Top 10 Moronic Songs of 2011

Ok, this one will be short.

In preparation for writing about some of the songs and albums nominated for this year's Grammy Awards, I took a stroll through what Billboard magazine ranks as the Top 100 Songs of 2011. Now, don't get me wrong, there are plenty of songs that are sub-par being passed off for "hits" that saturate the airways with brainwashing mediocrity or mind-numbing stupidity, however I'm only willing to give so much time to recognize what should be plainly obvious... that music and entertainment corporations have conspired to market and promote anything that will keep people blind, deaf, dumb, ignorant and  super-sexed up. Does this mean that everything on the Top 100 list is worthless trash? No. There are some very good, and even great songs... however the sheer magnitude of crap compelled me to write this.

There were some standouts in the dumb-down-the-people category, for the year 2011. In order to qualify, the song either would make the listener an idiot with repeated listens, or the listener would have to already be a moron to really enjoy the song. I had to narrow things down to ten... it was hard, but here they are... The ten most moronic songs of 2011.

10. She Ain't You - Chris Brown - Chart Position: 89. "When I'm with her, it's only 'bout the sex..." What?!? This jumped straight to the list over other honorable mentions, almost solely on the strength of it being a desecration to Michael Jackson's Human Nature.

9. You Make Me Feel... (featuring Sabi) - Cobra Starship - Chart Position: 48. "La la la la la. Na na na na na..." uh... now that's writing. Oh, don't let me forget, "I'm the baddest baby in the atmosphere!" And my favorite, "Make the world stop! Make the world stop!" No make this song stop!

8. *Any song by Ke$ha - Ke$ha - Chart Position: 30, 33. Any song. On any list. In any year. "Drink the Kool Aid. Follow my lead. You're coming with me." Uh... No. I think not.

7. How to Love - Lil' Wayne - Chart Position: 23. This sounds like a retarded "love song" sung by a drunk crack head slurring his words, outside the local liquor store, while panhandling.

6. E.T. (featuring Kanye West) - Katy Perry - Chart Position: 4. "You are now invited to the other side of sanity." uh... no thanks. "Could you be the devil?... Kiss me, infect me with your poison." This is sad... people like this?

5. Grenade - Bruno Mars - Chart Position: 6.  This song is very deceptive. The sound is very compelling, smooth and swelling. It's pleasantly cinematic. But have you listened to the lyrics? Just check out the hook. "I'd catch a grenade for you... throw my hand on a blade... jump in front of a train... do anything... go through all this pain... take a bullet straight through my brain... I would die for you, but you won't do the same." Why are you singing to this chick? This song glorifies and teaches dysfunctionalism.

4. Look at Me Now (featuring Lil' Wayne & Busta Rhymes) - Chris Brown - Chart Position: 21. This is a whole lot of nothing. I mean a whole lot. "Look at me now." No, I've got better things to do.

 

3. No Hands (featuring Roscoe Dash & Wale) - Waka Flock Flame - Chart Position: 45. "She said look Ma, no hands!" Yeah, no brain, either. This song slows up brain functioning like quicksand... no... like a tar pit.

2. Down On Me (featuring 50 Cent) - Jeremih - Chart Position: 22. There are many, many, many reasons why this made it to number 2 on this list... but nothing tops the lyrics, "... if I do not fit, I'm gonna make it. Girl you can take it..." rapist music, I'll pass.

 

1. 6 Foot 7 Foot (featuring Cory Gunz) - Lil' Wayne - Chart Position: 41. "I lost my mind. It's somewhere out there stranded." Yes. That's the truest thing you've ever said. This song is sonic cancer. You lose brain cells with every listen... and just when you think the cancer is in remission, you start remembering it. Listen at your own risk.

Now, of course these aren't the only songs recommended for you to avoid. There were several honorable mentions, like The Time (Dirty Bit) (Black Eyed Peas), Bottoms Up (Trey Songs), and S&M (Rihanna), out there... just turn on the radio, and they'll assault your ears and intelligence. 

It's time to fight back! Fight for better music. Stop supporting crap artists and crap songs. It's easy. "Just say No."

Next time, we'll get warmed up for the Grammys, by exploring some of the nominations. Until then, find something better to listen to!

Mary's Happy Life... (25/8 / Don't Mind / One Life)

I know, it's been a while... too long, if you ask me! I've been taking care of some business in other areas of life, however, now it's time to get back to the music!

Today, we're going to take a look at Mary J. Blige's latest album, My Life II... The Journey Continues (Act 1) Deluxe Edition.

First of all, why do people love Mary J. Blige? What is it about her? There must be something, because she's been making top quality music for the last twenty years... this is her tenth studio album! That's a lot of music, and a solid career in a market known for eating up, swallowing, spitting out, and forgetting its artists. However people love Mary. She's an icon. Why? Well, quite simply, she is the new American Cinderella. She's the underdog that we all identify with. Her story is familiar enough with most people around the world, because (sadly) most people around the world are the underdogs... Public Enemy was right when they shared, "Freedom is a road seldom traveled by the multitude."  The best thing about Mary, however, is that she rarely dwells on the surroundings from which she comes. They serve as backdrops and reasons for songs about a better life.

Mary sings... no... more than that... she translates the experience of wanting a better life, needing a better life, deserving a better life into vocal performances that touch the heart and soul of the listener. At times raw and a bit unrefined, at times straight out of the gospel choir, and then sometimes superbly polished, she brings a quality of honesty and true charisma to her music unseen in many years. She is the Aretha Franklin for the Hip-Hop generation. Mary's musical journey began with an instant classic, perfecting the merger between R&B and Hip-Hop in a sound which would become known as Hip-Hop Soul (and later swell to the point of being the leading sound of all of R&B's various incarnations). That album was What's the 411? Her next album would be even greater, still. Some would even argue that it is her masterpiece -- My Life.  In this album, her style was truly honed and developed... and so, too was the modus operandi of MJB. Mary sings about her life... our life... life. And we listen.

