Ludacris: Don't sweat the technique

Lil’ Wayne, Jay-Z, T.I. and Kanye West. These are the usual suspects mentioned when the conversation moves towards your big-money rappers. Why Ludacris is consistently overlooked in that conversation is a mystery and just plain wrong.

While the wildly successful Atlanta rapper/actor has sold millions of records and starred in Oscar-nominated movies (Crash), he rarely if ever shows up in tabloids or paparazzi shots. And on the same day that Kanye West’s much-ballyhooed 808s & Heartbreak had the masses scratching their heads to Tears For Fears samples, Ludacris dropped the much sturdier Theater of the Mind.

Loaded with club bangers (“One More Drank”) and radio hits (“What Them Girls Like”), it’s the class of big-money commercial rap albums (debuting to sales of over 213,000 copies) that are fewer and further between. Theater of the Mind culminates with an incendiary four-track suite of songs (including an amazing beat from DJ Premier, “MVP”) where Ludacris trades verses with Nas, Jay-Z, Lil’ Wayne and Common, and should all but insure it a Best Rap Album Grammy nomination in 2010.

Speaking from his home base of Atlanta the day after the 2009 Grammys, Ludacris seems unconcerned about the lack of scandalous headlines in his life. He does, however, have a new album that’s already done and can recommend a great Singaporean restaurant.

So what did you think of the Grammys this year?
I watched it as a fan, and found it pretty boring. There were a couple of exceptions. I was really glad to see Lil’ Wayne perform with Allen Toussaint in honor of New Orleans. I loved that.

Considering the November 2008 release date, do you expect to see Theater of the Mind in the running for Best Rap Album next year?
Ah, I’ll have another album out in time for that one! I’m on the move. The next album is called Battle of the Sexes and should be out around August of this year.

That’s the one with Shawnna, the female rapper signed to your Disturbing Tha Peace label, correct?
It’s my album, but yeah, it features Shawnna representing for the ladies. My whole point is to do things in hip-hop that have never been done before and to fill a gap. There’s never been an album with a male and female MC touching on different relationship issues. It’s 80% done already.

What inspires you after having already achieved so much success in rapping as well as acting?
I’m driven by the desire to touch on things that have yet to be done. I want to be a pioneer in the game. Theater of the Mind is more of a hip-hop oriented album. I didn’t feel like hip-hop was being represented enough in today’s music, and that’s where that came from. I want to inject that same energy into Battle of the Sexes. There are no female MCs representing right now.

I know you’re already onto the next album, but Theater of the Mind is a really great album that’s been completely underrated
Some of the best albums are, man! I’m happy with the feedback I’ve gotten from it. It puts me in the position to keep moving forward. I feel like I’ve done my duty.

There’s no reason you couldn’t have two albums competing for the same award
Yeah, that would be dope!

A lot was made about collaboration between yourself and Good Charlotte. Whatever came of that?
I’m still working with them. What we came up with just didn’t fit the theme of Theater of the Mind. But that doesn’t mean we won’t be coming with something soon. So far, it sounds like the perfect gel of alternative rock and rap.

Are you any closer to a duet with Eminem you’ve spoken about in the past?
I had a chance to speak with Em recently. He let me know that he’s hard at work on his new album, and that once he gets that handled we’ll definitely be getting together in the future. That’s something I’m really looking forward to.

You’ve had more success at acting than most rappers. Why do you think that is?
I love what I do. I love rapping and acting, and I’ve been blessed.

Who are some of the producers on Battle of the Sexes?
In the same way you say that Theater of the Mind is underrated, let’s just say that a lot of underrated producers are working on this next one! Guys you might not expect.

With all of the economic strife and the inauguration of a new President, how are things at home in Atlanta?
Man, we’re pulling through. We’re going to sustain either way. Of course it is hard for a lot of people, but in the end we’re going to be OK. I still have my restaurant Straits open, and the food is good enough to keep it going, and I’m proud about that.

Strait serves Singaporean cuisine. How did you get into that?
It’s no different that my music. I like to do things that are different and unique. I wanted to introduce something hot and exotic to that part of Atlanta. I can bring people in for the first time, but the food has to bring them back. Thanks to my chef and partner Chris Yeo, the food does bring them back. I knew the restaurant business would be hard, but we’re making it happen.

Little Boots makes bold strides

With the cacophony of central London roaring behind her, Victoria Hesketh -- the burgeoning 25-year-old electro-pop sensation known as Little Boots -- is insisting she’s more than just another blog-driven flash in the pan.

“My new songs are even more commercial,” she says of her forthcoming debut album, which does not yet have a release date. Of course, her previous material isn't exactly old.

Hesketh rode to Internet prominence late last year with “Stuck on Repeat,” a throbbing dance-floor anthem that alternates massive synth melodies with ominous sleigh bells. Through it all, Hesketh’s clear, higher-register bell-like voice stands front and center.

And yet, she says "Stuck on Repeat" isn't an indication of where she's heading.

“My music is brighter and more colorful than that," she says via cellphone. "To me, ‘Stuck on Repeat’ is kind of disco-y and dark. The other songs are more varied. There are slow songs, some weird ones, it’s a real mix. I really hate two-dimensional albums ... I want to be more like early Madonna albums, where she would do all sorts of different things, but her voice is what tied it all together.”

Hesketh is currently spending a lot of time in Los Angeles, putting the finishing touches on the album with producer Greg Kurstin of L.A. band the Bird and the Bee. “He’s just so talented and really gets me," she says. "He’s got such a broad range of experience. He and I co-wrote and produced all of the tracks. But I also did some things with a new guy called Kid Gloves, and Joe Goddard from Hot Chip.”

Hesketh’s Little Boots moniker is taken from English translation of the Latin “Caligula,” the notorious third Roman emperor who inspired the infamous 1979 movie of the same name. She's been a mini YouTube sensation, where she posted videos of herself performing original songs as well as covers, such as Haddaway’s “What Is Love” and, more well-known, Hot Chip’s “Ready for the Floor.” The latter is striking in its simplicity, as she's accompanied only by a Yamaha Tenori-On, a hand-held music sequencer that lights up in time with the music it produces.

“I just borrowed it from a friend, and picked up it pretty quickly,” she says of the device, “because quite honestly, I’m really quite nerdy. I love getting new things to sit and geek out on until I totally understand it. But they are a bit tricky at first. I use one in concert. It’s a great visual aid with all of the lights, so much better than just another laptop. We’re working with Yamaha to create a special one to take out to festivals and things.

“So often people think it’s all just robots and machines, and that’s not the case," Hesketh continues, the sounds of the city still churning in the background. "To me, it should be just as exciting as seeing a great guitar player. That’s what I’m trying to do, anyway.”

(Originally published in the L.A. Times.)

I went to Prince's house

Yes, it's true. I was in the man's house. It was one of the greatest musical experiences of my life. My official recount of the evening can be found here on the L.A. Times website.

