NYS Music 202​0

Category: Profiles

  • Jerry Garcia: A Legacy Built to Last

    On the 25th anniversary of his death, the music of Jerry Garcia continues to have an enduring presence in the extended Grateful Dead scene that has thrived for more than a generation since his passing. His iconic guitar play and signature vocals have now been consumed and enjoyed by fans of all ages thanks to modern audio technology that’s fueled by a trove of Grateful Dead and Jerry Garcia Band releases.

    Jerry Garcia truly was built to last. So it is fitting that we pay homage today to “Built to Last,” one of his last song writing credits. It appears on the Dead’s final studio album that shares the same name. With poetic lyrics supplied by longtime collaborator Robert Hunter, it’s a song of hope and resolve in trying times – items that are very relatable today.

    Its first performance in a live setting was on October 20, 1988, at The Summit in Houston, TX. “Built to Last” appeared in the second set, following “Playing in the Band” and right before the “Drums” section. It wasn’t played again until February of 1989 when it made its way into the first set at a show at The Forum in Inglewood, CA.

    In an odd twist, the song itself did not live up to its title as it was predominately played only in 1989, often appearing in the latter stages of the first set, before being shelved soon after. But it does share the distinction, along with “Blues for Allah,” “Terrapin Station,” and “Shakedown Street,” of being the title track for a Grateful Dead album.

    Were the band still playing today, there’s little doubt that this song would reemerge in the live setting as the lyrics about strength in times of adversity and self reliance more than play to the current climate. And the song truly does speak to the Grateful Dead’s legacy of establishing something firm and long lasting that will stand the test of time. Pair all of that with a passionate guitar solo from Jerry and you’ve got a winner.

    With that said, here’s the last ever live performance of “Built to Last,” played in Albany’s own Knickerbocker Arena. As today we celebrate the life and music of Jerry Garcia, whose legacy was undoubtedly built to last.

    “Built to Last” – words by Robert Hunter, music by Jerry Garcia

    There are times that you can beckon
    There are times when you must call
    You can shake a ton of reckoning
    But you can’t shake it all
    There are times when I can help you out
    And times that you must fall
    There are times when you must live in doubt
    And I can’t help at all

    Three blue stars / Rise on the hill
    Say no more, now / Just be still
    All these trials / Soon be past
    Look for something / Built to last

    One blue star / Sets on the hill
    Call it back / You never will
    One more star / Sinks in the past
    Show me something / Built to last.

    Built to last till time itself
    Falls tumbling from the wall
    Built to last till sunshine fails
    And darkness moves on all
    Built to last while years roll past
    Like cloudscapes in the sky
    Show me something built to last
    Or something built to try

    There are times when you get hit upon
    Try hard but you cannot give
    Other times you’d gladly part
    With what you need to live
    Don’t waste the breath to save your face
    When you have done your best
    And even more is asked of you
    Let fate decide the rest.

    All the stars / Are gone but one
    Morning breaks / Here comes the sun
    Cross the sky now / Sinking fast
    Show me something / Built to last

  • Wu Tang Wednesday: Cash Rules Everything Around Me

    With one of the more iconic hooks in hip-hop history, “C.R.E.A.M” (Cash Rules Everything Around Me) is by far Wu-Tang Clan’s most popular record, making them household names. The single was on their debut LP Enter the Wu-Tang (36 Chambers) and is considered a magnum opus of hip hop music. When you combine Method Man’s unique — yet silky-smooth flow — along with Raekwon and Inspectah Deck’s cutting-edge lyricism, you have the makings of a classic record. 

    “C.R.E.A.M” was recorded by the group in July of 1993, but was officially released November 9, 1993 as the eighth track from the 36 Chambers LP. RZA — the group’s defacto leader and beat maker — produced the song by sampling the opening piano riff from Charmel’s 1967 record “As Long as I Got You,” with a perfectly placed set of looping drum kicks added on.

    Despite all the praise the record received within the hip-hop community and its current status as a classic record, “C.R.E.A.M” was not a chart-topp. Debuting at number 96 on the U.S. Billboard Hot 100, it eventually peaked at number 60 later that week, also peaking at number 8 on the hottest hip-hop/R&B songs. It became certified gold officially in 2009, 15 years after its release.

