Watching Me Watching You

Black Moon: Duress
From: War Zone (Priority, 1999)

Beatnuts: Niggaz Know
From: Stone Crazy (Relativity, 1997)

Odub over at Solesides has been spreading the circle of blog love recently by bouncing off other blog's posts so today I'm returning the love using his recent post on the Electric Prunes General Confessional as inspiration with two tracks that heavily sample the classic original.

The first track is from the ever reliable and way too often forgotten Black Moon. A great example of not messing with the perfect loop, Da Beatminerz use the organ chords of General Confessional to create a smooth roller of a backing track for the MCs to flow over. This a fine example of the school of thinking that when a loop is this nice why screw with it, a path also followed by the Beatnuts on their track Niggaz Know.

Not even going as far as sampling into the main track, the Beatnuts use the grandiose introduction of Grand Confessional to scintillating effect. Displaying their customary respect for the sampled original the Beatnuts allow the original loop to rotate untainted numerous times before eventually bringing in the beat and rhymes.

While both decent samples of the Axelrod original there's still undoubtedly much more to be made with the original stone cold classic.

The Slack Album

DJ N-Wee: What More Can I Sing and In the Mouth, An Encore"
From The Slack Album [Independent Release, 2004]

Pavement: No Life Singed Her and In the Mouth a Desert
From Slanted and Enchanted [Matador, 1992]

Dangermouse's highly controversial, but rather groundbreaking The Grey Album in which the producer remixed Jay Z's entire Black Album utilizing samples solely from the Beatles' White Album, sparked a flurry of debate on the legality of sampling and ownership of intellectual property despite the fact that it was never meant to be officially released. Not only that, but it sparked a number of copycats trying to ride the mash-up wave, releasing similarly constructed Jay Z albums using samples from Weezer and Metallica albums. It's been over a year since that craze, and I thought I was in the clear from hearing such forced creations, but during a recent perusing through Soulseek I found myself staring at what looked to be another Black Album remix, this time using Slanted and Enchanted by indie rockers Pavement, a band that I happen to be quite fond of. Immediately intrigued I proceeded to download it and discovered that a DJ that goes by N-Wee produced the album, seeing it as an opportunity to prove that Pavement fans are not slackers as he explains here. Coincidentally, both albums are 14 tracks, each track on The Slack Album corresponding to samples from the same track on Slanted and Enchanted, and even more coincidentally, the last track on both are the only ones in 6/8 time. It's amazing to me that each track managed to work out.

Just like The White Album, N-Wee's version can often sound awkward and forced at times, with brief moments of brilliance and cohesion. In fact "What More Can I Sing" is pretty hot and actually sounds like a legitimate radio mainstay. It uses Pavement's "No Life Singed Her" and I honestly can't hear any source material listening to it. Take a listen to both and let me know if you hear anything.

"Encore" uses "In the Mouth a Desert" and is much more straightforward than its predecessor. Despite mixing down Stephen Malkmus' vocals which are clearly audible in the background, Jigga rides the wailing indie rock cadence about as well as anybody could hope for. You'll have to visit your favorite p2p file sharing network to download the rest, as N-Wee encourages. I know a lot of people are going to hate so let's hear it.

A Fistful Of Psychedelia

Ennio Morricone: L'assoluto Naturale and Come un madrigale
From: Psichedelico Jazzistico (El Records, 2004)

There's a famous story concerning John Carpenter's classic horror Halloween. Apparently the up and coming director screened his rough draft of the movie sans soundtrack to the movie executives and they were less than impressed by it. Carpenter went away, regrouped, got equipped, and added his electro soundtrack to the film. The movie was then screened again for the execs and they were scared rigid by it.

Which leads me to my point: certain films could not exist without their soundtracks. A perfect example of this is Sergio Leone's spaghetti westerns and their haunting Ennio Morricone score. With it's innovative use of voices and soaring strings this was the peak of Morricone's achievements in my eyes until I came across this compilation. Including highlights from four Italian films Morricone scored in the late sixties/early seventies,Psichedelico Jazzistico shows an artist at the absolute top of his game so lie back and enjoy Ennio bliss.

L'assoluto naturale starts off with the simplest of acoustic guitars and organs before the strings slowly swell up, changing the piece of music from something minute to something altogether more epic. Listen to the way the various layers are introduced and marvel at the skill at work. I love the harmonies Morricone seems to create so effortlessly between his accompanying strings, guitar, piano and percussion to create a piece that is majestic but never heavy.

The second track, Come un madrigale , is almost too beautiful for it's own good. Reminiscent of some of Morricone's work on Once Upon A Time In America, it begins with nothing more than a short sharp human voice in a call and answer game with the most delicate of strings. From there Morricone creates the lightest of lullabies gliding over the melody. As the vocals are properly introduced to harmonize with the strings, the track becomes truly haunting.

