Following are additional albums released during September 2019 across multiple genres—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during August 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during July 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during June 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Four years after his debut album Left Field, LA rapper Choosey makes his long-awaited return with Black Beans, his collaboration with producer Exile. Delving into his lineage as both a San Diegoan and an Afro-Chicano, the tracks pay homage to both the successes and challenges of his particular positionality, capturing the beautiful struggle while navigating life’s potholes throughout sunny Southern California. Continue reading
Following are additional albums released during May 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during April 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during March 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during February 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Title: Everythangs Corrupt
Artist: Ice Cube
Label: Lench Mob/Interscope
Format: CD, Digital
Release date: December 7, 2018
O’Shea Jackson, aka Ice Cube, has been around forever and that is not a figure of speech. Depending on your age and generation, you know the name from some form of entertainment. For many, Cube came to our attention with the group NWA. After he departed NWA, he went solo and released what some believe to be his best work, the album AmeriKKKa’s Most Wanted. I will get back to that later. He also helped launch careers for Yo Yo and Da Lynch Mob. Cube then went Hollywood, where Boyz In The Hood and the classic Barbershop films introduced him to another audience. Cube has even ventured into sports with his 3-on-3 basketball league. With the release of the biopic Straight Outta Compton a few years ago and his induction into the Rock and Roll Hall of Fame, it appears all has come full circle for the man who once referred to himself as “the Nigga you love to hate.” Continue reading
Del Lawrence, aka “Mr. Del,” has come a long way in the hip hop world since his early days with Three 6 Mafia. His religious conversion in 2000 after his first album marked his turn towards Christian/gospel rap, and since that point Mr. Del has devoted his resources primarily to assisting others in need. He is the pastor of Memphis-based City of Refuge Church through which he has created a global podcast and lecture circuit outreach program in order to spread the word of God. Dedicated Music Group (DMG) is his self-founded label company, allowing Del to develop new talent and produce multiple hard-hitting albums each year. Continue reading
Following are additional albums released during January 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Before their mega-hit, “Where is the Love,” before Fergie, before holding both the number 1 and number 2 Billboard Hot 100 spots with their 2009 singles, “I Gotta Feeling” and “Boom Boom Pow,” The Black Eyed Peas established themselves as conscious rappers with their 1998 Interscope debut album, Behind the Front. Twenty years later, the group is returning to their roots with their newest release, Masters of the Sun Vol 1. Loosely based on the 2017 graphic novel bearing the same name, The BEP circles back to hip hop’s conscious scene, providing us with their most politically-charged collection to date. Continue reading
Following are additional albums released during December 2018—some will be reviewed in future issues of Black Grooves. Continue reading
Title: Broken Politics
Artist: Neneh Cherry
Label: Smalltown Supersound
Formats: CD, LP, Digital
Release Date: October 19, 2018
It’s hard to believe it was thirty years ago that Neneh Cherry burst onto the scene with the international hit single “Buffalo Stance” from her debut album, Raw Like Sushi, (1988). Garnering lots of MTV and BET love, Cherry was perhaps on her way to becoming huge, but as the ‘90s rolled in, Cherry did an exit stage left. After releasing Homebrew (1992) and Man (1996), she went UG—as in underground. Cherry’s whereabouts became a topic of interest for her fans. It takes a great deal of confidence and know-thy-self to just up and walk away from the commercial trappings of the game. But Cherry comes across as one who was never impressed by that. Continue reading
Brooklyn, hip hop’s locus, has nurtured some of the most legendary artists in the game. Many tributes have highlighted the borough’s significance, both to the genre and as a vital part of New York City. A Breukelen Story, Masta Ace and Marco Polo’s first official collaboration, manages to do just that and so much more. Continue reading
Over the summer, the Philadelphia hip hop collective ILL DOOTS released their self-titled album, Ill Doots. The ensemble—a group of artists, educators, and activists based in Philadelphia—is inspired by Minneapolis funk, classic rock, hip hop, neo soul, and “everything in between.” Since their early formation in 2009 at a dorm room jam session, the collective has released several albums, toured the U.S., and become a fixture on the Philly concert scene. Apart from their musical endeavors, ILL DOOTS has a community outreach program called the I Love Learning initiative that provides free workshops in schools, after school programs, churches, and community venues in Philadelphia. Continue reading
Welcome to the July 2018 Summer Rocks issue of Black Grooves. This month we’re looking at the many permutations of Black rock, from the psychedelic riffs on Dug Pinnick’s Tribute To Jimi (Often Imitated But Never Duplicated); to the socially conscious songs of Fantastic Negrito on Please Don’t Be Dead and Bettye Lavette’s Bob Dylan tribute Things Have Changed; to the British blues rock collaboration on Buddy Guy’s The Blues Is Alive and Well; to the multi-faceted fusions of the Stanley Clarke Band’s The Message, Shuggie Otis’s Inter-Fusion, and Serpentwithfeet’s Soil; to the folk rock of AHI’s In Our Time and the countrified soul of Priscilla Renea’s Coloured; to the black metal of Zeal and Ardor’s Stranger Fruit; and last but not least, the foundational rock and roll on The Ballads of Fats Domino.
