Tag Archives: Music Reviews

Beati Paoli on rateyourmusic.com

i was just notified today that Beati Paoli is on rateyourmusic.com (http://rateyourmusic.com/artist/beati_paoli).

rateyourmusic.com is something i think greg and possibly tony would be really interested in. it’s both a database of recorded music, an organizational tool, and a social networking site. you see… basically… you set up a profile and then add, from their database, all the albums, eps, singles, bootlegs, etc that you have in your personal collection. you can also look up specific albums to read reviews and see what other people rate them. this is all fun and interesting, but the parts of the site that i find to be the most fun are these: 

1.) you can compare your musical tastes with others. you can automatically find people with similar collections as well as compare the ratings you’ve given with the ratings others have given.

2.) you can view various statistics about the music in a collection. for example: breakdown by rating, rating by decade, or ownership by decade, format, or release type. there are also top releases for every year and other fun charts and lists to browse.

i (scott) decided to make a profile today. you can check me out at: http://rateyourmusic.com/~MCKNGBRD. i haven’t had time to add my whole collection yet (i’ve only gotten through the “B’s” so far), and haven’t actually RATED the majority of what i’ve added, but i’ll have it all up eventually. let’s be friends! :*

in conclusion, check out beati paoli’s page: http://rateyourmusic.com/artist/beati_paoli.


related posts:

Johnny Cash Remixed

so i just heard about this johnny cash remix album last night, and i’ll let ya know… i got interested. usually these tribute and/or remix albums are so very awful or boring or pointless or, if lucky, have maybe ONE good song on ’em, but if the original artist is someone i care about, i usually do get somewhat excited to hear ’em. then i hear ’em and get sad.

for this album, you can stream some of the songs on it’s website and judge for yourself, but i’m afraid this is, overall, and predictably, not worth the trouble.

for instance, the odt muzic (featuring snoop dogg) remix of “i walk the line” is so fucking bad. painfully bad. it’s one of those songs that makes you hate music. (and it’s the only one available for download from the website, so that probably tells ya who’s in charge of this project…)

however… a few of the artists have done a good job of putting their own spin on these classic songs without destroying them.

example: i kinda like what apparat’s done with “i heard that lonesome whistle blow”:

and here’s a short “making of” video:



Will Smith

Right now I’m listening to the Will Smith Greatest Hits and i’ve come to the conclusion….Men In Black sucks and Gettin’ Jiggy Wit It is far superior. The best song though I would have to say is A Nightmare On My Street. Will Smith is the shit. I think everyone should take a minute out of their day and appreciate some Will Smith.


New Beati Paoli Review!

The Ottumwa Scene Online just reviewed the new Beati Paoli album, “A Sense Of Urgency”.

here it is in it’s entirety:


A Sense of Urgency
Beati Paoli
by, Andy “Danger” Ruble
es Moines Band, Beati Paoli (pronounced BEE-ah-TEE POW-lee), don’t distinguish themselves by making stricktly pop rock, noise rock, or acid rock. Nor do they specifically make indie rock, art rock, or post punk rock. Beati Paoli manage to incorporate all of these styles of rock and roll, and probably a few not mentioned here, in the groups first full-length album, 2008’s “A Sense of Urgency”. Beati Paoli aren’t suffering from an identity crisis, however, they just seem to prefer their music this way. The crazy thing is that it works to a point of near perfection! The album is a cleverly woven listening experience to say the least.

“A Sense of Urgency” (track 2) is a good overall song to get the vibe of the album from a pop perspective. The song features some serious vintage sounding fuzz, and some great sing along style lyrics. For a more experimental indie feel of the band, “You are my Megalodon” (track 9) is a surefire winner with some stealthy and smart vocal work, a lengthy wavy-sounding intro, and a mishmash , noisy, outro.

In fact, “A Sense of Urgency” lives up to the albums title in as much as at times the music seems on the verge of complete musical meltdown. Portions of “Girl Friday”, “Vulgarity Drifting Diary” (track 5), and “You are my Megalodon” are good examples of this. However, listening to the way the band layers their sound and manages the possible perceived disorder, this meltdown is indeed a Beati Paoli controlled blast. The group manage to balance the tight wire act of musical experimentation and yet still retain the bands melodic sound. After a few listens of “A Sense of Urgency”, this chaos begins to look more and more orderly. What would be truly be chaotic were to be if Beati Paoli were to make strictly cookie-cutter pop songs, denying the listeners their abilities with the sound they display on this album!

