Common "Black America Again" (2016)

Socially conscious rapper Common is back with another charged record thats very much relevant given the social climate and resurgence of black struggles in American society. With the title alone the topic is made clear and through the fifty six minutes he barely takes a step of the path. It's certainly the time for music to reflect the atmosphere but that doesn't necessarily define a good record. "Black America Again" fails on many fronts, mostly its religious inspirations and Common's unchanging approach. As a 90s fan of 90s flows, Common is one who's barely changed a lick, an old rapper with an old flow and unchanged rhyme style. He was never a particular favorite, he has gems in his discography but what mainly appealed to me was the positive, intelligent commentary of his persona in the raps.

There is a ton of subject matter I agree with on the record but the music is spoiled where biblical themes and words of praise come into play. With all the problems addressed he frequently turns to prayer and god as a solution to them. I appreciate the warm intention but for a person who see societal issues as systemic, the call for praise of Jesus over engagement or practical solutions infuriates me. Another difference of opinion grinds me on "The Day Women Took Over", a song calling for an oversimplified ideal that Women's disposition to empathy and caring would make them better leaders. Considering there are many women in positions of power around the world it would again suggest that our societal issues are systemic, related to power, wealth and its corruptible qualities. What Common has is simply utopian, poetic statement that lack any depth or substance beyond a nice but ludicrous idea.

Behind my indifference to Commons lyrics a rather sweet and soothing record exists in the instrumentals. Toning down the bombastic nature of the beats, soulful influences and roots of black music are given room to shine with occasional string sections bringing subtle crescendos too. John Legend's singing on "Rain" tunes out the drums for a stunning piano and singer song that only resembles a Hip Hop track thanks to Commons verses rapped without a beat. His raps are steady and mostly solid but its a style unchanging. On "Pyramids" a bit of technicality comes to fruition but otherwise hes mostly stagnating on a un-progressing approach that disappoints without the lyrics to match. There are good moments in the record and I have tried to love this record but large sections of the raps just didn't work for me.

Favorite Track: Black America Again, Pyramids, Rain
Rating: 5/10

Chance The Rapper "Coloring Book" (2016)

I still can't get get my head around the difference between a mixtape and an album. Of the ones Ive listened to, a mixtape feels like an album. This one is true of that at fifty seven minutes in length with a theme and sense of continuity at start and end. With all the critical acclaim "Coloring Book" has received it seemed like a good time to check out a fresh face from the new generation of Hip Hop music. Chance is from Chicago and yet to release a debut record with this being his third mixtape, it has broken into sales charts and topped album of the year lists from various critics. Of the months Ive been listening to it I haven't shared much of the same feelings, however it does have some remarkable production moments sprinkled in.

Since "To Pimp A Butterfly" many artists have been retroflexing on the roots of black music and so we enter a sort of Hip Hop Renaissance as many mainstream artists seem jump on this wave of revival. Already having a keen ear for Soul, R&B, Gospel and Jazz, a lot of the sounds and vibes explored aren't particularly fresh to me, its a mixed bag of fruits. To new listeners its probably quite marvelous. Chance employs a production where the beats are toned down, subdued, as pianos, strings and gospel vocals step to the forefront around his raps. In the mid section of the record it steadily gives way to more traditional tracks and that's when the music starts to loose me, not to be pulled back at the end by some great church music.

Chance's flow is laid back, easy going and casual, to the point where his soft croaky voice sounds like he may just be talking if it weren't for the steady timing and occasional rhymes. Not much of it hit home beyond the story telling, biblical "praise him" tracks don't do it for me. The album also has its helping of "to be dated" trendy vocal styles and word slurring that I'm doubting will hold up over time. Songs like "Finish Line Drown" are fantastic but essentially like gospel church songs of praise, played with a full live band and spiced up with a bit of flashy production. It and a lot of the record remind me of Kanye's debut records, there is a lot of use of vocals with a helping hand from the Chicago Children's Choir it plugs into those gospel roots. "Coloring Book" has its moments but it mostly comes from borrowing rather than innovating.

Favorite Tracks: No Problem, Summer Friends, Finish Line Down.

