My Pop Life #182 : Am I Wrong ? – Anderson .Paak ft. ScHoolboy Q

Am I Wrong ?    –   Anderson .Paak  ft. Schoolboy Q

Am I wrong to assume
If she can dance, then she can’t ooh?

I miss those teenage days when you would listen to an album back to back around and around and revel in each listen, purr with delight at each unfolding chord sequence, lie back and indulge in the slowly-becoming sweet familiarity of this new music.  Your new favourite record.  You just couldn’t get enough of it.  Sometimes you needed someone else to convert or share it with, but the experience was personal, deep, profound, special.  Why a record becomes personal and ‘favourited’ is a mysterious thing – it hits your sweet spot and refuses to budge.  First hearing is usually a delight, but it is possible that a favourite will creep up on you.  But once you’ve heard it three or four times, you then wonder if it will wear off – and your true favourites never ever do.  You simply always love it.  Each year I mentally compile my favourites of the year just gone, trying to be ruthlessly honest.  But as I get older, fewer and fewer albums or songs manage to penetrate me in the same way.  Thus is the golden age born.  I love nostalgia but I also love to hear new music, and I always have.  Perhaps growing up with the Top 40 every Sunday makes you ready to hear fresh music every week.  The new stuff would always get an airing for that huge audience, and often we would go out and buy one we liked.   I listen to music and read reviews online these days and seek out new stuff which might appeal to me.  Could be anything, usually is…

Last year, in mid-2016, The Guardian online had some kind of “what’s been good so far” music article with some stuff I’d heard (Skepta, Rihanna, Bowie) and some I hadn’t (Margo Price).  In the below-the-line discussion Cif (Comment Is Free) area, a place I usually avoid due to certain frothing at the mouth trolls and gits, were the usual types whinging about the Guardian or their own favourite band.  Anderson .Paak was mentioned four separate times by people simply saying “listen to this fella”.  It is usually a good indicator of something worth checking out.  Next minute I’m on Youtube listening to this brilliant LP Malibu which came out in February 2016.  I am immediately hooked and buy it on iTunes.  Each time I hear it after that it gets better.  And better.  Eventually I burn it onto a CD and give it to Tony Gerber, Lynn Nottage’s husband and my New York gig buddy and friend.  The people we see the most here, they’re about 20 blocks away in Boerum Hill.

Tony Gerber avec du vin blanc

We’ve seen Young Fathers, FKA Twigs, Kode9, I gave him my Run The Jewels tickets, we went to Stevie Wonder together.  Tony is a documentary director and runs his own company Market Road Films from an office in Gowanus near the canal.  Last year he went to Liberia, Congo, Iraq, Turkey, the UK and Kurdish Iraq making documentary films, mainly for Nat Geo.  He works all over the world often in dangerous spots and always dependent on a local fixer for his and his crew’s safety, interviewing militias in the Eastern Congo or Kurdish fighters about to go into battle with ISIS in Iraq.  Tony enjoys the buzz understandably and he knows what he is doing in terms of film-making.  He’s been all over the world.  Market Road Films has a small but eclectic staff and always has some younger trainees and interns from interesting places.  They throw a mean Halloween Party every year with an open mic for ‘moths’, plenty booze and food and a few intrepid types in fancy dress.  Jenny and I decided to indulge in fancy dress last year.   Sorry no pix.

Tony, Wally and Lynn last summer in their garden

But usually Tony and I meet at his and Lynn’s house, a classic Brooklyn brownstone where her Dad Wally has the ground floor, and Tony & Lynn & their children the three floors above that, with the kitchen right at the top, bedrooms in the middle and living room by the front door which is up the stoop from the sidewalk.  Often when we visit there are other family members, friends, a convivial gathering including writers, film-makers, lawyers, policewomen, producers, United Nations employees, directors and real-estate brokers.  New Yorkers.  And what was very lovely about going round there last year in particular was Tony playing this CD I’d burned for him with regularity – and always pointing out to the assembled throng that I’d introduced him to Anderson .Paak.  Why ?  Because he actually loved it as much as me.  I should point out at this point that Tony and Lynn have two kids – Melkamu who is now 8 yrs old and Ruby who is in her first year at college aged 19.  So Ruby brings music too and now and again we would sit around and listen to this and that – hip hop, Drake, Princess Nokia.  One of the best gigs we went to last year was in the Music Hall in Williamsburg, a couple of miles north of where Jenny and I live.  Tony, Ruby and Ruby’s friend Isabel and I went to see LA producer laptop DJ genius Flying Lotus.  He joyously played Busta Rhymes ‘Gimme Some More’ (My Pop Life #42) in amongst his own songs, none of which broke the three minute mark.  Great gig.   I am currently grooving to his compadre – the bass player Thundercat‘s new album “Drunk” – the best thing of 2017 so far.  They are both part of a new young jazz/hip-hop collective based in Los Angeles which includes Kendrick Lamar on whose masterpiece album To Pimp A Butterfly they both appeared in 2015.

