Posts Tagged ‘lyrics’

Common – “Resurrection” + remixes

Wednesday, May 25th, 2011

Common Sense “Resurrection” (LP Version)

Common Sense “Resurrection ’95″

Common Sense “Resurrection” (Extra P remix)

Common Sense “Resurrection” (Large Pro remix)

For the LP version of “Resurrection,” the title track of Common’s sophomore album, producer No I.D. samples the piano from Ahmad Jamal Trio’s “Dolphin Dance” and places the loop on top of a forceful break. Neither the melody nor the rapping are trampled by the drums; each element sounds equally assertive and vibrant. I can imagine a drunk and raucous Common barging into the studio and quickly sobering once he hears the instrumental track, shifting his focus to reeling in the rhymes and puns cascading through his mind. The high-pitched nonsensical antics of his debut effort no longer suffice, as he is newly inspired to treat his vocation as both craft and art.

This is the mythology that Common offers to the listeners, that his “speech and thoughts” are quicker and more nimble now that he’s grown up a bit and halted his daily consumption of malt liquor. He is just coming down from his high, so he must “stagger,” possessed by the forward movement of the beat. Rhyme patterns begin to assemble themselves into patter, as if they were interdependent organisms moving in knowing response to the rhythm. By gradually lifting himself out of his alcoholic fog, Common reconnects with the wondrous physicality of words, both the sounds they make when spoken and the images and moods they evoke. (more…)

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Aceyalone “Mr. Outsider”

Thursday, May 5th, 2011

Aceyalone “Mr. Outsider”

On “Five O’ Clock Follies”1 Myka-9 reminds his listeners that the cycle of poverty, crime, and death that they witness on a daily basis is directly connected to the global project of neo-colonialism. In doing so, he advocates the idea that the localized human miseries that result from systemic injustice — your homie rotting away in prison for years over minor drug offenses, for example —  should inform the content of intelligent, impassioned artistic expressions.

Rappers, conversely should not view their chosen discipline as merely a kind of loud navel-gazing catharsis. One of the most important tasks of the artist whose creative momentum is not trammeled by cynicism or self-doubt is to “translate troubles into issues” for those who are “gripped by personal troubles” but are “not aware of their true meaning and source,” i.e. historical, systemic inequalities.2

Myka’s Freestyle Fellowship compatriots have all embraced this duty in their own ways. On “Mr. Outsider” Aceyalone exorcises the demons of America’s racist past in order to make sense of the modern predicament experienced by members of the permanent underclass. In his view, the poor urban black man of the late 20th century lives a limited, brutish existence and is trapped in a serious of binds that he is often ill-equipped to comprehend, let alone undo. (more…)

  1. Very recently I wrote about this song’s still timely critique of US military adventurism. []
  2. Quotes are from C. Wright Mills’s In The Power Elite, as cited by Chris Hedges in Death Of The Liberal Class. []
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Ras Kass – “The Evil That Men Do”

Wednesday, May 4th, 2011

Ras Kass “The Evil That Men Do”

The “demo” version of Soul On Ice LP is celebrated among die-hard fans for its dark lo-fi sound, devil-may-care sampling strategy, and the presence of fellow Western Hemisfear crew members. It makes for quite the sonic artifact but the proper studio album is a far greater representation of Ras Kass’s talent. Soul On Ice has been famously maligned as an album whose production is underwhelming in comparison to its lyrics, but over the years I have grown to enjoy the beats provided by producers Bird, Voodou, and Flip. Ras Kass’s lyrics contain elaborate wordplay and turns of phrase, and his cadences are unorthodox, so he is served well by beats that are dark and moody and do not distract from his vocals. (more…)

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Freestyle Fellowship “Five O’ Clock Follies”

Monday, May 2nd, 2011

Freestyle Fellowship “Five O’Clock Follies”

“On Violence,” the first chapter of The Wretched Of The Earth, Frantz Fanon’s denunciation of neo-colonialism and account of the Algerian struggle for independence from France, contains some of the most beautiful,  erudite, terrifying passages I have ever encountered. “Five O’ Clock Follies,” essentially a Myka 9 solo joint from Freestyle Fellowship’s 1991 debut To Whom It May Concern, is a surreal indictment of military adventurism and police brutality. When I listen to Myka’s twisted imagery and fluttering run-on sentence rhyme style, I am reminded of my earliest attempts to comprehend Fanon’s dense, alluring prose; both works continue to vex and reward me with their difficulty. (more…)

