Hip-hop

Take off

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› a&eletters@sfbg.com

With more than two dozen headliners mashing and hanging together, The Spirit of Apollo (Anti-) promises pop ecstasy of the heavenly, spatial variety. DJ Zegon and Squeak E. Clean, the two wheelers and dealers behind the project, aspire toward a greater good, namely, bringing together people of disparate musical and geographical backgrounds — hence the name North America–South America (N.A.S.A.).

The Spirit of Apollo arrives a decade after Prince Paul’s double whammy of all-star concept albums, A Prince among Thieves and his collaboration with Dan "the Automator" Nakamura, Handsome Boy Modeling School’s So, How’s Your Girl? (both Tommy Boy). At the time, A Prince among Thieves — praised in a memorable Guardian essay by Oliver Wang titled "A Great Day in Hip-Hop" — towered as a complex opera of friends turned enemies, a Greek tragedy performed in the urban street.

N.A.S.A. seems inspired by that earlier era of overstuffed musical junkanoos. But they don’t get too deep. After all, the global village should be fun, right? So instead of dense narratives on international privatization, outsourcing, and proxy wars, Zegon and Squeak produce party fodder such as "Samba Soul," with Del the Funky Homosapien and DJ Q-Bert, and "There’s a Party," with George Clinton and Chali 2na. The songs emphasize good, clean fun. A few of the rappers — notably Method Man on "N.A.S.A. Music" — sneak in f-bombs, but most are on their best behavior. Even Amanda Blank, notorious in club circles for waxing lyrical about poontang and peckers, keeps it PG on "A Volta."

The Spirit of Apollo appears safe for urban bourgeoisie with small children, but will anyone else find it listenable? Squeak built his name producing albums for the Yeah Yeah Yeahs — he’s a producer of the engineering-and-microphone-placement variety, not a beatmaker à la Kanye West. Zegon’s musical career in Brazil is less known. As a result, the music doesn’t really boom and bump, instead opting for peppy skitters of funky hip-hop.

The duo soars, however, by launching incongruously great combinations. As two artists devoted to grotesqueries of the criminal and pornographic kind, Tom Waits and Kool Keith make a perfect match, even if the Gorillaz-like lurch of their "Spacious Thoughts" is hardly provocative. And the hipster dream pairing of West, Lykke Li, and Santogold over the Madonna-lite electro-pop of "Gifted" makes for a shining pop moment.

It’s that all-celebrities-are-friends-with-one-another myth that makes The Spirit of Apollo an intriguing dinner party — or, more accurately, a VIP-clogged backstage at Coachella or South by Southwest. Naturally, West and company talk about how cool they are and the burdens of fame. But with an hour-and-20-minute runtime, The Spirit of Apollo talks your ear off. It’s as if you got to the party early, got stuck cleaning up afterward, and at the end could only conclude, "Damn, that was a long-ass album."

N.A.S.A.

With Flosstradamus, Wallpaper, and DJ Morale

Feb. 28, 9 p.m., $18 advance

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

Spirited

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For its opening weekend, the fifth Black Choreographers Festival: Here and Now relocated to Laney College in Oakland, once a focal point for local dance in the 1990s. The suggestion that Laney’s lovely theater — the best in the East Bay — might once again become available to outside dance presenters is wonderful to contemplate.

With six works, three of them world premieres, producers Laura Elaine Ellis and Kendra Kimbrough Barnes hit the spot on opening night. The pieces spanned a wide spectrum of styles and experiences, indicative of the spirit of generosity and support that permeates this festival. Black Choreographers continues this weekend and Feb. 20–21 with new programs at Dance Mission Theater in San Francisco.

Jaime Wright’s Envelope in Blue — for budding ballerinas Alyson Abriel, Alissa Baird, and Sarah Wellman — opened the program. Unpretentious but lovingly tended, the gentle new ballet blossomed and curled in on itself. Premiering with a dynamite performance by choreographer Rashad Pridgen — alongside Byb B. Bibene, Juanita Brown, and Sheena Johnson — Motif Performance Group’s first-rate Interludes to Intimacy synthesized a volatile cocktail of dance languages that veered between the discipline of stepping and the freedom of jazz. On the other end of the continuum from Envelope in Blue, Mind over Matter’s first performance of the hot and heavy Where you at?! boiled over with sass, sex, and attitude.

The mix of hip-hop and physical comedy in Sometimes was irresistible: dahrio wonder and robert d. lupo, a.k.a. Neopolitan, proved once again how theatrically pungent their work has become. Antoine Hunter is a gorgeously expressive long-limbed dancer whose passionate Now People traveled between utmost despair and the shining heights of hope. His ensemble piece Bullet in the Head, however, needs a lot more structure and discipline to hold its disparate elements together. (Rita Felciano)

Fri/13–Sat/14 and Feb. 20–21, 8 p.m.; Sun/15, 7 p.m.; $10–$15. Dance Mission Theater, 3316 24th St., SF. www.bcfhereandnow.com

Low camp

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› superego@sfbg.com

SUPER EGO Is there any phrase lamer than "the future of dance music"? Every time I hear it, I flash unflatteringly back to the tagline for some horrid 2k5 Dutch hardcore trance Internet station: "The future of dance music … pzew! pzew! … is now — on Osterpoopen Trance-Radiogeschmacken Internet Stream-Schmeirtz!" Apologies, poi-twirling Netherlanders, but I do.

Future bass, a.k.a. lazer bass, a.k.a. turbocrunk, has willingly been saddled with the "future" burden — but if you haven’t hitched your hover-wagon to its woofer-cracking, hip-hop-deconstructing bleeps from the Death Star, you may really need to. Laptop dubsteb, future bass’s quaalude cousin, turned its back on hip-hop when Burial drowned Todd Edwards’ clunky house beats and got moody with the two-step diva samples in 2k7. Future bass ups the tempo and reinjects blingy rhymes, but runs them through the Ableton Moebius strip — so much so that San Francisco’s own Lazer Sword can flip Lil’ Flip’s "I’m a Balla" chorus into an Obama chant.

Until last month, alas, there’d been no regular party here to rep the baby genre. And with the general disarray of hip-hop nightlife, you’d think any sound that twists together T-Pain and Flying Lotus would be bong hits to those exhausted by the hip-pop vs. indie rap divide. Tired. Welcome, then, Bass Camp, a third-Thursday monthly at 111 Minna, brought to us by ArtNowSF’s Joseph Gross, Mochipet from Daly City Records, Josh Pollack of Euphonic Conceptions, and indie promoter Aaron Ketry. Although future bass is the highlight, this cluster of ravenous-eared rumblers, along with residents like Quitter, Shane King, MC Buddy LeRoy, and the totally crushable Epcot and Salva, just want to slap up SF’s low-end. Because, as the old saw goes, "Where’s the fookin’ bass?!?" The next Bass Camp on Feb. 19 takes a metal-crunk-mashup turn with Ludachrist, Kill the Noise, and Hookerz and Blow.

Bass Camp every third Thursdays, 9 p.m., $10. 111 Minna, SF. www.111minnagallery.com

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THE ID LIST

"NIGHTLIFE"

Proof of intelligent nightlife in the universe? The brand-spankin’ new Cal Academy of Sciences gets batty every Thursday evening with primo local DJs in a laid back atmosphere, paired with informal talks with the biggest scientifical brains out there. First up on Thurs/12: Darwin gets OMmed, with OM Records’ DJ Fluid and J-Boogie, plus renowned natural historian Keith Thompson. Smart! Thurs/12, 6–10 p.m., $10. California Academy of Sciences, 55 Music Concourse Dr., SF. www.calacademy.org/nightlife

ALY AND FILA

If trance should come from anywhere, it should be Egypt — where they used to fatten you up with honey before they ate you. Cairo’s Aly and Fila, current princes of that most globalized, if not diversified, dance genre, will satisfy any cravings for the blam-blam, plink-plink-plink, blam-blam — and should be worth braving the usual weekend 1015 crowd for. SF’s Taj leads up. Fri/13, 10 p.m.–4 a.m., $20. 1015 Folsom, SF. www.1015.com, www.alyandfila.com

MY BOOTY VALENTINE

OK, new nightlife rule: after this party, anything with the word "booty" in it gets gacked. But — and this is a big but — I’ll make this one exception, if only because Miami’s DJ Craze, despite his Kanye associations, kicks serious cheek with his three-time World DJ Championship skills. Vinyl’s got back. Sat/14, 10 p.m., $10–$15. 330 Ritch, SF. www.330ritch.com, www.hacksawent.com

SOLO

"This Valentine’s Day, use those tears for lube" reads the tagline to this Homochic and Herrera Brothers succor for lonely alternaqueer boys. How could I improve upon that, except to tell you that DJ Jason Kendig will unleash some erotic disco at new hotspot Triple Crown. Bring your own towel. Sat/14, 10 p.m., $5. Triple Crown, 1760 Market, SF. www.triplecrownsf.com, www.homochic.com

UNICRONS

Is electro dead? Maybe, but let’s raid its grave. New local electro label Unicrons, of the energetic Work parties, still generates neon hearts from a spark. Its launch party includes superstar signatories Futuristic Prince, Media, and my current fave raves the Tenderlions, whose "In Addition" track makes me believe in life everlasting. Feb. 21, 9 p.m., $8. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

BALKAN MARDI GRAS

Wow, I’m totally not going to even touch on the similarities between the Balkans and New Orlean’s Ninth Ward — except to say they both sure know how to party, and there are usually a lot of tubas involved. The outrageous Kafana Balkan crew team up with puff-cheeked Brass Menazeri to celebrate Fat Tuesday with woozy Romani stomps and hyperkinetic reeling. Feb. 24, 8 p.m., $10. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com, www.myspace.com/kafanabalkansf

>>View more Super Ego columns here.

Married with band

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› kimberly@sfbg.com

SONIC REDUCER They play together yet dislike each other — that’s Fucked Up. Literally. The Toronto legends of hardcore — add as many "post-"s as you like to that descriptor — and their grew-up-together-but-grew-apart relationship may sound like the tale of so many other long-running rock bands, sticking it out for the big checks, groupies, coke binges, and Courvoisier. Instead the Fucked Up folks appear to be more interested in putting together albums that will stand up against the punk singles on Kill by Death and Dangerhouse that made major indents in their consciousness.

"We were obsessed with those records and wanted to put ourselves in that continuum," says vocalist Pink Eyes, a.k.a., Damian Abraham, 29, sometime TV writer, onetime-reality TV star ("There were some choice moments of me going record shopping juxtaposed with my wife eating a cheap hotdog on the street, me going to an expensive dinner and her going home and doing laundry," he says of Newly Wed Nearly Dead), and frothing, rabid record collector. Eventually, he adds, "we realized that as much as we don’t get along and hate being on the road together, this is the most exciting, most creative thing that any of us will ever do. So we’ll see how it goes."

For their trouble, the group managed to make one of the best rock, punk, or what-have-you releases of ’08 with its second full-length, The Chemistry of Common Life (Matador).

