Category Archives: Andre 3000

The 8 Records I’m Most Excited about Not Buying for Record Store Day 2017

wreckastowday

I tried Record Store Day for the first time last year, and was woefully unprepared for the task; by the time I made it to my local wrecka stow, everything I was remotely interested in had already been snatched up by more enterprising/experienced shoppers. This year, I won’t be making the festivities at all: my family plans for the morning of April 22, unfortunately, do not involve any crate-digging. But that doesn’t mean I can’t look at the list of special releases and sigh wistfully at what might have been. Here are a few highlights:

88985401937_JK001_PS_01_01_01.indd

“All Together Now” by André 3000 (7″, ltd. to 5000)

I did not know the most delightfully weird member of OutKast covered one of the most delightfully goofy songs by the Beatles. Now I do know, but there’s no way this thing is gonna stay in stock past the ten-minute mark. At least I can listen to it on YouTube.

beatles

“Strawberry Fields Forever”/”Penny Lane” by the Beatles (7″, ltd. to 7000)

Speaking of the Beatles, there’s no rational reason for me to own this. I don’t even particularly love 7″ singles: if I’m gonna buy a piece of plastic with two songs on it, it’d better be at least 10″ in diameter. But I was a Beatles fanatic as a preteen, and seeing that 1967-era picture on the sleeve hits me straight in the nostalgia zone.

bowpromocrackedactor
BOWPROMO (box set, ltd. to 5000) and
Cracked Actor (Live Los Angeles ’74) (3-LP set, ltd. to 5000)
by David Bowie

Now these I do actually want, but to be frank, I doubt I could afford them: new pressing, multi-LP sets are a little rich for my blood, especially in limited editions. But come on: raw mixes of Hunky Dory-era Bowie? A live set I haven’t heard from the Diamond Dogs tour, one of his most fascinating and underrated periods? If I was even slightly more comfortably middle-class than I am, I’d be all over these. But I can take comfort in knowing that all 10,000 of these records will be hoovered up within minutes anyway.

groove

“Groove is in the Heart” by Deee-Lite (12″, ltd. to 3000)

If you catch me in the right kind of mood, I might make a wildeyed claim that “Groove is in the Heart” by Deee-Lite is the greatest song of all time. And while I probably wouldn’t be right, I also know I wouldn’t be wrong. I would love to own this on vinyl and hear that slide whistle hook in superior fidelity. Alas, this April, it’s not meant to be.

prince-pic

“Little Red Corvette”/”1999” by Prince (7″ picture disc, ltd. to 5000)

Does anybody actually like picture discs–listening to them, I mean? I don’t especially care for them–I like playing records more than I like looking at them–but god damn if I don’t want this one. Sadly, I might as well just print out the inner sleeve pic from 1999 and découpage it over a regular 7″ single, because with Record Store Day falling the day after the one-year anniversary of His Purple Majesty’s passing, there is approximately no way in hell 5000 copies will survive a single day’s demand.

rtj-tote

RSD 2017 Tote Bag by Run the Jewels (ltd. to 2500)

This isn’t even a record, but the artwork is dope and it would go great with the T-shirt I picked up from Run the Jewels’ Run the World tour back in January. But now I just have to hold back my jealous tears when I see some lucky asshole walking around with it.

whattimeisit

What Time is It? by the Time (LP, ltd. to 2500)

Are you kidding me? The motherfucking Time?! This actually pisses me off for two reasons, because an album like this deserves a full-fledged re-release, not a limited-run one-off for Record Store Day. But I can’t promise that if I saw a brand new pressing on April 22, I wouldn’t be doing “The Walk” out of the store with it in hand. Fortunately–or unfortunately–that won’t be an option for me.

In all seriousness, though, missing RSD this year isn’t that big a deal: after all, there are approximately 364 other equally good days in the year to patronize our local record stores. If you’d like to see a few of my favorites, from Northern Virginia to Reykjavík, Iceland, check out my Wrecka Stow video series on Dystopian Dance Party. And if you make it to the stores on the 22nd, buy yourself something nice in my honor.

Advertisements

4 Comments

Filed under 2017, Andre 3000, David Bowie, Deee-Lite, OutKast, Prince, Record Store Day, Record Stores, The Beatles, The Time, Vinyl

Anatomy of THE Groove: “Junie” by Solange

Solange Knowles turned 30 this year. The period since her last release in the EP True and today has been a long and significant one. In 2013,she moved to New Orleans with her then 8 year old son Daniel. The Crescent City has long been known as a spiritual home for black American culture-starting with the birth of jazz in the city over a century and a half ago.  A year later,she re-married music video directer Alan Furguson while living there. Considering she views her sister (and frequent public comparison) Beyonce as a prime role model for her,its no surprise she is taking a similar outlook on America today.

The America that Solange has been looking at the last couple of years has been an all out yet not officially spoken assault on African American’s. Its seen the birth of the Black Lives Matter movement. As well as an accompanying upsurge in understanding how how truly bigoted the fundamentals of America are-in no small thanks to the internet’s vast library of historical knowledge. Police brutality is at an all time high. And the black community has had a wide range of reactions. Some have even chosen to deny their heritage and defend a police force they know to be in the wrong.

