Month: May 2019

THOR BALDURSSON’S ENDGAME

David Bowie once recalled in an interview about his time with Brian Eno while the two were famously making the Berlin Trilogy: “Eno came running in and said, ‘I have heard the sound of the future.’… he puts on “I Feel Love,” by Donna Summer. ‘This is it, look no further. This single is going to change the sound of club music for the next fifteen years.’ Which was more or less right,” said Bowie.

“I Feel Love,” produced by the great Giorgio Moroder swept Europe, eventually hitting the US and charted on the Billboard Hot 100 that summer. The throbbing disco smash was an enormous breakthrough for its arranger, a little known songwriter out of Iceland named Þórir Baldursson.

Born in 1944, Þórir (known also as Thor) grew up playing keys before notching some huge songwriting, arranging, and production credits later in life. He transitioned gradually from jazz to disco, with studio work that included ABBA, Elton John, and Grace Jones. “I Feel Love” is now a signature song in Donna Summer’s oeuvre and became commonplace sample fodder for ‘90s dance cuts, even Blondie and Madonna tapped its monster break for late-in-the-game dance-pop revivalism. 

Þórir was also apart of another leading-edge arrangement, the oft-sampled “Sing Sing” by Gaz, which of course contained the foundational skeletal shakers that later became Baltimore club music’s backbone. Along with “Amen Brother” and “Apache,” “Sing Sing’s” break was a staple in early Grandmaster Flash routines and subsequently lifted by everybody from RZA to Kylie Minogue.

Through the years Þórir’s name has been so butchered, so miswritten that there are at least twenty different spellings to his credit. Some of them muddied through translation, others perhaps out of sheer laziness (“S.P. Bala” for one– not even close). Strange for a musician whose output spans back to the ‘60s and who’s still very much conscious of the fact. Says Þórir: “Music has been my sole source of income since the 1950s so this is my 61st year in this profession.”

Some of Þórir’s work was used on DJ Platurn’s Breaking The Ice, an esteemed mix of rare Icelandic grooves from his and his father’s collection. Through ties with his motherland, Platurn connected us with Þórir himself, who at a cantankerous 75 years of age, took time to humor us– if only briefly. It’s always incredibly satisfying and gives you hope to see artists succeed solely on the merit of their art for so long. Hats off.

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GEM AMONG GIANTS: RUBY ANDREWS

I spoke with Ruby maybe six or seven years ago, needless to say I’m very pleased to see it finally published. The story was meant to capitalize on her music’s reemergence due to a Q-Tip sample that was making its way onto everyone’s playlists at the time. But Ruby’s own history and colorful career runs deep– and her stories were so magical. The piece was delayed because we couldn’t get the high quality images we wanted to. But the other reason is simply because the interview went so well and her memories were so epic, that I kept it close to my chest, hoping and waiting to find the ‘right time’ to drop it.

Well, years later, I’ve learned that there’s never a bad time to publish evergreen stories that will one day outlive us all– the earlier these are shared, the greater the chance more will learn about these incredible artists while they’re around to see its impact. Read my interview with Ruby HERE. Thanks so much Ms. Andrews. What an honor.

THE MAKING OF KOOL KEITH’S “LIVIN’ ASTRO”

I recently spoke with Doc Oct himself, Dicky Long Docking aka Dr. Dooom aka Poppa Large– aka the one and only, Kool Keith. Black Elvis/Lost In Space turns 20 this year and I had Keith break down the making off the album’s hit single, “Livin’ Astro.” Every time I have an opportunity to speak with Keith, I take it. And every time we talk I’m reminded of how hilarious and eccentric he indeed is. Far-out and probably not from our galaxy, Keith pulls back the curtain on what went into the making of “Livin’ Astro” HERE.