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At the other end of the spectrum, the X-executioners have always been a formidable DJ crew - and in their corner of the world, you ain't one unless you can scratch And you can't help but wonder what Andre 3000 of Outkast did to deserve his dissing on Mental Side Effects Just peruse the guest list to get the jist: Ghostface Killah, Black Thought, Cypress Hill, Fat Joe and Rob Zombie and many more 2004 By REBECCA BARRY You could be forgiven for thinking Skinnyman was ripping off of the Streets This is hip-hop you can sing along to, from the rolling Californian funk of Warrior to the sterile New York crunk of Playboy and the melodic, come-on groove of Karma Add intelligent production that traverses sleazy 70s samples, gospel and R&B, a slightly Jamaican diction that suggests he's been hanging out with the London ragga crowd and an assertiveness that grows as the album progresses, and this skinny man has proved his survival of the phattest In fact, you're likely to come away from it feeling down in the dumps: "Me just trying to be living my life but like I said before it ain't that nice Meanwhile G's laidback rhymes get a bit lost in the mix He can sing too It seems to be Kool Keith's problem too 213: THE HARD WAY (SHOCK) (Herald rating: * * * ) Sexy but dated romp with the canines kings of the West Coast Lloyd Banks on the other hand doesn't need his G-Unit posse to back him up - the cat can rap and hold a tune No surprises then that Revolutions is full of innovative tributes to vinyl culture, from rare Motown and gospel samples to old-school throwdowns, hardcore beats and futuristic mutations fusing hip-hop with girl-punk and industrial metal That's a massive advantage in the singles-driven world of commercial hip-hop and one his verse-chorus-verse-chorus structures exploit to great effect THE X-EXECUTIONERS: REVOLUTIONS (COLUMBIA) (Herald rating: * * * ) Genre-busting turntablists mix with a legion of guest stars Make the mistake of judging his album name alone and Council Estate of Mind sounds too much like Mike Skinner's famously gritty testament to life in the concrete jungle - he even resembles the pasty Brummie who made his name writing hip-hop poetry about his banal, lower-class existence Misogynist attitude and laboured production aside, Keith sounds far too obnoxious for such hilarious lines as "Jump jump jump jump jump, move it like a dump truck, face get fixed up, niggaz get mixed up The Big Apple veteran - who is featured on the new Prodigy album - reckons he still has what it takes to get the ladies to bare all on the strength of his flow but it's just not possible to strip off to beats as dull and dawdling as Kutmasta Kurt's diesel truck-inspired "trunk funk" While The Hard Way oozes sex appeal care of a stellar cast including Kanye West and DJ Pooh, Nate Dogg's soulful croon dates it immediately, as do the tinny, kitsch hallmarks of sleazy, West Coast G-funk Not surprisingly, the result sounds like Snoop's little side project, with laidback, gin-fuelled cuts Groupie Luv and Another Summer revisiting the rapper's favourite doggie past-times: partying, liquor and chicks galore 09 Survival of the phattest 04 on I Drop Money LLOYD BANKS: THE HUNGER FOR MORE (INTERSCOPE) (Herald rating: * * * * ) G-Unit MC gives Fiddy a run for his money Speaking of which, 213 - AKA Snoop Dogg, Nate Dogg and Warren G - have long fuelled rumours they would return to the collective they began as upstarts in Long Beach more than a decade ago But this is not a good-time album in the sense Skinner makes light of his crappy life Not exactly brimming with obvious singles either but it's a nostalgic family reunion all the same KOOL KEITH: DIESEL TRUCKERS (SHOCK) (Herald rating: * * ) A white-trash road trip with plenty of bumps in the road " Rather than dazzling with speed his style relies on the profundity of his narrative, an up-yours to all those who knew he would wind up on the dole with no cash or prospects SKINNYMAN: COUNCIL ESTATE OF MIND (LOW LIFE) (Herald rating: * * * * ) Your miserable life ain't a patch on this As always the New York turntablists sound inventive, stylish and rhythmically clever but like so many albums that fuse genres, the mechanics of some of their hip-rock beats tend to over-ride good, old-fashioned catchy tunes But the balance between poetry and jamming was best maintained by the band that built the scaffolding for an event such as Bonnaroo Earlier, though, there was Dylan Bonnaroo is keenly aware, nurturing even, of its eclectic nature, contrasts and even sense of confusion (thus the locations "Which Stage," "What Stage," "That Tent," "This Tent" and "The Other Tent") m Stephen," "Dark Star" and "Slipknot," highlighted the almost spiritual instrumental wanderings that have cemented the Dead's patriarchal position Thus its final hours encompassed David Byrne (who traveled from Verdi to captivatingly altered renditions of Talking Heads classics like "Psycho Killer") and acidy jazz-rock icons Medeski Martin & Wood setting the stage for a closing performance by Anastasio Last weekend, this manifested itself in wonderful performance juxtapositions like Friday afternoon's lineup of Bob Dylan, The String Cheese Incident and Gillian Welch But the most elevated moments appeared in inspired renditions of the Beatles' "Hey Bulldog" and Jimi Hendrix's "Fire," and a particularly joyous closing version of Sly and the Family Stone's "Thank You Flashes of lighting on the horizon and torrential sheets of rain drove the throng not into tents, but to chants of "rain or shine!" and perhaps the loudest mass singing of "Come Together" since The Beatles' dissolution The latter featured special guest Col The Dead took the main stage Saturday night amid atmospheric drama worthy of the festival's most anticipated performance It had the combination of Umphrey's McGee, Vida Blue (featuring an all-star cast of Phish's brilliant Page McConnell, renowned Allman Brothers