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Soloist Manifesto: O.C., Subconscious, and The Illz

Thursday, March 24th, 2011

Stream: The Illz “To Know Your Place In The World”

Stream: O.C. “The O-Zone”

Stream: Sub-Conscious “Zeitgeist”

On “To Know Your Place In The Universe” New Jersey’s The Illz1 employs a breathy but measured delivery over a huge heaving track. His voice melds with the music but doesn’t suffocate under it. He projects firmly enough to let the listener know that his words must be taken seriously, but he never resorts to shouting or overenunciation. The song’s topic, The Illz’s artistic vision, could easily be construed as insular or hubristic, but deliberate care has been taken to rein in any elements that might befuddle or repel curious listeners.

His flow is unforced but doesn’t stray too far from the rhythm established by the drums. Though his lyrics describe his indefatigable commitment to his grand ambitions, they are also economical and logically ordered. The Illz’s sensitivity to these considerations does not compromise the originality or intensity of his performance. He sounds naturally free from constraint even as he labors to put forth a masterful effort on the mic. (more…)

  1. Find out more about him and download his songs at his website. []
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Difficulty Communicating: Yaggfu Front and Open Mike Eagle

Wednesday, March 23rd, 2011

Stream: Open Mike Eagle “Last Night” 1

Stream: Yaggfu Front “Left Field”

Rap isn’t all machismo and ice-cold macking. Songs like Gang Starr’s “Love Sick” and Main Source’s “Looking At The Front Door” describe co-dependency in frighteningly specific detail. Pharcyde’s “Passin’ Me By,” and Kurious’s “Nikole” explore the perilous magnetism of unavailable and/or unattainable  women. A Tribe Called Quest’s “Find A Way” captures the frustration that arises when desire is chained to the artifice of social convention. Jay-Z’s “Song Cry” posits romantic regret as a player’s purgatory. Mos Def’s “Ms. Fat Booty” takes us  through the experience of being gasssed up and then unceremoniously dumped.

All of these songs address the difficulties that men face in communicating honestly with their partners (or potential partners), expressing vulnerability and affection, or living up to the responsibilities of monogamy. But these songs also fall short of introspective honesty; their self-deprecation is tongue-in-cheek and consists mostly of decrying shyness as unmanly. (more…)

  1. From Art Rap After Party EP. []
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E-Rule “Listen Up”

Tuesday, March 15th, 2011

Stream: Erule “Listen Up”

When I hear E-Rule’s “Listen Up” I am reminded of De La Soul’s “Breakadawn”1 and vice-versa. Both songs simultaneously groove, glide, and thump. They sound great side by side, and I frequently add them to playlists intended for the morning commute, summer cookouts, or lazy weekend afternoons. Both songs are dominated by a combination of lush and incandescent sounds that evoke the promise associated with morning, draw samples and melodies from sources that are themed around sunlight and daybreak, and feature lyrics that allude to the concept of rejuvenation.

In different hands, these elements might have been assembled into R&B-ish singles suitable  for frequent daytime radio play. However, their insistent drum patterns and fluid, confidently stated rhymes anchor them firmly in the sound that was sought after and well received by listeners of  late night mix shows.2 After hearing “Listen Up” played so many times on evening college radio I came to associate its sound with the the magic and mystery of dusk, a supernatural time when the alluring city lights came on, the worker bees reclaimed their homes, and the hustlers, artists and assorted rebellious types came out to play.

As a teenager, the utility of a piece of music was less important than the way it stoked my imagination. Although today I am inclined to treat this song as a tool to achieve a desired effect for entertaining mixed company, occasionally I find myself once again transfixed by its beauty, its balance of optimistic and melancholic moods, and Erule’s virtuosic vocal performance.

