May 2011 Archives

20110531-gil-scot-560x225.jpg Gil Scott-Heron never had a Top 40 hit, and certainly never had a platinum album. Yet when his death at age 62 was announced on the late afternoon of Friday, May 27, it immediately became a trending topic (and a "trending topic") across the Internet. His impact resonated beyond sales metrics and radio spins.

Ultimately, he'll be remembered as a pioneer of hip-hop music and the coiner of the phrase "The Revolution Will Not Be Televised." The latter, which he first recorded as a spoken-word piece for his 1971 debut Small Talk at 125th and Lenox and then as a jazz-funk piece on 1972's Pieces of a Man, weaves around early-'70s iconography like old-school Civil Rights activist Roy Wilkins wearing red-black-and-green jumpsuits and the TV soap Search for Tomorrow. While the pop banalities he rails against have faded from memory, the poem endures as a timeless parable, and a reminder that the real world moves faster than any communication medium, corporation or government can anticipate.

senior_year-banner-560x60.jpg 20110531-junior-yuppie-560x225.jpg You had a job waitin' after your graduation — 50 thou a year would buy a lot of beer. You were doin' all right, gettin' good grades; future was so bright, you had to wear shades! A growing economy, inflation down, employment up, Reagan midway through his second term, Top Gun in theaters — triumphalism all around! The music biz's future looked slightly less certain, but there was hope in new technology: "Annual record sales continue to fall," noted a 1986 Detroit Free Press piece, "while CD sales climb faster than the industry expected." The future wasn't punk kids buying Metallica/Beastie Boys/Run-D.M.C. vinyl, no way: it was upwardly mobile grown-ups who could afford shiny discs by Dire Straits or Robert Palmer, or Paul Simon's Graceland. So the music got super tasteful, almost always using the same antiseptic cocaine-studio drum pulse, even in Van Hagar's hard rock. "With CD production due to catch up to consumer demand in 1987, and with hardware prices continuing to drop," Richard Harrington wrote in the Washington Post, "just about anybody can be a yuppie, at least in terms of sound." Or, to put it another way, "Pick a habit, we got plenty to go around," as L.A. duo David and David sang in "Welcome to the Boomtown," their era-defining, lone Top 40 hit. "All that money makes such a succulent sound."


So here's a playlist full of truly succulent sounds for the young 1986 Distributive Education Clubs of America marketer, entrepreneur and/or middle manager on the rise. Your MBA is mere years away, and it might require a couple all-night cram sessions between frat parties, but like Billy Ocean says, "When the going gets tough, the tough get going." Or, for even more inspiration, recall Peter Gabriel in "Big Time": "I'm on my way to making it ... I'll be a big noise with all the big boys/ There's so much stuff I will own." It's a highway to the danger zone, and we don't need another hero, but we're livin' in America and lovin' every minute of it. So be good to yourself. And above all, don't forget to heed the Pet Shop Boys' excellent advice: "You've got the brawn/ I've got the brains/ Let's make lots of money."


Click here to listen to our entire playlist: Senior Year, 1986: Junior Yuppie Business Club.


Hip-Hop Roundup

20110531-hip-hop-RU-560x225.jpg For weeks now, hip-hop has been dominated by the debate surrounding Tyler, the Creator's provocative Goblin and the anticipation surrounding Self Made, the compilation from Rick Ross' new label/crew, Maybach Music Group. The hype surrounding those two albums overshadowed Killer Mike’s worthy Pl3dge as well as indie works like Del the Funky Homosapien's Golden Era and others. Look for a roundup of 2011’s less heralded works soon.

Various Artists
MMG Presents: Self Made, Vol. 1
Rick Ross unveils his star-studded clique Maybach Music Group with Self Made. It's not as bad as most rap-crew comps, but that's not saying much. At best, MMG associates Meek Mill, Pill and Wale bring lyrical heat to "Tupac Back," "Rise" and the sex jam "That Way." At worst, Self Made induces headaches as various producers copy the beat for Ross' 2010 hit "B.M.F. (Blowin' Money Fast)." And this wouldn't be a Ricky Rozay album without outrageous claims: on "By Any Means," he raps, "As-salaam-alaikum/ Wa-alaikum salaam/ Whatever your religion, kiss the ring on the don." — Mosi Reeves

Cypress Hill, Cypress Hill

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Album of the Day Untouchable debut album from trail "blazing" L.A. trio. B-Real's high-pitched nasal flow is backed by Sen Dog's aggro outbursts and DJ Muggs' neck-breaking production. The result is an instant classic. Every song is outstanding; "How I Could Just Kill A Man," "Latin Lingo," and "Hand On The Pump" are straight-up legendary. A must-have. — Brolin Winning

Hear It Now!


4Troops, 4Troops

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Album of the Day 4Troops, the 2010 self-titled debut from a quartet of sweetly crooning American military veterans, is Rhapsody's Album of the Day, for hopefully obvious reasons... happy Memorial Day, everyone, and eternal thanks to all those who've served our country. We're especially grateful for those serving right now—please come home soon.

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Album of the Day That's right -- 50 George Strait songs that went straight to the top of charts. The ultimate anthology for country music fans, this awesome collection celebrates his place in history as the artist who's had more No. 1 hits than anyone else. Garth Brooks may be more popular, but Strait invented the New Traditional sound. — Eric Shea

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Album of the Day For their second full-length, the ladies of Destiny's Child return triumphantly, delivering poignant vocals over sleek tracks produced by Missy Elliott, Dwayne Wiggins and Rodney Jerkins, among others. The Writing's on the Wall features some of the group's biggest hit singles, such as "Say My Name" and "Bills, Bills, Bills." — Brolin Winning

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You tweeted your questions. We put them in a box. Watch sisters Becky, Emily, and Joanna Robertson of Carter's Chord answer your questions about working with family, growing up with parents in Waylon Jennings' band The Waylors, and of course, all about their new album Wild Together.

Carter's Chord has been holed up for the better part of a year writing and recording the songs on this EP, and it hasn't been time wasted. Sisters Emily, Becky and Joanna pull off drop-dead amazing harmonies, which really make songs like "A Little Less Comfortable" and "We Ain't Making Love" stand out. The highlight here, though, is "Love a Little Bigger," a beautiful song written by Emily, inspired by the sisters' trip to Guatemala. Unlike the other tracks, it tones down the harmonies and showcases gentler arrangements to add drama. - LRYAN

Girl Talk, Night Ripper

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Album of the Day After two albums spent cutting up hits with glitch beats, Girl Talk struck gold with Night Ripper, finding a broad fan base for his po-mo pop and becoming a figurehead in the "copyleft" movement, which posits sampling as an art form in its own right. Inspired by acts like the Beastie Boys, Night Ripper combines beats and loops from hundreds of songs into a seamless flow. Leaning hard on hooks and choruses, and drawing from both chart pop and indie rock, it assumes a broad musical knowledge of the listener, but club-ready beats are there to fall back on. — Philip Sherburne

Hear It Now!


Christian Music's Lighter Side

20110524-christian-novelty-songs-560x225.jpg Chris August's new tongue-in-cheek tune "Candy Wrap" (with an accompanying video portraying him as a hip-hop candy man) is just the latest in a long line of attempts by Christian artists to be funny. Some don't succeed, others are cheesy but enjoyable, and still others manage to set the bar high. Here are some of our favorites, either because they're good, or because they're so bad they're great.

While reading, be sure to check out our accompanying playlist: On the Lighter Side.


20110524-brian-may-560x225.png With all these Queen reissues, I got to thinking about Brian May, who — along with Billy Gibbons and Ted Nugent — is on my personal short list of favorite guitar players. One of the most distinctive and, let's face it, badass players of the rock era, May's solos and lead punctuations combine crazy technical ability with a Jimmy Page-level obsession with tasty sonic touches: ten thousand pedals and just as many overdubs. There's a reason we've all heard "Bohemian Rhapsody" and "We Will Rock You" thousands of times — sure, Freddie Mercury's singing and showmanship is a major factor, but May's guitar consistently puts things over the top. From the buzzing low-end and high-flying upper register of the twin guitars in "Death on Two Legs" to the roar of "Father to Son" to the pre-Eddie Van Halen harmonizing of "We Will Rock You" to the absolutely astonishing orgy of rapidly picked, deeply distorted, air-guitaring axe mania that is "Brighton Rock," this playist barely scratches the surface of May's genius. Enjoy, and please crank it.

