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Album of the Year #24: Run The Jewels - RTJ4

Artist: Run The Jewels
Album: RTJ4
Date Released: June 3rd, 2020
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Artist Background
The duo consisting of Atlanta rapper Killer Mike, and legendary underground produceMC El-P, known together as Run The Jewels, originally came together as a result of Adult Swim executive Jason DeMarco who introduced the two in 2011. After his 2011 album PL3DGE peaked at #115 on the US charts, Killer Mike told Jason that he wanted to make his own AmeriKKKa’s Most Wanted. Jason informed Mike, “If you want AmeriKKKa’s Most Wanted modernized, the only producer I know who comes close to the Bomb Squad-level of production is El-P”. The duo’s chemistry was immediate, as El-P went on to produce all of Killer Mike’s 2012 last solo album R.A.P. Music, and Mike featured on El-P’s final solo album Cancer 4 Cure. Mike and El’s respective albums released within a week of each other in May 2012, and the two embarked on a twenty-city US tour in the following months. After returning from tour, the pair had found a friendship growing between themselves, and made the decision to put other projects on hold and focus on the chemistry that had been sparked. Recording at an upstate NY studio beginning in April 2013, the duo re-appropriated the phrase “Run The Jewels” from the LL Cool J track “Cheesy Rat Blues", and released their self-titled collaborative album, for free via digital download, only a mere 2 months later in June 2013.
36” Chain vs. Pistol & Fist
Run The Jewels discography currently exists in a distinct pairing. With Run The Jewels as their debut, this record set the group's tone as a light-hearted, braggadocious duo with as much confidence in their abilities as swag in their punchlines. Just over a year later, the sequel Run The Jewels 2 took the foundation set from their freshman effort and dialed the insanity up to 11. RTJ2 pushed the boundaries of their aggression and flows to new heights; with incredible energy in their verses, and absolutely impeccable beats, blending El-P’s signature industrial sound with sharp synth arpeggios, chopped Zach De La Rocha vocals, and absolutely bonkers Travis Barker drums.
It was then nearly 3 years before Jamie and Mike followed up their breakout RTJ2, with Run The Jewels 3 being released again ahead of its scheduled release date via free digital download, this time on Christmas Eve 2016. Instead of these two attempting to outdo the pure insanity and in-your-face attitude found in their predecessor, Mike and El decide to evolve themselves as a group. The duo had noticeably pulled back on the swag and dick jokes which made such a splash on RTJ2, instead choosing a more subdued, electronic approach to their beats, as well as a clearly stronger political approach in their lyrics. This change in sound and style is demonstrated in the album cover’s artwork. The first two records featured the distinctive RTJ “Pistol and Fist”, with the fist tightly gripping a chain. The chain, in my opinion, represents the swag and braggadocio that drove the aggressive nature of their first two albums. In RTJ3 the chain is removed, leaving only hands that have transformed from bleeding and bandaged, to a pristine gold.
This brings us to early 2020. It’s been nearly 4 years of living in a post-Trump America, and El-P announces that Run The Jewels fourth record has been completed. Mike and El live-stream the first single “yankee and the brave” on Instagram on March 22nd, 2020. Lyrically and sonically, RTJ4 exists as the successor to Run The Jewels 3, with Mike and El again taking the good from their previous effort and launching it into the creative stratosphere. El-P’s beats are again leaning towards the synthetic, electronic side, this time with the intensity dialed all the way up to 11. From a lyrical perspective, RTJ takes the politically-charged lyrics from their predecessor, and again, up the ante, laying down some of the hardest hitting and politically poignant bars either of these two have ever spit.
Album Review
2020 was a year that none of us will soon forget. An unprecedented global health crisis kept the majority of us inside for months at a time. RTJ4 was announced on May 12th, 2020, with a release date slated for June 5th, 2020. However, with 2020 as the gift that won’t stop giving, the end of May was highlighted by the unjust killing of George Floyd. The phrase heard around the world, “I can’t breathe” instantly became a rally-cry for the oppressed to finally take to the streets to demand systemic police reform, as Floyd’s death was not the first time this phrase was uttered in an unjust police killing. In fact, a 2020 study by the New York Times showed that at least 70 people have died in police custody after using the same phrase over the past decade. As millions of American’s began organizing protests and demonstrations in the wake of Floyd’s death, Run The Jewels made the decision to release their latest chapter two days ahead of the scheduled release. El-P tweeted, just minutes ahead of the drop, “Fuck it, why wait. The world is infested with bullshit, so here’s something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there and thank you for giving 2 friends the chance to be heard and do what they love”. In line with all past Run The Jewels releases, the album was made available for free digital download, two days ahead of its scheduled release date, on June 3rd, 2020.
THE RETURN (we don’t mean no harm but we truly mean all the disrespect)
RTJ4 opens with the first single, “yankee and the brave (ep. 4)”. Using the team names from their respective hometown baseball teams, Mike and El use the opening track to prove that they’re not just a hip-hop duo, they’re brothers, for better or worse. El-P kicks this installment off with rapid-fire, machine-gun esque snares, matching Killer Mike’s aggressive flow and tightly packed rhymes, before El jumps in to trade some dense rhymes as well. Mike and El depict themselves as outlaws, with Mike surrounded by cops with only one bullet remaining. He contemplates suicide instead of allowing the police to take him alive, until El-P jumps back in, offering Mike a way out, with a getaway car waiting outside. This tense situation is depicted lightheartedly in this song’s music video, which was released via Adult Swim and features the duo animated.
The trade-off between Mike and El’s short verses are reminiscent of late-80’s EPMD flows, while the production sounds like boom-bap that’s been sent to us from the future. This distinctive blend of old-school rap roots and forward thinking production is what continues to separate Run The Jewels from absolutely all of their contemporaries. While so many artists are continually playing catch-up with the latest trends, RTJ are side-stepping the trendy and moving forward with the mind-bending.
FLEXIN’ (ayo one for mayhem, two for mischief)
The second single “ooh la la” samples a Gang Star track "DWYCK (feat. Nice & Smooth)" as the basis for the chorus. I say “samples” as that’s how it is credited in the album’s liner notes, however it’s truly an interpolation of Greg Nice’s bar, slowed down slightly, and sung by El-P and Greg Nice himself. El-P is a true old-head at heart, and it’s abundantly obvious in his work, even going as far as to recruit legendary producer DJ Premiere to handle the scratching on the back end of this banger.
Out of key piano chords are looped to quickly create an unsettling aura surrounding the track, before El-P’s voice cuts through the infectious piano like a whip. Pounding, up-tempo drums are introduced after the chorus’ first iteration, creating what is possibly El-P’s first danceable beat. Lyrically, Mike and El-P initially seem scattered on this track, however the music video quickly makes their point very obvious.
”we imagined the world on the day that the age old struggle of class was finally over. a day that humanity, empathy and community were victorious over the forces that would separate us based on arbitrary systems created by man.
this video is a fantasy of waking up on a day that there is no monetary system, no dividing line, no false construct to tell our fellow man that they are less or more than anyone else. not that people are without but that the whole meaning of money has vanished. that we have somehow solved our self created caste system and can now start fresh with love, hope and celebration. its a dream of humanity’s V-DAY… and the party we know would pop off.”
The video envisions a society celebrating the fact that the class system we currently exist within has finally imploded. Money is worthless, and we have rejected the desire to bind ourselves to the constraints of capitalism. All creeds and colors unite to burn the system that has so effectively controlled us for over a century. It’s a party, and if there was a song to celebrate the end of the world as it is currently known, “ooh la la” is that song.
Mike’s last verse features a few metaphors and comparisons celebrating the destruction of capitalism, saving the most poignant for last:
I used to love Bruce, but livin' my vida loca
Helped me understand I'm probably more of a Joker
When we usher in chaos, just know that we did it smiling
Cannibals on this island, inmates run the asylum
Premo’s expertly cut scratches lead us into the equally hard hitting sample flip of “Misdemeanor”, by Foster Stevens as the basis for the beat to “out of sight”. Lending yet another nod to the old-school greats that laid the foundation for RTJ, “out of sight” samples the same track as The D.O.C.’s “It’s Funky Enough”, only adding a bouncy, electronic synth atop the inverted chord hits, and uptempo, industrial drums, to create an absolutely infectious groove for Mike and El’s dynamic chemistry to shine, rapidly jumping between each other’s two line flows in the first verse.
“out of sight” shows each MC providing insight into how each of them earned a living and achieved their current status. Mike and El’s opening verse each details themselves robbing people in order to eat. El alludes to the fact that he crossed his accomplices in crime for the whole bag, while Mike details the fact his assailant tells him it’s an “honor” to be robbed by his mother’s only son.
While El-P’s production is the obvious stand out on first listen, Killer Mike comes through with one of the most sonically pleasing and technically proficient verses of 2020.
We the motivating, devastating, captivating
Ghost and Rae relating product of the fuckin' '80s
Coke dealin' babies, never regulating, bag accumulating
It would not be overstating to say they are underrating
The pride of Brooklyn and the Grady, baby
We don't need no compliments or confidence
Our attitude and latitude is "fuck you, pay me"
The dense, intricate rhyme schemes smack you in the face, almost distracting you from Mike’s delivery and blistering flow on the verse; flexing his legendary status while paying homage to his drug-dealing past. This absolutely stunning display of technical skill, story telling, and complex rhyming illustrates how RTJ seamlessly integrates the best of both old school and new school hip-hop.
“out of sight” also features a guest verse from 2 Chainz, and he continues to lay the braggadocio on thick. Considering Tity Boi’s dedication to trap stylings, his verse feels right at home on the flex track, despite it’s late 80’s tribute sample, a considerable departure from his usual sound palette.
Up until this point, I haven’t mentioned any of the El-P’s lyrics specifically. El-P is a great rapper, but Killer Mike… Well, Killer Mike is an incredible rapper. He’s the guy who draws you in. El-P is the one who lays the foundation for greatness and Mike is the show stopper, and that’s generally the case for most RTJ tracks. But on “holy calamafuck”, El-P seems determined to make people stop and ask, “Who the fuck is this?!”.
A sharp, yet nearly minimalistic drum kit backing a heavily distorted synthesizer melody lays beneath rhymically knocking cow-bells. This aggressively set stage allows Mike and El to flex as the dynamic duo they are, until the beat suddenly takes a turn for the chaotic. A gnarled, ultra-menacing synth overtakes everything while Mike screams into the abyss, until a distorted snare, enormous 808s, and skeletal hi-hats cut through and launch the beat switch into another dimension. The minimal, yet incredibly dark soundscape allows El-P to snap in a way I have never heard from him previously. His rhymes schemes are reminiscent of an old MF DOOM lyric notebook, while his topics flawlessly combine flexing, psychedelic use, and his well-cemented legacy in the hip-hop community. Cutting and pasting a few of his bars into this review could not convey a fraction of how stunning El-P’s performance on “holy calamafuck” is.
Slightly later in the track list, making liberal use of the Ether song “Gang of Four”, “the ground below” samples and loops the sharp guitar riff and adds aggressive, pounding drums as the basis for the beat; this is finally reminiscent of the forward-thinking, stridulous production El-P has built his reputation on. Capitalising on the classic RTJ moment, Mike and El both flex in their own unique ways. Mike compares himself to Godzilla taking on Tokyo, and El-P demands respect for his name as the legend he is, threatening to smack dying children for mispronouncing his name with his middle finger to the world; his complete disregard for human life and confidence in his abilities are summed up at the end of his verse.
You see a future where Run the Jewels ain’t the shit
Cancel my Hitler-killing trip
Turn the time machine back around a century
SO¢IAL JU$T-ICE (until my voice go from a shriek to whisper...)
While the first few tracks aren’t without their social and political themes, the back-end of RTJ4 is where Mike and El start to bust out the heavy topics. “goonies vs. E.T.”. starts off light, with El-P pointing to the irony of how once he finally started to make it “big” in the industry, the world began to descend into chaos due to climate changes, increasingly obvious social injustice, and political madness. He culminates his frustration with our disregard for the Earth with a fantastic quotable.
Fuck y’all got, another planet on stash?
Far from the fact of the flames and our trash
That is not snow, it is ash, and you gotta know
The past got a wrath, it’s a lover gone mad
Mike’s verse takes the light-hearted frustration expressed by El-P, and turns the aggression to the next level. Aiming his sights against the ruling class and their society that’s been designed to oppress people for profit, who have very meticulously painted themselves as celebrities and idols to the American public. Mike accepts that he will be villainized by these people for speaking against them, but he welcomes the nefarious role, knowing that the working class will eventually eat the rich, no matter how much they are stomped into the dirt.
And this is just the warmup.
If it’s possible for a song to represent a moment in time that captures the absolute shit storm that has been 2020, “walking in the snow” is that song. It’s release coincided perfectly with the protests for George Floyd which were sweeping the nation. Killer Mike’s verse directly references the phrase “I can’t breathe”, the last words of Eric Garner, which also happened to be the last words of Floyd as well. The fact that this verse was reportedly written in November 2019 perpetually underscores the importance of the content and perfectly represents how persistent this problem is. “walking in the snow” is a true encapsulation of both a defining moment in time and an ever-persisting issue.
But he doesn’t just stop at the racial injustice. Mike goes on an absolute rant about the American education system; how it’s not designed to teach people, but to discriminate against poor populations, limiting their legitimate opportunities, and therefore disproportionately leading them into a criminal lifestyle. He calls out the media as fear-mongers, and the apathy of the American public in the face of indecency. Fortunately for Mike, by the time we finally had the chance to hear this masterpiece, we were already on our feet, using this album as a war cry to mobilize against a tyrannical government that militarized against its own citizens simply for asking that we recognize systemic racism and demanding change. Killer Mike has the best verse of the year, no doubt in my mind.
The only drawback is that Mike’s verse is so fucking good that it completely overshadows El-P’s, which is also amazing. A menacing guitar riff and haunting synths kick the track off into a bouncy groove, where El-P unleashes a flurry of internal rhymes that does not relent for about half his verse. Even adding layers of social commentary within the densely packed bars, El refuses to quit and continues on his political tirade; criticizing ICE’s detainment center practices and the “pseudo-Christians” who support them, with a bar that now lives in my head:
Pseudo-Christians, y’all indifferent, kids in prison ain’t a sin? Shit
if even one scrap of what Jesus taught connected you’d feel different
what a disingenuous way to piss away existence, I don’t get it
I’d say you lost your goddamn minds if y’all possessed one to begin with
The combination of two of the best verses spit by any rapper(s) this year and production help from El-P and long time RTJ collaborator Little Shalimar, create a bouncy, aggressive, deeply truthful banger. “walking in the snow” not only encapsulates the crux of 2020 with lyrics that will become more powerful as they age, but will also forever be associated with the Black Lives Matter movement and the determination to expose continuing racial and societal injustices.
The sonic palette of RTJ4 holds an extremely unique place in El-P’s discography. Jamie is the definition of a self-made 90’s hip-hop legend. This is the dude who put New York underground hip-hop on the map with Company Flow, and he did it with his unique flavor of dark, noisy, dense, boom-bap. Whether he was doing it with the help of Rawkus, or completely independently during his Definitive Jux run, El-P has never made music with the intention of becoming famous. Funcrusher Plus, Fantastic Damage,I’ll Sleep When You’re Dead, and Cancer 4 Cure are all highly revered as industrial, technical, abrasive, and completely unsuitable for the radio or a party. The fact that three songs on RTJ4 could easily be heard on the radio, at a party, or in a TV series credits scene is frankly, astounding. In a 2002 interview/documentary on El-P’s budding record label Def Jux, he stated that his friend bet him $500 that he could not make a beat that was “happy”. At the time of the interview, El-P said that he had not won that bet yet. While I might not qualify the beats on RTJ4 as “happy”, if you showed El-P the beat for “JU$T” in 2002, I believe he might have won that bet.
Pharell opens “JU$T” with the pre-chorus, spitting varied examples of how we’re all slaves to our current system throughout the track, over echoing snares and bouncy 808s before bright synth chords and up-tempo hi-hats burst in while Killer Mike delivers the chorus, pointing to the fact that the majority of the people featured on American currency owned slaves at one point in their lives. Mike’s verse touches on the fact that he has committed crimes to get where they are today. Mike is publicly open about his past as a drug dealer. So why is he a criminal, but Benjamin Franklin isn’t? These are the people who built our country, and they built it on the backs of slaves. He illustrates this theme with a more recent examples:
You believe corporations runnin marijuana? Ooh (how that happen?)
and your country gettin ran by a casino owner (ooh)
pedophiles sponsor all these fuckin’ racist bastards (they do)
When corporations are able to sell cannabis legally, but the government continually incarcerates people who trap, our president is a notoriously fraudulent businessman, and the people who helped put him in power run a pedophile ring, yet none of them face consequences and are allowed to continue to profit and remain in power while people suffer; well, we might be closer to slaves than previously imagined.
Rage Against The Machine frontman Zach de la Rocha also makes his mandatory feature appearance at the end of “JU$T”. As the only artist to feature on three Run The Jewels albums, Zach is essentially an unofficial member of the group at this point. His fiery verse is spit with the same “Rage” energy that set him apart in the mid-90’s, ending the track questioning his place in a capitalist society as a recipe for his inevitable demise, since his “breath”, or art, as his weapon to express himself is still being exploited for other’s profit.
Continuing with RTJ4’s heavily synthetic sonic palette, “never look back” features wavering synth leads resting above the slow-jams snappy snares and thumping bass, while a haunting voice echoes in the background. This unsettling aura provides additional gravity for Jamie and Mike to continue self-reflecting on defining moments in their childhood, and as well as how far they’ve come from those moments. Mike and El are both self-made men, and while they have a certain fondness for those gritty moments that defined them, moving forward in life is undoubtedly more important.
Skeletal drums reminiscent of a slowly pounding heart opens “pulling the pin”, before rhythmic hi-hats and textured, watery synths fluttering in the upper register resting above a bouncy synth lead, and punchy 808s, burst in. The track digs itself into a slower, marching groove and shows the duo figuratively doing exactly what the title implies. Painting a portrait of a society that has turned on itself, Mike and El are ready to pull the pin and start over.
The duo both detail their despise for the ruling class, pointing out multiple examples of how the elite have designed our society to keep poor people in their class. Simultaneously recognizing their own hypocrisy for profiting in a system that inherently discriminates; Mike reflects on his own success, knowing that living the lifestyle he enjoys is one built on oppression, and expresses the guilt that has caused him. El-P opens with a brutal metaphor for police, implying that they’re the root cause of the “wretched state of danger” our society exists within, and that the only effective corrective action is to numb yourself with drugs. Despite his advice, Jamie knows this is not a permanent solution, but one that causes more self-inflicted wounds.
The final piece of the puzzle that is RTJ4, “a few words for the firing squad” begins to close the album with ever crescending strings, and loud, thunderous drums which never seem to resolve, continuing throughout their verses. While the drums that lead to nowhere can be sonically unpleasant, the unresolved melodies are intentionally representative of their current mindsets. Their verses are reflective and grim, but simultaneously optimistic and envisions a world where tragedy is a less common occurrence.
El is grateful for what he has now but recognizes his entire life has been skewed by traumas, so out of place feels normal for him. He reflects on his current success, noting that the worst people tend to end up with the most, which makes becoming “rich” something not as desirable as it once was.
Mike opens up about the death of his mother who died while he was on an airplane, admitting his struggles to not cope with his trauma with opioids. However, his wife provides him the most important reason to stay clean “but my queen/say she need a king/not another junkie rapper fiend” while a heartbreaking saxophone solo highlights the gravity of his lyrics.
The track ends with what sounds the like wrap-up voiceover to a TV show, a conceptually satisfying ending, as the opening track “yankee and brave (ep.4)” began with El-P stating:
”This week, on Yankee and The Brave”
This voiceover paints the duo as brothers on the run from the law and crooked cops, and while this does close this “episode” out as intended, the critic in me is bothered by the slightly kitschy outro to such a spectacular album. The voices singing over and over, “Brave, brave, braaaaaave, Yankee and the Brave” would be, simply put, better left on the cutting room floor. The ending of this track alone is what knocks my score of this album down a few points. Despite its stellar lyrical content, with drums that never seem to reach that “holy shit!” moment, and the easily skippable outro, it’s upsetting to me that an album this great ends on such a low note.
Overview
RTJ4 is by far my favorite album of the year. El-P’s cutting edge approach to their sound, blended with lyrical content that continues to be more relevant by the day, the duo have come together with what is objectively their most accessible album to date. RTJ4 is the natural evolution of sound and subject matter for the duo; taking the foundation set by Run The Jewels 3 and evolving it into a more concise, more accessible, and more conceptual album. While I still personally prefer the “fuck the world” intensity and experimental nature of Run The Jewels 2, RTJ4 opens themselves up to a whole new world of exposure, and when you’re as talented as these two, you know they’re going to capitalize on it. RTJ is currently at their apex, and they’ve created an album that will make many new life-long fans going forward.
9.2/10
Discussion Points
  • How does this compare to other RTJ releases? How about in comparison to the member’s solo works?
  • Does the overwhelmingly positive critical reception of this album surprise you?
  • How will this be looked back on in 5 years?
  • What are your favorite lyrics?
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Album Of The Year #15: Joji - Nectar