So in a father-daughter kind of dynamic Tony likes to introduce Ruby to new stuff as well, a two way street being better than one.  I reckon!

Anderson .Paak

Anderson .Paak is also from L.A. but further up the coast.  The countryside.  In fact if you’ve ever been to Los Angeles you’ve probably heard the local radio station KCRW, one of the best in the world, broadcasting out of Santa Monica and other transmitters including KCRU Oxnard Ventura, which gets called on the hour every hour.  Oxnard is an area north of Malibu, rural, coastal, rugged and beautiful and is where Anderson grew up.  His (half-Korean) mother had a strawberry farm there for years until it went bust.  His father disappeared after beating his mother in the street when Anderson (actual name Brandon) was very young.  He worked in a marijuana farm for a while after learning the drums in church and made his musical debut under the excellent name Breezy Lovejoy.  The first Anderson .Paak LP (the dot is a gimmick to attract attention) was Venice in 2014.  In 2015 he appeared on six tracks on Dr Dre‘s album Compton.  In 2016 he released Malibu and another record : Yes Lawd! with collaborator Knxwledge under the collective moniker Nx Worries.  He sings, he raps, he plays the drums, he grooves.  Boy he grooves.  The whole of Malibu is one groove after another, old skool style but fresh as a daisy.  It is an amazing record.  I’ve heard a few interviews with him and he hates the lazy designation ‘Urban Music’.  He is a country boy.   But this is disco funk.  This is soul music.

I waited for another record to beat it last year – a new Kendrick Lamar, Chance The Rapper, Solange, A Tribe Called Quest, Frank Ocean.  All excellent.  Beyoncé made her finest to date, Lemonade, which many felt was the album of 2016.  But to quote my own honesty from earlier, it wasn’t the record that I kept playing last year.  The one that I couldn’t get enough of.  The one that never went stale, every play enhancing my love for it.  The one Tony always put on when I went over there.  What a precious feeling.  To be young again !!

Anderson .Paak ‘playing’ on the Ellen show with his band The Free Nationals :

My Pop Life #142 : Gimme Some More – Busta Rhymes

Gimme Some More   –   Busta Rhymes

Yo Spliff where the weed at?
Gimme some more
I know ya’ll niggas need that
Gimme some more
Even though we getting money you can
Gimme some more
With the cars and the big crib
Gimme some more
Everybody spread love
Gimme some more
If you want it let me hear you say
Gimme some more

Got reminded of this TUNE last night at the Flying Lotus gig in the Music Hall of Williamsburg.  Went with Tony Gerber and his daughter Ruby and her friend Isobel, – the kids disappeared as soon as we got in there, like kids do.  Great great gig.  Halfway through FlyLo’s set the Bernard Herrmann strings from Psycho started up and the projections went psychedelic chopped black & white and then the unmistakable drumbeat heralded the mighty Busta Rhymes track Gimme Some More from late ’98 early 1999.  What a tune.  What a lyrical delight.  What a sample.  And what a flipmode flipping video (see below).  He was at the height of his powers on this track and this album Extinction Level Event, his third.  In early 99 this was the bomb with its jerky rhythms, sudden drops and verbal dexterity.  It felt about as fast as you could rap without tripping over your tongue.  I loved it.

I still love it.  It felt different then though.  Everything felt different then.  The pre-millennial tension.  The excitement.  The fear.  The imminence of – what ?  We didn’t know.  This song seemed for the moment, jittery, greedy, consumptive and utterly mental.  The whole of 1999 had a party atmosphere thanks to Prince and the calendar, or perhaps a delayed gratification repeat meme, because if you weren’t at a party you damn well knew you were going to be at one soon.  And then, in a slightly hysterical but rather fantastic way, you would party like it was 1999, because you’d never get another chance.

