STONES THROW RECORDS 10th ANNIVERSARY SHOW, Monday, October 30th, 2006, The Phoenix Concert Theatre, Toronto, ON, Canada

Stones Throw Records, an indie hip hop label based in Los Angeles, California recently made its Toronto stop on the "Chrome Children" tour on Monday night. Run by an eccentric musical genius named Chris Manak (also known by his DJ alter ego Peanut Butter Wolf), Stones Throw Records has been releasing some of the most cutting edge hip hop, soul, R & B and avant-garde music during its decade plus existence.

The label is home to numerous intriguing artists such as Madlib, Madvillian (with MF Doom), the late production wizard J Dilla and Peanut Butter Wolf himself. This recent tour to promote the release of their CD/DVD entitled "Chrome Children" (which was made with the help of the Adult Swim portion of programming on the Cartoon Network) was a tour that was highly anticipated by all of those in attendance. I checked out the Madlib/Quasimoto show back in June 2005 and based on that blunted performance I wasn't expecting a pyrotechnics-filled display with spot-on renditions of Quasimoto's "The Unseen" and Jaylib's (Dilla and Madlib's side project) "Champion Sound"; however I definitely was surprised at the quality of the show that myself and hundreds others forked out $30 + GST for!

First off, this tour was dubbed the "Chrome Children Tour" which lead one to believe the show would feature artists whom had dropped gems on that album. Everyone from Wolf, Madlib, Dudley Perkins, Roc C, Oh No (Madlib's younger brother) and Dilla protege Guilty Simpson were expected to perform. The gig started with a warm-up set by J Rocc, followed by a confusing and disjointed performance by world music/MC Aloe Blacc. After that we were treated to some solid throwback hip hop courtesy of underground New York legend Percee P (who I might add could not be found at the beginning of his set as J Rocc yelled at him from the stage to "Stop trying to sell your damn CDs and get your ass on stage!"). Local Toronto-area hip hop mainstay Maestro Fresh Wes also stopped by during the concert to drop a better-than-expected freestyle. Is it just me or can we now refer to Maestro as "The Original Hip Hop Vampire"? I have seen Maestro at almost every hip hop show I have been at since 2000 and he always seems to get himself up on stage to try to remind us all about who he once was. Maybe we could call him Maestro Fresh WAS....just some food for thought.

After Percee P, Wolf spun a brief set of typical Stones Throw mish-mash. Some old cuts with the deceased but not forgotten rapper Charizma, who Wolf originally started making music with ages ago; some Dilla and other oddities that he dug deep out of his crate. In between sets, J Rocc kept the flow going with snippets of unreleased Dilla tracks which I personally CANNOT WAIT to hear in their entirety, once (if ever) they are released.

Finally, Madlib took to the stage for the finale. He came on wearing a wacky baggy, blue checkered suit with matching kicks; to a chorus of yelps and shouts (myself included) yet he never really seemed to deliver. Madlib is often referred to as "eternally-blunted" and this description proved fitting as he laboured through Jaylib standouts like "The Red" and "The Official" with a lukewarm and sloppy mic presence. Madlib is one hell of a producer, but he definitely needs to ante up on the mic skills. After roughly 30 minutes of this, the show concluded with J Rocc shouting at us "That's it folks, they're kicking us out of here!"

As I shuffled out of the Phoenix, I wondered to myself what this show would have been like had Dilla been there. One can only dream. If the Stones Throw crew could duplicate live, the sounds they put on wax, then this show would have truly been something. Hopefully this show didn't disappoint J Dilla, like it did me.

TOOL - Sunday, June 24th, 2007, Copps Coliseum, Hamilton, ON, Canada

Hamilton, Ontario's nickname of "Steel Town", should officially be changed to "Metal Town" if the sights and sounds emanating from Tool's show at Copps Coliseum on Sunday night were any indication. Tool must have wanted to play in a venue that was the polar opposite of their last shows in Southern Ontario ( two sold-out performances at Toronto's Hummingbird Centre last summer); because the show on Sunday reminded me that while music may change over the years, the people that listen to it may not.

