Social Distancing Spins – Days 26 and 27

By Joel Francis

Nice weather and conference calls are an anathema to playing records.

Jay-Z – The Black Album (2003) Reading Jay-Z’s book Decoded has me turning back to his old albums for the first time in quite a while. Sean Carter has always been at his best when rhyming about himself, particularly his early exploits as a hustler. Jay’s told it so many times it’s almost as much cliché as legend by this point. The Black Album is loaded with boasting and taunts over some of the best productions of the time. The Neptunes, Rick Rubin, Just Blaze, Timbaland and a young Kanye West all contribute tracks. One of Hova’s best-known rhymes on the album comes from “Moment of Clarity”: “If skills sold, truth be told, I’d probably be lyrically Talib Kweli.” As we saw on 4:44, Jay can’t really do conscious rap without inevitably turning it back on himself. (Remember his lament over not investing in Dumbo real estate in “The Story of O.J.”?) The Black Album is all about Jay-Z all the time, and we are better for it.

Paul McCartney – Press To Play (1986) Somewhere along the way, I got the idea that Press to Play was a solid Paul McCartney album, unfairly overlooked because of its very of-the-moment production. It isn’t. There are some songs I genuinely enjoy here, such as the flamenco guitar-accented “Footprints,” “Press” and “Move Over Busker.” There is a solid EP lurking among these 10 tracks. The problem with the rest is that despite help from 10cc’s Eric Stewart, the songwriting simply isn’t that strong. McCartney was wise to bring in Elvis Costello as a songwriting partner for his next album, Flowers in the Dirt. I didn’t pay much for Press to Play so I don’t feel badly about owning it, but all but the most dedicated McCartney fans can press skip instead.

Sonny Rollins – Next Album (1972) Jazz albums from the 1970s can be a dicey proposition. One never knows how much synthesizer or slap/fretless bass will be involved. Fortunately, Sonny Rollins plays to his strengths on Next Album. For the most part, Rollins plays in an acoustic four-piece setting. Opening number “Playin’ in the Yard” is the only track to feature electric bass and electric piano. It’s also the only time Next Album sounds of the moment, but anyone who enjoyed Joe Zawinul’s tenure with Cannonball Adderly will feel right at home. Later, “The Everywhere Calypso” lives up to its name with a fun Caribbean beat. The absolute high point is a 10-minute version of “Skylark” that closes the album. The band gradually fades away during the performance, leaving Rollins to play unaccompanied for several blissful minutes.

DJ Shadow – Endtroducing (1996) The Bay-area DJ’s first album is the one to which all of his other releases will be compared. None of the songs on this all-instrumental album made the charts, but “Building Steam with a Grain of Salt” has appeared in several commercials. You would probably recognize the haunting piano line if you heard it. The spacey “Midnight in a Perfect World” is another favorite. Clocking in at nearly 10 minutes “Stem/Long Stem/Transmission 2” is the centerpiece of the album. It starts with a harp refrain before building into a hard drum attack (with strings). It eventually settles back down into something almost ambient. If Brian Eno ever tried to create dance music, it might sound a lot like this. Whenever someone says that sampling isn’t music, I hold up Endtroducing as an emphatic counterargument. Then walk away, because arguing about what constitutes music, much like arguing about authenticity or what is or isn’t a sport, is a waste of time. And I’d rather be listening to music than quarreling about it.

Toots and the Maytals – Funky Kingston (1975) Reggae pioneer Toots Hibberts’ first album for Island Records is so strong you might be forgiven for thinking you are listening to a greatest hits album. Many of his biggest – and best – songs are here: “Funky Kingston,” “Time Tough,” “Pressure Drop” (later covered by the Clash, the Specials and Keith Richards) and a delightful cover of John Denver’s “Country Roads” (with West Jamaica standing in for West Virginia). Hibbert’s singing has always been filled with as much soul and gospel as reggae. His joyous vocals go a long way toward making these great songs even more infectious.

Junior Walker and the All Stars – Shotgun (1965) Junior Walker recorded nearly 20 albums for Motown, but this is really the only one you need. From the title song to Holland-Dozier-Holland’s “(I’m a) Roadrunner” to the infectious “Shake and Fingerpop,” Shotgun not only contains Junior Walker’s best-known tunes, but a deep well of great album tracks as well. “Shoot Your Shot” could be “Shotgun”’s cousin, complete with dance steps. “Cleo’s Mood” steps away from the template and sounds like a Leiber-Stoller revival. When you see Shotgun, don’t be afraid to pull the trigger. You know you need this.

Steddy P and DJ Mahf – “While You Were Sleeping”

By Joel Francis
Ink Magazine

Steddy P takes care of his fans. Since Steddy’s debut album in 2008, fans have never had to wait more than a few months between new offerings. This month Steddy dropped the While You Were Sleeping EP/mixtape to keep fans happy until the emergence of his next full-length album. But While You Were Sleeping is more than a stopgap release. Six new cuts show Steddy’s recent activity in the studio. But more fun is the second part of the album: 13 tracks from the back catalog, remixed by DJ Mahf.

Mahf, who oversaw Steddy’s 2009 album, Style Like Mind, clearly had a blast marrying “Kenneth Arnold” to the “Super Mario Bros.” video game soundtrack. “Miss Your Coffee Table,” one of the few odes to the fairer sex on the mixtape, incorporates both Q-Tip of A Tribe Called Quest and LL Cool J’s “I Need Love.” Other tracks pay tribute to early Kanye West, Jay-Z, DJ Shadow and the Nappy Roots. That Steddy’s original verses stand up against such recognizable backgrounds is a testament to his clever wordplay and intricate delivery.

At times Steddy’s delivery recalls that of Blackalicious’ Gift of Gab. Steddy does a good job of changing textures when necessary, and recruits great guests such as Ces Cru, Mathias and Jbomb to further vary the vocal patterns. Steddy’s best performance across the 19 tracks comes early. “BARS (Loser’s Club Remix)” is Steddy’s answer to repeated invitations to freestyle battles. After calling out so-called Midwestern rappers who quickly vacate to the coasts he revs into double time. It’s not quite Twista-fast, but impressive nonetheless.

Although they appear first, the new tracks almost seem secondary. Steddy comes strong out of the chute on “Enough” and “Bars,” but the production falters on “Steddy Persistence Pt. II,” the third cut. Each song is handled by separate producers. The tracks don’t flow together well, and the quality fluctuates.

On “No Doz” Steddy uses a violent slasher/horror film metaphor to establish his lyrical dominance. His words are threatening, but try as it might, the chintzy synthesizer loop can’t be considered sinister. A similarly vanilla loop is featured in “And It’s Like That,” which manages to include a shout-out to Steddy’s former home turf of Mizzou, to KU and even to the UMKC Roos.

The final new song, “WindOverHead,” is the most successful. The production includes hints of the ambient and industrial, as well as snippets of saxophone and opera over an understated piano melody. Steddy shines across this landscape, calling out Tech N9ne and Mac Lethal and marking his IndyGround territory.

Despite a few minor missteps, While You Were Sleeping is a nice place for longtime fans to regroup and experience Steddy’s catalog in a different light. Newcomers will find the album a handy place to catch up. Best of all, it’s free.

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