Something that was omitted from the piece was a mention of his current harmonica player, Frederic Yonnet. The guy is simply amazing. I haven't heard someone blow a harp this well since the glory days of Magic Dick and the J. Geils Band. When Prince and the band tore through a version of the Rolling Stones classic "Miss You," he positively ignited the room with his immense talent.

I had a chance to chat with Mr. Yonnet at the event, and he was as kind and humble as they come. A true gentleman and class act.

I love the above video. The intro from Dave Chappelle is hilarious, and spot-on. Like Chappelle, I didn't know I liked harmonica music before this guy (Magic Dick not withstanding). Frederic Yonnet is the truth.

Hardcore '84: Prince "Computer Blue"

Prince at his most purple. In the year 1984, he blew the roof off of the music world with the release of Purple Rain. He was melding all sort of sounds that had never been mixed before, and it routinely blew minds—especially when it came to sci-fi funk-rock workouts like "Computer Blue," taken from his masterpiece album. This 1983 live version (well before the release of Purple Rain the following year) is Prince at his best, up close and personal with the crowd, just killing 'em. Awesome.

Hardcore '84: Breakin' (featuring Ice-T)

1984 was no joke. The year stands as one of the greatest 12 months of American pop culture ever. Exhibit A: this amazing dance battle sequence from the hit movie Breakin'. Breakin' was such a box office success that the sequel (the notoriously titled Electric Boogaloo) hit theaters only a few months after the original (both in the calendar year of 1894). The MC hosting the battle is the one and only Ice-T. So the next time someone tries to pop off about Ice-T not being down, throw this clip at 'em. Ice has been representing for years, yo. And he's down with Mariska Hargitay. You can't front on that.

Detroit Flashback: Boblo Island

>

Once upon a time, Detroit had it's very own amusement park. What made it doubly cool was that it was located on its very own island just off the shore of the city, actually in Canadian waters. Which meant that to get there, you had to ride the Boblo Boat, and old-fashioned steamer ferry that would shuttle packs of kids and their harried parents to the park.

Boblo was one of those places that you would go to at least once a summer as a kid. But as one got older, the lure of the then burgeoning "mega-coasters" at nearby parks like Cedar Point overshadowed Boblo's far more meager attractions.

Still, nothing could ever top the party that would always happen on the boat ride, especially coming back in the late afternoon/early evening. The DJ would spin the funky radio hits of the day (Michael Jackson was a perennial), and it was Dance Party USA, Motown style. Boblo ruled.

The day the music died: Indie 103.1-FM R.I.P.

This pretty much says it all. Like we need any more bad news around here...

Flashback: Richie Hawtin, Detroit, early 1990s

So. Facebook is killing me right now. More specifically, a very old and dear friend, Adriel Thorton, is the one blowing my mind. He's started a new Facebook group that revolves around the Detroit party scene of the early '90s.

I was as front and center as humanly possible. I went to every party, checked out every DJ, and pretty much indulged in the scene to a degree that crossed over into unhealthy.

This photo of Rich at St. Andrews Hall (found on said Facebook page) just brought it all rushing back—the thrill involved in making your way to the right place, at the right time, and experiencing something you'll never, ever forget.

Richie Hawtin was often the catalyst of such events in and around Detroit back in the day. The guy just had a knack for a good time. From the music to the setting to, well, you know the rest—it was always something more than just a party. It all seems even more surreal now than it did then...

Under The Radar: Flying Lotus, "Los Angeles"

Who: Flying Lotus (AKA Steven Ellison) is repping Winnetka, a suburb of L.A.’s San Fernando Valley, and he comes with a serious pedigree: his great-aunt is jazz legend Alice Coltrane. His thick swatches of bottom-heavy instrumental beats are relentlessly abstract and dense with enough musical knowledge to make both Coltranes proud.

What: Los Angeles reflects its titular subject through a blunted haze of harsh juxtapositions. Crush-collision sound collages that invoke early Aphex Twin with hard, metallic rhythms are smoothed over with icy synths and the warm, analog tones Madlib is known for (see “RobertaFlack”). From the jumpy space-jazz of “Comet Course” to the quiet atmospherics of “Auntie’s Lock/Infinitum,” the chaotic sprawl of L.A. is accurately captured in these finely tuned songs.

Made for: Progressive hip-hop heads looking for freaky beats that still have serious bump. Anyone that still treasures Aphex Twin’s Selected Ambient Works 85-92 and in need of something new; subscribers to U.K. music mag the Wire.

X-Factor: “FlyLo,” as he’s known to fans, is also a party-rocking DJ, with his remixes of Lil Wayne and Kelis bangers making the blogosphere rounds.

(Originally published on Metromix.com)

REVIEW: Lil Wayne, "Tha Carter II" (Cash Money/Universal)

Rating: 3.5/5 Stars

Backstory: First hitting the hip-hop scene as part of New Orleans Cash Money crew the Hot Boys in the late ‘90s, Lil Wayne has steadily come up through the rap ranks with popular solo releases and a high-profile cameo on Destiny’s Child hit “Soldier” in 2004. After blowing up the charts in 2005 with full-length album “Tha Carter II,” Wayne has spent the past three years on a determined conquest to become “the best rapper alive,” showcasing his increasingly impressive and abstract lyrical flow on a seemingly endless string of mixtapes and cameo verses on other artists’ records.

Why you should care: Currently the “people’s champion” of hip-hop, Wayne’s in-your-face persona (including a high-profile drug arrest and a penchant for “syrup,” a homemade codeine cocktail) and ability to melt microphones with the hottest metaphors and one-liners this side of prime Eminem and Ghostface have made him the ultimate rock star of 2008. Already owning the pop charts and dance-floors with the mainstream R&B of first single “Lollipop,” “Tha Carter III” has the potential of putting Wayne in line with such hip-hop icons as Tupac, Biggie and his mentor/nemesis, Jay-Z.

Verdict: While this uneven effort is far from the defining Lil Wayne album that he’s obviously capable of, “Tha Carter III” is still loaded with exemplary tracks. Hardcore numbers like “A Mili” and the jazzy swing of the Swizz Beatz-produced “Dr. Carter” show Wayne at his best, displaying a lyrical dexterity that’s undeniably brilliant. Kanye West provides a clutch of radio ready beats, like the smooth R&B of “Comfortable” and Motown mood of “Let The Beat Build” (Wayne should seriously consider making a whole disc with West). Sadly, those gems are cast amidst a slew of half-baked beats and meandering melodies, creating an unfortunate ratio of jams to rejects. Still, Lil Wayne is the most exciting rapper in the world today whose masterwork is ahead of him and can make even the wackest tracks at least listenable.

X-Factor: Wayne’s not afraid to take big chances, from teaming up with crooner Robin Thicke on the acoustic ballad “Tie My Hands” to profanely calling out activist Al Sharpton at the end of the politically conscious “Misunderstood” as “just another Don King.” Recently dissing mixtape DJs resulted in one of them leaking this CD a week before official release.

