RE:

Re-imagined album tracklists, it's been a childhood hobby to restructure tracklists in order to experience my favourite records anew

King Krule - The OOZ
89
Sublunary
Slush Puppy
Cadet Limbo
Logos
Bermondsey Bosom (left)
Biscuit Town
Dum Surfer
Emergency Blimp
9.Czech One


This is an important album to me and even I think its too long, so I turned it into a jazzy 9 track. Conceptually I went with the ethereal jazzy pieces first, making it about a lonely astronaut come down to earth to find love and get lost in Biscuit town, it ends on a highnote but also very interconnected as expected since this album is so beautiful, so many times I let this just go on looped and not even notice that I've listened to the playlist 3 times over, the polar opposite of its spiraling long odyssey original.

Score with this tracklist: 90
Radiohead - A Moon Shaped Pool
87
Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief
Decks Dark
Identikit
Desert Island Disk
Present Tense
Burn The Witch
Glass Eyes
Daydreaming
9.True Love Waits
The tracklist is orginally in alphabetical order, so a re-work is much needed imo.

In general A Moon Shaped Pool, felt like a compilation album to me, or a b-side made record (they've done this before, see amnesiac) Also AMSP is one of the few records from Radiohead that doesn't have a thematic identity, the color grey comes to mind with this album, yes but not a style, with this re-work I'd start with Decks Dark, Tinker Tailor & Identikit as those seemed to me as the closest to creating a thematic structure after that I grouped other songs who belonged together, Daydreaming, Glass Eyes and True Love Waits come from the same ethereal cloth. "Glass Eyes" is the eye of the storm of grey but I decided to make "Burn the Witch" the centre as a classic climax moment, so it would be:

Exposition: Decks Dark
Inciting Incident: Identikit
Rising Action: Present Tense & Full Stop
Climax: Burn The Witch
Falling Action: Glass Eyes
Resolution: Daydreaming
Denouement: True Love Waits

Would have been great to have another track for the falling action section, but no political song Thom gawd. and then it would be a clean 10 track but this to me works quite well and worthy of being the final Radiohead album while giving it a stronger sense of being a heartbreak record.

Score with this tracklist: 96
SZA - SOS
81
Blind
Snooze
Nobody Gets Me
Far
Seek & Destroy
Love Language
Shirt
Kill Bill
Gone Girl
10.Good Days

Had to turn this into a 10 track because damn this record is phat. Also there's a very clear storyline for me that I easily strung together. I've always noticed many musicians aren't good at stringing their works together understandable since the creative process usually occurs in fragments and the pieces are there but many records are left as jigsaws not in place. That's the one thing music can still learn from literature, put your chapters into order.

"Kill Bill" and "Gone Girl" besides their clear references also tell the story of SZA killing her ex and borrowing from Gone Girl, SZA's living on after "killing" her ex. So I put "Blind", "Snooze" and "Nobody Gets Me" as the opener of the record. This makes the album start with the break-up then the descent into madness for SZA with "Far" , "Seek & Destory" and "Love Language" as all these tracks describe the unhealthy/obessive thoughts SZA has about this lover who has moved on and how she struggles to get him out of her mind. "Shirt" mentions a blood stain in its hook which leads into the climax of "Kill Bill" where she kills her ex and "Gone Girl" ends the album with its cinematic reference. "Good Days" is the come down/denouement SZA slowly moving on from her ex which I mean with this storyline its plays on her psychosis considering that he's dead. The track also works well sonically with the opening three tracks making the album loopable.

Hard to leave tracks like "SOS" out because SZA can rap but these tracks don't really serve the narrative more just her spitting. Would've been better to find a way to have "Nobody Gets Me" as the climax of this record but instead it acts like "Ivy" on Blonde, its an early peak to set the tone of the record.
Mac Miller - Circles
92
Once a Day
Come Back to Earth
Woods
Jet Fuel
Surf
Dunno
Right
Self Care
That's on Me
Ladders
Hands
Hurt Feelings
I Can See
Small Worlds
Circles
2009
17. Good News

Swimming in Circles, combining the companion albums together meant bringing the best tracks from both together. That becomes the most important goal here, not creating some kind of story between the tracks since the instrumentation itself carries this connectivity and grey layering. 8 tracks from Swimming, 8 tracks from Circles with "Right" added in because I think its a brilliant b-side from this body of sound and makes a gorgeous middle-point of the record. Very happy with how these tracks sound together and in particular "That's on Me" becomes a lovely climax to the record.

