Posts filed under 'Rap and Hip-Hop'

Sly5thAve – The Invisible Man: An Orchestral Tribute to Dr. Dre

Sly5thAve
Title: The Invisible Man: An Orchestral Tribute to Dr. Dre

Artist: Sly5thAve

Label: Tru Thoughts

Release date: Nov 17, 2017

Formats: CD, Digital, LP

 

Sylvester Uzoma Onyejiaka II — the Austin, Texas-born arranger, multi-instrumentalist and producer who goes by the moniker Sly5thAve — returns with an orchestral tribute to the prolific DJ, producer, rapper, and mogul Dr. Dre.  Culled from a live set compiled for a charity event titled “Cali-Love,” Sly5thAve’s arrangements, which were praised by Dr. Dre himself at the concert, pay tribute to Dre’s brilliance in the producer’s chair while presenting new and interesting ideas in a set of well-worn but still funky grooves.

On The Invisible Man, Sly5thAve uses Dre’s compositions as vehicles for his own interpretations and improvisations, treating gangsta rap as jazz arrangers of yesteryear treated Tin Pan Alley songs.  Sly5thAve’s jazz-inflected approach to musical borrowing is heightened by Dr. Dre’s own extensive sampling of 70s P-Funk in his original music, creating layers of intertextuality for hip hop heads and jazz cats alike while retaining (at moments heightening) the cinematic qualities of the source material. Dre’s compositions have always told vivid and imaginative stories. The Invisible Man tells similar stories, with instrumental arrangements in place of most of these songs’ most memorable lyrics, to the effect of making the album feel like the really good remake of a slightly better original movie.

This album is loaded with riffs on Dre’s signature G-Funk style, with Sly5thAve and company developing tracks like “Let Me Ride,” “California Love,” and “Ain’t Nuthin’ But a G Thang” into compelling vehicles for improvisation and orchestration.  Some of the album’s most interesting moments, however, come from the band’s interpretation of tracks less associated with Dre’s signature early 90s funk-based sound and more with the tracks he built for his later proteges, like the stellar readings of Dre-produced early Eminem tracks, including “Forgot about Dre,” “Guilty Conscience,” and “My Name Is.” While their lush string sections and intricate horn arrangements definitely sound different than the original versions of these numbers, these versions are so infectiously true to their musical spirit that listeners will be tempted to dust off their memory of the classic verses that appear on these songs to rap along, starting with “Y’all know me, still the same O.G.…”

Overall, Sly5thAve stays very close to both the spirit and letter of his source material, often giving his crack band opportunities to improvise over his dramatic orchestral readings of this catalog in the same way that Dre gave Snoop Doggy Dogg room to stretch out over the original versions of these songs on The Chronic.  Sure, The Invisible Man is no replacement for the original cuts, but it’s a great way to get away with playing G-Funk at a dinner party.

Reviewed by Matthew Alley

View review January 4th, 2018

December 2017 Releases of Note

Following are additional albums released during December 2017—some will be reviewed in future issues of Black Grooves.

Blues, Folk, Country
Doctor Ross: Memphis Breakdown (ORG Music)
Robert Finley: Goin’ Platinum! (Easy Eye Sound)
Vance Kelly: How Can I Miss You If You Don’t Leave (Wolf)
Various: Memphis Blues Festival 1975 (Klondike)
Various: Chicago Blues All Stars 1970 (Klondike)

Comedy, Spoken Word
Nephew Tommy: Won’t He Do It (TNT)

Funk, Rock, Pop, Electronic
Bartees & The Strange Fruit: Magic Boy (Pineapple)
Danielia Cotton: The Mystery of Me (Cottontown)
Dk Aakmael: Take It Back (Scissor & Thread)
Hypnotic Brass Ensemble: Book of Sound (Honest Jon’s)

Gospel, Christian Rap, CCM
Alma Brown and A One Gospel Singers: Thank You Jesus

Jazz
Ella Fitzgerald: Ella at Zardi’s (Verve)
Incognito: Another Page of Incognito (P-Vine)
Irreversible Entanglements: S/T (International Anthem )
Khan Jamal Creative Arts Ensemble: Drum Dance to the Motherland (reissue) (Forced Exposure)
Melvin Sparks: I’m Funky Now (Westbound UK)
Tony Tixier: Life of Sensitive Creatures (Whirlwind)

R&B, Soul
Bettye Swann:  The Money Masters (Kent)
Bobbi Ruffin: Chapter Five (digital)
Dionne Warwick: Odds & Ends – Scepter Rarities (Real Gone Music)
K. Michelle: Kimberly – People I Used To Know (Atlantic)
Kashif: Essential Kashif – Arista Years  (Legacy)
Lee Moore: A Gram of Boogie: Story of Moore, Score & L&M Records (Past Due)
Minnie Riperton: Perfect Angel (Deluxe Ed.) (Capitol)
Next: Too Close EP (Arista/Legacy)
Otis Redding: Definitive Studio Album Collection (7 LP box) (Atlantic)
Ruby Camille: R C 1   (Moore-Caldwell Plus)
Sugaray Rayford: The World That We Live In (Transistor Sound)
Tamar-kali: Mudbound OST (Milan)
Various: Soul on Fire: Detroit Soul Story 1957-1977 (Cherry Red)
Vedo: From Now On (New WAV)

Rap, Hip Hop
A Cat Called Fritz: Vertical Iris (HHV.De)
Allan Kingdom: Lines (LP) (Omerta Inc.)
Big Sean/Metro Boomin: Double or Nothing (G.O.O.D Music)
Boosie Badazz: BooPac  (Atlantic)
Boulevards: Hurt Town USA (Don’t Funk With Me)
Chief Keef: Dedication (digital) (RBC)
Cobra íl Vero: Ecdysis (NS3T Ent)
Euroz: Two Birds One Stone (digital)
Fes Taylor: Hood Famous (Chambermusik)
Futuristic: Blessings (We’re The Future )
G. Perico: 2 Tha Left (So Way Out)
G-Eazy: When It’s Dark Out (RCA)
Jeezy: Pressure (Def Jam)
Juicy J: Rubba Band Business (Columbia)
Kidz In The Hall: Free Nights & Weekends (digital)
Kipp Stone: Dirty Face Angel (L.I.F.E. Art & Content Co.)
KXNG Crooked: Good vs. Evil II: The Red Empire (Empire)
Marty Baller: Baller Nation (LP) (Omerta Inc.)
Miguel: War & Leisure (RCA)
Mike Lowery: Before It’s Too Late (Music Junkies)
N.E.R.D: No One Ever Really Dies (Columbia)
Nyron: Appreciation Day (digital)
Pell: Girasoul (Payday)
Quaz: In My Mind (Odic)
Red Storm Chicago: Redemption (digital)
Saba: Bucket List Project (LP) (Omerta Inc.)
Snug: 70812 Where It All Started (Money Gang)
Supa Bwe: Finally Dead (Empire)
TheKidGeeQ: TheKidFrOmElmStreet (FlyOverEverything)
Too $hort: The Pimp Tape (Dangerous Music)
Trizz: Ashes N Dust (Below System)
Visioneers: Dirty Old Hip Hop (reissue) (Tru Thoughts)
Whispers: Whismonoxide (That’s Hip Hop)
WizKid: Sounds From the Other Side  (Sony Music Canada)
Z-Ro: Codeine  (1 Deep Ent.)

Reggae, Dancehall
Ethiopian & His All Stars: Return of Jack Sparrow (Omnivore)
Randy Valentine: New Narrative (Royal Order Music)
Various: Rise of Jamaican Dancehall Culture (SoulJazz)

World, Latin
Fela Kuti: Box Set #4: Curated by Erykah Badu (Knitting Factory)
Hamad Kalkaba: Hamad Kalkaba & Golden Sounds 1974-75 (Analog Africa)
The Secret: The New Africa – TNA (Secret Records Music Group)
Various: Beating Heart – South Africa (Beating Heart Music)

View review January 4th, 2018

Florida Soul: From Ray Charles to KC and the Sunshine Band

Florida Soul

Title: Florida Soul: From Ray Charles to KC and the Sunshine Band

Author: John Capouya

Publisher: University Press of Florida

Formats: Hardcover (408 pages), Kindle

Release date: September 26, 2017

 

 

Though the state of Florida doesn’t immediately come to mind as a hotbed of soul music, journalist John Capouya attempts to correct this oversight with his new book Florida Soul: From Ray Charles to KC and the Sunshine Band. Using his “antennae for passionate vocals and funky sounds with Florida origins,” he delves into the period from 1945-1980, when Florida produced “some of the most electric, emotive soul music this country has ever heard.” Capouya attributes this flourishing scene in part to the fact that Florida, along with Texas, was the “densest and richest segment of the chitlin’ circuit,” bringing all of the major African American artists through the state.

Each of the 20 chapters is dedicated to a particular artist or producer, some famous and others lesser known, but all contributing an interesting story: Ray Charles (“the catalyst of the entire soul explosion came from Greenville, FL”); Sam Moore (“from Miami’s Overtown neighborhood”); sax players Ernie Calhoun and Noble “Thin Man” Watts; Lavell Kamma and the 100 Hour Counts (“one of Florida’s longest-running soul groups”), the singing duo James & Bobby Purify (one chapter each); vocalists Helen Smith, Frankie Gearing, Jackie Moore, and Timmy Thomas (his 1972 anthem “Why Can’t We Live Together” is sampled in Drake’s “Hotline Bling); Latimore (who first recorded for Henry Stone), Wayne Cochran (“the white James Brown”); white soul singer Linda Lyndell; producer Papa Don Schroeder, and of course KC and the Sunshine Band. Other chapters are dedicated to the state’s most famous label owners—Henry Stone and T.K. Productions (which rightly receives two chapters) and Willie Clarke and Deep City Records—plus a chapter explaining how “The Twist Came from Tampa.” Along the way many other artists are mentioned, along with other Florida labels such as Jayville, Tener, Marlin, Leo, Alston, D & B, Glades, and Bound Sound.

Florida Soul is an engaging and informative read, placing an emphasis on the stories behind the singers and the songs gleaned from historical research as well as interviews with surviving musicians, singers, producers, deejays, and other industry personnel. The book is an important resource on a music scene that’s never been fully documented within a single volume, adding greatly to our understanding of American music and, in particular, the soul, R&B, disco and funk grooves emanating from the Sunshine State in waves the spread across the nation.

Reviewed by Brenda Nelson-Strauss

 

View review December 1st, 2017

New Books About Black Recording Artists

Following are brief descriptions of recently published books that are certain to please fans of funk, soul, jazz, hip hop and reggae music.
Al Green

Title: Soul Survivor: A Biography of Al Green

Author: Jimmy McDonough

Publisher: Da Capo Press

Formats: Hardcover (432 pages), Kindle, Audiobook

Release date: August 29, 2017

 

Though Al Green collaborated with Davin Seay on an “autobiography” in 2000, most fans were unsatisfied with the result, which was famously short on details due to Green’s reluctance to actually sit for interviews and tell his own story. Now Jimmy McDonough has attempted a more definitive biography, likewise working from previously published interviews with Green and secondary sources, in addition to new in-depth interviews with many colleagues and associates. The result is Soul Survivor, which chronicles the many sides of Al Green, from his days as a soul singer to his transition to Reverend Al Green and the many facets of his character that fall in between and outside of these boundaries. Not all of it is pretty, but Soul Survivor is likely as close as we’ll ever get to understanding the man behind the music and the pulpit.

Otis Redding
Title: Otis Redding: An Unfinished Life

Author: Jonathan Gould

Publisher: Crown Archetype (May 16, 2017)

Formats: Hardcover (544 pages), Paperback, Kindle, Audiobook

Release date: May 16, 2017

 

Seven short years – that was the entire length of the career of one of the giants of soul music, Otis Redding, from the first single he cut as a teenager in 1960 to his untimely death at the age of 26 in December 1967. Now, on the 50th anniversary of Redding’s death, Jonathan Gould finally offers a biography that’s a fitting tribute to the architect of Southern soul music. Otis Redding: An Unfinished Life, however, is so much more than one man’s story, as Gould digs into the social fabric of the era, exposing the racial tensions and realities of faced by black musicians of his generation. Impeccably researched, respectfully written, and highly recommended!     

