Tanya Morgan is not a group that rests on their ass. After dropping the critically acclaimed Brooklynati album last year, they’ve dropped multiple mixtapes, both as a unit and as soloists and partners with other acts. Their most recent work, The Sandwich Shop dropped to critical acclaim and member Donwill’s solo album Don Cusack In High Fidelity pushed limits as a concept album and was well received.

In celebration of achievement and preparation for Von Pea’s upcoming solo work Pea’s Gotta Have It and their group project they are hitting the road, doing shows all across the country. Opening for them is Ohio band The Kickdrums.

It was a hot, muggy night in New York and thankfully Mercury Lounge was air-conditioned. Opening act, The Kickdrums, were a talented band, their music a bit reliant on 80s sensibilities and you can recognize certain riffs and feel in their music.  The lead vocalist was a charmingly corny but it worked for the band’s feel.  They did a laudable job maintaining the audience’s attention throughout their set, the highlight of which was a track featuring MC Daytona.

The headliners took the stage, sans third member Ilyas and a DJ, but managed to get through a medley of their biggest songs without a hitch. Tracks like”Bang Bang Boogie” “So Damn Down” and the parody track “Hardcore Gentlemen”   got significant rises from the crowd. Donwill did an abbreviated set of a couple songs from his solo and Pea blessed the audience with a preview of work from his coming album. Che Grand guest performed with the group as well. They also gave an R.I.P. to Guru and a “fuck you” to Solar.

In all, it was a tight, compact show without pyrotechnics but also without late divas, a dozen pointless drunken people on stage, and forgotten lyrics. It was two rappers doing what they loved and not forcing the fans to sing half their lyrics, and mumble-mouthed hype men straight from jail. If Tanya Morgan comes to your town, you should definitely check them out.

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By Odeisel

Many artists don’t understand the “business” aspect of the music business. A lack of professionalism can undermine even the most luminous personality. Ask Foxy Brown. Once head to head with Lil Kim as the preeminent femcees, her career has been awash in wasted opportunities, long periods out of the spotlight, arrests, public nuisance and a bunch of drama that has nothing to do with the music.

As a result, the former multi-platinum artist is now relegated to club shows and venues that previously would have been unable to hold her legion of fans. An arrest as recent as Friday was proof that perhaps even at this advanced stage of her career, she hasn’t learned her lesson. The last time she “performed” at BB King’s she showed up so late to the show that it was cancelled and she was barred from the building. Such a track record didn’t bode well and as the hours ticked past, from an 8pm show (doors were at 6) to past the 11^th hour, it seemed like a repeat was in the cards.

Fans stood for hours through a motley slew of under card performances that ranged from weak to bizarre and unintentionally funny along with DJs who, even with serato and no crates, managed to play the same songs (We get it. BK all day Biggie jay bla bla bla) and lie about Foxy being in the building and getting ready over 10 times. She finally shows up like nothing was wrong and goes about her performance at 11:30 PM with no apologies and no explanation.

She got riders though. Her fans (enablers) were all too forgiving and when her show started they were ready to rock.  She did most of her hits and brought out Little (Grown Ass) Vicious, Spragga Benz and her Firm compatriots AZ and Cormega to assist her in closing out the show. The energy of her fans carried Foxy’s performance, as she fought to get used to using a live band in her performance.  There were spots where the band out blasted her voice and another unfortunate instance where none of the Firm members were able to improvise live on stage with the band, a definite negative with such veteran rappers.

In all, any positive things about the performance were muted by Brown’s three hour late show. As a long time observer of Hip-Hop, lateness is unfortunately part of the package, but to think that some people were there from 6 o’clock is bogus, particularly when Brown seemed to not even acknowledge. Anyway, you have the vid. Enjoy.

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By Odeisel

Festivals are all about celebration and the 2010 Brooklyn Hip-Hop festival was no different. The Brooklyn Bodega-run event is in its sixth year, and this year was a celebration of life, a commemoration of history and a salute to the fallen Guru, one of the greatest Brooklyn representatives.

The festival was full of community support from the minority vendors that provided a wide variety of food, to the beat boxing and break dancing family shows. As for the main event, held in the shadow of the iconic Brooklyn Bridge, there was nothing but the finest Hip-Hop.

