Danielle Ponder and Karate Boogaloo team up to create “Look Around,” a meaningful single to focus the public’s attention towards BIPOC being oppressed and murdered throughout the world.
Danille Ponder, an artist and activist from Rochester, started out this year by laying down a track for “Look Around,” a song that responds to the literal fires eating away at the continent of Australia. When she returned home to the US, she was, unfortunately, given even more dark events to add to those described in the song. The killing of George Floyd and countless other African Americans has ignited a call to action in many, Danielle Ponder included. On July 24, Danielle Ponder and Karate Boogaloo released the updated and finished version of “Look Around” as a way to remind everyone in the world of the deadly issues currently happening in America and across the globe.
Danielle Ponder spoke about the inspiration she had for “Look Around,” saying, “fires were raging through Australia and smoke covered the sky. It felt like all of our human sins had gotten the best of us and we were paying a price. I didn’t know that when I arrived back home in the U.S, the world would only get darker. I feel like my past self wrote this song for my future self knowing what was to come.” Danielle Ponder’s powerful soul vocals and visible writing talent make her voice memorable. This song was made in solidarity for all BIPOC.
Danielle Ponder Photo by Hannah Betts
Although they come from different continents, it was no problem for Danielle Ponder and Karate Boogaloo to make a connection. Their chemistry is clear in the music, as it flows naturally like they have been collaborating for years. The vocals and instrumentals together pack a powerful punch that effectively delivers the song’s message of unity for global justice.
Although Black Lives Matter is a US-based movement, it has a presence in Australia where Indigenous people undergo similarly harsh treatment. In July and August, sales of “Look Around” will be donated to the Equal Justice Initiative in the USA and Warriors Of The Aboriginal Resistance in Australia. Stream or buy “Look Around” now to support those in need.
For more information visit Danielle Ponder’s website.
Ghostface Killah is one of the more renowned members of the Wu Tang Clan, lauded for his exceptional skills as an emcee, where he mixes detailed storytelling with a unique sense of imagery and style. Those abilities were ever-so-present on his second studio album Supreme Clientele. On the RZA produced album, he successfully implemented a trendsetting combination of lyrical excellence and story-telling exclusive only to him.
The lead single was the oft-sampled “Might Healthy,” which showcased his deadly skills as an emcee, as well as the kind of presence that would make him a mainstay of hip hop culture. Debuting at #7 on the Billboard 200, Supreme Clientele was the most acclaimed of each Wu Tang member’s respective sophomore effort. And ironically, the highlighted record — “Mighty Healthy” — was one of the few not produced by Wu Tang head honcho, RZA, with production being handle by producer and Wu Tang Clan DJ, Mathematics.
The iconic album cover
“Mighty Healthy” was partly inspired by Brooklyn based hip-hop group, Divine Force, and their single pack “Holy War (Live).” Divine Force was made up of emcees Sir Ibu, Lady Nefertiti and her brother Supreme and their DJ, Jizer. They were managed by Melquan, who also managed RZA (then known as Prince Rakeem), GZA (then known as Genius), and Ol’ Dirty Bastard, before 36 Chambers fame. “Holy War (live)” sampled drum patterns from Melvin Bliss’ “Synthetic Substitution,” an uncharted record that went on to become one of the most sampled songs in hip hop history.
On “Mighty Healthy,” Ghostface begins the sampling at around the 1:12 mark. You can hear him using Sir Ibu’s flow as well as some of his lyrics as a way of paying homage.
When we hug these mics, we get busy
Come have a good time with G-O-D
Make you snap your fingers or wiggle
Scream, shout, laugh or just giggle
Shake that body, party that body
Don’t f**k with ghost you’ll feel sorry
That’s word, I’m not the herb
Understand what I’m saying, saying, saying
Sir Ibu’s lyrics on “Holy War (Live)” read:
“The wisdom that I’m speaking are words that I’m rhyming
The God of rhyme, Divine Force gets busy
Make you hip or hop or get dizzy
Make you snap your fingers or wiggle
Scream, shout or laugh or just giggle
That body, party that body
Don’t (F**k) with me you’ll feel sorry
That’s word, I’m not the herb
Understand what I’m saying?”