Prince & the Purple Rain Studios
Title: Prince and the Purple Rain Era Studio Sessions, 1983-1984

Author: Duane Tudahl

Publisher: Rowman & Littlefield

Formats: Hardcover, Kindle, Audiobook

Release date: November 15, 2017

 

Described as “the definitive chronicle of Prince’s creative brilliance during 1983 and 1984,” author Duane Tudahl’s 552 page volume is a must have for any serious Prince fan. Delving into the brief but intense period that produced Purple Rain, Tudahl expounds on Prince’s professional as well as his personal life. But this is not a tell-all, biopic-type treatment. Rather, the focus is on Prince’s studio sessions and includes copious details on recording studios, which songs were tracked at each, session personnel, producers, engineers, and the stories behind the sessions. Also included are details regarding Prince’s work with The Time, Vanity 6, and the Revolution, including his frenetic schedule of rehearsals, tours, and filming. Tudahl has been covering Prince for over 20 years, and is able to draw upon interviews he conducted with a wide range of Prince’s associates, adding to the authoritative nature of his reporting. This is the first book in the series; Tudahl is already planning the second volume, which will cover 1985-1986.

Prince
Title: Prince: A Private View

Author: Afshin Shahidi

Publisher: St. Martin’s Press

Formats: Hardcover (256 pages), Kindle

Release date: October 24, 2017

 

We can’t include just one Prince-related book when there are so many to choose from. If you’re more interested in a visual representation of the artist than a chronology of his early recording sessions, then check out Prince: A Private View. Featuring many never-before-seen photos by Afshin Shahidi, Prince’s primary photographer, this collection captures both the glamour and mystique of the artist. Though the text takes a backseat to the vivid portraits, Shahidi does provide some context to the photos in the form of short stories. It should be noted, however, that this isn’t a “coffee table” book, but a standard-size volume.

The Jacksons Legacy
Title:  The Jacksons: Legacy

Author: The Jacksons with Fred Bronson

Publisher: Black Dog & Leventhal

Formats: Hardcover (320 pages), Kindle

Release date: October 24, 2017

 

Even if we’re weren’t based in Indiana, we’d still have to jump on The Jacksons: Legacy documenting the state’s most famous musical family. Plugged as “the first official book on the Royal Family of Pop,” the Jacksons collaborated with well-known music industry writer Fred Bronson, who was allowed access to the family archives and conducted interviews over a two week period. Though it’s highly unlikely that any new information was uncovered in that extremely brief period of time, we’re at least promised some previously unpublished photographs, including documentation of official merchandise and other ephemera. The book coincides with The Jackson’s 50th anniversary, which may be reason enough for fans to pick up a copy.

Gucci Mane
Title: The Autobiography of Gucci Mane

Author: Gucci Mane & Neil Martinez-Belkin

Publisher: Simon & Schuster

Formats: Hardcover (286 pages), Kindle

Release Date: September 19, 2017

 

 

There’s nothing like a comeback story to warm our hearts, especially at Christmastime. Through honest, unflinching reflectiveness, Gucci Mane has given us just that—a down-and-out but not done-and-out narrative of his journey so far. Mane tells his story in his own words, covering his early years as Radric Delantic Davis to his star-studded fame as Gucci Mane, trap pioneer and mentor to a subsequent generation of artists and producers: Migos, Young Thug, Nicki Minaj, and Zaytoven, to name a few. Detailing how choices to be part of the drug dealing world continuously dealt him one-step-forward, two-steps-back in the music world, Mane also confronts his dark past and explains how his time in lockup became his most positive life-altering experience. It is one of the greatest comeback stories in the history of music, and it is one you won’t want to miss.

Chuck D Hip Hop History
Title: Chuck D Presents This Day in Rap and Hip-Hop History

Author: Chuck D, Shepard Faiey (Foreword)

Publisher: Black Dog & Leventhal

Format: Hardcover (673 pages), Kindle

Release Date: October 10, 2017

 

Chuck D.’s dedication to hip hop’s fan base has been solid since the start of his Public Enemy days, and with this release he continues to gift us in the form of vital information about rap and hip hop’s history. Based on his long-running show on Rapstation.com, D’s comprehensive collection of pivotal moments and influential songs in the genre’s recorded history is a first in the hip hop scholarship world. Included in this chronological collection are songs such as Kurtis Blow’s “Christmas Rappin’” to Kendrik Lamar’s ground-breaking verse on “Control”, and all hits in-between. Incorporated into the tome are key events in hip hop history, from Grandmaster Flash’s first scratch through Tupac’s holographic appearance at Coachella, interwoven with 100+ portraits of various hip hop artists. This work is a worthy addition to any hip hop lover’s collection, and for those that study or work in the genre, it is a necessity worth owning.

Queen of Bebop
Title: Queen of Bebop: The Musical Lives of Sarah Vaughan

Author: Elaine M. Hayes

Publisher: Ecco

Formats: Hardcover (432 pages), Paperback, Kindle, Audiobook

Release date: July 2017

 

One of the greatest jazz vocalists of all time, Sarah Vaughan has been the subject of previous books, but the only full length biography of note was Leslie Gourse’s Sassy: The Life of Sarah Vaughan, published nearly 25 fives ago. Now jazz historian Elaine M. Hayes offers a more definitive treatment in Queen of Bebop, which digs deeper into her life not only as a performer, but as a black woman facing the challenges of race and gender within the music industry and beyond. A must read for anyone interested in jazz and popular in the latter half of the 20th century, African American music and musicians, or music in general.

Bob Marley
Title: So Much Things to Say: The Oral History of Bob Marley

Author: Roger Steffens

Publisher: W.W. Norton & Company

Formats: Hardcover, Kindle

Release date: July, 2017

 

So Much Things to Say is a must have for any serious Bob Marley fan. Drawing on testimonies by friends, relatives and musical associates, author and archivist Roger Steffens—the leading authority on Bob Marley—tells the story of the reggae legend, from his younger days in Kingston to his professional years. As the title implies, this book includes a great deal of information regarding the life of Marley, including the violent confrontation with Lee “Scratch” Perry, his performance for freedom fighters in Zimbabwe, details on Marley’s final months, controversies surrounding Marley’s death, and many more first-hand accounts of his life. So Much Things to Say will serve as a valuable resource for anyone who is interested in the history of reggae music and Marley’s incredible influence upon the genre and global culture.

Reviewed by Brenda Nelson-Strauss, Amy Aiyegbusi and Jamaal Baptiste

 

View review December 1st, 2017

November 2017 Releases of Note

Following are additional albums released during November 2017—some will be reviewed in future issues of Black Grooves.

Blues, Folk, Country, Zydeco
Etta James: Chicago Blues Festival 1985 (Air Cuts)
John Lee Hooker: Black Night Is Falling: Live at the Rising Sun (Justin Time)
Lil’ Nathan & The Zydeco Big Timers: Unpause (Cha Cha)
Little Axe: London Blues (Echo Beach)
Lucky Peterson: Tribute to Jimmy Smith (Jazz Village)
Various: Blue 88s: Unreleased Piano Blues Gems 1938-1942 (Hi Horse)
Various: Hard Core Harp (Electro-Fi)
Various: Rough Guide to Holy Blues (World Music Network)
Various: Rough Guide to Ragtime Blues (World Music Network)

Classical, Broadway, Soundtracks, Holiday
Julius Eastman: The Zürich Concert   (New World)
Kevin John Edusei; Münchner Symphoniker: Schubert  Symphonies 4 & 7  (Solo Musica)
Kevin Kelley : A Soulful Christmas   (K2Music)
Kirk Smith: Joyful Noise – EP (Powerhouse)
Terence Blanchard; Brussels Philharmonic: Music for Film   (Silva Screen)
Paragon Ragtime Orchestra: Black Manhattan, Vol. 3 (New World )
Valerie Boyd:  A Gift for You (Shekinah International)
Various: Chasing Trane Documentary (DVD, Soundtrack)   (Ume)

Funk, Rock, Pop, Electronic
Amp Fiddler: Amp Dog Knights (Mahogani Music)
Bad Brains: Finding Joseph I Documentary (DVD)  (MVD Visual)
Cameron Bethany: You Make Me Nervous (Unapologetic)
Kxngs: Air Sign EP (Tru Thoughts)
Malka Family: Le Retour Du Kif (Saint Paul Force)
Nona Hendryx & Gary Lucas: World of Captain Beefheart (Knitting Factory )
Shamir: Revelations (Father/Daughter )
The Liza Colby Sound: Draw EP (Oh Baby)
Timothy McNealy: Funky Movement (Now Again)

Gospel, Christian Rap, CCM
Aha Gazelle: Trilliam 3 (Reach)
Beverly Crawford: Essential Beverly Crawford, Vol. 2 (JDI)
Derek Minor:   High Above EP (Empire)
Fedel:  Brave 2
Gods Own Radikalz: 20dozen The Call (Hawk -Eye Ent.)
Isabel Davis: The Call (eOne)
Javon Inman: Agape Eros (Liberty Music)
Joe Mettle: God of Miracles (Reverb Studios)
Judah Band: For My Good EP (Light)
N.E.M.G.: The Freeze
The Standard: Eight “New Beginning” (Band Geek Music Group)
The Walls Group: The Other Side (RCA Inspiration)

Jazz
Illinois Jacquet: Jacquet Files, Vol. 1 (Live At Village Vanguard 1986) (Squatty Roo)
Blaque Dynamite: Killing Bugs (Ropeadope)
Brian Blade & The Fellowship Band: Body & Shadow (Blue Note)
Dwight Trible: Inspirations (Gondwana)
Eric Valentine & Velvet Groove: Velvet Groove (Matcha Ent.)
Houston Person: Rain or Shine (HighNote)
Lyman Woodard Organization: Saturday Night Special (reissue)     (BBE)
Rahsaan Barber: The Music in the Night (Jazz Music City)
Ron Miles: I Am a Man (Yellowbird)
Sandra Nkaké: Tangerine Moon Wishes (Jazz Village)
Seal: Standards (Universal)
Sly5thAve: Invisible Man: Orchestral Tribute to Dr. Dre (Tru Thoughts)
Vincent Herring: Hard Times (Smoke Sessions)

R&B, Soul
Aretha Franklin: A Brand New Me (Rhino)
Barry Antoine: Eclipse (Shabar Music Ent.)
Beatchild & The Slakadeliqs: The Only Difference   (BBE)
Davion Farris: With Pleasure
Diana Ross: Diamond Diana: The Legacy Collection (Motown)
Elijah Blake: Audiology (Steel Wool / Empire)
Frank McComb: Soulmate: Another Love Story (Prodigee)
Karina Pasian: Interlude
Keaira LaShae: Purple Crowns (3707 Ent.)
Kristan Omor: From Then
Lalah Hathaway: Honestly (Hathaway Ent.)
Martha High: Tribute To My Soul Sisters (Record Kicks)
Maurice Moore: The Amber Room (Empire)
Maxayn: Reloaded: Complete Recordings 1972-1974 (Soul Music)
Phyllis Hyman: Deliver the Love: The Anthology (Soul Music)
Prince Charlez: Evolution EP (Republic)
Project Mama Earth: Mama Earth (Provogue)
Ruby Turner: Livin a Life of Love: Jive Anthology 1986-1991 (Soul Music)
Run N’ Fly: S/T (MRI)
Sharon Jones:  Soul of a Woman (Daptone)
Paxton:  In the Key of Love (Prodigee)
Syleena Johnson: Rebirth of Soul (Shanachie)

