Digital Resources: Qwest.TV

The Music Library has more resources available than physical items. We’re highlighting some of our digital resources, and including information about them as told by our student employees.

Today’s digital resource is:

Qwest.TV

Qwest.TV

Here’s what student manager Abby (class of 2021) had to say about this resource:

QwestTV is the first ever streaming service dedicated to Jazz, Soul, Funk & World Music. Created by Quincy Jones and curated by other music legends, this service contains hundreds of concerts, documentaries, archives, and exclusive content. And with the “My List” feature, you can keep track of all your favorites. On top of premium streaming video, QwestTV also offers articles, interviews, and album reviews written by professional journalists and renowned jazz experts. With content spanning decades, this service is a powerful research tool and just an all-around awesome resource for any music lover.”

qwesttv

Arachnophonia – MUS 235 Edition: A Tribe Called Quest “The Low End Theory”

Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

This special edition of Arachnophonia features contributions from students in Dr. Joanna Love‘s MUS 235 class: “I Want My MTV: Music Video and the Transformation of the Music Industry.”

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by MUS 235 student Ryan and features the 1991 album The Low End Theory by hip hop group A Tribe Called Quest. Thanks, Ryan!

A Tribe Called Quest

The Low End Theory

A Tribe Called Quest - The Low End Theory

The cover of The Low End Theory (1991), the second album from A Tribe Called Quest

In this post, I will be analyzing The Low End Theory (Album, CD) by A Tribe Called Quest as an academic source. The Low End Theory was the second album released by ATCQ, through Jive Records and Zomba Recording company on September 24th, 1991, and is frequently listed as one of the greatest Hip Hop albums of all time by critics. Considering that Hip Hop was still relatively young at the time, the album was fairly commercially successful. It peaked at number 45 on the U.S. Billboard charts and was certified gold within four months and platinum three years later. Much more important than its commercial success and its critical acclaim however, was its influence on the future direction of Hip Hop. Because of ATCQ’s heavy use of jazz sampling and their playful and funny yet socially conscious lyricism, The Low End Theory is an essential source for researchers examining the relationship between Jazz and Hip Hop and the rise of the popular subgenre of Conscious Rap today, including the music of Kendrick Lamar and J Cole.

A Tribe Called Quest was a self-proclaimed “Hip Hop Band” consisting of members Q-Tip, Phife Dawg, and Ali Shaheed Muhammad.

A Tribe Called Quest

An image from the inside of the booklet in The Low End Theory CD featuring the group members. Q-Tip is on the left, Ali Shaheed Muhammad is on the right, and Phife Dawg is front and center

The fourth member, Jarobi White, left the group after their first album, so he was not included on this album, but returned to contribute to the groups final album, We Got It From Here… Thank You 4 Your Service, after Phife Dawg passed away in 2016. On The Low End Theory, Ali Shaheed Muhammad was a DJ/producer, Phife Dawg was an MC, and Q-Tip was both a producer and MC. Their sophomore album, which consists of 14 tracks and is 48 minutes in length, gets its name from both the bass, or low-end, focused instrumentals and is also a clever reference to their lowered status as black men in America. Alongside the album, ATCQ also released a music video for the track “Scenario” and another combined video, which I will be analyzing in my final research paper for this class, for “Jazz (We’ve Got)” and “Buggin’ Out.”

As the title of track 11, which is part 1 of the previous video, suggests, the music on The Low End Theory is heavily inspired by Jazz and wears that influence on its sleeve. In the first verse of “Excursions”, the opening song of the album, Q-Tip references this influence by comparing Hip Hop to Bebop Jazz in the lines, “You could find the Abstract listenin’ to hip-hop/My pops used to say, it reminded him of Bebop/I said, Well, Daddy, don’t you know that things go in cycles?/Way that Bobby Brown is just amping like Michael”. The most obvious musical influence is in the samples found within the instrumentals. Though not all of the samples on the album are credited, some of the more prominent ones were cleared and are listed at the end of the CD booklet and most originate from jazz or funk records. “Vibes and Stuff” uses a sample from jazz guitarist Grant Green and “Check the Rhime” uses a horn sample from Average White Band’s song “Love Your Life”. Though it isn’t credited on the album, a bit of digging on whosampled.com shows that the song “Jazz (We’ve Got)” uses a sample from the piece “Green Dolphin Street” by Jazz/Blues Pianist Jimmy McGriff. ATCQ even goes beyond sampling and recruits famous Jazz Double Bassist, Ron Carter, to play the bass line on the Q-Tip solo track, “Verses from the Abstract”.

