Category: Artist Profile

  • Wu Tang Wednesday: GZA and Killah Priest teach about the B.I.B.L.E

    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. 

    liquid swords

    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.’”

    killah priest

    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.

    He alleges that Caucasian people are the decedents of Esau (the first son of Isaac and the first White person in history, according to The Old Testament) and his tribe Edom, a stance recently reiterated by Ice Cube and Desean Jackson. 

    On the last verse he says, 

    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.

    With contributions from Alain Clerine.

  • Wu Tang Wednesday: Nas, Raekwon and Ghostface deliver “Verbal Intercourse”

    Being part of a team is great; when you’re part of a successful one – like Wu Tang Clan – even better. Yet, there may always be that inkling of wonder of what could be accomplished by oneself. For musical acts whose contributions to the world are dissected and compared to one another, that one little thought may be enough to isolate said artist from the group, not to mention the monetary differences between a solo artist and being part of a group.

    Ego has played a part in the demise of many great factions — the likes of New Edition, NWA, The Fugees – they’ve all fallen victim to the individualistic desires of man. Yet, when tamed, this possibly destructive force can be channeled into producing some of the greatest albums in history. Bobby Brown’s Don’t Be Cruel fits in that mold, so does Ice Cube’s Amerikkas Most Wanted. This was also the case for one of the greatest Hip Hop albums ever. Raekwon’s Only Built 4 Cuban Lynx set the tone for a genre of mafioso themed albums that took the 90’s by storm.  

    Failing to distinguish himself from some of the other charismatic members of the Wu Tang Clan, the man known as “The Chef” was motivated to go out and make himself a classic body of work. And on August 1, 1995, Only Built 4 Cuban Lynx set a new standard for rap. The album received a 4.5 mic rating from The Source magazine (at the time, hip hop’s Bible). While the Method Man and Ghostface Killah assisted “Ice Cream,” was the LP’s most successful record, album cuts like “Verbal Intercourse” are what set the tone for the project. The twelfth track features a young Nas on the heels of his own soon-to-be classic, Illmatic, as well as Wu Tang mate Ghostface Killah – who plays a supporting role in the mafia movie themed album. Considered one of Nas’ best verses (which is saying something), it also stands as one of the greatest opening verses in history. 

    Wu Tang Wednesday: Nas, Raekwon
    Wu Tang Clan – a tough act to follow

    Nas sets the tone for the record early, rapping:

    Through the lights cameras and action, glamour glitters and gold I unfold the scroll, plant seeds to stampede the globe.

    When I’m deceased, by then the beast arise like yeast to conquer peace leaving savages to roam the streets.

    With his newfound fame and fortune from his individual success, his principles haven’t changed, as he still plans to take over the world. And after he has long passed, he hopes to have planted enough seeds in the minds of the youth to bring about a revolution. A Queensbridge legend long before platinum albums, Nas’ lyrical aptitude was as shocking as his youth, as he was barely 21 at the time of this recording.

    With ‘God’s Son’ written across his stomach, Nas looks to accomplish everything he prophesized.

    On the second verse, Raekwon deliver’s a high-quality opening bar of his own.

    Perhaps bullets bust, n**** discuss mad money true lies and white guys, we can see it through the eyes. Catch the most on tape, kilos disintegrate Pyrex pots, we break, fiends licking plates.

    While Nas’ verse pertained to his yearning for a mental uprising, Raekwon keeps with the album’s theme. Describing the dangers that come with operating on the wrong side of the law.

    On the song’s last verse, Ghostface Killah – maybe the most charismatic of the three – adds to the story, Further detailing the greed, jealousy, envy that comes with monetary success, with hopes of a light at the end of the tunnel.

    With the green leathers, hundred-pound snakes and cakes. Fiends found in lakes, jealously jakes we shake. What I strive for is what I live for. Infatuated by material things in this wild life of war like somewhere over the rainbow, I see a big pot of gold.

