So recently songs have been getting played on repeat for extensive periods of time. Hence why Musiq - Betterman accumulated 41 plays in 4 days or Darien Brockington - Dedication earned about 25 in about 2 days.
This week I've had brief dalliances with rediscovered songs (Dru Hill - These Are The Times & Faith Evans - Mesmerised come to mind). But today is all Rapper big Pooh's day. Kind of overlooked the album since he is the least regarded member of the group. He knows it too. It's the subject of a skit AND a song on their last full length album. Anyway he did a solo and a found a track off there featuring the Repeat Master himself, Darien Brockington.
Is it the introspective character of the song? The seductively simple piano loop? Darien's soulful singing? Answer is D - All of the Above. Whatever it is, it actually has me rethinking life as a whole.
Rapper Big Pooh - My Mind ft. O-Dash & Darien Brockington (Sleepers)
Saturday, March 24, 2007
Monday, March 19, 2007
Saturday, March 17, 2007
Editorial: That Ole Time Religion
I am in the midst of trying to keep up with my album a day diet for the month of March. That progress is the subject of another posting. But anyway, today's selection is WOW Gospel 2007. As I'm listening, it's amazing to me that how easy it is to pick up the words. Maybe it's the call and response. Maybe it's the good timey fee. Maybe its just the subject matter. Somehow, Hezekiah Walker & LFC have got me singing Faithful to God right along with them. And it's pretty fantastic
Announcement: Last.fm 6000th Song
Drum roll again maestro..............
Yolanda Adams - The Battle Is Not Yours (Live)
Such a lovely song. I usually skip over it cause you have to be in the right mood to hear it. But today that mood was with me. It's nice to believe in something beyond what is immediately in your vision.
I'm feeling # 6,001 just as much (Mary Mary - Thank You (Incredible))
Yolanda Adams - The Battle Is Not Yours (Live)
Such a lovely song. I usually skip over it cause you have to be in the right mood to hear it. But today that mood was with me. It's nice to believe in something beyond what is immediately in your vision.
I'm feeling # 6,001 just as much (Mary Mary - Thank You (Incredible))
Friday, March 16, 2007
Moving Pictures: 300 - The IMAX Experience
Oh we ventured so far and paid so much money.
But it was worth it.
300 - The IMAX Experience (And yes I will keep referring to it like that because I initially couldn't find any information on the damn movie until I included the IMAX part) is based upon the legend that once upon a time the Spartans sent a militia of 300 to stave off loads of Persian invaders. It was captured in the book Gates of Fire and is a special topic to many historians.
Yeah. Bump that.
Our version tonight was based on the graphic novel by Frank Miller, of Sin City fame. So therefore the history isn't so important. It's all about the drama. And with a story like this, it's not that hard to manafacture it. Shot in a very vivid cinematic style, every bit of action seems very crisp and alive. IMAX definitely helped out with that. There were so many instances where I felt like I could count the pores in the actors' faces.
At times the acting is over the top but then what can you do with the script. I think there's a point where the writer has to realize that no one is listening that much to the words in a movie where the main draw was war. And it doesn't get in the way. Excellent action scenes (actually would have liked to have seen more). Loads of blood. A touch of sex. This film looked like Spike TV commissioned it. And if they didn't someone should fire their marketing director cause this was absolute genius.
But it was worth it.
300 - The IMAX Experience (And yes I will keep referring to it like that because I initially couldn't find any information on the damn movie until I included the IMAX part) is based upon the legend that once upon a time the Spartans sent a militia of 300 to stave off loads of Persian invaders. It was captured in the book Gates of Fire and is a special topic to many historians.
Yeah. Bump that.
Our version tonight was based on the graphic novel by Frank Miller, of Sin City fame. So therefore the history isn't so important. It's all about the drama. And with a story like this, it's not that hard to manafacture it. Shot in a very vivid cinematic style, every bit of action seems very crisp and alive. IMAX definitely helped out with that. There were so many instances where I felt like I could count the pores in the actors' faces.
At times the acting is over the top but then what can you do with the script. I think there's a point where the writer has to realize that no one is listening that much to the words in a movie where the main draw was war. And it doesn't get in the way. Excellent action scenes (actually would have liked to have seen more). Loads of blood. A touch of sex. This film looked like Spike TV commissioned it. And if they didn't someone should fire their marketing director cause this was absolute genius.
Thursday, March 15, 2007
Editorial: The Art Of Improvisation
One of the little bits of music that I have myself passionate about is the art of the ad-lib, coming up with something spontaneously within the contours of an established song and attempting to add to it. Now most commonly, people think of instrumentation in terms of improv and I guess this would be correct. But the type I tend to focus on is the vocal improvisation.
I tend to think there are two types of vocal improvisation. The first would be the musical type, which would include the melismas and scatting that so many are fond of. The more difficult of the two would be the type that actually attempts to add new lyrics. I'm just basically sounding too academic for what amounts to some extra words. But when an artist does it well, it just adds so much.
Now the best purveyors of the tradition spring forth from the southern Black American style of music. Blues and gospel are the only areas where ad-libbing is a requisite component of any successful artist in those feels. And usually in both types. Rhythm and blues used to be a more consistent source of great improvisers but as the music moved away from its blues and gospel roots, that fell to the background. Still the melismas and such were emphasized, but that organic quality that existed that let people come up with their own words has faded to the background.
All hope is not lost. Still some hope exists. R. Kelly is most indicative of this but even in his modern take on R & B, he is most reminiscent of the old artists. A casanova battling demons all while maintaining musical genius. In When A Woman's Fed Up towards the end, he abandons the chorus in favor of telling you some obscure details regarding his lost love. "Raised in Illinois, just outside of Chigago." A simple line but its addition and spontanaeity add to the total effect of the song. The desperation and despair he advances throughout the song is captured in that little line. If the song was an essay, he found his conclusion.
That idea of performance and relating an event, no matter how petty or small, seems to be absent from most music today. That organic feel is absent more often than not. But thank God for the Kellys, Dave Hollisters, and whoever that even try to do what their hearts move them to do.
I tend to think there are two types of vocal improvisation. The first would be the musical type, which would include the melismas and scatting that so many are fond of. The more difficult of the two would be the type that actually attempts to add new lyrics. I'm just basically sounding too academic for what amounts to some extra words. But when an artist does it well, it just adds so much.
Now the best purveyors of the tradition spring forth from the southern Black American style of music. Blues and gospel are the only areas where ad-libbing is a requisite component of any successful artist in those feels. And usually in both types. Rhythm and blues used to be a more consistent source of great improvisers but as the music moved away from its blues and gospel roots, that fell to the background. Still the melismas and such were emphasized, but that organic quality that existed that let people come up with their own words has faded to the background.
All hope is not lost. Still some hope exists. R. Kelly is most indicative of this but even in his modern take on R & B, he is most reminiscent of the old artists. A casanova battling demons all while maintaining musical genius. In When A Woman's Fed Up towards the end, he abandons the chorus in favor of telling you some obscure details regarding his lost love. "Raised in Illinois, just outside of Chigago." A simple line but its addition and spontanaeity add to the total effect of the song. The desperation and despair he advances throughout the song is captured in that little line. If the song was an essay, he found his conclusion.
That idea of performance and relating an event, no matter how petty or small, seems to be absent from most music today. That organic feel is absent more often than not. But thank God for the Kellys, Dave Hollisters, and whoever that even try to do what their hearts move them to do.
Saturday, March 10, 2007
Live Notes: The Roots (DAR Constitution Hall, Washington D.C.)
So I made the trip (to be documented in a later post) to D.C. to see the Roots with my good friend Posh. When I found the concert it was a lovely excuse to see her. Plus I got to miss work the following Sunday.
But anyway back to the music. This would be my first concert after the official release of Game Theory. At the August show, they previewed the material off the album but now I was armed with more knowledge of the music. But before we got to the main course there were a couple of appetizers that we had to get through.
First up was Lupe Fiasco, the man with the most critically acclaimed hip-hop album of last year with some of the highest sales, though still kind of anemic by the old standards. I finally got to listen to the whole album on the ride down and was amazed at the musical vision the kid possesses. And he's conscious. But due to the open bar we visited before the concert, well we missed him. Eh, I don't think it would have been too different than the Central Park set I saw him do.
Next was local superstar Chuck Brown. Armed with a many-piece band, they did a medley of their go-go hits. For those who don't know, go-go is a style very popular amongst the D.C. area heads. It is very focused on the percussion. Sometimes it sounds like the drums on Amerie's "1 Thing." But he rocked the place. Even me. I think it was the ebullience of my neighbor that got me so amped.
So after a well-timed trip to the facilities, The Roots were up next. They quickly dove into some of their more recent material and never really slowed down. The night was like a non-stop party. It's hard to distinguish where one song ended and where another began because it was just that fluid. And I was dancing my ass off. (Kudos to Posh). Whipping through hits like "Long Time" and "Love of My Life (Ode to Hip-Hop", they also found time for extended jam sessions including one with a brass setion led by expert trombonist Jeff Bradshaw.
I'm almost at the point where I won't blog any more about Roots concerts. Not that they're bad or anything. On the contrary, they continue to get better. So every time I feel like I write the same thing. Awesome show, amazing musicality, fun fun fun. Oh I'll probably still keep writing. I think The Roots have become my favorite group.
But anyway back to the music. This would be my first concert after the official release of Game Theory. At the August show, they previewed the material off the album but now I was armed with more knowledge of the music. But before we got to the main course there were a couple of appetizers that we had to get through.
