Lost On The River is fucking great. They should do another album just because.

The best thing she has ever done, easily. Consistently exciting and top tier. Brilliant! Drake and Frank Ocean feature along with a hearty selection of the best producers working today including The-Dream, Noah "40" Shebib, Timbaland, Pharrell and on and on. The deluxe edition makes me want to finally buy the video version of the album. I can't wait to see what she does next. The only thing wrong with the deluxe thing is that it leaves off The Weeknd's Drunk In Love remix!  

Mine featuring Drake (Love this!)

Rocket

Blow

Superpower featuring Frank Ocean

Flawless Remix featuring Nicki Minaj

 

(It's a really good track. Mystikal always had top delivery. So growly.)

I love it. Great track a la early '70s James Brown, and Mystikal is pretty spectacular. Sometimes he actually sounds like James, too.

Yes, certainly his own fault but he could have done a lot more during his first run. Perhaps this track will provide a second opportunity.

Regarding Tink, this is a useful introduction:

11 Tink Songs You Should Know

Her official debut is set for next year.

(It's a really good track. Mystikal always had top delivery. So growly.)

Mystikal doing a song with Mark Ronson is... unexpected.

New version of Beyonce is on Spotify and similar services. One of the best albums of last year. If you haven't checked it out, give it a go.

Thanks Peter! I will be catching up with this and the last weeks album in the next few days.

Apologies for the delay, I have been away for the weekend and was unable to edit the thread. I will pm Peter Reum now to remind him. If he is unavailable we will skip ahead.

I'm anticipating "Last Song" the most. LDR's song "Ultraviolence" sounds really nice with harmonies. I think it'll be a great collaboration.

Backing vocals on the bridge are by 3 of the 4 Nashville session singers, The McCrary Sisters; the rest of the harmonies in the song are by Lana. That bridge is one of my favorite moments on that album. I am, by far, anticipating "Last Song" more than anything else on NPP, including any leads by Al, which is saying a lot because Al is my second favorite singer in the group, and we all know his voice has barely changed in half a century.


This post is not directed at anyone in particular. I just finally felt compelled to offer a perspective that i think has been lacking here. There is great irony to be found here in fanboys of what is probably the most misunderstood band of all time dismissing another wildly misunderstood and mischaracterized artist--one who has a HUGE body of highly varied, unreleased and lesser-known released music that is both unequivocally uncommercial and perfectly commercial, completely defying the one-dimensional view that the general public has reduced her to due to their failure of just digging a little below the surface. Does any of that sound familiar?

Even without having heard it yet, i feel i could say that this BW/LDR meeting is one of the best things to happen to Brian in a long time. In my mind, this match makes perfect sense, almost too much sense. I actually had what i thought then was a pipe dream about this happening well before it was announced. I've said it here before, but that was before the name Lana Del Rey was on this board's radar, so i'll say it again--she has repeatedly been mentioning her love of The Beach Boys for a long time, years before she became famous or anyone outside of NYC had even heard her name. She mentions them all the time. She's also singled out Dennis. When asked by German Rolling Stone earlier this year to list her top 10 favorite albums from the '70s, her #1 was Sunflower. She loves harmony, idiosyncratic arrangements, and traversing the line between the melancholy and the exuberantly, almost naively optimistic. She has great talent, versatility, character, and vision.   

I have been gradually, over the last few years, informally composing an essay in my mind detailing the myriad parallels between these two eccentric musical artists who were born a day apart from each other. Lana Del Rey and The Beach Boys are really the only pop music that i listen to obsessively, and i've been paying very close attention for a long time now, and the connections are there, they're quite apparent (just to briefly cite a few examples: mental health issues; a certain kind of insularity and alienation; the inability to eloquently discuss their own art even though they put so much of themselves into it; a similar kind of sensitivity and desire to be accepted; pathological about their interests; erratic and capricious personalities; hopelessly out of touch with the music scene despite being such singular artists themselves; certain aspects of family life--they're both the oldest of three siblings, etc.)

