Daveportivo's Cultural Evaluation Facility

Music, Politics, Flim, Books and TV all shall be reviewed within.

So I was going to review the new Mariah Carey single, mostly because I was getting tired of positive reviews and fancied a rant, but then today NME.com informs me that Eminem has made a relitation track on his website so I couldn't help but review these two tracks.


Obsession - Mariah Carey

So at first I was preparing to rip on this song for being a horrendous look at me, aren't I wonderful, everyone loves me, I'm a superstar, nay I'm a god, self centred, buried up her own arse Mariah Carey track. Then I found out that the Obssesion refered to Eminem. Apparently Em dissed her husband Nick Cannon, so they filmed this video with a stalker whose supposed to be Em. Carey and Cannon have denied this and claimed the song is referencing the movie mean girls. You know what? I don't give two shits. It's still another horrible wailing, bland, boring slice of festering crap. I won't even call it pop, because pop is actually good these days, it's a derogatory term no longer. Instead this is just horrid wailing. It sounds like every other awful Mariah Carey song of recent years. It's a shame when she was making inoffensive party jams a few years back that was perfectly fine forgettable pop. However she's reverted to type and continues to put out these utter dirges, telling us how great she is, how every man on earth wants to have sex with her, how she's some kind of goddess. It's so enfuriating, the reason we shower praise upon Girls Aloud, Sugababes and Lily Allen, is because their down to earth, their real women, they'd don't carry them selves as above everyone else, and most importantly in Lily's case they actually have something to say. As for Girls Aloud and Sugababes they are unpretentious and stick to making good pop music to dance to, to have fun, nothing more nothing less. Obsession is the worst incarnation of pop music, it's a dreadful, shallow, selfish, peice of nothingness, I had hoped we'd left this garbage in the ninities, but alas Mariah Carey just won't die (in career terms).



The Warning - Eminem

So after the regrettable Relapse we finally get the angry rage filled Eminem back. Now while I couldn't give two shits about celebrity romance or break ups or whatever, if it gets Em back to form, then what the hell I'll go with the flow. While we still get the petty and pathetic insults, i.e calling Nick Cannon a "faggot". Despite the pettiness the track is thrilling, Em declaring "I've Got Enough Dirt On You To Murder You", ouch, now that's the Eminem I remember. He makes jokes about prematurally ejactualating on Mariah's belly. The highlight of the track comes when Em digs up some vocal recordings of Mariah and mixes them in with his rap;

Em:I Love You,
MC:I Love You Too,
Em:Let Me Whisper Sweet Nothing Into Your Ear Boo,
MC:It's Nothing,
Em:So What I'll Do Is Refresh Your Memory When You Said,
MCI Want You,
Em:Now Should I Keep Going Your Should We Call Truce,
MC:You Think Your Cute Right,
Em:You Bet Your Arse I Do,
MC:I'm Mary Poppins B,
Em:And I'm Superman,
MC:Mary P Slim Shady,
Coming At You,
Em:So If You Still Be My
Mc:Baby Girl
Em:I'll Be Still be Your
Mc:Superhero Oh My Em,
Em:Yeah I'm Right Here,
Mc:You Like This,
Em:No, Not Anymore Dear,
It Cuts Like A
Mc:Knife,
Em:When I Say Get A
Mc:Life,
Em: But I'm Moving On With Mine, Nick Is That Your
Mc:Wife,

Even though I find the subject matter petty and pathetic I have to say listening to the track is exhilerating, it's the old ballsy in your face Em, even telling Cannon "You think I'm Affraid of you". While I don't want an album of celebrity bashing and disses, if this is an indication that Em is putting the silly voice away and getting back to rapping, I'm all in favour. As a track, it's okay, it's elevated by the intrigue factor but after the listening to Obssesion it's a relief to listen to The Warning. Ultimately there both shallow and pathetic, and one has to ask; why can't celebrities just get along.





The Fixer - Pearl Jam


Oh some bands should just stay retired. Pearl Jam have a great legacy, Ten and Vs. ensure them a rosy retrospective from music historians of years yonder. So what if they inspired the worst bands in human history (Nickelback, Stone Temple Pilots anyone?) but at least they never made a bad rec....oh. So their last self title effort wasn't much cop but your allowed to have one dodgy album, everyone lets off Morrissey for the hit and miss You Are The Quarry because we just glad to have him back making great singles again. Well the honeymoon period is over for Pearl Jam and it's time for them to start making good music again and they give us The Fixer. Quite simply this is the worst Pearl Jam single I've ever heard. It's so vanilla and bland, it's got a cheery bouncy guitar line that's about as creative as a Scouting For Girls riff. Then there's Eddie Vedder singing as if he's aiming for a romantic comedy sound track. Now he's spent years exploring his inner torement for our entertainment, so he deserves to have some fun, but this is just pathetic. This is a band playing it as safe as humanly possible, this is so wussy Nickelback would turn it down. Compared to the exciting pop music being thrown out by Lily Allen, Girls Aloud and the newly re-energised Sugababes, The Fixer is frankly pathetic. For a band who built their legacy on anti-coperate, anti-music video, anit-establishment lines this is an embarsement. So Eddie's due some fun, but seriously if this is a sign of things to come, he should put down the mic and pick up a x box controller or a surfboard, or something, anything but this. A track for those who find vanilla a little to risque.



We Are Golden - Mika


So how could I not review Mika's new single, after all, half my friends and readers support Charlton Athletic and everyone knows he's there number one celebrity fan. Aside from that I have to admit I'd certainly classify Mika as a guilty pleasure. He certainly makes pop more intriguing, flamboyant and colourful. Hell after a million different Timberland productions Relax and Big Girls Are Beautiful felt like a breathe of fresh air. Now was he just an odd ball one off from the summer of years passed or does he have the talent to hang around. Well he's called in Calvin Harris, which immediately takes the edge of his music and gives it a euphoric dance vibe, but he can't smooth over all the cracks as Mika's unique personality and delivery still managed to shine through. That said this clearly isn't Grace Kelly I can't see this hot shotting it's way to number one, but it's a solid comeback single. The bassline thanks to Mr. Harris will ensure it gets into club rotation (is it just me or is it another Noel's house party beat). Mika's vocals bubble along nicely and blandy until he launches into the big synth driven chorus which the more I listen to the more I'm convinced it will be a hit. Mika gives personality to Harris blandness, and Harris reigns in Mika's silliness. So Mika plays it as safe as he can, but even playing it safe he still manages to create huge camp anthems, without the slightest drop of cynicism.




