DJ Platurn took Nu-Mark’s version of “Imagine” and blended it with Dennis Edwards’ “Don’t Look Any Further”. He spliced together their videos too. The Dennis Edwards footage alone is awesome! Good work homie! Follow Platurn’s whereabouts and musings over at Rings of Platurn.
CLICK TO DOWNLOAD “IMAGINE NOT LOOKING ANY FURTHER (PLATURN BLEND)”
D.R. Hooker – “Forge Your Own Chains”
The Strangers – “Two To Make A Pair”
From start to finish, Now-Again’s new comp Forge Your Own Chains enthralls you with 15 psych-sodden tracks. Besides a song or two that were reissued already, the rest are from records that were culled from all over; Sweden to Nigeria, Colombia to Iran, these songs incorporate screams and shouts, fuzz, funk, folk, and weird touches of improvisation. It was a global era (1968-74) where artists sought to sound different and it showed in their music. Forge… comes with detailed liner notes (written by Egon) that respectfully contextualize the tracks and its makers. To hear and learn more about the project, visit Now-Again’s site. Dig the snippets above—the project comes out in a couple weeks.
We’re huge fans of Prince Paul. So naturally, we were geeked to get our hands on Confessions Of A Beat Junkie, a promo tape Tommy Boy put out in ’97. The 35-minute blend of b-sides, unreleased stuff, famous works, and many skits don’t disappoint—especially if you’re familiar with Paul’s work. Not much info exists, so I wrote Paul and asked him to introduce the tape for us. Here’s his response:
Thanks, I’m glad you enjoyed the tape. I made this for Tommy Boy as a promo item in the late ’90s to reintroduce myself to the public. It was to launch off the reissue of Psychoanalysis and a new project, A Prince Among Thieves. I just wanted to make something different from the old traditional mixtape that was out at the time. I had my friends and mom do little intro pieces to the songs.
I wanted to make it appear like I was this elusive, eclectic guy, and they were describing my work to those who weren’t familiar with me. The photo [on the back] is a picture of my son when he was about 3 or 4. He was always facinated with the turntables now he’s a DJ himself at 17. I put a lot of work into that tape, I’m glad that it’s still being enjoyed. Thanks again.
Hear Confessions Of A Beat Junkie… (more…)
Known as the “King of Khmer Music”, Sinn Sisamouth was a wildly prolific singer/songwriter who made thousands of known songs—thousands. He was active from the ’50s through the ’70s and is believed to have been killed by the Khmer Rouge during Cambodia’s holocaust. It’s said that even more of his work existed, but was destroyed by the Cambodian government during their “cultural cleansing” campaigns.
The recordings that did survive are plentiful and pretty amazing. Sinn’s songs—and Phnom Penh’s pop scene during the the ’60s and ’70s in general—had heavy elements of psych, garage, R&B, and some funk. If you’ve heard any Cambodian comps, chances are you’ve heard Sinn. He was such a versatile singer and soulful in a way that is atypical in Western music; his voice wasn’t powerful or distinctive, but rather delicate yet spry. Even to foreign ears, he conveys emotion well. Here are a few songs from Sinn that blow me away. The first three are covers, the last is an original.
“Always Hope” is a killer Beatles cover. Dig the dusty drums and the weird organ in the background. You haven’t heard “Hey Jude” like this.
“Missing Tender Care” is a cover of Scott McKenzie’s “San Francisco (Be Sure To Wear Flowers In Your Hair)”. The vocals have this eerie echo effect to them.
“Women of ’72″ is a rendition of the often-covered “Chirpy Chirpy Cheep Cheep”. Notice how Sinn does his own backup vocals, fluctuating his voice from high to low during the chorus.
“Beloved Girlfriend” is oddly quite haunting and is definitely a sharp turn from the one above. Personally, it might be most moving of the four.
There’s a wealth of info on Sinn Sisamouth so look around. If you have Sinn records (music and/or cover art) to share, please do!!! Here’s Sinn’s cover of “Sugar Sugar” I just got off youtube.
Filed under: Tunes | Tags: doctor nurse, erin czech, jeff brummett, muller, san jose, todd sandigo
“Phantom Lights”, from Calm Seas, Phantom Lights
Doctor Nurse is a San Jose band whose perfectionist (and laissez faire) attitude delayed this release for years. Besides a droning, 8 minute instrumental interlude (aptly called “Graveland”), the other songs have lyrics that shift between detailed, real life moments and abstract imagery. The melodies are catchy and replete with lingering qualities; the musicianship is tight, combining traditional tools with vintage synths like the Prophet-600 (Sequential Circuits). Occasional French horns, vibraphones, and organs round out certain choruses and flesh out the rest.
The 4 members (and 2 guest musicians) are multi-instrumentalists who sometimes rotate instruments depending on the track. The songs are fully developed compositions—which are short, laid-back garage rock tracks with psychadelic tinges and nostalgic vibes. The joint above, “Phantom Lights”, is a personal favorite which, I think, displays the sense of reverie found on Phantom Seas.
JB of Doctor Nurse, who plays guitar, sings, and writes all the songs, will be sharing an amazing interview he did with pioneering ’70s filmmaker, Jamaa Fanaka. This has been a long time in the making. Be ready.
To hear more of Calm Seas, Phantom Lights and to purchase it, please click HERE or contact Doctor Nurse directly at DOCTORNURSEMUSIC@yahoo.com.
I’m not the only one who’s sad to see summer go. Our Bay brethren, King Most, just posted this fun mix to celebrate “the last few slivers of 2009′s summer”. The artwork is very apt and gives you an indication of what’s on this uptempo, party mix. Summer’s over, but you’ll have this to vibe to while we await its return—which can’t come soon enough.
