The DiZ Reviews: Inglorious Basterds (The Leonard Maltin Tribute Review)
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DiZ, the Chocolate G.O.A.T.
Watch it.
The DiZ Score: 5 out of 5
Tuesday, December 15, 2009
Watch it.
The DiZ Score: 5 out of 5
The DiZ Reviews: DJ Hero
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DiZ, the Chocolate G.O.A.T.
Yep, I'm still out a current gen console and my experiences are still restricted to display rooms and friendly unannounced visits to random houses, but somewhere between my pathetic attempts as video game nirvana I managed to get a solid grasp of the (possible) new phenomenon in rhythm based gaming: DJ Hero.
Bias would have played a major part in my review for this game if my love for music was any stronger, but it wasn't exactly difficult to balance out everything. After dozens of visits to Best Buy, half a dozen to Wal Mart, and one lucky house party featuring the new game, there was enough gaming experience to formulate a solid review and the response was a resounding: "It's okay..."
The rhythm based genre of games has always been an exercise in simple gameplay and great music, and in this respect DJ Hero glitters, not so much shines. The soundtrack is, as expected from the minds behind all Guitar Hero games from 3 on up, epic, a masterful list of mash ups that encompasses elements of hip hop (obviously) and a surprising amount of other genres and artists, from Isaac Hayes to Tears for Fears. Each recording is done to perfection. That leaves the gameplay to have to match the soundtrack though, and here's where we run into a couple of snags.
The interface is almost scary in how much is resembles Guitar Hero, but it works. Three buttons and some basic scratching techniques and you have the basic level. You add the fader bar and you hit the first snag. This particular feature is still in the earliest stages and sliding it from left to right isn't the most responsive motion. There's a loose (at best) distinction between the left, middle and right sides of it. The "euphoria" button (comparable to star power from Guitar Hero) is placed a little too out of the way and the ultimate idea behind it is clever but done strangely; it allows you to go back to a previous section you didn't quite excel at and try it again. The samples are a little too generic but in some songs they are a perfect fit.
The controls are the primary concern for a rhythm based game, but secondary to that is the graphics, and the irony behind a game like DJ Hero (or Guitar Hero or Rock Band for that matter) is that the graphics you want to see will be impossible to focus on lest you miss the buttons and cues of the scrolling mechanics. The wheel thing is nice. The background and atmosphere is nice but if you pay attention to that then you're going to lose. Background visuals are for the spectators, and that leads to another problem.
The game is a party game for one person, unless you want to fork out a lot of money for another DJ device. The price ultimately doesn't seem to justify the game. It's not bad, but it's not the revolution that Guitar Hero was when it first came out. This game is something of an experiment, and as such (much like Mirror's Edge, much like Tony Hawk Ride) it is up for VAST improvement. When DJ Hero 2 comes along the issues with the peripheral should be amended and maybe the price will even be a little more reasonable. As for this game, the novelty value alone would make it worthwhile, but as for a full game its better served as an experiment with room for improvement. Now, let's see if Scratch: the Ultimate DJ takes a hint...
The DiZ Score: 3.5 out of 5
Tuesday, December 1, 2009
The DiZ Reviews: Nujabes' "Mellow Beats, Friends and Lovers"
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DiZ, the Chocolate G.O.A.T.
Here's another glimpse into the life of DiZ: Nujabes is his favorite non-US producer. I had to go on a US hip hop sabbatical one time because the radio was getting on my nerves in playing nothing but mainstream bullshit. This might have been around the time of Lil Wayne's first step to mega-fame (I still liked him back when he was Carter 2 Wayne) or possibly even earlier, I can't say for sure, but I left the US for my hip hop and went off to other nations, starting east. I stopped in London, heard some stuff but didn't really stick to it. I went down to Africa and heard some stuff, and I liked it but it was put on the back burner because I couldn't understand everything. I hopped up to the Middle East and examined the close relationship between hip hop and the skateboarding culture (and the religious aspects combating some of the music) and said to myself that I'd come back when pigs flew or a black man was pretty much running the world (this was before pigs had wings and Barack Obama wasn't even on my radar). I hopped to China and left because there were too many voices and finally I took a break in Japan to rest my feet.