Artist: Joji
Album: Nectar
Label: 88Rising
Release Date: September 25, 2020
Listen:
Spotify
Apple Music
YouTube Music
Deezer
Soundcloud
Background
Not many artists have had a come-up as interesting and eccentric as George Kusunoki Miller, a former YouTube comedian/edgelord turned moody R&B singer. George first got his taste of internet fame as FilthyFrank, a character he described as everything a person should not be, he played the notorious persona on YouTube for over 6 years and eventually had to retire it due to him losing passion for it and suffering from stress induced seizures, which playing the character often caused.
Throughout his time as FilthyFrank however he began experimenting with music, mostly of the satirical kind at the start, his first tracks were under the FilthyFrank persona, the first one being Who's The Sucker, a dumb track where he somehow manages to rhyme "nicer" with "vagina", go figure.
A few years later, alongside the satirical rap, Joji began to make what he would consider as serious music, and this is where the timeline gets a bit messy, as he put out multiple tracks under multiple different aliases and the lines got blurred pretty fast, so I won't focus on aliases too much, but rather on the music he put out, around this era he released the therapeutical Medicine, the slow and melancholy We Fall Again, and Dumplings, which was Joji's best attempt at a trap banger.
In 2015, he birthed the Joji alias, released two singles on Soundcloud under that name, and announced a project called Chloe Burbank Vol. 1, the project was later scrapped and is probably sitting on Joji's hard drive, unfinished, however, the two singles he put out, thom and you suck charlie, were the tracks that put him in the spotlight, not to mention that to this day, there are some of his fans that believe these 2 tracks are his best and will not be topped, but that's a discussion for another day.
Following the overwhelmingly positive reception, Joji began to put out more tracks and singles, both under the aforementioned alias and Pink Guy, which was a character that blossomed into a satirical rap project, but I won't be covering that too much, and will focus on what he did as Joji instead, most tracks Joji put out were met with positive reception, some of the tracks, such as worldstar money, ended up on his debut EP as well.
Sometime around early 2016, Joji ended up signing with 88rising, a label focused on building the bridge between east and west, he explained in an interview that he was initially a consultant for the duo behind the record label, however, once the duo noticed his music and how well it was received, they asked him to jump on board and he instantly took the chance, getting signed alongside the likes of Rich Brian and Higher Brothers.
The label immediately undertook Joji and began distributing his catalog on their YouTube channel and helped him release more music, which was a couple of singles in the earlier half of 2017, and his debut EP in the latter half, the EP, known as "In Tongues", was met with mixed reception from fans and critics alike, with some describing it as his most concise body of work so far that is oozing potential, and others describing it as a bleak project that fails to set Joji apart from the sea of artists on the same wavelength as himself.
Following the release of the EP, Joji began working on his debut album, known as BALLADS 1, the album's first single, YEAH RIGHT, was released on the 8th of May, the track was first believed to be a standalone loosie as it was released 5 months before the album itself, however it ended up being on the album and was confirmed as the one of the singles alongside SLOW DANCING IN THE DARK, CAN'T GET OVER YOU, which features a production credit from non other than Clams Casino, and TEST DRIVE.
The album was well received, and was praised for containing a wider variety of sounds than its predecessor, it felt like a natural progression for Joji's sound and was a step forward towards a more mainstream approach whilst not sacrificing any of the rawness that Joji's older stuff had, which seemed to be what most fans were expecting from him.
Moving forward Joji stayed mostly silent throughout 2019, appearing on the second 88Rising collaboration album, which was negatively received due to it's lack of creativity and sub-par performances from most label signees, he also appeared on Rich Brian's sophomore album, The Sailor, and released which is now known to be as the first single from Nectar, Sanctuary, a synth based poppy track that previewed a vocally improved and more confident version of Joji.
What was assumed to be a loosie turned out to be the beginning of an album rollout, as half a year later Joji released Run, setting a new standard for himself both instrumentally and vocally, and a couple of months later he released Gimme Love, a double sided track with a fun, catchy beginning and a melancholy ballad driven ending, the last single, Daylight, was released on the 8th of August, the instrumental was produced by Diplo and the track itself sounded like Joji's attempt to break into the mainstream.
Without warning, he also released two tracks that he classified as "NOT SONG", the first being Pretty Boy, which actually ended up on the album with a Lil Yachty feature, and the second being FTC, which sadly did not end up on the album, both tracks had videos and it seemed to me at first that the purpose of both tracks was to serve the lore that Joji has built around the album, which I will be touching up on in this write-up.
A day before the album's release, he put out Gimme Cum, an enigmatic track with a mysterious message.
Nectar itself was pushed back from it's original July release date due to the pandemic and Black Lives Matter protests, the album however was released on the 25th of September.
Album Lore
If there's one thing George is no stranger to, it would definitely be worldbuilding, as he has proven time and time again that he has a knack for it, especially with his FilthyFrank YouTube channel, where he managed to create characters, locations, and an entire universe out of a few satirical characters, his lore was adored by many and even though visually he never wrapped up the story he did release a book that served as closure for the FilthyFrank lore.
This album's lore is not as straight forward however, and there are multiple theories doing the rounds on the internet, personally I will go by what sounded most convincing to me in terms of timeline and storyline, however do feel free to expand on what I've said or correct me, George has left multiple things left open to interpretation therefore I would not be surprised if there were multiple different meanings to the same thing.
Our story begins in the music video for Gimme Love, where we see a young Joji who appears to be a small time engineer that is eager to climb through the ranks of the company he is working for, as he rises however he appears to become more stressed out and agitated at all times, lashing out at his coworkers and breaking down consistently, throughout the music video we can see that the more he progresses, the more roadblocks he runs into, which causes his behavior to become more psychotic and manic, as the shots move forward we see him accept awards, lead his very own research team, run failed experiments on his coworkers that causes them to bleed, and eventually receive military covert status, which did not come without sacrifices, as we see him smile less and less throughout the video.
In the second half of the video, we see Joji steal the rocket he helped build by locking out his crew members, and launch himself into space, disappointing everyone he worked with and stabbing them in the back he appears to be quite happy however, eventually his mood flips as he is faced with two choices, engage or eject, the following shot does not allow us to see which one he picked as we are facing his back, all we see is Joji making the choice and gearing up for what's to come.
The lines get blurred around this spot and many people have different theories as to which video is the right one chronologically, personally I believe Daylight comes next, and my theory is Joji is having some sort of fever dream featuring his previous coworkers, most notably the older people who went through layers of plastic surgery, who appear in the music video for FTC, where they are seen wearing badges that features the same organization Joji worked for, throughout the video they are seen rummaging through the wreckage caused by Joji, clearly looking for something specific, which ends up being the award Joji won.
Back to Daylight, Joji appears to be some sort of intern working for the director and the actors, towards the end of the music video we can see Joji waking up from the aforementioned fever dream, clearly in a daze, as the shot widens we see that he is alone, in a barren wasteland, with nothing around him except for a tent and what appears to be a device used for communication, he plants a few seeds in the soil and sits by the device, hoping for a sign of life.
Next comes Run, where we are once again met with Joji having a nightmare, the entire video symbolizes being trapped in a place you don't want to be in, as Joji appears to be in a never ending limousine with people he has no interest in whatsoever, towards the end of the nightmare we actually see Joji running across a massive wasteland, the same wasteland we saw him in at the end of the Daylight music video, throughout the video, we see Joji become consumed by the soil itself, which I would assume is a representation of his fears back then, seeing as he was alone and had little to no hope of being saved whatsoever.
Joji wakes up from this nightmare and appears to be in some kind of spaceship, if the videos were released chronologically, we would be completely lost at this point, lucky for us, we already know what the spaceship is, as we see a picture of the Sanctuary crew in the final shots of the Run music video, I'm gonna go out on a limb here and say that the crew is the ones that saved him from death and picked him up from the mess that he placed himself in, hence the name Sanctuary, which means refuge or safety from pursuit, persecution, or other danger
The crew itself is seen in action in the music video for Sanctuary, where Joji appears to be fighting and defeating some sort of one-eyed alien supervillain at the start, however, once he is defeated, both Joji and the crew themselves become aimless, as they are living monotonously without a goal, thankfully(???), one of the crew members sees this and decides to take matters into his own hands, by surgically removing his own eye, which portrays his transformation into the new supervillain, and following this up by killing a crewmember and escaping on his own, once again giving the spaceship it's own purpose.
Unfortunately the music videos that were put out after the release of the album appear to be too subtle for me to think they are connected in any way, shape or form, there are many theories of course but I can't help but feel like that most of them are a reach.
The most plausible explanation for this lore that I can think of is that the whole escaping from earth on his own, landing in a barren wasteland, trying to plant seeds in it, and eventually being picked up by a group(88Rising, wink wink) is a metaphor for his transition from FilthyFrank to Joji, the barren wasteland stands for how hopeless he felt at the time and the seeds symbolize the loosies he was slowly dropping before ditching his channel to become an R&B superstar, which if true, solidifies the idea that George was done with FilthyFrank long before he actually left the channel itself.
Regardless, I thought the lore was very enjoyable and it was nice to see Joji back in one of his elements at least, most fans would have been disappointed in me if I had not touched up on it a bit seeing as it was a huge part of the albums release and they are intertwined in some sort of way.
Review
When it's lovely I believe in anything What does love mean When the end is rolling in
  • Ew
It is important for me to preface this review with the fact that this Joji album is not like anything we've ever heard from him before, this is not the one man army, garageband using, sample meshing Joji that we knew in the past, this is Joji with an entire team behind his artistic vision, a whole group of people working with him to help him push his sound to the next level, and unfortunately, while the quality of the music has clearly went up, when so many people have their own input on something eventually the lines get blurred and the album loses its artistic direction and cohesion, which is one of my only complaints with this album, and I'm glad I got it out of the way first.
Artistic direction and cohesion aside, this album contains some of Joji's highest highs to date, especially the singles, that's not to say that there aren't some deep cuts on here that shine as well, but once you listen to the album in it's entirety you quickly understand why the singles were chosen as singles, especially when you consider how sonically different they are from the non-singles.
Sanctuary, the album's first single, is a sweet, poppy and synthy track that features a high pitched and melodic Joji, some of the track's lyrics are somewhat abstract but they are quite visually descriptive and that's always a plus in my book, the instrumental itself is quite spacey and has a nice retro vibe to it, already a huge step forward from what we've already heard from George, the track's climax reaches towards the end and gives us a beautiful bridge,with Joji crooning about wanting to be held by a significant other.
I fell for your magic, I tasted your skin And though this is tragic, at least I found the end I witnessed your madness, you shed light on my sins And if we share in this sadness, then where have you been?
  • Run
Run is one of the more cinematic cuts on this album, the track is truly a double edged sword because although it's one of Joji's best, it has set an extremely high standard for both Joji and the album, leaving fans such as myself worried about whether or not he will ever reach a similar high, the production is clean, Joji's vocal lines are as dynamic as ever, the guitar melody is infectious, the lyrics are better than anything Joji has ever written and he is putting his heart and soul into every word, the electric guitar solo at the end is also something worth mentioning, which sits perfectly right in front of Joji's distant and wide vocals, ending the track on a strong note.
Look into your heart and let me know Do things turn black and gray as they go? When I'm far too gone, can you show me love? Give me love
  • Gimme Love
The lyrics above come from the album's third single, a 2 sided track that starts as a bouncy, percussive, fast paced, and catchy song, with Joji chanting and pleading to be given love, softly singing about being surrounded by apathetic people, after the second chorus the entire song comes to a halt in order to make room for a mellow guitar and Joji's harmonies, which are absolutely stunning if I may add, the track, much like many other tracks on here, ends on a cinematic strong note with a string section and a grandiose piano.
The final single, Daylight, is no doubt unexplored territory for Joji, the instrumental, which was produced by Diplo, starts off slow and minimalistic, with a simple yet groovy bassline, and reaches its apex on the chorus, when it suddenly becomes extremely lush, heavy, and thick, the track is most definitely a solid attempt at modern day and mainstream pop music, clearly made with the intention of receiving radio play.
All of the singles show up in the first leg of the album, which is absolutely phenomenal, the opener track, Ew, starts off light and easy, with a somber and distant arpeggiated piano backed with Joji's soft vocals, who's singing about heartbreak and the loss of many relationships, sounding as bitter as ever lyrically, the chorus includes a grand string section and a chord progression that is fully panned to the right and sitting all the way behind the mix, and surprise surprise, the track itself ends on a cinematic strong note, much like many of the other tracks on here.
I've got no aim, a million rounds, is nothing real? A hundred pounds of heavy steel, it feels so loud Tied to my chest, it feels so loud I'll take a peek to across the peaks This grass is neat and I'm quite unique But I'd like to be, but I'd like to be
  • MODUS
Up next comes MODUS, a moody track that has an intro similar to the opener track but later on has Joji melodic rapping to a murky trap instrumental, with Joji of course sounding better than ever, lyrically speaking, many of the themes on this album are similar, Joji is mostly singing about relationships, heartbreak, and the need for a significant other, the lyrics themselves give the album a nocturnal, bitter, hopeless vibe, which is what we've come to expect from Joji's music nowadays.
The third track, Tick Tock, is a plucky banger of an instrumental that has Joji rapping over it with pitched up vocals on the chorus which is something that's a little bit reminiscent of his older, more amateur work, the vocal layering on the verse is also something worth mentioning, really showcases Joji's dynamic range and how much he improved as a whole, the track is nothing groundbreaking in terms of what we've heard so far and remains lowkey for the most part but is without a doubt one of my favorites on this project.
On Nectar, one of the yet-to-be-announced tracks was produced when the artist was only sixteen years old. “I’m excited to see if it sticks out or not to the listeners.” he reveals.
  • Joji Interview with Schön! Magazine.
While not officially announced by Joji himself, it is safe to say that Upgrade is the aforementioned track, a small interlude that seats itself in the earlier part of the album, the track starts with a grandiose piano, which is quite unnecessary if you ask me, because once we have it out of the way all we get is a very obviously barebones instrumental made from a different time, the telltale sign being non other than the ukulele that we have seen in George's earlier work.
It upsets me that Joji has not made this fact much more known because this track has been consistently the subject of criticism by critics and fans alike, but at the same time I understand, because at the end of the day George left that track in there for the die hard fans, not the critics.
Up until this point there is no doubt that Joji has played it safe, sure the album is much more grand and cinematic than its predecessor, but there's no denying that the signature sound is still there, we still get the hazy and moody slow bangers, if Nectar was only the first half then Joji might have had a strong album in his catalog, maybe even a classic, but I understand him wanting to expand and experiment with other sounds in order to grow as an artist.
The midsection gets a little bit tricky, as Joji begins to get out of his comfort zone and the album features start appearing, to me it sounds like Joji did not know how he could keep the listener interested in the second half of this album and decided to opt in for a bunch of features as a quick fix, some work out fine, some better than others.
Handsome young man, never pull up on time Lookin' in the mirror, lookin' good should be a crime, crime All this pain I'll never let show (No) My real thoughts, you'll never know (No)
  • Lil Yachty on Pretty Boy
I never really listened to Lil Yachty that much aside from the obvious hits he had over the course of his career, but he clearly shined on this track as the feature, for starters, the track is very light-hearted, definitely one of the more lofi tracks on this album, the highlight for me without a doubt is the bridge, which sounds like something straight out of Pink Season, George was clearly having genuine fun with it, some even speculate that most of the bridge was made using samples from his earlier work as Pink Guy.
High Hopes, which features Omar Apollo, is one of the more lowkey cuts in here as well, the percussion on the instrumental and the detuned guitar on here remind me of some of Joji's stuff from BALLADS 1, unfortunately however the track doesn't stand out much, at least not as much as Afterthought with BENEE, another track where Joji's melodies and vocals shine through once again, and BENEE's feature definitely adds some character to the track, at least enough to the point where the feature made some sense
On Normal People, Joji recruits childhood friend rei brown, in an attempt to capture lightning again after their first collaboration, Once In A While. Unfortunately lightning didn't strike twice here for me and the track felt quite lackluster and uninteresting, especially for such an anticipated track and when compared to their first song, many of the tracks and collaborations on the second part of the album really felt like Joji just trying to recapture the magic of his earlier work, and while some of those attempts did work at the end of the day it does feel like a cheap cop out.
Oh, understand, girl, I'm out of sight To the other side, I don't want no stripes Got my insides loud like motorcycles Girl, don't notice it, I don't notice it
  • NITROUS
Another example of Joji attempting to recapture magic is NITROUS, which marks Joji's second time collaborating with Clams Casino, the track is very reminiscent of their first track together, both Joji and Clams Casino however killed it, the track's instrumental is very murky and nocturnal, much alike most of the album, but that doesn't stop Joji's delivery, which is very fun-loving and upbeat.
By the way you move, I know you want me to Tell you all the rules, I know I'm searching too Give me all your clues and things to guide me through The end of the world, the end of the world
  • Mr. Hollywood
Produced by the one and only Kenneth Instrumentals, Mr. Hollywood is one of the more heartfelt and personal tracks on this album, Joji is singing about his evergrowing popularity and how it will never affect what is important for him, which in this case is the girl he's singing about, like many other tracks on this album, you will often hear something that will remind you of Joji's older work, in this case it is the ad-libs on the chorus, which are very reminiscent of his ad-libs on BESIDJU, regardless the song has at least a bit of substance which makes it one of the more commendable tracks.
The final run of this album is where Joji flips the script here, there are a few tracks that have questionable artistic decisions, such as Reanimator, with non other than Yves Tumor, the track serves as an instrumental interlude before the final two tracks, however with a feature such as Yves Tumor I honestly expected much more than what we got, and what we got is basically a 3 minute track, with the first minute and a half being nothing than a drone-y, synthy instrumental, and the second half being quite a lackluster performance by Joji and his guest, much like some of the other tracks on the album, it seems like it received a similar treatment, where the track was initially unfinished and still half-baked, and rather than attempting to finish the track they opted for an easy way out, which in this case was making more than half of the track an instrumental and then calling it an interlude just to be safe.
"that weeknd synthpop track sure is doing huge numbers, maybe i should also make a synthpop track as well"
  • Joji, probably.
I would be down to argue that if Blinding Lights by The Weeknd had not existed, 777 wouldn't have existed either, Joji's constant attempts at breaking into the mainstream and commercializing his sound have always left a bad taste in my mouth as it felt like it came from a place where authenticity is lacking, nevertheless I find it bizarre to make a track that is very similar to one of the most successful tracks of the year and not attempt to push it at all, that's not to say that 777 on it's own is not a good track, however there's no denying that the sound selection on the instrumental, some of the flows, and the chorus itself hold blaring similarities to The Weeknd's track, I understand why he would make such a track however and find it admirable at the very least.
Thankfully, the album ends on a strong note, the final two tracks are both beautiful even though they're worlds apart, Like You Do, is a quintessential love ballad from Joji, a stripped down instrumental with beautiful piano chords and a laid back vibe, Joji is singing about his current partner and how what they have might not work out, even though he feels like they're perfect for one another, the closing track, Your Man is a massive change in tempo, with an upbeat, electronic, deep house-esque instrumental, we hear a Joji that is optimistic, which is a nice change of pace, especially considering how bitter most of his albums and projects have been up to date.
Since I met you All the gloomy days just seem to shine a little more brightly Consider what we've got 'Cause I can never take you for granted
  • Like You Do
Conclusion
There's no denying that some tracks on here sound like a bastardized version of Joji's signature sound. Joji is trying his best to commercialize his sound without sacrificing the rawer elements of it, which unfortunately results in a jumble of sounds. This album is not free of criticisms as there are many issues in here that need to be worked on, it's much less cohesive than its predecessor and at times sounds like a bunch of rough ideas put together in order to create the world's most average musical equivalent of a photo collage, but if we were to just set all of that aside and just look at this album for what it is, then there's definitely something in here for everyone. George might have not made a classic, and he certainly hasn't found his sound yet, but this album is an indicator that he's on to something, and once again I am already anxious to hear what he has in store next.
Talking Points
  • What did you think of this album? Is it a good follow-up to BALLADS 1?
  • Do you think Joji works better alone or when he has a team behind him?
  • Do you think Joji will yet again set another high standard for himself next project?
  • What are your predictions for Joji's sound in the future?
  • Now that he's more keen on having features, who do you think would compliment Joji's sound the most?
  • Favorite tracks?
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The Fall were a group from Manchester founded by the enigmatic Mark E. Smith in 1976, after seeing the Sex Pistols at the Lesser Free Trade Hall. The group would go on to influence many bands over it's 40+ years of existence, such as Pavement and LCD Soundsystem. (Click link for write up on band)

