![]() ![]() A crescendo might gain thrilling momentum only to slam abruptly into silence. ![]() Two chords might repeat for 10 minutes, until that relatively small sliver of time feels like eternity. At times, they sound like a hardcore band that never got the memo about brevity at others, like a religious cult for whom the sound of a skipping CD is the embodiment of the divine. The Osaka collective’s fifth full-length comes the closest to encapsulating the entirety of their journey, with long passages of the ecstatic trance-rock that would characterize their later years, punctuated frequently with the cartoonish riffs and chaotic smash cuts that had been their specialty early on. ![]() –Julianne Escobedo Shepherdīoredoms started in 1986 as something like a noise band, and ended three decades later as something like a mountain. Salt-N-Pepa just happened to get there early. Blige’s “I'll Be There for You/You're All I Need to Get By” weren’t far away. ![]() More than that, though, hip-hop was beginning to thaw to the idea of incorporating R&B and pop: Puff had convened Bad Boy Records in 1993, and genre-shifting cuts like Method Man and Mary J. But in the wake of the so-called “ Year of the Woman,” their career-long pop sensibilities congealed in the hits “Shoop” and the En Vogue-featuring “Whatta Man,” positive anthems that remain stalwart in the wedding and auntie playlists. They didn’t change up their raison d’etre: Salt, Pepa, and Spinderella were still committed to women determining their own futures and calling out creepers and weirdos. Salt-N-Pepa were a rebuke to the music industry’s storied disdain for women rappers, having gone platinum on their first two records by their fourth album Very Necessary, which quickly went multi-platinum, the trio could not be denied. ![]()
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