A new series has arrived in the form of Grab Bag, a fun monthly list that finds me listening and reacting to ten random songs from the depths of music's annals. There's no prerequisites, no regulations self-imposed. Anything can make this list if the site I'm using to discover these songs, RateYourMusic's random release generator, spits them out. This is a great way to discover new music with no attachment to something in your catalogue. Or, a dark reminder that truly horrid music exists in droves.
The positioning is based on the order in which I discovered them. The rating system similar to what DoD already enforces, in that 5 / 10 is average, not bad.
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Every time I see the genre Singer/Songwriter I quiver. By definition, or at least the normality formed through that definition, Singer/Songwriter features facets of music that I'm least interested in. Horribly redundant romantics, conservative instrumentals, and a general lack of ambition guide the genre. Only under rare occasions, basically when the artist excels in conjuring a lyrical mood (Fiona Apple, Sufjan Stevens), do I care. Needless to say, Bob Evans' 'Nowhere Without You,' off name alone, left me fearing the worst. And while expectations weren't smashed, his heartfelt charisma and melody-driven piano playing were enough to satisfy a momentary feeling of glee. His chipper voice does take some getting used to, but there's enough production tricks to offset his anticipated dominance.
5 / 10
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Artists like Van Morrison are exactly why I conceived of Grab Bag. The name carries a certain weight, yet I know not what that weight entails. Experiencing their music in a fleeting, one-time setting gives me a taste of what to expect without languishing over an album. On 'Come Running,' Morrison lends himself heavily to the happy-go-lucky freeness of the early 1970's, blessed with a narcotic carelessness that only reality could set straight. Right from the get-go, the summertime vibes are evident. Morrison's Country-bled vocals cry with warmth and ardor. However, what begins as a standard Pop song quickly turns towards Blue Eyed Soul thanks to some affectionate horns and resolute background vocals. It's a daringly simple song, one that's pulled off with effortless ease.
7 / 10
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Now here's a genre with massive potential. Ever since the video game Bioshock turned my concept of art upside down I've had a sneaking love of Big Band. Couple that with my adoration of the Fallout franchise, which uses similar vintage music in a paralyzing light, and The Caretaker's haunting discography that reimagines Swing for the modern era, and you have a genre that's prime real estate for consumption. Duke Ellington being a kingpin of said genre, 'Take The A Train' one of many standout hits. As to be expected, that unescapable warmth byway of vinyl crackling and static layers itself over 'Take The A Train,' which I'm certain is an aesthetic original listeners of Big Band didn't consider or even notice. But its ever-present luminosity helps to heighten that escapist zeal. The brass ensemble is just swell, and the subtle fadeout at the conclusion of the track is a lovely touch.
7.5 / 10
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Officially my first selection from the genre that bore my interest in music; classic Hip-Hop. Brokin English Klik's 'Who's Da Gangsta?' oozes early 90's Boom Bap. Every checkbox is filled in without much room for debate. The rudimentary flows found during an era that struggled with going off-script, a near-wordless chorus that's centered around some awfully-muddy horns, and bars that denounce fake gangsters while questioning, consciously, who's really doing illegal business (spoiler: It's the police). Perhaps that's why this New York-based duo never made much headway; it's all too stereotypical, especially during an era and location overwhelmed with talent. That being said, there's nothing technically wrong here and the lead-up to the chorus where Mack 10 offers the audience a question, rebutting with "gonna pause for the horns, place your answer there" is pretty dope.
4.5 / 10
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Tara Jane O'Neil, wow. Much like Bob Evans earlier, an adverse reaction came in preparation of 'Drowning' due to O'Neil's primary genre label being the descriptiveless Singer/Songwriter. However, 'Drowning's' a textbook case of not judging a book by its cover, because this song nearly blew me away. The gorgeous Folk elements that are built over time, mixed with O'Neil's campfire seclusion is a match made in heaven. But really, it's the unnerving elements lingering under the simply-strummed acoustics that rises 'Drowning' aside the tide. The secondary guitar that comes equip with reverb, along with the low vibrancy bass - all played in melodic unison - excels in correlating the feeling of drowning with a necessary prettiness attached to the art. For reference, the last Grab Bag track I replayed instantly upon completion was Nina Simone's 'Four Women.' That led to a new, prosperous, feminine force in my catalogue, so who knows what it means for O'Neil.