But all that’s natural, normal, and Fucked Up. "We’ve been a band a long time," confesses Abraham. He’s known guitarist Mike Haliechuk, a.k.a., 10,000 Marbles, for about 14 years — since they were 16 — and grew up in the same neighborhood, played in bands, or shared radio shows with the rest. So does familiarity breed hatred? "A lot of us don’t have any shared interests anymore," the vocalist says by phone on the way to a New Orleans show. "But we’re still held together by this thing that is Fucked Up."

After all, "I’m diagnosed with mental problems," Abraham continues with the barest hint of mirth. "But I think there are several people who have undiagnosed mental problems. So we have a bunch of people who are undermedicated and one guy who is overmedicated. People who have crippling record-buying addictions and people who have crippling tastes in techno.

"We do all like sushi."

That search for commonality had to happen after the combo’s first album, Hidden World (Jade Tree, 2006), which made Fucked Up "transition into a quote-unquote real band," explains Abraham. "Prior to that we did a band that was mainly putting out 7-inches and playing the odd show, but then we put out Hidden World and we had the responsibilities of touring and actually playing full-length shows! It wasn’t just kids paying to see a show — it was kids paying to see us, which we weren’t really used to before that."

With Chemistry the members all retreated to their corners to work on lyrics and music separately. "No one person’s voice silenced any one else’s," Abraham says. "I think it was a survival method." The result was a kind of call and response between extremely different makers, a strategy that resolved into a shockingly rich recording that draws from the clean, epic qualities of classic rock as well as the bodyslamming force of hardcore.

"From my perspective [Hidden World] was about identifying social ills," offers Abraham, "and this record was more about trying to understand those social ills, trying to accept and work with the world around us, the forces of nature, government, and religion especially."

And in some ways, among the resonant instrumentals and pummeling rock-outs — music that scrambles the "conventions of punk," as Abraham puts it, much like the sound of Mind Eraser, Cold World, and No Age — Chemistry is about the search for that hard-won community among hardheaded, hardcore individuals. Call these anthems of a kind of togetherness for lone wolves who might wear "Jesus Should Have Been Aborted" T-shirts. "Hands up if you think you’re the only one," the frontman hollers during "Twice Born." The response: "We all got our fucking hands up!"

Still, the fights over the van radio must be monumental. "Mike is the techno fan," Abraham says. "It’s unfortunate because he’s very persuasive and he’s convinced several other members of the band to like it too. I’m resistant, as well as Jonah [Falco, a.k.a., drummer Guinea Beat]. All I can say is thank god for the invention of personal music players."

FUCKED UP

Sun/8, 8 p.m., $13

Independent

628 Divisadero, SF

www.theindependentsf.com

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LOVE TO HATE YOU, BABY

FICTION FAMILY


Switchfoot’s Jon Foreman plus Nickel Creek’s Sean Watkins equals dreamy pop. Thurs/5, 8 p.m., $20. Independent, 628 Divisadero, SF. www.theindependentsf.com

FORTUNE RECORDS SHOW


The local label gets down with new CDs by Trevor Childs and the Beholders, Hey! Brontosaurus, and Cyndi Harvell. Fri/6, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

RZA


Wu-Tang’s five-year-planner breaks out his latest digi-snack, the Afro Samurai Resurrection OST soundtrack (Wu Music/Koch). Sun/8, 8 p.m. doors, $20–<\d>$26. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

P.O.S.


The Minneapolis rapper takes his blend of rock and hip-hop up a notch to Never Better (Rhymesayers). Mon/9, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Serene dreams

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Leeds, U.K., native and Ibiza, Spain, resident George Evelyn has recorded lush and laidback beats for two decades as Nightmares on Wax. As British tastemaker label Warp’s longest-serving artist, he’s shared space on their roster with Autechre, Aphex Twin, and Squarepusher. But in stark contrast to his labelmates’ hectic, densely layered electronic productions, Evelyn’s music sonically embodies the phrase, "Let’s just chill a moment." And despite his scary moniker, most of what Evelyn creates will induce sweet daydreams.

String pad– and Rhodes-soaked numbers like "Calling," from his sixth and newest album, Thought So (Warp, 2008), unfold methodically, weaving rich synth layers together with jazzy loops before a slow-burning beat drops down without fanfare. The result is soothing, headphone-friendly songs that stand out among electronic music’s more conceited and bombastic projects.

Written mostly in an RV while moving from Leeds to Ibiza, Thought So rides on a broad variety of lazy beats and sumptuous songs that lounge comfortably at 84 beats per minute. "Moretime" is built on raw, funky loops that recall Cut Chemist or Quantic, while "Still? Yes?" meshes thick breakbeats and reggae snippets à la local beatmaster Romanowski. The aforementioned "Calling" also resembles Evelyn’s most notable track, "Nights Interlude," from Smokers Delight (Warp, 1995). The former follows an almost identically melodious composition trajectory but drifts dangerously towards wanky smooth jazz before Evelyn reels it back in. This quality of sonic consistency and balance has obviously bolstered NOW’s longevity.

Evelyn and Kevin Harper conceived NOW in 1988. Harper split a few years later before Smokers Delight became one of the most successful downtempo chill-out albums ever. Like other mid-1990s trip-hop material by Massive Attack, DJ Shadow, or Mighty Bop, NOW’s blueprint encompassed thick dub bass, hip-hop drum programming, soulful loops, samples, and velvety keyboard embellishments. So does it still sound as fresh 15 years later?

In Evelyn’s hands it does. He has evolved and enlisted great vocalists such as Chyna Brown, Ella May, Mozez, and Ricky Ranking, several of whom appear on the recent album’s best tracks. Evelyn and a full band including keyboardist Robin Taylor-Firth, guitarist Chris Dawkins, drummer Ize, and bassist Hamlet Luton touch down at the Independent Feb. 4 for a show that’ll remind folks that slow-mo music is good for the soul. Let’s hope they showcases gems such as "Damn" from 2006’s In a Space Outta Sound (Warp) and the Rankin’ toast "195 Lbs" from the latest full-length.

NIGHTMARES ON WAX

Wed/4, 9 p.m., $15

Independent

628 Divisadero

www.theindependentsf.com

Super Ego: Hearts for queer Arab dancers

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By Marke B.

I just got word about another installment of the fantastic BiBi party, happening this Saturday night at Club Six. BiBi’s the number one top happening for queer folks of SWANA (Southwest Asian–Northern African) descent — ladies, the ladies who go are fucking gorgeous — and their admirers. DJs Emancipacion, Josh Cheon of Honey Soundsystem, and Massood wil bring their exhilarating blend of traditional and contemporary Arab, Persian, Indian, and Latin hits, because basically if it’s brown, they’re down. Palestinian hip-hop duo NaR will be performing, as will fave-rave dancer Cherry Gallette. Part of the proceeds will benefit Middle-East Children’s alliance.

bibi0209.jpg

Lucky for club kids like me (who also happens to be a big queer Arab!) the party will take place at the same time as dread bass monthly Surya Dub’s huge 2-year anniversary bash that I wrote about in my last Super Ego clubs column, also at Club Six in the basement and main room for a separate fee. All-night belly dancing, Palestinian hip-hop, and bowel-shaking dubstep beats? I’m all over it.

BiBi
Sat/7, 9pm-afterhours, $10/$15
Club Six
60 Sixth St., SF.
www.clubsix1.com
www.myspace.com/bibisf

Read more SFBG Noise blog clubs coverage here and more Super Ego clubs columns here.

Bay hip-hoppers Zion I to launch ‘The Takeover’

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News from Bay Area hip-hop duo Zion I’s camp: Their new record, The Takeover, arrives Feb. 17, along with a show at 330 Ritch. Word has it that there will also be a Feb. 13 listening party at the pair’s studio-office, the Zoo. Sounds like the group is reaching out and expanding – even during belt-tightening times.

ZION I
Feb. 17, 10 p.m., call for price
330 Ritch, SF
(415) 541-9574
www.330ritch.com

Punch drunkle

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› superego@sfbg.com

SUPER EGO Hola, age of change. My 2K9 nightlife motto: less musing, more cruising — just watch out for the bruising, child. A few blurry dawns ago, out of nowhere, I got bopped full-on in the kisser by some drunk fool outside the club. Tragedy struck.

Luckily, my impeccable cheekbones are fashioned from silky Teflon and my major Ukrainian modeling contract survived intact. But it was a good reminder, a "slap in the face," if you will — and you will: always be aware of your surroundings and don’t drink yourself too unfunctional. Hear me alike, dear macho bar queens, PBR fixie pixies, Bebe-clad bachelorettes, darling dragzillas, electro-spandex starlets, popped-collar wannabros, and pretend hip-hop producers. Let’s be careful out there. For more tips on surviving your midnights out, San Francisco’s guardian angels of the dark, the Sisters of Perpetual Indulgence, are, as usual, eager to provide at their Web site under “features.” Now, let’s get it on.

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THE ID LIST

TINGEL TANGEL


This glorious cabaret monthly brings a touch of Weimar Berlin to San Francisco by way of NYC nightlife impresario Earl Dax. This time around, wacky Seattlean hostess Dina Martina wilkommens tunesmith Spencer Day, space-gother Kiddie, harpist Deirdre Egan, and more, ol’ chum. Wed/28, 9:30 p.m., $16. Café Du Nord, 2174 Market, SF. www.tingeltangelclub.com, www.cafedunord.com

SPECIAL DISCO VERSION


Part of LCD Soundsystem never dies? Not if the indie dance juggernaut’s members stay true to their retro-underground roots. LCD drummer Pat Mahoney keeps it fresh by pumping up the past as he DJs the West Coast debut of this roving club classic. Cheekbone bonus: a special Hercules and Love Affair DJ set. Thurs/29, 9 p.m., $10-$15. Mighty, 119 Utah, SF. www.mighty119.com

EXPERIMENTAL MUSIC SHOWCASE


Don’t let the serious name put you off — that UK queen of intel freak-uencies, BBC Radio’s Mary Ann Hobbs, is flying in to curate a dance explosion of razor-sharp local talent, including Ghosts on Tape, Lazer Sword, Kid Kameleon, Disco Shawn, Shane King, and more. Now, if only the BBC would archive her streaming weekly broadcasts for more than a month. Thurs/29, 9:30 p.m., $5. 103 Harriet, SF. www.1015.com

HOTTUB


The electro-rap trio of trouble destroyed the Guardian‘s Best of the Bay 2008 party and sent Jello Biafra to the hospital. Now they’re inaugurating a new monthly by two solid party producers, Popscene vs. Loaded, at the Rickshaw — and celebrating their latest record release. Watch out for blood puddles. Fri/30, 10 p.m., $10. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

AMON TOBIN


Proto-dubstepper? Future-glitch engineer? Global grooves genius? Let’s just say all three, then drool all over this singular Brazilian legend’s laptop. Stunned noggin-nodders at last year Treasure Island fest know he’s made a seamless live transition from vinyl to electronics — and teases serious dance breaks from the wizardly ambience. Fri/30 and Sat/31, 9 p.m., $23. Independent, 628 Divisadero, SF. www.independentsf.com, www.hacksawent.com

SUPPERVISION


Burning Man meets alternaqueer for a multimedia pajama party, with trippy visuals and outré drag performances. Wait! Don’t stop reading! Video artist III is truly talented, and his projections, combined with edgy queen antics, add up to more than the sum of my whole first sentence. Honey Soundsystem brings the noise. And, yes, wear pajamas. Sat/31, 9 p.m., $12 in pajamas, $20 without. Supperclub, 657 Harrison, SF. www.supperclub.com

HERR-A-CHICK


Too many puns to count in the name, too many too-hot queer rock bigwigs involved to miss this new live showcase and dragstravaganza monthly at DNA. Charlie Horse’s Anna Conda teams up with the Trans Am boys and Revolver’s Lucy Borden for alterna-excess, with the Ex-Boyfriends and Ethel Merman Experience all plugged in. Feb. 4, 10 p.m., $5. DNA Lounge, 375 11th St., SF. www.dnalounge.com

JUICY LUCY


Swank Brazilian resto Bossa Nova, in the old CoCo Club space, just opened its lusciously remodeled basement up for late-night affairs — and is going big from the get-go with this kaleidoscopic affair. Detroit techno slayer Mike "Agent X" Clark headlines, with soulful spinner David Harness, funky househed Greg Eversoul, and live jazziness from Lovelight Liberation. Feb. 6, 9 p.m., $10. Bossa Nova, 139 Eighth St., SF. (415) 558-8004.

