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Post by puma on Jan 29, 2011 1:19:06 GMT 1
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Post by puma on Jan 28, 2011 7:08:30 GMT 1
This is my favorite part of the whole Sundance concert. She kicked people OUT of the concert!!! YES!!! Thatta a girl!! Often called America’s best ever female rapper, Lauryn Hill got no respect from a group of self-important VIP’s at a concert on the sidelines of the Sundance Film Festival Wednesday night. So Hill, who is known for not mincing her words, asked her security to remove the people and their roped-off, Very Important Person section that was set-up just meters from the stage. As she performed the latest concert on a current small tour — a comeback of sorts after a hiatus from the music scene — she had to contend with the VIPs, whoever they were, as they mostly ignored her set, often with their backs to the stage while swilling champagne and at times blocking the view of and distracting ticket-paying concertgoers. For the record, Hill’s show was not affiliated with the festival itself, but was just one of many performances set up by party and corporate promoters that Sundance has long battled. For years, the sort of circus atmosphere created by the marketers has irked Sundance’s backers, including Robert Redford. While there is little Sundance can do about private enterprise at work, there was plenty that Ms. Hill (as she apparently likes to be called) could do about the rowdy crew in the velvet-rope section. In fact, she asked her security “to move the crowd, you understand me?”. Bravely she carried on despite the strange set-up, playing new versions of her songs from the Grammy-winning “The Miseducation of Lauryn Hill” and finishing with the Fugees’ “Ready or Not,” “Killing Me Softly,” and “Doo Wop (That Thing) We note that many other music events taking place outside the festival, such as Cee-Lo Green performing at the Bing Bar, were tastefully done, albeit invitation only. And in a struggling music industry where singers must find new ways to make money, many singers in recent years all over the country – from Jewel to Rufus Wainwright — now perform private sponsored events to rude crowds who turn out for the sponsors, free booze and party. (Another note: earlier in her career, Ms. Hill often complained about the corporate demands of the music industry and the compromises they placed on artistic integrity). But when a ticket-paying public and even performers on stage have to contend with roped off sections of rowdy VIPs who got in free, we wonder what is the future of live concerts?
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Post by puma on Jan 24, 2011 4:53:43 GMT 1
"calling women bitches when their mothers raised them solo"
Gotta love this woman. Just ridiculous.
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Post by puma on Jan 23, 2011 18:51:33 GMT 1
5 Must-Hear Songs on Marsha Ambrosius’ ‘Late Nights & Early Mornings’ It’s taken Marsha Ambrosius more than a decade since debuting with Grammy-nominated duo Floetry to put out her first solo album Late Nights & Early Mornings, but the operatically-trained singer is ready to spread her wings and soar. The English lass collaborates with an impressive cast on her debut, with production by Just Blaze (“Far Away”), Rich Harrison (“Late Nights & Early Mornings”), Dre & Vidal (“Your Hands”), and more, as well as writing credits from Alicia Keys and Lauryn Hill. The romance-laden album, set to a full-bodied musical backdrop, explores the Brit’s relationship experiences ranging from behavioral remorse to innocent naiveté. Rap-Up.com presents five must-hear songs from Late Nights & Early Mornings prior to its March 1 release. “Lose Myself” Lauryn Hill wrote and recorded this as an energetic inclusion on the soundtrack to the 2007 animated feature Surf’s Up, and Marsha completely reconfigures the track to suit an R&B template. Cutting away the heavy percussion and synthesizers of Ms. Hill’s version, Marsh puts her heart into this neo-soul remake, driven by languid percussion, a light organ, and thick vocal harmonies. www.rap-up.com/2011/01/23/5-must-hear-songs-on-marsha-ambrosius-late-nights-early-mornings/
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Post by puma on Jan 23, 2011 1:46:33 GMT 1
I'll be honest. I was feeling pretty depressed today and this just made my day. I just keep replaying that section of When It Hurts So Bad. Once again. Thanks.
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Post by puma on Jan 22, 2011 22:15:26 GMT 1
OMFG...When It Hurts So Bad....that breakdown with the background singers is freaking SICK!! She never ceases to amaze me with her arranging skills. WHAAAATTT!!!
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Post by puma on Jan 22, 2011 22:07:07 GMT 1
Umm...WOW! It's amazingly clear. That person's device is freaing top notch. The background singers sound wonderful. Thanks a lot, Sengun.
