Elijah Wald has a knack for writing books that make one re-think what they think they know, and his book  Escaping The Delta: Robert Johnson and the Invention of the Blues does just that.  Admittedly, the reason I picked up the book in the first place was both a desire to learn more about Blues, and to read another book authored by Mr. Wald, my first being How The Beatles Destroyed Rock ‘n’ Roll.

For starters, Elijah Wald is brilliant, and as Steve Knopper said in The Chicago Tribune, that although Wald is somewhat of a ‘revisionist historian’, in Escaping The Delta, he isn’t so much being the revisionist, but instead looks back on both Robert Johnson – and the Blues in general – “with context and common sense”.  Something I couldn’t have said better myself.  Wald speaks ‘to’ as opposed to ‘at’ his reader with fresh perspective and somewhat of a swift kick or wake-up call, illuminating what we should already know and dispelling the white myth of black Blues.

Admittedly, upon first picking up Escaping The Delta, I believed Blues to be the musical genre I knew least about.  Upon its completion, not only did I discover that I knew much more then I thought I had, but that my thinking I knew little about the ‘genre’ was my first mistake.  Wald is no lover of musical classifications, and is quick to point out the grayed divisions between what we believe are classifications or genres of music and what is in fact truth are wholly different.  The “Invention of the Blues” part of the title is almost literal in that what we now know of Robert Johnson and many other blues “legends” has become somewhat skewed and romanticized, and all is not as it seems.

At the same time, I did learn quite a bit I didn’t know, and all the while as I read I listened to the music of Robert Johnson, Howlin’ Wolf and B.B. King (among others) and was able to draw direct connections to Wald’s point, and well as every other music genre within which the Blues lives on today.

For anyone who thinks themselves a Musicologist of sorts, my advice is not just to read everything Elijah Wald ever wrote, but, should you ever meet him, to avoid engaging in any sort of musical debate with this man.  He knows his stuff better than most, and would likely school most challengers, although something tells me he would welcome such debate in the hopes to be challenged himself.  Escaping The Delta is a phenomenal book, by a brilliant and thought provoking author, and well worth the read for any music lover – genres notwithstanding.

-Craig

www.elijahwald.com

www.cuttingedgedjs.com

For starters, the actual title of the book is ‘Fire and Rain: The Beatles, Simon & Garfunkel, James Taylor, C.S.N.Y. and the Lost Story of 1970′, and although it is a befitting title it is, the book encompasses so much more. Author David Browne ties together three major iconic music acts of the 1960s and a fourth emerging into the 1970s with an incredibly turbulent end to one era, and the beginning of another. The ’50s my not have ended in 1960, but Browne makes a valid argument that the ’60s ended, kaput, in 1970 – a concept I’ve embraced myself for a long time, which is why – for me – the words almost jumped off the pages as affirmation.

There is no question that art reflects life, and life reflects art, but likely never in such an amplified way than in  the late 1960s.  Music and culture were intertwined, and David Browne seamlessly weaves the implosions of The Beatles, Simon & Garfunkel and C.S.N.Y. with the implosion of the tumultuous anti-war protest and civil rights embattled ’60s, and how what was left when the smoke cleared was a completely different world – for better or for worse.

I think what I enjoyed most about Browne’s book was his storytelling style. His research was impeccable and his narrative was thoroughly entertaining. I learned a great deal about the era and the artists, in some cases too much, as the tales of C.S.N.Y. left an acrid aftertaste in my mouth (which I’m uncertain if this was the authors intention, as it’s clear he is a big fan). At certain points I almost thought this book might be alternately titled “Hippie Icons Behaving Badly”, as Browne dispelled many illusions and beliefs I once had had about the sincerity behind the beautiful and sometimes political music.

In the final chapter, aptly named ‘Coda’, Browne gives an insightful and interesting synopsis of the forty years following 1970, making sure to point out how these four acts (or their individual parts) danced in and out of each others spheres for another four decades.

Overall, this book is a win, and I’d suggest it to anyone interested in a strong argument for the “what the heck happened” theories between the ’60s and ’70s. I myself am caught between loving the music of both decades/eras, and found Fire and Rain to be a phenomenal read.  In conclusion, I’ve just got three words for David Browne… Write more books.

Craig
DJ and Musicologist

www.cuttingedgedjs.com

Ian MacDonald’s Revolution in the Head may perhaps be the most poignant and significant book published regarding The Beatles.  Writing a biographical book in itself is a labor of love, but with Revolution in the Head, MacDonald – a true musicologist – goes above and beyond, combining fascinating research and his remarkably keen ear to create this chronological song-by-song analysis of The Beatles creative (and sometimes not so creative) recorded output over the span of their career as a band.

