Do It With Class

Orchestra Julian: Do It With Class
From: Latin Fire (TPI, 19??)

Keeping it short and sweet today with a disco/funk dancefloor killer. I know diddly squat about the artist apart from that the album is called Latin Fire so, using deduction skills to make Quincy proud, I'd guess the performers are South American.

Anyway, the bonus of this is that it allows you to focus entirely on the quality of the music itself and what a track. Leading in with an uptempo funk rhythm the band hit you with swirling disco strings and blazing horns creating a pulsating groove that just gets more and more intense as the song plays out. The kind of thing that makes people go wild in a club/bar/bedroom/bathroom/wherever you play it.

So there you go, short and sweet - a killer track.

Thanks to Belson at Vinyl Vulture for the album details.

Always Got to be Something

Kev Brown: Always and Outside Looking In
From I Do What I Do (Up Above, 2005)


Kev Brown is more emo than Slug, straight up. And I've never been one to throw up emo-rapper as a negative term (I even own a Sage Francis maixtape- a mixtape damnit). But dude is emotional with a capital E. And I can fuck with that. Kev is an extremely talented cat, but he clearly isn't all too comfortable with an artist's life. Maybe it's because he's been doing his thing for a decent amount of time, working with some of the heavier cats in the game (De La Soul, DJ Jazzy Jeff) with a minimum amount of recognition or payoff. He even beat Dangermouse out as the first to put out a Black Album remix project (entitled, uh, the Brown Album).

Nobody likes to hear entertainers bitch about being famous. Ok that's not true, LOTS of people like to hear entertainers bitch about being famous (rent Radiohead's Meeting People is Easy sometime). But Kev isn't bitching per se. He does paint a rather bleak picture of the entertainment industry. While much of rap talks about grinding to get the diamonds, he's grinding to keep the lights on. But he clearly enjoys what he does; he's just gotten to the point where he realises there's no reason to try to please anyone but himself.

By this point in rap music, there have been enough varied records made that I can't say Kev's honesty in his songwriting is refreshing exactly. But for anyone who has wondered whether they truly have what it takes to realize their goals, it's hard not to identify with a song like "Always" or "Outside Looking In." Some might argue that in putting his insecurities out for the world to see, Brown is adding to the difficulty he will experience attaining success, and perhaps there is truth to this (the "Annette Benning in American Beauty" argument. But in expressing his lack of sure footing while rhyming confidently over superior beats, Kev Brown has made a damn fine record for the rest of us.

One More Lost

Mac Dre: Demo
From Demo [Independent, 199?]

Mac Dre: Freaky Shit
From Stupid Doo Doo Dumb [Romp Records, 1998]

Mac Dre: I'm In Motion
From Young Black Brotha [Strictly Business, 2001]

Mac Dre: Thizzle Dance (Music Video)
From Thizzle Washington [Thizz Ent, 2002]

Last week's Keak Da Sneak/DJ Shadow post didn't sit well with some of our readers so I'm hoping to reach out with one of the Bay's more accessible talents. Outside of maybe Too Short and E40, Mac Dre is one of the Bay Area's most prolific artists who's life came to an unfortunate end when he was murdered during a visit to Kansas City in 2004. Like many artists that are handed similar fates, Mac Dre's stock has gone way up since his death as appreciation of his music new and old continues to grow. I frequently see kids wearing shirts honoring his career and hear bars and passing cars blaring his music. How far reaching his music is outside of the Bay Area, I don't know, but I'd be interested to see how many of you out there have at least heard of him.

A Vallejo native, Mac Dre's industrious career spanned 12 years and 25 something albums, one of which was recorded from a Fresno jail cell on a robbery charge. What amazes me the most though is his range as a rapper. From the precise pacing of predecessor Too Short, to Southern influenced double time flows, to hard gritty Bay G shit, to funk infused gangsta bounce, Dre's catalog showed versatility that few rappers, Bay Area or otherwise, have managed to perfect.

I tried to capture a variety of tracks that highlighted the aforementioned styles, but I constantly felt I was doing a disservice by picking one song over another. The dude's catalog is long and deep, so hopefully this will get some of you to do a a little exploration on your own. In fact we hope every post here at earfuzz is doing that. Anyways, listen, respect.

R.I.P.