Then, what do you think I heard? I was sitting there, eating a cup of noodles and beef, and I heard the beautiful hip hop of the infamous anime Samurai Champloo. Yes, one of my favorite animes, I had forgotten how rooted (almost entirely) in hip hop it was and I looked for some of the songs, only to fall in love and look for the soundtracks. As I fell in love with those I said to myself, "Self, these men are geniuses... look for more!" And self did, and self found a smorgasbord of music, two albums right off the back and two more later in the year, and another one the next year. And when I finally sat down to look at just who was responsible for so much of this I saw the name: Nujabes.
Nujabes, along with TSUTCHIE and DJ Krush, are my favorite non-US producers (I say non-US because it implies that they have no peers anywhere outside of the US) ever, but Nujabes is the first because his mellow beats not only inspired me but inspired my friends and inspired lovers. I wish I can remember the exact moment I heard his stuff for the first time (it was comparable to my eargasm when I first listened to Illmatic or Lupe Fiasco's Food and Liquor. You see, that's the beauty of his production; Nujabes samples mellow vibes, jazz and sounds of Japan, and he puts them into sick beats, sick beats that he uses to train others, to create proteges, and his independent record label is prime proof of that.
Whew... I don't think I can praise this man enough, nor do I want to stop praising him, but I have to stick to the topic at hand. This is a review for his latest album, the appropriately titled Mellow Beats, Friends and Lovers. Don't let the title deceive you: you will hear a bit of everything they describe in it on this album.
The album begins with a silky smooth cover of the Sade hit "Kiss of Life", production from the master Nujabes and vocals from the talented Giovanca and Benny Sings, a cover I expected to fall under the shadow of the original; to my surprise it came close to achieving the same emotional feel of the original, just falling a mite short for reasons that can't be put on paper. The next track is "After It", another mellow track (what did I tell you?) with a rainy backdrop and bonus production from No. 9; bonus production is a special term I use because Nujabes produces a heavy amount of the album but calls for some guest help often. This is an example, as are several of them. The next song is the nearly 9 and a half minute long "Aurora", produced in collaboration with Chari Chari. I say get this person a sandwich because it takes a special production to last so long and not get annoying. I do think it runs too long but it changes up as the minutes pass by so it stays fresh.
Next we have "Sitting on the Beach", with bonus production from "Calm". I was appreciative of how it wasn't another 9.5 minute monster, thank God; it captured a bit of a beach/islander feel to it like a party on a shore at sunset. The next track is "Green Power" with bonus production from Ino Hidefumi, a sick song combining the mellow with the friends (yep, it's about to shift) that reminds me a little bit of a song called "Angel Eyes", but I can't remember who did that song. Does it feel like a rip off? No, not at all, just a coincidental nod of appreciation I suppose. I don't get the title, not at all, but then again I don't get the names of half of Nujabes' song's titles.
If you haven't figured it out yet, Nujabes likes instrumentals. I do too, lets your imagination run a little wild. That's not to say he doesn't produce for rappers but it's just half of his repertoire. The next song is "Departure", featuring Akira Kosemura. Of all the songs on the album this one is the most friendly (friendly being a tip of the hat to the title of the LP). I think Nujabes meant to insert this kind of logic into the album. In any case this song is a sugary sweet treat, leading right into the one track some people might know in the states. "Right Here" is, I believe, one of the few tracks that Nujabes didn't handle. DJ Mitsu the Beats handles the head nodding, Sunday drive music production and the vocals are handled by one of neo-soul's golden boys (heh...) Dwele. Seriously, I've heard that one or two people have heard this before, but I don't know, who cares? This song is perfect for a Sunday drive or a nice little date with a special young lady (are you seeing this?!) in the mall. Dwele knows what to say.
"Jazzy Joint" is a song by J.A.M. featuring Jose James. After you stop laughing at the alliteration you have to sit down, listen to this song and appreciate the bebop feel to it and note how Jose James is singing and rapping simultaneously in some points. This track feels like a jump into an older era or a sexy night lounge, down to the minimalist feel of the production. After the alliteration massacre we have Sora's "Revans", a hauntingly calm song hard to explain because of how it acts almost like "Departure" did as a transitional song from mellow to friends; this time friends to lovers. Now, "Gelnia", feautring Takagi Masakatsu is probably my favorite instrumental track up here because it has a sound I'd expect from somewhere like Japan while adding a jazzy flair, a trademark of Hydeout Productions. This is a seduction track almost.
