Musical Biscuits

2007-04-09T19:00:00.000-07:00

MY TOP 15 OF THE FIRST QUARTER

We’re already more than three months into 2007 and a lot of good records out already. But like I said in a recent post, there just haven’t been that many exciting hip-hop and R&B releases, so I’ve been listening to tons of rock, which is unusual for me.

In terms of hip-hop, I do applaud the recent trend of free downloads. Stones Throw, in particular, came through with two nice freebies, the Talib Kweli/Madlib collaboration Liberation and the label sampler Chrome Children Vol. 2. Then, Def Jux did the same thing with their Definitive Swim compilation. I also downloaded mixtapes by underground faves Little Brother, Brooklyn emcee Hell Razah (Sunz of Man), and Detroit producer/rapper Black Milk. And I listened to veteran BK producer Domingo’s The Most Underrated and veteran BK rapper Sean Price’s Jesus Price Superstar. Finally, RZA’s Afro Samurai soundtrack was decent, as was Consequence’s Don’t Quit Your Day Job. But none of this stuff blew my mind.

In terms of R&B, everyone is raving about Amy Winehouse – rightfully so – but I’m not counting her Back in Black as an 07 album cause I was listening to the UK version through 06. And to be fair, there are a number of recent high-profile R&B releases that I haven’t heard yet (Macy Gray, Musiq Soulchild, Joss Stone).

So what have I been listening to?? A lot of funky rock, or disco punk, or whatever you want to call it – in particular, LCD Soundsystem and !!! (pronounced chk-chk-chk). I’m loving both of their new albums.

Speaking of funky, of course the new Antibalas is hot, too. But it’s a little more jazzy and subdued than I expected. Which is not at all a criticism – I’m glad that they’re stretching out into new territory beyond strictly Afrobeat.

Another genre-bender is k-os, who I think of as sort of a Canadian version of an Andre 3000 or Mos Def-type. There are some extraordinary songs on his new album, but his experimentalism and versatility sometimes fails him. And I definitely prefer him as a singer than an MC.

Finally, holding the #1 spot in my rotation at the moment is Wilco’s Sky Blue Sky, which I realize isn’t even out yet, so it shouldn’t count as a first-quarter release. But I have to mention it, cause it’s so damn pretty. I’ve enjoyed this band in the past, but the new record is not at all what I was expecting. It almost sounds like the Eagles, like some hazy 70s soft-rock. I know that sounds awful, but it totally works for me. And the guitar work here is excellent. Here’s the list....

Wilco – Sky Blue Sky
The Good, The Bad & The Queen – The Good, The Bad & The Queen
LCD Soundsystem – Sound of Silver
The Bees – Octopus
!!! – Myth Takes
Deerhoof – Friend Opportunity
Antibalas – Security
k-os – Atlantis: Hymns for Disco
Of Montreal – Hissing Fauna, Are You the Destroyer?
Kweli & Madlib – Liberation mixtape
Various Artists – Chrome Children Vol. 2
Vieux Farka Toure – Vieux Farka Toure
Air – Pocket Symphony
Menomena – Friend or Foe
Consequence – Don’t Quit Your Day Job

It will be interesting to compare this to my year-end list to come. Of course, there are many exciting releases ahead – just in the next few months, I’ll be checking for Pharoahe Monch, Sa-Ra Creative Partners, Arctic Monkeys, and more – but I suspect at least the first half of my list above will remain in my top albums of 2007.

2007-03-01T18:12:00.000-08:00

REGGAE NOTES

Hi, y'all! Sorry to go AWOL, life gets crazy sometimes. But even though I haven’t been writing, I’ve still been listening to lots of biscuits. Lots of new reggae and dancehall, oddly enough. I say “oddly enough” because I tend to be drawn to reggae more in the summer months. But lately I’ve been catching up on all the recent collections like Strictly the Best Vol. 35 & 36, The Biggest Reggae One Drop Anthems, The Biggest Ragga Dancehall Anthems 2006, Reggae Gold 2006, and more.

It definitely seems like reggae has become much more popular in the States over the last few years. I recognize that this goes in phases – five or ten years ago Shaggy made a big splash here and fifteen years ago it was Shabba Ranks. But America's newfound fascination with reggae ever since Sean Paul came on the scene hasn’t really faded. Each year, there seems to be one huge crossover anthem. In 2006, it was Cham’s “Ghetto Story.” The year before that, Damian Marley’s “Welcome to Jamrock.” Nothing quite on that level yet in 07, although Hot 97 is playing the hell out of some unexpected songs like Buju Banton’s “Driver A” and Collie Buddz’ “Herbs Come Around.” Also, Stephen Marley’s “Traffic Jam” – a nice hip-hop influenced beat-box track with brother Damian – is getting a lot of spins. Stephen’s album comes out later this month, and it may well end up being the big reggae CD of the year, like Junior Gong's was in 05.

Maybe my perspective is skewed because hip-hop radio is more open to reggae in NYC than in other parts of the country. But I’ve been here over ten years, and it hasn’t always been this way. In addition to all of the songs above, it’s not uncommon to hear tracks like Richie Spice’s “Youths Dem Cold,” I-Wayne’s “Can’t Satisfy Her,” TOK’s “Footprints,” and more. Of course, most of these are fairly obvious hits, and the regular urban radio rotation barely even scratches the surface of modern reggae and dancehall -- with the exception of shows devoted to Caribbean music, like the ones hosted by Daved Levy or Bobby Konders. Still, it’s nice to get an occasional unexpected reggae fix in the afternoon.

And getting back to all those comps I’ve been listening to, there is definitely lots of good shit coming out of Jamaica (and elsewhere) these days. I love Dave Kelly’s Stage Show riddim, especially Spice & Pincher’s “Rude Boy Love.” I love everything I’ve heard recently from Bitty McLean, especially “Real Thing” and “Baby Tonight,” and apparently he is working on an album with Sly & Robbie due in the Fall.
As you can tell, my tastes tend toward Roots Reggae and Lovers Rock. I don’t really dance, so music that’s made exclusively for the club doesn’t hold much appeal. And I don’t have much tolerance for slack lyrics. But admittedly, I'm not at all imune to the charms of a good weed song, and I highly recommend “Sensi” by Gyptian, “Herbalist” by Alborosie, “Rolling” by Tony Curtis, and above all, “Ganja Farmer” by Marlon Asher, cause the lyrics crack me up…

Big stinkin helicopter flow through di air
what dem call it dem call it weedeater
dem never did there when me wa totin water
or when me did applying fertilizer
yet outta di sky dem spittin fire
and im a little youth man with a hot temper
me dig up me stinkin rocket launcher
and in a di air dispense the helicopter
me ya chant

Speaking of lyrics, another song I encountered in my recent reggae binge was the controversial “Gash Them and Light Them” by Chuck Fender. It’s a hot track, but as soon as I started listening closer, I was like “What the hell is this guy talking about?” It’s not what you think, not one of those awful gay-bashing songs. But it’s pretty weird: it’s an anti-crime, pro-vigilante anthem encouraging people to “gash” (cut, stab) and light (set fire to) those who are destroying the community…

A big man like you rip off a six-year-old baby. A big man like you pop off your gun and put nine 'pon a little old lady. A big man like you burn down a school and a talk 'bout you mad, sick, and crazy . . . Gash dem and light dem for all the negative vibes weh dem a bring. Gash dem and light dem! Mi come fi mash up and wreck up dem senseless killing.

Um, yeah, I’m not sure I follow this logic. He’s against all the senseless killing, but his answer is violent mob justice? I understand the Jamaican police are notoriously corrupt, but I still think this is a highly irresponsible message.

A lot of casual reggae listeners don’t pay much attention to lyrics. And I can understand that – it’s certainly hard for me as an outsider to follow the patois. But I do the best I can, because I’m fascinated by the words, particularly by how Jamaican artists’ lyrical concerns are both incredibly similar to and incredibly different than those of American rappers and R&B singers. To some extent, a love song is a love song, gangster music is gangster music. And, of course, a sizable percentage of reggae songs are actually covers of American hits. But sometimes I’ll hear a reggae tune, and it is virtually impossible for me to imagine a US equivalent.

For example, one of the tracks I’ve been listening to lately, Ras Shiloh’s “This Generation,” can only be described as a stodgy Cosby-esque dismissal of today’s youth. Check out some of the lyrics: Something about this generation, they’re not like us, they love to fuss . . . Something about this generation, their attitude stinks, they won’t get far. The only American song that I can think of that comes close to expressing this old-fart sentiment so unapologetically is the Beach Boys’ Pet Sounds cut, “I Just Wasn’t Made for These Times.”

What a strange song, eh? That’s what I love about reggae: While the standard criticism is that it all sounds alike, there's really a remarkable variety and a lot of appealing weirdness under the surface. It definitely feels good to be so engaged with this music again. And I hope to put up many more posts like this in upcoming months. The title of this blog, “Musical Biscuits,” is drawn from a Harder They Come reference, after all. And there are lots of exciting reggae releases this season to talk about: Turbulence’s Do Good, Anthony B’s Higher Meditation, Richie Spice’s In the Streets of Africa, Da’Ville’s On My Mind, Sizzla’s Children of Jah, and more.

Ps: Also worth checking out: Radiohead guitarist Johnny Greenwood’s collection of his fave reggae tunes from the Trojan vaults, Johnny Greenwood Is The Controller.

2007-02-03T06:37:00.000-08:00

INDIE ROCK SINGERS

I don't talk much about modern rock on this blog, but I've been listening to a lot of it lately as there have been a number of high-profile first-quarter releases and very little interesting hip-hop or R&B. What tends to keep me away from indie rock is not the music but the vocals. Take critical darlings Clap Your Hands Say Yeah. I've been trying to get into their new album Some Loud Thunder, but the big obstacle to my enjoying it is frontman Alec Ounsworth, whose voice is often compared to David Byrne's. And the funny thing is that I've always been open to Byrne's unusual style. I'm a big Talking Heads fan, and I love that their art-funk sound (or whatever you want to call it) is such a recognizable reference point in so many of today's popular bands, from Franz Ferdinand to the Rapture. But of all the things to mimic in the Talking Heads aesthetic, wouldn't you rather draw from, say, the experimentalism of Chris Frantz's and Tina Weymouth's killer rhythm section, than from Byrne's strangled vocals, which are more of an acquired taste? I know, it's hard to separate these elements -- the Talking Heads were just great all around -- but my point is that it's a risky move to try to sound like Byrne. And Ounsworth's voice is like nails on a fucking chalkboard to me.

(I find Of Montreal's singer Kevin Barnes' voice quite goofy too, but it only ruins some of the songs for me. Their new album Hissing Fauna, You Are the Destroyer is still getting a suprising amount of spins, or rather, repetitions on my iPod.)

Don't get me wrong, I'm not one of those listeners who is totally hung up on technical skill when it comes to singing. I'll take Mick Jagger or Bob Dylan over Mariah Carey or Celine Dion any day. But I guess I just prefer a certain unironic, passionate delivery in my rock vocalists -- I like singers who go for it, regardless of their chops -- as opposed to people like Ounsworth who seem to me like they're deliberately making their voice sound weird and whiny just to be different. Let me give you some examples. Two new rock records that I am enjoying are !!!'s Myth Takes and LCD Soundsystem's Sound of Silver. Now, by any measure, !!!'s Nic Offer (pictured above) and LCD's James Murphy have terrible voices. They wouldn't make it past the first round of "American Idol." But their performances are compelling to me.

I'm also really digging Deerhoof's Friend Opportunity, and its appealing blend of noisy freak-outs and sweet, catchy melodies. Vocalist Satomi Matsuzaki doesn't really fit into either of my categories of singers described above. I can understand why some might find her sound gimmicky -- but she's an integral part of what I like about this band and this record.

Finally, let me just say that Damon Albarn's voice is fucking beautiful and so is this new album The Good, The Bad & The Queen. (Briefly: Albarn is the former singer for Blur & the Gorillaz, and this outfit is a supergroup made up of him, the Clash's Paul Simenon, the Verve's Simon Tong, and Afrobeat legend Tony Allen.) It took a long time for the Gorillaz' Demon Days to grow on me, but once it did it became one of my favorite records of 2005. The charms of TGTBATQ are even more subtle, but it is affecting me in the same gradual but profound way.

Ps: And I'm kinda liking some tracks on the Shins' Wincing the Night Away, but singer James Mercer's voice is more in the Brian Wilson/Alex Chilton tradition, which has never really been my bag.

2007-01-25T14:28:00.000-08:00

LABEL NEWS

1.) In a recent post, I mentioned that San Francisco’s Ubiquity Records is one of those rare labels that only puts out good shit. If it says “Ubiquity” on the cover, it’s guaranteed quality. Not only do they promote talented, creative new artists, but they reissue classic soul, jazz, and funk from the 60s and 70s for their Luv N’ Haight division (named after the There’s a Riot Goin’ On song, of course).

Check out all the great stuff Ubiquity has on deck for 2007 (scroll about half way down their home page). I’m especially excited for Detroit producers Platinum Pied Pipers’ follow-up to their excellent 2005 debut Triple P and for a full-length (finally!) from LA-based producers Sa-Ra Creative Partners. For those who aren’t familiar with these names, think futuristic electro-funk. Other artists to check for on the roster include Ohmega Watts and Darondo.

2.) This is fairly old news, but it can’t hurt to remind folks that Stax – the legendary Memphis soul label (Otis, Sam & Dave, etc.) – has been reactivated and has a lot going on in 2007 as part of its 50th anniversary. They’ve signed Angie Stone and (re-signed) Isaac Hayes, and they’re planning on mining the archives and putting out assorted deluxe editions and the like, plus a 2-disc 50-song Stax anthology.

But first up, I believe, is an Earth, Wind & Fire tribute album featuring covers by Chaka Khan, Me’Shell N’degeocello, ?uestlove, and others. (A word of caution, however: tribute albums like this look great on paper, but they are notoriously hit-or-miss.)

2007-01-24T19:27:00.000-08:00

SAY WHAT?? RECENT QUOTES IN MAGAZINES

1.) There’s a story in the latest Vibe (sorry, no link) about why the Native Tongues crew fell apart in the late 90s. The article is hard-to-follow and not very enlightening, especially considering the writer says he spent the past 3 years (!) interviewing everyone for the piece. But from what I can glean from the various quotes, the falling-out was basically the usual case of money and fame coming between family. It sounds like the beef began when the Jungle Brothers caught feelings after A Tribe Called Quest jumped ship to Rush Management. (DJ Red Alert was the original manager of both groups, and he was largely responsible for launching their careers.) Reading between the lines, the JBs were also probably envious of Tribe’s success with The Low End Theory and Midnight Marauders, both of which went platinum. It’s unclear to me where De La Soul fit in to all the drama, but apparently Posdnuos and Tip and Afrika – the three dominant figures in the three dominant Native Tongue acts – were always having creative and financial differences. Finally, if I’m reading this correctly, there was some conflict when the Black Sheep came out, because their silly but misogynistic vibe was at odds with the rest of the camp. Like I said, it’s all very confusing and the article just seems hastily assembled. These guys deserve better. Of course, I hold extremely warm and nostalgic feelings toward all of these artists, as I’m sure do many of my readers who are of the same age. Thankfully, by the end of the Vibe story, one gets the sense that for the most part the Native Tongues have put the problems of the past behind them and are all “cool again,” as Mike G of the Jungle Brothers puts it. But wait a minute. Check out what his partner Afrika has to say…

AFRIKA: I want everyone to know the truth about the Native Tongues. They have been trying to erase the Jungle Brothers out of the books, when I was the one that started the whole thing. This has been going on for years. There’s a reason we haven’t been able to do a Native Tongues reunion: It’s because there are house niggas and real niggas. The Jungle Brothers are real niggas. Maseo has always been good people and a real dude. But Q-Tip and Pos, I don’t know.

Daaamn! That’s some harsh shit. Now, who knows, maybe Afrika has a good reason to be so pissed off. But c’mon, both Tip and Posdnuous have pretty damn solid reputations. When have you ever heard anything bad about either of them? (Treach from Naughty by Nature was mad at Pos for a second until he realized he had misinterpreted one of De La’s lyrics as a diss.) Again, what do I know? This magazine certainly doesn’t give us the whole story. But the way I see it, there’s a reason that Tribe and De La are two of the most beloved hip-hop groups of all time and that Tip and Pos still rank on a lot of people’s lists of favorite MCs. Yes, the Jungle Brothers’ Straight Out the Jungle and Done By the Forces of Nature are classics and highly underrated, but then they took an L with J. Beez With the Remedy and they never recovered. They just became more and more irrelevant. Afrika seems to think they fell off because his Native Tongue fam sold him out. But couldn't it also be that he’s just not as nice on the mic as Tip or Pos? (Or Phife or Dres or Latifah or Monie or Chi Ali. Ouch!)

2.) The article about George Clinton in the latest GQ (again, sorry no link) is much more thorough and revealing than the Native Tongues piece. But damn if it doesn’t make George look pitiful. It was very sad to read…

What’s the longest, since you got into [crack], that you’ve gone without doing it?
“About two hours.” He laughs. “No. A week. Three days, four days, five days.”
And that’s been the past couple of decades?
“Yeah.”

2007-01-17T15:08:00.000-08:00

THINGS THAT ARE MAKING ME SAD AT THE MOMENT...

1.) The INS/ICE continuing to fuck with Slick Rick. Check out the whole saga in this new Village Voice piece. I’m not suggesting he should get special treatment just because he’s “The Ruler.” But it’s obvious that deporting Ricky Walters makes no sense whatsoever. NY courts understand this and have judged in his favor numerous times over the past decade, but Florida has the strictest immigration laws in the country and it was in that state where he got into trouble. It now looks like the moment Rick feared – to quote one of my favorite tracks by him – is finally here. If the court rules against him, as is predicted, he’ll have to leave his wife, his family and friends, and everything he’s ever known (he came to NYC from the UK as a kid).

But as Julia Reischel, a reporter for the New Times Broward Palm-Beach, points out in this well-written and comprehensive article (which was picked up by the Voice), the upcoming legal battle has broader ramifications for immigration law in general. The gist of it is that Rick is being tried for the same offense twice. Double jeopardy, which is unconstitutional. But in our post-9/11 world, a whole different set of rules apply to immigration law.

Folks like Russell Simmons and Will Smith have stood up for Rick in the past, and he is going to need their help again. By bringing national attention to this story, perhaps we can’t alter the outcome of the trial but we can certainly shine some light on the issue of immigrants’ rights.