First up was Lupe Fiasco, the man with the most critically acclaimed hip-hop album of last year with some of the highest sales, though still kind of anemic by the old standards. I finally got to listen to the whole album on the ride down and was amazed at the musical vision the kid possesses. And he's conscious. But due to the open bar we visited before the concert, well we missed him. Eh, I don't think it would have been too different than the Central Park set I saw him do.
Next was local superstar Chuck Brown. Armed with a many-piece band, they did a medley of their go-go hits. For those who don't know, go-go is a style very popular amongst the D.C. area heads. It is very focused on the percussion. Sometimes it sounds like the drums on Amerie's "1 Thing." But he rocked the place. Even me. I think it was the ebullience of my neighbor that got me so amped.
So after a well-timed trip to the facilities, The Roots were up next. They quickly dove into some of their more recent material and never really slowed down. The night was like a non-stop party. It's hard to distinguish where one song ended and where another began because it was just that fluid. And I was dancing my ass off. (Kudos to Posh). Whipping through hits like "Long Time" and "Love of My Life (Ode to Hip-Hop", they also found time for extended jam sessions including one with a brass setion led by expert trombonist Jeff Bradshaw.
I'm almost at the point where I won't blog any more about Roots concerts. Not that they're bad or anything. On the contrary, they continue to get better. So every time I feel like I write the same thing. Awesome show, amazing musicality, fun fun fun. Oh I'll probably still keep writing. I think The Roots have become my favorite group.
Friday, March 02, 2007
Announcement: Anthology Month Tentative Artists
Although we are still in March, my April Anthology Month idea had me so excited that I had to start thinking of the parameters for such an adventurous expedition. Off the top of my head, I guess its safe for viable candidates to have more than four albums worth of material. And it would also help if I was unfamiliar with most of it, so that's a no go to the Roots and all those Soulquarians & Tongues (but who knows if I'll cheat).
In (first letter) alphabetical order (* indicates super-tentative): 9th Wonder*, Bob Marley, Coheed & Cambria, Coldplay, MF Doom, Madlib, Incognito, Ego Trip Collection, Gang Starr, Jean Grae, Nina Simone, Pink Floyd, Prince, People Under The Stairs, Pink Floyd, Prince, Radiohead, T.I. (surprising right?), The Beatles (yeah might not make it the whole way), The New Pornographers, The White Stripes, Unikone Collection
Yeah we'll see how this one goes.
Update: Murs is now on the list.
In (first letter) alphabetical order (* indicates super-tentative): 9th Wonder*, Bob Marley, Coheed & Cambria, Coldplay, MF Doom, Madlib, Incognito, Ego Trip Collection, Gang Starr, Jean Grae, Nina Simone, Pink Floyd, Prince, People Under The Stairs, Pink Floyd, Prince, Radiohead, T.I. (surprising right?), The Beatles (yeah might not make it the whole way), The New Pornographers, The White Stripes, Unikone Collection
Yeah we'll see how this one goes.
Update: Murs is now on the list.
Thursday, March 01, 2007
Notes: Bilal - Love For Sale
Once upon a time in a land far away, there lived a young prince who was hailed as the next new thing. Powerful record executives and world class producers almost hurt themselves to work with the young impresario. But it seemed that the genius that he encapsulated was hard to translate to a broader audience. Met with little interest above cult status, he receded from the spotlight, occasionally coming to the surface for a guest appearance or even a concert.
A short synopsis of the career of Bilal, a very different, and very good, singer. Trained to do opera, but hailing from Philly, it was only so long before soul pulled him back in. Thank God for that. His first album did have the backing of Jimmy Iovine, the man at the center at most of the biggest musical successes of the last decade or so. Dr. Dre heard some of his tracks and had to work with him, which resulted in two tracks for his debut album. But that album, largely produced by himself and assorted Soulquarians, really didn't do much. He still has cult status with the wildly devoted Soulquarian and neo-soul set but that doesn't translate into sales.
And so that may be why his sophomore album, Love For Sale, was shelved. Initially there were postings on his MySpace encouraging us to not download it so that it wouldn't be shelved. But I waited and waited, so I finally just found the darn thing.
One thing you can never accuse Bilal of being is conventional. That's probably why he never translated to a larger audience. His kookiness is just too kooky for the general public. I believe that the public has a high tolerance for musicians' eccentricities, but as long as they give you that regular sounding music, everything is gravy. Bilal doesn't live life like that though. Music is his life so if he's eccentric in one thing, it will find its way into a song. This album is no different. It starts off with Something To Hold On To, which immediately dives into some swirling orchestration and his high pitched wails. This time around, I guess he decided he wasn't going to ease people into his rollercoaster but just push you into it.
While this jolt is somewhat disconcerting, it prepares you for the rest of the album. The next track is actually a slow burner that is one of my favorites You're All I Need (Feels Like Heaven). Here we see why Bilal is so appealing. In his scratchy falsettos and their accompanying disparate, yet cohesive harmonies, he makes these especially infectious hooks. On the next couple of songs, he takes us back, first to a Family Stone area with Gotsta Be Cool and then to a Curtis Mayfield/Al Green sounding Make Me Over which thumps like no other.
The next couple of tracks sound more like Soulquarian manifestations. I almost can see James Poyser (amazing keyboardist) working on these tracks. They all have a relaxed feel to them but still reminiscent of old soul with its brass orchestration punctuating so many elements of the song. The groove of the relationship song Get Out Of My Hair is best indicative of this quality while Lord Don't Let It takes us to a more relaxed side, yet not still.
In Hollywood, it sounds like Bilal stole Erykah's band from Worldwide Underground and asked them to rework some Cameo records. It is not exactly the most fulfilling track. The next track's extended introduction helps wipe out the taste but you can tell that it is going to be along the lines of a meandering opus that Mr. Oliver tends to favor. White Turns To Gray dwells in the land between seduction and longing. As I listened to the song, I couldn't tell if he was reminiscing about past times with an ex-lover or trying to seduce his current one. The song has such a dreamlike quality, it doesn't matter. You can just tell that someone will be sleeping with someone else by the end of the song. And these are the tracks where he excels. From his live performances and even his albums, it seems like Bilal needs some time to fully explore his ideas. The repetition and freedom of these extended tracks allows him the lattitude to really get what's on his mind out there. African drums and panting helps give the next opus a hurried pace. Sorrow Blood And Tears then leads into some spoke word from Common then moves into Bilal singing over a Fela Kuti like rhythm. Once again more time means Bilal gets to travel as far as he would like to go. Without hindrance, you feel as though you are getting the true artist. The album finishes with Sweet Sour You, another track that sounds like Freakquency was involved. This time though it's not really off-putting, instead rather catchy and well sweet.
Whereas 1st Born Second was all over the place, this sophomore offering is much leaner and easier to take. I was amazed that the only track I felt the need to skip was the aforementioned Hollywood. Bilal did great work on this album. Sad that so few will ever hear it.
A short synopsis of the career of Bilal, a very different, and very good, singer. Trained to do opera, but hailing from Philly, it was only so long before soul pulled him back in. Thank God for that. His first album did have the backing of Jimmy Iovine, the man at the center at most of the biggest musical successes of the last decade or so. Dr. Dre heard some of his tracks and had to work with him, which resulted in two tracks for his debut album. But that album, largely produced by himself and assorted Soulquarians, really didn't do much. He still has cult status with the wildly devoted Soulquarian and neo-soul set but that doesn't translate into sales.
And so that may be why his sophomore album, Love For Sale, was shelved. Initially there were postings on his MySpace encouraging us to not download it so that it wouldn't be shelved. But I waited and waited, so I finally just found the darn thing.
One thing you can never accuse Bilal of being is conventional. That's probably why he never translated to a larger audience. His kookiness is just too kooky for the general public. I believe that the public has a high tolerance for musicians' eccentricities, but as long as they give you that regular sounding music, everything is gravy. Bilal doesn't live life like that though. Music is his life so if he's eccentric in one thing, it will find its way into a song. This album is no different. It starts off with Something To Hold On To, which immediately dives into some swirling orchestration and his high pitched wails. This time around, I guess he decided he wasn't going to ease people into his rollercoaster but just push you into it.
While this jolt is somewhat disconcerting, it prepares you for the rest of the album. The next track is actually a slow burner that is one of my favorites You're All I Need (Feels Like Heaven). Here we see why Bilal is so appealing. In his scratchy falsettos and their accompanying disparate, yet cohesive harmonies, he makes these especially infectious hooks. On the next couple of songs, he takes us back, first to a Family Stone area with Gotsta Be Cool and then to a Curtis Mayfield/Al Green sounding Make Me Over which thumps like no other.
The next couple of tracks sound more like Soulquarian manifestations. I almost can see James Poyser (amazing keyboardist) working on these tracks. They all have a relaxed feel to them but still reminiscent of old soul with its brass orchestration punctuating so many elements of the song. The groove of the relationship song Get Out Of My Hair is best indicative of this quality while Lord Don't Let It takes us to a more relaxed side, yet not still.
