Once upon a time, I ingested most of my music in video form. Well maybe not all of it, but definitely 90% of my introduction to it was video based. From there, if I was motivated enough, I did more digging. But since I have been sans television for a significant period, that has changed. I read a lot more and listen for myself without being influenced by flash and color. But I always enjoyed the music video in the artistic sense. The ability to create and convey a visual message to accompany a song is special, especially when you consider the limited time frame to get that message across.
The video has fallen out of the limelight. As MTV and even BET have reduced the blocks allotted for just videos, it has moved to mostly the internet where a powerful base still exists. Also, for the fortunate digital cable and satellite subscribers, it's available on demand and in the form of specialized channels. My favorite of these is VH1 Soul. It plays a perfect blend of soul and soul-tinged hip-hop to perfecct effect. They are not scared to throw in the occasional live TV performance or recorded studio session either. It's truly great. Today I randomly clicked the channel and it worked. This is surprising cause all the channels around it said that we weren't eligible. I went back and it still worked. Hooray for me.
Here are some of the videos I caught while I was flipping between NFL Draft coverage.
Kanye West, Nas, KRS-One, Rakim - Classic (Better Than I Ever Been) (DJ Premier Remix) This song was created in celebration of the 25th anniversary of the Nike Air Force One (I can't believe I'm as old as the Air Force One. I haven't decided if that's good or bad yet). Whatever the reason, I'm just glad they made it. Premier comes hard like he's got something to prove. And he might. Coming off of producing a good chunk of the recent Christina Aguilera, some have called the producer soft. What I heard I thought was inspired, but I sure do appreciate his return to his hip-hop roots.
Lil' Wayne featuring Robin Thicke - Oh Shooter A guilty pleasure rapper from the South plus one of the more unconventional artists in recent popular music equals engaging stuff. They actually just lifted the song from Mr. Thicke's first album, but Weezy does well over it. It was a mixtape hit and then released to coincide with the upswing of Mr. Thicke himself. Glad he's getting some recognition.
Missy Elliott featuring Nicole Wray and Big Boi - All In My Grill It's crazy that this video came on a day after I was frantically searching for "Da Real World" album that it was taken from. This was off of Missy's second album which kind of disappeared quickly but I love Nicole Wray and this was one of the first Big Boi sans Andre appearances on a grand stage, in the midst of the "Aquemini" period. It's a fun song. (Even the version with French rapper MC Solaar)
Tyrese - Lately For a brief moment in the late 90's, Tyrese looked poised to become the Brian McKnight of his generation. Good pipes, not too flashy, and just made good songs. Plus Ty had more going for him (better looks, actual personality once the music stopped). The songs however have been uneven over the years and he got into acting as well (Please for the love of all things avoid "Waist Deep"). I still am very intrigued by him. He sings with passion even on the hooks he rocks (see Chingy's "Pulling Me Back", an official guilty pleasure track simply because of the hook). This is when he got all the panties dropping.
Friday, April 27, 2007
Friday, April 20, 2007
Exempli Gratia: Beyonce Saturation Continues
September 4, 2006. A day that will live forever in infamy.
A simple day that should be like any other was twisted into the turning point in the flow of American culture. A day before she turned the quarter century mark, Beyonce Knowles released the album B'Day, her first album completely free of the shackles of Destiny's Child. She headed off the critics early by explaining the short length and uptempo song choice on the album. Since Dreamgirls was forthcoming, the ballads and Beyonce fire they craved would be satiated in due time. Reception was initially lukewarm after the release of her regular Jay-Z duet "Deja Vu" didn't exactly recapture the intrigue created on "Crazy In Love." She still came out #1 though and Beyonce's power was so strong that even my little boys at work could be heard singing "To the left, to the left" as if they were "Irreplaceable."
Then the promise of Dreamgirls came true. Even though her co-star Jennifer Hudson received most of the accolades and eventually the Oscar, it was still Beyonce who had the first single and video from the movie in the form of "Listen". But now, Oscar season is over and it has been seven months since the release of B'Day. Surely now we can be spared of the behemoth that we've created.
