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Friday, Mar 6, 2009

San Francisco, circa 1969: The Pointer Sisters have just returned to San Francisco after an ill-fated trip to Houston. Producer David Rubinson, who paid their fare back to the west coast, signs them to his management company with Bill Graham. While vetting record deals, he finds session work for this intriguing trio of sisters with some of the Bay Area’s most notable musicians, including Tower of Power, Grace Slick Betty Davis, and Boz Scaggs.


Among the acts The Pointer Sisters worked with onstage and in recording studios during their pre-fame ascent was famed guitarist Taj Mahal. The Pointer Sisters lent their harmonies to a handful of his albums from the early-‘70s like Recycling the Blues & Other Related Stuff (1971) and Ooh So Good ‘N’ Blues (1973). To honor the 35th anniversary of The Pointer Sisters’ solo debut, Taj Mahal wanted to relay just what it is about Ruth, Anita, Bonnie, and June Pointer that makes them one of the most special group of individuals he’s ever worked with in his 40-year career:


“The Pointer Sisters! Yeeuuhh!! I hope through the printed word I can communicate the sheer joy and personal excitement I have had in being part of the audience, performing, recording, touring with and championing their star studded career, these women who rose from well nurtured southern roots to take the world by storm with their unique harmonies, beauty and earthy sounds!


All the songs I recorded with them were before their meteoric climb up the charts, onto the world stage and into the hearts of millions! Hit after great hit… and peeps, those songs still stand today! But what you’ll notice is that with our early collaborative recordings “the ladies” were already well formed, in tune and had a sound that we captured then!!


If I had it to do all over again, I would have performed and recorded more with “the ladies!” My work with them will always remain one of the special high points in my life and my career!


Keep up your excellent work, know I’ll always love y’all and can’t wait to hear whatcha’ doin’ now!! XXXX Taj”


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Thursday, Mar 5, 2009

Discovering recent music from other countries can often be a difficult, if not daunting task. There are only a handful of labels in the States that stay true to bringing quality international music to the United States, and Luaka Bop is quite possibly at the top of that list. Exploring the music of Brazil has often been a forte of theirs, and as of recent, they have brought a new face on board by the name of Márcio Local.


Local comes from the region of Realengo, a working class section on the north side of Brazil. By the time he was born in 1976, this part of Brazil was dubbed “Black Rio” which attracted thousands of young minds. Being one of the few to make it out with his immense amounts of talent, Local’s music finds its foundations in that of the Bossa Nova sound of his heritage, and the Afro-centric sound that swept Brazil in the ‘60s with Tim Maia and Jorge Ben.


But the thing that sets Local apart from his peers was his admiration for the modern sound and the implementation of it into his music. Luaka Bop released a series of 3-inch CDs last year, Local’s being the one that stood out the most, full of vigor and ambition. His sound consisted of all the traditional Brazilian instruments, but you could also find the use of studio effects, turntables, and countless experimentation with the sonic landscape. The time is now for the Brazilians to capitalize on the resurgence of their sound in the United States with groups like Os Mutantes, Caetano Veloso, and Gilberto Gil—and Local is taking full advantage of this.



Tagged as: marcio local
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Wednesday, Mar 4, 2009
by PopMatters Staff
Blues singer Shemekia Copeland has opened for the Rolling Stones and played festivals around the world, including a headlining spot at the Chicago Blues Festival. Her new album Never Going Back released via Telarc Records on February 24th.

1. The latest book or movie that made you cry?
A book called A New Awakening by Eckhart Tolle.


2. The fictional character most like you?
I’m a character myself.


3. The greatest album, ever?
There’s 50 great albums . I listen to something one day and it’s the greatest I ever heard. Then the next day I hear something different I love just as much.


