It’s all nonsense, a smattering of words that seems like it were run through Google translate. Still, its bread-and-butter is in the cool, slightly crazy vibe, which includes flirty woodwinds, playful acoustics and silly orchestrations – all of which culminate into one giant psychedelic explosion.
Aaron Neville and his mole know all too well what it’s like to try and survive in the hood. There’s snakes lurking around every corner looking to run their con. Just to get by one would have to be as heroic as Hercules. It’s the cold hard truth and he rides a raucous bass line all the way to it.
No full-length, yet he has the disposition of a multi-platinum superstar. Post Def Jam he’s even more bloated, convinced that his look and persona will trump an egregiously overused rap cliche. Forget the limp beat, remember the name as to steer clear when or if he ever decides to release an album.
The kind of highly polished cautionary tale that may actually end up promoting the problem rather than preventing it. Clearly a stab at drug culture, but the opulent sounds that fall from its crevice are tailor-made for the type of lifestyle he’s fighting against. Good intent, but incredibly naive.
Something so sweet and dramatic about a New York kiss like it were a Shangri-La made just for that sole purpose. It’s a dramatic note to exit on but a feeling that they’re able to package and deliver. The blend of raw acoustics and edgy electronic touches strike the right type of balance to exit on.
If there was any doubt as to what drives the album consider the matter closed. At this point it seems like for Spoon all that they saw at one point were hands of all sizes, colors and shapes, reaching for them. A bit self-involved but what would an album be without a bit of narcissism. They’ve earned it.
Cover songs – not only is it hard to get past the original but throw in the Beatles, who had a firm handle on the fuzz in fuzz rock, then you have an even greater task in front of you. It’s a bit polished, but the off melodies and multiple layers add body, which gives it just enough to stand on its own.
A straightforward title cut that essentially spells it out for you. But that doesn’t mean it’s a throwaway. The Jonathan Fisk character returns, but the twist is that the same guy who that’s based on is now a huge fan. So whether in hate or love he’s still in pursuit of what lies at the heart of Spoon.
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