Live albums are mixed bag, you have your incredible mind blowing classic (i.e. B.B. King "Live at the Regal") and then you have the utter failures (too many to mention,) and it gets even worse when you talk about live hip hop albums, so much so that the only high quality ones I can think of right now is "The Roots Come Alive" and "Live Hardcore Worldwide" so when I heard that the ThoughtCriminals were going to be releasing a live album, I was a bit nervous to say the least, thoroughly enjoy their previous studio efforts (most notably "The Cold Winter") but did not know how it would translate into a live show and a live recording to boot. So often, even if an artist puts on a great live show, it does not translate in the recording, either because of a loss of visuals, poor recording, or it just doesn't have "IT."
But let me put your worries to rest, the ThoughtCriminals and Shane Hall, pull off a live album splendidly. Not only is the music of good quality (to be expected since they have dope songs and albums) but "Whatever (Live from the Raven)" transplants you into the audience that evening of July 31st, 2011, and as the liner notes say "Warts and all." That is one of the things that impresses me about this recording, is they did not go through and edit out anything that wasn't perfect, it gives you the true experience of one of their shows.
But live albums pose another problem, at least for me: how do I review it? My standard track by track sonic breakdown seems a bit odd especially since I have already reviewed about half of these tracks. But if I don't do it track by track I ignoring one of the things that separate my reviews from others. The internal debate continues. But enough of that, let us just jump right on in and see what happens, here it goes.
The album starts as any live album should, with a little intro, and then we hear how much different a live song can sound than a studio version while still obviously being the same track with "I Remember Now." This is one of the things that separates "Whatevermore" from so many other live hip hop albums and it comes from the fact that there is a live band on stage. They can actually switch up the sound and give the listener a totally different experience. (Yes I know artist with a DJ can do the same thing but often do not.) While the studio version crackles throughout, both instruments and vocals, including a siren that brings to mind the end of the world, the live version is much cleaner and comes off as very introspective and thought provoking. It seems to pull the listener into the song as opposed to being an observer on the album version. Incredibly well done, first time I heard it I knew that the ThoughtCriminals were going to be able to pull off a live album.
Then we encounter one of the fun things of a live show and live album...the fact that things can go wrong, and that is exactly what happens just before the ThoughtCriminals get ready to do "Return of the Antagonist (Drastic Measures)." What goes wrong you ask? Well, their guitarist's amp dies and instead of delaying the show, the group improvises the the music while the amp is replaced and everything goes on as if nothing happened. What really amazes me about this, is just how much the guitar is featured in the studio version but if you never heard it you would think the live version is exactly right, it is a stripped down version that still hits and puts even more attention on the vocals and it goes over great, both for me and the crowd as well. At the end, they do let the audience know "that's not really how the song goes, but it was still dope." For some reason those few words weighed on me, I couldn't decide if I was glad it was said because it showed their versatility and ability to adept while endearing themselves to the audience or did it ruin he illusion of a planned reworking of a tune. Then I realized those that were at the show, probably noticed the amp being switched and saw the problem, it was only those listening to the recording who wouldn't have had a clue, and that just amazed me more, I got sucked in to thinking i was AT the show and I KNEW what happened, but alas I have no visual, just the great audio documentation.
"Bling, Bling, Bling." That is how, the "All the Coins" begins, but instead of the NES sound, they are provided by vocal cords, which brought a smile to my face, another injection of fun to the live show for those that know the music. One draw back of the live version is the coin sound is not played throughout as in the studio version, but, you only notice it when you go back and listen to it, it doesn't seem like anything is missing. There is one other thing that is missing, the vocals of Int 80 of Dual Core (which is mentioned in the intro) but once again, it blends right in and nothing seems amiss.
Next up, is one of, if not the stand up track on the album, "Warp Zone (1-2)" (which is also what I said about the studio version) but what really makes this work was the call and response from the crowd. Yes, I know, call and response is nothing new, but when done correctly, it is dope as fuck, and this is one of those instances. Every time I hear it I feel like I could take a Super Sledge and end a Super Mutant in one swing and keep on walking.
Then, the ThoughtCriminals give us glimpse of their next album, "Vault 13" which I can only hope alludes to one of my favorite video games of all time. But I digress, the name of the track is, "All My Heroes," which begins as a stripped down guitar track, before the rather depressing vocals kick in (might just seem more depressing because of the adrenaline from the previous track.) Would you like a sample of the lyrics, well how about the chorus, "All my heroes are dead, I'll get to you later. Look myself in the mirror, yea, I'll get to you later. All my teachers are fools, all my stories are lies. I'll get to you later, I swear I aint got no time for goodbyes." Honestly, the track is good and they pull it off live, but have a feeling it is going to transform to something magnificent in the studio version.