"No," says Beyonce
"Excuse me, what," says a cowering public hoping for peace.
"I don't think you've had enough of me yet," she coolly states.
"But how much is there? You had four singles off your album and another single off one of the highest grossing films of the year, which you starred in," the public replies, hoping its logic can persuade the power-hungry diva.
"You are correct. But to solidify my grasp upon this land I must inundate you with more of myself so that you may not forget your true path."
Alright so I lost it there towards the end but you get my drift. You may be wondering how Beyonce has decided to smother us in her presence even further. Television? Another movie? Pray tell, what will it be?
"Well first, let me add this track with Shakira to my original album. Yo you know what, let's just do like seven songs in Spanish. Nah really. I mean they got cash too. but they ain't got hot beats. Como se dice 'To the left' en espanol?"
"Cool one more video and a deluxe re-release of the album. I'm not sure about all that Spanish but whatever works. That should be good."
"Nah dude. I want to do more."
"Girl there is nothing else. Take a break for a little. You need to rest up for the world tour this summer."
"Let's see I can't act but I want people to see me. What can I do?"
"I'm gonna go get something to eat. You want anything while I'm up?"
"I can shoot a video for every video I didn't release and come out with a DVD album. That's it"
"I hope that boy didn't eat my ribs and .... What the hell you just say?"
That's right. It seems she did eight videos in two weeks just to make sure it would be on shelves along with that deluxe re-release. She's crazy. I fear the trappings of fame have twisted her little mind. And I also feel that she's too willing to sacrifice herself for some confused idea of success. But ever since the "No, No, No Part 2" video there was something especially different about her, and that's when she couldn't dance. The voice isn't really all that, but the girl has charisma out the wazoo and the shape don't hurt either.
I offer two examples from the DVD album. The first is my favorite track off the album, though I have to re-evaluate it based purely on this girl's work ethic. "Suga Mama" is just funky and mentions Jolly Ranchers. The second is "Freakum Dress" which is the video my boy Black Of All Trades pointed me to originally. Colorfully executed concept.
I hate to contribute to the developing hegemony but credit is due. Even if you hate her, you still have to witness it just for the sheer extravagance.
A simple day that should be like any other was twisted into the turning point in the flow of American culture. A day before she turned the quarter century mark, Beyonce Knowles released the album B'Day, her first album completely free of the shackles of Destiny's Child. She headed off the critics early by explaining the short length and uptempo song choice on the album. Since Dreamgirls was forthcoming, the ballads and Beyonce fire they craved would be satiated in due time. Reception was initially lukewarm after the release of her regular Jay-Z duet "Deja Vu" didn't exactly recapture the intrigue created on "Crazy In Love." She still came out #1 though and Beyonce's power was so strong that even my little boys at work could be heard singing "To the left, to the left" as if they were "Irreplaceable."
Then the promise of Dreamgirls came true. Even though her co-star Jennifer Hudson received most of the accolades and eventually the Oscar, it was still Beyonce who had the first single and video from the movie in the form of "Listen". But now, Oscar season is over and it has been seven months since the release of B'Day. Surely now we can be spared of the behemoth that we've created.
"No," says Beyonce
"Excuse me, what," says a cowering public hoping for peace.
"I don't think you've had enough of me yet," she coolly states.
"But how much is there? You had four singles off your album and another single off one of the highest grossing films of the year, which you starred in," the public replies, hoping its logic can persuade the power-hungry diva.
"You are correct. But to solidify my grasp upon this land I must inundate you with more of myself so that you may not forget your true path."
Alright so I lost it there towards the end but you get my drift. You may be wondering how Beyonce has decided to smother us in her presence even further. Television? Another movie? Pray tell, what will it be?
"Well first, let me add this track with Shakira to my original album. Yo you know what, let's just do like seven songs in Spanish. Nah really. I mean they got cash too. but they ain't got hot beats. Como se dice 'To the left' en espanol?"
"Cool one more video and a deluxe re-release of the album. I'm not sure about all that Spanish but whatever works. That should be good."
"Nah dude. I want to do more."
