Showing posts with label conscious. Show all posts
Showing posts with label conscious. Show all posts

Sunday, November 8, 2015

soul food









Goodie Mob were fighting for hurtin' and uncertain spirits and minds to break the cycle of killin' tool click with cell therapy from the dirty south.   The group was formed in Atlanta, Georgia by Big Gipp (Cameron Gipp),  Khujo Goodie (Willie Edward Knighton, Jr.),  T-Mo (Robert Barnett),  and  CeeLo Green (Thomas DeCarlo Callaway) as part of the local Dungeon Family musical collective.   Their name stands for "good die mostly over bullshit".  They first appeared on two tracks (“Call of Da Wild” and “Git Up, Git Out”) on the Outkast debut album  Southernplayalisticaddilacmusik  released for LaFace Records in 1994.   Goodie Mob recorded their debut album 'Soul Food' for LaFace with hip hop production team Organized Noize (Rico Wade, Ray Murray, and Sleepy Brown).  

Gipp:   "We recorded that album at the great Curtis Mayfield’s house. I think that made us have to work harder. We had to do something great. Because at anytime he could come home and be like, 'Why yall recording this bullsh@$ in my house?' So we always made sure we were doing some great music so just in case he came home and heard it. He would be like I respect that.”

Khujo:        "On Soul Food we were humble... We come from Georgia, and there’s a lot of great style here, from James Brown and Ray Charles to Curtis Mayfield. The first seven songs we did for Soul Food were recorded in Curtis Mayfield’s studio, so it was like we was getting that vibe and the guys were playing over [classic soul] samples and making a new sound. Once cats from up North and the West Coast heard that we were original and weren’t trying to be like nobody, they gave us a chance. I remember at the Source Awards in New York when Outkast got their five mics, everybody booed them. But if we hadn’t gotten that boo I don’t think we would’ve been as great as we were. It’s original music and original lyrics, and everybody in the Dungeon Family has their own personality, kinda like the Southern Wu-Tang...The Dirty South slogan really meant to me that it was hard in the South to break that ceiling and get a major situation in the music industry. Now people are just playing dirty, ya know what I’m saying?  It’s a dirty game, and people think they can just come to the south [to make it]. These country boys just don’t know that we play dirty down here, and that goes for the Confederate flag and the black flag."




T-Mo:   “Awareness was higher [back then] than it is right now.  We were nothing but a spinoff of Public Enemy and NWA mixed all in one; we followed them. There’s groups that followed us, too. We raised these groups that are out right now.” 

Cee-Lo:    "Right from the start, Goodie Mob wasn’t trying to get a hit record. Fools and geniuses that we were, we dreamed of changing the world. We wanted to be like Public Enemy for the Dirty South. We wanted respect as much as we wanted hits, and as with Public Enemy, we felt as if it would take a nation of millions to hold us back. And even against a nation of millions, we liked our odds. There had been Southern rap before us, but a lot if wasn’t very good or very deep. We wanted to bring Southern rap newfound respect with albums that were intelligent and progressive...I hated the assumption [that the Dirty South was inferior]. I hated the stereotype. I’ve said this on many occasions that I felt like we were more activists than artists because I still felt like at that time we were fighting for the civil rights of southern hip-hop to be counted."

'Soul Food' charted at number sixty-seven in Canada, forty-five on the US pop album chart, and numbe eight on the US R&B album chart.  It sold over half a million copies and helped to legitimize Southern hip hop.   








http://goodiemobmusic.com/








"Soul Food"




"Cell Therapy"




"Dirty South"







'Soul Food' 
full album:




All tracks were produced by Organized Noize except "Fighting", which was produced by Mixzo and Organized Noize. Mr. DJ co-produced "Goodie Bag", although he was uncredited.


