DJ Rahdu talks with Julie Dexter

DJ Rahdu: On the line we have Ms. Julie Dexter, and you’re actually on your way from Nashville to Atlanta…
Julie Dexter: That’s correct.

DJR: So I see you’re just spreading the dope music around, all around the South East.

JD: Yup.

DJR: But you’re originally from Birmingham, England…

JD: Yes I am.

DJR: So how did you end up in the states?

JD: I think chance; I think it was my fate. I can’t remember exactly ever planning to move to the states, but I remember I’ve visited many times. I’ve been to New York, I’ve been to Florida, I’ve been to DC but never thought “Oh I should move here”. Then when I first came to Atlanta, as soon as I got here, I just felt like, this is it. I wanna live here; I wanna stay in this place. With all these beautiful black people, not just in music, not just in sports, but all walks of life, you know lawyers, doctors, business owners… just an abundance of successful black people, beautiful black people, you know, making it happen. That’s when it touched me, and it really made me look at it as something that was feasible as opposed to a fantasy. In England it was “oh, there’s a black man on TV, oh there’s a black man”. The difference is here, it’s regular, and I know the struggle continues and we have a long way to go, but we still make so many strides here as black people, and that’s what inspires me.

DJR: What year did you move to the United States?

JD: 2000

DJR: So that was right before you started working on Peace of Mind…

JD: Yeah, I pretty much had finished Peace of Mind and then I came over and released it in the states to promote it. I had finished it in ‘99, and it got released here in the states in 2000.

DJR: So all 4 of your albums were actually released while you were here in the states.

JD: Yes they were.

DJR: Can you kinda describe your style; I mean you’ve done so much. I know you have a jazz background; you’ve been involved with broken beat and Bossa Nova for what you did with Khari Simmons… so how would you describe your sound?

JD: I guess I’d say World Groovy sounds, but if you wanna be specific I’d say soul & jazz, mix in roots & reggae, and jazz upbeat, encompasses blues, encompasses Latin, bossa like you said, R&B. The Reggae, the Roots , that’s my West Indian heritage. My parents are both from Jamaica, so that’s like church music, that’s what I grew up on. I didn’t have to study reggae music; it’s in my bones as part of my heritage. I studied jazz, I studied classical, I just got in to soul…Michael Jackson was soul for me. The music thing, it just kinda happened, when I look back I see what things affected me. I was definitely influenced by music that sounded good to me that came in all genres; hip hop, soul, reggae, jazz, even country… the good country songs. The good hip hop, the bad hip hop, I’m about the good vibrations that I guess brings you back to the good music.

DJR: Right, now your husband is keyboardist/singer Michael Johnson. Has living with a musician affected your style at all?

JD: You know what, I think not really. The good thing about living with a musician is that we both from the same place, we pretty much know what the standard is and what the standard isn’t, pay checks and benefits to the job that we do. We understand the writers block, writing music we can help each other out, we inspire each other, we understand what it is to be like, “look don’t disturb me for the next couple hours, I gotta practice, I’m working on this song, trying to get vocals recorded and what have you”. We have the understanding that somebody who wasn’t in the industry; they might not be as understanding of when I’m getting home at 2 in the morning, so he’s gotta deal with the baby…she’s starting to wake up in the mornings sometimes. You know, stuff like that I think affects our lifestyle, with more so the music. It just makes it a better situation that we can both do our music, and we’re both understanding of why it takes a lot of hard work and dedication, and patience being an artist. It’s different from 9-5, you know you got your work cut out for you on a 9 – 5 job. You know you’re gonna get paid on a certain day of the month, you get good benefits… so it’s quite risky being an artist, and having a family too. You wanna put them in a good school; we want her to have a good life to, to be able to enjoy the fruits of our labor.

DJR: Speaking of fruits of your labor, are you currently working on anything right now?

