Recording Review - Macklemore & Ryan Lewis, The Heist (2012)

Keeping it real on a positive tip

Almost four short years ago, Seattle rapper Macklemore was just an out of town opener for a pair of local bands in Colorado. Even though he was a solo act with prerecorded beats, he was riveting. He blended humor, tackled serious philosophical dilemmas and showcased his radical honesty. This mix flowed from his 2005 album, The Language of my World, which defined his voice. Willing to address tough questions like cultural appropriation on "White Privilege", Macklemore didn't settle for platitudes or oversimplification. Although his sound was stripped down, his backing tracks sampled some occasionally surprising artists like Chris De Burgh.

Moving forward from those early days, he's partnered with producer Ryan Lewis and built a huge grassroots following. His latest album, The Heist, highlights the tight connection with Lewis and serves as their introduction to a larger audience. Macklemore's raps still hit a sweet spot with shifting rhythmic flow, clever rhymes and heartfelt sincerity, but Lewis brings a pop aesthetic that fine tunes the songs, hitting the perfect accompaniment to emphasize the core messages. As the pair step into national distribution, they bring along a host of fellow Seattle artists as guest collaborators to further round out their sound.

The album starts strong with the title track, which shows what the band is all about: deeply personal lyrics, clever lines to lighten the mood, a solid positive message, a smooth flow that incorporates occasional off-beat rhythmic punches, and a tasteful musical backing. Macklemore's soft-sell ego rap carries a message of perseverance . He lays out his successes, but attributes it to the hard work that got him there. With a confessional tone, he links his own struggles to a universal theme and elevates his rap aspirations to a noble artistic pursuit.

Got an iTunes check, shit, man, I'm payin' rent
'Bout  damn time I moved outta my basement
'Bout damn time I got around the country and I hit these stages
I was made to slay them
10, 000 hours, I'm so damn close, I can taste it
On some Malcolm Gladwell
David Bowie meets Kanye - shit
This is dedication
A life lived for art is never a life wasted
Ten thousand

Meanwhile, Lewis' electro-pop groove contributes to the elevation. The chorus, "10,000 hours felt like 10,000 hands/ 10,000 hands, they carry me," distills the song's message to its purest essence. Later, when the lyrics turn darker and introspective during a breakdown section, the music shifts to a starker beat and piano line.

Continuing the positive tip, The Heist serves up a social action track, "Same Love". Tied to support of Washington State's Referendum 74 to allow same-sex marriage, Macklemore tackles the issue head on with a focus on his own personal connection. Mentioning his gay uncle and his own stereotypical assumptions as a kid, he keeps it lowkey, stating the obvious without getting preachy. It's refreshing that nobody gets a free pass; Macklemore even takes rap music to task: "If I was gay, I would think that hip hop hates me." Still, he offers understanding and a path forward. Lewis shows a subtle hand on his arrangement. The music references Curtis Mayfield's "People Get Ready", building a gospel feel on the chorus that suits Mary Lambert's soulful voice

Usually, the rapper gets all of the attention while the producer can be taken for granted. Lewis' skillful accentuation means he's hardly flamboyant, but he does get one track to cut loose and take center stage. "BomBom" progresses through a suite of sections, starting with a minimalist piano jam that merges with a punchy dance beat. Blending samples, beats, and original contributions from The Teaching, the mood wanders between jazzy inward reflection and assertive carnival rhythm. Live drums from the band trade off with looped beats. The track mutates with an improvisational feel.

Aside from that one instrumental, The Heist covers all of Macklemore's favorite topics, from his own sobriety to choosing self-dignity over commercialism. At his strongest, like the heavy personal admissions in "Starting Over", he is raw and revealing without histrionics. Even "Jimmy Iovine", a relatively weak track which plays out as a cartoon revenge fantasy against the music industry, offers some humor and smart lines. Throughout it all, Macklemore seems approachable in a way that rappers like Kanye and R. Kelly never could be, largely because his stage persona is less of a mask.

(This review originally appeared on Spectrum Culture)

July Singles

July Singles

Time again for the monthly singles post. Here are a few things that blipped my radar this month, starting with one of my Seattle faves, Macklemore.

Macklemore and Ryan Lewis - Wings

Photo credit: Greg Nissen

Macklemore is one of my favorite performers because his front and attitude balance perfectly with his earnest delivery. This makes him very entertaining, but his material is always solid. Search my blog for album and show reviews.

In recent years, the rapper has teamed up with producer/DJ Ryan Lewis. Lewis has been integral to polishing Macklemore's sound by creating musical accompaniments that extend the songs. His pacing on Wings is great. The simple, soulful piano sets up Macklemore's open delivery. Then the music builds tension as the vocals pick up intensity. Later, Lewis' strings evoke the emotions without getting schmaltzy.

