Travis Barker & Yelawolf, 'Psycho White'

Travis Barker & Yelawolf - Psycho White

Since the release of Give the Drummer Some in March of 2011 I’ve been anxiously waiting for Travis Barkers next project. When Barker featured Yelawolf alongside Busta Rhymes, Twista, and L’il Jon on GTDS track ‘Let’s Go’ it was obvious that the two needed to work together again.

It’s so strangely amazing when different types of musical medium flow together with such effortlessness. Travis Barkers drumming style equates that of Yelawolf’s rapping style. Which is clear on the EP’s first track ‘Push ‘Em’ (featuring Skinhead Rob & Tim Armstrong). Barker is known to rock fast and hard. His flow is powerful and all consuming. To be able to keep up with the drummer is impressive. Yelawolf is definitely awe inspiring. The dude hasn’t been around for a long time, and to be on par with - who I think is - one of the best musicians of our time… damn. Travis Barker and Yelawolf feed off of each others rapid fire intensity.

The EP isn’t all intense all the time though. You do get some time to catch your breath. Despite only offering up five tracks, there is a lot of versatility. Though you start off with high energy ‘Push Em’, ‘6 Feet Underground’ has more of a reggae, and southern feel. No doubt Wolf’s influence. ‘Funky Shit’ showcases Wolf’s quick tongue. It’s plays like a psychedelic, chill track. But, the real stunnerwould have to be ‘Whistle Dixie’. It’s raw, has a great beat and you get the chance to experience both Barker’s and Yelawolf’s talents both apart and together. ‘Directors Cut’ is old school. It has a thrilling feel, with great climb. Using music from Halloween  this track is fresh, and inventive. It is a good final song to wrap up Psycho White.

It is obvious that Travis Barker and Yelawolf were given creative freedom in the studio. The duo really feed off of each other and it shows.  Such a great EP. I only wish there were more tracks. Check it out!

Nicki Minaj & Cassie, 'The Boys'

Nicki Minaj is easy to trash talk. So people do. A lot. She isn’t “hood” enough for a lot of folks. On the flip side she isn’t “pop” enough for others. I think she’s great exactly where she is.

While I’m not a die hard fan, and can’t always get into her music, I wholly appreciate and admire her talent. She is more than just bubblegum rap. There is always this persona that people expect with rap music. Nicki breaks the persona and that freaks people out. I don’t think she is wasting her talent, I think she is using her full personality in her music.

Also, I think her next album should be called ‘Polly Pocket Paradise’. Accurate.

Nicki Minaj & Cassie, The Boys

Green Day, 'Stray Heart'

I have definitely had my qualms with Green Day. I was once a fan. But, the music they made after 2000 really disappointed me. It’s not that the music wasn’t good - it wasn’t for me that’s for sure, but it wasn’t not good - but I felt the band was trying too hard to be what they thought people wanted punk rock to be. They are a punk rock band. But, when they tried to prove to the world that they are a punk rock band, they simply looked like they were trying much too hard. It came off as completely unnatural and annoying.

Out of frustration and spite I made the decision not to even give their 2012 tri-albums a go. Until I heard ‘Stray Heart’.

‘Stray Heart’ is Green Days first single off of their second installment in their three album release effort called ¡Dos!. While the band may still be trying to create a “punk rock” image for themselves and trying way too hard, at least now their music is palpable.

‘Stray Heart’ is 50’s punk rock sounding. It’s a well thought, and well executed Green Day. It sounds like old Green Day but polished and new. And worth listening to.

Girl Power

When I first developed a keen interest in music my parents gave me Whitney Houston’s self titled cassette, Whitney Houston. As a six/seven year old in rather small (at the time) town suburbia, none of my friends knew who Whitney Houston was. I considered myself to have a mature taste in music. And, I listened to that cassette non-stop. Well, in between listens of “We Sing Dinosaurs!”.

Though growing up with a base of soul, funk, and R&B from my parents, for the rest of my childhood a lot of my music listening experience was devoted to boy bands, with the exception of one group. The Spice Girls. Sure, it’s easy to talk down to the super pop British act. But, to me, these five women exuded strength, and yeah, girl power. I was obsessed. Completely obsessed.

