The Apollo Concert was spectacular! | |
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God, I hope hope HOPE the Apollo show leaks. "Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry | |
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FOOLS multiply when WISE Men & Women are silent. | |
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A Nice D'angelo Page That I Stumbled Upon... Ladies Enjoy!
http://funkyeahdangelo.tumblr.com
[Edited 2/9/15 20:54pm] | |
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Finally downloaded the album after the hype blew over... been jammin' out to it the last day! I honestly had given up hope, but I'm glad he has emerged from whatever dark place he was in, and is back making music. "So fierce U look 2night, the brightest star pales 2 Ur sex..." | |
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The Vanguard has landed in Zurich. Time 2 get Funky.............. FOOLS multiply when WISE Men & Women are silent. | |
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You heard it here first, y'all: | |
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. A few months ago, I got to visit the SNL sound mixing studio in Rockefeller right next to the stage where they shoot. They were just about finished installing a brand new state of the art setup, which sounded like it was going to be used only for mixing the SNL music. So I'd expect/hope that they'll be having much better sounding performances from now on. . One interesting thing I found out was that they fine tune the music mix for west coast audiences (and repeats) straight after airing live on the east coast. So watch the west coast feed for the better sounding music mix Music, sweet music, I wish I could caress and...kiss, kiss... | |
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I didn't know SNL tweaked the mix between broadcasts! I always catch the live show (I think). | |
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I highly doubt that.
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If that happens, we will have to hear everyone and their mama on Twitter asking who D'Angelo is.
As it is, I doubt Black Messiah will win any Grammys. The album was not the sonic boom I hoped it would be and mainstream media is not hyping it. That may be due to the fact that D is not talking to the media at all.
I am hoping the tour turns things around, but I doubt it. Black Messiah seems to have caught on only among 90s heads and crate diggers and hipsters. It's not been embraced wholly by the mainstream. "Lack of home training crosses all boundaries." | |
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. They may have only started doing this recently...not sure...but it certainly helps that they have all their studio rooms updated and intricately connected. Looked like a dream to work in. . Music, sweet music, I wish I could caress and...kiss, kiss... | |
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Neither everyone and their mama knew that Beck's Morning Phase would win this year's Grammy. [Edited 2/10/15 18:59pm] | |
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Fucking Sony took down all the apollo vids-royally pissed, cause I want to see Prayer and alright. "Lack of home training crosses all boundaries." | |
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http://www.slate.com/blogs/browbeat/2015/02/09/d_angelo_apollo_show_review_first_u_s_show_since_black_messiah_s_release.html D’Angelo’s Return to the Apollo Was Joyful, Humble, and TriumphantD'Angelo performs his first U.S. show since the release of Black Messiah at the Apollo Theater.
Photography by Mark von Holden/SA PRO, Inc. The most perfect thing about D’Angelo’s show Saturday night in New York—currently the only United States appearance that’s been announced in support of his 2014 album of the year Black Messiah—was the venue: the Apollo Theater in Harlem. There might not be any better venue than the Apollo for someone whose flair for performing is balanced with world-historic resistance to being a commercialized celebrity. It’s probably the world’s premiere showcase for the soul/funk/R&B entertainment tradition D’Angelo is a part of—a place, therefore, to make a big statement—but it is also, for all the size of its reputation, very intimate in practice, allowing a crowd of only 1,500 to curl up and around the stage. I’d never been to the Apollo before, and now I understand why its amateur night (which D’Angelo won as a teenager) is so famous—while the stage’s history and grandeur demand an epic effort from anyone who appears on it, the tight dimensions also demand that those performers win over each member of the audience on an almost one-on-one basis. You’ve got to balance the big and the small, and you can’t coast on reputation. D’Angelo met the challenge, though, with a demeanor that was endearingly and perhaps surprisingly low-key for someone who just labeled his long-awaited return to his job with the word messiah. For all D’Angelo’s virtuosity, he is also someone who very evidently appreciates a stark riff, a repeated groove, and the visceral power of a band finding a few bars that it likes, turning the dials up, and playing the bejeezus out of those four bars until it’s time to go home. In