10/23/07

Home of the Grave

Philadelphia Weekly
October 23, 2007

Opening Riff

by Joshua Valocchi

Home of the Grave


Every Halloweekend our city explodes with parties celebrating a pseudo-holiday most rational folks outgrow in middle school. Mature adults simply shouldn’t concern themselves with dressing up like a pimp, pirate, ninja or the dude from Scream before roaming the neighborhood in search of free swag. Which is fine—we don’t want those tight asses ruining our fun anyway.

That said, Philly’s overwhelming amount of ’Ween shindigs guarantees the dilution of the wet blanket factor. The biggest issue here is choosing the perfect party for getting your fright on as Rocktober rolls through its home stretch.

The smart money this year is on Discount Graveyard at the Arts Garage. Deftly meshing the finer aspects of a live music affair and the “party don’t stop” credo of DJ nights, Discount Graveyard is strategically positioned to rope in a fair market share of two of the city’s larger party-people populaces.

Jazzbo beat maestro Billy Martin (of Medeski, Martin & Wood fame) teams up with fellow mad scientist percussionist G. Calvin Weston to tackle the evening’s live band element before ceding the stage to local party luminaries Steven Bloodbath and John Redden. Philly funksters Grimace Federation will be on hand to get the crowd on the good foot while B-boys from Repstyles Crew get down with impromptu breakdancing demonstrations all night long. Party organizer and renowned world music DJ Frosty holds it down on the ones and twos as Philly’s most disorganized costume contest rolls through the Garage.

A measly tenner gets you in the door with the promise of free PBR all night. Wanna raise your currency’s IQ? Toss in another five spot for wristband access to a cocktail bar where the lovely ladies from North Bowl sling shooters till the wee hours. Leave your inhibitions and wet blankets at the door.

Fri., Oct. 26, 11pm. $10-$15. With Billy Martin, G. Calvin Weston, Grimace Federation, Steven Bloodbath, John Redden + DJ Frosty. Arts Garage, 1520 Parrish Ave. 215.765.2705. www.theartsgarage.com

UniverSoul Circus

Philadelphia Weekly
October 23, 2007

Editor's Picks

EVENT

UniverSoul Circus

Wed., Oct. 24-Fri., Oct. 26, 10:30am and 7:30pm; Sat., Oct. 27, noon, 4:30pm and 8pm; Sun., Oct. 28, 1pm, 3:30pm and 6:30pm. $16-$28.50. Mann Music Center Grounds, 41st St. and Parkside Ave. 800.316.7439. www.universoulcircus.com

“I’ve been to every circus I protest,” claims Marianne Bessey of the Circus Education Campaign. “Outside of the animal manipulation, this is one of the best in the land.”

So the super-groovy and highly rated UniverSoul Circus is described—even by the anti-circus protestors who picket it—as “perhaps the best circus on the planet.”

So, what’s the problem here? What’s the elephant in the room?

Well actually, it’s an elephant. And the rest of the animals. Perhaps African-American comedian-turned-political-activist Dick Gregory said it best: “When I look at animals held captive by circuses, I think of slavery. Animals in circuses represent the domination and oppression we have fought against for so long. They wear the same chains and shackles.”

And therein lies the real question: Should a circus with a mostly African-American cast even exist? Or is comparing the treatment of working animals to African slavery the stupidest piece of flaming liberal assholery since PETA compared chicken farms to the Holocaust?

But that’s not really our problem. We get an amazing circus plus the free entertainment of the protest outside. And that’s a pretty awesome twofer. (Joshua Valocchi)

National Mobilization: Fall Out Against the War in Iraq

Philadelphia Weekly
October 23, 2007

Editor's Picks

PROTEST

National Mobilization: Fall Out Against the War in Iraq

Sat., Oct. 27, noon-5pm. Free. With Suzette Ortiz and Band, Tom Mullian and Friends, Rebel Diaz, Smarts and Culture, Sori Mori Korean Drummers, Eleanor Wilner, Martin Wiley, MC Therapist, Larry Hamm, Michael Berg, Jay Marx, Judy Claude, Celeste Zappala, Empress Chi + Kelly Dougherty. www.oct27.org/philadelphia

As we trudge through year five of the Iraqi quagmire, activists nationwide are developing bigger and better ways to vocalize America’s steadily growing unease and displeasure.

Saturday, the anti-war effort tries a new tactic, splicing two age-old protest practices: the march and the human chain. Beginning at the V.A. Hospital on Woodland Avenue in West Philly, a group of human links will march through the city in a northeasterly direction, picking up other links as they travel toward Independence Mall. There they’ll participate in a rally and concert for peace.

Several speakers—including Michael Berg, whose son Nick was brutally executed by Iraqi insurgents—and a handful of local music acts will share the stage.

This probably isn’t what Aretha had in mind back in 1967, but perhaps a rendition of “Chain of Fools” would be oddly appropriate. “For five long years I thought you were my man. But I found out, love, I’m just a link in your chain. You got me where you want me. I ain’t nothing but your fool.” (Joshua Valocchi)

10/17/07

Pimp My Pumpkin

Philadelphia Weekly
October 17, 2007

Pop Rocks

Pimp My Pumpkin

We all know Halloween rules the school as far as holidays go. But it still irks the heck out of Pop Rocks to see smashed pumpkin remains splattered all over streets and sidewalks thanks to punk Philly kids who can’t find more creative ways to express their suburban rage. Besides contributing to Billy Corgan’s gargantuan ego, these graven image-desecrating tin-pot talibanistas destroy some seriously badass pagan artwork.

It’s time to put an end to this black-and-white-on-orange violence, and the folks at Philly-based Running Press have just struck gold with their Pimp My Pumpkin kit. Complete with a fedora, feather boa and some shiny bling, this pumpkin-accessorizing kit is perfect for warding off would-be vandals.

Would you think twice about messing with a Jacked-Up O’Lantern? Damn right you would. And so will they. So carve with wild abandon. Just don’t front on the finishing touches. Before you know it, your stoop will be crowded with pros and hos just trying to get it on with your motherfreaking pimpkin. (Joshua Valocchi)

10/10/07

DJ Andy Smith

Philadelphia Weekly
October 10, 2007

A-List

Trip-hop down memory lane

DJ Andy Smith
Mon., Oct. 15, 10pm. Free. With Cosmo Baker, DJ Excel + MC Elixer. Fluid, 613 S. Fourth St. 215.629.3686. www.simplefly.net/andysmith

Ask a hundred Portishead fans what role DJ Andy Smith played in creating the band’s unique trip-hop vibe and you’ll get a hundred different answers.

Smith made significant contributions as a crate digger, mining a decent chunk of the rare grooves that regulated the ebb and flow of Portishead’s psych-hop ocean.

However, many regarded him as the lab assistant to the band’s resident mad scientist Geoff Barrow.

Barrow certainly knew a thing or two about arrangements and production, but it should be noted that he kept Smith around as Portishead’s official tour DJ for years—and for good reason.

Smith’s club sets are where he truly shines. His ability to mix and match tracks by Peggy Lee, James Gang and Grandmaster Flash into certifiable bangers is phenomenal, and his stage presence is unparalleled in clubland.

A cursory listen to Smith’s 1998 freshman foray into the world of multigenre mixes, The Document, chased with a spin of the cleverly titled follow-up The Document II, should serve nicely as initiation to Smith’s style.

For the Portishead faithful, Monday’s gig will whet appetites for December’s main dish: the full band’s triumphant return to the stage at the All Tomorrow’s Parties Festival. (Joshua Valocchi)

10/9/07

Radiohead

PLAY Magazine
October 8, 2007


The Revolution
Radiohead's announcement that their latest album, In Rainbows, will be available on a pay as you please basis

Once again playing the role of revolutionaries, Radiohead are leading the charge into a world without record labels. Beginning today, the band's new album, In Rainbows, is available for digital download. What's so revolutionary about that? Not much really. Here's the thing, though: the band is leaving it to you, the consumer, to choose how much you'd like to pay to download the entire album. That's right, the band has created a "pay as you please" system that allows the fans to determine - on an individual basis - just how much the new album is worth.