    Cash Rules Everything Around Me
    “The Rza is just razor sharp, he always on point with the beats with the rhymes”

    In an interview for 247HH (hip-hop), Raekwon revealed the meaning behind the song’s tittle, revealing that “cream” was a slang term for money kids around the neighborhood would use. Saying that it came from cartoons like, Tom & Jerry, where the titular cat — Jerry — would slap Tom (the mouse) with whipped cream as they would fight over food. As a result, “cream” became something that they said when they were fighting over money or. in general, want of a better financial situation.

    He also revealed that the acronym “cash rules everything around me” came from group mate Method Man’s associate, Raid. Detailing that back then, people would write graffiti and would break words down to give them meaning so, Raid broke down “cream” to mean “cash rules everything around me.”

    Cash Rules Everything Around Me

    RZA shed light on how the record came about, in an interview with SiriusXM. Divulging that the name of the original track was “The Lifestyle of the Mega Rich” and it had about 8 minutes of material from Raekwon and Inspacteh Deck. He wanted them to condense their lyrics into more concise verses and thought it needed a great hook. That’s where Method Man came in to play. The most culturally transcendent of the group, RZA even acknowledged that it was Method Man’s melodic flow on the hook that took Wu-Tang from gold to Platinum.   

    In a more recent interview with DJ Vlad, Inspectah Deck revealed that it was the success of “C.R.E.A.M” that made him realize how big of a group they were. Recalling a memory from a show the clan in Webster Hall, noticing that many of his heroes were there to see the Clan perform. From Big Daddy Kane, to Tracy Lee and Q-Tip. 

    The songs music video paid homage to where each member of the group was from, as a form of imagery that added even more depth to the record. The music video begins in the projects of Staten Island and then sees the Clan make their way to a more lavish lifestyle, driving Mercedes and sipping champagne.     

    Raekwon And Inspectah Deck were the only members of the group to have verses on the record. With both relating to the harsh realities of being from the inner cities. Telling their life stories’ in each verse. Rae gives a timeline of his life from his move from to Staten Island and his time spent in New York City. His first two lines perfectly captures the environment he hails from.

    “I grew up on the crime side the New York times side

    Where staying alive was no jive.”

    Continuing with more personal tales of being separated from his father with his mother leaving and moving the family to Staten Island.

    “Second hands moms bounced on old man, then we moved to shaolin land”

    He chronicled his entire life on this verse and gave descriptive accounts of his times in the inner-city. The story being told is raw, real and vivid, something the man known as “the chef” is known for. Finishing his verse with: 

    “Figured out I went the wrong route, so I got with sick a** clique and went all out

    Catching kings from cross seas hauling MVP’s every week we make 40 g’s 

    N***a respect mine or here goes the tech nine ch-ch pow move from the gate now”

    Inspectah Deck took a similar approach to Raekwon, with similar accounts, while his verse detailed his own attempts at preventing the youth from following a similar path.  

    “Spent 22 long hard years we still struggling

    Survival got me bugging but I’m alive on arrival

    I peep at the shape of the streets 

    And stay awake to the ways of the world cause sh*t is deep”

    With Raekwon’s story-telling abilities an entire story was told in one perfectly executed verse. From this verse alone, we learn, that at 15 he had plans of making “cream” but, was sent to jail for selling drugs. Yet, he only sold drugs because he never had much and only wanted a piece of the finer things in life – a sentiment many incarcerated Black men can share in. In the end, his life was taken away for trying to get his version of the American dream. 

    “Life as a shorty shouldn’t be so rough.

    Though I don’t know why I chose to smoke sess

    I guess that the time when I’m not depressed

    But I’m still depressed, and I ask; what’s it worth 

    Ready to give up so I seek the old Earth” 

    “C.R.E.A.M” has left behind a significant legacy in hip-hop. The song’s popularity helped shift the balance of power from the West coast to the East, even going on to transcend any tension between the differing coasts. 

    The record has been sampled or interpolated by Drake on “Pound Cake/Paris Morton Music 2,” Notorious B.I.G on his hit record “Notorious Thugs,” featuring Bone-Thugs-N-Harmony. Other artists include Joey Bada$$ on his song “Paper Trail$” as well as, Mos Def on “Mathematics.”