The theme is a familiar one for Macklemore: a heartfelt connection to his something of his youth and his ambivalence between how the kid sees that thing and his grownup response. In this case, it's the Air Jordans that fueled his dreams and the baggage around them:

Look at me, look at me, I'm a cool kid
I'm an individual, yeah, but I'm part of a movement
A movement to only be a consumer, and I consumed it
They told me to just do it, I listened to what that Swoosh said

The lyrical flow shifts tempo and ranges from sentimental to indignant. Regardless of whether he connects with your youth, Wings sets you up for a big shot of empathy.

Cymbals Eat Guitars - Rifle Eyesight (Proper Name) (Lenses Alien, due out August 30)

On 2009's Why There Are Mountains, Cymbals Eat Guitars proved adept at merging Pavement style rock with Wilco style experimental production (review here). Rifle Eyesight (Proper Name) continues to deliver on this idea, setting up a medley effect.

The long track (eight and a half minutes) bounces through several modes but maintains coherence. The first section ties some angular Pavement guitar lines to a poppier indie rock groove. This transitions into a drifting interlude on a sea of chaos. Somewhere along the line, the chaotic noise engulfs the track, somewhere between psychedelia and experimentalism. Rifle Eyesight recovers with some jangled guitar lines to take us back to the indie rock roots. The song ends in a modern psychedelic haze.

Despite the length, Rifle Eyesight stays engaging and interesting. If this is representative, Lenses Alien should be an epic listen.

Veronica Falls - Come On Over (Veronica Falls, due out October 17)

With layers of low-fi simplicity, Veronica Falls creates a wall of sound like Phil Spector producing the Velvet Underground. Their shoegaze friendly song moves from comfortable to cheerfully excited, like spending a lazy afternoon with a lover and then getting a wild hair: adventure's afoot.

Come On Over is anchored in repetition, but the lack of lyrical depth creates an emotional conduit and evokes a happily reminiscent feel. All with a toe tapping beat. It works for me. Even after it's over, the mood and melody linger.

Veronica Falls has more tricks in their bag. Earlier singles Found Love In a Graveyard and Beachy Head offer their own flavors of shoegazy garage, hinting at darker brooding and surf sensibility. October's not too long to wait to see what else Veronica Falls has to offer.

Concert review - Macklemore, with Binary Star, Observatory, and Jimmy Hands

12 November 2010 (Aggie Theatre, Ft. Collins CO)

Ft. Collins' support for hip hop has been growing and paying off. The national acts coming through are consistently impressive and local acts are developing. Last night's show featured a range of performers that came from all over the stylistic world of hip hop. It was also a kind of victory lap for Seattle rapper Macklemore, who's found a second home base in Colorado.

Jimmy Hands

Jimmy Hands is on his way to being the house DJ at the Aggie Theatre. He's warmed up for several recent shows there. Having an active DJ filling the musical space before and between sets is a hallmark of hip hop culture. Last night, Hands took an old school approach in picking music to build up the crowd without making himself the center of the experience. He interacted with people, but he mostly kept the music flowing. His song transitions were smooth, with a touch of scratching or bounce mixing. Aside from playing some crowd pleasing rap songs, he also tossed in some wicked electronic grooves.

That's not to say that he didn't step up a bit, though. He sat in with Observatory in what seemed to be a largely unrehearsed backing role. The good-natured riffing during that set was loose and fun. Afterward, he laid out an impressive scratching demo.

Observatory

Observatory is a pair of rappers out of Denver. They took the stage and kept Jimmy Hands up as their DJ. The set started roughly, with some flail working out what he should be play. A less confident group would have been thrown by the confusion, but they rolled with it, teasing each other. This seemed to mesh well for their stage personas as smart asses. A little sarcasm and confrontational attitude set the tone and the audience responded. They challenged the crowd to bring up their energy, which was a good strategy for an opening act.

Both guys had some good lyrical flow. Their style seemed more East Coast, with some Beastie Boys vocal influences. The lyrical punches and hand offs were tight and entertaining. They kept the energy high, constantly trading sides of the stage, lunging out to the crowd, and dropping back. It was energetic, but also felt loose.

Later in the set, Observatory had vocalist David Ochoa (Ten Timers) sit in on a song or two, adding an R&B touch to their rap. The set was full of good material. They played one song, Polaroids, off their MySpace page that I recognized. It had a laid back groove but strong rhythmic flow. Observatory was a good opening act -- strong stage presence, plenty of attitude, and solid skills.

Binary Star

The name is even more appropriate now. Binary Star is back together after a 10 year break. One Be Lo and Senim Silla made their mark with the underground hit, Masters of the Universe. Sadly, they split up soon after, each pursuing solo careers. Now the two stars have reunited to capitalize on their old band and show how they've grown since then.

The crowd at the Aggie was already familiar with Masters of the Universe and they were more than happy to join in on the older songs, including the title cut, Wolfman Jack, and others. Binary Star rocked it in classic hip hop fashion. The backing grooves weren't surprising but they were always solid. Both guys could nail a strong rolling lyrical flow, sometimes sliding into some gangster attitude. The arrangements were fairly tight, except for the song endings. Too often, the rap ended and the DJ just chopped off the backing track. A little fade or more solid finish would have been better.