LINK TO DOWNLOAD FUNEMPLOYMENT
This album has been getting lots of play lately. Made in 1973, Yo Soy Mujer is a perfect blend of funk, folk, rock, and disco. It’s very cohesive, due to the vocals and how they tie everything together. It’s no wonder this album made Sophy one of Puerto Rico’s most known singers.
Born in Aguadilla, Puerto Rico, Sophy moved to New York City in 1960. There, she met and worked with Tito Puente, a towering figure of Latin-jazz and mambo. Sophy sung in Tito’s orchestra, and was so impressive, that he later produced some of her projects. Yo Soy Mujer was her third release in a career that would produce over thirty albums. She had a string of big hits in South America in the ’80s, but it’s her early ’70s work that really shines. The music is fantastic, so check it out. This would be a good starting point if you’re unfamiliar with Sophy and her records.
Below are two great cuts off Yo Soy Mujer, both of which were also famously sampled by RJD2.
“Un Amor Original”
“Locuras Tengo De Ti”
I’m a couple days late, but Stones Throw just posted an exclusive version of Koushik’s Out My Window for free download. The vocals on this are mixed way below the beats, making it sound extra ghostly than the original.
For the unfamiliar: Koushik sounds like Four-Tet and Air on valium. My problem with him are his vocals, which can sound too New Age, too Enya-esque at times. This version is perfect, since it’s basically the instrumentals with a couple bonus cuts. Download this if you dig laid-back, melodic beats drenched in reverb. It’s solid stuff, so GET IT FOR FREE while you still can!
The free download cycle has ended. You can still purchase the album HERE though.
Daptone puts out so many good projects that it’s easy to overlook their equally impressive subsidiary label, Ever-Soul. They specialize in forgotten soul and have another great project out next week—Detroit’s own Darrell Banks, a singer known for his hit “Open The Door” and who was fatally shot when he was 35. Here’s a great blog post about some fans who raised funds and bought a memorial plaque for Mr. Banks after visiting his grave and seeing that it was unmarked. You can read about Ever-Soul’s release, pre-order it, and hear snippets over at Daptone’s storefront.
One of Ever-Soul’s best releases is Eddie & Ernie’s “Bullets Don’t Have Eyes”. It’s a spirited track made in the early 1970s. This would be one of the pair’s last recordings and is one of their best. This came out a while ago, but copies are still available and are highly recommended. Hear it below.
Eddie & Ernie – “Bullets Don’t Have Eyes”
The Whatnauts: “Instigating (Trouble Making Fool”)
The Whatnauts put out some great 45s on Stang Records during the early ’70s. They also joined forces with The Moments for “Girls“, a great cut that was later sampled by Diamond D.
“He’s nothing but an instigating, always fakin’, trouble makin’ fool…” is the hook on this 1973 single. The song is a warning to an ex-lover about her new, shady boyfriend. It’s actually a sweet tune despite the negative lyrics about some nefarious dude. This is the only 45 The Whatnauts ever cut on GSF Records. “Instigating” is another smooth Whatnauts joint, full of nice melodies and even nicer harmonies.
I can’t think of a rapper that has aged as well as Ghost has. Raekwon is 39 and Jay is turning 40. And while both dropped big albums recently, their best work is likely behind them. But with Ghost, who is 37, there’s still the possibility that he’ll outdo himself. He’s so natural and is sharper than ever. Like his earlier work, he still raps with vigor, except it’s more focused, more tempered and a lot funnier. Big Doe Rehab has some great songs on it and, I think, is heavily slept on.
I received the sampler for his new project, Ghostdini: Wizard Of Poetry In Emerald City, a while back. I didn’t realize how near the release date was or else I would’ve posted this sooner. A big part of why Cuban Linx 2 wasn’t a total failure was because of Ghost’s appearances. If you like Starks, peep the sampler for his new one, Ghostdini: Wizard Of Poetry In Emerald City. It leans more towards Pretty Toney than Fishscale, but I’m still looking forward to it. It comes out in a couple weeks. Hopefully that supposed Ghost/DOOM project, Swift & Changeable, will be next.
DOWNLOAD THE SAMPLER FOR GHOSTDINI: WIZARD OF POETRY IN EMERALD CITY
Filed under: Tunes | Tags: dusty springfield, jorge ben, le mans, mod singers & mod lads
Summer’s over and I’m bummed to see it go. No more sunsets at 8pm. No more t-shirt weather. Now comes rain and the terrible holiday season. To bid adeui, here are four tracks I intended on posting in May but never got around to it. The first three are among the sunniest songs ever; the last, not as much, but it’ll remind me of summer when I hear it during the cold, bitter winter.
1) “Let’s Have Some Fun (Pt. 1)” is a foot-stomping funk 45 by the Mod Singers & Mod Lads. It’s a bit novelty, but it’s one of the happiest songs I’ve heard and captures what it feels like when summer first starts. It’s akin to Shirley Ellis’ “The Clapping Song“, but shorter and less literal. I picked up this 45 in Chicago for two bucks.
2) These next two are Latin tracks from my friend John who was recently in South America. The first, “Menino Jesus de Praga”, is by the great Jorge Ben. It’s from his late ’70s phase, off the album A Banda Do Ze Pretinho. It kills during John’s DJ sets and certainly goes great with summer.
3) This second one is “El Rayo de Sol” by Le Mans. It caught my attention at a BBQ in early August. Sweet and totally laid back, this is a summertime joint if ever there was one.
4) This last one is Dusty Springfield’s killer cover of “Spooky”, the 1967 Mike Sharpe (AKA Mike Shapiro) recording which has been covered many times. And though it isn’t particularly rare or anything, it’s a song that aesthetically sounds like a hazy, summer evening.