    With contributions from Maxwell Amankwah

  • Sculpting Sounds at Brooklyn’s Soapbox Gallery

    When COVID-19 hit New York City in March, the music, as Jim Morrison crooned, was over.  But one place it never stopped was at Soapbox Gallery, one of Brooklyn’s most unique and eclectic performance venues.

    Soapbox Gallery is not the brainchild of a veteran promoter, profit-seeking barkeep or musician, but a music-loving sculptor with a true D.I.Y. spirit, Jimmy Greenfield.  

    A native of Poughkeepsie, Greenfield moved to NYC’s SoHo in the mid-1970s to pursue a career in art.  While there, he drank in and was inspired by the loft jazz scene percolating at homey little venues like Sam Rivers’ Studio Rivbea.  Like many visual artists, Greenfield became friendly and collaborated with the adventurous musos on that scene. And like many a SoHo artist, he was eventually priced out of the tony neighborhood and helped pioneer a new scene with a move to Brooklyn in the early 1980s.

    Greenfield came to the street-level space at 636 Dean Street that would become Soapbox in 1996. He utilized it for years as his sculpture studio, with the street frontage being dedicated to installations by visual artists he loved. 

    soap box

    “The gallery was inspired by the idea of a soapbox, the humble stage that one stands upon to deliver a message, a narrative story, that can start a movement that can perhaps change the world,” says Greenfield. “It functioned that way for our art shows and, since 2014, with our escalating program of musical events.”

    Music became a part of Soapbox Gallery in 2014, when Greenfield made his venue the home to periodic shows by critically acclaimed Brooklyn Raga Massive, a collective of world class musicians dedicated to furthering the understanding of Indian classical and Raga forms.  Within a couple of years, Greenfield decided to move his sculpture studio to another location and, over time, convert Soapbox into a full-time performance space.

    “The idea was to create an intimate space, a sanctuary that was almost like a mini-concert hall,” adds Greenfield. “I wanted the best sound and atmosphere, so we completely renovated the space, with soundproofing, a dropped ceiling with acoustic tile, high-end sound mitigation and amplification.  We wanted the room to be a draw, the perfect acoustic environment that would attract the very best musicians.”

    soap box

    It was serendipitous that Greenfield tapped his neighbor, filmmaker Dave Power, and his brother, the sound-painting saxophonist Hayes Greenfield, for advice on cameras and sound, and to execute all the physical labor.

    “Our intention was to create not only a world-class performance space of intimate size, but a top-of-the-line production center as well,” adds Greenfield.  “We designed where the camera drops would be, where the computers and controls would be, even a system to move the sound around the space and the stereo spectrum, all anticipating the era of streaming.  So we were ready for what has, unfortunately, become the performance model of today.”

    Another thing Jimmy did to attract a top-flight coterie of performers was purchase the world-class piano, the lightly used Yamaha C7 that is the physical centerpiece of the space. 

    “My friend Ludwig found that for us, a 1998 Yamaha Grand that was barely used,” continues Greenfield.  “It was another stroke of good luck in the collective, all D.I.Y. effort to build this space and scene.”

    The scene started to gain critical mass in 2019 with Soapbox Gallery’s weekly Piano Hangs, organized with David Berkman, noted pianist, author and director of the Jazz Department at Queens College.

    “Every Saturday, we would invite four to five pianists to perform and discuss their work,” adds Greenfield.  “The series attracted high-caliber talent from the worlds of jazz, classical and beyond, like Fred Hersh, Chano Dominguez and Bruce Barth.” 

    Into 2020, Soapbox Gallery continued to expand its palate of performances.  Greenfield added small groups like jazz trios, classical quartets, a virtual fest with the New England Conservatory Jazz Lab, and solo performances by notables like electro-jazzer Adam Neely, looping violinist and vocalist Natie, singer/songwriter Tracey Yarad and many more.

    Hayes Greenfield Electro-Acoustic Looping Musician 4 parts from Hayes Greenfield on Vimeo.

