Oztradamus
Hold G's, Guns, and Grams...
That's my second GOAT 
Ghostface & BADBADNOTGOOD album Sour Soul out Feb. 24 (Album Discussion Thread)
- Thread starter Billy Ocean
- Start date
SOUR SOUL: THE MERGING OF JAZZ AND HIP-HOP
Collaborations among artists can result in new iterations that expand the scope of their music. They can also be a desperate grab for artists who are running out of steam. A few days ago, I was lucky enough to receive a sneak preview of the new collaboration between Toronto jazz/hip-hop trio BADBADNOTGOOD and Ghostface Killah, of Wu-Tang Clan fame. Without a doubt, this alliance was meant to be. When Sour Soul drops on February 24, you do not want to miss it.
BADBADNOTGOOD has been rising to prominence lately, melding hip-hop and instrumental jazz with excellence. Their albums hold up perfectly with only piano, bass, and drums, but their steady hip-hop beats seem perfect for the addition of a quality emcee. On Sour Soul, their responsibility was to provide a backdrop for Ghostface Killah, and no one will question that they stepped up to the challenge and delivered. Doing away with the usual solos that they use to give their tracks a melodic focus, they have provided a steady yet mobile stage on which Ghostface can really shine. Their beats are dark and sneaky, subtle and impactful. Their music builds and moulds itself to the lyrics in a way that sampling and looping simply cannot replicate. There is an intimacy, a sense of emotion, which is communicated through true instrumentals and makes Sour Soul stand out from an average hip-hop album.
For every gorgeous moment in the background, Ghostface Killah procides an equally excellent line. Matching the dark smoothness of the instrumentals, his rap continually evolves. Ghostface is sharp and poignant, with an attack that pushes the listener, and forces him to pay attention. His lyrics feel like a series of snapshots. He presents us with vivid images that serve to situate the audience in his world. He shows his struggle through the weariness of a track like “Tone’s Rap”, and reveals the perspective and lessons of that world in “Nuggets of Wisdom”. It isn’t only Ghostface Killah who brings lyrics to life on Sour Soul. He is complemented by the guest appearances of acclaimed artists such as MF Doom, Danny Brown, Elzhi, and Tree. Each one of these features brings diversity to the album, and each is a fitting addition to the record.
There is no doubt I will be keeping this album on steady listening rotation until I have fully appreciated it. Sour Soul has so much nuance that it cannot be fully understood in a mere handful of playthroughs. On February 24, make sure Sour Soul is in your stereo, you won’t be disappointed.
http://theindieblender.com/2015/02/11/sour-soul-the-merging-of-jazz-and-hip-hop/
Collaborations among artists can result in new iterations that expand the scope of their music. They can also be a desperate grab for artists who are running out of steam. A few days ago, I was lucky enough to receive a sneak preview of the new collaboration between Toronto jazz/hip-hop trio BADBADNOTGOOD and Ghostface Killah, of Wu-Tang Clan fame. Without a doubt, this alliance was meant to be. When Sour Soul drops on February 24, you do not want to miss it.
BADBADNOTGOOD has been rising to prominence lately, melding hip-hop and instrumental jazz with excellence. Their albums hold up perfectly with only piano, bass, and drums, but their steady hip-hop beats seem perfect for the addition of a quality emcee. On Sour Soul, their responsibility was to provide a backdrop for Ghostface Killah, and no one will question that they stepped up to the challenge and delivered. Doing away with the usual solos that they use to give their tracks a melodic focus, they have provided a steady yet mobile stage on which Ghostface can really shine. Their beats are dark and sneaky, subtle and impactful. Their music builds and moulds itself to the lyrics in a way that sampling and looping simply cannot replicate. There is an intimacy, a sense of emotion, which is communicated through true instrumentals and makes Sour Soul stand out from an average hip-hop album.
For every gorgeous moment in the background, Ghostface Killah procides an equally excellent line. Matching the dark smoothness of the instrumentals, his rap continually evolves. Ghostface is sharp and poignant, with an attack that pushes the listener, and forces him to pay attention. His lyrics feel like a series of snapshots. He presents us with vivid images that serve to situate the audience in his world. He shows his struggle through the weariness of a track like “Tone’s Rap”, and reveals the perspective and lessons of that world in “Nuggets of Wisdom”. It isn’t only Ghostface Killah who brings lyrics to life on Sour Soul. He is complemented by the guest appearances of acclaimed artists such as MF Doom, Danny Brown, Elzhi, and Tree. Each one of these features brings diversity to the album, and each is a fitting addition to the record.
