This month we are highlighting, singer and Houston native, Eloise Laws

Eloise Laws is a hidden gem whose music is most often dug up out of dusty bins by vinyl record aficionados. Laws emerged in the seventies and despite being the sister of flutist Hubert Laws, saxophonist Ronnie Laws and vocalist Debra Laws, she never got the “big break” in the form of a hit single she deserved. As much style as she exudes on the covers of her albums, she also includes in her music. Hers is a sweet, groovy and sassy sound. Best exemplified by her singles “Baby You Lied” and “Ain’t It Good Feeling Good” to name a few.

Hue Soul at it’s best.

Tidbits:

- Eloise Laws attended Jack Yates High School and Texas Southern University in Houston, Tx.

- Laws currently resides and still performs in Los Angeles, California.

We honor Houston’s own Phylicia Rashad. Many are unaware of just how varied Ms. Rashad’s life and career has been. Best known for her role as Clair Huxtable in “The Cosby Show,” the NAACP dubbed her “the mother” of the African American community at its 42nd NAACP awards.

Little Known Facts:

- Phylicia Rashad is the first Black woman to win a Tony award for her performance as Lena Younger in the play A Raisin in the Sun in 2004.

- Rashad’s mother Vivian Ayers was a Pulitzer prize nominated artist, poet, playwright, scholar and publisher.

- She released a disco album in 1978, produced by her then husband, Victor Willis, who was a member of the Village People. The concept album tells the life of
Josephine Baker.

- She attended Jack Yates High School in Houston Tx.

A talented lady with so much grace and Soul.

Saturday, August 20, 2011 at The Red Cat (it’s new location at 711 Franklin), soul music innovators, Bilal and N’Dambi came through Houston.

Dallas native, N’dambi, is a force to be reckoned with. Backed by a tight, four-piece band and channeling bold, soul sisters like Tina Turner and Betty Davis, she rocked out her own eclectic mix of music with seemingly ceaseless energy. Opening with “Call Me” she ushered the audience into the groove and transitioned back and forth between rough and smooth moods throughout her set.
N’dambi’s tribute to the late and legendary, Nina Simone, “Ode 2 Nina” expresses a level of honesty that is irrepressibly transcendent. She ended her set with her recent, popular single and favorite of the ladies, “Can’t Hardly Wait” and left the audience with an impression that is sure to make them anticipate her return.

Bilal, also backed by a brilliant four-piece band, began his set energetically with “Something to Hold on To”, “Gotsta Be”, and “For You”. He uses his studio recordings as a colorful palette to paint and draw from live. In the moment of his performing, each song becomes a new creation, as he stretches and improvises each tune.
The audience became respectfully still as Bilal performed “Little One”, his grammy-nominated, poignant tribute to his son who was diagnosed with autism.“Levels”, “Sometimes” and “All Matter” seemed to open the door to the cosmos and skyrocket the audience right up into them. Bilal gave a show that will take a while for those lifted to come down from.

Written by: Terrence Lathan

Watch The Throne – Jay Z & Kanye West – 2011 written by SOULONE

Let’s get one thing clear.

This will not be the biased, shallow, fragmentary, take on ‘Throne’. Nope. No snark-fest here.

It won’t be,

“How they gon’ use a Otis Redding sample and not pay tribute to Otis Redding mayne??!!”

The song is called OTIS.

or,

“All they rappin’ ’bout is money..sheeeeit I ain’t rich. I cant relate…”

(see: “No Church In The Wild”,”New Day”, “That’s My Bitch”, “Murder to Excellence”, “Made In America”, and well…just listen to the album.)

This will not be “that” take. It will be fair. Impartial. Just.

Not the chew it up, vomit, one listen, polar/extremist, spit it out just to HAVE a take and actually absorb it later, *Twitter* 140 character take. Agreed?

