The Roots dropped “Rising Down” last year; it had its moments (Mos Def giving everyone a preview for The Ecstatic on the title track is enough for me to make that prior statement). I recently picked up a paperback copy of William T. Vollmann’s Rising Up and Rising Down: Some Thoughts on Violence, Freedom and Urgent Means (the unabridged hardback edition is supposedly fully illustrated; a nice quote via Book Slut; The book in question, Rising Up and Rising Down:

Some Thoughts on Violence, Freedom, and Urgent Means originally appeared in 2003 as a 3,352-page, seven-volume set from McSweeney’s Books. The author more recently abridged that set into a 752-page brick of a book about which Publisher’s Weekly had to admit, “there is nothing else in literature quite like it.”) I’m not gonna give it the hype that Publisher’s Weekly felt compelled to, but I suppose it’s at least worth putting out there that this Vollmann guy really does give a damn about his work.

While we’re on the topic of authors publishing works that may or may not be of any interest to the reader, ZIF reader and commenter Lexington Steele (should I laugh or cry, because I know that is a porn reference?) can count himself in; find a check for 70 dollars (send it to the handsome boy modeling school or, if you prefer, <a href=”http://www.amazon.com/Double-Edged-Sword-Russias-Energy-Leverage/dp/3639180399/ref=sr_1_12?ie=UTF8&s=books&qid=1251808589&sr=8-12″Amazon)

The Roots' new album "How I Got Over" will be released in October

PREVIEW: The Roots – “How I Got Over” live on Late Night with Jimmy Fallon

Say what you will about The Roots‘ decision to become Jimmy Fallon’s house band on Late Night with Jimmy Fallon, but a new album from the Philadelphia septet will always be welcome news. So, naturally, with the announcement of an October 20 release date for the group’s new album, How I Got Over, comes much excitement — especially after the success of last year’s Rising Down.

The Roots debuted the title track, set to be the album’s first single, on Late Night at the end of June. The song has a bit of a different sound than we’re used to, especially considering the group’s recent output. The studio version boasts a vintage-soul sort of feel, but the band performed a faster, much jazzier version live — featuring a four-piece brass section.

“How I Got Over” is noticeably more positive than anything on Rising Down — or even that album’s predecessor, Game Theory – which should come as little surprise; band members have said that the album will be a political offering, focused primarily on the jubilation the group felt over the transition from the country’s Bush years into the Obama administration. MC Black Thought’s delivery is as rapid and vicious as ever, but it almost takes a backseat to the new musical direction the band explores on the track.

In any case, check out the video of the band’s performance of the song on Late Night after the jump. As mentioned before, How I Got Over is due out October 20 on Def Jam Records.

– Dan Kaplan

Ok! Everybody give it up for Redman and Method Man! The Blackout 2 album is solid! My pic for the best of ‘09 so far! : D I’ve put together some reasons to back up this statement, here they go! … 1.Strong Rhymes from everyone, Red is spitting like he knows he almost dropped out of my top 10 and he’s decided to keep the spot. Meth!, Wow I really admire his work ethic…he’s probably one of the strongest emcees  out he’s so consistent with quality! Can’t sayI ‘ve ever heard a wack Meth verse and I have all his albums…there’s too much to say about the work Meth puts in and how he holds the fans and his fam down! He is a blogpost on his own! I didn’t realize I was such a supporter of his until now! I support lots of artists though, that’s what this blog is about! Also all guest appearances show skill with fly rhymes on this album, no wackness.

2. ok lets go quicker….Dope Beats! I like 9 out of 10 beats on this album, these cats are flowing on these beats…you can workout to a good portion of this album…i’m looking forward to that actually

3. dope appearances…kinda covered this in 1.

4.Great gift for a beginner to know what the standard is for real hiphop albums…this album is like a manual, or encyclopedia, on how to make a good album…I’ll take this opportunity to mention my pic of album of the year 2008. The Roots, Rising Down. Say that to say this, Both these albums are great gifts for the new or experienced hiphop listener

5. Track 8 and Track 14

Last night while I was wasting time on the internet, I came across a new Mos Def joint called History that is produced by the late, great J Dilla featuring Talib Kweli.  Clearly, I was pretty excited.  While I was listening to the song(which is dope), I was reading a few of the comments and someone said they got Mos’ new album, The Ecstatic.  So I go to my typicial site and low and behold, The Ecstatic sprung a leak.  This is one of the FEW albums that I have been looking forward to hearing.  Especially after Mos Def KILLED The Roots joint Rising Down.  I listened to about half of The Ecstatic so far and it sounds pretty dope.  Slick Rick is even on the album.  However, I want to listen to the whole thing a couple more times before I formulate my final opinion, so picking just one song from what I have heard isn’t that easy.  So today’s song of the day, which has been stuck in my head since hearing it last night while I was painting my guys living room, is Got by the Mighty Mos Def.   Black on Both Sides is one of the dopest hip hop albums of all time.  If you recall Umi Says even landed in a Jordan Commercial.  Anyways, enjoy listening to Got.  I even included a bonus track from The Escstatic, History featuring Talib Kweli and The Roots Rising Down featuring Mos Def and Styles P.  Make sure to pick the album up when it drops. 