The coup began to take form last Sunday when the band announced, via e-mail (natch), that the new album was in the can and ready for distribution. Having satisfied the terms of their three-record deal with EMI following the release of 2003's Hail to the Thief, Radiohead found themselves in the unique position of being an uncontracted heavy-hitting band with a rabid fanbase. While some bands may cringe at the prospect of even considering releasing a new album with no label support, Radiohead aren't just "some band."

Widely regarded as one of the most creative - and important - bands in recent memory, Radiohead saw their current independence as an opportunity lending itself to a full-blown cultural experiment. Not only did the band's lack of industry tethers allow them the freedom to dictate the album's release schedule, it also allowed them the ability to institute a revolutionary pricing system.

The fact that the album is available for download a mere 10 days after the official announcement is reason enough to question the necessity of the dinosaur record labels in our digital times. The "pay as you please" aspect of this daring enterprise, however, is what has industry leaders and players alike tracking developments on a near minute-by-minute basis.

It's no great secret that the music industry has been heading in the digital download direction for several years now. Anyone even remotely involved in the business should have caught wind of that the first time the word "Napster" was uttered anywhere within earshot.

The Recording Industry Association of America crackdown on illegal downloading may have slowed the digital trend a bit but it was really no more than a bump in the road to the digital dynasty. In reality, all of the noise created by the downloading police merely lead to a loosely regulated form of legal downloading a la iTunes and eMusic. Bringing the labels back into the profit party by allowing them a share of the roughly dollar-per-tune charge that's become industry standard brought a glimmer of relief to industry leaders but in no way has this move generated enough income to bring most labels back above water.

This is precisely why Radiohead's liberal payment plan is basically a death knell for the major labels. Here we have an established band proving they no longer require the support nor infrastructure offered by major labels to bands of such high mainstream status. Bands like Radiohead have traditionally been the cash cows for the majors, essentially generating enough profit to cover the losses incurred by the labels' investments into developing newer and younger acts.

Quite obviously, this situation is a perfect example of the proverbial dual-edged sword. While Radiohead gets to stick it to the clueless fatcats who run the labels, their middle finger to the industry indirectly screws younger upcoming acts out of the funds that were - until recently, at least - essential to putting a new act on the music map.

Naturally, only time will tell exactly what effect Radiohead's anti-power play has on the industry at large. It's unlikely that this single move will spark an instant revolution with bands leaving labels by the scores. The simple fact is that Radiohead is one of just a handful of bands powerful enough to take such a monetary risk. The interesting numbers to watch throughout this entire ordeal, of course, will be the average price affixed to the download of In Rainbows by the consumers. This is, for the most part, the first time that the market will have the opportunity to dictate an album's worth. Will the rates hover around the dollar-per-track industry standard or will the fans lowball it? The bigger question, however, is will the major players in the music and entertainment world sit up and take notice of such breaking developments?

History suggests this move may slip by with little attention from the industry's ivory tower residents. As slow as they've been to respond to Napster, MySpace Music and the like, one has to wonder how much of an impact a single album from single band could really have on an entire business structure.

Regardless, the renegades of Radiohead press on, chipping away at what is already a badly damaged façade. Brick by brick - and track by track - the mavericks of music continue to tear down the wall.

If You Download It:
inrainbows.com/Store/Quickindex.html


Great American Pub

PLAY Magazine
October 8, 2007


GETTIN' SOME
Great American Pub

"The outlook wasn't brilliant for the Mudville nine that day; The score stood four to two, with but one inning more to play."

Sadly, we all know how that one turned out for Casey and the denizens of Mudville. Sadder still is the fact that the Philly nine didn't fare much better Saturday night as they fell victim to the streaking Colorado Rockies. With the team down two games to their western rivals and facing elimination from the playoffs, several of the Phillies Phaithful gathered at the Great American Pub in Wayne to throw their support behind their beloved Phightin's.

Although the tight pitchers' duel culminated in an eventual defeat, the Phils did at least mange to keep it interesting, holding the Rockies to a single run until the bottom of the eighth inning. Offensively, the Flyin' Hawaiian, Shane Victorino, sparked hope in the hearts of the Philly fans with a towering solo home run to tie the game in the top of the seventh.

In the end, however, the Phillies effort fell short and they were unceremoniously ousted from the postseason. Disappointed though they were, the fans gathered at the Pub Saturday night refused to let the loss ruin the evening. After all, there's always next season when the Phillies will once again be "the team to beat."

- Joshua Valocchi


10/3/07

Diplo's Mad Decent Mausoleum

Philadelphia Weekly
October 3, 2007


Snapshot


Click here for more snapshots from the show.


From the moment the first MySpace bulletin was sent out by Sean Agnew and his R5 cronies to the near minute-by-minute updates that followed, it became fairly evident that something beautifully sinister was brewing in the city’s Loft District last week.

The initial bulletin explained that the evening’s scheduled gig at the Starlight Ballroom featuring Diplo, Switch and Blaqstarr had been postponed until November. But the notice also hinted at a “crazy rave” taking place at a “super-secret location” with the evening’s scheduled Starlight performers simply moving their show a few blocks west.

As word spread and anticipation grew, Philly’s underground faithful geared up for a good old-fashioned warehouse party. “This is gonna be so hot!” squealed a faux-hawked lass while waiting in line for a coveted ticket. How right she was.

Stepping inside the newly christened Mad Decent Mausoleum was not unlike being airdropped into the heart of an Amazonian rainforest. As DJ Sega worked the decks from a narrow balcony overlooking the jam-packed main floor, sweat-drenched bodies writhed below, seemingly incognizant of the oppressive heat flowing throughout the room.

Undeterred by the palpable humidity, Baltimore’s Blaqstarr took over party-pumping detail and laid out bass-heavy synth beats deep enough to shake the balcony floor. By the time Diplo and Switch moved in, the party was in such high gear that Air Supply tracks would’ve been greeted with a sea of raised hands.

Yeah, the show was hot in every sense of the word.

10/2/07

Kenneth Masters Record Release

Philadelphia Weekly
September 26, 2007


Snapshot

by Joshua Valocchi

Click here for more snapshots from the show.

Sometimes the “new old” is even better than the tried and true. Such was the case last Wednesday night when Kenneth Masters—perhaps the ultimate torchbearer for Philly’s old-school hip-hop guard—invaded Silk City to celebrate the release of his latest EP Jet Set Stereo.

As much as KMass and his dynamic duo of breakdancers rocked the house, throwing the party at Silk City may have been the slickest move of the night. New owner Mark Bee somehow managed to retain the charm and reverie associated with the old Silk while injecting just the right dose of renewal. No one who frequented Silk City through its Back 2 Basics-driven heyday in the ’90s will ever forget watching koi through glass tabletops, but this recent revival is enough to lend some credence to hopes for another golden era at this fabled Northern Liberties diner.

Last week’s show certainly didn’t hurt such prospects. After the Yah Mos Def fired off a short set with their typical slapstick intensity, KMass took the stage and simply took over. Kenneth Masters is for real. Besides reinforcing that fact, his set served as a warning to all the sucker MCs and clueless backpackers who bring anything less than their A-game.

KMass remains one of Philly’s most stellar MCs, all while remaining—as one of his most well-known tracks states—“independent as fuck.”



Big Daddy Kane

Philadelphia Weekly
September 26, 2007

Live Music

Big Daddy Kane
Wed., Oct. 3, 8pm. $35. With Roots + MC Lyte. Electric Factory, 421 N. Seventh St. 215.336.2000. www.livenation.com

Big Daddy Kane’s suave pimp style and rapid-fire flow have been imitated a million times over, but no one has yet to match the Kane.

The original “Smooth Operator,” Kane’s menacing tone and slick lyricism established him as a reigning figure in rap’s golden age.

