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AMOEBA MUSIC WEEKLY HIP-HOP ROUND UP 01:15:09

Posted by Billyjam, January 15, 2009 07:44pm | Post a Comment

The new year is already off to a good start with lots of exciting brand new material dropping, or about to drop, such as P.O.S. (the unique Minneapolis Rhymesayers' emcee with the punk rock past), who will be releasing his anticipated new album Never Better on Rhymesayers Entertainment in two weeks (in Amoeba Music on Feb 3rd). I have only heard snippets off of the album so far, but they sound as good as I expected. The record was reportedly entirely written by P.O.S. while in a moving car and hence, I am told, it conjures "get-away cars, racing chariots, the pursuit of sirens, and the occasional rueful nighttime drive."  I believe it based on his powerful past output.

P.O.S.'s last album, 2006's Audition, also on Rhymesayers, was one of the most innovative hip-hop albums of that year and perfectly melded the urgent energy and sonic assault of my two favorite genres, hip-hop and punk rock. Not too surprisingly, then, P.O.S. (or Stef, as they call him at the dinner table) has been invited on the Vans Warped Tour in the past, and will be on the road once again this summer for the 2009 Warped Tour. He is always a crowd favorite.

In the meantime the artist will be doing his own national solo tour starting next month in support of Never Better, with Cali dates in the first week of the tour, including a show at San Francisco's Bottom of the Hill on Monday, Feb 9th and the following night, Tuesday, Feb 10th, in LA at the Knitting Factory in Hollywood. Expect an Amoeblog interview with the artist that same week. Scroll down to end of article to hear Never Better's first single, "Goodbye."

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SLUMDOG MILLIONAIRE PROVES THAT "MAYBE IT IS WRITTEN"

Posted by Billyjam, January 14, 2009 02:46pm | Post a Comment

Between George W. Bush about to (finally) leave office and Slumdog Millionaire scooping up all those awards at the Golden Globes the other night, 2009 is already shaping up to be a great year, one with change for the better. 

Both events prove that sometimes good does overcome all, even in America. In the case of the Danny Boyle-directed Slumdog Millionaire's deserved four Golden Globes awards (not to mention its inevitable upcoming Oscar wins next month), it is a refreshing reminder that, even when you have given up hope, that a truly original piece of art can triumph in the face of all odds and get mainstream acceptance. To paraphrase one of the film's stars Dev Patel (who plays the 18 year old Jamal), "Maybe it is written" that sometimes the underdog can win.

If you haven't seen this movie already, get thee to a theater today or this weekend. It's so good and satisfying on so many levels, and is hands-down the best movie of the past year (far better than even Milk, The Curious Case of Benjamin Button, Gran Torino, and The Wrestler -- all really great films in their own right) and hence the most deserved winner of any recent era Golden Globes that I can recall. slumdog millionaireAnd while the story description, the tale of a boy from the Mumbai slums who reaches the final round of the Indian version of Who Wants To Be A Millionaire with Bollywood vet Anil Kapoor playing the Indian Regis Philbin as host, is accurate, it really doesn't capture the true essence of this great film, which, at its core, is a traditional Hollywood (and/or Bollywood) rags-to-riches/love-story.

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L'Trimm's Cars That Go Boom - The 1988 Miami Bass, Subwoofer Anthem by Tigre and Bunny D - Stands the Test of Time

Posted by Billyjam, January 13, 2009 08:28pm | Post a Comment

L'TRIMM "Cars With The Boom" (1988/Time-X Records)

Upon recently going back and playing the 1988 subwoofer anthem "Cars With The Boom" (the Miami bass song usually referred to as "We Like The Cars That Go Boom") by the duo L'Trimm (Bunny D and Tigre), I had give the pop-rap hit single/album track two thumbs up and place it in the truly stands-the-test-of-time category. To my ears "Cars With The Boom" sounds just as great today as when I first heard it 21 years ago on their debut album Grab It on Miami's Time-X Records label -- recorded when they were each only 18 years of age. It also sounds as fresh today as it did then, confirming what many say about the young duo being influential on contemporary acts that tap that classic Miami bass sound.

