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Amoeba Music Weekly Hip-Hop Round Up 03:20:09 Eligh and Jo Wilkinson, T.I., E40, Roots Picnic, SxSW shows, Chess Federation vs Obama?, etc...

Posted by Billyjam, March 20, 2009 08:10am | Post a Comment
AMOEBA MUSIC HOLLYWOOD HIP-HOP TOP FIVE: 03:20:09
eligh and jo wilkinson
1) Eligh and Jo Wilkinson On Sacred Ground: Mother And Son (Legendary Music)

2) Scarab + Very present The Classic EP (Legendary Music)

3) Brother Ali The Truth Is Here (Rhymesayers Entertainment)

4) N.A.S.A. The Spirit Of Apollo (Anti)

5) T.I. Paper Trail (Atlantic)

Special thanks to Marques at the Hollywood Amoeba Music store for this week's Hip-Hop Top Five chart of the store's best selling new hip-hop albums. In the number one, with a bullet, slot is the new Legendary Music release from Eligh and Jo Wilkinson, On Sacred Ground: Mother And Son, whose impressive guest list includes Mark Bell, The Grouch, Pigeon John, Jiro Yamaguchi, Paul Dateh, Robert Miranda, Shanti Foster, and Slug of Atmosphere. Album highlights include "By And By" (feat. The Grouch & Paul Dateh), and "Honor Me" (feat. Pigeon John). Number two on the chart is a related release featuring Scarab (also of Living Legends fame) and Very of Us Pros, the duo known as Afro Classics, with the Classic EP. The EP includes scarab & very present the classic epsongs such as "Boom It," "The Follow Through," and "Live From Los Angeles Pt 1."

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Trees For The Equinox

Posted by Mr. Chadwick, March 20, 2009 12:15am | Post a Comment

Cat Stevens Buddha and the Chocolate Box reord labelsouthland record labelchuck ragan record label
al hurrican mr. saxophone hurricane record labeldesire tree record label
bill gather trio impact record labelbonnie koloc record labelcure never enough palm tree record label
polkas con ernesto guerra del valle record labelpablo cruise part of the game record labelgeroge winston windham hill record label standard design
jimmy buffett coconut telegraph record labelaviva record labellinda waterfall windham hill records alternate label design
hickoids toxic shock cactus desgn labelnew mex record label

Ya Hoidz Me? - Talk About Bounce Music

Posted by Eric Brightwell, March 20, 2009 12:01am | Post a Comment
Uptown New Orleans

For some reason, the Bounce scene, born nearly 20 years ago, seems to be undergoing a minor critical reassessment as it inspires curiosity in a new generation of fans amongst the young, the Euro, the old and new. I can only guess why. I suspect that part of it is a development of the ongoing, time-delayed, middle class fascination with vulgar, good-time booty, that, as with booty bass, gogo, ghettotech and juke house before, takes a little longer to catch on beyond the music's traditional base. Or perhaps it’s just the curiosity factor due to the prevalence of so many openly gay rappers, who have been the subject of articles in The Village Voice, The Guardian and The New York Times -- although their readers are unlikely to run out and buy the latest
Sissy Rap record. There was even a piece on Bounce for NPR’s stomach-turning attempt at hipness, What's the New What? ...Just the title of that show makes me feel like I've been kicked where it hurts.


On the other hand, sites like
Louisiana Rap, Nola Bounce and Twankle and Glisten have done a good job in documenting the scene and suggest a much deeper, more honest appreciation that makes me happy. I'll be honest, the idea of a politician claiming to like Bounce would make me die a little inside. Yet, I’d love it if all these underappreciated, undercredited artists who made Bounce happen got some well-deserved acknowledgment and attention. With films like Ya Heard Me documenting the scene and Youtubers like 1825 Tulane Ave and Whatheallman tirelessly keeping Bounce in your ear, I guess I can live with the idea that some ironic, comb-over-wearing member of the Dumpster Click is going to be into it too. Anyway, for the time being, if you look up "New Orleans Bounce" on Youtube, you're (currently, at least) unlikely to be confronted with the image an American Apparel/Vice Magazine disaster doing the Eddie Bow.

Coachella 2009 30/30 Initiative: The Hold Steady

Posted by Amoebite, March 19, 2009 05:08pm | Post a Comment
30 Coachella Bands in 30 Days

127 Bands, 5 Stages, 3 Days and 1 Mean Sunburn.

"Coachella Valley Music and Arts Festival - April 17-19th, 2009 or: How I Learned To Stop Worrying and Find 30 Reasons To Love a Weekend in the Desert."

-By Scott Butterworth
   
 
Day #3 - Artist #3 - The Hold Steady:

I hate to start off with what I'm about to do, because I think the world of rock and roll journalism has no shortage of the cliche, metaphor-based music review, but it jumped out at me. I couldn't help it. You know, the kind of description like:  "(insert new awesome band)'s album sounds like the aftermath of a night out on the town, when the band is using the crosswalk at Abbey Road after leaving the pub, and is run down by a bus driven by Pink Floyd."

The Hold Steady - Stay PositiveWell, I'm going to do it anyways. When I first heard "Stay Positive," the title track off The Holdy Steady's 2008 album, I sensed something unique, yet so familiar, from the Brooklyn-based (by way of Minneapolis) band. The formula instantly popped into my head. Ready for this? I promise it's the only cheesy metaphor I'll be using. If Bruce Springsteen and the E Street Band were constestants on the improv sketch show Whose Line is it Anyway and were told to sing a song in the style of the Dead Kennedys, ala Wanye Brady, we would get "Stay Positive."

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JANIS JOPLIN DIED WAY TOO YOUNG

Posted by Billyjam, March 18, 2009 05:07pm | Post a Comment
  
Janis Joplin & friends partying on the Festival Express train
There is a tragically telling scene near the end of Festival Express, the 2003 rockumentary about the 1970 rock festival tour by train across Canada. In it, Janis Joplin is on stage with Jerry Garcia of the Grateful Dead between music and before the closing set by Joplin of the final date of the exciting railway tour that also included the Flying Burrito Brothers, The Band, Buddy Guy, and Sha Na Na. As much as it was a concert event, it was equally a traveling party, with one railway car ("the bar car" - as in video clip above) specifically set up for drinking and partying -- a place where Joplin apparently spent a fair amount of time. 

In the film's final scene, Joplin, whose legendary hard partying ways would lead to her death not too long after this very concert, is seen onstage and seems a bit buzzed but still functional. She proceeds to present the two main organizers of the unique railway traveling rock tour, Ken Walker and Thor Eaton, with a heartfelt, two-part thank you gift. She first presents them with a model train "to remember" the tour, and then, smiling widely, presents them with a case of tequila "to continue" the party. In return they gave Joplin a gift of her favorite poison, a bottle of Southern Comfort, which obviously pleased the singer, who passed it off stage for safekeeping and proceeded to jump into an inspired rendition of "Tell Mama."

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