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Skinny
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- #41
- Posted: 05/21/2019 10:03
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This is the most tonedeaf list of hip-hop, soul, funk, and R'n'B imaginable.
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2021 in full effect. Come drop me some recs. Y'all know what I like.
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AfterHours
Gender: Male
Location: originally from scaruffi.com ;-)
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- #42
- Posted: 05/21/2019 15:07
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| baystateoftheart wrote: | 
Return To The 36 Chambers: The Dirty Ve...ty Bastard
Any opinions on this album? His often frenetic, surreal take on hip-hop made me think you might find some value.
EDIT: I just looked up a certain someone's opinion to see if that would improve my pitch.
| Scaruffi wrote: | | one of the most creative albums of the mid 1990s |
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Thanks 
It has a shot. I've heard it before but it's been forever ... and Ive never rated it.
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AfterHours
Gender: Male
Location: originally from scaruffi.com ;-)
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- #43
- Posted: 05/21/2019 15:08
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| Skinny wrote: | | This is the most tonedeaf list of hip-hop, soul, funk, and R'n'B imaginable. |
Glad your comment found a home 
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DommeDamian
Imperfect, sensitive Aspie with a melody addiction
Gender: Male
Age: 23
Location: where the flowers grow.
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AfterHours
Gender: Male
Location: originally from scaruffi.com ;-)
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- #45
- Posted: 05/21/2019 19:19
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Thanks for the recs Ive heard his more famous/well known songs but none of his full albums. He seems like a sincere, talented, relatively diverse and soulful artist but I don't recall anything that stood out that would make him a priority to check out, given my criteria. You/anyone is welcome to influence me otherwise with some analysis/key points that mark his work as significant (emotionally, conceptually, creatively... in line or superior to Prince/Marvin Gaye/Stevie Wonder's very best works) but there is only so much time in a day and efficiency of what I check out is pretty essential for me. Doesn't mean I won't eventually get to him some day...
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DommeDamian
Imperfect, sensitive Aspie with a melody addiction
Gender: Male
Age: 23
Location: where the flowers grow.
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- #46
- Posted: 05/21/2019 19:39
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| AfterHours wrote: |
Thanks for the recs Ive heard his more famous/well known songs but none of his full albums. He seems like a sincere, talented, relatively diverse and soulful artist but I don't recall anything that stood out that would make him a priority to check out, given my criteria. You/anyone is welcome to influence me otherwise with some analysis/key points that mark his work as significant (emotionally, conceptually, creatively... in line or superior to Prince/Marvin Gaye/Stevie Wonder's very best works) but there is only so much time in a day and efficiency of what I check out is pretty essential for me. Doesn't mean I won't eventually get to him some day... |
To start off with some analysis part - although I don't like them that much - Pitchfork has favorably reviewed all three of them. Mostly Voodoo, which they gave a perfect 10.0 score to, is one of my all-time favorite reviews by the site:
Brown Sugar Review by Pitchfork
Voodoo Review by Pitchfork
Black Messiah Review by Pitchfork
Secondly, the reviews on RYM are fine too.
Brown Sugar on RYM
Voodoo on RYM
Black Messiah on RYM
.
I always say to folks who haven't listened to him "If you don't have time to listen to some D'Angelo, you don't have time for anything"
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My Top 100 :
www.besteveralbums.com/thechart.php?c=4...amp;page=1
My music:
- www.hyperfollow.com/dommedamian
Spotify: ----------------------------------------------------↓
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AfterHours
Gender: Male
Location: originally from scaruffi.com ;-)
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- #47
- Posted: 05/22/2019 19:25
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| raadfactoryxny wrote: | | AfterHours wrote: |
Thanks for the recs Ive heard his more famous/well known songs but none of his full albums. He seems like a sincere, talented, relatively diverse and soulful artist but I don't recall anything that stood out that would make him a priority to check out, given my criteria. You/anyone is welcome to influence me otherwise with some analysis/key points that mark his work as significant (emotionally, conceptually, creatively... in line or superior to Prince/Marvin Gaye/Stevie Wonder's very best works) but there is only so much time in a day and efficiency of what I check out is pretty essential for me. Doesn't mean I won't eventually get to him some day... |
To start off with some analysis part - although I don't like them that much - Pitchfork has favorably reviewed all three of them. Mostly Voodoo, which they gave a perfect 10.0 score to, is one of my all-time favorite reviews by the site:
Brown Sugar Review by Pitchfork
Voodoo Review by Pitchfork
Black Messiah Review by Pitchfork
Secondly, the reviews on RYM are fine too.
