In the hip-hop version of nostalgic rock ‘n’ roll packages like Art Laboe’s Memories of El Monte or Alan Freed’s American Hot Wax, the 2010 Rock the Bells tour barreled into a packed Shoreline Amphitheatre to revive the golden age of hip-hop with a particular zeroing in on the magical year of 1993. That year, after all, saw releases of Snoop Dogg’s Doggystyle, A Tribe Called Quest’s Midnight Marauders and the Wu-Tang Clan’s Enter the Wu-Tang (36 Chambers)—all iconic albums, and all performed “in their entirety” at Rock the Bells on Sunday.
Notably, though, none of the acts adhered to the “in its entirety” concept. Rakim purportedly performed Paid in Full in its entirety, but excluded three songs from the album and scattered the others, out of order, throughout a greatest-hits set. This set the stage of artists bending toward hits from classic albums rather than staidly presenting them cover-to-cover. While at first this seemed like a bit of false advertising in action, it was eventually evidenced that when deep album cuts were dutifully unearthed—Tribe’s “God Lives Through,” say—energy levels suffered.
At a show like Sunday’s, one had to set aside valid concerns about hip-hop getting older and leaning on its past rather than looking to its future. For all the chatter about the genre being in a slump, there is so much life and vitality to the music presented on Sunday to get hip-hop through the longest dry spell. No one tugged at their goatee or scribbled in their notebook about these concerns. You don’t worry about shit like that when an epic lineup is playing out in front of your eyes.
Rakim opened with “My Melody,” played the part of Eric B. by cutting up lines from “I Know You Got Soul” on the 1200s, got the Bay Area crowd to boo Los Angeles and dedicated songs “to all the mommies out there.” Standing like an impenetrable wall of skill, he moved deliberately around the stage to rearranged Paid in Full cuts alongside later hits “Know the Ledge” and “Don’t Sweat the Technique.”
Scheduled early in the day at 1pm for too many empty seats, it felt like Rakim got little love for someone generally regarded as the most innovative and influential MC of all time. He didn’t seem fazed. He told security to lay off so the people could cluster near the front of the stage, absolutely killed tracks like “Microphone Fiend” and “I Ain’t No Joke,” and at one point planted his Nike shoe on the monitor, licked the back of his thumb and deftly cleaned off a tiny fleck of dirt stuck to otherwise spotless sneakers. Smooth.
“When I get off stage,” he warned of the massive lineup to come, “it’ll get crazy. And then it’ll get crazier.”
“Hip-hop is not that Hollywood bullshit!” yelled Immortal Technique, on the side stage. “Hip-hop is being one with the people!”
He then finished a song with a chant of “Fuck Cops,” and then explained himself. “I know some of you out there don’t agree with that last song. You might be like, ‘My dad is a cop. He works hard and put himself in danger to keep the country safe.’ Well you know what? Fuck your dad! Fuck your family! And fuck cops!”
This didn’t go over well with some. While Immortal Technique talked about his recent trip to earthquake-ravaged Haiti, a dude in the crowd threw a soda bottle at him. It missed, but the audience was all too glad to point the guy out. Immortal Technique’s entourage ran off the stage, into the crowd, and cornered the guy. It looked hectic, but then security intervened and dragged the dude to be thrown out at the gates.
“The crowd will always be filled with one agent provocateur,” quipped Immortal Technique. “You got off soft.” After his set, he stayed at the merch booth for two hours, signing autographs.
Lauryn Hill was 45 minutes late, and by the time she finally came out and finished her extended rock version of “Lost One,” her first song, it was 5:35—the end of her set, according to the schedule. If the stickler Bill Graham had still been in charge at Shoreline, he’d have unapologetically pulled her off stage right then as punishment for tardiness. Rock the Bells allowed her a full set anyway, albeit a shortened one; in the ridiculously long wait before she took the stage, roadies twice came out and crossed songs off all the set lists.
In Sally Jessy Raphael glasses, a black sequined cap and a homeless-chic green trenchcoat covering an early-’90s high-waisted getup, Hill displayed all the same hopeful energy of her show earlier this year at the Harmony Festival in Santa Rosa by churning her arms wildly and strutting in insanely high four-inch heels. Things looked grim when she left the stage ten minutes in, but returned wearing different shoes. Probably a wise move.
The crowd seemed confused by her new arrangements, and didn’t move much until she got into Fugees tracks like “Ready or Not” and “Fu-Gee-La,” which opened the floodgates for mayhem. Hill performed everyone else’s verses, and displayed her recent desire to be taken seriously again after a long rough patch. By the time she ended with “Doo Wop (That Thing),” the sting of her late arrival was nicely salved.