In Hollywood, it sounds like Bilal stole Erykah's band from Worldwide Underground and asked them to rework some Cameo records. It is not exactly the most fulfilling track. The next track's extended introduction helps wipe out the taste but you can tell that it is going to be along the lines of a meandering opus that Mr. Oliver tends to favor. White Turns To Gray dwells in the land between seduction and longing. As I listened to the song, I couldn't tell if he was reminiscing about past times with an ex-lover or trying to seduce his current one. The song has such a dreamlike quality, it doesn't matter. You can just tell that someone will be sleeping with someone else by the end of the song. And these are the tracks where he excels. From his live performances and even his albums, it seems like Bilal needs some time to fully explore his ideas. The repetition and freedom of these extended tracks allows him the lattitude to really get what's on his mind out there. African drums and panting helps give the next opus a hurried pace. Sorrow Blood And Tears then leads into some spoke word from Common then moves into Bilal singing over a Fela Kuti like rhythm. Once again more time means Bilal gets to travel as far as he would like to go. Without hindrance, you feel as though you are getting the true artist. The album finishes with Sweet Sour You, another track that sounds like Freakquency was involved. This time though it's not really off-putting, instead rather catchy and well sweet.
Whereas 1st Born Second was all over the place, this sophomore offering is much leaner and easier to take. I was amazed that the only track I felt the need to skip was the aforementioned Hollywood. Bilal did great work on this album. Sad that so few will ever hear it.
Announcement: Vocal Arts Epilogue/New Month!!!
Ah March is already upon us. February was always a sneakily short month. I guess that's why it doubles as the month for Black History (take that comment however you'd like). But sadly Vocal Arts Month is over. But it doesn't mean that the singing will end. I am glad for whatever guided me to make such a declaration because it made me rediscover how good singing can be for the soul. Plus I discovered so many buried nuggets within the mines of my computer, its been wonderful.
So seeing as how February was such a success once I set a goal, March is hereby officially Listen One Time Month. This is basically an effort to jumpstart what was my primary reason for starting this blog which was to go through all these playlists of new music that I hadn't touched. Though I have done that to some degree, I have made no serious inroads. So I will listen to an album that I have not heard in its entirety, from front to back, each day. 31 days, 31 albumms. It will be tough on Sundays since I work all day. And Sabbath presents the issue of finding enough new Christian music to survey. And when I travel, will I remember to load my iPod with the right choices? Plus just my own quality of being lacksadaisacal. But if I don't say it out loud then the odds of it happening are even less likely. So here's the first step.
Here's the tentative schedule (Album then artist in parentheses):
01 - Love For Sale (Bilal)
02 - On The Jungle Floor (Van Hunt)
03 - Redemption (GRITS)
04 - Joyful Rebellion (K-Os)
05 - Dynamite (Jamiroquai)
06 - Born & Raised (Joy Denalane)
07 - Motown Sings The Beatles (Various Artists)
08 - Food & Liquor (Lupe Fiasco)
09 - Beauty & The Beat (Edan)
10 - Call It What You Want (LA Symphony)
11 - Ghetto Pop Life (Danger Mouse & Gemini)
12 - Push Comes To Shove (MED)
13 - The Woods (Sleater Kinney)
14 - Arular (M.I.A.)
15 - Funeral (The Arcade Fire)
16 - Back To Basics (Christina Aguilera)
17 - WOW Gospel 2007 (Various Artists)
18 - '93 Til Infinity (Souls of Mischief)
19 - Rebel Soul Music (Martin Luther)
20 - Illinois (Sufjan Stevens)
21 - Release Therapy (Ludacris)
22 - Return To Cookie Mountain (TV On The Radio)
23 - At Carnegie Hall (Thelonius Monk & John Coltrane)
24 - Songs For The Storm Volume 1 (Kirk Franklin)
25 - 20 Years Old (Janet Jackson)
26 - In My Mind (Heather Headley)
27 - Taken To The Next Phase (The Isley Brothers)
28 - Silent Alarm (Bloc Party)
29 - LCD Soundsystem (LCD Soundsystem)
30 - Some Kinda (Dwele)
31 - Welcome To Diverse City (Tobymac)
And that's that. Going through and making this list already has me gassed about April. I've decided that will be Anthology Month where I go through the catalogs of artists throughout the month. So far Led Zeppelin, Pink Floyd, Jay-Z, and Sublime have made the list. I might go through the Ken Burns Jazz series as well. But let's just get through March, shall we?
So seeing as how February was such a success once I set a goal, March is hereby officially Listen One Time Month. This is basically an effort to jumpstart what was my primary reason for starting this blog which was to go through all these playlists of new music that I hadn't touched. Though I have done that to some degree, I have made no serious inroads. So I will listen to an album that I have not heard in its entirety, from front to back, each day. 31 days, 31 albumms. It will be tough on Sundays since I work all day. And Sabbath presents the issue of finding enough new Christian music to survey. And when I travel, will I remember to load my iPod with the right choices? Plus just my own quality of being lacksadaisacal. But if I don't say it out loud then the odds of it happening are even less likely. So here's the first step.
Here's the tentative schedule (Album then artist in parentheses):
01 - Love For Sale (Bilal)
02 - On The Jungle Floor (Van Hunt)
03 - Redemption (GRITS)
04 - Joyful Rebellion (K-Os)
05 - Dynamite (Jamiroquai)
06 - Born & Raised (Joy Denalane)
07 - Motown Sings The Beatles (Various Artists)
08 - Food & Liquor (Lupe Fiasco)
09 - Beauty & The Beat (Edan)
10 - Call It What You Want (LA Symphony)
11 - Ghetto Pop Life (Danger Mouse & Gemini)
12 - Push Comes To Shove (MED)
13 - The Woods (Sleater Kinney)
14 - Arular (M.I.A.)
15 - Funeral (The Arcade Fire)
16 - Back To Basics (Christina Aguilera)
17 - WOW Gospel 2007 (Various Artists)
18 - '93 Til Infinity (Souls of Mischief)
19 - Rebel Soul Music (Martin Luther)
20 - Illinois (Sufjan Stevens)
21 - Release Therapy (Ludacris)
22 - Return To Cookie Mountain (TV On The Radio)
23 - At Carnegie Hall (Thelonius Monk & John Coltrane)
24 - Songs For The Storm Volume 1 (Kirk Franklin)
25 - 20 Years Old (Janet Jackson)
26 - In My Mind (Heather Headley)
27 - Taken To The Next Phase (The Isley Brothers)
28 - Silent Alarm (Bloc Party)
29 - LCD Soundsystem (LCD Soundsystem)
30 - Some Kinda (Dwele)
31 - Welcome To Diverse City (Tobymac)
And that's that. Going through and making this list already has me gassed about April. I've decided that will be Anthology Month where I go through the catalogs of artists throughout the month. So far Led Zeppelin, Pink Floyd, Jay-Z, and Sublime have made the list. I might go through the Ken Burns Jazz series as well. But let's just get through March, shall we?
Tuesday, February 27, 2007
Boob Tube: Parental Control
Okay so that's a new designation but television is an electronic medium that transmits entertainment so I had to come up with some clever name for it.
Anyway, Parental Control is one of MTV's offerings, continuing their trend of offering as little music related programming as humanly possible for a channel whose name includes the word music. On it, young people between the ages of 18-25 are in the midst of romantic relationships that their parents are not too fond of. So the parents interview a cavalcade of crazy candidates to date their son or daughter. Each parent picks one person and their children go on dates with each of them while the current significant other watches with the parents and makes slick ass comments and the parents make half-assed attempts at sounding just as cool. Then the child returns, "thinks really hard," and chooses one.
Now this is nowhere near must see TV. It's honestly something to throw on when you're bored and you don't want to watch a bad talk show, classic sports, or A Baby Story. Its primary attraction is the crazy sets of parents, children and significant others who are all so forthcoming with their oddities and such. But today, the mini-morning marathon I happened upon after I was Sportscentered out was very captivating. For one, all three featured minority families (2 Asians, 1 Black). Even more amazing, in all three, the child chose one of their parents' picks. That never happens. Most often, the child sticks with the annoying significant other, because when you are only 19, how often are you trying to please your parents?
The best episode was the one with the black family. Of course they had some appleheaded little girlfriend who had some serious mouth. But the parents were also just as raunchy. At one point the mother actually said "At least she knows how to hold some wood," and then gave a high five to her husband. Are you kidding me? Did that just happen? Man I wanted to watch BET so bad after that. I just missed black people. And when Applehead was dissed in favor for a white girl who took him on a ropes course, she really was pushing the camera away and really looked seriously heated. usually when one gets dissed, they are calm and collected and offer some barb meant ot inflict remorse to the disser. Instead she was just repeating like "Oh no, he'll see." I wanted to see like what happened after. Did she slash tires? Key a car? Some other psycho ex move?
It also got me thinking that all the minorities went with one of their parents picks. Now usually the white people that are regularly on the show stick with their current relationship. Is there something about the minorities that makes them more compliant with their parents wishes? Or maybe are the minorities more open to change? Questions to ponder. I'm not exactly ready to call MTV for all tapes of Parental Control to prove my theory but the brain was burning through it today.
Anyway really don't watch the show unless you have nothing to do. It seems like it would make a great drinking game show somehow.
Anyway, Parental Control is one of MTV's offerings, continuing their trend of offering as little music related programming as humanly possible for a channel whose name includes the word music. On it, young people between the ages of 18-25 are in the midst of romantic relationships that their parents are not too fond of. So the parents interview a cavalcade of crazy candidates to date their son or daughter. Each parent picks one person and their children go on dates with each of them while the current significant other watches with the parents and makes slick ass comments and the parents make half-assed attempts at sounding just as cool. Then the child returns, "thinks really hard," and chooses one.