In her original classic, My Life, Mary sang about the need to be happy. Relationships were the main staple of the album's material, however it's heart and crowning glory (My Life and Be Happy, respectively) focused on Mary's inner struggle for balance. In the queen's newest installment, My Life II... The Journey Continues (Act 1), Mary continues to walk us through her life. The terrific thing about Mary (and subsequently, the product or brand, Mary J. Blige) is that she grows. As a person and an artist, she constantly is growing, developing and evolving. To continue her journey, she returns to the "My Life" theme. The result is one of Mary's best produced, strongest sung, and lushly translated expressions of modern life. In short, this is amung her best efforts, thus far (slugging it out with My Life and The Breakthrough for the number one slot in the Mary J. discography). 

There are a lot of special featured guests on this album (unlike the original ML), which plays like a showing of close friends who've come into your life, at a special birthday party, instead of what it could've been... (a desperate attempt at relevance by an old artist, who's best days as a soloist are behind them). We can see, hear and feel Mary's growth... even in the material. And let me say this right now, if you want the full experience of this album, it is a must that you listen to the Deluxe Edition. With a full five songs (no remixes) added to the main album, this version of the album completely captures the essence and spirit of the new level of life Mary is singing about. 

Now, Mary is known for her sad songs. Whether the songs are outright bluesy, pensive head-nodders, slow dance anthems, or dance floor burners, the vast majority of her songs are about life's more tragic side and the struggle to make it to the other side. On this album (just as on The Breakthrough), Mary is happy! Don't get me wrong, that's not to say that there's no songs for the lonely or brokenhearted, quite to the contrary. The album is well balanced, in regards to songs about "functional" and "dysfunctional" relationships... love gone right and wrong is featured on this album. However, underneath it all, the happiness of Mary, the person, shines through, even when the songs are about breaking up (Feel Inside, Why and Get It Right). There are plenty of standout tracks and this is a fun listen, from the front to the back. This is an album you can listen to all the way through and then want to play it again... and actually listen (not just for the sake of background music).

That said, there are three tracks that stand out as the crown jewels of this tapestry of modern life. 25/8, Don't Mind and One Life are the embodiment of this album's core. All three explore aspects of life, love and happiness and Mary is powerful and piercing on each selection.

25/8. This song is the heart of the album - undoubtedly. With the organic soul musicality of the song's soundscape, this song sounds gigantic! And this is fitting, because the idea of the song is an epic love that's wider than all of the outdoors. "I've got days and days of love for you, boy... 24/7 ain't enough... I need another hour and a day, so I can love you 25/8," roars Mary on the hook. This is a song for lovers! Not just people who have sex a lot. Lovers. Those who experience the truly uplifting effects of love, at it's essence, on a continuous basis... this jam is for you! And if you're not sure if you're qualified to be in this highly coveted group, the song gives a blueprint. This is for love that lasts, not new love. It's inspiring for anyone who has any inclination to love. The sweeping sound easily sweeps the most cynical critics of modern day love songs off their feet. "I love the way you make me smile when things ain't goin' right..." I couldn't have said it better.

Don't Mind. This song follows 25/8 and slips in quietly, like a soft breeze through the window. This is the future of Mary J. If the previous song is the heart of the album, this song is the soul of the album. Maybe even the best song (arguably). The sound is new and futuristic - a stark contrast from the previous track. Mary paints a portrait of an elegant night life, vibrant overlooks of seaside vistas, or a private dance floor for lovers on an anniversary date, two stepping the night away. It's warm and comfortable, while at the same time cool and calculated, with its snapping snares and staccato synthesizer riffs. Mary is happy here, too, although it's a different portrait. This is primarily about the ups and downs of a strong relationship. Because nothing is worth giving up a love that "would take a life time" to create,  so tonight, "I'm gon' try whatever you wanna do... ". The overriding spirit of riding the waves of life and staying on top together has Mary delivering some of her best work in years. Her voice is strong, yet controlled. She sounds supple and submissive. This is the song of a wife in a happy marriage. In the beginning, Mary was looking for a Real Love, and now she's got it. This song is the sonic realization that there is no argument that should ever cause us to stop loving one another... "and that's why I don't mind sayin' I love you." Go 'head Mary.

One Life. Once you make it into bonus track territory, it becomes clear very early that this is clearly the after party! None of these are throw away tracks. Of all these, One Life stands supreme. This is fitting to be on My Life II, because it is a perfect sequel to Be Happy. Where the previous two songs are the heart and soul of the album, this is its aura! It's bold and bright. This is Mary singing about the happiness of life, itself! This is what she was looking for on Be Happy, and now she's got it - in spades! She's gotten so much in the rhythm of happiness, she invites everyone else to experience it too. The track moves quick and bouncy. It's a perfect dance floor, club, or workout anthem. I don't know if it will be marketed as such, however, this song is a winner! It is this song that single-handedly proves what Mary shares with Puff in the album's intro, "It's not a competitor. It's a sequel and an extension..." True. Mary hasn't gone and tried to recreate My Life from 1994, this is a picture of life in 2011/2012. Things are truly different, and she's enjoying much more control and confidence and it shows ("I mind my own business. Damn what you think!"). "I only got one life, I won't let it pass me by!" This is the message of the song... and indeed the album, itself. This is a solid 21st century anthem! As she invites everyone to  do the same, it becomes quite clear that life can, and should, be a celebration... and Mary J. Blige is definitely one of the best people you can bring to the party.

So, check out this album (Deluxe Edition preferably), if you haven't already, and you'll get to experience the fun in life's ups and downs, as well as the happiness that love brings, when it becomes your foundation. This is most certainly a high definition ride through life in the 21st century, and well worth the time spent listening (and guaranteed to produce some in-the-head repeat play action)!

25/8 (Official Video on youtube)

Don't Mind (on youtube)

One Life (on youtube)

Red Solo Cup

In our last blog session, we established that Love and Loss are the two things that all people have in common... well, as Prince once said, "... there's something else..." the Party! 

In the spirit of that fact, today's topic is Toby Keith's Red Solo Cup.

Let me start by saying that Country music has long been known for it's adaptable nature... meaning, Country music songs can be written about any subject. That being said, I didn't see this coming At All! In fact, when I first saw the title, before actually hearing it, I thought "Red Solo Cup? What the hell is that about?" It didn't compute. I was therefore skeptical, to say the least. However, once I heard it, I loved it! This song is super sticky! It stays in your brain and won't go away... I mean for days and days!