Rap, Hip Hop
Mr. Lif & Brass Menazeri: Resilient   (Waxsimile)
Williesco & Yikey Mikey: Yeamonyikezzzz (Triple R Muzik Group)
Amy True: Eleven (True Music)
BeatzByNEFF: Blackness (Bbent / Starcreations)
Big Cakes: No Excuses (Origarmy)
Black Squad: Bad Boy Files (mixtape)
Blacka Da Don: A Part of My Story (MusicThatMatters)
Cam’Ron: The Program (Killa Ent.)
Chris Brown:   Heartbreak on a Full Moon (RCA)
Cyhi The Prynce: No Dope On Sundays (Red Music/Sony)
Da Deputy: Bear Your Soul
Dee-1: Slingshot David (Essential Sound)
Droop-E: Trillionaire Thoughts (Sick Wid It)
Duckworth: XTRA UUGLY (mixtape)
Fabolous & Jadakiss: Friday On Elm Street (Def Jam)
Futuristic: What More Could You Ask for? (OnlyFuturistic, LLC)
Hopsin: No Shame (300 Entertainment)
J Hawk: Mood (LSR)
Jaden Smith: Syre
James Lavell:   StereoType
Jovan Mackenzy: Crooked 10
Keak Da Sneak: Withdrawal (Empire)
Kiddo Marv: Kingz in Denial Don’t Overcome
Lil Uzi Vert: Luv is Rage 2 (Atlantic)
Louis Cato: Starting Now (Ropeadope)
Meyhem Lauren & DJ Muggs: Gems From the Equinox (Soul Assasins)
Milo: Who Told You to Think??!!?!?!?! (Ruby Yacht)
Moka Blast: The Blast Testament (Fly Guy)
Oddisee & Good Compny: Beneath the Surface (Live) (Mello Music Group)
Pete Rock: Lost Sessions (VinDig)
Pharcyde: Bizarre Ride II (25th Anniv. Ed.) (Craft)
Philthy Rich: Sem God (Empire)
PnB Rock: Catch These Vibes (Atlantic)
Princess Nokia: 1992 Deluxe  (Rough Trade )
Reek I’van: Book of Tabias (London Boy Ent)
Rexx Life Raj: Father Figure 2: Flourish (Empire)
Rsxgld: S/T (Fat Beats)
ShaqIsDope: S/T (2UP WorldWide)
Shredders: Dangerous Jumps Explicit (Doomtree)
Skeme: Second Notice EP (eOne)
Skooly: BAcCWArdFeELiNgS (TRU)
Spitta:  Let Me Eat Too (N.W.A.)
Stalley: Tell the Truth: Shame the Devil (Blue Collar Gang)
Swissivory: Real Dreams 2 (Rough Trade)
T-Pain: Oblivion (RCA)
Thenewfaceofsound: LiveInDaFresh (Marvelous Phenomenon)
The Problem: Selfish (Empire)
Third Root: Libertad (Third Root Music)
Too $hort: Hella Disrespectful: Bay Area Mixtape (Dangerous Music)
Wiz Khalifa: Laugh Now, Fly Later (Taylor Gang/Atlantic)

Reggae, Dancehall
Blackstones: Insight (1st CD reissue) (Burning Sounds)
Dub Syndicate: Misplaced Masters (On-U Sound)
Horace Andy: Good Vibes (VP)
Ken Boothe: Inna de Yard (Chapter Two)
Various: Havana Meets Kingston (VP)
Various: Strictly the Best Vol. 56 (VP)

World, Latin
Lulendo: Mwinda (Buda Musique)
Monoswezi: A Je (Riverboat)
Various: Original Sound of Burkina Faso (Mr Bongo)
Various: Don’t Sleep: Omutibo From Rural Kenya    (City Hall/Mississippi)
World’s Experience Orchestra: Beginning of a New Birth (Now Again)

View review December 1st, 2017

Talib Kweli – Radio Silence

Radio Silence
Title: Radio Silence

Artist: Talib Kweli

Label: Javotti Media

Formats: CD, LP, MP3

Release date: November 17, 2017

 

 

Is it the current political atmosphere or possibly just time for the genre to once again acknowledge its roots? Whatever the reason, there is a conscious stream of artists dominating mainstream rap right now, and Talib Kweli is leading the way. Kweli is no stranger to the scene—his first collaborative group, Black Star, was formed with Mos Def in 1997—and to date, he has worked with artists Kanye West, Pharrell Williams, Just Blaze, the Beastie Boys and Kendrick Lamar. Kweli is featured on Dave Chappell’s Block Party, both as an actor and a soundtrack artist. In 2011 he founded his own label, Javotti Media, billed as “a platform for independent thinkers and doers.”* With an eye on social issues both past and present, Kweli offers us his take on 2017 with his latest, Radio Silence.

The album unlocks with “The Magic Hour,” a song that introduces the album’s concepts and purpose through magical lyricism. Opening with the ethereal sounds of strings and a choir, the tune carves its own place in the world of rap solely on these feature alone. Kweli’s opening line, “Last one to fall asleep, first one to wake up. No Doubt. It’s the Magic Hour,” layered on top of an upbeat piano riff sets the standard for the remainder of this Brooklyn phenom’s offerings. The song’s final chords fade away under Kweli’s assurance that “hip hop will flourish with nourishment and the proper care,” a parental line from one who has been there, done that, and knows how to make it last.

The philosophy continues to pour out of this rap statesman rhyme after rhyme. The second track, “Traveling Light,” thumps the pulpit of Kweli’s truth through musings about his own genesis towards the rap dimension. Unquestionably possessing a magical talent for deep lyricism, he brings Anderson .Paak’s smooth vocals into the track to compliment his message. “All of Us” unfastens the mood even further with its break-out sampling of a rally for justice. Jay Electronica of Roc Nation and powerhouse Yummy Bingham spin their consciousness right along Kweli, adding a multi-layered resonance reverberating past the very last strain of violin fade-out. The lead single, “Radio Silence,” is a blend of Kweli and Myka 9’s exceptional cypher savvy interspersed with Amber Coffman’s haunting refrains. Never one to ignore the heart strings for long, Kweli and BJ The Chicago Kid’s “The One I Love” reminds us that regardless of what’s going on, that one special person makes it all worthwhile.

Of all the offerings not explicated here—“Chips,” “Knockturnal,” “Let It Roll,” “Write at Home”—by far, the standout is “Heads Up Eyes Open.” Dedicated to late rap promoter Kenneth “Headqcouterz” Walker, this part testimonial/part inspirational melody features not only mind-bending truthfulness on topics such as police brutality and protest rights, but also functions as a call for honesty and faithfulness because “the picture is so much bigger than what we could even imagine.” Indeed. Talib Kweli’s vision is so much larger than what we typically conceptualize. This portfolio of political discourse keeps challenging and teaching long after the voices, piano riffs and handclaps fade away.

Radio Silence, through its proverbial introspections and uplifting retrospection, seamlessly moves its message through the airwaves of our minds. In Talib Kweli’s world, silence truly does speak louder than words.

Reviewed by Amy Aiyegbusi

 

View review November 2nd, 2017

KB – Today We Rebel

KB
Title: Today We Rebel

Artist: KB

Label: Reach

Formats: CD, MP3

Release date: October 20, 2017

 

Tampa native Kevin Burgess, known in the rap world as KB, takes his God-driven talents to new levels with his latest release, Today We Rebel. Providing ammunition to help us confront the anxiety of the times, KB defines what rebellion truly means in today’s world:

“To me, resistance carries with it a certain posture. The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion.”

Leading up to the album announcement, KB unveiled a series of visuals across his platforms, sparking social conversations and giving fans a look inside the mind of a man changed for the better into a rebellious role model for the greater good.

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Sonically, Today We Rebel is a mixture of emotion and aggression. Throughout the 14-track album, you can feel the urgency in KB’s tone, serving as a reminder that we are at our best when we are truly free: “I understand now more than ever that my allegiance is to the kingdom, first and foremost. Everything falls second to that.” His offerings include the artists Aha Gazelle (“Monsters”), Ty Brasel (“Primetime”), Andy Mineo (“Not Today Satan”) and Lecrae (“Get Through It”). Lecrae and KB’s collaboration, “Sideways” from his previous album Tomorrow We Live (2015), tallies up at over 4+million hits on YouTube, and “Get Through It” is already on its own path to Greatness.

All said and done, Today We Rebel is KB drawing a line in the sand. Life, and what comes after, stops for no one. And in the case of Eternity, KB warns, the only thing that matters in the end is who you have in your corner.

Reviewed by Amy Aiyegbusi

View review November 2nd, 2017

Chicago Afrobeat Project – What Goes Up

Afrobeat Project
Title: What Goes Up

Artist: Chicago Afrobeat Project

Label: Self-released

Format: MP3

Release date: September 29, 2017

 

 

The newest release from the Chicago Afrobeat Project, What Goes Up, builds upon the group’s  strong foundation of recordings.  The already large ensemble heavily features guest artists on its latest album, including Nigerian afrobeat drummer Tony Allen (who has worked with the legendary Fela Kuti, a pioneer of the genre) as a featured artist on each of the album’s tracks.

The Chicago Afrobeat Project has always drawn heavily from funk-influenced afrobeat styles, and, as the group’s name implies, continues this basic approach on its latest album.  The 14-member ensemble features great arrangements for its full horn section on cuts like “Race Hustle,” but moves somewhat outside of traditional afrobeat expectations on other cuts, as on the extended synth intro to “Cut the Infection.” The group incorporates some jazz fusion influences on the polyrhythmic cut “Must Come Down,” interpolating wah wah guitars with African rhythms more typical of the group’s style.

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Unlike the work of afrobeat pioneers like Kuti, the lyrics on What Goes Up tend to be more pop-philosophical than explicitly political, with tracks like “No Bad News” vaguely addressing the importance of ancestors and the evils of corporate pollution, but without finding specific figures to either praise or criticize.  “Marker 48” continues in the same vein, arguing that humans cannot continue to exploit the Earth’s resources, but without addressing who is using most of these resources, who benefits most from extraction, or what could be done to change this pattern. This group is at its best on songs like “Afro Party,” when taking more of a celebratory than a critical lyrical tone. It is difficult to level poignant political critique in any kind of music, let alone music this sharply focused on creating textures and grooves. This group puts forth great effort, but ultimately lacks the specificity necessary to compellingly address social issues in most cases.

With that said, the Chicago Afrobeat Project can groove—each track feels great, and there’s exciting rhythms and melodies to go around.  This is in large part due to the strength of its members’ musicianship and their strong connections to both afrobeat music and the other genres they incorporate into their approach.  For the Chicago Afrobeat Project, the audience is What Goes Up—up out of its seat and onto the dance floor.

Reviewed by Matthew Alley

View review November 2nd, 2017

October 2017 Releases of Note

Following are additional albums released during October 2017—some will be reviewed in future issues of Black Grooves.

Blues, Folk, Country

Darius Rucker: When Was the Last Time  (Capitol Records Nashville)
Du-Rites:  Greasy Listening  (Redefinition)
James Armstrong: Blues Been Good to Me (Catfood)
John Lee Hooker:  King of the Boogie  (Craft)
Kim Wilson: Blues and Boogie, Vol. 1 (Severn)
Mighty Mo Rodgers & Baba Sissoko: Griot Blues (One Root Music )
Nico Wayne Toussaint: Plays James Cotton (Dixiefrog)
Original Blues Brothers Band: Last Shade of Blue Before Black (Severn)
Supersonic Blues Machine: Californisoul (Provogue)
Various: Stax Country (Stax/Concord)

Classical, Broadway, Soundtracks
Pretty Yende:  Dreams (Sony)

Holiday
Fantasia:  Christmas After Midnight  (Concord)
Leslie Odom Jr.:  Simply Christmas  (S-Curve)
Various: Cool Blue Christmas: Mr. Santa’s Boogie (Contrast)

Funk, Rock, Pop, Electronic
Ayo: S/T  (Believe Direct Limited )
Benjamin Clementine: I Tell A Fly (Virgin)
Bootsy Collins:  World Wide Funk (Mascot)
Crowd Company:  Sun and Stone (VLM)
Ikebe Shakedown: The Way Home (Colemine)
Jimi Hendrix Experience: American Landing Live at Monterey (DVD) (Legacy)
Kele Okereke: Fatherland  (BMG)
Nubiyan Twist: S/T  (  Wormfood )
Phonk Beta: Symplex 3 (digital) (Fahrenheit)
Rock Candy Funk Party: The Groove Cubed  (J&R Adventures)
The Clubs: Funk on the Floor (digital)
Various: Funkadelic Reworked By Detroiters (Ace)

Gospel, Christian Rap, CCM
Ada: Future Now (FreeNation)
Angella Christie: Intimate Conversations (ACSM)
Chad Brawley:  WeWorship Project (digital) (CKBMusik)
Coliér McNair: Intimacy (COGEO Ent. Group)
Deanna Ransom:  The Real Me EP
Earnest Pugh:  Survive  (Black Smoke)
Felton Hodges & The Annointed Voices: Fix It   (Ecko)
Lisa Knowles-Smith & The Brown Singers: Evolution-The Legacy (EvoWorld)
Mission: All of You None of Me (RPSMG)
Optimist & Fresh Yardey: The Mission, Vol. 1 (digital)
Parxx:  Uncharted (RLVNC Music Group)
Tasha Page-Lockhart: The Beautiful Project  (RCA Inspiration)
The Porter’s Gate: Worksongs (Fuel Music)
Troy Sneed: Taking It Back  (Tyscot)
Tye Tribbett: The Bloody Win (Motown Gospel)
Visionz Of Destiny: The Works
Williams Brothers: Timeless  (Blackberry)

