Start the movement...

Sorry, just me talking about this Nas album again. Here's the video for "Hero". Enjoy!

"Untitled"- Nas (2008)

***Alert***
I'm going to use the "n-word" in this review. A lot. If that bothers you, too bad.
***Alert***

A lot of controversy has surrounded Nas' latest album. Initially, Mr. Jones announced that he would entitle the album "Nigger". This began my initial reservations with the album. I simply hoped that if he was going to pull something that daring, he would do so responsibly and with full awareness of the precedent it would set. During the recording of the album, there were various sources saying that Def Jam wouldn't allow the "Nigger" title to fly, while Nas continued to push for his vision to be realized. Many people stood up to his aide, including former rival, turned former boss Jay-Z. Many also came out against him, including known hater Jesse Jackson. Eventually, Nas conceded and agreed to calling the album "Untitled", much to the chagrin of hip-hop purists and comedians alike. However, the move was the only way to get the album sold everywhere.

Historically, I'm not really a Nas "fan". I of course think that "Illmatic" was a classic, and "God's Son" and "Stillmatic" were enjoyable, but outside of that, I was never really one to listen to him. I respect his talent and recognized his contributions to the game, but I was always on the Jay-Z side of the feud. However, after listening to "Nigger" (Nas has gone on record as saying that people will always know what the real title of this album is, and I agree with him), I think I've really come to appreciate what Nas brings to hip-hop. My main knock on him through his career is that I think he's the most talented lyricist that has no ear whatsoever for production. I mean, this is the man that rose to prominence over DJ Premier classics but has chosen later in life to get beats from Philly pariah Chris Webber. Thats right, the basketball player. "Nigger" however, is in my opinion, Nas' most consistent album, production-wise, since "Illmatic". With production from Mark Ronson, DJ Green Lantern, Polow da Don, Cool & Dre and DJ Toomp, Nas creates a soundscape that allows him to weave his tight political and social commentary over an enjoyable 54 minutes.

Instead of breaking this album down track by track, I'm going to address is as a body of work, because that is truly what this album is. Nas' statement of his feelings on political and race relations in America, as well as his thoughts on the word "nigger" are fully on display. Despite being an 8th grade dropout, Nas is a very intelligent man. No one is safe from his scathing attacks on the state of America, not even himself. He stands up for Black America, women and poor folks and denounces cooperate greed, specifically Rupert Murdoch and his lap-dog Bill O'Reilly over at Fox. John Lennon famously called women the nigger of the world and Nas takes that sentiment one step further. It's not a race issue. It's not a gender issue. It's a class issue. Those who aren't part of the upper crust of American society are all niggers. Of course Nas mainly addresses Black America and the struggles that we have to overcome in order for us to overcome. He speaks of acquiring and acknowledging our history, recognizing our faults, not accepting our current station in life and moving forward intelligently and healthily as a people. He does this with vivid language and intricate rhyme schemes, all while possessing that classic Nas swagger that we've all come to enjoy. And of course...he shows some love to our favorite candidate here at "Album-A-Day", Barack Obama.

What sets this album apart is that it is more than simply a hip-hop album. I mean, at its core, it is classic hip-hop, something that has been missing from the game lately. However, this album is larger than that. This is a) a strong showing for the maturation of Nas' career and b) a social statement showing what hip-hop can be: fresh, intelligent, relevant, and outspoken. What Nas has done with this album should inspire the heavyweights in hip-hop (yes Jay, I'm talking to you) to really examine exactly what it is they're trying to do with this genre. This work will stand the test of time. A bit of my excitement here might be simply because there hasn't been a hip-hop work this good and this substantive in some time, but I stand by it. When it's all said and done, this could be a classic. Please go out and get this album. It's so good...I might even BUY it.

4.75/5

Happy 4th Kids

"America, the Beautiful" as rendered wonderfully by the timeless Ray Charles (RIP). I was lucky enough to see him do this live in Philly when I was younger. Great song. I move to make it our national anthem. Enjoy your independence day!