2.) Me missing the Amy Winehouse show at Joe’s Pub. The British soul singer had two sets at this intimate venue last night. I tried to buy tix (which were only $12!) a few days ago, but they were already sold out. Winehouse has a reputation for being fabulously drunk and sloppy at her shows, but folks on Okayplayer today were raving about her performance. She was backed by the Dap-Kings (damn!), who usually play with Sharon Jones – I’ve often praised them on this site. And I’m sure they brought a great, full sound, with their brass section and all. Apparently, it was a very “industry” crowd, with lots of music bigwigs in the house, including Jay-Z, Mos Def, Joss Stone, Nona Hendryx, Dr. John, Alice Smith, Citizen Cope, Tamar-Kali, and Mark Ronson, who produced much of her new album. Speaking of which, Back to Black is going to be released in the States this spring (it is currently #1 in the UK!) and I give it my highest recommendation. It was one of my favorite records last year, and if you don’t believe me, take it from ?uestlove, who ranked it at #2 in his list of top albums of 06. Winehouse performed almost the entire CD last night, and she even did a cover of Lauryn’s “Doo Wop (That Thing).” Aargh.
3.) Alice Coltrane’s passing. Seriously, when is it going to stop?
4.) This Chuck Klosterman book I’m reading, Killing Yourself to Live. Ugh, this was a dissapointing read. It's about his cross-country trip to the sites of dead rock stars, which is a cool premise. But there are just too many corny, self-indulgent passages about his love life, and all his cutesy pop culture references get tiresome. I guess I like Chuck better when he’s writing within some established parameters, such as a magazine interview. And don’t even get me started on that article he wrote for the New York Times magazine about Gnarls Barkley, which really pissed me off. Needless to say, Klosterman is much more on point when he sticks to what he knows, classic rock and modern/indie rock.

I do sometimes very much enjoy Klosterman’s writing. I admired a bunch of the pieces in his latest collection, Chuck Klosterman IV, especially his Spin interviews with Jeff Tweedy, Bono, Radiohead, and others. Oh, and there’s this hilarious conversation with Robert Plant, where Plant basically disses all heavy metal, even Black Sabbath, and says he regrets being considered in any way responsible for this genre of droning sludge that Zeppelin supposedly influenced. I found this quite interesting, because I’ve always felt there’s a liveliness, particularly in Zep’s rhythm section, that is completely different than Sabbath or other bands associated with metal. And I remember reading how Bonham and the boys were infatuated with James Brown and Motown, so I guess that makes sense. But I digress.

5.) Mos Def’s musical career arc. I’m not going to say anything more about this, it’s just too depressing.

6.) Mixtape DJs getting arrested. What!? This story is crazy. People like DJ Drama are totally legit. They're not bootlegging or making counterfeit CDs; they're giving the people what they want (exclusives, freestyles, etc.), and this is a practice that the artists and record companies support. So what's the problem? And why this sudden and extreme response from the RIAA?

7.) How safe and calculated Hillary Clinton’s every move is.

8.) The “surge.”

2007-01-11T06:48:00.000-08:00

RIDIN' DIRTY IN THE WHITE HOUSE

This news item cracked me up. The Chicago Tribune reported that during a press conference on Tuesday about the Iraq speech that Bush gave last night, ABC's chief White House correspondent Martha Raddatz's cell phone went off -- and her ring tone was "Ridin'" by Chamillionaire featuring Krayzie Bone. LOL!

Press secretary Tony Snow stopped his speech, looked at Raddatz, and said "Play that funky music, white girl!"

2007-01-03T09:03:00.000-08:00

WELCOME TO 2007!

Happy New Year, folks. I don't know about you, but I've already left '06 behind and am enjoying some exciting '07 music.

There's the new album, Myth Takes, by the dance-rock outfit called !!! (pronounced chik-chik-chik). I really dug their 2004 release Louden Up Now and its single "Me and Giuliani Down by the School Yard (A True Story)." The new record officially comes out in March. Check out this great track from it, "A New Name." Kinda reminds me of the Police.

Then there's the release later this month by the Good, The Bad and The Queen, the supergroup composed of Damon Albarn (Blur, the Gorillaz), Paul Simonon (the Clash), Simon Tong (the Verve), and Tony Allen (drummer for Fela Kuti). I'm really liking this, but I have a hard time seeing it doing that well in the States, despite Albarn's success with the Gorillaz. The record just strikes me as very very British, like some of the Kinks' late-60s albums.

Then there's the free (yes that's right, free!) collaboration between Talib Kweli and producer Madlib called Liberation, which is available here on the Stones Throw website and on Kweli's MySpace page. Madlib is one of my favorite producers, probably because he is so jazz-oriented (not surprising, considering he's Jon Faddis' nephew) -- but he's often paired with mediocre MCs. But Talib sounds better than ever here. He's really on a roll this year; starting his own label, Blacksmith Entertainment, seems to have given him a huge boost of energy and inspiration. He's dropping an official new album, Eardrum, soon as well, and everything I've heard from it sounds great. While his old partner Mos Def seems to have reached new depths of suck-itude (trust me, don't even bother with Mos's new Tru3 Magic), Kweli is looking to have a great 2007.

But the '07 album that has got me more geeked than any of the above is something called Octopus by the UK group The Bees (sometimes referred to as Band of Bees). That's them in the photo at the top of this post. I'd encountered some of their stuff before and liked it, but the tracks I've heard off the new record (available in March in the UK, not sure when it's coming out in the States) are off-the-hook! They have a hugely appealing soul element, lots of horns, and I love the vocals. Check out these two amazing songs: "Listening Man" and "Got To Let Go."

Lots of exciting biscuits in 07! Which ones are you looking forward to?

2006-12-25T14:26:00.000-08:00

When I heard the news this morning about James Brown, my thoughts immediately turned to my friend Eric who might possibly be the biggest JB fan ever and lives to spread the gospel about the man's genius. It dawned on me that anything I possibly had to say about James was just a watered-down version of the passionate praise I've heard from Eric over the years. So today I have asked him to share his thoughts. Thanks, EP, for articulating what so many of us are feeling on this bittersweet Xmas day . . . -- MC

THE BADDEST MUTHAFUCKA EVER

A Guest Post by Eric Perl

monday, december 25, 2006

my phone rang at 6:15 am. not as outrageous an event as it might seem, since i’m usually awake by then, but i was still only semi-conscious at best this particular morning. i figured it would be my friend and fellow early-bird, Linda, and answered as monosyllabically as possible, just for effect:

“unhh….hmm…..yes?”

“Something awful has happened,” she said with distress in her voice.

“To whom?” i asked, still unsure if this tragedy would prove to be more comedic than real.

“James Brown.”

“He’s dead?"

and we all know what her answer was.

i reflect on JB and my thoughts bounce and weave, dance and slide, call and respond like the horns and guitars and bass and drums in any of his so-called classics (i say “so-called” because classic implies the past, and JB's music is completely present). he was everything we’ve ever heard about him, whether it was from pop-culture critics, disgruntled associates, tabloid news, or his own mouth. he was an innovator who revolutionized black music, and therefore, all popular music. he was an egomaniacal tyrant who abused his band members and his women. he was Soul Brother Number One/Mr. Dynamite/the Hardest-Working Man in Show Business/Minister of The New New Super Heavy Funk/the Godfather of Soul. he was a late-night joke with a fucked-up mug shot.

ultimately, in my mind, however, he’s simply The Baddest Muthafucka Ever. unrelenting and unapologetic. bold. crazy. possibly not even of this world. how could someone, a mere human earthling, be that funky? how could someone, a mere human earthling, realize that stripping the song to nothing but its rhythm, putting everything on The One – and not just the first beat of the measure, but one chord, one endless, throat-ripping scream – was the future of music? nobody else was doing that. not Motown. not Stax. nobody recording for Atlantic or Muscle Shoals. only James. his own sound, his own band, his own man. is that kind of inspiration divine or extra-terrestrial? is he dead or just called back to the Mothership?

wherever his spirit came from, it inhabited the body of a man born black and poor in a country and time when such characteristics didn’t hold much promise for a prosperous life. they still don’t. but James, by pure force of will, personality, and talent claimed his place in this world - demanded it, actually – and then changed the culture forever by changing the way humans all over this planet create and communicate through music. he’s not alone in this. Ray Charles did it. Muddy Waters, too. but even as the giants they were, i don’t think they impacted music as profoundly as James.

the music…the music….the music…..…

………..Sex Machine. Super Bad. Soul Power. The Payback. I Don’t Want Nobody To Give Me Nothing. Hot Pants. Give It Up or Turnit A Loose. Get On The Good Foot. Make It Funky. I’m A Greedy Man……..there should be an exclamation point after every title. James screamed these words at us; and sometimes, he just screamed. what was that about, anyway? why was that brotha always screaming? i just enjoyed it on a primal, and yes, humorous, level, until i saw JB talking about it in a documentary. he said there are only two reasons why a man screams – mental pain or physical pain. so that’s what he was showing us, even in all those songs that make us dance, and feel happy and strong. he was letting us know -- this comes from pain. and that’s why his funk is deeper. and his scream is poetry.

so many memories flood my mind….playing his records for my high-school girlfriend and her commenting “it’s just the same thing over and over again” and me saying, “that’s the point!”; my guitar teacher showing me the "James Brown" chord when i asked him to teach me “Sex Machine” – and i’ve worked that D9 to death ever since; the first time i saw him live at the Apollo in ’87, utterly caught up in the mythology of the man and the venue; playing his “In The Jungle Groove” cd for the first time – it began with “It’s A New Day,” and for a second, i wasn’t sure if my body could stand that much funk; plastering the stockroom where i worked with “Free James Brown” stickers when he was serving jail-time in the late 80's, and, when i left the job, receiving a cake with “Free James Brown” written in icing; the moments when i hear him unexpectedly – on the street or in a store – and i’m stopped cold as if i’m encountering that sound for the first time; the times i watched a beautiful friend move to his music...she might’ve been dancing, she might’ve been putting on her make-up…and i realized she and the music were the same, and i thought “this is perfection...”

because of James, i have Funkadelic, Bootsy Collins, Sly Stone, Prince, Betty Davis, Fela Kuti, Public Enemy, Eric B. & Rakim, and so many more artists who make this existence somewhat bearable.

because of James, i have the friends i do; because we found each other through the Funk. i’ve gotten a few calls from them today; just sharing some love and showing some props for JB. plus they all know he’s my musical daddy, so they’re reaching out on a personal level – seeing if i’m “okay.” but it’s not like i lost my real daddy. i did that already – i know the difference. James will still be in my life the way he’s always been – bringing me the Funk. making me feel bold. strong. crazy.

like the baddest muthafucka ever.

* Seeing and hearing JB is more important than reading about him. Here are some favorites:

Paris 1971 -- Sex Machine

Mother Popcorn (60s)

Boston 1968 There Was A Time

Paris 1971 -- Brother Rapp/Ain't It Funky

Sex Machine/Soul Power

2006-12-21T09:58:00.000-08:00

"WHEN I THINK OF FULTON STREET..." (Leschea)

Memories of Beat Street Records (1984-2006)

I just heard about this yesterday (thanks for bringing my attention to it, Jose), but apparently the store shut down back in October. In my late-90s vinyl-fiend days, I'd spend hours scanning the endless racks of wax in the legendary cavernous basement in downtown Brooklyn's Fulton Mall. Beat Street was the place to go for hip-hop 12"s. There was always a live DJ (usually someone named Goldfinger) and if you were anywhere near the speakers, the volume was deafening. Of course, it wasn't uncommon to also see lots of famous New York DJs shopping in the store.

You can look at Beat Street's sad closing through a variety of lenses. Of course, like Tower Records, it's one more casualty of the digital age. Some are also seeing it as symbolic of the death of vinyl. But most interesting to me is a non-musical angle: what it means for the future of downtown Brooklyn and Fulton Mall in particular.

The big news for the borough this week was the state's approval of the massive, controversial Atlantic Yards development which includes a basketball arena for the Nets and huge, corporate towers completely out of scale with the surrounding brownstone neighborhoods. Opponents have been challenging the project for the past few years, and the story has generated a great deal of press during this time.

But Atlantic Yards is just one of many gentrification battles being waged in Brooklyn. There is lots of pressure on nearby Fulton Mall to adapt in order to appeal to the more and more affluent residents streaming into the neighboring districts. In other words, goodbye Beat Street, hello Starbucks!

For those of you who've never been to Fulton Mall, let me set the scene. It is not a mall in the typical suburban American sense; it's not an indoor mall, but rather a bustling outdoor shopping strip. Lots of jewelry stores, discount clothing stores, etc. And a mostly black and Latino clientele who come from all over Brooklyn -- but remarkably few shoppers from right next door (Brooklyn Heights, Cobble Hill, Boerum Hill).

So, on the surface, it sounds like the standard New York gentrification trajectory. Rich, white people move in, change the character of the place, make it more desirable, and thus bring more business to the neighborhood. But here's the thing: Fulton Mall does an amazing business as is! According to the New York Times, "it draws 100,000 shoppers each day, rings up more than $100 million in annual sales and commands rents of up to $250 a square foot, among the highest of any retail district in the city." So if it's doing so well, what's the problem?!

Read more about the Beat Street news here...
Daily News

Brooklyn Record
Idolator

And read about Fulton Street here...
New York Times

* FYI, the title of this post, "When I Think of Fulton Street," comes from the chorus to a Blige-esque mid-90s pop gem by Brooklyn singer Leschea, who was part of Masta Ace Incorporated, along with the Juice Crew vet as well as Lord Digga and Paula Perry.

2006-12-20T18:21:00.000-08:00

MY TOP 10 OF 2006

1. Gnarls Barkley – St. Elsewhere
2. Ghostface – Fishscale
3. Clipse – Hell Hath No Fury. Maybe I'm ranking this so high because it just came out and I'm loving it at the moment, but the combination of the Neptunes' minimal beats and Pusha & Malice's hard, cold rhymes makes for one of the best, darkest rap albums since Cuban Linx.
4. Roots – Game Theory
5. Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not
6. Outkast – Idlewild soundtrack. I haven't seen this on many people's lists, and certainly it was a disappointment after Kast's amazing winning streak that peaked with Speakerboxxx/The Love Below. But I continue to listen to the record, from start to finish, and enjoy it more and more. Judged on its own merits, it's an excellent release.
7. Lupe Fiasco – Food & Liquor
8. Amy Winehouse – Back to Black. Another one I'm loving at the moment. This record is so accessible, your grandmother would love it (except for all the sex & drug references). The music sounds like classic Motown -- it was produced by Salaam Remi and Mark Ronson, both in top form in a retro style -- and Winehouse is hugely appealing.
9. Beck – The Information
10. Easy Star All-Stars – Radiodread

* Haven’t heard Nas' Hip-Hop Is Dead yet.

“Though she isn’t in my top 10, still she is on my chart” (Gregory Isaacs):
Bob Dylan – Modern Times
Jay-Z – Kingdome Come
Lily Allen – Alright, Still
John Legend – Once Again
Dave Chappelle’s Block Party soundtrack
Flaming Lips – At War With the Mystics
Yeah Yeah Yeahs – Show Your Bones
Cat Power – The Greatest
Prince – 3121
Dudley Perkins – Expressions (2012 AU)

One of the most exciting musical realizations I had this year was that there is a good amount of interesting retro, neo-funk/soul type shit out there, on labels like Brooklyn’s Daptone Records (home of the incomparable Sharon Jones & The Dap-Kings, as well as the Budos Band and others), and most of all, on SF’s long-standing Ubiquity.

This year alone, Ubiquity put out some incredible releases in this vein, including NOMO’s New Tones, Quantic’s An Announcement to Answer, and Spanky Wilson & The Quantic Soul Orchestra’s I’m Thankful. (I also enjoyed Owusu & Hannibal’s Living With... and Radio Citizen’s Berlin Serengeti.) What a year for Ubiquity! Virtually everything they put out is worth hearing. They are also home to the obscure but brilliant Darondo, who has been touted by Giles Peterson, Oliver Wang, and others; this year the label collected and rereleased his early 70s work as Let My People Go and the Legs EP.

Last but not least, speaking of Oliver Wang, his must-read Soul Sides blog hipped me to the fantastic Nicole Willis & The Soul Investigators’ Keep Reachin’ Up.

Top 5 Reissues:
1.) Aretha Franklin – Live at the Fillmore West
2.) Kashmere Stage Band – Texas Thunder Soul, 1968-1974
3.) Massive Attack – Collected
4.) Good God! A Gospel Funk Compilation
5.) Jamaica to Toronto: Soul, Funk and Reggae 1967-1974

Favorite Mixtape:
Sean J Period – The Best of the Roots. If J Period's name sounds familiar, it's probably because the Brooklynite produced some classic NYC hip-hop in the late 90's. (He even had a few joints on the Blackstar album.) These days, I'm loving the guy's mixtapes. Very creative. He also did a Best of Lauryn Hill that showcased her MC skills and reminded me how nice she used to be on the mic. No one needed to remind me of Black Thought's skills but, given Thought's shadowy demeanor and low profile (?uest is really the leader of the group), I like how J Period focuses on him rather than the band. The CD should really be called The Best of Black Thought. The first few tracks are epic: Thought spitting over Jay-Z's "PSA," which segues into a Malcolm X speech, and then into the Beatles' "Come Together"!

20 Favorite Songs:
* I tried to avoid the super-obvious here. Of course, I love “Crazy” and “Kick Push” as much as everyone else.