Now this is nowhere near must see TV. It's honestly something to throw on when you're bored and you don't want to watch a bad talk show, classic sports, or A Baby Story. Its primary attraction is the crazy sets of parents, children and significant others who are all so forthcoming with their oddities and such. But today, the mini-morning marathon I happened upon after I was Sportscentered out was very captivating. For one, all three featured minority families (2 Asians, 1 Black). Even more amazing, in all three, the child chose one of their parents' picks. That never happens. Most often, the child sticks with the annoying significant other, because when you are only 19, how often are you trying to please your parents?
The best episode was the one with the black family. Of course they had some appleheaded little girlfriend who had some serious mouth. But the parents were also just as raunchy. At one point the mother actually said "At least she knows how to hold some wood," and then gave a high five to her husband. Are you kidding me? Did that just happen? Man I wanted to watch BET so bad after that. I just missed black people. And when Applehead was dissed in favor for a white girl who took him on a ropes course, she really was pushing the camera away and really looked seriously heated. usually when one gets dissed, they are calm and collected and offer some barb meant ot inflict remorse to the disser. Instead she was just repeating like "Oh no, he'll see." I wanted to see like what happened after. Did she slash tires? Key a car? Some other psycho ex move?
It also got me thinking that all the minorities went with one of their parents picks. Now usually the white people that are regularly on the show stick with their current relationship. Is there something about the minorities that makes them more compliant with their parents wishes? Or maybe are the minorities more open to change? Questions to ponder. I'm not exactly ready to call MTV for all tapes of Parental Control to prove my theory but the brain was burning through it today.
Anyway really don't watch the show unless you have nothing to do. It seems like it would make a great drinking game show somehow.
Thursday, February 22, 2007
Announcement: Last.fm 5.000th Song
Yeah that thing on the bottom of my page is something that tracks my music for the site Last.fm which is like an international musical MySpace. I got friends in Norway and such and I might add one from Australia. Anyway, during my return I accumulated my 5,000th track played. Wanna know what it is?
(Drum roll please)
T.I. - Why You Wanna
What does this mean? Absolutely nothing. Yes it's one of my favorite tracks but #4,999 was Al Green - Simply Beautiful which is equally as good (actually superior) but I only recently discovered in non-sampled form (Talib Kweli - Good To You).
Thought I'd pass that along.
Also I might as well update Vocal Arts Month. Its been hard at times. I allow myself some rap from time to time but I find myself looking for the more melodically inclined hip-hop (like my new favorite Jean Grae - The Place Is Here (ft. Phone of Little Brother). They call themselves the Ashford & Simpson of hip-hop and there's a stretch that totally makes my day.). And added blessing is that I have rediscovered the beauty of Christian music and I think Mary Mary has entered the hallowed pantheon of gospel artists you cannot speak badly about to Adam (This list includes Richard Smallwood, BeBe & CeCe, The original Winans, Take 6, and dc Talk circa Jesus Freak)
More posts to follow.
(Drum roll please)
T.I. - Why You Wanna
What does this mean? Absolutely nothing. Yes it's one of my favorite tracks but #4,999 was Al Green - Simply Beautiful which is equally as good (actually superior) but I only recently discovered in non-sampled form (Talib Kweli - Good To You).
Thought I'd pass that along.
Also I might as well update Vocal Arts Month. Its been hard at times. I allow myself some rap from time to time but I find myself looking for the more melodically inclined hip-hop (like my new favorite Jean Grae - The Place Is Here (ft. Phone of Little Brother). They call themselves the Ashford & Simpson of hip-hop and there's a stretch that totally makes my day.). And added blessing is that I have rediscovered the beauty of Christian music and I think Mary Mary has entered the hallowed pantheon of gospel artists you cannot speak badly about to Adam (This list includes Richard Smallwood, BeBe & CeCe, The original Winans, Take 6, and dc Talk circa Jesus Freak)
More posts to follow.
Saturday, February 10, 2007
Observation: Wow
I'm appreciating music so much right now in the midst of my Halleglory playlist. Isn't it amazing that God has bestowed us with this gift music? To think that a range of sounds arranged in a random pattern that our bodies ultimately recognize in rhythm and tone is responsible for so much influence in our lives. For the past couple of minutes I have been dwelling on the drum patterns n the songs I'm listening to which include Virtue - Put Your War Clothes On and June April - Up Yonder. It amazes me how each drummer (or maybe drum machine) manipulates the space in between each of their movements, micromanaging the silence and sound together. Truly brilliant stuff this music. Thank God for it.
Thursday, February 01, 2007
Notes: Kinda Throwback Neo-Soul
Erykah Badu - Mama's Gun
Angie Stone - Mahogany Soul
D'Angelo - Voodoo
Kindred the Family Soul - Surrender to Love
Musiq - Juslisen
Okay so today was the announcement of Vocal Arts Month so what better way to dive in than playin some neo-soul from the turn of the millenium. These were albums that had primary space in my CD player at the time and before I learned the magic of MP3's.
I selected these rather randomly. I just went to directories where I knew the stuff I wanted to listen to would be and just let my eyes and mouse come over. This choice was off the beaten path but the rewards were so good. I never appreciated Ms. Badu's second studio album completely. It's only through off chances that I have realized how good it was. Mama's Gun was a phenomenal record. I skipped Penitentary Philosophy because it was a rocker and I didn't want to rock at that point. But quickly jumping through the J Dilla helmed My Life, ... & On, and Cleva, there was just so much cool vibe overflowing the room. After those tracks, every dose was easy to take. And when they were good, their satisfaction factor improved exponentially. The epic closer Green Eyes is a mini-suite with three movements. It begins with a bluesy jazz theme then moves into two much more contemporary soul grooves. She starts with a silly chanteuse song about jealousy that molds into a modern discussion over a dissolving relationship. Quite the experience.
Next up on the docket was Mahogany Soul from Angie Stone. I forgot how amazingly structured this album was. It was so good that my father even asked me for a copy and that's saying something for him. The best way to describe it is just what you would imagine a soul album in the early 70s would have sounded like. Funny enough Stone resembles a modern day Roberta Flack to some degree. Throughout the album, she comes with amazing grooves and vocals that never overpower but never shy away from the music either. From top to bottom it is just a treat to listen to.
Tracks to Check: Soul Insurance, Brotha, Snowflakes, Pissed Off, More Than A Woman, Wish I Didn't Miss You, The Ingredients of Love, Makings of You (Interlude)
I thought it would be cool to go from Angie to her baby daddy, D'Angelo. Now D'Angelo is a sad story. Basically the man who made it alright for labels to sign artists with that neo-soul sound, career derailed by drug addiction. His initial offering was Brown Sugar, a tight 10 song collection that drew upon soul, gospel, and even rock to baptize ears and probably brought about the birth of numerous children. The follow up was 5 years coming in Voodoo and it was obvious when one listened that Mr. Archer had gone more existential in his ideas. A lot of people didn't like Voodoo too much. Gone were the more neatly packaged love messages that populated Sugar, replaced with what sounds like jam session after jam session. That's probably what happened. D'Angelo and his pre-selected band would go into the lab and just kick around ideas, kinda like a old school jazz quartet. It helps when ?uestlove is your drummer, James Pyser is on keys, and Pino Palladino is playing bass for you. To this day, if I want to hear a D'Angelo record from start to finish, this is what I put on, even if it is not as singable. What he gives up in packaging, he makes up in just musicality. Roy Hargrove plays trumpet on the jazzy Spanish Joint and his reworking of Roberta Flack's Feel Like Makin' Love just grooves. The fact that the average length of the songs is over 5 minutes is a strength and not a detraction.
Tracks to Check: Well everything in order but specifically The Root, Spanish Joint, Greatdayndamornin'/Booty, Untitled (How Does It Feel?), Africa
That live instrument thing must have been influencing my brain cause the next stop was Kindred the Family Soul, a 7 member band fronted by a married couple who share vocals. Their first album, Surrender to Love, is an introduction to their daily life an dhow they operate. And it's obvious that they operate with a groove. Even the slow songs have a swaying element to them. Fatin maintains a gritty tenor voice and Aja has a rich yet airy soprano that brings tenderness and strength to each note she touches. The breakthrough on this album is Far Away, a moving jam if there ever was one. This song should have found itself on at least 5 black movie soundtracks, but sometimes what should happen doesn't always manifest itself. Amazing document to love anyway.
Tracks to Check: Rhythm of Life, Far Away, Stars, I Am
Last but not least was the recently rediscovered Juslisen from Musiq. I remember when I got this record. I was curious because I thought his first album might have been a fluke. Here he was dropping the Soulchild from his moniker and I just thought "someone got too full of themselves." But he really did surprise with this one. Its a much tighter and listenable album than the first one. The sequencing is phenomenal with an excellent balance of slow, mid-tempo, and quick grooves. Where I usually skip ballads, for some reason I am rendered helpless when listening to Musqiq. Not because the songs are so good, but they just fit right where they're supposed to. Another one of those albums that I had no trouble just leaving in and not fidgeting with the controls.
Tracks to Check: Newness, Religious, Realove, Dontchange, Future
Angie Stone - Mahogany Soul
D'Angelo - Voodoo
Kindred the Family Soul - Surrender to Love
Musiq - Juslisen
Okay so today was the announcement of Vocal Arts Month so what better way to dive in than playin some neo-soul from the turn of the millenium. These were albums that had primary space in my CD player at the time and before I learned the magic of MP3's.