Rating: 5/10

A Tribe Called Quest "We Got It from Here... Thank You 4 Your Service" (2016)

Its been eighteen years... and I doubt anyone saw this coming. The legendary ATQC, innovators of Jazz Hop and creators of one of Hip Hop's greatest records "The Low End Theory", played their last ever shows a few years back and with the sad passing of Phife Dawg earlier this year the groups fate seemed final. Turns out they resolved their differences after the runion tour and decided to record a new record in secret. So imagine the astonishment I felt when I got an email announcing its release, more so at how good of a record it is and what a blessing to hear Phife on the record. How much of this was created with out his input I'm not sure but he came up with the title and the rest of the group aren't quite sure of its meaning.

I can't help but think its a tip of the cap to show the old traditions still have value in today's music. ATCQ sound like a group in the moment, flowing in the waters of inspiration and reinvigorating their identity because "We Got It" feels as if their is no absence. No greasing of the gears, no rough edges, they are in sync and doing what they do best. This is no nostalgia trip though, fresh production ideas and choices dominate this record without deterring from that warm hearted Jazz Hop soul the group always had. They also bring a star studded set of features, from Kendrick Lamar to Kanye West. Andree 3000 of Outkast and even their old friend Busta Rhymes. Speaking of old friends, Jarobi White is on the record, who only took part in the groups their first record.

Split into two sides of eight tracks the record flows effortlessly as a sixty minute piece, due much to its drifting from traditional song structures into artsy organic flows of creative sampling between the verses and chorus's. Some of this manifests with bold intrusive sampling, electronic Kraftwerk alike noises beep away in the start and end of tracks as well as snippets from Willy Wonker and the classic Thriller evil laugh in the records opening track. Q-Tip's production has no boundaries, its as if hes unbottling held back creativity and so many of his choices work. On "Lost Somebody" he lets the drum machine rapid fire like its glitching out. Bold, off key and different. The song even cuts to silence before some guitar jamming noises through into the next track. These experiments are fantastic but between them a set of solid and expressive loops, from the boom bap beat of "We The People" to the Reggae Dub grooves of "Black Spasmodic" Q-Tip finds all shades of Soul, Jazz and R&B to keep the flavors flowing from start to end.

Much of that bottled up creativity speaks to Phife and Jarobi who toy with afrocentric accents between sets of inspired raps. Q-Tip is also on point as the group talk to many relevant issues in the wake of Trump's election, "Muslims and Gays, boy we hate your ways". Id have to hand verse of the record to Kendrick Lamar who drops a impassioned rap on "Conrad Tokyo", his words come so fast with so much weight I feel like each listen adds a new dimension to the wieght of his words. The rest of the track meanders in the echo of his words while a keyboard solo jams away. Its a fantastic choice to let the instrumental take steer of the ship for the rest of the song.

The record rounds up with "Donald" a Phife Dawg track, layered with sampling and snippets of news presenters saying the president elects first name. I can't help but think the songs design is a tip to Phife's classic line "I cash more checks than Donald Trump". It an remarkable record and more so for its exceptional circumstances. One things for sure the substance is there and we have been gifted a wonderful album that must be respected, fans like myself would love more of this I'm sure but the reality is this is a send off, a twilight special and how blessed are we to hear it. One things for certain, the tribe can kick it! Yes they can.

Favorite Songs: We The People, Solid Wall Of Sound, Conrad Tokyo, Ego
Rating: 8/10

The Veldt "The Shocking Fuzz Of Your Electric Fur - The Drake Equation" (2016)

I picked up this short record after reading a rave review on this records "innovation" praising its inclusion of trap influenced drumming and dreamy ethereal overtones. I didn't really feel it and learning about the bands backstory added a lot of clarity as to why I didn't see eye to eye on this record. The Veldt have been inactive for almost two decades, they formed in the late 80s and their debut was released in the mid 90s at the tail end of the Shoegazing Dream Pop era. Their reunion and this record has an old sound brought back to life with modern percussive influences and a richer sound given the fidelity of present recording techniques.

The Shocking Fuzz is quite an inviting record, calm, serine and soulful, oozing synthesizers and bleeding guitars wash together in a haze of reverb for lead singer Daniel to drift into with soft, harmonious singing that's sleepy and calming in its authenticity. The walls of ethereal sound created in a typically shoe gazing fashion are distant, dense, mysterious and layered with details that swirl around, expanding and contracting with the music. The percussion varies in style from track to track and accommodates the wall of sound that blossoms in the track, as opposed to playing a key role in its direction.

