Thursday, October 11, 2007

Bahamadia (Antonia Reed)

Bahamadia rose to prominence on the hip-hop scene as the female protégée of Gang Starr's Guru, and lent her smooth-flowing raps to a variety of projects during the late '90s, including several electronica and acid jazz artists. Born Antonia Reed in Philadelphia, Bahamadia started out DJing at local house parties in the early to mid-'80s, and soon stepped out front to prove her skill on the mic as well. She remained a presence on the Philly hip-hop scene, but didn't make her first recordings until hooking up with producer/radio personality DJ Ran, who helmed her independent 1993 single "Funk Vibe." "Funk Vibe" caught the attention of Gang Starr MC Guru, who took an interest in Bahamadia's career and helped her get a record deal with Chrysalis. Her first singles, 1994's "Total Wreck" and 1995's "Uknowhowwedu," were well-received in the underground for their jazzy flavor and laid-back raps. She also appeared on the second volume of Guru's acclaimed Jazzmatazz project. The full-length LP Kollage followed in 1996, and featured production by both Guru and DJ Premier of Gang Starr, as well as fellow Philly natives the Roots.Unfortunately, Chrysalis folded a year later, and Bahamadia chose to wait out her contract before resuming her solo career. In the meantime, she made a string of musically adventurous guest appearances that solidified her underground reputation: the Roots (Illadelph Halflife's "Push up Ya Lighter"), Sweetback (Sade's backing band), drum'n'bass auteur Roni Size (the title track of the landmark New Forms), Towa Tei, acid jazzers the Brand New Heavies, the Herbaliser, trip-hoppers Morcheeba ("Good Girl Down"), Rah Digga, Slum Village, and Talib Kweli's Reflection Eternal (their collaboration, "Chaos," appeared on the seminal Rawkus compilation Soundbombing, Vol. 2). She also hosted a hip-hop radio show in Philadelphia from 1997-1999. In 2000, she signed with the L.A.-based indie Goodvibe and released the chilled-out seven-track EP BB Queen (as in "beautiful black"), which received excellent reviews.
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Bahamadia - Kollage (Mar 19, 1996: Chrysalis)
Bahamadia's debut album, Kollage, is an underrated, jazzy affair paced by some nifty production and the MC's own dryly gentle delivery. Despite her laid-back, even deliberate flow, she has a confident, upfront presence on the mic, with strong rhyming skills and a fondness for old-school wordplay (as demonstrated on, naturally, "Wordplay"). Being a protégée of Gang Starr and a native of Philadelphia, she gets production help from the former's DJ Premier and Guru, as well as the latter's Roots. The music often recalls both of those artists, as well as the unassuming, low-key ambience of Digable Planets. But there's also often a dreamier quality than any of those groups, thanks to some spacy keyboards and fusion samples, and some R&B elements as well, most notably on the excellent single "I Confess." Other highlights include her two early singles, "Total Wreck" and "Uknowhowwedu," and the quietly shimmering "Spontaneity." Kollage isn't hugely varied, but it is fairly consistent, and fans of intellectual bohemian hip-hop will find this album very good at what it does.
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After a four-year exodus, Bahamadia couldn't have picked a more opportune time to reintroduce herself to the hip-hop masses. After all, the female MC arena changed considerably after the Philly native dropped her 1996 debut, Kollage. Injecting some much-needed class back into the female ranks, Bahamadia transcends the common denominator (sexuality and gold digging) of her scantily clad colleagues. Though she returns without the aid of DJ Premier, the hypnotic lounge music of Jay Dee's soulful apprentices Kwele and EQ enables Bahmadia's subtle flow more of an opportunity to truly flourish. Her eternal optimism is defined by the sublime "Beautiful Things," a wonderfully crafted track that reminds us to appreciate the simple things we often take for granted. Just as refreshing is the red-tag anthem, "Commonwealth (Cheap Chicks)," a track dedicated to the thrift-store honeys that try to stay with it while rocking discounted gear.
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Friday, October 05, 2007

Rapaholic™ Present Exclusive: NYGz - Welcome 2 G-Dom (2007)


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Large Professor (William Paul Mitchell)

Widely known initially for his work as a producer and MC with the rap group Main Source, Large Professor soon after became a full-time producer working with such acts as Big Daddy Kane and A Tribe Called Quest. Professor originally became involved in rap when he won a tryout held by Main Source members K-Cut and Sir Scratch in 1989. Contributing significantly to the creative direction of the group, Professor eventually broke with Main Source over creative differences . He then lent his hand to albums by some of rap's biggest names, including Eric B. & Rakim, Nas, and Pete Rock & C.L. Smooth. For his full-length solo debut, 2002's 1st Class, Large Professor called in favors from friends including Nas, Q-Tip, and Busta Rhymes.



