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Courtesy of Kung Tunes

247 Spyz - Gumbo Millennium - 50:16 - 1990
The big problem with this band is, they think their cool. They could almost pull it off it they didn't try, but as it is, they come off like nerds from band class who actually have some talent and rich parents. The first little instrumental song is great, but after that, it bounces around from pretty good stuff, to kind of stupid love or otherwise songs, to flat out ass suck bad songs. If I could weed out a few of the more inanely bad tracks and if the band could choose a more defined direction, I would like this one better. But, as it stands, it's just ok.

247 Spyz - Strength in Numbers - 62:25 - 1992
I really flip-flop around a lot on these guys, for a number of reasons. For one thing, like I mentioned above, the nerd factor is just too high. Additionally they sound too blatantly like the Red Hot Living Color Fishbone's. But, in the positive column, they're pretty good. They can rock harder than any radio bands but they have pop sensibilities. Which I can only guess is why they've been able to put out so many CD's. I guess in some ways that's the dilemma in a nutshell, they rock to hard to be pop, and they're too pop to be hard, they're just kind of teetering in the median, which can be a most precarious place to be.

The 2 Live Crew - Banned In The U.S.A. - 63:22 - 1990
Okay,technically this is not The 2 Live Crew, but Luke featuring... close enough. Basically, this is an old fashioned battle disc, with a twist. Instead of the standard "Real Roxanne" style of the 80's, Luke responds to his enemies who more or less singled him out (for no apparent reason) and decided to make an example of him. The example of course being, freedom of speech is easier to manipulate in court than the right to bare arms. Luke pulls no punches (and fears no additional lawsuits) as he proceeds to devote songs to cursing out his foes by name. This CD is mostly reactionary, and has too many distractions, but there are some good jams on here, and you gotta support those unlikely American hero's that find themselves defending our rights.

2Pac - 2Pacolypse Now - 55:07 - 1991
The majority of this CD's music is at best, mediocre. "If My Homie Calls.", is however, an outstanding song about friendship and loyalty, and almost makes it worth buying this CD alone. But, the following "Brenda's Got a Baby", and "Part Time Mutha" almost cancel out that song. Now, what does set 2Pac apart from the rest of the artist with bad attitudes is his exceptional lyrics. Most people in that genre just bitch about stuff, whereas 2pac totally breaks it down from the cradle to the grave, and lets you know exactly what the problems are and how they arose.

2Pac - Strictly 4 My N.I.G.G.A.Z... - 64:05 - 1993
Tupac took a big leap forward on this CD, and although he had already won over the streets, he had not yet taken Mtv. He did have enough money to get sued because somebody listening to his tape, popped a cop. Pac's got a great voice, and I also dig it when he puts some effects on it, and drops the pitch. His music is thoughtful, malcontent, deeply bitter, and has a unique vocal style that has often been "bitten." Guest include both Ice's, T and Cube respectively. (Sorry Vanilla, maybe next time) "Thug Life" was fleeting, but that's the way it goes I guess.

3rd Bass - Derelicts of Dialect - 76:22 - 1991
Third Bass were two dorky white guys that really made some superb rap music. Lyrics provided mostly by MC Search, were competent but not great, and more or less followed the Beastie Boys "Paul's Boutique" style of writing: ie: lots of references. (although in this case the references don't refer to other references) But, the true shining star of this trio is the DJ, who like DJ Hurricane (Beasties again) is more or less suppressed as a personality. This is what the lost art of sampling and looping was all about. Layers on layers of snippets of songs crafted into something new with just a touch of recognition to add instant credibility and mood. If these guys had been black and famous, they would have been sued into oblivion. Instead, they split did solos and faded into the sunset.

Talking Heads - Speaking in Tongues - 41:16 - 1983
The Talking Heads were kind of one of the original "Alternative" bands, in that they were doing things differently than the traditional norm, but at the same time staying within the bounds of "acceptable" song structures. With the combination of Mtv, and the accessibility of the tracks on this CD, Talking Heads took a well deserved step into the mainstream conscienceness. Some of the initial drawing power of this for me was eccentrically artistic, and bizarrely nerdy leader David Byrne, and the band's subtle but heavy use of keyboards.