    One mainstay of the space has been Jimmy’s renowned musician-brother Hayes Greenfield and his Immersive Surround Sound Experience.  Here, Hayes employs his saxophone, flute, kalimba, harmonica, voice and a plethora of delays, synths, effects pedals and loopers to create meditative sound environments reminiscent of Brian Eno’s ambient works.  With the assistance of Hayes’ sponsor, Eventide, Soapbox Gallery has been outfitted with a system that produces true 3D sound that can be moved around the space and within the heads of stream listeners.

    When COVID-19 closed down NYC’s live performance venues in mid-March, Jimmy and Hayes were quick to provide a sonic salve for the quarantined masses, in New York and wherever there was a broadband connection.

    For weeks after the shutdown, Hayes performed his Sound Meditations nearly every day at 3 pm from the Soapbox Gallery, more than 30 total events and counting.   As soon as WNYC’s Greene Space began streaming in early April, Soapbox Gallery began programming more events, from its space and the homes of some of its coterie of musicians.

    Since May, Soapbox Gallery has been presenting live-stream performances six days a week from Greenfield’s former sculpture studio. Its state-of-the-art, three-camera system provides a great view of the action, and video overlays are increasingly a part of the performance equation, providing a unique multimedia experience. 

    One notable upcoming event that will make the most of the technology is Soapbox’s three-day Sonic-Vision Looping Festival, August 26– 28.   The event will include adventurous performances by noted percussionist Will Calhoun (Living Colour, Pharoah Saunders), Hayes Greenfield and the ambient guitar duo, Guitars A Go Go, who will perform their hypnotic improvisations to fractal videos.  

    2020-07-19 19-15-44 from Soapbox Gallery on Vimeo.

    Also not to missed are the latest installments of its on-going “Couples in Harmony” series, curated and hosted by Tracey Yarad, which presents real-life couples in performance, often for their first artistic collaborations.   On Sunday, August 16, Soapbox Gallery will feature jazz vocalist and bassist Teri Roiger and John Menegon; on August 23, singers/songwriters Lisa St. Lou and Tor Hyams.

    For a list of upcoming performances, visit soapboxgallery.org

  • Wu Tang Wednesday: Ghostface Teaches us how to stay ‘Mighty Healthy’

    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. 

    Ghostface Mighty Healthy
    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.

  • Microphone Check: Interview With Shira Elias of Turkuaz

    NYS Music and Music Minds have teamed up to check in with musicians around the scene and see how they are holding up and how they are feeling about their craft.  For the first installment, we talked to Shira Elias, vocalist of Turkuaz.

    Vocalist Shira Elias finds her voice in the space where soul, pop, and R&B collide. This spring, Shira welcomed her debut solo endeavor, GOODS the EP, under her latest project, Shira Elias’ Goods & Services. With funk band, Turkuaz, Shira has recorded six records and played shows across the globe at legendary venues and festivals. Elias is collaborating with producer and musical partner MEGA to offer up a series of songs that are deeply personal, decidedly honest, and undeniably unique.

    Adam Chase: In what ways has this time period put live music into perspective?

    Shira Elias: I mean, you don’t know what you got til it’s gone, right? In so many ways, over the past 4 months we have seen how art brings people together and HEALS us. Especially now, live music is necessary in that way.

    Shira Elias

    AC: In what ways has music helped get you through tough times?

    SE: Music is therapy for me, both by experiencing it from an outside source and in creating it myself. It transports me to a spiritual place where I can really look within myself for answers and for comfort. For me, it’s the most potent anxiety reliever out there.

    AC: What makes being a singer different from other musicians?

    SE: Your instrument is your body. It is all within you. Instrumentalists have a separate entity that they channel their expression through. Vocalists have a more literally visceral connection to their instrument, which is a blessing and a curse. A blessing because I believe the sound of a human voice can resonate and express emotion in a more profound way than any instrument can by virtue of it being produced by a living being. And a curse, because there is no escaping it. You cannot put your instrument away in its case after the gig, which is why vocal health is a lifelong challenge for singers.

    AC: What words of encouragement would you have for someone learning how to sing?

    SE: I would tell them to sing as much as they can, as often as they can because your voice is a muscle that you need to train and work out just like any muscle in your body. You gotta get those reps in. And I would also encourage them to find their own true, authentic voice, rather than try to sound like someone else. No one else in the world can sound like you, so be the best you that you can possibly be.