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He was programming beats and producing records for hip-hop legends while still a teenager, but Large Professor waited nearly a decade to put out his own album. If 1st Class isn't as exciting as any of his outside productions (which are simply begging for a greatest-shots collection), it's because LP tries to handle nearly everything himself. The album's five tracks in before we finally hear a guest, and it's a long wait — Large Professor doesn't have much to say on a track like "Brand New Sound" (with his beats or his rhymes), and he repeats the title enough to make it sound more like desperation than defiance. A three-track spate of features finds him trading some tough rhymes with Nas, Akinyele, and Q-Tip, though here Q-Tip is basically reduced to freestyling over the choruses. Large Professor gets back to boasting with "Born to Ball," but he doesn't prove up to the task. Either more space for guests, or a little more time in the studio would've resulted in a better effort than this half-baked record.
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Recording Date 1992-1993. In a just world, a review of this album would have been simply about the music. Instead, this is a story riddled with tales of record-label politics, high expectations, poorly pressed bootlegs, and careers put on hold. In 1993 Large Professor made an appearance as a guest MC on A Tribe Called Quest's "Keep It Rollin'," a track he produced for their Midnight Marauders album. The last line of his verse, "buy the album when I drop it," has since become a classic of golden-era New York rap. Unfortunately, it was for the wrong reasons. As it turns out, the world would have to wait another nine years for a proper full-length solo debut, 2002's 1st Class. It wasn't for a lack of effort, though. In 1996 Geffen released two Large Professor 12" singles ("IJUSWANNACHILL" and "The Mad Scientist") in anticipation of his then-forthcoming album. After a number of delays and disagreements about the album's "outdated" vibe, Geffen dropped the project, leaving it to collect dust in the label's vaults for seven years. Fortunately, Large Professor reacquired the rights to the recordings in 2002, resulting in a limited promo-only CD pressing. Fans familiar with the singles should already know what to expect here, especially since five of the album's 12 tracks were spread among the two 12"s. From a production standpoint, the sound is similar to that heard on Pro's previous full-length, Main Source's Breaking Atoms, though in a more stripped-down and mid-'90s manner. Among the highlights are the two singles, the hazy organ loop of "Hungry," and the flat-out stunning Nas collabo, "One on One." Remember, Nas was fresh from his classic debut, Illmatic, when he recorded this track, so fans that felt a little disillusioned by his later, ghetto-fabulous leanings owe it to themselves to check this track out. All said, Large Professor was never flooded with consistently interesting lyrics — and there are some flat moments here — but they never get in the way of the consistently high-quality production. A lost treasure.

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Tuesday, September 25, 2007

Jeru The Damaja (Kendrick Jeru Davis)

