The “B” borough will be brimming with beats before you know it.
Prepare for the 9th Annual Brooklyn Hip Hop Festival (BHF), happening from July 10th-13th with a powerful lineup lined up. Taking place once again in Brooklyn Bridge Park, tickets are now available for a great series which will include Pusha T, EPMD, Redman, Dizzy Wright and more performing on July 13th.
In addition, an honor for late Beastie Boy Adam “MCA” Yauch will be on the program, via a tribute curated by BHF Executive Director Wes Jackson and Brooklyn Bodega DJ Rawbeatz.
Count on a very memorable experience for days on end. Here are more details, direct from BHF:
The Brooklyn Hip-Hop Festival is more than a music festival; it’s a celebration of Brooklyn and of Hip-Hop. Whatever your particular tastes are, there is someone on the bill that fans of all ages can be excited about and the spontaneous nature of the Festival is the epitome of Hip-Hop, as unexpected guests have become part of the Festival’s allure. Recent festivals have included impromptu performances from Kanye West to Q-Tip who have shown up to support the headliners (mind you, not for one song, but for nearly entire sets). That spontaneity is sure to emerge this year as well, as with EPMD and Redman on the bill; will the “Hit Squad” reunite? Will Kanye and his G.O.O.D. Music brethren join Pusha T (he is after all dropping his debut solo-LP the Tuesday following the festival) and perform? The possibilities are endless.
The Festival will run from July 10th through the 13th and will be headlined by none other than the Funk Doc himself, Redman. Reggie Noble will be joined by the brothers from Brentwood, Long Island, The E Double E and the capital PMD, Erick and Parrish Making Dollars otherwise known as EPMD. Rounding out the headliners are the Bronx born, Virginia bred Pusha T whose album “My Name Is My Name” drops on July 16th, the Tuesday after the Festival, XXL 2013 Freshman Dizzy Wright, and Brooklyn Soul, jazz, funk and gospel outfit Soul Understated.
In addition to headliners Pusha T, EPMD and Redman, Brooklyn Bodega, producers of the Festival will be paying tribute to Adam Yauch aka “MCA” of the Beastie Boys. The founder of the legendary group passed away last year from cancer and the team at Brooklyn Bodega has wanted to pay their respects since the news broke.
In regards to the tribute, Jackson says, “We reached out to [King] Ad Rock [Adam Horowitz] right after MCA passed last year and asked if there was anything we could do to help celebrate the life of his brother. It was so soon that we were hesitant to even reach out. We wanted to give them space and time. We did speak to Cey Adams [longtime Beasties collaborator and friend] and tried to put something together but the timing wasn’t right. We couldn’t go another year without taking time out to honor what MCA did for our culture and our music.”
On the Final Day of the Festival, July 13th, The Festival will stop for a moment of silence for Yauch and then launch into a tribute curated by Jackson and Bodega DJ, RawBeatz. Brooklyn Bodega will also release an exclusive mix of Beastie songs of remixes from the “Cookie Puss” days all the way to “Hot Sauce Committee”.
The Festival will kick-off on July 10th with its Bodega Education Initiative (BEI), a political forum at The Brooklyn Historical Society. With the upcoming NYC mayoral election Brooklyn Bodega looks to take the time to sit down with the candidates and discuss issue of civic engagement that affects the Hip-Hop community. We will be discussing the effects of the controversial ‘Stop & Frisk’ policy, arts in our public schools, public performance spaces and what is the city doing to support our the Hip-Hop Committee’s vast network of small businesses.
The ever popular Salute The DJ (STDJ) series will return for 2013. The event which launched in 2010 has been celebrating various aspects of DJ culture and cementing their place in our history. STDJ salutes Turntablists, Radio DJ’s, crate diggers, and party rockers. DJ Scratch, Rob Swift, DJ Premier, DJ Rhettmatic, Marley Marl, Bobbito Garcia, DJ Spinna and more have graced our stage over the years.
This year the event will be incorporated into the Main Day on July 13th, as its own stage. Stay tuned for more announcements on the next crop of legendary DJ’s The Festival will salute.
