While the Plug One 50′s top 20 albums list is designed to be authoritative (or at least highly opinionated), the top 30 tracks list tends to be a mishmash of random favorites.

These are a few songs that caught my ear. Some were important singles; others were just “YouTube singles”; and still others were random MP3s. It was actually difficult to put together, not due to an abundance of choices, but because I usually pay attention to albums, not songs. I can’t promise that the situation will improve next year, and I’ll learn to remember the cuts that I liked, but shit, it would make this job a lot easier, wouldn’t it?

I decided to rank the top ten, if only to highlight the ones that truly stood out for me, and then alphabetized the rest.

1. Raekwon, “House of Flying Daggers”
Ice H20 Records/EMI

Raekwon caught everyone’s attention with this throwback to the glory days of Wu. Over a banging track from the late J Dilla — which, it should be noted, was reportedly commissioned before Dilla’s death — Rae, Inspectah Deck, Ghostface and Meth drop a bag of heat rocks, with GZA on the chorus. It let us know that the long-delayed Only Built 4 Cuban Linx… Pt II would actually be good.

2. Eminem, “Beautiful”
Interscope

Relapse should have sounded like this bittersweet single, not the drug-addled attempts to reclaim Slim Shady glory that made it such a disappointment. It proves that Eminem, when not sheltered by Jimmy Iovine and a nation of suburban Stans, is still capable of producing great records. Bonus points earned for “Beautiful’s” accompanying video, which paid elegiac tribute to Em’s native, broken-down Detroit.

3. The Roots, “How I Got Over”
Def Jam

“Out on the streets, where I grew up/First thing they teach you is not to give a fuck/That type of thinking will get you nowhere/Someone has to care.” Brilliant.

4. Cage, “Nothing Left to Say”
Definitive Jux

Cage’s official single, the serial killer fantasy “Depart From Me,” got the Shia LaBouef video treatment, but this teaser single made a bigger impression on me. It honors his late friend and rhyme partner Tero “Camu Tao” Smith, an underappreciated vet who died from cancer last year. (A few major blogs who shall remain nameless, unaware of Camu Tao’s talents, struggled to mount tributes.) Cage gives him the musical tribute he deserves, promising to “live through Camu” over smash-mouth guitars and a raucous El-P beat.

5. Hudson Mohawke, Polyfolk Dance EP
Warp

This five-track instrumental 12-inch summarized Hudson Mohawke’s ideas, with the standout “Velvet Peel” at its whimsically digital center.

6. Buckshot & KRS-One, “Robot”
Duck Down Records

After Jay-Z’s “D.O.A. (Death of Autotune)” blew up, the airwaves Buckshot tried to claim credit for starting the anti-vocoder trend since his track dropped first. I liked when KRS-One rapped”Go online, look up Kraftwerk/everything we doing is past work.” It was kinda corny: these days, any teeny bopper can not only download Kraftwerk’s complete catalog, but their influences and their followers, which is neatly documented by Allmusic.com. You have to read deeper into Kris’ line to get his overall point — these silly trends really are reverberations of what’s come before them. It’s simple wisdom.

7. Anti-Pop Consortium, “Volcano”
Big Dada

After reuniting last year following a six-year layoff, I wondered if Anti-Pop still had the potential to “disturb the equilibrium.” This vibrant battle rap let me know that my fears were unfounded.

8. Sa-Ra Creative Partners, “Love Czars”
Ubiquity Recordings

Technically, this 10-minute locked-groove symphony isn’t a hip hop track; you’ll have to dig up the remix featuring Jay Electronica and Ta’Raach for that. However, it exemplified future soul, and all the cross-currents — from hip hop to house music and future jazz — that flow through it.

9. J Dilla feat. Black Thought, “Reality Check”
Nature Sounds

“Reality Check” was a diamond amidst the rough, unfinished beats and sloppy vocals of Jay Stay Paid. Black Thought’s rant about reality TV hell, with its allusions to Public Enemy’s “She Watches Channel Zero,” rolled over Dilla’s synth-y track like a third rail.

