Hezekiah I Predict a Riot

This Kaiser Chiefs-referencing, self-proclaimed skateboard geek from Delaware has produced a record of timeless soul-infused hip-hop. Showcasing an all-star roster of Philly talent, Hezekiah steps it up lyrically by dropping memorable raps (“If you ain’t gotta prison record/You can’t sell a record?“) and amusing punch lines (“I got an African medallion/But it was made in China“). Hezekiah keeps pace with Freeway on “That Filling” and vocalist Jaguar Wright blesses “I See Yaw.” The standout track is the Bilal-assisted “Looking Up,” and though it might not incite a riot, on those trying days, you’ll want to hear this again and again.

Calvin Harris: Kylie-Approved

“Was it Isaac Hayes? Giorgio Moroder? I can’t remember…” As you might expect, 23-year-old DJ/producer Calvin Harris is catching a bit of flack for calling his debut album I Created Disco. And, on the phone during his first UK tour, he nervously racks his brain trying to name the person who actually invented the genre. “[The title] is a bit of a lie,” he confesses sheepishly. “It definitely wasn’t me!”

With its hyperbolic title, I Created Disco suggests an overblown DJ-artist album, full of useless breakdowns and tired samples, drowning in its own pretension. Instead, what you’ll find is a smart and very self-aware record that takes on lame stereotypes and teases them out using the same pop formulas that have suited Daft Punk, LCD Soundsystem, and early Basement Jaxx. “Maybe I’m just boring and crap at making music, which is why every song sounds the same!” jokes Harris, who hails from Glasgow. “All of the songs were done before I could even dream of getting a record deal. When I finally signed a deal they said, ‘Okay, where’s the album?’ and I was like ‘Oh, I’ve got enough songs for an album, I’ll just put them all on a CD. I spent maybe three or four years writing songs in my free time.”

It’s very obvious that I Created Disco was written in Harris’ spare time, not because it sounds lazy, but because it sounds like he had fun making it, as if each track is him throwing a party for himself. A perfect example is “Girls,” the record’s first single, which hinges on a disco-funk sample of a man detailing his favorite kinds of girls (black girls, white girls, Asian girls)–eventually you realize that he likes them all. “It’s a fictional theme,” laughs Harris. “I don’t get all the girls. And as with most of my songs, the lyrics are secondary. It’s more about the music than any sort of truth in lyrics.”

Apparently, this pop sensibility is paying off, since Kylie Minogue–herself not a stickler for lyrics–recently recruited Harris to produce music for her upcoming album. “They just phoned me up and said, ‘Hey, do you want to do some songs with Kylie?’ Two weeks later we were working on them, which was all very bizarre. We wrote about six songs, and apparently they pulled them from a massive list of hundreds of tracks, so fingers crossed that they make it on the album.”

Pon Di Wire: The Orb with Mad Professor, VP’s Vintage Imprint

Trojan Records’ celebrity mix series (where influential artists cull their all-time favorites tracks from the Trojan vaults) continues, with the October 15 release of The Orb–I’ll Be Black, a double-disc set compiled by The Orb’s Dr. Alex Patterson. The Orb pioneered early ’90s ambient electronic music and produced reggae-influenced tracks such as “Towers of Dub” and the 17-minute epic “Blue Room.” I’ll Be Black features Trojan classics from Alton Ellis, John Holt, Ken Boothe, and King Tubby, as well as three new, unreleased songs by The Orb in collaboration with producer Mad Professor

Frank lifestyle magazine released The Tuff Gong Book, which chronicles the history and present work of Bob Marley’s famous recording establishment. Marley’s son Rohan guides the issue, which introduces us to Juicy, Tuff Gong’s resident juice vendor for 30 years, Blacka Pearl, a Jamaican soccer legend, and Damian “Jr. Gong” Marley, who explains Jamaican riddim culture.