Today his numerous acolytes—including Jay-Z, who was one of Kane’s “hypemen” back in the day—still pay tithes to the Kane.

It’s only fitting that Kane shares this bill with the Roots, one of the few modern groups worthy to approach his throne. (Joshua Valocchi)

Found Magazine

Philadelphia Weekly
September 19, 2007

A-List

litterary event

Found Magazine’s “There Goes the Neighborhood” Tour

Sun., Sept. 23, 7pm. $5. Board Room, First Unitarian Church, 2125 Chestnut St. 866.468.7619. www.r5productions.com

“You’re a fucking liar. I hate you. I fucking hate you. P.S. Page me later.”

When Davy Rothbart found that note affixed to his windshield, his curiosity was piqued and a movement was birthed.

Though not the intended recipient of the note, Rothbart, along with pickup hoops teammate Jason Bitner, launched Found.

The publication’s pages are plastered with snapshots, grocery lists, memos … just about anything capable of offering the briefest of glimpses into the lives of strangers.

Published according to the “whenever the hell we feel like it” calendar, Found celebrates its fifth installment, the “Crime Issue,” with an evening of new finds, sordid tales and maybe a tune or two.

Even if you can’t stop by to kick it with Rothbart, at least have the decency to slap a cryptic Post-It on his windshield. (Joshua Valocchi)

Nikki Sixx

Philadelphia Weekly
September 19, 2007

A-List

Sixx addict

Nikki Sixx
Wed., Sept. 26, 7pm. Free. Borders, 1 S. Broad St. 215.568.7400. www.bordersstores.com

Who ever thought Nikki Sixx would emerge as the most marketable member of Motley Crüe?

After Tommy Lee’s scuff-up with Kid Rock at the VMAs (not to mention every moment of the last 10 years of his life), repeated appearances of Vince Neil’s bloated corpse on VH1 reality shows and Mick Marr’s hip replacement (how old is that dude anyway?), Sixx almost wins the survivor sweepstakes by default.

What makes his victory even sweeter, though, is that he manages to scamper to the top of the heap by toting his lily-white, glam-boy, has-been ass around the nation touting The Heroin Diaries, his memoir about his copious drug use throughout the Crüe’s 1986-’87 world tour.

It’s some pretty heady stuff, to be sure, and it’s nothing short of a freaking miracle that Sixx is still around to share his stories with the masses.

All jokes aside, Sixx’s stop in Philly should be a sobering one—too bad the addicts who wander within mere blocks of Borders aren’t likely to be lucid enough to pop in for a reality fix. (Joshua Valocchi)

Bonde do Role

Philadelphia Weekly
September 19, 2007

SNAPSHOT

Bonde do Role

by Joshua Valocchi


Click here for more photos from the Bonde do Role show.


Nipping at the heels of Bonde do Role’s last Philly show—the already legendary jam-packed sweat-fest at Sal’s—their Johnny Brenda’s gig last week carried pretty high expectations. Padding the bill with a cavalcade of local faves (Plastic Little, Gang, Pink Skull) certainly didn’t hurt ticket sales, clearly evidenced by the “Sold Out” signs posted just about everywhere imaginable throughout the downstairs bar.

Slews of hopefuls and determined fans of baile funk packed JB’s lower level, banking on the off-chance they’d be let upstairs to witness it go down. Still, the claustrophobic downstairs couldn’t hold a candle to upstairs’ ridiculous clusterfuck. Lousy with legging-clad lasses and shaggily coiffed lads, it was nearly impassable.

About the time it reached critical mass an A-bomb called Plastic Little exploded. The local “rap” trio wasted little time doing their damndest to reinforce claims they’re “ruining hip-hop” (wink wink, 215hiphop.com groupies) by upstaging the headliners.

As Bonde Do Role hit the stage, the crowd erupted, and the night shifted into party overdrive. Hot. Cramped. Sweaty. Sexy. Floor buckling. Shit was downright dangerous.

The trio rocked through a gaggle of tunes off With Lasers, lead shreiker Marina Ribatski screaming her notoriously filthy Portugese lyrics no one in the crowd could or needed to understand.

When Ribatski broke out the English, it was to command the crowd—near fainting, but begging for more—to “put [your] hands up!” Not doing so would’ve been downright uncouth, a slap in the face of our Brazilian friends who’d come so far to help facilitate this freakout. Thus we obeyed.

The Legend of Cornbread

Philadelphia Weekly
September 12, 2007

A-List

scrawling from the wreckage

Cry of the City Part 1: The Legend of Cornbread
Sun., Sept. 16, 2pm. $5. Arts Garage, 1516 Parrish St. www.cinema-alliance.com

Philly can’t win for losing. And neither, apparently, can our city’s graffiti artists.

Darryl “Cornbread” McCray began tagging walls and bombing SEPTA buses and subway cars a full two years before the slackjawed yokels in New York caught on. But Gotham goes down in hip-hop history as the birthplace of “writing” while Philadelphia is once again relegated to wooden spoon status.

Countless films have documented the contributions and lifestyles of graf writers in the Apple while Philadelphia’s Krylon knights are largely ignored.

Cinema Alliance’s Sean McKnight says bollocks to that. Taking a cue from the legendary Style Wars (which documented—yawn—New York’s graffiti scene), McKnight offers up a Phillyphile documentary.

Although filmed years after Cornbread’s reign as the city’s graffiti king (and his subsequent stint on former Mayor Goode’s Philadelphia Anti-Graffiti Network), the movie captures McCray from his brushes with fame after tagging the Jackson 5’s jet to the depths of his drug addiction.

Sunday’s screening is followed by a Q&A session with the legend himself as well as a screening of the groundbreaking Beat Street which celebrates—what else—New York’s contributions to hip-hop. (Joshua Valocchi)

Professional Wrestling Unplugged

Philadelphia Weekly
September 12, 2007

A-List

unitarded Professional Wrestling Unplugged
Sat., Sept. 15, 6pm. $20-$30. New Alahambra Arena, 7 Ritner St. 215.755.0611. www.prowrestlingunplugged.com

Professional wrestling has taken its share of folding chairs to the head lately, with scandals involving murder, suicide and steroid abuse.

On the bright side the turmoil might steer some fans to seek solace among the lesser-known independent shows. Pro Wrestling Unplugged (PWU) rolls into South Philly this weekend, celebrating its third anniversary and likely concealing more than a few foreign objects down its tight red knickers to be unleashed in the ring just when you least expect it.

Expect a cavalcade of gimmicks and surprises—from an acoustic performance by local cock-rockers Shovelhook to wrestlers making grand entrances in the actual TV Batmobile.

There’ll be American Idol-style auditions to choose a new commissioner, and Nikolai Volkoff—the commie villain from the old-school WWF—is slated to sing the national anthem.

If you’re the gambling type, the smart money’s on Volkoff pissing off the crowd by belting out an off-key rendition of the Soviet anthem.

The evil bastard. (Joshua Valocchi)

Brotherly Love Fest

Philadelphia Weekly
September 12, 2007

Live Music

Summer of Brotherly Love Fest
Fri., Sept. 14, 9pm. $8. With Elevator Parade, Beretta 76, Sky Drops, Cowmuddy + Papertrees. Fire, 412 W. Girard St. 215.671.9298. www.iourecords.com

Sometimes it truly does take a village. Friday’s gig at the Fire is a perfect Philly music primer. Have you been missing that Philly Spector Wall of Sound? Beretta 76 have the cure for what ails ya. Falling off on your Elephant 6-leaning cuter-than-you pop? Don’t sweat it—Elevator Parade totally have your back. Been thinkin’ ’bout revisiting a lil’ alt-country with every passing VW commercial? Get into some Cowmuddy. Finding yourself trailing off on your shoegazer upkeep? Check out the Sky Drops. Is someone documenting this gig for the sake of posterity? (Joshua Valocchi)


Animus

Philadelphia Weekly
September 12, 2007

Live Music

Animus
Fri., Sept. 14, 9:30pm. Free. With Heather Henderson, Dana Snyder + Variety Cabaret. Club Polaris, 460 N. Ninth St. 215.413.1318. www.livearts-fringe.org

The Philly Fringe’s Late Night Cabaret is decadent and depraved.

