this is excerpts from an email, sent to me from a yahoo group concerning a recent Bilal concert:

Tuesday, June 22, 2004. The spot is called "The Eclectic Ride @ Joe's
Pub" A dude name Forrest hosts it and it provides some cool soul acts
going down today. Every Tuesday, I believe.

I have no time to proof read this mofo - so please bare with any
spelling errors or mistakes.

Let's see... Bilal was wearing a soccer type shirt with long sleeves
pulled back- he's got some tattoo on his right arm that looks like a
elaborate stripe or words inside. I never saw it before. Yet when he
holds the mic you clearly see it - maybe it was intentionally
positioned there for performance. Big ass huge belt - but not the
flashy buckle, but the belt you don't want your ass to get beat by
moms. dig?!!! Boxers under his pants were pulled up 3 inches over his
shirt! (I'll never understand that ghetto style, yall). Now for the
pants, boy wasn't wearing them. Hold on ladies... don't get your mind
all dirty! Brotha Bilal was wearing some plaid knickers -going
straight up British style with knickers (or what I'd call the paperboy
pants from back in the 1920s along with the leather shoes!! Not
long shorts that go just below the knee but long ass shorts that go to
your calf with black/brown socks- I don't think the cameraman panned
down to what shoes he was wearing but the boy definitely stood out.
Half hip hop half 1920 schoolboy. He had the tiger stripped beard on
one side. His dreads seemed to have been curled up like they were in
rollers or little bobs all over his head - as the show went on the bobs
were coming lose. Cool look. No shades.

The show was one HUGE jam session. Not a Bilal concert. More so a free
for all- yet he did do one or 2 tracks from his new album!. It was a
free-for all - just jammin' stuff / making shit up lyrically and such.
No background singers. Just Bass, Drums, Keys, and Guitar. Small ass
stage so you couldn't get much movement.

So for the first groove...
This hot ass track that had a chorus that goes "Something To Hold On
To" and I mean the bass line is hitting. Me'Shell tore that mofo up! IT
had a type of reggae feel but just a lovely progression. I was
seriously feelin' this track and the fav out of the entire set!
SMOKIN! - IF this was a freestyle - the shit SHOULD be on the album -
very funky during the verse as he sings in his low talking voice - got
that growl cameo type vocal.

2nd groove - Footsteps In The Dark - Isley Brothers
Nice and had everyone groovin' to the slow jam. He did Mr. Bigg proud!

3rd groove - This is the part where he says he's got a new album coming
out..."someday... I think it's coming out in...September." Then states
something about "he doesn't even know what the hell the name of the
album is..." He goes to describe the song and say, "the songs got
strings swooshing and back up vocals and shit, but just feel it." This
was a different song. Sort of like 2nd child - where it's just not the
typical song you hear everyday. It has a waltz type vibe with jazzy
overtones. Since this isn't his band they are adding a lot of crazy
drumming and such on the groove. There doesn't seem to be a main chorus
and the band bugs out in the middle of the track during the guitar
solo. The guitar is too soft in the mix to hear. You can tell he likes
having a fun singing this power house song. "I Did It All For Love"
could be the name of the song. Or "Even the Sun Moves On".

4th groove - Bilal wanted to get Bluesy on everyone and do "There's a
Whole lotta shit going on". "One burbon, one scotch and one beer..."
This is where it seems the band couldn't keep up with Bilal. He calls
for some blues and the band including Me'shell playing bass. You can
hear B say, fuck it as he wasn't getting the blues. Then he finally
gets the drummer to do a gospel beat to boogaloo the shit up - and he's
finally feelin' something and then the drummer changes it a 2nd later
to a fuckin' hip hop beat? They couldn't play the blues! They stumbled
into some hip/hop mellow groove with nothing near the damn blues. The
only cat who knew blues was his guitarist. I don't know if Meshell was
fucked up and high or if she didn't give a fuck to play the blues or
just didn't damn well know how. The drummer, Chris Dave, from Mint
Condition, couldn't play the fuckin' blues on drums either?! I was
stunned! Here you got Bilal, one of the baddest mothafuckas singing
today, asking/wanting some blues and the fuckin' musicians can't give
it to him! The brotha wanted to take it back to some heathen church and
the band was lifeless. Pitiful! You hear Bilal yell out "Where's the
2/5 at, Gaawwwd?!!!" The band didn't have a clue! So he had to work
with what he had... A few James Brown/Prince screaming "Baby's" And
"Shake it, shake it, shake it". The bands calms down and he gives a
"rest in peace" to Ray Charles. And goes into a vocal ditty, "Red Top"
for lil' Ray Charles.