“I can only introduce this next group,” said Hot 97 DJ Peter Rosenberg, solemnly, “by saying that this is my favorite group of all time. Rock the Bells, please welcome to the stage… A Tribe Called Quest!” Except Tribe wasn’t ready yet, and when a rushed Ali Shaheed Muhammad emerged from the wings and quickly started the intro to Midnight Marauders on the turntables, he shot Rosenberg an icy stare. Oops.
As mentioned, Tribe actually stuck somewhat to the material from Midnight Marauders, even performing late-in-Side-B cuts like “Lyrics to Go,” which you’ll never hear at a regular Tribe show. The “Midnight Lady” voice popped up from time to time in the set, they did everything on the album except “8 Million Stories,” “We Can Get Down,” and “Keep it Rollin’,” and Q-Tip remarked that Midnight Marauders and Enter the Wu-Tang came out on the same exact date in 1993.
But the heat came when they brought out Busta Rhymes for “Scenario,” “Check the Rhime” and “Award Tour,” which saw Q-Tip running out into the amphitheater and working the fans in a show-stopping, all-star set closer. Tribe, Busta, Jarobi all onstage, simply sliding into place? Um, best part of the festival?
“It’s just like 15 guys all shouting the same thing and shitting on each other’s verses,” remarked a companion before the Wu-Tang Clan came on, and in a way, he was right. Wu-Tang, however, also adhered pretty strictly to the in-its-entirety thing, and it’s pretty thrilling to see all those guys on stage at the same time.
The role of Ol’ Dirty Bastard was filled by Ol’ Dirty’s son, who styled his hair in the same fashion and wore an oversized “R.I.P. ODB” T-shirt. He was clearly the most excited to be on stage, but the Wu held it down, and I tell you, the place was going bazonkers.
“I saw this shit on stage last night,” said MC Supernatural, introducing Snoop Dogg, “and what you’re about to see is epic. It’s like a movie.”
Snoop’s set was the perfect way to end the long day—laid back, entertaining, and for the sonically inclined, perfectly EQed. He had a tricked-out bike and a fire hydrant onstage. He had a picnic table covered in Olde English 40 ozs. He had the entire Dogg Pound (sans Nate Dogg). He had a giant backdrop of the cover to Doggystyle. He had full-budget video interludes to match all the skits on Doggystyle. He had a guy in a gigantic full-body dog suit. He opened with the bathtub skit, had the Lady of Rage deliver “G Funk Intro” and launched majestically into “Gin and Juice,” blunt in hand. It was beautiful.
Snoop also really took time to paint a picture of where he was at when making the record. He explained that “Gs Up, Hoes Down” had to be taken off the record due to sample clearance issues. He told the story of proposing “Ladi Dadi” to Dr. Dre: “When I was working on this album, Doggystyle, I told Dr. Dre I wanted to do something that’d never been done before. I wanted to redo this song I loved when I was a kid. And he said, ‘Okay, but we gonna fuck with it.’”
By the whole crew exiting the stage after every few songs, the set had the feel of a theatrical play, divided into acts and narrated by the Greek chorus of video interludes. And yet it was when Snoop broke the fourth wall that the show carried most of its weight. “Who here really did buy Doggystyle when it came out?” he asked. “Who had it on cassette? Who had it on wax? Who had it on CD? Were CDs even out? I was scared of the CD, man, I had the motherfuckin’ tape. Yeah. East side, G side.”
Warren G performed “Regulate” to represent the non-Snoop hits of the era, and the whole Dogg Pound even performed the posse cut “Stranded on Death Row,” from The Chronic. (“We wanted to show the world that we weren’t just gangsta rappers, but that we were MCs.”) And even though he ended with “Drop it Like It’s Hot” and “I Wanna Rock,” the set was a very well-done, heartfelt homage to a groundbreaking, bygone era.
“Doggystyle, man,” Snoop mused, near the end. “This shit is crazy. All my people on stage right here? I’m havin’ a moment right here.”
More Photos Below.
The long-hoped-for resurrection of Lauryn Hill, a dream seeming to slip further away with each year and each incoherent concert, took a giant step closer to fulfillment tonight at the Harmony Festival in Santa Rosa.
