The Red Face Report: Mos Def

When talking of modern emcees, it’s hard to think of anyone more talented or prolific than Mos Def. Not only has he cultivated an innovative and unrivalled Hip-Hop style, but he’s starred in Hollywood films, acted on Broadway and hosted a hit TV show. Whilst his career has now spanned 15 years, in 2009 he remains a Hip-Hop artist in the purest sense of the word, and in the midst of mediocrity his work is a stark reminder of what the genre once was.

Born Dante Terrel Smith, Mos Def came of age in the days of A Tribe Called Quest and De La Soul. This combined with his life in the projects of Brooklyn, instilled Mos Def with the political awareness that would later appear in his rhymes, and make him one of the most powerful rappers of his generation.

Whilst Def was a prominent artist for much of the latter half of the 90’s, working with some of the great Hip-Hop acts of the day, it was his collaboration with fellow Brooklyn emcee Talib Kweli that brought him commercial and critical success.

Under the name Black Star, the duo released their powerful self-titled debut in 1998, and established themselves as two powerful voices in the fading Native Tongues movement. With hit single ‘Definition’, Def and Kweli commented on the state of Hip-Hop post Biggie and Tupac, reminding a generation that whilst their chosen two were gone, the genre was far from dead.

Whilst Black Star were a tour de force, Mos’ decision to go solo resulted in his seminal work. Black on Both Sides was released only a year after Black Star’s debut, and became an instant success, earning Def new fans and accolades.

This solo debut saw him in full political force, with tracks addressing everything from Y2K to the true origin of Rock ‘n’ Roll. However, it was also an album of tremendous range stylistically. Of course the glorious Hip-Hop tunes were present and correct, but with this release, Def set himself apart by choosing to sing exclusively on tracks like ‘Umi Says’, adding balance and beauty to the album.

Whilst it’s wealth of vibe made his solo debut a success, its extension of the East Coast form made Black on Both Sides a classic. It was Native Tongues, it was jazz enthused, yet it was Hip-Hop for the new millennium.

As Mos’ career continued, his style became more experimental and his rhymes more politically and spiritually charged. With his second solo album, The New Danger he provided a Muslim’s perspective on post 9/11 America, whilst the contribution of backing band Black Jack Johnson, continued Def’s crusade to reassert black identity on Rock ‘n’ Roll.

Indicative of his ever stronger political resolve, Mos made his entrance at the 2005 MTV Video Music Awards, on a stage mounted on the back of a flat top truck. He was then abruptly arrested, despite the fact he had a performance permit, as he began to perform ‘Katrina Clap’ a track that, as the title suggests, heavily criticises the Bush administration for its response to Hurricane Katrina.

However, whilst The New Danger was by far more successful in the charts, its inability to compare to Black on Both Sides caused decreased interest in his further output. His 2006 album, True Magic was released with very little promotion from his record label, leading to sales falling short of 100,000. As a result his contract with Geffen was not renewed.

For the past few years, Mos Def’s music career has been in a state of flux. However, this hasn’t made him any less productive. His appearances in such films as ‘Be Kind Rewind’ and ‘Cadillac Records’, have seemingly provided another outlet for the emcee’s creativity. Furthermore, though he may not have been releasing albums, Def continued to make musical and political statements.

But whilst he certainly didn’t let us forget about him, when it was announced a new Mos Def album was in the works, fans were sure to breathe a sigh of relief. To be named The Ecstatic, the fourth addition to his canon looks to be a fitting comeback, with billed collaborations with the likes of Slick Rick and Madlib.

Having stated in interviews that The Ecstatic may well be his last full length album (at least for a while), one can only feel this is a great waste. Mos Def’s adventurousness and pure lyrical skill have set him apart in a sea of commercial rappers. Whilst he may not have pioneered the styles he incorporated into his music, he did reinvent and weave them into something the younger generation could connect with. Even if this next album will be his last, his work will continue to influence those who appreciate soulful, expressive Hip-Hop.

Coming Soon: The Ecstatic by Mos Def

Set for release on the 9th June, Mos Def’s latest album The Ecstatic is sure to be a classic. Apparently it will feature the input of the late great producer J Dilla and old school legend Slick Rick! Here’s a promo to tide you over before Red Face can get a chance to review it.

Gig Review: Q-Tip

Now over 30 years old, the Hip-Hop genre is in serious danger of losing its charm. Nowadays, a Hip-Hop fan is nostalgic; looking back on the great albums of yore. A figure that will forever win such peoples’ hearts is Q-Tip. Whilst the outstanding five albums of 90’s band A Tribe Called Quest and his own solo work is enough to secure his place as a legend of the genre, he is first and foremost incessantly likable, charming and talented. Having not visited these shores for fourteen years, and with a stellar album released last November, the Abstract One had to deliver, and Saturday’s show at the Roundhouse proved to be a performance befitting our towering expectations.

