This early track by Childish Gambino is the reason Rap Genius was invented. Check out the annotation of these lyrics on that website to fully appreciate all of the double and triple meanings Donald Glover is stacking up here.
In terms of music, beat and delivery this track isn’t much to write home about but I love his ability to turn a phrase.
This 2-week dive into the albums ranked highest by critics in 1992 has been a bit discouraging. I’ve discovered a whole lot of murky and loud alternative rock that, for my money, is best left in the dustbins of history. Also a couple of rap albums and an extended disc of ambient noise.
So I’m happy to finish the span with a refreshingly melodic and resonant cut from k.d. lang. Lang followed her country crossover masterpiece Absolute Torch and Twang with 1992’s Ingenue, a full-on dive into adult contemporary territory.
I’m swiftly realizing that while 1992 was an important year for me personally, it was kind of a shit year for music.
To be fair, I listed my ten favorite 1992 albums and covered a lot of excellent ground (any year that includes R.E.M.’s Automatic for the People can’t be all bad).
But the critical consensus around the albums I haven’t heard is amounting to a great big disappointment. My look back at 1982 unearthed a few gems I quickly downloaded. No such luck this time around.
Other than Dr. Dre’s The Chronic, the rap album that showed up on the most year-end lists in 1992 was The Pharcyde’s Bizarre Ride II the Pharcyde.
This is the debut album of a Los Angeles rap band that still performs today even though their last album came out a decade ago. in contrast to Dre’s focus on drugs and gang-banging, this album (and group) lean more toward ribald humor.
This trip back to 1992 has resulted in the same experience on repeat — encountering an album by a band I know very well by name but not at all by sound.
Sonic Youth and Thurston Moore sound as familiar to me as The Lemonheads and Evan Dando, but again I can’t name a single song. I know that Moore sang backup on R.E.M.’s Monster, an acknowledgement of his band’s influence on the Athens alt-rockers.
Meet Me In Montauk 