I like Jay-Z. I like how he carries himself in interviews. I like Blueprint 3 too (though it ranks lower compared to his back catalogue). Not many mainstream rappers actually rap anymore. No one cares about having different cadences or actually riding rhythms. Cats like Wayne have made it cool to be lazy, to limp over beats as if ferocity is somehow played out. Jay still switches up his flow and remains pretty charismatic, but even he doesn’t utilize (16) bars like he used to.
DJ Ayres just posted a new mix–D.O.J.- The Best Of Jay-Z– on The Rub. I seemingly like Jay’s new stuff more than Ayres does, but I also agree with his overall sentiment. The dudes over at The Rub (DJ Eleven, Cosmo Baker and DJ Ayres) are the homies so please check their site, and prolific mixtapes, if you haven’t already. For now, check Ayres’ killer mix to hear pre-retiremant Shawn Carter, when he was vicious and more wordy.
DOWNLOAD D.O.J. – THE BEST OF JAY-Z MIX
I’ve been asked a few times how I “got into” dancehall. It’s pretty simple: I’m from New York. (Anyone asking me this is usually not from here). Jamaican music has been a familiar soundtrack for nearly as long as I can remember. I think it was around 1990, when I was 11, that it first left an impression. New York’s twin Black radio stations WRKS (“KISS FM”) and WBLS were playing records by Shabba Ranks and Mad Cobra. Chaka Demus & Pliers’ “Murder She Wrote” first came out around then, beginning its steady rise to Bar Mitzvah/White Folk Wedding-level ubiquity.
Truthfully, I didn’t like the stuff at first. Not knowing too many Caribbean folk at the time, the lyrics, particularly from gruff deejays like Shabba, were initially tough to decipher. And the rhythms, made more for the dancefloor than passive consumption, didn’t grab me the way hip-hop beats did then. My gateway drug came in the form of Shabba Ranks’ “The Jam,” a collaboration with the reggae-absorbent KRS-ONE, and Bobby Konders and Mikey Jarrett’s “Mack Daddy.” This was dancehall, but with a hip-hop beat, and I was hooked. I’d heard rappers like KRS toss around patois in their own songs, but the sound of Shabba and Jarrett’s full-throttle toasting over the familiar thrust of a hard-hitting breakbeat grabbed me in a way I can’t quite explain so many years later. (more…)
The Mumlers- “Coffin Factory”, lead single from Don’t Throw Me Away
The Mumlers‘ second album, Don’t Throw Me Away, comes out tomorrow on Galaxia Records. Like their debut, the musicianship is sharp and the songs really sound sincere. And the arrangements, though quirky at times, always compliment the vocals in an unforced way. The first album had traces of Soul, but the new record has even more. Don’t Throw Me Away contains some of their best work yet.
What’s more, these guys are from San Jose, California of all places. In the coming months, Will Sprott, lead singer/songwriter of the Mumlers will be dropping by NERDTORIOUS with thoughts on his favorite singer; American soul and blues artist, Bobby “Blue” Bland. Until then, please pick up the new record and catch them on tour where they’ll be opening for The Black Heart Procession. They’re definitely going places—check out their music to see why.
Archie Whitewater’s “Cross Country” is one of my favorite songs ever and this is blowing me away right now. From Psychadilsnik.Blogspot.Com: Apparently recorded shortly after the self- titled LP was released on Cadet Concept in 1970. This was never released due to numerous complications with Chess Records and all its sister labels, which includes Cadet Concept. The tracks were forgotten and never released. The album probably wasn’t quite finished. Also some tracks were meant to be used as radio station spots and promos. The tracks are instrumental, calmer shorter versions of the full tracks. The track names are speculation and not confirmed.
For the tracklisting and a bit more info, peruse Pschadilsnik and download these tracks. The site–and their youtube channel–feature really good stuff so look around. These unreleased tracks are killer! Many thanks!
Unknown Artist – “Blue Basket (instrumental)”:
Unknown Artist – “Birds Are Singing But My Lover Won’t Return”:
Cambodian Cassette Archives, another fantastic release from Sublime Frequencies, came out in ’07 and is a collection of folk, lo-fi pop, funk, garage, ballads, and strange psych from Cambodia. They were culled from old tapes found at the Asian branch of Oakland’s Public Library. Apparently, some of these recordings precede the Cambodian Holocaust so info is obviously scarce; only a few songs and artists are even named. Others are said to be from the US (presumaby the Bay Area) by Cambodian immigrants who fled the Khmer Rouge. Rich with analog warmth, these 20 tracks are totally raw and filled with colorful inflections and timbres. Don’t sleep on this like I did.
**Sublime Frequencies constantly release amazing comps (Group Doueh, Shadow Music Of Thailand, and Group Bombino to name a few). Visit their site and take a look around.
I just got El Perro del Mar’s upcoming album in the mail which reminded me of how better her covers are than her original songs. The new one, Love Is Not Pop, is a lot like her last one, From The Valley To The Stars– not bad, but kinda forgettable. She relies way too much on cuteness (too many la-la-las) to push her songs along, and the music, normally pretty mellow, sounds thin and lacking overall. Her best work is probably her self-titled that came out in ’06. In light of a new album and tour, here’s a couple of those covers that first came to mind:
1) Her cover of The Isley Brothers’ “(At Your Best) You Are Love”, which was the b-side to Lykke Li’s “After Laughter (Comes Tears)” 45, released during Record Store Day earlier this year.
2) “Here Comes That Lonely Feeling”, a great cover of this Gaylettes’ sure-shot.
