Lupe’s 2011 album Lasers sounds annoying at first listen. A creative rapper, it sounds much more poppy than previous works and veers close to selling out. On a second listen however, the lyrics make themselves more well known. And they are as edgy as anything he’s done. It’s as if he gave into the producers and gave them the kind of music they wanted, but in exchange he got to say whatever he wanted. Listen and enjoy!
This week it’s Keisha’s Song (Her Pain), from Kendrick Lamar’s 2011 album Section.80. It doesn’t have the visibility of some of his newer stuff, but it’s just as good. The 2Pac song that’s referenced in it is here:
It’s annoying to be told that you should listen to classical music just because. So I won’t do that. Instead I’ll recommended this particular song that happens to be categorized as classical. I do not listen to music like this much, nor do I seek it out, but sections of this song are in Tree of Life and that compelled me to listen to it in its entirety. The song is long and repetitive, but has an unpretentious and beautiful meditative quality to it. And it sounds as natural as the tide coming in and going out.
Last Friday a great jazz bassists died in Los Angeles. Charlie Haden was born in Shenandoah, Iowa, a humble beginning for a man who played with a lot of edge. In the 1950s and 60s he was a member of Ornette Coleman’s group, touring the country playing a new avant-garde style known as free jazz. This great description of his own style comes from David A. Graham at the Atlantic.
His playing isn’t elaborately virtuosic, in the style of a Paul Chambers; and it isn’t irresistibly swinging, like Ray Brown. Like a country or blues bassist, Haden often stayed close to the root note of each chord.
Haden is able to fill a huge musical space without using a huge number of notes, [sic] his bass maintains harmony and rhythm in the absence of a full band, and [sic] he brings out the best in his partners.
That link also includes plenty of Haden’s tracks. Enjoy!