Mos Def Got

Mos Def History featuring Talib Kweli produced by J Dilla(RIP)

The Roots Rising Down featuring Mos Def and Styles P

Four and a Half out of Five Stars

The incredible band known as The Roots, continue their journey as one of Hip-Hop’s elite with their 10^th album, ‘Rising Down.’

After a flashback Intro, the title track sets the tone for the rest of the album. Armed with additional lyrical vets Mos Def and Styles P, Black Thought and the gang tackle the world of today over a militant snare.

“Who got the politicians in their back pocket?” is the question Thought asks in the second track “Get Busy.” “75 Bars (Black’s Reconstruction)” is reminiscent of The Roots’ ‘Illadelph Halflife’ days where Thought would rip through tracks a-la freestyle.

The political undertone continues on “Criminal,” featuring Truck North and a memorable verse from Saigon where he spits, “crooked ass cops is the reason for my belligerence.” In light of the Sean Bell case, this speaks volumes. “I Will Not Apologize” speaks on detrimental issues in, and of the Black community while “I Can’t Help It” ventures into self-realization and personal struggle. “Singing Man” marks the move into the more calm section of the album; at least instrumentally. Although the drum and bass get toned down the lyrics continue to a rise of power as Black Thought, a re-emergence of Dice Raw and a host of others touch on many issues.

The overall feel of this album is great. Although it speaks on troubling issues and problems in today’s society, it’s uplifting. It displays the promise and the optimism of what we can do as a people who believe in themselves. The Roots march on.

Downloads: The Whole Album

We’ve been checking out a lot of records lately to get a feel for what we want this record to sound like.  We’re looking for different stuff – great bass sounds, drum sounds, vocals, grooves etc.  Here’s a couple we’ve been looking at recently for inspiration as we approach our own record.

Dan:

Michael Jackson – Thriller: This is probably the greatest dance record ever made.  The sound of the record as produced by Quincy Jones is simply stunning.  25 years after it was made, it’s genius is still as obvious now as it was back then

Chic: For years I’ve been obsessed with Bernard Edwards’ bass playing – to the point where his face was my screen saver and his picture hangs in my apartment.  This is probably the greatest live dance band ever and one of the best rhythm sections as well.  An NYC band also and produced by Nile Rodgers (their guitarist) who went on to produce some of the greatest records of the 70’s and 80’s including Madonna’s first record, The B-52’s and David Bowie.  Their stuff was recorded live, without a click track and it still fills dance floors today.

Curses: Part of the Trouble and Bass DJ crew here in Brooklyn. The power of their tracks and the grittiness of the electronic sounds are awesome.  Check these guys live if you ever get a chance.

Giorgio Moroder: An Italian producer of the 70’s who produced some of the greatest dance tracks ever.  (ex: Donna Summer’s 70’s dance hits)

Ken:

My choices are not so much for the drum sounds yet, but more for groove. So far the record I like most for drum sounds is Thriller. I am still investigating more.

Roots- Rising Down: Our sound is all about the bass drum connection. On this record, the connection between Questlove and Black Thought rhythmically (even though he’s the MC) is incredible. It’s really the way in which they both completely get in each other’s rhythms that makes that impeccablepocket.

Oumou Sangare and Ali Farka Toure.  These are two of the most famous musicians coming out of Mali. I’m going to be adding a lot of percussion on this record, and the rhythmic articulations in the guitar and percussion lines have an incredible feel that I’m really trying to get inside of. Basically anything I’m checking out, I always try to find out where the dance is in it. What part of my body do I want to move when I hear it etc. Then I break it down and try to replicate that feeling in my body when I play.

I heart HypeBeast for putting these UNDRCRWN Mos Def photos on their site; with the Black Dante posts I’ll be making leading up to The Ecstatic, they’re coming in handy. Anyway, remember the post I had where I gave a rundown of all the new Mos Def offerings leading up to the new album? Well I forgot the verse that first showed the revamped lyricist in the first place. Enter “Rising Down,” from The Roots’ 2008 album of the same title. Check the imagery, the poeticism, and the energy. And the way he abruptly ends the verse is genius to me.