Slim Thugga, muhfugga

Slim Thug: I Love This Game
From Already Platinum (advance) (Star Trak, 2005)

So I know that marching band loops are so '04, and that Rick Rubin's last shine was from that year too, but Jeebus, what were the kids thinking leaving a banger like this off the Slim Thug record? I mean really? This is an arena rocker that hits the chest on some Fiday Night Lights shit. Really a fine track, damn near anthem status. And now I'll have to keep playing it off the IPOD at the gigs, since it doesn't look like a wax copy is going to be an option. Next thing you know I'll be posting Yung Wun's "Tear it Up." Drumline loops for days....

Uptight Gravediggaz

Gravediggaz: Mommy, What's a Gravedigga (Uptight Crate Digga mix)
From Double Suicide Pack EP (Gee Street, 1995)

The Gravediggaz' 6 Feet Deep (aka Niggamortis) is one of my personal favorite albums, so I was quite excited the first time I came across this double-vinyl EP. It mostly consists of remixes of "1-800 Suicide," none of which (in my estimation) hold a candle to Prince Paul's cheerfully creepy original. However, this gem of a track is tucked away towards the end of the EP, and arguably makes the whole package worth the purchase. The beat flips a sample that all Scribble Jam fans should be familiar with, while all three of the 'diggaz bring some fresh lyrics. Actually, it's quite a nice jam for those breezy summer nights - as long as you don't listen to closely to the lyrics.

Soul Impressions

Janko Nilovic: Hippocampus and Drug Song
From: Soul Impressions (Montparnasse 2000, 1975)

Back with that library flavor today with an album from the legendary Janko Nilovic. Born at the beginning of the forties in Montenegro, Janko moved to Paris in the sixties and never looked back, putting his multi instrument talents to use on a variety of projects often working for up to ten hours a day. Prolific even by library musician standards, Janko produced over 30 albums in the seventies so really see this as the tiniest taster of this man's vast output but hopefully it'll give you an idea of the range of music he produced.

Hippocampus is his most famous offering from this particular album. Beginning with some downright dirty guitar the track is a good illustration of Janko's fondness for mixing up proceedings as the early trumpets slowly start to dominate the guitar riffing. The track then mutates into a supremely funky bass riff halfway through before then building up momentum to it's epic conclusion, a full on onslaught of blasting horns and distorted guitar.

Drug Song has to be one my favorite Janko songs ever. Starting with a throbbing bassline the track is pure funk with a flute thrown in for good measure. Whether Janko was on drugs when he recorded this remains unknown but it suddenly feels like it halfway through when the track breaks down entirely into a beautifully chilled harmony before getting downright sleazy for the final bars.

There are definite touches of that man Axelrod with Janko's use of multi layered instrumentation on both these tracks illustrating the great talent at work.

Gatur Baiting

The Gaturs: Gatur Bait and Cold Bear
From: Wasted (Funky Delicacies, 1994)

I was about to take a break from the funk for a few posts but when the sun is shining like it is at the moment it seemed to be calling out for some true summertime tunes and what better to fill that gap than The Gaturs featuring Willie Tee.

Most famous for his work with the Wild Magnolias, The Gaturs displays an earlier, stripped down funk side to Willie Tee. Although the keyboardist gets his own credit with the group, the Gaturs also featured his brother Earl - the alto/soprano saxophonist from the Magnolias. Widely ignored on their release, the Gaturs output is now recognized as classic New Orleans funk.
Up to a few years ago these recordings were only available on original 45s, the Gaturs never making it as far as a whole album. However they're now compiled together on a best of record which is well worth picking up.

Gatur Bait is the groups most famous track and has one of the funkiest basslines ever committed to record. I'm aware of a tendency to overuse the term "riff" in my posts but this song is all about it, creating the ultimate in smooth and rolling bass. As soon as this track starts you know it's a stone cold killer. Calling this song simple would be doing it a disservice but it really is just a supremely finely honed groove with the sweetest of bass breakdowns halfway through. Pure and utter brilliance.

Cold Bear is another dirty funk classic. This time leading with the wah wah guitar it again sets up an irresistible summertime groove. Upfront trumpets and keyboard make this a great example of a song where you really feel how much the musicians are enjoying the music. It's so damn summery I would expect the sun to come out on even the greyest day if you put this on.

I've now updated the link to the album to the record label itself, Tuff City Records. Lots of quality output there and the site's definitely worth browsing through for some long forgotten gems.

Never Say Never

The Invaders: Lost Time and Spacing Out
From Spacing Out [Duane, 196?]

Mom taught us to "never say never," and for most of my life I've tried to abide by it. Sure anything's possible, and it's always better to stay positive than to simply admit defeat from the getgo. But right now I'm going to come right out and say that I'll never find a copy of The Invaders' Spacing Out. Heck, none of you are ever going to find a copy of this record unless you pay the $500+ ebay pricetag.

I've heard a couple of stories surrounding this record. Supposedly they were a group of Americans jamming in Europe during the 60's. I've also heard that their manager put a box of these records out on his porch for people to take, but nobody was biting so he went ahead and threw them out. The thing is nobody knows for sure how this album came to fruition, or who was even in the freakin' band, and I think that sheer mystery has made this record quite the holy grail amongst funk enthusiasts.

The music lives up to the hype with a very strong horns section and congas which richens everything up. Definitely a record where I don't feel guilty listening to a reissue, and I must say the represses are quality. Go pick one up.

