Working with a similar influential underpinning of hip hop, ska, pop-reggae and/or reggae-rock as the likes of Sublime, Pepper, Slightly Stoopid, and Santa Cruz's own, The Expendables (the list goes on), Any Port In A Storm has, what I would call, a "Dr. Jekyll and Mr. Hyde" sensation to it. What I mean is, on this album, the combination of the two primarily used influences—reggae & "white-boy" hip hop—make for a drastically conflicting tempo, intensity, and therefore, overarching feeling, from track to track. For example, I enjoyed the mellow & melodious—albeit familiar for anyone who recognized the aforementioned bands—pop-reggae tracks such as: "Everything I'm Looking For," "Know That I," "Chelsea," and the clear standout, "Stand Tall," that gave more weight to the reggae influence. However, I found myself immediately skipping over tracks like "Hip Hop Misfits," "Morning Light," and "Check The Level," because they entirely shifted style, tone, and approach and agitated the mood and theme that the other tracks had developed. I know that the variation of influence and flux in disposition is natural and appealing for some, and may be stimulating in a concert setting; however, the fluctuations in style make Any Port difficult to enjoy in its entirety.
October 1, 2008
The Dirty Heads - Any Port In A Storm (2008)
Working with a similar influential underpinning of hip hop, ska, pop-reggae and/or reggae-rock as the likes of Sublime, Pepper, Slightly Stoopid, and Santa Cruz's own, The Expendables (the list goes on), Any Port In A Storm has, what I would call, a "Dr. Jekyll and Mr. Hyde" sensation to it. What I mean is, on this album, the combination of the two primarily used influences—reggae & "white-boy" hip hop—make for a drastically conflicting tempo, intensity, and therefore, overarching feeling, from track to track. For example, I enjoyed the mellow & melodious—albeit familiar for anyone who recognized the aforementioned bands—pop-reggae tracks such as: "Everything I'm Looking For," "Know That I," "Chelsea," and the clear standout, "Stand Tall," that gave more weight to the reggae influence. However, I found myself immediately skipping over tracks like "Hip Hop Misfits," "Morning Light," and "Check The Level," because they entirely shifted style, tone, and approach and agitated the mood and theme that the other tracks had developed. I know that the variation of influence and flux in disposition is natural and appealing for some, and may be stimulating in a concert setting; however, the fluctuations in style make Any Port difficult to enjoy in its entirety.
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White boy hip hop, eh? Sometimes what seems like a good idea when you're high...
The "Hip Hop Misfits" for your viewing pleasure.
"You ever [listened to white boy hip hop]... on weed? Oh, there's some crazy shit, man. There's a dude in the bushes. Has he got a gun? I dunno! RED TEAM GO, RED TEAM GO."
Comedic influence courtesy of "Half Baked"
Blah blah blah blah mistah! The video is unreal.
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