Though The Low End Theory was far from the first Hip Hop album to make use of jazz sampling, ATCQ was able to fuse jazz and funk instrumentation with hard hitting but laid back drum loops in a unique way that resonated with their audience. ATCQ’s previous album, People’s Instinctive Travels and the Paths of Rhythm, also used many jazz samples but did not receive the same kind of acclaim. At that point, the group was still perfecting their sound. The lyricism was similar, but the instrumentals were not quite as sparse and focused on the low-end, an attribute of The Low End Theory and its successor, Midnight Marauders, that made them stand out.

The instrumental style of The Low End Theory was not just critically acclaimed, but turned out to be a major influence on the future of Hip Hop production. Even today, its influence can clearly be heard in the music of some of the most popular artists in modern Hip Hop. The closing songs on both J Cole’s 4 Your Eyez Only and Kendrick Lamar’s To Pimp A Butterfly employ soft jazz instrumentation over prominent bass lines and hard-hitting but laid-back drums and sound like they could have easily fit into A Tribe Called Quest album. The two artists even collaborated on an homage to ATCQ called “Forbidden Fruit” in 2013, in which the two used the same sample that ATCQ used for “Electric Relaxation”. The vocal style of ATCQ has also proven to be very influential. To use another J. Cole example, his song “Wet Dreamz” has many similarities to the Phife Dawg focused song, “Butter”, from The Low End Theory. Both songs deal with various girl problems the two have gone through. They are clearly fairly serious and relatable topics, however both rappers tell the stories using clever and sometimes funny rhymes. Instead of focusing on catchy lyrics like groups like Run D.M.C, or the more serious tones of contemporaries like N.W.A or Public Enemy, Q-Tip and Phife Dawg found a conscious yet light and palatable rap style that many later rappers wanted to emulate.

The Low End Theory is essential to my research for this course since I am using the video “Jazz (We’ve Got) Buggin’ Out” in order to examine the relationship between Jazz and Hip Hop. That video, and by extension The Low End Theory, is not the only place to start when searching for the critical point connecting the genres, but it is certainly one of the most significant. In the time since The Low End Theory was released, Jazz and Hip Hop have become increasingly intertwined, to the point that they have become indistinguishable from one another at times. Albums like Kendrick Lamar’s To Pimp A Butterfly and Madlib’s Shades of Blue, as well as many of The Roots’ projects explore the explore the shared musical and cultural lineage of the genres and all of those artists would cite A Tribe Called Quest and The Low End Theory as one of their influences.

Arachnophonia – MUS 235 Edition: Prince “Parade: Music from the Motion Picture Under the Cherry Moon”

Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

This special edition of Arachnophonia features contributions from students in Dr. Joanna Love‘s MUS 235 class: “I Want My MTV: Music Video and the Transformation of the Music Industry.”

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by MUS 235 student Destiny and features Parade, the 1986 soundtrack album to Prince’s second film Under the Cherry Moon. Thanks, Destiny!

Prince

Parade: Music from the Motion Picture Under the Cherry Moon

Prince - Parade album cover (1986)

Prince – Parade album cover (1986)

It’s 1984. Prince has just dominated the music industry with his iconic album, and equally iconic film of the same name Purple Rain. With a top-selling album and film under his belt, Prince has officially solidified himself within the music industry as a creative genius. After the immense success of the album, fans and critics anticipated and longed for his next album to match up sonically. However, Prince’s next album, Around the World in a Day, flopped in every regard – sales, expectations of fans, and ratings of critics. With the release of his next album, Parade, fans and critics still hoped for an album with the same sound as the iconic Purple Rain. Similarly to Around the World in a Day, the album did not have the same sound. While Parade, the source of my current analysis, did not flop in the same way that Around the World in a Day did, it was released to very mixed reviews.

