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FROM THE BOX: Wu-Tang Clan concert flyer (Labor Day 1995, Atlanta)

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First off: I did not go to this concert. I started the Unofficial Wu-Tang Clan Mailing List (U-WU) a month before this show happened, but I was in Georgia for reasons other than music. I went there to meet a woman I had talked with online, but to make a long story short, the friendship fizzled soon after. End of story.

I did not stay in Atlanta but a smaller town south of ATL, but we did spend a few hours in a city I grew up admiring from watching WTCG/WTBS. I was drawn to cable TV, wrestling, cartoons, and old episodes of The Little Rascals, I liked the Atlanta Braves for awhile all because of cable. There was a show on MTV called IRS’ The Cutting Edge, and The Go-Go’s made a stop at a restaurant called The Varsity, where the group were able to eat burritos made and placed on a conveyor belt. This was in the early 80′s and I thought “the day I made it to Atlanta, I will have to stop there.” When I arrived in late August, the first place we stopped at was Varsity. Childhood dream became reality.

Because of the situation I was in, I was not able to visit certain parts of Atlanta that I wanted to. Truth be told, it was my first trip to the South and after hearing stories about how some people were racist and didn’t take too kindly to anyone a darker shade of sheet paper, I worried. Yet when I got there, it wasn’t as bad as I assumed it would be. I was actually more worried about the perception people would have when they saw me with the lady I was with.

Anyway, we’d listen to the radio and there were a few hot songs in the summer of 1995. Method Man‘s remix of “All I Need” with Mary J. Blige was all over the place, but another Wu-related song was hitting the mix tape circuit and I heard it on the radio in Atlanta: the remix of Jodeci‘s “Freek’N'You” with Raekwon and Ghostface Killah. I tried to record one of the radio shows with my Walkman but couldn’t get a good reception. While listening, a Wu-Tang Clan concert was being heavily promoted, as it was a Labor Day show and they were encouraging everyone to head there and end the summer properly.

The scan above is of a flyer I picked up when I bought records at a store called Earwax. I loved the store, for when I walked in, they were playing KRS-One‘s “MC’s Act Like They Don’t Know”. I didn’t buy the 12″ for it, but I did buy Big Kap‘s “Da Ladies In Da House”, Jamiroquai‘s “Space Cowboy”, and I think one by DJ Mister Cee.

When I had seen the flyer, I thought “crap, I’m going to be leaving a few days before this concert, why do I have to leave?” I had wanted to go to Decatur, as I was a huge fan of Yall So Stupid, a group who celebrated their home all over their album Van Full Of Pakistans, but my companion didn’t want to go there so we did not visit Decatur.

Nonetheless, I flew back home to the Pacific Northwest and that was that. I’m clearing out a lot of stuff in my collection and I come across this flyer again. Seeing as it is a Labor Day weekend in the United States, I felt it was the perfect time to post this. Since I was the U-WU guy in 1995, I had a few people from Atlanta who told me that everyone had hoped that everyone listed would show up. Unfortunately, it had become known that even though a concert was being promoted as a Wu-Tang Clan show, you were lucky if more than three members showed up. It would anger people, as the Wu were still very much about the Wu, as in “the group”.

If any of you reading this went to this show, feel free to post your memories about it.

Nonetheless, I would love to visit Atlanta again and truly explore it.

REVIEW: Mindy Canter’s “Fluteus Maximus”

Photobucket With a title like Fluteus Maximus (self-released), it was cute but I almost stayed away from it for being, if not cute, then downright corny. But I gave it a shot and I’m glad I didn’t pass this up.

Mindy Canter plays the flute as her main instrument but she also goes between keyboards and the Hammond B-3, and along with her band, she gets a chance to truly tear it up with some fine playing and great selection of songs. To make it interesting, all of the songs were done in one take (thus the subtitle One Session: One Take), and then she’d dub her B-3 playing soon after. If she could split herself she’d probably play everything heard, but her playing is solid and you want to hear more. Along with originals, Canter handles versionf of “Watermelon Man”, “Mercy Mercy Mercy”, “Over The Rainbow”, “High Heel Sneakers”, and showing her love of the flute to the fullest, a nice rendition of Herbie Mann‘s classic “Memphis Underground”, taken here at a performance that’s under 5 1/2 minutes.

Occasionally I’m kinda iffy about vocals, but most of them on the album are done by guitarist Denny Geyer, whose bluesy ways help take the songs to deeper places and it’s a perfect match for the music that’s being played (the band are rounded out by Roy Blumefeld on drums and Paul Smith on bass).

So again: Fluteus Maximus may be a tacky choice for anything, but let’s not get elitist here. The title is a play on the glutes, thus playful, and the musicians here are playing to the maximum. The music can indeed move the glutes, your mileage may very, but when you have music well executed as it is here, the title is secondary.

REVIEW: Troy Roberts’ “Nu-Jive”

Photobucket Upon first look at this cover, I thought it was the one of many hip-hop albums I receive on a regular basis for review. It had taken me awhile to listen to it, but once I did, I thought “wait a minute, this isn’t hip-hop. This is jazz.” Funky jazz at that too.

Nu-Jive (self-released) is an album that would have sounded comfortable in the mid to late 70′s as it does today. No hip-hop whatsoever, although some of its deep and think grooves could’ve been used in the days when acid jazz was being exposed to an audience unaware of that kind of songs and musicianship. The 9 songs here are an excursion, one that you could listen casually but it’s going in deep where you’ll be able to truly hear what these guys are trying to achieve.

The band balance their love of hardbop and bebop with something a bit more soulful, pop if you will but not too much. Definitely worth some listens, and i suspect these guys will get rowdy when you see them in a club. That is, “musically rowdy”.

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