Hundredth~Psalm
Music Reflecting the glory of the Endless OneMahogany Jones – Morphed (2008)
I can make one guarantee here: You’re not expecting this CD. It’ll catch you off guard whether you’re familiar with its artist, Mahogany Jones, or you’ve never before heard her name. And when will this realization begin to sink in? The minute you scope the cover art: There she is, Mo Jones tuned into the sounds of a flashy headset, eyes closed, lids painted, pleasant expression; and laid over this cover are words in a font that is a cross between art deco and funk era. They read “Mahogany Jones” and the title of the CD: “Morphed.”
Then there’s another unexpected surprise. You’ll load your CD player (or download to your mp3) with music from this talented and proven hip hop artist … but the first thought that will flash across your mind will be … wait a second! That sounds like techno! Electronic? Disco-ish? What’s going on? I told you so. But don’t worry. I didn’t completely ruin it for you. Hearing is believing in this case; and nothing that I can write will cause you to entirely snoop these sounds. That is, not until you cop this project yourself.
As you sit back and let each of the tracks from this album rush over you, it’s likely you’ll experience an astonishing sense of satisfaction. Morphed is music. Good music with a seldom-touched message, hot vocals, superior production and gifted lyricism. If you’re able to deconstruct the categories you may have that define music genres and not determine your ability to enjoy songs based on their adherence to those genres, you’ll love this album. And the irresistible sounds of Morphed will gain heavy rotation in your music player.
Are you interested in reading the rest of this review? Click here. It’s at DaSouth.com.
shai linne – Storiez (2008)
Be ready for a zestful excursion when you hit “play” on shai linne’s new CD, Storiez. The first voice you will hear will be that of Rick Horne, the capable and faithful narrator. He’ll steadily guide you through the varied tales that make up this CD.
One thing that’s pretty exciting about shai linne’s body of work is that you never know exactly what you’re going to get. Sure, the album titles of his projects give you a clue of the impending content, but shai is undeniably one of the most creative hip hop artists around. As a result, listeners are always bound to encounter surprises with respect to his song arrangement, delivery style, lyrical intensity, musical choice, featured artists, and even covert virtues that only the most attentive listeners will note. Storiez is no different. If you’ve been following shai’s solo projects, you’ll notice that each one has a totally different focus and, though the centrality of the cross will never be absent, they all have a thoroughly unique sound. This is what makes him an intriguing artist to rap fans. And in this vein, Storiez doesn’t disappoint.
Before we dive into the particulars, it’s helpful to know that a large range of “stories” are present in this album. Since it’s so-titled, “stories” are what you’ll get! This project is peppered with tales of servanthood, death, love, fear, martyrdom, womanhood, victory, and childhood. Listeners aren’t preached to, and this project doesn’t make it its aim to exegete Texts verse-by-verse. But whether you’re the type who croons over “theological rhymes” or prefers “real-life rap,” you’re likely to experience a mysterious sense of satisfaction regardless. shai’s musical selections, subject matter, and lyrical ability are bound to indulge varied sensibilities. With that, let’s take a look at some of the selections of note found on this CD called “Storiez,” including several of the attributes therein. We’ll also peruse a few of the less-favored elements.
There are several things that stand out immediately in this project. The first (if you receive the physical CD) is the packaging. Not one to gloss over anything he’s put his hand to, shai ensures that the cover, spine, back and inside of the CD case include meaningful and relevant images. All the listener need do is contemplate the art in hand! Now, as you actually listen to the album what you’ll almost instantaneously notice is the utterly astounding mix and scratch combination you’ll hear at the end of Rick Horne’s intro. Unlike what you’ll find on some albums, this part of the project stays well-timed, on beat, and expertly done. DJ Essence and Average Joe do a great job here. The next track that will catch you off guard is “Wake Up, You’re Alive.” Sporting a melody-rich, irresistible beat developed by Mac the Doulos, this song tells an imagined tale in which the artist is confronted by an eerily-familiar presence further explained at the end of the album. This song is unlike any other heard by this reviewer, and clinches the art of story-telling to a hip hop beat. As if the person glued to their speakers isn’t astounded enough, “Wake Up, You’re Alive” is followed by “Passover,” a drama that’s beautiful on several levels. With a couple of dialogued cut-ins, “Passover” resumes with slightly different beats and a slightly altered delivery on the part of the artist that’s quite consistent with the content at hand. CMR’s Official contributes one of his best production archetypes in this banger. And punctuating this wonderful beginning, Tony Stone offers a sleek, soothing track in “Simple Love Story” that displays a few creative changes for those who have heard the selection before. Another great element of this fun tune is an attribute shai loves to add: Hooks with subtle differences in each, all illustrating a different point of the story. As you may already know, “Simple Love Story” is just that.