One thing for sure is that we could never forget their name. They had us chanting "Binary"-"Star" with them and with each other throughout the set. They judged the crowd well, though, because we didn't mind that at all. Audience participation was key. In I Know Why the Caged Bird Sings, we drove the tag line, "In jail, without the bail." This song was one of my favorites, setting an auto biographical tone. The peak of the show, though, was when Senim Silla cut loose with some radical fast flow. He deftly rolled through chains of words, with the speed of a Jamaican toaster, but in a more syncopated rhythm. DAMN!

Macklemore (with Ryan Lewis)

A prodigal son returns home as a king. Macklemore has played Colorado numerous times. A year and a half ago, I caught him opening for Whiskey Blanket at Hodi's Half Note. As he mentioned last night, there were 20 odd people a night there for those earlier shows. This time, he had a crowd of 400+ at the Aggie. These were serious fans. The audience adored him and in return, he loved us.

How has he made this kind of connection? Like other charismatic grass roots performers, it all comes down to his direct sincerity and openness. He's vulnerable, he shares his weaknesses, and he doesn't pretend to be what he's not. At the same time, he's strong and righteous and he sets a high standard: positive, straight edge, and radical honesty. He sums it up himself in Vipassana:

So I stare into this paper instead of sitting at a cubicle
Take all the ugly shit inside and try to make it beautiful
Use the cement from rock bottom and make it musical
So the people can relate to where I've been
Where I'm going, what I've seen, what I've heard
From the guts, fuck the glory
Just a person on a porch putting it all into recording
Many in my past and many that came before me
I just keep walking my path and blessed to share my story

In contrast to this kind of seriousness, though, he also has a sheer joy and exuberance at being on stage. He has a natural feel for the audience, whether it's having them sing along on Hold Your Head Up or getting a volunteer for the novelty song Stay At Home Dad. The mood shifts between humor, happiness, frantic energy, confessional revelations, and spiritual truths. Sometimes, Macklemore hits the same sweet spot as Michael Franti, with a sheen of positivity and syncopated delivery. His high school prom song, The End, has some Franti rhythms, a wistful feel, and even a sense of spirituality. The live horn solo was perfect.

That brings us to tour personnel. Macklemore had DJ/producer Ryan Lewis backing him, along with Andrew Joslyn (violin) and Owuor Arunga (trumpet). The live instruments were subtle but strong additions to the show, adding a touch of magic. Lewis has had a big influence on Macklemore's studio work, but he kept to a supporting role on stage.

The group closed on Macklemore's favorite encore pair: the campy And We Danced performed in the persona of Sir Raven Bowie and Irish Celebration. It was him the whole fucking time.

Many more photos on my Flickr.

CD Review - Macklemore, The Language Of My World

Macklemore, out of Seattle, is a good live show, so let's give a listen to his CD, The Language of My World. I'll say straight up that I think this is a damn good disc: deeply personal and still relevant with good beats and lyrical flow.

Fundamentally, this is a concept album focused on his personal mission to strip away everything fake to reveal himself. In his liner notes, Macklemore says:

...If there was something I was scared to say, I said it. If there was a topic I thought would make people uncomfortable, I touched on it...

In large part, the songs deliver on his promise. Macklemore takes a personal learning experience from consciously confronting his id and creates some good art, which is not an unusual approach for art, but it is one that is not encountered so often in hip hop. There's plenty of honesty out there, but not nearly so much introspection or vulnerability.

This revelation begins with a fanfare intro and jumps right away into White Privilege, which directly addresses the conflict of being a white rapper. He did this live at the show and I wrote about it in my review, but this really is a springboard for the whole album. He strongly identifies with the hip hop cultural values but recognizes that he's outside of it. "Does privilege preclude someone from this art?" This is a good philosophical question, but to have the mindset and perspective to even ask it is, to a large extent, a matter of privilege as well.

Moving through the rest of the album is a journey of self actualization, stepping up to topics like dedication, ego, foregoing distraction, fidelity, and human connection. He calls himself out but calls us out, too.

I don't want to give the impression that this is all heavy and philosophical. He talks a lot about the joy he gets from hip hop, too. B-Boy, I Said Hey, and The Magic all visit this theme. Of course these songs also encourage being true to the spirit of the art of making this music. Crap, there I go talking about philosophy again. Anyway, he handles that smoother than I did: making the point but sharing the joy. There are also some funny moments, like Fake ID and Penis Song.

The only false note is Bush Song, which is a fairly weak attempt to satirize our Failure in Chief as a hateful, racist, homophobe. It's ham handed and not particularly on-target as a dig at the president. Jim Infantino did a better job with his WTFMFWTFAYT? Or Todd Snyder's You Got Away With It. Bush Song works better as a parody of the left's anti-Bush rants, which could be its point, I suppose. Anyway, my gripe is not the politics, it's that it doesn't fit the theme of the rest of the album. Even if Macklemore's point is to own up and face his own rage, it lacks the clarity and directness of songs like Ego.

