Tag Archive for 'Hip-Hop'

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Friday Flow: “In Too Deep” by Cause

OSBlog02_FridayFlow_MASTEREvery Friday on the OurStage blog, I’ll be featuring a great example of flow and lyricism in hip hop songs pulled from the OurStage ranks. I’ll get the artist’s thoughts on the song, as well as post the lyrics or best verse so fans can follow the flow themselves.

Today’s “Friday Flow” comes courtesy of OurStage veteran and “New York’s Finest,” Cause. For more than 2 years, Cause has battled the best of the best in OurStage’s Urban Music Channels, and has taken home a few channel victories. The song featured today is called “In Too Deep.”

See what Cause has to say after the jump…

MARKETPLACE NEWS: CLOSING SOON – THE JOHN LENNON SONGWRITING CONTEST AND NAMM PRESENT: PLAY THE 2010 NAMM SHOW

The OurStage Marketplace connects artists looking for gigs with venues looking for new talent. With amazing opportunities both around the USA and the world, the OurStage Marketplace is the place to be for up-and-coming artists!

Perform for industry professionals at Winter NAMM in Anaheim, CA!

Perform for industry professionals at Winter NAMM in Anaheim, CA!

This week, we are putting the spotlight on a great opportunity in the OurStage Marketplace that’s application deadline is fast approaching. The John Lennon Songwriting Contest and the National Association of Music Merchants (NAMM) are offering one lucky artist the chance to perform at the 2010 NAMM Show in sunny Anaheim, CA! The NAMM music show highlights the latest and greatest gear the music industry has to offer, from the most up-to-date recording software to hand crafted guitars. Not open to the public, NAMM is a hot spot for industry leaders and insiders. The winning artist will receive airfare from their home city to Anaheim, CA, hotel accommodations, admission to the 2010 Winter NAMM Show, a showcase performance during NAMM, recording session on the John Lennon Educational Tour Bus and more!

To be eligible to play Winter NAMM, you must be entered in Session II of the JLSC

To be eligible to play Winter NAMM, you must be entered in Session II of the JLSC

To be eligible for this great opportunity, artists must be entered in Session II of the 2009 John Lennon Songwriting Contest. The John Lennon Songwriting Contest is an international songwriting contest open to both amateur and professional songwriters in the genres of Rock, Country, Jazz, Pop, World, Rhythm & Blues, Hip Hop, Gospel/Inspirational, Latin, Electronic, Folk and Children’s music. Prizes include $20,000, $5,000 in new studio equipment, a week of performances on the 2010 Vans Warped Tour and a home page feature on Purevolume.com. Entries will be judged on originality, melody, composition and—when applicable—lyrics by a panel of industry tastemakers including Natasha Bedingfield, Bob Weir, The Black Eyed Peas and Robin Gibb of the Bee Gees. You can enter the John Lennon Songwriting Contest Session II via the OurStage Marketplace, the John Lennon Songwriting Contest Web site or any of the John Lennon Songwriting Contest’s affiliates. The application deadline for the NAMM showcase opportunity is October 31st, 2009, so now is the time to enter the John Lennon Songwriting Contest.  Submit your EPK to the “John Lennon Songwriting Contest and NAMM Present: Play the 2010 NAMM Show” gig in the OurStage Marketplace!

For more info about the 2010 NAMM Show, click here.

For more info about the John Lennon Songwriting Contest, click here.

For more info about the OurStage Marketplace, check out the Marketplace FAQ section.

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OMNIVORE’S DELIGHT 4: PHILADELPHIA SLICK

Philadelphia Slick

Philadelphia Slick

I don’t care who’s behind the boards or on top of the mix, I feel boredom settin’ in like the top of the 6th, poppin’ a disc, dismissed, I can resist”

- Noesis of Philadelphia Slick, “R&B Stole The Show”

And resist they do. MC Noesis and his gang of instrumentalists (a.k.a. Philadelphia Slick) have  successfully abstained from the realm of insubstantial, pop-oriented hip hop for nearly three years. With group size ranging from 3 members to 12 members and lyrical content covering everything from Philly crime to the current pop music scene, this versatile act has earned a devoted fan base within the city of Brotherly Love and beyond. Their OurStage profile is replete with judging excellence badges, connector icons and top channel prize awards—several of which are first place. Not content with having two superb albums under their belt, the band keeps their nose to the grindstone in hopes of reaching music’s promised land. Their chances of breaking: very likely.

UXYFBSPIXAYC-520x520Sonically, their noise is locked tighter than a baby band’s budget. So compact it might as well have been produced by a computer with looped samples and an internal metronome, but it wasn’t, making everything that much more impressive. Unlike the many instrumental hip hop acts that force their overzealous musicianship into genre not meant for musical virtuosity, the players from Philadelphia Slick keep it cool, calm and collected. You won’t hear any wayward solos or elementary tones sprouting from these horns; they know exactly what they’re doing. Besides, excessive instrumental variation would only dilute MC Noesis’ poetic prowess. With lines like “Stand back/ rock anonymous atop acropolis/ the shots persistent as the oppositions lock position/ there’s a lot of vicious competition/ optimism is a pompous schism/ so drop and listen,” this guy is skilled. When his fistfuls of verbiage float above the well-oiled beats, the resulting sound is what hip hop was always intended to be.

