The In Crowd

It’s been a tough two weeks around my crib. Internet is acting a fool…or some related apparatus is. Whichever the case, my access to the WWW has been limited and unpredictable. I feel like one of my Constitutional rights is being violated here. I’m not sure how the Founding Fathers would have anticipated the Web, though.

At any rate, I feel like I’ve relegated to the Dark Ages. As far as I’m concerned, the Earth is flat; and the epicenter of the universe. That’s how I feel about music right now. Being that I refuse to listen to the radio, the internet has, for several years now, been my primary source for reading about and listening to new music. I DID actually try to listen to the radio today while I drove to a meeting…I made it through about 17 seconds of what I presume was a Lil’ Wayne song featuring some up-and-coming crooner who I don’t know about.

I don’t know where to start. I’ve spun through my ATCQ discography this week. I still maintain that Erykah’s New Amerykah is the hottest album of 2008. Max Kelleman of ESPNRadio (one of my other brief radio stops today) talked about Mobb Deep as “Shook Ones” played in the background. Him and whichever guy hangs in the studio with him curtly discussed what one has to do to be an “official Queens Bridge murderer.” Good question Max.

Okay. So new music. I just purchased Kidz in the Hall’s The In Crowd. I’ve yet to listened to it. Based on their first album, School Was My Hustle, and the two “mixtapes” that hit the internet, I’m looking forward to getting into this. Re School Was My Hustle - honestly, while I like it, only a portion of the album has any replay value for me. I’m hoping their second offering shows some learning/growth from their debut. I think Double-O has it in him to be a GREAT producer. Anyone who has copped it, thoughts?

CLE @ BOS. I’m out.

Peace and happy listening. Here’s to me sorting this internet out.

NOTE: I was just reminded that Al Green’s Lay It Down drops this month!

UPDATE, 05/08 - “The Black Out” is bangin’ inside my ear drum right now.

Spring Mix

Just a brief list of tracks I’ve become cozy with:

1) Tanya Morgan - “Waiting for You,” Tanya Morgan is a Rap Group - Soulful production. Entertaining tale. Ilyas continues to come up with the hilarious verses/delivery. Although, I am underwhelmed with the other TM mix that came out this year, Tanya Morgan presents: Beat Thieves 2, Tanya Morgan is a Rap Group is one of my favorite 2008 releases; I’m really looking forward to their next album.

2) Buckshot f/ Talib Kweli & Tyler Woods - Hold it Down,” The Formula - 9th Wonder taking it back to The Listening days on this. I’m nervous about The Formula, however. Through a few previews, I’ve noted a handful of tracks that feature a female singer on the hook who can’t sing/sounds like she’s 12. What’s the deal with that? (Check De La’s “Much More” feat. Yummy from The Grind Date to get my drift).

3) Kenny Segal f/ Abstract Rude, Aceyalone, Busdriver, Dr. Oop, & Nocando - “Backyard BBQ,” Platinum Dreams - Platinum Dreams is a mix released from 88-Keys, presumably as a primer for the release of his Death of Adam project (due out soon I think). It’s a potpourri of artists, instrumentals, etc. I love the guitar sample in this. Reminds me of something that would have been on ATCQ’s Beats, Rhymes, & Life. And, Aceyalone is awesome.

4) Kidz in the Hall - “Work to Do,” Geniuses Need Love Too/Kidz in the Hall & Mic Boogie Present: Detention - Subtitled Obama ‘08. I know this technically came out in 2007, but it’s a dope track.

5) Black Spade - “Evil Love,” To Serve With Love - Chopped up beat. Black Spade sings and raps his way through this love gone wrong plot, “Why do we make up just to break up like this beat here, here…” His stutter delivery is reminiscent of Dilla. A great track off a great album.

6) 100dbs and Ryan O’Neil - “She Got a Body,” The Adventures of The One Hand Bandit and the Slum Computer Wizard - Again, this album/track came out in 2007, but I love this track. Nothing groundbreaking as far as the story goes, think Mos Def’s “Ms. Fat Booty.” 100dbs’s production is solid through the album. I love the subtle horns and keys on this one.

The Tree of Music

Eddie Gale - Eddie Gale’s Ghetto Music, 1968 Blue Note Records

Insight and ancestry. Two inter-related concepts that highlight the importance of the oft-cited “knowledge of self.” Insight and ancestry also provide context. Within music, insight and ancestry have helped me broaden my tastes and musical aptitude. As such, I think it’s important to occasionally climb down hip hop’s family tree and explore its roots.

I’ve just recently stumbled upon Eddie Gale’s Ghetto Music. This is certainly one of those albums that flawlessly recapitulates the form and movement that constitutes great music; similar to the more renowned works of John Coltrane, Fela Kuti, or Sergio Mendes, to name but a few. Reminding myself that I’m still learning to listen to jazz, a few spins through this album has the feel of timelessness, should timelessness be an emotion. With its 1968 release date in mind, it is certainly reminiscent of a time when free form in music paralleled the free ideals that echoed throughout the late 50’s and 1960’s. For example, the use of a choir in the opener, “The Rain,” and the closing “The Coming of Gwilu,” provide a soulful demonstration of people and unity, a subtle, if manufactured, symbol of the civil rights movement. I was impressed to read in this 2004 review that Eddie Gale’s Ghetto Music enlist 17 artists: from Eddie Gale on trumpet, steel drum, Jamaican thumb piano, and even bird whistle; his sister Joann Gale on vocals and production (”The Rain”); through a slew of other singers, horn players, and bassists. This album is truly a lesson in unity.

