss you/Aaliyah if you see Left Eye/Will ya tell her me and Boz miss her too.”

While not as instantly accessible as her last album, “Miss E...So Addictive,” “Under Construction” is much more personal. Missy openly gives us her thoughts on everything from the meaning of the album title to the controversy surrounding her racier songs in the spoken interludes scattered throughout the album. Her love of Old School Hip-Hop shines through in the samples, shouts of “Missy Elliott exclusive” (a la DJ mixtapes), and the overall party vibe of the album. This all combines to bring a Missy who has changed in many ways, both physically and emotionally, and is as she says “A work in progress.”

The Review That Started It All

I've been writing music reviews on this blog since it started but the very first one I wrote wasn't posted here. In fact, I wrote it before I started blogging.

My first music review was of Cee-Lo's debut album Cee-Lo Green And His Perfect Imperfections and it was published in Northwestern University's black student magazine Blackboard back in 2002. Now, I'm posting it online for the very first time.

My writing style has changed in the six years since this review. If I were to review this album now, my review would probably be longer, more spaced out, and probably a little less positive. I apologize ahead of time for the really long paragraphs. Still, it's fun to look back.

CD Review: Cee-Lo - Cee-Lo Green And His Perfect Imperfections (Originally written in 2002 and featured here in its original version)

Cee-Lo’s last album appearance was on Goodie Mob’s lackluster “World Party” CD. Now almost 3 years later, he returns with his solo debut “Cee-Lo Green and His Perfect Imperfections.” It’s a big departure from Goodie Mob’s stuff, and one of the best albums released so far this year.

A major difference between this and Cee-Lo’s earlier work is that he sings about as much as he raps. By doing so, he joins artists like Lauryn Hill and Missy Elliott in combining elements of hip hop and R&B music. Cee-Lo takes this fusion in innovative directions by adding other musical genres into the mix. “Closet Freak” is an homage to 70’s P-Funk from the use of real horns, to the freaky lyrics (and even freakier video). “Live (Right Now)” has Cee-Lo singing over a rock track that owes more to Fishbone than Linkin Park. “Country Love” has a minimalist down-home flavor with Blues Traveler’s John Popper providing his harmonica skills. Dance influences are evident in “Microhard.” “Bass Head Jazz” is as smooth and mellow as the name implies. However, don’t think the album is all about fusing different genres together. “Suga Baby,” featuring Big Gipp and Backbone, could have been a song on a Goodie Mob album. “Spend The Night in Your Mind” is a full on R&B slow jam, and a song that he handles amazingly well.

Themes of freedom, growing up, spirituality, and hope run throughout this album. “El Dorado (Super Chicken)” tells a tale of a bird wanting to fly: “I can’t let nobody hold me down/This is my life and that’s my sky/I was born to fly.” “Gettin’ Grown” deals with getting older: “I remember the good old days/Broads and boxes of blunts to blaze/Now I got three children to raise.” “Live (Right Now)” encourages people to keep going, but not without being careful: “And don’t you let anybody tell you what you can do/Ain’t another minute promised to you/You better live.” Cee-Lo shows his spiritual side proudly on the album like proclaiming his “mother is nature” and that his “father is God” on “Bad Mutha.” In addition he acknowledges his darker side on “Medieval Times (Great Pretender)”: “A thin line between between divine and killing machine/A dark side of the light that no one ever should see.”

All in all, this is a great album. Whatever flaws there are are nitpicks: it’s long with a running time of almost 74 minutes, the fast songs should have been a little more spread out, the interludes are unnecessary, and etc. Cee-Lo took some big risks with his debut. He could have easily made a platiunum album by getting the hottest producers, collaborating a lot with his fellow Goodie Mob members, loading up on the guest stars and rhyming on 90% of the album. However, he decided to make an album that clearly represents him and not his image. In self-producing the entire album, using live instruments on many songs, dabbling in other genres, and singing for much of the album, Cee-Lo takes chances even OutKast hasn’t taken. The result is a near flawless album that defies categorization. Whether or not this means commercial success is uncertain. Yet, Cee-Lo joins a growing group of artists including N.E.R.D., Mos Def, OutKast, and Common, that take hip hop into new directions and keep it from becoming a stagnant artform.

CD Review: Verve Christmas Remixed

After four acclaimed collections, the Verve Remixed series finally gets in the holiday spirit with Verve Remixed Christmas. This new collection lets loose a variety of remixers on holiday tracks by jazz greats like Nina Simone, Count Basie, and Ella Fitzgerald. While purists will probably bristle, fans of compilations like the Christmas Remixed series or Merry Mixmas will find another great disc to add to their not-so-traditional holiday music collection.