10. Mos Def, “Casa Bey”
Downtown Records

Mos Def’s The Ecstatic was effortlessly innovative, and this laser-sharp example of his lyrical prowess, set to his own jazzy shapeshifting beat, was a sterling representation.

And here’s the rest of the list in alphabetical order:

Aceyalone & The Lonely Ones, “The Lonely Ones”
Decon

Asher Roth, “Lark in My Go-Kart”
SRC

Busdriver, “Least Favorite Rapper”
Anti-

Cage, “Depart From Me”
Definitive Jux

Cam’ron, “I Hate My Job”
Asylum

Clipse, “Kinda Like A Big Deal”
Columbia Records

The Clonius, Adroit Adventures EP
Ubiquity Recordings

Del and Tame One, “The Franchise”
Gold Dust Media

Dorian Concept, “Tropical Trilingual Tease” (online sample track from “Trilingual Dance Sexperience”)
Affine Records

Drake, “Best I Ever Had”
Universal Motown

Filastine, “Marxa”
Soot Records

Finale, “Jungle Music”
online MP3

Kero One, “Welcome to the Bay”
Plug Label

Mos Def, “Supermagic”
Downtown Records

MF Doom, “Lightworks”
Lex Records

Pill, “Trap Goin’ Ham”
Grade A Muzik

Raekwon, “Surgical Gloves”
Ice H20 Records/EMI

Tanya Morgan, “Hardcore Gentlemen”
Interdependent Media

Themselves, “Roman Is As Roman Does”
Anticon

Theophilus London, “Cold Pillow”
online MP3

This year’s crop of hip hop albums was an improvement over last year. But it didn’t come from the artists expected to dominate.

Around this time in 2008, everyone was buzzing about the “new school” of blog-hyped rappers. They injected the medium with an enthusiasm not felt in ages. So far, however, the results of this youth movement are decidedly uneven. Wale’s Attention Deficit drew mixed reviews; even fans of it must concede that it has plenty of decent rhymes, but lacks great songs. By contrast, Kid Cudi landed a few monster singles, particularly the undying “Day ‘N Nite,” but his Man on the Moon: The End of Day seemed monotone and self-indulgent. Blu and the Cool Kids mostly kept silent, and we all know what happened to Charles Hamilton.

With the jury still out on the so-called “freshman class,” the end of the aughts belonged to the veterans. With the notable exception of Nosaj Thing and Dorian Concept, all of the artists on this list are firmly established. Some mounted surprising comebacks after years of mediocre and sub-par work; others made solid follow-ups to classic albums. Unlike 2008 and Flying Lotus’ Los Angeles (and, I would argue, the Cool Kids’ The Bake Sale), these recordings didn’t establish new stylistic tropes. In a year when populism and stubborn class and racial traditions weighed down American culture, these works met expectations and buffered the status quo, whether it was the true-school ethos or the mainstream’s street-rap-as-blues credo.

That’s not to say that 2009 wasn’t an exciting time: it was. But hip hop music thrives on youth movements, and to see blog rap’s most promising rookies disappear in a cloud of weed smoke, meandering mixtapes and incessant corporate-sponsored tours and marketing campaigns was frustrating. It certainly didn’t convince the old heads from continuing to insist that the genre is a dead zombie walking. Of course, next year could be different. But for now, this is where we are.

I don’t know if this list is unique from any other, but I suspect there may be a few surprises. Perhaps the most contentious entry is for Raekwon’s Only Built 4 Cuban Linx…Pt II. It has topped many lists, but it certainly didn’t top mine. If my summary reads negative, it’s in reaction to the universal acclaim that has greeted it, some of which seems unwarranted. People love their action fantasies, and Raekwon’s triumphant return has some great crime narratives. But I think some consider it the year’s best because it fits stereotypes of what a great hip hop album is supposed to sound like; other entries on this list drew strong reviews, too, but they were often considered something other than “real hip hop.”