We may never know what exactly has plagued Hill these last eight years, forcing her to shirk the limelight, cancel tours and sabotage her reputation, just as we may never know how she became capable of triumphantly returning to the stage in 2010. One thing is evident: in Santa Rosa, of all places, the 35-year-old singer finally showed she craves dearly to be taken seriously again. Reinvigorated with enthusiasm, she inhabited the music, conducted the band, belted improvised shout-outs and thanked the crowd—all in the first song. “I love you,” she exclaimed to a field of fans. “It’s so good to see you.”
If it weren’t for the harlequin outfit, bulky hoop earrings and heavy metal guitar solos, it was almost like seeing the Lauryn Hill of old.
Outwardly struggling with fame, Hill has long evinced a complete dread of pleasing the public (see: Unplugged 2.0), but in a 75-minute set of Fugees classics and Miseducation tracks in Santa Rosa, she refreshingly aimed to do just that. From breakneck set opener “Lost Ones” to the slam-dunk closer “Doo Wop (That Thing),” Hill showed a genuine desire to again fulfill her talent.
It started rough. Scheduled to go on at 6pm, Ms. Lauryn Hill, as she requires to be billed, came onstage only after her DJ bored the crowd with a half hour of clunky, unblended snippets from the likes of “Purple Haze,” “Another One Bites the Dust,” “Don’t Stop ‘Til You Get Enough,” “Pass the Dutchie” and “Bam Bam.” The presence of two large teleprompters at the foot of the stage, for lyrics, added to the slowly mounting despair. By 6:29, when instructed to make noise for the umpteenth time, the teeming crowd could only wonder if Hill would arrive at all.
But grandly arrive she did, in an ’80s multicolored full-body jumpsuit that was only moderately silly in light of the get-ups donned by the average Harmony Festival attendee. “Lost Ones” set things straight in a ten-minute version that twisted through five different arrangements, and Hill’s recently-faded voice showed rejuvenated form with “When It Hurts So Bad.” By the beautiful “Turn Your Your Lights Down Low,” the crowd was in the palm of Hill’s hands, and comeback was in the air.
“We gonna do some old stuff,” Hill proclaimed, “but, but, but, but… there is a ‘but’… we gonna do some old stuff kinda new. Is that okay with you?” A medley of Fugees tracks followed, with Hill even taking over some Wyclef and Pras verses and singing OG sample material (“I Only Have Eyes For You”). And despite a generation’s collective memorization of the album versions, reworked songs with reggae and hard rock elements electrified Hill, who nailed every segue and spat out lightning-fast lines quicker than the crowd could sing along.
There were, sadly, two immediate drawbacks. One, Hill clearly has no concept at all of how live sound operates. Both between and in the middle of songs, she constantly complained about the stage and house mix, chiding the soundman to keep turning up every instrument and microphone according to her fleeting whims. The result was a washed-out din.
The other problem was that Hill is perhaps now too eager for public approval. From the ultra-fast tempos which, even with the teleprompters, she at times struggled to keep up with; to the claustrophobic arrangements for two guitars, two basses, two keyboards and three backup singers; to the “whooooo!”s and the “yeeaahhh!”s and the hasty leg-kicking, the concert had the effervescent taint of a Vegas show.
Realizing that Hill is simply giving people what they want—in preparation for her Rock the Bells dates, no doubt—is a blessing and a curse. She admirably tried for a time to break from fame’s mold, but it only resulted in bad music and psychological deterioration. With this greatest-hits set out on the road, her old fans are certainly satisfied, but what about staying true to one’s muse?
The question was forgotten each time Hill eagerly jumped into each song. “Pop this one, c’mon, let’s go!” she told her band, and “Doo Wop (That Thing)” set an entire field of festival goers aflame. “Thank you so much,” she said, as a sea of arms applauded wildly. “Thank you for your patience with us. Good to see you. Hope to see you soon.”
Lauryn Hill hasn’t made fans’ patience an easy task these last eight years, but let’s hope we see her in this kind of form again soon. Her emancipation might still not fit some people’s equation—I’ve already heard from people who were disappointed with the show—but the trainwreck curse is over and the resurrection is afoot. Now the fine-tuning begins.
When It Hurts So Bad
Turn Your Lights Down Low
How Many Mics / I Can’t Stand Losing You
I Only Have Eyes For You / Zealots
Ready or Not
Doo Wop (That Thing)
More Photos Below.
– Ceremony’s new record is called Rohnert Park. The cover photo is awesome. I talked to vocalist Ross Farrar about it before the band left for Korea; it’ll be in the Bohemian next week. “I have mixed feelings on Rohnert Park,” he told me. “I do have a little bit of tension. A lot of things happened when I was growing up here, but I realize now that I’m very appreciative of it. So calling the record Rohnert Park is a balance between homage and hatred.”