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Post by puma on Jan 22, 2011 18:58:46 GMT 1
It's the end of the second arrangement of Ex-Factor. Her voice sounds absolutely amazing there. It's strong, clear and supple. That just made me extremely excited.
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Post by puma on Jan 21, 2011 5:33:30 GMT 1
My favorite review ever: Everyone loves a scintillating, juicy headline. That's the only plausible explanation I can think of for all the hoopla surrounding Ms. Hill's current tour, as an overwhelming majority of people online and in attendance at the show were buzzing about how late she would come onstage and whether or not it would be an unmitigated disaster. It only took a few minutes for those fears to evaporate, however, as Hill appeared and made her way through an hour-and-50-minute set that was powerful and profound, holding the packed crowd rapt right up until the end. "They told me the show was sold out," she remarked at the beginning of her set, scanning the crowd and beaming. "This is like really, really sold out. Look at this eclectic mix of people! I love it, this is great." Looking like the hip-hop version of Annie Hall with her tan felt hat, wide-leg trousers, and black furry vest layered over a red, sparkly sweater, Hill took the stage around 11:50 p.m., only 50 minutes past her scheduled start time and 20 minutes after her DJ and band filed out to hype up the crowd (since when did we start demanding that iconic musicians be so punctual, anyway?). She started off with a cover of Bob Marley's "Forever Loving Jah" before launching into a set of what she called her "classics" -- a handful of cuts off her debut and only solo album, The Mis-Education of Lauryn Hill. Backed by nearly a dozen musicians and backup singers, Hill reworked much of her older material into lush new arrangements, at times motioning frantically to her band to highlight certain instruments or pick up the pace. The beginning of the performance climaxed with a downright transcendent, soulful rendition of "Ex-Factor" that had more than a few concertgoers wiping tears from their eyes, which bled seamlessly into another heartbreaking ballad, "To Zion." With the crowd still recovering from that emotional bludgeoning, Hill kicked off her shoes and coyly asked, "How many Fugees fans do we have in Minneapolis?" She was clearly digging the vibe in the Mainroom, as she paused several times to marvel over the packed and adoring crowd and inserted "Minneapolis" into practically every song. Photo by Ben Clark Though her rapping on the Fugees songs ("How Many Mics," "Zealots") was spot-on and intense, the crowd was hesitant to move with the music, and Hill did her best to whip up her band with a "pep talk" and get the audience jumping up and down. Though the full-band arrangements did much to accentuate her more melodic songs, the Fugees songs seemed to drag a bit with the addition of so many live instruments. That is, until the final one-two punch of "Ready or Not" and "Killing Me Softly," the latter of which started out with just Hill and her keyboard player and built into a full-band, full-room freakout. For the encore, Hill came out and launched immediately into another Marley cover, "Turn Your Lights Down Low," and paused mid-song to introduce the crowd to the reggae legend's son and the father of her five children, Rohan Marley, who was seated at a table in the balcony. "There he is!" she pointed proudly, asking the club to shine a spotlight on him as she dedicated the cover to him. "For us, it's not 'I want to give you some good, good loving,'" she joked. "It's I want to give you some good, good baby-sitting time. I don't even know how many kids we have now." As the clock neared 1:30 a.m. Hill asked if she could play one more -- and with the crowd more than sated from her lengthy set, her call-and-response rendition of "Doo Wop (That Thing)" was a joyous and celebratory victory lap. Photo by Ben Clark Critics' Bias: I went in expecting that there wouldn't be a trainwreck. Much like Hole's much-hyped show in the Mainroom last summer, people seem to exaggerate small missteps or disgruntled fans in a really sensationalized way as if they almost want these artists to fail, especially when it comes to strong female artists who aren't afraid to show some personality on stage or have an off night. The crowd: Easily one of the most diverse crowds I've ever seen in the Mainroom. Also quite pushy toward the beginning of the night -- as my friend Robyn Lewis tweeted, "Peeps are real defensive over their $55 plot of land over here!" Overheard in the crowd: "No one is dancing!" complained the concertgoer next to me, who couldn't believe how many people were just standing and staring. Random notebook dump: Hill made several remarks toward the end of her set about wanting to come back soon. "We gotta do this more often, we gotta see each other face-to-face more often," she said. I hope she meant it. Set List: Forever Loving Jah (Bob Marley) Lost Ones When it Hurts So Bad Ex-Factor To Zion Final Hour How Many Mics I Only Have Eyes For You/Zealots Fu-Gee-La Ready or Not Killing Me Softly Encore: Turn Your Lights Down Low (Bob Marley) Doo Wop (That Thing) blogs.citypages.com/gimmenoise/2011/01/ms_lauryn_hill.php
