Here we are again folks.
Intelligent Hoodlum “Black And Proud” sampling Wilson Pickett “Get Me Back On Time, Engine Number 9“, today “Quality” is definitely the keyword.
He’s better known as Tragedy Khadafi, and i used to estimate him when i was listening at “The War Report“..nothing but a masterpiece.
Going deeper throughout the years, i found a remarkable emcee, ironic and socially committed, curiously finding he did coin the word “illmatic”, in a guest verse on Marley Marl’s ‘The Rebel’ in 1988.
Tragedy’s debut brings us the chronicles of a young QU soldier, looking out the window like Malcolm, with a pen and a note-pad, ready to blind the minds of 85ers and droppin’ science on the project youth. Tragedy speaks nothing but the truth, this MC is all about build and destroy. All his lyrics revolve around science and mathematics, a testament of his affiliation to the N.O.G.A.E.
Don’t wanna talk about Mr Pickett’s biography, going to talk about those things that made me love his music from the very first listen.
He definetely embodies the essence of soul, in the way i reckon it. he got that drift which makes soul music so passionate and can make crowd goes totally wild.
Starting with “I Found a True Love“, to “634-5789“, his most famous “Mustang Sally” it moves quickly onto “I’m A Midnight Mover” and “Everybody Needs Somebody“. “Land of 1,000 Dances” would make a dead man’s pulse tap to a positively dynamic beat.
He played for many labels, Stax and Atlantic the most famous. Though he was working for Atlantic Records, he recorded his third Atlantic single, “In The Midnight Hour (1965)”, at Stax’s recording studio in Memphis.
This is a odd saw drawn from Wikipedia:
>> The genesis of “In the Midnight Hour” was a recording session on May 12, 1965, in which producer Jerry Wexler worked out a powerful rhythm track with studio musicians Steve Cropper and Al Jackson of the Stax Records house band, which also included bassist Donald “Duck” Dunn. (Stax keyboard player Booker T. Jones, who usually played with Dunn, Cropper and Jackson as Booker T. & the MG’s, did not play on any of the Pickett studio sessions.) Wexler said to Cropper and Jackson, “Why don’t you pick up on this thing here?” He performed a dance step. Cropper later explained in an interview that Wexler told them that “this was the way the kids were dancing; they were putting the accent on two. Basically, we’d been one-beat-accenters with an afterbeat; it was like ‘boom dah,’ but here this was a thing that went ‘um-chaw,’ just the reverse as far as the accent goes.” The song that resulted from this encounter established Pickett as a star, and also gave Atlantic Records a bona fide hit. <<
Message for Martini & Jopparelli, do you remember Steve “The Colonel” Cropper on Porretta Stage? He was like possessed.
A soul collection without some Pickett’s tracks is like Martini (i mean the booze ;) ) without olive.
Check this live, that’s crazy