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Paul McCartney’s Egypt Station

Artist: Paul Mccartney

Album: Egypt Station

Release: September 7th, 2018 on Capitol Records

Styles: 70′s rock, Pop, Bossa Nova

Moods: Creativity

Jamz: Caesar Rock, Dominoes, Despite Early Warnings

All aboard, friends! This day we take a long, strange trip and roll up to Egypt Station- equal parts fantastical, sexual, and artistic renaissance, and most importantly the name, concept and brain child of a new studio album by Beatle Alum, Paul McCartney. Since the release of 2013′s “New”, Paul Mcharmley has toured the world consistently on both his Out There Tour then subsequently his One on One tour that held 91 and 78 shows, respectively. “So, Guy, you mean to tell me he wrote, produced, and recorded an album during his tenure of touring the fucking world non stop for 5 years???” yeppers! And, its a joy to listen to, to boot!  

     Sir Paul has done it again on his 17th studio album to date as a solo entity moving forward from The Beatles and post Beatles project, Wings, as this album is just a wonderful revival of everything that you love about Paul! Teeming with iconic Beatle elemental songwriting, painting instrumental tales of a picturesque psychedelic daydream (see Caesar Rock), That weird classically quaint thing about a Wings record (see People Want Peace, Back In Brazil, Who Cares) and notes of RAM, McCartney’s most widely recognized best solo work dating back to 1971. In fact, the whole record grooves like RAM! This can be best attributed to the fact that it’s Paulie doing ALL of the instrumentation and vocal work, besides some strings (Do it Now). YES. The list is actually almost nauseating how many jobs this man had on his own record. Bass. Drums. Guitar (both acoustic & electric). Harmonica. Harpsichord? moog..synthesizer? even “paintings” whatever that means? AND it keeps going. 

   Even after that rant is over for all my veteran music nerds and you’re new to this sort of thing, there are so many lyrical themes of this album that are universal to stand behind IE sexual renaissance in old age on songs like Come Onto Me and Fuh You (So I guess this is a thing, gross, but we’re all gonna have to move on together. somehow), a not so thinly veiled criticism for that disgusting orange man in the White House ( Despite Early Warnings) and... hey look, bossa nova (Back In Brazil)!  Beautiful album Paul, cheers.

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Eminem’s Kamikaze

Artist: Eminem

Album: Kamikaze

Release: August 31,2018 on Aftermath, Shady, Interscope

Styles: Rap

Moods: RAGE. HARD

Jamz: The Ringer, Greatest, Lucky You

Yikes. Here we go. Here’s the part of this blog where I attempt to bridge gaps between my interests and what is primarily considered “hype”, so wish me luck.

 To begin, perhaps what is most noteworthy about this album is the fact that it was an overnight release with no prior marketing or announcement NOR any physical release, meaning it is only available on music streaming services (Apple, Spotify, Tidal, Amazon etc.). This latest trend in music release (see Beyonce, Kanye West, Jay-Z, Drake) sheds light on the question whether or not an artistic work or achievement requires “hype” in order to be “hype”, and the public has most unequivocally answered “HELL NO”. Eminem’s 9th collection of stings, disses, flows, beats and f-words (We’ll get to that shit later) comes flying in at the 11th hour of Em’s career. After last year’s album Revival divided critics and fans alike, Kamikaze comes in like a rude rocket. The album is rich in the usual elements you would expect in an Eminem artistic work: Multiple moments of the flexing of what is Eminem’s raw, unabashed, insanely fast rap flow talent, consistent beats made to inspire, humorous skits serving as album filler with none other than Em’s own manager, Paul, and lyrics that evoke a usual sense of animosity towards those who are critical of him. One would think the state of being closer to 50 than 40 years in age would be a catalyst for Em to be a softer, gentler artist, but this album proves that could not be farther from the truth. In fact, he’s just gotten angrier, if possible. 

