BEATSWATCH

Juca Chaves, Muito Vivo

greg@beatswatch.com (Gregory Q. Public) — Tue, 09 Mar 2010 21:13:02 PST

Take Me Back to Piaui - Juca Chaves - 1972
Paris Tropical - Juca Chaves - 1972

I picked up this album ("Muito Vivo: A Satira de Juca Chaves") on a trip to New York last year. I had never heard of Juca Chaves, but the dude at the shop gave it a hard sell and convinced me I probably wouldn't find it anywhere else. I went back the next day, so I could listen again to these two songs off the album, which blew me away. I also enjoyed just hanging out in the store. Definitely one of the coolest shops around, and the only one I've ever been to that specializes almost exclusively in Brazilian vinyl! It's rare to find a good old brick-and-mortar store where you can just chill, get solid music suggestions and learn a few things from the guy behind the counter.

"Take Me Back to Piaui" is apparently a big hit among DJs. It sounds familiar enough to be something you could sing along to, even if you haven't heard it before. The backup vocals are perfect, I can picture this being done on a big stage with bright spotlights. Chaves has the kind of heightened talk-y delivery that calls to mind Wilson Simonal and Tom Ze. In "Paris Tropical" (a goofy play on Jorge Ben's "Pais Tropical") he jokes around, you can tell he is out there having a good time. No surprise Chaves became a comedian later on in his career.

A to the R-S-E-N-I-O

greg@beatswatch.com (Gregory Q. Public) — Thu, 21 Jan 2010 00:08:00 PST

Forget Conan, forget Leno. The true king of late-night will always be Arsenio. Is there anyone else who could've assembled an all-star rap event on this level? Arsenio managed to pull just about every major East Coast rapper of the moment for his last show on the air in 1994, and he couldn't have done it with more style.

My pal Justin and I have watched this video endlessly over the years, and it has become the gold standard for measuring all posse jams. The performance has a funny combination of feeling rehearsed and of the top of the head. It's incredibly entertaining, hilarious, fun, but so much more than that...It is by far my favorite discovery on YouTube.

I remember watching this for the first time with giddy anticipation for who was going to walk out next on stage. The anticipation keeps escalating and pays off big-time at the end. After repeat viewings, I'm still amazed at how fresh it sounds, despite learning over time that Q-Tip, CL Smooth, GZA, and others are basically just reciting lines from other songs they've done. Meanwhile, my appreciation has only grown deeper for Yo-Yo's cute (and badass) introduction and MC Lyte's heartfelt tribute to the roughneck from Cleveland, Ohio. If it is your first time watching this, I envy you!

Blue bossa

greg@beatswatch.com (Gregory Q. Public) — Sat, 07 Nov 2009 21:56:34 PST

Aguas de Marco - Joao Gilberto - 1973
Na Baixa do Sapateiro - Joao Gilberto - 1973

Miles Davis once said Joao Gilberto could read a newspaper and make it sound good. I couldn't agree more! Gilberto's economy and understated cool are ever present in this 1973 version of "Aguas de Marco." It starts with Gilberto strumming a single chord for what seems like forever--the musical equivalent of playing dumb. Then: A handful of chords. Brushes on a closed hi-hat. When Gilberto launches into the melody, his phrasing is like short-hand, as if he were singing to himself in an empty studio or teaching someone how it should be done. He is so matter-of-fact in his delivery, it wouldn't be a stretch to image him at the breakfast table reading the paper out loud in this voice.

Risin' to the Top

noreply@blogger.com (Chubot) — Thu, 05 Nov 2009 00:29:46 PST

Born 2 Live - OC - 1993
Take You There - Pete Rock and C.L. Smooth - 1994

Funny how two songs with the same sample and nearly the same beat (no offense, Pete Rock) can have such a different feeling. While C.L. Smooth settles for the typical "I'm the shit" approach (not that there's anything wrong with it), the oft-forgotten OC deploys a thoughtful reflection on childhood, life, and death that is more reminiscent of an early 2pac or Nas than of the rapper best known for the seminal Time's Up.

The Ink is Black...

noreply@blogger.com (Chubot) — Sun, 14 Feb 2010 12:40:44 PST

Erase Racism - Kool G Rap & DJ Polo feat. Big Daddy Kane and Biz Markie - 1990

Stumbled upon this smooth, paradoxical track the other day while listening to unlikely collaborations lost in the annals of hip hop history. I can't quite put my finger on it; I'm not sure if it's an earnest appeal to end racism or a joke track mocking politically correct commandments of the time (a la Heavy D's Don't Curse). I'm fairly certain the track is earnest, with Biz's trademark off-key chorus and intros serving to highlight the redundant imbecility of racism, advising merely for those continuing to indulge themselves to "Stop that".

