The Bruno Mars Dilemma: To Whom Much is Given

 Photo: Bruno Mars’ Instagram Account  

Photo: Bruno Mars’ Instagram Account  

When Bruno Mars paid tribute to Prince at the 59th annual Grammy Awards, I went into a slight Twitter frenzy.  I was shocked by his execution, as he seemed poised, and confident, but not over confident.  He sang well, danced when necessary, and made the guitar scream when called to. And, given the relatively short list of artists that can sing, dance, and play the guitar (well), selecting Bruno for the tribute made sense. Though it’s almost impossible (pretty sure it’s impossible) to fully capture Prince’s artistry and skill in a live performance, Bruno did a relatively good job considering the task at hand. 

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Late last week, Bruno Mars released a remix for his song Finesse featuring Cardi B. The video for Finesse features Bruno Mars and Cardi B as honorary characters in the 90’s sitcom, In Living Color.  By all merits, Finesse is a lively an interpretation of New Jack Swing, pioneered by Jimmy Jam and Terry Lewis, producer and keyboardist, Teddy Riley. In the mid-1980’s, New Jack Swing merged the infectious groves of dance music, the charisma of Hip-Hop, and the sex appeal of R&B.  It was fresh and vibrant. Sonically, New Jack Swing incorporated the Roland TR-808 drum machine with powerful synthesizers. Known for its emphatic drum hits and intricate instrumental compositions, New Jack Swing was perfect for live performances and dancers, especially.  New Jack Swing aided dancers, as leg kicks, arm flails, and dance routines were synchronized with the music and flashing lights. Much like the music of the late 80’s and early 90’s, Mars’ Finesse captures the sound of that era.  Mars’ penchant for older music, not just New Jack Swing, is almost embedded in his bloodline.

Growing up in Hawaii, Mars was born into a musical family, and a family of entertainers. His mother was a singer and hula dancer. Mars’ father was a singer and multi-instrumentalist.  Plus, six siblings, and other family members, Mars’ family was comprised of entertainers whom ranged from Elvis impersonators to cover band musicians.  When Mars was four, he joined the family business – a Las Vegas styled revue, performing Motown, and Top 40 songs, at corporate events, weddings and birthday parties.

When hired as a musician for corporate events...you are expected to play the music exactly as it’s heard on the recording...

When hired as a musician for corporate events, like Mars’ family, you are expected to play the hits, to play the music exactly as it’s heard on the recording. As a cover band, you aren’t expected to show your knowledge of music theory, chord substitutions, improvisation, altered scales, or anything along those lines. If anything, those things are discouraged.  Again, people want to hear the music exactly like it was recorded. People want to dance, and not be bogged down by music in odd time signatures, and fancy-pants chord alterations.

Without question, Bruno Mars is one of today’s most talented artists.  He can dance, sing, play multiple instruments, and perform.  He’s charismatic and good-looking, too.  His band, The Hooligans, is one of the finest collections of musicians. They’re ability to sing, dance, and yet retain proficiency on their instrument is impressive, to say the least. Undoubtedly, he’s a superstar. But, there’s something missing.  For all the talent he has, it seems as if he’s selling himself short.

...the question one has to raise is: what has Bruno Mars added to the tradition of Jimmy Jam and Terry Lewis, Teddy Riley, Zapp, Bobby Brown and others?

Mars’ latest album, 24K Magic is more of a cover/tribute album than anything else.  It’s quality music, on some level. But, the question one has to raise is: what has Bruno Mars added to the tradition of Jimmy Jam and Terry Lewis, Teddy Riley, Zapp, Bobby Brown and others? As it stands, there’s very little he has added, if anything. But, this is where Mars’ upbringing becomes a useful context – he’s a trained (and skilled) entertainer, not an innovator in the way the artists he has idolized are.  Ultimately, Mars’ lack of innovation may be the thing that keeps him out of legendary status.  The artists we remember are the artists that innovate, not those that simply recreate what already was.