On Thursday, July 11th our ‘Show & Prove’ series will conclude as the April, May and June Finalists square off to see who will open up the festivities on July 13th. The April semifinal was such a success that for the 1st time Brooklyn Bodega picked two winners. The May installment is set for May 23rd and it does not look like picking a winner will be any easier.
For more info and how to submit for the 3rd and final semi-final, visit: www.sonicbids.com/brooklynhiphopfestival
Where were you the first time you saw MCA?
I’m asking, because like a lot of people, I clearly remember: It was 1986, I was a freshman in high school. I had heard “Fight for Your Right to Party” on the radio several times now, and I was intrigued.
We were listening to records at my friend Colin’s house in suburban Berkley, Michigan, when after a few other selections he produced his newly procured copy of License to Ill. The aggressive airplane on the vinyl record’s album cover was intimidating enough, but when I flipped it over, I was suddenly face to face with him.
All three of the Beastie Boys were there, of course, and they each captivated me equally, along with that astonishing globe I saw behind them.
Ad-Rock I had no idea what to make of. In his Members Only-style jacket, Mike D actually looked a lot like another kid in my class. But MCA’s sunglasses-shaded visage and five o’clock shadow were a real shock to my system – this was my embodiment of what people looked like when they grew up in New York City.
License to Ill, I realize now as I reflect on the passing of MCA aka Adam Yauch, was for me exactly what its cover proclaimed: a jetbomber of NYC attitude, innovation and culture flown straight into your skull. For the first time, my young teen mind was keenly interested in this mystical metropolis. Do people like this really live there? And where is that other-wordly artwork?
Heard Throughout the Land
It’s a quarter century later, and I’m about to mark my 18th year as a resident of New York City. Over that time, I’ve been in countless studios that had a proud hand in tracking, mixing or mastering their music.
MCA and his Beastie Boys cohorts were responsible for what must be hundreds of hours — if not thousands – of sessions that benefited the city’s music pros (and in multiple other locales) by creating one classic after another: License to Ill, Paul’s Boutique, Check Your Head, Ill Communication, Hello Nasty, To the 5 Boroughs, The Mix-Up, and Hot Sauce Committee Part Two.
Those are just the albums. Adam Yauch was diversified in his roles as a director, practicing Buddhist, and father.
And so there is something sobering about realizing that Yauch is gone. He first appeared to me as the ultimate symbol of brash youth, massively talented and magically unbridled. At that moment and for so long after, there was nothing about MCA that suggested mortality – for the man or his music.
His arresting vocal delivery and the way he merged it so intricately with his group are at the core of why Yauch will always live on. His bandmates are very much alive, and may even find some revolutionary ways to carry on his work – just because his heart ceased beating, doesn’t mean you’ve heard the last of MCA.
Yet Yauch’s death does carry with it a cautionary tale. In 1986 he rallied us all to fight for our right to party. But a tumor in his salivary gland, diagnosed in 2009, may have led to his downfall.
Did he die for that right? Serious celebrating was an advertised part of the band’s early lifestyle as they rocketed to fame. No one will ever know for sure if that contributed to his early demise, at the relatively tender age of 47.
The World Turns
I took extra time to think about what I wanted to say about MCA today. At one point I dropped the thought process to watch the Kentucky Derby go down live, in real time.
In front of 165,000 people, a horse named I’ll Have Another beat out the highly favored Bodemeister with a thrilling blast from behind after the final turn. Piloting him was a rookie jockey named Mario Gutierrez that no one had ever heard of, but who skillfully shot his horse past the field from Post No. 19. Trainer Doug O’ Neill and owner Paul J. Reddam urged them on joyously from the packed grandstand.
Young blood, seizing the day. You can just see MCA passing the torch – grinning away.
– David Weiss
Don’t miss Adam Yauch doing it for real in this live rendition of “Pass the Mic”, shot in Madison Square Garden:
Brooklyn correspondent Justin Colletti listens to new releases every day of the week except Sunday. Here, he shares the twelve Spring releases that best broke through the noise and captured his imagination.
