Culture Greyhound

Greg Gillis put the Internet in a fury this morning when he dropped his latest album All Day around 8AM.  The comp is available for free download from Illegal Art and highly recommended.  It’s a Girl Talk album, so you already know what to expect – Gillis has been the king of mashups for many years now. Just don’t call him a DJ.

Like the classic Night Ripper and Feed the Animals before it, Girl Talk incorporates new hip-hop and R&B with old school classic rock, alternative, indie, and even 80’s synth pop.  Clever mashings include Fat Joe with Spacehog, Miley Cyrus and M.O.P., Radiohead and Ol’ Dirty Bastard, and (in an unbelievable moment of brilliance) Aphex Twin alongside Lady Gaga and Soulja Boy.  Overall, there’s probably sixty years worth of music on here, and it all sounds like it belongs together.  God it’s good to have you back, Mr. Gillis.

My thinking is you can’t be a true Texan and not love the Toadies.  They embody the spirit of Lone Star State Rock Music (along with Pantera, of course…sorry Drowning Pool), and they’ve been delivering their twangy punk since the late 80’s.  I’ve been a fan since I first heard them, which was around ’96 – my cousin Joe brought a copy of Rubberneck while visiting one Christmas.  I saw them twice in September 2008 (in Lubbock and Amarillo) and I recently caught their show at Stubb’s here in Austin.  The boys are still loud and rowdy, and the proper release of the lost album Feeler this year has reignited my never-ending love.

And so I bring you my twenty favorite Toadies tracks.  Some are from the new disc, only one is from the disappointing No Deliverance.  But most are from the group’s two classics – Rubberneck and Hell Below, Stars Above.  Turn the volume way way up.

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Today we regard Depeche Mode as legends, pioneers of the New Wave sound, and all-around elder statesmen badasses of the ’80s. And all of the above is true, even if the band never went away (their latest album dropped in 2009, and they continue to chart very well in parts of Europe). They are regarded as one of the most popular groups around today, but the numbers surprisingly don’t show it – in Depeche Mode’s 30+ year history, they have never topped the pop chart of their native England nor the U.S. Hot 100 (though they do have a few #1s on America’s Modern Rock Chart).

I always knew about Depeche Mode; they’re just one of those bands you find out about at an early age.  When I was around 5 or so, Violator was getting the heavy-airplay treatment and the group was pretty much everywhere.  I became familiar with the hits we all love to croon at karaoke – “Personal Jesus,” “Policy of Truth,” “People Are People.”  While in eighth grade, we had a Spanish foreign exchange student named Rosa who might be, to this day, the most die-hard Depeche Mode fan I’ve ever met.  She blared the newly-released Singles 86>98 compilation the whole time she lived with us, and I learned many more forgotten tracks from the seminal band.

Since this is a “Rocking Retro” post, I have focused my small samplings on the 80’s and Violator, though the group continues to make music that sounds like it could be from the exact same time point (one of my recent favorites, 2005’s “Precious,” could have been a huge hit back in 1986).  So click ahead – after the jump some hits from one of the best bands, like, ever.  This one’s for you, Markham.

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Today I continue a series of posts dedicated to the best albums of the last decade, posting analysis of one album at a time.

48. The Bloodhound Gang – Hooray For Boobies

Part of making a personal list of your favorite albums of an entire decade requires you to realize that you were younger and more juvenile once.  And I suppose that’s all I can say to my 2010 friends, the ones that know me now in all my present music snob glory.  That’s the only defense I have for putting this album on my list of my favorite albums of the 2000s.  Those who have known me since grade school, however, would not be a bit surprised.  They heard me blare it constantly long after the novelty wore off – they saw me slowly learn all the words to the whole damn thing.  I imagine I could have put something more in the “critical darling” category in this spot, but I opted to put something I actually listened to incessantly, as opposed to a summer fling album (it was either this or Hybrid Theory, though I’m sure some of you wouldn’t have minded).  I suppose this album represents the nostalgic part of this list – a time when life was simpler, making Mom mad with “parental advisory” stickers on CDs was a thrill, and I was easily amused by witty fart joke raps.

