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Posts Tagged ‘Nas’

By Joel Francis

Welcome to another installment of spelunking in my record collection while the world … well, who knows what’s happening out there. Let’s just stick to the music.

A.K. Salim – Afro-Soul/Drum Orgy (1965) I knew nothing about this album that wasn’t on its packaging when I bought it. I don’t know much more now. But this much is certain: If you want lots of African percussion with blasts of free jazz swooping in and out, this is the place to be. It’s not for every day listening, but at the right time this always does the trick.

Nas – Illmatic: Live from the Kennedy Center (2018) Illmatic is such a great album that this edition marks the third time I’ve purchased it. After owning the original CD and album, I passed on the 20th anniversary edition and rolled my eyes when I heard an orchestral live version was coming out. Then I heard a track and knew I was going to have to buy this again. Hearing these performances with the National Symphony Orchestra takes the album to another level. It’s almost like watching The Godfather in a 1972 theater, then viewing it in IMAX. The jazz organ underpinning the original “Memory Lane” becomes a swirling concerto complemented by the DJ Green Lantern’s scratches. Earlier, Nas shouts out his dad’s original cornet solo on “Life’s a Bitch.” There’s amateur footage on Youtube of Kendrick Lamar doing a similar performance with the NSO. Cross your fingers this someday gets official release.

McCoy Tyner – McCoy Tyner plays Ellington (1965) This is essentially an album by the celebrated John Coltrane quartet without the legendary leader. Without their leader’s sheets of sound, everyone else gets more room to shine. Tyner was usually the person keeping Coltrane’s songs from falling apart – think about his insistent piano line in “My Favorite Things” while Coltrane scrapes the stratosphere. Finally out front and on his own, Tyner showcases and ability to pay tribute to a genre pioneer in Ellington while applying the some of the touches he showed with the futurist saxophonist. We lost a giant when McCoy Tyner died earlier this month.

The Raconteurs – Help Us Stranger (2019) The Raconteurs have always been my least-favorite Jack White project, however their by-the-numbers approach made for a refreshing listen after White’s previous release, the bizarre solo album Boarding House Reach. Help Us Stranger arrived more than a decade after the Racontuers’ previous release. While I didn’t really miss them, it is nice to hear White doing some straight-up rocking without all the cutesy tricks and gimmicks.

Marvin Gaye – Here, My Dear (1978) Here’s a question to pull out when the party gets dull (or maybe when you want it to end): Who had a better 1970s, Stevie Wonder or Marvin Gaye? At first glance, it looks like Wonder in a landslide. He won all the Album of the Year Grammys and graduated from opening for the Rolling Stones to recording with Ella Fitzgerald. A second look reveals that Gaye’s decade was every bit as incredible, even if he didn’t win as many trophies. Of course What’s Going On and Let’s Get It On are the twin pillars, but I Want You and Trouble Man are very, very good, even if they tend to get lost in the shadows. Then there’s Here My Dear, Gaye’s final album of the decade and a bitter kiss-off to his ex-wife (and label boss Barry Gordy’s sister) Anna Gordy.

Gaye knew going into the recording sessions that Anna Gordy would receive all royalties from the album’s release, as per the terms of the divorce. Undaunted, Gaye recorded the longest album of his career and used that time to dissect the relationship, peel open Gordy’s heart and spray lemon juice on the wounds. Here, My Dear isn’t only a bitter album, though. Gaye slides between soul, gospel, funk and jazz as he bares his soul and examines the wreckage. At the time, it seemed few wanted to go on Gaye’s deeply personal journey. The album didn’t sell well initially, but eventually even Gordy came around to appreciating Here, My Dear.

Roy Ayers Ubiquity – A Tear to a Smile (1975) The first time I saw Roy Ayers in concert I didn’t get it at all. I was expecting a jazz vibes player in the tradition of Lionel Hampton or Bobby Hutcherson. Instead, I got what I thought was a smooth jazz crooner going on about sunshine and searching. The second time, I got it. If Louis Jordan is the link between Louis Armstrong and Ray Charles, then Ayers is the cog that connects Milt Jackson with Tupac.

Tom Verlaine – Words from the Front (1982) I think I spotted this at a yard sale for a song a picked it up on a whim. While I like Television, this is the only album I own from the Verlaine catalog. I always enjoy this album while it’s playing, but it leaves my mind almost immediately after it’s done. Sorry, Tom.

