Our hardworking and self professed fake CEO is now a curator in the Apple Music ecosystem, bending his non-musician brain to assemble creative and non-traditional playlists for your ears. Featuring some gems from the Ropeadope roster with tracks from the vast Apple Music service, the playlists will visit feel, style, social commentary and attempt to tie together seemingly disparate pieces of the music universe. In the future you can expect some more in depth and focused musical discussions, but for now it's all just a loose vibe. Drop in right here for a taste, and send Louis your comments via Apple connect.
Sister Gertrude Morgan
In the fall of 2005, as the world focused on the devastation of Hurricane Katrina, Ropeadope released two historically important records that spoke to the soul of the city. The first - the original Preservation Hall recording of Sister Gertrude Morgan's Let's Make A Record. Sparse, melodic, and raw, the album captured the true vision of Sister Gertrude Morgan - the self described 'Bride Of Christ' who wandered the streets of New Orleans preaching in her unique way. The second - King Britt Presents Sister Gertrude Morgan - a powerful imagining of the original with instrumentation from King Britt and Tim Motzer. The results are legendary - this new recording captured world attention, with consistent placement in movies (Miami Vice), TV (True Blood), and commercials. It went on to a third incarnation as rapper David Dallas, enthralled by the music, added powerful and positive vocals to create the track Running, which was featured in countless ads from the NFL to FIFA. Yes, a preacher from New Orleans changed the life of a DJ from Philly, and then again a rapper from New Zealand. Such is the lasting influence of music. Today we announce the release of a deluxe Vinyl edition of both original recordings - the double LP in a triple gatefold jacket, beautifully representing the original art of Sister Gertrude Morgan herself. We offer great Thanks to Preservation Hall, Vinyl Me Please, and the Artists for making this happen. There are a limited number of copies here.
(U)nity
On a cold winter night in New York, we ran into these cats at a Butcher Brown show. The night was electric, and the calm yet animated demeanor of Amaury Acosta was overshadowed only by the powerful personality of Axel Tosca Laugart (don't shhhshh him, he's Cuban). Everybody knew these cats, so we knew something was up. Bring it to today and their album is here. Define it we can not - but we can say it's unique. Guests include Pino Palladino, Elena Pinderhughes, Devonne Harris and more. AND some very unique commentary from Mr. Robert Glasper.
Enough talk! Let (U)nity is Power speak for itself and hit that play button.
Digable Planets LIVE
The late 1980’s. The first generation of kids to grow up on Hip-Hop was coming of age. An experimental vibe was in the air, like anything was possible. This is golden age Hip-Hop, where stylistic innovation was the rule – From Public Enemy to De La Soul, from Eric B & Rakim to A Tribe Called Quest – creating the breadth of style that this powerful music could hold.
This is the fertile ground upon which Digable Planets were raised. Craig ‘Doodlebug’ Irving and Mary Ann ‘Ladybug Mecca’ Vieira met at Howard University. Ishmael ‘Butterfly’ Butler, originally from Seattle, was in New York. A chance meeting in Philadelphia (of course) led to full on collaboration as they connected over a common love of poetry, jazz, and Hip-Hop culture. Assembling in New York, Digable Planets released their first album in 1993. Reachin’ (A New Refutation of Time and Space) hit the airwaves and was certified Gold by the RIAA. The lead single, Rebirth of Slick (Cool Like Dat)was a crossover Top 20 Billboard hit. While ATCQ and De La Soul had their spin, Digable Planets integrated soul and jazz into Hip-Hop in a fresh new way that broadened the genre musically and stylistically. Their look and vibe evaded Hip-Hop stereotypes at any early stage; one had the sense at the time that Hip-Hop was a vast cultural concept.
The trio went even further with their second album, Blowout Comb, organically integrating soul, jazz, and live instrumentation with social consciousness and positive observations on life. Blowout Comb was more serious, with political reference and imagery, which of course set the path for less commercial possibilities. Digable Planets called it quits in 1995, as each member went on to accomplished solo careers.
Fast forward to 2017, almost the other end of the evolution of Hip-Hop. A genre that has survived the pressures of the market, but not without collateral damage. We could say the same for the nation, and for just about every other genre. We find ourselves looking for the roots, the authenticity of music and of life. And so, now is the perfect time for Digable Planets, creative leaders with a stake in history, to return to the world stage. On New Year’s Eve 2015/16, the band kicked off a seemingly endless world tour to a chorus of appreciation. Along the way they returned to their culturally native spot – Philadelphia – for two sold out shows at The Ardmore Music Hall. Independent Philly label Artists First Records arranged to record the shows for the sake of history, and now Digable Planets LIVE is set for immediate release on Friday June 30.