The two main events were a showcase celebrating Brooklyn’s own Duck Down Records’ 15^th anniversary and the headliners, De La Soul, themselves celebrating their 21^st year in the business.  Each did their part in getting the crowd of hundreds to remember how much we love this culture.

Before we get to them, however, the rest of the bill was more than able to rip.  There was a live band that played many of J. Dilla’s classics between Hip-Hop performances. Both the male and female vocalists delivered heartfelt renditions that spoke to the tremendous legacy left by Mr. Yancy.

The acts were varied as Truck North and Dice Raw represented for Philadelphia, Black Milk held it down for Detroit, Dilated Peoples and newcomer Fashawn held it down for the West Coast, Curren$y held it down for the South with Ski Beatz in tow and the Diamond District (Oddissee and yU) represented for the DMV.

The old school held it down with an appearance by original four members of the Cold Crush, Nice N’ Smooth, Dres (Representing Black Sheep), Masta Ace and Craig G all performed to the crowd’s delight. To take the Guru tribute to the next level, Greg Nice had DJ Premier come to the stage and they performed the classic track “DWYCK” with the crowd rhyming Guru’s part. The dynamic duo Pete Rock & CL Smooth reunited to dedicate “T.R.O.Y” to the legacy of the recently departed legend. Gangstarr associated act, The Group Home, also performed.

Duck Down’s performance included, for the first time in ages, the full Black Moon, featuring The 5ft Accelerator, Buckshot, Evil Dee and Mr. Walt.  Not to be outdone, Smiff N Wessun, the first act signed to Duck Down, performed their classics. The new blood also got shine with Skyzoo and show-host Torae did their part to let you know Duck Down was just as good in the new millennium.

De La Soul are masters of crowd control and with a catalog as extensive as theirs you know it was in full effect. Going through many of their timeless records from 3 Feet High & Rising to the Grind Date, as well as improvising and free styling, the trio, even with Dave’s injured leg, kept the energy level high. (By the way Pos’ the party is over here f**k that side over there).

Once again the folks at the Brooklyn Bodega demonstrated that you don’t need hundred dollar ticket prices and the monopoly of Live Nation/Ticketmaster to put on a successful show packed with talent that goes off without a hitch and without violence or incident. Maximum props, this was the best one yet.

Peace.

By Odeisel

Hip-Hop has long skated national borders and oceans and planted its seeds around the world. The Bronx DNA may exist at the core but everywhere the strain exists, there are regional adjustments made almost like McDonald’s (Make that a Royale WITH cheese). As a Hip-Hopper going to these shows, sometimes language becomes a barrier, at least lyrically towards connecting with international Hip-Hop groups.  With that said, live shows are all about music and energy and if a bad is good enough, they can overcome those language issues and rock.

Last week Planet Ill took in a very dope international showcase at the Tribeca 92Y with a spectacular group called Dubinc. This was their first US tour and they played various dates around New York, courtesy of the Bloom effect. They are a predominantly French language act, and there was very little I could make out word wise, but their showmanship, delivery and musicianship more than made up for that in spades.

Dubinc had a full band complement with multiple guitars and various types of drums backing up two vocalists, a coarse-voiced raga vocalist and an Algerian-born Muslim singer. The contrast of styles and the way they interact, both falling back occasionally to play instruments and seamlessly passing between showcasing the band and displaying their own disparate talents made for a dynamic and rousing show which had the heterogeneous  audience on their feet for the duration of the show. Their sound was a mixture of Reggae, Rock and Ska with elements of Hip-Hop.  Enough from me, I’ll let the band’s music speak for itself. Props to Fiona Bloom for putting the show on, and to the 92y for access. Enjoy.

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By Odeisel

Curren$y is nothing if not resilient.  After falling from the Young Money gravy train back in the “A Milli” days, and being forced to regrind his way back to life, he’s been making music and collaborating with some solid people in an effort to reinvent himself.  His collaborations with Wiz Khalifa have drawn the attention of many and raised eyebrows across the landscape. Now he rests firmly in the arms of kingmaker Dame Dash and the good folks at DD172, Dash’s almost bohemian comeback headquarters in the heart of TriBeCa.