With all those cooks in the kitchen, you may think Ghetto Music may sound disconnected, especially with all the sounds and styles that Gale utilizes throughout. For example, “Fulton Street” is a seeming celebration of a community comprised of different people, or sounds. With the choir chanting “Fulton Street!” and Gale employing an all-orchestral attack as he leads on trumpet, its punctuated toward the end with bass and drum solos, before the choir and orchestra join hands again.

One of my favorites of the five track set is “The Coming of Gwilu.” It begins subtly, with the bird whistle, followed by what is presumably the Jamaican thumb piano, and a flute solo, before the drum- and bass-lines move in. The choir comes in with a classic call and response delivery; finally Gale and the other horns join the procession. “The Coming of Gwilu,” conjures an image of a forming parade: beginning with the whistling bird, floating down a street; it alerts the next marcher, who runs out of his of her house; the flute is alerted to the parade, and runs out of his or her house to join…and so forth and so on…until the entire orchestra (all 17 artists for all I know) are joined together, signaling the coming of Gwilu…down Fulton St. perhaps. Why not?

The aspect of this album I enjoy the most is the interpretive value it holds. A collection of so many artists and sounds is bound to be subjective. For me, it’s the celebration of unity. A poignant message in 1968. A message that has experienced a rebirth in 2008. And such is Eddie Gale’s Ghetto Music: dated on one hand; timeless on the other. I’ve searched the net for reviews of this album and have found very few, including the one I’ve linked to above; check here for a comprehensive look at the Eddie Gale - he’s as essential as his music as the people he’s worked with span the musical world. I think the listening experience of Ghetto Music can lead to some great interpretations. Feel free to share your own.

Two closing notes. First, the album art is great. In 1968, was there a more powerful image than a unified procession, with dogs in tow? Secondly, this album reminds me of Max Roach’s We Insist (Freedom Now Suite) from eight years earlier. The diverse sounds and inspiring unity they produced parallels Ghetto Music.

UPDATE: Check this review out as it also covers Gale’s follow-up, Black Rhythm Happening.

Classic 9th

By now, I’m sure most of ya’ll have heard Buckshot and 9th Wondra’s “Hold It Down” (off their upcoming The Formula). If you haven’t, I apologize. I’ve been trying to post the video here for the past 30 minutes to no avail. Kyle, you on top of that? Anyway, I’m going to cheat and just throw the link up…here (NahRight, represent).

I’ve been playing this track since I heard it on the Mic Boogie/Kweli The MCEO Mixtape. I didn’t have the wherewithal (or arithmetic) to put 2 & 2 together and realize this would be on The Formula.

At any rate, I’m feelin’ 9th on this beat and looking forward to Buckshot and 9th part 2 (I thought Chemistry was real dope). Keep up the good work gentlemen.

Thoughts?

Gilles Peterson’s “Winners of 2008″

…very quickly, I just wanted to drop a link to this week’s Worldwide show, where Gilles Peterson points out some of the best tracks from the first part of 2008.

Tracklisting:

1. Kenneth Bager – Fragment 1 - Music For Dreams
2. Quiet Village – Pacific Rhythm - K7!
3. Jamie Liddel – Rope Of Sand - Warp
4. The Invisible – Spiral - Accidental
5. Portishead – Plastic - Island
6. The Roots – Rising Down
7. Outkast feat Raekwon – Royal Flash - La Face
8. Jay Electronica – Victory of Mine - Control Freaq
9. Erykah Badu – Soldier - Motown
10. Erykah Badu – Twinkle - Motown
11. Erykah Badu – Telephone - Motown
12. Erykah Badu – Me - Motown
13. Roger Robinson – Prayer for Angry Young Men
14. Catalyst – How Bout Us
15. Kissy Asplund – Phone Call
16. Raheem Devaughn – Marathon - Jive
17. JAM feat Jose James - Jazzy Joint - Victor
18. Sarah Vaughn – Mystery Of Man - Edit
19. Benjamin Herman – Theme - Roach
20. Carlos Nino – Find A Way
21. 2BO4 – Shadowland (01:00)
22. Neil Cowley Trio – Little Secrets
23. Benga – Zero M2 - Tempa
24. Martyn- Broken - Revolver
25. Ramadan Man – Carla - Soul Jazz
26. Kode 9 Vs Badawi- Den of Drumz - Roir
27. Headhunter – Locus Lotus - Initiate
28. Elemental – Blob - Runtime
29. Marcel Wave – Holton 47 - Freerange
30. Henrik Schwarz – I Exist Because Of You - Nanny Tango
31. Afefe Iku – Mirror Dance
32. Italoboyz Vs John Coltrane- Bahia - Mothership
33. Jose James – Desire (Moodyman mix) - Browswood
34. Quality Control – Slippin
35. Yaw – Where Would you Be
36. Rosie Dame – Morning Light
37. Eric Lau – Let It Out - Ubiquity
38. Sunburst Band – Turn It Out - Z
39. Real people – Rise - Papa
40. Lizz Wright – This Is - Verve

Hip hop for President

In case anyone wondered if Barack would approve a hip hop mixtape that endorsed him for president.