Every anywhere heights plains peaks or valleys
Entrances exits vestibules and alleys
Winding roads that test the firm nerve
Fortune or fatal behind the blind curve
The engine oil purr, lights flash to a blur
Speed work through the earth make your motor go scurrr
Tonight at noon watch a bad moon rising
Identities in crisis and conflict diamonds
Blinding staring at lights ’til they cryin’
Bone gristle popping from continuous grindin
Grapes of wrath in a shapely glass
Ingredients influential on your ways and acts
Zero tolerance to raise the tax
It don’t matter how your gates is latched
You ain’t safe from the danger jack
Made it way before they made the map
Or a GPS this is D-E-F, Leader!

via OHHLA

Marc Broussard – Keep Coming Back

Last September I went to NYC for Marc’s record release party at the Hiro Ballroom.  This was my 3rd time attending one of his shows but it was my first record release party, so I was actually a little anxious this time around to see how the show would go.  It proceeded to be on of the best shows I’d ever been to–where Marc dropped several songs from the new record and made sure to please the fans with some oldie favorites.  I noticed that not many people knew much about Marc, but he knew what needed to be done.  Marc has made significant contributions to music since 2002, beginning with his debut, Momentary Setback, completing three more full length albums, and appearing most recently on all the late-night talk shows to promote his newest LP, Keep Coming Back. It’s noticeable Marc hasn’t reached the level of industry A-listers, but I’m not sure I want him that way.  Consecutively releasing great records with different labels, he’s now found a home with Atlantic Records–maybe it was inevitable he was destined for major label stardom.

Marc’s catalogue shows substantial change from the start of his career–beginning with tracks that were obviously made to break into a popular industry, and while specific tracks are the cornerstone of Marc’s style, he seems to be gaining sizable artistic independence.  Cue Keep Coming Back.  If you haven’t heard Bayou Soul, don’t worry–it’s not an acquired taste, it’s not a trend, it’s just music for the music appreciator.  Check out the horns and guitar licks in “Keep Coming Back,” “Hard Knocks,” “Power’s in the People” and “Man for Life;” if you’re looking for some organ and piano soul, check out “Real Good Thing,” “Why Should We Wait” and “Saying I Love You–” which sounds like an ode to Stevie Wonder’s Innervisions. He also delivers some heartfelt ballads which compliment his acoustic tracks nicely.

Mr. Broussard offers up some of his best this time around and promises more to come.  I pre-ordered his album back in August giving me the chance to grab both the signed CD and a vinyl copy of the record, something that seems to be making a comeback (i.e. just like Jason Mraz’s We Sing. We Dance. We Steal Things & Bruce Springsteen’s Working on a Dream) and is equally as cool on the turntable.  iTunes offers up a couple of live bonus tracks giving you a chance to appreciate how his music sounds best.

Marc Broussard

Join the Bayou Club

Keep Coming Back iTunes

92 out of 100

Lil Wayne -  Tha Carter III

In 2008 Weezy finally completed the trilogy four years in the making (his Return of the Jedi), and after all of the leaked tracks, the leaked albums, and the mixtapes, he’s released his opus to critical acclaim and has retained his World Heavyweight Championship belt as the greatest rapper alive.  In “Dr. Carter,” Wayne is Hip-Hop’s messiah, chosen to resuscitate it’s consciousness and bring the industry back from whence it fell.  He doesn’t forget to enlist the help of some mentors like Jay-Z and some fellow classmates like Kanye West.  Did Hip-Hop need to be saved?  There’s still a lot of veterans in the industry and they’re still releasing records: Nas released his ninth studio album in 2008, Jay-Z is working on finishing the Blueprint trilogy, Dre is dropping Detox this year (hopefully), and Eminem’s Relapse looks like it’s ready to drop soon too.  Regardless, he’s secured his spot with Tha Carter III and joined an elite few.

While this third installment proves to be one of the top albums of the year and certainly the most lucrative, it’s not on par with Tha Carter II’s status.  Wayne starts to transition in this album, knowing full well what the people expect, and still manages to show how he’s on another level.  “Tha Mobb” is probably one of the best intro tracks I’ve heard, letting all those seeking the best rapper crown know they’re gonna have to see Lil Wayne first.

