WK37 - The Dream - Love King (8)

Released - 6/29/10

Label - Island Def Jam Music Group

BLURB - The Dream kind of came out of nowhere this year, and it really shouldn't be that big of a shock. He already released two solo albums in the previous two years, and though they were under the radar, they were strong and showed enormous potential. The Dream brings a level of smoothness and cool to every track he's on. His vocal style is a crooning mix of singing and rapping (see also Drake & Chris Brown) that matches perfectly with the laid back R&B beats that shape his records, of which he produces most. "Love King" may just be the album that officially introduces this multitalented singer to the masses.

Rating - 8 out of 10

FULL STORY - When you do a little research, you find out just how talented The Dream is. Not only is he an artist, but in most circumstances he writes and produces all of his material. No small feat. As his knack for songwriting and producing evolved he was eventually signed to a publishing deal a few years back. Working in the publishing business, I can appreciate and respect this level of talent. Often times, the public has no idea that their favorite artists are merely just singing songs that have been meticulously crafted by professional songwriters. What really makes a good song good, is the songwriting. The Dream became a force after co-producing Rihanna's "Umbrella" and Beyonce's "Single Ladies," two of the most popular songs of the decade.

'Love King' is the title track of the record and opens up the album. If you ask me, it's the obligatory hit single that record labels demand, but damn it's good. Musically, the song is very basic and mainly consists of piano chords and strings, but the underlying groove is very addictive and smooth. Vocally, there are hooks and melodies everywhere screaming radio airplay. There's also a level of confident cockiness on it, as if to say to the label - hey I took your cheesy song and still made it sound amazing.

T.I. guests on the second track 'Make Up Bag,' which is yet another radio ready hit that has been blasting through the speaker system at my gym for the last two months. The song itself is somewhat unoriginal, but once again The Dream makes it entertaining by delivering some crisp verses over a laid back club beat. The chorus, somehow, always gets lodged in my head and I would never drop five stacks on that make up bag.

"If you ever make your girlfriend mad, don't let your good girl go bad. Drop five stacks on that make up bag..."

My favorite track on the record is "F.I.L.A.," and it is for no other than reason than it sounds cool. That being said, the song is also perhaps the most accessible on the album and showcases The Dream's emotional side, as he sings about trying to make an old girlfriend fall in love again. The verses are tight orchestrations of digital horn sections and piano that slowly build up to each upcoming chorus, filtering in more instrumentation. By the time the chorus hits, there is a level of passion that deceptively sneaks up on the listener and gives the song added meaning and credibility.

'Panties to the Side' is a song I'd advise my parents against listening to, as it opens with the line, "Let me fuck you baby." The track is very industrial and much harder than the rest of the album, yet the pace remains laid back. I actually hate the pre-chorus on this song, it just sounds out of place, but all is forgiven when the chorus drops. Sounding like something off of a vintage 112 album, the vocals are so precise and melodic that you instantly feel like dropping everything and singing. Unfortunately, the chorus is so well done you may just find yourself waiting around all song to hear it.

If you're into hip hop or R&B and you haven't heard of The Dream, you should probably go grab a copy of "Love King." It's filled with quality beats, smooth hooks and is a great record to sit back and chill out to. Some of the tracks can become a bit redundant ('Sex Intelligent'), but there are also several pleasant surprises ('Turnt Out') that come out of nowhere and turn into some guilty pleasures. Go listen for yourself.

Tracks

1.) Love King

2.) Make Up Bag

3.) F.I.L.A

4.) Sex Intelligent

5.) Sex Intelligent Remix

6.) Yamaha

7.) Nikki, Pt. 2

8.) Abyss

9.) Panties to the Side

10.) Turnt Out

11.) February Love

12.) Florida University

WK36 - Chromeo - Business Casual (7)

Released - 9/14/10

Label - Atlantic Recording Corporation

BLURB - I always assumed Chromeo sucked. Cheesy name. Are they a band, are they DJ's? What kind of music is this? So over the summer and on a whim, I ended up checking them out @ the Williamsburg Waterfront with RoboPop in the pouring rain and I was blown away. It was easily one of the top five concerts I've seen this year. Maybe it was thanks in part to the torrential downpours, but the crowd was electric and lively - and seemed to fuel Chromeo's set, creating even more energy. What became clear was that Chromeo was not only talented, but fun. Their fusion of guitar riffs and pop synth lines meshed perfectly into a tight display of new school dance-rock. But what does this sound like on an album?