JD: Yes, we’re in the studio making a collection, currently in the making. For those that don’t know; it’s an introduction to who I am, all the music I’ve done, a compilation of my first four albums. For my fans, the diehard fans, who know what a Julie Dexter is, there’s gonna be some new tracks. We’re also gonna put out a DVD recorded a few weeks ago in Atlanta, like a box set CD, and DVD, old stuff, and new stuff… it’s really my re-introduction to the world but for more people, it’s gonna be an introduction.

DJR: Next Wednesday, I know we’ve mentioned spreading your love around the South East…we are actually blessed and treated to have you here in Birmingham. What can we expect from a Julie Dexter performance here in Birmingham?

JD: Well this will be an acoustic set, myself and Brandon Thomas on guitar. So, It’s an acoustic set; like a breakdown, the framework of a song…like the melody, and the chords and the rhythm and the guitar, you’re not gonna hear the bass, you’re not gonna hear the drums. You’re gonna get the most intimate version of the song and I think people get a special treat when they see the acoustic, because they get to hear everything. There’s no hiding behind all that loudness of the drums, the bass, the background singers, and the horns. I personally prefer intimate sets for that reason, I can stretch out more, there’s a good work out for me. The guitarist gets to flex his thing you know. It’s kind of special in that sense. At a full show with a big band you get to really hear the songs, you get to hear the melody, ‘cause ultimately that’s what the framework of the song is; the ultimate elemental stuff… the bass line, the backgrounds, the horns. It’s gonna be a good insight into my career as songwriter, and a performer, and Brandon Thomas is a phenomenal musician/guitarist from Atlanta. Its gonna be a really nice time, Im really excited!

DJR: We’re definitely looking forward to that, and we’re also looking forward to the Julie Dexter Collection that will be dropping soon.What else can we expect from Julie Dexter in the future?

JD: Well I’m gonna keep singing, songwriting, being a producer and a musician. I’m inspired by life, and life is a daily occurrence so I’m always getting inspiration, so people can look forward to more songs. I’m really working on a new album with all new songs while the Julie Dexter Collection is out there, so this time next year you’ll have a whole new set of Julie Dexter songs and that will be a follow up for those who just got the Julie Dexter Collection!

DJR: So how can your fans get in contact with you?

JD: The best way to get in touch with me is through the website which is www.juliedexter.com. Also on MySpace at myspace.com/juliedexter, on facebook as well at facebook.com/juliedexter. If you wanna see some video footage, I advise you go to myspace, if it’s just general information or to buy some music… go to the website.

DJR: We can’t wait to see you here in Birmingham, I know you’re gonna do a great job. We’re gonna get you in an intimate setting; they’re definitely excited about it. Is there anything you wanna say to your fans here in Birmingham before we see you on Wednesday?

JD: I’ve been there before, it’s almost like my 2^nd home ‘cause I’m from Birmingham, England so you know I know all about Birmingham, Alabama. I’m looking forward to coming, I like the city, I like the vibe. I just remember the energy and the people, they were down, they were for it, they were ready. That’s all you need for a performance, people who are open to get with the program so I’m looking forward to making some music happen in Birmingham, Alabama. I’m bringing the Ketch A Vibe, Dexterity, Julie Dexterousness (laughs) to the South East.

DJR: Once again, thank you so much for taking some time out for us, and we’ll be happy to see you here on Wednesday.

JD: Ok, thank you I appreciate you!

DJR: Alright peace!

Juwan Torrell Dickerson’s Note: Dwele & Algebra Live at Platinum of Birmingham

It was Friday night and I was standing in line outside of Platinum of Birmingham waiting with everyone else to get inside. Just to hang out, listen to some music, drink a little bit, and take in the sights. I didn’t really know what to expect but it was Friday night in Birmingham and on Friday night in Birmingham there’s not much else to do. Upon my arrival at the door I was disappointed to learn that I had spent what seemed like an eternity in line for was a concert from some so called rap artist that I didn’t care to see in any setting and that they were also charging three times normal admission for this event. I promptly left and went off to discover something else to entertain me. I once wrote about wanting to leave Birmingham because of the city’s lack of investment in the arts. I was also frustrated with the radio and their unwillingness to play or promote the kind of music that I wanted to hear and how that I couldn’t turn on a station without hearing a ‘Put Yo Hood Up‘ or ‘Tear The Club Up.’ I stopped going out because I was getting bored with DJ’s playing the same songs in rotation every hour like they were just hitting repeat on a compilation CD of Ignant Rap Tracks. I got frustrated and thought that the Magic City would ever catch on with the movement that had been gaining momentum around the world.