From his smooth laidback vocals to his ever-calm interview demeanour, one would expect a funky and relaxed show. Yet from the opener onwards his infectious energy was a remarkable and joyous surprise. With the frenzied opener ‘Shaka’, Q-Tip relished the adoration of his love-starved crowd, and his tremendous vivacity didn’t once relinquish in his triumphant set.

For the Tribe fan, there was a wealth of favourites, from Midnight Marauders gems ‘Sucka N***a’ and ‘Electric Relaxation’ to The Low End Theory classic ‘Check the Rhime’. With the ATCQ reunion over and done with, these additions may provide little consolation for those who never had a chance to see the band live. However, as Q-Tip soldiered through his best work, rapping former co-member Phife’s verses as he did so, he at the very least reminded us of what Quest meant to rap music.

Naturally, much of the set was comprised of his most recent album The Renaissance, from the anti industry anthem ‘Dance on Glass’ to the jazzified ‘Gettin Up’, which shifted into a whirlwind of improvisation from his six man band. Tip seemed to relish every second, as his veteran status shone through. As he climbed the speaker set for a rousing rendition of ATCQ’s ‘Award Tour’, he had the adoring crowd in the palm of his hand.

Q-Tip’s musical range has always been what has set him apart from his contemporaries, and his most recent Neo-Soul experiments sparked some gorgeously intimate moments in the show. From the political yet danceable ‘We Fight/We Love’ to the sombre break up number ‘You’, Tip added another dimension to the show. With the latter, the crowd seemed almost transfixed, as Q-Tip sprawled across the stage pointing, singing and unifying his audience.

Epitomising the power and vibe of the show, the closer ‘Life is Better’, a song celebrating the rich history of Hip-Hop, saw Q-Tip dive into the crowd allowing all of the willing to sing the chorus. Whilst the fourteen year wait has provided that sense of occasion that is always synonymous with ‘classic’ shows, the fact remains that it was a master class in live Hip-Hop. Q-Tip was energetic, relentless and left the crowd aching for more; let’s just hope it won’t be another fourteen years.

Image courtesy of www.pinboardblog.com

March of the Zapotec/Holland by Beirut

When a mediocre band makes it big with a poppy debut, no one expects the hits to keep rolling. But when your success is moulded by sheer brilliance and talent, the pressure for a triumphant return is ever mounting. This is the stress that Zach Condon, the 23-year-old prodigy behind Balkans folk project Beirut, has had live with ever since the release of his critically acclaimed debut Gulag Orkestar. After the success of 2007 follow up The Flying Club Cup, this latest EP shows the Santa Fe sensation’s desire to distance himself from his past works, and change.

This double EP, represents the two developments in Condon’s style. The first half entitled ‘March of the Zapotec’, features the big brass, droning accordion melodies and charging drums that have characterised Condon’s style up to now, whilst the input of The Jimenez Band provides a fresh Mexican influence. However, other than the fierce opener ‘La Llorona’ or the beautifully brooding ‘On a Bayonet’, the first half is a rather lack lustre affair, as Condon’s affecting vocal, guides the listener through some simply dull arrangements.

With the second half, a collection of five electronic numbers under former pseudonym Real People, Condon comes into his own, crafting songs with the haunting beauty and depth that made his previous works so magical. Standout tracks include ‘My Night with the Prostitute From Marseille’ and the transcendent ‘Venice’ that combines Condon’s penchant for brass, with his new electronic aesthetic magnificently.

Whilst this new EP is an uncharacteristically patchy affair, it provides a wealth of emotion and a scintillating insight into Condon’s next musical direction.

The Fame by Lady Gaga

Dance music has always received a needlessly bad rep as a genre with nothing to say. Whilst a narcissistic approach is quick to alienate many, in a world obsessed with celebrity, beauty and sex, Dance makes as relevant a statement as any, even if it is one we don’t wish to hear. From the infectious opener ‘Just Dance’ to the subtle beauty of ‘Papparazzi’, Lady Gaga’s aptly named debut provides a revealing look into our self obsessed generation, yet it remains an album that’s more style than substance.

Not drifting too far from convention, every song has the synthesiser melodies, raunchy lyrics and programmed beats you’d expect, yet the integration of pop influences taints even the most promising tracks. Gaga cut her teeth as a songwriter for the Pussycat Dolls, and on tracks such as ‘Summerboy’ and ‘Boys Boys Boys’ she makes this far too apparent. Just as you feel the New York fashionista has crafted a powerful piece, it soon takes a nosedive into dull, sunny-eyed pop choruses.

However, whilst The Fame has by no means lived up to its hype, or the claims of its maker, it isn’t without it’s charm. The lyrics can be weak, the melodies are often uninspired, but it remains a bold and brash debut, that flaunts plenty of promise for a second instalment.