The best tracks off the album include “3-Peat,” “Mr. Carter,” “Dr. Carter,” “Phone Home” and “Tie My Hands” featuring Robin Thicke.  Weezy has already collected four Grammys this past Sunday, including Best Rap Album of the Year, which beat out Jay-Z, Nas, T.I. and Lupe Fiasco.  Now that ‘The Best Rapper Alive’ is set to make his rock debut this April with Rebirth, it’ll be interesting to see if Tha Carter IV is something in our near future.  After listening to the first single from Rebirth, “Prom Queen,” it can’t really come soon enough.

Lil Wayne iTunes

81 out of 100

The Mars Volta – The Bedlam in Goliath

The story goes that on a trip to Jerusalem, Omar Rodriguez-Lopez bought an Ouija-type board to give to Cedric Bixler-Zavala and it quickly became a post show game to play while on tour with The Red Hot Chili Peppers.  Known as “the soothsayer,” it began demanding things from the band, causing problems while writing and recording the new record including Cedric’s foot requiring surgery, audio tracks literally disappearing, Omar’s studio flooding twice, drummer Blake Flemming having to quit the band due to financial difficulties and the album’s main engineer quitting after having a nervous breakdown.  After salvaging what was left of the album, Omar broke the board in half and buried it at an undisclosed location, never to be spoken of again.  The Mars Volta never fails to impress.

Their fourth full length studio album was about to be tossed in the trash, until Omar secured a new engineer and the band enlisted the talents of a new drummer, Thomas Pridgen, who according to Cedric brought the band new life.  At first the thought of not having Jon Theodore in the Volta anymore made me think Bedlam was going to be a momentous disaster, but after hearing this record, I hope Pridgen has found a permanent spot with the band.  Bedlam brings with it a considerable amount of influence–fusing jazz, experimental rock, psychedelic guitar and chaotic vocals that border on insane genius.  Like all of Volta’s records, the tracks are all part of a bigger movement, each track, it’s own little overture.

Tracks worth really looking into – “Metatron,” “Goliath,” “Cavalettas,” “Soothsayer” and “Ilyena–” make sure to check out the jazz-infused saxophone at the end of “Cavalettas” and the use of guitar and vocals on “Soothsayer.”  Best listened to from start to finish, Bedlam proves to be another great album, although not quite on the level of originality as De-Loused.  If you’re into Omar Rodriguez-Lopez, he’s released several solo albums, including Calibration and Old Money in 2008, filled with electronic acid jazz, Latin fusion and experimental progressive rock.  He just released two more solo albums, Megaritual and Despair at the end of January, so if you can’t get enough Volta, check out some of Omar’s new stuff that’s definitely on the experimental side, and definitely shares elements of the Volta.  In the meantime, Bedlam will keep you enthralled enough until their next release, supposedly the band’s attempt at an acoustic piece.

The Mars Volta

Volta on iTunes

Omar Rodriquez Lopez’s myspace

91 out of 100

Q-Tip – The Renaissance

Nine years since Amplified hit the shelves at record stores, it’s no wonder Q-Tip is coming into a renaissance of his own.  Plagued by continually jumping from label to label and several albums being scratched completely, Q-Tip hasn’t forgot how to bring back the nostalgiac sounds of a frontman from A Tribe Called Quest.  What Dead Prez does for political hip-hop, Q-Tip does for upbeat, jazz-inflected hip-hop, which is more of a necessity now in the face of mainstream hip-hop than when People’s Instinctive Travels and the Paths of Rhythm first came out.

The cover shows a slight tip of the hat to Herbie Hancock’s 1973 Head Hunters, a defining album of jazz fusion as well.  The tracks display Q-Tip’s flow through nasal filled voice and his ever-present consciousness of everything around him.  Q also has some significant guests to add to the soul including D’Angelo, Amanda Diva, Norah Jones, and yes, Raphael Saadiq. The stand out tracks are many–”Johnny is Dead,” “Official,” “We Fight/We Love,” “ManWomanBoogie,” “Life is Better” and “Believe.”

This album has been long overdue, but someone already said it best; better late than never.  Q-Tip has been a missing member in alternative hip-hop and it’s nice to have him back with the likes of Common, Mos Def, Talib Kweli and the Roots.  Tribe reunited in 2006 playing several shows although there hasn’t been any talk of a new studio album.  They still have one more album on their record deal since breaking up, but they don’t want rush any LP that might disappoint Tribe fans.  It took Q nine years to finish The Renaissance, so there is plenty of optimism here to hope for a Tribe album full of new concepts and wisdom.