Holiday - Dizzee Rascal

(Feat. Calvin Harris & Chromeo)

So the threesome that brought us last summers biggest hit are trying to do it two years back to back. Frankly Holiday is a dud, I'm sure it will shift millions of copies and fly to number one, but this is the sound of creative bankruptcy. Dizzee is resting on his laurels with a rap about going on holiday and getting a tan, it's all rather too bland. While Calvin Harris got it spot on on Dance Wiv Me he's reverted to type with his vanilla euphoric Ibiza wankery, it's the type of synths that have been to death in the last ten years. It doesn't have the warm fuzzy tongue in cheek charm of Dance Wiv Me and it doesn't have the insane awesomeness of Bonkers. This track more than anything proves how much better Armand Van Helden is than Calvin Harris, Harris may be having success with his novelty dance tracks but he's got a long way to go before he reaches the hit maker status of Van Helden. It's a shame, I fully expect that I'll be dancing around to this song in clubs in the coming weeks and months, but I'm hardly thrilled, it's a hit, but it's boring, forgettable and cynical, everything that Bonkers and Dance Wiv Me weren't. It's time for Dizzee to get back to rapping, he's deserved to be a pop superstar, but it's time to get back to business, otherwise Jay Z will be coming for him next.



Get Sexy - Sugababes

Thank christ the Sugababes are back at long last. After the abortion that was their last album and all the singles in between. While the Sugababes haven't exactly got particularly creative, Kiesha actually does a Lady Gaga impression in her verse, there's a passable attempted at a Timberland meets Lil'Wayne beat and synth line, but lets face it it's not about originally or creativity when it comes to Sugababes we leave that to Girls Aloud, Justin Timberlake and Lily Allen for that. This is all about attitude and the Sugababes have given up the lame supermarket shtick and have gone back to being sexy, hell listen to the chorus "I'm Too Sexy In This Club, Too Sexy in This Club, So Sexy It Hurts". So they are aping Timberland, Lady Gaga, Gwen Stefani, Fergie and Dizzee Rascal, but who gives a fuck because this single is sexy as fuck and destined to be a smash. There is one simple comand "Shut Up And Watch Me Walk". It's good advice, I'm amazed they can sing this with a straight face but this is a return of a great pop act that I thought was lost to the abyss of blandness. Welcome back ladies.

The Very Best Of - Rain Dance

(Feat. M.I.A)

Okay it's probably a bit harsh of me to entitle this M.I.A when the song is by The Very Best Of and then include a picture of M.I.A instead, but to be honest, I would never have heard this track if she wasn't on it. Which is a shame, but it's also great that she works with such a broad spectrum of artists that it brings so many great talents to your attention. The Very Best Of are from Malawi and take there influences from all over the place, their myspace list Ludacris as an influence, so this certainly is the part of the new world music revolution. Rain Dance is built on the back of a huge rhythem section, absolutely pounding African drums that never relent mixed in with M.I.A's panting and sampled "heys". The African style singing/chanting of The Very Best Of is absolutely gorgeous, it suits the beat superbly and creates a sublime melody. This is a proper dance track, M.I.A takes it from Tribal sounding into the urban arena, it's her in silly rap mode, she's having fun. "Let your feet go smash smash, Like your making Goulash" as you can tell this track is unashemedly fun, it's all about stomping your feet and dancing. It's fun, it won't be to everyone's taste, but this is one hell of a dance-able beat, as the title suggest this is romper stomper, a tribal Rain Dance.



Okay so In my quest to catch up and keep you informed of all the biggest singles, I had a choice between Billy Talent & Shakira, and of course it was an absolute no brainer.


She Wolf - Shakira

I have to admit the term "She wolf" combined with the image of Shakira gets me more than a little excited, and I think everyone's more than just a little looking forward to the video. So anyway when this track started I was really intrigued had Shakira gone all Crystal Castles on us? Like a latino pop Crimewave? Well no its another bloody Noel's House Party bassline, seriously so many songs are opting for this kind of basslines. Anyway the song is groovy as fuck and I can imagine a million different remixes of this track appearing on line in the near future. Problem is this track is all over the place, Shakira is clearly reaching out in every possible direction and hoping something will stick. One second it goes all nineties quasi rap on us complete with Dani Minogue "Ahs", then there's the ice cold electro chorus, but then over the top of that are these cringe inducing wolf noises and pants, who on earth let those slip through editting. Then it goes from Electro to a string arrangment before Shakira brings back the killer hook. Normally I'm good at predicting whether a pop singles will be a hit on first listen, but this is such a cluster fuck, it goes from ice cold to embarsing in a second, from futuristic to retro. I have to admit I like it, but I'm not sure why, it's not an obvious hit, but if has a hot video I can imagine this track being inbedded in your cranium. It's a clusterfuck, but at least she's trying, the wolf howls and pants have got to go though.



That Golden Rule - Biffy Clyro


So after Puzzle put Biffy Clyro on the fast road to superstardom, taking them from indy level hit makers to geniune rock and roll stars and Radio One hit makers, the world was waiting with baited breath for what was to come next. The answer That Golden Rule and it's exactly what you'd expect, big riffing, bouncy as fuck, this is music to mosh to. Simon Neal has made sure with his big vocals and catchy chorus that they are sticking firmly within the Puzzle formula, their not looking to push any boundaries with this track. But then when the track rocks like a mother fucker who cares. The string section that joins the guitar pummelling is a nice touch, and while they don't add much it's reminiscant of Living Is A Problem Because Of Everything Dies and should arrest and fears that this album will just be a bland rocker. Biffy remain the most interesting of the hard rock acts with geniune stadium ambitions, whether they will make it remains to be seen. While they played brillaintly at the O2 they seemed little league on a stage that big. So is this the sound of Biffy content to stay where they are, to keep doing what their doing and simply milk the formula. Perhaps, we'll have to see what comes next, but The Golden Rule is a fine addition to their back catalogue, hopefully it isn't the sign of stagnation.



Crying Lightening - Arctic Monkeys

So yes I must be the last person in the world to hear and review this track but come on be kind, I've been documenting the greatest albums and singles of the last four decades as well as writting a disertation, that as you can probably imagine takes up a fair chunk of my time. Anyway there's been alot of talk about the Monkey's new dirrection, how'd they'd gone dark and heavy. You'd could be mistaken for believing this when you first hear Crying Lightening it's built on the back of a big fuzzy bassline, and a creepy sea shanty riff, Turner's vocals are less hyper than usual and he seems to be pained with added vigour and soul. However, this record feels like the natural evolution of Favorite Worst Nightmare the guitar tricks present there have become bigger bolder and more central. They've taken what they do best and made it ominous and creepy, the track isn't far removed from If You Were There, Beware it's just been sexed up and taken to the nth degree. The bassline is also standard Monkey's fair, it's just been drop tuned, rather than being sharp and bouncy, its rubbery and floppy but it's the same irresistable groove that we all love. It's the darker elements of Favorite Worst Nightmare strung together, and I have to say I unashamedly love it. They've gone from street level punchlines to big broad brush strokes, this song sounds epic, this is a track that fills arenas, this isn't the Monkey's playing three times fast, this is a band devolping and groove and forging a widescreen anthem, damn it this is a band with soul. So the Arctic Monkeys have opted for atomspheric crunch rather than bouncy pop, I salute their bravery, we might not see them on MTV Hits any time soon, but I doubt they care, and nor should you.