I selected these rather randomly. I just went to directories where I knew the stuff I wanted to listen to would be and just let my eyes and mouse come over. This choice was off the beaten path but the rewards were so good. I never appreciated Ms. Badu's second studio album completely. It's only through off chances that I have realized how good it was. Mama's Gun was a phenomenal record. I skipped Penitentary Philosophy because it was a rocker and I didn't want to rock at that point. But quickly jumping through the J Dilla helmed My Life, ... & On, and Cleva, there was just so much cool vibe overflowing the room. After those tracks, every dose was easy to take. And when they were good, their satisfaction factor improved exponentially. The epic closer Green Eyes is a mini-suite with three movements. It begins with a bluesy jazz theme then moves into two much more contemporary soul grooves. She starts with a silly chanteuse song about jealousy that molds into a modern discussion over a dissolving relationship. Quite the experience.
Next up on the docket was Mahogany Soul from Angie Stone. I forgot how amazingly structured this album was. It was so good that my father even asked me for a copy and that's saying something for him. The best way to describe it is just what you would imagine a soul album in the early 70s would have sounded like. Funny enough Stone resembles a modern day Roberta Flack to some degree. Throughout the album, she comes with amazing grooves and vocals that never overpower but never shy away from the music either. From top to bottom it is just a treat to listen to.
Tracks to Check: Soul Insurance, Brotha, Snowflakes, Pissed Off, More Than A Woman, Wish I Didn't Miss You, The Ingredients of Love, Makings of You (Interlude)
I thought it would be cool to go from Angie to her baby daddy, D'Angelo. Now D'Angelo is a sad story. Basically the man who made it alright for labels to sign artists with that neo-soul sound, career derailed by drug addiction. His initial offering was Brown Sugar, a tight 10 song collection that drew upon soul, gospel, and even rock to baptize ears and probably brought about the birth of numerous children. The follow up was 5 years coming in Voodoo and it was obvious when one listened that Mr. Archer had gone more existential in his ideas. A lot of people didn't like Voodoo too much. Gone were the more neatly packaged love messages that populated Sugar, replaced with what sounds like jam session after jam session. That's probably what happened. D'Angelo and his pre-selected band would go into the lab and just kick around ideas, kinda like a old school jazz quartet. It helps when ?uestlove is your drummer, James Pyser is on keys, and Pino Palladino is playing bass for you. To this day, if I want to hear a D'Angelo record from start to finish, this is what I put on, even if it is not as singable. What he gives up in packaging, he makes up in just musicality. Roy Hargrove plays trumpet on the jazzy Spanish Joint and his reworking of Roberta Flack's Feel Like Makin' Love just grooves. The fact that the average length of the songs is over 5 minutes is a strength and not a detraction.
Tracks to Check: Well everything in order but specifically The Root, Spanish Joint, Greatdayndamornin'/Booty, Untitled (How Does It Feel?), Africa
That live instrument thing must have been influencing my brain cause the next stop was Kindred the Family Soul, a 7 member band fronted by a married couple who share vocals. Their first album, Surrender to Love, is an introduction to their daily life an dhow they operate. And it's obvious that they operate with a groove. Even the slow songs have a swaying element to them. Fatin maintains a gritty tenor voice and Aja has a rich yet airy soprano that brings tenderness and strength to each note she touches. The breakthrough on this album is Far Away, a moving jam if there ever was one. This song should have found itself on at least 5 black movie soundtracks, but sometimes what should happen doesn't always manifest itself. Amazing document to love anyway.
Tracks to Check: Rhythm of Life, Far Away, Stars, I Am
Last but not least was the recently rediscovered Juslisen from Musiq. I remember when I got this record. I was curious because I thought his first album might have been a fluke. Here he was dropping the Soulchild from his moniker and I just thought "someone got too full of themselves." But he really did surprise with this one. Its a much tighter and listenable album than the first one. The sequencing is phenomenal with an excellent balance of slow, mid-tempo, and quick grooves. Where I usually skip ballads, for some reason I am rendered helpless when listening to Musqiq. Not because the songs are so good, but they just fit right where they're supposed to. Another one of those albums that I had no trouble just leaving in and not fidgeting with the controls.
Tracks to Check: Newness, Religious, Realove, Dontchange, Future
Announcement: February Is Vocal Arts Month
That's just a really big way of saying that I will be trying to listen to only music that features singing primarily. This decision was made as I was cleaning the house and looking for a song to sing and my mind drew a blank. I used to have a repertoire and now I sadly find myself flagging. Oh Stevie what have I done.
So we're going to try to head back to that place.
So we're going to try to head back to that place.
Friday, January 26, 2007
Moving Pictures: Dreamgirls
So me and Banana had nothing to do this Thursday evening so we decided to see a movie like back in the old days, i.e. like two months ago before me moved into the house. So down to a late show of Dreamgirls which worked out in our favor because the weather resembled the North Pole. That coupled with the fact that everyone else has seen this movie meant that we had the whole theater for ourselves. I can't say how much that accentuates the experience. Being able to talk and laugh as loud as we wanted like we were home but having the same movie experience was amazing. I don't think I can say I had ever been in a movie theater alone like that before. Truly phenomenal.
Oh yeah the movie. Well it starts with a cowbell. From this point on, I think that there should be an initiative to increase the use of cowbells in general life, especially entertainment. When do cowbells not bring about a sense of optimism and excitement? It's pretty great. So Dreamgirls tracks the rise and fall of a Motown-like girls group from about the 60s. Originally it was a Broadway musical and in the wake of Chicago, maybe Hollywood has decided to mine that landscape for bonafide hits in the theaters. Well with Dreamgirls they succeeded.
The movie stars Jamie Foxx as the Berry Gordy like record lael impresario, Beyonce Knowles as the Diana Ross lead-usurping diva, Eddie Murphy as the sensational soul crooner also addled with a drug addiction, and the amazing Jennifer Hudson (American Idol cast-off) as the true talent who is sidestepped due to her appearance and attitude. The strength of the movie actually lies in the supporting cast, specifically Hudson and Murphy.
Now Hudson plays Effie, the diva with the talent and a couple of extra pounds. When told that she won't be lead, her face contorts to the point that you think that death might be imminent. And I cannot speak enough about her voice. Her voice could change the course of rivers if she put her mind to it. When she sings the Tony Award winning "And I'm Telling You" I was ready to leave. But there was still half a movie to go.
Murphy is also pretty surprising. His character is an amalgam of James Brown, Marvin Gaye, and David Ruffin. The Brown gives the character his early flashy performance style, Gaye gives him that conflict when he wants to do "message" songs, and Ruffin gives the character his problems with drug use and the Motown connection since Ruffin was lead singer for the Temptations. Wait Gaye was on Motown too so scratch that. Anyway, his singing lacks a little but he brings a weight to the character that is hard to express. When Foxx's character lets him know that he won't be releasing a song, the disappointment is palpable even in your seat.
Foxx and Knowles technically are the leads but in this movie I think they were asked to not mess anything up. Foxx comes off a bit dry throughout the movie. He sems detached. THe intensity he is capable of just isn't there. It feels shallow. Beyonce has decided that she wants to be white. The glued on weave and wigs are getting to be too much, she losing her melanin inspired curves and most of the time she was in makeup that looked like she was trying to be Michael Jackson's long lost baby sister. She's tolerable enough since she's never been a great actress anyway.
But I recommend everyone see it. I'm not sure what the big hubbub is over the denial of a Best Picture nomination for the Oscars is about. It's pretty great and all but nothing I would have imagined as a Best Picture contender. Still if Hudson is robbed of that statue, it would be criminal. And it would be nice for Dr. Doolittle to get one too.
A 4 Beanie picture if there ever was one.
Oh yeah the movie. Well it starts with a cowbell. From this point on, I think that there should be an initiative to increase the use of cowbells in general life, especially entertainment. When do cowbells not bring about a sense of optimism and excitement? It's pretty great. So Dreamgirls tracks the rise and fall of a Motown-like girls group from about the 60s. Originally it was a Broadway musical and in the wake of Chicago, maybe Hollywood has decided to mine that landscape for bonafide hits in the theaters. Well with Dreamgirls they succeeded.
The movie stars Jamie Foxx as the Berry Gordy like record lael impresario, Beyonce Knowles as the Diana Ross lead-usurping diva, Eddie Murphy as the sensational soul crooner also addled with a drug addiction, and the amazing Jennifer Hudson (American Idol cast-off) as the true talent who is sidestepped due to her appearance and attitude. The strength of the movie actually lies in the supporting cast, specifically Hudson and Murphy.
Now Hudson plays Effie, the diva with the talent and a couple of extra pounds. When told that she won't be lead, her face contorts to the point that you think that death might be imminent. And I cannot speak enough about her voice. Her voice could change the course of rivers if she put her mind to it. When she sings the Tony Award winning "And I'm Telling You" I was ready to leave. But there was still half a movie to go.
Murphy is also pretty surprising. His character is an amalgam of James Brown, Marvin Gaye, and David Ruffin. The Brown gives the character his early flashy performance style, Gaye gives him that conflict when he wants to do "message" songs, and Ruffin gives the character his problems with drug use and the Motown connection since Ruffin was lead singer for the Temptations. Wait Gaye was on Motown too so scratch that. Anyway, his singing lacks a little but he brings a weight to the character that is hard to express. When Foxx's character lets him know that he won't be releasing a song, the disappointment is palpable even in your seat.
Foxx and Knowles technically are the leads but in this movie I think they were asked to not mess anything up. Foxx comes off a bit dry throughout the movie. He sems detached. THe intensity he is capable of just isn't there. It feels shallow. Beyonce has decided that she wants to be white. The glued on weave and wigs are getting to be too much, she losing her melanin inspired curves and most of the time she was in makeup that looked like she was trying to be Michael Jackson's long lost baby sister. She's tolerable enough since she's never been a great actress anyway.