The Fall was founded by one Mark E. Smith back in 1976, after seeing the Sex Pistols at the Lesser Free Trade Hall (The same gig attended by Ian Curtis and Peter Hook of Joy Division, Morrissey of the Smiths, and Tony Wilson, who founded the highly influential indie label Factory Records. Basically, Mark was at one of the more important gigs of the past 50 years, as this gig inspired all of those previously mentioned to either start bands or get involved in the punk scene, and changing the course of British indie music.). Over their 40+ years of operation, the band had Mark E. Smith at its helm as the sole constant member throughout it's existence. The band would become known for its classic assortment of records, with the tight musicianship by members such as guitarist Craig Scanlon and drummer Karl Burns (shown in the beginning of this clip from MTV's Cutting Edge) and Mark's esoteric lyricism, the witty, while often-times volatile and difficult, personality of Mark E. Smith, and the constant changing lineup of its members as a result of Mark's volatility. They would also remain to be the favorite band of legendary DJ John Peel, with the band holding the record of the most Peel sessions by a band, which is 24 sessions. The Fall would ultimately come to an end with the untimely death of Mark E. Smith in 2018 due to kidney and lung cancer.
The Fall are a significant band in the history of Post Punk, with a wide catalog of music to listen to released throughout the different eras of the band. I have decided to make a write-up going through the many eras of the Fall, while giving some recommendations from each era to start you off.
(1976 - early 1979 - Early Beginnings: The Martin Bramah Era)
during these years, the Fall were just getting their start with their sound. Their early material leans more towards the punk side of the sword rather than the post punk of their later years, but the embryo of the Fall's sound is clearly present. This can possibly be attributed to the guitar style of Martin Bramah in their early releases, which has a high pitched and trebly sound to the guitars. Their first recorded released came on a live album on the last day of operation for the Electric Circus, then they released their debut EP Bingo Master's Breakout then a single called It's The New Thing all in 1978. They finally released their debut album Live at the Witch Trials in March 1979 before Martin Bramah left in April 1979 due to increasing tensions with Mark E. Smith. He would then go on to found a band by the name of Blue Orchids with another former Fall member Una Baines, who he was dating at the time. Martin would prove to not be the only member to leave because of Mark's controlling demeanor in the band's future.
Here's some tracks to introduce you to this era's punky edge:
Last Orders
Bingo Master's Breakout EP (The entire EP's good to check out)
It's The New Thing
Rebellious Jukebox
Futures and Pasts
Mother-Sister
(mid 1979 - 1982 - The First Golden era: the Marc Riley Era)
I'm calling this the Marc Riley era because, even though Marc Riley was a part of the Bramah era, after Martin Bramah left, Riley would become the main guitarist instead of his previous role as bassist. This would open the door for members like Craig Scanlon to join on rhythm guitar and Steve Hanley on bass. This would end up transforming the sound of the band into the post-punk sound most people are familiar with the band. After releasing Rowche Rumble and the album Dragnet in 1979, the band would end up releasing a string of classic singles in 1980, such as Fiery Jack, How I Wrote Elastic Man, and probably their most well-known song, Totally Wired, as well as releasing the great album Grotesque (After the Gramme). 1981 would also prove to be a good year, with the release of the single Lie Dream of a Casino Soul and the 10-inch EP Slates. The band would end up travelling to Iceland for a string of gigs, which would lead to the recording of some songs for probably their best album Hex Enduction Hour, with tracks like Hip Priest and The Classical displaying the Fall's power in full force. The band would also released the album Room To Live and the single Look, Know. However, this year would prove to be the last with Marc Riley on lead guitar. After learning of their chart success in New Zealand (which was about 300 copies sold to get in the top 20), the band travelled there to play a few gigs in Australia and New Zealand. While there, increasing tensions between Smith and Riley came to a head in Australia when Riley punched Smith in the face for slapping the band for dancing to the Clash (yes, really). There is even a television interview where Mark's black eye is visible (even with heavy makeup). This tour would end up being released as a live album by the legendary New Zealand label Flying Nun Records as the album Fall in a Hole in 1983 (Which Smith would eventually threaten legal action for and forced Flying Nun to pay all of the revenue from the record, effectively almost killing Flying Nun in its infancy). Marc would end up being sacked by the end of the year. This left a hole to be filled for the lead guitar role, and that would be filled after a trip to America.
Here's some tracks to check out to introduce you to the classic Fall sound:
Rowche Rumble
How I Wrote Elastic Man
Totally Wired
New Face in Hell
Prole Art Threat
Lie Dream of a Casino Soul
Hip Priest
The Classical (N-Word Warning)
Iceland
Winter
Marquis Cha-Cha
(1983 - 1989 - The Second Golden era: The Brix Smith Era)
The band would soldier on without Marc Riley into 1983, with Craig Scanlon taking his place on lead guitar. This period would lead to the release of singles like The Man Whose Head Expanded and the Kicker Conspiracy EP. During the Fall's first American tour without Marc Riley, Mark E Smith was introduced to Brix Smith after a gig in Chicago in April. Within three months, Brix would move to England and end up marrying Mark. She would eventually join the band in September of that year and would first appear on their album Perverted by Language, albeit with minimal involvement and only appearing on one track. Her introduction to the band would end up bringing a pop sensibility to the band, as she would eventually become a major songwriting contributor along with Mark and she would try and push the Fall into a more commercially viable direction.
This period would lead to some of the band's most critically acclaimed,as well as their most commerically successful, material. early singles like C.R.E.E.P and Oh! Brother in 1984 display the early shift into the pop sphere for the band. The band would also release the album The Wonderful and Frightening World Of in 1984. By 1985, the band were starting to hit their stride in the commercial sphere, with singles like Cruiser's Creek and Couldn't Get Ahead appearing in the singles charts and the great album This Nation's Saving Grace receiving critical acclaim and decent sales. The band would continue to release increasingly pop-oriented records between 1986-1987, with singles like Mr. Pharmacist, Hit the North and Hey! Luciani reaching the lower ends of the charts, There's a Ghost In My House giving the band their highest singles chart peak, and the album Bend Sinister reaching the Top 40. However, 1988 would prove to be a banner year for the band, with the album The Frenz Experiment reaching the top 20, and the single of the Kinks song Victoria also reaching the top 40. However, this era would eventually come to an end in 1989, when Mark E Smith and Brix Smith ended up divorcing and Brix left the band. Her last record in this era would prove to be the album I am Kurious Oranj, a collaboration with the Michael Clark dance group. However, the trajectory that Brix set the band upon would let their success continue into the 90s, With the band eventually reaching their peak in commercial popularity. However, not all good things are meant to last.
Here's some songs to check out to introduce you to this era's pop-leaning sound:
The Man Whose Head Expanded
Kicker Conspiracy
Eat Y'self Fitter
C.R.E.E.P
2 X 4
Cruiser's Creek
No Bulbs
Spoilt Victorian Child
My New House
I am Damo Suzuki
Shoulder Pads #1
Mr. Pharmacist
Hey! Luciani
There's a Ghost in my House
Hit The North
Victoria
Big New Prinz
Dead Beat Descendant
(1990 - 1994 - The Peak, followed by the Fall: The Major Label years)
After Brix left the band, Martin Bramah was brought back into the fold to fill in her place, and would be featured on the album Extricate, which led to songs like Telephone Thing, which shows influence from the Madchester scene of that time period, which included the Stone Roses and the Happy Mondays, and the love song Bill is Dead, which possibly reflects upon his divorce the previous year. However, Martin Bramah would not be staying for long, as he would end up being kicked out of the band that same year for having a relationship with the keyboardist. This album marked the period when the band would be featured on a major label, with the band being signed to Fontana. The Fall would continue on to have success during this period, with the aforementioned Extricate reaching the top 40, albums like Shift-Work and Code: Selfish reaching the top 30, and singles like White Lightning and Free Range reaching in the single charts, with Free Range being the bands last top 40 single. Their commercial peak would come with the album The Infotainment Scan, which contained a cover of Lost in Music by Sister Sledge, giving the Fall their first and only top 10 hit album. Mark would also be featured on a top 20 single, which was I Want You by the Inspiral Carpets. However, Mark E. Smith's speed and alcohol addiction, which persisted over the previous decade, started to take its toll. The bands fortunes started to dwindle with the album Middle Class Revolt, Which only reach number 48 in the charts, a far cry from their previous Top 10 success. With this album, the Fall would begin to go downhill, both in their commercial performance and their critical stature.
Here's some songs to check out from this banner period for the Fall:
Telephone Thing
I'm Frank
Bill is Dead
Edinburgh Man
Free Range
Lost in Music
Hey! Student
15 Ways
(1995-1998 - The Low Point: The Brownies Years)
By this point, Mark E. Smith begins to go downhill with the previously mentioned drug and alcohol addiction, and its effect on the music shows. Brix Smith returns around this time period and would come back on the album Cerebral Caustic. Even with her involvement in the band, the album got middling reviews and performed worse than Middle Class Revolt. Smith would also dismiss the long time guitarist Craig Scanlon, who had co-written 120 songs with Smith over the previous 16 years. Smith would later say that he regretted this decision. By the time of The Light User Syndrome, Brix had enough of Mark E. Smith's degrading state and behavior due to alcohol abuse, and would leave on the tour supporting this album. This period would be wrought with increasing tensions in the band and financial troubles, which ultimately came to a head on the US tour supporting the album Levitate at an infamous gig at the New York venue Brownies in April of 1998. Smith ended up appearing drunk at the gig, and did everything in his power to make it hard for the band to play. It came to a head when drummer Karl Burns, who returned to the band when Middle Class Revolt was made, ended up shoving Smith for messing with his drum kit. Burns and long-time/essential bassist Steve Hanley would end up leaving the band and never returning. After this gig, the next few years are marked with the band remaining a low profile for the most part, where would eventually return to form by 2003.
Here's some tracks to check out (if you want to) from this era:
Don't Call me Darling
Rainmaster
D.I.Y Meat
The Chiselers
Powder Keg
Masquerade
(1998 - 2002 - Touch Sensitive: The Long Lull)
During this period of the Fall, the band was just starting to be put back together by Mark after the debacle that was the Brownies gig. The band was able to achieve some form of critical favor with their album The Marshall Suite in 1999, with Touch Sensitive being a particular standout on the album and being featured in a Volkswagen commercial. The band would then release their album The Unutterable, which also started to gain the critic's favor back. The next album Are You Are Missing Winner, however, didn't do the band any favors, as it was recorded when the band was tight on funds. It was considered a misstep by the Fall after the acclaim that the last album received. However, this would ultimately lead to the start of a new era of the fall that would effectively renew their relevance as a band in the public's eye.
Here's some tracks to check out from this transitional period of the bands history:
Touch Sensitive
W.B
Sons of Temperance
Dr. Bucks Letter
Bourgeois Town
(2003 - 2009 - A return to grace: The Third Golden Age)
This era of the fall proved to be a rebirthing of the band's relevance and quality, with Mark writing some of the best material the band had in years. This era starts with the album The Real New Fall LP (Formerly Country on the Click) in 2003, which provided the band with some late era classics, such as Mountain Energei and Theme From Sparta F.C. Around this period, the DJ John Peel, who was one of the band's biggest supporters from the beginning, died of a heart attack, but not before the Fall could release one more Peel session a couple months before his death. The Fall would then release Fall Heads Roll in 2005, which also provided the band with another late-era classic in the form of Blindness. The band would also release albums like Reformation Post TLC and Imperial Wax Solvent within the same period. Imperial Wax Solvent would end up being the first Fall album in 15 years to reach the top 40. This would lead into the final era of the Fall leading up to Mark E. Smith's untimely death.
Here's some tracks to check out from this era:
Mountain Energei
Theme From Sparta F.C.
Blindness
Clasp Hands
Fall Sound
Latchkey Kid
Is This New
Strange Town
(2010 - 2018 - The Witching Hour: The Domino and Cherry Red/final years)
In 2010, the Fall would release Your Future Our Clutter on Domino Records, the same label that releases records by the Arctic Monkeys and Franz Ferdinand, Two bands heavily influenced by the Fall. Mark E. Smith would also end up recording vocals for Glitter Freeze on the Gorillaz album Plastic Beach, which was released in 2010. The band would eventually move to Cherry Red records, which would remain the label of the band until its dissolution. On Cherry Red, the Fall would release album such as Ersatz GB, Re-Mit, Sub-Lingual Tablet, and New Facts Emerge. The latter album would prove to be the band's last record. Over this period, Mark began to develop significant health problems, and would eventually be diagnosed with terminal lung and kidney cancer. This is probably due to the fact that Mark E. Smith was a heavy smoker for most of his life, and his previous problems with drugs and alcohol didn't help either. Mark would perform his final gig with the Fall in November of 2017, and would eventually succumb to his illnesses on January 24th, 2018. Mark E. Smith would leave behind a long history of innovation, wit, and volatility and large catalog of great music for others to be inspired by.
Here's some tracks to check out from the final era of the Fall:
Bury Pts. 2 + 4
Nate Will Not Return
Loadstones
Fibre Book Troll
New Facts Emerge
(Final Remarks)
So that's my write-up for the Fall. I discovered this band about 3-4 years ago and I have fallen in love with them ever since, and I just felt like that they deserved some attention. I wrote this post for anyone who may be interested in checking out the band and giving them a place to start from no matter the era. May Mark E. Smith rest in peace, for he wrote "Northern white crap that talks back" and dug repetition.
P.S: For any fans of the fall, what is your favorite album/song by the fall and why?
If you want to, you can come check out my subreddit Collectionhauls, where I've been posting vinyl finds I've had at the flea market, and have been posting music to check out since March. If you want, you can come post something from your collections to show to others. Anyway, goodbye and I hope you enjoyed my post and possibly enjoy the Fall even more.
submitted by ryuundo to CoreMu [link] [comments]

