Tag Archives: Andre 3000

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.

 

 

 

 

 

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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!

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

Andre’s Amazon Archive Special Presentation for Record Store Monday: ‘Black Messiah’ by D’Angelo

Black Messiah

For the last 16 years? D’Angelo has been missing in action as far as studio albums are concerned. While an enormous live revue in 2000 featuring his band the Soultronics-including people such as ?uestlove among the other members were hailed as some of the most promising new bands of it’s time. Of course so much as gone down in the music world since D’Angelo’s most recent and lengthy absences from recording. The call he and the Soultronics made about musicians taking the musical creative process back for themselves as really started to show itself during the latest recession-particularly within the last year or so. And with the reality of the need to free ourselves from racial hatred and privilege has all come together to create just the right atmosphere for D’Angelo and his new band the Vanguard-including former Time member in guitarist Jesse Johnson along with ?uestlove still on skins. And musically the man has a whole lot to say.

The album starts out with a deep,steely,thumping rock/funk number-both the guitar and bass lines possessed of massive funky bottoms and D’Angelo himself delivering his broad ranging,multi tracked Southern soul drawl of a voice. “1000 Deaths” samples a preacher talking about the idea of a nappy headed Jesus as the “new black messiah” over heavy funky drumming and slap bass thrusts with “D’Angelo’s heavily processed vocals accompanied closely by a staticky,revved up keyboard. “Sugar Daddy” gives a sitar led forwards/backwards looped drum oriented psychedelic soul rocker with a very probing melody. “Sugah Daddy” has this clapping,tickling percussion and this bluesy jazz/juke joint style piano commonly heard on many mid/late 70’s P-Funk records with some very scatting vocals-both solo and multi tracked. “Really Love” is a mixture of a hip-hop beat with a beautifully sensual Brazilian jazz melody.

“Back To The Future” is a two part number here-both of which take a strong countrified jazz-funk bounce with a melody that comes right from “The Charleston”,the iconic stride pianist James P.Johnson’s famous song that originated the famous dance. The second part coming near the closing of the album adds more of a bouncing Southern danceable funk rhythm to the outro. “Till It’s Done (Tutu)” is full of heavy bluesy guitar reverb and a very melodic slap bass line sharing the musical space with D’Angelo’s elaborate vocal turns. “Prayer” is a slow,dragging wah wah powered groove with a spacy synthesizer melody floating over the top. “Betray My Heart” is a swinging dyno’d up electric piano powered jazz-funk number with tons of liquid groove from top to bottom. “The Door” is a whistling powered instrumental slice of sweetly melodic sunshine pop/soul. “Another Life” closes the album with a beautiful orchestrated,thick soul ballad with D’Angelo’s high falsetto vocal calls and the ascending melody the perfect accent to the piano/sitar/drum/string swirls of the song.

One thing to say about this album is that it’s simply an amazing total musical experience! Yes that in a sentence does some it up! In fact I had to listen to much of it twice before this review to absorb just what comes out of it. If D’Angelo never recorded another album the rest of his life? This could easily be his defining swan song. Why is that? Well it just channels all the threads of D’Angelo’s musical influences. It has Stevie Wonder’s love of creating instrumentally new melodic sounds. Duke Ellington’s sense of swing and rhythmic dissonance. Al Green,Sly Stone and OutKast’s Andre 3000’s drawling vocal hiccups and stutters. Prince’s psychedelic mixtures of funk,rock and soul. Ron Isley’s high vocal cries and wails. And it doesn’t leave out the jazz age with it’s love of modern time and stride piano. And in the end? It’s all D’Angelo and all funky! Not to mention awe inspiring melodies with the power to connect to the people. And even if some of the lyrics are difficult to make out? The music says all it needs to say: differences should always be different,and lay comfortably side by side-not far apart. A grand comeback for D’Angelo linking the sociological and musical chains that made contemporary black America so special TO America!

Link To Amazon Review Here*

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Filed under 2014, Afro-Futurism, Afro-Latin jazz, Al Green, alternative rock, Amazon.com, Blues, Brazil, D'Angelo, drums, Funk, Funk Bass, George Clinton, Hip-Hop, Jazz-Funk, Jesse Johnson, Marvin Gaye, Memphis Soul, Minneapolis, Music Reviewing, Neo Soul, Nu Funk, P-Funk, Prince, rhythm & blues, rock 'n' roll, Sly Stone, Southern Soul, Stevie Wonder