But I recommend everyone see it. I'm not sure what the big hubbub is over the denial of a Best Picture nomination for the Oscars is about. It's pretty great and all but nothing I would have imagined as a Best Picture contender. Still if Hudson is robbed of that statue, it would be criminal. And it would be nice for Dr. Doolittle to get one too.
A 4 Beanie picture if there ever was one.
Sunday, January 21, 2007
Notes: J Dilla #2
I decided to block out the Spanish music on my sojourn up to Massachusetts tonight so since I had so much success with Dilla yesterday, I returned to him again.
Once again I was blown away with the breadth of his production. It's obvious he was much more regarded in Europe than he was here. In addition to the usual hip-hop, he touched so many different genres, like experimental soul and even poetry. It's amazing when you listen to it. If I had to live the life of a musician, I probably would choose Dilla as my archetype. He was incredibly gifted and had an extensive repository for ideas. And here he was gallivanting the globe doing the music he wanted to do. He didn't need to get the flash or name recognition. He just made dope dope beats. All from the comfort of his home, even his hospital bed, where some of his last albums were finished. Absolutely amazing.
Tracks to Check: Phat Kat - Big Booties (Yes that is the correct title, but the beat is just too good, Plus the hook is slightly comical because of its singular focus.), The Pharcyde - Drop, Frank N Dank - Push, Brand New Heavies - Saturday Nite (Ummah Remix ft. Mos Def) (Nice Marvin Gaye sample here), Bizarre - Butterfly (Maybe the surprise of the night), Copywrite - It's A Wrap, Busta Rhymes - No specific song but Busta just has a whole different vibe on the works he does with Dilla. Its more intense and focused.
Tracks not to Check: Once again 5 Elementz. Oh man atrocious. How much were they paying him? Maybe I don't like them so much because it seems like they're serious. Frank N Dank spi equally retarded things but I feel more fun coming out of them.
Once again I was blown away with the breadth of his production. It's obvious he was much more regarded in Europe than he was here. In addition to the usual hip-hop, he touched so many different genres, like experimental soul and even poetry. It's amazing when you listen to it. If I had to live the life of a musician, I probably would choose Dilla as my archetype. He was incredibly gifted and had an extensive repository for ideas. And here he was gallivanting the globe doing the music he wanted to do. He didn't need to get the flash or name recognition. He just made dope dope beats. All from the comfort of his home, even his hospital bed, where some of his last albums were finished. Absolutely amazing.
Tracks to Check: Phat Kat - Big Booties (Yes that is the correct title, but the beat is just too good, Plus the hook is slightly comical because of its singular focus.), The Pharcyde - Drop, Frank N Dank - Push, Brand New Heavies - Saturday Nite (Ummah Remix ft. Mos Def) (Nice Marvin Gaye sample here), Bizarre - Butterfly (Maybe the surprise of the night), Copywrite - It's A Wrap, Busta Rhymes - No specific song but Busta just has a whole different vibe on the works he does with Dilla. Its more intense and focused.
Tracks not to Check: Once again 5 Elementz. Oh man atrocious. How much were they paying him? Maybe I don't like them so much because it seems like they're serious. Frank N Dank spi equally retarded things but I feel more fun coming out of them.
Friday, January 19, 2007
Notes: J Dilla
So on an expedition with the Bahene (Coffee Bean & Lady Godiva), I found myself a tad bored in an Ann Taylor. To make matters worse, the music that was supposedly there to provide a more comfortable shopping experience was in fact mildly grating on my psyche. What is a troubled boy to do? If you replied, "Dig in his pocket and fish out his 80 gig iPod," then you would be correct.
The next step was deciding what to play. It would have been easy to go to one of my already preset shuffled playlists with songs that would more or less satiate me. But at that moment I decided to not waste the potential of the device and actually listen to some of the buried treasures I had loaded on to the darn thing in the hopes that I could jumpstart myself into discovering and rediscovering the bounty that is on my computer. I didn't want anything too unfamiliar though since I still had the sisters asking me for my opinion from time to time. That's when I scrolled down to J Dilla.
J Dilla has to be my favorite producer of all time. That's one of those few statements I can make that I can unequivocally stand behind. He is the linchpin behind all the music that I hold the most dearly. He started with A Tribe Called Quest and his discography is extensive. He is one of the few fan T-shirts that I have bought voluntarily. Sadly he passed away around this time last year due to some rare blood disease. But amazingly he has dropped about two albums posthumously with another on the way this year.
But my playlist is pretty large (314) since he did so much music. So this is another one of those playlists that will have multiple entries. So all I did was hit shuffle and then....
In the middle of a midtown Ann Taylor, I was riding the train on my way to high school. Dilla's production was that of a jazz bassist who fell in love with hip-hop. If Dilla was born earlier, I can easily see him working with Miles Davis. Once again bass is a huge element of his production, but the snares are crisp too. And later on in his production he definitely experimented with a more spacey, galactical sound. But overall, 9 out of 10 Dilla songs, on instrumentals alone, make your sould move.
The one thing you can say about his productions is that often the level of performer is not up to the par of the beat. Dilla hailed from Detroit and seemingly had many friends taht also shared his love of rap, but sadly did not possess the adequate skills. Dill astill put them on, maybe because his emceeing skills weren't that significant either. Most of the productions are are wth artists who never had a shot at a record deal. Often they sound like raps that people came up with bullshitting in an apartment late at night, often with the help of THC. They're misogynistic and empty more often than not. But Dilla's production is so strong that you listen to the song anyway.
It's so sad that he didn't get the recognition that he deserved while alive. Upon his death, you would have thought that he had oodles of Grammys in his collection. I mean he even had an obituary in the New York Times. But his production for the few big name artists he worked with never really were popular hits. His most recognizable hits have been Q-Tip's "Vivrant Thing" and Common's "The Light", both artists who have perpetually made residence at the periphery of the mainstream. Sad though. My life was changed by him. How many more he could have touched we will never know.
Tracks to Check: Copywrite - Clap, Four Tet - As Serious As Your Life (Jay Dee Remix), Royce Tha 5'9" - Life Goes On, ASD - Wenn Ihr Fuhit (Yes German rap. This cat got around)
Please don't check: Anything by 5 Elementz....uggggh.
The next step was deciding what to play. It would have been easy to go to one of my already preset shuffled playlists with songs that would more or less satiate me. But at that moment I decided to not waste the potential of the device and actually listen to some of the buried treasures I had loaded on to the darn thing in the hopes that I could jumpstart myself into discovering and rediscovering the bounty that is on my computer. I didn't want anything too unfamiliar though since I still had the sisters asking me for my opinion from time to time. That's when I scrolled down to J Dilla.
J Dilla has to be my favorite producer of all time. That's one of those few statements I can make that I can unequivocally stand behind. He is the linchpin behind all the music that I hold the most dearly. He started with A Tribe Called Quest and his discography is extensive. He is one of the few fan T-shirts that I have bought voluntarily. Sadly he passed away around this time last year due to some rare blood disease. But amazingly he has dropped about two albums posthumously with another on the way this year.
But my playlist is pretty large (314) since he did so much music. So this is another one of those playlists that will have multiple entries. So all I did was hit shuffle and then....
In the middle of a midtown Ann Taylor, I was riding the train on my way to high school. Dilla's production was that of a jazz bassist who fell in love with hip-hop. If Dilla was born earlier, I can easily see him working with Miles Davis. Once again bass is a huge element of his production, but the snares are crisp too. And later on in his production he definitely experimented with a more spacey, galactical sound. But overall, 9 out of 10 Dilla songs, on instrumentals alone, make your sould move.
The one thing you can say about his productions is that often the level of performer is not up to the par of the beat. Dilla hailed from Detroit and seemingly had many friends taht also shared his love of rap, but sadly did not possess the adequate skills. Dill astill put them on, maybe because his emceeing skills weren't that significant either. Most of the productions are are wth artists who never had a shot at a record deal. Often they sound like raps that people came up with bullshitting in an apartment late at night, often with the help of THC. They're misogynistic and empty more often than not. But Dilla's production is so strong that you listen to the song anyway.
It's so sad that he didn't get the recognition that he deserved while alive. Upon his death, you would have thought that he had oodles of Grammys in his collection. I mean he even had an obituary in the New York Times. But his production for the few big name artists he worked with never really were popular hits. His most recognizable hits have been Q-Tip's "Vivrant Thing" and Common's "The Light", both artists who have perpetually made residence at the periphery of the mainstream. Sad though. My life was changed by him. How many more he could have touched we will never know.
Tracks to Check: Copywrite - Clap, Four Tet - As Serious As Your Life (Jay Dee Remix), Royce Tha 5'9" - Life Goes On, ASD - Wenn Ihr Fuhit (Yes German rap. This cat got around)
Please don't check: Anything by 5 Elementz....uggggh.
Friday, January 12, 2007
Notes: Soulquarians & Tongues #1
Bilal - 1st Born Second
De La Soul - AOI: Bionix
De La Soul - AOI: Mosaic Thump
Raphael Saadiq - As Ray Ray
9th Wonder - Back In Black
Common - BE
A Tribe Called Quest - Beats, Rhymes & Life
So in my extended procrastination of so many productive things I could be doing with my time, I decided to put on some more obscure playlists. But then I thought maybe I should actually attempt to do some of those productive things. Obscure music I find doesn't always help me focus with that. So what to play? What to play? Ah yes. Soulquarians & Tongues.