Next we dive into "The Session", featuring three people, three names I can't remember. This is to me what the Roots would do if Black Thought wasn't rapping; its something I imagine the Roots doing regardless, just having a jam session for the hell of it. This is a jam session for the hell of it, and a good one at that. All four artists listed (not here but on the track) contribute something akin to a verse and it fits nicely, nice and jazzy. Finally (not the last track but still I'd been waiting for it) is "Lust", a nice way to conclude the lovers aspect of the album (don't worry, I know what I said), and sure enough Rei Harakami just oozes lust with this track, total lust. It's sensual lust too, not "nasty girl bent over for a gangbang" lust but "shy girl enticing you" lust, very different.
World Supreme Funky Fellowship 2102 drops an interesting track with "#1 Dub", maybe my least favorite track but that's not a sign of disrespect or anything so much as a matter of timing; it belonged up in the mellow beats part. Anyway the song is like something a child would be around for, something a child would live to. It's like waking up under a big tree in a meadow with a sleeping puppy next to you. It's kid stuff, just like it needs to be.
My personal favorite track on the album is up now, "Vision Eyes" featuring the rapper Golden Boy (hence my earlier laugh) and Nujabes' protege Uyama Hiroto on production. I heard this song on Uyama's own album, "A Son of the Sun" (which I will review in a short time) and fell in love with it then so listening to it now it's like, "Glad to hear it again." The song is simply Golden Boy gazing at the wonders of life. I like this song, very much so. Next we come to the third vocal track with "Maintain" featuring O.C. and producer Grooveman Spot. We continue with the feel of the past with both the wordplay and the beat, a throwback to the bebop of decades past once again and the golden age rapping of the 80s.
The final song is pure Nujabes again, the Japanese-inspired "Child's Attraction". This is a fine way to close out the album, especially in concluding the fourth theme: childlike memoria. Yep, I just made up a new term. In any case the song ends off the fourth theme with Nujabes doing exactly what he always does, and that's ending the album with an epic feel.
I've had little but great praise for this album and its hard to find many faults, but there are two things that hold this back from taking a place as a classic album in my book. The first and most obvious is mood. The mood this album sets is definitely calm and rest worthy, but at times it can drag on and just sound boring, especially if you're just listening to it track to track and not pausing for anything. Even I found myself nodding a little bit or getting surprised when some of the songs seemed to blend together, especially during a phase or before a transition. My second complain is with the fact that this is a compilation. Compilation albums take a special meaning with Nujabes, however, because it feels like a new album but its a collection of tracks from other albums, something I picked up on the most clearly with the Dwele-assisted track and "Vision Eyes", one track I question the original origin of and the latter one I heard on Uyama's debut. Granted, I'm noticeably biased to compilation albums but I'd be a total hypocrite if I said I didn't have a few floating around in my iPod, one of them ironically enough (not this one) from Nujabes. Maybe I just need to find Hydeout Production's total discography, that'll help out. Until then, though, I have this compilation album and I love it despite my hate for compilation albums.
The DiZ Score: 4 out of 5
Monday, November 2, 2009
The DiZ Reviews: Grand Puba's "2000"
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DiZ, the Chocolate G.O.A.T.
Two words that hardly go into the same sentence are "rap" and "longevity". It's rare that you see too many rappers start their careers in their late teens/early twenties and still have even an inkling of relevance when they push or even surpass forty. There are, of course, exceptions like Jay-Z (who can't seem to come to terms with the fact that he's nearly forty) and there are some that disappear right off the map after one song (Craig Mack). On the other hand you have some solo acts and groups that are lauded for their talent in staying in the game, like UGK, who some people will say are the greatest group for the sole purpose of being around since they are in their late teens. Don't worry, I'm making a point with this one.
Maxwell Dixon, known by his rap name Grand Puba, is one part of the landmark hip hop collective Brand Nubian, a socially and politically conscious collective of three rappers and two DJs that created one of the more popular alternative rap albums of the 90s with One for All. Grand Puba was arguably the frontman of the group, and at this point he might be the oldest. At 43 he's a walking anamoly, a rapper that still has a bit of significance in the world of hip hop and doesn't flaunt it. His latest album, Retroactive, while not as acclaimed as his debut, is a sign alone that age may not be the leading killer of careers in rap. But, this isn't about his latest foray into rap so much as the one I started with. I didn't really get into Grand Puba until I heard the single from 2000 and from there I went on to listen to more of his stuff and stuff from Brand Nubian (also known as the way I got into the Pharcyde after listening to Fatlip) and I can understand why he never again reached the fame of album number one. This is a review of 2000 so let's jump into it.