Rating - 7 out of 10

FULL STORY - As is the trend with most of the popular indie synth dance bands right now (Neon Indian, Com Truise, Dam-Funk), they tend to focus on recreating the sounds of the 80's, delivering their own interpretation. Which really isn't a crime, the 70's and 80's became the bedrock and model for electronic pop music. Chromeo, on the other hand, really focuses on creating precise dance melodies that seem to adequately represent where music is at in 2010. Rather than utilizing lo-fi and hazy effects and processors, Chromeo approaches their genre with a decidedly crisp and modern delivery. Whereas some would say that this makes them too pop and unoriginal, I would argue that it actually makes them more authentic.

The album begins with one of the more upbeat tracks in 'Hot Mess.' The song is based heavily on a singular synth bass riff that is evident throughout all portions of the track. While waves of bright keyboards and mini-solos casually, yet appropriately, filter through the bass lines, the track maintains a steady groove. Eventually, what sounds like an improvised synthesizer solo emerges and really captivates the listener. The solo is creative enough to sound improvised, yet the precision in which it is pulled off sounds as if it had been properly notated and studied for weeks. It also sounds like a futuristic laser beam.

'Don't Stop' breaks out the classic Daft Punk robot voice, and it's spot on. While the chorus is a little bland and out of place, the momentum and excitement of the song allows us to look past it. Once again, the majority of the song is based on very few bass lines - which, in my opinion, is a good thing as the listener always has a grasp of the song's feel and tempo.

The breakout track of the album is easily 'Night By Night.' Here the main focal instrument is an electric guitar that is spitting out hooks left and right. The song has an energy that is naturally addictive, which yields an effortless enthusiasm that will make any music listener an instant fan of the song. Above everything else, the chorus of the track is well delivered and doubles as a bridge later on in the song. By doing this, all of lyrics get submerged into the back of your brain and you'll find yourself muttering the lines to yourself in the middle of a crowded subway many times. At least that has been my experience.

'When the Night Falls' features some exquisite guest vocals from Solange Knowles. I think I'd actually prefer if just Solange sang on the track as her voice sounds so absolutely perfect for the song. Every time I hear the Chromeo singer, I noticed I find myself getting bored and just waiting for the chorus to get here.

The award for the song that sounds most like a theme from an 80's sitcom goes to 'The Right Type.' Everything from the vibe, to the stringed instrumentation just screams 80's television. Don't believe me...give it a listen.

Regrettably, the majority of the record sounds more like 'The Right Type' than 'Night By Night.' Much of the album has this 'safe' quality to it, and really doesn't push Chromeo's music to it's potential. It's not like the songs are unbearable or anything like that - they are all entirely listenable, but many of them really lack character and seem far too static for my liking. I listen to this album quite a bit, but it's almost always just for the first four tracks, after that my feelings become indifferent.

Another thing that I've come to realize is that the singer's voice is not good. In fact, it might be bad. It's more or less just spoken word in a low register, which I guess doesn't really hurt the band that much, as their focus more musical than vocal. But it the end it does tend to detract from the music. But all this being said, for my first real introduction to Chromeo, I can't say I'm disappointed.

Tracks

1.) Hot Mess

2.) I'm Not Contagious

3.) Night By Night

4.) Don't Turn the Lights On

5.) You Make it Rough

6.) When the Night Falls

7.) Don't Walk Away

8.) J'ai claque la porte

9.) The Right Type

10.) Grow Up

WK35 - Drake - Thank Me Later (5.5)

Released - 6/15/10

Label - Young Money Entertainment

BLURB - Well, it finally came. The much anticipated full length debut from the supposed savior of hip hop...Drake. After guesting on a slew of tracks with everyone from Timbaland to Kanye West, releasing a couple EP's and an almost full album ("So Far Gone"), the public has finally gotten what it's asked for in "Thank Me Later," Drake's first full length record. But have we prematurely anointed Drake as the king of hip hop? The short answer to that question is yes, but damn he can make some killer tracks.

Rating - 5.5 out of 10

FULL STORY - I heard a great analogy the other day that made absolute perfect sense. So much sense that I wouldn't be surprised if I saw it on a SAT test next year.

Drake is to LeBron James as Kanye West is to Kobe Bryant.