bassist Oteil Burbidge and Russell Baptiste of the Funky Meters) and Praxis Against the backdrop of the festival's first sunset, the juxtaposition of Dylan against the immense, youth-injected crowd showed the poet's perpetual relevance and ability â€â€? sometimes to the chagrin of more nostalgic listeners â€â€? to reinvent his material The Friday night feature set joined two of the so-called scene's most revered figures: Dave Matthews and Anastasio, the festival headliner and frontman of the soon-to-be-disbanded Phish So the scene at the Nashville airport last Thursday night â€â€? a mass of tie-dyed 40-somethings and sad-eyed hipsters searching desperately for a ticket to a sold-out festival over an hour's drive away â€â€? was testament to the fact that, since the first Bonnaroo in 2002, the idea of music is never stronger than here " "A good song is unstoppable," Welch told The Associated Press backstage before her performance " Although Dylan's gravelly voice â€â€? more suited these days to a rendition of "Louie, Louie" than his heartfelt closing performance of "Like a Rolling Stone" â€â€? hasn't remained as faithful to him as his sense of feeling, it strangely accentuated the irreverence and tattered wisdom underlying his timeless songs " Ultimately, though, beyond any sense of dichotomy, Bonnaroo is a celebratory melting pot of musical ideas Opening with a blistering, expansive rendition of "Mr Singing with a touching, haunting smoothness, she extracted immense feeling from minimalist musical spaces, particularly during "Miss Ohio" and "Like a Wrecking Ball " When Anastasio's own band took the stage, it was a textured explosion worthy of the festival's climax " Finally, Bonnaroo found release in a near riot-inducing rendition of Phish's "First Tube," massive fireworks exploding in the early morning sky Les Claypool, whose Primus played their own impressive set on Saturday A history-laden, sing-along set including "The Weight," "Me and Bobby McGee," "Good Lovin" and "Casey Jones" played against a second set that, with Dead classics "St " Therefore, any jamband discussion, like a conversation about love or morality, is ultimately the discussion of an idea, a beautiful amalgam of vagaries Seated mostly behind his keyboard, he smiled slyly, deeply dipping his shoulders in lyrical emphasis amid searing performances of "Highway 61 Revisited" and "Samson and Delilah It also was evident in Friday's midnight to 3 a Musical nobility like Doc Watson and recent Hall of Fame inductee Steve Winwood are placed against the rapidly emerging brilliance of acts like Yonder Mountain String Band, The Bad Plus and The Black Keys, a murderous, bluesy two-piece (drums and guitar) that produced such a depth and force of sound, at times they made the White Stripes seem like they should be playing proms Bowling over the multigenerational audience with numbers like his take on "House of the Rising Sun," Watson even offered up a bit of Dylanesque caginess upon receiving a deafening ovation: "If you don't quiet down and listen to the music," he said in mock seriousness, "I'll leave the stage " Such lyrical preoccupation provided a moving contrast to the fearless instrumental tightrope-walking of bands like Umphrey's McGee, Addison Groove Project and Moe session, which, despite exhausted festivalgoers sleeping on damp ground less than 100 yards from the stages, was the most energized of the first day Clearly rediscovering a degree of childish joy while acting as conduit for an estranged sound which he called "the most beautiful man has ever produced," Anastasio led the ensemble through stirring orchestrations of the Phish compositions "Pebbles and Marbles," "The Inlaw Josey Wales" and a brilliant meshing of "My Friend, My Friend" with fan favorite "Guyute Opening with a celebratory "Tennessee Jed," the iconic band delivered a show that exploited the dichotomy of songwriting and abstraction, sensitivity and surrender Watching Watson, the 81-year-old epicenter of bluegrass guitar, perform on Saturday was like examining a kind of musical primordial ooze They'll tell you, smiling or frowning, that music doesn't have a "scene " which saw Anastasio joining in on drums and Matthews in a crazed, stage-encompassing dance, a cross between his traditional pseudo-bop and a nod to the drug-induced, hippie writhings that would become so familiar over the weekend The most significant juxtaposition that Bonnaroo maintains, which is to say the most significant rupture it attempts to mend, is between past and present Completely," the set was littered with equally frenzied versions of "The Night Speaks to a Woman," Zeppelin's "Black Dog," band staple "Push on Till the Day" and the completely unexpected Charlie Daniels tune "The Devil Went Down to Georgia Ask Warren Haynes, Steve Winwood, Trey Anastasio â€â€? they'll tell you that such constructions are born of a music industry fixated with categorizations and chain record store divisions Their show was highlighted by feeling renditions of Some Devil's "Save Me" and "So Damn Lucky," Matthews' fantastically written synthesis of the pathos of life and death One of the most powerful performances came from Gillian Welch Unstoppable Songs at Bonnaroo Festival Jun 16, 11:39 AM EST As far as many of the musicians who inhabited the stage at the Bonnaroo music festival are concerned, there is no such thing as the "jamband community "No one can stop you, no one can do anything to you, ever, if you write a good song " And even if there was, they wouldn't consider themselves a part of it A live realization of his recent solo release, "Seis De Mayo," Anastasio's performance featured him conducting the Nashville Chamber Orchestra (and dressing the part in a black suit) The compelling southern energy of Matthews' songs, paired with the characteristic sense of ecstasy in Anastasio's play, provided a performance fitting of the first mass union of the festival population |
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