So, given Bruno Mars’ skill should we – as fans and listeners – require more of him?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

That Time I Stood In Line for Three Hours to Meet SZA

 
 

 By Stanley Collins

Most music fans have had at least one experience where they did something a little crazy for an artist they like. Spend excess amounts of money (that we don’t really have), miss work (a clear contradiction with the first point), travel across state lines to see someone, and so on. For me, one of my moments was yesterday when I went to the meet and greet to see SZA.

Following the release of her debut album, CTRL, R&B singer, SZA stopped by Hollywood’s Urban Outfitters for a meet and greet + album signing with fans. The ticket for admission was buying a CD (even though I don’t have CD player, it’s a good keepsake. Plus, she can’t sign my Apple Music account). The event ran from 3 PM – 9 PM. En route to the event, I saw a tweet from her account, and it didn’t look like there were too many people there, so I’m thinking “great, this’ll be an in-n-out kind of thing.” Wrong. Really wrong.  After buying the CD (around 5 PM), the event coordinators pointed where the line began. And that’s when it set in – this is going to take a while. Like, a long while.   

Standing in line isn’t exactly fun, but me, Jode (girlfriend of the blog), and Taigen (friend of the blog) made the most of our wait. Every now and then you’d hear whispers of people saying “she’s taking a break.” These are the times when the line didn’t move at all.  About an hour and a half in – it starts to hit you (and your back) – that you’ve been standing in line for a little while. Plus, there’s this California sun beaming down on your head, which is draining all of the life and energy out of you. At about two hours you start the questions, asking yourself “is this really worth it?” and rationalize with yourself (well, I did get a CD *shrug emoji). But, then around the 2-and-a-half-hour mark, and closer to the building, you can see SZA standing inside greeting fans. FULL BLOWN FAN BOY MODE sets in.

Now – I’m not going to lie, or exacerbate the truth – I’m not the biggest SZA fan, at least in comparison to some of the other people in line.  I liked the album (a lot), but I’ve had my doubts about her as an artist. But, listen, when I saw SZA through that window? I lost my cool lol. Not to mention, TDE executive, Punch, and TDE label-mate Isiah Rashad (really tripping now). Finally near the entrance, the security guard directs traffic into a small line. And now the moment, the three-hour wait, and there’s SZA in front of me. One of her team members takes the phone for the picture she signs the album. And, she’s giving everyone hugs? I mean, she’s been there for hours (like 6 hours, standing), and she’s still smiling, smelling like Bed, Bath, and BEYOND, having conversations with everyone. Exhibiting the type of grace and kindness you’d want someone to show, but it’s not always guaranteed. In sum, meeting SZA was well worth the wait.  

From Baltimore to Philly, With Love: A Conversation with Lee Mo

Photo Courtesy of: @pascale.lourdes

On a surprisingly warm day in January, in North Philly, Lee Mo is fresh off of a two-month long tour in Europe that took her to Germany, Austria, Slovakia, and Switzerland. Born in Baltimore, Lee Mo moved to Philadelphia to study music at Temple’s Boyer College of Music concentrating on Jazz vocal performance. Since moving to Philly, Lee Mo has taken the city by storm becoming a highly sought after vocalist.  Though Lee Mo’s technical skills were developed in college, she attributes her passion and zeal for music to her upbringing in church.  Over lunch, not far from where Lee Mo honed her skills as a musician, we discussed the lasting impression growing up in church has had on her, some of the highs and lows of writing music, and being mentored by Anita Baker. Here’s our conversation:

Who is Lee Mo?

I’m a musician. I’ve been surrounded by music my entire life. I feel like it’s a part of me, and I’m a part of it. My brand is just feel good music. I also want to send a deeper message about love, about – just sharing the struggle that we feel as black people, I want to make people feel good, and just sing about what people can relate to, about what people may not know how to express for themselves. That’s what I’m about. I feel proud to be a part of such a rich history of music – whether I’m singing jazz; or gospel; or soul, I want that to show.

I know you’re originally from Baltimore, but I’m interested in learning more about your personal story and upbringing. What made you want to pursue music?

Yeah, I grew up in Baltimore, in a religious household. We were always in church, we always listened to gospel records, and even as a child I could feel emotionally connected to the music. I connected with the chords, with the singers that I listened to: Kim Burrell, Yolanda Adams, Karen Clark-Sheard, Darryl Coley, and I imitated them. Eventually, I realized that this [singing] is something that I’m good at. Then in High School, when I was a part of the choir, and that really pushed me out there to do solos and develop my own sense of musicality.  