1. Booker T. Jones – The Road From Memphis
From 1962 to 1970, Booker T. served as one of the essential sidemen who helped shape the sound of classic soul and R&B. As part of Stax’s integrated house band he played back-up for Otis Redding, Wilson Picket, and Sam and Dave. As bandleader for the MGs, he brought instrumentals to the top of the charts with the iconic cut “Green Onions.”
Jones’ latest effort, The Road From Memphis is a rootsy hybrid of hip hop, funk, and soul that makes the rock/fusion hybrid of his GRAMMY-winning 2009 release Potato Hole sound gimmicky by comparison.
Even with his name on the cover, Jones maintains the soul of a sideman. His playing is casual, relaxed, almost conversational, as he cooks through a cover of Gnarles’ Barkley’s “Crazy” on the Hammond B3, or supports Sharon Jones on an original tune.
There’s little musical grandstanding on this record, which features an all-star band of ace musicians who stay firmly rooted in-pocket throughout.
The Road From Memphis was produced by ?uestlove of the Roots and Rob Schnapf (Beck, Elliot Smith). It was recorded by Gabe Roth of Daptone (interviewed here over the winter), and features guest performances from Sharon Jones, Lou Reed, Matt Berninger of the National, and Jim James of My Morning Jacket.
2. Dennis Coffey: Controlled Aggression
Here’s a release that reminds us why we should never look to television or glossy magazines for music recommendations. Although you might not think it by the looks of him, Dennis Coffey will melt your face off with the funk.
When he’s not busy swapping fashion tips with George Costanza or posing to reassure you he’d do a great job adjusting your tax returns, Coffey leads a double life as a former guitarist for Motown, and the man behind the steaming new release Controlled Aggression.
Thanks to the good graces of the internet, this unlikely gem of a record doesn’t have to go undiscovered. Click the link below to hear the track “Space Traveller,” selected as NPR’s song of the day on May 31st.
When listening, don’t be afraid to turn up your speakers. Not only does this cut feature an old-school sensibility when it comes to musicianship, it features a refreshing lack of the aggressive over-mastering that’s had musiophiles up in arms for more than a decade. In a welcome blast from the past, the louder you crank this record, the better it sounds.
3. Thurston Moore: Demolished Thoughts
Sonic Youth’s Thurston Moore had a new release last month. This largely acoustic, gracefully orchestrated collection of songs was produced by Beck for Matador Records, and has music geeks across Generations X and Y asking, “Where the hell was this record when I was a teenager?”
In some ways, Demolished Thoughts is Moore’s equivalent to Beck’s Sea Change. Although much of this record is as wizened and reserved as Beck’s navel-gazing opus, the tone of Demolished Thoughts remains notably less melancholy than that easy touchstone.
Arrangements are generally sparse and intimate, with subdued strings that are startlingly pretty and never overwhelming. On the production end, the album’s tone is spacious and milky, unafraid to stay just a little boxy and decidedly natural.
4. Kate Bush: Director’s Cut
If you’re a Kate Bush fan who’s disconcerted by musical revisionism, you may have mixed feelings about Director’s Cut. On this album Bush revisits and revamps songs from The Sensual World and The Red Shoes.
Unlike Brian Wilson’s 2004 revisit of the Smile sessions however, it’s doubtful any of these re-interpretations will be accused of ruining old favorites. Bush’s voice has stayed strong, and some of these cuts improve on the source material, which is largely culled from The Red Shoes, an album generally considered to be one of her weaker efforts.
After years of trying, Bush finally obtained permission to re-appropriate Molly Bloom’s soliloquy from the James Joyce’s novel Ulysses as the lyrics for this album’s opening track. It’s unusual to hear a woman of fifty-three take on some of the overtly sensual themes that drive the opening tracks on this record, but she does so with an effortless, unconcerned grace that belies her age.
So, is it worth listening? For those who are not yet fans, the now-classic 1985 album Hounds of Love is probably still a better place to start. (Like, yesterday.) For the already initiated? It’s definitely something to hear.
5. Eddie Vedder: Ukulele Songs
Pearl Jam singer Eddie Vedder has come out with a solo album. It consists exclusively of him playing songs he wrote for the ukulele.