D.O.A (Death Of Auto-tune) - Jay Z


First things first the arrangement is top notch. The song is built on a killer guitar sample and a sublime superb slice of saxaphone, there's no doubting this track sounds like a million bucks. Smooth is definitely the word, Jay Z doesn't feel like he's trying to make a hit, he's not throwing out punch lines every second, he doesn't even have a chorus hook. In fact Jay Z makes that fact loud and clear from the get go "This is Anti-Auto Tune, The death of the ringtone, This ain't for itnues, this ain't a sing along". When Jay Z does decide to throw some verbal javelins their as sharp and as peircing as ever. Jay Z seems to be coming straight after fake rappers and singers, my first thought was that he was going after Kanye but instead it seems more like T-Pain and Akon are in his sights

"My raps don't have Melodies...I know we facing a recession, but the music that your making is gonna make it the great depression, or your lack of agression pull your skirt back down and grow a set man"

Ouch! Obviously Jay Z wasn't to pleased with the direction urban music was taking in his absence. While I've never been Jay's biggest fan, I've got to say thank fucking christ! Someone needed to say this shit, Hip Hop's been getting better but it's been pussy whipped for too long and Jay Z's comeback with a state of the union address. Just incase you didn't ge the message he winds up and punches you right in the face with the awesome line "You Rappers Are Singing Too Much, Get Back To Rapping You T-Paining To Much, I'm A Multimillionare so how is it I'm still the hardest nigga here". Hip Hop has been needing this track for longer than I can remember.



Run This Town - Jay Z
(Feat. Rihanna, KanYe West)

Okay so admittedly I'm slightly out of date, and I'm doing my very best to catch up. However I couldn't not review Death On Auto-Tune because It's so friggin awesome. Run This Town isn't quite so hot, the production is sharp as ever, and the choice of instrumentals and samples is devine. Rihanna is in good voice in her verse although I could have done without the wail-athon towards the end. It's great to her KanYe get back to rapping, he starts off well enough dropping lines about the allure of celebrity life before returning to clever but childish rapping about girls "She Got an arse that could swallow up a G-String, and up top two bee stings". Jay is solid but the star here is Rihanna's chorus "Walking Tall Against The Rain" is a great line. So it doesn't really compare to Death On Autotune but this is a solid holding pattern single. If this is anything to judge by this should be Jay's best album since retirement.



The United States Of Eurasia - Muse


Now a track called The United States Of Eurasia is always going to go down well in my book. Now while it appears Matt is rather wailing about the US imperial overstretch, or even European centralization, but mostly the former. I've always liked the notion of a United Europe and Eurasia, in the EU vein. Of course that's not what's Matt's talking about, he's talking about our civil liberties being eroded, having to fall in line with the imperial super state. Now I'm sure some of you we're wondering where were Muse going to go after Black Holes & Revalations the big silly shimmering juggernaught, well they've actually managed to get even bigger, even sillier, and even more shiny and sequined.

United States Of Eurasia is built on a paino hook backed up by a soaring string arrangment for the ages. Matt Bellamy is going for an anti imperialist Freddie Mercury moment. It's big, it's huge, it's pompous, and it sounds more than a little like a raged filled Bohemian Rhapsody. They do a nice job of contrasting the European strings and piano arrangement in the first section with the gorgeous Arabic arrangement that follows. Now this track will be very devisive. Muse fans will likely take to this song as their new flag waving anthem, those not enamored with Muse will find this the ultimate example of the whiny apocalyptic wailing that drove them away in the first place. While I love the ambition of the peice, I can't help but ask where the fuck are the guitars? Knights Of Cydonia, Hurricanes & Butterflies and New Born were bloated and silly but at their core were incredibly riffs that we moshed to for days. So I'm torn as I'm sure many will be, I praise their intent, but honestly for a first single I much prefered the disco stomp of Supermassive Black Hole. United States Of Eurasia is a bold statement, it's love it or leave it.



Ignorance - Paramore


So Ignorance is the first cut from Paramore's forth coming album Brand New Eyes. Well first things first, it looks like they've ditched the operatic snooze rock of Decode, thankfully, the last thing we needed was another Evanesence or Nightwish. So if they rejected that direction what have they opted for? What new tricks have they learnt? Well if Ignorance is anything to judge by then Paramore have not developed in anyway shape or form. It's still the same fun bouncy pop single that they could write in their sleep. It's still a one note solo, the guitars still drop away while Hayley repeats the "key" line of the track "Ignorance, is your new best friend, Ignorance, is you new best friend". Is it any good? Well yeah its a fine single, it's just completely interchangeable with any other single that they've ever released (except the afforementioned Decode). Igonorance should satiate their loyal fan base, and I expect this should be a solid level hit, but this will do little to convince the unconverted and may even bore long term fans who were hoping for a departure, or at the least to see Paramore stretch their creative wings. Ultimately Ignorance is the sound of a band playing if safe.
For the official single head to http://www.paramore.net/album/brand-new-eyes/ and click on Ignorance to hear it for free. Otherwise enjoy this live version.



I'd like to start out by pointing out this tracks has already come out in the US but not over here, so I'm not that out of date. Also you have no idea how hard it is to find a picture of Lil'Wayne with a shirt on.


Kobe Bryant - Lil' Wayne

So yes it's a song about Kobe Bryant the concensus choice for the best player in the NBA today (sorry Labron). Now you're probably thinking a song about a basketball player? Who gives a shit. Well there is that problem unless your into basketball you will be wondering who the hell all these players he's referencing are. So have that disclaimer in mind, as I tell you this is the best soundtrack to a epic sports movie that doesn't exist. When it kicks off you think Kobe will just be a metaphor for Wayne to tell us how great he is, but instead it is all about Kobe. It has a huge beat that feels like it's fallen of the back of an NBA Live soundtrack and got got all muddled up with the horn section from Rocky III. Wayne's swagger is incredibly tight, and just listening to his wheezy voice work his way around the rhymes is half the fun. The song climaxes with the epic line "You Hear them chanting / MVP, MVP, Kobe Bryant Aka En-vy-me" the line might be MV-ME but either way the implication is loud and clear. The video for Basketball fans is amazing, Kobe does some pretty insanse shit. So do I recommend this? Well it's a great song, with a great video, but it does have limmited appeal, if you don't like Basketball this will be little more than a fun throwaway. But don't forget even a throwaway single is bloody brilliant when it comes to Lil' Wayne.