Phew. Let's take a break from the direct theme and lyrical content and talk about the sound. That's another big part of what I like about this disc. There are a couple of songs (Claiming the City and Hold Your Head Up) that wouldn't be out of place on a Fugees project. City Don't Sleep brings Gil Scot-Heron or Michael Franti to mind. Throughout the joint, there are some real fresh sounding loops that aren't rehashing the same old set of samples. This brings an old-school groove to the songs. Vocally, Macklemore often uses a conversational delivery that slides in smoothly. There are elements of Eminem or Lyrics Born in his rap style, too, but it's still his own sound, not a ripoff. The album also stands out by including some great producers and collaborators that provide some variety to the sound overall.

Pulling it all together, this is a very good album. Without Bush Song or with a better attempt that fits with the concept, I'd call it a great album. Certainly worth checking out.

With the Seattle connection, I'm tempted to pick something like a Pike Brewing Pale Ale, but for feel, I'm going to say black Russian instead. While a late evening is when you'd want to hear it, play it in the light of day.

Top concerts of 2010 - Jester Jay edition

My Favorite Live Shows
I saw fewer concerts in 2010, but there were still plenty of high points. There's a special kind of magic abou a live show. An artist that seems decent on CD can reveal deeper qualities on stage. It's a chance for performers to connect with us as people at the same time as they show their own transcendent connection to their music. I raise a toast to all the musicians I saw this year, even those that didn't make this short list.


Muse with Passion Pit (2 October, Pepsi Center, Denver)
Muse missed their show in April when weather blocked some of their show gear from making it her. They rescheduled for October and it was all for the best. Passion Pit opened the show. Their dance-centric pop was okay, but not a great match. That didn't matter much, since the beginning of Muse's set reset the audience's memory. The show was sheer spectacle. The stage set up featured three large elevator pillars, intense lighting, and lasers. The music was more than strong enough to equal the presentation. Muse's heavy post rock sound kept the audience engaged and energized. The combination rivaled that Pink Floyd show your dad told you about.


Red Sparowes with Caspian and Fang Island (26 April, Larimer Lounge, Denver)
Another great evening of post rock intensity. These three bands meshed together relatively well. Fang Island opened with a looser, more joyous set. Caspian built a wall of throbbing guitar sound. Their stage energy was thrashy, in contrast to their tight arrangements. The drumming provided the focus to channel the guitars and the emotion. Red Sparowes were more inwardly focused, which gave their set a a more detached feeling. The carefully layered textures and the swirling hypnotic sound built a psychedelic trance that served as the perfect ending for this concert/trip.


OK Go with Earl Greyhound and the Booze (14 April, Bluebird Theatre, Denver)
What a weird line up. The Booze provided a mod, mid-'60s vibe. Their polished set and tight arrangements were nice. They led into one of my favorite new bands, Earl Greyhound. Their hard rock, power trio sound built up the energy for the show. Kamara Thomas' bass work and singing continues to amaze me. Earl Greyhound sounds great on CD, but their live show is simply stupendous. Their bombast contrasted nicely with OK Go's tight power pop. OK Go may be one of the more recent bands built by the internet, but Damien Kulash and the band showed that their gimmicks (the treadmills, the light up guitars, etc) are in service to crafting great songs. The show and the sound were tight.


Macklemore with Binary Star, Observatory, and Jimmy Hands (12 November, Aggie Theatre, Ft. Collins)
The openers here were good. Binary Star, in particular, built up the energy. But Macklemore's triumphant return to Colorado was the main event. His stage persona was so genuine and warm that an audience couldn't help but connect with him. His joy at being on stage and getting to do what he loves came through. At the same time, his flow and insightful perspectives made the songs click just right. His producer, Ryan Lewis joined him and laid down some sweet backing tracks, too.


Bisco Inferno [Disco Biscuits and friends] (29 May, Red Rocks, Morrison)
The friends included a long list of interesting electronic artists: Pnuma Trio (from Boulder), Belgian DJs Aeroplane, Crystal Method, Glitch Mob, and German duo Booka Shade. The rhythms and jams continued from the afternoon til late in the night. All the acts were fine, but I particularly enjoyed the Pnuma Trio's jazz dance mix. Crystal Method worked the crowd and built up some great energy. Also, the Glitch Mob's set was impressive, with instrument swapping, laptop solos, and trippy soundscapes. Of course, the pinnacle was two full sets of the Disco Biscuits. The lighting, the costumed crowd, and the hypnotic jams created a neo tribal ritual. Biscuit shows generally meet this description, but the Red Rocks setting added its magic as well.


Gomez with One eskimO (8 March, Ogden Theater, Denver)
One eskimO opened the show weak on stage presence, but strong in sound. Kristian Leontiou's voice and the intriguing musical arrangements pulled their set together. Their big single, Kandi, was the high point of their show. Gomez nailed their songs with a looser, jam feel than the studio versions. The progression of songs seemed effortlessly inevitable: choreographed, yet casual. Their balance of psychedelia and pop was also perfect.


