Album Review: The Foreign Exchange--------AUTHENTICITY

After Leave It All Behind, the second dynamic offering from The Foreign Exchange, what could Nicolay and Phonte, the masterminds behind the F.E. sound, possibly offer the listeners? Authenticity is the answer, both literally and figuratively. Authenticity describes the caliber of the music; Authenticity is the aptly named title of this third installment in The Foreign Exchange catalog. I’ve been anticipating this release for months, ever since the album title was released via www.theforeignexchangemusic.com earlier in the year. I am a very huge fan of the collective, because the music that I’ve heard, from not only Nicolay and Phonte, but extended family YahZarah, ZO!, and Darien Brockington, has struck a chord sonically and emotionally. For this album, do I get the same connection, so to speak?


The album starts with the signature opening listeners have come to expect from The Foreign Exchange. The trademark chime melts into the first track, “The Last Fall”. This song, from a musical standpoint, is reminiscent of the aural sounds that Nicolay has employed on recent releases. With Phonte laying the lyrical groundwork on this track, it’s a good way to usher in fall, real and imagined. “Authenticity” has a certain Prince-like feel in the construction of the music. Serving as the title track, this song brings up the notion of love as reality or fantasy. “She wants me to fill her need, she begs for authenticity, you don’t want truth from me, you just want what you want” sums up thematically where Phonte Coleman was taking us on this lyrical voyage.

Next on the Authenticity agenda is “Eyes To The Sky”, a somewhat melancholy cut about the musings of love. The piano-driven track compliments the lyrical content very well on this song.Phonte is very poignant in his songwriting, touching on the subject of love with an introspective flair. Unfortunately, “Eyes To The Sky” is a relatively short song, chiming in at 1 minute and 32 seconds. “All Roads”, the fourth song on the disc, showcases the beautiful background vocals of YahZarah intertwined with Phonte’s crooning. This song is reminiscent of Leave It All Behind in structure and sound. On “Fight For Love”, the lyrics identify a person no longer willing to endure the trials and tribulations of loving another. “Either it ain’t or it is, it either ain’t or it is” sums up “Fight For Love” in a nutshell. ZO! contributes on the piano, Fender Rhodes, and synth with this song.

The first song on Authenticity that enlists the rhyming talents of Phontigallo is “Maybe She’ll Dream Of Me”, a silky track that has a laid-back demeanor suited for a neo-soul/lounge environment. Darien Brockington joins Phonte on “Don’t Wait”, blending his smooth voice with a synth and drum machine-driven track. “Make Me A Fool”, a collaboration with Jesse Boykins III, covers familiar ground with the topic of love, yet puts a spin on the topic with Justus League and F.E. affiliate Median providing the lyrical support. Sonically, this is my favorite song on the album.

Another song that has a similar feel to the material on Leave It All Behind is “Everything Must Go”, a mid-tempo track that is very reflective and contemplative in nature. “Laughing At Your Plans” is a feel-good song in sound, but in theme discusses the ending, whatever that ending may be. The last song on the album, “This City Ain’t The Same Without You”, features the chocolate-hued songstress YahZarah vocally expressing how the city is different without her love. It’s a fitting way to close an album that sounds more like a continuous song than separate cuts.

All in all, Authenticity is one of the best offerings for 2010. However, I’m a little spoiled by the nearly flawless nature of Leave It All Behind., the previous release from Phonte, Nicolay, and crew. It is not fair to compare this album to Leave It All Behind, or Connected, for that matter, because Authenticity is more a natural progression than a continuation of those albums. Phonte, Nicolay, and The Foreign Exchange family have constructed an album that will be in constant rotation not only this fall, but going into the winter and beyond. It fits nicely within the catalog of my favorite collective, The Foreign Exchange Music Group. I strongly recommend listeners, both familiar and foreign, to pick up this album, and revisit previous releases to get the full scope of Nicolay and Phonte as The Foreign Exchange.

REVIEW WRITTEN BY WISDOM

Album Review: Black Milk-----------ALBUM OF THE YEAR

Review written by:  WISDOM

Album Of The Year is an audacious title for an album, so Black Milk has a lot of explaining to do with this collection of twelve songs. Black Milk is the Detroit beat miner and lyricist that has built a very solid buzz with the underground hip hop collective, producing for various artists such as Slum Village, Elzhi, Pharoahe Monch, and countless others. Album Of The Year is Black Milk’s affirmation that he belongs in the same company as those mentioned artists. Is the album title accurate though?


Starting off Album Of The Year with “365”, Black Milk flexes his lyrical muscle over a steroid-laden track, discussing what has occurred in his life over a 365-day period, including the death of Baatin, the Slum Village emcee who was a major influence for Black Milk. “Welcome (Gotta Go)” is a moody and somewhat subdued song that allows Black Milk to talk about his often overlooked persona in the industry. Black Milk has definitely upped the lyrical ante, because he spits venom on this song and many others. Of course his production, utilizing live instrumentation with samples, is top-notch. “Keep Going”, with its live drums, breathes with energy and vigor while BM lyrically asserts himself over the musical landscape. Next up is “Oh Girl”, a track that has Black Milk expounding about the feminine presence, with AB supplying the background energy.

The song that many fans are familiar with is “Deadly Medley”, with Black Milk rhyming alongside Royce da 5’9 and Elzhi. Black Milk actually does major damage with the other lyrical titans on this track, resulting in an instant Detroit classic. Listening to this song showcases the Motor City as a major hip hop player that sometimes doesn’t get the proper shine. It also illuminates Black Milk as a serious lyricist, who doesn’t just rest on his production merits. The following song, “Distortion” brings a layered aesthetic sonically, making room for the Detroit lyricist/producer to voice his storytelling abilities. Lyrically, “Distortion” is a vivid view into the mind of Black Milk, clocking in at 6:15. Melanie Rutherford supplied the background vocals on this choice cut. “Over Again”, the next cut on Album Of The Year, featuring Monica Blaire, goes for the hip hop jugular. Black Milk wastes no time in providing food for thought about inner city living, over a smooth production backed by even smoother vocals. “Round Of Applause” is a rousing aural treat by Black Milk. This song is just another opportunity to witness the lyrical growth of this Dilla-influenced artist. On this track, you can almost feel Black Milk channeling the hip hop icon in production, flow, and content. That is not a negative for Black Milk, because as an artist he has stepped out of that shadow with consistent product. It is more of a compliment because of the reputation and artistry that J Dilla left behind with his passing.

Danny Brown joins BM on “Black and Brown/Mad Rapper Skit”, hitting another ball out of the proverbial park. This time Black Milk is joined with another hungry emcee over an energized track, before giving way to a skit that discusses a “Haterade sipping rapper”. “Warning (Keep Bouncing)” is an old school-influenced track that would fit just as well in 1988. The bouncy song is another verbal exercise for Black Milk. The most experimental song on the album, “Gospel Psychedelic Rock”, is just that, an exotic musical blending. Black Milk uses this song to melt and meld different musical genres, while still staying true to his roots. This is one of my favorites on the album because of the musical experimentation. “Closed Chapter” is another sonic treat where Black Milk closes Album Of The Year on a high note, joined by Detroit's own Mr. Porter.  Black Milk doesn’t coast, but brings strength to the album closer from a lyrical standpoint.

What’s the verdict? Album Of The Year is a strong contender for that title, in my opinion. Black Milk has constructed an album that has all of the components for dopeness: lyrical dexterity, sonic cohesiveness, and varied themes. If this album would receive the proper push, it could very well be considered “Album Of The Year” in the court of public opinion. On December 31, 2010, my final vote will be revealed for that title, with Album Of The Year as one the front-runner for the time being!

Album Review: Reflection Eternal---------REVOLUTIONS PER MINUTE

Album review by:  WISDOM

It has been ten years since we’ve been blessed with a full Reflection Eternal project, a lifetime in the fickle and forgetful world of hip hop. Fortunately for faithful fans and newcomers alike, Talib Kweli and Hi-Tek show the synergy we would come to expect from this dynamic duo. Of course, being a great supporter of Talib Kweli musical projects, I may have a biased opinion when listening to Revolutions Per Minute, a seventeen track collection of dope songs. This review is a long time coming, because the album has been out for public consumption since 2nd Quarter of 2010.


The album starts with “RPMs“, a breakdown of Revolutions Per Minute in the literal sense as well as the figurative musical aspect. The voiceover on this introduction is reminiscent of vocals on older, dusty recordings from the 40’s, 50’s, and 60’s. It serves as a fitting way to reintroduce Reflection Eternal to an audience that has been subjected to dumbed-down lyrics and gimmicks as a way to sell records. “City Playgrounds” is a cool song that allows Talib Kweli the opportunity to showcase his very articulate wordplay, with the stripped-down keyboard from Hi-Tek. “Back Again” is a very hot cut, with the feminine vocal serving as the chrous. One of the standout cuts on Revolutions Per Minute is “Strangers (Paranoid)”, featuring the severely underrated Bun B. This song shows the lyrical chemistry between two dynamic emcees, representing both Brooklyn and Port Arthur proudly. The next song, “In This World”, gives the Brooklyn emcee the opportunity to kick braggadocio lyrics while the Jay-Z vocal sample “if skills sold, truth be told, I probably be lyrically Talib Kweli” places this lyrical juggernaut on the same lyrical level as Jigga himself. This cosign by the fellow Brooklynite is fitting, because Talib has always been a microphone phenom, even if record sales haven’t matched his lyrical prowess.

