k-os interview
By Canyon Cody
Published in The Heights

With a traditional drummer, a hand percussionist, and a DJ tapping beats on his MPC, rhythm filled the Paradise on Tuesday, with Canadian rapper k-os leading the crowd through a powerful, but disappointingly brief set while opening for Handsome Boy Modeling School (HBMS).

It was no easy task recreating the diverse instrumentation on k-os' two phenomenal albums, 2002's Exit and 2004's Joyful Rebellion. Instead of bringing a brass section on the tour bus, k-os delegated the responsibility to his guitarist, who proved his Spanish flamenco skills with blurred hands.

K-os' music has a natural energy to it that makes it sound more alive than the majority of over-produced commercial rap. During our interview, k-os talked about his musical roots in Trinidad, where he lived before moving to Canada when he was 12.

"Watching my uncle in Trindad making steel drums at home from scraps of metal that he found, that really gave me a grass roots understanding about music and how you should make it," he said.

K-os enjoys considerably better success in Canada, where any of his five music videos are regularly played on Canadian television. His first single, "Crabbuckit," won him Single of the Year at the Canadian Juno awards.

When he performed his hit single, the electric standup bass player strummed the song's infectious baseline, which it borrows from The Cure's "Love Cats." Instead of referencing The Cure, the more obvious earlier owner, k-os led the crowd into its original owner, "Hit The Road Jack."

For k-os, touring in America is always a strange experience, one that he admits he doesn't especially enjoy. He has toured Europe with The Roots, but looks forward more than anything to performing back home in Trinidad. K-os said he's not surprised that he doesn't get as much exposure in America.

"America blasts its music all over the world, and it makes it seem like the only way to be black is to be American black.

"Especially with hip-hop, Americans totally ignore black people in Canada, or in the Caribbean, or in Africa. That's why I was so into Bob Marley, because he was this black guy who was totally not American and America couldn't ignore him," he said.

HBMS headlined the concert, but disappointed with an inevitably unsatisfying perormance. The recent HBMS album, White People, is a beautiful collaboration between two producers, Dan the Automator from Gorillaz and Prince Paul from De La Soul, featuring guest appearances from Del tha Funkee Homosapien, Barrington Levy, Cat Power, and Jack Johnson.

Of course, none of these people were on tour with HBMS, just waiting backstage all night to perform their one contribution. Instead, HBMS decided to simply play their beats with cartoons of the guests projected on a screen behind them.



HBMS tried to compensate for the absent performers by incorporating skit comedy in its show. After k-os, the crowd seemed amused, but mostly disappointed.

Photo by Anna Schindelar

Mixtape Friday: It's Rex Manning Day!
By Canyon Cody
Published in The Heights

I get sick of songs pretty quickly, especially when my roommate plays his new favorite tune every five minutes. Imagine how sick you are of U2's "Vertigo" after watching the iPod commercial a million times. Now imagine how sick of it Bono must be, and yet he still has to perform it at every stop on tour.Musicians usually resort to playing covers for two reasons: Either they don't have enough original material or they're sick of playing their own songs. When Jack Johnson appeared in concert on March 3 at the Virgin Megastore, he played a number of covers for a different reason: he couldn't remember the lyrics or the chords to his own songs.

Bay Area DJs Sway and King Tech host a radio show where they put famous rappers on the spot and test their memory of the lyrics to their own songs. It's hilarious to listen to Ice Cube struggle to remember the words to his own classics from years ago.

A-Side

Led Zeppelin "Stairway to Heaven"
The first 250 fans who purchased Johnson's new album In Between Dreams were rewarded with a special yellow bracelet that allowed us to see Johnson perform. Instead of letting us wait inside, the sadists at Virgin forced us to wait outside in the bitter cold. At one point it appeared like Johnson had finally arrived, but to everyone's surprise, Paul Peirce from the Celtics emerged instead from a black Escalade to buy 50 Cent's new album, which was released on the same day. Finally at 12:30 p.m., an identical Escalade rolled up and Johnson popped out, smiling and tan.