Meet Me in the City -- Black Keys (from Chulahoma EP)
High and Dry – Pete Kuzma feat. Bilal (from Exit Music: Songs for Radio Heads)
Just – Mark Ronson feat. Alex Greenwald (from Exit Music: Songs for Radio Heads)
These Streets – Tanya Stephens (from Rebelution)
Game Theory – Roots (from Game Theory)
A Certain Romance – Arctic Monkeys (from Whatever You Say I Am…)
Ghetto Story – Cham (from Ghetto Story)
Baby Tonight – Bitty McLean (from Reggae Gold 2006)
Youths Dem Cold -- Richie Spice (from Reggae Gold 2006)
Then and Now – Masta Killa feat. his son & nephews (from Made in Brooklyn)
Coffee Cold – Oh No feat. Fergus Macroy (from Exodus from Unheard Rhythms)
Nightmares – Clipse feat. Bilal (from Hell Hath No Fury)
Smile – Lily Allen (from Alright, Still). From the first time I heard this, I couldn’t help loving it. That cute girly British voice singing, “When you first left me, I was wanting more, but you were fucking that girl next door.” LOL.
Vein of Stars – Flaming Lips (from At War With the Mystics)
Phenomena – Yeah Yeah Yeahs (from Show Your Bones)
Monkey Suite – Madvillain (from Chrome Children)
What Now – Aloe Blacc (from Chrome Children)
Heaven – John Legend (from Once Again)
What’s Happening, Brother? – Dirty Dozen Brass Band feat. Bettye Lavette (from What’s Goin’ On)
Who Cares? -- Gnarls Barkley (from St. Elsewhere)

RIP: Billy Preston, J Dilla, Joseph Hill of the classic reggae group Culture, Arthur Lee of Love, Desmond Dekker, Syd Barrett, three (!) seminal Atlantic Records figures (Ahmet Ertegun, Arif Mardin, and Ruth Brown), Lou Rawls, Gerald LeVert, Wilson Pickett, Ali Farka Toure, Professor X of X-Clan

Happy New Year, everyone. Here's to lots more tasty biscuits next year. Thanks for reading in 06. Hope you've enjoyed.

2006-12-18T15:50:00.000-08:00

I'M BACK!

Hey y'all, sorry for going AWOL. Just got back from an amazing few weeks in South Africa. Among the highlights of my trip was seeing Hugh Masekela perform on a gorgeous, rocky beach in Cape Town in the late-afternoon sun to a very small but energetic crowd. The music was electrifying. The vibe was joyful and the whole scene gave me, as an outsider, an exciting glimpse of what the new South Africa looks like. (Or rather, what a a particular multi-racial, middle-class segment looks like, but more on that later.) Check out the great pics my wife took...

The sound of Masekela's trumpet, and his voice, are very close to my heart. When I was a little kid in Seattle, there was always South African music playing in my house. My parents are from SA, though they left in the Sixties. So I was exposed to a lot of stuff like Abdullah Ibrahim (Dollar Brand) and the soundtrack to the musical King Kong. Not so much Hugh, but by the time a pal in college hipped me to Masekela's 60s work, The Lasting Impressions of Ooga Booga, my ears were already open to South African jazz.

The beach where the concert was held is called Oudekraal, just south of Camps Bay on the Atlantic Seaboard. Those majestic mountains in the background are known as the Twelve Disciples.

The crowd was feeling it! I was happy to see that it was a mostly black and "coloured" audience. I had only been in the country for a few days at this point, and I was still trying to make sense of the place. (Cape Town is a majority "coloured" city: 48% "coloured," 31% black, and 18% white. Whereas South Africa as a whole is about 80% black.) A couple of days earlier, we went to another concert in a nearby wine town called Stellenbosch -- singer/songwriter Vusi Mahlasela and multi-racial pop outfit Freshly Ground -- and the crowd was much more white. Also, according to an article I read in the Mail & Guardian, the very popular outdoor concert series at Kirstenbosch, South Africa's premier Botanical Gardens, draws remarkably few non-white faces.

Wandering the city centre or the waterfront, you see people of all races -- it's not that different than New York. But the reality is that the vast majority of the city's non-white population live in grinding poverty in Cape Flats townships like Langa, Nyanga, Guguletu, and Khayelitsha. And the R140 ($20) or so that I paid for the concert ticket is an unimaginable luxury to most Cape Town residents.

It's an incredibly complex and interesting and heartbreaking and inspiring place, and I am still trying to digest it all. Hope you enjoy these photos of the Masekela show, courtesy of Mrs. Biscuits...

Lots of pretty ladies in South Africa...

2006-11-22T11:40:00.000-08:00

NEW BILAL AND D'ANGELO

Ok, not really. I lied. Not much word on new albums by either of these supremely talented but long-MIA artists.

Bilal's striking debut 1st Born Second came out in 2001, and sadly his follow-up Love for Sale was shelved after it leaked on the Internet earlier this year. I've heard a couple of songs from it, and they sounded pretty damn nice. But who knows if the album will ever see the light of day. (In the meantime, if you haven't heard his version of "High and Dry" off of the Radiohead tribute CD, Exit Music, check it out -- it's amazing!)

D'Angelo's last album, the classic Voodoo, came out even longer ago (2000!), and since then there have been arrests, drug problems, car crashes. Very sad. But in the last couple years, rumor has it that he's working on new material for his third album, tentatively titled James River. I heard something about him teaming up with Jermaine Dupri, which scares me but you never know. And he's appeared as a guest on a handful of underwhelming tracks recently like "Bullshit" by the RH Factor (Roy Hargrove's band) and J Dilla's "So Far to Go" with Common.

But, today, my friends, there is a bit more reason to be hopeful. Bilal and D'Angelo appear on two new and fairly high-profile songs...

1.) "Nightmares" by Clipse feat. Bilal. Love this joint. What a weird, creepy vibe. MCs Malice and Pusha-T don't even come in til about half way through the song. So it really is like a Bilal song, more than a Clipse song. Speaking of MIA artists, the Clipse's ridiculously long-delayed sophomore album, Hell Hath No Fury, is finally about to come out. I've heard most of it, and it's hot. People seem to be liking it much more than Kingdome Come. My guess is that Clipse and Lupe Fiasco will be considered the rap albums of the year, not Jay or Nas.

2.) "Imagine" by Snoop Dogg feat Dr. Dre and D'Angelo. Ehh, this is aiight, a little corny, and D'Angelo is underutilized. But we'll take what we can get . . .

2006-11-21T18:47:00.000-08:00

WHAT THE EFF?!

That's right, your eyes aren't deceiving you. That's Kelly Clarkson of "American Idol" fame with Mike Watt from the Minutemen and fIREHOSE. According to Pitchfork, Watt is playing bass on six songs on Clarkson's new album.

For those that aren't familiar with Watt or the Minutemen, check out their classic Double Nickels on the Dime (1984), which changed my life in high school.

Seems like there have been a number of similarly bizarre musical news items this year. Jay-Z working with Coldplay's Chris Martin. Actress Scarlett Johanson doing an album of Tom Waits covers . . .

2006-11-15T18:17:00.000-08:00

THE ROOTS COVERING DYLAN

I didn't go to this benefit last week -- of course I love Dylan, but the show was very pricey and I've been burned before with these tribute events. I read about it afterwards, though, in the Times and elsewhere, and by all accounts the highlight of the night was my faves the Roots covering "Masters of War." I say the Roots, but it was actually just ?uestlove on drums, guitarist Kirk Douglas (also on vocals), and Damon Bryson from the Jeff Bradshaw band on tuba. No Black Thought.

They began with Kirk singing the Dylan lyrics to the tune of "The Star-Spangled Banner," then reverted to the original melody and segued into snippets of "Taps," Jimi's "Machine Gun,"and the Gap Band's "You Dropped a Bomb on Me."

NYT's music critic Jon Pareles noted that the song, an indictment of war profiteers, was especially trenchant just two nights after the election.

According to Billboard, the Roots "blew the house down with an ecstatic, incendiary version" of the classic early-Dylan protest song. "The searing, politically charged performance brought the hall's entire sold-out crowd to its feet for a lengthy standing ovation."

?uest himself wrote on Okayplayer the next day about how he felt like it was a "tipping point" for the group, gaining them many new unlikely, older fans. He even compared the performance to "Motown 25," the early-80s TV special where Michael Jackson wowed the crowd with "Billie Jean" (and the debut of his Moonwalk).

More glowing reports here...
Rolling Stone: "Far and away the greatest performance of the night"; "Sure to go down as one of the most brilliantly unique Dylan covers of all time."
Village Voice: "The Roots just killed it."

2006-11-03T14:54:00.000-08:00

GO STETSA!

On Halloween I went to this free show hosted by Prince Paul and featuring CL Smooth, Dres from Black Sheep, AG (formerly of Showbiz & AG), Juggaknots, Freddie Foxx, and some others. Now, those are all artists I've admired at some point in my life, but I probably wouldn't have paid $ to see any of them in 2006. And there was something kind of sad about their performances. Many were promoting new albums, but really, who's going to be checking for a new AG record? Of course, the audience got hype when CL did "They Reminisce Over You (T.R.O.Y.)" and Dres did "The Choice Is Yours," but the energy level was pretty low the rest of the night.

For the most part, I could have stayed home. But I have to say, it was nice to see the Stetsasonic reunion. No live band, just Prince Paul on the decks. But MCs Daddy O and Delite seemed so damn happy to be on stage again -- no matter that there were hardly 50 people left in the audience at that point -- and their joy was infectious. It was a very short set, but they did all their classics like "Sally" and "Talking All That Jazz."

There was a definite contrast between the festive vibe of the Stetsasonic performance and the somewhat desperate vibe of the other acts. Which makes sense, I guess. The bill was made up predominantly of artists from the 1990s who are grasping to stay in the game. Whereas Stetsa are really an 80s group and purely nostalgic -- they were just there to relive the good ol' days and have some fun. The audience had fun too....the most fun of the whole night.

2006-11-02T17:35:00.000-08:00

LABELLE AND BLACK FEMALE ROCKERS

Check out this list of some great songs by black female rock singers.

Coincidentally, I've been on a big Labelle kick lately. (No, I'm not gay, this shit is just good music!) Patti's voice is crazy, of course. But for those of you who only know her from "On My Own," "New Attitude," etc., think again. In the early 70s, she and Nona Hendryx and Sarah Dash were Labelle, a space-age funk outfit best known for their monster hit "Lady Marmalade." Start with their classic LP Nightbirds or their best-of collection Something Silver, which includes some hot early cover versions of songs ranging from the Who's "Won't Get Fooled Again" to Gil Scott-Heron's "The Revolution Won't Be Televised" to Cat Stevens' "Moonshadow." (Note: I've heard great things about this band for a while, but I only recently delved into their catalogue, thanks to my friend Eric. Good looking out, EP!)

Going back to the list, I've long been hip to Betty Davis who, apart from Tina Turner, is the archetypal figure in this fierce-and-funky-black-female-rock-singer sound. And I agree with the writer that Bettye LaVette's recent "Joy" (originally by Lucinda Williams) is an absolutely killer track. I admit I know nothing about Joyce Kennedy and her group Mother's Finest. Worth checking out?

Ps: Also, is it just me or does Labelle's "Nightbird" share a melodic element with Neil Young's "Old Man"?

2006-10-24T20:31:00.000-07:00

This is kind of random, but when you're listening to your headphones do you ever wonder whether you're losing your hearing? Well, it might just be that your ears are clogged with excess wax and you need to get them cleaned out! I went to an otolaryngologist (ears, nose & throat doctor) last week because I thought this might be the case. She took one look, and proceeded to stick a tweezer into my ears and pull out two huge, bullet-shaped dark-brown crack-rocks of wax. She showed me how they were actually molded into the precise spherical dimensions of my ear canals. Cool! I mean, it was kind of gross -- the pieces of wax reminded me of the date nuggets in my breakfast cereal -- but it felt damn good! Liberating, somewhat like evacuating your bowels. (Sorry, I know this post is earthier than my ususal.) And maybe it's psychosomatic, but I swear I'm hearing better than ever. It's like the music is flowing right through my ears into my brain, man!

2006-10-24T14:18:00.000-07:00

BITE-SIZE BISCUITS

For the week of October 23rd

* Per Okayplayer, ?uestlove is currently working with Pharrell on a new live-instrumentation version of the latter's disappointing solo debut, In My Mind, which came out earlier this year. Remember, Pharrell did the same thing with N.E.R.D's In Search Of...; for the US release it was re-recorded with help from the band Spymob. Err, I'm not so sure about this one, guys. The N.E.R.D. album was pretty good to begin with. But I'll wait and see.

* Speaking of ?uest, the guy is like an effing one-man musical movement -- he's got his hands in a million projects at once. In addition to the Pharrell project, apparently he's currently producing Al Green's upcoming album (very exciting), drumming on Jill Scott's next joint (also exciting, she hasn't let me down yet). And this may be just a rumor, but I heard something recently about a collaboration between ?uest, Andre 3000, and W. Marsalis for a track-by-track remake of Kind of Blue. Again, I've got my prejudices but I'll hold my tongue til I hear it, assuming it ever happens.

* Speaking of Andre, what do you all think about this Cartoon Network thing? It's old news, but it sounds like it is definitely happening. The Outkast rapper has been working on his own animated TV series and is contributing a new song for each episode. "Class of 3000" debuts November 3.

* On a much more serious and non-musical-related note, please take a minute and read this incredibly powerful and moving letter by Kevin Tillman, brother of Pat Tillman who was killed in Afghanistan and whose death was exploited in a despicable manner by the Bush Administration.

2006-10-21T06:30:00.000-07:00

MORE JAY-Z

After reading my recent post on Jay-Z, a pal of mine who's been living in Liberia sent me this photo he shot out of his car window in Ghana...

2006-10-19T14:30:00.000-07:00

BECK'S "STRANGE APPARITION" AND MORE

I'm sure tons of other people have pointed this out already, but this song, "Strange Apparition," off Beck's new album The Information sounds very similar -- in an homage way, not a ripoff way -- to the Rolling Stones' "Torn and Frayed" from Exile on Main Street. I like it!

And I like the whole new CD. But not quite as much as 2005's Guero, at least not yet. Guero was one of my favorite albums of last year, and it was produced by the Dust Brothers, who were responsible for Beck's joyous Odelay. But he actually started working on The Information, with producer Nigel Godrich, before he did Guero, after 2002's solemn Sea Change.

I seem to be in the minority in favoring Guero over The Information. Most critics are saying exactly the opposite. The two records are fairly similar, and they're both very good, but the highlights of the new one don't quite reach the same level for me as those of its predecessor. But maybe I just need to give it more time. In addition to the Stones-esque tune mentioned above, I am really enjoying "Think I'm in Love," "Soldier Jane," and "No Complaints." I've always been partial to singing Beck over rapping Beck, and the ratio is about the same on this album as the last. While I like some tracks more than others, I can listen to the disc from start to finish and it gets better each time. Have you heard it? What are your thoughts?

Ps: Also, speaking of the Stones' Exile, check out this recent excerpt in Rolling Stone (the magazine) from an upcoming book about the wild, behind-the-scenes making of the classic 1971 album.

2006-10-14T07:07:00.000-07:00

JAY-Z LEAKS FROM KINGDOME COME

This is what everyone's talking about, so here are my two cents. Just in case you've been living under a rock, the background: after months of speculation, Jay-Z officially announced in September that he's ending his ridiculous pseudo-retirement, which only lasted about three years. Excitement is now brewing for his "comeback" album, Kingdome Come, due November 12 and featuring production from Just Blaze, Kanye, Timbaland, Rick Rubin, the Neptunes, etc. -- basically the same all-star cast that created his highly-regarded retirement album, 2003's The Black Album, but with some new surprises such as a Dr. Dre-produced song with Coldplay's Chris Martin on vocals.

I have no doubt the album is going to be tight, since Jay seems to be following the same winning formula as The Black Album and 2001's The Blueprint. Fueling the excitement, not just one but two tracks from the album have now leaked, both produced by Just Blaze...

Last week we heard "Show Me What You Got" -- listen here -- which shrewd listeners/ music nerds recognized as jacking from both Johnny Pate's "Shaft in Africa" and the Lafayette Afro Rock Band's "Darkest Light" (the sax previously used, most notably, on PE's instrumental "Show Em What You Got" from It Takes a Nation of Millions... and Wreckx-N-Effects' "Rump Shaker"). The track is pretty nice, especially cause Just Blaze used live musicians. Here's Jay and Just talking about the making of the song in Elliott Wilson's column in XXL. While I dig the music, my overall feeling for this first single from the album -- if that's indeed what it is -- is only lukewarm, mostly because Jay comes off subpar (by his standards). Pitchfork nailed it here: the real problem is that Hov's lyrics are tired. All in all, I like it perhaps as much as "Encore," and it's certainly better than "Change Clothes," but it's definitely not up there with highlights of The Black Album like "Dirt Off Your Shoulder" or "99 Problems." I'm not even sure I like it as much as "December 4," one of Just Blaze's two Black Album contributions, and it isn't close to touching the other, "Public Service Announcement."

But the second song from the new album to leak, the title track "Kingdome Come," also produced by Just Blaze, does arguably match the drama and intensity of "P.S.A." Funkmaster Flex got his hands on "Kingdome Come" a few days ago -- listen here -- and it seems to be getting a better reaction among listeners than "Show Me What You Got." It sounds like classic Jay-Z. This one samples "Superfreak," of all things, but in an unexpected way. It totally works. Here he is, again, with Just and engineer Young Guru talking about the making of this track.

So, what do you people think of these songs? As much as I like them, especially "Kingdome Come," and as much as I am anticipating the new record, I recognize that no matter how good it is it's not going to be as important to hip-hop as, say, The Blueprint. Why do I say that? Has Jay passed his prime? I doubt it. Despite some recent lackluster guest verses (on songs by Beyonce and others), you can't deny Hov is still at the top of his game. But the element of surprise is missing. People know exactly what to expect: that masterful flow and irresistible swagger, over beats by a variety of proven A-list producers who have made magic with Jay in the past. I'm not complaining, believe me. After almost a decade, America still loves Jay-Z, which in our flavor-of-the-month culture is a testament to how good he really is. But at some level, I think we're all kind of longing for a new voice, someone on the level of Hov/Nas/Big/Pac. And Jay seems to understand this, too, which I guess is why he retired. But then when no one else stepped up to the plate over the past few years, he had to come back and show 'em "how to do this, son." I can't really argue with that.

In other Jay-Z news, he is currently doing his Bono thing, touring the world in connection with MTV and Kofi Annan/the UN to raise awareness about the global water crisis. Along the way, he is performing to adoring crowds in cities from Krakow and Bratislava to Accra and Johannesburg, from Bangkok and Taipei to Athens and London (where he was joined by Nas, and by Chris Martin for "Heart of the City" and Gwyneth Paltrow [!] for "Song Cry"). A Shanghai date was cancelled, though, when China's Culture Ministry objected to the rapper's "vulgar" lyrics.

Some might dismiss Jay's Water for Life tour as part of a contemptible recent Africa-chic trend, along the same lines as Madonna adopting a Malawian kid. Still, I admire him for doing what he can. And there's something inspiring and historic about these international performances. These aren't places where Western artists, especially rap artists, usually visit. Can you imagine what it means for some teenager in Lagos to see his hero Jay-Z on stage?