Remix collections like this can often be a tricky proposition. It's quite easy to turn a classic song into something unlistenable and uninspired. Thankfully, the producers and remixers involved with Verve Remixed Christmas mostly avoid this...even when they sometimes stray very far from the original material.

Some of the remixes enhance and modernize the spirit of the original song. The album opens with The Real Tuesday Weld's Clerkenwell remix of "Good Morning Blues" by Count Basie. He brings the piano of the song to the forefront while adding light electronic drums and strings to create a relaxed, somewhat dreamy mood that doesn't feel out of place. The band The Heavy remixes Louis Armstrong's "'Zat You Santa Claus?" and adds some energy with some well-placed guitar licks and horns. They fit perfectly with Armstrong's charismatic vocals.

Other remixes put wonderful but radically different spins on the songs. Billie Holiday's take on "I've Got My Love To Keep Me Warm" is given a dub/reggae twist by production duo Yesking. Mel Torme's voice is twisted in a number of ways on the electronic remix of "The Christmas Song" by Sonny J. Despite this, the song doesn't deteriorate into a techno mess. Instead, it has a futuristic sheen that somehow works.

Producer Oh No takes Jimmy Smith's version of "God Rest Ye Merry Gentlemen" and turns it into an instrumental hip-hop banger. It's one of the few Christmas tracks that would sound great on a loud stereo. The Brazilian Girls give Dinah Washington's version of the normally somber "Silent Night" a surprising (and danceable) samba-influenced groove. Washington's voice is barely used here, though, so it's probably one of the more "controversial" remixes.

Not all of the remixes work well. The one in particular that really doesn't is The Orb's remix of Louis Armstrong's "What A Wonderful World." "What A Wonderful World" is one of two non-Christmas tracks included on the collection (the other is Nina Simone's "Chilly Winds," remixed by Fink). The electronic elements The Orb adds to this all-time classic feel kind of slapped on. The fact that Louis Armstrong's voice is pushed to the background a bit certainly doesn't help things. It's almost as if they didn't really want to remix the song in the first place. It's by far the most disappointing track on the album.

However, the album's standout track is the amazing remix of Ella Fitzgerald's "What Are You Doing New Year's Eve?" by Mike Mangini and Adam Pallin. They turn this relaxed, big-band song into a soaring, romantic epic. This song sneaks up on you at first but then it grows as the sweeping strings move in. This is a track that almost begs to be used in a romantic holiday movie.

If you're looking for something fun and hip to add to your holiday music collection, Verve Remixed Christmas is definitely worth your money. With a nice variety of tracks and remix approaches, this collection stands apart from other Christmas remix collections. If you're someone who is appalled at the idea of these remixes, don't worry. There is also a Verve Unmixed Christmas collection available featuring the original versions of all the tracks on Verve Remixed Christmas. Comparing the remixes to the originals would probably be a really cool thing to do at your holiday party.

Quick Music Thoughts

Even though I've been pretty scarce as of late (including my reviews), I've still been listening to and enjoying music. In fact, I bought three CDs recently: Third by Portishead, The Odd Couple by Gnarls Barkley and Rising Down by The Roots.

So, in anticipation for possible reviews, here are some brief thoughts on these albums and other music of note.

-Portishead's Third is probably my favorite album released thus far in 2008. I was kind of worried that the allure of this group would've worn off after such a long time but I was pleasantly surprised. The music itself is often times fantastic. The beat of "Machine Gun" is so simple and addicting that it stuck in my head for days. I admit that it took me a little bit to decide if I like the way Beth Gibbons's voice sounds now (it does sound different) but I do.

-The Odd Couple by Gnarls Barkley isn't as immediately enjoyable as St. Elsewhere was, but it's ultimately pretty rewarding. It's a better experience as an album than their last, but as a result, the songs don't stand out quite as much outside of the album until a few listens. I haven't figured out if that means it's better than St. Elsewhere or not, but I do know that Gnarls Barkley did not succumb to the sophomore slump.

-Rising Down by The Roots does feel like a step down from the excellent Game Theory but it's still quite good. It's sort of a more gritty, less overtly aggressive companion to their last album in that it's just as dark. Anytime an album starts with an actual argument (over the phone) between label reps and the group, any trace of happiness gets tossed out the window.

-I know it's a little late, but let me say how enjoyable Rhymefest's Man In The Mirror album is. It really, really makes you wish that Michael Jackson could make a Madonna-esque relevant comeback.

