I hate being late to a show, especially a good one. So when I was running five minutes behind for the Inverse show at UCLA I was not a happy rapper to say the least. I feel the most guilt catching an artist play late and anything or anyone that stands in my way of getting to the show is like a potential victim of wrong place-wrong time syndrome waiting to happen. Not to mention this campus is like a demonstrative maze of a fun house in order to find the arena and when I finally make it- I am ushered to the bottom floor entrance because I have an orange wristband.
To taunt matters more, the door that I am being ushered to (that takes me two flights of stairs to get down) did nothing but bring me outside to the front entrance, back up another THREE flights of stairs, just to have me enter to the door exactly next to the original door that I wasn’t allowed to walk through.
During this entire process I can hear Tunji and Toby- Inverse’s two front MC’s- rapping to the college crowd as their band backs them up with a funky ass groove.
Inverse’s latest EP is titled “So True” an apt title for the group’s chill and relax sound that nods an awesome echo to the laid back Cali lifestyle. Under “Influences” on the band’s Myspace you will find a single word- life. Under the “Band Members” you will find two words- Toby and Tunji. The sequence continues next to the “Sounds Like” tab with three words- only ourselves.
I walked into the large room that in a few months would be full of caps and gowns and my zig-zag induced stress relating to my arrival subsided- and the chill channel of music coming from the shaggy hippy guitar player on stage began to calm me down.
A sincere spirit moves through Toby and Tunji’s music and lyrics. I admit it’s harder to connect with them in such a large venue like this, but none the less the sound is proper and isn’t bouncing off the walls too bad. It’s a great look that a fantastic local band can open for a very big local name that carries a completely different feel (Inverse is opening up for The Game tonight) and the crowd seems to be receptive to the more underground direction.
The rap duo’s tunes are mixed well by the five-piece backing them up- and they are literally putting their sweat into the show as they catch their breath in between songs. Guest singer Noa King makes an appearance on a track towards the end, giving a beautiful harmony and melody to the moment. “Rise and Shine” captures the bands positive air well with Tunji’s descriptive tale of growing up and not falling for the hype of the masses- while songs like “So Far” carries a strong production style worthy of a worldwide crossover appeal.
Inverse’s show is well knit and tight, giving time for the introductions and solos for the band. The live music doesn’t seem like a gimmick as most recent rap acts have fallen victim to- but rather a compliment to the group’s organic make-up.
With the occasional back up vocal and great use of a DJ, the blend for the set is smooth, making my evenings stress melt away even more. The energy from their show and the latest So True EP reminds me that as an influence, life is as good a muse as any. We have it pretty awesome right now in 2009, what with the ability to fly, communicate with people across the world at the touch of a button, and in California the luxury to purchase Marijuana legally. It’s all just a reminder to not sweat the small stuff and keep things in perspective. You will get through the right door at the right time.
Don’t let the dingy black tee shirt and 30 dollar Levi’s fool you, rapper/creatist POS is balling out of control. He’s balling out with pride over his latest release, Never Better, which is too perfect a title as the Minneapolis native takes his circus act across the US headlining his very own, Never Better tour.