Jazz
Céline Rudolph & Lionel Loueke:  Obsessions
Chantae Cann: Sol Empowered (Ropeadope)
Christian Scott aTunde Adjuah:Emancipation Procrastination  (Ropeadope)
Cornell Thigpen: History (Hitman)
Ezra Collective: Juan Pablo: The Philosopher  (Enter The Jungle)
Joey Alexander:  JOEY.MONK.LIVE! (Motema)
Johnny O’Neal: In the Moment (Smoke Sessions)
Sherman Irby: Cerulean Canvas  (Black Warrior)
Sonny Emory: Love Is the Greatest (Universal )
Various:You Need This: Introduction to Black Saint & Soul Note (1975-1985) (BBE)
Virginia Ayers Dawson: Standards of Love  (Ayerplay Music)
Wadada Leo Smith:  Najwa  (TUM)
Wadada Leo Smith:  Solo: Reflections and Meditations on Monk  (TUM)
Wally Badarou:  Unnamed Trilogy, Vol. 1 (Diskotopia )
Wayne Ellington: Sings ‘Unforgettable (digital)

R&B, Soul
112: Q Mike Slim Daron  (eOne)
Bigg Robb: Born 2 Do This  (Music Access Inc.)
Bobby Byrd: Help For My Brother – Pre-Funk Singles 1963-68 (BGP/Ace)
Boyz II Men:  Under the Streetlight  (Sony Masterworks)
Brik.Liam:  The Ascension (digital) (Cre8Daily)
Chante’ Moore: Rise Of The Phoenix  (CM7)
Charlotte Dos Santos: Cleo (Fresh Selects)
Chuck Jackson: Big NY Soul – Wand Records 1961-66 (Kent/Ace)
Curtis Harding: Face Your Fear (Anti/Epitaph)
Demetria McKinney: Officially Yours (eOne)
Detroit Emeralds: I Think Of You-Westbound Singles 1969-75 (Westbound /Ace)
Deva Mahal: S/T (Motéma Music)
Devvon Terrell:  Weird Nights (digital)
dvsn: Morning After (Warner Bros.)
Eartha Kitt: I Want To Be Evil – The Wicked Eartha Kitt (Jasmine)
Eric Roberson: Fire (Blue Erro Soul)
Jackie Shane: Any Other Way (Numero)
Jamila Woods: Heavn  (Jagjaguwar)
Kelela: Take Me Apart (Warp)
Kenny Latimore: Vulnerable (Sincere Soul)
Keyshia Cole:  11:11 Reset (Epic)
Leroy Hutson: Anthology 1972-1984 (Acid Jazz )
Lyrica Anderson: Adia (Empire)
Marcus Randolph & My Peeples Peeple: Transplant (American Showplace Music)
Mic Lowry: Mood (Island)
Michael Jackson: Searching for Neverland (DVD) (Lionsgate)
Mpho Sebina:  Neo (digital)
Nicole Willis & UMO Jazz Orchestra:  My Name Is Nicole Willis (Persephone)
PP Arnold: The Turning Tide  (Kundalini Music)
Rationale: S/T (Warner Bros.)
Rhyon: Pretty Girl (Empire)
Saràyah: Feel the Vibe (Basin Street)
Tom Tripp: Red EP (Prime Sound)
Vivian Green:  VGVI  (Make Noise)

Rap, Hip Hop
Juice Aleem: Voodu Starchild (Gamma Proforma)
Aaron Alexander: Memento Mori  (Ignant Art)
Belly: Mumble Rap (Republic)
Big K.R.I.T.:  4eva Is A Mighty Long Time (BMG)
Blood Before Pride: Mimesis, Catharsis and Imitation of Art in Life (Fatbeats)
Blu & Exile: In The Beginning: Before The Heavens (Fat Beats)
Bone Thugs-N-Harmony, Outlawz: Thug Brothers 3 (Real Talk Ent)
Chief Keef & Fredo Santana: Turbo Bandana mixtape
Cunninlynguists: Rose Azura Nijano (A Piece of Strange Music)
Da Flyy Hooligan: S.C.U.M.  (Lux Ent.)
Dame D.O.L.L.A.: Confirmed (digital) (Front Page Music)
Earthgang: Robots (digital) (Spillage Village)
Edo.G: FreEDOm (5th & Union)
Future & Young Thug: Super Slimey (mixtape) (Epic)
GhostWryter:  27 Darvin (digital) (Never Basic Assoc.)
Gospel of Rufus: Alternate Path (Alternate Path Music Group)
Hex One:  Words Worth a Thousand Pictures ( Mic-Theory)
Hustle Gang: We Want Smoke (Roc Nation/Grand Hustle)
IDK: Iwasverybad (Commission Music/BMG)
J. Stalin: Gas Nation 2 (Livewire)
Krayzie Bone: E.1999: The LeathaFace Project (Real Talk Ent.)
Krept & Konan:  7 Days & 7 Nights (mixtapes)
Lil Pump: Lil Pump (digital) (Warner Bros.)
Masta Killa: Loyalty Is Royalty ( Nature Sounds)
Meyhem Lauren & DJ Muggs: Gems from the Equinox (Soul Assassins)
Moneybagg Yo: Federal 3X  (Interscope)
Playboi Carti:  S/T (Interscope)
Rob Stone: Don’t Wait For It (Grove Town)
Sivion: Dark Side of the Cocoon (Illect)
Snoop Dogg: Make America Crip Again (Empire)
Stalley: Another Level (mixtape)
Swissivory: Real Dreams 2 (NoHook!/Rough Trade)
Tech N9ne Collabos: Strange Reign (Strange Music)
TeeCee 4800: Realness Over Millions 2 (digital)
Trippie Redd: A Love Letter to You 2 (mixtape)
Ty Dolla $ign: Beach House 3 (Atlantic)
Vandalyzm: Rumors of My Demise Have Been Greatly Exaggerated (Blue Collar Initiative)
Waka Flocka Flame: Flockavelli 2
Wu-Tang: The Saga Continues (36 Chambers ALC /eOne)
Yo Gotti: I Still Am (Epic)
Young Dolph: Thinking Out Loud (digital) (Paper Route Empire)
Young Dro: Da’ Real Atlanta (Real Talk Ent)
Young RJ: Blaq Royalty (Ne’Astra Music/Slum Village)
Young Spray: Invisible Tears (RTM)

Reggae, Dancehall
Emeterians: The Magic Touch (VP)
Frightnrs: More to Say Versions (Daptone)
Jamaiel Shabaka: Land of the Rising Sun ( Roots Vibration )
Lee Perry & The Upsetters: Trojan Albums Collection, 1971-73 (Trojan)
Prodigal Son: Pure Gold  (Main Street)

World, Latin
Adriano Trindade & Los Quemados: Balançando o Jazz (Loop Publishing)
Da Cruz: Eco do Futuro  (Boom Jah)
Diron Animal: Alone  (Soundway)
Eduardo Sandoval: Caminos Abiertos (Egrem)
Elida Almeida: Kebrada (Lusafrica)
Emo Kid:  Gqomtera EP  (Gqom Oh! )
KOKOKO!: Tongos’a EP (ICI)
Leila Gobi: 2017 (Clermont Music )
Miles From Kinshasa: Limbo (Quality Time)
Orchestre Les Mangelepa:  Last Band Standing (Strut)
Professor Rhythm: Bafana Bafana (Awesome Tapes from Africa)
Thandeka: Thandanani Ma Afrika (Chocs Pro Sound)
Various: Jukebox Mambo Vol. 3 (Jazzman )

 

View review November 2nd, 2017

Wyclef Jean – Carnival III: The Fall and Rise of a Refugee

The Rise and Fall of Carnival III
Title: Carnival III: The Fall and Rise of a Refugee

Artist: Wyclef Jean

Label: Legacy

Formats: CD, Vinyl, MP3

Release date: September 15, 2017

 

Wyclef Jean released his Carnival III: The Fall and Rise of a Refugee, highlighting the 20th anniversary of his album The Carnival, and the 10th anniversary of Carnival II: Memoirs of an Immigrant. Like the other albums in the Carnival series, the third installment incorporates music from different parts of the world, offering an outstanding conglomerate of music for the listener. According to Jean, this multi-cultural “genre-bending album is outside the box . . . It’s a celebration of what I love about music: discovery, diversity and artistry for art’s sake.

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The first thing that stands out is Jean’s inspirational words, reminding us that “we shall overcome our struggles someday.” His motivational lyrics and usage of biblical references (e.g. Zion, Golden Gates, and Psalm 23) resonate with the listener as symbols of hope, while inspiring them to pursue their goals. Another aspect of this album is Jean’s blending of polyrhythms (“Fela Kuti”), reggae (“Turn Me Good”), Afro-Cuban (“Trapicabana”), hip hop and popular music, creating a multi-cultural experience. Finally, the skillfulness and musicality displayed by each guest artist (including Jazzy Amra, T-Baby, STIX, and Emeli Sandé) adds another layer to the brilliance of this album.

Carnival III: The Fall and Rise of a Refugee sustains the legacy of Wyclef Jean’s first Carnival album, spreading the message of community, hope, and love while showing the diversity of the world stage through the art within a music compilation.

Reviewed by Jamaal Baptiste

View review October 2nd, 2017

Semantics of Mr. Porter – Denzil Porter

Semantics of Mr. Porter

Title: Semantics of Mr. Porter

Artist: Denzil Porter

Label: That’s Hip Hop

Format: CD, MP3

Release date: September 22, 2017

 

 

A lyricist is the ultimate giver in rap, handing out his words in the form of sweets to be collected and savored one at a time for the treats they are. Semantics of Mr. Porter proves that poetics are still in play well after the golden era thanks to the stylings of Denzil Porter. Porter, a native of North Bronx, offers his personal take on his method, which he describes as occurring “when I get a feeling, or in a mood, or something that happened at that moment… a song is something that stamps that moment for me, and also stamps the moment for the listener who relates.”

Semantics of Mr. Porter definitely owns up to its thought-provoking name. The first track, “Et Tu Brute,” is a direct reference to Caesar’s last words, “And you, Bruce?” In listening to the song, one can’t help but make the connection between the two worlds—ancient and modern—in which the way of life might have altered but the way life is hasn’t changed much at all. Porter wraps his meaning into a plethora of rhymes purposely structured around the determination one feels while chasing a dream tied to the frustration one faces in obtaining that reality. “Time Soon Come” operates semantically in much the same way, but opens the bag up further by providing a stringed instrumental background that sugars the message. As the album moves forward, Porter’s drops offer more diversity of sound in tracks such as “Right Now,” which utilizes a funk bass line as its foundation under the layered poetics of Chris Rivers, and “”What It Takes,” in which a less heavy ear-catching piano riff compliments Oswin Benjamin’s “Do you know what it takes?” call-and-response lines.

But the most riveting instances on the album happen in the form of narrative vignettes Porter mixes into his bowl of conscious thoughts. These six cut-ins provide a first-person story of a robbery, from the planning stage to the end result, and demonstrate Porter’s commitment to describing real-life choices that mark a person in ways one can’t fully comprehend until it’s too late. From his tongue-twisting rhymes and his mind-twisting thoughts, Denzil Porter is definitely a force to be reckoned with.  He may not be your typical rapper, but in his own style Porter aims to inspire his listeners; to uplift them and others around them.

When you open the door to Semantics of Mr. Porter, you might get more than you bargained for, but your bag of conscious candy will provide you with unexpected surprises long after the last echoes of Porter’s voice fades into the darkness.

Reviewed by Amy Aiyegbusi

View review October 2nd, 2017

Ghostpoet – Dark Days + Canapés

Ghostpoet

Title: Dark Days + Canapés

Artist: Ghostpoet

Label: Play It Again Sam

Formats: CD, Vinyl, MP3

Release date: August 18, 2017

 

 

Ghostpoet (aka Obaro Ejimiwe) is a British vocalist and musician known for his beat-driven arrangements and meaningful lyrics, and his newest album lives up to this reputation. Dark Days + Canapés features a more alt-rock, guitar-driven sound that accompanies the artist’s most noteworthy songwriting to date.

Ghostpoet is not one to shy away from exploring tough subjects. The opening track, “Immigrant Boogie,” is a first-person account of the struggles of immigration, an all-too pertinent subject in 2017. Ghostpoet himself said that while this song is “partly intended to ask those who have questioned the arrival of refugees in recent times what they would do in the same situation,” it also aims to show that no human is truly in control of their future. The dystopian-themed video is the perfect companion to the thought-provoking content of this track:

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In addition to his head-on confrontation of important social and cultural issues, the serendipitous approach Ghostpoet took to arranging the music on this album is also noteworthy. For “Freakshow,” the laughter of a gospel choir brought in to sing on a different track was used to add to the manic nature of the song. On another track, “Blind as a Bat…,” string players were encouraged to improvise so the resulting song would be less structured, much like the protagonist’s mind.

The thought put into each track on Dark Days + Canapés shines through, and this gripping album is definitely worthy of a listen, especially in the current social and political climate.