"Viva La Vida (Or Death And All Of His Friends)"- Coldplay (2008)

I've waited long enough to write this review. I've been avoiding it because of my history with Coldplay albums. When a new Coldplay album comes out, I like to approach it, smile, buy it a drink and go home with it. In the morning, I slip out of bed (leaving no money on the dresser, because lets face it...I don't pay for music), and never call it again. This love 'em and leave 'em mentality suited me just fine over "X&Y", "A Rush of Blood To The Head" and the other one...what was her name?...ah right, "Parachutes". This one though...she's different. I might actually call her the next day.

Running the risk of sticking themselves in a box of 'typical' sound, this album is a bit of a departure from the norm for the English quartet. The methodical, plodding piano based musing and agonizing is replaced with a fresher, more crisp sound. It seems as though Chris Martin's burgeoning friendship with Shawn Carter (aka Jay-Z) has been one of musical sharing, as there seems to be a little more of an hip-hop influence. Let me immediately qualify that statement by reiterating that I'm simply saying that it is simply an influence. Just the way that "Beach Chair" added a different dimension and depth to Jay-Z's sound, I feel that the gangster Shawn Corey may have shown Chris a thing or two about making his drums sound...well...bigger. This is most evident on "Lost!", as the rhythmic experimentation elicits a head nod from even the stiffest of listeners.

What sets this album apart from other Coldplay albums is the absence of a "made for stadium" song (think "Clocks" or "Speed of Sound"). One could argue that the title track fills this void, and while the iTunes commercial would support that claim with its flourishing images and spastic yet lovable Chris Martin interpretive dance moves (which I can't help but mimic whenever I hear the song), somehow this song doesn't need the bright lights and big stage to come across larger than life. I'm sure it'd be pretty sweet live though.

Basically, Chris and the gang come across a bit edgier on this album as opposed to the solemn and stoic sound we're used to, and it suits them well. They play around with different sounds, like the rockier "Violet Hill" and the more breezy "Strawberry Swing". "42" has a great switch mid-song that adds to its depth. All in all, it is a very well constructed album. It's not perfect, however, as it gets a bit bogged down in the middle by "Reign of Love" which while being a beautiful song, I could really do without. My main critique of the album, however, is that it very easily blends into the background of whatever I'm doing. With many albums, I'm very aware that I'm listening to an album while doing something else, like maybe playing a video game. However, if trying to multi-task while listening to "Viva La Vida", I'll look away on track 3 and then all of a sudden, the album is over. I haven't quite decided if that's good or bad, but it is definitely different than most albums.

I fully endorse this effort, though. It's good to see Coldplay put out an album that I might want to listen to again by the end of 2008.

4.25/5

Get Intelligent!! (bit of a rant...)

Is this what it's come to? Have we regressed this much as a culture that this song is popular? I mean, I don't even know where to begin on the list of things I hate about this song! This is a vicious and deadly assault on my eardrums. It is also highly insulting to my intelligence. I move that this song not be played anywhere where people over 18 congregate, much less us "grown 'n sexy" 21+ people. I mean, honestly? I hate to make blanket statements but if you're over 15 and you like this song, there is something wrong with you.

This snap music business has to stop. I know that it is "hot in the streets" and "whats really hood" these days, but it's awful. These beats are all made with stock Casio keyboard sounds! The Neptunes did that years ago, but at least they were hot and relatively more obscure sounds. I can walk into any Radio Shack nationwide with a tape recorder and 5 minutes in the keyboard section and make these beats. I'm not going to try and knock a young movement, because I realize hip-hop is about the youth, but this is pure absurdity.

And lyrically? Well, it's dance music so I know we're supposed to take this with a grain of salt, but "We for fantastic hoes cuz I got a deally"? What does that even mean? We wonder why our youth is so misguided right now. It's because we let them listen to this aural garbage! Get a grasp of the English language please! Also, "I'm calm like the sea/ I'm blowed like the wind" would've been garbage in '88, let alone 2008. While I'm on it, can we abolish a few words from hip-hop that don't actually exist? "Blowed"? Not a word. "Simular"? Kids, the word is "similar". Ugh!