Diehard fans of Vedder’s voice are likely to connect with the album’s intimate and un-ironic delivery. The rest of us could always use good excuse to gawk slack-jawed at our computers for a few minutes, wondering if our eyes are fooling us, so Vedder’s Ukulele Songs occupies slot 5 on our roundup of interesting spring releases.
But, is it good?
For a solo album that almost exclusively consists of Eddie Vedder playing songs he wrote for the ukulele, sure, it’s absolutely the best one I’ve ever heard.
How about compared to the rest of music throughout recorded history?
Well, it’s less weird than you might expect, and features strong, naked performances from a distinctive singer that you probably really love or can’t stand at all.
As for a rating? No matter which camp you fall in, Ukulele Songs is an odd, but well-realized effort that stands somewhere between the transcendent (Debussy’s “Prelude to the Afternoon of a Faun,” “Kind of Blue,” the first four Black Sabbath albums) and the laughably mediocre (Bruce Willis’ solo record, Lynyrd Skynyrd’s Christmas album, Lady Gaga’s “Born This Way”).
6. Beastie Boys: Hot Sauce Committee Part 2
There’s a good chance you heard about it when the Beastie Boys dropped a new album last month. If you missed it, you still have a chance to stream it below.
It’s all too easy to harbor low expectations for any album this far into the band’s career, but once again, the ‘Boys refuse to disappoint: “Hot Sauce Committee” plays out like the Beasties of Check Your Head meeting up with the Beasties of Hello Nasty to compare notes.
Although some disinterest can be expected from early fans whose tastes have changed over the decades, this record is sure to please the ears of anyone still ready for more high-powered and irreverent jams from America’s favorite bratty-New-York-whiteboys-turned-socially-conscious-hip-hop-all-stars.
7. Alfonso Velez: Alfonso Velez
Alfonso Velez is a stunning and rare find: an undiscovered Singer/Songwriter worth watching out for.
Mere moments into “Teddy,” the first cut on Velez’s self-titled LP, I found myself slack-jawed, remarking aloud: “Wow. Dude can sing.” Songs here feel like real performances, unfolding stories that sound refreshingly human and open up over time.
With a production aesthetic that’s informed by The Flaming Lips and Radiohead as much as it is by The Beatles and James Taylor, Marc Alan Goodman’s mixes on Alfonso Velez balance the organic with the epic, the subdued with the sublime.
8. Cults: Cults
Any journalist writing about Brooklyn-based band Cults is obligated to marvel over their “un-googleable name” and (historically) limited presence on social media.
Up until Sony picked up the band in response to the extravagant media buzz that surrounded their debut 7”, the band subsisted with a spare Bandcamp page and a text-only website that listed upcoming shows.
Bloggers marveled over their ability to ignite interest sans Facebook and Myspace, much like the rest of us wonder how we were ever able to meet in public at a pre-designated time before cellphones.
Blog-buzz aside, Cults are easily one of the more compelling new artists to release an album this spring.
Their sound is somewhere between the Ronnettes and Peter Bjorn and John. Co-producer and engineer Shane Stoneback provides giganticlly cloudy, reverb-drenched mixes that complement their casually cultivated air of mystery.
At their best, Cults offer simple, unpretentious, catchy pop tunes with a startlingly retro production aesthetic. After repeated listens there’s some question as to whether there’s a ton of substance behind the style. In the meantime, the style they do have is somewhat substantive in itself and thankfully, it’s of the sonic, rather than visual variety.
9. Sondre Lerche: Sondre Lerche
Vernhes, who’s explored distinctive and sometimes jarring sounds with Dirty Projectors, Black Dice, and Deerhunter, might seem like an unexpected choice for Lerche, an artist best known for his easy charm and earnest pop sensibility.
With Verhnes at the board and Kato Ådland co-producing, Lerche is able to embrace sonic colors in a more raw state than ever before. The new material is mature: both accessible and unusual, friendly to a casual listener, but challenging enough to attract a new kind of audience.
