Simply Beautiful.

So this was originally published in Boston's Weekly Dig, my former stomping grounds, yesterday. But I wanted to wait until the extended interview was up and running online to post it on Two Day Old Shit. So here it is. Ladies and gentlemen, the most important professional moment of my life, the greatest opportunity I have ever been handed by any editor (thanks again, David Day) and the most personally satisfying and meaningful interview I have ever conducted. The legendary Reverend Al Green.

[defend yourself]
AL GREEN

By Isabelle Davis

Extended Interview: Web Exclusive

The greatest Southern soul singer of all time. The man responsible for many conceptions. The 62-year-old reverend with a flawless falsetto. The crusader of love and happiness. The legendary Al Green.


HI, HOW ARE YOU?

I don't know.

YOU DON'T KNOW?

No.

NO? WHERE ARE YOU RIGHT NOW?

Trying to get reregulated back to American time.

WHERE WERE YOU JUST AT?

Stockholm.

HOW WAS IT OVER THERE?

Sold out.

GOOD, GOOD! I'M GLAD. I JUST HAVE A FEW QUESTIONS.

OK. Number one.

I SAW YOU AT THE NEWPORT JAZZ FESTIVAL IN 2007.

Good!

AND I SAW YOU THIS PAST SUMMER IN CHICAGO, I WENT WITH MY MOM.

Did you like it?

I'M ACTUALLY IN CHICAGO RIGHT NOW.

No, I mean did we do a good show?

EACH TIME I SAW YOU, IT WAS LIKE LISTENING TO ONE OF YOUR RECORDS. IT WAS JUST IMPECCABLE.

It was like this trance thing they was talking about overseas, "He goes into some type of trance or something performing these songs." But I mean, I don't mean to, but the songs themselves have a transcendental type of motion, of movement to them or something.

THEY DO, AND I WAS GOING TO TELL YOU, YOUR VOICE HAS NOT CHANGED A BIT. HOW DO YOU KEEP IT IN SUCH IMMACULATE CONDITION?

Well, those are nice words you're using now Ms. Davis, but I don't know, I don't do anything. I didn't give it to me, so I don't really know how to keep it. All these songs I didn't give it to me either, so I kinda, like, don't know. I know they were talking about me walking, prancing, back and forth, backstage, walking from end to end of the dressing room before you go on, I just get, it's not upset, I'm just nervous. I have a lot of emotion, I guess, pent up on the inside and I'm trying to just, while they're getting prepped, you know, ready to call you on, I'm trying to, I'm just a total wreck. And I'm trying to—and then when I get out there, then, slowly it goes away.

STILL, AFTER ALL THESE YEARS, YOU GET STAGE FRIGHT?

Ohhh! See! I shoulda thought of that. See, stage fright, that's what it's called.

THERE YOU GO!

I mean, I guess I still've got it, because it just amazes me. I don't know, I don't call it that. I'm just nervous before, well, you know.

I WANT TO TALK A LITTLE ABOUT LAY IT DOWN. BEAUTIFUL ALBUM. AND I WANTED TO ASK YOU, I READ THAT WHEN YOU GUYS WERE GETTING READY TO MAKE THE ALBUM, YOU AND THE FELLOW PRODUCERS WANTED TO KEEP THE CAMEO LIST RELATIVELY SHORT. I HEARD YOU GUYS WERE GETTING, OBVIOUSLY, CALLS, YOU KNOW, OFF THE HOOK, PEOPLE WANTING TO CONTRIBUTE AND BE INVOLVED. HOW DID YOU GUYS CHOOSE CORINNE BAILEY RAE, JOHN LEGEND, ANTHONY HAMILTON? HOW DID YOU GUYS WEED OUT EVERYBODY THAT WANTED TO BE INVOLVED?

That's amazing because, we kinda like, didn't plan it. We planned to do a duet album. That was a plan. But who, was to do, who was Al gonna do the duets with? That we didn't plan. And the people that we had wrote down in the car on the way to the studio was either, well, one was Justin Timberlake—he was in Australia so he couldn't do it—there was other folks that we had—they were on tour in Canada or someplace so they couldn't do it. And the very people that we didn't think could do it, like John, just so happened to be in New York and heard about the album and came over to hear one of the tracks, John Legend, and he liked "Stay with Me (By the Sea)". And there you go, it's weird stuff, I mean, it's just kinda weird, we didn't plan it, Anthony Hamilton came to the studio, brought his wife, he heard the song "Lay It Down," he said, "Hey, man, lemme put some background vocals on it," and we already, me and Corinne, had already put background vocals on it, so we told him, "Go on and put 'em on there" and he put it on there and we used it, it turned out to be the background vocals for the song. I don't know. It's me and Anthony singing. I don't really know how this stuff came to be, but it's very miraculous how it did come out, you know, because we're all kinda amazed that it came out as well as it did. Free-for-fall, like free-for-fall, not planned it.

HOW DID WORKING WITH ?UESTLOVE AND JAMES POYSER DIFFER FROM WORKING WITH WILLIE MITCHELL? WHAT WAS ONE OF THE MAIN DIFFERENCES?

