Reverend Tyson, Take it Away!

I have a fairly significant audition tomorrow, so I'm going to hit the sack early tonight. So I'll let my homie Dr. Neil deGrasse Tyson take the reins until tomorrow.

This is my absolute favorite youtube video of Dr. Tyson. He not only speaks about the intricacies of disseminating scientific curiosity, but also a bit of the sociopolitical consequences of choosing astrophysics as a profession.

Stellar.

peace.

The Rhymes of Our Lives

The plates in Omarr's kitchen cabinets used to rattle when we played this at his crib.

GZA feat. Method Man "Shadowboxin'"

Along with Mobb Deep, The Fugees, and OutKast, various Wu-Tang projects stayed in rotation in the years I lived in the same neighborhood with my friends Omarr and Andre. I can't begin to tell you how many times we must have listened to "C.R.E.A.M.," "Bring the Pain," "Incarcerated Scarfaces," "Cold World," "For Heavens Sake," and countless other tracks from the various Wu-related albums. However, for me this particular cut seemed to embody everything that was essential to the Wu-Tang aesthetic. There's something about the incredibly ragged and muddy feel of RZA's production and the faint distortion of GZA and Method Man's vocal track that captured the purity of the Wu-Tang sound during this era.

Listening to this track in 2011 has illuminated something about RZA's work that I've barely noticed before now, his approach to sampling. The sample he used for this particular tune is from one of hip hop's favorite soul artists, Anne Peebles. Her song "Trouble, Heartache, and Sadness" is the foundational element of RZA's composition, providing the skeleton upon which he layers the drums and baseline. When I hear how Anne's voice becomes such a prime element of the instrumental, I recognize the artistic inspiration RZA provided for today big-budget producers such as Just Blaze, Kanye West, and the late J Dilla. Along with cats like DJ Premier, Pete Rock, Timbaland, and Dr. Dre, RZA should certainly be considered one of the pillars of hip hop production.

This track is the realest.

peace.

Emcee of the Month: Nas (Post-Hurricane Wrap-Up)

Allow me to briefly finish what I started.

As a fan of his work, I'll be the first to say Nas hasn't always secured the best production for his albums. He certainly has substantial highlights ("N.Y. State of Mind", "The Message", "Nas Is Like" to name a few), but there have definitely been moments of his career which suffered due to substandard instrumentation.

"Purple" is not one of those moments.

For me, the most unique element of this track is it's lack of a hook (or chorus to some). Hooks are the staple of hip hop songs, usually because they are the only words anyone can remember after a first listen. They are also the lyrics to which people outside of the culture tend to gravitate. I'll never forget a stroll I took on the campus of Louisiana State University through the tailgating festivities before a football games. I walked past one group of fans who were flying a purple and gold Confederate flag and listening to OutKast's Stankonia album. I watched with slacked jaw as they flailed and gyrated while singing along, chanting "I'm sorry Ms. Jackson!" Surreal.

I think it's actually quite daring for Nas to forego adding a hook on this track. The urge to "catchify" a hip hop song is significant, and many otherwise decent songs have been weakened with the addition of weak or unnecessary "hookage". With "Purple" Nas recognized the obvious density of what he's written and decided it was enough to carry the song. That type of commitment to one's message is difficult to play; ask any actor who has moments alone on stage. But because Nas has chosen to simplify this composition, his words become much clearer and more expressive.

I dig it.

peace.

Emcee of the Month: Nas

I better throw something up here before the power goes out.

I'm not going to write a whole lot on this one right now. Due to the shenanigans of Hurricane Irene, I'm not quite sure how much longer the electricity will be on. Have a listen if you can, and I'll be back to talk about it tomorrow (or whenever the juice is back).

peace.

My Lauryn Hill Rant: A Quick Thought

Alright. I'll make this brief.

For context of this post, see here.

Let me begin by stating that I am an absolute fan of Lauryn Hill's music, work, and energy. She moves with more honesty and passion than just about any other artist in my catalog.

Lauryn's withdraw from visible performance and recording soon after the release of The Miseducation of Lauryn Hill is a well documented event. The clamor for a sophomore solo effort was deafening, especially after her record-breaking five Grammy wins back in 1999 (the most in a single ceremony for a female artist). Much to her distaste, she was quickly becoming an incredibly valued musical commodity and in 2000 retracted from the public eye in self-imposed exile.

Since her resurfacing in 2001 on MTV: Unplugged and the short-lived Fugees reunion soon after their performance on Dave Chappelle's Block Party in 2004, Lauryn has taken the stage in a number of venues across the globe to begin the rediscovery of her life as a performer. However, there have been several accounts of bizzare and unprofessional behavior from Ms. Hill that have begun to alienate even her most die-hard supporters.

A close friend of mine attended one of her shows in Michigan shortly after the release of her Unplugged album. Apparently, she appeared on stage 90 minutes late and played her guitar as if she wanted to strangle it while belting the lyrics of her set for about 40 minutes. When she was done, she tossed the instrument away from her and snorted, "There!" as she plodded off stage. The crowd was left with a feeling of complete befuddlement. This type of instability and inconsistency has been Lauryn's modus operandi for the last decade of her musical career (see the San Francisco Chronicle here, and this article from OnTheRedCarpet.com) and there doesn't seem to be any sign of change on the horizon.

