Sound Bite Sunday(part 1)


So, I'm sorry folks. I've been locked in the hyperbolic time chamber and have now emerged with some more biscuits(2) to share...I graduated from Oklahoma State University. There I met many of the folks that would eventually become my extended family. We were part of a small tightly-knit pan-African community that inadvertently responsible for my diverse and densely populated musical palette. One friend, in particular, was(and still is) largely responsible for developing and deepening my appreciation for reggae music--Ermias Wondimu. He helped me to understand the transcontinental importance of this expression, he helped me discover the political agency in the music, and lastly he helped me situate reggae in the dual consciousness of the African living and breathing diaspora. Now, before I met Ermi I listened to reggae, but did not realize the breadth nor the depth of the art form. From Wondimu I learned how to hear the difference between dancehall and ragga, roots and rocksteady, lover's rock and dub, and I'll be forever indebted to him for that. So courtesy of my Habesha brotha please, enjoy these biscuits from the Yard!

• Gregory Anthony Isaacs (born 15 July 1950) is a Jamaican reggae musician. Isaacs was born in Fletchers Land, Kingston, Jamaica. In the 1970s, he emerged as one of the most prolific and popular recording artists in Jamaica. He released a number of self-produced singles on his African Museum (JA) record label, formed in 1973 with Errol Dunkley. Much of Isaacs' output reflected the 'conscious' themes of roots reggae, but Isaacs is probably better known for his lovers rock material. The 'Cool Ruler' never fails to creatively inject romance and tenderness into a tune with his honey-laced vocals. These tracks capture Issacs' ability to be delicate and firm. Gregory Isaacs - Special Guest Gregory Issacs - Body Language



• Steel Pulse is a well-known roots reggae musical band. They originally formed at Handsworth Wood Boys School, in Birmingham, England and comprised of David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals) and Ronald McQueen (bass). Hinds, as songwriter, has always been the engine behind Steel Pulse, from their early days establishing themselves in the Birmingham club scene onwards. Formed in 1975, their debut release, Kibudu, Mansetta And Abuku arrived on the small independent label Dip, and linked the plight of urban black youth with the image of a greater African homeland. Their first release for Island was the Ku Klux Klan 45, a considered tilt at the evils of racism, and one often accompanied by a visual parody of the sect on stage. By this time their ranks had swelled to include Selwyn 'Bumbo' Brown (keyboards), Steve 'Grizzly' Nisbett (drums), Alphonso Martin (vocals, percussion) and Mykaell Riley (vocals). Handsworth Revolution was an accomplished long playing debut and one of the major landmarks in the evolution of British reggae. Pulse has always struck a chord with me because of their musical clarity and ability to perform fiery protest material. Hopefully these tunes will convey, in part, their profound impact on the genre. Steel Pulse - Ku Klux Klan Steel Pulse - Blues Dance Raid

Stay Sucka-Free Y'all,

f.negro

Richard Pryor At His Finest


Just a reminder of why our comedians are important.

Sound Bite Sunday

I grew up in Sand Springs, OK. A place where my appreciation for the blues was nurtured deliberately and inadvertantly. At this point in my life that appreciation has become a signifcant part of my identity as it reminds me of home, informs my world perspective and comforts me in those moments of frustration and despair. Because of my childhood experiences I've grown to enjoy bluesicians such as John Lee Hooker, Robert Johnson, Leadbelly and Muddy Waters, but that wasn't my generation of the blues. I was introduced to the blues through my constant visits to this juke joint down the street from my house called QV's(Queen Victoria and yes that was her legal name, gotta love Black folks). I loved going to QV's because they had a Ms. Pacman game, a pool table, a jukebox and some of the most colorful personalities ever! From Wayne Jenkins the most popular neighborhood wino to Baker the neighborhood womanizer(and father to some 10-20 children, no one really knows). QV's was a place where conflict was negotiated, a place where revenge was exacted, a place for celebration, a place to gamble, but most of all it was THE source of music during my adolescence. It was the only place to get the most up to date music from Hip-hop to R&B. But QV only had those tunes in the jukebox for us young folks who came to play Ms. Pacman and an occasional game of pool. For the most part she had the contemporary blues classics spinning. I'm talkin' 'bout Clarence Carter, Johnny Taylor, Bobby 'Blue' Bland, Millie Jackson, Tyrone Davis and Latimore. Yeah, those where the giants, but there are some signature tracks that define my experience in her juke joint. Hopefully y'all can appreciate these quintessential blues artists and tracks...

