Posts: 4

1. What's Going On?, Part I: Pop Gets Its Groove Back by Ami Kealoha

   16.Feb.07, 01:54 EST
   
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   With the recent resurgence of old-school hip-hop beats in Top 40 R&B, including this season's new releases from three of the heaviest pop hitters Beyoncé, Justin Timberlake and Christina Aguilera, the trend is undeniable: The breakbeat is back.
   
   
   
   Christina's "Ain't No Other Man," Beyoncé's "Suga Mama," and Justin's "Damn Girl," all funkier and dirtier than most mainstream hip-hop, are three examples of this "new" old sound. And speaking of hip-hop (or whatever we are supposed to call this) Sean Combs' attempt to make himself over as The Godfather, James Brown himself on his latest single "Get Off" is a fourth.
   
   
   
   Of course hip-hop and funk's influence on bubblegum R&B is nothing new. But this latest wave can be rightfully traced to pop-boundary-pushing producer Rich Harrison (see Beyoncé's "Crazy in Love" and Amerie's "One Thing") who singlehandedly put the breakbeat back on the plate on Top 40 radio in recent years.
   
   
   
   In the wake of big hits drawing heavily on golden era hip-hop production (remember sampling?) hip-hop innovators and originators like DJ Premier (who produced "Ain't No Other Man") are getting a chance to do what they do best for pop icons. Christina takes these new directions furthest with a double cd whose adventurous disc two includes the symphonic country rock ballad "welcome," the retro jukejoint blues of "I Got Trouble" and more.
   
   Kanye West deserves some of the credit too. He had the vision to sign John Legend who made it okay to do acoustic R&B ballads again, like Justin's rootsy piano ballad "(Another Song) All Over Again," Beyoncé's true-school makeover of Curtis Mayfield's "Think" (borrowing from the Mary J Blige playbook), and Christina singing softly with acoustic guitar sounding downright singer-songwriterish on "Save Me From Myself."
   
   Maybe R&B is for grown folks again.
   
   by DJ Scribe

2. Juke Joint II by Ami Kealoha

   16.Feb.07, 01:49 EST
   
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   Next time you're about to make out with your girl or boy (or whatever it is you like to make out with), instead of throwing on a Barry White or Marvin Gaye best-of, reach for this new release, Juke Joint II, from the German duo Boozoo Bajou. A follow-up to Boozoo's more roots-oriented Juke Joint, part two features a selection that ranges from warm soul, like The Meters' Van Morrison-like ballad "Heartache," to Light of Saba's down-tempo dub, to their own hip hop track "Back Up" featuring MC Oh No. In all, it's a never-boring mix that manages to sidestep clichés and go well with brandy and scented candles. Pick it up from from Amazon.

3. Bugz in the Attic: Back in the Doghouse by Ami Kealoha

   16.Feb.07, 01:45 EST
   
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   Formed in 1996, the pioneering, now eight-member collective of underground dance music, Bugz in the Attic, bring their full ass-motivating arsenal, garnered from 10 years of single releases and classic remixes, on their long-overdue first full-length release, Back in the Dog House.
   
   With close to 100 songs already under their belt—both originals and reworkings for a diverse range of internationally known artists, including Zero 7, Macy Gray, 4 Hero, jazz pianist Gene Harris, Jazzanova, and Nitin Sawhney (to name only a few)—the UK-based group turned to the best of their core London scene for most of the vocalists on Back in the Doghouse. Regular Mark De Clive Lowe co-conspirator Bembe Segue dominates the album with her jazz-chops melodies and close layered background harmonies, appearing on the lead single “Move Aside”, a big nu-b-boy soul anthem, and four other tracks. Also featured are Reel People’s Vanessa Freeman, Michelle Escoffery, Basement Jaxx vocalist Vula, and other local talent.
   
   Back in the Doghouse is first and foremost for the dancefloor, but with it’s high-level musicianship, jazz foundations, and rich arrangements rarely found in today’s dance music, it is just as good at home and grows with each listen. Download full album from Dancetracks Digital or order the import-only cd from Amazon.

4. k-os by Ami Kealoha

   16.Feb.07, 01:41 EST
   
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   Trying to categorize Canadian native k-os's genre-busting third and latest album, Atlantis: for Disco will leave you tied in knots. The infectiously catchy album debuted at number one on the Canadian charts in October (it's soon to be released in the U.S.) and is Outkast, Cody Chestnutt, The Beastie Boys, and Gnarls Barkley all rolled into one and then some. Musical styles range from b-boy retro to garage rock. K-os writes, plays piano, guitar, harmonica and more, as well as sings, raps and produces extensively on Atlantis. His songs feel raw and honest. His lyrics are philosophical and introspective. And his blend of rock, pop and hip-hop is original and inspired.
   
   Some tracks on Atlantis are sparse and span the poles of “acoustic,” from a singer-songwriter guitar ballad to a beatbox/mc freestyle. But most are full-blown productions with a live band and rich arrangements. Highlights include “The Rain,” an old-school soul ballad, “Fly Paper,” a poppy party anthem, and “Born to Run,” which sounds like a Police song performed by the Roots. But these far-flung (or far-fetched) sounding hybrids manage to avoid coming off as pretentious. To the contrary, they are natural, fresh (and—at the risk of invoking Kool and the Gang) exciting.
   
   by DJ Scribe