Review: Frank Ocean, Thinking About You

Everyone is trying to stand out these days.

Every artist searches for a niche’–something that can make them stand out from the rest. Usually this isn’t a bad thing, but unfortunately artists can get so caught up in their “gimmick” that the focus takes away from their talent.

That being said, it’s very refreshing when an artists just lays down a track that eliminates the fluff–a track where they can just show off their raw skills. No need for crazy auto-tuning or a catch phrase–just performing and showing off their artistic prowess.

I think Frank Oceans new track, Thinking About You, is the perfect combination of talent and simplicity.

Ocean has been taking the industry by storm in the past year and is popping up seemingly everywhere. He has had a guest spot on the Jay-Z and Kanye collaboration, Watch The Throne, he has graced the cover of Fader magazine and will be one of the headlining acts at Voodoo Music Festival in his hometown of New Orleans, LA. His success is definitely well deserved, and his new track certainly tells us why.

In Thinking About You, Ocean is singing to a girl and asking if she thinks of him, because he has been thinking of her–for what seems like forever. Very simple story line, but the emotion held in the track is just so smooth.

The track incorporates a very spacey and mellow back beat–this space is ample room for Ocean to tell a great story about possible unrequited love, heart ache and confusion.

His beautiful falsetto echoes throughout the track “or do you not think so far ahead, because I’ve been thinking that forever” are hauntingly beautiful and really makes the track what it is–simple, raw and powerful.

I dig the track because, as stated before, the focus is on Oceans voice and the storyline. The beat combined with the lyrics create an emotion as well as a story, it’s a wonderful combination that shows off Oceans impressive vocal range. Ocean certainly knows how to use his vocals as an instrument.

This is R&B at it’s finest, but I wouldn’t even label it as R&B. The song combines dashes of soul and pieces of hip hop to just make something that’s beyond labels–just a damn good song.
Check it out!

Kanye West and Jay Z, Otis ft. Otis Redding

The clock ticks down upon the August 1st release date of  Watch The Throne, the hyped up Kanye and Jay Z collaboration that has the potential to be one of the most legendary albums in recent years.

Of course Jay Z and Kanye go way back, Jay Z was the one who gave Kanye his start as a performer– ‘Ye used to only be  known for his production skills–producing albums for not only Hova but numerous other artists, too. Jay Z was the one who signed Kayne as an artist and showed the world that Kanye had a knack not only for production, but rhyming too.

This of course snowballed into where Kanye is now, a “King” of the industry, who is just as well known and respected as the rap mogul Jay-Z.

This collaboration of two rap “kings” has had people anticipating the release–the duo dropped the release H.A.M about a year ago, which created more buzz for the effort, and news of collaborations from Frank Ocean to Beyonce has had music fans all over the globe in anticpation.

Just yesterday another release was dropped, Otis. A song that incorporates a sample from Otis Redding’s 1966 hit Try A Little Tenderness.

If you follow my blog you know my affinity for soul music as well as my love for Kanye West and Jay Z, so I was really digging the news that the two chose an old school sample. Especially when Kanye used to be famous for using old school tracks as samples in his early work. The power of the soul sample is met right off the bat, as soon as you hit play. Jay Z quips, “so soulful ain’t it?” And yes, soulful it is.

The track is fairly simple–a hip hop beat, Otis Redding vocals, and West and Jay rapping about their lives of luxury. This simplistic vibe has had many rap critics call the track a “let down” but I say the exact opposite. The track almost mirrors a “free style” and may not have any “defining” moments such as an intense music break, or an overtly catchy hook, but I think in the grand scheme of things, this track will go phenomenally well in the flow of the album.

As a single, I can understand any disappointment. The track may not be as radio friendly as H.A.M was, but it still shows off the duo’s vocal prowess–and the soul sample gives us that smooth laid back feeling that always meshes well in hip hop.

