Janis Joplin "Pearl" (1971)

It was quite a few years ago that I first heard of Janis and her legendary performance at Woodstock 69. I got my hands on Pearl with a whole bunch of other records from a top 500 list and have had it on my phone since, waiting for shuffle to catch me off guard and precisely that happened the other day with Half Moon, a feel good, upbeat, jiving song on the first side of the record. Reading up on Pearl I am saddened to learn it was released posthumously a few months after her death in 1970 where she suffered a heroin overdose. Interestingly the album was recorded in the failed four channel quadraphonic format which would eventually become surround sound. It also held the top album slot for nine weeks and sold over four million copies.

Whats impressive about Pearl is its energy and dynamism, from both Janis's charisma and the wonderfully involved, vibrant instrumentation behind her. The record rocks and sways between heartfelt emotions and feel good, rocking vibes. A powerful fusion of Funk, Soul, R&B and Blues Rock jives on with a colorful intensity as the accompanying Fult Tilt Boogie Band illuminate these songs with fleshed out and inspired music making a rich setting for Janis however they too take the lime light with bursts of powerful organs and guitar licks between the ever present liveliness of the deceased Richard Bell's pianos. Its dense in its involvement, yet audibly crisp and inviting, each instrument having its space in the mix to shine as they jive in tandem.

All of the band give a riveting performance, you can simply just zone in on one instrument and be moved but the biggest mover is Janis out in front of them who has such a fascinating and emotional voice. With such sincere passion and expression in her singing, the half hit notes and croaky, scratchy strain she frequently visits become engulfed in the moment, sounding natural, charming and despite technically being "flawed" its transformed by her charisma. She even goes has far to push her voice in to a surging shriek on occasion, which is too just an unleashing of urgent expression. Its truly riveting and endearing, her young death truly a tragedy.

Its practically a flawless record, thirty four minutes of emotional engagement with exception to one track which I can't help but feel modern corporatism has spoiled as I'm sure Ive heard it in a commercial of the same name, Mercedes Benz. Its a short, lower fidelity accapella where Janis sounds a little rusty on her own, singing sarcastic prayers for consumerist products. Its really quite a nice piece but feels tainted by its snug fit with advertising culture where everything becomes a commodity, even the song, which only makes sense retrospectively.

My time with this record has taught me what I'm learning over and over again, that a musicians personal expression can transcend any preconceived musical preference if given a chance. The sixties is a fascinating chapter in the history of humanity and certainly the beginning of the cultural freedom we experience today. I'd never been keen on the music but I'm glad that's changing. Janis's voice feels free of its time but the instrumentals are firmly rooted in the era and Its great to hear familiar 60s aesthetics expressing something I can relate with, however writing that makes me realized its perhaps the ever changing self that is now coming around to this wonderful era of music and cultural significance.

Rating: Cry Baby, My Baby, Half Moon, Get It While You Can

Rating: 9.5/10

Krtis Blow "The Best Of Kurtis Blow" (1994)

My adoration of Hip Hop, its fascinating origin story and evolution, has put a lot of names in my mind, some of which Ive yet to get around to. Hearing Kurtis Blow's break out single The Breaks recently from 1980 had me itching to check out the Rapper who's name Id heard a thousand times over. The song itself wasn't particularly defining of Kurits because its essentially a remake of Rappers Delight with an interchangeable instrumental and signature baseline aesthetic and playing. Either way I was impressed by Blow's easy going rhymes and steady old school flow and since his records are like gold dust to find, the best I could get my hands on was a best of compilation CD released six years after his run of eight back to back albums.

All these songs take place before N.W.A and Public Enemy, they are fun, care free and strangely innocent in retrospect. Kurtis picks many surface level topics, stitching light rhymes together that string references and simple expressions about basketball, America, parties and even some festive rapping. Even when Hard Times rolls around Kurtis spins a positive mentality response to struggles he barely scratches the surface of. Its all light and smiley, the rhyme schemes seeming almost comical given the feats rappers would go on to do. Its essentially the blueprint of that old school era.

The music is great, Blow's flow is powerful, pronounced and lively. The instrumentals are of their time, heavily Disco influenced, with a dash of Funk spice and a sprinkling of Synthpop production its all as crisp, punchy and pronounced as Kurtis himself. Some songs topic are a bit drab like the ultra patriotic America and obnoxious AJ Scratch with its awkward chorus singing. I made a fun discovery with If I Ruled The World, a song Nas would rebuild with its chorus and sampling from Tears For Fears on his Stillmatic album. That's one of the reasons I love exploring Hip Hop's history, there is much connectivity to learn and although this isn't something I'll listen to often, it was really great to enjoy another slice of the Hip Hop evolution.

