DocMcCoy"Go and laugh in your own country!" 5,913 Posts
Junior said:
DocMcCoy said:
hints of Lewis Taylor on the back of the tongue.
Ha! I thought I might be in a minority of one regarding hearing Mr Taylor in the mix (think the vibes were particularly strong on the title track and fun in forever though there may be more). I thought about mentioning nu-soul in my original misguided post and then decided I was being provocative enough already.
I think it's been mentioned before on here but if ever Lewis Taylor wanted to make a comeback, now would be the perfect time. Though any time would be good with me.
I definitely got it from those two tracks, but also from the vocal production on a few of the other tunes. There are one or two points where the overall atmosphere of the record puts me in mind of some of Lewis's more prog-soul moments as well.
I don't think Lewis is coming back anytime soon. I wrote a piece on him for The Word (RIP) a few years ago, and even got in touch with Edgar Broughton (whose band he was back playing with at the time) to see if he might know whether or not Lewis was amenable to doing an interview. Edgar politely but firmly informed me that Lewis was no longer interested in cultivating any sort of media profile, and "out of respect for his wishes" would make no further comment.
I'd probably rate the album as one of my best unexpected musical pleasures so far this year - seems like there's a bit of something for every mood. Miguel's three art dealer chic EPs are worth downloading as well. More chaotic and less focused but some great stuff in there if you're fiending or more.
Yeah, I managed to find those EPs on line - a bit more rough and ready, but you can hear the direction he was headed in. I had to give my editor my Best of 2012 picks a couple of weeks ago. If I'd heard the album a little earlier, it'd definitely have made the list. Frank Ocean's album has sucked up all the rock-crit plaudits, but I think this might be the better record. Possibly the more enduring one, too.
Ha! I thought I might be in a minority of one regarding hearing Mr Taylor in the mix (think the vibes were particularly strong on the title track and fun in forever though there may be more). I thought about mentioning nu-soul in my original misguided post and then decided I was being provocative enough already.
I think it's been mentioned before on here but if ever Lewis Taylor wanted to make a comeback, now would be the perfect time. Though any time would be good with me.
I definitely got it from those two tracks, but also from the vocal production on a few of the other tunes. There are one or two points where the overall atmosphere of the record puts me in mind of some of Lewis's more prog-soul moments as well.
I don't think Lewis is coming back anytime soon. I wrote a piece on him for The Word (RIP) a few years ago, and even got in touch with Edgar Broughton (whose band he was back playing with at the time) to see if he might know whether or not Lewis was amenable to doing an interview. Edgar politely but firmly informed me that Lewis was no longer interested in cultivating any sort of media profile, and "out of respect for his wishes" would make no further comment.
I'd probably rate the album as one of my best unexpected musical pleasures so far this year - seems like there's a bit of something for every mood. Miguel's three art dealer chic EPs are worth downloading as well. More chaotic and less focused but some great stuff in there if you're fiending or more.
Yeah, I managed to find those EPs on line - a bit more rough and ready, but you can hear the direction he was headed in. I had to give my editor my Best of 2012 picks a couple of weeks ago. If I'd heard the album a little earlier, it'd definitely have made the list. Frank Ocean's album has sucked up all the rock-crit plaudits, but I think this might be the better record. Possibly the more enduring one, too.
Shame about Lewis though I can't say I blame him at this stage - it's not like he didn't give it enough attempts. I'm still fascinated by the general affect he had on people I "shared" him with - almost 100% adoration from male listeners and stoney cold disinterest from the female listeners. When pressed the best I could get was that it was a mixture of his particular vocal tone that put them off.
Yep I would say that at this stage I'm much more likely to return to Kaleidoscope Dream over Channel Orange and I doubt that's going to change soon. I still like Channel Orange (well, most of it) but, for all the talk about the baring of the soul, sexuality reveal etc I find Miguel's album to be a much more personal experience in practice. It's also more fun which helps.
^^^ Could become the soundtrack to the Fanny-Magnet-That-Is-Duder-'s Life.
Duder going for 99 bitches and not one problem.
If only.
I bumble along and manage to annoy the hell out women. Went into my local sandwich shop, and one of the guys there (fully aware of the score) decided to tell the Spanish-won't-take-no-for-an-answer-girl that he'd seen me out on on a date.
