song of the week: Afro Puffs – The Lady of Rage

This week, we’re showing love to the West Coast with killer, somewhat underrated Afro Puffs, the 1994 single from The Lady of Rage.

To establish something from the get-go, we’re not talking about the *weak* mix that you’d find in the music video for this banger — lack of bass, lack of funk, lack of good. Fortunately, you’ll find the LP version to just as rough and stuff as you could hope for. Between the slamming drums, booming low-end and wailing drone, you’d be hard-pressed to find another song as quintessentially G-Funk as this one, with Dre’s production having an influx of grimy sheen left over from the impeccable-sounding Doggystyle, which came out only a few months prior. Building on top of the menacing groove that keeps everything grounded, Dre also saw it fit to add a variety of cartoon “boOOOOOp”s and clanging percussion in the background, like you’re stuck in an episode of Compton Looney Tunes.

Over this, you’re likely to be ruthlessly battered by The Lady of Rage, an MC who, despite not having the strongest overall discography, is known to have one of the illest flows in the West Coast of the time. Much like Snoop Doggy Dogg, who makes a couple of obligatory appearances throughout, her flowing is smooth and immaculate, in stark contrast to her hardcore, punchy delivery and gritty lyricism. Over three verses, it’s just showstopping quotable after another (The tongue that has outdone anyone from the rising to the setting of the sun, anyone?), as Rage backs up her braggadocio with lyrics that you just can’t argue with. Despite the vast underestimating of female MCs at the time (even Queen Latifah couldn’t smack the fellas out of that one), everything about Afro Puffs demands respect, while The Lady of Rage, on this track especially, remains one of the most authorative MCs comparable to Ice Cube and Chuck D.

– milo

song of the week: Weird Fishes/Arpeggi – Radiohead

This week, we’re taking a look at the serene and beautiful Weird Fishes/Arpeggi, from Radiohead’s 2007 release In Rainbows.

With a suitably, eponymously nutty video to boot, Weird Fishes is, bar none, a top-ten Radiohead cut, let’s get that out of the way firstly. Secondly, we should also give a little shout-out to Lianne La Havas’ beautiful cover of this, which is what got me listening to this tune again.

I don’t know what it is, I really don’t. What drugs/religion/sex did Radiohead collectively take/follow/have (don’t wanna think about that last one, to be honest) in 2007 that led them to dream up In Rainbows. One of the most melodically satisifying albums ever recorded, the band’s 7th effort is packed to the brim with gorgeous tunes. Befuddingly a non-single, Weird Fishes is one of those songs where the entire band is playing to their unbelievably powerful strengths.

To start on the back-end, Philip Selway’s crisp, laminate-tight drumming propels what-could-easily-be a sleepy song into something with a light but potent rhythm to keep the listening if not grooving, swaying contentedly. With such a light mix, Colin’s bass is beautifully scarce, with slight embellishments laid down to hold the low-end while keeping that luscious levity. Of course, the primary focus of the song is the titularly arpeggiated guitar leads that are nothing less than sheer beauty — hearing them weave together with Thom’s airy vocals is like being entwined with nature itself; it’s utterly, totally transcendant music.

– milo

song of the week: Thank You – Busta Rhymes

This week, we’re throwing up a complete curveball for ya in the form of the 2013’s Thank You, the albumless single from Busta Rhymes, featuring Q-Tip, Lil Wayne and Kanye West.

Okay, so it ain’t Scenario, that’s fair enough. Bringing together Busta, Tip, Yeezy and Weezy (doesn’t that sound like a perfect pair of twats (I mean, they are though)) was a big deal back in 2013, so it’s a bit of a surprise that this one has absolutely fallen off of the public consciousness. While I’m not exactly touting this as the pinnacle of hip-hop by writing about it today, there is a level of intrigue to it.

