By adding a cursory qualitative media analysis of both Internet fan forums and print and television artefacts about Kollegah, very contradictory reactions can be depicted. This is followed by a closer look at two Kollegah productions, focusing on his rhyming and signifying skills. The case study is divided into three parts: the first involves a deconstruction of both his artistic persona and his strategies of appropriating hip-hop cultures. It then focuses on a case study of a German gangsta rapper called Kollegah, who became one of Germany's most commercially successful artists of the past few years. Learn more at Patreon.The article begins with a short history of German gangsta rap, followed by an overview of central theories and key concepts in hip-hop studies. There are a bunch of exclusive perks only for patrons: playlists, newsletters, downloads, discussions, polls - hell, tell us what song you would like to hear covered and we will make it happen. What’d I Say Cover Me is now on Patreon! If you love cover songs, we hope you will consider supporting us there with a small monthly subscription. In the end it doesn’t matter that we may confuse their albums or that the trio isn’t shattering genres it matters only that if Ray Charles were alive he’d be out in that audience hooting too.ġ2. In what you could imagine as a conservative crowd at Lincoln Center, they seem unable to control themselves. On the last song, “What’d I Say,” the audience is fully involved in the experience, clapping and hooting alongside the trio. The three musicians are experts in their respective styles, but there are no divas on stage, only an enjoyment of music and pleasing a crowd. When you put all these individual elements together in one room, a good time results.
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Just as Nelson uses his emotional range to tell tales of break-ups, Jones uses hers to help us remember why we fall in love in the first place. Singing only two songs on her own, “Come Rain or Come Shine” and “Makin’ Whoopee” stand out as flirty testaments to her own unique voice. Jones is all at once tender, sweet and sultry when she performs.
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Though it was her first time with Marsalis, she has collaborated with Nelson several times in the past and the two feel like old friends sharing the stage. She duets with Willie on two tracks (“Cryin’ Time” and “Here We Go Again”) and follows Nelson’s lead effortlessly. Norah Jones is only “featured” in the concert, and it’s a shame she can’t be utilized in every single song on the album. Still, Marsalis and his band shine so brightly you wonder why he didn’t arrange at least one of Charles’ songs as an instrumental to further showcase this mastery. If there is anyone as believable as Ray Charles singing these two songs, it’s Willie. He doesn’t sing the words as much as speak them, weaving a story of being down and out all thanks to a woman.
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With his own country and blues twang, the Red Headed Stranger does bring a certain element of crossover flavor, particularly on “Losing Hand” and “Busted.” On both songs, his southern drawl puts dimension into Charles’ lyrics. In this respect, he shares a lot in common with Ray Charles himself. Every hardship he has encountered and all the places he has traveled to seem to flow out with his words. When Willie Nelson sings, he sings with wisdom that comes from years of experience. After listening to their solos, you want to be in the room in order to appreciate the performance fully. Marsalis is a virtuoso of the brass instrument, and the musicianship of his band a thing of wonder. Combining the stellar talents of Nelson and Jones’ vocals with Marsalis’ masterful trumpet (Marsalis even jumps in to sing a few lines here and there), the trio would like you to think that this album is a hybrid of genres. Two years later, the live album Here We Go Again: Celebrating the Genius of Ray Charles delivers the experience to all those who missed out.Įach number chosen for the concert creates a story of the beginning, end and re-birth of a relationship – albeit a relationship with quite a few jazz solos.
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In 2009, Nelson and Marsalis reunited, this time asking Norah Jones to join them at New York’s Lincoln Center. They found a connection as well as commercial success, so what seemed like a novelty cross-genre one-off became a lasting collaboration. They even prefaced this brand new album of Ray Charles cover hits by titling it Here We Go Again (also a track off the album, natch) in an attempt to clarify.īack in 2007, Willie Nelson and Wynton Marsalis joined up for a two-night live show and created Two Men with the Blues. We know some of you might be thinking, “Hold on, Willie and Wynton? Didn’t this album come out a few years ago?” Willie Nelson and Wynton Marsalis understand the possible confusion.