Tchaikovsky - The Nutcracker Suite/Swan Lake - 124:50 - 1988
I know very little about classical music, but one thing I do know is that I love Russian composers. They seem to have the most intense, dramatic stuff. Big booming drums, dangerous cellos, the whole bit. It's the kind of stuff that brings to mind visions of sorcery or the circus from hell. They don't write fruity chamber music. I've always liked the Nutcracker, there are parts that could be easily interpreted as metal (even B&B made the connection). Swan Lake is not my favorite by any means, but it's not bad either.

Temptations - Greatest Hits - 33:11 - 1988
To their credit, the Temptations were one of the most successful and prolific artist who helped shape the "Motown sound". Their hits have been and will continue to be oldies radio station staples for years. Most of these tracks were written and produced by Smokey Robinson, and generally if they're not about "My Girl", then they are about "My Baby". That's the part that kind of turns me off a bit, it's all pretty sticky sweet stuff. But, there are some classic snare shots, sweet soulful vocals and a generally cool overall sound.

Ten Story Love - Ten Story Love - 47:57 - 1998
The good folks at TSL were brave/kind enough to send me (and autograph!) a copy of their independently produced, self titled CD. Now I always have a moral dilemma with such things (although I don't discourage it), because if it's not really my type of music, then it would be easy to say "this sucks", but that's different from saying a band I'm familiar with sucks. Anyway, having a fairly frosted heart, I'm not so good at the type of touchy feely stuff, these guys do. It's the kind of Athensesque, lighter side of "X", "friends" music, that would be at home playing in any college bar or late night restaurant. It's is catchy stuff, and they're nice guys.

Three Times Dope - Original Stylin' - 51:06 - 1989
Hey, with a name like Three Times Dope you know it gots to be funky fresh and fly. Man did I ever buy a bunch of bad rap in the 80's. Fortunately I had moved on by the advent of CD's so not many are still in rotation today, because, as you may notice, I can't seem to part with CD's even ones as bad as this. At the time, these guys were pretty mediochre, but now it's just kind of funny to hear them bust all of the phrases that paid the bills back in the day. You know what I'm sizinayin? I gotta go dust my leather Africa necklace. Word! Peace out G.

My Life With The Thrill Kill Kult - Confessions of a Knife - 57:33 - 1990
At first I was decidedly opposed to TKK: I thought their sex, drugs, and more drugs approach to techno was too juvenile and pretentious. However, there was enough interesting programming to keep me from totally writing them off, and slowly I began to appreciate, or succumb to TKK's world, which is as flashy as New York, but dark as New Orleans. Had I endured in recreational pharmaceuticals, I probably would have caught on much sooner, but it was still worth the wait.

My Life With The Thrill Kill Kult - 13 Above The Night - 61:27 - 1993
Thrill Kill is very adept at creating a mood which, from what I gather, is quite representative of the whole drug induced experience. The music goes from being intoxicating smooth and dreamy, to flirting with sexuality and power, on to corrupted innocence, and manic hyperactivity, to dark paranoia. But wait, there's still more - now how much would you pay? This changing pace keeps things interesting, and is something just about every artist should try to do. The production is done well, and this CD can be applicable to many moods - find one that works for you.

Throbbing Gristle - CD1 - 42:14 - 1986
Throbbing Gristle all but invented the "industrial" music genre. This was their first disc to make it to the digital realm, hence the name. Although there are different songs, there is only one track, so you are sort of committed for the duration. Mostly dark, brooding, ambient music that reminds me of "Logan's Run" sonicly but "Blade Runner" visually, with a dose of "Eraserhead" thrown in for mood. It forms a bleak technical, but primitive future landscape. TG pioneered techno, industrial, being depressed, being weird, getting pierced, fear, isolation, experimentation, you name it.