MacDonald’s introduction, an essay  titled Fabled Foursome, Disappearing Decade, was a meal in itself, was, in summary, a thought provoking look at The Beatles, the Sixties and the combined impact of the two on the Twentieth Century and beyond.  One interesting point of note was his observation of the differences between the English and American cultures, and how they affected each ones perception of The Beatles differently.

Once I got past the introduction, the body of the book, entitled ‘The Beatles Records’ is divided into four parts and chronologically listing each individual song The Beatles recorded.  Each song entry consists of a list of the musicians present on the recording of that song, the instruments they played, recording dates, the producers and engineers, as well as the dates of the UK and US releases. What follows for each entry is an essay (of varying length) based around the song being listed.

The remarkable achievement of this book is the extraordinary job MacDonald did putting together all of the available knowledge about how The Beatles recorded their music and presenting it as part of his account of their rise and fall, hence weaving a story out of what might initially seem like a reference book. Additionally, his assessments as to which of The Beatles songs are more inspired than others were – for the most part – on point.  MacDonald’s light and breezy writing style (at least in the body) also made this comprehensive tome enjoyable and entertaining to read, as it was difficult to put down.

Admittedly it took me the better part of three months to finish Revolution in the Head, because as I read, I listened to each song (yes, every one, in some cases several times) and, like the author, dissected each track (which made it a long read).  I was astounded by MacDonald’s acute ear, and – as a huge Beatles fan – fascinated by the details of the what, where, when, how and why behind each recording.

For sure,  MacDonald was extremely objective.  This reads less like it was written by a fan, although I have no question that he was, but more like it was written by a critic.  MacDonald pointed at least a dozen recording flaws in tunes I’d listened to hundreds of times, but reading along it was as if I were listening for the first time – or at least ‘really’ listening.

Even though I did not agree with the author on every song (I happen to love Maxwell’s Silver Hammer and Across The Universe, where MacDonald clearly did not think them worthy of The Beatles), I wholeheartedly agreed with his assessments of both Lennon and McCartney, particularly McCartney’s admirable yet futile continual efforts to hold the band together.  I also found his perspective on The Beatles divergence from pop to rock, a theory not too dissimilar to that of author Elijah Wald in his book How The Beatles Destroyed Rock ‘n’ Roll.  The Beatles truly changed everything, as MacDonald’s book does a masterful job of illustrating.  I also found it fascinating how MacDonald attributed much of The Beatles evolution to the drugs they were taking at each stage of their career, an observation which is likely right on point.

Revolution in the Head is truly epic, astoundingly comprehensive and more complete than I could have ever imagined.  I don’t know that I’d go so far as to call it cannon, but it’s the closest to it I’ve read so far.  Although the few dozen books I have read hardly amounts to everything that’s out there, I can already tell that MacDonald’s book will be the one I come back to time and time again.

For the hardcore Beatle fan, this is the book not to skip.

Craig Sumsky
DJ and Musicologist

For other thoughts and suggested reading on The Beatles, click here
The Beatles

www.cuttingedgedjs.com

On January 2, 1913, a New Orleans newspaper The New Orleans Times-Democrat told of a young twelve year old negro boy who was arrested on New Years Eve for firing a .38 pistol into the air. By all accounts, this would likely have been the only time such a person’s name would make print, but in this case, the person was Louis Armstrong, who would rise from poverty and certain obscurity to cultural immortality.

I love Louis Armstrong. I love his music, I love watching his performances, and he is likely the one performer who – if I had that time machine I’ve always wanted – I would most likely go back in time and see him live. Before The Beatles, before Elvis Presley (both of whom I idolize), it would be Louis ‘Satchmo’ Armstrong. ‘Pops’.

I grabbed Terry Teachout’s book off the bookstore shelf the moment I saw it, and although it sat on my nightstand for several months, once I got started I couldn’t put it down. ‘POPS’ is an outstandingly woven masterpiece, not just as books go, but perhaps the best biography of a Jazz musician I have ever read. Impeccably researched, Terry Teachout tackles not just the facts, but the heart and soul of Armstrong’s story, while staying focused on the music, which is what Louis Armstrong is all about. In the prologue, the author states that Satch was the first great influence in Jazz, and debunks other common misconceptions of his significance. This statement in itself is a great assessment of Armstrong’s contribution. Gripping page-turner does not even begin to describe how craftily this book was stiched, and to it’s credit – although it concluded with Armstrong’s death – it left me wanting for more.

As I sit here writing this review,  or more of an all-out praise of a brilliant biography, I am listening to Armstrong’s ‘West End Blues’.  Teachout’s Armstrong biography succeeds at telling the tale of a man who owned the American stage for almost half of the twentieth century with great dignity and respect. The fact that I truly couldn’t put the book down (I breezed through the last 250 pages only yesterday) is proof of not just how fascinating and colorful Louis Armstrong’s life and career were, but how an author should write a biography. Nothing is broken down clinically, or comes off as overly factual (and hence boring), but instead beckons the reader to put down the book and listen to each track Armstrong recorded with the excitement and anticipation of hearing it for the first time.