Earlier this week a few folks were selectively invited to hear a preview of Curren$y’s coming album. As no song sheets or anything of that nature were presented, I couldn’t effectively tell you what was what. I will say that what I heard was a far cry from his earlier work in pace and rhythm and show much maturity. The highlight of the night, however, was an impromptu live performance in the dungeon of Dash’s headquarters; a sweatbox designed to push the limits of the performers in a no-frills intimate setting. With a live band behind him and Ski Beatz on the boards, the kid looks poised to make his mark.

As a performer, Curren$y owned the packed stage from the outset.  There were fans and strangers to his music alike that were fully vested in the performance, whether they were mouthing lyrics to the old stuff, listening to Ski play his new songs in the background, or watching the band get busy. Hus breath control held up well in the sweltering environment and his charisma was clearly evident. His crowd control was also in full effect. Working with a band is not always easy, as their audible cues are different from loops and the stuff from the album, but the kid handled it without a hitch.

I had seen Curren$y last year at the infamous showcase in NYC where OJ Da Juiceman got booed off the stage, and he got a lot of love then, but he was outshined by guest Khalifa in the charisma department.  He’s learned a lot since then, and while the spirit of the band and a smaller setting are mitigating factors, it’s clear that work has been done .  As a fan of the music, you have to applaud that.  Enough from me.  Here’s some live footage. Peace

By Odeisel

Nas and Damian Marley album Distant Relatives drops today awash in critical acclaim. Last night at the Highline Ballroom, New York was treated to the road show and a chance to see if that magic translated to 3D. With them was DJ Green Lantern, along with a live band with two electric guitars, two singers, a bongo drummer, a drummer, and keyboardist. It was clear from the outset that the duo came to play and that this would be a night to remember.

Jr. Gong’s ankle length locks immediately present a striking visual and Nas, particularly in smaller settings radiates.  I haven’t seen Nas this lucid in years and having to keep up with the elements of a live band kept him on his toes.

They opened the set with the opening salvo from the album, “As We Enter.” They kept the pace going throughout their performance with crisp vocal deliveries, precise musicianship and great presence on stage. Jr. Gong has a decidedly different energy than his father and it works for him.  He’s decidedly more aggressive in delivery and less grainy in voice, but its different music for a different time. The uplifting themes are still present in songs like “Count Your Blessings” “In His Own Words” and “Strong Will Continue”.

The spirit of revolution and perseverance is there as well, powerfully present in “Dispear” in particular where Marley’s high-powered chants steal the show. To complement him in the same manner as his mother Rita supported his father, the two singers on stage added kinetic rhythm and melody to the performance.

Not to be outdone, Nas was laser sharp, shining on the performances of “Nah Mean” “Leaders” and “Patience.”

Each artist did a set of their own music, complete with classics like “Hate Me Now” “Got Yourself A Gun” “Welcome to Jamrock” “Exodus” “One Mic” and more. Both sets kept the packed crowd on their feet (well it was standing room only) and intently involved in the show. Green Lantern worked seamlessly with the band, infusing break beats into Nas’ performance.  The emotional high point of the night came when Nas pulled Kool Herc, the embodiment of the Jamaica/America merger and the acknowledged father of Hip-Hop, from the audience for tribute.

All in all, the show was well paced, allowed both artists to shine in their own light, kept energy levels high from different attack points and proved once again that Hip-Hop is a legitimate music. Both artists have a musical legacy to uphold and they did those legacies great service. For all of us who witnessed firsthand it was a night to remember. For those who support the album, its music you don’t have to fear outgrowing. Music you can hand off to your children. Count your blessings.

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Record Store Day 2010 is in the books and according to the record store day people it was big success.  Artists released all kinds of vinyl by the truck load.  Some was numbered and autographed by the bands.  Singers showed up for in-store promotions of their new material and some gave free performances like the one I attended at Criminal Records in Atlanta.

Of course you know when anything is free you expect the sardine treatment at the venue.  And even though the Little 5 Points area was packed on Saturday, the music fans were spread amongst the three record stores in the artsy enclave.  Well, at least until Janelle Monae took the stage. Let me back track though.