Besides the Divine Force interpolation, “Mighty Healthy” sampled records from other pioneers of hip hop, sampling “Wish I Could Talk to You” by The Sylvers, as well as, “Nobody Beats the Biz” by Biz Markie featuring T.J. Swan and “Funk President (People it’s Bad),” by James Brown (another heavily sampled artist).
Ghostface did much more than just interpolate others, and “Mighty Healthy” showcased some of the best rapping of his career. Heavily inspired by martial arts — much like the rest of the Clan – the song begins with a sound bite from the film Shaolin Rescuers. He starts his verse with his typical and colorfully descriptive lyrics.
Son trifling f**k, wildflower on the cycle and
Picked up the broom thought I was Michael in
West Brighton Pool, now I’m into Iron Duels
Turn nuns to Earth Whoopi, she at Allah school
He starts with an honest, yet blunt description of himself, then says he thought he was “Michael in West Brighton Pool”– a home goods store located in Staten Island — but the imagery, metaphors and double entendre are ever present, as “broom” is also slang for guns; in the next line he talks about now being into “iron duels,” (as a gun is made of steel). Before finishing off the bar with a Whoopi Goldberg reference, known best at the time for Sister Act, where she played a choir singer who had to relocate after having witnessed a murder and enters witness protection as a nun.
“The world can’t touch Ghost, purple tape Rae co-host
In his second verse, he continues his onslaught, first by paying homage to Sir Ibu on the bride before getting into his verse, setting it off with this”
Hit mics like Ted Koppel, rifle expert
Let off the Eiffel, burn a flag in your grass, spiteful
Ringleader set it off, rap Derek Jeter
Culprit, prince of the game wish you could see us
Ghost brags here, letting the audience know that he is better than most. Ted Koppel was a famous anchor and broadcaster for ABC and Nightline, from 1980 until the program’s end in 2005. Ghost continues by saying, he’s a rifle expert who lets off “the Eiffel,” and “burn a flag in your grass, spiteful” is his way of saying that after conquering his enemy with his superior weaponry, he will continue to acknowledge it to the world. Finishing off by labeling himself “ringleader” and the “rap Derek Jeter.” He continues his braggadocios rhyming throughout,
“Too hot to handle, one thought from scrambling the mandolin
Hundred game Wilt Chamberlain, smack ‘em, say when”
“Mighty Healthy” has meant a great deal to hip-hop and to Ghostface, with Complex Magazine even naming it his best song. It has also been sampled on a myriad of records, including “No More Parties in L.A” by Kanye West — off of his 2016 album The Life of Pablo. The chorus was heavily interpolated on the Pusha T and Kanye West collaboration “New God Flow,” as well as a J. Cole rendition titled “Mighty Crazy.”
“Mighty Healthy” is one of the many bright spots from Supreme Clientele, yet its enduring legacy within hip hop circles has solidified the album as a classic. Ghostface stuck to his style and made it something to behold, especially at a time when other rappers were changing their sounds to fit the new party and club theme music of the 2000’s. The album’s success also cemented him as one of the commercial faces of Wu Tang, a spot that had only been previously reserved for Method Man.
Shortly before the country would celebrate its Bicentennial in 1976, the Grateful Dead would play a show at the Beacon Theatre. This is the second and last time the band would play this New York City venue before upgrading to the larger confines of Madison Square Garden a few years later. They had recently ditched their fabled massive Wall of Sound PA system for a more stripped down and intimate stage setup, opting to let the music speak for itself rather than overpowering the audience. A string of East Coast shows in June of this year would see the band in pristine form as they dusted off some of their classic songs and began to introduce new ones, ushering in a new era of The Grateful Dead.