Reviewed by Chloe McCormick

View review October 2nd, 2017

Prophets of Rage – Prophets of Rage

Prophets of Rage
Title: Prophets of Rage

Artist: Prophets of Rage

Label: Fantasy

Formats: CD, Vinyl, MP3

Release date: September 15, 2017

 

 

Rap-rock supergroup Prophets of Rage—featuring Chuck D (vocals) and DJ Lord (turntables) of Public Enemy, Tom Morello (guitar), Tim “Timmy C” Commerford (bass) and Brad Wilk (beats) of Rage Against The Machine, and B-Real (vocals) of Cypress Hill—coalesced in 2016 around the title of the famous Public Enemy song that opens with the line, “I got a right to be hostile, man, my people are being persecuted!” During their initial “Make America Rage Again Tour,” the group staged protest performances leading up to the U.S. Presidential election. Post-election, they’ve ramped up their tours as they take their “message to the mosh pit,” countering neo-fascist rhetoric that seems to escalate on a daily basis with their own brand of anti-establishment “rage politik” music.

The 12 tracks on the group’s full-length self-titled album represent a true collaboration, written and recorded during an intensive two week studio session. All are equally powerful, exuding caustic, socially conscious lyrics on topics ranging from economic inequality and homelessness (“Living on the 110”) to the legalization of marijuana (“Legalize Me”) to the perils of government drone surveillance (“Take Me Higher”). Other songs are intended to incite protest against ongoing political, religious, and racial injustices. As Morello proclaimed, this is “the soundtrack for the resistance in 2017.”

The most recently released single, “Hail to the Chief,” is a strong indictment of President Donald Trump, but focuses more specifically on Vice President Mike Pence as the greater evil, whose Indiana politics are linked with those of Jeff Session’s Alabama. In the video Pence is cast as Trump’s puppet master as well as his heir apparent, while Chuck D spits, “All hail to the chief who came in the name of a thief to cease peace.”

Another compelling track is “Unf*ck the World” (the video is directed by Michael Moore). In a recent interview with Uproxx, Chuck D spoke about the song’s message: “Tom [Morello] coined a statement, ‘The world won’t fix itself.’ Things don’t fix itself, you gotta make it happen. If you want to see this change, you got to get up and orchestrate that happening. . .”  This message is communicated clearly in the song’s chorus:  “No hatred / F*ck racists / Blank faces / Time’s changin’/ One nation / Unification / The vibration / Unf*ck the World!”

Melding two genres—rap and heavy metal—that collide in a swirling vortex of rebellion and resistance, Prophets of Rage bring their protest music to the masses. At a time when even peaceful protests face unrelenting attacks from the Oval Office’s Twitter feed, Prophets of Rage may yet convince everyone to “Give a damn, evil can’t stand yeah, when the people take a stand” (—Unf*ck the World).

Reviewed by Brenda Nelson-Strauss

View review October 2nd, 2017

Afrobeats Hot Hits: New Urban Dance Grooves From Africa

Afrobeats
Title: Afrobeats Hot Hits: New Urban Dance Grooves From Africa

Artist: Various

Label: Shanachie

Formats: CD, MP3

Release date: August 25, 2017

 

The latest fruit of a century of musical dialogue and exchange between Africa, The Caribbean and America is making its presence known. Afrobeats Hot Hits introduces this new genre,  described as a high-octane mash-up of Jamaican dancehall, Soca, Hip-Hop and African rhythms. Artists as diverse as Rihanna, Drake, Alicia Keys, Jidenna, Chris Brown, Sean Paul and Torey Lanez are embracing the style, poising it on the verge of an international breakthrough. Drake’s “One Dance,” probably the  #1 summer anthem of 2016 features an Afrobeats groove with Afrobeats star Wizkid on the track. Alicia Keys’ “In Common” had an Afrobeats re-mix (her Swizz Beatz is reportedly a fan of the style). Wizkid’s new single “African Bad Gyal” features Chris Brown. Go to a trendy Caribbean party in New York and Miami and chances are Afrobeats will be in the mix.

This compilation, however, features the genre’s major artists like Davido and Wande Coal, and rising Nigerian stars including Rayce, Seyi Shay, 9ice, and Tekno. These artists are not yet household names, but like the genre, they stand right on the precipice. Highlights include such major hits as Kiss Daniel’s “Woju,” Timaya’s “Bum Bum”(with Jamaican star Sean Paul), Davido’s seminal “Skelewu,” Wande Coal’s “Rotate” and Skales’ “Your Body Hot.” Tiwa Savage who has sung background for Mary Blige and written for other American R&B artists, is represented by the propulsive “Ileke” while rising Nigerian songstress Kayefi shines on a re-mix by UK DJ Major Notes of her “Oreske.”

Europe is also entering the ground floor of this exciting, multi-cultural sound as well, as UK based producers and DJs have already embraced the style, which many see as the successor to such cutting edge dance styles as dubstep and grime and UK-based Ghanian artist FUSE ODG scored a major UK chart hit with an Afrobeats track.  Not to be outdone, American neo-soul artist Anthony David, a fan of the Afrobeats style, recorded a straight Afrobeats track “I Don’t Mind,” with American-based Nigerian artist Mic on the re-mix, included on Afrobeats Hot Mix. This track may be the first straight Afrobeats track recorded by American artist.

Summer is officially over, but the blazin’ hot grooves will never fade as long as you make Afrobeats Hot Hits: New Urban Dance Grooves From Africa your personal soundtrack for fun in the eternal sun.

 Reviewed by Eddie Bowman and Amy Aiyegbusi

View review October 2nd, 2017

Garrett Shider – Hand Me Down Diapers

Garrett Shider
Title: Hand Me Down Diapers

Artist: Garrett Shider

Label: Everland Music Group

Formats: CD, MP3, Vinyl

Release date: July 10, 2017

 

 

The Mothership has returned to feed “funk-starved” earthlings, bringing as its main course second-generation P-funker Garret Shider, aka Starchild, Jr.  Garret, son of former Parliament-Funkadalic’s “Diaper Man” Garry Shider, serves up his own recipe of the much-needed groove, proving with this debut album that he has come into his own as an adult artist. First and second generation Clintons show up to the meal as members of Shider’s team, with George, son Tracey “Trey Lewd” Lewis and grandson Tracey “Tra’zae” Clinton providing a healthy dose of those bass/rock/horn booms indicative of the unique P-funk sound.

The set begins with “Sugar Rush,” a not-so-subtle sultry ode to all the sweetness that special person holds in our life. Shider then gets cooking with the next offering, “Bop Gun 17,” a song holding strong echoes of classic P-funk backdropped against Shider’s funky old-school falsetto. Starchild Jr.’s dose of political consciousness spills out in the form of “Hard Pill,” as Shider intonates, “When the doctor prescribes his pill it’s the side effects that’s gonna keep you ill, so go ahead and get your glass of water.” The courses just keep on coming from the center section of the funk banquet, as “Jamnastics” to “Stuck in the Middle” reinforce the concept that Shider and his bandmates have plenty of simmering soulfulness.

But it’s the final dish in the form of the title track that fully encapsulates the servings of both Shider’s. “Hand Me Down Diapers” acts as Garret’s personal tribute to his father, tracing the Shider legacy from its beginnings to current day. The song ends with a poignant guitar solo by Jr. as background to an interview conducted with the late Garry Shider, in which he explains the point of his diaper and references an upcoming album.

Showcasing P-funk’s multiple generations at their best, Hand Me Down Diapers is both a testament to Garry Shider’s legacy and a presentation of Garrett Shider’s own artistic individuality, all while holding true to the main ingredients of 1970s funk.

Reviewed by Amy Aiyegbusi

 

View review September 1st, 2017

Big Boi – Boomiverse

Boomiverse
Title: Boomiverse

Artist: Big Boi

Label: Epic

Formats: CD, MP3, Vinyl

Release date: June 16, 2017

 

 

Big Boi, best known as part of the duo Outkast, is proving he is an exploding star in the rap universe with his third release, Boomiverse. This 12 track offering from one of Atlanta’s established legends is possibly his finest yet, and judging from the heavy hitters featured, hip hop’s finest seem to agree. Blending funk sounds, pop influences and distinctive southern hip hop, Big shows how his progressive edge with diverse stylings has morphed into what he self-describes as his symbolistic “graduation record.”

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“Kill Jill” features Big along fellow Atlantians Killer Mike and Jeezy weaving their distinctively unique methods into a friendly rap battle for rhythm and rhyme bragging rights. A nostalgic reference to Andre 3000’s 1995 Source Award speech—“The South’s got something to say”—can be found within Big’s drop, reminding all of Outkast’s declaration for things to come. With the next track, “Mic Jack,” the mood changes to upbeat, dance-floor catchy that screams club vibe. But just when you get used to Levine’s smooth vocals posed against Big’s clean, deep verses, the tone returns to its slab roots with “In the South.

Having proved his multiplicity in just three songs, the remainder of Boomiverse functions as a collection of Big’s favorite goodtime rap. Snoop weighs in with classic Dogg style on “Get Wit It,” and electro-inspired Jake Troth produces the album’s deep house vibe, “Chocolate.” Boomiverse delivers exactly what one would expect from this innovative, Southern rap legend, proving once again that the South still has plenty to say about the miscellany of hip hop for years to come.

Reviewed by Amy Aiyegbusi

 

View review September 1st, 2017

August Releases of Note

Following are additional albums released during August 2017—some will be reviewed in future issues of Black Grooves.

Blues, Folk, Country
Altered Five Blues Band : Charmed & Dangerous (Blind Pig)
Big Joe Turner : San Francisco 1977 (Rockbeat)
Dan Zanes and Friends: Lead Belly, Baby! (Smithsonian Folkways)
Steve Howell & Jason Weinheimer: Hundred Years From Today (Out of the Past)

Classical, Broadway
McGill McHale Trio: Portraits – Works for Flute, Clarinet & Piano (Cedille)
Various: The View Upstairs (Original Cast Recording) (Broadway Records)

Comedy, Spoken Word
Tiffany Haddish: She Ready! From Hood to Hollywood! (Comedy Dynamics)

Funk, Rock, Pop, Electronic
Fifth Harmony:  S/T (Syco Music/Epic)
Ghostpoet: Dark Days + Canapés (Play It Again Sam)
Peter Ngqibs: Let Me Go (Ananm Ent.)
Ronettes: The Colpix Years, 1961-1963 (Cornbread)
Van Hunt: Popular (digital) (Blue Note)

Gospel, Gospel Rap, CCM
Brinson: Thornz (GodChaserz Ent.)
Chevelle Franklyn: Set Time (N.O.W.)
Clark Sisters: You Brought the Sunshine, Sound of Gospel 1976-1981 (Kent)
Cobbs Leonard, Tasha:  Heart. Passion. Pursuit. (Motown Gospel)
Deitrick Haddon & Hill City Worship Camp: S/T (eOne)
Jared Robinson & Resurrection Worship: The Repentance
Jimmy Hicks & ACOJ: Waterway (Blacksmoke Music)
Judy Bailey: Between You and Me
Melvin Williams: Where I Started From (New Day)
Poetic Lace: King of the City (digital)
Reconcile: Streets Don’t Love You (mixtape)
Terrence Cotton: Live in Atlanta (Puretonez Productions)
The Blind Boys Of Alabama: Almost Home (BBOA Records)
TNED: Geneuslife (Royal Oath Ent)
Travis Greene: Crossover: Live From Music City (RCA Inspiration)

Jazz
Andrew McCormack, ESKA: Graviton (Jazz Village)
Brenda Nicole Moorer:  Brand New Heart (CD Baby)
Darren Barrett: dB-ish
Eclectik Percussions Orchestra:  Traces De Vie – Traces Of Life (Passin’ Thru)
Harold Mabern : To Love and Be Loved (Smoke Sessions)
Jamire Williams: Effectual (Carlos Nino & Friend)
John Vanore : Stolen Moments: Celebrating Oliver Nelson (Acoustical Concepts)
Kris Johnson Group & Lulu Fall: The Unpaved Road (Artist Centric Music)
Najee:  Poetry in Motion (Shanachie)
New Vision Sax Ensemble: Musical Journey Through Time (Zaki Publishing)
Tyshawn Sorey: Verisimilitude (PI)
Ulysses Owens, Jr. :Falling Forward (Spice of Life )
Various: Soul of a Nation: Afro-Centric Visions in the Age of Black Power (Soul Jazz)
Dial & Oatts: Rediscovered Ellington