I can certainly see this track being placed in between two more “intense” tracks as a way for Kanye and Jay-Z to just let loose and flow.

“Letting loose”  is actually a great way to describe it–it serves as a track for both artists to just simply rap on without being too confined to structure.

Though when speaking of two legendary artists like Kanye and Jay Z there is no just “simply rapping”, everything they touch seems to turn to gold.

Favorite Lines:

“Luxury rap/The Hermes of verses/Sophisticated ignorance/Write my curses in cursive.”

Wale, Bad Girls Club ft. J. Cole

 

It’s been a minute since we heard from Wale. The last we heard from him he was free styling over a Kriss Kross track, but he hasn’t put out any new Summer singles or releases. Wale’s silence has left fans anticipating new material more than ever–especially after his recent success with hits like Chillin’, 90210, Pretty Girls and his notable guest spot on No Hands. 

Just two days ago, Wale released the new track, Bad Girls Club featuring J. Cole.

The song is not likely to be related to the TV show with the same name, but it touches on similar topics–strong women and an excessive partying lifestyle.

The track opens up with J. Cole singing–something seldom heard from Cole but I’m not mad at it. J. Cole showing off his vocal ability could be beneficial to his career and his guest spot only adds hype to Cole’s upcoming new material.

I also appreciate a vocal chorus in a hip-hop song. It seems to be a lost addition these days and Cole’s hook seems to be reminiscent of the late Nate Dogg, who was notorious for his vocals on rap tracks. It’s is also just plain catchy and effective:

“She’s a star if I ever seen one / A perfect 10, and Lord knows that I need one / So now I’m under pressure, I want it bad / She got something I never had / I see her lookin’ at me.” Throughout the song, he commands, “Bad bitches, get low right now.”

The hook then leads us into a drum and keys filled beat where Wale flows with his signature style. Wale raps, “I’m just tryin’ to get you comfortable / And it’s amazing what some liquor and a blunt will do.”

Cole and Wale show great chemistry and have impressive one liners throughout the track,

“I blow trees like a hurricane.”  and “If looks kill, then you’re murdering,” “I get paper like a mailbox, but girl you got me open,” just to name a few.

Sure the track might not touch on social and gender issues like Wale did with 90210, or discuss the struggles of overcoming poverty like Cole did in I Get Up. Instead, it’s a fun song that’s intended for radio and club play, a song that’s supposed to get your foot tapping and head noddin’.

Most of all, the track speaks loads to the diversity encompassed in both Wale and Cole’s work. Both encompass the ability to rap about the heavy stuff but they can also release the upbeat stuff, and pull it off just as nicely.

Check out the track, and keep your ears open for more Wale and Cole material coming at you this summer!

Image Source: Hip Hop Music Dot Com

The Tao of MellowHype

I was always intrigued by the Wu-Tang Clan when they cited Kung Fu flicks as their main influence–old black and white films that were horribly dubbed with laughable special effects.

Each member of  The Wu-Tang Clan actually took their name from their favorite Kung Fu movie character, and they also frequently cited different fighting styles within their tracks.

The RZA, leader of Wu-Tang Clan, actually took his love for eastern philosophy a step further and penned The Tao of Wu, a book that combines street smarts with the wisdom of world religions such as Islam and Buddhism

Now, if you think I am about to make the inevitable comparison between Wu-Tang and Odd Future, I’m not. Yes, they are both rap groups and are both known for their outlandish lyrics and behavior. But instead I want to delve further into this topic of Kung Fu culture in hip hop.

Eastern arts such as Kung Fu and Tai Chi believe in “chi” a primordial energy , that when harnessed, it flows out of you. It is a feeling that takes form organically and poetically.

I think the Kung Fu and Hip Hop comparison is far more than just a “cool” novelty.

I feel as if both cultures believe in harnessing an energy found with in us– and when that energy is harnessed just right–art is formed.

Tai Chi and Kung Fu do this by creating graceful movements– while hip hop artists use that energy to form a poetic and passionate product.