Listen to the entire playlist here: Brian May's Top Ten Awesomest Guitar Moments.


Firewater, The Ponzi Scheme

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Album of the Day Think of Chicago's Firewater as Gogol Bordello's slightly older, slightly less punk brother — the one who spent a lot more time getting sneaked into strip clubs by cool Uncle Tom (Waits) and sulking to Nirvana when he got home. The Gypsy aspects of their sound are really just that: aspects, nuances, details that enhance the slinky cabaret-rock structure on which they've built their career. The Ponzi Scheme waits a good long time to go Romani 'n' roll, but they start hauling out the big guns (read: horns) 'round about "El Borracho," which retraces the polka dots between Eastern Europe and the Texas-Mexico border. — Rachel Devitt

Hear It Now!


blondie rapture chart.png As you are probably aware, Saturday, May 21, 2011 was pinpointed by some as the date of The Rapture, a prediction that resulted in a great deal of media coverage and Twitter jokes, but, as the day came and went, very little in the way of actual Rapture-like activities. There was, however, in our corner of the world at least, one very tangible effect: Rhapsody subscribers had the sudden urge to listen to Blondie's "Rapture." Per this chart, note that streams of the song skyrocketed that day: Debbie Harry's ill-advised rap breakdown therein is pretty apocalyptic, it's true. We should've made Blondie's greatest hits our Album of the Day that day, instead.


cheat_sheet_top_header_560x62.jpg 20110524-prog-metal-560x225.jpg Truth be told, heavy metal and prog rock have been intertwined since both genres were born. My friend Frank, who is a few years older than me, remembers confusing Black Sabbath's "Iron Man" with King Crimson's "21st Century Schizoid Man" in 1970, when both songs were new. (Interestingly, both were also referenced on Kanye West's My Beautiful Dark Twisted Fantasy 40 years later — coincidence?) And as different as Crimson and Sabbath might sound to us today, what's still clear is that both moved rock away from blues-based rhythms and toward more European concert-hall structures: Sabbath by way of horror-movie soundtracks, maybe — but nonetheless. Of course, compared to most contemporary metal, Sabbath might as well be Muddy Waters.

That's partly because, around the turn of the '80s, bands like Iron Maiden subtracted even more of early metal's R&B groove, and later most thrash bands and their descendants finished the job. In the '70s, being that devoid of African American influence is something only bands like Yes and E.L.P. would've copped to. So Maiden, in fact — from Bruce Dickinson's Shakespearean-actor declamations about ancient mariners and flights of Icarus on down — might just as well be considered a really loud prog band, and maybe would've been had they emerged a few years earlier.
20110524-the-antlers-SM-560x225.jpg The Antlers' 2009 breakout album, Hospice, is so epic, so crushing, that listening to it feels like a bullet taking 50 minutes to sink into your chest. It's a gorgeous piece of work, a loose concept record that lingers long after frontman Peter Silberman's falsetto peters out. It was among the best indie albums of 2009 (amid tough competition, with Animal Collective's Merriweather Post Pavilion and Grizzly Bear's Veckatimist in the running), meaning its follow-up would be as anticipated as it was scrutinized. And here at Rhapsody, we think The Antlers did a pretty good job under the pressure.

While Silberman was the main force behind the group's previous outputs, 2011's Burst Apart is the band's first truly collaborative effort, with percussionist Michael Lerner and multi-instrumentalist Darby Cicci helping to flesh out his vision. Through that collaboration, the band took the weight off Hospice's shoulders, capturing its aftermath in a slow-burning dream state that's as narcotic as it is haunting. Silberman is more introspective here, examining the fine line between loneliness and independence, and bearing a striking resemblance to Jeff Buckley on tracks like "I Don't Want Love" and the anxiety-ridden rocker "Every Night My Teeth Are Falling Out." His falsetto slithers like a charmed snake as guitars echo and keyboards meander into the ether like the spacey reveries of Mercury Rev. And even when Silberman's voice isn't present, like on "Tiptoe," his poignancy resonates as a lonely horn glides through a noir film's dark alley.

To listen to Burst Apart and its Source Material, check out this playlist: Source Material: The Antlers' Burst Apart.
senior_year-banner-560x60.jpg 20110524-deadheads-unite-560x225.jpg The phrase "DEAD FREAKS UNITE" appeared in the liner notes to the 1971 live album Grateful Dead, aka Skull & Roses. It was one of the earliest acknowledgements made by the band — and its extended family of footloose handlers and hippie roadies — that a swiftly growing number of fans was beginning to follow them, like a wandering pack of teenaged Bedouins, from concert to concert. It was also around this time that rock writers and critics began using the phrase "Deadhead" to denote a resident of this wonderfully transient community.

Interestingly enough, it was on the cold and blustery East Coast, and not that mythical land of golden sun and prehistoric trees known as California, where Deadhead culture fully developed. There was, as author Blair Jackson points out in his book Garcia: An American Life, a practical reason for this: population density. In the "BosWash" corridor in particular, where The Dead traditionally barnstormed a slew of venues and college campuses that were no more than a five-hour drive from one another, it was far more feasible for hardcore fans, many of whom held jobs or went to school, to spend a three-day weekend following the band. Out West, in stark contrast, the trip between San Francisco and Los Angeles was no less than six hours in the early 1970s. Meanwhile, the trek from the Bay Area to Portland, Ore., was a whopping 11 hours or more. As for Denver, another Dead stronghold — forget about it.

Musically speaking, the early Deadheads didn't listen to their heroes exclusively. Just as the band themselves were busy in this period exploring everything from boogie rock and psychedelia to fusion and bluegrass, their fans also freaked for a wide array of sounds, including New Riders of the Purple Sage, a group that started life as a Dead spin-off in certain respects; the mighty Allman Brothers Band, who shared more than a few stages with The Dead around this time; the avant-funk sounds with which Miles Davis was then pummeling rock audiences; and of course, fellow Californians Santana and Hot Tuna. The dawn of the '70s is also when the first solo albums by Jerry Garcia, Bob Weir and Mickey Hart appeared.

Instead of me typing a few more silly words, the best way to transport yourself back to those magical days is to simply crank this groovy playlist: Senior Year, 1973: Dead Freaks Unite.


Fiona Apple, Tidal

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Album of the Day Apple's debut was a revelation upon release in 1996. Emerging as one of the most interesting songwriters in years, Apple blew minds with a teenaged talent that dropped big beats on top of haunting piano lines, an unforgettable voice and surprisingly dark lyrics. Tidal may have been a mega pop hit, and Apple an instant star, but the mania was deserved. — Mike McGuirk

Hear It Now!


20110524-tyler-the-creator-560x225.jpg Perhaps the best thing about Tyler, the Creator's Goblin is that he has mastered the art of intimacy. Throughout this nearly hour-and-a-half-long therapy session, the leader of L.A. hip-hop collective Odd Future sounds as if he is speaking directly to you. However, therapy sessions usually only last an hour. By stretching the listener's patience to its breaking point and offering only modest emotional returns, he impresses with his self-absorption instead of his catharsis.