Each track is a little inconsequential with no big arks of progression but singular moments that suspend the enigmatic sound of the dissonant guitars while they create expansive soundscapes with their rich and deep tone, best heard on "An It's You" where the guitars cut in and out of the track, rapidly transforming its depth and composition. With each listen the familiarity soaks away some of the charm and the singular nature of the tracks has them stagnating with a lack of events to spice up the setting. The talk of ethereal music mixed with Trap beats drew me too this record but their union here sparks nothing special, nor does it sound out of place. Its a short and solid record but nothing to get worked up about, just a chilled record for a certain mood.

Favorite Track: Token

Rating: 6/10

Dusty Springfield "Dusty In Memphis" (1969)

Another from the upper rankings of NME's 500 greatest albums of all time list is "Dusty In Memphis" which has graced my ears practically everyday since I first gave it a spin. English singer Springfield has been labeled as Blue-Eyed Soul, a needlessly racial term in my opinion. From what I can gather her career never quite panned out the way one would hope, with critical and commercial success alluding her. However this gem has aged well and despite making little impact at the time has been regarded as her best work and one of the greatest records of all time. Twenty or so listens later I'm inclined to agree, this is a beautiful record, a real peach.

 There's an emanating warmth and love that comes from Dusty's vocie, soft and elegant she graces us with her kind soul, her words honest, vulnerable and a timeless tribute to the human experience. Even though she has a soft, breathy voice she can muster up so much strength and power when the dramatic moments come. Its spell bounding how lost you can be in her voice as she goes between the highs and lows, as if they are all one eternal movement. Her tone, range and delivery is just sublime.

The accompanying instrumentals play a pivotal role in making this record so remarkable. From what I've read Dusty was a perfectionist and drove her musicians mad trying to perfect every sound. The songs find her wave length and bring a temperate setting to life for her voice to shine, but it is the strings that illuminate. A couple of tracks feel a step behind where they are not utilized and when the strings shine they do so like a second voice, swooning with Dusty and complimenting her emotional narrative. There are many moments that steadily grow, then she and the strings light up and it hits like a heartbreak. The instrumentals are gorgeous, detailed with soft sounds that whisper and chime gently from quite corners. Paying attention one can hear a depth that adds up to a simple direction.

Like any good record there is variety in mood which includes fantastic Gospel group vocals on "Don't Forget About Me Now", an upbeat and empowering track and "Son Of A Preacher Man" the albums most recognizable song, which I have to mention was sampled by Cypress Hill on "Hits From The Bong". There's a lot of love and heartbreak in the theme of these songs and they no issues establishing themselves, feeling unique and individual alongside one another.

A beautiful, timeless voice, sublime instrumentation and my only complaint would be a lack of vision beyond the single format. Each of these tracks play with the three minute mark and many of them simply fade out. Its something I'm rarely keen on but in this instance it always left more yearning for more as the moments leading up to the climax are repeated leading to the fade out. Maybe that's its genius, each song leaves you watering at the mouth for that moment in the middle. At thirty four minutes its short and sweet, I'll often just listen to it twice in a row. So very humbled by this record, its truly a work of beauty and I adore it unlike any other record.

Favorite Tracks: I Don't Want To Hear It Anymore, Don't Forget About Me Now, In The Land Of Make Believe, No Easy Way Down, I Can't Make It Alone

Rating: 10/10

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

Jay-Z "The Blueprint" (2001)

American rapper Jay-Z needs no introduction, a household name around the world he dominated Hip Hop in the naughties as an artist and a business man who's built a substantial amount of wealth. A true rags to riches story of a young man who went from drug dealer to international rap star. I've never found myself drawn to his music, however I adore the Mafioso Rap debut "Reasonable Doubt" he dropped in 96. Watching the movie "Dope" the lead character referred to this record as the end and "exclamation point" of the 90s era I love so much. Of course I promptly picked this one up and found a couple of familiar songs, "Izzo" I remembered from MTV in my youth and "Renegades", a menacing and dark duet with Eminem who drops a classic verse from the prime of his defining style.

So "The Blueprint" is hailed as a classic, and picking up a record like this its hard to avoid the acclaim and ratings the record received. It certainly set the bar high, but didn't get my blood pumping around the clock. That being said its a mighty fine record illuminated by production from Just Blaze and Kanye West who both make their breakthroughs with a fine set of instrumentals that was the highlight for me. It steps away from the radio rap of "Volume 3" and brings a soulful vibe to snappy beats with a variety of kits and themes to keep the track running fresh. The track "Girls, Girls, Girls" is a blinding moment on the record, Just Blaze sampling Tom Brock to perfection, a true example of what the art of sampling is about. Legends Q-Tip and Biz Markie dropping in with the hook borrowed from the oldskool Crash Crew while Jay-Z talks about his promiscuous lifestyle.