Released at the turn of the century, Bloodhound Gang’s third (but really second) album Hooray For Boobies continues the crew’s brand of now-cringe-worthy middle school humor delivered in generic rap-rock fashion.  While it didn’t have the immediate hilarity or major success of 1996’s One Fierce Beer Coaster, the disc spawned the major novelty hit “The Bad Touch,” featuring the most memorable line of BHG’s career (“you and me baby, ain’t nothing but mammals….” you know it when you hear it).  After a massive tour, they released the disappointing Hefty Fine in 2005 and made random appearances on the Bam Margera show.  Haven’t heard from them since.  Not surprised.  When you make music like this, you’re bound to embody the epitome of your core fanbase (privileged, slacker, stoner, white kid, et al).

In my defense, the melodies are catchy and radio-ready – the guys were good at coming up with hooks, and Jimmy Pop’s rapping is clever and at times laugh-out-loud hilarious, the best it’s ever been.  In “Three Point One Four,” witty remarks are delivered at rapid-fire pace, as are the dick jokes littered in the fellatio ode “Yummy Down On This.”  The whole album features Pop’s ability to take a taboo subject and litter it with metaphors, puns, similes, and random musings; it makes the disc (or at least portions of it) worthy of multiple listens.  Another appreciative aspect is the diverse use of electronic instrumentation (especially drum machines) and liberal, appealing sampling (Falco, Metallica, Frankie Goes to Hollywood, and Homer Simpson are all heard in “Mope”).  For such a dumb album, these guys sure spent a long time putting it all together.

At age 24, I’m not going to pretend that this album is awesome, or defend its musicality, or say it changed my life, or even make false claims that I listen to it today.  I guess it’s just here to remind myself that I’ve come a long way from 8th grade.  And that I used to enjoy life more. And I used to have a lot more fun.  To everything there is a season….

Bloodhound Gang – Three Point One Four

Bloodhound Gang – The Ballad Of Chasey Lain

Bloodhound Gang – The Bad Touch

Today I continue my ongoing feature showcasing my personal picks for the best songs of the past decade, posting ten songs at a time.

120. Prodigy – Girls

Always Outnumbered, Never Outgunned fared better across the Atlantic in Prodigy’s native England, but that doesn’t mean it wasn’t blaring in my dingy yellow car during high school.  Quite the opposite, in fact.  “Girls” is a standout from a banging comeback from one of the 90’s most successful, riveting, and interesting electronic groups.  And while nothing on the disc comes close to their previous work’s brilliance, and the crew would later shell out typical guitar-driven bore for shillings, this track gives us a glimpse into the progression that could have been.

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Mr. Voytas has made headway here at Culture Greyhound previously (including yesterday’s Five MP3s), and upon further research, it turns out the guy writes some pretty catchy potential hits.  Endorsed by such indie mainstays as Fader, Prefix Mag, Gorilla Vs. Bear, and Pitchfork, Evan Voytas is the new name for dreamy, falsetto-filled, inspired pop, sometimes electro, sometimes not.  The classically trained multi-instrumentalist spends his time in LA, but Voytas has been all around the country, calling New York, New Mexico, and rural Pennsylvania (his childhood home) places he has hung his hat.

When he’s not part of the backing bands for the critically acclaimed Gonjasufi and Flying Lotus, he’s touring and writing his own material, much of which is minimalist pop with a texture of sonic brilliance, giving radio-ready tunes a trippy kick to the head.  He’s someone to watch out for as we approach 2011.

Evan Voytas – Getting Higher

Evan Voytas – I Run With You Spirit Animal

Evan Voytas – I Took a Trip on a Plane

Crystal Castles – Not in Love (feat. Robert Smith)

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Rihanna – What’s My Name (feat. Drake)

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Hooray For Earth and Twin Shadow – A Place We Like

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Evan Voytas – Our Thing

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Fang Island – Patterns on the Wall (feat. Andrew W.K.)

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