Teachout admits in his afterword that he had access to “archival material unavailable to previous biographers”, but even so, it takes a masterful writer to tell a story in such a way as ‘Pops’ was told, regardless of access to source material.  In this case, the author is a maestro in his own right (or write). Mr. Teachout, ya done Pops good.

“What we play is life’ ~Louis Armstrong

-Craig

www.terryteachout.com

www.cuttingedgedjs.com

If ever a biography were to accomplish documenting the beginnings of the life and career of Elvis Presley with dignity, respect, and honest perspective, Peter Guralnick’s ‘The Rise of Elvis Presley – Last Train to Memphis’ would be that book. I just finished reading it this weekend, and up to – even perhaps especially – the very last chapter the book evoked empathy from me regarding Elvis, his relationships with his family and friends, and his almost naive purity. Guralnick succeeds in telling Presley’s story, and that of the forces at work around him, in a way that someone – on some other planet perhaps – who had never before heard of Elvis Presley, could come to understand what an endearing and sincere person he really was.

Make no mistake, I didn’t get the feeling at any point that this was a sugar-coated tale of the King. It was an honest account of a human being, caught up in a whirlwind which he himself could have never imagined. Although there were no profound reveals (at least not for me), the biography was woven in such a way that, again, not to overuse the term ‘empathize’, I felt it did a remarkable job of making Elvis real and tangible. A young man so caught up in gratitude, and indebtedness that we can see the glimpses of how it could, and inevitably did consume him.

Yet this book is only Guralnick’s first of two, and his second book, ‘Careless Love – The Unmaking of Elvis Presley’ is one book I may put off for a bit. The first book’s story – with the exception of the loss of his mother Gladys – was really overall uplifting. Certainly there were lows, and some moments where Elvis might have made better decisions, but in the end it was mostly warm and fuzzy.

One particular triumph of Mr. Guralnick’s was his depiction of Colonel Tom Parker, Presley’s notorious manager. It’s no secret that Parker was no good guy, but Guralnick – at least in this first book – did not present him as I have so often seen as the self-serving nefarious bad guy. Tom Parker was what he was, and the author makes no bones about his being unpopular, but still allows for the flow of the story to continue without continuously making the Colonel out to be the ultimate villain… although that may be yet to come.

From a music standpoint, Guralnick made me feel as if I was there in the studio with Elvis, from his first recording session at Sun Records of ‘That’s Alright Mama’, to his inevitable evolution as an artist.  Always unsure as a person, but clear on what he wanted to achieve musically, while innocently and almost unknowingly breaking down racial barriers with his new, unique and virtually unclassifiable style of music, which would eventually become known as ‘Rock n Roll’.

The book concludes with Elvis’s departure for Germany in the Army, just after the passing of his beloved mother, and admittedly, I shed a tear for the boy who was to be King. Guralnick narrates Presley’s deep emotions, and his longing hunger for love and approval which would eventually be his undoing – not as some sort of character flaw – but as a human frailty not uncommon to the human condition. There is a clear illustration of Elvis Presley’s ego in a never ending struggle with his wholesomeness and good heart, trying to find the balance while making everyone happy, which, sadly, can never be achieved.

Kudos to Peter Guralnick and his biography of The Rise of Elvis Presley.  I would recommend it to even the most avid Presley fan, but perhaps particularly to those unfamiliar with the kid from Memphis who changed the world.

-Craig

For more book reviews, musicology and musical pontifications, click here.

www.cuttingedgedjs.com

As a DJ and self proclaimed Musicologist – very much like John Cusack’s character in the movie High Fidelity – I find myself compelled to compile and organize music into lists and categories.  This particular list is one that has been the source of heated debate amongst my office staff who are also DJ and music type people, and being that collectively we were unable to reach any sort of agreement, a completed ‘Happy Songs’ list was tabled and left unfinished primarily due to clear parameters of the term ‘happy songs’.

The object was to come up with a list of happy songs that referred to a sense of self-happiness, excluding songs that were based on happiness attained through love or relationship, therefore counting out tunes like ‘Happy Together’ by The Turtles or ‘You Make Me So Very Happy’ by Blood, Sweat and Tears.  Although these songs had the word ‘happy’ in the title, the lyrics refer more to someone making another person happy, and not just being happy.

