Spent a good deal of time dwelling on Dilla today for a quick piece on Good Hip Hop’s J. Dilla Tribute in Sebastopol next weekend. Then, drove to Petaluma with Like Water For Chocolate on the tape deck. The weird thing about Dilla is that as far as I remember (and I’m a little older than most people who seem to champion his genius between every meal), nobody—as in, not one solitary person I knew—liked Labcabincalifornia when it came out. Or The Love Movement. Or Amplified. All really, really reviled albums, they were.
Whether or not Dilla was ahead of his time is as pointless as wondering, as I did today, if there would eventually be someone else who decided to swap up the kick drum and offset the snare ever so slightly. That stumbling burble, his trademark—someone else surely would have thought it up, just like someone would have shook their hips and howled sexual innuendo on TV if Elvis hadn’t. Right?
All of this is to say that rap production is in some interesting hands right now, and those still worshipping Dilla should hopefully see that his spirit lives on in intrepid creativity if not outright aesthetic. Right around the time Dilla died, the Pack, from the Bay Area, had a left-field hyphy hit with “Vans,” which rode on a tiny snap beat, a tssst-tssst hi-hat and a synth sent from Mars. Its spirit owed slightly to the Ying Yang Twins’ “Wait (The Whisper Song)” before it, and birthed a YouTube craze with the New Boyz’ “You’re a Jerk” in its wake.
Young L from the Pack released this new video for “Young L-E-N” today, and I hope its production hits the ears of mainstream beatmakers like Just Blaze. Not at all into the useless verses, but that’s hip-hop in 2010—the illest beats beneath filler lyrics. Dilla was lucky to have visionary MCs in the best of both worlds.
Every time these guys get together on stage the world is blessed. A Tribe Called Quest, unannounced reunion, at the Knitting Factory last night:
I caught “Award Tour” at Outside Lands in SF where the festival crowd was subdued, but this is insane. Phife has heavy medical bills from diabetes, and the show was a benefit for him, but feel the joy in the room and try to deny the gift to the fans.
I love San Francisco. I love Ocean Beach, and I love biking through Golden Gate Park past the eucalyptus and bison, and I love getting closer and closer to tour buses, road barricades and the sound of distant bands warbling in the wind. I love dropping my bike off with the San Francisco Bike Coalition, and I actually kinda love running from stage to stage to see as many bands as I possibly can before riding back to the beach.
It didn’t used to be this way. I hated festivals. Too many bands, not enough time, way too much marketing, and the worst offense of all—no free water. All of these symptoms are present at the Outside Lands festival, and yet what can I say? I love Golden Gate Park, and love is blind.
The Outside Lands festival returned this year to a flurry of neighborhood complaints about noise and fan complaints about lineup, and the first thing we notice is that there’s way fewer fans and way more people shoving handbills in our faces than last year. Other than that, and the near-universally recognized weakness of this year’s headliners, the Outside Lands festival is pretty much the same as last year—with batting cages.
Right before Built to Spill goes on, a girl, about 19, asks me if I’ve ever seen them before. “Yeah, about 12 or 13 times!” I tell her. “I’ve never heard them,” she says, “but my friend told me they’re like Band of Horses. Are they like Band of Horses?”
I admittedly am biased when it comes to Built to Spill, and I feel bad that they’ve been given the unprestigious 2:30pm time slot on a Friday. What’s it like being a hugely influential band, only to have the younger generation care more about your stylistic debtors? The old way of thinking was to raise a bitter ruckus and let as many people as possible know that you haven’t been given your due.
The new way of thinking is that through either Zen or humility, Built to Spill are unfazed at their spot both on the festival schedule and in the tight-jeans handbook. They play “The Plan,” “Else,” “Car,” “You Were Right,” “Big Dipper”—perfect songs that don’t sound old. They play a new song from their upcoming album, with lyrics about Canada and locks on the door, and it sounds just as fresh. Guitarist Jim Roth breaks a string and changes it himself mid-song. Doug Martsch chirps his simple “Thanks.”
Afterwards, a fan is overheard saying, “Dude, Built to Spill and Vicodin… soooo good.”
The Dodos recorded an album recently and said fuck it, let’s just stream it online for everyone to hear. In this day and age, that isn’t shattering news, but in light of Visiter and its huge success, it’s admirably surprising that their record label was cool with essentially giving the anticipated follow-up away for free.