So after bringing you some actual up to date news on M.I.A yesterday I thought I better finally get round to discussing some of the big singles and leaked tracks that are on their way. So first stop its my favorite popstar Miss Lily Allen with the latest cut from her second album and some leaked tracks from the upcoming remix album.


22 - Lily Allen:

Now I'm a bit Bias when it comes to Miss Allen and this video, which is positively awesome. I don't think the video has quite made it into circulation yet as Fuck You is still doing the rounds. 22 is a smart choice for a single, it's quick catchy and to the point, while it can't measure up lyrically to Not Fair or the singles from Alright Still, it still shows her as remarkably ahead of crowd. With witty lyrics about the way society treats women over the age of thirty, the depression of being single and the inner fears and neurosis of women everywhere. On a Side note, maybe I'm nuts but I think she looks hotter as dishevelled Lily than young Lily. Anyway highly recommended it still remains impossible for Lily Allen to put a foot wrong when it comes to releasing singles, even if this isn't her strongest effort.




I Could Say (Doctor Rosen Rosen Remix) - Lily Allen

So Doctor Rosen Rosen is releasing an album remixing the entirity of It's Not Me, It's You using only Lily Allen's vocal track and making everything else up himself, so its more of a reworking than a remix. And lets face it It's Not Me, It's You was let down by some bland production and arrangements. So we'll see if a new mix can give Lily's awesome lyrics and some new life. I Could Say is one of the first tracks to be leaked and seeing as we've all heard The Fear to death I thought I'd give track the once over. Well Rosen Rosen has turned it into a a drawn out soaring ballad, that suits Lily's vocals very well, there's an adapted Cure sample thrown in which is a nice touch, but lets face it Lady Soviegn got their first. I can't say this mix adds much, it makes the track more epic and widescreen, but if this is anything to judge by, you won't be disappointed by the remixes but Rosen Rosen is hardly reinventing the wheel. It seems like a stretch if your expected to buy the same album twice.

The Fear mix is okay...but the arrangement is far too distracting and loud, what makes Lily Allen great is the lyrics, don't fucking bury them under the loudest Piano loop in human history Argh!!! Anyway check out the leaked remixes below:



Credit goes to the Pretty Much Amazing blog for bringing this to my attention.

25. Second Edition - Public Image Ltd.

(Warner Bros. 1980, Public Image Ltd.)

Now the astute readers may be saying to themselves hmmn.....didn't this album come out in 1979, and isn't it called Metal Box? Well you'd be a hundred percent right. The only problem is Metal Box literally came in a metal box and was made of four vinyl discs, so I've never listened to it, and most people my age have instead heard this version re-realeased one year later named Second Edtion. So I've decided to included it as an eighties record because this is one of the definitive post-punk records. One of the biggest departures from the seventies era defining punk sound. Welcome to the new generation, the new sound, the new decade, welcome to death disco. You have to give it to John Lydon after setting the world on fire in the 70s with Never Mind The Bollocks he then took a huge departure and brought us the greatest avante guard punk album of all time. Opening with the 10 minute long Albratross it was positively evil dance music with a killer wobbly baseline and some incredible guitar work while Lydon haunting wailed away, it was different, it was challenging and best of all it was groovy as fuck. Jah Wobbles should be considered one of the greatest bassists of all time, listening to Second Edition its staggering ever single track is built on the back of these huge irresistable bass lines. It's worth looking around for a good version of this record online as the basslines have been terribly muted on some MP3s. Keith Levene's gorgeous sliding guitar is another highlight a huge contrast to Matlock's Sex Pistols work. While Pil will never be considered as influencial as the Sex Pistol in Second Edition they spawned one of the boldest and most creative records in rock and roll history. A Giant leap forward.

24. New Day Rising - Husker Du
(SST 1985, Husker Du)

So how do you top Zen Arcade the then career defining album, that accross twenty three tracks did whatever the hell it wanted with remarkable creative brilliance. Well you tighten up, make the album more concise (a plutry 15 tracks by comparision) and you set about launching a vital punk assault. New Day Rising forgoes the punk asthetic slightly, it has a big pretentious cover, the songs on this album actually sound as if a producer has got to grips with them but fear not none of the pace, fury or bounce has been lost. Instead the all encompassing powers of Husker Du have been channelled into short sharp brilliant tracks. Now don't get me wrong Husker Du haven't transformed into Blink 182 your gonna have to look long and hard to get through the waves of disortion and studio fuzz, this is still a gritty punk record. After a rather take it or leave it album opener, New Day Rising suddenly bursts into life with unrelenting rock of Girl Who Lives On Heaven Hill and then the goregoues melodic rocker I Apologise. Looking back now you kind of feel bad for Husker Du they get all the creative critical acclaim while ten years later when the world was truly ready Green Day took their formula gave it the whiny teen sheen and turned it into a globe straddling phenominon. Listening back to Celebrated Summer you can't help but think what could have been. When it comes to rock and roll history make sure that when you talk about The Pixies, Dinosaur Jnr. and Sonic Youth, remember to throw Husker Du into the mix, they've more than earnt it.

23. Stop Making Sense - Talking Heads
(Sire 1984, Gary Goetzman)

Now the more astute among my readers, yes those of you who knew that Second Edition was really a re-release of an album from 1979, they will surely point out that this is not an album of original materiel. This is a live album, and not just any live album, it's the live album that is the soundtrack to a movie, a movie which is a concert movie, that concert being of course a Talking Heads concert. Okay so why does a live album make the cut? Is Stop Making Sense the best live cd you'll ever hear? Probably not I could imagine better live cds, most of Iron Maiden's spring to mind. However it is stacked from top to bottom with stone cold classic tracks and it's a darn good performance. You may wonder why things sound a little odd, well to answer this question you need to watch the movie Stop Making Sense quite simply the greatest concert film of all time ever. It's not even close, it set the tone for the genre and as a result Stop Making Sense was a landmark album, it stayed in the charts for two years! It's the only Talking Heads album to manage this feat which staggering considering how great the Talking Heads were. The concert was shot superbly but the film and the record is carried by the performance of David Byrne my choice for the greatest front man of all time, he has this nervous energy, you just can't take your eyes of him. A revolutionary record, the concert record these days is a necessarily evil, back in '85 it was an artistic statement.

