RhoDeo 2106 Grooves

 Hello, i was convinced i had posted these guys years ago, turns out I didn't, high time then for the godfathers of rap...  



Today's Artists areThe Last Poets are several groups of poets and musicians who arose from the late 1960s African-American civil rights movement's black nationalism. The name is taken from a poem by the South African revolutionary poet Keorapetse Kgositsile, who believed he was in the last era of poetry before guns would take over. The original users of that name were the trio of Felipe Luciano, Gylan Kain, and David Nelson.

The versions of the group led by Jalaluddin Mansur Nuriddin and Umar Bin Hassan had the largest impact on popular culture. The Last Poets were one of the earliest influences on hip-hop music. Critic Jason Ankeny wrote: "With their politically charged raps, taut rhythms, and dedication to raising African-American consciousness, the Last Poets almost single-handedly laid the groundwork for the emergence of hip-hop." The British music magazine NME stated, "Serious spokesmen like Gil Scott-Heron, The Last Poets, and later Gary Byrd, paved the way for the many socially committed Black [emcees] a decade later.), .........N Joy

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The Original Last Poets were formed on May 19, 1968 (Malcolm X's birthday), at Mount Morris Park (now known as Marcus Garvey Park) in East Harlem. On October 24th 1968, the group performed on pioneering New York television program Soul!.

Luciano, Kain, Abiodune Oyewole and Nelson recorded separately as The Original Last Poets, gaining some renown as the soundtrack artists (without Oyewole) of the 1971 film Right On!

In 1972, they appeared on Black Forum Records album Black Spirits - Festival Of New Black Poets In America with "And See Her Image In The River" and "Song of Ditla, part II", recorded live at the Apollo Theatre, Harlem, New York. A book of the same name was published by Random House (1972 - ISBN 9780394476209).

The original group actually consisted of Gylan Kain, David Nelson and Abiodun Oyewole. Following their get-together on May 19, 1968 (Malcolm X's birthday), at Marcus Garvey Park, the group coalesced via a 1969 Harlem writers' workshop known as East Wind. When Nelson left, he was replaced by Felipe Luciano, who would later leave to establish the Young Lords. When Kain and Nelson then began to pursue other interests (theater and ministry respectively), Abiodun Oyewole "recruited" Alafia Pudim (later known as Jalaluddin Mansur) and Umar bin Hassan in an attempt to replace the founding members of the group. Following the success of the newly refigured Last Poets first album, founding members Kain and Nelson got together with Luciano and recorded their only album Right On in 1970, the soundtrack to a documentary movie of the same name that finally saw release in 1971. (See also Performance (1970 film featuring Mick Jagger) soundtrack song "Wake Up, Niggers".) Following a legal battle between the two groups concerning ownership of the band's name, The Right On album was released under the group name The Original Last Poets to simultaneously establish the founding members' primacy and distance themselves from the other group of the same name.

Jalal Mansur Nuriddin a.k.a. Alafia Pudim, Umar Bin Hassan, and Abiodun Oyewole, along with poet Sulaiman El-Hadi and percussionist Nilaja Obabi (Raymond "Mac" Hurrey), are generally considered the best-known members of the various lineups. Jalal, Umar, and Nilaja appeared on the group's 1970 self-titled debut LP and follow-up This Is Madness. Nilija then left, and a third poet, Sulaiman El-Hadi, was added. This Jalal-Sulaiman version of the group made six albums together but recorded only sporadically without much promotion after 1977.

Having reached US Top 10 chart success with its debut album, the Last Poets went on to release the follow-up, This Is Madness, without then-incarcerated Abiodun Oyewole. The album featured more politically charged poetry that resulted in the group being listed under the counter-intelligence program COINTELPRO during the Richard Nixon administration. Hassan left the group following This Is Madness to be replaced by Sulaiman El-Hadi (now deceased)[6] in time for Chastisment (1972). The album introduced a sound the group called "jazzoetry", leaving behind the spare percussion of the previous albums in favor of a blending of jazz and funk instrumentation with poetry. The music further developed into free-jazz–poetry with Hassan's brief return on Blue Thumb album At Last (1973), as yet the only Last Poets release still unavailable on CD.