As it happened when I reached middle school my tastes had changed again. No longer did I have a craving for Whitney, and The Spice Girls. Now I had turned to Christina Aguilera for female musical guidance. I thought her first couple albums were just the bee’s knee’s. In my mind X-tina could do no wrong. Yes, she was over the line of being a stripper pole away from a cry for attention. But, she had a phenomenal voice and there was no denying that. It wasn’t until she started to sound like every other pop star on the radio that I had to put down my Aguilera pom-poms and put my support on hold.

By the time I had given up on Christina Aguilera I was about fifteen/sixteen years old. I had a brief stint as a P!nk wannabe when I was thirteen that didn’t last past her first album. Here begins my deep worshipping of classic blues and rock n roll. I started to feel like no female in the music industry in 2003/2004 could speak to me musically. I turned to Janis Joplin, Diana Ross, Aretha Franklin, the Wilson sisters and Sarah Vaughn. For the rest of high school I had no intention of listening to any female singers whose music arose after I was born. Male performers were still safe. Females really needed to step up their game. I was done with the pop-tart performers, only selling because of theatrics, and boobs. In a way I was boycotting this music world where (at the time) people like Ashlee Simpson and Avril Lavigne were legally allowed to continuously make music. It didn’t make sense to me.

It wasn’t until my very last year in high school that I had a turn around. Thank you Amy Winehouse. And, I’ve been so happy to be back in the female world of music. It’s not to say that I don’t think there is a lot of crap out there. Because trust me, I do. But, there is just so so much to love about female music right now.

Everyone has heard the voices of Adele and Amy Winehouse. The two voices that restored my faith in the female singer. But there are so many other powerhouses that, I think, are starting to shape the music industry in a  good way.

Joss Stone. Besides being seemingly one of the coolest people in the music industry, Stone obviously has a butter smooth, soulful voice. When it comes to Joss Stone, there are no frills just plain raw talent.

Brittany Howard of Alabama Shakes. Howard’s voice is reminiscent of another time. Her southern soul infusing into Alabama Shakes souther rock band is not unlike the great works of Janis Joplin or Tina Turner.

Lana Del Rey. A voice so unique, it is not placeable. Lana sounds like a crooning, 60’s songstress. She is untouchable, simple because no one can sing like Lana can.

Sharon Jones of Sharon Jones & The Dap Kings. I consider it a success when my parents musical tastes start to mesh with my own. Female funk and soul never sounded so good. Jones is old school in a modern world, and makes it work.

Those were just to name a few. Laura Marling, Duffy, Florence Welch, Esperanza Spalding are some other names in popular music that I think deserve major attention.

All in all, I am pleased at the direction female music is moving. And, look forward to what’s to come.

2012 Album Roundup; The Shins (Port of Morrow)

The Shins - Port of Morrow
 March 20, 2012

It had been five years since The Shins last album. This is not to say that frontman, and primary song writer,James Mercer, hadn’t been busy. In the time between Wincing the Night Away and Port of Morrow Mercer joined forces with Danger Mouse to create Broken Bells. And, while Broken Bells served as a worthy distraction, it did not quite emulate the type of profoundness that Mercer brought to the table with The Shins.

When I first heard that The Shins were going to be making another album I was nervous. The Shins are known for their fun, quirky, indie-pop songs written in the form of daydreamy adult prose. This is what I liked about The Shins. I could rely on this.

Upon first listen of Port of Morrow I could immediately feel the required five year maturation. It was clear that this was going to be a significant album.

The mood of not so subtle emotional psychedelia accompanies the most intelligent lyricism I have ever heard. Despite being one of indie musics most sought out bands, The Shins have remained true to their perfected melodies. Where Wincing the Night Away explored a slightly darker side to Mercer’s lyricism, Port of Morrow is expressed beautifully in his libretto. There is an obvious air whimsy. A spooky psychedelic trip.