I don’t know what that “other” may may be. Maybe “alt-rap,” “backpacker,” or some nefarious micro-genre like “wobbly”? But lists such as the Plug One 50 will continue to be an anomaly until fans stop equating the genre with criminal activity and po-faced lyrical schemes, embrace a more complex universe of sounds, and live up to Afrika Bambaataa’s vision of hip hop as a perspective on the world instead of a region-specific, drug-infested street corner.

Yes, 2009 was a good year. We got consistently great music, but we missed the excitement that made 2008 seem like a promise of better things to come. Hopefully 2010 will combine not only the tried and true, but also the shock of the new.

1. Mos Def, The Ecstatic
Downtown Records

Few albums sound as hard-earned as The Ecstatic. It incorporates everything Mos Def has done up to now, from the scat-rapping to the soulful singjay-ing that is a bedrock of his stunning live performances. Like Erykah Badu on last year’s New Amerykah Part One (4th World War), he turns to cutting-edge producers — namely Madlib, Oh No and Mr. Flash — to create a frission that his past albums lacked. Those older recordings, particularly 2007′s disastrous True Magic, made The Ecstatic a surprising comeback, but it wouldn’t have been possible without those trials and errors. Its hopeful theme, an obvious nod to President Obama’s 2008 election and the ensuing “Life in Marvelous Times,” tells of a hard road to glory.

2. Sa-Ra Creative Partners, Nuclear Evolution: The Age Of Love
Ubiquity Recordings

If Sa-Ra’s first collection of recorded material, The Hollywood Recordings, was a coked-up ode to sex, drugs and nightlife; then Nuclear Evolution showed a way out of the despair and decadence. “Love Czars,” the album’s magnificent centerpiece, rolled out a locked groove as hypnotic as a Theo Parrish track; “Cosmic Ball,” with jazz-fusion master Gary Bartz as guest, was a shambolic dance in the light. Overall, Nuclear Evolution showed the different sides of Sa-Ra with a depth not heard before, justifying their rep as one of the most talented of the new soul era.

3. Nosaj Thing, Drift
Alpha Pup Records

Here’s an excerpt from my interview with Nosaj Thing earlier this year:

The hype surrounding Drift is the inevitable result of a scene gathering media and fan attention. Thankfully, Drift isn’t a summary of beat music clichés, but a haunting suite of songs that resembles Romantic classicism, minimalism/new music theory and old-school “electronica” techniques pioneered by Global Goon and Aphex Twin. (One of Drift’s tracks is titled “1685/Bach,” a nod to the year Johann Sebastian Bach was born.) Marrying his esoteric melodies to subtly dusted beats, Nosaj Thing creates an instrumental journey that leaves an indelible impression.

4. Brother Ali, Us
Rhymesayers Entertainment

Some critics have asked why Brother Ali, with two great albums under his belt, is never ranked among today’s best MCs. Certainly, few artists could convey inner peace and happiness with such clarity. Like Animal Collective, whose Merriweather Post Pavilion used domestic bliss as a source for drama as rich as any emotional conflict, Brother Ali takes marriage and family as a starting point to wonder why the rest of the world is in turmoil. He raps with such passion and moral certitude; he truly is, as Chuck D. calls him, “a soldier of love.”

5. Aceyalone, Aceyalone & The Lonely Ones
Decon

The second in a planned trilogy of tributes to his influences (the first being 2007′s underrated dancehall venture Lightning Strikes), Aceyalone & the Lonely Ones celebrates the big beats of classic Motown and doo-wop. But it’s not just another retro-soul exercise. Aceyalone playfully inhabits Bionik’s tracks, dropping a series of clean, family-friendly rhymes reminiscent of Freestyle Fellowship’s “Inner City Boundaries.” This may not be Aceyalone’s most important album, but it’s joyously fun all the same.