The first time I experienced the live Tool experience was almost 13 years ago at Toronto's Concert Hall (Masonic Temple) in support of their latest release "Undertow" and it left quite the impression both on me emotionally and physically. I experienced a real "metal" show for the first time. Surrounded by raging lunatics with long hair, I stood at the edge of the mosh pit and watched bodies smash willingly into one another as the sounds of blistering guitar and bitter screaming filled my ears. I was officially "rocked" I left that show knowing that there was no better rock band on Earth than Tool.

Well over a decade had passed since that show and here I was standing yet again amongst a mass of long-haired lunatics and other rock fans from all walks of life, ready to be impressed by one of rock music's most exciting live tickets. All of us gathered there at Hamilton's biggest and dingiest hockey arena were expecting to have our minds and eardrums blown. Plain and simple.

Tool, a progressive rock/metal outfit hailing from Los Angeles, California have been blistering ears since 1992 when they burst on the scene with their first EP "Opiate" which featured such memorable titles as "Jerkoff" and "Cold and Ugly". The raw, furious sound captured on their first release was more comparable to standard metal and punk; whereas through the years they have evolved into quite possibly the most interesting and unpredictable bands in rock today.

"10,000 Days" (2006), their most recent release, follows in the lyrical tradition of their previous albums; 1993's "Undertow", 1996's "Aenima" and 2001's "Lateralus". Lead singer Maynard James Keenan continues his obsession with pain, despair, anger and the inevitable demise of the state of California either by a natural disaster or self-destruction.

Sonically, Tool have steadily improved on the sound of each of their previous albums, thus culminating in a stellar live show. The set that Tool treated approximately 17,000 faithful too was one that proved to be not only an experience for the ears, but the eyes as well. After approximately 4 minutes of continuous and ominous feedback, Tool, (led by Keenan, guitarist Adam Jones, bassist Justin Chancellor and drummer Danny Carey) took to the stage to thunderous applause and screaming. They immediately rolled into cuts of their latest disc which warmed up the crowd for the third track "46 & 2" (off the Aenima CD and also one of their most popular tunes). The menacing guitar and bass coupled with Maynard screaming the chorus "Stepping through my shadow...crawling out the other side....46 & 2 just ahead of me..." had the place going berserk. Add to this the twisted images of carnival freak shows and strange Egyptian symbols flickering across the stage and on huge screens behind the stage; and you had a true Tool moment.

The band performed mostly material from their two most recent releases, then brought the show to a close with the title track off their current release, "10,000 Days". After battering the audience for over 2 hours, the group then all bowed and thanked the audience for coming to see them. They then all embraced at the centre of the stage (which is a Tool post-show ritual) and exited the stage. It was quite the sight to see 4 men who had just finished venting their frustrations musically, turn and show their audience and each other such respect and admiration.

It is evident that during the 13 years since I last saw Tool live, they have matured both as musicians and as humans. However, the show in Hamilton reminded me that Tool fans do not change. There will always be those rabid fans that can't wait to get to the show to hit the mosh pit or to punch someone in the nose. Yet, as long as Tool keep making the type of music that was played on Sunday night, there will also always be those of us who are simply looking for the perfect live rock experience.

"Young Folks" (Single) - Peter Bjorn and John - Almost Gold (2007)

I have yet to hear the full album from this 3 piece outfit based in Stockholm, Sweden; however I cannot get enough of the lead single "Young Folks" off their new album entitled "Writer's Block". This breezy, catchy song (also referred to as the "Whistle Song" by certain hipsters; not to be confused with the Ying Yang Twins' slimy crunk anthem "Whisper Song") is as infectious a summer single as there is. Although this album was released on North American shores in February 2007; so far this is the quintessential summer tune right now.

The song kicks off with some simple whistling which combines with some steady 60's influenced drumming and wistful lyrics sung by a young man hoping that a young girl that he likes, likes someone like him. Sound simple enough? Well it is. There is no need to look further into the lyrics. Just sit back, relax and doze off daydreaming about that special someone you have your eye on. Who knows, maybe that person is looking for someone just like you!

