After a lengthy hiatus, Grab Bag returns to Dozens Of Donuts. Here, we'll find and react to completely 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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Exposed | Glam Metal | 1993
Mötley Crüe's lead vocalist goes solo. While Hard Rock's not typically my style, and 'Cant Have Your Cake' is no exception, the surprising Glam aspects at least invite a level of artistry I wouldn't expect from such tasteless, mindless Rock. But hey, it's fun. Somehow I'm reminded of the Fast And The Furious movie series, which I despise, but accept that its popularity is derived from ones ability to switch your brain off and enjoy such crude, exaggerated boasting. I'd imagine much of Mötley Crüe's music sounds like this.
3.5 / 10
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Worthless | Emo Rap | 2018
'Worthless' is a clear-cut pros and cons song. Messy, moody bass = pro. Generic, amateur breakup lyrics = con. Unsuspecting, understated guitar to cap it = pro. Autotune vocals, sloppy flows = con. Basically, as is the case with much of Emo Rap, the production keeps it afloat while the rapper's ineptitude prevents any sort of critical acclaim. Believe it or not, Cloud Rap once fell into this category before capable hands got ahold of it. Drippin So Pretty is not one of those heirs.
4 / 10
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Head On The Door | Post-Punk | 1985
One thing's indisputable; The Cure evolved. That much can be heard with 'In Between Days' and its distinction to the one Cure LP I've heard; Disintegration. Only four years separate the two but this feels like a generation. And one that I question greatly. 1985, yet 'In Between Days' is nothing more than a Joy Division / early New Order imitation. Let it be known, the quality is there. Frustratingly so, as the opening to Head On The Door bears zero originality. But Robert Smith and the gang have the mannerisms, movements, and moods down. It's good, bordering on great, yet acclaim just can't be earned that easily when ideas aren't fostered from within.
7 / 10
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From Elvis In Memphis | Blue-Eyed Soul | 1969
Wow. Landing on Elvis Presley is rare enough, but one of his most famous songs on top of it? While I've never heard 'In The Ghetto' directly, connections to it have emerged in two songs I adore. First, The KLF's 'Elvis On The Radio, Steel Guitar In My Soul,' wherein it's heavily sampled on the band's cross-country concept Chill Out. Second, Theory Hazit's unforgettable, underground Hip-Hop track 'Ghetto,' heavily inspired by the concepts here. And what concepts these are. 'In The Ghetto' works wonders, due in large part to Presley's compassionate heart. Understanding the difficulties faced by impoverished youths as an outsider is a rarity, especially with the crowd typically drawn to Elvis. The parallels to birth and death make for a stinging comparison that's hard to not commiserate. Musically, the slight Blue-Eyed Soul backing vocals and weeping string arrangements accentuate Elvis' onlooker grief.
8.5 / 10
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And Now The Legacy Begins | Jazz Rap | 1991
In my opinion, one of the greatest eras of Hip-Hop. Early 90's Jazz Rap where style was outlandish, concepts were quirky, and flows were buoyant and playful. Dream Warriors' 'Wash Your Face In My Sink' easily checks off all those boxes. Heavily inspired by De La Soul, certainly to the point of criticism, with flows and lyrics right up Posdnuos' alley and sloppy, children's music production a la Prince Paul. It reminds me of Schoolhouse Rock. So, much like in the case of The Cure, while originality is barely discernible, it's hard to dislike 'Wash Your Face In My Sink.' Especially when it forms the foundation of one of my favorite aesthetics.
7.5 / 10
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Extinct | Gothic Metal | 2015
Okay, first off that cover. Provocative as all hell, and certainly the best thing Moonspell have to offer here. The genre pairing as well - Gothic Metal and Symphonic Metal - intrigued me a great deal, and Fernando Ribeiro's vocals aptly fit the vibe of 'Last Of Us.' Seeing the band, and their general aesthetic, it's hard not to come off as a slight gimmick, one that 'Last Of Us' adheres to quite devotedly. You know, wolves howling at the moon, witches, warlocks, general dark fantasy. Though such a style rarely tantalizes, Moonspell clearly have a knack for it. Nothing wrong here, just so much as nothing truly stands out.
5 / 10
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Night Blossom | Ambient | 2011
Despite the overabundance of Ambient, especially in the modern era, Grab Bag rarely takes us in that direction. Maybe, overall, that's for the better. But not in the case of The Beautiful Schizophonic's 'nubian clouds over saskia,' a sublime and highly-textural Drone that faints in and out of consciousness with a single, undulating synthesizer. Tacked on with delicate restraint are dewdrop piano notes, teetering in the ether like footsteps making light splashes in sidewalk puddles. Typically, this is Ambient I'd shy away from. But 'nubian clouds' entrances through its minimalism, rather than draws my attention to its creational simplicity, like many similarly-minded Ambient artists tend to do. This makes an impression, one blurry enough to assimilate to a handful of different, meticulous memories.
7 / 10
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Child Of The Ghetto | East Coast Hip-Hop | 2000
One of P. Diddy's failed signees, G.Dep faded from memory due to his clear lack of brand appeal and identifiable talent. Just another of a litany of New York rappers regurgitating the same ideas over mundane beats and tired flows. Oh, and in 2010 he confessed to murdering someone. So, yeah. Even though it's not something one would consider, 'Let's Get It' exemplifies the downfall of New York Hip-Hop. In retrospect, the fatigue became quite obvious. When an image, not just of a genre but of an entire city, rests on boasting through hardened stature, the slew of rappers imitating such a trademark inevitably shoehorn themselves into a habit one can't escape from. Music needs to evolve, and regardless of geographic location, if you aren't evolving with it you'll be left by the wayside.
3 / 10
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You | Industrial | 2010
Expectations were worrying here, even if intrigue might've been piqued. A German husband and wife combo known primarily for Power Electronics. That is genuine, and genuinely inaccessible. Thankfully, the late-stage rebranding that 'Judas Kiss' is apart of strips back the aggression significantly, relaying on lo-fi Minimal Wave aesthetics and Industrial's austere bleakness. Not gonna lie, this works. Though I wasn't expecting English lyrics, Karl Tockweller manages to make them creepy and intwined to the brood, emotive and unnerving. Hushed background vocals by song's end and slight incisions of Noise help diversify 'Judas Kiss'' spirit. It's not particularly enjoyable, but Haus Arafna's style is artistic nonetheless.
7.5 / 10
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