The Turntable Remixed

The ever cool design team at IDEO have created a new way to enjoy music with a nod to the past. The c60 redux is built to look like a vinyl turntable, but works like a sonar-- picking up on RFID tags that are stored in paper cards. Each card, or tag, corresponds to a song. Throw them on the player and boom, your song plays. Depending on how you stack and arrange the cards, the c60 plays your songs in order allowing you to create a mixtape instantly, no tape deck or time machine required!

IDEO is not planning on selling the device to the masses, but at least they're thinking of ways to keep the human touch in music. Got to love it.

Check out the video, they do a much better job of explaining than I do!

c60 Redux from IDEO on Vimeo.

All IDEO needs now is some music consultation. C'mon guys, we should be playing something with a little more soul! 

Fela Kuti

So MUSKit has been doin' a lot of hip-hop lately, and while there's nothing wrong with that in the least, I wanted to get a little more funk up in this thang. I was listening to WFUV today (I still love radio) and they were doing a little feature on Hugh Masekela -- an afro-beat and jazz legend from South Africa. It got me inspired to do a little post on my favorite afro-beat performer of all time -- Fela Kuti.

Fela, like Masakela, blended key forms of American pop music-- electric guitars, big band horns, smoky organs -- with African rhythm and percussion and rode that funked out sound in deliverance of a message of social import. What Fela did better than anyone else was deliver that message in the midst of a euphoric dance party. Shit, the message was part of the dance party - a celebration of the beauty of African culture.

Fela had presence, style, and incredible musical ability. We live in a day where you dont need to play an instrument in order to be on top of the music world, and I have all the respect in the world for Kanye, but for a singer to be able to pick up a saxophone and deliver a mind boggling solo after belting verse after verse of protest song, then go over to the keyboard and drop a ridiculously funky diddy all while dancing the entire time. That's just some next level shit.

While it has its flaws check out "Fela!" on Broadway to get a glimpse of the spectacle that was Fela Kuti, and enjoy a musical feast by the house band Antibalas Afrobeat Orchestra. Or just check out the YouTube below of the real Fela.

B4 the Night is Thru

The first time I saw Jesse Boykins III, he was playing wingman to Theophilus London on stage at SOBs. Over the past few years Boykins has been developing into a soul force of his own with some big help from the always mind trippin' Machine Drum. (I know I've been on that Theophilus / Machine Drum tip for a little bit now, but they're just putting out a whole lotta good music right now.) Anyway, this new drop "B4 the Night is Thru" by Mr. Boykins and Machine Drum is sexy as shit.

"Before the night is through, I will walk to you; you will be the one and I will be your drum." 

Boykins soft but cool voice plays the perfect bard to Machine Drum's complex, relaxed alien electro. The music is not poppy and doesn't hook you like your cookie cutter R&B, but rather it entices, surprises, sometimes pushes a little too hard, but all in all keeps it interesting... This is one of them late night wine drunk type songs.

Besides the fact that the song is hot, I wanted to post this cause Mel D Cole shot a beautiful album cover for the single that you guys can all enjoy above. 

Buy Jesse Boykins III's vinyl @ http://jbiiimusic.com/jb3/

And check out Mel D Cole @ Village Slum

download:

Jesse Boykins III - "B4 the Night Is Thru" (Produced by Machine Drum)

Happy Birthday to the Poet, Shawn Carter

"Shawn Carter was born December 4th... " 

I picked up Jay's Decoded for the first time today and it got me a little amped. The book itself is beautiful-- hardcover with a golden Rorschach test looking cover, lots of great images placed within the pages, well-stylized highlighted lyrics... so basically, just like Muskit blog over here... But beyond just the look and feel, the text speaks with all of Jay-Z's signature flow and authority. The book opens with Jay talking about the emergence and development of rap in the early '80s and how it coincided with a young Shawn Carter, pen and paper in hand, also trying to find his voice on the concrete of Marcy Projects. The most striking impression the book has made on me so far is re-imagining the persona of Hova as a poet. Behind the legend, mogul, hustler, pimp, player, etc etc, is an artist, in the truest sense of the word, and a poet. And I think that can be easily forgotten when listening to hip-hop -- that while the rappers can wear many guises, many based in truth, beneath it all is the soul of a poet. An ability to incite with insight and capture a relatable reality in just a few bars.