Favorite Songs: The Breaks, Christmas Rappin

Rating: 6/10

Childish Gambino "Awaken, My Love!" (2016)

Upon its release I was immediately drawn to the memorizing, neon yet tribal album cover, It sucked me in, I wanted know more. After hearing just a single track on Youtube I was buzzing with excitement and then some how... its two years later. Only now have I finally gotten around to this record and I have clearly missed out on music that will keep giving for years to come. The multi talented Donald Glover aka Childish Gambino, who got the persona name from an online Wu-Tang name generator, ditches his rapping and follows his gut for a truly inspired wild ride.

"Awaken, My Love!" Is a bold and vivid, psychedelic journey through shades of 70s sounds re-imagined with a bright, colorful intensity that's lively and engrossing. Its a luscious tapestry of sounds, never static, always animated, going through the motions as a wide pallet of instruments get involved between songs. The infectious grooves of Funk, sensibilities of Jazz, soothing vibrations of Soul, the jive of Disco and singing voices of R&B all echo through a trippy, humanistic soundscape. The union of electronic and natural instruments is effortless and a keen ear can hear such a wonderful array of sounds working in tandem, it all sounds gorgeous.

As a record its a fun experience but its not without its flaws. Despite every song having its own flair, a lot of the tracks slip into feeling more like jams than songs built on direction. As a result much of the record feels interchangeable, sometimes grounded and other times loosely themed. Where Donald moves from rapping to singing his presence isn't that powerful and his full singing voice is not far off the mark but it feels like he compensates with artistic inflections and stylized, softer vocals on most tracks. As a result he is rarely the focal point of the music and all to often his backup singers outshine him. When he comes to the front, his quieter approach lulls as the music often outpaces him.

This is a small picking in a big package, this album is loaded with goodness but sometimes these details let you understand whats holding it back from becoming greater. There's a lack of hooks or punchy moments and little of the singing gets stuck in the mind. The music plays like an ooze of flowing awsum that's just to fall where it may. Its needed a bigger helping of direction and focus but despite that its still really wonderful. Shame its the last from Childish Gambino who has retired the project.

Favorite Tracks: Me And Your Mama, Riot, Redbone, Terrified, Baby Boy

Rating: 8/10

Hiatus Kaiyote "Choose Your Weapon" (2015)

Now here's a record I never knew I needed! Four piece Australian Jazz Rock outfit Hiatus Kaiyote's second album came as a personal recommendation from the Ren-diggidy-dawg a while back and Its been on repeat ever since! The 80s aesthetic of the cover art says little to the flavor of the music but maybe volumes to the vibrant individualistic style and character the band posses. Fusing aspects of Funk, Jazz, Soul and Progressive Rock, the group take on their inspirations with an articulate voice and inspired artistic freedom.

The result? A classy musical indulgence soaked in the haze of competing instruments that bring every moment to life with their collaboration. Where direction is often led through syncopation and repetition, Hiatus take the other path and fill your cup with the spice of variety as each instrument helps color the canvas of every passing moment. The depths can be felt as each song is layered in instrumentation of which any could be the lead instrument. It brings the core songs to life as never a dull moment presents itself, we are always in the presence of animated instrumentation fighting for our attention and rarely letting one another take center stage.

The percussion brings a mix of flavors to fight for your interest. While holding the driving backbone of tempo down, a liveliness is felt in the range of sounds emerging, an expansive kit loaded with intricacies fleshes out the core rhythm with a constant energy for subtle polyrhythms, grooves, shuffles and vibrant fills. Alongside the drums guitars and synths play a similar roll of never settling for a simple and linear path, each instrument always has something to contribute, either an accent or added dimension to the songs density and trajectory. Especially the synths which make passionate use of the endless manipulation that knobs and dials can do to expand horizons and evolve the sound from a singular textured experience.

The record never stays in one place, its wild and free flowing nature has the carpet pulled from your feet right as your feeling settled. The grooves shuffle, the melodies swoon, the atmosphere sways and lights up the night with its charm but the fire starting spark of magic comes from singer Nai Palm. Her breathy voice has the range to stride with power, then whisper in the next utterance. If there is a lead here, it is her artsy voice that always rises to the top with its flair and quirk to remain fully motioned, never settling on a steady note and often adding inflections in time with the punch line of the drum beat. Its an instrument of its own, as animated and vibrant as any of the others. Some of her best moments come from the ditching of words as she devolves into the melody, free of conventional constraints, it reminds me of a child dancing, free of judgement from anyone, especially herself.