“Got Work” is the cut on the album where storytelling skills are showcased, accompanied by yet another stripped-down production from Hi-Tek. It is quite evident from listening to the album that Hi-Tek crafted tracks to compliment the words spoken from the mouth of Talib Kweli, and it works very well. Hi-Tek has spent the past few years under the tutelage of Dr. Dre and the Aftermath camp, and I believe this has served Hi-Tek well. His tracks are not overpowering or layered with sample after sample. He has become very adept at utilizing live instrumentation with dusty sampling. The following song, “Midnight Hour”, is reminiscent of 60’s Motown/doo wop music, with Philly songstress and Idle Warship partner Res taking part in the vocal harmonies. “Lifting Off” is an atmospheric cut that allows Talib Kweli to lyrically expound on mind elevation. This track has a Dilla influence that Hi-Tek has channeled to great effect. Next on the sonic menu is “In The Red”, which starts with vinyl static and scratching, bringing a somewhat old school feel to the song. As a slower-tempo track, the listener is able to decipher the lyrical complexity displayed by Talib Kweli, considered by many (including myself) as a top-tier emcee.

“Black Gold Intro” is a fitting segue to “The Ballad Of The Black Gold”. This song is fitting in 2010, as it discusses how oil, or “black gold” affects us from a financial and natural standpoint. This is the type of song that should, but doesn’t, get any type of push or radio play, and that is a shame. Talib Kweli is still the type of lyricist that will push the envelope and open dialogue for those willing to listen and learn. “Just Begun” is a song that is vintage Reflection Eternal, harking back to days gone by for this dynamic duo. With a looped jazz composition serving as the backdrop, this song allows Kweli to showcase his lyrical dexterity, along with dynamic emcee Jay Electronica, new school spitter J. Cole and partner in rhyme Mos Def. This is, in my humble opinion, the highlight on Revolutions Per Minute. This fits my purist, hip hop perspective perfectly. “Long Hot Summer” has a nice drum track constructed by Hi-Tek, allowing for the Reflection Eternal lyricist to discuss in detail his feelings for a beautiful lady.

At 5:33, “Get Loose” (along with “The Ballad Of The Black Gold”) is the longest cut on Revolutions Per Minute. The tempo of this song ends itself to a dance-oriented crowd, sounding like something more akin to Gnarls Barkley. This song is a departure from the typical Hi-Tek sound, but fits into the overall album scheme. “So Good” slows the tempo with a bouncy, Dirty South aesthetic, built for Chevy cruising on a Saturday night down Peachtree Street in Atlanta. “Ends” is a head-nodder that gives Talib Kweli the space to discuss monetary ways and means. This is a nice, mid-tempo cut produced by Hi-Tek, with smooth background vocals balancing the track. The final cut on the album, “My Life (Outro)” is a parting prize for those fortunate enough to have this album. Hypnotic drums compliment the reflective lyrics, and this song closes Revolutions Per Minute on a high note indeed. Talib Kweli manages to lyrically drop gems throughout this final song.

Overall, I was pleased with this album when I purchased it months ago, and upon revisiting it, I have discovered that this is a slept-on gem for 2010. It has been ten years since these creative beings have been on the same page with an album, but the synergy displayed by Talib Kweli and Hi-Tek is undeniable. If you haven’t purchased the album, please do so. Support this creative force and purchase Revolutions Per Minute, don’t download from a friend or online. Artists such as Reflection Eternal deserve continued support, and I am grateful that they continue to make dynamic music.

THANK YOU FOR LISTENING: A Short Film About The Foreign Exchange

As a token of appreciation from The Foreign Exchange collective, a short film has been made entitled "Thank You For Listening:  A Short Film About The Foreign Exchange".  Shot and directed by Sandrine Orabona, the videographer for Michael Jackson's "This Is It", and Anke Thommen, this short film gives insight into the entity we call The Foreign Exchange.  This is a good companion piece with the newly released album Authenticity.  The short is in three parts, so enjoy each of these Youtube clips.  One love to Phonte, aka Taygravy, and the fine folks at Okayplayer!


PART 1-----CONNECTED:



PART 2-----LEAVE IT ALL BEHIND:



PART 3-----AUTHENTICITY: 

VIDEO----------SKI BEATZ---BLUE AND GREEN FEATURING NESBY PHIPS

From producer extraordinaire Ski Beatz, known for his influential works with Jay-Z, Original Flavor, and Camp Lo, we have a new concoction full of creativity and promise.  Titled "Blue and Green", this joint features up and coming New Orleans emcee Nesby Phips mining through the sacred material of the one and only Miles Davis.  Thanks to Okayplayer for shining light on this project from Nesby Phips, entitled "Blue and Green Enthusiast".  I'm looking forward to hearing more from this dynamic partnership.  At the moment, Creative Control, the new venture from Dame Dash, is showcasing music that you don't hear "twenty times a day" on the radio, and to me that is indeed a good thing.  Everything coming out of this camp is golden, harkening back to bygone days of more creativity and balance.  Be on the lookout for Nesby Phips, Ski Beatz, and Creative Control!



One Love!!!

WISDOM

SAMPLE SUNDAY----EPISODE 10

One of my favorite hip hop groups that deserve much shine is the one and only Slum Village.  This dope group hailing from Detroit combined expert lyricism with innovative and avant-garde production.  Slum Village's original lineup included T3, Baatin, and Jay Dee, also known to most as J Dilla.  I remember seeing and hearing them for the first time live at a Tribe show at Towson State University in 1998.  Even then you could see the post-Native Tongues influence in the group.  Lyrically, braggadocious rhymes were interspersed with sometimes misogynistic musings.  What brought everything full circle, however, was the production from Jay Dee.  The album that illuminated their talents initially was Fantastic, Vol. 2, released in 2000 to critical acclaim.  Fantastic, Vol. 2, in essence, was a streamlined version of their original album release entitled Fan-tas-tic, Volume 1.  Fan-tas-tic, Volume 1 was a compilation of demo songs recorded in 1996-1997, and leaked to the Detroit underground and beyond.

 

The song that sonically encompasses the production talents of Jay Dee (or J Dilla) during this time period was "Players", an atmospheric hip hop cut that, according to emcee T3, was a battle response to fellow Detroit emcee Proof and his group.  Listening to "Players", you're brought into the mental space of the voices on the microphone.  What stood out, in my opinion, was the vocal sample heard throughout the song.  More on that vocal sample in a few moments.  For a trip down the Slum Village pathway, here is the song in question, "Players":



Now as for the vocal sample in question, Dilla went into the dusty archives for a gem.  The sampled vocal was "Clair", by The Singers Unlimited.  It's a very small snippet (appearing at the 2:18 mark of the song) that makes up the haunting sample, but what makes the sample stand out is that it is not even saying "Players", but "Clair".  Dilla was able to manipulate and filter the vocal sample in such a manner that, subliminally, the listener was drawn into the notion of "Players".  That was the genius of J Dilla when it came to his ear and precision sampling techniques.  "Clair" was a featured song on the 1974 album A Capella II.

 During the early and mid 1970's The Singers Unlimited released a multitude of vocal-based albums showcasing their unique a capella stylings and harmonies.  For trivia buffs The Singers Unlimited included the voice of the Jolly Green Giant (Len Dresslar), who used his deep voice to great effect for the 70's icon.  Other members of The Singers Unlimited were Bonnie Herman, Don Shelton, and Gene Puerling. 

 

Rest in peace to J Dilla, who passed away in 2006 due to complications from TTP and lupus, as well as Baatin, who departed this planet in 2009 from a still-unknown cause.  Carrying on the Slum Village tradition were T3, down with the group from the beginning, and Elzhi, a top-notch Detroit lyricist respected by many inside the hip hop community.  Their most recent album, entitled Villa Manifesto, has been regarded as the last under the Slum Village moniker.  Much like their similar-minded creative brethren from North Carolina Little Brother, who knows what the future has in store for the collective.  If Villa Manifesto indeed is the last true Slum Village album, the ride has definitely been "FANTASTIC".  For further information regarding Slum Village, visit their website:  http://www.slumvillage.com/.

The Singers Unlimited continued to release their unique and unmatched vocals throughout the 1970's and early 1980's.  Overall, fifteen albums were released by The Singers Unlimited, culminating with the 1981 collection Easy To Love.  For further information regarding The Singers Unlimited, peruse the following website:  http://www.singers.com/jazz/singersunlimited.html.