6. Raekwon, Only Built 4 Cuban Linx…Pt. II
Ice H2O Records/EMI

At 22 tracks, this long-awaited sequel to Raekwon’s 1995 masterpiece was full of highs and lows, from the terrific “House Of Flying Daggers” and “Surgical Gloves” to boorish smackdowns like “Broken Safety” (featuring the always predictable Jadakiss). Importantly, this edition focused narrowly on crack dealing, all the way down to the absurd “We Will Rob You” (an interpolation of Queen’s “We Will Rock You”). Save for the anguished “Cold Outside,” it didn’t aspire towards the white-hot hellfire and spiritual redemption of Only Built 4 Cuban Linx. Here, drug dealing isn’t one’s lot in life, but a familiar role, like a Martin Scorsese gangster flick. The purple tint of the album cover — an allusion to the original’s limited-edition “purple tape” jewel case  — signified business as usual. However, its best songs made for undeniably spectacular mainstream entertainment.

7. Madlib – Beat Konducta, Vol. 5-6: A Tribute To…
Stones Throw

Originally released as two vinyl-only EPs (Vol. 5: Dil Cosby Suite and Vol. 6: Dil Withers Suite), this tribute to Madlib’s friend and collaborator James “J Dilla” Yancey contains real and genuine sorrow. Madlib may have been Dilla’s biggest influence in his final years; you can hear it in his masterwork, Donuts. So the Beat Konducta repays the favor by incorporating samples from Dilla’s best loved tracks, including “The Light.” It’s still quirky and weird…this is a Madlib album, after all. Call it a revival, with plenty of beers, blunts and tears to go around.

8. Serengeti & Polyphonic, Terradactyl
Anticon

Serengeti has worked quietly in Chicago, releasing poorly-distributed albums full of sharply detailed character sketches and odd hooks, which makes him a perfect addition to the left-of-center Anticon. As his official national debut, Terradactyl brings those subterranean elements to light. There is “My Negativity,” which he chants as “My Negga-negga-negga,” drawing an unconscious parallel with a historic epithet. “My Patriotism” turns not to politics but to intimate relations. Meanwhile, Polyphonic the Verbose’s electronic squalls dance around Serengeti’s tales of everyman woe like glowing brain synapses.

9. Tanya Morgan, Brooklynati
Interdependent Media

Brooklynati was a sophomore effort in every way — bigger guests, better production and a concerted effort to translate the rough charms of its debut, 2006′s Moonlighting, to a broader canvas and a wider, blogosphere-primed audience. That the group was mostly successful — the album doesn’t really take off until nearly a third of the way through, during their brilliant “horrorcore” parody “Hardcore Gentlemen” — misses the point. Von Pea, Ilyas, and Donwill continue to grow by leaps and bounds, delivering cipher cuts (“Never 2ndary”) and love jawns (“Never Enough”) with the unique perspective of three admitted rap nerds who are slowly becoming genuine indie-rap heroes.

10. DOOM, Born Like This
Lex Records

If The Ecstatic was Obama’s campaign of hope set to hip hop, then Born Like This was the rabid, red dog populist aftermath. It’s not exactly a fuck-you album on par with Prince and the Revolution’s Around the World In a Day and OutKast’s Idlewild, since DOOM bookended his first solo disc in five years with a gospelly “Thank Yah.” But after enduring rumors of alcoholism, ill health and even his death, prompted by years of eccentric behavior — he hasn’t been seen publicly without his trademark mask since the late 90s — and notorious no-shows at his concerts, DOOM sounds unrepentant. On the Charles Bukowski-quoting “Cellz” and the homophobic “Batty Boys,” among others, he sounds furious, shoving hard rhymes and third-person asides down your throat like Ron Artest. He doesn’t do it consistently enough to make Born Like This a classic, but he still manages to excite and infuriate all at once.