Filed under: Tunes | Tags: amy winhouse, andy & joe, sam cooke, ska ep, the specials, toots and the maytals
Winehouse’s cover of The Speicals’ “Hey Little Rich Girl”, off The Ska ep, which you can purchase here.
I know I’m mad late on this, but nobody made noise about this Amy Winhouse ep. It’s a red 7-inch where she covers The Specials (“Hey Little Rich Girl”), Toots And The Maytals (“Monkey Man”), Andy & Joe (“You’re Wondering Now”) and Sam Cooke (“Cupid”). It’s just 4 tracks, all of which were either previously released b-sides or live takes, but they’re killer renditions– showing her talent and how it’s most obvious when she’s non-chalant about it (like in this video). Apparently, I like this a lot more than this guy did.
I heard of this through emails I’ve been getting about another upcoming ep of hers, The Nelson Mandela ep. It’s supposedly a 7″ of live versions of “(Free) Nelson Mandela”, “Valerie”, and “Rehab”, which comes out soon.
Over the weekend, The Beastie Boys released a 12-inch (limited pressing of 5000) off their upcoming album, The Hot Sauce Committee. It’s a song they debuted at Bonnaroo called “Too Many Rappers” and features Nas. The beat’s hard and it’s interesting hearing these guys together on one track.
HEAR “TOO MANY RAPPERS”
El Fantasmas Espejo (Part 1 of 2) is: “A mix I just did that’s from a large collection I was given 2 to 3 months ago from a former local radio DJ. It ranges from psych, soul, chicano anthems, covers, rock, balada, etc. It’s all over the place. All Latin records, all OGs, none re-issued and some below radar..til now,” according to AGE, Bay Area record junkie and local DJ/producer.
AGE’s last mix was a longtime favorite of mine. Listen and download his new one, El Fantasmas Espejo (which translates to “The Haunted Mirror”). Thanks holmes!
We’re big Edan fans, so we’re always stoked when he does something new. Here’s a couple radio shows he did recently. According to him, they’re “very casual”. Show 1 has been around for a while; show 2 was recorded a couple months back. Both are really good (and long, over 2 hours each!). Part 2 is flooded with some of my favorite songs ever. Supposedly, there will be more of these radio shows to come. For now, check these out!
DOWNLOAD SHOW #1
DOWNLOAD SHOW #2
Here’s an interview we did with Edan.
After one listen (while skipping songs I’ve already heard), Mayer Hawthorne’s new full length, A Strange Arrangement, is pretty enjoyable. Expectations for it were high since his first single, “Just Ain’t Gonna Work Out”, had us geeked for months. Other songs on the new one are much better than his second single, “I Wish It Would Rain“, which isn’t bad but didn’t surpass the (unfairly) high expectations I had for it.
The songs on A Strange Arrangement are varied, some are Motown-ish (“Your Easy Lovin’ Ain’t Pleasin’ Nothin’”), some are slow burners (“Shiny And New”) and others, total floor-stompers (“The Ills”). After an initial listen, “Let Me Know”, a killer track, stands out as Mayer abandons his falsetto steez for an almost Neil Diamond-esque delivery. And it works. “One Track Mind” sounds like a Marvelettes album cut and “Shiny And New”, a well-placed ballad, rounds out the album nicely. The only setback is his cover of The New Holidays’ “Maybe So, Maybe No” which, in his defense, is impossible to cover due to its delicate arrangement and insurmountable cult status; and “Prelude”, an unnecessary 20-second intro of vocals.
For a debut with immense hype, Mayer lives up to high hopes, delivering 12 self-produced songs that aren’t cheesy or overly imitative. In fact, between tracks #3-#11 lies an almost perfect EP. And while his voice isn’t the greatest, he understands soul music and knows how to write catchy songs. I’ve read about people questioning his authenticity, but being authentic doesn’t make your songs good– writing good songs do. I plan on covering this more for my various outlets as the September 8th release date nears (where it will come with 2 new songs on a free 4-inch single!).
For now, here’s an interview we did with Mayer a few months back, a new podcast he did for Stones Throw, and the youtube joint for his debut single that first turned heads.
*BONUS: Here’s Mayer’s version of the theme song from the TV show Weeds.
Filed under: Tunes | Tags: 24 carat black, dale warren, gone: the promises of yesterday
Later this month, Numero Group will put out Gone: The Promises Of Yesterday, the long lost followup to 24-Carat Black’s now-revered, Ghetto: Misfortune’s Wealth. NERDTORIOUS features a lot of Numero’s stuff and we’ll keep doing so as long as they keep coming correct like this. The packaging, the histories, the photos (how dope is the one above?) and the music itself, are all stellar examples of Numero’s excellence. Here is Gone: The Promises Of Yesterday‘s backstory and some song snippets from it, including a lost track that Numero left off the upcoming release… (more…)
Everyone has an opinion on MJ and that’s fine. My generation saw him at his most thrilling and a big part of my childhood is totally bummed. Remember Captain EO? Yeah, me too. Those images connect me to a much simpler time. Seeing a young Michael kill it on youtube won’t ever be the same again either. Tabloids, punchlines and ambivalence aside, Michael Jackson was one of the best to ever do it. His records are some of the finest ever made and today we celebrate our affection for them. Below are some of my favorite cuts from his Jackson 5 years. RIP, MJ. What a legacy.
*FIRST EVER JACKSON 5 SINGLE, “BIG BOY”
*MICHAEL DOING BILL WITHERS’ “AIN”T NO SUNSHINE”
*ONE OF MY ALL TIME FAVORITE JACKSON 5 SONGS (LATER SAMPLED BY PETE ROCK), “2-4-6-8″
*MJ’S VERSION OF THE ISLEY BROTHER’S “IT’S YOUR THING”
*”MAYBE TOMORROW”, A BALLAD MADE FAMOUS BY GHOSTFACE WHEN SAMPLED FOR “ALL THAT I GOT IS YOU”
*A KILLER (LIVE!) JACKSON 5 MEDLEY FROM DIANA ROSS’ SHORTLIVED TV SHOW, DIANA!
