Method Man – Tical

Method Man.  The most charismatic and possibly most well known member of the Wu Tang Clan, dropped the first solo album of the group after their monumental debut as rap’s first supergroup.  It remains one of the most essential recordings in Wu – and the genre in general – history.

Fuck yes.  Firmly lodged in the holy triptych of Wu legend, between Enter the 36 Chambers and Liquid Swords, Tical is a timeless slice of hip hop tastiness, as fresh now as the day it dropped 16 years ago.  16 years ago, to think of it, is a long way back for any album, much less one in the constantly evolving (or revolving, depending on your take) hip hop universe, to hold relevancy.  But it’s true, through and through.  Put this on right next to whatever your friends have been digging lately and watch as nothing happens:  no jarring shift to ‘old school’ sound, no ratcheting back of production intricacy, and certainly no stale whiff surrounding Meth’s iconic vocal delivery.  Blunted is blunted, and this album defined it in 1994.  No update required, just inhale and enjoy.

If Liquid Swords was a jagged rusty blade flashing in the dead of winter, Tical is the bare-bulb-lit basement beneath a sticky summer night, full of smoke and apprehension.  Isolated, paranoid, incubating ideas for the outside world, it’s an environment unto itself, an album to truly be immersed in.  Coming up for air when the last track ends is understandable, but the stoned reverberations beckon again soon.  Spinning from the opening PBS library fanfare through dusty organ laments like All I Need and the exhuberant 70’s-action-flick horn laden highlight Release Yo’ Delf, there’s not a more consistent Wu release in existence.  Tical lays down a mood and explores every nook and cranny therein.  And hell, if you share my allergy to skits, there’s no more undiluted source of Wu mastery than this release – even my beloved Liquid Swords has the one “Tony Starks” intro (not that I mind it) and no matter how funny the ‘torture mothafuckas’ segment on 36 Chambers is, it breaks all sense of flow.  This piece is straight genius shot from a glock, the proverbial all killer, no filler work.  If you somehow haven’t become intimate in the intervening years, you owe it to yourself to dive in.  Lacking any better words of encouragement than the man himself, I leave you with his words:

Throw your hands in the sky

and wave ’em from side to side

and if you’re ready to spark up the Meth- Tical

let me hear you say STIM-U-LI!

…so yeah.

[pick this up virtually anywhere. amazon for instance.  or cduniverse]

I Was There!

Last weekend I had the pleasure to see Mr. Steven Ellison, aka Flying Lotus, perform twice in the same day.  The first event was a live collaboration with Dr. Strangeloop for the Ann Arbor Film Festival, scoring the 1962 avant garde animated film Heaven and Earth Magic as it played in the Michigan Theater.  Truly one of the strangest media experiences of my life, the film itself is an utter mind fuck – stark black and white 19th century cutout images swirling, grinding, and making Dali proud – while the accompanying score blew the doors off my perception of what Flying Lotus is capable of.  This material was a straight up experimental drone symphony and shared few commonalities with the ostensibly beat-centric music the man is known for.  Of course, I gave myself to it wholeheartedly and was spit out the other end with wild eyes and an expanded level of respect and admiration.  And some dizziness.

A still from Heaven and Earth Magic.

Then, we hit the Blind Pig and became truly and completely blown away.  We were the faithful masses and he was our prophet.  Everyone around me surrendered to the tunes; even the most reserved students were compelled to move at least a bit.  The live set eclipsed anything I came prepared for, and set the bar for live electronic acts at least a few notches higher than I’d perceived possible.  Here’s a glimpse of him weaving Idioteque, one of Radiohead‘s towering productions, into the maelstrom:

[enjoy, and remember that Cosmogramma is coming May 3 in UK and 4 in US! Preorder now!]

Baby Elephant – Turn My Teeth Up!