I don't know what the differences is because if you see the video on the quick clip—

YEAH, I'VE SEEN IT.

It's just, like, everybody's gathered around, Al's sittin' on the floor, with 10,000 papers scattered around everywhere, and everybody, the bass player you know, Adam Blackstone, all these people are gathered around, the organ player, all these people are gathered around him in the center of the floor, we were writing these songs.

IT WAS MORE OF A COMMUNAL EFFORT.

Yeah, it's like on an inspiration. You just do something on inspiration. I'm not planning it. [It's not like], "These eight songs we done had in the trunk for 50 years." I mean these songs we just wrote in February.

I KNOW, I MEAN, THE ALBUM SOUNDS VERY, VERY ORGANIC.

Yeah.

DID YOU GUYS HAVE SOME EDITING PROCESSES? YOU KNOW, MAYBE DO A SONG AND GO BACK AND BE LIKE, OK THIS WORKS, I STILL FEEL GOOD ABOUT IT. DID YOU HAVE A WAY TO KIND OF TRIM IT DOWN TO THE 11 CUTS THAT WOUND UP ON THE ALBUM?

No, I was on tour when they were doing that part [laughs], but I'm telling you the whole thing, I mean it's weird—when they did the mixing, I wasn't even up in New York, I was on tour, and you know, all the musicians were calling me telling how it was turning out and it was like, "Oh, OK fantastic, can you send me a cut of it?" They would send me maybe a cut. But I wasn't really there to tell them to take this out, put this in, trim this down. I wasn't there to do that, no.

WOULD YOU WORK WITH THEM AGAIN? WOULD YOU WORK WITH ?UESTLOVE?

Oh, I'd love to.

I WANTED TO TALK TO YOU ABOUT SECULAR AND RELIGIOUS LOVE, BECAUSE A LOT OF SOUL MUSIC IS MARRIED TO GOSPEL, AND MANY OF YOUR SONGS, YOUR OLDER SONGS AND ON THIS ALBUM, COULD BE TALKING ABOUT A LOVE FOR A HIGHER POWER, OR A PERSON. THESE RELIGIOUS CONNOTATIONS, ARE THEY A CONSCIOUS EFFORT WHEN YOU'RE SINGING? OR IS IT MORE AN OPEN-ENDED THING, LIKE YOU CAN TAKE WHAT YOU WANT FROM IT AS A LISTENER?

Oh, it's uh, it's uh, you can't just go into a studio that's costing you four or five thousand dollars a day, and you got all these musicians that you gotta pay, studio session costs, and you don't know what you wanna say [laughs]. No, you know what you wanna say and we wrote this, but the design is like, "Take me to the river, wash me down, cleanse my soul, and put my feet on the ground."

IT'S NOT ONLY FOR A PERSON, BUT IT COULD BE A LOVE FOR ANYBODY, A HIGHER POWER.

Right, it could. How could anybody say, for instance, if you use it metaphorically, "Take me to the river, wash me down," cleanse me, and then they said "cleanse my soul." Well how is a person gonna cleanse your soul and put my feet on the ground? That's like I'm talking to somebody that's gonna be higher than somebody who just simply says, "I love you and I'll see you after dinner." Of course the songs have a meaning. "Lay it down" means, a secular connotation, it means, you know, like what Al says on the stage, he say "lay it down," he say "lay your love down," it's intertwined like that because he has a design he wants to follow and he has a desire to follow a certain design and he's leaving himself space and room.

I KNOW YOUR DAUGHTER SINGS BACKUP. WHAT'S THAT LIKE, TOURING WITH HER? IS THAT FUN?

Yeah, I would like to hang her. [laughs] No, she's a sweetheart and she's got a beautiful voice and the girls, Valisa too, is a friend of hers, and they just do a great job and I'm real proud of them.

IS SHE JUST LIKE, "OH WHATEVER, YOU'RE JUST MY DAD, WHATEVER."

Yeah, I mean, that's Dad, and on the road I just, I kinda let her and Valisa handle a lot of things I don't have to do on the road. Because this is my daughter, and this is Valisa, and Valisa is a member of the church also, and my daughter is a member of the church also, and I'm the pastor of the church also, and therefore we on the road also, singing "Love and Happiness" also. So it's kinda like a trip, it's far out; I mean people are out here. I mean I don't know if He's trying to draw people to a certain idea. I'm trying to draw people to a certain lifestyle. A better lifestyle.

A LIFESTYLE OF LOVE AND POSITIVITY.

Guns and drugs and this and that and violence and shooting and killing and cutting—I'm trying to draw people to a "Love and Happiness," yeah, you know, right, right.

WHAT'S YOUR LIFE LIKE BEING A REVEREND IN MEMPHIS WHEN YOU'RE NOT TOURING? DO PEOPLE STILL COME UP TO YOU ALL THE TIME, STARSTRUCK?