Hip hop is not just a mirror for what is; it should also be a reflection of what can be…imagine communities where we’re respecting our women.

“On behalf of the great state of Illinois, the land of Lincoln…”

Word on the street is there is an “Obama for President” mixtape in the works. Word?

I wonder if this will be the authorized mixtape.

Might this be on it?

UPDATE: Ivan, as usual, is already up on this.

Tanya Morgan is a rap group

I really enjoy perusing hip hop blogs to see what everyone is listening to; who likes that album, track, beat, emcee, etc. Since the Tanya Morgan/DJ Soul mixtape, Tanya Morgan is a Rap Group, has hit the web, I’ve been surprised at the little I’ve read on it. I’m still spinnin’ New Ameryah, and of late, have been going through my De La discography; but Tanya Morgan is a Rap Group has really been a speaker hog. Their full length, Moonlighting, was certainly in my top 5 of 2006. And, while this mixtape is an amalgam of sorts, representing old TM, random tracks/cameos, and presumably some tastes of TM to come, I think it’s one of the better listens out right now. I know I don’t live in a vacuum - hence, my suprise at the little blog space I’ve found sharing thoughts on TM. I’ve read quite a bit on Guilty and eMC (since the latter’s official release, even more so). I’ve had two questions:

First, is Tanya Morgan is a Rap Group kind of overlooked because it is a mixtape, and not an “official” release? I can see this happening (or, are listens too wrapped up in Ode and The Show to notice?) I tend to categorize mixtapes differently than LPs; but, I think TMRP is just that dope! Secondly, are people turned off of TM because they’re seen as “hipsters?” I never thought about this, but I have seen some bloggers express that they’re turned off by the “hipster movement.” I was 10 when 3 Feet High & Rising came out, so I wasn’t privy to real-time discussions on that album; But, as afterthoughts years later, I do recall a similar critique of De La Soul. De La responded by titling their sophomore release, De La Soul is Dead, as a humorous answer to the hype around 3 Feet. Hence, I guess this contemplation has spawned a other questions:

Is there a “hipster movement?” If so, does it have a definitive shelf life? If TM are hipsters, who joints them in their movement? (they need allies, no?) Are they trying to take over the world? Or are they trying to save the world? Are they entwined in a rivalry? Perhaps hipsters are affiliated with backpackers? How do hipsters feel about the rising gas prices? Do they not rhyme about watches and cars because they can’t afford them? Will they have their own video game? Who would play Von Pea in a movie? Just because Illyas got locks, does it mean he’s Jamaican? Who’s more likely to back their movement: Obama or Hillary?

I know, I’ve given you a lot to consider. It will help you if you put your Tanya Morgan playlist on; be sure to include any Von Pea you can get.

Enjoy.

Getting Riches…

About two months ago, I had the following to say about Guilty Simpson’s “Getting B***ches”:

“Getting B*****” is one of the last highlights from this offering. I must admit that Denaun Porter has become one of my favorite producers in the last six months or so. His beats are so crisp and loud, yet manage retain the critical amount of grime that keeps them street-worthy. His works also possess a soulful quality that is hard to describe–though it is undoubtedly aided by Mr. Porter’s unique, falsetto singing voice that finds its way onto his tracks. Guilty is dope here. This beat provides the busy, noisy, and dirty playground that Guilty Simpson needs…

Two months later, this is still one of my favorite tracks off an otherwise underwhelming LP. I’ll say it again: I think it captures Guilty and Mr. Porter at their respective best. Denaun Porter is one of the dopest in the game right now. I had thought that this track would make a good single, and it still might; but it wasn’t on the first 12″ ; however, they did release a video for “Getting B***ches” last week. Peep it:

The Economics of Sampling…

This is certainly an interesting issue, politically speaking, because there’s no big bad villain on either side for people to rally against and take sides. It’s fan vs. his favorite musician; techie-information-ager vs. the anti-establishment artist that supplies the soundtrack to his web-surfing and blogging.

So, to follow up on Pete’s post, here’s my take:

In my reading of Madlib’s comments, he was basically saying, “If you like our music, stop posting those samples, because we’re going to get hit with lawsuits and have to stop making this type of music.”

Every Google-able blog post incrementally increases the chances that an enterprising lawyer or corporate research department latches on to an uncleared sample, and files suit. Sure, the information is all discoverable on the net, but that’s why this is the information age and people pay money for other people to organize all that information into an easily-digestible format. The organization of this information is vital (and ironically, copyright-able, as well). These blog posts are doing that work for free.

Whether you pay up front by clearing the sample, or at the back-end by settling a lawsuit, sampling can be expensive for artists like Madlib, and indeed cost-prohibitive.