Baby Elephant - Turn My Teeth Up

Baby Elephant is the brainchild of master producer Prince Paul, most famous for his paradigm-shifting production work on De La Soul’s iconic 3 Feet High and Rising. Paul recruited regular collaborator Don Newkirk and legendary Parliament (and Talking Heads) keyboardist Bernie Worrell to conjure this endearing, strange funk blast in 2007.

This oddball collaboration is a real-deal hidden treasure.

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A.R. Rahman – Dil Se

shahrukh_khan_dil_se_02

A.R. Rahman is, simply put, one of the most thrillingly inventive, widely adored, and extremely prolific composers of this generation.  His fortuitous partnering with director Mani Ratnam birthed numerous undeniably addicting musical gems, my favorite of which is shared here:  the throbbing, kinetic masterpiece Dil Se.

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Yo La Tengo – The Sounds of the Sounds of Science

Yo La Tengo - Sounds of the Sounds of Science

Yo La Tengo are one of the most consistently brilliant and longest-running bands in existence today, rivaled only perhaps by Sonic Youth in the longevity-with-strong-artistic-integrity department. They’ve crafted everything from ferocious punk blasts to elegiac orchestral epics, infusing every sound with their signature heartfelt energy.

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Z-Rock Hawaii

Holy Shit.

z-rockhawaii

Mindflaying collaboration between Ween and Boredoms.  If you’re even passingly familiar with either band, you’ve probably jumped out of your seat already.  It’s no gargantuan achievement; just an exciting smash up of the two groups’ extreme sensibilities, satisfying anyone remotely interested in such a project.  Scatalogical, free-associative lyricism pollinates a gritty crushing tribal punk garden, runaway train hyperactivity collides with relaxed stoner funk, and bone crunching guitar and drums fight it out under warped extraterrestrial sunny skies.

Picture a Venn diagram with Dean and Gene Ween in one circle, and Yamantaka Eye and company in the other.  The overlap, and then some, is what this album sounds like.  Turn this up loud and pay no heed to your exploding brain.

[get your paws on this via amazon or search in vain for a copy at your local record store!]

Nancy and Lee Again

Nancy Sinatra and Lee Hazlewood comprised one of the most inimitable duos in pop music history. Nancy’s wise-beyond-her-years little girl voice serves as a perfect foil to Lee’s grizzled-but-tender cowboy delivery in a perfectly balanced duet of sweetness and spice. Hazlewood’s still-relevatory electro-tweaked countrified pop constructions take the entire production to the next level in this slice of coed harmonic bliss, hot and fresh after four decades.

Nancy and Lee

Their second release, Nancy & Lee Again, may not contain the iconic Some Velvet Morning (expertly covered by Slowdive) or their superb take on The Righteous BrothersYou’ve Lost That Lovin’ Feeling, but it’s the superior record to my ears. Here’s that cover:

nancy and lee again

The near epic Arkansas Coal (Suite) kicks off the set in dusky mysterious tones and quickly builds through an emotionally swerving narrative toward an anthemic horn blasted finale.

Mid-album highlight Down From Dover (prominently sampled by The Go! Team) is possibly the best showcase for Sinatra’s voice, a raggedly heartfelt turn which may surprise those who know her as a too-cool chanteuse from These Boots Are Made For Walkin’ or Bang Bang (My Baby Shot Me Down). Capped off by the deliciously playful conversation of Got It Together Again, we’re privy to these final words:

Nancy: “I wish everybody would be quiet, and nice.”
Lee: “Yeah, and don’t throw rocks.”
“Yeah.”
“And don’t shoot guns.”
“Right.”
“And come home safe.”
“Right”
“Because we miss ya.”

This intimate exchange gives me a chill right down my spine. It’s exemplary of the whole album, an experience not unlike listening in on two sweetly adoring old friends as they sing like they’re the only ones who can hear, only for each other. We’re just lucky it was caught on tape.

[pick this right up on original vinyl at amazon (!!! yes!!!) or get it digitally via 7digital, as it’s not issued on CD. or you can get the excellent Fairy Tales & Fantasies collection, compiling almost every good track they recorded]