The first set starts off in electric fashion thanks a crisp vocal section led by guitarist Bob Weir that helps fuel a cover of “Promised Land” that would make Chuck Berry glow. A slow, drippy “Sugaree” follows that allows fellow guitarist Jerry Garcia a chance to stretch out his vocal chords a bit before a rip roaring “Cassidy” sets the tone for the first set, thanks to accompanying vocal support from Bob Weir and Donna Jean Godchaux.
An audible first set highlight, based on the crowd reaction alone, is a sultry “Candyman” that places the lyrical craftsmanship of Robert Hunter and the complimentary guitar play from Garcia front and center. Soon after, the ravenous New York City crowd gets a little taste of Grateful Dead shows of old show thanks to a stirring rendition of “It Must Have Been the Roses,” a song the band played extensively in 1974 and a staple of Jerry Garcia Band shows for years to come.
The first set of this show ends with an impressive sequence of a “Let It Grow” that stretches out all the way to a “Drums”-esque type jam before settling into a set closing “Might As Well.” Even though this tune was also played the night before, it still marked only the sixth time this Dead tune was played live, one they would continue to showcase for another eighteen years,
Grateful Dead, June 1976
The band wastes no time in opening the second set with a “Saint Stephen” that immediately explores the given space and stretches into a formidable jam. However, instead of a “William Tell Bridge,” the rhythmic partners of Bill Kreutzmann and Mickey Hart begin the percussive intro of “Not Fade Away,” a Buddy Holly cover that, by now, The Grateful Dead seem to have appropriated as their own.
Contrary to most Dead shows, the ensuing Beacon “Drums” section gets ripcorded almost instantly in favor of an incredibly emotional “Stella Blue” that’s spearheaded by poignant Garcia-sung lyrics. This particular version is marked by a beautifully patient progression from all parties and is definitely one of the show’s highlights. Garcia’s hauntingly slow delivery of the vocals, matched perfectly by the rest of the band, gives this version a rather emotional feel to it. Take a listen to the entire segment from “Saint Stephen” to “Stella Blue” below – worth the price of admission alone.
“Samson and Delilah,” a song that made its live debut only weeks earlier in the beginning of the tour, shows off its future potential nicely with a shortlived jam that picks the energy back up before a leisurely “Friend of the Devil” brings things to a crawl again. A manic “Dancin’ in the Streets” then follows as the band seems to delight in varying up the tempo of this second set. The telepathic interplay between Garcia and bassist Phil Lesh is on prime display here.
Perhaps what makes this show so special is the superb sound quality, thanks to soundboard recordings captured by the band’s longtime live recording engineer Betty Cantor-Jackson. For years, this and the other June ’76 shows were some of the most revered recordings in the tape trading community. Picking up on that, these recordings have since been further polished and remastered and are now available for purchase as part of a 15-disc box set that highlights this special era of Grateful Dead music. It features this and four of the other shows surrounding this one. With production limited to only 12,000 individually numbered copies and a slew of crisp recordings from this seminal era of the band’s history, it’s sure to be a “sound” investment for any fan.
Grateful Dead Beacon Theatre – New York City, NY
Set 1: Promised Land, Sugaree, Cassidy, Candyman, The Music Never Stopped, It Must Have Been The Roses, Looks Like Rain, Tennessee Jed, Let It Grow -> Might As Well
Set 2: Saint Stephen->Not Fade Away->Drums->Stella Blue, Samson & Delilah, Friend Of The Devil, Dancin’ In The Streets->The Wheel->Sugar Magnolia->Scarlet Begonias->Sunshine Daydream
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. NYS Music will bring you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Art LaFleur – “Reset“
Art has been in the local Albany music scene for nearly 20 years performing in modern country bands such as Offramp, Rattlesnake, True Grit Outlaws, Byrds of Prey, and most recently, Grit N Whiskey. Art was out of the music scene for a couple of years dealing with the long term illness and the death of his wife who sadly passed away in 2017. As a means to deal with the loss, he has begun writing his own songs and putting more emphasis into building his songwriting career. He draws influences from Lynyrd Skynyrd, The Outlaws, Warren Haynes, The Eagles, Sting, and Charlie Daniels.
