Arts & Entertainment

Review: Albums

Amy Correia Carnival Love Capitol C- “”Carnival Love”” sounds a little like one of Lilith Fair’s smaller stage acts revisited. Amy Correia’s poetic, fresh lyrics are perhaps the only saving grace in this selection of otherwise static boardwalk songs. She establishes a somber carnival atmosphere on the opening track, “”Angels Collide.”” Hawaiian guitars and Correia’s half-sober voice provide a folksy feel to many of the tracks, especially “”He Drives It,”” a humorous take on unrequited love. A couple of exceptions — the more upbeat “”Daydream Car”” and “”The Bike”” — flirt with pop potential. Otherwise, the album rarely rises above the tone of a slightly flustered little girl. — Charlene Perez The Wallflowers (Breach) Interscope B+ The Wallflowers are back into their comfortable, sulky rock style. As the follow-up to 1996’s “”Bringing Down the Horse,”” the new album stays true to the mellow movement that made the band famous; there are no new tricks. In Wallflower fashion, laid-back guitars play second string to Jakob Dylan’s soft voice, and the band’s good-tempered alternative sound plays second string to Dylan’s somber lyrics. In “”Hand Me Down,”” Dylan sounds like the frustrated son of a demanding father — almost certainly a song directed at his real-life, rock icon father. “”I’ve Been Delivered”” offers the album’s first sign of optimism, even though a majority of its lyrics play to a dark atmosphere. Dylan humbly sings his dreary lyrics over a backdrop of sympathetic guitars throughout the album, but, in its own bleak way, his musical expression is resolved and satisfying. — Charlene Perez ...

Bang, Sizzle, Stomp!

What an amazing show! Call me easily entertained, but I never would have thought it could be so fun to watch a group of people hit a variety of household items together to make music. The original beats and rhythms of each person, done together, produced such a unique form of song. It was great to witness the interactions of the performers, each holding his own character, which developed throughout the show. The assortment of items used as instruments made the show fun and appealing, while the dancing, incorporated with the making of the music, made it impossible to look away. I was interested and astounded from one set to another at the skill it takes to do what those performers do. The show was amusing just to watch from the sides, but it was made even more entertaining by audience interaction. Led by one of the performers, the crowd clapped, snapped and stomped along during parts of the show. It was a nice little sample of what hard work it must actually be to dance on stage and hit a bunch of noise-making items at just the right times to fit in with the beat. I appreciated the show so much more when my arms and hands cramped up after 10 minutes of snapping along. The show was a breathtaking success. Because of its surplus of cleverness and creativity, it’s one I wouldn’t mind seeing again. ...

Review: Concert

“”Don’t let money change ya!”” proclaimed Blackalicious at their show on Nov. 20 at Canes in Mission Beach. True to their word, they have not. Blackalicious released their EP in 1999 and followed up with their full-length album “”Nia”” in 2000. In the early 1990s, Blackalicious helped to establish the underground hip-hop scene in San Francisco and, even today, continue to stay true to their origin. Known for their funky beats and lyric-induced imagery, Blackalicious are notorious for keeping the crowd perpetually moving and hyped up. Their lyrical skills, fresh originality and interaction with the audience made this show quite possibly the best hip-hop show all year. Blackalicious’ “”Nia”” really struck a chord in the underground with its true hip-hop flavor. Gift of Gab, the group’s forefront lyricist, along with producer DJ Chief Xcel, have been creating some of the most innovative, personal and witty lyrics and beats since they started out in 1994. Gift of Gab’s talent is stupendous and is not fully graspable until seen in the flesh. Gift of Gab performed the infamous song “”A to G”” from the new album and finished off with “”Alphabet Aerobics.”” These songs consist of a plethora of alliterations and tongue twisters. In addition, the beat gets faster with each consecutive letter so that the lyrics get so swift that they seemingly trip over themselves. However, Gab maintains his breath and pronunciation, though the crowd has to take a deep breath after this performance. His variety in pitch and meter is very distinctive, and matched with Xcel’s vintage beats and sampling from the ’70s and ’80s makes a divine combination. How Gab manages to go from a robotic monotone to a syrupy flow to a ghetto drawl with each song remains a mystery based in his endless talent and repertoire. Gab is not the only one with shining talent. Gab’s partner MC, Lateef, has a lyrical style influenced by dancehall. He gave a stunning performance, and his energy in managing the crowd never seemed to cease. His style of rapping and singing compliments and contrasts with Gab’s. Another highlight of the show was Erinn Anova, whose soulful and powerful voice weaves through the songs and gives emotional punch to their choruses. This trio of innovators never disappoints its audiences. The performances of “”Deception”” and “”You Didn’t Know That Though”” show off the inventiveness of the group’s lyrics and beats, which are influenced by tribal sounds and synthesized instruments. The driving rhythms of these songs, along with sing-song choruses, got the members of the crowd involved and bobbing their heads. Gab and Lateef even did a flow over the beats from the legendary Roger & Zapp. As a contrast to the other beat-heavy songs, “”Shallow Days”” and “”If I May”” are contemplative pieces that flow like storytelling. These lyrics are smart and personal narratives that keep the crowd interested and emotionally connected. The show was 18 and up, a rare occurrence in San Diego. Because most people 21 and older argue that an 18 and up age requirement makes for an annoying show, it was a surprise that the crowd was more excited and conscious of the music than any pretentious and self-conscious group of young hipsters. Breakdancing circles formed, and kids were practically on top of each other to be near the front. It was exciting to have San Diego host a group such as Blackalicious. If you don’t have their old album or their “”Quannum Projects”” album, or you haven’t heard them yet, wake up and give them a listen. Their music is honest and original, not overproduced like much of what crowds the airwaves today. — Chako Suzuki ...

