Duck Rock

Holy shit this is bad asf What else should i expect from the dude whose life work was commercialising punk i guess?

Did not have the bandwidth or interest to listen to this on the 18th so we're doing two albums today. One of the strangest albums I've had yet on here. It's completely all over the place, not cohesive at all, very dated, and honestly pretty enjoyable. So Eminem copped Buffalo Gals for Without Me - noted!

Random, weird, fun.

I had no idea Malcolm McLaren made music too? This album was far from the worst thing I've ever heard but also I just don't get why this exists. The most interesting thing I took away from this album is the fact that Eminem got the inspiration for lyrics to Without Me from a song from this album 2/5

Some songs are alright. The story about the album is better than the album for me

I didn't really get it, but I understand that it was very influential music so it gets an extra star for that

Unremarkable I suppose?

There's some good stuff here. Beastie Boys sampled from here a few times. Dondi, Nick Egan and Keith Harring did the artwork. 1983. Sure. Important album you must hear if you want to know your music history.

Started out really strong with the world ambience, but as soon as it got to the hip hop it dropped off significantly. Favorite Songs: Obatala, Double Dutch

This is #day798 of my #1001albumsyoumusthearbeforeyoudie challenge, and... at first I thought it was fun. I mean, world music and early hip-hop are not an ordinary combo. But the further I got into this record, the weirder and more all over the place it became. I like the hip-hop side better, of course. I must admit I had no idea the opening of Eminem's "Without Me" was based on "Buffalo Gals." Let it be a 3 out of 5. Looking forward to #day799.

I see the reviews, and I see a lot of hate. Unfair, I think. This was an important album OF ITS TIME, introduced new music styles to suburban white kids. OK, with the benefit of hindsight, it's not the best album ever, but it opened ears to music beyond normal borders.

There were a few solid tracks, especially the reggae-inflected ones (Punk It Up was a standout). That said, the overall package was grating (and maybe kind of racist).

Malcolm McLaren is the bygone version of Lou Pearlman, right? Why the fuck do I want to listen to him pretend to be a DJ? This fucking sucks. 2/10

não entendi o hate pesado que esse álbum tem, sinceramente. é muito interessante, é animado e é divertido. eu gostei.

Scratch, Rap, Break Dance, 1983 -> 2

Apparently everything on this album is ripped off and uncredited. Okay. I was likely never otherwise going to hear a single one of the samples used here 43 years later. Also as I sit here listening each of these albums at $0.0003 per stream or whatever I'm not really going to get on my high horse about some album from a time when people just sampled anything they wanted without attribution constantly.

Sounds like he took songs from a bunch of other artists

Simply one of the weirdest albums ever. The whole thing has a strong influence from african music, but it's mixed with hip hop, some electronic, some disco and so on. The last song is fully country as well. Such an unlikely mix of influences sounds like a total mess, and, well, it is. The record is all over the place, going from some minimal tribal ambient to turntable scratches to some funky rhythms just in the first 3 songs. It is however a highly entertaining mess, very unserious but executed quite well. Not everything works but it's still a fun listen. I'm leaving this with 3 stars and a smile on my face - not bad.

Apart from the 80s hip-hop in a couple of songs, the album is interesting, funny and fine! But I needed two listenings to appreciate it ... which does not speak against it. Overall a good thing.

This record is a bit too all over the place even for its time.

Yea idk wtf that was

Maybe the most polarizing album I’ve received yet. One one hand brought soikfs of the world to the rest of the world. One the other the artists were not originally credited or giving money. That said I have to settle right in the middle.

Actually really interesting

Setting the whole Sex Pistols/punk stuff aside, this album introduced a new genre to the British public. The strange fusion of hip hop, figure calling, and the electronic sound - which later emerged as The Art of Noise - formed the first single, Buffalo Gals, and its successor, Double Dutch. Both had an enormous impact on both sides of the pond. Trevor Horn, who had co-written all the songs, would become the most influential and successful producer of the '80s. And he and the other musicians on this album would form the aforementioned band, The Art of Noise. And Duck Rock somehow started all of this. As I like the work of Trevor Horn and The Art of Noise, I found this album quite pleasant.