22. I'm Your Man - Leonard Cohen
(Columbia 1988, Leonard Cohen)

Okay do you know one thing I regret more than anything else in my musical life? That I didn't go to see Leonard Cohen on his recent and possibly last tour. You may be wondering why I didn't go, well consider this; have you ever tried to say the sentance "hey wanna go see Leonard Cohen?" to a bunch of twenty year olds, it's impossible to force those words out of your mouth. Then I thought okay I'll ask my mum she likes Leonard Cohen and of course by then it had sold out. So I thought no worry I'll sit back and enjoy his performance at Glastonbury on the telly, well no the BBC wouldn't or couldn't show it? Seriously what a pain in the arse. So why did I tell you this story, I'm not sure, maybe I'm just venting, but maybe it's because I'm Your Man is so mind bogglingly awesome that I simple had to see Leonard perform it live.

The album kicks off with First We'll Take Manhatten arguably Cohen's second most famous song (behind the obvious) and it kicks like a mule (for a Cohen track) the lyricism is anthemic and awesome. It's musical sloganeering at its best "You Loved Me As A Loser / Now Your Woried That I Might Just Win / You Know The Way To Stop Me / But You Don't Have The Discipline". With lyrics that cool no wonder every band walking the face of the earth wants to have a crack at covering it. I'm Your Man was Cohen's bold leap forward bringing the big arrangements and most noticably some keyboards, but unlike the rest of his eighties cohorts he avoids the cheese factor. Cohen's voice is as seductively nilhistic as ever especially on the stand out Everybody Knows. Cohen's voice is perfect on this record, the shrug and sigh which marks the end of his lines are just sublime, the ultimate apethic despair love record.

21. Sign 'o The Times - Prince
(Paisley Park 1987, Prince)

So no compound word sends me running to the hills like the dreaded term Double-Album. When you think of double album the terms that normal come to mind are pompous, bloated, overstretched, repetitive and pretentious, and lets face it most of them are just self indulgent bollocks. So could Prince pull it off? Could he fuck, of course he could, the most multi-talented genius of his time simply could not fail at anything, expect failing of course, kind of like Gomez Adams. The big rumour in the lead up to this album was that Prince was going to get serious, talk about politics and socail issues and those fears were borne out with first single Sign 'o The Times. Showing off Prince's serious side and it didn't take a genius to figure out that AIDs was a theme on this album, however it was a small theme. This wasn't Prince's serious album, this was still a sticky sexy funky groovy album. Prince was showing off all his skills he'd talk about abadoned children on one hand and then launch into the mega eighties funk of Hot Thing, If I Was Your Girl and of course the brilliantly ever so eighties sexathon of You Got The Look. You can never quite tell whether Prince is self indulgent or just having a laugh at our expense, whatever your opinion it matters little, because this album is just wall to wall genius, pop songs like Strange Relationships simply cannot be denied. As much as I'm pleased at contemporary pop's revival you feel that we'll never see another talent like Prince again. This album showed off all of Prince's skills expect one, this was Prince the god of sexy bass, Prince the guitar God was yet to come. I have never seen this album get a review lower than 5/5 or 10/10, and I can't say I wish to buck that trend, not in the slightest.

30. Disintegration - The Cure

(Fiction 1989, David Allen & Robert Smith)

So those of you who are familar with greatest hits albums, who use itunes to pick and choose or those who frequent singstar may well be familar with The Cure's goregeous single Pictures Of You, a delightfully tragic hearftfelt pop single. Hearing this song may have led you to conlude that Disintegration would be packed full of The Cure's best pop gems. If you made this presumption, you were dead wrong, the single Pictures Of You was editted down from an epic seven and a half minute mood music masterpeice into a four minute pop single. Disintegration is a mamoth album, huge in scope. The Cure work to create this giant (literally eight tracks clock in at over five minutes) atomspheric magnus opus, where songs brood and float around and slowly moving and merging from place to place, taking you on an emotional journey (normally a depressive one). It's a staggering accomplishment, driven by droning key boards and the Cure's trademark guitar twinkles and shimmers, you feel like you floating around inside the torturous landscape of Robert Smith's mind. The title track is the clear stand out, an atomspheric epic for the ages, Smith's vocal performance is sublime, changing modes and intensity as the song glides around in the throws of a mood swing, it's a sublime track and possible the Cure's best. When it comes to creating a mood and altering feelings Disintegration is the finest work by any band since Joy Division's endote Atomsphere in 1980. When you look back at the Cure while they will always be remembered as one of the 80s great hit makers, yet Disintegration will always be their career defining masterpeice.

29. ...And Justice For All - Metallica
(Elektra 1988, Metallica)

I'm always bound to upset someone when it comes to ordering the Metallica albums and I'm sure some will be outraged to see the technical masterpeice ...And Justice For All slot in so low. However I have limmited space and I'm not here to justify why it finished below other Metallica albums I'm here to tell you why it deserves to be the 29th greatest album of the eighties. First of all ...And Justice For All is stacked with classic Metallica tracks most noticably One. The concensus choice for the greatest ever Metallica track, a huge epic, with machine gun blasts of guitar, a huge solo, some killer drumming and some of James' best lyrics. One remains Metallica's magnus opus. It's matched in scope by the albums title track, that while never threatening to be as vital as One it's full of anti-capitalist rage, and built of a series of monster riffs and a mamoth choruse. Seriously you have to feel bad for other bands, Kirk Hammett throws out more killer riffs in a single track than others can manage across a whole album. Elsewhere we have the chuggathon Harvester Of Sorrows and the pummelling Blackening as good a track as Metallica have ever penned. While there is no doubting the technical majesty and the extreme visceral drive of ...And Justice For All it's an album of one dimension, one gear, it lacks the subtly, nuance and dare I say the fun of their other records, yet when it comes to thrashing the holy fuck out of you, no album does it better than ...And Justice For All.

28. Kill 'em All - Metallica
(Megaforce 1983, Paul Curcio)

Having come from the angry and relentless ...And Justice For All we head back in time to Metallica's first album, and my personal favorite, Kill 'em All. This has one big factor that ...Justice lacked; Fun! This album is an absolute riot, you can hear that Metallica are still indebted to their early influences, the ligthening fast punk of the seventies and of course Black Sabbath. Hit The Lights sets the tone, it's visceral, it's fast as fuck, it doesn't relent, but it's not a pummelling, it's a laugh, it's Metallica being the best Irish/sea santy punk band in human history, with a thrashing riff that makes you want to jump up and down and bounce of the walls before Kirk launches into a killer solo. This was the natural evolution of music, and would redefine hard rock for decades to come, it was also a glorious contrast to the rest of the scene. Don't forget Metallica were from L.A. the very home land of hair metal and all it's excess, and here were four dudes full of anger who wanted to rock your socks. It's hard to imagine just how revolutionary this album must have seemed in that time and more than anything in that place. The album is loaded with classics (exlcuding the Diamond Head and Blitzkrieg covers on the '88 re-release), there's the Dave Mustaine penned Four Horsemen, the live staple Motorbreath, the fury of Whiplash and of course Seek And Destroy Metallica's live anthem, their eternal set closer. All in all Kill 'em All was a rock revolution and the most fun album Metallica have ever released, they were still finding their identity but they made one hell of a first impression.