(more…)

  1. I recently wrote a piece on “Breakadawn” as well. []
  2. Ironically, “Listen Up” is somewhat cleaner sounding , possibly because producer King Born oversaw studio musicians replaying a portion of Roy Ayers’s “Everybody Loves The Sunshine” while De La Soul and Prince Paul stacked and looped multiple samples. “Breakadawn” was released by a label with greater distribution and clout  and thus was heard occasionally during daytime hours, while “Listen Up” was more than likely nearly completely confined to late night play. []
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UBC “2 All Serious Thinkers”

Monday, March 14th, 2011

Stream: UBC “2 All The Serious Thinkers”

Long Island rap group UBC’s 1990 album 2 All Serious Thinkers spawned a minor hit single in “U Treat Me Right,” but is rarely discussed two decades later. It’s a quirky but hardly inaccessible record whose elements combine without friction; lead emcee E-Spectacular’s on-beat/off-beat style and eccentric lyrics enliven the bouncy, break-beat driven, danceable beats. The album sounds decidedly 1990 and yet it has aged nicely, at times resembling a cross between Three Times Dope and Kid N’ Play with a hint of D.A.I.S.Y. Age De La Soul influence. In spite of the lighthearted mood that prevails throughout most of 2 All Serious Thinkers, the best song is the the title track,  an overtly political mission statement.

(more…)

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De La Soul “Breakadawn”

Wednesday, March 9th, 2011

Stream: De La Soul “Breakadawn”

“Breakadawn” found its way to my ears by surprise in August of 1993. I had given up hope of hearing new music by either A Tribe Called Quest or De La Soul, whose most recent releases up to that point (Low End Theory and De La Soul Is Dead, respectively, both released in 1991) may as well have been one of my grandfather’s pre-stereo jazz albums. My adolescent attention span, admittedly warped by a partial obedience to local tastemaker friends and cousins who were obsessed with discovering that ol’ next shit, would not allow me to remain perfectly loyal to artists who dematerialized without so much as a farewell speech. De La Soul was always a hard sell anyway.

Anytime I tried to play De La Soul Is Dead around my friends they would instantly transform into a less violent version of the naysaying hooligans depicted in the album’s skits.  I held my ground, gaining support from the girls once “Rollersating Jam” came on, but inevitably my tape would be tossed aside in favor of Onyx. Although De La Soul Is Dead saw the group don hoodies, adopt more conventional haircuts, and rap a little bit more aggressively over slightly harder beats, they were still viewed by many as eccentric bohemians. By  mid-1993 this was a problem, because the only Native Tongue-related joint out was Beatnuts “Reign of The Tec” and if a song didn’t have a shouted chorus and a video featuring burning trashcans, it didn’t connect with mixed company. (more…)

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Digable Planets “The Art Of Easing”

Thursday, March 3rd, 2011

Stream: Digable Planets “The Art Of Easing”

Guru’s “Loungin’” portrayed the act of coolin’ out to mellow music as a therapeutic form of recreation shortly after Digable Planets’ own “Rebirth of Slick” drew a line connecting the bop and splendor of the great jazz players to the swagger and lingo of new school rappers. In his early career, Guru, presumably inspired by KRS-One’s advocacy of the rapper as an enlightened teacher of humanist philosophy, was an ardent champion of a rap version of “the life of the mind.” The second Gang Starr album Step In The Arena theorizes a a tough love teaching approach, whereby vanquished contenders humbly take on the role of students, contributing to their self-improvement by gradually mastering the superior poetic techniques and ethics of a victorious instructor. The Digable Planets debut  Reachin’ was less committed to didacticism but similarly committed to espousing thoughtfulness as the eminent attribute of a respected emcee.

When Guru branched off into his first Jazzmatazz project, he downplayed the competitive aspect of this process, opening enrollment to his new agey seminar on blissful living to anyone who could get down with the tepid blend of retro-funk, hip hop, and soul-jazz he pushed. Between their Reachin’ and their sophomore effort Blowout Comb, Digable Planets made a move that was nearly opposite, graduating from a Native Tongue inspired program of mind expansion into a politically militant, metaphorically dense lyrical style. Guru’s Jazzmatazz production is understated —almost to the point of soporific— in comparison to DJ Premier’s work on the Gang Starr albums. Blowout Comb, however is funkier and in its own way sharper  and more aggressive than Reachin’.

Even though some songs on Blowout Comb are laid back and almost ethereal, the sophisticated rhetoric of the lyrics gives the music an extra palpable force. This is nowhere more evident than on “The Art Of Easing.” (more…)

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