2562 AND THE GASLAMP KILLER


Those ambassadors of dread bass, Surya Dub, are bashing for their monthly club’s second anniversary, with Dutch dubstep (Dutchstep?) heavyweight 2562, who couches his rumble in deep techno soundscapes. Also reverbin’: Los Angeles low-low lover the Gaslamp Killer, who can rip a slice of perilous psy-hop quite rightly. Local boy Lud Dub leads the congratulatory proceedings. Feb. 7, 9 p.m., $15. Club Six, 60 Sixth St., SF. www.clubsix1.com

Sonic Reducer Overage II: Edwardian Ball, Unagi, Dragging an Ox Through Water, and more

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Motor-vated: Kinetic Steamworks at Coachella 2007.

Because once is never enough. More ear-teasers to tantalize…

Edwardian Ball
Break out the corsets and strap yourself in, girls. The ninth annual event – now three days strong – bids you to party like it’s 1899, follow the green fairy, and partake in music, art, burlesque, circus acts, and all things Edwardian and Edward Gorey-esque. (OK, Gorey was born a bit too late, but you get the general drift of the proceedings.) With Rasputina, Abney Park, Kinetic Steamworks, Rosin Coven, Vau de Vire Society, Jill Tracy, Cirque Berzerk, Agent Ribbons, and more. Fri/23-Sun/25, call for times, $25-$35. Regency Center, 1290 Sutter, SF. (415) 435-7527.

Thunderheist
The Toronto electro-funk party-starters gave a lil’ impromptu show in London in December (above). Tonight they do it the legal way, courtesy of Blasthaus. Next up: a new album on Big Dada, coming March 31. Fri/23, 9 p.m., $10. 103 Harriet, SF.

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Unagi
The slippery DJ brings the knowledge – “real hip-hop on real records all night long” – to his regular event, 442 Fridays, with DJ Animal. Fri/23, 9 p.m.-2 a.m., $5 after 10 p.m. Madrone Lounge, 500 Divisadero, SF. (415) 241-0202.

Fresh jam

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› kimberly@sfbg.com

SONIC REDUCER The perfectly passive postmodern approach to pop nostalgia? Allow the milky waves of 1970s, ’80s, and ’90s retro navel-gazer rehash to simply wash over you — like so many warm, narcotic jets of synthetic baby formula. The opposite tact is the one that San Francisco trio Mi Ami takes: reject the rockist, retread trappings of the old and stale and make new and likely original sounds from a place of authenticity and openness. Breathe. Good. An excellent example might be Mi Ami’s recent spasm of songwriting after the completion of their debut, Watersports, out Feb. 17 on Quarterstick: the jams weren’t quite "up to snuff," as vocalist-guitarist Daniel Martin-McCormick puts it. But the essential flow was restored after drummer Damon Palermo spoke up in favor of letting the songs flow and allowing the changes to happen naturally rather than getting clogged with details.

"We started opening the songs up and started letting the changes happen naturally," explains the clear-eyed Martin-McCormick on this clear-skied, brilliant, balmy winter day in the Mission District. "I feel like when it works, it’s really great because it doesn’t seem like something locked in by something like repetitions of four. But at the same time, when it doesn’t work it can be kind of frustrating because it’s just like trying to have a conversation when you’re just not feeling it. It has to be like a lived experience. You can’t fake it."

You might not know it from glancing at the tall, lanky, check-shirted bandmates stalking down Alabama Street in search of coffee and nutrients at Atlas Cafe, but Martin-McCormick — a former member of Dischord punk outfit Black Eyes along with Mi Ami bassist Jacob Long — and the soft-spoken Palermo are pop philosophers of sorts: amiable, laid-back, yet ready to hold forth politely and passionately on their favorite disco singles and free jazz LPs, the multiple meanings one might glean from the title Watersports, or the role African funk guitar might play in, say, pulsing workouts like "The Man in Your House."

It’s easy to get lost in Martin-McCormick’s high-pitched, keening vocals, equal parts no wave nervousness and androgynous nerve; his bursts of scratched-out guitar skronk; Palermo’s primal-power beats; and Long’s reassuringly melodic bass lines. But Mi Ami never over-thinks its lengthy forays into that anxious and pleasure-strewn interzone between improv and noise, space-is-the-place dub and neverending party jams. Like groups such as !!! and the Rapture and locals à la Tussle and Jonas Reinhardt, which Palermo also drums for, Mi Ami sounds as if it was bred on hardcore’s aggression and reborn on a seething dance floor.

Martin-McCormick and Palermo met two years ago, after relocating from the East Coast and Vancouver respectively, while performing at an Adobe Book Shop art opening. The one thing they were sure of: they didn’t want to be a rock band. "Boring!" blurts Martin-McCormick.

"We are a rock band," says Palermo mildly in Atlas’ noisy back patio. "But you know what we’re talking about. There’s a lot of cool bands that are rock bands but a lot of it is a default setup, the structure of the songs and instrumentation."

"I think we came to be a guitar, bass, and drums trio very much on our terms," Martin-McCormick offers. "I didn’t want to play guitar when I started, but I realized that was what I’m best at and began to find ways to play it that suited what I was looking for." Their resistance to rock habit was helped by the fact that Palermo didn’t own a drum set: at first the duo had only two drums between them. They acquired bits as they progressed, while relying on a janky drum machine prone to crapping out at crucial moments — like their September 2007 opening date for No Age at Bottom of the Hill.

The turning point arrived when the twosome ditched the drum machine and put out a Craigslist ad for a bass player in ’07. "We got a few responses," says Martin-McCormick. "One was super confrontational. I wrote that we’re into disco, gamelan, and no wave — and no old people. We wanted someone who was kind of our age-ish. I just didn’t want an 48-year-old dude who was like, ‘I just need to jam!’ This guy wrote back and said, ‘How do you think gamelan musicians learn? They respect their elders, blah-blah-blah. You should go fuck off and die!’ Whoa!"

The second response: a hip-hop producer working with an "awful singer-songwriter." The third: Long, who happened to be roaming Craigslist during his day job.

"There was no going back after that," says Martin-McCormick. Listening to the forward-facing future-rock of Watersports, I’d say there’s little fear of that scenario. *

MI AMI

Fri/23, 10 p.m., $10

Bottom of the Hill

1233 17th St., SF

www.bottomofthehill.com

ROCK FOR LOVERS

THE ETTES


The primal beat band got theirs — where’s yours? Thurs/22, 8 p.m., $10. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

E-ZEE TIGER


One-man massive energy generator Anthony Petrovic rouses himself from dormancy. With Wooden Shjips and Hank IV. Thurs/22, 9 p.m., $7. Eagle Tavern, 398 12th St., SF. www.sfeagle.com

WAVVES


Going big with bristly, lo-fi garage rock. Fri/23, 9 p.m., $16–$18. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

AZTECA


The sprawling fusion combo including Pete Escovedo and Sheila E. rocks for autism awareness. With War, El Chicano, and Los Cenzontles. Sat/24, 7:20 p.m., $45–$75. Warfield, 982 Market, SF. www.goldenvoice.com

THE PHENOMENAUTS


The selfless Oakland space-rockers dish out For All Mankind (Springman). Sat/24, 9 p.m., $13. Slim’s, 33 11th St., SF. www.slims-sf.com

JAY REATARD


He’s watching you watching him. With Nobunny and Bare Wires. Sun/25, 9 p.m., $15. Independent, 628 Divisadero, SF. www.theindependentsf.com

Wale watch

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› a&eletters@sfbg.com

If you went to the 2008 Rock the Bells festival at Shoreline Amphitheatre in Mountain View, then you probably missed Wale Folarin. Barely an hour into the 12-hour-plus event, he was on the main stage, rocking back and forth in a half-crouch, spitting rhymes from his viral hit "W.A.L.E.D.A.N.C.E." to an arena that was one-quarter full.

Wale may be a padwan among hip-hop’s big dogs, but many of the genre’s tastemakers and fans call him a rising star. Though he has yet to release an official album, Wale has already graced the covers of several magazines. His most recent mixtape, The Mixtape About Nothing, landed on major 2008 year-end lists, including Pitchfork’s. Earlier in the year, the Roots, who have a history of recruiting hot prospects, gave him a guest spot on Rising Down (Def Jam, 2008).

Before dropping out to pursue a musical career in 2004, the DMV (District of Columbia, Maryland, and Virginia) native bounced through three colleges on football scholarships. He has subsequently attacked the rap game like an offensive coordinator, eschewing offers from majors like Epic to sign a production contract with Mark Ronson’s Allido Records. In turn, Ronson negotiated a joint deal with Interscope to distribute Wale’s debut, tentatively scheduled for this year.

Everyone loves raw, unformed talent, and hip-hop fans are no exception. They love MCs who can freestyle for days, never mind that their stanzas flow with rhyme but with neither reason nor hooks. They venerate rappers who compile mixtapes chock full of half-ideas. Great American Songbook traditions like harmonic structure and verse-chorus forms are nonexistent or merely subtext to the rapper’s unyielding voice.

Wale’s Mixtape About Nothing is nominally built around samples from Seinfeld, punctuated by Jerry Seinfeld’s standup bits and Jason Alexander’s antics. But Wale, with his twangy Southeast accent, takes center stage. He mostly wanders around, offering flickers of insight amid heaps of undistinguishable lines. Then he "goes in," to use a hip-hop phrase that describes a moment of clarity.

On "The Kramer," he opens with a snippet from Michael Richards’ infamous 2006 standup routine at the Laugh Factory, when Richards’ shouted to a heckler in the audience, "He’s a nigger!" Wale uses it to launch a sprawling discourse on race. He begins by confessing, "And P said that I should stop saying nigga / But what’s the difference / I’d still be a nigga." But at the end, he declares, "Make sure everything you say / Can’t be held against you in any kind of way / And any connotation is viewed many ways / ‘Cause under ev’ry nigga there’s a little bit of Kramer / Self-hatred / I hate you / And myself."