(Originally published on Metromix.com)

15 Minutes with Pharrell Williams

“We know that our fan base is different than fans of Kanye West, Lupe Fiasco or Rihanna,” admits Pharrell Williams on the phone from New York during a rare break before embarking on this summer’s highly anticipated “Glow in the Dark” tour. “We’re going to introduce ourselves to that audience, even though there is a lot of crossover there. But the N.E.R.D. energy is different. We’re there to literally rock the party.”

The iconic producer, fashion designer and cultural flash point is excited to talk about the forthcoming third album from his eclectic rock outfit, N.E.R.D., titled “Seeing Sounds” and tentatively scheduled for a June 10 release.

“The title is in reference to a phenomenon called synesthesia, which is when one of your senses sends electric impulses to unintended parts of the brain,” he explains in his raspy drawl. “So for some people, when they hear music, it also stimulates them visually. We wanted people to recognize that and see the sounds of this album.”

“We’ve always had a hybrid sound, so there are a lot of different things going on,” he says of the band’s new record. Williams speaks of drum-and-bass influences, citing the mosh-pit-ready tune “Spazz” as an example. He continues: “The album is definitely hard, guitar-driven and angst-ridden. We recorded the record with the live show in mind. We want people to be up and having a good time at our concerts. If you interview any of the kids that were at any of our warm-up shows in secondary markets like Pittsburgh, they’ll tell you how crazy it’s been. I’d bet those parking lots are littered with empty Red Bull and Monster energy-drink cans everywhere. The shows have been filled with intelligent kids letting go and having fun.”

N.E.R.D. made a huge splash at this year’s SXSW festival in Austin, playing high-profile shows such as the controversial Perez Hilton showcase.

“It was incredible,” Williams raves about the trip. “Our fan base has really grown. It’s wonderful to see how culturally diverse our crowd has become. Our fans are intelligent, have a strong individuality and distinctive opinions about life. At our shows, the skaters don’t mind hanging with the hipsters, who don’t mind hanging with the fashion students, who are cool with the b-boys and the punks. They’re all there, and it’s all love. It’s this patchwork army of kids that are all on a similar wavelength. It’s incredible the energy they send us onstage. I promise not to abuse this position that they’ve put me in.”

That position includes helming the Star Trak record label, which recently signed R&B upstart Tayanna Taylor and preppy pop outfit Chester French.

“I think Chester French are geniuses. To me, they sound like Brian Wilson singing over Motown tracks,” Williams enthuses about the recent Harvard graduates. “We’re so lucky to have them on our label.”

There’s also his successful run in the fashion industry, with Williams behind the Billionaire Boys Club and Ice Cream clothing lines, creating limited editions that command top dollar from obsessive streetwear collectors around the globe.

“The fashion has been fun,” he says casually. “I’ve been studying under Marc Jacobs over at Louis Vuitton for the past couple of years, which has been invaluable.

“It’s all about establishing a relationship with our audience,” he stresses finally. “I want to give them things they really want, be it a pair of shoes, a sweatshirt or a record.”

(Originally published on Metromix.com)

STONE TEMPLE PILOTS REUNION KICKOFF @ HARRY HOUDINI MANSION

SXSW 2008: Peace, TX

SXSW 2008: KATY PERRY @ PEREZ HILTON

SXSW 2008: CHESTER FRENCH @ PEREZ HILTON

SXSW 2008: N.E.R.D. @ PEREZ HILTON

Grizzly Bear: Brooklyn indie orchestra

Quietly cool quartet makes classical concert safe for hipsters

With hauntingly familiar melodies and vocal dexterity akin to TV on the Radio multiplied by the Mormon Tabernacle Choir, Brooklyn’s Grizzly Bear leads a one-band revolution of quiet cool. Sounding like the Beach Boys produced by a really stoned David Sitek, their 2006 magnum opus, “Yellow House,” propelled Daniel Rossen, Ed Droste, Chris Taylor and Christopher Bear (hey!) to the upper reaches of the digital stratosphere. But not without good reason, as their dreamy, atmospheric compositions still seethe with a simmering tension and are as meticulously constructed as the finest pop songs.

Instead of diving right into the inevitable stress of following up “Yellow House,” the members of Grizzly Bear have been enjoying the fruits of their labor. After last spring’s rapturously received tour with Feist, they released the “Friend” EP, an intriguing compilation featuring everything from Deerhunter’s Bradford Cox (in his Atlas Sound guise) reconstructing “Knife” to GB applying their delicate reverence to a version of “He Hit Me” by the Crystals.

While their jaunt last fall with Maryland’s equally dreamy Beach House sadly never touched down in L.A., Grizzly Bear will bring us something even more special with a one-off performance pairing them with the L.A. Philharmonic at Downtown’s Walt Disney Concert Hall . The L.A. Phil open the show with a selection of music in part picked by Grizzly Bear, who are sure to make the most of the ornate space’s dynamic acoustics. We caught up with GB songwriter/guitarist Daniel Rossen for some thoughts behind the collaborative concert.

How did you go about picking the classical pieces that you wanted the LA Phil to perform at the show?
The LA Phil chose the music in conversation with the band, but I wouldn't say we are curating the concert exactly. The director of the Phil listened to our records and came to us with some suggestions of what he thought would fit, and we gave them a couple of our favorite pieces as a starting point. Mostly we chose pieces that we don't know but sounded interesting. I hardly ever get to go to a symphony so it seemed more exciting to ask them to introduce us to a couple new things.

How has classical music influenced Grizzly Bear's sound?
We have pretty varied taste in this band. Composers are in there somewhere. We use a lot of instruments and layer a lot in recording, which is kind of like creating parts for an orchestra except that it's much more textural and intuitive and a lot less deliberate.

Do you have any particular expectations and/or aspirations for the evening as a whole?
I'm looking forward to hearing the orchestra play through the amazing acoustics of Disney Hall, and I hoping we don't sound like complete amateurs when we play right after them.

Who are a couple of your favorite composers and why?
For years I've been a fan of Olivier Messiaen, a French composer with a duel obsession with exotic birdsong and Catholicism. He’s a pretty timeless character. I also like Shostakovich and Penderecki. For the most part I just find their music incredibly affecting, and that's enough reason for me.

Grizzly Bear and the L.A. Phil regale the Disney Concert Hall on Saturday, March 1

The Watch: Casxio

L.A. quartet channels Nile Rodgers, Nick Rhodes and dance the night away

What’s their sound? Funky dance-pop with a sexy scent of yacht rock

What the hell does that mean? Think lots of snappy, New Wave-inspired tunes with melodic, walking bass lines reminiscent of classic Duran Duran and even Level 42 (bass players will know what I’m talking about).

Like both of those bands, Casxio’s primary objective is to make people move. It’s not often a live band can whip up as healthy as dance floor (especially in Los Angeles) as they did at their Metromix showcase at Spaceland.

