Mo' meta reviews
Nas: Illmatic (Columbia '94)
In Mo' Meta Blues, Questlove describes "hip hop's funeral": the battle of the debuts at the Source Awards, when Biggie's Ready to Die buried Nas's Illmatic, already a critical and in-crowd legend, and he watched Nas "wilt in defeat" in the Tommy Hilfiger shirt his manager had just financed. Sez Quest to Black Thought: "He's never going to be the same. You just watch." And he was right. Nas immediately transformed himself into a hit-seeking faux gangsta of depressing conventionality and didn't make another good record for eight years. That still begs the question, however, of exactly how good this spartan effort was and is. Better than I thought at the time for sure‑-as happens with aesthetes sometimes, the purists heard subtleties principled vulgarians like me were disinclined to enjoy, especially beatmaking where Large Professor along with such fellow New York smoothies as Pete Rock, Q-Tip, and the great Premier convert samples into haunting looped groove elements. Also enjoyable is Nas's ability to transform simple lines like "I never sleep because sleep is the cousin of death," "I'm out for presidents to represent me," "The world is yours," and even "One love, one love" into de facto hooks. And my mind tells me that I have to admire how cagily he walks the line between doing the crime and hanging with homies for whom nothing else is "real" even if my heart isn't in it. All that said, however, Ready to Die still gets my vote. A MINUS
The Roots: Game Theory (Def Jam '06)
On The Tipping Point, Black Thought establishes his prerogatives with well-honed braggadoccio that's kinda dull anyway. Here, freed from Jimmy Iovine and told by Jay-Z to do what he wants, he recedes toward the background, an observer looking out at a black Philly that hasn't risen like he has and just "Don't Feel Right," as he calls the first of three straight ominous, drum-powered, social-realist reports whose tone maintains until the J. Dilla encomium that closes. Even the summery "Livin' in the New World" turns out to be about the surveillance state. Not hooky enough, as it doesn't take Jimmy Iovine to figure out. Strong enough to compensate, though. A MINUS
The first time I remember seeing Gandolfini was as the grinning, psychotic hitman who got a memorable death scene, totally flattened by Patricia Arquette in "True Romance." RIP
Xgau on Dolly Parton in 2007: "...in a world of Sublime and Toto box sets, where's hers?" I reread that recently after going back to a couple of her old albums, went looking a little more and found out I'd completely missed the box Columbia Legacy put out in 2009: http://www.amazon.com/Dolly-Parton/dp/B002CKCV3U/ref=sr_1_1?s=music&ie=UTF8&qid=1371739810&sr=1-1&keywords=dolly+parton+dolly
Starts off with her first recording at age 13, singing her own composition in a creditable Brenda Lee voice, ends in 1992 with "Romeo." Not perfect - there's 2 or 3 too many Porter duets, and things thin out a bit towards the late 70s. But even then IMO there's a high percentage of delights to be had, the early formative false starts are never less than interesting, and the classic period stuff sounds better than ever. Worth the price, at least.
"No Church In the Wild", "Niggas In Paris", "Heartless" really are among Kanye's best songs,
to which I may respectfully add "Clique" and "Gorgeous".
But Im still waiting for his "U Got the Look".
Hope it's true, doesn't matter if it's not.
about the blogger
Starting in 1967, Robert Christgau has covered popular music for The Village Voice, Esquire, Blender, Playboy, Rolling Stone, and many other publications. He teaches in New York University's Clive Davis Department of Recorded Music, maintains a comprehensive website at robertchristgau.com, and has published five books based on his journalism. He has written for MSN Music since 2006.
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