Gonna Get Over” is an upbeat rabble rouser guaranteed to ignite inspiration in any heavily burdened worker. starting with, “To my people out there who ain’t livin’ legit/ all people out there creatin’ diggin’ for hits/ all workers out there straight clickin’ through shifts/ tune out for the minute and say/ Gonna Get Over.” After these words, they spin the angle back towards themselves “Try to make it with an honest rap/ be new but pay homage back.” And finally, they unite both parties with the line “Everyone out there that’s still strugglin’/ Survival got you buggin’/ But you’re alive on arrival/ even if your boss downsize you/ put your hands in the air and say/ Gonna Get Over.” The moral of the “Gonna Get Over” story is to focus on the good. Conquer the bad (you’ll feel much better when you do) and get back on track. Because let’s face it, you don’t really have a choice.  Musically, bass and drums lock together in the beginning of every verse until the descending xylophone enters, resolving straight into a perfectly synchronized saxophone and xylophone riff in the chorus. KLQUTDUKMKIK-520x520
Hunt V. Kill” paints a disturbingly realistic picture of street crime in Philly and gun control in general. The overcast verses emit an eerie vibe, no instruments but drums, bass, some sort of synthesized harp and airy vocals from singer Jenn Z. During the choruses, they insert sound bytes from police press releases and news stories on crime around the Philadelphia area. Presumably, these reports are depressing, but the group is able to represent the seemingly indifferent attitude of those not immediately affected these events with the music. The chorus is major and carefree, like rampant violence is no big deal at all. With “la-la-las” sung by Jenn Z’s ethereal voice and a steadily repeated 1-4-1 chord progression, the sound produced is very ironic when juxtaposed against the lyrics.

Noesis

Noesis

The second to last audio clip in the song presents someone giving a speech on handgun regulation, saying that the only purpose of handguns in the city of Philadelphia is not to hunt animals or target practice, it is to kill people hence the title “Hunt V. Kill.” “R and B Stole the Show” is self-explanatory. Beginning with a quirky, distorted polka beat, the song eventually transforms into a four minute and twenty-two second insult aimed in the direction of modern pop music. “R and B stole the show/ It don’t know how to sing don’t know how to flow/ R and B stole the show/ It’s not quality but that’s how it goes.” With lines like “Do us both a favor/ And turn the radio off,” we can be sure that Philidelphia Slick is confident in their unique identity, an essential personality and musical trait in the rapper-eat-rapper world of hip hop.

The group is about to embark on a mini tour in support of their new album, Oil, released in May. Check out their OS profile page and their recently debuted website to see if they’re coming to a venue near you!

BACKTRACKING FORWARD: BREAK DIGGING

OSBlog02_BktrkFWD_BreakDiggingThe times sure have changed. Before there was the Internet and Google, building knowledge of records was a skill cultivated from years of experience and hard work. Digging in the trenches, taking chances on unknown recordings and literally dropping the needle on every disc to ascertain its contents was something reserved for the dedicated enthusiast looking to expand their knowledge of recordings.

Hip hop legends like Kool Herc and Afrika Bambaataa were the first DJs to recognize the importance of the breakbeat—a point in a song where the percussion takes the foreground with no other accompaniment. Entire parties were constructed around spinning two copies of a record’s drum break back-to-back to keep a dance floor moving. As time progressed, MCing over instrumentals gained more prominence in the field, and playing the rarest and hardest drum breaks made some of the original hip hop DJs kings of the party.

Besides the technical skill involved with proper cueing and backtracking, the most important aspect of this art form was actually finding the records that contained the juiciest breaks and building a catalog to consistently dip into. Well established DJs, as well as up-and-comers, kept their breakbeats secret from the audience and fellow diggers, creating a very competitive playing field. Certain artists like James Brown and Dennis Coffey were popular sources for endless amounts of mind-blowing material, but the challenge was to excavate more obscure and unassuming records that had breaks hidden deep away in the grooves—only to be found by truly dedicated diggers who took the time to play every track on every record they touched.

Modern technology has made it so vinyl digging no longer requires the time and labor once demanded of the art. Within seconds, a record’s worth in regards to drum breaks can be deduced with a Google search. Extremely accessible software like Scratch Live (aka Serato) not only replaces the need for having a physical piece of vinyl to spin but allows users to dump an entire music collection onto the hard drive and cherry pick the breaks from any recording. The time and effort required for endless digging hunts to chase down rare vinyl has all but disappeared. While the benefits of preserving a rare disc from countless needle abrasions —and saving one’s back from hernia-induced crate lifting— are nice, it removes contemporary DJs from the early development of their art.