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Post by puma on Jan 20, 2011 19:47:32 GMT 1
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Post by puma on Jan 19, 2011 17:10:37 GMT 1
Hip-hop hurray for Lauryn Hill at First Ave After a long absence and a late start, the rap/soul superstar delivers an unexpected unforgettable performance. Lauryn Hill had two strikes against her. Like Sade, the Grammy-grabbing hip-hop/soul superstar has been largely absent from the stage and recording studio for almost a decade. When she does book a rare gig, Hill, like Sly Stone, Prince and Courtney Love, is notorious for showing up late. With an advertised 9 p.m. start time Tuesday at First Avenue, the sell-out throng was thrilled when the screen in front of the stage went up at 11:32 -- only to reveal a DJ, not Hill. As he spun hip-hop hits, he announced: "Ms. Hill is in the building." A band eventually joined the DJ and then, at 11:54, it was finally star time. For the next 109 minutes, Hill gave the kind of performance that nobody had the right to expect. She was loose, organic and emphatic. She seemed fully committed to her words, band and performance. She was in the moment, and she was kickin' it. In short, this was truly a superstar turn, the kind of concert that people will be talking about for years. On her first extensive solo tour (well, 17 shows is extensive for her) since 1999, Hill, 35, has been receiving mixed reviews. Her tardiness has often put critics and concertgoers in a foul mood. When she arrived on the First Avenue stage, the stylishly retro dressed diva started yakking, a habit that has sometimes led to misguided diatribes and public meltdowns. However, she was impressed by the packed club and "eclectic mix of people." She welcomed them with Bob Marley's "Forever Loving Jah" and then made her mission clear: "Let's set the mood and chase out all the negativity." Hill did both. Mixing material from her landmark 1998 solo album "The Miseducation of Lauryn Hill" and 1996's "The Score" by her hip-hop trio, the Fugees, she reasserted her reputation as a fast, fierce and formidable rapper. Surprisingly, her singing was newly hoarse but heartfelt. Her voice either is not in shape for the road or she has to sing so hard over her loud but excellent band that she's straining. Her vocal deficiencies were especially noticeable on the Fugees' treatment of "Killing Me Softly" when neither her lower or upper register had the color heard on the group's hit recording. On the Flamingos' "I Only Have Eyes for You," she had to rely on her three splendid female backup singers to carry the doo-wop vocals. Nonetheless, Hill was totally invested in her singing, often seizing a lyrical line and riffing on it over and over again. She was equally spontaneous with her nine musicians (including three keyboardists, two bassists and a DJ), calling out changes in arrangements or conducting with her hand. The songs were strikingly reimagined, with textures and tempos changing dramatically. What a stark contrast to Hill's last local gig, a solo acoustic effort on the multi-act Smokin' Grooves Tour at Target Center in 2002. Near the end of Tuesday's set, after her sexy talk-sing treatment of Marley's "Turn Your Lights Down Low," Hill ordered a spotlight to be shone on "the father of my [five] children" sitting in the balcony -- Rohan Marley, Bob's son, who had surprised her by showing up in Minneapolis. Now that may explain her marvelous mood and our good fortune. www.startribune.com/entertainment/music/114195089.html?elr=KArksLckD8EQDUoaEyqyP4O:DW3ckUiD3aPc:_Yyc:aUvDEhiaE3miUsZ
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Post by puma on Jan 18, 2011 17:52:07 GMT 1
As the fans of Ms. Lauryn Hill streamed out of the Pageant at 2 a.m., Monday morning, one man called out, “She killed it,” and across the sidewalk, someone answered him: “We knew she would!” Many among the remaining crowd buzzed with effusive praise. For some St. Louis ticket-holders, however, steeped in warnings of four-hour waits and lackluster performances, this kind of confidence was hard to come by -- and, even afterward, far from universal. Sunday’s concert confirmed what has become a definite pattern for the artist The New York Times described as “maybe the most gifted female rapper in history, one of the most versatile pop talents in recent memory and also one of the great modern celebrity recluses.” For the past month