R&B, Soul
Brian McKnight : Genesis (Independent Label Services, Inc.)
D’Angelo: Brown Sugar (expanded ed.) (Virgin/Ume)
Decosta Boyce: Electrick Soul (Vintedge)
Joshua Ledet: S/T (digital) (SoNo Recording Group)
Kim Tibbs: Kim (Expansion)
R.LUM.R  : Afterimage (PRMD)
The Steoples: From the Otherside (Stones Throw)
Thelma Houston: Summer Nights
Undisputed Truth : Nothing But The Truth (Kent)
V.Lace: What Love Does
Various: Soul of the 70s (Box set) (Time-Life)
Wilson Pickett:  Sings Bobby Womack (Kent)

Rap, Hip Hop
A$AP Ferg: Still Striving  (RCA)
Akua Naru: Miner’s Canary (vinyl reissue) (Urban Era)
Andy Mineo & Wordsplayed : Magic & Bird  (Reach)
Apollo Brown & Planet Asia: Anchovies (Mello Music Group)
Berner & Young Dolph:  Tracking Numbers (Bern One Ent)
Chip: League of My Own II  (Cash Motto)
Chris $pencer: Blessed (Perpetual Rebel)
Ea$y Money: Flyer Lansky (EA$Y MONEY)
Grieves: Running Wild (Rhymesayers)
Gunplay: The Fix Tape ( X-Ray)
Illa J: Home (Jakarta)
Japhia Life: Welcome to Heartsville (Arms Out)
Joseph Chilliams: Henry Church (mixtape)
Lil B: Black Ken (BasedWorld)
MadeinTYO: True’s World (Commission)
Mozzy: 1 Up Top Ahk (Mozzy/Empire)
Pawz One: Pick Your Poison (Below System/Dope Shit)
Perceptionists (Mr. Lif & Akrobatik): Resolution (Mello Music)
Sean Price: Imperius Rex (Duck Down Music)
Slim Thug, Killa Kyleon:  Havin Thangs 2K17 (SoSouth)
Tattoo Money : Untitled EP
Too $hort: The Pimp Tape (Dangerous Music)
Wordsworth & Sam Brown: Our World Today (Fat Beats)

Reggae, Dancehall
Alborosie: Freedom in Dub (Greensleeves)
Barry Brown: Step It Up Youthman (Radiation Roots)
IamStylezMusic: Back to My Roots (Blaze Ent)
New Kingston:  A Kingston Story: Come From Far (Easy Star)
Rico Rodriguez & Friends: Unreleased Early Recordings (Dubstore)
Roy Panton & Yvonne Harrison: Studio Recordings 1961-70 (Liquidator)
Shurwayne Winchester: Shurwayne (VPAL Music)
Spacewave: Space Dub (Megawave)
Tanya Asaki: Simply Me (Treasure Chest Prod.)
U-Roy:  Dread in Babylon (Get On Down)

World
Bro. Valentino:  Stay Up Zimbabwe (Limited ed.) (Analog Africa)
Jay-U Experience: Enough is Enough (Soundways)
Sibusile Xaba: Open Letter To Adoniah (Mushroom Half Hour)
Various: Afrobeats Hot Hits: New Urban Dance Grooves from Africa (Shanachie)
Black Boy: Sa E Nan Bouda’w
Various: Sweet as Broken Dates – Lost Somali Tapes from the Horn of Africa

 

 

View review September 1st, 2017

Benjamin Booker – Witness

Benjamin Booker Witness
Title: Witness

Artist: Benjamin Booker

Label: ATO Records

Formats: CD, MP3

Release date: June 2, 2017

 

 

Benjamin Booker’s appreciation for the historical social movements that helped shape the rock, gospel, and blues genres manifests in Witness, his second full album release following his self-titled debut in 2014. He calls attention to the modern day Black Lives Matter movement in his songwriting, connecting its relevance to the Civil Rights Movement.

Booker contemplates the possibility of death in his opening track “Right On,” an energetic soul rock song that feels like it could be played at an old-fashioned dance hall but with a heavier modern sound. Dramatically dropping in energy without losing its steady groove, “Motivation” juxtaposes the previous song, allowing listeners to focus their attention on reflections of a young Black man reasoning with his quotidian anxieties. From the sensuous aesthetic of “The Slow Drag Under” to the vintage blues pop of “Overtime,” Booker’s unmistakable vocal rasp takes center stage in a screaming whisper.

Perhaps the most meaningful feature that takes place on this album is Booker’s collaboration with the Civil Rights Movement’s musical icon Mavis Staples, who leads the gospel chorus on “Witness.” Booker wrote an artist statement about his attempt to escape the perpetual racism and violence he experienced at home and his process of writing this song during his retreat to Mexico:

I spent days in silence and eventually began to write again. I was almost entirely cut off from my home. Free from the news. Free from politics. Free from friends. What I felt was the temporary peace that can comes from looking away… It wasn’t until Trayvon Martin, a murder that took place about a hundred miles from where I went to college, and the subsequent increase in attention to black hate crimes over the next few years that I began to feel something else. Fear. Real fear. It was like every time I turned on the TV, there I was. DEAD ON THE NEWS… I knew then that there was no escape and I would have to confront the problem. This song, “Witness,” came out of this experience and the desire to do more than just watch.

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Opening with an intertwining of orchestral strings reminiscent of Sam Cooke’s “A Change Is Gonna Come,” Booker’s performance of “Believe” may be one of the more memorable tracks on this album. It plays as a gentle and hopeful rise out of his darker experiences and fears. His lyrics promote optimism in the face of opposition: “I’ve got dreams I can touch, I’d give them everything to keep from going under.”

Witness represents a continuation of the fight for racial equality in the United States and will surely be an important contribution to the music history of the Black Lives Matter movement.

Reviewed by Jennie Williams

View review August 1st, 2017

Body Count – Bloodlust

Blodlust
Album: Bloodlust

Artist:  Body Count

Label: Century Media

Release date: March 31, 2017

Formats: CD, Vinyl, MP3

 

 

Anytime Ice-T is involved with an album, you can bet it’s going to make musical headlines. Bloodlust, the newest offering from the metal band Body Count, definitely does that and then some. The first single, “No Lives Matter,” generated attention for the title alone after its pre-album release on February 17th, but combined with front man Ice-T’s reputation for political music, the song literally explodes in all directions at once. Will Putney, the producer for the band’s 2014 release Manslaughter, returns to assist with this project. Commenting on the album title, Ice T explains, “Bloodlust is part of the human makeup…but we know there are consequences.” Never ones to shy away from presenting what they feel are facts, Ice-T and Body Count have been offering their commentary on modern society via the platform of heavy metal since the early 1990s.

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Much like their previous works, Body Count provides its fan base with a solid dose of the rock sound, complete with driving beats comprised of thick bass, percussion cadences and vigorous vocals. Each track offers unique juxtaposing surprises—from the abrupt silences within “Black Hoodie” to Ice-T’s explanation for the album at the front of “Raining In Blood/Postmortem 2017.” If you recognize sounds reminiscent of the ‘80s band Slayer, then you know your metal. The single “All Love is Lost” features Max Cavalera, a Brazilian singer and songwriter who has worked with Tom Araya of Slasher on past Soulfly collections. Dave Mustaine, thrash metalist currently leading Megadeath in addition to claiming status as original lead guitarist for Metallica, lends his seriously sick talents to the first song, “Civil War.” Rounding out the featured spots is Lamb of God’s D. Randall Blythe, adding a hardcore punk backdrop to Bloodlust’s “Walk With Me.”

Is Bloodlust an album that should be part of everyone’s collection? It depends on one’s musical taste, but it should be on everyone’s radar due to its social commentary. Pushing past the hype, the dark sounds and the seemingly endless abyss of emotion reveals a gritty, unflinching stare into the world we all know exists; one few of us are brave enough to address in such a public manner. Offering no real solutions but a few explanations of why it is what it is, Ice T and his band accomplish what they do best—forcing us to confront the monster from under the bed, in the hope we can all better understand exactly how to defeat it.

Reviewed by Amy Aiyegbusi

 

View review August 1st, 2017

Delorean – Chris Rivers

Delorean Chris Rivers
Album: Delorean

Artist:  Chris Rivers

Label: That’s Hip Hop Music

Release Date: July 14, 2017

Format: CD, MP3

 

 

For fans of a certain 80s/90s movie series, the mere mention of a DeLorean speeds up the pulse. But for all its album cover throw-back and the artist’s well-known connection to Big Pun, Delorean proves that Chris River’s music is anything but a backward glance. Well-known in hip hop’s inner circle, Rivers has toured the country with world-renowned Def Jam artist Jadakiss, headlined a European tour, and opened up for Cypress Hill, Immortal Technique, Kool G Rap, and Big Daddy Kane. From the beginning of his career in 2012, Rivers made it obvious he was out to slay all mikes with a take-no-prisoners mentality that earned him the title of Cypher King. His career accolades and successes include performing in the 2015 NBA All Star Sprite Cypher, winning the Best Freestyle of 2016 by Team Backpack, and participating in the 2016 BET Hip Hop Awards Cypher, which was later featured as a Jam of the Week on BET JAMS.

The album features a 21-track set of River’s lyrical spinnings that challenge the listener through detailed alliteration, assonance and allegory. The title track, “Delorean,” features Bronx artist Whispers, up-and-coming in the hip hop world himself. This song sets the tone for the album, as listeners are in for a ride as they experience life through the lens of deep musings and futuristic measuring. Infused between Rivers’ offerings are three unique “Time Zones”—quick bursts of thought from Rivers, Whispers and Oswin Benjamin that smell of impromptu slams and smoky stages. “Fear of my Crown” speaks to the past and hopes for the future in ways relatable to everyone, and the last track, “Brightness”, serves as a conscious reminder to value the self, not the trappings of Self. A lyrical dragon who breathes fire with his vocal artillery and technically efficient vernacular, Chris Rivers demonstrates that in the world of hip hop, he is truly on track to be King.

Reviewed by Amy Aiyegbusi

View review August 1st, 2017

Summer of ’96 – Splendid Things Gone Awry

Splendid Things
Title: Splendid Things Gone Awry

Artist: Summer of ’96

Label: Unsociable Music/RED

Format: MP3

Release date: July 21, 2017

 

 

In case you’re still searching for the perfect summer soundtrack, look no further than this new project from Atlanta based singer/songwriter Lonnee Stevens (aka Alonzo Stevenson) and Philadelphia-based composer/producer Antman Wonder, collectively performing as the Summer of ’96. Their group name references the watershed year for hip hop that produced landmark albums by Nas, The Fugees, OutKast, The Roots, 2Pac, and A Tribe Called Quest, among others.

Hearkening back to the golden era of hip hop, the duo use live instrumentation to weave a seductive blend of jazz, soul and rap to create a contemporary soundscape. Stressing that no samples were used in the making of this album, Antman created the original compositions which were then revised and expanded upon by Stevens. Standout tracks include the provocative “Not a Rich Man” featuring Royce 5’9, the harmonically complex “Mahogony Blue” featuring vocals by Lonnee and Teedra Moses, the multi-layered “All That Jazz,” and the cinematic “Wondersong” that’s awash with flute and strings.

Bowing out with the title track featuring Bill Kahler on sax, Antman and Stevens provide a satisfying conclusion to Splendid Things Gone Awry by showcasing their multitude of musical influences.

Reviewed by Brenda Nelson-Strauss

 

 

View review August 1st, 2017

Various – Sly and Robbie Present Taxi Gang in Disco Mix Style 1978-1987

Sly and Robbie
Title: Sly & Robbie Present Taxi Gang In Disco Mix Style 1978-1987

Artist: Various

Label: Cree/Bear Family

Formats: CD, LP

Release date: March 10, 2017

 

Sly & Robbie Present Taxi Gang In Disco Mix Style 1978-1987 is a relatively short compilation chronicling the late ‘70s and ‘80s work of the most famous “riddim” section in reggae music.  Sly Dunbar and Robbie Shakespeare’s work as producers was very influential in helping to create the sounds that Jamaican music would be known for during this period.  Both Sly & Robbie got their start as sessions musicians (as a drummer and bass player, respectively) before moving over to the production side of things.

The rhythm Sly and Robbie became known for featured electronic drums and vocal effects and would become commonplace in reggae under their influence.  This also went on to influence the practice of “toasting” (chanting and shouting out folks over a beat), which in turn would be one of the building blocks on which rap music is based.

With this disappointingly brief eight track compilation (but still a full 58:16), Cree Records highlights cover versions of American soul and disco hits covered by Jamaican artists, produced by Sly & Robbie. Included are covers of songs made famous by Marvin Gaye, The Spinners, The Impressions and others. Both the CD and LP offer great liner notes by reggae expert Noel Hawks that set the scene for Sly & Robbie coming together and creating their unique production style.

