Amerie got a new album

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

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.

The Hennessy Artistry Tour

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 members 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

Jay Z: The Blueprint 3

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

Funk Revisited: Fort Knox Five

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

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

­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

Lets Welcome the New Kids!

Just when you thought the rap game couldn’t get any better, in comes a fresh new crew, with a fresh new perspective on the rap game. These newcomers have not only made their niche on rap/hip hop charts, but are now topping the pop charts, making them universal. These are only a few of the new kids switching it up:

Kid Cudi

Claim to Fame: He first appeared on the mainstream scene with his mixtape, A Kid Named Cudi,
Made known by: Kanye West, signed the rapper to his G.O.O.D Music record label.
Official debut: The world was officially introduced to Kid Cudi when he introduced the video for his debut single, Day ’n  Nite, on BET’s 106th & Park.
Look out for: Kid Cudi’s debut album, Man on the Moon: The Guardians, hits stores later this year.
Random Facts:
He performed next to Travis Barker and DJ AM on the MTV’s 2008 Video Music Awards.
Unlike others, he has not been compared to any other figure in the hip hop game.
He sings throughout Kanye’s 808’s & Heartbreaks Album

Drake

Claim to fame: Drake Dreezy is most famous for his character Jimmy Brooks on the canadian based show “Degrassi.”
Made known by: His first mixtape Room For Improvement. It was made available via his website and official MySpace page. From the success of his first mixtape, he later began releasing more, capitalizing from the buzz.
Official Debut: In 2007, he released Comeback Season. In 2008, he released Heartbreak Drake. None of which were as successful as his most recent mixtape, So Far Gone, which included Drake’s mentor Lil Wayne, and members of Young Money.
Look out for: His debut album Thank Me Later dropping December 2009.
Random Facts:
He’s an actor, turned singer, turned rapper
His character on Degrassi had a group, which he rapped in.
While working on his mixtapes, Drake has worked with Lil Wayne, Trey Songz, Robin Thicke and Little Brother.
Drake has also written for Jazz Cartier, Bishop Brigante,Keshia Chante and Dr. Dre.

Asher Roth

Claim to fame: Roth  posted some of his freestlyes to his MySpace page where he sent a friend request to Atlanta based promoter Scooter Braun.
Made known by: His freshman album Believe the Hype which was released August 8, 2006
Official Debut: His spot on MTV after show making “I Love College” a hit among young high school and college students.
Look out for: His sophomore album which just dropped April 20, 2009
Random Facts:
Braun organized a meeting between Roth and Jay-Z, where Roth was asked to rap for the Def Jam executive on the spot.
Mos Def, The Roots, Chino XL, The Notorious B.I.G., and OutKast are some of his main hip-hop influences.

Good Grief: A DJ You Should Know

There are some DJs that gain their fame from prolific mixtape output. You know their names because they’re blasted in echo effect on every song of every mixtape. They chose DJ’ing as their means to become famous, smashing songs together with no care or concern for the music.

Then there are those DJs who are legendary because they understand that DJing is an art. In Houston, the DJ of note is Robert Davis, better known as DJ Screw, who transformed the hip hop landscape by creating a genre of music that transcended the city he repped – Houston. But, he’s not alone. Houston can claim another legend in the making, DJ Good Grief.

Those in the know can find Grief mixing at EJs and The Spot, the least likely place for a white guy form Channelview to be at, but his homebase non-the-less. They’re the kind of spots that serve all you can eat crawfish for $20. And eating crawfish was the perfect way to pass the time on a sticky night while waiting for Grief to show up. His scheduled time was 8 p.m., one bucket of crawfish and two gin and tonic’s later the man of the night arrives in the most unassuming manner. He walked in swiftly, fresh from DJing a gig in the rain. With headphones on his head, he began to set up shop.

Ten minutes later EJs was popping. The guy in the black t-shirt and plaid shorts immediately spun rap classics from ESG, Mystikal and Eric B and the crowd rocked with him while they played dominoes and watched the playoffs. So, how did this DJ become a Houston classic affectionately known as just Grief by his fans? “My mom is a record head and my sister plays bass in her own band,” he says in his soft spoken demeanor. “I just grew up around music.” He may have grown up around music, but found a particular kinship to all things funky. Grief’s choices have a similar heavy bass line that overpowers any 808. The music is pulsing and groovy; selections that could have only been chosen by a true music lover.

His first gig was in 1987, recording songs on a Beta Max VCR and made a few bucks playing tunes for the neighborhood. He honed his skills by working the ones and twos at legendary Houston club scenes such as Maxx’s and The Roxy.

“From Electro-Boogie to the Auto-Tune, I feel like I’ve been able to stay ahead of the sound. Back in the day it was the only way of survival (as a DJ) to be an original. Now-a-days it’s a big factory where every DJ is equipped with a laptop and downloads of what a program director is paid to say is hot.”

