100% of profit is donated to Tamms Year Ten Organization!
Kool A.D. (DAS RACIST)
Fat Tony, Tray & Puzzle, BBU, Stacks
2109 South State St
Chicago, IL, 60616
This event is all ages
Kool A.D. (DAS RACIST)
Kool A.D. grew up in San Francisco-- while this is a well-known fact, it's not one that's acknowledged particularly often. It's understandable considering Das Racist have become entrenched in N.Y.'s cultural milieu in so many different ways that their music has been embraced as something like a metaphor for a certain kind of lifestyle in the city. You can ascertain Victor Vazquez's Cali roots as a matter of relativity, being that Queens native Heems is more assertive as both a rapper and as a media presence. But otherwise, outside of calling himself the "second-best rapper with glasses after E-40," it's tough to pinpoint much influence even when you know it's there. All of which makes Kool A.D.'s second mixtape of 2012, 51, a surprise and a long time coming: Recorded entirely in Oakland with a heavy presence of Bay Area producers and rappers, it's a testament to his heretofore untested malleability, a new way to hear the old Kool A.D.-- something which the admirable, if loopy outré R&B of The Palm Wine Drinkard got only half right.
He takes every opportunity to enthusiastically serve as a tour guide ("Couple blocks from the sun dial/ Candlestick Park, south one mile/ Alameda, Walnut, St. Anthony"), drop slang, and rhyme over out-the-trunk 808s ("Ticky Ticky") and near-hyphy rhythms ("Manny Pacquiao") to let you know he's making himself at home again. Overall, though, 51 feels more like a comprehensive California thing, specifically mid-2000s Stones Throw in both sound and structure with the "for the love" generosity of recent E-40 tossed in. There's an intelligent stream-of-consciousness here, something along the lines of Madlib's work as Quasimoto or Guilty Simpson's overlooked OJ Simpson. To isolate a particular five-minute run, the typically dense "Donda" ("I'm so emotional like Thursday/ Cherchez anything/ So Diddy with it/ Looking for a check with like 50 digits") abruptly cuts to a Dylan sample ("Biz vs. Nudge") and then 15 seconds later, a screwed Young L production named after British art maven and media provocateur Damien Hirst where Kool A.D., Dope G, and MondreM.A.N. are outfitted with aluminum voiceboxes.
Fat Tony stands at the forefront of new generation of young rappers who get it themselves—a DIY hustler who's built his burgeoning career on a foundation equal parts smarts and swagger. The Houston MC owns the mike with a casual confidence, workmanlike in his delivery whether laidback or lyrical, embodying a new brand of enlightened Southern that's as likely to tip back some lean on your front porch as sit down and school you on Dadaism. Through his simmering solo work and boundary-busting collaborations with Das Racist and A$AP Rocky, among others, Fat Tony has already launched a legacy.
As a first-generation Nigerian-American raised in his city's historic Third Ward, heritage has always been important to Fat Tony. One of his earliest memories is of a parade of black cowboys riding down the local main street on MLK Day, blaring the good doctor's speeches over zydeco tracks. His childhood home was filled with records—King Sunny Adé and Jimmy Cliff from his father's collection, his mother's jazz and soul, Granny's gospel. He watched countless hours of music television as a kid, got his first drum kit at 8, and pummeled it to pieces shortly after seeing Nirvana on MTV.
Fat Tony became a key player in the Houston music scene as a young teen. Inspired by the independent spirits he looked up to—from the Ramones and the Germs to UGK and Slum Village—he began throwing
shows at local venues and friends' houses. He booked bands of all types from all over, hand-made flyers and mailed them to addresses nabbed from the student directory. Meanwhile, he toured regionally and
earned a rep as a fierce performer, eventually racking up three consecutive annual "Best Underground Hip-Hop" awards from the Houston Press while studying communications at the University of Houston.
In 2010, Fat Tony self-released his debut album, RABDARGAB, a sharply stylish set named after a local literacy campaign from his youth: "Read a book, do a report, get a buck." In keeping with the theme, he offered to send a dollar bill to anyone who listened to the record and wrote it up. (He wound up sending out $27.) Shortly thereafter, Das Racist reprised and rapped over the Murs-featuring "Luv it Mayne" for their Sit Down, Man mixtape, and legendary screw DJ OG RON C offered his "chopped up, not slopped up" version of the record, SCREWDARGAB, in 2011.
A veteran at 24, Fat Tony comes to Young One Records knowing the two most important principles of creativity: 1) no matter where his music takes him or what others may say, he alone is responsible for the quality of his work, and 2) in the man's own words, "It's good to be good." With that in mind, he has two full-lengths poised for 2012. First up is Double Dragon, a Cuban Linx-style rapper-producer pairing that finds Fat Tony's go-to beatmaker Tom Cruz sharing mike duties. Second will be Smart Ass Black Boy, which will no doubt be aptly named. -Christopher Martins
“Best New Musical Group” –..Chicago Reader
"BB Who?" […] might be even more energetic than its predecessor, driving ahead on militant percussion into its explosive cheerleader chorus.” –..Pitchfork.com
"On Thursday at the Studio at Webster Hall, Bin Laden Blowing Up [BBU], from Chicago, stomped through a set of quirky, quasi-political juke-house-influenced hip-hop." - ..NY TIMES..
“You're now officially grooving to a bona fide summer jam.” – ..Pitchfork.com..
"Chicago outfit BBU turns in one of the year's most criminally overlooked tracks. The group's name (it's short for Bin Laden Blowin' Up) might have something to do with this."– ..Washignton Post..
“BBU showcase a raw energy and caliber of originality and skill that hasn’t been seen since Chicago’s own Cool Kids, Lupe Fiasco, and dare-I-say, Kanye West.” – ..Pretty Much Amazing..
"More infectious than H1N1" – ..Time Out Chicago.
Reggies Rock Club
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Wed, September 24
Thu, September 25
Fri, September 26
Sat, September 27
Sat, September 27
Wed, October 1
Fri, October 3
Sat, October 4
Sun, October 5