Is their game tight? They really won me over by handing out free copies of their album “Inside Out” for anyone that wanted to take one. They’re the five best songs I’ve gotten for free in a very long time. In fact, they leap-frog over Duran Duran and go straight for a classic Chic-styled disco groove on “Seventeen.” The quirky afro-funk of “Dance” features keyboards that swirl like Nick Rhodes fronting the Neptunes. Straight up, these guys are the right producer away from being Hall & Oates: The Next Generation. Casxio has got it going on.

X-Factor: I know a band is good when I want their T-shirt. I really want a Casxio T-shirt.

Steve Aoki: living well is the best revenge

As much as his countless detractors hate to admit it, Steve Aoki is a star. He’s a globe-trotting DJ who hobnobs with everyone from Lindsay Lohan to Justice. His record label, Dim Mak, is among the most influential indie imprints in the world, boasting releases from U.K. post-punks Bloc Party and local anthem-rock heroes Foreign Born.

Still, hating on Steve Aoki is on the verge of becoming an Olympic sport. Music bloggers and journalists roast him regularly, with snarky sites taking every opportunity to diss him. His former partner and current nightlife nemesis, Franki Chan, recently accused Aoki of professional backstabbing via an e-mail blast. His heritage as the son of Benihana founder Rocky Aoki is a constant source of critical fodder, not to mention a splashy, multi-page exposé on the Aoki family (including his model/actress sister, Devon) in New York magazine a few years ago. He's even being sued by a blogger that goes by "The Arab Parrot" for allegedly stage-diving onto his head at the HARD New Year's Eve party--twice.

All the while, his high-energy DJ sets, which border on full-on performances given Aoki’s penchant for rock-star moves like head-banging and the aforementioned stage-diving, attract larger and larger crowds of party people amped on his bombastic blend of underground electro hits and social celebrity. Add photographer Mark “Cobrasnake” Hunter and any number of Aoki’s extended family of cool-kid friends, and the resulting scene is like nightlife crack to his growing legion of neon-clad fans.

I spoke to a jet-lagged Aoki on a crackling cell phone somewhere in Nova Scotia, Canada, a few days before his Pillowface mix officially hit stores. His haters will be bummed to know that through it all, he’s still having the time of his life. And with the potential mass-market popularity of his mix CD, the rocket ride might just be getting started.

Pillowface and the Airplane Chronicles has been finished for months now. How does it feel to finally have it in stores?
I’m so happy. We just had a bunch of retail meetings, and I’m so impressed at how many huge chains are picking it up. It’s so hard to sell CDs now, given the downfall of the music industry. I’ve been running Dim Mak for 10 years, and the mom-and-pop shops have always been my bread and butter. But to ship thousands of CDs to stores like Best Buy and Target for those kids that don’t have access points besides online is so cool.

Are you still happy with the mix?
I love how it came out, from the artwork to working with all of the great artists that guest on it. This mix to me is more of an introduction to a lot of the kids that have just found electro. There has always been a gap between the culture of DJs like Paul Oakenfold and Tiesto to the culture of electro. It’s like two different worlds. It’s an exciting time, with what acts like Justice and MSTRKRFT have been producing. I picked the most obvious and popular tracks on purpose. Having people like Amanda Blank and Naeem from Spank Rock rapping over “We Are Rockstars” is a pretty cool concept if you ask me.

Why do you think your Cinespace Tuesday parties are still so popular after almost four years?
I think it’s just the consistency of quality. We’ve always had great artists come play, and we maintain strong relationships. We got to a point where it became the global satellite for many of the new international acts that want to play L.A. for their first time. It’s been a great home for our scene. The scene has changed a lot, though. Those changes come from the artists, though, like Justice. Those guys are the image of what this culture is right now. Without them, there wouldn’t have been as much of a change.

So for you, it always comes back to the music
Absolutely. But the sound has changed. Three or four years ago, we were more excited to have someone like Nick Zinner of the Yeah Yeah Yeahs and Carlos D of Interpol come DJ. I’m sure that in a couple of years, it’ll evolve from where it is now.

Do you have any response to the recent diatribe Franki Chan issued about you in his IHEARTCOMIX e-mail blast?
No, I don’t. It doesn’t really affect me. People are going to have their opinions. I have no reason to backlash or talk negatively on him or what he’s doing. I don’t care to put the energy or time into something like that.

People seem to really enjoy hating on you. Does it ever get to you?
It used to affect me. But for the most part, the stuff would be untrue. It’s easier for people to assume that rumors and gossip are true when you don’t know the person they’re about. I’m not trying to put myself anywhere near her fame, but it’s a lot like how the press treats Britney Spears. You read in Us Weekly that she has mental illness or whatever, when maybe she just had a really bad day. What can you do? I just want to continue doing the work I’m doing with the label, clothing line and DJing.


Pictures of you DJing with Lindsay Lohan are all over the Internet. Have her skills improved due to your coaching?
Her main job is not being a DJ, so it’s not really relevant. But the most important thing about anyone playing records at a party is what songs they choose. To me, Lindsay has some of the most eclectic tastes out of anyone I know. She’d be a great DJ if she really wanted to be.

What advice can you give to aspiring superstar DJs who want to do what you do?
Have fun. I’m serious--just enjoy what you’re doing. After that, the rest is just icing on the cake.

I'm on fire. Literally

Oh, laborious. How you tortured me so. The last true party weekend of the season decides to do double duty as the hottest weekend of the year, too. Would that stop me from making my appointed rounds? But of course not, my sexy friends.

Sunday night brought the big Chromatics show at the Echo. Way more people are into these Portland art-rockers than I realized. Maybe it was our DJ buddies at Part Time Punks pulling the crowd. Either way, by the time Ruth and the boys hit the stage, there were a lot of people queued up to watch them play.

Staying true to the monotonic ice hipstress persona she’s cultivated on Chromatics recordings, Ruth (that's her in the picture) stood stock still the entire time. Dressed in a purple dress, black belt and stilettos, she would occasionally sway from side to side and maybe stare blankly at someone in the crowd. But that’s it. The band (guitar, bass, drums—what, no synth player?), faithfully cranked out the tunes, with “In The City” and “Hands in the Dark (Dark Day)” standing as their strongest numbers (you can find both on the awesome “After Dark” compilation, released on the equally sweet Italians Do It Better label).

Jessie was not feeling it at all. "Infuriating" was the word she used.

"Performing is like sex," she fumed. "It's her responsibility to give the audience something more. She's supposed to fuck them back."

The crowd, on the other hand, ate it up. I definitely enjoyed a sizable taste of my own. On the way out, I eagerly snapped up a copy of a special limited edition 12-inch of “In The City.” Getting it home, I was so excited to discover that it comes with an a cappella version, a killer minimal remix that’s borderline ghetto, and then, the piece de resistance: A deadpan cover of Springsteen’s 1985 single “I’m on Fire.” The perfect soundtrack for the hottest weekend I’ve ever had to endure in L.A. Keep burnin', y'all.