Thinner Friends – “Demons Are All I Have“
A new electronic punk trio from Troy in the vein of DEVO meets Le Tigre, Thinner Friends have just released their debut album and 50% of all sales on Bandcamp will be donated to the Black Trans Protesters Emergency Fund. Whatever is not needed will be given to Black trans-led organizations that work to stop violence against Black trans people.
Johann – “Sparkly Summer Radio Song“
A college student from Cambridge, NY, Johann released Thanks for Coming in April which is available on Bandcamp. “Sparkley Summer Radio Song” is his latest and was recorded during quarantine thanks to the extra time to write.
Six years ago today, Bobby Shmurda and his effervescent first single “Hot N-gga” was made digitally available for consumption by Epic Records. The music video – which has garnered nearly 650 million YouTube views – was released in May of 2014 and quickly became an internet sensation. While the record was re-packaged, the music video was not subjected to such changes, most likely because it had already reached “viral” status, but also because it represented the ingenuity of Brooklyn inner-cities. It spawned the “Shmoney Dance” craze where, in a moment of inventiveness, the rapper throws his hat in the air and begins to pop his hips left and right. Unplanned, the “Shmoney Dance” helped cement the record as the song of 2014. Peaking at Number 6 on the Billboard Hot 100, it helped usher in a new era. This was the first song that this current incarnation of social media (Instagram, Facebook and Twitter) made prominent, something we’ve since seen replicated several times over.
The hottest song of 2014
A subsequent EP – Shmurda She Wrote– followed along with other Billboard hits like “Bobby B!tch” and the cult classic “Computers.” Unfortunately, the success was short-lived. In December 2014, Bobby Shmurda, along with his associates, his brother and GS9 label-mate Rowdy Rebel, were arrested on charges of drug and gun possession, reckless endangerment and conspiracy to commit murder.
Ah Ah Ah
Less public members of the organization received the harshest of sentences, while Bobby Shmurda and Rowdy Rebel have been behind bars for the past six years, with an impending release set for the tail-end of 2020. Their impact on the New York culture has not been forgotten (as they successfully implemented the Chicago drill sound to help popularize the sub-genre of New York drill) and in return, fans have showered them with support and promises of a hero’s return. Hot
Alondra Galopa dropped their cover of “Sound of Silence” originally by Simon and Garfunkel. The cover comes from a place of unrest and gives the song a new meaning in 2020.
Alondra Galopa is an alternative indie band that originates from Granada, Spain. The band has worked with Linier Discos and The Borderline Music record labels producing one of a kind sounds. Some of their biggest songs include, “no hay marcha atrás,” “héroe,” and “a ninguna parte.” The band is made up of Juan A Salinas, Monica Navarro, Antonio “Lopez” y Manuel Marín.
Before the worldwide pandemic, Alondra Galopa, was in full production work for their next record release. The album production process had to stop due to the group’s inability to reunite. Band members Mónica Navarro and Juan A. Salinas have adapted “Sound of Silence” by Simon & Garfunkel to Spanish during their unexpected downtime. They have turned the sound into a dark pop terrain, with the essence of post rock and dark noise that characterizes some of their productions. Between Monica Navarro’s vocals and the eerie sound it’s an original version of “Sound of Silence.” The cover is really something special that takes a classic song and changes to the sound while still keeping the essence of the song intact which isn’t an easy thing to do.
The song is definitely worth giving a listen to if you are a Alondra Galopa or Simon and Garfunkel fan. The song is out now and available on most streaming services.
For more information on Alondra Galopa visit their Facebook Page.
Our look back at the Grateful Dead’s tour history in New York makes a stop in the heart of Central New York, with a trip back to September 28, 1976 and a show so good it deserved placement on a Dick’s Pick release. The latter half of Volume 20 of this particular series of live shows showcases the band at the top of its game as it rolled into Syracuse in late September, after a show at Rochester’s War Memorial the night before.
New York has always served as fertile ground for memorable Grateful Dead shows and this particular one at the Onondaga County War Memorial falls right in line, with the band continuing to break new ground as they explode through this transformative mid ’70s era.