Well, I live in Memphis. So living in Memphis, people give you your space. But [laughs] they'll follow you to a restaurant. They love you and [are like], "I don't wanna impose, but could you sign the back of my T-shirt?" And I'm like, "You got the T-shirt on!" And the lady says, "I don't care! Al, just sign it!" And I just laugh and hug her and sign it for her because I know it ain't about nothin' man, it ain't about no big thing, man. I mean, I been living here 26 years so I mean, everybody know me and they know me, but still, [they're like], "I don't want him to think I'm just starstruck, but still, I'm drawn to him and I love his music and I love the songs that he's made and he's still making." And it's kinda like that, yeah.

I KNOW YOU GET THIS ALL THE TIME, BUT YOUR MUSIC TRULY CHANGED MY LIFE, AND I JUST WANT TO SAY THANK YOU FOR THE OPPORTUNITY TO SPEAK WITH YOU.

Thank you, Ms. Davis, it was a pleasure talking to you.

[Al Green. Fri 11.21.08. Showcase Live, 23 Patriot Place, Foxborough. 781.461.1600. 8pm/all ages/$80-$175. ticketmaster.com]

defend yourself: Al Green [Weekly Dig]

Girl, lemme talk to you for a minute...

So my iPod was on shuffle as I walked home tonight, and one of my all time favorite songs popped up: Alicia Keys' "You Don't Know My Name." Produced by Kanye, the song features gorgeous background vocals from a then relatively unknown John Legend, a baller Main Ingredient sample and best of all, a fabulously executed spoken monologue mid song. Now, for those of you who don't listen to old school soul and R&B, perhaps you aren't familiar with the origin of the random spoken breakdown. A staple in '70s and '80s slow jams, the spoken breakdown is a rare and hilarious musical nuance that when done properly, really takes a song from good to great in no time. When done wrong, it is painful and awkward. And it's become nearly extinct. And I am not talking about intros or outros on songs, because trust me, those are in no danger of going the way of the polar bear (too soon, my b). I'm talking straight up "baby, let me explain" speeches and "come over and let me rub you down" pleas. You know what I mean: Jodeci, Teddy Pendergrass, Bobby Womack, Boyz II Men, Barry White...the soliliquies that made you stop singing along and just go, "hmm mmm, I know that's right." Or laugh, really, really hard.

In spirit of a lost art form, I have compiled a list of my favorite, desert island top five monologues. Feel free to comment and add your own. I hope to everything sacred I am not the only person under the age of thirty who holds these special addresses close to my heart.

5. Boyz II Men "End of the Road." Michael McCary, the Philly group's bass harmony (or the dude with the cane) was ALWAYS on the monologue tip. He couldn't dance because of his scoliosis, and his voice was so Barry White deep, that he was the natural candidate for the vocal breakdown. But even as a 3rd grader I was like, this motherfucker has NO self respect. I mean, come ON dude. You have a cane and a bad ass voice. You should not be using your spotlight moment to say things like this:

"Girl, I'm here for you. All those times at night when you just hurt me and just ran out with that other fellow, baby, I knew about it, I just didn't care. You just don't understand how much I love you do you? I'm here for you. I'm not out to go out and cheat all night just like you did baby, but that's alright. I love you anyway and I'm still gonna be here for you, till my dying day. Baby, right now I'm just in so much pain baby, because you just won't come back to me will you? Just come back to me."

GET A GRIP man. You get the doormat prize and come in at number 5.

Boyz II Men |MTV Music

4. Lenny Williams "'Cause I Love You" Alright, not only is this one of the better sample sources that Kanye sped up, but it has one of the greatest breakdowns. Lenny cries throughout the whole damn song, and it culminates in this:

"You know, one time things got so bad until I had to go to one of my friends and talk to him. And I told him, I said, “You know, I’m having problems with the woman that I love. It seems that I call her on the phone and I just can’t get her to answer.
And then I went to her house and I saw a car parked in the driveway
I knocked on the door, but still my knocks went unanswered.
And then I went home and I watched television until television went off.
And then I played my records until I just didn’t want to hear them anymore.
And finally I went to bed, but I found myself waking up a few hours later.
And the tears were running down my face." And my friend told me, he said, “Lenny,
You just oughta forget about her." But I told my friend, I said, “You know, maybe you’ve never been in love like I’ve been in love. And maybe you’ve never felt the things that I’ve felt." But this is what I told my friend, I said, “You know, sometimes you get lonely. You get lonely, you get lonely."

I didn't even know television went off.

3. Alicia Keys "You Don't Know My Name" Well, this is the song that sparked this post and one of my all time favorite R&B tunes. Kanye West didn't become famous for nothing and the lush production coupled with John Legend's beautiful cascading harmonies and Alicia's coquettish charm make this a killer "unrequited crush from a far" jam. And when Keys says "Wait, my cell phone breakin' up" I lose it. Oh, and Mos Def is a BABE in this video.