4. Star Trek or Star Wars?
The Twilight Zone.


5. Your ideal brain food?
Emotionally touching events which these days could be just about everything.


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Wednesday, Mar 4, 2009

As you probably already know, SNL alum Jimmy Fallon made his debut Monday night as a late-night talk show host in an attempt to fill departed comic royalty Conan O’Brien’s (figuratively and literally) enormous shoes. The poor dear was clearly dysfunctionally nervous, as evidenced by (figuratively) robotic delivery of the opening monologue and asking his guests (literally) point-blank to do impressions without any semblance of a contextual setup. (Yes, Conan and the random-ass non sequitur were the dearest of friends, but that’s not what was going on in this case.)


Let’s focus instead, then, on the introduction of hip-hop dynamos the Roots to the bandstand in the Max Weinberg Seven role, a bizarre career move which initially left me wondering if instrumental prowess was once again on the way out in hip-hop. No, Weezy’s guitar fetish doesn’t count.


The good news: they nailed it right off the bat, and the opening sequence clearly raised the bar on Conan’s. An apparently-late-for-work Fallon scrambled through the streets of New York trying to outrun a deliciously filthy funk-rock guitar riff that culminated in synchronized yelps from the band members and a wiggle of ?uestlove’s wig. That’s the kind of late night I wanna have; sorry, Pender.


The bad news: Tariq “Black Thought” Trotter still has to sell me on his importance in this context. Granted, he wasn’t half bad as a comic foil, singing Fallon’s Slow-Jam The News bit to a remarkable, er, climax—specifically, with the line “she added an amendment.” (One hopes the genre will change each night, but I guess we have to wait a few more hours to find out.)  But despite his front-and-center role with the band for the past 15 years, the fact remains that they’re doing transitional music and intro/outros now—they reportedly worked up 200 microcompositions in preparation for the debut. Unfortunately, a seven second canvas doesn’t give Tariq enough time to drop any coherent grammar, let alone the usual profound lyrical insights. Vicki Randle from the Tonight Show Band might sing Leno out frequently enough, but when guitarist Kevin Eubanks takes the spotlight—that is, most of the time—she plays percussion instead. Black Thought, on the other hand, just stands there looking slick. Can we at least get him some castanets?


Of course, I’m down with any excuse to hear these guys play Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near)” (or, as I knew it for years, “Regulate”), and although Fallon still needs to defrost a bit, he does deserve a little more time to ease into the role even if his band outpaces him from the get-go. It’s going to be hard to switch back and forth with Craig Ferguson and still catch Late Night’s ad bumpers, but I’m going to give it a shot.


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Tuesday, Mar 3, 2009

I was 31 before the lyrics to the 1987 chart-topper Pleasure Principle meant anything to me. When the song debuted, I was already a staunch Janet Jackson fan. I was the first in my seventh grade class to be able to do Janet’s famous head-bop from the song’s video- moving her neck left and right, framing her head with her right hand under the chin then the profile. Janet wore plain black pants and a T-shirt, and full kneepads for the shoot. There is even a website dedicated to the cryptic markings on JJ’s tee, and calls this clip “a perfect blend of music and motion designed to ensnare its target in a very specific way.” Alone, she danced on an equally stripped down set to showcase the most baadasssss moves since, well, her brother.  In stark contrast to the highly ornate, narrative big-budget videos that would characterize successive albums and especially the Rhythm Nation 1814 Film, Pleasure Principle- the sixth single off her 1986 album Control- was all about the dance.


Janet’s success followed her elder brother’s chart-dominating, pop precedent-setting albums Off the Wall and Thriller by only few years. Moreover, when her turn came, she took over the scene just as quickly as Michael had done as a solo artist. Stretching decades from 1982’s Thriller, every kid in any dance school around the country learned sequences from Joe and Elizabeth Jackson’s kids. By the end of 1987, even drag queens abandoned dresses for tights and jeans in order to do Janet’s now infamous run, jump, balance and leap, landing from a chair.