  • Wu Tang Wednesday: The Foundations of Wu Wear

    Wu Tang Clan have long been innovators within hip hop culture, whether it came from their music, style, or their lingo. Before the masses draped themselves in popular streetwear like Supreme, V-Lone and Bape, Wu Wear occupied that space within the streetwear community. Always the trendsetters, this was the first of many clothing lines by rappers. Its impact was worldwide, as each article of clothing was designed to showcase the most iconic logo in the history of hip-hop, the infamous Wu Tang Clan “W” which combined their love of kung fu and hip-hop. 

    wu wear

    A unisex clothing line, Wu Wear offered a variety of fleece jackets, long sleeve t-shirts with graphics, crew necks along with sweatshirts — all of which donned the iconic logo. While RZA is regarded as the group’s de-facto leader, the idea for Wu Wear stemmed from Oliver “Power” Grant, a close associate of the groups who has executive produced every Wu-Tang Clan album.

    In 2008, they faced a counterfeiting scandal, hurting the brand’s credibility. Consumers were under the assumption that they were getting ripped off with fake clothes that they were paying a lot of money for. The brand has since bounced back and has made a relaunch to their website. Partnering up with the likes of Nike, ALIFE and other popular clothing brands.

    To recognize the brand’s cultural significance, RZA recorded a song titled “Wu-Wear: The Garment Renaissance.” which was included on the High School High soundtrack, as well as RZA’s greatest hit album. The record also features Wu tang affiliate Cappadonna and Method Man.

    Method Man’s laid back and rhythmic hook (along with his charisma and style) gave the record much needed flavor that balanced RZA’s scientific flow and lyricism.

    “Ain’t what you want baby

    It’s what you need baby

    Ain’t what you want baby

    It’s what you neeeeeeeed”

    Setting a calm and relaxed tone (which was needed) before RZA began his verse. The famed producer begins the record with a breakdown of what makes Wu garments unique, and why it had been deemed a renaissance for streetwear.

    “Yo,  diamond crystal rings sharp like icicles, nickel plated pistols

    official Wu-Wear covers my physical”

    RZA begins his verse describing the jewelry and diamonds that cover his body, concluding with Wu Wear as a way of associating the clothing brand with the valuable jewelry he dons.  

    “You can detect the true and living God from the score

    Keep your sword straight, maintain your weight

    But he ate too much monosodiumglutumate, and polysorbate

    and drug rate concentrate, with sodium benzoate

    By the chicken thighs and tryglycerides

    And this bitch advertised her breast size

    Eighty-five didn’t realize, til the truth opened up his eyes”

    He begins to breakdown all the things that is poisonous to body and wellbeing of his body and of others. He is also referencing the “five percent” teachings when he speaks on searching for the God within. The five percenters focus on how the Black man is the original man and how they are Gods on the earth. That’s why it’s important to keep and maintain your health from many of the substances in this society that destroy your mental and body, which RZA references while also discussing his recent wealth. He refers to is as “chicken” that fattens his thighs which in tun, leads women to show their “breast size,” a clever play on words. He finished the bar off by letting the masses know that  he was once one of the 85% until he searched for his own truth.  

    “Then he became highly civilized,

    and spent time amongst the wise,

    went through a garment renaissance

    and stopped wearing Benetton, Tommy Hill, Perry Ellis, Nautica,

    or Liz Claiborne, Ocean Pacific, Fila, Bill Blass and leave fitted

    Quit the Armani sweaters with the Gucci wool knitted

    Mecca, Pelly Pell, 88, North Q, Bear and a few others

    For the new year, strictly Wu-Wear

    Once he opened up his mind, he spent time with wiser men and gained a greater understanding of his purpose. His garment renaissance came when he stopped wearing name-brands clothing and focused his efforts on the success of Wu-Wear and other Black owned clothing brands. With the renaissance signifying 

    While the theme remained the same, Cappadonna’s verse was much more straight-forward, relying less on philosophical references.