Deerhunter don’t want to hurt you

Indie’s most controversial new heroes only want to have some fun

When it comes to the Atlanta band Deerhunter, there’s precious little sentiment left to express, positive or negative, that hasn’t already been heaped on their narrow little shoulders. Christened by fans and critics alike as one of the most important new acts in years, Deerhunter is just as passionately derided as a shock-fueled sham, with sheep-like hipsters on their team only because it’s the cool thing to do.

A listen to their most recent releases, including full-length “Cryptograms” and the “Fluorescent Grey” EP would bear out the band’s champions. Dense, sprawling, and overrun with more ideas than many band’s come up with their entire careers, both discs are loaded with raw, visceral songs that work double-time to maintain an equal balance of chaos and beauty.

But it’s the band’s live shows that have made them the talk of the American indie scene. When I caught them open up for the Ponys at a packed Echo club earlier this year, I saw something I hadn’t seen in a very long time: an audience genuinely shocked by what they were seeing.

When they took the stage, Deerhunter’s imposing frontman Bradford Cox appeared wearing a flowered housedress and a massive, spidery black wig that looked like an exaggerated take on Patti Smith’s haircut from the cover of “Horses.” The music was nothing short of a maelstrom; a whipping whirlwind of layered drones and Cox’s reverberated incantations. The Patti Smith wig seemed apt, as I could easily imagine this band playing a set between her and say, Television at CBGB’s in 1977.

With Deerhunter headlining this year’s most impressive Fuck Yeah Fest line-up, it was imperative that I get with Mr. Cox for the truth behind one of the year’s most provocative contenders.

The most recent news out of the Deerhunter camp is the story of you and guitarist Lockett Pundt getting robbed at gunpoint outside of a show at Atlanta club Lenny’s. Is it that bad of an area, or were you guys just in the wrong place at the wrong time?
It was wrong place, wrong time. It is a bad part of Atlanta, but the club Lenny’s itself is not unsafe, and ever since the robbery they’ve had cops patrolling every single night. I don’t blame the club. The show was sold out, and we had to park far away.

Does Deerhunter stand out in the Atlanta music scene, or do you have other kindred spirit bands to run around with?
We run around with the Black Lips, make out with them and stuff.

Your live shows have become quite notorious. What’s your inspiration to get onstage every night?
Someone like Patti Smith. A lot of times it’s just personal stuff that I dredge up. It’s like when I go bowling with Lockett, which we do every Sunday night. Before we bowl, I’ll think of something that really hurts my feelings. It gets me all emotional, and I’ll usually throw a strike.

It’s funny that you mention Patti Smith. When I saw you at the Echo, the wig you had on reminded me of her.
That wig was my Patti Smith homage. I’ve stopped wearing the dresses and wigs, though. I want to see if people are still interested in seeing me perform just as myself.

What inspired you to wear the dresses and wigs in the first place?
It was just fun. I’ve always worn dresses, ever since I was a little boy. I just like how tall, awkward boys look in dresses. Plus one of my best friends Kristen and I would go shopping for the dresses, and it was just a fun thing to do with her. It wasn’t about shocking people or anything.

What surprised me was just how shocked that Echo audience was by your show
It’s really funny how easy it is to shock people. I think it’s overestimated how much joy I get from it, though. It’s not my life’s work to be a freak, you know?

That must be a powerful feeling though
It can be. I’m usually thinking too much about myself to notice. I mean that in a self-critical sense. I’m so absorbed in my own mental drama to see the crowd. I love the audience, and I love meeting them afterwards. I even like the people that hate us. They help make it fun, too.

I hear from lots of your fans that it took them awhile to “get” your music. Do you feel like Deerhunter is difficult?
I think it’s easy to not get us. I don’t try to make it that way. People think we’re going for one thing, when actually we’re going for something else. Plus what I’m going for changes all the time. We’re an ADD-type band, with so much happening at once. I can understand why people can have a hard time with it. People like things that are easier to digest.

How would you characterize Deerhunter’s sound?
I think it’s pop music.

What is it that you’re going for that you feel people are missing?
The pop element. The friendliness and fun of it. We’re not trying to be pretentious rock star dickheads. We’re just awkward kids. I’m not shy, but the other guys are. But they’re cute, and I’m kind of not, so it’s weird. If the cuties weren’t so shy, we’d be mega-taking shit over. I’m totally just kidding, by the way. It kind of keeps us in check.

It does sound like you’re getting into prettier, more melodic music
We’re doing more covers, and I’ve started to do DJ mixes, just to show people better where we’re coming from.

What do you play when you DJ?
The Everly Brothers, old doo-wop records. It gives people more of an idea of…

Yes?
Oh, sorry. I’m playing online poker while I talk to you.

Are you good at it?
Oh, yeah. I just made bank a few minutes ago.

Do you win real money?
I have before, but I had to stop because I had an addiction. I get addicted to things really easily. You win a few times, and it’s hard to stop.

Are you a big internet person?
Yeah, I am now, ever since Deerhunter became my full-time job. After the first big tour behind “Cryptograms,” my job was like “We love you to death, but it’s time that you move on.” I just wasn’t around enough. I worked at a graphic design firm. I’m a designer. I’m really proud of the packaging (of “Cryptograms”). It was done with my friend Susan Archie. I just did all of the art for the Atlas Sound record (Cox’s solo side project). It should come out early next year. I’ve put together a band and we’re going to tour behind it.

I was just going to ask you about Atlas Sound. How did that come about, and how is it different than Deerhunter?
Atlas Sound has been going on forever. I love Deerhunter. It’s my pride and joy, and it pays my rent. But like, I have a different way of approaching bass lines or beats or whatever, so with Atlas Sound I get to do more of a hybrid, with ambient electronics next to some 1960s garage pop. It’s an opportunity for me to be more schizophrenic in my songwriting, and to have fun with recording techniques.

What are your impressions of L.A.?
I love Los Angeles. I’ve been out there a lot lately, working on a project with a friend.

Is it something you can talk about?
Not really. I can say that I’ve been helping my friend out on a film score, but that’s all I can say.

How would you characterize the typical Deerhunter fan?
It goes without saying, awesome people! Awesome, sweet kids looking for something that a little scarier than someone like the Arcade Fire.

I’d never heard of Marfan Syndrome (characterized by elongated limbs and cardiovascular issues), which you were diagnosed with as a child. Is it rare?
It’s not rare at all. Lots of people have it. I have it pretty severely, though.

Is it something you deal with on your own, or do you talk to other people that have it?
Since it’s come out that I have it, lots of fans have come up to tell me that they found out they had it because of me. This one kid emailed me to say that after reading about me, both he and his dad got tested and they both had it. So that kind of thing has been pretty gratifying. Joey Ramone had it, too.

Is it difficult to live with?
It hurts your self-esteem. I look pretty ugly because of it. There are heart issues, too. I don’t feel sorry for myself.