The Renaissance has two bonus tracks on iTunes – “Good Thang” and “Move”

Q-Tip

Q-Tip iTunes

83 out of 100

Jamie Lidell – Jim

I feel like a lot of the artists I’ve been talking about have been taking their inspirations from the blues, soul and R&B greats–Stevie Wonder, Otis Redding, Wilson Pickett, Marvin Gaye, Smokey Robinson, Sam Cooke, Ray Charles.  I know it’s not exactly groundbreaking territory coming out with yet another soulful album during 2008, but shit, if you want to put your own twist on it, and it sounds great, than why the hell not?  Enter scene as Jamie Lidell just got back from the 60’s, all notes ready to begin production of Jim.  Mr. Lidell (aka Jim) has blended some of the greatest parts of soul, leaving behind a little more of the electronic funk from Multiply creating something that makes you wonder, what the hell got into Jim?

Jim has gone on a Motown kick here, throwing ten tracks into the mix for your listening pleasures, ranging from upbeat sunny day tunes (“Another Day”) to the soothing warmth of his ballads (“All I Wanna Do”).  [side note: if you're into Amos Lee, check out the track "All I Wanna Do"]  “Another Day” begins with birds chirping in your bedroom for a wake up call, giving the listener a revelation–I’m going to enjoy this.  Me personally, I would wake up to this track everyday; giving you a reason to get out of bed even when you don’t have one.  “Wait For Me” plays out like Billy Joel on piano mixed in with Sam Cooke’s Live from Harlem Square in 1963.  The album is beautifully arranged bombarding you with sounds of Wilson Pickett on “Out of My System,” orgies with guitars, harmonicas, and horns on “A Little Bit of Feel Good,” along with Al Green soul and rhythm on “Green Light.”

This album is a guilty pleasure; don’t feel obligated to hide it.  As soon as you drop the needle on this record at a party, count on someone in the crowd asking you who that was and where to get it.  Luckily, you’re in the know.  If you get the chance to catch Mr. Lidell, do it immediately, but as he’s in Europe most of the time, you might have to wait awhile, or until his next record drops.  You can check out his iTunes Live album on the link below. Satisfaction guaranteed.

Jamie Lidell’s website

Jim on iTunes

Jamie Lidell Live Sessions iTunes

92 out of 100

The Roots – Rising Down

Back for their 8th studio album, The Roots bring with them a collection of digital samples filling in over an always enjoyable ?uestlove on the drums.  One of the best live acts today, The Roots are continuing their journey, this time to a darker place than even Game Theory.  Another album named after significant works of literature, Rising Down is the title of William T. Vollmann’s 2004 book, Rising Up and Rising Down: Some Thoughts on Violence, Freedom and Urgent Means, and to boot, it was released on the 16th anniversary of the Rodney King riots in LA.  Socially serious and politically pissed off, The Roots are lashing out at a Bush-era administration that is doing nothing but destroy what little is left–turns out they’re not too far off.

Always count on ?uestlove for his mastery on percussion, but as he talks about the album, there have been some changes on this album from previous.  Changing some of the sounds included Kamal’s Fender Rhodes in search of new innovative sounds. Keyboards, synthesizer effects, and horns create some edgy music, something you would hear in a post-apocalyptic movie.  Also met with several guest appearances including Saigon, Mos Def, Talib Kweli, Common, Malik B and Styles P, Rising Down continues the strong tradition of Alternative Hip-Hop that according to “The Show,” “must go on.”

Tracks making the cut–”Rising Down,” “Criminal,” “I Will Not Apologize,” “Get Busy,” “Lost Desire” and “The Show;” however the album on a whole is pretty amazing.  Even with a 3-piece set, ?uestlove manages to pull out a different set of sounds every time.  While lyrically this may not be the strongest Roots album, but it still gets the message across–The Roots are still phenomenal.

Rising Down on iTunes

The Roots Website

85 out of 100

John Mayer – Where the Light Is: Live From Los Angles

Even though this is a live CD set (and an optional DVD) containing old songs and covers, it really showcases Mayer’s body of work as well as some of his great influences.  Mayer breaks the concert down into three sets playing one acoustic, one blues set with the John Mayer Trio and one set with his live band.  Mayer provides some amazing guitar playing on this one to compliment a voice that comes across so smooth and mellifluous, showcasing his love for the blues.

The acoustic set kicks off the show, bringing the crowd together, lighters extended during a blues-inflected “Daughters” and a truly unequaled version of Tom Petty’s “Free Fallin’.”  The Trio continue the next set, where Mayer starts off with an Elmore James cover of “Everyday I Have the Blues,” but he really heats up the guitar with his ten minute performance of “Out of My Mind,” where it looks like Muddy Waters, Buddy Guy, and Jimi Hendrix all just join him on stage for a jam session.  If there’s one song off this record I could recomend for blues lovers, please be aware you have been instructed to listen to “Out of My Mind” immediately.  Another Hendrix tune can be found in Mayer’s classic cover of “Bold as Love.”

