Round 2 in the Danger Room
When we last spoke, I was raving about Danger Mouse in such great length that I only managed to cover the first half of the last decade. [Read it here.] In continuing with my previous gushing, let’s pick up where we left off and catch up with Brian Burton, circa 2006.
Gnarls Barkley (2006) – Cee-Lo!? Where the hell had he been? I hadn’t listened to him since he was making sure that no one was creepin’ at his window with Goodie Mob in the mid-90s. Danger Mouse fixed that fast. With singles that couldn’t help but get stuck in your head, ‘St. Elsewhere‘ became something on everyone’s map for a long time, and four years later, no matter how much you’ve heard it, you can’t help but sing along in your head with Crazy when it comes on. Unless you’ve never left your house, you’ve heard songs from this album. A sophomore album released a couple of years later didn’t make as many headlines, and wasn’t as single-ridden, but was still a great listen from end to end.
The Rapture, Pieces of The People We Love (2006) – This one isn’t entirely a Danger Mouse show, but the songs he did produce, are pure gold. This was the first time I’d heard Mr. Burton really pick up the tempo, and I wasn’t surprised that he pulled it off perfectly. Again, thanks to Danger Mouse, yet another artist/band made it on to my radar after being previously ignored for lack of interest.
The Good, The Bad, and The Queen (2007) – At the time, I didn’t realize that this would be the only Albarn/Burton pairing to follow ‘Demon Days,’ and while it is very much an Albarn album (with the amazing addition of members from The Clash, The Verve, and Fela Kuti’s band Africa 70), Danger Mouse again changed directions and played beautifully into a darker, slower, deeper sound than I had previously heard. If you’re a fan of Damon Albarn’s voice, and you want something different than the Gorillaz, this is your album.
Black Keys, Attack & Release (2008) – I’ve been a Black Keys fan since day one, and when I heard about this pairing… well, to put it plainly, I lost my shit. I couldn’t help but build up outrageous expectations for this collaboration. I am happy to inform you that every one of my ridiculous expectations was not only met, but exceeded. This is one of my favourite albums to date, and every time I listen to it, it gets better. ‘Attack & Release’ is a showcase of Danger Mouse’s ability to produce and enhance, but not step on a group’s signature sound. He takes everything that the Keys do well, and makes it sound perfect. I cannot recommend this album enough. It is a must have.
Beck, Modern Guilt (2008) – 2008 was a fantastic year for Danger Mouse fans. Apparently, pairing up with one of my favourite groups wasn’t enough for one year. Hot on the tails of ‘Attack & Release,’ Danger Mouse teamed up with Beck to produce one of Beck’s best albums yet (and coming from a long-time Beck fan, that’s saying a lot). Beck had already demonstrated that he could switch streams album after album and still exude genius, but collaborating with Burton, he was able to make an album that fit into a sound already popular by many, and kick them all in the balls. From the first second to the last, this album is absolutely flawless. There isn’t a single track that I would skip, and when I make a playlist for casual listening and try to choose a song from this album to add, I inevitably add the entire thing.
Broken Bells (2010) – I have to admit that I managed to get my hands on a copy of this album in December of 2009, and I made some pretty bold claims as to its eventual placement on my 2010 list of greats. Three months later the album was officially released (on the same day as the new Danger Mouse-less Gorillaz, as I mentioned before). I pre-ordered it online and excitedly anticipated its release, despite already having it. I’m that drunk on this album. For the first time in recent memory, Danger Mouse is listed as a band member (as Brian Burton), and it feels like it. This isn’t Burton producing a James Mercer album. He isn’t making beats and helping to hone someone’s sound into a hybrid of flavours. This is a pitch-perfect album made by Burton and Mercer together, and it is fantastic! Again, there isn’t a single song that should be skipped here. If anything, this album should be put on repeat and listened to over and over. I admit that I was excited for the new Gorillaz album (regardless of who produced it), but hearing ‘Broken Bells’ again after three months of obsession completely dismissed the Gorillaz from my mind almost instantly. My only complaint is that the bonus song that comes with it when you buy it on iTunes, can only be listened to by playing it in “LP” mode (which means on the computer only; no iPod or any other MP3 player). This album gives me yet another reason to cave in and fulfill my Apple addiction by buying an iPad. It’s that good.
[Editor's note: Broken Bells just announced a Vancouver show! Step 1: Buy tickets - on sale April 3 - at livenation.com. Step 2: Go to the Commodore Ballroom May 26th and witness live what Piggy's been preaching about. Step 3: High fives!!]
The Rest – While the above recap may seem extensive, it isn’t. There are many more albums out there with Brian Burton’s fingerprints all over them. Some are great (check out any of his hip-hop mix-tapes, including one that actually got me to bob my head to Saukrates!?), some aren’t my “cup of tea” (see: Sparklehorse), and there are quite a few that I simply haven’t had the chance to listen to yet (Martina Topley-Bird, Joker’s Daughter, etc). No one is perfect, and I’m sure that you’ll disagree with some of my universal acclaim for almost all things Danger Mouse, but know this: if Brian Burton’s name shows up anywhere on an album/song you can bet that I’ll be doing my damndest to try and track it down and listen to it. Nine times out of ten he blows the competition out of the water, and in this day of cookie-cutter albums, ghost-written and mass produced to be shoved down your throat, there is one man out there who isn’t bowing down to anyone. He eats, sleeps, and breathes his passion for music and it shows in every note on every album. If that’s not the definition of the quintessential artist of this 21st century, then I don’t know what is.
Ain’t no half-steppin,
– Pig
