Nocturnal Videos: Episode 15- Give The Drummer Some
•November 20, 2008 • Leave a CommentBLACK MILK INTERVIEW COMING SOON…TILL THEN GIVE THE DRUMMER SOME…CAN YOU FEEL THE SPIRIT AND SOUL OF FELA RANSOME KUTI BLARING THROUGH THE HORNS OF THE CHORUS
The Renaissance
•November 20, 2008 • Leave a Comment
Back in 2003 Q-Tip’s sophomore LP, Kamaal the Abstract, never saw the light of day because of industry rule 4080, “Record company people are shady.” Enter 2008, after playing what it seemed like musical chairs with several record labels, this well recognized Queens Native recently released his second album on Universal Records. The Renaissance is a beautifully crafted solo effort with accents of neo-soul mixed with abstract intelligent lyrics that could only be engendered by the Poetic Abstract.
Evident throughout this concise twelve track album, is Tip’s decision not to concede his artistic interpretations, or rather visions, for the sake of mainstream success, which he already attained through his association with Tribe and the singles Vivrant Thing and Breath and Stop. Implicit in the title is the notion of a rebirth; a rebirth of Q-Tip- not very likely. Tip has always been creative residing on an abstract plane. if you will only hindered by the constrictions of his former labels. With a short list of balanced features, witness the rebirth of hip-hop as envisioned by Q-Tip.
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Q-Tip feat. Amanda Diva- Manwomanboggie
Q-Tip feat. Norah Jones- Life Is Better
Big Shug: The Meaning of Hardcore
•November 12, 2008 • Leave a Comment
Boston’s Murdapan native, Big Shug, is an industry veteran in every sense of the word. As one of the core members of the Gang Starr Foundation, not only did he travel the world with one of the most recognized teams within the hip hop landscape, he also made numerous notable appearances on Gang Starr works ranging from Hard To Earn to The Ownerz. With two street certified LPs under his belt, Big Shug released Otherside of the Game this past Election Day. Like his previous endeavors he enlists long time collaborators DJ Premier and Moss, amongst a slew of other producers, who together help provide the Street Champ with a musical milieu that help project his aggressive battle raps.
Anyone familiar with the street savvy Big Shug should not expect any surprises with his latest effort. To put it simply, he sticks to the script- abiding by a simple formula which combines first-rate production with gritty, authentic lyrics. Technically this should be a recipe for success; however, this aggressive and exceedingly dedicated rapper is somewhat one dimensional with his lyrical crop. Suffice to say, the production in many cases surpasses the lyricism on several tracks. Nevertheless, what Big Shug lacks in lyricism he succinctly makes up with unequivocal conviction and passion. Furthermore, on several tracks, featured artists like Singapore Kane and Termanology tend to outshine him. All the same, it would seem that this inconvenient truth hardly matters, when in fact these very rappers view Shug as the vanguard of Boston rap.
Otherside of the Game opens up with two primo laced cuts, Soundcheck and When I Strike; sadly both tracks could have been better suited for other rappers. Despite the simplicity of the rhythmic patterns in the aforesaid tracks, which in theory would allow Shug to excel; his elementary yet undeviating verses don’t match Primo’s patented beats. Like A Muthafucka, another DJ Premier product, is a complete waste of a beat that finds Shug rambling about nothing.
Standout cuts on this album include Primo’s My Boston which finds Termanology, Singapore Kane and Big Shug paying homage to Beantown, enveloped between the bass and keys patterns that could only be contrived by Premier. Despite being outshined by Term, Shug’s verse is one of his better deliveries on the album. It appears as though that Shug is better served when he spits details about his hometown, as witnessed in the Moss produced Murdapan, a tribute if you will, to Boston’s Mattapan. Militant Soldiers II is another cut that finds Shug in his best form, spitting alongside Blaq Poet and Singapore Kane over Moss’s timberland and army fatigue muzik. Other worthy listens include the Frank Wainwright and Billy Danze assisted What It Means and Meaning of Hardcore.
The truth is Big Shug was never ahead of the Gang Starr Foundation class with regards to lyrical dexterity. However, one cannot deny his believable passion and his disposition to being forthright, “… I got a magazine baby and a sock rag.” Sadly this album plays more like a showcase for the producers with creditable remnants of Shug sprinkled in here and there. Nevertheless, this album is still worth the listen especially for fans of this Gang Starr affiliate who more or less know what to expect from Shug.
