De La Soul: Buhloone Mindstate
a review by Mike D
(Tommy Boy) First, I've got to give props to the Space Shower kids from Japan for hooking me up with this tape, and then I've got to give props to De La Soul for making this tape. Only De La Soul succeed where so many imitators fail. They are able to craft great songs with transcendent moments and Automobile Club-certified beats that are instantly recognized as being De La Soul but are also, upon careful listening, some new, heavy type shit. I hesitate to use the words "hard" or "soft" here because so many people have decided that the word "hard" in hip hop refers only to the newest roughneck MC who's just unloaded his first clip. On Buhloone, however, there's some new, layered, funky, and truly innovative music that is brought to life by Posdnuos and Mase's lyrics. The shit that only they can say in a way that only they can say it. They even have a dope instrumental featuring J.B. saxman Maceo Parker. Now isn't innovative and musical brillance "hard"? I've always thought so, but whatever- we'll continue that discussion in the next issue. The point is: as De La themselves say on "In The Woods," "fuck being hard, Posdnous is complicated." Without compromsing in any way, Buhloone brings you some new shit that is nice to get nice to. Remember, De La do not scream. They're able to lay back on a groove and get their points across like Al Green might have done if he were an MC. They're in no rush, and they're the only ones who can pull this style off. And speaking of Al Green, The Biz- the MC equivalent of Rufus Thomas- puts in a nice cameo on the LP. Finally De La bring up hip hop memories. They don't just throw "to the beat y'all/And you don't quit" into a chorus like another group short of ideas might do. De La Soul quote the old school AND comment on it at the same time. In the song "Ego Trippin' (Part Two)," a tale of too many MCs who have fallen off with deflated pockets and inflated heads, De La quote the Furious Five's "White Lines." They sing "something like a phenomenon" in a way that at first I was singing along with a smile on my face, but suddenly I was saddened by my recollection of Scorpio standing on a street corner with a pith helmet on and no change in his tight leather pants tucked into MC boots. So forget about the immitators and get with the innovators. Highest ratings all around, especially in the beats category, where they scooped us by using the beat on the "Flash It To The Beat" 12". Oh well, I guess we'll just have to work that much harder and enjoy this music along the way.
Archie Shepp: Live At The Pan African Festival
a review by Mike D
(Byg/Actuel Records) Archie brought the noise long before P.E. Only thing: the motherfucker doesn't even stop a bar for a lyrical accent. Maybe Archie needed a Flavor Flav. Either way, once he starts he doesn't stop- but once he's on, he's on. And the kid blows 'till the cows come home or the needle hits the label- whichever comes first.
ALSO: this record is perfect for putting on when someone comes over that you don't want to hang out with, it will chase them away immediately. Also recommended to dis visitors by: all Albert Ayler, most Archie Shepp, Charles Gayle, and The Boredoms.
James Brown Revolution of the Mind: Live At The Apollo, Pt. III (1971), Hot Pants (1971), There It Is (1972), Black Caesar Soundtrack (1973), The Payback (1974)
a review by Mike D
(All on Polydor) These are all must have CD reissues, too bad they don't do vinyl these days (but luckily I have them on wax anyway). Live At The Apollo's got the speeches, The Payback, got the minimalist grooves, There It Is has the songs, Hot Pants has the 19 minute version of "Escape-ism," and Black Ceasar has the Das EFX sample and also one of the most underrated JB cuts ever, "Down and Out in New York City." Like James says on the Live set in his famous rap about hot pants during the song, "Bewildered": "I'd like to tell you why us men love hot pants. Most of all I'd like to tell you why I love hot pants, too. I want you to know why, the reason, the main reason why, why I love hot pants because it simplifies one thing: comes to one point and there is only one answer, ONE ANSWER to why I love hot pants. I love hot pants simply because...What you see is what you get! HIT ME!!" Finally all these classic J.B. joints are available at a store near you. Hopefully the People label recordings will follow. While I sit here listening to Revolution Of The Mind, J.B. singing "I ain't got no dust... make it funky" This is perhaps my favorite of all the '71-'73 era recordings. The song selection is there, from the deluxe version of "Escape-ism" to "Hot Pants." The playing is as funky as the routines are tight and the dialogues are dope. The cover is definitely one of his best: The afroheaded, denim suit-wearing J.B. is pictured behind bars. A revolution of the mind or a premonition to the highest power?
Game Of Death
a review by Mike D
I watched this one in fast-forward mode preparing for my interview with Lee's co-star in the film, Kareem Abdul Jabbar, but I've got to say it was just as well. This was Lee's final film, released posthumously in 1978, five years after his death. Only twenty minutes of fight scenes with Lee were salvaged, the rest is comprised of footage shot with two look-alikes in Bruce Lee wigs. Overall, the acting, story and action are weak. Aesthetically, the movie comes off like a bad version of the TV show, The Equalizer. The highlight is the fight scene between Lee and former pupil Jabbar. Kareem sports a modest fro, black power shades, and the real short, '70s-style gym shorts (it looks like he's doing battle in Fruit of The Looms). The battle's cool because of the radical difference in height between Lee and Jabbar and is ultimately decided by a mortal blow to Kareem's nut-sack. Also, this movie didn't contain one single beat or groove, so you're better off hitting the mute button and using Dennis Coffey's Son of Scorpio as a substitute soundtrack
Soul Asylum: Whatever The Fuck Their new LP Is Called
a review by Mike D
White music by white people for white people, and now being played at the white house. This is why most white people suck. Who stole the soul? Soul Asylum.
P.S. I don't know why I wrote this review. Maybe I'm bitter, maybe I'm jealous, maybe I'm just tired of seeing their milk toast faces and milk carton video on MTV every five minutes. When you get right down to it, I can't defend what I've written here, it's just plain wrong, and more importantly, whatever I think about Soul Asylum is unimportant since I don't listen to that midwestern platinum punk shit anyway
Grandmaster Flash And The Furious Five: Flash It To The Beat
a review by Mike D
(Bozo Meko Records) One of my favorite hip hop jams of all time. One of the only appearances of an early battle on wax. Flash is on the beat box hitting kicks and snares by hand, while the Furious Five are dropping more styles, harmonies and rhymes than Nice 'n' Smooth do on an entire LP. Keep in mind that this single came out in 1980 or '81 and all of it was recorded completely live. Some of the most raw shit this side of Harlem World. This music is an extension of the hip hop that Greg Tates claims started with Miles Davis's On The Corner, combined with the esthetic of a hardcore gig at A7. In other words, the most raw, basic expression of rhythm and melody imaginable. Very new, very African, and on the motherfuckin' one. The Funk.