By the way, her father's business associate, Chris Hartnett, attended MIU, became close with the Maharishi, and helped build the MIU studio, which prompted the band to invite him on stage for a show in Iowa City (incidentally, i've always thought Hartnett bore an amusing resemblance to Al Jardine--check him out in this picture with Lana in her pre-fame days).

Now i don't buy for a second that it was Brian's idea to bring her in, but i couldn't be happier either way. I just really hope that he took full advantage of her capabilities and wrote a really neat, involved backing vocal arrangement for her to stack her voice to rather than just giving her the lead. I want to hear her all over this song. Really, if one has been paying any attention, the idea of Lana Del Rey singing on a BW record makes perfect sense. Since so many people here have been obstinate about not paying attention, perhaps a slight push in the right direction might do something to quell the concerns that a great, eccentric artist who undeniably travels her own path, and happens to be a big fan of The Beach Boys, is singing a lead on a Brian Wilson record.

I'll just leave two examples.

Listen to how she layers her voice in harmony on some of her laptop demos: https://www.youtube.com/watch?v=hQqXuynmods

And in the studio: https://www.youtube.com/watch?v=Ko4mjqQHOZs

I don't know whether LDR has a huge body of work as of yet but yes I agree wholeheartedly with this post. Top work and thumbs up, way up for this post.

Sad to hear this.

I have The New Basement Tapes ready to go for after dinner when I can have a beer. Very excited about it!

Here is a mixtape of hers from early this year.

Original Version of Movin Bass featuring Tink

Here is someone that seems to be exciting some people.

That probably came across as too negative. I like Tom Waits and I love quite a lot of his stuff. I am just slightly exhausted by the notion that he represents the cutting edge of something or other. He is an off centre singer songwriter with a very fine touch for love songs and occasionally the character stuff. It is not that I don't understand what he is doing - what he is doing is neither complicated or challenging - it is that I think it is played out. Bad As Me did exactly the same things in much the same order that he has been doing since the Frank stuff. He has been doing the same routine for longer than when he got tired of he drunken piano player with a sick sense of humour. Alice to my ears is more exciting than Bad As Me or any of the others since Bone Machine precisely because it eases off in that stuff and is content with just serving the songs.

I think theres a lot of confusion here...any and every REAL music zealot as an appreciation for the BBs to some extent, seriously. Its VERY rare to find someone who claims to be into music that doesnt dig em. Theres a lotta charlatans out there, many dolts as far as the eye can see!

Not to be unkind but I think zealot is the appropriate word here.

There is an almost unbelievable amount of good things to experience in music and obsessions follow in all genres and styles. When I realized for instance that Classical music offered way more of the involved and sophisticated musical ideas than I could handle I stopped believing that the reason some people didn't like Pet Sounds or Smile is because it was too advanced. It is a small, small fraction of what people have done in music. That I could jaw about Pet Sounds without anywhere near the musical knowledge that discussing Debussy required was also a big plus. As much as I love a lot of Jazz, my lack of ability to truly understand the fundamental creative things happening also means I am less comfortable arguing this or that about Know What I Mean than anything with an easily identifiable cultural hook.

It isn't all relative of course. There is a unique emotional and aesthetic quality to Pet Sounds and to the time in which it originated. This is not about higher or lower or whatever else and if it IS a higher or lower, more or less sophisticated argument then the best of BW is well below anything done by those who did that classical stuff. This idea that BW or the BBs are these way in front musical geniuses, ignored by masses without the brain power to understand their sophisticated work is unfortunate and phony as all hell. They worked in a genre and they did good things in that genre. They did great pop music that was above and beyond a lot of pop music. They weren't the most versatile and they weren't the most innovative musicians to ever live but that is OK. Inside of their framework they did a lot of beautiful, brilliant things. To open up to the idea that there are people in a genre you cant stand who think you are CRAZY because you don't appreciate that a leader in that style has done meaningful things  is to become aware that being the sole voice of reason is only fun for so long. There are a lot of things to love and become obsessed about.