This is where the show falls flat on it's ass as B begins to bring
audience members up to sing the blues. Sad ass 1/2 an hour of Bilal
bringin. First up is a big sista - and she's not saying shit let alone
singing but she got a big laugh when she blurted out, "I ain't got no
mothafuckin' job..." but she gets to dance and shake her BIG ass all on
bilal. Bilal's lucky his back isn't broke! Haahaaaaa!

Bilal then brings up Anthony Mills! This brotha is trying to get moving
his own career this brotha sung back up for Harry Belafonte - from Ohio
and doing his thing in NY. I hear he and Bilal are cool with each
other. He'll be playing Joe's Pub July 3rd I think. I have yet to hear
his cd.

Next is some real funny shit- they let this funky ass Jimi Hendrix
looking mothafucka get up and play guitar. This is where looking good
or funky doesn't necessarily mean you can play...this mothafucka was
pitiful! I am a half assed musician and this guy can solo as good as me
and that's really SUCKY! Haaaaahaa! I'm sure that Bilal didn't kick
that mofo off the stage, because my ass would have! That shit was
funny! He couldn't do squat... and was on for too damn long even a
minute is too long for this lame mothafucka! All I could do was laugh!
Haahaaaa!

2nd woman they let up on stage can do alright... This is where the
video runs out. I only have the audio to go by here. But the sista' can
does the mic o.k. Not bad at all. And Bilal even flows in with her.

He then let's St. Juste on the mic and - even though I dig the first
girl's INTRO track on her web site... I don't think the girl can sing.
Reminds me of.. aw, fuck it... she's not worth discussing... NEXT!

Forrest interjects and says they can let 2 more people up. Bilal calls
for Chyna Black - who's got skills.... First off - I got to say...
sista girl has got much BACK to break a nigga in half! No JOKE! Ass
for days, yall... And when you put that in spandex - it's got to be
said! Sorry for my crass-self ladies.... She flows and it's all
good...

The next girl? I don't know what the hell she was doing. But she
couldn't sing! She'd get the boot on my stage! But Bilal was
feelin' her. I don't know why. Sort of flat. Funny thing.. she starts
saying, "...Some bitches don't understand how I like to sing..." And I
agree with "the bitches"...Moaning on the mic don't make you a
vocalist.

Another girl get's the mic and can sing better. But by this time I'm
damn bored - and wondered what the hell happened to the 2 more singer
limit?!! I'm done...

Another woman... gets on.. and by this time I hate the fuckin' BLUES
that isn't really blues anyway... I'm just damn bored and this can make
a mofo leave the damn club! Jeeze, listening to shitty singers
especially this one crackin' and shit!

Next is some dude on the mic. And I don't know who it is. Could be
Forrest (the host). But who ever it is.. it's o.k. and gets worse after
that.... yea...

Another guy gets on the mic! I'm about to blow my damn brains out now!
Jeezus! Sounds like they got some old ass sounding mothafucka on the
mix and I'm done! Keep all drunk ass mothafuckas off the mic. And Bilal
is goading him on to continue! WHA?!!! THANK GOD Bilal takes the mic
back.

And sure enough he gives the mic to another woman! DAMN!!!! I just want
to whup Bilal's ass by this time... 22 and a half minutes have passed
out! I think I need an ambulance! As we get to hear one last wanna-be
singer trying to show off their shit to Bilal. Thank goodness it's
over.