*”DOCTOR MY EYES”…….A JACKSON BROWNE COVER, THE MOST SLEPT ON JACKSON 5 TRACK OF ALL TIME!!!!!!
***AND “GOT TO BE THERE”, THE TITLE SONG TO MICHAEL’S FIRST SOLO ALBUM OF THE SAME NAME, OFF MOTOWN.
Staten Island’s Budos Band are back with a perfect EP for these summer nights. The tracks are from sessions between the making of their first self-titled release, The Budos Band, and its successor, Budos Band II. They’re from the Daptone family, so it’s tightly crafted per usual. They lean a bit more towards Afro-Soul, but do have touches of Jazz, Funk and Latin too. The musicans are part of a rotating cast that make up The Mighty Imperials, Menahan Street Band, The Dap Kings, and Sugarman 3. Included is a list of the band members (because these dudes don’t get enough individual credit) and for your downloading pleasure, “The Proposition”, a previously released 45 that’s also on the new EP. (more…)
Edit of “Auditorium” featuring ONLY Rick’s verse, minus Mos and other nonsense.
Mos Def’s latest, The Ecstatic (which is listenable but weak overall), features a collab with The Ruler himself. On “Auditorium”, Rick talks about being in Iraq and eventually being hailed as the “Elvis of Baghdad”. It’s funny and is even slightly political, though not particularly catchy. I still think it’s interesting to hear Rick kick storyraps about modern settings. Rick didn’t say much about new projects when I spoke with him for Waxpoetics issue #31 but he did say a new album called The Adventure Continues was in the works. As one of my favorites, I’m always stoked to hear from Rick (even if it’s with this clown).
Lee Fields, a man who cut his first record at age 17, is a relentless worker. His latest album, My World, caps a career of over 40 years in music, an industry where he survived without ever making it big or getting the acclaim you’d think talent would earn. But all that is behind him because, according to Lee, “My World is truly the work of my life. I think it’s the greatest project I’ve ever been a part of.” And while every musician says the same about their latest album, Lee has no reason to lie. He’s an honest man who’s carved an honest living his entire life, gigging from huge theatres to shabby venues while quietly making records here and overseas. And his latest work, another tightly knit effort from Truth & Soul, might indeed be his best. Lee still hustles at 57-years-old, still records because he “never learned to be tired” and plans to keep doing do. Here’s our interview with the tireless Lee Fields, a talk where we comb through his long career, touch on his latest LP, and look at his largely understated legacy.
You’ve been singing and gigging since you were a teenager. How much longer do you envision yourself doing this for?
I don’t know. I’m really having such a wonderful time. I think music is like a sculpture. If you sculpt, then you stop when you run out of things to sculpt. I don’t think I’ve sculpted everything I wanted to yet. I’m real serious about that.
You’ve said recently that this is the most creative stage of your career. Why do you think you’ve finally hit your stride after 40 years?
Throughout my musical career, I’ve done a lot of traveling and been to a lot of places. I’ve worked with a lot of people as well. I’ve always kept writing too. I’ve never stopped doing what I do. So just through my life experience alone, I feel like I can convey lots of emotion and conviction—even if it’s not a song I wrote. The whole purpose of being an artist is to make your work as evoking as possible when it comes to passion. At this stage, man, I think it really shows through my work. (more…)
Matthew Africa just gave us the OK to post his Best Of DJ Quick, an evenhanded blend of both hits and album cuts from West Coast legend, DJ Quick. The 39-songs celebrate his many collaborations, his beefs with EVERYONE, and his steady growth (as rapper and producer) through the years. Click HERE to read the original post and learn more about the mix. Peace and thanks to Matthew Africa, great work as usual. Quick’s deep career is long overdue for something like this!
DOWNLOAD BEST OF DJ QUICK HERE
For complete tracklisting… (more…)
I posted about The Gaylettes days ago and am still obsessed with hearing all their songs. Their records can be hard to pinpoint because—like lots of Jamaican releases—the information is wildly varied (spellings of their name include: Gayletts, Gayletts, and Gaylets). Just when I thought I’ve heard it all, I found this amazing 45 they put out on Hot Disk (the b-side also kills!). I should really update this post with the b-side too, but for now, here’s “Don’t Believe Her”, another ridiculously sweet song by my favorite Jamaican ladies, The Gaylettes.
CLICK TO DOWNLOAD “DON’T BELIEVE HER” BY THE GAYLETTES
DJ Basura, Missingtoof superstar and Bay Area busy-body, gave NERDTORIOUS his brand new mix, Beats & Bleeps Vol.1, for heads to enjoy. Flying Lotus, DOOM, Harmonic 313, Quinoline Yellow, AND Schooly D? It all works as Basura irons out any hints of awkwardness throughout its 18-songs. The selections lean more towards hip-hop and downtempo than his other works, but it’s equally fun, equally smooth as the electro mixes he’s most known for. Dude’s versatile, so check him and his mix for some bump (and bleeps) in your trunk. Thanks Brosura!
