Category Archives: 1993

Digital Underground – The Body-Hat Syndrome

Digital Underground
The Body-Hat Syndrome
October 5, 1993
Tommy Boy RecordsWarner Bros. RecordsWMG
Digital Underground - The Body Hat Syndrome
1. Return of the Crazy One // 2. Doo Woo You // 3. Holly Wanstaho // 4. Bran Nu Swetta // 5. The Humpty Dance Awards (feat. 2pac) // 6. Body-Hats [Part I] // 7. Dope-a-Delic (Do-U-B-leeve-in-d-Flo?) // 8. Intermission // 9. Wussup wit the Luv (feat. 2pac) // 10. Digital Lover // 11. Carry the Way (Along Time) // 12. Body-Hats, [Part II] // 13. Circus Entrance // 14. Jerkit Circus // 15. Circus Exit (The After Nut) // 16. Shake and Break // 17. Body Hats [Part III] // 18. Do Ya Like It Dirty? // 19. Bran Nu Sweat This Beat // 20. Wheee!

Outside of their small but dedicated fanbase Digital Underground is mostly known for being 2pac’s first vehicle on the road to stardom, for those too young to remember Humpty Dance being a mild hit anyway. That’s a shame because their post-Sex Packets discography is some terrific stuff. And despite sporting two Shakur guest appearances (one of which is on a skit) Digital Underground’s brand of party rap has little to do with 2pac’s blend of consious gangsta rap, Keep Your Head Up, and not-so-consious gangsta rap, I Get Around.
Even if the latter is produced by the Underground Railroad and features Money B and Shock G. The song has both rappers adjusting to 2pac’s stylo, and Pac even wrote both their verses. 2pac’s lone musical guest appearance on Wassup With the Luv? finds the DU in a similar situation recording what is essentially a 2pac song, a sort of less hopeful, more pissed off variation of what Marvin talked about on What’s Going On. But other than that the Underground remains less seriously, determinedly political on their third full length studio album than Shakur. This essentially a return to the good natured party music that was their debut, after dissing an unnamed celebrity for trying and succeeding at looking whiter to sell records on No Nose Job off their sophomore album Sons of the P.

Dr. Dre maybe known as George Clinton’s hip-hop heir, but Shock G and Money B would be much more fitting pretenders to the throne (No-one can truly succeed the George, especially considering the man is still alive and still active in music.)
Where Dre took George’s sound (as well as lots of blaxploitation, which no other critic ever seems to aknowledge) and mixed it with hip-hop, but completely ignored the P funk state of mind, in stead maintaining the gangsta rap lyrical themes, and the posturing that comes with it, that were the rivers and the lakes he was used to from his time in N.W.A.
Shock G however embraced the P with all of its silliness. Dre describes himself “looking like [he] robbed Liberace.” while Shock G once described himself as “[looking] like MC Hammer on crack”, which is pretty representative for the difference in mood between Death Row Records and the DU. It is probably for this reason that the DU was nowhere to be found on any Pac’s Death Row output, while they were all over his Insterscope albums.

On with the review: The Body Hat Syndrome, the concept the three title tracks revolves around, is every bit as silly as the Sex Packets of their debut. If the cover hasn’t given it away; It’s about a body-sized condom that protects the body and mind from brainwashing, mind impregnation, maleducation, the media and other, less abstract things such as the KKK, HIV, the LAPD, crack cocaine and television. Off course there is a serious, political message in there but that message is hidden behind/ diluted with the DU’s trippy fun. That’s the biggest difference between Shock G and Pac: Shock has his tongue planted firmly up his cheek most of the time while Pac is usually either discussing some depressing, dead earnest shit or having some juvenile gangsta fun (often both over the course of the same song. Pac wasn’t one for sticking to a subject most of the time. Especially on his later output)

The Body Hat Syndrome is a mellow, groovy, funky, flirty, sleazy, bacchian booze orgy that doesn’t take itself too serious but is bursting with confidence and is the perfect soundtrack of a house party with a bunch of kinda high, kinda drunk folks. It doesn’t demand much of the listener. In fact the less attention you pay to it the better it sounds. That’s not to say it’s bad, in fact it’s some great stuff. But it does mean that rappers Shock G a.k.a. Humpty Hump, Money B and new member Saafir aren’t lyrical rappers. They’re not about telling stories or dropping knowledge and in stead more about putting stuff that sounds cool or ridiculous in a loose, funky flow. Putting it under a magnifying glass is therefor somewhat of an exercise in futility as this album , except Wussup Wit the Luv isn’t about individual lines, verses or songs even. It’s about setting the mood. And that it does with verve.

