The Soft Pack - C'mon

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I liked The Soft Pack better when they were called The Muslims. It had a better rock and roll ring to it.

Despite the fact that it's not offensive, the band's original name makes people think it might be. Which is dangerous and awesome. Of course, when you get to their lyrics, you find out that they're practically motivational speakers.

"C'mon" is the first track on The Soft Pack's self-titled debut full legnth, and first anything with the new moniker. Like first single "Answer To Yourself," this dancey  rock is of the variety that makes boys move and girls throw off their panties and scream in a good way.

So go ahead: nod your head, tap the gas down farther, give the wife that hard, hot stare... whatever. The Soft Pack, like The Muslims before them, are cool as long as you just make it happen.

Charlotte Gainsbourg - Heaven Can Wait (Nosaj Thing Remix)

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Nosaj Thing puts his Beethoven inspired electronic touch on this tasteful remix of Charlotte Gainsbourg's "Heaven Can Wait" from the Beck Produced IRM.

Arrogant Worms - Canada's Really Big (Live)

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It's hard not to watch the Olympics when they're on. Particularly the winter ones. It's the curling. People I've never heard of knocking rocks around on a big slab of ice for which they receive points in a scoring system I will never understand. The whole thing is just like the regular Olympics, but set in the Penguin's lair and directed by Ken Russell.

I've still never gotten the whole "country with the most medals" race. You don't get a special prize. We won't wake up one morning to find a $20 check from the IOC because we beat Germany by two bronzes. Shit, we should get punished if we don't win the most - 300 million potential athletes and more money than most of the other countries combined is a distinct advantage.

So, I'm running with the song's theory and saying Canada wins. Yeah, Russia is technically bigger, but I don't count most of Siberia. Until they start counting polar bears as citizens, that's nobody's country. That, and everyone loves the underdog. The Arrogant Worms have been underdogs their whole careers. Nearly 20 years together, and they're still using the eponymous Canadian label that's been theirs since the early 90s. They'll sell out shows - but not exactly the Garden. They've made millions laugh, and are yet to be a well-recognized comedy force in the states.

In fact, fuck it: The Arrogant Worms win the Olympics.

Except curling. That honor goes to anyone who explains what the hell is going on.

Terence Blanchard - Musical Rampage

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I always had a tinge of a desire to learn the piano. It was never enough to endure the childhood shame of being the boy who takes piano lessons, and we never had one in the house growing up until just before I moved out - which happened to be an 1896 Steinway upright that would have been killer to learn with. It was the emotive range that was so appealing, and so hard to draw out of other instruments.

Terence Blanchard is quite primarily a trumpet man, having been a jazz bedrock for around three decades now. So, it was more than a little bit surprising when I heard this as part of the piano score for The Caveman's Valentine. At least, that's what it was called when it came out in 2001. The movie is now known as The Soloist, Part 1: The Eerily Similar Fictional Version.

A short background of the song's scenario: Romulus Ledbetter composed this song entirely in his own head, where he envisions playing it among a torrent of moth-men who flutter about violently whenever his schizophrenia begins to negatively affect his life. At least, that's what I got. Movie is pretty damn confusing at times, since segments are played out through the perspective of a crazy person. Perfect Sam Jackson role, I know.

Heard in context, you can feel the waves of catastrophe and self-loathing and fear and desperation and everything else you might imagine to be thrust upon you when your life is lived in a cave in Central Park.

Out of context, it still clearly forms a tragic story of severe ebb and flow. And that's the defining characteristic of all great composers: you don't need context to know what the story is about.

Viva Voce - The Slow Fade

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A few months ago I lost both the main and backup hard drives containing my iTunes Library. Roughly 1TB worth of data... gone. As you can imagine I was super excited... of course not, I was uber pissed, so angry I couldn't believe it, a hugh moment of "Are You Fuckin' Kidding Me?!?!? The main and the backup!!!" It was the best Ad for a Drobo ever and helped re-ignite a strong desire for Spotify, because, well, this has happened before over the years, and even though I had older versions of my library on other drives, I'm getting tired of managing hard drives, I just want access to a shit ton of music. 

Now having those older drives with part of my music library is great, except for when you want to hear something that you purchased recently. Fortunately E-Music has very liberal Re-download Policy which came in very handy yesterday when I had Viva Voce's "The Slow Fade" in my head.  The haunting chorus of "Gone Gone Gone" kept playing over and over in my ears as I tapped out the lulling rhythms on my steering wheel while driving to work, on my customers desk that afternoon and at the dinner table last night. Stuck on repeat was this simple lullaby of a break up and goodbye song. This morning I re-downloaded Vive Voce's Rose City and couldn't be happier to hear the this song in full and release my self of only remembering the one phrase of the chorus. 

The march of the piano and the slide guitar set the mood of a county dirge while a wobbly distorted square wave from a keyboard fades in and out to accent the vocal melody. It's a simple and beautiful song, fitting for the end of a record, a relationship or mourning the loss of your music collection... "Gone, Gone, Gone."

Chali 2na - Join the Dots

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If there were justice in this world, every Super Bowl halftime show would be Ozomatli doing "Super Bowl Sundae," then everyone gets back to playing the damn game. I guarantee even better ratings if you get Chali 2na back with them every year. Not that I'm going to watch it - I like football football: the kind you play with your feet.