line for a drink, I overheard—from someone who at least wanted to project the appearance of knowing what she was talking about—that he’s trying to put together more American tour dates with his new band, the Vanguard. (He’s got a number scheduled in Europe.) I’m not surprised: He may have recently gone 12 years without performing, but on Saturday D’Angelo seemed like someone having enough fun to keep playing. After a dramatic solo opening performance of “Prayer” from the new album, the vibe on stage was, happily, more “catching up with an old pal” than “hip big-city music-industrial buzz-event.” Almost all of the seven band members and three backing vocalists present were D’Angelo veterans who have played past gigs with him and contributed to the new album, and though this was his first full show since the album’s release, the group handled their front man’s characteristic deliberate rhythms with confidence. For someone with such a delicate falsetto, D’Angelo also has a very effective full-throat roar, and he used it percussively throughout the night to match the band as songs like “Sugah Daddy,” “Left and Right,” and “Chicken Grease” were drawn out into full-volume, electric guitar-led jams. As the musicians circled around uncomplicated but satisfying patterns, their idolized and scrutinized lead singer, the meticulous genius, was happy to punctuate the downbeat with exclamations like “yeah!” and “clap your hands!” Decades of practice, experience, and thought had gone into what were seeing on the stage, but a five-year-old could have understood why we liked it. D’Angelo finished the night alone again playing “Untitled (How Does It Feel),” a moment that might have seemed perfect for the narrative of the dramatic comeback, since the way he was objectified by audiences after the release of the song’s sexy video is commonly thought be one of the reasons he spent so long after 2000’s Voodoo hiding from the spotlight. But the mood in the room was not heavy or portentous. Like the rest of the show, it was light—less a statement than a collaboration, with D’Angelo encouraging the crowd to join in and sing the chorus with him a capella. Several times during the night he reached out to touch the hands of the people in front rows, men and women alike. Not in a coy or exaggerated way, but instead more like he was giving them the kind of handshake or high five you give someone after a team you're both watching scores a touchdown. Things were rolling, and all of us were glad to be along for the ride.
[Edited 2/10/15 22:53pm] "Lack of home training crosses all boundaries." | |
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Vid from Zurich show:
https://www.youtube.com/watch?v=NLgtSxLwGRc "Lack of home training crosses all boundaries." | |
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D’Angelo and PostmodernismA Look at D’Angelo’s ‘Black Messiah’ and How Postmodernism Changed Pop Music.PHOTO: GREG HARRISFeb. 12, 2015 12:12 p.m. ETBeck or no Beck, the record that everybody’s talking about is still D’Angelo’s “Black Messiah,” which came out in December to an eardrum-popping chorus of acclaim. And rightly so: It’s a thickly layered, conceptually rich synthesis of R&B, hip-hop, pop, jazz and classical music that’s got the critics hustling for relevant reference points. Listeners with very long memories have compared it to Marvin Gaye’s “What’s Going On” and Sly and the Family Stone’s “There’s a Riot Goin’ On,” both of which turn 44 this year. For my part, I found myself thinking of an even older album, the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band,” which fused a similarly dissimilar assortment of musical styles and techniques into a convincing whole. But no matter what “Black Messiah” reminds you of—if anything—it’s the most exciting pop-music album to come along in years.Morgan James agrees. Even though she recently cut a superb new album of her own, “Hunter,” she rushed back into the studio last month to tape a passionate tribute to D’Angelo and his band, the Vanguard, which she has released not commercially but as a YouTube video. “The more I dig into ‘Black Messiah,’ the more I think D’Angelo and the Vanguard have made the best rock album in addition to the best R&B album,” Ms. James recently tweeted. So she’s paid homage to its protean creator by recording gorgeously sung, arrestingly individual cover versions of the 12 songs on “Black Messiah,” all of them taped in a single day and accompanied only by the guitar of Doug Wamble.Like D’Angelo, Ms. James effortlessly eludes neat categorization. Classically trained at Juilliard, she got her start in musical comedy, appearing four times to date on Broadway. Her first solo album, recorded live in 2012 at Dizzy’s Club Coca-Cola, was a tribute to Nina Simone in which she shifted with uncanny ease from blues to funk to standards, backed by a jazz combo. On “Hunter,” she sings self-penned soul songs in a voice big enough to knock you to the ground and delicate enough to make you shiver.So…what’s going on? Does the advent of pop musicians as stylistically wide-ranging as D’Angelo and Ms. James signal the coming of a trend? Or is it merely the latest example of the cross-pollination that’s been a key element of American popular music ever since Louis Armstrong, the greatest jazzman of the 20th century, started singing his own swinging versions of sophisticated pop tunes like “Body and Soul” and “Stardust” in the ’30s?For what it’s worth, I see “Black Messiah” as a particularly choice example of postmodern pop. Postmodernism, which first appeared on the American cultural scene in the ’70s, was a purposeful response to the fast-growing rigidity of postwar modern art. By that time, modernism had degenerated into an imagination-stifling ideology whose most militant proponents actually went so far as to argue that abstract painting, serial music and plotless dance were not merely the One Best Way to make art but were—yes—historically inevitable.Advertisement