Fact is, most hip-hop collab albums usually fall short of the mark. Usually inconsistent (The Firm), usually incohesive (Jaylib *victim of circumstance*), usually missing (Common/Q-Tip), or usually just plain “huh?” (Nas/Damian Marley). With the exceptions of OB4CL, which can be debated as to whether it’s an actual collab, or RAEKWON’S ALBUM (what up Flash? LOL), and Black Star, they also usually end up disposable in a very short time. (*note* MC/producer collabs were not included, only MC/MC)

With that being said, understandable if the idea of another MC/MC collab doesn’t necessarily excite you. Cool. Got it.
But, if you can’t get excited about the two biggest rap superstars in the world releasing a two-and-half minute, no-chorus, straight sample chop with no real drum programming to speak of, lighting in a bottle SINGLE….?? stop reading now…

Enter ‘Watch The Throne’.

Not exactly too much or too little of anything, ‘Throne’ on the surface, is the complete opposite of its reviews. Narcissistic, but not too narcissistic. Silly, but not too silly. Cerebral at times, but definitely not too cerebral ever. Many critics suggest that it’s over the top in brash bravado, and while the braggadocio IS present, it isn’t overwhelming. ‘Throne’ walks a fine line between ever getting TOO anything, good or bad included. “No Church In The Wild” is one of Jay/Ye’s best offerings chemistry-wise, over a pulsating 88-Keys backdrop (shout 88, that shit is MEAN), and “Lift Off” is the stadium status type of serving everyone should have expected from ‘Throne’ (shouts ‘Rell for the last 30secs. Classic bongos Neptunes sh*t). “Nigg*s In Paris” is much more Ye’ than Jay, (which is a common theme throughout ‘Throne’) but works, and anytime I can get Jay rhyming over this and this, i’ll take it. Swizz Beats shines (damn…who said THAT?) on “Welcome To The Jungle“, and “Murder To Excellence” is an awesome glance into black on black violence (there’s your substance snarky). BTW, is it just me, or are the beat change-ups on this album SECOND TO FUCKING NONE???

‘Throne’ has its pitfalls (‘Who Gon Stop Me’, ‘Why I Love You’), and it isn’t surprising they exist. Jay/Ye’ lack any real chemistry to speak of as MC’s, and Jay sometimes sounds a bit uncomfortable, however always inspired and focused.

Is it conceited?
Condescending?
Contradictory? (D.O.A. anyone??? What happened Hov?)

Yep. Yep. And yep.

But, one thing I’ve learned from rap music after a lifetime of disappointments and pleasant surprises is to least try to figure out what something IS, instead of harping on what it ISN’T. ‘Throne’ has much to offer sonically, and the careful listener will notice an interestingly, much more than usual revealing side of Jay-Z, and an extra human and passionate (and also hilarious) Kanye (even for Kanye).

Maybe (just maybe) the approach to making music that will be performed for and heard by millions calls for a bit of a different formula than music that (let’s face it) probably won’t. I for certain, don’t know. And although neither Ye’ nor Jay surpasses either of their previous best efforts, this experiment went relatively well. Especially solid considering the disaster it could have been. Whether or not ‘Throne’ will become another disposable hip-hop collab casualty of course remains to be seen. Hell, it’s really very unfair to “review” anything less than 24-hours after its release. But this is just a “take”. A “take” on the states of upheaval and outrage fans are for some reason in, and a “take” on the actual music. Not saying it’s classic, but it definitely is no dumpster fire. Relax.

Rahsaan Patterson is one of the most talented and underrated artists of this generation. Known for his exceptional vocal ability and unique song approach, he has definitely carved a significant and lasting space for himself in an industry of fly-by-night artists. While on tour promoting his newly released and critically acclaimed album, Bluephoria, Rahsaan made a stop in Houston, TX on July 29, 2011.

He opened the show with “Stop By” and wasted no time showing why he is one of the most respected vocalists in Soul music. Rahsaan is a master of improvisation who plays his electric and elastic voice like the instrument it is. “Burning”, “Yeah, Yeah, Yeah” and “Spend the Night” followed. With his eyes closed most of the time, he did things vocally that made people in the audience look at each other for assurance that it was actually happening. Stretching each song to the length that the spirit of the moment dictated, he approached the lyrics in such a way that it seemed he was composing them on the spot. Each song was like a canvas for him to paint with his vocals.