The remainder of the 1970s saw a decline in the group's popularity in America, although they became quite popular in Europe. In the 1980s and beyond, however, the group gained renown with the rise of hip-hop music, often being name-checked as grandfathers and founders of the new movement, often citing the Jalaluddin solo project Hustler's Convention (1973) as their inspiration. Because of this the band was also interviewed in the 1986 cult documentary Big Fun In The Big Town. Nuriddin and El-Hadi worked on several projects under the Last Poets name, working with bassist and producer Bill Laswell, including 1984's Oh My People and 1988's Freedom Express, and recording the final El Hadi–Nuriddin collaboration, prominent Attorney Gregory J Reed reunited Original Poets in NY [ day of Nelson Mandela coincidentally is released from Prison,27 years] and recorded Poets live in Detroit's Orchestra Hall , and produced "The Return of the Original Last Poets Docudrama" Kain,Lupe,Oyewole and Nelson after 20 years in 1990,Scatterrap/Home, in 1994. The group, led by Hassan, also made a guest appearance in John Singleton's 1993 film Poetic Justice.

Sulaiman El-Hadi died in October 1995. Oyewole and Hassan began recording separately under the same name, releasing Holy Terror in 1995 (re-released on Innerhythmic in 2004) and Time Has Come in 1997. Meanwhile, Nuriddin released the solo CD's On The One (1996), The Fruits of Rap (1997) and Science Friction (2004) under the abbreviated name "Jalal."

In 2005, the Last Poets found fame again refreshed through a collaboration where the trio (Umar Bin Hassan) was featured with hip-hop artist Common on the Kanye West-produced song "The Corner," as well as (Abiodun Oyewole) with the Wu-Tang Clan-affiliated political hip-hop group Black Market Militia on the song "The Final Call," stretching overseas to the UK on songs "Organic Liquorice (Natural Woman)", "Voodoocore", and "A Name" with Shaka Amazulu the 7th. The group is also featured on the Nas album Untitled, on the songs "You Can't Stop Us Now" and "Project Roach." Individual members of the group also collaborated with DST on a remake of "Mean Machine", Public Enemy on a remake of "White Man's God A God Complex" and with Bristol-based British post-punk band the Pop Group.

In 2010, Abiodun Oyowele was among the artists featured on the Welfare Poets' produced Cruel And Unusual Punishment, a CD compilation that was made in protest of the death penalty, which also featured some several current positive hip hop artists.

In 2004 Jalal Mansur Nuriddin, a.k.a. Alafia Pudim, a.k.a. Lightning Rod (The Hustlers Convention 1973), collaborated with the UK-based poet Mark T. Watson (a.k.a. Malik Al Nasir) writing the foreword to Watson's debut poetry collection, Ordinary Guy, published in December 2004 by the Liverpool-based publisher Fore-Word Press.[9] Jalal's foreword was written in rhyme, and was recorded for a collaborative album "Rhythms of the Diaspora (Vol. 1 & 2 - Unreleased) by Malik Al Nasir's band, Malik & the O.G's featuring Gil Scott-Heron, percussionist Larry McDonald, drummers Rod Youngs and Swiss Chris, New York dub poet Ras Tesfa, and a host of young rappers from New York and Washington, D.C. Produced by Malik Al Nasir, and Swiss Chris, the albums Rhythms of the Diaspora; Vol. 1 & 2 are the first of their kind to unite these pioneers of poetry and hip hop with each other.[9]

In 2011, The Last Poets Abiodun Oyewole and Umar Bin Hassan performed at The Jazz Cafe in London, in a tribute concert to the late Gil Scott-Heron and all the former Last Poets.[10]