For years the Cabaret has served as an initiation for those interested in the city’s esoteric arts community. It’s little wonder that Animus—a collective of classically trained prodigious world musicians—score the fest’s last weekend waltz, regaling festivalgoers with the sounds of Ghana, Egypt, India and all places between.

Tack on the fact that Dana Snyder—the voice behind Master Shake from Aqua Teen Hunger Force—is hosting Friday’s festivities, and the penultimate Cabaret approaches epic proportions.

Imagine Shake introducing Animus with his typical brand of misinformation: “Kids are comin’ to see the Black Mountain Scorpion Hoedown Bluegrass Experience Gang, featuring Zakk Wylde on washtub bass. Zakk, did we not do the soundcheck?” (Joshua Valocchi)

Opening Riff - Mocean Worker

Philadelphia Weekly
September 5, 2007

Opening Riff

by Joshua Valocchi


Senior prom. Easily one of the most memorable experiences of high school. For Adam Dorn—aka Mocean Worker—especially, but for different reasons.

“While most of my friends were having drunk and awkward sex, I was in the studio with Miles Davis,” he explains.

Gettin’ his early groove on in Philadelphia as the son of famed Atlantic Records producer Joel Dorn, Adam had some pretty cool run-ins—Miles, Vandross, Roberta Flack—while he was still rockin’ the Underoos. It’s little wonder that he’s grown up to create big-beat mosaics featuring samples from the old school spliced with live snippets from the new guard through the magic of studio trickery.

His latest Cinco de MoWo is an unmined amalgamous gem of scattered beats and underground samples that succinctly illustrates his history as one raised under the umbrella of jazz juggernauts.

From Herb Alpert to Marcus Miller, the artists featured on Cinco run the gamut of jazz and funk. And although the album is mostly a reflection of Dorn playing with samples and altering live beats, he has a more sweeping vision of his live performances. “The latest version of my band is a six-piece that plays electronic compositions. They’re like a little funk machine. They’re so tight—kind of like a modern-day Kool & the Gang.

This isn’t your average electronic show,” explains Dorn. “It’s not two English guys with lights on their heads pushing buttons. In fact, it’s not an electronic show at all. Lately we’ve been shocking people. The real band is the focus. It may even change the way I make my next record.”

The local connection isn’t lost on Dorn. “Philly is my hometown,” says Dorn. “The band has been served notice that there will be no messing around. This will totally groove.”

Mocean Worker performs Thurs., Sept. 6, 9pm. $13-$15. World Cafe Live, 3025 Walnut St. 215.222.1400. www.worldcafelive.com

Aesop Rock / Cage and Blockhead

Written for PLAY Magazine

Aesop Rock, Cage and Blockhead

Joshua Valocchi

Saturday brings an underground hip-hop show of arguably epic proportions to the Starlight Ballroom. Aesop Rock, easily defined as one of the true godfathers of the modern-day independent hip-hop movement will be flanked by fellow Definitive Juxtaposition (Def Jux) labelmate Cage and beatmeister/producer extraordinaire, Blockhead.

Although Aesop Rock is technically headlining this gig, it’s really tough to rate any one of these three above another. In fact, Blockhead – although the least known among the trio – may roll into this show with more cred than either MC. As part of the Ninja Tune crew, Blockhead is quietly staking his claim among the backpackers as the next in line to occupy DJ Shadow’s coveted throne. For the uninitiated, Shadow is pretty much regarded as the ultimate crate digger and beat maker in the hip-hoproduction world. Blockhead is creepin’ up on him, though, with every release he touches.

Aesop Rock shouldn’t require too much introduction to anyone who’s kept even a lazy eye on the hip-hop scene over the past few years. From his daring and provocative early releases, “Float” and “Labor Days,” Rock has been considered a pioneer of independent hip-hop. His recent collaborations with visual artist Jeremy Fish and his film score for McSweenys have merely solidified Rock’s reputation as a trailblazer.

His newest release, “None Shall Pass,” just hit the bins last week and is already receiving acclaim from critics who seem to be tripping all over themselves to heap accolades upon this latest gem. Production duties for “None Shall Pass” were deftly handled by none other than the aforementioned Blockhead and the album was released on El-P’s revered Def Jux label.

Def Jux also happens to be the new home to Cage, who released last year’s “Hell’s Winter” through the label. Although not as outwardly vicious as his earlier releases, “Hell’s Winter” still holds its own on the anger scale. The difference here is that as opposed to turning his anger inward, Cage lets it fly in all different directions here, hitting targets from his father’s abuse of heroin, to his experiences growing up in an orphanage. The most heavily tread tracks on this hatred highway, though, is good ol’ Uncle Sam.

Apparently Cage is somewhat unhappy with our government as of late – and who can blame him? Here we are – as a nation – embroiled in what is looking more and more like an unwinnable war and we're left with a hip-hop artist to stand up and tell us what's what?

“If the opposite of pro is a con then look beyond this, the opposite of congress must be progress,” he chides in “Grand Party Crash,” a collaboration with Jello Biafra from “Hell’s Winter.”

At least Cage owns his anger – and rightfully so. But do we really need someone like Chris Palko (as he’s known to the Feds) to point out the painfully obvious? Have we sunk so low as a people to rely upon an angry white wordsmith to light that requisite fire under our collective ass?

Whatever.

Sound the alarm.

If You Go:
Aesop Rock, Cage and Blockhead
Sat., Sept. 8, 7pm. $16. Starlight Ballroom, 460 N. Ninth St. 866.468.7619. www.r5productions.com

The Rub / Cosmo Baker

PLAY Magazine
September 4, 2007

Aye, There's the Rub
Photo / Ian Meyer DJs Cosmo Baker, Ayers and Eleven are the Rub.
DJ Cosmo Baker returns home to Philly
to rub the dance floor at Fluid this weekend

Robert Frost once opined, "Home is the place where, when you have to go there, they have to take you in."

Although it's doubtful that Cosmo Baker - and the rest of his NYC-based crew, the Rub - will encounter any issues of acceptance when he makes his triumphant return to Philly this weekend, it's still a nice sentiment.

Baker, once a member of Philly's ruling DJ class, traded in his local dance card in 2003 to move to New York and begin his ascent among the elite spinners in the Gotham realm. Much like his rise to power in the Illadelph, Baker's trip to the top of the New York heap was swift and skilled. Today, along with DJs Ayers and Eleven, Baker rocks full houses throughout the five boroughs under the Rub moniker. Friday, the trio take over Fluid for one special night - a homecoming of sorts for the local legend.

"Philly's where I'm from and will always be my home," says Baker. "Although it's a tough town - because the crowds are so educated and thus scrutinizing - it really forces DJs to get good and get creative. Otherwise they just need to get out."

Although Baker did eventually get out of the 215, it wasn't due to lack of talent or creativity. From his teenage years when he would linger by the doors of clubs, just to catch snippets of beats being spun in the forbidden land of 21-plus, to his days of simply slaying capacity crowds at Silk City's Back 2 Basics nights with King Britt and Dozia, Baker has always known where his fortunes lie.

"From the time that I used to hang out at the old Lay-Up record store on Passyunk and South, listening to the Square Roots (now just the Roots) do their thing out front to starting the Monday night Remedy at Fluid, I always had this idea that this DJ thing was for real and what I should be doing," explains Baker.

Following his instincts, Baker dove head-first into the spinning scene in Philly and never really looked back. When he was still in his teens, Baker was already dropping party bombs at Revival, then Philly's most decadent after hours hang. From there, he hooked up with DJ Storm and the duo began spinning Baltimore club at the Sugarcube. At the time, the B-More craze was in its infancy and Storm and Baker were easily the first to introduce the new sound to local heads. Based upon his following at the 'Cube, Baker snagged a residency at Silk City. There he joined forces with Britt and Dozia and the rest, as they say, is history.