The show ends with Mayer’s rock band playing some of the usual album fare, “Waiting on the World to Change,” “Slow Dancing in a Burning Room,” and an ever soulful ten minute rendition of “Gravity.”  This album is not easy listening–and that’s a good thing.  If you’re a Mayer fan, this one is a must, but if you’re just into good music, this one’s not a bad idea either.  My only wish would have been to hear “Covered in Rain,” which he played only once (on Any Given Thursday), but alas, I’m afraid some rare gems have to stay that way.

Where the Light Is iTunes

89 out of 100

Ray LaMontagne – Gossip in the Grain

I recently discovered this guy while ruffling through some records at the Princeton Record Exchange (if you’re from around NJ, you need to hit that place up) and I gotta say that I was initially impressed by him.  Immediately, I grabbed a hold of his earlier stuff–full of folk rock allusive to a group like The Band with a voice concoction somewhere between Van Morrison and a raspy James Taylor.  This record takes a short departure from the earlier, dipping into a little of everything, but with a few exceptions, ends up being more of the same.

His first departure takes place on the lead-off track, “You Are the Best Thing,” trading in the folk for a little bit of a do-wop soul ballad.  “I Still Care For You” sounds like it could be a song off The Bends if Radiohead wrote a psychedelic folk track and “Meg White” feels like a slice of the early Velvet Underground.  Cue the banjo on “Hey Me, Hey Mama” adding a country twang of lightheartedness to the album and “Henry Nearly Killed Me (It’s a Shame)” finding a bluesy rhythm with a harmonica and voice on board.

Overall, the record has solid points of good folk while moving across the musical spectrum for some breaks in between, but the record too closely resembles those he’s already done.  I was waiting for some break out songs in the mix, but LaMontagne’s passion seems to be in folk, not tempted to stray too far off course.  Side note, for anyone who saw Letterman this past week, does he not resemble recently retired actor/aspiring rapper Joaquin Phoenix? If you haven’t seen, please take a minute and see for yourself here, because not only is it classic, but I can’t wait to review his new album that’s supposed to resemble the golden age of rap between ‘86 and ‘93.  Anyways…as for Ray, I dig it for when I’m trying to sleep, but for now, I want to hear something more catchy.

Gossip in the Grain on iTunes

Ray LaMontagne’s Website

62 out of 100

Weezer – Weezer(Red Album)

Weezer’s 6th studio album (and 3rd color) has a lot of what you would expect from the band singing about rebelling from the norm, feeling its nerd nostalgia, making jokes about anything that’s relevant, but this time, maybe Weezer doesn’t feel particularly upbeat about it.  Then again, when were they ever?  Rewind to “Undone – The Sweater Song” on the Blue Album–a sweater is destroyed when you hold the thread and I walk away, or just simply the song titled “The World Has Turned and Left Me Here…you get the point.

“Pork and Beans” takes its jabs at the music establishment, evidently written because they didn’t have enough pop material for the record.  Sometimes you get what you ask for even though its not for the better good.  “Troublemaker” let’s Rivers Cuomo have some fun with wordplay and rhymes, “The Greatest Man That Ever Lived (Variations on a Shaker Hymn)” is played in 8-bar segments showcasing sounds from hip-hop to melodic drum marching, and “Heart Songs” is Cuomo’s opus for all of the artists that influenced him back in the day–”These are my heart songs/They never feel wrong.”

The second half of the album feels a little more downtrodden with slower numbers including “Cold Dark World” and the “The Angel and the One;” this subsequently happens to be my favorite part.  There are also several bonus tracks on here, including a cover of The Band’s “The Weight,” along with “Pig,” “King” and “The Spider.” On a whole, this is one of Weezer’s weaker attempts unfortunately, mostly because it felt rushed.  Weezer was the nerdy complaint rock band you yearned for in the 90’s, but now that most of the band are approaching their 40’s, it feels less likely they can give us what we ask for.  The Red Album plays some of the catchy tunes of their youth but later tracks are bringing out a maturing band; and I kind of like it.