The Hiatus Calendar

Thursday The performers of Lower Left will use mud, water and their sense of brutal sincerity for their performance and dance act at Sushi Performance & Visual Art in San Diego. There will be strong language and nudity. The show will run through Dec. 3 and again from Dec. 8 to Dec. 10. Call (619) 235-8468 for more information. Check out “”Gynomite: Fearless Feminist Porn!”” at Dizzy’s in downtown San Diego. Eight intelligent and sexy women will tell their stories about sex. The event starts at 8 p.m. and there is a $5 cover charge. Call (858) 270-7467 for more information. Check out some of the best in indie rock at the Che Cafe on the UCSD campus just east of the Theatre District. Songs: Ohio will headline and will be supported by Damien Jurado, Paris TX and Kind of Like Spitting. The show begins at 8 p.m. and tickets are $6. Call (858) 534-2311 for more information. Friday Digital Underground will perform at the Belly Up Tavern. The show starts at 9 p.m. and tickets are $15. Call the Belly Up at (858) 481-8140 for more information. Saturday Ska-Punk? Punk-Ska? Take your pick when the Aquabats perform at Canes Bar & Grill. The show kicks off at 7 p.m. and tickets cost $12. Call Canes form ore information at (858) 488-9690. The incredible voice of Dave Wakeling which once led the English Beat and General Public can be heard at the Belly Up Tavern. The show starts a 9 p.m. Call (619) 220-TIXS for more information. ...

Beatlemania Returns to Theaters

We all know being a rock star is tough. Even before VH-1 dared to go “”Behind the Music,”” director Richard Lester took a light-hearted approach to the rockumentary when he made a movie about four young lads from Liverpool trying to survive the fast-paced road to stardom. Part comedy, part adventure, and part musical, “”A Hard Day’s Night”” captures John, Paul, George and Ringo in the midst of Beatlemania. It was 1964 when movie houses packed with screaming teenage fans first showed this classic Beatle film. The Fab Four had just invaded America and the question troubling every young girl was: Which one is cuter, John or Paul? The soundtrack, which features “”Can’t Buy Me Love,”” “”I’m Happy Just to Dance With You,”” and of course “”A Hard Day’s Night,”” was often drowned out by the uncontrollable wailing of devoted fans. Thirty-six years later, Miramax Films will re-release a fully restored version of “”A Hard Day’s Night,”” just in time for Christmas. The re-release of “”A Hard Day’s Night”” was originally planned for September of 1999 but was pushed back because of the August 1999 re-release of another Beatle movie, “”Yellow Submarine.”” It was then slated to hit theaters in October 2000, but Miramax pushed the release date back once again to coincide with release of other Beatle merchandise, such as the new “”Beatles 1″” compilation album and the Beatles Anthology book. “”A Hard Day’s Night”” will finally hit theaters Dec. 1 in New York and Los Angeles, and then Dec. 8 nationwide. As the sons and daughters of baby boomers, many of us have heard stories about the first time our parents saw “”A Hard Day’s Night.”” It is hard to believe that those doe-eyed, pre-teen Beatlemaniacs who have been preserved for posterity on old footage of the Ed Sullivan Show actually grew up to invest in mutual funds and retirement pensions. But if you have ever wondered what became of those screaming Beatle fans, they probably became your parents. So what better way to spend quality time with them this holiday season then by showing them you’re hip to their kind of music? OK, perhaps that is a bad idea, considering taking your mom to see “”A Hard Day’s Night”” might unleash some very unwelcome nostalgia trips. However, the chance to see this award-winning piece of pop culture in the theaters should not be passed up. This glimpse into history shows rock ‘n’ roll when it was still innocent, and gives insight into that all-important question: Who is your favorite Beatle? ...