That intrigue primarily comes in the form of the quality — it ain’t that fucking bad, not at all. With collaborative production between the four artists (at least two of which are arguably the greatest producers in hip-hop history), the beat is expectedly, apart from the slight repetition, really rather good. The pounding kickdrums and piano samples are liable to get your head-bopping like the chair umpire in a game of vertical tennis, while the vintage chorus is only slightly spoiled by ‘Ye asinine ad-libs.

With Tweezy-dee and Yeezy-cunt’s vocal contributions limited to said ad-libs, the actual mic work is left to the Abstract and Busta who really do kill it. Although they’re obviously just fooling about in the studio here, there are many moments on this track where they’re really delivering top lines. Particularly, Busta’s second-to-last verse here has got some great quotables in “Boop-be-de-de-boff, zippity-boof” and “The microphone is bleeding, you should take it from me” — it’s not game-changing but it is a great bit of fun, which is probably the best way to describe this song as a whole.

– milo.

song of the week: Dreaming – Blondie.

This week, our Song of the Week is classic track from New York’s Blondie, the vibrant Dreaming from 1979’s Eat to the Beat.

Much like their CBGB contemporaries in Ramones and Talking Heads, Blondie were notable for the injection of pop melodies into the punk formula, pioneering what we’d now call a smorgasbord of different genre labels — new-wave, pop-punk, power-pop etc etc…

While many of their songs employ this, it’s Dreaming that seems to personify what new-wave is. Boosted by Clem Burke’s hyperactive, perpetually-filled drumming (I swear, by this point, Clem Burke has been called underrated so many times that we can all just say he’s one of the best drummers ever now, surely?), the track has an undeniable pulse that’s sure to get even the most stubborn wallflowers on the floor. Over this, the weaving guitar and bass of Chris Stein and Nigel Harrison, respectively, creates this otherworldly tune, it seems more elevated than much of their previous work, of course this is helped by synth drones that float over the song like a guardian angel. Speaking of which, Debbie’s slightly-reverbed vocals sound like the final words of someone being raptured (ehhh) up into a state of total serenity.

Eponymously so, Dreaming has a sense of peace to it that, despite the aforementioned animalistic drumming, comes as a welcome respite to a lot of punk at the time — a time that was ravaged in political and economic turmoil all the same. While, for me, Blondie are far from the most consistent band of the era, songs like this, like Dreaming, remind me that, at their best, you really couldn’t get much better.

– milo

song of the week: Reach Out I’ll Be There – Four Tops.

This week, we’re taking it all the way back to one of the all-time great vocal groups, with Four Tops and 1966’s Reach Out I’ll Be There.

If we’re all being totally honest, you don’t need me to tell you anything about this song that it doesn’t tell you itself. There are number of songs, especially from this period, that just transcend critique or comment. Pioneers of that classic Motown sound, the Four Tops have a class and sauvity that you just don’t get anymore, at risk of sounding like an old grandad. With tracks like Reach Out, you get that kind of rich, warming sound that can universally bring a smile to anyone’s face.

From the perfectly-crafted vocal harmonies to the crisp, unencumbered mix, the composition of the song is Holland-Dozier-Holland through and through, with this galloping, determined beat characterising the lyrical strive, as well as giving the song an energetic pulse. This is matched by Levi Stubbs massively-empassioned lead vocals, which, at points, errs even on shouting; that’s how much the man put into this, you can near hear the strain in his voice. That said, it doesn’t hinder the technical ability of the singer in the slightest, only serving to further sell the fire of the track. Duke, Obie and Lawrence also add to this Reach Out‘s iconic elements, their angelic, soaring backing vocals contrasting the hugely-masculine “HUH!”s that herald in the verses, because calling them ‘grunts’ would only injustice the sheer polish of the whole production.

As the song fades out, the fantastical woodwind melodies seep back into the mix, only adding to mysticism of such an untouchable soul masterpiece.

– milo

song of the week: Automatic – Prince.

This week, we are (finally) getting to the first of many Prince features on SOTW. It’s Automatic from the iconic 1999.