Drake is supposed to be the new superstar. He's the guy everyone is betting on. He's the guy that is supposed to change the game. He's supposed to be the champion. Unfortunately, there are a lot of 'supposed-to's' in there. Drake's dropped some insane verses with Eminem and L'il Wayne. He's got a flow and style that oozes with charisma and arrogance. But at this point in his young career he's still yet to reach his potential and there are some whispers that he's never going to completely get there.

Take LeBron james, the NBA's heir-apparent to Michael Jordan. He was supposed to be the greatest and the new face of a generation. But to this day, LeBron still hasn't delivered on his potential and has yet to win a title. Sure he has had some crazy windmill dunks, and once a month he'll take over a game and score 50...but he's yet to reach the promised land. Why is this? In my opinion, LeBron lacks the competitive nature and DNA to be the best. He moved to the Miami Heat to hang out with his friends, when he had the chance to resurrect the Cavs. Hell, he took them to the NBA finals and was surrounded by terrible players! But LeBron became too busy trying to address questions, predictions and expectations and trying to be likable, rather than just playing. And I think that's gotten the best of him. Sound familiar Drake?

Now take Kobe Bryant. He is the NBA's best player. He's won five NBA titles, yet nearly everyone hates him. He's the Kanye West of basketball. Both are concerned with nothing besides themselves, their legacy and being the best. They will both go down in history as the greatest of their times. They don't do what they do because they want to make people happy...they do it because they want to be the best. This is what separates the Kanyes from the Drakes.

Sure, Drake has hit potential. Just listen to 'Find Your Love.' To this day that song continues to grow on me. When the beat first drops it sounds like a reggae-ton track, but then the instrumentation and vocals come in and you realize what a superb half-ballad, half hip-hop track it is. This is the windmill dunk.

And who can forget 'Over?' That was the song of the summer (in my opinion). The music itself was amazing - I mean...the strings, the crazy percussive variations, and let's not forget, Drake just sounds incredible on this song. The swagger and confidence are actually backed up by a credible display of versatile vocals and memorable hooks. This is the 50 point game.

'Miss Me' is filled with fun and excitement There is a true, laid-back party atmosphere on here that is nothing short of captivating. The verses are creative, yet not cheesy. The beats are simple, but not boring. In short, the song is something everyone can enjoy. This is the first time LeBron took Cleveland to the playoffs.

But after these three tracks, the album is lacking on all fronts. Much of the music is stagnant and bland. The vocals are often tired and uninspired. Numerous collaborations that you think would work brilliantly, fall on their face (Alicia Keys, Swizz Beatz, The-Dream). I find myself skipping all over this record always thinking I'm going to find something great, but more times than not, I'm disappointed. The album is good, but I'm sorry to say it, and Drake, were supposed to be great. And they're not.

Tracks

1.) Fireworks

2.) Karaoke

3.) The Resistance

4.) Over

5.) Show Me a Good Time

6.) Up All Night

7.) Fancy

8.) Shut It Down

9.) Unforgettable

10.) Light Up

11.) Miss Me

12.) Cece's Interlude

13.) Find Your Love

14.) Thank Me Now

WK34 - Sharon Jones & The Dap Kings - I Learned the Hard Way (8)

Released - 4/6/10

Label - Daptone Records

BLURB - If you asked me at the beginning of the year if I had a thing for 50 year black women, I would have gave you the stink eye. But after listening to Sharon Jones' latest release, I'm inclined to give some sort of sly wink and look of approval. Sharon Jones and her 'Dap Kings' finally break through to mainstream America with their fourth album, 'I Learned the Hard Way.' Comprised of namely soul, pop and R&B tunes, the album is far too easy to get hooked on and incredibly listenable. The tones are bright, the hooks are catchy and the melodies are plentiful. What's also great is that there is a bit of indie charm to this record, as it is not over-produced and sounds like something straight out of the sixties.

Rating - 8 out of 10

FULL STORY - Admittedly, I'm a huge Amy Winehouse fan. However, being the train wreck that she is, she rarely...if ever, releases new material. What this has done over the past two years is opened up a window for someone to step into the whole retro-soul throwback genre. And after decades of trying to break through, it seems as if Sharon Jones has finally done just that.

The album opens up with the moderately-paced, 'The Game Gets Old.' Detailing the struggles of the 'game' of love, the song proves that there can never be too many songs about heartbreak. The lyrics are simple enough and never get overly emotional or complex, allowing the track to be not only accessible, but enjoyable. The music is filled with string arrangements, horns, which outline Jones' phrasing nicely.

