A) Any release information on Mayer Hawthorne? That “Just Ain’t Gonna Work Out” track is great; I’ve been bumpin’ that as I did Darondo’s “Didn’t I” for days upon days.

B) In reviewing past posts, I realized that Kyle and I dedicated a lot of space to Guilty’s Ode to the Ghetto; a disproportionate amount for such a mediocre album. (That was over a year ago!)

Wow, it’s been so long since I’ve posted that the WordPress interface is wholly changed.

Believe it or not, Trading Tapes may in fact see a renaissance. Getting back to posting has required me to consider the reasons I’ve been away from it. Sure, time is always a viable excuse. It’s true, since school resumed (you’ll note my last post was 09/01/08, two days before classes started) my time outside of school has been slightly altered. For one, I thought that after applying some significant time on computer/paperwork (depending on the day), I naturally moved away from doing a similar exercise at home. Similarly, as my music posting decreased, so did my music blog viewing. There has also been a decrease in music listening. This I can’t explain so easily. While I think there have not been too many quality releases of late, that still doesn’t explain why I was not moved to post when Q-Tip’s Renaissance dropped, or Raphael Saadiq’s The Way I See It, or Plantlife’s Time Traveler, or N*E*R*D’s Seeing Sounds, or one of my favorite 2008 releases, Johnson & Jonson’s Johnson & Jonson; I could go on. The point is, there were a number of releases in the latter part of 2008 that should have moved me to post. They didn’t.

So, I guess there is no easy diagnosis, and no predictable prognosis for Trading Tapes. I am going to make an effort to listen to more music, e.g. less NPR and more music en route to work. I think that may have the best impact of bringing me back.

We’ll see.

Still awaiting the new Foreign Exchange.

Allegedly, Q-Tip’s Renaissance will finally see a legitimate release November 14. This, I’m sure will be updated again.

Black Milk’s Tronic. Has a slew of interesting guests, including Pharoah. Him on Black Milk beats is tough to beat.

And, while perusing the net, I came across this blog, which features a prominent disclaimer in the upper right corner (directly below the blog’s description). Check it out. Hilarious.

Finally, while I’ve been virtually nonexistent on the interweb this summer, I’ve been continually entertained, and informed, by Von Pea’s blog. I particularly enjoyed his explanation behind my favorite track off The Bridge, “Get Me Inside.”

As I get ready to go back to school, I’ve been trying to bookend my summer. Bookending always involve playing some dope music. I’ve been revisiting The Nonce’s World Ultimate for the umptheenth time (revisit my revisit), along with Down South’s Lost in Brooklyn (thanks to WTR for reminding me of this), and Dred Scott’s Breakin’ Bread. I put these albums on consecutively, and I have unbelievable beat, after dope beat.

Dred Scott’s funky beats are par for the course for 1994. Heavy with funk and jazz samples (check the beat and tale of the West Coast-sounding “They Don’t Know”). Scott handles all the production on this once-recondite classic (I think it’s more well known now, thanks to the blogosphere). I’m not sure why I didn’t know about this back then. Dred Scott’s beats resplendently parallel the beats of more notorious “Golden Era” producers, namely Pete Rock. And like Pete Rock, his music taste is incredible, and affords Breakin’ Combs with a constant layering of amazing samples. Many of these samples are, I’m sure, more well-known and recognizable now then they were in 1994 (again, thanks to the blogosphere), but I can’t help but think that had I heard this in 1994, I would have most certainly bugged out when listening to tracks like the opener, “Back in the Day,” and the closer, “Frankie’s Groove.” The latter is a jam-session instrumental, heavy on the piano and bass. And yes, Breakin’ Bread is also spotted frequently with all the horns one could want; see the aforementioned “Back in the Day.”

Dred Scott is comparably able on the mic. However, he doesn’t really have the presence or signature sound that many of his more popular contemporaries had, and I surmise that may have been a reason why Breakin’ Bread never found its niche. For example, some tracks have him sounding something like Brand Nubian, in both delivery and subject matter. For example, “Swingin’ From The Tree” has Scott doing his Sadat X as he delves into the many perspectives of black culture; in an indirect way of promoting unity, Dred Scott puts all people in a ship that is sinking as the differing groups fight to promulgate their way over others’. The story ends with everyone in the ship sinking together, in disunity. “Check The Vibe” is a Tribe Called Quest-sounding, laid-back track, complete with female singer on the chorus; for Tribe it was Vinia Mojica, while Scott employs Adrian Evans, whose debut album, Adriana Evans, Scott would lend lots of production to in 1997.

One of my favorite tracks is “They Don’t Know.” On it, Scott cooly talks of his skills. Of course, some fool in a club is bound to try and break the flow (don’t you hate when that happens?); in this case, it’s a blunted “fool” with “gold on the two front teeth.” After agreeing to a beat challenge, in which Scott puts his gear on the line, they shook hands, Scott “rocked it,” and walked away with “two gold teeth in his pocket.” That’s hip hop.

Breakin’ Bread, like so many albums from its period, plays amazing from front to back. Should you get your hands on this album, you’ll have a good hour of captivating and nostalgic beats, and lyrics that while not too heavy, are captivating and put most contemporary emcees to shame. In light of a what is considered lyrical content these days, Dred Scott shows how lyrics and flow were taken for granted back in the 90’s. This is particularly true when paired with the amazing beats that paint Breakin’ Bread.

I’m relaxing and listening to Jackson Conti’s Sujinho. I dig this.