– The Christina Aguilera record has leaked. Don’t laugh. She’s got an amazing voice that’s always wasted on poor material, and I’ve been waiting for the material to catch up. This could be the one. “Bobblehead” is straight-up Manaj / M.I.A. Stylez.
– The wedding of the year took place over the weekend, and on the decks was the erstwhile DJ Broken Record. While Ben and Desiree walked down the aisle to a throng of cheering friends, this remix of “Rebel Girl” played triumphantly. Specially curated for the Star Wars obsessive and/or Bikini Kill fan. Way to go, Edgar.
– The Arcade Fire is putting out a new record. Despite attempts to be blasé toward it, the first couple teasers sound really good.
– Eric Lindell recently left Alligator Records, started his own record company Sparco Records, recorded an album at Grizzly Studios and put it out on vinyl. It’s the best record he’s ever made. Includes a stunning version of the Impressions’ “It’s Hard to Believe,” and even a song dedicated to Bodega. He plays the Forestville Club this Saturday, May 29.
– I saw Jeff Ott at the wedding, which reminded me that Fifteen has a new 7″ coming out. You read that right: it’s an old recording of the band’s cover of “Caroline,” the Jawbreaker classic. I’m pretty sure it previously appeared on Eggplant’s tape, Later That Same Year, which I still have. I do know that Hanalei contributes the B-Side; a cover of “Petroleum Distillation.” Order it here.
– Hanalei has an amazing new record coming out this weekend called One Big Night. See him play on Friday, May 28 at Thee Parkside and Saturday, May 29 at the North Bay Film and Art Collective. Also playing the Collective show are the New Trust, now (again) with a fourth member, Chris Brum, and also Paper Hands, the new band of Michael Richardson, Kevin Buchholz and Dio McLeod. Pants will be shat.
– I was pleased to see the New Yorker‘s Sasha Frere-Jones give a tip o’ the hat to Type Records and the noise scene in general this last week. As previously mentioned, the Yellow Swans LP is magnificent, as is Grouper’s Dragging a Dead Deer Up a Hill. I stopped in at Amoeba after the Giants game on Sunday and bought Jóhann Jóhannsson’s And In The Endless Pause There Came the Sound of Bees LP, which is rather beautiful classical-ish music written as the score to a film. To counter, I also picked up RRR-1000, which may be the most ridiculous record of all time. (Since RRR-500, at least.) Quite an incredible essay on the subject of locked grooves, and RRR-1000, is here.
– David Byrne is suing Florida governor Charlie Crist for using “Road to Nowhere” in a campaign ad without permission.
– What’s that about Mike Richardson? The Benton Falls album Fighting Starlight is reissued on vinyl? No way. Also: Converge’s Jane Doe and available as a pre-order from Plain Recordings, Spiritualized’s Ladies and Gentlemen We Are Floating In Space.
– Do take pleasure in this video for E-40’s “Lightweight Jammin’.”
– Lauryn Hill is headlining this year’s Harmony Festival, and it will either be so bad that people will flee to the gates and demand their money back or it will be the greatest comeback in ages. Assisting the chances of the latter: she’s rumored to be doing her entire album The Miseducation of Lauryn Hill in its entirety at select Rock the Bells shows this summer. Or maybe not. Or maybe so. At any rate, if she hits the stage in Santa Rosa to the album’s first track “Lost Ones,” shit could go off.
It’s official: Lauryn Hill is the headliner at this year’s Harmony Festival in Santa Rosa.
The former Fugee who struck out on her own with The Miseducation of Lauryn Hill rarely performs live; the Harmony Festival is her only planned summer festival appearance.
The lineup also includes Steel Pulse, Galactic, Slightly Stoopid, Rebelution, the Expendables, Dweezil Zappa, Jai Uttal, Fishbone and 7 Walkers, led by the Grateful Dead’s Bill Kreutzmann.
Chali 2na and Lyrics Born are performers at the annual Techo-Tribal Dance, along with DJs Tipper, Ott, Beats Antique, Lynx & Janover and Galactic.
This year also marks the return of the Harmony Fetsival’s skate area with a public skateboard course, numerous speakers including Dr. Bruce Lipton, mycologist Paul Stamets, acivist Caroline Casey, author Dan Millman, peak oil theorist Mike Ruppert, healer Nicki Scully, political satirist Swami Beyondananda and “world-renowned saint and divine guide” Pujya Swami Chidanandji.
For more information, see the festival website.