HEAR AND DOWNLOAD BEATS & BLEEPS VOL.1 BY DJ BASURA
Tracklisting:
1. DOOM- Lightworks
2. Reminder- On Rooftops
3. Cool Kids- Action Figures
4. Push Button Objects- Lxp Bitches
5. Sixtoo- Boxcutter Emporium Pt.2
6. Harmonic 313- Word Problems
7. Schooly D- P.S.K. What Does It Mean?
8. Flying Lotus- $tunt
9. Secret Frequency Crew-Holographic Moon Owls
10. Chris De Luca & Peabird- What The Fuck I Got To Say
11. Dabrye- Piano
12. Flowchart- Fast Forward Remix
13. Freescha- Come Good
14. Mantronix- Get Stupid Fresh Vol.1
15. Autophonic- Mechanics
16. T La Rock- It’s Yours
17. Quinoline Yellow- Sheepdip
18. Lexaunculpt- Strangelove Offline
Linda Bruner sounds a lot like Janis Joplin at times, often intense, troubled, and totally bare. Her accent was deeply Southern, her hair was described as “a rat’s nest”. She grew up in Loves Park, the poor sector of Rockford, Illinois, in the late-‘60s and was discovered by her guitar instructor, Jim Krein. At seventeen, she joined Krein’s struggling yet determined psych band, Pisces, and recorded four songs with them. She is also said to have worked on a solo album around the same time which she abandoned and left unfinished. Pisces’s story and music will be released by the Numero Group on an upcoming CD, A Lovely Sight, fifteen unreleased songs that include Linda Bruner’s lone recordings. According to the liner notes: “When last heard from, Linda was embroiled in a check fraud scheme and was on the run.”
A Lovely Sight places Bruner’s dim story into the context of Pisces’ larger saga. Pisces was just another exuberant late-‘60s psych band, purposely woozy and highly derivative, but in a good way. And while the project is, I think, anchored by Bruner’s contributions, Pisces’ psychadelia isn’t corny or wildly fragmented, and sound like a mix between Jefferson Airplane and Donovan.
Below is “Sam”, the Pisces’ third single that never was. It begins like a late ‘80s rap cut before clumsy snares are joined by muddy bass. It all works well, made especially effective by Bruner’s uneasy vocals. Hear a clip of it below.
Hear “SAM” BY PISCES FEAT. LINDA BRUNER
Bruner’s other tracks from the album are also killer, particularly “You Are Changing In Your Time”. To hear those, and to purchase A Lovely Sight, please visit Numero’s storefront.
Joelle Phuong Minh Le, who goes by a mouthful of a name, Greetings From Tuskan, made a couple cool beats on her new collaboration project with Buck 65, Bike For Three. She’s this half-Vietnamese, half-Belgian beatmaker who kinda sounds like Boom-Bip, Jel, and Four Tet thrown in a blender. I thought it be interesting to talk to her real quick and ask her some real basic questions. REMIX kindly posted it. Check out the album More Heart Than Brains to hear more expert knob-twiddling via Ms. Le. Below is a cover of MC Shan’s “MC Space” , produced by Joelle from said album.
HEAR “MC SPACE” BY BIKE FOR THREE
I love Mary Wells and “Two Lovers” is one of her all-time classic joints (written by a young Smokey Robinson no less). It’s the type of song that’s so aligned with its singer that newer versions rarely if ever work well. And while “Two Lovers” fits in this untouchable category, here’s a rare exception: an outstanding cover by English pop singer, Louise Cordet, who recorded for Decca in the early-to-mid ’60s. It’s a rock version, slightly rougher, and more garage-sounding than the Wells original. Dig it below.
***LOUISE CORDET”S COVER OF MARY WELLS’ “TWO LOVERS”
I first saw this 12″ while reviewing this book for some website years ago. I didn’t think much of it until I saw the record again, remembered the book, and remembered that it was one of Tommy Boy’s early releases. I picked it up and loved it ever since; love the cover too.
“He’s Got The Beat” is an early ’80s electro-dance-cut, featuring cheesy punch-ins (“cu-cu-cut it up Whiz!“) and equally cheesy keyboards. Whiz Kid is credited with playing those keyboards, along with writing, mixing, and arranging, while a singer named Sabrina supplied the vocals. This was a fit with Tommy Boy’s futuristic-rap roster at the time, Planet Patrol, Key-Matic, and The Jonzun Crew for example. According to some websites (with often conflicting reports), Whiz Kid passed away around 2006. This song isn’t hard to come by nor is it turntable Whizardry, but it’s fun for sure. Cut it up Whiz!
HEAR “HE’S GOT THE BEAT” BY WHIZ KID
Filed under: Tunes | Tags: lowrider ball live, mary wells, san jose lowrider band
The back of the record reads: “Dedicated to all the beautiful brown people everywhere…our statement is heavy.”
Released in 1979, Lowrider Ball Live is an album of live events that took place in San Jose, California in the mid-to-late ‘70s. These “balls” gathered more than 100 car-clubs throughout the country, celebrating cars and music, and calling for an end to violence and drugs that plagued the community. It was held at the Santa Clara County Fairgrounds, a spot that today holds flea markets and tradeshows (and where the new 49ers’ stadium is in consideration to be built).
This record is especially meaningful for two reasons: 1) It features a rare version of the Mary Wells’ jam, “You Beat Me To The Punch”. It’s a clean live recording and totally kills. The other standout, “Brothers And Sisters Lowriding Around”, written and performed by The San Jose Lowrider Band, starts with a skit about police harassment before leaning into a huge bassline. I dig the fact that the one (known) recording by cats who called themselves “The San Jose Lowrider Band” is a straight funk song. And 2) NERDTORIOUS is based in the South Bay Area, Santa Clara/San Jose to be exact, two places that aren’t exactly synonymous with funk and soul. This right here is local history. And it’s funky. Hear the liveliness:
CLICK TO HEAR: MARY WELLS’ “YOU BEAT ME TO THE PUNCH (RARE LIVE VERSION)”
CLICK TO HEAR: “BROTHERS AND SISTERS LOWRIDING AROUND” BY THE SAN JOSE LOWRIDER BAND
Filed under: Tunes | Tags: darlene love, gloria jones, phil spector, the blossoms
The picture says it all—these ladies sang. Often dubbed as the “West Coast Sweet Inspirations”, The Blossoms might be the most overqualified session singers in history. They played the background for Marvin Gaye, Sam Cooke, Bobby Darin and, also like the Sweet Inspirations, worked closely with Elvis. They were produced early on by Phil Spector and recorded for small labels (Flip, Flair) as well as bigger ones (Capitol, MGM). Their history mingled with many marquee names of the day, namely The Shirelles, Gloria Jones, Shelley Fabares, The Ronnettes, The Crystals, and Darlene Love. Read more about their long, interesting (and overlooked) career HERE.