Tom Waits- this was pretty awesome. I've always like Tom Waits in theory but never put my time and money where my mouth is and bought/listened to his records much. I was very familiar with the title track as it appears of not one but two mixtapes friends had given me, and I loved it from the moment I heard it. I had no idea it was from so late in his career, I just assumed it was form the early '80s. But enough personal background. I liked everything on this album, and loved a lot of it. It didn't feel autumnal to me, but wintry, partly because it's getting very cold here right about now, and partly because of those ice-skating lyrics.  

It IS from early in his career for all intents and purposes. Very little of the Wild and Crazy Tom manufactured to separate from Bruce Springsteen or The Eagles or whoever did better with his songs than he did. Alice is honest straight ahead love songs, not experimental gubbins for people who don't actually want experimental music. By early 2000s the punchline of Frank had be ome as old and predictable as the Small Change joker. The Small Change joker, decades older was still less affected, and resulted in more pleasing songs. The last Waits record should have raised the Pitchfork authenticity/cliche shackles by a large measure. So crazy he has confetti at his  shows! What a non conformist!

Why the fuck is an album that is done going to come out almost a half a year from now?


Stupid as hell. Brian could write & produce another album between now and then, but for some reason, nah, we gotta wait several months to hear music that is allegedly "done".


YOU SUCK, CAPITOL RECORDS. I probably won't even buy a copy of it anymore, knowing that these suit wearing muhfuckas are bogarting it to release at a time where they think they're more able to make more cash money off of it....

You've answered your own question here. Why will Capitol make more money...? Because more people will buy it and listen to it. Is that such a bad thing?

There is absolutely no point in releasing a Brian Wilson record now and have it make #63 on the charts, when they could wait 6 months for the film tie-in and have it reach #18.

Yeah, it especially makes sense if the album is good and the film is good. If the film can translate some of the magic and the album can back up a portion of that magic it will be able to attract a good audience. Probably some folks too who aren't yet big fans. I remember getting Imagination after seeing Endless Harmony the first time. A little bit of a disappointment.

Possibly just because it is still relatively new to me, I will second whoever said "Meant For You". It is a little magical to hear the song keep going.

Cool, looking forward to hearing this one!

Here is the Spotify link:

http://open.spotify.com/album/2mGirLnSdQvoDVcRCBf3K5

I have seen some discerning music people turned off by the insecurity of hardcore Beach Boys fans. This certainly included me as I was for whatever psychological reasons very attached to the narrative that the band were misunderstood, under-appreciated and definitely better than whatever other more critically and publicly adored outfit. The thing is I don't think that's at all true. They are appreciated very much so by a lot of people. That a person might prefer other stuff or might not end up listening to Love You on repeat for weeks on end doesn't mean they don't realize that The Beach Boys did some great stuff. I think there is a conflict that sometimes runs through being a Beach Boys fan: being pleased by the notion that your full appreciation of the music marks you as a singularly inspired human being, while being slightly desperate to prove to the world that you are not a freak show loon for listening to M.I.U. I think this creative insecurity ran through Brian Wilson and the band at different times in their career - for much of it - and accounts for a good portion of why it was so hard for them to commit to one approach or another. Had Brian Wilson been as certain in his work as John Lennon was in his, the audience would have followed along with him far more than they did. Hell we are about the biggest fans of the music he did and there is still a pervading attitude that a fan mix could somehow represent his intentions better than his actual intentions.  

While I was playing "Isn't she Lovely" someone posted on youtube that Stevie did a show incorporating the whole of Songs in the Key of Life recently.