I was adopted and raised in a foster home; I didn’t know my biological parents. As a kid, I was surrounded by a lot of other kids who were also foster kids. My foster mother, my mom, she had kids of her own that were grown. She was raising all of these kids that came from different backgrounds, but we all have something in common – we’re all in this system now; for whatever reason, our parents couldn’t take care of us. So, having that background, that curiosity of…well, that person could be my parent, or that person could be my sister, that curiosity kind of fueled my creativity, and makes my approach to music different.

I feel proud to be a part of such a rich history of music – whether I’m singing jazz; or gospel; or soul, I want that to show.

I’ve heard some artists talk about how their childhood, specifically difficult times, informed their creativity, allowing them to create a world through music. Is that something that happened for you?

Oh, yeah! I didn’t even consciously think of it that way, but that space in my head; that wonder poured out into my music and my art in general. Whether it was through drawing, painting, or instruments I always looked for ways to be creative.

So, you have these experiences in church and at home that are fueling your creativity. Do you remember when you wrote your first song?

Photo Courtesy of: @Maximilianimages 

[Laughs] I don’t remember exactly, but I was young, about 9 or 10. It was a Gospel song. So, my siblings and I used to play church on Sunday’s before going to church – my brother would be the Pastor, I was the choir director, and I would sing the sermonic selection. My other brother played the drums. I wrote this song for the church choir called “I Just Want To Praise the Lord.” We used to sing it every week – it was the only song the choir sung [laughs]. And when I wrote it, I was actually making fun of an organist that played at this church we used to go to, and she had this style of playing that I thought was hilarious. No matter which song was playing, she always had that same rhythm, so when I wrote my first song I basically mimicked that.

Do you see any similarities between Baltimore and Philly?

Yeah, I feel like Baltimore and Philly are similar in a lot of ways.  When I first came to Philly, Broad Street reminded me of street in Baltimore called North Avenue, it felt like home. The transition wasn’t hard for me at all. Musically, for me, I think being around musicians growing up, understanding the language of music, allowed for me to be embraced by the music community here. The musicality that’s here in Philly makes me feel like I’m at home.

What was the inspiration behind your single One Last Chance?

So, I started writing One Last Chance a little over a year ago with a pianist named Eric Wortham. At first I only had a verse and a hook, initially, but we came up with the concept together for the most part. When I was going to Temple, I would go to the tech center and lay down tracks. They also had a recording booth in there that I used. I had sampled a James Brown beat, Funky Drummer. I had played a chord progression over the beat, but I didn’t know what I wanted to do with it, so we eventually ended up going a different route. The concept was really [laughs] the lyrics get right to it. What I like about it is – in terms of relationships – is that you can be almost fed up with somebody, but also need a reminder of what we have; don’t let this go. That’s what I talk about in the second verse “don’t you believe that what we have is good/how come you don’t treat me like you should/cant you see this love is real/then let’s go back to how love should feel. So, it’s not just a “oh you treat me bad!” It’s also about restoring something; this is your opportunity, and then I’m gone [laughs].

Your music’s really poetic. Particularly in your song Don’t Have A Reason, you have this line where you say, “Torn between my heart, torn between my mind, cant see clear ‘cause my love is blind?” I’m no writer, but I appreciate good writing/lyrics…

I don’t really consider myself a writer...

Really?

I mean, I do…because, technically. Okay. There are people that can write a song everyday. If I try, I can push something out, but I’m not a machine. Not to say that being a songwriter means you’re a machine. I don’t hold myself there to that level just yet. I feel like I’m just learning how to write songs.

With that said. Would you consider yourself as a person that needs to "live life," then write?

Yeah, I like to write from a real place. I don’t like feeling pressured to write. For me, if the inspiration is not there, I leave it alone. It’s not necessarily where I need to live life. If there’s nothing that comes organically or naturally, then I just don’t mess with it until that time comes. For example, with Don’t Have A Reason, Harry and Mario already had the music completed from beginning to end, I heard it, and knew that it had something special. It’s so cliché [laughs], but the story, the music, almost spoke to me. Like, I could hear “this what’s supposed to be said.” For some instances the song comes quicker, other times I just like to leave it alone. But when you’re an artist, there’s pressure on you to finish a complete project, people asking, “when is the album coming out,” and it’s just like, “YO!” [laughs].