Seminal jazz releases this month include Kamasi Washington’s two-disc Heaven and Earth and Dr. Michael White’s Tricentennial Rag honoring New Orlean’s 300th birthday. Yet another tribute album is Lurrie Bell & the Bell Dynasty’s Tribute to Carey Bell, featuring the four accomplished sons of the legendary Chicago blues harpist.
Also featured is gospel singer Javen’s latest album, Grace; the collaboration connecting Sengalese kora master Diali Cissokho and North Carolina band Kaira Ba on Routes; Lamont Dozier’s Reimagination of tracks previously written for other artists; and the Little Freddie King compilation Fried Rice & Chicken featuring his best tracks from the Orlean’s label. Wrapping up this issue is our list of June 2018 Releases of Note in all genres.
Title: Book of Ryan
Artist: Royce da 5’9”
Label: Heaven Studios/eOne
Formats: CD, LP, Digital
Release Date: May 4, 2018
Royce da 5’9”, while best known for his collaborations with artists such as Eminem in addition to his extensive recording career, is still an enigmatic figure to many of his fans. While other artists have freely woven their personal issues into their rhymes, until this point Royce has relied on his lyricism skills to build his reputation and fan base. With Book of Ryan, however, he switches up his game plan and allows us a glimpse into his personal world. Functioning as a part-retrospective/part-progressive look at the Royce-That-Was and the Royce-That-Has-Yet-To-Be, Book of Ryan unflinchingly spins a narrative of past drug use, current insecurities and future self-expectations.
The 21-set album begins with an introduction in which Royce lays out his intentions for his music in narrative-style, and quickly gets right down to business in his second cut, “Woke.” The minimalistic, polyrhythmic percussion is appealing in its own right, but the lyrics calling out those in self-denial of their behavior and environment is spot-on conscious mode. “My Parallel,” the first of three self-explanatory ‘skits,’ further explores Royce’s purpose for the remainder of the album, disclosing that his dark childhood and subsequent drug use drove many of his self-destructive decisions.
While Royce doesn’t dwell in his past for the entire time, the main focus of his album is to let us into his inner world and former experiences. His choice of featured artists lets his fan base know who is important in his life—Eminem, T-Pain, and Pusha T, to name a few. “Amazing,” featuring Melanie Rutherford, is a multi-functional finger-point towards the grocer in Royce’s childhood who took away his coveted basketball, while also introducing fans to his past self through a self-affirmational journey through his old neighborhood.
Royce continues his backward glance with “Boblo Boat,” an offering best experienced through video (above) due to its nostalgic youthful feeling and amusement park scenes. But it’s his skit, “Who are You,” that offers the best proof of why Ryan has released this deeply introspective album. This narrative features Royce describing a dream in which he is able to ask his late father hard-hitting questions he never got the chance to ask, followed by Royce’s son asking if he can interview him for a school project he has decided to do about his father called “The Book of Ryan.”
The Book of Ryan is a well-crafted piece of audible prose. Looking inward and outward at both society and himself, Royce da 5’9” gives us a page-turning look at all the forces that molded and shaped him into the artist he is now and the individual he aspires to be.
Reviewed by Amy Aiyegbusi
Label: Strange Music
Formats: CD, Digital
Release Date: March 16, 2018
There’s something to be said for raw, introspective honesty. It not only provides relief to the one sharing, but it also lets others know they aren’t the only ones adjusting to difficult life issues. On his latest album, A Strange Journey Into the Unimaginable, underground rapper Murs bares his soul with some of his most candid, direct lyrics yet. Murs, a native of south central Los Angeles, has released nearly two dozen albums, but none of them belt out the trials and tribulations more poignantly than this one. Yet, he still manages to weave some lighter-hearted rhymes in-between his retrospections, showing fans that regardless of the darkness faced, one can still find reasons to smile beyond the pain.
In his first track, “The Unimaginable,” Murs strips himself down to the bone, providing a glimpse into his previously unimaginable life journey dealing with a painful divorce, a 12-month separation from his son, and the loss of his stillborn second son and a personal friend: I cried a whole lot when I filed for divorce, and when a homie got shot /…when I was separated from my son, I cried for almost a year /..a baby boy…he was born without a heartbeat. The next offering, “Melancholy,” is a more upbeat tune that, while continuing its focus on struggle, admits that Murs’ overwhelming grief has morphed into a lingering pensiveness: Hi everyone. My name is Murs, and uh…yeah. I’ve had a rough couple of years…I’m at this point now where I’m not too high and not too low. I’m just here.
“Same Way” is a fun, tongue-in-cheek diss to friends and family of Murs’ girlfriend who don’t like him, as he simply states, “Tell them I feel the same way.” On “Superhero Pool Party, Murs’ son asks for a bedtime story and is treated to a comical what-would-happen narrative involving characters such as Batman, She-Hulk and Professor X. Providing touching tributes to love and commitment on “So Close So Far” and “Vows,” Murs shows his softer and more hopeful side, and he closes out his album with the somewhat dark but still completely candid “God is the Greatest,”
While his experiences so far were something he most likely couldn’t have imagined, Murs has turned his tragedies into therapeutic rhymes. Spinning his tales so that everyone knows they aren’t alone, Murs has managed to turn the unimaginable into a tale of perseverance, giving all of his listeners hope for their own journey through life.
