The Very Good Agency

Black Seeds at the Civic

On a slightly cold but not wet Christchurch evening, people of all cultures and creeds (that are tolerated in our enthusiastic, but small city), congregated together to celebrate what has now almost become a cultural institution. This was last Friday night,  September 12th to be exact, when I lined up with the rest of the crowd at the venue ‘The Civic’ to get in and check out long-time favourites The Black Seeds, who are touring their fifth and latest album “Solid Ground” (see V.G Article from July 29th, 2008 for more details).

They were supported by local groups The Oakley ‘OG’ Grenell live band, and The Dubwise Soundsystem who got the crowd all nicely warmed up and feeling the vibes. OG and guests started around 10pm or so, with their ‘roots rock’ live ensemble. Oakley who was mostly on guitar (and vocals on Bob Marley cover ‘Kaya’) appeared on stage with a full cast of stars including 2 singers, 2 MCs and other assorted musicians. The crowd was really digging their tunes and loving the positive atmosphere they created.

Next was Dubwise who although are personal favourites of mine, seemed as though they should have been first in the line up. No disrespect meant to MC Snypa Levi and DJ Messenjah, but it was hard for the pair to hold the crowds attention after the interactive groove-fest that was the OG band. Now this may say more about the crowd than the artists, but my opinion still stands, they should have started the gig first up, with OG in the middle.

Just after midnight the crowd rocketed into full force as they anticipated the presence of the mighty Black Seeds, who kicked off the set with one of their recent singles “Slingshot” (from the new album) and fired off a few more songs before saying a big hello to the highly stimulated crowd, who responded accordingly. The double-edged-sword of the Christchurch live scene is that crowds go wild, so they are guaranteed to react, but not always as expected. This means that they can either be very vocally supportive, or obnoxious and aggressive, more so than other main centres of New Zealand.  On this peaceful Friday night though, all the goodness came alive, with very little anger and the only pushing in the sold out crowd, was in time to the beat.

It seems that after years of touring both locally and around the globe, the boys have perfected the art of the live gig and are quite the consummate professionals, knowing exactly when to bust out the right song, to tickle the crowds fancy. They played a great range of songs spanning all their albums, including a personal favourite of mine “Coming back home”. The attended masses were definitely not disappointed, and went away with a funky satisfied feeling. Not only due to the powerful music, trippy visual displays and the sweet smells of marijuana hanging patiently in the air, but mainly due to the reverie from a night of good times shared by all. The Black Seeds irresistible mixture of reggae, dub and funk all thrown together to create a party vibe, has been the backbone of many casual barbecues and back-yard-cricket games, and will live on for many summers to come. Viva la The Black Seeds!

-Video For the single ‘Slingshot’-

If you’re after more info or details: check out The Black Seeds awesome website

…where you can listen to their songs and play with giraffes!

The Black Seeds Official Site

“Love is given, taken away
Never take more than you give I say
Life has a way of telling us
When your causing a mess or fuss”

(Slingshot – The Black Seeds)

Until next time …Yossarian

Tags: Dub, Funk, gigs, New Zealand Artists, Reggae

Yaheard? Lightheaded & Braille

Whats up everyone! So a couple weeks back I introduced you (hopefully!) to an album called The Find by Ohmega Watts. Well, this week we’re gonna take a look at an album he released with his group Lightheaded, as well as a dope album by one of his Lightheaded friends, Braille.

I discovered this music after I listened to Ohmega‘s album and taking some serious notice of some of Braille‘s rhymes. After a bit of research I was more than pleased to find they were actually part of the same group, along with another MC called Othello. Wrong Way is the second album from Lightheaded, and was released way back in 2005. Full of up-tempo b-boy jams and summertime beats; the three artists create something that has you nodding your head and reminiscing about the golden days of hip hop. Drawing influence from the likes of People Under The Stairs, Gangstarr, Jurassic 5 and Ugly Duckling (circa Journey To Anywhere), the three MC’s rhyme with conscious and positive lyrics over some seriously good Ohmega Watts production.

The album wastes no time in starting the party, the second track, “Timeless”, comes in with a funky horn loop over a cracking drum beat, before the MC’s start with the timeless (no pun intended) hip hop mantra “Clap your hands everybody, if you what it takes……”.