This song is more than just a party song. It is the party! It's very simple in it's musical soundscape, with banjos and guitars strumming in the background. It sound's completely organic and unplugged. It sounds like something Toby and his boys came up with on the fly at a house party! The best part about it is that was the point!

This song is like a time machine! One listen transports anyone who's attended a house party or block party or bachelor party or... well, just about any party in the United States... right back to that experience. No matter what your experience was, this flashback will take you there just so you can see only the best parts... the fun parts! This is a really fun and funny song. From Toby's slurred, just-above-drunk delivery, to the sing-a-long chorus, to the miscellaneous conversation in the background, to the "Solo cup!" exclamations at the end, this song keeps you smiling.

Not since Run-DMC's My Adidas has a song been so perfectly tuned and ready for marketing and promotion! Toby begins the song by saying, "Now a red solo cup is the best receptacle for barbeques, tailgates, fairs and festivals," and continues to extol the virtues of this simple party staple. As he goes down his list, you can't help but to nod your head to the checklist. It is also very evident that he and his crew had a great time recording this gem. Fun is infectious. Everybody wants to have it. Everyone wants to be around it. This fun is totally magnetic and attracts all who listen to it. It is a Country song, however its powers of attraction reach far outside the bounds of the back 40. It's a completely illustrative song on it's own, however when coupled with the video, it works perfectly, speaking to all classes of Americans... whoever's been to a party... "Let's have a party! Let's have a party!"

And by the way, I don't know if they'll do it, however the Solo Cup company should be talking with Toby Keith right now! This is money in the bank! It's a ready made marketing campaign... with a great jingle and a remarkably catchy slogan: "Proceed to Party!"

Now whether your a heavy, casual, or non-drinker... whatever you choose to fill up your red solo cup with... I highly recommend this song... not only to reconnect you with fond memories, but it can help to drive away the blues!

Red Solo Cup (Official Video, Unedited Version, on youtube) 

Jolene Strikes Again...

There are two things in this human experience that are common to us all. We all experience them. We all either want more or less of them. No matter who you are, you have an opinion on each. Love and Loss.

Today's soundtrack entry is steeped in both.

Jolene, recorded by The Little Willies, is a cover of a Dolly Parton classic. The Little Willies, led by the beautiful angelic voice of Norah Jones, dusted it off and made it their own. Indeed, it's the star of the show on their new album For The Good Times.

Country music is famous for its story telling ballads and this one, in particular, is headed back for the special place called "classic". The original song was a #1 hit for Dolly Parton and if they care to market this updated incarnation, it will reappear at the top of the charts.

This song is a vivid painting... no, a beautiful epic of a short story, hand crafted into a haunting short film played by the mind's eye, at the behest of the brain which is completely mesmerized by the lyrics and delivery. Remember, everyone knows love and loss.

She starts off knocking on the front door, to confront the red haired beauty Jolene. Nervously she knocks, trembling about the knees, half-hoping that no one is home, half-hoping to get it over quickly. She's on the porch, in this small country town where everyone knows each other and Jolene, the new muse who has entered the town on some corporate job transfer down at the local plant. It's a somber Sunday afternoon, when Norah walks up to the door with these words...

"Jolene... I'm begging of you, please don't take my man. Jolene... please don't take him just because you can." This is a fantastic song, that wraps up the mind in a warm blanket of comfort. Ok, I'll grant it that it's not the usual idea of comfort, however this song is like a friend who's gone through the same thing. We've all been there. We all may not have had the courage to stand up to the one who threatens to steal our livelihood and change our life forever, but it's a sad fact that everyone has been in that position at least one time in their life. Whether it is the loss of a loved one, a job, property (stolen or foreclosed), or the attention of another we have yet to love.

This song runs so much deeper than the words suggest. Norah hits pay dirt. The song is sung with all the pain and determination of a stalwart underdog, who, with her back against the wall, has decided to fight back. She fights for her man. She fights for her sanity. She fights for us all. Now, don't get me wrong, this is not the typical bar room throw down one would associate with "fighting back" -- that is left up to another track on the album (Fist City). No, this is something deeper. She reaches into Jolene's soul and touches her with her own humanity... and, just like that, like the Ghost of Christmas Future, she delivers a mental snapshot of the possible devistation that Jolene's actions could cause.

The song is so perfectly executed, one could easily envision the film switching from the shot of Norah's beautiful pleading face, to the back of her head, just as she turns around to walk away. We then pull back for a wide shot and see her descend the stairs, before zooming in to see the attractive enemy, Jolene, with tears slowly tracking down her cheeks, as she holds back the full force of heartache that has just been visited upon her. Norah walks away, without looking back. Jolene wipes her tears and shuts the door. She understands. Norah has won. 

The music is soft and lush and is the perfect soundtrack to the epic. It comes in soft and rises with the tension of the conversation and Norah's emotion. It dips in the middle and quiets down when Jolene begins to really consider what is being shared with her. This is past denial. This is past any of other petty games or tricks she's tried in the past. Her heart has been captured by the song and in four minutes and fifty-one seconds, it's over. It's a lovely ride. Someone should play it for the executives of the oil corporations, in a plea to release the strangle hold they have on our entire society (but I digress... that's for another blog).

As soon as you have the opportunity, check this song out and allow yourself to take the trip with The Little Willies. I promise, it'll be worth the price of admission.

Jolene (The Little Willies, Live video on youtube)

Anthony Hamilton Gets Married... (Best of Me/I'll Wait to Fall in Love/I'm Ready)

The institution of marriage is wonderful. It is a never-ending journey of ups & downs, twists & turns, give & get, laughter & tears, and let's not forget joy & pain. Now, granted, not everyone shares my optimistic view on the subject, however, if you would, just set that aside and get into the frame of mind of someone struck by the nature of the overwhelming will to serve and protect another... not because they have to, but because they choose to... and doing so fills them with the spirit of fulfillment. That is love.  Mutually deciding to systematically cause this experience to be a lasting and perpetual one is the essence of what marriage is. (At least, in the purity of the idea.)

It is with this thought that we get into our next entry in the grand soundtrack of life.