Tyler's breakthrough arrives in the final track, "Golden," when he announces, "I'm not crazy." As Goblin begins, he subtly broadcasts that he's capable of change in spite of the worrisome obscenities that will follow: "I'm not a f*cking rapist, or a serial killer/ I lied," he says to his "therapist," which is actually his own voice modulated to a low growl. But he doesn't spend much time bidding for the audience's sympathy, because no one wants a pity party. He knows that what we really want to hear are the vicarious thrills of someone calling someone "n*gga," "b*tch" and "f*ggot"; fantasizing about raping and cannibalizing women; and entertaining an interest in Nazism (though that last point is less pronounced here than on his debut solo album, 2010's "freelease" Bastard).

senior_year-banner-560x60.jpg20110524-studio-54-560x225.jpg While there probably weren't too many high school seniors that made it past the velvet ropes, in 1978, Studio 54 shone like a beacon to kids dreaming of bright lights in the big city. Just a few years before, disco had been a resolutely underground thing, but by 1978 and Saturday Night Fever, it exploded out of the gay community and into pop consciousness, where it was promptly mobbed with celebrities, wannabes and hangers-on. (For a contemporary equivalent, look to the backstage areas at Coachella, or any tabloid-ready hangout where there's a VIP within the VIP.)

Our Class of '78 may never have rubbed elbows inside with Halton and Bianca Jagger, or feasted their own eyes on Gilbert Lesser's infamous wall sign of a man in the moon sniffing sparkly crystals from a silver spoon. But these songs were the soundtrack to the fantasy. Check out 1978 as it sounded from the inside with our Senior Year playlist.


20110524-odd-future-560x225.jpg Odd Future leader Tyler, the Creator's Goblin may be the most controversial album of 2011 so far. Hundreds of professional writers, amateur bloggers, tastemaker publications and fellow musicians have weighed in on the 20-year-old Los Angeles rapper/producer's psychoanalytic exploration of his id. They have picked apart Goblin's lyrics, weighed its racial and cultural implications, and argued whether the album is a provocative stunt or a brilliant work. The commentary has reached such meta levels that many Goblin reviews just focus on the hype surrounding Odd Future — from a swelling of industry buzz to myth-making cover stories in Billboard and The Fader to an online backlash, all within six months or so — and disregard the actual work.

With so many writers penning their PhD theses (some of which are very good), I've culled excerpts from a few significant ones, if only to avoid repeating the same ideas (which may be impossible). But I'm not abdicating my responsibility to cover the album: I've also written a separate, extended review. (I already penned a capsule review upon the record's May 10 release.) Goblin may be far from a masterpiece, but it has certainly made for a memorable hip-hop experience.

cheat_sheet_top_header_560x62.jpg 20110524-nashville-sound-560x225.jpg When rockabilly stole away much of country music’s younger audience in the mid-1950s, Nashville producers aimed for a more adult market. Producers Chet Atkins and Owen Bradley took their cues from the pop music world, cutting out the sharp edges of fiddle and banjo, and adding smoother, lusher tones with string sections and background choruses. This became known as the Nashville sound, which dominated country from the ’50s through the ’70s.

By the early ’60s, the pop influence in country music was so pronounced it had its own nickname: countrypolitan. Marketed directly to a mainstream audience, the style made stars out of such country legends as Glen Campbell, Lynn Anderson and Charley Pride, and it peaked with the work of producer Billy Sherrill, who created an even fuller, lusher, over-the-top pop sound well suited to Tammy Wynette, honky-tonker Johnny Paycheck and even Mr. Country Music himself, George Jones.

There was a backlash, of course: as the likes of Eddy Arnold, Jim Reeves and Charlie Rich took over the pop charts, a country-centric counterculture arose in Bakersfield, Calif., led by such outlaws as Buck Owens and Merle Haggard. But there’s no denying that the Nashville sound a product of some of country music’s most beloved legends. Below are key albums from some of the key players in the Nashville sound. While you're reading, check out our accompanying playlist: The Nashville Sound.


Nazareth, Big Dogz

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Album of the Day Dan McCafferty's screech flies higher after four decades than his disciple Axl Rose's did after four years. But with McCafferty and bassist Pete Agnew both turning 65 in 2011, aging's clearly on Nazareth's minds, and their more nostalgic cuts serve up a wistful autumnal swirl. The grizzled Scots get witty like a music hall ZZ Top, too, but they're still best when heavy: in an ominous dirge aimed at religious zealots, a cynical swipe at government in times of austerity, some epic metal about mental illness, and a mean-swinging, maybe rap-inspired bilingual boogie about gang war in the barrio. — Chuck Eddy

Hear It Now!




On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Foster the People disclose their favorite albums of all time.


Foster the People:
Torches

The Beach Boys:
Pet Sounds

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The Ultimate Gaga Guide

gaga-SG-main-thumb-560x225-3905.jpg It's finally here. After months of careful leaks, garish videos and audacious stunts (the Grammy egg!), Lady Gaga's Born This Way is finally upon us, without question the most anticipated new record of 2011. Full of synths, sleaze, self-empowerment and some good ol' sacrilege, it's bound to electrify Little Monsters and bloodthirsty detractors alike. We love it. You should listen to it. Right now. We've prepared a warm welcome for it: an extended review, a list of pop's most blasphemous moments, a Gaga Family Tree, an exclusive video recounting her epic battle with Rhapsody's own The Box and more. So let's get to it: the wait is over.

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Can the reigning Queen of Pop thrill us again? An in-depth look at Born This Way
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Lady Gaga's Family Tree: Hailing her elders (Madonna!) and her inadvertent children (Ke$ha!)
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Pop's Most Blasphemous Moments: From Gaga to XTC to NIN, a tribute to sacrilege
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Lady Gaga vs. The Box: Answering your questions about Yoko Ono, reality TV and the last time she cried
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Pop's Greatest Gender-Benders: Grace Jones, Prince, Bowie and other superstars who play both sides
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The New Class of Pop Stars: Who's The Next Gaga in Training?
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gaga sinead manson pop blasphemy.jpgPop music and blasphemy go together like, well, sex, drugs and rock 'n' roll. Since the dawn of time (or at least since the dawn of metal), pop stars have gotten their rocks off trying to piss off the Big Guy and his followers. Sometimes it's political (think Sinéad on SNL), sometimes it's metaphorical (think R.E.M.), sometimes it's jokey, and sometimes it might actually just be in vain, or at least in the name of vanity (hi, Madonna). But it's always deliciously scandalous.

Taking a page from her spiritual mother (one guess), Lady Gaga has recently jumped on the blasphemy bandwagon. First, she swallowed a rosary bead in "Alejandro"; now, her second album, Born This Way, is positively dripping with potential sacrilege, from the church organs swelling behind all those sweaty, debauched dance beats to the good Lady's pledge to wash Judas' feet with her hair. In honor of such heresy, we've placed Gaga among her fellow heathens on this shock-and-awe-packed playlist.

Click here to listen to the playlist: Pop's Most Blasphemous Moments


lady gaga born this way extended look.jpgThe central question dogging Lady Gaga practically since she first took off her pants has been thus: riveting original or shameless hack? Are her meat dresses and dystopian dance beats and freaks-and-geeks advocacy unique, game-changing, iconoclastic moves, or simply updated versions of PR stunts already done (and done better) by earlier artists? Rather than defend herself, Gaga's strategy has always been to brazenly straddle the debate, planting a thigh-high stiletto firmly on either side and accentuating the apparent tension between the two arguments. She's a self-proclaimed one-of-a-kind "monster" hell-bent on shock and awe who's also never denied Madonna's influence on her work — and who named herself in homage to her glam godmother, Freddie Mercury.

Lady Gaga's Family Tree

gaga madonna ke$ha family tree.jpgLady Gaga's roots are always in question, and no, that's not a line from her new song, "Hair." Everyone and their sister wants to attribute Gaga's sound (and her success) to every other pop star and their sisters — including the Lady herself, who typically leaves her roots rather boldly uncovered. So, in honor of her new, genre-spanning album, Born This Way, we decided to take a climb through Gaga's artistic family tree. We've sketched out our initial findings for you, tracing the strains and shared traits that make up her musical DNA. If you love Gaga, you're gonna love getting to know her family.

