This Eamon fella, though, his rantings are decidedly one-note throughout. "Bitch, you a Ho". Then about how "when I take you places, you know your place", and so on. "Could it be you're acting like a whore?", he hypothesizes, when wondering what seems different about his Ho of the moment. And on and on and on. It gets a bit fucking grating, is what, and it has as much wit as a volcanic burst of flatulence at a frat party.
But here's the twist, motherfucker, cause like that M Night Shyamalan fella, The Duke is fucking prodigious with regards the third act turn-around - Musically, the album is stunning. And I don't just mean it's nicely produced and the arrangements are very professional and all that bollocks, but the very feel of the thing, the stripped down sparseness to it all, is euphoria-inducing, some tracks operating on a musical plateau equipped with only a drum beat and a lonesome organ. And then there's this motherfucker's voice.
This fool has one of the most distinctive voices The Duke has heard since, I dunno, GG Allin or some such. Unlike GG, though, this is distinctive in the way that makes you go, hell, that guy sounds great, and not, hell, I got my face covered in shit. Thanks a fucking bunch GG, you son of a bitch.
This is not an R&B record, as far as The Duke is concerned. R&B has come to represent over-produced confectionary pish, as dull and nondescript as those boy-bands us British are so fucking fond of for some damn reason or other. This is more like a golden-period Motown record, I shit you not. It's stunningly idiosyncratic in terms of its arrangements. It's a fucking masterpiece of the old tune-spinning is what I'm getting at.
But man, those lyrics. To quote from Shakespeare, in Hamlet I think, "That motherfucker's misogynist pish really gets on my tits a couple jams in". Maybe it's ironic, and maybe his tongue is so far as in his cheek as to be licking the wax from his earlobes, but where's the evidence to support it? Where's the evidence to show that this is indeed a record of the likes of that Sliminy Shady or whoever, and not just vacant crotch-grabbing, like, say, Madonna, with more stuff about fuck them ho's and so on?
Article comments
1 - S.E.
Duke, it's funny. I had a similar reaction when I first heard "Fuck It." My gut feeling told me I should dismiss this as a throw-away pop nugget dripping with false machismo.
But then I thought, if I was a junior in high school and some girl cheated on me, I would totally make her a mix tape, with "Fuck It" as the first song on side A and the last song on side B.
If nothing else, this kid can lay claim to the best break-up mixtape jam of 2003. Good stuff.
2 - RJ Elliott
I bought the single. And I wasn't even dating anybody!
It's a great tune. Are his other songs worthwhile?
3 - Mac Diva
Duke, I wrote about Eamon and "Fuck It" here. I don't know why the entry did not Trackback.
Eventually, the song became too irritating, so I removed it from iTunes and my iPod. I did not like it popping up in random play.
4 - Aaron, Duke De Mondo
Thanks for the comments folks! RJ, the first half of the album is filled with glory, on a par with that single. Just the lyrics are stacked high with all the bullshit in kansas is all.
S.E i agree totally. It taps into that high-school need-to-be-a-tough-motherfucker thing. The more i lsiten to it (it's playing at the minute) the more he sounds totally torn up.
Mac, nice to hear from you! Thanks for putting up the link to your post.
Anyone who wants to read some thoughtful shit with regards the Eamon should check out MacDiva's article about the Fuck It.
Thanks all.
5 - sakura
eamon is so kool, i luv i don't want you back. i think it has the best beat and the lyrics rock!! his album is just as good!!
6 - natedogg
where is he in 2009??