Amerie got a new album
December 15, 2009
Amerie Mi Marie Rogers is in a peculiar place. Her Grammy-nominations in 2006, two gold-selling albums, and her knack for churning out dance floor mainstays have not moved her past R&B enigma. She doesn’t have Beyonce’s pipes, or the musicianship of Alicia Keys. What she does have is an ability to consistently release DJ must-haves such as “Why Don’t We Fall In Love” and “1 Thing”. Three studio albums (one of which, “Because I Love It (2007)” only seeing international release), and a largely diverse fan base, has not made her relatively commercially viable enough to “blow up”. But with her own new label and new producers this time around, “In Love and War” could be the recipe for super-stardom that’s been so elusive for her.
“In Love…” lead single “Why R U”, contains strikingly similar elements to Amerie/Rich Harrison songs of old minus, well, Harrison.. Hip-hop sample standard “Synthetic Substitution” by Melvin Bliss provides the back-drop for what is a pulsating dance groove. The album’s highlights are the songs resembling “Why R U,” a place where Amerie shines; big percussion, big choruses, big vocals and fast tempos. Producer M-Phazes puts Amerie in her best element on the Trey Songz assisted “Pretty Brown“. Legendary new-jack swing producer Teddy Riley lends a hand for “Tell Me You Love Me,” another solid Amerie performance, but that’s where it ends.
The struggles are clearly evident when Amerie tries her hand at the ballads, where her vocals are exposed. The lukewarm baby-maker attempt ”Red Eye,” piano-laced “Different People,” and snoozer “Flowers” prove to be the album’s stumbling blocks. When the pace lessens, Amerie’s energy and the in-your-face catchiness of her better songs are obviously missing. Lil’ Wayne makes the now radio-requisite cameo on “Heard ‘Em All” remix, where Amerie makes a futile attempt semi-Jamaican accent. Aimless efforts like this, are the one too many pitfalls of the album.
When Amerie does sing, she connects. Sticking to her strengths is definitely effective, but once she strays away into ballad-land, the results are not as interesting. She is, and always has been successful at being brash and zesty, without over doing the diva. But “In Love…” doesn’t re-create the chemistry of Amerie/Rich Harrison, and is inconsistent and unfocused for much of the listen. Even the hit-making prowess of star producers such as Bryan Michael-Cox, Teddy Riley, and Sean Garrett don’t propel this album in to greatness. Here’s to hoping that her next attempt throws caution to the wind, and focuses on what has always worked.
Rating 3/5
Noisette Nirvana
November 4, 2009
You probably haven’t heard of the Noisettes, but no worries, you will. The Noisettes newest album Wild Young Hearts will make sure of it. Wild with its funked up rhythms, young with its ode to the nightlife in tracks like Saturday Night and Don’t Upset the Rhythm, and heartfelt with lyrics drawn from a well of emotions this album will draw you in for the experience. On Sometimes, the albums leading track, the band whimpers “taking lovers just might keep my tears at bay but the dam will break at any hour.” Yeah, been there, done that, got the t-shirt.
Fronted by the fantastically named Shingai Shoniwa, the three piece London-based band has presented an instantly loveable take on 60s pop, fit for modern day. It’s not the cheesy soul remakes that jammed the airwaves shortly after Amy Winehouse’s meteoric rise and subsequent fall. The album is a veritable buffet of funky indie soul-pop with a retro feel. The album’s pure awesomeness covers love, heartbreak and the dizzying cycle of relationships. Favorite tracks include Atticus, the beautiful, gentle centerpiece of album, and Cheap Kicks, the albums’ final track. Who doesn’t love a song that embodies the ugly truths about one night stands. Cheap kicks are alright/if you don’t know what’s good for you. Honestly, you can listen to this album from start to finish and never think of hitting the fast forward or rewind. And as if things couldn’t get any better, you get all this without copious amounts of auto-tune. What a novel idea.