Gang Gang Dance, Eye Contact

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Album of the Day It's not that Eye Contact can't be broken down into its constituent parts. It's just that descriptors like worldbeat, crunk, fusion and dream pop fail to express its collective sound. Gang Gang Dance produce a perceptually challenging racket that's all about sonic reflection, refraction, decay and shadow play. The constants are crystallized synths, chopped grooves and Liz Bougatsos' ethereal chirp, yet they're incessantly dissolving, reforming, then dissolving again. At the midway point, a track emerges from the GGD's private noosphere titled "Mindkilla." That's exactly what Eye Contact is. — Justin Farrar

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Album of the Day Does there really need to be another Rolling Stones tribute album? On the strength of Great Lake Swimmers' "Before They Make Me Run" and Everest's "Sweet Virginia," there obviously is still an untapped niche out there. This particular compilation is light on hits and heavy on album cuts, and, for the most part, succeeds in reinventing those steel wheels. The biggest pleasures come from the "neglected gems," which are scuffed up and fleshed out with twanging guitars and lamenting harmonicas. Other highlights include "Dear Doctor" (by Lee Harvey Osmond), a sublimely gritty version of "Wild Horses" (by Neal McCarthy) and "You Got the Silver" (by Barbara Kessler). — Linda Ryan

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The Rapture, Echoes

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Album of the Day The Rapture's debut sounds like peak-period Robert Smith howling over pulsating electro rhythms, with the occasional guitar ripping through it all with an unhinged art-punk fury. Chances are, you weren't born or didn't care when disco-punk first surfaced. In that case, this might just be groundbreaking stuff. — Jon Pruett

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Album of the Day The essential Steve Wonder album. The sheer number of excellent tracks on Songs is astonishing, and Wonder balances his erudite social commentary with rapturous love songs and jaw-dropping musicianship. Funky, danceable and brilliant, the album is a culmination of his '70s aesthetic; it still sounds fresh today. Highlights include "Sir Duke" and "Pastime Paradise." — Sarah Bardeen

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Album of the Day Death Cab have done some great work on their major-label albums, but it was their swan song for indie Barsuk where the band best balanced indie rock heart-on-sleeve earnestness with unmistakably precise songcraft. "Transatlanticism" is one long epic crescendo, a song about oceans that doubles as a wave you never want to break. "Lightness" is gorgeous in its concision, and "A Lack of Color" may be one of the saddest songs ever, no joke. The only way to improve this album would be to sell it with a box of Kleenex. — Garrett Kamps

Hear It Now!


20110518-mf-doom-SM--560x225.jpg The dust has yet to settle on the indie-rap renaissance of the late '90s, with critics and fans fiercely divided on which albums constitute classics. One title they agree on is MF Doom's 1999 masterwork Operation: Doomsday.

Daniel Dumile has not been photographed in public without his metal mask for more than a decade. He launched his career as Zev Love X, one-third of the Long Island rap trio KMD, a group he shared with his brother, the DJ and producer Subroc. In 1991 KMD issued their memorable debut, Mr. Hood, and were quickly lumped in with such quirky post-D.A.I.S.Y. Age groups as Leaders of the New School and Black Sheep. However, KMD's second album, Black B_st_rds, was much more hard-edged, reflecting the hip-hop world's rising interest in gangster-ism. The album's sardonic tone — and particularly its controversial cover art, depicting a Sambo-like cartoon figure hanging from a noose — led to Elektra dropping the group. Just before Bl_ck B_st_rds was officially shelved in 1993, Subroc was killed in a hit-and-run accident. (The album finally got an official release in 2001.)

Cheat Sheet: Jesus Music

cheat_sheet_top_header_560x62.jpg 20110518-jesus-music--560x225.jpg Age is a funny thing. What's old to one person is relatively current to another. When it comes to tracing Christian music's roots, some fans look back only as far as DC Talk's groundbreaking Jesus Freak tour in the '90s or Amy Grant's Age to Age from the early '80s. Others only know recent artists and don't give any thought at all to those who came before. But there wouldn't be a Jars of Clay without Resurrection Band, a Derek Webb without Larry Norman or a Chris Tomlin without Keith Green. These early trailblazers were part of the Jesus Movement of the late '60s and early '70s, and CCM as we know it today wouldn't exist without them.

The Jesus Movement actually has its roots in the flower power of hippie culture. While many were tuning in, turning on and dropping out, others were finding God. These converted hippies hung on to the clothes, hairstyles and music of the counterculture as they headed to church, where the conservative believers wrinkled their noses and rolled their eyes.



On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Tinie Tempah talk about his favorite album of all time, Mr. Hudson's A Tale of Two Cities.


Tinie Tempah:
Disc-Overy

Mr. Hudson:
A Tale of Two Cities

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Ice Cube, The Predator

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Album of the Day Cube's third album continues his reign of lyrical terror, set to choice production from Sir Jinx, DJ Muggs, DJ Pooh, and others. His most commercially successful album at the time, it featured several major hits, including "Check Yo Self" with Das EFX, "Wicked," and the smoothed-out classic "It Was A Good Day." — Brolin Winning

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On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Moby talk about his favorite album of all time, Nick Drake's Bryter Layter.


Moby:
Destroyed

Nick Drake:
Bryter Layter

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cheat_sheet_top_header_560x62.jpg 20110518-prog-new-wave-560x225.jpg In the early 1980s, some of the best New Wave bands were actually progressive rock groups. This is a bit of an exaggeration, of course. But not totally untrue, when you think about the super-creative ways in which Yes, Rush, Phil Collins and Queen fused the two genres. Ignoring the fact that punk had declared war on the classic rock fossils of the previous decade, these musicians boldly explored synthesizers, funk-inspired dance grooves, drum machines, sound collage, wiry arrangements and icy production techniques. Some truly great music was produced in the process. The Trevor Horn-produced 90125, the wildly experimental The Game and the titanic Moving Pictures are all bona fide classics. Then there's Collins' Miami Vice masterpiece "In the Air Tonight," one of the most striking (and moodiest) pop songs of the 20th century.

Many progressive rockers embraced this brave new world so deftly because it didn't feel all that foreign to them. Though deeply inspired by punk's high energy, New Wave owes much of its sonic palette, particularly the earliest synthesizers, to mid-1970s prog and art rock (Krautrock, too). Spend time with Genesis' The Lamb Lies Down on Broadway, Robert Wyatt's Rock Bottom, Peter Hammill's PH7, Brian Eno's myriad productions, or the entire King Crimson discography, and you'll quickly detect the basic traits of New Wave (and, by extension, post-punk and synth-pop).

These connections can also be felt from the flip side of the coin. Talking Heads' Fear of Music (coproduced by Eno), most of The Police discography (drummer Stewart Copeland previously served time in Curved Air) and This Heat's uncompromisingly intense Deceit all contain some seriously proggy touches, particularly when it comes to the quirky rhythms these groups liked experimenting with.

20110518-latin-alt-560x225.jpg You think "alternative" is a confusing, ambiguous, meaningless term? Try "Latin alternative." Does it mean a Latin band that plays, um, mainstream alt-rock? Or an artist that offers an alternative to Latin pop? And isn't every Latin band an alternative to the American rock mainstream? Yes? No? Maybe? Forget the semantics and just take a listen to the crème de la crème of albums that have come out under that heading in the last couple months. We've rounded up a Top 10 that includes American electro-poppers who sing in Spanish, Mexican garage rockers who sing in English, Argentinean psychedelica, Venezuelan dance punks and post-grunge rockers who pack soccer stadiums across the Latin American world. There's an alternative for everyone.


Electronic Roundup: May Top 10

20110518-electro-RU--560x225.jpg Last month, we highlighted tracks in our roundup of the top 10 electronic releases of the month (or thereabouts); this time, we're mixing it up between LPs, EPs and double-A-side singles. Why not?

There's no explicit theme; if there's a certain sun-kissed, Balearic vibe to many of these releases, chalk it up to the arrival of spring, and your correspondent's preference for the lush and psychedelic. Explore a range of stylistically promiscuous sounds from labels like Warp, DFA, Ghostly, Planet Mu and the Uruguayan disco imprint International Feel — and no, we're not making that last one up.