“Good, Good Lovin’” by the Blossoms is a beauty that grabs you right when the vocals start. Peace to Cutso for hipping me to this one.
I’ve been meaning to post about Sugar Simone for a while. Love this guy.
Born in Jamaica, Keith “Sugar” Simone rose to local prominence as a gospel singer and left for Britain in ‘61 to further his schooling. He then worked as an engineer while singing on the side, juggling both worlds until 1963 where he auditioned at Old Planetone Studios. Here, he met Alan Crawford, a radio exec who signed Simone to Carnival Records. After cutting a half-dozen singles for Carnival, Simone signed to Island Records where he recorded some of his most well known works as Sugar Simone (he would also record under the name Tito Simon, but those are forgettable).
Simone was always more popular oversees than in the states, touring Germany, Italy, Spain, Portugal, and Switzerland until the ‘70s. As far as I know, he only cut one LP as Sugar Simone (Alive & Well, kinda lackluster, shown above), profited slightly off a handful of dope 45s, and later signed to Beacon Records where he made more singles and released a few LPs as Tito Simon. But his late ‘60s singles are the most sugary. Here are his best 3 songs:
1) His first and most famous single, “King Without A Throne”, for Island Records in 1967. Notice the jacked “Stand By Me” bassline. HEAR IT
2) “Take It Easy”, another nice late ‘60s cut—rhythm, horns, and nice vocals. Super sweet, no saccharin. HEAR IT
3) “I Want To Know”, a crazy slick 45 Simone did for Trojan. HEAR IT
It’s hard not to play this record everytime I play out. I don’t know anything about this group (hit us up if you do!!!) but I know that it’s under 2-minutes and KNOCKS. HARD. Dig it.
HEAR “TONIGHT I MET AN ANGEL” BY THE PARLETTES
The B-Side, “BECAUSE WE’RE VERY YOUNG” is great too!
Ubiquity’s recent releases have been real nice, one of which is multi-instrumentalist Shawn Lee’s Soul In The Hole, a throwback project that chronologically follows the evolution of soul music through its various trends and stages. The guests spots are interesting too, including Darondo, Paul Butler (of The Bees), and the following track, featuring Nicole Willis.
HEAR “JIGSAW (ft. NICOLE WILLIS)”
I’m a sucker songs like “Jigsaw”; steady beat, hand-claps, female-vocals, real catchy.
***Go on Shawn’s site to hear some more of his music, inlcuding his instrumental take on “Hey Ya”. To buy this record or get more info, please visit Ubiquity’s website.
Maurice Williams is known for his one-hit “Stay“, which is said to be the shortest song ever to reach #1 on the charts. It reemerged again and was immortalized on this Swayze soundtrack decades later (don’t front like you don’t know.).
Snappy and gruff, “Being Without You” is a forgotten number from Maurice that’s not as known as it should be. In typical style, it’s a short, killer cut. Enjoy!
LISTEN TO “BEING WITHOUT YOU” BY MAURICE WILLIAMS
Filed under: Tunes | Tags: diamond d, the moments, the whatnauts, ultimate force
“Girls. I like ‘em fat, I like ‘em tall, some skinny, some small, I got to get to know them all…”
Besides the classy lyrics, you gotta love guys with an album cover like that (look at dude in the middle!). The song, “Girls”, was an inter-label collaboration between The Whatnauts and The Moments, both of whom recorded for Stang throughout the ‘70s. The song’s a silly (and kinda offensive) homage to women [“…lovely and good lookin’, the kind that does the best cookin’…”] but it’s goofy in an unintentional way and the production’s catchy. The banter between the groups make it even more fun.
HEAR “GIRLS” BY THE WHATNAUTS AND THE MOMENTS
Joseph Kirkland grabbed the record years later. Better known as Diamond D, he used it for a track he so originally also named, “Girls”. It’s off Ultimate Force’s lost full-length, I’m Not Playin’ (slated for 1990, released in ’07). Ultimate Force was Diamond D and MC Master Rob. But I’m Not Playin’ got shelved (along with Rob’s boooooring raps) when Diamond’s solo career took off. I’ve always dug Diamond D’s work, and this is an early cut of his. It has a melodic feel that D.I.T.C. would abandon on their later efforts for a much darker sound.
Got this in my email today. It’s a remix from GTA: Chinatown Wars. It’s always good to hear Ghost and DOOM spit together, even if the song isn’t exactly jaw-dropping. But they both deliver real well on this action-packed story rap. Plus, DOOM’s latest, BORN LIKE THIS (my favorite DOOM LP since Doomsday!), has me geeked.
HEAR Ghostface & DOOM: “Chinatown Wars (REMIX)”
King Khan’s, The Supreme Genius of King Khan and the Shrines (a quasi-best of comp from Vice), is a mix of garage, psych, soul, and punk. The Shrines, and Khan himself, were able to pull off various genres without sounding too derivative at all. But the best song off the album is the incredible, “Crackin’ Up”, lush with catchy melodies and a slumpy groove.