    “Verbal Intercourse” is defined as “conversation between more than one person.” But in this case, you could say they went a step further and f***ed the beat. The album featured every rapper in the Wu Tang Clan besides ODB, so Raekwon didn’t completely deviate from the already winning formula. Still, as the creative mastermind behind the LP, it helped Raekwon continue to establish himself as his own entity, outside of his groupmates. Debuting at number four on the Billboard charts, Only Built 4 Cuban Lynx sold 130,000 copies its first week, and while not a single, “Verbal Intercourse” saw each respective rapper plant seeds towards their now legendary status.

    with Maxwell Amankwah contributing

  • “Congratulations” to Post Malone on his birthday

    Austin Richard Post, known professionally as Post Malone, is celebrating his birthday today, July 4th. Born outside of Syracuse in 1995 and known for his combination of pop-trap and rock balladry, Malone has been one of the quickest rising stars of the past five years since his 2015 single “White Iversion” went viral after gaining recognition on SoundCloud.

    Voted “most likely to succeed” by his high school graduating class, Post got an early start in music learning guitar at the age of nine. Before making his first beats in the audio workstation FL Studios, Malone spent time in various heavy metal and screamo scene bands- a background that has helped fortify and define his style.

    Known for combining the music he grew up on, such as grunge and indie rock with trap-beat instrumentals and pop-rock song structures, Post Malone has earned numerous spots on the Billboard 100 and several Grammy Nominations. The cloud rap anthem, “Congratulations” featuring Quavo, off Posty’s 2016 Stoney album led the pop singer to nab his first Grammy nomination at the 61st edition of the Awards. Although passed up for the win, “Congratulations,” has garnered the Upstate native worldwide recognition.

    In Septemberr of 2019, Post Malone released his most recent album Hollywood’s Bleeding which included hit songs such as “Circles” and “Sunflower” featuring Swae Lee which was also part of the soundtrack for the recent Spider-man: Into The Spider-verse Marvel animated movie soundtrack.

    Most recently, Post Malone has been performing livestream performances including his full band nirvana cover set which featured Travis Barker of Blink 182 on drums.

    Have a great birthday Post Malone!

  • Meet Raquel and the Wildflowers, One of New York’s Best New Country/Rock Artists

    Based in Westchester, Raquel de Souza (Singer), Cat Lines (Fiddle), Luis Cruz (Guitar), Tommy Carlucci (Drummer), and Steve Riccio (Bass) are Raquel and the Wildflowers. This troupe have provided a breath of fresh air into the country/rock genre with Raquel’s first single “Run Towards The Highway” charting #32 on DRT top 50 Country Airplay charts in 2018.

    https://www.youtube.com/watch?v=5rEvzv0d8sI

    After the bands public debut in 2019 they have been on a marathon of performances. The band has opened for multi-platinum artist Andy Grammer, award winning band Skeeter Creek, international country star Jessica Lynn, performed at The Cutting Room for Lauren Davidson’s first “Urban Country Jam”, Daryl’s House, qualified for the “Battle Ground Talent Show Case” finals at West Point Eisenhower Theatre and much more.

    Most recently the band played the virtual concert for the radio station BIG FROG 104, and have posted the lovely performance on their Facebook page. For this performance, the band played covers as well as some of their originals, “King of the Jungle”, “Hot July”, “Room 15”, in addition to soon to be released songs “At least that’s what they say” and “What’s Done is Done”

    In addition to online shows, the band will be doing “front lawn concerts” where they will be available to play for private shows and can be booked through their contact list on their website.

    Their fully released songs are available on all major music outlets and you can find Raquel and the Wildflowers on  their Facebook, Instagram, and website.

  • Venues Vault: Breaking into the Concert Experience

    What lengths are you willing to go to keep your life’s work alive; will these adaptations muddle the concert experience forever.

    Devastation throughout the music industry has crippled artists and their mediums – Venues. Amid a global pandemic we are seemingly waiting – for venues to open, shows to begin and the concert experience to shapeshift into a safe, sustainable event. Nobody is sure what the final product will be, yet passion radiates. Through blooming efforts like the National Independent Venue Association (NIVA) right here in New York, we have band together to save our industry and the concert experience as we knew it.

    Venues

    The Past: 

    Being elbow-to-rib is just part of the experience. Hours spent waiting in line that sparked anxious anticipation, or getting sucked into the stage by the crowd when the lights go dim, before the main act, cannot be replaced by live streams. Maybe you’re the one up front hanging over the barrier, screaming every lyric verbatim; maybe you’re setback, studying your favorite instrument or player; you’re moving around, dancing or moshing (respectfully of course); or you’re the type that hangs at the bar with friends, reminiscing how you’ve seen this particular band hundreds of times. All of these moving parts create energy.  