The record opens up with Jay-Z making his return statement before dropping into a diss track aimed at Nas and Mobb Deep, I know Nas's response "Ether" and "Takeover" pales in comparison but to give Jay-Z credit the raps are tight and creative but again the magic comes from the beat with its rumpus baseline and baron atmosphere characterized by samples between the kick snare and bass groove. Jay-Z's raps are alright, hes straightforward, easy to follow and light on the ears, but quite honestly he rarely does much to grab my attention. Sometimes a rapper just can't do it for you and its hard to put my finger on why. He did drop a couple of great lines though "I sell ice in the winter, I sell fire in hell, I am a hustler baby, I sell water to a well" is one that's stuck in my mind as well as his tragic mathematics on the diss track, somehow calculating four records in ten years is a two in ten average.

The only other times Jay was grabbing my attention was dropping references or recycling classic rap lines. The best rap came from Eminem on renegade, also with a fantastic hook chorus. I walk away from this record dazzled by the production, desiring more from the lyrical substance and understanding its reputation. Surprised I didn't find this one sooner but there is an ocean of music out there and the size of a name is rarely a hook to pull me in.

Favorite Tracks: Girls Girls Girls, U Don't Know, Holla' Hovita, Heart Of The City, Renegades

Rating: 8/10

DJ Shadow "Endtroducing..." (1996)

DJ Shadow is an American producer from California who's debut "Endtroducing..." has landed on many "top lists" in Hip Hop music. Credited for establishing Instrumental Hip Hop its often held in high regard as an important and influential record. Having not given it much attention beyond one or two listens in the past I decided to give this one a go again and after much time spent enjoying it I have to say retrospect has me at a disadvantage.

Being familiar with many of the characteristics this record may of helped to shape and inspire, there are a few traits its posses that I might take for granted. The instrumental aspect was a first at the time and many of the techniques used in production are so commonplace now you have to put yourself in the mindset of 96. DJ Shadow as a lot of unorthodox sample material throughout the record, even including Metallica's "Orion" on "The Number Song" and scaling back from the accompaniment of an MC he pushes for daring and unique sounds leaning towards Jazz, Soul and Psychedelia.

The sampling, cuts and arrangements are captivating and progressing lucidly with a free flow as DJ Shadow lets the sampling art-form do so much more than the stagnant repetition were used to. With many layers of samples each song can journey through an idea while changing form and evolving thanks to the intricate detailing of sounds and shifting between different samples which fade in and out of the tracks effortlessly, creating organics through traditional rigid music.

A quote from the record itself, something along the lines of "The music's coming through me" summarizes the record in a nutshell. Whats so remarkable is how lucid and organic the chemistry in the sampling is. Hip Hop has often sliced great moments, or reinvented them with new words and a new groove, but here on this record the original songs are barely reconcilable as the choice arrangement and reconstruction takes new forms that don't resemble the origin.

Despite now "getting it" I feel that the records diversity in theme creates some less favored vibes and moments. In the jazzy chilled out, laid back Trip Hop moments there are timeless tunes. In other songs the mood shifts rigidly into less engaging songs that break up the flow. Its a loaded gun with plenty to offer, but some of that just wasn't quite on my wavelength. Its also interesting to read about how well this record was received in the UK considering this record breaks down Hip Hop in similar ways to Trip Hop which was flourishing at the time. Anyway, terrific record which I can really appreciate, I'm hoping the less favored moments will grow on me with time.

Favorite Tracks: Changeling, What Does Your Soul Look Like, Midnight In A Perfect World

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

The Reign Of Kindo "Play With Fire" (2013)

It's been a while since a band has immediately grabbed my attention, having me seeking out their records based on one song, but "The Reign Of Kindo" did exactly that. One of my first thoughts was pondering if there was once a time I would of turned my nose up at this. Where I've taught myself how to appreciate more varieties of music, Ive learned to hear what the artist is expressing, as opposed to what I want to hear. Kindo's aesthetic on an initial impression is poppy, classy and far from the feast of anger and aggression I'm used to. Through that aesthetic I hear a mighty and fierce musical force of expression projected with true intensity and energy that I may of once not heard.