Hip hop has a way of paying homage to the past, while still maintaining originality and creativity, when done properly.  I don't want to get on my purist soapbox on this beautiful Sunday here in the state of Maryland, but hip hop culture, be it rocking the microphone, manipulating the wheels of steel, b-boying, beatboxing, graffiti, or even activism, can be an uplifting and positive outlet.  I'm glad that I'm able to use my experiences and passion to enlighten those that may or may not be a part of the culture.  From The Singers Unlimited to Slum Village, the love for hip hop lives on!

J. PERIOD/BLACK THOUGHT LIVE MIXTAPE (ILLADELPH EDITION)

Thanks to the good folks at Okayplayer for this gem from J. Period and Black Thought.  You can check out the footage from Toronto's Manifesto headlined by the the Brooklyn-based dj/producer and Illadelph rhyme spitter.  Courtesy of Truelements + Lyrics to Go, you have the free J. Period and Black Thought Live Mixtape (Illadelph Edition) EP available for free download.  Enjoy listening to Black Thought rhyme over joints from Damien Marley, Drake, Notorious B.I.G., Snoop, and more.  This should further solidify Tariq Trotter's reputation as a big league emcee that has few peers.  After viewing the video from Toronto's Manifesto, check the link for the EP download.  Peace!


http://vimeo.com/15492429 from themanifesto.ca on Vimeo.


LINK FOR DOWNLOAD:  http://www.jperiod.com/upload/livemixtape/manifesto.zip

WILLIAM RICHARDSON AND LYRIC WATSON SHOW AT TEAVOLVE---OCT. 16TH

Written by WISDOM



When I heard that William Richardson and Lyric Watson were performing on the same bill at Teavolve, I was very excited about the notion of seeing and hearing them.  October 16th was the date, and 1401 E. Aliceanna Street was the location, so I marked my calendar in anticipation!  I'm very familiar with the music from these artists, so I knew that QUALITY was the word to describe both William Richardson and Lyric Watson.

I didn't arrive at Teavolve until after 9PM, so I didn't get the opportunity to see Lyric Watson, the progressive band helmed by Bryan Crawford-Winslow, who goes by the nomenclature Compose.  Other members of Lyric Watson included Waymon Scott IV on guitar and Steven Winslow on drums.  I was very disappointed, because I missed the opportunity to witness the group's live performance.  The setlist for Lyric Watson included songs written by Compose:  "Get It Together", "Tie A Yellow Ribbon" featuring Wayman Scott IV on guitar, "Let It Grow", "Some Kind Of Woman", and "Champion".  From my understanding, the showcase for Lyric Watson was a nice mixture of instrumentation, poetry, and vocalization.  When the next opportunity arises, I will definitely be in the house to witness Lyric Watson staying true to its roots of creativity.

What I did personally witness once I arrived at Teavolve was William Richardson and his band blessing the packed house with their presence.  The band, comprised of Q on guitar, Steve on bass, Daniel on drums, and others, sounded very soulful throughout their set.  The music could be described as spiritual and eclectic, as I witnessed the crowded venue vibing to the soulful sounds.  Listening to William's interpretation of beautiful songs such as "Umi Says" put the Teavolve audience in a very positive mindset, from what I could surmise.  Nothing but positivity permeated throughout the venue.  Even though there was standing room only when I arrived, I was very comfortable in observing the performance from my vantage point.  Teavolve is a nice venue that allows performer and audience to interact in a more intimate setting.  William interacted with his bandmates and audience with ease, sometimes communicating just with subtle eye movements.  It was very evident that he felt very comfortable in this up close and personal setting.  Some of the songs on the setlist included "Who Do You Trust In?", "Lord What Shall I Do?", "Who's Guarding", and "Zion", one of my favorites from the Righteous Soul days.  Righteous Soul was a precursor to the current line-up for both Lyric Watson and William Richardson and his band, so the event at Teavolve was definitely a family affair.  Another song that showcases the eclectic nature displayed was "Afro-Cuban", bringing varied musical influences to the fold.  William is not only an accomplished musician, but songwriter as well, and it showed throughout the evening.  The spotlight was shared amongst the entire band, as William allowed each musician to showcase his unique talents.  This was quite evident, for example, when William prompted guitarist Q to stand front and center to reveal his skills.  The set ended on a high note with "Get Up, Stand Up", the Bob Marley staple that encompassed the overall message for the evening.

Once the actual performances ended, I had an opportunity to mix and mingle with members of both musical outfits.  It's a welcome sight to be able to interact with dynamic performers who are down to earth, as both William Richardson and Lyric Watson fit this description.  I discussed future projects, and I am looking forward to seeing what God has in store for these spiritually-grounded artists.  Be on the lookout for both William Richardson and his band as well as Lyric Watson!  As that evening's showcase revealed, there is burgeoning talent on the rise here in the Baltimore area.  All in all, a very dope show!

AUTHENTICITY ALBUM LISTENING PARTY AT TEAVOLVE

Written by: Wisdom

Even though my raffle ticket 938105 didn’t result in any prizes, “Gypsy Soul Presents The Sound Check Series Featuring Authenticity By The Foreign Exchange” at Teavolve was a very nice event. With music from The Foreign Exchange as the backdrop for the evening, the mood was set to preview the third release from Nicolay, Phonte, and crew. DJ Lil Mic manned the wheels of steel for the event, sponsored by Gypsy Soul in conjunction with Teavolve. Gypsy Soul definitely has its finger on the pulse of urban music in the Baltimore area, and this Thursday evening was no exception. Kayenecha Daugherty and the Gypsy Soul team are becoming quite accustomed to providing an atmosphere conducive for good music.

Authenticity, in my opinion, is the perfect soundtrack for fall. From the foliage-colored album cover to the autumn-themed musical content, the album fits like a glove during this season. DJ Lil Mic played many cuts from the current album, including “The Last Fall”, the title song “Authenticity”, and lead single “Maybe She’ll Dream Of Me”. I could tell that the Teavolve crowd was enjoying the soul vibe that permeated the air. The Foreign Exchange is the rare group in today’s musical environment that can conjure up this type of excitement just on pure musicality. I am an avid fan of the group, so I may seem a tad bit biased when discussing all things The Foreign Exchange. I loved the fact that I could vibe and discuss the album and group with others in the venue, including my wife and CVEG CEO Lewis Williams. We talked about various things relating to the album, including how it fits into the overall catalog of music for Nicolay and Phonte.

Throughout the evening, you could sense that the album was being enjoyed by the professional, progressive crowd in attendance. I didn’t sense any disappointment from anyone at Teavolve. With the album being released on October 12, 2010, you could tell that quite a few had purchased the album, including myself. The album fits nicely with the other albums from The Foreign Exchange, Connected and Leave It All Behind. DJ Lil Mic managed to play some songs from those albums as well. He even played a nice blend of Slum Village’s “Players” mixed with the a cappella from Michael Jackson’s “Butterflies”. The overall atmosphere was spirited and merry, thanks to a balance of great music and like-minded individuals in attendance.

All in all, the night was lovely! Authenticity is another gem from the musical minds of Nicolay and Phonte Coleman, and I’m pretty sure that those who attended The Sound Check Series at Teavolve are in agreement. A special thank you goes out to Gypsy Soul, Edith Williams from Diamond Digital Portraits, DJ Lil Mic, Lewis Williams and Teavolve for a beautiful evening filled with special music and good vibes.  If you haven't yet attended a Gypsy Soul event, make it a point to do so!  Stay tuned for my comprehensive review of Authenticity, by far one of the best releases for 2010.

FAT LACES AND FADES OLD SCHOOL HIP HOP SHOW

Written by:  WISDOM

For one night, 12 N. Eutaw Street in downtown Baltimore was the location for hip hop royalty.  The Hippodrome Theater was transformed into an old school mecca for what can be considered the "Golden Era" of hip hop.  Aptly named "Fat Laces and Fades", this concert event represented a who's who of those artists that molded my musical upbringing in the 1980's:  Special Ed, Dana Dane, Whodini, MC Lyte, Slick Rick, Doug E. Fresh, and Big Daddy Kane. I was looking forward to seeing these icons in the game rip the Hippodrome stage.  Did they deliver?

Unfortunately, I arrived around 9PM or so, approximately an hour or so after show commencement.  When I made my way through the elegant hallway to the seating area, I could tell that Lana Moorer, known to the musical world as MC Lyte, was onstage.  Her long-time dj, K-Rock, was spinning some old school tunes such as "Before I Let Go" to get the crowd energized.  The venue, at least from the lower level vantage point I had, was about 70% full, and they showed enthusiasm for the trip down memory lane with Lyte.  For at least five to ten minutes, call and response was the technique employed by MC Lyte.  I wanted to hear lyrics, lyrics, and more lyrics from her, but either I arrived too late or she was enveloping the crowd within a nostalgic journey.  Lyte teased the crowd with her verse from "Self Destruction", letting the Baltimore contingent know that she was "funky fresh dressed to impress, ready to party".  "Ruffneck", another staple in her lyrical arsenal, was performed.  K-Rock kept the party vibe alive by complimenting her behind the wheels of steel.   Truthfully, I was a little disappointed in Lyte's performance;  I've seen her give a stellar performance at Pier Six Pavilion maybe two years ago at the most.  I don't want to speculate, but I know that MC Lyte is a pure performer, full of witty lyricism.  She is capable of delivering a top-notch  performance, and I didn't witness that at the Hippodrome.