    When you walk into a venue it sets the mood, the crowd and band feeds off one another. From local dive bars and smaller venues, to theatres and arenas, stepping in pre-soundcheck has a therapeutic energy for performers, as does the commotion when the doors open. Artists paint backstages, leaving totems or memorabilia that builds a venue’s character. When those spaces are cut to half capacity, or less, that energy is depleted.

     Everyone’s safety and economic sustainability is paramount, but nobody is talking about sustaining these colorful parts of the canvas. Adapting is necessary. Yet, promoters, artists and venues are stuck in limbo. Letting go of the experience as we knew it remains untold.

    Music Canada sites 40% of concertgoers won’t return until six months after restrictions lifted.

    The Present:

    NIVA was created by Independent Venue Week, top venues and promoters across the nation, “to fight for the survival of independent venues, their employees, artists, fans and their communities,” (nivassoc.org). Sucking in 450 members across 43 states in the first three days, they are now pushing 2,000 members nationwide (50 States) for an endless-scrolling roster on their website. Founded by the industry’s best, NIVA states that 90 percent of independent venues will collapse if they don’t open this year. With rumours saying this lockdown can lead well into 2021, will we be able to recover.

    venues

    Capacity restrictions will limit venues’ revenue, and minimum thresholds vary. A Chicago study deemed a 12:1 ratio of economic impact among small venues (nivassoc.org). Twelve dollars of economic stimulus to hotels, restaurants and shops flooded in for every dollar spent inside the venue. Extrapolate that on a $50 ticket, or a night out for a group of excited fans. The impact is everything. 

    According to a USA Today article, Johns Hopkins Director of the Master of Bioethics degree program and Research Scholar, Travis Rieder,  said there’s serious doubt about live music returning before 2021 and “a shortage of test and lack of vaccine simply make things too risky.” Unfortunately, he continues that “the risk of those events as we would have done them in the past outweighs the benefit of doing them.” Masks, temperature checks and spacing restrictions may not be enough. Is your favorite band or venue worth the risk.

    With the music industry on the rise prior to COVID-19, Pollstar predicts a daunting $8.9 billion hit, should quarantine continue and venues remain dark. They go on to state “industry losses could total about $5.2 billion in just missed ticket sales alone,” and not to mention residual impacts on the economy and all of those employed in the box offices, concession stands, parking valet, and so on. 

    The answer is NOTHING. Nothing will stop us from preserving our life’s work, the concert experience, our art, and all the pieces that work together to keep it alive. 

    On Thursday, June 18, NIVA made an official statement urging for federal help:

    We, the undersigned artists, respectfully submit this letter in support of NIVA’s request for federal assistance for independent music venues and promoters across the United States.

    Artists’ Letter To Congress – NIVA

    This is no petty petition. Industry giants, artists and celebrities wave an official SOS including: Joel, Eilish, Seinfeld, Gaga, Letterman, Goldberg, Iver, Lauper, Plant, Nelson, Aoki, Mayer, Leno, Weir, Watts…

    The irony in their signatures – it merits no value when we are all on lockdown. Something super-fan would unassumingly die for is now a cry for help, for congress to help kickstart the industry back to the creative and thriving outlet it once was, pre COVID-19.

    We will continue to fight, support and be the voice for all artists, venues and industry mediums that are struggling. Stay tuned for ‘The Vault,” featuring venue and artist specific coverage on this topic. Please contact NYS Music so your voice can be heard.

    #SaveOurStages

  • Celebrating 30 Years of Mariah Carey

    As of Friday, June 12, the self-titled debut album from Mariah Carey is 30 years old. With four consecutive #1 singles on the Billboard Hot 100 including “Vision of Love” and “Someday,” it instantly shot the Long Island-born diva into superstardom and an elite class of vocal legends including Whitney Houston. While Mariah’s legacy has been watered down to that of a washed-up Christmas singer in recent years, this unfair revisionist history ignores the impact she’s had on virtually every pop and R&B act after her.

    mariah carey

    When Mariah Carey released “Vision of Love” in 1990, the French-German duo Milli Vanilli had just been busted for lip-syncing and artists like Madonna made up for subpar vocal talent with shock value and spectacle. On the contrary, Carey demonstrated she was capable of belting, runs, melisma, and whistle tones in less than four minutes, swinging the pop pendulum the other way and reintroducing the concept of pop stars as vocalists with few gimmicks besides their own voices. More of these rose to fame throughout the 90s, from Brandy to Usher to Destiny’s Child, and the explosion of reality talent shows in the 2000s only intensified the phenomenon. Mariah’s power ballads like “Vision of Love” and “Hero” have been American Idol since its inception, a show she eventually judged.