Janet was neither the queen nor the princess, and certainly not a dominatrix of pop music (read Madonna’s Erotica, circa 1990). By the mid- to late ‘80s, grounded in Paula Abdul’s choreography, Janet had moved beyond trendsetter to ‘norm establisher’ in popular culture; she was in control. Little Ms. Penny from Goodtimes was more than just a starlet shaking her tits-n-ass for some coins. Nevertheless, she would play that card years later at the Superbowl, absorbing all the oxygen from the short list of other high profile celebrities set to perform that day in the Superdome. As comedienne Sommore says, “does anyone even remember who sang the national anthem that year?” Rather, Ms. Jackson (‘cause I’m nasty) genuinely remains true to her heritage as entertainers- a virtual clan of griots.


The Best things in Life are Free


One of my mother’s best friends took me to see the Rhythm Nation 1814 Tour, and it was all that! Naturally, I had purchased the cassette months earlier, and had memorized every word to every song, including the B-side non-hits, and knew the moves from those classic videos. I could croon every twist and turn of Janet’s Soul ballads like Someday is Tonight, which, upon a close listen, tone for tone approximates the heart wrenching melismatic orgasm of her brother’s Lady in My Life. At that tender pre-pubescent age, my vocal range could match that of any Jackson’s. Rhythm Nation 1814’s rich album notes included lyrics to every song, which is of great importance when confronting head-on topics that the news chooses to ignore like racism, sexism, war, oppression and the legacy we bequeath to our youth. In State of the World, Janet wrote/performed:


To feed the baby before he starts to cry/No rest, no time to play/15, the mother is a runaway/No time for dreams or goals/Pressure is so strong/Her body she has sold so her child can eat/What is happening to this world we live in/In our home and other lands


Of the myriad of pop artists that talk about sex, few regard the topic from this, frank and not so uncommon perspective. Many artists simply will never go there.


That rock on your finger’s like a tumor


Janet so neatly does Black music, infusing the old with the new into a finely crafted message of active contemplation and hope for the future. I always appreciate when artists come clean about their influences and tastes; as a people we pay so little attention to our history. Michael Jackson regularly thanked James Brown, publicly testifying to copying his moves while watching him as a child entertainer.


As a budding young dancer, I scoured through every available resource to learn about big band leader Cab Calloway and acrobatic dancers The Nicholas Brothers- all truly wicked entertainers from the Harlem Renaissance who made cameo appearances in Janet’s video Alright. The popularized remix of this hit paired Janet with Heavy D, fashioning the R&B/Hip-Hop duo that others still follow. One only need witness LL Cool J and Total, Ja Rule and J-Lo, Beyoncé and Jay-Z, Mariah and well, just about every other thug. Control paved the way for New Jack Swing, of which Mary J. Blige would later become its queen.


It was Control that would lay the foundation for all danceable pop music to follow. Beyond just stealing and sampling funk and disco beats, Janet’s lyrics and image covered much, much more than fanatical love and hardcore sex. Janet’s next project, Rhythm Nation 1814, was an action-packed album that not only gives ample treatise to social ills, but also incorporates entertainers that influenced Janet, on top of contemporary dope beats. Most certainly, this left little room to brag about wealth, though I suppose growing up at 2300 Jackson Street, one grows accustomed to such riches.


Like Beyoncé, Janet can pay her own fare, “It’s not the first time I’ve paid the fare,” she says, “Thank you for the ride.” She’s an Independent Woman. Yet, unlike savoring the ability to ‘buy your own’, eschewing, as she says in Pleasure Principle, “part-time bliss” for “happiness,” Janet asserts: “I’m not here to feed your insecurities. I wanted you to love me … My meter’s running I’ve really have to go!” She is interested in more than just goods. Despite the Jackson trail-blazers, so much of today’s pop encourages independent women and girls to leave love aside, opting for a cheap, material upgrades, or be Bossy, turning the tables and becoming somebody’s Suga Mamma. Today’s divas simply wallow in their own insecurities, victims of the perpetual lust for pleasure in material bliss.


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