Score with this tracklist: 100
Gorillaz - Humanz
77
(Interlude: Penthouse)
Charger
Saturn Barz
The Apprentice
(Interlude: The Non-Conformist Oath)
Submission
She's My Collar
(Interlude: Elevator Going Up)
Andromeda
Let Me Out
(Interlude: I Switched off My Robot)
Busted and Blue
(Interlude: The Elephant)
14.Hallelujah Money

- Actually a 9 track record with 5 interludes
This one was tricky to create, I tried to make this album, a never ending dance party(like that one Key and Peele sketch) Starting with "Charger" give it that opening kick and coupled it with "Saturnz Barz" & "The Apprentice" which all interestingly start with someone LAUGHING, "feel good inc" inducing, so I made that tie in with "The Non-Conformist Oath" interlude, so that they were laughing at a joke yet to be made.

And the elevator going up, despite the tone of the album going down, everything seemingly reversed, so the first interlude is at the end of the record and Hallelujah Money becoming the final track although I was thinking that it would have been a great album opener. This was hard to give it a concept. And I needed most of the interludes to enforce it and the "Let Me Out" track towards the end really helps hold this concept altogether. "Busted and Blue" is the real closer, while "Elephant" & "Hallelujah Money" start the cycle up again, like something out of a great gatsby party scene. with this interesting backstory behind the record, I think it would become a grower of an album that made sense the more you listened to it looped. ALSO gives the bangers, a clearer purpose and the reason why the features are so dominate making more sense since they were members of the party too, lost and stuck in the loop.

Score with this tracklist: 83
Nine Inch Nails - Hesitation Marks
79
The black sheep of the Halo's more so than even "Ghosts" this a record both showing Reznors greatest strengths and weaknesses when dealing with mood and electronic experimentation:

So, I've re-purposed this record into a ten-track album which opens with declarations of trying to escape addiction "Various methods of escape" & "Running" shows said attempted escape, then dizzying into a split-view "In Two" of the war of mind and drugs befitting the title of Hesitation Marks. The couplet of "Copy of A" & "In Two" really work well conceptually both speaking of doublings, allowing the record a solid climax both in concept and sound with "Came Back Haunted" & "Everything" a double climax since there are split journeys hinted at again with "In Two" which allows the last two tracks to act as resolution, but in keeping with the "in-two" both resolutions are split in conclusion since as is almost always the case with addiction there is a relapse which occurs in the shape of track 9. "All Time Low," I think this works well to complete the concept of the record and is a great juxtaposition after "Everything" plus it gives the breathy mood of "Find My Way" a solid weight.

Stupid hard to leave out "While I'm Still Here" it's one of if not the best track of the record, but it doesn't fit conceptually, perhaps an 11-track closer. Also low-key sad to leave out "I Would for You" its a great track, but this would give more value to the deluxe version, or as always suggested release the tracks as singles which don't feature on the record. (if fuck the concept, then Came Back Haunted & Everything would be replaced with the aforementioned tracks.)

1. Black Noise
2. Various Methods of Escape
3. Running
4. Satellite
5. Copy of A
6. In Two
7. Came Back Haunted
8. Everything
9. All Time Low
10. Find My Way

Score with this tracklist: 88
Jaden Smith - SYRE
76
B
L
U
E
Icon
The Passion
Ninety
Fallen
Falcon
10.Lost Boy

A ten-track album, I think would have made SYRE way more well-received, and this version more concise and without the useless fillers, its fairly devoid of "bangers" but those could be released as one off singles as is often the case! Icon coming directly after BLUE works surprisingly well as well as the mood change leading up to Lost Boy also ending on Lost Boy, is 100% the right move with its Kanye indebted outro and Lost Boy completely embodies the concept of Syre, so yes.