What's strangest to me are the other unlikely participants. Kool G Rap is an early inspiration for hardcore rap - with lyrics that tend to evoke images of Grand Theft Auto-esque fantasies rather than visions of Arrested Development or Kumbaya circles. It's downright strange to hear the same guy who later fantasized about "spittin' right in his ginny face!" preach racial harmony.

The same can be said, albeit to a lesser degree, about Big Daddy Kane, who I associate much more with getting his groove on than I do with preaching acceptance or tolerance.

Nonetheless, Biz Markie, Kool G Rap and Big Daddy Kane combine for a solid jam -- and I have no complaints.

Ai, ai, saudade

greg@beatswatch.com (Gregory Q. Public) — Sun, 04 Oct 2009 12:20:26 PDT

Frevo Numero Dois do Recife - Maria Bethania - 1969

I've been playing this after long days at work or first thing in the morning. I think it's the perfect song to play upon entering your room for the first time after a long road trip. The small recording defect in the intro is not something I would change (it fits). If given the chance, I would put this in the end credits of a film.

The San Francisco Sound...

noreply@blogger.com (but let's be serious.) — Fri, 21 Aug 2009 01:50:32 PDT

Midnight Calling - Naked Funk feat. Valerie Etienne - 1992
Suite for Beaver, part 1 - People Under the Stairs - 2002

Remember when iTunes had no gapless playback? That's why I haven't really thought about the stacks of continuous mix CDs, which were my first introduction to "electronic" music...

Both of these tracks made appearances on Mark Farina's "Mushroom Jazz" mixes ("Midnight Calling" on the first installment, the PUTS track on the fourth). The first compilation was really fresh, a great mix of hip hop, acid jazz, downtempo. Not too much of anything, and staying away from a standard 4/4 house rhythm gives these some variety along with a groove you can move to, without being too "dancey".

People Under the Stairs are worthy of their own (an L.A. duo who signed with San Francisco-based OM Records around 1998), but the party vibe in this song goes well with the dance vibe on the mix as a whole.

Late summer funk

greg@beatswatch.com (Gregory Q. Public) — Thu, 20 Aug 2009 21:06:27 PDT

Viajecito - Black Sugar - 1971

Awesome psyc-inspired funk out of Peru! Wow this is so good! I found this on a recent trip to Groove Merchant, one of my favorite record stores here in SF. When I get a chance, I'll try to post some other notable finds on the Latin tip. Stay tuned.

I'm Ready (pt. II)

noreply@blogger.com (Chubot) — Wed, 22 Jul 2009 01:21:29 PDT

Ready For The Fight - The Young Punx and Count Bass D - 2008?

Fresh from the Fight Night Rd. 4 Soundtrack, Ready For The Fight oozes sort of a Rocky-esque charm (and cheese-factor) with some solid horns reminiscent of Pete Rock's instrumental work.

I'm Ready. Yes I Am.

noreply@blogger.com (Chubot) — Sat, 18 Jul 2009 01:24:10 PDT

I'm Ready - Kano - 1980

From the legendary annals of Italo-disco history comes Kano's I'm Ready. If Kraftwerk represents Germany's contribution to the birth of hip hop, then the funk, disco and early vocoder stylings of Italo-disco are surely Italy's myrrh, gold, and frankincense, respectively. Via Brontosaurus.

Team Effort

noreply@blogger.com (Chubot) — Tue, 07 Jul 2009 13:24:57 PDT

Little Bitty Pretty One - Jackson 5 - 1972

Reintroduced into my consciousness by Copy Cats, but too good to pass up.

More 'Michael!'

noreply@blogger.com (Chubot) — Wed, 01 Jul 2009 19:35:04 PDT

This Place Hotel - Michael Jackson - 1980

I'd promise that MJ-mania was soon to subside here at BEATSWATCH, but you know I can't tell what might very well turn out to be a lie. But why should it?

I've been enjoying bouncing back between Michael Jackson's solo career and his Jackson 5 performances and I stumbled upon this seemingly overlooked track that falls rather uniquely in the middle. Written by Michael while still with the Jacksons, This Place Hotel was the only Jackson 5 jam to be performed on Michael's first solo tour (and thereafter), the Bad World Tour.