There is no doubt I will be keeping this album on steady listening rotation until I have fully appreciated it. Sour Soul has so much nuance that it cannot be fully understood in a mere handful of playthroughs. On February 24, make sure Sour Soul is in your stereo, you won’t be disappointed.
http://theindieblender.com/2015/02/11/sour-soul-the-merging-of-jazz-and-hip-hop/
Bulletproof Wallets or Ghostdini?
Nvm on Bulletproof Wallets...I was thinking about Love Session and Never Be the Same.
I like Wizard Of Poetry...
It's either Ghost or Nas for best discography
ALBUM OF THE WEEK: BADBADNOTGOOD & GHOSTFACE KILLAH
With everybody involved sharp and on point, Sour Soul is a contemporary classic. Toronto's BADBADNOTGOOD continue to live the dream, banging out deep, soulful, jazz-infused hip-hop instrumentals like a young trio of pied pipers, drawing gifted MCs out of the woodwork.
As an aficionado of heavy-hearted soul and R&B, Ghostface Killah gets audibly giddy whenever he encounters the right beat, and that's pretty much all throughout this record. BBNG customize rich songs like Mind Playing Tricks On Me and the title track to Ghost's emotional, 1970s-leaning pulse. He sounds so plugged in and amped up, not even a scorching appearance by Danny Brown on Six Degrees or a charismatic turn by Doom on Ray Gun can diminish the shine on Pretty Toney.
Tremendous musical interludes like the haunting Stark's Reality will be a revelation to those following BBNG. Their intricacy and sophistication are mind-boggling. Genuine shades of Lalo Schifrin, RZA and DJ Shadow appear in the work, so it's no wonder Ghostface takes their shyt so seriously.
Top track: Gunshowers, featuring Elzhi
https://nowtoronto.com/music/album-reviews/badbadnotgood-sour-soul-ghostface-killah/
With everybody involved sharp and on point, Sour Soul is a contemporary classic. Toronto's BADBADNOTGOOD continue to live the dream, banging out deep, soulful, jazz-infused hip-hop instrumentals like a young trio of pied pipers, drawing gifted MCs out of the woodwork.
As an aficionado of heavy-hearted soul and R&B, Ghostface Killah gets audibly giddy whenever he encounters the right beat, and that's pretty much all throughout this record. BBNG customize rich songs like Mind Playing Tricks On Me and the title track to Ghost's emotional, 1970s-leaning pulse. He sounds so plugged in and amped up, not even a scorching appearance by Danny Brown on Six Degrees or a charismatic turn by Doom on Ray Gun can diminish the shine on Pretty Toney.
Tremendous musical interludes like the haunting Stark's Reality will be a revelation to those following BBNG. Their intricacy and sophistication are mind-boggling. Genuine shades of Lalo Schifrin, RZA and DJ Shadow appear in the work, so it's no wonder Ghostface takes their shyt so seriously.
Top track: Gunshowers, featuring Elzhi
https://nowtoronto.com/music/album-reviews/badbadnotgood-sour-soul-ghostface-killah/
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Frank Dukes, the producer behind this collab:
How did you, Ghostface, and BADBADNOTGOOD come together?:
In 2010/2011 I was doing a lot of beats for Ghost in general and I DJ’d for him on tour, so me and him had a really good working relationship. Fast forward maybe a year or two, I was having a conversation with his manager and he was talking to me about doing a full length project with Ghostface, and I think around that time I was getting more into recording live music. I had met this band ‘The Menahan Street Band’, and Thomas Brenneck who's the brainchild of the band and taught me about the process of recording music from scratch with bands and it changed my whole approach to music. Leading up to that I was really just sampling records and making beats all on my own. Something just clicked. I approached everyone about the record and everyone was down. I think we recorded all of the initial instrumentals in a five to six day period in New York at my friends studio. Then we continued to chip away at it over the next two-and-a-half years. A few verses here, a few verses there, doing the string arrangements and horn arrangements were the final touch, then mixing it.