He took requests from the crowd, but apologized when he couldn't remember the words to some of his older songs. Someone in the crowd jokingly suggested "Stairway to Heaven" and Johnson tried to humor him, but only managed to remember the first few chords. Johnson didn't seem bothered when he couldn't remember his own songs, but he was clearly frustrated that he forgot how to play the Zeppelin classic.

B-Side

Charles Wright "Express Yourself"
This funky track from 1969 by Charles Wright, was later made famous when sampled/covered by Dr. Dre as a member of N.W.A. The uplifting song doesn't really fit on Staight Outta Compton, an otherwise nihilist gangsta rap album, but fit perfectly as a transition between Johnson's happy-go-lucky songs.

Ernie Mars "Plastic Jesus"
One fan nonchalantly set up a microphone to record the concert, which Johnson not only tolerates but encourages. His Web site even offers a place for fans to trade bootlegs of his live shows. Over the years these have included covers of "Rudolph the Rednose Reindeer," Robert Johnson's "Dust My Broom," Jimmy Buffet's "Pirate Looks at Forty," Bob Marley's "Trenchtown Rock," and Sublime's "Garden Grove." The only true cover he sang at this show was Ernie Mars' "Plastic Jesus," with its famous lyrics, "I don't mind if it rains or freezes/ Long as I have my plastic Jesus/ Riding on the dashboard of my car."

Dedicated Citizen Cope fans wait outside in the cold
By Canyon Cody

Published in The Heights
Photo by Anna Schindelar

Singer-songwriter Citizen Cope passed through Boston during spring break at a moment of transition in his career. He is not yet popular enough to fill larger venues, but apparently too popular to fit all his fans into the small Paradise Lounge.

Many were unable to get tickets before they sold out and instead decided to stand outside in the freezing cold and enjoy the concert by peering through the bar's windows.

Citizen Cope deserves to be playing at major venues and will most likely never return to a stage in Boston as small as the Paradise Lounge, the small bar next to the Paradise Rock Club.

It was a special treat for his fans in the crowd who knew all the words and sang along, only to be tricked when Cope would slightly deviate from the lyrics on his album just to make sure everyone was still paying attention.

Cope performed songs from his phenomenal new album The Clarence Greenwood Recordings and his self-titled debut. He was backed by an exciting band that featured an organ player and a hyperactive drummer whose kinetic energy on tracks like "Son's Gonna Rise" contrasted Cope's mellow, almost sedate stage presence.

Citizen Cope's voice was full of passion and pathos, but his facial expressions hardly revealed a light in the attic. Cope's eyes remained thee-quarters closed through the entire show and he somehow managed to belt and wail without opening his mouth more than a sliver.

Cope did a great job of adapting his songs for the stage and avoided simply playing the songs as they sound on his album. For his encore, Cope returned with only his acoustic guitar, giving his band a well-deserved break.

His only cover of the night, Bob Dylan's "Simple Twist of Fate," came during the encore. He said he was never into singing covers, but Dylan's lyrics touched him, so he learned the words. "Now that I've learned the words, I might as well play the song," Cope joked in one of his brief interactions with the crowd.

His voice resonated in the small venue and his Bob Dylan-esque growl imbued his lyrics with genuine emotion. Cope's non-singing stage presence, however, was disappointing for he hardly engaged the crowd while onstage. The singer made up for it by hanging around after the show and signing autographs for his fans who had pillaged the Paradise for Citizen Cope promotional posters. As a musician, Cope is an impressive performer, but as an entertainer he lacks a certain showmanship that would distinguish his live shows.

Sly and Robbie lay down reggae riddim
By Canyon Cody
Published in The Heights

How cool are Sly and Robbie? Too cool for words.

During their three-hour performance at The Paradise on Tuesday, Sly and Robbie were so immersed in their funky reggae rhythm that they didn't say a single word. Instead, the live drum and bass duo laid down a danceable groove while an all-star lineup of guest appearances controlled the microphones.

Drummer Lowell "Sly" Dunbar and bassist Robbie Shakespeare have been pioneers in reggae music for decades. Robbie played the bass on Bob Marley's "Stir It Up" and worked with Sly alongside Mick Jagger and Pete Tosh. Tuesday's show was the last stop on the pair's 25th anniversary celebration tour.

