Funk blessings from being colourblind: Rick Hall, Fame Studios & the Muscle Shoals Sound

 I do believe imagination figments and coincidence can't be scapegoated for the outbursts of racial rantings and commentaries which seem to have burst out from their usual high security prison cells. Appearing to stem from the terror works of Isis, the all too numerous murders of unarmed black males at the hands of Police in America, and the channels by which impressionable-aged kids can be led into war zones, we now find ourselves submersed in the dispiriting, frightening and unnerving-to-many subject of race relations and racism.

Understably though, such a topical field carries in its wake a whole host of long standing, well established beefs. Enough beef in fact to make any vegan feel alone on Earth. As an avid appreciator to the stories of a decidedly more open minded nature, I was upbeat to the finding of Muscle Shoals. Perhaps occurring to be a quiet little backwater to the unknowing eye, Muscle Shoals is a small town situated on the Tennessee river in North West Alabama. Indeed 'little backwater' would be correct, but 'quiet' it was not. At least not inside the shell of Fame Recording Studios. 

The work of the venerable Rick Hall, Fame was a factory for some of the funkiest and biggest tracks from the 1960s and 70s. Self-proclaimed colourblind, all-knowing and meticulous to the last, his story is one defined by an indefatigable ability to overcome, rise to greatness, and go down in history. Names like Wilson Pickett, Percy Sledge, Otis Redding, Etta James and Aretha 'no-need-for-a-surname' Franklin, all went through these studios during this era. 

Likened to alchemy, the Muscle Shoals Sound was all the more satisfying and change-instigating under the circumstances from which it was born. With The Confederacy's loss in The American Civil War in 1865, slavery was abolished. But by 1890, following Reconstruction, the implementation of de jure racial segregation had taken root in all public places in the South; the Jim Crow Laws. Destined to legally divide until 1964, Alabama played host to such events as the 'Stand in the Schoolhouse Door' - Govenor of Alabama, George Wallace's defiant literal stand in the entry to the Foster Auditorium at the University of Alabama. All in an attempt to prevent 2 of the highest standard black students from entering to enrole at the University. Vying to uphold his promise of "Segregation now. Segregation tomorrow. Segregation forever." and eventually only stepping aside following the orders of the then President Kennedy. 

With racism still dragging down society in the 21st Century, it's easily conceivable how little white attitudes changed following the Civil Rights Act of 1964. Indeed, in Alabama it'd take an extraordinary brand of courage and free-thinking to stand against the flow and go with integration. Either that, or the rare skin-specific form of colour blindness which Rick Hall possessed. Growing up in Alabama's Freedom Hills, he was born into extreme poverty. Living in a home, set away from the rest of the world, built by his father, where on mud floors he would writhe and thrive on a will to be somebody. Enduring the tragic death of his Brother, who was just 3 years old, and the departure of his Mother, who went on to become a prostitute - this owing to the low standard of living provided by Rick's father, who was a saw miller.

Having gone into partnership for his first recording studio venture, the first track they would cut was 'Steal Away' by Jimmy Hughes. A hit, though Hall would quickly be singled out and let go by his partners, for reasons of being a "workaholic". Now, it beggars belief how many heartbreaking losses one man can endure, but following this was the untimely demise of his wife of just 18 months. Dying in a car accident, which Rick would survive and subsequently, in his own words, would "become a drunk. A bagabon. A tramp." Living out of his car with only his music left, he would return to Muscle Shoals with a vengeance. Fervid in character with an indomitable will, he would first cut 'You Gotta Move On' by Arthur Alexander - a track which would go on to be covered by The Beatles and The Rolling Stones no less. 

With a self-reliant setup he looked to recruit an in-house rhythm section. Made up of local white musicians, Paul Simon of Stax Records is known to have phoned up Al Bell, quoted as saying, "Hey man! I want them same black players that played on 'I'll Take You There'", to which his reply was, "well that can happen, but these guys are mighty pale!". To become known as The Swampers, they were a major factor behind the studios appeal, and the signature Muscle Shoals Sound. Aretha herself was quoted as saying "we just didn't expect them to be as funky, or as greezy as they were." It was these same musicians who would back up for countless black frontmen and women. Among these, local boy Percy Sledge, voice of the iconic 'When A Man Loves A Woman'; seen above during a live performance with a certain left handed guitarist who wouldn't last long in the background.

Such hits soon brought by Wilson Pickett (seen above with The Swampers) and big time Atlantic Records Producer, Jerry Wexler. Forging a great relationship with Hall, the 'Wicked Pickett' would go on to produce funk gold like 'Land of 1000 Dances' - if you don't recognise the name, I guarantee you've heard the intro. Yet Wexler and Hall were destined to clash over perhaps one of the most important tracks Fame ever produced..

