Souled On (Music, Art, Politics, and Life)

Before The Devil Knows You're Dead...

noreply@blogger.com (Scholar) — Thu, 03 Feb 2011 17:50:00 +0000

"The Devil Gives Me Everything Except What I Need"---Willy West & The High Society Brothers (zShare)

"The Devil Gives Me Everything Except What I Need"---Willy West & The High Society Brothers (UserShare)

Since I haven't done an update in quite some time, I wanted to kick off today's post with something that would shake your bones and rattle your teeth...perhaps even remind you why you still stop by on occasion despite your host's inexcusable negligence and inhospitality. Some of the more industrious soul brothers have beaten me to the punch in writing about this particular record, but it's such a gigantic tune that it feels like there's plenty of room for one more observation of its astronomic magnitude.

The almighty Willie West (aka Millard Leon) was born and raised in Raceland, LA, a rural town that's approximately an hour's drive from New Orleans. By age 15, West was already developing lofty musical aspirations, and had formed a band called The Sharks with his cousin and a couple of his friends from school. The group primarily covered radio hits and songs by popular rock, soul and blues artists, although Willie and his bandmates weren't yet old enough to gain entry into any of the clubs where their favorite artists were performing.

West eventually began hanging around outside of the Sugar Bowl, a famous establishment in Thibodaux, LA that was host to an impressive array of renowned musical acts. Undaunted by the limitations imposed by his youth, the enterprising adolescent would drink wine and strum his guitar, stealing glances through windows and acquainting himself with the performers whenever the opportunity should happen to arise. This strategic positioning enabled the ambitious upstart to rub elbows with legendary artists such as Ray Charles, Bobby Blue Bland, Junior Parker, Chuck Willis, and Sam Cooke. Accordingly, tenacity has been an essential defining characteristic for West, a man who has stubbornly clung to his dreams despite the seemingly insurmountable barriers that have hindered their realization.

I could elaborate on the exhaustive list of reasons why West's persistence failed to catapult him into superstardom, but ultimately, it all boils down to the same obstacles faced by countless other well-deserving recording artists: poor marketing, limited distribution, mismanagement, label woes, and living in the shadows of other musicians who were thought to be more commercially viable. The years he spent recording with the almighty Allen Toussaint and his unparalleled work ethic should have garnered him a life of fortune and fame, but listen, children...the American dream is pretty much on some bullshit...unless of course, you've got bangs like Justin Bieber. However, what he may lack in earthly riches is at least partially offset by his experience in working with the likes of Al Green, Johnny "Guitar" Watson, Lee Dorsey, The Meters, Dr. John, The Electric Soul Train, Solomon Burke, Otis Redding, Jackie Wilson, Paul McCartney, James Brown, and the list continues on into infinity.

West's resilience is perhaps one of the great wonders of the world, and this spirited veteran of the music industry continues to soldier on into the present. Relocating to Minnesota in the wake of Hurricane Katrina, he's managed to rejuvenate his career by landing higher paying gigs, as well as recording new material for Timmion Records. The label released "The Devil Gives Me Everything Except What I Need" as a 7" in 2009 (TR-019). Backed by a Finnish funk combo known as the High Society Brothers, West delves into emotional depths that are rarely grazed by the dull blade of most contemporary artists. It's a painful reminder of how dishonest a lot of music sounds these days when you hear his gritty and impassioned vocal delivery on this cut. Artistic geniuses often find themselves in the unenviable position of suffering for the greater good, and I would argue that this record is...quite simply...an extension of that very idea.

I hope that after hearing/reading this, you'll be inspired to start digging for West's material, and possibly even make an effort to catch one of his live performances. If you want to extend respect for the man's unshakable hustle, what's more essential than to show and prove that his blood, sweat and tears haven't been shed in vain?

Dig deeper...

"One Of These Days"---The Q4 (zShare)

"One Of These Days"---The Q4 (UserShare)

One of the hottest labels to emerge in the new millenium is Project: Mooncircle, the beautiful bastard love child of artist/DJ/founder Gordon Gieseking. When I featured another group on its roster, Numaads, it was literally the shot heard 'round the soul child universe. I received more positive feedback and gratitude for covering them than just about any other group in recent memory. The high praise for their talent is certainly well-deserved, and should serve as evidence that, much like the Judeo-Christian God, Project: Mooncircle don't make no junk...

The caliber of material on the label is further exemplified by the outstanding material released thus far by The Quadraphoniquartet. Comprised of Arts the Beatdoctor, Sense and STW, Q4 is the outgrowth of three accomplished Dutch producers blending their unique styles to create an electrifying sound collage.

The sharper knives in the drawer may be wondering why a group comprised of three beatsmiths would call themselves The Q4. When the members joined forces in 2005, there were four producers from different regions of the Netherlands on board. One of them apparently exited due to time constraints, but the remaining trio soldiered on, deciding to keep their original vision and namesake firmly intact. As you may know, the name pays homage to a sound system that was popular in the '70s, which emitted sound from four speakers in the formation of a square. Each component brought its own noise, as well as being an integral part of a unified sonic experience. It's a truly fitting analogy for a group of artists whose sublime palette is derived from a seemingly effortless blend of three individual aesthetics.