    Throughout the 90s and 2000s, Carey achieved 18 #1 hit singles on the Billboard Hot 100. She wrote and produced 17 of them, the sole exception being a cover of the Jackson 5’s “I’ll Be There” for her MTV Unplugged EP. She also shared the record for the chart’s longest-running #1 with Boyz II Men for their 1995 single “One Sweet Day,” which spent 16 weeks at the top and had yet to be surpassed until Lil Nas X’s 2019 hit “Old Town Road” beat it with 19 weeks atop. Late last year, “All I Want For Christmas Is You” finally hit #1 on its 25th anniversary, giving Carey her 19th #1 overall and the first in 12 years.

    Despite her immense success, Mariah’s career hasn’t been without its setbacks. She made bizarre guest appearances on MTV’s TRL and Cribs in the early 2000s that she later attributed to bipolar disorder, and she was the subject of public ridicule when critics panned her 2001 film and album Glitter. However, she returned to form with her 2005 comeback single “We Belong Together” and its accompanying album The Emancipation of Mimi, winning three Grammy Awards. And although her 2016 New Year’s Eve fiasco temporarily made her the butt of the joke again, she set it right with a pitch-perfect performance the following year.

    mariah carey
    Mariah Carey with her three wins for The Emancipation of Mimi at the 2006 Grammy Awards.

    Carey is also no stranger to engaging in public feuds with other singers. Interestingly, a short glance at the long list of artists Carey has feuded with shows that they’ve all been influenced by her in one way or another: Christina Aguilera, Jennifer Lopez, Demi Lovato, Ariana Grande, and Nicki Minaj, to name just a few. They might not like her, but they still respect her achievements and emulate her in their music, style, and personas. With the Ol’ Dirty Bastard remix of “Fantasy” in 1995, Mariah became one of the first mainstream pop singers to feature a rapper on a song’s verses while singing the hook—now a common crossover recipe for top 40 artists.

    Even Canadian electropop artist Grimes defended her love of Mariah Carey to Pitchfork, saying, “I know very few adult males who consider themselves serious ‘music guys’ who don’t laugh when I say I like Mariah Carey. Why? Because she’s beautiful and people like her. Therefore she must be selling sex, right? So obviously her music is terrible, right? Ugh. The first time I heard Mariah Carey, it shattered the fabric of my existence.”

    Celebrate the album’s 30th anniversary below:

  • Young Singer/Songwriter Shawn Wodraska Uses His Voice to Call for Peace

    One of the greatest blessings we have in life is the ability to use our voice; Shawn Wodraska, a 21-year-old singer/songwriter from the small town of Wingdale, NY recently used his to represent his passion for the Black Lives Matter Movement and overall peace between those with different backgrounds and beliefs.

    Shawn Wodraska

    Shawn took to Facebook to portray a message of hope with a beautiful cover of “If I Can Dream” by Elvis Presley. “As I was scrolling through social media, I noticed that news coverage and posts were almost exclusively negative,” he said, “I decided that I had to do something; we all have to play our role to make a change, so I chose to sing, the only thing I know how to do.”

    Click here to view the original post.

    His video generated an exceptional amount of positive feedback with more than one thousand views. Prior to posting, Shawn said, “I was worried about negativity or that people would think I was using the Black Lives Matter Movement to further my career.” He continued, “I knew I had to do something to play my role in restoring peace, likes and views were the last thing on my mind.”

    Philosopher Aleksandr Solzhenitsyn and his belief that “the line between good and evil passes through every human heart” was one of the driving forces in Shawn’s decision to post on social media. “I want to do what I can to help bring peace to all corners of life by inspiring people to find the humanity in who they perceive to be their enemies,” he continued, “I am one voice of the many needed to bring about unity, but it’s important to remember that we are all human and we have to work together.”

    https://www.youtube.com/watch?v=9jntQW9XOxQ

    The passion inside of Shawn is evident in his original music as well. Although he doesn’t mind if he never makes it big, he said, “I want to use the platform I build to promote positivity. We can always do better. I want to highlight that in my music.”

