The Album Review Club - Week #193 (page 1300) - East Side Story - Squeeze

3ft High & Rising - De La Soul

In the future, when I perhaps need some advice on personal hygiene, I need to remind myself to give this a listen to again for some good grooming habits. But I sure as heck hope it doesn't come to that.

Between discussion of dandruff, body smells, a little bit of soap, bad breath, and une leçon de français, this album will be my go to as it mostly covers it all in those categories.

Is it funny? Only contestant #5 knows that answer, but I did listen to the whole selection, and not just the 24 track version. I did get a kick out of the overly thick and heavy NY 6th borough accents (Amityville, which is located on Long Island), even while my Philly Hall and Oates were being sampled.

Is it music? Of course it is. But is it music I like? Unlike The Streets selection, I didn't find as much that moved me comedically on this album, as the story on each song ("Take It Off", "Delacratic", "De La Orgee", etc.) got old quickly like a bad SNL skit that has played too long, so no, it wasn't as much.

Were there good songs? Yes, "Ghetto Thang", "Eye Know" (thank you Donald Fagen), "Me, Myself, and I", "This is a Recording...", and even "Say No Go" were highlights there. I guess "Tread War-tor" was OK too as Mr. Squirrel, Mr. Fish, and Mr. Monkey all seemed to get along.

There is a big Block Party and House Party component to it, even as "Do as De La Does", and I even got a chuckle out of them busting on the NY Lasagna Heads that were into their music at the time. Glad I wasn't part of that group either as this never made the NY FM stations I was listening to in having to live in that media market for a brief period.

I appreciate the nomination from LGWIO as there's no way I'd have heard this album had it not been for this. I don't consider myself a heathen either, but it doesn't change that there's some good rap/hip-hop, some bad, but this doesn't seem to really move me in either direction. It doesn't take itself seriously at all, so there is that. It's a 4/10 for me on this, and a shout out to the suckas suckas suckas who bought this at the time. I'm sure De La Soul laughed all the way to the bank. And good on them too, because A Grand Don't Come For Free.

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journolud said:
It's been a pretty fragmented listening experience this week, circumstances dictating that I break it down into chunks at a time and through a cheap pair of ear buds. Small samples of the samples.

I canvassed my son's views as he is a fan of this sort of thing and he says it's a brilliant album, 9.5 and that De La Soul are in the top 3 groups. Doesn't mean shit to a tree though as far as the Bluemoon music thread scoring goes.

Enough has already been said about the difference between this and most of the rap music one hears, including from my son's room and I have read a few articles too that expand on the playfulness and almost mundane nature of the lyrical content. It does at times have the feel of being a novelty record that could veer into parody at times but the overall sense for me was of it being fun and that these guys didn't take themselves too seriously.

Musically, I'll be honest I don't know what is them and what is sampled on the whole and had to google to pin down the Steely Dan. It's obvious once you know. I think I've only ever heard Aja once and remember thinking it a bit dull compared to Can't Buy a Thrill. Eye Know is one of my favourite tracks on this album though. Along with The Magic Number.

Overall it's patchy but I'm far from being offended by it. I find it clever rather than derivative, funny in parts and for someone who doesn't like to dance I have found myself involuntarily twitching at times to the groove.

It's too long, and the skits, like most comedy albums or indeed any spoken word are OK the first time but end up being superfluous. I found a couple of tracks annoying but not in the way I find the more violent and misogynistic rap annoying, just, well probably not the best songs.

But overall, I enjoyed this much more than I expected to. At the start of the week I was going to give myself a free pass using the excuse of being out of the country and with limited time to listen to it but I find myself regretting to a degree not having the facility to give it a "proper" listen and even though I'll be coming back from the states with an armful of new vinyl I will give this it's due when i get home as well.

A surprise hit and despite it's faults I'm going to give it a 7. I shall also ask my son to guide me in the direction of what else in their catalogue might be worth a listen.
Click to expand...
12th album about to be released.
 
The one big blind spot I have is that 3 Ft High and Rising wasn’t a record I heard when it came out. As such, there’s no way to recreate or simulate it’s at-the-time impact historically, which always seems to have some kind of meta-influence over how a nominator or listener thinks of things, like most art. That said, I watched a PBS broadcast of “Twelfth Night” last evening (the one in NYC’s Central Park this past summer) and laughed with my wife about how good it still is some 400+ years after it was penned. This isn't Shakespeare, but so many have waxed poetic about its appeal that its reputation precedes it.