My comparison of Odd Future and Wu Tang comes from their Zen-like flow–a rapping technique that comes unrehearsed and is just too smooth to ignore.

Recently, I did a small piece on Odd Future Wolf Gang Kill Them All (Odd Future), a “skate rap” group that are taking the music scene by storm. Odd Future has around 11 members, and splits off into various groups–one being MellowHype which consists of members Hodgy Beats and Left Brain. MellowHype recently released their second album BlackenedWhite, and are currently in the studio working on their third piece that’s due out in 2012.

All sub groups of Odd Future, especially MellowHype, have been praised for their lyric heavy rapping style, which comes as a breath of fresh air in a time where auto-tune and lyric weak rap is filling the airwaves.

In BlackenedWhite, MellowHype takes rap back to it’s poetic and angst filled roots.

Rap started as a way to preach about social injustices–but mainstream rap has some how devolved into songs about clubs and rims.

MellowHype  changes the “rap norm” by combining mainstream raps upbeat vibe with the heavy content that can be found in early rap music. Though, most of all, MellowHype’s amazing lyricism, creativity and use of original instrumentation sets them worlds apart from many artists in the rap game right now.

The rapping techniques of Hodgy Beats and Left Brain are unstoppable. As soon as the verse leaves their lips it takes on a world of it’s own. Their lyrics form images–sometimes pleasant while other times disturbing–though they are always effective and each line is packed with passion and drive. Their use of wordplay is some of the best out there right now–as you can see in the attached track Primo from their new album:

“We spit because we’re sick and irrelevant to you relevant
I’m comin’ down but not from my high
I should live in a plane, shit I feel that fly
It’s a bird in the clouds and the sky’s a plain
Nah ho, squash quote, it’s that gal Mary Jane
She wants to retreat from this packed Swisher Sweet
The taste of it is regular, she make the Swisher sweet
From time to time I gotta dish her kief
Cause when she in agreement wanna leave, I let her leaf” 

Once listening to their flow, you’re hooked. After taking time to hear they tracks you begin to “feel” them as well. You sense that the song is energetic–rather than robotic. It’s very genuine and also fun to listen to. 

Of course the Odd Future duo aren’t prophets or spiritual guru’s, but their style is certainly a testament to the creative energy that can be found in rap music today.

Go grab a copy of their album BlackenedWhite today!

Image Courtesy of Sunset In The Rearview

Album Review: 1,2,3 New Heaven

Find the album at: |French Kiss|Amazon|I Tunes|

Upon interning in the field of music marketing, it’s refreshing to work with a band that you thoroughly enjoy. You don’t have to think of what “markets” and “demographics” the group will appeal to, you can just plug in your headphones and enjoy.

Likewise, when you’re writing about their tracks  you aren’t “promoting” them–you are simply sharing them–you are simply excited about their music and you want your friends to take part in the same toe tapping, head nodding, frenzy that you are caught up in.

That’s exactly how I feel about the group 1,2,3 and their debut album New Heaven. I’m truly just diggin’ the whole thing and I’m hoping you’ll dig it too.

They have a sound that crosses numerous genres. Indie fans will enjoy it for it’s unorthodox composition and raw vocals, alternative folks will love it for it’s rock-centric nature and electronica listeners can even appreciate it for it’s subtle electronic nuances that are found in each track.

So, after that lengthy introduction I guess you can assume that the Pittsburgh duo has been turning many heads with their debut album–and that assumption would be correct.

The album fittingly starts off with the blue collared anthem Work, which displays Nick Snyders falsetto vocals that are amplified with subtle electronics and spot on percussion.

The surging arrangement of Work is reminiscent of groups such as Arcade Fire who have made similar “anthem” style tracks their stock and trade.

