lambchops's Full Review: G-Sides [ECD] [PA] - Gorillaz
After two near-seamless albums, the Gorillaz have become the single most popular animated dance-rock band ever. Of course they are the only cartoon group to ever really exist so it might not seem like that important a feat. However considering they've sold millions of records, won various awards, and have been played on radio stations worldwide there is little doubt of their importance in the giant scheme of pop culture.
So who are these mysterious Gorillaz fellows? That, my friends, is a fair question. Initially the band grew out of the stark visuals of Jamie Hewlett (Tank Girl), Damon Albarn (Blur), and Dan "The Automator" Nakamura. With the addition of Miho Hatori (Cibo Matto), Tina Weymouth (Tom Tom Club), Chris Franz (Tom Tom Club), Kid Koala (Deltron 3030) and wicked rapper Del the Funkee Homosapien (Deltron 3030) the large conglomeration of talents was able to create a unique and wholly appealing sound. It was an energetic and unique mix of pop and hip hop that proved immediately gratifying and perfect for radio and advertisement alike. The Gorillaz suddenly were much more than a bunch of cartoon characters. They were stars.
The band's outstanding self titled 2001 debut which contained such hits as Clint Eastwood and 19-2000 was followed by two odd collections of b-sides and remixes. G-Sides came first in early 2002 while Laika Come Home (a full album of remixed material by the mysterious Space Monkeyz) followed a few months later. Neither captured my imagination in quite the same way but both offered up a few surprising thrills.
G-Sides is a pretty predictable b-sides and remix compilation. It collected a bunch of tracks only previously available on import singles (therefore very difficult/expensive to get). There aren't many extras nor are there any real new things, but considering the way the Gorillaz flowed on their debut it only seems right that they'd give listeners a little treat to fill in the gap between records. Of course that gap turned into four whole years. That's a whole other issue though, I suppose.
As for the songs on G-Sides I'm only slightly impressed...and that is only because I so enjoyed the band's first album. Had I heard this prior to that, I wouldn't be nearly as interested in the product. G-Sides (and for that matter Laika Come Home) are only for established Gorillaz fans. All other listeners should consult the first disc of 2005's Demon Days for entertainment and education. Fortunately, this album does start out well with the first remix of 19-2000. The product of Soulchild, it captures the funk and energy of the original. It's got a tinnier and more layered kind of production that works well with the combination of elements and vocals. It is hard not to enjoy the mix even if it still doesn't quite live up to the original.
Latin Simone is also remixed here, though it is much less appealing than the original. It's slow and plodding and unorganized. It does have a pretty enough melody sometimes but it lacks the direction and energy of most of the rest of everything the Gorillaz have ever done. Similarly, the Wiseguys give 19-2000 a god-awful treatment complete with house beats and a fantastically annoying pacing. The song is almost completely unidentifiable save for the opening "where do you go" line. Beyond that it is a mess of epic proportions.
The Sounder, a collaboration between the Gorillaz and Phi Life Cyper, is a great improvement on some of the really awful songs on this album. At first it seems rooted in 1970s-style funk but there are soon elements of Eastern music added. Plus, the rapping is on point and Albarn's whinnying is refreshing. There is no question that this is easily one of the best songs on this album and deserves some attention. Similarly, Phi Life Cypher also joins the band on a remix of hit Clint Eastwood. The song always had a low, rap feel but on this arrangement everything is pulled away from the flow. It is a forceful, brash song that comes as a breath of fresh air.
Faust on the other hand is a rotten little track. It is annoying with dated synthesizers and an entirely pointless melody. I really have problems getting through it without hitting skip. Ghost Train is slightly better. I do enjoy the funky R&B feel and quirky instrumentation however it doesn't quite do it for me in the same way as the material on the Gorillaz studio albums. The problem isn't so much with the music as Albarn's lack of vocal variety.
As G-Sides winds down, fans are greeted with the hilariously campy Hip Albatross. Fans of Romero's Dawn of the Dead should find great joy in the use of zombie sounds and faux newscasts throughout the song. It's not exactly the upbeat, kicky kind of music fans came to love on the Gorillaz debut, but the trippy (not to mention depressing) melody is fascinating. Despite my affinity for all things horror, I am even more drawn to album ender 12D3 because of the simple acoustic guitar, light percussion, and Albarn's vocal restraint. It works wonderfully and probably should have earned a spot on the first album.
I am a fan of the Gorillaz. They embody a certain kind of creative freedom that is all too often lacking in pop music. They are wild and wonderful and their music is a reflection of the carefree attitudes of everybody involved. Oddly enough at the same time this music sounds so free and organic, it also is highly organized and very intentional. G-Sides is certainly a necessary CD for fans of the Gorillaz who have yet to invest in their singles. If you are new to the Gorillaz as a whole it would be prudent to first buy their debut and then 2005's Demon Days. Don't say I didn't warn you.
Rating: 2.5/5 stars
Track Listing:
01. 19-2000 [mix]
02. Latin Simone [Que Pasa Contigo]
03. 19-2000 [mix]
04. The Sounder
05. Faust
06. Clint Eastwood [Phi Life Cypher]
07. Ghost Train
08. Hip Albatross
09. 12D3
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