Flobots with Digable Planets and Air Dubai (10 December, Aggie Theatre, Ft. Collins)
Air Dubai, from Denver proved to be a promising opener. They featured a tight rhythm section and band backing a pair of talented rappers. Speaking of tight bands, Digable Planets was backed by an incredible set of musicians. Cee Knowledge recreated the band's original jazz hop vibe. The Flobots, though, owned the stage. Their music and stage choreography were fluid. As good as their records are, they must be seen live to truly appreciate what they have to offer.


Cymbals Eat Guitars with Bear in Heaven and Freelance Whales (1 April, Hi Dive, Denver)
Freelance Whales brought their shimmery, indie pop, packed with interesting instrumental arrangements. Bear in Heaven played a synth-touched, post rock sound. These guys are great musicians and their set was exciting. Cymbals Eat Guitars transcended their studio sound to land somewhere between Pavement and the Replacements. Their great dynamics were just a bonus.


Good Gravy with Jonestown Potion (22 January, Aggie Theatre, Ft. Collins)
Both of these local bands were standout. They each had the right dedication to the groove, even though they leaned towards radically different genres. Jonestown Potion's progressive jazz was mind blowing. Good Gravy continued their ongoing improvements to deliver two strong sets of jam grass. The group was more comfortable than before, without sacrificing any of their chops.


Honey Gitters with Novalectric (18 August, Aggie Theatre, Ft. Collins)
Novalectric's southern fried rock was good, if a little out of balance. The Honey Gitters expanded on their core jam grass sound to get a little wilder. This show featured more freeform jams than I've heard them explore before. These guys could easily appeal to fans of the String Cheese Incident and other favorites of the festival circuit.

There you have it. Ten wildly different shows, but all hitting the spot in a way only live music can.

Front Range recommendations, 8/26

It's a slower week, but we'll double up on the Pimps of Joytime

Friday, 30 August (CSU Intramural Fields, Ft. Collins CO)
Macklemore and Ryan Lewis

I remember when Macklemore was a supporting act with a prerecorded backing track (review). And he kicked ass then. Then I listened to The Language of My World (review) and I was really blown away. In recent years, he's become more of a household name, working with producer Ryan Lewis. Even as his raps and beats have evolved, his honesty, sincerity, and humor have remained constant.

I missed my own window to score tickets and now this show is sold out. But if you don't have your tickets yet, just pay the scalpers, you'll be glad you did.

Saturday, 31 August (Cervantes Other Side, Denver CO)
Sunday, 1 September (Cervantes Other Side, Denver CO)
Pimps of Joytime

My buddy Brent texted me from a Pimps of Joytime show a while back and couldn't praise them enough. So far, I haven't made it to their previous shows in Colorado, but I need to get out there. Sitting down with 2007's High Steppin' (review) convinced me that they not only have the funk, but they've updated it, and dressed it up for a party on stage. They're playing two nights in Denver, so you have no excuse to miss them this time (I'm talking to YOU, Jester).

Front Range - Recommended shows, 4/9

Is it even worth recommending a sold out show? Sure, just in case some tickets turn up. Also, this next weekend, Ft. Collins will be a hotbed of live music.

10 April (Aggie Theatre, Ft. Collins CO)
11 April (Fox Theatre, Boulder CO)
12 April (Fox Theatre, Boulder CO)
Macklemore & Ryan Lewis

I've been a Macklemore fan for several years, enjoying his radically honest lyrics and solid flow. All three of these shows are already sold out, but there may be some scalpers at the show. If so, go for it because it's guaranteed to be entertaining.

12 April (Aggie Theatre, Ft. Collins CO)
13 April (Boulder Theater, Boulder CO)
14 April (Ogden Theatre, Denver CO)
The Travelin' McCourys featuring Keller Williams

The Travelin' McCourys features two sons of the bluegrass legend, Del McCoury. On this tour, they're partnering with acoustic jam looper, Keller Williams. While they'll be playing music from both group's catalogs, I believe that Williams will be playing straight acoustic without his electronic toys. Even so, it should be a fine show as all of these musicians are top grade performers.

13-14 April (Ft. Collins CO)
FoCoMx

FoCoMx is the the Ft. Collins Music Experiment. 300+ bands and performers will be playing over the weekend at a large collection of venues in Ft. Collins. There will be lots of local and regional acts filling the town with music. It doesn't matter what kind of music you like, you'll find them at one of the 30+ locations.

I really need to get on the ball so my band can play this next year.

CD review - Whiskey Blanket, No Object (2010)

Classical foundation takes Whiskey Blanket beyond classic hip hop

I was suckered by the novelty. That first time I saw Whiskey Blanket live, the gimmick of hip hop crossed with classical instruments pulled me in. Even so, the band had a spark that shined through the schtick. A little time with their album, Credible Forces, revealed Whiskey Blanket's wider range of influences and offered a sense of their potential.

On No Object, their sound is maturing. Their attention to the musical detail shows as the mix of original music, backing samples, and rap is more organic than before. The music side leans heavily towards laid back jazz grooves, blurring the lines between sample and original music. Some of the songs use spoken word elements to set up context or ambiance. DJ Steakhouse's scratching and beat production leave their mark but maintain plenty of open space. Sparse grooves like Joie De Vie's backing track provide an ideal setting for the lyrics.