27. Isn't Anything - My Bloody Valentine
(Creation 1988, My Bloody Valentine)

It's completely fruitless to argue that Isn't Anything is better than Loveless, I like tough challenges and being contentious but that's a bridge to far even for me. Yet just because it's not the masterpiece doesn't mean it should be overlooked, not for one second. In many ways Isn't Anything was more daring than Loveless, this was the moment a bunch of ex punk rockers and indie popsters decided to give up the day job and created something new. Isn't Anything is incredibly brave, on release they must have worried that no one on earth was going to like this, the ways they fucked around with the guitars, warped the sounds and brought in huge waves of static, how they put the melody on the back foot, they really could have become a music footnote had this album failed. However we needn't of worried, Isn't Anything didn't fail, it ended up one of the most important and influencail albums of all time. It pretty much invented shoe gaze single handledly and spawned an army of imitators. Hell even when they were doing more traditional and pedestrain rockers like Cupid Come and (When You Wake) Your Still In A Dream they sounded more vibrant and more intriguing than most anyone out there. Yet it will always be the glorious burnt out torch tracks All I Need and Lose My Breath that will grab the critical attention enen though they are easily matched in quality my straight rockers Feed Me Your Kiss and the melodious Several Girls Galore. So make no mistake there's more to My Bloody Valentine than Loveless, Isn't Anything can deservedly be labelled one of the decades greatest records.

26. Zen Arcade - Husker Du
(SST 1984, Husker Du)

When it comes to talking about the greatest punk bands of all time and the greatest punk albums the deabate always seems to start and end with The Sex Pistols, The Ramones and The Clash. While there is no doubt that those acts are deserving candidates it's quite ridiculous how little mention is given to Husker Du. During the eighties they went on an unparrelled spree of releasing awesome punk albums while the genre was seemingly dying around them. Zen Arcade is one of those albums you just know is going to be great the second you press play. When the killer bass hook of opening track Something I Learned Today you can't help but say "fuck yeah" because you know this album is going to kick all kinds of arse. It's also a punk rock album in the truest sense of the word, half the tracks on this album were first takes, the band didn't have a producer, they just mixed them and threw them out there, how rock and roll is that? When it comes to influence they're as far reaching as they come Pixies, Nirvana, My Bloody Valentine, Green Day but fuck them, you know you've really made it, whe your a legitmate big deal, when you influence comedy, yes those lovely New Zelanders Flight of the Conchord couldn't resist pinching the riff from the brilliant Never Talking To You Again. Zen Arcade is a legitmate classic, a stylistic scatter gun, where ever they decided to land the results are devastating, ground braking and just plain awesome.


Okay I rarely do music news rather reviews, but when you finally get to hear a new track from the decades greatest artist you have to spread the good word right?


Well credit to Pitchfork media (and the million blogs they blantantly stole the news from) for this story;

Anyway M.I.A is back at last! Yes that wonderfully creative, incredibly stylish, musical genius who I awarded my album of the decade award to, for her ground breaking work Kala, has returned at last. So while we're not sure exactly when the new album is due, I'm sure she's busy with her baby, we've had little snipet here and snipets there and guess what? Yes you got it we're got another snippet.

So after the genius of the African party stomp of Sound Of Kuduro she's back to more serious themes as she helps out on the latest Major Lazer mixtape. Her rhymes and swagger are as tight as ever as she talks about child care around the world, I can imagine this a subject close to her heart at the moment;

"Look At All The Babies growing up in the muck, Looking up at the fucked up men like yuck, I say where's the dady?"

"I ain't gonna raise my son like that, cause this is a woman's world and he knows that"

As you can probably tell men get it firmly in the neck on this record, it's a brilliant contribution and I hope this kind of thinking continues over to her next album. It looks like the baby that was in her belly has been replaced by fire and we can expected a passionate and vital comeback from M.I.A if this is anything to judge by.

Outside of M.I.A's verse this 40 minute mixtape is a glorious culture clash, some tracks work better than others but you won't regret sticking this in our head phones. The new revolution in world music is finally taking hold. Considering the weak singles I reviewed early this week, this mixtape is my first ever Single of The Week. Best of all it's totally FREE. Check it out: http://www.mediafire.com/?cwjwj1q5yny

120. Sign 'o The Times - Prince

(Paisley Park 1987, Prince)

Ah the first entrant from one of the eighties true trancendan geniuses, one mr. Prince. Sign 'o The Times saw Prince in full ballad mode, we'll see his funky, sexy and ludicrious side later.



119. Atmosphere - Joy Division
(Factory 1980, Matt Hannett)

Hooky considers this Joy Division's greatest ever song and I'd been hard pressed to argue, it's not there best single however, but it is a brilliant, haunting peice of music, that was utterly perfect for the bi-opic Control.



118. Glory Days - Bruce Springsteen
(Columbia 1985, Jon Landau)

Ah classic Springsteen a huge all American riff, and it see's him delve into different story telling waters as he faces up to getting old, of course it's based around a riff so catchy that crowds chant it long after he's left the stage.



117. Gigantic - The Pixies
(4AD 1988, Steve Albini)

There's always something a little disconcerting about listening to a song that's so damn catchy and yet based around a Black dude with a huge wang, that said I've never had a problem singing along to Prison Sex so why am I complaining.



116. For Those About To Rock - AC/DC
(Albert 1981, Mutt)

Ah some good old fashion riffage from AC/DC, doesn't take to much explaining, but I must have seen at least ten bands live who play this over the sound system before they take to the stage, from Franz Ferdinand to Slipknot.



115. Can I Play With Madness - Iron Maiden
(EMI 1988, Martin Birch)

So could things really get sillier than "For Those About To Rock We Salute You" oh yes, yes it can. Enter Iron Maiden, I don't even know how to describe this song, the title really does say it all.



114. Mother - Danzig
(Def America 1988, Rick Rubin)

Now while the Misfits turned into a horrible parody of themselves without Glen at the helm, Danzig went onto bigger and better things and no single was finer than the positively evil Mother. What an absolute tune.