It’s as if the Noisettes heard the call of music lovers and decided to bring back poignant lyrics punctuated with the art of the live show. Rumored as one of the most natural and charismatic frontwoman in music today, Shoniwa, is known for her onstage antics and acrobatic showgirl-performance style. Her stunning beauty and fresh style don’t necessarily hurt either. The half-British, half-Zimbabwean front woman bounces frenetically off speakers drawing the audience in with raw energy and charisma. Although an authentic African native fronting an indie rock band may invoke a side-eye from some, this band is unphased. Shoniwa embraces her culture with open arms and her cultural influences are ever present in the bands thumping tracks. Oh and she plays bass guitar. Name one bass guitarist who isn’t the definition of cool.
Listen if your iPod playlist includes: Santigold, Adele, Lyyke Li, M.I.A., TVOR, Erykah Badu, Estelle, MGMT, or if you just like good music, then you’ll be sure to appreciate this album. This album comprises wicked, edgy, innovative sounds that you will dance around too, hairbrush in hand, pants optional. Oh and after the first listen—where you fall in love—put out the bat call to your homegirls and homeboys alike, they may not admit it—but this gem of advice will cement you as the far cooler friend.
Devin The Dude: Growing Pains of an Underground King
October 19, 2009
THE CONCERT
A full audience crowded the stage and many more concertgoers were pouring into the venue. The opening act of the performance seemed to be all private school graduates turned derelicts of the privileged. River Oaks and Rice Village kids I assume.
As The Blvd team stood near the entrance of Wearhouse Live in Houston Texas, the hard at work trio of Carlos, Ivory and Lennis aka Lee-Lee, could barely crank out the merchandise of t-shirts, coffee mugs, CDs, and posters quick enough, as the mostly crowd of high schoolers dropped the almighty dollars to bless their hero.
“What’s up with the crowd?”
“Is it always majority white college and high school kids?”
“This is how a Devin concert is, they love him,” Lee Lee said with a smirk. “They get a chance to break away from home and smoke weed. They wanna be rebels and shit.” A familiar odor wafted through the air, but no one seemed to mind.
“We don’t really celebrate smoking like that, if we do smoke we do it in the comfort of our home,” says Lee Lee. “The police would never allow it.”
The back room was packed with cousins of Devin, professionally rolled blunts and loud chatter. In the smoked filled dressing room turned Coughee Shop, Devin stands in a cipher of 10 young fans in preparation for a performance he was to headline at Warehouse Live.
“What’s this I hear about you Fucking Somebody’s Mother?” questions a girl with a heavy Brooklyn accent. In full denial, Devin Copeland, responds with a coy “ I never said that” “ What you talking about?” “I would never do something like that.”
As the tight-eyed Brooklyn native, and obvious fan of marijuana, giggles at her new-found friend, Devin smiles in relief.
BIG COJONES
The Coughee Brothaz are a mash up of producers, old school rappers, singers, aspiring protégés, and Devin Copeland. The bloodline of the Coughee Brothaz starts with The Odd Squad, a 1994 trio of Devin the Dude, Blind Rob, and Jugg Mug. Devin never wanted to be an independent artist.
“It’s always power in numbers, I never wanted to be on my own,” Copeland said. “The Odd Squad was the only project I was concerned with representing.”
Keeping the bond of his brotherhood with his child hood friends, Devin never turned down an opportunity to possibly better position himself and his crew.
With the kinship of former Geto Boys leader Scarface, Devin helped create a name for himself by joining a compilation project called Face Mob created and organized by Scarface. With the Face Mob push and his work on Scarface’s album, Devin’s hook on “Fuck Faces,” not only finessed the heavy lyrics of his predecesor, but actually made it a song to remember. The rest is history. Countless classics and a loyal under ground marijuana induced movement has maintained the legitimacy of this operation known as the Coughee Brothaz. Their album, properly titled ” Coughee Brothaz: Waitin’ Our Turn” is available in stores.