Brown Sugar on RYM
Voodoo on RYM
Black Messiah on RYM
.
I always say to folks who haven't listened to him "If you don't have time to listen to some D'Angelo, you don't have time for anything" |
Thank you for all that. I'll take the salient points from those links/reviews into consideration when I get around to him. Pitchfork has excellent writers, though as you can probably guess, a Pitchfork 10, while probably better on avg than most mainstream sources, does not mean all that much to me except in a general sense that it's likely to represent a worthwhile album or better. Their "10" is still way too lenient in relation to my criteria for me to take it all that seriously ... as in: Beethoven's 9th, Sistine Chapel being the only artistic accomplishments at that level, along with a select few that have approached it and might also be 9.8+: Mahler's 9th, Bach Mass in B Minor... Pitchfork has their own scale where a 10 seems to mean something on the order of "this is a good or very good, consistent album with no obvious flaws" ... which on avg turns out to be about a 6.5 or 7 on my scale and of which there are hundreds of examples that the majority of competent-to-very competent, good-to-excellent artists have accomplished, given the chance. I'll check out the RYM ones too as sometimes there's some really good jewels of insight in there.
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DommeDamian
Imperfect, sensitive Aspie with a melody addiction
Gender: Male
Age: 23
Location: where the flowers grow.
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- #48
- Posted: 05/22/2019 19:40
- Post subject:
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| AfterHours wrote: | | raadfactoryxny wrote: | | AfterHours wrote: |
Thanks for the recs Ive heard his more famous/well known songs but none of his full albums. He seems like a sincere, talented, relatively diverse and soulful artist but I don't recall anything that stood out that would make him a priority to check out, given my criteria. You/anyone is welcome to influence me otherwise with some analysis/key points that mark his work as significant (emotionally, conceptually, creatively... in line or superior to Prince/Marvin Gaye/Stevie Wonder's very best works) but there is only so much time in a day and efficiency of what I check out is pretty essential for me. Doesn't mean I won't eventually get to him some day... |
To start off with some analysis part - although I don't like them that much - Pitchfork has favorably reviewed all three of them. Mostly Voodoo, which they gave a perfect 10.0 score to, is one of my all-time favorite reviews by the site:
Brown Sugar Review by Pitchfork
Voodoo Review by Pitchfork
Black Messiah Review by Pitchfork
Secondly, the reviews on RYM are fine too.
Brown Sugar on RYM
Voodoo on RYM
Black Messiah on RYM
.
I always say to folks who haven't listened to him "If you don't have time to listen to some D'Angelo, you don't have time for anything" |
Thank you for all that. I'll take the salient points from those links/reviews into consideration when I get around to him. Pitchfork has excellent writers, though as you can probably guess, a Pitchfork 10, while probably better on avg than most mainstream sources, does not mean all that much to me except in a general sense that it's likely to represent a worthwhile album or better. Their "10" is still way too lenient in relation to my criteria for me to take it all that seriously ... as in: Beethoven's 9th, Sistine Chapel being the only artistic accomplishments at that level, along with a select few that have approached it and might also be 9.8+: Mahler's 9th, Bach Mass in B Minor... Pitchfork has their own scale where a 10 seems to mean something on the order of "this is a good or very good, consistent album with no obvious flaws" ... which on avg turns out to be about a 6.5 or 7 on my scale and of which there are hundreds of examples that the majority of competent-to-very competent, good-to-excellent artists have accomplished, given the chance. I'll check out the RYM ones too as sometimes there's some really good jewels of insight in there. |
I found an explanation of their rating system
If you're interested, this was the old explanation:
10.0: Essential
9.5-9.9: Spectacular
9.0-9.4: Amazing
8.5-8.9: Exceptional; will likely rank among writer's top ten albums of the year
8.0-8.4: Very good
7.5-7.9: Above average; enjoyable
7.0-7.4: Not brilliant, but nice enough
6.0-6.9: Has its moments, but isn't strong
5.0-5.9: Mediocre; not good, but not awful
4.0-4.9: Just below average; bad outweighs good by just a little bit
3.0-3.9: Definitely below average, but a few redeeming qualities
2.0-2.9: Heard worse, but still pretty bad
1.0-1.9: Awful; not a single pleasant track
0.0-0.9: Breaks new ground for terrible
Right now, think of the following basic code for how significant a rating is for a newly-released album these days:
* Ratings above 9.4 have seldom been given to anything but reissues over the past few years.