It took me 30 minutes to find a parking space.  Then I get to the store and am immediately targeted by the drunkest man beneath the Mason Dixon line who kept trying to read my texts and touch my boobs on the sly (I was not fooled sir.  Not one bit.).  In an attempt to get away from him I knocked a t-shirt display on the floor only to be chastised by the sales girl who kept asking me, “What happened here?” as if it wasn’t obvious.

Anyway, after a pretty rocky start I settled in while the two man band, Social Studies (with a somewhat rocky start of their own) performed some kind of odd industrial Hip Hop. After them though was Atlanta’s favorite android.

The band set up, warmed up and amped up the volume while the crowd began to swell.  The group of fans was as diverse as possible: white, black, Asian, teen to middle-age. From checking the crowd it appears Monae’s demographic is damn near everybody and that is quite the accomplishment.

The guitarist did a little solo work to keep the fans wound up while the rest of the group made sure their white and black was matching. Then the pint-sized, afro wearing, alterna-songstress appeared stage left and it was on.

Janelle began with the startling, “Sincerely Jane” from Metropolis:The Chase Suite, a song about wasted life and lost dreams.  Considering how funky the track is though, most of the folks didn’t seem deterred by the dark lyrics.  They clapped and shouted in the tight quarters as Janelle and crew gave a rather dramatic performance.  It was obvious that she’s very comfortable on a stage. Pitchy at times, but the acoustics in that joint aren’t exactly marvelous.

The band then moved onto “Cold War” a cut from the upcoming album, The ArchAndroid and Janelle put the band to workturning the stage into an aerobics class.  This chick has a lot of energy and can probably wear her audience out if given enough time.  However, this night she wasn’t allotted much.

The crew then went into “Tightrope” and the audience went crazy.  I think this was the first song everyone knew all the words to.  So between howling and trying to do the dance without stepping on someone’s feet, they were singing along. But I had a sneaking suspicion that “Tightrope,” since it is her hit single right now, meant the show was a wrap.  So I extracted myself from the tiny corner I had been forced into when all of Monae’s fans came pouring in and heard her say thanks and goodnight as I crossed the store threshold.  Hopefully she doesn’t have a penchant for James Brown like encores.  If she does, I totally missed it.  Doubt it though.

So that means I drove 40 minutes, looked for a parking spot for 30, sat around for 20 to hear 15 minutes of Janelle Monae.  Then of course I had to drive back home.  Gotta love Record Store Day.  I can’t wait ‘til next year!

By Odeisel As Relayed By Brian Scott

(New York City 3/11/2010) Legendary DJ Red Alert hosted the evening along with Diggin In The Crate’s own Lord Finnesse with Boogie Blind on the wheels of steel. The event was mainly a showcase for new and hungry artists capped off by the veteran performances and a few surprises.

Following the unsigned showcase, with plodding from Red Alert, Lord Finesse blessed the crowd with a freestyle backed by the band of one of the earlier acts. Following the improvisational performance, Dres took the stage, performing two Black Sheep classic jams “The Choice Is Yours” and “Flavor Of The Month” to warm of the crowd.  He then went into music from his upcoming work Black Pool Of Genius, bringing more of his trademark delivery and solid production.

At the end of his performance he brought out The Legion to perform their single “Jingle Jangle.”

Chubb Rock took the stage in his typical conversational set.  Chubb described a conversation he had with a youngster who held the belief that old school New York rap no longer had a place of relevance in Hip-Hop. After a few rousing hell no’s from the crowd, Chubb went into his own music to put the lie to that statement. He performed his hit single “Just TheTwo Of Us” and club banger emeritus “Treat ‘Em Right.”

To bolster his argument, Chubb brought out a litany of New York vetererans including Sadat X, Milk Dee, Positive K, Das Efx, and Joe Ski Love. They all did their big hits, much to the crowd’s delight and showed at least for one night that at least in New York, they can always find a crowd to appreciate the work they put in.

On a night where young and old came together to celebrate what was and what is to be, for now the former hits harder than the latter. But fear not. Keep eating those Wheaties and wrecking mics and the gap will steadily shrink.  We would hope.