Whiskey Blanket's complementary chemistry has grown stronger, too. The balance is effortless whether they split the song into larger sections like on Pound Boom or toss the lead like on Another Day Passes. The lyrical flow breezes along as the band moves between autobiographical themes and positive tip conscious rap.

No Object's restraint extends to the guest artist angle. The contributions are artistic and relevant. Elephant Revival's Bonnie Paine provides beautiful vocals and subtle musical elements. Fellow rapper Macklemore brings his unmistakable open style on Rule the Roost.

Whether it's long or we pack it in short sets
Who could be better to eradicate your stress
Than the four best and collaborative quartets
The Kings of Colorado and the Mack of the Northwest

Macklemore riffs on his original visits to Colorado and hooking up with Whiskey Blanket. The Latin horn backing on the track is sweet as they cover their shared experiences building a following here in Colorado.

No Object doesn't neglect the band's shared classical foundation. Ubiquitous Wavescape of the Re-upholstered Mind provides a cool musical interlude. The cello and violin work together through a couple of interesting motifs before the beat boxing pops in. In theory, the strings and rhythm should clash, but they mesh into a balanced hybrid.

My only regret is that I'm coming late to this party. No Object released last December and I missed it until recently. Check out Whiskey Blanket's unique sound and catch them live if you get the chance. The novelty might bring you in, but their show will keep you there.

Concert review - Macklemore, Whiskey Blanket, MTHDS

14 January 2009, Hodi's Half Note (Ft. Collins, CO)
Sometimes, it all comes down to happenstance. Yesterday afternoon, I surfed the sites for two of our local venues to see who would be playing soon. I saw that Hodi's was having a hip hop "house party" with a band called Whiskey Blanket and the description sounded kind of interesting. Since the show was fairly cheap ($8), I decided to go check it out. Man, am I glad that I did. There was a small crowd, but it was a great show.

Before I go into details, I'll talk briefly about my musical tastes. I listen to all kinds of music including rap and hip hop. When I listen to hip hop and related styles, I'm looking for a number of things: cool (and obscure) samples, lyrical sophistication, dance-worthy beats, and flow. I especially dig a more self-effacing, humorous attitude and genre-stretching mashups. So, De la Soul, Beastie Boys, Tone Loc, and Michael Franti all work well for me. Which doesn't block me from enjoying groups like Public Enemy or NWA - but gangster for its own sake doesn't really move me. Anyway, that gives you the grain of salt you might need for this review.

First up, Macklemore, a rapper out of Seattle. When he started his set, he was so low-key, I thought he was just doing a sound check. Pretty soon though, he had things hopping. It was just him and some pre-recorded beats. Samples were from all over, but included artists like Buffalo Springfield, John Mellencamp, and Nirvana. He stalked the stage, one minute bragging his skills, then dancing a bit, then sharing a more personal tip. White Privilege was one of my favorite songs - he talked about the hip hop scene and how it's an integral part of his self expression, while at the same time acknowledging caucasian appropriation and his own unsettled position as a white rapper. As a white guy whose best musical experience was playing in a reggae band, I can really relate. But it wasn't all serious, though. His red-state parody (in costume with a mullet and fake 'stasche) was hysterical and The Penis Song, where he laments his average stature, also had the crowd laughing. This act alone was worth the price of admission.

But there was more to come. Next up was Whiskey Blanket, from Boulder. Two front guys, Funny Biz and Sloppy Joe traded raps with a great Beastie Boys feel, while a DJ (Steakhouse) scratched and occasionally stepped out to join in the rap. The music was pretty interesting and added a lot of depth but the first time that Sloppy Joe pulled out his violin, everything kicked up a notch. The violin pushed the groove into classical mashup territory, especially when Funny Biz layed down some mad rapid fire beatbox sounds to go with it. Later, Funny Biz pulled out a cello and the two did a relatively modern sounding classical piece (a string duet) that eventually pulled in the beatbox, too. The mix was a little louder and busier, making it a bit harder to hear all the lyrics, but these guys had some nice props for old school jazz (Credible Sources, with a Miles/Monk(?) sample, talking about Monk and Coltrane, and some Ella scat) and also some funnier braggadocio, with Sloppy Joe threatening to make the ladies in the house (and men!) pregnant with the force of his rap. All in all, this was fresh and alive and I really enjoyed it.

The last group was M.T.H.D.S. (Music That Heightens Different Senses) from Vail. This was a full band, with guitar, bass, drums, and two rappers. The truth is that it was turning into an early Thursday morning and I didn't stay for the whole set. I did catch the first 5 or 6 songs and I liked the feel. Musically, they had a hard rock/funky sound, with the rappers mixing on in. I'm not so sure how typical that is, though. When I went to their page, their playlist music was more reggae influenced. In any case, they had a tight groove. Hearing them bring in some reggae would have been a welcome thing, too. On the downside, the vocals were way too muddy and low in the mix, which made it very hard to hear the lyrics. I'd like to catch them again some time and give them a full listen. I did get their CD (along with those of the other bands), so I'll be able to give a fuller review of that.