I’ve got so many damn notes from the POS show that I don’t know where to begin. The man pulled more talented tricks out of his hat then Copperfield, all of which I tried to jot down while paying attention to his show. For starters, this latest record is something new for the masses. It’s a new style, it’s a new sound, and dear I say it- Swagger. POS produced over half the tracks on the album and his musical fingerprint is a signature not to be classified in any genre- but rather an encompassing noise to compliment POS. Equipped on stage with DJ Plain Ole Bill, An electric guitar, and a beat machine, POS takes his live show as seriously as he takes the making of his music; he doesn’t want to be ignored and stands out by making the loudest noise while simultaneously carrying a transparent and honest showmanship that attracts viewers and listeners to the genuineness of his music. “Does anyone work on shit they care about anymore?!” POS yells out to the packed house. “No” I am thinking to my self, we don’t. But it’s great to see people like POS, Sims, Hand Over Fist, and other’s from the Doom Tree camp making shit that they’ve put a lot of energy, heart, and time into. Tonight’s set has been filled with great acts, all hailing from the beautiful state of Minnesota. Seeing LA natives walking around in Rhyme Sayers and Atmosphere gear and yelling Doom Tree is beyond nostalgic. It may have been just me but the Knitting Factory even smelled like First Avenue tonight…
POS is wrapping up his first song which has already demonstrated his creative versatility by getting on the guitar and trading notes for scratches with his DJ. The back and forth between him and Plain Ole Bill was something that Lil Wayne would bite and N-E-R-D wish they had thought of first- and POS was now making his way towards the black little box off to the side of the stage to give us more. He pressed a button and a deep kick drum sound responds from his tap. “Oh shit” the voice in my head exclaims, “That’s really cool…” I don’t let my brain get too excited. Another kick drum, followed by a snare, punctured by a deep 808. “Ok…I can start to smell something cooking” my inner thought still speculating. POS then recycles the production pattern and adds a high hat then bang! In Emeril like fashion the DJ is scratching to the on-the-spot produced track and POS is on the mic spitting. Silky smooth and flawless…the crowd goes bonkers.
There’s no doubt that POS has put much thought and time into the show for this tour. His song “Never is Now” makes the audience aware that at some time, someone’s never is our now ( i.e. seeing a Black President elected). His call and response with the audience wasn’t the typical “When I say Hey you say Ho” formula, but was filled with rally anthem hooks that fueled his already gritty and vigorous songs. With a thoughtful and sincere relationship between his music and fans, POS demonstrates time and time again that he is here for the people. During the span of his set, he managed to get into three thumb war challenges (he won all three), he sparked a Doom Tree Dance party on the front floor, and obtained a bloody mouth from God knows what, but never ceased rhyming. The man is passionate, in every sense of the word. And he makes me proud to be a Minnesotan.
Rob Roy is all about the hustle. His story is about a dream, coming to LA and doing it his way. Blowin’ up along the way, he spends a few minutes with us to talk to Loudvine.com about this latest journey. The kid has upcoming shows at SXSX, but for now, you can watch him here for a few minutes.
“Cause I don’t really care what they think/Tomorrow they’ll be doing my song and will be claiming it’s new/ and 2 years ago they used to say that aint even hip-hop now they dipped in a Sinatra suit” says an excited an Pigeon John.
One word comes to mind after seeing a Pigeon John show. Re-Invention. Half man- Half beast, the man known as John Dust has continued to wow his fans with his amazing ability to re-invent his sound and style, while still maintaining his ability to be himself. There aren’t a lot of artists that can boast this accomplishment, especially at a time when the music business undergoes it’s own cosmetic changes. Yet the LA native stands here tonight in front of a packed house at the Knitting Factory, with new tricks up his sleeve and familiar tunes to rap- or sing- along to.
“Let’s let our guards down tonight and be as one.” John is reminding the audience of the reason why we are all here, to have fun. He is backed by a five piece band who has been tearing up all his familiar tunes, an impressive catalog that combines upbeat lyrics and melodies that balance his singing and rapping. This sound has been unique to Pigeon John’s swagger for years, but tonight has been slated as more than just your usual Pigeon John show. After performing the first 45 minute set with the band, PJ and the band exit the stage and leave the audience in the hands of his DJ. When John comes back onstage, he’s re-invented himself again; his cardigan and neck-tie, having been replaced by a bright YO! MTV Raps t-shirt. A bit more casual, he lets the crowd in on his latest top-secret project called Rootbeer, a joint collaboration between him and his rapper friend Flynn Adam.