Rahsaan’s band and singers were exceptional and featured the Trina Broussard on background vocals, a Houston native who most of you may remember from her cover of Minnie Riperton’s “Inside My Love” on the Love Jones Soundtrack (1997). Also, while peering into the audience, Rahsaan noticed another Houston vocal juggernaut, gospel artist, Nikki Ross, and gave her the mic, which she figuratively smashed.

Rahsaan performed his current singles “6am” and “Easier Said Than Done” as well as his standout cover of the classic, “I Only Have Eyes For You”. All of which showcased the type of musicality that unfortunately is rarely seen in contemporary music.

Rahsaan left the stage, only to stay and greet the fans for hours after the show had ended. He is as humble as he is gifted.

For more information about Rahsaan Patterson: Click Here

Written by: Terrence Lathan

On August 5, 2000, I arrived on the campus of Florida A and M University a bright-eyed freshman from Little Rock, Arkansas. I adored my hometown but I needed culture, music, and a point of view outside of what I saw during my 18 years in the natural state. Amongst of sea of midwest attitude, east coast swagger, and west coast flavor, my sugar, sweet southern belle self found everything I needed. I quickly assimilated. I learned how to make a fly head wrap, stopped relaxing my hair, and dove heart first into all the music I wasn’t exposed to back home.

One day, while chatting with girlfriends in the dorm, I saw a woman that reflected the best parts of myself in a video. Her hair was wrapped like mine and she had confidence oozing from her pores while she boldly told another woman to stop getting in the way of her feelings.

And so began my kinship with the music of Jill Scott.

I tried to restrict this piece to a review of her new album, The Light of the Sun, and found it impossible. I cannot limit my appreciation for her work to one album. I must share with you how over 11 years in the business she has managed to meet me right where I am in life with music that brought me through to the next and inevitably amazing stage. Many of her songs are so dear to me that I can recall the exact feelings they evoked when they entered my life. Allow me to share with you the top five songs from Queen Jilly from Philly that have endeared me to her work forever.

Slowly, Surely – This is such a beautiful affirmation of how walking away, although painful, will result in happiness. I play this often when I wonder what could have been to remind myself of what will be.

The Fact Is (I Need You) – Ever the self-sufficient woman, I remember hearing this after falling in love and thinking, “He has to hear it!” It will always be the spirit in which I share my life with another, vulnerable and open.

The Real Thing – In my head this plays when I walk into a room. Cocky? Maybe. True? Absolutely!

Crown Royal – Jill never fails to remind us that women are raw, sexual beings and that our sensuality is one of our greatest assets. I play it often and never let myself get out of touch with desire.

When I Wake Up – I played this each day for a solid week. I needed the affirmation and still do! Ultimately, the power of Jill is that she reminds us of the beauty of life! This is another song I use in the morning to make sure I start my day thankful for what is ahead of me.

Since you’re here I will assume that you, like me, find a life- affirming quality in music. If you’re lucky, you have the kind of soul that feels lyrics and melodies so deeply that you need it to get through the day. Occasionally, an artist shares so much in their work that they are no longer a distant figure; they are an integral part of your life. I know you have one! Share with me the artists and songs that have become your life’s soundtrack! I’d love to hear it.