It was definitely a long process, so much so that some of the original instrumentals we ended up cutting because, a lot of times you record in a time and place and it’s kind of like a snapshot of where you were at musically at that point and I think we just felt some of the stuff could’ve been done better. Two-and-a-half years later we deconstructed some of the songs and re-worked them for the better.
http://noisey.vice.com/en_ca/blog/frank-dukes-is-the-busiest-producer-you-know-nothing-about
How did you, Ghostface, and BADBADNOTGOOD come together?:
In 2010/2011 I was doing a lot of beats for Ghost in general and I DJ’d for him on tour, so me and him had a really good working relationship. Fast forward maybe a year or two, I was having a conversation with his manager and he was talking to me about doing a full length project with Ghostface, and I think around that time I was getting more into recording live music. I had met this band ‘The Menahan Street Band’, and Thomas Brenneck who's the brainchild of the band and taught me about the process of recording music from scratch with bands and it changed my whole approach to music. Leading up to that I was really just sampling records and making beats all on my own. Something just clicked. I approached everyone about the record and everyone was down. I think we recorded all of the initial instrumentals in a five to six day period in New York at my friends studio. Then we continued to chip away at it over the next two-and-a-half years. A few verses here, a few verses there, doing the string arrangements and horn arrangements were the final touch, then mixing it.
It was definitely a long process, so much so that some of the original instrumentals we ended up cutting because, a lot of times you record in a time and place and it’s kind of like a snapshot of where you were at musically at that point and I think we just felt some of the stuff could’ve been done better. Two-and-a-half years later we deconstructed some of the songs and re-worked them for the better.
http://noisey.vice.com/en_ca/blog/frank-dukes-is-the-busiest-producer-you-know-nothing-about
Piff Perkins
Veteran
I'm going on media blackout, won't listen to anything else.
Just preordered off iTunes. If we carry it at Best Buy first week I'll cop the physical too. Gotta support Tony Starks
3 Minute Audio Review:
Thatrogueassdiaz
We're on the blood path now
Hit me on Facebook and we'll talkYo whaaaatup, its been a minute huh. As you can see I don't check on here or FB very often, hence why I just saw that you quoted me. Plus when I do get on here or FB I don't even check my alerts (only saw your quote cuz I was checkin the thread for a leak) cuz its always a bunch of bullshyt.
Plus the fact that I slave away working graveyard shifts and shyt for 60+ hours a week and the fam I ain't even got time to think never mind talk to another human being.I gotta make some changes though cuz it ain't workin for me
so when I get some time I'll hit you up, I could use a thought-provoking conversation in my life.
Score: B-
Everything about the formula for Sour Soul screams instant classic. Toronto trio BADBADNOTGOODmade a name for themselves over the last couple of years via a retro fusion of jazz and instrumental hip-hop. Part of that notoriety came from whip-smart covers of tracks by the likes of Gucci Mane and Waka Flocka Flame, but also from imaginative, expressive originals — the keys/bass/drums trio acting as a younger generation of The Bad Plus, choosing their covers from the hip-hop and electronic canon rather than pop and rock. Pairing the Canadians with Ghostface Killah, a rap legend who excels over soulful, spacy throwback production, would seem to be beyond a no-brainer. And it is, mostly, but the album occasionally leans too far back into their vibe, fading into overly lax, even sleepy territory.
This isn’t the first time BADBADNOTGOOD have collaborated with a prominent hip-hop artist, so it’s not that they’re just not able to play well with others. They’ve got producer credits on tracks from Danny Brown’s Old and the soundtrack to The Man with the Iron Fists, and have also teamed with Tyler, the Creator and Earl Sweatshirt. Similarly, this drowsiness can’t be thrown entirely at Ghost, as he’s still the incredibly fun MC he’s always been, though typically in a blithe grin rather than a smirk.
At times, the fact that these tracks are being produced by live musicians slips away entirely. This isn’t inherently a bad thing; this album isn’t being sold as a gimmick (“It’s Ghostface, but with live music!”), but as a true collaboration. The fact that BADBADNOTGOOD aren’t jumping out in front of the MC to grab the spotlight isn’t surprising. But tracks like “Tone’s Rap” slouch in a way so unassuming that the identity and personality of the performers is all but absent. The keys on that track push past lush and while the rhythm finds pockets in which to flourish, it too often drops back into a lumbering step that negates the fact that they’re being made by live musicians. This is only complicated by the fact that a high proportion of the album runs at a similar laid-back, soulful pace, making it difficult to differentiate between Ghost’s verses.
When BADBADNOTGOOD change up their pace or alter their musical touchstones some, the formula spits out stronger results. The sublime “Gunshowers” takes on the smoky haze of a burning Western ghost town rather than a velvet-draped lounge, and Ghostface and guest Elzhi use that space to double up on their strong-jawed verses. While it might seem counter-intuitive, the emptier production makes the instrumental stand out more, each of Alexander Sowinski’s cymbal fills that much more impactful.