For me hip hop comes down to three elements: the beat, the samples, and the patter (rap). The first two elements here are quite good, and in spots border on delightful. Nearly every song over three minutes long is danceable. Definitionally hip hop is “get up and move music” (it’s implied in the name there), and over the three listens I gave this, two while walking or running, the groove was a consistently good accompaniment. And as I’ve said about 82 times, get up and move music is my kind of thing. Sample-wise, I tend to prefer records with a a lot of found sounds as opposed to musical swipes, but given 3FHAR rips from four of my top 100 favo(u)rite records among dozens (you’ll have to guess — I will be nominating one of them soon), I’m satisfied. As others noted, the “Peg” snippet on “Eye Know” can’t be defined any other way but clever, and some of the goofier ones (Jefferson Starship? Billy Joel?? Liberace???) seem included at least as much for fun as for texture.

Where this works less well — disappointingly so in some places — is lyrically, but this might be more operator error than anything else. As I’ve mentioned frequently, when I want to hear hip-hop from this age, I turn back to Public Enemy, because of their anger and power, and the Beastie Boys, because they’re so funny. I forgive both their misogyny. Here there’s a lot less to latch onto, by design according to those of you who know more about the history of the genre than I do. But as such, why not discuss real human relationships instead of looking around the house one day and deciding Head and Shoulders, Toro, Richard Scarry and The Hustler Channel deserved homages? Why interlace vague concepts like DAISY through the record instead of something more personal, if you aren’t going to try to make people think? Self-references are a given, but so is self-promotion, and the band-member boasts here are absent in a way that might seem modest but which I think more leave the record without grounding. The skit dynamic — which I’ve read some claim this record invented — falls flat, but I do have to admit I wanted to know the answers to the questions (and also knew none of the “contestants” would get them). In summary, 3FHAR is long on actual physical chestnuts, but short on metaphorical ones, which is one of the reasons to listen to hip-hop in the first place.

I concur with @Black&White&BlueMoon Town about the songs I liked best, with a particular mention for “Say No Go” and “This Is A Recording” along with the better-known songs. And I think I could quite happily listen to this regularly save about a half dozen bits, which I not only didn’t like, but actively detract, especially the scatological references which is a particular pet peeve (Austin Powers, GFY). A very comfortable 7/10 and a bold choice by our resident Dipper — well done for having the balls I wouldn’t have, though I did think fleetingly about giving the very underrated “Apocalypse 91” by PE a test drive on this thread.
 
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To the extent that a white man in his early twenties in a mid-range suit who had access to his company’s executive bogs and restaurant* can be anything, I was always East Coast.

Of course, West Coast vs East Coast wasn’t actually a thing at that point, but nonetheless this album like the other bits of hip-hop I listened to at time came from New York unsurprisingly given hip-hop's genesis. No one knew at this point that Afrika Bambaataa was a wrong ‘un so the likes of Planet Rock could be enjoyed in peace. I liked the militancy and aggressive energy of Public Enemy but, as with all punk, from my perspective it was something to be dipped in and out of, not as an ongoing sustained assault. However, things were undergoing something of a change and not one I was particularly on board with. The emergence of gangster in LA at that point was hard to ignore, Straight Outta Compton had come out a short while before this album, and if it hadn’t yet started selling in buckets loads it was generating vast amounts of press as it had already been decided that rap as represented by the gangster subgenre was a threat to western civilisation and of course that meant loads of coverage and therefore big bucks to be had. So, gangster soon became the predominant subgenre both in coverage and subsequently in sales.

It’s an unknowable, but had gangster been allowed to remain the monolithic face of hip-hop (which for a while it seemed to be) there was a danger it would have led it down an evolutionary cul-de-sac. The socially conscious but fun partying origins of hip-hop might have been permanently overwhelmed by a combination of aggression, materialistic bragging and an unrelenting nihilistic realism that offered no light and shade. If that sounds a bit melodramatic then as a bare minimum gangster was hosting a block party that I was not invited to nor wanted to be at anyway. I would later soften my position with some of the G-funk stuff, but at this point there was a danger that any interest I had in hip-hop was going to be killed not too long after it started.

But then this album was released and helped open up an alternative path for hip-hop that, though I’m no aficionado, I still enjoy dipping into to this day.