It was Friday night and I was standing on line outside the Platinum of Birmingham for the first time in almost 10 years waiting with everyone else to get inside. Just to hang out, listen to some music, drink a little bit, and take int the sights. But this Friday night was different, there was an obvious change in the air. No one was waiting to swing elbows and represent hoods with finger puppetry. No one was there with the intentions of tearing up the club or acting a fool. We were there to celebrate the movement, the new soul movement that has slowly been spreading into the city and this past Friday after 10 years, I finally reentered Platinum of Birmingham. We were there to see to see Algebra and Dwele in concert.

I’m going to admit up front that I wasn’t too familiar with Algebra prior to the show, but once I witnessed her act on stage I became a big fan. Her music is very beautiful and it was clear to me that she was the main attraction and not the opening act of this event. Starting off with high energy on ‘U Do It For Me‘ the crowd erupted in overwhelming applause and fanfare, singing along and vibin’ with her. Maybe it’s her southern roots by way of ATL or her lyrics which are undeniably soul without being “Neo.” Whatever it was, it was obvious to me that the people were definitely connected to her, even demanding her to sing personally to them, and I can’t blame them. During her heartfelt rendition of ‘What Happened‘ we were mesmerized; intently focused and entranced by her words. With her amazing voice and songs that require no deep analysis to understand she is definitely a one of a kind talent. Algebra’s stage presence is incredible; don’t let her small unassuming frame fool you because this girl is a powerhouse, she completely owned the stage and the crowd as well. I especially liked the segment where she introduced her band which allowed the DJ to showcase some dope mixing that got the crowd even more pumped up. I feel bad for sleeping for so long, but I’m so glad that I woke up, and I must admit just like the slogan on the shirt says. ‘I Love Algebra,’ too!!!

Next up it was time for Dwele to get on stage and I noticed and was mildly disappointed at how much the crowd on the floor had thinned down. Being a big Dwele fan since the days of Dilla, I was excited to finally get the change to see him live, even more so because I didn’t have to travel to see it. His set was a shorter than his female counterpart but he managed to get in a good amount of songs. Singing some old favorites like ‘Find A Way‘ and ‘The Truth‘ I was the one that mainly singing along this time, not that there’s anything wrong with that, HA! Accompanied by backup singers and a full band Dwele was right at home. Even adding some homegrown talent to the mix, hometown favorite Kerry “2 Smooth” Marshall on guitar, was a big hit. Dwele showcased his skill on the keys as well, hopping on the boards and playing a tune for the house while the band just grooved with him. Dwele’s performance style and stage presence is a little more subdued and laid back. You could really hear and feel his lyrics, which added to their depth. I especially liked his performance of his new jam ‘How Do I Deal‘ (Waiting For Obama) which I understand came about from him just messing around at the crib. The man just accidentally makes good music. He was definitely a hit, and I would love to see what he would do with a bigger venue and more time to perform.

Overall the concert was a success and I was impressed with how much has changed with the POB and the overwhelming amount of people that were there to enjoy the show. It had been almost 10 years since I been at the Platinum of Birmingham and after 10 years they finally brought me back. Better late than never I suppose, Happy Anniversary! My homegirl Dionne posted on Facebook that night “I hope Birmingham realizes that after tonight, they can no longer cater to the Knuck If You Buck Crowd.” I second that hope, and I think that after that show and the energy that was in the building that the city finally has. We still have a long way to go but we’re going. And it’s a beautiful thing, the soul movement is going strong and it can’t be stopped. Welcome to Birmingham.