The audience has no idea what they are in store for until the opening track comes on, and next thing you know Flynn and John are all over the place, hyping the crowd to jump around like a chimpanzee! The duo known as Rootbeer seems to have tapped into a super hyphy-crunk-dance rap fusion that sticks to the Pigeon model of having fun, but carries an explosive new sound different from any Pigeon John material from the past. The following song is even more descriptive, bearing the hook, “Girlie hit me up because the homie is famous” and tells of the gold-digging woes that come with having famous friends. “Pink Limousine” is equally as fun and catchy, and could be heard in a club or at your little sister’s birthday party. Mostly up beat, Rootbeer’s production is solid and original, made possible by Flynn and John collectively. Their chemistry onstage is natural and energetic, with splices of old school dance moves and tag team verses reminiscent of RUN-DMC. The show flows seamlessly, with Rootbeer sharing stories and scenarios that keep the audience laughing.
As the Rootbeer premiere wraps up, Pigeon John brings on his band and gets into some more of his own hits. One of the traits that makes Pigeon John’s music stick to you is his ability to have fun, but beyond the silliness is an honest MC who wants you to learn from his struggles. Songs like “Identity Crisis”, “Be”, and “Hello Everybody”, are just a few of the tracks where you witness Pigeon John pouring out his heart to whomever is in earshot.
Tonight is no different, offering up his energy and laughter to those that came out to support him. His music is as contagious as his stage presence, and with new projects still to come, it can only get better for John Dust. The re-invention of John’s artistry has been shown tonight, and proves how he continues to keep you guessing.
As 2008 draws to a close and we usher in the New Year, I am excited about the refreshing change we will witness in so many facets of our world. Change has been a big theme of 2008, and my hunch is ‘09 will carry on that torch even more.
One of the areas I’ve already noticed it take place is with music, with new artists emerging with refreshing creativity and sounds across the genre spectrum. I cannot help but feel that we will be part of a sort of musical renaissance as we usher in 2009, and for those that are fans of hip-hop, we are already seeing the transformation take place as the genre begins to head in new directions with new voices. One of those new voices is Illa J, the younger brother to the late J Dilla. Illa’s latest project, Yancey Boys showcases Illa’s rhymes over untouched Dilla beats, making for an anticipated chemistry into the industry.
His recent show at the Knitting Factory in Hollywood demonstrated that he was more than just a younger sibling tip-toeing over inherited production gems, but rather a serious MC taking the time to hone his craft with honesty and sincerity. His song writing is descriptive and personal, letting the audience know that his music is for “Souls with a purpose”. Illa J is an example of being transparent through his music. He demonstrates no fear on stage when rhyming about his own struggles and insecurities in life. The courage that this young person possesses is admirable, and his confidence translates well to the audience. “I spend so much time, in side of my mind, in a bubble” he rapped, “And use my creativity to keep on moving.”
Illa’s timing could not be more perfect. The holidays are a time of reflection and personal rejuvenation with close family and friends. It is often spent thinking back on how far you have come and the blessings you have to be thankful for. Illa J embodies the holiday spirit, making it so easy to warm up and listen to his music and stories. His genuineness to the people in the room was as warm and smooth as the bass in the tracks. At one point, he paused to tell the people of his holiday season a year ago. “In December of ‘07″ he began energetically, “I was sitting at the house with no deal or anything. Trying to figure out what was gonna happen next. A year later here I am, blessed to be in front of you all sharing my heart. Keep your eyes open and keep going for that shit!” Immediately following the story, the Detroit native dips into a hometown talent cover of Slum Village’s Raise it up. It is a familiar and proper tune that the audience enjoys. “I’m from Detroit” he reminds the Los Angeles crowd, “And this is how we do it in the D”.