    “The Century 21 son, the new portfolio dunn

    Now it’s my time, Asian Wu-Wear, Cap and fleece wear

    One wear plaids the Don will hold the best for all wear

    plus blue wear, Wu-Wear, what’s going on

    We’re the best of this year, Wu-Wear and fleece wear”

    While RZA focused on the meaning behind his beliefs, Cappadonna spent more time detailing his exploits as a well-dressed man, aligning Wu Wear with other recognized name-brands. 

    “Just hold your own baby

    and just rock on baby

    I got this wine on my mind

    feelin fine darlin

    Now all you see baby

    ain’t what you need baby

    I wanna know just how low it goes

    Official nasty asses, straight shots in dirty glasses

    Wu-Wear fleece for you and your stinkin piece

    Hard time and killer tactics”

    Known for having more crossover appeal, Method Man took a took a different approach to his verse. Unlike the others, he demonstrated how the allure of the clothing line can be used to allure women, a major point of contention for most men. 

    The record sampled The Soul Children and their 1972 single “Don’t Take My Kindness For Weakness,” spending 17 weeks on Billboard charts and peaking at number 20. While it served as great promotion for the clothing line, it also showcased the diversity that made Wu Tang Clan so iconic. There’s knowledge-of-self and wisdom from RZA, “fly talk” from Cappadonna, and the smooth slickness of Method Man. 

    Wu-Tang having their own clothing line and iconic logo has been ingrained in the fabric of hip-hop since the brand came out. They were innovators taking their interests and creativity outside of music and making it into a business to profit off of other than just recording music. You can say this was the model for artists such as Notorious B.I.G and Bad Boys records, Jay-Z and Roc-A-Fella records, rapper Camron and his Dip Set clothing line and Kanye West with his Yeezy brand.

    Companies have also used rappers to promote their companies clothing lines such as the rap group Clipse with Bape and the late Tupac Shakur with Versace. All of this can be traced bac to the Clan and their influence on the culture. 

  • Exploring Storytelling in Music with The Ninth

    With large gatherings banned for the foreseeable future, fans of musical theater and full-band live music are on the search for musical fulfillment and interesting story arcs. Enter the concept album- a perfect cross between long-form storytelling and studio recorded music. Albums like The Who’s Pinball Wizard and Green Day’s American Idiot hold their place on the pedestal of great rock operas. Over time, fans of musical theater have seen soundtracks becoming more contemporary. Musicals like Once and Hamilton make for otherwise great studio soundtracks to listen to apart from their visual stories. It’s a tall task for bands and composers to be able to write soundtracks in this long storytelling form. One NYC based band is doing it right here, combining catchy tunes with technically brilliant songwriting and performances.

    The Ninth are a dynamic, often changing group of musicians. Ben Halperin (Guitar, Songwriter), Tim Russell (Vocals/Keys), Stephanie Genito (Vocals), Tim Galvin (Drums), and Jeff Ostroski (horns) make up the core of the group. The talented crew of musicians have two stellar studio works in their catalog, The Answer (2018) and Olympic Dream/Nightmare (2019). For the most part both combine elements of funk rock and musical theater. The outcome is wonderfully groovy and incredibly intricate. Catchy hooks unify every song, keeping the listener coming back.

    The Answer 

    To begin with, The Answer is a short and sweet trio of songs clocking in at just over 10 minutes. The group’s propensity to uniquely combine the minutiae of classic rock, funk, and R&B is showcased in this initial release. Funky beats match with masterfully crafted bass lines to drive the songs and provide a delightfully dance-able groove. For instance, huge brass and string parts mesh well with the core-band. This gives each song a sense of grandeur. 

    Vocalist Tim Russel steals the show with his soaring vocals. Meticulously performed guitar and bouncing bass reinforce the technical expertise that the band possesses. Guitarist Ben Halperin remembers how the songs acted as a jumping off point in the first place. He recalls “We were just getting our bearings and feeling out our sound…we love those songs, but there isn’t anything to them other than that we thought they were good and ready.” Halperin had been working on something special however, before the band had even assembled.

