Crib Notes

Punk rocker GG Allin immortalized as a bobblehead stocking stuffer

That cat Santa? Yeah, he was a big ol’ pimp.

According to a trusted source (Wikipedia), Saint Nicholas of Myra was the dude who served as “the primary inspiration for the Christian figure of Santa Claus.” Apparently, he earned his cake daddy rep after gifting dowries to a destitute Christian’s three daughters to keep them from resorting to prostitution. Guess that would also explain how he stumbled upon his famed greeting: “Ho. Ho. Ho.”

It’s been music to our ears ever since. Each year around this time, we get our bells in a jingle trying to beat jolly ol’ St. Nick at his own game. To lend a helping hand, we’ve rounded up a few music-themed gifts for you to freak the music fetishist in your life.

Mazel Tov.

Continue Reading “Toys (not) for tots”

(Photo Courtesy Aggronautix.com)

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By Phillip Mlynar

Ask Donnis what makes him stand out from the swarming mass of rappers seeking a name for themselves, and the Atlanta-bred MC pauses to think before answering, “I tell my story, [and] my story’s totally different from anyone else’s story.”

Listen to the range of material on his debut mixtape album, Diary of an ATL Brave, however, and you might struggle to pinpoint that difference.

In rap, an artist’s backstory is often as important as the eventual byproduct. Part autobiography, part mythology, it fuels the fandom any artist must create if he intends to become a star. Most MCs use it to build up their street-cred. Before Eazy-E became a platinum-selling rapper (thanks to invaluable ghostwriting from Ice Cube), he was an ex-drug dealer who used the loot he earned in the streets of Compton, Calif., to finance his own label, Ruthless Records. Before 50 Cent dropped his multiplatinum debut, Get Rich or Die Tryin’, he was the Queens street salesman-turned-mixtape MC who got shot nine times by adversaries attempting to silence his mouthpiece for good. Before Lil Wayne became the self-proclaimed “best rapper alive,” he pretty much was a hip-hop prodigy who accidentally shot himself at age 12.

Or so the stories go.

Continue Reading “Donnis may need more than Fool’s Gold to truly shine”

(Photo Courtesy Fool’s Gold)

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LAST NIGHT'S DJ HERO PREVIEW AT 595 NORTH: Jermaine Dupri channels Ray Charles.

Nobody comes to the BET Hip Hop Awards for the BET Hip Hop Awards. Unless you’re a big rap star or a card-carrying member of the bloggerati — which pretty much includes everybody these days — you probably don’t stand a chance at getting into the actual event.

So here’s a select roundup of some of the parties, after parties and after after parties taking place over the weekend. Get in where you fit in.

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GOODBYE GUMMY WORMS

Brittany Bosco is so fly. How fly, might you ask? So fly that her video “Black and White” won Best local music video with an elegant flair in CL’s ’09 Best of Atlanta issue.

It was like she came out of nowhere in one year to sweep Atlanta away with the strength of her debut, the recently re-released Spectrum, and that magnetic stage presence. So we weren’t surprised when she sprouted wings this week and soared off to Europe to begin a month-long overseas tour. As worldly and sophisticated as Bosco’s fusion of jazz, electro-soul and indie pop comes off, she’s a country girl at heart — born and raised in Savannah, Ga. So to help her stay grounded during her flight of fancy, we asked her to document her journey via electro-postcards from the edge.

Here’s the first episode, before liftoff from Hartsfield-Jackson International:

Day one of the first day of my life

Hello world, and all the strange people in it. To all the people who are going to be following us through this journey overseas, I am so delighted to be sharing this experience with you as I grow and learn who the real Brittany Bosco is and who I am becoming even in this very moment.
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CL’s “Street Talk” photographer Jeff Slate caught these two images of the legendary John Hammond Jr. at Blind Willies Blues Bar last night.

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Bono is outraged!

By Elliott Garstin

Stepping out of MARTA and following the hordes up the concourse to the Georgia Dome on Tuesday night felt like, well, every other Falcons game that I’ve been to. There was an energy in the air. Fans were sporting their old shirts, tailgating, dodging scalpers, crusty homeless guys were meddling about, promo teams eagerly hawked their wares and dudes shouted “woooo” at random where ever you went.

Having never been to the Georgia Dome for a concert, I wasn’t quite sure what to expect. Shows at Phillips more often than not sound like garbage, and with a place that holds four times as many people, I didn’t think a theatre quality show was in order.

What I got was spectacle. As we entered the building, Muse was in mid-set. Having seen their show a few years ago at Gwinnett Arena, I knew these guys could bring it in a setting like this. Their songs are bombastic and epic, yet they still have fundamental elements that keep you engaged.