Alright, sure, the music video quickly devolves into all kinds of early-80s purple bananas, but Automatic is still one of the strongest tracks on the already beefy 1999.
Immediately, the intergalactic synths and high-pitched drones evoke pure Gary Numan vibes. However, Prince’s deft use of the drum machine balances that roboticness with a very human funkiness that parallels the lyrics uncannily. These allusions between the mechanic and the sexual provide just another dimension to Prince’s full-throttle sexuality in this period, while his stuttered vocal inflections are like not just a bed shaking, but glitching.

Of course, like many of his best tracks, we get a smutty spoken word section in the bridge of this thing, with lyrics that’d sound laughable coming from anyone else. There’s something about Prince’s charisma that can pull off the most self-serious attempts of sexiness with ease — I’m buying it, a little too easily, you might say.
This translates into the conclusion of the track, with Lisa’s S&M break coinciding with guitar wailing that, I think, can be appropiately described as orgasmic — at risk of being gross. This is before going straight back into party mode with those four-to-the-floor 808s, rounding out almost 10 minutes of Prince at his most debauched.

– milo

song of the week: This Is a Call – Foo Fighters.

Celebrating its 25th birthday this week, we’re taking a look at Foo Fighters’ This Is A Call, the lead single from their self-titled debut and, in that, their first single.

Being Dave Grohl’s first commerical outing since Nirvana ended in such tragedy, the pressures upon Grohl at the time were massive, having to both be as good as his previous band, but not too much like it, because that would be copying. And you gotta be respectful to Kurt, but there comes a time when you have to move on. Etc, etc, it’s a lot of weight to put on your debut single.

Saying that, however, you can’t deny that it somehow lives up to all of those expectations. Though, it isn’t my favourite Foos track, they haven’t put out many tracks since that encapsulate their sense of rock music, informed by hardcore, power pop and alternative, as well as This Is A Call. Instrumentally, the sugary melodies are dissected by searing guitars and thrashing drums, like Beatles with a buzzsaw. The Pixies-loud-quiet thing is here in full effect, as it is on many of their best songs, and the whole lends itself to the raddest of 90s mosh pits. Balancing fun and frenzy is always at the forethought of the Foo Fighters catalogue, and it shows a lot that they pretty much nailed it first-go.

Lyrically, I can’t think of a better foot that they could’ve put forward. Despite the overtly weird rambling in the verses, the song’s chorus is definitively about opening up a new chapter in Grohl’s life, accepting closure and appreciation of the past, and embarking into the future. Over 25 years and numerous hits later, I’d say they’re not doing too bad.

– milo

song of the week: Don’t Give Up – Alice Cooper.

This week, we’re looking at Alice Cooper’s most recent single, Don’t Give Up — written by the legendary shock rocker during quarantine.

The lockdown. What a downer it has been for audiophiles, who can no longer get into brawls with strangers in mosh pits or scream at artists on stage. But amidst the cancellation of world tours and delayed album releases, rock n’ rollers have found their own silver lining right in their
bedrooms and garages.
Cue the productive YouTube line-up to our delight –Metallica reinventing Blackened with acoustic guitars, Reignwolf recording a cabin fever anthem, Larkin Poe rocking play-throughs of their new bangers. Perhaps no one delivered a bigger surprise than Alice Cooper, who has veered from his signature nightmares to something a little hopeful.

The remotely produced single Don’t Give Up marks a welcome interlude before his upcoming 28th studio album. Musically, it is what one would expect of Cooper and his distinctive voice.
His lyrics, however, have traded in B-movie ghouls for a more grounded and invisible one, labelling the pandemic as a “cold, indiscriminate monster”. The metaphor feels just about right. After all, it has taken away lives, jobs and for some, family and friends whom they need the most.
Life is far from normal and likely won’t be for a long time. To that, the shock rocker has some words of encouragement for his struggling fans. His honesty makes, what could have been cheesy, entirely palatable.
“We’re all hanging on by a thread/We’re all staring at the razor’s edge/But we’re not going to step off the ledge.” And he’s absolutely right. His positivity is exactly what we need during these trying times, which too shall pass. Let’s keep fighting and don’t give up. For anyone out there who is straining to cope, who better to listen to than this sage 72-year-old rock legend?