Celebrating the Holidays South of the Border

With the holiday season approaching, it is important to realize that not all cultures ring in the new year by decorating a dead tree and leaving milk and cookies for an overweight burglar in a red jumpsuit. In fact, our neighbors just south of the border have a very different way of celebrating Christmas and the new year. While Christmas in the United States is generally celebrated on Dec. 25, the Mexican holiday celebration stretches from Dec. 16 to Jan. 6. It is not uncommon for many Mexicans to take the two weeks before Christmas off of work or school in order to spend more time with family and friends and to celebrate the holiday, according to http://www.mexonline.com. The Posadas are one of the best-known holiday traditions in Mexico. There is one held each night for the nine nights prior to Christmas Eve. While the literal translation of “”posada”” is “”home,”” “”shelter”” or “”inn,”” the Posadas are dramatized re-enactments of Saint Joseph and the Virgin Mary’s search for a place to stay and give birth to the baby Jesus. In older celebrations of the Posadas, a young boy and girl were chosen to represent the two biblical figures. In modern celebrations, groups of people walk around with candles. They visit three houses and ask for a place to stay by singing a traditional question-and-response song. The first two houses deny them access, while the third house welcomes the group inside for festivities. When the group is finally welcomed into the third house, it gathers around a manger scene and offers songs of welcome called Ave Marias. While the more religious celebrators of the Posadas may pray when the third house lets them in, the event has evolved into a party. The festivities usually include refreshments and dancing. The adults are served a thick punch that usually contains a little alcohol to keep out the cold. Often, the party also includes a pinata, which is very popular among children. The pinata is filled with candy and toys, and is usually hung from a tree. The celebration is said to have originated in 1587, according to the Internet system of the presidency of Mexico, located online at http://world.presidencia.gob.mx. According to the Web site, it was then that Friar Diego de Soria obtained a Papal Bull from Pope Sixtus V to celebrate “”Aguinaldo,”” the Christmas gift Masses that ran from Dec. 16 through Dec. 24 in what was New Spain. The Masses, which were held in the church atriums and designed to convert patrons before Christmas, were filled with scenes that alluded to Christmas. The Augustinian missionaries used fireworks, sparklers, Christmas carols and pinatas to attract crowds. These festive celebrations evolved into the modern celebration. The ritual is continued until Christmas Eve, when another verse is added to the Ave Marias that tells the Virgin Mary that the night has come to give birth to baby Jesus. The children are dressed as shepherds and stand beside the nativity scene while members of the company kneel and sing. The ritual is concluded by rocking the baby Jesus to sleep with the cradle song “”El Rorro,”” which means “”Babe in Arms.”” After the last of the Posadas, worshippers go to church to attend the “”Misa de Gallo”” or the “”Mass of the Rooster.”” This is the first Mass of Christmas Day and is traditionally celebrated with fireworks, ringing bells and blowing whistles to announce the birth of Jesus. The Mass is followed by a large dinner of traditional Mexican foods, including tamales, rice, rellenos, atole (a sweet traditional drink) and medudo, which is said to be more sobering than a strong cup of coffee. Celebration of the holiday on Christmas Day itself also differs from the American celebration. While Americans traditionally celebrate the day with a Christmas tree and presents, Mexicans usually do not do anything special on Dec. 25. However, recent trends have Mexicans integrating the American celebration of Christmas trees and Santa Claus into their traditional celebrations. In Mexican tradition, presents are not distributed until Jan. 6, the Dia de Reyes, which means the “”Day of the Kings.”” This day, also called the Epiphany, is supposed to coincide with the twelfth night of Christmas. This is the day on which it is believed the three wise men brought gifts to Jesus. ...

