Album Review: Childish Gambino- 3.15.20

I was among the millions of Prince fans who rushed to record stores on Tuesdays to buy the nine albums he released in the 1980s.  Alternately hedonistic and apocalyptic, the communal soundtrack was admirably adventurous and challenging.

Childish Gambino’s 3.15.20 is a splendid evocation of that era.  While the musician born Donald Glover isn’t as innovative as Prince, his ingratiating references to the vintage sounds of Cameo, George Clinton, Marvin Gaye, Sly and the Family Stone and Prince are balanced by astute allusions to Frank Ocean and Kanye West.

3.15.20 is an invigorating reminder that not everything is awful.  Arriving nine days after Jay Electronica’s essential A Written Testimony, 3.15.20 is the second classic album of the coronavirus era.


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I yakked about Kansas City artists including Deborah Brown, Julia Lee, Marilyn Maye and Mary Lou Williams on an episode of 90.9 The Bridge’s Eight One Sixty.

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I reviewed Eldar Djangirov’s Rhapsodize at Plastic Sax.

(Original image by There Stands the Glass.)

Whoa

I watched surfers from a beachside dive while on vacation in San Diego yesterday.  The soundtrack was similar to the sounds I’d heard at multiple Southern California establishments this week.  Rather than irritating me as they do when I encounter them in my Midwestern home, new millennium reggae songs from the likes of  Rebelution, Sbid, Iration and Damian Marley tickled my ears in an unfamiliar way.  Otherwise subdued barflys banded together for a hearty singalong when the 311 hit “Amber” popped up on the playlist.  I may have joined in.


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I shared tracks by Deborah Brown, Matt Otto with Ensemble Ibérica, Samantha Fish, Lee Ann Womack, Future and Alejandro Fernández on a KCUR program titled “From Kansas City And Beyond, The Best Music Of 2017”.  Bonus: I made a case for Rich the Factor as my favorite Kansas City artist.

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I write weekly music previews for The Kansas City Star.

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I reviewed Lonnie McFadden’s Live at Green Lady Lounge at Plastic Sax.

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Denise LaSalle has died.

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“Fast” Eddie Clarke of Motörhead and Fastway has died.

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Dolores O’Riordan of the Cranberries has died.

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The crossover gospel artist Edwin Hawkins has died.

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The press materials for Suss’Ghost Box imply that the New York group’s “ambient country” concept is groundbreaking.  It’s not.  Calexico, Bill Frisell and B.J. Cole are among the artists that have previously explored the Ennio Morricone-influenced terrain.  That observation doesn’t mean that I don't take enormous pleasure in Ghost Box.

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The albums Jack Antonoff produced for Lorde, Taylor Swift and his band Bleachers provided satisfying pop kicks in 2017.  Børns’ Blue Madonna offers a similar sort of immediate gratification.  Here’s “I Don’t Want U Back”.

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I intended to bail on Anderson East’s Encore until I recognized the opening lyric of the album’s fifth song.  His surprising cover of Ted Hawkins’ “Sorry You’re Sick” is a nice surprise.  Even so, does the world need another painfully sincere blue-eyed soul singer in the vein of Ray LaMontagne, Allen Stone and Amos Lee?  Here’s
“Girlfriend”.

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”Do you like it hardcore?” Yes, Fools Gold and Masayoshi Iimori, I do.

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Listening to Black Rebel Motorcycle Club’s Wrong Creatures is the rock and roll equivalent of rewatching the anodyne John Hughes movie The Breakfast Club.  RIYL: the Black Angels, vinyl reissues of the Velvet Underground, the Kills.  Here’s “Little Thing Gone Wild”.

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The video for Inara George’s lovely chamber-pop song “Young Adult” is charming.

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New Stravinsky!  The world premiere recording of the recently rediscovered “Chant Funébre” by Riccardo Chailly and the Lucerne Festival Orchestra on Stravinsky: Chant funŠbre; Le Sacre de Printemps is a swirling mind-bender.

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Umphrey’s McGee’s It’s Not Us is a typically frustrating affair.  The jam band is best during noisy freakouts that evoke King Crimson’s Discipline.  The group is intolerable when it sounds like a third-tier version of the Police.

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I’m invariably delighted on the rare occasions when I encounter a music enthusiast who is even geekier than I.  Cole Cuchna pores over every note and lyric of Kanye West’s My Beautiful Dark Twisted Fantasy on the second season of his Dissect podcast.

(Original image by There Stands the Glass.)

The Sickness

An ongoing battle with the flu has left me feeling like a desiccated bird.  The following loose ends are all I muster at the moment.


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I reviewed Karrin Allyson's concert at the Folly Theater.

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The Kansas City Star published a few dozen top album lists.

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Deborah Brown is Plastic Sax's Person of the Year.

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I participated in a Best Music of 2014 program on KCUR's Up to Date.  I also contributed Local Listen segments about BCR and Oleta Adams to the show.

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I lost my mind over The Gobots' D-Boy Era in 2010.  What Happened to the World, the Jacka's new album, is the best thing he's done since then.  RIYL: Mac Dre, crack, Too Short.  Here's "Gang Starz".

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I had to stop listening to Beautiful Life, Jimmy Greene's tribute to his late daughter, when a children's choir entered on "Ana's Song."

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J. Cole's 2014 Forest Hills Drive is entertaining radio rap.  RIYL: Wale, rappers rapping about their careers, Kid Cudi.

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I regret not listening to Sunny Sweeney's Provoked sooner.  It may be the best contemporary country album of 2014.  RIYL: Miranda Lambert, cheatin' songs, Kacey Musgraves.

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Orange Goblin's Back From the Abyss is RIYL: Motorhead, beer, Black Sabbath.

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Sleaford Mod's Divide and Exit is a hoot.  RIYL: Art Brut, getting yelled at, The Fall.

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The hilarious Stromae demonstrates his great taste in a "What's In My Bag?" segment.

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I respect the fact that a lot of my friends adore TV on the Radio's Seeds, but the album is not for me.  At every turn I expect the band to break into "The Lamb Lies Down on Broadway."  RIYL: The Mars Volta, punk-prog, The Police's Synchronicity.  Here's "Happy Idiot".

(Original image by There Stands the Glass.)