Do Not Adjust Your Set

Spooky: Can't Remember and Do Not Adjust Your Set
From: Stereo EP (Generic, 1995)

One of the most gruelling decisions when compiling a tape for someone is when you have two great tracks from the same piece of vinyl and only space for one of them.

An album that always threw up this problem for me was Spooky's Stereo EP. Not to be confused with That Subliminal Kid, DJ Spooky, this group comprised of two English guys who released a number of quality productions covering breakbeat to techno in the mid nineties.

Originally purchased for the title track, a heavy breakbeat number aimed for the dancefloor, I quickly found out that the true gems were the two slower numbers on the EP. While undeniably influenced by Aphex Twin the two tracks were still pretty different from anything else around at the time and also from anything else in Spooky's catalogue, consisting of subtle layers and more organic sounds.

I was always torn between which one of the tracks was stronger, sometimes I'd lean towards Can't Remember's epic melodies and grandiose nature, other days Do Not Adjust Your Set would win me over with it's soft steel drums and more upbeat tone.

Anyway, with the wonder of cyberspace I can give you both tracks for your listening pleasure and let you make up your own mind. Enjoy.

Rocking The Catskills

Rasputin's Stash: Your Love Is Certified and Mr Cool
From: Rasputin's Stash (Cotillion, 1971)

It's always puzzled me why Rasputin's Stash aren't a lot more popular than they are. The band released two fine albums in the early seventies with a quality blend of funk and soul, yet this, their first album, isn't even available on CD never mind reissued on vinyl. You'd think the cover art alone would get people interested.

Maybe part of the reason for this is the confusion caused by the group itself who suffered an identity crisis one record into their career. After releasing this self titled album as an eight part collective formed from Chicago session musicians, the group then reduced itself to four before releasing a second self titled album as Rasputin Stash. Anyway, what really matters is the quality of the music and this band has an abundance of it.

Your Love Is Certified shows the group at their funkiest, kicking the album off in high energy style. A banger of an opening track, the song ticks all the boxes required. Pulsating rhythm? Check. Soulful vocals? Check. Ripping organ? Check. The track gets in there, hits you hard, and leaves all in two minutes.

If you call a song Mr Cool then you better have the style to carry it off and this song slides along with a glide in it's stride and a dip in it's hip. Sampled by the Dust Brothers for Beck's High 5 (Rock the Catskills), the rolling groove, bragging lyrics and cleverly constructed chorus seem tailor made for a blaxploitation film that never was.

So please, somebody, get this album on a reissue tip asap and reintroduce the band to the world.

DJ Shadow + Keak Da Sneak

Keak Da Sneak: 3 Freaks Feat. Turf Talk
From [Unknown, 2005]

I've been meaning to do a Bay Area rap post for a minute, and while this isn't exactly what I had in mind it'll have to do for now. I was turned on to this new Keak Da Sneak track the other night, apparently produced by DJ Shadow. For those of you that have been following Shadow's output over the last year this collaboration may not come as a surprise as recent mixes like Diminishing Returns and Funky Skunk feature extended passages of Dirty South and Bay Area rap tracks. I've heard some say that he's just jumping on the bandwagon, but there's no doubt in my mind that dude's been down since day one, seeing now as the perfect opportunity to branch out.

As a Bay Area native Shadow definitely captures the aesthetic nicely on "3 Freaks (referring to Keak, Turf Talk, and Shadow I would presume)," while adding a little more depth, especially the breakdown towards the end. I wasn't too sure about this the first time I heard it, but after a few listens it's definitely starting to grow on me. If anything, this beat is perfect for Keak.

Bam Bam

Sister Nancy: Bam Bam and Gwan A School
From: One Two (Techniques, 1982)

One of the great bonuses of hip hop sampling is that it introduces you to artists you might otherwise never ever hear. As my knowledge of Reggae doesn't stretch much further than the works of Lee Perry, Yellowman and a childhood obsession with Musical Youth there is little doubt in my mind that were it not for the prolific sampling of Sister Nancy's Bam Bam I never would have come across the artist and her 1982 album One Two.

However, thanks to Large Professor and Pete Rock it's become one of those simple pleasures I'll return to from time to time - a quality pick me up of an album.

The track Bam Bam itself is a masterpiece in early eighties reggae minimalism. From the moment those heavily sampled horns come in the track rolls along as smooth as you like with the obligatory dub bassline over the Stalag rhythm. It's Nancy's vocal that holds it all together though, her voice the melody accompanying the production.

