Category: Hip Hop/Rap


I suppose it’s worth having the album, but I’m afraid that mainly I would suggest cherry-picking from TobyMac’s Christmas in Diverse City. TobyMac, the Christian hip hop/pop artist formerly with DC Talk, brings together his Diverse City friends to create a beat-pop selection of Christmas tunes.

Grab SuperHErose’ “Birth of Love,” a truly inspired bit of song bringing together a Christmas party, the and the ultimate meaning of Jesus being born. The song jams along like a sparkling disco ball, but the chorus holds so much more than you might first here: “Let’s celebrate the birth of love/It’s your birthday/It’s a new day/It’s the true way in His love.” So throw your hands up, have a birthday party for Jesus, and recognize Him as Savior of the world.

You may also want to grab “Carol of the Kings” by DJ Maj featuring Gabe Real and Liquid. A dark jam on “Carol of the Bells,” DJ Maj brings out the reality of Christmas that leads to the “remedy for sin.”

Finally, check out the Lenny Kravitz-like “It Snowed” from Tim Rosenau. There’s some nice guitar and bass work here for some funk Christmas rock.

OK, and I tried to resist it, but I actually found myself grooving on Toddiefunk’s “Santa’scomin’baka’round!” It’s kind of a combination of Morris Day & the Time, Fishbone, and Prince.

Last year’s “Christmas This Year” shows up as the opening track featured Sixpence None the Richer’s Leigh Nash. It’s an acoustic guitar loop and snowglobe kind of song, readymade for a video of kids dancing around TobyMac and/or a Target commercial. Still it’s a fine romp. “Mary’s Boy Child,” a sing-songy tune ripe for inclusion in a children’s program, gets saved by the soulful contribution of Jamie Grace. The rap “This Christmas (Father of the Fatherless)” featuring Nirva Ready spins a good vibe, lifting up the idea of reaching out to those down-and-out, although the sound bite of children doing spoken word may have been unnecessary.

TobyMac
Forefront Records
SuperHErose
DJ Maj
Toddiefunk

Back in the beginning days of Music Spectrum in December 2003, I cracked open some words about DJ Pogo and Harmless Recordings’ The Best of Pulp Fusion, a double-disc set featured DJ Pogo’s mixing work on 70’s ghetto and soul tracks along with a disc of the unmixed original recordings. It is a shaking, grooving funk education.

Ill Mondo’s De Novo delivers some of that same education, albeit with live and original tracks. Consisting of hip-hop duo JRK (Wide Hive Records) and Johnny Red (One Little Indian Records), Ill Mondo brings together hip hop desk mixing with plenty of 70’s soul through the contributions of a huge cast. Tracks sprawl out as soulful jams and funk rock classics, all interpreted through a hip hop lens. It’s as if the band created a live recording of what DJ Pogo did through his mixing desk.

Things begins with the sneaky groove of “The Unblinking Eye” like the haunt of Living Things (see below). “Bentornati” comes bouncing on soulful horns like something from Was (Not Was) or the Boneshakers. Check out the tight drums on “Now is the Time.” “Tonate” speeds along like the flashing highway edge markers as if taking a new approach to the funk/soul instrumentals accompanying S.W.A.T. or CHiPs.

Actually, the feeling of wanting to drive down the highway while jamming to Ill Mondo reminds me of another 2011 release discussed here: The New Mastersounds’ Breaks from the Border (review), which I was glad to hear recently in my local Starbucks. Both Ill Mondo and the New Mastersounds revive the 70’s in a fresh form.

Circle Into Square offers De Novo as a free download, so go on and grab this music to fuel your weekend.

Living Things’ Malocchio
Earlier in 2011, Living Things released a mixtape titled Malocchio which came to mind hearing Ill Mondo’s blend of a haunt and groove. Like Ill Mondo’s De Novo starting off with “The Unblinking Eye” and its creep-around-the-door creaking, Living Things open their mixtape with “Pollen Path”—a furtive glance into something dark and sinister. It’s only the drums that give hint to the grooves that are about to follow.

“Pollen Path” devolves and flows into a reggae drum kick that sets up “Post Mortem Bliss.” Like John Brown’s Body, we’re in the world of reggae meeting jam band. Then comes the fat horns of “Gang Banksters,” a swaggering funk walk.

“Terror Visions” cranks things up with a tight-and-bright funk guitar riff and a much louder, near screamed vocal. “Unemployment Line” brings back the horns to launch a song that does a reggae shuffle in corners with the dark soul of the Heavy. “Honest Abe,” which incidentally wakes me up each morning as the alarm ringtone on my phone, picks out an acoustic, country-bluesy line like something from the Cave Singers or Black Mountain. It’s a song searching for spiritual truth, singing to Allah, asking for forgiveness. I like to think that the song, emerging from an album titled for the evil eye, is grasping for the truth of forgiveness as gift which can be found most fully in Jesus. The mixtape concludes with “The Stupor,” an the almost-emo-sounding, straight-ahead rocker backed by a disco ball drumset, sending the listener out of any remaining brooding darkness and into the light and hope of something beyond what we see in these haunted corners.

