Talib Kweli – Radio Silence

Posted on November 2, 2017 by aaamc

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

Talib Kweli – Fuck the Money

Posted on August 1, 2016 by aaamc

Title: Fuck the Money

Artist: Talib Kweli

Label: Javotti Media

Formats: CD, LP, Digital

Release date: December 11, 2015 (CD)

According to the French art theorist Nicolas Bourriad, many of our modernities are defined by moving towards an explosion, or a release of energy. Hip hop, more than most other musical genres, seems to express this quest for explosion, time and again. Despite its recent widespread lyrical decrepitude, millions listen to hip hop because it expresses this explosion. Rapper Talib Kweli, known for his political rap, released the digital version of his latest album, Fuck the Money, for free. He seems to want to explode the capitalism that defines the individual realities that we lead and provide us with a rhythmic, unburdening, existence. It’s a commendable effort that could have been that much better if it was the product of serious thought, and not a fascination with tough slogans and hip hop’s ability to speak to pathos.

The album itself sounds like the electronic production that we are used to associating with expensive beats—it’s charged yet simple, as though there was not quite enough money to purchase even better beats. “Money Good” is the album’s best song, featuring a mix of acoustic and electronic instrumentation that melds perfectly with Kweli’s delivery. “Nice Things” is a great and loud listen, featuring the fast paced, conscious rap that Kweli is well known for. He throws punchlines that are brilliantly woven together into a moral statement, but it’s the song’s agenda that resonates the most. “Echoes” features great rhythm and ambient, dream-like production. The album gets smoother as it progresses, and Kweli is actually much better at being smooth than he is at being loud. “Baby Girl” is an example of this, with Kweli sounding very similar to young J. Cole. On “The Venetian,” featuring Niko Is & Ab-Soul, they rap about their progression from corner stores to luxury hotels.

Though it might be tempting to sit amazed by the A-list of producers featured on the album’s 11 tracks, I would not recommend listening to the album that way. Look at the name of the producer only after listening to the song, and judge the song on its own merits rather than by its credentials. Then, the songs’ limitations and strengths will become apparent.

Has the album led to a Bourriadian explosion? Have I now proclaimed, “fuck the money”? I, personally, have not. Though this album is a commendable effort with the spectacular song “Money Good,” it falls short of fully erupting.

Reviewed by Adolf Alzuphar

Jessica Care Moore – Black Tea: The Legend of Jessi James

Posted on January 4, 2016 by aaamc

Title: Black Tea – The Legend of Jessi James

Artist: Jessica Care Moore

Label: Javotti Media/dist. Fat Beats

Formats: CD, LP, MP3

Release date: October 2, 2015

Detroit’s Jessica Care Moore—a reknown poet, playwright, performance artist and producer—has achieved success through a wide variety of ventures: as a five time winner of “It’s Showtime at the Apollo” competition; as the author of poetry collections including The Alphabet Verses The Ghetto, God is Not an American, and Sunlight Through Bullet Holes; as a performance artist in The Missing Project: Pieces of the D and Black Statue of Liberty; as a returning star of Russell Simmons’ HBO series “Def Poetry Jam;” as CEO of Moore Black Press; and as host, writer and co-executive producer of the poetry-driven television show “Spoken” on The Black Family Channel. But throughout her career, Moore has also indulged her passion for music. Her poetry was featured on Nas’s Nastradamus album and Talib Kweli’s Attack the Block mixtape, and she’s led the Black WOMEN Rock! concert series since 2004. So it should be no surprise to learn that Moore has long been yearning to record her own album.

Black Tea: The Legend of Jessi James, Moore’s official solo debut on wax, features notable jazz, soul, techno and hip hop musicians and producers who bring Moore’s vision to life. That vision is more reminiscent of the lilting “jazz poetry” of Langston Hughes than the Black Power era recordings of The Last Poets, Gil Scott-Heron, and Imamu Amiri Baraka, or the half-sung, half-rapped sprechstimme of her contemporary, Saul Williams. Moore emphasizes the purity and strength of the spoken word with poems that recognize the central role of music to the Black experience, but she relies solely on the band and backup singers to weave in the musical accompaniment. A number of featured guests contribute to this effort, including Imani Uzuri, Roy Ayers (vibes), Talib Kweli, Jose James, One Belo, Ideeyah, Ursula Rucker, Alicia Renee, and Paris Toon. The band is led by pianist Jon Dixon (Underground Resistance), with Nate Winn on drums, Ben Luttermoser on bass, De’Sean Jones on sax, and Nadir Onowale (Distorted Soul) on the mixing boards.

Black Tea opens with a spoken introduction—the legend of Moore’s alter-ego, Jessi James: “she is his reflection, a city-country girl, a gold horse kissing his black . . . she was waiting for him to call her name – Jessi James of Detroit, of Brooklyn, of Southern blues, of Harlem, of Colorado mountains . . . Detroit jazz, poet outlaw – sometimes the tea is spiked.”

Following are several jazz-based tracks, including “Walking Up 150^th Street” featuring Chris Johnson on trumpet, “Pieces” featuring Detroit rock-soul singer Ideeyah, “Deep Breath” featuring alt-rapper One Belo, and “You Want Poems” with Roy Ayers and Jose James. On “It Ain’t Like We Didn’t,” the music shifts from jazz to an acoustic Delta blues style, with Moore riffing on the importance of the genre: “We die for the blues ‘cause we’re born with it . . stone rolling blues runs deep in these veins . . . know your place brown girl . . .”

An acoustic Spanish guitar opens “I Catch the Rain,” with ethereal background vocals provided by Imani Uzuri and Ursula Rucker, while Moore speaks of “this earth keeps pulling back to this place where I buried my wounded heart, countless times, this land of broken promises, this nation of liars, I will not give birth surrounded by all this fear . . .”

Ideeyah returns on “Wild Irish Rose,” singing the chorus “stay away from women with stems extending far beyond their flowers” between verses of Moore’s poem: “If I leave a seed on every corner maybe my people won’t forget me / I know God sent me, or the wind might have dreamt me / So many spirits sitting on top of Motor City, but I got to do something with the power my ancestors leant me . . . Another garden gone, won’t be long before Black girl doesn’t get to sing her song, ‘cause Daddy and the greenhouse disappeared at dawn.

Another highlight is “Catch Me if You Can,” a tour de force alternating between Moore’s reverb soaked verse and Talib Kweli’s rapid fire delivery, backed by acoustic guitar and trumpet.

Black Tea: The Legend of Jessi James is Moore’s lush and provocative HERstory, a shape shifting fable rooted in the cultural experiences and music of the 21^st century Motor City. This album is especially recommended for those who enjoy contemporary poetry, and for libraries collecting sound recordings of poetry set to music.

Listen on Spotify here

Reviewed by Brenda Nelson-Strauss