The song itself sounds like it could very well be a track from Off the Wall with its turn of the 80s instrumentation. Enjoy.

"Michael!"

noreply@blogger.com (Chubot) — Sun, 28 Jun 2009 20:06:13 PDT

Smooth Criminal - Michael Jackson's Moonwalker (Sega Genesis) - 1990

To add to the already uncountable number of both private and public tributes to Michael Jackson, I thought I would share something that you'll hopefully find unique and interesting and that is as tied to my childhood memories of Michael Jackson's music as anything else.

Half the fun of Michael Jackson's Moonwalker for the Sega Genesis was beating up bad guys to the best possible rendition of Bad/Thriller that the Genesis' brave little soundchip could muster. That and collecting kidnapped children from car trunks, closets, cabinets, etc., of course.

Download the entire game soundtrack here.

Tempestuous and Impetuous

noreply@blogger.com (Chubot) — Fri, 01 May 2009 13:42:58 PDT

Help Me Out (Remix) - Del ft. Mike Tyson - 2008

A nice little remix found on this fellow's YouTube page. A collaboration we can only dream about.

Ancient Live

noreply@blogger.com (Chubot) — Thu, 23 Apr 2009 01:25:06 PDT

Cut Chemist and DJ Numark Live - 1997

Just rediscovered this classic jam. I entreat you to play it in your headphones for 40 minutes while you're at work, if your workplace allows such liberties. Starts off slowly, and there's a lot of standards here... (e.g. the periodic table of elements) but seriously, Main Source's Snake Eyes, De La Soul, Jeru's verse on "I'm the man", Rock Creek Park, I Know You Got Soul, Slick Rick, J5, the Knight Rider theme, Tribe... there's just too many quality references here to count. Picture 1997 and enjoy.

Protip: Heats up at the 12 minute mark.

I body slam a shamma

noreply@blogger.com (Chubot) — Mon, 13 Apr 2009 22:36:57 PDT

Everyman - Deda/Pete Rock - 1994/2003
What You Waiting For - Pete Rock - 2001

Originally shelved sometime in the mid 90s only to be rescued in 2003, Pete Rock again delivers a slippery and simple production with one of the many rappers who aren't worthy of his production. That shouldn't necessarily be a knock against the mysterious 'Deda' who provides a straight-forward enough flow before sinking back into obscurity. The album is average by Pete Rock standards, but a few of the tracks give me the unmistakable feeling that one of my favorite albums grew a secret bonus track while I wasn't looking. This time it could be The Main Ingredient or Petestrumentals.

Speaking of the latter, you can call me a sucker for mid-tempo beats with jazz samples, but sometimes you just don't need ~~much~~ anything else. The best tracks on Petestrumentals are case in point.

From the crates

greg@beatswatch.com (Gregory Q. Public) — Thu, 02 Apr 2009 09:17:01 PDT

La Voglia La Paia - Ornella Vanoni, Vinicius & Toquinho - 1976
Anema E Core - Ornella Vanoni, Vinicius & Toquinho - 1976

As promised, I'm going to start posting more of my vinyl to mp3 transfers. The latest comes from a rare collaboration with Italian diva Ornella Vanoni and the songwriter-guitarist duo Vinicius de Moraes & Toquinho.

When they recorded this one-off bossa nova album in 1976, Vanoni was already a big pop star in Italy. She had acted in a few Bertolt Brecht plays, appeared on TV variety shows, and was a hit performing romantic slow burners like this. Vinicus meanwhile was well-known in Brazil for his poetry and for writing the lyrics to bossa anthems like "Chega de Saudade" and "Girl from Ipanema." Later on in his career, he collaborated with Toquinho, a classically trained guitarist who worked with him on 16 albums total, usually in a supporting role where the two of them backed up a female singer, as they did in this Roma session with Vanoni.

For her part, Vanoni plays the breezy Astrud Gilberto role quite well. The arrangements are also great, especially the opening bars of "La Voglia La Paia" where they introduce with trumpet and flute, and Toquinho's driving guitar. If this is something you dig, I recommend checking out the Ennio Morricone-Chico Buarque record "Per un Pugno di Samba." Maybe you already know it.