Decoded ain't a memoir and anyone looking for a real introspective revealing narrative about Mr. Carter are going to have to wait a few years when he really does hang it all up, and has time to go back through it all. Decoded is a mix of lyrics explained, liner notes, and snippets of the life of the most interesting man on the planet. It's an ode to the poet inside.

Ask Santa to put it in your stocking or kvelt a little to Yentel, definitely a great addition for all.

"It just once in a blue moon when there's nothin to do and

The tension's too thick for my sober mind to cut through / I get to zonin'"

Enjoy the free Jay-Z classics.

Jay-Z - Cashmere Thoughts
Jay-Z - Feelin' It
Jay-Z - December 4th

Rolling Stone Does Playlists

The latest issue of Rolling Stone highlights 50 legends of music, past and present, and has them do variations on a theme: the top ten list. MGMT gives their top 10 psychedelia songs, Yoko does John, Drake does Hendrix, Keith Richards does roots and reggae. All in all, it's awesome.

Since I'm 1) feeling a little lazy and 2) really want to share this, I'm highlighting two lists from two huge record heads -- Mark Ronson and ?uestlove.

Mark Ronson on Stevie Wonder:

Mark Ronson has been DJing for dozens of years while also bringing the soul to the studio as a producer for Ghostface, Amy Whinehouse, Lily Allen, Wale, and many more.

1. "Big Brother"
2. "All I Do"
3. "I Was Made To Love Her"
4. "Superwoman"
5. "As"
        This song just builds and jams on itself. Ronson says it incites soul dance-offs and lovefests. Stevie's voice commands the track while his fingers blow your mind.
6 "I Don't Know Why"
7. "Happier Than the Morning Sun"
8. "That Girl"
9. "I Believe"
10. "Living for the City" 
          This song just got so much emotion going into it. Every time I hear it I get a little chill. Not to mention it has one of the darker and funkiest keyboard intros in the history of music.


?uestlove on Prince:

?uestlove of The Roots fame is a music junkie with a record collection befitting of his giant frame and persona. Dude's also a killer DJ.


1. "Baby I'm a Star (Live from Landover, MD)
2. "Movie Star"
3. "Irresistable Bitch"/"Tricky"/"Cloreen Bacon Skin"
4. "Little Red Corvette"
5. "Lady Cab Driver"
      This is a funky little number that according to ?uestlove turned him onto Prince back in the day. Maybe it was the angry sex/orgasm vocals that play for a good minute smack in the middle of the song, or maybe its the dope disco jam that follows for another 4 minutes. Both had me going.
6. "The Bird" (Rehearsal Demo)
7. "The Ballad of Dorothy Parker"
8. "The Sex of It"
9. "How Come U Don't Call Me Anymore"
      Aside from the title sounding like a text a middle school girl would send to her crush, this song is sophisticated sexy. Prince channels early soul and gospel while getting to the basics of acoustic bass, piano, and drums done to minimalist syncopated perfection.
10. "Erotic City"


Check the source for all the playlists at Rolling Stone

Can We Get Much Higher?

Kanye dropped My Beautiful Dark Twisted Fantasy on Monday, the clean version leaked a little over 2 weeks ago, but I haven't really given the thing a fair thorough listen until today. When I heard Pitchfork gave it a perfect 10 and Rolling Stone gave it 5 stars, I was immediately skeptical. I had heard a bunch of the singles and Good Friday tracks and while there were some great moments, by no means was it at a "best shit ever" type level that those ratings should connote. (The last album to get a 10.0 from Pitchfork was "Yankee Foxtrot Hotel" in 2002). Having really listened to it, shit is hot but not perfect.

My Beautiful Dark Twisted Fantasy might be the best and most accurate album title of any album in the past few years. Each of these words alone can aptly describe the album, or Kanye himself :

My - This is Kanye's album. He is on top of the world and he aint making albums for anyone else. He can be a douche, he's arrogant, he knows it, but thats him and thats his music. I mean he solos on a vocoder for 3 minutes in "Runaway." But interestingly, while this album is Kanye West, more than any other album, he lets go of the reins. Every song has an incredible guest rapping a verse, singing a hook, or even laying the production. RZA is the principal architect of the perfect "Dark Fantasy," S1 led the production of"Power", and "Devil in A New Dress" is produced by bink!. For this I only have praise for Kanye. Ironically, it takes a lot to put some ego aside in the name of a better record.