I want to change gears a bit. So, I’m on Twitter one day, and I noticed that you and Anita Baker are, like, friends? How’d this happen?

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OMG! [Laughs]. So, I was in a rehearsal for a gig I was doing for RecPhilly. But I was doing a cover of Anita Baker’s Angel. I just recorded myself singing a piece of it, and I tweeted her. In the past I might’ve tweeted Anita Baker, probably. But she didn’t show me no love [laughs]. For whatever reason, she responded to the clip saying “Thank you, young one, this made me smile” or something like that. And then, I like almost died. Then she followed me back. Now, she’s reading my tweets all the time.

When my song, Don’t Have A Reason Came Out, I tweeted her the song, and said, “Hey, I just put out my first single, would you mind taking a listen to it?” But I didn’t attach the song to it, because I know how artists can be – people are constantly tweeting them “listen to my song!” and I didn’t want to be that person. Next thing she responds giving a full review of the song! She sought out the song. And you can tell she really listened to it – she said things like, “this sounds like a live session, the vamp at the end brings it home, etc.” That meant so much to me.

She’s [Anita Baker] become like a mentor to you?

Yeah, and actually, I remember there was a DJ from the UK, and they had my song on the UK Soul Charts, or something like that. At first I was in the top ten, then I fell in the charts the next week. So, I retweet him saying, “I’m still up there!” So, she sees my tweet and responds, Don’t worry about the charts, it’s about the love of the music. I’ve never had a number one album in my life.

People will come and try to give you their validation, but whether it’s good or bad, I don’t want you to get caught up in it.

Wait, really?

Right! And she went on to say, “people will come and try to give you their validation, but whether it’s good or bad, I don’t want you to get caught up in it.” And you know, sometimes we get caught up in that stuff – sometimes the charts are a reflection of the quality, sometimes it’s not. So, I’m just glad she took the time to do that for me. I’m hoping I can meet her in person one day.

 

You can follow Lee Mo on Instagram and Twitter@Musica_LeeMo

 

Cameo Adele: "If You Love Yourself, You Can Free Yourself, and You Can Be YourselF"

 

Photo taken by: @TheDonzor

Raised in Southern California, Cameo Adele has been honing her skills as a vocalist and songwriter for years. Last month the singer-songwriter, released her debut album, To You From and Venusan exploration of jazz, liberation, funk, and spirituality. Following the release of her debut album, I had a conversation with Cameo about her influences, women's liberation, spirituality, and more. Here's our conversation:

Thanks for taking out the time to talk about your album! So, how'd you get into making music?

No problem, thanks for having me! Both of my parents are singers and my Dad plays the bass too; he was a part of a few bands that had some success during the 80s. Growing up, my mom was my vocal coach. I started writing songs around 12, and started getting serious about making music around 14. I recorded a few originals at the time but nothing I was super proud of. Around 18, I joined a collective of artists out in the Valley where I was staying at the time called First Class. I eventually ended up leaving them and moving to Anaheim where I joined a collective of artists called Deadwest. Being in both of those collectives, with this desire, love, and passion for music, helped me gain the necessary confidence in myself to really pursue my own sound. 

The production and overall sound on the album are great! Who are some of the producers/musicians you worked with? 

Thanks so much! For the most part I exclusively work with my producer Ujah. Ujah's a musician, vocalist and producer. I also worked with Andrew David V. They're collectively known as VXV. I was able to get their shared talents on a few songs such as Sensation, Sonica Sonata, and the B&H interlude. A producer named Oso was kind enough to lend us his beat for Never which Ujah just added a few dynamics and guitar too. Other than that, Ujah is to credit for the overall sound of the album. Thanks to his musicianship and connections, we were able to get other musicians on the songs as well to bring in that authentic sound. We had Scotr Dagg on trumpet, Stephen Wood on saxophone, Daniel Kristoff on piano, and Trevor Torres on violin.