"Well, I'm gonna just have to go ahead and call this boy.
Hello? Can I speak to -- to Michael? Oh hey, how you doin'?
Uh, I feel kinda silly doin' this, but um, this is the waitress from the coffee house on 39th and Lennox. You know, the one with the braids?
Yeah, well I see you on Wednesdays all the time
You come in every Wednesday on your lunch break, I think
And you always order the special, with the hot chocolate.
And my manager be tripping and stuff, talking 'bout we gotta use water
But I always use some milk and cream for you, 'cause I think you're kinda sweet.
Anyway, you always got on some fly blue suit 'n your cuff links are shining all bright
So, whatchu do? Oh, word? Yeah, that's interesting. Look man, I mean I don't wanna waste your time but, I know girls don't usually do this, but I was wondering if maybe we could get together, outside the restaurant one day? You know, 'cause I do look a lot different outside my work clothes. I mean, we could just go across the street to the park right here- Wait, hold up, my cell phone breakin' up, hold up. Can you hear me now? Yeah. So, what day did you say? Oh yeah, Thursday's perfect, man."

Alicia Keys |MTV Music

2. Prince "Insatiable" I couldn't leave this one out, despite the fact that Prince kind of talks his way through out the whole song. He gets really nasty and makes me feel uncomfortable towards the end and this is basically sonic sex. But really I just wanna know who "Martha" is and why he chose that name, because it's about as sexy as "Mildred."

"OK, so all U do is push the little red button
And I belong 2 U in your little video box
Nah, don't look at the clock, yeah
It's 2:45, we got all night
First, U gotta tell me what U want me 2 do...
Do U really want all my clothes off? (Yes)
What are U gonna do 2 prove it? (Ooh)
Aren't U afraid we're gonna be found out? (No)
Well, let's get on with the show...
Doesn't my body look good in the shadows?
Ooh, baby knows what 2 do
Have U done this before? (I don't know)
U say U want my hips up in the air (Yeah)?
Oh no, I don't care...
I know I could be nasty with U."

The video is edited so his royal nastiness can't truly be conveyed.

Prince |MTV Music

1. Teddy Pendergrass "Come and Go With Me" And here it is. This gets the number one spot for two reasons. First of all, it's the flip side: this time it's the object of the song, the lady he sets his sights on, giving us a piece of her mind. They go back and forth, but obviously she goes home with him, but only because he agrees to buy her drink and drive her home after. My kind of girl. And secondly, Teddy Pendergrass was one of the originators of the slow jam spoken word. He has to be on my list. So here's to you Teddy P. The clip is a live one.

"Come on over to my place
(No, not tonight, no)
You see it’s not far from here
(I believe you)

Would you just take a minute and think about it?
(Oh, man)
Would you just think about it, think about it? Yeah...
(I’m thinkin’ about it but I really have to say no)

Come on and go with me
Come on over to my place
(No, I know)
You’re sittin’ here, you’ve been sittin’ here for quite a long time
(Yeah, I’m slightly bored, I hate bein’ bored)

See, I’ve been watchin’ you
(I’ve been doin’ the same thing)
I’ve had my eyes on you
(I’ve been checkin’ you out all night long)
You look so nice and you look so sweet
(Oh, thank you)

Come on and go with me
(That was sweet)
You look like you oughta be with me
Come on, over to my place
(Yeah, but what are you gonna with me? That’s the problem)

Seems that you feel the same way I do
(I think it would pretty interesting)
It seems that you need some company, too
(Oh, boy)
Yeah

Come on and go with me
(You said your car is right outside, right in front)
Come on, over to my place
(And you’re gonna bring me home after)
But would it be all right with you?

Come on and go with me
If we left here and we went somewhere else, baby
(Come on over to my place)
Somewhere where it’s nice and quiet, nice and quiet
(That’s nice, yeah, that sounds a little better than this place)
Where we could sit down by a cozy lit fire
We could sip a little wine, work things out
(Oh, yeah)

Come on and go with me, work things out
(Well, I cannot stay long)
Come on over to my place
(We got an hour, no more than that)
Lady, you won’t be under any kinda pressure
(Please, I cannot stand pressure)

I wouldn’t do that, baby? No
(Okay, well, would you get my coat?)
See, I wouldn’t do that, baby
See, I just wanna sit down
And get to know you a little better
(Okay, just for a little while)

I swear you look so good to me
(Are you gonna pay for my drink?)
Come on over to my place
You look so good to me."

You Got Me.

Alright. I wasn't even going to do a post about this but...

Everyone from Gawker to stereogum are blogging furiously about Thursday's rather shocking announcement that the Roots are going to retire (Forever? Forever ever? The band is staying mum for now.) from touring to be the house band for Jimmy Fallon when he takes over Conan's seat in 2009. The news was broken via a video interview (that has since been pulled, as well as the okayplayer update about the band's decision) during the Philly outfit's Chicago pit stop last week. And while everyone who has access to the internets has been commenting about this blow to the live music scene, what naysayers, haters, Debbie Downers and trick ass marks forget is this:

