Amoeblog

AMOEBA MUSIC HIP-HOP WEEKLY ROUND UP: 05:29:09

Posted by Billyjam, May 29, 2009 07:37am | Post a Comment
Amoeba Music Berkeley Hip-Hop Top Five: 05:29:09
Eminem Relapse
1) Eminem Relapse (Shady/Aftermath/Interscope)

2) Method Man & Redman Blackout! 2 (Def Jam)

3) The Grouch & Eligh Say G&E! (Legendary Music)

4) Busta Rhymes Back On My B.S. (Flipmode/Universal Motown)

5) Tanya Morgan Brooklynati (Interdependent Media)

Eminem's latest full-length, Relapse on Shady/Aftermath/Interscope is the Detroit artist's sixth studio album and his first in five years. It is also in the number slot on the hip-hop chart at Amoeba Music Berkeley this week, just as it ranked last week at the Amoeba Hollywood store. The 20 track album from the 35 year old artist, born Marshall Bruce Mathers III, comes 13 years since his independantly released debut album Infinite, and exactly ten years since his major label breakthrough and first album through Dr Dre's Aftermath Entertainment, The Slim Shady LP.  Dr. Dre not only produced most of the new album (and its promised sequel in a few months) but Dre also cameos on the track "Crack A Bottle" with 50 Cent. As for the reaction to Relapse? It is charting high at Amoeba and elsewhere. Even here in Dublin, Ireland, where I am writing this Amoeblog, it is given high profile in and getting high sales at all the main record stores. But also here in Europe, as in the States, the album has folks divided into the two camps of either loving or hating it. Those who hate it include many former Eminem fans who contend that he has fallen off and is merely going through the motions. Those who love it do admit that it takes a few listens to fully appreciate and warn the faint of heart to be prepared for Em's often unsettling, disturbingly vivid tales of violence and abuse, including, of course, drug abuse, which is the album's theme, based on the artist's open admission to a prescription drugs addiction. 

Continue reading...

Lalo Guerrero "Pancho Claus" b/w "The Burrito"

Posted by Gomez Comes Alive!, May 29, 2009 02:09am | Post a Comment
I was going through some singles I had recently purchased and one of them was one by Lalo Guerrero. It wasn’t one of his most famous songs, but it's a great single nonetheless. "Pancho Claus" b/w "The Burrito" was released in 1969 on Cap Latino Records. By then, Lalo was touring and recording with his son, Mark, and his band, Mark & The Escorts. According to Mark Guerrero's website, “Pancho Claus” was a newer version of his classic Christmas song, which he originally recorded in the fifties. It’s the Chicano version of Twas The Night Before Christmas, with mother cooking Enchiladas (I wonder why Lalo didn't mention tamales? Even my Non-Mexican friends know that's when you get tamales? hmmm...), while Dad dances Mambos with the all the ladies. Rather than the kids sleeping, they are listening to The Beatles. During that part of the song, Mark & The Escorts break into “Sgt. Peppers Lonely Hearts Club Band.” The original 1950s version referred to Elvis, but since it was 1969, Lalo wanted to stay with the times. The next verse describes a drunken uncle that will surely end the fun and prevent Pancho Claus from visiting the household. Eventually, Pacho Claus appears, but not before the drunken uncle breaks into a version of the Mexican classic “Guadalajara.”

The flipside is even better. “El Burrito” is a song about a guy eating a burrito with a girlfriend. The chorus goes: “I’ll bite on one end, you’ll bite on the other, we’ll meet in the middle and then oh brother, we’ll kiss and kiss until we smother, and when it’s gone, we’ll order another.” It’s one of those double-meaning songs that ends with the mother catching the couple sharing the burrito. The mother takes the daughter home and Lalo is left all alone with just his burrito in his hand.

Continue reading...

This Week At The New Beverly!

Posted by phil blankenship, May 28, 2009 11:19pm | Post a Comment
This Week At The New Beverly

The full June Calendar is online!
http://newbevcinema.com/calendar.cfm


Friday & Saturday May 29 & 30


BACK TO BACK TO BACK !