I'm interested in learning more about you and your team's  creative process. Do y'all typically start with music, a chord progression/beat, then write lyrics? Or, is it a fluid process? 

We have a pretty scattered process actually (laughs). It's ironic because a lot of other local producers are so impressed with our process, but it's not all that glamorous or fluid or well organized. Sometimes I'll start a song a capellaand I'll send it to Ujah via voice memo - a super minimal recording. If he likes it, he'll either immediately start creating to it, or he'll wait 'til I come by and he'll figure out the chord progression on his guitar and build from there.  Sometimes we build together from the ground up, especially when I'm working with VXV. They'll begin building the beat, then I'll start to write, and when I'm stuck Ujah can help me with melodies being a vocalist or even lyrics sometimes. Andrew also chimes in with lyrics when we work together, so it's a full team effort. As we're creating, Ujah will think of what the song we're creating kinda feels like and we'll reference it for inspiration. There's usually a few songs being referenced every time we work. And keep in mind we are very paced workers, the final sound of a song is so far from the original draft a lot of the time. So there's A LOT of revising that goes on. 

What was the motivation behind starting Run with a tribal chant? What's it saying?   

The beginning of Run is chanting "Ose Baba." It's a Nigerian praise that means "Thank you God" or "Thank you Father." The song itself is about measuring up to God. Ujah is Nigerian, but spent time growing up in the States. I'm always begging him to share more Nigerian culture with me and to incorporate it into the music, 'cause I definitely think it's something that makes him original that intrigues interest. When we were creating Run, it had a very natural tribal feel to me so I just started to hound him like "we gotta make it more tribal, let's make it sound like Nigeria" (laughs). He found a sample of a man chanting Ose Baba, and we originally had that but I kept hounding Ujah to do it himself so it was authentic and luckily our creative team backed me up on that so what you hear is Ujah himself in all his Nigerian glory (laughs).

I'd like for my music to help others feel less alienated and alone.

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The idea of a strong, liberated woman of color accompanied by the planet Venus was the original blue print idea for the cover. But, the artist, Brandy Turner (@b.loved_ on instagram) brought that idea to a whole 'nother level. Her art already featured beautiful, liberated woman of color so she was a perfect fit to bring my loose idea to life.

I'm also completely enamored by human behavior, astrology, and spirituality. Much of the album, artwork, the title, and the story the album tells, all intertwine with the energy I've been given in this lifetime. I'm a Taurus, which means I am ruled by the planet/the goddess of love Venus, thus the title To You From Venus. Taurus is exalted in (secondary influence) the moon which carries the energy of emotion. The cover of the woman dripping over the moon can be interpreted as a woman submitting herself to that emotion, which coincides with the story and message of the album, the Aries constellation can also be found in the top right of the cover. Aries being my cusp thus another energy I emit into the universe that shapes my experience.

As a writer, what's something you want listeners to walk with? 

To You From Venus is organized in the sequence of a love story. I mostly want to convey how self discovery and love can force you to look inward. I want listeners to be able to find themselves somewhere in that process. I want listeners to realize how much growth is still left for them as they progress through the sequence of emotions. Ultimately, I'd like for my music to help others feel less alienated and alone.

You can follow Cameo Adele on Instagram and Twitter @Cameeohh

The Breakdown: All Cows Don't Eat Grass

During the summer of 2014 I moved to Oklahoma for graduate school.  Moving isn’t an easy thing to do, and moving to Oklahoma from Philadelphia was especially challenging. To say that I was the victim of a cultural shock would be an understatement. I remember the summer before moving vividly. Family and friends would ask what my next move was, and I would tell them that I’d be moving to Oklahoma for graduate school. Immediately after telling people that I’d be moving to Oklahoma they’d typically start singing Oklahoma! (sigh) from the Broadway musical.  But I can’t blame them. Like many people from the east coast, I had my perceptions of Oklahoma, too, but hearing family and friends offer their interpretation of the song certainly didn’t help ease my worries of the coming cultural shock. 