   The album itself makes for a fun listen as most of this 13 track album is continuous, meaning each track flows instantaneously into the next, so the listener’s only moments to process the gravity of the emotion of the album lay in the intermittent skits as Em attempts to justify the lyrical content of the work with his manger, Paul. Paul’s attempt to reason with Em about perhaps not going after every critic that opposes him sounds like sound advice, but not for this rapper. Herein lies the controversy of this album.

  In tracks like “The Ringer”, “Not Alike” and especially “Fall”, Em takes time to not only lash out at various facets of the media and politicians but fellow rap artists as well.  For example, in retaliation for a comment made by Tyler, The Creator, Eminem raps, “Tyler create nothin', I see why you called yourself a faggot, bitch/It's not just 'cause you lack attention/It's cause you worship D12's balls, you're sack-religious/ If you're gonna critique me, you better at least be as good or better”. 

 Woah. Skrt. Rewind. See what I mean? F-Words, for miles. As usual, nothing is off limits to Slim Shady. Any lasting thoughts on the album really have my wires crossed. It’s hard to form an honest opinion when its amusing to catch Em’s technical skill as a rapper at what might be it’s speediest, when on the same token it acts as a disguise to hide the fact that the lyrical content of the album isn’t all that original or interesting. Yikes. Please don’t come after me, Marshall. 

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Happy Labor Day!!

Greetings, readers! I know how terribly long its been since our last post (St. Paddy’s day? DAMN), BUT I’ve come back to tell you that this blog is back in full swing NO WORRIES. The wait is over, lets keep truckin on.

Cheers,

Guy and Shadow

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Holidaze amirite

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This is what Jimi Hendrix does to cats.

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Jimi Hendrix’s Both Sides of the Sky

Artist: Jimi Hendrix

Album: Both Sides of the Sky

Release: March 9th, 2018 by Legacy Recordings and Experience Hendrix

Styles: Acid Rock, Blues, Fusion, Soul, R&B

Mood: Pure FUCKING bliss

Super SPECIAL Jamz (Since they all are in fact, Jamz): Lover Man, Stepping Stone, $20 Fine, Woodstock, Send My Love To Linda

Okay. There are so many things to say about this ridiculous posthumous record released as the the third installment in this trilogy of posthumous Hendrix records. Shit, what? That’s right. He’s still making records 45 years into his death, people. From the flippin grave. The trilogy of posthumous records, let alone this one, happen to be a collection of studio outtakes from ‘69-’70 at NY’s Record Plant and Hendrix’s own Electric Ladyland Studios. It intends to act as a follow up to Hendrix’s last album “Electric Ladyland”, before his young death in 1970,  and boy does it to deliver. “Both Sides Of The Sky”in particular, in my opinion, captures a glimpse of a different reality where Hendrix was allowed to live out at least a few more of his days, and just grow musically. Not just in guitar prowess, goes without saying, I’m speaking about his songwriting, compositionally. Also did I mention that Stephen Stills (Buffalo Springfield, CSNY) sits in on these sessions and is on 2 tracks? LETS GO.

       This record is so strong because I do believe it has the material to back it up. A cover of Muddy Waters Mannish Boy starts it, and its a jam. A pop jam, Which is a crazy leap from slow blues BRR’ing Muddy Waters. But don’t worry all you Blues fans, because this record is not shy of the blues by any means. The number one to drive it home would be the epic “Hear My Train a Comin’”, a blues so gravy you’ll think you’re balls deep in it for days. Pair that with another slow blues “Georgia Blues” and “Things I Used to Do”, all you’ll need is a harmonica and a nice, cozy jail cell to complete the experience. Can’t be hard! All my punks, gravitate towards the song “Stepping Stone”. I heard it and it about blew my brains all over the floor. No jokes. I heard the driving “chaca chaca” of Hendrix’s beat on his guitar to count the song off, and I was instantly hooked! Other than that, there are a few interesting demo-like tracks that are extremely noteworthy. In particular, “Cherokee Mist” which is a purely instrumental track that depicts a native american narrative of a struggle or perhaps a funeral dirge, left me with chills. Also, “Send My Love To Linda”, what an amazing jam involving just Hendrix with his voice and electric guitar for more than half the song, only to have the song transition into the full band in such a virtuous way. Also,  who could ignore a good legend y legend story, when Stephen Stills of Buffalo Springfield, later CSNY, sat in on these recording sessions and lent his voice and organ playing to two tracks, “$20 Fine” and Joni Mitchell’s “Woodstock”. 