Reggie Reg, who served as cohost for the show, announced a ten minute intermission for the hip hop hungry fans throughout the venue.  DJ Titan handled the turntable spins during this brief respite from the scheduled performances.  A fitting tribute for Gang Starr emcee Guru included familiar joints such as "Just To Get A Rep", "Mass Appeal",  and "Don't Take It Personal".  More obscure cuts such as "The ? Remains" rounded out the tribute to a fitting and underrated emcee.  It was cool vibing to this music, because Gang Starr is part of my hip hop DNA, which caused me to get Mass Appeal:  The Best Of Gang Starr. 

After intermission, the wheels of steel were occupied by a green-eyed deejay, Grandmaster Dee.  The somewhat subdued crowd in the Hippodrome warmed up once the drums from the instrumental "The Champ Is Here" reverberated throughout the spacious building.  Grandmaster Dee then hit the Charm City crowd with some vintage music from The Isley Brothers, DeBarge, Rufus Featuring Chaka Khan, The Staples Singers,  Rick James, The Commodores,  and Parliament.  Once "Hollywood Swinging'" from Kool & The Gang blasted from Dee's Technics 1200 turntable onstage, the seminal group Whodini emerged.  Jalil and Ecstasy received a nice ovation once they hit the stage.  Jalil had to prompt the sound crew at the Hippodrome to adjust the microphones and monitors.  Once the sound was to his liking, Jalil was satisfied that the Whodini show could go on.  Onstage with Whodini were two dancers: Wiz, a New York transplant now residing here in Baltimore, and Doctor Ice, who many may remember from another influential hip hop crew, UTFO.  They showed much fluidity dancing, while fan favorites such as "Five Minutes Of Funk" and "Friends" were performed.  Those songs brought back memories of my youth, when the music was innocent yet edgy.  It was a hip hop family affair when Dana Dane joined Whodini, as "Freaks Come Out At Night" pumped up the audience.  A nice touch to the performance was Doctor Ice resurrecting his verse from "Roxanne Roxanne"over the C-Murder track "Down For My N's".  For whatever reason throughout their set, Jalil was much more animated and energetic, while Ecstasy, with his trademark Zorro-style hat, didn't quite have enthusiasm behind his lyrical delivery.  Doctor Ice and Wiz continued to deliver the goods from a dancing standpoint, however.  Their seemingly choreographed dance routines were the highlight of the Whodini performance.  Whodini hit the crowd with "I'm A Ho" before leaving the stage to the New Edition tune "Is This The End".  The performance was cool from a nostalgia sense, but was a little underwhelming from a performance standpoint.  Maybe I'm a tad bit jaded because I can remember Whodini bringing the raw hip hop energy at the Civic Center for the Fresh Festival back in 1985, but I expected more.

DJ Kenny K was on the wheels of steel with a tribute to another fallen hip hop icon, Jam Master Jay.  Songs from the deep Run-DMC catalog filled the venue, putting everyone in attendance in an old school state of mind.  Reggie Reg then prompted DJ Kenny K to take the crowd back to the days of Odell's, the club most closely associated with Baltimore party life.  Once the tribute and memory lane trip was complete by DJ Kenny K, it was now time for "The World's Greatest Entertainer".  Chill Will and Barry Bee, The Get Fresh Crew, warmed up the anticipating Hippodrome crowd before Doug E. Fresh made his way to the stage.  A loud roar met one of the most versatile hip hop artists as he was front and center.  "Keep Rising To The Top" was the first order of operation for "The World's Greatest Entertainer".  Chill Will and Barry Bee then played memorable songs from bygone years, such as "ABC" by the Jackson Five and "Before I Let Go" by Maze Featuring Frankie Beverly.  Doug E. Fresh also joined in on the festivities by taking the crowd down a nostalgic trip through 1970's television.  "Sanford and Son" and "The Jeffersons" were just a few of the memorable show themes that put the Hippodrome crowd in a joyous mood.  However, everyone in attendance was anticipating the most fashionable and best storyteller hip hop has ever witnessed:  Slick Rick.  Once the horns from "The Show" blasted through the speakers, MC Ricky D emerged on the stage, looking dope and dapper as usual.  He rocked a tan velour jogging jacket, platinum eyepatch, and an insanely ridiculous amount of truck jewelry adorning his neck.  Of course, no Doug E. Fresh and Slick Rick performance is complete without the ultimate song, "La-Di-Da-Di".  Doug E. Fresh brought the high energy beat box, while Slick Rick captivated the crowd in attendance.  Every word from this song was rhymed in unison by the hip hop audience, and it was a beautiful moment during the evening.  "Children's Story" followed, as Slick Rick went through the hip hop favorite with ease.  Doug E. Fresh gave the mostly mature hip hop audience something to smile about with an impromptu rhyme that I've never heard before over the new school song of the moment and appropriately titled "Teach Me How To Dougie".  The most touching part of the evening was Doug E. Fresh bringing his mother onstage to dance with him.  This brought a thunderous cheer from the audience, as "Momma Fresh" boogied with her son.  Doug E. Fresh then prompted The Get Fresh Crew to slow down the pace with an Isley Brothers tune.  I was definitely touched by this moment, but it signaled the close of the show.

As the 80's-inspired hip hop crowd exited the venue, I could only sit back and reminisce about a bygone era that I am proud to have experienced firsthand.  Truthfully, I was disappointed that I didn't see Big Daddy Kane, Special Ed, or Dana Dane perform.  Also, the performances were somewhat lackluster in nature.  One thing I always state in my description about so-called "old school hip hop" is that a show is given to the crowd.  There were moments of showmanship during this evening at the Hippodrome, but I noticed the artists leaning too heavily on other artists music instead of their own catalog, which to me was a mistake.  I wanted to see each and every performer give the fans their all, but I didn't get that sense.  Even though I am making this observation, the fact remains that I will ALWAYS have a special place in my mind and heart for all of the artists on the bill, and I look forward to seeing them, along with countless other hip hop artists from that "Golden Era", perform again here in Baltimore.  All in all, it was a good night, especially at the afterparty, where MC Lyte and Dana Dane made appearances, but it could have been better.  A special shout-out goes to Headline Beauty Salon and DTLR for sponsoring this event, and I hope that Baltimore will continue to be a place where true hip hop can be enjoyed.

DUCK DOWN 15TH ANNIVERSARY TOUR AT SONAR-----OCTOBER 17, 2010

Fifteen years in the hip hop game is a nice stretch in this fickle musical environment, so it comes as no surprise that Duck Down Records is commemorating this notion.  The Duck Down 15 Year Anniversary Tour, featuring artists from the Boot Camp Clik and Pharoahe Monch, signaled a noteworthy achievement for an independent imprint that has seen its share of highs and lows.  This tour, starting October 11th in Tampa, Florida, is a celebration of the independent spirit that Duck Down brings to the industry.  With stops along the East Coast, I knew that I would have to partake in this celebration.

I arrived at Sonar, hoping to catch a glimpse of the energy and excitement surrounding this special tour.  There was a line outside Sonar, with approximately 40 or so fans waiting to enter the venue.  You could feel the anticipation in the air.  Pharoahe Monch came outside and left the venue for a few minutes while sound check was occurring inside.  I had the opportunity to see some like-minded individuals like local poet/emcee Slangston Hughes that were also waiting for the show to begin.

Unfortunately, once doors opened and individuals were allowed to enter the walls of Sonar, I didn't get the chance to immediately go inside.  Because of this, I didn't have the opportunity to see Skyzoo perform.  I was definitely looking forward to seeing this Brooklyn-bred emcee showcase his lyricism for the Baltimore contingent in the house at Sonar.  Skyzoo and Illmind have a recent project called Live From The Tape Deck that is very dope, and I wanted to hear Skyzoo unveil those songs to a hungry audience. 

Once I was able to enter the venue, I could hear that one of my all-time favorites, Pharoahe Monch, was on stage, so I hurried to the stage area.  The area was packed with throngs of fans absorbing the energy that Monch was delivering.  He was effortlessly flowing through "Desire", from the album of the same name.  His breathe control and flow are unparalleled in hip hop, and that was quite evident during his performance.  Once Monch finished this song, it was inevitable that he would close his set with the song that put him on the radar of many listeners:  "Simon Says".  When the first sign of those horns from the "Godzilla" sample started, the crowd erupted in unison.  The eruption reached a peak as soon as Monch launched into the spirited lyrics.  Can you say "hip hop pandemonium"? 