10 minutes into the album listeners are met with the song Heat Lighting where Snyder, again, hits us with a whispering falsetto that flickers in and out of the track–a style that can be compared to a hi-fi Animal Collective–the track is also met with impressive vocalizations and a catchy whistling back beat that gives it a unique flavor.

Just as the singing seemed to flicker, the song ultimately diminishes out and fades into the sound of ocean waves.

Despite the comparison to Animal Collective and Arcade Fire–1,2,3 certainly didn’t create an album intended to be a nod to their favorite indie trends. The group is far too creative and enthusiastic for that. Each track off of New Heaven is produced masterfully and incorporates effects such as whistling, ocean waves, and synths that carry the song and spotlight instruments rather than becoming distracting or a novelty.

The lyrical content is also certainly something to take note of.

Sure, it has a central theme: drinking, girls, and being “broke as ever”, but it’s raw rather than repetitive.

I feel as if the group combined indie rock’s unconventional composition, folk rock’s gritty lyrical content–added a dash of spot on production–and out came New Heaven. 

A few good examples of the groups “gritty” and “raw” lyrical content are found in Lonesome Boring Summer where Snyder references “the carcass of his mid-twenties.” Or in Wave Pool where Snyder cites Brian Wilson’s infamous fear of the ocean and delivers the whole piece in the form of a suicidal love letter–played flawlessly over a Beach Boys inspired melody.

It’s 1,2,3’s innovative and enthusiastic song writing combined with catchy melodies that make New Heaven a great album to pick up.

It has all the markings of a great listen. It’s produced wonderfully, and has that continuity that makes it listenable from start to finish–each track building upon the other.

So, check it out! It’s certainly an amazing debut piece that leaves us wanting more from the Pittsburgh natives.

Tribute or Theft?: A Look Into Popular Music Sound A Likes.

Every artist seems to “steal” or “borrow” a little bit of their work.

I mean, it’s hard not to when music is so vast and intricate–everyone is influenced by everyone else–artists take bits and pieces of what they witness and mold it to make it into their own.

However, this isn’t always the case. Their seems to be a fine line between homage’ and just down right theft. That fine line has always interested me.

When thinking on this, topics such as sampling come to mind–a technique mainly used in hip hop where the vocals are unique but the instrumental is taken from an entirely different song.

This technique can be done well, such as the case with Kanye West, whose samples contain his own signature touch such as pitched and sped vocals and it can also be done poorly –such as the case with Vanilla Ice which we’ll touch on later in this article.

So what makes a song unique? And where is that line between copyright infringement and tribute? In this article we will look at some of the better known “sound alikes” out there today.

George Harrison vs. The Chiffons

The Chiffons, a du wop group from the 1960’s, released one of their more popular songs, He’s So Fine, in 1963. The track climbed the charts and stayed on the Billboard Top 100 four consecutive weeks. The all girl group who went head to head with acts such as The Supremes held their water during that era and met much success throughout the 60’s.

Seven years later, George Harrison was emerging back on to the music scene fresh from his journey into Krishna Consciousness (Hare Krishna!).

Upon his return, Harrison released the album All Things Must Pass and one of the most notable songs on the album was a track entitled My Sweet Lord, a love song dedicated to Sri Krishna, whom Harrison was a strong devotee.

Though something occurred that shook things up for “the quiet one”of the fab four. The Chiffons Label, Bright Tunes Music, noticed a striking similarity in My Sweet Lord, and that  similarity was that it was almost the complete same song as He’s So Fine!

This dispute led to a lengthy law suit that lasted over 10 years, where Harrison had one of the most memorable defenses to date used in a copyright case: Subconscious infringement.

Harrison’s legal team claimed that Harrison did not intentionally steal the song–and the striking similarities actually came from Harrison hearing the track and then subsequently forgetting that he had heard it. The tune was stored in his subconscious so when he wrote My Sweet Lord he thought it was his original work –but his “creativity” was actually just a subconscious rendering of He’s So Fine that he had heard a decade ago.

