My favorite song off of BP3 hands down. Can’t wait to get to NYC next week.

GE-OLOGY Feat. Yukimi Nagano – Blues Alley

GE-OLOGY Feat. Yukimi Nagano – Longin’

I know I dont stand alone with my fascination with all things Little Dragon and their incredibly talented lead singer Yukimi Nagano. So when a friend put me on to this song she did with GE-OLOGY, I had to dig around and find out more. Of course the question at hand was how did I miss this?? So in case you did too let me put you on to this hotness real quick.

GE-OLOGY (aka G-YOUNG) is a producer/DJ/visual artist from Brooklyn NY. He is known for fusing hip hop, alternative and soul music into one incredible sound and he was once a part of a four-member group which included the late (and great) Tupac Shakur. Although GE-OLOGY has a plethora of hot tracks with many talented artists, for this post Im just gonna speak on his work with Yukimi; and once you hear the songs you will understand why.

They recorded two songs together called ‘Blues Alley’ and ‘Longin’ and they definitely fall under the alternative genre: think Portishead, Supreme Beings of Leisure or early Esthero… but totally Yukimi style – some ish that is pretty much indescribable but insanely dope. The two linked up prior to her being with Little Dragon, when she was just a new artist fronting a band call Koop (for you serious Yukimi fans youve gotta check them out too) and the results were amazing.

OK, so we all know this girl sounds good singing pretty much anything – from the oohhs to the ahhs she has proven that her range is broad and she can immaculately bring it on any track handed to her (a producers dream, one might add). But Im just gonna have to go there and say that I think Yukimi Nagano is one of the best alternative female vocalist out there right now (this coming from a die-hard Esthero fan). And rumors are circulating of a solo album in the works so, I mean??

But anyway, in the meantime check out these tracks in case you missed them.

If it were 1985, Ryan Leslie would be the biggest star in soul music. However, it’s 2009, and the man, while so completely in tune with what is needed in music, is not quite yet in lock step motion with mainstream urban listeners. With his second release of 2009, the 51 minute, 11 track summer love affair concept album Transition, the sensitive and overachieving crooner continues to direct a career that resurrects the craftsmanship and personal vision lacking in a solid percentage of American rhythm and blues. Ryan Leslie’s earlier release of the year, Ryan Leslie, is an amazing body of work. Leslie’s knowledge and appreciation of synths and melodies recalls the Minnesota sound heyday of Jimmy Jam and Terry Lewis, as “Diamond Girl” and “Addiction” were instantaneous smashes if not for their lyrical content or guest cameos, but because of “R Les’” handling of crafting tracks that sound absolutely nothing like anything on urban radio. And that’s always been the point of his career, being a poised, primed, damn near perfect example of precisely what R & B could and should look and sound like. Perfecting his supposed perfection has been the lynchpin of his motivation, and his latest release succeeds in that aim.

Transition’s smash single is slated to be “You’re Not My Girl.” Mid tempo and radio ready, the song, seemingly culled from media rumblings over the last year about Leslie’s numerous romantic entanglements, has a backing track of 80s synths and harps creating a sliding groove that instantaneously pleases. If anything, the one concern about Leslie is that he’s seemingly perpetually all rhythm and no blues, all heart and no soul on his debut, which comes off as SO slickly produced and likable that you think the main is an automated soul machine, nearly too perfect for words. This concept even gets shrift on this album with perfect second single “Something That I Like” featuring Pusha T of The Clipse, a funky, bassline banger with those empty kickdrums that make this sound like it’s better suited for The Clipse forthcoming Til The Casket Drops, until you realize that the only thing Ryan Leslie is talking about is moving souls, and not pushing weight. As well on this album, Leslie actually raps as well, on tracks like “Nothing,” throwing 16 bars over a chorus, while not doing anything to advance his career in this realm, comes off like something done as mere creative exploration, art for art’s sake. The key to this album is that his development feels nearly effortless, as if even in the face of varying commercial norms, he’s self-assured of his own process here, taking a Minnesota by way of Detroit with hip hop visitations throughout tour to success.

