In a world filled with smoke and mirrors, it always inspires me to see and experience artists who exude a powerful sense of truth. Their truth is not built with the intent of gimmick-like controversy but a “need” to be true to themselves no matter the cost. That is the stern virtue that I highly respect in the artistry and legend of Ms. Etta James. With that said, it greatly disappoints me that in light of her authenticity, this truth has failed to be depicted on the screens of Hollywood. Of course we all saw Beyonce’s “role” in the movie Cadillac Records but unfortunately that role was not the factual life of Etta James. (more…)
I couldn’t think of a better way to end this month than with this great mix that comes to us by way of DJ Polished Solid. What a befitting tribute to the legacy of our AOM and a great introduction to DJ Polshed Solid’s work on the mix. If you caught this great article a couple weeks ago you’ve already witnessed her great work with words. Polished Solid hosts a weekly show live every Sunday from 4pm-6pm EST at http://mixlr.com/djpolishedsolid. Make sure to keep your ears open for mixes here on GFM from DJ Polished Solid.
I think for the next few days after reading what Clint Eastwood I’m going to have to wear the hat in the photo above around town. For those who may have missed Clint’s thoughts on one Beyoncé Knowles you can checkout the article from Shadow and Act right here. Also, special shout out to writer extraordinaire L. Michael Gipson for posting this article with accompanying epitaph on his FB wall ayer. (more…)
Recorded in 1968 at the FAME Studio, this incredible single was said to be written by Ellington Jordan and her abusive ex, Billy Foster. However in truth, Etta herself wrote these lines with Jordan. Even though Etta didn’t considered herself a “professional” songwriter at the time, this song heralded the depths of her experience with undeniable emotion which very well paralleled a violent relationship she didn’t know how to leave and a drug problem she didn’t know how to kick. In addition to her personal problems, she also suffered with tax issues which motivated her decision to give her writing credit to Billy Foster. Unfortunately, when this choice was made and the song was rerecorded by artists like Clarence Carter, Rod Stewart, B.B. King and Beyonce for the movie soundtrack, Cadillac Records, they all went to Jordan and the estate of Billy Foster. Though this song has made a musical impact with its torturous cry of love lost, the first tears that fell for this song privately were truly that of Leonard Chess, head of her recording label, Chess Records in his intial hearing of the song.
You know here at GFM we are always joking about how “The Streetz Iz Watchin’” but in this day and age they really are. I wanted to continue the series this week on a similar trajectory as last week, which in cased you missed last week’s installment… I’m really starting to enjoy the idea of presenting what I deem the very contemporary “cover”.
Technology has moved us to the point where literally a song could be released at 12pm today and covers could be up as soon as the song is learned and recorded. I’m not making a statement one way or the other about the production value of something done so rapidly but: 1. It certainly can be done and 2. It could go either way on the production value scale.
What I like about this cover here of Ms. Beyoncé is that it was one of those instances where I was curious and said let me click on this link. I happen to be a follower on Twitter of Nikki who is featured below, she goes by the name of @TXhummingbird and I must say like so many folks that I enjoy following the tweets can be quite hilarious. So last week I saw something about singing… singing? Oh I have to check this out, because the voice is quite frankly my favorite instrument. I definitely enjoyed what I listened to and that’s why I’m sharing it with you today. I hope you all enjoy it as well and if you are on Twitter shout @TXhummingbird some love. You can also check out some other covers by Nikki posted here.
I have to be honest, at the time this joint reached my desk I was in the midst of editing some photo from a previous event. It’s not often that I run across a rendition that makes me stop what I’m doing to give my “complete” attention in the first play…maybe the second play, but not the first. The unfamiliar yet beautiful voice you hear with Beyonce is that of Matthew Johnson. I have to say Matthew’s falsetto is simply exquisite with such a pure tone in voice. Check out this “recreated” version if you really want a treat for your ears!!! BIG shout out to Plutopia’s Taiye “Wild Afrikan” Samuel for sharing this jewel with us!!! :)
Oh and just in case you weren’t completely convinced, check out this video of Matthew just “playing around” with the song, This Woman’s Work. (more…)