And here’s the rest of the list sans commentary:

11. P.O.S., Never Better
Rhymesayers

12. Finale, A Pipe Dream And A Promise
Interdependent Media

13. Shafiq Husayn, Shafiq ‘En A-Free-Kah
Plug Research

14. Busdriver, Jhelli Beam
Anti-

15. Mike Slott, Lucky 9Teen
LuckyMe

16. Anti-Pop Consortium, Fluorescent Black
Big Dada

17. Willie Isz, Georgiavania
Lex Records

18. Dorian Concept, When Planets Explode
Kindred Spirits

19. Zion-I, The TakeOver
Gold Dust Media

20. Mr. Lif, I Heard It Today
Bloodbot Tactical Enterprises

Everyone’s favorite speed rapper hangs with the kids. Taken from his recently released Jhelli Beam. Directed by Hiro Murai.

Busdriver is currently on tour promoting his new album, Jhelli Beam. His backup DJ/producer, Antimc and Abstract Rude lend support. Note that the flier dates are slightly incorrect — check the current itinerary below.

• 8/28: Dimple Records, Sacramento, CA (afternoon in-store) (1)
• 8/28: Blue Lamp, Sacramento, CA (1) (2) (3)
• 8/29: Music Millennium, Portland, OR (afternoon in-store) (1)
• 8/29: Rotture, Portland, OR (1) (2) (3)
• 8/30: Chop Suey, Seattle, WA (1) (2) (3)
• 8/31: Nightlight Lounge, Bellingham, WA (1) (2) (3)
• 9/01: Media Club, Vancouver, BC (1) (2) (3)
• 9/03: Neurolux, Boise, ID (1) (2) (3)
• 9/04: Kilby Court, Salt Lake City, UT (1) (2) (3)
• 9/05: Bluebird Theater, Denver, CO (1) (2) (3)
• 9/06: Jackpot Salon, Lawrence, KS (1) (2) (3)
• 9/07: Triple Rock Social Club, Minneapolis, MN (1) (2) (3)
• 9/08: Empty Bottle, Chicago, IL (1) (2) (3)
• 9/09: Northside Tavern, Cincinnati, OH (1) (2)
• 9/10: Circus, Columbus, OH (1) (2)
• 9/11: Hamilton College Annex, Clinton, NY (1) (4)
• 9/12: El Mocambo, Toronto, ON (1) (2)
• 9/13: IL Motore, Montreal, QC (1) (2)
• 9/14: Middle East, Cambridge, MA (1) (2)
• 9/15: Santo’s Party House, New York, NY (1) (2)
• 9/16: Kung Fu Necktie, Philadelphia, PA (1) (2)
• 9/18: Talking Head, Baltimore, MD (1) (2)
• 9/19: DC9, Washington, DC (1) (2)
• 9/21: Local 506, Chapel Hill, NC (1) (2)
• 9/22: Pilot Light, Knoxville, TN (1) (2)
• 9/23: Bottletree, Birmingham, AL (1) (2)
• 9/24: Chelsea’s, Baton Rouge, LA (1) (2)
• 9/25: The Cavern, Dallas, TX (1) (2)
• 9/26: End of an Ear, Austin, TX (afternoon in-store) (1)
• 9/26: Red 7, Austin, TX (1) (2)
• 9/27: Cactus Music, Houston, TX (afternoon in-store) (1)
• 9/27: Walters on Washington, Houston, TX (1) (2)
• 9/28: Rock Bottom, San Antonio, TX (1) (2)
• 9/30: Black Market, El Paso, TX (1) (2)
• 10/01: Zia, Tempe, AZ (afternoon in-store) (1)
• 10/01: Club Red, Tempe, AZ (1) (2)
• 10/06: Bottom of the Hill, San Francisco, SF (1) (5)

(1) w/Antimc
(2) w/Abstract Rude
(3) w/Open Mike Eagle
(4) w/Brother Ali
(5) w/Themselves, Nocando

Busdriver has finished his fifth solo album, the jiggly-sounding Jhelli Beam. Set for release on June 9 on Anti- Records, it features guest spots from Nick Thorburn of Islands, Mikah 9, Nocando and John Dietrich from Deerhoof. In addition to production by Busdriver, the album’s music comes courtesy of L.A. beat scene vets Daedelus, Nobody, Omid, Nosaj Thing and Antimc.