Beautiful- A lot of this album is just beautiful. The instrumentation, the plush beats, the singing, the complexity. The re-emerging musical themes. The more chilling, barer and starker instrumentations. 

Dark- While everyone is quick to say how this album is such a celebration, especially compared to 808s and Heartbreak, Fantasy still a a darker element to it. Although Kanye has recently semi-apologized for his remarks about George Bush hating black people, you can tell 'Ye is still effected by racism. 

"As long as I’m in Polo, smilin’, they think they got me
But they’d try to crack me if they ever see a black me
I thought I chose a field where they couldn’t sack me
If a nigga ain’t shootin’ a jump, try runnin’ a track meet
But this pimp is at the top of Mount Olympus"

Beneath all the maximalism and ego of this album there's still a man struggling with race, fame, and identity. All narcissism is bedded in some insecurity. For him to acknowledge that is what makes his art relatable.

Twisted- Have you seen the album covers?

Fantasy- The album is indulgence. And maybe thats what we need. It's not flawless. It's not a 10. But its damn fuckin good. 

Hottest Tracks:

"Dark Fantasy", "Devil in a New Dress", "Power", "Monster", "Gorgeous"

Best line:

"Yeezy reupholstered my pussy"

mp3:

Kanye West - Devil in a New Dress

Nicki Minaj aka Roman Zolanski aka Best Rapper Alive

Ok, so maybe my title is going a step too far, but for real, name a rapper out there right now who has eaten up (and i mean fuckin devoured) more tracks in the past year. She's shared the mic with Eminem, Jay-Z, Drake, Weezy, Kanye, Rick Ross, etc etc, and she has showed up almost every single one of them (I declare a tie with Eminem). If you told me a year ago that a female MC would dominate the game and make my pants tingle by just listening to her rhymes, I'd probably just have chorkled and proceded to take another bite of my steak.

But Nicki or Roman or Onicka brings an energy and complexity to her characters and verses that goes way beyond a hot flow or ill rhyme. There's the kind of in-verse conversation between her different characters which can only really be pulled off by the best (biggie, jay-z, em). When you first hear it, it sounds like she's just crazy (alla "Monster") but thats kinda the point. She's letting us see these personas, different sides of herself, and she's in charge. It's the female answer to Slim Shady, and as we see on "Roman's Revenge" Nicki's alter ego can definitely hold her own.

As Nicki continues to develop her skills, I hope these characters will continue to progress as well. Some next level shit -- real distinctive flow, voices, narratives. Maybe I'm taking it too far, but she did study drama at LaGuardia HS.  Which makes me think of "Taina" meeting "True Life: How to Become the Baddest Rapper Alive" (Taina anyone, anyone, please?)

Anywayyy, "Pink Friday" drops on Monday, but I couldn't hold my load. 

These are her latests and greatests with some not so shabby co-track murderers. Fire.
Cop the album. Pre-order here

Nicki Minaj - Blazin' (featuring Kanye West)
Nicki Minaj - Roman's Revenge (featuring Eminem)
Kanye West - Monster (ft. Jay-Z, Rick Ross, and Nicki)

Throwback Thursday: The Grey Album

In honor of me moving my iTunes library to an external harddrive and my computer actually working properly for the first time in 3 years, I'm digging into the chest for another throwback. And I've pulled out Danger Mouse's The Grey Album.

The Grey Album was the first album I ever reviewed as a dreamy sophomore in high school. Half little hippy love-child obsessed with the psychedelic sounds of the 60s and half little white boy blasting rap to try and channel my inner black soul, the blend of The Beatles' White Album and Jigga's The Black Album was a God-send. Danger Mouse masterfully looped instrumental sounds from The Beatles most intimate album to accentuate Jay-Z's introspective look at his career in what was supposed to be his farewell to hip-hop.

What Danger Mouse did with the The Grey Album was much deeper than just a cool concept that sounded ill. He took the biggest giant of pop music history -- The Beatles -- and put them on the same platform as the biggest figure in hip-hop history. The result was they each made the other one better. The Beatles not only sounded good with Jay-Z, the album made us realize how edgy these dudes really were. Forty years after the fact, the music is still killing it. Not only that but they were making Jay-Z sound better too. Behind his normal plush, bass driven beats, Jay-Z was a pimp, the man, but not since Reasonable Doubt was he accessible, vulnerable. Yet when Danger Mouse played "December 4th" over a sample of The Beatles' "Mother Nature's Son" Jigga came down to Earth a little, and that's a good thing. Over George Harrison's classic "While My Guitar Gently Weeps," Jay-Z emotion feels that much more raw, his pain real.