• Arziel Hill (September 30, 1935, Naples, Texas — April 27, 1984, Dallas, Texas) known popularly as Z. Z. Hill, was a blues singer, in the soul blues tradition, known for his 1970s and 1980s recordings for Malaco. His Down Home Blues album (1982) stayed on the Billboard soul album chart for nearly two years. The title track was the best-known blues song of the 1980s.This track, plus the songs, "Someone Else Is Steppin In" and "Open House" have become R&B/Southern soul standards. Z.Z. Hill has been a integral part of my life soundtrack. Down Home Blues is a quintessential blues cut, rich with a classic bassline and incredible guitar solos. Z.Z.'s signature voice is gritty, passionate and provoking, easily inspiring the most sober of us to grab a fifth of Wild Irish Rose and find somebody to grind on. I only hope that this tune reminds you of or properly introduces you to one of the last great blues icons. Z.Z Hill - Down Home Blues

• Milton "Little Milton" Campbell, Jr. (September 7, 1934 - August 4, 2005) was a blues vocalist and guitarist best known for his hits "Grits Ain't Groceries" and "We're Gonna Make It." Most popular in the sixties, he eventually became one of the lesser known greats of the genre, combining traditional lyrical structure with smoother production. Although Little Milton has greater notoriety for the aforementioned tunes, his 1984 classic "The Blues Is Alright" is somewhat of a modern anthem for the genre and briefly revived his career. If you've never heard the blues, this is a great place to start. Its uptempo, funky and emotional. Guaranteed to get any southern party jumping, listen to Little Milton and learn to testify. Little Milton - The Blues Is Alright

Stay Sucka-Free y'all...

f.negro

Healing

I need some healing (Erykah Badu - The Healer). As I sit in this moment feeling abandoned, I wonder about my relationships. I question what is real, who is in my life without compulsion and what deserves to be edited. I've always had what I like to call a healthy paranoia, but that takes a lot of energy to maintain. However, the consequence of trust can sometimes be irreparable. A few weeks ago I posted a John Mayer video called, "In Repair." Somehow I never fully recovered from that situation and since then more has decided to pile. I am navigating the pain of betrayal. In my battle to fight the robots and vampires I have been confronted with the gross abuse of my commitment to that which is greater than myself and still stand alone...Again, holding the bag.

I appreciate all of my companero/as who have been there to urge my sanity and strength. I find solace in knowing that even in this hyper-reality there is still truth and love. That there is loyalty that supercedes the xeroxed interactions afforded by fuckery and duplicity.

In times like these I'm reminded of my purpose. And I'm reminded by the women in my life of what I must do. Here's to my conscious, the voice of sistas: healers, warrior-queens, lovers, historians, brokers of patience, liberators, mothers, educators, black, brown and beige you are.

Thank you for the reminder Mahalia and Duke-Black, Brown and Beige, Pt. 4 ( Come Sunday).

Stay Sucka-Free Y'all...please
f.negro

Last Word(s) Before Super/Fat Tuesday (Si Se Puede!)

Right now Papa Legba is prolly visiting New Orleans as folks get ready for Mardi Gras. He'll remind the people of why Congo Square is important and how the spirit of revelers past must evoked. The Zulu Social Aid and Pleasure Club already feted....celebrating. The Mardi Gras Indians just now arriving, folks waiting to join the krewe. All the while the presidential race is a stewin'. I could use a piece of that celebration, so I'm going home to pay tribute in my on way and think about the potential consequences of tomorrow. Here's to choices, or at the least the illusion of them...

Stay Sucka-Free Y'all,
F.Negro

Prince - The Beautiful Ones(Purple Rain)

So I was having a moment today..."a haunting musical tale of emotional longing and unrequited love." Can I find some of this? Just a gram.

Sound Bite Sunday(s)

I am a knower that music is a vehicle and medium of change. Political, emotional, mental and spiritual change. It has this power to impact us on a subatomic level, transmitting beautiful and ugly notions alike. I prefer the former. So in honor of music's positive aesthetic and purpose, I would like to introduce Sound Bite Sunday. Every week I'll post some of the most delectable musical biscuits this quadarant of the galaxy. Old and new, domestic and international, all of which are suited to inspire and contribute to a more colorful and diverse musical palette.

I love soul and funk. These genres lay at the foundation of my childhood. My mama sings and my father was a musician, both are music junkies. So, this post is a tribute to their generation. A time when music was rich with good vibes, even if the lyrics were infused with pain and tumult.

• Roy Ayers, vibraphonist and Jazz/Funk icon, has given the world an incredible soundtrack to live to. Although probably best known for tracks like Everybody Loves The Sunshine and Searching, I would argue that Running Away is one of his greatest contributions. From the first, "doo be doo/run, run.." it is impossible to be still. With an infectiously funky bassline, heavy polyrhythms and story of a one-sided love, the groove is clearly made for a disco crowd. But this cut is timeless, made for Sundays and moments of celebration. Take your time(slow load) and enjoy... Roy Ayers - Running Away
  



• A fairly obscure funk and soul singer, George McCrae has a few tunes in his discography that apparently made a serious impact in the 70s, only one of which that I know. And the only reason why I know the tune is because of its heavy sample usage. Here' s my attempt to turn on the rest of the planet to Sir George and his undercelebrated genius. Check this cut and let me know if you can identify the (most popular) songs that used this sample... George McCrae - I Get Lifted

Until next time....Stay Sucka-Free y'all.

f.negro