Half the fun of digging for vinyl as a DJ is finding the original break on an old slab of wax and watching a crowd react to the beat. Any modern day artist who is keeping the spirit of break digging alive is helping to preserve the past by bridging a strong connection to their predecessors who took the time to excavate dusty old grooves.

Below are some examples of LPs and 45s that contain incredible, and historical, drum breaks. Take some time to look in your basement or attic for the old records— you might unearth some vinyl that helped play a role in shaping present-day hip hop.

Keep Digging!
-Gregorious Winter-

BreakDiggingAlbums

COMMUNITY UPDATES FROM OURSTAGE’S CEO

bencampbell_03Dear Friends and Fans of OurStage,

Since my last update a couple months back, we’ve had some exciting developments that I’d like to share with you.

Bigger Partnerships: As you may have read in the press, we’ve recently  partnered with MTV on a number of interesting initiatives—all involving very cool opportunities for top-ranked artists. Beginning this Fall and continuing into next year, we’ll be expanding this partnership to include even bigger and better opportunities for OurStage artists. Some of the possibilities we’re discussing include using music from top OurStage artists in MTV TV shows, asking top-ranked OurStage artists to play live at major awards shows and other events, running custom channels on OurStage to choose artists participants for artist-focused TV and reality shows and much more. Naturally, after the preliminary logistics are nailed down, we’ll make formal press releases. But the bottom line is we expect to have an even greater number of cool career-altering opportunities for top OurStage artists in the coming year as a result of this partnership.

In addition to the expanded MTV partnership, we are working on 3 other giant/national prospects, all of which will include major radio and/or TV promotion. Look for details in my next update.

We also have updates regarding the site its self…

Site Improvements

We are continually seeking your feedback on ways we can evolve and improve the site to make it easier to use, and to make it the best new-music discovery experience available. As a result, we are releasing a number of cool new features throughout September. Here are just a few:

Cleaner Design – We’ve been striving to develop our brand into the best new music and new artist discovery site on earth, not just a “contest” site. As a result, the new site design focuses more on the music-streaming/discovery aspect of what we do, rather than the contest aspect. Our new layout, page designs and features are all designed to highlight this goal. We hope you like them.

Permanent Player – You may have noticed the new permanent player in the bottom margin of every page, which allows you to continue to surf and explore the site without shutting off the song you are currently listening to. This has been on our to-do list for a while and it’s finally live on the site.

New Profile Pages – In the next few days you will notice a change in your profile pages layout. The set-up will be simplified, the tab structure will be easier to navigate, and the pages will render much more quickly. Also, artists will notice they have the ability to highlight URLs linking to other sites where they may have additional info and profiles. We strongly encourage artists to fill out these URLs for both fans and an expected increase in the number of industry eyes visiting the site. We want to make sure they can easily learn about your music.

More Fan-Centric Activities – Ultimately OurStage is only useful to artists if large volumes of fans are  exposed to their music. We are constantly adding features to attract more fans and then engage with the site on a long term basis. One of these new activities will be competition designed to discover and reward (handsomely) fans who have the “best ears” when judging and picking great artists. We even plan to create a widget so that fans can compete with each other both on OurStage as well as on their favorite social-networking sites. Our hope is that this type of fun, engaging, potentially-viral fan activity will help take OurStage—and expose our artists—to a whole new level.

Facebook Connect and MySpace ID – I’m sure you all know what these are. Integrating with these two industry standards will allow users of these sites to log onto OurStage with their Facebook or MySpace credentials. It will also allow for a certain types of information to be passed back to one’s Facebook or MySpace account to be displayed. We expect these integrations to help artists by limiting the number of times and places that they have to re-enter the same data. And we also hope that fans will be able to share the new music they’ve found on OurStage much more easily with their friends throughout their favorite social networks. Look for this functionality to go live by the end of September.

“Best of the Best” Update

As mentioned in an earlier newsletter, we are continuing to develop a key new feature to the site designed to showcase the very best OurStage Artists. Right now the monthly competitions show top-ranked artists based on that month’s song entry in any one of a few dozen categories. However, there is real value to artists, fans and the industry folk to know which artists are consistently pulling  high ranks on OurStage month after month. This Fall, we will begin tabulating this new type of rank across the four largest genres of music (rock, pop, hip hop and country) twice a year (using 2 six-month seasons). Over time, we hope to start including data from other sources outside of Ourstage as well, and eventually make these artist rankings an industry standard.  Keep this on your radar and look for more on “Best of the Best” in our next newsletter.

That’s the latest update from here. I hope you all find the information flow valuable.
And thanks to all of you who take the time to be part of the OurStage community, and who take the time to support worthy artists everywhere.

Best regards,

Ben