Review: Albums

Guru’s Jazzmatazz “”Streetsoul”” MCA Records C- Quite a few years back, Anheuser-Busch mounted a huge ad campaign in an attempt to promote responsible drinking. The centerpiece of its campaign was a brilliant slogan that ultimately became embedded in America’s collective national consciousness. It went something like this: “”Know when to say when.”” Now, I must admit I do not know whether this product of marketing genius was effective for its intended purpose. In any case, I believe that this phrase should be taken to heart by all, and it should not be exclusively applied to responsible alcohol consumption. It should also be directed toward the continuous, inexcusable production of potentially great — but ultimately mediocre — hip-hop recordings. Guru’s latest Jazzmatazz endeavor is an excellent example of this sad trend. Let’s be brutally honest for a minute. Everyone knows that Guru has never been a very good MC, but for some reason many people seem hesitant to admit it. Why is that? What do people think they owe him? It is well past time for this shameful facade to end. MCing is a continuously evolving art form, and few can argue that Guru merely has not kept up with the times. For the most part, Guru’s lyrics these days are inane and uninspired, and his flow is often nonexistent. His trademark deadpan voice used to be novel, but now it’s just annoying. He is exceedingly arrogant regarding his so-called “”skills”” on the mic, although in most cases it is painfully obvious that if he didn’t have Premiere backing him up, he never would have blown up in the first place. This is not to discredit him entirely, of course. As a part of Gang Starr, Guru has made a significant contibution to hip-hop as a whole, but that’s because Gang Starr was a formulaic success that focused and relied mainly on Premiere’s beats and production. Mr. “”Gifted Unlimited Rhymes Universal”” may have been somewhat lyrically impressive on “”Words I Manifest,”” but he hasn’t progressed much since then. All of this might sound too harsh, but it’s readily apparent. Just consider your favorite Gang Starr tracks from past albums. Odds are, they’re the cuts with the special guests who shined while Guru did his best to avoid ruining the whole damn thing. Now, to Guru’s credit, it should be noted that his first Jazzmatazz album was certainly innovative, groundbreaking and relatively well-done. It spawned a number of commercially successful singles, while stretching rap, R&B and jazz in whole new directions. The problem is that Guru hasn’t been able to follow it up, because he’s been too busy promoting himself on the two subsequent Jazzmatazz albums, this one included. On “”Jazzmatazz Vol. 1,”” his vocals seemed to blend almost seamlessly with the guest artist contributions, and more often than not, his vocals were appropriate to the song’s subject. This is not the case any more. Lately, Guru’s incessant demand for respect seems to be sabotaging his art, with every other verse or skit on Streetsoul talking about how great he is, whether it’s a would-be revolutionary anthem like “”Lift Your Fist”” (featuring the Roots) or a supposed seductive love ballad like “”Night Vision”” (with Isaac Hayes). Simply put, his self-aggrandizing rhymes ruin almost every collaboration on this album — especially the ones that would have been definite hits if he just toned it down a little. Maybe that’s why I’ve been so hard on Guru here; it’s just too disappointing to hear so many collaborations with respected artists like the Roots, Isaac Hayes and Herbie Hancock go down the toilet thanks to Guru’s insipid vocals. The potential was there, and there are a few bright spots on this album, but for the most part, this album is a huge letdown. Friends shouldn’t let friends pick this one up. — Sky Frostenson PJ Harvey “”Stories From The City, Stories From The Sea”” Island Records A PJ Harvey recently moved to New York and then she wrote an album about it. “”Stories from the City, Stories From the Sea,”” Harvey’s latest release on Island Records is littered with references to the Manhattan skyline. Against the backdrop of “”The Empire State Building,”” Harvey traces a love affair that blooms “”on a rooftop in Brooklyn,”” and then wilts on the album’s mournful last track. “”Stories”” is one of those albums you have to listen to from start to finish. It is like a novel and it tells a story. The album begins with Harvey longing for “”a different land”” in “”Big Exit.”” Harvey and her mysterious companion discover New York with wide-eyed wonderment and fearless enthusiasm, like two tourists who just got a hotel room overlooking Central Park. But their love does not last forever. After the glitter of New York fades, Harvey and her lover go their separate ways as the album concludes with “”Horses in My Dreams”” and finally “”We Float.”” Musically, “”Stories”” is more accessible than past PJ Harvey albums. In the past, Harvey’s sense of melody could have been hard to take in. However, “”Stories”” offers a mix of experimental melodies as well as tunes that will have you singing along in your car. The optimistic “”Good Fortune”” sounds oddly reminiscent of Liz Phair’s “”Exile in Guyville,”” while “”This Mess We’re In,”” on which Radiohead’s Thom Yorke adds vocals, is classic Harvey. Harvey has created an amazing album that has the depth of great literature and the drama of a good movie. “”Stories from the City, Stories from the Sea”” is enough to make you want to hop on a plane and go find New York for yourself. — Lindsay Boyd ...