Now, there are two things that really impress me about this man and his work:

1. His lyrics cut deep.

It's got so much to do with that distinctive, frank voice. It's got so much more to do with how many times you have to listen to a track to absorb all the subtleties of what he's saying. And, yes, I do give some favor for the recurring topic of superficial rappers who would rather make a buck than say something meaningful.

2. His true spirit of collaboration.

Every cash-and-hoes MC out there has 27 people featured on every single track they release. Almost every time, they give up three lines or just yell 'yeah' over a chorus. It's bullshit. They could have just as well waited in the car outside the studio.

When Chali does a song with someone, they actually work together. Not only does everyone shut up when another is on the mic, the flow recognizes how many have the mic and adapts. The more subtle aspects of the background multiply and morph to work with both the numbers and individual tone.

Its respectful recognition of the communal and individual experience of music.

Butter 08 - 9mm

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If I was just going for an easy bit of 90s nostalgia, the pick from Butter 08 would have been the track "Butter of '69," which made it onto 120 Minutes pretty regularly in the heady times of 1996.

Frankly, that was a good time for music. The fact is that the Alternative Nation was flowing strong and side projects such as Butter 08 - basically Cibo Matto and the drummer from the Jon Spencer Blues Explosion - were abound with greatness.

To boot, the Butter released their only album on the Beastie Boys label Grand Royal, which was probably the only place that such a perfect melding of funk, rock and comfy groove could have come out. There's as much smooth groove on the album as there is post-hardcore noise-rock. 

Aside from the serious musicianship and creative artistry present here, there's an element of brilliance that isn't often found nowadays. Halfway through the tightly wound Cuban-tribal pounding of "Dick Serious" - a song whose only lyrics are that name - one of the Cibo Matto girls utters the most telling statement of the album: "He said dick." That's my kind of album.

So why do I choose "9mm" instead of the pseudo-hit single? That's easy. I like listening to those girls scream. When the chorus crashes and they start screaming about having more than 9 millimeters it makes me want to stand up and create something for the entertainment of my downtown musician friends to enjoy, whether or not anybody else gets it.

Every once in a while, I wish it were still the 90s. Yeah, I said it. I think I'm gonna go dig out my Blues Explosion records now.

see also: Butter 08 - Butter of '69

NOFX - Please Play this Song on the Radio

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Punk rock is like a giant 'fuck you' screamed out into space. If someone hears it, cool. If not, it was probably deserved and/or fun which made it worth doing anyway.

Back in 1992 when this was first released, we as a country were mired in the muck of the JCPenney 'grunge revolution.' A farce of revolt so disgustingly contrived that its own poster boy blew his face off after the heroin could no longer contain the depression.

All the respectable bands were resigned to staying underground and unnoticed, continuing to make good music that would never achieve commercial success. But I don't think anything could have been more punk rock than making a joke of the joke, then appending it with a joke about your joke and releasing it to the masses who would never be able to hear it in mass form. That's a triple 'fuck you,' my friends.

The lyrics - and inserted lack thereof - are perfect on almost every level. But where they really succeeded was making a song that actually sounded like NOFX, but was catchy and poppy. One of the reasons they were able to achieve such a feat was the then-recent addition of El Hefe to the group. If you check the band's talent-required guitar work from the three albums previous to White Trash, Two Heebs and a Bean, you won't have much research to do.

Most importantly, it's a song that will never not apply to our society. Pop music will never go away, no matter how much we want it to. So we will always need a clever anti-pop anthem to prove to the masses that any idiot with enough brainpower to follow an instruction sheet can write that drivel.

Oh, and +10 points by proxy for it's apropos appearance in one of the best-worst movies ever: The Chase.

The Knife - Colouring of Pigeons - Tomorrow In A Year

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New challenging and ambitious work from The Knife In Collaboration with Mt. Sims and Planningtorock, written specifically for the opera Tomorrow In A Year which is based off of Darwin's Origin of Species and other Darwin related materials such as Richard Dawkins' The Selfish Gene.  It's as if they crept into my library and wrote an album about it.  I couldn't be more excited.

Company Flow - Patriotism

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I was going to write up a whole examination of this song but instead I'll just post it as a eulogy to Def Jux Recordings, Company Flow member El-P's apparently now-defunct label

Despite the fact that this track wasn't released anywhere near the existence of the label, it's probably a better way to ease into this world. If, of course, it's possible to ease into it at all. (Yeah, I'll have to post something later that actually came out on Def Jux. But, you know... whatever.)

Company Flow was one of the groups that came out of 90s hip hop that helped push forward the underground - even if they flamed out after one brilliant record. They were smart and sounded like nothing else. Or, nothing else on MTV at least.

That one record notwithstanding, "Patriotism," was Company Flow's contribution to the front-to-back mindblowing Soundbombing 2, put out in 1999 by Rawkus and mixed by J-Rocc and Babu of the Beat Junkies. The mix included early efforts from Eminem, Pharoah Monch, Mos Def and more, with this being one of the true standouts.

Packed with vitriol and sarcasm that reflects the lying-to-your-face state of America both then and now, you'd be well-advised to read the lyrics while listening to the song. Actually knowing all the words adds a level of studiousness to an otherwise lyrically bare-knuckled shot to the face, perfected in lock-step with El-P's production. You might want to back up a step or two before pressing play.

Lyrics to "Patriotism"