As unfathomable as it might seem, after six years with Colombia Records behind her Aretha was experiencing difficulty in making her career take-off. With general consensus attributing this to the mixed and unrefined styles she was given, one trip to Fame Recording Studios was to give Franklin the break she was looking for, and opened the gates for a most legendary of musical careers. Brought down by Jerry Wexler, Franklin, The Swampers and Hall were to record 'I Never Loved A Man The Way I Love You'. Cut within 15-20 minutes, it was to become her first million selling single, and would see the begins of a career which would flourish into a commercial super-power, equalled by few, and outdone by none. 

Yet owing to a verbalised personal grievance of Aretha's then husband, Ted White, a crack was to form. Hall, after more than one or two drinks, made his way to their hotel, to patch things up, but wound up in a physical altercation with White. Thereby causing White and Franklin to fly back to New York. Wexler, in a sly play, was to bring the Swampers to New York to finish recording Franklin's album. The same album which brought 'Respect' to the world, they would go on to record numerous hits together, including 'Think'. 

The Swampers would go on to separate themselves from Rick Hall, opening their own studio in Muscle Shoals; Muscle Shoals Sound Studios. Hall would suffer again with the loss of his father in a tractor accident, though forever remembering their life together which was depicted by Clarence Carter on 'Patches'. Locked in a battle with rival Jerry Wexler, and The Swampers, he would go on to produce names like Etta James. And having released a feature length documentary in 2013, 'Muscle Shoals', you can catch the extended version in its full audio and visual glory. 

Enduring in the extreme. Still producing to this day. A work ethic which he shares with all who reach greatness in their respective professions. But a colourblind and completely racist free attitude shared by virtually nobody in the Deep South during this era. Perhaps in the contemporary age we are too problem fixated, and not solution fixated. However Rick Hall of course was neither; he was Funk fixated, for which we owe him our gratitude.

A Legacy instigating feature-length; To Pimp a Butterfly - Kendrick Lamar

It would seem that, like his fans, Kendrick got too excited to wait and decided to drop his album a week early. Then again, released at midnight on the 15th, this may have been a case of seizing opportunities. With the 14th marking 20 years since the release of 'Me Against The World' by 2Pac, perhaps releasing on the 15th was a means to symbolically signify continuation of his legacy; referencing again the message delivered by Tupac when confronting Kendrick in a vision; "Don't let my music die".

Such unravelling of unforetold circumstances then gives rise to a decision in need of making; available on Spotify from its early release for free, is there any need to wait and fulfil payment for a pre-ordered hard copy? Of course this can only be decided with listening. Loop after loop of the latest conscious audio clips from the soul of K-Dot.

Not having read the reviews of the fastest analytical journalists, I can't imagine there being many 'first thoughts' articles which usually follow up new albums within hours of their release. 'To Pimp a Butterfly' always promised microscopic-grade detailing. Unique calibre lyricism, riddled with teachings, preachings, messages and lessons. An opportunity then to exercise my own analytic lense, and see how much I can decipher before everybody has read mass media reviews, understands it inside out in 10 minutes or less, and has moved on to the next new hype source.

In the same vein as 'good kid, m.A.A.d city', if more analogised, the record espouses a story in a masterful fashion. A life cycle infused with consumption, pimping, poetry, drug dodging and answer searching, with an eventual arrival at welcoming actualisation - the Butterfly. Inaugurated with 'Wesley's Theory', beholding an intro whose black pride vocals easily lend itself to imagery of the likes of Curtis Mayfield, the beat breaks and Kendrick proceeds to itemise stereotyped hood dreams of wanting and spending wealth. 

Followed up with 'For Free', we recognise this as the outset of the caterpillar phase, and are introduced to the concept of pimping the Butterfly. Consuming his environment as a caterpillar, he learns to pimp the butterfly which, "represents the talent, the thoughtfulness and the beauty within the caterpillar". To use it as a means of survival and as a path to selfish gain. Cajoled by the city of Compton into the choice of 'Halle Berry' over 'Hallelujah', and resulting in the becoming of 'King Kunta'. Lyrics, wrapped up in smooth and sweet cut-a-rug funk licks, portraying his view atop the world; the women who used to walk on by during the process of climbing. And the haters trying to, like Kunta Kinte, keep him from running (the rap game) - previously defined by another King as "Mo' Money, Mo' Problems". 