The Malocchio mixtape can be found here for free.

Ill Mondo
Circle Into Square
Living Things (Explicit)

Benzi Presents. . .Get It Together, free mixtape from Outasight as a tide over until his LP drops, features a few tracks and old favorites blended together for your listening pleasure by DJ Benzi. Outasight himself is a blended latte—jiving hip hop groove with plenty of spoonfuls of soul and pop—which makes him quite appealing to this rock-centric critic.

Get It Together includes “Change the World,” a positive vibe, soul-swinging, finger-snapping joint. It’s 60’s Motown with a swing thing spun by a hip hop swagger.

“Change the World” also exemplifies KRS-One’s The Gospel of Hip-Hop, where you can feel like the music can propel you to make a difference in the world around you. KRS-One points to the ability of hip-hop to lift up through love. Outasight lifts up through “Change the World,” giving us a glimpse of our possibility and hopes and dreams.

I feel like I woke up this morning and I could change the world
I can change the world
I guess it’s true true true.

This glimmer of a world opened up before us, this idea that there’s more than what we’re experiencing now, that’s what makes me think that the Gospel of Jesus Christ can weave together with some of the words of Outasight.

Grab your free mixtape by clicking on the picture.

Outasight
Warner Brothers

The Music Spectrum Notebook Series digs into my handwritten notes about music still getting my attention.

Iyeoka—Nigerian-American, singer, poet, and 2010 TED Global Fellow—released her album, Say Yes, back in November 2010, and ever since receiving it, the CD’s hung around my current stack. I want to like this album for one reason: the first track, “The Yellow Brick Road Song,” is outstanding. However, aside from flashes here and there, flashes of India.Arie, Motown soul, Tracy Chapman, Luscious Jackson, and poetic slam, the album cannot live up to that first track.

However, I decided that it’s time to shed light on that first track with its infectious groove and bounce. Set in the right light, Iyeoka’s song could spin out into the hope that we have in Christ, the hope of being more than we are when we’re left on our own.

I know how possible we are
We can go and achieve the inconceivable
I know just how possible we are
We can follow our own yellow brick road.

An outstanding, uplifting rap from B.Cap really tops off this track’s upward movement. The song then culminates in the line: “There’s no tornado that can stop us now.”

The song resonates and entwines with the fact that nothing is impossible with God. That’s where I can see using this song in a devotional mode—pointing us not just to the possibility that exists in ourselves but to the possibility that exists in us through the power of the Holy Spirit. Iyeoka’s grooving, bounce brings out that power, joy, and upward movement from God. For that reason, go back and grab this track while hoping for more similar songs from Iyeoka’s future projects.

Iyeoka
Underground Sun
B.Cap

While I mainly slide towards all things rock and roll, there’s been certain rap/hip hop artists that have made a crossover appeal to me—whether it’s back in the day with Run-D.M.C., or a few years ago with Just Jack, or more recently with Sims (review). Now entering that circle is Outasight whose Figure 8 EP comes complete with fresh raps, rocking flow, and life’s brightness.

Aside from the catchy “So What” and the dreamy-yet-hand-waging “Figure 8,” the EP features the vocational calling “Life or Something Like It.” Sounding like a man called by God to let his light shine as an artist, Outasight raps about celebrating the life that he’s been given. When he talks about stepping outside of the huddle and no one being behind you because they never really loved you, well, that sounds like what a Christian artist experiences when they step out of the huddle of the Church and step into the wider culture. Unfortunately, there are some Christians who will reject the artist who engages the wider culture, but meanwhile, that Christian wants to follow in the steps of Jesus who hung out with all kinds of people, letting His light shine into every dark corner, and bringing His love to all. Outasight’s “Life or Something Like It” could very well be an anthem for that kind of living.

Outasight
Warner Brothers Records

With the 2011 Super Bowl now past, we won’t have the joy of seeing the inspiring Play 60/NFL Rush commercial featuring the Go! Team’s “The Power is On” from their 2004 Thunder, Lightning, Strike. Due to the music’s combination of marching band rhythms, cheerleader shouted vocals, and hip hop beats, the song is a perfect backdrop for the NFL’s Atlanta Falcons leading kids in exercises and drills.

Unfortunately, the Go! Team’s new album, Rolling Blackouts, does not feature the same number of hooks or very many songs that are fodder for new NFL commercials.