Two years ago, Lil Wayne rocketed to superstardom on the basis of these kinds of rambling tone poems. Hundreds of his tracks fueled a cottage industry of Weezy mixtapes. As a result, everyone is flooding the Internet with rangy bedroom studio cuts, proclaiming their status as "the truth" to anyone who’ll listen. In 2008, Brooklyn MC Sha Stimuli issued 12 mixtapes in 12 months, basing one around the 2007 Jennifer Aniston comedy The Break Up. Charles Hamilton dropped eight mixtapes in two months. In most cases, all this sound and fury signifies nothing; worse, it makes it difficult for a talented artist such as Wale to stand out.

"Everybody’s doing blogs. Everybody’s doing freestyles. Everybody’s doing, like, way too much stuff on the Internet," Wale complains by phone. "It’s like, c’mon, we get it. It’s way overdone now." It’s the most provocative statement the 24-year-old makes during a brief interview. Otherwise, Wale keeps his answers amiable but bland. When I ask him about the dreaded "hipster rapper" tag, he claims not to know what I’m talking about. Even when I point out that XXL magazine asked him the same question for a cover story, he responds: "I’m not familiar with that term. Nobody’s said that about me."

Yet Wale is keenly aware of his atypical tastes. "I think it goes over a lot of people’s heads," he says. "By no means am I comparing myself with Leonardo da Vinci or nothing, but by no means do I understand the significance of the Mona Lisa. But there are millions of people who do, and appreciate that piece of work. So eventually you have to do stuff for the people who appreciate what you do." For the moment, his esoteric creative decisions seem to work, including his widely mimicked freestyles over rock hits like Lily Allen’s "Smile." As he says on his 100 Miles and Running mixtape, "Y’all believe me when I do it. Don’t sass me for doing it."

WALE

Jan. 31, 9 p.m., $15

Mezzanine

444 Jessie, SF

www.mezzaninesf.com

Inauguration parties you can believe in

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barackobamasneakera.jpg

>>>All parties take place tonight, January 20

ActivelyOUT.com Obama Ball

ActivelyOUT.com hosts an Obama Ball at Bruno’s Night Club, featuring plasma screens with highlights from Inauguration Day, a dance party with DJ Duarte and a free glass of champagne for the first 150 people. A donation from the evening’s proceeds will go to And Marriage for All, a collaborative partnership of African-American community leaders spearheading dialogue and public education about same-sex couples’ freedom to marry. “Gay fabulous, str8 friendly, no H8-ers!”

6 -10 p.m., $8 cover, $5 for activelyOUT.com members

Bruno’s Night Club

2389 Mission St., S.F.

www.activelyout.com

————

Rock Barack

Glide into a new era with budget-friendly drink specials at the Paradise Lounge. Rock Barack: The Obama Inauguration Party will featuring 99-cent drafts and 99-cent well drinks from 6 to 9 p.m. the event will benefit not just your budget but the Glide Foundation, a San Francisco nonprofit working to end poverty.

6-9 p.m., $10 donation

Paradise Lounge

1501 Folsom St., S.F.

www.paradisesf.com/calendar.html

————————–

League of Young Voters
LYV says: “No need for upscale dress attire for our BALL! We’ll have drinks, ginger bread cookies and a good crew celebrating Obama’s Inauguration! We need YOU to get the party really started!”

8pm -11pm; $5-25 sliding scale.

El Rio

3158 Mission, SF

www.theleague.com/sf

———–

Obama mambo

Boogie down to support Amnesty International during its fundraising event, "Dance for Change." Music from hip-hop to house to rock will be spinning all night long, so prepare to shake it for Barack to the wee hours.

9:00 p.m.–2:00 a.m., $10

Le Colonial
20 Cosmo Place, SF

www.amnestyusa.org

———-

Inaugural Ball

Electric Works gallery is hosting an Inaugural Ball featuring a rebroadcast of the inauguration followed by dancing. Formal dress is suggested but not required (changing rooms and borrowed finery will be available for those coming directly from work). Drinks and light hors d’oeuvres will be provided and proceeds benefit the San Francisco Food Bank.

6–10 p.m., $10 donation requested

130 Eighth St., SF

www.sfelectricworks.com

———-

Women, Democrats, and democratic women

The San Francisco Democratic Party and local women’s political groups — including Emerge California, Good Ol’ Girls, and the San Francisco Women’s Political Caucus — are throwing an Inauguration Night party in the swanky Green Room of the War Memorial Opera House, featuring hors d’oeuvres, drinks, and entertainment.

5:30–8:30 p.m., $25

301 Van Ness, SF

www.actblue.com/page/inaugurationsf

(415) 626-1161

info@sfdemocrats.org

———

Inauguration Skaters’ Ball

The California Outdoor Rollersports Association hosts a political roller disco featuring Sarah Palins and Barack Obamas on wheels. There’s even a chance that a live feed from the party will be broadcast at the Presidential Gala in Washington. Dress up as your favorite politician and resist the urge to knock out your rivals.

7–11 p.m., $10 adults, kids free. $5 for skates

Funkytown SF

1720 19th St., SF

www.cora.org/ObamaParty.htm

Beeda Weeda to play tonight’s ‘Resolution’ benefit

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Benefit time – with hip-hop lyricists and a dab of R&B. This in:

“Musiq 4 Hunger and Element Lounge in association with Hard in the Paint Ent., ViXXeN EnT., and LK Management presents: “The Resolution 2009.”

“Performances by: Beeda Weeda, Don P., Diamond, Moss Da Boss, Bay Area Bad Girlz, Da Trendsettaz

“Featuring live music from Maya Kronberg (keys), Scott Thompson (bass), Chris Hansen (drums), Brandon McKee (sax), Bill Smolik (trumpet).

“Open mic sign-ups start at 9:30 p.m. Live band jam from 9:30-11 p.m. Special perfomances start at 11 p.m. ending at 12:45 a.m.

“DJ Smocha spinnin from 12:45 a.m.-2 a.m. with an open mic. $7 at the door or $5 with a canned food item. For more information please contact: Li-Mari, vixxenmusiq@gmail.com, (510) 672-8868.”

Get class-y

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› molly@sfbg.com

Want to take your career in a new direction? Increase the skills you already have? Use your unemployment check for something fun and educational? We’ve chosen just a handful of interesting classes to occupy your time and, perhaps, to serve as a more cost-effective (and beneficial) alternative to the massively expensive dinner-and-bar outing.

BHANGRA


This multilevel class teaches a modern version of the ancient harvest dance from the state of Punjab in northwestern India. Incorporating hip-hop, dancehall, and drum ‘n’ bass influences of modern DJs, this accessible dance form reflects the diversity of the Indian diaspora.

Mondays, 6:30–8 p.m. $12 drop-in.

Dance Mission Theater, 3316 24th St., SF. (415) 826-4441, www.dancemission.com

SWING GOTH


More "alt" than strictly "goth," the whole point of this class is to teach basic partner dancing moves to fun, unconventional music. Don’t expect to learn traditional swing, but do expect a rockin’ good time with a room full of people looking for the same. (And you’ll leave at least looking like you know how to swing.)

Tuesdays, 7–8 p.m. $5 drop-in.

Fat City, 314 11th St., SF. www.swinggoth.com

BEGINNER ROCK CLIMBING COURSE


You’ll learn everything you need to know to climb glaciers (or gym walls) in this in-depth, four-week introductory course, including belay and basic safety techniques, bouldering, climbing technology, and more. It’s not cheap, but the fee includes harness and shoe rentals for class nights, gym access for one month, and — should you decide to join the gym — a discount on membership.

Wednesdays, 7 p.m. $129 for four weeks.

Planet Granite, 924 Old Mason, SF. (415) 692-3434, www.planetgranite.com

FLASH FICTION


Explore this exciting, nuanced genre with instructor and published writer Josh Mohr. You’ll learn to use all the elements of narrative construction while creating powerful stories containing only a few hundred words. Mohr promises lots of freedom, experimentation, and play.

Jan. 24, 10 a.m.–4 p.m., $110

Writing Salon, 720 York, SF. (415) 609-2468, www.writingsalons.com

WTF NIGHT


Are you intimidated by the bicycle boys’ club? Want a supportive place to learn more about your ride? Bike Kitchen’s monthly clinic devoted to women, transfolks, genderqueers, and femmes is one of our favorite offerings from the all-volunteer collective. Also check out Basic Tune-up classes in February, and BK’s new locale in March!

Jan. 26, 6:30–9:30 p.m. Free.

Bike Kitchen, 1256 Mission, SF. www.bikekitchen.org

SIMPLE AND HEALTHY EVERYDAY COOKING


Spend an informative, enjoyable evening with Chef Joe Wittenbrook in his charming Duboce Triangle studio as you learn approachable menus that work well for those on a budget. Or, even better, schedule a private class for you and four friends.

Jan. 27 (and every Tuesday through April), 6–9 p.m. $95.

Chef Joe’s Culinary Salon, 16a/b Sanchez, SF. www.theculinarysalon.com

SCULPTURAL SQUARE BOOK


Elaine Chu shows students how to make an impressive hardcover, origami-style book with folded pages that can be filled with images and text. In class, you’ll paint your own covers using vibrantly colored inks, as well as learn to attach ribbon ties.

Jan. 27, 6:30-9:30 p.m. $55 plus $10 materials.

SF Center for the Book, 300 De Haro, SF. (415) 565-0545, www.sfcb.org

MONSTER BABY FLEECE HAT


Learn to work with stretch fabrics while making these painfully cute tops for tots, all while supporting the new effort by former Stitch Lounge favorites Kelly Williams and Hannah McDevitt. Great gifts for new moms and their winter spawn!

Jan. 31, noon–3 p.m. $62

Craft Haven Collective, 520 Hampshire, SF. crafthaven.org

HERBAL MEDICINE-MAKING FOR WINTER HEALTH


Create simple herbal remedies for the common winter bug while learning about basic actions of plants and how they work in combination. You’ll leave with a jar or each remedy, plus handouts and recipes.

Jan. 31, 10 a.m.–noon. $15.

Garden for the Environment, Seventh Ave. at Lawton, SF. (415) 731-5627, www.gardenfortheenvironment.org

BEGINNER SURFING I


You live in California! It’s time to learn how to surf! In Adventure Out’s two-day clinic, you’ll learn basic technique, safety and etiquette, ocean awareness, and balance. All gear included!

Feb. 7–8, 9 a.m.–noon, $170.

Linda Mar Beach, Pacifica. www.adventureout.com

FEARLESS FIRE EATING


Think there’s no way you could be a fire-eater? Think again. The art of putting (and putting out) fire in your mouth, running it along your skin, and executing other advanced tricks is easier than it seems. In this entry-level class, you’ll make two torches to take home and practice with. And don’t worry, you’ll learn fire safety before any flames touch your skin.

Feb. 28–Mar. 1, 3:30–5:30 p.m. $85.