The Hiatus Calendar

Thursday Jazz act Return to One will perform at Galoka on La Jolla Boulevard. You can expect to hear original tunes as well as some John Coltrane, Wayne Shorter and more. The show begins at 9 p.m. and the cover is $5. Call (858) 551-8610 for more information. Etta James is in the Rock ‘n’ Roll Hall of Fame, and in 1994 she won a jazz Grammy and the W.C. Handy award. However, mere awards do not convey the amount of energy she exudes. James will perform at the Belly Up Tavern. Tickets are $35 and the show starts at 9 p.m. Call Ticketmaster at (619) 220-8497. Friday San Francisco blues guitarist Tommy Castro will perform at 4th & B. The show starts at 8 p.m. To buy tickets call Ticketmaster at (619) 220-8497. UCSD alumnus and San Diego native Chris Klich will announce the release of his CD “”The First Take”” with a show at Dizzy’s. The album features Klich on the clarinet, alto and tenor sax as well as the flute. The show starts at 8:30 p.m. and tickets cost $4. Call (858) 270-7467 for more information. Regina Carter has redefined the image of what a violin can do. Carter will bring her blend of jazz, funk, African and Brazilian music to the UCSD Mandeville Auditorium. She has performed with Wynton Marsalis, Lauryn Hill, Billy Joel and Dolly Parton. Tickets cost $20 and the show begins at 7:30 p.m. To buy tickets call the UCSD Box Office at (858) 534-TIXS. Saturday Indie rockers Karate will perform at the Che Cafe at 8 p.m. Tickets cost $6. For more information call (858) 534-2311. There was one song on the radio all the time by Common Sense. Little did you know that their mix of reggae, rock, funk and soul adds up to more than just one radio hit. They will perform in the Belly Up Tavern at 9:15 p.m. Tickets cost $10 and can be purchased through Ticketmaster by calling (619) 220-8497. Sunday Alternative rock band Flaming Lips will perform at 4th & B. Tickets cost $16.50 and the show starts at 8:30 p.m. For ticket information call Ticketmaster at (619) 220-8497. You cannot miss a show by a band that calls itself Midget Handjob. They will perform at the Casbah. Tickets cost $8 and the show starts at 8:30 p.m. Call Ticketmaster at (619) 220-8497 to buy tickets. Pop punk rockers No Use for a Name will perform at the Mira Mesa Epicentre. The show begins and 7 p.m. Call for ticket information at (858) 271-4000. Monday If you know country music or even pop music, for that matter, you know the magic of the Dixie Chicks, who will perform at the Cox Arena. Tickets will be sold through Ticketmaster outlets or you can call Ticketmaster at (619) 220-8497. Wednesday Start your Thanksgiving with a bit of jazz. Dizzy’s will host a Thanksgiving Eve Jazz Fest featuring Peter Sprague, Chris Thiele, Sean and Sarah Watkins, and Kevin Hennessy. Show times are at 8:30 p.m. and 10:30 p.m. Tickets cost $8. For more information call (858) 270-7467. The Offspring are often criticized for being mainstream, but you’ve got to admit that they have catchy tunes. They will perform at the Cox Arena at 8 p.m. SX-10, Cypress Hill and MxPx will open the show. For ticket information call (619) 220-TIXS. ...