Here’s a portion of the press release:

Busdriver explained the recording process for Jhelli Beam, which was whittled from 30 songs to 13 while he was making the rounds of local Los Angeles home recording studios: “A bulk of the songs were written on planes somehow. I listened to Sublime Frequencies records, Bollywood soundtracks and electronic music rather than indie rock and rap. I was able to shed a good amount of self-awareness that way. Still, this was definitely the most grueling stint of recording that I’ve undergone…I nearly quit doing music twice.”

Lucky for us he didn’t, for Jhelli Beam is both smart and smart-ass, theatrical without being pompous, and, as always, funny as hell. Busdriver’s legendary breath-defying flow teeters precariously on top of samples of classical music, jazz drumming and proggy guitar parts, without ever losing sight of the electronic music that helped define BD’s sound, enthralled fans and stood out from the soggy beats that weighed down much of his contemporaries’ work. Sound schizophrenic? It’s not. The sum of Jhelli Beam’s seemingly disparate parts creates a record that is mindfully engaging and physically palpable at the same time – a wholly unique take on what an underground hip hop album should be.

• 1. “Split Seconds (Between Nannies and Swamis)”
• 2. “Me-Time (with The Pulmonary Palimpsets)”
• 3. “Handfuls Of Sky”
• 4. “Scoliosis Jones”
• 5. “Least Favorite Rapper” (feat. Nocando)
• 6. “Quebec And Back”
• 7. “Do The Wop”
• 8. “World Agape”
• 9. “Manchuria” (feat. Mikah 9)
• 10. “Unsafe Sextet/Gilded Hearts of Booklovers”
• 11. “Happy Insider” (feat. Nick Thorburn from Islands)
• 12. “I’ve Always Known”
• 13. “Fishy Face” (feat. John Dietrich from Deerhoof)

As I reported several weeks ago (along with everybody else), today (actually tonight) marks the beginning of the El-P, Dizzee Rascal and Busdriver tour. Dubbed the No Chiefs Allowed tour, the month-long trek co-stars gutter music advocate Aaron LaCrate (Dizzee’s DJ), Mr. Dibbs (El’s DJ) and
multimedia artist/MC the Mighty Quin (El’s hypeman), and Mush producer/A&R dude Antimc (Bus’ DJ). But wait, there’s more! Dapper Chi-Town dudes Kidz in the Hall and snarky rapper Aesop Rock will appear as special guests on, uh, special dates.

As an added bonus, El-P is selling a tour-only item, Weareallgoingtoburninhellmegamixx2, a two-CD sequel to his 2003 mix compilation of odds and sods. He has also launched a blog, “Bastard’s Delight,” on okayplayer.com. Once there, you’ll find a stream of El’s remix for Kidz in the Hall’s “Driving Down the Block.” Check it out after peeping the tour dates below.