THE CRAZY IDEA
Photography by Travis Bankett
If you look at today’s rapper, most get thrown into fame with no skill, no wit, and no love. Devin has classic hooks, hits, and albums, and he’s still grinding and working his ass off. I can’t even waste the time to list all the major moguls he’s worked with, because it would be a disservice to myself and the fans. As a layman you’ve heard him and as a fan you want people to know him, because he’s hilarious, smart, and just enough raunch to make you feel uncomfortable when your parents pass by, even as a grown up.
Some fans respect his music so much that they go to great lengths to catch his attention, hoping to land a career.
Take 14K for instance. What does 14k mean? The gold standard. At first introduction the name seemed too typical. Like most up and coming artist their braggadocio fell on deaf ears with me until I heard their unusual story and a viewing of a performance of the two killing the stage on video. Haven’t seen a young rap duo perform with this type of control in a long time and actually keep my attention.
These guys out of New Mexico, two brothers Wood (Brandon) and Quad (Kyle), literally packed their shit and left nine years a go after a bootleg phone call changed the dynamic of their rap dreams.
“I was skipping school one day and I remember this promotion of a phone number that allowed you to call anyone in the world, 10-10-9000. I found his number on an old album. I asked the operator to connect me and Devin answered,” says Wood.
“When he answered, I just went off and started rhyming,” Wood proudly recalls.
Devin laughs as he reminisces on that call. “ I’d heard a lot of random shit on the phone, but that caught me off guard. I couldn’t hang up, cuz the lil niggas could flow”.
After inviting the brothers to Houston, Wood and Quad sold all of their weed and jumped on the first flight smoking. Their history is still in the making as Devin takes the two under his wing. They’ve been featured in fan favorites, Somebody Else’s Wife (Devin the Dude) and Highway (Landing Gear). The album unnoficially titled “Wake Up”, is in the finishing stages.
THE BEST AROUND
Photography by Travis Bankett
On his latest album “Landing Gear ” (2008) , Mr. Copeland definitely cleaned up his approach. A little less description of fellatio and its after effects, while still calling out bitch*s and hoes for what they are. In “I Don’t Chase Em” featuring Snoop Dogg and Tony Mack , this anti-boppers anthem hits a pulse to industry cats getting chased by the cat.
Devin the Dude, has three daughters and one son. His potty mouth remains as is. It’s his bread and butter. Even as a fan, I’ve had a hard time believing half the bizarre sexual acts he jokes about in his music and he’s getting old, so I asked him, “Are you really knockin hoes down like that?”
He laughs, “Well, some of the lyrics have a lot of truth, but most are just experiences I hear from friends and my fantasies. ”When asked how he approaches his misogynistic references now that he’s a daddy, he admits, “I’m growing, I’m getting older. I have children and as a father, how can I not think about my message? They listen to just the production, not the lyrics. It’s how I choose my tracks for my albums. If they’re feeling it I know it can be a hit.”
His team of Coughee Brothers and Sisters definitely remain a vital support system for the family run operation. How else would he remain in the game? He doesn’t have a contract with Rap A Lot as of 2008, a positive. He’s a free agent, jumping around for the best distribution deals. In his best Richard Pryor he explains, “I can’t be an old ass rapper, asking for a deal, I can’t do that shit anymore.” In the current music climate it seems everybody can be a brand, but at least this crew has a legend on the team.
Devin welcomed THE BLVD MAG into his home and we broke bread with the Coughee Family.
As the cravings kicked in, Devin served a southern masterpiece of fried chicken, jambalaya, and potatoes, (the AD Director left no scraps), Devin politely washed dishes as he schooled us on some history. “You know Blowfly was the originator of raunchy lyrics. He was the first. Look him up.”
Devin's House. Photography by Erica Reid
Check out Landing Gear! It’s a solid album.
