Ghostface Killah–Fishscaleby Syed Ali

If you claim to be a true hip-hop connoisseur, one who salivates over albums that you have yet to apprehend, and also happen to be a fan of the Wu-Tang Clan, then you have to get Ghostface Killah’s album, Fishscale. Trust me, you won’t be disappointed. In fact, you may even thank me after listening to the album for the very first time. Fishscale is Ghostface Killah’s fourth solo project and is an incessant blasphemy of strong lyricism, ingenious beats, and provides a much-needed swagger that has been absent from hip-hop for a long time. The song “Back Like That,” chosen to be the teaser for the entire album, is a song that you might’ve seen the music video for or heard on the radio. It’s a mellow song that features up-and-coming R&B artist Ne-Yo and is a slow-tempo ballad with a melodic piano playing in the background. One of my personal favorites, “9 Milli Bros,” is a song that features the entire Wu-Tang Clan (yes, it even has the late, great ‘Ol Dirty Bastard). The song is an up-tempo raucous that is both heart-pounding and exhilarating. “Whip You With A Strap” has an interesting story, one in which Ghostface Killah recalls his youth and how his mother would punish him for misbehaving. Another one of my personal favorites is “R.A.G.U.” because it is reminiscent of the traditional Wu-Tang Clan style that we are accustomed to hearing, both lyrical and musically. The song is shorter than three minutes, but it doesn’t denote that it isn’t a solid track. Between the songs, there is an abundant amount of skits throughout the album as well. Just as the songs, the skits are diverse, ranging from a man with a mysterious voice providing us with breaking news of obscure events, Ghostface Killah giving directions to a woman in a sexual way, and a humorous skit that has Ghostface Killah giving a speech to a disrespectful, young boy and how parents are afraid to hit their children nowadays. Musically, Fishscale features amazing production from MF Doom and Just Blaze, just to name a few. Also, the album has guest appearances from Trife Da God, Cappadonna, and The Notorious B.I.G., as well as many others. Personally, Fishscale is strong throughout the entire album, and although there are twenty-four tracks, not one song is weaker than the other, or extremely better than another, thus showing you how solid the album is from one track to another. As it is the reciprocal with today’s hip-hop artists, Ghostface Killah covers a wide array of topics throughout the album, streaming from women, his struggles from growing up in a tough neighborhood, and just plain having fun. If you enjoy listening to hip-hop songs that have ‘Lil Jon-type beats or talk about shiny, new rims, having sex with numerous women, and getting “hyphy” or “crunk,” then I’m sorry for wasting your time. But…if you want to hear something that’s unique, edgy, and full of quality, then Ghostface Killah’s Fishscale is the album that’s just begging to be flowing through your ears.

TOOLby Kyle Chidester Once again, Tool has released an album that continues to push the boundaries of musical voyeurism. The band’s fifth full-length album of new and original material, 10,000 Days, is a masterfully composed journey throughout the band’s mystical psyche. This CD is a great example of how even a band as far out on the musical spectrum as Tool, can still push things even further. The sounds this band creates range from beautiful and soothing, to cacophonic and abrasive, and this album incorporates all sides.

Traditionally, Tool has always tried to keep their musical influences from seeping out into their own music, but in this album, you can hear a lot of these influences in the forefront. The album’s heavier tracks, like “Name of Second Song,” crash together with complicated guitar riffs merging in odd time with polyrhythmic drum lines, creating what might be the love child of Messugah and some “chugga chugga” straight edge hardcore band. Progressing through the album, the band begins to calm things down a bit, and with the longing atmospheric wings (part 2), you pick up on the spirit of Pink Floyd, which flows through the veins of this CD. The bass line forms a stiff backbone for the rest of the song to spread from, but does sound remarkably like it could fit perfectly into the middle of Dark Side of the Moon.

And if it were possible, the vocals of Maynard Keenan James only seem to improve with each record he releases. But not only has he grown as a singer, but also as the bands lyricist. Like on previous albums, the lyrical content focuses on mostly social, not personal issues, like religion and war. There are many images, which reoccur throughout the album, such as angels and other religious statutes.

One of the highlights on the album is the song “The Pot.” This song follows in a long line of James’s “bad-mouthing” songs. Like a call to arms, this song isn’t afraid to point the finger, or more appropriately, “wave your finger” at someone who obviously pissed James off. Much like its predecessors, Aenima’s Hooker With a Penis and Lateralus’s Ticks and Leeches, the song is crushingly heavy, yet simplistic, basically just blunt and to the point. Accompanied with the music, the CD’s packaging helps to enhance the mood. The packaging comes with a pair of special glasses attached. The liner notes explain that the glasses should be used to view the CD’s art and were specially designed to add more perspective to the art, once again contributed by Alex Gray.

Both the art and the music give the impression that this album is a continuation of the band’s last record, Lateralus. The thing that makes this album stand apart for me is the lyrical content. Though it reflects the many common themes that Tool touches on, it provides a new and fresh perspective, especially through James’s excellent delivery.

So if you’re not one of the already loyal Tool fans, go pick up 10,000 Days and find out why this underground cult band is also one of the most successful groups in music history.