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[Zapi]

When Life Gives You Lemons, You Paint That Shit Gold
moze linkic..

cuo sam da tom waits ima neke veze s tim albumom..
kaze sledece
Credit: Beat Box..sta to znaci?


ubiti, ima to za kupit kod nas?

[T.N.T.]

Imaš PM.   

[Zapi]

Fala puno..meni je album prejak..pravo osvjezenje..fala puno..

[T.N.T.]

Nema problema, drago mi je da ti se sviđa.

[trojanrabbit]

zapi i rep olololo 

[El_Comandante]

 

[Zapi]

zapi i rep olololo 

khm, khm..to je jako kul rap..poslusaj..

[Mr.T]

/

ideš. 

slušam daleku obalu, sve albume.

[Zapi]

When Life Gives You Lemons, You Paint That Shit Gold - Atmosphere

As the group that helped create the term "emo rap" and give Minnesota and Midwestern rap a place on the map, Atmosphere clearly feel a relative amount of freedom to express themselves however necessary on When Life Gives You Lemons, You Paint That Shit Gold, their fifth studio full-length. As he has on the duo's past albums, MC Slug plays the role of the storyteller, describing the lives of his various characters, all down on their luck (drug addicts, single mothers, homeless men) and struggling to just make it from day to day. The vitriol and anger that were found in Slug's earlier rhymes, however, has left -- along with much of Ant's heavier production -- and are replaced by lyrics that, though equally reflective, take a more resigned view of the world. These are people trying to cope with what they have and who they are, people who have accepted the facts that make their lives reality, who are no longer demanding something different. "They fight about money, they fight about life/So she concentrates so so hard on the music/And loses herself inside the bass and the movement" he rhymes in "In Her Music Box," describing a little girl, and in "Yesterday" he admits that "Leavin' me was probably the best thing you ever taught me." Slug has never been one to gloss over the ugly details, and when his characters are broken (and they all are, to varying degrees), he makes sure to let everyone know. "Your Glasshouse," which features TV on the Radio's Tunde Adebimpe on background vocals, tells of a woman for whom it "ain't the first time throwin' up in a strange toilet," and who then returned to the unknown bed "and fell back asleep," while "The Skinny" has the lines "Your lips taste like his dick/I can always tell when he's been in your whip," his pronunciation of that final syllable particularly exaggerated. The self-loathing and depression from Atmosphere's other albums are both still here, but they're less intense and immediate, reflected in Ant's concentration on live guitars and keyboards, a wholly more organic presentation. This is an understandably more mature group, but fans who've connected to the palpable anger found in the duo's music, if they haven't matured at the same rate or in the same way, may find Lemons to be lacking in the very thing that drew them to Atmosphere in the first place.


Magic Hour Sailor Songs - C.R. Avery

Canadian rappers don't have the same pressure as Americans to conform to specific (arguably stereotypical) musical and lyrical traits, with the result that the Canadian hip-hop underground is even more freewheeling and experimental than its U.S. counterpart, ranging from the country shuffle of Buck 65 to Soso's Explosions in the Sky-like post-rock epic Tinfoil on the Windows. Some might even argue whether C.R. Avery is a rapper at all: on tracks like the opening character study "The Boxer Who Just Returned from London," his delivery includes sudden, emphatic bursts of human beatboxing, but his overall flow is that of a Beat poet doing a reading in the back room at City Lights Books circa 1957. (Unsurprisingly, the press kit for this album states that Tom Waits is a big, big fan.) Elsewhere, the fully sung "Prime Minster's Chair" has the cracked, slightly dazed air of a mid-'70s Neil Young ballad, and the caustic "Hell of a Hotel of Charm" swings like a collaboration between Beck and the Beastie Boys at their most experimental. But for all of the folk, blues, country, and roots-rock elements of his album, the underlying feel is deeply rooted in the cultural magpie aesthetic of modern hip-hop, where anything is ripe for recontextualization. As a result, Magic Hour Sailor Songs is an impossible album to pigeonhole, but repeated listens reveal C.R. Avery's eclectic way of thinking. There are elements of this album that in lesser hands would come across as unbearably pretentious: rather than liner notes or lyrics, the booklet slipped into the digipack turns out to be a slim chapbook of Avery's poetry; one track, "New Stanzas for Amazing Grace," is a musical setting of Allen Ginsberg verse; and the eight-minute closer, "The Ballad of Charlie Parker and Patsy Cline," is scored for a string quartet. But Avery's confident, self-assured delivery and his gift for simple but effective melodies keep Magic Hour Sailor Songs from tipping over into affected conceit.

[mr_solidus]

Naime, netko će to pročitat. 

neće. 

[Dodo]

pročito 

[Under]

Morcheeba diskografiju. Kul mi je cijela, iako su prva 2 albuma nešto pre ekstra.

[morski_pas]

Špurijus

Nemaju album, lagana ljetna muzika  \/

[majmun]

COB nije napravija dobar posao.

sad sam posluša,eli

[Zapi]

pročito 

 

ovaj drugi tip, C.R. Avery, je fakaf, fakat, predobar..