Wow, what a multi-talented man! He can steal music, steal money, AND make crazy cars? That's insane.

listen, i like parts of this. i enjoy the interludes! but there is sooooo much going on. i'm having a Bad Time. like a trip gone too far.

Undeniably clever, interesting and progressive as the music was emerging. It was created by a terrible human and cultural appropriating asshole.

I was just waiting for this to end. No idea why anyone ever needs to hear this

Weird

I don't even know what to say about this one other than it's just a jumbled mess with no memorable tracks I guess other than Buffalo Gals, but only because that's the one song I've heard before giving this a listen.

Inventive beats and samples galore. Not sure it bears repeated listens but as an artefact it belongs in a hip hop museum

This is just a random collection of songs that Malcolm McLaren definitely didn't write or sing. WTF is this album? I'm giving it 1 star on principal. The actual music was fine.

Absolutely all over the place, good fun though!

Bien.

Love Double Dutch. Also Punk It up. And Jive my baby. Particularly like all the ska-influenced ones. Did not expect to really enjoy this as much as I am.

Ugh some of this was painful to listen to. I made it through it but would rather hear the original artists instead of this off-the-radio recorded mixtape. 2 generous stars

In the last decade or so, there has been a lot of talk about "cultural appropriation." This album is a shining example of cultural appropriation. It is musical tourism; stylistic cosplay. Much of the music on this album is drawn from various African musics. None of it rings true. It all feels like a costume, not an appreciation and not an assimilation of influences. Contrast this with the way Paul Simon and Peter Gabriel incorporated African/Afro-beat into their music. 1 star

the only thing i really expected out of this album was that i was going to hate it……… which i did

decent hip hop at best and weird music at worst. strange album for the list.

I am not someone who thinks about cultural appropriation, but what the fuck was this. 80s hip hop done by the Sex Pistols manager?? Also "Duck for the Oyster" may be in contention for worse song I have ever listened to, as this album all together made me take advil. Who the hell likes this! 0.5/5

Interesting album but not something I would come back to.

Wow !! What a trip 10 or strong 9 hmmmmm

It was many things, but definitely was not boring.

McClaren = visionary & genius. He managed the Sex Pistols, changed culture w Vivienne Westwood - what the hell would we have done without those 2, thank the Gods for them! I was a slave to this album when it came out, it was THE most fun, Buffalo Girls go Round the outside..boundless creativity and collaboration, african and caribbean sounds incorporated w soaring choruses and samples oh the samples .... oh that scratch is really makin' me itch .. You know it ... this record never went out of circulation for me it is still being played in our house : ) Track 11 why do I love it so much

This is the county fair. Bright lights blinding you on the fairway as aggressive men try to get your attention to play games. People zigzagging in all directions between rides flying up and down. Smells of hotdogs, peanuts and beer permeate off those passing by. It’s a happy chaos.

is it possible to evaluate this album without context? the story and "creators" are as important to the story as the record itself. but it may be better to leave this as a myth as it comes off as dreamlike as it traverse the globe like the soundtrack to the ultimate road film. more an object of fascination than expression of art. that being said - he's having a blast and it hard to argue with that.

Baffling inclusion #6 Apparently this guy is a culture vulture and sucks unless you’re a toothless British boomer. I’m not, so 1 it is. ⭐️

Just lost all sense of direction (derogatory)

This sounds so dated it's crazy. When I saw "hip hop" as the genre I got excited, but it turned out it was all for naught.

Double dutch was such a good video at the time but so dated now. Check it out on youtube. The rest, mehh

Really playful rhythms. Odd mix of sounds but it works surprisingly well.

What a hero he was; he often created innovative music. Music unlike anything you had heard before—and music you didn't necessarily have to like, either.

Took me back to the 80s. I didn’t have high hopes for it, but in the end enjoyed it. It was fun and had more variety than expected. “Jive My Baby” was dance inducing. “Duck the Oyster” had me wanting to square dance.

3.5 stars for the music. 0 stars for plagiarism and stealing royalties from the actual musicians who created this album.

