Search Jeffrey Morgan’s Media Blackout archive:

This site  The Web 

Archive Newer | Older

Sunday, February 17, 2013



Lil Wayne
– “Karate Chop (Remix)” (Epic) :: Call it just a hunch, but when I hear a thirty-year-old man in 2013 rap: “Beat that pussy up like Emmett Till,” it occurs to me that Dwayne Michael Carter Junior may not have watched “The Murder Of Emmett Till” on PBS’ The American Experience and learned that:

“Between 1882 and 1968, an estimated 4,742 people—primarily black men in the American South—were lynched. For many African Americans growing up in the South in the 20th century, the threat of lynching was commonplace. Lynchings were often advertised in newspapers and drew large crowds of white families. Photos of victims, with exultant white observers posed next to them, were taken for distribution on postcards. Body parts, including genitalia, were sometimes distributed to spectators or put on public display. Most infractions were for petty crimes, like theft, but the biggest one of all was looking at or associating with white women.”

Then again, what with this being Black History Month and all, maybe he got his Civil Rights education instead by listening to Da Lench Mob’s song “Buck Tha Devil” off their Guerrillas In Tha Mist album: “Damn, I’m sweatin’ like a nigga at a white woman’s funeral.”

And you wonder why Bill Cosby is so upset.

Live In Halifax (self released) :: Way back in the good old golden days of vinyl (ask your Mom), this is the kind of live “blues” album that would automatically get filed away in the “rock” section of your friendly neighborhood record store right alongside such other supersonic scorchers as Johnny Winter’s live on the stage Live: Johnny Winter And and Jimmy Cavallo’s live in the studio The Houserocker!—which should you give you a pretty good idea as to the kind of rarified jumpin’ jive that eagerly awaits you within these groovy grooves.

And if you’re of the opinion that I’d be a right fool to say that this one is already short-listed for my 2013 Top Ten list, then go ahead and slap that dunce cap on my noggin, ’cause it most certainly is.

Powered by Emily Burgess on guitar; Michael Archer on bass; and Jonathan Wong on sax, this up-tempo high octane offering will have you bouncing off the walls with such unbridled stucco-slamming gusto that you’ll never want the proceedings to end.

But what really makes this merry go-round such a stellar standout is the sensational singing of traps mistress Lindsay Beaver, who has a vivacious voice that’s the most octavely outrageous since Grace Slick first stormed the Fillmore. Just one listen to her note-perfect performance on the self-penned “Never-Ending Day” will have you building a candle-lit shrine next to your Victrola in honor of her pluperfect pipes.

And should you happen to burn down the joint by mistake, fire up the 24th Street Wailers’ Live In Halifax on your portable audio delivery device and you’ll be too busy bouncing down the block to give a good cahoot.

The Staple Singers
– “Respect Yourself” (Stax) :: Exactly!

Be seeing you!

Sun, February 17, 2013 | link 

Archive Newer | Older