The compilation begins with Tinga Stewart’s cover of Tony Joe White’s “Rainy Night In Georgia” (more famously covered by Brook Benton). With Sly & Robbie’s help, Stewart’s version takes what in Benton’s hands was a melancholy song of lament and turns it into a fun, danceable romp. Despite the bit of cognitive dissonance in the song, it is quite enjoyable nonetheless.

The lone female vocalist (really wish there were more) on the compilation is Marcia Griffiths of the I-Threes (backing vocalists for Bob Marley along with Rita Marley and Judy Mowatt), who covers Little Willie John’s “Fever.” Sly and Robbie’s sonic accompaniment is as sparse as the original, highlighting Griffiths’ vocals (if you enjoy this, definitely check out Griffith’s Play Me Sweet and Nice).

Two Marvin Gaye covers appear here with great results. Let’s be real for a second—nobody’s going to touch Gaye’s vocals on the original version. However, accepting this fact allows you to enjoy these covers for what they are, and both truly highlight Sly and Robbie’s production work.  “Sexual Healing” adds additional rhythm to the original’s yearning groove, creating a vibe that is uniquely Jamaican. “Inner City Blues” crackles with the same urgency as Gaye’s original and sports a great reggae-fying of the bassline.

Overall, the sound quality on the compilation is fantastic as it sounds like all of the selections have been digitally remastered.  Each one is presented in its full length form, including extended jams perfect for dancing and/or “toasting,” creating the vibe of a warm night in a dancehall.  If you are a Sly & Robbie aficionado or you want an introduction to the influential production duo, this compilation communicates why Sly & Robbie have been so influential around the world.

Reviewed by Levon Williams

 

View review August 1st, 2017

July 2017 Releases of Note

Following are additional albums released during July 2017—some will be reviewed in future issues of Black Grooves.

 Blues, Folk, Country
Jimmy Reed: Mr. Luck Complete Vee-Jay Singles (Craft)
King James & The Special Men: Act Like You Know (Special Man)
Mighty Joe Young: Live From North Side of Chicago (RockBeat)
Various: Worried Blues series (Fat Possum)

Funk, Rock, Pop, Electronic
Arthur “Big Boy” Crudup: Rocks (Bear Family)
Kevin Saunderson: Heavenly Revisited (KMS)
Lafa Taylor & Aabo: Feel (Mixto)
Polyseeds: Sounds of Crenshaw Vol. 1 (Ropeadope)
Taveeta: Resurrection (Gladiator)
Toro Y Moi: Boo Boo (Carpark )

Gospel, Gospel Rap, CCM
Anita Wilson:  Sunday Song (eOne Music Nashville)
Anthony Brown & Group Therapy: A Long Way From Sunday (Tyscot)
Bill Moss Jr : Songbook of Praise & Worship (Salathiel)
Gene Moore: The Future (Motown Gospel)
Le’Andria Johnson: Bigger Than Me  (Verity)
Ricky McDuffie & The Family: He Changed Me (Ophirgospel)
Sho Baraka: The Narrative, Vol. 2: Pianos & Politics (Columbia)
Tauren Wells:  Hills and Valleys (Reunion)

Jazz
Ahmad Jamal : Marseille (Jazz Village)
Bryant/Fabian/Marsalis : Do For You? (Cap)
Charles Lloyd New Quartet: Passin’ Thru (Blue Note)
Cyrus Chestnut: There’s A Sweet, Sweet Spirit (HighNote)
Dezron Douglas Quartet: Soul Jazz
Douyé: Daddy Said So (Rhombus)
Eric Gale: The Definitive Collection  (Robinsongs)
Eric Roberson: Wind  (Blue Erro Soul)
Gary Bartz Ntu Troop: Harlem Bush Music (reissue) (Jazz Dispensary)
Gerald Beckett: Oblivion (Summit)
Gerald Cannon: Combinations (Woodneck)
Joe Henderson & Alice Coltrane: Elements (reissue) (Jazz Dispensary)
Russell Malone: Time for the Dancers (Highnote)
Stanton Moore: With You In Mind Songs of Allen Toussaint (Cool Green)
Yolanda Brown: Love Politics War (Black Grape)

R&B, Soul
Alfa Anderson: Music from My Heart (digital)
Aretha Franklin: Divas Live (MVD Visual)
Don’t Miss A Beat: My Destiny (digital)
Eddy Grant: Reparation (Ice)
Esther Phillips: Beautiful Friendship Kudu Anth. 1971-76 (SoulMusic)
Force M.D.’S:  Our Favorite Joints (Goldenlane)
Harvey Mason: Sho Nuff Groovin You: Arista Anthology   (BBR)
Jimmy Reed: Mr. Luck Complete Vee-Jay Singles (Craft)
LeVert: Family Reunion The Anthology (SoulMusic )
Mr. Jukes: God First (Alamo/Interscope)
Royce Lovett: Love & Other Dreams (Motown Gospel)
Sam Frazier, Jr.: Take Me Back (Big Legal Mess)
Sevyn Streeter: Girl Disrupted  (Atlantic)
Ultra Naté & Quentin Harris: Black Stereo Faith (Peace Bisquit)
Various: Complete Loma Singles Vol. 1 (Real Gone Music)
Various: Foxy Brown OST (expanded) (Motown)

Rap, Hip Hop
Aminé: Good For You Explicit (Republic)
Decompoze: Maintain Composure (Orchestrated Prods)
Dizzee Rascal: Raskit (Island)
DJ Harrison : HazyMoods (Stones Throw)
DJ Krush : Kakusei
Gensu Dean & Wise Intelligent: Game of Death (Mello Music)
Illa J: Home (Jakarta Records)
Issa: 21 Savage (Epic)
Madchild: The Darkest Hour  (Battle Axe)
Malik Turner:  Invisible Freedom  (Osceola Music Group)
Marquee: Femme Fatale (Marvel/Shinigamie)
Marty Baller: Baller Nation (916% Ent.)
Meek Mill: Wins & Losses (Atlantic)
Philthy Rich: Neighborhood Supastar 4 (dig.) (Empire)
SahBabii : S.A.N.D.A.S. (Warner Bros.)
Shabazz Palaces: Quazarz Born on a Gangster Star (Sub Pop)
Snoop Dogg: Neva Left (Empire)
Stalley: New Wave (Real Talk Ent.)
The Doppelgangaz: Dopp Hopp  (Groggy Pack Ent.)
Therman, Prod. Roc Marciano: Sabbath (Hardtimes)
Trae tha Truth: Tha Truth, Pt. 3 (ABN)
Tyler, The Creator: Flower Boy (Sony)
Vic Mensa: The Autobiography (Roc Nation)
Wizkid: Sounds From the Other Side (Starboy/RCA Records)

Reggae
Chronixx: Chronology (Virgin)
Damian Marley: Stony Hill (Island)
Delroy Wilson: Here Comes the Heartaches  (Kingston Sound)
Various: Treasure Isle Story: The Soul of Jamaica (Sanctuary)

World
Rio Mira: Marimba Del Pacifico (Aya Records)
Sibusile Xaba: S/T (Mushroom Half Hour)
XOA: Mass/Mon Ecole EP (Soundway)
Jupiter & Okwess : Kin Sonic (Glitterbeat)

View review August 1st, 2017

SZA – Ctrl

SZA Ctrl
Title: Ctrl

Artist: SZA

Label: Top Dawg Entertainment/RCA

Formats: CD, MP3

Release date: June 9, 2017

 

When RZA, leader of the iconic east coast group Wu-Tang Clan, endorses an upcoming album, rap fans from all directions are bound to take notice. On May 24, SZA found herself in the driver’s seat of anticipation alley when her album announcement date dropped in the form of a voiceover message overlaid onto SZA visuals via Top Dawg #TDE’s Twitter. Fans of the New Jersey singer responded to Ctrl with unbridled respect, resulting in a #3 spot on Billboard 200 Chart a mere 10 days after its June 9th release. Signed to Top Dawg Entertainment in 2013, Ctrl is SZA’s debut studio album featuring fellow Top Dawg artists Kendrick Lamaar and Isaiah Rashad in addition to The Y’s James Fauntleroy. Classed as an R&B and Neo Soul artist, SZA continues to dominate, garnering to date over 49 million album streams and more than 24 thousand CD purchases.

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Bringing her own style of bluesy vocals to the table, SZA both croons and rasps out her heart-felt regret of long-gone-wrong in almost every song on the album. The collection’s opening track, “Supermodel,” models to the letter the back-and-forth emotions of a recent breakup, alternatively threatening revenge—“I’ve been secretly banging your homeboy”—while pleadingly begging for another chance—“I could be your supermodel if you believe, if you see it in me.”

Travis Scott picks up the story with his opening lines on “Love Galore,” seducing with his mellow “I need, I need” that almost has us believing things will work out as SZA answers with “Long as we got, Love, Love, Love.” But as the track unfolds, the relationship portrayed unravels to a thin, forgotten thread. “Doves in the Wind” showcases SZA’s vocal expertise as she melodically jumps from note to note to effortless ease, finding her own voice of self-empowerment and determination within the “sorry about your luck” lyricism.

While the rest of the album features many moments where SZA’s dreamy voice soothes regardless of the song pockets of regret, two solo tracks—“Drew Barrymore” and “20 Something” —provide a deep, introspective look into the mind of someone who’s not only wondering what went wrong, but also what can still go right. The tempos are winding, the poetics are heart-rending, and the reminiscence lingers long after SZA’s voice drifts off with the final notes.

Ctrl does exactly what RZA promises—drama is cut loose and karma is claimed—resulting in the utmost respect for SZA’s control of what promises to be a long career to come.

Reviewed by Amy Aiyegbusi

View review July 7th, 2017

Jay-Z – 4:44

Jay Z
Title: 4:44

Artist: Jay-Z

Label: ROC Nation

Formats: CD, MP3

Release date: June 30, 2017

 

 

 

A few weeks back, prior to the announcement of a new record, I had a convo with the homie Langston Wilkins (@StreetfolkLCW) and the topic of Jay-Z came up. I must admit I was wondering essentially “What more does Jay-Z have to say at this point? Unless he was going to focus on, say, a skills-based album, it would almost be a lost cause.” My question was answered in spades with the release of 4:44.

As you may have seen from my review of Tribe’s We Got It From Here, Thank You 4 Your Service, I struggle with the whole “Rap music is a young man’s game” motif.  To be honest, I largely believe that to be the case. I cannot tell you how annoyed I get hearing folks from my generation or prior hounding young people about how “horrible” their music is.  I don’t quite get how people from my generation don’t recognize the cycle at this point. It’s my belief that Migos’ music is simply not made for my generation of rap fans, much the same as it was for rap fans of the generation before me.  Do you really feel like hardcore Whodini fans were really feeling Bone Thugs-N-Harmony like that?  My guess is no, and that’s okay.

Jay-Z’s new album comes into the conversation on a platform of an artist who has achieved “God” status in the game, but hasn’t made “relevant” music in a bit.  While Magna Carta Holy Grail, was definitely better than Kingdom Come, it still did not have the impact of The Black Album. But this is typical of the rap game, as up to this point we have not seen many rappers age and remain relevant on the level of Jay-Z fame. Married to the one of the biggest pop stars of his generation and regularly appearing on the entertainer’s Forbes list, Jay-Z is in a different category as a celebrity. In his case, it almost seems like a risk to put out material that might be seen as lukewarm and/or “safe” in terms of legacy. Luckily for us and Jay-Z, nothing about 4:44 seems “safe” and it thankfully yields impressive results.

4:44 is set off excellently with “Kill Jay-Z,” a track that according to the artist himself was meant to kill his own ego in order to be open on the record: “Cry Jay-Z/we know the pain is real/but you can’t heal/what you never reveal.” This is an artist that recognizes the role he plays as a leader among hip hop fans and does not plan on wasting the platform. This track is followed by “The Story of OJ,” which has garnered a lot of attention due to its  music video containing images of animated black caricatures comparable to those made infamous in pre-1960s America.  Using a Nina Simone sample as a backdrop, the track details how Jay-Z’s thoughts on wealth have changed over the years. In particular, he takes a minute to detail a real estate deal he wishes he’d taken years ago.  These moments illustrate a major focus on the album—Jay-Z is grappling with how to teach the black community at large the lessons he’s learned. You also hear elements of this in the album’s closing track, “Legacy,” which begins with his daughter Blue Ivy asking “Daddy what’s a will?” and Jay-Z discussing what he truly wants his legacy to entail for his children.

