D’ANGELO

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10min3400

IN honouring Denzel Washington at the 47th AFI Lifetime Achievement Award Gala Tribute this year, actor Mahershala Ali said “…your influence, your reach transcends race without ever denying it…” Fitting words for a thespian who’ll go down as one of the best to ever do it. Rapsody’s latest album EVE, and her other previous work in fact, displays how much this black female’s art transcends gender, without denying it.

Something rappers who are female tend to get tripped by is the novelty of females in the rap game. You find sisters only rapping about being females who rap, which more often than not, comes off as a homily- not music. Like how the typical “underground” rapper would bog you down with how the mainstream is being manipulated by a secret society and that the biggest artists are actually aliens in human form-all of this without telling you their story and making actual music. But Rapsody has mastered the art of music making and storytelling. When listening to her music, what’s between her legs isn’t relevant and you’re there listening to a dope ass kat. But her sex is unquestionably significant to everything and very much unmissable.

Poignantly titled EVE, Rapsody’s third album is more special because she titled each of the songs with names of powerful black women. From Cleo (the character from the movie Set It Off played by Queen Latifah), Oprah Winfrey to Nina Simone. She paid homage to these women and all others in the globe in the best way she could.

Till this day I think her previous album Laila’s Wisdom is universally underrated. I couldn’t fathom her returning so quickly, with something so rich in sound, lyrics, and concept. Plainly put, I didn’t think home girl could top Laila’s Wisdom.

Ibtihaj is named after Ibtihaj Muhammad, who was the first Muslim woman to wear a hijab while representing the US at the Olympics where she took silver in fencing. Rapsody gives nods to strong female emcees that came before her on the song, like Lady of Rage and Roxanne Shante- and taking a leaf from their book, she shows her bravado and says ain’t an emcee on this earth that make me feel afraid. GZA’s verse has that nice old school feel, thanks to his flow…with D’Angelo vocals complementing both rappers.

There must be something about Rapsody’s chakras because whoever she features, the genuine chemistry is always palpable. Whether it’s  Sojourner with J.Cole, Oprah with Leileki47 or even Iman featuring J.I.D and SiR. In an interview with Sway, she said she wanted Cardi B to be on the track Whoopi. The bouncy beat produced by Khrysis would’ve suited Cardi’s energy. Rapsody’s beat and collaboration selection is like that of a producer; she’s quite decisive in that space.

The opening keys to Hatshepsut took me to church and even when the beat comes on, the warmth of the song remains. It would be wrong to say Rapsody got chowed on this joint because of all the love in the song, but hearing Queen Latifah rap is hella refreshing and inspiring. Her verse was on some Big Sis’ tip not only for Rapsody, but the youth.

Even living single we connected by the tribe
Was raised by a Queen, know how to be one
And love one and raise a King
When he’s older I’ll describe how to love ’em
Queens come in all shapes and colors
Though we sit on thrones we don’t look down on each other
I learned how to rule from my mother and my aunties
Got the blood of the Asante
I could be Cleo or Ghandi to protect mine
It’s peace of mind, word to Jersey
I’m a giant, a Queen’s pride stronger than the lions
Connected by alliance, sisterhood
The day you try to test me, look homie I wish you would
Open doors for the ladies as a Queen like I should
That’s why I’m Queen Latifah in every village, every hood
And I’m good, and every city worldwide
And why I been reigning for the last twenty five
So all hail the Queens and the next ones to arrive
Came out of Jersey with naughty dudes and hella drive
Just another day above ground working my thighs, we runnin’ it
Member the days me and ‘Pac, we had some fun with this
When I would bust you dead in your eye, that’s called humblin’
Been holding the torch, I don’t fumble it
I’m a child of God versus son of men, tellin’ ’em

I enjoyed Rapsody’s heartfelt letter to black folk, especially us black men on the track Afeni. It’s a timely song looking at the issue of Gender Based Violence in South Africa right now. The emcee drops knowledge about how men should learn to treat all women with the respect and love they would their mothers and sisters.

EVE cements her name as one of the best to ever do it. If we’re talking top emcees in the game right now in the mainstream, Rapsody’s name should be mentioned with the Coles and the Kendricks.

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9min1230

VINCE STAPLES reminds me of those singers who have impeccable, unfathomable voices and energy, which remain on par live as on their records. I’m talking the likes of D’Angelo, Thandiswa Mazwai and The Brother Moves On.

Over the last week and a half I’ve been listening to Staples’ third studio album FM! and during that period, I was fortunate enough to see the 25 year-old from North Long Beach, California performing at Soweto’s Zone 6 for the Capsule Festival. I’m always fascinated by album titles and covers, in my first interaction with a musician’s project, before delving into the tracks. Often the name of the album and its art make sense as I listen to the music. Like pieces of a puzzle, it all comes together with each track.

Vince Staples at Capsule Festival. By Sip The Snapper

FM! is themed as a takeover of LA radio station show, Big Boy’s Neighbourhood, hosted by Big Boy. It opens with Feels Like Summer which ironically is meant to celebrate how Long Beach always feels like summer, but Vince paints a picture of the dangers in his hood in the verses. He pulls from personal experiences, where he lost a friend at 15 years-old while they were just playing ball. I was slightly surprised to learn that Don’t Get Chipped where he features Jay Rock, is the first song where the two West Coast kats share the mic. I enjoyed the track, particularly the first verse where he raps…