Gwan A School has some of my favourite production on the album, Winston Riley keeping the sound tight as Sister Nancy espouses the necessity of school to the youth of today. I love the multiple breakdowns in the track, the beat returning each time with an extra layer of complexity. Great tracks and a great album to get you in the mood for the weekend.

Random Thought

Common: The Corner
From Be [Geffen, 2005]

I haven't checked Common's stuff since Like Water For Chocolate, but I must say "The Corner" might be the best hip hop single of the year, right up there with "Stay Fly." I didn't even think they used breaks in hip hop anymore, at least not as banging as this (I guess I can thank you there Kanye). Well I'm not going to blab too much about this one. Just something that's been hitting me hard as of late and thought it deserved a day or two in the spotlight.

You Need This In Your Life

Mike James Kirkland: Hang On In There
From Hang On In There (Bryan, 1972)

Junior's back and a crazy work/DJ schedule have prevented me from updating for a minute, but it's time to hit you with a heavy one. This is one of those records which gets better and better with each listen. The whole of side one vibrates with an energy and itensity that's hard to match, yet it's a very relaxing and even affirming record.

Hang On In There recieves frequent comparisons to What's Going On, for fairly obvious reasons. Similar themes run through the two records, soulfullness seeps from both, and each features a song structure in which individual tracks segue into one another. Hang On In There almost does play as a companion peice to Marvin Gaye's landmark album. But while both are very thoughtfull records, Kirkland's addresses the listener directly more than Gaye's more introspective work. It also features some fantastically undeniable grooves, like the title track.

Once the bassline drops on "Hang On In There," it's pure bliss. This record recives a fair amount of hype due to its rarity, and perhaps in small part to it being sampled. But unlike so many records which are consistantly featured on "walls of fame," this one truly delivers. Depth, beauty, and a head shaking groove; there's really not much more to ask for. Right on.

Ear Fuzz Exclusive: fONKSQUISh

fONKSQUISh: Little Dutch Girl

cHUCk dA fONk fISHMAn That's How It Is<
From: Break The Funk E.P (2004, Fonksquish Productions)

Back from my vacation in Italy and feeling relaxed, refreshed and ready for work (one of these statements is not true), I discovered I had my hands on an exclusive track by Philly musician Chuck Da Fonk - the founder and leader of funk band fONKSQUISh and a long time supporter of this site.

A devotee of everything P-Funk, Chuck has also worked with many founders of the movement including touring with George Clinton and P-Funk All Stars - this man knows his music and the band invoke the spirit of the time while ensuring their music never falls into mere pastiche.

The exclusive track I have for you today, Little Dutch Girl, is a departure from their normal formula, offering a rare ballad from the band. Co-written by funk legend Billy Bass Nelson the song is a lovely piece of Philly soul beautifully played by the members of Fonksquish. Great use of subtle production on the strings to craft a mood.

Just to ensure you know how hard the band jam normally I've also put up the Chuck Da Fonk track That's How It Is, a pure and funky p-funk number from the 2004 Break The Funk E.P featuring Richard Kush Griffith from Bootsy's Rubber Band.

The man and the band are well and truly keeping the funk aliveand much respect to them for it. You can find out more about their upcoming work here and here.

Wingless anime idol

Sorry for the lack of updates this week, things have been a little hectic here at Earfuzz central. We may have some new stuff in the works though, so hold tight.



Aesop Rock: Sinister (w/ Vast Aire + Yeshua DapoED) & Water<
From Euphony compilation (Centrifugal Phorce, 2001)

The tattered blue hoodie in my closet is the proof; I used to be a big fan of Aesop Rock. His recent material has been increasingly sloppy and mostly wack, but I still have a soft spot in my heart for much of his back catalogue. Labor Days, in particular, was huge to me - for a while, it accompanied me to school every day in my cheap discman. A few months later, I picked up the Euphony compilation, which only solidified my wide-eared love for all things Aesop.

"Sinister" is just that: a dark, slithering battle-rap cut, fueled along by ominous bass swells and steady ride cymbals. Yeshua in particular comes correct for his verse; he's too laid back to say that he "kills it", but just peep his opening lines. "Water" was a Labor Days reject, but it's hard to see why. Over an absolutely sublime beat by Blockhead (who we featured last month), Aesop unleashes his word salad of free-associating imagery and aphorisms. Hopefully Mr. Rock still has more songs like this left in him.