The song structure and melody bring to mind the lazy, hazy days of summer during the 60's when everyone from the Mamas and the Papas and Simon and Garfunkel were ruling the airwaves while war raged on in other parts of the world. Something so simple as a basic pop song with a great melody can make someone forget about all of their troubles and enjoy a few minutes of pure musical bliss.

Unfortunately, there are still problems all across the globe, in our cities, towns and our own backyards. Thankfully, simple throwback pop music like "Young Folks" is just the type of song we need to make us forget about everything else going on around us and allow us a haven to retreat to ponder other important things that require our immediate attention....like whether or not that person that we long for would want to be with someone like ourself.

The Weirdness - The Stooges - Virgin Records (2006)

You know that awful taste you have in your mouth when you wake up? Similar to your tongue feeling like the lining of the bottom of a birdcage? Awful isn't it? Well let's just say that The Stooges' (featuring 3/4 of the original lineup) new album "The Weirdness" is the aural equivalent of that. It leaves a bad taste in your mouth, but one that is strangely enjoyable.

Everybody's favorite cracked-out grandpa-lookalike Iggy Pop and Asheton brothers Ron (guitar) and Scott (drums) have reunited in 2007 (with the addition of grizzled punk vet, bassist Mike Watt) after a 34 year hiatus to remind us all what punk rock really is: dirty, grimy brief songs that leave you reaching for a bar of soap. The Stooges left a dirty skidmark on rock and roll's underwear during their brief time together from the late 1960s until they flamed out in 1973. This album sees them return to their familiar sonic snarl with the help of famed rock producer Steve Albini (Nirvana, Jon Spencer Blues Explosion, Jesus Lizard).

"The Weirdness" combines old, grimy, 70s-style punk rock with some rockabilly and British garage rock flavour to create one of the most enjoyable punk rock albums in recent memory.
With song titles like "Trollin", "My Idea Of Fun" and "She Took My Money", it is easily understood that Iggy and the boys don't want us to listen to diatribes on government corruption and and world peace. They want us to know that no matter your age (Iggy Pop turned 60 recently!?) cruising the streets looking for trouble and women, randomly harming people for amusement and complaining about being taken advantage of by an evil woman while inebriated; are all things that any red-blooded man should enjoy revelling in. When Iggy shouts the chorus of "My idea of fun/Is killing everyone" on the track "My Idea Of Fun", it almost makes you want to get out your seat and get outside and join Iggy in "a bit of the old ultra-violence".

If you're looking for a 40 minute escape from the mundane and aren't afraid to feel dirty all over, then the new release by The Stooges "The Weirdness" is just what you need. As Iggy reaches retirement age, let's hope that he doesn't lose that bitter edge that he's had for over 4 decades. Hey, wait a minute....isn't the food supposed to be horrible at retirement homes? That should piss Iggy off enough for at least another album's worth of material shouldn't it?

Rating: 3.5/5

DILLA R.I.P.

It's been over a year since the hip hop industry and the global music community as a whole lost one of the greatest hip-hop producers of all time (and the best in my opinion); J Dilla aka Jay Dee aka James Yancey. On February 10th, 2006, J Dilla (who hailed from Detroit, Michigan) lost his longterm battle with lupus. Dilla had been fighting the debilitating disease for years and unfortunately he eventually lost that battle.

I myself was familiar with some of Dilla's tunes over the years but unfortunately I truly realized the musical genius he was after he had already passed. In just the last year since his passing, I have been hooked on his instrumental masterpiece "Donuts", the followup "The Shining" and his contribution to Stones Throw's "Chrome Children" compilation. I (among millions) can only ponder just what else Jay Dee could have accomplished musically if he had still been here with us today.

After hearing snippets of some more of Dilla's yet to be released gems at the Stones Throw show back in October in Toronto; I am literally salivating with anticipation to hear more. Stones Throw (a brilliant indie hip-hop label based out of Cali) has a double CD release entitled "Ruff Draft" coming out soon as well. I can only hope that their vaults hold much more of Dilla's unreleased music, because those who didn't know Dilla when he was around need to hear what hip-hop music really sounds like.