The title track, 'I Learned the Hard Way,' brings with it a little bit of sass and humility. Jones' breaks down a troubled relationship, but comes off more like a powerful story telling as opposed to a diary entry. There's also an air of arrogance and swagger that gives the track a distinct personality and feel.

'Ill Still Be True' swings with a bevy of horns and muted guitar riffs. Jabs of organs and keyboards interject sporadically creating points of emphasis that help to keep the listener on their toes. The track also, both musically and lyrically, is filled with passion and energy that sometime become a bit chaotic. But this is good, as the song comes off very raw and channels Jones' inner Janis Joplin.

Perhaps the most Winehouse-esque track would be 'Without a Heart.' The track bounces around with a motown flair and a hint of blues. The background vocals provide great accentuation to the innately pop nature of the song, and help create some solid vocal hooks.

Perhaps the only drawback to this record is that it seems a bit restrained. Granted the album as a whole is a great listen, but there was a lack of those 'get out of your seat and groove' moments. The middle of the album seemed a bit lackluster as each song tended to flow and blend in the with the following one. That being said, the album is still great and something that hasn't left my rotation in the months since I first purchased the record. Sharon Jones and the Dap Kings have finally broke through, but the big question here is, now what?

Tracks

1.) The Game Gets Old

2.) I Learned the Hard Way

3.) Better Things

4.) Give It Back

5.) Money

6.) The Reason

7.) Window Shopping

8.) She Ain't a Child No More

9.) I'll Still Be True

10.) Without a Heart

11.) If You Call

12.) Mama Don't Like My Man

WK33 - Arcade Fire - Suburbs (3.5)

Released - 8/3/10

Label - Merge Records

BLURB - Indie veterans Arcade Fire are back with their latest effort in "Suburbs." Much like The National, this is one of those bands that, for whatever reason, I just never got into. I know who they are, I know their music and their rich history - but the band never really worked it's way in to heavy rotation on my iPod. Along with "Suburbs" came much anticipation and excitement as Arcade Fire played two shows at Madison Square Garden around the record's release date. Ask any hipster if they thought Arcade Fire would be playing MSG anytime soon, five years ago, and you would have been hit with a serious eye roll and a guffaw. So does this new found notoriety and presence in the mainstream come with any kind of new musical justification...well, not really.

Rating - 3.5 out of 10

FULL STORY - I could see this album not being great from a mile away. There was just too much hype and anticipation from the indie music community stating this album was going to be the next big thing. Yes, Arcade Fire has been around since 2003, and they have released two critically acclaimed records in "Funeral" and "Neon Bible," but let's actually take a listen to "Suburbs" before we go ahead and give it some awards.

A weird fact that I learned about Arcade Fire while researching them is that they are actually fronted by husband and wife (Win Butler & Regine Chassagne). If nothing else I find this a little weird. Obviously, they have made this thing work, but when it comes down to creativity and actually writing the songs...I'm curious as to how the process goes in. Is there a lot of arguing? Do they have the stomach to stand up and say - 'no, this doesn't work for this song,' to each other. I just think it's a really interesting dynamic that may not be in the best interest of the music. Or I could be completely wrong.

There are only really a couple of tracks on the album that I could see myself listening to more than casually - the first of which being, 'Empty Room.' Fluttering violins and a flood of haze and distortion create a really cool vibe on this song, bringing both energy and excitement, something that the album as a whole is lacking. What also highlights the song or the vocals delivered by Chassagne (at least I assume that's her singing). The gentle voicing that she provides on the track is the perfect counterpart to the heavy fuzz and frenetic pace of the song. There's a sense of balance that allows you to appreciate all aspects of the song.

"We Used to Wait" also jumps out. For me, it's the introductory piano riff that really catches my attention. It's simple yet bouncy, and immediately likable. The song also continuously builds throughout, and by the end you can really feel the passion and energy from the band.

What's sad is that, after just these two songs, the entire album is completely forgettable. Each song depressingly bleeds into the next in the most mundane of fashions. The lack of excitement and energy is something that unfortunately comes to the forefront. As I'm writing this it is pouring outside, and this should probably serve as some kind of metaphor or something. "Suburbs" just reminds me of rainy day music. An album you put on with no other reason than to pass the time. We could also do without the mammoth sixteen song track list...