But enough about my experience, Kindo are an American five piece band from New York who describe themselves as "Makers of music". Their rich and illustrious songs elevated by a range of studio musicians who accompany the five, giving them an arsenal of instruments and styles to pull from at any point. Kindo will be no oddity of sound, but their style truly distorts genre boundaries and expectations despite feeling so grounded and "regular". Drawing their main structural influences from Jazz Rock, Pop and Progressive Rock, the band dazzle with an array of subtle influences that creep into the various tracks, so much so you can hear inklings of Indie, Alternative, Soul, Swing, Big Band and even Latin in the layers of instrumentation that back the core group. Whats charming is how intelligent and natural the compositions are, and how much they put into a track yet leaving a big space for singer Joseph Secchiaroli's stunning, powerful voice to fill. Its a chemistry of musical perfection, delivered with a timeless pop sensibility.

The record is a solid one, variety, flow and consistency run from start to end (almost), yet the group set a very high bar with the ferocious opener "The Hero, The Saint, The Tyrant, & The Terrorist", delivering the albums best riffs, moments, build up and exquisite vocal hooks. The rest of the record doesn't quite reach the same intensity but their is plenty to enjoy and a few calmer numbers that personally I don't think catch the same spirit and charm as the upbeat songs. The production is fantastic, so much so I had at no point given a single thought to it, every instrument is audible, balanced and mixed to give and easy listening experience that carriers a lot of weight.

The final three tracks fizzle out a little for me, "Romancing A Stranger" making a meal of an obvious infatuation and "I Hate Music", really good instrumentally but lyrically it made be wince a little, I feel its pointless to make broad sweeping judgments on pop culture and whats played on the radio. The frank and blunt lyrical delivery just furthered the lack of connection to the point of view. Great record, the band have huge potential and I look forward to hearing their next release!

Favorite Songs: The Hero, The Saint, The Tyrant, & The Terrorist, Sing When No One's Around, Feeling In The Night, Sunshine

Rating: 7/10

Grover Washington Jr "Feels So Good" (1975)

American saxophonist Grover Washington Jr was born and raised in New York City. From a young age he was taught the sax and for his musical output in the 70s is considered a pioneer in the world of Smooth Jazz. Like Return To Forever's "Romantic Warrior", this is another record from the "Jazz Classics" that quickly defined itself as a calmer, smoother, soulful record that cruises through relaxed, chilled out numbers and grooves that bring a spicy of funk to an obvious Smooth Jazz vibe led by Grover's steady leads on the sax. This record and "Mister Magic" released the same year remain as his commercial peaks on the American billboard charts.

Smooth around the edges, this record actually contains a fair amount of funk and energy between the calmer, atypical styles of Smooth Jazz. The opener, "The Sea Lion" has a powerful narration from the string section which fades in from black to brew the bolder moments, seemingly jumping it at will to emphasize the point. Never as ever present, it drifts to the background for the rest of the record which jives and jams its way through colorful themes of class and style from a now retro past. "Moonstreams" is an exception as the records sleepy number that slowly drifts down the river as a gentle lead guitar plucks a mellow, tender soul.

The last three tracks delve deeper into the Funk and Smooth chemistry as tight chunky baselines strut under soulful saxophone leads that feel their way through the jam. The drums are there throughout, accommodating the flow but feel damp and contained in a mix that gives the aesthetic a lot of clarity for the other instruments. Its a record thats engaging, but far from memorable. It suits a mood but fails to leave a melody or moment in my mind. 

Favorite Tracks: Knucklehead, Hydra

Rating: 5/10

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

Peter Gabriel "So" (1986)

Last night I had the pleasure of seeing Gabriel, now 64, perform this record in its entirety at what was an impressive show, especially considering his age. "So" is my personal favorite, and his most critically acclaimed work that was made hugely successful with the help of the innovative and legendary stop motion music video for the single "Sledgehammer". Gabriel was once the vocalist of Progressive Rock band "Genesis", when he parted ways with them in 1975 he had little trouble establishing his solo career through a string of self titled albums, proving his talent as a musician as well as vocalist. 