The other type of song that was carefully avoided was the ‘uplifting’ tune.  There are countless more songs that talk about things looking up, or getting better than those that simply say happy, which include ‘I Can See Clearly Now’ by Johnny Nash, ‘Don’t Stop’ by Fleetwood Mac and ‘Here Comes The Sun’ by The Beatles.  Although these, and many tunes like them promise good days ahead, they fall short of the “I am happy in the here and now”.  Going down that road we could have mistakenly included ‘Tomorrow’ from Annie or ‘Over The Rainbow’, again, uplifting and encouraging, but not just plain happy.

So after long debates and deliberation with both my staff (Brian, Richie, Tony D. and Carl), along with my friend Dean, we were able to whittle away at what really made for a happy song.  Of course – ultimately – I was the ‘editor in chief’ of the final outcome, I don’t think I could have come up with as definitive and narrow a song list, as specifically tweaked as I believe it is.  Here are the final eight my brain trust and I came up with for happy songs.  We aren’t saying that other songs aren’t capable of making you happy, we all have our personal favorites, we’re just saying these songs are pretty happy.

“Don’t Worry, Be Happy” by Bobby McFerrin

Okay, so who didn’t see this one coming?  Not only is this McFerrin’s biggest commercial hit, but if there were a nation of happiness, this would probably be its anthem.  It is also rumored that it’s the song Bobby McFerrin likes least, which would be understandable if he’s had to perform it as often as most of us have heard it.  Even so, it’s catchy, and we all know we find ourselves humming or whistling along.

‘Ac-Cent-Tchu-Ate the Positive’ by Bing Crosby and The Andrews Sisters

Giving credit where credit is due, it was Johnny Mercer who not only recorded this first in October of 1944, but he also wrote the lyrics.  Johnny Mercer and Bing Crosby were good friends, and Bing’s version released in December of the same year is my own personal favorite (although Mercer’s is still the bees knees as they say).  The added goodness of The Andrews Sisters makes this version fun, and reminding a United States just free of the great depression and entrenched in World War II  to”Accentuate the positive and eliminate the negative”, in other words… just be happy.

‘Joy To The World’ by Three Dog Night

If you had a very good friend, who happened to be a bullfrog, whom you shared an occasional drink of fine wine with, would you listen to him if he proclaimed joy to all the boys and girls?  Well, in 1971 they were listening, and made this Billboard’s number one song of that year.  Looks like bullfrogs know a thing or two about happiness and joy.

‘I Got You (I Feel Good)’ by James Brown

When the Godfather of Soul feels good, he says it loud and proud.  Although this one kind of breaks the rules in that a lyric says “When I hold you in my arms, my love can’t do me no harm”, there is no doubt that James is keeping in character by saying she’s lucky to be with him because he’s the one that feels good.  Take the top down, and take a drive on a sunny day with this tune turned up loud, smile, and perception becomes reality with a theme song.

‘Always Look On The Bright Side Of Life’ by Eric Idle/Monty Python

By far the most popular original song from a Monty Python film, Eric Idle wrote and performed this happy ditty for the film Life of Brian, and no surprise to its musical magic, former Beatles George Harrison was the films executive producer.  Always Look On The Bright Side Of Life had become a novelty song – particularly in the U.K. – where it is sung at sporting events, and even funerals.  The title speaks for itself.

‘Get Happy’ by Judy Garland

Although previously released, Judy Garland’s version from the 1950 motion picture ‘Summer Stock’ is the most memorable, and although this tune borders on encouragement vs. personal happiness, it’s still certain to put a smile on our face, and give us a quick reminder to forget our troubles, and get happy, not unlike Bobby McFerrin’s Don’t Worry, Be Happy.  A little known factoid about this song is that it served as the original opening song for Warner Brothers ‘Merrie Melodies’ in the early 1930s.

‘Come on Get Happy’ by The Partridge Family

A.K.A. The Partridge Family theme song, although it initially underwent various incarnations, this song almost didn’t make our list due to it’s collective “We’d spread a little lovin’ then we’d keep movin’ on” was borderline love/happy.  Yet, it isn’t happiness dependent on others, it was the family spreading happiness to others through song.  Admittedly, Susan Dey – being one of my pre-teen crushes – will always be synonymous with happiness to me.

‘What a Wonderful World’ by Louis Armstrong

“And I think to myself, what a wonderful world”.  Could there possibly be a more pure and happy thought?  Trees of green, clouds of white, and Satchmo singing about it to us.  The song has been used in countless films, and What a Wonderful World – originally recorded and released by Armstrong in 1968 – has become somewhat of a standard.  It beckons us to appreciate the colors of the rainbow and the faces of children, and the lyric’s reference to babies crying who will learn much more then we’ll ever know metaphorically reminds us that life itself is eternal.  It’s a song that softly asks us to stop and be amazed at the beauty all around us.