1. "Free"   Thomas Burton, Organized Noize 1:23
2. "Thought Process" (featuring André 3000 of OutKast) Robert Barnett, André Benjamin, Thomas Burton, Cameron Gipp, Willie Knightion, Organized Noize 5:09
3. "Red Dog (Skit)"     0:23
4. "Dirty South" (featuring Big Boi of OutKast & Cool Breeze) King George, Antwan Patton, Organized Noize 3:34
5. "Cell Therapy"   Robert Barnett, Thomas Burton, Cameron Gipp, Willie Knighton, Organized Noize 4:37
6. "Sesame Street"   Robert Barnett, Thomas Burton, Cameron Gipp, Willie Knighton, Organized Noize 4:36
7. "Guess Who"   Robert Barnett, Thomas Burton, Cameron Gipp, Willie Knighton, Organized Noize 4:49
8. "Serenity Prayer (Skit)"     0:09
9. "Fighting" (featuring Joi) Robert Barnett, Thomas Burton, Cameron Gipp, Michael Johnson, Willie Knighton 5:45
10. "Blood (Skit)"     0:53
11. "Live at the O.M.N.I."   Robert Barnett, Thomas Burton, Cameron Gipp, Willie Knighton, Organized Noize 4:58
12. "Goodie Bag"   Robert Barnett, Thomas Burton, Cameron Gipp, Willie Knighton, Organized Noize 4:25
13. "Soul Food" (featuring Sleepy Brown) Robert Barnett, Brandon Bennett, Marc Benno, Bill Boatman, Thomas Burton, Cameron Gipp, Willie Knighton, Pigmeat Markham, Leon Russell, Organized Noize 3:56
14. "Funeral (Skit)"     0:54
15. "I Didn't Ask to Come"   Robert Barnett, Thomas Burton, Cameron Gipp, Willie Knighton, Organized Noize 4:08
16. "Rico (Skit)"     0:07
17. "The Coming" (featuring Witchdoctor) Robert Barnett, Thomas Burton, Cameron Gipp, Eric Johnson, Willie Knighton, Organized Noize 5:47
18. "Cee-Lo (Skit)"     0:28
19. "The Day After" (featuring Roni) Robert Barnett, Thomas Burton, Cameron Gipp, Willie Knighton, Organized Noize 5:00






Tuesday, May 26, 2015

be








Common explored the world to return to where his soul began to find magic in this vintage testimonial to freedom, to peace, and to love.    Following the breakthrough success of 'Like Water For Chocolate' with the ambitious 'Electric Circus' saw Common getting lost as MCA Records was absorbed by Geffen Records.  The album floundered on the charts with little promotion and, after appearing on Kanye West's The College Dropout, Common signed with West's newly formed GOOD Music label.   West would collaborate with Common extensively on his next album 'Be'; with West producing most of the tracks (James Yancey aka J Dilla produced two).  The sessions took place at  Sony Music Studios in New York, New York;   Encore Studios in Burbank, California;  and  Pay Jay in Clinton Township, Michigan   with contributions from  Kanye West,  James Poyser,  Derrick Hodge,  DJ A-Trak,  N. Amuntehu,  K. Lewis,  DJ Dummy, K. Riggins,  The Last Poets,  John Mayer,  Bilal,  John Legend, Luna E, and Lonnie Lynn.    The album features numerous samples from various obscure old school sources:         "Mother Nature" by Albert Jones;  "You Make the Sun Shine" by The Temprees;  "What It Is" by The Temptations;  "Old Smokey" by Linda Lewis;  "Faithful to the End" by DJ Rogers;  "Innocent Til Proven Guilty" by Honey Cone;  "God Is Love" by Marvin Gaye;  "Since I Found My Baby" by Cornelius Brothers & Sister Rose;  "I Never Had It So Good and Felt So Bad" by The Chi-Lites;  "Nothing Can Change This Love" by Sam Cooke;  "Sweet Children" by Caesar Frazier;  "Ghetto Child" by Ahmad Jamal;   "Papa Wings" by Stanley Turrentine;  and  "Share What You Got" by The Modulation.