VP’s new vintage imprint 17 North Parade (an homage to the Kingston, Jamaica street where the label was born) is open for business. The label will reissue major works from the extensive catalogs of producers and labels, including Joe Gibbs, George Phang‘s Power House imprint (circa ’82-’84), King Jammy, Gussie Clark’s Music Works label (where Shabba Ranks and Brian & Tony Gold first broke out), and Donovan Germain‘s Penthouse (home to Wayne Wonder, Buju Banton, and Beres Hammond). Current releases on 17 North Parade include Yellowman’s rare Just Cool album, the Culture and Don Carlos collaboration entitled Roots & Culture, and Little John’s classic Ghetto Youths

Miami-based electro/dancehall artist Supersoul’s imprint Metatronix releases the More Power project on October 2, with tracks by Anthony B and Sizzla remixed by underground dance artists The Bug, Elliot Lipp, DMX Krew, High Priest, and Funckarma.

In news and gossip: Riddim JA is reporting that Macka Diamondthreatened newcomer MC and self-proclaimed “Thug Gal” Stacious (pictured left) in a New Kingston nightclub. Details are still being confirmed. Dancehall artist Kulcha Don has denied being the father of rapper Foxy Brown’s unborn child. Brown, who is currently serving time behind bars for violating conditions of probation, is reportedly three months pregnant. Kulcha Don, who teamed up with Beenie Man last year on the track “Drive You Crazy,” says he dated Brown for a few months earlier this year, but claims, “I am definitely not the father.” Dancehall news source One876 has the latest on Bounty Killer’s new single, singer Pincher’s son’s success, and other passa passa

Baldhead Selector’s Mash it Up! club night donates part of its proceeds to Jamaica’s Alpha Boys School, the famous academy where ska musicians Don Drummond, Tommy McCook, and Dizzy Moore, and singers Leroy Smart and Desmond Dekker learned their craft. The night takes place Saturday, October 20 at Lark in the Park, 60 Copenhagen Street, London, UK.

Les Savy Fav Joins Arcade Fire, LCD Soundsystem Tour

The avant-rockers in Les Savy Fav have got a lot to be stoked about, with a comeback album–entitled Let’s Stay Friends–released this week on French Kiss and an extended North American/European tour, including one date at Randall’s Island with The Arcade Fire, LCD Soundsystem, Blonde Redhead, and newcomers Wild Light.

The band also wrapped up a “make our video” contest for its new single, “The Equestrian,” where submissions were loose interpretations of a Les Savy Fav live performance. Given singer Tim Harrington’s knack for leftfield fashion and bizarre stage antics, the competition to artistically interpret the band’s performance was likely a hefty challenge. Whoever does the band justice with the most YouTube uploads will be awarded $1000 and a trophy. Stay tuned.

Let’s Stay Friends is out now on French Kiss

Tour Dates
09/21 Brooklyn, NY: Music Hall of Williamsburg
09/22 New York, NY: Bowery Ballroom
10/06 New York, NY: Randall’s Island
10/20 London, UK: “Secret Show”
10/21 Manchester, UK: Academy
10/22 London, UK: Scala
10/23 Berlin, DE: Festsaal Kreuzberg
10/24 Hamburg, DE: Uebel & Gafährlich
10/25 Rotterdam, NL: Rotown
10/26 Paris, FR: Nouveau Casino
10/27 Dublin, UK: Clawdaddy
11/16 Durham, NC: Duke Coffeehouse
11/30 Seattle, WA: Neumo’s
12/01 Vancouver, BC: Richard’s on Richards

The Go! Team Proof of Youth

When Brighton party terrorists The Go! Team first sprung on the scene with Thunder, Lightning, Strike, the band’s carefree mix of northern soul, pop, indie rock, and seminal hip-hop made cool kids wet their white-belted jeans from Williamsburg to Hackney. But everyone assumed it to be as flash-in-the-pan as its title-some even willed the Team to disappear rather than hit a sophomore slump. Why did we worry? For Proof of Youth, The Go! Team’s gone one further, making a record that truly approximates the joyful chaos of listening to music-a club’s overloaded bass, complete with dancing and chanting. It’s perfect for a group to whom “classic rock” means Happy Mondays. From the Jackson 5 to Superchunk, Stone Roses to “Uptown Top Ranking,” The Go! Team cannibalizes music that is, itself, the result of cultural cannibalism. It’s post-post-post-modern, and it’s fucking brilliant.