The album does open with the blast of “T.O.R.N.A.D.O.” for high-stepping marching band style while laying out some funk for the percussion and “can I get a T” cheerleading spelling. But this leads right into “Secretary Song” which bounces along like 60’s bubblegum pop with some beats added for style. It recalls the Primitives—which is a normally good thing—but a departure for the Go! Team and a portent of things to come on this album. There’s too much pop sway and not enough hard beats.

A couple of other tracks avoid this swirling of bubblegum-cracking, namely “The Running Range” and “Back Like 8 Track.”

Actually, the other main vibe I get from the album is like a ramped up soundtrack for the late 70’s/early 80’s television show, CHiPS, that featured fat 70’s disco funk accompanying the stories of the California Highway Patrol motorcyclists Ponch and John. If anyone decides to do a movie version of the cheesy classic TV series, well, look no farther than “Bust-Out Brigade” or “Apollo Throwdown” to make it hip but also a throwback.

The Go! Team
Memphis Industries

I ain’t no expert on hip hop, but I know something good when I hear it, something that can resonate with my rock ‘n’ roll heart, something that rings with truth in the midst of the raps, flow, and beats. That’s the case with Sims on Bad Time Zoo, especially the single, “Burn It Down.”

“Burn It Down” struts and swaggers like something from El-P with the hooks of Just Jack. Sims shows great chops, and the track comes handwagging on some nice horn work.

What’s intriguing about the rap is the final line: “Welcome to the veldt.” That line could mean interpreting the whole song through a short story by Ray Bradbury called “The Veldt.” The story of a “smart house” whose nursery puts the children in a virtual African landscape complete with lions on the prowl who seem far too real, it questions the use of technology and its psychological effects on children and parenting.

In a way, Sims’ “Burn It Down” brings out those same tensions wondering:
What will you call your home?
What will you call your own?
Where will you lay them bones,
lay them greedy bones?

I see Sims questioning our greedy landscape that grabs for everything but leaves precious little thought to what we really need—like a home built around love.
Everyone stepping sideways to the cheapest sleight of hand
Play to your weakness, see the darkest side of man.

That’s what Sims is calling on us to burn down. Let’s set aside all of these things we cling, too, and burn them down. “Burn it black/Down to the ash, start from the scratch/
Build it all back.”

I would chime in at this point and say this is a spiritual call to new birth, to burn down the sin and watch new life emerge. This is the work of the Holy Spirit in us; this is what happens through Baptism; this is what we experience in Christ.

Sims’ question, “What will you call your home?” seems to point in a spiritual direction, too. It’s a question of where we’ll put our hope, where we’ll hang our dreams, where we’ll place our trust. Sims himself even hints at the spiritual dimension of the question when he says:
Which one will save your soul with your sight on solid gold?
Oh, hell no, can’t feel that hallowed ghost
with his hands wrapped around your throat.

I’d interpret that last piece as the choice between heaven and hell, between Jesus and the devil (“Which one will save your soul” with your greedy vision?). It’s hard to feel the Holy Spirit while the devil is clamoring for your attention (“Can’t feel that [Holy Spirit] with [the devil’s] hands wrapped around your throat.”).

The song ends saying, “Welcome to the veldt.” Welcome to the smart house, welcome to the house that let lions into the nursery, welcome to the world that allowed us to be devoured by lions, devoured by the devil. Welcome to the veldt, but the song’s message is clear: burn it down. Burn down this veldt. Burn down this dark reality. Burn down this place that would devour us. Feel that hallowed ghost (Holy Spirit) and shake off the devil whose hands are wrapped around your throat.

So, then, I hear a prayer here: Burn it down, Holy Spirit. Burn down this evil world. Bring this world to an end, Jesus. Bring us all to heaven. That’ll be our home. A far better home than we could ever invent by ourselves, because it won’t be the veldt of our own design. It’ll be the true world of peace that God intended for us to experience.

Bad Time Zoo will be released on February 15. Check out the video for “Burn It Down”.

Sims
Doomtree

One of my favorite Christmas albums is unavailable now (except for a couple of copies through Amazon). Decorations was a compilation released back in 1993 as a gift to shoppers at a mall—Southdale Center in Edina, Minnesota. A tremendous collection of both the sacred and the trivial, it included many artists with Minnesota ties like Greg Brown, Moore by Four, and Chan Poling. Plus, “Snow Day,” a story by Kevin Kling caps it all off making you hope that the sky will open up and leave you with a snow day in front of the fire, so you can put the CD player on repeat.

Now in 2010, Target Stores had the opportunity to offer something similar to shoppers with their free gift of music through The Christmas Gig compilation and ad campaign. And while I really appreciate how Target supported many indie artists with this compilation/campaign, and while I enjoy many of the songs, still I was disappointed that the compilation focused so much on shopping—rather than the true spirit of giving and of Christ.