A large amount of buzz surrounding the album has centered on the title track “4:44.” The track is Jay-Z’s response to the implication of his affair revealed on Beyoncé’s magnum opus, Lemonade. Jay-Z confirms the suspicions and apologizes for his indiscretions: “I apologize/often womanized/took for my child to be born/to see through a woman’s eyes.” Producer NoID laces Jay properly here with an excellently flipped sample of Hannah Williams & The Affirmations “Late Nights and Heartbreak,” a track dealing with the difficulties of relationships. I’m not sure if there has been a tit for tat on the perspective of active artists detailing their relationship on this level since Stevie Nicks and Lindsey Buckingham during  Fleetwood Mac’s Rumors period.

My favorite track of the album has to be “Smile.” On the production side, it is my favorite beat on the record.  It excellently flips a sample of Stevie Wonder’s “Love’s In Need of Love Today” to amazing effect, accenting Stevie’s clavinet and choir vocals with 808 snares and bass drum hits. This creates a moody setting in which Jigga lets loose on a variety of topics. Speaking to his feelings about his mother’s struggle with her own choices, Jay-Z closes the track with a guest appearance from her that is about as real as it gets. He also addresses his own struggles with public acceptance: “Oh y’all thought I was washed/I’m at the cleaners/laundering dirty money/like the teamsters.” This line felt like a direct response to doubters like myself and trust me, it was heard.

4:44 finds Jay-Z at his most vulnerable on wax in years, yet still with a swagger that is becoming of an elder statesman. The production duties on the album were handled with aplomb by NoID, who after this release will hopefully receive some of the recognition he’s deserved for years.

For all of my “young man’s game” rambling, this is an example of what a “grown man” can do with the artform. Jay-Z’s status allows him to speak and be heard. In return, he uses the platform to not only make great art, but also pass down lessons on the importance of wealth and support of other black people and businesses. 4:44 puts to rest any of my concerns about what over-40 rap artists are capable of.

Reviewed by Levon Williams

View review July 7th, 2017

Steven Malcolm Self-Titled Debut

Steven Malcolm

Title: Steven Malcolm

Artist: Steven Malcolm

Label: Word Entertainment/4 Against 5

Format: Digital, CD, MP3

Release Date: February 17, 2017

 

 

Michigan-based rapper Steven Malcolm released his self-titled debut album, Steven Malcolm, and as the much-publicized first release states, Malcolm is truly this moment’s “Hot Boy.” Rapzilla.com had the foresight to nominate him as their 2015’s Best New Artist, and the day after its release, his album shot into the top 15 of the ITunes/Hip Hop Chart. Soon after, ESPN signed the Hot Boy’s debut single for use in future NBA game coverage. None of this comes as a surprise to fans of other rappers such as Grammy winner Lecrae, KB and Andy Mineo, as Malcolm has been on the Christian hip hop/rap radar for years now. It’s obvious he has the potential to chart onto mainstream hip hop/rap as well, as his entire album’s lyrical and musical content speaks to the current generation through empowering references of God and self alike.

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The 13-album set is a mix of both slow, melodic satire and upbeat, feel-good beats that showcase hip hop as its best—pounding downbeats and lyrical composition calling to both its listeners’ activist side while entertaining with a club-like, social vibe. Each song opens with its own unique riff, straight-up announcing mood and tone in a no-holds-barred fashion. “Hot Boy”’s 4-chord keyboard intro in minor key is overlaid with a vintage LP crackle, showcasing the track’s ultra-confident presence of its lead role on the album. A second 4-chord riff juxtaposed against “Fire”’s abrupt, digitized chord and subsequent echoes provide a throw-out to Malcolm’s Jamaican roots, as a distinctive reggae style dominates the entire composition.

Andy Mineo and former American Idol contestant Hollyn weigh in on one of the album’s party-rap vibe, “Party in the Hills,” while Blanca adds her own style to Malcolm’s other R&B/rap mix, “Never Let You Go.” “What Was You Thinking” makes light use of error sounds for its dominant chordal strain, similar to methodology J. Dilla used in his album Doughnuts, and the satirical poetics of “Cereal” pertain to not only breakfast choices, but also the positive end game results from choices that take one from “Growing up, I could only have some in the morning” to a “But now it’s whenever” lifestyle.

The diverse musical stylings and driving lyricism make for an exciting rap collection debut, and if this album is any indication, Steven Malcolm will continue to represent as one of the genre’s Hot Boys for many fiery moments to come.    

Reviewed by Amy Aiyegbusi

View review July 7th, 2017

Joey Badass – All-Amerikkkan Bada$$

Badass

Title: All-Amerikkkan Bada$$

Artist: Joey Badass

Label: Pro Era/Cinematic Music Group

Release Date: April 7, 2017

Formats: CD, LP, MP3

 

 

All-Amerikkkan Bada$$ is the sophomore release from American rapper Joey Badass. The album’s title gives a taste of what Badass offers his fans this time around—political consciousness and controversy—throwbacks to the days of Ice Cube’s Amerikkka’s Most Wanted, but with a smooth, regulated flow reminiscent of the Golden Era of hip hop. All twelve tracks deal directly with poignant issues of racial discrimination and frustration, yet each does so in its own unique time and style that work to bring together an album that both refuses to remain silent but also courts the silence of social reflection.

The opening track, “Good Morning Amerikkka,” features Badass in a literal morning voice—raspy, edgy and choppy—superimposed over a vocal backgrounding of the refrain “Wake up.” The song functions as an introduction to the rest of the album, challenging its listeners through its hook phrase, “What’s freedom to you? Take a minute, think it through.” The ending showcases the song’s flowing style with a fade-out into the second track, “For My People.” This song is smooth-sounding as well, with a lyrical pleading for superpowers, peace, and modern-day heroes. Like many of the songs on this album, Badass showcases his percussion instruments, putting them front and center and fostering a polished contrast between melodious jazz sounds and jarring political wording. The rap break in the middle of the song may seem hard to interpret, but the complexity adds to its overall design and depth. Following is the official video for the powerful fourth track, “Land of the Free”:

 

“Devastated”—the album’s fifth offering—clearly draws from techo dance roots and combines them with catchy, repetitive lyrics that result in a smooth, rich feeling lasting long after the final tone fades. Cameos are the name of the game on at least five songs, with artists such as J. Cole, Chronixx, Styles P., School Boy Q, Pro Era members Nyck Caution and Kirk Knight, and Meechy Darko (Flatbush ZOMBiES) lending their presence. But by far, the most haunting melody is the track “Temptation,” with its intro and exit dominated by a small child expressing his frustration and desperation regarding racial discrimination and violence.

Badass delivers on his promise to address the tense atmosphere of socio-political issues, and while some might feel his message seems too weighty due to each tune’s complete devotion to current controversies, all can agree on one thing—Joey Badass’s All-Amerikkkan Bada$$ is a hip hop album whose lyrics stay with you long after the last track is spun.

Reviewed by Amy Aiyegbusi

 

 

View review June 2nd, 2017

Oddisee – The Iceberg

Oddisee

Title: The Iceberg

Artist: Oddisee

Label: Mellow Music Group

Format: CD, LP, MP3

Release date: February 24, 2017

 

 

The iceberg meme, “You May Know Me, but You Don’t Know Who I am,” is a worthy companion to Oddisee’s newest offering, The Iceberg. Following up his 2016 release, The Odd Tape, D.C.’s own conscious rapper now offers an album challenging the public to dig deeper into their own soul and the soul of the nation in a quest to comprehend the current political atmosphere of not only the Beltway, but the entire country as a whole. His first song of the album, “Digging Deep”, does just that—a catchy refrain “Let’s Get Into It” echoes activist voices who are making their presence known. The 12 tracks are a combination of conscious rap selections interspersed with lighter yet-still-just-as-poignant relationship analyses, such as “This Girl I Know” and “You Grew Up.” With each song, Oddisee takes us deeper into the hidden corners of the world as he knows it.

Musically, The Iceberg stays primarily true to Oddisee’s standard sound—offbeat syncopation and dominate percussive elements layered over a backdrop of jazz instrumentals that deepen and strengthen the tone. However, a few songs off the album do break novel ground, at least in Oddisee terms. The intro on “Like Really” throws the listener into a smooth, relaxed mood with soft chordal sounds and feel-good vibes not easily found in any Oddisee collection to date. On the other hand, the last track “Rights & Wrongs” has both the opposite mood effect and audio quality, with its funky, synthesized tone and dance-beat styling. Oliver St. Louis, an R&B artist born in DC and currently based in Berlin, Germany, cameos on this offering, and his style adds a fresh sound.

As the title indicates, The Iceberg both freezes Oddisee’s standardized sound with similar tried-but-true political themes while concurrently breaking new tonal ground and giving his listeners a brief glimpse into the personal life of a rapper continuing to deliver, timelessly.

Reviewed by Amy Aiyegbusi

View review June 2nd, 2017

K’Valentine – Here For a Reason

K'Valentine
Title: Here For a Reason

Artist: K’Valentine

Label: Javotti Media

Formats: CD, LP, MP3

Release Date: April 7, 2017

 

K’Valentine is one of the newest young rappers to come out of Chicago, whose music scene is currently on the map due to the efforts of rappers like Chance the Rapper, Vic Mensa, Noname, and BJ The Chicago Kid. Her debut album, Here for a Reason, is the result of putting the work in on her previous mixtape projects, which drew the attention of Talib Kweli. She first met Kweli backstage at a concert in Chicago, and he later produced her 2014 mixtape Million Dollar Baby. Continuing that collaboration, Kweli is one of many artists featured on the album, including BJ The Chicago Kid, Tweet, Kendra Ross, and Scotty ATL. These collaborations offer a lot, but Valentine still holds her own throughout the rest of the album.

K’Valentine’s background is in poetry, which definitely shows throughout her verses. Her career as both a poet and a rapper was informed by a chance backstage meeting with the late great Maya Angelou, who encouraged her to continue to write. At times, the album can seem minimalistic, but never simplistic. If anything, the stripped down production, particularly on “King,” help Valentine’s message to shine through.

With this debut album, Valentine joins a long line of hard hitting female MC’s that can also hold their own with the men. Her flow is versatile, her verses personal, and she moves easily between conscious and club rap.  There’s something old school about her rhymes, and she shows an ability to be a rapper that can also create R&B jams. Here For a Reason provides a consistent sound, and gives the listener a good glimpse into the kind of MC K’Valentine is going to grow into.

Reviewed by Allie Martin

View review May 2nd, 2017

Pete Rock & Smoke DZA – Don’t Smoke Rock

Smoke DZA
Title: Don’t Smoke Rock

Artist: Pete Rock & Smoke DZA

Label: Baby Grande

Formats: CD, Digital

Release Date: December 2, 2016

 

Pete Rock to me, represents a great deal of things. So where exactly do I begin? For starters, he just happens to be related to the late Heavy D and they all hail from Mt. Vernon, NY. In the 90’s, Pete Rock made up one half the duo with CL Smooth, and together they collaborated on some of the best hip hop of that era. If you were around, who can forget the classic line, “Pete Rock hit me, nuff respect do.” As a collector & DJ, Rock takes a back seat to no one.

On his latest outing with rapper DZA titled Dont’ Smoke Rock, Pete Rock isn’t rapping, but he supplies the beats for DZA and a host of guest rappers. Now, just in case you aren’t cognizance of current hip hop promotion, to get ears to listen one may need to stack the deck by using collaborations. It can be a both positive and, yes, a negative. For me, the jury is still out on Dont’ Smoke Rock. DZA has a nice a nice flow and is better then what is currently on the airwaves, but when the guest rapper comes in, he takes over.

On the track “Black Superhero Car,” Rick Ross is a guest, alternating verses with DZA. Now DZA, who loves to call out wrestlers or ball players, namechecks former wrestler Larry Zybysko. Zybysko over Hulk Hogan or Ric Flair? Never a good look when rappers have to use the name game. Rick Ross is Rick Ross.

“Milestone,” featuring BJ the Chicago Kid, Jadakiss and Styles P is the track I was waiting for. Opening with piano keys, the Harlem rapper DZA comes through, but again goes to what he enjoys, mentioning sports figures. This time it’s Kentucky coach John Calapari. BJ’s on the catchy hook, “I ‘m Gonna Hold You Down.” Put this track in the 90’s and we are talking classic.

With all the guest rappers on Dont’ Smoke Rock, one might wonder, what if Kendrick Lamar, Lil Wayne, Nas and J Hoova were on this CD? As the kids say now a days, it’d be lit.

Reviewed by Eddie Bowman

View review May 2nd, 2017

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