-I've always kind-of-sort-of liked Nine Inch Nails and after their recent free and semi-free releases, I like them more. No major record company in their right mind would have released Ghosts I-IV and that's a shame. I just really hope that Reznor and crew don't overdo it. I want them to keep casual and hardcore fans alike on their toes and continue to focus on quality and innovation and I'm confident they will.

CD Review: Made In The Dark by Hot Chip

After gaining acclaim with The Warning, Hot Chip returns with their third release Made In The Dark. Filled with a great mix of songs, it's a worthy follow-up to their breakthrough album.

Made In The Dark begins with a one-two-three punch of great tracks. "Out At The Pictures" opens the album and spends a little time building to its energetic hook. Another great upbeat track, "Shake A Fist," follows. This track gets you completely engaged in its beat before abruptly stopping mid-song. A voice tells us that about a game called sounds of the studio, which is just a clever excuse to change up the beat. A new, slightly more frenetic beat starts and soon it seamlessly takes us right back where we started. The whole experience adds a fun twist to an already good track, although the appeal lessens after the first couple of listens.

The album's first single, "Ready For The Floor," comes next and its title is pretty self-explanatory. It's the catchiest song on the album. The hook is addicting and you'll find yourself singing along in no time. There are also plenty of other good tracks to be found on the album. "Wrestlers" features some of the silly charm found on the group's first album, Coming On Strong. With lyrics like "I've got a roll of coins / Aiming for your loins" and a rundown of wrestling moves ranging from "half-nelson" to "Willie Nelson," you can't help but be amused. Like "Shake A Fist," Don't Dance also changes its beat mid-song. What makes this song stand out is the way it's handled. While "Shake A Fist" stops completely to let everybody take a breather, "Don't Dance" actually ramps things up and keeps the pace going all the way until the end.

There are also some surprising quiet tracks. On these tracks, Hot Chip pare things down and keep the instrumentation (especially the electronics) fairly light. A good example of this approach is the title track, which is driven mainly by a simple, sparse drum beat. "In The Privacy Of Our Love," the album's closing track, is another track where less is more. The song begins with simply vocals, piano, and hand claps.

Made In The Dark is a solid album that's often a lot of fun to listen to. Whether it's pulse-pounding dance, slightly goofy pop, or tender love songs, Hot Chip shifts styles easily. It's not exactly as good as their previous album, The Warning, but it comes close. Some mediocre tracks bog things down a bit. However, one of the best things about this group is how you never quite know what to expect from song to song let alone album to album. They could go any number of routes for their next album, which will make the wait seem that much longer.

CD Review: As I Am by Alicia Keys

On her two previous studio albums, Alicia Keys developed a style that was contemporary R&B with influences from old-school R&B/Soul and hip-hop. Well, hip-hop is tossed away and the old-school influence is much more prominent on her latest album, As I Am. The result is a pretty solid album but also one that sometimes feels like it's missing something.

The opening sound on As I Am is the sound of a needle being put on a record which immediately lets you know what's in store. A good portion of the album consists of Alicia Keys putting her own spin on classic R & B sounds. “Like You'll Never See Me Again” floats over a piano groove that sounds very close to the ending melody of “Purple Rain.” The background vocals of “Where Do We Go From Here” are reminiscent of the girl groups of the 1960's. A sample from “(Girl) I Love You” by The Temprees is turned into a jam on “Teenage Love Affair.”

When she isn't referencing old-school R&B, Keys goes towards more of the pop route than her earlier albums. Much of this material is produced by Linda Perry, who is best known for revitalizing Christina Aguilera's sound. Perry goes for an earthier sound with more of a focus on Keys' voice. This approach works well on “Superwoman,” which plays to Keys' strengths and has a nice melody.

The album's closer “Sure Looks Good To Me,” however, has Keys trying to find her inner diva with mixed results. While it's nice to hear her voice tested like that (and without a lot of obvious strain like on “No One”), it just feels like she's trying too hard. Her voice isn't quite big enough to make this song a showstopper the way other vocalists could.

By dropping hip-hop elements and forgoing the sounds of popular contemporary R & B, Alicia Keys seems to be reestablishing herself on As I Am. Since she has always embraced old-school R & B, this album doesn't sound like Keys trying to jump on the retro bandwagon.