But what separates this album and shows advancement in Leslie as an artist may be the piano and classic hip hop break filled love ballad “Guardian Angel.” The sparseness of the track, while not what Leslie is known for in the mainstream, really lets his emotional and lyrically evocative side free, as when he hits the chorus, with the lyrics “now I’m so overjoyed/girl you filled my void/and you’ve got a special place here/you put joy inside my tears,” Ryan Leslie lyrically and emotionally becomes a man as an artist on record. While likely not a single for release, it’s these moments on albums where an artist feels the desire to take a step away from the formula that defines their popularity, that often leads to the growth that certifies and forwards their career aspirations.

As a Harvard educated, overachieving singer/songwriter/producer who has label and production experience with all of the top stars in the game at such a very young age, Ryan Leslie likely should feel that there’s not much left for him to achieve as an artist except stardom. Finding the potent mix of his multitude of talents has become his cause celebre. In his career, which appears VERY bright indeed, we will be perpetually blessed with this musical genius attempting to blend his likes, interests, desires and feelings into phenomenal confections. While he often will miss, because his artistry is often too intricate, and anachronistic for average ears, he will, on occasion, because of his abundant talent encapsulate exactly what we want to hear, when we want to hear it.

Transition continues the path to self-realization and superstar wealth for Ryan Leslie. Unfortunately, as with all things, “the race is not to the swift or the battle to the strong, nor does food come to the wise or wealth to the brilliant or favor to the learned; but time and chance happen to them all.” – Ecclesiastes 9:11.

Photos by Senari. Please Support.

On one of the last nights of CMJ, hip-hop fans came together to celebrate the life of Roc Raida who died in September. This was a very dope look and a fitting tribute to the turntabalist bringing in The Beat Junkies, Z-Trip, . Check it:

Download: Zo! Just Visiting Too

Zo! – Perfect Angel Feat Yahzarah

If you were at any of The Foreign Exchange’s live shows, you would recognize Silver Spring Maryland’s ZO! manning the keys on their breakout performance. We all know that Zo has been on his grind for a while, working with such acts as Kev Brown and Phonte (with that 80s project.)

But now it’s Zo’s time to shine. His mixtape, Just Visiting Too is downright amazing and reads like a who’s who of upcoming talent. From the first track, “Perfect Angel” with another DMV native Yahzarah to the last, the D Brock collabo, The Highways of My Life. The other track that will constantly be on repeat. As a producer Zo has crafted light and low key melodies, filled with light touches of piano, and fortunately does not overpower the talent on the mic. It’s a fitting introduction to this future producer and we will most certainly be hearing more from him in the future. (via SoulCulture UK)

4k?????

*insert Dammmnnnn .gif here*

Off producer Illmind’s upcoming project.

Previously: D-Black ft. Skyzoo - The Come Up (prod. Illmind)

This **** is nice. Strange Journey: Vol 2 is in stores today.

CL emcee Natti trades verses with up-and-coming, buzz-heavy Gary, Indiana emcee Freddie Gibbs, imploring peasants and wack blog rappers alike to kiss the crown. Over a haunting organ track produced by Kno, CunninLynguists Imperial is the fourth and final leak from Strange Journey Volume Two, the second installment of this years double release from the trio.

Pardon me I had to laugh at that.

CunninLynguists feat. Freddie Gibbs - Imperial

Hit the jump for the Strange Journey tour dates and info on Volume 2.

Previously: CunninLynguists - To Be For Real | CunninLynguists - Strange Journey Vol. 2 (Artwork + Tracklist) | Cunninglynguists feat. E-40 & Evidence - Running Wild

Strange Journey Volume Two is available TODAY in retail stores as well as on iTunes, Amazon and many other fine digital carriers. Guests include E-40, Evidence,Sean Price, Tonedeff, Geologic of Blue Scholars, Substantial, PackFM, Poison Pen and more with production from J-Zone and Blue Sky Black Death.

Similar to Volume One, Strange Journey Volume Two is also almost entirely produced by Kno and features 70+ minutes of brand new music. The trio will be supporting the release by embarking on a 28 city tour starting November 10th.