Though Illa J is new to the performance end, it is clear that he is passionate. Rocking a shirt tonight that reads “History Made,” it sums up the mission he is on as an MC and musician. The Yancey Boys album is described by Illa as being “Half my brother and half me. He’s the music and I am the voice.” With songs that proudly claim “We are here!” it is no surprise that Illa J is going to stand out in 2009. A voice that has no problem expressing it’s self with raw honesty. He reminds the audience in between songs that he is coming for the number one spot, and wants people to connect with the feelings he puts into his music. His sound is diverse and has the ability to cross over to a more mainstream appeal, and his rhymes compliment his brother’s production well. With an energetic beat to match, one of the songs spoke on the holiday timing with the hook ringing, “We popping bottles like the first of the year!” and could easily lace any top 40 radio play list. If feels like a celebration for all of us, and I am excited to keep the party going.
A crowd of eager eyes and ears who’ve waited too long to see the band re-unite and do new material is waiting for them to get on stage. Sa-Ra is performing tonight at the recently opened Dakota music venue, and though I wasn’t sure what to expect from a live performance, I too was finding myself anxious to see what these musical mysteries were going to pull out of the hat. With a full band, back up singers, bull horns and briefcases, I could see this night going a lot of directions. With a unique style all their own, Sa-Raputs the “indie” in individual, and it’s obvious that’s how they like it. With an appeal that is part hip-hop and funkadelic, Sa-Ra seems to carry the torch for those that want to go back into the future on a fantastic voyage, giving the people a soundtrack to groove and party to, while maintaining a sense of artistic loyalty to never be inside the box. Their seven piece band that includes horns, percussion, drums, bass and keys, are the introduction to the voyage, having kicked off the set with over 10 minutes of some instrumental lubrication to get the audience ready and in the mood for the main act. The three core members of Sa-Ra have taken their time to make sure that the music they put out is something to see and feel, and once everyone is on stage, including the addition of three lovely and sexy back up singers, the performers look more like a fashonista cartel ready to start the party.
Afro Magnetic Spirtualism is the term that Sa-Ra member Shafiq Husayan uses to describes the music that he and his two band mates- Taz Arnold and Om’Mas Keith- make. “It’s all about sex and love, and drugs and shit.” Shafiq explains tonight from the stage. ” All the shit we know you creative ma’fuckas in here are into.” And he’s right. The room is filled with LA’s sexiest and artsy crowd, gyrating to the visual and “vivid” music on stage. With a total of 13 musical members, Sa-Ra is doing all they can to move about and keep the energy going. Even the backup singers are not confined to their mic posts, as one of them makes her way to center stage to shake and wiggle her hips to the bass. Sa-Ra dips into song after song, each one getting a bit more graphic then the next, but maintaining an upbeat tempo that’s hard not to move some part of your body to. Big Fame, Blondie, Butterscotch, Can I get you High, Nasty You, and Shameless, are just a few of the song titles Sa-Ra covers during the musical trip. After one song, the trio looks out into the audience and asks them what they’d like to hear. “Hollywood!” an eager fan yells out. “Hollywood it is” Shafiq responds, before getting into the fans request.
Labeling themselves as Master Teachers, the three members of Sa-Ra have paid major dues to make it to this point in their career. Before introducing the world to their collective musical agendas, the three MC’s/Producers worked individually on their own with different big wig industry names such as Ice T, Dr.Dre, and Kanye West. It was in the last couple years that the group formed and released an EP that gained immediate attention, which was soon followed by bidding wars from most of the major labels. One of the gifts that stand out to so well with Sa-Ra’s abilities is their willingness to make consistent music for the audience they appeal to. When you watch their show, you see that these guys have a lot of passion and belief in what they do, and that confidence is passed around to the other 10 people on the stage, which is beautifully translated to the audience. Their name, which they define as an Egyptian term meaning the offspring of the most powerful energy, is aptly labeled, as Sa-Ra has an explosive movement behind them. In a day where an artist’s creativity and musical abilities are scrutinized most, Sa-Ra’s music has a universal appeal, with organic and underground qualities. Their music is for the party and the laid back, the crazy and the experimental, but mostly, it’s a good time.