For all its merit, not everything attempted here will be to everyone's taste. Its strength is variety, which comes in a large engulfing dose. There is never a stale moment but the constant shifting and shuffling from one idea to the next doesn't always strike the charm the majority of it does and can move on you as your settling in. No bad words to be said, just that the genius chemistry these musicians have is really milked into every corner of the record. At just under seventy minutes its got so much to offer, a real cracker that's got to be the best thing Ive heard so far this year.

Favorite Tracks: Shaolin Monk Motherfunk, Breathing Underwater, By Fire, The Lung

Rating: 9/10

Justice "Woman" (2016)

Drenched in the glossy ooze of indulgent synths, illuminated by soft swooning vocals, "Woman" takes us on a retroactive trip through the Disco dance floors of old with an infatuated re-imagining of that era. French House duo Justice probably can't get by without mention of another French House duo, Daft Punk, who's influence can be heard boldly on the noisy crunching club tune "Chorus". Daft Punk are known for their inspirational roots in Disco & Funk music but in their long absences this pair fill the void with no imitation craft. Similar in stature and matching in talent, Justice go down the smooth and swooning path with a bright and colorful set of instruments, electronics and strings  cruising over tight, rock steady softly thudding Dance beats.

With a backbone for the dance floor these songs play out with events, transformations and lucid progressions that may pass you by given their seamless chemistry. With a keen ear for strings many repetitions are brought to life with cinematic strings rumbling in with melodies like a lead guitar. The many layers of instruments interchange their focus to convert what could be simplistic, repetitive dance tunes into woven tapestries of symphonic dance night groove as one instrument takes the lead over from the next and the music continuously unravels before us in electronic wonder. The album has strength in variety and consistency tone, it flows like a river while taking us many places, some with hints of astral vibes as if gazing to the stars above.

 With little to flaw one can only marvel at the balance of elements here. Bright, modern production breaths life into old sounds and ideas. Its romantic, elegant and nostalgic, the duos singing, velvety high pitched harmonies, are sublime. On the song "Randy" they sound very much like the vocal style of Kevin Parker from Tame Impala. This record grew slow on me, which I find rather strange in reflection. With each familiarity the bigger picture became clearer I guess and I get the sense it will continue to grow on me with time. "Woman" is a very sturdy record, I can only sing its praises.

Favorite Tracks: Chorus, Randy, Heavy Metal

Rating: 8/10

Wartime "Fast Food For Thought" (1990)

This obscure "side project" EP is the brainchild of bassist Andrew Weiss, who invites his fellow band mate Henry Rollins to lay down the vocals in his typical style. The duo are both from the Rollins Band however Wartime is a different beast, Rollins' unshakable style remains grounded over Weiss' instrumentals that take an Industrial, Funk laden, bass driven approach. Some of the core grooves can be heard in similarity to the pairs main ambition however "Fast Food For Thought" comes off as an unapologetic, noisy hash of idea's with a backbone of grooving funk.

Its aesthetic is of the age, dainty factory setting percussive tracks lined with bongo hits set the tempo for Weiss' monstrous distorted bass tones, dripping in texture with warping gurgles and snarling oscillations. It makes a racket, multiple baselines, some popped and slapped, a sprinkling of acoustic guitar licks and the occasional synth, samples make an overwhelming roaring backdrop for the man with the big mouth to direction your attention to the themes that inspired the food for thought.

Two years before "The End Of Silence" we hear Rollins defining his loud mouthed shouted vocal style at its inception. His tone, delivery and intense presence is a great match for the noisy instrumentals. The lyrical themes and words themselves are a little soft and obvious in terms of craft of rhyme. The topics and points made are certainly worth your time but the poetry is stitched together with obvious, simplistic links that have Rollins sounding like a 90s parody rapper in some respects, despite the words having a measure of weight to them.

The whole thing plays like a singular track with no break in tone, consistency or texture. Its very upfront, immediate and riddled with "dated" sounds but that's part of the charm of digging out this forgotten relic from one of my favorite bands. In a way it feels like some great ideas were born here, with Rollins' vocal style evolving and Weiss' burgeoning riffs amping the duo for their greatest collaboration when returning to Rollins Band in 92. Well worth your time if your a fan.

