Alright, it’s been a good minute, but I’m still digging through, cleaning and learning how to rip these vinyls proper. I switched from Audacity to Adobe Audition (formerly Cool Edit) and the sound of the rips are notably better–sound quality still needs improvement though. Next step up is ProTools or Ableton Live, I guess.
Here’s a sweet little pleasurable song from a rather obscure American funk/R&B group. Members of this band used to be songwriters and musicians for Motown, as part of the in-house production team in the 1960s. This song appears on the B-side to their most popular hit “I Can Understand It” from 1972. It’s funny, but this tune is strange and familiar at the same time. It reminds me of a Maxi Priest song, and I’m not sure if that’s a good thing.
We are still in 1972, but let’s get away from Detroit and visit the Makossa Man, Manu Dibango in Yaounde. His album “O Boso” is recommended for warm, beautiful Summer nights, with smoke, steam and sweat –several counties in the tri-state area are under severe thunderstorm watch. Anyway, among all my parents 7 and 12″’s I was able to get my grubby hands on (and actually listened to), this is one of the most surprising, varied, and unique 12 inches.
“…we are playing a music whose unity has it’s roots deep in African earth, but whose harmony and construction reflect the influence of all the branches which have grown in the common three century old tree of music.” - M. Dibango, 1972
Yes, Dutty Artz is a recording label with actual (and digital) records in stores, tremendously talented musicians, one extremely dedicated operative, and supporters.
Here’s a tune from DUTTY REMIX ZERO which is still fresh in the stores. This remix is great, but you should really hear SHADETEk’s “Can’t Breathe” remix.
Rupture and JahDan are in the middle of their UK trek. If you are in the area, go and see them! Something wonderful happens when these two are together. Check DATV001 for proof.
Adding a little zest and balance to that sublime track/post over at mudd up! There’s never enough Balla to go round. I’m not sure what this song is really about. It is a praise song for someone named Moussa Konate (who was a driver? an apprentice? I’ll have to consult my aunt or one of my cousins) but this doesn’t sound like a traditional praise song. This music was designed to blaze dance floors. What was Conakry nightlife like in 1968 or ‘71? What about Lagos? or Freetown? I have a bunch of 7 and 12 inches serving as windows, looking into the past and discovering a part of your parents that they’ve abandon a long time ago. Maybe abandon is a strong word. Either way, expect more of these in the future.
The Chief Commander of Juju Music Ebenezer Obey is also a praise-singer, combining the rich cultural and spiritual musical traditions of Yoruba people from the Ogun State in South-Western Nigeria with the excitement of Lagos highlife and Christian themes to create melodious, dance floor music and praise songs for the wealthy, famous and the powerful. Listen for the talking drums, which you can also hear these days in NYC underground/subway drummers.
Growing up in a Mandinka (Malinke or Mandingo whichever you prefer) household in Sierra Leone and later in Guinea, Salif Keita’s music-one of the finest voices of Africa-was always on heavy rotation. Salifu Keita is royalty, not only as a direct descendant of Sundiata Keita, founder of the Malian Empire, but he’s a musical treasure to Mandinka people and to Africa and the whirled. His exquisite voice is a mountain. “Mandjou” is from his very successful 1995 album Folon recorded in Paris. Download the older, Bamako version here -recorded sometime between 1969 and 1980. I grew up listening to both, the Bamako version on cassette and the Parisian version on CD.
Jay Electronica is one of the most talked about, hyped, and anticipated rappers of the moment -to emerge from the underground, and rightly so. He possesses extraordinarily sharp lyrical skills, a remarkable and mystical vision, and new theories about y/our collapsing world you might want to hear. Jay is a native of New Orleans’ Magnolia Projects, home of Juvenile and bounce music, not that you’d be able to tell that by listening to his music, at least not immediately - he “spent the past dozen years roaming nomadically between nearly as many cities.”
First, here’s an all Steve Gurley mix I’ve been listening to quite a lot lately. I am flagrantly ripping this from the dubstepforum, where it was ripped from Uptown Music Forum, where it was posted about a year ago. The mix was done by someone named AverageJoe, an ordinary DJ with a funny Homer Simpson gif as his MySpace default.
The first is of Mr Eliel Lucero skankin’ (to some really good Roots music Matt was playing earlier in the night) in his brand new Dutty Artz tee! Get yours!
And here I am, standing around (yeah, i’m mad bcuz i’m only) in my plain old regular tee— waiting for that lite tropical pink.
And here’s Yellowman, AKA Geko Jones. This man spins and dances behind the decks like a mutha, (but then again, he falls into a state of deep concentration at times.) I’m not sure who’s the better dancer behind the decks, Matt or Gex? I don’t think Rupture dances behind his decks. Maga Bo doesn’t either. Well, I’ve never seen them dance behind their turntables anyway. Have you? If you have, I need photo-or videographic evidence of these two men getting down.