    Typically accompanied by the piano, his content ranges from story-telling folk tunes that draw inspiration from Marty Robins to easy-listening ballads without lyrics. While some of his songs have a theme, many of them are left open to interpretation. “Mediums like music tend to reach people on a spiritual level – there’s a reason why they call it soul – the music we write should be inspirational and bring people together,” he continued, “We can all unite and enjoy a good song, regardless of the differences that polarize us.”

    To check out Shawn’s original music, visit his Youtube page.

  • Lauryn Hill’s Final Hour

    Words are like honey; they can be sweet to hear but the message might not always stick. And over time, messages get lost in translation. Take the late great Muhammad Ali, who refused to fight in the Vietnam war because, as only he could put it, “no Vietcong ever called me n*****.” When Ali took his stance, he was stripped of his world championships, boxing license and was vilified by the public.

    “I am not allowed to work in America and I’m not allowed to leave America,” Ali said in February. 1968, the start of his first full year of exile from boxing. “I’m just about broke.” This is why the Kaepernick comparisons aren’t apt. While Ali struggled to afford groceries, Kaepernick is backed by a billion-dollar corporation in Nike. After Ali’s passing in 2016, revisionist history took over. Ali’s mid-career struggles were now celebrated. Despite being spurned by the very country that now celebrates him.  

    What does this all have to do with Lauryn Hill? Well, have you ever asked yourself how the first woman to be nominated in ten Grammy categories in a single year, and the first woman to win five trophies in one night found herself out of the spotlight a couple of years after her acclaimed solo debut? Well, I’m here to tell you this was coming all along, oh and she warned us about it. 

    Lauryn Hill

    Lauryn Hill’s Revelation

    The Miseducation of Lauryn Hill is a magnum opus of black music, encompassing the best of multiple genres. However, due to her lack of activity musically, Lauryn Hill’s presence in contemporary pop culture is now reduced to jokes about her punctuality, and not the sacrifice she herself prophesied. 

    On “Final Hour,” the album’s seventh track, she makes her priorities apparent, regardless of her status as a world-famous entertainer. In the chorus she raps “you can get the money; you can get the power. But keep your eyes on the Final Hour.” With the “Final Hour” representing religious salvation. She even raps later in the record “I’m making sure I’m with the 144.” The 144 is a reference to the Book of Revelations. In it 144,000 people are specifically chosen by God to serve as his agents. 

    Lauryn Hill
    by 1998, Lauryn Hill had taken the world by storm

    Lauryn Hill has always been open about her faith and spirituality yet, in her earlier work as a member of The Fugees, religious references were further and fewer in between. So, what changed? After selling millions of records, winning awards and being propped as the face of a generation of women, had Lauryn Hill learned new information that brought on this stance? 

    Decoding The Lyrics

    At the end of the first verse she says, “People feel Lauryn Hill from New-Ark to Israel (clever play on words here as she makes a reference to the “Ark of the Covenant” and she’s from Jersey). And this is real, so I keep makin’ the street ballads, while you lookin’ for dressin’ to go with your tossed salad.” Followed by the aforementioned chorus, these lyrics emphasize her stance on the music industry. After all, tales of the the entertainment industry’s sexual deviance are now far too common. Hence, the “dressing” and “tossed salad” lines. 

    Throughout the song, she juxtaposes her glamorous life with her faith. Symbolizing that one wouldn’t be there without the other. In the last verse she says, “now I’m a get the mozzarella like a Rockefeller / Still be in the church of Lalibela, singing hymns a cappella / Whether posed in Maribella in Couture / or collecting residuals from off The Score.” While it may seem braggadocious, she lets the listener know what she would choose if it came time for a decision by saying, “I’m making sure I’m with the 144.” 

    Hence why she denounced the “dressing” (a symbolism for opulence) because the cost is her spirituality and beliefs. Being Lauryn Hill of course, (at one time one of the world’s most popular entertainers) there may not have been an option to continue her career without politics, corruption and possible harassment (there’s Harvey Weinstein’s in the music industry too). 

    Aftermath

    It comes as no surprise that by the turn of the millennium, Lauryn Hill was out of the public eye. Yet, sehe returned in 2002 with her MTV Unplugged No. 2.0 live album. However, critics weren’t as kind this time around, as chic hip hop girlie Lauryn way to a spiritually devoted Mrs. Lauryn Hill. While her lyrics pick up where she left of on “Final Hour.” So, no. Lauryn Hill didn’t go crazy, she didn’t lose her rapping and songwriting abilities. She made a decision.