Finally, what the album did (for me at least) was it made The Black Album and The White Album that much better. Now that I saw these songs in a different light, I could go back to the originals and understand their complexity all the better. This album changed it all and it still sounds dope. Danger Mouse, damn. This my friends is what a mashup is supposed to do.

The Grey Album - December 4th

The Grey Album - What More Can I Say

Jay-Z - What More Can I Say (Black Album)

The Beatles - Mother Nature's Son (White Album)

Body Language

Last spring I brought up Body Language to play music amongst the pine trees at my school in New Hampshire. While I wasn't sure if the mellow synth vibes and dreamy vocals would appeal to the drunken party masses, I trusted some reviews that said they killed it live. Let's just say they led 40 people running in a mad circle during "Huffy Ten Speed" and stole the show. Not to mention lead singer Angelica Bess jamming out on a mini xylophone (there's a name for this) was one of the more badass things I've seen.

Anywho, they recently put out a new 4 track EP called "Social Studies," and besides from being named after my favorite elementary school subject (sup Ms. Reisack!), it happens to hold it down pretty seriously. Starting with the spacy chilled out "You Can," Body Language hits their disco stride perfectly to a dope bass line with "Falling Out." While the verses feel like Chromeo, the chorus echoes more an Aaliyah-type R&B vibe. The third track "Social Studies" is the pop banger with hit potential. I remember them playing this up in NH, and everyone was having a blast. The EP rounds out with "Tempoture" which moves more experimental and into Dirty Projector-ish territory. They are an indie band after all.

Overall, the EP shows a lot of diversity without ever sounding gimicky or untrue to the band. They're a blast live and I suggest ringing in Hova's birthday with them on December 4th at Glasslands.

Check out the album on Bandcamp: http://bodylanguage.bandcamp.com/album/social-studies-ep
I think you will thoroughly enjoy it.

Remix time:

Body Language - Sandwiches (Alaska in Winter Remix)    so dopppeeee
Body Language - Work This City (Sammy Bananas Remix)

Julia

Muses come by all forms, shapes, sizes, and names. But in the world of music and muses, not all names are created equal. Petunia just does not sound as sweet as say Melissa. Or for that matter Julia. 

Whenever I hear a song that's named after a girl, I wonder about the story of the actual girl. Who is Julia, or Jessica, or Sylvia, or Layla? "Layla" was actually Pattie Boyd, but hearing Clapton wail about Pattie, just wouldnt sound as good, would it?

I don't know too many Julias, but the name evokes some dark, mysterious artist type...

Aight, fuck it. I just like some songs that are called Julia, and I enjoy the mystery of the muse behind the name.

The Beatles - Julia

The Very Best - Julia (Theophilus London Remix)

and

Julia - Cocaine (The Knocks Remix)

(Photo is Julia Perez)

Busy P, What the Fuck?!?

The French continue to takeover NYC.

Last week Daft Punk tore shit up at the end of a Phoenix show at MSG, nearly both reducing me to tears for missing it and blowing out Pitchfork's servers for capturing it.  A huge work of grafitti depicting Joan of Arc is all over the Gowanus. Paris is rioting, umm, French Toast is more popular than ever...

OK, so I'm not good at examples, but the French are killin' it, and tomorrow night it continues. Busy P, founder of Ed Banger Records (Justice, DJ Mehdi, a whole bunch of French guys) and a damn solid DJ in his own right, is playing at Hiro Ballroom and its going to be all kinds of crazy. Nick Catchdubs is on the set too, as well as two mystery guests (word is that they're Frenchmen). Now, I tend to hope for the best and dream of two dudes in spacesuits lowering from the Japanese rafters and throwing the best party ever. But that may just be my imagination running wild. Whoever it is, word is they will be huge.