of this rare tour, bloggers and reviewers from Brooklyn to Atlanta have chronicled mixed reactions to Hill’s late arrivals and songs re-imagined almost beyond recognition, presented in what some have called unprofessional, borderline sloppy performances. Sunday’s concert excited the same criticisms that have dogged earlier shows on her tour, and her response so far has been in keeping with themes that emerge in her music: a right to personal growth as both a musician and a performer. In the now oft-quoted retort to angry fans in Williamsburg, she addressed accusations of disrespect directly with, “I spent my entire 20s sacrificing my life to give you love. So when I hear people complain, I don’t know what to tell you. I personally know I’m worth the wait.” After repeated late starts in other cities, event planners pushed back the official show time from 7 to 9 p.m. in an attempt to mitigate the wait, offering refunds within a limited time frame. Feedback began flowing long before the concert started -- even long before ticket-holders arrived at the Pageant. For fans such Cyrena Collins, a 29-year-old cosmetologist, Hill's recent behavior seemed like a risk, albeit a risk worth taking. “But I bought insurance with my ticket,” Collins said. Even with lowered expectations and $53 prices, it was still difficult to track down tickets for the sold out show. Hundreds of people registered to win remaining seats through radio station and newspaper contests. “I’ve been waiting for Lauryn to come back for 10 years,” said Ervin Williams, a high school English teacher who attended her last St. Louis performance in 2002. “When you get an artist like Lauryn Hill who is different than the average, you have to take advantage of that opportunity. That’s somebody you want to see in your lifetime. Lauryn Hill is the Marvin Gaye of this generation. She is the iconic message you want to hear delivered.” When Hill had not arrived by 11 p.m. – two hours after doors opened – the crowd at the Pageant stayed relatively calm. Aside from a few heated demands for refunds in the ticket booth, fans danced to throwback rap and R&B hits spun in reverse chronological order by DJ Rampage. They laid bets on her arrival time, and used cell phones to popularize a #laurynhill hashtag on Twitter with mock speculations about the circumstances holding her up (“#laurynhill got pulled over for speeding in Rock Hill” and “#lauryn hill distracted by her own reflection in the Arch. She’ll be here shortly”). Her band began before she arrived, taking up their instruments piece by piece until Hill took the stage at 11:52 p.m., greeting St. Louis like an old friend. And at least at first, the crowd responded in kind. She announced “We’re going to do old music for you in new ways to keep it interesting,” to loud cheers, and maintained that energy through a cover of Bob Marley’s “Forever Loving Jah.” At a given moment, she would invite the audience to participate, expressing appreciation for the energy and intimacy of the venue. At others, she said: “You do your part and I’ll do mine,” launching into barely recognizable new versions of songs from her 1998 Miseducation album. Reactions were once again mixed – in the middle of the floor, some danced with tangible excitement, while others on the periphery struggled to keep their eyes open at 1, then 1:30, then 2 a.m. By the time Hill moved into more familiar versions of such popular hits as the Fugees anthem “Fu-Gee-La” and her Grammy-winning remake of Roberta Flack’s “Killing me Softly,” the audience had thinned to a smaller, yet still significant size. Throughout the show, Hill made decisions on the spot – she asked the lighting director to dim the brights and refocus the spotlight; she told audience members to sing along for effect, and punctuated the whole show with directives to her band members. Some she accompanied with good-natured threats, like when she gestured at a guitarist with her microphone and threatened to “bonk” him with it; others carried a more ambiguous tone. In one of the more memorable quotes of the evening, she turned her back to the audience surveyed her fellow performers and warned, “Don’t waste this tune.” Hill’s behavior has launched speculation: If fans pay to see her play, are they entitled to familiar music and organized performances? Or should Hill herself define the terms of a concert ticket, even if it means losing fans along the way? Is it “disrespect” or is it “artistic license” – essentially, for whom is she performing? “I just hope it doesn’t come to a situation where people get upset with her, where she upsets the people who put her in the position that she’s in right now. But I think she is a person who has done her art, and she doesn’t have any apologies for what she does. She says ‘I am Lauryn Hill, you can like me or you don’t have to',” Williams said. Some answer by asking for refunds, they leave early and vow to boycott her future shows. But despite the warnings, St. Louisans turned out: By the end of the night, the fans who did not leave early answered every call-and-response to her closing number, “Doo-Wop (That Thing),” one of her most popular songs. People crowded the stage to touch her hands and someone waved a cutout photograph of the singer’s profile from the balcony. “I expect for her voice to be beautiful and for her to be her. She can be a little different, but I’m a Lauryn Hill fan to the heart,” Collins said. www.stlbeacon.org/arts-life/music/107512-ms-lauryn-hill-at-the-pageant