For students attending school away from home (in my case 1,200 miles away from home), there’s the added adjustment of adapting socially and culturally to a new place, not to mention the workload; so to maintain some level of sanity, I needed a musical outlet. But where would my outlet be? How would I be musically fed? Like many of the people that would offer me their rendition of Oklahoma! when I told them I was moving to Oklahoma, I [ignorantly] only thought of Oklahoma as a place for Country music. But, after spending two years in Oklahoma, I’ve come to know some phenomenal musicians and artists all along the musical spectrum, one of them being Adam Ledbetter, a pianist, producer, rapper, composer, and member of Adam and Kizzie – a collaborative group with his wife. I caught up with Adam to hear his thoughts as someone raised in Oklahoma, a musician, and artist. Here’s our conversation:

STANLEY: Thanks for taking out the time to answer some questions about music in Oklahoma City! How would you describe the [Black] music scene in Oklahoma?

 ADAM: I would describe the [Black] Oklahoma City music scene as dysfunctional. Lol. Not my typical response because I love my city and the scene here but I feel like I should be totally candid. The artists themselves are very supportive of one another and I really believe that is what is sustaining the black music scene in Oklahoma. We can't lean on our fans because they are skeptical. We can't lean on professional colleagues (agents, managers, talent buyers, venue owners etc) because they simply don't exist, we can't lean on the radio stations because they have different interests but we lean on each other. I think that’s special because we believe in us if nobody else does. Oklahoma City in general has always suffered from an inferiority complex. We're too small and too close to Texas for our own good. The fans are reserving judgment until they see us get big enough to get props from everywhere else, the venues don't profit so they just bring in party and cover bands and we're left to remind each other "Hey, that's killer even if nobody else gets it." Jabee is a good example. His hard work is beginning to pay off but he's doing what he's always done: grind and put out albums like nobody's business. He did that despite OKC. OKC did not always have his back until he got an Emmy... Welcome to OKC. I dream of the day when OKC takes enough pride in itself to not need outside validation. There was a venue called Urban Roots that was the hub for black artists until it closed in May 2015. The owner, Chaya believed in the artists so she made her resources available to them. She gave us free access. We still had to put everything else together but what I witnessed over time was a chain reaction. The fans became more involved they became less skeptical. All of our shows went up in attendance. More artists were producing new music. People were participating. None of this happened because all of a sudden we got awesome. It was all because one venue owner said "I believe in you all". Other artists started making OKC a regular stop on their tours. It was magical and unfortunately aggressive gentrification pushed Urban Roots out of business. We're hitting the roads hard, game planning and hoping one day we can find a new nest to lay some eggs in. So yeah, dysfunctional - hopeful, but dysfunctional.

"I dream of the day when OKC takes enough pride in itself to not need outside validation."

STANLEY: You brought up a lot of interesting points, but I just wanted to highlight a few points that you made.

Urban Roots: When I first moved to Oklahoma and started exploring OKC musically, Urban Roots was the place I gravitated toward. It reminded me of my hometown, Philadelphia, but it had a fresh feel to it, largely because I wasn't expecting to find that type of venue in OKC. You know, you hear so much about Oklahoma, the music there, the culture, etc. so I think, more than anything, Urban Roots just caught me off guard.

Gentrification: It's ironic that you mentioned the aggressive gentrification that played a key role in the demise of Urban Roots, because the first time I visited Urban Roots I noticed the heavy construction and development being done in the area, as well as the neighborhood demographic, the style of housing (lofts, brownstones, etc.), and I couldn't help but wonder how this would play out for a black owned business. So, I leave Urban Roots after my 1st visit, I go home and look up the history of the Deep Deuce, the area where Urban Roots was located, and come to find out that the area was historically black, and at one point the epicenter of black culture/music during the 1940's and 1950's, only to be throttled by the highway development of I-35; a sad, but all too common trend for many inner city, Black communities around the United States. Seems as if the elimination of Black spaces has been an ongoing project for 70+ years.

While the loss of Urban Roots may have hurt the music community somewhat, I think Bistro 46 and Ordinary People Lounge has played a nice role in filling the gap and offering a space for artists and musicians to grow.

STANLEY: Who are some artists from OKC/OK that you think we should be on the lookout for?