If I'd heard the album a little earlier, it'd definitely have made the list. Frank Ocean's album has sucked up all the rock-crit plaudits, but I think this might be the better record. Possibly the more enduring one, too.
Yep I would say that at this stage I'm much more likely to return to Kaleidoscope Dream over Channel Orange and I doubt that's going to change soon. I still like Channel Orange (well, most of it) but, for all the talk about the baring of the soul, sexuality reveal etc I find Miguel's album to be a much more personal experience in practice. It's also more fun which helps.
I'm really enjoying the Miguel album, but I don't know if I'm feeling it like you guys.
What are the tracks on KD you think stack up against the best of Channel Orange? Maybe I'm sleeping on something, but I'm just not hearing it.
If I'd heard the album a little earlier, it'd definitely have made the list. Frank Ocean's album has sucked up all the rock-crit plaudits, but I think this might be the better record. Possibly the more enduring one, too.
Yep I would say that at this stage I'm much more likely to return to Kaleidoscope Dream over Channel Orange and I doubt that's going to change soon. I still like Channel Orange (well, most of it) but, for all the talk about the baring of the soul, sexuality reveal etc I find Miguel's album to be a much more personal experience in practice. It's also more fun which helps.
I'm really enjoying the Miguel album, but I don't know if I'm feeling it like you guys.
What are the tracks on KD you think stack up against the best of Channel Orange? Maybe I'm sleeping on something, but I'm just not hearing it.
I mean, Crack Rock > Pyramids > Lost? C'mon..
I feel a bit cheeky comparing the two as they're kind of apples and (channel) oranges, bing bang boom, but they are my two favourite RnB flavoured albums this year so guess it's inevitable.
For me, personally, as much as some of it has grown on me, I am still disappointed in Channel Orange. I love the little run in the middle but still miss the fun aspect that Nostalgia, Ultra had. It feels like Ocean got weighed down a little by the whole situation and there are too many moments to me where the ideas feel unfinished or unfocused.
On the other hand I find the Miguel album a far more coherent experience from start to finish (there's nothing I currently feel the need to skip) and the whole thing feels more relaxed in its making which subsequently makes me enjoy listening to it more. This is entirely down to personal preference though.
I love that Solange track by the way but I really don't see it as RnB - it sounds like pure pop in the best way.
This is how we do it here in Seattle. New Choklate Produced by Vitamin D. Town Bizness.....
Starts off promising but seems to be missing a snare and a whole range of frequency. The guitar is correct doe. 6/10.
Man, this song is the lick. Immensely catchy tune, deeply charming vocals, and the perfect bit of peach-fuzz on the beat. I'm about to move my speakers into the window over this shit. Gets a lot of Chicago points, too, and not just onnaccounta grull's t-shirt in the (adorable-as-hell) video; I could see this doing real damage at a steppers set or out at The Rink or somewhere. My initial feeling was to want it to be longer and a little more stretched-out, but you know, it's kinda tight and perfect just how it is. Automatic rewinds for days.
And I think I know what you're saying Jimster, but I actually like how stripped-down it is. I like that it gets that stepper's groove without getting caught up in the post-Kells swamp of superfluous orchestration, and I like that the track really relies on her voice to complete it--I'd almost always rather hear that kind of interplay than hear some perfect fat slab of ersatz TSOP with the vocalist just kind of coasting over top of it.
Next-to-lastly: What's up with an instrumental, though?
Lastly, I feel like I know those drums. Brother Soul?
this almost had me open but it petered out. i like Solange. bbut she cant really sing sing. Cute got style and pushes it more than her sister.
the beat was cool but it never rises. its the same damn droned production. no change up, no flip. No drama.
ill cop the album just for the sleeve pictures.
What he said (except for the part about copping the album).
While the question of Doc McCoy's controversial claim that she is "the Knowles sister with the legs" is perhaps best left to science, with regard to her music, I remain unconvinced that she's got the goods.
this almost had me open but it petered out. i like Solange. bbut she cant really sing sing. Cute got style and pushes it more than her sister.
the beat was cool but it never rises. its the same damn droned production. no change up, no flip. No drama.
ill cop the album just for the sleeve pictures.
What he said (except for the part about copping the album).
While the question of Doc McCoy's controversial claim that she is "the Knowles sister with the legs" is perhaps best left to science, with regard to her music, I remain unconvinced that she's got the goods.
I place her in the same boat as Kelis. Even though Kelis has more character.