Sly, who earned his nickname by listening to Sly & the Family Stone while growing up, revolutionized reggae music in the early '90s by embracing the electronically programmed beats that became ragamuffin, or ragga for short. The group's beats provide the background for plenty of modern reggae dancehall, including the hit "Murder She Wrote" by Chaka Demus and Pliers.

Back in the day, the duo literally lived off only bread and water while touring in order to save up enough money to start their label, Taxi Productions, which they launched featuring the breakthrough of Black Uhuru.

During the show, Sly picked his drumsticks back up and proved he's still an amazing drummer despite his new role as a beat producer. His fast-paced syncopated rhythms were so intricate and complicated that they sounded as if Sly had produced them on his drum machine.

Robbie roamed the stage plucking away at his bass, flirting with college girls in the front row, and clowning with his silent partner sitting at the drums.

While Sly and Robbie took care of the rhythm and beat, guest singers rotated onstage to accompany the reggae legends. Keyboards, saxophone, and trombone comprised the rest of the backing band for Tony Rebel, who has been touring for nearly as long as Sly and Robbie. Rebel brought his Rastafarian dancehall groove into the mix along with sultry singer Blue Fox. Half Pint was the final act, bringing a bit of youth into a show dominated by aging, but still rocking, old-school reggae stars.

At no point did Sly and Robbie drop the beat for even a moment's rest, leaving the dancing crowd satisfied but exhausted by the night's end. Robbie ended the show with a bass solo so impressively dirty that he stared at his own hands with a disgusted look on his face.

Ozomatli Explodes with Energy Onstage
By Canyon Cody
Published in The Heights

One could waste plenty of hyphens trying to describe Ozomatli's sound: Hispanic funk-rock-rap with salsa-merengue roots and punk-rock energy. Describing Ozomatli's live performance needs far fewer words: remarkable.

The Los Angeles-based 10-man collective brought a contagious energy to The Paradise Rock Club on Tuesday night and maintained complete control of the ecstatic crowd throughout the two-and-a-half hour show, which featured an uninterrupted flow of songs from the group's self-titled debut and its newest release, Street Signs.

The band's rowdy cacophony of horns and percussion inspired excited dancing from everyone in the crowd. The only people who seemed to be enjoying themselves more than the screaming crowd were the ebullient performers onstage who jumped and screamed with a seemingly ceaseless supply of energy.

With a dozen multi-ethnic musicians onstage, Ozomatli is truly an international orchestra in which timbales, turntables, and trumpets come together for a free-wheeling party of rhythm and horns. The performance featured solos from nearly every member, including the dirtiest clarinet solo Boston has heard since Benny Goodman.

Ozomatli also features two emcees, Justin Poree and Jabu Smith-Freeman, who throw poltically-conscious verses on top of the polyrhythmic percussion of drummers Jiro Yamaguchi and Mario Calire.

The rest of the band, when not performing, chips in with additional percussion by banging away at anything they can hit with a communal set of drum sticks circulating on stage.

In an interview following the concert, Yamaguchi told me, "Playing in Boston is fun because the crowd is full of college students who are trying to have a good time. As for us, we always have a good time."

The highlight of the evening came with a guest appearance from trumpet genius Tony Lujan, who dazzled the crowd as he was accompanied by mariachi guitar played by Raul Pachecho [ed. note: a fellow Thacher alum] and scratching from turntablist Rene "Spinobi" Dominguez.

Without any single leader, Ozomatli is truly an ensemble of superb musical talent who know how to rock a crowd. It would be nearly impossible to avoid catching the infectious energy that literally comes down from the stage as the members of Ozomatli descend into the crowd for a conga line that ends each of their shows.

After the band's conga line at the South by Southwest Music Festival last year ended with two members in jail for a noise ordinance violation, Ozomatli kept this rowdy party indoors.

The only thing better than Tuesday night's show would be seeing former members Chali 2na and DJ Cut Chemist (now of Jurassic 5) performing with their old crew. Nevertheless, any fan of live music should never miss an opportunity to see Ozomatli perform.