Seems to me that none of the music here benefits from having some dude from Britain recognize it.

There's a classic episode from The Simpsons' fifth season where Lisa complains, "It's awful being a kid; no one listens to you." Grampa Simpson adds, "It's rotten being old; no one listens to ya!" In walks Homer, who proclaims, "I'm a white male, age 18 to 49. Everyone listens to me—no matter how dumb my suggestions are!" Then he pulls out a can of something called Nuts and Gum. ("Together at last!" says the label on the can.) This is the Nuts and Gum of the 1,001 book. McLaren was the 37-year-old white male whose dumb idea was enabled by who knows how many people. Then it was celebrated in this book two decades later, despite being embarrassing and terrible. Yet McLaren somehow released six more albums after this one.

Here's something I wrote a few years ago: Firstly, Keith Haring painted the pink background of the sleeve, and yesterday marked 32 years since he died. He was just 31. If you only have a few minutes to spare, don't read my waffle, go and look at some of his work instead. Duck Rock makes me think of Malcolm McLaren as a rock ‘n’ roll fan who was slightly too young for the first wave. It was the era before pirate stations, when radio meant The Light Programme, so it would have been big brother music. It wasn't until he was 18 that Radio Caroline and Radio London started up, and I can only imagine how exciting that was. Perhaps as a teenager he shared singles with friends, and went to pubs that turned a blind eye to hear local bands who’d got hold of an import no-one else had to cover in their set. By the time of the British Invasion, maybe there was a new confidence among British pop fans that they too could innovate and take the lead but, even for The Beatles, there was nowhere more fascinating than America. When Malcolm visited New York and saw first-hand that pop was being reborn he wouldn’t have wanted to miss out again. With the samples of the World’s Famous Supreme Team woven through the music, Duck Rock captures some of the excitement at the beginning of the rap era with the feel of a lovingly compiled mixtape. The blend of diverse traditions – funk, mbaqanga, toasting etc – unpicks some of the threads of the culture McLaren was exploring. The addition of merengue, square dance and his own fake American accent emphasises the sense of an outsider looking in, trying to take in the whole city at once, and understanding hip-hop as a folk-dance culture while trying out something that could easily have sounded as corny as H-E-double-hockey-sticks. The mix of a white country tradition with South African music reminds me of the blend of televangelists’ frenzy and west African funk on My Life in the Bush of Ghosts, but with a less anthropological and more playful feel. Of course, McLaren was always a provocateur, and for him the appeal of piracy was in the romance of rebellion and the celebration of theft. Never being in an underdog role, that pretty much always led him to some degree of exploitation. His advocacy of home taping through Bow Wow Wow is defensible; his ideas about “noble savages,” treatment of Anabella Lwin and the abandoned Chicken magazine much less so. Duck Rock brings up some huge issues with ownership and authorship in the emerging “world music” market which were already present in folk and blues and continue to be discussed with regards to hip-hop today. There’s also the question of how much McLaren had to do with this record musically. Vocals aside, I imagine him as the forerunner to Paul Morley in the Art of Noise, suggesting the concept, sitting in the studio chatting excitedly with Trevor Horn about their favourite records and then letting him get on with it. For a record made by a super-producer team, it has the feel of something a friend made for you by hovering over the pause button, and perhaps that’s where McLaren earned the credit he is due.

No. Can’t separate art from the artist.

Lord, there are a lot of styles and ideas in here, and the mix does not work at all. Especially the awkward imposition of fairly amateur, early-days rap over Jamaican, African and other sounds. Why excerpts of an emcee’s boring between-acts patter were included is beyond me. I have the impression that Malcolm McLaren was something of a cultural impresario, showing up on the vanguard of scenes. But his interpretation doesn’t add value. I do like the version of “Buffalo Gals” here. I’m unsure whether it’s an original but given McLaren’s hodgepodge helping himself to others’ output, I’m guessing no.

What’s really crazy is even now the actual musicians aren’t credited in the Spotify listings, except World Famous. Also a damn shame considering how few early rap albums there are on the list. As other reviewers have said, it’s more of a compilation or mix tape than a proper album. Again, Dimery prioritizes influence over all other inclusion criteria.