You can get more information about The Coughee Brothaz and future tours on myspace.com/cougheebrothaz and myspace.com/devinthedude
The Hennessy Artistry Tour
October 19, 2009
The 2009 Hennessy Artistry Tour, curated by The Roots and Common, stormed through The Corinthian with a blitzkrieg of rhymes, beats, free Hennessy cocktails and surprises, making the ritzy, enormous ballroom feel like your cozy, neighborhood hole-in-the-wall hip-hop joint.
Performances began with New York City rock-fusion combo Elizabeth The Band, who set the stage a blaze with precise percussion and guitar licks, and displayed soul elements reminiscent of Chaka Khan and Rufus at their funkiest. The female lead singer, channeled the stamina – and legs — of Tina Turner, and the sex-driven mystique of Erykah Badu, putting the males in a seductive trance. They Slashing from song to song, the band was in complete sync, all contributing to a mouth-watering performance.
After a short intermission of a J Dilla retrospective, The Legendary Roots Crew took the stage. MC Black Thought ripped rhymes in extraordinary fashion, breezing through Roots classics such as “Here I Come,” “Star,” and “Thought @ Work.” As the crowd recited lyrics and rocked into a frenzy, The Roots band played at a frenetic pace with astounding accuracy showing why they are not only the most sought after band in hip hop, but in all of music. Drummer ?uestlove’s innate ability to switch from precise patterns identical to that of any drum machine, to an off-kilter somewhat sloppy syncopated rhythm with ease is just one of the many assets that makes the band such remarkable live performers.
Following a relatively short Roots set, Common rushed the stage as if his hip-hop life depended on it. Starting off with “The People,” assisted by ?uesto drumming like an absolute madman, and followed by a performance favorite among the ladies “The Light” that molded into a moving rendition of A Tribe Called Quest’s “Bonita Applebum.”
“Hennessy Artistry is just that, artistry.” Common said shortly before the show began. ”We tryin’ to expose this art of music, and The Roots and I make sure the artists chosen rep that…it’s all about the music.”
Indeed.
After freestyling about everything from the lovely ladies in the front row, to the Houston Rockets, Common backed by The Roots band and budding star Musinah transformed his slow-winding Pharrell Williams produced track “Punch Drunk Love” into a five-minute long rendition of soul-singer D’ Angelo’s “Lady.”
The first major surprise of the night took place soon after, as Common introduced reggaeton artist Makano to a totally unsuspecting crowd. The Roots proved again that they can play anything, by getting an audience unfamiliar to his music to remain front and center.
And then the madness began.
The Roots mashed out a few more songs including “Next Movement” followed by a stellar cover of Slum Village’s “Fantastic.” Immediately after, Black Thought unexpectedly introduced hip-hop golden-era icon Big Daddy Kane to the stage to what instantaneously became a rabid crowd. Common joined in the fun as he and Black Thought paid homage to Kane.
‘If it weren’t for this man, I wouldn’t be here,” Common exclaimed.
Kane and the Roots led an all-out assault on some of Kane’s most notable rap classics. “Set It Off” featured guest appearances from Common and Thought, “Ain’t No Half-Steppin” was perfectly done, and the highlight of Kane’s powerhouse set, “Raw” was ripped to shreds. The performances fired once again at a rapid rate, as Common followed with his hit “The Corner,” and a word-for-word rendition of Nas’ “NY State of Mind” that drew plenty of attention from an already inspired audience.
The guest appearances didn’t stop there, as Hennessy unleashed another bombshell on the with New Jack Swing-era R&B star Al B.Sure taking the stage. Giving new life to his hits “Nite and Day” and “Rescue Me,” Al had the majority of the crowd remembering their pre-teen days and reciting every word to his buttery falsetto lyrics.
A brief delay in the music took place, as Black Thought was presented an awesome-looking birthday cake (would have made the night perfect if I had gotten a piece of that cake!), as the crowd and band mem
bers serenaded him with with Stevie Wonder’s “Happy Birthday”. All smiles.
