I spent my Saturday in doors working on nothing but noizes and beatzes, stopping to watch Al Jazeera‘s coverage of a suddenly chaotic #Egypt – Egyptians demanding for their pharaoh to resign. In the evening, I walked down a couple blocks to a Senegalese-owned halal restaurant called “African-American Cuisine.” On my way back, iPod decided I should stop listening to 8Ball & MJG and pay attention to The Dark, The Third Eye Foundation’s 2010 album. For the most part, I’ve payed attention to Matt Elliot’s output under his birth name, at least since 2003’s The Mess We Made, but not his earlier releases as 3EF. While based on track titles alone “If You Treat Us All Like Terrorists We Will Become Terrorists” sounds apt for the times, “Standard Deviation” is immense, absorbing, murky and warm with low, low rumbles and creeping, ascending voices. If you enjoy this track, the album is a nice cohesive mix-up you should definitely check out.
Dutty Artz is proud to present The African By The Bay EP, an exclusive collection of irresistible remixes from San Francisco/Bay Area producer Chief Boima. The EP is available for free download, and features a healthy dose of Afro dance remixes and instrumental reworkings of songs by Birdman (“Money To Blow” feat. Drake and Lil Wayne), Akon (“Right Now”), The Jacka (“Glamorous Lifestyle” feat. Andre Nickatina), Fabo & T-Pain (“Own Step”)
African By The Bay EP is a potent batch of new stateside rap tunes given the remix treatment by Boima, our favorite African-American (in the Obama sense) producer, whose trail-blazing approach weds percussive patterns from sounds like Ivorian Coupe Decale and Senegalese Mbalax. (Not to mention Angolan Kuduro, Nigerian Club, and South African Kwaito, and his Sierra Leonean Highlife and Palm-Wine refix of Cold Flamez “Miss Me, Kiss Me”.)
African By The Bay (62 megabyte ZIP file), feel free to to download and re-post on your site.
01 Chief Boima – Shake Them Dreads
02 The Jacka – Glamorous Lifestyle feat. Andre Nickatina (Chief Boima Remix)
03 Sean Garrett – Smooches feat. Young Joc (Chief Boima Remix)
04 Birdman – Money To Blow feat. Drake and Lil Wayne (Chief Boima Remix)
05 Akon – Right Now (Nananana) (Chief Boima Mbalax Decale Remix)
06 YV – Own Step feat. T-Pain & Fabo (Chief Boima Remix)
07 Cold Flamez – Miss Me, Kiss Me (Chief Boima Remix)
Freddie Gibbs is the one rapper I would put money on right now. And, though it may be irrelevant to his gift, the criminal life that Raekwon raps about on “Cuban Linx II” is still very familiar to Gibbs. When I spoke to Gibbs on the phone, he told an unadorned story about growing up in Gary, Indiana. “We don’t even have a movie theatre,” he said. “We don’t even have a mall. I can’t ride around Gary and get inspired—we don’t have anything.” Several years ago, Gibbs was selling drugs out of a friend’s recording studio. He eventually decided he could rap better than the people coming in to record. His efforts found their way across the Web to Interscope Records, and Gibbs was signed. He moved to Los Angeles in 2005, and began to work at a relentless pace. “I was two hundred per cent into this rap thing,” Gibbs said. “Four P.M. to 1 P.M. the next afternoon in the studio.” When Joe Weinberger, the man who signed him, left Interscope, Gibbs was dropped…
Freedie Gibbs is from Gary, Indiana — home of Michael Jackson, yes — but also the city with the highest black American population in the United States. Gary has been in a recession for decades, a period of decline that began in the late 1960s when many other US urban centers experienced riots/uprising. With the instability of the late ’60s, white flight, eroded tax-bases, etc. comes joblessness, crime, drugs, and even more recently the flight of middle class and affluent blacks. Needless to say, with the current/recent economic downturn, the city’s problems only got a little worse; the recession hit amid plans for rebound/redevelopment. Gary has an interesting history as a company town. It was founded just over a hundred years ago by United States Steel Corporation, and the city’s fortune was tied to the company and the steel industry. Alright, this is where Freedie Gibbs is coming from, and he paints a powerful and intense picture, demonstrating the emotional and social effects that a city/community suffers due to such prolonged decline. His mixtape is not all poverty and hopelessness, though poverty is the best motivation in the world. According to Gibbs, “Poverty causes violence. Point blank. This is an illustration of that,” remarking on one of the tracks on the mixtape. This is aggressive, brash, fresh, raw, vital music.
“County Bounce” is grappling with some heavy issues, nevertheless the mellowness of the song presents a weightless vibe. Get the mixtape now! The Smoking Section has a track by track breakdown of the mixtape album from Gibbs himself. Also check Cocaine Blunts LOCAL PRODUCT series. The first installation features Gibbs highlighting some bright moments in Gary, Indiana’s mid to late 1990s rap scene.
Our favorite badman producer/DJ in Tel-Aviv, Sabbo unleashed a remix of Maluca’s new single “El Tigeraso” out on Mad Decent. I’ll cosign Sabbo’s comment about Maluca’s stage presence. She performed the original at New York Tropical a few months ago, and practically shook the Glasslands with her intense, high-energy performance. Also, don’t forget to look for Sabbo’s It Is The Time.
The Chief put me on Sabbo while he was here a couple of weeks ago. Sabbo is a producer and DJ based in Tel-Aviv, making solid bass-heavy music and collaborating with actual Jamaican dancehall and reggae artists. “Far to Go” is from his new release It Is The Time, an EP which is out now digitally (vinyl coming next month.) All 4 tracks on the EP are remarkable, but “Far to Go” is what I’ve kept on repeat for the past week or so. The other three tracks, include vocal contributions from Jah Earth, Jah Rightful, and Chicago’s Zulu, are fully written, realized songs with verses, choruses, etc., whereas “Far to Go” contains only five lines and some chants from the vocalist Little X. Sabbo stretched and enhanced those five lines and adlibs with his programming, a wicked rhythm track and some sick synths and effects.