Weezer on iTunes

Weezer’s Website

Weezer – The Weight (UK Bonus Track)

76 out of 100

Nas – Untitled

I remember sneaking Nas records into my house, hiding them from my mom when she didn’t want me listening to the cursing–a lesson I learned after my Wu-Tang Forever CD got snagged away.  I managed to sneak in It Was Written, a record I thought was amazing, and then I got a hold of Illmatic, which completely blew my mind.  Nas was New York’s ultimate lyricist, so good, he even battled and destroyed Jay-Z with “Ether.”  With Untitled, it’s more of the same mastery, this time wrapped up in protest and political strife–still armed to the teeth with verbal assaults, honoring NYC traditions and old fashion commitment to the street.  This album is less about his inner demons as he turns his lyrical scope outward looking at the current state of the Union–and after looking at the cover of the album, it’s clear Nas is gonna be heard.

Right off the line, Nas lets you know where you’re at–as he spits in “Breathe,” “In America you’ll never be free/Middle fingers up, fuck the police.”  In “Hero,” Nas makes it clear that he was definitely stiffed when it came to creative differences between him and the music industry; “This universal apartheid/I’m hog-tied, the corporate side,” elaborating, “Still in musical prison, in jail for the flow/Try telling Bob Dylan, Bruce, or Billy Joel/They can’t sing what’s in their soul/So Untitled it is.” On the track “America,” Nas makes sure that know only “snitches and suckers” believe in the American economy because in the end, it’s all bullshit.  “Sly Fox” warns us on what we’re watching because we’re being watched at the same time–i.e. “O’Reilly?/Oh Really?/No rally needed.”

The lyrical genius goes on and on, smothered in controversy, oozing with frustration–and full of truth.  Nas shows us the light at the end of the tunnel though, ending the record with “Black President,” starting out with that famous line from Tupac, “And though it seems heaven sent/We ain’t ready to have a black president,” a line which may have been true only a year ago.  On the album, there is also the bonus track, “Like Me” worth a listen.  Untitled is another crowning achievement for Nas, and like Illmatic, this record is another example of why Nas is still on hip-hop’s top tier.

Untitled on iTunes

93 out of 100

This is the second Top Albums of 2008 list on OwlPellets, the first of which can be found here.  You’ll notice that only 1 album overlaps onto both lists, which I’d like to point out is some great diversity which few blogs have   Unfortunately, my top 2 albums of the year also happen to be Pitchfork’s top 2 album’s of the year.  But hey, shit happens.

For my 2007 list (which I’d like to add Battles’ Mirrored to- I discoverd that album after the list was made) click here.  Though I made a top 20 last year, I wasn’t quite feeling up to that task this time around.  So with that, here are my top 10 albums of 2008:

 10) MGMT – Oracular Spectacular

9) Girl Talk – Feed the Animals

8.) Ratatat – LP3

7) Sigur Ros (not even going to try to type out the title)

6) Mike Patton – A Perfect Place

5) Hauschka – Ferndorf

4) The Melvins – Nude With Boots

3) The Roots – Rising Down

2) Portishead – Third

1) Fleet Foxes (Self-Titled)

AND, 2009 is off to a great start with Animal Collective’s Merriweather Post Pavilion, definitely worth checking out for all those interested.

Libra's Zeitgeist Mix

Right Click, Then “Save As” or “Save Link As” to Download This Remix!

Hey, y’all…this is your renegade remixer, Libra!  I got this hip-hop joint for you (I originally tried to enter this in a remix contest, but got the deadline mixed up, so imma put it up here for you to check out).

This one’s called “Criminal” by The Roots, off their latest CD – “Rising Down”.  As usual, when possible, I like to work from acapella.  However, I used a couple of provided elements of the original (not much) to augment the mix.

The Roots are among the groups I respect and am constantly in awe of.  ?uestlove consistently weaves his musical aesthetic throughout the fabric of The Roots.  And Black Thought?  Please – I personally find him the sickest lyricist in the business bar NONE.  Think not?  Check out “Web” on The Tipping Point album.   Not enuff?  Check out “75 Bars”  on Rising Down and go stand in the corner.   It was an honor to remix this track, which was laced with guest artists Saigon and Truck North (SickSickSick – check out they pages n’ see).

Hater for the greater good, y’heard?   Stay tooned for more remixes!

If you like this remix, let ‘em know here: The Roots

I was in the process of coming up with a “Best Songs of 2008″ list, like everyone else on the internets. But when I realized that I was struggling to come up with even ten songs that belong on the list, I figured I should stop. Instead of coming up with a list of best songs – because (a) that’s stupid and (b) everyone makes the lists to show everyone else how “cool” their musical tastes are – I’m just going to share my favorite song of the year: “Get Busy” by the Roots, featuring Dice Raw and Peedi Peedi. Happy new years!