Next to bless the stage with their presence was Tek and Steele, also known as Smif N Wessun.  This being my first time seeing Smif N Wessun in person, I didn't know what to expect from them.  What I, and the packed house got, was group still hungry hip hop culture.  Tek and Steele were able to use their years of experience and comraderie in delivering song after song.  "Bucktown", "Let's Get It On", "Bucktown" and more obscure lyrics were performed to great effect for the Sonar crowd.  However, "Sound Boi Bureill" put everyone in attendance in a Boot Camp Clik zone, as the ambient track complimented the Smif N Wessun energy.  Sonar was ablaze with fire as Tek and Steele brought the heat.  This definitely was one of the many highlights of the evening. 

Sean Price was seen entering the performance area, only to join his Boot Camp brethren onstage.  Sean P, or Ruck, as he's also known as, brought a bravado and confidence in his sheer lyrical ability.  To me, he has always been a sometimes hidden gem within the Boot Camp collective, with the underground hip hop crowd recognizing his dopeness over the past few years.  Dropping lyrical gem after gem while onstage, Sean P captivated the audience with every word.  He breezed through his version of "Exhibit C" with ease, making sure to hit the crowd with punchlines and metaphors.  I'm a lyrical fanatic, so listening to him control the crowd with his every word was a joy and pleasure. 

Looking at Smif N Wessun and Sean Price brought back vivid memories of 90's New York hip hop before the glitz, glamour, and shiny suit era became the norm.  This was a time of backpacks, Timberlands, baggy jeans, and corner cyphers showcasing ill lyrical rantings.  Sometimes I miss that time, but I do realize that progression can only occur once you recognize the past, and improve upon it.  That is why seeing Buckshot hit stage center brought all of this full circle for me, and the countless others in the crowded Club Room at Sonar.  Even though this anniversary show wasn't held on the Main Stage, which can hold up to a thousand or so patrons, the Duck Down family was very deserving of prime treatment.  Buckshot commanded the stage with his diminutive stature yet strong microphone presence.  Song after song was recited word for word by the crowd.  Because this was indeed a family affair, everyone on the bill was on stage to share in the festivities.  With a background artist painting images of Buckshot and crew, hip hop touched on different facets.  Buckshot could do no wrong as he performed lyrics from a deep catalog.  " Hold It Down", a song off the collaborative effort with 9th Wonder, The Formula, was delivered with vigor.  A fever pitch was reached when the signature sounds of "Tidal Wave", the sampled song from Ronnie Laws, were heard in the venue.  This signaled "Who Got Da Props", the Black Moon song that introduced the world to the Brooklyn emcee known as Buckshot Shorty, as well as 5FT and DJ Evil Dee.  Unfortunately, the only true downside with the show was the absence of Evil Dee.  My prayers go out to his family, as news travelled that he was mourning the passing of his sister.  I'm sure the Duck Down family performed with that notion in their hearts.

Overall, I was thoroughly pleased with the entire show.  Hip hop was alive and well inside Sonar on that Sunday evening.  Youthful and more mature hip hop heads shared a common love for a collective celebrating more than a decade as an independent entity.  After the concert ended, most of the artists remained to show love for their fans.  I had the opportunity to talk to Skyzoo, Tek and Steele, and let them know that their artistry doesn't go unnoticed.  If you don't know what these dynamic artists are doing presently, go to http://www.duckdown.com/ for a full listing of the revamped roster. 

One love to producer Unheard Of and all in attendance to celebrate The Duck Down 15th Anniversary!



WISDOM

HOTRADIO16.COM SHOW AT SONAR----OCT. 13TH

DJ BLACK WIZARD FROM HOT16RADIO.COM WAS THE DJ FOR THE KING HELL BASTARD SHOW AT SONAR ON OCTOBER 13TH.  UNFORTUNATELY, THE HEADLINER FOR THE SHOW, DUBBED THE "TWO WEEK TOUR",  HAD TO RETURN TO MILWAUKEE DUE TO AN EMERGENCY SITUATION.  HOWEVER, THE SHOW OBVIOUSLY HAS TO GO ON.  IN THE HOUSE WERE LOCAL LUMINARIES SUCH AS CVEG CEO LEW WILLIAMS, AHMED THE LAST BORN CHILD, MZ UNDASTOOD FROM DA BEAT 1650AM, AND DJ TNT.  MZ UNDASTOOD ALSO SERVED AS HOST FOR THE HIP HOP EVENT, ALLOWING THE SHOW TO FLOW FROM BEGINNING TO END.

HIP HOP STAPLES LIKE "HOW I COULD JUST KILL A MAN", "TIME 4 SUM AKSHUN", "SCENARIO", AND "OH MY GOD" WERE SPUN BY DJ BLACK WIZARD, SETTING THE STAGE FOR AN EVENING OF GRITTY, UNDERGROUND HIP HOP.  WITH DJ BLACK WIZARD ON THE WHEELS OF STEEL, THE FIRST ACT OF THE EVENING WAS DC EMCEE TARICA JUNE.  BRINGING A POSITIVE, FEMININE FLAIR TO THE FESTIVITIES, THE ONLY FEMALE SPITTER ON THE BILL WAS ABLE TO KEEP THE SONAR CROWD CAPTIVATED.  SHE PERFORMED JOINTS FROM HER MIXTAPE MOONLIGHT REVOLUTION SUCH AS "CRAZY GIRLS", A SONG SHOWING POSSIBLE MALE SUITORS THAT SHE IS FAR REMOVED FROM THE SONG TITLE, AS WELL AS "SLOW DOWN", A COOL SONG UTILIZING A POPULAR TRACY CHAPMAN SAMPLE FROM "FAST CAR".  HER VIBE AND PERSONA WERE A WELCOME DEPARTURE FROM THE NORMAL HIP HOP FARE ONE CAN COME TO EXPECT FROM A TYPICAL GRITTY UNDERGROUND EXPERIENCE.  I LOOK FORWARD TO HEARING MORE FROM THIS DYNAMIC EMCEE.  BE ON THE LOOKOUT FOR REVIEW AND INTERVIEW FORTHCOMING WITH TARICA JUNE.

AFTER A BRIEF INTERLUDE, THE NEXT ARTIST TO PERFORM WAS JAEYU.  THIS OVER 6 FEET TALL MICROPHONE CONTROLLER BLESSED THE CROWD WITH SWAGGER AND SKILLS TO MATCH.  HIS RUGGED BARITONE MATCHED WELL WITH HIS BRAGGADOCIO METAPHORS.  HE PERFORMED A FEW SONGS FROM A RECENT PROJECT, AND ENDED HIS SET WITH AN ACAPELLA FREESTYLE TO SHOWCASE HIS LYRICAL GRIT AND TALENT.  I HAD THE PLEASURE OF SPEAKING WITH HIM AFTER HIS ENERGIZED SET, AND WE WERE SUPPOSED TO SIT DOWN FOR A BRIEF INTERVIEW, BUT UNFORTUNATELY THE ARTIST WAS NOT ABLE TO STAY AFTERWARDS.  HOPEFULLY I , WILL GET THE OPPORTUNITY TO CHOP IT UP WITH JAEYU IN THE NEAR FUTURE.

BLACKSTAFF WAS THE NEXT HIP HOP CONGLOMERATE TO HIT THE SONAR STAGE, AND THEY BROUGHT ENERGY AND A 2010 SWAGGER TO THE HIP HOP AFFAIR.  THIS FIVE-MAN CREW COMMENCED TO RHYME OVER "BEAMER BENZ OR BENTLEY" JOINT, REPPING HARM CITY, AS WELL AS DROPPING DIRTY, HARDCORE LYRICS OVER "LEMONADE", THE SONG MADE FAMOUS BY GUCCI MANE.  THEIR FIFTEEN MINUTE OR SO SET WAS COOL OVERALL, AND THEY MANAGED TO GARNER SUPPORT FROM THE HIP HOP CONTINGENT WITHIN SONAR'S WALLS.

FORTUNATELY FOR THE AUDIENCE, MZ. UNDASTOOD WAS ABLE TO KEEP THE FESTIVITIES FLOWING WITH HER ARTIST INTRODUCTIONS.  COMING FROM THE DC METRO AREA, YOU CAN CATCH MZ UNDASTOOD ON DA BEAT 1650-AM ON "KONSIDER DIS SHOW" WITH DJ TNT, TUESDAYS AND THURSDAYS FROM 7-10 PM.  SHE SPOTLIGHTS LOCAL TALENT NOT ONLY IN THE DC METROPOLITAN REGION, BUT ARTISTS FROM HARM CITY SUCH AS NEPHEW, AHMED THE LAST BORN CHILD, SLAY, E.N.V.I.E., AND COUNTLESS OTHERS.