The Native Tongues acts in particular, provided an approach to hip-hop that simply appealed to me more. You can argue that a comfy white boy jigging along to messages focused on Afrocentrism is no less sketchy than it is sitting nodding your head to ‘more punks I smoke, my rep gets bigger’ but the broader messages of positivity were much more appealing to me than the alternatives on offer. Arguably the likes of Jungle Brothers and ATCQ ultimately did more to reinvigorate some of the earlier hip hop ethos, but De La Soul and this album were the tip of the spear and poster boys for a broader public like me to take a bit of interest. Had I not bought this maybe I wouldn’t have bothered with those other artists or the likes of Arrested Development.

Some of this album sounds pretty gauche now, but it cannot be emphasised enough that at the point it was released it sounded genuinely fresh and stood in bold contrast to a lot of where hip-hop was going. Personally, I still think it’s sounds good but then I am basically childish which helps.

What percentage was plain juvenile, or hippyish nonsense vs meaningful commentary is hard to quantify but the playfulness was 100% deliberate as a reaction to what else was going on. You can understand the reasons for the subsequent De La Soul is Dead; but I think distance says that it doesn’t matter how uniformly thought through or sophisticated the underlying motivation was on this first album; it served a really important purpose and should be lauded as such. Playfulness and silliness have always been used in art as a form of subversion. Am I claiming that this is a deliberately Dadaist masterpiece? Not at all but it belongs in that tradition and if I’m being poncy about it has elements of Surrealism and Fluxus too. And it definitely did subvert things. Beyond helping create the path for a mellower form of hip-hop, it served other useful purposes too. Whichever side of the case you fall on the lawsuit around Transmitting Live From Mars, it opened up the discussion around sampling and legitimate use.

Of course, there is a massive irony that I’m discussing this album in such serious tones when the reality is that at its heart just good fun and can and should be listened to on that basis. Imo Belfry did a fine job of analysing its strengths and weaknesses and the main thing I’d add is that even if some aspects haven’t aged that well you’re still left with half a dozen bangers that just bring a smile to the face. One thing about the subsequent discussion does confuse me, why would you bother with Peg when you can listen to Eye Know and get classic Stax content thrown in too ? Answers on a reactionary post card please ;-)

It’s not perfect but experimental stuff rarely is and it also loses a point for triggering my O Level French PTSD; but it gets 7 for the album and additional point for its importance which gives us 8/10.

A top nomination imo @LGWIO and in homage to that time I’ve currently got All Hail The Queen on. Always had a soft spot for Dana (not that one) I even like watching those crap films she’s in that they show on C5. I know the one with Dolly Parton is absolute bobbins but I can’t help myself.


(*This was back in the halcyon days when companies were still beguiled and bewildered by the ‘computer bods’ and so stuck us on management grading ladders that meant everybody else hated us because they knew in reality we were mostly dickheads).
 
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threespires said:
To the extent that a white man in his early twenties in a mid-range suit who had access to his company’s executive bogs and restaurant* can be anything, I was always East Coast.

Of course, West Coast vs East Coast wasn’t actually a thing at that point, but nonetheless this album like the other bits of hip-hop I listened to at time came from New York unsurprisingly given hip-hop's genesis. No one knew at this point that Afrika Bambaataa was a wrong ‘un so the likes of Planet Rock could be enjoyed in peace. I liked the militancy and aggressive energy of Public Enemy but, as with all punk, from my perspective it was something to be dipped in and out of, not as an ongoing sustained assault. However, things were undergoing something of a change and not one I was particularly on board with. The emergence of gangster in LA at that point was hard to ignore, Straight Outta Compton had come out a short while before this album, and if it hadn’t yet started selling in buckets loads it was generating vast amounts of press as it had already been decided that rap as represented by the gangster subgenre was a threat to western civilisation and of course that meant loads of coverage and therefore big bucks to be had. So, gangster soon became the predominant subgenre both in coverage and subsequently in sales.

It’s an unknowable, but had gangster been allowed to remain the monolithic face of hip-hop (which for a while it seemed to be) there was a danger it would have led it down an evolutionary cul-de-sac. The socially conscious but fun partying origins of hip-hop might have been permanently overwhelmed by a combination of aggression, materialistic bragging and an unrelenting nihilistic realism that offered no light and shade. If that sounds a bit melodramatic then as a bare minimum gangster was hosting a block party that I was not invited to nor wanted to be at anyway. I would later soften my position with some of the G-funk stuff, but at this point there was a danger that any interest I had in hip-hop was going to be killed not too long after it started.