Speaking out against what he saw as a decline in rap during the mid-'90s, Jeru the Damaja came to the fore as a self-proclaimed prophet and the savior of hip-hop, much as KRS-One had done almost ten years before. Jeru first appeared as a guest on Gang Starr's Daily Operations album, and his own deal with Payday/ffrr appeared soon after, resulting in 1994's The Sun Rises in the East. Though he made few friends in the rap world — given his outspoken criticism of such popular figures as the Fugees and Sean "Puffy" Combs — he proved a vital force in the emergence of the new rap consciousness of the late '90s.Raised Kendrick Jeru Davis in Brooklyn, the Damaja began writing rhymes at the age of ten. At high school, he met Guru and DJ Premier of Gang Starr, and first guested on Gang Starr's "I'm the Man," from the 1992 album Daily Operation. Jeru toured with the group during 1993 and released his solo debut, Come Clean, for Gang Starr's Illkids label. The single became an underground sensation and led to his contract with Payday Records. He recorded The Sun Rises in the East with DJ Premier producing, and released the album in 1994. Though the album was well-received, Jeru got some flak for the song "Da Bichez" — though he explicitly stated that most girls did not fit into the category. During 1994, he appeared on Digable Planets' second album (Blowout Comb) and recorded his follow-up, Wrath of the Math, with DJ Premier and Guru once again helping out with production. The independent record Heroz4hire followed in early 2000, and his protégé, Afu-Ra, debuted in 2000 with Body of the Life Force. Jeru kept a surprisingly low profile thereafter, though he did appear on a stellar track from Groove Armada's Goodbye Country (Hello Nightclub).
DJ Premier's first album-length production outside of Gang Starr was his best by far. Where Premier's productions hadn't shone underneath the cracking, over-earnest vocals of Guru, with a superior stylist like Jeru these tracks became brilliant musical investigations with odd hooks (often detuned bells, keys, or vibes), perfectly scratched upchoruses, and the grittiest, funkiest Brooklynese beats pounding away in the background. Of course, the star of the show was Jeru, a cocksure young rapper who brought the dozens from the streets to a metaphysical battleground where he did battle with all manner of foe — the guy around the corner on "D. Original" or an allegorical parade of hip-hop evils on "You Can't Stop the Prophet." The commentary about inner-city plagues arising from spiritual ignorance only continued on "Ain't the Devil Happy," with Jeru preaching knowledge of self as the only rescue from greed and violence. Jeru also courted some controversy with "Da Bichez," at first explaining, "I'm not talkin' 'bout the queens...not the sisters...not the young ladies," but later admitting his thoughts ("most chicks want minks, diamonds, or Benz"). His flow and delivery were natural, his themes were impressive, and he was able to make funky rhymes out of intellectual hyperbole like: "Written on these pages is the ageless, wisdom of the sages/Ignorance is contagious." It lacks a landmark track, but The Sun Rises in the East stands alongside Nas' Illmatic (released the same year, and also boasting the work of Premier) as one of the quintessential East Coast records.

Jeru reunited with DJ Premier for this slightly sprawling second record, though fans must have been delirious with joy to find it was similar to — and usually just as strong as — his debut. Though it's clear Jeru isn't as hungry a rapper as he was two years earlier, he has just as much to say, and he's just as angry with the state of hip-hop and black life in general. Jeru goes into metaphysical drama once again with "One Day," wherein commercial rappers (including Puff Daddy and Foxy Brown) kidnap hip-hop, and continues his comic-book battles with the evils of rap amidst the backdrop of the Big Apple on "Revenge of the Prophet (Part 5)." Jeru also spends plenty of time directly addressing real-life issues, dissecting the crass, money-hungry hip-hop scene on "Scientifical Madness," running a sequel to "Da Bichez" called "Me or the Papes," and preaching more knowledge on "Ya Playin' Yaself." His version of the classic braggadocio track comes with "Not the Average" and "Whatever," where he uses knowledge as well as immense skills to foil anyone who's testing him. Though Wrath of the Math did sound similar to Jeru's debut, Premier was even more wide-ranging for his backing tracks, ranging from the comparatively atmospheric ("Invasion") to a succession of momentary samples from out of nowhere ("Physical Stamina"). Unfortunately, it was their last time together; perhaps a bit jealous of Premier's sizable profile, Jeru began producing himself with his next record, Heroz4hire.

Jeru the Damaja returned from a three-year absence with Heroz4hire, an independent album released on his own Knowsavage label, featuring both production and mixing by Jeru himself. His rapping style, as dense and inventive as ever, entails listening to the album at least three or four times to understand the tongue-twisting rhymes. From his last album, Jeru continues his interrogation of women with more than love on their mind on "Bitchez Wit Dikz," and contributes an apocalyptic production to the historical saga "Renagade Slave." Jeru is surprisingly good as a producer, weaving scratchy, repetitious samples around tough, lo-fi beats — similar to DJ Premier's work on the first two Jeru LPs. Though the hooks here aren't quite as catchy as Premier's, the incredibly raw production suits the independent status of Heroz4hire. Jeru also shares the mic and the credits on several tracks; female rapper Mizmarvel appears on "Verbal Battle" and "Anotha Victim." Highlights include the hilarious New York exposé "Seinfeld" and the paternity case "Blue Jean (Safe Sex)."

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