Shine Bright Loves,
CassandraDione

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The clock has struck the five o’clock mark and become another hour of musical metamorphism. Attending college here in *jig* city Dallas, and less than 200 miles outside the city limits that raised me, Houston, Texas has brought about the many interpretations of hip hop, and the climbing of urban culture in the South. Electrifying the world of alternative sound, grind-time for the reformation of real hip hop is on overload. With mainstream suffering a decline, it’s about time we found peaceuvmine. “New Beginnings” shouting from my speakers as I jam Cranberry by H.I.S.D. makes me want to erase everything in my iTunes and start over. I’m slowly coming down from this lyrical high as I sober back into a mindset of where this music just took me. It’s hard to find music that can provide electric relaxation varying from jazz/soul/hip hop. I’ve had enough of the bitches, the hoes (degradation of women), the cars, the clothes (most of which few can relate); I’m ready for the message and reiteration of the original purposes of hip hop. Signing off–  Common MissFit

Written by: Terrence Lathan
Fotos by: Rizoh

Erykah Badu is constantly evolving and perpetually expanding the concept of what it means to be an artist. Houston, TX had the opportunity to witness on May/21/2011, where Ms. Badu currently is on her musical journey.

She began the show with her temperamental and transcendent tale of woe “Green Eyes”. She has said a number of times that performing is her therapy and onstage she shares openly in a way that is both entrancing and liberating for people in the audience. When she went into the transparent and autobiographical “Me”, some people in the room stood up immediately with their hands raised, as if she were singing about them. It became apparent then that this was a group therapy session and not just one for Badu.

Badu and her band have a way of hypnotizing the crowd and turning everyone in the room into what she calls “one living, breathing organism.” As she flashed back to the days of Baduizm with “On & On, Apple Tree, No Love & Other Side of the Game,” the spirit came and fluctuated as Badu elongated each song to her heart’s desire. Then she took everyone ‘way back’ with “Love of My Life” and inserted classic Hip Hop covers like Slick Rick’s “La Di Da Di”. Because her voice and music can be so hypnotic, there were moments when she had to use rhythm to jar the audience out of a trance. During “Danger” she jokingly asked the audience if they had seat belts on that weren’t allowing them to get up and move.

The show came to a powerful climax with “Soldier” and Badu excited the stage after asking for a Window Seat. The crowd left knowing that she is still as awesomely free-spirited as ever.

After the show a select few transitioned upstairs to the penthouse of the Arena Theater for a Twilight Conversation and Practicum with Erykah Badu, moderated by rapper and professor Bernard “Bun B.” Freeman.  The event was curated by the Umami Folklore Group and the Imani School. The night was centered around the objective of learning from Ms. Badu’s personal story and art. 

When responding to the adept questioning of Bun B. and attendees, Ms. Badu was just as open and transparent as she is in her music. She talked about spirituality as well as influences and experiences that have shaped her as a person and artist.

In a room filled with some of Houston most active creatives and tastemakers, Badu planted some profound seeds of thought and inspiration.
The concert was opened by and the Umami Folklore event was seasoned with a dynamic performance by Houston’s own, Michelle Thibeaux. Spotlight and Interview coming soon!

William “Smokey” Robinson’s music is in the world’s musical D.N.A. As a founding member of the Motown empire, he penned and performed some of the most popular and historic songs of all time. The height and depth of his influence is incalculable, that is until his music is played to a room filled with people of all ages, races and different walks of life. It is then when one can get a glimpse of how far his reach has stretched. Houston, TX, experienced the Smokey Robinson effect at its own historic, Arena Theater.

Mr. Robinson opened the show with “Going to a Go-Go,” the energetic 1965 hit. His immediate enthusiasm and passionate energy set the tone for the night and remained consistent throughout. Known just as much for his distinctive voice as for his writing abilities, one could most definitely say his voice has only gotten better with time. While he was taking the audience through early Motown tunes e.g. I Second That Emotion, You’ve Really Got a Hold On Me, Ooo Baby Baby and The Love I Saw In You Was Just A Mirage, it was evident that even after 50 years of performing this material, he still loves it just much as the fans do.