Favorite Tracks: Right To Life, The Whole Truth
Rating: 6/10

Daft Punk "Random Access Memories" (2013)

Over three years ago the French duo released their fourth and classiest record to date and somehow my utter excitement to listen to It got buried by other distractions, I have no excuses. A month or so ago It dawned on me that I forgot of its existence, a shameful crime... Daft Punk need no introduction but if your unfamiliar then a little history is due, they are a pair of Electronic musicians who emerged from the House scene, contributed massively to the mainstream success and sound of modern electronic music while sealing themselves in an air of mystery at the same time, given their robot avatars. With four records in twenty years and one soundtrack the two have a lot of integrity to put the music at the foremost of their art, rarely touring and always striving the reach new heights with every ambition.

RAM is the moment where the two unchain themselves of their electronic origins and delve deeply into their disco, funk, soul and 70s music roots. Slick acoustic guitar licks, rock steady, grooving baselines and classy, subtle drumming all set a solid tone. Its gorgeous, slick, smooth and easy on the ears, all made possible by a collection of prestigious session musicians who revive the music of times gone by without a sense a nostalgia, a quite remarkable feat not commonly encountered. It plays out like a refined Disco of the future, finely tuned and polished to sparkle.

It comes full circle as the music's electronic aspect goes through a completely organic process of becoming the humanistic aspect as the lush instrumentals set a harmonious tone for bursts of measured synthesizers to find their moments between the ensemble of vintage instrumentation, captured together in a masterful production. Where a guest vocalist isn't present the pairs auto-tuned, electrified voices take command and bridge the connection. With an analytic mind its as if a case of reverse role has taken place, the voice electronic rather than the music but with a keen ear one can here the littering of subtle keys and murmuring synth lines between the traditional music.

All of this is essentially stated on "Giorgio By Moroder" through Italian producer Giorgio who, with a brilliant quote, captures much of the essence of whats at work on RAM. For all the praise I could lavish it with, RAM is a record of tone, mood and charisma. With a run time of seventy four minutes it does little to shake up its pace and energy and with consistency finds itself drifting out of my attention in the final stretch. By the time "Contact" rolls around with its ambitious noise abuse I'm about done with things and awaiting its conclusion. A brilliant output by the duo, a vision well and truly executed but perhaps lacking a little in variety and experimentation where its consistency runs dry.

Favorite Tracks: Give Life Back To Music, Loose Yourself To Dance, Get Lucky, Doin'it Right

Rating: 8/10

Kendrick Lamar "Untitled Unmastered" (2016)

Where does an artist like Kendrick go after the monumental "To Pimp A Butterfly"? Well playing it down with a "bonus material" type of record is a smart move, calm the hype and feed hungry fans some material that didn't make it to TPAB, you can't go wrong... well, you could but thankfully these leftovers are interesting, rich with ideas and quality execution (at times) that gives me a greater respect for TPAB. Its grown on me over the year, at first I saw its brilliance but It wasn't clicking, however as the year grew those songs would resurface in my mind. What I realized about the music is how much Kendrick pushed the instrumentals in favor of its Funk, Soul and Jazz influences. Often the Hip Hop ideal dominates over a selection of samples, however with hired musicians he steered the ship to a far more neutral territory, "Untitled Unmastered" further highlights this artistic balance. For a group of outtakes that are simply dated, rather than named, we get an unsurprisingly unfocused experience but those 34 minutes flow by smoothly. For this one we will break it down track by track.

First we have a darker, grittier instrumental reminiscent of the RZA production style from early Wu-Tang records. Low-fi strings and soft piano samples over dingy, grimy beats. Kendrick spits with a lot of energy on this one. Second we move into a moodier atmosphere with spacious beats and deep brooding baselines, Kendrick playing with his softer voice and dropping in infectious rhythmic delivery. Third song we get a fruitier, upbeat, almost tropical track with fantastic instrumentation, a rigid organ sound comes into the track later on which didn't quite charm. Fourth song Kendrick starts off with a harmonized duet, whispering questions the two reply two in voice. Has potential but the song fizzles out.

Track five reminds me so fondly of DJ Shadow's "What Does You Soul Look Like", a hefty warm baseline plodding under a crashing ride cymbal. Six has a faster vibe and is the records most TPAB track, sounding like it could slip itself into the track listing. Seven, the longest at eight minutes, plays with the gangster side, dizzying trap instrumentals and provocative lyrics lead into a couple of half baked ideas that end in Kendrick taking the mick out of Michael Jackson's "Don't Stop Till You Get Enough". Eight has a strong disco dance vibe with a snappy clap in the beat and unusual synth lines grooving around between the deep swooning bass grooves.