1. Bibio
Mind Bokeh

Bibio's early records flitted between electro-acoustic ambient jams and fingerpicked tributes to John Fahey; moving to Warp, he introduced swaggering hip-hop beats, squelchy funk synthesizers and occasional vocals without ever losing his pastoral vibe and gossamer detailing. Mind Bokeh, his best yet, has all that and more. Steely Dan, Nick Drake, J Dilla, Brian Eno, Stereolab, Jim O'Rourke at his sunniest: it all finds its way in. But it makes sense, bound by Bibio's bright-eyed curiosity and his brilliant sonics, so crystalline they could soundtrack a Lenscrafters ad.
See also:
Gold Panda: Lucky Shiner
Benoit Pioulard: Lasted
Floating Points: Vacuum Boogie EP

Iron Maiden, The Number of the Beast

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Album of the Day The chorus of "Run to the Hills" is just about Bruce Dickinson's finest moment. The rest of this album is no less than great. From the toughness of "Invaders" to the satanic aesthetic of the title cut (a now-pervasive idea in metal), Maiden's ridiculously awesome twin-guitar attack enjoys a sort of domination and artistic peak few bands ever reach. Maiden! Maiden! Maiden! — Mike McGuirk

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You tweeted your questions. We put them in a box. Watch Hollywood Undead share their thoughts on tattoos, naked celebrities and treating your woman right.

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Dave Mustaine
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BrokeNCYDE

PJ Harvey, Let England Shake

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Album of the Day There's something magnetically haunting in PJ Harvey's music; it's intangible but always there, like a heart beating under the floorboards. Her eighth album pumps restlessly with this eerie substance. "England you leave a taste, a bitter one," Harvey croaks with a girly innocence -- but she's not ungrateful, just observant in her poetic tales of wars and woes. Some of the most visceral moments are strikingly upbeat: the pint-clanking bounce of "The Words That Maketh Murder" or the reggae nod on "Written on the Forehead," where Harvey, both ominously and jubilantly, declares "let it burn." — Stephanie Benson

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New Order, Power, Corruption & Lies

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Album of the Day The second in Rhino's 2008 reissues of New Order's '80s albums, this edition of New Order's landmark 1983 album catches the act at a transitional moment. Appended to the original eight-song set of guitar-based indie and DIY disco -- after singles "Blue Monday" and "The Beach," long included in CD reissues -- are electrofunk attempts "Confusion" and "Thieves Like Us"; "Murder," a shrieking post-punk mantra with proto-death metal vocals, suggest paths not taken (perhaps wisely). — Philip Sherburne

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Dixie Chicks, Wide Open Spaces

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Album of the Day The album that turned three bluegrass aficionados into superstars. After recruiting Natalie Mains as lead singer (and landing a major-label deal), the DC's solidified their unstoppable chemistry with Wide Open Spaces. The disc's superb production brings out their dexterous musicianship and beautiful harmonies. — Eric Shea

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Pitbull, M.I.A.M.I.

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Album of the Day The biggest artist to emerge from Miami since Trick Daddy and Trina, Cuban-American emcee Pitbull scores big with this debut album. Crunked-out party anthems are the order of the day here, epitomized by rowdy collaborations with some of the most popular rappers in the game (Lil Jon, Fat Joe, Bun B, etc.). Includes the mega-hits "Culo" and "Dammit Man." — Brolin Winning

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Scorpions, Blackout

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Album of the Day Generally considered the Scorpions' best record, Blackout is highlighted by "No One Like You"—their most famous song after "Rock You Like a Hurricane." In spite of singer Klaus Mein undergoing throat surgery prior to recording, Blackout became the band's biggest record to date. — Rhapsody

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20110510-latin-pop-hits-560x225.jpg As a rule, our regular single-phile column is devoted to — OK, obsessed with — dissecting the latest and greatest in pop singles. And while our definition of pop is as varied as, well, the genre itself is, we do typically focus on English-language pop. But so many great Latin singles have dropped in the past few weeks that we had to remedy that language bias and give them some love.

Anyway, the line between Latin pop and English-language pop, once two fairly distinct worlds, is pretty fine these days. Established Latin pop stars have long been crossing over into the Top 40, and mainstream artists have started crossing over in the other direction, releasing Spanish-language versions of their hits or sometimes entire albums targeted at the Latin pop audience. Today's pop charts aren't so monolingual themselves: artists like Pitbull and Shakira have made careers out of forcing English speakers to sit up and listen to snippets of Spanish or entire Spanish tracks. And of course, aesthetically speaking, Latin rhythms, dances and styles form one of pop music's three intertwined DNA strands (the other two being African and European music).

Queen, Freddy Mercury, Brian May Why is the Crate Digger going Queen crazy, you ask? Well, in celebration of the band's 40th anniversary, Hollywood Records has just dropped expanded reissues of the band's first five albums: Queen, Queen II, Sheer Heart Attack, A Night at the Opera and A Day at the Races. Now is as good a time as any to unload my top 10 all-time favorite Queen albums. But before diving in, I'd like to touch on a few realizations/reminders I experienced while putting together my list. To begin with, the band's good-to-bad album ratio is staggering. In my opinion, they didn't release a mediocre full-length until 1986's A Kind of Magic, and even it contains a few killer tunes (title track, "Who Wants to Live Forever"). Think about it: that's 13 years and 10 records after their self-titled debut.

senior_year-banner-560x60.jpg 20110510-SY-1991-britpoppers-560x225.jpg London truly was swinging back in 1991. With a little help (read: hype) from music weeklies such as NME, Melody Maker and Sounds, new stars were being made at clubs such as Syndrome and Blow Up, while Camden-area pubs such as The Good Mixer overflowed with young Brit-pop stars nightly. It didn't take long before the music — and the legendary, drunken stories of those of those who made it — made its way to America. And although the release of Nirvana's Nevermind later that year would put a severe dent in Brit pop's popularity, its bright light never faded for the hardcore anglophiles.

You saw them everywhere around school — they stood out with their long, fringy haircuts, stripey T's and oversized anoraks (heavily adorned with badges of bands such as the Charlatans, Lush and Suede), but if you really wanted to find Brit-pop lovers and pop kids, you went to the local mom-and-pop record shop. Here, anglophiles could happily engage in the Blur vs. Oasis debate — daily. They would tell you Jesus Jones were a bunch of sellouts, but those crusty-loving travelers, Carter the Unstoppable Sex Machine, ruled! They loved Primal Scream and the Happy Mondays for embracing Madchester's rave culture while deriding fluffy pop rip-offs such as Soho and Candyflip.

The girls loved their unisex look, and "regular" guys wished they knew as much about music. Wear your union jack with pride, and welcome to high school, circa 1991.

Click here to listen to the complete playlist: Senior Year, 1991: Too Cool for School - The Britpoppers


Indie Roundup: May 2011

20110510-indie-RU-560x225.jpg Here we count down the top indie albums from the past month; it's a smorgasbord, to say the least. Dig into folk rock, experimental rock, chamber rock, dance rock, post-rock and even New Zealand rock. Yum.

Go here for our sampler playlist featuring songs from each album mentioned below: Indie Roundup: May 2011


1. Fleet Foxes
Helplessness Blues

If bearded angels exist, they probably look (or at least sound) a lot like the Fleet Foxes. The Seattle folkies' 2008 debut assured the hipness of mandolins and multipart harmonies, and their 2011 follow-up is just as inspiring. This time their bucolic melodies stretch across further terrain: think Simon & Garfunkel times three, transported back to the Renaissance. Luscious strings and woodwinds waltz on demand to the Pied Piper call of frontman Robin Pecknold, who remains remarkably humble: "I'd rather be a functioning cog in some great machinery, serving something beyond me." — Stephanie Benson


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Album of the Day Tribe's excellent 1990 debut LP introduced the world to one of hip-hop's most beloved crews. Smart and clever rhymes abound here, backed by production that's both mellow and undeniably catchy. Features several classic jams, such as "Bonita Applebaum" and "Footprints." — Brolin Winning

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The Comedy Issue

The Lonely Island, Eddie Murphy, Spinal Tap, Comedy R. Kelly. Spinal Tap. Patton Oswalt. Ghostface Killah. "Yakety Yak." The Lonely Island (featuring Michael Bolton!). Señor Coconut. Maria Bamford. There is great hilarity—most of it intentional—lurking in Rhapsody's catalog, and this week we've decided to celebrate it with our very own Comedy Issue, featuring the best, the brightest and (of course) the funniest voices in hip-hop, metal, R&B, electronic, stand-up and beyond, from "Trapped in the Closet" to "Tequila," T-Pain to Gwar, headlined by The Lonely Island's new Turtleneck & Chain and climaxing with a very special graphical tribute to Eddie Murphy's "Boogie in Your Butt." We could all use a laugh right about now. Here are several.