It is too bad that the Underground never became as succesful as their most famous protégé 2pac. Arguably their music, while a little too off, psychedelic and funky to be called poppy, is a lot more accessible than 2pac’s activism and tough guy posturing. I guess that the fact that the DU and Pac are entirely different musical creatures helps explain why 2pac’s sizeable fanbase never ran out to pick up Sex Packets, Sons of the P or The Body-Hat Syndrome.
Oh well, I guess one can find consololation that their talent and hard work didn’t leave them entirely penniless, though nothing can be found on the interwebs about any gold or platinum certification they pretty much have to have some copies of their previous albums to be granted a third album by Tommy Boy records (although by that logic they must’ve sold null copies of The Body-Hat Syndrome because they parted ways with the label after this one droppd) and I’m sure their work on 2pacalypse NowStrictly 4 My N.I.G.G.A.Z. and Me Against the World really brought in the revenue. But today they are all but forgotten and it’s time to give their own albums some time and attention. Shock G, Money B and now Saafir, as well as their myriad of backing musicians should be better known and more acclaimed than they are today. Especially since this would be the kind of hip-hop that people who generally claim not to like hip-hop usually find quite enjoyable.
If you find a copy of The Body-Hat Syndrome or of any of their previous releases (even This Is an EP Release, though that one should be lowest on your list of DU priorities) you should take it home. It is well worth the cash. Also I’m sure Humpty Hump will apreciate it.

Best tracks
Wussup With the Luv
The Return of the Crazy One

Pick this one up.

R. Kelly – 12 Play

R. Kelly
12 Play
November 9, 1993
Jive RecordsSME
R. Kelly - 12 Play

1. Your Body’s Callin’ // 2. Bump n’ Grind // 3. Homie Lover Friend // 4. It Seems Like You’re Ready // 5. Freak Dat Body // 6. I Like the Crotch on You/ Intermission // 7. Summer Bunnies // 8. For You // 9. Back to the Hood of Things // 10. Sadie // 11. Sex Me [Part 1 & 2] // 12. 12 Play

Born Into the 90’s had managed to get R. Kelly’s foot in the door in the world of urban music by selling a decent number of hits and racking up a couple of hits on the US R&B charts.
But only when he came back in november ’93, three back up dancers lighter, with his high-top fade shaven cleanly off and with beats tailor made for pillow-talk, and a couple of midtempo tracks you could dance to without breaking into a sweat, thrown in for good measure, only then it seemed he had truly left the late ’80s.

To say his debut and his sophomore album are day and night would be a bit much. But this album does differ quite a bit from his debut in that Robert seems to have completely let his hair down. Not only are the instrumentals a lot more mellow the second time around, but there are only two tracks that bear the pretence that R. Kelly isn’t some sort of poonhound, hollering at your girl with strips of condoms bulging out of his pockets. In fact you could play Born Into the 90’s and 12 Play in a musical tandem of sorts. Born as the club record to show the ladies at the club your moves to (with some slow jams thrown in for breaking the ice with close physical contact) and 12 Play as the album you’d throw on as soon as you get home, as the lascivious soundtrack to hourlong sexy business. (This might only work appropriately if you live in the early-to-mid ’90s though, since Born Into the 90’s  and to a much lesser extent 12 Play haven’t aged perfectly.)

In other ways 12 Play  is a more refined version of 90’s, Robert still feels the need to rap on Freak That BodyI Like the Crotch on YouSummer Bunnies and Back to the Hood of Things. And although he isn’t completely horrible at it and switches up his delivery within the song, singing hooks and bridges, then rapping on the verses, which helps, he still would have been better off singing the damn songs already and/or outsource the rap verses to professionals. (he would get the memo before putting out his third album in ’95).

12 Play contains the post new jack swing, quiet storm-classic Bump n’ Grind and Your Body’s Callin’, probably the most unridiculous, most seductive thing the man has ever put on wax. These, coincidentally the album’s first two tracks, along with their kindred songs It Seems Like You’re Ready and the two-part Sex Me (a precursor to his 32 episodes, and counting urban-opera Trapped in the Closet?), are the best songs on here, hands down. Unlike on the tough-guy bump ‘n’ mack songs Homie Lover FriendFreak Dat Body and *gulp* I Like the Crotch on You these songs are geniunely sexy, and unlike his later balladry he doesn’t yet throw in his weird-ass imagery. It is the same lack of hilarious oddness that helps the slow jams that cripples the faster numbers. I Like the Crotch on You literally revolves around its titular mission statement and grows old rather quickly, unlike Ignition [Remix]‘s car/sex metaphores.

