The Last Drop

Santogold, Santogold – This was another “I’ll pass on the mainstream release to hear the quirky remix album”. I had about heard enough of Santi White by the time I had left London in September last year. I even went to her show at Scala (quite impressive actually) and was a fan. But the overexposure of almost an entire album was too much for me to handle. So instead of actually buying the album, I went with the Diplo sponsored collabo Top Ranking. Mind you, this was the same approach I (less intentionally) made with Jamie Lidell to much success (try Multiply: Additions on for size if you haven’t had a chance). And to quite honest, I think Top Ranking improves upon the original. But I was shocked to hear how vastly different the recordings were. Where Top Ranking gets it kick from hard nocking beats and deft island inspired mash ups, Santogold is much more straight forward in its rock ambitions. It’s hard for me to truly appreciate all of the reviews on how forward thinking the original was when the remixes elevate her sound. But it is interesting to hear a fresher take on new wave rock. And her voice provides a great instrument that very few vocalists (moreso among women) can match in intensity and range. Even Jay Z took notice. Santogold stands on it’s own in spite of the ambitious Top Ranking and I give ample credit to Santi for bending her “genre” as many ways as possible.

Back from rehab, here are my Top Drops from a fairly fruitful March:

Panda Bear, Person Pitch – This is really growing on me. The clammering 60′s soundscape genre may well become a new territory for permanent exploration in 2008. I don’t know if I will find too many artists better than Panda Bear however. Maybe I should just Take Pills.

Bon Iver, For Emma, Forever Ago – It doesn’t hurt to have an amazing, gut-wrenching story to help further your bid for melancholic genius. Perfect for a spring day that calls for snow (thank you, irregular weather patterns across England!)

Jay Z, American Gangster – A growing Jay z obsession?! Maybe. I think I really appreciate ’70s soul samples and Lil Wayne on his grimiest game. Say goodbye to Katrina, Hello Brooklyn!

By Signing Jay Z to a $150Million contract for 10 years. Yet another defect from the major labels (Def Jam). Jigga joins the likes of Madonna and U2 under Live Nations newly signed artist roster. But has the highest payout for a contract to date. I guess it does help to be a CEO of your own label to negotiate better deals.

Jay Z, American Gangster – My appetite for hip hop is growing steadily. And look, I’m already on my second Jay Z album. Who knew it would get this far!

Sean Cory Carter was not embellishing when he announced “This is black superhero music” in “Roc Boys (And the Winner Is…). Bring out your ’70s samples and get the horns ready to ride out. Blacksploitation is back. Yes, it fits the theme for the movie in which the subject matter is patterned after. But it is thoroughly thick with ’70s references musically and lyrically. If I hear another Marvin Gaye song chopped and cut, I may just be tempted to buy the original Sidenote – American Gangster is also a tribute to General Mills with references to the notoriety of the General Mills chairman and the goodness that is Hamburger Helper. See? Don’t you want to listen to the album right now? Aside from the myriad references that Jay Z usually packs in his albums, the gangster theme helps keep the focus. If not a bit of tried territory, he does his best to come up with a balanced perspective on the triumph and the loss of being a drug dealer. In very human terms that are loosely based on his own life. It seems like all of his latest releases ( The Black Album, Kingdom Come) are all flirting with his introspective nature. Which is exciting for me. Anything that starts to stand clear from the money, cars, women mantra of mainstream hip hop (you know who you are, T-Pain!) almost seems decadent at this point. The standout tracks are clearly the radio friendly hits “Roc Boys (And the Winner Is…)” and “I Know”. Still, there are some non-radio friendly gems, namely “Hello Brooklyn” featuring Lil’ Wayne and “Success” featuring Nas. “Hello Brooklyn” is a treat of a minimalist piece with Wayne sounding as weary and weathered as ever. His voice has now embodied the post-Katrina New Orleans and he uses the affect effortlessly. “Success” displays grown-folk braggadocio from two veteran rappers that have earned the right. It’s great when the guest artist and the original artist actually play to each other’s strengths and lift the song to a better realm. It also helps that the music’s eerily sparse arrangement of just an organ sets the mood for grim and gaudy lyrics.

As a whole, the album doesn’t play well for radio play. Beyonce is only on one song (speaking! Not even singing), the samples are either too slow or too funky to speak to the masses and there is even a song with no hook (aptly titled). I find it refreshing as with much of hip hop that is based off of melodies and actual musicians than just beat loops. Others may find it too hard to follow. I say, give it a try.

Oh, and the video for “I Know” is down right artistic. Can you spot Lenny Kravitz’s daughter in the bunch?

See “I Know” video

Jay Z, Kingdom Come – So, this is my first Jay Z album. No, I’m not an alien from another planet. I just never got around to owning his work he has been a mainstay on Top 40 radio for the last decade. If I didn’t hear it in the car driving I could always find it out at a club for prime booty shaking. Now you see the large gaps in my musical knowledge showing. Just wait until I get into my Beatles rant…

Kingdom Come was critically panned by most everyone. Furthermore, it was one of Jay Z’s lowest selling releases of the recent past. So, of all the Jay Z albums I could own, let alone review, why this one? Because I actually like it. Yes, I am the raging minority that enjoys Jay Z as a grown up. True, his lyrics aren’t as biting as even his radio releases (did I just hear him mention Gwyneth Paltrow and St. Tropez for the third time). True, you won’t be astounded by the amazing production value of his usual roster of hitmakers. No Timbaland in sight – how did that happen? But what you do gain is a a peek into the life of a grown up rapper. There aren’t many of them. Or at least the older ones don’t reference their age ever (Snoop, you still trying to tell me you a thug at 100 lbs soaking wet? Go back to MTV and get your Shownizzle recontractizzled.). Thus, this is my first chance at looking at what a 30 year old CEO has on his mind after being a raw, yet talented hustler. Not surprisingly, he focuses much of his effort on reinforcing his age to flaunt the fact that he isn’t young anymore, but youth may not be what is desirable. When you have a song entitled “30 something” you are really trying to sell this “grown up” vibe. For me, it works. I don’t need another record highlighting how much money you have, how nice your car is, or how hood you can be – admitting that you are older and don’t have the urge to buy rims anymore is actually inspiring. Go ahead and write a(nother) song to your mother on how you are successful and can finally afford to buy her anything she wants. You know what, I actually would like to go to St. Tropez, so tell me a little more about it. He still has some venom to attack younger rappers and refute his self imposed retirement. He’s just not overly concerned with maintaining the tried braggadocio of most contemporary hip hop. For me, it works. I enjoy listening to an album that actually deals with internal conflict vs. reinforcing the external conflict of most rap themes (money, women, drugs, bling, etc.). I wish he did have some more bite in his lyrics and a few of the beats are a bit too laid back. Nevertheless, I’m more inclined to listen to future Jay Z records from this release. I know that puts me in a rather small minority, but I guess I’ve been dealing with that for a long time