The Roots then held the place hostage for the next twenty minutes with a very rigorous James Brown-esque ending, by ending the show to a round of massive applause. ?uestlove did his traditional tossing of his drumsticks into the crowd and after the ensuing melee, the still buzzing crowd dispersed with everyone walking away fulfilled.
Photos by Fave
The Bright Light Social Hour
October 19, 2009
Backstage at the Dell sponsored lounge at Austin City Limits provided theblvdmag.com an opportunity to meet newbie rock band, The Bright Light Social Hour. This four member band made up of lead vocalist and guitarist A.J. Vincent, keyboardist Jack O’Brien, guitarist Curtis Rausch, and drummer Jo Mirasole was selected as the opening act of the festival at the Dell stage after winning the ‘Sound and the Jury’ contest at Antones in Austin.
After seeing the passion that overtook the band during the performance people wanted to know more about the band.
“It’s a community building name inspired from a quote I heard in class around the idea of social optimism and community building,” Rausch said. It’s no doubt that The Bright Light Social Hour got the ACL community involved. This local band with a small following had the entire crowd of people rocking out to their music. Their influences range from bands such as Tower of Power and Sly and the Family Stone. One of Sly’s albums “got stuck in [Jack’s] C.D. player for like six months and that’s all that he listened to.”
The Bright Light Social Hour had their opportunity to make their mark in ACL history and will continue to get their shine as they gain popularity on the airwaves. Do yourself a favor and check out the Bright Light Social Hour, they have a mesmerizing sound that will keep your foot tapping, hands clapping, and head bobbing to the beat.
www.myspace.com/thebrightlightsocialhour
Jay Z: The Blueprint 3
September 10, 2009
Hov. Izzo. Hovito. Great Hova.
Whatever Jay-Z is calling himself these days, perhaps a less flattering name – one preferably given by another rapper – may be just what the doctor ordered…
Why? Because a good ‘ole fashioned diss always seems to bring out the inner Ice Cube/Chuck D/KRS-One in MCs. After all, the origin of hip-hop IS smack-me-and-I’ll-smack-you-back, courtesy of EPMD. And that philosophy bodes well in today’s rap climate where the ego-driven, male-diva rapper intuitively knows that he’s the best ever.
Take Kanye West for example…
Kanye launched his entire career based on an ego-driven need to perpetually “prove” his lyrical genius, and that approach has sustained one of the best and most memorable four-album runs in rap history. In fact, some believe that West’s eagerness, confidence, and arrogance played a large role in Jay-Z’s decision to rejuvenate his career with launch of the “Blueprint” series in 2001.
The Blueprint’s first installment was fueled by a heightened beef with Nas, 2003’s Black Album was Jay’s farewell album (*cough*), 2006’s Kingdom Come was slated as ‘the return,’ and then American Gangster followed almost immediately, starring Hov as Harlem hustler Frank Lucas. No matter which album you choose, all of them were driven by a muse of sorts, and all either good, great, or excellent.
Enter Blueprint 3.
“You talkin’ ’bout who’s hot/ I ain’t talkin’ ’bout that/ I don’t run rap no more, I run the map…”. Jay-Z
Indeed.
“What We Talkin’ About” gets BP3 off to a fantastic start with stellar production and sharp rhymes as Jay attacks cliche phrases and actions. The guitar-twinged funk of “D.O.A.,” the simple, yet very effective, “Thank You,” and the Alicia Keys-assisted “Empire State of Mind” all effectively carry the album to the 50 percent mark. Then add on “Run This Town’s” pulsating beat, plus star power from Kanye West and pop-princess Rhianna and you’re golden…that is until you get to the back half of the album.
BP3 slips into monotony a bit after the halfway mark with lackluster efforts from producer Timbaland, a seemingly unmotivated Jay Z, and a noticeable departure from the caliber of songs before it.