Although it sounds trippy, it’s an interesting argument that’s also been reported in other cases too. I remember taking a fiction course a few years ago and my teacher told stories of how new writers would bring in stories that would contain bits and pieces that were very similar to published novels that they have read. He claimed that this was natural and that sometimes your brain will trick you into thinking you’re writing something new when you’re really just reaching into your memory. He urged us to be careful that we aren’t falling into that trap. The same trap Harrison claimed to have fell into.

However, when all was said in done–Harrison lost the case but ended up buying the rights to He’s So Fine which cost him $587,000.

This is one of my favorite cases for a few reasons.

I find the argument of subconcious infringement fascinating and it speaks multitudes about how our minds work–but also–both songs are great in their own right. My Sweet Lord contains beautiful lyrics, a guitar riff from Eric Clapton and a beautiful choral style backing vocal. He’s So Fine is also a great tune, one that is the epitome of du-wop music that reigned supreme in the 1960’s.

Above are the two tracks meshed together so you can hear them played over one another. The similarities are unreal and they match perfectly! The “hallelujah” of Harrison lines up perfectly with the “doo lang da lang” of The Chiffons. It’s a very eye well..ear.. opening. Take a listen.

Years later John Lennon also weighed in on the case, stating his doubt for the “subconscious infringment argument”, but whatever the case, I am very glad that both of these musicians penned such great pieces.

“He must have known, you know. He’s smarter than that. It’s irrelevant, actually—only on a monetary level does it matter. He could have changed a couple of bars in that song and nobody could ever have touched him, but he just let it go and paid the price. Maybe he thought God would just sort of let him off.” -John Lennon, 1980 interview with Playboy Magazine, speaking on Harrison’s subconscious infringement defense.

Fergie vs. JJ Fad

When the track Fergalicious came out in 2006, most listeners were too busy trying to decipher the cryptic messages found within the song (we still aren’t sure what exactly fergalicious means) than to actually notice that the song was a blatant rip off of 80’s rap group JJ Fad and their track Super Sonic.

Fergie and The Black Eyed Peas didn’t mean to claim any authorship and used the track as a sample–but no royalties were ever given to the authors of Super Sonic. The unpaid royalties led to a lawsuit, from what I believe, has yet to go to court.

The Arabian Prince, author of the song, NWA producer and apparent royal bad ass, has claimed that Fergie’s label has denied payment on numerous occasions.

Once listening to the song the “fine line” we spoke about earlier comes back up. If you listen to the track not much is changed at all–even the rhythm of the lyrics are the exact same. (listen above!)

Usually when one samples a song they at least add their own flavor to it–and in this case her flavor was repeating the word “fergalicious” over and over again. Which unfortunately isn’t even enough be entertaining as it is legal.

Though, I must admit the song was a great sample to use. J.J Fad (Just Jammin’ Fresh And Def) was an all girl group whose style opened doors for groups such as Salt n Peppa and early TLC.

Super Sonic was a throwback to the days of Sugar Hill Gang and other old school rap greats. The song incorporates a laid back groove with a slow styled rap vocal. I can see the appeal in sampling this classic track–but I just think more could have came out of it if  if the lyrics weren’t a blatant knock off.

Vanilla Ice vs. Queen

We all have done it.

We turn on the radio and hear the signature bass line and for a few bars we aren’t sure if Queen’s Under Pressure or Vanilla Ice’s Ice Ice Baby is about to play.

This is also a textbook case of copyright infringement.

To prove infringment the alleged infringer must have had two things:

1) Access to the work that’s claimed to be copied.

2) The tracks must contain substantial similarity.

That knowledge alone made Vanilla Ice somewhat of a laughing stock when he gave interviews regarding his hit Ice, Ice, Baby.

Ice claimed that he did not owe Queen and David Bowie any money for sampling their legendary song, Under Pressure, because he added a “chh”.

