Peep some of the highlights on YouTube.

I don’t know how much of the furore surrounding Jay-Z’s placement as Saturday headliner at Glastonbury Festival has made it across the pond, but over in the UK it’s been impossible to get away from the controversy of an American rap artist occupying a spot that has been traditionally reserved for guitar-led anthemic rock. For whatever reason, people seem to have ignored the fact that despite two years of mudbaths and a growing proliferation of cheaper festivals avaliable to British punters, the struggle to sell all avaliable tickets for Britain’s most high profile festival has fallen firmly on Sean Carter’s shoulders. Jigga’s response? One of the most electrifying and original performances in the history of the festival.

Sadly, I wasn’t in attendance (if I had been, this post would be almost completely incomprehensible), but even from the comfort of my own living room in front of a 20″ screen it was clear that Jay-Z’s set was nothing short of extraordinary. Opening with a cover of Oasis’s ‘Wonderwall’ was a stroke of genius, sending a veritable fuck you to Noel Gallagher who in the run up to the festival has been particularly outspoken about his opposition to Jigga as headline act, a diss served up with a knowing smile and a sense of inimitable grace.

From this sarcastic and intelligent opening it was a non-stop rollercoaster through the more commercial hits, with beautifully delivered acapellas and numerous other elements thrown into the mix to keep the crowd hyped. The backing band’s renditions of Amy Winehouse’s ‘Rehab’ and the Jackson 5’s ‘ABC’ sample flip provided exciting platforms for Jay to rip through a couple of sixteens, and these weren’t the only references to music outside of the hip hop realm, with Prodigy’s ‘Smack My Bitch Up’, U2’s ‘Sunday Bloody Sunday’ and Rhianna’s ‘Umbrella’ also cropping up during the set. It was really the pace of the performance that was most striking, with swift transitions and these multiple musical references maintaining an almost unstoppable momentum that had even the crustiest hippies waving their hands in the air and hollering like they were at a dingy basement somewhere in Brooklyn circa 1994. White people with dreadlocks can bounce and grind with the best of them, don’t ya know…

Top all this off with dazzling visuals and perfectly judged interactions with the crowd and it’s fair to say that this was a defining moment in the festival’s history. What really landed the sucker punch was that apart from Memphis Bleek acting as hypeman, this was Jay-Z and Jay-Z alone: the temptation to throw in a duet with Beyonce to ensure the crowd stayed happy was categorically eschewed and allowed Jigga to shine firmly on his own merit.

Thought that a group of muddy, largely white Brits wouldn’t appreciate the work of arguably the greatest rapper alive? You couldn’t have been more wrong: hip hop music has officially just been taken to another level. Glastonbury Festival in the house, y’all!

Nine - ‘Whutcha Want?!’ (Portishead Remix)
taken from Whutcha Want Remixes (Profile, 1995)

A somewhat rambling ‘comeback’ post after a brief hiatus today, which is symbolic of my current state of mind during the hectic festive season. First off, an apology for the lack of activity here at FDB over the last week, which is not only due to various yuletide social engagements but also by a general lack of motivation brought on by the end of term: the sooner those kids get out my sight the better. Unfortunately this is indicative of things to come over the remainder of December, and although I have a few things already up my sleeve for the coming week (requisite end of year lists included), it looks like this month is going to be relatively slow. Hopefully you won’t be too troubled by this as you drift into slumber during the mid-afternoon lull on Christmas day after gorging on vast quantities of turkey and booze (I know I won’t be). Anyway, let’s get into some music.

Saturday just gone heralded one of my most anticipated events of the year in the shape of the first full length gig by Portishead in close to a decade. I have actually seen the group once before when they played a three song set during a fund raising gig after the tsunami, but needless to say the prospect of a whole hour and a half of performance meant my expectations were raised high. I don’t really know what the perception of the group is outside of the UK or if they have been fully recognised within hip hop circles, but for me they were one of the most exciting and innovative bands of the mid ’90s, fusing boom bap aesthetics into a new package that was dark, soulful and spine-tingling. Of course, to a degree they have become victims of their own success, as Dummy has become a staple of the coffee table along with other albums like Miles Davis’s Kind Of Blue, but don’t let this fool you: both of their studio albums are full of substance and should appeal to the more discerning heads amongst you.