“Hate” featuring Kanye West sounds more like one of West’s recent experiments and doesn’t have any of the familiar characteristics of previous “Blueprint” works; “Reminder” lacks charisma and sounds uninspired. (**sigh**)
Then you have tracks like “So Ambitious,” which depends heavily on the trademark Neptunes/ Jay-Z chemistry and Pharrell’s signature off-key falsetto. That, when coupled with songs like the plush “Young Forever,” puts a stake in the ground for BP3, but unfortunately doesn’t do enough to save the album from its back-half demise.
Jay-Z has always been a sharp, detailed, witty writer, but ever since his debut album Reasonable Doubt it seems like he’s been struggling with self expression and reflection.
BP3 is no different.
With its redundantly fickle subject matter, Hov clearly wants his roses while he can still smell them – even if HE is the delivery boy. It’s obvious – Izzo is near the close of a relatively brilliant career and has become the Robb Report-reading, trendsetting and trend smashing MC of all MC’s. However, this album falls short of the glory fans have come to expect.
With all the expectation, anticipation and waiting that surrounded the release of this album, the folks in fan-land will walk away from the third installment of the Blueprint trilogy with half the pie. Looks like Hov needs some new enthusiasm.
Rating 3.5/5.0
If You’re Not Here to Perform, Keep Yo Ass at Home
August 6, 2009
Well fuck you too lame dudes from San Bernardino who got no respect from the “H”!
Next up Bobby Ray, aka B.O.B stepped up to the bitter but sweet challenge of moving the Texas crowd with his high energy set mixed with a live guitar solo, a solid acapella flow about “crappy rap,” and the blessing of Bun B. Other than Bun’s obvious excitement for the newcomer with flip camera in hand, the crowd was really feeling the dude. With his two female background singers, he brought the essence of a Bob Marley festival with a southern twang. His excitement for music was refreshing and it was obvious he was comfortable on the stage.
B.O.B
Despite the lack of radio play, he’s not a no-name. Bobby Ray has been featured on the cover of XXL and Vibe as a promising newcomer with the likes of Wale and Asher Roth. He also has the ok from the big boss T.I being signed with Grand Hustle. So yeah that’s all sweet. The bitter fact is that he gave a huge shout out to Austin, Texas in the city of Houston. We hate shitty, irresponsible mistakes and we’ll show it. This city barely gives non-radio heavy hitters a chance. Of course, Houston did what Houston does best, we booed and booed some more just in case he didn’t hear it. But Bobby Ray stuck to his guns and killed the nonsense with his talent — and talent can never be denied.
Act three was Asher Roth and friends. A pale blue-eyed dirty blond graced us with his presence as he rode his toy Cadillac scooter onto the stage. With a hype man, a drummer, a lion mascot and DJ on stage; Asher partied like it was the last day of school.
Asher Roth
He’s slick for a white dude. You either go hard or go home as a rapper regardless of race and he is definitely in this game to win it. Folks compare him to Eminem, which is way off. If one had to compare him to a non black rapper it should be a group, The Beastie Boys. He’s like the little brother who just wants to get put on. He gave so much energy that his shirt was soaked with sweat and water breaks were his relief as the crowd cheered him on. He had full control of his entire set.
Asher allowed his drummer and DJ to show their skills with solos, and he gave the crowd what they wanted — a show. To compare him to a character in college, I would call him the white guy who was up for the challenge to dance with the black chicks at the party. The one who had the basic rhythm, just enough to keep from getting cracked on. He’s slowly making his name relevant to the dominate black music genre with smart lyrics, bold lines like “I like boobies like you like nuts, Lets get together and make them touch.” His performance is a mix of comedy and Animal House all on one stage. Bun B, one of the elder statesman of the Southern Hip Hop game, was visibly feeling him. He had the groupies backstage jumping and he allowed his female fans to dance on stage as they snapped photos to brag on Facebook. Smart marketing.
So what about the nappy headed hoes twitter comment? Who cares? He apologized. Black girls were on that stage and filled HOB, and they loved him — end of story. As he exits, he gives the crowd some well taken advice, “Stay outta trouble, smoke weed everyday.”