Anthony Hamilton, with his latest album Back to Love, has tapped into this cosmic vein... the spirit of love and devotion. Now, contrary to the title of today's post, Anthony didn't just get married... he's been married for some time now. However, on this album (his best to date, by the way), he has turned in a trilogy of love songs worthy of the status of classic wedding songs. They are all splendid instant classics. The entire album is constructed very solidly and is an enjoyable listen, from beginning to end. That said, it really seems that Anthony was struck by Cupid himself, while putting this set of songs together. The three standouts which compose the heart of the album are Best of Me, I'll Wait to Fall in Love, and I'm Ready. 

All three contain the perfect blend of lyrics, soundscape and musicality, making them lush visual expressions that could easily be utilized to express words, thoughts and sentiments which, for some of us, remain just outside of our literary or expressive reach. Have you ever wanted to share with someone how you feel, more than just "I love you"? Of course you have... and that's why we have radio station dedications during the "Quiet Storm Hour". That's why musicians can make a living. They express something that we all want to express, yet lack the ability or focus. They tap into our collective consciousness and say, play, or sing what we would - if we could. So, that brings me to our songs...

Best of Me is the perfect white wedding song. If you are considering a wedding march song that isn't actually Mendelssohn's Wedding March, this could very well be your song. The sound is soft and supple. There's a subtle percussion to the background, but the soundscape is really shaped by the strings. Not traditional in the sense of violins... the sound is really defined by the bass line and a couple guitars... It's perfect, "let's get married on a beach in Fiji" music. The lyrics are beautiful and purely inspirational. If you have ever experienced the true delight of love, then you'll recognize it in this song. He begins with, "It's simple. I love it. Having you near me, having you here..." This is the core of why two separate people decide to come together forever. The song's story follows the couple though a "regular day", yet however he keeps musing on how "amazing" this experience is. It is because of this continuous experience, that he is compelled to give his best to her and ask her to give her best to him... and that is what marriage is, when it's all boiled down.

I'll Wait to Fall in Love is an expression of love from a sense of divine destiny. This song is about knowing what you're looking for... what you're needing... finding that person for whom you were designed. This piece is for anyone who has been waiting (for what always seems a lifetime)... for that one person... however, this is about an active wait, rather than a passive one. When you've been looking here and there, up and down, round and round... trying on so many non-fitting glass slippers. After kissing so many frogs, there is a certain sense of fulfillment that comes when the search is over. This is felt in the sound of the song. The piano is the director of this show... and the drum is the cinematographer. Together they paint a picture in the sound that literally grabs the listener and massages the very rhythm of their body (pulse, movement, breathing, etc.) into short bursts of this experience. The song moves with a certain continuous undercurrent, however the sound is given it's true character by the periodic stops in the melody and slightly staccato phrasing of the lyrics. It gives the listener the feeling of waiting, waiting, waiting... building... anticipating... then, bam! Success! Then it starts over again. Lyrically, Anthony is as masterful with his delivery as Michelangelo was with his brush. "I'll wait for you to fall in love. I'll hold myself for only you. You know I will... Along the way I've tried my hand in love, in hopes that we'll one day bring that unity. The one that feels natural and true, like in olden day movies... I've tried to settle down before, but there's no other love that will do..." This song is the sonic expression of patience. This song belongs to the coveted "First Dance" spot at the reception.

I'm Ready is a massively muscular song, with a smoothed over layer of velvet softness. It's driven by a steady beat, however the true brilliance of this song is its layering... its multifaceted nature... the sharing of the stage by the various sounds. The drums. The piano and synthesizers. The guitars. No one takes over... they all work together in concert... like a symphony.... oh! which reminds me... The string section. This song is a portrait of love. This song belongs to the intimacy of the couple, even down to the lyrics, "sit in the room, focused on you, beautiful you..." The driving drum beat that begins the song, is the pounding heart beat... The sound of the music carries the listener through a blissful consummation of a divine love pact. I'm Ready is, however, more that merely a statement of beginning something current. Yes, "I'm ready to come together. Let's make love!" that's one way to look at it. However, in exploring the nuances of the song's sound and lyrics, it becomes clear that this is a beginning of forever. This is the signing of a divine contract, the expression of which will carry both parties into greater levels of reality, thus surpassing the boundaries of their current existence. It is for this reason that the song doesn't really belong to any one genre. And this is  proper, because love... true love...  doesn't belong to any of us... we can all tap into it... we can take it on and express it in our motion... however, we are not the author of it. However, it can be said that love is the author of us. So, in this connection of two individuals, they become connected with the essence of the Universe itself. "It's all right, the heavens open up for us. It's what wonderful means!" Yes, it is.

So, when you get the opportunity, listen to these songs, if you want to tap into that universal life line. Do you have to be married to appreciate these songs? No. Do you have to be getting married to play them? No. However, this is the vibration that they carry, so whatever the visual impression your mind conjures up... the results will be the same. You will be primed to begin (or continue) operating from a base of love.... and that's what the world needs more of.

Best of Me (on youtube)

I'll Wait to Fall in Love (on youtube)

I'm Ready (on youtube)

It Takes a Nation of Millions to Hold Us Back, part 2

Alright, so we've discussed Public Enemy, from the standpoint of representing it's target audience; now it's time to delve into the tracks. The foundation of Public Enemy, as being the Blackman who is striving to wake up the Blackman, is essential to understanding the essence of this album... indeed, it is essential to understanding all of their works. However, it is an undeniable fact that what made It Takes a Nation of Millions to Hold Us Back the classic that it is (and instantly was, upon its release)... is the sound... the Noise... This, punctuated with lyrics so honest, angry, concerned, and even prophetic... made this work... the intricate masterpiece of audio mosaic expression of thought... the perfect enigma. An album so heavy with the frustration of Black life in America, yet filled with the promise of conquering the evil under which most Blacks found themselves to be oppressed by. Lyrics that made way too much sense to be dismissed, right alongside lyrics that could hardly be considered as having any more worth than a 1st grader's shot at rhyme time during lunch recess, this juxtaposition made it an intriguing listen for the critic, however for the Blackman for whom it was designed... it simply was a soundtrack to the various thoughts, conversations and experiences of living in America in the late 80s. This is the essence of "keeping it real". It's just real.. before anyone had to remind anyone to do so.

