In a Digital World
By Cheryl Thompson
Together since 2006, Grand Analog epitomizes what it means to hone your craft. They have been performing at various clubs across Canada for years, and their latest disc, Metropolis Is Burning is truly the perfect example of what this crew can do.
SoulMatters had the opportunity to speak with the group’s leader, Odario Williams, about Grand Analog’s music, hip-hop and the creative process of putting it all together. Although Metropolis has been out since last year, the disc is truly timeless. Tracks like “Take It Slow”, “Stir Crazy” and “Electric City” remind you of why hip-hop is arguably the most eclectic and ever-changing genre on earth.
It is difficult to pigeonhole this group. They are not just hip-hop; they are soul; they are reggae/dub; they are funk. And, they are not just a studio crew. A Grand Analog live show is like no other, but don’t let me sway you, here’s Odario in his own words.
SoulMatters: Metropolis is Burning has an incredible edge to it, I love it. “I Play My Kazoo” for instance, has an awesome rock n roll meets hip-hop vibe but then other tracks, like “Take It Slow” has a total reggae vibe. How would you describe this album?
Odario Williams: Rap'n'Roll and Dub'n'Soul was the initial definition of our sound when we started back in 2006. Nowadays we've been simply calling it the “Grand Analog” sound. We are on the quest for something unique. It's the result of constantly trying to play with our parent's favourite melodies and make them our own. Record digging and experimentation is a delicate art form within itself.
SMM: Back in the day, hip-hop collectives were a dime a dozen, today, there aren’t as many, why do you think that is?
OW: I think there are twice as many actually. Hip-hop has now moved back to the original underground level where you have to search for what you're looking for diligently. If you think about it, you can probably count on your hand the amount of actual rappers topping the Pop charts. Everyone else, including some of our favourite rappers are now categorized in niche markets. I'm often surprised how many albums by hip-hop legends have come out in the last couple of years and I never hear about the release! But to answer your question, I feel the death of the “Independent Hip-hop Label” has a lot to do with it. The days of Rawkus Records, Tommy Boy, Loud Records, Bad Boy and others have disappeared, and so did all those artists as a result.
SMM: As a group, what do you bring to a live show that takes the album to a different place? What makes a Grand Analog show different to a Grand Analog album?
OW: On stage we can jam for as long as we want! I can do twenty minute kazoo solos and, no one can tell me nothin'!!! We like to explore our previously recorded material on stage and improvise when space and time permits. The live show actually solidifies us as a band too. Timing is everything. Timing and communication are key on stage.
SMM: I love that Grand Analog really is representative of various regions in Canada; it’s not just a Toronto crew, if you know what I mean. How would you describe being a Canadian hip-hop group? Or, do you not necessarily think of yourself in that way?
OW: Well, the essence of hip-hop culture comes from reppin’ where you're from, almost more so than where you're at. So, even though I don't live in Winnipeg aka Peg City these days, I still represent it. But we as a collective are also on a musical mission that is without a birthplace. I was born in Guyana and my crew were all born in various places. That really is the definition of Canada. I think Canadian emcees all sound noticeably different because of it.
SMM: “Stir Crazy” is a solid tune, for real. Who is singing the hook on that track? Tell me a bit about that track.
OW: The soulful and talented Maiko Watson sings on “Stir Crazy”. We've known each other since we were kids in Peg City. She's my favourite female vocalist in Canada. She's a Taurus like me; she's also stubborn like me so watch out...there's no stopping her! Aside from that, I met Martin Perna, the saxophone player, a couple years ago. He plays for the mighty Antibalas crew as well as T.V. On The Radio. We vibed immediately and started brainstorming what was supposed to be a disco infused version of “Stir Crazy” into a flavourful afrobeat style hip-hop romp. I love how it turned out.
SMM: What do you say to all those cats who say that hip-hop is dead?
OW: What! They need to catch up on the many variations of this worldly culture we call hip-hop. They may not understand that hip-hop is a culture, not just a genre of music. The music aspect is changing as we speak, and it's vibrant as ever. Every country has their own version of hip-hop. It's bigger than hip-hop!
SMM: If you had to pick one thing about hip-hop that you absolutely love, what would it be?
OW: The documentation. The photos and the literature. I still get excited sifting through old books about hip-hop culture in the 80s and 90s. For example, early works by Jamel Shabbaz are just as important to hip-hop culture as it's four elements. Without those photos we couldn't study the b-boy stance, the shoes, the lifestyle and the ghetto fab flavour. It inspired the globe, and they had no idea they were doing so at the time.
SMM: Is there a city in Canada that you love to perform, and why?
OW: I can't lie. I've got a thing for the West Coast. They embrace music and life with a little more freedom I think. Some may call it the hippie mentality but just call it a damn good time. When we play Victoria, Vancouver or BC's interior it's always a warm and welcoming vibe. It could be the weed, who knows!
SMM: One thing I notice about Metropolis Is Burning is the solid production. Tell me a bit about who mixed the album and the creative aspects of pulling it together.
OW: Catalist and I produced the album with help from my brother Ofield. Tim Abraham mixed the record. He works out of The Hive Studios in Toronto where most of the music was created. Tim has a love for old analog recording equipment just as much as Catalist and myself. He is also a big kid like us, where trying anything and everything comes first.
SMM: Finally, the website is called SoulMatters, so in every interview I like to ask people, what does having ‘soul’ mean to you?
OW: Well, you've come to the right place! I grew up on classic ‘70s soul music; my dad was a DJ in the ‘80s and had all the silky records. But I also feel that soul can be in any form of music. Thom Yorke, for example, has soul as far as I'm concerned. So does Tom Waits, he's a beast. Soul music is being vulnerable through song and expressing emotion, something Marvin Gaye and Aretha Franklin mastered so well. Bilal is my favourite these days, I can't wait for his new album. I still get excited about music, as long as it's got soul in it!