The Lonely Island, Turtleneck and Chain Album


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The Lonely Island, On the Record: Comedy-rap stars profess their love for… the Beaches soundtrack?
Play!
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R&B's Clown Princes: Goofy boudoir jams, from R. Kelly to T-Pain
Play!
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Hot new stand-ups: Daniel Tosh, Aziz Ansari, Louis C.K. and more
Play!
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Digital Laughs: Finding humor in electronic music with Señor Coconut, Gonzales and more
Play!
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Rappers vs. Comedians: Laugh it up with Ghostface Killah, Madlib and Cam'ron, for starters
Play!
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Senior Year, 1958: Class Clowns: From "Yakety Yak"; to "Tequila,"; a tribute to the funniest year ever
Play!
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Comedy Metal Primer: From Spinal Tap to Gwar, only the hardest (and goofiest) survive
Play!
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Eddie Murphy’s “Boogie in Your Butt”: A Graphical Analysis
Play!
cheat_sheet_top_header_560x62.jpg 20110510-comedy-stand-ups-560x225.jpg For a couple years now, there has been a major resurgence in stand-up comedy — not just in the amount of comedians out there, but in the wide range of styles and overall quality of their material. At some point, stand-up became "cool," and such comics as David Cross and Patton Oswalt started doing their shows at rock venues, in search of a more sophisticated audience than the ones they encountered at Zany's or the Yuk-Yuk Hut. At the same time, a style of humor almost directly descended from Lenny Bruce — cringe comedy — finally made it to the mainstream, thanks mostly to the gradual momentum enjoyed by Louis C.K. and the tragically short career of Greg Giraldo, who died of a drug overdose in 2010.

More traditional comics, including Dane Cook and Jim Gaffigan, are as popular as Larry the Cable Guy, and their material has only gotten better with time. (That said, Gaffigan's "Hot Pockets" routine is still the one you want to hear.) Daniel Tosh has successfully combined the two styles and is in the process of taking over the comedy world; Aziz Ansari's storytelling, Bo Burnham's undeniably clever songs and Maria Bamford's astonishing array of voices also represent an even younger crop of new comedians.

Boogie In Your Butt, Eddie Murphy Consider "Boogie in Your Butt," Eddie Murphy's finest musical hour, the Simon to "Party All the Time's" Garfunkel. A highlight of the comedian's self-titled 1982 debut album, "Boogie in Your Butt" is a pitch-perfect Golden Era rap jam wherein Murphy, backed by a slick bassline and some dynamite sax, ticks off a seemingly endless list of objects you could, well, put in your butt: "Put a boat in your butt! Put a moat in your butt! Put a mink coat in your butt!" And so on. The effect is oddly hypnotic.

Spinal Tap The difficult thing about trying to parse humor in metal is that, intentionally or not, lots of metal is really funny, and really often that's what makes it good. Well actually, that happened more back before the extreme/thrash/death/black/grind revolution, when you could actually laugh out loud at the lyrics, which were more discernible in days of yore. But even now, bands can look hilarious — think, for instance, of evil Norwegian black metal bunch Immortal (current members: Abbath Doom Occulta, Demonaz Doom Occulta, Horgh, Apollyon), who frequently pose with what look like giant chimney brushes and TV antennas, with which they are traversing Arctic burning-church rooftops perhaps. Anyway, for purposes of sanity, any survey of "Comedy Metal" should probably limit itself to music that at least seems to be trying to be ridiculous — like, you know, on purpose.

20110510-comedy-r&b-560x225.jpg Humor in soul music hasn't been the same since everyone went hardcore in the late '80s. These days, if you want to cut a joke, you can't just make a corny novelty song like Bobby Jimmy & the Critters' "Roaches." You've got to do it cool and use plenty of ironic asides, sly put-downs and slang-filled allusions.

R&B comedy may not be as broad as the good ol' days of Rufus Thomas and George Clinton, but it's still full of cheating spouses, smack-talking ladies and ornery men. In short, battles and truces between the sexes comprise the dominant theme, and the humor comes from the farcical situations that ensue, whether it's Trey Songz claiming that "I Invented Sex" or Missy Elliott claiming she doesn't want a "One Minute Man." Consider this an introductory lesson on how ribald R&B can get (if not necessarily pornographic — after all, this is a family blog), triggering sometimes-uncomfortable laughter when we realize that these would-be players are just like us.

Comic Electronica

Comic Electronica, Senor Coconut Sprockets aside, comedy and electronic music don't initially seem like they have much in common. But there's actually a whole spectrum of the electronic genre that's shot through with humor, whether it's the goofball antics of Crazy Frog or the political absurdism of Negativland. Between those poles lie the rave-rappers Die Antwoord, South Africa's answer to Borat; the stone-faced conceptualist Felix Kubin; and even that chopped-and-screwed version of the Olsen twins' "P.I.Z.Z.A.," a YouTube sensation.

Electronic processing has long played a part in novelty records — just think of the Chipmunks' sped-up voices. Maybe it's not a coincidence that Raymond Scott started out writing big-band jazz for Warner Brothers cartoons before he began developing his own outlandish electronic gizmos. The music he produced out of his Manhattan Research, Inc. laboratories — from commercial jingles to a series of ambient lullabies for babies — was no joke, but his otherwordly pings and swoops showed the color and movement of animation. Scott wasn't the only early electronic musician whose tastes veered toward the cartoonish. With their Moogs and their Ondiolines, Perrey & Kingsley crafted exotica that wouldn't have sounded out of place on George Jetson's futuristic hi-fi. For that matter, a number of cartoons and comedy shows have adopted the duo's songs as theme music.

Rap Skits and Snaps

20110510-comedy-rap-560x225.jpg Before we begin, please note that this isn't a collection of comedic rap songs, so you won't find any material from some of the genre's greatest humorists, such as E-40, Biz Markie, Redman and Slick Rick. Instead, we're focusing on rap skits (only the intentionally funny ones) and rap songs featuring samples from comedians. That narrows the field quite a bit, as the rap skit is turning into a lost art, and today's producers tend to sample old records for drums and melodies rather than weave crazy-quilt masterpieces like De La Soul's 3 Feet High and Risin'. Also note that this list doesn't include any joints from Big Boi's Sir Lucious Left Foot, and the Wu-Tang Clan has made too many great skits to use them all. Despite all the necessary omissions, though, "Rap Skits and Snaps" has plenty of ignorance, from Dr. Dre's silly "The $20 Sack Pyramid" to Ghostface Killah's perverse "Heart Street Directions" to Wu-Tang's "Who stole my killa tape?" interlude. It's got chicken heads and base heads, and Redd Foxx, Dolemite and Richard Pryor rise from the dead. It's even got Aqua Teen Hunger Force and Scooby-Doo for the kiddies. Break!

Click here to listen to the entire playlist: Rap Skits and Snaps


The Antlers x Portishead



On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch The Antlers talk about their favorite album of all time.


ARTIST:
The Antlers

RECORD:
Dummy

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On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Andy Samberg, Jorma Taccone and Akiva Schaffer of The Lonely Island talk about their favorite album of all time.