There have got to be plenty of people that find you attractive
I’ve never met them. Maybe someday, you know? There are people attracted to the conceptual me, the character. But the way I am onstage is not how I am in real life. I’m definitely not a sociopath sitting around my house in a dress jerking off to child porn.

Close Encounters of the Disco Kind

The Daft Punk show at the Los Angeles Sports Arena on 7/21/07 was quite possibly the greatest concert event of my life. For once, words fail me. Kind of like everything awesome you could possibly think of all happening at once? All hail the kings of robot disco. Simply amazing...

The Polyphonic Spree, The Fragile Army (Warner Bros.)

Texas big love cult is still guided by voices
Up to 27 members strong, the sprawling collective known as the Polyphonic Spree has blazed a singular path through the recent musical landscape. Emerging from the ashes of Tripping Daisy in Dallas, Texas, the band was formed by singer/conceptualist Tim DeLaughter and his wife, Julie Doyle. Outfitted in matching robes, the large symphonic sound produced by so many people on stage (including a 10-person choir) turned them into concert favorites, attracting hordes of fans to their "Up With People" perspective. But the band's unorthodoxy has also been a hindrance, from the impracticality of touring to accusations of contrivance.

For their third full-length release, DeLaughter and company face the reality of the modern world with their brightly-colored robes replaced by matching black uniforms emblazoned with hearts and crosses. The Fragile Army finds the Polyphonic Spree still preaching the power of the positive ("Running Away"), set to grand, orchestral productions that recall the Fifth Dimension if they'd been produced by Electric Light Orchestra's Jeff Lynne. They pull out a few new tricks, like the clunky disco of "Mental Cabaret," which plays like the Go! Team covering the Brady Bunch's "Sunshine Day."

At times reminiscent of an even more zealous Flaming Lips (thanks to DeLaughter's yelping voice and vocal inflections similar to the Lips' Wayne Coyne), grandiose productions like "Guaranteed Nitelite" bring the album to an emotional peak before down-shifting into the minimal electro swing of "Light To Follow." It gets even more interesting with the urgent piano crescendos of "Watch Us Explode (Justify)," and the Bowie-esque emoting of "Overblow Your Nest."

Ending the album on the galloping exuberance of "The Championship" keeps the Polyphonic Spree's M.O. intact: Big productions, big ideas, big sounds, and big big love.

Subject: Georgia, First Day of Summer, 2007, Los Angeles, CA

"This is the most fun I've ever had in a museum. It's even better than the time I fell asleep in the Louvre."

Subject: Jack White, The Last Day of Spring, 2007, Los Angeles, CA

"Let's hear it for non-disposable music."

White Stripes, Icky Thump (Warner Bros.)

5-star effort reinvents classic rock with an eye on the masses
Over five albums, Detroit duo the White Stripes have maintained a doggedly traditional stance, mining dusty Americana influences to inspire their cathartic garage-rock blues. With each successive release both more experimental and popular than the one previous, Jack and Meg White have been able to explore a myriad of styles while building an enviable position in the rapidly imploding music industry. By staying true to their original minimalist model, the Stripes have not-so-quietly become one of the (if not the) biggest bands in the world.

With their sixth full-length album, the White Stripes are going for the gold, crafting an explosive collection of classic rock that plays like it's still 1975 and they're in heavy rotation between Led Zeppelin and the Allman Brothers. The title cut opens the show like AC/DC reimagining Led Zeppelin II as done by Iron Butterfly, with Jack spitting some of his most caustic and socially conscious lyrics yet.

"Conquest" retools the Patti Page standard into a horn-blasted mariachi jam that recalls the energy of "Fell in Love with a Girl" and results in one of the album's giddiest moments. "Little Cream Soda" rocks with a similar proto-metal crunch as "Thump," with Jack's stream of consciousness ranting battling his massive distortion-saturated guitar riffs for space in the maelstrom. Meg's fans are acknowledged with her vocalizing on the spoken-word free-for-all "St. Andrew (This Battle Is in the Air)" and some campy call-and-response bantering with Jack on the raucous "Rag & Bone."

Jack's time in the more straightforward Raconteurs shows up on "You Don't Know What Love Is (You Just Do As You're Told)," which is among the most pedestrian tracks he's ever penned for the Stripes. But there seems to be a method to his madness, with songs like these feeling ready-made for more mainstream outlets than the Stripes have yet to tread, like modern country radio.

With the White Stripes' career still on a stratospheric trajectory, the cleaner production and potentially more wide-reaching songwriting of Icky Thump could be a watershed moment for the band, taking them from critical and hipster darlings to the latest addition to the rock icon canon—if it hasn't already happened.

The Long Blondes, Someone to Drive You Home (Rough Trade)

Stylish U.K. post-punks revive Brit-pop with girl-powered cautionary tales

Many of rock's finest moments result from a perfect balance of style and substance. Acts like David Bowie, the Clash and the Pretenders all made classic music that looked as influential as it sounded. U.K. upstarts the Long Blondes aim to carry that torch, coupling muscular but melodic post-punk guitar tunes recalling the best of ’90s Brit-pop with an impeccable sense of style.

Much of the band's stylistic leanings come courtesy of singer Kate Jackson (pictured), who's become a major British fashion icon over the past couple of years. She also happens to write girl-powered wordplays that sound like Pulp if Jarvis Cocker was a beret-wearing babe preaching cautionary tales to those barreling towards the pain and frustrations of womanhood.

While the band—Dorian Cox (guitars), Emma Chaplin (keyboards), Reenie Hollis (bass) and Screech (drums)—bashes out hard-charging pop that sounds like a toughed-up take on The Smiths' six-string majesty, Jackson warns her constituency about unrequited love ("Lust in the Movies"), objects of affection trapped in boring relationships ("Giddy Stratospheres") and being the reluctant but willing other woman for double-timing lotharios ("You Could Have Both"), all in a world-weary, husky croon akin to Chrissie Hynde's wounded tough chick stance.

In Jackson's worldview (via lyrics mostly written by Cox), it's a hard road for twentysomething females in the modern world. Times are so tough that even other ladies are cause for concern, as she bemoans during "In the Company of Women": "In the company of women, that's when I start to worry/What has she got, that I might not?"

The Long Blondes may not arrive with the same hype-heavy buzz of many of their contemporaries, but with an album as strong and effective as Someone to Drive You Home, it's only a matter of time before they leave a lot of the competition in the dust. And look fabulous doing it.

Subject #6: Elise

"Why, do I look young?"

Subject #4: Laura

"I bought my mom jeans in Lawrence, Kansas."

Subject #3: Ellei

"I'm originally from Boston."

Subject #2: Hip-Hop Mo$$

"I was bright as fuck."

Subject #1: Hilary

"I hope to own my own showroom someday."

Hot Chip, DJ Kicks (!K7)

Who: Wildly popular UK electro-poppers eschew their keyboards and drum machines to play DJ on the latest installment of this veritable mix institution.