"Girl there is nothing else. Take a break for a little. You need to rest up for the world tour this summer."
"Let's see I can't act but I want people to see me. What can I do?"
"I'm gonna go get something to eat. You want anything while I'm up?"
"I can shoot a video for every video I didn't release and come out with a DVD album. That's it"
"I hope that boy didn't eat my ribs and .... What the hell you just say?"
That's right. It seems she did eight videos in two weeks just to make sure it would be on shelves along with that deluxe re-release. She's crazy. I fear the trappings of fame have twisted her little mind. And I also feel that she's too willing to sacrifice herself for some confused idea of success. But ever since the "No, No, No Part 2" video there was something especially different about her, and that's when she couldn't dance. The voice isn't really all that, but the girl has charisma out the wazoo and the shape don't hurt either.
I offer two examples from the DVD album. The first is my favorite track off the album, though I have to re-evaluate it based purely on this girl's work ethic. "Suga Mama" is just funky and mentions Jolly Ranchers. The second is "Freakum Dress" which is the video my boy Black Of All Trades pointed me to originally. Colorfully executed concept.
I hate to contribute to the developing hegemony but credit is due. Even if you hate her, you still have to witness it just for the sheer extravagance.
Exempli Gratia: ?uestlove Tracking Pharrell
This is a blog dedicated to talking about items from the media. Probably would be nice to actually include some media from time to time. Exempli Gratia will fulfill that role of offering a more live insight into some of the things keeping me engaged from time to time.
Our first offering is the amazing Ahmir "?uestlove" Thompson, drummer and musical director extraordinaire, doing some of his magic on drumson a (scratched?) Pharrell track from a side project. It also doubles as a view into the recording process, homemade. Enjoy.
Our first offering is the amazing Ahmir "?uestlove" Thompson, drummer and musical director extraordinaire, doing some of his magic on drumson a (scratched?) Pharrell track from a side project. It also doubles as a view into the recording process, homemade. Enjoy.
Friday, April 13, 2007
Editorial: The Compilation
Long before iTunes had playlists, some marketing executive at a record company decided to put together a mess of popular singles on one vinyl record and sell it. The idea was a smashing success and the compilation was born. And it has evolved. There are greatest hits ones and collections of the popular songs of the day (Thank you NOW).
Thankfully with the development of the recordable cassette, the major conglomerates lost all control in creating compilations. Now the power of the mix was in the consumer's hand, if he so wished. And the mixtape became the stuff of legend. The tool that kept the party going. The gift that wooed hearts. The coping mechanism for life. Of course the mix has evolved with technology, with MP3s and burners taking mixes to a whole other level. It's even evolved into an accepted marketing process for hip-hop artists.
For those who care about a well-crafted mix, though, it can be serious business. It's easy when the objective is clear cut like "Party Songs" or "Workout Songs", but what about the mixes that are meant to evoke something? If you put the sexually suggestive song too early on the romantic mix, will you put the other person off? Or will ignite them at just the right time? Oh just one example of the dicey business of putting together a mix. I am notoriously anal about them. I usually am never satisfied with the end result but most of my friends come back so I can't be that bad.
Currently, I am in the midst of making a couple of CDs for my cousin's wedding reception. This is hard because there can't be any dancing and the music can't be too "rhythmic." This is what happens when you members of a more conservative sect of Christianity. It makes it much harder. Whereas I would easily place India.Arie or Musiq in the playlist, it's not as easy. At the same time, I don't plan on sacrificing too much of my personality (even though I won't be there) in the mix. Just two songs so far, but I haven't really dedicated myself to it yet. Concurrently I am also putting the finishing touches on a CD for my friend Coffee Bean. This is easier as she can handle contemporary tastes, but hers are peculiar so you have to laser in to some special element of a song to see if it has any appeal for her. Admittedly with her, it's just throw it up and hope it sticks. I probably have a 70% success rate.
I love making them though. I figure its why I have so much music. The same stuff can't be good for too long.