In 2014, Last Poet Jalaluddin Mansur Nuriddin came to London and also performed at The Jazz Cafe with Jazz Warriors the first ever live performance in 40 years of the now iconic "Hustlers Convention". The event was produced by Fore-Word Press and featured Liverpool poet Malik Al Nasir with his band Malik & the O.G's featuring Cleveland Watkiss, Orphy Robinson and Tony Remy. The event was filmed as part of a documentary on the "Hustlers Convention" by Manchester film maker Mike Todd and Riverhorse Communications. The executive producer was Public Enemy's Chuck D. As part of the event Charly Records re-issued a special limited edition of the vinyl version of Hustlers Convention to celebrate their 40th anniversary. The event was MC'd by poet Lemn Sissay and the DJ was Shiftless Shuffle's Perry Louis.

In 2016, The Last Poets (World Editions, UK), was published. The novel, written by Christine Otten, was originally published in Dutch in 2011, and has now been translated by Jonathan Reeder for English readers.

In May of 2018, The Last Poets released Understand What Black Is, their first album since 1997. The album featured tributes to late artists Prince and Biggie Smalls

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If rap could be traced to one logical source point, this exceptional piece of vinyl would be it, without question. Though the strict adherence to syncopated rhythms and standard song structures are absent, all the elements that would later become the hallmarks of hip-hop by the early 1980s (and predictable fare by the 1990s) are here: vivid depictions of street level violence, vivid apocalyptic predictions of racial genocide. All that is missing are pointless party anthems. But running through all the songs on the Last Poets' debut is an urgent sense of the need for radical action in the nation as well as the black community. In addition to railing against the injustices perpetrated by white America, the Poets' comment on the economic and social devastation of drugs ("Jones Comin' Down," "Two Little Boys"), complacency in urban families ("Wake Up Niggers," "When the Revolution Comes"), the emotional release of sex ("Black Thighs"), and the weight of oppression that leads to hopelessness ("Surprises"). At the same time, they warn of the dangers of half-hearted commitment to revolutionary change: "don't talk about revolution until you are ready to eat rats." In the same manner that Marvin Gaye's landmark album What's Goin' On depicted the problems that doomed black culture, the Last Poets are now seen by many as prophets. But also like Gaye, the realization that the problems depicted on The Last Poets are now much worse marks the record as an unheeded warning, far more than just a piece of Black Power kitsch.




<a href="https://mir.cr/HHKOROFW">  The Last Poets ‎- The Last Poets </a> (flac   183mb)

01 Run Nigger 1:11
02 On the Subway 1:31
03 Niggers Are Scared of Revolution 5:14
04 Black Thighs 1:28
05 Gashman 2:42
06 Wake Up Niggers 2:45
07 New York, New York 3:31
08 Jones Comin' Down 2:48
09 Just Because 1:30
10 Black Wish 1:43
11 When the Revolution Comes 2:26
12 Two Little Boys 1:48
13 Surprises 2:09

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A legendary set featuring a group of extremely controversial street poets. The Last Poets used offensive language brilliantly, speaking in graphic detail about America's social and racial failures, and helping expose a wider audience to the sentiments of the '70s black nationalists. They were the forerunners of today's Afrocentric rappers, and also showed the way to a jazz-rap union now being explored on both sides of the Atlantic. However, the material on "The Last Poets" and "This is Madness" deserves an ear. The energy and conviction that drives Abiodun Oyewole, Umar Ben Hassan and Jalal Mansur Nuriddin is explosive. My preference between the two discs is "This Is Madness," which I find to be more political and universal in its reach. This is not to detract from "The Last Poets" however, which has a more raw production and a tighter focus on New York and Black Revolution. Another main difference is that Abiodun Oyewole is not present on "This Is Madness" as he was serving time during the recording sessions. "This Is Madness" also has the added benefit of the Intro tracks, which are musical interludes led by percussionist Nilaja Obabi, which integrate organically into the album giving it an atmospheric effect.