That is the simple economics of this game, from what I understand. If these artists complied with the strict letter of the law, they couldn’t afford to make those beats.

Ivan actually concedes this point, and ultimately agrees to cease the behavior that Madlib complained about:

Point #5: Should Underground Artists Get Leniency on Copyright Laws?

I mentioned this argument before, and I think it’s one of the the most grounded and fair-minded of them all. Here’s a board member who expressed it quite wisely:

Well if you don’t want to hear anymore classic underground albums come out in the future then keep doing what you’re doing. Realistically there is no way they could have cleared all the samples on Madvillainy, and Lib is obviously trying to prevent any lawsuits now that would both effect him financially, and potential listeners aurally as the album would be withdrawn from stores. You state that you believe all samples should be cleared, but if that was the case 90% of the great underground albums wouldn’t exist.

This leads me to the conclusion that I will now no longer complete sample sets of albums by underground artists such as Madlib. Fair enough people? See? I can be reasonable!…

Now, he goes on to address the various other (sometimes immature) comments made on his blog, and engages many of the faces of this issue as moral and legal matter, but I wanted to highlight the above passage, just so that it does not get lost in cacophony of unrest. It’s understandable to want to defend one’s self under these circumstances, but we shouldn’t lose sight of the issue: assuming he meant what I said above, Madlib was probably right.

In point #5 Ivan expresses an entirely rational position that I actually share. I think it acknowledges that, whatever one thinks about the morality of Madlib’s behavior vis a vis the original artist, and the appropriateness of a fan’s ability to discuss that sampling, as fans, we wouldn’t want to do anything that would make it no longer economically feasible for Madlib to make his music. That risk is real, and the decision on the part of the fan is cold, and rational. So, if you value Madlib’s contribution to the art form over the satisfaction that you get as a fan from public discussion of sample credits, you realize that these blog posts might not be a good idea.

After so many words have been written on the topic, Ivan may be disappointed to see such an binary explanation, but I really think that the issue forces these writers to choose what is most important to them: their sample heavy blog posts or Madlib’s music.

I don’t think that Ivan’s work is wrong in any moral sense. Far from it–it’s excellent. After thinking about the issue for a while, I just think it’s unwise, in light of the above.

The real culprit is the law (“Redirect the anger against politicians and judges, very clever, Kyle!” –Ed.). But until the law changes, the hip-hop community has to get by, and we need good music like Madlib’s to keep the art alive.

For what it’s worth, I think that an enterprising lawyer from our generation will one day convince a judge that sampling is form of “fair use”, making permission from the copyright holder unnecessary. I’m sure this has been argued unsuccessfully in the past (I haven’t done the research), but I’m hoping that as the hip-hop generation populates the legal culture, our attitudes might change, and make this argument more palatable. This might actually become a research project for me.

But if it happens, it is going to be intelligent, articulate folks like Ivan that make a difference… and this discussion is only priming the pump for that future endeavor. Let’s make it happen.

PS: Many of my references to Ivan and Madlib were merely shorthand, as this debate involves many other similarly-situated parties; pardon my laziness, Ivan.

Killa Tape Interlude…

Pete, did you peep the “Killa Tape Interlude” on the new Tanya Morgan mixtape (track 8)?

That’s why I have love for these guys. They make the music that we would make if we could make music.

Sampling

I think some fellow bloggers have done a good job of elucidating the sampling debate given some shine by Lord Quas’s apparent request for the removal of a compilation of original samples for Madvillainy. Hiphopisread has been on the story like Fox News on a car chase in Los Angeles; I’ve enjoyed perusing it during my morning blogroll. (Side note: some of the “blogger” comments he imbedded in his post are quite funny). Being as Kyle and I have often had this discussion in the past, and also employed the oft-quoted Primo, “…that’s some greedy ass, fake bull$hit…” I wanted to add my nickels.

The researcher in me accepts most of the sentiments shared by Ivan and some of his readers. There are few experiences that get me more amped than listening to a track and having that “A-Ha” moment that links a track to some dusty song from three decades ago. I’ve often, in my excitement, dropped some of my friends an email, something to the effect: “Yo, check [Track Title] by [Artist]; you hear that vocal sample/bassline/etc.? Yadda yadda yadda…”

As such, my interest in compilations such as the aforementioned Madvillainy samples, or websites that curtail my research, e.g. SampleSpot, certainly peak my interest and have serviced me well. And I have sought out sites that provide information on tracks; I own several compilation albums, e.g. (and perhaps ironically) DJ Premier Salutes James Brown, which features original James Brown tracks on one disc, with Disc 2 featuring hip hop songs that sampled said tracks…mixed by Primo by the way (as per my sources).

In short, the hip hop fan in me appreciates the access to sampling information, whether it’s in the album’s credits or not.

With that said, I can also align with the ideas that Lord Quas, or Madlib, or whoever else may posit regarding the act of posting/promulgating sample origins. Hear me out.