Puba begins the LP with Very Special, a misleading track that isn't all that special at all. Grand Puba drops some clever wordplay and displays some comedic lyricism (something he has going for him). Then it goes right into "I Like It (I Wanna Be Where You Are)" (hope you don't mind, but I'm tired of doing italics on a Mac so I'll do parenthesis) which is no doubt the second most apparent highlight of the album, and a worthy, danceable, fun single. "A Little of This" shares a problem that "Very Special" does and I'll get to that later, and "Keep On" is standard at best. "Backstabbers" is the album's standout track because of the way its done. Nowadays it's pretty common to have a rapper/singer collaboration where they effectively have a conversation with each other but back in 1995 this was still a kind of new concept. Its not the best song in the world, or even on the album, but its done with the same kind of clever comedy that Grand Puba is known for.
The title track suffers from being too short and too lost in the crowd for being the title track. "Amazing" is okay, though the beat is a little too inappropriate. "Don't Waste My Time" is possibly the funniest track on the album if only because of the chorus which features the classic line "Look at that sexy mama", but otherwise it had the potential to be a possible head banger. "Play It Cool" features Brand Nubian partner Sadat X and the two trade verses on the passable track and Grand Puba gets his bragging/pimping on with "Playin' the Game".
The last track on the album is a nod to the kind of music that made him and his group famous, "Change Gonna Come" and while it doesn't feature a Sam Cooke sample it does a fine job in getting a point across. That's Grand Puba's second album, and I'm at something of a crossroads here. Grand Puba is one of the rappers I give a serious listen to, one of the emcees I really vibe to, but this album isn't great. It's okay, but that's it right there: it's okay.
A few of the tracks suffer from being too long, WAY too long, like the first and third track, and tracks that should have a bit of length are too short, like the title track. Grand Puba isn't the most lyrical emcee out of New York but he's certainly more skilled than he's showing. On many occasions I heard the same words used almost as if they were part of a stock vocabulary as opposed to trying to spit something new. And another thing (this isn't a complaint but a query) I'm wondering: who is Stunt Doogie and how do you get respect with a name like that? Continuing on, the beat choice for a number of the latter tracks is kind of lacking and aside from the last track there's no sign of the Grand Puba that made the Nation of Gods and Earth rapper such a conscious source of hip hop. Again, it's not a great album but its passable. That's it, passable.
The DiZ Score: 3 out of 5
Monday, October 19, 2009
The DiZ Reviews: You Have To Burn The Rope
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DiZ, the Chocolate G.O.A.T.
With my Xbox still out of commission and all my money going into school I have no way to reach a consistent area of console gaming as of right now. I do computer games but they take a little too long to obtain and it requires me to get rid of more valuable stuff on my PC to so that's a rarity as well. That leaves me to no major gaming this semester, my friends, but I still play all kinds of games that have more humble origins. Flash games and freeware are on my radar for the time being, Newgrounds especially. If you've never been there then check it out here. I'm a big fan of the flash movies but some of the games are of incredible quality, one of these being the greatest game you will ever play: You Have to Burn the Rope.
Words can't properly define the greatness of this game. It melds the epitome of complexity with the accessibility of simplicity and a plot that makes the ghost of Edgar Allen Poe go into an alley and cry. The characters make those of George Lucas look like cardboard cutouts and the sheer awesomeness of the gameplay makes Rockstar Games' cash cow as pathetically simple as Aquaman.
Well, that was kind of mean... in all seriousness though the game is pretty amazing. You are a small pink ball with a derby hat and an unlimited supply of axes that navigates his way through a small path to reach a large open area featuring the boss: the grinning colossus. You can throw axes at him but he'll just regenerate his health. You can't die so you don't have to worry about getting hit by the colossus, but you have to kill him. So how do you do it? Well there's a chandelier at the top of the room and some torches on the walls. You have to jump up with a torch and... well, if I have to explain what to do now then you're a damn moron. The chandelier falls and the grinning colossus dies. The screen fades to black and we come to hear the most epic ending theme song ever. Now You're a Hero is pure bliss. And that's the game. Short, sweet and easily won. I keep testing myself to see how fast I can do it but why? It's so easy and fun. The creators knew what to do and, in their own words, "we didn't want to make a longer game. This is it I swear its true... ooh-ooh-ooh..."