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Big Shug feat. Termanology & Singapore Kane – My Boston
Big Shug feat. Billy Danze & Frankie Wainwright
Big Shug feat. Blaq Poet & Singapore Kane- Militant Soldiers II
BONUS
So Spectacula…
•November 7, 2008 • Leave a Comment
Queens native, Spectacula- not to be confused with the member of a particular flamboyant boy band-is on to something. Having adopted the moniker Spectacula, he realizes that his work needs to be as; if not more impressive than many of the greats that have helped mold his music. While he still has a ways to go, by continuously challenging himself and ensuring that his ambition surpasses his comfort level he will surely hit his mark in the game. He is one of a handful of rappers who realize that the game is meant to be told and not sold; a notion that is lost in today’s mainstream. I recently sent some questions via email to this up and coming rapper to find what exactly makes him Spectacula.*
ER: What it do Spectacula, how are you?
Spectacula: I can’t complain about much so I guess I’m good; but you know what they say you could always stand to do a little better.
ER: Why don’t you let the readers know who you are, where you are from and what you do?
Spectacula: I go by the name Spectacula, repping Queens Village, New York City also known as Shadyville. I’m an up and coming emcee trying to follow the tradition of great Queens’s lyricists.
ER: What is Spectacula bringing to the rap table?
Spectacula: I feel like I’m bringing a level of originality to the table that has been missing for quite some time in Hip-Hop. Every time I put a pen to paper I set out to do something that hasn’t been done before. Sometimes I hit it on the head and sometimes I fall flat on my face but I would rather challenge myself than stay in a comfort zone.
ER: Why do you go by Spectacula?
Spectacula: Simply because it’s a lot to live up to, people who are unfamiliar with my music usually want to see if I could live up to that name. It’s added pressure going by Spectacula… I feel like I’m obligated to be good but I think I work well under pressure. If my name was Joe Smoe or something I could probably get away with a wack song; but being known as Spectacula I don’t even think I could consider making something wack.
ER: Despite the alarming numbers, not many emcees choose to discuss AIDS in their music. You; however, devoted an entire track to this topic. Why is that? And what do you hope to achieve with the track’s message?
Spectacula: Like I said before I like a challenge. I really can’t understand why it’s not a bigger issue in Hip-Hop. If you compared statistics more people in the African American community are affected by H.I.V. and AIDS than the crack epidemic but if you just listened to Hip-Hop you’d think it was the other way around. As far as the message of the track I just wanted to show people that they are more serious things going on in the world than the things we idolize in Hip-Hop. I’m a realist I don’t expect people to go out and be AIDS activist after hearing Monster but I do hope that they have second thoughts when they view the subject.
ER: Who have been your musical influences, Hip Hop wise? How would you describe your style?
Spectacula: My favorite emcees are Biggie, Nas, Jay-Z, Big L and AZ. I feel like my music is heavily influenced by those five emcees but at the same time I feel like I’m my own artist. I would describe my style as personal, lyrical and brutally honest.
ER: On Goodnight you spit a lot of truths, could you speak more on the track?
Spectacula: I wrote Goodnight about a year and a half before it was recorded and actually for a while I had no plans to record it. I was really just venting about all the problems with the game at that point and the funny thing is that all the things I discussed on the song are still as relevant as they were a year and a half ago. The point I was trying to make with Goonight is that the music Industry is fucked up, especially for a new artist and it’s not getting any better.
ER: On Myspace your tagline reads, “Failure is not an option I will not lose,” how do you hope to achieve success?
Spectacula: The way I define success has nothing to do with Platinum plaques or millions of dollars; the type of success I’m going for is legendary status in Hip-Hop. I want people to speak my name in the same breath as the greatest emcees. So I guess the way I plan to achieve that is by continuing to perfect my craft and continue to challenge myself.
ER: Have you got any shows lined up? What is your next move?
Spectacula: ‘The show schedule for the time being is kinda light but I should have some solid dates locked in for the top of the year. I got a show I do every month called Freedom Mic in Jamaica, Queens. Other than that I got a few mixtapes; I’m getting ready to put out Classical Muzik with DJ Furious Styles for free download on November 17th.
* I have to be one of the few writers that still has to deal with the unreliability of microcassettes; email was my back up plan.
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