ARTIST:
The Lonely Island

RECORD:
Beaches OST

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TLC, CrazySexyCool

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Album of the Day Far mellower and more R&B-flavored than their debut LP, CrazySexyCool showcased a more mature TLC, sold millions of copies and proved that they were more than just a gimmicky girl group. Includes their classic hits "Creep" and "Waterfalls." — Brolin Winning

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The Ramones, End of the Century

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Teaming up with troubled genius Phil Spector, who reportedly drew a gun on the band during recording sessions, The Ramones attempted to make a commercially minded album, one that bridged the gulf between New York punk rock and the classic 1960s pop of their youth. Wildly hyped at the time of its release in 1980, End of the Century is an uneven affair. Not surprisingly, Spector's wall-of-sound production style lacks focus. That said, on "Do You Remember Rock N' Roll Radio?", as well as "The Return of Jackie and Judy" and The Ronettes' "Baby, I Love You," the band totally nails the concept. —Justin Farrar

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Too Short, Life Is... Too Short

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Short's second album on Jive, Life Is..., builds on the foundation of Born To Mack, with colorful pimp rhymes set to heavy bass and chunky beats. The release also features the debut of Bay Area emcee Rappin 4-Tay. Check for "Rhymes," "City Of Dope," "Cusswords," and the Electro-infused hometown anthem "Oakland." —Rhapsody

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Electric Wizard, Dopethrone

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The 2001 release of this uber-heavy British band uncoils all the tarpit riffs and hazy negativity they made their name with back when stoner metal was something people talked about. Slower and heavier than all the rest, Electric Wizard took post-Sabbath sludge to ridiculous extremes. Awesome guitars and awesomer vocals. —Mike McGuirk

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Joe Jackson, Look Sharp!

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joe_jackson_look_sharp.jpg Joe Jackson's lean, stripped-down new wave debut didn't take off in his native England, but buoyed by the surprise hit "Is She Really Going Out With Him," it took-off in the States, and continued selling into the 1980s. This contains many Jackson classics besides the roaring title track and "Is She..." -- "Sunday Papers," "One More Time," and "Fools In Love" lead the pack. —Nick Dedina

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Steven Curtis Chapman Re-created

20110503-steven-curtis-chapman-560x225.jpg When Rhapsody last sat down with Steven Curtis Chapman, it was a somewhat somber affair. We were talking about the tragic death of his young daughter, Maria, and his 2009 album Beauty Will Rise, which charted his family's grieving process. When we talked more recently, the mood was decidedly lighter. While the Chapmans will be forever changed by their loss, Steven has come out the other side with a new perspective on life that has him giving his vast music catalog a second look.

"This year is the beginning of a new season for us as a family," Chapman says. "We're beginning to take the first few steps out of the forest. We really do feel like this is a season of re-creation for us. I sang on Beauty Will Rise 'spring is coming,' and we're beginning to see signs of that."

Color Me Badd, C.M.B.

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A pop R&B quartet hailing from Oklahoma City, Color Me Badd debuted with a bang, scoring a chart-topping, double-platinum hit with their infectious single "I Wanna Sex You Up" (originally on the soundtrack to New Jack City). The group's first LP is a near-perfect mix of party anthems and love jams, and includes hits like "All 4 Love." —Brolin Winning

Hear It Now!
20110503-upcoming-releases-560x225.jpg We must admit that Tuesday is our favorite day of the week here at Rhapsody: that's when new releases come out. Thankfully, the next three months of Tuesdays look absolutely glorious, full of fresh music from ukulele-brandishing rockers, electronic pioneers, strident country hit makers, unabashed pop divas, unrepentant metalheads, CCM luminaries, contenders for Best Rapper Alive honors, soul superstars and, of course, Lady Gaga. Here's the best of what's to come.


Lady Gaga, Born This Way (May 23) Quite possibly the most anticipated album of 2011, Gaga's second full-length bears a heavy load: there's the dreaded sophomore slump to avoid, and her massive celebrity to justify. Then there's the public's increasingly conflicted position on Gaga to contend with: do we find her hyper-theatricality annoying or endearing? Are the new singles ("Judas" and "Born This Way") brilliant meta-nuggets of pop culture or weak Madonna rip-offs? The whole world waits with bated breath to decide. — Rachel Devitt

Beyoncé, TBD (June) Then again, with just one girl-power-hungry, oh-Sasha-it's-fierce lead single packed with distinctive Diplo-and-Switch beats, Beyoncé made the world sit up and go, "Gaga who?" And when her fourth album drops sometime in early summer, you can bet your granny panties B's gonna knock all those lesser divas down like dominoes. — R.D.

Kanye West and Jay-Z, Watch the Throne (hopefully soon) Keep watching. This long-threatened mega-rapper summit will happen eventually, we swear: manic lead single "H.A.M." emerged way back in January, but it's been mostly radio silence since. Still, whenever these guys get around to it, Throne is sure to be a delightfully extravagant bacchanal of Best Rapper Alive narcissism. Hopefully Nicki Minaj drops by, too. — Rob Harvilla

Cheat Sheet: Chicago House

cheat_sheet_top_header_560x62.jpg 20110503-chicago-house-560x225.jpg Chicago house never really goes out of fashion. Invented in the mid-'80s, it was a catalyst for both British rave culture and Daft Punk's "French touch," and its minimalist machine funk comes back into vogue every few years, especially in the mercurial form of squelching, wriggling acid — a subgenre that's become synonymous with the sound of Roland's TB-303 bass synthesizer, first distilled by Phuture and Marshall Jefferson on 1986's "Acid Tracks."

With house and techno in a kind of holding pattern, bygone styles and retro fetishes are all the rage again, and from Los Angeles rooftops to the beaches of Ibiza, the jacking, chugging sound of Chicago reigns supreme.

For those interested in exploring its roots, a new compilation, EPM Selects: Chicago House, provides a good starting point, heavily weighted toward seminal classics like Mr. Fingers' "Can You Feel It," Farley Jackmaster Funk's "Love Can't Turn Around," Steve Silk Hurley's "Jack Your Body" and Mike Dunn's "Magic Feet." A few later tracks, like Gene Farris' 2002 "Black Satin (Miguel Migs Remix)," expand the compilation's remit beyond the strictly old-school, which is nice; many of the record's selections are already well known. The outliers do muddy the criteria slightly. It's too scattered to be a history lesson, too unbalanced to be a proper survey. Still, it's a solid collection, enlivened by rarities and forgotten album cuts like Gemini's "Z Funk" and Glenn Underground's "May Datroit."

senior_year-banner-560x60.jpg 20110503-class-clown-560x225.jpg Fee-fi-fo-fum, I smell smoke in the auditorium. You know the culprit: Put a tack on teacher's chair, tied a knot in Susie's hair. Always writing on the wall, always goofing in the halls, always throwing spitballs. Walks into the classroom cool and slow, calls the English teacher Daddy-O. And being such a funny fellow (destined to be inducted into the Animal House upon soon entering college no doubt), we can assume that our jokemeister loved plenty of funny songs, right? (National Lampoon High School Yearbook parody writeup on Herbert Leonard "Wing-Ding" Weisenheimer: "knows the real lyrics to 'Louie Louie'.")

Well, in-depth research has indicated that 1958 was probably the funniest year for funny songs ever; even if The Coasters wouldn't hit with "Charlie Brown" until a year later, "Yakety Yak" was still pretty much a laugh riot. As were plenty of other vocal-group R&B smashes and — even more so — teen exploitation beep-beep-short-short-splish-splash novelty numbers that weren't even real rock 'n' roll at all. David Seville's "Witch Doctor" was the No. 1 song in the country for three weeks in the spring; Sheb Wooley's "The Purple People Eater" was No. 1 for six weeks in the summer. "Yakey Yak," The Silhouettes' "Get a Job," The Everly Brothers' "Bird Dog" (first line: "Johnny is a joker, he's a bird, a very funny joker"), and The Champs' "Tequila" — class-clown favorites all — topped the pop chart during '58 as well. The Big Bopper did a song with both the Witch Doctor and Purple People Eater in it, and rockabilly juvenile delinquents were still raving; Eddie Cochran wanted a job almost as much as the Silhouettes did.