BROCCOLI REVEALED - Clues discussion. Spoilers for BROCCOLI only. CLUES REVEALED SERIES #4.10

Broccoli is Paul Anka! Let's discuss how the clue packages related to him.
submitted by Urpervyneighbor to TheMaskedSinger [link] [comments]

The Fall were a group from Manchester founded by the enigmatic Mark E. Smith in 1976, after seeing the Sex Pistols at the Lesser Free Trade Hall. The group would go on to influence many bands over it's 40+ years of existence, such as Pavement and LCD Soundsystem. (Click link for write up on band)

The Fall was founded by one Mark E. Smith back in 1976, after seeing the Sex Pistols at the Lesser Free Trade Hall (The same gig attended by Ian Curtis and Peter Hook of Joy Division, Morrissey of the Smiths, and Tony Wilson, who founded the highly influential indie label Factory Records. Basically, Mark was at one of the more important gigs of the past 50 years, as this gig inspired all of those previously mentioned to either start bands or get involved in the punk scene, and changing the course of British indie music.). Over their 40+ years of operation, the band had Mark E. Smith at its helm as the sole constant member throughout it's existence. The band would become known for its classic assortment of records, with the tight musicianship by members such as guitarist Craig Scanlon and drummer Karl Burns (shown in the beginning of this clip from MTV's Cutting Edge) and Mark's esoteric lyricism, the witty, while often-times volatile and difficult, personality of Mark E. Smith, and the constant changing lineup of its members as a result of Mark's volatility. They would also remain to be the favorite band of legendary DJ John Peel, with the band holding the record of the most Peel sessions by a band, which is 24 sessions. The Fall would ultimately come to an end with the untimely death of Mark E. Smith in 2018 due to kidney and lung cancer.
The Fall are a significant band in the history of Post Punk, with a wide catalog of music to listen to released throughout the different eras of the band. I have decided to make a write-up going through the many eras of the Fall, while giving some recommendations from each era to start you off.
(1976 - early 1979 - Early Beginnings: The Martin Bramah Era)
during these years, the Fall were just getting their start with their sound. Their early material leans more towards the punk side of the sword rather than the post punk of their later years, but the embryo of the Fall's sound is clearly present. This can possibly be attributed to the guitar style of Martin Bramah in their early releases, which has a high pitched and trebly sound to the guitars. Their first recorded released came on a live album on the last day of operation for the Electric Circus, then they released their debut EP Bingo Master's Breakout then a single called It's The New Thing all in 1978. They finally released their debut album Live at the Witch Trials in March 1979 before Martin Bramah left in April 1979 due to increasing tensions with Mark E. Smith. He would then go on to found a band by the name of Blue Orchids with another former Fall member Una Baines, who he was dating at the time. Martin would prove to not be the only member to leave because of Mark's controlling demeanor in the band's future.
Here's some tracks to introduce you to this era's punky edge:
Last Orders
Bingo Master's Breakout EP (The entire EP's good to check out)
It's The New Thing
Rebellious Jukebox
Futures and Pasts
Mother-Sister
(mid 1979 - 1982 - The First Golden era: the Marc Riley Era)
I'm calling this the Marc Riley era because, even though Marc Riley was a part of the Bramah era, after Martin Bramah left, Riley would become the main guitarist instead of his previous role as bassist. This would open the door for members like Craig Scanlon to join on rhythm guitar and Steve Hanley on bass. This would end up transforming the sound of the band into the post-punk sound most people are familiar with the band. After releasing Rowche Rumble and the album Dragnet in 1979, the band would end up releasing a string of classic singles in 1980, such as Fiery Jack, How I Wrote Elastic Man, and probably their most well-known song, Totally Wired, as well as releasing the great album Grotesque (After the Gramme). 1981 would also prove to be a good year, with the release of the single Lie Dream of a Casino Soul and the 10-inch EP Slates. The band would end up travelling to Iceland for a string of gigs, which would lead to the recording of some songs for probably their best album Hex Enduction Hour, with tracks like Hip Priest and The Classical displaying the Fall's power in full force. The band would also released the album Room To Live and the single Look, Know. However, this year would prove to be the last with Marc Riley on lead guitar. After learning of their chart success in New Zealand (which was about 300 copies sold to get in the top 20), the band travelled there to play a few gigs in Australia and New Zealand. While there, increasing tensions between Smith and Riley came to a head in Australia when Riley punched Smith in the face for slapping the band for dancing to the Clash (yes, really). There is even a television interview where Mark's black eye is visible (even with heavy makeup). This tour would end up being released as a live album by the legendary New Zealand label Flying Nun Records as the album Fall in a Hole in 1983 (Which Smith would eventually threaten legal action for and forced Flying Nun to pay all of the revenue from the record, effectively almost killing Flying Nun in its infancy). Marc would end up being sacked by the end of the year. This left a hole to be filled for the lead guitar role, and that would be filled after a trip to America.
Here's some tracks to check out to introduce you to the classic Fall sound:
Rowche Rumble
How I Wrote Elastic Man
Totally Wired
New Face in Hell
Prole Art Threat
Lie Dream of a Casino Soul
Hip Priest
The Classical (N-Word Warning)
Iceland
Winter
Marquis Cha-Cha
(1983 - 1989 - The Second Golden era: The Brix Smith Era)
The band would soldier on without Marc Riley into 1983, with Craig Scanlon taking his place on lead guitar. This period would lead to the release of singles like The Man Whose Head Expanded and the Kicker Conspiracy EP. During the Fall's first American tour without Marc Riley, Mark E Smith was introduced to Brix Smith after a gig in Chicago in April. Within three months, Brix would move to England and end up marrying Mark. She would eventually join the band in September of that year and would first appear on their album Perverted by Language, albeit with minimal involvement and only appearing on one track. Her introduction to the band would end up bringing a pop sensibility to the band, as she would eventually become a major songwriting contributor along with Mark and she would try and push the Fall into a more commercially viable direction.
This period would lead to some of the band's most critically acclaimed,as well as their most commerically successful, material. early singles like C.R.E.E.P and Oh! Brother in 1984 display the early shift into the pop sphere for the band. The band would also release the album The Wonderful and Frightening World Of in 1984. By 1985, the band were starting to hit their stride in the commercial sphere, with singles like Cruiser's Creek and Couldn't Get Ahead appearing in the singles charts and the great album This Nation's Saving Grace receiving critical acclaim and decent sales. The band would continue to release increasingly pop-oriented records between 1986-1987, with singles like Mr. Pharmacist, Hit the North and Hey! Luciani reaching the lower ends of the charts, There's a Ghost In My House giving the band their highest singles chart peak, and the album Bend Sinister reaching the Top 40. However, 1988 would prove to be a banner year for the band, with the album The Frenz Experiment reaching the top 20, and the single of the Kinks song Victoria also reaching the top 40. However, this era would eventually come to an end in 1989, when Mark E Smith and Brix Smith ended up divorcing and Brix left the band. Her last record in this era would prove to be the album I am Kurious Oranj, a collaboration with the Michael Clark dance group. However, the trajectory that Brix set the band upon would let their success continue into the 90s, With the band eventually reaching their peak in commercial popularity. However, not all good things are meant to last.
Here's some songs to check out to introduce you to this era's pop-leaning sound:
The Man Whose Head Expanded
Kicker Conspiracy
Eat Y'self Fitter
C.R.E.E.P
2 X 4
Cruiser's Creek
No Bulbs
Spoilt Victorian Child
My New House
I am Damo Suzuki
Shoulder Pads #1
Mr. Pharmacist
Hey! Luciani
There's a Ghost in my House
Hit The North
Victoria
Big New Prinz
Dead Beat Descendant
(1990 - 1994 - The Peak, followed by the Fall: The Major Label years)
After Brix left the band, Martin Bramah was brought back into the fold to fill in her place, and would be featured on the album Extricate, which led to songs like Telephone Thing, which shows influence from the Madchester scene of that time period, which included the Stone Roses and the Happy Mondays, and the love song Bill is Dead, which possibly reflects upon his divorce the previous year. However, Martin Bramah would not be staying for long, as he would end up being kicked out of the band that same year for having a relationship with the keyboardist. This album marked the period when the band would be featured on a major label, with the band being signed to Fontana. The Fall would continue on to have success during this period, with the aforementioned Extricate reaching the top 40, albums like Shift-Work and Code: Selfish reaching the top 30, and singles like White Lightning and Free Range reaching in the single charts, with Free Range being the bands last top 40 single. Their commercial peak would come with the album The Infotainment Scan, which contained a cover of Lost in Music by Sister Sledge, giving the Fall their first and only top 10 hit album. Mark would also be featured on a top 20 single, which was I Want You by the Inspiral Carpets. However, Mark E. Smith's speed and alcohol addiction, which persisted over the previous decade, started to take its toll. The bands fortunes started to dwindle with the album Middle Class Revolt, Which only reach number 48 in the charts, a far cry from their previous Top 10 success. With this album, the Fall would begin to go downhill, both in their commercial performance and their critical stature.
Here's some songs to check out from this banner period for the Fall:
Telephone Thing
I'm Frank
Bill is Dead
Edinburgh Man
Free Range
Lost in Music
Hey! Student
15 Ways
(1995-1998 - The Low Point: The Brownies Years)
By this point, Mark E. Smith begins to go downhill with the previously mentioned drug and alcohol addiction, and its effect on the music shows. Brix Smith returns around this time period and would come back on the album Cerebral Caustic. Even with her involvement in the band, the album got middling reviews and performed worse than Middle Class Revolt. Smith would also dismiss the long time guitarist Craig Scanlon, who had co-written 120 songs with Smith over the previous 16 years. Smith would later say that he regretted this decision. By the time of The Light User Syndrome, Brix had enough of Mark E. Smith's degrading state and behavior due to alcohol abuse, and would leave on the tour supporting this album. This period would be wrought with increasing tensions in the band and financial troubles, which ultimately came to a head on the US tour supporting the album Levitate at an infamous gig at the New York venue Brownies in April of 1998. Smith ended up appearing drunk at the gig, and did everything in his power to make it hard for the band to play. It came to a head when drummer Karl Burns, who returned to the band when Middle Class Revolt was made, ended up shoving Smith for messing with his drum kit. Burns and long-time/essential bassist Steve Hanley would end up leaving the band and never returning. After this gig, the next few years are marked with the band remaining a low profile for the most part, where would eventually return to form by 2003.
Here's some tracks to check out (if you want to) from this era:
Don't Call me Darling
Rainmaster
D.I.Y Meat
The Chiselers
Powder Keg
Masquerade
(1998 - 2002 - Touch Sensitive: The Long Lull)
During this period of the Fall, the band was just starting to be put back together by Mark after the debacle that was the Brownies gig. The band was able to achieve some form of critical favor with their album The Marshall Suite in 1999, with Touch Sensitive being a particular standout on the album and being featured in a Volkswagen commercial. The band would then release their album The Unutterable, which also started to gain the critic's favor back. The next album Are You Are Missing Winner, however, didn't do the band any favors, as it was recorded when the band was tight on funds. It was considered a misstep by the Fall after the acclaim that the last album received. However, this would ultimately lead to the start of a new era of the fall that would effectively renew their relevance as a band in the public's eye.
Here's some tracks to check out from this transitional period of the bands history:
Touch Sensitive
W.B
Sons of Temperance
Dr. Bucks Letter
Bourgeois Town
(2003 - 2009 - A return to grace: The Third Golden Age)
This era of the fall proved to be a rebirthing of the band's relevance and quality, with Mark writing some of the best material the band had in years. This era starts with the album The Real New Fall LP (Formerly Country on the Click) in 2003, which provided the band with some late era classics, such as Mountain Energei and Theme From Sparta F.C. Around this period, the DJ John Peel, who was one of the band's biggest supporters from the beginning, died of a heart attack, but not before the Fall could release one more Peel session a couple months before his death. The Fall would then release Fall Heads Roll in 2005, which also provided the band with another late-era classic in the form of Blindness. The band would also release albums like Reformation Post TLC and Imperial Wax Solvent within the same period. Imperial Wax Solvent would end up being the first Fall album in 15 years to reach the top 40. This would lead into the final era of the Fall leading up to Mark E. Smith's untimely death.
Here's some tracks to check out from this era:
Mountain Energei
Theme From Sparta F.C.
Blindness
Clasp Hands
Fall Sound
Latchkey Kid
Is This New
Strange Town
(2010 - 2018 - The Witching Hour: The Domino and Cherry Red/final years)
In 2010, the Fall would release Your Future Our Clutter on Domino Records, the same label that releases records by the Arctic Monkeys and Franz Ferdinand, Two bands heavily influenced by the Fall. Mark E. Smith would also end up recording vocals for Glitter Freeze on the Gorillaz album Plastic Beach, which was released in 2010. The band would eventually move to Cherry Red records, which would remain the label of the band until its dissolution. On Cherry Red, the Fall would release album such as Ersatz GB, Re-Mit, Sub-Lingual Tablet, and New Facts Emerge. The latter album would prove to be the band's last record. Over this period, Mark began to develop significant health problems, and would eventually be diagnosed with terminal lung and kidney cancer. This is probably due to the fact that Mark E. Smith was a heavy smoker for most of his life, and his previous problems with drugs and alcohol didn't help either. Mark would perform his final gig with the Fall in November of 2017, and would eventually succumb to his illnesses on January 24th, 2018. Mark E. Smith would leave behind a long history of innovation, wit, and volatility and large catalog of great music for others to be inspired by.
Here's some tracks to check out from the final era of the Fall:
Bury Pts. 2 + 4
Nate Will Not Return
Loadstones
Fibre Book Troll
New Facts Emerge
(Final Remarks)
So that's my write-up for the Fall. I discovered this band about 3-4 years ago and I have fallen in love with them ever since, and I just felt like that they deserved some attention. I wrote this post for anyone who may be interested in checking out the band and giving them a place to start from no matter the era. May Mark E. Smith rest in peace, for he wrote "Northern white crap that talks back" and dug repetition.
P.S: For any fans of the fall, what is your favorite album/song by the fall and why?
If you want to, you can come check out my subreddit Collectionhauls, where I've been posting vinyl finds I've had at the flea market, and have been posting music to check out since March. If you want, you can come post something from your collections to show to others. Anyway, goodbye and I hope you enjoyed my post and possibly enjoy the Fall even more.
submitted by ryuundo to Music [link] [comments]