I heard Alice Russell’s “Hurry On Now” at a party at Howard University earlier this year. The Boub instrumental sounds modest, generic even, but it’s also captivating and flawless under Ms. Russell’s voice which is really engrossing and powerful. This song was stuck in my head for several months. A friend who was at the same Howard party identified it for me.
I got this bad boy Sunday morning. Brand new groove from Mutamassik! A thoughtful, generous gift and a pleasant way to kick off the week! Gentle, delicate, thrilling, and exuberant.
I recently came across a slew of grime mixtapes/street albums, or should we call them road albums? In less than two weeks, I had about a dozen new mixtapes in my HD, not having enough time or attention to really listen to all the materials—ranging from artists such as Ghetto, Riko, Ears, Killa P, Jammer, Kano, Trim, and the not so grime, but definitely grimey garage crew Road Side Gees.
Pre-album fire from a grime luminary. I feel funny about calling Jammer grime, now - especially after he states in that intro, “I make music, F grime / I make music, F crime / I’m not a lame, man, F a nine…”?
Do you ever see that stuff that be
when it get cold that is that shit you can’t see?
See that shit happens sometimes.
Yep, black ice…
some classic videos, choice quotes (italicize, without speech marks), + tunes from one of the greatest Southern rap groups (sheet, they were the first to use the words Dirty South to describe the music they create– in mid-90s ATL, Georgia.) There’s a rumor these guys were getting back together. Well, a little far-fetched, but imagine how many late-nineties rap-nerds/fan-boys/girls this reunion will make happy.
My mind won’t allow me to not be curious
My folk don’t understand so they don’t take it serious
But every now and then, I wonder if the gate was put up to keep crime out or to keep our asses in.
Who’s that looking over the shoulders of those writing dreams?
fiendin’ for the taste of menthol, missed class, stayed in the hall
Looking for a squeeze play, better yet a holiday…
I couldn’t find the video for the last one, but if you ever see it look for Sugar Lo, commonly known as Cee-Lo. He’s wonderful.
—
I first came across Goodie Mob in 1997/98 while I was in Guinea watching music videos from France via satellite TV, around the same time Sekouba Bambino released Kassa. I was 15 & in musical heaven.
Mama’s Gun is one of the sexiest albums I have in my CD collection. I know, it’s a little strange. The album deals with horrific, unsexy nightmares and things like police brutality (Amadou Diallo), mental imprisonment (plus, the high rate of incarceration for black males). A large chunk of the album tackles self-esteem issues and breakups. Anyway, Miss Badu’s music is not always joyless and serious/militant/political. In fact, she’s more playful and introspective than most hiphop singers.
This one is haunting and amazing. Produced by Madlib, it is from her new album New Amerykah Part One (4th World War) - Only Badu can present something like national delusion in such a phunky manner (”Amerykahn Promise”).
dead prez said it’s bigger than hiphop. Killah Priest said all religion ever did was divide… Erykah sez hiphop ain’t dead yet, regardless of what Nas said. hiphop is alive, uniting cultures, races, all around the world. While I don’t think hiphop could ever be bigger than religion, she might be onto something with the government part, and her gospel in general that together the ants can conquer the elephant.
& coming soon, New Amerykah Part Two (Return of the Ankh)
[[U know who will be vibrating our pixels & stimulating neurotransmitters here at DA blog from time to time, ladies and gentlemen pls welcome MC SMEAR. this post is strictly visual but truss, there’s a biiiig story behind it, where Common & Andre3000 are just the iceberg’s suddenly feminine tip…–Rupture]]
With a more quiet, acoustic, sensitive bang, DATV#002 lands.
Dutty Artz family member Jahdan Blakkamoore and Fuego Campo are 2/3 of Noble Society along with Delie. Catch them here doing a special live acoustic set at Salon Lucero at the Bowery Poetry Club. Salon Lucero is a poetry and music event put on by Funkworthy crew member and DA family friend Elliel Lucero.
Jahdan and Fuego performed some new and old Noble Society material including tracks from their mixtape with DJ Child of Project Groundation Massive “Live From The Front Line” and tracks from “Take Charge” the debut Noble Society album which is in its final stages and soon to be unleashed on the world. I opened the video with a clip of one of my favorite tracks of theirs “She Told Me” a heartfelt and emotional song about Jahdan’s divorce from his wife of seven years over Fuego’s excellent not quite grime or dubstep riddim. They performed the song acoustic, which is in the video, along with their beautiful “Mama So Divine” a track which actually is acoustic on the record, inspired by Jahdan’s trip to Africa last year.
We’re speeding up, so watch out for our coverage of Trouble and Bass at love with Dexplicit and an exclusive interview we did the day after with Rupture asking the questions.
And yes, I know we promised cooking and street fashion, trust me, they’re coming.
Somehow despite our “organic” (chaotic) promotional style, people are buzzing about Dutty Artz and the pre-orders for the Dutty Remix Zero 12″ are coming in hot and heavy. It’s getting fattened up and groomed for cutting at Transition in London right now, so I swear it will actually come out, very very soon.