Throughout the show, he was a storyteller and historian, sharing insightful and hilarious anecdotes about each song. The audience vibrated when he performed classics he’d penned for his friends and peers at Motown i.e. The Temptation’s My Girl and The Way You Do Things You Do. No one can caress a ballad or craft a lyric like Smokey Robinson and this sentiment was echoed all night by the yelps and affirmations of enthusiastic audience members.
Several songs from his latest release, Time Flies When You’re Having Fun and Timeless Love (2006) were performed. What was awesome about this segment of the show was Mr. Robinson’s latest, original material can stand up right next to some of his hits, so the audience had no time or reason to get restless during songs they maybe didn’t know. “Time Flies When You’re Having Fun” for example was a beautiful and just-as-moving substitute for hits he chose not to include e.g. Baby Come Close & Ebony Eyes. He is also an incredible interpreter of song and this came through as clearly as ever during his cover of Norah Jones’ Don’t Know Why.

The show closed supremely strong with Mr. Robinson performing his mega-hits Tracks of My Tears and Cruisin. This was the moment where it felt like the entire room was one. Mr. Robinson turned the audience into his own personal choir, while the music lifted everyone higher and higher. Houston couldn’t have asked for a smoother or a cooler pilot than Smokey Robinson.

Despite mixed-to-horrible reviews of her 2011, “Moving Target” tour, Lauryn Hill continues to sell out venues wherever she lands. That type of loyalty from her fans carried over into Austin, TX, for a scheduled appearance at Stubb’s. People started lining up as early as 4p.m. for the 8p.m. show. The overall energy of the queuing crowd was a mixture of excitement and anxiousness. Uncertain of what to expect, there was a general hopefulness that Ms. Hill would disprove reviews of her sometimes extreme tardiness and deliver classics as promised from her solo debut, “The Miseducation of Lauryn Hill”, and her days with the Fugees.

With no opening act, the crowd was kept warmed up by Ms. Hill’s DJ and its anxiety was put to rest just in time –it was now nearing 9pm- when Ms. Hill was seen crossing the side of the stage to prepare to go on.

The first song “Everything is Everything” was like a long awaited kiss. Ms. Hill has been so deeply missed and the crowd wanted to see how far they could stretch their arms and voices to show and tell her just how much. Set-wise, she delivered the hits, “Lost Ones,” “Zion” and “Superstar” from Miseducation. She also played “Ready or Not”, “How Many Mics” and “Fu-Gee-La” from the Fugees’ album, The Score. The only songs missing from the set were “Killing Me Softly” and “Can’t Take My Eyes Off You.” Most of the songs were given new treatments and arrangements of a Hip Hop-Rock style. Ms. Hill also included some Bob Marley covers, i.e. “Waiting in Vain.” Those who came looking for Lauryn Hill circa 1999 will have to resolve their search to YouTube. Who Ms. Hill has evolved into is more akin to a performance artist than an R&B/Pop singer; however, she is still the ultimate M.C. And that’s where her focus now appears to be.

One challenging and distracting aspect of the show was that Ms. Hill was constantly directing her band and the stage hands to make certain changes they didn’t seem to know how to follow. When she requested more energy from the band, they remained at the same level and when she requested more volume from the stage hands, more feedback was heard. When she sought her background singers’ help for adlibs on “Zion,” they stared back at her sort of clueless until finally she asked the audience, who all filled in happily. This is her touring band so one would assume they’d worked out all the kinks by now. All in all she had too much backing music and there didn’t seem to be clear communication or a synergy between her and the band, which made Ms. Hill have to work harder. Fortunately, she did the work.

She left the crowd yelling for more and though due to venue restrictions, she wasn’t allowed an encore, Ms. Hill, after continuous chants of “Lauryn! Lauryn!” returned to shake hands, give hugs and take photos with people in the crowd.

Despite a show they’ll definitely remember, some audience members called it bittersweet because unfortunately there’s no knowing what’s coming next from Ms. Lauryn Hill. She could very well up and disappear again or release another masterpiece. For some, hope still lies in the latter, while others have completely given up on the possibility of new music from her. What can be said for sure is that as long as she decides to tour and doesn’t add any more fuel to negative rumors (or even if she does), the people will show up, because they love her just that much.

Written by: Terrence Lathan
www.Huesoul.com