Thankfully with the development of the recordable cassette, the major conglomerates lost all control in creating compilations. Now the power of the mix was in the consumer's hand, if he so wished. And the mixtape became the stuff of legend. The tool that kept the party going. The gift that wooed hearts. The coping mechanism for life. Of course the mix has evolved with technology, with MP3s and burners taking mixes to a whole other level. It's even evolved into an accepted marketing process for hip-hop artists.
For those who care about a well-crafted mix, though, it can be serious business. It's easy when the objective is clear cut like "Party Songs" or "Workout Songs", but what about the mixes that are meant to evoke something? If you put the sexually suggestive song too early on the romantic mix, will you put the other person off? Or will ignite them at just the right time? Oh just one example of the dicey business of putting together a mix. I am notoriously anal about them. I usually am never satisfied with the end result but most of my friends come back so I can't be that bad.
Currently, I am in the midst of making a couple of CDs for my cousin's wedding reception. This is hard because there can't be any dancing and the music can't be too "rhythmic." This is what happens when you members of a more conservative sect of Christianity. It makes it much harder. Whereas I would easily place India.Arie or Musiq in the playlist, it's not as easy. At the same time, I don't plan on sacrificing too much of my personality (even though I won't be there) in the mix. Just two songs so far, but I haven't really dedicated myself to it yet. Concurrently I am also putting the finishing touches on a CD for my friend Coffee Bean. This is easier as she can handle contemporary tastes, but hers are peculiar so you have to laser in to some special element of a song to see if it has any appeal for her. Admittedly with her, it's just throw it up and hope it sticks. I probably have a 70% success rate.
I love making them though. I figure its why I have so much music. The same stuff can't be good for too long.
Thursday, April 12, 2007
Notes: Amy Winehouse
I might be a little late on this one. She already debuted in the top 10 over here in the States. She's booked for Lollapalooza and her date at the new High Line Ballroom venue in New York City is sold out and its in May. Well at least I got the album befre she blew up. I was so sure of her success based solely on e-mails I received that I even made sure I got her first album from the UK. Does it really matter how you found good music? Just how you found it.
Amidst the glut of Anglo females, Amy Winehouse has a sound that makes you want to distinguish her. Her voice is her own but it evokes so many memories of other artists that you have to compare, even though you don't want to. So where does one start? Well upon hearing "Rehab" her first single off her second album (and official American debut) Back To Black, you feel transplanted to late 60s pop, the type that had no choice but to be infused with soul. For some reason, I could imagine Petula Clark singing "Downtown"on the track. It's also apparent once you hear her voice that she was immersed in jazz at some point in her life. Her voice has the ability to switch from light and coy to scalding and caustic between singular notes. Its a raspy alto she wields around like a sledgehammer, which betrays her waifish figure. It has the potential to have weight like Sarah Vaughan's when she uses it just so.
So that's Ms. Winehouse. Once again my love of all things Jewish has one more faggot to the fire (Not politically insensitive since it is a British post and a used the correct definition of the word, so ha). Now I wish I had one of those sold out tickets.
Last year, Natasha Bedingfield made it okay to be a British pop star again, something that hasn't been true since five spicey girls wandered their wasy over the Atlantic. Some might say that Robbie Williams and Craig David had their moment, but that's exactly what it was. A moment. They both had huge marketing pushes but once it pulled back, it was like "Who?" Now Tash brings over her "Words" and everyone thinks that cute little accent makes everything bloody wonderful. And the parade has begun. Along with Ms. Bedingfield, you have Lily Allen, Corinne Bailey Rae, and even the former precocious novelty Joss Stone, who brought along allegations of sex for tracks with producers like Raphael Saadiq. Quite the way to shed that child star label and turn into a sexified chanteuse. There's so much love for British females nowadays that we've even welcomed a British female rapper to Def Jam in the form of Lady Sovereign. Even Dizzee Rascal had to go with independent powerhouse Matador. She gets Def Jam?