Besides all this carnality the unconditional love-statement For You sounds positively ungenuine and the dedication to his dead mother in a cover of the Spinner’s Sadie (that song that got jacked for its hook by 2pac on Dear Mama) sounds genuinely soulful and angelic, if completely contradictory to everything that came before it in its earnest respect for women.

This album has some songs that don’t work anymore, and may never have worked at all, but when Robert is on he’s on, which makes his missteps easy to forgive.

Taken as a whole 12 Play is only a small step forward for R. Kelly, but the songs below are are either quantumleaps or at the very least enjoyable enough to warrant a listen.

Best tracks
Your Body’s Callin’
Bump n’ Grind
It Seems Like You’re Ready
Sex Me [Parts 1 & 2]

If you find this album for cheap in the used-bin go for it, otherwise buy the above tracks off iTunes.

Wu-Tang Clan – Enter the Wu-Tang (36 Chambers)

Wu-Tang Clan
Enter the Wu-Tang (36 Chambers)
November 9, 1993
Loud Records/ UMG
Wu-Tang Clan - Enter the Wu-Tang (36 Chambers)

1. Bring the Ruckus // 2. Shame on a Nigga // 3. Clan In da Front // 4. Wu-Tang 7th Chamber // 5. Can It All Be So Simple // 6. Da Mystery of Chessboxin’ // 7. Wu Tang Clan Ain’t Nuthing ta Fuck With // 8. C.R.E.A.M. // 9. Method Man // 10. Protect Ya Neck // 11. Tearz // 12. Wu-Tang: 7th Chamber [Part II]

The Staten-Island, New York-based hip-hop group Wu-Tang Clan is the stuff legends are made of. Not only is there their reputation as one of the best groups to have ever passed around a microphone, with this album oft brought up as supporting evidence of this claim,  but the nine official members in the group (RZA, GZA, Method Man, Raekwon, Ghostface Killah, Ol’ Dirty Bastard, Inspectah Deck, U-God, Masta Killa) have all enjoyed solo-success to varying degrees. Then there are the two unofficial tenth members (Cappadonna and Redman) and countless other affiliates and subordinates who form a legitimate empire of a hip-hop franchise. And their work is acclaimed by hip-hop heads, hipsters, critics and music fans alike.

Part of their strength definitely lies in their numbers, after all with nine official members the chances of everyone’s career going bust simultaneously are nihil and there’s always someone keeping the Wu name alive putting out something someone will care about. At the same time you have something to contribute to that will demand fans attention in the form of Wu-group projects, whenever your last solo-album is gathering dust in record-stores worldNew York-wide. (The shadow side to having this many members is that begining Wu-enthousiasts will have a hard time telling the various members apart. For those amongst DITC-readers there is Mark(TM) Prindle(R) Wu-Tang Clan Voice(TM) Teller-Aparter(R) Guide(TMR) )

Size isn’t everything though. Luckily besides there being many people in and around the Clan, more importantly it is fact that each and everyone of them brings something to the table. Besides everyone included being a nice MC in their own right it is also so that their many flavours compliment one another very well. From ODB’s high-pitched insanity to Method Man’s chronic-sandpapered husk, and everyone in between. Each puts in their unique two cents, making a Wu-Tang album one of the more varied hip-hop listening experiences around. And RZA’s leadership of the group unites everyone under one beat.

RZA’s production consist mostly of dusty drums and other percussions, enriched with minimal melodies in the form of piano keys throughout the album, tea-pot esque whistles on Protect Ya Neck, a funky, brassy horn loop on the ODB-showcase Shame on a Nigga and even what sounds like a proto-Neptunes synth-organ melody on Tearz. The mood is eerie and cinematic. The tracks are sown together with silly skits and lo-fi samples of Kung-fu movie dialogue. (The group itself was named after the kung-fu movie Wu-Tang vs. Shaolin.)

Lyrically the Clan touches on typical gangsta rap subjects such as promiscuous sex, drug- use and selling, and inner city violence via pop-culture references. Not unlike Dr. Dre’s merry band of potholders the various Wu members separate themselves from the pack through the sheer tightness of their flows, rhymes and beats, as well as a goofy, over-the-top sense of humour.