• 5/08: 9:30 Club, Washington, DC
• 5/09: First Unitarian Church, Philadelphia, PA
• 5/10: Webster Hall, New York, NY
• 5/11: The Middle East, Cambridge, MA
• 5/12: New Capital Music Hall, Ottowa, ON
• 5/14: Crofoot Ballroom, Detroit, MI
• 5/15: The Abbey, Chicago, IL
• 5/16: Triple Rock Club, Minneapolis, MN
• 5/19: Neumo’s, Seattle, WA
• 5/20: Berbati’s Pan, Portland, OR
• 5/21: 1015 Club, San Francisco, CA
• 5/22: El Rey Theater, Los Angeles, CA

5/08-5/22: w/Mr. Dibbs, Aaron LaCrate, the Mighty Quin, Antimc
5/09-5/10: w/Kidz in the Hall
5/10, 5/21: w/Aesop Rock

www.myspace.com/elproducto
www.dizzeerascal.co.uk
www.myspace.com/dizzeerascal
www.myspace.com/busdriver

Last year, with RoadKillOvercoat in tow, Busdriver became the road mate of choice for many an artist. With his trusty DJ, producer/Mush Records publicist Antimc, he pulled off stints with Deerhoof, RJD2, Cocorosie, and Daedelus — a motley crew, no doubt, but testament to his wide appeal.

This year, Busdriver doesn’t have an album out, not yet anyway. But he’s still working them tough towns like Gene Hackman in Unforgiven. Later this week, he’ll embark on a brief West Coast run with jazz/soul funksters the Greyboy Allstars, and make a stop at the Paid Dues Festival. Then in May, he’ll head out for an East Coast jaunt with the mighty El-P and British export Dizzee Rascal.

So don’t kill your employer. Go see Busdriver, and keep an ear peeled for some new tracks, too. The tour itinerary is below.

• 3/20: The Catalyst, Santa Cruz, CA
• 3/21: Crystal Bay Club Casino, Crystal Bay, Nevada
• 3/22: NOS Events Center, San Bernardino, CA
• 3/24: Red Fox Tavern, Eureka, CA
• 3/25: Domino Room, Bend, OR
• 3/27: Neumo’s, Seattle, WA
• 3/28: Roseland Theater, Portland, OR
• 3/29: McDonald Theatre, Eugene, OR
• 3/30: Harlow’s, Sacramento, CA
• 5/08: 9:30 Club, Washington, DC
• 5/09: First Unitarian Church, Philadelphia, PA
• 5/10: Webster Hall, New York, NY
• 5/11: Middle East, Cambridge, MA
• 5/14: Crofoot Ballroom, Pontiac, MI
• 5/15: Abbey Pub, Chicago, IL
• 5/16: Triple Rock Club, Minniapolis, MN
• 5/21: 1015 Folsom, San Francisco, CA
• 5/22: El Rey Theatre, Los Angeles, CA

3/20-3/21, 3/24-3/30: w/Greyboy Allstars
3/22: Paid Dues Festival
5/08-5/22: w/El-P, Dizzee Rascal

www.busdriversite.com
www.myspace.com/busdriver

Busdriver photo by Dave Bullock.

It didn’t make sense. Why would Busdriver, one of the most acclaimed rappers of recent years, opt to do an indie-rock tour with Deerhoof ? And true, RJD2 set out to make an indie-rock album with the forthcoming The Third Hand. But couldn’t he have put together a bill that would entice his conservative ol’ rap fans to try some of his new material?

Well, fear not. RJD2 and Busdriver are not only joining forces, but venturing out to cities that weren’t initially scheduled. Busdriver will still open on Deerhoof’s Friend Opportunity tour, and then he’ll join RJD2. After a break for SXSW (Busdriver isn’t scheduled to be there, but that may change), the two musicians will soldier on together until April 23.

For hip-hop fans, the joint tour will allow them to sample unexpected sounds from two backpacker favorites. RJD2 applies the same funky soul aesthetic found on Deadringer to winsome love songs; however, his singing voice may take some getting used to. Perhaps taking a cue from Spank Rock, Busdriver’s new RoadKillOvercoat contains his fast-raps over wild, unpredictable beats.

Here are North American dates for both performers, together and separately. Additional performances may be added.