You’ll enjoy “A Sense of Urgency” if you like:

the Strokes, the Killers, the Clash, Weezer, Radiohead, Beck, the Cure, the Pixies

“A Sense of Urgency” was produced by Beati Paoli, recorded at Smoking Guns Studio in Des Moines, and released the Beati Paolis newly launched label “the Noising Machine”. Beati Paoli are Gregory Goode, Ryan C. Meier, Scott O’Gara, and Cecil Skrdlant. The band has been together since 2005 and have toured the United States extensively.


now go listen to it. you can stream all the songs on any of these sites:




Some music reviews (first of many)

You’d think with Beati Paoli on tour they’d have nothing better to do than drink beers and write in this blawg but I GUESS NOT.  I bought a shitload of CDs lately so: Time for some errrrrrrrrrrrviews!

Third by Portishead, 2008
Whoopee, Portishead returns after 11 years!  I’ve been looking forward to this one for awhile but it took me a long time to actually buy it.  I even read a couple of reviews beforehand.  Rolling Stone basically stated that this album is just like what they did in the 90s and Pitchfork called it a psychedelic album.  Okay.  Some people is real dumm.  If you’re familiar with 90s Portishead then I would describe this album in the following way: take away practically ALL of the hip-hop elements, all the suave spy movie elements, and make it a lot gloomier.  People like to call Portishead a trip hop group but if Massive Attack and Tricky are trip hop then Portishead never were.  In truth, they were basically a gloomy hip-hop group with singing instead of rapping.  Well, all that is gone now.  No samples from old records, no loops, no scratches.  Still, the feel is overall the same if a bit sloppier but songwriting doesn’t GRAB me like their 2nd album.  Basically, it’s a pretty good album, I’m glad they released it but unless they change things up dramatically they don’t need to make another.  Grade: B

Donuts by J Dilla, 2006
Jay Dee aka J Dilla makes his transition from ultra smooth, semi-mainstream producer of the 90s to quirky, underground producer of the 2000z.  This is an instrumental album consisting of 30 great tracks.  The beats are so dusty and grimey but still soulful and melodic.  None of the tracks wear out their welcome, most only lasting a minute or two.  Vocal samples from old R&B albums abound.  This is exactly the kind of album that captures what I like about sampling and loops – creating a twisted, otherworldly feeling out of old material.  Grade: A




Remember that stuff I said awhile ago about El-P’s last album not being very good? JK

I wiped my mind clean of hip-hop preconceptions and listened to it in headphones (while playing lame football video game) and I realized it’s really good. Sorry, El-P.

New grade: A



This month Primal Scream releases their ninth studio album, entitled Beautiful Future. Like many of my favorite bands, most people in the U.S. don’t know about/care about/like them. So I thought that, in honor of Beautiful Future‘s release, I would take this time to write about Primal Scream and give brief summaries/reviews/whatevers of the albums they’ve made over the past 20-odd years. I’ll also highlight tracks from each that I consider to be superlative and/or representative of their parent album, in case you want to check out some samples. Plus pictures and videos and stuff. Ahem. Anyway, here’s Primal Scream: The Early Years….


Primal Scream was formed in Glasgow, Scotland in 1982 by friends Bobby Gillespie (in the background and to the right), and Jim Beattie. By the pair’s own admission, the band could barely be classified as such for its first few years of existence; most of the time was spent banging trashcans for percussion and making experimental tape loops in their bedrooms. Around 1984, Primal Scream had managed to become something more recognizable as a band with the addition of members including Andrew Innes and Robert “Throb” Young; concurrently, Bobby began to split his time between the Scream and another Scottish band: The Jesus & Mary Chain.


Bobby played drums with the JAMC at their notorious peak, as their incendiary, feedback drenched live appearances in 1984-5 often ended in riots. Bobby’s rudimentary, Mo Tucker-inspired drumming also appeared on the band’s debut single “Upside Down” and their seminal 1985 debut album Psychocandy. That same year also saw the release of the first Primal Scream single, “All Fall Down”, which was released on Creation Records, a label set up by Bobby’s childhood friend Alan McGee.


Apparently William & Jim Reid (the brothers who led the Mary Chain) saw these extracurricular activities as a threat to their band and gave Bobby an ultimatum: stay with them or stick with the Scream. He opted for the latter.

“All Fall Down” audio


In 1986, Primal Scream released their second single, “Crystal Crescent”. The A-side was a great, horn-fueled piece of pop but it was the b-side, “Velocity Girl”, that would garner the most attention.

