Page 11 Eve om Enterntainnmen The Lion’s Eye February 19, 2010 RRR Album Review: Lil’ Wayne’s Rebirth By Chris Dilenno - Lion's Eye Enterntainment Editor - cad5241 @psu.edu I remember thinking it was a joke. Someone told me that Li’l Wayne have done had he been completely separated from his music emotionally. I had written a rock song and upon hearing this I chuckled at the absurdity of the statement. “That’s a lot like Jack White writing a rap song” I said. But, unfortunately, my informer could not have been telling more truth, and months later the single turned into a full-fledged “rock” album. Now I’m not here to criticize Weezy (or what- ever his current nickname happens to be) for his musical abilities. In fact, as far as rappers “go, I’d say he’s much better than most of the stuff the radio has been churning out lately. But come on! Li’l Wayne simply has too many degrees of separation from Run DMC. His music relies too heavily on his own garish wordplay and the manufactured beats of the some thousand drum machines that he prob- ably owns at this point. “Born and raised in the USA, where the government watches what you do and say” sings Wayne through his ever-present auto tuner (something he uses so much that Bon Iver sounds as if his voice were actually fa clear in comparison). Ah, just picked up on the ol’ George Orwell, did we Mr. Wayne? Or PARENTAL EXPLICIT CB is it that nasty Patriot Act that’s got you feel- SEs ing rebellious lately? In any case, it becomes all too evident that his style of writing is not meant for rock music. “The prom queen is crying, sitting outside of my door. So you’ll never know how these things could turn around,” warbles Wayne, ARTER Photo courtesy of last.fm.com shudder to even call this mess rock music. A lot of the songs seem to have the build-up of rap songs and the only thing that could even separate them from the rest of Wayne’s discography are the gui- tars that play only the basics (do I detect some ~ Deep Purple riffs on “Ground Zero?). That and the rock-friendly Wanye seems to have morphed his lyrics to shape around. One of the best parts about rock music is the amounts of layers it contains. This music is just too inwardly teenaged and bare-bones ob- vious intrinsically. “Backstroke, backstroke. I’m like Michael Phelps with my backstroke.” Wayne explains on “Da Da Da”. It starts to make you wonder if this is actually some sort of sick joke. Listen to the chorus of “Get a Life” and tell me that this is the kind of music that’s begging to be taken seriously. (“F**k you. Get a life. F**k you. Get a life.”) The only acceptable song on this entire album is “Drop the World” because it actually has a semi-decent flow and includes Slim Shady himself. But even this song plays a lot like a huge joke that everyone has been clued into besides the two legendary rappers. As Wayne prepares to serve his jail sentence there are many things he know he has to put behind him. Rock music is most definitely one of them. I sincerely hope that this “Re-Birth” is short lived and and a few seconds later he shouts into the microphone the way Slash would other rappers don’t try to follow suit. That means you, Wu Tang Clan! bY The Runaways, The Runaways By Caitlin Olszewski - Lions Eye Eye on Entertainment Editor - c005024@psu.edu With the upcoming release world/I’m your wild girl/I’'m your films such as Dazed and Confused of the biopic of the band, I feel as though it is nec- essary to write a review on one of The Runaways best albums. The first al- bum the band released | - took the budding 1970°s punk scene by storm. The most outrageous aspect about the band? All of the members were teenage girls! Unheard of! Take The Ramones and The Sex Pistols, give or take some anatomical aspects and you have The Run- aways; just as raw and just as powerful. Guitarist Joan. Jett and singer Cherie Currie fronted the band. The other three girls did not contribute anything highly significant so they are rarely worth mentioning. In 1976 the band recorded their first album, The Runaways on Mercury Records. The most popular song on the album is undoubtedly “Cherry Bomb.” With lyrics like “Hello Photo courtesy of last.fm ch-ch-ch-ch-cherry bomb,” the band created their personal anthem and made it known that they meant business. This catchy song would top the charts and later be used in and Detroit Rock City. The band ensures § their controversial Drive. Me Wild.” The Runaways cre- ate the perfect punk rock love song with the lyrics, “I'm get- ting so hot I’m cook- ing like an oven/My head is all filled with crazy thoughts/Love like this just can’t be bought” “Blackmail” is definitely the dance song on the album. The song holds a certain upbeat tempo and even has a touch of blues. This song proves the versatility of the band and the member’s talents as musicians. Much like a cherry bomb, the band’s life was short but bitter sweet. The aftermath is still shaking the grounds of music to- day and has set an anthem for fe- male musicians to come. style with the hit “You Valentines | “Not-So-Infinite Playlist By Caitlin Olszewski - Lions Eye Entertainment Editor - c005024@psu.edu 1. “The Beaten Path” - The Good Life 2. “One of Us Must Know (Sooner or Later)” - Bob Dylan 3. “I Don’t Love Anyone” - Belle & Se- bastian 4. “Bang!” - Yeah Yeah Yeahs 5. “Add It Up” - Violent Femmes 6. “A Kiss Is Not a Contract” - Flight of the Concords : 7.”5top” - Black Rebel Motorcycle Club 8.”Glendora” - Rilo Kiley 9.”Rotten Hell” - Menomena 10. “Louis XIV” - Louis XIV Image courtesy of www.recordbrother.typepad.com
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