Prince, born Prince Rogers Nelson in Minneapolis, Minnesota in 1958, made his initial rise to fame primarily as a rock, pop, and disco artist. Though Prince was always an unpredictable, wild artist, it came as a complete surprise to fans and critics when he practically changed his whole sound to a much more psychedelic sound on Around the World in a Day. Similarly to the previous album, Parade maintained facets of the 1960s British boy rock-band inspired neo-psychedelia genre with distorted vocals, instruments and synthesizer sounds on songs such as “I Wonder U.” However, this album was also very much Prince’s introduction of the exploration of a genre known as “Baroque pop.” An infusion of rock and classical music, Baroque pop is a form of rock with a much more orchestral sound, as opposed to heavy guitar riffs. With this genre, the focus is on layered harmonies, as well as dramatic, intense strings and horns. There are also, for the most part, subtle elements of funk on the entire album. With prominent bass guitar, and noticeable drums and synthesizers, Prince and his backing band The Revolution certainly incorporate funk along with the experimentation of Baroque pop. Written as the soundtrack for a black and white romantic drama film, and Prince’s directorial debut, Under the Cherry Moon, Parade has a quite equal mix of slow tempo, somber songs (i.e. “Under the Cherry Moon” and “Do U Lie?”), as well as more upbeat, heavily-textured songs (i.e. “New Position” and “Girls & Boys”). To this day, fans and critics discuss the album Parade with mixed reviews. However, what practically everyone agrees on is that the standout song, and one of the biggest songs of Prince’s nearly four-decade long career, was the iconic “Kiss.”

Prince-Kiss


Arguably the most “funky”song on Parade, Prince’s “Kiss.”

Originating as a short, acoustic demo given to funk band Mazarati, “Kiss” almost did not make the cut for this Prince album. However, after the band reworked the song into a much funkier tune, Prince decided to take the song back for himself and include it on the album at the last minute. Because of this, it makes sense that, while listening to the album in its entirety, it may seem to the listener that this eventual lead single off of the album does not quite have the same sound as the rest of the songs that make up Parade. Though the rest of the album did have characteristics of funk, the seemingly “plucked” and distorted bassline and the prominent steady synthesizer-created percussion, along with Prince’s quite soulful and sensual vocals, give this song has a much more funk-inspired vibe. Known for being unconventional, Prince, throughout this song, shatters expectations of women to constantly be beautiful or “cool” to be attractive and appealing to him. Donned in slicked back hair, makeup, and heels, Prince shatters stereotypes and norms even more in the video as he sings the lyrics in a falsetto. Though the rest of the album did not receive Purple Rain-level critical acclaim, the single “Kiss” topped charts across the globe, holding the Number 1 spot on the U.S. Billboard Hot 100 Chart for two weeks. The song won the Grammy Award for Best R&B Performance by a Duo or Group with Vocals and has sold over 1,000,000 copies since its release in 1986.

When thinking about this album Parade, and its iconic single “Kiss,” it is interesting to think about the tensions that arose between the two main reactions to the album. While some think of it as a minimalist masterpiece and an interesting follow up to Purple Rain and Around the World in a Day, others view it as a disappointment and throwaway album in Prince’s lengthy discography. One question that one may consider is, what do the overwhelming number of negative reactions to this album say about artists, specifically Black artists, and changing their sound? Why is the music industry so restrictive to artists and so reluctant to accept changes in their music? For scholars who may be studying and analyzing questions like these, comparing this album and its reactions to the music and reactions of Purple Rain could lead to very interesting analysis. Also, with the extremely prominent facets of Baroque pop present on this album, those interested in studying the genre and its then, new, success in Europe could also use this album as a site of analysis. More related to my research of the shattering of gender and sexuality norms and stereotypes for Black artists in music, one could compare the lyrics of the song “Kiss” to its representations in the music video. Analyzing Parade and “Kiss” will certainly help me in my research, as they both give me insight into Prince’s views on gender and sexuality at the time, with the aural representations of his high-pitched voice, etc. in the music, as well as visual representations in music videos such as “Kiss.”

