However, you'd never guess when just listening to the spoken word track, Fire Coming Out Of The Monkey's Head. While that minimalist quality is fine, the conclusion of the album opts to go the complete other direction as compared to most of it.
You never get overwhelmed by the song, and it does just enough to keep you hooked and interested the whole way through, something that is rarely done in hip hop or even the "mainstream" in general these days. Initially and for most of the song being held together only by an excellent bass line and sporadic drums, it's an extremely laid back and relaxed adventure in current society and its degenerating values (particularly in regards to violence, probably of the Gun-nature). Much of this album is very minimalist in tone, with Da Mouse going for atmosphere instead of a driving force that actually ends up working better in the long run, and Kids With Guns embodies that. While El Manana is undeniably a strong song, there are others that come close to it, such as Kids With Guns and the final three tracks that invariably end up bleeding together for me, Fire Coming Out Of The Monkey's Head/Don't Get Lost In Heaven/Demon Days. Regardless, the songwriting here is beyond anything else on the album, and it's easily the most touching song on the album, mostly due to the utter lack of hope in Albarn's voice. well, it's pretty much up for interpretation, but I personally think it's a mans final words before he dies. It's truly the encapsulating song of the album Albarn gives an absolutely haunting and outstanding vocal performance, singing of. While it is a strong presence in most tracks, it is showcased perfectly in the best song of the album, El Manana. His voice comes together perfectly with Da Mouse's beats and production, and while he may be a tad bit monotonous at first listen, his voice will grow on you until you wonder how come you were never a Blur fan in the first place. While Da Mouse may be one half of the creative process, Albarn still proves he knows what he's doing. It's arguably his best work thus far, and it's no wonder why he is perhaps the best current producer in hip-hop. Da Mouse has crafted a dark, brooding affair, and while some of the tracks may indicate a lightheartedness not generally expected, it's usually done in such a fashion that your listening experience is exponentially heightened. The loose storyline is fit together well by a very smooth track flow while it may not be perfectly flowing, it's still a sublime experience almost all the way through. While Dan is undoubtedly a superior producer and much more polished, Danger Mouse (hereto forth known as "Da Mouse", as per my wishes) just interacts better with Damon Albarn (of Blur fame, although its arguable his success with Gorillaz has reached that, at least here in the States), the album feeling far more fleshed out and concise. This time around, Danger Mouse takes the rein in production over Dan, and surprisingly, he works far better. Unlike their previous effort, Demon Days is truly an excellent effort. However, as the months went on, I gradually started t like the song more and more, and upon a listening of Kids With Guns, I was intent upon buying the album. When the (now) gigantic single came out, Feel Good Inc., I figured I just wasn't going to like the album once again. That's why when I heard announcement of this, I took it with a large grain of salt. While at the time I wasn't a large proponent of hip hop, and I didn't have a clue as to who Dan the Automator or Del tha Funky Homosapien were, I knew this: I didn't enjoy the album.
While it was pretty good I thought, none of it lived up to the hype or Clint Eastwood in my eyes. Upon my purchase, however, I was fairly disappointed. However, Gorillaz had made a lasting impact in my mind, and I immediately sought out the album that contained Clint Eastwood. Very few knew what to make out of anything in the video, whether it be those gorillas or the ghost coming out of a large black man's head. It was a strange and singularly wondrous creation an animated video with giant monkeys destroying things. However, there was one video that stood out from the rest. While it had overtaken the beloved "The Box" channel, us preteens still flocked to it in droves, looking at all the strange and interesting things they were doing with videos. The summer of 2001 saw many a video gain notoriety Sum 41's Fat Lip, System of a Down's Chop Suey, and Linkin Park's Crawling all gained huge airplay on the new video channel, MTV2. While they had always been slightly interesting, music videos began to be taken very seriously. During the summer of 7th grade, a rather strange movement took place in my area, and in my age group.
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