Now some history about this Soulquarians & Tongues. Now the Native Tongues were a clique of artists that offered progressive hip-hop in the early to mid-90s. The main proponents were A Tribe Called Quest & De La Soul and through them a loose collective existed. When those groups fell back in prominence, another generation was born called the Soulquarians. This new generation included loads who were the apprentices of the Native Tongues. So this is basically my favorite type of music. On my old computer, they were in separate folders because of rap and R & B limitations. But on my new incarnation, I separated them from the rap & Running & Beats and gave their own directory. And subsequently their own playlist.
Needless to say it is quite extensive. It is over 2500 songs on its own and takes up about 12 gigs on the hard drive. So there is no way I could get through the list in one sitting without the aid of cocaine or some other substance to assist. So here was number 1.
So the first choice I made was to sort them by albums and not artists which was smart. So much more variety that way. The first stop was that eccentric and peculiar character Bilal and his debut (and so far only official) album, 1st Born Second. As I was listening to it, a recurring theme was set up for all the ensuing albums: "Damn, I forgot this was that good." And there were pleasant surprises all day. If anything can be said about Bilal's album, he might have been too ambitious. I think a lot of people wanted to see him blow up, and everybody and they mama produced on this album. The first track is his, then Dr. Dre, then J Dilla, then him again. The Soulquarian production team makes an appearance as well. Funny enough, the most cohesive and seamless is the stuff he did with his friend. That comes close to the end of the album as well. Good thing everybody else keeps you gamely interested until he shows his true, unconventional style. Though he was trained in opera, it seems he uses the breathing techniques to help him manipulate random cries that he does throughout. Truly a futuristic crooner. If Andre 3000 had his voice, he would be unstoppable.
Tracks to Check: All That I Am, Sometimes, Love Poems, When Will You Call
Now the next one I planned to play was De La Soul's Art Official Intelligence - Mosaic Thump, their first installment of what was supposed to be three, but ended up being two. But I actually hit the instrumental version. So instead of actually finding the real one I just played the second one, AOI-Bionix. Now the interesting about this one is that there are more quality songs, but it's a shorter listen. MT was made after De La had been out the game for a while. There's a different producer on every track including Rockwilder, who was the producer of that moment in time. So actually the songs are all good and very listenable. As pop of an album as you can get from the Native Tongues clique. But what MT has in slick prodction, Bionix has in quality songs and lyrics. On the first installment, they really don't delve into anything too deep, only admonishing younger rappers' ignorance. Bionix however had some real songs on it where both Posdnous and Dave question their stations in life. Plus Bionix has a song that sampled Paul McCartney's famous Christmas song. So that was pretty fun.
Tracks to Check: Held Down (B), Trying People (B), Simply (B), Watch Out (B), Oooh (MT), Foolin (MT)
Next on the docket was Raphael Saadiq. Now his official membership in Native Tongues is questionable. I know I was delivered to his existence by a Q-Tip shout out on "The Remedy", a track from the Get On The Bus Soundtrack. And then I found out that he was part of the collective production group The Ummah, which had Q-Tip and Jay Dee (aka J Dilla) as well. Now As Ray Ray was an interesting CD. Sadly I didn't get to listen to it, like I worshipped his first one. I think it was mostly a timing thing. No time to really listen to it. But from the intro, it is obvious that the inspiration was Blaxploitation films of the 70's. And the album is full of crazy bass that I was unaware of on my earlier listens. This album is a jammer! Now I know why I bought it (though it was mostly because of Saadiq's extensively quality track record). This album also features two songs with Teedra Moses, who is phenomenal (her own review is forthcoming). There is something about her voice. It doesn't blow you away but it possesses a very powerful quality. I guess one could call it truth. You feel the soul behind the vocals. Sadly an overlooked album
Tracks to Check: Chic, I Want You Back, Live Without You, Rifle Love (I mean there is a gunshot in the hook. Why wouldn't you listen?)
At this point in the day, things were just playing in alphabetical order I guess. There were phone calls. There was laundry. All my ears cared about at that point was whatever was auditorially palatable and everything playing was working out just fine. Next up was a double violation of the Native Tongues-Soulquarian membership club. 9th Wonder is an amazing producer and a part of the group Little Brother, who I've talked about before. It is so apparent that Little Brother received so much inspiration from the Native Tongues and they just seem so different that I had to put them in that folder. Now this album is really 9th Wonder's remix of Jay-Z's The Black Album. So Back in Black it is. Now 9th had production on the original in the form of Threats. But this time he takes on every track. And does some amazing work. He even uses a Flora Purim (jazz singer in the 70s) sample that changes the whole scope of Dirt Off Your Shoulder. And check the crazy juxtaposition of using D'Angelo's Devil's Pie as the backdrop for a reimagined Lucifer. Genius.
Tracks to Check: Lucifer, Encore, Dirt Off Your Shoulder, Public Service Announcement; Man just listen to the whole thing.
Oh next up was BE by Chicago's finest, Common. Now this one came with a lot of fanfare because Kanye West became prominently involved in the Man formerly known as Sense's career. Only two tracks aren't produced by Mr. West (the others helmed by J Dilla. Anybody else noting a trend with Dilla. Yeah my favorite producer ever.) And I don't know. It's a pretty good album. Maybe I just didn't listen as hard because I was fatigued with all the Common I was inundated with because of the Kanye connection. And I am still a huge Common fan. Thought he was the best performer at the Roots epic shows last year at Radio City. And the concert I saw him rock in Central Park was absolutely amazing. I wish he would do a live CD cause that's when I've found him most fun. But this album is still pretty great. It's got that flow to it. But like De La with MT, it feels like he was going safe to entertain, which is his right. But I missed the depth that is available on his earlier albums. Fun for laundry though.
Tracks to Check: Love Is, Go, They Say, Food
Last but not least, it was Beats, Rhymes & Life, the first Tribe album I bought. Funny enough, I bought it because it was the #1 album of the week I walked into the store. The name was familiar because I memorized some lyrics as a youngster that temporarily endeared me to would-be bullies when I skipped a grade. So purchase made. Life changed. This is really the album that got me to the place where my hard drive threatens failure because of all the music that is on it. And with subsequent purchases, it was proved tht this wasn't even the best album they did (That would be Midnight Marauders, with Low End Theory close behind). But this one was shot down a little more than necessary. Q-Tip's cousin, Consequence, is featured a little too much. And the beats are different than earlier more jazz-happy records. But I loved it and had to buy another CD when my original was too scratched to listen to.
Tracks to Check: The Pressure, Word Play, Mind Power
So that was my wonderful trip in history and procrastination. Joy for all.
De La Soul - AOI: Bionix
De La Soul - AOI: Mosaic Thump
Raphael Saadiq - As Ray Ray
9th Wonder - Back In Black
Common - BE
A Tribe Called Quest - Beats, Rhymes & Life
So in my extended procrastination of so many productive things I could be doing with my time, I decided to put on some more obscure playlists. But then I thought maybe I should actually attempt to do some of those productive things. Obscure music I find doesn't always help me focus with that. So what to play? What to play? Ah yes. Soulquarians & Tongues.
Now some history about this Soulquarians & Tongues. Now the Native Tongues were a clique of artists that offered progressive hip-hop in the early to mid-90s. The main proponents were A Tribe Called Quest & De La Soul and through them a loose collective existed. When those groups fell back in prominence, another generation was born called the Soulquarians. This new generation included loads who were the apprentices of the Native Tongues. So this is basically my favorite type of music. On my old computer, they were in separate folders because of rap and R & B limitations. But on my new incarnation, I separated them from the rap & Running & Beats and gave their own directory. And subsequently their own playlist.
Needless to say it is quite extensive. It is over 2500 songs on its own and takes up about 12 gigs on the hard drive. So there is no way I could get through the list in one sitting without the aid of cocaine or some other substance to assist. So here was number 1.
So the first choice I made was to sort them by albums and not artists which was smart. So much more variety that way. The first stop was that eccentric and peculiar character Bilal and his debut (and so far only official) album, 1st Born Second. As I was listening to it, a recurring theme was set up for all the ensuing albums: "Damn, I forgot this was that good." And there were pleasant surprises all day. If anything can be said about Bilal's album, he might have been too ambitious. I think a lot of people wanted to see him blow up, and everybody and they mama produced on this album. The first track is his, then Dr. Dre, then J Dilla, then him again. The Soulquarian production team makes an appearance as well. Funny enough, the most cohesive and seamless is the stuff he did with his friend. That comes close to the end of the album as well. Good thing everybody else keeps you gamely interested until he shows his true, unconventional style. Though he was trained in opera, it seems he uses the breathing techniques to help him manipulate random cries that he does throughout. Truly a futuristic crooner. If Andre 3000 had his voice, he would be unstoppable.
Tracks to Check: All That I Am, Sometimes, Love Poems, When Will You Call
Now the next one I planned to play was De La Soul's Art Official Intelligence - Mosaic Thump, their first installment of what was supposed to be three, but ended up being two. But I actually hit the instrumental version. So instead of actually finding the real one I just played the second one, AOI-Bionix. Now the interesting about this one is that there are more quality songs, but it's a shorter listen. MT was made after De La had been out the game for a while. There's a different producer on every track including Rockwilder, who was the producer of that moment in time. So actually the songs are all good and very listenable. As pop of an album as you can get from the Native Tongues clique. But what MT has in slick prodction, Bionix has in quality songs and lyrics. On the first installment, they really don't delve into anything too deep, only admonishing younger rappers' ignorance. Bionix however had some real songs on it where both Posdnous and Dave question their stations in life. Plus Bionix has a song that sampled Paul McCartney's famous Christmas song. So that was pretty fun.
