Welcome To My Dream (CD) ~ M.C. 900 Ft. Jesus (Artist) Cover Art

Welcome To My Dream (CD)

By: M.C. 900 Ft. Jesus (Artist)


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Product Description


Track Listing

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DISC 1 for Welcome To My Dream (CD) Album By M.C. 900 Ft. Jesus (Artist)
1   Falling Elevators
2   Killer Inside Me
3   Adventures In Failure
4   City Sleeps, The
5   Ozone
6   Hearing Voices In One's Head
7   Dali's Handgun
8   Dancing Barefoot
9   Meat Beat Manifestation #2 - (bonus track)
10   Killer - (Long Version, bonus track)
 


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Review

Down Beat (3/92, p.38) - 4 Stars - Very Good - "..The arrangements are grounded in funk but far more ambitious than the average hip-hop fare.."

Title Note

This is an Enhanced CD which contains both regular audio tracks and multimedia computer files.

MC 900 Foot Jesus: Mark Griffin (vocals, guitar, trumpet, keyboards).

Additional personnel: Chris McGuire (bass clarinet, tenor saxophone); Elon Bradford (Crucial Reed Technology); Steve Dirkx (bass); Al Emert (drums); Mike Dillon (congas, percussion); Patrick Rollins (turntables).

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

WELCOME TO MY DREAM, by Texas artist Mark Griffin, better known as MC 900 Ft Jesus, is a collection of compositions that crosses musical and cultural borders while maintaining a unified sound and a singularity of purpose. The easy tag to lay on Griffin would be that of a "white rapper," but that would be both unfair and misleading. True, most of the lyrics here are delivered in a syncopated, urgent chant, but that's where the similarities between this and standard hip-hop end.

Instead of the gangster bravado or carnal boasting that many rappers indulge in, Griffin combines a sense of alienation with a poetic craftsmanship that renders his paranoiac shaggy-dog tales doubly arresting. His odd-man-out persona sometimes recalls the stance of late-'50s Beat poetry, an influence laid bare on "Dali's Handgun," with Ginsberg-like raving over acoustic percussion. Griffin's poetic ambitions are possessed of a more modern air on "Hearing Voices in One's Head" and the starkly chilling "Falling Elevators," which find the narrator in a disaffected reverie that signifies without the aid of rhyme or meter.



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