The Crucible, 1260 Seventh St., Oakl. (510) 444-0919, www.thecrucible.org

GRANT WRITING FOR ARTISTS


There’s no better time for learning how to fund your art than now. Let Root Division’s executive director, Michelle Mansour, guide you through researching and applying for grant funding, including understanding lingo, addressing application criteria, preparing work samples, and editing.

March 16 & 30, 7–9 p.m. $30

Root Division, 3175 17th St., SF. www.rootdivision.org *

Mo Biggie

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› kimberly@sfbg.com

SONIC REDUCER Wait for it, wait for it: the moment when Jamal Woolard as Notorious B.I.G., a.k.a. Biggie Smalls, a.k.a. Big Poppa, utters, with admirable understatement, "Mo money, mo problems." The woman he married three days after he met her, vocalist Faith Evans (a sad-eyed Antonique Smith), is pregnant but estranged; his spunky protégé Lil’ Kim (Naturi Naughton) is hopping mad that her lover-protector-mentor has dropped her and is instead bossing her in the studio; his original baby mama is miffed that his daughter gets zero Big Poppa time, and his ex-BFF Tupac Shakur (Anthony Mackie) thinks Biggie is out to get him, and the East Coast vs. West Coast beef is now fully fired up. ‘Nuff said.

"Mo Money Mo Problems" is the obvious alternate title for Notorious, which has the ring of a men’s cologne by Sean "I Am King" Combs, aka Puff Daddy, aka P. Diddy, aka Diddy, the film’s executive producer. It’s certainly more glammy — and feeds into the mythmaking that Combs has been so adept at when it comes to his Bad Boy artists — than Unbelievable: The Life, Death, and Afterlife of the Notorious B.I.G. (Three Rivers, 2004), the title of the book by Cheo Hodari Coker that this biopic is based on.

The drive-by shooters who killed the legendary rapper, born Christopher Wallace, at the far-too-young age of 24, remain cloaked in mystery, despite the attention given the MC’s murder in Randall Sullivan’s 2002 book, LAbyrinth (Grove/Atlantic) and Nick Broomfield’s ’02 doc Biggie and Tupac, and his death is still embroiled in knotty intrigue, having triggered multiple wrongful-death claims against the Los Angeles Police Department. But of course, history is written by the winners — and those happen to be Combs and Notorious‘ producers, Biggie’s mother Voletta Wallace and Biggie managers Wayne Barrow and Mark Pitts — and in the end, they prefer to skip the speculation and allegations of conspiracy surrounding the rapper’s unsolved murder and focus on the love.

So much like recent musicmaker biopics à la 2007’s Control, which privileged the perspective of Joy Division frontperson Ian Curtis’ wife over his bandmates’, there’s an element of noticeably selective memory-picking to Notorious — even as it tries to play fair with those outside the equation, such as Shakur and Lil’ Kim. The latter has slammed the movie, according to MTV: she believes it hews to the version of history as written by Biggie’s mother and wife and portrays her inaccurately.

Still, director George Tillman Jr. (Men of Honor, Barbershop) seems to have thrived on the tension between a mother who adored Biggie but disapproved of his criminal activities, and label heads and managers aware that the dope-dealing, dues-paying gangsta grind girding Notorious B.I.G.’s lyrics must be shown to authenticate the first-person experiential honesty the rapper was known for. Thus we get a multidimensional Biggie — the big-kid vulnerability he showed to his moms and his "Faith-Faith," as well as the tough, rock-slinging-to-pregnant-crackheads, money-making front. Plenty of respect is also given to the MC’s art, which this rags-to-riches/gats-to-bitches tale (with much due given to a kind of golden-age of hip-hop label patronage in the form of Puffy [Derek Luke] and Biggie’s friendship) reverently visualizes on the street, in the basement, in the studio, and on the arena stage.

Putting his interest in street-level soul, characters less than well-represented in mainstream Hollywood, and his touch with rappers to work, Tillman subtly injects more cinematic interest into his already-dramatic material than it might have had on the page. Biggie’s childhood is washed with glowy, golden hues, while his time dealing on the street is leached of hues and clad in corroded grays, blacks, whites, and browns, until the MC battles another rapper on the sidewalk and color begins to enter the picture.

And unlike 2008’s Cadillac Records, which bought into the overt displays of bling that talent can bring, Tillman and company give adequate shrift to the musicmaking that built Biggie’s renown: the mic is shot as if it’s a grail, swathed in a silvery aura. The symbols of power — such as the Big Daddy Kane–like throne Biggie mounts — speak louder than his kicks, cribs, or cars. And the scenes in which Woolard actually raps — particularly in a basement scene after he emerges from prison and a bout of lyric writing and soul searching — are believable and compelling: flecks of his spit shimmer in the harsh light. Woolard, who grew up blocks from Biggie’s original hood and had a promising career until a shooting in front of NYC’s Hot 97, is the perfect choice to portray the man.

Notorious‘ melodramatic, overly amped conclusion may ring a bit artificial with its drawn-out return to the opening scenes: as "Hypnotize"’s "Rise" sample ripples through the dancers, Notorious B.I.G. says, in flashback, that he’s finally found peace, he’s become a man, and, well, he’s Ready to Die (Bad Boy, 1994), to crib the title of his classic debut. But I dare anyone to not get choked up by Notorious‘ coda, as Voletta Wallace, portrayed with grand-dame grit by Angela Bassett, looks out on the crowd surrounding her son’s NYC funeral procession, playing his music and flinging their arms, and realizes that, though she never quite trusted the easy money and fast friends surrounding her son, Biggie will always be remembered for his way with words.

NOTORIOUS opens Fri/16 in the Bay Area

———–

JUST PLAYING

BRIGHTBLACK MORNING LIGHT


It’s not a hologram: the roving musicmakers return to the region they once called home. Wed/14, 8 p.m., $15. Independent, 628 Divisadero, SF. www.theindependentsf.com

LOS YEUX NOIR


They’re dark-eyed and infatuated with gypsy, Yiddish, and Manouche jazz. Wed/14, 8 and 10 p.m., $20–<\d>$25. Yoshi’s SF, 1330 Fillmore, SF. sf.yoshis.com

LENKA


Cutie-pie pop oozes from the Aussie charmer who once studied acting with Cate Blanchett. Thurs/15, 8 p.m., $13–<\d>$15. Independent, 628 Divisadero, SF. www.theindependentsf.com

WILD WEEKEND


We’re lost in an all-girl punk rock wilderness. Sat/17, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

FOUNTAINS OF WAYNE


The popsters go acoustic with tunes from an album-in-progress. Sun/18–Mon/19, 8 p.m., $25. Café Du Nord, 2170 Market, SF. www.cafedunord.com.

BARRINGTON LEVY


The acclaimed live performer taps Obama samples for his new single, "No War." Tues/20, 9 p.m., $28. Independent, 628 Divisadero, SF. www.theindependentsf.com

Hang on, Ramsey

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Venerable jazz pianist Ramsey Lewis will be 74 in May, but you’d hardly know it from his packed tour schedule and mounting awards. The Chicago native and 2007 NEA Jazz Master honoree hosts a nationally syndicated radio show, has recorded nearly an album a year since 1956 plus tours with his trio, does regular duets with Dave Brubeck, and moonlights as a member of smooth jazz supergroup Urban Knights. But perhaps Lewis’ greatest accomplishment was bringing jazz and pop together in soulful harmony.

Sample libraries and hip-hop production would be diminished were it not for Lewis’ funky covers ("Dear Prudence," "Soul Man," "People Make the World Go Round," "Slipping into Darkness"). Likewise Lewis, whose been playing since age four, has a sense of history: he studied Bach, Beethoven, Hayden, Duke Ellington, and Art Tatum before forming the Cleffs with Eldee Young on bass and Redd Holt on drums, his first of many trio configurations.

As the Ramsey Lewis Trio he scored hits in the mid-1960s on Chess-Cadet label releases like "Wade in the Water," "The In Crowd," and Motown cover "Hang on Sloopy." Lewis did for the piano what Stevie Wonder did for the harmonica, made the instrument swing. He also managed to evolve with the times, switching to Fender electric piano and writing originals like "Uhuru" and "Bold and Black" on 1969’s Another Voyage (Cadet) produced by studio great Charles Stepney. Sun Goddess (Columbia, 1974), which showcases enduring Lewis collaborator Maurice White of Earth, Wind and Fire on drums and vocals, was rediscovered by DJs decades later and ushered in the early-’90s acid jazz movement.

His most recent recording, 2005’s With One Voice (Narada) includes gospel standard "Oh Happy Day," redone with a house groove, and soulful reggae number "Keep the Spirit." These days bassist Larry Gray and drummer Leon Joyce fill out the trio, and the group makes an extended stop at Yoshi’s SF, a great prelude to the Martin Luther King Jr. holiday and Barack Obama’s inauguration.

In 1967 Columbia Records president Clive J. Davis said: "In the next century or so, we may very well no longer draw distinctions between what is ‘jazz,’ what is ‘classical,’ what is ‘progressive,’ ‘rock,’ or ‘soul.’ It may all just be called music, and let it go at that. For it’s all here, in the music that Ramsey makes." Davis’ hope for an end to genre distinctions may not have come to pass yet, but he was right about Lewis, it is all in him.

RAMSEY LEWIS TRIO

Thurs/15–Fri/16, 8 p.m., Sat/17, 8 and 10 p.m., Sun/18, 7 p.m.; $65

Yoshi’s SF

1330 Fillmore, SF

(415) 655-5600

sf.yoshis.com

Speed Reading

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MIXING IT UP: TAKING ON THE MEDIA BULLIES AND OTHER REFLECTIONS

By Ishmael Reed

Da Capo Press

320 pages

$15.95

Ishmael Reed is one of the most prolific writers, seers, and pundits of the 20th and 21st centuries. The author of nine novels, six books of poetry, six plays, and four books of political essays has been a constant presence and persistent thorn in the sides of various official experts. What I love about Reed is his refusal to be classified, stereotyped, or labeled. From his first book, 1967’s wildly experimental Freelance Pallbearers, through a turbulent and often silly surge of academic quarrels, he has shared his vision with bravado and courage.

His latest book of political essays continues his crusade for mother-wit in the face of a consistently homogenized culture, whether through an insightful interview with saxophonist Sonny Rollins, or writing that tackles America’s anti-black lending practices. Reed’s take is plainspoken and no-nonsense, yet an element of whimsy seems to permeate even the most uncomfortable subjects. In an essay about the Michael Jackson and Kobe Bryant trials, for example, his observation about hip-hop "pimp-culture" is that "Blacks are just as incompetent in this area of crime as they are in all others. Nearly four hundred years on this continent and not a single Martha Stewart or Ken Lay."

The only drawback of this book is that I get the impression that Reed is spending too much time in front of the television. It’s rumored that he has several sets stacked one on top of another so he can watch them simultaneously.

ISHMAEL REED

With Justin Desmangles

Sat/17, 2 p.m.; free

Koret Auditorium

San Francisco Public Library

100 Larkin, SF

(415) 557-4400

www.sfpl.org

Inauguration parties!