It’s very much an attempt to grab the zeitgeist and does manage to be prescient for many of the tropes of later hip hop records and to beat Paul Simon to ‘bring African influence’ to western music (that was all ripped off from music from African slave defendants). Double Dutch has a groove though. I did enjoy.

Una de las peores cosas que escuché en mi vida. No entiendo qué hace acá. Parece elegido por gente que no tiene idea de música fuera de EEUU / Inglaterra y cree que el álbum hace cosas geniales cuando todo es pésima copia de géneros que otros hacen bien en serio. 1/10

This album actively annoyed me a lot. Absolute atrocity. Also referring to women as females during the radio segments really irked me.

This was pretty cool I’m ngl

An album that felt influential without maintaining its listenability to a modern ear. I didn't connect with it myself.

Interesting

While being somewhat responsible for bringing punk music to the mainstream, Malcolm McLaren was a colossal piece of shit. He took advantage of marginalized people and by most accounts he really sucked.

Just annoying

I went into Duck Rock expecting to find something interesting, especially considering how experimental and influential the album is supposed to be, but I honestly didn’t enjoy it that much. There are a lot of different influences throughout the album, including hip-hop, African and Caribbean music, electronic sounds, and various samples. While I can appreciate the ambition behind mixing all of these styles together, I found the result quite messy and difficult to follow. The biggest problem for me was that the album didn’t feel very coherent. It constantly moves between different sounds and ideas, and instead of making the album feel exciting, I often found it distracting and a little annoying. Some of the spoken sections and samples especially became tiring after a while. McLaren’s vocals also took some getting used to. His detached and almost awkward delivery is clearly intentional, but it didn’t really work for me.I found it too chaotic and irritating to really connect with. There are some good ideas throughout the album, but they didn’t come together in a way that worked for me.

I don’t quite understand how to approach this project. There is some good music here (early hip-hop, island/ reggae styles) but the long DJ interludes and the overall mishmash/ mixtape style is distracting. Important for migrating these sounds over to England, say the music historians— great, but I don’t care about artifacts, just listening to good, cohesive albums.

It’s like rap without lyrics. Don’t really get the point.

njae

Inte allltid direkt bra, men en bredd som ändå höll någon sorts intresse uppe.

Jovars.

eh

Ask me to put this one in a box and I’ve got nothing for you. There’s some Herbie Hancock here, and some early west coast hip hop, some global instrumentation.. not necessarily my thing but I enjoyed the listen. Soweto is getting added to a playlist for sure. Also apparently Malcolm McLaren is a white British dude?

very 80s, fashionista like. Mainly empty for me. recording quality is quite poor and sounds weak, but then you have to remember everything sounded like that then. Not my bag

I can hear the influence this one had musically. As much of a cultural vulture as McLaren was, he was an equal opportunity thief/exploiter across race and class. What a scumbag.

It’s a junk drawer of sounds that are clearly seeds for a lot of things

2.49 - went a lil random

Very Caribbean sounding. Double Dutch being the best known I guess. Not my thing really

Feels like a novelty record from the eighties. Gets a point for being different to most other things on here.

An odd jumble of an album and very dated.

Not whatsoever what I was expecting, which was some awful arty post punk. So it’s a pleasant surprise somewhat that’s it perfectly listenable. I am though somewhat confused as to what MM actually did though, given he’s not a musician or singer, other than bring some artists together and not credit them much. But then given the size of his ego, one shouldn’t be surprised at all.

Это типа вообще что? Я не понимаю. Рандомно африканские мотивы, раномно какой-то хип-хоп, рандомно поп-песня, а кончается вообще какой-то реднековской частушкой. Прикольно, но непонятно вообще.

WHAT THE FUCK DID I JUST LISTEN TO??? But I kinda liked it. Also, how many of these songs were sampled to success? No, seriously, how many- its more than 2.

The music itself is catchy and well composed. I could read up on the guy and find out he’s a shitbag. Or I could do what I was going to do anyway and listen to this album exactly once and forget this guy exists.