Rockin' Out at The Rat
By Canyon Cody
Published in The Heights

During a particularly loud moment in Asobi Seksu's performance in the Rat last Tuesday, the three Boston College police officers working at the event stared at the oncoming wall of noise with a mixed expression of confusion and irritation. Fortunately, they seemed to be the only ones not having fun, as the rest of the crowd obviously enjoyed the trio of indie-rock performances.

The event was co-sponsored by WZBC and the UGBC as part of the ongoing concert series in the basement of Lyons. Up-and-coming rock groups Paula Kelley, Asobi Seksu, and 27 were on all on the bill for the show.

Unfortunately, a late beginning and a long set from Paula Kelley left only 45 minutes for the two other bands. Kelley performed songs from her 2003 album The Trouble With Success, which was chosen as one of the best local albums of the year by the Boston Herald and the Phoenix.

The show was preceded by a talk given by Eric Reeves in Devlin 008. Reeves is a professor at Smith College who has testified several times before Congress on the ongoing crisis in the Sudan.

In addition, the $5 suggested donation at the concert went to the non-profit organization Doctors Without Borders in support of Genocide Awareness week.

The highlight of the evening was surely Asobi Seksu. The foursome demonstrated a delicate ability to create an overwhelming rush of white noise while nevertheless retaining a melodic, almost pop sound, reminiscent of groups like My Bloody Valentine. The group has found a considerable following in the last few years and, despite WZBC's motto of "No Commercial Potential," Asobi Seksu even has a video on current circulation on MTVu.

Lead singer and keyboard player Yuki Chikudate has a beautiful, soaring voice that still struggled to stay above the thumping drums and thundering guitar of the band. Asobi Seksu's songs would build up to an explosion of sound that approached the noise of a jet engine, only to be perfectly deconstructed to the barebone kickdrum of drummer Keith Hopkin and built back up again.

The last to take the stage, 27, warned that it would only play three songs, which worked out considering the fact that they were only left 15 minutes. The threesome, like the other two bands, boasted a female lead singer. In terms of the sheer mass of sound, 27 sounded quiet following Asobi Seksu. In sharp contrast to the spastic guitar playing of Asobi Seksu guitarist, James Hanna, who would jump around the stage as he thrashed away, 27's guitarist sat quietly in a chair onstage as he plucked away.

How could you tell the concert was a success? There were even groups of students dancing, which is always rare at a BC event. WZBC and the UGBC will continue to sponsor the concert series in the Rat throughout the year.

Emerson students start records label
By Canyon Cody
Published in The Heights

In terms of resume building, Emerson sophomore Molly Casey definitely has one of the most eye-catching extracurricular activities: president of a student-run music label, Emerson Records.

"The record label is run entirely by students, but nothing was really happening with it for the past few years. This year we really decided to do something," said Casey in an interview with The Heights.

In addition to their academic responsibilities, Casey and the rest of the students on the staff of Emerson Records have turned the inactive record label into a thriving young organization that recently signed its first band, Audible Mainframe. The label plans to release the band's first record next month.

"We don't really know what to expect in terms of sales because there's no precedent at Emerson Records for what we're doing. We're not getting paid or anything, so this is supposed to be a learning experience for us and it definitely has been. We're all really excited to hear the album once they finish mixing and mastering it," said Casey.

To promote the band's debut album and raise money for charity, Emerson Records brought old school hip-hop pioneer Jeru the Damaja to the Jorge Hernandez Cultural Center in South Boston last Saturday.

The unusual venue wasn't an ideal location in terms of accessibility and acoustics, but Jeru and especially Audible Mainframe gave an inspired show for the small crowd of dedicated hip-hop fans.

In addition to the headliners, Emerson records brought the Deck Deamons, an amazing DJ quartet which includes DJ JayCeeOh, and the Floor Lords, who have been break dancing in Boston since 1981. From their youngest member (13) to the oldest (37), the Floor Lords left the audience in awe with their dance moves and their unique custom b-boy and b-girl sneaker from Saucony.

The graffiti of a local crew called Hi Cost Low Art complemented the music and the break dancing perfectly, making the entire experience perfect for true hip-hop fans.

Jeru the Damaga has been synonymous with quality old school hip-hop since his classic 1994 debut The Sun Rises in the East. Jeru's separation from Gang Star following his beef with Guru has apparently prevented him from performing all of his DJ Premier-produced hits

Despite a good set from Jeru, the star of the show was Audible Mainframe. The eight-person hip-hop band comprises guitar, bass, drums, trumpet, saxophone, with a DJ and emcee.