Purchase Algebra ‘Purpose’ and Dwele ‘Sketches of a Man’ in stores now!!!

http://www.bamalovesoul.com
http://jayteedee.podomatic.com

Kanye West - 808’s and Heartbreak Review

When I first heard about Kanye West’s new album I was skeptical and somewhat disappointed and also a little concerned. Skeptical because one of my favorite artists, one who I attributed to genius status has chosen to follow the newest and tired cliché trend in hip-hop to forgo innovative wordplay for a robot machine and become another rapper turn sanger. Disappointed because we were promised a collection of albums in a series… the next being Good Ass Job. And concerned because I thought that he may have finally lost his mind or was finding it hard to work while still grieving the tragic loss of his mother. But then I realized that, this is Kanye West I was talking about. And hate it or love it Kanye is a genius and in his grief and insanity he delivered a great album that as he calls it is not hip-hop but a work of pop art. Well almost…

Say You Will: Kanye croons over a haunting but inviting melody that just screams REMIX. And while he contends that this album is not hip-hop but pop art, I could hear a rapper going in on this beat. Check out Drake’s more than dope rendition here. The song in itself is tells the story of love and loss but the lyrics also convey a deeper frustration that being in love can cause. When I grab your neck/I touch your soul.

Welcome To Heartbreak: One of my favorites and a standout track on the album. The production on this is solid, a very complex beat, with the keys and the drums coming in at exactly the right moments. And while Kanye’s lyrics about the things that are missing from life, and that all the money and the fame can’t compensate for it, ‘my friend showed my pictures of his kids/and all I could show him was pictures of my cribs.’ Adding to this piece is a powerful hook by Kid CuDi adding something extra special that brings the track to life.

Heartless: This is one for the clubs even if he didn’t mean it to be. But while listening to it I can’t help but imagine a line of sorority girls with their pinky’s in the air doing synchronized dances around the floor. The track is good in that it’s catchy and has a steady melody but in my opinion can be overlooked in the rotation.

Amazing: This is the closest that Kanye has to rapping on this album also ironically the track where the auto tune effect is most pronounced. It’s the standard Kanye braggadocio I’m the best, I’m a genius and so forth. But moreover it’s the man telling his audience that even though some of you don’t like me, I know that I’m great. And no matter what you’ll never take that from me… The additional verse from Jeezy doesn’t really add anything to the track but it is a nice departure from the auto tune enhanced singing.

Love Lockdown: The track that started the love/hate controversy, and made people look at Ye sideways. I actually loved it when I first heard it live on the VMA’s mainly because at that particular time I was actually going through the same situation he’s describes in the song. The lyrics are powerful and delivered with great intensity made more better by the steady and continuous thumping of the simulated heart beat and tribal drums making this track standout.

Paranoid: Another favorite on the album, partly because it’s so fun. Everyone can relate to the lyrics about the paranoid partner that is constantly worried about something being wrong instead of what’s right. It’s very catchy and you may find yourself unconsciously singing along to it. Hopefully alone in the car.

Robocop: Well they can’t all be winners. This in my opinion is the dud of the album. The one that I find myself skipping to get on to the next track. The Coldplayesque beat and dead lyrics don’t do anything for me and I don’t see how it really fits into the overall theme of the album. It sounds like it should have just been left on the cutting room floor.

Streetlights: By far my favorite track on the album but it’s so solemn that it kind of hard to listen too. Sort of like when I was younger and listening to REM but couldn’t do it in excess because it was just so damn depressing. Yeah that’s what it reminds me of. The emotion that is expressed in this song is so powerful and the feeling that it evokes and gets amplified by the background choir. The images that come to mind when listening are beautiful, and again I can see why Ye calls this pop art.

Bad News: I don’t really know how to describe this one. It begins very suddenly and feels more like an interlude than an actual feature. Lyrically Kanye is very solemn in his delivery and sounds as if it was sang with a lot of hurt. The production is beautiful and plays out like a symphony concert rising in tempo and then it slowly going down until it fades away.

See You In My Nightmares: The obligatory featuring Lil’ Wayne track that appears on almost every album that has been released this year. Of course he too makes use of the auto tune enhancement. And you would think that the two together would be overkill but they both blend very well together on the track. The flow and the delivery is spot on and Weezy and Jeezy made a surprisingly good ballad together.