Yes, a “chh”. The “chh” he is reffering to is one solitary cymbal hit–one instance of a closed hi hat in the track. He believes that this one closed hi-hat  added to every 16 bars is enough for him to not have to pay royalties. The one hi-hat doesn’t make it substantial any more.

If this is how copyright law works than everyone get ready for my debut album containing songs such as: Hit The Road, Murphy, Somewhere Under Or Around The Vicinity Of The Rainbow, the funk inspired I Feel Okay, and of course the sure fire hit Purple Fog.

Though, of course, this isn’t how copyright works and Vanilla Ice ended up paying Queen for the sample and started listing the late Queen frontman, Freddie Mercury, as the composer.

He also went on to state that the infamous “chh” quote was him trying to be humorous–but something about him makes me doubts that.

Granted, both songs have a strong legacy. Under Pressure is considered to be one of the best collaborations of all time–combining the legendary David Bowie with the equally  legendary Freddie Mercury. While Ice, Ice, Baby–although not as prestigious, was the first hip hop song to cross over into the pop charts and is one of the more memorable songs of the last 20 years.

I couldn’t find how much Queen was paid and if they even asked for money–or if it was done out of respect by Ice. I would assume the Queen catalog would be huge money for the rights–hundreds of thousands.

If Vanilla Ice did have to pay big bucks to sample the Queen catalog–it would explain why he was last seen on D-List shows such as The Surreal Life and Dancing On Ice.

Too harsh?

Nonetheless, I’ve included an interesting mash up of the two tracks to show the similarities. It was actually kind of cool piecing them together and it’s a fun listen, if anything.

Chuck Berry vs. The Beach Boys

Chuck Berry was one of the innovators of early rock and roll music. His guitar playing combined elements of shout blues, jazz and gospel–a style that would ultimately turn into rock and roll. Berry has inspired everyone from the Beatles to Angus Young of AC/DC.. and apparently Brian Wilson of The Beach Boys, too.

In 1958 Berry released a track entitled Sweet Little Sixteen. The song is about a young lady, referred to only as sweet little sixteen, and how men from all over the world want to come and dance with her.

Men from Boston, Pittsburgh P.A., in the heart of Texas, to the ‘frisco Bay..and so forth.

A few years later, in 1963, The Beach Boys came out with a song entitled Surfin’ USA. The song was about some guys that loved to surf. They loved to surf all over the country. They loved to surf in Del Mar, Manhattan, the Doheny Way, they loved to surf in Huntington, Californi-a, and just all over the place.

Yes, even the content of the songs were taken from one another. I mean, Pittsburgh, P.A … Californi-A. It’s like they weren’t even trying to be crafty at this point. Brian Wilson, writer of the song, claimed that the song wasn’t “stolen” but “inspired by”. Although it was “inspired by” Berry, Wilson claimed and wanted sole authorship.

Behind Wilsons back, his father and manager Murry Wilson, actually went and claimed Berry as the copyright owner without ever telling Wilson.

For 25 years Berry received authorship while Wilson did not–this caused a huge controversy, and now they are both listed as composers for the tune.

However, I feel as if it was blatant infringement even down to the use of listing off cities, and this may have been the motive behind Murry Wilson not wanting his son to receive royalties for the track.

Listen to them side by side above!

As I mentioned in the beginning of this article there seems to be numerous trends in the industry that can easily overlap when it comes to song writing–though sometimes it can a tribute –but other times it can just appear to be straight up theft. You be the judge.

Thank you for your views!

Wu-Lyf, Heavy Pop

When I need inspiration–whether it’s writing, studying, or you name it–I always enjoyed ambient guitar driven music. Rock instrumental tracks that some would deem “post rock”. A genre typically lyric-less that utilizes your generic rock band set up yet harnesses the composition of an orchestra–crescendos, build ups, break downs–always wonderfully done and very unique.

