Monday Mixtape, Vol, 204

Spoon. The band. The ageless wonders. These guys are in their 50s yet they’re still rocking. Example A: “Held,” the first track on their 13th album, 2022’s Lucifer on the Sofa. Certain bands and songwriters create sounds on records that are so clear and perfect that it sounds like they’re playing in your living room.

That hard bass drum beat in “Held” sinks into my skull, and I can’t help but nod. And the sounds of those guitar’s warming up into their opening riff, a riff that’s so clear in tone and so damn unique, I just get the feels when I hear stuff like this. Britt Daniel’s voice brings it all together and more instruments start to come in as the first verse winds up. God what a song.

(Don’t forget their first track, “Inside Out,” on their 2014 album They Want My Soul, was my #3 Song on my Top 100 Songs of 2014, and also an awesome listen to Britt Daniel’s break it down on Song Exploder

Tame Impala released a bunch of b-sides and mixes from their last album, The Slow Rush. Kevin Parker has said he spends 90% of his time creating music on the drum beats. It doesn’t matter if a drum beat sounds simple or not, it’s how it makes you feel, and “The Boat I Row” gives me the feels!

“Scared Money” is just an awesome rap track. It bangs hard, and I love J. Cole’s verse, so sick. YG kills it too.

As usual, Vince Staples is on a great track. His quality control is insane. He is rarely on a bad track.

This new Big Thief album is very long. 20 tracks and 1 hr 20 min. So it’s hard to get through it all. But they’re really weird and all over the place. “Time Escaping” gives you a good idea of their extensive palette.

My boy Pink Sweat$ with a feature from 6LACK ends off the mixtape with a beautiful love track. Enjoy the short week :)

Monday Mixtape, Vol. 124

Where does Post Malone rank in terms of singing hooks right now? Does anyone do it better? Yeah, it’s easy to make fun of the face tattoos and dreads (which he’s now changed to a small 80s era small fro), but “all my friends” is pretty catchy, right? Can’t hate on catchy.

This is an all rap playlist, highlighted by both Future and 21 Savage’s new albums. I was impressed with 21’s album, it has a ton of features (J. Cole, Childish Gambino, Post Malone, Offset, and Schoolboy Q) which complement his monotone flow, and the production fits perfectly with so many tracks.

Future released another album that is just like most other Future albums. He has some alter ego (this time, “The WIZRD,” it all more or less sounds the same, and a few tracks really stand out. A couple of those are on this mixtape.

I also included some older JID, the rapper that blew me away with his mixtape, DiCaprio 2. This guy has something special, we will be hearing a lot more from him.

That’s it people! Hope you enjoyed the (4th Quarter) of the Super Bowl. My commercial MVP was either Stella Artois or the NFL one with all the players.

Monday Mixtape, Vol. 46

Thanks to Memorial Day, there is quite a backlog of great music for you. Overall, I’ve been pretty disappointed in the music that’s been released this year, it just seems to me like a down year. But, there are a ton of bands I love (Local Natives, Blind Pilot, Young the Giant) still to release theirs.

I’m particularly excited for Local Natives’ new album. I’ve had three favorite bands in the past decade - Local Natives, US Royalty, and Tame Impala (while Radiohead being the all-decades favorite) - and they’re all on their third album with only Tame Impala to release the masterpiece Currents. Third albums are huge for bands that garnered a lot of recognition for their first album because the sophomore release is always allowed to be a regurgitation of the first since the first was so good. (And for the record, Local Natives second album was not like their first, but it just wasn’t as good.) Vampire Weekend and Arctic Monkeys are great examples of that. Their second albums were pretty darn good, it sounded like the first, so no one complained. 

But the third is a different story. It shows whether a band has “it” however one may define it. My definition: a sound and structure that is unique and original and a dedication and labor of love that is apparent that it all makes for an unforgettable album, something to be remembered because it sounds like nothing else. Currents did exactly that for me. So did Vampire Weekend’s third masterpiece of an album while Arctic Monkey’s third album went a little too far off field and gave too much sound control to Josh Homme (producer of the album and lead singer/songwriter of Queens of the Stone Age). Though “Cornerstone” is still one of my faves by them.

SO WHAT I WAS TRYING TO GET AT: there’s a lot riding on this album for Local Natives. And that being said, their new single provides hope. I still think Taylor Rice’s vocals sound a bit whiney, but I just LOVE the sounds they get out of their drums and guitars. How awesome is the drum-off starting at 2:17 which leads into some serious kick-ass electric guitar lick? That is Local Natives' specialty, a messy conglomeration of harmonies and other sounds that bleed like waterfalls. It’s beautiful. So maybe I’m getting more excited for their new album now! 

A few other notes:

I though Post Malone was a joke - BECAUSE I LOOKED AT A PICTURE OF HIM - although I loved “White Iverson,” but I obviously couldn’t take him seriously. And though on his track on this Monday Mixtape he’s talking about flexing with gold grills and all sorts of other shit about his squad and sending “Snaps” to his girl, “Go Flex” has a great hook and even a little acoustic guitar in it! 

“Something to Believe In” is Young the Giant’s sultriest song yet. Sameer Gadhia is the modern day Brandon Boyd (of Incubus) - he has one of the best voices in the business, but I think Young the Giant is mainly disrespected by critics. Have they listened to “Islands??” (Yes, I know Incubus is still making music).

The beat that starts the song by Allan Rayman sounds like it should have been on a Montell Jordan tracks. Love it. I don’t know too much about this Allan Rayman guy nor an I sure how to describe him, but this is one of the catchiest songs I’ve heard all year.  

“Feel No Ways” is one of my two favorite tracks from Drake’s new, somewhat disappointing album. I think there are some good songs, but a lot of not so good songs which is not usual for Drizzy.

I am heading to LA on Saturday for two weeks, but I will try to post something for next week’s mixtape because there are a lot more songs I want to share.

Monday Mixtape, Vol. 34

Music is like so many other things in life - it’s cyclical. Sometimes we have a decade or more of great music, and other times it’s a stagnant regurgitation of better music.

Rap right now is on the upswing. Everyone will always be nostalgic of 90s rap, and I can thank A Tribe Called Quest, Biggie, Nas, Dr. Dre, Snoop, Tupac, Wu-Tang Clan, Mos Def and Taleb Kweli, Big L, Naughty by Nature, Big Pun, OutKast, Eminem, DMX, Little Brother, The Pharcyde, Jurassic 5, Gang Starr, and many, many more I’ve failed to mention.

But in the past five years we have had Kanye’s My Beautiful Dark Twisted Fantasy, Kendrick Lamar’s good kid, m.A.A.d city, Frank Ocean’s Channel Orange, Drake’s Nothing Was The Same, Kanye’s Yeezus, Run the Jewels Run The Jewels 2, and then in 2015 alone: Kendrick Lamar’s To Pimp A Butterfly, Lupe Fiasco’s Tetsuo & Youth, Drake’s If You’re Reading This It’s Too Late, and Future’s DS2.

The last time I was listening to this much rap was back in college when I completely immersed myself in the world of 90s rap (since I spent most of my life in the 90s as a chubby kid rocking out to grunge music wearing No Fear t-shirts with a bowl cut).

I’m immersed now and as a byproduct, I’m immersing you.