Its easy to see why some of these songs didn't make the final cut, they are not quite on the same wavelength, but that's not say they couldn't of become something great, they just don't quite line up with the mood of TPAB. This record is fantastic and an glimpse into the depth of inspiration Kendrick brought to his record. Whatever direction he chooses to go in next there is no doubt he could make another fine record with these musicians at his side.

Rating: 7/10

D'Angelo "Black Messiah" (2014)

 

Having heard rave reviews about this record, I decided to pick up a copy, despite R&B being a genre I've never given much time or attention. It was the fourteen year hiatus between records that intrigued me, despite that being somewhat irrelevant. With an open mind and a new found love for exploring music I gave it a try, and thoroughly enjoyed this record of which I had few points of reference for.

D'Angelo's back story is an interesting one, at a young age he received praise and acclaim for his voice which would guide him into the music business, creating two records that had monumental success before disappearing from the limelight, disillusioned by his fame and status. Fourteen years later we have "Black Messiah", an easy flowing record of laid back groove and soothing soul that ebbs and flows with D'Angelos harmonious voice swaggering sweet vocal infectious in an effortless breeze of ranges, peaks and styles.

His voice is a highlight, a point of attention, but the instrumentals are as much a part of the chemistry creating a chilled, versatile setting for funking grooves to content with a soulful counterpart. The bass bobs and weaves under claps and kicks that strike a powerful rhythm without need for force. The guitars, pianos, trumpets and occasional strings all contribute with a subtlety of force that can do so much with so little as each add quiet inflections to the groove in the moment's there not playing a lead, or directing the drama with sudden hits and strikes. It utilizes simplicity and executes it with cunning, for example a simple clap, kick and whistle groove on "The Door" with acoustic guitars accenting the vocal leads creates so much without filling all the spaces. Its not the sort of sound I'm used too, but I'm liking everything about it and this album is increasingly enjoyable with every listen.

Favorite Tracks: The Charade, Prayer, Another Life

Rating: 7/10

Outkast "The Love Below" (2003)

"The Love Below" is Outkast's, or Andree 3000's, second half of the duo's critically acclaimed 2003 double album. The first half  "Speakerboxx" saw Big Boi hold is own on a collection of solid tracks, but this record really pushes the mark as a conceptual record which truly challenged the Hip Hop sound with soaring highs and crashing lows. Andree brings us in with a classical score fit for backing in romantic golden era cinema before throwing us into a Jazz band groove with trumpets, pianos and guitars on "Love Hater". Its a change of gears that flows effortlessly as a gentle, serene acoustic guitar strums a dreamy tune with Andree bringing in the records conceptual nature, and the goddess of loves blessings upon him. Its a memorable group of tracks to bring the record in, but this is just where it gets started.

As the album comes into its own as the instrumentals find a sublime chemistry, stretching boundaries as subtle rhythmic presences let Funk, Rock and Soul fly free of any expectations. "Spread" and "Prototype" only held to Hip Hop through muted, subdued bass and kick grooves that let live instruments play out enigmatic songs like a normal band would. The album peaks with the cracking "Hey Ya!" & "Roses", both songs laying fetching memorable lyrics over the live band setup which reaches its peak at this point. So far we have been helped to a stunning level of genius as Andree stretches the versatility of this music effortlessly, with much help from is soft and ranged vocals which peak the songs with beautiful, catchy hooks in between his energetic raps.

Unfortunately thats where the magic ends. In an almost bizarre turn around the skit "Good Day, Good Sir" brings in a second half which casts the live band aside in favor of electronic synth leads and toned down percussions that lacks all the charm of the records first half. The romantic themes of the album feel further abstracted and become more convoluted in a now nauseating rumble of musings that lack a point. The record feels done at "My Favorite Things", a Rave and Drum and Bass remix of Coltrane's classic that dispels the magic from the original with rigid drum loops that rub up against it in an uncomfortable nature. Then the album just trails off with three uninteresting tracks.

I'm not sure what to make of this record. I want to know what Andree's thoughts were on the record as a whole, as from where I'm listening from the first half is genius and the second a real stinker. Theres no doubt though that the expansive ideas that have shaped Outkast's boundary pushing direction come from Andree and on "The Love Below" we hear his ideas at there best and worst. The live band brings limitless possibilities when couple with minimalist groove oriented percussion. The synthesizer work leaves much to be desired, however executed perfectly on Speakerboxxx's "Ghetto Musick". I'll return to this one time and time again, but just for the first ten tracks.