The night is almost over as we get a long and percussive drum intro
that gets a little tribal heavy! It then mellows out and it's a long
special effect intro as Bilal asks to 'Dim the fuckin lights". Hippy
trippy/jazzy vibes and Korg Triton keys, and outlandish, spacey, sound
effects creep throughout - I don't know who's triggering them as I hear
the keys playing as well. Experimental type music here as they
segue-way into, "This is a song that makes me spill out all my guts..."
Sometimes. At the end he adds in some funny ad libs. I hope the woman
here aren't too offended, but if you know Bilal he's crazy ass doesn't
care what he says out of his mouth! He begins to sing, "I used to freak
with the freakiest ho's too... I used tell 'em...never let a nigga'
with stinky breath eat you out...that's how the pussy starts smelling
like fish!" No fuckin' joke! Had me on the floor dying! then he
goes on a bit later riffin' on the state of the U.S. economy about
"Fuck the economy...I mean, gas costs about $5 in Los Vegas and $2 in
New Jersey and $3 in New York City...somebody tell me what's really
going on." Then he comes up with the baddest lyric riff that closes it
up, "I ain't tryin' to get Joe's Pub BOMBED though, so I'ma' go back to
the regular flow...Sometimes...." Just cool as shit how he sung that
rhyme off the top of his dome.

Band introductions...Keys-Robert Glasper, Guitar-Mike Star, Drums-Chris
Dave, Me'Shell Ndegeocello on bass... "I think that's it...Shit...
THANK YOU!" then Bilal tries to rhyme.. Good thing he's got a voice.
But that's him just messin' around...They tried to get Bilal to
sing Soul Sista but he didn't care to come back on stage....

yada, yada, yada...

Bilal, Meshell=

But he can sing his ass off!

okaypimpn said:

right. I'm just surprised at him allowin' folx in the audience come up and sing. That's crazy!
That's like the times when Whitney would just point the mic at the audience and let the audience sing the all the verses and chorus' of her stuff! People pay to see Bilal, not some chick or dude, screechin' on the mic.

i love bilal, i don't think he gets the props that he deserves. He should be up there on those charts like ursher is right now. I'm getting sick of usher, he's turning into the "pop"sicle stick on the pop tart charts.

mochalox said:

Right!

Like that award show (forget which one) when Whitney couldn't hit the last note of "I Will Always Love You" and she let some chick from her then protege group, Sunday, finish it off. It was really sad because we all know no TRUE diva would share the spotlight with anyone!

okaypimpn said:

protege group? What protege group?
...need...more...info...must...know...all...
who's Sunday?

Bilal is the shit, I can't wait for his new album to drop. He's like that "special" crazy cousin that nobody wants to invite to the house, but it's always a lot of fun when he drops by.

mochalox said:

It was a group of girls from Jersey that Whitney was planning on putting out like right after the Your Love Is My Love album dropped, but it never surfaced. They had a video, but it didn't do too well (as I'm sure ol' Nippy was too busy getting versus focusing her attention to the group). From my understanding they have since broken up and the girl who sung the ending of "I Will Always Love You" (from the first BET Awards show! That was it! ) has gone solo...girl's got some pipes, too! I'll try to see if there's anything else floating out there about them.

okaypimpn said:

missfee said:

true that

You know I was hesitant to give this brotha a chance until my hair stylist played his CD at the shop on day. "You Are" is my fave on that album. I just love all the ballads on there. I plan on singing "Sometimes" at our Christmas Karaoke party this year.