Tracks to Check: Held Down (B), Trying People (B), Simply (B), Watch Out (B), Oooh (MT), Foolin (MT)
Next on the docket was Raphael Saadiq. Now his official membership in Native Tongues is questionable. I know I was delivered to his existence by a Q-Tip shout out on "The Remedy", a track from the Get On The Bus Soundtrack. And then I found out that he was part of the collective production group The Ummah, which had Q-Tip and Jay Dee (aka J Dilla) as well. Now As Ray Ray was an interesting CD. Sadly I didn't get to listen to it, like I worshipped his first one. I think it was mostly a timing thing. No time to really listen to it. But from the intro, it is obvious that the inspiration was Blaxploitation films of the 70's. And the album is full of crazy bass that I was unaware of on my earlier listens. This album is a jammer! Now I know why I bought it (though it was mostly because of Saadiq's extensively quality track record). This album also features two songs with Teedra Moses, who is phenomenal (her own review is forthcoming). There is something about her voice. It doesn't blow you away but it possesses a very powerful quality. I guess one could call it truth. You feel the soul behind the vocals. Sadly an overlooked album
Tracks to Check: Chic, I Want You Back, Live Without You, Rifle Love (I mean there is a gunshot in the hook. Why wouldn't you listen?)
At this point in the day, things were just playing in alphabetical order I guess. There were phone calls. There was laundry. All my ears cared about at that point was whatever was auditorially palatable and everything playing was working out just fine. Next up was a double violation of the Native Tongues-Soulquarian membership club. 9th Wonder is an amazing producer and a part of the group Little Brother, who I've talked about before. It is so apparent that Little Brother received so much inspiration from the Native Tongues and they just seem so different that I had to put them in that folder. Now this album is really 9th Wonder's remix of Jay-Z's The Black Album. So Back in Black it is. Now 9th had production on the original in the form of Threats. But this time he takes on every track. And does some amazing work. He even uses a Flora Purim (jazz singer in the 70s) sample that changes the whole scope of Dirt Off Your Shoulder. And check the crazy juxtaposition of using D'Angelo's Devil's Pie as the backdrop for a reimagined Lucifer. Genius.
Tracks to Check: Lucifer, Encore, Dirt Off Your Shoulder, Public Service Announcement; Man just listen to the whole thing.
Oh next up was BE by Chicago's finest, Common. Now this one came with a lot of fanfare because Kanye West became prominently involved in the Man formerly known as Sense's career. Only two tracks aren't produced by Mr. West (the others helmed by J Dilla. Anybody else noting a trend with Dilla. Yeah my favorite producer ever.) And I don't know. It's a pretty good album. Maybe I just didn't listen as hard because I was fatigued with all the Common I was inundated with because of the Kanye connection. And I am still a huge Common fan. Thought he was the best performer at the Roots epic shows last year at Radio City. And the concert I saw him rock in Central Park was absolutely amazing. I wish he would do a live CD cause that's when I've found him most fun. But this album is still pretty great. It's got that flow to it. But like De La with MT, it feels like he was going safe to entertain, which is his right. But I missed the depth that is available on his earlier albums. Fun for laundry though.
Tracks to Check: Love Is, Go, They Say, Food
Last but not least, it was Beats, Rhymes & Life, the first Tribe album I bought. Funny enough, I bought it because it was the #1 album of the week I walked into the store. The name was familiar because I memorized some lyrics as a youngster that temporarily endeared me to would-be bullies when I skipped a grade. So purchase made. Life changed. This is really the album that got me to the place where my hard drive threatens failure because of all the music that is on it. And with subsequent purchases, it was proved tht this wasn't even the best album they did (That would be Midnight Marauders, with Low End Theory close behind). But this one was shot down a little more than necessary. Q-Tip's cousin, Consequence, is featured a little too much. And the beats are different than earlier more jazz-happy records. But I loved it and had to buy another CD when my original was too scratched to listen to.
Tracks to Check: The Pressure, Word Play, Mind Power
So that was my wonderful trip in history and procrastination. Joy for all.
Thursday, January 11, 2007
Notes: Q-Tip - Kamaal The Abstract
This morning I woke up lethargic. And broke. So I felt what better way to cheer myself up than to listen to some music I've never heard before. Okay. That wasn't the thought I had but I guess my ADD was acting up and I didn't want to listen to the same 'ol same 'ol.
So first I was listening to The New Pornographers (Freudian slip?) but I grew tired of it, though it sounds promising. Wasn't in a very rockish mood I guess. Then I moved to Joy Denalene which I have only got through half of. But that was unsatisfying as well. So then I went to some obscure Pharoahe Monch and that was pleasing. But after I heard the two or three tracks I wanted again restlessness took over.
Lo and behold, little Q-Tip hiding among the P's and R's on that long ever-growing list. So I played it. And like....
Wow.
It's a wakeup playlist all in itself. Now Q-Tip has gotten a bad rap. As the leader of the seminal hip-hop group A Tribe Called Quest, I think he earned a title as one of the leaders of "true" hip-hop, always caling out the Vanilla Ice's and MC Hammer's for their bastardization of his love. But then he got his own Hype Williams video and made a play for stardom and I guess that rubbed everyone the wrong way. So then he drops this Kamaal The Abstract album that is so off base that is label shelves it and drops him.
And truly, I can understand the decision. From a business standpoint, Q-Tip is either the intermediary betweeen the underground and mainstream or that sensible pop rapper. "Abstract" is neither of these. For one, he sings a whole lot more on this album. The jazz elements are there like Tribe but guitars are just as prevalent. But this boy can jam. Q-Tip was never regarded as the most amazing rapper, but he always had something to say and he could move a song along which as I recall is what is required of an emcee. And he does it well. Sometimes he sharps or flats. Sometimes songs meander to places too far down the yellowbrick road. But man, you can tell he was just feeling a vibe. And he's jamming.
This album in the 70's on some obscure jazz label would be on artsy nerds' vinyl to-get lists. Sadly it was released at the turn of the millenium when the music industry has tightly painted lines that one must fit into. Q-Tip would never be a star off this type of material. I think he realized that when he called his old friend Busta Rhymes and got a Neptunes track. But for some reason I feel like this is the real Tip. An eccentric boy who with schizophrenic musical tastes that just wanted to create some stuff he would want to bump in his house. I mean if you look at what's he's done since Tribe ended it's not hard to understand this album. I mean he was nominated for a Grammy for his work with the Chemical Brothers. How many Tribe listeners also bump Chemical Brothers? Backpacks and glowsticks don't really mesh well together.
So Q-Tip kudos. To all the people who want artists to stay to the initial bluepint, please shut up. If we stay doing the same thing, all that results is stagnation and I personally don't like algae all too much.
Tracks to bump: Do U Dig U?; Blue Girl
So first I was listening to The New Pornographers (Freudian slip?) but I grew tired of it, though it sounds promising. Wasn't in a very rockish mood I guess. Then I moved to Joy Denalene which I have only got through half of. But that was unsatisfying as well. So then I went to some obscure Pharoahe Monch and that was pleasing. But after I heard the two or three tracks I wanted again restlessness took over.
Lo and behold, little Q-Tip hiding among the P's and R's on that long ever-growing list. So I played it. And like....
Wow.
It's a wakeup playlist all in itself. Now Q-Tip has gotten a bad rap. As the leader of the seminal hip-hop group A Tribe Called Quest, I think he earned a title as one of the leaders of "true" hip-hop, always caling out the Vanilla Ice's and MC Hammer's for their bastardization of his love. But then he got his own Hype Williams video and made a play for stardom and I guess that rubbed everyone the wrong way. So then he drops this Kamaal The Abstract album that is so off base that is label shelves it and drops him.
And truly, I can understand the decision. From a business standpoint, Q-Tip is either the intermediary betweeen the underground and mainstream or that sensible pop rapper. "Abstract" is neither of these. For one, he sings a whole lot more on this album. The jazz elements are there like Tribe but guitars are just as prevalent. But this boy can jam. Q-Tip was never regarded as the most amazing rapper, but he always had something to say and he could move a song along which as I recall is what is required of an emcee. And he does it well. Sometimes he sharps or flats. Sometimes songs meander to places too far down the yellowbrick road. But man, you can tell he was just feeling a vibe. And he's jamming.
This album in the 70's on some obscure jazz label would be on artsy nerds' vinyl to-get lists. Sadly it was released at the turn of the millenium when the music industry has tightly painted lines that one must fit into. Q-Tip would never be a star off this type of material. I think he realized that when he called his old friend Busta Rhymes and got a Neptunes track. But for some reason I feel like this is the real Tip. An eccentric boy who with schizophrenic musical tastes that just wanted to create some stuff he would want to bump in his house. I mean if you look at what's he's done since Tribe ended it's not hard to understand this album. I mean he was nominated for a Grammy for his work with the Chemical Brothers. How many Tribe listeners also bump Chemical Brothers? Backpacks and glowsticks don't really mesh well together.
So Q-Tip kudos. To all the people who want artists to stay to the initial bluepint, please shut up. If we stay doing the same thing, all that results is stagnation and I personally don't like algae all too much.
Tracks to bump: Do U Dig U?; Blue Girl
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