I know, this isn't like me. "DiZ, you randy hunk of chocolate pie, this isn't a proper review!" True, true, but You Have to Burn the Rope isn't something you review properly. You observe it and love it. That's my two cents to the game. I give it a perfect score because it's so flawless.
The DiZ Score: 5 out of 5
For your enjoyment I give you the link to the game here:
You Have to Burn the Rope (full game): have fun!
If you're having trouble winning, here's the strategy guide: you're a fool!
And if you just want to listen to the epic theme song then go here: "Now You're a Hero"
Wednesday, October 7, 2009
Going Back to VA for a Few Days
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DiZ, the Chocolate G.O.A.T.
Greetings, fan. Fans, maybe, plural, I don't know. Well, I'm going home for a bit; have to go back for the funeral of one of my mentors. I may not be posting much for this occasion so this is me and a simple "Catch ya in a bit!" So, catch ya in a bit!
Wednesday, September 30, 2009
The Nostalgic DiZ Reviews: Prince's "Dirty Mind"
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DiZ, the Chocolate G.O.A.T.
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Okay... let's talk about Prince for a second. We're not talking about Jehovah's Witness Prince. We're not even talking about Purple Rain Prince. No, we're going back, WAY BACK, to his third album, where he wasn't rocking purple suits yet but crazy jackets and thongs. Way back when he was standing naked or nearly naked at concerts and his music was considered the nastiest thing to ever come out of someone's mouth. Well Prince, you can take solace in knowing that some of your work is still that nasty. Dirty Mind marked a turning point in the Minnesota sound. Gone was the commercial sound of the first albums and here was the now experimental and overly sexual sounds of Minnesota's finest. Most of the production was done by Prince himself and if this didn't paint Prince as a sex symbol (or at the very least a musical wet dream for women (and certain men I suppose) everywhere) then it marked him as just plain creepy at times. Let's get into this short album's short review and try to stay kind of innocent throughout.
Prince comes out of the gate with Dirty Mind, which is about exactly what it sounds like. Prince talks about some of his sexual thoughts, almost like a sampler for the rest of the album. From here he gets into When You Were Mine, a stalker/coward/pathetic kind of track devoted to how even after breaking up with a woman he's still really into her. It's the detail of what the other guy was doing throughout the entire process that creeps me out. Do It All Night is just another anthem to sex; essentially Prince is talking about how he wants to do it all night long. Yeah, there's nothing hidden in that track, no hidden message or anything. He wants to have sex all night long, period.
The raunchy talk takes a little break with Gotta Broken Heart Again. It's the "I miss my baby" track. I'm not mad at that, not at all. But the sex comes back with Uptown. I like this track because it's not just some sex track as much as a vision of a personal utopia, something of a hedonistic society much like I myself want to create one day. And after this... *sigh*... okay, before I mention the next track allow me to explain how Uptown is kind of like a part one of a three part track. The two songs following it seem to blend with the feel perfectly and act as examples of this utopia. With that being said... *sigh* let's get into... Head.
Head is about exactly what it sounds like. Prince is trying to get a woman about to marry someone to have sex with him, and she consents to head. Wow. I can't make that up, and in my first time hearing this album I thought this was the nastiest you could get. Nope. The next track, Sister, blows that track's brains out (insert joke here) as he talks about an incestuous relationship with his own sister. No. This takes the cake as the nastiest song I have ever heard. Sorry Scarface. Sorry Brotha Lynch Hung. You two niggas gotta take note: Prince in his early days was a total freak, and God bless him, he was a great singer-songwriter at the same time!
We end the album with the track Partyup, which is a good way to bring the album to a close but a bit of a let down considering the three previous tracks. The music Prince brings to sound as a whole is more than innovative. It's just unbelievable. I remember there was a debate long ago about who was better: Michael Jackson or Prince. With Michael's passing I don't think such a question can ever be properly be answered by a large crowd, but me, considering Michael's evolutionary take to pop as opposed to Prince's revolutionary approach to music, hold Prince in a slightly higher regard. He's calmed down the sex talk now thanks to religion but he's yet to really lose a step; even has a sexy young protege I wanna turn into my Darling Nikki. Yeah, Prince crafted a monster with Dirty Mind, and after listening to it I can say that I'm just a little dirtier myself.
The DiZ Score: 5 out of 5
Saturday, September 26, 2009