Jake One-White Van Music review

Jake One-White Van Music 4/5
It appears that the independent producers are making the best hip-hop records lately. From Marco Polo's "Port Authority" to S1's "Music Box," the bunch of rapper-one producer compilations have been the most promising albums in recent memory. Jake One is no different as he releases "White Van Music," one of the best albums to come out in 2008.

For those that don't know, Jake One is responsible for De La Soul's "Rock Co.Kane Flow," a beat that had everyone from 50 Cent to Busta Rhymes fighting for. Afterwards, Jake One has made his name known featuring his production on 50 Cent's "Curtis" solidifying his spot as the go to beat-smith if you're looking for boom-bap, hard drum tracks.

"White Van Music" doesn't disappoint with an a-list roster including "Gangsta Boy" by M.O.P to the addictive "Bless the Child" by Little Brother. There's certain producers that are able to bring the best out of the artists they work with, and Jake has that ability as he goes beyond the underground and recruits Freeway on two songs as well as Busta Rhymes on "Kissin the Curb."

Jake's album also goes to other regions searching for artists like Keak Da Sneak on "Soil Raps," which admittedly I was skeptical after reading his name featured on the album. But I was wrong as the song was a banger, giving me new found respect for an artist I rarely look for.

Ultimately, everyone on the album comes correct. From ex-G-Unit member Young Buck (with an interesting ant-Unit song) "Dead Wrong," to my favorite cut by Posdnous and Slug on "Oh Really," makes this an album that needs to be in your collection. Not to mention, the purchase comes with a bonus instrumental disc to further convince the downloaders to cop it. This album will be in rotation for a while. -PJ

Foreign Exchange-Leave It All Behind review

Foreign Exchange-Leave It All Behind 4/5
2004's release of Nicolay and Phonte's "Connected" album was a testament to the power of cyberspace bringing us together. Due to Nicolay and Phonte's distance making it difficult to record the project together in a studio, the duo opted to produce the album via Yahoo Instant Messenger crafting a sonic masterpiece. Seamlessly blending aspects of hip-hop, electronic, house and soul music making a modern day classic. Now, four years later, they release the sophomore Foreign Exchange project 'Leave It All Behind.'

If you're looking for this installment to the same as their debut, you will be sadly mistaken as Phonte decides to replace rapping by showcasing his talent as a singer/songwriter. The album begins with the first single "Daykeeper," an eerily beautiful composition that is just as wonderfully haunting as the album's artwork. The cover is a black-and-white picture of chairs outside near a large body of water, looking like the beginnings of a wedding procession, but could very well be the setting of a funeral as well.

Nicolay's production has matured, as his thick backdrops are perfect for this soulful journey, something reminiscent of 4hero or Jamiroquai. Other songs like "House of Cards," "Sweeter Than You" and "If She Breaks Your Heart," all embody the same element of heavenly arrangements. If there was music to be heard in heaven, this may be it.

Phonte also steps back from the rapping only sprinkling raps in about three verses through the whole album. That doesn't take away from the project, but if you're looking for 'Leave It All Behind' to be a hip-hop record, then you may feel slightly under-whelmed. The inspiration of the boom-bap genre is apparent even without rapping, and it's apparent that Nic and Phonte made it a conscious decision to go beyond the field of rap.

'Leave It All Behind' is a welcoming return from the duo and it is an overall enjoyable record. Parts of me are partial to their previous effort, but it's more based on personal taste rather than flaws. 'Leave It All Behind' in all-accounts is a near-flawless soul record as Phonte proves that he is a singer to be reckoned with in his own right. It's great to hear artists still aiming to produce music that they feel, and their efforts will not be unnoticed by old and new fans alike. Hopefully this will gain them more attention and acclaim that they both deserve. -PJ

The One interview

http://www.vaporsmagazine.com/index.php/2008/10/the-one-superpsychosexy
The One: SuperPsychoSexy
Words by: Preach Jacobs

What happened to the anger in our music? What happened to our sense of purpose? Treading on the heels of the Civil Rights Movement from the late 60’s to 70’s, you had a mergence of black music engulfed in pride, frustration and an independence that wasn’t seen in our music prior.

In the midst of all of this, soul and funk music was conceived. Influenced by the church, mixed with the electric guitar and synths, this music stands the test of time. Somewhere along the way, black music lost its soul, but thankfully OM’s new artist The One recaptures the essence of Funkadelic and Curtis Mayfield and mixes it with the hip hop/neo-soul sound of Jay Dilla - a sound that’s vintage and yet ahead of its time. The One observes his musical upbringing and explains where the sound for his debut album “SuperPsychoSexy” comes from.