Various Artists – The Afro-Peruvian Classics: The Soul of Black Peru (compilation) I got this album in a bundle when Luaka Bop celebrated its 25th anniversary. Dismiss this collection as a mere toss-in at your own peril. You can hear everything from the roots of Celia Cruz and the samba to songs like “Son de los Diablos” that wouldn’t be out of place on the Buena Vista Social Club soundtrack. Afro-Peruvian music originated with the slaves brought over from Africa and forced to settle in Peru. There’s no trace of this horrific history on the 15 hip-shaking cuts here, but it does explain why some of the music sounds like a flamenco band got kidnapped by an aggressive drum circle.

The Dead Girls – Out of Earshot (2010) The Dead Girls were Kansas City band who weren’t afraid to proclaim their power pop influences. This is their second release and as far as I know the only one that made it only vinyl. You can hear a lot of Big Star, the Replacements and Thin Lizzy on this release and while the album plays more like a tribute act than saying something on its own, it’s still a very fine listen.

Paul Simon – Stranger to Stranger (2016) Paul Simon started taking his time between albums after Graceland took off, which is to say more than 35 years ago. Appropriately, Stranger to Stranger sounds like it has been crafted by a patient perfectionist. Simon spent an entire 40-minute podcast breaking down how he built “Werewolf,” the opening track, around the rhythms – but not guitars – of Flamenco music. Other tracks employ the experimental instruments developed by Harry Partch or the laptop sampling of Clap! Clap! “Cool Papa Bell” marries the rhythms and mood of Graceland with the profanity of The Capeman. It’s cerebral stuff to be sure, but also infinitely hummable and pleasurable.

Joe Strummer – 001 (compilation) The 2018 collection 001 is both an overview of Joe Strummer’s career opportunities outside of The Clash and a treasure of unreleased material from his archives. The ten-year jump from his pre-Clash band The 101ers to “Love Kills” from the Sid and Nancy soundtrack is jarring, but other than that the collection flows quite smoothly until its unfortunate, premature ending.

Kudos to the Strummer estate for making this set affordable, instead of a trophy piece that only the super-rich or ultra-dedicated can acquire.

U2 – October (1981) The Irish quartet’s sophomore album is easily the group’s most overlooked release. It doesn’t have the promise of their defiant debut, the hit singles on War or the Brian Eno cache of The Unforgettable Fire. All bets for October’s reappraisal were off once The Joshua Tree and Achtung Baby took off.

October’s status may seem harsh in this context, but it’s pretty fair. October is by no means a difficult listen, but it also doesn’t the chops to muscle its way into the conversation. That said, it is still nice to see “Gloria” and “October,” the album’s two best songs, creeping back into setlists for the first time since the ‘80s.

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(Above: “Go To Sleep” is one of many new songs rapper Lupe Fiasco has completed for his new album, “Lasers.” Despite submitting the album to his label two years ago, a release date of March, 2011, was just announced last week.)

By Joel Francis
The Daily Record

Today hundreds of young music fans will protest outside the headquarters of Atlantic Records in New York City as part of Fiasco Friday. A similar rally will also take place in Chicago.

The gatherings started as an frustrated discussion on an internet forum over Atlantic’s two-year refusal to release an album by rapper Lupe Fiasco. Inspired by success stories of similar incidents with Wilco and Fiona Apple, this new generation of fans want major labels to respect their voices.

“Lupe is just one part of a larger issue,” said 17-year-old Matthew LaCorte, one of Fiasco Friday’s organizers. “I would like Atlantic to stop interfering in the creative process of its artists and to help get a more positive message – a message like Lupe’s – on commercial radio.”

Tall requests, to be sure. Artists complaints of label meddling can be found in ever era of the music industry, and are a major reason why artists from Trent Reznor of Nine Inch Nails to the Eagles have divorced themselves from major label. Complaints of commercial radio playlists have increased – while overall listenership has decreased – since the 1996 Telecommunications Act allowed single corporations to gobble up more and more of the national spectrum.

 

Rapper Lupe Fiasco.

 

“Our goals mirror Lupe’s L.A.S.E.R.S. manifesto, which he posted online,” LaCorte said. “We want to alert people and tell the message of Lupe Fiasco, who’s music has a drastically different message from what you hear on the radio.”

In part, the 14-point manifesto declares an end to glamorizing negativity in the media, promotes environmental responsibility, individualism and political accountability, elevates substance over popularity and calls for the end of war and a “processed culture of exploitation, over-consumption and waste.”