Hip hop producers have managed to make great music AND clear/cite their samples. Both activities can coexist in a “financially perpendicular” relationship. ha

However, I can understand, from an artist’s perspective, why they’d prefer to have the samples remain obscure…or at least not available in a collective union. It MAY challenge the freedom they have in making the beats we love so much. I understand the gist of sample clearance. From that, I can derive a sense of what an artist must go through when conceptualizing a track/beat/album - it can be quite daunting I imagine. And while I mean no disrespect to the sampled artists, I don’t think clearance should be a hindrance to the creation of an amazing album, say…for consistency sake, Madvillainy.

I know, it’s really an argument one can hardly push through too easily.

Okay, the grand finale.

From an artist’s perspective, I can certainly understand Lord Quas’s request (the manner and reason of his request are another thing). While I don’t wholly agree that identifying samples hurts hip hop, I think it walks the fence of hip hop capitulating to “the Man,” or sample clearance regulations. As such, it almost defies the spirit of what backs the revolutionary history of hip hop. Despite the Souljah Boys and Rick Ross’s of the world, I still see hip hop as the music of the people; the unity, soul, and creative threads that tie its listeners together. (Sorry, I’ve been distracted by Duke winning…talk about snitches…) In a way, I see sampling as aligning with that notion, and allowing artists to spin some sonic yarn that I, in NJ, can feel, as well as dude in Texas, L.A., Chicago.

NOTE: The above are the thoughts of me, and do not necessarily, or in its entirety, reflect the thoughts of other Trading Tapes contributors. But, if Kyle agrees with what I’ve shared, he damn well better cite me.

UPDATE: Check hiphopisread for an update on the debate, and another insightful perspective.

Busy-ness

I know, it’s been a while. I’m still bumpin’ New Amerykah and The Adventures of Seymour Liberty - always important, for me at least, when an album still has spins after the first few weeks. Usually, when I get an album I’m diggin’, I’ll play the crap out of it for a week or two; then, via natural selection, the album will get sorted into the proper hierarchy. For example, Mobb Deep’s Infamous received hella spins when I first got it…and it has pretty strong replay value to this day. Similarly, Common’s Like Water For Chocolate still has spinning influence, or spinfluence, 8 years later (or 7.5 years); compare this with Com’s follow-up, Electric Circus, which I gave plenty of spins when I first got it - now, usually I’ll pick-and-play tracks intermittently.

Market experts predict that EB’s NA will have strong spinfluence - I’m still bumpin’ “Me,” “The Hump,” and “Soldier on the regular. Similar with Coultrain’s ASL (album’s tempo and arrangement reminds me of Dwele’s Some Kinda…)

When I posted my big review of Erykah’s New Amerykah, I think I may have overestimated the commercial appeal. Perhaps it’s the influence of reading others’ reviews, but I think this album may be too layered for commercial staying power. Listen, Erykah’s no Nitchze, but some may not be patient enough to listen to Erykah’s stream of consciousness, dream-like flow. I was glad to see New Amerykah in the top 10 (debuted and peaked at #2; currently #6) after her first week nonetheless. I tend try not to measure an album by sales, but naturally, I support artists I like getting paid.

In addition to the previously noted, I’ve also been bumpin’ my BDP discography. Big ups to hiphopisread for his sample-related posts; listening to BDP is very similar - is KRS-ONE the most cited emcee in hip hop? Or Rakim? Anyone do that research? “Stop the Violence” off By All Means Necessary is where it’s at - relevant 20 years later. And how contemporary does “Necessary” sound? Relativism and racism under the scope; “Yeah, I’m making some money; he’s making some money/but none of these are necessity/what I find to be a necessity is/controlling a positive destiny.”

And finally, I just grabbed the new Tanya Morgan mixtape, Tanya Morgan is a Rap Group, here. I’m a big Tanya Morgan & Von Pea guy so I’m pretty excited to peep this. Anyone check it yet? Thoughts?

One.

EB

I was perusing this New York Times article centered on Badu and NA, and this inset picture is so bad ass, I had to post it. BadAss.

It is Erykah’s Amerykah

Erykah Badu - New Amerykah, Pt. 1 (4th World War), 2008

I’ve had New Amerykah on blast all week. I’ll say this about Erykah: so damn consistent. I was thinking tonight as I drove home from happy hour with some co-workers, bumpin’ “Me,” a sign of Erykah’s consistency is that I cannot decide which of her albums I like best. Baduizm. Mama’s Gun. Worldwide Underground. New Amerykah, Pt. 1 (4th World War). All strong from front to back, that it’s tough to find anything that would separate one from the other. Baduizm has a soulful, fresh vibe to it. Mama’s Gun features an acoustic, jazz influence. Worldwide Underground has Erykah extending her boundaries a bit. And New Amerykah is an amalgam of them all.

Admittedly, with Erykah I always remind myself that some of her subtle themes may take a while to catch onto, e.g. “So I salute you Farrakhan, cause you are me/before I end this dream, before I take one for the team.” I don’t doubt this is the case with NA. But sonically, this album is incredible. Upon my first few listens, I thought it was extended interludes, punctuated with songs. But, Erykah and her musically-blessed production team are on some next $hit here. Several of the tracks feature more than one arrangement, with songs such as “Master Teacher” and “The Hump” switching up while in progress. I’ve always been a fan of that - it reminds me of a free associative jam session. And a quick note regarding the artists she had working on this: ingenious on her part. Madlib; Karriem Riggins, Roy Hargrove, Sa-Ra, Questlove; James Poyser; 9th Wonder; Roy Ayers; Georgia Anne Muldrow (or as I like to call, the female Madlib). As individuals, they obviously had the albums collective sound in mind. As many different arrangements flow in and out of the album, its sound is seamless.

