Record Of The Day #3 – The Chronic by Dr. Dre

When I was young, I thought of hip-hop and rock as opposing genres of music. Standing firmly in the rock camp, I upheld the values of “true musicians” and shunned the talentless rappers who stole their music from others. The Chronic single-handedly changed that for me. While I already enjoyed selections from N.W.A, Notorious B.I.G., and Eminem, The Chronic forced me to re-evaluate my stance on hip-hop through Dr. Dre’s ingenious production, breakthrough arrangement, and top-notch rapping from both Dre and his guests.

I hesitate to define The Chronic’s genre as g-funk, the hip-hop variation on George Clinton’s p-funk, because this record invented the genre. While previous albums certainly imposed rapping onto Parliament and Funkadelic samples, none had the lasting impact and artistic ingenuity of The Chronic. This record is not a g-funk record, but the g-funk record.

What sets The Chronic apart from other g-funk records is Dre’s ability not only to sample great p-funk tracks, but to alter these tracks in a way which transforms them into entirely new songs. Not satisfied to steal the work of George Clinton, Dre wanted to use Clinton’s work to create something new and exciting. “Fuck Wit Dre Day (And Everybody’s Celebratin’)” combines “Atomic Dog” by George Clinton, “(Not Just) Knee Deep” by Funkadelic, and “Funkentelechy,” “The Big Bang Theory” and “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)” by Parliament into a single track that alters the key and tempo of the songs to create a new masterpiece featuring vocals from Dr. Dre himself, Dre’s protégé Snoop Dogg, RBX, and Jewell.

Let Me Ride” continues in the P-Funk sampling tradition while “Nuthin’ but a ‘G’ Thang” strays from this theme to create perhaps the most infectious hip-hop track of all time. “Lil’ Ghetto Boy” showcases the softer songwriting of Dre, Snoop, and D.O.C. and “Lyrical Gangbang” showcases the talents of The Lady Of Rage and Kurupt while sampling “When The Levee Breaks” by Led Zeppelin. “The Roach (The Chronic Outro)” starts to wind the album down with more P-funk samples.

The Chronic stands as the true middle-point between funk and hip-hop. Fans of old-school funk can enjoy the record as a series variations upon the classic genre, while fans of hip-hop need only to explore the extensive list of the record’s samples to discover a rich world of quality music.

Record Of The Day #2 – Joe’s Garage by Frank Zappa

Frank Zappa restores faith in myself as a songwriter. Much like the writing on Joe’s Garage, the ideas for songs and albums that I formulate are not only ridiculous and sometimes nonsensical, but also comedic, diversely influenced, and progressively-minded.

It is important to note that I am a fairly new fan of Zappa’s work. In fact, Joe’s Garage is only the second Zappa album that I have listened to extensively (the first one being The Mothers Of Invention’s Freak Out!). Because of this, I will stray away from over-arching descriptions of Frank as an artist and focus on Joe’s Garage as an album specifically.

Joe’s Garage is a concept album telling the story of a young guitarist named Joe who forms a garage band (“Joe’s Garage”), loses his girlfriend to a traveling rock group (“Crew Slut”), joins a cult which engages in sexual activities involving household appliances (“A Token Of My Extreme”), is imprisoned for playing rock music (“Dong Work For Yuda”), is released and discovers that music has become illegal (“Outside Now”).

Act 1 of Joe’s Garage (songs 1 – 9) conveys a tight and well planned narrative in which every song furthers Joe’s story and explores interesting musical and lyrical concepts. However, during Act 2 (songs 10 – 15), Zappa’s previously effective consistency starts to fade a little. By Act 3 (songs 16 – 19), much of the story has given way to Frank’s beautifully eccentric guitar playing.

It’s no secret that I am typically not a fan of double albums. I find that most records exceeding a length of about 45 minutes tend to be so drowned in filler that even the best moments can’t be enjoyed. However, despite Joe’s Garage three disks boasting a running time of 1 hour, 55 minutes, and 14 seconds, I found that the record has maintained my interest through a number of listens. While Zappa does have occasional moments of distraction in the second act, it’s hard for me to truly find fault in a record that can keep my interest for almost 2 hours.

The first time I heart “Catholic Girls,” I knew that I would love Joe’s Garage. It features an oddly catchy yet annoying funk-pop melodic line leading into a crooner-style chorus. “Keep It Greasey” is a powerful funk-rock track showcasing the underrated bass guitar talents of Arthur Barrow and the always excellent Vinnie Colaiuta on drums. “Watermelon In Easter Hay,” an 8-minute guitar solo, was considered by Frank to be one of his greatest songs and in his will, stated that only his son, Dweezil Zappa, is allowed to perform the track.

While Freak Out! may have cause Frank Zappa to grab my attention, Joe’s Garage is causing him to keep my attention. I find it inspiring that Frank truly did exactly what he wanted with this album. The results are astounding.

Record Of The Day #1 – Blak and Blu by Gary Clark Jr.

While it would be easy to say that this Austin artist is simply picking up where electric blues legend Stevie Ray Vaughan left off, even a brief listen to Blak and Blu sheds light on the richness and variety embodied by Gary Clark Jr.’s music.

Kicking off with the upbeat and horn-rich “Ain’t Messin ‘Round,” Blak and Blu explores elements of soul, rock, and hip-hop while still boasting a powerful amount of blues credibility.

I found myself most struck by “The Life,” a pop and hip-hop influenced summer jam and “Please Come Home,” a 70s-style soul-ballad showcasing Clark’s surprisingly smooth falsetto.

For fans of Clark’s iconic heavy blues-rock tracks, “When My Train Pulls In,” “Bright Lights,” and “Numb” are unrelenting in both their quality and their bluesy southern attitude.

Blak and Blu flows more smoothly than just about any post-2010 record I can name. Careful thought was obviously put into the exact order of the tracks, creating a natural concert-like feel. In an age of singles, Gary Clark Jr. released a true record intended to be enjoyed as a full work that progresses through various stylings and moods.

Blak and Blu is a fantastic debut record and would serve as great study material for any musician looking to enter the rock or blues game.

#29 – Comedian Will Nolan

Breaking my over two month podcast absence, I interview Nashville stand-up comic and host of Middle Tennessee State University’s Comichameleon, Will Nolan. We delve deep into many personal details of his life that many people might find shocking and distasteful, but I sure as hell found them to be amusing.

Comichameleon Facebook Page

#28 – Radio Interview With Baylee Kuss And Rick Perry From Ashes Of Folly

I conducted my first ever radio interview recently with Baylee Kuss and Rick Perry from Ashes Of Folly because the three of us have put together a band and have begun writing songs together. The interview was performed on 88.3 FM in Murfreesboro, WMTS.

#27 – Will Jazz Ever “Make It” In Nashville? – Robots Make Music – New George Carlin – Blind Breed – RJ And The Del Guapos

Thanks for checking out the return of the Joseph West Podcast. Joseph discusses the potential for jazz’s popularity in Nashville, ponders the repercussions Sony’s robot composing music, reviews the new George Carlin album “I Kinda Like It When A Lotta People Die,” and plays music from local bands Blind Breed and RJ And The Del Guapos.

George Carlin – I Kinda Like It When A Lotta People Die

Sony Shares Song Composed By Artificial Intelligence