The MC’s feed off each other and rap collectively as well as dropping tight verses individually, this is a truly classic party track that is impossible not to love. The whole album is awesome though, its another one that you can easily listen to from start to finish. Notable standouts include the title track, “Wrong Way”, as well as the samba-influenced “In The Building”, and the chilled out groove of the “Surprise Cypher” remix.

The production on the album is easily as solid as that on The Find, track after track of head-nodding party beats and cuts, catchy hooks and feelgood melodies. Ohmega‘s skill on the boards is undeniable, and he raps just as well too. What stands out is that these guys are all very different when it comes to their rhyme styles, yet they flow together amazingly. Braille, Ohmega Watts and Othello have the ability to create dope positive hip hop with seeming ease, its certainly a chemistry that would be envied by many artists.

Lightheaded – Soul Power

For me, Braille‘s rhyme skills really came to the fore upon hearing the Lightheaded joint. He has an instantly recognisable voice and a flow that suits the feelgood party beats that I know I love. With four solo albums and two with Lightheaded, along with running his own label (www.hiphopismusic.com), Braille is obviously a very committed and hardworking artist. As a Christian, his beliefs are often expressed in his songs, although never in an in-your-face kind of way, more of a positive and uplifting kind of way. His second album, “Shades of Grey”, is a strong showing from the Portland-based MC; and again features contributions from his pal Ohmega Watts.

“It Won’t Last” kicks off the album in style with a funky acoustic guitar riff and toe-tapping beat. Braille is joined by Othello and Pigeon John, who all rhyme together on the hook. “Hip Hop Music” follows, and keeps the beat rolling with Braille coming with insightful lyrics about the stereotypes surrounding hip hip artists. Scratch master Rob Swift, of The Executioners, adds cuts to top this track off, making it one of the best on the album. Ohmega joins the party on “Statements Part 2”, where the two MC’s rhyme together about Lightheaded and an older project they did together called Return to Sender; a track that would sit comfortably on The Find or Timeless.

The album cruises through solid tracks “Keep On” and “Let Go”, before moving to “Poetry in Motion”, which features synthy piano and dope cuts and samples from Muneshine on production. The Lightheaded crew then reunite along with Sharlok Poems on “Soul Rock” in another feelgood hit. Braille finishes off with one of the albums best tracks in “Shades of Grey”. Dropping with a big orchestral build-up, Braille bursts in and delivers some of the best lyrics of the entire album. He breaks down the realities of life, particularly his, and through the use of some beautifully complex lyrics he discusses the importance of staying positive and striving to always make the most of what you’ve got in life regardless of your situation, to always make do with your shades of grey;

“Sipping on my sorrow while it’s washing it away,
trying to add color to these shades of grey,
and trying to make sense out of all this confusion,
embrace my reality and unmask illusions, holograms,
i advance on a quest with many questions,
distracted for a second but I know that I’m destined,
counting my blessing, renewed everyday,
and I know I’d never grow without these shades of grey”

These are both great hip hop albums, no question. Hip hop music made for all the right reasons appeals to me greatly. I’m sick of hearing artists who find it necessary to continuously big up the bling-bling “money-cash-ho’s” type ideology. These guys, however, never come close to that; you can really tell that the MC’s are serious and passionate about their craft. They flow with effortless finesse, delivering track-after-track of music that pays homage to the early days of hip hop, where rolling party beats and conscious lyricism were the order of the day.

Braille also has a new album out, The IV Edition, which is well worth checking out.

You can check out more of Braille at:

www.myspace.com/braillebrizzy

www.hiphopismusic.com

and hear some of Lightheaded‘s tracks at:

www.myspace.com/lightheaded where they’ve also announced that they’re working on a new album.

That’s all for now,

Peace

…Crack

Tags: Collaborations, hip hop

YaHeard? Foreign Exchange – Connected

Few albums have stuck me the way Foreign Exchange’s debut effort did. The only thing I knew about the project before listening, was that the two masterminds had never actually met before releasing the album. North Carolina-based MC Phonte (of Little Brother), and Netherlands-based producer Nicolay, met on the Okayplayer (www.okayplayer.com) messageboards, where Nicolay emailed beats to Phonte, who dropped verses, and then the Dutch master mixed the final product. The result, Connected, is a lush 14-track hip hop symphony of wonderfully layered beats and potent lyricism.

