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Monday, February 18, 2008

Tonight in Music—Video Edition

posted by on February 18 at 9:18 AM

Kay Kay and His Weathered Underground plays tonight at the Triple Door. Trent Moorman wrote about the band in this week’s paper:


Kay Kay and His Weathered Underground- A Stranger Exclusive

“We wanted something different to be the centerpiece of the band, so we came up with this fictional character, Kay Kay,” says lead vocalist and guitarist Huffman. “I could sing about falling in love, being on the road in this band, playing shows, being stuck in a van for five years on this big label (Fearless), and how now I’m serving you hash browns at Glo’s. But Kyle and I just had this idea for something bigger.”


Bone Thugs-N-Harmony - “Tha Crossroads”

Bone Thugs-N-Harmony
(Neumo’s) Hailing from Cleveland, Ohio, during the heart of the G-funk era, Bone Thugs-N-Harmony are perhaps the most singular and unusual group to have sprung from the strange and fertile world of ’90s hiphop. Their first two albums yielded a string of genre-redefining hits, and their interval toggling, singsongy flow has become a rarely acknowledged template for recent work by everyone from Usher to Akon, Mariah Carey to R. Kelly. Ultimately, though, their greatest characteristic is a penchant for baroque weirdness that vastly exceeds the occasional gothic leanings of their contemporaries/collaborators Tupac and Biggie. They are truly inscrutable, from their insane adaptation “Carol of the Bones” (sample lyric: “Bone, bone, bone, bone”) to the druidic figures, fake tress, and horse-drawn carriage of their seminal ‘96 VMA performance of “Tha Crossroads.” And, though last year’s comeback shot “Strength & Loyalty” suffers from some radio-baiting schlockiness, the ruggish thugs remain some of the deftest and most thrilling MCs in the game. SAM MICKENS


Marilyn Manson - “The Nobodies”

Marilyn Manson (Paramount) Marilyn Manson has a beautiful voice and should croon more than yell. That’s my only criticism. Otherwise his bubble-gum satanist cabaret pop is worthy of his bipsychual moniker. His killer sexy rock numbers—early rave-ups like the perfect “Cake and Sodomy” from his shock-the-Christian-Coalition ’90s repertoire to “The Nobodies” from his later postglam ruminations—are overlooked gems from the lairs of American underworld history. JOSH FEIT

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