Though Prince and The Revolution’s album Parade still receives mixed reviews, it certainly provides multiple sites for analysis. I’m sure it will assist me in my research of gender and sexuality norms for Black artists in music, as well as numerous other topics of research for other scholars.

New CDs added in September!

New CDs for September 2016

Pop/Rock/R&B

Beyonce – Lemonade
Bratmobile – Pottymouth
Pink Floyd – The Wall

Beyonce - Lemonade

The Runaways – The Best of the Runaways
Screaming Females – Castle Talk
Siouxsie and the Banshees – The Best of Siouxsie and the Banshees

The Suffers

The Suffers – The Suffers
Team Dresch – Personal Best
X-Ray Spex – Germfree Adolescents

X-Ray Spex - Germfree Adolescents

Opera

Benjamin Britten- Billy Budd

Billy Budd

Avant Garde

John Cage and Sun Ra – John Cage Meets Sun Ra: The Complete Concert, June 8, 1986, Coney Island, NY

John Cage Meets Sun Ra

New CD’s added this month!

Classical

Bartlett & Robertson – Selected Recordings, 1927-1947
Harriet Cohen – Complete Solo Studio Recordings
Philip Corner – Satie Slowly
Myra Hess – Complete Solo and Concerto Studio Recordings
Matthay Miscellany – Rare and Unissued Recordings
Moura Lympany – HMV recordings, 1947 – 1952
Irene Scharrer — Complete Electric and Selected Acoustic Recordings
Schnabel, A. – Complete Beethoven Sonatas
Schubert, F. – Die Schöne Müllerin | Winterreise | Schwanengesang
Katrina Szederkényi – Fantasias and Fugues: Music For Harp

Vocal

Ferrera Ensemble – Figures of Harmony – Songs of Codex Chantilly c. 1390
Arvo Pärt – Tintinnabuli
Trio Mediaeval – Aquilonis
Julia Wolfe – Steel Hammer

Electronic

Brian Eno – The Shutov Assembly

Jazz

Nels Cline and Julian Lage – Room
Red Garland Trio – Swingin’ on the Korner

Pop/Rock

D’Angelo and the Vanguard – Black Messiah
Elvis Costello – Beyond Belief: A Tribute to Elvis Costello
The Mavericks – In Time
The Mavericks – Mono
The Mavericks – The Definitive Collection

World Music

Cesaria Evora – The Essential Cesaria Evora

New CD’s added this month!

Classical

Clara Schumann – Complete Piano Works
Javier Camarena – Recitales
Temianka & Shure – Beethoven – 10 Sonatas for Violin and Piano

Jazz

Donald Byrd – Kofi
Duke Ellington – Festival Session
Duke Ellington – At Newport

Pop/Rock

The Beach Boys – Sounds of Summer
Bob Seger & The Silver Bullet Band – Night moves
Bob Seger & The Silver Bullet Band – Stranger in Town
Canned Heat – Uncanned – The Best of Canned Heat
Cherryholmes – Cherryholmes
Cherryholmes – Cherryholmes III, Don’t Believe
Cornell Dupree – Child’s Play
Don Henley – Building the Perfect Beast

Soundtracks

Stephen Flaherty – Rocky: Original Broadway Cast Recording
Tom Kitt – If/Then: Original Broadway Cast Recording

Additional CD’s added in May!