– jade

song of the week: The Suburbs – Arcade Fire.

This week, celebrating its 10th anniversary is the titular track from Arcade Fire’s excellent The Suburbs and, as such, it’s our Song of the Week and all — funny how it all shakes out, eh?

I think it’s only right to kick off this piece with an admission to make — I don’t really get Arcade Fire. They’re good, sure, but are they really one of the best bands ever? Like ever, ever? As much as they have dropped a hot tune every once in a while, I’d hardly rank them even among their indie rock contemporarys such as Arctic Monkeys or The Strokes, let alone the feckin Beatles. That said, the one song that gives me that “OH, so that’s the hype” is The Suburbs.

Diving right in with the staggering lead melody, the thumping drums and plodding pianos, the sheer weight in the atmosphere is apparent from the offset. As the centerpiece to, in my opinion, their best album, it has that emotional gravitas that most bands could only ever wish to achieve, even some of the ones that I mentioned above (not The Beatles, obvs). I just love the seeming heavy-handedness of it all, of course juxtaposed with the complexities in the composition. As the song progresses, these rich, luscious strings begin to swell just lending to the grandiosity of the whole thing — it packs the punch of entire album in just over five minutes.

Contributing to this, obviously, is Win’s decievingly powerful vocal performance, emphasised even more on the Earls Court live video (which is easy to peep don’t worry). The vaguely nostalgia lyrics have a blurry reminiscence not unlike Smashing Pumpkins 1979, albeit with harsher tone of surreal dread. There’s a cathartic moment about halfway in where the backing instrumentation dies down so that it’s just Win and the piano, it feels so achingly personal you can’t help to be compelled by it. And despite my general indifference to band as a whole, I was compelled by it, and still am ten years later.

– milo

song of the week: Mr Motivator – IDLES.

THIS IS NOT A DRILL. WE GOT NEW IDLES. IDLES. IT’S IDLES TIME. IT’S NEW IDLES. NEW. IDLES. IT’S NEW IDLES. PUT IT — PUT IT IN YOUR FACE IT’S NEW IDLES TIME. IDLES. NEW IDLES. IDLES.

As some of the more deductive readers might’ve put together from my subtle hinting, I am, and this site is, a very big IDLES fan, because of course we are. Coming from the West Country ourselves, it is intensely exciting seeing a local band become literally the best band operating at the moment. I cannot overstate how much I love everything about them and all they do and they can do no wrong. I am in IDLESmania and they are my golden boys.

So, you can imagine the, some would say, exhausting level of rabid enthusiasm that I lapped up this track with when it dropped last Tuesday. Immediately, it is classic IDLES, with the ominous, circling guitar lines — eeling about the mix like grass snakes prepared to pounce. Jon’s drums are perfectly levelled, brutally abrassive and, as ever, dizzyingly danceable; it’s as if I’m expected to cut absolute shapes to this one. Not to dismiss Dev and his driving low-end work, but it’s definitely refreshing to hear the group go in a more guitar/riff-focused direction ala Brutalism, after JAAAOR‘s exceedingly bassy classics.

I won’t lie and tell you that a rush of adrenaline didn’t immediately hike up my spine as soon as I heard Joe bellow “I am I/And I intend to go, go, go” because I too was ready to fucking gO. Especially in our absolute 0/10 of a year so far, the aggressive, punch-you-in-the-face optimism that IDLES deal in is exactly what we need, and it is in spades with the almost-venomous “YOU CAN DO IT” in the choruses. Furthermore, while I’m not totally crazy about the “Joe Cal-fucking-Zaghe” bridge in the middle, the lines about Kathleen Hanna and David Attenborough more than makes up for it. The scattered structure of these paragraphs may give you insight, however, into my pure glee with this track, though, and I am just chomping at the bit for more.

– milo