(7.1)

Great 80s album

This was an interesting listen on the flight from BLR to SIN. This week my Instagram feed has been full of previews for GTA6 and this album felt like remind me of original GTA. I favorited 2 songs here. Also noted hints of Art of Noise songs and then read in other reviews there is some connection. I’ll have to research when I land. This was enjoyable enough that I might put it on in the future but not enough to demand it. 3/5

Malcolm McLaren's 1983 album Duck Rock is a groundbreaking global fusion record that introduced early hip-hop, scratching, and diverse world music styles to mainstream UK and Western pop audiences Didn't pay the original artist though. Classic Brit. 1.5/5. Raising to 2.

Ridiculous music and not in a good way. Annoying, not funny and pretentious. It’s Malcolm McLaren though, so what else did I expect?

This was enjoyable, but obviously a bit dated. Some really good songs, but also some stuff that's a bit silly.

Really funky and fun.

This is a welcome change of pace and style and genre. Multiple times per track actually. It's hard to deny this album's influence, and I enjoyed it though I can't say I'll listen to this many more times. Still, solid 4/5 overall. Cultural appropriation... Honestly, I think this is a stupid category. Music and artists have always and will always influence others. To say "oh, somebody from a different cultural background has used that groove before, you now can't any more" is an attitude that's beyond stupid to me. Claiming other people's work as your own and not paying royalties where they're due... That's an issue for the courts. Cases where McLaren apparently did that were brought to court and then settled, so that doesn't influence my rating any more than Red Hot Chili Peppers' settlement with Tom Petty, or Clare Torry's settlement with Pink Floyd or any other such settlements do.

what was that

Hey there mr. Jambo personified.... what da heck

Only the song Buffalo Gals was available on Spotify, so my only other option for listening to this would be YouTube, and while I didn't mind what I heard, it didn't intrigue me enough to go out of my way to listen to it, considering that I always listen to these albums through Bluetooth earbuds from my phone, something that is not possible with YouTube

Malcolm McLaren was a funny bird, and it's hard to know what to make of him, and of this album. He was a . . . fashion and music impresario (?). He apparently had a hand in forming and promoting the Sex Pistols. I first became aware of him around 1984 or 1985, I think (a year or so after this album), when he released a surprisingly successful dance club adaptation of Puccini's Madam Butterfly. My 22-year-old self fell for it (in my defense, I was only a year or two from having spent a semester in Florence, and less than that from having written my master's thesis on the Italian Futurists), although even now I'd say that the mash-up works better than any reasonable person might have predicted or expected. Anyway, what to say about *this* album? I note that it includes (several years before Paul Simon's "Graceland") music from South Africa, as well as hip hop, and music from Latin America and the Caribbean. I'll leave to others issues of appropriation vs. helping to spread awareness, but it was a fairly radical and (for better or worse) influential thing to do, in helping to promote and popularize and spread awareness of various types of music beyond their initial, more geographically-restricted audiences. Also, I learned that McLaren was helped by some artists who went on to success on their own, including members of the soon-to-be-formed Art of Noise, Thomas Dolby, and (uncredited, sadly) Mahlathini and the Mahotella Queens. I give this 4 stars, with a slight nudge up from 3 (despite its imperfection and unevenness) for its influence (even if imperfectly, and a little awkwardly) on the development of popular music (and habits of musical consumption, and musical curiosity more generally). Listening a 2nd time through, the part I like least of all is McLaren's vocalizing (Wikipedia credits him as a "figure caller," which is tuneless dance instruction, as with square dancing), and I'm very tempted to deduct a point for that. But, I think, overall, I'll settle on a low 4 stars, since the rest of the music is very good, and bursting with musical ideas and creativity from many sources.

judging by what I've read so far, this one is fraught with appropriation. That colors my judgement for the worse. I'm happy to hear music from around the world, but why why WHY does it have to be from a British guy? It's an interesting time capsule, playful pastiche, but I refuse to comment on this album further. I'm tired of this list's bias for British albums of the 80s and 90s. In 100, nay 50 years it will look incredibly shortsighted.