Common says:  "The album is entitled Be because the hardest thing to do is to be yourself, although many think it's the easiest it's really not. Being is just to exist, you don't have to try hard to do anything because God gave us each an individual and unique characteristic that is the core of who we are. So Be is just about that, being whoever you are, where ever you are ... The way it came about in the album was everything was natural and everything creative came out in a natural way. I mean I really didn't want to try to innovate or try to do what I did last album, because with every album I'm like, 'I gotta try to do something different, I gotta come better than the last album.' But with this album, I just breathed. A lot of people want me to go back to Resurrection, but I can't go back I can only go forward. What we did try to do was capture the spirit and the essence of [Ressurection] while also showing my growth and that's what we did for [Be] ... I think Electric Circus was just a part of my evolution and my experimentation as an artist and it was kind of like since this was my fifth album I was trying to continue to grow and elevate in what I was doing. To me what changed the most is that I got more in tune with myself and more grounded. Electric Circus was me and I don't apologize for it, it is was it is and it's something I created, so it's a piece of my art. With this album I did something simple and raw because it felt good to me at this time. When I did Electric Circus I wanted to go way out there because I was tired of how Hip-Hop was sounding, that's why I did it like that. But with Be, I actually like some of the Hip-Hop now, but besides that I am more hungry on the creative side ... [Kanye and I] made this music together. We were both hungry and excited and we did what we were proud of.  He is a honest dude on how he feels like, he may say I can freak this verse up or I was honest like we need a better beat for this but it all came together like fam.  It has a timeless feel to it you should be able to play this years from now ... I knew Kanye since 96 and he was working a lot with a producer at a time called No ID.  I got to know Kanye he was this young hungry like confident cat that would come around and he would always want to battle with me on the mic.  I have known him for a minute but we never got up on any music but we got together at the right time because his music was a vintage music for me to lay my rhymes down and we made good songs ... Kanye is definitely helping to create this album which is helping my career, but it still came from me; I had to be dope or else it wouldn't work. I do feel that he has been an element as far as bringing raw Hip-Hop back in general. So he definitely is a factor in making this album incredible and bringing me to audiences who may have never heard from me before."

'Be' was his first album to chart in several countries, going to number one hundred and two in France, ninety-three in Germany, seventy-three in the Netherlands, sixty-one in Ireland, thirty-eight in the UK, twenty-six in Switzerland, ten in Canada, two on the US pop chart, and number one on the US rap and R&B album charts.  It made its debut at number two and went on to be certified gold in the US, where it was nominated for four Grammys, including Best Rap Album,  Best Rap Performance by a Duo or Group (for "The Corner" featuring The Last Poets),  Best Rap/Sung Collaboration (for "They Say" featuring Kanye West and John Legend),  and  Best Rap Song (for"Testify).   







http://www.thinkcommon.com/






"GO!"
https://www.youtube.com/watch?v=YCe1gC5VaW4



"The Corner"
https://www.youtube.com/watch?v=6mnKNr2Tiq8



"Testify"
https://www.youtube.com/watch?v=CZRH68Ib1Ko



"They Say"
https://www.youtube.com/watch?v=T_OmxdXkdNM





"The Food"

Common & Kanye - The Food (Live on Chappelle's Show) from Peter Lohan on Vimeo.

original version







'Be'
full album:



1   Be (Intro)  Lonnie Lynn / Kanye West 2:24
2   The Corner  Umar Bin Hassan / Lonnie Lynn / Kanye West  feat: The Last Poets  3:45
3   GO!  Lonnie Lynn / Kanye West  3:44
4   Faithful  Lonnie Lynn / Kanye West  3:33
5   Testify  Angelo Bond / General Johnson / Lonnie Lynn / Kanye West  2:36
6   Love Is...   Anna Gordy Gaye / Marvin Gaye / James Nyx, Jr. / Lonnie Lynn / Elgie Stover   4:10
7   Chi-City   Eddie Cornelius / Lonnie Lynn / Kanye West   3:27
8   The Food   Sam Cooke / Lonnie Lynn / Eugene Record / Kanye West   3:36
9   Real People   Lonnie Lynn / Kanye West  2:48
10  They Say  Thom Bell / John Legend / Lonnie Lynn / Kanye West    feat: John Legend and Kanye West  3:57
11  It's Your World, Pts. 1-2  Lonnie Lynn / Karriem Riggins  feat: Kids  8:33






