In the Fascist Bathroom: Punk in Pop Music, 1977-92 (Penguin Rock)
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Ghetto Pop Life Customer Review: Overall, good.
Some of the tunes on this album are brilliant and remind me a bit of Kanye West and what he is doing (and what others are not doing) in the genre. The production is awesome and sounds good on all media and some of the instrumentation is inspired.
There are a couple of tracks on here that sound like '90s West Coast throwbacks which don't really gel with the really strong tracks (The Only One, Ghetto Pop Life and Medieval) which are much more contempory. I agree with one of the other reviewers here who said he felt some of the lyrics were a little crude (not in the biblical sense!) and let down, what is, a very strong album. I also love the cover art.
This is in the mold of Kanye West with a bit of Nas - if that yanks your crank then buy this album.
Customer Review: —Ghetto pop life-hotter than a hot slice——-
Best album of 2004? Could well be…..
I know everyone bangs on about it but Dangermouse’s production just screams CLASSIC. He’s been using Protools for this one and the beats are crisper than frozen leaves. It makes the grey album production sound like it was done on fisher price’s ‘my first sequencer’. He’s taken mad breaks from all over but made them into a coherent album with a strong signature style.
Jemini (who once guested on a peter andre album!) has a strong enough flow to keep pace with the production and records with a string of punch-ins and overdubs that make parts of the album sound more like three MCs (a la Beasties or Pharcyde) than one. He holds down more topics than your average NY thug rapper, politicing on bush, drugs, big rims, food….er…and nuff more..
There’s a reason this album has killed it all over the world with a tenth of the promotion of bigger artists……Its just plain sick…
look out for the new dangermouse/ mf doom collaboration out 2005.
In the Fascist Bathroom: Punk in Pop Music, 1977-92 (Penguin Rock)
Customer Review: Great music, great writing
A fascinating collection on punk and related matters from 1977 through 1992, including what was left out of Marcus’ earlier book Lipstick Traces. In the author’s own words, it’s about “records, performances, twists of the radio dial.” It moves from the Sex Pistols’ “Anarchy” to Nirvana’s “Nevermind” in this illumined golden thread. Marcus writes about what moved, scared and disgusted him and what made him feel so privileged to be part of the punk audience. His views of punk encompassed a wide horizon, to include the likes of Bruce Springsteen, early Prince, Laurie Anderson and David Lynch’s film Blue Velvet. His point is that punk made wonderful things like Anderson’s “Superman” possible even though Superman itself isn’t punk. In other words, punk’s liberating effect caused sea changes in the perception of pop. A major weakness of the book is that it ignores the entire New York scene, because, as he puts it, “most [New York] punks seemed to be auditioning for careers as something else.” So no Patti Smith, no Richard Hell, a cursory mention of Talking Heads, but you WILL find Blondie here. Fascist Bathroom follows many avenues (The Clash, Sex Pistols, Elvis Costello) but maybe its most precious contribution is rescuing from obscurity some lower-profile such as Laura Logic, The Mekons, Marianne Faithfull. It’s a joy to read, chronologically arranged and ending with Nirvana and grunge in the 90s. The text swarms with relevant quotes from rock lyrics and references to other rock journalists like Lester Bangs. Similar books exploring the same terrain include Roni Sarig’s “The Secret History of Rock” and Clinton Heylin’s “From The Velvets To The Voidoids.” For anyone with a passionate interest in rock/pop music and youth culture, Fascist Bathroom required reading.