113. Antisocial - Anthrax
(Island 1989, Anthrax)

Now some will probably moan that Trust's original version is better, but this is madness, and heresy in my book, seriously get a grip on yourselves.



112. The Message - Grandmaster Flash & The Furious Five
(Sugar Hill 1982, Ed Fletcher)

An incredibly important rap record, infinitely quotable, and ice cold beat, and some socail detailing of New York. Feels like an antique these days but it'd be impossible to imagine hip hop without this track.



111. Sweet Child 'o Mine - Guns & Roses
(Geffen 1988, Mike Clink)

Okay the lyrics are too sugary for belief but it's a riff for the ages, so you can play air guitar while you throw up.



110. Temptation - New Order
(Factory 1982, New Order)

So after the tragic demise of Joy Division, New Order rose from the ashes and rather than disgracing Joy Division's legacy they set off in a glorious synth led inde disco direction, but they never forgot their soul, as witnessed on Temptation.



109. She's Out Of My Life - Michael Jackson
(Epic 1980, Quincy Jones)

Ah my absolute favorite MJ number, it's blunt and to the point, you can hear the honesty and fragility in his voice, unfortunately I could only find a live performance from the *shudder* Dangerous tour.



108. Fade To Black - Metallica
(Megaforce 1984, Metallica)

Ah from one defining ballad to another, as much as I love Nothing Else Matters I think Fade To Black will be my favorite of the Metallica mega ballads.



107. The Magic Number - De La Soul
(Tommy Boy 1989, Paul Price)

Now it's time for the party classic from De La Soul, its laid back swagger with a killer hook and a great bassline, how can anyone not love this track?



106. Ace Of Spades - Motorhead
(Bronze 1980, Vic Maile)

I'm setting myself a high standard by throwing out some of these tunes outside the top 100, but I've made my decision, enjoy Motorheads career defining classic.



105. Bad - Michael Jackson
(Epic 1987, Quincy Jones)

How did this end up so high? Well while it marks a sharp decline in musical quality from MJ this is a hell of a goofy arsed pop song with a ludicriously killer chorus.



104. (You Gotta) Fight For Your Right (To Party!) - The Beastie Boys
(Def Jam 1987, Rick Rubin)

"Kick It"!!!!!!!!!!!!!!!!!!!! Fuck it you know the rest.



103. I Still Haven't Found What I'm Looking For - U2
(Island 1987, Brian Eno)

Hmmn....I'm starting to think I've put the U2 songs in the wrong order, Bono's brilliant introspective song writing moment.



102. Stand - R.E.M
(Warner Bros. 1989, Scott Litt)

A gorgeously simple, yet somehow thought provoking ditty by R.E.M., it's amazing how bands can be at their most intriguing when their being silly.



101. Aces High - Iron Maiden
(EMI 1984, Martin Birch)

Iron Maiden perhaps more than any other have earned the right to be called metal gods! This absolute stone cold classic's has opened everyone of their sets since it was first released, Churchill quote and all.



140. Hounds Of Love - Kate Bush

(EMI 1986, Kate Bush)

When you talk about the great lost talents, Kate Bush has to be top of the list, granted she's not dead, I think, yes Wikipedia tells me she's alive. Anyway she really dropped off the radar after 1989, which is a tragedy as she was one of the music's most unique and innovative artists of her generation. Her is a classic slice of her art pop. (Look I didn't mention Futureheads once).



139. She Sells Sanctuary - The Cult
(Beggars Banquet 1985, Steve Brown)

It's the second and final entry from The Cult in our top 250, built on the back on a monsterously retro riff, She Sells Sanctuary remains one of the ultimate guitar anthems, shame its been played to absolute death.



138. Ashes To Ashes - David Bowie
(RCA 1980, Dave Bowie & Tony Visconti)

Bowie absolutely owned the seventies in almost everyway imaginable, and trust me when I get round to those lists, that will come over loud and clear. The eighties would be more hit and miss but he started with a bang, Ashes to Ashes is arguably his most memorable and certainly his most quotable single.



137. There She Goes - The La's
(Go! 1988, Bob Andrews)

Ah while there's only a certain number of times I can tolerate listening to this track, when it comes on out of the blue it's an utter delight. Simply, poignant pop at its best.



136. One Vision - Queen
(EMI 1985, Queen)

Okay I've always wanted to know whether "Fried Chicken" are the last words of this track (consults wiki); ah so it was a joke that Freddie threw in for fun. So you write a mamoth epic guitar anthem, about changing the world, building and building to this pivitol conclusion and it's Fried Chicken, what a dude.



135. Should I Stay Or Should I Go - The Clash
(Epic 1982, The Clash)

As single, basic and as pure a pop single as you'll ever hear. Obviously and cliche, well yes but is there are more awesome line in all of existance than "Your Always Tease, Tease, Tease / Your Only Happy When I'm On My Knees"?



134. I Want To Break Free - Queen
(EMI 1984, Queen)

Do I need to explain this song? Hell can I even explain this song? Just thinking about it everything I'd say would make it sound lame, yet that's what makes Queen so much fun, proof it's cool to be silly and lame.



133. She Bangs The Drum - The Stone Roses
(Silverstone 1989, John Leckie)

So it's the twentieth anniversary of one of the most complete and revolutionary debut albums in the history of rock and roll The Stone Roses. She Bangs The Drum is one of those glorious rousing singles that made us think ever so fleetingly that rock and roll had its new saviours.



132. Off The Wall - Michael Jackson
(Epic 1980, Quincy Jones)

Ah Off The Wall when it comes to remembering Michael Jackson this is the album that I always think back to, and it always makes me smile, it's the moment the world realized the next big thing, the next evolution in pop music had arrived. The last hoorah for the seventies.



131. Elephant Stone - The Stone Roses
(Silverstone 1988, John Leckie)

Our third dose of the Roses on this count down now some may raise an eyebrow in relation to She Bangs The Drum but there both so bloody good who cares. God they're an abortion live though.



130. Run To You - Bryan Adams
(A&M 1984, Bob Clearmountain)

Wow we got through ten whole eighties tracks without a single cheese laden guilty pleasure, but fear not everyone's favorite mild mannered Canadian "sex symbol" is here. Wow I never thought I'd type those words, say what you will, this is Bryan's finest song and a irresistable tune. (And another song so simple that I can play on guitar)



129. Express Yourself - N.W.A
(Ruthless 1989, DJ Yella & Dr. Dre)

Okay so after Straight Out Of Compton and Fuck The Police we were starting to wonder if all the goodwill had been beaten out of the N.W.A, well Express Yourself proved they had a positive message to go along with their incendary bomb blasts.