“My music is a bastard mixture of rock, gospel, hip hop, soul, punk, classical, country. Really I take all of the things I like from each genre of music and try to use them. I really get inspired by people and events, even just sounds may inspire me to write or make music.”

Working with producer Jah Freedom, “SuperPsychoSexy” has character for days with some clever writing that’s refreshing regardless of genre. Songs like “Milkshake Thick” and “Drippin’” take suggestive music to a new level, but with humor and light heartedness. The album has a sense of individualism that is rarely seen in today’s radio airwaves that are polluted with promiscuous sex, violence and butchery of the english language (i.e. Plies). The One continues by talking about what he loves in music today despite what’s seen and heard in commercial music outlets.

“Soul is missing with music today. What I mean by that is that it’s more about selling a million records and being famous than making music that touches people. It’s not from the heart. I understand that it’s a business but I think the industry has kind of killed itself by not letting innovative or “different” sounding music get the same attention. It’s more of a formula. You have to look and sound like “A” to get to “B.” In the 70’s and 80’s there was such a cross pollination of sounds and new music was everywhere. When the money started rolling in the focus on the creative side died down and it was more about making money than finding the “new sound.” Classic icons that we all know and love would never get a shot in this day and age. Bob Dylan, Jimi Hendrix, Tribe, Prince, P-funk, all of these artists, if their equivalents were trying to get deals or get heard today, wouldn’t get a chance. They would be told ‘your music is awful because nobody sounds like you’.”

Thankfully The One didn’t get the memo about having to sound like everyone else, as him and Jah Freedom exist in their own world making something that’s new and refreshing. Jah Freedom talks about how the music channels through him to create beats like what’s heard on “SuperPsychoSexy.”

“I don’t put any limitations on what I can and can’t do when it comes to music. I try to be versatile. I made a beat the other day because I heard a melody in the rain hitting the roof of my house. I don’t do one thing so you’ll hear crossover elements in whatever I do. If I’m doing hip hop you might hear some gospel or rock influence, if I’m doing r&b, you may hear some country phrasings. It’s whatever I think fits.”

There’s an appreciation that The One and Jah Freedom have that’s not only heard in the music but in the visual aspect of the album’s packaging. The One dressed in an outfit more suited for a 70’s blaxploitation flick than your new millennium Bathing Apes. The sound and look compliments an era that has been forgotten, an era of vinyl and record stores, both fading out in a time of instant gratification. We see it in fast food, Fed Ex overnight packages and now in our music as the digital age takes over, something that gives The One mixed feelings.

“The state of music is good and bad. Good because there are so many outlets. Bad because there are a lot of obstacles for people such as myself that don’t fit into a box, and with so many different outlets you can get lost. I’ve found some brilliant music by accident, independent artists who deserve praise and accolades. Hopefully people will think the same about me. You have to go digital, there really is no other way. People do not go into record stores anymore except people like me who record-dig.”

Herein lies today’s music conundrum: How do you have the freedom of being an independent musician but also have the success of more commercial counterparts? Would groups like The Roots be as creative and groundbreaking if they had the multi-platinum success of Jay-Z or does being on the brink of ‘blowing up’ give them that edge? The One believes that there is hope in hip-hop culture, despite the perils of losing its purity.

“Hip hop isn’t dead. I think people miss the newness and the sincere love of the art-form instead of it being the 2k version of playing the lotto. Now don’t get me wrong - I am not a “backpacker” by any means, but I came from the era where you could listen to Black Moon, Tone Loc, and Ice cube at the same time. It’s not underground vs mainstream. I just think when labels found out hey this rap thing can make money for us, they shifted the culture. Hopefully we can bring it back.”

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Welcome to Preach Jacobs Press

hey guys. this is my first post with this preach jacobs press blog. it's basically a blog that will feature my press (writings i do for various places) as well as press that's written about me.

this is also in part w/ my parent site www.preachjacobs.com this is the common interview i did this week that was published in black news. more stuff coming soon.