Kid Cudi
The superstar genius we know as Kid Cudi started at 10:40 p.m. The crowd chants his name Cuuddi, Cuuddi, Cuuddi, Cuuddi. The stage goes black. All dramatic and shit to the fullest. And there he was, the man of the hour, alone, in his rock start stance, silohoutte in full glow from all the flashy lights. The fans are really hype now. As the drama builds, the energy of the House of Blues was electric.
He went through a list of songs. It was an odd performance because his lyrics are thought provoking and it was hard to fully get into it. With the drama of the show, he couldn’t give the excitement the crowd was exposed to previously. His performance was just him, no hype man, no background singer, drummers –just his DJ, and even that dude was in the dark. Fuck it, we were all in the dark. Other than the lights you could barely see or understand what was going on. We knew we were supposed to feel excited, this Kanye protégé has been the most talked about artist next to Drake, and he seems to be more respected, but damn, give us a little more crowd artist participation.
He was saved by “Poker Face,” a final escape from all the melancholy. Act like you wanna be here Damn it! So there were some interesting moments, he did an acapella sting. His voice was soothing and clear, the first time I could here him clearly. Because of his mysteriousness, women will swoon as long as he doesn’t get all Lady Ga Ga on us.
Lord please save him from being a Diva.
Finally, he performs “Day N’ Night,” his last song. That’s what everyone waited for but due to the lack of energy from the crowd, concert goers made a pre-exit to their cars. It was late and folks were ready to either party or go home.
Photo Cred: Travis Bankett, tbankett.webs.com
Funk Revisited: Fort Knox Five
August 1, 2009
The funky Fort Knox Five have followed up their debut album Radio Free DC with a remixed version entitled, Radio Free DC, REMIXED. They have been in action since 2003 and this group of musicians consists of four members: Steve Raskin, Jon Horvath, Rob Myers and Sid Barcelona. They are based out of, Washington, D.C. and have been featured as opening acts for Gwen Stefani and the Black Eyed Peas in 2005.
Their album Radio Free D.C. Remixed dropped on June 30. Even if the electro-dub-reggae-hip-hop beats mash-up don’t typically tickle your fancy, you are in for a funky good time with this album. Where did the inspiration come from for this album? Lately it’s been from the group’s mp3 players. Here’s what they’re jamming to:
Steve Raskin has been jamming “The Kings of Funk” compiled by RZA and Keb Darge (DJ Food) – and he also digs “all classic funk recordings like Ain’t No Sunshine, Family Affair, Melting Pot.”
Rob Myers adds, “I’ve gone back to my roots, Iron Maiden Killers – only the BEST METAL LP of all time, spiked with a little Dio-era Sabbath. The Shins “Wincing the Night Away” keeps making my mood rotation.”
Sid Barcelona says, “Lee “Scratch” Perry, with a side of “Bassnectar”
Jon Horvath divulged, “I have really been digging Neighbour lately. Neighbour is an EDM producer based out of Calgary, Alberta. He is revolutionizing the modern disco funk sound. Check out his releases on Homebreakin and Funkweapons.”
Be sure to check thegroup out on fortknoxrecordings.com.
HISD: Students of the Game
July 6, 2009
Houston’s best kept secret is finally ready for its shine. H.I.S.D, also known as the Hueston Independent Spit District, is an eight member collective consisting of four emcees, three producers and one photographer/DJ. Having been on the scene only since 2005, emcees Savvi, Ldavoice, Equality and Scottie Spitten along with producers King Midas, Soul One, E. Classic and photographer/DJ Jason “Flash Gordon Parks” Woods sat down with theblvdmag.com to discuss Houston’s lack of diversity on the airwaves and how they plan to make their mark in music history.
The team is from the hometown and joined creative forces to bring their full-length album The District to the world in 2007 under their independent label Peace Uv Mine Entertainment. Their most recent effort Summer Sessions, released in July 2008 has gained popularity by word of mouth and “is most popular probably because its free,” says Ldavoice.