For part 2, I'm going to go down the track listing and mention key points about the sound and message of each song. I'll also point out just a few lyrics, as keys to understand the point of the songs. I don't want it to be too long, however this is a rather ambitious topic. So, let's get started.

1. Countdown to Armageddon. This intro is classic. It opens with an introduction of Public Enemy, while on tour in London. Then the Sirens... It is war! This is the perfect beginning for a tour of the Black experience... not the Cosby Show... the real life, post-slavery Black experience. And the first voice of the group that you hear is Prof. Griff, yelling, "Peace! Armageddon has been in effect! Go get a Late Pass!" He also calls out, "This time around, the revolution will not be televised!" True, true... it will be on wax.
2. Bring the Noise. "Oh My God." That was the reaction of most people, when they first heard this single. This is a perfect example of the Bomb Squad sound... sound...SOUND... SOUND EVERYWHERE. Your ears hardly get a chance to catch a breath! The use of sampling (within this song, as well as in the entire album) is utilized to it's apex. At once riveting and gripping, the noise begins to gently message one into the grove... then the listener begins to hear the music within the noise... this is the life of the Public Enemy, introduced to the general pubic, on their own terms. Leading the charge is a quote from a Malcolm X speech, "... too Black, too strong..." Then Flavor's heralding of Chuck D... followed by Chuck's unrelenting, articulately spoken, essay on why Public Enemy exists (as a musical expression of it's constituency), starting with, "Bass! How low can you go?" Key Lyrics: "Listen for lessons I'm sayin' inside music that the critics are all blasting me for. They'll never care for the brothers and sisters, now across the country has us up for the war." "Radio stations, I question their Blackness, they call themselves Black, but we'll see if they play this!"
3. Don't Believe the Hype. This bouncy track was probably the most radio-friendly track. Still, there was the ever-present noise. This is a very danceable song, yet that's not the point. It's in this song that Chuck takes claim to the position of "leader" (and thus coining a term which would later be the name of another prominent Hip-Hop group), with the words, "The leader of the new school, uncool. Never plaid a fool, just made the rules." That said, they knew that this was ultimately going to be a track for the dance floors, so it has a slightly stripped down sound (at least, when compared with the other tracks). Flavor's featured ad libs  are classic, too. Key Lyrics: "We're brothers of the same mind, unblind. Caught in the middle and not surrenderin'. I don't rhyme for the sake of riddlin'." "In the day time radio's scared of me, 'cause I'm mad, plus I'm the enemy... 'cause I know the time, plus I'm gettin' mine. I get on the mix, late in the night.." "88 you wait , the S1's will put the left in effect and I still will rock the hard jams and treat it like a seminar; teach the bourgeois, and rock the boulevard."
4. Cold Lampin' with Flavor. This jam is spastic! Flavor's solo is crazy fun! "Live lyrics from the bank of reality!" Yes, indeed. Musically, it's very solid. Rather than just a simple loop/sample combo run throughout the length of the song, as a throw away track for Flavor, the production is still top notch, with breakdowns, bridges and choruses. You don't see craftsmanship like this in Hip-Hop anymore... hell, you hardly see it in any popular music. Key Lyrics: "Flav in the house, by Chuck D's side. Chuck's got the Flavor. Flav don't hide!" (Yes, we know...)
5. Terminator X to the Edge of Panic. After a live concert introduction, this song opens with a building crescendo of sound that signals that play time is over. This is primarily a DJ cut, as was the common practice during the early days of Hip-Hop. However, even though the topic is the turntable supremacy of their DJ, Terminator X, the undercurrent of the song is about the misuse of the medium by other artists. This is highlighted by the samples of a speech by the Nation of Islam leader, Min. Louis Farrakhan, speaking about the effect of music on the black community. All that said, still the star of this show is the prominent scratching ability of Terminator X. From the "Flash Gordon" intro, to the various uses of the transformer scratch, Terminator show cased the turntables as stand out instruments, capable of carrying solos. Key Lyrics: "Terminator X packs the jams. Who give's a fuck about a goddamn Grammy? Anyway, and I'm sayin', the D's defendin' the mic, yeah, who gives a fuck about what they like?" "Terminator X! Yellin' with his hands, damn!"
6. Mind Terrorist. This instrumental interlude is a perfect bridge for the sweat soaked exit from Terminator X's manifesto to the next Lecture. "Bass for your face!" (Echos of a future,yet to come.)
7. Louder Than a Bomb. With a quiet Kool and the Gang sample (Who's Gonna Take the Wieght?), Flavor comes in to announce the arrival the Mind Terrorists, "They claim we're products from the bottom of hell, 'cause the Black is back and it's bound to sell. Picture us coolin' out on the 4th of July. And if you heard we were celebratin', that's a world-wide lie!" (Key Lyrics, from the start!) Then the heat is turned up and so is the volume! This song is a mixed mash up of various scratches and samples piled up on top of one another, with punctuations of silence. It's nonstop revolution music. It could, by itself, be a case study of why corporate marketing money would later be sunk into gangster rap and other hip-pop rap... This was just too much testosterone! Focused, Black testosterone. (A decidedly bad combination.) Key Lyrics: ... all of them... (However, I'll still pick something.) "This style seems wild. Wait, before you treat me like a step child. Let me tell you why they got me on file. 'Cause I give you what you lack, come right and exact. Our status is the saddest, so I care were you're at, Black." "You CIA, you see I ain't kiddin'. Both King and X, they got rid of both! A story untold. True, but unknown!"
8. Caught, Can We Get a Witness? After a brief breather of a live concert flashback, the momentum of the album continues its freight train run through your head. Part, blaxploitation flick soundtrack, part paramilitary SWAT theme, this song moves like a boxer in the ring! Indeed, it moves like Mike Tyson at his prime (which is mentioned at a later point in the album), bobbing and weaving, while steadily moving forward. The song is built around a mock court room appearance. P.E. is on trail. Hip-Hop is on trial. The Blackman is on trail. This is the backdrop. Ultimately, the song flips the script and places the system itself on trial, and finds it guilty and anyone who sides with it. This is another vary danceable track, however it's so cerebral, it may pin you to your seat, while you unconsciously bob your head and contemplate the courtroom argument. Plus, this track may very well be the best to exhibit the friendship of the members of the group and the fun they had while making this record. Key Lyrics: "Ignorance is at a all-time high! Yo, Chuck, I think they need to be educated!" "They say that I planned this. On the radio, most of you will demand this. Won't be on the play list, 'cause of the way that I say this - No Sell Out!" "You singers are spineless! As you sing your senseless songs to the mindless. Your general subject, love, is minimal - it's sex-for-profit!"
