Ghanaian highlife artist Ata Kak was brought to light through ethnomusicologist Brian Shimkovitz’s Awesome Tapes From Africa blog when he posted the unstoppable “Daa Nyinaa.” Shimkovitz bought the Ata Kak tape more than a decade ago and finally found him living in Ghana. Only 50 copies of the original Obaa Sima tape were made, and though the original master DAT had disintegrated, Shimkovitz’s tape was used to reissue Obaa Sima. Details of Shimkovitz’s search for Ata Kak could likely fill a book (in fact, a documentary is being made), but it only serves to give the truly awesome Obaa Sima even more allure, as does the tape hiss from the transfer. Its seven tracks offer nothing but good times, a non-stop party that sounds removed from time, full of delightfully rinky-dink synths, instant-play beats and Ata Kak’s motormouth rap. The slightly off-time nature of the backups on “Agdaya,” the louder than necessary mix of the vocals—all things that could be construed as negative instead feel like happy accidents that make Obaa Sima sound so singular. One track flows into another across Obaa Sima, coming into centerpiece “Daa Nyinaa,” an Afro-house masterpiece of warehouse-party cool. But stick around for the slightly sinister “Yemmpa Aba” and head-bobbing vocal-less closer “Bome Nnwon,” which will have you replaying the entire album once its final handclap echoes into silence. When Ata Kak is on, you won’t want to listen to anything else. If you need me, I’ll be watching this video on repeat:
When they arrived on the hip-hop scene in the early 1980's Run-D.M.C. distinguished themselves as the leaders of the new school of rap music. This claim by the Hollis, Queens, NY trio comprised of Joseph "Run" Simmons, Darryl "D.M.C." McDaniels, and Jason "Jam-Master Jay" Mizell was truly justified by the unique group who would be perhaps the most influential group of the genre with their hardcore rap sound. With 1984's self-titled debut on Profile Records and its follow-up; 1985's King of Rock, Run DMC were already hugely popular with fans of the then still burgeoning hip-hop music genre but it was 1986's Raising Hell their third album that proved to be their breakthrough, crossover release. Raising Hell won them a whole wave of new fans - many of whom up until this point had dismissed rap as mere novelty and passing fad in pop music. Run DMC's updated rock/rap version of Aerosmith's "Walk This Way" deserves much of the credit for breaking Run DMC (and rap/hip-hop along with it) into the mainstream. The conversion of the average mid eighties hard rock fan, who up to this stage was still resistant to rap because they saw it as a derivative of the then stigmatized genre of disco, went to Steven Tyler and Joe Perry of Aerosmith who joined on them on both the record and in the influential music video of "Walk This Way." The result was an inspired updated rap rendition of an already great rock song.
Amoeba Hollywood regularly sells tickets to local shows, with the added bonus of charging low service fees (if you are into saving money and who isn't really?).
All tickets can be purchased at the registers (while supplies last) for a $2 service fee. We take cash and credit cards for all ticket sales. Store credit and coupons cannot be applied to ticket sales. Limit 4 tickets per person.
For Club Nokia shows, we only carry general admission tickets. If you wish to purchase reserved seating at Club Nokia (where available), you can buy those tickets online here.
Please note that on the day of the show, we will stop selling tickets for that show at 5pm.
Tickets are limited, so please call the store first to make sure they are available: 323-245-6400.
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To read more Behind The Grooves, go to http://behindthegrooves.tumblr.com.
Born on this day: March 2, 1950 - Singer and musician Karen Carpenter (born Karen Anne Carpenter in New Haven, CT). Happy Birthday to this pop vocal icon on what would have been her 65th Birthday.
On this day in music history: March 2, 1964 - The Beatles will begin work on their first film, A Hard Day's Night, with director Richard Lester at Marylebone Station in London (not Paddington Station as it is often misquoted). Produced by Walter Shenson and released through United Artists Pictures, the film is a semi-fictionalized day in the life of the band written by Alun Owen. Budgeted at a modest £200,000 ($500,000 by today's U.S. currency), the film is shot in black and white, and will break new ground in film-making with its innovative cinematography, editing, and use of music. During the six weeks of filming, other location shooting will take place in at Thornbury Playing Fields in Isleworth, Middlesex ("Can't Buy Me Love" sequence); Scala Theatre in Camden (theater performance scenes); West Ealing, London ("Ringo dropping his coat on puddles for a lady to step on" sequence); and the interiors are shot at Twickenham Studios in London. It will be a huge success, grossing over $6 million at the box office in its original theatrical run.
Josephine Baker, American expat and French citizen, was a decorated World War II hero and civil rights crusader who spoke at the March on Washington in 1963 next to Martin Luther King, Jr. and further devoted her life to challenging segregation in America while attempting to raise a multiracial, multinational family of twelve children adopted from twelve different countries, her so-clalled "rainbow tribe", to further demonstrate her belief in the possibilities of racial equality. In spite of all her honors, humanitarian efforts, and dignified intentions, Baker is perhaps best known for being the vivacious cabaret dancer in the banana skirt.
Born in St. Louis, Missouri in 1906 to a washerwoman and a vaudevillian drummer (who would later abandon them), Josephine took to the stage when she was about a year old. Her parents, who had a song-and-dance act, would occasionally bring her out onstage as a part of their finale, an appearance that unofficially marks the very beginning her 67 year career as an entertainer. Her official start came years later when she dropped out of school at thirteen and lived the life of a street urchin in the St. Louis slums, scavenging garbage cans for food, sleeping in cardboard shelters, and dancing street-corners for money.