Conclusively, I cannot stress how “Both Sides of The Sky” being a posthumous record is incredibly significant. As an “after-death” experience to the listener, a posthumous record must walk a fine line. The preparing party has an obligation to the memory of the artist they represent. For it to succeed or be a popular record it must be a continuation of the artist’s story, and that is exactly what legacy recordings and Hendrix’s estate capture, which is exactly what I love about it. It takes a snapshot of the man that was, and the man that really could’ve been. Wave on, Wave on.

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There’s no Dark Side of the Cat really... matter of fact he’s all dark. SHAD LOVES DARK SIDE

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Happy Birthday David Gilmour!

Born on this day in 1946, David Gilmour takes on his 68th year of existence on this plane of reality! Shine on.

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Shadow’s impeccable music taste is showing. And his unparalleled genius.

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Shad?

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THIS DAY IN MUSIC HISTORY

March 5th 1956, Ol’ blue eyes released his tenth (fourth, with Capitol Records) studio album “Songs for Swingin’ Lovers!”. Most famously, it was the first album to climb all the way to the Super top of the album charts in the UK. Serving up the sweetest classics like “You Make Me Feel So Young”, “It Happened In Monterey” and the timelessness of “I’ve Got You Under My Skin” of course, gosh darn it. The title of the album is excellent representation, as Frank is at his swingin’ best. That beautiful voice just won’t quit. This record will come in handy when you’re feeling fancy! FRANKCY

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Shad is all wired and inspired from listening to Soccer Mommy’s “Clean” debut album, and made him think about HIS relationship problems. Uhhh psyche? He doesnt have problems pining over other people, hes a cat? Right? More album reviews, gig reviews and all things music coming your way! courtesy of Guy and Shad. 

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Soccer Mommy’s Clean

Artist: Soccer Mommy

Album: Clean

Release: March 2nd, 2018 under Fat Possum Records

Styles: Singer/Songwriter, Alternative, Lo Fi, Indie Pop

Mood: Disillusionment, Atmospheric, Introspective, Self aware

Jamz: Still Clean, Your Dog, Last Girl

 Releasing her first long-play debut, Sophie Allison AKA Soccer Mommy blends intimate instrumentation with intimate lyrical writing on Clean, an album produced by Gabe Wax (Palehound, War on Drugs). Adopting the spirit of her native land of Nashville, TN, Allison delivers an honest telling of honest feelings in this 10 track record with damning, disillusioned yet poignant lyrics serving as song hooks ( “I don’t wanna be your fucking dog that you drag around/a collar on my neck/ leave me in the freezing cold” from the album’s first single, “Your Dog” ) that deal with mostly a failed relationship, remorse (listen to “Blossom (Wasting all my time))”  a relapse of jealousy (listen to “Last Girl” and “Scorpio Rising”) resulting in the protagonist’s acceptance and resilience (Listen to “Interlude” and “Wildflowers”) . You know, the nitty-gritty life stuff that most people struggle with. In reference to production in dealing with the direction of the record from a story teller’s perspective, it translates seamlessly. For example, the clever way the opening album tune “Still Clean” changes the listener’s experience by transitioning from the full band sound to a broken down, singular track of just guitar and vocals for mere seconds, which is absolutely brilliant. Another example being the distorted guitars at the end of “Scorpio Rising” into a beautiful melodic “Interlude” signaling the record’s swan song “Wildflowers”. You’ll have to give it a listen yourself obviously to understand the full effect and the gravity of this work by not-so-aptly-named Soccer Mommy, (or she might be aptly named, what the fuck do I look like? you’re not perfect either) A regular Joni Mitchell of her time. Brilliant debut!