“The Healer,” hip hop anthem of sorts, implicating the wide appeal that hip hop cradles within its hands; akin to the binding nature of religion, but Erykah recognizes that hip hop span across religions. Madlib. Check. Madlib also does up “My People” as Erykah hips up the now famous Eddie Kendricks chant. As previously noted, “Soldier” is one of my favorite tracks. That flute melody is hypnotic (and reminds me of the flute on Hi-Tek’s “Music for Life” from Hi-Teknology 2: The Chip). Conveys similar mood.

“Me” has been coming on strong over the past few days. This reminds me of something that would have been on Mama’s Gun. I love the clapping percussion; bassline is jazz, undeniably; and the horns. I’m a huge advocate of horns, and the way Hargrove dances them within the beat is great. Substance wise, “Me” may have garnered the most attention, due to Erykah’s open nod to Nation of Islam leader, Louis Farrakhan, (whom has recently been rejected and denounced by Senator Obama) but as this article, from the Dallas Morning News suggests, she’s got “me” in mind for her dubious dinner guest. Politics aside, the music backing “Me” is quite a treat.

“Master Teacher” is one of the most interesting compositions on NA. Speculation was abound that Erykah and Georgia Anne Muldrow would be a dynamic duo (check “Fly Away” from Sa-Ra’s The Hollywood Recordings. And I think this Georgia produced track proves that. With the premise centered on the knowledge that nobody knows everything, Georgia’s convoluted melody and thumpin’ drums are ideal for both her and Erykah’s unique deliveries. About half way through the track, a soulful bassline takes over and Erykah gets contemplative, dreamily singing of sleeping babies, sunsets, and lovers.

The Questlove and James Poyser contribution, “The Hump” is Erykah’s vocal zenith of NA. Vocally, I think this is reminiscent of Baduizm’s “Next Life Time,” or Mama’s Gun ’s “Kiss Me on My Neck.” Initially, it sounds like an “I Want You” sequel, but turns out to be a commentary on the relationship between a user and her drugs. It’s almost arranged like “Green Eyes” (MG), broken into steps toward drug abuse recovery - she thinks about what’ll it be like if she can get off and how the drug rules her world; then spends a few bars rationalizing her use, “I never dun dope to cope/only smoke a joint or two…I know people do it day and night, night and day…”; finally, she throws up her hands, and wants to be done, “Lord knows I’m tired of this dope.” Classic Badu tale. “Telephone” continues the contemplative vibe, with Erykah singing a nod to those who’ve passed on. I’m not sure how accurate they are, but the internet is swarming with stories that this song is based on Dilla’s mom telling Erykah that during Dilla’s final days, he would be in a sort of hallucinogenic state, talking to ODB about giving him directions to heaven. I’ve read nothing to substantiate this, but it’s a cool concept nonetheless.

It’s been five long years between Erykah releases, but as usual, the wait is well worth it. And with her indicating that she has NA, Pt. 2 set for a release later this year, 2008 is looking bright for soul (don’t forget to check Coultrain). New Amerykah continues the consistency that we’ve come to expect from Badu. As I stated earlier, you can never discount her substance, e.g. “The Hump,” and Erykah’s dynamic interpretation of her world through her music. In my opinion, she remains one of the few artists who can pack so much depth into a commercially viable album. Musically, this album is on par with Mama’s Gun, which, in turn, I held in the same esteem as D’Angelo’s widely acclaimed Voodoo. Kyle, I think our soul music veggies have found their irrigation.

Revisiting Guilty

In January, I had this to say from leaked bits of Guilty’s Ode to the Ghetto (Stonesthrow, due out 03/25):

Lyrically, I think a Guilty album is what I need to get into his style. Thus far, he’s been a cameo guy who has impressed me at times…

It’s tough to think how Guilty will be on an entire album after mainly knowing him from verse to verse. It was very similar to Percee P - the guy went 20 or so years with random tracks and a number of cameos, and then boom, has entire album. I think it worked, although I think his potency waned as the album progressed. Guilty certainly has Percee’s grit; does he have anything else? I’m interested to see if Guilty’s rhymes/style have LP endurance.

It’s been a month, and we still have another month before Ode sees its official release, but I’m starting to see more and more “previews” on the net. I suppose it’s not surprising that the sentiments have varied. I’ve read some pretty impressive thoughts on it, and others that feel Stonesthrow has dropped the ball on this project. The world of the blogs.