So: 3pm, no plans for the evening; 4:30, possibility of music; 8:30, sudden decision, YES; 9:30, kick out the jams!

I did pair O'Dells' nitro Cutthroat Porter with this set of music, but alternating Red Bull with Fat Tire would have worked, too.

On the radar

Just a taste of what's coming up:

• Concert review: Jonathan Coulton
  
• CD review: Macklemore
• CD review: Whiskey Blanket
• CD review: M.T.H.D.S.
• More musical musings
  

Concert review - Whiskey Blanket with Dropswitch, Bigwheel Electrosoul, The Quick & Easy Boys, and Rolphy

2 November 2013 (Cervantes Other Side, Denver CO)

Billed as CD release party for Whiskey Blanket's latest, From the Dead of Dark (review), the lineup featured a grab bag of artistic and musical approaches with younger and more experience players. From stripped down rap to multimedia performance art, the opening acts offered wide-ranging contrasts to the headliners, which made for an full-scale evening of entertainment. The CD release itself was understated, although Whiskey Blanket's set was anything but that.

The pickings for photos are a bit thin - note to self: remember to grab the spare battery before you're miles from home.

Rolphy

The night started out low key with a young rapper named Rolphy. Backed by simple laptop grooves, he hit the stage with reasonable confidence. His earnest, slightly self-conscious delivery suited his entry-level raps, creating a sympathetic vibe with the audience. Plenty of his friends came out to support him and helped fill out the small crowd. The high point of his set was a female guest singer who added a soul pop texture and gave him something stronger to build on.

The Quick & Easy Boys

The Quick & Easy Boys were the odd ducks on a slate of largely hip-hop artists. They were a solid blues funk trio without a trace of rap style. Still, their danceable grooves and strong performance made them a good fit with Whiskey Blanket's audience. They've found some success in their hometown of Portland, but they're trying to make their mark in the Denver market, taking any opportunity they can find to build a following. They'll be back again at Cervantes on November 11 for Grass for That Ass, with Whiskey Tango. It'll be worth catching them then to appreciate their funky soul, which owes a debt of gratitude to Joe Walsh and the James Gang.


All three players are masters of their instruments, adept at finding that balance between show-off skill and nailing the tight arrangements. This is especially important for a trio, where the guitar has to walk the line between lead and rhythm and the bass and drums have to work just a little bit harder to fill out the sound. The Quick & Easy Boys laid down a driving wall of music, packed with back beat and sweaty grind, but the pop-flavored singing contrasted with the grit. Vocal duties bounced around, but the bass player Sean Badders seemed to lead most of the tunes. He was a big guy, but he had a surprising falsetto that gave some of the tunes a BeeGees flavor.


The band was comfortable on stage, with a great sense of performance. They stayed in motion and sold their joy at playing. Jimmy Russell was especially fun as he flipped the guitar behind his head for rhythm and lead jams or wrenched out a melodic line with his whole body. That said, the band needs to improve their crowd work. The music and show were fine, but more between song patter or direct engagement would help them build the audience connection they seek.

Bigwheel Electrosoul

Bigwheel Electrosoul is a performance art project associated with Denver artist/producer DJ Check One (Dameion Hines) that he has described as "guided ambiguous live music." Melding live instruments with pre-recorded tracks, the group started with a foundation of mashed up and mutated music to create the main groove. The tracks sampled both obscure and better-known songs; Hines jammed along on drums while his partner added synthesizer accents.


The projection screen was interesting, especially when it ditched the music videos and took a long graphic exploration of the Mandelbrot set fractals. But after a while I found myself waiting for something more. The idea itself was promising, but it needed to offer more surprises. While it might be an easy step to get more experimental on the pre-fab side , I think that it would be better to take the live component into a wilder space. That might be more effective for engaging the audience for a longer set.

Drop Switch

By the time Drop Switch hit the stage, the crowd was swelling and ready to dance. Their opening song set a reggae groove and their rapper, Logistixx, tossed off a speedy toasting style vocal. Song by song, he and the rest of the band showed off their musical range, mixing up styles like a shuffled deck of cards. The one-drop rhythm gave way to a hip-hop beat, which veered into heavier rock punch. The high point came with their cover of "The Distance" by Cake; the band's cathartic thrash on the chorus spurred the audience on. Logistixx did a good job of making John McCrea's vocal line his own.


Drop Switch had clearly spent time working out their arrangements, creating moments of synchronous bliss as the bass, sax, and guitar riffs slipped into lockstep. The upside was the tight coordination between the instruments, but the downside is that the group presented a fairly static tableau. Most of the band's visual appeal came from sax player's humorous mugging and the singer's nervous physical energy. Logistixx stayed in almost constant motion, dominating the band's stage presence with swagger and restless movement. Channeling that tension gave him rapid fire phrasing for his raps.