Anyway, these trends and more — including a couple numbers that'd probably be deemed politically incorrect today, so be forewarned — are reflected in the playlist here. If our class clown was truly familiar with Louis Prima, I guess he must've had hilarious parents as well.

Click here to listen to the entire playlist: Senior Year, 1958: Class Clown


senior_year-banner-560x60.jpg 20110503-freak-folk-CS-560x225.jpg Over the last few years, modern folk men have swept the indie landscape with as much reckless abandon as the pelts covering their faces. The bold and oftentimes bearded troubadours have once again made mandolins hip and banjos a trendy accessory. But it's not all about the hair or the gear. There's often something mystical in the folk artist, like he knows something we all don't and this lingering awareness drives a passion that is translated into electrifying music, even if there's little more than the strum of an acoustic guitar to carry it through. Today's folkies all share this trait, and while they are students of the rustic and raw revival scenes of '50s, '60s and '70s America and Britain, they are also revelers in the uninhibited world of indie rock.

Listen to the entire playlist: Cheat Sheet: Modern Men of Indie Folk


Oh Land, Oh Land

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Danish darling Nanna Oland Fabricius is like half fembot, half hippie chick. Programmed to write, sing and play nearly every instrument on her debut, the blonde bombshell utilizes sleek synths, glockenspiel and drum machines as shiny accessories to lure you into her electro-pop wonder world. In reality, Oh Land is quite poignant; Fabricius' crystal coos glide atop heavy beats that are sometimes trip-hop dark, sometimes disco giddy. In "Break the Chain" she opens up about a dance career ended by injury; elsewhere her flower-power side shines through with talk of moons, dreams and white knights. — Stephanie Benson

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Roundup: R&B, May 2011

20110503-r&b-RU-560x225-2.jpg The world of soul music may not generate as much product as rock or hip-hop, but it tends to have an outsized impact. Two of this year's best-selling records thus far came from Adele and Marsha Ambrosius, while Chris Brown's comeback album may be the most controversial. Beyond the headliners, there were troubadours like Noel Gourdin, Anthony David and Ginuwine, men who exemplified vintage R&B, and a lineage that stretches back to the late Teddy Pendergrass. Whether it's the Afropean neo-soul of Les Nubians or the dance pop gospel of Jennifer Hudson, when you hear soul music, you know it.


1. Adele
21
Adele's shtick seems to be album titles that correspond to her age - and completely belie the old soul inside. Her sophomore album, 21, sounds like no 21-year-old. Adele spends most of it dominating styles she has no business knowing how to sing so intuitively, from the rafters-shaking, revival-ready "Rolling in the Deep" to the big, brassy '70s rock of "I'll Be Waiting." Elsewhere, she croons weathered ballads that sound more lovelorn than someone so young should (see "Turning Tables," a "Chasing Pavements" redux down to the syllabic structure). It won't help a wider audience find her, but those who do will be rewarded. — Rachel Devitt

20110503-beastie-boys-560x225.jpg A blog post about the lyrical evolution of the Beastie Boys seems counterintuitive. Back in 1999, when the group capped an amazing decade with the Sounds of Science collection, their party-rocking rhymes seemed beside the point. Then at the height of their influence, Mike D, King Ad-Rock and MCA were famed for, in short order, virtually inventing rapcore, taking sampladelica to the outer limits, and wedding Jimmy Smith organ funk with massive Led Zep drums. Their vocals were just part of the sound's noisy static, and a familiar entry point for a frat-boy base raised on debut Licensed to Ill, one of the most sampled hip-hop albums ever, a status mostly earned for the group's crazy vocal tones, from Ad-Rock's whiny Brooklynese ("Umm ... drop!!") to MCA's phlegmatic rasp ("Pump it up, homeboy!").

Roundup: Rock, April 2011

20110503-rock-RU-560x225.jpg Rock is such an expansive and nebulous genre that it's rather difficult to rank its albums in terms of quality. But hey, I'm game to try anything. Below you'll find what I think are the top 15 rock albums dropped over the last month (give or take a few weeks, of course).

Most of the genre's recent high-profile titles are present: the Foo Fighters' exercise in returning to rock 'n' roll basics, Wasting Light; Paul Simon's critically lauded So Beautiful or So What; Duran Duran's first full-length in nearly three years, All You Need Is Now; and Augustana's self-titled fifth album, a stab at neo-Springsteen roots-pop that sounds like a cross between Kings of Leon and The National. This roundup also includes several under-the-radar titles; in fact, my top album is a fairly obscure release from one Josh T. Pearson. Rock in spirit first and foremost, Last of the Country Gentlemen is an epic, powerful collection of singer-songwriter confessionals that's as sonically challenging as it is emotionally demanding — think Tim Buckley's Lorca or Fred Neil's Sessions. Last but not least, there's a handful of albums culled form the roots and blues rock realms, including Jason Isbell's Here We Rest (give it a listen after watching a few episodes of Justified) and guitar ace Joe Bonamassa's snarling Dust Bowl.

20110503-jennifer-lopez-560x225.jpg That title might sound like a crack about Jennifer Lopez being something of a diva -- and OK, maybe it is, just a little. But really, who deserves to work a bit of divatude more? In just 42 short years, the indefatigable Ms. Lopez has conquered virtually every arena of popular culture: dancing, acting, music, fashion, tabloids, celebrity (and sometimes controversial) relationships, high-profile pregnancies and, now, American Idol. The woman doesn't rest, either: She could have just rested on her laurels in her cushy new Idol judge gig, content to mentor wannabes and issue a grande dame's grand edicts. Instead, she went ahead and showed the whipper-snappers how a diva does, dropping first a smash hit new single ("On the Floor") and now this week, her seventh studio album, Love?. No one has earned that definite article more. In honor of that new album and La Lopez's general fabulousness, we've compiled a little tribute to all the hats she's rocked over the years. All her greatest hits are here, along with tracks representing all the people and places to which her reach has extended: her breakout gig as a backup dancer for Janet Jackson, her first leading film role as Latin pop phenomenon Selena, her many high-profile collaborations (musical and otherwise), her Idol connections and more. So sit up, pay attention and listen hard because a diva to be reckoned with is in the house, people.

Click here to listen to the entire playlist: It's J-Lo's World (We Just Live in It)


Fabolous, Loso's Way

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Taking a cue from Jay-Z's American Gangsta, Fabolous' fifth studio album is (very) loosely based on the 1993 Sean Penn/Al Pacino movie Carlito's Way. With the focus generally on his incredible flow and knack for wordplay, Fab is better than most at balancing bombastic street joints like "The Way" and "Salute" with syrupy radio jawns like "My Time" and "Throw It in the Bag." Another solid entry from one of New York's finest rappers. — Sam Chennault

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Lenka x The Beatles



On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Lenka talk about her favorite album of all time.


ARTIST:
Lenka

RECORD:
The Beatles
Abbey Road

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Interview

John Lennon, Imagine

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Plastic Ono Band may be John Lennon's most powerful solo LP, but this follow-up is his most characteristic in sound, feel and style. Free of filler, it features such pop wonders as "Jealous Guy" (which only went to No. 20 on the singles charts!), the secular humanist anthem "Imagine," "Gimme Some Truth" and "Oh Yoko!", a song so effervescent that you forget whom it's written about. "Crippled Inside" and the sonically excellent Macca attack "How Do You Sleep?" reveal that Lennon's ability to bitterly lash out in anger usually beats out his knack for self-reflection. — Nick Dedina

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Clint Black, Killin' Time

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He's got good looks, fondly crafted songs, and a trenchant if anonymous voice, subtle even for Nashville neotraditional. Buoyantly in love on "Straight from the Factory," he quickly follows with as gracious a breakup song as you could hope to hear. Yet though she may have left him "A Better Man," he's not together enough to live without her. So for the rest of the album he spends a lot of time in bars -- every one subtly and trenchantly evoked, of course. — R. Christgau

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