It was a Saturday morning and Rap City's Top 10 was on B.E.T. on a day when the sun must have been in a good mood as the sky was free of any dreary expressions. It was the first time my 11-year old ears heard I Used to Love H.E.R. That was over ten years ago and that morning is as crisp in my mind as my first kiss. That became the day when Common became my favorite emcee. Sure, he had an album prior, but Resurrection introduced a growing man attempting to leave his squeaky voice of Take It EZ and venture into the realm of adulthood. Every album released afterwards continues to show an artist challenging himself more spiritually and musically. So, when the experimental and overlooked Electric Circus was released in 2002, something that may have been natural to him seemed to not be slow enough for a fan base that was being spoon fed a declining mush known as 'rap music.' But now with his second album with fellow Chi-Town native Kanye West, he seems to overstand the system and find that balance between being artistically free and commercially appealing. Hoping to repeat and surpass where he left off with Be, he comes with Finding Forever, a dedication to Dilla and an attempt to make timeless music -- a road that seems less traveled. It's funny that we started our conversation about the album he loves least.

"When I explored with Electric Circus the masses wasn't ready," Common admits. "The difference with this new album compared to the others is the timing. This album is me rapping some of my best." And judging by the word on the street he ain't lying. Finding Forever is his seventh release, and in addition to working with Kanye West, he's drafted will.i.am for the production. This being the first album since the untimely death of J Dilla, Common's ex-roomate and frequent collaborator, Common admits that the title pays homage to his comrade. Dilla's sound, first heard with Common on Like Water for Chocolate, seemed ideal for the Chi-town ambassador. An emcee that we can depend on to have superior production is a factor that Common doesn't take lightly.

"I think with my albums the production was always good. But this time around the production is real good and accessible and what the people want. What they missin', pure Hip Hop everyone wanted." True to the "if it ain't broke don't fix it" approach, Common released the first two songs The People (featuring the soulful vocals of Dwele) and The Game featuring scratches by DJ Premier. (Both songs were produced by 'Ye). Since his first certified platinum album Be, Common seems to be more focused and in more places than ever.

CommonHe's started an acting career with Smoking Aces (featuring Alicia Keys who is a natural) along with the upcoming Denzel Washington-starring drama American Gangster (also featuring rapper T.I). Admitting that there's more acting gigs in the works, Com believes that the music is the top priority as he remarks about going home empty-handed at the last Grammys: "People said I looked sharp on TV/ at the Grammys/ though they tried to India.Arie me."

Right or wrong, Com has always come forth with honesty. He relates to his fans is able to talk about his insecurities and vanity alike. He began to talk about some of his favorite songs from his catalogue.

"All the songs are me and possess my spiritual tones. Like on Be my favorite song was Your World and it's from the perspective of me and my friends being in another world. And another verse I talk about a prostitute whose soul was flat out hurt. She had mad problems with guys which led her to where she was and it was real. I talked with a prostitute and this was actually things she was telling me. And my pops was talking on the end which made this song really move me the most on that album."

Ever since the Resurrection album, we've been blessed with vocal gems from Lonnie Lynn Senior (a.k.a Poppa Common). I remember childhood memories when I would get in trouble for writing rhymes in class as opposed to doing schoolwork, which made my father loathe the music wanting to be as far away from it as possible. Then there's Common's father. From his answering machine interlude on One Day… to his spoken word opuses on all of the albums since Resurrection, you realize that Common's upbringing is a part of him as an artist. He's your favorite emcee's emcee and isn't afraid to be himself even when it's not the norm. In a time when being politically active with your music isn't as popular as it was when Public Enemy did it in the late '80s, Common still ends up crafting such gems as A Song For Assata.

In the song Common talks about the life of Assata Shakur, an ex-Black Panther who was unjustly imprisoned but then miraculously escaped and became a political refugee in Cuba. Recently, the F.B.I. put a bounty on Assata's head with a one million dollar prize for her capture, an incident unlikely to happen since Fidel Castro made it clear that he wouldn't give her up. The Che in Common seems to come out as he begins discussing his encounters with Assata.

"She really felt the song that I did for her, she loved it. I played it for her and it truly moved her. I think what they're trying to do to her now is just showing how much things are just out of control. It ain't nothin' but the ignorant, the evils putting a bounty on her. It just doesn't make sense; the evil ones just can't get right. They can't just let peace remain, they always gotta disrupt it."

As Common speaks about Assata Shakur, he reveals why he has remained so significant with the times. Passion. Even Jay-Z, a multi-platinum artist who sold out shows at the Garden in record time, Beyoncé on his side, still declares that he would like to rhyme like "Common Sense". Even though he's regarded as one of the best in the biz, he's still uneasy.

"You know what I really want to prove with this album? I want this album to be for the people who said that, 'Aww man, Com is soft. He ain't hard with his shit. I can't listen to this conscious tip.' For them folks, I just want them to know that I've awaken. Something's gotta die to wake up the good. This album feels right and it feels good to know I got a place in this world. You'll see."



(photo credit: Dherick Jacobs)