Category: Hip Hop (Page 12 of 31)

Talib Kweli & Hi-Tek Are Reflection Eternal: Revolutions Per Minute

June 14, 2010 / Mike Heyliger

RIYL: Common, Mos Def, Erykah Badu

It’s been a decade since Talib Kweli and Hi-Tek released their first album as Reflection Eternal. Following that album, Train of Thought (a critical and commercial success), the former has maintained his position as a darling of the hip-hop underground, releasing several albums that cemented his status as a lyrical genius. The latter has branched out into more commercial waters, providing beats for the likes of 50 Cent and the Game. The two have worked together sporadically in the last decade, but they’ve finally returned for a full-album collaboration with Revolutions Per Minute.

On this long-awaited effort, the Brooklyn MC and the Cincinnati DJ pretty much keep it the same as it ever was, with solid rhymes over soulful production. Kweli remains an amazingly gifted and literate rhymer, whether the subject matter is political (“Ballad of the Black Gold” could not be more timely) sensual (“Long Hot Summer”), or just plain ol‘ hip-hop braggadocio, as evidenced by the all-star posse cut “Just Begun.” As on the first Reflection Eternal album, Hi-Tek’s production is solid but unspectacular. Kweli’s worked with better producers (how dope would a Kweli/Kanye collaboration album be?), but he and Hi-Tek have a chemistry that keeps Revolutions fairly enjoyable. While the forays into crossover territory (featuring the likes of R&B songstress Estelle and hipster-pop duo Chester French) should probably be avoided, fans who’ve waited patiently for this album to surface will be pretty satisfied (and totally not surprised) with what they hear. (Blacksmith/Warner Bros. Records 2010)

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CD Reviews, Hip Hop, Rap

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Bibi Tanga and the Selenites: Dunya

June 4, 2010 / Ted Asregadoo

RIYL: Massive Attack, Curtis Mayfield, James Brown

Red flags go up whenever musical artists describe their music as having “no rules” – as Bibi Tanga does on his MySpace page. Tanga must know there are rules when recording music. If there weren’t, he would certainly have produced an anarchic stew of disparate noises like Lou Reed’s Metal Machine Music. No, Tanga is a much more structured musician than that, and he and his sidekick (Professeur Inlassable – “Professor Tireless”) have put together a record that has “world traveler” stamped all over it – and having it on National Geographic’s record label reinforces that fact.

Dunya is trippy, funky, lyrics are sung in English, French, and Sango (the native language of the Central African Republic where Tanga’s family comes from), and there are loops the Professor weaves into the mix that give the songs modern flourishes. In short, Dunya isn’t only a mixture of funk, African rhythms, jazz and hip-hop, it’s also an album that takes us into space age chants about the moon – a recurring theme throughout the album.

One of strongest tracks is “Gospel Singers,” which starts off with a dissonant toy xylophone loop coupled with a kind of “Ah-Ah-Ah” sound reminiscent of the “Friday the 13th” opening title sequence. But all that dissonance gives way to Tanga’s high pitched, yet soulful vocals and some Sarah McLachlan-esque co-vocals that round out the song in a harmonious and passionate way.

Curiously, the least imaginative song on the album is the lead single “Red Wine” – with its laconic rhythm and equally listless vocal delivery that makes for a poor introduction to Tanga’s music. Songs that really show Tanga in top form are the ultra-funky “Swing Swing” and “Shine” – both channeling a kind of James Brown/Prince vibe. Also, I thought “Bonjour Monsieur Jean” was a gem with its neo-jazz/trip-hop pastiche of Parisian sounds nicely reflecting the years Tanga spent growing up in France.

Overall, Dunya is an album that will take a few listens to really “get” what Tanga is doing with the musical influences that have inspired him. Knowing that he was the son of a Central African Republic diplomat who lived in a number of countries, and he grew up on the steady diet of funk, new wave, hip-hop, indigenous African sounds and jazz, will give you an insight into where he’s trying to take the listener. He doesn’t always succeed in his endeavors at bringing parts of the world to the listener’s ear, but when he does, it’s as sublime as a full moon rising in the evening sky. (National Geographic 2010)

Bibi Tanga MySpace page_Click to Buy Dunya from Amazon

CD Reviews, Funk, Hip Hop, Jazz

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Keane: Night Train

May 10, 2010 / David Medsker

RIYL: a-ha, The Script, lily-white guys teaming up with rappers

Eight songs, 30 minutes. Actually seven songs, since the first track is more of an intro. And it comes a mere 20 months after their third album, Perfect Symmetry. Forgive us if this sounds overly suspicious, but it looks from here as if Keane is playing the contractual obligation game, giving their overlords at Universal something that technically qualifies as a full-length album so they can extricate themselves from their contract and move on to greener pastures. Otherwise, why the rush? Take an extra couple months, add two more songs, and put some meat on those bones. That would seem to be the wiser move, considering that their last two albums have done well chart-wise, but sold a fraction as many copies as their 2004 debut, Hopes and Fears. But nope, Keane clearly have places to be. Hmmm.