9. Show Em Whatcha Got. Act 2. This bass heavy interlude signals the second half of the album, and assures the listener that PE has not run out of steam. The layered horns and drums became an instant classic and would later be sampled by many other acts in the genre. However, no one would ever use it like it was originally designed. This is a mini-lecture, via short samples of a speech by Sis. Ava Muhammad, of the Nation of Islam. Key Lyrics: "Freedom is a road seldom traveled by the multitude."
10. She Watch Channel Zero?! This song is a rock-rap marvel. And it's one of the most prophetic songs on the album. This song outlines the degradation of the Black community by the mindless watching of television programming, which is designed to strip the viewers of their intelligence. The sound is eerie and fast. This is the origin of mosh-pit rap that would become popular years later, by acts like Limp Bizkit and Linkin Park. The scariest aspect of all, is the connection of Flavor Flav to this song. "You bind, baby! You blind from the facts of who you are, 'cause you watchin' that garbage!" (Key Lyric) This is how Flavor starts the song off. He's extremely lucid in this song, addressing the metaphoric "she". What's so ironic is that years later Flavor would become one of the "actors" that help the brain washing. Somebody save Flavor Flav. He has become the monster of the television... coming to prey on unsuspecting minds... Flavor really steals the show, in this song... his admonishments are with a serious intent to wake up the subject of the song, that it almost makes one wonder if he somehow knew the future and recorded these messages to possibly wake himself up! Somebody save Flavor Flav. The end of the song flows seamlessly into the next song which starts with a sample of Min. Farrakhan, which could also be a direct admonishment of Flavor: "Have you forgotten that once we were brought here, we were robbed of our names, robbed of our language. We lost our religion, our culture, our God; and many of us, by the way we act, we even lost our minds!" (Key Lyric for that song, by the way.) Key Lyrics: "You watchin' garbage... Why don't you back up from the TV, read a book or somethin', read about yourself, learn your culture! ... You're blind baby. You're blind from the fact of who you are, 'cause you're watchin' that garbage."
11. Night of the Living Baseheads. This song is the twin of Bring the Noise. It is a sonic barrage of nonstop Noise, with samples, scratching, layering, pauses, breakdowns, the likes of which have never been duplicated. On top of all that, this is an anti-drug song... probably the most intense of it's kind. The song moves like, and mirrors, the experience of being high on crack, while admonishing the choices of those who are selling as well as using. This song cleverly brought the consciousness of what drugs were doing to the Black community to the dance floor. This was the real "war on drugs". Key Lyrics: "Shame on a brother, when he dealin' the same block where my 98 be wheelin'. And everybody know, another kilo from a corner, from a brother, keep another below. Stop illin' and killin'. Stop grillin'. Yo Black, Yo! We are willin'!" "Succotash is a meal for kids that make cash selling drugs to the brother man instead of the other man."
12. Black Steel in the Hour of Chaos. This manifesto is the perfect metaphorical ballad. Powered by a sample of Isaac Hayes' Hyperbolicsyllabicsesquedalymistic. This song is menacing and full of determination. It follows Chuck D, who is wrongfully imprisoned, and his planned escape from said prison. As a story, it works exceedingly well. As a metaphor, it's even more powerful. Remember, PE as a collective represents the intelligent Blackman. The cell is the imprisonment of his mind, within the walls of the system he has unwittingly helped to construct and keep in place. This song is about literally breaking out of mental slavery. When looking at it that way, the song becomes almost mesmerizing. Key Lyrics: "They got me rottin' in the time that I'm servin'. Tellin' you what happened, the same time they're throwin' four of us packed in a cell like slaves, oh well. The same motherfucker got us livin' in his hell. You have to realize what is a form of slavery, organized..."
13. Security of the First World. This interlude, named after the security force of Public Enemy, the S1Ws, is the bridge to the 3rd and final act of this snapshot of Black activism. It builds from the quiet fade out of Black Steel, and acts as a count down. Preparing the listener for the Firey climactic apex of the film... oh, I mean the Album.
14. Rebel Without a Pause. "Brothers and Sisters! I don't know what this world is coming to!" If there is one song... only one song to distill Public Enemy down to it's pure essence... it has to be this one. This song is the calling card for PE. It's like an introduction... a re-introduction, if you will. The samples are flying everywhere! The drums are everywhere... just off-the wall! This is rebel party music! This is what you play after successfully busting out of the prison on track 12. There is no one specific theme, other than to acquaint the listener to the members of the group and the ultimate purpose of the group. It works. Again and again. Key Lyrics: "Radio suckers never play me. On the the mix, they just ok me." "From the rebel it's final, on black vinyl, soul, rock and rock, comin' like a rhino. Tables turn, suckers burn to learn. They can't disable the power of my label." "No matter what the name, we're all the same: pieces in one big chess game." "You know the rhythm, the rhyme, plus the beat is designed so I can enter you mind."
15. Prophets of Rage. The perfect follow up to Rebel is this song. Equally intense and dense with samples and lyrics. This is a bit more focused on the political core of the methods and goals of Public Enemy. It's fast... fast like a jab from Ali. It's also just as effective. Key Lyrics: "I roll with the punches, so I survive. Try to rock, 'cause it keeps the crowd alive. I'm not ballin', I'm just callin', but I'm passed the days of yes y'allin'." "Follow a path of positivity, you go. Some sing it or rap it or harmonize it through go-go. Little you know, but very seldom I do party jams. About a plan, I'm considered the man." "They tell lies in the books that you're readin'. It's knowledge of yourself that you're needin'."
16. Party For Your Right to Fight. The final song is a fiery swan song. It plays like this album is going to go on forever. Fast, heavy hitting, even danceable, the lyrics and spirit of the song are a seeming contradiction to the title. However, the title actually refers more to an allusion to the Black Panther Party than it does to a mere play on words to the classic party song by the Beastie Boys, (Fight for Your Right to Party). Sonically it continues the methods utilized throughout the album, with one distinction. The vocals are shared by both Chuck and Flavor, in a stereo fashion, with Chuck on the right and Flavor on the left. They are delivering the same lyrics, however their individual interpretations make it feel like a pro-wrestling double team stomp! On this track it's all business, no antics (not even from Flavor). Key Lyrics: "To those that disagree, it causes static for the original Black Asiatic man. Cream of the Earth and was here first, and some devils prevent this from being known, but you check out the books they own.Even Masons they know it, but they refuse to show it, Yo! But it's proven in fact; It Takes a Nation of Millions to Hold Us Back!"