Tracks

1.) The Suburbs

2.) Ready to Start

3.) Modern Man

4.) Rococo

5.) Empty Room

6.) City With No Children

7.) Half Light I

8.) Half Light II (No Celebration)

9.) Suburban War

10.) Month of May

11.) Wasted Hours

12.) Deep Blue

13.) We Used to Wait

14.) Sprawl I (Flatland)

15.) Sprawl II (Mountains Beyond Mountains)

16.) The Suburbs (Continued)

WK32 - Big Boi - Sir Lucious Left Foot...The Son of Chico Dusty (5.5)

Released - 7/6/10

Label - Island Def Jam

BLURB - Big Boi makes his long-awaited return to the spotlight with his first true solo record, sans Andre 3000. "Sir Lucious Left Foot - The Son of Chico Dusty" is both equal parts entertaining and predictable. The album itself comes off as a bit bipolar, with the high points being amazing and the low points being nearly unbearable. What is nice though, is that Big Boi leaves a distinct fingerprint on the record and you can really tell that this is his baby. That being said - the album is entirely too top heavy and really only has a handful of tracks that bring that trademark Outkast energy...but then again...this is Big Boi's album.

Rating - 5.5 out of 10

FULL STORY - It's hard to believe, but Big Boi has been around for over 15 years now. Whether solo or in his Outkast outfit, he's always stayed true to his form and style. When Big Boi raps on a track you immediately know it's him. He has a very distinct flow and style of linking rhymes together that in itself is nothing short of genius, and inherently makes every song he appears on instantly credible.

"Sir Lucious Left Foot" opens with 'Feel Me' which is an incredibly laid back groover that really prefaces the album well. Somehow with basically just drums, a catchy piano riff and auto-tuned hooks - the song immediately reels you in and gives you the impression that this is going to be one of the best hip hop albums you've ever heard.

'Feel Me' transitions right into 'Daddy Fat Sax' which is another groove friendly track that really hits on all cylinders. The sound itself is something of a fusion between southern hip hop, pop and club music that blends extremely well together. The track is even made a bit modern with the incorporation of variety of well placed and hook-ridden synthesizers. Big Boi's verses are filled with distinct personality and unique analogies bursting at the seams.

The fourth track, 'Follow Me has a certain new age feel to it. Electronic effects and synths once again inundate this song with brilliant pop tones. More than anything, this song has a certain mass pop appeal, as opposed to strictly rap or hip-hop...I can really see this song catching some steam on radio. Whether or not that happens remains to be seen, but it certainly has the potential to crossover from the hip-hop charts to pop.

The real gem of the album is 'Shutterbugg.' You'll be hard pressed to find another hip hop track that is more entertaining than the 'bugg. The track brings an 80's synth pop vibe that doubles as a club banger and even triples as an old school Outkast throwback. The foundation is laid upon this super-creative spoken bass line that almost sounds like a frog talking - it's that hard to explain. What isn't hard to explain is how likable and appealing this track is, and how accessible it is for fans of all music genres. It's already a hot item for music supervisors and has been garnering countless placements in TV and film. It's the true high point of the album.

The sixth track, 'General Patton' sounds like a marching band on crack. Filled with full-on horn sections and snare rolls, the song is like a southern crunk version of my high school's band at halftime of a football game. Regrettably, however, the track is way too down tempo and kind of just sits around doing nothing.

From here on out that album is somewhat of a disappointment. Despite the cavalcade of guests (T.I., Gucci Mane, B.o.B., Jamie Foxx, George Clinton, Yelawolf, etc.) the record is fairly vanilla. Yes, the front end of the album is loaded with hits, but back half is a real let down. I will say though, that the first single 'Shine Blockas' with Gucci Mane is halfway decent. However, it seems we have another victim of our current music industry. "Sir Lucious Left Foot" has way too much filler for me and at some points is unbearably boring (see 'Tangerine' and 'You Ain't No DJ'). Maybe the album was rushed? Maybe Big Boi lost some creative control? Maybe he just didn't have enough tracks to fill the record? Maybe this is Big Boi's greatest work, but our expectations were unrealistic? Whatever the case may be, the album comes off a bit forced and unnatural. Granted there are a couple tracks that are amazing, but the rest feels like a bit of a misstep for Big Boi.