Regular ass if not sub-par voice that needs great production to ride on top off. And add a dash of "distinctive/forward" style.
this almost had me open but it petered out. i like Solange. bbut she cant really sing sing. Cute got style and pushes it more than her sister.
the beat was cool but it never rises. its the same damn droned production. no change up, no flip. No drama.
ill cop the album just for the sleeve pictures.
What he said (except for the part about copping the album).
While the question of Doc McCoy's controversial claim that she is "the Knowles sister with the legs" is perhaps best left to science, with regard to her music, I remain unconvinced that she's got the goods.
I place her in the same boat as Kelis. Even though Kelis has more character.
Regular ass if not sub-par voice that needs great production to ride on top off. And add a dash of "distinctive/forward" style.
Definitely.
It's like how they say it's easier to be The Other Man than it is to be The Man: When you're trying to get a single lady, you've gotta be more interesting to her than every other guy she knows; but when you're stepping to a lady who's attached, you only have to be more interesting to her than the guy she's with.
Similarly, I think it's easy for Solange to seem flavorful, because all she has to do is be more interesting than Beyonce. Her remarkability/Cool Factor is, I think, entirely relative.
I still like the Solange track - I'm not a fan of her in general but, as mentioned in the New Music Thread, everything about this song screams of True Blue/Like a Prayer era Madonna from the synths to the vocal processing to the songwriting. Despite the wave of eighties nosalgia engulfing every musical form right now this is specific enough a pastiche to leave me with a big grin on my face.
this almost had me open but it petered out. i like Solange. bbut she cant really sing sing. Cute got style and pushes it more than her sister.
the beat was cool but it never rises. its the same damn droned production. no change up, no flip. No drama.
ill cop the album just for the sleeve pictures.
What he said (except for the part about copping the album).
While the question of Doc McCoy's controversial claim that she is "the Knowles sister with the legs" is perhaps best left to science, with regard to her music, I remain unconvinced that she's got the goods.
I place her in the same boat as Kelis. Even though Kelis has more character.
Regular ass if not sub-par voice that needs great production to ride on top off. And add a dash of "distinctive/forward" style.
Definitely.
It's like how they say it's easier to be The Other Man than it is to be The Man: When you're trying to get a single lady, you've gotta be more interesting to her than every other guy she knows; but when you're stepping to a lady who's attached, you only have to be more interesting to her than the guy she's with.
Similarly, I think it's easy for Solange to seem flavorful, because all she has to do is be more interesting than Beyonce. Her remarkability/Cool Factor is, I think, entirely relative.
The only issue I have with this is that most of her "remarkability/Cool Factor" seems to have been given to her just because of whose sister she is. It's like this video, where she's dancing infront of 'cool from another culture', it just feels superficial and ultimately pretty empty.
everything about this song screams of True Blue/Like a Prayer era Madonna from the synths to the vocal processing to the songwriting. Despite the wave of eighties nosalgia engulfing every musical form right now this is specific enough a pastiche to leave me with a big grin on my face.
Isn't it funny how that works? Vague, subtle bites often frustrate me, but a total surgical jack move like this (I mean, listen to the tune and phrasing of the "Tell me the truth, boy / am I losing you for good?" line against the "I hear your voice / It's like an angel sighing" line from "Like A Prayer") can work so well. I think you're right that specificity is the key.
But while I'd probably be happy as hell to hear this song unexpectedly on the radio or out at the colonic boutique or wherever, in the larger context of Music I Listen To, it's worn out its welcome with me a lot quicker than a good pop tune ought to. I think batmon hit the nail on the head when he cited its utter lack of dynamics. Once you've heard the first sixty seconds, you've heard the whole thing. The chorus is the verse is the chorus is the verse is the chorus, and four and a half minutes later (it even gets the proper pop-song length wrong!) it's done.
this almost had me open but it petered out. i like Solange. bbut she cant really sing sing. Cute got style and pushes it more than her sister.
the beat was cool but it never rises. its the same damn droned production. no change up, no flip. No drama.
ill cop the album just for the sleeve pictures.
What he said (except for the part about copping the album).
While the question of Doc McCoy's controversial claim that she is "the Knowles sister with the legs" is perhaps best left to science, with regard to her music, I remain unconvinced that she's got the goods.
I place her in the same boat as Kelis. Even though Kelis has more character.