Oh, and I was just kidding about all that "never" talk; I'm bout to go to the Goodwill right now and pull 10 sealed copies.

Note: Earfuzz is getting ready for an entire week of Bay Area rap featuring guest writer Olivermonday. I'll let you know when that's going to drop. For now you can check out his blog dedicated to the wonderful sounds by the Bay at The Bay Finta Blow.

Save Their Souls

Hamilton Bohannon: Save Their Souls and Getting to the Other Side
From: Stop & Go (Dakar, 1972)

Ok, so this is going to have to be one of those "let the music speak for itself" posts, because I don't know SHIT about Hamilton Bohannon. Which is just as well, because I don't think there's much to be said to aid in the appreciation of these tracks. I throw these on and sit on my porch and think "damn, Summer should be six months long."
Right, so I know the dude's a drummer, and that he came up with Stevie Wonder. I've also heard a decent amount of his later music, which doesn't have as much backbeat appeal as this record, but really is pretty solid dancefloor music. But this stuff, THIS stuff. I'm saying. Lemonade, man.

Machine Gun Funk

The Commodores: Machine Gun and Gonna Blow Your Mind
From: Machine Gun (Motown, 1974)

Hey, remember when the Commodores were a lean mean funk machine? Shit, me neither, but thanks to the wonder of modern technology I can now bring you the magic of The Commodores first released album, Machine Gun, a quality piece of 70's funk by a band blissfully ignorant of their ballad strewn future. Seriously, I strongly recommend listening to these tracks before crying out in disgust at my choice of artist.

Formed in a casual manner at the end of the 60's as a way to pick up girls (surely the number one reason behind starting any band), The Commodores struck gold when they auditioned successfully to be the support group for the Jackson 5's 1971 tour. Soon after they were signed to Motown records as part of it's attempt to keep up with the rising trend for funk outfits and the rest, as they say, is history.

Machine Gun was their hit record of the album, introducing the world to their sound. One of those songs that everybody recognizes as soon as it starts but few seem to know who it's by, it's perfect for getting in that summertime mood with its skating-extremely-close-to-the-edge-of-cheese keyboards layered over a simple but supremely funky riff. Don't try to deny how much fun this track is.

Gonna Blow Your Mind is a more serious effort. Less poppy than Machine Gun it's a choice cut of the kind of dirty funk The Commodores did so well in the early stage of their career. Lots of subtle touches on the production add to the overall flavor and there's a drum breakdown halfway through that leads to a brilliant headnodder of a second half. Full of squelching bass and synth keyboards, it's the perfect song to play to anyone questioning the truth that once upon a time the Commodores oozed funk from every pore.

New ways to express yourself

Charles Wright & The Watts 103rd Street Rhythm Band: Road Without An End< and I Got Love
From: Express Yourself (Warner Brothers, 1969)

You know, sometimes an artist releases a track so good, so above the standard, that it ends up overshadowing his whole career. A classic example of this is Charles Wright, the man behind the legendary Express Yourself. While that track will probably keep him living comfortably for the rest of his life on it's royalties alone it he is in fact way off being a one trick pony.

I've long considered Charles Wright & the Watts 103rd Street Rhythm Band to be one of the most sorely underrated of the late sixties/early seventies funk artists. These two tracks, both taken from the same album as Express Yourself, itself imaginatively titled Express Yourself, show the outstanding talent of the man.

Road Without An End is the first track on the album and a beautiful start to the proceedings with a solmen piano intro and strings breaking into a lighter than light melody. A real gospel flavor permeates the song and illustrates that Wright is in possession of a wonderfully expressive voice. There's a sweet mini breakdown halfway through which leads into a richer, layered, second half of the song. Absolutely loving the trumpets on this one as well.

I Got Love is a song more closely in the vein of Express Yourself, with the rising trumpets and classic drum breaks. Having said that, it more than stands up by itself as a great song in it's own right with Charles emoting in his trademark husky style. Love the musical stylings of the Watts 103rd Street Rhythm Band as well, once again pumping pure energy into the music.

It's Alive!

Reanimator: This is Much More Than Your Fat Gold Chain and When Summer Turns to Snow
From Music to Slit Wrists By (Litterthugz, 2003)

Reanimator is a great name for a hip-hop beatmaker. After all, it perfectly describes what they do - dig up 'dead' old records and give them new life. To his credit, Reanimator doesn't follow the strict "vinyl samples only" of so many DJ Shadow disciples, adding various synthesized sounds and digital processing effects into the mix. However, he incorporates the electronic elements within a larger hip-hop aesthetic, rather than vice versa. So many electronic producers have been appropriating hip-hop sonics lately, it's nice to hear the tables turned for once.

"This is Much More Than Your Fat Gold Chain" rides a mellow vibe from front to back, but its old-school vocal samples give it enough of hard edge to save it from being coffee-shop material. "When Summer Turns to Snow" features one of the illest double bass samples I've heard in a minute. Peep the change-up around 2:00, too. The album that these songs are taken from supposedly took him three years to make, so hopefully he'll be dropping something new in the near future.