ADAM: The artists to look out for in OKC are Adam & Kizzie (shameless plug), Jabee, Cooki Turner, Sean C. Johnson, J. Lee The Producer, Kadence, and Tony Foster Jr. Band. That's my bread and butter right there.

STANLEY: I'm familiar with most of the artists you mentioned. Y'all are the first group/people I mention when I talk about OKC's black music scene. I love y'all's music so much, seriously

 STANLEY: If you could change one thing (or more than one thing) about OKC/OK's music scene, what would you change?

ADAM: If I could change simply one thing about OKC's music scene I would reopen Urban Roots! No brainer. It is the most significant of several missing puzzle pieces. It serves the artists by giving them space and it serves the people by making it easy to find where the art is taking place. There has never been more cooperation, camaraderie, diversity and ambition in this music scene in my lifetime than when Urban Roots was open. Worth noting, that Urban Roots developed over time as well. It was serving a need that many people in OKC didn't immediately know existed once they caught on though, it was magic. Beyond that I would convince the fans how important they are. I'd make them believers.

"I would convince the fans how important they are. I'd make them believers." 

STANLEY: Wow - that's profound: "...I would convince the fans how important they are" You've put a good bit of emphasis the role of fans in the creation, and success, of the music scene in Oklahoma City, as opposed saying there's a "talent gap" on the end of the artists.

Often times, it seems like we (fans) put a lot of emphasis on making the ARTIST feel like they're important, but you're saying the opposite, which I think is a valid point. But from my time in Oklahoma I learned a lot about the so called "hidden", and in some sense, undervalued talent in Oklahoma City. OKC has a lot to offer musically!

ADAM: No question bro! OKC has a ton to offer musically. What we don't have that a lot of the healthier scenes I visit have is a sense of ownership among the fans. In OKC they're taking all of their cues from the artists which doesn't work. There has to be give and take but here the artists give and receive nothing in return. If you look at every major musical movement in America's history you'll find a lot of drugs. I believe the reason for this is because the artists, by pushing boundaries end up requiring more from fans than they are willing to give and in order to continue to give without receiving self-medication becomes necessary. This is just one angle to the issue, but I believe this pattern exists! In OKC, among the artists I've mentioned, drugs aren't a part of the culture which is another thing I believe that makes it special. That said, the fans here don't understand that they can place any value on their local music scene that they want. They can demand excellence, and get it. They can demand individuality, and get it. Sadly OKC suffers from an inferiority complex (always trying to compete with Texas) and there's a deep insecurity that prevents fans from recognizing and championing the things that do make Oklahoma special. When I go to Richmond the venues are full of gatekeepers. Same thing in Austin, Chicago, Asheville, Atlanta etc. Those people make it their business to enjoy their local music in a serious way. Here everyone just laments that we don't have what those other places do, but if the fans showed up and became gatekeepers the venues that keep closing wouldn't and if those venues didn't close, the artists wouldn't move, and if the artists didn't move the standard would go higher and higher, and then people would move here.

All photos come courtesy Tori Beechum. You can find more of her work on her website beech-photography.com or on Instagram (@tbeech32)

Stuck On An Island Series: Tyra (@TheTyraTales)

Tyra (@TheTyraTales)

Funny enough, I have vivid memories of taking my mother’s hard copy of this album to show my 5th grade friends. Before the very messy and very public demise of his marriage to Paula Patton, Robin Thicke possessed a crazy amount of talent (and most likely still does but that’s neither here nor there). This appeal of this album, in my opinion, is how smooth it is. From “Got 2 Be Down” featuring Faith Evans to “Angels,” Thicke has an extremely soulful voice and tons of range that carries over just about any tempo. As I am not in fifth grade any more, I truly appreciate this album for the variety of emotions conveed in each song. “Cocaine” is literally about what you think it is, “Teach U A Lesson is about a sexy classroom fantasy, “Would That Make U Love” pleads about what makes love possible, and “Superman” details love’s heights. The Evolution is just that; it chronicles highs and lows and in-betweens in a really catchy, funky way.