Tuesday, March 13, 2012

hypocrisy Is the greatest luxury


















The Disposable Heroes of Hiphoprisy laid down some funky polemic with this industrial hip-hop manifesto. Michael Franti and Rono Tse had been in the Beatnigs together mixing jazz with experimental noise before forming this new crew. Franti wrote, programmed, and arranged the songs while Tse handled percussion, drums, noise, and sheet metal. Charlie Hunter played bass and a seven-string guitar. Simone White also played drums.



'Hypocrisy Is the Greatest Luxury' was recorded in San Francisco at Razor's Edge and Komotion studios. Consolidated's Mark Pistel co-produced the album with Franti and Meat Beat Manifesto's Jack Dangers assisted with mixing. Franti's confident voice delivers an insightful analysis of the dehumanization and prejudice of American economic politics and culture from a decidedly left-wing perspective while the beats, samples, and industrial noise (including chainsaws) provides a stirring undercurrent.






'Satanic Reverses' samples 'Miles Runs The Voodoo Down' by Miles Davis.

"Exxon and on and on and on
The ministers of double speak
New meaning of clean they
Tried to teach us
They staged the phoney shampoo of the
Valdez greases
Completely jheri curled the beaches"





'Famous and Dandy (Like Amos and Andy)' samples 'Watermelon Man' by Herbie Hancock.

"We're born believing we're greater than circumstance
Infinitely stronger than chance
As our first breath is handed
We taste the double standard
The need to wear the mask
And with society's nurturing
The psychic plastic surgery
Begins to take effect
As our souls watch astouned
Our characters flounder
Duplicitous identity
Diction and contradiction
Have become the skills
Of assimilation
Razor honed to perfection
From the moment of creation
It's gone from identity crisis
To survival slingshot to rifle
Sin to revival
Try to get looked at
But not poked in the eyeball
Warned of our impurities
Afraid of insecurities
Real life experts of the artificial
Athletes and entertainers
Have become the minstrels
On commercials"









'Language of Violence' deals with violence in schools. It samples 'Barramundi' by This Mortal Coil.

"It's tough to be young,
The young long to be tougher
When we pick on someone else
It might make us feel rougher
Abused by their fathers
But was at home though
So to prove to each other
That they were not homos
The exclamation of the phobic fury
Executioner, a judge and jury
The mob mentality, individuality was nowhere
Dignity forgotten at the bottom
Of a dumb old dare and a numb cold stare"




'The Winter of the Long Hot Summer' samples 'Waves Become Wings' by This Mortal Coil

"On January second the Bush administration
Announced a recession had stricken
The Nation the highest quarterly
Earnings in ten years were posted
By Chevron
Meanwhile a budget was placed in our hands
As the deadline in the sand came to an end
So much for the peace dividend
One billion a day is what we spent
And our grandchildren will pay for it 'til the end
When schools are unfunded
And kids don't get their diplomas
They get used for gun boat diplomacy
Disproportionately
Black or brown we see
Bullet catchers for the slave master"




'Hypocrisy Is the Greatest Luxury'

"Careerism, opportunism
can turn the politics into cartoonism
Let's not patronize or criticize
Let's open the door and look inside
Pull the file on this state of denial"




'Music and Politics'

"If ever I would stop thinking about music and politics
I would tell you that sometimes
It's easier to desire and pursue
The attention and admiration of a hundred strangers
Than it is to accept the love and loyalty
Of those closest to me"