8.5 / 10
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I immediately take back what I said about judging a book by its cover. If one knows their likes and dislikes, seeing the image an artist presents should (in most instances) be enough to gauge the merits inside. Case in point, Andy Hunter. With some light investigative work that included witnessing his cliche-ridden, early 2000's look on Google and noticing the era and genre, deductions were made that 'Amazing' would be a fodder-filled Rave track destined for mass consumption without a lick of subtlety. And what do you know, that's exactly what the eight-minute trudge of 'Amazing' consists of. The one, now-obvious trope I missed out on; drab European vocals that swoon to the heavens like some forgotten Anime credit montage. Undoubtedly, there's nothing amazing about 'Amazing' as the spoon-fed Electronica falls off the radar the second you realize 2002 was the year Geogaddi came out. No value besides an absent-minded head nod here.
1.5 / 10
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What freakishly unfortunate luck. For those unaware, Jimmy Savile was a famous English DJ who, unbeknownst to the public and covered up for decades, was a predatory sex offender. His victims ranged in age from 8 to 47. He was a deplorable human being who faced no repercussion for his actions. Turns out, despite solely being a DJ, Savile made racist, one-off parodying Pop Standards in his early years, and I somehow landed on one. What should've been an early red flag but was dismissed for the time (1962) and his humor, 'Ahab The Arab' tells a ridiculously over-the-top romantic tale that involves a litany of poorly-described stereotypes of those with middle eastern descent. At the end of the tale there's even the hint that Fatima, the lead seamstress, isn't particularly welcoming to Ahab's advances. Neither Ahab nor Savile could care less, fitting given his status of just that for years to come. Oh, and besides all that it's a terrible song that makes Frank Zappa's hackneyed ramblings seem highbrow.
0.5 / 10
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Coincidentally, the two Hip-Hop artists featured in Grab Bag this month both arise from New York. However, one made their rounds in the early 90's whereas the other, Jalal Salaam, flaunts the streets today. Past Lives came out in 2016 and, judging by the tracklist, applies the Underground Hip-Hop line of thinking that abstains from excess with a flurry of sub two-minute songs. 'Betta Believe It' being one of them. However, the amateur status, especially from Salaam, proves the collaboration's lack of notoriety. Spelt in plain letters, his rapping's both sloppy and obtuse. You can tell he's trying to fit a mold instead of creating his own, mimicking the wildness of Ol Dirty Bastard without actually living it. As for ewonee's production, the grimy Boom Bap mixed with cascading synths works well and bears similarities to 7L's work with Czarface. Much like Salaam's rapping though, it's overbearing and claustrophobic.
3 / 10
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Yet another case that could've been an embarrassing letdown or an excellent surprise, all based on the image portrayed before the song begins. This time it's 'Airwalker' by Jeremy Jay, a young adult who's overflowing with French posh. Truth be told, his reticent image struggled to give off an artisan vibe, however, that much meant nothing come music time. Oddly enough, even though Jay's Indie Pop bears a lighter joviality overall, I'm reminded of King Krule and his tight-lipped, unimpressive demeanor. Much like Krule, Jay proves doubters wrong with a tactile embrace of a genre-busting. While Indie Pop's at the forefront, the longing vocals feel inspired by Ian Curtis (of Joy Division), which lends 'Airwalker' some peculiar Post-Punk vibes. The unusual acts in the genre, like The Raincoats or Dancing Cigarettes, feel apt here given the flirtatious and lighthearted nature. An all-around pleasant track, one that Jay wisely draws out to give breathing room.
7 / 10
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Buddy Guy does not beat around the bush. When he says it's 'A Man And The Blues,' he means it. Throw in that homemade psychedelic cover and one could assume, with even a limited knowledge of Chicago Blues (like myself), exactly what 'A Man And The Blues' sounds like. They would be right. Whereas the previous calculable combination - Andy Hunter's tasteless 'Amazing' - proved why being predictable's a bad thing, Buddy Guy's effort counters that with some deep-set bleakness. Negatives first though, the six-plus minutes overstays its welcome, especially with the clear lack of evolution. Guy's production stays nestled in stray strings, minimal percussion, and tingling pianos, all of which points to a solid three-minute duration. Beyond that though, Guy's vocals exude the very definition of Blues. It's shaky, heartbroken, yet layered with a slight shimmer of hope. The instrumentation, which favors harmony over dejection, helps too. On top of that, Guy's lyrics about water that tastes like cherry wine down south and not turpentine up north is an excellent analogy that further deepens the Chicago Blues he bestows.
6.5 / 10
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