The Roots tour non fucking stop. Almost 350 days a year or something outrageous like that. I saw them twice in a two and a half week span. That's nuts. Sure, they love playing live and love playing music with each other, even after twenty years. But guess what? Touring blows. Hard. And these are grown ass men. With families, significant others, friends, homes, side projects and real lives (longtime bassist Hub left the group last year to pursue a film scoring career and to spend more time with his family). They have been on the grind for two decades now, and are just starting to get the mainstream respect they deserve. So they want a steady gig, a place to hang their ridiculously talented hats. So what. So fucking what. Who cares that Jimmy Fallon is a dick cheese? I don't. Good for them. Seriously and completely. Not only will this make me want to watch late night TV again, but it will raise the house band bar (also, I do want to see Fallon trade riffs with ?uestlove. He's no La Bamba.). If they had the chance to do a Celine Dion style Vegas run I would hope they would take it too. These dudes deserve all the opportunities in the world. They deserve stability and financial security. The right to do something different. And hello, they said retire from touring, not retire from music making. So quit hating. Musicians are real people. They're not your friends. You can be sad about their choices, but you have no right to be angry. They aren't promoting child molestation or anything. So shut up.

And for those of you who haven't had the honor and privilege of seeing this legendary group live, that's your own fault. You blew it. Kill yourself now, because live music does not get any better. You had your chance. In fact, you had plenty of them. I've seen them 19 times and I'm only 22.

Besides, musicians change their minds all the time. And if you're that bummed, fly to fucking Europe and be one of the lucky few at their last tour.

The Roots To Be Jimmy Fallon's Band; We Are Old And Sad [Gawker]

I Give Up

I haven't paged through this week's New Yorker yet, but apparently it contains some stuff I'd rather not hear about Prince's religious and political beliefs. Gawker's Ryan Tate has a post today with the following excerpt:

When asked about his perspective on social issues—gay marriage, abortion—Prince tapped his Bible and said, “God came to earth and saw people sticking it wherever and doing it with whatever, and he just cleared it all out. He was, like, ‘Enough.’

Wait, what? This is beyond homophobic. While I wouldn't encourage this kind of proselytizing, I do think that it is impressive that even in a league of bat-shit crazy zealots (the anti-gay marriage camp) Prince still manages to out-crazy everyone. Still, some questions remain:

• What will Wendy & Lisa think?
• And does this mean I can't play "Little Red Corvette" at my wedding when I get gay married?
  
• Why am I giving Prince the attention he is so clearly seeking by blogging about this?
• Prince isn't gay?
  

Gotta go for now, I have longstanding marriages to de-sanctify and kids to make gay.

Prince Says God Against Homosexuality [gawker]
Soup With Prince [the new yorker]

Those Meddling Kids

There are plenty of artists working in hip hop who are really into cartoons and comic books, but I don't think they take it far enough. You know who does? MF Doom, the metal mask-wearing emcee who has based his entire persona on Fantastic Four villain Dr. Doom. Exhibit A: "Hey," a song from his debut solo LP Operation:Doomsday, a track built entirely on Scooby-Doo samples.




MF Doom - Hey! [youtube]

The Roots + Cee-Lo, The Vic, Chicago, 11.13.08

Quite possibly one of the most fun Roots shows that I have ever attended (and that's saying a lot since this was show 19 for me.), the Miller Genuine Draft "Genuine Flow" show at the Vic was, despite the MGD name drops every 6 minutes (which none of the artists could take seriously, case in point, Cee-Lo must have been reminded back stage to name drop the beer and since he could give less of a fuck, told us that "my voice is scratchy. I need something cold, something refreshing. I need...a Miller Genuine Draft" and then burst into laughter with Black Thought) all about genuine musicianship and genuine camaraderie. DJ 33 1/3 kept the mostly older and black crowd (which was very refreshing to see, a Roots show that wasn't all bros) excited by playing what everyone wanted to hear: De la Soul, A Tribe Called Quest, ODB and straight up classics. WGCI's Tony Sculfield played MC and after his tired jokes about weed smoking and how Obama is going to have a DJ spinning at his State of the Union address (you, know, cause he's black. Get it?), the legendary Roots crew took the stage around nine, filing out in processional fashion, ?uestlove wearing a kuffiyeh like a hipster and Black Thought wearing a Cosby sweater looking blazer, and kicked off a nearly two and a half hour set in which goof ups, laughs, inside jokes, two-stepping and the soul machine Cee-Lo Green would all be a part of.

Their set was very similar to the set I saw at the Congress a few weeks back, but the beauty of the Roots, and one of the many reasons that I consider them to be my favorite band and favorite live act, is that no two shows are the same, regardless of set lists and current tricks they have up their sleeves. The subtle nuances, the tempos, the riffs, the solos, the impromptu joints, all change in various degrees, and the organic nature of their show always feels real. So, when "string assassin" Captain Kirk took over for his standard "You Got Me" operetta, he not only turned his scatting into "Sweet Child O' Mine," as he had done at the last show I saw, but he threw in a very Ike Turner move: sexualizing his strings and turning their high pitched moans and sighs into "Love to Love You Baby," which he sang beautifully, because his falsetto is terrifyingly woman like. ?uestlove missed his vocal cue during the Fela tribute, and Black Thought just started laughing at him, which made the whole band laugh at him, and the genuine bro love they all have for one another was beyond endearing. Last night, more than ever, was evidence of the fact that these guys play together every single night, but still love doing it, and still love each other.