As we took our seats in the upper level with the common people, I bore witness to a majestic structure more befitting to the War of the Worlds movie than a concert setting.

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By Elliott Garstin

During Friday night’s Dead Weather set at the Tabernacle, Jack White told a nearly capacity crowd that the former Baptist church was the place the band was conceived almost a year to the day. The Raconteurs were touring in support of their second record Consolers of the Lonely and had the Kills along as support. The man works fast.

The Dead Weather, as you probably know feature Jack White, his Raconteur band mate Jack Lawrence, Dean Fertita of Queens of the Stone Age and Alison Mosshart of the Kills. The band got together in January at Jack’s Nashville studio and banged some songs out over a two and-a-half week period. They put them to tape and boom… done… album finished. It hit stores in July and the band’s been hitting the festival circuit and touring heavily ever since.

View a gallery of Perry Julien’s photos from the show.

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By Elliott Garstin

Wednesday night Phoenix rolled into Atlanta with the wind in their sails. This band’s had the luxury of a hard working promotions team inundating you with their music and presence since the release of their latest album Wolfgang Amadeus Phoenix back in May. It’s been hard to miss ‘em. Car commercials, radio, in-flight music, satellite, in-stores, magazines and every blog going bananas over some suave French dudes that play music that sounds of the moment. And while most media savvy music lovers have a sort of cognitive dissonance to this type of over-exposure, this time the band cut right through to win their hearts.

400 plus Phoenix fans packed Criminal Records earlier in the day to munch on some za and get a little taste of what they were probably missing later on that night. The show at the Variety had been sold out for months. There was an exciting feeling in the air and it carried over to the show later in the evening.

Phoenix hit the stage about 9:15, an incredibly early start time for a generally less than punctual Atlanta crowd, but no matter. From the opening notes of “Lisztomania,” Phoenix had the crowd eating out of their hand. The set was wisely new album heavy, playing every song, but one with a smattering of choice cuts off their first three albums. The last time Phoenix played Atlanta touring in support of It’s Never Been Like That there were maybe fifty people at the Roxy. The band remembered as well, making note of it at one point, but they didn’t seem to mind. They were on top of the world and are shooting for the stars. The show was arena ready and in a few months time don’t be surprised to see Phoenix headlining Madison Square Garden.

(Photo by Perry Julien)

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FIRST IN FLIGHT: Playaz Circle returns with the sophomore release.

By Mark Allwood

Although Playaz Circle officially debuted on the 2002 Disturbing Tha Peace compilation Golden Grain, it took five years of persistent grinding before the College Park duo struck big with the smash “Duffle Bag Boy,” featuring an assist from Lil Wayne.

After touring extensively in support of their 2007 debut, Supply & Demand, Tity Boi (Tauheed Epps) and Dolla Boy (Earl Conyers) dropped their sophomore album, the aptly titled Flight 360: The Takeoff, in September.

“[‘Duffle Bag Boy’] allowed us to see the world,” says Dolla Boy. “It was a great introduction for us. How many artists can say they had a No. 1 record as their debut? It did so much for us, including allowing us to be business owners.” The duo owns its own recording studio in College Park, but on a recent afternoon the group was at Clark Atlanta University, along with Ludacris and other DTP artists, performing as part of Ludacris’ Ludaday Weekend.

Continue reading “Playaz Circle returns with Flight 360: The Takeoff”

(Photo courtesy Disturbing Tha Peace/Def Jam)

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COMING SOON TO A REST STOP NEAR YOU

By Matt Camp

Pearl Jam, one of America’s most popular and ever-present bands has cut its final tie with the record industry. It is releasing its ninth album, Backspacer, through its own record label, Monkeywrench. The group has signed a deal with Target to distribute its album, however.

It is widely believed Pearl Jam wanted to cut all corporate ties but decided that without a proper distribution channel, album sales would suffer.

Pearl Jam is not the only band to cut ties with corporate America, but it is the most successful band to do so. It will be interesting to see if this is the future of the music industry, as a whole.

Pearl Jam goes on tour next month.

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By Kelli Goldman

The vivacious Juliette Lewis’ performance last night at the Drunken Unicorn was out of this world. Scantily clad and gyrating, off-the-wall Lewis brought to the audience a seductively captivating sexual freak show.

“When I started this music thing five years ago, I meant it,” said Lewis. And did she ever. Mostly playing songs from her new album Terra Incognita, but still revisiting her older tunes with the Licks, Lewis moved the audience with her heavy beats and breathing, heart-felt screaming lyrics and wailing guitar and drums. It was hard not to feel a personal connection with Lewis as she directly addressed the audience several times in the tiny venue.