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Post by puma on Jan 18, 2011 17:47:00 GMT 1
"And every chorus was written for us to recite/ Beautiful melodies of devotion every night..." Those lines, lyrics taken from the Ms. Lauryn Hill's rap on "Turn Your Lights Down Low," (a "duet" with the late Bob Marley) carry new meaning today, after seeing her performance last night at The Pageant. Yesterday, Jason wrote about waiting for artists to take the stage in his review of Friday's Grace Potter and The Nocturnals show. His words also carry new meaning after last night's Ms. Lauryn Hill performance. I bought my tickets for Hill's show back in December, the second they went on sale. I thought it would sell out in mere minutes. Turns out, I hadn't been reading the reviews online. Reported diva antics: late starts, no-shows, crowd heckling. You know, the sort of trifecta that persuades avid fans to stay home versus risk disappointment from their favorite volatile artist, otherwise frozen in perfection in memories. However, that dilemma did not remotely enter my mind; with a few clicks, I procured two balcony seats (a splurge, even!) for what I considered might be one of my only chances to see Ms. Lauryn Hill live. The doors for The Pageant opened at 9:00 PM. I left my house at 9:45, fully aware that I'd still be waiting a long while for Hill to take the stage after I arrived at the venue. Turns out, high-heeled boots and an empty seat with my name on it couldn't lure me away from the spontaneous dance party my friends and I started in an empty balcony corner. Sorry, Petty, the waiting was not the hardest part. Hill's DJ played an endless stream of hot jamz to liven up the crowd: Snoop, Faith Evans, Mary J. Blige, Naughty By Nature. I have never experienced a vibe at The Pageant quite like the one last night; looking back, it seems like a carefully concocted powder keg. Hill took the stage at 11:52 PM. The Pageant was still packed to the gills, the crowd was ready to erupt, chanting, "Lau-ryn! Lau-ryn! Lau-ryn!" Even though the show was well-publicized around town (both positively and negatively), I couldn't help but feel as though I was a member of a secret society, or I just became my date's "plus one" to an invite-only party. I can't say for certain why Hill prefers to take the stage so late, but maybe, just maybe, it's to weed out the tepid believers and the Hatorade drinkers. After all, as she recently told a New York audience, she's "worth the wait." And if you held your own last night through the figurative staring contest with Ms. Lauryn Hill, you came out a winner. She was worth every penny of my ticket's cost, every minute of my time. The lady came out on stage like a barrel from a gun. She topped off a rather masculine pants-and-matching-vest get-up with a feminine fur stole, just another symbol of her complex demeanor. She often acknowledged her adoring crowd by working "Saint Louis" into her lyrics as she shimmed and slid - James Brown style - across the stage. Her frenzied dancing often evolved into bodily spasms, conquering old songs done in new ways, with her twelve person army of musicians and back-up singers behind her. And, no matter how fired up Ms. Lauryn Hill got, she for damn sure wasn't going to drop that fur stole. Hill coursed through favorites off of The Miseducation of Lauryn Hill and from The Fugees' catalog. While she avoided her (fabulous) reworking of Frankie Valli's "Can't Take My Eyes Off Of You" off Miseducation, she did provide her version of The Flamingos' "I Only Have Eyes For You." The balcony cleared out as the show traveled into Monday, but those who left early missed the 1-2-3-4-5 packed punch of "Fu-Gee-La," "Ready or Not," "Killing Me Softly," and the two encore numbers, "Turn Your Lights Down Low" and "Doo Wop (That Thing)." Together, we all stood in devotion and recited those beautiful melodies and choruses. And when I say "recited," I really mean shouted. I realize that I am not saying anything unique when I tell you that Miseducation is a seminal album in my life. I wore that CD out during my first year of college. Away from home, surrounded by burgeoning friendships but still very much alone, that album became the