Near the end of the set, Drop Switch followed Rolphy's lead and brought up a female guest singer. The band played a reggae flavored jam that let her show off a soulful style. She stayed up for the last tune, providing a smooth contrast to the percussive rap lead and jazzy hip-hop beat.

Whiskey Blanket

Every time I see this band, they floor me with how much they've progressed as performers. At this point, they're hitting a level well beyond their regional Colorado home crowd, with an innate sense of entertainment. Hip-hop is all about flow, lyrics, and the musical backdrop, but in a live setting, it really demands an extra spark to make it pop. Merely spitting out some solid lyrics to a backing track is not enough to hold a crowd. That's why the big-time rappers develop such large stage personas. They posture and strut; they draw on that image to drive their show.


Whiskey Blanket has personality in spades, with each member bringing his own special sauce, but they push well beyond that with inspired musical performance and a unique artistic perspective. Beat boxing, cello, wicked turntablism, and violin come together to create a sonic fingerprint that stands alone. Sloppy Joe, Steakhouse and Funny Biz each have impressive technical skills that add excitement to the show. On top of that, they've honed a three-prong vocal attack that recalls groups like the Beastie Boys or Run DMC.


Saturday night's set showcased the band at the top of their game. Their performance was choreographed with a natural eye to showmanship. Tightly coordinated raps bounced the lead between the three like the Harlem Globetrotters passing the ball. They worked the stage like veteran actors, with every movement blocked for maximum effect. It wasn't just the big motions, like Funny Biz taking a pratfall drop or Sloppy Joe reeling back from a stage slap; even the smallest facial expressions and body language supported the moment. In lesser hands, this could have easily been wooden or overplanned, but Whiskey Blanket made it look effortless with casual aplomb.


The musical twists and turns were every bit as engaging as the acting. The set flowed through new and old material, with spaghetti Western twang giving way to jazzy beats or street classical mashups. Rap sections hit hard and heavy, then transitioned to chamber music inspired instrumentals or bluegrass fiddle riffs. In keeping with the CD release, they led off the show with "The Story Unfolds", filling out the pre-recorded arrangement with live strings and a guest trumpet player. Aside from some sharp turntable work, Steakhouse got into the act with his keyboard. Seeing them integrate the live instruments into the mix was reassuring because From the Dead of Dark didn't showcase that aspect of the band. Whiskey Blanket went on to perform several songs from the album, transforming them for the stage. "Blotto Nox" was stunning, with lyrics whipping by at a pace that made the original's rapid fire rap seem almost stately. "Dinner With Ghouls" kept the slower pace from the album, but also loosened the flow so they could work the crowd a bit more.


They cherry-picked through their back catalog for material to split up the new songs. Even here, they controlled the pace of the show and the ambiance. So, the dark moodiness from "Improper Paradise" (Credible Forces) and the introspection from No Object's "Pound Boom" each found common ground with the newest material. By the end of the show, they were wrung out and ready for the break. The last treat was a Funny Biz freestyle rap. As members of the audience held up objects, he riffed off what he saw, proving that the band's skills weren't just delimited by scripted pre-calculation.


It's worth mentioning that the first time I saw Whiskey Blanket, some unknown Seattle emcee named Macklemore was opening for them. Now, he's earned his spot on the national stage. These guys deserve the same kind of exposure.

More photos on my Flickr

A personal note about connection

When I started writing this blog six and a half years ago, it was really just a way to capture the concerts and albums I was enjoying. What started out as fairly brief write-ups blossomed into longer explorations and a huge influx of new music into my iPod.  Eventually, I branched out into playlists and interviews, most creatively with my Mash Up Summit. Over time, I started receiving lots of music submissions that helped me discover a host of great artists whose music has moved me. Many of these people are not as widely known as they deserve or they weren't when I first came across them: Macklemore, Matt Stevens, Team Spirit, Atomga, That 1 Guy, Bike for Three!, Earl Greyhound... there are more than I can count.

Looking back on this run, I am proud of how I've grown as a writer. That said, this blog grew into a second, unpaid job. To be fair, this has really just been a hobby and I've been well aware that there's not any money in this kind of writing. But I've come to ask myself, what do I want to get out of this, beyond the satisfaction of polishing an 800 word essay? Ultimately, I don't think it's money or fame,but engagement. Connecting with fellow music fans and artists would close the loop for me and make it less of a solitary activity. And there are a few musicians that have been responsive, but the truth is that most of my readers are just finding me by when they google some group or album. They drop in, skim my post, and move on. At this point, I get a little over 1000 hits per month and around zero comments. I don't think that's a flaw with me or my readers; it's just the nature of review blogs and the internet.

I want to find a way to forge a connection with people and I'm not convinced that being a critic is the best answer. Other forms of writing may provide a path or I may focus on sharing my own music. In any case, I'm not shutting down Jester Jay Music, but I probably won't be posting music reviews on a regular basis.

Thanks to all of the creative people who have shared their work with me, to David Harris for letting me write and edit for Spectrum Culture, and to the friendly PR people I've met over the years.

Feel free to respond to this with a comment or message, but I'll understand if you don't : -) Cheers!