    Lauryn Hill is now 45 years old. She still tours and performs medleys of her most popular songs (oftentimes restructuring the entire song and keeping the lyrics). She never regained the same level of stardom and probably won’t ever grace the covers of Time, Rolling Stone, Vibe, People or Entertainment Weekly ever again. Yet, it seems to have been a conscious sacrifice, preferring to sing her hymns for those that are keen to listen for their education and enjoyment. Not because the machine tells them to. 

  • Quarantine is the Right Time to Discover the Side-Long Prog Rock Epic

    For all the horrors the COVID-19 quarantine has wrought, it has given us one nice thing – oodles of downtime that we can spend listening to music, ad infinitum. So rather than getting emotionally played by non-stop news, why not invest this bounty of break time luxuriating, in bulk, in one of most maligned fruits of 60s and 70s popular music? The Side-Long Epic.

    Perhaps it was the soporific drugs consumed or the lack of concentration-breaking diversions like Facebook, YouTube and the iPhone? Or maybe the booming economy, where young people emerged from college with zero debt, apartments that rented for a little more than the cost of a Starbucks’ Venti and, therefore, more free time to devote to sex, drugs and music appreciation in mass quantities? 

    While there were a few in the rock idiom before it, the Golden Era of the Side-Long Epic ran from about 1968 to 1975. And its greatest practitioners?  The so-called Prog rockers, of course.  These were musos who may have started in the world of the 2:40 single, but who prided themselves on continued growth and evolution.  Here was the giant canvas upon which they could indulge their grandest whims. They could showcase their hard-earned instrumental chops, familiarity with offbeat time signatures and the great classical and jazz composers. There was also exotic world and new electronic music technology to explore, as well as fantasy/sci-fi and esoteric spiritual literature, in meisterwerkes that just had to eat up a whole side of vinyl, if not more.

    I offer the suggestions below with some qualifiers.  A few of these are not quite fully side-long pieces, as proggers have an annoying habit of throwing brief pieces on right before or after their epics (I’m talking to you Genesis!).  My definition of Prog is broad and progressive. Some named might be turned off, being tattooed with such a brand. Surely, some of the most popular favorites are not featured in my subjective roster. But please, dig them, and give them a spin.

    As the immortal psychedelic pitchman, Timothy Leary, advised: Turn On, Tune In and Drop Out into these long and wonderfully strange trips.


    Iron Butterfly “In-A-Gadda-Da-Vida” – Not the first side-long rock epic or pure prog but certainly the one that put the idiom on the map, at 17-plus minutes, selling 30 million copies since its release in 1968. Writer/singer Doug Ingle’s organ intro and theme imparts a very prog-Anglican church vibe, not surprising as his dad Lloyd was a church organist. Long portions are devoted to an organ solo, a fuzzy wah lead and sometimes requisite of the side-longer, a big-assed drum solo.  Reportedly written after Ingle consumed a gallon of wine, it was meant to be “In the Garden of Eden,” but his slurs made it otherwise when his drummer, Ron Bushy, attempted to write down the lyrics. Recorded not in the Butterfly’s native California, but at Ultrasonic Studios in Hempstead, Long Island, with the master take being the run-through recorded as the band waited for the late-arriving producer. 

    A stone cold classic to chill to, with renewed cred as a sample in tunes by hip-hop stars like Nas in his “Hip-Hop is Dead.”  Another bit of NYS music trivia: the band was supposed to play Woodstock, but got stuck at LaGuardia Airport. 

    Procol Harum “In Held ‘Twas I” – The first true prog opus takes up nearly all of Side Two of Procol’s second album, reportedly Sly Stallone’s favorite, 1968’s “Shine On Brightly.”  Its five movements chronicling nothing less than a search for the meaning of life (“Life is like a beanstalk, isn’t it?” says the Dalai Lama at one point). There’s the monk-y ohms and droning strings of its opening moving to a Russian classical style piano movement with poetic recitation by band’s obtuse lyricist Keith Reid, then a circus music jaunt. “The Autumn of My Madness” showcases the band’s organist Matthew Fisher at his “Whiter Shade of Pale” best. The “Look to Your Soul” and graduation march-like “Grand Finale” movements boast some of the wailingest work guitarist Robin Trower ever committed to tape. This is musical mountain climbing, brilliantly reprised live, with a full orchestra and choir, on their 1972 disc with The Edmonton Symphony Orchestra.”

