Electric City Presents
Buck 65, Busdriver
PL, Negro Scoe
Kansas City, MO, 64111
This event is 21 and over
Watch & Listen
If you travel along the Number 1 highway (two lanes) in Nova Scotia, you'll pass through a town called Mt. Uniacke. As you enter the town, you'll see a sign that reads, "Home Of Buck 65". Buck 65 is the code name of one Ricardo Terfry. He used to wander the dirt roads of Mt. Uniacke wearing an Adidas one-piece wrestling outfit. He thought it gave him hip hop credibility, but he was wrong.
He started DJing and rapping at the same time, when he was approximately 13 years of age. In 1990, he shared his work with the public for the first time. Since then, he has released more than 20 full-length albums and all kinds of EPs, singles and whatnot. He has also scored a handful of films (including one x-rated feature). He has recorded with Tortoise (post-rock muscular geniuses), Gonzales (the world's greatest living musician), Sage Francis (indie hip hop overlord), Olivia Ruiz (kind of a big deal in France) and god-knows-who-else. Name an important festival or event and there's a good 70% chance he's played it.
The latest addition to Buck 65's awe-inspiring oeuvre is an album called 20 Odd Years. It features guest appearances by Gord Downie, Nick Thorburn, Jenn Grant, Hannah Georgas, Emily Wells, Marie-Pierrie Arthur and more.
20 Odd Years is probably the most beautiful hip hop album ever made.
On the tenuous fringes of what can be deemed rap there lies the reviled LA maverick, Busdriver. Who for years has been wowing unsuspecting audiences with his patented visceral onslaught of rants, rhyming and displaced musical sensibility. Whether sitting-in with unlikely cohorts such as; Islands, Daedelus, Z-Trip, TTC, Boom-Bip, 2mex etc., or plowing throw his enthralling solo sets, there is a distinct brand of showmanship employed and at least a handful of concert-goers who are maladjusted enough to submit to the shear unadulterated thrill ensued. Unrelenting touring and the willingness to embrace the transient nature of the road gives way to the title of his 5th solo album and Anti/Epitaph debut, RoadKillOvercoat. When asked what has been the personal impact of his modern-day troubadour lifestyle, BD states, I lament that I have become a serial-dater and that I now gauge my interest in people depending on how likely it is that I can coheres them into buying my merch.
Coming into the fold of the Project Blowed crew in the early 90s, BD was groomed early to be the die-hard stalwart for the post-Freestyle Fellowship/Goodlife approach. A torchbearer, if you will, for the likes of unsung heroes of the LA underground hip-hop scene. His first record, Memoirs of the Elephantman, was self-released and peddled hand-to-hand on CDRs in 1999. It wasnt until his second official title in 2002, Temporary Forever, that he garnered some nationwide attention and began carving his niche as a noteworthy freestyler and zany rap phenom.
The acclaim from his seminal sophomore release landed him a series of deals with the genre-blurring, tastemaker label Mush(US) and the underground hip-hop branch of Ninja Tune, Big Dada(UK). The Weather(Mush), in 2003, was the boundary-defying collaboration between fellow LA beatnik rambler Radioinactive and producer Daedelus, who is fawned over by IDM enthusiasts and reclusive music pundits alike. This lead to the Daddy Kev produced Cosmic Cleavage(Big Dada) in 2004, which touched on BDs qualms with heartbreak and the ins and outs of courting fickle, cutesy 20-somethings.
Only since Fear of a Black Tangent(Mush) in 2005, has BD solidified his place in the pantheon of undie rap do-gooders and indie music in general. The record playfully highlights BDs disdain for the prematurely plateaued career that he must lug here and fro, yet spares the listener of any bitter self-pity.
And just when things couldnt get any more fun, BD completes his most stellar effort to date, RoadKillOvercoat(Anti/Epitaph). Genres are toyed with, ravaged and masterfully exploited all in the context of BDs signature style, irreverence and sarcasm. The production, handled by Nobody (Ubiquity, Plug Research) and Boom-Bip (Lex), boasts a depth and bombast that has only been hinted at in previous BD releases.
All this being said, it is clear that BD is on the verge of breaking through another stratum of visibility. Get it while its hot.
The Riot Room
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