Midway through the set, Cee-Lo emerged with his very unnecessary hype man, looking more like a regal Buddha than ever (he was not wearing the outfit shown above, unfortunately). The Roots backed his set, which included "I'll Be Around," an amazing reggae tinged slow burner version of "Crazy," that had everybody doing the dutty wine (it then morphed into a quite excellent cover of "Seven Nation Army" before going back to it's dance hall vibe) and a pretty straight ahead "Who's Gonna Save My Soul." The usually reserved Black Thought told us that "Cee-Lo is one of the few people in hip-hop I love and respect" and they recounted first meeting back in the Goodie Mob days. It was all very, "late night jam session"- just a few close friends hanging out and being fabulous - and the small atmosphere of the Vic was perfect for it. And then, my favorite part: after leaving the stage, ?uestlove urged him to come back out, and off stage we could hear his Atlanta drawl: "well, I don't wanna wear out my welcome and shit, but..." and he treated us to an epic a cappella (well, almost, Knuckles provided minimalist percussive snaps) version of the song that introduced us to Cee-Lo: OutKast's "Git Up, Git Out." He then left the stage, telling us not to spend all of our time trying to get high. Just "some of our time."

Top Five: Reasons I'm Not That Mad At The Beatles

In the interest of Not Whining Too Much, and in light of my last post about the Beatles, I thought I'd run down five things that don't suck about the Beatles.

5) Ringo Starr has discovered YouTube:



...although he appears to be using it for evil, not good. No, I don't know what the story with this is either. Moving on...

4) The films A Hard Day's Night and Help! released in very nice double-disc sets. It's nice to see these again; I watched them a lot when I was little. A Hard Day's Night really holds up, though while Help! was certainly fun to revisit, it didn't have the energy or cultural cache of its predecessor. Don't get me started on the most overhyped rock movie of all time.

3) The Beatles Anthology, both the documentary and the companion albums. The DVD is a pretty comprehensive, if at times biased, look at the complete history of the band. Sure, it smoothes over some of the rough edges of the story, but it also lets us see how much of a dick Paul can be. Exhibit A: what kind of schmuck would think it a good idea to record his documentary testimony from the steering wheel of his yacht? The soundtracks, six discs in total, gives us maybe our only glimpse so far of the wonders that lie waiting in Apple Corps' archives, if they'd just open them up.

2) The Capitol Albums rereleases. These box sets packaged the first eight Beatles albums as they were originally released in the United States. They're shorter, and they sound different: much more trebly, with the vocals higher up in the mix. Why exactly they were altered is something I'm not going to get into (for that, I urge you to pick up a copy of Dave Marsh's The Beatles' Second Album, which tells the story contextually and compellingly as a war between rock 'n' roll and the status quo of pre-Beatlemania America). Sure, they prey on the nostalgia of those who grew up with these versions, and they are overpriced and underpackaged (the box looks kind of cheap and rushed). No, these are not the albums the Beatles intended to release. But who cares? These are the records my parents lost their minds to and I can feel them in my blood, even if I never heard them until this set came out a few years ago.

1) The albums. Sure, the sound quality could be better. But regardless of that fact, there is no stronger catalog in the history of popular music than that of the Beatles. The crappiest 8th-generation blank tape copy of a poorly compiled Beatles best-of would STILL be one of the crowning achievements of rock music. Abbey Road? Revolver? Meet the Beatles? Sgt. Pepper's? Even the aforementioned Beatles' Second Album, clocking in at just under 30 minutes with only 4 original tunes (the rest are covers) is completely unfuckwithable in every way.* I'd love to have remastered versions, really I would, but I'm not rushing to burn these copies anytime soon.

*It's one of my favorite albums of all time, despite the naysayers.

I Am...Ann Powers

Back in October I wrote a defense/review of the two new B singles (and B as a pop artist in general) from her impending I Am...Sasha Fierce. I just got a chance to hear the whole album (well, just the normal release, the deluxe edition has a few extra tunes per personality and Sports Illustrated Swimsuit Edition circa 1997 inspired cover art) and the two sides of Ms. Hov.

So, I am never embarrassed when I am wrong and have no problem with admitting errors in judgment. Lucky for me, I wasn't completely overly hopeful about the overly ambitious double album: it has some classic Beyonce cuts ("Single Ladies" most notably) and the Sasha half has a sass and sexual aggression that suits the club jam aspect of Sasha's party girl rep well. But in my earlier post I guessed that the Beyonce "ballad" portion would be akin to B'Day's "Resentment," a gorgeous and slightly disturbing song about broken trust, an adulterous relationship and um, a thinly veiled real life experience softly and gut wrenchingly sang over a well chosen Curtis Mayfield sample ("Think" to be precise). And that wishful hypothesis was very very very wrong. I Am...Sasha Fierce's ballads aren't terrible. They are just songs that I never want to listen to again. And would be better suited to Carrie Underwood.