    Olympic Dream/Nightmare

    The Ninth released their first full album Olympic Dream/Nightmare in October 2019. The album tells the story of the Nancy Kerrigan and Tonya Harding Olympic scandal. Ultimately the story was adapted and written by Halperin. The songs were also written in collaboration with the band over time. Halperin’s wife had recently opened his eyes to Broadway, theater performance, and all the possibilities the medium presented. The album idea came quick.

    Having watched the Hardy/Kerrigan debacle unfold as a child, and after watching an “ESPN 30 for 30” special years later, Halperin was inspired to write about the event. He focuses especially on a couple main themes. One being how difficult it is to achieve lofty goals. The other about the damage public judgement can have on a person. Together with each other, these themes are of principal focus in the lyrics. Album in hand, Halperin started to put together his troupe. 

    Halperin was able to assemble an incredible crew of musicians including the likes of Broadway pit performer Jeff Ostroski, who played trumpet and also arranged the horn parts for the album. Adding in musical theater performers Tim Russel and Stephanie Genito on vocals gave the project’s lineup an extra kick. Consequently, they were outfitted to sound like a Broadway ensemble. The Ninth’s music consistently exudes influence in funk rock and jazz. The band’s consistency in genre lends to their tight-knit sound. With the clear album topic and a great sound in mind, the project could move forward with a common goal.

    Putting it All Together

    The re-imagination of such a dynamic event allowed the group to leverage emotional complexity to create large compositions that reflect such bittersweet themes. The real life story is about as wild as any Hollywood script. Particularly, The Ninth do a great job of capturing the chaos and beauty of the story. Every track is a roller-coaster, with highs and lows dominated by the intricate composition and wonderfully crafted lyricism.

    Halperin remarks that “almost the entire first half of the album comes back some way or another in the second half.” For instance, “the title song introduces themes that recur in Limelight and Oksana, with Limelight also having a Trailer Park reprise.” Everything ties together splendidly, despite the long story arc. No strangers to big studio projects, the band offers up hit after hit.

    Halperin mentions specifically how “the emotion and characters translated well to the funk and rock music that I love.”

    Full brass and string sections give each song a larger-than-life feeling. This is something that the band strives to deliver. Songs such as “Saving Grace” and “Trailer Park” provide character introduction and juxtaposition between two of the story’s main characters. Namely, the band uses different vocalists for each character. Each vocalist offers a magnificent performance on their tracks and also mesh well together in harmony.

    The guitar work shines marvelously throughout the entire work. Halperin matches tone to every small part of the story thus acting as a sort of narrator in the story. He provides a magnificent performance all around. Cory Wong-styled funk lines opposite soaring solos. Generally the guitar foretells the mood of the song. A sleazy funk song like “Crowbar” emulates the Jeff Gillooly character wonderfully.

    Successes and Challenges

    Although projects of this size don’t come together easy. It was great preparation and a solid cast of musicians that helped Olympic Dream/Nightmare come out so well done. Halperin mentions that it wasn’t so much the undertaking of the music that made the recording a challenge. He says “making music in a great studio with great musicians always has and always will be a complete pleasure.” The band recorded everything Steely Dan-style. Putting painstaking detail put into each instrument’s recording and layering is a point of pride. Indeed, the hard part was the scheduling and financing. This was no rush job, and it shows with the final product. Everything was meticulously planned and executed.

    Playing Live and The Pandemic

    It’s no surprise that the group has a big live sound too. They have played some of NYC’s iconic venues such as The Bitter End. Their tight grooves keep live renditions of their songs dance-able and exciting. High energy is a big defining characteristic of The Ninth. Together, this unrelenting powerhouse of a group can perform with stellar execution. “Boy do I miss crowds”, Halperin says. Specifically those crowds including musicians who are digging the music.

    The off time has been ultimately slow for the band since everything is shut down. For instance, Halperin has kids and a day job. Consequently, with no access to child care right now it’s tough to focus on music. Though he is optimistic about the future. He says “we’re itching to perform once it’s safe.” In the meantime, he says the band has new music to record. Otherwise, he is available to help out with other projects, and is available to write if anyone has an idea and needs music. 

    You can find both albums streaming on services such as Spotify, Apple Music, Amazon, Pandora, and Bandcamp. Follow the band on Twitter, Instagram, Facebook, and YouTube for updates.

  • 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!

Built in Breakdance