The main issue with As I Am is that in streamlining her sound, some energy is lost. With her earlier albums, you got the sense that Keys was trying to address all her influences which kept things fresh. In comparison, there are times on As I Am that, no matter how good the song is, things feel a little boring. A track like “Lesson Learned,” featuring John Mayer, comes close to sounding tired as opposed to relaxed.

With this album, Alicia Keys proves that she is not one keen on repeating herself which is something that will keep her around for a long time.

My 10 Favorite Albums Of 2007...And Then Some

[This is an expanded version of my BC Magazine article Sterfish's 10 Favorite Albums of 2007.]

The best way to describe how I feel about the music of 2007 is "wide open." I don't think I've ever had such an eclectic list of favorites as I do for 2007. My list features pop, rock, hip-hop, R&B, dance, and some stuff I might best describe as "other." There are releases that are indie and not-so-indie, as well as releases that are critically acclaimed and suprisingly underrated.

Even as I still digest potentially great albums released late in the year (albums by Lupe Fiasco and Ghostface Killah, for example), it's time to recap my 10 favorite albums of 2007.

There's no particular order to my picks.

Animal Collective - Strawberry Jam: 2007 was the year that I really discovered Animal Collective after hearing a track here and there. When I first heard Strawberry Jam, I couldn't fathom what I was listening to. My reaction was somewhere between WTF and giddy admiration. There was just no way the music on this album should work, let alone be enjoyable to listen to. However, it just did. It's excellent electro-folk-pop on a drug that has yet to be invented, let alone outlawed.
Fave tracks: "Fireworks," "For Reverend Green," "Peacebone"

Jay-Z - American Gangster: Don't call it a comeback. Call it a return to form. Jay-Z sounds postively rejuvenated on American Gangster as he tackles familiar territory. Backed by great beats (including some by the also-rejuvenated Diddy and his crew), Jay-Z has created his best album since The Black Album and his most consistent album since The Blueprint. Although it's best enjoyed in full, the songs can stand alone quite easily. While it may not be better than his great albums, it certainly deserves to be mentioned right along with them.
Fave tracks: "Roc Boys (And The Winner Is)," "Fallin'," "Party Life"

Justice - † (Cross): Somehow, some way, Justice avoided the pit of one-hit-wonderism and the shadow of Daft Punk to craft an immensely (and unapologetically) fun dance album. For other artists, a perfect little track like "D.A.N.C.E." would be peak of their career. For Justice, it's not even the best song on their album. No matter how uptight you are, you will be move right along with the music on †, especially when you least expect it.
Fave tracks: "D.A.N.C.E.," "Newjack," "Phantom," "Phantom pt. 2"

The Go! Team - Proof Of Youth: When I first listened to this album, I was a little disappointed. It sounded a lot like the group's debut, Thunder, Lightning, Strike. Eventually, I figured out that it didn't matter if it sounded like the first album as long as it sounded good. This album is like a good sequel as opposed to a tired remake. It's a blast to listen to and even manages to have a quiet moment or two. It's as good a pick-me-up album as I've ever heard.
Fave tracks: "Flashlight Fight," "Patricia's Moving Picture," "Doing It Right"

Kenna - Make Sure They See My Face: The genre that best describes Kenna is pop but at the same time, it doesn't even begin to describe him. On his excellent sophomore release, Make Sure They See My Face, he goes from power pop to rock/pop to electropop to dance pop without missing a beat. It's the type of music that U2 or Duran Duran could make but it also feels unique and modern due to the stellar production (mostly by Chad Hugo and Kenna himself). There really isn't much pop music like this album out now and every time I listen to it, I wonder why it (and Kenna himself) keep getting overlooked.
Fave tracks: "Daylight," "Sun Red Sky Blue," "Out Of Control (State of Emotion)"

Radiohead - In Rainbows: So much has been said about Radiohead's "pay-what-you-want" experiment that we've almost forgotten just how good In Rainbows is. There are a lot of albums where low bitrate MP3s are more than sufficient. This is not one of them. However, it is good enough that its excellence shined through even the least ideal means of hearing it. Also, it was refreshing to hear a band that seemed to come to terms with itself. They will never make another The Bends or OK Computer or Kid A. By just trying to make good music as opposed to topping what they did before, they succeeded in making an album that deserves to stand alongside their very best.
Fave tracks: "15 Step," "Weird Fishes/Arpeggi," "Videotape"

Common - Finding Forever: Common enjoyed a creative, commercial, and critical resurgence with the Kanye West-guided Be. Part of me was worried that Finding Forever would just be a retread of that wonderful album. I should've known that Common and Kanye were too good for that. With a wider variety of songs and a bit more non-Kanye production, this album stands apart from his other albums. In a genre that's perpetually youth-oriented, this album feels mature. This is a hip-hop album that your parents could enjoy and I mean that as a compliment.
Fave tracks: "The People," "Break My Heart," "The Game"