Ps: MTV airs a documentary about the Water for Life tour on Friday, November 24th.

2006-10-10T18:37:00.000-07:00

TOWER RECORDS MEMORIES

I know Tower Records may not be that "cool," but man, I'm feeling pretty damn emotional about their going out of business. I heard the news over the weekend and today I went to the Village store (the one in the pic below), which is close to my work, to see what the vibe there was like. It was a sad scene -- emptier-than-usual shelves, cheap-looking blowout-sale signs everywhere, a somber mood all around -- and it affected me more than I expected.

Getting vaklempt over the fate of a retail chain seems weird, for sure, but what can I say? I should be mourning CBGB, I suppose, but to be honest I've never been there. Tower, on the other hand, has been a big part of my life, bigger than I realized, for the last three decades. I've always lived in cities, so I never bought my music at suburban malls or anything like that. For me, it was a mixture of small hip record stores and big ones like Tower where I could spend hours roaming the aisles.

And I did spend a crazy amount of time at Tower. It was probably around 9th grade (1988-89) that I went totally music-crazy. The CD revolution was in full bloom, and my best friend JW and I devoured rock criticism and rock history books. Reading about all this great music from the 60s to the present was a mixed blessing because we realized how much we had to catch up on -- and our pocketbooks were limited. But whatever money we had, we used up on CDs. And when we weren't actually buying CDs, we were at Tower flipping through the racks, memorizing titles, familiarizing ourselves with entire bodies of work, thinking about what we wanted to buy.

This was in Seattle, by the way -- and it was mostly at the Tower store on University Avenue (known as "the Ave"), though there is also a great Queen Anne location near the Seattle Center. What I realize now is that this huge CD emporium was crucial to our musical awakening, more so than the little hip stores. The geography of Tower is forever etched in my brain, because it really was my brain: it was like a bricks-and-mortar version of the massive catalogue of music in my memory.

In the college years, I became even more obssessed with music, but Tower wasn't on the scene for me during this time. I was in Berkeley, CA, and as anyone who's been there knows, nothing compares to massive Amoeba Records on Telegraph Ave, which somehow manages to combine the appeal of the megastore and the boutique.

But in New York, there is no Amoeba equivalent. And when I found myself in 2000 working at a company in the Lincoln Center area, suddenly Tower (the one at Broadway & 66th, see the pic at the top of this post) was my second home again. I hung out there almost every lunch hour for the next five years! The staff was friendly and knowledgable, and I had some fun musical conversations with them. Again, like when I was a kid in Seattle, I soon memorized the layout of the store and kept mental lists of everything I hoped to buy someday.

The purpose of this post is primarily nostalgic. I'm not going to get into the causes of Tower's financial failings and what it all means for the music industry, because every blogger is probably writing about this stuff and I'm sure they know a lot more than me. Moreover, I don't really have any right to complain because I have hardly been buying CDs myself lately. But I can say that for me and many other men and women of my generation, Tower was where we grew up, where we listened and learned and got excited about music. I will miss it.

2006-10-09T05:53:00.000-07:00

A MUSICAL PORTRAIT OF MY WIFE

My wife and I are very well-matched musically. I can't stress enough how important this is and how incredibly lucky I realize I am. Can you imagine spending the rest of your life with someone who listens to completely wack shit? Or worse, someone who doesn't share your genuine excitement about any music at all, who kinda likes everything she thinks she should like -- every generic, easy-to-swallow Norah Jones or Black Eyed Peas that comes along -- but doesn't truly feel anything or have any tastes of her own?

The conventional wisdom is that the most important factor in a relationship or marriage is to possess the same values, to believe in the same fundamental principles, such as the sanctity of family, the dignity of hard work, etc., etc., blah blah blah. I think this is pure bollocks. Balls. Balderdash. Big biscuits of bullshit. More often than not, such so-called shared values are just meaningless cliches uttered by holier-than-thou individuals trying to elevate themselves above those they consider sinners and sex fiends. I mean, these principles aren't exactly unique. How many people would admit they don't think family or work are good things?

Don't get me wrong, I love being married and I adore my wife. But there are other qualities that I believe are just as important to our continued love and happiness as all that shared-values stuff. For example, we both worship the sun and dig spending time on the beach. We have similar diets: healthy but flavorful, with lots of spice. We both like rum and mojitos and plum wine. And finally, music is a big part of our lives: we love discovering new sounds and we enjoy lots of musical moments together.

Our tastes aren't perfectly aligned, but that's probably a good thing. When I first met her, she was a bit too into Lilleth-Fair fare for my liking -- you know, Ani DiFranco, Shawn Colvin, Melissa Etheridge, that whole estrogen-centric bag. And she has a few musical skeletons in her closet: she's a sucker for dance remixes by J-Lo, Britney, etc. When we first moved in together, it was very difficult for me to accept integrating our CD collections. What if a visitor came over and mistook her Madonna CDs for mine?!

But I'm making it sound worse than it is. The truth is my lady has pretty damn great musical taste. For example, she turned me on to Who Is Jill Scott? Words and Sounds, Vol. 1. At the time (2000), I was skeptical of anything that reeked of spoken word poetry (OK, I still am), and I was missing out on an amazingly talented artist whom I ended up enjoying for years to come.

She also turned me on to Radiohead's OK Computer. To Grace Jones' Nightclubbing. And plenty more.

Some of her musical gods include Fela Kuti (this alone puts her in the 99.9th percentile in my book) and Led Zeppellin (when she rocks it out, she bangs her head and shakes her great curly Slash-like hair -- it's a beautiful sight).

She's also got a thing for certain blue-eyed soul artists. She loves Justin Timberlake's "Cry Me a River" song. And she can't get enough of Joe Cocker. We bang his live joint Mad Dogs & Englishmen on the regular.

Unfortunately, in the blue-eyed soul category, she also loves Kenny Loggins' "This Is It." And she's a fan of some questionable soft-rock nuggets like Chuck Mangione's "Feels so Good." But truth be told, I kinda like Loggins and Mangione, too.

Off the top of my head, here is a brief list of her other musical faves: Ella Fitzgerald & Duke Ellington Live in Stockholm; Sarah Vaughan; Nina Simone; Al Green's "Love and Happiness"; Donny Hathaway's "A Song for You"; Marvin Gaye's "Got To Give It Up"; Bill Withers's "Can We Pretend?"; Funkadelic's "I'll Stay"; Van Morrison's "Sweet Thing" and his early Bang Masters CD; the Rolling Stones' "Gimme Shelter" and "Miss You"; John Lennon's "(Just Like) Starting Over"; the Allman Brothers; early Rod Stewart with the Faces; Buena Vista Social Club, Ibrahim Ferrer, etc.; Bob Marley's Kaya; Portishead; Brazilian Girls; the Gorillaz' Demon Days; Coldplay's Parachutes; Pearl Jam; David Gray's White Ladder; Lauryn Hill's "Just Like Water"; Van Hunt's "What Can I Say (for Millicent)"; the Roots, particularly their collaborations with female singers like Erykah, Jilly, and Jaguar Wright; Common's "The Corner"; Mobb Deep's "Shook Ones, Pt 2"; Jay-Z's "I Just Wanna Love You (Give It to Me)," "Lucifer," and his whole Unplugged CD with the Roots, particularly "Heart of the City (Ain't No Love)" where Jaguar just kills it.

In recent months, new tracks that have captured her ears include: Bilal's cover of Radiohead's "High and Dry"; "Don't Feel Right" and the title track from the Roots' Game Theory; "Daydream" by Lupe Fiasco with Jill Scott on the hook; and "These Streets" by Tanya Stephens.

I would even go out on a limb and say that part of my hunger for discovering new music is because of her. I want to impress her by introducing her to new songs, keeping her constantly musically stimulated, and making music a continuing part of our lives. She also acts as a sort of bullshit detector; if I hear something, and I'm not quite sure if I like it or not, I play it for her and test her reaction. If she's not digging it, chances are it will fall off my playlist pretty quickly. And if the first 30 seconds of the song make her go, "Ohhh shit" or "He's about to drop the beat, yo!" -- her signs of musical approval -- I know it's a keeper.

Her birthday was yesterday, and that's part of why I'm devoting this post to her. When we got married a few years ago, she gave me a wedding present: an iPod. On the back she had it ingraved: "Here's to a lifetime of harmonies." Now tell me -- how lucky am I?! What an amazing gift, and what a beautiful message. That about says it all. The key to a long-lasting marriage/relationship really isn't flowers and diamond rings and values-shmalues. It's about continuing to enjoy each other and to revel together in what we love (sweet plum wine, the sensation of sun on our skin, music that makes us smile). For me, it's about continuing to make her go "Ohhh shit." I think we're doing pretty well...

2006-09-25T17:58:00.000-07:00

THE ARRESTED DEVELOPMENT OF MOST

VS. THE ARRESTING EXAMPLE OF MOS

I feel bad for Willie Nelson. But his recent ordeal made me reflect on the other high-profile arrests we’ve seen this year, from 50 Cent and DMX (both for traffic violations), to Busta Rhymes and Foxy Brown (both for assault), to Paris Hilton and Mel Gibson (both for drunk driving). Lately it seems like a lot of dumb celebrities are getting busted for doing dumb shit.

But when Mos Def was arrested outside the VMAs in New York a few weeks ago, it was mos-definitely not for some stupid, selfish slip-up -- it was a courageous act of civil disobedience. I realize this is old news, but the incident didn't make it on a lot of people's radar, and it deserves more shine.

Here's what happened: Mos rolled up outside Radio City Music Hall on a flatbed truck for an unauthorized performance of his song “Katrina Klap,” a fierce indictment of the Bush Administration. He didn't have a permit and he was charged with disorderly conduct. Check out actual footage of the arrest here and check out the music video here.

My hunch is that Mos meant to get arrested. But even if he didn't, his aim was certainly to disrupt a bit of the glamour and gloss of the MTV event and bring attention to the the deliberate negligence and inaction of our leaders and the suffering of our fellow citizens from New Orleans and the Gulf Coast.

Afterwards, the media predictably spent much more time dissecting other aspects of the night, such as LL's and 50's rant about their label head Jay-Z. As Mos Def puts it in his song, "What's Beef?": Some beef is big, and some beef is small, but what y'all call beef is not beef at all. Real beef is the persistance of poverty and racism in America. Thank you, Mos, as always, for showing that it's bigger than hip-hop.

2006-09-23T10:04:00.000-07:00

PHOTO OF THE DAY: Willie Nelson's stash (!)

2006-09-20T14:56:00.000-07:00

MARCHING BAND CHIC: “One Time in Band Camp…”

Is it just me, or has 2006 been the year of the marching band? Here's my evidence:

-- A college marching band plays a big role in Dave Chappelle’s Block Party. Dave shuttles the youngsters from Central State University in his home base of Ohio all the way to Brooklyn to perform at the event. Their enthusiasm is infectious and their rendition of “Jesus Walks” is one of the highlights of the film. And at the Grammies earlier this year, Kanye himself (along with Jamie Foxx) dressed up in a marching-band outfit and performed “Gold Digger” with college musicians from Florida A&M.

-- Outkast’s single "Morris Brown" from their new soundtrack album Idlewild is named after Atlanta’s Morris Brown College's Marching Wolverines, who provide the beat and the horns to this joyous and inventive track. The chorus includes the lines: “My heart is like a marching band, I’m a fan in the stands.”

-- Stones Throw Records recently released a slamming 2-disc collection, Texas Thunder Soul 1968-1974, by the Kashmere Stage Band, who were an outrageously funky high-school band from Houston’s Kashmere neighborhood. A “stage” band was slightly different than a traditional “marching” band, in that it was modeled after a jazz big band. But Kashmere’s sound was more James Brown than Benny Goodman. Check it out. Highly recommended.

-- Earlier this year, there was a series on BET called Season of the Tiger about members of the Grambling State University football squad and marching band.

-- Even in the rock world, bands like My Chemical Romance have been performing in marching-band garb.

-- Part of the renewed interest in music from New Orleans that we’ve seen in the year following Hurricane Katrina has involved an appreciation of Crescent City brass bands.

Now, I know marching bands have been hot for a while (probably since the movie Drumline came out in 2002), and songs ranging from Destiny Child’s “Lose My Breath” (04) to Gwen Stefani’s “Hollaback Girl” (05) have incorporated drumline sounds. But something new is definitely in the air. Perhaps we have arrived at a cultural moment where the generation weaned on hip-hop is starting to grow weary of programmed drums, etc., and so they are drawn to the modern marching-band mixture of current hip-hop sounds with old-fashioned instruments like cymbals and French horns?

2006-09-12T18:18:00.000-07:00

THE CONNECTION BETWEEN GENTRIFICATION AND

THE DEMISE OF NEW-YORK HIP-HOP

There has been much chatter in the rap world in recent months about how New York -- the birthplace of hip-hop and its epicenter for many years after -- has become increasingly irrelevant, with Southern artists ruling the charts and homegrown talent barely making a dent. It is true that Busta Rhymes generated a bit of heat this year, Ghostface came back pretty hard, and Nas has a new one soon -- maybe even Jay-Z before 2006 is over. (50 Cent is generally not classified as a NY rapper, even though he's from Queens, because his flow doesn't share the same regional characteristics.) But there's no denying that the Big Apple is on serious life support at the moment, struggling to compete with all the T.I.s and Young Jeezys.

I have heard numerous explanations for the demise of New York hip-hop. Some say that the burden of tradition creates a rigid purism that stifles artists here from exploring new sounds. There may be some truth to that. Take DJ Premier, whom I idolize. He personifies the NY aesthetic, but the latest Gang Starr album (2003's The Ownerz) was predictable, even somewhat boring. Most listeners don't literally want to go back to 1991 or 1988 (considered the two best years in hip-hop); they just want a return to the quality, creativity, and diversity of the Golden Era. But that era is so intimately tied up with New York that maybe a lot of Gotham artists just can't help but sound dated. It makes me wonder whether an act as innovative as Outkast could have emerged from here? But getting back to Preem, I also find it ironic that some of his most exciting recent productions, in my opinion, were for Southern artists Devin the Dude ("Doobie Ashtray") and Cee-Lo ("Evening News").

I've also heard it argued that restrictive sampling laws are to blame for putting a clamp on producers like Pete Rock and Large Professor, whose sample-based sounds are the hallmark of New York hip-hop (whereas most Southern rap is synth-based). OK, that makes some sense. Unless you've got Kanye-type money, you'll end up blowing your entire budget on sample clearance. Still, as much as I believe that there is an art to sampling, this argument strikes me as kind of an excuse for lack of creativity.

Suprisingly, I haven't really heard anyone make the seemingly obvious connection between New York's dwindling status in the hip-hop sphere and the city's simultaneous ascent in the corporate and real-estate spheres. It's no great revelation that rap music is heavily occupied with notions of authenticity and that a big part of its allure is that it comes from "the streets." So what does it mean to its young consumers across the country that NYC is now one of the safest big cities in America? What does it mean to them, for example, that the block where Biggie grew up is now home to million dollar brownstones? Are they aware of these facts, and does that play in to their perception of NY hip-hop?

In the early- to mid-Nineties, before I moved here, I admit that my image of the city was partially influenced by the grimy descriptions I heard in songs by Wu-Tang, Smif n Wessun, etc. They spoke of blunts, Timbaland boots, pissy project hallways. Nas and Mobb Deep painted a gritty picture of life in Queensbridge. (Then, when I finally came to New York, my first apartment was in Park Slope, which was slightly different, LOL!)

But my point is, maybe hip-hop fans today just don't quite buy it when New York rappers rhyme about their violent 'hoods and so on? Obviously, I realize the city isn't all Starbucks and sushi -- but by any measure, the gentrification we've seen in the last ten years has been extraordinary. And I think the word is out in the rest of the country. The perception, whether true or not, is that NYC just isn't that "hard" anymore. Could it be that this is the real reason the average American kid is now looking elsewhere -- to New Orleans, Houston, Atlanta -- for his rap authenticity fix?

2006-09-06T19:11:00.000-07:00

ANNOUNCEMENT

I am relatively new to this blogging thing, and I just realized (thanks EG!) that I’ve had Musical Biscuits set to only allow comments from people with Blogger accounts. My bad. I have now enabled it to allow anonymous comments. So please, comment away! Let me know you’re out there! Pleeeease…

2006-09-06T17:41:00.000-07:00

NEW MUSIC BOOKS

I read two very different books recently, one a humorous rock trivia guide, the other a study of the neuroscience of music listening. I highly recommend both!

First, let's talk about Is Tiny Dancer Really Elton's Little John: Music's Most Enduring Mysteries, Myths, and Rumors Revealed by Gavin Edwards. Gotta love that title. It refers to the urban legend that Elton's song "Tiny Dancer" is really about his penis. (Alas, it is not -- lyricist Bernie Taupin was inspired by the freewheeling women he encountered when he first moved to Cali in 1970.) Edwards is also the author of another very funny music book, 'Scuse Me While I Kiss This Guy, about commonly misheard song lyrics. While some of the rock myths covered in the new book are a bit too familiar, like the whole “Paul is Dead” saga, there was plenty here to keep me entertained. I devoured the entire thing in about two hours. Some items of note…

* John Mayer literally sees music as colors. He and Hendrix and Franz Liszt all share a rare condition called synaesthesia, in which one’s sensory perceptions overlap. Yikes, does this mean that we’ve all been fooled and Mayer is actually a musical genius?

* Lots of crazy sex stuff: Brian Adams’ “Summer of ‘69” is indeed about the physical act not the year; Elvis’s chosen method of birth control was to pull out and finish with his hand; Steven Tyler admits to being inappropriately attracted to his daughter Liv.

* We’ve talked before on Musical Biscuits about Ringo’s musical abilities. Edwards maintains that Ringo was a great drummer, not showy but always in the groove, and he points to a few moments where the Beatle really stands out: “Drive My Car” (“where he’s particularly inventive on the breaks”), “Ticket to Ride” (“where he basically invents heavy-metal drumming”), “Rain” (“where he’s playing like a man possessed”), and the “Strawberry Fields Forever” outtakes on the Anthology 2 (where he is “basically inventing the trip-hop beat”). I would add to Gavin’s excellent list the drum solo in “The End” from Abbey Road.

This Is Your Brain on Music: The Science of a Human Obsession also happens to talk about a lot of Beatles songs. For example, author Daniel J. Levitin points out that the reason "Yesterday" is so beloved is that its main melodic phrase is seven measures long, whereas most musical units are four or eight measures -- and it is precisely this small deception, this setting up and manipulating of expectations, that so pleases the human ear.