STRANGE JOURNEY U.S. TOUR 2009
w/ Grieves & Budo, Looptroop Rockers, Tunji and DJ FlipFlop

11-10 Atlanta, GA Drunken Unicorn
11-12 Orlando, FL AKA Lounge
11-14 New Orleans, LA Parish @ House of Blues
11-15 Dallas, TX - Prophet Bar
11-16 Austin, TX Emos Lounge
11-18 Scottsdale, AZ Chasers
11-20 Los Angeles Viper Room
11-21 Berkeley, CA Shattuck Down Low (w/ Pep Love)
11-22 Eugene, OR WOW Hall
11-23 Bellingham, WA - Nightlight Lounge
11-24 Portland, OR Hawthorne Theatre
11-25 Seattle, WA Nuemos
11-27 Salt Lake City, UT Urban Lounge
11-28 Denver, CO Larimer Lounge
11-29 Steamboat Springs, CO Ghost Ranch Saloon
11-30 Fort Collins Aggie Theater
12-01 Boulder, CO Fox Theatre
12-02 Omaha, NE Waiting Room
12-03 Minneapolis First Ave. (w/ Unknown Prophets) [DOORS @ 5:30!]
12-04 Madison High Noon
12-05 Chicago, IL Subterranean
12-06 Gambier, OH Kenyon College
12-08 Rochester, NY Dub Underground
12-09 Burlington, VT Higher Ground
12-10 Boston, MA Paradise
12-11 NYC - Highline Ballroom

Here are a couple of shots from the video shoot for the new Slaughterhouse video “Microphone” by director John Columbo.

Bonus: Budden twitpic’d this the other day:

According to OKP:

With Jay Electronica’s secret show in NYC tonight (RSVP ASAP!), now’s as good a time as any for an unreleased Jay Elec feature. As y’all should remember, on Sa-Ra’s last album, Nuclear Evolution: The Age of Love, there was a track called “Love Czars.” A few months back, a snippet hit the net of a remix of that very song featuring Jay Electronica. Today, we have the full length remix featuring Ta’Raach as well. If you haven’t done so already, go get that Sa-Ra album, there’s plenty more funk where this jam came from.

SA-RA feat. Jay Electronica & Ta’Raach - Love Czars II

6 million Youtube views in 6 hours
The devil threw a hissy fit and blew down the towers, that’s power
The IMF, Federal Reserve can’t stop my MySpace from spreading the word
No record deal, just hard ass rhymes
Turn poverty and heartbreak into nickles and dimes
I’m on fire like the Pentagon

Rob has paid his debt to society and is back and ready to drop a new mixtape called Bet On Black. I’m not mad at this.

Black Rob - Three Course Meal

Props to Mr. X

December 8th

Gotti replaces Plies because of more videoshoot ******y on Plies’ part.

DJ Kay Slay feat. Yo Gotti, Jim Jones, Busta Rhymes & Ray J - Blockstars (Dirty) via X

A quick commercial/preview for the new episode of Current TV’s Embedded with Lonnie.

Previously: Embedded with Mos Def in Japan

Arts & Entertainment, in stores today. Amazon | iTunes

Masta Ace & Edo G feat. KRS-One - Pass The Mic (prod. Double-O)

Previously: Ei8ht Is Enough (One Shot) (Video) | Little Young (Video)

It’s truly the simplest of pleasures in the universe that evoke the greatest appreciation. It is by this statement that we define the success that was The Very Best’s completely sold out tour stop with Javelin at DC 9 on Monday evening. The Very Best, which takes the dark, gritty ghetto electro remixing of Radioclit and blends it with the, well, warm heart of Africa that Malawi’s Esau Mwamwaya brings to the table is an effusive blend that again, for lack of a better term, brings “the very best” out of the soul of the listener.

Opener’s Javelin nearly rendered the evening a half success. Occupying the slot due to a fantastic new wave remix/interpretation of The Very Best’s trunk funk anthem “Julia,” the 80s shlock celebrating, hipster trending, Brooklyn synth and sample remixing/DJ/performance duo certainly provided moments of fun and dance, but in being COMPLETELY ironic lose lots of steam from their very well crafted synth pop creations. In the midst of their opening set, the audience was treated to a retinue of video images culled straight from 1985, whether it be a man in an awkward tan sweater with Johann Sebastian Bach on the front explaining the craft of playing the synthesizer, to a “learn to breakdance” video, BMX bike riding on the roof of a suburban rambler, keytar images or manatee life in the Pacific, the entertainment value of the videos, while memorable, stole a lot of the impact from Javelin’s compositions. However, once the shock of the imagery wore off, near the end of their set, tracks like their breakbeat heavy remix of the theme for 8-bit Nintendo Mike Tyson’s Punch Out competitor “Soda Popinski,” as well as a breakdown over a track that took the chorus of Blondie’s “Rapture” into a recitation of childhood rhyme “Frere Jacques,” and a finale that ended with recitations of the chorus of Outkast’s “SpottieOttieDopalicious” over an electro backing made for a very quirky, disjointed, but overall entertaining opening act.