Back to the Future Trilogy Marathon
All tickets are $10 for this special event.
One ticket admits you to all three films!

Great Scott! Dr. Emmett Brown himself, Christopher Lloyd, will appear IN PERSON Friday night, schedule permitting.

Actress Claudia Wells, Jennifer in the original film, will appear IN PERSON both nights to discuss her film work.
Check out Claudia's new website www.armaniwells.com, too!

Actor Jeffrey Weissman who played George McFly in Parts II & III will be on hand Friday to talk about both movies!


Back to the Future (1985)
http://us.imdb.com/title/tt0088763/
dir. Robert Zemeckis, starring Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover, Thomas F. Wilson, Claudia Wells
7:30, Watch The Trailer!

Vinyl Confidential, 2.1 -- The Brief History of 45’s, Part One

Posted by Whitmore, May 28, 2009 08:42pm | Post a Comment

The whole brief history of 45’s comes down to about two and a half minutes of heartbreak and a music industry coked up on millions of nickels and dimes from ten year olds spending their allowance. Aaah! But the joy in the weird, seemingly up the arse, off-the-cuff business decisions arbitrarily slung together.  
Why seven inches, and not six… phallic compensation? Why a big whole instead of a small one … phallic compensation! There must be some kind of underlying order and logic to all this, I guess. Then again, I'm no expert on logic and order-- I spend most of my thinking time in the absurd, geeky universe of 45's.   
 
The 7” 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and marketable way to sell records to teenagers. In between crashing jalopies and begetting the next generation at lover’s lanes across the nation, all the flattop cats and the dungaree dolls were done playing Dad’s deadsville 78 rpm shellac platters at sock-hops. The Second World War brought new technology into the marketplace, the unbreakable disc was born, changing and dominating the industry for the next 40 years.
 
The first 45 rpm records were monophonic...and probably should have stayed there in its sepia toned aural perfection. But a few years later technology once again wielded new brawn, cutting a swath through the new middle class’ piggy banks and their want for shiny new electric toys. In the 1950’s and 60’s stereophonic sound looked too fancy to ignore, capturing the imagination by way of graphic designs carving up the backs of entire album covers with a geometry textbook fill of charts, dials and numbers. To starry eyes, this was the conduit to the modern world, chock-full of jetpacks, personal robots, self guided automobiles and scrumptious TV dinners. Except for the occasional monophonic promo record pressed for AM radio play, by the early 1970s almost all 45 rpm records were produced in stereo, though coincidentally, we’re still waiting on everything else promised by those rosy sci-fi prognosticators. I suspect color TV was invented specifically to take the edge off all the disappointments.  
 
Records, like bodies, like the Earth, are not necessarily made to move smoothly on curved orbits by a force called commerce. The cheapest and quickest way for record companies to track the newest new thing in a curved space was always 7” singles. Etched into each side is the shortest distance to a musicians sound, the fastest way to contemplate their muse, value, and the least painful way to navigate the unknown until the slow fade at grooves end has left your head either bopping or shaking. But sometimes the manufactured pre-determined length of a 45 was woefully insufficient. Old school set of natural law insisted three minutes was more than adequate. (Though on occasion editing could be conspicuously delicious, slicing out the unnecessary crap to get to a song’s hook: for example, the original single versions of "American Pie," "In-A-Gadda-Da-Vida" and "Thong Song"...) Eventually 12” 45’s, unhampered by space and time, boogied down the pike and unhinged the pulse, setting off the ballroom floor, teaching matter how to dance and in particular small objects traveling along the straightest possible lines in curved space. Anyway, the cosmos continues to evolve in its typical way; Earth continues to revolve -- though not at 45 revolutions per minute -- and my blather continues to dissolve in its typical way ...

out this week 5/26...james blackshaw...phoenix...grizzly bear...blank dogs...