Here's the info: http://newyork.going.com/event-769857;BUSY_P_at_HIRO_BALLROOM

Enjoy some hard French electro:

Ladyhawke - Paris Is Burning (Alex Gopher Remix)
Daft Punk - Superheroes (We Plants Are Happy Plants Remix)

Moombahton

About half a year ago Dave Nada (Nadastrom) was DJing his cousin's high school graduation party (seriously) and decided to slow down an Afrojack remix of Silvio Acomo's "Moombah" to 108 BPM. The result was Moombahton (pronounced: moom bah tone) and a whole bunch of teenage pregnancy scares.

If Wikipedia hadn't so clearly documented Moombahton's birth, I would have told you a bunch of  Dutch House producers decided to drive around Washington Heights for a weekend with their windows down, blasting some, you know, umm, Dutch House music... Anyway, while that's not really true, for all intents and purposes it is exactly what happened. Moombahton's heart is still firmly in the synthy and electronic bass sounds of house music, but that heart is just beating with a reggaeton pulse. This ain't shit you can fist pump to. Once you turn up the volume, you just can't help but gyrate those hips a little, maybe do a meringue step or two, get in a circle and start clapping your hands, whistling and yelling short Spanish phrases. Try not to, c'mon just try--  Esta noche!

Dave Nada - Moombahton
Dave Nada - Riverside (Moombahton Edit) 
Munchi - Esta Noche 

and the original and much faster track that started it all:
Sylvio Ecomo and Chuckie - Moombah (Afrojack Remix)

Freddie Gibbs Murderin' it with Grillade + Cults

It was 11:30, the Yankees just got their shit wrecked, I was in midtown, my original plan to head to the Yours Truly showcase at Glasslands was in some serious jeopardy. But my friend gave the push, and I relented. Thank fuckin' god.

We got there in time to catch Cults put on a great set, rounding out their sound by employing a five-piece band. They got the crowd lazily dancing and swaying to their retro-pop. Cults channel both early 1960s bubble-gum Motown and voodoo guitar and organ blues, and yet still sound fresh, sophisticated, and danceable. Normally, I'd have been happy enough to just catch this, but last night it was only the appetizer.

After napping through the next bands set, I woke up freshly pumped. The word was Freddie Gibbs was gonna be playing with a live band. Grillade came on stage round 1:30 am, and brought the Glasslands crowd to a different place. Driving off two funky synths, tight guitaring, and a beautiful soulful lead singer, the venue chilled down with the crowd vibing in-sync. As the nights MC said, it was a family affair, and it felt like that. After three funkifying songs the energy was through the roof for the San Fran band. They then called up a special guest -- Freddie Gibbs.

Wearing a large hood that shadowed his face, Freddie came on and spoke some words softly, promising to tell some truths. The band hit it, and from their it was just a ride. Gibbs manned the stage like a fucking legend, weaving his flow seamlessly through Grillade's perfect backing. He went from self-proclaiming G status to introspection to love, and it all felt so true. Pulling out a blunt from behind his ear midset, sharing it with the crowd,  and then continuing with the same energy and emotion just solidified it. If Das Racist are the subversive party animals of raps new era, Freddie Gibbs is unquestionable proof that true hiphop is still alive and well. To put it succinctly, this was the best live hip-hop performance I have ever seen. The rapper. The band. The intimate venue. It was perfect.

Check the link for some pretty dope footage.

Photo credit of Mel D. Cole.

Cults - Most Wanted
Freddie Gibbs - National Anthem (Fuck the World)

CMJ 1: Das Racist + Kisses + We Are Trees

CMJ started yesterday (duh) and like the young little CMJ virgin I was, I wanted to hit the music thing hard.

First up was Kisses, playing a showcase at Santos Party House. Kisses for all you whos do not know, is a discoy little Cali-chill duo from LA who stole my heart a few months back. I was in a weirdly good mood skipping into Santos, but as I continued to prance danced through their set, my first cherry of CMJ innocence (I have multiple) was popped. The somber industry crowd. I was ready to dance, and for the most part, people weren't. Kisses may have had something to do it. While I really did dig their set, their sound has the tendency of all sounding the same. Especially live, where neither lead-singer/guitarist Jesse Kivel, no keys/vocalist Zinzi Edmundson really brought the fire.

