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He’s seen so much, experienced so much with no other outlet available to him but music.He has so much to say and so much to share, but the only way he can do it is through his music I’ve been trying really hard to find new converts, but most people are hesitant to give in to the power of Weezy.
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The independently distributed film topped iTunes movie charts in its first week of release and Huffington Post called it “one of the top five greatest hip-hop documentaries of all time.” Despite Carter’s attempts the film was released on November 17, 2009. The Carter documents Lil Wayne in the period before and after the release of Tha Carter III…Carter’s attempts to block the film were a reaction to the film’s depiction of Carter’s heavy use of marijuana and cough syrup as recreational drugs. You can learn so much about him through his music. One of my favourite things about the film is the way the film-makers use Wayne’s music as a narration device. A co-worker generously gave me a copy of The Carter and I’ve watched it about 4 times now. I’m sorry, I really am, but I can’t help it-Lil Wayne is that good. I don’t know how it happened, but his existence just slowly crept up on me, and now he’s taken over my soul. If you’ve been hanging around me or my friends, you’re probably sick to death of all this Lil Wayne talk. It’s the same feeling you get listening to nearly all of the Magnetic Fields’ extensive catalogue, and no band does it better. Realism doesn’t show a new side to The Magnetic Fields, but rather, it’s simply another quality album to add to the band’s lengthy and accomplished discography.
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The overall effect of listening to Realism is one of effervescent sadness–there’s not a happy song in the bunch, but the lyrics are too witty and the music too catchy for the listener to become depressed. The lyrics may be the focal point, but the music is sumptuous, specifically on tracks like “Always Already Gone” and “The Dolls’ Tea Party,” which sounds like a precocious love child of Irving Berlin and Richard Thompson. This cleverness is accompanied by folksy, antiquated instruments: harpsicords, mandolins and banjos abound. The put downs of “You Must Be Out of Your Mind” and the jilted-at-the-alter tale of “Seduced and Abandoned” are particular favorites, but every song has at least one witty rhyme or playful aside. Merritt may have lost the capacity to surprise, but on Realism he proves once again that he can find the joy in melancholy better than anyone else working in music today. The Magnetic Fields have mixed up their sound frequently, making synth-heavy pop, electronic country, shoegaze and now folk, but the essential formula remains the same.įrankly, longtime fans wouldn’t have it any other way. The beautifuly delicate, Tin Pan Alley-influenced instrumentals have been the driving force over the course of their previous eight albums, making for quite a few masterpieces along the way (69 Love Songs and The Charm Of The Highway Strip in particular should be required listening for all music fans). Stephin Merritt and his merry band of cohorts have a fairly simple procedure–marrying deppressing, funny and eminitably quotable lyrics sung in either Merritt’s mournful baritone or Claudia Gonson’s soprano. The Magnetic Fields are masters of formula.