At the time I purchased the album I had only just been introduced to Little Brother, and without much thought, ordered the album without having listened to any of it. What I got was easily the best album of 2004 for me. Nicolay crafts beautifully intricate, soulful landscapes, of which Phonte takes complete lyrical control, along with a whole host of friends such as Justus League cohorts Median and Joe Scudda, the sultry diva YahZarah, and his Little Brother partner in crime, Big Pooh.

The album kicks off with an interesting syncopated harmony which builds with the charming voice of YahZarah, and then drops into a typical Nicolay groove with her singing “Thank you for the music, thank you for right now”; once you’ve heard this album in its entirety you’ll realise just how appropriate this is. The next track, “Von Sees”, features Von Pea shouting out to all involved in the project, and really serves as a second introduction, before seemlessly blending into Phonte‘s first verse on the next track, “Raw Life”, where he comes in spitting straight fire alongside Joe Scudda. The journey continues with the following track, “Hustle, Hustle”, a smooth organ-driven beat with a deep bassline and funky horns on the chorus.

Perhaps the albums best track, “Let’s Move”, is up next. An amazingly layered mellow blend of multiple vocals and euphoric brass and string sections. This is easily an album highlight, guest Big Pooh and  Phonte express the woes of the independent musician, with Phonte delivering one of his finest lines: “My rhymes never dramatise, I applied for the job of rap nigga, but I was overqualified”. The appropriately titled “Nic’s Groove”, is up next. A smooth mid-tempo harmony and booming bassline, with Phonte and Big Pooh again trading verses, Pooh coming with one of the most creative rhymes I’ve ever heard: “Mental precipitation, without the weather reports, to forecast of predict my thoughts”.

Foreign Exchange featuring YahZarah – Sincere

The albums flow is infectious, with tracks blending into and complimenting each other, raising and lowering the tempo in just the right places. “Sincere”, “Be Alright” and “Brave New World” keep the vibe of the album rolling along nicely, and the final track “All That You Are” finishes things as strongly as possible; you won’t want the journey to end. I cannot tell you how many times I have listened to this, but I seriously consider it one of the most amazing hip hop albums i’ve ever heard. Even as I sit here now listening to it I’m looking forward to the next time I get to hear it. And it’s been out for nearly 4 years!

Despite the distance between the two artists during the production of this album, the final product gives you the feeling that they’ve been making music together for years. Connected will take you on a laid back ride through hip hop, electronic groove and soul, and have you nodding your head the whole way. Nicolay‘s beats are simply beautiful, elaborate and enchanting; you need to listen to this by yourself the first time to fully appreciate them. Phonte and family all do their bit throughout the album, but the man himself really shines, consistently ripping his verses to pieces with his silky flow and creative rhymes. And although at the time it probably seemed like a nice little side project, the critical acclaim this album has received has resulted in Nicolay and Phonte teaming up again for Leave it all behind, to be released later this year. Now that is good news to me.

That’s YaHeard? for the week, keep an eye out in coming weeks for an interview with Ohmega Watts collaborator and Lightheaded member, Braille.

Peace

You can check out more of Foreign Exchange at:

www.theforeignexchangemusic.com

…..Crack

Tags: Collaborations, hip hop

Jackson Jackson – The Fire is on The Bird

Australia has produced another quirky, innovative, laid back bunch of performers in the new form of Jackson Jackson. Based in Melbourne, Jackson Jackson began as a side project of Harry Angus, who is best known for his role in The Cat Empire, and producer Jan Skubiszewski, who Angus met through working together with The Cat Empire. Thankfully, this side project album ‘The Fire is on The Bird’ avoids the common situation where artists simply reproduce a familiar sound under a new name. The only similarity between these two groups really… is how unique they are.

Jackson Jackson manage to deliver a type of cheeky music that is very representative of the relaxed Australian humour, most obvious in the songs that they use very limited instrumentals, and yet carry your interest with random tales over downbeat old school drum tracks. The fusion of electronica, folk, hip hop and fun also reminiscent of many of the genres you would have been hearing in any major Australian city over the last ten years, just not usually played together.

Surprised by the initial positivity to the album Angus told “When we finished the album we realised that it was a lot more acceptable to our peers than we thought it was going to be. We thought it was really out there, but everyone seems to think it’s not too strange.”

Well I think it’s kinda strange, but that’s a good thing yeah?