5/28/2014

Classical

Berio – Chamber Music
Peter Serkin – Beethoven Sonatas

Instrumental

Michael Daugherty – American Icons

Jazz

John Coltrane – Africa/Brass
Donald Byrd – Early Byrd

Pop/Rock

Foy Vance – Joy of Nothing
Bruce Springsteen – Human Torch
Bruce Springsteen – Darkness on the Edge of Town

Soul Music

Allen Toussaint – What is Success: The Scepter and Bell Recordings
Charles Wright – Express yourself the best of Charles Wright and the Watts 103rd Street Rhythm Band
Gladys Knight – The very best of Gladys Knight & the Pips : the early years

Soundtracks/Film Music

Various – BaadAsssss Cinema (The Sounds of Blaxploitation)
Various – The Best of Blaxploitation

New CD’s added this month!

5/21/2014

Jazz

Ben Powell – New Street
Don Pullen – New Beginnings
Eberhard Weber – Silent Feet
Eberhard Weber – Colours
Ken Peplowski – Maybe September
Pat Metheny Group – Kin()
Steve Turre – In the Spur of the Moment
Steve Turre – Keep Searchin’
Steve Turre – Rhythm Within
Terri Lyne Carrington – Money Jungle: Provocative in Blue

Funk, Soul, R&B

Betty Wright – The Platinum Collection
Impressions – Definitive Impressions
King Curtis – Instant Soul: The Legendary King Curtis
Tyrone Davis – The Ultimate Tyrone Davis

Christian/Gospel

Hezekiah Walker & LFC – Souled Out

5/20/2014

Bluegrass

Steep Canyon Rangers – Tell the Ones I Love

Classical

Beethoven – Four Sonatas for Fortepiano
Berio – Sequenzas
Berio – Rendering | Stanze
Messiaen – La Transfiguration de Notre Seigneur Jésus-Christ

Christian

Hillsong – The Very Best of Hillsong Live

Funk, Soul, R&B

Candi Staton – Candi Staton
Eddie Floyd – Rare Stamps
Fatback Band – Fatbackin’
Harlem River Drive – Harlem River Drive
Howard Tate – Get It While You Can
The J.B.’s – Funky Good Time: The Anthology
Various – I’m a Good Woman 2: Funk Classics From Sassy Soul Sisters
Various – Move to Groove: The Best of 1970’s Jazz Funk

Jazz

Dianne Reeves – Beautiful Life
Duke Ellington – Such Sweet Thunder
John Abercrombie Quartet – Within a Song
Miles Davis – Four & More

5/19/2014

R&B, Soul, Funk, African JAZZ, and more…

Abdullah Ibrahim – African Marketplace
Abdullah Ibrahim – African Sun
Abdullah Ibrahim – Blues for a Hip King
Abdullah Ibrahim – Voice of Africa
Aretha Franklin – Rare & Unreleased Recordings from the Golden Reign of the Queen of Soul
Betty Harris – The Lost Soul Queen
Don Covay – The Platinum Collection
Ike and Tina Turner – Proud Mary: The Best of Ike and Tina Turner
James Brown – The Payback
Otis Clay – Testify!
Undisputed Truth – The Collection
Various – For Connoisseurs Only, Vol. 2
Various – For Connoisseurs Only, Vol. 3
Various – Heart of Southern Soul, Vol. 2
Various – Heart of Southern Soul, Vol. 3
Various – Heart of Southern Soul, Nashville/Memphis/Muscle Shoals
Various – Land of 1000 Dances
Various – Land of 1000 Dances 1956-1966, Vol. 2
Various – Rare and Unreissued New York Funk, 1969-1976
Various – Rough Guide to South African Jazz
Wilson Pickett – Very Best of Wilson Pickett

Jazz

Esperanza Spalding – Radio Music Society
Gregory Porter – Liquid Spirit
Miles Davis – My Funny Valentine
Mike Jones Trio – Plays Well with Others
Paul Motion – On Broadway, Vol. 1, 2, 3, 4, 5

Brazil

Paquito D’Rivera – Song for Maura

Bluegrass

Matt Flinner Trio – Music du Jour

Metal/Industrial

Trevor Jackson Presents Metal Dance

Pop

Justin Timberlake – The 20/20 Experience

Christian

Mandisa – Overcomer