[Discussion] 25 great albums you might have missed from 2019. Spotify playlist included.

Spotify playlist is here
Google Play playlist courtesy of u/TimeFourChanges is here
Apple Music playlist courtesy of u/LegoWaffles is here
Last year I listened to over 800 albums and posted a few of my favorites. This year I did the same thing, and I’ve had some people asking me to post again, so here goes.
These are not my top 25 albums. These are just 25 albums that I felt were sorely overlooked. Last year some people rightly complained that I included artists which broke the sub’s popularity rules. I’ve done my best to ensure that none of these artists have more than three songs with 500,000+ plays on Spotify, nor 250,000+ listeners on Last.FM. I apologize in advance if something was overlooked. Hopefully we can help get these artists and albums some of the credit they truly deserve! Without further ado, here are 25 great albums you might have missed in 2019:
1. Peter Cat Recording Co. - Bismillah (Released 6/7/19, India)
I’ll admit right off the bat that I’m a huge Tool fan, so my choice for best album of the year is definitely biased. But Bismillah by Peter Cat Recording Co., my second favorite album of the year, sounds nothing like Tool. In fact, it’s pretty much as far as you can get from extended prog metal jams. The music defies classification, drawing from a breadth of influences including rock, folk, jazz, and electronica. The vocals are rich and smooth, reminiscent of classic pop stars like Dean Martin and Frank Sinatra. So far, no one I’ve introduced to this album has disliked it. At this point, I’d go so far as to say it will likely appeal to anyone who just plain loves music. Please do yourself a favor and listen to this incredible album!
Standout Tracks: Where the Money Flows, Memory Box, Freezing, Heera
2. Mdou Moctar - Ilana, the Creator (Released 3/29/19, Niger)
There’s a lot of incredible music coming out of African countries that goes virtually unnoticed in the west. Mdou Moctar is one of those artists, a king of desert rock guitar whose psychedelic jams draw heavily on Tuareg folk music. There is an infectious energy to this album that doesn’t let up from beginning to end, and every time I listen, I find myself wishing it were a few songs longer. Despite the fact that I can’t understand a word of the lyrics, it’s one of those albums that makes me feel like I can hear colors and taste sounds. The next time I get my hands on some LSD, this will be my go-to record.
Standout Tracks: Kamane Tarhanin, Tarhatazed, Tumastin
3. Flamingods - Levitation (Released 5/3/19, Bahrain)
In a year with new albums from Pond and the Psychedelic Porn Crumpets, not to mention two new albums from King Gizzard, I never expected this album from a little-known Bahraini group to blow the Australian psychedelic scene out of the water. It’s unpretentious and unassuming, playing it safe rather than pushing the limits of studio experimentation, but Levitation needs no gimmicks. The melodies are catchy and memorable, backed by tight instrumentation with lots of guitar noodling. The influence of traditional Middle Eastern music is audible, but usually subtle. Though there is still room for the band to grow in its sound, this album is nearly perfect as it is.
Standout Tracks: Astral Plane, Peaches, Mantra
4. Bruno Bavota - RE_CORDIS (Released 1/18/19, Italy)
Winter is usually the slow season for new album releases, but the mood of the season perfectly matches the mood of RE_CORDIS. It’s a fairly straightforward album of instrumental compositions enhanced by the lightest accents and effects that demonstrate the delicacy with which Bruno Bavota hones his work. The instrumentation varies from song to song just enough to stay engaging, and while it does encourage wandering thoughts, there are many subtleties to actively listen for. It’s one of those albums that sounds best as you’re just drifting off to sleep, when the silence and darkness of the room allows each note to stand out.
Standout Tracks: Passengers, La luce nel cuore, The Man Who Chased the Sea
5. Cykada - Cykada (Released 3/29/19, England, UK)
For a debut album, Cykada is pretty impressive, and that’s because the musicians behind it are already well established in the London jazz scene. Which of course means jack shit in the world of pop music, so I hope you’ll forgive me stretching the rules of the sub just a little to show off this “supergroup” ensemble. There are only five songs on Cykada, but with the shortest clocking in at just under six minutes, each one feels like a journey in and of itself. If the opening of the first track doesn’t immediately hook you, then perhaps this isn’t the group for you. But if it does, I think you’ll find yourself hanging onto every note until the end of the nearly 12-minute jam that closes out the album.
Standout Tracks: Creation, Ophelia’s Message, Third Eye Thunder
6. Claude Fontaine - Claude Fontaine (Released 4/26/19, California, US)
There’s a tropical undercurrent to the songs on Claude Fontaine, which shamelessly dips into Carribean and Latin American influences, but the tone of the album more somber than sunny. The vocals come across as wistful, at times loney, and the lo-fi production adds a degree of separation that feels like listening to a memory of a bygone summer. There’s nothing technically impressive about this album, and in fact the opposite is often true, but something about the raw introspection coupled with atypical Latin grooves feels like slipping into a dream.
Standout Tracks: Hot Tears, Love Street, Pretending He Was You
7. Iguana Death Cult - Nude Casino (Released 10/25/19, Netherlands)
By the time Iguana Death Cult released their album Nude Casino just before Halloween, I was expecting the year to more or less be over, musically speaking. Then I found myself playing this album on repeat at work, and it quickly shot up into my top 20 on the strength of every song being an absolute jam. The band is so clearly having fun that it’s all but impossible not to join in. The bouncy, dance-like energy reminds me a bit of early Arctic Monkeys. As an added credit, I’d say they’re a strong contender for the best band name/album name combo of the year.
Standout Tracks: Nude Casino, Liquify, Nature Calls
8. Saor - Forgotten Paths (Released 2/15/19, Scotland, UK)
This album feels cinematic, on the scale of Lord of the Rings or The Avengers. It’s an overwhelming experience, like watching thunderheads roll in over the plains, except instead of thunder and lightning it’s blast beats and metal screams. There are moments of symphonic grandeur, but also passages of graceful simplicity that draw inspiration from folk and chamber music. Even if you aren’t generally a fan of distorted vocals, it’s worth a listen for the instrumentals alone.
Standout Tracks: Forgotten Paths, Monadh, Bròn
9. Sandro Perri - Soft Landing (Released9/6/19, Canada)
I’m not really sure how to describe or categorize Sandro Perri’s music. Google suggests he’s been classified as “post rock”, “ambient”, and “folk”, but none of those terms really see to fit. His music is experimental if nothing else, exploring the simplest ideas to the fullest extent and crafting entire songs around short musical phrases. Despite the peaceful vibe, Soft Landing isn’t really background music. The pieces of the puzzle all sound familiar on their own, but Sandro Perri assembles them in a way that sounds strange and unique, and might cause you to involuntarily cock your head to the side as you listen.
Standout Tracks: Time (You Got Me), Wrong About the Rain, Soft Landing
10. Uluru - Acrophilia (Released 2/8/19, Turkey)
One thing that I love about the explosion of psychedelic rock over the past decade is that it’s largely transcended geography. Uluru is another example of the intersection between Middle Eastern and psychedelic music, but unlike Flamingods, Uluru tends more towards the crunchy stoner rock end of the spectrum. This album is also different in that it’s entirely instrumental, but that doesn’t make it feel incomplete. At just seven songs, each between 3-8 minutes, Acrophilia is just the right size to leave an impression without wearing on into endless jam sessions.
Standout Tracks: Şark, Constantine, Aeternum
11. Jimmy “Duck” Holmes - Cypress Grove (Released 10/18/19, Mississippi, US)
Some music ages like fine wine, but the blues ages like whiskey. Like many underappreciated blues pioneers, Jimmy “Duck” Holmes didn’t start recording studio albums until fairly late in his life. Despite going unnoticed by the music industry, Holmes is a fixture of Mississippi blues history, and deserves every bit as much acclamation as his contemporaries. Cypress Grove doesn’t features surprising new compositions. It’s the work of a true artist interpreting old standards, and though it sticks keenly to tradition, there’s nothing quite as genuine as an old blues master pouring a lifetime of experience into an acoustic guitar.
Standout Tracks: Catfish Blues, Goin’ Away Baby, Little Red Rooster
12. Julian Taylor Band - Avalanche (Released 3/29/19, Canada)
This album exemplifies the meaning of “groove”. Lyrically it doesn’t offer any hot takes or great philosophical depth, but it will make your foot tap and your head nod whether you like it or not. It’s music for late summer evenings, for grilling out and driving to the beach. But if you like magic mushrooms and hackysack, this album might touch you on a deep emotional level.
Standout Tracks: Time, Back Again, Never Let the Lights Go Dim
13. Modern Nature - How to Live (Released 8/23/19, England, UK)
How to Live didn’t leave much of an impression when I first heard it back in September, but as I was going back over my top albums at the end of the year, it suddenly connected with me. Maybe it was the funky beats, or the flawless blend of electric and acoustic instruments. Maybe it was just the large quantity of marijuana edibles I’d ingested. But there’s something fascinating and engaging about the delivery of these songs. It’s not just the vocals, which are hardly above a whisper. Even the instrumentals sound stealthy, as if the band recorded at night and didn’t want to wake the neighbors. The songs also stick with you, but not in the sense of a Top 40 earworm. More like a ghost haunting from just over your shoulder. Each time I listen to this album I find something new to like about it.
Standout Tracks: Footsteps, Peradam, Nature
14. Fvneral Fvkk - Carnal Confessions (Released 9/27/19, Germany)
Everything about this band seems intentionally offensive, from their conjunction of religion and sexuality to their egregious misspelling of the word “fuck”. But when you’re through clutching your pearls, check out the rich vocals and heavy riffs that make this metal band’s debut album stand out. If you’re into heavy rock but don’t care for unclean vocals, this should make you a happy camper. Unless you’re a member of the clergy, then perhaps give this album a pass.
Standout Tracks: Chapel of Abuse, A Shadow in the Dormitory, The Hallowed Leech
15. Dommengang - No Keys (Released 5/17/19, California, US)
Dommengang aren’t breaking down musical barriers, but I can’t find a single song on this album that I dislike. In the era of music streaming, there’s something to be said for a collection of solid singles that can each stand on their own. But No Keys is more than just a collection of singles. The sum of its parts is a cohesive album that touches on blues rock, psychedelic, and metal without committing to any one style, all following a current of driving rock guitar riffs with plenty of flourishes.
Standout Tracks: Wild Wash, Kudzu, Jerusalem Cricket
16. Magic Circle - Departed Souls (Released 3/29/19, Massachusetts, US)
Magic Circle is a bit like the Greta Van Fleet of Black Sabbath wannabes. Unlike Greta Van Fleet, however, these guys have serious musical talent and songwriting ability that make Departed Souls more of a respectful tribute than a piss on the legacy of 70s hard rock. There is also a good bit of originality to this album, and while it’s obvious that vocalist could pull off a flawless Ozzy impression if he tried, there’s a modicum of restraint that suggests the incorporation of broader influences. In fact, some of the albums best moments are when the band isn’t directly emulating the classics.
Standout Tracks: Departed Souls, Valley of the Lepers, Nightland
17. Obsequiae - The Palms of Sorrowed Kings (Released 11/22/19, Minnesota, US)
The Palms of Sorrowed Kings is an album of stark contrasts, catapulting back and forth between brutal, howling metal and languid, acoustic folk. The end result is an emotional journey with moments of triumph, rage, introspection, heartbreak, and tranquility. While the vocals accentuate some of the album’s more powerful moments, they aren’t highlighted above any of the other instruments, instead blending into the cacophony like the voice of a commander shouting orders across a field of battle. Fans of tabletop RPGs might want this album playing in the background of an adventuring session.
Standout Tracks: Palästinalied, Morrígan, Lone Isle
18. Black Peaches - Fire in the Hole (Released 5/17/19, England, UK)
Black Peaches have a sort of jam band aesthetic, drawing on the musical influences of the southern US to flavor their brand of psychedelic indie rock. Despite the frontman’s tangential involvement with Hot Chip, the band is firmly rooted in drums and guitars, with a sound more comparable to Phish or Widespread Panic than any synthpop outfit. Whether cranking along to frantic percussion or grooving smoothly over funk textures, the songs on Fire in the Hole are wild and dynamic from beginning to end.
Standout Tracks: Fire in the Hole, Black Peach Boogie, Pillars of Hercules
19. YĪN YĪN - The Rabbit That Hunts Tigers (Released 10/18/19, Netherlands)
As much as I try to be objective when approaching new music, I can’t help but love what I love. The Rabbit That Hunts Tigers checks a lot of boxes for me: psychedelic atmosphere, unique instrumentation, lengthy jams, danceable rhythms, incorporation of world music styles - even the artwork instantly attracted me to this album. While perhaps it’s not a perfect record, it has a lot of relistenability, and no other album released in 2019 sounds quite like it.
Standout Tracks: One Inch Punch, The Rabbit That Hunts Tigers, Dis̄ kô Dis̄ kô
20. Red Rum Club - Matador (Released 1/11/19, England, UK)
What’s the easiest way to make your generic indie band stand out? Add a trumpet! Seriously, that’s pretty much what makes the album work. Fans of alt pop bands like Neon Trees, Catfish and the Bottlemen, or Young the Giant will recognize the rather formulaic approach to songwriting - powerful vocals, straightforward lyrics, and hopelessly catchy hooks. But regardless of how many sound-alikes you’ve heard, the soaring brassy tones on Matador imbue the songs with an irresistible dancefloor spirit.
Standout Tracks: Hung Up, Honey, Calexico
21. Ouzo Bazooka - Transporter (Released 1/11/19, Israel)
Ouzo Bazooka isn’t the first group to combine the raw energy of garage rock with the experimental songwriting of psychedelia, but they play it with such skill that any lack of originality should be forgiven. Like many contemporary bands inspired by the music of the 60s and 70s, Ouzo Bazooka isn’t picky about the sources from which they draw influence, and their music benefits from that open-mindedness. At times they appear to be firmly planted in unassuming rock n roll, only to blast off to the cosmos at a moment’s notice, taking you along for the ride.
Standout Tracks: Latest News, Space Camel, Killing Me
22. Konradsen - Saints and Sebastian Stories (Released 10/25/19, Norway)
Konradsen makes a lot of interesting musical decisions in the songwriting on Saints and Sebastian Stories. These songs aren’t likely to hook you on your first listen, and might even seem off-putting as they meander slowly over layers of studio effects. The album follows the precedent set by experimental indie artists like Bon Iver, combining disparate elements from jazz percussion lingering piano chords to shy-sounding horns. It’s the type of album that takes a couple songs to warm up, but then continues escalating and improving as it unfolds.
Standout Tracks: Dice, Baby Hallelujah, Red to Rhyme
23. Black String - Karma (Released 9/27/19, South Korea)
Generally speaking, jazz isn’t my favorite genre. That said, Karma doesn’t sound like what most people first think of when they hear the word “jazz”. The improvisational aspect is there, but the songs are structured around traditional Korean music in a way that subverts western expectations. Fortunately for us westerners, the group has provided a sort of jumping off point in their brilliant cover of Radiohead’s Exit Music (For a Film), reworked until only the bare bones are recognisable.
Standout Tracks: Sureña, Hanging Gardens of Babylon, Exit Music - For a Film
24. the one and only PPL MVR - THE CHOSEN (Released 6/4/19, California, US)
There’s this crazy theory going around that the one and only PPL MVR is actually just the members of Brand New dressed in yeti suits. I’m operating under the assumption that the theory is bunk, and that this gimmicky band is just an underappreciated power trio with a flair for the dramatic. While the band’s prevailing sound can best be described as heavy rock music, they certainly don’t feel the need to pigeonhole themselves. From power chords to autotune, nothing is off the table.
Standout Tracks: NML, MOVE, THE SHOW THAT NEVER ENDS
25. The Garifuna Collective - Aban (Released 9/15/19, Belize)
The Garifuna Collective is ever so slightly outside the normal popularity parameters for listentothis (their third most popular song has 524,000 plays on Spotify), so I beg your leniency for this incredible group of musicians who are widely unknown outside Central America. It’s so outside the spectrum of my normal listening habits that I don’t really know how to classify this kind of music. All I do know is that the rhythms are infectious and the melodies compelling. I’m always somewhat surprised when a group of musicians who speak a different language and live in a place I’ve never visited can reach me through music in a way that transcends culture. The combination of predictable patterns and unfamiliar elements is precisely why I pause to listen.
Standout Tracks: Wiya Waist, Ideruni (Help), Magidu (The Market)
As in 2018, I’ve also been keeping a spreadsheet to track my top 500 favorite albums throughout the year. If anyone’s interested, you can view it here, as well as a 500 song playlist including one song from each album (link is at the top of the spreadsheet). Keep in mind that most of my top 500 albums don’t meet the popularity rules of this sub, nor is it the focus of this post. Since people asked for it last year, I just figured I’d share it again.
submitted by mgraunk to listentothis [link] [comments]