What: The band selects a quirky collection of spacey underground gems (Grovesnor's "Nitemoves") and perennial party jams (Young Leek's "Jiggle It").

Made for: Dance-crazy indie kids decked out in day-glo in search of exciting new ways to get their shake on; Hot Chip fans ready to dig deeper into their heroes' influences.

Battles, Mirrored (Warp)

Who: Respected math-rock super-group add vocals to their chop-heavy mix of industrialized guitar histrionics.

What: A man-machine hybrid of Krautrock precision powered by the muscle of hardcore with robot vocals and a degree in computer programming. Amazing, and a little bit scary.

Made for: The younger siblings of Tool fans looking for their own heroes; rock stalwarts hungry for bands that can really play; sci-fi freaks who wish Daft Punk played guitars.

Miracle Fortress, Five Roses (Secret City)

Who: Montreal's Graham Van Pelt explores the furthest reaches of post-pop paradise, invoking influences ranging from My Bloody Valentine to Animal Collective.

What: Dreamy and luxurious landscapes of meticulously crafted bedroom symphonies that would make Brian Wilson proud.

Made for: Pop heads still obsessed with Wilson's Smile album in need of an update; anyone that misses the music Seth Cohen moped around to on The O.C.

(Originally published on Metromix.com)

Au Revoir Simone, The Bird of Music (Our Secret Record Company)

Dream-pop girl group revel in the beauty of sadness

On The Bird of Music, the three willowy women that comprise Brooklyn synth-pop trio Au Revoir Simone conjure a dreamy, quixotic sound reminiscent of the melancholy ambiance of Sofia Coppola's directorial debut The Virgin Suicides. Coppola's hazy, romantic vision of the 1970s was scored with a quirky cross-section of the decade's most melodically morose hits, like 10cc's "I'm Not in Love," alongside the swirling, synthesized sounds of French duo Air. Au Revoir Simone's Heather D'Angelo, Erika Forster and Annie Hart use only three keyboards and a beat-box, and write wistful, delicate songs rich with a similar nostalgia and heartbreak.

They like mixing moods, with the album opening on the downbeat but hopeful "The Lucky One," featuring child-like vocal harmonies invocative of the Carpenters singing with the Polyphonic Spree. "Sad Song" juxtaposes an uplifting, bouncy rhythm reminiscent of Stereolab against teary-eyed lines like "Play me a sad song/because that's what I want to hear/I want you to make me cry."

The ladies' quiet, comforting voices almost drown in the oceans of thick analog waves and cascading pianos that ebb and flow through "A Violent Yet Flammable World." They crank up the BPMs with a jumpy new wave tempo on the celebratory skip of "Night Majestic," before closing with the string-laden grandeur of "The Way to There."

The Bird of Music is a cinematic collection of mood-driven tone poems for your own real-life soundtrack, with Au Revoir Simone serving as the house band whenever you feel like checking out and indulging in just how good sadness can feel (and sound). With or without Coppola behind the camera.

(Originally published on Metromix.com)

Patrick Wolf, The Magic Position (Low Altitude)

Star-kissed prodigy catches the spirit and goes for the heart

The Magic Position is the work of an artist as touching as he is touched.

Blessed with prodigious artistic talents that belie his relative youth and life experience, Patrick Wolf does the touching here. But Wolf's blessings can also be a curse, as in the way that his flamboyant tendencies and musical predilections made him a target for schoolyard bullies as a kid.

Now 23, the U.K.–born Wolf has channeled those feelings of frustration and the need to love and be loved into his third full-length album, The Magic Position, a brilliantly conceived collection of little epics, each an earnest poem dedicated to the freedom to fly your inner freak flag as high as possible. When he sings, "And I know how you've hurt/Been dragged through the dirt/But come on/Get back up/It's time to live," over a sea of soaring violins during the album's title song, it's obviously a personal observation.

His intense, dramatic vocals are an ideal foil for the sprawling nature of his songs, coming across like the overachieving lovechild of Morrissey and ambient pioneer David Sylvian. Juxtaposing symphonic grandeur with subtle electronic flourishes, Wolf creates a singular sound that's both intimate and cinematic.

Show-stopping ballads like the piano-powered "Magpies" showcase Wolf's passionate delivery against the time-hewn rasp of the legendary Marianne Faithfull, whose presence brings a substantial weight to the proceedings. From dreamy torch songs of new love ("Enchanted") to bass-heavy dance-floor anthems of heartbreak ("Bluebells"), this promising young artist is proud to wear his heart on his sleeve and sing of the joy and pain that heart has to endure.

(Originally published on Metromix.com)

New Music Tuesday: Maximo Park, Our Earthly Pleasures (Warp)

With a majority of their contemporaries suffering from varying degrees of sophomore slumping, Our Earthly Pleasures is Maxïmo Park's chance to make a move for pole position in the scene. And they've come prepared with a not-so-secret weapon: singer Paul Smith, who delivers wry witticisms in a dramatic rolling brogue that bring his band's urgent bursts of angularity to life.

Coming across like a hopped-up Jarvis Cocker channeling Morrissey, Smith's singular persona lifted the band's debut album, A Certain Trigger, above the increasingly crowded fray of the U.K.'s twitchy, guitar-driven indie bands. Best exemplified on songs like "Apply Some Pressure," Maxïmo Park's idiosyncratic charisma and left-field song arrangements showed much promise.

Replacing A Certain Trigger producer Paul Epworth (Bloc Party, the Futureheads) with studio vet Gil Norton (best known for his work on the Pixies' legendary Doolittle album), Maxïmo Park's characteristic quirkiness has been refined to a more straightforward, guitar-rock gloss. Smith still sings about the volatile chemistry between girls and boys in his own inimitable style, tossing off lines like "Last night did we go too far/is that why your nose is bleeding?" (from "Nosebleed") with casual aplomb.

They still have a way with melody and manipulating whiplash tempo changes, but their approach is much more mature and controlled. That works swimmingly both on upbeat rockers like "Girls Who Play Guitars" and the melancholy "Books From Boxes," which plays like R.E.M. covering the Smiths.

While the album starts to lose a little steam towards the end, Our Earthly Pleasures has already made a distinctive point. Its ambitions reach far beyond the casual indie fan looking for easily digestible hits, and for that alone should be applauded. The fact that they pull off a couple of surefire hits anyway makes it even more laudable.

(originally published at Metromix.com)

Incoming: St. Vincent & John Vanderslice at Largo, Thursday May 10

Annie Clark comes from a mob background. As a member of two sprawling collectives (Polyphonic Spree and Sufjan Stevens’ touring band), she’s been a lone voice amid large ensemble casts. But when Clark transforms into St. Vincent, she sheds the multicolored robes and cheerleader outfits of those other acts to step forward and reveal her own lovely persona, and it’s quite a sight to behold. Her debut, Marry Me (on Beggars Banquet, due in July), is rife with gorgeous arrangements that invoke similarly expansive artists such as Kate Bush and Tori Amos at their most inspired, all performed with an uplifting, childlike glee. She supports John Vanderslice, late of ’90s alt-rockers MK Ultra, who has forged a stellar live rep with his clever troubadour tendencies, four-tracked daydreams and wry wordplay. Bill Gates, beware...