10. Here We Go Magic: The January EP
On this record pillowy textures and contrapuntal rhythms form a blurred bed of sound for Here We Go Magic songwriter Luke Temple’s ephemeral, high-reaching vocals.
From the first plodding bass notes of the opener “Tulip,” Here We Go Magic’s newest release doles out twenty-one minutes of big, fat chamber pop.
It’s dense, atmospheric, ambitious, and invites comparisons to some of the innovative work by Caribou and Grizzly Bear, or the most forward-thinking moments of 60s cult favorites The Zombies.
Like Pigeons before it, The January (covered here in May), stands a far cry from Temple’s sparse solo effort on HWGM’s self-titled debut. The January serves a satisfying soup of sound that asks for repeat listening and suggests an unexpected expanse of space between the speakers.
Listen to “Hands in the Sky” off The January here:HERE
11. Hotels: On The Casino Floor
Since I’ve taken it on to write about the twelve albums this Spring that at least broke through the noise, and at best, captured my imagination, it would be dishonest to leave the Seattle band Hotels off this list, even if I have worked with them on prior releases.
Hotels has a new album On The Casino Floor, and, associations aside, I think you should hear it. They’re easily among my favorite bands playing today.
If band names like Devo, Black Sabbath, Joy Division, Kraftwerk, Wipers and New Order randomly strung together in a sentence holds any appeal to you, this is the offbeat, electronic, post-punk, synth-heavy surf-rock band for you.
12. Bon Iver: Bon Iver
Is it just me, or do self-titled releases seem like a growing trend this year? If I had something profound to say about artists declaring their identity in a culture of fleeting interest I would. Until then: Gee. What’s that shiny thing?
Fans of the sleepiest moments of Iron & Wine and TV On The Radio may enjoy Bon Iver’s self-titled sophomore effort. This is music that’s sometimes unusual, and perhaps more pleasant than it is engrossing.
Atmospheric, moody, bold-yet-unobtrusive, the laconic Bon Iver is a thoroughly well-realized album, even if it occasionally bores this reviewer to the point where he forgets he’s even listening to it.
Lady Gaga and the Great Race to Cloud Storage
In other news, you may have caught wind that Lady GaGa’s label was so afraid her sophomore album would fail to make waves, they decided to effectively bribe fans into buying it. Hawking the entire record for $0.99 and giving away 40 GB of storage on Amazon’s new cloud server, they managed to sell 1.5 million copies in total, including a reported 750,000 at the $0.99 cheaper-than-free price point.
If you haven’t yet seen the video for the lead single “Born This Way,” don’t worry. You’ll be fine.
GaGa takes post-modern pastiche to a fever pitch of ADD, referencing more often and more directly than Family Guy. The only problem is that it’s rarely funny (at least not on purpose) and she staunchly refuses to admit to her influences, unlike the early post-modern pop-master, Beck.
Fittingly, GaGa’s latest video begins with music that isn’t even hers. The video version of “Born This Way” opens with Bernard Hermann’s classic score to the Hitchcock thriller Vertigo, which she somehow makes sucky by adding some comically pretentious narration and half-baked visual imagery culled from Frank Herbert’s Dune.
To her credit, GaGa has the theater of music down to a certain degree. She’s followed the playbooks of Freddie Mercury, Madonna, and Britney Spears, but forgot the rule about occasionally putting out an inventive song. Even Britney had “Toxic.”
Once the actual music kicks in, the problem is not that it’s awful. Rather, it’s amazingly plain – befuddlingly mediocre. The actual single serves as a remarkably bland backdrop to over-the-top visuals that are generally too racy for children and at times too vapid for self-respecting adults.
Those who maintain that her first record featured a few worthy pop songs obscured by a questionable production aesthetic will be disappointed to find nothing here to approach even that level of “interesting.” When listened to with any seriousness, “Born This Way” makes Cher’s most questionable 80s moments seem hip and current.
For the few who have cast GaGa as a secret champion of counter-culture, this release continues to reframe hers as work that panders to the easily entertained rather than suggesting a shred of the subversive.
At best, GaGa may have been able to achieve a level of insta-kitsch to rival John Waters. Only this time, it’s by accident. – Justin Colletti