This is another album that immediately takes me back to my childhood. I recall my parents playing it over and over during car trips and even more so through the house. I even took my parents’ copy to play over and over on the handheld CD player (remember those?) that my Dad gave me. Of course everyone knows “Revolution” (woop! woop!) but I also love “You Are” and “Hold Me Now” even more as I’ve grown in my relationship with God. What makes this album unique to me are the little skits about stereotypical church people that are painfully accurate, like “Interlude: The Verdict” and “Interlude: The Car (Stomp).” The older I get, I realize how many songs Kirk Franklin has taken and made appropriate for gospel, or even just revamped with a twist. “Gonna Be a Lovely Day,” a revamp of the Bill Withers song “Lovely Day,” uses some of the same lyrics but gives it an extra twang.

 

One of one of Stevie’s more underrated albums, Journey is the soundtrack to a 1979 documentary that used time-lapse photography to share how plants come to be. Stevie Wonder is my #1 favorite artist ever, and this album is extremely calming and serene. “Come Back as a Flower” is my favorite and features the melodious voice of Syreeta Wright, Stevie’s former wife. “Send One Your Love” and “Same Old Story” are really soulful classics that are really characteristic of Stevie’s style and are perfectly appropriate for the documentary. This is another album that’s really amazing to play full out and really relaxes my spirit.

 

 

Stuck On An Island Series: Kevin (@Cliche_Kev)

Kevin (@Cliche_Kev)

From the moment I fell asleep on the Megabus and Overly Dedicated seeped into my subconscious I knew I came across something great and profound. A friend years ago played me F*** your ethnicity (Section .80 lead track) before I've ever heard of Kendrick Lamar but later when I heard his songs within the context of an album, that really made me a (super)fan. But seriously how can I pick just one Kendrick project. All of his projects are meticulously handcrafted and it would be criminal for me to choose just one.. right? Or am I'm just copping out by not picking one and shading the other projects. Probably a mix of both. I chose all his albums as number 1 because chronologically his albums show growth in confidence, style, bars (won't get you high as this), risk taking and creativity so it is difficult for me to separate his music. Just like the songs on his albums, his discography trajectory needs to be taken within context as well. The more popular he has gotten the more risk, musically, he has taken. In a sentimental way and I'm probably now just rambling now, he gives me hope that ppl don't have to blend in to be beloved and at the top of their respective game.... His music transcends. This is all hyperbole at this point and in my mind it's all justified. BUT if I had to pick one project to listen to on a loop to listen to forever (Extreme hypothetical to force me to choose) I would go with TPAB. Strictly because it is more than your standard prototypical hip-hop album. All genres of music are tapped to produce this jawn. It's ambition and scope is second to none and despite my love for his previous work, so TPAB would be my pick if I had to choose. 

I felt like the bol that got his ear cut off by Peter and Jesus gave him a new one. The day I heard this, I heard things differently, I was plugged into a different frequency. Music didn't have to have words to be incredible. And music by white people can be legitimately great as well and not feel like cheap imitation (Stan take this line out if you want lol). From the day I heard this album I knew I stumbled upon an unicorn. This album stands the test of time and I still go back to listen to the greatness that is Snarky Puppy every single week. Six tracks of heat . Listen to them and Jesus will give you new ears. 

Take Car....Nahhhhh I hate Drake (had to take my shot real quick). My real number 3 is Feel Good by The Internet.  My number 3 spot is honestly fickle but today I'm riding with The Internet. Yes I know it's not as good as Ego Death, spare me the lecture Stan, but I don't care Feel Good is a favorite of mine. They will be big very soon so I'm hitching my wagon to these bols, but honestly they are already close to stardom. Grammy nominated and they have the ears and eyes of ALOT of big name artists. Feel Good is all vibes all the time. This album played on one of my greatest personality traits...chill. Feel Good is chill and laid back but the musicality and scope of the music will have your ears tuned in to every subtlety. I understand Ego Death is their crown jewel so far commercially but Feel Good is when they took their biggest leap and became a group to watch. 

The Most Honorable of Mentions:

Bilal - Airtight's Revenge 

Mick Jenkins - The Waters

The Roots - Undun

Miguel - Kaleidoscope Dream

Hiatus Kaiyote - Choose Your Weapon

Lupe Fiasco - The Cool