Amidst the glut of Anglo females, Amy Winehouse has a sound that makes you want to distinguish her. Her voice is her own but it evokes so many memories of other artists that you have to compare, even though you don't want to. So where does one start? Well upon hearing "Rehab" her first single off her second album (and official American debut) Back To Black, you feel transplanted to late 60s pop, the type that had no choice but to be infused with soul. For some reason, I could imagine Petula Clark singing "Downtown"on the track. It's also apparent once you hear her voice that she was immersed in jazz at some point in her life. Her voice has the ability to switch from light and coy to scalding and caustic between singular notes. Its a raspy alto she wields around like a sledgehammer, which betrays her waifish figure. It has the potential to have weight like Sarah Vaughan's when she uses it just so.The retro style of the music is courtesy of hip-hop impresario Salaam Remi and everyone's favorite celebrity DJ/producer, Mark Ronson, who continues to have a fascination with the music to which he might have been conceived. Along with Remi, famous for his reggae-tinged productions with The Fugees (yeah them) and Nas ("Made You Look"), they create a time capsule of a musical backdrop for Winehouse to showcase not only her vocal prowess, but a lyrical one as well. This is a very self-aware young woman and she doesn't hide it on record. She's critical of everything including herself and she's got the sailor's mouth to match (lyric "What's with all this fuckery?"). If Corinne Bailey Rae went to school and got drunk at local jazz clubs instead of finding a stable marriage, she and Amy would have been best friends.
I actually surveyed the second before the first which is uncharacteristic of me. I actually enjoyed Frank more. While Black has more of a driving feel, Frank has more of an easy feel to it. Her voice, while still commanding, is a bit more soft. On Frank, she sounds more like a soulful Nellie McKay. It's easier to view her serenading patrons at some downtown bistro even as she belts out the word "fucking".
So that's Ms. Winehouse. Once again my love of all things Jewish has one more faggot to the fire (Not politically insensitive since it is a British post and a used the correct definition of the word, so ha). Now I wish I had one of those sold out tickets.Tracks 2 Check:
Frank - In My Bed; Stronger Than Me; Pumps; You Send Me Flying
Back To Black - Rehab; You Know I'm No Good; He Can Only Hold Her; Addicted
Wednesday, April 11, 2007
Moving Pictures: Charlotte's Web
Working with children can have unexpected benefits. One of these includes exposure to media you naturally would not have sought out. Specifically for me this means I get to watch Drake & Josh and Class of 3000 without guilt in the guise of supervising the young ones. So one more opportunity last night when I was the lucky staff sent to go see Charlotte's Web.
Oh I remember reading this book around 7 or 8. My little paperback copy I got from the school's book fair was well worn when I was done with it. A chapter or two before bed all about friendship, loyalty, and death. Quite an enjoyable time.
The movie stars this generation's Shirley Temple, Dakota Fanning. Her understanding of the craft of acting is somewhat creepy. She is just so natural in her roles it is a tad disturbing. I guess she should be that good rather than wack. But man it's weird. Anyway she does a tour de force as Fern and the effects are particularly engaging. At times the pacing was slow, but the movie achieves its mission at reaching people's hearts and keeping the kiddies engaged. There are even a couple sections for the guardians of the children with some silly adult voices for animals, including Steve Buscemi as Templeton the Rat.
So if you have to babysit some child over 7 or 8 some day, this is a worthy pic. Everybody wins.
Oh I remember reading this book around 7 or 8. My little paperback copy I got from the school's book fair was well worn when I was done with it. A chapter or two before bed all about friendship, loyalty, and death. Quite an enjoyable time.
The movie stars this generation's Shirley Temple, Dakota Fanning. Her understanding of the craft of acting is somewhat creepy. She is just so natural in her roles it is a tad disturbing. I guess she should be that good rather than wack. But man it's weird. Anyway she does a tour de force as Fern and the effects are particularly engaging. At times the pacing was slow, but the movie achieves its mission at reaching people's hearts and keeping the kiddies engaged. There are even a couple sections for the guardians of the children with some silly adult voices for animals, including Steve Buscemi as Templeton the Rat.
So if you have to babysit some child over 7 or 8 some day, this is a worthy pic. Everybody wins.
Saturday, March 24, 2007
Notes: Repeat Song of The Day
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)
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)
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
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