But back in '88 L'Trimm were occasionally accused of sounding, or trying to sound, like the already established female rap team of Salt'N'Pepa. And while it is true that the influence of, or traces of (Salt'N'Pepa's 1987 hit single) "Push It" can be heard on L'Trimm's debut, Tigre and Bunny had their own totally unique spin on the genre, not to mention the asset of having the killer, bass-heavy production skills of Davis Stone for Hot Productions Inc., something that makes "Cars With The Boom" a better, more solid sounding record than "Push It" in retrospect. It also, in my opinion, holds up much better than even Sir Mix-A-Lot's 1992 single "Baby Got Back" -- another pop-rap, bass-fueled hit that opens with girls talking about guy, but maybe I have just heard Mix-A-Lot's way too many times over the years.

AMOEBA MUSIC WEEKLY HIP-HOP ROUND UP: 01:09:09

Posted by Billyjam, January 9, 2009 06:06am | Post a Comment
Amoeba Music San Francisco Hip-Hop Top Five: 01:09:09
keak da sneak and san quinn
1) Keak da Sneak & San Quinn
 
Welcome To Scokland (Ehustl)

2) San Quinn From A Boy To A
Man
(SMC/Fontana)

3) E40 The Ball Street Journal
(Sic Wid It/Warner)

4) Common Universal Mind  Control (Geffen)

5) Messy Marv Draped Up &
Chipped Out 3
(Scalen)
 
Thanks to Luis at Amoeba Music Sam Francisco for not only providing the Amoeblog with this first hip-hop top five of 2009 but also for being instrumental, through his dedication to local music as hip-hop buyer at the Haight St. store, in the healthy representation of Bay Area hip-hop on this weekly chart. Four of the five new album entries, including the king of the Bay E40 and his latest The Ball Street Journal, are homegrown rap recordings. Only Chicago's Common (and his December 9th release Universal Mind Control) hails from beyond the Yay Area. The number one seller is the hands-across-the-bridge (Bay Bridge) collaboration, appropriately titled Welcome To Scokland, between two of the Bay's best longtime rap acts, Oakland's Keak da Sneak (who recently dropped his own new solo album, Defied, and who will be interviewed in an upcoming Amoeblog) and prolific San Francisco rapper San Quinn.

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TEN DISCO CLASSICS FROM 30+ YEARS AGO

Posted by Billyjam, January 8, 2009 10:48am | Post a Comment

Of all genres of popular music from the 1950's up til the present day, disco is perhaps the most discrimated against and unfairly hated upon Ironically, the hate is oft times spewed by the very same people who will be the first to dance to or sing along with said disco hits. Of course, karaoke nights and wedding DJs have only helped make some songs less enjoyable than perhaps they should be due to over exposure and bad sing alongs. A prime example would be Gloria Gaynor's "I Will Survive," which is still a great song even 31 years later but might be more enjoyable if we had only heard 3 million fewer times in our lives. The video for that song, along with nine other disco classics, is below. 

The videos include Lipps Inc.'s "Funkytown" from 1979, A Taste Of Honey's "Boogie Oogie Oogie" from '78, Anita Ward's "Ring My Bell" from '79 and, from that same year, Sister Sledge's second biggest hit "He's The Greatest Dancer" (their biggest hit was the eternally popular "We Are Family," which was also released that same year). 

Also included is what I consider to be the greatest and most influential disco record of all time, the Giorgio Moroder-produced Donna Summer song "I Feel Love" from her 1977 album I Remember Yesterday (Casablanca) and released as a single. So innovative was Moroder's futuristic production on this track, according to the liner notes of his Sound + VIsion box set, that, in 1977 while David Bowie was recording with Brian Eno in Berlin, "Eno came running in and said, 'I have heard the sound of the future'...he puts on 'I Feel Love' by Donna Summer…He said, 'This is it, look no further. This single is going to change the sound of club music for the next fifteen years.'"

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