The book is filled with these kinds of revelations, and they are all remarkably digestible because they involve songs everyone knows by heart. Levitin was a record producer (for the Dead, Chris Isaak, and others) before he was an academic, and his love and familiarity with the music is what makes the book work so well. I have a hard time with a lot of popular science titles, because they often assume the reader holds a certain degree of scientific knowledge -- and, I'll be honest, I have zero. But like in Stephen Pinker's The Language Instinct, which this most closely resembles, there is more than enough non-hardcore science here for a total ignoramus like me to latch on to that I stuck with the book to the end (occasionally skipping passages) and learned quite a bit in the process.

I was fascinated to discover, for instance, that one theory as to why we sometimes experience almost an elevated state of consciousness when we hear loud music in concert, as opposed to on record, is that the extreme volume (over 115dB) floods our auditory system and triggers neurons to fire at their maximum pace. "When many, many neurons are maximally firing, this could cause an emergent property, a brain state qualitatively different from when they are firing at normal rates."

Interesting stuff, eh? And how many books are blurbed by both Oliver Sacks and Stevie Wonder?!

2006-09-01T11:29:00.000-07:00

THE CONNECTION BETWEEN MUSIC AND RUNNING

Obviously, you all know I love music, but something else I've grown to love is running. I've been jogging regularly for years now, and I've even done a few marathons. On the surface, these two hobbies seem to have little in common. In fact, most people associate music (especially rock-and-roll) with drinking, drugging, staying out late, and all-around abusing one's body. Fitness, on the other hand, holds various "uncool" associations, from military basic training to narcissistic gym culture to, well, Richard Simmons.

I admit the jogger scene is not exactly cool. (Go to any New York Road Runners Club-sponsored race and you'll see what I mean.) But running, the activity itself, is cool -- and it is cool in fundamentally the same way that music is cool. The beauty of music, of course, is how it fills its listener with a magical, expansive sensation of total freedom and infinite possibility. Not unlike the feeling, I've come to realize, that I get when my two feet hit the pavement and I just take off.

Now that I've made this mental connection between music and running, I've been on a search to find more evidence of the unlikely link between the two passions of mine. It hasn't been easy. Yes, there are tons of famous songs about running, from "I Ran" by Flock of Seagulls to "Born to Run" by Springsteen, but they seem to all be about running toward something, running away from something, running wild, running free -- not about literally running, just for the sake of running.

There are songs that are associated in the public's consciousness with the literal kind of running, such as Vangelis's "Chariots of Fire." And there exist lots of pump-you-up songs that are excellent to listen to while you run, like "Ain't No Stopping Us Now" by McFadden & Whitehead.

But I can only think of one example of a song that is about running per se. Thankfully, it is a gorgeous tune: "Joggin'" by reggae great Freddie McGregor. Not only does it feature a chorus about "jogging on the sand," it even name-checks different brands of running shoes (Adidas, Puma).

But upon closer inspection, is the song just a simple, heartfelt tribute to running, "a paean to trainers," as it says in the liner notes of my Story of Jamaican Music box set? Or is it an extended metaphor "damning corporate imperialism and condemning those who get fit for Babylon," as it suggests here?

Okay, so trying to find a running anthem is a bit of a challenge. But what about trying to find some musical artists who are also big runners? Again, not so easy. There are a few celebrities who have run marathons including, famously, Oprah, and more recently, Will Ferrell. And some politicians, including President Bush (which doesn't exactly help me in trying to make the argument that jogging is cool).

In terms of music, though, other than P Diddy -- who ran the NYC marathon a few years back, but whose own contributions to music I find dubious (as opposed to his undeniable role in the careers of talented artists like Biggie and Mary J Blige) -- I could only think of one single performer whom I knew was a runner . . .

The late Joe Strummer of the Clash ran three marathons. (That's him in the photo on the right finishing the London marathon.) He even revealed that he wouldn't train at all and he'd drink ten pints of beer the night before. Now, that's punk rock! Who cares that he didn't take training seriously? Jumping in there and running a long-distance race obviously gave him a feeling of joy and liberation. And that's enough for me. Joe is all the proof I need that jogging is hella cool, fuck the naysayers.

Like all the best music, Strummer's work was dangerous and sexy and it was all about challenging the status quo. Not just in your typical abstract, anti-establishment, rock-and-roll way, but in an unusually political, concrete sense. Unlike his peers in the Sex Pistols, he wasn't a nihilist -- he was committed to changing the world for the better, through his raw, visceral music and provocative lyrics. Politically-oriented artists always run the risk of either sounding too soft and pie-in-the-sky (Lennon's "Imagine" sometimes strikes me this way, even though I recognize how radical many of the lines are) or sounding pedantic and restrictively topical (I'm thinking here of KRS-One's less-classic material). To Strummer's credit, he and the Clash broke right through these confines, forging their own path and making political music cool again.

It is Joe's brand of gritty idealism that continues to inspire me. And his passion for gonzo running -- and the freedom it represents -- seems to me an extension of this worldview.

2006-08-26T12:47:00.000-07:00

GOING TO SHOWS WITH WIVES/GIRLFRIENDS

On Thursday night, my wife and I went out to a show/benefit at Crobar on 28th St. It was a Katrina fundraiser sponsored by MoveOn.org, headlined by the Roots and Moby, with readings/speeches by Julia Stiles, Rosie Perez, Ned Lamont, and others.

But before I describe the great time we had, I should preface this story by explaining that my wife only agrees to accompany me to concerts/events under certain circumstances. We've been together ten years now, and in our early days together (the late 90s) I would drag her to countless hip-hop shows -- this was during the Rawkus era -- where we would have to stand for hours and endure awful opening acts until the headliner finally came on, hours later than scheduled, at 2am or whenever. As a result, nowadays she (understandably) has specific ground rules for live music. And I only invite her to performances that I know are guaranteed to be funky from start to finish -- and that I know will be painless. Shows that start on time, that end relatively early, and that don't require standing in crazy lines or jostling with fratboys, thugs, etc.

I should also point out that it is not just my wife who has grown weary of the live music scene. As I have gotten older, I've become much the same way. I just can't stand up for that long, and I don't have any patience for medicore opening acts. She and I are big fans of grown-folks venues, where you can sit and chill. Our favorite gig, for example, is the annual winter concert at BAM where we can sit in an opera-house-like space and enjoy real adult music like Bobby "Blue" Bland and Sam Moore (of Sam & Dave).

Don't get me wrong -- obviously, I still love me some hardcore sounds. I haven't become one of the Starbucks CD crowd yet. All I'm trying to say is that I totally see where my wife is coming from, in being selective about live music experiences. Which brings me back to the Crobar event...

I knew my wife would enjoy this one. The Roots have never let us down. Plus, it was for a good cause. And it was in a small club, and the whole thing was a bit out of the ordinary, not just your ususal show. And it was supposed to start promptly at 7 and be over by 9 or 10. And the tickets included an open bar.

So we slid in the place right at the beginning, before 7:00. Usually, my need to be at these things exactly on time drives my wife crazy. She says I'm on J.P.T.: Jewish People's Time. (No need for alarm, all you Member-of-the-Tribe readers, she's just joking, and she's my wife so she's got "license.") In this particular case, however, arriving early worked to our extreme advantage. Cause it meant we could start hitting up the open bar right away. And because we somehow scored the most amazing seats in the entire place.

I say we "somehow" scored, but it's really no mystery. Going to a show with a woman, particularly a pretty woman, is a different experience than going with your guy friends. Seriously, they just roll out the red carpet for you. My wife sweet-talked a bouncer and within minutes, not only were we in a VIP section but we were in this tiny little booth where CNN was interviewing all the celebs in the house.

We started chatting with the CNN interviewer, a really nice lady, and we got in good with her. So for the rest of the night, she had our back. Anytime anyone asked us to leave, she said "They're with me, they can stay." So it was just us, the CNN lady, the two camera people, and an assortment of interviewees including Moby, ?uestlove, and Rosie Perez.

I finally got introduced to ?uest -- after having seen the Roots at least 20+ times in the last ten years -- and was completely tongue-tied. Oh well. But we got to talk for a little bit to Rosie, who my wife and I both adore, though for slightly different reasons, I'm sure. Nudge nudge. Anyway, we were psyched to say hi to her, especially because she lives around the corner from us.

As for the rest of the show, it rocked. I had about eight free gin & tonics. (I was going to get my money's worth, goddamnit!) And the Roots were great, as always. They played all new stuff, from Game Theory, which is out this week. The best part of their show was the full Crescent City brass section, led by Jeff Bradshaw (who is actually from Philly). They had the crowd hype, especially when they segued from Ray Charles' "I Got a Woman" into a super-energetic version of Kanye's "Golddigger."

We were home in bed by 11:30. A perfect night for us old folks...

2006-08-19T19:09:00.000-07:00

GNARLS BARKLEY AT CENTRAL PARK'S SUMMERSTAGE

I keep going back and forth in my thinking about Gnarls Berkley. On the one hand, I've long adored Cee-Lo and I'm happy to see him finally hit it big -- St. Elsewhere just went platinum, he announced at Thursday night's show. I think it's an excellent album, a tight set of fun, adventurous and genre-bending but accessible tunes, one of which will likely (and deservedly) go down in music history as a truly classic pop song.

On the other hand, as with anything so immensely popular as "Crazy," there seems to be a Gnarls backlash emerging in certain circles, and I admit I'm starting to fall victim to it. What bothers me -- and I know this may sound naive -- is that the marketing of Cee-Lo & Danger Mouse's goofy image has so overtaken their music. At the show in Central Park, they came on stage with a 13-piece band all dressed in prep-school garb, playing "Another Brick in the Wall," and announced themselves as "The School of Rock." Now, for those that don't know me, this theatric entrance combined three or four of my favorite things: Cee-Lo, Pink Floyd, and a hilarious Richard Linklater film (about music!) starring Jack Black. But all I could think was, alright, enough already with the damn costumes!

To their credit, they put on a pretty solid show (albeit with a few kinks that still need to be ironed out). The crowd was happy. I wasn't sure how it would go, especially because they only have one (short) album worth of material. They filled out their set with a couple of covers, in addition to the Violent Femmes' "Gone Daddy Gone," which appears on the CD. Unfortunately, the other two covers (of a song by The Greenhornes and an obscure Doors track) were total buzzkills. No one knew them and they just weren't strong enough performances to get an audience excited about something it had never heard before.

But when Gnarls were on, they were on. The more rocking, aggressive numbers, like "Just a Thought," worked best live. Throughout, they stuck pretty close to the album versions, except for "Transformer" and "Feng Shui" which they slowed down (perhaps out of necessity).

Cee-Lo sounded good -- he's never had the greatest voice, technically, but he makes up for it with his spirit. He really started to get into the groove with "The Last Time," but I kept wishing he'd let loose even more. Above all, I wished he'd drop at least one rhyme or two. Nada. Cee-Lo is a jaw-droppingly nimble and lyrical MC -- he is arguably a better rapper than a singer. So it was kind of bizarre, when you think about it. This man has quite a body of work to draw from. Two solo albums and three with Goodie Mob. Would it have been so weird for him to give the crowd even a small taste of his past?

2006-08-18T15:02:00.000-07:00

PITCHFORK'S TOP 200 SONGS OF THE SIXTIES

First of all, sorry for the long delay since the last post. Vacation. But I'm back and I'm ready to break down some biscuits, baby!

So, let's get into it! Pitchfork Media has been featuring their Top 200 songs of the 1960's. Now, I usually hate these lists, but this one is way more insightful than the standard Rolling Stone, classic-rock establishment bullshit. I mean, they don't ignore the ol' chestnuts -- Beatles, Stones, Dylan, et al -- but there are also plenty of surprises.

Most of all, I have to give it up to the folks at Pitchfork for including a decent amount of black music. Usually, these lists equate the Sixties with rock and the white counterculture. But to this website's credit, they paint a broader picture here by folding in jazz, reggae, and most of all, soul music. (A good deal of country, too, and garage/proto-punk -- even some Brazilian, French, and African selections.)

Any list of the best songs of the Sixties that neglects such essential, almost sacred musical moments as "(Sitting on) The Dock of the Bay" and "A Change Is Gonna Come" isn't worth a dime. Pitchfork ranked Otis's minimalist masterpiece at #28 and Sam Cooke's civil-rights anthem at #3!

James Brown gets four spots: "Night Train (Live at the Apollo)" (#195), "Mother Popcorn (You Got to Have a Mother for Me)" (#184), "Papa's Got a Brand New Bag" (#74), and "It's a Man's Man's Man's World" (#33). Sly gets three: "Everyday People" (#128), "I Want to Take You Higher" (#78), and "Hot Fun in the Summertime" (#60). Aretha gets two: "Do Right Woman, Do Right Man" (#157) and "Think" (#15). Same with Stevie: "Uptight (Everything's Alright)" (#169) and "I Was Made to Love Her" (#111).

But what really impressed me was the inclusion of some lesser-known soul gems like Irma Thomas's "Time Is On My Side," The Flirtations' "Nothing But a Heartache," and Lorraine Ellison's "Stay With Me."

I was also impressed by the Jamaican music presence on the list: early reggae classics by Alton Ellis, Desmond Dekker & The Aces, The Maytals, and The Paragons. Jazz is represented by: Charles Mingus's "Solo Dancer," The Cannonball Adderley Quintet's "Mercy, Mercy, Mercy," Albert Ayler's "Ghosts," Louis Armstrong's "What a Wonderful World," John Coltrane's "My Favorite Things," Miles Davis's "Shh/Peaceful," Stan Getz's "The Girl From Ipanema," and Vince Guaraldi Trio's "Linus & Lucy."

I was surprised by a few choices. "Sympathy for the Devil" is only #39? Velvet Underground's "Sunday Morning" is higher than "Heroin" or "Venus in Furs"? "Manic Depression" is higher than Jimi's "All Along the Watchtower"? "Hot Fun in the Summertime" is higher than "Everyday People" or "I Wanna Take You Higher"? "It's a Man's World" is higher than "Papa's Got a Brand New Bag" or "Mother Popcorn"?

Here are the top 10, for those who don't want to scroll through all 200...

10. Desmond Dekker & The Aces -- Israelites

9. The Who -- I Can't Explain

8. Johnny Cash -- Folsom Prison Blues (Live at Folsom Prison)

7. The Beach Boys -- Wouldn't It Be Nice

6. The Ronettes -- Be My Baby

5. The Beatles -- A Day in the Life

4. Bob Dylan -- Like a Rolling Stone

3. Sam Cooke -- A Change Is Gonna Come

2. The Jackson 5 -- I Want You Back

1. The Beach Boys -- God Only Knows

I'm not so sure about two Pet Sounds tracks in the top 10, but they are great songs. Props to Pitchfork for making an unusually interesting list.

2006-08-04T20:58:00.000-07:00

OUTKAST'S IDLEWILD

I recently wrote about how I was underwhelmed by everything I've heard so far from Outkast's upcoming album, the soundtrack to their new film Idlewild. Both the movie and the record have been years in the making, and have been pushed back numerous times. These delays made me nervous and perhaps even a bit resentful, as did all the rumors of Outkast's breaking-up. (Of course, everyone knows that the phenomenal duo of Andre "3000" Benjamin and Antwone "Big Boi" Patton have been heading in different directions for years, so none of this comes as a surprise.)

But I have to admit, maybe I spoke too soon. While their debut single from Idlewild, the Cab Calloway-influenced "The Mighty O" doesn't do that much for me, I'm warming up to the marching band sound of Big Boi's "Morris Brown" -- and especially to Andre's exciting "Idlewild Blues." Check out the Hurricane Katrina-inspired video here.

Speaking of which, I am greatly anticipating Spike Lee's Katrina documentary When the Levees Broke, which will air on HBO on August 21st and 22nd. I strongly believe that this disaster was a pivotal moment in American history, and we have barely begun to grasp its significance. According to the New York Times, when Spike was filming in New Orleans, "people, black and white, approached him and the 'Levees' crew . . . imploring: 'Tell the story. Tell the story.'" Sheila Nevins, the film’s executive producer and the president of the documentary and family division at HBO, says: "I realized this would be the film of record. When Spike interviews a forgotten American whose kid floated away in the water, he lets them raise up their poetry. They’re able to express to him what they’re not able to express to anyone else.”

I don't think there has been a film that has felt this urgent and important since Farenheit 9/11.

2006-07-27T19:35:00.000-07:00

FREE OUTDOOR SHOWS IN NYC -- AUGUST

It's been an amazing summer for free concerts in the Big Apple, and the fun continues through Labor Day. Don't miss the following . . .

Slick Rick on Thu, Aug 10th at Marcus Garvey Park in Harlem, with Kool DJ Red Alert on the wheels. When folks talk about the great Golden Era emcees, they always bring up Rakim, Kane, LL, G Rap, KRS, Chuck D. But don't forget about Slick Rick the Ruler! Not only is he rap's most gifted storyteller, he has an amazing sense of humor and style and a unique, soft-spoken, melodic flow. He was so fly back in the late-Eighties that he even made having a British accent cool. Can you imagine that today? Actually, MC Ricky D's best days may not all be behind him. His 1999 album The Art of Storytelling was a surprisingly strong comeback -- his best release since his debut -- and I don't doubt he is capable of the same magic again.

Sharon Jones & the Dap-Kings on Wed, the 16th at Jackie Robinson Park in Harlem. I love this woman! She is in her fifties, but she's got more energy on stage than Beyonce and Mary J combined. I'm not exaggerating. It just makes you realize, they don't make em like they used to. Think of a female James Brown -- in fact, they are both from Augusta, GA -- backed by a tight eight-piece funk band of young white Brooklyn record-nerd dudes (obviously I mean that lovingly, as I could easily be described in the same way). Just trust me, if you see her live, you'll be totally hooked.