Jah Cure True Reflections…A New Beginning

This past July, Jah Cure became a free man, after serving an eight-year sentence for rape and armed robbery in Jamaica. Always maintaining his innocence-despite anguished testimony from the victim-he kept busy by recording in his jail’s rudimentary studio, releasing three albums and a number of singles. This collection compiles his latest hits (“Longing For,” “Love Is”) and shows why this affecting soul singer has become one of Jamaica’s most respected musical icons. Jah Cure’s phrasing expresses a sadness and optimism that continues to inspire sufferers worldwide. On the title track, he pleads, “I swear I can be a better man.” With a fresh start, Jah Cure pledges to deliver on the promise of this redemption song.

Written, Word: Hip-Hop’s Salad Days

Boogie Down Reflections
If hip-hop only attracted DJs, rappers, breakers, and taggers, it might have quickly disappeared; in the ’70s, those activities were largely ephemeral, leaving little in the way of a permanent record. Born in the Bronx: A Visual Record of the Early Days of Hip-Hop (Rizzoli New York; hardcover, $45) instead tells the story of hip-hop’s pre-’80s “baby steps” through the work of photographer Joe Conzo and party-flyer designer Buddy Esquire. The scrapbook-style book (edited, curiously, by punk historian Johan Kugelberg) also includes essays from Afrika Bambaataa, JDL and Grandmaster Caz of the Cold Crush Brothers, Popmaster Fabel, and others, as well a Bronx history timeline by Can’t Stop Won’t Stop author Jeff Chang. Robert Moses, eat your heart out.

B-Boy Document
Any b-boy or -girl can quote from the 1983 film Wild Style but how many can explain why the mural from the climactic East River Amphitheatre scene is completely different than the one that leading man Zoro (Lee Quinones) paints there in the scene immediately prior? Director Charlie Ahearn’s Wild Style: The Sampler (powerHouse; hardcover, $35) breaks down all the behind-the-scenes twists that resulted in the creation of hip-hop’s most pivotal film. In addition to Ahearn’s own crystal-clear recollections, The Sampler offers first-person accounts from Quinones, co-writer Fab Five Freddy, and Grandmaster Caz, among others, as well as Ahearn’s own brilliant photographs. A to the K? A to the muthafucking Z!

Clique Notes
An expanded version of 2005’s self-published Rakim Told Me Check the Technique (
Villard; softcover, $16.95) represents former XXL “Classic Material” columnist Brian Coleman’s latest attempt at penning liner notes for every classic rap album from the early ’80s to the mid-’90s. While some choices are odd (no Gang Starr albums make the cut, but DAS EFX’s Dead Serious does), Coleman delivers the straight dope on everything from the Geto Boys’ gruesome We Can’t Be Stopped album cover to how Kurt Cobain’s suicide altered the course of The Roots’ Do You Want More?!!!??! LP. Classic toilet-reading material. More On This Book

XLR8R TV Episode 26: Setting Up with Maya Hayuk

XLR8R hangs out with Maya Hayuk as she sets up her most recent exhibit, at Upper Playground’s Fifty24SF gallery in San Francisco. She discusses how everything she’s done–painting, photography, skateboard/snowboard/clothing/shoe design, even an Absolut campaign–has been shaped by music, and what a relief it is that art has finally been liberated from the “faraway, enchanted land” of museums.

Watch This Episode

Previous Episodes
Episode 21: Devin the Dude
Episode 22: Matmos
Episode 23: How to Make a Hip-Hop Mix Tape
Episode 24: Fall Fashion Roundup
Episode 25: Dubstep 101 with DJ Youngsta

All Episodes

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