Since then, he’s toured overseas, headlining in Paris with DJ Jazzy Jeff, and put out a few mixtapes himself. Grief isn’t interested in the fame that his peers around Houston compete for; his interest is in the acclaim from the fans who appreciate his pure love for what he does. “He really loves music,” says Billye Jordan, a close friend of Grief and a member of the legendary Coughee Sister crew. “He’s a hip hop historian. It’s rare that you find this kind of talent at this level.”

Grief reaches all the way back to Houston classics from the SUC and recent hits from Dallas to Boosty Collins and the Isley Brothers, and it’s evident that he has a mastery of what blends musical tastes. He’s one of the few Houston DJs who makes you want to stay for his entire set.

What’s more impressive than his musical styling is how approachable, humble and just plain ol’ nice he is. When he’s not working the turn table and a white Apple laptop, he’s moving around talking to people, pushing in chairs strewn about the club and occasionally picking up a fallen napkin from the floor. No, he’s not a Go DJ, wearing T-Pain hats and talking on the microphone every five seconds. “I respect those dudes, but that’s not what I’m into,” Grief says. He understands the game, and recognizes his own prowess on the turntables, which has lent itself to hate from outsiders at times. “I try to stay out of the media,” he says. “I don’t want to be a part of that crowd. It’s wack, and it’s boring to be that kind of DJ.”

See, it’s not that Grief is being confrontational, he just sees so much more for the Houston music scene. “There’s not really Houston rap,” he explains. “There’s not really a sound in Houston anymore, and that’s not necessarily a bad thing. It’s expanding and it’s becoming universal. Pop is rap.” True as that may be, it’s still sad to see the Houston sound fade, and the grind to keep up with the change is wearing on Grief. “I want to chill with my family and get into some other projects,” says the 30-something who plans on retiring at the end of 2009.

He plans to begin teaching DJ courses at Caanes High School, an alternative school for kids who want to find a different way to pursue their passions, one similar to the one he attended when he was younger. “I got bored with school and felt like there was something else I could put my energy towards,” he says. In that same vein, he’s in the planning stages of a not-for-profit music school for grammar and middle school-aged children. The hope is to be an alternative for children who have had the music programs removed from their respective schools. “He’s a very nice person,” Jordan says. “He’s family oriented, generous, and is genuinely interested in offering alternatives for the kids around Houston.”

In the meantime, he’s DJing throughout the Houston social and club scene, consistently at EJs on Saturdays. Catch him if you can, he’s worth it. And get a taste of his style when you check on the exclusive theblvdmag.com/Good Grief mixtape.  For more info check his site djgoodgrief.com. You can also find him blogging about his experiences as a DJ on thegriefgoodlife.com

CLICK ON THE IMAGE BELOW TO LISTEN TO THE EXCLUSIVE THEBLVDMAG.COM MIX

SPECIAL THANKS TO GOOD GRIEF

ALBUM OF THE WEEK: THE TIME

The Time

1982 Warner Bros

Produced by Morris Day & The Starr Company

“What’s a ‘wiz?’” – Dorothy

Minneapolis is a strange place. Something, in the often below freezing temperatures, must breed some serious racial harmony. Save for the ubiquitous P-Funk, black rock bands didn’t really exist in 1982. As wild as Cameo and The Ohio Players may appear; the sex, drugs and rock n’ roll of the road often failed to pervade the black airwaves or basement parties. Enter Prince, The Time & Vanity 6. Under the auspices of The Starr Company, we got two to three Minneapolis batches of funk, rock, R&B and new wave every year properly feat worthy of nostalgic praise.

The Time’s self-titled debut presented us with six semi-clean cut, but motley musicians. The assumption of the album, based on the individual cues & cadence, was that they played everything we were hearing. In the hands of less genius company that would still hold water. Sure, the opening road ode “Wild & Loose” is impressive, funky and rocking, but when “777-9311″ cuts in, we realize that we have stepped into some other shit; something that no band could actually play with such precision for seven-plus minutes. The innovative and astounding programmed pattern with the high-hat roll and then off-time clap drum has to be credited to “TheWiz.”

“The Walk” reclaimsed the bands ownership of their distinctive groove. The bass and guitar are all in pocket, and the “cool” jam really showcased Morris’ charismatic clowning.. He’s a guy’s guy. He’s always gonna be for the fellas, even when appearing as a romantic, he’s a player. “Gigilos Get Lonely Too” was his ode to “dudes” everywhere.

Whether six or seven men, the genre-jumping and underrated new funk brand established here and on ‘that guy’s’ 1999, this was the next generation of funk to be imitated, but never duplicated for the next ten years. Minneapolis stamps the blueprint.

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