Highlights include the rowdy album-opener Bring da RuckusGZA solo-offering Clan in da Front, the ode to currency-gathering C.R.E.A.M., the proclamation of dominance over hip-hop Protect Ya Neck, and (my personal favourite) the catchy ODB showcase of oddness that is Shame on a Nigga. But with twelve tracks (with the efforts of nine MCs put-in.) there’s no room for filler. This album is consistant as well as varied.

There’s only so much one can say about a classic such as this that does it any justice. Like Mark Prindle did in his review of this album I’ll end with some choice quotables.

Throw your shitty drawers in the hamper.
Next time come strapped with a fuckin Pamper
GZA – Clan in da Front

Ten times ten men committing mad sin.
Turn the other cheek and I’ll break your fuckin’ chin!
RZA – Protect Ya Neck

Burn me, I get into shit, I let it out like diarrhea
Got burnt once, but that was only gonorrhea.
ODB – Shame On a Nigga

Best tracks
Shame on a Nigga
Bring da Ruckus
Clan in da Front
Wu-Tang Ain’t Nuthing…
Protect Ya Neck

Buy this album, now!

2pac – Strictly 4 My N.I.G.G.A.Z.

Strictly 4 My N.I.G.G.A.Z.
February 16, 1993

Interscope RecordsUMG
2pac - Strictly 4 My Niggaz
1. Holler if Ya Hear Me // 2. Pac’s Theme [Interlude] // 3. Point the Finga // 4. Something 2 Die 4 [Interlude] // 5. Last Wordz (feat. Ice Cube & Ice-T) // 6. Souljah’s Revenge // 7. Peep Game (feat. Deadly Threat) // 8. Strugglin’ (feat. Live Squad) // 9. Guess Who’s Back // 10. Representin’ 93 // 11. Keep Ya Head Up (feat. Dave Hollister) // 12. Strictly 4 My N.I.G.G.A.Z. // 13. The Streetz R Deathrow // 14. I Get Around (feat. Shock G & Money B) // 15. Papa’z Song (feat. Mopreme Shakur & Poppi) // 16. 5 Deadly Venomz (feat. Treach, Apache & Live Squad)

“There’s no reason for a record like this to be released. It has no place in our society.”
Dan Quayle (vice-president of the United States of America) on 2pac’s debut album 2Pacalypse Now.

A lot had happend to the man born as Lesane Parish Crooks, but known to everyone and their grandmother as Tupac Amuru Shakur, since the release of his debut. There was the Dan Quayle controversy, which had the then-vice president condemning it for its alleged inspiration of the murder of a state trooper. There had been more controversy because a stray bullet had killed a little boy at one of Pac’s live shows and even more controversy because he had filed a $10,000,000 civil suit against the Oakland Police Department who had allegedly beaten him for jaywalking (the case was eventually settled for $42,000).

Controversy sells. And it did help sell nearly a million and a half copies, without getting much airplay but based on word of mouth (not unlike a bunch of Comptonites with attitude problems). I like to believe that people mostly bought 2Pacalypse Now because it was actually quite decent, but I’d be lying to myself if I did.

Anyhow, since it did sell well the sequel was likely to serve-up more of the same material, passive street narratives. In stead however 2pac gets on a soapbox much more than he did last time around. In stead of showing the listeners a glimpse of the life, times, trials and tribulations of young women growing up in less than pleasant circumstances in poor urban areas, the way he did on Brenda’s Got a Baby, he actively speaks to them and tells them to keep a positive outlook on life on Keep Ya Head Up. Rather than telling a Soulja’s Story he executes a Soulja’s Revenge.

And he even manages to have some fun with the hoochies (and Digital Underground) in the club on I Get Around, which he never did on his debut and which kind of contradicting his pro-feminist stance found on a Keep Ya Head Up, although the man himself would offer-up the explanation that these songs aren’t contradictory at all since he’s sending messages to different types of women. (bullshit).

These contradictory tracks would make for a patchy schizofrenic album on which each individual song would render the next insincere if there wasn’t some middle ground in the form of street narratives such as the title track and The Streetz R Death Row, on which he explains how the streets effect his mental health and induce both apathy and paranoia, making him the man he is today (with today being february 16, 1993).

