Buck 65, SakeOne
444 Jessie St
San Francisco, CA, 94103
This event is 21 and over
Wax Tailor makes music like a director conducts his actors. He conceives his album in the old fashion sense, where the narrative develops throughout the course of an album rather than a collection of singles. "A lot of albums nowadays seem go for big-name collaborations, and I think they lose their artistic integrity as a result.
The person behind Wax Tailor is Frenchman JC Le Saout. JC grew up with a passion for music and in particular hip-hop in the mid 80's. He references Run DMC's 'Raising Hell' as a landmark. In 1987, he went to England and started collecting 12"'s from a friend who was a DJ. Wax would then copy them to cassettes and loop them back home on a double decker to make his own beats, copying people like Coldcut or MARRS.
This lead to MC'ing at the beginning of the 90's, and JC started a hip-hop band called La Formule, which picked up a lot of heat in the independent circuit. The major labels came rushing in, but the band didn't want to subscribe to their formula. Instead they launched an independent label, Lab'Oratoire and in 2000 they really started to pick up production duties. JC was one of the MC's of La Formule, as well as their manager. As a producer, he branched into break beat and released a series of well received 'breaking the wave' 12" which lead him to start selling his music abroad.
In 2002, JC launched his project Wax Tailor with a different premise: "The more I was writing rap, the more I was made aware of the necessity to cast your lyrics just like a film directors chooses to cast a story. I had written a few raps based on what a gun would say, or what a prisoner sentenced to death would tell his wife in his last letter. I felt more and more as if I was a director or a scenario writer. This led me to approach the Wax Tailor project differently, referencing cinema in a more conscious way".
Drawing inspiration from DJ Shadow, A Tribe Called Quest, Hitchcock and Kubrick, Wax Tailor's brand of orchestral hip-hop became an instant success. Released on the small Under Cover label, his first album 'Tales Of The Forgotten Melodies' earned Wax Tailor praise all around and went to sell 25,000 copies in his home country and became Radio Nova's Album of the Year.
Successful licenses in North America (to Decon) and Australia (to Blend) grew his fame internationally, earning him an opening slot on RJD2's tour. His second album 'Hope & Sorrow' expands on the pop construction of his music and features neo soul empress Sharon Jones, spoken word extraordinaire Ursula Rucker, alongside regular guests such as Charlotte Savary, The Others or Marina Quaisse (all also perform live with him).
Hello. I'm Buck 65 and this is my bio
I was born with the name Ricardo Terfry. My dad started calling me Buck 65 the day I was born. I don't know why. That's the truth. A lot of stories have been made up about where the name comes from, some of them by me. I've lied about it. But "where does the name come from?" is a boring question. And the truth is, I don't even know myself.
I also get asked all the time, "how would you describe your sound?" I don't have a good answer for that either. I could say "hip hop", but a lot of people would disagree with that. Why would they? Well, best I can figure is that it's a very conservative genre and my take on it is very liberal, to say the least.
I've long argued that the roots of hip hop music go all the way back to folk and blues - even minstrel music that pre-dates the birth of both those genres (take a listen to a song called 'The Gypsy' by Emmett Miller to see where I'm coming from, for example). But I can understand how that could be seen as an unpopular and controversial idea. Also, I have a broad definition of the genre that includes a lot of records most others probably wouldn't include.
Hip hop (and especially the teachings and ideals of Afrika Bambaataa) is very important to what I do. But maybe in fairness, it should be seen as some kind of starting point for me. I write songs on a wide variety of topics - many of which are not common ones in hip hop, admittedly. When writing a song, considerations of hip hop or street credibility never cross my mind. That being the case, no point of view, emotion, or instrumentation is off-limits for me. If I find an idea, memory, or emotion interesting enough to want to write about it, I just try to turn that into music in as clear and honest a way as possible. There have been cases where that's meant being very un-macho and putting a banjo player to work (both decidedly anti-hip hop notions, generally speaking).
I don't think these ideas should make me special in any kind of way. But it seems that my path has taken me to a place I inhabit alone. This being the case, classification, understanding, and even finding an audience has been a challenge. But I don't do what I do for the sake of an audience. I don't make songs to make money or to become famous. I do this because I can't seem to help it. I've been doing this since I was a kid. For most of the years I've been doing this, I haven't had an audience. And I'll be doing this when I'm an old man (if I make it that far), even if there is no audience left. I can't explain what I get out of this (granted, making a living doing this is great and all...), but I know for sure that I need to do it.
So I guess what I'm saying is that I make music for myself. But if other people like it, that's wonderful and I appreciate the support and encouragement.
That's all. Buck