The last song ends abruptly, like a dream interrupted... leaving you wanting more. This 57 minute class on how to make "protest songs" is not only (one of) the best in Hip-Hop, it's one of the best albums made in all of music, in the last century. This deserves a careful listen, for those newbies who grew up on Jay-Z, Lil' Wayne, Drake, and all the other perpetuators of stupidity, masqueraded as popular music. If you're already familiar, then just listen to it again and let it sink into your mind. Reflect on the fact that this is the formula that has enabled this ground-breaking group to last in the music industry for over 20 years, while still touring, thriving and making new music... a previously unheard of feet in the Hip-Hop culture. Then take the ear phones off, get in motion, and bring the noise!

Show Em Whatcha Got (video on youtube) 

Night of the Living Baseheads (Dope Version official video on youtube) 

Louder Than a Bomb (Jam Master Jay Telephone Tap Groove Remix official video on youtube) 

The Long and Winding Road (official video on youtube) 

It Takes a Nation of Millions to Hold Us Back, part 1

From "Countdown" to "Countdown to Armageddon"...

Recently I had the privilege to watch a documentary on the most influential, longest running, and all-around-pound-for-pound BEST Hip-Hop group ever... Public Enemy. This program, Prophets of Rage, by BBC was very well informed and intriguing to watch. I have long wondered would someone do a credible documentary on P.E. and their influence on modern music. Well, this documentary did a good job of just that. As a result, I was inspired to go back and listen to their second album; the Greatest Hip-Hop album ever made... and that's not just Hype.

I listened to the masterpiece from front to back. So many memories flooded my mind, as I listened. I remember the first time I ever heard it; my cousin came home from college and had a 90 minute cassette tape with it on one side. It cut off before the album was complete. There would be a span of a year before I could hear the complete album as it was meant to be heard. I remember hearing "Bring the Noise", "Terminator X to the Edge of Panic", "Black Steel in the Hour of Chaos" and "Rebel Without a Pause" all with separate distinct memories. I was instantly transported to a time when Hip-Hop was still innocent and at a cross-roads, of sorts. This was when it became evident that the art form could really be more than just party music and clever boasting rhymes. Public Enemy took it to another level, and this album, in particular, is the flagship of what Hip-Hop could be. There will never be another like it.

Why is this album such a seminal master work? What is it about it that makes it important, lasting, exemplary, and gripping? Well, there's several reasons and to explore them all could easily result in a full scale book, so I'll scale it back and focus on three ideas: 1) the lyrics & message, 2) the music and sound, and 3) the personification of the group.

Let's star off with the group's personification. At first glance, most people who were unaware of the group typically ask, "who is the public enemy?" The answer is simply the Blackman in America. Now, that's a broad statement, I know, however, let's narrow it down a bit. More specifically, the Blackman who is intelligent and knowledgeable about his origins, culture, history, and, most importantly, his place in and relationship to the society he lives in. The group as a whole represents this Public Enemy... this Invisible Man. Being that the entirety of the population of Black men are not the same, so too for those in the specific category being represented by the group. To this effect, the group offers all the spectrum of Blackman variations which are found in the P.E. logo. Chuck D, the leader and lead vocalist is the outspoken, wide awake man. He's studious, learned, cautious and patient. Professor Griff is the outspoken Blackman, who is completely unapologetic in his views, and he utilizes his freedom of speech (however tenuous it may be) to the fullest extent possible. The S1Ws are the silent majority. Most knowledgeable Black men are nowhere near as vocal as Chuck or Griff. Terminator X and the Bomb Squad are the silent engineers of the movement. They represent the technical know-how of the people, and also are not so much heard as felt. Their impact is through their contributions to the culture and their people. They are the teachers and entrepreneurs. Then there's Flavor Flav. Somebody save Flavor Flav. (Wait... I'll get back to that idea...) Flav is the inner city Blackman... the 5 Percenter (for those of you who know what I'm referring to)... with a lot of knowledge, but no discipline. He's a loud mouth, definitely, however underneath all the silly, clown, bullshit... he really knows what's going on. He's there to support the movement, as spearheaded by Chuck and Griff, by the use of his crazy, unorthodox, paradoxical behavior. It is sometimes surreal... however, it is a mixture that works.

In part two, I'll explore the lyrics and music of this fabulous album, song by song. Until then, enjoy this sample of the greatest Hip-Hop album ever.



Prophets of Rage (video on youtube)

Countdown...

I've been contemplating what would be the first song that I would write about. As I had been planning to start this blog, visions of songs and artists swirled about my head. Miles Davis... Sade... Public Enemy... Mary J. Blige... Kool and the Gang... Frank Sinatra... Then I had the idea to write about whatever song really struck me for each day.

So what happened today? I was struck by a powerhouse song that just stayed in my head all day. "What was the song?" you ask. "Countdown" by Beyoncé. Now, I never would've guessed that this would by my topic, much less my first song to write about, however it struck me and grabbed hold all day.

Countdown is a great song. It's actually like three songs in one. Beyoncé is an undeniable talent, and I hardly think that anyone would disagree. On this song, she begins with a slight vocal warm up, before being joined by what seems to be a marching band in the background. This song is perfectly made for a marching band. I could see it being easily incorporated into any half-time playlist at a college football game (especially at an HBCU). In fact, in the video for this song  she actually has a drum line playing. Come to think of it, the video is a visually pleasurable ride, too.