There were times where I wondered what a modern rock group would sound like if they incorporated vocals into this orchestral rock vibe. If the group kept the spaced out instruments–the slow ambient rhythms, but just incorporated vocals in way that didn’t take away from the beautifully arranged instruments.

Still wondering?

Try Wu-Lyf’s new track Heavy Pop. 

Wu-Lyf is an enigmatic band from Manchester, England that formed in 2008. It’s hard to classify a genre for the group but whatever you want to call it–it’s good. The group’s tracks can be anything from more vocal driven, to more instrumental driven, to the perfect combination of both.

The above track, Heavy Pop, is their final track from their debut album, Go Tell Fire To The Mountain. 

A demo of the song surfaced in 2009, but in early Summer of 2011 the full version was released that incorporates a riveting piano introduction that builds into an explosion of raspy throat filled vocals. (Not metal throaty, but like a sensitive Tom Waits throaty. Yes strange analogy!)

The constant guitar riff also creates a beautiful “space” with in the track. This “space” compliments and brings out the passionate vocals and subtleties found within.

Check out the track above!

Jazz Great: Captain John Handy

 

I was a bit taken a back by the crowd as I walked into the Historical Society building to listen to a lecture on hometown jazz legend Captain Jack Handy. A man that was also my grandmothers neighbor–she was young but from what she remembers she sang his praises, claimed he was a kind man and had memories of him playing saxophone on his porch late at night.

Though, I wasn’t taken a back for bad reasons. I was actually pleased with the large turn out and anxious to learn a thing or two about the cultural and musical heritage of my city.

Handy, born in 1900, was a rising jazz star in the New Orleans music circuit and all over the world. Although, he was not as famous as his counterpart and compadre Louis Armstrong, he was just as influential.

The lecture wasn’t bad but I felt as if something was lacking. The talk was a biography and seemed to only skim the surface–where I was hoping that the lecture would touch on the struggle black artists in the deep south had to overcome to survive as musicians.

I have made my thoughts known in previous posts on the obstacles that other artists had to cross to get to where they are–so I was hoping for a bit more in the lecture. Instead, it seemed as if the speaker was scared to address any form of race. He claimed that Handy wasn’t as famous because he never went to Chicago a place where “more record labels were”.

However, in actuality Chicago was home to jazz clubs such as The Cotton Club, a club that brought together jazz fans of all races , and Chicago was also a city that was far ahead of the curve when it came to segregation. Black artists could flourish there–it had little to do with the number of labels.

At one point in the lecture there was even a list of reasons as to why John Handy isn’t better known today and “Black Man During Segregation” was even listed! But, yet.. he seemed to skip over that one.

So what is it? Is it the un-comfort of it?

I would be a bit hesitant as well–discussing the racist undertones of a mans biography while in the company of  rich older white people who were very much alive during segregation and during the civil rights movements. People who enjoyed the mans music but still– once upon a time did not consider a man of his race their equal.

The reasons as to why I was upset is because I believe that adversity helped to form jazz and blues music.

I believe that struggle and oppression when forced upon people–causes them to bond together to create something of their own. The improvisational stylings found in jazz are nothing more than an inner voice and rhythm becoming formed externally into something that we call music, that we call art.

So even though I left the lecture feeling unfulfilled, I did leave with even more respect for black artists from that era. John Handy passed away in 1972 and was given the first jazz funeral in Mississippi–500 were expected to show up… 5000 arrived.

That fact alone is astonishing–but even more astonishing knowing the hurdles he crossed to get there.

 

Frank Ocean, There Will Be Tears

Dear Vocal Effects,

It’s been a while.

You were used well by Peter Frampton in Do You Feel Like I Do a good 30 years ago but ever since then you kind of turned into a novelty–and then T-Pain showed up and all this drama happened, just..take my word for it..you’ve seen better days. You’re washed up.

You’re either over used or used incorrectly.

Hey now..

Oh c’mon, don’t be sad, Vocal Effects.  I actually have some good news!  You were fantastic on the Frank Ocean track There Will Be Tears.