You don’t have to go to a Murs show to see his smile. You might catch him walking down the street or if you ever bought one of his CD’s from him. But his big warm grin was one to see on Thursday night at the El Ray, the LA native having sold out the venue for the promotion of his 7th LP, “Murs For President.” And what a campaign it’s been. President Murs’ long over due and well deserved hype has been received all over the country and across every entertainment outlet.
This is his first project under Warner Brothers and the MC has a political team pumping full steam ahead with his agenda. What that is, I don’t know, but you gotta love what you see. The love this guy embodies onstage is so natural and honest, you can’t but see a piece of yourself in his words and music. But as I mentioned, you don’t need to go to a Mursshow to see that. He involves his family in every aspect of his music and promotion. His mom is his biggest fan along with his uncles, nieces and nephews. Outside, I saw some of his uncles taping posters with thick scotch tape on the marble wall. Three words: Illegal but dedicated.
His album title is proper, as Murs is a leader and a visionary who represents for him self as honest as possible through his music. His transitions between songs are stories- pages of a journal he’s reading out loud to the audience. He intertwines creativity and storytelling to the max, with tales of his break-up and bar fight inspired play lists or tour mates who needed parents’ permission to go out on the road. He’s a natural in expressing his take on life, woman, and of course political issues (He proposed the US should legalize marijuana as an option for a bail out plan. As he feels, a few million or so pounds outta do it). Even veterans Shock G and Xzibit vouched for the up-doo lyrical monster, as Xzibit mentioned during his cameo, “The old is not old until the new come out strong.”
With a strong catalog behind him and enough heart felt songs to put Death Cab to shame, Murs‘ show is not one to miss. He reveals his woes and wins through not only rap music, but artists like Alannis Morissette, singing his own rendition of her “You Oughta Know”. His flexibility as an artist is beyond impressive, as Murs is an MC you know off the bat will not be put into a box. The words underground and mainstream have little relevance at this point, as his passion for the love of what he does has carved his own lane Standing behind him are thousands of screaming fans with their dub’s in the air that have his back.
At one point in the show, Murs literally stopped in the middle of a verse and jumped high in the air to touch his out stretched toes. As he leaped, the warm grin splashed back on his face as he executed the jump. The man has plenty of contagious joy to jump and smile about. And I for one, am happy for him.
The First time I saw J*Davey was almost two years ago at the 9:30 Club in Washington DC. They were opening up for Dj ?uest Love, who that night had decided to dedicate his entire set to strictly Prince related content, which for a Minneapolis native like myself, along with any music appreciate, is really a spectacular thing to look forward to. Having noticed the group’s name on the flyer as only that, a name on a flyer, I had not built up much of an excitement to see the band. For all I knew they were some local GoGo group with a cute chick. No help to their case, not one of my friends in DC had even heard the name, let alone any music that we could associate with them or affiliates of the headliner.
But J*Davey turned out to be far from a gogo band- well maybe not too far in some aspects- and they weren’t like anything my mind could have pre-conceived beforehand. It became hard to keep my cool in the District the first time I heard songs like Mister Mister and Division of my Joy. It was an erotic crossing of ear candy and eye candy, Brooke and Jack’s chemistry unquestionably authentic, and their music was ahead of the generations.
Two years later, as I stand watching them at the El Rey theatre, my body can’t help but still be on edge for the group. My friends beside me have not seen J*Daveylive, but have heard the buzz surrounding the eclectic and creative pair. I’m a bit more giddy than I’d like to show, my cool still trying to hold on before I act a damn fool. The curtain opens up and I’m reminded that a live band has joined the group’s ensemble. To see their live performance is to speak on an electronic fueled, synth infused, sexy and trashy filled mission that can only be experienced if your soul has let you take it there. About three projects into their career, J*Davey has not only become a staple to the Los Angeles music scene, but a national name and face for a new wave music listeners who don’t classify the music they listen to. One of my favorite songs is Dirty Love, a song that wasn’t covered tonight but whose seductress metronome can be heard in their new material in songs like Topseeturvee and Work Me. The performance delivered tonight was well polished and raw, blended with the live music and Miss Jack’s powerful vocals. From where I stood in the back of the venue, it was a Peanuts perfect picture with Brooke hunched over his keyboard, sporting the black leather bomber hat that looked like a homage to snoopy or Steve Martin.
