Monday, 6 September 2010
73. Jay-Z - Big Pimpin' (2000), The Blueprint (2001)
Prior to the double whammy of Big Pimpin & The Blueprint you could be forgiven for thinking that Jay-Z was tired. Massive sales & entrepreneurial activities were pursued whilst the musics synth led Puffy style and ever more sentimental cash cow hits, from sampling Anne (which only a Hip-Hop act could get away with), to the unforgivable Oliver sampling Anything, failed to provide a way forward.
However it would be foolish to write off a hardcore hustler, especially one with such impeccable taste.
Jay-Z seemingly worked towards hip-hop success since birth, from the Macy projects, surrounded by hip-hop culture, annoying siblings with drumming on tables and blasting beatboxes, guesting as a youth with local rap talent, including a stint as a member of Big Daddy Kane's crew. Beginning with a tongue twisting flow, popular at the time with Busta Rhymes' Lords Of The Underground and Das Efx. Eventually refining his skills through many guest spots and posse cuts. 1996 debut Reasonable Doubt set out Jay's black capitalist chic with Black Republicans, a Hop-Hop folk trope which had been building for some time, the gist of which is that capitalism and gangsterism have more than superficial similarities, and carried to it's logical conclusion, there should be no reason that regardless of institutionalised racism black ghetto dwellers can get rich, famous and payback, by following rigid street/capitalist codes, because that is how the world is ruled anyway right?
Musically this resulted in a hands off approach to killing people (unlike say the Geto Boys or Big L), brand name obsession and an inability to show emotion outside of music, because emotion is like bad for business, whereas emotion in music is like good for business. This apparent cynical and mercenary approach was held up like a badge of honour by Jay-Z, and with the self confidence came more assured rhyming flow, relaxed, logical and cold enunciation of a man who knows he's right.
Jay-Z's best period was at the turn of the century, firstly with UGK and Timbaland, Jay used indian flute sampling, syncopated beats and sounded completely at ease over them, this was a period when mainstream hip-hop production was as futuristic as anything found in British IDM electronica, as producers atomised soul to produce rhythms seemingly from hiccups, pings, exotic instruments (R Kelly made a beat from the sound of a tap dripping around this time).
The Blueprint added to this by utilising new producer Kanye West who revolutionised hip-hop, by retreating from synth led production, and returned to samples. However, unlike stuttering RZA beats, he used lengthy soul samples, gives the music an epic and lush soulful feel, unlike previous hip-hop. Jay himself rose to the challenge with great concepts (Song Cry), and brutal battle raps, Takeover slays Mobb Deep's Prodigy and Nas with the career topping third verse. Although Jay's rhymes don't stand up to close scrutiny the drama cannot be denied. This album won grammys and sold 450,000 in USA first week despite being released on 9/11.
There is a fine balancing act in Jay-Z's art, having an mercenary business attitude works when people like your work, and so far his taste and talent for finding the best beats (Puffy, Neptunes, Timerland, Kanye), guesting on the biggest hits (Riannah, Beyonce, Alicia Keys), and picking (and winning) the crucial battles (Nas, Glastonbury), has not failed him yet. However there is a danger that he may become the mainstream (hello Coldplay) rapper it's safe to like and lose the confrontation and drama of his best work. The other bigger danger is that he stops highlighting the inherent criminality of capitalism (intentionally or not) and becomes simply a mercenary capitalist. Jay-Z is the king of New York, and the archetypal post 9/11 NY rapper. He could learn a lot from looking at the careers of former King of New York, Frank Sinatra.
Monday, 23 August 2010
Friday, 20 August 2010
Fennesz vids
http://www.youtube.com/watch?v=QLKzqKdF9Zc
http://www.youtube.com/watch?v=SPKq2zMbVnU
Fennesz & Sparklehorse
http://www.youtube.com/watch?v=gl2Bs0b6GqA
Fennesz & Ruichi Sakamoto
http://www.youtube.com/watch?v=Z3917K3i5Qw
http://www.youtube.com/watch?v=SPKq2zMbVnU
Fennesz & Sparklehorse
http://www.youtube.com/watch?v=gl2Bs0b6GqA
Fennesz & Ruichi Sakamoto
http://www.youtube.com/watch?v=Z3917K3i5Qw
74. Fennesz - Endless Summer/ Plays EP (2001)
When Austrian electronic musician Christian Fennesz released these records at the turn of the millennium the effect on electronica was revolutionary and spread into other areas of music most obviously folk and indie, largely responsible for spawning the folktronica and glitch genre (of which I proudly own no records, not to mention the Ghost Box/Hypnagogic axis). The innovation of Fennesz was to digitally deconstruct the analogue sounds of strummed guitar and pop melodies, especially the melodic, summertime haze of The Beach Boys, and 60's pop. This deconstruction with it's MBV like hidden melodies, white noise and digital glitch expands upon the work of MBV, Branca, and Sonic Youth as well as acknowledging, but retreating from the increasingly complex techno of Aphex and Autechre (Autechre's Confeld on Warp in 1999 is possibly the most complex techno LP ever and has to be heard to be not believed!).
Plays came first and apparently mirrors the construction and pitch of the so called cover versions, Don't Talk Put Your Head On My Shoulder and Paint It Black, they conjure half remembered memories of summers gone.
Endless Summer is not only the name of a Beach Boys comp, but is also a documentary of a film following the surfing exploits of some 60's beach bums, which strangely I used to watch as a kid inbetween reruns of Lassie and Scooby Doo. The cover of endless summer feature stills from that very film.
Subscribe to:
Posts (Atom)