With its primitive drums (courtesy ?uestlove) and dirty synths, the song’s menacing beat is the perfect example of the atmosphere that the Roots crew created in Rising Down: dark, compact, and heavy. Every verse is flawless, and it’s near-impossible to pick a favorite line. But if I had to choose, I’d say this Dice Raw rhyme is hard to beat: “I’m kind of like W.E.B. Dubois [pronounced "Du-boys"], meets Heavy D and the Boyz.” Along with Black Thought’s “My squad’s half-mandrill, half-Mandela” and “Part Melle-Mel, part Van Halen,” the lyrical content in “Get Busy” pretty much sums up what The Roots is all about. To top it off, DJ Jazzy Jeff (of …and the Fresh Prince fame) makes a guest appearance to scratch on the song’s bridge. Basically, “Get Busy” is the perfect hip-hop song.

I would have picked “Rising Down,” simply because it has the one of Mos Def’s best verses ever, and the beat is as good as – if not better than – “Get Busy,” but I just couldn’t because of how awful Styles P is in the song. So, here’s a live version without him!

“Rising Down is their fiercest political tract yet… its a sombre confrontation of societies ills powered by a hard, dark more synth led sound.” Siobhan Murphy Metro 28-4-08

Soibhan thinks this is a ‘another classic’.

What about a bit more attention on British Hip Hop? Like Ghetto’s Freedom of Speech album…

Real Hip Hop to the fullest if you ask me.. the Roots perform the song Rising Down off their latest album of the same name.  Mos Def joins in on the fun as well.

I have been gone for a minute, but ladies and gentleman… Sir Dudley’s Top 14 Jams of tha Week are BACK!! This weeks countdown is heavy on R&B Music, with a little bit of go-go, rock & rap sprinkled in.  There is so much GOOD music out there right now, that I could easily have made this the Top 28.  This weeks #1 Jam is “Rising Up” by The Roots ft. Wale & Chrisette Michele. GO GET IT!  Anytime I can put some Go-Go on the countdown I’m going to and this is some straight up mainstream Go-Go!!  If you like party music, you’ll love this record FOR SURE, VIDEO IS SICK TOO!!  EnJoY, the rest of Sir Dudley’s Top 14 Jams of tha Week!

1. The Roots – “Rising Up” (ft. Wale & Chrisette Michele) … I Love Go-Go!  If you have never experienced it…check this song out!!
2. Musiq – “IFULeave” (ft. Mary J. Blige) … 2 of my favorites in R&B on this beautiful track!!
3. Alicia Keys & Jack White (white stripes) - “Another Way To Die” … Lead Song from the new James Bond Movie! CRAZY TRACK!
4. Marc Broussard – “Why Should She Wait”(ft. Sara Bareilles) … Pop/Rock/Soul, Marc is my dude!  I Love this Song!!
5. T.I. – “On Top of the World”(ft. Ludacris) … JAM! JAM! JAM!  T.I.’s Next Big Hit off of Paper Trail!!
6. Robin Thicke – “The Sweetest Love” … If You Liked “Lost Without U”, You’re Gonna Love This Jam!
7. DJ Khaled - ”Go Ahead” (ft. Fabolous, Rick Ross, Flo-Rida, Fat Joe, & Lloyd) … CLUB SMASH!!
8. Akon – “Right Now” … Gonna Be An International Smash!!  Great Club Record!
9. John Legend – “No Other Love”(ft. Estelle) … JL does Reggae, Great Sounding Record!
10. Solange – “T.O.N.Y.” … GO GET THE CD!!  GO GET THE CD!!
11. Ne-Yo – “What’s The Matter”… Ne-Yo gettin his Elton John on in this track!
12. Jazmine Sullivan – “Live A Lie”… GO GET THIS CD!!  BANGIN!!
13. Kevin Rudolf ft. Lil Wayne – “Let It Rock” … Good Shit! Been Around The Block, But I’m Feelin’ It!
14. Plain White T’s – “Natural Disaster” … It’s Been Around For Awhile Also, But I Just Heard It! So Damn It, It’s On The Countdown!

HOPE YOU ENJOYED THE COUNTDOWN!!

~PEACE & MUCH LOVE TO YA~

A couple of months ago we travelled to the UCLA Jazz/Reggae Festival to capture The Roots’ live show and talk to frontmen Black Thought and ?uestlove. Peep the interview below, as well as RIDICULOUS performances of “Rising Up” and “Long Time.” Shoutouts to Gregthedude for his amazing filming and editing skills…Yessir.

interview:

“Rising Up”:

“Long Time”: