#lp review

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View credits, reviews, tracks and shop for the 2020 Vinyl release of "Summertime Shootout 3 (Coldest Summer Ever)" on Discogs.

Fab seemingly took a self-made challenge to lean into everything that's held him back throughout his career - which is consistently search for a radio jingle to overcompensate for not being able to fill the B.K. boots of Brooklyn's Finest. On "Coldest Summer Ever" Fab's career crashes and burns as he runs to Atlanta and recruits West Coast crooners for unauthentic baby making bangers. There's barely any bite here. At least "Grieving Music", "From Nothin' To Somethin'" and "Loso's Way" relied on Fab's bars and guests that could outshine him to render playback. On "Coldest Summer Ever" Fab's left to be the main attraction because his slew of guests are B-list stars at best who come from the era of being prided for clout, not craft. When Fab is the most talented person on a record, something is wrong with that record. The only noteworthy appearance on the LP is Teyanan Taylor's verse on "Us Vs. The World" (Fab's attempt at a Wale record) and that's just an actress doing her best Foxy Brown on "Ain't No Nigga" impression. This isn't where Fab should leave his discography, but with five years since a new record, Fab wouldn't be the first Desert Storm alumni to implode his rap career. Pretty sure Joe Budden has a seat waiting for him when he's ready to recast his lame ass podcast again. Hey, anything's better than Fab deluding himself into thinking he has one more in him for the ladies to think he's ... nice. - V.V. 6th/Apr.2k25

[midnightstrike3625]

Can I Sit Next To You Girl / Rockin’ In The Parlour by AC ϟ DC Review

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DELIGHTFULEE MORGAN - Down Beat Review (22nd Feb 1968)

Lee Morgan

DELIGHTFULEE MORGAN — Blue Note 4243/ 84243: Ca-Lee-So; Zambia; Yesterday; Sunrise-Sunset; Nite Flite; The Delightful Deggie

Personnel: Lee Morgan (trumpet); Joe Henderson (tenor saxophone); McCoy Tyner (piano); Bob Cranshaw (bass); Billy Higgins (drums) Tracks 3 & 4: Lee Morgan (trumpet); Ernie Royal (trumpets); Tom McIntosh (trombone); Jim Buffington (french horn); Phil Woods (alto saxophone, flute); Wayne Shorter (tenor saxophone); Danny Bank (baritone saxophone, flute, bass clarinet); McCoy Tyner (piano); Bob Cranshaw (bass); Philly Joe Jones (drums)

Rating: *****

From his “enfant terrible’ days of a decade ago with Dizzy Gillespie to his thoroughly mature stature today, brazen energy and perpetual emotion have cascaded from the bell of Lee Morgan’s horn.

Ca-Lee-So features a loping calypso accent in-the theme, with Tyner introducing the happy proceedings. Morgan and Henderson solo succinctly, and Tyner follows with a solo showing his fine flexibility.

Zambia is set at an up tempo pace. After the head, Henderson takes charge, going on an exhilarating excursion. Morgan sustains the soaring spirit. Following Tyner’s appropriate solo, Morgan and Henderson engage in jovial eight-bar exchanges.

For Yesterday and Sunrise, Sunset, Oliver Nelson provides plush orchestral settings to showcase the enthusiastic Morgan and Shorter. The latter piece contains especially stirring moments from the soloists.

On Nite Flite Morgan impishly teases and cajoles with characteristic frenzy, and Henderson maintains the contagious excitement with throaty chortles and doublestop effects. Tyner, not to be outdone, dips into his bag of tricks and with the splendid backing of Higgins and Cranshaw turns in a highly dynamic performance.

Deggie is done in a comfortable waltz meter. Henderson, Morgan, and Tyner are adroit in weaving the image and the tune swings along in jovial fashion.

Spacious, relaxed atmosphere, the balanced selection of the repertoire, and the cohesiveness of the performers are the rewards offered in this album and the Offerings are true-Lee delightful.

Review by Ralph Johnson.

[lpitaliaofficialsquare-blog]

Recensione di LP - l'artista pop-rock attraversa il palco con un'andatura maestosa e teatrale

Laura Pergolizzi canta i suoi lividi, con canzoni d'amore alla Britney e una voce pazzesca, con acuti alla Cyndi Lauper e fischi da campionessa.

Articolo di Caroline Sullivan

Fisicamente è un incrocio tra John Cooper Clarke e Patti Smith, vocalmente una miscela di Gwen Stefani e Cyndi Lauper, Laura “LP” Pergolizzi mostra un patchwork di qualcosa che al momento non e’ disponibile altrove. Di fronte a un forum pieno di energia, la cantautrice newyorkese e’ una tigre pop-rock, che spazia vigile su tutto il palcoscenico, compensando una sua agitazione iniziale con la spavalderia. Il suo look androgino ha suscitato un bel po’ di chiacchiere (“E’ una ragazza o un ragazzo?”)...si identifica come donna, ma in lei c'e’ davvero qualcosa di al di la’ del genere. 

Solo la sua voce, che e’ stata corretta col singhiozzo alla Stefani e col grido energico influenzato dalla Lauper, e’ convenzionalmente da ragazza; altrimenti, lei e’ un felino androgino.

Se il suo aspetto non e’ abbastanza appariscente, la sua esibizione e’ disseminata di anomalie. Lo strumento principale di LP e’ l'ukulele, ed e’ una campionessa di fischio...una combinazione che suona essere, sulla carta, un numero davvero originale. In effetti, il fischio e’ mesto e perfettamente intonato, e l'ukulele e’ un elemento fondamentale della sua musica, che lascia impennare la chitarra rock della sua band. Quando viene usato come strumento principale in When We’re High, aggiunge una bellezza dorata a una canzone che narra di sballarsi e ascoltare dischi con l'ex-ragazza. L'ultima strofa di quel brano, tra l'altro, le fa cantare a squarciagola una lista di titoli di canzoni - “Hips Do not Lie! (Hit Me) Baby, One More Time! ”- che potrebbe essere o non essere un riferimento allegro ai suoi giorni come compositrice al servizio di canzoni pop che ha lavorato con Rihanna, Christina Aguilera e Backstreet Boys. Cantando stasera, canta le canzoni con notevole buonumore e senso dell'umorismo. Apparentemente, era a pezzi quando scriveva il suo attuale (quarto) album, "Lost on You", in cui appare questa canzone, ma ora - recentemente fidanzata ufficialmente, secondo Instagram - non e’ piu’ a pezzi.

L'album "Lost on You" rappresenta gran parte della setlist di 75 minuti di stasera, e molti dei maggiori pezzi del suo show, come la cruciale traccia che ne da il titolo, sono pieni di sdegno per il loro soggetto principale: una donna che l'ha tradita e l'ha spinta in una relazione aperta non voluta.

E LP e’ nella posizione ideale per chiedere ai traditori di rendere conto; uno dei suoi talenti principali sul palcoscenico sono esibizioni vocali allucinanti. Sua madre era una cantante d'opera, e ha ereditato non solo una propensione per il teatrale ma anche un'ampia estensione vocale. Dicendo poco, ma brandendo la sua voce in un modo che fa male - soprattutto sugli accordi minori - questa LP e’ tutta un'altra cosa.

The Guardian

Traduzione a cura di Sara Bonito

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LP Review: Folly & The Hunter- Awake

LP Review: Folly & The Hunter- Awake

Folly & The Hunter move towards a more upbeat, poppy version of indie/folk with their third album Awake. The Montréal-based multi-instrumentalist band describes their new stuff as “more to the point, clearer”, in comparison to the downbeat, ambient collection of songs on the first two albums. Fortunately, there are still some folky aspects present, such as the horns in ‘Breath’ that remind me of…

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[wewerepromisedsomuch]

Album Review: PAWS

Artist:  PAWS

Title:  Youth Culture Forever

Record Label: Fat Cat Records

Release Date: 2nd June 2014

Rating: 7.0/10

The evolution of PAWS from playful ramshackle debut LP ‘Cokefloat!’ to the dishevelled, strung out static assault of sophomore album ‘Youth Culture Forever’ is an abrasive jolt. ‘Cokefloat!’ held little back in the terms of scratchy aural mischief and if their debut LP sounded like it was recorded in a rusty tin can, it’s predecessor takes up residence in the same tarnished vessel but only if that container has been left out in the rain and has been stamped on by a herd of galloping wildebeest. Sonically, the Scottish three-piece sound meatier but waves of fuzz envelope the album in a transistor radio like buzz. Certainly not Lo-Fi but there’s a roughness to ‘YCF’ that makes ‘Cokefloat!’ appear pristine. Vocally, Phillip Taylor is projected as a tortured soul yelping or slurring through a malfunctioning intercom – ‘Alone’ and ‘Owls Talons Clenching The Heart’ are examples of Taylor’s withdrawn murmurings. Especially during the more sombre refrains, Taylor’s voice is that of a man pissed to the eyeballs, tracking vocals after a night drowning his sorrows and then deciding to vent his spleen in the vocal booth. ‘Cokefloat!’ lived up to its syrupy namesake in parts, whereas ‘Youth Culture Forever’ is an album that explodes with spasmodic barrages of crushed noise, invoking teenage mood swings. If the band’s debut was their innocent pre-teen childhood, their second LP is the soundtrack to a turbulent adolescence. 

‘YCF’ is an intense listen, the opening shards of ‘Erreur Humaine’ typifies those bi-polar tendencies mentioned previously. This is a track that sombrely drags its heels but without warning erupts with untamed frustration in a volley of twisted scuzzy grunge pop. Despite the optimistic title of the album Taylor doesn’t reflect this in his wordplay, ‘Erreur Humaine’, a tale of failed relationship, has the frontman claiming “Just 22 I Feel Like I’m Through”. Following track ‘Tongues’ stays on the straight and narrow sonically – with less sporadic detonations of sound but the remorseful notions of not embracing life ring true “Sometimes we were forced to accept defeat” has Taylor waving the white flag of surrender at not trying hard enough with life’s endeavours.  Charging through like a wrecking ball covered in barbed wire, ‘Someone New’ ravages all it hits, despite sugary backing vocals that coo against the hard concoction of savage guitar licks and drums. “My heart is not a fucking toy” Taylor sternly proclaims at the thought of seeing his past suitor with another beau. ‘Someone New’, aside from the faltered images of love gone sour, is thrust along at a thrilling pace and one that almost makes you ignore the tortured subject matter. When digesting ‘YCF’ you’d assume that being young fucking sucks, it’s a life of uncontrollable emotions, love that doesn’t last and self-indulgent behaviour. The latter is exemplified on ‘Narcissist’ a thorny ode to ‘selfie-Facebook-hashtag’ bullshit culture. Propelled by Matt Scott’s reverberated basslines, it’s a no holds barred assault on our generations need to bare our souls in the most crass, unrefined ways. 

PAWS’ second album can be an overwrought listen, especially when a large chunk of the LP merges into one long salvo of static and fuzz. Such passion is never restrained and this is what gives ‘Youth Culture Forever’ its blood and guts appeal. Just when the intensity is proving too much to bear, instrumental ‘Great Bear’ helps wipe the slate clean for dirty, raucous feelings of blowing the cobwebs out from the album’s agitated tendencies.

Scrappy, raw and untamed, it’s a surprise in which ‘YCF’ is capped off, ‘War Cry’ commences in an understated fashion but with an air of menace that swells until the whole thing boils over, creating a nearly 12 minute long sinewy epic. There’s the notion that the album’s bristling anger and disdain has lead up to this volcanic blow out – PAWS can easily say they’re the masters of a swift, itchy pop laced grunge track but the way they weave in and out of sinister melancholy and punishing, eardrum worrying noise on the second album’s curtain call is breath-taking.

‘Youth Culture Forever’ is a distillation of those formative years, the raging hormones, those oh-so life changing ‘I want to die moments’ and all that comes with it.

[atomicvinyl]

Vinyl Review: 19 ~ Adele

I love Adele.

I mean, I love everything about her.

I love that she's a slightly chubby Englishwoman with big hair. I love that she wears her heart on her sleeve, yet has an air of mystery about her. Oh, and the voice! Adele can be whatever she wants. For all I care, she could be a duck-billed platypus in disguise. That voice speaks for itself.

Foremost, I love that at age 19, she dropped this album.

Do you know how precocious this album is for a 19-year-old girl? I mean, sure, there's lots of teenage singers, but none of them are this ambitious. The only equivalent I've seen thus far is Kate Bush.

I mean, albums like these are the stuff legends are made from. I bet Miley Cyrus wishes she made this album. Hell, I bet every female soul vocalist made this album.

Adele sings like a conduit of emotion. She reaches high and low notes on a dime—and makes it sound effortless. The only comparison I can give to Adele is Etta James. By God, I wish those two did a duet together.

When this album was released, critics like Robert Christgau dismissed Adele because of her age. However, this really is an album only a 19-year-girl could make. This whole album is about longing, and lust, and desire—of one who needs the touch of a man, but is just not satiated. 19 is about sex and desperation and hope and fiery abandon.

Adele's voice is big, so it needs to be accompanied by a full orchestra that complements it dynamically. There are strings, horns, pianos, and upright bass.

This is one of those albums that should be appreciated on vinyl, but sonically, you want to hear the full breadth of everything.

If this was Adele's lone album, she would be a legend in my books. Thankfully, she had one other classic up her sleeve.

[holdenharrismusic-blog]

Since The Used is one of my favorite bands of all time, I decided I would make a review of their new album "Imaginary Enemy."  The whole thing really turned in to a rant review...so much to say.  Anyways, check it out!  Don't forget to like and share :).