-Craig & Company

I began reading Gary Giddins’s biography of Bing Crosby – appropriately titled A Pocketful Of Dreams: The Early Years, 1903-1940 – almost three months ago, and finally finished it this past weekend.  I’d have to say that although informative, and precisely researched, this biography was no easy read.  That’s not to say it isn’t a brilliant book, because it really is, but it’s likely the hardest read I’ve had since… well, likely since some long forgotten book I was assigned to read in college as a course requirement.

The author, Gary Giddins, is perhaps one of the most learned men in his field.  He is a Jazz critic, who has won six A.S.C.A.P.–Deems Taylor Awards, a Guggenheim Fellowship, and a Peabody Award in Broadcasting, as well as a lifetime achievement award from the Jazz Journalists Association.  That being said, Giddins is no casual author, but instead a guru who has spent a lifetime making music and popular culture his area of expertise.  I was already familiar with Giddins work, being a self-proclaimed musicologist myself, but I was wholly unprepared with the barrage of names, facts, dates and accounts documented in this book.  Essentially, this book kicked my butt, and left me both in awe of the author, and more self-aware of how very little I knew about the origins of popular music and culture, as well as Crosby’s profound and lasting impact upon it.

In Giddins introduction, he points out that in 1999 Newsweek magazine devoted forty-plus pages to “Voices of the Century: America Goes Hollywood”, in which Crosby was not even mentioned.  Although I was unaware of this specific article, I was very aware that Crosby is oft forgotten and seldom acknowledged for his immeasurable contributions to popular music and culture, and virtually (and sadly) unknown to an Mtv generation.

Pocketful Of Dreams dispels the modern-day perception of Bing Crosby as a square old man and instead, presents him as the celebrated and innovative artist, who changed, well… everything.  The book begins long before Harry Lillis (Bing) Crosby was born, tracing back his lineage to tell a truly American tale from it’s immigrant beginnings.  Giddins book enlightens, telling the story of Crosby’s rise to stardom and how – although more like the accidental hero – almost single-handedly invents and embodies the term “Superstar” long before Elvis Presley or The Beatles existed.   With each chapter, Giddins narrates a tale of a Bing that seems to effortlessly conquer each emerging technology, from recording and radio, to motion pictures in amazing and flawlessly researched detail.  There is a quote by clarinetist and bandleader Artie Shaw which states, “Bing Crosby was the first hip white person born in the United States”, to which Gary Giddins book does an exemplary job of justifying and shining a Hollywood spotlight on the ‘how and why’ of Shaw’s statement.

But be warned, this book is not a page turner, and does not read like historical fiction.  Instead, an unprepared reader may find themselves mired down in the unfamiliar, as Giddins book is no light read.  Enjoyable, yes, but heavy with facts and impeccably researched information.  More than a good book – which Pocketful Of Dreams unquestionably is – it is an important book, to be regarded as historical cannon of popular culture of the twentieth century.

As for Bing, well, he’d probably say Giddins was making much ado about nothing, and excuse himself to the golf course.

-Craig

www.cuttingedgedjs.com

Many music listeners feel today’s music has gone down the gutter since the “glory days” (the term ‘glory days’ itself being completely subjective). In some respects, I agree. The radio spews songs graphically describing hustling drugs, weapons, gang violence, and misogynistic tales of sexual relations with various women, among other intensely vulgar and offensive topics. Fear not, citizens. One of hip-hop’s emerging heroes is here to purify music and provide listeners with positive ideals and stories. This visionary artist goes by the name of Lupe Fiasco.

Lupe Fiasco grew up Wasalu Muhammad Jaco on the West side of Chicago. Lupe accredits his father, a prolific African drummer and a member of the Black Panthers, with showing him the world – commonly picking him up after school to show him Chinatown, take him to karate class, teaching him how to use a gun, and teaching him and the Muslim faith. Lupe once described his childhood saying, “I grew up in the hood…but I also grew up juxtaposed: On the doorknob outside of our apartment, there was blood from some guy who got shot; but inside, there was National Geographic magazines and encyclopedias…we didn’t have cable, so we didn’t have the luxury of having our brains washed by MTV. We watched public television — cooking shows and stuff like that.”

Growing up, Lupe’s father introduced him to very eclectic genres and styles of music from N.W.A to Ravi Shankar to Benny Goodman (whom he idolized). Ironically enough, Lupe initially hated hip-hop due to it’s commonly vulgar lyrics. In eighth grade, however, Lupe’s ears were graced with Nas’ legendary album It Was Written. Upon hearing Nas’ album, Lupe was inspired to pursue hip-hop.

Fiasco began his hip-hop career in a gangster rap group called ‘Da Pak’ rapping about cocaine, guns and women. He realized the importance of lyrical content and the power of the spoken word early on, which led to his inevitable departure from the group. As he puts it, “I felt like a hypocrite…When the music cuts off, you have to go home and live with what you said.”