Even more surprising, for me, is that live, the Dodos are imbued with the full-on spirit of thrust. Their records have their mellow moments, but the noise made by just Meric’s acoustic guitar and Logan’s drums on stage is baffling. They have a guy playing vibes. Everyone sings along to “Fools.” Their San Francisco friends are out and about, but no one’s razzing them ‘cause they’re ruling it.
The best thing to do in San Francisco when there’s a lull in the day is to ride down to Amoeba to score some records by Dinah Washington, Jeru the Damaja, Dirty Projectors, Larry Young, Sunn o))). Hit up the liquor store on Stanyan and pound an entire 32 oz. Gatorade on the sidewalk. It’s hot, man. Bad day to wear black jeans.
Q-Tip takes the stage with a full band—guitar, bass, drums, DJ, and a wacky dude with star earrings and dyed red hair who plays Fender Rhodes, saxophone and keytar. I loved Q-Tip’s album from last year, The Renaissance, and he comes out to its lead-off track.
Q-Tip, of course, is commanding the stage; he’s one of the most charismatic hip-hop performers in history. He breathes in rhythm like the Meters, he throws his head back and howls like James Brown, and, in a brief tribute to Michael Jackson, hammers falsetto after falsetto. His band follows his every cue, hitting the floor and cutting the volume at the right times, rising with each scream.
People sometimes ask me who my all-time favorite rapper is. I won’t choose just one, but if all of the hip hop records in the world disappeared tomorrow, I might be placated if the albums made by A Tribe Called Quest were spared. So it’s exciting when Q-Tip hits the first verse of “Oh My God,” and when he flips the beat on “Sucka Nigga,” and when he closes out “Find a Way” with a full-on talk box solo by the wacky keyboard player. When he beatboxes the Brady Bunch theme song into “Bonita Applebum,” the crowd loses their minds.
“Turn off your phones, your iPhones, your Blackberries!” he shouts during an extended jam on “Electric Relaxation.” “We feelin’ the music right here!” The energy level keeps rising and rising. “Check the Rhime” follows, then “Scenario,” and every Tribe Called Quest fan in San Francisco is losing their mind.
And then, oh shit, it happens.
Phife and Q-Tip on the same stage performing “Award Tour” at Outside Lands may just be the highlight of the entire festival, for me and a handful of others. My only question: Why in the world didn’t Q-Tip bring him out on Tribe songs sooner, especially for the back-and-forth of “Check the Rhime”? Phife’s voice may not be in the best form, but any rapper who evidently carries a microphone around in his pocket is obviously ready to go on a moment’s notice.
Q-Tip acknowledges the history of the moment, says, “I don’t know when you’re ever gonna see that again,” and lets the crowd trickle away to “Life is Better.”
To answer your question, no, nobody threw panties at Tom Jones—at least not for the first few songs. I’m stumped. I remember hearing about Tom Jones issuing a statement about ten years ago asking people to stop throwing panties at him, but no one took it seriously. What’s the deal?
Jones sings “I’m Alive,” “Give a Little Love,” and “Green, Green Grass of Home.” During the fourth song, “If I Only Knew,” a lone red pair of panties flies through the air and alights near Jones’ feet. He ignores it. 40 seconds later, another pair of panties arcs toward the stage. Then another, and another, and another. By the end of the song, it’s just a crazy hailstorm of panties falling on Tom Jones, and I sort of feel sorry for him but I gotta admit, it’s also funny as hell.
He does “Hard to Handle,” “Mama Told Me Not to Come” and “Delilah,” and saves “It’s Not Unusual” for the end, when most of the curious and ironic onlookers have bailed to catch a painfully boring band called Pearl Jam.
I hope that eventually, someone will chronicle a history of the walk-on music that bands use to take the stage. Fans of Morrissey seem especially devoted to this, as are fans of Depeche Mode, who even released their pre-concert mix on a CD for their fans. Tom Waits played old blues 78s through tinny cone speakers on his last tour; Springsteen plays “Take Me Out to the Ballgame” when he’s at a baseball stadium; classical recordings of great bombast are popular. Like so many other ephemeral pieces of the concert experience, walk-on music is something that’s forgotten halfway through the first song—and yet for a brief minute, after the lights go dim, it unites the entire crowd in an innervating herald.
Pearl Jam’s walk-on music is “Metamorphosis 2,” by Philip Glass. There’s some other songs that happen between that and our walking back to our bikes, and Eddie Vedder seems like a nice guy and all, telling the crowd to “keep track of each other and make sure that no one goes down,” but you know. It’s Pearl Jam: The Sound of the ’90s. They are completely and hopelessly dated. Sorry, grunge fans.
More photos after the jump.