The resulting sense of constraint was especially pronounced in the world of modern classical music. Throughout the ’50s and early ’60s, conformity was the watchword: Either you composed in the prevailing academic style or you simply didn’t get performed. But the coming of postmodernism, which declared the “rules” of modern art to be infinitely malleable, changed all that. In “Words Without Music,” his soon-to-be-published memoir, Philip Glass speaks of how the “narrow and intolerant” world of late modernism has since given way to a “new music world of diversity and heterodoxy, where the means of expression—acoustic, electronic, various forms of global and indigenous music—can be equally broad and diverse.”Whatever you think of the radical relativism of postmodern cultural theory—and I detest it—the fact is that the coming of postmodernism has proved to be both liberating and stimulating to musicians of all kinds. It made it possible for minimalist classical composers like Mr. Glass and neo-romantic moderns like Lowell Liebermann to get a hearing in the concert hall and find their own loyal audiences. Jazz musicians, who had long been in the business of melting down unlikely combinations of styles into glittering new alloys, embraced it joyfully. And the paradoxically personal eclecticism of pop musicians like D’Angelo, Ms. James and the folk-rock singer-songwriter Erin McKeown, who performs time-honored standards like Harold Arlen’s “Get Happy” and Johnny Mercer’s “Something’s Gotta Give” alongside her own totally contemporary tales of love, loss, anger and hope, is as postmodern as it gets.Yes, the old ways still hold sway throughout much of the pop-music world. On Sunday, 83 Grammy Awards were handed out in such narrow categories as “Compilation Soundtrack for Visual Media,” “Rap/Sung Collaboration” and “Regional Mexican Music Album (Including Tejano).” Fine—if you’re into pigeonholes. Me, I like to be surprised, and that’s why I’ve been spending so much time listening to “Black Messiah.” The only box into which it fits is the one that says “D’Angelo” on top.Mr. Teachout, the Journal’s drama critic, writes “Sightings” every other Friday. Write to him at tteachout@wsj.com.
Just Music-No Categories-Enjoy It! | |
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Morgan James sucks. The end. Soul lite. More vids
https://www.youtube.com/watch?v=LIljQHhKI58
https://www.youtube.com/watch?v=hC--SuybjIc "Lack of home training crosses all boundaries." | |
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Morgan James RULES! Yeah!
[Edited 2/13/15 18:15pm] [Edited 2/13/15 18:17pm] | |
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Where is the new Material live? FOOLS multiply when WISE Men & Women are silent. | |
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Looked like a great show!!! | |
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Beautiful black man here, sexi! [Edited 2/13/15 22:17pm] | |
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So conversation seems to have dropped off here over the last few days, but I just thought you guys would like to know that audience recordings for the two European shows have turned up on the internet, apparently the Apollo is also floating around as well, but I haven't been able to find it personally. I'm going to see him tomorrow, and judging from this fantastic recording of the German concert it's going to be incredible, can't wait! Heavenly wine and roses seems to whisper to me when you smile...
Always cry for love, never cry for pain... | |
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I think all the vids of the apollo show were taken down. If there is a souncloud made of the Apollo show, please post it. "Lack of home training crosses all boundaries." | |
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Personally, I would love to hear any and all of these shows "Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry | |
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D has learned well from will ALWAYS think of like a "ACT OF GOD"! N another realm. mean of all people who might of been aliens or angels.if found out that wasn't of this earth, would not have been that surprised. R.I.P. | |
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I think it has more to do with Sony than D. After all, his European concert gigs are up now on Youtube and keep pouring in. Only the Apollo ones were taken down. Why? "Lack of home training crosses all boundaries." | |
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