Myriad Muzik

Reviews

Sly Stone ‘I’m Just Like You’ Album Review

by Leave a Comment

It’s almost impossible to review the work of a musical genius. All they create is usually perfect for the most part. This album could allow for some missteps since the majority of the track listing is compiled of rough cuts, sketches, and unreleased alternate takes. Fortunately, and with all praise to Sly, this album only further cements the fact that Sly Stone is, and will always be a musical genius. When listening to material that was purposely not released to the public one would expect to hear something of lesser value but “I’m Just Like You” delivers top quality and then some. Comprised of material from the years 1969 and 1970 (right after Woodstock and right before the Family Stone would release their legendary ‘There’s A Riot Going On’ album) this album is a compilation tracks that were set to be released on Sly Stone’s short lived ‘Stone Flower’ label with distribution through Atlantic. After Woodstock Sly Stone was at the top of the world musically and as many do at this point he did a pretty abrupt 180, the future notoriously reclusive and elusive star locked himself in a studio with just a Maestro Rhythm King drum machine, the ‘Funk Box’ as the band would eventually come to call it, and his instruments and started what is perhaps the first collision of what is computer based equipment and live instrumentation. This amazing clash was something for listeners and it is not known if Sly used the drum machine just for sketches and demos only or truly intended to have finished songs come out with a locked in computer driven drum beat. ‘Riot’ a year later would come to utilize this technique but with this rare glimpse into Sly’s process we see early recordings of songs some with the ‘Funk Box’ keeping the beat and some with the full live band appearing a little bit later in the track listing. Most artist only want the listener to hear the final product but on this compilation their is a beautiful and more coherent version of “Just Like A Baby”  and version of “Somebody’s Watching You’ sung by the group Little Sister and some of Mr. Stone’s funkiest tracks yet are handed off to  San Fransisco soul singer Joe Hicks. With thumping basslines infused with rigid and precise drum programming underneath signature gospel organ riffs, all of course digitally remastered for the best sound, Sly Stone manages to drop another perfect album almost 50yrs after its conception. Even as just sketches and alternate takes this album is flawless and a much cherished piece of musical history. Another bonus to being a genius is that your work can be released half a century later and still be just as powerful.

Rating: 10/10

 

Art Official Age/Plectrum Electrum Review By Sah

by Leave a Comment

   “Prince is from a different era. Well a few actually. He’s been at his craft long enough to lean towards disco in his first release, and still wield falsetto in an age of autotuned altos. Whereas as the 80s found a young Prince pioneering punk-funk, his latter years have been more or less a public call for “a return to form”.

   One half of his latest release, Art Official Age, is riddled with stylistic flourishes that would sit perfectly within any decade or genre of your choice. “Clouds” has an airy bounce reminiscent of Earth, Wind & Fire, yet on the same LP you find “Affirmation/Way Back Home” (a recurring motif) which could serve as a closer to work by artist Fiest. He dips into philly soul with “This Could be Us” (a sly take on the viral meme), and one has the sneaking suspicion we’re all being trolled. On “U know” he samples Mila J’s “Blinded” only to later reveal both she and sister Jheni Aeiko appeared in 1992’s diamonds and pearls video. Lest we forget..there is only one “Daddy Pop”.

   On Plectrum Electrum (the rock portion of his two course..course..) Prince summons memories of Zepplin and Heart before turning about face, mirroring everyone from the Police to Pearl Jam. Yet still, its all undeniably Prince. Santana-esq solos soar through 12 distortion drenched offerings as he informs us time and time again: the worst crime you could commit is sleeping on Prince. For years, Prince has teased that the only thing he would change about his bands is that they should’ve all been ALL women. With his current trio of Donna, Ida, and Hannah (bka 3rdeyegirl), Prince conjures enough white girl rock to satiate revolution era purists (now nearly 30 years behind), while skillfully riding the line between looking ahead, and staring back. Standout tracks include: “Aintturninaround”, “Whitcaps”, “Stopthistrain”, “Anotherlove”, and “Marz”.

   As a die-hard, which means everything and nothing, I prefer Plectrum Electrum of the two. Both, however, stand as a testament to what Prince can do, has done, and more than likely will do. My only wish is that I could experience these albums as a brand new inductee.. and If I were you, I’d find out what the fuss is about.”