Oh yeah, I've also liked him in Talib Kweli's "Waiting for the DJ"

does anyone know the title to his first album? I would like to know so that I can get it....Please send me an org note about it some1.....

missfee said:

Thanks Mochalox for that in-depth (and slightly disturbing) review.

disturbing? I didn’t write that concert review up-top, but since you asked my opinion, I’ll review 5 of my favorite Bilal songs from his album, 1st Born Second.
First is Sometimes, written by B and ?uesto, a familiar tune about the what if’s we play with ourselves regarding our reactions to situations that present themselves without warning. It has enough organ in it to beckon an “Amen” when B acknowledges that he’s aware that his girl pushes his buttons on purpose b/c she knows it drives him to the brink of insanity. He’s making a lot of wishes here and some of them tell us that he feels the pressures of leadership brought on by some of the people that follow him. The snare drags along begging your head to nod and B’s choir almost takes it to church here, but we all know that his live show takes it all the way to the Baptismal pool. (That’s my boy!)

Second is, Soul Sista, which was my first introduction to B. This song is an ode to women, which we come to know that B has an addiction to. It also drags along in true 'B style like that guy at the bar who hits on you with a crass line like, ”We must have been soul mates in another life.” Now, sistahs, we know this kind of line will get a bruh cancelled faster than Homeboys in Outer Space. But b/c we know it’s B, we giggle and dance with the inebriated fool all night; all the while hoping that when he sobers up his drunken promises of loving us the right way will come to pass.

When Will You Call is a song I love as much as How Come U Don't Call Me Anymore. It is about the agony of ‘not’ having the ball in your court. He shows the classic symptoms of “I’ve-been-dropped-like-a-bad-habit-it is.” All traces of the newly defunct relationship are pretty much gone and he can’t eat, sleep or start over without proper closure. At this point in his desperation, he’s willing to settle for a phone call as impersonal as it may be.
You know, while waiting for a phone call, one goes though several ranges of emotion and B shows them all. First he’s anxious, reminding himself that it’s almost been 3 days since he’s heard from his not-so-significant other, then he resolves to be patient, saying, “Call me when you get a chance.” Then he’s reminiscent of the little things that remind him of her. Then he becomes angry at her lack of notice and practically yells at the phone, “CALL ME! CALL ME! CALL! WHEN WILL YOU CALL?”
Lastly we seems to be worried. He just wants to know if the girls’ safe. Yeah right! Sounds like perfect stalker material to me….but we all have been there, right? Right. So we don’t blame the man: this time.

Fourth is a song that used to depress me, or at least put me in a funk, but now I find it endearing. Queen of Sanity is where we find B in a “Gospel Gold” mood. This song is Hawkins/Crouch-esque and drags with the intensity of Be Grateful. What’s funny is that a lot of the west coast gospel music of that time (80s-90s) had a sad tune but the lyrics were quite uplifting and encouraging…anyways, I digress… Mr. Oliver shows his classically trained *ss as well as shows off his grimy street grit as he croons and squalls for love.
Lyrically, QOS reminds me of the lyrics from the Love Below’s Behold A Lady. “Today I might snow, tomorrow I'll rain. 3000's always changing but you stay the same. And I need that, hey I need that (in my life).” He’s wondering how his girl is managing to deal with him along with the stress of day-to-day life. B/c she handles it so well he has crowned her royally.

Last is Love Poems, which opens up with the sound of a muted steel drum or maybe it’s just an old glass jar being tapped by a wooden spoon. I don’t know. Anyways, an organ hypnotizes you with its legato melody and the background singers swell their “Oohs” with an echo and tone rivaling that of an English Monk in a hushed monastery. Yet, what makes this song extra special is the lyrics. Now, I must admit, the first time I heard B vocally plead his case, I thought “Now, here goes another bruh, who’s made it down the aisle, planted the kiss, and has been pronounced man-and-wife; and now he’s gotten cold feet. I was upset at him for not doing the responsible thing and just be up front with the woman and just admit that he wasn’t ready for commitment. But of course, time has a way of revealing all things, and I found that B’s words were about so much more than cold feet. He spoke about the labels that we give, use or accept. Just think about what happens when a person assumes a new label like Mom, Managing Supervisor, Coach, or even Wifey. New titles usually mean more responsability. Also I opened up the song to additional meanings when I thought about branding/labeling in commercial retail and music genres. It becomes increasingly clear that in more ways than one, B doesn’t want to be labeled and neither do I: sometimes…