Musically the consequences have been unusual. Even the usually topical genre of hip-hop,let along soul,have avoided message songs to a big degree. Instead favoring variants of the modern trap sound. Solange,along with her sister’s song “Formation” have elected to address this more. For her own part,Solange addressed it with a brand new album (now available as a digital file only) entitled A Seat At The Table. Its definitely a return to the album based format of the 1970’s conceptually. But if there were only one standout song I had to pick as a favorite from it,it would be the song “Junie”.

The song begins with a six note bass line with a hard cymbal kick over which Solange improvises along vocally. Then the drums kick into a heavy snare/hi hat rhythm. Within the framework,a higher and lower pitch brittle space funk synthesizer play call and response within the refrain along with Solange’s rhythmic singing. On the choruses,a think three note piano walk down is added to the synthesizer parts-which become melodically brighter and more insistent. The song reduces down to a synthesizer bleep/drum duet before stopping on yet another repeat of the chorus.

It was Henrique who suspected,and made it official based on Solange’s own tweet, that this song was indeed named for and inspired by Walter “Junie” Morrison,synthesizer innovator of first the Ohio Player and then P-Funk. That makes perfect sense with the use of the gospel/soul piano and spacey synthesizer lines that would be the classic Junie mix of sound. While its played a lot straighter here than on P-Funk’s more flamboyant instrumental style by Mister John Kirby,it goes perfectly with the stripped down musical composition written by Raaphael Saadiq.

Lyrically,OutKast’s Andre “3000” Benjamin provided two areas of insights in the song. Most of it is very much in the dance hall of much Jamaican inspired contemporary dance/R&B. One where words are stuttered rhythmically to generate an impulse.  Towards the end of the song,the lyrics are more overt. “Don’t want to do the dishes/just want to eat the food” is one such lyric. As does its accompanying album,it finds Solange, Andre, Raaphael and John sending out a vital message that,when it comes to racial justice and music itself,heavy creative inspiration and work is the only effective way to go.

 

 

 

 

 

Leave a comment

Filed under 2016, A Seat At The Table, Andre 3000, drums, Funk Bass, John Kirby, message songs, naked funk, new music, piano, Raaphael Saadiq, space funk, synthesizers, Walter Junie Morrison

Andre’s Amazon Archive: ‘Aquemini’ by OutKast

Aquemini

 

Now coming a decade after Public Enemy’s It Takes a Nation of Millions this album not only arrived as OutKast’s third effort but in a time when the sample-centric mentality was still a mainstay in hip-hop. Sometimes it was interesting,sometimes fun and sometimes it was just a yawn if done in an overly predictable way. One thing a friend pointed out to me,which I should’ve guessed looking at the liner notes was this album was a direct byproduct of an era when bands such as The Roots were really talking hip-hop music into a more instrumental than a sample/scratch oriented context.

What’s unique about this is how the Organized Noize crew who put the music on this album together. Especially towards the end of this album layored jazz/soul/funk songs such as “SpottieOttieDopaliscious”,the late 70’s synth/dance/funk polyrhythmic style of “Da Art Of Storytellin Part 1” and the rhythmically complex “Liberation”,featuring vocals by Cee Lo later of Gnarls Barkley fame all have a sound that could easily make one believe they’re built on samples but they aren’t;the music is 100% organic and very much rooted in the 70’s as well as contemporary and futurist as well.

This makes a lot of sense considering Dre and Big Boi’s state of mind at the time. Both spend most of this album trading rhymes and licks at a lightening pace all regarding the correlation of cultural standards from the more Afrocentric,revolutionary 70’s culture towards the more aggressive and uncertain atmosphere on the 90’s. Tunes such as “West Savannah”,”Hold On Be Strong”,”Return Of The G” and the infamous “Rosa Parks” (apparently with the lady herself taking a certain exception to her name being used) all pull these ideas together.

It blends tales for the nostalgia of this pairs youth with the reality of drugs,romantic abandonment,dysfunction and search for hope that linked both the earlier and modern era together. Sometimes,especially in the case of Big Boi the language used may be somewhat tart for hip-hop’s detractors but if you hear past that to WHAT is being said as opposed to how it’s BEING said there’s an important story told. “Synthesizer”,featuring George Clinton and the closer “Chonkyfire” both bring together both aspects of this album together in a great way.

It’s that somewhat more retro 70’s musical aspect as well as the slower,almost G funk,live instrumental variation on the old Bomb Squad soundscape style up front. This also clues you in to the fact OutKast are more than willing to transend generational barriers with their music:the chorus are beginning to feature the Leroy Sugarfoot Bonner styled drawled vocals from Andre’ that would define albums from Stankonia and the subject matter of their raps have become significantly broader. No two OutKast albums are particularly alike and many are more or less hip-hop oriented than others. This favors a period where they’ve found the middle ground and thankfully for us received a lot of well deserved respect for their efforts.

Originally posted on September 24th,2010

LINK TO ORIGINAL REVIEW HERE!

Leave a comment

Filed under 1998, Andre 3000, Big Boi, Cee Lo Green, dance funk, G Funk, George Clinton, Organized Noize, OutKast, Southern hip-hop