For a band that rarely play live their set was remarkably tight and perfectly paced, with a hefty dose of classic material supplemented by new songs that indicated the group’s direction with their upcoming LP (which sounded good). Unfortunately, the event was marred by one simple technical fault that is both puzzling and relatively unforgivable: Beth Gibbon’s microphone simply wasn’t loud enough. Given that her vocals are such a core element of the compositions, this was an issue that was immediately picked up on by the crowd, and the result was that rather than jubilant applause in between each song there were continual shouts calling for the volume to be raised. For whatever reason, this was never resolved, and it’s a shame that what should have been a triumphant return ultimately left me with a sense of vague disappointment that seemed to be shared by everyone else in attendance. That’s the breaks I guess…

Finally for today I’ve got a Portishead remix to offer you of Nine’s classic ‘Whutcha Want?!’. Geoff Barrow, the production mastermind behind the group, has in fact done quite a wide range of remix work over the years, including work for the Gravediggaz as well as a host of other artists from a variety of genres. This is one of the best for me, and no less because I managed to pick this 12” up for less than a pound during a charity shop dig when I was at university. The anthemic vibe of the original makes way for something much more sinister in the case of the remix, with Nine’s gritty vocals sitting well over the darker production. It’s an interesting spin on the cut that deserves your attention both on its own merits and for the fact that it is produced by someone who is at once for me removed and synonymous with hip hop: see what you think.

Check in later in the week for another installment in the FDB interview series as well as my top ten cuts of the year: I’m off to eat mince pies and drink beer. Man, I love Christmas.

After months of eager anticipation and an all day battle with the London Underground (a reminder of the perils of living in our nation’s capital), last Saturday night heralded my first experience of Pete Rock live. The scope for disappointment in this particular case was massive: The Chocolate Boy Wonder is without a doubt one of my favourite recording artists of all time, and I have rarely, if ever, felt as excited about a gig. Would it live up to expectation, or would I walk away feel cheated? Let’s find out…

Rather expectedly, there’s a hell of a lot of good things to report. With doors opening at 11pm, it was a pleasure to see Pete grace the wheels of steel almost immediately as we got in, and with a set that lasted for just over two hours, there could never be any complaints that the performance was too brief. The set ran thematically, with the crowd being initially treated to a slew of late ’80s classics before the transition into early ’90s bangers and several sections covering key artists of the genre. These sections were particularly enjoyable: I mean, you can’t go far wrong with a generous helping of Tribe, EPMD and the mighty Wu, and it was clear that Pete had read the crowd correctly as much lip-syncing and vibrant movements ensued (particularly from me). Finishing up with a half hour section of his own material was always going to get the Jazz Cafe rockin’, and it did just that in fine style. Clearly a DJ of the true school persuasion, it was also great to see Mt. Vernon’s finest make sure he made his presence felt on the mic as well with traditional call and response shouts going down a treat given the nature of the night. With a few beat juggles thrown in just to increase the flava, Pete’s set was killer throughout. Phew, all good so far.

Inevitably, there were a few elements to the night that griped. First of all, it had been publicised as a DJ/MC set, so in all honesty I was expecting Pete to kick a few verses over instrumentals, but this never happened. No big deal, but the event would have felt all the more complete with some live rhymes, particularly over the classics like ‘T.R.O.Y.’. However, the definitive low point of the event was rather frustratingly in the gig’s dying phases, where Pete showcased some of his new material. Now I’ve already highlighted the fact that I really like the recent a-side ‘914′, and it did go down well with the crowd, but unfortunately the remainder of the new joints were simply not uptempo enough to keep the high energy levels of the evening going effectively. I’m also sorry to admit it, but my first impressions of the three or four songs he played were not good, as they lacked the immediate punch that characterises so much of his extensive back catalogue. Bottom line? They didn’t work in a club. I sincerely hope that this was a result of circumstance rather than a true indication of my feelings of the songs themselves: here’s hoping they leave a more distinct impression on me when absorbed for a while at home after I cop the album in January.