“Velocity Girl” audio

Just a mere 90-odd seconds of jangle-pop, the song was featured on a cassette compilation put together by NME called “C86“. This tape was the magazine’s attempt to create a scene using disparate bands from various independent labels that were presented as sharing stylistic and ideological traits.


These supposed common elements included a jangly guitar sound a la The Byrds, Love or The Smiths and a gentle, “fey” style of singing. “Velocity Girl”, admittedly, possessed these qualities and that fact, along with the song serving as the compilation’s opener, led to Primal Scream being considered one of the guiding lights of the “movement”, something the band hated. Nevertheless, the small but enthusiastic buzz created by their perceived involvement in the C86 scene helped them cement a small but loyal following which laid the groundwork for the release of their first long-player, saddled with a ridiculously psychedelic name:


1.) Gentle Tuesday
2.) Treasure Trip
3.) May The Sun Shine Bright For You
4.) Sonic Sister Love
5.) Silent Spring
6.) Imperial
7.) Love You
8.) Leaves
9.) Aftermath
10.) We Go Down Slowly Rising
Guests: Martin Duffy (keyboardist, Felt)
Primal Scream’s debut album was originally meant to be recorded with Smiths/Blur producer Stephen Smith; the band even laid down four weeks worth of material with him before deciding that the collaboration wasn’t working. In his place they hired Mayo Thompson, founder of Texas psych-rockers The Red Krayola. The resulting album deviates little from the sound established on the proceeding singles: a Byrdsian jangle is ever-present, with Jim Beattie providing arpeggio after arpeggio for Bobby to coo over in songs like “Gentle Tuesday” and “We Go Down Slowly Rising”.


The use of pretty melodies to hide barbed lyrics is continued as well; one example being “Silent Spring”, a distillation of Rachel Carson‘s book about environmental catastrophe. In spite of the fact that SFG has never been a favorite of critics (Allmusic proclaimed it “pristine but dull”), I’ve always been a fan. I like chiming guitars (see: my Smiths obsession), and I would have loved to hear what Stephen Street might have done with the material; as for the finished product, I think Mayo Thompson did a pretty good job. The songs and style of this album (along with those of their American counterparts in the Paisley Underground) would also go on to influence contemporaries The Stone Roses, who would take the blueprint of SFG and refine it (and, according to Bobby himself, do it much better), as seen on their classic 1989 debut. Another reason this record is of note is that it’s the only Primal Scream album to feature Jim Beattie;as a result of both conflicts that arose during the recording of Sonic Flower Groove and the album’s lukewarm reception (both critically and commercially), Beattie left the band he’d co-founded to ply his jangly wares in Spirea X and later Adventures In Stereo.


“Gentle Tuesday” video

“Silent Spring” live on some show, 1988


1.) Ivy Ivy Ivy
2.) You’re Just Dead Skin To Me
3.) She Power
4.) You’re Just Too Dark To Care
5.) I’m Losing More Than I’ll Ever Have
6.) Gimme Gimme Teenage Head
7.) Lone Star Girl
8.) Kill The King
9.) Sweet Pretty Thing
10.) Jesus Can’t Save Me
Guests: None
With his main musical collaborater gone, Bobby Gillespie took the opportunity to radically change the band’s sound and direction, something which he would continue to do with each subsequent Scream album. Now rotating around the troika of Gillespie, Andrew Innes and Robert Young, Primal Scream ditched the paisley shirts and C86isms of Sonic Flower Groove, replacing them with long hair and hard rock melodicism reminiscent of The MC5, Ramones and New York Dolls. The result was 1989’s Primal Scream, a record that managed to alienate their pre-existing fanbase while providing them no further headway towards breaking through to a wider audience. Self-produced by the band (under the pseudonym “Sister Anne”), it’s a bit of a strange album: lead single “Ivy Ivy Ivy” is a great Raw Power-esque hard pop number, and its template is followed for half the album.


The other half is made up of dark, strung-out ballads like “You’re Just Dead Skin To Me” and “Kill The King”, which finds Bobby contemplating regicide over queasy backwards guitar. These two stylistic approaches are reconciled on the album’s centerpiece, a paean to a jilted lover called “I’m Losing More Than I’ll Ever Have”. Primal Scream, like its predecessor, was all but ignored upon its release save for by their small but devoted fanbase, yet in “I’m Losing More…”, the band had unknowingly laid the seeds that would allow them to survive and thrive as the 80s gave way to the 90s, and the dour U.K. music scene learned how to get its groove back…


“Ivy Ivy Ivy” video

“I’m Losing More Than I’ll Ever Have” live @ T In The Park, July ’08

Part 2 soon…