soundtrack of my independence, dare I say, paralleling Hill's escape from the turmoil within The Fugees, her solo debut, motherhood... No, I take it back. I don't dare say that. What I do know is this: last night, I placed a bet and won. For those who stayed away to avoid potential disappointment missed the opportunity to watch Hill burst - gristle and funk and humanity flying everywhere - before their very eyes. Miseducation, no matter how well that album reveals Hill's giftedness, cannot convey the brilliance of her raw and burning presence, exposed from her curtain of controversy and rescued from fans who have mentally frozen her in perfection. If you are debating, if you're just not sure if you want the ticket, stop. Go see her. She is absolutely worth the wait. Setlist [courtesy of A to Z]: "Forever Loving Jah" (Bob Marley cover) "Lost Ones" "When It Hurts So Bad" "Ex-Factor" "Final Hour" "How Many Mics" (Fugees) "I Only Have Eyes For You" (The Flamingos cover) "Fu-Gee-La" (Fugees) "Ready or Not" (Fugees) "Killing Me Softly" Encore: "Turn Your Lights Down Low" "Doo Wop (That Thing)" www.speakersincode.com/2011/01/concert-review-ms-lauryn-hill-at.html
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Post by puma on Jan 17, 2011 20:47:20 GMT 1
Ms. Lauryn Hill's challenging concert Monday morning at the Pageant came with a flurry of questions, and by the end of the 90-minute performance, they were all answered. Many fans, based on what they'd heard or read from reviews in other cities as well as the power of social networking, expected Hill's show to implode on arrival. Questions included: Would she show up at all? How late would she be? Would she have an attitude? Would she perform her hits, and would they be recognizable? The answers: Yes, very, no, yes and no. Grammy winner Hill, in her trademark Afro hair style and simple slacks ensemble, seemed in good spirits when she hit the stage just before midnight, 11:52 p.m. Sunday to be exact. She stayed in that mode even while fussing with a jacket that had a huge fur trimming that was nearly her undoing. Her patient fans were mostly in a good mood as well, despite the long wait -- doors for the show were originally supposed to open at 7 p.m., then 9 p.m., and then word spread that Hill would take the stage at 11 p.m. They seemed prepared for the delay, and DJ Rampage and DJ Wood kept the crowd engaged with hip-hop hits from names like Kanye West, Jay-Z, Drake, Busta Rhymes and Ludacris. Right off the top, after nicely greeting the crowd, Hill told or perhaps warned her fans she would be doing old music in new ways "to keep it interesting." That was an understatement. Hill wasn't interested in giving fans a recognizable run-through of "The Miseducation of Lauryn Hill," although wouldn't a performance of the album in its entirety have been great? Instead, she twisted and turned songs such as "Lost Ones," "When It Hurts So Bad," "How Many Mics" and "Final Hour" into new compositions, often sped up and boasting fierce new rock backings. At times it was almost as if Hill, who hasn't released a proper studio album since 1998's "Miseducation," was previewing a new album live in concert. And in the case of a few songs, including "Ex-Factor," she performed two distinctly different versions of the same song, taking fans on a bit of a roller-coaster ride. Hill's execution was great, and there is obviously plenty going on in her head musically these days. Her voice is still there, a little raspy but workably so, and her band clearly has mighty chops to tackle the night's remixes and reinventions. Still, she could have thrown fans more bones to chew on. It's one thing for an artist who tours repeatedly to tire of performing the same songs over and over to want to switch some of them up in the name of freshness. But that wouldn't apply to Hill. Most fans haven't seen her live since her '90s tour that accompanied "Miseducation," and they deserved to hear the rarely-performed songs as they remembered them. The show wasn't for every fan, evidenced by the fact that some began filing out midway through, though the late start time had something to do with that as well. Those who stuck around to watch the rapper-singer rock out most of the night were rewarded late in the show with "Fu-Gee-La," "Ready or Not" and "Killing Me Softly," songs from her Fugees' group album "The Score," as well as "Doo-Wop (That Thing)" and "Turn Your Lights Down Low." Her more faithful takes on these songs were truly crowd-pleasing, though it may have been too little, too late for some. www.stltoday.com/entertainment/music/reviews/article_fe04a2a4-225c-11e0-a7cf-0017a4a78c22.html
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Post by puma on Jan 17, 2011 20:44:29 GMT 1