What is it about this song that makes it so sticky to the brain? Well, there's three main ingredients: 1) The actual countdown itself; a modified sample from Boyz II Men's "Uhh Ahh". 2) The "ever-lasting love" quality of the lyrics ("...still the one I need, I will always be with you...") and the unabashed confidence in said love ("If you leave me, you outta your mind!"). 3) The peaking out of explicit love, peering through all the sentimental love lyrics (..."grind the pony, girl...") is also another gripping reality of the strong, full-figured love that is being expressed so fervently.

Alright, so let's talk about that countdown. Without a doubt, this is the centerpiece of the song. When I heard it the first time, I flipped! The brief sampled duet with Boyz II Men was really ingenious and the lyrics themselves are very clever. This is a great example of a catchy hook that someone would memorize easily -- even involuntarily. She's bragging... and this is something the listener can gladly participate in, reflecting the sentiments to their own loved one. It's simple. It's effective. As a song element, it works perfectly, and as an expression of gratitude, it works excellently, as well. This is a song that can be easily dedicated on the radio... and is actually a great anniversary song.

Next, the lyrical content. As was mentioned before, Beyoncé is bragging in this song... however, there's something else. The delivery is more thankful. She is primarily talking to the listener, however seemingly slips into flashbacks, from time to time. It's really fun to listen to any woman really in love speak about her man. Multiply that by ten, when it's Beyoncé. "Dedicated to the one I love... still the one I need... don't ever let me go... made me feel so lucky... still love the way he talks, still love the way I sang..." all of these are examples of the experience of love, rather than simply the idea of it. The song's lyrics are sung with such a fervent genuine spirit that Beyoncé makes it a gift to the listener -- to be wielded and applied at your own discretion. It sounds completely for real. It could be her own happiness within the context of her marriage to Hip-Hop superstar Jay-Z... maybe, although that's really irrelevant. The love, and it's the eternal, indestructible nature of love that is the star of the show. It's personal to her... however, it's beyond that... if you really listen, and you've experienced it yourself... it becomes personal to you. And, to punctuate the whole thing... the cherry-on-top... "if you leave me, you outta your mind!" On the one hand, that may seem a bit conceited, however, on the other hand, it's a fact. Any time there is a pure expression of love, that is strong, blissful and grateful, one would be "outta your mind" to leave it. Because of love being the cornerstone of our human experience, to leave it, at its apex no less, is the height of foolishness. With this in mind, we can see that it's not "me" (Beyoncé) being spoken about... it's the experience of love... being in love, to the point of taking it on and identifying oneself with it. So, yes, in fact, "if  you leave me, you outta your mind!"

Finally, there is the slight nod to the reality of the bedroom aspect of love and marriage. It's cute. It inspires a knowing smirk... especially for someone who's experienced this long term commitment of love with the fresh newness of bedroom activity... "grind the pony, girl!" Indeed. What makes this stand out is that it happens in the midst of all of this other happy accounting of the precious assets of long term love. Beyoncé even references that it's been 10 years ("... all that gossiping, 10 years, stop it!"). That is an inspiration to married people the world over (or, at least, it can be). Something else that stands out is that is not the focus of the song. It's a punctuation. The punctuation of a sentence overfilled with facts of the benefits of love and devotion. Now, that's a great song... in only three and a half minutes.

With all of this being said, let's also remember what may very well be the most important aspect of things, to some people... it's a fun song, you can dance to it... and it sticks in your head. I don't think it's the best song on the album (that distinction goes to "Love On Top"), nor is it the best this year (that award goes to "Move You Body")... however, it is extremely bright and effective. So, I guess that makes it a fitting first review of The Soundtrack to Life...

When you have some time, check it out. Listen to it (or watch it) and see if you can connect with that same experience... and enjoy!

Countdown (Offical Video)

In the beginning...

All things begin small. They start as an invisible, almost imperceptible, thought and evolve to manifest as full-blown recognizable aspects of reality. So too, is the birth of this weblog, "The Soundtrack to Life." This is the humble beginning of a blog that will ultimately effect the entire populace of the planet... ultimately (however, first things first; one step at a time).

For years... as long as I can remember, come to think of it... I've always moved about with a daily soundtrack. That fact has been mentioned to me and joked about by my friends, family members and loved ones, many times. I'm quite sure there are others out there, like me. When I wake up, I turn on music. When I get in the car, I plug up the iPod just as soon as I turn the key in the ignition. When I'm working, I'm working to music... no matter what kind of work. At home there's music, at duty there's music, at school there's music, at gigs there's definitely music. When my children were being born, there was music. On the most recent birth, the doctor was so inspired by the selection, he went out and bought an mp3 player and asked me to load it with my playlist that he heard. And that's the whole point of this blog...

We all are effected by music. Constantly. In fact, there is no where one can go without hearing it and being effected by it. Of course, there's the obvious forms, like what we choose to play on the iPod, stereo, radio, turntable, computer, etc. Then you have secondhand music -- everyone's favorite -- like the music pumping out of the car driving ever-too-slow down the street (3 blocks away, sometimes), or the slow jams being played by your next door neighbor, or your roommate, when they're about to make out (which always happens when you're inevitably alone). There's the song's that your loved ones faithfully butcher the words to (instead of just humming, in a most considerate fashion) and also the songs innocently translated into the universal toddler language, by our children. We also experience the invisible music of vibration. Everything in the Universe that is alive, vibrates and emits a "musical" frequency of its own (that's a topic all on it's own). 

We are completely surrounded by, and immersed in, music of all kinds. The purpose of this blog is to bring to the collective attention of the readers various incarnations of music, on a daily basis (or as close as I can get to it). This is one small way of helping to adjust the course of human existence on this planet, a little at a time. (Wow... ok, yeah, that was a bit heavy...) Alright, let's just say, this blog will be a place where you can come and read about the effect of music on one man on the planet and translate that experience into a positive one of your own -- and possibly be inspired to explore some music, yourself.

By doing this, I'll be helping to positively adjust the vibrations of the planet... one step at a time, one beat... one note... starting off small...like the rest of the Universe.