The good news. You may attribute it to the axiom - familiarity breeds content - but I’ve remained warm to most of the production on Ode. But, even this has a glass-half-empty interpretation, I suppose. I think of it this way: when I first saw the production credits, I straightened my glasses and let out an “ooh wee.” But at best, from book end to book end, Ode to the Ghetto’s production is just as I felt, warm. With Dilla, Madlib, and Black Milk, it should be hot; that’s what the “ooh wee” anticipated at least. Some of my favorites include: “American Dream,” “She Won’t Stay At Home,” and “My Moment.” I agree with Kyle Re. “Kinda Live” too. I alluded to it in January: “Lately, it seems to me that Madlib’s beats are becoming a bit more formulaic,” and to a certain degree, I think that extends to most of Ode. I give the production a B-.

The not bad, but not good news. I asked myself how Guilty’s cameo grit would pulse throughout an entire album (see above). Lyrically, I get the impression that Guilty isn’t comfortable when changing roles, e.g. going from grit to for ladies. Listen, most of the cameos or random solo joints he’s had over the past 4 years, I’ve loved. When given a knockin’ drumline, he can sting like bee with the best, e.g. “My Moment” & “Footwork”; but I don’t think he can float like a butterfly, e.g. “I Must Love You,” which beat I really like, but Guilty comes off flat (imo). Over the course of an entire album, Guilty doesn’t provide (me with) enough fire, and he melts when not over a bangin’ beat.

On the one hand, part of me doesn’t want to come off as a finicky blogger who unnecessarily breaks an album down, kind of like token sex or violence in a movie. The other part of me thinks that if it’s striking me as such, I should speak my mind. After all, that’s why I blog. I commented to Kyle when he made his original “review” of Ode to the Ghetto that he shared much of what I thought, while I lacked the cojones to say it. So be it. I’m not afraid to concede that.

Ode to the Ghetto is still going to have its place in my Stonesthrow discog. It just won’t be up with Champion Sound, Charizma & PB Wolf’s Big Shots, Madvillainy or the UNQ albums; it’ll fit nicely with MED, Roc C, and Wildchild.

Breaking News: Erykah’s Amerykah

Check it. I have a few moments here - but will try and get a lengthier post up later - to follow a scoop on Erykah Badu’s new LP, New Amerykah, Part 1: 4th World War. Word on the street is that it has indeed hit the interweb. Dead ends are abound. But, I HAVE been able to check a few tracks, in addition to “The Healer” & “Honey,” the latter of which has grown on me. So, I’m bumpin’ “Soldier” right now, produced by Karriem Riggins. Heat. Got Erykah on some positive thought of mind - strong, measured drums, floating flute (?) - Riggins punctuating the track with his “Yeah,” “Ha,” & variations of “Ugh;” I listened for a “Let’s Go,” but alas, there is none. Erykah’s got a movement in mind for this: “We goin’ keep marchin’ on, until you hear that freedom song/and if you think about turnin’ back, I got that shotgun on your back…everyone knows what this songs about…” I’m feelin’ this for sure. And it also reminds me that Riggins is on Stonesthrow. Just a bit a foreshadowing.

Valentine’s Day/Coultrain

I was inspired when Peanut Butter Wolf put together a Valentine’s Day mix last year, which featured some real classics, e.g. Bobby Womack’s “How Could You Break My Heart,” and The Jacksons, “Blues Away.” Despite the expectations days like this hold, I choose to honor the underlying sentiment: the feelings of admiration and affection (insert studio audience, “Awww.”) So, that’s what I plan; a few choice selections that are great for days like today.

- Michael Jackson, “Lady In My Life”/Thriller - I know, an album full of #1’s, but often the least mentioned track off that album, in my opinion; this song is what the 90’s New Jack Swingers and current sap singers strive(d) to be like. “Lady In My Life” has it all: the bridge, the break down, the vocals…Michael takes no prisoners on this track, and whether he used this track to his advantage or not, there is no denying this song is a romancer. “I want you to stay with me…” It’s a wrap.

- Duke Ellington, “In A Sentimental Mood”/Duke Ellington & John Coltrane - I first heard this song when I was about 12 on The Cosby Show (I know I’m not the only who heard it from Bill first). Back then, I thought jazz was “grown up” business, and wanted nothing to do with it…I just went back to bumpin’ BDK. However, over the years, I’ve become quite fond of this track, particularly as the jazz part of my brain matured. Ellington’s piano is melodic, and Coltrane on sax is too slick. Slick as a fox.

- The Isley Brothers, “Don’t Say Good Night”/Go All The Way - Come on now, it’s The Isley Brothers, true pioneers of my theory that if you can sing it, you can say whatever you want, e.g. “I want to see what you’re like in bed.” (See also: R. Kelly). I sense there is no need to fortify it’s Valentine’s Day value, but hey, ya’ll need something to bump after dinner.

- Curtis Mayfield, “Now You’re Gone”/Roots - Curtis was always great for the scorned/lost love tracks, and this is my favorite of the bunch. Mayfield’s Roots was chock full of drums heard here, save for maybe “Love To Keep You In My Mind,” but the horns, drums, bass - all accentuate Mayfield’s sorrow/relief here. Of course, the emotional lead weighing on Mayfield’s heart was made famous by 9th Wonder, (check “H.U.S.T.L.E.” from Murs’s 3:16 The 9th Edition) but this track is certainly worth more than a 3-second sample.