COMING FROM THE DC REGION WAS AN EMCEE KNOWN AS SLEEP.  THIS EMCEE REPPED FOR THE DMV, RHYMING OVER THE INSTRUMENTAL FOR THE RICK ROSS JOINT "B.M.F. (BLOWING MONEY FAST)".  I WASN'T ABLE TO GET HIS SET LIST FOR THE SONGS PERFORMED, BUT THIS DC-BASED ARTIST DID WELL WITH THE MOSTLY B-MORE AUDIENCE. 

UNFORTUNATELY FOR THE CREW SHAME, THERE WERE TECHNICAL DIFFICULTIES WITH THEIR MUSIC THAT PREVENTED THEM FROM PERFORMING THEIR SET.  BEING THE REAL HIP HOP ARTISTS THEY ASPIRE TO BE, THEY DROPPED AN IMPROMPTU FREESTYLE TO LET THE LISTENERS KNOW THEY CAME, THEY SAW, AND THEY ATTEMPTED TO CONQUER.

NEXT ON THE BILL WAS DIRT PLATOON, A RUGGED CREW REMINISCENT OF M.O.P.  THEY BROUGHT AN ENERGETIC SET TO THE STAGE, PERFORMING SONGS SUCH AS "PENNSYLVANIA AVENUE" AND OTHERS OFF OF THEIR RELEASE DEEPER THAN DIRT.  FROM MY UNDERSTANDING, THIS TWO-MAN CREW HAS BEEN MAKING THE ROUNDS ALONG THE EAST COAST PROMOTING THIS ALBUM, AND FOR GOOD REASON.  DIRT PLATOON BRINGS A VINTAGE B-MORE HIP HOP AESTHETIC TO THE MASSES.

CONSISTING OF THREE EMCEES (REAP, EVEL EYE, P), THE NEXT SET OF ARTISTS BROUGHT A SOMEWHAT UNIQUE AND OLD SCHOOL APPROACH TO THE STAGE.  WEARING T-SHIRTS PROMOTING THEIR "LIFELINE" MIXTAPE, P, REAP, AND EVEL EYE BLESSED THE CROWD WITH SONGS SUCH AS "BEST KEPT SECRET" AND "GIMME A BEAT".  THE TRIO, WHO PERFORM UNDER THE PNREAP ENTERTAINMENT UMBRELLA, WERE ABLE TO KEEP THE CROWD MOTIVATED AND CAPTIVATED WITH THEIR LYRICAL WIT AND SKILL.

JAY MCGRAW, CEO OF M.A.M. RECORDS, HIT THE STAGE TO PROMOTE AND PERFORM CUTS FROM HIS NEWEST MIXTAPE GRAND OPENING.  THE TITLE CUT PUT THE CROWD IN A B-MORE STATE OF MIND, AS MCGRAW USED THE STAGE AS HIS HIP HOP PLAYGROUND.  HE WASN'T PLAYING AROUND, HOWEVER, WHEN SPITTING VENOMOUS LYRICS ABOUT REALITY-BASED EXPERIENCES.  THE SET FOR JAY MCGRAW ALSO INCLUDED A SPIRITED DANCE ROUTINE THAT SHOWCASED BALTIMORE'S VAUNTED CLUB DANCING.  HIS SET ENDED WITH AN ACAPELLA JOINT, PUTTING A NICE EXCLAMATION POINT AND PREPARING US FOR HIS "GRAND OPENING".

CLOSING OUT THE EVENING, THE UNCONVICTED FELONZ CREW HIT THE STAGE.  CHUK DIESEL, ONE LIFE, ONE OF 1, AND FRENCHY HIT THE SONAR CROWD WITH RELENTLESS VIGOR, SHOWCASING THEIR PENCHANT FOR GRITTY AND RUGGED SOUNDS.  UFC, AS THIS CREW IS REFERRED TO, PERFORMED VARIOUS SONGS FROM THEIR MULTITUDE OF PROJECTS.  I ENJOYED SEEING THIS COLLECTIVE PERFORM AFTER CONDUCTING A BRIEF INTERVIEW WITH THEM BEFORE THE START OF THE SHOW, AND I WILL CONTINUE TO SEE HOW THIS GROUP OF LIKE-MINDED EMCEES WILL GROW, AND ULTIMATELY, EXPAND THEIR HORIZONS WITHIN THE HIP HOP SPRECTRUM.

OVERALL, THE SONAR EXPERIENCE WAS A POSITIVE SIGN THAT TRUE HIP HOP IS ALIVE AND GROWING IN BALTIMORE.  FROM A SPONTANEOUS RHYME CYPHER IN THE HALLS OF SONAR, TO THE COMARDERIE SHOWN AMONGST THE CROWD, IT WAS VERY EVIDENT THAT BALTIMORE IS INDEED A HIP HOP CITY.  I HOPE THAT ALL THE PARTICIPANTS TAKE NOTE THAT BANDING TOGETHER IS FOR THE COMMON CAUSE OF EXPANDING BALTIMORE'S HIP HOP BRAND OUTSIDE OUR CITY LIMITS, AND INTO THE NATIONAL SPOTLIGHT.  IT WILL TAKE A COLLECTIVE EFFORT, BUT OUR CITY IS POISED TO TAKE ITS PLACE ON THE HIP HOP LANDSCAPE.

ONE LOVE!

WISDOM

SAMPLE SUNDAY---EPISODE 9

TO COMMEMORATE THE 15TH ANNIVERSARY FOR DUCK DOWN AS A HIP HOP ENTITY, TODAY'S LATE SAMPLE SUNDAY EPISODE WILL FOCUS ON THIS INSTITUTION.  SPEARHEADING DUCK DOWN AS A MOVEMENT WAS BUCKSHOT, BKA BUCKSHOT SHORTY, AKA BDI EMCEE.  THE LONG JOURNEY TO PUT DUCK DOWN ON THE HIP HOP PERIPHERY STARTED, IN MY OPINION, WITH THIS CLASSIC CUT.  "WHO GOT DA PROPS", FROM THE BLACK MOON SEMINAL ALBUM ENTA DA STAGE,  CAUSED A TIDAL WAVE WITHIN THE UNDERGROUND HIP HOP COMMUNITY.  FROM THE OPENING SONIC BARRAGE, IT WAS EVIDENT THAT A SPECIAL SONG WAS IN THE MAKING, SOUNDING LIKE NOTHING ELSE IN HIP HOP.  RELEASED IN 1993, "WHO GOT DA PROPS" INTRODUCED THE WORLD TO BLACK MOON, AND THE KNAPSACK-CARRYING EMCEE KNOWN AS BUCKSHOT SHORTY, HAILING FROM THE PLANET OF BROOKLYN.



SPEAKING OF "TIDAL WAVE", THAT IS THE TITLE OF THE RONNIE LAWS SONG USED FOR THE SAMPLE IN "WHO GOT DA PROPS".  "TIDAL WAVE" WAS A COMPOSITION ON THE DEBUT ALBUM PRESSURE SENSITIVE, RELEASED IN 1975 ON BLUE NOTE RECORDS.  THIS ALBUM CATAPULTED RONNIE LAWS INTO BOB JAMES AND GROVER WASHINGTON, JR. TERRITORY DURING THIS TIME PERIOD, AS A JAZZ FUSION-BASED ARTIST.  I'VE KNOWN OF SOME RONNIE LAWS MUSIC, SUCH AS THE POPULAR "ALWAYS THERE" FROM THE DEBUT ALBUM.  I CONSIDER LAWS AN ICON IN JAZZ FUSION, WITH HIS COMPOSITIONS CONSIDERED AS HIP HOP GOLDMINES.  IF YOU DON'T KNOW ABOUT RONNIE LAWS (OR HIS EQUALLY TALENTED BROTHER HUBERT), DO THE RESEARCH, AND SEE HOW INFLUENTIAL HIS MUSIC WAS DURING THE 1970'S.

  HERE IS THE SONG THAT BECAME THE FRAMEWORK FOR "WHO GOT DA PROPS":



BUCKSHOT AND DUCK DOWN RECORDS CONTINUE TO RELEASE QUALITY MUSIC, AND ARE CURRENTLY ON THEIR COMMEMORATIVE DUCK DOWN 15TH ANNIVERSARY TOUR ON THE EAST COAST.  I HAD THE PLEASURE OF ATTENDING THE SUNDAY NIGHT SHOW AT SONAR HERE IN BALTIMORE.  YOU CAN GO TO THE WEBSITE TO FIND OUT MORE INFORMATION FOR NOT ONLY BUCHSHOT, BUT SMIF N WESSUN, SEAN PRICE, SKYZOO, DA BEATMINERZ, AND MANY OTHERS:  http://www.duckdown.com/. 