40 Best Songs of All Times About Poker, Dice, Cards and Addiction

40. Go Down Gamblin’ - Blood Sweat and Tears

Released in 1971, Go Down Gamblin’ by Blood Sweat and Tears is a song describing a gambler who is “born a natural loser.” He never wins, no matter what game he plays, but, he doesn’t feel like a loser. As the song goes – “Cause I've been called a natural lover by that lady over there, Honey, I'm just a natural gambler but I try to do my share.”

39. Gambler - Madonna

Gambler is a song written and played by Madonna, made for the film Vision Quest. Although the song reached the top 10 in the charts of the UK, Australia, Belgium, Ireland, Netherlands, and Norway, Madonna performed it only once on her 1985 The Virgin Tour. It’s a catchy song, we suggest you play it as you spin the reels of some of your favourite retro online slots.

38. The House of the Rising Sun - The Animals

Our list wouldn’t be complete without the 1964 hit song - The House of the Rising Sun by The Animals. Everybody knows the famous lines ”My mother, she was a tailor, sewed these new blue jeans, my father was a gamblin' man way down in New Orleans.” This single had a major success and made it to the top 10 songs on mainstream rock radio stations in the USA. Likewise, the hit was featured in the video game Guitar Hero Live.

37. The Winner Takes It All - ABBA

Whether we admit it or not, we all love at least some songs played by the very well-known Swedish pop group, ABBA. According to some sources, Bjorn Ulvaeus wrote the 1980 hit song The Winner Takes It All which was inspired by his divorce to his fellow band member, Agnetha Fältskog. The winner takes it all is a sort of a comparison to a divorce (especially the part ”I've played all my cards and that's what you've done too, nothing more to say, no more ace to play”), where one of them is the winner and the other one is left with nothing. And things are just the same when it comes to gambling, so we’ve decided to put the song on our list.

36. Shape of my Heart - Sting

We’re all aware of the fact that our gambling behaviour can be influenced by certain types of music and that's because online gambling and music go hand in hand. So, we suggest you start playing your preferred games with one of everyone’s favourite songs by Sting called The Shape of my Heart. It was released in 1993 and used for the end credits of the film Léon. In one of his interviews, Sting explained that the lyrics of the song tell the story of a card player who places bets not in order to win but to figure out something that’s been bothering him - “some kind of scientific, almost religious law.”

35. All I Wanna Do Is Play Cards - Corb Lund

“Well, I guess I really oughta be makin up songs but all I wanna do is play cards. I know it's dumb and sick and wrong but all I wanna do is play cards. Got the studio booked in Tennessee, and my record producer's callin me, the tape will roll in just three weeks and all I wanna do is play cards.” Does it sound familiar? It’s a 2005 hit by Corb Lund called All I Wanna Do Is Play Cards, once you hear it you’ll be playing it on repeat.

34. Gambling Man - The Overtones

When you’re falling in love, it’s perfectly normal to feel like you want to gamble everything just to attract that person’s attention to notice you and love you back. Well, Gambling Man is a lively 2010 song that tells a story of a guy fascinated with his love, so he places all his bets on her, as the song goes - “I played my hand, I rolled the dice, now I'm paying for my sins, I got some bad addiction.” This time, he feels that this love affair is different from any other – “Baby, it's you, yeah, yeah, that's right.” The song was released in 2010 and has been popular ever since.

33. Poker Face - Lady Gaga

Although the Poker Face song is more about the game of romance rather than the game of poker, the catchy refrain that starts with “Can't read my, no he can't read my poker face” kinda reminds us of winning at the tables, so we couldn’t skip it this time. Released in 2008, the song achieved worldwide success, topping the charts in the USA, the UK, Australia, Canada and several European countries.

32. Little Queen of Spades - Robert Johnson

Moving on to the Little Queen of Spades, a song title by the American blues musician Robert Johnson who recorded the song in 1937 and first released it in 1938. The first version of this gambling-themed song has a playing time of 2:11, whereas the second one lasts 4s longer (2:15), and is considered an alternate take and first appeared on Johnson's album The Complete Recordings, in 1990.

31. Train of Consequences - Megadeth

Another great song Train of Consequences is the title created by Megadeth, released as the first single from their sixth studio album Youthanasia in 1994. The song was later included on their compilation albums and its music video was the 26th most played video on MTV. There’s this part of the song “No horse ever ran as fast as the money that you bet, I'm blowing on my cards and I play them to my chest” – which is about a person’s gambling problem, who realises something’s wrong with this lifestyle, but it still hunts him down. Could be just the thrill, but he just can’t stop playing.
​

30. Gambler - Whitesnake

Released on the album Slide It In (1984) and appearing on the compilation album Gold (2006), Gambler is the song by the British hard rock band Whitesnake. These words may sound familiar - “No fame or fortune, no luck of the draw, when I dance with the Queen of Hearts, a jack of all trades, a loser in love, it's tearing my soul apart”. And in case you’ve never heard it, we think you should give it a shot, the chances are you’re going to love it!

29. Gambling Man - Woody Guthrie

Now here’s one single from 1957 - Gamblin' Man. The song was taped live at the London Palladium and published as a double A side, with Puttin' On the Style. Reaching #1 in the UK Singles Chart in the summer 1957, it was “the last UK number 1 to be released on 78 rpm format only, as 7' vinyl had become the norm by this time.” Written by Woody Guthrie and Donegan, this gambling themed song was produced by Alan Freeman and Michael Barclay.

28. Roll of the Dice - Bruce Springsteen

According to Songfacts, Roll of the Dice was the first Springsteen’s song he didn’t write by himself. In fact, E Street Band’s pianist Roy Bittan helped with the music, while Springsteen was in charge of the lyrics, starting with – “Well I've been a losin' gambler, just throwin' snake eyes, Love ain't got me downhearted. I know up around the corner lies, My fool's paradise in just another roll of the dice.” After he broke up the E Street Band in October 1989, Springsteen wrote lyrics for the Roll of the Dice (with two other songs) and liked them to the point where he began writing and recording more songs.

27. Queen of Diamonds - Tom Odell

Here’s one song about a gambling fanatic who’s trying to satisfy his own addiction but also someone else, hoping it’s going to save him. Released in 2018, Queen of Diamonds is Tom Odell’s song from the album Jubilee Road, based on the local characters that inspired this British songwriter to include the whisky-soaked gamblers who regularly visited one betting shop.

26. The Angel and the Gambler - Iron Maiden

Now, this song may divide Iron Maiden fans and it’s most probably because of its repetitive lyrics that can be a bit annoying. The release we’re talking about is The Angel and the Gambler. Truth be told, the melody in general is very catchy and, even a bit similar to The Who in some moments. As the song was released in 1998 while Blaze Bayley was its frontmen, it’s missing the well-known high-pitch vocals from Bruce Dickinson.

25. Ramblin' Gamblin Man - Bob Seger

We’re moving on to a rock single from 1978 - Ramblin' Gamblin Man by Bob Seger. The author meets an old acquaintance, a professional gambler who happens to be a swagger. As such, he attracts people’s attention whenever he bets. Putting so much of his faith in the cards (rather than in people), he walks away every time, just before avoiding loss. Along the way, the narrator realises that, if you scratch beneath the surface, you’ll find he’s a very cynical man, who will never change.
Another gambling-themed song worth mentioning by Bob Seger is Still The Same.

24. Blow Up The Pokies - The Whitlams

Blow up the Pokies is the next song on our list, played by The Whitlams. It is the second single by the group from their 4th studio album, Love This City. Released in the year 2000, the song became a hit and made it to number 21 on the ARIA Singles Chart. According to several resources, the lyrics written by singer Tim Freedman were inspired by the destruction he saw in original Whitlams bassist Andy Lewis's life, due to his gambling addiction.

23. A Good Run of Bad Luck - Clint Black

Now here’s one 1994-song packed with gambling-related terms. As you listen to A Good Run of Bad Luck, recorded by American music artist Clint Black, you'll have a bit of fun as you try identifying what all these gambling terms mean. The song is a bit fast and is about falling in love by using gambling metaphors. The main character is willing to spend a lot of money to win his special lady over and, although he has had a period of bad luck, he is not giving up – “I've been to the table, and I've lost it all before, I'm willin' and able, always comin' back for more.”

22. When You’re Hot, You’re Hot - Jerry Reed

Jerry Reed won a Grammy for the song When You’re Hot, You’re Hot which was released in 1971. Most people remember it as it was a major hit, ranked as number 1 in the country charts, also making its way up the Pop Top 40. It’s an enjoyable novelty song about the ups and downs of the gambling life, about one’s winning streak caught in an illegal game of Crap.
Country star Jerry Reed also came up with a version The Uptown Poker Club in 1973.

21. Lawyers, Guns and Money - Warren Zevon

Next one up - Lawyers, Guns and Money is a song by Warren Zevon, the closing track on his album Excitable Boy, released in 1978. An edited version of this song was distributed as a single and found itself on the A Quiet Normal Life best of compilation on the CD and LP. The song goes like this - “I went home with a waitress the way I always do, how was I to know she was with the russians, too? I was gambling in Havana, I took a little risk Send lawyers, guns, and money Dad, get me out of this, hiyah!”
​

20. The Lottery Song - Harry Nilsson

According to the man in the 1972 pop-rock song The Lottery Song by Harry Nilsson, there's more than one way to get to Vegas. Addressing his lover, the narrator mentions a few different options for buying a ticket and going to Sin City – “We could win the lottery we could go to Vegas,” and “We could wait till summer, we could save our money” as well as “We could make a record, sell a lot of copies, we could play Las Vegas.”

19. Casino Queen - Wilco

Now here’s one black-humoured gambling-themed song, released in 1995 and titled after a casino. Featuring a dirty electric guitar, Casino Queen was composed by an American songwriter, Jeff Tweedy, who wrote this song after playing a game in a riverboat casino accompanied by his dad. Inspired by the event, the author wrote: “Casino Queen my lord you're mean, I've been gambling like a fiend on your tables so green.”

18. Have a Lucky Day - Morphine

Another song on our list that you simply must check out starts like this: “I feel lucky, I just feel that way, I'm on a bus to Atlantic City later on today. Now I'm sitting at a blackjack table and swear to God the dealer has a tag says, "Mabel." Hit me, hit me! I smile at Mabel, soon they're bringing complimentary drinks to the table.” Check it out yourself - it’s called Have a Lucky Day by Morphine.

17. Kentucky Gambler - Merle Haggard

Written by Dolly Parton and released in 1974, Merle Haggard’s Kentucky Gambler is another song on our ultimate gambling playlist that you should pay attention to. It’s about a miner from Kentucky who leaves his family to gamble, under the bright lights of Reno. Unsurprisingly, his winning streak comes to an end, and he loses all his winnings. All broke, he decided to return back home only when he arrived, he found out his wife was involved with someone else.

16. The Jack - AC/DC

The next song on our list will give you some adrenaline boost, for sure. It goes like this - “She gave me the queen, she gave me the king, she was wheelin' and dealin', just doin' her thing, she was holdin' a pair, but I had to try…” Sounds familiar? This song from the 1975s is called The Jack and is played by AC/DC and there’s no way you can skip it.

15. Blackjack - Ray Charles

Moving on to something a bit different - a melody that blackjack lovers can listen to as they play is Ray Charles’ Blackjack. Apart from being a good quality song from 1955, it carries an important message with an emphasis on how brutal the game of blackjack can be. Some sources say that Ray Charles wrote it after beating T-Bone Walker at a blackjack game session.
Yet another Ray Charles’ famous song about gambling is called a Losing Hand.

14. Ooh Las Vegas - Gram Parson

“Ooh, Las Vegas, ain't no place for a poor boy like me”... is a song-into for Ooh Las Vegas which was written by Gram Parsons and Ric Grech. It was first released by Gram Parsons with Emmylou Harris in 1974. Playing this song would be perfect for the beginning of the road trip (i.e. to Las Vegas), especially if you have the energy to sing along.

13. The Stranger - Leonard Cohen

Published in 1968 and performed by Leonard Cohen, The Stranger appears in the The Ernie Game movie about a man released from a mental asylum. More appropriately, it is the perfect opening song in the 1971 Western McCabe & Mrs Miller, in which Warren Beatty plays a gambler. As you listen to this song (without watching the movie), it makes you see fascinating images of card games, smoky dreams, and concepts of risk versus safety.

12. Desperado - Eagles

Written by Glen Frey and Don Henley, Desperado song is one of The Eagles’ greatest hits from their 1973 album of the same name. The song features a classic tune while the ballad tells the story of a lone wolf imprisoned by his loneliness. As for the lyrics, they have loads of card references mentioning the queen of diamonds, the queen of hearts, and so on.

11. Huck's Tune - Bob Dylan

The next song on our list is about the risks of poker, money, and relationships, which are precisely what the movie Lucky You is all about. Does it ring a bell? That’s right, this 2007 song is called Huck’s Tune and is performed by Bob Dylan. Each of us can all relate to lines "You push it all in, and you've no chance to win, you play 'em on down to the end." Play the song and you’ll enjoy more than 4 amazing minutes of Bob Dylan.
Likewise, Bob Dylan recorded Rambling, Gambling Willie and Lily, Rosemary and the Jack of Hearts, both excellent and both inspired by gambling.
​

10. Four Little Diamonds - Electric Light Orchestra

A song by the British rock band Electric Light Orchestra Four Little Diamonds was released in 1983 and found itself on the album Secret Messages. The single wasn’t so popular in the US, being only 2 weeks on the Billboard Hot 100 chart, at number 86, and number 84 in the UK. This song refers to the singer’s cheating lover who tricked him out of a ring which had 'four little diamonds' on it.

9. You Can't Beat The House - Mark Knopfler

Moving on to our next choice for the day, You Can’t Beat the House. It’s the third song on the Get Lucky studio album released in 2009 by British singer-songwriter and guitarist Mark Knopfler. The album and the songs received favorable reviews with the album reaching the top three positions on album charts in Denmark, Germany, Italy, the Netherlands, Norway, and Poland. The singer’s divine voice combined with beautiful music and lyrics goes like this – “You can't bear the house, you can't bear the house, tell the man somebody, you can't beat the house.”

