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.

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.

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?

…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

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.

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.