Next, we jettisoned off to Pianos to catch Das Racist do their thang, only to find out their set was still 2 hrs away. Best thing to happen all night. Not only did I get to get back in touch with why I love Pianos, but also got to check out We Are Trees. I was blown away. Using a violin, an acoustic guitar, and a minimalist drum kit, they created an acoustic lo-fi sound that dripped with sincerity and energy. It was beauty that made you want to dance. And it was theirs. That's the highest compliment I can give. Check it.

http://wearetrees.bandcamp.com/album/boyfriend

Last up was Das Racist. The oft-described, hyper-literate, fast-food eating stoner/hipsters who happen to also be brilliant. Their latest mixtape "Sit Down, Man" has been killin' it, and as the temperature starting raising in the room as their set approached, you could literally feel the hype. What happened next...was definitely SOMETHING. Visibly wasted, the dudes turned Pianos into a basement party. Purposefully out of control, the set wasn't about their lyrics or their talent. It was a spectacle. I alternated between dying with laughter at their antics and bouncing hard to their plush bass beats. They led the delighted crowd in chants from "Fuck music!" to "Boo us!" and as the sound guy kept warning the posse to stop smoking, it was as if Das Racist were seeing just how much they could get away with. The set continued to devolve and re-evolve from and into actual music (an impromptu acapella version of Usher's "You Make Me Wanna" highlighting my night).

At the end I was left with the question of a joke. Who's the joke on? The crowd? The industry? Is Das Racist a joke? Is there a joke? My friend Lindley turned around at one point and whispered "Beastie Boys!" And she may be on to something. The "drinking and smoking on a Tuesday night" may just be a cover for some seriously goofy change the game subversive type shit. Or maybe not. You tell me. They're playing tomorrow night at Santos.

Das Racist - People Are Strange

Das Racist - Luv It Mayne

We Are Trees - Final Round

Kisses - Kisses

Wandering Musical Streets

Last night I found myself with nothing to do, nowhere to be, and no idea what to think of it. In the pell-mell bustle of New York City, that can be a rarity, and if used well a treat. So after staring at a halfblock line for what i thought was a frozen yogurt cart (it ended up being for an American Apparel job call, kinda the same thing?), I decided to wander.


Twenty something blocks, a few avenues, and a cumin lamb burger later (so greasily delicious, check out http://www.xianfoods.com if you havent already), I found myself at Bowery Electric. The Postelles were headlining, it was happy hour, so I got myself a drink and started bobbing my head to a band I had never heard of before. Essentially, I decided to start my CMJ a week early.


The band I stumbled upon was Jangula -- a young, indie-rocktronica group out of Brooklyn fronted by lead singer Johnny Campagna, a dead ringer for a mustachioed hipster Jimmy Fallon, playing a Suzuki QChord. If that wasn't enough to capture my intrigue, Jangula caught my aural attention by covering The Ronettes' classic "Be My Baby." Although the cover was a little sloppy, I couldn't help but feelin it. They were enjoying themselves, there was a fresh energy in their vibe. This continued through "Genji Gloves," a Morrisey-inspired romp about "looking for lust." However, it wasn't until their last song that I decided to jot some notes down. They closed the set down with the chilled-out, dreamy "Lesser Masks," and it was here Campagna sang with vulnerability, longing, repeating:

                     "mere kisses in a window pane, writing messages I can't explain"

Maybe it was my mood, but something got through. And if the person carrying that message is wearing a hipstered Jimmy Fallon mask, you know the message has got to be pretty damn spot-on. (I strongly dislike Jimmy Fallon). Anyway check out Jangula's myspace (http://www.myspace.com/jangulanyc) for their CMJ shindigs, and http://soundcloud.com/jangulanyc for their tracks. Also, big ups to my new friend Chelsea Keys for the lovely photo.


Later in the night saw Wolf Gang at Santos thanks to a Neon Gold party. Great show, don't wanna write about it.

Jangula - Genji Glove

The Ronettes - Be My Baby

Wolf Gang - Lions in Cages

Throwback Tuesday: Paul's Boutique

So I was gonna spend this post talking some on my latin love -- Moombahton -- but then my iTunes took over and put on "Car Thief" off the Beastie Boys' classic Paul's Boutique and brought me to a whole new place. The beauty of music eh?

I came across Paul's Boutique about 8 years ago as a high school freshman. As a Jew with hip-hop  ambitions in New York's (:cough: specialized :cough:) public school system, it obviously struck a quick and funky chord within. The Beastie Boys were all I wanted to be, a bunch of goofy dudes, having a blast over some of the funkiest production ever, and "drinking and smoking on a Tuesday night."