Before long, Lupe was creating mix tapes. “Conflict Diamonds” (a remix of a Kanye West song that discussed important facts about blood diamonds in Africa), caught the attention of Kanye, who invited Lupe to record a verse on his single “Touch the Sky.” Fiasco’s verse turned many hip-hop heads, and pushed the release of his the first single, “Kick, Push,” a story of two lovers falling for one another over skateboarding. The song was innovative, creative, and helped Fiasco steal the attention of the hip-hop community.

It was the release of his first full length album, entitled Lupe Fiasco’s Food and Liquor, which helped him win GQ’s “Breakout Man of the Year” in 2006, as well as receive a Grammy nomination for “Best Rap Album,” and a Grammy victory in the “Best Urban/Alternative Performance” category. Fiasco explains the meaning behind the title saying, “[It] reflects on me being Muslim and being from the streets…I’ve always felt like liquor represents the bad, the food represents the good, and everyone is made up of a little of both.”

“Daydreamin’” was one of Fiasco’s first overtly political songs to receive broad attention.  In the song’s second verse, Lupe berates other rappers and their obscene use of drugs, sex and materialism in their music and videos. (I could have pointed out specific parts of the verse to make my point, but the entire verse is so brilliant I decided to post the whole thing.)

Now come on everybody, let’s make cocaine cool
We need a few more half naked women up in the pool
And hold this MAC-10 that’s all covered in jewels
And can you please put your t***ies closer to the 22s?
And where’s the champagne? We need champagne
Now look as hard as you can with this blunt in your hand
And now hold up your chain slow motion through the flames
Now cue the smoke machines and the simulated rain
But not too loud ’cause the baby’s sleepin
I wonder if it knows what the world is keepin
Up both sleeves while he lay there dreamin
Me and my robot tip-toe ’round creepin
I had to turn my back on what got you paid
I couldn’t see half the hood on me like Abu Ghraib
But I’d like to thank the streets that drove me crazy
And all the televisions out there that raised me

Lupe’s sarcastic references to the glamorization of guns and drugs, as well as the use of scantily clad women to make music more attractive, show his disappointment in modern music. He further attacks modern rappers by pointing out that they would never brag about these things in front of their own children. This song is only one off an entire album that pushes music back towards positive motifs, and sheds light on the ridiculous state of current radio hits.

Following the success of his first album, Fiasco announced that he would be releasing a second album in 2007 called Lupe Fiasco’s The Cool. A significant track found on Lupe’s second album is “Dumb it Down”. This track was a clear shot at record label executives who were trying to persuade Lupe to go with a more mainstream sound so that might be more marketable for radio play, a.k.a.; don’t talk about enlightenment, but rather talk about guns and sex like everybody else. Lupe highlights this in the second chorus of the song when he raps (note that the words in parentheses signify words said by a demonic sounding voice representing the record executives):

You’ve been shedding too much light Lu (Dumb it down)
You make’em wanna do right Lu (Dumb it down)
They’re getting self-esteem Lu (Dumb it down)
These girls are trying to be queens Lu (Dumb it down)
They’re trying to graduate from school Lu (Dumb it down)
They’re starting to think that smart is cool Lu (Dumb it down)
They’re trying to get up out the hood Lu (Dumb it down)
I’ll tell you what you should do (Dumb it down)

With Lupe Fiasco’s The Cool, Lupe successfully achieves a thrilling album full of tracks with positive messages, and songs pointing out important flaws in today’s pop culture and lifestyle. While I only presented a single song from The Cool, the entire record is a masterpiece, and a must listen.

For the past few years, Lupe has been pursuing the release of a third disk. Finally, after fan protests and petitions against Atlantic Records for withholding the album, Lupe Fiasco will be releasing LASERS on March 8th, 2011. The title stands for “Love Always Shines Everytime Remember 2 Smile.” Lupe claims LASERS is not necessarily what the people want per say, but what the people need.

The first release was “Never Forget You,” featuring the undeniably amazing John Legend. The song was a loving remembrance of Lu’s relationship with his father, who had recently passed away. It is nearly impossible to listen to the song and not feel happier about life, a trait that today’s pop music too often lacks.

Lu’s second single, “Words I Never Said,” is a very blunt confession of ideas that he held back, perhaps due to record executives, perhaps merely due to being lazy. Nonetheless, Lupe attacks issues that he feels need addressing, and does so in a very straightforward manner. Lupe addresses the war, as well as takes time to defend Islam as the peaceful religion it truly is (if anyone comments on this blog that Islam is a violent, terrorizing
religion, I may just have another blog with their name on it…and I am not Islamic).

