From The Smoking Section BY 10.05.14/
Somber cuts usually don’t mesh with the weekend slipping out of your grasp but I have to make an exception for this one. “Beginning Of The End,” produced by Tall Black Guy, matches his patented, bouncy drum, programming to The Black Opera’s ad libs and Georgia Anne Muldrow’s stirring vocals. The track’s got an eerie direction from jump what with the haunting samples and keys draped throughout. It’s tastefully done, though and should give a good hit of soul to anyone in need of it.
“Beginning Of The End” stands in as a single for The Great Year: The Black Opera’s new long play.Listen to the project in full below. The album is currently available for purchase on iTunes.
New 80’s Babies – Searching For Happy
The album will be out tomorrow the 28th July 2015, here’s a preview!
90z Baby – The Black Opera ft Magestik Legend, Jamall Bufford, Ro Spit & Scolla [Composed by Tall Black Guy]
As in the words of OKP: On the heels of their The Great Year LP, The Black Opera have jumped back for spring, unleashing the effortlessly cool and breezy new joint “90z Baby.” And while we’ve all probably had our exchanges with the subject at hand, tried & true spitters Ro Spit, Jamall Bufford and Magestik Legend do diligent work in mending the gap, perfectly dissecting the generational lag we all experience in our dealings with youngins’, and all over a chilled-to-perfection, jazz-touched production from the man, the myth, the Tall Black Guy. No, you can’t get this joint on any prior release. But that’s why we’re here, fam. Stream The Black Opera’s ode to the “90z Baby” below and jump back to peep their all-too-ill The Great Year LP, available to purchase on Bandcamp today.
Free event courtesy of Shinola Detroit x Spiritland, Sat 18th April 2015
Rob Smoughton is a multi-talented producer, DJ and record collector. From his work and travels with Hot Chip, Grovesnor and Black Peaches, he’s built up a remarkable collection of Country Rock and Americana on vinyl, which he’ll be playing highlights from on Saturday from 2pm.
Terrel Wallace, also known as Tall Black Guy, was raised on a steady mix of Motown, jazz and hiphop in his home town of Detroit. Now releasing music for Ubiquity and First Word Records amongst others, his forward-thinking hiphop and electronic soul is the perfect soundtrack to a Saturday afternoon in Soho.
Finally, London’s Dan Bean is a longtime friend and associate to the Detroit musical scene, promoting the Bleep 43 events with cutting-edge electronic guest artists. He’ll be playing a mix of music from his extensive vinyl collection, from jazz to deep soul, and Detroit electronica from J Dilla to DJ House Shoes.
1400 Rob Smoughton (Black Peaches/Hot Chip)
1600 Tall Black Guy (First Word/Ubiquity Records)
1800 Dan Bean (Bleep 43)
Thing Leaves The House – Record Store Day 2015 [Video]
Director / Editor: Ricky Kershaw
Director of Photography: Andrew Muir
Motion GFX / Grading / Sound Mix: Chris Matthews
Sound Recordist: David Adambery
Music by Tall Black Guy, Eric Lau, kidkanevil & Mr Thing
Thing Leaves The House Featuring: Mr Thing, Kidkanevil, Eric Lau and Tall Black Guy
A brand new double 7″ vinyl release from First Word Records will be out this “Record Store Day” and hopefully will be available at all your favourite diggin spots (check the listings at http://recordstoreday.co.uk). The 2nd in the series takes a new spin on the theme, with Mr Thing, Kidkanevil, Eric Lau and Tall Black Guy linking up to meet the challenge of flipping a personally picked record from Mr Thing’s collection. Mr Thing of course had to also go through the process himself (it’s only fair right?) but to even up the score, the producers decided to hand-pick a record from Love Vinyl record shop in London. The result is four tracks that truly capture the personalities of each producer. Check out the tunes below and make sure you pick up your copy when you go out this Record Store Day!
NYPD brings New York subway dancing to a standstill
Born in the mid-noughties, “litefeet” is a descendant of breaking, or b-boying, the dance culture that accompanied the early days of hip-hop in the Bronx in the 1970s. But where b-boys tended to keep to the streets, litefeet crews have taken their moves aboard New York’s subway trains – and, subsequently, run into the policing philosophy that has transformed the city over the past 15 to 20 years. “They’re trying to end something that’s beautiful, that’s positive,” laments dancer Goofy, founder of the respected W.A.F.F.L.E litefeet crew. “They’re trying to end an art.”
“They’re trying to end something that’s beautiful, that’s positive – they’re trying to end an art”
The NYPD’s line is that litefeet is very dangerous to the acrobats themselves, as well as the riding public – a view that resonates with those who believe that New York has metamorphosed from a world that was edgy-but-exciting to a safer place that feels distinctly sanitized. As singer James Murphy of LCD Soundsystem wrote in his 2007 hymn to the city, “New York, I Love You But You’re Bringing Me Down”:
New York, you’re safer –
And you’re wasting my time.
Our records all show
You were filthy but fine.
In the opening of debutant director Scott Carthy’s film – soundtracked by Yung Gutted, Czarquan, JJ DOOM, Badbadnotgood, Tall Black Guy and Darkside – we see dancers performing for each other, and the sheer invention and joie de vivre is infectious. But for all the camaraderie and the purity of litefeet’s grace and athleticism, when the setting moves to the interior of the moving train there is a distinct shift in atmosphere. Now their audience has not chosen to be there. Who hasn’t been a passenger in an underground carriage and felt the claustrophobia and tension when performers jump aboard asking for money? You only have to look at the differing reactions of the passengers in the film to see it – one man’s extraordinary horizontal pirouette on a handrail is another man’s nearly getting kicked in the head.
Perhaps it is in the moment where the train dancers cram into a bag the dollar bills they have collected that we see what has really caused police to outlaw their onboard routines. Goofy observes that the initial crews who took to subway trains to make money were soon joined by “people from their neighborhoods with criminal mindsets, looking to make a quick buck,” causing people to “bad-name the dancing community.” It is easy to see why the train dancers might have come to the attention of what Murphy, later in his song, calls, “the cops who were bored once they’d run out of crime.”
But the banning of dancers from trains will hardly mark the end of litefeet, nor the music that drives it on, nor the kids who want to take it to the next iteration. Goofy describes how litefeet dancers “saw the pole on the train as an opportunity.” No doubt the W.A.F.F.L.E crew and their fellow innovators already have the next opportunity in their sights.
Tom Horan is Culture Editor-at-Large at NOWNESS.
My track Love To The World was featured in this film.
The Black Opera Ft. Georgia Anne Muldrow – ‘Beginning Of The End’ (produced by Tall Black Guy)
Free download available off of the newest album by The Black Opera “The Great Year”