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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Sleepygirls | Dub Techno | 2014
Clearly a piece of something larger, given the pacing leading into and out of 'Sleepygirl 2,' but one that I'm almost always fond of. Sonically speaking, Yagya's brand of Dub Techno varies not from his influences, the most prominent of which is clearly Gas. However, 'Sleepygirl 2' separates itself from the overrated Ambient Techno purveyor with some sensual vocals and general accessibility. This isn't dull Ambient masquerading as Techno, but rather a passable merger of the two. Strings swing lazily in the background as a multi-faceted beat hypnotizes up front. Solid all-around.
5.5 / 10
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2 Am | Emo Rap | 2017
What are the chances of landing upon two Emo Rap rappers who share a producer (Yawns) in back-to-back months? In July it was Drippin' So Pretty, now it's Cold Hart with '2 Am.' Somehow, I prefer the former, though both suffer through misguided intentions and a distinct lack of talent. Here, not only does Cold Hart's personality hide itself behind a flock of likeminded emos, but his janky flow and trite lyrics fail to muster any sort of interest. If you're past your teenage years, there's nothing of value here. And for those who aren't, you can fair much better looking for moody melodramatics.
2 / 10
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Freak Out! | Psychedelic Rock | 1966
Zappa this, Zappa that. It was all I heard going down the rabbit hole of 60's Experimental Rock. With feigned interest I gravitated towards We're Only in It For The Money. Overrated and despised, the paltry attempts at humor and tuneless repartee put me off not just Zappa, but anything out of that California hippie scene; Trout Mask Replica included. 'How Could I Be Such A Fool?' changes that stance, though the trepidation is still there. It's sincere, pleasant, and above all else, coherent. The swelling of orchestral instrumentation at the end is a nice touch, one that relies on gated theatrics and contends quite pleasantly with Mothers Of Invention's psychedelic obsession. Lyrics leave a lot to be desired.
6.5 / 10
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Ogdens' Nut Gone Flake | Mod | 1968
Another late 60's psychedelic outfit, and talk about creating quite the distinction across the pond. The Beatles were in full swing at this time, leaving an influential wake with whatever direction they took. However, Small Faces finds this balance between accessible psychedelia - courtesy of Mod - and downright peculiar abstraction thanks to Steve Marriott's energized vocal performance. At times, the production of 'Lazy Sunday' manages to keep up, especially with the occasional Field Recordings entering the fray; be it the clangor of children or the whistle of birdsongs and church bells. It's all over the place, but for the best, as despite it all, the direction remains focused. Apparently Ogdens' Nut Gone Flake, the album 'Lazy Sunday' appears on, is a concept album. And boy does that make a lot of sense.
6 / 10
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Janet Jackson | Electro-Disco | 1982
The first song off Janet Jackson's first album. Just 16 at the time, Jackson rode her older brother's wave of fame to life-long stardom, whether it was deserved or not. Given her age, 'Say You Do' actually impresses with Jackson's command of some late-stage Boogie rhythms. It's nothing fancy - quite the opposite with just how sterile and procedural it is - but in terms of mindless, bubblegum appeal 'Say You Do' gets the job done. At nearly seven minutes though, the back-half could've been lopped off and no one would've known the difference, as I'm sure was the case whenever it played on the radio. Hilariously enough, I hear the likes of Miguel, Bruno Mars, and The Weeknd passing over production like this, as an homage to an era that clearly inspired them.
4 / 10
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Wake Up The Nation | Alternative Rock | 2010
If I hadn't known the year, I'd have guessed an 80's Pop Rock release for 'No Tears To Cry.' Having only known Paul Weller by name, learning The Jam were famed for reviving Mod, perhaps that's his schtick. Reinterpreting the past with unbridled commitment. I will say, his voice has aged exceptionally well, something that can't be said for the majority of his counterparts. 'No Tears To Cry' is impassioned and anthemic, bearing a tonal resemblance to the uniformity of Doo-Wop with its Spector-esque percussion and to-the-point structuring. I'm not wowed, as it's nearly indistinguishable from decades-old material, but 'No Tears To Cry' warrants commendation off dedication alone.
7.5 / 10
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Fresh Outta 'P' University | P-Funk | 1998
Talk about a star-studded Grab Bag. Some, like Zappa and Jackson, with songs at their origin. Others, like Weller and now Bootsy Collins, over their proverbial hill. One faired much better than the other, if that wasn't obvious by the score comparisons. 'Party Like-A-Ble's' is exactly what you'd expect Y2K-era P-Funk to sound like. Tasteless, devoid of originality, banking on ancient genres without daring to evolve. And the lyrics. Yikes. "Nice and thick and chocolikin' / Put it in my mouth" isn't just gross, but literally defines the topic of 'Party Lick-A-Ble's.' I'm struggling to find anything of value here.
1 / 10
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Whoracle | Melodic Death Metal | 1997
No matter how much I can appreciate Melodic Death Metal, especially coming from a critically-acclaimed band such as In Flames, there's just no way I'll genuinely enjoy it. For three general reasons, all of which apply to 'Jotun.' 1. Gravely, screaming, hard to understand vocals. 2. Cheesy, over-the-top masculinity. 3. Technical proficiency coming before artistry. This last one applies to a myriad of genres I'm rarely enamored with (Metal, Prog Rock, Bluegrass, even IDM at times), though I concede this aspect is a glistening quality for many. I'm just seldom impressed by instrumental performances, due in large part to my inexperience with guitars, drums, and the like. Essentially, 'Jotun' is the type of song I understand praise for, though I myself will struggle to appreciate it.
4 / 10
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Excitable Boy | Piano Rock | 1978
Imagine my confusion when Zevon's birthplace of Chicago popped up after fully expecting Ireland. Did anyone else question this? Scotland at the very least. But not Chicago. Nothing on 'Lawyers, Guns, & Money' pinpoints Chicago, apart from a slight inkling of Blue-Eyed Soul. Hell, Zevon's Piano Rock ballad hardly feels American. An interesting conundrum to say the least, and one that can be put aside with quality such as this. He's got the wit and tenacity of an Outlaw Country musician such as Terry Allen while maintaining broad mass appeal through tenable hooks and impassioned piano playing similar to Billy Joel or Elton John. The lyrical content is top notch, Zevon's charisma feels untethered, and the production flat out rocks. But that accent? It'll be hard to ignore.
8 / 10
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