'Institutionalized' marks the encapsulation of the cocoon. A closing off to the bullet-punctured city atmosphere and focus on internalisation. A King with unfilled potential and explorational urges to discover and search for answers to the problems of the gang scarred city and beyond. Girl problems, the goodness of God and the 'evils of Lucy' (LSD). Following full metamorphosis is the comforting relaxed tones of 'Momma', and the declaration that "this feeling is unmatched, brought to you by adrenaline and good rap". No drugs necessary, and a encyclopaedic-style complete knowledge of the world exist with the second birth which sees the Butterfly for the first time. 

With a capacity to be wise in glorious abundances similar to that of a Shaolin monk, Lamar comes back to the city. Despite his 'survivors guilt' from being cocooned away from his hood, he returns with the enlightenment of those same enclosed walls. Speaking on equality in 'Complexion', advocating an attention to the politics of the hood, and not to those of the rap industry on 'Hood Politics', and addressing the dangers of selling your soul on 'How Much A Dollar Cost', as he references Exodus 14; the story of Moses leading the Israelites to freedom from the Egyptians. 

Perhaps most poiniently though are his words pertaining to hypocrisy on 'The Blacker the Berry'. With the recent killing of unthreatening, unarmed black males by white police officers who were cleared without indictment, he highlights the resulting unity of the community, and yet at the same time, how the west coast culture of 'gangbangin'' will have a male like himself killing another black male just because of an affiliation to blue or red; Crip or Blood.

Upon release last September, people were surprised at the sounds of Kendrick's single, 'i'. Now a chapter nestled in the context of his grand story, we see clearly. A celebration of self, following the comforting words of 'You Ain't Gotta Lie (Momma Said)'. A celebration of truly realising the Butterfly's form. Coming to a close, we hear the entirety of Kendrick's poem which he had been making a way through throughout the record. A blueprint for his tracks and their content which he recalls to 2Pac on 'Mortal Man'. 

With the voice of 2Pac taken from a rare 1994 interview on 'p3 Soul' (a swedish radio show), this created dialogue between Shakur and Lamar is compelling at the utmost following Lamar's latest feature-length. Acting to remind in many ways the consciousness and fighting of 2Pac for the betterment of conditions for the African American community. To fight for equality and against the double standard of life in America. With this, Kendrick rediscovers the value of music, but not in a fiscal context as is being sought out by Wu-Tang Clan. Rather, the kind of value which does not lend itself easily to quantifying its effects, and yet has unbounded potential to instigate change. 

Despite it's multi-layered genius, it's not a record with a mass-consumption musical focus. Although with more licks than a nice cream truck it may well find favour with more mature generations. Especially those with an ear for Jazz. At numerous points it evokes imagery of Diz & Bird, and Miles Davis with it's very Bebop feel. This being said I can't imagine there being too many more singles being released from it. With the exception of 'King Kunta', many of its tracks wouldn't naturally stand alone that well. Perhaps from a beat-consumers perspective then it's not really that commercial. It's prominence is most definitely in it's content and originality of methods used. It's comprehensive capability to challenge and thought provoke.

As if it needed stating, I'm keeping my pre-order and will pay with pleasure. Even without a computer or CD player it will stand for now as an objet d'art. It's cover art conveying the duality in America. Part of its beauty is in an imagined lack of interest in record sales and revenues. It's primary importance being in its acting as a kind of public announcement. A pin prick in a nations conscience, that the American dream, remains a dream. The influence of this album however has had me personally thinking long, researching life cycles, appreciating poetry and opening a bible (at Exodus 14). With this influence in mind here's something to mull over; Barack Obama is the most powerful man in the world, but with regards to African Americans at this time maybe Kendrick Lamar is more so. 

Early onset of the forecast Summer Of Compton; The Game ft Meek Mill - The Soundtrack

Following a brief intermission after Kendrick Lamar's, 'good kid, m.A.A.d city' and YG's, 'My Krazy Life', Compton-hailing rappers are building to a summer which promises to see their city back in the public consciousness, not to mention the upper echelons of Rap and Hip-Hop. Second perhaps only to 'Tha Carter V' in hype status, the soon-be-released follow up to Kenrdick's aforementioned masterpiece, is set to be released toward the back end of this month. Throw into the pot the equally anticipated movie release of Straight Outta Compton, and you can expect to see, not so much a resurrection as a revival, of N.W.A's founding of Gangsta Rap and Westcoast Hip-Hop genres from '86-'91. 