Here's to hoping this trend dies really quickly.

The In Crowd- Kidz In The Hall (2008) **REVISION**

So, I'll keep this short and sweet. Sometimes I listen to an album and I'm excited because it is different, and it skews my initial understanding of how much I actually like it. This very fact alone is why I haven't posted a review of Coldplay's "Viva La Vida (Or Death And All Of His Friends)" quite yet, even though I've had the album for over a month. While I still maintain that "The In Crowd" is a very good CD, I'm going to peel back on my 4.5 rating of it. I realize that rating music on a 5 point scale is always going to be relative. An album that is decent in a weak market will look stronger than a good album in a great market. However, I will try my best to put the work in perspective of the work itself, which is tough. I also realized that a 4.5 rating would tie it for the highest rated album in "Album-A-Day" history, and frankly its just not one of the two best albums I've reviewed. Therefore, I'm dropping "The In Crowd" by Kidz in the Hall from 4.5 to 3.9. Hey, even I get one wrong sometimes.

Weezer (The Red Album)- Weezer (2008)

What can be said about a group that hasn't put out a record in 3 years, let alone a quality album since 2002, and even worse still, lacking a great album this side of y2k? I will still be excited for a new Weezer album no matter how many reasons they give me not to be. Rivers and the crew make their triumphant return to popular music with this year's Weezer (the Red album).

First off this is their best album cover so they have that going for them off the bat. What follows the campy exterior is the sound of a band trying to redefine themselves while wholly clinging to the essence of what they once were. On first glance that would appear to be an oxymoron but upon further examination and query, I find that the two are not mutually exclusive. Revisiting the past while looking forward to the future is the hallmark of true evolution. Just because you've long since broken up does not mean you cannot have a healthy relationship with a former flame. However, such a penchant for nostalgia does indeed come with it's own slippery slope. Firstly, we fans, too, remember when things were hot and heavy. That thing you used to do that drove us wild...well, let's just say that we still crave it. Thus, reminding us of that might lead to disappointment that it can no longer be that
way. Lengthy philosophical rant aside, I say all that to say this: Weezer, I once loved thee, but I came into this latest meeting with no expectations.

What I found was a group that has clearly grown, but is still evolving. For starters, enigmatic front man Rivers Cuomo has changed. He is no longer the self loathing, angst-filled rocker we once knew. He is now a married, relatively domesticated and settled
thirtysomething who more resembles the protagonist of "The Good Life" than the lusting figure "Across the Sea". A notoriously megalomaniac, Rivers appears to have loosened his grip of control over the group and allowed everyone to have a say. This produces lead vocal appearances other than Cuomo, which only serve to add to the atmosphere of evolution. The lead single "Pork and Beans" is a kiss off to the industry, dripping wit non-conformist ideals and sticking to their proverbial guns. Also helping us get in touch with the band's roots and possible inspirations is "Heart Songs". Whether this pluralistically honest approach is a result of Rivers' new found trust in the group, an attribute of producer turned Svengali Rick Rubin or maybe some strange confluence of the stars, it provides what sounds like the first 'Weezer' album as opposed to Rivers and his backing band. I say this not to downplay the involvement of the group in previous projects, but simply to celebrate the cohesiveness and unity of sound that comes across on this album.

That being said, do I like the new Weezer? That is still yet to be determined. There are moments I enjoy like the aforementioned tracks, and yet there is a certain level of emotional flaccidity that pervades some moments. I am not sure if I attribute this to simple lack of effort or whether it is a listlessness in Cuomo's voice that worked with their previous material but not the new. All in all, I think the journey should be taken by anyone that has once called themselves a fan of the group. I am withholding a numerical assessment of the album until I have had more time to digest this change.