Despite these factors, there is absolutely no taking away from Pete’s skill as a true party rocker. The songs played and the way in which they were sequenced was masterful, clearly the result of years of perfecting the craft. The vibe of the crowd and Pete’s astute DJing abilities made for something truly special: myself and crew had a sensational time. I even managed the obligatory end of night photo with the man himself after muttering something to the tune of ‘your music has really made a difference to my life’, but the smile on Pete’s face alleviates my worry that I made a total dick of myself. However, I am vaguely concerned that I may have an abnormally small head given the proportions displayed below.

It goes without saying that if Pete Rock rolls through your town then you’d be a fool to miss it: I have rarely seen a set put together with such an confident sense of style and finesse. The obsession with all things Chocolate Boy Wonder lives on… rejoice!

It’s amazing how much a holiday can throw you out of your regular routine, hence the lack of posts around these parts since my arrival back from NYC last Friday. I’m now off to the south of France to spend a week with my family whilst relaxing in the Mediterranean sun, and just to put the icing on the cake, my parents have now added a wireless connection at our certifiably middle class home abroad. The upshot of this is that I’m not only blessed with the opportunity to indulge myself in copious amounts of food and wine in great company, but that I can also allow the contents of my hip hopping think-tank loose with a view of the sea. It may seem like a sweet little number, but I promise that in the depths of term time these moments seem a very distant memory, but rest assured, I’m gonna enjoy it before the mob of knowledge hungry teenagers (yeah, right) take a hold of me in just a couple of weeks time.

Anyway, enough of my personal situation: let’s get into some music. There were more than a few bits and pieces that myself and my girlfriend enjoyed music-wise whilst dwellin’ in the rotten apple, so here’s a rundown of things that we checked out that may interest you.

Check The Technique Launch Party @ Rewind, Manhattan 9/8/07

I don’t imagine that anybody reading this has not yet devoured Brian Coleman’s excellent new book that details the stories behind 36 classic hip hop albums, but given that it has not yet seen a release in the UK, I was busting to get my hands on a copy to enjoy whilst in the birthplace of hip hop. It goes without saying that if you haven’t got this yet it is an absolutely essential purchase for any self-respecting hip hop geek (or junkie as Coleman would prefer us to be known), and I was fortunate enough to meet him at the launch party where he listed another ten or so albums which are already set for a place in the sequel. Unfortunately, a mixture of a considerable amount of alcohol and an impending ‘disagreement’ with aforementioned girlfriend means that this list has now leaked from my memory, and I can only recall him mentioning Critical Beatdown. Still, I do remember being distinctly excited, and if the first installment is anything to go by then the sequel will be a joy.

Mr Walt and Evil Dee supplied the music for the evening and in conversation with the latter he mentioned a couple of projects he’s working on at the moment including a new Black Moon album and a full length collaboration with O.C., both of which I feel could be great or incredibly disappointing: we’ll have to wait and see.

Hush Tours – Manhattan & The Bronx 11/8/07

Hush Tours have been going for four years now, the brainchild of a woman called Deborah who along with various pioneering legends of the genre will show you around some places of hip hopping significance in NYC for a mere $55 (I’m not sure it warranted the price tag). Led by Grandmaster Caz, the tour took in various spots in Harlem and the Bronx, and is worth doing if you don’t know the city well and need a helping hand in finding some of the less obvious spots that have played a part in the development of the culture. I’m not sure how ghetto it is getting on a tour bus and wandering around Harlem with a collection of other people who ranged from the cool to the downright strange, but it was enjoyable nevertheless. Perhaps the most poignant moment for me was when I asked Caz which period in the culture he thought was the best, and rather predictably his reply was a categorical “in the beginning”. Looks like we’re doomed: young or old, the general consensus is that hip hop was always better ‘back in the day’. But then I guess we knew that already… let’s keep on reminiscing people.