Kanye West - Graduation: Common's Be and Kanye West's Late Registration came out in the same year and I couldn't really pick one over the other. Finding Forever and Kanye's Graduation both came out in 2007 but this time, I have to give Kanye the edge. Although this album isn't actually the best of his career, it is an album where Kanye is at the top of his game. Graduation addresses and "corrects" Kanye's perceived shortcomings from previous albums with a surprising precision. He expands well beyond soul samples, streamlines the proceedings by cutting skits, and keeps the track list to a minimum. He takes chances and continues to open up his sound to other producers. He showed real growth on this album as an artist and producer and I enjoyed every minute of it.
Fave tracks: "Stronger," "Flashing Lights," "I Wonder"

The White Stripes - Icky Thump: No album in 2007 elicited a stronger response from me as a listener than The White Stripes' Icky Thump. Upon first listen, I loved this album. I listened to it almost nonstop from the moment I got it and several tracks took a spot as my favorite song from the album. Although I had a strong positive reaction from the album, I couldn't bring myself to review it. I'm not exactly the biggest rock person, so quite frankly, I was a bit scared of sounding like an idiot in my review. Regardless, I loved damn near everything about this album from the sound of Jack White's guitar to the insanely catchy rhythms and wonderful songwriting. I usually shy away from picking a single "best" of anything. However, if I picked a "best" album, this would be it.
Fave tracks: "I'm Slowly Turning Into You," "Rag & Bone," "Catch Hell Blues"

Lifesavas - Gutterfly: The Original Soundtrack: I had never heard of Lifesavas before I listened to Gutterfly. After I listened to it, I wondered why I hadn't. Inspired by blaxploitation films, this is an album that manages to have some social conscience and some fun at the same time. This is an album with one of the more heartfelt hip-hop songs of 2007 ("Long Letter") as well as great collaborations with Camp Lo, Fishbone, and George Clinton. I think it's probably one of the most underrated albums of 2007.
Fave tracks: "Long Letter," "Double Up," "Gutterfly"

Those were my 10 favorite albums. Here are the ones that almost made it to the list:

Ledisi - Lost & Found: This songstress's major label debut is an excellent collection of smooth, understated R & B.

Redman - Red Gone Wild: I have to commend Redman for not only coming back after such a long hiatus but also for making an album that sounded like he never left.

Bjork - Volta: A glorious return to rhythm for Bjork but I have to admit that I didn't like it as much as I thought I would.

The Chemical Brothers - We Are The Night: This is a solid, enjoyable album and two of its tracks, "All Rights Reversed" and "Saturate," are among my favorite songs of 2007.

Yoko Kanno - CM Yoko: The fact that an album made up entirely of music composed for commercials almost made my list should say something about its quality.

Here are some albums I enjoyed in 2007 that weren't originally released then:

Deavid Soul – Sparkling Music: I first heard this group's music in the game Jet Grind Radio and their full-length album was quite fun. The track that surprised me the most was the Fatboy Slim-esque “House City Rockers.”

Pistol Valve – Tsunamic Girls From Tokyo: A brass band made up entirely of young women who rock out? Yep, I liked this EP quite a bit too.

Cut Chemist – The Audience's Listening: I don't know why I didn't get this album when it first came out considering that I like Jurassic 5, but I'm glad I eventually got it. Even though it didn't come out in 2007, “The Garden” is one of the best tracks I originally heard all year.

Various Artists – Breaks & Beats Disney: This is an incredibly fun collection of Disney hip-hop/breakbeat remixes from Japan. I don't know why we haven't seen a collection like this in North America or Europe. Could you imagine what people like Timbaland, The Neptunes, Daft Punk, The Chemical Brothers, Justice, and Kanye West could do with Disney tracks?

J. Dilla – Ruff Draft & Jaylib – Champion Sound: Since I jumped on the J. Dilla indie bandwagon late, it was great to hear these albums. The more I hear from Dilla, the more I miss his artistry.

Finally, as hinted above, here are the albums I'm still digesting and thus, could not potentially make my list:

Lupe Fiasco – Lupe Fiasco's The Cool
Mary J. Blige – Growing Pains
Ghostface Killah – The Big Doe Rehab
Panda Bear – Person Pitch
LCD Soundsystem – Sound Of Silver