Archive for May, 2006

Black Folk Inc

Here in the deep south, “black folk” have always been on the cutting edge of music from R&B and blues to jazz and even country. Now, the rap act Black Folk Inc. brings this blend of downhome dopeness and hip-hop influence to the music industry. Since as early as 1987, B-Lo the Failure and Extraordinaire the Great (AKA Black Folk Inc.) had evolved into Chattanooga’s underground Hip Hop forerunners, leaving heads turning throughout the South. Black Folk Inc.’s 2001 debut album Natty Strong was honored throughout the industry in publications such as Murder Dog Magazine as “one of the best album releases of 2001.” This led to a brief distribution of the album in 2002 with Southwest Wholesale that was cut short when that company folded. They were then voted Best R&B/Rap Group at the 2003 CIA Awards held annually in their market.

Black Folk Inc. has opened concerts for such acts as Too Short and Eightball and MJG and they have also headlined show throughout the southeast. Songs they have performed have aired on such stations as Billboard Magazine’s 1996 Station of the Year Power 94 in Chattanooga, the BOX in Houston, V-103 in Atlanta, WQQK 92.1 in Nashville, and WEUP in Huntsville, Alabama.

Black Folk Inc. has artistic appeal that can reach all sub-categories of Hip Hop, as exhibited in their single – the halftime show masterpiece – Like This (Sheeee!). With the release of their new album The Legend Of Cootie Brown, it is evident by their unity on stage and in the studio that Black Folk Inc. has what it takes to make an impression on “black folk” as well as the rest of the world.

“I love me some black folk…” – Chris Rock ’96

That’s what the presskit blurb runs like. For real though, these cats are doing some nice stuff, and though I’m a tremendous critic of collect-a-friend www.blackfolkinc.com
On myspace: www.myspace.com/blackfolkincmusic
Preview and buy the music

…I’m the first straight hater to yell out, ‘Go stupid bitch! Go stupid bitch!’”

There’s already been enough back and forward on this site, and in other spots about the grip Southern music has on the radio, and how ‘we’ have to ‘bring New York rap back’, that its barely worth digging up the whole thing all over again. So think of this as the last word (for a minute at least.)

For those basing their hatred of Southern music on what’s on the radio, and defining entire regions off a Clear Channel playlist, I ask you this. Is it fair to claim that New York’s traditional strength of birthing lyrical cats is totally untrue, if I formulate that opinion from listening only to ‘Toilet Stool Rap’ or 12 inch flops from Scoob Lover? Is it fair to call the Beastie Boys a bunch of drunken frat boys, based on listening to their lyrics on “Licensed To Ill”? Is it fair to claim that Eric B & Rakim are complete shite, based on listening to Eric B’s solo album?

For those who hold up certain legendary figures as purveyors of ‘that real shit’, how does it feel to see Primo producing Christina Aguilera’s new LP? Why does Primo who is infamous for his skits on the Gang Starr albums talking about ‘sell outs polluting the airwaves with that pop shit’ get a pass for um… selling out and polluting the airwaves with that pop shit? Why would he put that Rick Ross ‘Hustlin’ track on his new mixtape? Surely that earns a smack on the wrist for Primo? No? Meanwhile, KRS is still running around talking about the 7467 Temple of Hiphop rules without any of his followers asking him about that Puffy remix on “I Got Next” or his Nike ad. The hypocrisy is astounding.

What do many (not all – see how I don’t generalize) who hold Hova up as the great saviour of NY rap, the one who’s going to snatch the crown back for the East in a tag team pincer movement with Nas (nh), think when they see the Def Jam head honcho appear on remixes with Rick Ross, Jeezy, and every other currently breathing Southern artist, while letting Ghost’s album sink without trace?

Lets be clear here – I like Southern Hiphop. I also like East Coast, West Coast, Mid-West, UK, French, Japanese, and Australian Hiphop. And many other types of music. I was born and raised on East Coast Hiphop, and 86-92 will always be my favorite period of Hiphop ever. I’d much rather listen to ‘Rebel Without A Pause’ than Yung Joc, but I’d much rather listen to Yung Joc than some of the stale stuff coming out of the East right now. The South and the Bay are two of the most vibrant areas right now – there’s fresh ideas, dope music and a great sense of camaraderie here. In this sense, its closer to the essence of the Golden Era than today’s crop of commercial East Coasters who seem more concerned with fabricating beef with each other and complaining about the South than actually making the quality music that will break its radio control. The underground meanwhile are still stuck trying to get by on the same boom-bap that was hitting in ’96, and while there are some definite head-nodding gems out there, a large proportion of these cats are still trying to ice-grill cats in the club while holding the walls up. Let it go, and have some fun.

I’d love to think it was just an age thing, and that it only younger cats carrying on like this, but sadly its not. I missed out on some quality music during the late 80′s and early 90′s because I was too busy screaming ‘Hardcore! No Sell out!’ as instructed by my heroes… come to find out that they were all rocking it on the low anyway. (Tim Dog championing Blackstreet anyone?) I’m a little wiser and a lot more cynical nowadays, and I certainly don’t intend to make the same mistake again, refusing to listen to good music simply because the ‘real hiphoppers are over HERE’. Y’all can miss out and regret it later, you bitter fuckers.
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Meanwhile, a small apology of sorts must be made by moi. Though I’m still staying firmly out of the Dilla-Is-God camp, I’m now willing to concede (due to the amount of tribute mixes floating around, and my own background digging) that he certainly had his share of ill records. (Actually I never said he didn’t – I already knew he made some crucial shit, but he also made some sleep-inducers… but anyway.) ‘Stakes Is High’ over the last few months has become a staple round here. On my recent trip back to Ireland, I loaded the Ipod with a few Dilla albums, as well as the ubiquitous Lil Jon discography, the Ruthless Rap Assassins and Cookie Crew albums, my own mix cds, and 10 or so gigs of funk and reggae. While “Donuts” sounds rushed and cobbled together in places, its certainly understandable why its came out in this form, and while it does have a number of tracks that had me skipping pretty quickly, there are a few others that grabbed me instantly. ‘Waves’ and ‘Time’ are two of the most emotional songs I have ever heard in my life – an amazing feat for a couple of instrumentals – but on the real, the circumstances leading up to the creation of these tracks, the man’s hard work, and the sheer fact that he KNOWS he doesn’t have much time left in this world (and is trying to get as many of his ideas out to his listeners before he passes), are all abundantly clear from the sounds coming out of the speakers. Proper.
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Today’s listening list
8Ball & MJG – Ridin’ High
Cecil Parker – Get On Up
Cunninlinguists – Mic Like A Memory
Jay Dilla – Time, The Donuts Of The Heart
Jay Dilla – Waves
King Sun – On The Club Tip
Marvin Sease – I Belong To You
Tango Redd ft Homeboi – Ho Call
The Temptations – Fan The Flame
(download it here)

This

begat

this.

Phil’s commentary is probably one of the most well-laid out, well-reasoned responses to the broken record-like whining of some people… I was about to write an editorial piece on this whole thing, but my man has beaten me to the punch (no Sugar Ray Leonard.)

I’ll get around to it though in a day or two…