Furthermore, let's consider the new interpretations we've witnessed of her established work, namely the Miseducation... playlist. Now, I'm all for artistic experimentation. There would be no truly good art if we didn't continuously dance on the boundary of what's brilliant and what's utter cow dung. In fact, many times when I see Lauryn do these funk/rock/soul re-imaginings of her work, I really do get down with some of it. But at best they feel like fleeting strokes brilliance; stars burning brightly with short lifespan. They have nowhere near the sense of spine, grounding, and stability of her late 1990s stuff.

And no, she should definitely not be performing "Ex-Factor" in 2011 the same way she did in 1999. She's a different person now, and the music should be different. However, there is a very acute and palpable abrasive/combative quality to her performances now that seems to have no balance; no converse. So I can understand why people sometimes boo her at shows nowadays. They feel they're being attacked, and I would venture to say they are.

As I've watched and listened to Lauryn these past eight or nine years, I can't help but believe that she doesn't really want to be performing anymore. It's difficult for me to find an instance in which I can be certain Lauryn is having fun on stage. She still seems like a person in exile, as if exile could be a public experience. If that's true, and Lauryn isn't really enjoying her career as a performer, she should simply stop doing it immediately. Seriously. I know I wouldn't be upset, nor would any of her fans who actually cared about her psychological and spiritual health. Before everything else, she should consider exactly what she needs to take care of herself.

Of course we would miss her and talk about where we were when we first heard Miseducation... and how it changed our lives. But our memories would last a lifetime, and there's nothing anyone could say or do to taint our love for Lauryn. I hope she knows that.

peace.

A Deep Soul Story

Have a listen.

"Bad Girl Pt. 1 & 2." by Lee Moses

Almost two years ago now I was living in Toronto and training to be a voice teacher at York University. In October, all the students are given a week off for Canadian Thanksgiving. (For real, Canada!?) So I thought to myself, "Hey, I might as well get out of town and see some sights!" So I made arrangements for my cat, packed a bag, and hopped a train to New York to hang with my homie Mark in Brooklyn. I was looking forward to catching up with him.

He meets me at Penn Station and hits me with the obligatory bear hug. Even though the guy probably weighs about the same at a six-foot pile of feathers, you better be in shape when he decides to show you some love. We took the L train back to his spot in Bushwick and stayed up way too late making cynical and ironic jokes about music and politics. At the time he was living with both his girlfriend and another one of our LSU buddies, and I'm sure we kept them awake far too long.

Over the next week, we explored a variety of interesting New York things. The stand-out day was seeing the American Museum of Natural History. For many years I've seen pictures of the exhibits in that building and it was an incredible experience to actually stand next to them. Dinosaurs are effin' cool, especially those giant T-Rex skulls. It was also around this time when I began my interest in the work of Dr. Neil deGrasse Tyson, who is the head of the museum's astrophysics wing the Hayden Planetarium. That was a really good day.

Nevertheless, some where along the course of the week Mark says to me, "You've got to hear this guy I just found." Now, usually when Mark says something like this to me I don't take the suggestion lightly. I can only remember two or three times during the course of our seven-year friendship when he's made musical or artistic recommendations; he's a critical cat. The time before this, we ended up seeing these guys. (Be sure to turn you speakers up all the way!)

I believe the first Lee Moses track Mark played for me was "Free At Last", and it was immediately apparent to me I would rest very little before I found every bit of his music I possibly could. He soared over the track with discordant radiance and inspired abrasion, erupting with soul. I simply could take my ears off his music. Next, we heard his immense version "Hey Joe", (by far the best version I know other than Hendrix) then took off into "Bad Girl Pt. 1 & 2". I believe the first impulses I had were feelings of jealousy and frustration, because I could remember very few of my theatrical performances in which I embodied that much need and urgency. This guy was putting everything he was on these records.

I eventually found a link to download his album which is about the only way anyone can get it. It's apparently out of print, so buying a hard copy is going to be difficult and expensive. If you'd like to know more about Lee Moses, this is always a good place to start. If you're interested in exploring other deep soul artists, I've found no better site than Sir Shambling's Deep Soul Heaven. Although Lee isn't on there (He should be!) there's plenty there to discover.

peace.

Mother Load

Whoever thought it was a good idea for me not to know about the Red Bull Music Academy and its archive of artists' lectures had their head on straight, because now that I've discovered it, my productivity is headed in the crapper.

Here's a Questlove lecture from around five years ago.

This lecture/interview seems to have been recorded around the time The Roots were finishing up their first Def Jam project Game Theory. Quest gives us a very in-depth narrative describing the emergence of the Soulquarians, the inspiration of De La Soul on his decision to pursue making hip hop as a career, J Dilla's works and influence on his thoughts about drumming, and a number of other events and moments that have defined or shaped his music. Quest is the first to admit he is the unofficial the mouthpiece of The Legendary Roots Crew, and with this clip it seems he also serves to translate the energies of a large conglomerate of hip hop and soul artists, including folks like Jay-Z, D'angelo, Cody Chesnutt, Jill Scott, Talib Kweli, and James Poyser.

As for the Red Bull lecture archives (here's the link), the line-up is nothing short of stellar. I could sit here and drop names all night (over 270 clips) but I'll leave it to you to explore them further. I'm off to the Madlib video.

This paper is never going to get done...

peace.