Posted by Brad Schelden, May 28, 2009 01:45pm | Post a Comment
blank dogs
I imagine that everybody will be so busy talking about Grizzly Bear this week, they will forget about any other albums that have also come out this week. I am still trying to get into the Grizzly Bear, but it just hasn't been working. I don't neccessarily have a problem with them and maybe they will finally grow on me in the next couple of weeks. It just has not happened yet. But I imagine if you are already a Grizzly Bear fan then you will love this new album -- everybody seems to like it. Some lucky fans got to hear the album early and even buy it early on this Monday here at Amoeba, the day before the album officially came out.

But there are some smaller albums that are getting me very excited this week. First up is the new album by Blank Dogs. The album is called Under & Under and is released by In the Red Records. Blank Dogs is actually just one Blank Dog: one dude from Brooklyn. We seem to know way too much about most artists these days, so I find it refreshing when I know absolutely nothing about an artist. It just makes it all about the music, which is what it should be. This guy even goes so far as to wear masks when he is photographed. Blank Dogs have been putting out music for a couple of years but this is my first real introduction to him. I have long been a fan and will always be a fan of blank dogs under and undershoegaze...and shoegaze this is not, but it does sort of fall into the new genre -- "Shitgaze," brilliant term that makes complete sense. He basically is sort of making up his own weird distorted intrepretation of a genre. It makes it super personal and way more interesting than anything else out there. I am also forever in love with the keyboard, so when it is done right, I usually fall in love with the album. Blank Dogs sound not too different than the synth bands you might have grown up with. Elements of Joy Division, The Cure, and Tuxedomoon are easy to find in these songs. He is not really hiding his influences, but imagine a Jay Reatard type playing with those old genres and making his own sound. The album is dark and dreary but also has a hidden energy inside that make the songs have a sort of more fun, pop feel to them. This is probably the music I would have wanted to play if I had ever continued on my career in music and perfected my keyboard playing skills. Lots of good songs on the album, however, the first track is still my favorite. As much as I love Joy Division, sometimes I need a break. This album is the perfect alternative -- giving you the darkness you desire but with a little something else. Maybe if Ian Curtis had found the right medication and managed to survive the 80s and 90s, this is the sort of album he would have ended up making.
james blackshaw
One of my other favorites of the week is the new James Blackshaw. This guy has been around for a while but I have never actually gotten around to listening to him...although it is very possible that I did listen to him before and it just didn't hit me until now. I honestly always thought this guy was some 60 something Irish dude playing old timey folky ballads. I pictured him with a long white beard and maybe in a wheelchair -- not unlike Robert Wyatt. I was amazed to find out he was actually born in 1981, and he is from London...so I was not so far off on his location, just a bit off on my guess of his age. He has been putting out albums since 2004. He made his way to the label Young God for this new album called Glass Bead Game. Like the albums of Grouper and Jose Gonzalez, this album manages to break my heart a little every time I listen to it. At first it just seems like a simple little album of solo guitar and piano, but it managed to get inside me and break me all up inside. It was one of those albums that I put on not really exjames blackshaw glass bead gamepecting to like, but I was intrigued because it was on Young God. I just expected some Glenn Yarbrough style vocals over the music. I have not had a chance to explore his old albums, but I know he has crossed some boundaries and experimented with a couple different genres. I just like what he is doing right now. There is also some great piano work on this album. The Glass Bead Game is actually the last book by author Hermann Hesse, the man who brought us Siddhartha and Steppenwolf. The album features Joolie Wood on violin, clarinet, and flute; and also John Contreras playing the cello, both of whom also play with Current 93. Lavinia Blackwall also contributes some vocals, but most of album is instrumental. The album is nothing short of beautiful. While it manages to break my heart every time I listen to it, it also mangages to heal it every time. The album is sort of a spiritual classical album. It really makes me feel like I am living in a different era.

BACK  <<  1328  1329  1330  1331  1332  1333  1334  1335  1336  1337  1338  1339  >>  NEXT