    Pink Floyd “Echoes” – The full flowering of Floyd Mach 2, sans songsmith Syd Barrett, at their musical architect best, from their 1971 album, Meddle. A product of intense improvisation and experimentation which kicks off with a minimalist piano “ping,” produced by sending the signal through a swirling Leslie speaker and Binson tape echo. Swirling guitars then a vocal section with lyrics about an “albatross overhead” (very prog). Seven minutes in, it settles into a driving beat, setting the stage for David Gilmour’s fuzzy neighing guitars, floating in deep space with outer worldly orchestral sounds. Its accomplished not with synths, but by Gilmore rubbing his bottleneck against the strings of his heavily processed Strat – real “2001” stuff.  More undersea ping piano before the return to the song’s lyrical head, before sliding off into space. A staple of live performances since 1971, captured beautifully amongst ancient Roman ruins in their 1972 film, “Live at Pompeii.”

    https://www.youtube.com/watch?v=DtJgNvwmsRA

    Focus “Eruption” – The greatest prog band you never heard the truest side of – if you only know “Hocus Pocus,” a yodel-filled session afterthought that defined shred with the sizzling solos of their godly guitarist Jan Akkerman, a prank that became their biggest chart hit. Named “Best Guitarist in the World” by Melody Maker over Clapton, Beck etc. in 1973, Akkerman is as at home with the classics, and a lute, as he is with burning blues rock, psychedelia and jazz.  Largely penned the Dutch quartet’s classical trained keyboardist and flautist Thijs Van Leer, the 23-minute epic is a telling of the Greek myth of Orpheus and Euridice, with themes “lifted” from classical masters like Monteverdi and Bartok, a bit which they performed live but couldn’t on the recording due to copyright issues.  Highlights are Akkerman’s volume swell violin guitar on the theme, his stinging lyrical playing on the slow ballad, “Tommy,” which moves into his rapid-fire modal jamming on “The Bridge.” A flute theme segues into the Gregorian chant of “Dayglow,” before a very musical solo from drummer Pierre Van de Linden. The epic returns to the theme before a fade with an unusual bit of freeform percussion fireworks.  The second side of their 1972 disc “Focus II/Moving Waves,” the band returned to the side-long epic with 1974’s Bach-infused “Hamburger Concerto.” 

    Yes “Close to the Edge” – Side one of the popular prog band’s fifth album, four dreamy movements that clock in at close to 19 minutes, with lyrics inspired by Hermann Hesse’s Siddhartha. A quiet kickoff of running water, birds and wind chimes leads into frenetic stop-time jamming before the first vocal passage. The third movement, “I Get Up, I Get Down,” is the longest and best-known, with harmony vocals patterned on leader/singer Jon Anderson faves, The Beach Boys and The Association, and a massive organ passage from keyboard whiz Rick Wakeman.More furious riffing before a return to theme and fade back into the nature sounds.  Yes kept getting bigger with the outrageous four-sided 1974 concept album, “Tales from the Topographic Ocean” being their nadir. This one may be their best and purest. 

    Kraftwerk “Autobahn” – The 22-plus minutes of this 1974 track are recreate the feeling (and repetitive monotony) of driving on one of Germany’s no speed limit motorways.  From the beginning sound effects of a key in the ignition to the vocoder vocal theme parodying The Beach Boys (“fun, fun fun on ze Autobahn”), it unfolds like a flower. A cornerstone in minimalist electronica, it was created using early monophonic synths like the Minimoog and custom-built electronic percussion pads, but also traditional instruments including the flute, violin and guitars. The Sgt. Pepper of Krautrock went Top 20, in a single edit, around the world. 

    Frank Zappa “Little House I Used to Live In” – Not your classic prog, but one almost side-long piece that moves through a multitude of moods and features the best of early Zappa, from his precise chamber classical and music concrete to furious free-blowing and snappy audience banter.  The nearly 19-minute piece, a combination of live and studio pieces from the 1970 disc “Burnt Weeny Sandwich,” commences with a lush Schoenberg-inspired piano composition before marching off into the energetic theme from “Holiday In Berlin.” The highlight is the truly burning electric violin solo by Don “Sugarcane” Harris, one of many bits on the album recorded during the sessions for Zappa’s proto-fusion masterpiece, “Hot Rats.”  A great two-handed piano solo by Don Preston, a reprise from Harris and his violin.  More luscious chamber classical, bicycle percussion and oboe, a rare organ solo by Frank, then a war of words with an audience member recorded live in London. Early Zappa at his finest.