I expect LASERS to be an album that signifies a movement in society’s mindset, and judging from the music he’s released off this record so far, it is sure to be full of positive energy. Lupe Fiasco is speaking up and releasing music with messages about peace and love–messages the world needs to hear. If you have been longing for the next John Lennon, he is here – or at least in his hip-hop incarnation.

I think that all the silence is worse than all violence
Fear is such a weak emotion, that’s why I despise it
We’re scared of almost everything, afraid to even tell the truth
So scared of what you think of me, I’m scared of even telling you
Sometimes I’m like the only person I feel safe to tell it to
I’m locked inside a cell in me, I know that there’s a jail in you
Consider this your bailing out, so take a breath inhale a few
My screams is finally gettin’ free, my thoughts is finally yellin through!

Joe Tomlinson
DJ
Cutting Edge Entertainment

As I sit here the day after the Grammys thinking about the show and the performances, overall I thought it was very entertaining. Of course, it had its high and lows. I watched the Grammys from a different perspective – that of a critic – as I was trying to be fair and unbiased of the Grammys. Before I start to give my opinion, there are a few things to keep in mind. First of all, I have no idea of what I am talking about, I’m no professional critic by any means; I’m just a DJ with a love for music and the music industry. These are merely my opinions, which you may or may not agree with, but I call them as I see them. Let’s talk about the Good, the Bad and the Ugly.

Let’s start with the Good. Overall, I thought that the show was incredible. Three specific acts that really stood out to me were that of Eminem with Dr. Dre & Rihanna, Justin Bieber with Jaden Smith & Usher, and then of course Lady Gaga – all of which absolutely killed it. From the dancing to the lights to the entire show the production value was unbelievable. Although Eminem is probably my favorite rapper of all time, it kind of pains me to admit I would have to give the best performance of the evening to Bruno Mars and B.O.B. They took their songs and made them into something completely different and unique. I felt as if I was watching a theatrical performance. They showed their true talent as they switched from singing, to guitar, to drums throughout their segment. If you didn’t see it, you should try as – in my humble opinion – they are the future of music.

Some other notable performances were Lady Antebellum (causing me to gain a new respect for country music), Mick Jagger in his first ever performance on the Grammys, and Barbara Streisand. Mick Jagger can really move for a sixty-seven year old and he sounded pretty good as well. It’s also worth mention that Lady Antebellum took home the most awards for the night.

Now, let’s talk about the bad. The opening was a joke. I have all the respect in the world for the talents of Aretha Franklin and wish her all the best, but the opening was an affront to her legacy. You might say that they didn’t sound that bad but Aretha was the Queen of Soul and the five women that they had on stage don’t even come close. These included Christina Aguilera, who managed to remember lyrics this week, but almost fell on stage, Jennifer Hudson, Florence Adams, Yolanda Adams and Martina McBride) I just think that there were better artists that could have been chosen for a more fitting tribute.

And then there was C-Lo Green. This was like Sesame Street meets the Grammy’s. From the costume to the characters, I thought it was ridiculous, and admittedly gave me a big laugh. I do love the song though, but I believe the original is much better (and makes a great ring tone).

I know all the hardcore Dylan fans will disagree with me on this one, but seriously, can anyone understand a word that Bob Dylan sings? When he came on with the other groups I took my bathroom break… I didn’t feel like I would be missing much.

I always thought that the Grammys was an award show, but they only gave out seven awards for the evening (or at least that were televised). Don’t get me wrong, the show was great and I’d rather watch them over the awards anyhow, but they ought to change it and just make it a pop music performance show with today’s biggest musicians.

Now for the Ugly! The only good part of Katy Perry’s performance was watching her wedding being projected on to her dress. What was that thing? I think she was trying to be Bjork from the Olympics a few years ago. I can’t stand any of her performances as they are all the same and way too bubble gum.

Finally, who the hell are Arcade Fire and Esperanza Spalding? Did they pay the Grammys off? Again, I’m just a DJ who loves his music, but those two just came out of nowhere, and I wasn’t impressed.

-Marc

To learn more about Marc, click here – Thoughts from a Philadelphia DJ

www.cuttingedgedjs.com

February is an interesting time of the year. It’s the first month of the year where you actually feel like you’re in the current year, since it seems we spend most of January simply reminding ourselves that we’re in a ‘new year’. It’s the first month we fall back into the normal rhythm of our lives…work, gym, eat, sleep; rinse and repeat. We begin to forget about our New Year’s Resolutions (statistics say that only 49% of American’s make resolutions, 24% of this group NEVER will accomplish their goal while only 8% will find some form of success) and begin to move on with our year. However, for some of us, February can be a bit of a speed bump.

