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Documenting the Oakland cultural renaissance


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The Born Supremacy: Lyrics Born’s Galactic Funk Mafia Revue

Lyrics Born

Lyrics Born

Live music review/ Lyrics Born/October 9, 2015/ New Parish

When it comes to live rap performers, audience expectations tend to be on the low side. One can probably count the list of stellar live emcees with both hands. That number might drop in half if you throw in the caveat: must be able to rock with live musicians. It may come as no surprise to diligent Bay Area hip-hop fans that Lyrics Born’s recent blowout show at the New Parish exceeded expectations. What’s eye-opening, though, is just by how much.

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LB, as he’s often abbreviated, has always followed the beat of his own drummer.  (Read the Oakulture Q&A here and here.) Emerging way back in the early 90s as an original member of the Solesides (later Quannum) collective, the Berkeley High/Skyline alum went from alternative hip-hop pioneer to eccentric experimentalist to funky radio hitmaker to international sensation to cagey OG veteran status in the course of, oh, almost 25 years. Mixing tongue-twisting colloquialisms and an appreciation for both quirky individuality and funky, phat grooves, he’s ripped more guest appearances and collabs than you can shake a rhythm stick at, in addition to producing a solid catalog which includes four studio albums, two Latyrx full-lengths (with Lateef the Truthspeaker), a couple of remix albums and EPs, several mix tapes, a live album, and a few compilation albums. But as deep as his recorded history is, he’s straight-up supreme when it comes to live shows with live musicians, with whom he’s been working with since the early 2000s.

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LB released his latest album, Real People, a few months back, but hadn’t done an East Bay date until his rendezvous at the Parish last Friday night.  Wait, it gets better. Not only had LB never previously appeared at the venue, but his special guests included members of New Orleans funksters Galactic and Bay area jazzbeaux Jazz Mafia, along with musical director (and former Whitesnake bassist) Uriah Duffy, and his Latyrx spar Lateef. If that’s not a recipe for an amazing musical evening, we don’t know what is, and the show was even better in practice than it sounds on paper, er, computer monitor or mobile screen.

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Let’s just get this out front: the new album has some bangers on it, and benefits from the collaborative association with Galactic, with whom LB recorded with in New Orleans. But songs that just sounded ok on the studio disc were absolute monsters in a live context.  That’s all LB, right there: if you like his studio recordings, you’ll absolutely love his live stuff.

Oct 10 2015 136The set list contained a blend of old and new, but newer stuff like “Chest Wide Open,” “$ir Racha,” “Rockaway” and “All Hail the Queen” never struggled to keep pace with more familiar material like “Do That There,” “Top Shelf,” or “Hott 2 Deff”, and in many instances accelerated the evening’s intensity.  Another major factor in the live goodness is LB’s wife and background vocalist, Joyo Velarde. They’re just so comfortable together on stage there were no real moments of uncertainty during the 24-song set. It was more like, ‘we got this,’ throughout the entire evening. Thankfully, Joyo not only took a solo turn on “Unwind Yourself,” but also supplied the “hoo-hoo-hoo-hoo” backgrounds which take 2003’s “Bad Dreams” –one of LB’s signature tracks–into the ethereal.

Joyo Velarde

Joyo Velarde

LB’s confidence was such that his biggest hit, “Callin’ Out,” was rather casually tossed off during the last quarter of his set; the five-song encore included a James Brown cover, two new songs, and two fairly obscure yet sublime tunes: the 2013 Latryx single “Exclamation Point” and “Coulda Shoulda Woulda,” from 2010’s As U Were. It’s a given that the ‘Message’-esque bassline of “Lady Don’t Tekno” still causes convulsions after more than 20 years, but then the idea to lay the James Brown/Fred Wesley classic “The Payback” under the naughty yet urbane “I’m a Phreak” was unforeseen yet very welcomed.

Oct 10 2015 159What makes Lyrics Born so good? As was the case with the Blackalicious show at the Fillmore awhile back, he just puts on a master class in emceeing. His flows are beyond stupid fresh, and his refusal to embrace stereotypical rap cliches is always refreshing. But more to the point, besides displaying incredible technical prowess on the vocals, he adds the charismatic stage presence of a seasoned performer who is impeccable when in his element, as well as an enviable rapport with his band members which lends itself to seamless musical communication. On this evening, they appeared to be one of the best bands on the planet, locked tight into seemingly endless grooves which somehow didn’t lack for elasticity.


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Bay Area Vibez Makes the Most of Oakland’s Glow [Review/Photoset]

Nas performs at Bay Area Vibez

Nas performs at Bay Area Vibez

Concert Review/ Bay Area Vibez, Sept. 26-27, @ Middle Harbor Shoreline Park

Location, location, location. For a very long time, Middle Harbor Shoreline Park has been one of Oakland’s best-kept secrets. But after this past weekend’s inaugural Bay Area Vibez festival, that’s no longer the case: word is out about the spot, which offers stunning views of the bay and the San Francisco skyline, similar to Treasure Island, except it’s less windy. Both days, the location was a constant source of chatter. “How come no one ever held a music festival here before?” was a frequently-repeated refrain.

Picturesque views added much to the festival's user experience

Picturesque views added much to the festival’s user experience

In retrospect, the location proved perfect for such an event, and went a long way toward a user experience which was much more amenable to comfort than many music festivals we’ve covered over the years. There was plenty of room for people to lay out picnic stuffs and chairs for a day of music in the sun, and just beyond the concert grounds, plank walkways led directly to even more chill-worthy spots on the shoreline. Such stunning natural surroundings made some of the inevitable production glitches associated with a first-time festival less of a big deal than they could have been, although the overlapping of sets between the two concert stages occasionally subtracted from the artists playing on the smaller, less-loud stage.