The proceedings start with an upbeat and inspirational “Cold Rain and Snow” that seems to warm the collective hearts assembled in Central New York this evening and gives the band a chance to warm up their harmonies early.
A “Cassidy” that later follows takes the set’s early momentum and runs with it, courtesy of its typically brief yet intense ending progression section. The band then stretches their collective legs a little with a version of “Tennessee Jed” that has a delightful, rambling jam attached to it and a stout version of “Candyman” soon follows. But the real highlight of the opening stanza is an an enthusiastic “Let It Grow” that fosters a jam which meanders effortlessly through the highs and lows provided by a rhythm section in lock step with the vocals of Bob Weir and Donna Jean Godcheaux before it dissolves into psychedelic bliss. This more than helps provide the kindling for a set closing “Goin’ Down The Road Feeling Bad” that easily catches fire, ending the first set in a pristine blaze of glory.
A direct and authoritative “Playing In the Band” opens the second set with Jerry Garcia on lead guitar laying down ferocious melodies atop a bed of intense rhythms fueled drummers Bill Kreutzmann and Mickey Hart and bassist Phil Lesh. The near 11-minute opening salvo is the band at their finest as they collectively finesse through a psychedelic jaunt that eventually makes way for “The Wheel.”
A joyous “Samson and Delilah” follows, which wastes no time after its completion before seguing into another blissful, guitar-driven improvisational jam with Garcia still leading and the rest of the band in hot pursuit.
Much like the first set, the bulk of this show’s punch comes towards the end, in the form of a tidy “Drums” section that gives way to an absolutely blistering “Eyes of the World” that sees the full band in complete cohesion and harmony, in a somewhat speedy version that was not atypical for this era of Dead.
This rapid rendition of “Eyes” then gives way to a loose, ragged collective jam that’s since been dubbed the “Orange Tango Jam,” the only one of its kind and seemingly a nod to the local Syracuse confines. This off-the-cuff jam has flashes of inspiration but eventually peters out and gives way to a rousing “Dancing In The Streets” before the set concludes with a bookending “Playing In The Band.”
Make no mistake. Even through this show might be the second half of Volume 20 of the esteemed Dick’s Picks archival releases, it takes a back seat to very few others from this era. It shows the band playing relaxed and cohesive as a whole, with the ability to shift into unstructured territory at a moment’s notice – a sign of things to come with the band soon entering perhaps the most explosive year of its existence.
Grateful Dead – Onondaga War Memorial Aud., Syracuse, NY – September 28, 1976
Set 1: Cold Rain and Snow, Big River, Bertha, Cassidy, Tennessee Jed, New Minglewood Blues, Candyman, It’s All Over Now, Friend of the Devil, Let it Grow, Goin’ Down the Road Feelin’ Bad
Set 2: Playin’ in the Band > The Wheel >Samson and Delilah > Comes a Time > Drums > Eyes of the World > Dancin’ in the Streets, Playin’ in the Band
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. NYS Music will bring you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Tune into WEQX.com this Sunday night to hear music from Joe Mansman and the Midnight Revival Band, Underwater Cartographers, New Saviors, Grape Juice!, Ida Mae Specker and many more! Get a preview of these artists below.
These guys rock, plain and simple. Hailing from Glens Falls and have most recently released Fear In The Valley: Live From The Den, a collection of live acoustic songs recorded during quarantine. Joe Mansman says of the recording process which took place in an old boat garage:
There was at least some comfort sitting in that moldy and dusty room with people you love, because it felt more normal than what was going on outside of it. We took our acoustic guitars, and just hit the record button most nights, letting it take us wherever. That felt normal. To me, this record will forever serve as a time capsule that’ll remind me of how we found a little bit of comfort in a strange and uncertain moment in the world’s history.