The month of February is traditionally one of aspiration and excitement, beginning with The Super Bowl; and ending with everyone’s favorite day – my birthday (it’s the 28th for all those well-wishers out there!). Yet this great month of February comes with a catch, and this one is often a sore spot for everyone who is single…the dreaded Valentine’s Day.

It’s a fairly simple holiday – if you want to call it a holiday – yet I’ve never had a day off from work for it that I can remember. This is a different holiday, one that asks (requires) people to shower (buy) one another ceremonial red colored gifts (or else) including (sometimes in combinations) candy, stuffed bears, flowers and fancy dinners (which, on this day, requires reservations). Hats off to Hallmark, you’ve created quite a racket.

Well, as circumstances would have it, I’m single this Valentines Day. It’s the first time in almost seven years and to be honest, it feels a little strange. Watching as Valentine’s Day approached on the calendar has made me a little apprehensive, but admittedly it’s nothing more than V-Day hype. Like many days that cause us stress or confusion, they typically come in the same way they end, with a whimper.

My first draft of this post was to compile a list of songs about the feelings that ‘singles on Valentine’s Day’ can sometimes feel. Some are sad, lonely or bitter, while others are fiercely independent and positive. However, the latter was not initially the focus. Yeah, I was listening to some angry stuff (go Kelly Clarkson and Avril Lavigne!). Too often we release the reigns of our own lives and allow ourselves to be lead instead of being the leader. Make this year different. Make this year something special, even if it’s spent alone. Do not dwell in what you do not have, only look forward to the promise of the future. Most will say that “love happens when you least expect it”, or even “love will happen when you’re not looking for it”; both of these are quite true.

Originally, I listed songs and lyrics that began as angry and pessimistic; perfect therapy for anyone who is still dealing with the bitter portions of a breakup. However, after heavy discussion and a change of heart, I’ve decided to that it’s not my place to influence your feeling on this “day of love”. Would it make some of us feel better to let out some musical frustration? Perhaps. But would it REALLY make the day flow more smoothly, or keep you from screaming at the top of your lungs? Perhaps not.

Take a few minutes and make a new play list. Pick songs that put a smile on your face. Pick a few that make you want to dance. Even pick a few that remind you of a past love; it’s okay to revisit the feeling of loss and heartbreak, without it you won’t be able to appreciate your next encounter of the heart. Remember, you just haven’t met them yet (thanks Michael Buble’ for your infectious brand of pop-big band love songs!).

NOTE: Anyone looking for the perfect post-relationship album; look no further than Maroon 5’s freshman disc “Songs About Jane”. It spans every aspect of love, from courtship to the eventual breakup, through love and hate. This album has helped me on more than one occasion.

As I was producing my own play list I began to notice a pattern. Although I went through 12,000 songs to find my “ideal” tracks, I ended up sticking with my usual artists (JT, Jason Mraz, Coldplay). In the end, however, I discovered you could replace the entire list with selections from both of Justin’s albums (Justified & FutureSex/LoveSounds) and create a single list that covers every aspect of a relationship…from breakup, recovery, new possibilities, all the way to marriage.

Track 1- Nothin’ Else (Justified)…after a chance meeting, have a relationship, then she suddenly has doubts

Track 2- Last Night (Justified)…the day after she decides she wants out

Track 3- Another Song (All Over Again) (FutureSex/LoveSounds)…feeling regret over the loss of your love, wanting/begging to reconcile and start again

Track 4- Still On My Brain (Justified)…reminders are everywhere, the difficulties of letting go

Track 5- Cry Me A River (Justified)…she wants to contact you and be “friends again”, you think not!

Track 6- What Goes Around…(FS/LS)…she experiences the same thing that she did to you and you don’t care!!

Track 7- Never Again (Justified)…you have moved on and resolve to never allow her to hurt you again

Track 8- Let Me Talk To Her/My Love (FS/LS)…you meet someone new and try to get something started

Track 9- Rock Your Body (Justified)…you’re out one night and attempt to impress on the dance floor

Track 10- Love Stoned/I Think She Knows (FS/LS)…feeling the vibes of new love

Track 11- Like I Love You (Justified)…you’re amazed by the feeling of new love and will do anything to make it work

Track 12- Until the End of Time (FS/LS)…this love has grown into something more and you’re ready for the next step

Track 13- This I Promise You (*NSYNC, No Strings Attached)…ready for the big plunge and settle down for good

So listen and let it flow.  Cry, laugh, scream and feel a little better. Grab your friends and head to your favorite spot. If you believe that life is just a collection of tiny moments, than these will become nothing more than musical footnotes in the novel that is your life.

But footnotes are essential to writing a great novel…

I’m on the way to a full recovery of the heart…I hope this helps you feel the same…

Happy Valentine’s Day…

-Brian

To learn more about Brian go to – DJ Brian: Full Circle

www.cuttingedgedjs.com