    Miles Davis “Agharta” & “Pangaea” – Get out your pistols, but I say Miles was prog in the truest sense, an artist who never stopped evolving through decades. After marrying the saucy 19-year old singer Betty Mabry, Miles first started wearing psychedelic jumpers, fringed leather vests and wraparound shades. Then he infused his music with some Sly and Hendrix and invented jazz fusion with the 1970 album, Bitches Brew. While this album’s side-longer “Pharoah’s Dance” possesses all the deep grooves, virtuoso soloing and dramatic ebb and flow one could want, Miles’ most risky and lengthy plunge into the long electric grooves came with the 1973 – 75 band featuring the noise/psycho-funk/shred of guitarist, Pete Cosey.  The double albums, Pangaea and Agharta, captured this band on evening and afternoon shows recorded on February 1, 1975 in Osaka, right before Miles hung up his trumpet for years. Basically they are one long performance, so take your pick of sides to dreamy away in.  It’s African beat industrial electronica bebop, with Miles pushing the pulse and players with wah wah trumpet jabs and breakdowns where his dissonant organ screams out alone in the silence. Guitarist Reggie Lucas provides non-stop wah funk, while Sonny Fortune rips off feverish solos on his sax and flute. Cosey takes his guitar and table of stomp boxes, many homemade, to other worlds, the post-Hendrix world of psychedelic funk/noise/shred, while drummers Al Foster and Mtume, and Motown refugee bassist Michael Henderson, pray to the gods that they can hold it all together.

    Need More? Try These……

    Genesis “Supper’s Ready” (22 minutes, seven parts of a good versus evil battle with an apocalypse in 9/8 time!) Rush “2112” (Sci-fi epic inspired by Ayn Rand!), Can “Yoo Doo Right” (20 minute edit of a 6 hour extravaganza), Tangerine Dream “Phaedra” (Early Krautrock at its most expansive),  Yes “Gates of Delirium” (Based on Tolstoy’s “War and Peace”), The Allman Brothers Band “Whipping Post” and “Mountain Jam(Deep-Fried American Prog – Blues County Jazz Fusion at its finest), Grateful Dead “Dark Star” (23 minutes of superior noodle from 1969’s “Live/Dead”), Jethro Tull “Thick As A Brick(A gag concept album inspired by the comedy of Monty Python across two sides of vinyl), and ELP “Tarkus (21 minute, seven part epic about a cybernetic fighting half tank/half armadillo!)

  • Happy Birthday Joey Ramone!

    Born May 19, 1951 in Queens, New York, Joey Ramone is regarded as the rocker who ushered the definition of a rebellious and braggadocious frontman in a punk band. There is no doubting The Ramones level of authenticity in the punk scene. Today would be his 70th birthday.

    birthday joey ramone
    Although short lived, Joey Ramone’s life was full of loud, angsty music; the legacy he left behind in the punk scene is almost untouchable.

    In 1974, four high school friends from a neighborhood in Forest Hills formed a band, inspired by the fast paced pop music which was popular during their upbringing. Taking influence from The Beach Boys and The Kinks, The Ramones made their music fast, melodic, raw and angsty. That same trio of effects became the formula for making punk music in the generations to come.

    Joey Ramone was diagnosed at a young age with Obsessive-Compulsive-Disorder which would go on to influence much of his lyrical content. Also somewhat of a social outcast, Ramone would use themes of paranoia and social rejection in his music. Releasing smash-hit single “Blitzkrieg Bop,” The Ramones went Gold with their Debut Album, Ramones, released April 23, 1976.

    Since forming the band, The Ramones would go onto perform nearly 2,300 live shows, touring almost nonstop for the majority of their musical career. Although only reaching a brief amount of commercial success, the band’s accolades in notoriety far outweigh those of the Academy Awards. The group was nominated for, and won, both a Hall of Fame Award in 2007 and Lifetime Achievement Award in 2011.

    Ramone passed away in 2001 after a lifelong battle with lymphoma, dying at the young age of 49. Although short lived, Joey Ramone’s life was full of loud, angsty music; the legacy he left behind in the punk scene is almost untouchable.

    Happy Birthday, Joey Ramone!