- Dwele, “My Lova/Movement”/Some Kinda… - Love them maracas. The trombone. Guitar. Let’s be real, Dwele kills this. The highlight for me is the end, which find Dwele in quite a bind: his other girl calls, while is other girl is makin’ him breakfast. Singing won’t get you out this, my friend.

- Stevie Wonder, “I Was Made To Love Her”/I Was Made To Love Her - I know, I’ve included this in a list previously, but this song can’t be touched.

- Coultrain, “Green”/The Adventures of Seymour Liberty - I actually just recently picked this album up ($6.99 + S&H), but have been bumpin’ incessantly for the past week. I actually meant to do a post on the album yesterday, but well, I had no electricity due to snow/ice. So this serves as my segue. “Green” is actually characteristic of the sound of The Adventures of Seymour Liberty - a taste of the old school soul; if you ask me, this song IS everything Stevie Wonder IS. I’m convinced he used a Stevie track for this, but as yet, my research as turned up very little. I really dig the color analogy, “And if another voice catches your ear, you know I’m green…because no other is for you, you’re the yellow to my blue, together we make green.”

I tried my best to my homework on this guy/album. Other than the fact that he’s going to be the featured artist on the upcoming Platinum Pied Pipers album, not much is out there. Usually, the blogs are a good place to pick up on new artists, particularly ones not signed to a major. So, if TT is your first scoop on Coultrain, allow me to highly recommend…Seymour Liberty. First, it’s a great album because it matches his voice with production extremely well. Similar to guys like Anthony Hamilton and Raheem Devaughn, Coultrain has a “throwback” voice; he mends well with the older sounds that back most of the album. Contrast this with Devaughn for example, who’s voice I think is great, but I don’t always like the generic R&B beats he’s on. Songs like the aforementioned “Green,” and “Lost in Translation” make his sound difficult to place in time. Is it contemporary? More akin to Stevie’s 70’s albums? Even a ballad like “Lilac Tree” has a subtle Frank Sinatra feel to it, like Dwele’s “Some Kinda,” or Sinatra cover, “Kick Out Of You.”

“Endangered Species,” a reflective look at the role of black men in society, continues the old soul feel, borrowing the guitar and drums from the blaxpoitation era. It’s obvious Coultrain is a student of music and his sound interprets the styles laid out before him.

Back in October, Kyle and I lamented the lack of new soul, or rather the stale soul music of 2007. Coultrain’s The Adventures of Seymour Liberty is a positive sign that the groundhog has not seen its shadow, and fresh soul music is abound in 2008. (Erykah in 2 weeks, btw). I think it’s a must have. Hear for yourself at his myspace.

Dilla

Dilla dates have come and gone - I’ve spent a good amount of time perusing different accounts and write-ups over the WWW. I think this one (at Metal Lungies) is the most comprehensive, and really does a good job of putting Dilla’s role in hip hop into perspective; reader/listener accounts are great.

For me, I was enjoying Dilla beats before I knew they were Dilla beats. Admittedly, it wasn’t until Kyle gave me a mixtape (Kyle used to make the illest mixes…On cassette…Trading Tapes anyone?) the summer of 2000 with SV’s “2U4U,” that I was “officially” introduced to Dilla…or Jay Dee. Once that connection was made, past music, e.g. ATCQ, Pharcyde, Busta Rhymes, all made more sense. The drum patterns, the sampling. Stylistically unique. Sonically threaded throughout his work. Then came Common’s Like Water For Chocolate, which for many, myself included, represented a “new” Dilla sound; the same way I felt when I heard EB’s “Didn’t Cha Know.”

Back to “2U4U” - the simplicity of that beat was so new to me; I fell hard for that song - the stop-and-go flow (featured throughout Fantastic Vol. 2) was so on point for that track. Let’s face it, that album completely changed my perception of hip hop music. I had a cassette player in my ‘89 Ford Escort, and due to incessant rewind-play of that song, the cassette eventually got stuck in the player. It stayed there until I sold that car. To a large man with a large beard.

One of the “reflections” shared in that post from Metal Lungies indicated that the author wasn’t into Dilla lyrically (initially). Personally, I think he was the best lyricist for his beats. I guess it makes sense - Dilla was intimately involved with every nuisance of his beats, and at times, it sounded like he was less interested in “rapping,” and more considerate of adding more depth to the beat through his rhymes/delivery.

My Dilla discography is probably the prize possession of my music collection. It’s varied enough to match virtually any mood/situation. And seeming unique to Dilla, his beats are rarely dated. Bangin’ a track from 1996 is just as fresh in 2008.

Funny anecdote - I remember when the light went off in my head that SV’s Jay Dee was the “J. Yancy” all over Tribe’s Beats, Rhymes, & Life credits, I thought, “Wait, isn’t this the guy thought to have ruined Tribe?”

I never believed it.

It wasn’t until years later that I realized that Phife’s, “Slum Village gold still danglin’ in your ear,” from “Butter” was sampled by Dilla on FV2. (also sampled by Peanut Butter Wolf for Charizma’s “Jack the Mack,” from Big Shots…Just sayin’ is all.

BTW - I love(d) BR&L.

“Yes We Can”