Unbeknownst to the reasoning, I came up hooked on the music of the Westcoast. Be it N.W.A, Nate Dogg, Tupac, Dr. Dre, Eazy E, Snoop Dogg, The Game, Ice Cube, W.C., Westside Connection, Dilated Peoples or any other I haven't named due to a need to end the list somewhere. Hence, what is shaping up to be a rejuvenated Westcoast scene, is, exciting to me, and perhaps has activated some primordial DNA strand of my soul which I'm oblivious to the existence of.

Kicking off far in advance of a meteorologists definition of the summer season, The Game has stepped forward with Meek Mill to cut the metaphorical ribbon with the release of The Soundtrack. Widely received as a one of the hottest from the latest material out, it sees, what I believe to be the return of The Game to his styles from which he grew with The Documentary ('05) and Doctor's Advocate ('06). With the also, hopefully soon-to-be, release of The Documentary 2, after the 10 year anniversary of version 1, this is conceivably somewhat unsurprising, but nonetheless brilliant to my humble self. 

If you caught it first online, it's likely your initial thoughts of it were pertaining to the record cover (also seen below). The kind of photography which endures vividly in the minds eye even with little exposure to it, and is not a shred short of perfect in its representation of the conceptual focus of the tracks content. A young boy with a ski-mask and no snow insight to justify it as innocent. The ski mask being a visual accoutrement of the violent and murderous activities of the gang affiliated faces which they cover. The sheer oversized nature of the disguise conveying the adult age connotations which accompany the life within which the boy finds himself. Yet with enough material for a well fitting t-shirt for the photographed boy, it is evident that his life, if not now then in the future, will likely require it be used as a ski mask, and not so much because of the lack of a need for a t-shirt in the California sunshine. 

Of course, we are dealing here with rappers and so you have to account for a variable degree of exaggeration. The primary message though being the life in which the child is still likely, but not exclusively, to grow into on the streets of Compton. This simply being the way things still are, and portrayed as a trap by many, not only in Compton but across the U.S., and indeed the wider world. 

The lyrics within this packaging are tightly bound to each rappers respective city, Compton and Philadelphia. It's the cities knack for producing 'realness' which is the subject at hand. As stated, the rap/hip-hop industry is littered with rappers who exaggerate to the point of complete fabrication; Game's likening most rappers lives to a Miguel music video. Rap being born through a need to express or share a message, has like most industries been diluted by money. Certified 'Real' by their cities upbringing, they illustrate their stories;

"Politics is usual, them palm trees is beautiful/ Crack rock lingerin', fiends suckin' they cuticles/ Wear the wrong colours round here n***** is shooting you" -The Game

"I fell in love with these streets I lost my n***** to" -Meek Mill

The back and forth of their delivery is a chemistry to behold. Pick any sports analogy you like to communicate it; tennis, basketball, ping pong, many will work. Or perhaps it's most similar to squash. Two guys swinging at the same wall; the wall being the fakers in the industry, as they demonstrate that it doesn't matter which was rapping, the situation was much the same in Compton as in Philly.

Finally but foremost, the music arrangements on this record are so LA I can't help but loop it multiple times. Being signed to Blood Money Entertainment, a subsidiary of Cash Money, and having spent time in Miami under what I believe to be the commercial influences of CEO Birdman, it's so nice to see The Game back in LA. Although still under the same record label, the dawn of the Compton Summer has definitely brought his mindset back. 10 year anniversary celebrations with his mentors, and founders of the Westcoast scene, and on set with the same crew at the filming of Straight Outta Compton, I believe is what we owe it too.

With a desire to capture the same LA vibe in The Documentary 2, you can tell he's looked back for inspiration. This being done primarily through a saxophone. Listening to the track I can't help but think about the theme music to Boyz N The Hood; the quintessential representation of South Central Los Angeles in the 90s. So reminiscent is the saxophone that you can't help but think of the 'Ricky' scene from the film.

After doing a little research, I've discovered that the Boyz N The Hood theme was composed by Stanley Clarke. An American jazz musician and composer, who, like Meek Mill, was a Philadelphia native who helped to represent for LA. 

The track then is great. And great things are coming for Compton which anybody who loves Hip-Hop can enjoy. Hopefully 'The Soundtrack' will be the first single off The Documentary 2, and will go along way in catching the overall style of the album. With so much newness coming for one city in one year though, I can't help but think it was planned. And being as the city is Compton, I wouldn't be surprised in the least if all this fresh art was individual master strokes from an Artist who calls himself a Dr. The same Dr. who is really a producer. And the same producer who is The rap mogul. Dr. Dre. The man affiliated in some way with all that is good from the C.P.T. (with the exception of the Williams sisters), yet still originally from The Worlds Most Dangerous Group...