There are more guest rappers on here than last time around. Most notably West Coast heavyweights Ice Cube and Ice-T drop by for the ménage à trois Last Wordz. Live Squad, the group headed by Pac’s homeboy Stretch, pops up on two tracks, one of which, 5 Deadly Venomz also includes Naughty By Nature’s Treach and Flava Unit’s Apache. Digital Underground actually drops in for some guest verses on I Get Around, which they couldn’t be bothered to do the last last time.

The production, courtesy of Digital Underground, Stretch and Bobcat, is tighter and livelier than last time around and even though there’s still not much in the form of complete hooks, things aren’t quite as minimal as last time around. But adding richness and swagger does come at a price. Strictly contains some better songs than 2Pacalypse did, no doubt. Both I Get Around and Keep Ya Head Up, as well as the middle finger-to-his-absentee-father duet with his stepbrother Papa’z Song being prime examples, but as an album this is less than the sum of its parts whereas its predecessor was much more. Strictly lacks 2Pacalypse‘s intimate confessional feel. Still, it’s hard to stay mad when there’s this much movement away from 2pacalypse without loss of quality (deliberately avoiding the word progress here).

Also, this album doesn’t have any true low points like Young Black Male or Part Time Mutha off his debut were.

All in all Strictly 4 My Niggaz is a more professional, more diverse but less consistent and less compelling sophomore  release of one of hip-hop’s biggest characters, and even though it’s definitely a stepping stone to the celebration of excess that would be come All Eyez on Me one shouldn’t hate this album for it, because it is pretty good regardless.

Best tracks
Keep Ya Head Up
Soulja’s Revenge
I Get Around
Last Wordz
Papa’z Song

Pick this one up.

Take That – Everything Changes

Take That

Everything Changes

BMG/ Sony Music Entertainment


So manufactured male vocal quintet Take That (Since four of the five rarely, if ever, played any instruments they were never a band of any sorts, so the term boy band would be wrong although, if I’m being honest Gary Barlow is, in fact, a musician) got to record a second album. It’s puzzling really if you know what their debut sounded like. I do because I reviewed it (It utterly and completely sounded like crap.) But it was inevitable because said debut miraculously sold enough copies to warrant a follow-up. But let’s keep things brief. It is 1993. Robbie Williams, who would later become Europe’s biggest rock star, is still with the group. They release their worldwide smash hit of a sophomore album and become the most succesful british group since the Beatles.

That last factoid is just fucked up isn’t it?

1. Everything Changes

During the first few seconds Robbie pretends he is a serious R&B singer and straight talks to Take That’s gang rape victim his love interest in a “romantic” manner. On the Take That greatest hits album they edited this intriguing bit of prose out which is definitely for the better but it doth not a good song make. This title track was in fact a hit single but, like everything the man did while in Take That, a complete misfit to Robbie’s style. I mean it’s cute and catchy and all, but one can’t help but think he himself would never himself have elected to record this out of all the songs that are out to be sung.  So yeah. I’m not sure how Robbie managed to get the first lead twice on the first song of one of these albums by a boy band of which he wasn’t the lead singer. Maybe he hit Gary K.O. in the head with a pool ball in a sock right after the studio guy pressed “record” and then hogged the mic. Maybe that was why he eventually couldn’t be in the band anymore. The instrumental? This was written and produced by Absolute, who would later on do half of the Spice Girls’ debut. This sounds like electronic faux post-disco except for that it isn’t funky in any way, shape or form. The electronic bit means as much as that the producers were actively trying to make post-disco but couldn’t be bothered to use actual instruments. Well, except for a Kenny G-ish sax that is. Gotta love those…

2. Pray

Overly breathy and too bland to be cheesy in a entertaining way. That’s all I got, sorry.

3. Wasting My Time

I am trying to find out whom it is the boys, or rather Absolute, who produce this one too, are trying to imitate here. It could be Barry White, I suppose, but Gary vocally being the polar opposite of the late walrus of love (Barry can make your subwoofer put cracks in your wall if the volume is cranked up a bit too high by just speaking on record.) keeps that from becoming clear entirely. The nod to Barry is appreciated. I been bumping the pillow prince for a while now and still can’t get enough of his love (no homo). As for this. Meh. The songwriting and music are neither here nor there. Perhaps an actual soul singer could’ve pulled it off but Barlow’s adolescent yelp of a voice just can’t seem to do the trick.