Throbbing Gristle - bring you 20 Jazz Funk Greats - 61:25 - 1991 (79)
Listening to Throbbing Gristle is kind of like a peek into the disturbed mind. It's dark, lonely, isolated, confused, empowered, sometimes evil, mythodical, dieviant, sexual, and cunning. Just take the cover for instance. On the front you have a warm and fuzzy family photo of the gang out enjoying some time amitst a flower covered meaddow, however, the backside reveals that they are beside a nude dead body. It's really amazing that these guys were doing this music at the time they were. As far as I know, virtually no one was thinking like that. Dark industrial, tribal rhythms, as well as electronic experimentation, these guys were real innovators, and continue to be influential.

Throbbing Gristle - Greatest Hits - 39:53 - 1990 (79)
Throbbing Gristle made quite an impact on me in my formative years, which is probably not a good thing. Like the slogan says on the bottom of the cover, "entertainment through pain." TG can be abrasive, and tranquil sometimes in the same breath. It's the kind of music you would hear while the little boy who gleefully tortures animals, then grows up to be a sexualy disfunctional serial killer - that is, if real life had a soundtrack. There's a strange juxtaposition between Genesis' black hole, and Chris and Cosey's gentle electronics work, that often makes the nice sounds that much more creepy. Bonus question: Who can tell me what TG and the Spice Girls have in common?

Tin Machine - Tin Machine - 56:50 - 1989
You might say, David Bowie is the godfather of "commercial alternative." That is to say that his music is generally structured and sung pleasantly enough to be played on the radio, and accepted by the masses, but, on the other hand, many of the things he does are a bit on the weird side, and he often strays from convention. Well, with Tin Machine Bowie breaks out of his stagnating solo career to front a more fresh rock ensamble, which included two of Soupy Saels' sons. The result may have given him new life, but it doesn't do anything for me. This CD is not offensively bad, but it is absolutely dull.

Tin Machine - Tin Machine II - 49:10 - 1991
Tin Machine the sequel marks a dramatic improvement (and one major haircut) over the debut release, but alas I'm still not impressed. I know I remember hearing a song from them that I thought was pretty good, but I'm down two CDs, and I don't think I've yet to hear it. Maybe I was in a particularly good mood when I heard it, and it just seemed better. Ranging from up tempo rockers to mellow thinkers, these tracks have a lot more emotion and life than the generally stale and apathetic debut, but it's a classic case of too little too late for me I'm afraid. Either way, Bowie started hanging around with Reznor, and reinvented himself yet again.

Tom Tom Club - Tom Tom Club - 63:02 - 1981
This was in the first 5 albums I ever bought, and now finally almost 20 years later I have updated it's format. Normally I'd rather buy something new, than something I know I like, but for reasons of nestalga, and the fact that this is a good CD, (not to mention finding a cheap copy) I did it. Tom Tom Club was formed as a side project by the rhythm section (and husband and wife) of the Talking Heads. This CD starts with an unstopable-tropical rhythmic force that goes stellar in their hit "Genius of Love." If these two songs don't move you, your time is up. Things occasionally turn slightly ethereal, but the groove never stops. This CD also includes some remixes to help fill time, which was nice, but I don't care for remixes much.

Towa Tei - Future Listening! - 53:00 - 1995
Deee Lite member Towa Tei strikes out on his own and brings us Future Listening. I was hoping for a totally geeked out onslaught of beats, loops, samples, techno chirps; the whole hook up. But, it didn't quite go that way. It's very similar in style to Pizcatto 5, in that is kind of got that whole neo lounge, bachelor thing happening. And also like P5, the appeal fades pretty fast. The quality of the music is good, and my friends like it. As for me, I'm over it.

Tricky - Maxinquaye - 57:15 - 1995
Tricky's a pretty prolific guy, collaborating/remixing/producing artist like Bjork, Massive Attack, or Notorious B.I.G (to name a few), and even showing up on the big screen. All the hustle and bustle doesn't reflect in this CD, as it is cool, smooth, sexual, but most of all mellow. Normally this might present a hurdle for a trip hop artist, but Tricky sails over it in a cloud of melancholic funk. Grabbing bits and pieces from wherever he can, Tricky reassembles them to suit his needs, and trades off vocal duties with teen diva Martine. The highlight of this CD, (for me) is the most unorthodox Public Enemy cover you are likely to hear.
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