Juliette Lewis is definitely a must-see when she comes back to Atlanta. She is currently on a world tour promoting her solo album, Terra Incognita.

See more photos from the Juliette Lewis show at the Drunken Unicorn

(Photos by Perry Julien)

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Medeski, Martin & Wood

TONIGHT

MEDESKI, MARTIN & WOOD With the third entry in the trio’s wildly ambitious Radiolarians trilogy just released, MM&W are primed with great new material that pushes even their elastic definition of jazz. The group’s explorations into folk, blues, gospel and funk are colored by the experimental tendencies that expand their improvisations and make each show unique. $25-$27.50. 8:30 p.m. Variety Playhouse. 404-524-7354. www.variety-playhouse.com. — Hal Horowitz

TELEFON TEL AVIV Joshua Eustis’ Telefon Tel Aviv, a solo act after January’s death of creative partner Charles Cooper, creates a somewhat darkly textured IDM sound. The Race, also featuring Eustis, also performs with an opening set by Romeo Spike. $10. 9 p.m. The Earl. 404-522-3950. www.badearl.com. — Jonathan Williams

(Photo by Liz Penta) (more…)

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By L. Michael Gipson

Finally, an LP from the band that dropped last year’s acclaimed EP, Deep Soul. Southern soul singer/songwriters Rell and Tré Williams create a roof-raising soul album less contrived than their throwback counterparts. More killer bar band with terrific leads than a spit-shined industry act, the NYC-based Revelations boast one of the best brass sections north of the Mason-Dixon. Deep Soul owners looking for unreleased material on producer Bob Perry’s 15-track set will enjoy Rell’s greasy, slow drag of Carole King’s “It’s Too Late,” Williams’ ripping version of Latimore’s “Let’s Straighten It Out,” or the oh-you-dirty-dog single “How Do I Tell Him.” A growling baritone frontman, organic instrumentation and timeless tunes make the oddly titled project a keeper. Only a missing standout jam keeps this release shy of classic status. We’ll see if more good things come to soul fans who wait. (Decision Records/Traffic Entertainment) 4 stars out of 5

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By L. Michael Gipson

While boatloads struggle to be Stevie Wonder, Donny Hathaway or Marvin Gaye, one Mount Vernon, N.Y., artist is lifting the gentleman-soul mantle from Peabo Bryson’s tight grasp. On his auto-tunes-free debut, Darien effortlessly displays the kind of likeable R&B chops rarely heard since Bryson became Disney’s go-to guy. Melodious urban contemporary grooves jump through the speakers with several breathtaking highs, including the well-orchestrated “Composure” and “All Kinds of Things.” In a just world, the elegant bumper “Composure” would have already benefited from more hype. Thanks to solid musicianship, lovers’ lane lyricism, and head-bangers like “Gone,” Darien’s freshman project is one cohesive, well-oiled machine. The road of an indie artist, however talented, is hard, and Darien’s debut stumbled for a year to find distribution. But hopefully, listeners will reward his artistic tenacity by keeping his CD on repeat. (Righteous Music Records) 5 stars out of 5

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KANYE WEST: King of shitty pop

By Matt Camp

After a dramatic display of disregard for anybody other than Beyonce, Kayne West has alienated the large fan base he previously enjoyed.

When asked for comment regarding his behavior Sunday night at the MTV Video Music Awards, he had this to say, “It was wrong. I shouldn’t have done that. But in my defense, I am the new king of pop. I am all things pop. And this award, best video of the year for a female artist, is kind of pop related. It was only fitting that I give my pop opinion. I mean, I am the king of pop. Come on! Y’all made me the king of pop. Y’all buy my records. Y’all want to hear what I have to say. It was my pop duty.” That was his defense.

This reporter went out to his favorite, new Supreme Court Judge to see how that defense would stand up in a court of law.

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ALL FOUR ONE: Cee-Lo (clockwise from front), Khujo, T-Mo and Big Gipp put the city on their backs.

By Maurice Garland

Once known as “the city too busy to hate,” Atlanta has seemingly turned into “the city too busy to remember.” In its desire to become a hybrid of New York’s grind and Los Angeles’ shine, many of the cultural landmarks that made the city what it once was have disappeared. Remember the Atlanta-Fulton County Stadium where Hank Aaron broke Babe Ruth’s home run record? It’s now a parking lot. Such streets of infamy as Stewart Avenue and Bankhead Highway have been renamed. Earwax Records got squeezed out by the iPod. Even the sports memorabilia shop Distant Replays is a distant memory. Compound that with the Atlanta Housing Authority’s nearly completed plan to erase every last trace of housing projects from the landscape, and it seems the city’s becoming a soul-less shell of its former self.