Mos Def on MF Doom

greg@beatswatch.com (Gregory Q. Public) — Sun, 29 Mar 2009 22:09:32 PDT

Since college people have been telling me I should listen to MF Doom. I've tried to get into albums like "Madvillainy" and "Operation Doomsday," but the beats and the delivery always fell kinda flat to me. It seemed a little too esoteric and at the same time over-hyped from the Pitchfork crowd. Despite all that, this video of Mos Def explaining why Doom is brilliant is the best case I've ever heard for the MC. It also reminded me that the best music recommendations come from musicians, who are often way more convincing than music writers. (Watch to the end for his take on De La Soul.)

At one point someone in the studio suggests Mos Def should do an album with Doom. I'd actually be interested to hear him re-record a few existing Doom songs, maybe as spoken word.

I wonder if he really means it when he says, "I'll bet a million $$$ on Doom against Lil Wayne."

Everybody loves a train wreck...

noreply@blogger.com (Chubot) — Sat, 21 Feb 2009 16:07:26 PST

Wonderin' - Neil Young - 1983
Wonderin' (Live at Fillmore East) - Neil Young - 2006

Sometimes I'm fascinated by the choices that artists make to follow their hearts and to drive their careers into near-ruin. On the schizophrenic saunter through recent music history we call BEATSWATCH, this post seemed only fitting.

In the early 80s, Neil Young decided that he was going to release pretty much whatever kind of album he wanted to. He released the unexpected Trans in 1982, an early electronica album that is remembered much more fondly today than it was at the time of its release. It was followed soon after by 1983's Everybody's Rockin', a markedly less beloved 25-minute Rockabilly concept album. Think of it as Trans' runty and unfashionable little brother. Yes, that's Neil Young on the cover, looking more like a cross between Brother Love and Dan Aykroyd than the crusty folk-rock singer that we've come to know and love (or just know.)

A popular interpretation of Everybody's Rockin' is that it's a satirical slap in the face, a bad joke or a thoughtless genre exercise made at the expense of unexpecting fans. I can't help but believe that Neil Young's desire to make this record went deeper than that. Wonderin' is a track Young wrote prior to 1970 (whether or not in Rockabilly guise) and had obviously been wanting to record for some time. Its appearance on 2006's Live at Fillmore East evidences its unique spot in his memory. Maybe Everybody's Rockin' is an idyllic and surreal fantasy of simpler times, free from the angst and social discord that had accompanied Young and his music through the 60s and 70s.

The song itself is refreshingly simple and sweet in its delivery but also pathetic and ham-fisted in its sentiment. I imagine an abusive boyfriend staring at the ground, kicking dirt around idly with his foot before making a familiar, shy and dispassionate plea to his hopelessly ensnared girlfriend: "I'm a wonderin'... if you'll come home." It also kind of sounds like something Leland Palmer would listen to over and over again in his living room, but that's neither here nor there.

Ben Revisited

greg@beatswatch.com (Gregory Q. Public) — Thu, 19 Feb 2009 23:50:11 PST

A Minha Menina / Que Maravilha / Zazueira - Jorge Ben - 1979

The Os Mutantes version of "A Minha Menina" was one of those songs I used to keep on continuous rotation. It's still one of my favorites, but for a while I put it into semi-retirement, as the excitement of those first listens had worn off... Then I heard Jorge Ben's version, a true discovery that's re-sparked my interest in Ben's work.

Ben composed "Minha Menina" for Os Mutantes in 1968 (and played guitar on the original song) but it wasn't until his 1979 medley album "Creole Girl" that he did his this pared-down acoustic take on it. I love his phrasing and the way he smooths out the melody. Great transitions into his other early classics, "Que Maravilha" and "Zazueira."

This was one of my first vinyl to mp3 conversions from last year. I'll try to start posting more of the stuff I've been digitizing lately.

new year, old content, same great taste

noreply@blogger.com (but let's be serious.) — Sat, 07 Feb 2009 18:27:05 PST

Nfana Ibaga - No Problem - 2Face Idibia - 2004
Keep On Rockin' - 2Face Idibia - 2004
Checkmate (50 Cent Diss) - Jadakiss - 2004

A snippet from an email I sent while in Nigeria a few years ago:

I don't usually e-mail more than one person at a time, but I did want to let you all know that I just saw 50 Cent perform live here in Abuja. I'm still swooning...