8. Deck of Cards - Don Williams

Deck of Cards is a recitation song that tells the story of a soldier who gets caught while playing cards in church and then faces a sentence from a superior officer. The soldier defends his case, explaining he wasn't about to deal a hand of poker, but was rather confirming his faith with the cards. Performed by T. Texas Tyler, the song managed to become a major hit in the 1940s and 1950s. Also, Wink Martindale had an even bigger hit with his 1959 cover, with a successful version by Don Williams featuring Tex Ritter and Buddy Cole.

7. Gambler’s Blues - B.B. King

First recording of the song Gambler’s Blues by B.B. King was in 1966, and it was released in 1967. The song appears on the album Back in the Alley (1970). Some say gambling and blues go hand in hand, so if you (gambling fans) haven’t heard it, listen and see for yourself.

6. Tumbling Dice - Rolling Stones

One of our favourite songs on the list is Tumbling Dice, written by Mick Jagger and Keith Richards. It tells the story of a gambler who can’t remain faithful to any woman. Being released in the 1970s and featuring a blues boogie-woogie rhythm, the song was and still is one of the greatest singles of all time.
Rolling Stones also recorded Casino Boogie, and it’s from their 1972 album, Exile on Main St.

5. Luck Be A Lady - Frank Sinatra

The next song on our list is about a gambler who hopes that he will win a bet, the outcome of which will decide whether he is able to save his relationship with the girl of his dreams. You probably know what song we’re talking about; it’s called Luck be a Lady released in 1965 and performed by one of the most popular musical artists - Frank Sinatra.

4. Deal - Grateful Dead

Next one up is the song Deal. It was first performed by the Grateful Dead in 1971, as a regular part of the repertoire through their 1970's tour. Although being less common to the fans during the 1990s, the band continued to perform it. The singer opens with the message: “Since it cost a lot to win and even more to lose you and me bound to spend some time wondering what to choose,” that later kicks off with a chorus: “Don't let your deal go down...”
Loser is another song first performed by the Grateful Dead in 1971 as well, heavily played during 1971 and 1972.

3. Ace of Spades - Motörhead

Ok, the next song is loaded with some great gambling verses like "The pleasure is to play, makes no difference what you say, I don't share your greed, the only card I need is the Ace of Spades" will definitely set you in the right mood for hitting some winning combinations. Released in 1980, the song was inspired by slot machines that the lead singer Ian Fraser “Lemmy” Kilmister played in London pubs.

2. Viva Las Vegas - Elvis

As soon as you start playing the second song from our playlist “Viva Las Vegas,” you’ll probably picture a huge casino and a great gaming atmosphere. Performed by the legendary Elvis Presley, the 1964-released song brings the glamour of the city, and its beat will get you in the mood for some serious gameplay. This song was written for the movie of the same name starring Elvis Presley, in which he plays a race car driver waiting tables at a hotel to pay off a debt. There’s this famous scene when he performs this song at the talent competition alongside many showgirls.

1. The Gambler - Kenny Rogers

Performed by the legendary country singer Kenny Rogers, The Gambler song is our number 1 - it's full of some betting advice that are relevant today, even though it was released more than 40 years ago, in 1978. Here’s how it goes… “If you're gonna play the game, boy you gotta learn to play it right, you've got to know when to hold 'em, know when to fold 'em, know when to walk away, and know when to run.” These classic chorus lines were told from the first-person perspective inspired by a conversation the author had with an experienced poker player on a train. Written in the form of poker metaphors, Schlitz wrote the tune in honor of his late father.
Johnny Cash is also among other musicians who recorded The Gambler in 1978, on Gone Girl.

What do you think? Which one is your favourite?

submitted by askgamblers-official to onlinegambling [link] [comments]