It should come as no surprise that you may not have heard of this collective until now, especially with the same songs in heavy rotation on the local radio stations. Focusing on creating quality music is priority number one.
“We try to let the product speak for us instead of impose it on others,” says Savvi. “What makes this collective so unique is we genuinely would do this if we didn’t get praise from anyone else.”
The music is indeed speaking for itself creating a buzz on the Internet, which has brought them enough attention to be featured at the 2009 South by Southwest Music and Film Festival. “We have really been blessed in a sense that we really didn’t do any serious marketing for our album,” says Ldavoice. “It was purely off the music alone.”
The group rehearses in an area they call the Gold Room, known for housing dope rhymes and healthy debates. At this particular rehearsal the topic of discussion was centered on whether Rakim wrote the lyrics to the DJ Jazzy Jeff and Fresh Prince classic, Summertime. The discussion then turned to who was best vocalist between Sade, or Anita Baker – a friendly argument that has yet to be settled.
“These conversations and debates we have, it’s inspiration for our music” says Ldavoice, “What always happens is that we end up going back and listening to that stuff because we wanna make sure our argument is valid, so we’re gonna go back and study it.”
By making themselves students of the game, they are distancing themselves from the predictable mode of Houston rap. The American public at large, and much of Houston, only knows DJ Screw, Mike Jones and Chamillionaire.
“We wanna make hip hop music for people that really don’t like hip hop music,” says Equality, although it’s quite obvious that they are influenced by hip hop groups like Little Brother, The Roots and the Wu Tang Clan. “That’s what makes us so special, that we are from this place making this type of music. You would never think it would come from here,” says Woods.
For those who may have doubted, Houstonians are capable of producing a different sound that both southerners and music lovers abroad can appreciate. The secret to their new found success is the way in which the group works together collaboratively. “Anything that comes out from us, eight people have to approve of it, so that’s like built in quality control and some stuff ain’t easy to get off the cutting board,” says Savvi. This system of checks and balances has worked thus far and therefore makes it hard for their efforts to go unnoticed. In fact, HISD has received nods from greats like ?uestLove of the Roots, Maceo of DeLa Soul and Phonte of Little Brother and Foreign Exchange.
Their music production is easy on the ears similar to the production of a Common album; and their lyrics are thought provoking unlike your typical southern rap referencing cars, bling, and bitches. Don’t be fooled though, there’s no mistake where these guys are from when listening to their music. There are plenty of Houston references in their lyrics, from the Galleria, to the hot weather. Complaints of traffic lace the Houston slang they drop in their rhymes, and anyone can hear HISD represents our beloved city to the fullest.
Too Cool for NASA
June 16, 2009
DJ duo Kabanjak & Dogu must have traveled to outer space to get inspiration for their debut album, We Are Here to Answer. Ancient Astronauts, what Dogu and Kabanjak go by, released their first offering on June 9 under their independent label, Switchstance Recordings. This sultry mix of musical genres fits on one CD meant to be played while cleaning the house or any other “chill” activities that boulevardiers engage in.
Their single, “I Came Running,” is what one would like to hear while eating at a Thai restaurant, sipping on some plum wine and conversing with friends. Follow that up with the track “Classic” featuring hip hop legends the Pharcyde, and you will go on a journey to the land of hip hop. The Ancient Astronauts take you to the Carribbean with the track “Surfing the Silvatide” where you can imagine yourself relaxing on a tropical island. We Are Here to Answer is a full album of uniquely mixed funk, dub reggae and hip hop featuring vocal collaborations with Bootie Brown and Imani of the Pharcyde, Azeem, Tippa Irie, Bajka, Phat Old Mamas, Ulf Stricker, Raashan Ahmad and Entropik. The Ancient Astronauts hail from Cologne, Germany and have previously worked with Fort Knox Five, Up Bustle & Out, and Ladybug Mecca of Digable Planets.
Click here to check out their myspace page…
Listen to the track, “I Came Running” below