But it will take more than T-Pain’s ubiquitous and chart-topping auto-tune to make these lofty goals part of any mainstream discussion.

“I’m not exactly sure what to expect from the rally,” LaCorte said. “I know we’ll have lots of signs and so some picketing. I’m planning on giving a speech, and I know we’ll have lots of chants and rally calls based on Lupe’s music.”

Oh, and Fiasco will be personally participating in the New York rally. In late September, Fiasco tweeted “well if y’all there…I guess I gotta be there too!”

“This started because we all wanted ‘Lasers’ to come out,” LaCorte said. “Last week Atlantic finally gave us a release date of March 8, 2011, so in a way we’ve succeeded. Fiasco Friday will be both a celebration of our success and a chance to protest issues we feel still need to be addressed.”

Fiasco is hardly the only rapper facing label resistance right now. Last week Nas raged against Def Jam’s refusal to release the second volume in his “Lost Tapes” series as part of his contract.

“Beefing with record labels is so 15 years ago,” Nas wrote in his open letter. “I could go on twitter or hot 97 tomorrow and get 100,000 protesters @ your building but I choose to walk my own path my way because since day one I have been my own man.”

LaCorte said he was fine with Nas’ perspective. But when the original petition calling for ‘Lasers’” release was ignored by Atlantic, he knew it was time to make a bigger noise.

“Having fans protesting is not good for business,” LeCorte said. “But if we fans do this – petition, boycott, make phone calls, send letters and stand up for the musicians we admire – if we make our voices heard, there will be a change.”

Keep reading:

Review: Lupe Fiasco

Chuck D looks forward in reverse

Review: “How to Rap”

(Below: Howard Beale’s ever-relevant rant from the 1976 film”Network.”)

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(Above: Santana and Nas put their spin on AC/DC’s “Back In Black” on the “George Lopez Show.” Believe it or not, this is one of the better moment’s on Santana’s new album.)

By Joel Francis
The Daily Record

It’s hard to believe it has been a ten years since “Supernatural.” Back then, Santana was just another fading Woodstock star. He has been living in the shadow of “Smooth” and “Maria Maria” ever since.

With a title like “Guitar Heaven: The Greatest Guitar Classics of All Time” one could be excused for thinking Santana’s latest album was a repackaging of “Oye Como Va,” “Soul Sacrifice” and the rest of the jams that made him a guitar icon. Instead we are gifted with an album much more panderous.

“Guitar Heaven” reunites Santana with label president/marketing guru Clive Davis for the first time since “Supernatural” and is the third consecutive album to follow its formula. The blueprint is simple: pair Santana’s guitar with some of the biggest pop voices of the moment in every genre. The twist this time is that every tune is a well-known cover, a great guitar classic, no less.

The result is a dozen pedestrian, uninspiring performances. None of the musicians associated with this project even pretend to muster the effort to add something new to these well-worn staples of classic rock radio stations. It’s hard to imagine anyone clamoring to hear Train’s Pat Monahan aping early Van Halen or anxiously waiting to see what Chris Daughtry could do with Def Leppeard’s “Photograph.”

Predictably, Davis invited Rob Thomas back into the fold, but this time the man who brought Santana his biggest hit is anything but smooth. The Matchbox 20 singer seems completely overwhelmed by “Sunshine of Your Love.” Joe Cocker fares better on the Jimi Hendrix staple “Little Wing,” but the performance still begs the question why anyone thought this project was necessary.

At best the outcome is merely redundant; at its worst it an embarrassment. The only inventive choices were including India.Arie and Yo-Yo Ma on “While My Guitar Gently Weeps” and rapper Nas trying to inject some hip hop into “Back In Black.”

Neil Young’s “Le Noise” is a true celebration of the guitar. For his 32nd album, Young worked with famed producer Daniel Lanois. Lanois’ productions are frequently criticized for their big echoy sound and stark separation of instruments. They can often sound like Lanois conformed the artists to his vision, rather than the other way around.

Although some of Lanois’ swampy trademark exists in “Le Noise,” his distinct fingerprints are absent for the most part. The reason is simple: there’s less for him to work with. All of the album’s eight tracks were cut live and feature only Young and his guitar. The result is a pastoral yet invigorating portrait of Young seated on his amp, volume cranked to 11, intimately and intently debuting his latest song cycle.