Whatever their reasons, the band’s lastest “full-length” effort, Night Train, shows the band itchy once again to explore new ground, bringing in rapper K’Naan on two tracks and Japanese MC Tigarah on another. As ridiculous as that might sound on paper, Kane+rapper actually works pretty well in execution, even if it’s all rather pointless. Yes, the back-and-forth between singer Tom Chaplin and K’Naan on “Stop for a Minute” as a certain opposites-attract charm to it, but the song would have worked just fine on its own. “Ishin Denshin (You’ve Got to Help Yourself)” fares much better, as Tigarah’s butterfly tenor complements the song’s feather-light pop groove.

The band has stated in interviews that making Under the Iron Sea was a miserable experience, yet the finest moments on Night Train recall that album. The fittingly titled “Back in Time” finds the band combining Gary Numan’s synth arsenal with Ultravox’s penchant for melodrama, while the gorgeous mid-tempo number “Your Love” showcases a rare vocal from pianist and principal songwriter Tim Rice-Oxley. It’s understandable that the band does not like being put in a box, but it’s not always a bad thing to play to your strengths; goodness knows more songs like “Back in Time” would eliminate the awkward inclusion of songs like the “Rocky”-riffing “Looking Back,” the other collaboration with K’Naan.

One wonders if the success of the Script, an Irish trio that is basically Keane with rhyme skillz, has gotten into their heads, and they feel the need to answer with some dope rhymes of their own. If so, their fears are unfounded; the Script will never write a song like “Is It Any Wonder?” or “The Lovers Are Losing,” and in any case, the inclusion of guest rappers stands a better chance of alienating their existing fan base than it does of expanding it. Still, give Keane credit for not wanting to stand still; if only their wanderlust had taken them in a more interesting direction than the guest rapper route. (Interscope 2010)

Keane MySpace page
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Alternative, Artists, CD Reviews, Hip Hop, Melodramatic, Pop

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SXSW 2010 Quick Hits, Day 2: Ozomatli

March 25, 2010 / Greg M. Schwartz

At 8:00 it was over to the Auditorium Shores stage on beautiful Town Lake, which annually hosts a series of free shows during SXSW. The headliner here was LA’s Ozomatli, who entertained a huge crowd with their fusion of funk, latin rock, jazz, hip-hop and even a little bit of metal. An early song of tight funk paid tribute to the “City of Angels,” while another tune mined James Brown-style funk. It was a family-friendly atmosphere, as kids ran around playing with light sabers in the gorgeous setting as the Austin skyline loomed behind the stage. The highlight of the set occurred when a funky jam suddenly segued into a “Master of Puppets” tease that drove the crowd into a frenzy, with many bouncing up and down before the Metallica segue went back into a cumbia jam.

Artists, Concerts, Funk, Hip Hop, Jazz, Latin, Metal, South by Southwest

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SXSW 2010 Quick Hits, Day 1: Nas & Damian Marley

March 24, 2010 / Greg M. Schwartz

Back over to Emo’s main outdoor stage for a highly-anticipated midnight set from Nas & Damian Marley, who have a new collaborative album out. The place was packed and rightfully so, for this was a truly electrifying set mixing the ace hip-hop skills of Nas with the classic reggae vibe of the Marley clan. Nas opened it up with one of his classic raps and then introduced Marley, who sang/rapped over a “One Love” groove. The duo kept mixing reggae and hip-hop throughout the set, such as on “As We Enter,” which featured a line from Nas about the duo being “real revolution rhymers.” “Only the Strong” was another strong moment from Nas, while Marley later rocked a “Road to Zion” jam with Nas proclaiming “revolutionary warfare from Damien Marley.” The crowd loved every minute of the superb 45-minute set. This pair definitely won the best new duo of SXSW award and are surely an act to watch in 2010.

Artists, Concerts, Hip Hop, Rap, Reggae, South by Southwest

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