(Originally published in the LA Weekly, 5/07)

New Music Tuesday: Feist, The Reminder

Plugged-in Canadian sensation Feist captivated the indie scene's collective heart with her debut album Let It Be. Balancing her inherent offbeat sensibilities (she is a member of quirky post-pop outfit Broken Social Scene after all) with an ear for engaging melodies and intimate but worldly wordplay, Feist sent anticipation for her follow-up soaring. Now, with The Reminder, she delivers 2007's best bid so far for break-out success.

The album's 13 songs effortlessly blur genres and invoke a panorama of moods. The countrified roadhouse stomp of "I Feel It All" celebrates hard-earned emotional freedom and possibility, while her digitized take on 1939 folk traditional "Sealion" transforms the song into a gospel-tinged rave-up of hand claps and fuzzy guitars.

Feist's clear, strong vibrato—used to devastating effect on stark, heartbroken ballad "The Park"—holds it all together. When she revels in nostalgia and innocence lost, as on "1234," the song sounds like a birthday party at Burt Bacharach's house. Feist even delves into Joanna Newsome territory on the expansive and dramatic "Honey Honey" (and, yes, it does feature a harp).

Newsome, Aimee Mann, Fiona Apple, Imogen Heap, even Bjork—these are all artists that Feist is likely to be compared to in feeble attempts to encapsulate the breadth of her talents and this latest work. But no amount of hyperbole can truly capture the essence of what makes Feist's music such a singular expression.

On the quietly forlorn album closer "How My Heart Behaves," the sound of a single bird chirping in the distance is barely audible as the song fades out, providing the most apt metaphor for The Reminder yet.

(Originally published on Metromix.com)

ROLLING WITH BIG BOY PT. 1

“ ‘If you fucking niggers got any problems with us, we’ll be sitting right over there.’ ” Big Boy, DJ of Power 106 FM’s wildly popular Big Boy’s Neighborhood morning show, is in the station’s lounge, recalling words directed his way back in the early ’90s, when he was the Pharcyde’s bodyguard.
The rap group and road crew were on the outskirts of Dayton, Ohio. “It was such a small, rural area that when you called room service in the hotel, they just connected you to Denny’s next door.” So a few of the posse went to the Denny’s, which was where they received the local welcome. “I had never been called ‘nigger’ to my face like that in my life. We couldn’t believe it.” Big Boy shakes his head ruefully. “They were these little dudes too! So my man Seal and I went to tell Suave, the tour manager, what the deal was. We put on our boots and went back to confront them in the parking lot. Man, we beat the shit outta them cats. Then we all ran back to the bus and broke out of the city. We were like spooks in the night, peeking out of the tour-bus windows, flying down the freeway.”

It’s been a scenic drive from Big Boy’s Illinois birthplace to this modest Burbank office building, where a virtual sitcom cast of characters throngs the premises. There’s Big Boy himself; by now, we’re used to seeing the much smaller frame he’s maintained since losing almost 300 pounds. There’s DJ Jeff Garcia, broadcasting the daily “old-school” hip-hop mix at noon with afternoon jock Yesi Ortiz. There’s comely Stacey Stace, beloved by men across L.A. for her bikini-clad pose on a recent Power 106 billboard. And there’s Jason, whom you might know as one of the hosts of Wilmer Valderrama’s oddly fascinating competitive trash-talking reality show, Yo Momma. Jason has just outed Big Boy on the air as the previously uncredited narrative voice of that program, while proudly announcing that its initial ratings were the highest for an MTV series in years, even besting the 2003 premiere of Punk’d, hosted by Valderrama’s fellow That ’70s Show star Ashton Kutcher.

Big Boy just rolls his eyes. “People really watch that mess?” he says, laughing.

Big Boy was born in Chicago; when he was 2, his family relocated to Culver City, where as a teen he deejayed local parties. He made friends, among them fledgling rap outfit the Pharcyde, who would give him his first real taste of life in the music industry.

“Those were some cool cats. They weren’t the dangerous group to be on the road with,” Big Boy remembers of the irreverent rappers, whose first two albums, Bizarre Ride II the Pharcyde and Labcabincalifornia, are now indie hip-hop classics. “I grew up with no money and never traveled,” he says. “I got my first passport because of the Pharcyde. It’s funny, because when I first got the call to do radio, I almost turned it down out of loyalty to the band. But then I started to realize that my success hinged on their success. They’d have to be eating well for me just to eat. So it made sense to strike out on my own and seize the opportunity. Besides, once they started dissing each other, I got the hell outta there,” he adds, laughing, in reference to the group’s highly publicized fracture. “But it’s mostly good memories with the Pharcyde. Mostly.”

It would be another key friendship — and the pursuit of free food — that would lead Big Boy to his next gig in 1994. “The Baka Boys, who were on the air at Power 106 at the time, were good friends of mine,” he says of the DJ duo, now on the Miami airwaves. “I was never really interested in radio. I listened to it growing up, but it wasn’t a daily part of my life. One Memorial Day, the Baka Boys, who were also known as the ‘Two Fat Mexicans,’ and I had an itinerary of barbecues we were planning to hit over the course of the day. They were plus-sized guys, and I was around 470 pounds at the time. They were like, ‘We have to stop at our boss’s house,’ and I didn’t want to go. I thought it was going to be an uptight white family with a picket fence. We got there, and it was a white family with a picket fence, but they were cool. I got a call about a week later from the owner of the house, Rick Cummings [then the program director of Power 106]. He asked if I ever thought about doing radio, and offered me a spot one night for $35 an hour. At that point, I was so broke I would’ve done KKK radio for some cash!”

Suddenly, we’re interrupted as a large Latino dude sticks his head in to see if Big Boy wants something to eat. He’s toting a cardboard box filled with a diabetic’s nightmare of sugary and salty treats, but the first thing you notice is the script tattooed across his forehead: “I slept with Shaq.”

Fans of Big Boy’s Neighborhood will recognize him as Tattoo, whose initial notoriety began back in 2000, when he had the dubious statement permanently etched just under his hairline to win Lakers playoff tickets. The stunt earned him a regular spot on the show, where his habit of losing on-air bets has earned him further questionable inkage, such as a rendering of Lindsay Lohan’s face over his heart. Today, Tattoo’s just lost a wager with the morning show’s primary pinup girl and voice of estrogen, Luscious Liz, regarding Tupac’s friendship with Tony Danza. Now he’s scheduled for a tattoo of Danza’s face and the line “Who’s the Boss?” on his back. He makes a Burger King run while Big Boy continues to explain his career trajectory.