While the guitar makes all the noise, Young’s songwriting makes all the difference. Without a bed of strong material, “Le Noise” would be a curio, like “Arc,” the album-length experiment of feedback and noise Young released in 1991. These songs could just as easily been delivered acoustically. Fortunately, Young and Lanois muck them up with waves of feedback and distortion.

In the mid-‘90s, both Young and Santana were regularly releasing solid, if unremarkable albums that clearly came from the heart. Today their paths couldn’t be more different.

In movie terms, Young is the actor who with a questionable resume, but has remained unquestionably independent. Santana, on the other hand, resembles the washed-up actor willing to do anything to land one last big role.

But show-biz loves redemption stories. Let’s hope Santana has some Mickey Rourke in him.

Keep reading:

Review: “Neil Young – Long May You Run: The Illustrated History”

The Derek Trucks Band makes old-school rock new

CSNY – “Ohio”

Bruce Springsteen and Tom Morello – “The Ghost of Tom Joad”

 

 

 

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 (Above: Damian Marley and Nas perform at the Beaumont Club in Kansas City, Mo. on June 26, 2009.)

By Joel Francis
The Daily Record

When the rapper Nas and reggae artist Damian Marley, youngest son of Bob Marley, first teamed up five years ago, the result was solid, but not spectacular. “Road to Zion” was a typical mash-up with Nas dropping a verse into the pocket of a mostly completed composition. There was little interaction between the two.

All of that immediately flies out the window on “Distant Relatives,” the new full-length collaboration between Nas and Marley. Open cut “As We Enter” finds the pair tag-teaming stanzas. As Nas spits “My man can speak patois/and I can speak rap star,” Marley drops the line “from Queens to Kingston/gunshot we use and govern the kingdom.”

The “rhythm piranhas” – as Marley dubs the duo – started toying with the idea of producing an EP to benefit school in Africa back in 2008, but the project grew as it progressed. Predictably, the lyrics find both vocalists working in a political vein, which is not a radical departure for either.

Nas shines in this environment, weaving street parables into Marley’s global paradigm. Marley, on the other hand, brings a sense of optimism lacking on most hip hop albums. His influence permits Nas to deliver his most straightforward and affirming lines this since “I Can” on the track “Count Your Blessings.”

Although “Distant Relatives” celebrates Africa, the only musician from the continent to appear on the record in person is K’naan, who blesses two tracks. The reset of the album captures the energy and rhythm of the motherland through samples that include Ethiopian jazz, Angolan singing and the Malian couple Amadou and Miriam. And while the pulse is definitely (defiantly?) African, the concrete jungle of Marley’s Jamaica and Nas’ New York are never far.

The only time the third world spell is broken comes on the song “My Generation.” Lil Wayne’s appearance on the track is passable, but feels like a ponderous attempt at mainstream radio play. The most egregious offender, however, is Joss Stone, ruins a decent production with an over-the-top delivery that seems to parody an American Idol wannabe.

Despite the title, the worlds of rap and reggae aren’t really that distant. Afrika Bambaata and Run-DMC dipped into the reggae in rap’s first decade. KRS-One later incorporated reggae into his 1987 hit “The Bridge is Over,” which famously dissed Nas’ home borough. The decade would also find KRS-One collaborating with Sly and Robbie and Shabba Ranks.

Likewise, Marley is no stranger to hip hop. His raspy voice has always worked better in a spoken cadence than in his limited singing range. Both of his major-label albums bounce with an urban beat. “Welcome to Jamrock,” the Grammy-winning album that fostered his meeting with Nas, also featured a track with The Roots MC Black Thought. In addition, Marley’s brother Stephen Marley, who produced two of the cuts on “Distant Strangers” oversaw a remix album of his father’s songs that featured The Roots, Chuck D of Public Enemy, Guru and former Fugee Lauryn Hill, who is married to Rohan Marley, another of Bob Marley’s sons.

“Distant Relatives” flattens this musical landscape. It is an ambitious project with global aims, not only musically, but lyrically, dealing with humanity, morality and messy nuances of emotion like greed and humility that can easily come across as clichés or preaching. Few artists have the vision to imagine a project of such scope, let alone pull it off.

Marley and Nas teamed up because they wanted to respond to the disasters in Haiti, Somalia and Darfur. Their intentions should be appreciated. The results should be celebrated.