Score with this tracklist: 81
Nine Inch Nails - The Fragile
91
The Way Out Is Through
Into The Void
Where is Everybody?
Please
Just Like You Imagined
The Big Come Down
La Mer
And All That Could Have Been
The Great Below
The Day The Whole World Went Away
Even Deeper
The Frail
The Fragile (The Still Version)
14. We're In This Together

Quite happy with this one, considering it was two discs worth, Trent Reznor said he should have made this two albums like Radiohead had with Kid A and Amnesiac. I think this would be the best version of a single album version. Groove based at first, then slowly falling ending with The title track and the uplifting sleeper hit We're in this Together.

Score with this tracklist: 90
Kings of Leon - Come Around Sundown
81
Turned the mood upside down here, I hate the big singles for this record and the arena rock moments because all you have to do is remove them and there is a gorgeous little record strung together by a southern beachside sound that I just love.

Back Down South
Pickup Truck
Birthday
No Money
Mi Amigo
Mary
The Immortals
The Fave
The End
10.Pyro

Score with this tracklist: 88
Crush - From Midnight to Sunrise
79
From Midnight to Sunrise
Wake Up
Sleep No More
Cloth
Wonderlust
Butterfly
Tiki-Taka
8.Nighty Night

Such a brillant record, just got rid of the excess.

Score with this tracklist: 90
Nine Inch Nails - Bad Witch
87
1.Burning Bright
2. Play the Goddamned Part
3. The Idea of You
4.God Break Down the Door
5.Dear World,
6. The Lovers
7.Over and Out
8. This Isn't The Place
9. I'm Not From This World
10. The Background World

The Bad Witch Trilogy distilled into a 10 track album ^^,
Rating with this Tracklisting: 88
Drake - Views
63
Summers Over Interlude
Childs Play
Feel No Ways
Fire & Desire
Controlla
With You
One Dance
Hotline Bling
Hype
U With Me?
Weston Road Flows
Too Good
Keep the Family Close
14.Still Here

This album is a winter-record so "Summer is Over" feels the right introduction, "Feel No Ways" is low-key the best track on the album. Decided to keep the hits, because at the end of the day its Drake, but with "hype" right after "Hotline Bling" as a backhand that keeps the mood cold. I think this tracklist would have made the record a lot more acceptable upon release since its got good sections of sound split by the best of the filler tracks that hold the theme of the "city-album" "Still Here" feels best candidate for a closer I think.

score with this tracklist: 78
The Neighbourhood - The Neighbourhood
69
You Get Me So High
Too Serious
Nervous
Reflections
Void
Compass
Scary Love
Soft Core
Heaven
24/7
12. Sadderdaze

Utterly tragic how bad the tracklist was/is on this record.

Score with this tracklist: 80
50 Cent - The Massacre
75
1. Hate It or Love It (with The Game)
2. I'm Supposed to Die Tonight
3. Gunz Come Out
4.God Gave Me Style
5. Just a Lil Bit
6. Candy Shop
7. Disco Inferno
8. Piggy Bank
9. Position of Power
10.Build You Up
11.Window Shopper

This record still holds up all these years later, but it would have been more clearly considered a classic had the tracklist been a little less, this is my triming of the record and with "Window Shopper" addded as it should have been!

Score with this tracklist: 87
Radiohead - KID A MNESIA
Everything In its Right Place
Packt Like Sardines In a Crushd Tin Box
Idioteque
Like Spinning Plates (Why Us?)
Untitled V1
Pyramid Song
The Morning Bell (In the Dark)
How to Disappear into Strings
How to Disappear Completely
I Might Be Wrong
In Limbo
Optimistic
Kinetic
If You Say The Word
Knives Out
You and Whose Army
Life in a Glasshouse (Full Length)
18.Motion Picture Soundtrack


Immediately noticed the need for the weird "limbo" section as found on Kid A when looking at all these songs and trying to piece them together in a new way. Decided to have the album fall apart after "Idioteque" before that the electronic theme remained strong with both albums openers flowing well into all that is "Idioteque". "Spinning Plates" has a special place here as it's the first song to fall apart and start this albums version of that limbo period. "How to disappear" is the signal for the second half of the record (stoked with that since it was such an important song for Thom while going through Kid A); Importantly it also has a guitar allowing the amnesiac guitars to naturally enter and punctuate the second half of Amnesiae.