I've never been a big lyric man. I can't hear them. My mind don't work that fast, and just goes straight for the beat. The production is so crazy on Boutique that it really doesn't matter. But the flow on this album even perked my ears.

'Cause I got more stories than JD got Salinger,
I hold the title and you are challenger.
I got money, like Charles Dickens,
Got the girlies in the Coupe like the Colonel got the chickens. 


I mean, c'mon. For the young, fried chicken loving, phony-hating, Great Expectations reading, hip-hop lover in us all, you can't ask for anything more.

Oh yeah, did I mention the production is the dopest fucking shit ever?!?!

Kick back, pop in your cassette, turn on your lava lamp, and just shake your head (or rump). Enjoy the remaining 15 minutes of your throwback Tuesday.

Beastie Boys - Shake Your Rump
Beastie Boys - Car Thief
Beastie Boys - Shadrach

PS- Paul's Boutique is in the picture

Mark Ronson

Mark Ronson has been putting out some fire type shit for a long time now. He has hitched with some of my favorite artists from Mos Def to the dudes at Daptone Records to Wale, and has produced albums for dozens more. On his latest record, which came out a few weeks ago, Ronson's traded in the horns and funky guitars for a synthesizer, and a Franco-Japano fetish. The '80s feel is familiar, and even with his new sound Ronson has kept his strategy pretty consistent -- dope rhythms, lady singers with some pipes, and a dope rapper to spit a slow verse or at least say some words that sound cool.

Mark, you had me at Franco-Japano fetish. While it all seems a little contrived, he do it well, real well. His cast of guests on the new album also include the ever awesome D'Angelo, Ghostface, Spank Rock, and Boy George. I mean c'mon. He's got to be on to something.

Check out some new Ronson (above) and some old Ronson (below), and for NYCers this should be dope:
http://beta.wnyc.org/thegreenespace/events/2010/oct/12/soundcheck-live-the-greene-space/


Mark Ronson-  God Put A Smile on Your Face

Mark Ronson- Toxic (featuring ODB)      - the sickest remake of a song I've ever heard

and one sick new remix of Ronson: Bang Bang (U-Tern's Disco Dub)

Concert Review: Ellie Goulding, Hiro Sept.30

Walking into Hiro Ballroom is like descending into the Kill Bill scene where Uma Thurman goes absolutely bat shit samurai on fifty Yakuzas. But last night there was a bit more British of an air, and instead of the "5.6.7.8's" playing garage rock, Ellie Goulding graced the Japanese-chic dance hall's stage. And by graced, I mean I nearly fell in love with her.

To say Ellie killed it, would be easy and pretty accurate, and not the whole truth. She's incredibly talented--singing, playing guitar, and going apeshit on the drums--but shes got a little ways to go. Half her set she was a disco queen: her sultry voice dominant over heavy synth, her presence mesmerizing the room. This was especially true of her hits: "Starry Eyed" and (the peak song of her show) "Under the Sheets" where the aforementioned drum apeshitting was to the hilt. These moments were flashes of the queendom which she can reach. However, intertwined with the floor banging stuff was pieces of the singer-songwriter past from where she has come. Her Hiro set was scattered with more introspective ballady type songs reminiscent of a late-90s Jewel or Sarah McLaughlin. Now, I dont want to completely knock these, because some of them were quite good (even James Brown had his ballads), and a lot of the audience (most of the ladies) was eating it up, especially "The Writer." But for Ellie to kill it, these songs need to become fewer and farther in between.

Seeing Ellie Goulding at Hiro was seeing someone at the cusp. From everything I've heard, her live stuff has been improving by leaps and bounds. Next time I'm hoping to fall head over heels.

music:
Ellie Goulding: "Lights" (album version)
Ellie Goulding: "Under the Sheets" (album version)
Ellie Goulding: "Starry Eyed" (Russ Chimes Remix)

Hush (Iggy Iggy)

Sometimes you hear a song and you just can't wait for it to drop in the appropriate context -- a club, a house, an impromptu elevator party. That's how I feel about this new Tim Turbo EP drop from Big-N-Hairy, the two tracks "Hush Hush (Iggy Iggy)" + "Linyora"  and the handful of remixes that come with are dance floor fire. On "Hush" the bass can't be controlled, the drums infectious, the synths like an adrenaline shot to the dome.