But then this album was released and helped open up an alternative path for hip-hop that, though I’m no aficionado, I still enjoy dipping into to this day.

The Native Tongues acts in particular, provided an approach to hip-hop that simply appealed to me more. You can argue that a comfy white boy jigging along to messages focused on Afrocentrism is no less sketchy than it is sitting nodding your head to ‘more punks I smoke, my rep gets bigger’ but the broader messages of positivity were much more appealing to me than the alternatives on offer. Arguably the likes of Jungle Brothers and ATCQ ultimately did more to reinvigorate some of the earlier hip hop ethos, but De La Soul and this album were the tip of the spear and poster boys for a broader public like me to take a bit of interest. Had I not bought this maybe I wouldn’t have bothered with those other artists or the likes of Arrested Development.

Some of this album sounds pretty gauche now, but it cannot be emphasised enough that at the point it was released it sounded genuinely fresh and stood in bold contrast to a lot of where hip-hop was going. Personally, I still think it’s sounds good but then I am basically childish which helps.

What percentage was plain juvenile, or hippyish nonsense vs meaningful commentary is hard to quantify but the playfulness was 100% deliberate as a reaction to what else was going on. You can understand the reasons for the subsequent De La Soul is Dead; but I think distance says that it doesn’t matter how uniformly thought through or sophisticated the underlying motivation was on this first album; it served a really important purpose and should be lauded as such. Playfulness and silliness have always been used in art as a form of subversion. Am I claiming that this is a deliberately Dadaist masterpiece? Not at all but it belongs in that tradition and if I’m being poncy about it has elements of Surrealism and Fluxus too. And it definitely did subvert things. Beyond helping create the path for a mellower form of hip-hop, it served other useful purposes too. Whichever side of the case you fall on the lawsuit around Transmitting Live From Mars, it opened up the discussion around sampling and legitimate use.

Of course, there is a massive irony that I’m discussing this album in such serious tones when the reality is that at its heart just good fun and can and should be listened to on that basis. Imo Belfry did a fine job of analysing its strengths and weaknesses and the main thing I’d add is that even if some aspects haven’t aged that well you’re still left with half a dozen bangers that just bring a smile to the face. One thing about the subsequent discussion does confuse me, why would you bother with Peg when you can listen to Eye Know and get classic Stax content thrown in too ? Answers on a reactionary post card please ;-)

It’s not perfect but experimental stuff rarely is and it also loses a point for triggering my O Level French PTSD; but it gets 7 for the album and additional point for its importance which gives us 8/10.

A top nomination imo @LGWIO and in homage to that time I’ve currently got All Hail The Queen on. Always had a soft spot for Dana (not that one) I even like watching those crap films she’s in that they show on C5. I know the one with Dolly Parton is absolute bobbins but I can’t help myself.


(*This was back in the halcyon days when companies were still beguiled and bewildered by the ‘computer bods’ and so stuck us on management grading ladders that meant everybody else hated us because they knew in reality we were mostly dickheads).
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This is super-helpful context — thanks. Since I never really cottoned to NWA’s record, or them (at all), it never occurred to me that there was a risk hip-hop became an “evolutionary cul-de-sac”. And pre-trademark violation days, it never would have occurred to me that such a thing would even be possible, given the infinite number of sounds one could sample. And of course there was plenty of sampling pre hip-hop anyhow. As such, this record being a breakout and providing an escape valve for the steam seems pretty important, its specific topic set aside.
 
DE LA SOUL 3FEET HIGH AND RISING



I always get De La Soul mixed up with Arrested Development for some reason.
I’d not heard this album before but I knew singles ‘The Magic Number’ Me Myself and I ‘and ‘Eye Know’
Interestingly Mrs MCD had this album before we met but is not that keen on it now.
I think like The Streets album it’s very much a one play, as you once get to the end of the story unless you really like it you don’t need to listen again, and this is the same with the jokes and skits.
Again like the streets I quite liked the singles but I didn’t want to play the album again, although as it’s a nomination I did but I didn’t get anymore out of it.

I don’t mind hip hop/ rap but tend to prefer ‘Gansta’ and mainly singles
from PE,NWA et al.

I think I would’ve preferred Arrested Development tbh,But it’s a refreshing choice as it’s a genre we’ve not really had before.