Coldest Winter: Another favorite but a very sad piece in which Kanye pays tribute and eulogizes his mother. Again a song that is delivered with an understandable feeling of pain, it’s a very heartfelt song and the highlight of the album. The melody is poignant and hypnotic and the ups and down in tempo draws the listener deeper into the song. I wish more artists were as this passionate about their music.

I give this album 6 out of 7 headnods. 808’s and Heartbreaks may not end up being the master work of art that Kanye wanted it to be it is still a very solid and beautiful album. It show’s his progression as an artist and that he’s not afraid of stepping outside and perhaps compromising himself at expense of his fan base. Those that appreciate good art and good music will love this and with the exception of a couple missteps one that will definitely get repeat listens. This is one to place in your collection.

*Head Nod Scale

1=Don’t waste your time like I did mine.
2=Waste your time like I did mine but I dare you to disagree.
3=Well, there was the single.
4=If it were a hand in spades there’s “two and a possible”.
5=It’s a “good” album. Meaning at least 3 or 4 solid songs.
6=Really Good Project. Has the “Rewind Factor” more than once.
7=The number of completion. Great Album. Instant Classic

Common - Universal Mind Control Review

I’m Thed Weller and I approve this review.

[track 1] The Intro Universal Mind Control is

[track 4] Sex 4 Sugar is so off-the-wall & seemingly out of character for Common, you might just like it…I did…a little.

[track 6] Gladiator Hard beats and Hard rhymes…are you not entertained? Favorite line from this one,

*Head Nod Scale
1=Don’t waste your time like I did mine.
2=Waste your time like I did mine but I dare you to disagree.
3=Well, there was the single.
4=If it were a hand in spades there’s “two and a possible”.
5=It’s a “good” album. Meaning at least 3 or 4 solid songs.
6=Really Good Project. Has the “Rewind Factor” more than once.
7=The number of completion. Great Album. Instant Classic.

Musiq - OnMyRadio Review

There are few standout tracks on the album but more songs that seem formulaic. Specifically, Deserveumore and Loveofmylife, which leave me wondering if I’ve heard them before on previous Musiq albums. Others, such as Iwannabe and Moneyright, make me believe he’s trying too hard. The effort is appreciated but the songs are lackluster versions of reggae and current rap/dance/soul hybrids (read: Green Light). Others left me scratching my head… Until; it’s actually not a bad song but the vocals in the background are distracting and ultimately aggravating. It reminds me of drawing before Photoshop was released. You’ll have a good picture and you keep adding to it and then suddenly, YOU’VE DONE TOO MUCH. Those haunting vocals in the background are TOO MUCH. Can we get a version sans irritating background vocals Musiq? Come on man, It’s me Rahdu…(lol).

*Head Nod Scale
1=Don’t waste your time like I did mine.
2=Waste your time like I did mine but I dare you to disagree.
3=Well, there was the single.
4=If it were a hand in spades there’s “two and a possible”.
5=It’s a “good” album. Meaning at least 3 or 4 solid songs.
6=Really Good Project. Has the “Rewind Factor” more than once.
7=The number of completion. Great Album. Instant Classic.

Raphael Saadiq - The Way I See It - Review

Touring with Prince, working with a gold and platinum selling band (Tony!,Toni!,Tone!), three solo albums, collaborating with Stevie Wonder, and a host of others, Raphael Saadiq has accomplished more in his 20 year recording career than what most artists dream of. On his latest release, The Way I See It, we discover him looking to the past, to the classic soul sounds of the 1960’s. I’ve been hearing tracks from this cd floating around for some time, but I had to figure out…why did he choose to go to the 60’s era of Amy Winehouse, oops, I mean the Motown era…

On this release, Saadiq effortlessly jumps into character on each and every track, channeling the likes of the Temptations, Smokey Robinson, even Al Green, while cross-pollinating Stax, Motown, Hot Wax and Invictus record labels all in one 13 track nostalgic medley of vintage numbers, complete with the tight instrumentation and songwriting Raphael has been known for.