Their energetic live show and eclectic combination of rap, funk, and rock gives Audible Mainframe a contagious energy spilling into the crowd.

The band's politically progressive lyrics, musical virtuosity, and kinetic stage presence puts Audible Mainframe in good company with bands like The Roots and Ozomatli.

Audible Mainframe will be playing a live acoustic set on WAAF (107.3) on May 2 to promote its record release party at the Middle East Upstairs on Wednesday, May 5. Its debut album Framework will be available for $5, and local emcee Jake the Snake will perform.

Head to Lupo's
By Canyon Cody
Published in The Heights

Boston is blessed with a great assortment of music venues ranging from the edgy and always dependable Middle East in Cambridge to the fancy Wang Theater in the Theatre District.

The best local concert venue, though, unfortunately isn't that local. It's Lupo's at the Strand in Providence, RI.

Despite being only one hour closer to the musical epicenter of America, it appears as though many musicians would prefer to only travel to Providence if they have to leave New York, rather than coming all the way to Boston.

Or maybe it's just that Providence has the best live music club north of New York. Lupo's attracts a consistent flow of top notch performers who are too big to play in a smaller Boston venue like The Paradise, yet still not big enough to fill the FleetCenter.

In the next few weeks alone, Lupo's will host Bouncing Souls and Reel Big Fish on June 20, and Incubus on July 2. This week, BB King, whose Boston bar/club was closed last year, will be at Lupo's on May 1 in addition to Talib Kweli on April 28.

The arrival of Talib Kweli in at Lupo's is just one example of a fairly major artist coming to Providence who will not perform in Boston on the same tour. On the night after his Lupo's performance, Kweli heads back to New York for another concert rather than continuing on to Boston. This trend is especially noticeable among popular underground rappers. In addition to Kweli, The Roots and the fifth semi-annual freestyle battle called the Mic Wars will appear at Lupo's.

The superior hip-hop concert selection in Providence, despite the smaller city size, cannot be attributed to a greater demand in Rhode Island for urban music but is a direct result of how great of a club Lupo's is.

Though the Middle East and the Paradise are phenomenal clubs, they both have a reputation as primarily rock clubs, despite their often diverse schedule. The reputation isn't entirely undeserved though. The Paradise is, after all, officially called "Boston's Legendary Rock."

The ambience of Lupo's is comparable to the Middle East but considerably less claustrophobic. There is plenty of space in front of the stage for mosh pits and generally rowdy behavior without needing to worry about crashing into anything but fellow fans.

The balcony is the best view in the house and allows people to escape the crowded pit of fans near the stage. The acoustics and lighting are superior to just about anything in Boston. No matter where you are, you can hear and see the music on stage just fine.

Unlike the reputation of many other bars and clubs in Providence, Lupo's is a very strict enforcer of the legal drinking age and will only accept real identification. The beefy bouncers are not subtle with underage drinkers or anyone else causing trouble, which can add added entertainment to your visit as long as you're not the poor guy in trouble.

An announcer repeatedly reminds the crowd over the PA system that they are in a non-flammable building with plenty of fire escapes. The motivation is to calm patrons following the recent club fire tragedy in Rhode Island, but its more irksome than comforting.

For some reason, artists seem to stick around after the concert at Lupo's more often than they do here in Boston, and music fans aren't ushered out of the venue as hastily. As a result, Lupo's might be your best chance to get that coveted autograph from your favorite musician.

Though Boston offers plenty of concert options, the trip to Lupo's is worth the fast and cheap train or bus ticket to Providence. Find a friend at Brown with whom you can stay the night, and enjoy a nice night in Rhode Island.

De La Soul is not dead
By Canyon Cody
Published in The Heights

Hip-hop pioneer De La Soul brought its left-of-center flow to the Middle East on Feb. 28 to support Music for America, a partisan, political nonprofit organization working toward getting one million new young voters to participate in the 2004 elections by promoting concerts around the country.