128. Material Girl - Madonna
(Sire 1985, Nile Rodgers)

While I still find Madonna the most overated artist in human history, there is no denying that if you can put the pomp to one side, she has left a grand old legacy of classic pop songs. Material Girl remains one of my favorites, I think it's her knowingly inane candence.



127. It's Like That - Run-DMC
(Profile 1983, Russell Simmons)

Zip Zoom Hip Hop was heading straight for the moon, because no one could stop Run-DMC when they were writing hits this damn catchy.



126. Suedehead - Morrissey
(HMV 1988, Stephen Street)

So no one thought Morrissey could make it on his own, well they were proved dead wrong, when Morrissey dropped this genius debut single. Frustratingly he never plays it live anymore, I can't complain I've seen him play Ask, This Charming Man, Hand In Glove and so many more that I never thought I'd hear, but please Moz play it once just once more!



125. Holiday In Cambodia - The Dead Kennedys
(Cherry Red 1980, Dead Kennedys)

Punk would soon be on its last legs before comming a bland directionless shadow of its former sense, but in 1980 it was still going strong and the Dead Kennedys decided to stick the knife in to Pol Pot and Henry Kissenger with this delicious slice of punk fury.



124. Here I Go Again - Whitesnake
(Geffen 1987, Mike Stone)

Could there be a more parodied video that Here I Go Again? It's still being copied to this day whether its American dad or Bowling for Soup, but why has it remained so iconic? Because the song is so fucking irresistably eighties, that's why. God there still touring and selling out arenas, I never saw that coming!



123. Shout At The Devil - Motley Crue
(Elektra 1983, Tom Wermer)

So the two hair metal monster stand back to back, so why's Crue one place ahead? Because Here I Go Again gets old real quick where as it's insanely fun to do your best Nikki Sixx impression and scream "Shout At The Devil!", it just doesn't get old. Plus beefy guitars beat cheesey synths any day.



122. Welcome Home (Sanitarium) - Metallica
(Elektra 1985, Metallica)

Okay so the metal was getting a bit too hairy and involved far too much cock for my tastes, now it's time for some blood, sweat and...erh....more blood? Ridiculously lyrics, killer guitar, a combination that I can never get enough of. I can't tell you how awesome this is live, oh wait you can see for yourselves.



121. Man In The Mirror - Michael Jackson
(Epic 1987, Quincy Jones)

While I like to pretend that everything after Thriller didn't happen when it comes to MJ, there are the odd execptions, he was still the King of Pop after all and this was as good as his post-Thriller work got. (I warn you don't have your headphones up too loud the scream before this track is deathening).




Okay so everyone reviews albums these days, and seeing as I have a million different album countdowns going seemingly at once I thought I'd review this weeks new singles. After all most people don't even bother with albums these days, thank you mr. Jobs, so lets see what's set for release this week. (I'm not going to review all the releases, I do have a life contrary to reports, but I'll try to pick out five or six each week)


Stealing Cars - Kid Harpoon
Oh my god, what happened to Kid Harpoon? Last time I saw Kid Harpoon (live a year ago), he was a quirky inventive acoustic songwriter, he had an old England charm to his music, if your not familar with him check out Late For The Devil. So now Kid Harpoon has had a record deal make over, all the fragility and cracks have been smoothed over, he has the production gleam, he sounds very polished almost eighties, perhaps New Wave. Problem is he's lost all his identity, this single is bland and forgettable, it's like listening to Jack Penate, hell Paolo Nutini *shudder* sounds more interesting than this. So dull forgettable and but still slightly charming, this is a big dissapointment, but it'll probably put him on the path to indie stardom.



Fool's Gold - The Stone Roses

Well seeing as I'm in the middle of the greatest eighties album list this is a rather appropraite re-release. If your wondering it's the 20th anniversary of their ground breaking debut. While I can hardly critique Fool's Gold it's a classic, it seems an odd choice, is there anyone who likes this song that doesn't already own it? I get that they want to put a single out there but how about Made Of Stone its equally as awesome and it's not as well known. Still if you haven't heard it then it's more than worth the 79p.



Sweet Disposition - The Temper Trap

The Temper Trap went down a storm at Glastonbury helped by the BBC actually deciding to give a band that isn't particularly well known some coverage. Many of you will be familar with this song as it's doing the rounds on adverts and sports highlight packages. It starts out indifferently, a beautiful singing voice but a recycled U2 riff hardly inspires, but the chorus is so damn catchy and euphoric. Their a bit too querky for real mainstream success but they have all the building blocks here for a mid sized hit. A very hard track to dislike.



I Know You Want Me (Call Oucho) - Pitbull
Oh dear Pitbull, seriously? How did he make it to a second album? He actually has less skill than Flo Rida. Now while Crunk is stupid and obnoxious, it is silly fun, Latino/southern rap is the opposite, this is not fun, it's too morose. While Lil'Jon is morose, he is clearly knowingly so, there is a nod and a wink as he lays down his ridiculous raps. With Pitbull there is no nod and wink, he actually thinks this is cool. Well this song has underwhelmed on MTV but I'm sure it will be a moderate hit, I thought we left this crap behind in the 90s. Next please.



Got Nuffin' - Spoon
Now many may have noted the absence of Spoon's Ga Ga Ga Ga from my greatest album of the decade list, and well to be honest, it probably deserved a spot, and when I do my end of year revisions it might sneak in, or it might not. Now as for Got Nuffin' it's driven by a pulsating rhythem section and some minimalist guitar work, it's certainly catchy enough and a solid single, but it never really thrills, there's nothing new here. It's a tough one to recommend, you'll probably enjoy it if you decided to download it but nothing more than that, come the end of the year this won't still be on your ipod or in your playlists.



Allien Allien - Polarkreis 18
Okay so every week I will pick a sixth single from an act who I don't know and delve into their world to give you my thoughts. This week its Polarkreis 18, there a German synth pop act from Dresden, now I'm sure the words German and synth pop have sent a certain percentage running to the hills but don't worry it's not so bad. They feel like there channelling the powers of Depeche Mode and suqeezing it through an Aha filter and ended up sounding like Calvin Patrol (or should that be Snow Harris), combining europhic synths with a inescapable chorus. It doesn't exactly reinvent the wheel but it's that kind of annoying EuroPop that's impossible to get out of your head once it takes root (see Yelle - A Cause Des Garcon http://www.dailymotion.com/video/x4uc5q_yelle-a-cause-des-garcon)



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This is your one stop shop of pop culture reviews I most specialize in Music, Politics & Film. I occasionally delve into TV reviews. I've got a Politics MA and a War Studies BA, I'm taking a year out before starting a Phd so when it comes to History and Politics I'm pretty well versed but I tend to keep this blog fun rather than serious.

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