Favorite Tracks: Spread, Prototype, Hey Ya!, Rosses

Rating: 6/10

Outkast "Speakerboxxx" (2003)

Hip Hop duo Outkast have truely gained my love and respect, their music has moved me and they are undoubtedly this years best discovery however they are no hidden treasure, much more like a stash of gems out in the wide open. Outkast are critically acclaimed and I've been aware of them, heard a lot of them back in the early naughties and only got around to listening through there records many years later. Doing my research I learned this record to be one half of a double album, "The Love Below" the other half. Its the duo's, and one of Hip Hops biggest selling records and the back story is intriguing. With Andree 3000 following a new direction the two agreed too record solo records and package them together, as opposed to going separate their separate ways. Its been a while since I covered the last record "Stankonia" and the hesitation came from the high expectations critics set for this double record extravaganza.

Having absorbed both records I would certainly tip my hat to "Speakerboxxx" as my favorite, however I feel the concept of the two working apart is everything thats not working on both records. The album starts with "Ghetto Musick" a brilliantly eccentric fusion of Rave synthesizers, Funk and soul that feels complete with Andree featuring alongside Big Boi, complimenting his fast paced flow with zany chorus vocals and a choice sample of Patti Labelle coming together to make a solid track. Unfortunately Andree's absence is felt from this point on. Big Boi holds his own with a terrific set of songs that have quality instrumentals and raps, but each track feels like its missing a dynamic to make it spark.

To be fair, I'm too used to hearing the two bounce of one another. Theres a lot forward thinking tracks here that bring inventive Soul, Rock and Funk sounds to the Hip Hop formula creating engaging instrumentals ripe with variety and a freshness relevant to the time. Its a natural progression that Big Boi is following on his own and it works. "Unhappy", "War" and "Knowing" hold the Outkast vibe together, reminiscent of earlier sounds and overall the record flows well, with an amusing appearance from his young son on "Bamboo" which makes me chuckle each time. Its a strong record with a new take on production that showcases an array of inventive instrumentals, but it doesn't quite have the charm of the two working together, which we will hear again on Idlewild.

Favorite Songs: Ghetto Musick, Bust, Knowing, Flip Flop Rock, Last Call

Rating: 6/10

Herbie Hancock "Thrust" (1974)

Herbie Hancock is an American Jazz pianist from Chicago who has played alongside such legends as Miles Davis and Donald Byrd. His career of solo records started in the sixties with "Takin Off" at the age of twenty-one. He has since release over 50 albums across five decades. Along the way hes received critical acclaim for a handful of records. "Thrust" is not one of them, but simply the record that pulled me in and got me listening.

The opening track, "Palm Grease" is a laid back jam fest of perpetual funk bass grooves and spacey, outlandish jives that dance and play around the unfolding groove that moves its way through ten minutes of free flowing improvisational unraveling after a cow bell drum break in the beginning and mid section that I have heard sampled on a fair few older Hip Hop tracks. This opener shows a lot of funk flair, but the next three tracks elevate to a higher dimension as the funk grooves hammering on the bass play second string to the keys that take the helm with layered compositions of airy, organs like keys and layered synths as the drums get heavy on the ride symbol and flow into the Jazz improvisational style. "Butterfly" gets soulful with a strong, moving tenor sax lead from Bennie Maupin that graciously sees us in and out of a calmer number that amplified with Herbie's mid song leads climaxing with oozing synths.

Its an exciting listen for the newer elements I'm being exposed to, but it does often drift into the background a little as some of Herbie's leads worm around themselves without conclusion. Bennie's feature was the most congruent moment on the record, and despite the excitement of being new to the Funk-esq Jazz feel, I felt a lack of focus or direction left some gorgeous sounds, aesthetics and musical ideas drift into unconscious territory. Very enjoyable listening experience that will have me seeking out more Jazz-Funk.

Favorite Tracks: Actual Proof, Butterfly

Rating: 7/10

Outkast "Stankonia" (2000)

Stankonia, the groups forth release named after the record studio they purchased to record this album in. Given the critically acclaimed success of their previous effort "Aquemini" the duo take of from where they left, moving forward with another fine record that shows no shortage of inspiration as the two forge classic tracks with an ear for expanding their musical ideas, just like they did on Aquemini. The biggest distinction between the two records is Stankonia's pace which features faster tempos with especially chaotic snare and base rhythms best showcased on "Snappin' & Trappin", that features "Killer Mike" & "B.O.B". Other distinctions include a noticeable increase in featured rappers who appear on many tracks. The track listing also has all the skits separated from the songs, something they didn't do on previous records.