Regular ass if not sub-par voice that needs great production to ride on top off. And add a dash of "distinctive/forward" style.
Definitely.
It's like how they say it's easier to be The Other Man than it is to be The Man: When you're trying to get a single lady, you've gotta be more interesting to her than every other guy she knows; but when you're stepping to a lady who's attached, you only have to be more interesting to her than the guy she's with.
Similarly, I think it's easy for Solange to seem flavorful, because all she has to do is be more interesting than Beyonce. Her remarkability/Cool Factor is, I think, entirely relative.
The only issue I have with this is that most of her "remarkability/Cool Factor" seems to have been given to her just because of whose sister she is. It's like this video, where she's dancing infront of 'cool from another culture', it just feels superficial and ultimately pretty empty.
Are you suggesting that Solange actually doesn't chill in the Congo with sapeurs?
everything about this song screams of True Blue/Like a Prayer era Madonna from the synths to the vocal processing to the songwriting. Despite the wave of eighties nosalgia engulfing every musical form right now this is specific enough a pastiche to leave me with a big grin on my face.
Isn't it funny how that works? Vague, subtle bites often frustrate me, but a total surgical jack move like this (I mean, listen to the tune and phrasing of the "Tell me the truth, boy / am I losing you for good?" line against the "I hear your voice / It's like an angel sighing" line from "Like A Prayer") can work so well. I think you're right that specificity is the key.
But while I'd probably be happy as hell to hear this song unexpectedly on the radio or out at the colonic boutique or wherever, in the larger context of Music I Listen To, it's worn out its welcome with me a lot quicker than a good pop tune ought to. I think batmon hit the nail on the head when he cited its utter lack of dynamics. Once you've heard the first sixty seconds, you've heard the whole thing. The chorus is the verse is the chorus is the verse is the chorus, and four and a half minutes later (it even gets the proper pop-song length wrong!) it's done.
Meh.
I will grudgingly concede on this point. Still in the honeymoon period with the song but must confess that I basically zone out after the first 90 seconds or so.
The song is crying out for a change up in the last third; considering the attention to detail in the rest of the production it's a crying shame they didn't have the confidence to skip the eurotrance breakdown and go for the full on bombastic pomp of a Madge breakdown from bitd.
Comments
I definitely got it from those two tracks, but also from the vocal production on a few of the other tunes. There are one or two points where the overall atmosphere of the record puts me in mind of some of Lewis's more prog-soul moments as well.
I don't think Lewis is coming back anytime soon. I wrote a piece on him for The Word (RIP) a few years ago, and even got in touch with Edgar Broughton (whose band he was back playing with at the time) to see if he might know whether or not Lewis was amenable to doing an interview. Edgar politely but firmly informed me that Lewis was no longer interested in cultivating any sort of media profile, and "out of respect for his wishes" would make no further comment.
Yeah, I managed to find those EPs on line - a bit more rough and ready, but you can hear the direction he was headed in. I had to give my editor my Best of 2012 picks a couple of weeks ago. If I'd heard the album a little earlier, it'd definitely have made the list. Frank Ocean's album has sucked up all the rock-crit plaudits, but I think this might be the better record. Possibly the more enduring one, too.
Starts off promising but seems to be missing a snare and a whole range of frequency. The guitar is correct doe. 6/10.
Shame about Lewis though I can't say I blame him at this stage - it's not like he didn't give it enough attempts. I'm still fascinated by the general affect he had on people I "shared" him with - almost 100% adoration from male listeners and stoney cold disinterest from the female listeners. When pressed the best I could get was that it was a mixture of his particular vocal tone that put them off.
Yep I would say that at this stage I'm much more likely to return to Kaleidoscope Dream over Channel Orange and I doubt that's going to change soon. I still like Channel Orange (well, most of it) but, for all the talk about the baring of the soul, sexuality reveal etc I find Miguel's album to be a much more personal experience in practice. It's also more fun which helps.
Is the absolute mutt's nuts. I'm going to manufacture a moment very soon just so I can slow dance to this with my lady. Love it love it love it.
Duder going for 99 bitches and not one problem.
If only.
I bumble along and manage to annoy the hell out women. Went into my local sandwich shop, and one of the guys there (fully aware of the score) decided to tell the Spanish-won't-take-no-for-an-answer-girl that he'd seen me out on on a date.
No one expects the Spanish Inquisition!
