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SAN FRANCISCO -- I went expecting a hip-hop show and got a Rush concert instead. Really. Don't believe me? I have two words for you: drum solo. Not sold yet? Here are two more: bass solo. The solo turns taken by
Unusual in that it, like, rocked. Literally. Sure, it was phat, dope, def and all that. But at a time when many hip-hop shows still consist of some half-talent mumbling into a microphone while surrounding himself with two handfuls of "associates," this show was a revelation. For between the DJ-less hip-hop funk of the Roots, the aggressive, soul-flavored rap of Goodie Mob, the lack of samples throughout the entire evening and the warm crowd reaction (given the relatively unknown opening acts), it was clear that this was not your father's rap concert. This became immediately apparent when I waltzed through the doors at 8:40 p.m. and discovered that I had missed a set from a local crew and Witchdoctor's opening set. This tour deserves respect not only for presenting innovative hip-hop but for simply starting on time. P.A. (which stands for Parental Advisory) played their blend of sample-free, Southern-fried hip-hop to a house that was probably three-quarters full and, initially at least, three-quarters interested. As their set progressed, though, more people warmed to the trio's organic sound; the number of arms in the air notably increased with each passing song. As DJ KP and rappers Big Reese and Mello (who is actually the biggest of the bunch) performed "Dope Stories" and "Po Hustlin," both of which appear on their forthcoming album, Straight No Chase, they showered the appreciative crowd with album samplers. By the time they got to "Like We Do," the album's infectious first single, the number of heads bobbing in appreciation of the group's sound was way above average for a group that, on a national level, has but one single out and an album not due until next month. Next up were the Roots, who kicked things off with an amazing human-beat-box duet between Scratch and Razhel. With Scratch taking on the treble and the scratching sound effects while Razhel manned the bass and the beats, the two came together to perform a solid intro song that set the energy level for the remainder of the set. When the remaining Roots members came on, they launched into a song from Things Fall Apart, their forthcoming album, following that up with energetic performances of such songs as "Proceed," "Mellow My Man" and "Push Up Your Lighter." Throughout, Razhel and Scratch handled the sounds that are usually the responsibility of a DJ, freeing up the group to play with the arrangements of songs by changing basslines and drum beats. The Roots closed their set with a rousing run-through of their "Hip-Hop 101" suite, playing live the samples made popular by such artists as Eric B and Rakim, the Sugarhill Gang, Lord Tariq and Peter Gunz, Jay-Z, De La Soul and Puff Daddy and the Family. The set then closed as it began, with Razhel and Scratch showcasing their awesome beat-box talents. The members of the Goodie Mob took to the stage singing "Free," the first song off their debut album, Soul Food. Backed by a live band and two female singers, the rough-edged, soul-flavored hip-hop of Khujo, Big Gipp, Cee-Lo and T-Mo was more aggressive than that of the Roots, but the two groups blended nicely due to their use of live instruments -- a choice that allowed for passionate expression of lyrics and music. The Goodie Mob had no choreographed dancing to speak of -- thank god -- but there was plenty of action. The group members remained in motion even while delivering the lyrics to slower songs like Still Standing's "They Don't Dance No Mo' " (RealAudio excerpt) and the title track to Soul Food. When they tackled the faster songs, the action on stage often looked like a blur of afros, camouflage, sweat and microphone stands. Unlike the Roots, the quartet did not stray far from the recorded versions of such songs as "Just About Over" (Real Audio excerpt) and "Cell Therapy," but the performances were so passionate that it hardly seemed to matter. As the show closed and the last of the stage-diving members of the group were pulled from the crowd, the audience cheered loudly and then seemed to catch its collective breath before heading toward the exits. Taking it all in, 21-year-old Greg Perry summed up what seemed to be the prevailing sentiment. "You could really feel the guitars and shit," he exclaimed. "That was fuckin' great!" "Damn," he continued after a moment of contemplation, "that just flat-out rocked!"
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