Good job! Well...Unfortunately, the one you choose are not all my favourites :/ - Doo woop at Harmony festival --> Good quality but don't like the arrangement that much... - Chances are --> Mad... Maaaad !! I love it. My favourite.... Aw! It makes me cry... - Final Hour (raggamuffin fest) --> Not very good quality unfortunately, too fast for me.... I prefer the version of 2011 - Killing me softly (belo Horizonte) --> quality not so good .... She sings very well but, classical version. - Zimbabwe (florianopolis) --> Mad, I looove it but the version in Miami is in a better quality no? - Is this love ---> I'm listening to it continually , I was singing it in the car today - Lost One / When it hurts so bad (Miami) --> Don't like this version... Too fast. - Ready or not --> Baaad quality :/ It hurts my ears. We don't really hear the new arrangement in the sec verse... - Zion (Miami) --> Goody goody ! Love that one - Forgive them father (florianopolis) --> I love the way she sings it but bad quality again (Reverberation)....The chorists sound not very well ... - Ex- factor (Ballroom) --> Pretty version.... The crowd is very present - Final Hour (new Heaven) ---> Quality again... But I prefer this version - Miseducation (alternate version) --> Correct me if I'm wrong but I don't really note differences with "The miseducation"... ?! - Ex-Factor (SOPAC) : Nice one, really nice one but the sound... :/ aïe thank you to have taken the time to do this c.d !!! Again, good job! This is not your fault if the quality is not always good of course . I'm not going to comment on the quality of the recordings because it clearly states that it's from the YouTube videos. I have those same videos on my Ipod so I'm very familiar with your choices. 1. Doo Wop (Harmony Festival) : To represent Doo Wop, I would've picked one of the recent venue dates where she interacted with the crowd a little more. Those versions were the original versions and also the smaller venue allowed for better quality to hear her. The Harmony Festival was one of her first dates so she wasn't exactly settled in her performances. It was good but it wasn't tight. And also it's incomplete. 2. Chances Are: I absolutely love that she sang this song. She is definitely re-educating me on the works of Bob Marley and I'm so grateful. So many beautiful gems recreated or reinterpreted by a passionate singer. 3. Final Hour (Raggamuffin): This is where I fell in love with Final Hour. With the quick tempo, it made me aware of the technical genius that she is with wordplay. Her internal rhymes were so tight that you wouldn't notice on the slower tempo, BUT on the quick tempo it rolled off her tongue and hit my ear like heavyweight champion. I definitely would choose this one. 4. Killing Me Softly: I would've chosen a better video like the New Haven, CT version of the song. It was clearer and a better quality. 5. Zimbabwe: I would've chosen the Miami version because it had a great intro and the performance was much tighter. 6. Is this love: Great choice. I would've also put the New Haven, CT Forever Loving Jah in as well. 7. Lost Ones/ When It Hurts So Bad: I still absolutely love this version. I'm glad you chose this one. She owned this version. Her belting in When It Hurts so Bad assured me that she's definitely ready to come back and lay them in the aisles. 8. Ready Or Not: I would've chosen one of the smaller venues maybe like a Asheville just to hear her sing the "Look at you, you found me....But guess what, I'm coming back". This is a good version that you chose. 9. Zion: Good choice. I could also go for the New Haven version just to hear the musicians get a chance to show off their improv skills. But I think it's more important that there's evidence of her children on stage with their mother. It was adorable. 10. Forgive them father: I love this version, of course. There's also a version that she did in Brazil (10-9-2010) that was clear with no mistakes. I believe it's clearer but I like the fact that she stumbled on the rap and then caught herself so the Florianopolis works for me. 11. Ex-Factor (Bowery Ballroom): I somehow missed this version. I had the NC version but not this one. Thanks. It's absolutely beautiful. 12. Final Hour: I would've definitely chosen the the Charlotte NC version of the song because it was completely new. The version you posted featured the old arrangement and a new breakdown. The Charlotte had a new arrangement and the new breakdown. It's amazing. Before the NC version came along though, I was listening to the New Haven version non-stop so I completely understand you. 13. Miseducation: Yes, it's different from the CD version. Go back and listen to both back to back. There's more vocals on this version. If I had to choose Fugees material to post, I would've chosen I Only Have Eyes For You/ Zealots or her awesome arrangement of How Many Mics or her island version of Fu-Gee-La over Ready or Not.
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