Similarly, the warm, upbeat “Ray Gun” recalls something off of Madvillainy, and that’s not just because DOOM shows up. Sowinski, keyboardist Matthew Tavares, and bassist Chester Hansen are clearly aware both of the material that crate-diggers like Madlib like to pull from and the context within which such a producer builds tracks for collaborative projects like this. Part of that likely has to do with producer Frank Dukes, who made the connection between the young Canadians and the Wu-Tang legend. Dukes, a recent Grammy winner thanks to his work on The Marshall Mathers LP 2, guided the sessions over a reported two-year process.
But the best of these tracks not only makes that two-year process invisible, they stretch into a timeless golden glow. When Ghost lets rip to start a verse with “Back in black, it’s your local superhero from the hood/ Iron Man Starks got the good/ Not that good good like Snoop/ I bullet-proof the coupe,” you know you’re in for some classic shyt. DOOM brings his A-game too: “Backpack the ammo/ Warriors said let your flags blow, camo/ These dudes is toys like Wham-O/ Damn though, chipped paint drivin’ on the gravel in the Lambo/ Blammo.” If Ghost and Metal Face ever get around to making that full-length, they could do a lot worse than more productions like this one.
Danny Brown and Tree turn in similarly and predictably strong appearances, but through and through, this is Ghostface’s record, something evidently clear to BADBADNOTGOOD as well, as their personality fades to the background when not providing support to Ghost. The instrumental interludes provide some flash (particularly the horn- and string-laden “Experience”), but long stretches of the album find these talented musicians acting as scaffolding — though impeccably designed and maintained scaffolding. Attempts at the rapper-live band album are risky, and while it has some qualifiers, this one has to be counted as a success. It’d be a wild success, though, if the instrumental half of this collaboration were to take a truly equal share of the spotlight.
Essential Tracks: “Ray Gun”, “Gunshowers”, and “Experience”
http://consequenceofsound.net/2015/02/album-review-badbadnotgood-ghostface-killah-sour-soul/
____________________________________________________________________________
Ghostface Killah (right) has been on a prolific run, both with Wu-Tang Clan and under his own steam. The rapper also has a fondness for collaborations, so it’s no surprise to see him hooking up with the adventurous Toronto jazz trip BadBadNotGood. What we get from this union between like-minded conspirators is an album that twists and turns with great intent and colour. BBNG have the musical muscle and fibre to cast more than mere jazz shades and shadows, thus lending Sour Soul width and depth, from cinematic signatures to more expansive soul-laced landscapes. Meanwhile, Ghostface and a gallery of cohorts (DOOM on Ray Gun, Danny Brown on Six Degrees, former Slum Village rhymer Elhzi on the excellent Gunshowers) demonstrate storytelling gumption and craftsmanship. More GoodGoodNot Bad than the name suggests. badbadnotgood.com
http://www.irishtimes.com/culture/m...tface-killah-sour-soul-album-review-1.2098351
Everything about the formula for Sour Soul screams instant classic. Toronto trio BADBADNOTGOODmade a name for themselves over the last couple of years via a retro fusion of jazz and instrumental hip-hop. Part of that notoriety came from whip-smart covers of tracks by the likes of Gucci Mane and Waka Flocka Flame, but also from imaginative, expressive originals — the keys/bass/drums trio acting as a younger generation of The Bad Plus, choosing their covers from the hip-hop and electronic canon rather than pop and rock. Pairing the Canadians with Ghostface Killah, a rap legend who excels over soulful, spacy throwback production, would seem to be beyond a no-brainer. And it is, mostly, but the album occasionally leans too far back into their vibe, fading into overly lax, even sleepy territory.
This isn’t the first time BADBADNOTGOOD have collaborated with a prominent hip-hop artist, so it’s not that they’re just not able to play well with others. They’ve got producer credits on tracks from Danny Brown’s Old and the soundtrack to The Man with the Iron Fists, and have also teamed with Tyler, the Creator and Earl Sweatshirt. Similarly, this drowsiness can’t be thrown entirely at Ghost, as he’s still the incredibly fun MC he’s always been, though typically in a blithe grin rather than a smirk.