Yung Lean Radio Interview Transcript

[UNEDITED]
I saw that many of you non-swedes wanted to be able to enjoy the recent interview he did in Swedish. I have not had time to edit the text yet so it will be filled with spelling mistakes and such but if I have time later on I might fix that. The interviewer is called Mats Nileskär and he alternates between asking questions and explaining stuff so that's why sometimes it's just him retelling things that lean said earlier. Anyways here is the transcript:
Mats:
There was once a sixteenyearold full of love for screw, drill and Florida trap. Full of fascination for fantasy figures and the cinematic. He rapped honest, drowsy, tentatively and almost apathetic to strange, mind expanding beats. Music that didnt exist in reality. Yung leans journey from his laptop in his room in Södermalm, to sold out shows and rock star dreams in the country of Hip Hop. It is one of the most beautiful stories in the history of Swedish music. And like all beautiful stories it holds plentiful of darkness. Yung Lean could have ruined everything and been scarified on the emo rap scene. Instead he became the influential survivor. Yung Lean and the producer friends in Sad Boys changed the world and intertwined with something beyond their own existence.
Lean:
I usually don’t sit and count who my influences are. Because I have always had a lot of my own influences that I have payed homage to. But sometimes I don’t think about stuff and then I get a dm on Instagram. Like I got a dm from Trippie Redd that read like “Shoutout to one of my biggest influences.”
Music break
Ugly God. Like lots of rappers that I wouldn’t think were fans of me. Then there are these that are a bit more obvious like maybe suicide boys, Pouya. When they meet me at festivals, they are fans. And I don’t want to come off as bragging, it is the same way when, like I met young thug once in New York, and then I get star struck, I am a fan of him, nothing weird about that. But there is like, you know, group from group, it goes back. If you look at Wu Tang, and then it goes down, it gets weirder, like Odd Future and Asap Mob. And when we started, there was probably more people that thought like, like Yung Sherman, Yung Gud, Bladee, and all in Drain Gang and Sad boys and this is what we look like, we can also do this. I think we made it even more easy to access. And even more like, you only need a computer and internet. And less of, like maybe you don’t even have to skate, maybe you don’t even have to live in New York. More of like, you have a concept, and we were strict with that concept, we had a clear aesthetic, a clear way of making music videos, a clear message. It was easy to take things from that goth aspect, or the sad aspect, or like, people had purple hair like Ecco had. People dressed exactly like Bladee or Sherman, or rapped like me. And I still think that I see that today. And I’m proud, and I’m happy. I don’t see it as something negative, like, shit these boys are stealing or all these rappers are stealing, it’s more like, in that case I have also stolen. Everyone has been influenced by something, and as long as you are not ashamed about that, it’s okay, because that is how it goes. People can be like, I’ve never listened to Yung Lean, And I can see that they obviously have, and like…
Music break (Unreleased Lean)
Lean:
We got a lot of the autotune aspect from, like Bladee and Whitearmor started using it a lot, and me and Micke (Gud) used it a lot. For us that was inspired by Future and Atlanta. And Casino and the first FBG mixtapes with young scooter and all those. Like those were using autotune. But we were from Europe, like, we are from The Knife country, Håkan Hellström, Broder Daniel (Swedish artists), it is more like Kraftwerk when we do it. It is more monotone, a bit more dead, maybe a bit more ABBA english. It is a bit more depressing I think. And that is not something you try to do, it just ends up like that. And then I think that, a mix of that, we we got big during 2013, Hip Hop went more Nihilistic, dark, it was grim. The way Chief Keef rapped, everything after Finally Rich, Bang 2, Almighty So, it was like melodies but dark mumbling about killing people. Hip Hop was going that way. You no longer had to have a hook like “Woke up in a new Ferrari”. The whole song could be the same melody.
Mats:
The bored and monotone mumbling turned into an anxiety lowering melody. And a manic flow of words. Yung Lean and sad boys, deeply uninterested in conventional song structures landed in the beginning of the start of a new era. Post Hip Hops surrealistic and psychedelic era. The new era was open for people that had not belong before. People that looked and sounded like Lean. A new sound, a new way to experience and listen to music. It was perplex and fascinating. Something Sad Boys happily utilized.
Lean:
Yeah, it’s true. As long as you, like for us it was the natural thing to do. For us it wasn’t that we were exploiting this style of music or what they were doing in the US. For us it was more like, I have rapped since I was a kid, same for making beats for Micke. Drain Gang had a punk band. All of us made music. And when the time came it was just logical for us to take part. Same with rapping in English, it just came naturally. I actually lived in Vietnam three years before that. My mom is a diplomat so I was in the English school and spoke English so rapping in English came naturally. That the beats were slowed down, that, like everything was a bit weird, it came naturally to us. And of course the timing was perfect, it wouldn’t have been able to come at a different time. I think I’ve said that before. That if that had happened in 2009 it would have felt fake. I would have had to be more of a Paul Wall character or like Petter (Swedish Rapper). I was very lucky with coming up during that time. But after all I was just being myself to 100%. I think that if I hadn’t been, it wouldn’t have worked out.
Music break
Lean:
Except for you and some others it was typically Swedish, a prime example of how it is in Sweden. A Swedish artist comes up, something they don’t recognise. They think it’s embarrassing. A Swedish sixteen year old boy from Södermalm, a middle class boy. He shouldn’t be doing this, it’s embarrassing. They wouldn’t want to touch me with a ten foot pole. He can’t be included here blah blah blah. But the second that the US started appreciating it and when he was in the New York Times or when he collaborates with Frank Ocean or other big names. Then they are ashamed of themselves. Like “Oh shit, he is Swedish, he is with us now…” It’s typical for Sweden, the law of Jante, like you shouldn’t think that you are somebody. That was basically what I witnessed since I was sixteen. It’s sad that we can’t trust each other and support everyone. I really believe that there is room for everyone to make it in Sweden.
Mats:
What did it do to you, experiencing this? The Journey from hate to understanding and in the end to love.
Lean:
I think that it might have been easier with hate. To be completely honest, if you look back at a lot of rappers, when they were hungry, when they were still hated or underground, they had so much to give. And I had that kind of idea in my head. That it was more exciting when Sweden hated me and I was only famous in the US. I really thought it was interesting. But I have matured now, time has passed, six seven years since we talked. The music I make now is different. If I had not been loved and was still hated, it would have been a bit perverse. Maybe then I had only been provoking just to provoke. I don’t like that. Right now I think I deserve to be where I am. I wouldn’t want to be in any other position.
Music break
Mats:
What happened when you got to the US for the first time, as an unlikely star?
Lean:
What happened? I can’t say I remember a lot. We were very young. Suddenly we were sitting in limousines. Lots of drugs, lots of illegal substances. We were very young, you know almost like a Metallica documentary, suddenly someone is sitting there with a knife in some group or something. No but a lot of things went downhill, but all the gigs were so much fun. It was some kind of friendship, like a family. You can’t take away all the gigs and the touring we did in the start. When we arrived in the US, it’s like, you know Femi, Emilios girlfriend, that has been with us since day one. She says it’s like we were all a part of Lost. Like the airplane crashed and when we meet each other now all of us know that we were part of that. Character wise I don’t remember anything that was any special. I remember us playing at Röda Sten in Gothenburg for 150 people. And when we got to New York we sold out Webster Hall twice, back to back. And rappers were contacting us, we were hanging out with artists. It was another level of respect. I guess I’m a bit like you there. I’m a hip hop nerd, always have been. When I started expressing myself through this music it was easier for Americans to understand what the fuck I was doing than for like a 40 year old Swedish man. So there’s nothing weird about that. But I wish I remembered more from the first tours (laughing).
Music break
Lean:
You are sixteen, you go to the US, you are living in some hotel, you get to meet some drug dealers from Florida whom are also promoters, they have a Cadillac, and someone is backstage and lots of different rappers are coming in and suddenly Travis Scott is there and blah blah blah. Things are happening all the time. You wake up in a bed there are people around and then you have to go on stage. (Lean starts talking about something else) Is that David Lynch? Sorry we are watching a movie, we are watching Dumbo. (Back to interview) I wasn’t really ready for that. That it was going to be so much work. You don’t think that but there is so much work. Now I can do many shows. Like the last tour that I did sober I was able to do like 70-80 shows and been able to do that but you are still tired. Like you have to workout and sleep. But back then, where did all the energy come from? Including all the drugs and the shitty sleep and all partying. I don’t understand it at all.
Mats:
Let’s talk some more about Florida. How was it to meet spaceghostpurrp who sort of created the foundation for what you got your inspiration from, the do it yourself attitude, punk, the south, three six mafia meets other genres in Florida. How was it to meet him?
Lean:
I-I have to be completely honest. Spaceghostpurrp is insane you know. He is crazy as a human being. I think he is bipolar and doesn’t take his meds. And the people who actually met him, I met Denzel Curry, Travis Scott and some other people from raider klan, while all the rest of Sad Boys met Spaceghostpurrp. Because I had a bad comedown. So I didn’t meet him that time but our old manager was a good friend of him and he is a misunderstood legend, he really is. But the whole thing about him is like Rocky, the pretty artist and the genius ugly duckling. We both know that Asap Rocky got more famous because he is prettier and it just fit better. The picture was prettier to give to the people than that of spaceghostpurrp who was kind of wacky. But yeah I hope that everything is good with him. I have no contact and don’t know how he is doing nowadays, I don’t. But blacklander was some of the best. I remember when that was released and I was in eight or ninth grade. First I was so into MF DOOM and madvillain and then suddenly I saw a picture of Odd Future and then spaceghostpurrp came and then that was what I wanted to listen to all the time. And via spaceghostpurrp, I remember he linked a lot of good artist that I started listening to. So then came Waka Flocka.
Mats:
It must have been like heaven, but as time would tell also hell. Landing in Florida.
Lean:
It feels good. We were there a bit too long but it’s such a special feeling. You can go to Everglade and see alligators and you really feel all that in fort lauderdale that is it like a swamp. We recorded at a place called pink house, pink mansion. They had a lot of brick that they had thrown down so that it became pink. Rick Ross had recorded there and it’s really Florida. People run around with machetes and it’s voodoo and all of that Haiti thing. Music break
Lean:
And then we were there in the pink mansion and recorded all of Warlord. It was insanely creative and it was like, I guess like when you read about Black Sabbath recording it feels like you have like a demon in you and you just make so much music and don’t realise what’s happening and yeah it ended up bad. It ended up with me at the psych ward, smashing a balcony and covering myself in the blood and the same night my manager died and then I got back to Sweden and was in convalescence, like at the psych ward. After that trip a lot of things changed in my life. I remember after a while when Hoover was released, maybe two months after. All the boys, I remember Axel and Benjamin, Bladee and Sherman was like, this might be Jonathans last video ever. And I was sure of that as well for a while. My mom helped me write a CV and I walked around with that and was thinking about working at a kindergarten.
Music break
Lean:
I was so fucking tired, of all that had to do with music, and all that shit.
Music break
Lean:
It went down like this. Barron, may his soul rest in peace, me and Benjamin and Hunter lived in an apartment that was owned by Barrons father, who’s a lawyer named Stephen Machat. Stephen was a lawyer for Ozzy Osborne, Nate Dogg and his father, Barrons grandfather, was the lawyer that cheated Leonard Cohen out of a lot of money. So it’s a lawyer family. I had started to go into psychosis, or like drug related psychosis or an overdose for some days and I wasn’t feeling any good. Barron and Hunter was out to buy some paper, paper and soda. And while that’s happening, at the same time that Barron crashes, I’m smashing this balcony without knowing what had happened. And Benjamin calls 911. I was not in the car with him and the car did not catch on fire either. He crashed into a tree. There are a lot of weird versions of that story. But I have also heard a lot of terrible things from family members and people around that were sure that I was the devil and that I had evil powers and all that. If you think about it, I was seventeen eighteen how the fuck can you put the blame on a seventeen year old. It was tough for me as well. But I have no magic powers. Unfortunately. If I had I would use them for good things.
Mats:
It was the father of the manager, Stephen, that accused you of being pure evil.
Lean:
I wonder why it was me that got that since he has worked with like Ozzy Osborne and have told stories about when Nate Dogg ran into his office with an AK-47.
Music break
Lean:
Yeah I wonder how I ended up being pure evil. But I guess there was something there, Swedish folklore with midsummer powers.
Mats:
The troll syndrome or something like that?
Lean:
Yeah haha, exactly, the big monster, Näcken (Water spirit) haha.
Mats:
But there is something provoking about it still right?
Lean:
When it is about peoples lives. I knew Barron, we were with each other every day. It is not fun to be called the Devil or pure evil when I was just seventeen and ended up at the psych ward. It’s about real peoples lifes. You can’t just call young people those things. And of course I understand that someone is scared and upset because their child died, but you can’t put the blame on people or call them things like that, it’s sick. But if it had been in a completely different scenario I would probably have been more proud of being called that. If it had to do with my music. But when it’s about real things it’s just scary.
Music break
Mats:
Yung Lean took drugs, dressed up as a nurse and wrote an unreadable book about his life. Everything got out of control around the making of the dark album Warlord. Where Sweden and Florida in songs like the Billy Bragg sampled song Miami Ultras. Yung Lean took an overdose, experienced psychosis and ended up at a mental hospital. At the same time he lost his American manager in a car accident. Barrons father, the well known show business lawyer with ambitions to reach the American senate put the blame on Yung Lean. He planned to release an unfinished version of Warlord. Back in Sweden, Sad Boys could see how a version of the album had leaked.
Lean:
Yeah shit I remember that. Yung Sherman was celebrating his birthday and we were out bowling, or maybe it was his old girlfriend who was celebrated and suddenly everyone was on their phone like shit, Stephen has released it all. Directly on band camp connected to his account. Unfinished versions of the songs, the song names were wrong. We had been working on that album since we got back home, it was all we had. Leaks can be the worst things. If you have been quiet for so long and so much has happened and you just want to release Warlord the right way, with the correct videos and artwork and then something like that happens. It’s like a fucking punch to your face. We lost a lot of hope that day.
Music break
Lean:
I think that the most crazy, for me, was a while ago, the had been at Fort Lauderdale at a large fair and I had bought a costume that was made for nurses and I wore that all the time. We were going to a hotel with an artist and he was buying weed from a stripper. And when we are at this hotel a man in there is arguing with the workers there and he has a large entourage and I recognise the voice. I’m like it’s Jim Jones, Jim Jones from dipset. I did not realise It by then but I had started living a little in my own world. I was begging to enter the psychosis. I was wearing the nurse outfit and took a picture with Jim Jones and we talk for a while. When I have looked at that picture years later I’ve been like what the fuck is this shit.
Music break
Lean:
Who was it, I think it was The Who, who met in a clothing store, and a guy was like you should make music. And then they made music. And it kinda felt that way, like yeah you guys should make this music.
Music break
Lean:
Sad rap, haha. Sad rap is quite a sickening term. It shouldn’t exist. We don’t make sad music. When you start going into the dark water you just want to go deeper and deeper. And you can only get back up when you are really hit by the waves. It was a mixture of destructivity, teenage anxiousness, and yeah, just how I felt back then.
Music break
Mats:
What for some appeared like a smart joke in the beginning, and for others like INAUDIBLE (he speaks danish accent Swedish) entertainment had in the middle of the 20th century attracted a dedicated fan base in the US. Something that no Swedish rapper had dreamt about. Yung Lean saw the opportunity to create surrealistic art and shabby rap. And history was written when Yung Lean was the first swede to enter the top 40 American R&B list. A list whose history goes back to Harlem Hit parade, 1942, where leaders like Louis Jordan and Lionel Hampton ruled. Yung Leans Unknown Memory entered at 36th place on the album list, right above Kanye West and under Migos. It was October 2014.
Lean:
It sounds like a lot of fun now that you say it but the most fun was just if the songs and the album were great for me, like it goes so far. Prices and stuff comes but it’s so temporary compared to creating it, what you have gone through to create the music.
Mats:
Yung Lean was a a part of the drug cult. The cough syrup drinking and pill popping that defined a depressed generation. Lil Peep with Swedish roots had just started building his emo vision, related (musically) to Yung Lean, and Juice WRLD stopped breathing after just a couple of albums.
Lean:
The death that affected me the most among those is a person that I didn’t know that well. But it was when I met Fredo Santana and we were in the studio. Me, Fredo, Axel and some of his boys. He was the kindest. We were listening to get rich or die trying and made a song together. He was a really good guy. And the day after I got a message that he was dead. It’s not more than that. In the US and in Sweden. I have friends that have died from benzodiazepines in Sweden as well. I think that it has a lot to do with, like lean, it goes hand in hand with the sales. Lean, Codeine. First Actavis, and then it gets so expensive and after a while completely banned. Then people start drinking red, and it costs like a thousand dollars a pint. You can’t pay that much unless you are a rapper. If you are a rapper you get special prizes. And then you want to get cheaper stuff, you want to take the same things as the rappers you look up to. I guess that once everything was very weird. Around 2013-2014, there was ILoveMakonnen there was, like mushrooms and that stuff. Before it was all opioid based with Percocets.
Music break
Lean:
It felt like, I don’t want to be that guy but, the music often gets very interesting when people are trying different stuff. I think that’s the sad reality. Maybe not with my music. I feel as I can create more when I’m sober. I have tried most of the drugs so if I feel I want to channel some type of drug I can go back in my memories to get the feeling if I want to sound a special way. If you think about like Young Thug when he made I came from nothing, you could hear he was all fucked up. You can’t do that sober. Gucci Mane is also an example. But now Gucci mane is also an example because now he’s skinny, he looks good, he has a great body, he has his wife, I wanna give him that. I don’t want him to be fat and have a codeine belly, be constipated and on the brink of dying all the time. I want him to look like he does now. I will sacrifice the music for that. His music is not good any more. But fuck that I can listen to the old songs. I’d rather have him healthy. And with Future as well. That he is afraid of going public with having quit lean because his fans wouldn’t trust him no more. That’s sad. But the music is explosive now. There is more hip hop being created now than ever before. It used to be kind of a mainstream genre with Lil Wayne and people thought it was a joke and the underground stuff was much cooler. But hip hop now, the biggest artists, it is the most experimental genre right now. It is more experimental than experimental indie pop. They use more drugs than those who do experimental jazz. It is weirder than punk. It is the weirdest there is right now. And people just have to live with that. That so many people die on the way doesn’t have to be a part of that. It could continue to be this special without people dying.
Music break
Lean:
Much of the trap you listened to in the beginning was like, more voices, almost choirs, Siberian choirs. Gucci Manes adlibs are louder than the main track. One of Chief Keefs biggest hits, Citgo, you can’t even hear the instrumental. There’s like six different layers of “smoking on the gas, gas citgo citgo”. It’s amazing. It’s weirder than anything else and I think I saw it from my own perspective. For me, all the elements of hip hop ant trap, and the clothing, has been art. And my way of expressing myself, minimalistic, if it’s with an iPhone camera or if I get to direct a whole video, it will always be done my way. It’s a mix of movies I’ve seen, experiences I’ve had, colours I think about that day. I think that this timing. Luck doesn’t exist to put it that way. If I am allowed to leave it at that. Haha.
Music break
Mats:
When you got back to Sweden from Florida. Your dad picked you up right?
Lean:
Yeah, I think both my parents were at the airport. You mean that my dad came to Florida and I walked around the mental hospital and I called my dad the king of California, because I didn’t recognise him. I just told him several times, “Are you the king of California?”. He became quite sad, but he has also been able to joke about it a lot now. There was one story that was quite scary actually. I kept saying that there was a doctor that was coming in and fucking things up for me. He was threatening me that I was gonna go to juvie and things like that, threatening me. And my dad asked me what the doctor looked like and I explained it to him. And he was like, that is not a doctor, it’s the guy who comes in to clean. He just came in to provoke me. And I was told that months later. It was quite scary. I have actually been at the psych ward in Sweden as well, much longer than in the US. 2017 I was at Danderyds (place outside of stockholm) closed section for a month. For psychosis as well, but not drug induced. But I have been sober now for two almost three years. I work out, I do boxing. I’m really happy and I’m more creative than ever. I think that everything that we’ve been talking about, me being a part of drug culture. Kids that say like, Yung Lean, I smoked my first joint for you, I took my first E for you. They would have done it to someone else’s music as well. I promise that. I’ve never pushed anyone to do drugs, I promise. I’ve just told it how it is, from my perspective. And you can do exactly the same thing and be sober as well. It is as much fun if not more fun. If I go out to club now, I can be out all night, I don’t get tired. I have much better relations now with everyone around me. I’m just a happier person. I think it’s much more fun for me to do this interview now compared to last time.
(They put in a clip from the interview they did way back)
Lean:
It sucks to be in school but that’s also a way to be down to earth and not feel so like I’m so fucking special, which I’m not. In a way it’s nice to be in school. Like, I’m no superstar. I have a normal life. It’s nice to live out my teenage life before something crazy happens.
Mats:
How old are you right now?
Lean:
I turn eighteen this summer.
(Back to the interview again)
I was at the Mount Sinai (Medical Centre) in Miami. And I found out Avicii was also there when I watched his documentary. And when at the hospital in Danderyd. It was very nice I must say. I was fucked up, completely manic, but it was a very nice place. Big up to the Swedish health care. That they put up with all the people there.
Music break.
Lean:
Those hours. All the people who are there, who try to break out, or try to commit suicide, or are screaming. You are laying there and you hear screams all night. It’s like being in a nightmare 24/7, plus that your own head is a nightmare 24/7. I had plans of escaping, I had a map of the hospital that I took a copy of and hid under my pillow. It was like One flew over the cuckoo's nest. You walk around there.
Mats:
Do you remember when you started making music after all this? The first attempts at getting back there musically.
Lean:
I was still a bit manic and when I was allowed to leave for some hours I chose to go to the studio. So I was driven to the studio from Danderyds hospital. I recorded six songs and then had to go back. When I finally left and was convalescent and quite low because of all the medication I just chose to never listen to those songs)
Music break (Lean starting singing I’d rather go blind by Etta James)
Lean:
I have no idea what I’m talking about there. I don’t really want to know. I just remember that I made a listen to your heart cover and I made a version of Etta James song because I had listened to that so much when I was at the hospital.
Music break (Lean continue to sing I’d rather go blind by Etta James)
Lean:
In the beginning you just try. You are like Bambi on the ice, trembling. But then I finished Stranger. We had made that album before I ended up at the hospital. Me and Micke finished it in the studio and then Whitearmor and I did our own tape. We went out to Mariefred where a guy named Pontus has a studio. He produced Britney Spears Toxic. And there we were making Poison Ivy. It felt very nice to just clear my head and the music turned out great. Those days were nice.
Music break
Mats: (talking about the upcoming album)
The adventure continues. The new album that follows up the anxiety filled milestone, Stranger, is punky millennium R&B, that can only be made by Yung Lean.
Lean:
It’s everywhere. Some of the songs are almost like ballads and some are more to the classical witch house, others sound like some, you know SVT Play (Swedish national TV) intro with piano haha, it’s everywhere. But I’m very inspired by The Stooges, I wanna be your dog. That song, and R&B.
Music break
Mats:
Jonathan spend the first time of his childhood in Belarus.
Lean:
You know you have some fake memories. You have a picture of an apartment. But I have one memory that I’ve been told so many times that It’s like I can see it. It’s when I was at kindergarten and my dad comes to pick me up. He asks for me and I’m not with the other kids. I had been bad so I was put in the corner with a large cone on my head. My dad walks over there and since he is Swedish he gets super mad and wanted me to quit going there. My mom was calmer and explained that that’s what they do, nothing weird about that, just some discipline. My mom is grown up in Soviet you know and went to a Russian school. Two different worlds. But I have lots of nice memories from there. I went to a school theatre and danced in snow and that stuff. I must have been a Pinocchio, somewhere around there I turned into a donkey. The cigar came. (Referring to https://www.youtube.com/watch?v=fCBjfgXg8A4) I had a very nice childhood, middle class, Södermalm. My dad’s a writer, raised in Söder as well. My moms raised in Russia, she’s a real boss. She has had a crazy life. One time she told me that she was a cleaner at an embassy, and that one day she would be in those rooms. Now she is becoming an ambassador in Albania. She has worked her way up. I’m very proud of her. We lived in Söder. I have been to a lot of schools, Södermalmskolan, Gamla Maria, Katarina Norra, Kärrtorp…
Music break
Lean:
When I got back to Sweden from Belarus I started going to a kindergarten. It is one of my first memories. I was still speaking Russian and I so badly wanted to be understood. I walked around speaking in Russian Swedish, can I have milk and bread, can I have milk and bread. I really wanted to learn Swedish so I forbid my parents to speak Russian with me. That was very stupid, I really wish I hadn’t said that. I wish I had learnt Russian as well. Music came into my life early. It was what made my life fun. It was always my thing and what I was good at. I think I said that last time we talked. When I was young I got a little bit famous with a song called Söder Söder. I was opening for Adam Tensta (Swedish rapper) when I was in fourth grade. Then I made a mixtape with a friend during a summer, and I made a lot of music with my sister. I dressed up and put on makeup. Went to school and listened to Green Day. You know, you wanted to, I basically dressed up the way I do today. I did the same thing back then as I do now. The only difference is that I make money now.
I think that they were worried a lot. I guess the drug aspect of it. When you get so interested in things, those things comes with it. When I was I seventh grade I was caught with some weed, petty shit, and yeah they were worried about all that. But in the end they have been very proud and they will come tonight to my show. They have been to so many of my shows and they are very proud. If I make a good song I want to show it to my mom. If she likes it then it will be released. Same with my dad. I don’t know if they understood if they that there was always something extra or something special that I wanted to do. I guess you will have to ask them about that. But I know that they are proud.
Music break
Lean:
I think it’s so much fun. That I’m Swedish and that there are not that many Swedes that like me. I means that I’ve made it. I remember when I went out to eat with my mom, she had got us Indian food, I told her that I had gotten a gig in Gothenburg. And she asked like for who, for yourself or what? She was just laughing at me. I had to convince her, showing the event. And she asked like, Yung Lean, is that you? And I showed her videos and she still didn’t get it. I finally had to call Emilio on speaker and have him explain it to her. My dad didn’t get any of it either. It was quite tough because someone had written an article where it said that I was the son of Kristoffer Leandoer, the horror writer. He was so mad, I came home from school and he was furious. He was like “What’s all this? My name, and this song, greygoose?”. But afterwards when he understood it he was proud. But no one ever understood how big it was. I was at my room all the time. We remade the basement into a small studio and I was always there. I was smart with that shit. I got like Lofty 305 and people from Miami and small underground people that I kept sending my songs to. I just sat home and we had this Tumblr that Axel created and we were like dolphins, we communicated directly to the fans, even if I had like 3 fans, and suddenly I had ten thousand fans, and we still communicated directly to them. They got to know all about us. They knew exactly what we were doing.
Music break
(Again a clip from the older interview when Lean was seventeen)
Lean:
I do not claim that I do all the things I sing about in my songs. I’ve never said that. That would be completely crazy. I wouldn’t be a good seventeen year old then. It would be insane. But I guess you should believe that Yung Lean doesn’t exist. That he is just some fucking seventeen year old that’s completely crazy, and then the real me comes in and say things and have real emotions and real lyrics. I guess the mix between those things are Yung Lean, that’s what Sad boys are. The mix of what’s real and what’s not. That’s what the listeners have to think about themselves, and decide what they want to believe and now. And what they like, is it the music or the person.
Mats:
And it is when you balance that where everything becomes interesting.
Lean:
It’s exactly that. And it’s so nice because you get to do that, while really you are not allowed to do it, it’s completely wrong, but if you really want to do it, do it, and then you do it. Everything that’s written should have to be thought of several times, nothing should be just straight forward. I get it, that’s good, now I won’t listen to it again. That’s no good. If it’s an album or a song where you get everything there’s no fun in it. It’s like watching a bad film. You want to see something that leaves an impression. It’s much more fun that people talk about me. Rather than that they just say like he’s such a good rapper. It’s not like I’m trying to be a weird rapper, I guess that what I feel like doing, that’s real. I make things from myself. I don’t rap about these crazy things because I want to be like that or because I want to build up an image. I do it because it’s what I feel like doing. I do it because it’s what I want.
Music break
(Back to the new interview again)
Lean:
I remember Charlie XCX saying that her and Robyn had been in the studio and she had shown her Ginseng strip and they had been like turn it off, turn it off. They hated it. And then some days passed and both of them had listened to it by themselves. And when they came back to the studio the just kept on listening to it. It’s like you have to hate it at first. It’s so provocative. Like he looks this way, or it’s so honest, or it’s just something. It’s too close, or I don’t know. Like it’s still a meme on all my YouTube videos. Listened first time, hated it, listened tenth time, my favourite song. It’s the Yung Lean effect.
Music break
Lean:
I would love to make film when I get older. I would like to make film of greek tales. There is a tale of a man called Geryon, he is completely red and has a red dog and lives on a red island. He is killed by Hercules. I would like to make a film about that but more of a psychological thriller. Kinda like pusher, Snabba Cash (Swedish movie) meets Greek mythology.
Mats:
You have the John Ausonius (Swedish serial killer) project, you are drawn to darkness.
Lean:
Yeah, yes I do. It’s natural and not at all an image. I remember my dad joking about that when I was small. I always wanted the orchs to win in the lord of the rings, and that Voldemort was much cooler than Harry Potter. I think it’s quite simple psychology really. That it’s just more interesting. If I had a history of real darkness. Like growing up in war or torture. I think I would be very interested in happy stuff. But now I am not. You are attracted to what you are not from, where you don’t think you belong. But where I am is where I belong the best. I am privileged where I do not belong any more. I think everyone wants to find a world where they don’t naturally belong. For me that has been music. No one in my family had anything to do with music. No one has been a rapper. I have always felt at home in front on a microphone.
Mats:
When you found the darkness in Florida and managed to get out of it, was it mission completed?
Lean:
I don’t know if it was mission completed really. Barron died so I would want to take back a lot of what happened there. I think I had the darkness within me before that. It is inside of you.
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