Anderson .Paak has been the go-to guy to feature when artists have wanted their tracks to have a certain something special. His voice is a malleable instrument than can be gravelly or velvety smooth, able to deliver fast-paced raps and pour out soul syrup in equal measure. Though his debut, Venice, drew plenty of attention and acclaim, he’s now been lifted up into the upper echelon of R&B artists working today, thanks to a series of high-profile collaborations with Dr. Dre on his comeback album, Compton, on which Anderson .Paak consistently threatened to steal the show on his six tracks. He takes that opportunity and knocks it out of the park with Malibu, a gorgeous psychedelic swirl of lush neo-soul backdrops and alternative hip-hop tracks, featuring a cadre of high-profile guest apperances (Talib Kweli, ScHoolboy Q, The Game). Tracks like “The Birds” evoke the classic soul stylings of a Marvin Gaye or Al Green. Yet he keeps things current on the jazz-inflected hip hop of a track like “Heart Don’t Stand a Chance” or thumping banger “Come Down,” keeping in line with the likes of Flying Lotus and Kendrick Lamar. As the lines further blur between the experimental and mainstream, vintage and current within hip hop, Malibu masterfully strings these styles together for an accessible, highly listenable album that should make Anderson .Paak a deserved star in his own right.
There are few artists who unite music fans like David Bowie does. News of his passing hit us hard at Amoeba. As we're all still reeling and grieving the loss of this immeasurably influential and beloved artist, we've been sharing stories with each other about the first time we heard Bowie, and what his music and persona meant to us each individually. We've compiled anecdotes from some of the Amoeba staff about our favorite Bowie albums, and we hope you'll share with us your Bowie memories in the comments.
KAREN: It is nearly impossible to pick a "favorite" bowie record. He has always been in my life, and each new record would make me stop and listen.
When i first took notice, it was probably the Hunky Dory record. I had seen his name and the albums in the record store before: Space Oddity, The Man Who Sold the World. I was 10 years old and already haunted record stores almost daily. That record was one in my collection amongst The Jackson 5's ABC, Simon & Garfunkel's Sounds of Silence, Marvin Gaye's What's Going On, Cat Stevens' Tea for the Tillerman, Rod Stewart's Gasoline Alley, Badfinger's Straight Up, The Beatles, Elton John, Aretha, The Who, Velvet Underground. He was part of the wallpaper of images and sounds that I was gobbling up voraciously. Exploring all of it.
But I would have to say Ziggy Stardust was the one that got me. I already felt like an outsider. I didn't know yet that we ALL did. And he spoke to that part of us. He gave that unique, creative, brave spirit inside of us a voice. A deep voice. A fearless, shocking, exhilarating, comforting voice.
David Bowie’s 25th studio album shows the nearly 70-year-old artist is showing no signs of slowing down. Far from it — Blackstar is one of the most adventurous albums of his career. That’s saying something, given Bowie’s remarkable history, from his Ziggy Stardust days to his hallowed Berlin trilogy to his days as an unlikely ’80s pop star and subsequent movements thereafter. The epic-length title track combines a shuffling jazz beat and electronic throb with strings, horns and Bowie’s eerie doubled vocals. The whole thing moves creepily, a little like Radiohead’s “Pyramid Song,” but breaks into a typically gorgeous yet still intense second portion — it’s hard not to get goosebumps when Bowie sings “how many times does an angel fall?” over floating guitar lines. “Lazarus’” languid jazz-inflected atmosphere calls to mind the aforementioned Berlin albums and reminds us he was the original post-rocker. The previously released “Sue (Or in a Season of Crime)” plays the album’s jazz-noir theme most strongly; its horns trill fabulously while Bowie turns the suburban dream into a waking nightmare. Comparisons to Scott Walker’s later albums or Tom Waits are sure to abound, but Blackstar is still Bowie at the core. While some late-era Bowie albums have seen him try on ill-fitting guises or attempt to recapture past glory, Blackstar finds him maturing gracefully without losing an ounce of his creative mojo and finding something new, even revelatory, once again. Check out the creepy new video to “Lazarus” below. And celebrate D-Bizzle's 69th b-day and album release with a listening party at Amoeba Hollywood tonight at 6 p.m.!
Though he's previously released an album under the Hunx moniker (Hairdresser Blues) this is his first solo album under his own name, and accordingly, the style is much different than the classic-garage-pop stylings of his previous work. The new song "Forgotten Fantazy" actually is more like the introverted cousin to Gravy Train!!!!, a woozy electro-pop song built on a chintzy beat and weary lyrics about the magic wearing off in a relationship ("surrounded by your thoughts/but I'm not listening"). Though we've loved Bogart's previous work, this is the most sincere thing we've heard from him yet.
Now that the year's over, it’s time to look ahead into 2016. There are already several exciting releases announced for the new year, so here’s your preview of what’s coming out in the next couple of months.
David Bowie’s upcoming 25th album will be released on the venerable artist’s 69th birthday. It’s a seven-song release featuring a few extended tracks, like the nearly 10-minute electro-orchestral opus that is the title track, which also is being used as the opening song for the TV series “The Last Panthers.” So far, we’ve also heard “Lazarus” and “Sue (Or in a Season of Crime),” all of which are fueling anticipation for this being one of the best albums of Bowie’s later career.