L.A. Times pop guru and my adolescent hero, Ann Powers, has an excellent take on the split diva's record. The best review I have read so far. Pay special attention to what she says regarding the "racial undertone" that separates the two Bs. Very very very spot on and intriguing. The article after the jump.

In the news release for her new, ambitious, somewhat befuddling double album -- the deluxe edition, with extra tracks, is currently streaming on her MySpace page -- Beyonce Knowles discusses her newly revealed alter ego, Sasha Fierce. "She's the party girl, she's Bootylicious," says the singer-songwriter-movie star-mogulista. "She is but I'm not. She's my alter ego. I'm finally revealing who I am."

The contradiction built into that brief comment says much about Beyonce's artistic predicament. A child talent-show winner molded into a pop star by her notoriously driven father, she is a creature of the stage, like Britney and Christina, the pop stars with whom she might have continued to be lumped if her father-figure husband -- and, more important, her own "rapperly" vocal gifts -- hadn't helped her secure a spot in hip-hop's firmament. Yet because the world of hip-hop soul expects its divas to be "real," she's often criticized for seeming distant within her own performances and refusing to expose herself.

For Beyonce, to say that an identity she is not can also "reveal ... who I am" is not a contradiction. As an artist, she is a role-player first -- a brainy, often showy interpreter instead of a gut singer on ballads, and a brilliantly varied rhythmic innovator on her club hits. "I Am ... Sasha Fierce" shows her further refining both of those tendencies, and it's full of interesting choices. But her misplaced worries about authenticity cause Beyonce to make some unfortunate missteps (mostly into the puddle of excess) that often afflict artists in mid-career.

Her first mistake, noted in other early reviews, was to separate "Beyonce" from "Sasha" and give each lady her own disc. Dispensing with the idea that the one sharing her name is any more genuine makes it clear that Beyonce has accepted standard thinking about what "real" is for a woman.

For T.I. (the other hip hop star who recently tried this schizophrenia thing) real-versus-fake meant thug-versus-pop-star, and ultimately the two were inseparable. But that's the male rapper's version of this struggle -- the ascendant entrepreneur trying to reconcile with the streetwise, marginalized youth still fighting for control of his psyche. (That's also the Jay Z story, so B knows it well.)

Might as well quote B herself (or whoever wrote the lines -- she had many collaborators, as always) to define the split she makes. "My heart used to be cold 'til your hands laid on my soul," she intones in "That's Why You're Beautiful," in which she compares herself to a diamond that finds its sparkle only when bought. This is the "real" Beyonce -- romantic, interdependent, brought to life by love. Her modus operandus is the power ballad.

Then there's Sasha, whose manifesto is the Lil Wayne-inspired "Diva," anchored around the line, "Diva is the female version of a hustla." She is nobody's baby, and if she finds love in the club, she's not necessarily dirtying her apartment with it after closing hours.

Her motif is the club banger -- electro elements optional. When she does go into mid-tempo territory -- say, on the R. Kelly-meets-Rihanna vocal workout "Hello," or on "Ego," in which B shows off the spunk she developed playing Etta James in a movie (much to longtime James supporter Christina Aguilera's chagrin, we're sure )-- Sasha's still all about sonic complexity and challenging singing, rather than the cleaner, more open style of the Beyonce tracks.

The weirdest thing about this split is its racial undertone. The Beyonce ballads fall into that soft-rock zone that incorporates elements of crossover country, Celine-and-Whitney style divadom, and U2-derived guitar hymnody. They're vehemently not R&B, and Beyonce enunciates them in a firmly post-racial style, in the same ballpark as her multi-culti rivals Alicia Keys and Leona Lewis. ("Halo," written by the hip hop world's latest rock crush, Ryan Tedder, was originally intended for Lewis.)

There's also the clear influence of Beyonce's idol, Barbra Streisand. The cowriters on these songs are mostly white, though Babyface, long soul's ambassador to soft rock, makes an appearance. The unrelenting uplift of these tracks conjures thoughts of transcendence, and that universal tone is vehemently not grounded in a "black" sound.

Sasha Fierce, on the other hand, knows where her home is. Enlisting top urban music producers including Rodney "Darkchild" Jerkins, Sean Garrett and Jim Jonsin (who's white, but a veteran of Flo Rida's dirty rap scene), she stars in songs that manically reference the current lingo of the dancefloor and the mixtape.

As a vocalist, Beyonce seems more comfortable in Sasha's stilettos. Her performances on those cuts feel unforced and fun, like she's thinking on her feet. Stretching for deep meaning on the Beyonce ballads, she risks sounding ponderous -- communicating thoughtfulness weighs her down. Still, when she finds the right balance, as on the first single "If I Were a Boy," she can be exquisite -- accessing the timeless quality she's clearly bent on mastering.

So consider "I Am....Sasha Fierce" Beyonce's Obama album. Through it, she is imagining a pop sound that doesn't foreground race, but which still respects its roots in the black community. She's not there yet, but the effort is fascinating, and hopefully she will keep on this path. After all, the Obama that Beyonce invokes with the name of her alter ego is still only a child.