For years, De La Soul has being trying to shake its "hippy-hop" image earned after its classic debut Three Feet High and Rising, but De La Soul members Pos, Trugoy, and Maceo have resisted the temptation to exaggerate their gangster image to compensate for their undeserved flower child reputation. Onstage, De La Soul came off as it does on its albums: friendly, smart, fun, and easy-going.

Opening for De La was 4th Pyramid, who is promoting his single on the new compilation from underground hip-hop super-label Def Jux, where he recently signed. 4th Pyramid, an emcee from Toronto, caught the attention of the underground with an instrumental album he produced when he was just 16 years old.

In an interview with The Heights, 4th Pyramid said, "This whole thing is huge, but look, I'm still out here all on my own. I mean, I ain't got no tour manager, no DJ with me on the road. Right now, I'm a one-man wrecking crew, a one-man army. But just wait for [Def Jux] to roll through when we're on tour."

Also opening was Zonk, a trip-hop band from the Bay Area in California. They won a download contest with Music for America, which awarded Zonk with the chance to open for De La Soul. The band was filled with vibrant energy and played an excited set of diverse music, with lead singer Nic McFiendish bouncing across the stage with the microphone stand straddled between her legs the entire time.

The highlight of Zonk's performance was when two emcees, Bolo of Pawray and Mic Kaos, came up to give the band some hip-hop flavor. Like De La Soul in the '80s, Zonk's most enjoyable quality was that it seemed like they were having a good time along with the crowd on stage.

Once De La Soul arrived, the crowd exploded, but not in the raucous way one expects from a hip-hop crowd. Of course, De La Soul doesn't attract the typical hip-hop crowd and, as expected, the Middle East seemed to be filled with people drinking who probably used legal id. to get a wristband.

Despite recently releasing two great albums in the Art Official Intelligence trilogy, most of De La Soul's fans were initially attracted to its groundbreaking earlier work. As a result, the crowd reacted the most to classics such as "Me, Myself and I" and "Roller Skating Jam Named 'Saturdays.'" During our interview, De La Soul frontman Posdnous said that a new album is finally set to come out later this year. "We had a lot of trouble with our last record company, who weren't going to release part three, but now we're pretty much ready to put it out there. We also have another album coming out after that, but it doesn't even have a name yet."

Unfortunately, De La Soul stuck to its popular old stuff and didn't bless the crowd with any tastes of the new album.

During an intermission, a video played with a brief segment put together by the concert organizers. They tried to convince the crowd to vote by reminding everyone how close the result of the presidential contest was in 2000. After the show, they handed out packets filled with 10 mail-in voter registration forms and information about such issues that are important to young voters, such as reproductive rights and education funding.

After the show, De La Soul stuck around to talk to fans, which mostly consisted of women who were invited on stage by Pos and Trugoy (who now just goes by Dave) for their closing ode to meaty girls, "Baby Phat." The show was entertaining and proved that De La Soul still has quite a bit of soul left in it and that it's not yet time to retire De La's number into the hip-hop Hall of Fame.

Teen girls scream for Atmosphere
By Canyon Cody
Published in The Heights

The crowd at Atmosphere's concert at the Roxy on Feb. 10 could be divided into two groups: hip-hop fans and Atmosphere fans. The hip-hop fans rapped along with classic Mobb Deep songs before the show and were impressed by the freestyle encore, while the Atmosphere fans sang along with Slug and were impressed by his sensitive lyrics and boyish good looks.

Atmosphere (composed of emcee Slug, DJ Mr. Dibbs, and producer Ant) has been the most recent underground darling to bubble up to the mainstream. After years of consistently releasing quality albums, promoting new talent and relentlessly touring, Atmosphere's Minneapolis indie label, Rhymesayers, could no longer manage to distribute its records to match increasing demand. Atmosphere didn't sell out; its popularity simply outgrew the infrastructure of the underground.

Instead of jumping ship by himself when major labels began courting him, Slug declared that his Rhymesayers crew came as a package. To get Atmosphere, labels needed to agree to distribute all of the artists on Slug's label as well.

Surprisingly, Slug found a willing accomplice in punk label Epitaph. Rappers often go back and promote their crew after they make it big, but Atmosphere jeopardized his own stardom by refusing to abandon them in the first place.

