Archive for the ‘Eddie Bailey’ Category

Carolina Negro Jig

Wednesday, April 30th, 2014

by Writing Battle Rap History

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Carolina Chocolate Drops, 2014

Carolina Chocolate Drops, 2014

The Carolina Chocolate Drops are one of the few black, old-time string bands that still exist today.  Composed of lead vocalist, violinist, and banjoist, Rhiannon Giddens, multi-instrumentalists, Hubby Jenkins and Rowan Corbett, and cellist, Malcolm Parson, the Durham, North Carolina based quartet are a coming of age musical-medium that bridge African-American influenced folk music to modern musical themes with a 21st century interpretation.

The banjo, an instrument that has its origins in West Africa, is quintessential in the makings of music in America.  As early as the 17th century, slaves were taught to play violins for their master’s entertainment.  Slaves combined European harmonies they learned on the violin with the rhythmic and syncopated cadences from their native Africa that they played on the banjo.   This cultivated into a sound that was uniquely African-American and was called “Negro Jigs.”

Joe Thompson

Joe Thompson

Before the Chocolate Drops became a group, they were inquisitive musicians that shared a common interest in learning more about string music, in particular, the African-American influence on string music of the 1920s and 30s in the Piedmont regions of North and South Carolina.  When white musicians started to incorporate banjos in their sets, string music became associated with being “hillbilly“, mainly because black musicians started embracing blues music and as a result black string band traditions faded, while “hillbilly” became the precursor to country and bluegrass music.  Wanting to preserve and share the black string band tradition, the Chocolate Drops sought the expertise of Joe Thompson, a legendary fiddler from North Carolina who comes from a line of black string band musicians. Thompson exposed them to old-time fiddling during jam sessions at his home.  The Carolina Chocolate Drops initially formed as a tribute band for Thompson before his passing in 2012 at the age of 93, but shortly thereafter, discovered success beyond him.  Click here to read the full review.

 

When OutKast Became en vogue

Tuesday, April 22nd, 2014

by Writing Battle Rap History

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Southernplayalisticcadillacmuzik cover art

Southernplayalisticcadillacmuzik cover art

There was a time when it wasn’t cool to be from the south.  At one point, southern rap wasn’t considered a genre in Hip Hop.  That fact was made apparent at the 1995 Source Awards in New York City when Atlanta duo, OutKast, accepted their award for Best New Group.  Overshadowed by the ensuing East Coast-West Coast conflict that took center stage that night, OuKast were barely noticed, aside from the hail storm of boos they received when they accepted their award from an already divided audience between coastal lines.  New York, the epicenter and gatekeepers of Hip Hop, weren’t ready to fully embrace southern artists.  Sonically, OutKast’s debut album,Southernplayalisticadillacmuzik, was out of context with New York’s traditional Boom Bap, kick-snare-kicks-and-hi hat, drum pattern, that helped define the region’s sound in the early 90′s, so the deep fried southern delicacy that OutKast cooked up was an acquired taste for most Hip Hop elitists.

Outkast 1995

Outkast 1995

“The south got something to say.”

Atlanta is literally a city in a forest.  It’s unique among most major cities because of its unusual grandeur of thick forest that canopy the city’s landscape.  The only thing that is penetrable above the forest ceiling is the city’s skyscrapers that peak some resemblance of urban life.  Atlanta, as an unlikely place for Hip Hop became a hub for the genre, thanks to music moguls like Jermaine Dupree, Babyface and LA Reid, who established their musical roots in Atlanta’s growing market.  Pioneers, Big Boi and Dre’ (now Andre’ 3000), who formed OutKast in 1992, would help to change the city’s music landscape forever when LaFace Records released Southernplayalisticadillacmuzikon April 26, 1994.  Click here to read the full review.

 

Bxtches Be Like – A Social Commentary

Thursday, April 17th, 2014

by Writing Battle Rap History

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Screen shot from "Bxtches Be Like" Music Video

Screen shot from “Bxtches Be Like” Music Video

A few days ago Rap Radar posted a music video by recording artist Rico Love from his Discrete Luxury EP, entitled Bitches Be Like (which I’ll stylize as Bxtches Be Like).  Amused by the title, my first impulse was to click the link to humor myself of what I thought I was about to hear.  Instead, I heard something very different.  A type of twisted social commentary is what I call it.

Bxtches Be Like, for those who are not well versed in social media, is an Internet colloquialism for describing what women stereotypically do: with the word “bxtches” replacing “women” as a name that is attached to the stereotypical behavior.

On the outset the song appears to be a loving but firm discourse. Love topics particular women who chase after material possessions and meaningless relationships because they don’t know their own worth.  “You were always the life of the party/But when you gonna give your life to somebody/It’s like you find more pain than pleasure/You know you can’t play that game forever/How long you gon’ carry on, carry on like this/Different city every night still looking for a nxgga who gon’ wife it.”  Click here to read the full review.

SZA “Z” Album Review

Monday, April 14th, 2014

by Writing Battle Rap History

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Z Cover Art

Z Cover Art

Album Rating System 4 out of 5 records

Image    Image Image Image

If you’ve ever rummaged through a girl’s diary to know her private thoughts, you’ve probably run across some pretty revealing truths.  To get caught violating that privacy is hell to pay.  In the case of Top Dawg Entertainment (TDE) artist SZA, she has willingly left her diary unlocked for the world to see.

Z is a chronicle of a deeply passionate teenage love affair with the ebb and flows of life as an adolescent and a young adult.  SZA narrates her experiences through the lens of her fractured vanity mirror.  Defragmenting the pieces of her life into a complete portrait is SZA’s process of creating her own masterpiece, which is discovering herself.  Click here to read the full review.

 

ILLmaticXX Anniversary: 20 Years In Review

Saturday, April 5th, 2014

by Eddie Bailey

Eddie Bailey Blog

 

 

 

 

 

Illmatic XX Cover art

 

The Genesis

Queensbridge Houses are the largest housing projects on the North American continent.  It sits along the East River just north of the Queensborough (59th Street) Bridge that connects Manhattan to Queens.  Looking down from the bridge on the 96-unit, six-story project rooftops looks like a labyrinth of Y- shaped buildings that span across a small landscape.  The projects, clothed with weathered brick, gleam in the sky’s foreground like peculiar urban pillars that are definitive reminders of inner city blight.

Queensbridge Houses

Queensbridge Houses

These same projects that raised numerous stars like MC Shan, Roxanne Shante’, Marly Marl, Craig G, Metta World Peace and Mobb Deep, also raised one of Hip Hop’s most celebrated MCs.  Nas.  When MC Shan wrote his battle lyrics during The Bridge Warsagainst KRS-One, he was unwittingly prophetic when he said this about Queensbridge MCs.

This is the place where stars are born

And we are only the ones that can’t be worn out

– MC Shan, The Bridge, 1985

On April 19, 1994, Hip Hop was delivered a gift.  Unwrapped of its magnetic coated, plastic film, was a cassette tape that changed the course of East Coast Hip Hop.  Illmatic, Nas’ debut album, released by Columbia Records, sold an underwhelming 59,000 copies in its first week.  With barely a peep of recognition outside of the East Coast upon its release,Illmatic managed to become one of the most important albums in Hip Hop history. Click here to read the full review.