I don’t know what it is, but the muffled electronica intertwined with Mr. Hudson’s crooning, swooning, british flavor is perfection to my ear drums.

Hudson lays down an amazing introduction sampled from Straight No Chaser and then Ocean hits us with his narrative singing and emotional lyrics. The song tells the story of Oceans dead beat and absent dad and his “player” grandfather who ending up leaving him as well–but this time due to death rather than lack of parenting.

Ocean then goes on to sing about how both his friends and society tell him that he shouldn’t cry and be sad–especially when their folks have abandoned them too–but Ocean counteracts their comments with a simple, “yeah, yeah I can.”

The track is short, sweet and powerful.

It contains great content and a perfectly placed sample of Mr. Hudson’s Straight No Chaser. The Hudson/Ocean collaboration is reminiscent of the 2000 Eminem/Dido collaboration where Eminem sampled Dido’s Thank You in his track Stan.

The similarities arise in the unique voices of both Dido and Hudson, as well as how the samples were used–sparsely, effectively but also hauntingly.

And while speaking on the production–the effects in the track are used at all the right places and all the right sections. Not just in There Will Be Tears but throughout Oceans entire album.

So Vocal Effects, take note of how you were used in this piece and..you know.. do that more often. You can also forward this letter to Lyrics, Song Structure and Production.

They could probably take some pointers from this track too.

Sincerely,
Tyler

 

Image Courtesy of Planet Ill.

Review: The Antlers, Every Night My Teeth Are Falling Out

 

The Antlers are a Brooklyn based group signed to French Kiss records, one of the labels in which I am doing artist development and promotions for. Although The Antlers aren’t one of the bands I’m working with, they are still certainly one to write about especially after their phenomenal appearance last night on Leno.

The group is best known for their previous album Hospice, a conceptual album that was in essence a love story between a hospice worker and a terminally ill patient, each track furthering the story line right up to it’s tragic and foreseen end.

And yes..it was just as heart breaking and intense as it sounds.

So, I was pleased to hear that the group recently released the album Burst Apart–and was equally as excited to hear that Burst Apart was not a conceptual piece about cuddly bunnies exploding in a firework accident or anything–instead it’s just a damn good album. It’s still emotional and intense–just not as potent and intimidating as Hospice was.

One of the standout tracks from Burst Apart is Every Night My Teeth Are Falling Out, a track that immediately sweeps you in with Peter Silbermans captivating voice–a voice that seems to be a mix of Ben Gibbard, Brendon Urie and even Conor Oberst at certain spots.

The heavy atmosphere of the track–such as the swift guitar rhythm, swooshing hi-hats, and subtle electronics– only exemplify the powerful vocals and lyrics of Silberman.

The lyrics are simple but effective–the music really takes hold over the lyrics and becomes a vehicle that drives the vocals in all the right locations.

Despite the music and lyrics meshing so well together– the content of the song is still something to take notice of. The track tells a story of heartbreak and the self destruction that pursues in it’s aftermath.

“One bad night I’ll hold the glass until the glass can hold me down
And one bad night I’ll spill and spill until my feet begin to drown
And one bad night I’ll hear you calling me to help you not pass out”

Upon further investigating the album each track has a similar charm–beautiful progression, emotional lyrics, and on point instrumentation. The subtly in production is also just as charming–slight hints of electronica on the intros and outros–and for the slower tunes: just the right amount of vocal/guitar effect that creates a beautiful and welcoming space. A space that invites you to sit down and experience the message, emotion, and triumph of the album.

For an introduction to The Antlers and what they have to offer, take a listen to Every Night My Teeth Are Falling Out and stay tuned for a review of Burst Apart.

(I’d write one today but I want a few more days with this gem, so spoiler alert: It’s a good one.)

Or hey, just go pick up the album  here.

Thanks for reading.

 

Image Courtesy of Stereo Gum.