"So" is Gabriel's most accessible album, in between its gentler, soothing tracks, this record is ripe with finely tuned pop numbers that are layered with subtle instrumentation adding together to create strong hooks that get stuck in your head. The percussion has a worldly feel, strong influences from foreign cultures can be felt at times, it brings these tracks an edge that help define their unique vibe. Even with brilliant instrumentation Peter's voice is the main attraction, he has an authenticity and range to his style that takes hold of the moment and leads the narrative to dramatic peaks. His highs are grabbing, and his lower range has a slight gruffness that keeps these songs grounded with a humanistic touch. 

My favorite track "Big Time" has a pulsating, jiving baseline that rocks and rumbles its way through this number where Gabriel chimes through egotistical musings mocking his own success. His soaring vocals inspire awe as he delivers some brilliant lyrics "I'll be stretching my mouth, to let those big words come right out". Its an riveting track that comes between some gentle tracks, which are equally engaging. Its a varied track listing that shifts the gears often, and it works well, jumping from sombre ambiance to an energetic thriller in its own design. The production is typical of the era, sounding slightly flat in some areas but overall it captures well, impeding nothing. "So" is an album I was raised on, its punchy hooks and dramatic moods have been enjoyed for years, its a fantastic record, one that is still a benchmark in the artistic dimension of mainstream music.

Favorite Songs: Red Rain, Sledgehammer, That Voice Again, In Your Eyes, Big Time

Rating: 8/10

Marvin Gaye "Whats Going On" (1971)

"Marvin Gaye, used to sing to me, he had me feeling like black was the thing to be, and suddenly the ghetto didn't seem so tough, and though we had it rough, we always had enough"..... I should have taken note at an earlier age, and how it took me so long to find Marvin is beyond me, his sweet soulful voice is medicine for blues. I find myself a little anxious and hesitant to write about this piece of music so powerful and beautiful I could never do it justice, but then again my words will never justify the experience of "listening", feeling the music, and this is music you will feel deep in your soul, but first lets talk a little about Marvin. Born in April of 39, Marvin was a singer / songwriter who rose to prominence through Motown Records in the 60s. Dealing with inner struggles, romantic endeavors and cocaine addiction, Marvin was a troubled soul with a beautiful talent and a captivating, soothing voice that touched the souls of many. His addictions and troubles would get the better of him through his career that came to a sudden and tragic end in 84 when he was shot by his father in circumstances that suggest he was aware of the fatal consequences fighting with his father would bring onto him.

Marvin's music was often inspired internally, but this conceptual album was inspired by life in the ghettos and the war in Vietnam, where he found himself asking, "Whats Going On?". Initially hesitant to support Marvin in his social conscious direction, this would turn out to be a huge hit and go on to become Motown's best selling album. The themes expressed are from the viewpoint of a Vietnam war vet returning home to America to find the struggles at home are worsening. Asking questions about the hardships of life and human behavior, Marvin finds a stunning balance between the negative and positive, offering uplifting melodies and messages alongside questioning the dark nature of war and poverty. Marvin's voice and the music work together in stunning harmony as infections soulful singing compliments moody, grooving instrumentals that are gently dramatic, harmonious and layered with instruments and percussion that give it a depth the keen ear can hear the genius subtleties in the quieter instruments. Theres fantastic variety from the large instrument pallet, many elements come in and out of focus in an organic and effortless manor, creating rich, colorful instrumentals that drive deep into the heart. The presence of the bass guitar is a consistent element through out that provides a solid emotional backbone for this record, offering up grooves and exploration playing that is constantly dancing on the fretboard. The inclusion of bongo drums in the percussive department is another fantastic element adding to the instrumental variety.

The record as a whole is a stunning musical experience, the songs move from one to the next in a continuous fashion that has some pretty obvious, rigid transitions in tempo and key that somehow sound great despite their obvious nature. The recording is heavenly, not even considering the era this album sounds cultured, colorful and bright. Their is a cluster of instruments detailing these tracks that are mixed and balanced sublimely, nothing is overpowering and everything is audible, capturing the character of all the instruments. Over it all Marvin's voice is glorious, mixed with many backing tracks, double takes and subtle choirs that breath so much energy and soul into the listener as Marvin's infectious vocal leads overlap, chime and dance with one another. Its a deep, powerful and beautiful listening experience, both for its glorious sound and socially conscious message that can make you feel good when tackling the harder subjects of our collective existence. Marvin shows the beauty in pain and gives strength to those who ask the questions.

Favorite Song: Inner City Blues (Make Me Wanna Holler)
Rating: 10/10