“High Priest” bursts in with a combination of sonic delights that include hi-noted chimes and vocal-sounding fillers. shai delivers a story about a Hebrew high priest on the Day of Atonement that will probably have you running back to Leviticus to catch the specifics of an amazing precursor to the work of Christ on behalf of sinners. Carried forward by an innovative chorus, this also is a favorite. Another highlight is track number 12: “Martyrs.” In this song, shai collects four other exceptional emcees to spit stories of martyred saints who tell of a range of emotions as they contemplate their varied circumstances. Fans of “The H.E.R. Project” will be elated to hear the voice of Techniq, who destroys her portion with expert flow and knockout lyrics. As usual, Evangel spits hefty rhymes as he tells the tale of William Tindale. And both God’s Servant and J’son recount heart-wrenching details of other examples of martyrdom. Within this track, as expected, the lowercase emcee contributes an incredible account of James the Just over a bangin’ track that sounds like no other. Along with a bass-less intro, shai depicts James pleading with God as follows: “Sovereign Lord, You’re so holy, You know me / I’m nothing but dust but I trust in You only / I see the faces in the crowd below me / I’m standing on the rooftop of the temple and they about to throw me …” Suddenly, the bass enters and provides a gorgeous bottom for one of the best parts of this entire CD.
Most of the rest of this album consists of an array of honorable mentions. This designation isn’t offered to denote barely satisfactory songs; rather they are actually quite brilliant and stay true to the theme of the CD. Among the best in this category are “Greatest Story Ever Told,” “Testify,” “Spurgeon,” and “Penelope Judd.” It’s both clear and refreshing that the lowercase emcee stuck his neck out to courageously offer such a distinctive project. The voices of children and additional featured vocalists found throughout the project are also a welcome element.
Now, we’ll jump from the most favored elements of this, shai’s third solo project, to the least. In terms of the specific songs offered, there’s only one that this reviewer can say she simply didn’t like. Granted, each and every selection presents worthy stories, varied and important subject matter, and even consistent enjoyment. But ironically, “Work It Out” is the only one that left a bad taste in the mouth. The reasons aren’t because of any generally-accepted elements of distaste ingrained in the song, but because this reviewer holds a dislike of two things this track includes: (1) The expression “I know that’s right,” which is repeated several times at each hook, and (2) Certain instances of what can be called “chanting chicks,” which, to the reviewer, sounds mindless and lacks substance. Why is the distaste for this song ironic? Because it is full of admonitions aimed at women to “Work It Out” in their walk with Christ and, in that way, it’s actually quite edifying. Another less-favored attribute of Storiez is something that can be found throughout the album. Sonically, the album isn’t as crisp as it should be. Intermittently this causes a bit of strain in deciphering vocals and instruments. It’s a bit frustrating, because there’s so much to like about this CD that should be very crisp and clear to the ear, but it isn’t. Sometimes the vocals are a tad too low in terms of volume, and other times the integrity of the mix simply doesn’t match the virtue of the song. One example is Evangel’s rap on “As the Hour Draws Near.” The track selection simply doesn’t match the genius of Evangel’s lyricism. It seems that either he should have been given a track that better matches his higher vocals, or that he possibly recorded his portion without the benefit of the music. Elements like these take away from an otherwise near-perfect project.
In closing, with few exceptions, Storiez is a worthwhile effort that brings much to the table. Creatively, it’s a powerhouse that includes a diverse array of sounds, fantastic beats, a unique theme, and shai’s superior poetic words. Each track is different than the previous, all contributing to a great odyssey full of musical enjoyment. The selection of featured artists was savvy and the beat-makers made this album incredible.
There’s no doubt you’ve never heard anything at all like Storiez. It’s a strong contribution to the genre and music in general.
Pick it up.
This review can also be found in the Reviews board of Holy Culture Radio.
Brinson – Escaping Me (2008)
Brinson’s latest effort, Escaping Me, is quite an experience. As you audit its sounds and take note of its lyrical content, you’ll experience a project that is full of life and refuses to cloak transparency. Inferred by its title, this CD exists to deal with the act of looking beyond ones self and the apparent realities of life as we know it to the true realities and undeniable cosmic order crafted by one far superior to any of us: the Author of Existence.
The first thing you’ll likely take note of is the refreshingly clean sound quality evident in this venture. Escaping Me is sonically clear, each track is unique, and the instruments – whether electronic or not – are easily decipherable. This is a welcome attribute.
The second thing is the diversity and creativity of the beats and overall production. The “SuperBadd” remix boasts a delectably nasty flavor that will likely cause you to pause and take note. The velvet sounds of the title track, produced by J. Pierre, are totally delightful. Brinson-produced “What Should I Pray” is clearly a head-nodder with its West-coast rhythm. His dark melody in “We Need a Savior” puts his artistic courage and style-assortment on display. “Long as I live” is simply beautiful; and J. Pierre’s concert-style intro in “Hello” sets the album off in expert fashion.
Please click here if you’d like to read the rest of the review. It can be found on the Rapzilla website along with several others I’ve been fortunate to write.