Jackson Jackson – Cats, Rats and Pigeons

With some funky beats, a nice mixture of instruments blending (especially the accoustic guitar), and plenty of smooth beat doctoring, the album is extremely varied and appears to cover a lot of ground for just one album. Its nice to have lyricism which manages to touch on issues… but all the while not taking them too seriously taking the time to make fun tracks or one’s which are thought provoking  like “A hairy man in a waxed man’s world”. An album for chilling, driving, in the office, on the tram, and i’m sure pretty soon, in summer backyard BBQs all around Australia where it belongs.

Jackson Jackson Track by Track

You can check out more of Jackson Jackson at:

www.myspace.com/jacksonjacksonmusic

and for anyone who has missed them, it’s well worth checking out The Cat Empire:

www.myspace.com/thecatempire

…bs

Tags: Australian Artists, folk, hip hop

YaHeard? Ohmega Watts

YaHeard?

Welcome to another entry from the YaHeard? handbook, where we look at albums that you should’ve heard. As an underground hip hop fan whose interest was matured by the likes of Jurassic 5, People Under The Stairs, Eric B and Rakim and DJ Premier, its always refreshing to come across new music that pays homage to the Old School era. Ohmega Watts does exactly that, and he does it well. His debut album, ‘The Find’ (released in 2005), is a well crafted blend of organic and energetic hip hop, funk, jazz, soul and reggae, resulting in a sound that sits comfortably with the likes of A Tribe Called Quest, Gangstarr and Pete Rock. Known as a triple threat, Watts is a skilled Emcee, DJ and Producer; something you’ll be well aware of after listening to this album. From start to finish it takes you on a journey to the golden age with laid-back hip-hop stylings to party rockin bangers; this is an album you need in your collection.

Appropriately, the album kicks off with “Where it all started”, a ride in time through Ohmega Watts hip hop development, touching on all his influences along the way. It then launches into the funked up vibe of “That Sound”, which features Lightheaded (the crew that Watts cut his teeth with), The Procussions and the silky smooth Noelle from The Rebirth on the hook. This is easily one of the best tracks and the bouncy party beat will have your heading nodding for sure. The build up and drop into Braille‘s verse is true party-styles, and the breakdown towards the end of the track illustrates Watts‘ impressive abilities on the cut.

Although guests appear on over half of the tracks, you’ll probably find that its predominantly artists you’ve never head of, such as Neogen & Deacon on “Full Swing”, Braille on “The Treatment”, and the talented Tiffany Simpson on “Your Love”. Don’t let this discourage you, Watts has arranged the perfect supporting cast for his masterpiece. The artists all add sublimely to their respective songs; Tiffany Simpson’s husky voice is amazing on her funk-infused RnB track, Sugar Candy (don’t let the name fool you now) takes it back to Ohmega Watts’ Jamaican roots with the dubby reggae-inspired rhythm of “Treasure Hunt”, and Stro The 89th Key trades verses with Watts with style on the title track, “The Find”.

Ohmega Watts – The Making of Platypus Strut

The track that set off Watts‘ success was “A Request”, a beautifully complex beat that perfectly demonstrates Watts’ talent on the production side of things. His laid-back rolling flow rocks the beat, which is so good you won’t even notice that he only actually raps on the first half of it. Watts‘ keeps the tempo up with the urgent, loud and hard hitting “The Treatment”, where he’s joined by Manchild, Braille and Big Rec for some more slammin’ beats and rhymes. His production skills are again highlighted in what is one of my favourite tracks, “Floor Rock”, which (except from a couple vocal samples) is an instrumental track with a foot-tapping uptempo beat supported by funky trumpet and guitar solos. I say one of my favourite tracks, although in all honesty probably over half the album could fall into the same category.

During a time in which the art of hip hop music is drowning in banal B-rate lyrical thuggery, crunk, and a painful dirty-south uprising, it’s refreshing to be able to tune into a rapper with no hidden agenda. Ohmega Watts’ confident delivery, positive lyrics and well-timed rhyme scheme brings a real sense of the Old School back, and when fused with all the best parts of the New School, what results is a classic summer party album that will keep you bouncing for sure.

For more on Ohmega Watts check out:

www.myspace.com/ohmegawatts

He also has a new album out, ‘Watts Happening’ released late last year, however, I implore you to check out ‘The Find’ first; you will not be disappointed.

See y’all next week…

…Cracked

Tags: hip hop