Can’t wait ’til I’m rich, I’m finna buy a whole
Crate of guns, for my naughty Crips,
Shit I really come from the slum
Time to represent, let me see you bang, where you from?
Don’t be acting spooked, I’m a troop, I don’t give a fuck,
I just wana live it up, use to make ’em give it up,
Flockin’ is for hoes, I’ma take somebody soul,
If he don’t give me what he own, now I’m getting what I’m owed,
You ain’t seen me at a show? Oh, you missing out,
Swear I bring the realest out,
Everybody know me who’s somebody to know
(Who somebody to know)
Watch me mind my business my business while I’m counting my dough
(Counting my dough)
Stay away from citches who would clown me before
(Would clown me before)
On the road to riches, they gon’step on your toes
Sammy told me that a change gon’come
(Gon’come)
I’m not going if my gang won’t come
(won’t come)
If you see me pull that thang, don’t run
(Don’t run)
Playing ball, if I swing home run

I can’t say I’m a Staples fan, I appreciate some of his joints. But more than that, I’ve always respected how he thinks and delivers his ideas and thoughts, on beats that can get any party started. He is quite dark, largely because of gang activity he witnessed growing up on the West Coast. But he merges that eerie side of him with the music, which makes for good art. The effect this contrast has on an audience when he’s performing, is good on the eye. Like when he performed Lift Me Up from his Summertime ’06 project, just before the end of his set at Zone 6, most of the club was in a jump.

Vince Staples performing at Capsule Festival. By Sip The Snapper

His set at Capsule Festival was after midnight, with most of us tired and just waiting to see Staples on stage. He played tracks from his previous work from Big Fish Theory, Summertime ’06 and even invited Yugen Blakrok on stage to perform the Opps  they did together for the Kendrick Lamar curated Black Panther soundtrack.

Vince’s fans in Soweto had familiarised themselves with his new album, that as soon as Outside! came on, the atmosphere in the club became feverish. Standing on the second floor, I could see the crowd’s unfiltered reaction.
“We didn’t expect this many people and I didn’t expect this much love, so thank you, thank you, thank you. But before I get out of here…shhhhh! I just need one thing, everybody repeat after me, ‘Oh yea, oh yea, oh year right…” said the rapper interacting with his fans, just before playing crowd favourite Yea Right.

Vince Staples getting down at Capsule Festival. By Sip The Snapper
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8min1470

In your music collection there’s at least one album created between 1998-2003 at the Electric Lady studios. That was the period which the studio homed the music collective The Soulquarians, the gods of the Neo-soul sound.

In 1998 D’Angelo moved into Electric Lady Studios in New York to record his Voodo album. He roped in drummer Questlove to work on the follow-up to Brown Sugar and because of the long studio hours, the drummer simultaneously moved the recording of the Roots LP Things Fall Apart to Electric Lady.

Questlove and D’Angelo’s chemistry was sparked by their love for classic songs from years gone by. The core of the Soulquarians was completed by composer James Poyser, Detroit genius producer J Dilla, Common and Erykah Badu. Although they never want to be tied to the genre, the Soulquarians are heavy influencers of the Neo-Soul sound we know today. Their influence can be heard in some of today’s artists such as Robert Glasper, Rayvn Lenae, NxWorries and MoRuf.

Not suggesting that these musicians no longer work together, because they do, but here are some of the classic albums that were produced in that period of them working together in one space sharing their gifts.

D’ANGELO-Voodoo

YEAR: 2000

The 13 track album which was overshadowed by D’Angelo’s strip down and steamy down video in Untitled (How Does It Feel), which left a lasting effect on a lot of women. But it was a masterpiece from the music genius which had a funky soulful Hip Hop feel thanks to J Dilla’s sick sampling. D’Angelo featured Red Man and Method Man in Left and Right. Such was the level of artistry here that Q. Tip had initially laced a verse for the song but it was deemed lukewarm hence D’Angelo roped in the New York duo. The album bagged a Grammy.

 

THE ROOTS-Things Falls Apart

YEAR: 1999

This was a follow-up to their Illadelph Halflife project which came out in ‘96. It’s this the project here that earned them critical acclaim from industry fundis and probably that ‘legendary’ tag too. It was the group’s novel experience at selling over 500 000 copies. The Roots won the Best Rap Performance by a Duo or Group at the Grammys for You Got Me featuring Erykah Badu. Stand out songs here include Act Too (Love of my life) and Step Into The Realm.

 

COMMON-Like Water For Chocolate

YEAR: 2000

Common just sounds extra nice on J Dilla beats. Dooinit is one of the finest tracks where Common rips the beat and some rappers with the energy of Julius Malema at a rally behind the mic.  While songs like The Light and 6th Sense remain classics till this day, Payback Is A Grandmother, Film Called Pimp and Song For Assata were gems that many never paid close attention to. There’s a great balance of social commentary, love, lyricism and musicality throughout the album.

ERYKAH BADU-Mama’s Gun

YEAR: 2001

Mama’s Gun is probably the album that made a lot of the young fans of Badu fall in love with her music. It’s unbelievable how an album can be so cohesive with a cocktail different sounds. Cleva is a beautiful Jazz joint that doesn’t sound out of place alongside the sticky Jay Dee drums on Didn’t Cha Know. So many musicians consciously and subconsciously use this album as blueprint to creating a Neo Soul project. This is a classic-I can visualize myself listening to this at 60. Orange Moon and Bag Lady are just some of the classic joints in this album.

 

COMMON-Electric Circus

YEAR: 2002

Some people said this album was Common’s regress after Like Water For Chocolate which came out two years prior. But this project was simply ahead of its time. It was great body of music by the Chicago rapper. It had influences of Rock, electronic and funk soaked in the Soulquarians sounds. Common once said that he wasn’t feeling Hip Hop at the time of creation and his choice of sound was influenced by Jimi Henrix and Pink Floyd. Stand out tracks here include Between Me, You and Liberation, Heaven Somewhere, Ferris Wheel and Soul Power.

 

What’s your favourite Soulquarians influenced album?

 


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