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Recently, the Planet took in Funkmaster Flex’ Old School Legends Show at BB King’s and all of the above was in full effect. Wall to wall fans bought out all tables and the remainder of the standing room only crowd were treated to history.

The headliners of the show were Ghostface Killah and Method Man, but because we’ve captured them on planet ill recently we’ll give you a reprieve for the sake of brevity. Watch the vid, enjoy the show, and be on the lookout for more year end content from Planet Ill.

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By Odeisel

Recently, Planet Ill had the privilege of checking out Melanie Fiona and Jadakiss live at the Highline Ballroom.  In the spirit of giving we got an added treat as the Clipse were late additions to the show.  Left out was a meh performance by Al B Back, the kid Brooklyn from T.I’s ATL, and the name of the wack DJ that played at least 20 Beyonce songs in a row, knowing that this was a Jadakiss show. And now, without further ado…

‘Twas three days before Christmas and all through the place/ was a very mixed audience all in our face.

There were couples on dates, both same sex and other/W`hile many came through with their drunken band of brothers.

And even came some to whom the 90s was still wow/They shook their ass to oldies and screamed out loud “aooooowwww!”

The DJ that opened was lazy as fuck/ If you wanted something other than Beyonce you were all out of luck. 

The crowd had grown restless, their legs getting tired/From standing up drinking, their knees were on fire.

But suddenly appeared out of nowhere with bliss/ Was a new act curiously named Wish.

The lead singer was tall and had hair like Kelis/ But her vocals and style made her Destiny’s Niece!

She jingled and jangled across the stage with dancers/ Who moved with the gusto of Dasher and Prancer.

Such whimsical work caused many to laugh/Especially when she passed out pictures with her autograph.

But in all honesty, bravery she possessed/ Because her and her dancers were only half dressed.

They finished their set as clean as a whistle/ But have a lot of work to do to not bomb like a missile.

Next up was the Clipse with tales of bullets and babes/ And they opened with “Grinding” when they hit the stage.

Though recently added, much love they had gotten/ Next came “I’m Good” for the Apple that’s rotten.

 The crowd they agreed with thunderous applause for the band/Who closed out their set with a Cam’-less “Popular Demand.”

The DJ was switched to Power’s DJ Self/And the previous DJ could go screw himself.

Self pacified us with boom and with bap/ And with dancehall that moved booties , but I thought was crap.

And after a while we got good times ,not from Willona/ But the slamming hot songstress Melanie Fiona.

Her voice it was strong, her hair it was tight/ She was probably the first real highlight of the night.

In keeping with the Hip-Hop spirit to rule/ She brought on a beat boxer, that’s totally cool.

Her energy infectious she slapped fives with the crowd/ But not ever once was she screaming too loud.

Her performance could be heard from both near and far/ And included her hit “Give It To Me Right” that made her a star. 

She must have gotten it too right and too much of a thrill see/ For her next song was an explanatory “It Kills Me.”

A rhythmic tale of heartbreak and woe/ to explain her mania and the keying of car doors.

Her rendition was rousing, the ladies they sung/ Along with the song until it was done.

Fiona was cool and performed to a tee/When two morons in front accidentally bumped me.

I brushed it aside and went on with the show/And finally Jadakiss got ready to go.

Lox love was thick, Jada’s verses were known/ Which was cool for a non-sausage heavy show.

 He played songs from the Diddy days, on through to “Wild Out.”/ The beat to “Made You Look” made the crowd scream and shout.

Out the corner of my eye to the stage with glee/was a Lil Mama-like groupie that rushed the stage purposefully.

She grabbed on his sneakers, she grabbed on his clothes/Then security came and it was off with that hoe.

The show it continued with nary an interruption/ Until Ryan Leslie and Busta Rhymes entered the function.

And while Busta Rhymed and Leslie sang/ At the center stood Jadakiss doing his thang.

He did many more songs in this scenario/ But for those click the button and watch the video.

Now I’ll lay back in bed sick since I blessed ya’ll tonight/Merry Christmas to all and to all a good night.

Peace to man, woman, and child.  Look out for Planet Ill’s year end coverage, beginning tomorrow.

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