Other noteworthy free, outdoor shows in August:

-- Raheem DeVaughn on Thu Aug 3 at South St Seaport

-- James "Blood" Ulmer on Fri the 4th at Metrotech in BK

-- Hot Chip on Fri the 4th at South St Seaport

-- Eddie Palmieri on Fri the 4th at Damrosch Park, Lincoln Cntr

-- African music festival on Sat the 5th at Prospect Park Bandshell

-- Lenine on Sun the 6th at Central Park Summerstage

-- LL Cool J on Mon the 7th at Wingate Field in BK

-- Burnt Sugar on Wed the 9th at Josie Robertson Plaza, Lincoln Cntr

-- BT Express on Thu the 10th at South St Seaport

-- The B-52s on Thu the 10th at Asser Levy Park at Coney Island

-- ?uestlove, Deerhoof, etc., on Sun the 13th at McCarren Park Pool in Williamsburg

-- Toots & the Maytals, etc., on Mon the 14th at Wingate Field in BK

-- Antibalas on Thu, the 17th at Marcus Garvey Pk in Harlem

-- Betty LaVette, etc., on Fri the 18th at Damrosch Pk, Lincoln Cntr

-- The Box Tops feat. Alex Chilton on Fri the 18th at South St Seaport

-- Eddie Floyd, Percy Sledge, etc., on Sat the 19th at Damrosch Pk, Lincoln Cntr

-- Mavis Staples, etc., on Sun the 20th at Damrosch Pk, Lincoln Cntr

-- Kurtis Blow on Wed the 23rd at Jackie Robinson Pk in Harlem

-- Dwele on Thu the 24th at Marcus Garvey Pk in Harlem

-- Talib Kweli, Jean Grae, etc., on Sat the 26th at Central Pk Summerstage

-- Charlie Parker Jazz Festival on Sat the 26th at Marcus Garvey Pk in Harlem

-- Charlie Parker Jazz Festival on Sun the 27th at Tompkins Square Park

-- Sonny Rollins on Sun the 27th at Damrosch Pk, Lincoln Cntr

2006-07-26T19:36:00.000-07:00

FAMOUS SURPRISE GUESTS AT CONCERTS:

THE "OH SHIT" FACTOR

I've been writing a lot here lately about the phenomenon of famous surprise guests showing up at concerts. Earlier this summer, I saw Prince at a Maceo Parker show and Jay-Z at a Roots show, and then I posted about the 1971 Aretha show at Fillmore West where Ray Charles came on stage.

The latest example I'd like to highlight took place last week at the Bowery Ballroom, where Matthew Sweet (most well-known for his early '90s pop-rock nugget Girlfriend, newly reissued as a double album) and Susanna Hoffs of the Bangles were performing songs from their recent collection of '60s covers, Under the Covers, Vol. 1. I wasn't at the show myself, but I read about it in this Village Voice piece. And according to the writer, the crowd "went nuts when Mike Myers sauntered onstage for the encore and stammered his way through 'BBC,' an old Austin Powers favorite."

Now, I love Mike Myers as much as everyone else, and of course that must have been hilarious. But it also supports my emerging theory -- and I realize perhaps this is just stating the obvious -- that the effectiveness of a surprise guest appearance has to do more than anything else with fame and celebrity. The point is that the unanticipated performer should not only be more famous than the scheduled performer, but he or she should reside in an entirely different and greater sphere of fame. In other words, Jay-Z, Prince, and Mike Myers are all household names; Maceo Parker, the Roots, Matthew Sweet, and Susanna Hoffs are not.

Even within the household-name category, there are household names and then there are Household Names. For example, about five years ago, Jay-Z himself wowed all the teenagers at Hot 97's annual Summer Jam when he brought out the king of pop, Michael Jackson.

The whole beauty of the surprise guest concept is that concertgoers can then go back to their friends and say, "Man, you'll never guess who was at the ____ show!"

Sample conversation: "Who, Sean Lennon?

"No, better."

"Who, someone from the Strokes?"

"No, better. Think bigger!"

"Who, Norah Jones?"

"No, bigger!"

"Who, goddamn it? Bono?"

"Think older."

"Look, I don't know, motherfucker. John Lennon, back from the dead? Just tell me already!"

What's funny is that it doesn't even matter whether the guest entertainer actually performs. (Jacko did not.) It is his presence that counts, his star power. It's all about the "oh shit" factor. "Oh shit, son, is that Bill Clinton?" "Oh shit, how in the hell did ____ get the Dalai Lama to show up?!"

2006-07-21T13:18:00.000-07:00

SUMMER RELEASES

Lots of hot shit coming out from now til the end of August. Especially hip-hop. New joints from my two favorite rap outfits, Outkast and The Roots. I'm a bit nervous about Idlewild. Kast is the most consistent group in the game, and every album of theirs so far has been a huge creative leap from what came before. But the first three singles, "The Mighty 'O'," "Idlewild Blues," and "Morris Brown," all sound to me like good-not-great outtakes from Speakerboxxx/The Love Below. On the contrary, Game Theory has me hyped. Everyone's saying that this is going to be a very dark record, influenced by current events like the war in Iraq and Hurricane Katrina. I can't wait to hear Black Thought stretch out into more substantial lyrical territory, like he did on Phrenology's standout "Water."

So those are my two biggies in terms of upcoming rap releases. But that's just the tip of the iceberg. Pharrell's first solo LP is about to hit. Then there's Jay Dee's posthumous The Shining, which includes collaborations with Pharoahe Monch, Busta, Common, D'Angelo, Dwele, and many more. Whoa! There's also Madlib's brother Oh-No's second album, which features MCs like Posdnous, Buckshot, AG, Wise Intelligent, Murs, and Vast Aire. The sophomore solo effort from Masta Killa, called Made in Brooklyn, also features a wealth of talented guests, including the whole Wu-Tang, MF Doom, and some production from Pete Rock. The first Masta Killa album No Said Date was surprisingly strong, especially given the mixed quality of recent discs by Wu members (who aren't named Ghost) and affiliates. And I can only hope that Method Man finally lives up to his potential with his upcoming 4:21. I'm not holding my breath, but this poppy lead single w/Lauryn on the hook isn't half bad.

Outside of hip-hop, I'm amped for some reggae releases, especially Cham's Ghetto Story, Tanya Stephens' Rebelution, and The Easy Star All-Stars' Radiodread, a take on Radiohead's OK Computer. Also new Horace Andy and new Beenie Man and Bounty Killer.

In terms of R&B and pop, there's new stuff coming out from Kelis, Lyfe Jennings, Jody Watley, Prince's protege Tamar, Stones Throw chanteuse Georgia Anne Muldrow, and Christina Aguilera (don't mock, half of the album is produced by Primo!).

On the world music front, new Ali Farke Toure (blues guitarist from Mali) and a compilation from the modern Brazilian artist Lenine.

Finally, let's turn to rock. New Mars Volta. And I'm curious to hear the new Scritti Polliti. And last but not least, a new album by a little artist named Robert Zimmerman . . .

Ouch, my wallet's going to be hurtin'!

2006-07-19T19:44:00.000-07:00

UNDERRATED GUITARISTS

I now have to add Amadou Bagayoko to my personal list of underrated, under-appreciated guitarists (which includes Prince, Peter Tosh, Ernie Isley, and a few others). Last weekend I went to Central Park to check out Amadou & Mariam, who are a blind married couple from Mali -- and not only did they have the whole crowd dancing to their lively rhythms, but Amadou was just killing it on his electric. It's hard for me to describe his guitar style. It's blues-based but highly original. According to Pitchfork: "[Amadou] reels off roiling lines and droning desert blues with graceful dexterity, reflecting influences as wide-ranging as Bembeya Jazz's Sekou Diabate, Robert Johnson, and Saharan guitar and oud music."

If you have a chance to check them out live, don't miss it. Their recent Dimanche a Bamiko was somewhat of a commercial breakthrough (though not quite the Buena Vista Social Club of 2005). Produced by Manu Chao, it is a very enjoyable album, and a great introduction to this extraordinary musical act. I definitely plan on revisiting the CD now that my excitement has been rekindled by their energetic performance.

2006-07-18T16:15:00.000-07:00

ARETHA FRANKLIN -- LIVE AT FILLMORE WEST

I've been bathing my ears all week in the re-mastered, deluxe 2CD edition of this 1971 classic, one of the best live soul albums of all time. Not only does it sound better than ever, but there are a number of new treats including: the full-length version of "Spirit in the Dark" with surprise guest Ray Charles, four unused songs from the historic three-night performance, and a bunch of alternate takes. All nice to have, of course, but the original record was hot to begin with. Especially the second half, beginning with a scorching rendition of "Dr. Feelgood," which leads into the legendary duet with Ray on "Spirit in the Dark."

It's funny, earlier in the summer, I was posting about the thrill of witnessing an unexpected guest pop up at a show, like I recently saw Jay-Z do with the Roots and Prince with Maceo Parker. But this has them all beat! Can you imagine?? The "Genius" himself, Brother Ray, heard about the gig and decided to go check it out. He slid into the audience unnoticed until someone from Aretha's entourage spotted him and called him to the stage.

But the Queen of Soul's stint at Bill Graham's famed venue was significant for more than just Ray's cameo. It went down in music history because of the way that she and the righteous backing band, King Curtis and the Kingpins, wowed all of the rock-loving, Haight-Ashbury longhairs. For one, the Kingpins, including Billy Preston [RIP] on organ, grooved harder than Aretha's usual road musicians. And the set list included numerous rock covers such as "Eleanor Rigby," "Bridge Over Troubled Waters," and "Love the One You're With." The whole experience was orchestrated by Atlantic head honcho, Jerry Wexler, who was determined to create a crossover splash, like what happened with Otis Redding a few years earlier at Monterey.

But here's what I don't quite get. (And keep in mind I wasn't even alive at the time, so everything I'm talking about here is based on shit I read in liner notes and music biographies and such.) Wasn't Aretha already a huge crossover success by 1971? I know her late 60s Atlantic recordings were big hits and she had numerous top 10 songs on not just the R&B charts but the pop charts too. In fact, she was such a popular artist by this point that she was charging $20,000 a show, which was actually too high a price for Bill Graham. So a deal was arranged where the label would make up the difference and recoup their investment by cutting a live album.

Given that Aretha's going rate was more than all the rock acts that played the Fillmore, what exactly is the big deal about her winning over this audience? I mean, it doesn't sound like she really needed them anyway! Would it be accurate to say that although she was indeed a crossover success by that point, she was beloved by white fans who were slightly older than this SF hippie crowd? By the Sixties generation who had fallen in love with the Beatles and maybe with Motown. Whereas the teenagers in the audience at Fillmore West were into louder and/or more druggy sounds like Hendrix, the Dead, etc.? Or is it just that Aretha was experiencing a minor slump in 71 -- sales of her Spirit in the Dark album were flatter than expected -- and Wexler was simply trying to introduce her to a new market?

I guess part of my confusion has to do with the fact that it is almost impossible to envision a modern-day parallel. There is no live-music institution today with the same cultural relevance as Fillmore West. The analogy just doesn't work. It would be like if, say, the mainstream R&B singer Jaheim (an entertainer with a largely black fan base) performed at the Bowery Ballroom (considered the venue in NYC for indie rock bands). If that happened, it's not as if the "taste-making" hipster crowd would show up just because of the location and then go home and have all their peeps in Williamsburg singing "don't hate on us, we're fabulous."

So what are the mechanics of crossing over in today's world? 50 Cent is a huge crossover star. How did it happen? 1.) The biggest rapper in the world (at least in the white world) helped put him on. 2.) An impossible-to-resist first single with a chorus that will forever be yelled by drunken white girls at bars, clubs, birthday parties, and more. 3.) A gritty back story that supplies street cred and plays into white fantasies about the gangster life.

Some things have changed, some things stay the same. But I guess the point I'm getting at is that it is hard to imagine a performance -- even a recorded performance like Aretha's, and a performance in the heart of a particular subculture -- being the vehicle to help an artist today reach a new demographic. More likely, the vehicle would be a video or a heavily-promoted radio single. The only thing I have heard about recently that comes close is how much of Gnarls Barkley's pre-release buzz among the Spin magazine crowd was generated by their standout showing at the mostly-rock Coachella festival.

At any rate, I've certainly drifted from the original topic, and I've asked a lot of questions here, but no answers. Please shed light if you can.

Ps: I was thinking to myself, "Damn, if only there were a movie of Aretha at Fillmore West," when I came across this amazing footage on YouTube.

2006-07-12T21:02:00.000-07:00

ONE-MAN STUDIO ALBUMS

Interesting list of classic one-man studio albums. Props to this writer for appreciating Stevie Wonder's enormous role in establishing this format as a viable genre in the 70s. Of course, Stevie's got more talent in one finger than most entire bands; and it's the rare artist who possesses the chops and the musical inspiration to pull off the one-man, multi-instrument album. But I'll certainly have to check out some of these! The Johnny "Guitar" Watson sounds especially interesting.

Ps: Speaking of mad geniuses, I can't let this day pass without saying RIP Syd Barrett. Go listen to The Piper at the Gates of Dawn and pay respect. (Note: Syd's eccentric solo albums do not fall into the above category as they feature a number of other musicians.)

2006-07-09T05:05:00.000-07:00

THE HOUSE THAT TRANE BUILT:

THE STORY OF IMPULSE RECORDS

I've been reading this new one by Ashley Kahn, who in the past has written entire books about the making of particular classic jazz albums (A Love Supreme and Kind of Blue). Here are a couple of nuggets I want to share:

* The label's [Impulse's] devotion to the mostly African-American, mostly avant-garde players collectively responsible for the last significant leap forward in modern jazz -- the point where most jazz histories and timelines tend do end -- stands today as one of its most important accomplishments.

* "Those gatefolds [the unusually sumptuous and expensive-to-produce fold-out album covers] were a wonderful development because they served as a deluxe rolling tray to manicure your marijuana," sixties political gadfly and jazz booster John Sinclair recalls. "The best Impulses has the most seeds stuck in the middle."

Regarding that last comment, I'd like to add that the label's association with herb outlasted the vinyl age. When I was in college at UC Berkeley in the mid 90's, one of my good friends and roommates would spend what little $ he had left over from his weekly buddha budget on Impulse CDs from Amoeba Records down the street. It didn't really matter which Impulse recording -- just so long as it carried that famous orange and black logo, which guaranteed a certain style and quality. I would then ask him, "Yo, how's that Pharoah Sanders you bought the other day?" and he'd say, "I don't really know. I haven't given it the true test yet. I still need to listen to it when I'm high."

Until reading this book, I never realized how much the label was indeed "the house that Trane built." Not in the same way that Atlantic was the house that Ray built. The symbiotic relationship here was even more explicit. After Coltrane's death in 1967, Impulse signed countless saxophonists in a very similar, spiritual, experimental vein: Archie Shepp, Albert Ayler, Pharoah Sanders, Marion Brown, Dewey Redman, Gato Barbieri, John Klemmer, Sam Rivers.

By the seventies, "it seemed as though Impulse became the label characterized by the angry black tenor man," says producer Ed Michel, who led the label into the rock era. "They weren't all angry, they weren't all black, and they weren't all tenor men, but that was kind of what it appeared to be."

According to Kahn, the closest analogy is the post-Bitches Brew succession of amplified-jazz groups on Coumbia Records in the Seventies: Herbie Hancock's Head Hunters, Weather Report, the Mahavishnu Orchestra, Return to Forever.

Can you think of any comparable situations today? (Not including artist-owned labels.)

2006-07-07T16:35:00.000-07:00

FOUR POLITICAL BISCUITS FROM THE PAST WEEK OR TWO

Sorry, I know this has nothing to do with music, but I gotta get this shit off my chest . . .

1.) Props to all those protesting the New York Court of Appeal's cowardly decision this week not to go the way of Massachussetts and overturn our discriminatory marriage laws but rather to defer to the state legislature. Most appalling was Judge Smith's suggestion that "children are better off raised by a biological mother and father, rather than by a gay or lesbian couple." There is simply no evidence that this is true.

2.) Props to all those in Mexico protesting the razor-thin victory of the conservative ruling party's Felipe Calderon in last weekend's presidential election. It would be a mistake to dismiss Calderon's opponent Lopez Obrador and his supporters as paranoid or sore losers. Given the country's long history of goverment corruption and fraudlent elections, its citizens deserve an honest recount.

3.) The New York Times did absolutely nothing wrong by printing a front-page article about the Treasury Dept's tracking of Americans' banking transactions. There is no validity whatsoever to claims that the Times jeopardized national security. This information was already public knowledge. The whole thing is just another example of the Bush Administration's war against a free press -- specifically the NYT (after all, the Washington Post ran the same story!)

4.) Flag-burning is a non-issue. When last did you hear of a flag-burning? It's been a passe form of resistance since the Vietnam era.

2006-07-06T19:58:00.000-07:00

Does RINGO STARR deserve a place in the Rock and Roll Hall of Fame as a solo artist?? John, Paul, and George have all been inducted as individuals. I confess, I am not as familiar with Ringo's post-Beatles oeuvre as perhaps I should be. And this sounds like a pretty convincing argument! Thoughts? Did Ringo just get lucky as part of the Fab Four or is he really one of the best rock drummers of all time?

Ps: Of course, the whole concept of a Rock and Roll Hall of Fame is bullshit, yadda yadda, but I'm not trying to get into all of that now.

2006-07-06T18:57:00.000-07:00

TWO NEW ROOTS SONGS

"Long Time Coming" feat. Peedi Peedi -- Black Thought's first verse is crazy. And I love when the strings come in at the end.

"Don't Feel Right" feat. Maimona Yousef -- Their first single. More of a typical Roots sound, but still tight as hell.

Game Theory coming August 29th.

2006-07-05T18:55:00.000-07:00

TANYA STEPHENS' "THESE STREETS"

How great are these lyrics?? I'm a sucker for puns and double entendres, but this is deeper than mere wordplay, and deeper than dirty talk. This feels anthemic, in a "Call Tyrone"-type way . . .

(I pulled the lyrics from dancehallreggae.com)

Intro

Yuh know, I can still rememba when it was just mi and yuh

Suddenly, it turn yuh and yuh crew

Fi get everything bout yuh boo

Verse 1

I wish yuh woulda treat mi like yuh glock

I woulda love it if yuh keep mi pon cock

I wish yuh woulda treat mi like a yacht

Keep me wet while de waves dem a rock

Why yuh cyann step pon mi like di corna?