The obligatory bad joke comes next, just before the all too real, "Liquid Happy," as they , "it is about bad nights." I was surprised to see this on the track list because of the somber lyrics but it works live because of the upbeat, instrumentals and the tweak to the vocal delivery which in the studio is straight forward and quite, almost conversation, but live there is that extra oomph that gives it a different feel entirely. So, unless you are paying attention (as you should be) you think it is just a dope upbeat drinking song, when in reality it is a dope song about the hazards of drinking.
Originally featuring 4 MCs (as is mentioned in multiple verses) "Earthbound" is performed here by only two, and The ThoughCriminals easily pull it off. It is a little odd that they mention 4, but not a big deal. Once again, there is a different feel and sound to the live version. Mainly it feels a bit little outer spacey and much more, well Earthy. It is done well, because instead of attempting to emulate the pure free floating feel of the studio version (which would probably fall flat quickly) they offer a more structured and firm arrangement which is great for a live show.
At this point you might be wondering, why this album is by The ThoughtCriminals & Shane Hall. Well, I shall tell you, because it starts with the next track, "Marked Man" a cover of Mieka Pauley song which features Shane Hall on vocals. In other words, this album becomes even more of a concert with multiple acts joining together. TheThoughtCriminals provide the music for this rather dark and powerful track. The instruments are sparse throughout most of the track, minus the drum which beats continuously and heavy.
They than move flawless into, "Gatekeeper" the first of two tracks off of Shane Hall's album "Structural Disintegration 1.0." The track hits incredibly hard after the soulful, "Marked Man," with the mantra of "Check Your Parameters," repeating loudly in your head, causing you to pay attention in a totally different way. Shane Hall's vocals dominate this track, while the instruments act as a guide through the anger and frustration.
The moment "G.E.D." begins, one thing enters my mind, "The Twilight Zone." Why you ask? The keyboard creates a sound that is eerily reminiscent of the classic theme song, but different enough that it certainly isn't it. Then you add, Hall's powerful but somewhat conversational tone, and I drift to Rod Serling...then again, this could all just be because "The Twilight Zone" is one of my favorite shows ever, maybe I have rambled a bit too much about this and I cannot shake the comparison now, even though in reality it isn't there, but it captures the idea.
The stage then becomes the set for the "all too real song that takes place at a bar and captures the effects alcohol can have on a person," entitled "Whirling Dervish." Some how, setting it in a live setting, makes it feel even more real than the incredible studio version off of "Cold WInter," as if you are actually in the bar with the background noise. Really not much more I can say about this song that I haven't said in my previous review, just incredible song writing.
After the heaviness of "Whirling Dervish," they decide to perform an unreleased track, that at least as of now, has no studio release planned, entitled, "Those Kids." The track actually turns out great live as it has a little bit of call of and response to begin before delving in to a rather important subject. The fact that too many of the younger generation, are lost, whether unwilling to raise their voice and speak up against what is wrong, or have lost the ability to effectively deal with emotions, a generation of Bruce Banner's who transform at the slightest problem.
The group jumps into another cover, this time of Lykke Li "I'm Good, I'm Gone," a rather entertaining alternative rock track, that for some reason reminds me of what would happen if the Raveonettes and the White Stripes, got together and made a song, with the chorus being song through a megaphone. I can only imagine, the visual of this performance is amazing, especially in a club like setting where every note hits you.
The concert closes with the Brian Eno "Fat Lady of Limbourgh" which Shane Hall performed as part of the Ticklebomb Orchestra. It is VERY risky to cover a Brian Eno tune, but they are able to pull it off, not the same, but works very well as a way to wind down a show and sort of zone out and take in what was experienced.
Overall, the album actually surpassed my expectations, mainly because of track record of live albums, especially hip hop ones, but wow, from the beginning, they are able to do what I assume they set out to do: capture one of their live performances and make the listener feel like they are transplanted to that show every time they listen to this album. This is done by having a quality recording (VERY IMPORTANT) dope music, artist who can actually perform live (sometimes I feel this is a rarity) and making it sound different than the studio versions (whether on purpose or not.) So what you should do now, is go to the link below, check out the album and take a trip to The Raven in Worcester, MA on July 31, 2011.
You can stream and download the album here.
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