<a href="https://multiup.org/e779056da18c589efed5473cf1f60900"> The Last Poets - This Is Madness  </a> (flac   272mb)

01 True Blues 2:04
02 Related to What Chant 1:12
03 Related to What 3:14
04 Black Is Chant 0:58
05 Black Is 2:33
06 Time 1:43
07 Mean Machine Chant 1:24
08 Mean Machine 4:05
09 White Man's Got a God Complex 3:41
10 Opposites 1:48
11 Black People What Y'all Gon' Do Chant 0:47
12 Black People What Y'all Gon' Do 3:25
13 O.D. 3:10
14 This Is Madness Chant 1:07
15 This Is Madness 4:54
 Bonus Tracks
16 Lightnin' Rod Sport 2:35
17 Lightnin' Rod Spoon 1:16
18 Lightnin' Rod Doriella du Fontaine (feat. Jimi Hendrix) 8:46

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Along with Gil Scott-Heron, the Last Poets' role in the creation of rap music cannot be overstated, although their 1972 album Chastisement also demonstrates that historical importance does not guarantee universal accessibility. Definitely not easy listening in any sense of the term, Chastisement presents lengthy diatribes set to stripped-down arrangements of conga, bass, and sax, creating a style which one song title dubs "Jazzoetry." The Last Poets' Afro-centric themes are often reverse-racist, but there's no denying the power and intelligence behind such material as "Before the White Man Came," which offers this closing glimpse of regretful culpability: "and now it's been 400 years since that eventful day/but if we had known what they had in mind/they all would have died in the bay/so now we are paying for our mistake/with only ourselves to blame/with memories of the good old years/before the white man came." "Black Soldier" assumes a similar position, merging a mock-marching chant with an anti-Vietnam tirade which condemns black servicemen for indirectly assisting white oppressors back home in the ghetto. Alarmingly prophetic, "Black Soldier" simultaneously reviews past civil disturbances and foreshadows those of the future by proclaiming, "their law enforcement will not work/whatever they conspire/will only serve to make us strong/we will fight fire with fire/no that was not a riot/that they saw down in the slums/that was a dress rehearsal/for things that's yet to come." Far less angry, yet no less compelling, is the musical history lecture entitled "Bird's Word," which traces the development of blues and jazz while mentioning dozens of pioneers including Ma Rainey, Max Roach, Betty Carter, and Sun Ra. The inclusion of a lyric sheet might make Chastisement easier for some to digest by reading rather than listening, but such an education would be incomplete without experiencing the passion and fury of the Last Poets' seminal performances.



<a href="http://depositfiles.com/files/c9jd18zi9">  The Last Poets - Chastisment </a> (flac   207m)

01 Tribute to Obabi (Ogun) 10:18
02 Jazzoetry 3:47
03 Black Soldier 5:58
04 E Pluribus Unum 4:39
05 Hands Off 4:06
06 The Lone Ranger 0:29
07 Before the White Man Came 3:45
08 Bird's Word 6:14

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This is probably the most accessible Last Poets album, and also the most jazzy/funky. Not as brutal and impressive as the first albums, but well worth investigating. Here the cd reissue of a very rare Last Poets album, though this is as much Bernard Purdie's record as he is listed equally. It's A Trip is a fierce fusion of heavy afrobeat funk-futurist drumming, courtesy of the one and only Bernard Purdie, and superb pre-rap rapping and chanting from the one and only Last Poets. An exciting track, completely out of time, that still works well today.The rest of the album can't really live up to that track and I don't often play through it. The Pill is really weird as well.... highly suspect track.

 



<a href="https://www.imagenetz.de/SBNL3">  The Last Poets - Delights of the Garden  </a> (flac   230mb


01 It's a Trip 4:45
02 Ho Chi Minh 5:16
03 Blessed Are Those Who Struggle 3:41
04 The Pill 5:08
05 Delights of the Garden 3:48
06 Be 6:23
07 Yond 4:53
08 Er 7:31

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