Joe Mansman
Underwater Cartographers – “Wave Goodbye and Watch it Go”
Albany’s Joe Pasinella is staying busy as always. Look up Underwater Cartographers on Bandcamp to see what I mean. It’s crazy how many songs this dude cranks out. He sends me new music constantly and it’s always interesting both lyrically and musically, all done for fun recording on Garage Band. Just like you, or maybe not depending on your situation, he works a standard job. I have no idea what that job is but he makes music like it’s his job. This is from the new Album Benign Fascinations.
New Saviors – “Pieces”
Ryan, host of EQXposure, shares insight on the newest from New Saviors.
Zack King’s latest project New Saviors are based out of Southern Vermont and Upstate New York. Zack plays guitar and takes on many other roles within the group. I’ve known him for well over a decade and have always known him to be in a band of some kind, even experimenting with rap as King Daddy Deucey (KDD) for a period of time. He’s a hustler for sure. When KDD merch was for sale you could see the t-shirts all over Bennington before Zack had even released any music under the name. I myself had at least three shirts, a hoodie, and a hat. That’s the thing about Zack. He’s just got the drive, talent, and personality to move any project forward.
Grape Juice! – “Strawberry Pie“
From Saratoga Springs, Grape Juice! is Hunter Fish (lead vocals, guitar, ukulele), Jesse Zuccaro (bass), and Michael Smith (drums, vocals). The three met in a creative writing class at SUNY Adirondack in 2017 and started the band at the beginning of 2018. “Strawberry Pie” was one of the first original songs they ever played and wrote together, and has been a favorite of their’s ever since. They recorded and mixed it all by themselves in their bass player’s basement, and if you listen closely, you can hear that it features his mom walking around upstairs toward the end of the song. They released our debut EPOuter Spvce EP on July 10, and are constantly writing, recording, and practicing. It shouldn’t be long before they have more music and start building their audience in the region.
Ida Mae Specker – Billy In The Heartland
Ida Mae Specker lives in Dorset, Vermont, having growing up in Andover, Vermont, where she began playing fiddle and singing in her family band, The Speckers. In addition to singing and fiddling, she’s also played drums and guitar in folk and indie rock bands. Her new EP Billy in the Heartland was recorded last year at Owl Sounds Recording and was the first time she recorded her original songs. The EP was to be followed up with some shows with the bands Upstate and Saints and Liars but the shows were unfortunately canceled due to COVID-19. Her web designer, photographer, and agent are all local VT women and you can see their work at on her website.
One of the newest bands to come out of New York City‘s Indie underground, Burning Bicycles makes their debut with the single “Moonlight.” Originally released April 13, this track serves both as an acknowledgment of NYC’s crisis with COVID-19 and a call for hope amid the chaos.
In this track you can hear the Burning Bicycles leaning into their psychedelic rock roots, crafting a dreamy track that pairs a mellow glimmering guitar with a laid back beat. Burning Bicycles states that “Moonlight’ encourages our fans to be aware of the world around them, but not to give up on their dreams and ambitions: regardless of the conditions we face.”
I couldn’t agree more with their assessment and the chorus perfectly exemplifies their intent, further adding to the inspiring and uplifting tone of the track.
“Don’t break away, Look around at the world that you stay, Living in and, Don’t let them take, All your dreams it’s the reason why you live”
Be sure to check out Burning Bicycles newest single, “War” and find them on their Facebook for updates on their coming releases.
While recent racial tensions surrounding police-brutality have garnered the general public’s attention, another divisive issue has picked up steam as of late. Public figures such as, Ice Cube, former NBA player Stephen Jackson and Philadelphia Eagles wide receiver DeSean Jackson have posted social media doctrines acknowledging that the first of the Jewish people were indeed Black, and those we recognize as Hispanic and Native Americans, are actually decedents of the Black Hebrew Israelites. This sparked backlash with some labeling DeSean Jackson and Ice Cube as anti-Semitic and accusing them of spreading misinformation. While present-day celebrities take the brunt of the repercussions, these claims have been uttered by influential figures in the past.
