Adam 'MCA' Yauch of the Beastie Boys (1964-2012)

Photo: Flickr User: Michael Morel

“I’ve got more rhymes than I’ve got grey hairs / And that’s a lot because I’ve got my share”

With lyrics like these, it’s obvious that Adam ‘MCA’ Yauch was no ordinary rapper. Self-aware, self-deprecating and acutely witty to the last, he was the creative heart of the Beastie Boys and his death, at the age of 47, will be felt throughout the music scene, from hip hop to punk and beyond.

At the time of MCA’s death, the band were reportedly planning a return to their roots in the form of a full-band punk tour, making the news so much more of a shock when it emerged earlier this weekend. Not that it was completely out of the blue – Yauch’s health had been a matter for concern ever since he was diagnosed with cancer of the salivary gland back in 2009.

A true musical pioneer, Adam Nathaniel Yauch co-founded the Beastie Boys in New York in 1981 with Adam ‘Adrock’ Horovitz and Michael ‘Mike D’ Diamond. Originally a hardcore punk act, the band spanned the genres as the years went on, famously supporting Madonna on tour in 1985 and being banned from the UK in 1986 for provoking the trend for stealing VW badges from cars and wearing them as oversized necklaces.

True pioneers of both white boy rap and rap rock, without Yauch and the Beasties we quite possibly wouldn’t have Rage Against the MachineEminem or Linkin Park. MCA’s deep gravelly voice was integral to the band’s sound, providing a perfect counterpoint to the nasally tones of Mike D and Adrock.

Beyond music, Yauch was a committed activist with many causes to shout about, from environmentalism (the band appeared at the 2008 Live Earth concert) to non-violence. He even went public with his views on peace in the Middle East during the band’s 1998 VMA awards acceptance speech and the Dalai Lama paid tribute to Yauch upon hearing the news of his death: 

Adam had helped us raise awareness on the plight of the Tibetan people by organizing various freedom Tibet concerts and he will be remembered by his holiness and the Tibetan people.

For many, the Beasties were the first hip hop act to reflect this left-wing liberal sensibility. From the late 90s onwards, they railed against bigotry in all its forms, proving that rap music doesn’t have to be all about self-aggrandisement and blatant machismo.

To read the rest of this article on Virgin Red Room, click here.

The Cribs - In The Belly of the Brazen BullIt would be fair to say that The Cribs’ Ryan Jarman has had a fairly tough time of late. Ending his high-profile relationship with singer songwriter Kate Nash, as well as his musical alliance with The Smiths‘ former guitarist Johnny Marr left him in something of a dark place. In an interview with the NME earlier this year, he admitted to periods of self-loathing and depression, but claims that this is now behind him due to the excitement of releasing his fifth studio album, backed as usual by his brothers Gary and Ross.

‘In The Belly Of The Brazen Bull’ is the result of this period of introspection and Dave Fridmann is the latest name in The Cribs’ revolving roster of producers (The Flaming Lips,WeezerMogwai). In terms of progression this record seems like a step back towards the band’s earlier work as a trio, with standout tracks ‘Chi Town’ and ‘Come On, Be A No-One’ both offering seriously catchy hooks and snarling punk vocals. Those expecting a barrage of riffs and singalongs in the vein of 2007′s ‘Men’s Needs, Women’s Needs, Whatever’ will be disappointed, however.

‘Glitters Like Gold’ is a hard-hitting and direct opener, but the laborious ‘Jaded Youth’ and the cumbersome ‘Uptight’ fail to keep up the tempo. Indeed, the band’s style remains distinctly coloured by their hit-and-miss collaboration with Marr on 2009′s ‘Ignore The Ignorant’.

What’s more, there is a noticeable leaning towards the most abstract soundscapes of Sonic Youth, no doubt influenced by their brief dalliance with Lee Ranaldo on their six-minute epic ‘Be Safe’, which featured on ‘Men’s Needs…’ and was their most ambitious recording to date. That is until you hear the last track on this new album…

To read the rest of this review on Virgin Red Room, click here.

Frank Turner singing liveIt takes a pretty prolific songwriter to turn out four albums in six years and still have enough left in the tank to record two twenty-track compilations. But not only has Frank Turner managed this, he has done so with style and aplomb, especially on this, his second collection of live tracks, b-sides, covers and rarities.

‘The Second Three Years’ crams together the non-album tracks from his 2010 ‘Rock n Roll’ EP, the special edition bonus tracks from last year’s ‘England Keep My Bones’ LP, as well as a broad selection of punk, folk and pop covers; from Wham to Nirvana, and from NOFX to Take That.

This compilation is an essential purchase for any serious Frank fan, but it also works suitably well as a far-reaching introduction to one of England’s greatest songwriting talents. Right from the opening acapella verse of ‘Sailor’s Boots’, Turner’s voice is enthralling; by turns gentle and powerful, intimate and abrasive.

There’s also plenty of evidence of how his music has developed and matured…

To read the rest of this review on Virgin Red Room, click here.

Live at The Bowery, New Oxford Street, London (18/11/2010)

It’s not often that you go to a gig and come out raving about all three bands on the bill. But it seems like many people will have come away from the Bowery on Thursday night with a sense that they had discovered at least one excellent new band.

Lonely The Brave began the night in epic sweeping fashion, with reverb vocals and resounding riffs aplenty. Their Pearl Jam-meets-30 Seconds to Mars stylings definitely deserve a bigger venue.

Sam Nicholls: Scholar

Scholars were a different proposition altogether, with front man Sam Nicholls launching himself into a frankly petrified crowd and screaming every word as if his life depended on it. Once the audience had got over the initial shock, the charm of Scholars’ energetic pop-punk took hold, with a fair share of heads bobbing and toes tapping by the end of the half hour set.

Heading the bill were Kick Up The Fire, who were celebrating the launch of their self-titled mini-album. Lead singer Kenny Wastell cut an apologetic figure, and made it clear that the audience shouldn’t expect similar levels of lunacy to their predecessors.

Kick Up The Fire are one of those bands that worm their way into your head, they may not sound jaw-dropping at first, but after a couple of listens their alt-rock tunes really sink their teeth in and refuse to let go. It’s easy to see why Rock Sound said that their mini-album is “a record for which the repeat button seems custom-designed”.

Kick Up The Fire: Springsteen Fans

Covering every contemporary hot potato from lecherous politicians (No Hotel Room) to hypocritical religions (The Never-Ever Ending Story) in half an hour left the audience baying for more and KUTF duly obliged. The decision to repeat the two-minute anti-corporate sing-along No Fun In London instead of trying something more risky was ill-judged, however, and took some of the gloss off an otherwise flawless performance. There’s nothing wrong with leaving an audience wanting more, especially if you’ve yet to write a mediocre song.

Wastell confessed that he is currently a “fresher granddad” at age 29, but this can clearly be used to their advantage, as the fresh-faced girls in the front-row (presumably actual freshers) seemed like a pre-made street team. If they can fulfil their potential on a full-length album, there seems no reason why Kick Up The Fire can’t take 2011 by storm.

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