Throughout his storied career in Philadelphia, Baker has always seemed to have perfect timing. From joining the Back 2 Basics crew just as the whole movement was simply blowing up the scene to moving into the Palmer Social Club as the house DJ as it became THE late-night hang, Baker's always had his finger firmly on the city's pulse.

Although it may appear to be a mix of luck and coincidence, Baker's success owes more to his ethic and implicit knowledge of the scene than anything else.

As Baker explains, "the spirit of the DJ scene in Philadelphia is very close to the underlying spirit of the city itself: hardworking with a hint of blue-collar about it. As a DJ in this town, you can't be afraid to get your hands dirty and stay on top of every part of the game. Whether you're spinning house, hip hop or hardcore, you need to know your medium but also be able to navigate outside of it. It's that kind of ingrained sensibility that sets Philly DJs above everyone else in the world."

Friday night's banger surely brings with it a sweet scent of success to Baker. Will it, however, carry with it a little bit of bitter?

"I know I say it's a tough town and even on me it's been terribly tough," admits Baker. "But without that kind of pressure and experience, I wouldn't be where I am today. To be able to come back to my hometown and perform for my home crowd, well, there's nothing like it," beams Baker. "I've been all over the world but I can come back to South Street and get down just like it was yesterday."

The Rub -
DJs Cosmo Baker, Ayers and Eleven
When: Friday, Sept. 7; 9 p.m.
Where: Fluid, 613 S. 4th St.

Info: 215-629-3686
or fluidnightclub.com

Opening Riff - Bruce Warren's Music Blog

Philadelphia Weekly
August 29, 2007

Opening Riff

by Joshua Valocchi


When did Philadelphia become the new Montreal? More important, when are people outside the local press and music intelligentsia circles going to take more than a casual notice of this brewing situation?

Perhaps Montreal is a bit of an exaggeration. After all, Dr. Dog isn’t yet in Arcade Fire’s league, and the Swimmers haven’t quite reached Broken Social Scene status. Nonetheless, there’s gold in them thar hills. The question is, who’s gonna mine it?

Enter Bruce Warren, program director at WXPN, blogger extraordinaire, and most important, ad-hoc curator of Philly’s local music library. Warren, who’s been rockin’ the online casbah for years with his tasteful yet daring music site Some Velvet Blog (somevelvetblog.blogspot.com), logged another entry into the blogosphere earlier this month with his ode to the locals Philadelphia Freedom (blogadelphonic.blogspot.com).

Considering Philadelphia’s rich musical tradition, it’s a wonder this was a niche that had yet to be filled. In Warren’s eyes, though, local music is criminally underrepresented on the Web.

“In reality, there’s not much out there as far as music blogs focused primarily on Philadelphia,” notes Warren. “As a local music fan, I saw this as an opportunity to fill an inexcusable void.”

Apparently, singing the praises of Philly rockers has been on Warren’s to-do list for quite some time, but it took a recent convergence of scene status and scheduling to push Warren to finally make his cyberdream a reality.

“I’ve been wanting to do this [local blog] for years now but I just couldn’t find the time,” explains Warren. “Finally, I was on vacation at the start of the month and decided now is the perfect time to do this.”

Along with the convenience of free time, the recent spike in local awesomeness on the music front nudged Warren deeper into the Internet.

“Now is an amazing time for Philadelphia music,” gushes Warren. “I can’t think of a time when the local scene was more creative or relevant—even back in the ’80s, when everyone was drunk on Hootermania.”



Wawapalooza

Philadelphia Weekly
August 29, 2007


Oh! What a Lovely Wawa

A Fringe show delivers some in-convenience-store truths.

by Joshua Valocchi


Sometimes it takes an outsider to remind us just how weird this town is.


For instance, recommend Wawa as a good place to snag some smokes and see if you don’t get the response: “What? Wah wah? Are you drunk?”

Naming a convenience store after a warbled Native American word for “goose” might seem odd to out-of-towners, but there are countless idiosyncrasies unique to our area. None rivals the inexplicable antics of diehard Eagles fans. Some of these numbskulls make gibbering TV money expert Jim Cramer look like a sleeping baby mouse.

Armed with years of experience and these self-evident truths, the gang at IdRatherBeHere Productions present their debut Fringe entry Wawapalooza. The hour-long farcical romp consists of six 10-minute segments dealing with purebred (or should that be inbred?) Philly topics via sketches, short films and a standup comedy rant.

Wawapalooza is a pretty ballsy effort for a bunch of first-timers. For starters, it covers a slew of topics that, though utterly ridiculous, are near and dear to native hearts. Toss in the fact that none of the members of IdRatherBeHere are Philly theater insiders, and the brew gets even bubblier.

Described as “a show that anyone within a 30-mile radius of the Ben Franklin Bridge can relate to,” Wawapalooza hits as hard and low as a bunch of screaming Eagles fans pelting Santa with snow and sludge balls. Among targets soundly smacked are football fanaticism, road rage, the cult of Wawa, Wal-Mart, strip mall customer service and South Jersey drivers.

“They say, ‘Write what you know,’” says cast member Augustus Milligan. “So out came an homage to the Philly and South Jersey region.” Plugged as “half Saturday Night Live and half Cherry Hill Mall,” Wawapalooza is laughing both at and with Philly.

“My mom is from the area, so I spent a good deal of time visiting Philly and South Jersey while growing up all over the country,” says IdRatherBeHere founder and co-creator Eric Balchunas. “I had a solid understanding of the inherent local quirks and oddities, but was also enough of an outsider to maintain an objective perspective.”

Whatever remained of that objectivity was surely quashed during production of Wawapalooza—especially through researching the Wawa segment.

“We visited several Wawas throughout South Jersey and just documented the customer activity,” explains Balchunas. “We interviewed people about the Wawa phenomenon. We talked to all kinds of people from headbangers to Jersey girls, and one really far-out lady.”

Naturally, no true documentary of the weirdness that is Wawa would be complete without a journey to the convenience store’s mecca—the town of Wawa, Pa. The crew made their hoagie hajj to the corporate compound and even managed to snag a cup of joe at the local Wawa. “That’s right,” beams Balchunas, “we got coffee from Wawa in Wawa in Wawa.”

Following their attempts at demystifying the Wawa experience, they tackle the eccentricities of Eagles fans through a fictional public access-type show Ehgels ’n’ Bagels. Supposedly filmed on-location in the Linc’s parking lot early one gameday morning, Ehgels ’n’ Bagels presents the Birds’ fanbase in its true colors (green, natch), offering a satirical view that hits way too close to home. When spoofs become believable, they also become uncomfortable.

“We’re talking about the same people who view the first guy to launch a snowball at Santa Claus as somewhat of a hometown hero,” saysBalchunas.

Touche, my friend. Just a friendly warning: Tread lightly on that ground, lest you ruffle the wrong feathers. Winter’s just around the corner.


Wawapalooza
Fri., Aug. 31, 7pm; Sat., Sept. 1, 9pm; Sun., Sept. 2, 3pm
$10
Red Room at Society Hill Playhouse, 507 S. Eighth St.
215.413.1318.
www.livearts-fringe.org




Oakley Hall

PLAY Magazine
August 28, 2007

Don't Call Them Alt-Country
Oakley Hall is much more versatile than you think

On paper, Oakley Hall comes across as just another run-of-the-mill entry into the No Depression sweepstakes. Band members cite Dylan and old-school country artists such as Johnny Paycheck and Kitty Wells as influences. Guitarist Fred Wallace even went so far as to customize his Fender, stringing and tuning it as if it was a banjo. Vocalists Pat Sullivan and Rachel Cox have the whole male/female harmony-meets-vocal swap on serious lockdown. Call them Wilco, with some female vocals tossed into the mix for good measure.