Seriously though, my uncle got wind of some VIP event, which I guess was the media launch for the KOLA music awards, the African version of the Grammy's. Some state governors were there, the US Ambassador was there, guys with machine guns and so on. Shit was low budget though, I've seen high school plays with better production (mic problems, buzzing in the audio, it was actually rather frustrating). But they got shit together and then went LIVE via satellite to 45 African countries (no, that's not all of them). And after a few famous African acts (some of which were lipsyncing, sigh), 50 came on in all his glory. The Ghanaian girl who introduced him claimed that he is the most famous hip hop artist EVER and it was he that made her like hip hop. Go fucking figure.

He did two songs, "I Run New York" and some song he does with Justin Timberlake, according to my brother. But Justin wasn't there. I think they figured that just would have been too much.

And then, as he was walking off stage, they beckoned him back. Two Nigerian rappers, two women, and a small girl holding a rose came out, told them they loved him, and sang a song I imagine is titled "Welcome to Africa", just for him. They finished, and the small girl gave him the rose and said "Welcome to Africa, 50 we love you!" One of the rappers said "50 we are brothers if not for slave trade." And 50, the self-described Teflon Don, Get Rich or Die Tryin' I Got Shot 9 Times 50 Cent, shed a tear.

Not only did I see 50 Cent rap, I saw 50 Cent cry.

So one of those Nigerian rappers was 2Face. Both of these tracks are fairly "pop", but what I find refreshing about African hip-hop is that most of the artists can carry a tune, even sing a little bit. Likely more West African music to come in this space...

So last year...

noreply@blogger.com (but let's be serious.) — Sun, 25 Jan 2009 13:25:30 PST

Mr. Carter (Instrumental) - Lil Wayne - 2008

Lil Wayne grows on you, kind of like a fungus, you can't decide whether it's one of those tasty high-priced Asian ones, or athlete's foot...

I'm grateful to him for inspiring the production on Tha Carter III, and I despise him for ruining most of the tracks by rapping on them. What more is there to say? If you missed it, the Blender profile from this past summer is seminal, nearly amazing:

Wayne once mentioned that he keeps a set of encyclopedias on his bus, so I ask about his reading habits. Does he ever pick a subject at random and learn all about it?

“No,” he says. “I’m a millionaire.”

“What’s that mean? Millionaires still have things they can learn!”

“Are you a millionaire?” he asks. “No. So don’t tell me what millionaires do.”

There's nothin like the dealer's feelin...

noreply@blogger.com (but let's be serious.) — Sat, 24 Jan 2009 19:57:25 PST

The Corner - Common f. The Last Poets, Kanye West - 2005
The Corner - Clipse and the Re-Up Gang - 2005

It doesn't matter what you say, the bullets and blunts will never leave the hip-hop scene. And while we are given a thousand reasons to hope lately (some of which I believe), something about the promise of hard times ahead draws me to these kinds of songs. I think it's the bass line - something we hear less and less in contemporary rap (all drums and synths). But the bass connects songs like these (at least in my mind) to a previous era of music concerned with the bullshit that comes from living in the city - songs like this make me miss Curtis Mayfield, in a curious way. But maybe we can get Common to change his wardrobe to fit the role...

And Clipse, of course, turns this track of social commentary into a heater about slanging, of course. You may never hear anyone else say this about Clipse, but their devotion to that genre is downright elegant.

Peep the video

Blog Year

greg@beatswatch.com (Gregory Q. Public) — Thu, 18 Dec 2008 21:40:15 PST

Afro-Funky - Manteca - mid 70s

This is a re-post of an mp3 I snagged from Captain's Crate over the summer. Percussion is blazing the entire time and doesn't let up. This is my #1 blog find of the year, and at the moment it's slotted as track #1 on my "Badasses walking in slow motion" mix.

Mutantes pick: Nat Cole

greg@beatswatch.com (Gregory Q. Public) — Wed, 10 Dec 2008 21:09:25 PST

Back to the Land - Nat Cole & Lester Young - 1946
Somebody Loves Me - Nat Cole & Lester Young - 1946

It was great to see Nat "King" Cole get a nod from Os Mutantes guitarist Sergio Dias in this record rundown with Wax Poetics. Cole is not someone I would have guessed as a major influence to the Mutantes sound, but I can see how Sergio would admire Cole's piano work.

Often mentioned on the shortlist of great jazz accompanists, Cole was mainly known as a pianist before becoming the famous singer of holiday songs. At the piano Cole was always smooth and elegant, even when he's just doing a walking bass line with his left hand. Check out these old recordings he did with Lester Young on tenor sax and Buddy Rich on drums. Guaranteed to put you at ease.