4. Relight My Fire (feat. Lulu)

Well, there‘s that glorious early 90’s, diet cheese-music I was looking for when originally starting to listen to Everything Changes or Take That and Party for that matter. Allegedly this is a cover of a song by some cat named Dan Hartman but I never heard the original and can’t be bothered to look it up right now. This is what Jamiroquai would be doing… if Jamiroquai was a manufactured boygroup rather than a skilled band, was  singing covers of cheesy old shit rather than perform their own class A nu-disco capm and had a less soulful, less charismatic lead singer, and if this doesn’t make you tap your foot, or some shit like that, you are likely to be either a corpse or Stephen Hawking. Barlow seems to have been put on the planet to sing material like this, and the guest vocal by British, white soul kitch-diva Lulu only adds to the fun.

5. Love Ain’t Here Anymore

Well this wouldn’t be an 90’s pop album without a sugar-coated, uselessly bombastic ballad, now would it? This one here could make even the Backstreet Boys cringe with lines such as “Love ain’t here anymore, It went away to a town called yesterday”.

6. If This Is Love

Howard Donald get to do some leads. Whom did he have fellate in order for that to happen!? Nigel Martin-Smith, probanly… He is technically proficient in singing but yeah, technically so is Justin Bieber…

7. Whatever You Do To Me

A Motown rip-off? Okay, why the fuck not? Despite it’s clichéd “What Goes Around Comes Around” theme  it’s pretty decent and even the use of a saxophone makes sense.

8. Meaning of Love

Now here the boys accomplish what they probably were trying to do for the entirety of their debut. Record a decent dance tune. It’s too bad they didn’t stick around for the UK Garage era because they sound perfectly at home on this melodic (relatively speaking) house beat. Well played, gentlemen.

9. Why Can’t I Wake Up With You?

I really liked the beat which consists of drums, strings and some hiphop breaks and little more. Okay, the entire song isn’t half bad. But don’t tell anyone I said that.

10. You Are The One

Whereas this dance tune is glorious in showing all that was wrong with this particular bit of the 90’s. The melodies are corny, The instrumental is overstuffed with sound effects and the drums… well there’s nothing wrong with the drums but yeah, this song fucking godawful still.

11. Crack In My Heart

Meh. No this isn’t about Robbie’s love affair with cocain… That’d be fucking epic.

12. Broken Your Heart

Any of my comments on Meaning of Love also apply here, positive comments, mind you. I could bitch on how this song is too similar to Meaning of Love but in stead I will congratulate the boys for having found a style that did in fact fit them.

13. Babe

Okay, this Mark Owen guy is also not a terrible singer and Babe is a not-too-awful male vocal group-ballad, even if, like most of the music in this genre, is much too dramatic for its own good. The fact that this contains every single cliché this type of songs could potentially offer would either be a criticism or the lion share of the trashy appeal this holds today.  And with that Everything Changes is over.

Best tracks

Relight My Fire, Whatever You Do To Me, Meaning of Love, Why Can’t I Wake Up With You, Broken Your Heart, Babe


So Everything Changes is a vast improvement over Take That and Party. But then again that‘s not any sort of accomplishment. If the boys would’ve farted into their microphones over these beats it still would’ve been a vast improvement over Take That and Party. So, what then? Well, the instrumentals sound a little less cold and dead on first listen, this time around. That doesn’t mean they do very well under close scrutiny. But at least most of the songs here are inoffensive enough that you won’t be too disturbed by them when your woman forces you to go to the mall with her to carry her bags of useless, expensive shit and you are forced to endure them because the mall staff seems to believe playing adult contemporary music and yesteryear’s hits encourages big spending. Also Everything Changes is about as close to a first class, all included time machine trip to 1993 as you can get. So that counts for something, if you’re into that. I am. But the fact that this never once manages to escape its epoch also means that today it will appeal to only a very small group of people, namely 90s nostalgics. Just like todays pop music in twenty years will probably only get any love by people who are young now. If you never cared for 90’s pop, even when you were under the age of ten when this came out off course this will do nothing for you. Go back to your dubstep tracks, quickly!, before it goes out of fashion! But on to the main reason I’m reviewing these guys in the first place, Robbie motherfucking Williams. Well he gets one song on the entire album,  and not a very good one at that, so fans of his solo career should pass on this.


Everything Changes is quite a lot of fun at times. But not so much fun overall that you should exchange money for it. That Crystal meth habit isn’t going to support itself, ya know? But if you were a fan of the group when it was popular and you might have a copy lying around you should dust it off and give it a spin. And if you are one of those people and you can’t seem to find it, a trip to the pirate bay may be in order.