On second thought, don't even think about calling them that.

"On the surface, sure, it seems like we're doing the same things as the whole alt-country movement," explains Sullivan. "I don't doubt that as kids we all listened to the same Creedence records. We're both doing things with deep roots. Our roots may cross paths along the line but ours certainly don't go through theirs. I like to think we inject a little more life into our song readings."

Country kin or no, Philadelphia has the chance to affix any label to the Oakley Hall sound when they roll through Johnny Brenda's next Wednesday. Openers and local faves the Teeth merely add even more spice to Oakley Hall's sweetly schizophrenic stew. Don't be surprised to get a little taste of several genres throughout Wednesday's musical mashup.

"Our influences really do pretty much run the gamut," explains Sullivan. "Claudia [Mogel], our fiddle player, really listens to a lot of Cajun music. Rachel [Cox] loves Kitty Wells - as do I, and Fred [Wallace] and I are both serious Lindsay Buckingham acolytes. He (Buckingham) strung his guitar like a banjo, too, so it's not like that's without precedent."

Oakley Hall's drummer, Greg Anderson, is somewhat of a surf rock fanatic. Although Anderson and the band have parted ways since the recording of their upcoming release, I'll Follow You, the California sound is reflected through Anderson's skin slapping, Sullivan's vocals and even Wallace's strumming on the new disc.

"Regardless of the singular influences of different band members, we all seem to share some love for the Flatlanders and Little Doug Sahm and the Sir Douglas Quartet," says Sullivan. "They just really seemed to let themselves get weird within structural parameters. That's the kind of stuff that really inspires us."

In fact, Oakley Hall even cribbed their name from the California-based pulp author of the same name, thus solidifying one more Cali connection.

"We're all pretty big fans of Mr. Hall's writing and it just seemed like a fun name for a band," says Sullivan. "A few years ago, his wife contacted us after coming across our site while doing a Google search using her husband's name. Since then, we've sent him a few CDs and he's mailed us some of his books. Whenever he gets together with his writer friends, they're not shy about letting him know how jealous they are that he has a rock 'n' roll band named after him."

Many might find the concept of referring to any band whose sound even slightly hints at alt-country as "rock 'n' roll." Those Philistines need only reach back so far as Oakley Hall's last album, Gypsum Strings, for solid examples of these guys flat out rocking the Casbah.

Confidence Man opens with an Iron Maiden-esque intro and several tracks throughout the disc display strong Krautrock influences. Sometimes it sounds like Uncle Tupelo, Kraftwerk, Neko Case and Can somehow stumbled into a single studio and, lacking anything better to do, recorded a surprisingly coherent album.

Admittedly, Gypsum Strings was a slight departure from its predecessor, the mellow and twangy Second Guessing - a concept that seemed somewhat strange considering the fact that both were released within mere months of one another last year.

"In reality," explains Sullivan, "the albums were made more than a year apart from one another. It was merely a result of label-shopping and unavoidable delays that made it appear that we were the hardest working band in 2006. We still may have been - don't get me wrong - but our recording schedule wasn't that hectic."

Sullivan also notes how the band's mesh of touring and studio time in 2006 led to a looser approach to Gypsum Strings.

"After Second Guessing came out we were already touring with [Gypsum Strings] songs. We did a lot of playing - getting looser as a live band and just letting our instruments breathe more," explains Sullivan. "We didn't seem to have enough space for everybody, sonically, so we just expanded a bit. We didn't go in thinking we would record Gypsum Strings. We just wanted to get loose in the studio. Once we decided to take it easy, things just fell into place and we totally captured the record."

Regardless of how Oakley Hall is labeled, they rarely disappoint live. The tight harmonies and musicianship displayed on their studio recordings is magnified when they find themselves thrust on to center stage.

As Sullivan succinctly explains, "The thrust that our six personalities create together is the defining piece of our band more than anything else."




Reef the Lost Cause

Philadelphia Weekly
August 22, 2007

Live Music

Reef the Lost Cauze
Sat., Aug. 25, 9pm. $10. With Jake Lefco, Lyricists + Head Turners. Khyber, 56 S. Second St. 215.238.5888. www.thekhyber.com

On 2005’s Feast or Famine Reef the Lost Cauze boasts, “I belong in a rap zoo, with a sign that reads ‘Please Don’t Feed the Angry Black Dude.’”

Anger and animalistic instincts aside, Reef has spent years toiling in the underground, reppin’ for Philly’s hip-hop scene on a national scale.

From his near-legendary status as a top-shelf battle MC to his collaborations with the JuJu Mob, Brother Ali and Vinnie Paz of Jedi Mind Tricks, Reef continues to set the bar high while maintaining his integrity and independence.

As he broadens his search for an acceptable distribution deal for his upcoming fourth full-length, Reef kicks out the as-yet-unreleased jams live for his local legions. (Joshua Valocchi)

Franklin Paine Skate Park Project Benefit

Philadelphia Weekly
August 22, 2007

A-List

Keeping it Wheel

Franklin Paine Skate Park Project Benefit
Thurs., Aug. 23, 9pm. $10. With McRad, Smiles Project, Shane Mac, Cubehead + SICU. Khyber, 56 S. Second St. 215.238.5888. www.thekhyber.com

It’s been five years since the city, in its infinite wisdom, declared LOVE Park a no-skate zone, effectively killing Philly’s rep as the world’s street-skating capital.

Apparently realizing the negative social, financial and political impact of that bonehead move, the mayor and the city’s Planning Department have since done a 180, raising spirits in Philly’s tight-knit skate community.

After granting a 2.5-acre slice of Fairmount Park to be developed as a skate-friendly “Youth Park,” city officials have been working with developers and impassioned volunteers to design a unique venue where skaters can hone their street skills with the blessing of the Man.

In the spirit of the sk8r love and daredevil attitude that once permeated the benches and concrete rails of LOVE Park, the old guard and several sympathizers go balls-out with a gnarly fundraiser featuring such perennial favorites as McRad and Cubehead whacking it out so the kids may one day grind again in the City of Brotherly Shove. (Joshua Valocchi)

Frankie Avalon Interview

Philadelphia Weekly
August 22, 2007

MUSIC FEATURE
Frankie, My Dear

American Bandstand turns 50.

by Joshua Valocchi


Few television programs hold a candle to American Bandstand in terms of social influence, viewership and general popularity. Think American Idol of the ’50s and ’60s, but with talent and relevance. Perhaps Total Request Live is a more apt comparison. Bandstand actually featured established acts of its time.

But Carson Daly’s not fit to carry Dick Clark’s oxygen tank, and the darlings of the TRL era—Justin and Britney—have little in common with the sweethearts of the Bandstand age—Frankie Avalon and Annette Funicello.

PW recently caught up with Avalon, who’s featured on Time Life’s new Dick Clark’s American Bandstand 12-CD boxed set. The Philadelphia native waxed nostalgic about the Beach Blanket Bingo days with Annette, as well as his fond memories of Bandstand’s infancy, as he chatted via phone from his digs in sunny Southern California.

Hi Frankie.
“So, tell me, how’s my city?”

She’s great. Except for all the killing going on.
“Oh, I don’t like to hear that.”

How are things in Frankie Avalon’s world? It’s been 50 years since your first appearance on Dick Clark’s storied stage. Do you even remember that?
“Not only do I remember it, I recall every detail. And fondly. That show was so special. It really reflected the hope and energy that everyone was feeling back then. It was fun, fresh and vitalized. In Bandstand you had a show that managed to combine so many aspects of youth culture into a single hour every week. You had the best dancers, the best singers and musicians and the most popular fashions all crammed into one place. It was really magical.”

You received your first gold record on the Bandstand stage. How did that grab you?
“It was fantastic. My first gold record was for my song ‘Venus.’ Dick Clark presented me with the record right there on the air. It really was magical. Back then music had meaning and melody and much more feeling than it does today. I mean, take a kid today and play ‘Venus’ for them, and there’s no way they won’t enjoy it.”