The record starts of with a bang, "Gasoline Dreams" opens up with an obnoxious "Ah right" on repeat before dropping in with a phenomenal hook, "Don't everybody like the smell of gasoline, well burn mother fucker burn American dreams", the energy and tempo is high and the raps come in airy sung delivery over rocking guitars and lyrics which say so much about our society in so little words. Starting of with aggression, things quickly switch to smooth styles with "So Fresh, So Clean" and the album journeys on into a stylistic future funk oddball of styles and themes that come with terrific hooks track after track.

The production is split between Earthtone III and Organized Noise, the latter of which handled the earlier records and their style can be heard on their three numbers, but the album flows and again incorporates new sounds and ideas including gospel vocals, frenetic drum patterns and an evolving clean vocal approach from Andre 3000, best heard on the hit single "Ms. Jackson" a poppy, simplistic tune that revolves around a memorable hook and moody tone delivered through the organs, pianos and funky baseline. Like Aquemini, Staktonia's strengths come from the unorthodox and experimental, but here the character and style is stronger and unique, a step further out from the traditional Hip Hop sound without loosing anything. Stunning record with no shortage of substance that doesn't tire.

Favorite Songs: Gasoline Dreams, So Fresh So Clean, Ms Jackson, I'll Call Before I Come, B.O.B, We Luv Deez Hoez, Humble Mumble, Toilet Tisha

Rating: 8/10

Kendrick Lamar "To Pimp A Butterfly" (2015)

To Pimp A Butterfly has undoubtedly been the most interesting record I've heard in a long time. I've pondered on its meaning and message, loved its courageous instrumentation and felt frustrated with its pacing, despite the beautiful artistic construct. Its being raved about universally, hailed as potentially being the album of the decade, and an instant classic. I've given myself much time to consume and digest the record, and for all I love about it I'm not quite on the same level with it. I've been anticipating this one since discovering Kendrick's 2012 classic "Good Kid, M.A.A.D City", a stunning Hip Hop record, and in the three years since hes been hard at work on his third record, a undeniably strong one that has certainly not disappointed.

Kendricks expressions and vision is unrestrained on an unconventional and free flowing approach to the album experience, breaking down the conventional Hip Hop format and uniting a concept through a recited poem that features on many tracks, unfolding as with each recitation. The lucid nature of the record takes a step back from itself and reinvents the instrumentation with a closer connection to Funk, Soul, Jazz and even Disco, music thats had an undeniable influence on Hip Hop sound and culture. These songs let the power of the grooves, melodies and Kendrick's expression flow and evolve from track to track thats filled with interludes, poetry and transitions between the tracks that focus on the expression thats not all about raps. Spoken word and poetry reciting, Kendrick gets emotionally raw with his voice on "U" and other numbers that have classy instruments keeping the dramatic tone moving.

The expression is a point I've touched on a few times, and obviously its a racially, emotional charged concept that reflects these times where the racial inequality and police brutality is boiling in Ferguson Missouri. Its the specifics that are illusive, the indirect, poetic language thats powerful, and yet unclear. Kendrick reflects on many historic and cultural figures in black history in vague references that are tied to emotional stress and guilt, delivered with impacting force for thought. The most mysterious of which, "Loving you is complicated" where he ponders on a figure of reach who money made complacent and misused his power and influence. The song "Mortal Man" concludes the poem recital for the last time, leading into a conversation with Tupac who I believe Kendrick is drawing parallels with at a time where racial tensions are hot and he is a racially aware voice in Hip Hop similar to Tupac. Lines like the "Thought money wouldn't change you, made you more complacent" makes me think of Tupac's rise and fall from being the voice of the "young black male" to parading the bling bling image on MTV with gold chains, hot tubs and models. There are many racialy charged lines to ponder the meaning, "My heart is as black as an aryan", and most of "The blacker the berry". Although the specifics may feel blurry, its undoubted that Kendrick is fueled with anger and passion for his people.

When the end of "Mortal Man" rolls around, Kendrick recites a second poem, describing his world. A beautiful metaphor using the caterpillar and the butterfly to express the relation between artists like himself who escape the ghettos to be exploited for it. "To Pimp A Butterfly" comes together in this moment but still leaves a lot to think on as Tupac speaks no more, leaving Kendrick without an answer to his question, that this record might simply be.

The instrumentation and production is sublime, as mentioned before it has a lucid quality and focus on organic chemistry, breaking the sampling and drum machines with a live band feel that let songs grow, shrink, twist and turn with a freedom that looped instrumentation can't achieve without immense construction. A wide array of styles and instruments move in and out of focus and my favorite element, the drumming, is slightly subdued, laying down solid but subtler grooves that are gentle and powerful, bringing a lot of energy without any boombastic presence, its a classy touch and ones that at no time uses any cheap thrills or catchy hooks, this is all substance and style.