And it reminded that once upon a time, I typed words, which reflected brief thoughts on Sujinho; I vaguely recall taking those words and through some miracle of modern science, posting them on the internet. I assume once they’re there, they belong to history, much like Honest Abe.

I really haven’t forgot about Trading Tapes; nor do I think Kyle has. It’s summer. What more can I say? I know lots of music has bounced between my ears since school ended and summer commenced. I did get into Dwele’s Sketches of a Man. It’s dope, if you haven’t copped it. “If You Want To” & “Vain” are currently my Dwele d’jour.

Summer’s a tough time to be sitting and blogging.

I’ll be around. Thinking of a post for Shawn Jackson’s First of All…, or maybe N*E*R*D or Dwele.

To be continued…

In the mean time…holla!

With the addition of a new network card, via a new computer, and the inclusion of an Apple Time Machine to my world, I’ve finally restored some normalcy to my own WWW. No more manipulating the rabbit ears to check my email.

My inconsistent WWW over the previous month has left me feeling a bit out of the loop. I’m not sure how accurate my own perception is, however. I’ve still managed to procure Tanya Morgan’s The Bridge, Kidz in the Hall’s, The In Crowd, Al Green’s Lay It Down, Jackson Conti’s Sujinho, and most recently, Common Market’s Black Patch War. I’d say that’s a pretty good yield for a month. Isn’t it interesting that there’s an apparent correlation between my WWW access and music acquisition? I can’t say I saw this coming in 1998, when I was still racing to Music in Your Ear on Thayer St. with my boy Skillz to cop Blackstar and The Love Movement.

Thanks to WTR for throwing that Common Markets track out there. I’ve been listening to Black Patch War for literally 24 straight hours. Sabzi’s production is a subtle throwback. Kind of reminds me of late 1990’s Shawn J. Period, employing lots of floating horns, flutes, scratches, etc. And RA Scion makes me think of Talib Kweli without the nasal congestion. Feel of album is akin to the contemporary-old school-feel goodness that has been coming out of the Pacific NW, see Blue Scholars & Ohmega W-W-Watts, Watts. (Note: I’ve also added Common Market, conveniently located on the WWW too).

Al Green’s Lay It Down. Talk about a throwback. Maybe I’m an ageist, but I usually don’t get too amped when old school cats come out with new albums. It’s a long story I suppose, but in short, it has something to do with the given, now-aged artist, attempting to contemporize their style in a new context. It’s a tough task. Or…maybe I am just an ageist…(or maybe I just have the bad tastes of Mariah Carey and Mary J. Blige in mind). Whatever the case, Lay It Down exudes the familiar Al Green of I’m Still In Love With You…30+ years later. Much of this credit of course is due to the man himself. His voice is as smooth as ever. Green’s adlibs are fresh. The man is soulful. The title track, featuring Anthony Hamilton, has Green all over the musical scale, but it works just as it did on “Call Me.” On the production side, The Randy Watson Experience (James Poyser & Questlove) continue to make amazing music. The backdrop they provide Lay It Down preserves Al Green’s soulful crooning. Some how they manage to capture soul of Green’s early days within a 2008 context. At points through Lay It Down, it’s difficult to date the song. That’s the definition of timeless.

Sujinho brings together Madlib and Brazillian drummer/percussionist Mamao, as Jackson Conti (their respective last names). Sujinho is Madlib doing his homework. This isn’t him simply diggin’ through some crates and putting a YNQ spin on some old standard, or concealing some 1964 drumline in some far-out, Quasimoto-Monk Hughes amalgamation. This is Madlib, as Otis Jackson, being the music fan and doing his homework; traveling to South America; eating local cuisine; and kickin’ with an old-school drummer. The result plays like a jam session. Sure, it’s got that now-classic YNQ style to it – the indiscrete shifts in tracks, the occasionally discordance of sounds – but this time, you can hear that more than one person and his imaginary friends are playing together. Madlib and Mamao have made what I presume all jazz-fusion albums of the 60’s and 70’s were like. A few dudes getting together and trading industry secrets, and experimenting. This is nicely demonstrated on “Brazillian Sugar.” Honestly, I’m still digesting the final product. While I’m not a music theorist and cannot dissect the the technicalities, I can judge feelings sounds provide; the overall sound is dynamic, feel-good, & is a perfect Spring-Summer soundtrack.

In addition to Al Green & Dwele (Sketches of a Man), the following on my own radar:

- Raashan Ahmad – The Push. Raashan Ahmad is from Crown City Rockers, of Earth Tones fame. I haven’t heard anything off of it, but I’m curious…is all.

- N.E.R.D. – Seeing Sounds.

- Foreign Exchange – Leave It All Behind.

- J-Live – What Happened Next. Always interested to hear this guy on the mic. Always luke warm on some of the production that backs him.

We’re still here. I’m just getting through an engaging month a work. But, I will be sure to reapply my finger to the music pulse shortly. Kyle? I know he’s busy too.

I am looking forward to Al Green’s album dropping tomorrow. Due to my internet issues, which are still in the process of being resolved (requires a new network card), I’ve been pretty out of touch with any previews, leaks, etc. Most recently, I’ve bought The In Crowd and TM’s The Bridge. Enjoying both, particularly the latter.

I apologize for the minimal action here, but TT will be back in full swing as the weather continues to warm…and this network card is remedied.

Until then, consider the following:

1) what’s your thoughts on The In Crowd and/or The Bridge?
2) your prospects for Al Green?
3) Dwele. Kyle forward me this. Enjoy.

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.

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.