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› alerts@sfbg.com

TUESDAY, JAN. 20

The inauguration of Barack Obama as the 44th president of the United States is a historic event, with the rise of the first African American president coinciding with the end of perhaps the worst presidency in US history. So it’s time to celebrate, and here’s where you can do so on Jan. 20.

Sock it to me


NextArts has reserved the space outside City Hall for a simulcast of the inaugural proceedings and what it’s calling a Sock It To Me Concert. In the spirit of grassroots, progressive change, the price of admission is new socks and underwear with tags still attached for donation to the homeless.

7 a.m.–noon, free with donation

Civic Center Plaza

1 Dr. Carlton B. Goodlett Plaza, SF

www.nextarts.org

The dream lives


The College of Alameda will broadcast Obama’s 9 a.m. swearing-in and offer open mike commentary during commercial breaks. The event also features several speakers on the civil rights movement and what Obama’s presidency means for Martin Luther King Jr.’s legacy.

8 a.m. –1:30 p.m., free

F Building student lounge, College of Alameda

555 Ralph Appezzato Memorial Parkway, Alameda

(510) 748-2213

Quiet time is over


The African American Interest Committee is sponsoring a public viewing of the inauguration ceremony at the San Francisco Public Library. Seating is on a first-come, first-served basis and refreshments will be available in the Latino/Hispanic Community Meeting Room.

9 a.m.–noon, free

Koret Auditorium, SF Public Library

100 Larkin, SF

mjeffers@sfpl.org

Party for grid alternatives


Come try the signature Obama cocktail at the Swedish American Music Hall’s inauguration event. Watch a 9 p.m. rebroadcast of the inauguration on the big screen and dance and enjoy catering by Radio Africa and Kitchen. Proceeds benefit Grid Alternatives, an Oakland-based organization promoting renewable energy.

7 p.m., $22 advance, $25 at the door

2170 Market, SF

www.cafedunord.com

Obama mambo


Boogie down to support Amnesty International during its fundraising event, "Dance for Change." Music from hip-hop to house to rock will be spinning all night long, so prepare to shake it for Barack to the wee hours.

9:00 p.m.–2:00 a.m., $10

Le Colonial
20 Cosmo Place, SF

www.amnestyusa.org

Pray for change


After a week of shared prayer in mosques, temples, churches, and synagogues, the inauguration celebration will be the final stop for "Unity for the Sake of Change," a prayer event open to all religions.

7 a.m., $5

Oracle Arena

7000 Coliseum Way, Oakl.

(510) 272-6695

obamacelebration.org

Inaugural Ball


Electric Works gallery is hosting an Inaugural Ball featuring a rebroadcast of the inauguration followed by dancing. Formal dress is suggested but not required (changing rooms and borrowed finery will be available for those coming directly from work). Drinks and light hors d’oeuvres will be provided and proceeds benefit the San Francisco Food Bank.

6–10 p.m., $10 donation requested

130 Eighth St., SF

www.sfelectricworks.com

Women, Democrats, and democratic women


The San Francisco Democratic Party and local women’s political groups — including Emerge California, Good Ol’ Girls, and the San Francisco Women’s Political Caucus — are throwing an Inauguration Night party in the swanky Green Room of the War Memorial Opera House, featuring hors d’oeuvres, drinks, and entertainment.

5:30–8:30 p.m., $25

301 Van Ness, SF

www.actblue.com/page/inaugurationsf

(415) 626-1161

info@sfdemocrats.org

Inauguration Skaters’ Ball


The California Outdoor Rollersports Association hosts a political roller disco featuring Sarah Palins and Barack Obamas on wheels. There’s even a chance that a live feed from the party will be broadcast at the Presidential Gala in Washington. Dress up as your favorite politician and resist the urge to knock out your rivals.

7–11 p.m., $10 adults, kids free. $5 for skates

Funkytown SF

1720 19th St., SF

www.cora.org/ObamaParty.htm 2

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Sonic Reducer Overage: Magic Bullets, LoCura, White Cloud, Chuchito Valdes, and more

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Mind that One Track Mind: Egyptian Lover’s “Freak-A-Holic.”

San Francisco stirs itself, shakes its shaggy head, and leaves home. Here are a few more reasons.

Leopold and His Fiction
The many moods of the SF indie-folk-rock combo turn toward…celebration with the unveiling of their new full-length Ain’t No Surprise. Electric! With the Healing Curse and Candy Apple. Fri/9, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923.

LoCura
Living la vida LoCura? That means an eye-opening blend of flamenco, rumba, reggae, and hip-hop complete with bellydane and plenty of Animas. Fri/9, 9 p.m., $15. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750.

Beautiful voices

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› a&eletters@sfbg.com

In the 2005 Martin Scorsese documentary No Direction Home, Bob Dylan noted an era when people desired "beautiful voices over very melodic songs." He referred to the early 1960s and pop balladeers such as Doris Day and Johnny Mathis. But the description fits the current soul scene, too, and its celebration of black — and, increasingly, white — artists with wondrously perfect voices and virtuous, albeit sexually complicated lives. A friend of mine used to call it "church."

If the soul scene resembles a megachurch, then John "Legend" Stephens is its deacon. His rise in the music industry — from backup vocalist on Jay-Z’s "Encore" to flagship artist on Kanye West’s G.O.O.D. Music imprint — was balanced with a years-long stint as music director at Philadelphia’s Bethel A.M.E. Church. In photos accompanying his 2004 debut Get Lifted (G.O.O.D. Music/Columbia), Legend stood in the aisle of a nondescript church, bathed in sunlight, his hands resting on two adjacent pews. Thematically the album followed Legend’s transformation from hip-hop kid with a roving eye ("She Don’t Have to Know," "Used to Love U," which pays homage to Common’s "I Used to Love H.E.R.") to chastened man trying to save his relationship ("I Can Change," "Ordinary People") and, finally, spiritually and physically devoted lover ("Stay With You," "So High"). He performed these songs with a studious air. His voice alternately massaged and swayed, like an altar boy brushing the dirt off his shoes as he enters.

Legend has moved on to other themes of love and devotion, but the Christian aspects of his music remain. The "church" probably wouldn’t have it any other way. The modern R&B industry resembles the old-school pop industry — before it lapsed into the Madonna/whore syndrome personified by Britney Spears and Miley Cyrus — in its celebration of carefully manicured personalities with stylish (but not too avant-garde) fashion sensibilities and gossipy (but not too slutty) love lives. Of course, there’s nothing wrong with going to church. Still, whether used as a metaphor or visited as a place of worship, a church and its congregation idealize the world around it.

As a result, most soul vocalists sing about love and sex, reducing the vagaries of life to intimate relationships. A few, particularly the great Anthony Hamilton and Raheem DeVaughn, address the black community, the effects of violent crime and rampant poverty, and the idea of working hard for a paycheck and dreaming of better days. But that’s not really Legend’s thing. He imagines as a songwriter and composer in the vein of Quincy Jones and Billy Joel. He cuts a dashing figure on the cover of his 2004 album Once Again (G.O.O.D. Music/Columbia), tinkling a grand piano in the middle of busy New York City streets and spinning light, romantic numbers such as "P.D.A. (We Just Don’t Care)." "Let’s go to the park, I wanna kiss you underneath the stars," he sings in a breezily sultry voice. "Let’s make love."

Much like Burt Bacharach, the old-school mandarin of fluffy Brill Building pop, Legend is an ace craftsman of modern standards. His best songs mix concise and thoughtful lyrics with subtle melodies, expert musicianship, and standout choruses. For his new full-length, Evolver (G.O.O.D. Music/Columbia), he adds "Green Light," a seductive come on buffeted by drum and keyboard programming. "Give me the green light, give me just one night," croons Legend as stray synth melodies pop and sparkle around him. Andre 3000 from OutKast shows up after the second hook, promising to have "you giggling like a piglet / Oh, that’s the ticket / I hope you’re more Anita Baker than Robin Givens."

The cover of Evolver, where Legend poses mysteriously in a Members Only jacket, plays on "Green Light"’s promise that the traditionalist is playing a new game. But, of course, it’s the same tricks. Get Lifted successfully mixed A-list rappers with familiar neo-soul grooves: baby-making music with a contemporary edge. Despite the subtle nods to ’80s babies nostalgia, Legend doesn’t wander too far from that winning formula. Instead, he offers creamy ballads such as "Cross the Line," where he admits, "I don’t want to risk losing everything."

For all the loveliness of Legend’s voice, it would be nice to hear him write more challenging material. Get Lifted drew unpredictable, exciting tension from his classical tendencies and hip-hop’s swagger, but with Evolver he veers dangerously close to blandness. Of course, his "church" probably wouldn’t want it any other way.

Back in 2006, I saw Los Angeles singer-songwriter Esthero open for Legend. Walking on stage barefoot and in loose-fitting clothes, Esthero’s funk jams and earthy Bjork-like trip-pop drew snickers from the audience. She was almost booed off the stage. It took Legend to pacify the old ladies and married couples.

"Hey, do you remember this one?" he teased them, playing a few notes from Jay-Z’s "Encore" and Slum Village’s "Selfish." He sang in fine form that night, and the church was pleased.

JOHN LEGEND

With Estelle

Mon/12, 8 p.m., $50.50–$76.50

Paramount Theatre

2025 Broadway, Oakland

www.apeconcerts.com

The in crowd: Lil Wayne, Charles Hamilton, Zo! and Tigallo, and others make a hip-hop top 10

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Ladies do the same: Charles Hamilton’s “Brooklyn Girls.”

Another in a series of year-end picks from Bay Area musicians, writers, scene-makers, and music lovers.

DANIEL N. ALVAREZ’S TOP 10

10) Lil Wayne, Tha Carter III (Cash Money/Universal)

If for no other reason, Tha Carter III belongs on this list, because it proves that in the age of illegal downloading, hip-hop can still commercially thrive. While the record is uneven, its widespread success was achieved by Wayne’s hard work and prolific output. Most of his mixtapes, especially the ones in the “Da Drought” series, are stronger than this record, yet this album does have some dizzying high points. His expansive collaboration with the elder with Jay-Z, “Mr. Carter,” brilliantly builds to an explosive crescendo, where Wayne lets his hair down and destroys Infamous’ soulful beat.

“Next time you mention ‘Pac, Biggie, or Jay-Z, don’t forget Weezy, baby!” – Mr. Carter

9) Kidz in the Hall, The In Crowd (Duck Down)

Bursting out of hip-hop hotbed, the University of Pennsylvania, the duo’s breakthrough effort is one of the slickest of the year. Riding old-school soul beats, provided by Michael Aguilar (a.k.a., Double-O), the group’s MC Jabari Evans (Naledge) effortlessly cruises through downtown Chicago, putting a premium on storytelling. Often unfairly lumped in with the “hipster-hop” crowd, Kidz in the Hall’s sound actually aligns more with the Chicago scene, drawing striking parallels to Common and pre-robot Kanye West.

