Joyful Rebellion

( 2 )

Editorial Reviews

All Music Guide - Johnny Loftus
Anyone familiar with the frazzled beats and rhymes of K-Os' 2003 debut should have expected an even more ambitious next step. Fittingly, Joyful Rebellion adds further colors to the Toronto-based artist's palette of both rapping and singing, and emphasizes musical flourishes that were only sketches on Exit. He begins the album as a man given the manual with which to save hip-hop. Is it from God? Angels? Aliens? Unclear. But K-Os' philosophy allows for the force to be both one and three -- a brand new trinity -- as long as that mandate serves to enrich the minds of the world and its MCs. Heady stuff. But it's brought with engaging passion from K-Os, and his hybridized ...
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Editorial Reviews

All Music Guide - Johnny Loftus
Anyone familiar with the frazzled beats and rhymes of K-Os' 2003 debut should have expected an even more ambitious next step. Fittingly, Joyful Rebellion adds further colors to the Toronto-based artist's palette of both rapping and singing, and emphasizes musical flourishes that were only sketches on Exit. He begins the album as a man given the manual with which to save hip-hop. Is it from God? Angels? Aliens? Unclear. But K-Os' philosophy allows for the force to be both one and three -- a brand new trinity -- as long as that mandate serves to enrich the minds of the world and its MCs. Heady stuff. But it's brought with engaging passion from K-Os, and his hybridized musical backgrounds point the rap form in intriguing directions. "Emcee Murdah" laments artistic stagnation and crass commercialization over acoustic guitars and a chorus break straight out of Arthur Lee and Love; the wiry reggae of "Crucial" examines similar themes, and suggests that contemporary hip-hop's populist plateau has separated from its once-vibrant root system. One of K-Os' most interesting positions on Rebellion is how conscious he is of keeping hip-hop pure even as he experiments. The clattering snare loop of "B-Boy Stance" is straight out of New York City at the dawn of the 1980s. But there's restlessness even as K-Os embraces hip-hop's birthing elements. "It's so hard to remain authentic," he muses over the cut-up intro, which makes his B-boy stance as much comforting haven as it is throwback. Likewise, his collaboration with en vogue Canadian indie songwriter Sam Roberts is qualified. "[I] don't want it to be the 'rock song'," he says in the liners for "Dirty Water." Maybe it is -- Roberts' warm electric guitar wraps around the jumpy electronic percussion, and the vocals cross fluidly between singing and rapping. But K-Os' hand-wringing isn't necessary, as "Water" is one of Rebellion's most succinct moments. Other highlights on the record include the pulsing, hoo-hooing nod to vintage Michael Jackson the unfortunately titled "Man I Used to Be" and the crackling beats and swirling strings of "Love Song" "Chaotical ambiotical fluid/The rap druid that's fluid...". K-Os doesn't necessarily pursue Rebellion's themes far enough. But give him a break -- it's only the cat's second album. His genre meshes and organic raps do keep the conversation about hip-hop's revitalization open, and that's what's really crucial.
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Product Details

  • Release Date: 9/21/2004
  • Label: Astralwerks
  • UPC: 724386479723
  • Catalog Number: 64797
  • Sales rank: 62,102

Tracks

Disc 1
  1. 1 Emcee Murdah (3:31)
  2. 2 Crucial (3:25)
  3. 3 Man I Used to Be (5:04)
  4. 4 Crabbuckit (3:48)
  5. 5 B-Boy Stance (4:00)
  6. 6 Commandante (3:45)
  7. 7 The Love Song (4:18)
  8. 8 Hallelujah (4:17)
  9. 9 Clap Ur Handz (1:20)
  10. 10 Dirty Water (4:14)
  11. 11 One Hood (Jissy Homicide) (3:29)
  12. 12 Parercutz - Kamau (15:27)
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Album Credits

Performance Credits
k-os Primary Artist, Organ, Acoustic Guitar, Guitar, Piano, Keyboards, Vocals
Sam Roberts Vocals
Sarah McElcheran Trumpet
Dave Williams Synthesizer, Keyboards
Chris Plock Saxophone
Lil' Jazz scratching
Michael Olsen Cello
Kobe James Bass
Mike Olsen Cello
Maury LaFoy Bass, Upright Bass
Dave "Soulfingers" Williams Synthesizer, Piano, Keyboards, Hammond Organ
Malik Worthy Rhythm Guitar
Sarah Slean Piano
Burke Carroll Pedal Steel Guitar
Chris Gestrin Piano, Keyboards, Hammond Organ, Hammond B3
Michael Owen Cello
Richard Toby Peter Bass, Percussion
Greg O'Shea Electric Guitar
Karen Graves Violin
Kathleen Kajioka Viola
Ray Garraway Percussion, Drums
Jim Gawne Guitar
Jeewon Kim Violin
Russell Klyne Acoustic Guitar, Electric Guitar, Background Vocals
Nelson Milley Acoustic Guitar, Electric Guitar
Santosh Naidu Percussion, Tabla
Kenny Neal Jr. Bass, Guitar, Drums, Bass Guitar
Carla Ottens Announcer
Theresa Ottens Announcer
Vancouver String Orchestra Strings
Whitby Quartet Hand Clapping
Kamau Rap
Toby Peter Bass Guitar
Colin Robinson Drums
Technical Credits
Kevin Edmonds Producer
Kenneth "Babyface" Edmonds Audio Production
k-os Programming, Producer, drum programming, Audio Production
Greg O'Shea Producer, Audio Production
Nick Murray drum programming
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Customer Reviews

Average Rating 5
( 2 )
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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    simply incredible

    this album will blow your mind. it challenges everything you think you know about hip hop and what it can be. K-os completely inventes an entirely new form of hip hop. his melodies and strong, focused, thematic lyrics are among the best around. he combines classic hip hop beats and feelings in b-boy stance with reggae riddims in crucial, and michael jackson-esque sounds on man i used to be, in a seamless, and beautiful album throughout. it immediately hooks you with Emcee murdah, a sort of acoustic hip-hop feeling song lamenting about the state of hip hop "hip hops not dead, its just the mind of the emcee." it then continues into crucial, one of the best tracks on the album, with its reggae sound blending with hip hop lyrics. My favorite song on the album is the love song, with its catchy lyrics and powerful rhythms, it struck me in a way i did not think hip hop could. perhaps the strongest, most intriguing and fresh song on the album is the long, but not boring, papercutz, in which k-os explores new and amazing things, while still keeping true to hip hop roots. Overall, this is an incredible album, that every person, hip hop fan or not, should own, for this is not merely hip hop, its something more, something beyond classification. this album does not even come close to getting the exposure it deserves. in my opinion, its one of the best albums EVER. yes EVER. So do your part to save hip hop, buy this album, and spread the word!!

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  • Anonymous

    Posted October 1, 2010

    turn it up and enjoy

    this is an excellent mix or unique sounds that you can listen to over and over. k-os has put together a great disc that i would recommend to anyone who wants something fresh and new.

    Was this review helpful? Yes  No   Report this review
Sort by: Showing all of 2 Customer Reviews