One song that pleasantly caught me off guard was the sure to be single Tight Pants. Mixed with what seemed to be a little bit of the old Batman theme (Danananana) and some serious references to short shorts, by the time the song was over, all is knew was when it gets hot, one comes off or the other is put on. To be perfectly honest, it really doesn’t matter what descriptive garments their placed in, if you see them, J*Davey is going to rock and stretch the fuck out of you.
Loudvine.com got the real treat of sitting down with Look Daggers. Look Daggers is a colloboration between Ikey Ownes (The Mars Volta, Free Moral Agents) and 2Mex (of Visionaries). Making music the way they want it, they already released their first album, “Suffer in Style” and have begun work on their next album. We talked about Look Daggers music, bands they are really behind and the general state of affairs in the music business. 2Mex has his annual LA XMas Show coming up on December 21st and Look Daggers have a show coming up on December 26th at Alex’s in Long Beach and I would suggest not missing it since they do not do a lot of gigs around town.
“In Atlanta, you wouldn’t even see nothing like that- at all. They don’t respect people enough to put up something like. Folks wouldn’t know what the fuck that is about.” It’s 9:00 pm on a Hollywood night. The piece in question is a caption-less billboard perched a few feet above us on Sunset Blvd. busy street. Depicted, are a few cast members of the popular King of the Hill cartoon, the characters standing idly in front of a fence.
The gentleman making the observation is Larry, one half of the Atlanta hip-hop duo Proton. His other half and co-spitter in crime is Thomas, who is listening intently to his band mate’s observation and comparison of the Los Angeles market to that of the Atlanta demographic. The two engage in a dialogue for a couple minutes about the creative and intellectual capacity of both cities and their residents. After a few minutes of going back and forth, they’re ready to head down to the magazine stand and check out their latest feature in the new URB magazine. “We aint even see that shit yet!” says Thomas, his southern drawl standing out as locals walk by. “We’ve been too busy to even sleep, the only sleep we get is that plane sleep and that don’t count!”
It’s true. The duo has been hard at work all year long, one of the reasons why we’re standing outside in front of the Viper Room now. Having played Toronto the night before, Proton is halfway into a four-city run of the Unsung Tour with headliner Colin Munroe. They’ve been promoting their latest mixtape, Red and Purple, Vol.1 which features an eclectic line up of familiar Atlanta residents such as Janelle Monae, along with some remixes and original cuts.
“We’re on a tourette! It aint no full tour, it’s just a few quick stops out then back home!” Thomas describes. Regardless of distance or disorder, the southern pair have been making their rounds in New York, Los Angeles, Canada, Atlanta, and many other cities, leaving their mark as MC’s to be taken seriously. Tonight at the Viper Room was no different. Though the crowd was thin, the people were more than pleased with Proton’s energy and originality. The set was laced with humor, samples, remixes, and booty shaking bass. It was hard for anyone not to move as they rhymed over Santogold’s “Fade Away” or laugh when hearing songs like “Laptop.” The two share a warm and inviting comfort level on stage, the embodiment of southern hospitality that can break through any skeptical Cali persona. Though despite having received major press from numerous music outlets- including being declared URB’s next 100- along with collaborations from Adult Swim and artist’s like Amanda Diva, the two still feel they have dues to pay, and remain humble with the press and shine they continue to receive.
I look in the audience and see LA staple/MC Pigeon John. He mentions a friend told him about Proton and wanted to come check them out. “These dudes are great!” he cosigns, “There’s not a ton of folks in here but that’s a great way to gauge an artist, put these guys in front of 200 people and they’re gonna act like Monkeys!” Proton agrees, and hopes the next time they’re in LA, a few more people will come monkey around with them.