“And I’m looking blessed, like I said achoo.” – “Drivin’ Down The Block (Low End Theory)”

Steps that impressed

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› a&eletters@sfbg.com

Looking back over the past year always entails a look forward, and perhaps the best part of 2008 is that in 2009 there is at least the possibility of the arts becoming part of the national dialogue. Two reasons warrant such optimism: during the Great Depression, people still wrote books, went to the theater and movies, and created canvasses. Modern dance went through its most crucial development in that time.

Furthermore, President-elect Barack Obama actually has an arts agenda — the first president to have one in a long while. That alone is encouraging. As for 2008, out of dozens of experiences, some inevitably have imprinted themselves more than others.

**If I had to choose the single most important event of the year, it would have to be the Merce Cunningham Dance Company’s two-week residency at Cal Performances, culminating with Craneway Event at a former Ford auto plant in Richmond. It was a quiet, luminous, and utterly unforgettable Sunday afternoon of being in the presence of genius.

**San Francisco Ballet’s commissioning of 10 works by 10 choreographers in honor of its 75th anniversary could have been more adventuresome. Still, it signaled a commitment to the future. Margaret Jenkins’ and Julia Adam’s pieces were not critically acclaimed, but both choreographers dared to go outside the conventionally balletic.

**Ballet San Jose impressed with first-rate programming. Just Balanchine, Swan Lake, The Firebird, and The Toreador highlighted just how fine a group of dancers they are — with an excellent repertoire the South Bay can call its own.

**Shelley Senter set Trisha Brown’s 1979 hauntingly beautiful Glacial Decoy before the professionals and graduate students of Mills College dance department, titling it Glacial Decoy Redux. Adapted for a smaller stage, the 30-year-old piece looked as pristine and daring as ever.

**Joe Goode Performance Group made Wonderboy after a sabbatical spent recharging batteries with travel. With its touching tenderness and poignant exploration of loneliness and community, Wonderboy was vintage Goode, though in its use of the material — dance in particular, but also text, music, and puppetry — it was as fresh and imaginative as anything he has created.

**Former Joe Goode dancer, Miguel Gutierrez and the Powerful People’s edgy and audience-challenging Retrospective Exhibitionist asked the year’s most intellectually trenchant questions about the nature of performance, perception, and theatrical manipulation.

**Hip-hop artist Marc Bamuthi Joseph’s the break/s: a mixtape for stage proved to be another of his meditations on what it means to be an African American, a man, a father, and a human being. Using a travel diary approach, he integrated language, music, and movement into a self-effacing monologue that was as freewheeling yet formally cogent.

**Certainly the most intriguing, but least promising, collaboration happened between Janice Garrett and Dancers and the Del Sol String Quartet. The idea was to have dancers and musicians physically interact with each other. The result was the sparkling StringWreck, a spirited entertainment with musical as well as choreographic substance.

**Jess Curtis/Gravity’s imagistic Symmetry Study #7 for Curtis and Maria Francesca Scaroni paired the two nude dancers in a structured contact improvisation in which their interlocking bodies became a piece of sculpture trying to find its form. They used the body at its most basic: weight, mass, and skeletal structure.

**The San Francisco International Arts Festival brought the year’s best surprise: Berkeley’s Art Street Theater’s US premiere of Yes, Yes to Moscow, a wistful and beautifully imaginative dance theater work that picked up where Chekhov’s Three Sisters left off. If you have ever wondered what would have happened if Olga, Masha, and Irina had made it Moscow, go and see Yes — if it ever returns.

Crystal magic

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› kimberly@sfbg.com

SONIC REDUCER Light a candle, burn a wand of sage, and singe your bangs. Then fondle a frosty pink hunk of rose quartz and ask the goddess, "Are crystals the new wolves — or at least the new bears? Maybe even the new alps/mountains?" ‘Cause I swear, I’m not a miner — ’49-er, tweenie-bopper, or otherwise — but I can almost smell the crystals everywhere. Especially when it comes to artist-band names like Crystal Castles, Crystal Stilts, Crystal Waters, and wow, now juxtaposing crystal with defensive head-growths, Crystal Antlers.

I clash gently this sparkling SOMA morning with said smiling, scruffy, shambolic Long Beach combo — half chimney sweeps by day and all capable of metamorphosing magically into fierce psych-garage warriors by the light of a mountain-wolf-bear moon. The obvious question goes to tousled vocalist-bassist Jonny Bell, his hoodie bunched over his brow in the very un-Cali cold and just roused from his slumber at Closer Recording where the band is completing its first full-length: what is it about crystals that resonates? Is this a conspiracy (of beards)? And more importantly — the goddess craves a response after spotting those vaginal folds on the cover of Crystal Antlers’ recent self-titled Touch and Go EP — do you believe in crystal magic?

"Yeah, well, we came up with the name three years ago, so we didn’t know about those other bands," mumbles Bell, weary of being given the crystal shit. "We’ve done a lot of interviews where they ask about that, and I’ve given a lot of sarcastic answers." The non-sarcastic rejoinder? "It sounded fragile."

No wonder the band leader is a wee bit wary about conjuring a name for the Crystal Antlers’ album, due out in April, which he says sports mellow and ambient musical percolations as well as "more of a soul influence." Crystal Antlers have been gobbling up old soul from ’60s Miami like Della Humphrey and George McRae and spilling out their own revamp — strained through the filter of their punk background and miles away from the well-inked and -oiled Daptone/Mark Ronson new-old-school. Judging from the EP produced by Mars Volta’s Isaiah "Ikey" Owens, Crystal Antlers roam another neck of the woods altogether: a noisier, more distorted dead meadow where hirsute beasties like Comets on Fire and Mammatus roam near Holy Mountains, where Andrew King’s careening guitar skirts squalling psych-cacophony and Victor Rodriguez’s textural, low-screaming organ revels in a garage-goth parking lot, out behind the rock ‘n’ roll wilderness preserve.

"We wanted to try to play beyond our abilities," Bell says of the recording. "I think we’re always trying to push our limits, and a lot of stuff on the EP was really difficult for us. None of us have any formal training." Noisy, dark matter far from the manic weekday traffic tearing down Howard Street as the Crystal Antlers tuck into eggs and bagels at a café near the studio.

It’s the kind of recession-strapped, pre-Christmas week — a ruthless admixture of hope and fear — that brings out the take-that holiday light displays in the Mission and makes it a great moment to get your fill of your friendly neighborhood Bay Area bands, as the clubs stock up on local talents choosing to staycation. Instead Crystal Antlers are here, forsaking primo chimney sweep season ("I can write songs while laying bricks," explains Bell. "It’s a nice contrast to sitting in a van") to record with engineer Joe Goldring (the Enablers, Touched by a Janitor). Today they’ll track keyboards, saxophone, and vocals, though Bell caught a cold from bunking down in their veggie-oil van during last week’s hail.

At least they’re out of the vehicle — now convalescing on a SoMa byway — though Bell is proud that it got the band out and on tour on a single tank of diesel. "Ten thousand miles and we only used one tank of diesel fuel the whole time. We were able to find vegetable oil all around the country," he says. "We filled up when we were leaving for the tour. We didn’t go to a single gas station the whole time on the way back." The group’s recent Fuck Yeah tour with Monotonix, Dan Deacon, the Death Set, and others was similarly veggie-oil-fueled, though somewhat nuttier from the sound of the stories of smashed vans and spilled instruments that drummer and kindred chimney sweep Kevin Stuart regales me with. There was also that time when Crystal Antlers were in Oakland, touring with Canada’s Fucked Up, and Bell offers, munching, "Kevin forgot to lock the trailer."

"Hey, I didn’t forget it!" Stuart protests. "That was Fucked Up’s fault!"

"We started driving," continues Bell, "and all their stuff started falling out onto the freeway." Word from the goddess: unlock that Crystal power — with limits. *

CRYSTAL ANTLERS

With Two Gallants and the Tallest Man on Earth

Fri/26, 9 p.m., $20

Fillmore

1805 Geary, SF

www.livenation.com

LOCAL POTION

QBERT


Hamsters unite! The Invisibl Skratch Pikl re-emerges. With Mochipet and Joyo Velarde. Fri/26, 9 p.m., $20. Independent, 628 Divisadero, SF. www.theindependentsf.com

ZIGABOO MODELISTE


The Meters percussion mainstay whoops it up for his b-day. With Bhi Bhiman. Sat/27, 9 p.m., $20. Café du Nord, 2170 Market, SF. www.cafedunord.com

BLACKALICIOUS


Gift of Gab’s Mighty Underdogs project weighs in at this hefty indie hip-hop hoedown. Sat/27, 9 p.m., $26.50. Fillmore, 1805 Geary, SF. www.livenation.com

CRACKER AND CAMPER VAN BEETHOVEN


Having a cracked Cracker-Camper Christmas comedown — and how good it is. Sat/27, 9 p.m., $23. Independent, 628 Divisadero, SF. www.theindependentsf.com

MICHAEL TALBOTT AND HELENE RENAUT


The Brooklyn-by-way-of-SF wolf king grows starry-eyed with the winsome Brittany-born Beam warbler at an Antenna Farm convo. With the Naked Hearts. Sat/27, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

TOMMY GUERRERO’S GET RAD SIX


Skating, designing, music-making — Tommy Guerrero veers off from Jet Black Crayon with his birthday bash band at this SF Food Bank benefit. With Marc and the Casuals. Tues/30, 8 p.m., $6–$10 sliding scale. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

It’s tops

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For more top 10s, see our Year in Music 2008 issue.

JONAS REINHARDT’S TOP 10


1. Droids, Star Peace (Repressed)

2. Steve Moore, Vaalbara (Noiseville)

3. La Düsseldorf, La Düsseldorf (Nova, Water)

4. Cluster US tour

5. Lovefingers.org

6. White Rainbow, "Snake Snacks Brain Tazer Pt2"

7. Richard Pinhas, Singles Collection 1972–1980 (Captain Trip)

8. 88 Boadrum, Aug. 8, ’08

9. Methusalem, Journey into the Unknown (Ariola)

10. B.O.D.Y.H.E.A.T. light show, Nov. 7

MI AMI’S DANIEL MARTIN-MCCORMICK AND DAMON PALERMO’S COMBINED TOP 10


*Grouper, Dragging a Dead Deer up a Hill (Type)

*US Girls, Introducing (Siltbreeze)

*Sugar Minott, Dancehall Showcase Vol. II (Black Roots/Wackies)

*Fripp and Eno, No Pussyfooting (EG)

*Steel an’ Skin, Reggae Is Here Once Again (Em)

*Dam-Funk, "Burgundy City" (Stones Throw)

*Pyha, The Haunted House (Tumult)

*Orchestre Régional De Kayes, The Best of the First Biennale of Arts
and Culture for the Young (Mississippi)

*Various artists, Blackdisco (Blackdisco)

BOMB HIP-HOP’S DAVID PAUL’S TOP 10


1. Grip Grand, Brokelore (Look)

2. Sweatshop Union show at Rickshaw Stop, Sept. 25

3. DJ Zeph and Azeem, On the Rocks mix CD

4. Planet B-Boy DVD (Arts Alliance America)

5. Prince vs. Michael show, Madrone Lounge, Nov. 15

6. Large Professor, Main Source (Gold Dust Media)

7. DJ Agent 86, "The Ultimate" 7-inch (Bomb Hip-Hop)

8. EMC, The Show (M3)

9. DJ Design with Party Arty, "Get on the Floor" single (Look)

10. History of Rap poster

TARTUFI’S TOP 10 OF ’08


*Paper Airplanes, Scandal Scandal Scandal Down in the Wheat Field (self-released)

One of the best albums we have heard in years. Wins Most Mind-Twisting Listen award from Tartufi, which just so happens to be a hairless alpaca.