Tracks

1.) Feel Me (Intro)

2.) Daddy Fat Sax

3.) Turns Me On

4.) Follow Us

5.) Shutterbugg

6.) General Patton

7.) Tangerine

8.) You Ain't No DJ

9.) Hustle Blood

10.) Be Still

11.) Fo Yo Sorrows

12.) Night Night

13.) Shine Blockas

14.) The Train, Pt. 2

15.) Back Up Plan

16.) Theme Song

WK31 - Best Coast - Crazy For You (9)

Released - 7/27/10

Label - Mexican Summer

BLURB - I think we're all supposed to hate Bethany Cosentino and her Best Coast outfit. I don't know why - but we are. Best Coast literally came out of nowhere last year, releasing a few EP's, playing some timely shows and generating all kinds of buzz on the inter-webs. For as quickly as they gained fans and success they were also getting more than their fair share of haterade on sites like Brooklyn Vegan. I kind of fell in to this camp. I maybe only heard three of their songs, but they just seemed like this band that was jumping on the lo-fi, punk-surf-rock bandwagon (see also Surfer Blood, Wavves and Real Estate) and taking advantage of everyone else's success. Everything was super lo-fi, very simple and just came off as amateur and whiny. With the release of "Crazy For You," Best Coast makes the argument that all of us need to just shut up already. This album proves that they're one of the best acts out there (whether we like it or not), and now have a solid full length to back them up. The production is cleaned up, the vocals are absurdly addicting and there's more hooks than you can shake a stick at.

Rating - 9 out of 10

FULL STORY - The first thing that really jumps out on "Crazy For You" are Cosentino's vocals. They're that good. No, she's not Whitney Houston or anything like that, but her voice has this strange, intoxicating persona that instantly hooks listeners and reels them in. It's calm and confident and has a way of making her songs just feel like a casual conversation. The second thing that jumps out is the amount of hooks. Whether it be vocal melodies, guitar riffs or progressions - every track has some aspect to it that's catchy. I think this is what really carries "Crazy For You," because otherwise it would just be another lo-fi indie rock album that sounds like it was recorded in a tin can.

'Boyfriend' opens up the disc and is the quintessential summer single. It's upbeat, it's airy, it's got hooks and it's about a boy. Teenage girls everywhere rejoice! Best Coast does an amazing job, almost to their detriment, at keeping things simple and basic. There's rarely, if ever, any kind of extraneous material or effect that bogs down the music. At points, with anything that is overly simple, there is a tendency to get bored or tired with it. But with Cosentino's voice it's really hard to get bored. Perhaps that's even why the music and lyrics are so simple - they're just kind of there to point you in Cosentino's direction. I mean without her vocals I really can't picture myself singing along to a song called 'Boyfriend' with lyrics like this:

"The other girl is not like me, she's prettier and skinnier. She has a college degree, I dropped out at seventeen. If I could only get her out of the picture, then he would know how much I want him."

'Crazy For You' is another hook-friendly track that is all too easy on the ears. There's something about a girl strumming power chords and singing some 'oohhs' and 'ahhhs' that gets me every time. Once again, the track itself is overly simple and doesn't really venture outside of three or four chords. Like with all Best Coast tracks, and as I mentioned before, these songs all come off like conversations that are not only relatable but comfortable. 'Crazy For You' also clocks in at a mere 1:50, and amazingly there are two other songs on the album shorter than this! But for Best Coast this works...if you had these minimal, lo-fi tunes going on for more than about three or four minutes, they become way too easy to lose interest in. So in that aspect at least, 'Crazy for You' does a great job of grabbing your interest and letting it go before your ear can start wandering off to something else.

There's an air of 60's motown on 'Our Deal' that literally will stop you in your tracks. Cosentino nails the opening line and you're instantly committed to listening to the song, or even more, hitting the back button so you can hear it again. I may or may not have done that about a thousand times already. But especially on this track, you can really hear the sincerity and passion in Cosentino's voice, which is ironic given the lyrics:

"When you leave me you take away everything. You take all money. You take all my weed."

I guess that's kind of the point with this album though. There are no thought provoking metaphors or crazy musical arrangements to work your way through. The lyrics, the music, even the band...everything is just simple, relaxed and fun. Don't get me wrong - some of the lyrics are just mindless wanderings of a young hipster chick that smokes weed. And she does rhyme 'crazy' with 'lazy' a good thirty times...but don't let this deter you. Just press play, hang out and don't over think it.

Tracks

1.) Boyfriend

2.) Crazy For You

3.) The End

4.) Goodbye

5.) Summer Mood

6.) Our Deal

7.) I Want To

8.) When the Sun Don't Shine

9.) Bratty B

10.) Honey

11.) Happy

12.) Each and Every Day

13.) When I'm With You