Get More Than Just Blockbusters for Your Buck

In the constant search for the unique and wonderful, look no further than Blockbuster Video’s “”Pre-Viewed”” movie section. With a little time and a little money, you can invest in your own movie collection, with a surprising selection of low-cost gems. In this section, you’ll find hundreds of titles from every movie genre. The idea is pretty simple: The store gets multiple copies of a video when it is a new release, the title moves over to another shelf when it is no longer a new release, and they sell the rest off, which means a good buy for you. The first thing to keep in mind with any bargain hunt is that you must be willing to invest some time in looking. You are liable to find the prospect somewhat daunting, so here’s a breakdown of the pricing. All movies for sale are priced according to how recently they were released and their general popularity. So the older and lesser-known films are the best deals here. To find movies good for when you are extremely bored or stoned, you can browse the $2.99 section. Be forewarned that most of these are movies that no one has ever heard of. But considering their current sale, which offers $2 off any previously viewed movie, this option is tantalizing. We’ll start at the low end. For $3.33, I found “”Corporate Fantasy,”” a 1999 ultra-soft-core porn, the kind that only a family video store would carry. It was so lame that not even the Fox network would show it. If not for its shits-and-giggles value, this movie would never leave the store. Moving up to $5 movies, there is a dynamic improvement in the quality of movies available. From a 1995 MTV series comes “”AEon Flux,”” a futuristic cartoon sci-fi with a lot of sexual overtones. AEon Flux is an agent for the fictional, communist country of Bregna and she has a love/hate/kill relationship with Trevor Goodchild, an opposing nation’s leader. Goodchild is incredibly evil and that turns Flux on and pisses her off, so her goal is to kill him or sleep with him. Most know this show for the mega-gore factor and the surreal twists that completely lose you. It’s definitely a cult classic in the making. Other notable titles include “”Drop Dead Gorgeous,”” “”The Corndog Man,”” “”Titanic”” (shudder), and “”Welcome To Woop Woop.”” The last title is directed by Stephan Elliot, the same guy who made “”The Adventures of Priscilla, Queen of the Desert.”” “”Welcome to Woop Woop”” is a bizarre contribution to the arts from Down Under. It’s the twisted tale of a New York con artist on the lam in Australia, where he wakes up to find that the hitchhiker he picked up is now his teen-age wife and that her beer-guzzling psycho father is the ruler of a town that no one is allowed to leave. It’s something like “”The Addams Family””-meets-Australia on acid. A must for the quirky — it’s odd, but funny, and your friends will think you are some kind of freak for owning movies like this. Also recommended is Martin Scorsese’s latest and strangest, “”Bringing Out The Dead.”” It tracks two days in the life of burnt-out paramedic Frank Pierce and his descent into madness and subsequent redemption. It is a very dark and gritty movie and it doesn’t always manage to make sense. The plot has a couple of ambulance-sized holes, but Pierce’s bizarre partners and his attempts at getting fired keep things interesting. Basically, Pierce can’t get past the memories of people he could not save. This film is in the middle of the price range, listing at $7. Finally, we have the full-priced videos at $14. These are the must-haves, the classics that will not be going down in price, or the movies that you just want now. Two oustanding selections in this group are “”Dune,”” a sci-fi epic, and “”Drowing Mona.”” The latter is a hysterical comedy about dismemberment, semi-accidental death, and covering your ass. Bette Midler gets killed off and everyone in town is a suspect, including her husband and son. Packed with famous faces, you may want to wait for this movie to drop in price. ...