RnB that I return to:
this stuff? Floacist... wow!
I'm really enjoying the Miguel album, but I don't know if I'm feeling it like you guys.
What are the tracks on KD you think stack up against the best of Channel Orange? Maybe I'm sleeping on something, but I'm just not hearing it.
I mean, Crack Rock > Pyramids > Lost? C'mon..
Solange - Losing You
I feel a bit cheeky comparing the two as they're kind of apples and (channel) oranges, bing bang boom, but they are my two favourite RnB flavoured albums this year so guess it's inevitable.
For me, personally, as much as some of it has grown on me, I am still disappointed in Channel Orange. I love the little run in the middle but still miss the fun aspect that Nostalgia, Ultra had. It feels like Ocean got weighed down a little by the whole situation and there are too many moments to me where the ideas feel unfinished or unfocused.
On the other hand I find the Miguel album a far more coherent experience from start to finish (there's nothing I currently feel the need to skip) and the whole thing feels more relaxed in its making which subsequently makes me enjoy listening to it more. This is entirely down to personal preference though.
I love that Solange track by the way but I really don't see it as RnB - it sounds like pure pop in the best way.
Off the same album, this is more crossover... one of my favorite tracks of the year
this almost had me open but it petered out. i like Solange. bbut she cant really sing sing. Cute got style and pushes it more than her sister.
the beat was cool but it never rises. its the same damn droned production. no change up, no flip. No drama.
ill cop the album just for the sleeve pictures.
And I think I know what you're saying Jimster, but I actually like how stripped-down it is. I like that it gets that stepper's groove without getting caught up in the post-Kells swamp of superfluous orchestration, and I like that the track really relies on her voice to complete it--I'd almost always rather hear that kind of interplay than hear some perfect fat slab of ersatz TSOP with the vocalist just kind of coasting over top of it.
Next-to-lastly: What's up with an instrumental, though?
Lastly, I feel like I know those drums. Brother Soul?
While the question of Doc McCoy's controversial claim that she is "the Knowles sister with the legs" is perhaps best left to science, with regard to her music, I remain unconvinced that she's got the goods.
I place her in the same boat as Kelis. Even though Kelis has more character.
Regular ass if not sub-par voice that needs great production to ride on top off. And add a dash of "distinctive/forward" style.
It's like how they say it's easier to be The Other Man than it is to be The Man: When you're trying to get a single lady, you've gotta be more interesting to her than every other guy she knows; but when you're stepping to a lady who's attached, you only have to be more interesting to her than the guy she's with.
Similarly, I think it's easy for Solange to seem flavorful, because all she has to do is be more interesting than Beyonce. Her remarkability/Cool Factor is, I think, entirely relative.
God damn.
I still like the Solange track - I'm not a fan of her in general but, as mentioned in the New Music Thread, everything about this song screams of True Blue/Like a Prayer era Madonna from the synths to the vocal processing to the songwriting. Despite the wave of eighties nosalgia engulfing every musical form right now this is specific enough a pastiche to leave me with a big grin on my face.
New Beige Soul
But while I'd probably be happy as hell to hear this song unexpectedly on the radio or out at the colonic boutique or wherever, in the larger context of Music I Listen To, it's worn out its welcome with me a lot quicker than a good pop tune ought to. I think batmon hit the nail on the head when he cited its utter lack of dynamics. Once you've heard the first sixty seconds, you've heard the whole thing. The chorus is the verse is the chorus is the verse is the chorus, and four and a half minutes later (it even gets the proper pop-song length wrong!) it's done.
Meh.
Are you suggesting that Solange actually doesn't chill in the Congo with sapeurs?
I will grudgingly concede on this point. Still in the honeymoon period with the song but must confess that I basically zone out after the first 90 seconds or so.
The song is crying out for a change up in the last third; considering the attention to detail in the rest of the production it's a crying shame they didn't have the confidence to skip the eurotrance breakdown and go for the full on bombastic pomp of a Madge breakdown from bitd.
Those first 90 seconds though.....
I kid, but yeah, you're absolutely right. The only reason I'm so disappointed by this song is because its potential is so great.
15 years ago I would have looked for a 7 remix CD single w/ maybe some stretched out versions.
Maybe even an Import w/ UK cats freakin the shit.
Heat! Thanks for the heads up. I'm glad she's back with some new material. I still play 'The tea' all the time.