Brand Nubian @ Sputnik, Brooklyn 11/8/07

I was understandably excited when I realised that Brand Nubian were going to be playing whilst I was in NYC, and the boys did not disappoint, with an hour long set that genuinely rocked the crowd. Apart from DJ Alamo, all original crew members were present and correct, storming through a set that included all of their classic early material as well as the odd Puba solo joint thrown in for good measure. In a venue that held only 97 people, there was an intimacy to this gig that was electrifying, and despite the slightly weathered look of Puba, Sadat X and Lord Jamar, their delivery was as fresh and as on point as it was in 1990. Surprisingly they didn’t play any of their new material from their soon to be released LP, but in some ways the gig was all the better for it, steeped in a sense of nostalgia and a straight up, feel good vibe.

What surprised me most about this event was that such concrete legends of the genre could be playing in such a small venue in the home of hip hop for a mere $15. Check yourself New York: where the love at?!

Zap Mama @ Central Park, Manhattan 12/8/07

There were a whole host of free outdoor gigs on the go over the course of my stay as well, and perhaps the biggest treat of them all was Zap Mama, a group who I had heard nothing of before. Turns out their lead singer has done collaborations with a variety of Badu infected hip hop artists including Common and The Roots, and the band’s live show was excellent, taking in influences from soul, jazz, samba and other categories of world music that I can never really get my head around. Suffice to say the end result was highly enjoyable, and I’ll be checking for some of their material in the future: I suggest that you do as well.

Leela James @ Jackie Robinson Park, Harlem 16/8/07

Our final night in the Big Apple was filled with the delights of Leela James whose live performance was captivating, taking in blues, funk and a few soul covers to keep the party rockin’. Nothing particularly original here, with Leela falling into the pitfalls of soul cliche a few too many times for my liking (”we’ve all been hurt y’all…”), and I have since downloaded her debut LP A Change Is Gonna Come which unfortunately fails to capture the grittier edge of her live show and feels a little too polished, but it still felt great standing in a park in Harlem for free and soaking up the atmosphere. If she can pull a Sharon Jones and translate some of this energy onto record, she could be an artist to look out for in the future. There’s also a Pete Rock connection here, with her featuring on a track from Soul Survivor II and with some mysterious PR adlibs on the track ‘Good Time’ from her debut, so you know that’s always going to keep me enticed.

Apologies if this post has felt a little self-indulgent, but it really did feel great to be in the home of hip hop, if only for a brief time: it really is one of the most exciting and culturally rich places that I have ever visited on the planet. I’ll be hitting you with a special series of posts this week which will focus on my usual beat deconstructions and straight up hip hop, so forgive the brief digression and brace yourselves: it’s gonna be big…

Pharoahe Monch - Desire feat. Showtyme & Push feat. Showtyme, Mela Machinko & Tower Of Power
taken from Desire (Street Records, 2007)

Given that my attitude towards hip hop in general has become increasingly cynical over the years, there is no disguising the fact that these forces are most at play when I attend live events. Perhaps it’s the immediacy of the occasion that is the root of this issue: if I buy a record and don’t like something about it I can push it to one side and pretend it doesn’t exist, but if I’ve splashed out some of my hard earned cash on a concert I am committed to stand there for the duration come what may. Despite only being 25, there is also the creeping and unsettling sensation that I am one of the oldest members of the crowd which manifests itself in two very different ways:

1. Arrogant self-aggrandisation:

‘I know a lot more about hip hop than any of you and appreciate what we are currently seeing in more ways than you can possibly comprehend. You may think you understand this music but I would be willing to bet my life on the fact that you don’t. This is a phase for you: you’re jumping on a bandwagon in an attempt to feel cool and my overwhelming feeling towards you is one of hatred. You’re pathetic.’