“Crackin’ Up (cover)” by King Khan and The Shrines
Little did I know, “Crackin’ Up” was originally written and recorded by the great Bo Diddley. Diddley’s version rules, sounding at once defeated and pissed-off. Everything about the recording is magic. Easily one of my favorite songs ever.
“Crackin’ Up” by Bo Diddley
By Nate LeBlanc
“From time to time, excellent material is recorded but, for one reason or another, is never released. This is a case in point.” —Jac Holzman, founder, Elektra Records
Today we have a gem from forgotten folk artist Clarence Cooper. His version of “900 Miles” has been a mixtape secret weapon of mine for years. To me, it’s a perfect song, powerfully delivered and unusually dynamic for a traditional folk ballad. Cooper had a brief but interesting career, delivering his lone album in 1955 when Elektra LPs were still released on 10″.
He was also in the Tarriers, a folk combo founded by the actor Alan Arkin. I discovered Cooper and this incredible recording through this Elektra sampler record from 1957 that I pulled from my grandfather’s collection after he passed.
This is the only picture I could find of Mr. Cooper, from a 45 released in France containing his “Negro spirituals.” Any further information or copies of his other recordings would be greatly appreciated.
Here’s the song, I hope you enjoy it. Dig the way the guitar augments the whistle, the active bass, and the palpable sense of longing in the lead vocal.
I love Posdnuos, easily one of the greatest ever. I recently re-stumbled upon “Smile A Lil Bit “, a guest spot he did on that Galt MacDermot sample-thon, Exodus Into Unheard Rhythms, by Oh No. This is the only song I dig off it, but I really like it. It’s by far my favorite Oh No beat and Pos delivered real nice.
Photo from portroids.com.
David Isaacs (no relation to Gregory Isaacs) is said to have been responsible for launching the Trojan label into worldwide acclaim with his debut LP, A Place In The Sun. Mr. Isaacs recorded between the late ‘60s and early ‘80s, releasing five albums and numerous singles, many of which were produced by Lee Perry. During this time, he recorded one of the saddest songs (in the history of love songs, I think), “Just Enough To Keep Me Hanging On”. The aesthetic of the recording; the slight echo of the vocals, the lonely feel, the chorus, everything about the song, is totally heartbreaking.
HEAR “JUST ENOUGH TO KEEP ME HANGING ON”
***BONUS CUT: “A PLACE IN THE SUN”
Mr. Isaacs also did a killer cover of Stevie Wonder’s “A Place In The Sun”, the title track to his beloved first album (also produced by Lee Perry). Wonderful stuff, dig it!
Filed under: Tunes | Tags: barry gordy, checker, checker label, cry label, james brown, tammy montgomery
Tammi Terrell collapsed onstage in 1967, falling into Marvin Gaye’s arms while performing at Virginia’s Hampton-Sydney College. She was diagnosed with a malignant brain tumor and died shortly after. She was 24.
Born Thomasina Montgomery, she caught the eye (and ear) of Mr. James Brown in 1962, recording “If You Don’t Think” and “I Cried” for his short-lived Try Me imprint. A year later, a charmed Barry Gordy signed her to Motown records. This began her collaborations with Marvin Gaye, who, in a haze of depression, was said to have stopped recording for two-years after her death. But it would be their iconic duets (“Ain’t No Mountain High Enough”, “Your Precious Love”, “Ain’t Nothing Like The Real Thing”) that Terrell would be most remembered by today.
Tammi also recorded several 45s under the name Tammy Montgomery before her career took shape. It’s unsettling to know she passed so shortly after recording these killer songs.
CLICK TO HEAR “THIS TIME TOMORROW” , my favorite Tammi track.
**BONUS CUT: “HOLD ME MY DARLING (solo version)”
I had to wait to post this link because it crashed due to the overwhelming number of visits it (immediately) received. Kutiman and his camp didn’t get to properly launch the video, but now they’re keeping up with crazy demand, and here it is.
Check out: THRU YOU: KUTIMAN MIXES YOUTUBE
I interviewed Kutiman a few months back when he released his debut full-length on Melting Pot Music. Read to find out more about him, his background, and musical influences.
(Originally ran in Waxpoetics issue #29)
Rhythm has a funny way of crossing borders. After all, you wouldn’t expect the streets of Tel Aviv to pound funk and afro-beat rhythms well into the night. But the large Israeli city, situated on the Mediterranean coastline, has been bustling with drums Tony Allen would approve and grooves The Meters could’ve dug.
“The groove scene here is great and is positively growing each day,” says twenty-five-year-old musician, Ophir “Kutiman” Kutiel. “But I have nothing to compare it to. I’ve never lived anywhere else, or seen any other music scenes. I know we have some great musicians here, and at the same time, people are discovering music filled with flavor and rhythm,” he says proudly.
(more…)
Filed under: Tunes
Not much more can be said about the great Alton Ellis. Ellis was a giant of his genre and his career has been rightfully celebrated up until his recent passing last year. His career produced huge collaborations with many producers and singers, one of which is with the always sweet, always enjoyable, Phyllis Dillon.
“I’m Just The Guy”, recorded for Studio One in 1967 is, needless to say, a killer collaboration between the two. I like that the song is about soon-to-be lovers warning eachother about themselves. Both Ellis and Dillon deliver, sounding at once vulnerable and directly confrontational. Shouts to my girl for schooling me on this one.
CLICK TO HEAR “I’M JUST A GUY (Feat. Phyllis Dillon)”
***BONUS CUT: “MAKE ME YOURS” by Phyllis Dillon. Not only is this my favorite Phyllis Dillon song, but it shows how her voice and cadences can accent an otherwise simple arrangement.