Not fair, Frankie. “Venus” is a timeless classic. That’s a documented fact.
“Nonetheless, it just seems like today’s music—and music stars—don’t have the same authenticity and respect for history and tradition we had back then. Most of what I hear on the radio these days is garbage. There’s no melody, no feeling—it’s just not there.”

Speaking of modern music, your former co-star Annette Funicello has something in common with one of today’s trainwrecks, Britney Spears: They were both Mouseketeers. What’s your take on the rollercoaster rides that are today’s stars’ lives?
“I think it’s terrible. And sad. It seems like these folks—Britney and Lindsay Lohan, for instance—care only about themselves. They don’t stop to consider the effect their actions may have on so many kids who look up to them. Back in my day we considered ourselves role models for the youth and tried our best to conduct ourselves in an appropriate fashion.”

When you were big man on campus, and just when you were hitting the peak of your stardom, in fact, you became engaged to Kay Diebel. Did your “handlers” pop a gasket over that whole situation?
“Like you wouldn’t believe. They were convinced it was the end of my career. Once the girls heard Frankie Avalon was officially off the market, they surmised, they’d lose interest and my career was as good as dead.”

Things seemed to work out pretty well in the end. I mean, you at least managed to scrape by, right?
“I like to think so. And I’m still married to my wonderful wife. We have eight beautiful children and some grandkids as well.”

Any last words, Frankie? Wanna plug that box set?
“Absolutely. The collection is really fantastic and so comprehensively spans the history of American Bandstand from the earliest days of rock ’n’ roll to the psychedelic era to disco, all the way to … ”

Okay, you’re starting to sound like an infomercial.
“Fair enough. Just buy it. And send my love to my hometown.”

Operation Ozomatli

PLAY Magazine
August 21, 2007

OperationOzomatli
When the U.S. State Department wanted to win hearts and minds in the Middle East, they sent Ozomatli

More than a million people are ready for rebellion / This shit is ill / Sunset to the crack of dawn / If you're black or blonde / Uncle Sam is robbing you blind and putting shackles upon / The minds of your children for real, son / Beware this system and go to war with this institution.

These are not exactly sentiments you'd expect the U.S. State Department to sanction - let alone promote - but in a way, that's exactly what they've done.

The above lyrics are from Coming War, an anti-imperialist rant from the LA-by-way-of-Latin-America Ozomatli. The nine-piece band was recently commissioned by the State Department to conduct a mini-tour of the Middle East, acting as musical ambassadors to thousands of concertgoers in Jordan, Egypt and Tunisia.

This week, Ozomatli swings through Philly as part of the Summer Haze tour. They play opening act to Slightly Stoopid and G. Love & Special Sauce - two bands who thankfully did not accompany Ozomatli oversees to represent our country (Slightly Stoopid's name alone could have confirmed many foreigners' notions about our nation and its leader). This week's Penn's Landing gig, while not sponsored by Uncle Sam, is sure to showcase a good portion of Ozomatli's politically-charged lyricism as well as their top-notch playmanship.

It was this combination of fiery wordplay and incendiary instrumentation that caught the ear of several State Department officials who eventually convinced the band to accept a government grant and play Middle Eastern venues on behalf of the good ol' US of A.

Although the agreement led many to label Ozomatli as a gang of sellouts, the band's members and management took a more pragmatic approach and made every effort to protect the band's integrity while ensuring their chance to spread their funky gospel in rather unpredictable regions.

Manager Amy Blackman-Romero worked with State Department officials, emphasizing the band's tendency toward anti-war and even anti-Bush administration lyrics. Apparently Blackman-Romero's disclosure did little to dissuade the officials' desire to sponsor Ozomatli.

Politics aside, Ozomatli jumped on the chance to tour the Middle East and bring the people a taste of their Latin-tinged funky Mariachi sounds. Truly offering the people a different image of America, Ozomatli played seven shows over the course of nine days, performing everywhere from a Roman ampitheater in Carthage to the Opera House in Cairo to a Palestinian refuge camp in Jordan.

The Grammy winners tore through the region like a good vibe cyclone leaving positive impressions of America in their wake. Considering the political climate as of late, imbuing Middle easterners with good feelings about the United States is certainly no small feat.

In order to gain an appreciation of the way in which the multi-cultural and multiethnic Ozomatli managed to spread their message of peace and hope throughout a region that's better known for holding a slight grudge toward westerners, one only needs to pick up any one of the band's albums and give it a quick spin.

Although Ozomatli has shifted gears and directions from time to time throughout their 12 years together, each of their five albums resonates with similar themes of acceptance, tolerance and progressive encouragement. The group's core has remained more or less intact over the years and the instrumentation rarely wavers, always shoving horns and percussion to the forefront.

The band's overall sound is decidedly Latin-flavored but the more educated and worldly ears will detect hints of Indian, Egyptian and even French influences woven into Ozomatli's rich sonic tapestry.

Lyrically, Ozomatli splits the difference between English and Spanish lyrics, with the majority of the band's more hip-hop-tinged numbers receiving the traditional American treatment.

On the hip-hop tip, Ozomatli has enjoyed its share of brushes with the genre's royalty, as Jurassic 5's Cut Chemist and Chali 2Na contributed their skills on the decks and mic respectively to the band's self-titled debut.

With Ozomatli, as is the case with so many larger multi-instrumental collectives, the live show is really where they shine. As one who witnessed the band's performance at the New Orleans' JazzFest in 2001, I'm not at all surprised that they were able to placate the crowds and endear themselves to a part of the world often considered hostile to American ideals. In fact, as the band formed a drumline at the end of the aforementioned gig in New Orleans, leading hundreds of people through the deserted streets of the Big Easy (it was about 7 a.m., mind you), they seemed capable of leading the crowd pretty much anywhere they saw fit - even to a new impression.

Ozomatli
With G. Love & Special Sauce, Slightly Stoopid + DJ Schoolly D
When: Thurs., Aug. 23, 7pm.
Where: Festival Pier at Penn's Landing, Columbus Blvd. And Spring Garden St.
Info: 215-569-9400
www.livenation.com




Grimace Federation

Philadelphia Weekly
August 15, 2007

Live Music

Grimace Federation

Wed., Aug. 22, 7:30pm. $10-$12. With Beans, Red Rocket + Orbit to Leslie. World Cafe Live, 3025 Walnut St. 215.222.1400. www.worldcafelive.com

Has Philly been sleeping on Grimace Federation long enough that we should be surprised that Beans—a member of the fabled Anti-Pop Consortium—is joining them as a “special guest” this week?

Let’s be honest—special guest is just a nicer way of saying, “Hey, get out there and warm up the crowd for us.”

Thankfully, the Federation’s all-encompassing approach to jazz skronk, deep groove and instrumental hip-hop stands as strong evidence of their ingrained respect for those who came before.

That said, expect some tasty collaborations of rebel rap and fierce funk with more than a pinch of horns thrown in for good measure. (Joshua Valocchi)

Elephant Man

Written for Philadelphia Weekly

Elephant Man

Fri., Aug. 17, Doors at 9pm, show at 1am. $25. With Round Head, Roger Culture + Marlon Hype. Pinnacle, 720 Arch St. 215.413.7720. http://ladydawnpromotions.blogspot.com/2007/07/elephant-man-comes-to-philly.html

It’s difficult to distinguish what’s most endearing about Elephant Man. Is it his Rodman-esque orange-red hair? Or is it the unbridled energy he injects into every performance? It could be the adorably oversized ears that spawned his name.


Then again, maybe it’s the way he spews hatred about gays and the entire queer community through his lyricism before specifically describing elaborate plots to rid the world of the “batty man” and “chi chi man,” both derogatory Jamaican patois slang terms for homosexuals.