I might be wrong+In Limbo+Optimistic give the album an OK Computer moment, guitars and all, just so we can turn the corner into Motion Picture. I'd want to end the album with a complete version of Like Spinning Plates (Thinking the live version) just for conceptuality but THEN I remembered about Kinetic and Orgy (and all the Amnesiac b-sides) and I thought okay! time to make an extended version: so I tinkered and lengthened the record: there is a more concise 1-hour, 13 track version (By removing kinetic, Strings, You and whose army, Knives Out, If You Say the Word and Life in a glasshouse) but I ended up enjoying the longer version ^^.

Score with this tracklist: 101
Jaden - ERYS
75
Again (with SYRE)
Chateau (with Rocky)
I-drip-or-is
N
K
Blackout
Summertime in Paris
Pain
Riot
10.Somebody Else

Back with it to sustain my UO, I got rid of the PINK introduction, because it creates a messy tradition that's unsustainable at best and predictable at worst. Started with "Again" as its the best for the duality between the two albums, then front loaded with "big drip only" but I took the underlining and outro section filled theme of heartbreak and turned this record into a heartbreak record, since that is the thematic theme I like most, here. but keeping the energy since this is the "ERYS" version which is supposed to be the maniac persona of SYRE. 10 tracks , I'm glad how I cleaned this up while keeping the essence and concept of the record. Ending with "Somebody Else" made the most sense for reverting the record to a heartbreak record. Was tempted to put "SOHO" in after "Summertime in Paris" since it sounds like its from the same world of sound.

Score with this tracklist: 80
Frank Ocean - Blonde
100
Pink + White
Honeybaby
Sideways
White Ferrari
Skyline to
Wither
Chanel
Comme des Garcons
Self Control
In Here Somewhere /Hublots (the two songs have cross-over, hard to pinpoint)
Ivy
Nikes (without auto-tune version)
U-N-I-T-Y
Solo
Slide on Me
Seigfried
Higgs
18.Nights

I mostly did this, as a new way to experience two albums I've been listening to since they came out it has no doubt been a constant thought though, how hard must it have been to decide to leave some of the pieces from "Endless" on "Endless" instead of on "Blonde" then I thought its because they have different fabrics of sound which makes sense but also lets test that out with an album undercutting the albums together so: 18 tracks since endless is 18 and blonde is 17 so seems right to keep it that length

I had a play by play of every track and why they were where they were but there is a text limit so RIP. so first three tracks are expositional and world-building White Ferrari behaves the way Ivy did alongside Skyline to, "pretty fast year that flew by" means that "Wither" was a great choice and fixes that "Channel Orange" adjustment period I felt the first time I heard this record, Chanel, Comme des & Self-Control work well together lyrically and weave a lovely moment in the record. "Ivy" is the anti-climax" alongside "Nikes" the original way the record started as a fake-climax really works and sets up "Nights" as the ultimate, last track of the record track, Higgs, Seigfried & Solo bring the biggest lyrical punches at the end, leaving you raw for "Nights" which sound weird as a final track, until you hear the second half creating a false climax, a false-end(that still works thanks to its second half), which also holds true to the relationship that runs through this entire record and eats in at Ivy & White Ferarri ("you could hate me now" "I care for you still and I will" ta-da. (also the dualism of a "Pink+White" opening and "Nights" ending) - okay this is the shortened explanation of everything
Kid Cudi - Passion, Pain & Demon Slayin'
81
Frequency
Surfin
Swim in the Light
Does It
By Design
All In
Rose Golden
Releaser
Cosmic Warrior
10.Wounds

Such an underrated record, signaled a new era in his sound, this is just a streamlining of the record. A tight 10 track.

Score with this tracklist: 85
Drake -  Honestly, Nevermind
70
Intro
Liability
Flights Booked
Not You Too (feat. Chris Brown)
Down Hill
Teenage Fever
Texts Go Green
Falling Back
Passionfruit
Massive
Don't Matter to Me (Feat. Michael Jackson)
Tie That Binds
13.Madiba Riddim

I gave this thing the features it desperately needed, just had to stitch in tracks that had similar house influenced textures. More life being the first place Black Coffee and Drake started working with this sound it works with the bests tracks from either record making a complete record. "Passionfruit" would be the centerpiece of the record while the MJ and Chris Brown features are the only features I could think of that works alongside the albums musical ideas.

Rating with this tracklist: 80
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