Then, DJ Johan Hugo, two beautiful English based African dancers in lettermen jackets and traditional garb, and the overjoyed Esau Mwamwaya took the stage, and the event was transformed from mere concert to African tent revival. The Very Best is a simple concept that effortlessly succeeds due to stellar execution. Between 2008’s “The Very Best” mixtape, and the new Warm Heart of Africa release, there is certainly enough material present to create an exciting, dance friendly set that moves, grooves and removes all pretension from people, and culminates in a great time. Opener “Yalira” served as a vocal appetizer, as Esau Mwamwaya’s charmingly accented voice and Hugo’s production rained down upon a sold out crowd well acquainted with The Very Best’s body of work, and just waiting for the moment to dance as though hell’s demons were being set forth from them in an exultant manner. From there, we journeyed back to 2008’s starmaking and awareness inducing mixtape, with Mwamwaya’s take on M.I.A.’s now ubiquitous anthem of social freedom “Paper Planes,” which still, if even sung in an African tongue 90 percent of the crowd cannot understand, causes riotous debauchery.

But the highlight of the set is the album’s guaranteed hit, “Warm Heart of Africa” featuring Vampire Weekend’s Ezra Koenig. It’s a joy filled exciter, with such simple yet catchy African rhythms that it’s tailor made for acceptance from possibly slow footed and plodding Western audiences. As the song built to crescendo though, Radioclit stops the track to a noticeable gasp of shock from the crowd, and drops his remix of the track, an uptempo electro meets the Zambezi River like overflow of pleasant vibes that caused jumping, screaming, and movements in the female form that belied A-line skirts, prim and proper couture, or awkward hipsterdom, and turned the room into an earthquake of rhythm and very sexy and nubile undulations.

The Very Best’s set also included Africa by way of Crenshaw Swap Meet g funk love anthem “Julia,” which in front of a live crowd really spotlights the unique qualities of Mwamwaya’s Malawian-accented voice that makes the group the truly unique winner for 2010 that all expect them to be. Closing with their take on Vampire Weekend’s African themed and rhythmically tinged “Cape Cod Kwassa Kwassa” was expected, though funky club killer “Rain Dance” with the aforementioned M.I.A. not being performed owes much likely to M.I.A.’s flow being responsible for 75% of the track’s vocals, which does not lend well to the live experience, which, more than anything serves as a backdrop for making Mwamwaya’s luckiest human in the world million megawatt personality and Hugo’s excellent production and remix talent to shine ever brightly.

In final, The Very Best present a live event. To refer to it as a concert would be to limit the effectiveness of the group in creating a perfect party atmosphere. In final, I take from this show leaving the venue, looking back on the stage at a bemused Johan Hugo, dropping remixed traditional African music to a room of people that had no desire nor intention of wanting to drink, wanting to fight, nor ultimately wanting to leave. They created the essence of the ultimate moment, and achieved the aim of what the group likely considers their perpetual goal…living up to their name.

Nice joint right here by Philly native Sean Falyon ft. the homie Playboy Tre and Scar. Props to Mr. Garland for the heads up. Produced by The Weatherman.

Sean Falyon ft. Playboy Tre & Scar - Wonderful Life

After the jump, check out Falyon’s video for “Inside Her”.

Fashawn performs the intro from Boy Meets World and “Freedom” at the release show for the album in his hometown of Fresno, CA.

Previously: Fashawn - Samsonite Man (Live)

ImFlashy put up photos from the video shoot (dir. Jimmy Giambrone) this past weekend in Brooklyn.

Previously: Figure Four Live (Video) | Figure Four

“cook it, cut it and spit it on nahright.com

This is that joint right here. Directed by Matt Alonzo.

Previously: CunninLynguists feat. Freddie Gibbs - Imperial | Skee.TV Presents: Freddie Gibbs - The Dash