The sound that Dilla produced is both indescribable and simple at the same time. Whether you wanted to hear some menacing futuristic boom-bap like on "E=MC2" featuring Common (from "The Shining") or the most mesmerizing, soulful and organic beat I have ever heard on the instrumental "Time: The Donut of the Heart" from "Donuts; Dilla made music that touched you no matter how complex or how simple it sounded. By the way, Black Thought also spits on the "Time" beat on a cut off The Roots' "Game Theory". A must hear for sure!

I could go on for days about the impact that Dilla's music has had on me in the short period that I have truly discovered his music, but this piece was meant to be a short reminder to myself and to whoever else reads this that Dilla was, is and always will be hip-hop music to me.

Brand New - The Devil and God Are Raging Inside Me - Interscope Records/Tiny Evil (2006)

Upstate New-York emo/punk four-piece Brand New have not released an album since 2003’s “Deja Entendu”. Their latest effort “The Devil and God Are Raging Inside Me” is a return to the form that they crafted on the last record. However the jury is still out as to whether or not this release has broken any new ground or not.

The title of the record certainly reflects the pain and emotion of lead singer Jesse Lacey as he spits out his bitter lyrics over the standard “loud-quiet” emo template. The album opener “Sowing Season (Yeah)” starts off with some gentle guitar strumming as Lacey states “I am not a man, but at least now I can say I tried…” letting the listener who is familiar with Brand New know that he is the same angry, hurt and broken man he was at the end of “Deja Entendu”. The strumming quickly blasts into a frenzy as Lacey screams the chorus of “Yeah, Yeah….Yeah, Yeah!”. The tracks proves to be a good introduction to the new record, while also reminding us that Lacey and company have not forgot how to wear their emotions of their sleeves.

After reminiscing and telling us about the numerous changes he needs to make in order to become a better person on tracks such as “Millstone” and telling us that “We all have wooden nails…” on “Jesus”; Lacey pushes forth with bombast on “Degausser” in which he pulls a Kanye West and enlists the services of a children’s choir for a grand chorus. Children’s choirs seem to work under few circumstances. First, they can work as their own entity, where they can be appreciated for exactly what they are: a choir consisting of children. Secondly, they can possibly work backed by a hip hop beat like on Kanye West’s “We Don’t Care” from College Dropout or on an all-time classic like Pink Floyd’s“Another Brick In The Wall”. Unfortunately on Degausser” the mix of innocent children’s voices and Lacey’s grown-up howling is enough to confuse and scar both the listener and these young musicians themselves.

By the time the halfway point of the album is reached, one has to wonder whether or not poor Jesse has ever done anything right in his life. The somber mood and “quiet-loud” routine plays out on “You Don’t Know” and “Welcome To Bangkok”, however on this 3 minute instrumental thrash out the listener is given a short reprieve from the emotional onslaught. On “Untitled”, Brand New hint at a slightly more mature if not obscure sound, which consists of what sounds like a muffled voicemail message and some strings mixed with some hypnotizing guitar-picking.

Album closer “Handcuffs” leaves the listener feeling emotionally drained as Lacey croons to a lost lover that he would “…drown all of these crying babies, if I knew that their mothers wouldn’t cry”. The commitment and passion in Lacey’s voice convince the listener that he would do practically anything to get the object of his desire back. Drowning babies seems a little extreme as previously he seemed to have a good relationship with the younger generation when he called upon a group of children to help him exorcise his demons on “Degausser”.

Nonetheless by the time the album closes one can only applaud Lacey for sharing his new pains, problems and insecurities with us. However, unfortunately it leaves the listener wanting more in terms of variety and musical maturity and growth which they showed glimpses of on a handful of the tracks. The liner notes state that the album “…was recorded in the middle of winter…at Longview farm…”. Surely, that environment helped cast the dark emotional cloud that hangs over “The Devil And God Are Raging Inside Me”; too bad that cold barn didn’t house an angry mare that could have kicked Brand New in the pants and forced just a little more out of them.

Rating: 3/5

My Music Reviews and CD Reviews

I have dreams of getting my opinions on music published someday (hopefully sooner, rather than later!) so i will be posting any and all of my reviews on this blog in hopes that is leads to my words showing up somewhere important!