-Sah

(Sah is a performance artist, director, producer, instrumentalist and MC out of Newark, New Jersey. He recently released a short film that was the winner of the SHADOW AND ACT Digital Filmmaker Showcase, view it here. To find more of his work visit his website Sahril.com. Also follow him on twitter @the1Sahu)

Tanya Morgan (& 6th Sense)- Rubber Souls

by Leave a Comment

“They say I rock like it’s 94’/ but I don’t know if that’s some kind of flaw” Von Pea opens up the album with a line dealing with the perception TM has been facing since the entered the game. The ‘vintage/ golden era’ Hip Hop sound has become Tanya Morgan’s trademark, but ironically this line open’s up their most experimental album yet, perhaps it followed a ‘golden era’ J Dilla line on purpose? Tanya Morgan has also been known for deeply conceptual albums and lines, and like most groups with their third album they completely scrap the original blue print and start over, enter 6th Sense. Production wise this album is top notch, producer 6th Sense brings in live instrumentation for a whole new sound, something far from boom-bap but yet still influenced by that vintage sound. Another notable change is the almost pop-like influence on the choruses, they successfully walk the fine line of ‘true’ Hip Hop and commercialization, songs like “The Only One’ can easily fit as a Winter Olympics or NBA playoffs theme. This is easily their most accessible album, you don’t have to be extremely knowledge in Hip Hop music to get and appreciate this album. Lyrically and content-wise TM deliver much needed reality and substance songs like the previously mentioned “The Only One” and “Never Too Much” deal with the everyday inner struggle everyday people face with struggle, ambition and materialism. Though TM are spitting to a new sonic landscape they still make plenty of references to their Hip Hop forefathers, from the ATCQ references in “All Em” to the much more subtle Big Daddy Kane inspired keyboard solo towards the end of “Pick It Up”. They also slip multiple hidden tracks on this album; the CD version Vinyl and Itunes version all have different bonus tracks that finish off the album. It will be interesting to see where TM will go with their next release, but perhaps opening the album up with an homage to Slum Village is a hint that they will never stray too far from their roots.

Rating 7.7/10

Yancey Boys- Sunset Blvd.

by Leave a Comment

Frank of Frank-N-Dank and Illa J make up the Yancey Boys. The entire album is produced by the late J Dilla, a God-like producer who as it seems has stashes of unheard beats equally as great as the work he was making while he was still here. These beats are not ‘throw-a-ways” and if they are then that just further shows the genius of J Dilla. As with many posthumous releases albums usually lose the feel the artist naturally had when making music, usually due to the work being unfinished but mostly due everyone handling the finalization of the project but the actual artist. “Sunset Blvd.” does not have this problem, it is one of the few ‘put together’ posthumous Dilla releases that flows naturally, perhaps it is because of the bond Frank and Dilla had as friends accompanied by the brotherly bond Illa J and Dilla shared. Production wise this album is top notch but lyrically Illa J and Frank Nitt definitely bring their A game. After facing some slight criticism Illa J steps up to the plate goes directly at his nay-sayers. From flows to punch lines to hooks he clearly made it his mission to step his art up to the next level in every aspect with this release. The album also features many of J Dilla’s continuous collaborators from J Rocc, Posdnuos, Common and Guilty Simpson to former (original lineup) Slum Village member T3. “Jeep Volume” has the crew breaking down the history of their come up, from rapping as a hobby to being on world tours as the beat blends between a straight loop and a full fledge production which sounds like a sample of an alternate version of “The Look of Love”. This track finds Illa J at his most personal and is a rare glimpse into what it was like for him growing up as the younger brother to one of Hip Hop’s most notable producers, to seeing him pass away, and then stepping into the shoes as a full on recording artist. “Flowers” is vintage Dilla, a smooth track featuring another long time Dilla collaborator Talib Kweli. “This Evening” closes the album, a sinister sounding club track with verses by Illa J only. The album also comes with a complete second disc of all the instrumentals, an essential to any Dilla produced album.

Rating 7.5/10

Danny Brown ‘Old’ Album Review

by Leave a Comment

Danny Brown- Old

Danny Brown returns to his roots with his label debut ‘Old’ but also satisfies the tastes of his new fans as well with this ‘double’ album. Old is literally split between ‘Side A’ and ‘Side B’ showing the dichotomy of Danny Brown on one full length LP. It loosely follows his life chronologically with the track listing. It’s easy to miss the point with Danny Brown if you don’t truly listen. His appearance and demeanor can have far weather surface level fans thinking he is one thing when he really isn’t. Many people box in Danny Brown artistically and have this one dimensional view of his music “Old” makes sure you know the truth. It begins with nothing but reality and struggle as Brown opens up and documents his hardships. “The Return” quickly reminds the listener “don’t get it fucked up I’m a hood ass nigga” “25 Bucks” displays the everyday hustles inner city folk must do to make ends meet in the hood. “Wonderbread” is basically a nursery type rhyme explaining the hardships in the hood and the animosity that brews in a lot of people living in harsh conditions. “Gremlins” takes this concept even farther. After going through “Torture” Brown is eventually “Red 2 Go”, enter “Side B”. The second half the album is the turn up/rock star portion. “Dip” the leading single for the album is a hypnotic turn up anthem accompanied by a psychedelic video. As the album turns up so does the pitch in Brown’s voice, the voice most people are familiar with appears in full force for the next 7 songs, after excessive drinking, drug use and twerking the album closes with “Float On” a melancholy, but yet optimistic song about Brown’s future and direction.

Rating 7.5/10