5/10
 
Mancitydoogle said:
DE LA SOUL 3FEET HIGH AND RISING



I always get De La Soul mixed up with Arrested Development for some reason.
I’d not heard this album before but I knew singles ‘The Magic Number’ Me Myself and I ‘and ‘Eye Know’
Interestingly Mrs MCD had this album before we met but is not that keen on it now.
I think like The Streets album it’s very much a one play, as you once get to the end of the story unless you really like it you don’t need to listen again, and this is the same with the jokes and skits.
Again like the streets I quite liked the singles but I didn’t want to play the album again, although as it’s a nomination I did but I didn’t get anymore out of it.

I don’t mind hip hop/ rap but tend to prefer ‘Gansta’ and mainly singles
from PE,NWA et al.

I think I would’ve preferred Arrested Development tbh,But it’s a refreshing choice as it’s a genre we’ve not really had before.

5/10
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I'm with Foggy, PE definitely punk not gangster. Arrested Development had a bit of that Georgia soul vibe going on that differentiated them from the other groups. Still going, put an album out recently the brilliantly titled Adult Contemporary Hip-Hop.
 
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threespires said:
To the extent that a white man in his early twenties in a mid-range suit who had access to his company’s executive bogs and restaurant* can be anything, I was always East Coast.

Of course, West Coast vs East Coast wasn’t actually a thing at that point, but nonetheless this album like the other bits of hip-hop I listened to at time came from New York unsurprisingly given hip-hop's genesis. No one knew at this point that Afrika Bambaataa was a wrong ‘un so the likes of Planet Rock could be enjoyed in peace. I liked the militancy and aggressive energy of Public Enemy but, as with all punk, from my perspective it was something to be dipped in and out of, not as an ongoing sustained assault. However, things were undergoing something of a change and not one I was particularly on board with. The emergence of gangster in LA at that point was hard to ignore, Straight Outta Compton had come out a short while before this album, and if it hadn’t yet started selling in buckets loads it was generating vast amounts of press as it had already been decided that rap as represented by the gangster subgenre was a threat to western civilisation and of course that meant loads of coverage and therefore big bucks to be had. So, gangster soon became the predominant subgenre both in coverage and subsequently in sales.

It’s an unknowable, but had gangster been allowed to remain the monolithic face of hip-hop (which for a while it seemed to be) there was a danger it would have led it down an evolutionary cul-de-sac. The socially conscious but fun partying origins of hip-hop might have been permanently overwhelmed by a combination of aggression, materialistic bragging and an unrelenting nihilistic realism that offered no light and shade. If that sounds a bit melodramatic then as a bare minimum gangster was hosting a block party that I was not invited to nor wanted to be at anyway. I would later soften my position with some of the G-funk stuff, but at this point there was a danger that any interest I had in hip-hop was going to be killed not too long after it started.

But then this album was released and helped open up an alternative path for hip-hop that, though I’m no aficionado, I still enjoy dipping into to this day.

The Native Tongues acts in particular, provided an approach to hip-hop that simply appealed to me more. You can argue that a comfy white boy jigging along to messages focused on Afrocentrism is no less sketchy than it is sitting nodding your head to ‘more punks I smoke, my rep gets bigger’ but the broader messages of positivity were much more appealing to me than the alternatives on offer. Arguably the likes of Jungle Brothers and ATCQ ultimately did more to reinvigorate some of the earlier hip hop ethos, but De La Soul and this album were the tip of the spear and poster boys for a broader public like me to take a bit of interest. Had I not bought this maybe I wouldn’t have bothered with those other artists or the likes of Arrested Development.

Some of this album sounds pretty gauche now, but it cannot be emphasised enough that at the point it was released it sounded genuinely fresh and stood in bold contrast to a lot of where hip-hop was going. Personally, I still think it’s sounds good but then I am basically childish which helps.

What percentage was plain juvenile, or hippyish nonsense vs meaningful commentary is hard to quantify but the playfulness was 100% deliberate as a reaction to what else was going on. You can understand the reasons for the subsequent De La Soul is Dead; but I think distance says that it doesn’t matter how uniformly thought through or sophisticated the underlying motivation was on this first album; it served a really important purpose and should be lauded as such. Playfulness and silliness have always been used in art as a form of subversion. Am I claiming that this is a deliberately Dadaist masterpiece? Not at all but it belongs in that tradition and if I’m being poncy about it has elements of Surrealism and Fluxus too. And it definitely did subvert things. Beyond helping create the path for a mellower form of hip-hop, it served other useful purposes too. Whichever side of the case you fall on the lawsuit around Transmitting Live From Mars, it opened up the discussion around sampling and legitimate use.