The album starts off with ‘The Rifle’s Spiral’, an upbeat punch. With challenging lines like “you’re not invisible now/you just don’t exist” to claim ownership of an astute listeners attention, the album then turns to “Simple Song”. Port of Morrow’s clear choice of a first single is both sharp and diverse musically, all the while lyrically beautiful. The majority of the tracks do not stray from this style, though of altering from uptempo to low. The only black sheep of the album would seemingly be “Port of Morrow”, an acid rock croon. The song is not like the others on the album, but is just as inventive. The mysterious, flirtatious mood that it depicts is merely aid to Mercer’s intelligent child like dream words.

Port of Morrow, as an album, is stunning. It is apparent that James Mercer has finally come to admit, and accept that he is The Shins. And, that’s OK. It’s more than OK. I can take a five year hiatus if it means brilliant works like Port of Morrow are the result.

Huge fan-girl moment for me. I’ve been a fan since I was about twelve years old. So, this definitely gave me butterflies.

2012 Album Roundup; The Sheepdogs

November is here. Aside from Remembrance Day, Black Friday, colder weather, and American Thanksgiving what that means is the years album round up begins. Often around this time of the year, nearing closer to Christmas and New Years, I reflect on what I’ve been listening to in the last 10-12 months.

At this time I can think of about twelve albums that have really stood out in 2012. Being that there are 8 more Tuesdays until 2013, I’m sure I will find at least another couple albums to call 2012 favorites.

Here is my countdown to 2013, in music form, my favorite albums from 2012; Album Roundup

Starting with, The Sheepdogs.

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The Sheepdogs - {self titled album}

Released: September 4th, 2012

I have had the pleasure of seeing The Sheepdogs at Bonnaroo in 2011, Lollapalooza in 2012, and will be seeing them in Ottawa next week. In honor of such, I think it appropriate for them to start off my Album Roundup.

When life gives you lemons, you make lemonade. When life gives you the workings of four  astounding boogie rockers, you damn well sit up and listen.

Coming from Canada having won their way onto the cover of Rolling Stone, reigning in crowds to rival their peers by playing at festivals like Lollapalooza and Bonnaroo, the Sheepdogs have proved themselves time and time again. Their 70’s southern rock sound is a golden throwback demanding any classic rock fan to perk up and pay attention. Despite being around the block for a little while, for some reason the band hadn’t quite received the clout they fully deserved. Until now. Now, more than ever, the music world will have a difficult time ignoring the Sheepdogs.

Produced by Patrick Carney of the Black Keys, the Sheepdogs have recently released their latest [self titled] studio album. The album itself takes you back in time. Back to “the good ol days”. It is reminiscent of an era where music was a way of breathing. The people were high on just about everything. Lovers and friends would congregate in peace parties to share the love of lyric and sound.

The Sheepdogs take you on trip. While their sounds resembles that of CCR, Lynard Skynard, or the Allman Brothers, the Sheepdogs are still able to find room for originality. Their Sheepdogs own flavor adds to their thick, rock n’ roll stew.

The album takes off with “Laid Back”, a smooth, easy breezy song. The mood of “Laid Back” plays like a throwback to the Dead’s “Truckin’”. As you settle into the groove of the album, which makes you feel fine as apple pie, Carney’s influence becomes more and more apparent. It is especially noticed on the more uptempo, hand clapping jam “Feeling Good”. The album then takes a turn to a more sombre, psychedelic folk song called “Alright OK”. Before making the B side flip, the Sheepdogs slam in some classic blues gems; “Ewan’s Blues” and “The Way It Is”. The latter sounding more modern than the rest of the album with a garage rock bass line and fervent guitar. The A side closes in true classic rock fashion with an eclectic instrumental first act finale.

The B side is packed full of fun, funky, classic rock. It pulls the album together completely. This album the Sheepdogs have crafted is nothing short of a well polished story. They take you along for the ride. A ride to get you feeling good, feeling down, feeling groovy. It is all part of the Sheepdogs compilation plan.

After paying their dues, this band deserves the celebration they will no doubt receive for this album. The Sheepdogs have adeptly created a sound piece of music.