2. The truth:

‘Everybody here looks younger and better than me. They also look like they are genuinely enjoying themselves which is more than can be said for my grumpy arse. I remember when I was like them, fresh with a love for hip hop, and there is no doubting that it was a great time in my life which I would happily revisit if given the chance. I am rapidly becoming a sad, pompous, self-inflated and twisted individual who believes only his opinions on this music matter and who is simultaneously losing the ability to have fun in a spontaneous, carefree and upbeat way. I’m pathetic.’

Needless to say, the complexity of these two opposing viewpoints often keeps me away from live events nowadays. However, every now and again something pops up that I know I’ll kick myself if I don’t see, and last week, Pharoahe Monch came to town. With a couple of beers in my belly and an internal mantra set on repeat (’you are not sad and old, everybody there has just as much right to be there as you do’) I was ready for one of the first gigs in a while where I felt genuinely excited and up for a good time. Bring it on…

The evening started off well with the DJ spinning some decent beats and allowing me to get my geek on with my mates who had joined me (this is the drum loop off Lee Dorsey’s ‘Get Out My Life Now Woman’, blah, blah, blah…), but proceedings were brought to a grinding halt by one of the most uninspiring warm up performances I have ever seen. In their one hour set, British Intelligence came to represent everything that I hate about the UK scene, with pedestrian flows and the constant need to try and get the crowd hyped with little to no success. Whereas the boys from B.I. clearly interpreted our lacklustre response to shouts of ‘are you ready for Pharoahe?!’ as a lack of excitement for the mic legend whom we had paid to see, what they failed to realise was that the majority of the crowd had drifted into a state of near comatose as a result of their performance which prevented us from responding with anything beyond a dull groan, stunned into near silence. Honestly, this was some of the most yawn-inducing music that I had seen in a while and only confirmed some of my fears about venturing out of the house on a weeknight to see live hip hop. Still, the main event was yet to come.

And it didn’t disappoint. With a full live band in tow (drums, bass, DJ, two backing singers and guitar), the show that ensued was full of energy and genuinely exceptional. Pharoahe catered to fans both new and old, with a slew of bangers from ‘Internal Affairs’ and ‘Desire’ as well as the odd Organized verse dropped in for good measure. I have been feeling a little lukewarm about his latest material up until this point, but tracks such as ‘Desire’ and ‘Push’ worked particularly well in this context, boosted by the in your face edge of a live performance, and the balance between these songs and older cuts was extremely well judged. As I expected, Pharoahe had a presence which was captivating, his delivery was sensational and the raw energy behind his performance was matched only by the enthusiasm and musical dexterity of his bandmates. All in, it was one of the best gigs that I have been to in a long time, and I left feeling energised rather than with the usual sinking sensation brought on by my frequently disappointing trips to live hip hop in recent times.

It’s a shame that a culture built on live performance now seems to so rarely meet expectation on this front. Certainly for American artists visiting the UK, it seems all too easy to have a DJ spinning instrumentals whilst MCs recite the lyrics over the top for an hour and call it a gig. Pharoahe proved to me last Thursday night that hip hop can still be a vibrant and exciting form of musical expression in a live context, and I would strongly recommend that you see him if you get the chance over the coming months whilst he promotes the new album. 2007 is shaping up to be a pretty decent year for hip hop so far, and performances such as this only serve to make it better and dispel the myth that hip hop is dead. The true success of this gig can be measured by the fact that the two prevailing attitudes detailed at the beginning of this post were made redundant: I simply had a really good time. Pharoahe, I salute you!

World Renown LP released:

I noticed the other day that World Renown have now made the tracks from their long lost LP available for download on their MySpace. From the audio clips it sounds great (I mean it’s K-Def for gawd’s sake) although nothing is going to touch ‘How Nice I Am’ in my opinion. I feel a little peeved at the $1.50 price tag for each individual tune though, as with eleven tracks available that means you’re spending over fifteen dollars with no physical product in sight, and it feels deliberately exploitative of hip hop nerds such as myself. I’d probably be willing to pay this if they actually released the CD, but as it stands I’ll only be selecting the best few cuts and making do with that. Head over there and peep it.