Keep reading:

Review: The Original Wailers

Jazz, hip hop collide to celebrate landmark album

Review: Toots and the Maytals, the Wailers

Review: Bela Fleck’s Africa Project

Review: Sly and Robbie

Album review – “Stax: The Soul of Hip-Hop”

Review: Lee “Scratch” Perry

Jay-Z – “The Blueprint 3″

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etta
Above: No, it’s not Beyonce. The wonderful Etta James during her Chess period.

By Joel Francis

As the 1960s dawned on Chess Records, label founders Leonard and Phil were at the peak of their powers. Thanks to the proselytizing of the British Invasion bands, Muddy Waters, Howlin Wolf and other blues artists were performing for the largest crowds of their careers. Chuck Berry and Bo Diddley had helped formed rock and roll, and the label had branched into more genres, including R&B, comedy, jazz and gospel.

But Leonard and Phil were still looking for new ways to stay on top of the trends and build their roster. One of their biggest signings of the decade was an immediate success. The other took more than three decades to reach his commercial potential, but stands today as the greatest living link to Chess and Chicago blues.

Etta James was born in Los Angeles to an unwed, 14-year-old mother. She was discovered at age 14 by bandleader Johnny Otis, and recorded with him for Modern Records in the late 1950s. She signed to Chess in 1960 and converted Willie Dixon’s “Spoonful” into an R&B hit. Her breakthrough came the following year with “At Last.” The gorgeous soul ballad was a bit of a departure for the label – guitars and harmonicas were replaced by a lush string orchestra. From the gritty soul of “In the Basement” and “Tell Mama” to the heartache of “I’d Rather Go Blind,” James’ versatile voice found success for the rest of the decade.

Buddy Guy showed up in Chicago in 1957 and quickly fell under the wing of Muddy Waters. Although he was known for his anarchic guitar playing onstage, the Chess brothers reigned him in on record. Primarily a session guitarist, solo singles like “The First Time I Met the Blues” barely hinted at the flamboyant style that influenced Jimi Hendrix and Stevie Ray Vaughan. Guy didn’t find true success until his 1991 comeback album “Damn Right I’ve Got the Blues” on the Silvertone label.

With the exception of Berry, who briefly recorded for Mercury in the mid-’60s before returning to Chess, and Dixon, who took a short-lived job at Vee-Jay, all of Chess’ major artists stayed with the label until its sale. By the end of the ’60s, Leonard and Phil had been looking for a way to get out of the record business and into television. When GRT made an offer of $6.5 million for all of the label’s properties, they accepted. Less than a year after selling their label, Leonard Chess was dead. Just 52 years old, the elder brother had died of a heart attack in his car less than two blocks from the Chess headquarters. He had been on his way to a meeting at WVON.

A little over twenty years after opening the Mocambo Lounge, Leonard and Phil Chess’ dream of striking it rich had come true several times over. With Leonard no longer alive, it was up to Phil and Marshall, Leonard’s son, to appease the worries from their biggest stars that the brothers had made unreasonable profits off their artists.

While many of the Chess stars were also very well off, other artists showed less financial responsibility and had very little to show for their success. In the 1970s, several Chess artists, including Waters, Wolf and Dixon sued for back royalty payments. All the lawsuits were settled confidentially out of court; the issue is still debated today. Bo Diddley was especially bitter about his treatment, telling Rolling Stone in the 1987, “My records are sold all over the world and I ain’t got a f—ing dime.” While we’ll likely never know the truth, cases of labels withholding royalties from artists are still common today. Leonard and Phil probably felt they took good care of their artists, but they also made sure to take great care of themselves at the same time.

Nearly 40 years after its sale, the legacy of Chess Records continues to burn bright. From bloozy biker bars and hole-in-the-wall BBQ juke joints to stadium tours by the Rolling Stones and samples used by rappers Nas and Chuck D, there are few corners of the English-speaking world where the impact of Chess’ artists isn’t felt. In 1977 NASA gave the label celestial influence when they placed a copy Berry’s “Johnny B. Goode” inside the Voyager space probe.

In 1964 the Rolling Stones, hot on their first tour of America, made a pilgrimage to the Chess building at 2120 S. Michigan Ave. in Chicago. Decades later, Dixon’s widow purchased the property, which serves as a Chess museum and headquarters for Willie Dixon’s Blues Heaven Foundation. Each year, tourists and musicians alike visit the building to pay homage to the Chess masters and stand in the space where so many incredible songs were captured.

Keep reading The True Story of Cadillac Records.
Part One: The Birth of Chess Records and Chicago Blues
Part Two: Chess Records and the Birth of Rock and Roll

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