Check out the whole EP here: http://soundcloud.com/bignhairy/sets/tim-turbo-ft-spoek-mathambo-gnucci-banana-hush-iggy-iggy-linyora-ep

If you're like me, you'll make now an appropriate enough time to bump it, and if you're not like me, then do it for Gnucci!

And for you collectors:
Tim Turbo ft. Spoek Mathambo + Gnucci Banana "Hush (Iggy Iggy)" 
and "Hush (Iggy Iggy)" Douster Remix

Concert Review: Penguin Prison + Gobble Gobble at Glasslands, 9/12

    Last night I went out to Brooklyn to check Penguin Prison’s set at Glassland Gallery. It was my second time at the W-Burg venue, and the basement loft had a more laid back, homey atmosphere being a quarter full on a rainy Sunday night. (The last time I was there I was literally throwing stiff arms just to take a leak). The vibe fit well as I got comfortable on a red leather sofa, with a perfect view of the stage, on the venue’s lofted second floor. Stretching out, I took a sip of my $4 tallboy Rolling Rock, curiously eyed the stack of paper Furby masks to my left (to be explained later), and watched opening act Elite Gymnastics take the stage. The internet-phenom duo setup with a MIDI controller, a laptop, and a mic, and started dropping some pretty decent beats with some pretty unintelligible lyrics that had some pretty terrible sense of pitch and melody. The emo-electro just kind of stumbled along. Stumble being the operative word as the lead singer was absolutely tanked. The miscues and other mistakes just made me feel as if I was well… on a couch, in a basement, with a Rolling Rock tallboy in my hand, watching some friends fuck around... I had never heard of Elite Gymnastics, but my more hip friend’s disappointed reaction told of the familiar tragic story of internet sensation turned live bust. During one (of the many) pauses in the set, the band commented on the size of the room, calling themselves “Just a bedroom band.” Guys, you might want take a year off before you graduate from bedroom computer and move into the basement.

Second up was Gobble Gobble. These are the whippersnappers responsible for the aforementioned Furby masks, and the same whippersnappers who know how to have some fucking fun on stage, and all around the venue. Still on the leather couch, discussing the pros and cons of hipsters using the internet and Nietzche, my friend and I were startled by some actual live music. We turned to the stage: a dude with a blonde fro dressed in a fairy costume was playing a toy piano. But where were the drums coming from? We ran downstairs to find that in front of the stage the band had setup two drum sets and a bunch of other crazy shit all lit up in different colors. And by band, I mean three half-naked dudes wearing hockey helmets and one fairy jumping and crawling across the venue. By drum set, I mean selection of pots, pans and random percussion pieces. The result of this mayhem? Ecstatic fun. Behind some dope bass sounds provided by the fairy-suited DJ/lead singer guy, the assortment of drummers/hype men went crazy on the percussion and the crowd. The sound was hardcore punk meets trancey electro. Fairy DJ summed it up best, hyping the crowd by telling them to “Pretend you’re at a rave in Detroit, and I just played Sandstrorm.” Gobble Gobble’s brand of comedy, hard bass, and party rave antics made for a crazy fun show.

All warmed up, I was ready for headliner Penguin Prison. Having heard various remixes and singles by the group, I wasn’t really sure what to expect. PP is a quartet featuring Penguin Prison as lead singer/guitarist, accompanied by a keyboardist, a bassist, and a drummer. As the group got on stage, there was a different feeling in the air. While the other two bands were defined by the worst and best connotations of amateur, Penguin Prison seemed to be on a level above. They looked like a real band, and they sounded like a real band. They had that star-like magnetism to them, and an interesting funk to their sound. It was hard to place, and I’m not sure if they really even have it down yet, but to me it was like Paul Simon and Vampire Weekend decided to meet each other at the disco. Penguin Prison sang like a story-teller, but the music was telling you to dance. His chops on the guitar were also surprisingly impressive. For every ounce of Gobble Gobble’s fun wackiness, PP carried equal weight in cool. While the band might also benefit by loosening some strings and jamming a little more to the sound, the outing was an impressive demonstration of professionalism that got a lot deeper than any of the recordings I’d ever heard. To get all that in the intimacy of your own basement turned dope music venue is pretty special.

Penguin Prison: "Animal Animal"

Gobble Gobble: "Eat Sun, Son"