The Supa Sista Experience
When my editor handed me Supa Sista by Ursula Rucker, I raced home to listen to the dynamic voice the Roots fans have grown to appreciate. Those familiar with her contributions to the Roots’ albums will not be disappointed. She delivers in your face poetry that commands attention. New listeners might want to eliminate any distractions before listening because this is not an album for those with short attention spans. Her style is raw and some may find it vulgar, but the effectiveness cannot be denied. The Supa Sista tells it like it is, covering topics that include the degradation of women and children, black fatherhood, heartbreak, love and the state of music. She does tone it down at times to showcase her surprising singing ability on “Supa Sista” and more so on “Spring”. She is by no means a great singer, but manages to not insult us when she does.
Musically, the tracks cover several styles, mostly variations of “chill-out”, down-tempo grooves one would hear at a club that played acid-jazz or trip-hop. The drum ‘n bass rhythms “What???” and “Spring” provide an uplifting change of pace. Especially from some of the tracks like “Digichant” that are trancelike messages with no semblance of a beat. She enlists the aid of several respected producers who, while relatively unknown outside the hip-hop circles, command respect worldwide throughout dance clubs. Jonah Sharp (of Spacetime Continuum fame), 4 Hero, Alexkid and King Britt are all legendary producers amidst the U.S. underground and throughout Europe. This album may make them a more familiar name domestically. Several talented, but unknown artists - notably Vicki Miles and Ovasoul7 - also add variety and depth.
Overall I give this album the thumbs up, although I concede it is not for everybody. Not much for the radio here, although “Brown Boy” might get some play on urban radio stations based on its message. Any other radio play would probably come from remixes of the other songs. I dig it and wish there were more artists brave enough to go against the hot trend of the moment. Unfortunately this is the type of cd that will be ignored by those who need to listen to it the most. The success of the album may hinge on whether the right combination of those who appreciate the underground and Roots fans who liked the traditional album-ending poem will sit still through an entire album.
Wednesday, November 7th, Ursula Rucker appeared at I-Spy in downtown Seattle. I had been extremely excited the week leading up to the show, practically burning a hole through the cd listening to it. I was told before the sound check that our interview would have to be rescheduled due to fatigue on Ms. Rucker’s part. Although disappointed, I still looked forward to the show.
Opening for her were several local performance poetry groups. Seattle’s Isangmahal Arts Kollective started things. This two-man, three-woman group excited the crowd with mostly “filipino-centric”, socially conscious pieces. They were followed by the Urban Scribes Project, who hit hard and fast. They performed less material than the previous group but were just as effective despite being a man short. The final act before Ursula took the stage was the female Hip Hop duo Peace of Soul. Their blend of old school flowing over breakbeats, reggae influenced rhymes, and skilled turntablist thrilled the crowd. They managed to be socially conscious and yet still fun.
By the time the headliner appeared, the crowd was more than pumped up. Unfortunately, that energy quickly faded as her laid back performance was an anti-climatic detour from the ground laid by the opening acts. She opened with “Woman Song” from the album and it was apparent that she has not made the transition yet from powerful poet to powerful stage presence. She looked a bit stiff and uncomfortable. Although I was impressed that her three piece band managed to get an amazing amount of sound out of three instruments - and I was extra impressed that the guitarist managed to chainsmoke while playing the entire set. One could not help but feel this type of act would be more at home in a coffee house. The backup singers and production on the album were sorely missed. Her live rendition of “Billy”, a disturbingly graphic description of an infant being brutally gang-raped so her mother could get drug money, caused a lot of blank faces. Hopefully she will learn to gauge crowds better before unleashing something so dark. Even in a fairly artsy crowd an exodus begun and the place was nearly empty by the time her show concluded. She graciously thanked the remaining people and signed autographs and cd’s.
Although the show was a bit of a disappointment, there is no doubt that the music industry needs more Ursula Ruckers. In an industry laced with clones bragging about money, sex and hate for baby mommas and daddies, those who dare to innovate are a blessing. I can see bikini wearing video babes twenty-four hours a day, but Supa Sista’s don’t come along often. Hopefully her live show will improve. In the meantime, I’m still wearing the cd out.
~R. O’neil Edwards
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