Steinski
What Does It All Mean?
1983-2006 Retrospective
(Illegal Art)
More than just the godfather of mash-ups and a mixologist supreme, Steinski altered hip-hop's DNA. Early classics seamlessly collaged breakbeats, left-field musical cues, and snatches of movie dialogue into a danceable postmodern populism that influenced a generation of DJs. These head-spinning joints still sound freshly minted. Steinski's later work is slightly academic, using hip-hop rhythms as bedrock for cut-ups from Kennedy's assassination to Bollywood. The bonus disc compensates with the purely fun "Nothing to Fear" mix. This seminal work has been little heard because of sampling issues. But it proves Negativland's motto: "Copyright infringement is your best entertainment value."
—Jeff Jackson
Emory Joseph
Fennario: Songs by Jerry
Garcia & Robert Hunter
(Iris Records)
Opinions are bound to be mixed on Emory Joseph's covers of a dozen Robert Hunter/Jerry Garcia classics. Joseph has enlisted the aid of Dead insiders such as David Grisman and Larry Campbell and, at times, sings as if he's channeling Jerry Garcia. There are no prolonged grooves or spacey jams; most songs draw more from cool-water Americana wells than acid-laced psychedelic pools. Joseph's arrangements offer snippets of ragtime, soul, Muscle Shoals R&B, bluegrass, country, acoustic blues, rock and more. The studio polish is sometimes wearisome, but when you shift sacred soil you need a borrowed shovel. Best of all, Joseph's approach casts attention to Hunter's too-often neglected lyrics.
—Rob Weir
The Hold Steady
Stay Positive
(Vagrant Records)
The Hold Steady positively relish their bar band association, wearing it like a badge of honor. On Stay Positive, the band's biggest, best, and most listenable album to date, they attempt something unheard of on previous releases: maturity. That's not to say that the bar-ready, fist-pumping theatrics are left behind (listen to that giddy synth warble on "Navy Sheets"), but everything's been smoothed out and settled-in ("Lord, I'm Discouraged" is downright beautiful). The handcrafted quality is still there (as is the fire-and-brimstone-y delivery of lead singer Craig Finn), but there's a level of maturity and (dare I say it) pop savvy in this latest batch of songs. Proof positive that you can get older and still know how to party.
—Drew Taylor
Beck
Modern Guilt
(Interscope)
Beck is the new Prince: a funky, diminutive, multi-instrumentalist virtuoso able to tackle any genre, prone to following religious sects. Modern Guilt is another fine mash-up of genres—folk, electronica, orchestral pop—with a more psychedelic feel than recent efforts. Beck provides most of the sounds, with first-time collaborator Danger Mouse (Gnarls Barkley) adding programmed drums. Samples and electronic hiccups are scattered amid the dense forest of layered vocals, stuttering beats and tasteful guitar and keyboard. Beck delivers social commentary and personal insight, but manages to do so without letting the overall mood get too heavy. But those awaiting his next breakout record will have to remain patient.
—Matthew Dube