And keep yuh lips pon mi like yuh marijuana

I woulda love it if yuh treat mi like yuh club

Stay up inna mi whole night just a bump and grind and rub

Bridge

Yuh don't understand

What your woman needs from her man

While yuh deh pon de street all de time

Jus bear dis in mind, bwoy

Chorus

These streets don't love yuh like I do (Yuh need fi know dat)

Yuh wanna keep yuh woman lovin yuh (Then yuh need fi show dat)

The love wi ah fi tek so much effort fi build (Yuh about fi blow dat)

But just like a played out jersey, yuh about fi get throwback

Verse 2

I wish yuh woulda treat mi like a ounce

Mi know yuh nah leggo dat when yuh bounce

Yuh soulda de woman knock boots like yuh Tims

Need fi act older dan de size a yuh rims

I wish yuh woulda stay pon mi like yuh phone man

And neva leave di house widout mi like yuh chrome man

Bwoy, I wish yuh woulda treat mi like yuh whips

Yuh girl's a perfect ten but yuh Benz dem a only a five and a six

Verse 3

Now de feds have dem case, and deh gavel ah pound

Mi a look fi a familiar face, mi nuh see none around

When yuh call mi collect and give mi errands fi do

Mi nuh see no hot gyal, mi nuh see none a yuh crew

Goverment cease everyting, dat gees, everyting

And anoda ballah done tek ova di spot

Arun trees everyting, got keys, everyting

And 10 calls ah month is all yuh got saying

Verse 4

See di streets, dem nuh give a damn (Bang-geh-deh-leh-bang)

A jus di place whe yo pay de pan (Yuh need fi know dat)

You di love wid di corna

Yuh cyan see mi neva warn ya (Den yuh need fi show dat)

Outro

These streets don't love yuh like I do

You know these streets don't love you (Like I do)

(repeat till end)

Tanya Stephens' new album Rebelution is out 8/15 on VP Records. The song, "These Streets," is also on Reggae Gold 2006, which is out now and is well worth picking up.

2006-07-03T20:05:00.000-07:00

NYC FREE OUTDOOR CONCERTS -- JULY

(These are just my personal cream of the crop; there is literally at least one exciting free show to check out every single night)

1. Barrington Levy at the bandshell in Prospect Park, this Friday the 7th. Unbelievably, until fairly recently pretty much all I knew of Levy was "Here I Come (Broader Than Broadway)" -- one of the best and most popular reggae songs of all time -- and his late 90s collaboration with Bounty Killer, "Living Dangerously." Boy, was I missing out! This man has so many great songs. Lately, I've been especially enjoying "Rob and Gone" and "Little Children Cry."

2. Angie Stone and Anthony Hamilton at Wingate Field in Brooklyn (by Kings County Hospital), next Mon the 10th. OK, in my book, neither of these two artists belong in the top tier of the so-called neo-soul genre (at the peak of my pyramid are Lauryn Hill, Jill Scott, Erykah Badu, D'Angelo, and maybe a couple of others). Still, what Stone and Hamilton may lack in originality they make up for in great singing and crowd-pleasing performances. I have a particular affection for Hamilton's old-fashioned, Southern, Bill Withers-like voice.

3. Al Green at Asser Levy Park in Coney Island on Thursday the 13th. Let me make sure you understand. The greatest living soul singer. For free. In Brooklyn. Nuff said.

4. Little Brother in Fort Greene (Washington) Park on Tuesday the 25th. It hardly made a splash, but their 2005 sophomore release, The Minstrel Show, was an excellent hip-hop album. I sometimes find their purist Tribe/Pete Rock-esque sound a bit rigid, but Phonte is a monster on the mic.

5. Leela James at the bandshell in Prospect Park on Friday the 28th. Her 2005 debut, A Change Is Gonna Come, didn't quite live up to the hype. But from what I understand -- and from what I hear on her Live in New Orleans EP, available exclusively on iTunes -- her studio recordings only hint at her fire on stage.

2006-06-30T13:35:00.000-07:00

JACK BLACK AND NACHO LIBRE

(An only partly music-related post)

I have always greatly enjoyed the actor Jack Black. He's got a childlike innocence and a gift for physical comedy that I find very appealing. And he seems to be a big music lover. In a recent New York Times magazine interview, he praised the Raconteurs, the Strokes, and Radiohead. He was brilliant in his scene-stealing role as an obnoxious record store clerk in High Fidelity. And despite its rockist bent, School of Rock is one of the best movies ever about music, in particular about music as a liberating and non-conformist force.

So I'm pretty psyched to check out any flick that Jack Black is in. When I saw the preview for Nacho Libre, it looked hilarious and a must-see for me. But my first thought was also, "How the hell are they going to pull this off and not be totally offensive?" Given Hollywood's long and shameful history of minstrelsy, white actors taking non-white roles is not such a good look these days. But I was determined to reserve my judgement. After all, white performers like Danny Hoch -- and more frequently, non-white performers like Sarah Jones and Anna Deavere Smith -- play characters of all different races, and their work serves to challenge racism rather than reinforce it.

Unfortunately, the movie was hugely disappointing -- hardly any laughs! -- and what little humor exists is derived from the unlikely spectacle of seeing Jack Black play the part of a wide-eyed but good-hearted Mexican with a funny accent. Okay, he's supposed to be half-Scandinavian or something, but still. The rest of the all-Mexican cast are basically caricatures. Sure, it's a slapstick comedy, so it's meant to be cartoonish. But all together, the film felt pretty uncomfortable to me, if not flat-out racist. And it's just unfunny. Steer clear!

Hopefully, Jack Black will come back hard with the Tenacious D movie. (I'm not giving up on you, Jack!) His comedic talents were severely underutilized in the recent King Kong remake -- which was even more racist than Nacho Libre, but that's another story -- so Nacho was a step in the right direction in the sense that he was back to his outrageous self. Too bad it sucked...

2006-06-30T13:05:00.000-07:00

NEW CODY CHESNUTT VIDEO

DIRECTED BY MICHAEL GONDRY

What a nice song and interesting animated video. It is actually adapted from footage from the Chappelle Block Party movie.

But when -- when?? -- is Cody going to finally live up to his true potential and give us a real album?

2006-06-29T16:06:00.000-07:00

FELA NEWS

I know this is months and months away, but how ill does this this look? Red, Hot, and Riot Live: The Music and Spirit of Fela Kuti at Brooklyn Academy of Music on Dec 1st and 2nd, featuring Amadou & Mariam, Cheikh Lo, dead prez, Keziah Jones, Les Nubians, Meshell Ndegeocello, Yerba Buena, and more to be announced. Also including "a week-long series of Afrobeat concerts at BAM Cafe and other surprises."

I still bump this 2002 Fela tribute/AIDS fundraiser album constantly. But I've never had a chance to see any of these artists perform the songs live. This is going to be effing historic. I'm sure the lineup is going to get quite a bit bigger, considering that other contributors to this comp included Femi Kuti and his band Positive Force, Tony Allen, Macy Gray, Taj Mahal, Baaba Maal, Talib Kweli, Blackalicious, Common, Roy Hargrove, Archie Shepp, Nile Rogers, Jorge Ben, Manu Dibango, Bilal, Kelis, Bugz in the Attic, and more.

And let me just tell you right now, if D'Angelo comes out for "Water Get No Enemy," it's over, I'll have died and gone to musical heaven.

Afrobeat lovers, note: Antibalas is performing at Central Park Summerstage this Saturday the 1st. And speaking of all things African, this weekend is the annual African Street Festival in Brooklyn at Commodore Barry Park near the Navy Yard. More info here.

2006-06-26T19:39:00.000-07:00

THREE BRAND-NEW MAINSTREAM, HOT97-TYPE

HIP-HOP BISCUITS I'M DIGGING

1. Busta Rhymes' whole The Big Bang CD, but especially "New York Shit," which is supposedly produced by DJ Scratch, but is in fact almost the exact same track as Diamond D's 90's classic "I Went For Mine." The flute loop still sounds nice as hell.

2. New Clipse (feat. Pharrell): "Mr. Me Too." Man, it's good to hear Malice and Pusha again. Supposedly a proper album (not a mixtape) coming soon -- finally!

3. Ray Cash (feat. Scarface): "Bumping My Music." Apparently, this guy is from Cleveland. He sounds kinda Southern to me, but comfortable in lots of different styles. I'm surprised I'm liking this as much as I am. Usually, rapping about rap and rap history comes off corny, but not here.

2006-06-25T08:55:00.000-07:00

THE CONTROVERSIAL CONTEST FOR

BROOKLYN'S 11TH CONGRESSIONAL DISTRICT

On a rare non-musical note, I want to weigh in on this controversy, which has been brewing for months but today landed on the front page of the New York Times. Briefly, here's the background. The boundaries of the 11th district were established by the 1965 Voting Rights Act, legislation that was designed to empower minority voters. The region encompassed a large swath of Central Brooklyn (including areas of Brownsville, Flatbush, East Flatbush, Bed-Stuy, Crown Heights, Prospect Heights), as well as part of Park Slope. In the 90s, the lines were redrawn, expanding into Cobble Hill, Brooklyn Heights, and more of Park Slope, all mostly white neighborhoods. But even today, whites make up only 21% of the district, blacks 59%.

The 11th seat has a fabled history in that it was originally held by the first black woman elected to Congress, the much-revered Shirley Chisholm (who passed away last year). And since the district's inception four decades ago, its majority black electorate has been represented in the House by one of its own -- first Chisholm from 1968-1982, followed by Major R. Owens, who has been in office ever since but is retiring this year.

There are four candidates vying for the rare open spot: City Councilman David Yassky, City Councilwoman Yvette D. Clark, Rep. Owens' son Chris Owens, and State Senator Carl Andrews. Yassky is the only white candidate, and he has spent much more money on his campaign than his three black opponents. One likely outcome is that Clark, Owens, and Andrews will splinter the black vote, and Yassky will win. Unsurprisingly, the Brooklyn Heights resident has been criticized as opportunistic and out-of-touch with his non-white constituency, and some black politicians have demanded that he drop out.

This is not a simple case of right and wrong. I don't think Yassky is an evil dude or a racist. He seems to have done pretty good work as a City Councilman. And he is at least somewhat aware of the complexities of the situation. In the Times article, he claims that he thought long and hard before deciding to run about whether he was honestly going to be able to represent Brownsville as effectively as Park Slope.

But it was his choice, and now he's gotta take the heat for it. Of course race is going to be a huge issue. He would be naive to expect otherwise. In a perfect world, it wouldn't make a difference what race Yassky was. But the truth of the matter, as Rev. Al Sharpton has pointed out, is that blacks are so underrepresented in all spheres of state and national government that it would be a huge loss to give up this important seat, not to mention one with such an historic significance in black politics. "We can't afford not to keep a voter-rights seat in the hands of who it was designed for," says Sharpton.

I live in the 10th not 11th district, and I am not black (for the record, I am Jewish, as is Yassky), so the outcome of this race is not going to affect me directly. But I think Sharpton's argument makes a lot of sense. I like Yassky, and he'd probably do a fine job -- but I refuse to dismiss his black critics as tunnel-visioned or reverse racist simply because they are making race an issue here. Agree? Disagree?

Ps: Since this is a musical blog, after all, here's a related musical question. Name the artist and song: "Reagan is the prez, but I voted for Shirley Chisholm."

2006-06-22T20:03:00.000-07:00

RADIOHEAD TRIBUTE ALBUMS

Oddly, not just one but two Radiohead tribute albums are coming out within six months of one another. The first, Exit Music: Songs for Radio Heads was released on the venerable BBE label in April. It's quite a hit-or-miss affair, but there are some gems, especially Bilal Oliver's exquisite cover of "High and Dry" (Bilal, where are you?), which my wife listens to on our iTunes about 10 times a day!

But now I just read in the most recent Village Voice that the Easy Star All-Stars, the dudes behind 2003's surprise hit Dub Side of the Moon (a track-by-track reggae rendition of Floyd's ultra-famous 70s space-rock classic) are back with Radiodread, their version of the quintessential 90s album OK Computer. And, according to the Voice piece, the most successful track on the record is Toots & the Maytals' re-imagining of "Let Down." Oh man, I gotta hear that! Other big-name contributors include Horace Andy, Morgan Heritage, Sugar Minott, The Meditations, Israel Vibration, and Frankie Paul.

Like most people, at first I thought the whole concept of Dub Side of the Moon was a silly joke, a gimmick. But I gotta admit, I ended up enjoying the hell out of it, and now I'm geeked to hear Radiodread.

Easy Star co-founder and producer Eric Smith had some interesting things to say about the unlikely juxtaposition of two very different sounds: "There is a lot of suffering and pain in reggae. It's a struggler's, it's a sufferer's music. The casual fan sees reggae as a summer, spring-break-type music, and that's really far from what it's about. We like some of the darker areas of reggae, and one of our concerns with combining those two was, we'd have a really, really dark album on our hands."

The more you think about it, the idea of Jamican musicians covering Pink Floyd and Radiohead is not all that weird. To state the obvious, there is one thing that Dark Side of the Moon and OK Computer have in common -- they're extremely stoner-friendly. (As a side note, I still haven't heard the Bob Dylan reggae tribute, Is It Rolling, Bob?, though I must say the title is brilliant. Does anyone know if it's any good?)

Radiodread is scheduled for a late August release. And Thom Yorke's first solo release, The Eraser, is out July 11. The band recently had a two-night stand at MSG (I missed it!), and their North American tour (with openers Black Keys and Deerhoof) continues through August. No word on the next Radiohead album.

2006-06-21T08:15:00.000-07:00

PRINCE UPDATE

In my previous post about the euphoria of Prince's suprise cameo at the Maceo Parker show in Brooklyn last week, I lamented that I was probably missing out on some legendary after-party. Well, wouldn't ya know...

Actually, nothing happened the night of the Maceo performance, cause Prince had to be up bright and early for the "Good Morning America" taping in Bryant Park with Sheila E and his protegee Tamar. I was aware of the GMA gig, but I'm not so completely nuts that I would get up at the crack of dawn and haul my ass to Midtown to make a 7:00am concert for a cheesy morning news show (that ain't rock n roll, man!) just to hear three songs: "Get on the Boat," "Redhead Stepchild" by Tamar, and "Let's Go Crazy." (This is what it looked like.)

But I would have given my left testicle to have been at the tiny, trendy Butter restaurant in Manhattan that night, where Prince gave a 3-hour after-party (from 1am-4) for only about 125 extremely lucky individuals, members of his NPG Club and assorted celebrites including Jay-Z & Beyonce, Nas & Kelis, P Diddy, Lindsay Lohan (ugh!), and Paris Hilton (double ugh!). There wasn't even a stage in this joint, everyone was on the same level, as if Prince were performing in your living room! The Roots' ?uestlove joined his idol on drums for the finale, a medley of "Ecstacy" [Barry White], "Be Happy" [Mary J], and "The Bird" [The Time], and the show ended with Prince leading the crowd in a series of 80s dance moves.

Here's the full setlist: "Peach," "Te Amo Corazon," "Forever in My Life," "Everyday People" [Sly], "The Ride," "I Never Loved a Man (The Way I Love You)" [Aretha], "Love Changes" [Melissa Morgan], "The Chain" [Fleetwood Mac], "Come Together" [Beatles], "When a Man Loves a Woman" [Percy Sledge], "Redhead Stepchild" [Tamar], "Thank You (Falettinme Be Mice Elf Again)" [Sly], "Play That Funky Music (White Boy)" [Wild Cherry], "Partyman," "Anotherloverholenyohead," "3121," "Lolita," "Satisfied," "Black Sweat," "Kiss," "Joy in Repetition," "If I Was Your Girlfriend," and the aforementioned finale.

(Much of the above info comes from the website www.stereogum.com.)

Ps: Just to make you feel better, those few lucky audience members did have to pay a whopping $312.10 to get in. ($121.03 if they ordered online tix in advance.) Cash only. Sure, three Benjamins doesn't mean much to Paris Hilton, but who among us normal folks can afford that?! (FYI, the weird price points are deliberate -- notice they only use the numerals 1,2, and 3, as in 3121.)

2006-06-19T14:23:00.000-07:00

EASE OFF OF DANGER MOUSE'S NUTS FOR A SECOND

AND GIVE CEE-LO SOME PROPS!

This is something I really need to get off my chest. Yes, I admit the Gnarls Barkley CD is very very good. For me, it's running neck-in-neck with Ghostface's Fishscale for album of the year so far. In fact, in terms of its unexpected mainstream appeal, it's perhaps the most exciting record since Speakerboxxx/The Love Below. However, I find it upsetting that the vast majority of the phenomenal media buzz has been focused on just one half of this talented duo, Brian Burton aka Danger Mouse, at the expense of his partner, the soulful visionary Cee-Lo Green.

A brief history: I first heard of the producer Danger Mouse when he teamed up with the fairly obscure MC, Jemini the Gifted One (remember "Brooklyn Kids"?), on 2003's Ghetto Pop Life. But most folks didn't know who DM was until his Internet-leaked/bootleg Grey Album, a mash-up of Jay-Z's Black Album and the Beatles' (so-called) White Album. I was curious, of course. At the time, I was loving Sean Carter's alleged career-capper, produced by Kanye, Rick Rubin, Timbaland, etc. And I had grown up with the Fab Four's sprawling masterpiece; album cuts like "Dear Prudence" and "Rocky Racoon" were close to my heart. So I picked up The Grey Album for $4 on Canal Street.

It was aiight -- some of the blends were more succesful than others. All in all, I found it interesting but gimmicky. The critics, however, ate it up. And when The Beatles' label EMI issued cease-and-desist orders to DM, he started making news headlines, too. The young producer's fame skyrocketed, far out of proportion to his experience or talent, in my opinion.

But his next effort, the Gorillaz' Demon Days, made me a believer. Some say Damon Albarn should receive most of the credit for this dazzling recording. Whatever the case may be, DM and the Blur singer created musical magic together. Along with a very diverse lineup of guests, they somehow managed to score a big hit with a very weird and very dark record that perfectly captured the times. It was one of my favorite albums of last year.

(Danger Mouse's recent collaboration with rapper MF Doom, The Mouse and the Mask, was equally bizarre, but less effective, at least for me. Don't get me wrong, I love me some Doom, but I much prefered his work with producer Madlib on Madvillainy.)

Now comes Gnarls Barkley's St. Elsewhere, which will likely be considered an even more revolutionary release, ultimately, than Demon Days. The lead single "Crazy" made musical history in the UK as the first #1 song based on downloads only, and here in the States the tune is fast becoming the "Hey Ya!" of 2006. It really is that good. It's not quite like anything you've ever heard before.

Of course, music scribes are having a field day with this ideosnycratic pop outfit and their genre-bending sound. They certainly make "good copy" with their nerdy looks and their bizarre attire (they've appeared live and for photo shoots dressed as Star Wars characters and droogs from Clockwork Orange).