RONNIE LAWS CONTINUES TO CREATE TIMELESS MUSIC THAT CAN BE ENJOYED BY ANY WILLING TO LISTEN.  BE PART OF THAT WILLING GROUP, BECAUSE HIS MUSIC CAN TRANSCEND RACE, CREED, AND COLOR.  A NEW MUSICAL PROJECT BY LAWS HAS JUST BEEN RELEASED ON THE CENTURY 22 PRODUCTIONS IMPRINT, VOICES IN THE WATER.  MORE INFORMATION FOR RONNIE LAWS CAN BE FOUND ON HIS OFFICIAL WEBSITE:  http://www.ronnielawsmusic.com/. 

I DEFINITELY ENJOY MY SAMPLE SUNDAY SERIES BECAUSE NOT ONLY AM I REVEALING A SNAPSHOT OF HOW HIP HOP MUSIC, AT LEAST FROM A SAMPLING STANDPOINT, CAN HAVE ARTISTIC VALUE, BUT I AM ALSO SHEDDING LIGHT ON ARTISTS THAT ARE NOT NECESSARILY ON THE MUSICAL RADAR.  BECAUSE THESE SAMPLED ARTISTS ARE NOT WIDELY KNOWN OR IN THE SPOTLIGHT, THEY TEND TO FADE INTO THE DISTANCE.  THIS SERIES ALSO HELPS ME TO GAIN INSIGHT INTO SOMETHING THAT I'VE BEEN INVOLVED IN FOR A BETTER PART OF 25-PLUS YEARS.  SO, IN PARTING, BE BLESSED, AND BE AWARE OF HIP HOP CULTURE!

IS JAY-Z A "FREEMASON"?

Article written by: WISDOM

Being arguably the most influential entity in music, and entertainment, for that matter, is no easy feat. Such is the case for one Shawn Carter, professionally known to the world as Jay-Z. This Brooklyn emcee has reached heights few individuals can attest to or imagine. If you doubt this statement, take a look at the most recent cover of Forbes Magazine for proof. Jay-Z has been able to parlay an incomparable lyrical talent into a one-man hip hop empire. Of course, with the accolades come disparaging character remarks. The one that has been circulating around the rumor mill for a good while now is that the one Shawn Corey Carter is part of the infamous Illuminati sect. What exactly is Illuminati? Is Jay-Z a freemason?

In the Rick Ross and Jay-Z collaboration “Free Mason”, Jay-Z goes into lyrical detail about his supposed involvement with The Illuminati and freemasonry. He cleverly discusses how the purported talk about his involvement is making waves in the hip hop community. Here is the controversial verse, unedited, from the one and only Jay-Z.

“Niggas couldn’t do nothing with me, they put the devil on me

I’da preferred if niggas just squeeze the metal on me

Rumors of Lucifer, I don’t know who to trust

Whole world want my demise, turn the music up

Hear me clearly, if y’all niggas fear me, just say y’all fear me

Fuck all these fairy tales, go to hell, this is God-engineering

This is a Hail Mary pass, y’all interfering

He without sin shall cast the first stone

So y’all look in the mirror, double-check y’all appearance

Bitch, I said I was amazing…

Not that I’m a Mason

It’s amazing that I made it through the maze that I was in

Lord, forgive me I never would’ve made it without sin

Holy water my face in the basin

Diamonds in my rosary shows He forgave him

Bitch, I’m red hot, I’m on my third six, but the devil I’m not

My Jesus piece flooded, but thou shall not covet

Keep your eyes off my cupboard

I’m a bad motherfucker, it’s Hov, just say you love it.”

The first time I heard this verse, I was amazed at the candor as well as lyrical prowess. Jay-Z basically used no more than a sixteen-bar structure to dissect the notion of him devil worshipping and following the secret society known as Illuminati. Jay-Z talking about “secret society” is nothing new; this is something that he has spit before to showcase his Rocafella crew. However, in hip hop, lyrical imagery, similes, metaphors, and hyperbole are all creative tools used to convey a message in a unique fashion. I don’t believe that Jay-Z is partaking in the notion of New World Order, Illuminati, Freemasonry, or any of the many nomenclatures associated with the earthly underworld.

Upon research, I’ve discovered that there are 33 levels to Freemasonry. One of the biggest notions with involvement in these secret societies is just that, secrecy. Someone with the persona of Jay-Z is not privy to being a tool in developing a New World Order, which is probably the ultimate goal with these organizations. I feel that the media, as the propaganda tool it is, is responsible for putting this misconception in the airwaves to distract from those that may REALLY be involved in the development of a New World Order. To me, it is a somewhat ludicrous notion to place that mantle on the shoulders of someone with as much notoriety as Shawn Corey. Because the Illuminati and order of Freemasonry operate under veiled movement, using Jay-Z as a pawn in government overthrow just doesn’t make too much sense, in my humble opinion.

This is an ongoing saga, so I will continue this discussion at a later moment. In closing, I strongly feel that Jay-Z is not down with a “secret society”, in the mythical sense. He does wield power, but not the type of power and influence necessary to bring forth a New World Order. Keep eyes and ears open, and don’t necessarily allow media outlets to dictate perception and opinion.

Episode 19----GORDON GARTRELL RADIO (SPECIAL 10/10/10 EDITION)

HEY BLOGOSPHERE!!! HERE IS THE NEWEST GORDON GARTRELL EPISODE COURTESY OF PHONTE AND DJ BRAINCHILD...ENJOY THIS SPECIAL 10-10-10 EDITION, HIGHLIGHTED BY THE PLIGHTS OF EDDIE LONG...

Episode 19

SAMPLE SUNDAY-----THE 10/10/10 EDITION

WELCOME BACK BLOGOSPHERE!  WITH THIS SUNDAY BEING OCTOBER 10TH, 2010, THIS MAKES THIS A UNIQUE SAMPLE SUNDAY EDITION.  WITH SO MUCH HIP HOP FLOATING IN MY HEAD, SOMETIMES IT MAKES IT SOMEWHAT DIFFICULT TO FIND A FITTING TOPIC TO WRITE ABOUT.  TODAY'S SAMPLE SUNDAY EDITION WILL CELEBRATE THE "STAR" IN ALL OF US.

BECAUSE I HAD THE PLEASURE TO SEE THE ROOTS LIVE IN CONCERT ON THIS PAST FRIDAY, CHOOSING THE LEGENDARY MADE LOGICAL SENSE IN MY SOMETIMES "ILLOGICAL" EXISTENCE (SHOUT-OUT TO MY BRETHREN SPEECH AND AWETHENTIC).  FROM THE 2004 GEFFEN RECORDS RELEASE THE TIPPING POINT, "STAR" WAS, AND STILL IS, A CELEBRATORY JOINT FOR THE LISTENING AUDIENCE.  BLACK THOUGHT PAINTS A PICTURE OF LYRICAL GREATNESS IN ALL OF US, HENCE "STAR" BEING THE FOCAL POINT.  CHECK OUT THE VIDEO AND SONG TO GET A CLEARER PICTURE OF THIS HIP HOP NOTION.



THE ROOTS SONG WAS DERIVED FROM A SONG RELEASED DURING THE YEAR I WAS BORN (1970).  I REMEMBER THIS SONG FROM MY "MUSICAL YOUTH", SO TO SPEAK, SO WHEN THE TIPPING POINT WAS RE3LEASED, "STAR" WAS ONE OF MY IMMEDIATE FAVORITES.  SLY AND THE FAMILY STONE CONSTRUCTED A MASTERPIECE WITH "EVERYBODY IS A STAR", A FITTING WAY TO INTRODUCE A NEW DECADE FULL OF PROMISE AND DECADENCE.  SLY HAD A WAY OF INFUSING FUNKY MUSIC WITH SOCIAL COMMENTARY, AND "EVERYYBODY IS A STAR" FIT PERFECTLY INTO THIS MOLD.  LISTENING TO THE SLY AND THE FAMILY STONE JOINT IS STILL AN AURAL PLEASURE FOR ME, BECAUSE IT TAKES ME TO A TIME OF INNOCENCE AND GROWTH.  I'M SURE MY GRAY MATTER BRETHREN SPEECH AND AWETHENTIC WILL AGREE.



IT'S DEFINITELY A COOL MOMENT TO SEND THIS SAMPLE SUNDAY EDITION TO THE MASSES AT 10:10PM ON 10/10/10!

REMEMBER WISDOM SEEKERS...EVERYBODY IS A STAR!!!

ONE LOVE!

WISDOM

THE ROOTS SHOW AT RAMS HEAD LIVE---OCT. 8TH

BY:  WISDOM

     RAMS HEAD LIVE IS BECOMING THE BALTIMORE HOME AWAY FROM HOME FOR PHILLY'S FINEST, THE LEGENDARY ROOTS CREW.  THE APPROXIMATELY 2000 SEAT VENUE WAS BUZZING WITH ANTICIPATION FOR A NIGHT TO REMEMBER.  THE ARTISTS ON THE BILL DEFINITELY FULFILLED THEIR PROMISE.  IN ADDITION TO THE ROOTS, KENTAVIUS JONES, A SOUL/ROCK-INFLUENCED ARTIST, AND SALEEM AND THE .MUSIC LOVERS, A HYBRID HIP HOP BAND WERE THE PERFORMERS FOR THE EVENING.  WHAT AN EVENING IT WAS.