Gimme Some More

The dirtiest sexiest most indulgent party we ever had was surely that year, on Valentine’s night February 14th.  Not sure what day of the week it was – an Asperger’s question – and it doesn’t matter, but it wasn’t the weekend.  The gang were invited, in particular single people, and Jenny and I provided space, music, drugs and cake, or Eton Mess ie meringue, strawberries, raspberries, blueberries and cream.  We also had bowls full of sweets of all different types and on the kitchen table was a large bowl full of grass, by which I mean marijuana, all nicely shredded and ready to smoke.  There were papers and pipes and there was drink.   Bubbles.  Beers.  Wines.  Spirits.

Who came ?  Brighton people.  Let’s see.  Jo.  Andy.   Josh.   Soriya.  Kerry and Selena who both got very stoned.  The Stomp crew Jo, Luke, Loretta and Steve.  Keith and Yarra.   Mandy.   Millie.  Others.  Who didn’t ?  Mark Williams.  Amanda.  Lucy.  But really?  I can’t remember.  Truly.  The party was too good to be actually remembered. Patrick and Emma?  Jeanne and Laurie?  Fraser ?   It was pre-Brighton Beach Boys so none of that crowd.  No one came down from London like they usually did for our parties (except Mandy).  We had another one later that year for the actual millennium, sometime in December to combine with Jen’s birthday;  in the house as usual, bring your own drugs as usual, Catherine Wearing came down to that one, Paulette, Beverley, Sharon Henry, Eamonn & Sandra, quite a few Londoners.  Jenny and I would take it in turns to DJ, no one else would really get a look-in.  Jenny knew how to get the girls dancing, always critical for a good houseparty.  She had her top playlist – Whitney, TLC, Anita Baker, Deborah Cox, Michael Jackson, Marvin Gaye…  We would dance in two and threes or crazy ones, until dawn or later if necessary.  As long and until you felt like you had been at a party.  The last one was in 2003, then we stopped them abruptly and grew up.  Finally got the wallpaper up.  No more parties.  I remember the Valentine’s Party as the most indulgent of them all – midweek, no one’s birthday, mary-jane in a bowl, champagne and chocolate.  We didn’t really do cocaine, didn’t like the effect it had on people, and didn’t take it, but other people sure did and it wasn’t a big deal.

Busta Rhymes aka Trevor Tahiem Smith, Jr. was born in Brooklyn, raised on Long Island and after high school attended George Westinghouse High School in downtown Brooklyn, some six blocks from where I’m writing this blog, alongside Jay-Z, The Notorious B.I.G and DMX.  The story goes that Jay-Z and Trevor had a rap battle in the school canteen one lunchtime, and Busta lost.

Busta Rhymes came up via Leaders Of The New School who would support Long Island crew Public Enemy at early gigs.  Chuck D gave him his moniker after NFL wide receiver George ‘Buster’ Rhymes.  Soon Busta’s verbal dexterity earned him guest slots with New York acts A Tribe Called QuestThe Notorious B.I.G., Mary J. Blige and Big Daddy Kane among others.  He started recording his first album The Coming in 1995 with its startling lead single Woo Hah! (Got You All In Check).  He is undeniably one of hip-hop’s leading exponents thanks to his verbal skills which are second only to Rakim, Biggie and one or two others.  You may argue that among yourselves.  It’s customary for me to learn the lyrics of my favourite raps so that I can spit them at unconventional and unlikely moments.  This particular rap contains so many uses of Nigga and is so fast and difficult to perform that it rarely gets an outing.   The track was produced by Busta’s regular collaborator DJ Scratch.

stills from the video for Gimme Some More

The video is a work of genius.  Opening with the strange pop myth :

As a shorty, playing in the front yard of the crib
Fell down, and I bumped my head
Somebody helped me up and asked me if I bumped my head
I said “Yeah”


So then they said “Oh so that mean we gon, you gon switch it on em’?”
I said “Yeah, Flipmode, Flipmode is the greatest”
Knowing as a shorty, I was always told
That if I ain’t gon’ be part of the greatest
I gotta be the greatest myself !

This over the strings from Psycho and a cartoon day-glo kids TV-world scene.  As the drumbeat kicks in, the video develops with more fish-eye lens angles, strange characters and demonic figures, Busta himself usually shot from the top down like a cartoon of Deputy Dawg.  The effect reminds me of some of Missy Elliott’s pumped-up visuals which were also superb, disturbing and funny all at the same time.

Enjoy.

  Everybody spread love.

for those who like to follow the lyrics :