Opening for Atmosphere were label mates Eyedea and Abilities. Eyedea is a talented lyricist paired with the absolutely astonishing DJ Abilities. Abilities was the surprise highlight of the concert, outshining all of the emcees. He created entirely new beats for the rappers while onstage that would compete with some of the best underground production that's labored over in a studio for hours.

Eyedea unfortunately seemed to suffer from a little brother complex. Eyedea's style of slightly maniacal emo-rap seemed all too familiar. He's trying to do what big brother Atmosphere does so well, but it isn't his particular strength. Though his emotion seemed feigned and exaggerated, his lyrical abilities shone through the content, demonstrating his strength as a rapper despite his undeveloped song-writing potential.

When Slug came onstage, the girls went wild. He gave a passionate performance, accompanied by fellow emcee Blueprint. He opened his set with "Trying to Find a Balance," his current single that earned him his first-ever video on MTV2. Atmosphere enjoys a large body of work from which to choose and played songs from a wide variety of his albums, including Lucy Ford, God Loves Ugly, and his newest, Seven's Travels.

Halfway through the show, Mr. Dibbs surprised everyone and dropped a Rage Against the Machine song on the turntables. A circle immediately opened in the audience, but it wasn't a cypher with local b-boys, but a raucus mosh pit, which again demonstrated that Atmosphere's fans are not the typical hip-hop crowd.

Racial diversity at underground hip-hop shows is no longer a novelty. White kids at a Boston rap concert are certainly nothing to write home about, but white girls, on the other hand, are a rather rare occurrence. The hip-hop market tends to be male dominated, but Atmosphere's success can largely be attributed to his popularity with white college girls.

Don't misinterpret this as an indication that Slug is some sort of pretty boy pop sensation. Slug is definitely not very pretty. Nevertheless, his emotionally-charged lyrics about his tumultuous relationship with his girlfriend have attracted female fans who are otherwise uninterested in rap.

Slug seemed to recognize this and encouraged his fans to expand their musical tastes to other underground artists, such as Jean Grae and Cannibal Ox, which should end the ridiculous misconception that there is any sort of underground beef between Rhymesayers and Def Jux.

Slug ended the show by calling Eyedea out for an impressive freestyle session to remind everyone that Slug is still a great rapper under all that emotional baggage. After everyone else left, Slug told the crowd, "I'm not here to make money. I'm here because this is what I love. When I go home, I don't know what else to do.

"I suck at X-box, so I go on tour and rap for you people," he said.

KRS-One hosts annual Boston MC Battle
By Canyon Cody
Originally published in The Heights

As 2,000 hip-hop fans waited for the Sixth Annual Superbowl MC Battle to begin, a circle opened up in the middle of the crowd. To everyone's surprise, the cipher wasn't started by local freestlyers or break-dancers, but the legendary KRS-One.

"We want to take it back to where it all started," KRS yelled. "With b-boys showing their skills in the cipher."

The scene was entirely different from last year's battle at The Middle East. Fans in the crowd said that last year's battle felt gritty and underground, whereas this year radio station Jam'n 94.5 advertised the event heavily. The inclusion of KRS-One guaranteed a huge showing.

The increased advertising clearly affected the appearance of the battle. Sponsored by MetroConcepts, Digizaar.com, Scion, and Vitamin Water, the stage was filled with advertisements for products. The contestants did not comment about whether the pink bottles of vitamin-enriched water helped their performance.

Many people complained that the battle felt corporate and that the organizers sold out by betraying the foundations of what an emcee battle should be.

Nevertheless, the increased exposure brought a more diverse crowd. KRS-One celebrated hip-hop's ability to bring people from different backgrounds together when a young white girl wearing Abercrombie & Fitch started break dancing on stage alongside an Asian man wearing Triple Five Soul.

"This is hip-hop, right here!" KRS-One said. "We got people here of every race, every social class, every gender."

The increased sponsorship also allowed the grand prize to be raised, from last year's $1,000 to $5,000 this year. Instead of giving the winner his prize in cash, as usually occurs in a battle, the winner was handed a big check, like he'd just won Ed McMahon's Publisher's Clearinghouse Sweepstakes.