*Department of Eagles, In Ear Park (4AD)

A lush and weighty release. Wins Best Overall Production award, which just so happens to be a medium-sized bologna.

*Low Red Land, Dog’s Hymns (self-released)

Man, this album is just so freaking good. It is like a chocolate river of dreams wrapped in bacon and covered in Tony Alva. They win Album Most Likely to be Sung at Top of Lungs No Matter Who Is Around award, which just so happens to be Tony Alva wrapped in bacon.

*Deerhoof, Offend Maggie (Kill Rock Stars)

Awesomely awesome and both classically deery and innovatively hoofy. Wins the award for Longevity, Perseverance, Persistence, Reliability, and Most Rockin’-est, which just so happens to be a completely un-offended Maggie, fresh and new!

*Fleet Foxes, Fleet Foxes (Sub Pop)

Didn’t want to like this after seeing it more times that we have ever seen anything before, at every Starbucks in the whole universe. Then we took a listen, and it is actually quite good. Wins the Your Albums Will Forever Be in Starbucks (a Blessing and a Curse) award, which just so happens to be a Slip ‘N Slide.

*Musee Mecanique, Hold This Ghost (Frog Stand)

These guys rule live. Wins the Classiest Band in All the Land award, which just so happens to be the option to plate a member of the band in gold.

*Russian Circles, Station (Suicide Squeeze)

A rad album with just the right amount of chunk, noise, pretty, psych, and space. Wins the Most Dreamiest Drummer Ever award, which just so happens to be a date with Lynne!? Weird.

*Beach House, Devotion (Carpark)

Admittedly, this album was purchased based upon the cover art alone, but imagine the surprise and blissed-out happiness upon hearing the actual music! Wins the Smoothest Vocals and Best Use of a Drum Machine award, which just so happens to be a tall ship towing a peanut.

*Radiohead, In Rainbows (ATO)

We listened to this a lot while on tour. Like, a lot. Wins the Smarty Pants award and the Duhhhh award, which just so happens to be invisibility cloaks for the whole band. You guys are welcome. We know what it’s like. We are pretty famous, too.

*Vetiver, Thing of the Past (Gnomonsong)

Andy’s voice makes me so happy and his musical choices make me even happier. Wins Best Use of Hats, Beards, and Boots award, which just so happens to be the lemon tree from the back patio at El Rio! You guys sing a cover, and I will sneaky sneak it out the front.

SORCERER’S DANIEL JUDD’S TOP 10


1. Raphael Saadiq, The Way I See It (Sony BMG/Columbia)

Heard this while I was record shopping in Chicago. Thought it was a Motown record I had never heard before. Great songs, production, and the singing is excellent.

2. Menahan Street Band, Make the Road by Walking (Daptone)

On Election Day we grabbed fish tacos on Ritch Street and there was a DJ wearing a George Bush mask who was spinning this record on the turntables set up on the sidewalk. The sun was shining, and Obama was about to win — a dawning of a new day.

3. Various artists, Pop Ambient 2008 (Kompakt)

This year’s collection might be my overall favorite.

4. Zo! and Tigallo, Love the 80’s! (Chapter 3hree)

Nice modern R&B versions of the most random ’80s jams. Good for throwing in a mix with the catchy Usher, T-Pain, and R. Kelly jams I also dug on this year.

5. Woolfy at the Elbo Room

A great show from Woolfy at B.O.D.Y.H.E.A.T.’s monthly night. A full band rocking great, slow-burning dance jams.

6. Wild Combination: A Portrait of Arthur Russell (Matt Wolf, US) at the Roxy.

Loved the unreleased music and the glimpses of his creative process.

7. Boom Clap Bachelors, Kort Før Dine Læber (Music for Dreams)

Crazy futuristic electro-soul. One of the dudes is from Owusu and Hannibal, another cool group in this realm.

8. Various artists, Watch How the People Dancing: Unity Sounds from the London Dancehall, 1986–1989 (Honest Jon’s)

Been loving the Casio-fueled insanity, the craziest voices from the singers.

9. Various artists, Funky Nassau: The Compass Point Story 1980–1986 (Strut)

The tropical boogie/reggae vibes flow so nicely from this cast of jammers.

10. Hatchback, Colors of the Sun (Lo)

Arpeggios and creamy chord changes.

THE HARBOURS’ MIGUEL ZELAYA’S TOP 10 2008 RELEASES


1. Two Sheds, untitled EP (iTunes)

2. Kelley Stoltz, Circular Sounds (Sub Pop)

3. Uni and the Dig! String Trio, As Gold (self-released)

4. Pillars of Silence, Pillars of Silence (self-released)

5. Michael Zapruder, Dragon Chinese Cocktail Horoscope (SideCho)

6. Land of Talk, Some Are Lakes (Saddle Creek)

7. Radiohead, In Rainbows (ATO)

8. Hayden, In Field and Town (Fat Possum)

9. +/-, Xs on Your Eyes (Absolutely Kosher)

10. The Beach Boys, U.S. Singles: Capitol Years ’62–65 (EMI)

KELLEY STOLTZ’S TOP 10 AND MORE


*Borts Minorts on earth and in concert

A white body suit, a musical instrument made of a ski and bass string, and beautiful dancing gals. Fun SF weirdness without the Burning Man remorse.

*Thee Oh Sees live and The Master’s Bedroom Is Worth Spending a Night In (Tomlab)

Really, how many awesome tunes can a human being write?

*The Fresh and Onlys

What a fine group — so fine I started a label, Chuffed, to put out their first single. Where the embers of the Red Crayola and the Elevators’ hash pipe merge with Born to Run muscle.

*The Dirtbombs

Since I toured with them this year I got to see them 53 times, and they were awesome every night — except that first night in Bloomington, Ind., but that was a bummer gig all around. "I Can’t Stop Thinking About It" is the best tune I heard this year.

*Margo Guryan, Take a Picture (Sundazed)

Thanks to Chris at Groove Merchant for hipping me to this. Soft chanteuse-y vocals, booming drums, sitars, and fuzz = awesome pop.

*Beck, "Chemtrails" from Modern Guilt (Interscope)

I just really dig this tune. I like the homemade video for it on YouTube and the conspiracy theories the song alludes to.

*Randy Newman at SFJAZZ fest, playing a solo piano gig, for nearly two hours

Again, how many good songs can one person write — it’s ridiculous!

*Sunday night shows at the Rite Spot

Annie Southworth does a good job booking the place: Colossal Yes, Adam Stephens, Prairie Dog, occasional jazz cats, and the Ramshackle Romeos were my year’s highlights.

*Local bands at SFO

It’s mostly soft ‘n’ gentle pop, classical, or jazz — no Caroliner concerts are planned yet. But wouldn’t a Bart Davenport tune help the Xanax really take the edge off the preflight panic?

*Mon Cousin Belge at Café Du Nord

Somehow MCB unites Antony and Jello Biafra song skills, vocal chords, political proclivities, humor, and pathos into a horrifically scarred Belgian-in-exile crooner to make SF laugh and cry. Jobriath of the now!

*Jeffrey Lewis at Hotel Utah

The best concert I saw all year. The supergenius from your eighth-grade math class returns 20 years later with tunes that mix the Femmes, Jonathan Richman, and James Joyce.

CITAY’S EZRA FEINBERG’S MUSIC OF 2008


*M83, "Kim & Jessie" (Mute)

’80s melancholia with good drum fills.

*The Dry Spells’ "Rhiannon" to be released on Antenna Farm in spring 2009

Much better than the Fleetwood Mac original. No, I am not fucking with you.

*Realizing the Grateful Dead’s "Touch of Grey" (Arista, 1987) is the best aging hippie anthem ever, and feeling like I relate to it, especially because I’m rapidly going gray.

*Tune-yards’ "News" (Marriage)

This is the best unknown band I’ve ever heard, no joke, hands down — you’d be insane not to check it out at tuneyards.com.

*3 Leafs, Space Rock Tulip (self-released)

Amazing SF all-star mostly improv band featuring members of Gong, Tussle, Citay, and others. Epic, spacious, physical, colorful, and powerful, with catchy and fun moments throughout. www.myspace.com/3leafs

*The Botticellis, "The Reviewer" (Antenna Farm)

Total power pop, like the best upbeat Big Star meets the best Cheap Trick. One of my favorite songs of recent memory.

*Tune-yards live in SF and Portland, Maine

Citay played on a bill with Tune-yards in Portland, Maine, and then we set up a show for her here in SF. We promoted the heck out of it, the people came out, and Tune-yards killed. Truly inspiring.

*Vetiver’s cover of "The Swimming Song" (Gnomonsong)

*Half Japanese at the WFMU showcase at SXSW

*Discovering Mastodon, way, way late.

VICE COOLER’S TOP 10 MUSIC RECORDING THINGS


1. Toxic Lipstick, "Thunderdome" (Dual Plover)

This is one of the most fucked-up songs from one of the most fucked-up records in the past 20 years.

2. Deerhoof, current tour clips on YouTube

Since I got their first two records at age 15, Deerhoof has remained one of my favorite bands, and the addition of Ed Rodriguez has pushed them into a new terrain of amazingness.

3. E-40 featuring Lil John, "Turf Drop" (BME/Reprise) and Urxed, Car Clutch, and Soft Circle live at Triple Base

Fucking incredible! And the Triple Base show pretty much made everyone’s "show of the year."

4. Lil Wayne, "A Millie" (Cash Money/Young Money/Universal)

This song completely saves the rest of this half-assed, boring, and otherwise overhyped record.

5. Matmos, Supreme Balloon (Matador)

Dude, they always deliver!

6. Bleachy Bleachy Bleach

It’s sort of like Cobra Killer being thrown into a fryer, but made by super young Bay Area suburban girls whose first "big band" that they got into, at age 14, was Wolf Eyes.

7. Disaster’s LP and Barr’s new songs live

I was lucky enough to see the few performances that he made it to, after he cancelled most of his shows for this year. As far as his alter ego, Disaster, goes — I like it because people think the record player is broken when you listen to the album.

8. The Younger Lovers, Newest Romantic (Retard Disco)

Full disclosure: I recorded four songs on it. This is a band started by a friend I grew up with named Brontez. Highly recommended.

9. Fatal Bazooka, "Parle a Ma" (Warner)

While on tour in France we were tortured by mainstream French radio. Fortunately, this song was a big hit at the time. Thank God we don’t speak much French, because I am 100 percent positive that the lyrics fucking suck.

10. Quintron, Too Thirsty 4 Love (Goner)

The best album cover and best opening song. It’s tragic that bands like My Chemical Romance are so huge and have pushed such genius artists as Quintron and Miss Pussycat into such obscurity.

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