Five Songs, 7/14/2017

Sorry about the flakiness in posting over the past week. I'll try not to make a habit of it. Today's playlist!

The Dead Kennedys, "D.M.S.O."

This, from the Kennedys' final album Bedtime for Democracy, is a pretty atypical track from them. Far from their usual blazing hardcore attack, we've instead got something that sounds more like a noir-ish song. Of course, Jello Biafra's usual sarcasm and unique delivery are still present. The Kennedys were a staple of my high school years, and a lot of their work has held up pretty well over the years, but this is their least essential studio album.

Lupe Fiasco, "Little Weapon"

At this point, it's worth confessing that I know little about Lupe Fiasco's story. I've gotten the peripheral sense that he's been involved in a lot of drama outside of the actual albums, but I haven't pursued figuring it out, nor am I going to. This song comes from The Cool, the followup to the outstanding Food & Liquor. I kind of felt like The Cool was good, but was a step behind the previous album. But when Fiasco is on, he sure can spit a pretty verse.

Snoop Dogg, "A Bitch I Knew"

This track is apparently from The Blue Carpet Treatment, an album that I don't really remember buying. Hope you all want a song of Snoop rapping about his sexual prowess!

(previously)

Firewater, "The Man With the Blurry Face"

"Wedding band gone wrong" Firewater back here with a track from their third album, Psychopharmacology. In fact, let's just rank albums here:

  • The Golden Hour
  • Get Off The Cross, We Need the Wood for the Fire
  • International Orange!
  • The Ponzi Scheme
  • Psychopharmacology
  • The Man on the Burning Tightrope
  • Songs We Should Have Written

Note that everything but the final album is at least very good, so if you like the band, you should pick them all up.

(previously)

Foetus, "Street of Shame"

I struggled last time to describe Foetus, and I still struggle with it here. What is this, exactly? Besides sort of crazy, I mean. More than anything else, Foetus is different. Everything about Thirlwell's music is askew. The voices, the lyrics, the arrangements - it's all just a little off from normal. Add in the bizarre world he often describes, and he just gives you a strange feeling listening to it.

This song is reasonably typical of his early work - the hallmark weirdness is there, but it's a little less cinematic in terms of arrangement.

(previously)