-
July 13th, 2010Uncategorized
Drake drive solo on rick Ross’ “Aston St. Martin Music.” Drizzy posted his version of the song, named after framework Paris Morton, which contains unreleased verses. “I never threw away that paper with my Grammy speech because I haven’t hit the pinnacles I plan to reach,” rap the humble star.
-
July 24th, 2009Uncategorized
Manu Dibango's Soul Makossa is an important record not just because it has a most dancable african jazz groove but because it is the first record that club DJs truly made into a hit record.
Originally from Cameroon, Manu Dibango was interested in music at an early age and eventually moved to France to study at Jules Ferry College in St. Calais and ended up in Paris later on. It is in Paris that he frequented Jazz clubs and built a reputation as an excellent musician.
-
July 23rd, 2009Uncategorized
1. INTRO
I wasn't impressed with this mostly instrumental intro.
2. YA DON'T STOP
Although the “hook” (really just a few vocal samples) sounds incomplete, this song is still pretty fun. The lyrics don't really go much father than “I like to fuck, drink beer, and smoke some shit, and if you get in my way, I'll kill you, or at least throw my crumpled-up Taco Bell wrapper at you” (except a tad bit more charming than that), so consider yourself forewarned.
3. PROPS OVER HERE
The first in a two-part series stressing the importance of “getting props” for your hard work and dedication. The instrumental is simple, and it engages the listener to such a degree that you won't actually mind that Fashion is the only rapper on here that sounds like me may actually have a future in the craft.
4. HELLRAISER
Somehow the energy level manages to rise to even higher, um, heights (until the end of this track, in which a smooth instrumental abruptly appears and plays out until the next song starts). The hook is grade school horseshit, and it even gets repeated as part of a verse at one point (I guess the Beatnuts needed to fill some dead air), but the song as a whole isn't that bad.
5. ARE YOU READY (FEAT GRAND PUBA & DJ SINISTER)
I liked this track, but nothing really stood out to me. Which is odd, considering the guests involved.
6. SUPERBAD (FEAT DJ SINISTER)
Not a terrible song (far from it), but the title alone made me want to watch the Michael Cera – Jonah Hill Superbad. You know, the intentionally funny use of that title.
7. STRAIGHT JACKET
I found this to be boring as shit. Folks don't usually look to the Beatnuts for subdued production. The Ol' Dirty Bastard vocal sample was a decent touch, but it doesn't tip the scales one way or another.
8. LET OFF A COUPLE
Short and sweet, although Juju's verse ends abruptly, right when you're getting into it.
9. RIK'S JOINT (FEAT MISS JONES)
I thought the female vocals were a nice touch. However, I still didn't like this crap, so the crew's love for their many fans is rendered moot by a pointless track.
10. FRIED CHICKEN (FEAT V.I.C.)
At first, the blunted beat recalls some early DJ Muggs-type shit, and the three rappers rhyme about a bunch of nothing, albeit commendably (Fashion and Juju especially). Then you realize that the beat remains stagnant for the full length of the song, and it drives you fucking nuts. Although if I were stoned right now, I probably would crave some actual fried chicken, so that's cool.
11. YEAH YOU GET PROPS
Part 2 of a two-part series describing the historical significance of “getting props” and retaining said props. You'll probably want to skip this and, instead, watch that months-old last season finale of Entourage that you've been putting off because all of last season was entirely underwhelming. Or maybe that's just me.
12. GET FUNKY
Welcome back to the world of entertainment, fellas. The Beatnuts give up on there needless quest to “get props” and decide to create a song that is wholly satisfying, which, coincidentally, earns them props anyway. Who knew that was how that worked?
13. HIT ME WITH THAT
Of the two members of the crew that remain, I've always regarded Juju as the more talented (okay, that may be pushing it...let's just say, consistent) behind the mic, and this song may be one of the reasons why. This track would rock even without the Method Man sample in the hook: this is just pure, unadulterated hip hop especially for fans of our chosen genre.
14. 2-3 BREAK (FEAT GAB)
The idea of this song is pretty fucking awesome. The individual members of the crew all rhyme to their own beat. However, Gab jumps onto Juju's verse, and Psycho Les threatens to crash this car into an oncoming train with his terrible lyrics. Well, at least the thought was admirable. (And yes, I realize that nobody buys Beatnuts albums for the lyricism, but do you remember my comments about Ras Kass and his hot lyrics but poor production, and how that combination does not make for a good product? It works both ways.)
15. LICK THE PUSSY
For a sex rap, this is about as boring as how Paris Hilton looked in her sex tape. Do people really find the idea of banging a blond chick who shows no interest whatsoever in the events transpiring in or around her mouth even remotely sexy? Clearly they do, because her praying mantis-looking ass is still making money. Sigh.
16. SANDWICHES
A really good beat punctuates this corny (but good) one-verse wonder from Psycho Les. I knew he had it in him.
17. PSYCHO DWARF
Ending your album with one of the better tracks from your debut EP is pretty cool, if you even have a debut EP to draw from. Even if it does end with a loud burp.
-
July 20th, 2009UncategorizedPatrick BEBEY was born in 1964.
He studied classical music in the Paris Conservatoire.
He studied jazz, Brazilian music and African music by himself.
He created his band in 1983.
He started playing as a professional musician in 1986.
He has toured or played on records for different artists such as : Mory KANTE, CharlElie COUTURE, Francis BEBEY, Wasis DIOP, Lokua KANZA, Sam TSHABALALA, Geoffrey ORYEMA, Francis Lalanne, Pajaro CANZANI, Papa WEMBA, Miriam MAKEBA, ROE, Coco MBASSI, LADYSMITH BLACK MAMBAZO, Minino GARAY, Roy AYERS, John WILLIAMS and John ETHERIDGE As musical director he has produced two albums for Papa WEMBA : "Molokaï" (Realworld Records 1998) and a live CD/DVD "New Morning" (Synchronies Music 2006).
As part of the production “Africa at the Opera” he performed a tune for Pygmy flute and choir - and presented it together with Laydsmith Black Mambazo in the sold out Philharmony in Cologne. He also composed the music for two family musicals and a tune called "Timba" for pygmy flute and orchestra, which he performed in the Philharmony in Stuttgart together with the Stuttgarter Philharmoniker orchestra. During the last two years, he performed with his band in Italy, Switzerland, Germany (Munich Africa weeks festival), France and at the Womad Festival in Las Palmas.
Patrick Bebey plays African rooted music mixed with jazzy seeds.
He is accompanied by excellent musicians: on drums Luiz Augusto Cavani and bass: Marc Bertaux. Both have joined him for numerous concerts all over the years.
PATRICK BEBEY / News Patrick Bebey created some magic moments for some 2300 visitors at Junge Garde in Dresden in June 2002 when he performed his one note flute together with Ladysmith Black Mambazo, Sam Tshabalala, Coco Mbassi and Gcina Mhlophe. A few days afterwards he had the pleasure to jam with musicians like Phil Colins and Peter Gabriel at Peter Gabriel..s wedding party where he was invited.
He ended the concert season last year with a concert at Mozartsaal in Stuttgart where he performed his own compositions together with the Stuttgarter Kammerorchester.