RJD2 and Busdriver, with Happy Chichester opening:

3/09-3/13, 3/17-3/24: w/Antimc

RJD2 solo, with Happy Chichester opening:

• 3/11: Exit In, Nashville, TN
• 3/16: Emo’s, Austin, TX
• 4/20: Metro, Chicago, IL
• 5/09: Fox Theater, Boulder, CO
• 5/10: Bluebird Theatre, Denver, CO
• 5/11: Abbey Theatre, Durango, CO
• 5/12: The Clubhouse, Tempe, AZ
• 5/13: Belly Up Tavern, Solana Beach, CA
• 5/14: Henry Fonda Theatre, Los Angeles, CA
• 5/15: Mezannine, San Francisco, CA
• 5/17: Wonder Ballroom, Portland, OR
• 5/18: Neumo’s, Seattle, WA
• 5/19: The Nightlight Lounge, Bellingham, WA

3/16: SXSW Pitchfork/Windish Agency party w/Girl Talk, Menomena, the Ponys, the Pipettes, Do Make Say Think, Deerhunter, Simian Mobile Disco, Fujiya & Miyagi, Beach House, Marnie Stern, Crystal Castles
5/09-5/19: w/Pigeon John

and Busdriver solo…sort of:

• 1/30: Great American Music Hall, San Francisco, CA
• 1/31: Amoeba Berkeley, Berkeley, CA
• 2/01: Amoeba Hollywood, Los Angeles, CA
• 2/07: Airliner, Los Angeles, CA
• 2/09: Poleng Lounge, San Francisco, CA
• 2/16: Jack Rabbits, Jacksonville, FL
• 2/17: The District, Miami, FL
• 2/18: Crowbar, Tampa, FL
• 2/19: The Social, Orlando, FL
• 2/20: Commom Grounds, Gainesville, FL
• 2/21: 40 Watt Club, Athens, GA
• 2/22: Mercy Lounge, Nashville, TN
• 2/23: The Warehouse, Winston-Salem, NC
• 2/24: Mcganns, Boston, MA
• 3/02: The Metaphor Cafe, San Diego, CA
• 4/27: Coachella, Indio, CA

1/30, 2/16-2/23: w/Deerhoof, Harlem Shakes, Caural
1/30: w/Blackblack
2/07, 2/09: w/Daedelus, DJ Frane, Daddy Kev

www.rjd2site.com
www.myspace.com/rjd2
www.busdriversite.com
www.myspace.com/busdriver

Busdriver likes to wear a T-shirt that reads, “Sorry, underground hip-hop happened 10 years ago.” Personally, I don’t like to take such a hard stance against new jacks and toys. But I will agree that Project Blowed, the weekly freestyle sessions in Leimert Park, represented a zenith in hip-hop expression.

Busdriver carries that spirit with him throughout his projects, whether it’s the Weather with electronic dandy Daedelus and zipper-rapper Radioinactive; or his upcoming Epitaph album RoadKillOvercoat, which is already garnering strong reviews. To promote the latter, he’s taking off for a cross-country jaunt. And just to show how crazy he is, he’s touring as an opening act for Deerhoof, the Bay Area-based experimental rock trio. Hopefully hip-hop heads will embrace the weirdness and give both acts a chance.

Here are the tour dates:

• 1/24: El Rey Theater, Los Angeles, CA
• 1/26: Irving Plaza, New York, NY
• 1/27: Metro, Chicago, IL
• 1/30: Great American Music Hall, San Francisco, CA
• 2/16: Jack Rabbits, Jacksonville, FL
• 2/17: The District, Miami, FL
• 2/18: Crowbar, Tampa, FL
• 2/19: The Social, Orlando, FL
• 2/20: Common Ground, Gainesville, FL
• 2/21: 40 Watt Club, Athens, GA
• 2/22: Mercy Lounge, Nashville, TN
• 2/23: The Warehouse, Winston-Salem, NC

w/Deerhoof, Harlem Shakes

www.busdriversite.com
www.myspace.com/busdriver