On November 7, 1995, GZA of the Wu Tang Clan released his second studio album, Liquid Swords. With no made-for-radio records, the project still debuted at number 9 on the Billboard charts and has since been certified platinum. A critically-acclaimed album, Liquid Swords is multi-faceted and backed by complex lyrics, it explores themes such as crime, philosophy and chess. And although GZA is recognized as the most lyrically potent of the Clan, the most compelling of the 13 tracks – and the album’s outro — came from protégé Killah Priest. Aptly titled “B.I.B.L.E” (Basic Instructions Before Leaving Earth), the 4th disciple produced record explores the religious fallacies that have been instilled within the Black community, as well as the hypocrisies within organized religion that many children are forced to accept.
In an interview with Righteous Disorder Tv, Killah Priest divulges how his record made the cut, “it was a process, I just kicked a rhyme for GZA one day before it was even a song and GZA always loved that verse,” and soon after, it was turned into a full song. With the album’s producer — and Wu Tang Clan leader — RZA not sure of its placement within the project, it was turned into a bonus track.
The song begins with Killah Priest repeating the acronym four times before transitioning into the hook
“Life is a test, many quest the Universe and through my research I felt joy and hurt, the first shall be last and the last shall be first. Basic instructions before leaving earth.”
With two lines, he sets the stage for the record’s theme. Acknowledging the joy in finding out the truth about his race and the feelings of sadness that come with the truth. The hook ends with “the first shall be last and the last will be first.” A reference to Genesis chapter 25, verse 23, “Two nations are in your womb, and two peoples from within you will be separated; one people will be stronger than the other, and the older will serve the younger.’”
Priest begins the first verse discussing his interest in the bible and why it is so important to him,
Explored my history that was untold and watched mysteries unfold and drop a jewel on them like Solomon, but never follow men cause if you do your brain hollower than space oblivia or the abyss.
He is ignoring the teachings of the church and doing his own research on the bible and what it means, as well as, who it is meant for. As he learns more, he uncovers new mysteries that he was never taught, and he begins to teach others what he has learned. “Never follow men,” speaks to the ideology that God should be the only entity leading one to salvation.
He carries on,
I speak on Jacob, it might take some time up, and too much knowledge, it might break up the rhyme. I did it anyway, just to wake up the mind of those who kiss stones or prays on carpet. Those who sit home or sell books by the market need to chill and give their mind revived for years religion has done nothing but divide.
The first line serves as a double entendre, as “Jacob” is a known biblical reference, while Jacob Arabo is known popularly within hip hop circles as “Jacob the Jeweler,” for his unique designs of Jewelry — specifically watches — The last two lines throw stones at those who pray and profit off of selling the bible yet, know little of their true history.
On the second verse he advances with his earlier rhetoric on religion and how it has been used to confuse him and his people, while also speaking on the true origins of the White race.
I even learnt that Caucasians were the tribe of Edom the white image of Christ is really Cesare Borgia. And uhh, the second son of Pope Alexander the sixth of Rome and once the picture was shown that’s how the devil tricked my dome.
I prophesized to save man, but no one gives a damn for my nation, the seed of Abraham blessed with the tongue of Hebrew now we strung on needles and some plunging evils. So, study and be wise in these days of darkness, peace to my nephew Marcus.
With a desolate first bar, Killah Priest gives insight into the thoughts of a man who is trying to warn yet, the more he tells people the true history the more they don’t care or take what he says seriously, leaving him frustrated. On the second line, he says that his people are descendants of the biblical figure —Abraham, ascribing to the chosen seed that God prophesized he would be blessed with. At one point his people were blessed in their history and knowledge of Hebrew. Now, they are strung on needles — referencing the many drugs that have been pipelined to Black inner cities — and committing other evil acts. Finishing off by encouraging them to take their knowledge into their own hands.
While Black entertainers continue to receive backlash for their thoughts on Judaism, the authenticity of their claims must be acknowledged. With this record being a quarter-century old, how many more people have already accepted Killah Priest’s claims as their truth? It’s easy to accept the status quo as the truth, challenging accepted ideologies is the only way we can grow as people, and that begins with exploring the possibilities of different origins to every religion, as none belong to any one race.