Reviewed by Amy Aiyegbusi
Artist: Maceo Parker
Label: Minor Music
Format: 2-CD + DVD limited edition box set
Release date: February 14, 2018
“Gather round, space cadets and funkateers.” So begins the liner notes for Maceo Parker’s seminal 1992 live album and funk opus, Life on Planet Groove. In honor of the 25th anniversary of the album, Minor Music has released Life on Planet Groove Revisited, which also coincides with Parker’s 75th birthday. This limited edition set includes a new analog to digital transfer of the original album, a second bonus disc, and the DVD Maceo Blow Your Horn.
As everyone likely knows, Maceo Parker was a key member of James Brown’s band in the 1960s, blasting out funky sax solos whenever JB shouted, “Maceo! Blow your horn!” Parker famously walked out on Brown in 1970 with other members of the band, who were replaced by a youthful Cincinnati led group by Bootsy and Catfish Collins. Like Bootsy, Maceo would later join up with George Clinton and contribute to various P-funk projects. Though Parker would return to Brown’s band for a few years, he struck out on his own in 1990. Soon thereafter, he wound up at a club called the Stadtgarten in Cologne, Germany, where Life on Planet Groove was recorded. His backing musicians for this performance included Fred Wesley (trombone, vocals), Pee Wee Ellis (tenor saxophone, flute, vocals), Rodney Jones (guitar), Larry Goldings (organ), and Kenwood Dennard (drums). Special guests included Vincent Henry (bass and occasional alto-sax), Prince protégé Candy Dulfer (alto), and Kym Mazelle (vocalist).
The bonus disc was drawn from the same set of dates at the Stadtgarten. The four tracks include extended versions of the Fred Wesley original “For the Elders,” Lionel Hampton’s “Hamp’s Boogie Woogie,” band member Pee Wee Ellis’s “Chicken,” a cover of James Brown’s “Cold Sweat,” and Marvin Gaye’s “Let’s Get it On.”
Also included is the DVD Maceo Blow Your Horn, featuring newly released footage filmed by Markus Gruber during recording sessions for Parker’s album Roots Revisited, which topped the jazz charts in 1990. Most of the footage was meant for promotional purposes only and is black and white, but the sound is decent. The camera follows band members as they jam in rehearsal and lay down tracks at studios in New York (November 1989) and Cologne (1990). These clips are interspersed with interviews where Parker discusses the creative process along with anecdotes about James Brown, Fred Wesley, Pee Wee Ellis, Curtis Mayfield, George Clinton, Bootsy Collins, and Ray Charles, among others. Along the way there’s some odd filler footage of airplane wings and cityscapes. Just to be clear, this is not a documentary in the manner of My First Name Is Maceo, but rather bits and pieces of footage strung together with title cards. Regardless, the film is certainly of historical interest and any fan of Maceo Parker and his band will be grateful for its inclusion.
Life on Planet Groove Revisited is a fine tribute to the great Maceo Parker on his 75th birthday.
Reviewed by Brenda Nelson-Strauss
Artist: Open Mike Eagle
Label: Mellow Music Group
Formats: CD, MP3, Vinyl
Release date: September 15, 2017
Urbanity has helped mold the creativity of hip hop artists in some form or the other, and thus forms the foundation of this genre. Open Mike Eagle is no exception, and his most current album, Brick Body Kids Still Daydream, demonstrates just that. The collection is a tribute to Chicago’s former South Side housing project, Robert Taylor Homes, where the young Eagle resided with family members during much of his formative years. Through his concept art, OME humanizes the forgotten ones of this former space, lending credence to their dreams of a better world for all.
“Legendary Iron Hood,” the opening track, is a smoothly-spun tale of optimism in the face of adversity. OME’s laid-back delivery and beat reminds one of a lazy walk with one eye in the clouds and one on the road ahead. An obvious downtempo influence dominates the second tune, “(How could anybody) Feel at Home,” and its lyrics of “We live in a space that should have never existed, we’re used to the taste of a human in space…It smells like if you imagined you boiled a rose and the oven is on and the coil’s exposed” deposits you right into an imagined project via sight, taste and smell. Nerdcore rapper Sammus displays her lyrical skills on “Hymnal,” and Has-Lo clips in on a later track, “95 Radios.” The apex of the collection, undisputedly, is “Brick Body Complex,” in which OME bares his narrative and his soul without pretention. But it’s the last offering, “My Auntie’s Building,” that forces attention by way of poignant activist lines such as: “They say America fights fair, but they won’t demolish your timeshare; blew up my Auntie’s building, put out her great-grandchildren.”
Lyrical and mystical, pensive yet precise. OME tears it down to the ground with his remembrance of lives lost under the rubble and dust of project demolition. As the title succinctly states, brick body kids still daydream. It’s up to us to make sure we give them something positive to dream about.
Reviewed by Amy Aiyegbusi
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
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
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