* 9.0-9.4 - Sure to be album of the year material
* 8.0-8.9 - High endorsement, but much higher still if it comes with Best New Music; there is no particular cut-off point, I've seen albums with ratings as low as 8.3 get Best New Music, but some 8.5ers don't get it. I don't know the criteria for selecting Best New Music.
* 7.0-7.9 - Decent endorsement
* 6.0-6.9 - An "ehh" review; at this point the review starts to hurt an album's prospective sales if it's pitched at a "hipster" audience
* 4.0-5.9 - Standard negative review
* below 4.0 - A real slating
- In all honesty, I don't really like Pitchfork outside of their favorable reviews. They always tend to make the reader feel stupid if they don't agree with their pseudo-intellectual point of view.
In their favorable reviews (10.0-9.5 - ish), they actually focus more on the music, the circumstances and situations behind the record, and initial profound layers. Their reviews of D'Angelo three LPs is a solid example of that.
In terms of that scale, generally every music site is generous when it comes to high-rating albums - especially AllMusic. But for me (at least), it's more the review than the rating that'll get me excited for an album.
_________________
My Top 100 :
www.besteveralbums.com/thechart.php?c=4...amp;page=1
My music:
- www.hyperfollow.com/dommedamian
Spotify: ----------------------------------------------------↓
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Skinny
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- #49
- Posted: 05/22/2019 20:46
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"Salient"
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2021 in full effect. Come drop me some recs. Y'all know what I like.
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AfterHours
Gender: Male
Location: originally from scaruffi.com ;-)
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- #50
- Posted: 05/23/2019 03:17
- Post subject:
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| raadfactoryxny wrote: | | AfterHours wrote: | | raadfactoryxny wrote: | | AfterHours wrote: |
Thanks for the recs Ive heard his more famous/well known songs but none of his full albums. He seems like a sincere, talented, relatively diverse and soulful artist but I don't recall anything that stood out that would make him a priority to check out, given my criteria. You/anyone is welcome to influence me otherwise with some analysis/key points that mark his work as significant (emotionally, conceptually, creatively... in line or superior to Prince/Marvin Gaye/Stevie Wonder's very best works) but there is only so much time in a day and efficiency of what I check out is pretty essential for me. Doesn't mean I won't eventually get to him some day... |
To start off with some analysis part - although I don't like them that much - Pitchfork has favorably reviewed all three of them. Mostly Voodoo, which they gave a perfect 10.0 score to, is one of my all-time favorite reviews by the site:
Brown Sugar Review by Pitchfork
Voodoo Review by Pitchfork
Black Messiah Review by Pitchfork
Secondly, the reviews on RYM are fine too.
Brown Sugar on RYM
Voodoo on RYM
Black Messiah on RYM
.
I always say to folks who haven't listened to him "If you don't have time to listen to some D'Angelo, you don't have time for anything" |
Thank you for all that. I'll take the salient points from those links/reviews into consideration when I get around to him. Pitchfork has excellent writers, though as you can probably guess, a Pitchfork 10, while probably better on avg than most mainstream sources, does not mean all that much to me except in a general sense that it's likely to represent a worthwhile album or better. Their "10" is still way too lenient in relation to my criteria for me to take it all that seriously ... as in: Beethoven's 9th, Sistine Chapel being the only artistic accomplishments at that level, along with a select few that have approached it and might also be 9.8+: Mahler's 9th, Bach Mass in B Minor... Pitchfork has their own scale where a 10 seems to mean something on the order of "this is a good or very good, consistent album with no obvious flaws" ... which on avg turns out to be about a 6.5 or 7 on my scale and of which there are hundreds of examples that the majority of competent-to-very competent, good-to-excellent artists have accomplished, given the chance. I'll check out the RYM ones too as sometimes there's some really good jewels of insight in there. |
I found an explanation of their rating system
If you're interested, this was the old explanation:
10.0: Essential
9.5-9.9: Spectacular
9.0-9.4: Amazing
8.5-8.9: Exceptional; will likely rank among writer's top ten albums of the year
8.0-8.4: Very good
7.5-7.9: Above average; enjoyable
7.0-7.4: Not brilliant, but nice enough
6.0-6.9: Has its moments, but isn't strong
5.0-5.9: Mediocre; not good, but not awful
4.0-4.9: Just below average; bad outweighs good by just a little bit
3.0-3.9: Definitely below average, but a few redeeming qualities
2.0-2.9: Heard worse, but still pretty bad
1.0-1.9: Awful; not a single pleasant track
0.0-0.9: Breaks new ground for terrible
Right now, think of the following basic code for how significant a rating is for a newly-released album these days:
* Ratings above 9.4 have seldom been given to anything but reissues over the past few years.