Watching the excitement for Gnarls Barkley build over the last couple months, for the most part I've been happy to see good music -- forward-thinking, out-of-the-box music -- getting the notice it deserves. But at the same time, something just doesn't feel right. Part of it is my lingering distaste over the undeserved hype of The Grey Album, which would have never created such a tidal wave if it hadn't touched on a familiar Baby Boomer reference point. Part of my discomfort also comes from my (admittedly elitist) conviction that the public is latching onto GB for all the wrong reasons, for the novelty factor, the silly costumes, etc. And then there is the ignorant self-satisfaction of certain Gnarls fans who don't listen to any other modern black music whatsoever (the same crowd that hates hip-hop except for the Black Eyed Peas).

But more than anything, I am resentful that GB's success doesn't seem to be translating to a breakthrough recognition of the sheer genius of Cee-Lo Green...

THE SOUL MACHINE

When my friend Eric -- a pious funkateer who worships at his personal Mt. Rushmore of James/Sly/George/Prince -- first heard the Goodie Mob member's 2002 solo debut, he declared that Cee-Lo might be "the future of the funk."* At the time, I was inclined to agree with him. At least there was no doubt in my mind that something seriously funky was being pumped into the drinking water in Atlanta. In recent years, Outkast had been stretching out into new and brilliant, stanky, psychedelic territory. And now, Goodie's rotund rapper, Cee-Lo, who had always been the standout in the group, with his spiritual lyrics and raspy hooks, had finally let loose his inner freak and created a stunning tour de force, a joyously funky Whitmanesque celebration of himself and his "perfect imperfections."

(* Today, it could probably be argued that the future of the funk lies with electro-funk troupes Platinum Pied Pipers and Sa-Ra Creative Partners, though personally I don't feel quite the same passion for these acts.)

Goodie Mob

Cee-Lo's album was a flop. Even post-Stankonia, the world wasn't ready for such experimenting and openness. But for the few who fell under Lo's spell, it changed our lives. One particular track, "Getting Grown'," about the path to maturity, has continued to serve as a sort of personal anthem for me. On paper, it sounds like pure Oprah cheesiness. But when you hear the song, you'll understand.

Alas, Cee-Lo dropped a notch in my estimation on his follow-up, Cee-Lo Green Is the Soul Machine. By any other standard, it was a wonderful, playful record. But it was a good deal less daring and more radio-friendly than its predecessor. (It did, however, feature a very strange and spellbinding, uncharacteristic DJ Premier production on "Evening News" -- check it out!)

So to get back to the subject at hand, in my opinion Gnarls Barkley is a thrilling return to form for Cee-Lo. It is quite different than his solo work, but like Perfect Imperfections, it feels like a huge breath of fresh air. And for people like me who have been championing Lo ever since I first heard his verses on Outkast's "Git Up, Git Out" and Goodie Mob's "Cell Therapy," it is satisfying to see him finally make it big.

But despite the success of Gnarls Barkley, I can't shake the feeling that for most of the audience, Cee-Lo is not the star of the show, even though he's the one behind the mic. This impression was reinforced by a huge glowing profile of Danger Mouse in New York Times Magazine (!) this past Sunday, in which music journalist and bestselling author Chuck Klosterman wrote: "Gnarls Barkley is really just one person, and that person is Burton. Cee-Lo is essential, but he's essential in the same way Diane Keaton was essential to Annie Hall." The Woody Allen reference isn't as much of a non-sequitur as it sounds. In the interview, DM himself talks about his love for the filmmaker and his desire to become a musical auteur like his idol.

Let me be clear. I don't have any beef whatsoever with Danger Mouse. I don't think describing oneself as an "auteur" is necessarily pretentious. I like that the man takes his art so seriously. And I was pleased to hear him clarify in the article that the product that made him famous, his Grey Album, was really just a throwaway, a goof that was widely misunderstood.

And I could certainly argue that the buzz over Danger Mouse's can be seen as something positive, a reflection of our distinct post-millenial musical culture. DM would never have received this kind of attention ten years ago. His popularity is a direct result of the visibility of artists like Pharrell and Kanye, who put the role of the producer in the spotlight. This has been a healthy development. It used to be that your average listener would never imagine that the singer/rapper/frontman might not be the most integral part of the overall sound.

But Cee-Lo is integral to Gnarls Barkley, and I do have a problem with Klosterman's characterization of him. Granted, it is a piece about Danger Mouse not about GB. But it is clear that the rock writer doesn't know a lot about the singer and he doesn't make much of an attempt to understand him. Bizarrely, the casual reader comes away from the article with an image of Cee-Lo as basically a thug-turned-good. While this may not be inaccurate, it is very simplistic and doesn't come close to painting a full picture of the man. Not to mention the fact that, whatever checkered past Lo may have, his colorful new-age vibe -- he wears his hippie badge proudly -- certifies him as probably one of the least thuggish individuals in the entire rap world.

But there is something more at play here than Klosterman's shoddy research and the current obsession with the producer as auteur. My impression is that the core audience for Gnarls Barkley is white hipsters who have read about the group in magazines and on websites. The truth is that these folks are more likely to relate to a geeky, light-skinned (though both his parents are black) knob-twiddler from suburban New York, who name-checks film composer Ennio Morricone, than a big, bald, tattooed gospel growler who emerged from the Dirty South rap scene. But sadly, by gravitating toward the familiar, these listeners are missing what's right in front of their noses: someone who, given the chance, could blossom into the Al Green or George Clinton of our generation.

Okay, I think I've made my point. But what is going to happen to Cee-Lo? There will definitely be another Gnarls Barkley album, according to Danger Mouse. And Cee-Lo has future projects in the works with Southern producer Jazze Pha and, most exciting to me, with Jack Splash of Plant Life, who shares Lo's penchant for freaky individualism, though of a much more self-conscious LA variety.

Jack Splash of Plant Life
While it is safe to say that, as the proverbial man of the moment, Danger Mouse's next effort (whatever it may be) will reach the ears of many, this is not necessarily the case with Cee-Lo. Gnarls Barkley has undoubtedly raised Lo's stature, but individually he has yet to approach the tipping point.

Black Thought & Danger Mouse

But what are Danger Mouse's future projects, and are they really guaranteed to be hits? One would think so. But let's take a look at what the producer has on deck. According to the Times article, "he already has plans to release albums with Black Thought from the Roots, Mark Linkous of Sparklehorse and Blur's frontman Damon Albarn."

Roots devotees like me have been hungering for a Black Thought solo joint for years. The news that he's pairing up with Danger Mouse is something of an underground hip-hop wet dream. Does this mean that the premier hip-hop band's dexterous but enigmatic MC is on the verge of stardom? Somehow I doubt it...

2006-06-16T16:29:00.000-07:00

FIVE BRAND-NEW MUSICAL BISCUITS

1. "Just" by Mark Ronson feat. Andy Greenwald, from the Radiohead tribute album Exit Music: Songs for Radio Heads. This is an entirely different and blissfully funked-out version of the dark classic from The Bends. Ronson enlists the horn section from Brooklyn's The Dap-Kings.

2. "Meet Me in the City" by The Black Keys, from the Chulahoma EP of covers of obscure bluesman Junior Kimbrough. The way the shimmering guitar washes over you in this song will make you smile.

3. "Bullshit" by The RH Factor with D'Angelo, from Distractions. This isn't in the same league as anything on D'Angelo's two classic albums, but we'll take whatever we can get from him these days. (I'm sure I'll discuss the sad saga of this tortured genius in another post.) This is D with Roy Hargrove.

4. "Vein of Stars" by The Flaming Lips, from At War With the Mystics. Their whole outer-space shtick comes across as a bit too obvious sometimes, but the band's trippy vision is perfectly executed on this track, where the spacey instrumentation (synths & wah-wah guitars) just accentuates what is already there: a simple, haunting vocal melody accompanied by nice acoustic strumming.

5. "Ghetto Story" by Baby Cham, from the upcoming Ghetto Story. I don't even own this, I just hear it on the radio all the damn time. The beat is incredible and the lyrics are vivid and brutal. It appears to be the "Welcome to Jamrock" of 2006.

2006-06-16T11:29:00.000-07:00

ANDREW THOMPSON

Please support my friend Andrew Thompson. He is funky and eccentric, to say the least. He sounds like a mix between Stevie Wonder and Colin Hay from Men at Work. He is on Lewis Recordings, the same label as Boston rapper Edan. Check out Andrew's website. Peep his debut video and his new one. And if you ever have a chance to catch him live, don't miss it. The songs get a more rocking treatment, which suits Andrew well. And when he closes his set with his most likable and high-energy number, "We're in Business," an unforgettable and hilarious funk workout about robots, he is joined onstage by a dancing oompa loompa-like figure in a silver cardboard robot suit!

2006-06-16T07:44:00.000-07:00

MORE SUMMER MADNESS
(JUNE FREE CONCERTS IN NYC)

The staggering number of free summer outdoor shows throughout the five boroughs is one of the true highlights of living in NYC. And this year is better than ever! It's almost too much to keep track of, unless you're as anal as I am and painstakingly enter the dates into your Outlook calendar. But never fear, I'm here to make things easy for you. Some live biscuits that I am especially looking forward to...

1.) Me'Shell NdegeOcello at Madison Square Park on 23rd St, next Wed the 21st. I was really feeling her 2003 album Comfort Woman. Never heard the jazz album she put out last year. New record coming in the Fall, apparently.

2.) Brooklyn Hip-Hop Festival with Big Daddy Kane, Lupe Fiasco, The Procussions, Rhymefest, Maya Azucena, Strange Fruit Project, Sleepy Brown, Panacea

Next Saturday, the 24th, at the Tobacco Warehouse in DUMBO. Cool venue. Right under the BK Bridge. I used to live around the corner, but I've never been to an event there. Speaking of venues in that area, does anyone remember the Anchorage, the amazing cavernous space inside the base of the bridge? They used to have parties there, pre-9/11.

I may actually have to miss the Hip-Hop Fest, as it falls on the weekend of my anniversary. (I missed last year's show at the BK Brewery, too.) But I would recommend checking this one out, if you can. BDK still kills it on stage. He's got that old-school, larger-than-life presence, like KRS. And you just can't go wrong with classics like "Raw," "Set It Off," and "Warm It Up, Kane." Also, I read in the Brooklyn free paper 24-7 that Kane would "be joined by some Brooklyn MC's on stage -- but he wouldn't name names prior to the show." Hmm, Biz? Masta Ace? (6/25 FOLLOW UP: GUESTS INCLUDED BUCKSHOT, SEAN PRICE, KWELI, CL SMOOTH, JUST-ICE, CRAIG G, SCOOB LOVER.)

Haven't heard anything by Chicago-based Kanye protegee Lupe Fiasco other than the single "Kick, Push", a skateboarding ode, which I love! Sure, it sounds like it's ten years old, but the simplicity of that chorus -- "and so he kicked, push, kick, push, kick, push, kick, push, coast . . . and away he rolled" -- just gets me for some reason. I've never been into skateboarding at all, but I'm digging this fond tribute to Lupe's subculture, so I can only imagine how the skaters must be loving it.

* Note: You can't just show up at the Tobacco Warehouse. You need to first register at brooklynbodega.com, then pick up your free ticket at Halcyon, the record store in DUMBO.

3.) Brazilian Girls at Pier 54, Tues the 27th. I love these guys. Loved their album. How can you not love a band with a song called "Pussy Pussy Pussy Marijuana"? Saw them at Summerstage last year opening for Femi Kuti, and even in the pouring rain the audience was grooving. (Interestingly, at that show, there was a mass exodus of hipsters after the Brazilian Girls finished their set, while the headwrap crowd came to hear some Afrobeat. What does it say about me that I loved both?)

If you miss the show in June, you can also catch the Brazilian Girls on July 11th in Fort Greene Park (my hood!).

2006-06-15T21:43:00.000-07:00

THE ROOTS AND GUESTS AT RADIO CITY MUSIC HALL

The previous post (below), the one about Prince popping up at the Maceo Parker show in Prospect Park, reminded me of a similar episode I witnessed last month at the Roots coming-out party on DefJam/benefit for J Dilla (RIP) at RCMH. For months, ?uestlove had been hyping the bill as an historic, all-star extravaganza with special guests up the wazoo, a hip-hop/neo-soul wet dream: a combination of Chappelle's Block Party, the Roots' legendary LA post-Grammy shows, and the old Black Lily jam sessions at the Wetlands in NYC. The two-day event was divided into one night of raw hip-hop (Common, Kweli -- and Nas!) and one night of more female-friendly but equally dope grown-folks music (Erkah, Mos). I opted for night #2. But if $ wasn't an issue, I would have easily hit up both.

Doesn't sound like I missed too much on night #1. Due to some bizarre flake synchronicity, virtually all of the secret special guests on board failed to show or arrived late. To the best of my knowledge, AWOL guests included: Kanye West, Lupe Fiasco, Ghostface, Raekwon, Dave Chappelle, Erykah Badu, and probably others. Let me say that again. Nas was there, Common and Kweli were there. Even Kane was there. But ?uest was expecting Kanye. Chappelle. Erykah. Ghost & Rae (performing their classic CubanLinx shit, including "Verbal Intercourse" with Nas!)

No surprise, some fans were baffled and disappointed. In the Roots' defense, these fans failed to recognize that even a solo Roots show beats about every other rap performance.

The next day, ?uest was somber and somewhat resentful at having been let down by the other performers. And surpisingly, he was quite revealing in his posts on Okayplayer.com, where concertgoers grilled him with questions, conspiracy theories, and worse.

As the Roots' leader and spokesman, all eyes were on him to avoid a repeat performance. Or better, to utterly fucking silence the critics with one of the most successfully executed all-star nights of good music in recent memory. My wife and I arrived just as the first act hit the stage. A haunting African singer set a thrilling mood. Babaa Maal from Senegal. Then, an unamplified sound emerged from the rear corner of the music hall. A full high-school drum line, replete with horns and all kinds of percussion, marching down the aisle, ?uest leading the troupe, Black Thought holding a megaphone, spitting "Duck Down." Nice. (Okay, the drum line entrance isn't entirely original, but it definitely took care of business.)

I'm not going to chronicle the entire concert, but let me just say that -- in addition to Angelique Kudjo, J. Davey (me not such a fan), Mos, and Erykah -- unexpected highlights included Slum Village, Jazzy Jeff, the previously mentioned Babaa Maal, Bilal doing a Radiohead cover, a comedy set by Chappelle. And, of course, the new president of the label, HOV.

It was getting close to curtains when the Roots launched into a mini Hip-Hop 101 of some other folks' songs, including Biggie's "One More Chance." The crowd was eating it up, even more so when the band cut out and the keyboardist, Kamal, started hitting the opening chords of Jay-Z's "PSA."

I began to feel the same tingling as when Prince came out in the park. Please, come on, don't toy with us, if you're playing this shit and don't produce Jigga in front of my eyes in about 2 seconds I'm going to be pissed.

Obviously, the song is crazy dramatic and there was a good raucous feeling in the air as the audience anticipated that perfect moment when it was time for them to yell, "Allow me to re-introduce myself. My name is HOV!!!" This is what it looked like.

Unfortunately, after the brief bliss, followed by "Encore" which was less exciting, it was all over. Like with Prince. Which gets me back to the original point of this piece...

Watching Jay-Z, like with Prince, I found myself thinking, He hasn't even said anything and already the crowd is going crazy. What is that quality in him? Is it the charisma or is it the sheer star power, the recognizability. And poor Black Thought. He is the epitome of focus, breath control, and spine-tingling old-school flow. Why Jay and not him?

I don' t have any answers for you today, but I hereby state: Jay is my favorite mainstream MC, Black Thought my favorite underground.

2006-06-15T20:35:00.001-07:00

SUMMER IN NYC!

Cotdamn, I love this city! Okay, to be honest, my passion has waned a bit since I moved to NY almost a decade ago, especially with all the mall-ification in recent years. Brooklyn, in particular, is a different world than when I landed here in '96. Still, I gotta admit nothing compares to the feeling I get on a summer night, walking around in short sleeves with a cool urban breeze tickling my epidermis. I just got home from Prospect Park, where Maceo Parker was performing at the bandshell. Re: the music, ehhh. The JBs are gods, of course. But this isn't 1970 and while Maceo still holds up pretty damn well -- arguably better than the Godfather circa 2006 -- the vibe sometimes get a bit too sanitized for my taste.

Still, I had a good time. The scene at the bandshell is more about the lovely Brooklyn crowd anyway, the couples kissing on their blankets, sipping wine out of tupperware containers, the doobage under the trees, the angelic multicultural children frolicking to the beat. Unless you're fairly close to the stage, the music fades into the background.

At the end of the show, my friend Jose and I were about to make our way to the exit when the band returned for an encore, and I recognized -- even with my awful eyesight -- a familiar figure in a white suit approaching the mike. No, it can't be. Yes, it is. The purple one. Oh shit. We made a bee-line down the corridor of the aisle, and by the time we reached the dense crowd surrounding the stage, the masses behind us had finally caught on.

Prince performed just one song, "Get Off the Boat," the funk jam from his mostly unexceptional latest release 3121. It was fine. (This is what it looked like.) What am I saying, it was effing Prince -- it was great. But like many in the crowd, I imagine, all I could think about was, C'mon, please, don't leave after this. Give us something. Give us "Kiss." Give us "DMSR." But alas, it was not to be. It was over almost as soon as it began.

And somewhere in this fine metropolis, He is probably about to go on stage at a slamming afterparty, while I'm home writing this, thinking about how I've got to go to bed soon cause I have to get up at 7:30 for work. But I'm not disheartened. At least I'm here, in the city of infinite possibilities...

2006-06-14T20:52:00.000-07:00

"SIT TIGHT AND LISTEN KEENLY WHILE I PLAY FOR YOU ANOTHER BRAND-NEW MUSICAL BISCUIT . . . "

The title of this blog comes, as many of you probably know, from a beloved line spoken by a DJ at a dance (Prince Buster) in the 1973 film The Harder They Come starring Jimmy Cliff. It is not an exaggeration to say that -- along with the Wailers' Island debut Catch a Fire -- this classic movie and soundtrack introduced reggae to the world. (RIP Desmond Dekker, whose "Shanty Town" is just one of the excellent tracks on this essential compilation.)

But despite the origin of the title Musical Biscuits, this is not a site just about reggae. You can be certain there will also be lots of hip-hop, soul, funk, and rock biscuit banter. If names like Fela Anikulapo Kuti, Lee "Scratch" Perry, DJ Premier, and Cee-Lo Green mean anything to you, we're in business . . .