At times, the fact that these tracks are being produced by live musicians slips away entirely. This isn’t inherently a bad thing; this album isn’t being sold as a gimmick (“It’s Ghostface, but with live music!”), but as a true collaboration. The fact that BADBADNOTGOOD aren’t jumping out in front of the MC to grab the spotlight isn’t surprising. But tracks like “Tone’s Rap” slouch in a way so unassuming that the identity and personality of the performers is all but absent. The keys on that track push past lush and while the rhythm finds pockets in which to flourish, it too often drops back into a lumbering step that negates the fact that they’re being made by live musicians. This is only complicated by the fact that a high proportion of the album runs at a similar laid-back, soulful pace, making it difficult to differentiate between Ghost’s verses.
When BADBADNOTGOOD change up their pace or alter their musical touchstones some, the formula spits out stronger results. The sublime “Gunshowers” takes on the smoky haze of a burning Western ghost town rather than a velvet-draped lounge, and Ghostface and guest Elzhi use that space to double up on their strong-jawed verses. While it might seem counter-intuitive, the emptier production makes the instrumental stand out more, each of Alexander Sowinski’s cymbal fills that much more impactful.
Similarly, the warm, upbeat “Ray Gun” recalls something off of Madvillainy, and that’s not just because DOOM shows up. Sowinski, keyboardist Matthew Tavares, and bassist Chester Hansen are clearly aware both of the material that crate-diggers like Madlib like to pull from and the context within which such a producer builds tracks for collaborative projects like this. Part of that likely has to do with producer Frank Dukes, who made the connection between the young Canadians and the Wu-Tang legend. Dukes, a recent Grammy winner thanks to his work on The Marshall Mathers LP 2, guided the sessions over a reported two-year process.
But the best of these tracks not only makes that two-year process invisible, they stretch into a timeless golden glow. When Ghost lets rip to start a verse with “Back in black, it’s your local superhero from the hood/ Iron Man Starks got the good/ Not that good good like Snoop/ I bullet-proof the coupe,” you know you’re in for some classic shyt. DOOM brings his A-game too: “Backpack the ammo/ Warriors said let your flags blow, camo/ These dudes is toys like Wham-O/ Damn though, chipped paint drivin’ on the gravel in the Lambo/ Blammo.” If Ghost and Metal Face ever get around to making that full-length, they could do a lot worse than more productions like this one.
Danny Brown and Tree turn in similarly and predictably strong appearances, but through and through, this is Ghostface’s record, something evidently clear to BADBADNOTGOOD as well, as their personality fades to the background when not providing support to Ghost. The instrumental interludes provide some flash (particularly the horn- and string-laden “Experience”), but long stretches of the album find these talented musicians acting as scaffolding — though impeccably designed and maintained scaffolding. Attempts at the rapper-live band album are risky, and while it has some qualifiers, this one has to be counted as a success. It’d be a wild success, though, if the instrumental half of this collaboration were to take a truly equal share of the spotlight.
Essential Tracks: “Ray Gun”, “Gunshowers”, and “Experience”
http://consequenceofsound.net/2015/02/album-review-badbadnotgood-ghostface-killah-sour-soul/
____________________________________________________________________________
Ghostface Killah (right) has been on a prolific run, both with Wu-Tang Clan and under his own steam. The rapper also has a fondness for collaborations, so it’s no surprise to see him hooking up with the adventurous Toronto jazz trip BadBadNotGood. What we get from this union between like-minded conspirators is an album that twists and turns with great intent and colour. BBNG have the musical muscle and fibre to cast more than mere jazz shades and shadows, thus lending Sour Soul width and depth, from cinematic signatures to more expansive soul-laced landscapes. Meanwhile, Ghostface and a gallery of cohorts (DOOM on Ray Gun, Danny Brown on Six Degrees, former Slum Village rhymer Elhzi on the excellent Gunshowers) demonstrate storytelling gumption and craftsmanship. More GoodGoodNot Bad than the name suggests. badbadnotgood.com
http://www.irishtimes.com/culture/m...tface-killah-sour-soul-album-review-1.2098351
Album Snips:
http://www.junodownload.com/products/ghostface-killah-badbadnotgood-sour-soul/2707274-02/
You can basically play the whole album if you work it right
Word to @ineedsleep212 and @TezMilli
http://www.junodownload.com/products/ghostface-killah-badbadnotgood-sour-soul/2707274-02/
You can basically play the whole album if you work it right
Word to @ineedsleep212 and @TezMilli
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Listening now...this sounds really good
Street Knowledge 