big mouth strikes again

The Word of Mouth Tour was definitely more “”word of mouth”” this year than last year. If you’re not familiar with it, it is a hip-hop tour with an underground aesthetic — one for people who love the music and the art of hip-hop. CHAKO SUZUKI/ Guardian Performing live were MC Supernatural, the Beat Junkies, Dilated Peoples, Cut Chemist, DJ Nu-Mark and Jurassic 5, who were headlining. It was amazing to see how large the turnout was for the two scheduled shows on Nov. 8 and Nov. 9 at the Belly Up Tavern. Compared to last summer’s Word Of Mouth Tour at 4th & B, the house was packed. It seems that Jurassic 5 and Dilated Peoples have rounded up a more diverse fan base since appearing on popular music video channels. The Beat Junkies kicked off the show with feats of turntablism, followed by Cut Chemist and DJ Nu-Mark, who did a set before introducing Supernatural, who has an impressive talent for freestyling and getting audience participation. His skills for coming up with lyrics on the fly were extraordinary, especially since he asked for words from the audience for his rap “”Three Words”” and ended up with words like “”philharmonic,”” which are not easy to freestyle with. CHAKO SUZUKI/ Guardian In another song, he took items from the audience’s hands and added them into the rhyme — random objects such as condoms, Tic Tacs and Advil. His other impressive feat was his right-on impersonations of famous MCs. Every time he turned his back to the audience, he would impersonate Biggie, Xhibit, Wu-Tang or Busta Rhymes. Last year, Supernatural blessed the stage in the Price Center with completely different impersonations. In part of the song, Supernatural enacted a duet between himself and Biggie and astounded the audience with how well he could impersonate him. Supernatural’s performance and energy were amazing. He came back in the end for a rap intro of all the performers in the tour. The up-and-coming hip-hop duo from Los Angeles, Dilated Peoples, took the stage next. The group consists of Iriscience, Evidence and DJ Babu from the Beat Junkies. Their sound is a bit aggressive and their beats are driving and lucid. During the summer they released their debut album, titled “”The Platform,”” and released the single “”Triple Optics”” on the “”Funky Precedent”” compilation, which included groups such as Jurassic 5. They amped the crowd with the performance of “”Triple Optics”” and their single “”Work the Angles.”” Dilated Peoples were able to maintain their underground sensibilities — therefore, much of the crowd was not familiar with their talent. However, the duo kept the audience’s heads bobbing with its dynamism, constant movement and overwhelming confidence, which showed through in their lyrics. At the end of their set, Evidence broke a beer bottle over his head as a dare and actually ended up momentarily knocking himself out. When Jurassic 5 made their appearance, it was obvious whom the majority of the crowd had come to see. Half their set was from their self-titled EP and the other half was from their recently released album “”Quality Control.”” The single “”Quality Control”” made the crowd go wild. Surprisingly, their earlier singles, such as “”Jayou”” and “”Concrete Schoolyard”” left most of the crowd a little quiet. Jurassic 5 delivered the full flavor of their innovative and authentic sound that celebrates music, not money, which is refreshing after all the recent deliverances in hip-hop music. As usual, Jurassic 5 put on a charismatic performance with their organic sounds, harmonized choruses and their incorporation of different elements of hip-hop. In one part of the show, break dancers came out, and the show highlighted the talent of DJs Nu-Mark and Cut Chemist, whose extensive collection of rare grooves, instructional and hip-hop music drives Jurassic 5’s cutting-edge sound. DJ Nu-Mark amazed the crowd by playing the drum set, drum machine and the koto, a Japanese stringed instrument. As expected, Jurassic 5’s fresh sound, their lyrical talent and supreme beat makers made for an experience that will not be forgotten. The most disappointing part of the show was not the performance but the audience. The crowd came to 4th & B last year because it fully appreciated the artists, the music and the underground. This year’s fans did not come because they were hyped through popular media like MTV or BET. Dance circles formed, and the audience knew the lyrics and the members’ names when the microphone was pointed at it. At one point, Cut Chemist was telling the audience what songs he had just spun with Nu-Mark: “”The third song is from ‘Brand Nubian,’ which might be a little underground for some of you.”” This insult to the audience probably caused some pleasure for real fans. To get the crowd hyped up, members of Jurassic 5 did a little stage diving, which turned out dismal in the end. Some audience members ran up on stage to dive, and then one drunken and very large fan dove off the stage and landed on his neck. This ended the show a little sooner than it was supposed to end, with ambulances and rubber necking. Although the end was a big disappointment, there was no way the performers could disappoint. The Word of Mouth Tour gave insight to old fans and newbies into the way hip-hop is supposed to be and was a good vehicle for delivering the extraordinary talent and innovation of the performers. If you are looking for related events, check out these upcoming shows at the Belly Up: All events are 21 and over. DFH: Every Monday night. Disco, funk and hip-hop spun live for only $8 starting at 9 p.m. Etta James: Nov. 16 at 7:30 p.m. and Nov. 17 at 8 p.m. This legendary blues and R&B singer is making two comeback appearances for $35. Common Sense: Nov. 18 at 9:15 p.m. for $10. San Diego’s own ska, reggae and rock band. Poncho Sanchez: Playing Nov. 22 at 8:30 p.m. for $10. This is the world-famous Latin jazz bongo player. Do not miss! Goldfish: Nov. 25 at 9:15 p.m. for $7. San Diego’s premier funk band and party. Common: Nov. 29 at 9 p.m. for $20. Chicago native hip-hop MC, known for his extraordinary rhyming and story-telling skills. If you’re a fan of hip-hop, a must-see! Wailing Souls: Nov. 30 at 9 p.m. for $12. Well known reggae duo from Jamaica. Digital Underground: Dec. 1 at 9:15 p.m. for $15. Old-school hip-hop group that is bound to make you move. ...