Eli Reviews: Deltron 3030 – Deltron 3030 (2000)

Fans who have found me through my cruise ship career might be surprised to see me review hip hop/rap. It’s not a favorite genre of this demographic and not one I’ve probably ever covered in the piano lounge but I actually really love 90s hip hop. The samples chosen were largely from funk and jazz records from my favorite eras and the beats really grooved. I love the texture the samplers and drum machines imparted to the recordings and love the delivery of a lot of the rappers from this era, even though I’m not normally paying much attention to what they were saying.

I think because the medium requires so many more words than a sung song of the same length (words go by a lot faster in rap and have no limitation of marrying with a melody) there could be the potential to really say more than a song could, but I’ve not heard much rap live up to that. I’m satisfied when it’s just not about something ugly or inane and the beat smacks.

So I was super happy to stumble upon Deltron 3030, which is a concept album mostly depicting a sci-fi future scenario involving a mecha-soldier and his defection from an evil empire. I learned that from Wikipedia as I didn’t actually catch all that the first time around…But I was enjoying the miscellany of sci-fi references and the really awesome beats that Dan the Automator made for it – I’ve since followed him around Spotify and have admired all his production work so far.

“3030” is probably the best track, with this amazing orchestral sequence Dan the Automator sampled from William Sheller (I’ve yet to listen to this guy, a French composer and songwriter) bringing an epic breadth to the track. “Mastermind” has a crunchy beat to it and my favorite is probably “Virus” where Del the Funky Homosapien rhymes ‘virus’ with ‘papyrus’ and it’s great.

My wife was wondering if the album wasn’t just a hodge-podge of science fiction terms and I can’t say that it isn’t – I definitely drift off towards the latter half. But it’s really inspiring to me that these guys stuck it out with their concept, blending their cross-media loves into their music. I have in mind to continue my ‘Quixote’ concept/character with later EM/FM releases so it’s really nice to have guiding stars like this one.

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Eli Reviews: AM Waves – Young Gun Silver Fox (2018)

I keep getting excited when I hear of a modern Yacht Rock band, and I keep getting disappointed. Cue disgruntled spiel: “music these days…” But it is true. I am disgruntled, and music these days just isn’t as good.

Young Gun Silver Fox is a team of a young singer-songwriter and an experienced old muso who met on Myspace back when, well, there was Myspace. It’s a cool story, but I don’t think it’s made for a great album.

For those who don’t already know, Yacht Rock is an after-the-fact name for certain adult-contemporary pop music of the mid-70s to the early 80s that featured blue-eyed-soul vocal stylings, sophisticated jazzy chord changes, tight grooves and pristine production. The easiest way to illustrate it is with the Michael McDonald era of The Doobie Brothers, but there’s a whole corner of the internet enthusiastic about whether songs from the era are Yacht or Not. Anyway, it’s some of my favorite music.

Unfortunately, all this modern retro-gazing often is coupled with the modern tendencies to look shallowly at things, and to lazily be derivative. Stranger Things did it with 80s movies, Vulfpeck does it with 70s jazz funk, and The Midnight does it with synthwave culture.

AM Waves gets the production quality component of Yacht Rock right, in that it sounds great. The wrapper is shiny. Meanwhile, meaningless lyrics sail by about it being midnight in Richmond and things vaguely aren’t the same as they were, and banal descriptions like lighting a cigarette get a full two bars to sit with the listener. Sudden music changes appear to derail any nice groove that’s winning you over as if to prove the musical vocabulary these guys have. “Lenny” is a song about having another drink, presumably from a Lenny, sung repetitively in falsetto over various musical tropes. “Take It Or Leave It” just about gets under my skin with the groove and a couple of nice chords until insipid backing vocals come in to repeat every one of the meaningless lines. That’s basically the story for the rest of the record.

Which is sad, because in searching back through the Yacht Rock catalogue (organized, of course, after-the-fact) they’re really not all winners either. So the world does need fresh new Yacht Rock. I’ll be producing some soon, but with my limited budget it might not make the cut on Yacht or Not…

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