But on a recent August afternoon so humid and hazy it would leave local TV weathermen Glenn Burns and Ken Cook speechless, four recognizable brothers donned in throwback red Adidas jumpsuits stand outside the West End soul food restaurant Chanterelle’s. They resemble a blast from the not-too-distant past.

Continue reading “A dirty job for Goodie Mob”

(Photo by Joeff Davis)

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By L. Michael Gipson

The hype machine is in full force for the latest Canadian transplant, and for the most part it’s deserved. Melanie Fiona’s fine crossover debut, The Bridge, is on par with the auspicious beginnings of that other Canadian soul pop diva, Deborah Cox. Both offer radio-friendly midtempo grooves, big sweeping ballads, and natural, melisma-rich vocals. One key difference resonates on cuts such as “Monday Morning,” where the Guyanese vocalist is ankle-deep in the still-lingering ’60s retro-soul revival. The best of the bunch is the Andrea Evans-penned single “Give It to Me Right,” which incorporates a fierce sample of the famed “Time of the Season.” It’s not all yesterday’s R&B, though. There are plenty of adult urban contemporary tracks produced by Saalam Remi and Supa Dubs that foreshadow Fiona’s bright future as tomorrow’s next major soul star. (Universal Music) 4 out of 5 stars

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NEW YORK STATE OF MIND: NYC remains Raekwon’s muse, even after four years in Atlanta.

By Philip Mlynar

In 1995, Raekwon made his slick ascent to rap’s summit by articulating through rhyme a quintessential New York dream: that years of frustration from growing up in high-rise, low-budget, pissy-stairwelled projects could be transformed into cash and celebrity. So effective was his slang-splattered, crime- and drug-addled wordplay that his gem of an album, Only Built 4 Cuban Linx…, not only influenced rap royalty (Jay-Z and Nas), but it also became his audio albatross. Raekwon’s follow-ups (Immobilarity and The Lex Diamond Story) wilted under Linx’s  brilliant glow, and every fresh rumor of an “official” sequel was quickly consigned to the same netherworld as Dr. Dre’s eons-in-the-waiting Detox.

But now, 14 years later, the Wu-Tang Clan’s slang-master general is ready to follow Only Built 4 Cuban Linx… Pt. II through to fruition.

“I moved to Atlanta four years ago,” Raekwon says in his familiar husky timbre while driving home from Virginia. “I came down here from Staten Island, New York, to get peace of mind, to constantly see growth in my life. I lived in New York for so long but I wanted to see more, you know what I mean? Atlanta’s a party scene, but for me it’s spacious and I wanted to raise my kids in a way to give them the opportunity to come outside and get some fresh air and focus. I grew up in a different time and wasn’t fortunate enough to see past the ghetto, but now I can do that for my kids.”

Continue reading “Raekwon finally drops the long-awaited Only Built 4 Cuban Linx… Pt. II“

(Photo courtesy Mac Media)

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By L. Michael Gipson

There’s much hoopla over Mayer Hawthorne getting signed to Stones Throw Records on the strength of two songs. From the retro-soul sound of Hawthorne’s debut, the blue-eyed soulster from Detroit must have succeeded on his lyricism, because the voice just isn’t there. A thin natural and blender falsetto that’s part Smokey Robinson, part Curtis Mayfield and too much talent show crooner, Hawthorne mistakes vulnerability for soul. His songwriting, however, and the band’s soft funk playing elevate the set. “Maybe So, Maybe No” goes from a gauzy “Wake Up Everybody” opener to a swinging, complex doo-wop extravaganza that never once sacrifices melody for band pyrotechnics. The title track is a loving massage boasting Hawthorne’s best performance. These tunes are just slightly more soulful than the pop ditties that made the Rascals, the Association, and the Lovin’ Spoonful ’60s favorites. What’s strange is how often you find yourself pressing repeat. (Stones Throw) 4 stars out of 5

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By L. Michael Gipson

Clean, sweet soul is not exactly what Bobby Womack was known for. But under Calvin Richardson’s gentle tenor, Womack is pleasantly reimagined on this tribute to the undersung icon. Don’t be fooled by the cigar on the cover; Richardson’s easy voice glides and soars over this tribute album’s live orchestrations on such cuts as “Daylight” and “That’s The Way I Feel About ‘Cha.” Recorded live in one week, Muscle Shoals-style, by producer Tres Gilbert, the band keeps the organic project moving along. Richardson’s commitment to traditional interpretations of this popular material highlights Womack’s skill as a lyricist and arranger on par with Barry White, Leon Ware and Willie Hutch — a fact often lost because of the prominence of Womack’s unique vocal ability. Try as Richardson might — and he tries hard here — he just doesn’t have that enviable problem. (Shanachie) 3 stars out of 5

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