     I ARRIVED AT THE VENUE AT APPROXIMATELY 9:30PM, SO I WAS ABLE TO MAKE MY WAY THROUGH THE DIVERSE CROWD TO ALMOST FRONT AND CENTER OF THE STAGE AREA.  I COULD SENSE THE IMMENSE ENERGY IN THE ATMOSPHERE, SOMETHING THAT CAN BE EXPECTED WHEN THE ROOTS ARE PERFORMING.  IT DIDN'T TAKE TOO LONG FOR ME TO NOTICE SOME RECOGNIZABLE FACES IN THE CROWD.  MY MAN HAYWOOD BUTLER AND HIS 21 YEAR OLD NEPHEW MIKE, WITH  WERE IN THE HOUSE, SO WE HAD THE OPPORTUNITY TO CONNECT ON A HIP HOP LEVEL.

     STARTING OFF THE EVENING WAS KENTAVIUS JONES AND HIS BAND.  CALLING THE EASTERN SHORE TOWN OF EASTON, MD HIS HOME, KENTAVIUS JONES SPARKED THE CROWD IMMEDIATELY WITH HIS BRAND OF SOUL/ROCK/FUNK MUSIC.  HE ENERGIZED THE RAMS HEAD MASSIVE WITH HIS SPIRITED PERFORMANCE, ACCOMPANIED BY HIS BACKING BAND.  KENTAVIUS HAS A MUSICAL FLAIR AKIN TO MUSICIANS LIKE MARTIN LUTHER, VAN HUNT, AND CODY CHESTNUTT.  THE MUSIC MAY NOT GET THAT MAINSTREAM RADIO PLAY, BUT THE RADIO DOESN'T DEFINE TRUE ARTISTRY, IN MY OPINION.  THE OPENING SET WAS A VERY SOLID THIRTY MINUTES OF MUSICIANSHIP.

     AFTER A BRIEF EQUIPMENT CHANGE, THE CONTINGENT AT RAMS HEAD WERE BLESSED WITH A PERFORMANCE FROM AN EMCEE BACKED BY A HIP HOP-INFLUENCED BAND.  NOT THE ROOTS, I MAY ADD, BUT SALEEM AND THE MUSIC LOVERS.  BALTIMORE-BASED EMCEE SALEEM BROUGHT HIS PERSONAL STAMP OF LIVE HIP HOP MUSIC TO THE HOMETOWN AUDIENCE, AND HE DIDN'T DISAPPOINT ONE BIT.  SALEEM IS DEFINITELY A STUDENT OF HIP HOP CULTURE, PEPPERING HIS PERFORMANCE WITH LYRICAL PROWESS.  SALEEM WAS JOINED BY AN ECLECTIC GROUP OF MUSICIANS ONSTAGE:  TWO FEMALE KEYBOARDISTS, A BROTHER ON THE DRUM MACHINE, A GUITARIST, AND A DJ.

     SALEEM MASTERFULLY CONTROLLED THE STAGE WITH HIS PRESENCE AND HIP HOP BRAVADO.  LYRICALLY, SALEEM LACED HIS VOCALS WITH WITTY PUNCHLINES AND DOPE METAPHORS, MAKING SURE THAT WHAT WAS BEING SAID COULD BE HEARD AND ABSORBED BY THE CAPTIVE AUDIENCE.  HANDS WERE IN THE AIR FOR THE VAST MAJORITY OF THIS SET.  ONE STANDOUT JOINT FROM THEIR SET WAS "THE CYPHER", FEATURING EZE JACKSON FROM SOUL CANNON.  HOWEVER, THE EXCLAMATION POINT FOR SALEEM AND THE MUSIC LOVERS WAS "SHHH, CUZ MASSA'S COMIN'", A CALL AND RESPONSE SONG THAT SALEEM FELT WAS A PERFECT SONG FOR TODAY'S STILL-OPPRESSIVE ENVIRONMENT.  THE TITLE OF THAT SONG SAYS IT ALL.

     THE NIGHT WAS STILL YOUNG, AND THE FULL HOUSE AT RAMS HEAD LIVE THUS FAR WERE TREATED TO A VERY GOOD NIGHT OF MUSIC WITH NO BOUNDARIES.  THE CREW THAT HAVE SET THE BAR SO VERY HIGH WHEN IT COMES TO BOUNDLESS MUSIC WERE ABOUT TO MAKE THEIR PRESENCE FELT.  AROUND MIDNIGHT, THE LIGHTS DIMMED, AND A DEFINING ROAR WAS HEARD AND FELT THROUGHOUT THE VENUE.  AHMIR THOMPSON, AFFECTIONATELY KNOWN AS QUESTLOVE, WAS THE FIRST TO MAKE HIS WAY TO THE STAGE, TAKING HIS CUSTOMARY SEAT ABOVE THE STAGE ON HIS YAMAHA DRUM KIT.  JOINING HIM ON STAGE WOULD BE KAMAL GRAY ON THE KORG TRITON KEYBOARD, "CAPTAIN" KIRK DOUGLAS ON ELECTRIC GUITAR, OWEN BIDDLE ON BASS GUITAR, DAMON "TUBA GOODING JR." ON SOUSAPHONE, AND FRANKLIN "FRANKIE KNUCKLES"  WALKER ON PERCUSSION.  HOWEVER, THE LEGENDARY STAGE SHOW COULDN'T BEGIN UNTIL THE INCOMPARABLE TARIQ TROTTER, BETTER KNOWN TO THE HIP HOP WORLD AS BLACK THOUGHT, HIT THE STAGE.

     IMMEDIATELY, BLACK THOUGHT, QUEST AND CREW TORE THREW AN ASSORTMENT OF SONGS TO COMMEMORATE "HOW I GOT OVER", THE NINTH STUDIO ALBUM FROM THE RESIDENT HOUSE BAND FOR "LATE NIGHT WITH JIMMY FALLON".  BECAUSE THE ROOTS CATALOG IS SO DEEP, THEY ARE ABLE TO MINE THAT CATALOG TO COVER A WIDE SPECTRUM OF THEIR HIP HOP HISTORY.  BLACK THOUGHT HAS NO RIVAL WHEN IT COMES TO BREATH CONTROL AND ROCKING THE MICROPHONE, AS WITNESSED BY THE EXCITED AND AMPED CROWD.  HE EFFORTLESSLY WORKED WITHIN THE MUSICAL STRUCTURE PROVIDED BY QUEST, KAMAL, AND COMPANY.  WATCHING THE ROOTS IN ACTION IS A JOY TO BEHOLD.  I'VE BEEN FORTUNATE ENOUGH TO SEE THE ROOTS IN CONCERT A MULTITUDE OF TIMES, AND THEY NEVER FAIL WHEN IT COMES TO ENERGY AND SPONTANEITY.  WITH THEIR PERFORMANCE OF "MELLOW MY MAN" FROM THE ALBUM DO YOU WANT MORE, THE HIGHLIGHT OF THE EVENING SHOWCASED THAT SPONTANEOUS NATURE, AS QUEST MOTIONED FOR THE AFOREMENTIONED MIKE TO JOIN HIM ONSTAGE FOR A DRUMMING DEMO FOR THE AGES.  QUESTLOVE AND FRANKIE KNUCKLES DELIVERED A SPIRITED DRUMMING SESSION, BUT ADDING "SOUL BROTHER NUMERO DOS", AS QUEST DUBBED MIKE, BROUGHT THE DRUMMING TO A HEIGHTENED LEVEL. 

THIS WAS ONE OF MANY DOPE MOMENTS WITHIN THE ROOTS CLOSE TO TWO HOUR SET.  ATTENDING A ROOTS SHOW IS A TRIP THROUGH HIP HOP AND POP CULTURE, AND THAT IS WHAT MAKES THE ROOTS EXPERIENCE SO UNIQUE.  TRUTHFULLY, I CAN'T PUT ALL OF WHAT WAS EXPERIENCED INTO WORDS, BUT TRUST WHEN I SAY THAT I WAS STILL ENERGIZED AT 2:00AM IN THE MORNING, ONCE THE ROOTS FINISHED PAINTING AN PORTRAIT FULL OF SOUND AND MUSICAL ARTISTRY.

     IN CLOSING, THE CONCERT WAS SPECTACULAR, FILLED WITH POSITIVE ENERGY AND VIBES.  IF YOU HAVEN'T BEEN TO A SHOW BY THE ROOTS, PLEASE, PLEASE, PLEASE GO AND SEE WHY THEY ARE CALLED "THE LEGENDARY".

ONE LOVE!!!

WISDOM (AVID FAN OF THE LEGENDARY ROOTS CREW)