Of course, there is a massive irony that I’m discussing this album in such serious tones when the reality is that at its heart just good fun and can and should be listened to on that basis. Imo Belfry did a fine job of analysing its strengths and weaknesses and the main thing I’d add is that even if some aspects haven’t aged that well you’re still left with half a dozen bangers that just bring a smile to the face. One thing about the subsequent discussion does confuse me, why would you bother with Peg when you can listen to Eye Know and get classic Stax content thrown in too ? Answers on a reactionary post card please ;-)

It’s not perfect but experimental stuff rarely is and it also loses a point for triggering my O Level French PTSD; but it gets 7 for the album and additional point for its importance which gives us 8/10.

A top nomination imo @LGWIO and in homage to that time I’ve currently got All Hail The Queen on. Always had a soft spot for Dana (not that one) I even like watching those crap films she’s in that they show on C5. I know the one with Dolly Parton is absolute bobbins but I can’t help myself.


(*This was back in the halcyon days when companies were still beguiled and bewildered by the ‘computer bods’ and so stuck us on management grading ladders that meant everybody else hated us because they knew in reality we were mostly dickheads).
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Did you watch the bbc documentary on the evolution of rap, it was eithin the last 2 or 3 years, a 4 parter I think it was. Decent, worth looking up if not.
 
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Coatigan said:
Did yoy watch the bbc documentary on the evolution of rap, it was eithin the last 2 or 3 years, a 6 parter I think it was. Decent, worth looking up if not.
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No I've seen the odd bit of stuff on BBC4 I think but I've not seen a documentary series. It's something I don't know too much about that I'd probably find interesting. I'll have a look on iPlayer, thanks.
 
threespires said:
No I've seen the odd bit of stuff on BBC4 I think but I've not seen a documentary series. It's something I don't know too much about that I'd probably find interesting. I'll have a look on iPlayer, thanks.
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Doesn’t seem to be available on iplayer just now.

www.bbc.co.uk

BBC Two - Fight the Power: How Hip Hop Changed the World

Chuck D tell the definitive story of how hip-hop grew into a global force for change.
www.bbc.co.uk www.bbc.co.uk

But keep an eye out for it coming back, worth a watch.
 
Only time for a quick dip into De La Soul. I’m not a Hip Hop guy although I do have a bit of a fondness for Gangsta Rap; this album has a much sunnier disposition than that sub-genre.

Nothing here offended my ears and there’s a few tracks that stood out because I had heard them before. Toning to have to go with what seems to be my standard mark at the moment 6/10.

Good choice. Glad I have heard it.
 
threespires said:
Whilst I knew you and @Mancitydoogle were thread OGs I didn't have you both down as actual OGs :-) Next stop for the thread Method Man !!!
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Or hip-hop themed playlist break at the end of the round? Some folk can go OG, some can go fun, Rob can nominate some proper music rap. Even some Girls Aloud maybe, i'm pretty sure they rap at times.
 
I've no idea what OG is, so moving swiftly on, De La Soul's 3 Ft High & Rising went down about as well as could be expected, although some people did enjoy the album, and it certainly provoked some healthy/unhealthy debate.
A good number of people reviewed this album (16) and it ended up with an average of 4.88.
Thanks to @LGWIO for an interesting nomination.

This week it's the turn of @journolud, who is currently on his way back from Austin via Euston, so it falls to yours truly to get the ball rolling .....
 
Coatigan said:
Or hip-hop themed playlist break at the end of the round? Some folk can go OG, some can go fun, Rob can nominate some proper music rap. Even some Girls Aloud maybe, i'm pretty sure they rap at times.
Click to expand...

Works for me :-)

Because Eminem popped into my head this morning I thought of a playlist theme where you had to nominate an artist who shared your birthday! Don't know if it's viable. It would be either him or Wyclef Jean for me, though I also share it with Pino Palladino so if the criteria was loosened to 'plays on' I'd have all sorts to choose from.
 
threespires said:
Works for me :-)

Because Eminem popped into my head this morning I thought of a playlist theme where you had to nominate an artist who shared your birthday! Don't know if it's viable. It would be either him or Wyclef Jean for me, though I also share it with Pino Palladino so if the criteria was loosened to 'plays on' I'd have all sorts to choose from.
Click to expand...
I share a birthday with Jaco so could just be a best of bass playlist
 
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