--Ann Powers

Snap Judgment: Beyonce's 'I Am...Sasha Fierce' [The L.A. Times music blog]

Best New Band: Los Campesinos!

Los Campesinos! are a band out of Wales that came out of nowhere in the beginning of summer only to completely knock my socks off. Like Belle and Sebastian hopped up on more speed than their twee brains can handle, their debut LP Hold On Now, Youngster... is sure to come out very near the top of my best of 2008 list, and it's been on heavy rotation on my iTunes since I first downloaded it off of eMusic. Songs about teenage angst and teenage love thrown in with a good sense of humor and dueling boy-girl vocals, it's a high energy affair from start to finish, with exclamation point heavy song titles like "This Is How You Spell 'HAHAHA, We Destroyed The Hopes And Dreams of a Generation of Faux-Romantics,'" "Death to Los Campesinos!" and "You! Me! Dancing!" It was the kind of album that seems to pop up so randomly it feels like a little gift from the music gods. See for yourself:



So imagine my surprise when perusing the interweb this morning, I learned that Los Campesinos! have released their! second! LP! entitled We Are Beautiful, We Are Doomed. That's two in well under a year. Quality rules over quantity, I know, which is why I'm happy to report on first listen that this LP is just as much fun as the first one, albeit a bit more laid back the energy level is down from 18/10 to a more reasonable 12 or so). Thanks guys! I'm so pleased that I'm going to go ahead and call my Best New Artist way ahead of year-end-list season. This one's for you, Los Campesinos! Now come back to America so I can see you live, kthx.

UPDATE:  Either I have great luck, or Los Campesinos! care about me way more than I thought.  Not 24 hours passed from this post before the band announced a slew of US dates!  Check 'em out if you get the chance. I missed 'em last time, but I'm sure its gonna be a helluva show.  

Los Campesinos! [myspace]
We Are Beautiful, We Are Doomed [eMusic]
Hold On Now, Youngster... [eMusic]

Los Campesinos! and Titus Andronicus - 2009 Tour Dates [brooklynvegan]

When Did You Stop Loving Me, When Did I Stop Loving You: The Anthony Hamilton Edition

So idolator picked up on Southern soul man Anthony Hamilton's new (kinda) single "Cool" today. The post is entitled "Anthony Hamilton, R&B's Tough-Luck Story" and bemoans the fact that he gets the music industry's back burner when it comes to video rotation (besides Vh1 Soul and mtvU) and airplay outside of urban stations. The tone is all, he's so great, he has gold and platinum albums and his new video clip is so "charming" so why does he get snubbed when it comes to exposure on mainstream video channels? Well, Dan Gibson of idolator is right; the video for "Cool" is charming and should get more attention. And yes, Hamilton is good. But good shouldn't mean boring. And that's what Hamilton is slowly becoming. Very. Boring. And it hurts me to say that, because his voice is so amazing. He has always been a vocal throwback (in a good way), to Al Green and Otis Redding: his voice drips with feeling and grit. He's great live too. But the best part of an Anthony Hamilton song should never ever ever be a David Banner (yes, that David Banner) rap. 

The song is all about love providing everything this couple needs and the video follows suit: they have no milk for their coffee, their TV breaks, their car overheats and Anthony gets hit by lightning while fixing it (with the assistance of Mr. Banner, who drops the hilarious line: "we can call our white friends up and drink our Miller Genuine Draft/then kick 'em all out of the house, take us a bath") but through it all they laugh and shake it off because they have each other. Sweet sentiment and all, but sonically, the bouncy banjo hydraulics are way played and it is so repetitive, I feel like I'm listening to a snippet on loop. It sounds like a Nappy Roots song from like, 5 years ago. This bums me out. When did Anthony Hamilton become so derivative? His 2003 album Comin' From Where I'm From is so beautiful and textured with his gravelly and gut wrenching vocals ("Charlene" makes me cry, "Float" makes me wanna take my pants off and the James Poyser co-written "Cornbread, Fish & Collard Greens" is one of my all time favorite tunes) and every single song sounds rich and layered with Muscle Shoals like complexities. His 2005 "sophomore" effort (he's had a few compilations, a barely recognized 1996 debut and some re-releases too) Ain't Nobody Worryin' isn't my favorite but it had solid production from the likes of Raphael Saadiq, ?uestlove and James Poyser and garnered major critical acclaim. But if this single is indicative of the rest of his upcoming The Point of it All (which is slated to drop this December, after being pushed from it's original summer release), I'm even more concerned about him than I was when he sang the chorus on Nick Cannon's plea to save the babies. And Dan is right again, Hamilton has been around for a minute and deserves a great amount of success (fun fact: he sang back up for D'Angelo during the Voodoo tour) but I'm not rooting for this "tough-luck" story until the new album drops. Oh, and your contribution to the Soul Men soundtrack is NOT helping. Hamilton, you're on notice. 

Anthony Hamilton, R&B's Tough-Luck Story [idolator]