The annual Boston battle pits 16 contestants from around the country against each other in alternating one minute, one-on-one freestyles. Last year's winner, local rapper Jake the Snake, competed again, but lost before the finals.

The finals showcased Diabolic from Long Island, and Rhymefest from Indianapolis. To the disproval of much of the crowd, the celebrity panel, which included local rapper Akrobatik, awarded Diabolic the win.

Despite quite a few talented contestants, the highlight of the battle was still KRS-One's half-time show. The former Boogie Down Productions emcee performed most of his classics, like "South Bronx" and "My Philosophy," and some of his new songs such as "Let's Go."

Most of the contestants seemed to be in awe of KRS and referenced his presence and influence on hip-hop repeatedly in their lyrics. Other popular topics included Kobe Bryant's rape case, local rapper Benzino, and the New England Patriots.

The battle is known as the Superbowl Battle because it used to take place on Superbowl Sunday, yet it was changed three years ago when the Patriots were in the big game. Past contestants include Jin, Sage Francis, C Rayz Walz, and Mr. Lif, all of whom were unsigned hype at the time and have moved on to successful careers at major underground hip-hop labels.

"Rap is something you do. Hip-hop is something you live"

Def Jux rappers grab mic
By Canyon Cody
Originally published in The Heights

What if Salvador Dali gave up painting and fell in love with two turntables and a microphone? Why weren't there any Dada rappers? Aesop Rock, with his stream of unconscious flow and abstract, almost incomprehensible lyrics, answered questions that have been nagging mankind for years on Wednesday at the Paradise Rock Club for the release party for his new album Bazooka Tooth.

The concert was a gathering of independent record label Def Jux musicians and a homecoming for some of Boston's most talented emcees. Locals Mr. Lif and Akrobatik, who opened along with DJ Fakts One, have dominated the local hip-hop scene for almost a decade. Their set was the most inspired of the night, even upstaging headliners Aesop Rock and El-P.

Akrobatik commanded quite a presence onstage with his linebacker physique and heavy bass voice, while Mr. Lif is famous for his intellectually stimulating, politically conscious content and faux-nerdy delivery.

Fakts One cut the beat during "Home of the Brave" and let Lif spit his most famous verse a cappella: "This further demonizes Afghanis/ So Americans cheer while we kill their innocent families/ And what better place to start a war/ To build a pipeline to get the oil that they had wanted before."

The crowd roared with support for the post-9/11 tirade against the Bush Administration, which says a lot about the performers' demographic: liberal, educated, and politically aware with a priority on lyricism and non-commercial production. It became unmistakably clear that this was not a typical Jammin' 94.5 rap concert when the loudest crowd response came after one of El-P's raps about domestic repression of free speech and dissent. He yelled, "Who's read their Orwell?" and the crowd went wild with affirmation.

Officially, the night belonged to Aesop Rock, the poetically erratic rapper known for his complicated, abstract lyrical content. It's not that he fails to enunciate his words or rhymes too fast; he is actually speaking gibberish at times and yet it sounds brilliant. Aesop's high-energy delivery borders on psychosis and, on stage, his eyes scream with schizophrenic energy that complements his spastic rhyme style (like Brad Pitt in 12 Monkeys, Aesop looks as though he should be locked up somewhere).

Of course, the very nature of underground hip-hop is responsible for the crowd's enthusiasm: unlike at mainstream performances, a show like this draws a small group of very dedicated, knowledgeable fans who eat, drink, and breathe hip-hop. The energy level mounted all night and exploded in climax during Aesop's last song "Daylight." Aesop is a very talented rapper, yet by no means one of the best. Yet, he has produced one of the most captivating songs in hip-hop history. Melodically tantalizing and lyrically bewitching, the song floats, flutters, and disappears.

Aesop's purely abstract lyrical aesthicism can be frustrating and a bit draining, yet during his performance he led the delighted crowd in dizzying circles, leaving it bewitched and bewildered by the eccentric emcee. The crowd screamed along with every nonsensical bit of Aesop's jabberwocky as he finished, "Stomach full of halo kibbles/ Wingsspan cast black of porn visuals hear the duck hunt ticker tape/ Vision and pick apart the pixels."