Theres a lot to love here, a dense album musically and conceptually which grows fonder with each listen, but my one gripe are the interludes, despite being expressive and theatric and an essential part of the record, they come at a pace that continually breaks up the songs and stagnates the flow somewhat. Theres more I could talk about, but by now id be nit picking specifics, where the album as a whole speaks volumes. I can see exactly why its being hailed a classic, but on a personal level it may take me a bit more time to feel it that way.

Favorite Songs: Institutionalized, These Walls, Alright, How Much A Dollar Cost, The Blacker The Berry, Mortal Man

Rating: 9/10

Outkast "Southernplayalisticadillacmuzik" (1994)

Southern Hip Hop duo Outkast have achieved massive international success and critical acclaim since there inception in 92. Selling millions of records and winning several Grammy awards they have truly secured their place in Hip Hops elite. My memory of this group was all positive, fantastic singles like "Bombs Over Bagdad", "So Fresh, So Clean" and "Ms. Jackson" used to play on MTV in my youth and I had no reason not to check their discography out. After listening to "Stankonia" I decided to go back to where it began for the group on this their debut, released in the creative prime of Hip Hops classic 90s era.

The southern scene is one I'm still grasping and understanding, what I expected of a southern group was not present on this record. What I found was funky, stylish and reminiscent of the west coast G-Funk sound, but of its closest comparisons Outkast genuinely define their own sound on this record. The production from Organized Noise fuses elements of Funk and Soul with a Psychedelic touch into a Hip Hop package that Andre and Big Boi compliment with their slick rapping and high pitched, "Players Ball", vocal leads. The chemistry creates a powerful, smooth and stylish cultural indulgence. Its a relaxing listen, one that shifts the gears from the bombastic and aggressive momentum that Hip Hop was moving in. Outkast slow it down and swoon us with their confident, laid back attitude. In retrospect this record sounds a step ahead of its time, theres a much larger focus on the non-percussive instruments themselves, including a slick, exotic guitar solo which does nothing but compliment the track "Funky Ride" and other soulful sounds, and some electronic elements too. 

Lyrically, Andre & Big Boi deliver plenty of engaging story telling verses, with smooth flows and annunciations. Their charm on this record is the appreciation of what comes between, not bombarding us with verse after verse, the duo drop some classic choruses and interludes that break up the pace. Their overall tone was much lighter than the misogynist and violent contexts found on some other records of the era. Altogether the duo drop a dynamic and thoughtful debut that takes a step forward instrumentally that gives this album a freedom to focus more on its less traditional elements. Its an indulging listen, one I've enjoyed immensely.

Favorite Tracks: Ain't No Thang, Southernplayalisticadillacmuzik, Players Ball, Funky Ride, Hootie Hoo

Rating: 8/10

G. Love & Special Sauce "Yeah, It's That Easy" (1997)

Every now and then I have the displeasure of writing about a record I didn't enjoy, although to be fair this an medicore listen, just one that didn't do much for me beyond some mild entertainment, and thats my loss. G. Love & Special Sauce is an Alternative Blues Rock group from America who are fronted by the charismatic G. Love who servers as the vocal narrator for some fun, uplifting funky Blues Rock. On paper, and on other tracks I've heard from different records, the group have the formula for funk and blues that gives them a little flair, which in this record I couldn't find.

G. Love's folky narration and jives about American culture were not my cup of tea. I found the light hearted whimsical stories and musing in these songs to be just a step beyond what engages me, and this made it hard to get into a record thats focal point is his laid back charismatic style. Accompanying him are some chilled out grooves that bring together Funk and Blues with a touch of Hip Hop in the rhythm department. These grooves rock and swoon through the tracks, utilizing an array of instruments including the harmonica and some light organs too. Behind G. Love are some great backing vocals which on a track like "You Shall See" that elevate the song, they pop up here and there, adding a lot to the songs, but is not enough to save the record.

The strongest element of this record is the instrumentals which are far from spectacular, despite being on the right track, there is a distinct lack of stand out moments or anything where the music grabs you. They muddle through mediocrity and the bass and kit grooves are often spoiled by a loose snare clanging over the bass's warm and moving texture, its disappointing as it feels like their is great potential here, but too many misfires. A nice listen but a lack of substance for repeated listens.

Favorite Tracks: Slipped Away, You Shall See

Rating: 3/10