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The music was fairly well-curated, with more than 40 artists and DJs overall, with a heavy concentration of reggae, electronic music, and hip-hop, with the occasional funk and jazz band. That made for an interesting demographic mix of millennials as well as perennials.

The audience feeling the "Vibez"

The audience feeling the “Vibez”

The unquestioned highlight was Sunday’s flawless one-hour set by Nas, who appeared to have been auditioning for a spot in the hip-hop Hall of Fame. The Queensbridge emcee, one of the last artists to emerge from hip-hop’s 90s Golden Age, delighted the crowd with a strong concentration of material from his classic 1994 debut album Illmatic, which he peppered with songs from later albums like God’s Son, Hip Hop Is Dead, It Was Written, and I Am… . Honestly, it was one of the best live rap performances Oakulture has ever seen, driven mainly by the strength of Nas’ personality and his puissant lyrics. At one point, Nas shared an anecdote about Michael Jackson allowing a then-unknown rapper to sample “Human Nature” on the remix of “It Ain’t Hard to Tell,” then went into the song:

My mic check is life or death, breathing a sniper’s death
I exhale the yellow smoke of buddha through righteous steps
Deep like The Shinin’, sparkle like a diamond
Sneak a uzi on the island in my army jacket lining
Hit the Earth like a comet, invasion
Nas is like the Afrocentric Asian, half-man, half-amazing

It ain't hard to tell.

It ain’t hard to tell.

The show felt big, even though Nas was only accompanied by DJ Green Lantern. The location also contributed, as did the fact that he hit the stage right as the sun was going down, and thus had the benefit of a picturesque sunset with iridescent colors, known to locals as the “Oakland Glow.” Watching Nas perform, SF native and rap artist Sellassie Blackwell offered his own assessment of what made him so great: “he’s saying something.” Indeed, the content of his rhymes, as well as his delivery, is a big reason Nas is considered one of the best rappers ever to come out of New York.

Magical dancehall unicorn: Supercat

Magical dancehall unicorn: Supercat

The second-best highlight was unquestionably the return of an artist one observer called a “magical dancehall unicorn”: Supercat, a late 80s-early 90s hitmaker who reportedly hasn’t performed in the Bay Area since 1992. For longterm dancehall aficionados, this was a dream come true, and to top that off, Supercat still had the quick-tongued lyrical finesse  which made him a favorite in the first place. While he didn’t perform any new material, it didn’t really matter because tunes like “Vineyard Style,” “Dem No Care” and “Ghetto Red Hot” fired up the crowd with enthusiasm.

Stephen "Ragga" Marley

Stephen “Ragga” Marley

Supercat kicked off a top-ranking block of reggae programming Saturday night furthered by roots revivalists Morgan Heritage and two members of the Marley clan, Stephen and Damian, who kept the vibes simmering and the ganja clouds lifting.

Damian "Jr. Gong" Marley

Damian “Jr. Gong” Marley

Other highlights from earlier in the day included a super-tight set by the criminally-underrated Fishbone which dug deep into their catalog for songs like “Everyday Sunshine,” “Junkie’s Prayer,” and “Party At Ground Zero.” The manic energy of frontman Angelo Moore was complemented by excellent musicianship and particularly-compelling horn arrangements.

Angelo Moore of Fishbone

Angelo Moore of Fishbone

There was also an energetic main stage turn by The Grouch and Eligh, two members of the Living Legends crew (who got their start in a San Leandro St. warehouse and have grown into their moniker two decades later). Although both are veteran solo artists, they worked well as a duo on songs like “The Bay to LA.” Mid-day sets by Taurrus Riley, Cut Chemist and Aloe Blacc were pleasant but mostly unremarkable.

The Bay to LA: The Grouch and Eligh

The Bay to LA: The Grouch and Eligh

Oakulture arrived a bit later on the second day, just in time to catch a fantastic outing by the Kev Choice Ensemble which became an impromptu Bay Area Hip Hop All-Stars performance, as Choice’s already-tight band—featuring bassist Uriah Duffy, guitarist B’nai Rebelfront, and vocalist Viveca Hawkins—was accentuated by Zumbi Zoom of Zion-I, Deuce Eclipse of Bang Data, vocalist Jennifer Johns, Young Fyah and Sellassie. Their collar-popping performance, which included a blazing freestyle cipher, was almost enough to make up for the relative lack of other local artists on the celebrity-heavy bill. Almost.

Kev Choice Ensemble

Kev Choice Ensemble

It was also great to see the sublime set by Meshell Ndegeocello, a bassist and vocalist who is a bit of a musical chameleon and can play everything from abstract jazz to funky soul and R&B. Ndegeocello began her set with an amazing cover version of Ready For the World’s “Love You Down,” and also brought new life to the Whodini classic “Friends.” Her band was in perfect synch, too, but it was a little disappointing that Nas’ set started before hers was done. Unfortunately, the same thing happened to Kev Choice, whose set overlapped with a louder and much less musically-interesting set by DJ Z-Trip — whose biggest bright point was a freestyle by emcee Supernatural who was handed objects by the audience, including a baby, and worked them into his flow.

Meshell Ndegeocello

Meshell Ndegeocello

Overall, though, the experience was a positive one, and feedback from attendees were that they would not only return next year, but were looking forward to it.