In the world of dancehall reggae, Elephant Man is far from alone regarding his stance toward gays. At times it seems like the entire community is playing the Third Reich to the homosexual society’s Jew.

Recent protests and increased awareness of the dancehall sector’s bigotry has managed to tame the hate speech a bit, but only after promoters’ hands were forced to cancel concerts under threats of massive protests and stepped-up boycotts.

Fellow stars of the scene, Beenie Man and Buju Banton recently signed the Reggae Compassionate Act, a pledge to cease releasing songs or making public statements that advocate violence toward homosexuals.

Pragmatism dictates that these artists likely signed on as an attempt to protect their record sales and public performances from future boycotts but it’s still a step in the right direction.

Perhaps Elephant Man will eventually make the right move and sign on as well. It may not alter his personal convictions, but the last thing we need in this city is public encouragement of violent acts. We pretty much have that market cornered already, thanks. (Joshua Valocchi)

Girls Rock Philly Showcase

Philadelphia Weekly
August 8, 2007

Live Music

Girls Rock Philly Showcase
Sat., Aug. 11, 6pm. $5. Girard College, 22nd St. and Girard Ave. 215.789.4879. www.girlsrockphilly.org

Having grown tired of the media praise piled upon 98 Degrees and LFO, and having deemed the Spice Girls too crotchety, the ladies at Girls Rock Philly take matters into their own hands this weekend.

Following six grueling days of making friends and playing music, the attendees of the first Girls Rock Philly Band Camp take the stage to duel it out with one another in the ultimate grrl rock showcase showdown.

After being divided into groups on opening day, the campers spend the week writing and rehearsing original songs in preparation for the final show Saturday. (Joshua Valocchi)

Portugal the Man

Philadelphia Weekly
August 8, 2007

Live Music

Portugal the Man
Sat., Aug. 11, 3pm. $10-$12. With PlayRadioPlay!, Photo Atlas + Only Children. Trocadero, 1003 Arch St. 215.922.LIVE. www.thetroc.com

Although last month’s release of Church Mouth finds Portugal the Man shying away from the experiments in sonic trickery showcased on last year’s Waiters: “You Vultures!”, the Alaskan trio manage to retain an impressive level of their original captivating lyricism.

Eschewing underwater bass effects and drum machines for a more organic blues explosion, Portugal have not only transformed their genre-bending sound yet again, but also groomed a stable of new songs that translate live much better than the older material.

Perhaps not as daring as Waiters, Church Mouth perfectly captures the essence of a band in the throes of a renaissance. (Joshua Valocchi)

Say Word Wednesdays

Philadelphia Weekly
August 8, 2007

A-List

Spoke fiends

Say Word Wednesdays

Wed., Aug. 15, 9pm. Free. Arts Garage, 1520 Parrish St. 215.765.2702. www.myspace.com/crashersinc

If the thought of attending a spoken-word event turns your stomach, you’re not alone. The prospect of being forced to sit through a single minute of Def Poetry Jam’s Slam makes me want to kick puppies.

So why is it that Say Word Wednesdays sounds so appealing?

Perhaps it’s the venue. Arts Garage is quickly becoming the hot hang for the city’s underground hip-hop set—and for good reason. It’s out of the way enough to score points for semi-obscurity, yet the interior design is just early-’90s Chelsea enough to make even your gayest friend envious.

Plus, Say Word Wednesdays has the street sense to marry pop poetry with a hefty helping of hip-hop beats, raising its cool factor well above open-mike night at Doc Watson’s. Say Word is jockin’ the DIY tip in a city that loves its underdogs. (Joshua Valocchi)



Budos Band

PLAY Magazine
August 15 2007


Budos Band

Joshua Valocchi
Contributing Writer

An 11-piece explosion of deep soul and dusty groove, Budos Band erupted from Staten Island’s surprisingly fertile jazz hotbed of the ‘90s. Today the band shares members with Sharon Jones’s Dap-Kings as well as Amy Winehouse’s crackerjack back-up players. This week, Budos Band celebrates the release of their second full-length on Brooklyn’s Daptone Records, bringing their traveling afro-funk circus to the main stage at World Café Live Friday night.

The core members of Budos Band met while participating in an after-school jazz ensemble at Staten Island’s Richmond Avenue Community Center. Sharing an affinity for the vintage soul and jazz-funk fusion featured on so many soundtracks of the classic Blaxploitation flicks of the early-‘70s, a handful of the ensemble players began executing late-night ferry trips to Manhattan, sneaking into downtown’s No Moore Club to get down to the sounds of the likes of Antibalas, Sugarman 3 and the aforementioned Dap-Kings.

These late-night ventures into the big city sowed the seeds that would eventually blossom into today’s mighty Budos Band. Inspired by the afro-soul leanings of the downtown players of the time, the musicians who would become the core of Budos Band first tried to alter the musical direction of their Richmond Avenue ensemble. After their attempts to mirror the afrocentric tendencies displayed by their downtown heroes was met with resistance from the ensemble’s musical director, several members left the community center to form Los Barbudos (Spanish for “the bearded ones”), a mostly funk-oriented affair that still managed to weave soul and afro-beat threads into its increasingly complex and rich tapestry.

When one member of Los Barbudos decided it was time to shave his beard, the band trimmed their name to Budos Band and fattened their overall sound, recruiting a few horn maestros from neighboring Brooklyn. The addition of the horn section allowed Budos Band the flexibility and muscle to explore more outer fringes of cosmic funk while solidifying their dedication to achieving an authentic afro-beat sound.

It was around this time that the band had finally managed to arrange an audience with one of Daptone Records’ A&R crew. The band’s performance was tight and impressive enough to prompt the agent to sign Budos Band on the spot. Soon thereafter, the band found themselves in the studio where they proceeded to cut their first full-length for Daptone in just under three days.

Having now joined forces with the same musicians they were emulating in their formative early years, the members of Budos Band are now free to reap the rewards of their hard work and ballsy determination. Daptone Records is a label that seems almost custom-tailored to fit Budos Band’s sound and direction. Somewhat like the Elephant 6 of soul and funk, Daptone often appears to be more of a collective than a label, with members of several bands intermingling in an almost incestuous fashion. The Dap-Kings, for instance, are regarded as the label’s house band, contributing to several releases by a number of the label’s artists every year.

Budos Band is no exception to that rule and nowhere is that air of free artistic collaboration more evident than the increasingly frequent occasions that find the band playing local festivals and free concerts in and around the borough of Brooklyn. From the Park Slope Festival to CitySol 2007, there’s no telling who might show up to throw the fans a little curveball and add to the groovy soul stew that is the Budos Band.

Creative collaborations aside, Daptone is also unique for the specific type of soul music it promotes. From Lee Fields and the Sugarman 3 to Sharon Jones and the Dap-Kings, bands featured on the Daptone label produce a very distinct flavor of vintage soul that’s so authentic even the most seasoned experts might mistake the label’s latest releases with reissues from the Stax collection, circa 1971. Once again, Budos Band is no exception here. Outside of the clean and crisp production value showcased on Budos Band II, there is very little on the record that distinguishes these young whippersnappers from the revered greats of the genre. The band’s stabs at afro-beat are certainly Kuti-worthy – well, at least Femi- and Seun-worthy – and some of the deeper funk that peppers the disc would have felt right at home on the original Shaft soundtrack.

Rest assured, folks – soul and funk are not dead by any means. Hell, if Budos Band continues traveling this road with such aplomb and authority, they may manage to reverse the effects of aging on both genres. Additionally, while Femi Kuti is doing more than a fine job of keeping his late father’s afro-beat legacy alive and well, Budos Band’s efforts certainly contribute to the cause and represent another huge step forward in resurrecting what was once feared to be an extremely endangered form of music. Kudos, Budos.

If You Go:

Budos Band

Fri., Aug. 10, 9pm, $16-17. With Sonic Liberation Front, Public Record + DJ Botany 500. World Café Live, 3025 Walnut St. 215.222.1400. www.worldcafelive.com