Damn! Would be amazing to see.

amazing.  Three people in the world all posting on the same subject at the same time.  Unusual in this section.  Hey, we'll make this a go-to place before you know it!  We all posted within ten minutes of each other.  I was just throwing out a reply to the captain and making the lyric correction - but you got my point anyway.

I'd have to check some of the links to answer properly.  Have to be later, I have some work to do this afternoon.  I did read some of Gallant's explanation of the album, but on a different forum.  I listened to "This Woman's Work" yesterday.  I didn't know it was a Kate Bush song.  I'll go have a listen to her version, I'm not that familiar with most of her releases.  I'm not up on Prince's current music either, which made reading the chat you guys were having over in the What are you listening to Now thread difficult.  I just know the older stuff.  You both know this kind of music more than me, at least these days.  Of the artists you mentioned, Marvin and Stevie are my #1 and #2.  I don't really have one favorite Marvin album.  He had such an incredible career in the 60's, then re-invented himself in the 70's.  I love his live records from Oakland and London.  I prefer his live version of "Distant Lover" over the studio take to name just one.  Trouble Man Soundtrack is high on my list.  I have been into Stevie since I was a kid.  I had the "Fingertips" 45 when I was about 11.  Soul music was important in my life.  Detroit and Philadelphia.  I love Gamble and Huff, The Blossoms/Darlene Love, and lots of Spector's stuff.  If you read my posts, you know I love Laura Nyro.  The first place I ever heard one of her songs was on a flip-side of a 1966 Blossoms 45 on Ode Records.  I actually got to see James Brown live a couple of times in the mid-60's.  But, it was Marvin, of all the Soul acts, I liked best when I saw the TAMI Show (as a movie - I sure wasn't there).  For some reason, Marvin and Stevie didn't come to my hometown, but I did see Ike and Tina in a small club in 1969.  And I do have a favorite period for Stevie.  When he got his freedom to write and produce what he wanted in the late 60's and into the 70's he took his music to new heights, quickly.  Where I'm Coming From and Music of My Mind began to tell a new story about where Soul was about to go.  Marvin followed after he too could get beyond what Barry had in mind.  Soon Motown moved it's center to LA.

Very nice post. I like Laura Nyro quite a bit. I really like her cover of You've Really Got a Hold On Me on a live album whose name escapes me.

I also love Music Of My Mind. Adore the opening talkbox work out! Stevie Wonder was so brilliant in the 70s, nearly unbelievably prolific and interesting. I think he was really the guy who established in the mainstream a black musician on the same tier as people like Dylan and The Beatles as being not just a conduit for good music, but THE AUTHOR of the music. There would be nothing close to people like Michael Jackson, Prince or R. Kelly without his taking such forceful and deserved ownership of his music.  

I would really love to have seen James Brown but I missed the one chance I had but I am slightly hopeful that I will be able to catch Stevie one of these days.

Of the others you mentioned.  I got into Curtis, Bobby and Isaac in the 70's.  I didn't know who and how important they were until then.  Donny, not so much.  Just the singles and the records he did with Roberta.  New Jack Swing?  I'd have to go researchin' again.

This was a good pick Muggins.  Anyone who listened surely learned something new about the current state of Soul and R&B.  I'm always up for that.  

New Jack Swing was people like Teddy Riley - specifically associated with Riley and his group Guy -  and Bobby Brown. Crunchier, harder edged production with an electronic bent.

I am glad you enjoyed the selection! I like this thread and the process of listening to new music every week.

There are a few tracks missing on Soundcloud.

You can buy the EP or individual tracks for very cheap here:

https://itunes.apple.com/us/album/zebra-ep/id872557326

Or of course you can use the free Spotify or web player and have a listen!

https://play.spotify.com/album/5LNuL34uiBiSntkWuSiQQG?play=true&utm_source=open.spotify.com&utm_medium=open

Or similarly free on Rdio:

http://www.rdio.com/artist/Gallant/album/Zebra_-_EP/