* 9.0-9.4 - Sure to be album of the year material
* 8.0-8.9 - High endorsement, but much higher still if it comes with Best New Music; there is no particular cut-off point, I've seen albums with ratings as low as 8.3 get Best New Music, but some 8.5ers don't get it. I don't know the criteria for selecting Best New Music.
* 7.0-7.9 - Decent endorsement
* 6.0-6.9 - An "ehh" review; at this point the review starts to hurt an album's prospective sales if it's pitched at a "hipster" audience
* 4.0-5.9 - Standard negative review
* below 4.0 - A real slating
- In all honesty, I don't really like Pitchfork outside of their favorable reviews. They always tend to make the reader feel stupid if they don't agree with their pseudo-intellectual point of view.
In their favorable reviews (10.0-9.5 - ish), they actually focus more on the music, the circumstances and situations behind the record, and initial profound layers. Their reviews of D'Angelo three LPs is a solid example of that.
In terms of that scale, generally every music site is generous when it comes to high-rating albums - especially AllMusic. But for me (at least), it's more the review than the rating that'll get me excited for an album. |
Thank you, their old one is defined pretty similar to mine (sort of...) but falls pretty far away from it in the 7s and 8s which sound more like 6s to 6.5s to me... all the high quality of theirs is in a small concentration, roughly 8.5 on up, whereas my parallel to that would be 6.5 or 7 on up and much more defined in the echelons between that and 10... I don't think they consider depth as strongly as they should in making those determinations (which would protect many of their 9s, 9.5s,10s and so on from looking pretty overrated months or years later compared to the few and far between that hold up to the lense of history). The site also seems to have a penchant for adding the non-musical cultural/media impact of the star/artist into their ratings -- in other words they get "hyped" by an artist and this colors their ratings too much ... which of course "wears off" from facilitating the musical impact sooner or later... This used to be more geared to indie hype/cred (back in the early 2000s when I read the site fairly often) and theyd give these undeservedly high ratings to artists that were ultra indie, determined to find the next Pavement/Guided By Voices/NMH/Pixies before anyone else (or something like that)... Now it seems to have transferred to media culture/poptimism etc. Pretty much same phenomena, but a different angle... Probably a byproduct of being part of it and around it themselves as they got bigger and more mainstream.
Or at least thats how the site seems these days at a glance. I have hardly checked it out over the last 10+ years so my hunch may be inaccurate or partially so.
Regardless, they're just way more lenient when rating super high. In terms of ratings and evaluations, it is much more valuable to me if someone can discern the difference between an artist such as what I presume D'Angelo to be ("unofficially") with some good albums, and someone like Miles Davis with (among others) a mind-boggling masterpiece like Bitches Brew (replete with funk/soul/jazz-rock fusion/psychedelia leanings) or ... Gershwin's operatic masterpiece Porgy & Bess (even if its portrayals of African-American/Black culture were more "theatrical" than "socially-realistic")... or Mingus' ballet/third stream jazz masterpiece (with lots of soul/blues/gospel and spirituals leanings) Black Saint and the Sinner Lady ...etc... It is (imo) a strong (maybe not "objective") indication that the person is an active, detailed and discerning listener, than (for instance) someone that calls every good album a masterpiece and lumps all those "10s" together despite a very wide discrepancy in quality between the 10s that are really 6.5s and 7s and the 10s that are 8s, 9s and above.
Imo...
^^^ Imo...
^^^In my opinion, I think... 
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