Those were the things that made Southdale’s Decorations a great CD. It combined elements of frivolity of the season with the spirit of giving and renewal in songs like Paul Metsa’s “Christmas at Molly’s” and Greg Brown’s “Wash My Eyes.”

Nevertheless, kudos to Target for including artists on The Christmas Gig that may not otherwise be getting such airplay. The Crystal Antlers’ “10,000 Watts” is an awesome post-punk tribute to electric light celebrations. It’s probably also my most favorite commercial of the campaign, matching the song with flashes of huge light displays.

Guster offers the charming, 60’s folk pop strums of “Tiny Christmas Tree.” That 60’s folk vibe continues on Jenny O.’s “Get Down for the Holidays,” a melancholic look at the joy which may (or may not) lift us up at the holidays. Coconut Records’ “It’s Christmas” rings out with that same 60’s air—swaying, slowly marching its way into your heart.

Darker My Love retains some of their dark, psychedelic charm while lightening up for “Snow is Falling.” (Click for a full Darker My Love review). Best Coast and Wavves team up for “Got Something for You,” which like Bishop Allen’s “You’ll Never Find My Christmas,” is another song about being really good at hiding presents. Or is it?

I don’t like the commercial which makes it look like the holidays are all about doing everything at once to make them perfect, but the song by Little Jackie, “Mrs. Claus Ain’t Got Nothin’ on Me,” is infectious. Then there’s “Electronic Santa” by Blazer Force which brings it all down to the dance floor.

The Christmas Gig Free Download

John Reuben has had the beats and the tracks to make this non-rap reviewer take notice, a kind of rock ‘n’ roller entry point into rap. But it’s the hooks that are hit and miss with Reuben, and it’s no different on his latest, Sex, Drugs, and Self-control.

“No Be Naah” and other songs lend themselves to Reuben’s rap-sing style. “Jamboree,” “Radio Makes You Lonely,” and “Burn It Down” are built on nice riffs, with “Burn It Down” even being built up from a mobile ring.

But what keeps this disc from spinning continuously in my head are the lacks of hooks. Reuben’s always seemed somewhat stream of consciousness in his raps, but here they range far and wide without ever coming back to their beginning. I’m not really sure where he’s headed, and I want to know. I want to be in on the joke, to know how he’s applying truth to the words, to see the punch coming I know it when I see it.

For now, the beats will keep me coming back to the disc, mining it for nuggets, while waiting for the real John Reuben to please stand up, let the beats fly, and find the hooks that will keep ’em coming.

John Reuben
Gotee Records

It was the iPod “Nano-cromatic” TV ad that got me thinking again about Calvin Harris’ I Created Disco.

In the flurry of discs that come to the Music Spectrum office on a regular basis, there are plenty of albums I’d like to review if I had more time. Harris’ disc was one of those, shelved in my collection because it’s a good disc, but a disc I never reviewed.

The iPod commercial brought it back off the shelf as I saw those differently colored iPods spinning and landing in line, each one featuring the picture of an album cover of a similar shade. There was Calvin Harris’ mockingly 80’s-like yellow album cover, and ever since I saw the commercial (which has been awhile now), I’ve been meaning to write these words:

The boast of the album title, I Created Disco, is only outdone but the lyric on the song, “Girls,” where Calvin Harris says, “I get all the girls/I must warn ya’/I can’t help but play around.”

The mocking/fronting continues through Harris’ I Created Disco in funk, soul, disco, 80’s rap, hip-hop style. In a funk falsetto with 70’s era soul rap on “Merrymaking at My Place,” Harris makes it clear that wherever he is, there’s the party. I don’t know what they’ve been taking, but it makes me want to show up at his front door to party—at least, for the music.

As if a prophecy of the iPod “Nano-cromatic” ads, “Colours” talks about wanting his girlfriends to dress with color—sung over some funky bass loops.

While there are plenty of songs about being in a band/rock ‘n’ roll singer, there aren’t many like “I Am in the Industry” which celebrate working in the music industry—publicists, agents, managers, label execs, and more. The rhythms are also ripe for use on Hospitality Night at the clubs.

On “Acceptable in the 80’s,” Harris sings, “I’ve got love you if you were born in the 80’s.” Although, really the song is born in the 80’s and will be easily recognized by those of us born in the 70’s who cut their musical teeth on 80’s music. The track sounds like Eddy Grant and Men Without Hats, but it also causes this stream of consciousness: Musical Youth “Pass the Dutchie,” Peaches & Herb, Howard Jones, Thompson Twins, and “I Dropped a Bomb on You.”

Calvin Harris
Almost Gold Recordings

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