From the swinging Temps vibe of Keep Marchin ‘, to another one of my favorites, Big Easy featuring New Orleans supergroup, The Rebirth Brass Band, Raphael manages to capture the vibe without sounding cheesy or overproduced. Oh Girl opens with sprinkled keys, guitar strums, and bells, but the snapping drums will definitely be a favorite for the producers and beat makers out there..I’m sure this track is being chopped up as we speak…there is also a “take 2″ version featuring Jay-Z (I prefer the take 1 version myself). I would have to say that my favorite track is Never Give You Up featuring guest vocalist Charles “CJ” Hilton with none other than Stevie Wonder on harmonica, both coupled with the string arrangements and harp instrumentation that make this track come alive with a Marvin Gaye feel that you just can’t front on.

I give this album a 6 out of 7 head nods, only losing one nod/point for timing. I feel that this release, post Winehouse may (or may not) catch a deaf ear to many fans and would-be fans, but that’s just my opinion. I’ve had to check myself on a few occasions and remember that classic soul is and will remain an integral part of black music culture no matter how often it may be duplicated and imitated. The “anti-bandwagon” in me is like a defense mechanism at times (lol).

At the end of the day, this is a great album done by one of the absolute best producers of our time who is simply paying tribute to the mavericks of music and entertainment that paved the way for him and us: the musicians, singers, producers, deejays of today…a dedication for our parents and grandparents who also passed it on to us…I do know that I’ll be passing this album on to my folks…360°.

Please excuse my wordiness on this one,
Junior Star

*Head Nod Scale
1=Don’t waste your time like I did mine.
2=Waste your time like I did mine but I dare you to disagree.
3=Well, there was the single.
4=If it were a hand in spades there’s “two and a possible”.
5=It’s a “good” album. Meaning at least 3 or 4 solid songs.
6=Really Good Project. Has the “Rewind Factor” more than once.
7=The number of completion. Great Album. Instant Classic.

Jesse Boykins III - The Beauty Created Review

Approximately 9 months and 11 days after dropping his spectactular debut EP, Dopamine, Jesse Boykins III and crew return to create Beauty. Beauty (n) - the quality or aggregate of qualities in a person or thing that gives pleasure to the senses or pleasurably exalts the mind or spirit. Wielding style and substance, The Beauty Created can only be described as Boykins’ “Hip Hop Bossa Electro Soul Opus,” but even that does this album no justice. The parts of The Beauty Created are equally as astounding as it’s sum. The songwriting, shrouded in allegory and symbolism, covers a wide range of subjects with women being the topic, but not the focus of the song, allowing the listener to appreciate the surface of a song or immerse themselves in its depths. Sonically, you can hear influences from Jobim to the Isleys, Marvin to Sa-Ra and beyond. However, Boykins doesn’t merely recreate their sound, he adds his own flavor to it, dazzling the ear with a gumbo of sound without sounding like an experimental novice. (Check Shine which begins with electro hip hop soul then takes you staight to Jamaica and back again.)

Overall, The Beauty Created, remains in a lane all it’s own. Trendsetters in the music industry, nowadays, are slim to none. Jesse Boykins III is definitely carving his own lane and I hope we see his influence on his peers and their ilk. Experimental without being ostentatious (given his musical background) or too “out there”, The Beauty Created is worth your patronage on Amazon.com and iTunes. With his first full length, Jesse Boykins III has created an album that gives pleasure to the senses or pleasurably exalts the mind or spirit, or more simply Beauty…and that’s not just the new car smell talking (lol).

*Head Nod Scale
1=Don’t waste your time like I did mine.
2=Waste your time like I did mine but I dare you to disagree.
3=Well, there was the single.
4=If it were a hand in spades there’s “two and a possible”.
5=It’s a “good” album. Meaning at least 3 or 4 solid songs.
6=Really Good Project. Has the “Rewind Factor” more than once.
7=The number of completion. Great Album. Instant Classic.

Renaissance: Q-Tip / The Review