While The Q4 have released a full-length LP (Sound Surroundings), an EP (Darker Days), and even inspired a tribute single by Mr. Cooper & Dday One, the threesome can hardly be considered prolific in an industry climate vexed by oversaturation. Their process for creating compositions is detailed and meticulous, cutting hundreds of samples and incorporating material recorded with session musicians. What they deliver in terms of quality certainly overrides any expectations concerning quantity, and the trio has already proven that their material is well worth the wait.

If you're feelin' "One Of These Days", you may also want to check out the remix by Glen Porter, another essential player on Project: Mooncircle's impeccable roster. Also, for those of you who like digging for the origins of sample-based music, here's the song that laid the foundation for the vocals on this killer cut:

This Ray Charles original was covered by The Animals in 1965, several years after Charles had released the track. Versions by Donny Hathaway, Albert King, Van Morrison, Al Cooper, and many others have followed suit.

Dig deeper... The Q4

Dig deeper... The Animals

"Dirt"---Shahmen (zShare)

"Dirt"---Shahmen (UserShare)

I guess maybe I've been sippin' and trippin' on the kool-aid again...but...I've been so hyped on Project: Mooncircle's jaw-dropping roster that I want to kick some knowledge about another one of their projects before I quit frontin' like I'm getting paid: the magnificent, unfuckwitable Shahmen. This powerhouse trio is comprised of the aforementioned Sense, in addition to a couple of rock solid MCs, known as Unorthadox and B L S. My fingers aren't stuttering ONE bit as I type that these guys are creating some of the most hauntingly affective hip hop music that my ears have heard in...foreva eva.

This ingenious collaborative effort was born in 2006, when B L S met Sense while passing through the latter's hometown of Amsterdam. Immediately recognizing their connection as kindred spirits, the two recorded a track together on the very first day of their acquaintance. They parted ways just as suddenly, when B L S returned to New York to continue studying psychology, and Sense went back to working diligently on his compositions for the Q4 and other projects. Despite the fact that he was still throwin' down with Freud, a creative spark had been ignited in B L S. He started writing to some demos and beats that Sense had given him, and formulated a plan to ultimately return to Amsterdam to collaborate on an album with his newfound friend.

Several months later, the fledgling lyricist was finally in a position to transform his dream into a reality. There was only one glitch in the execution of his grandiose ideas: Sense knew absolutely nothing about his future partner's intentions until the moment he arrived on his doorstep. Although he welcomed the opportunity to record a second track with B L S, he was initially hesitant to embrace the idea of taking on an entire full-length project.

By sheer accident or well-plotted scheme, the MC happened to leave his rhyme book behind when he departed from the studio that day. As Sense started leafing through the pages, he experienced a mind-boggling epiphany: the verses that lay before him were, most assuredly, the perfect words he'd been seeking to complement his sounds. Within a month of this game-changing revelation, the dynamic duo had inexplicably managed to lay down more than 50 tracks in the producer's home studio.

Recording in Amsterdam, as well as travelling through West Africa and South America, Sense and B L S spent the better part of three years cultivating their impeccable creation. They were joined by Orthodox midway through the process and began writing new material with him, as well as adding his vocals onto some tracks that were already in existence. After bringing Arts The Beatdoctor on board to master the project, Shahmen finally released their Enter the Circle EP as a free download in April of last year.

Although my response in writing about this EP is clearly d-d-delayed, I've kept these seven songs in heavy rotation for several months now, and still haven't grown tired of listening to them. Every day there are countless submissions in my inbox that might threaten to disrupt my ridiculously short attention span, and yet, Enter the Circle stubbornly refuses to be edged out by newer, shinier things.

A full-length effort was originally slated to drop in September of last year, but for the time being, the release appears to be on hold. If anyone knows the status of the situation, do the right thing and drop some knowledge in the box. In the meantime, check out the opening joint from the EP, the exquisitely noir, achingly beautiful head-nodder known as "Dirt".

Dig deeper... *includes link for free download

"Sunday Morning"---Amanaz (zShare)

"Sunday Morning"---Amanaz (UserShare)

Speaking of labels that release mind-blowing material, Stones Throws' Now Again subsidiary has an undeniable knack for harvesting gems that were previously unavailable for mass consumption. The obscurity of these recordings is usually due to limited pressings or distribution~ or, as is the case with Amanaz, both of these factors may be to blame.

Amanaz's Africa LP was originally released in 1975, and is loosely classified in collector-speak as zam-rock. For the less geeky amongst us, zam-rock is a term used to describe music by Zambian artists that was heavily influenced by Western blues, psych, and prog rock of the '60s and '70s. There may be grounds to engage in a discussion about the ways that this entire concept is potentially problematic, but I reference it here because if you do any research about Amanaz, you'll find that this term tends to resurface time and again.

Upon listening to this album, I'm confident that you'll identify similarities to a bevy of popular British and American musicians, including Jimi Hendrix, Buddy Miles, Cream, James Brown, and even Velvet Underground. Additionally, most of the songs on Amanaz's one and only recorded offering are sung in English (the remainder of the vocal tracks are in the native Zambian language of Bemba). Both of these factors weigh heavily into this album being stamped with the zam-rock label, but there's also a rich political, historical and ethnographic context to be explored that's well beyond the scope of this post. If you are willing to do some digging, you'll understand why Fela Kuti's material is being peddled at Best Buy, while the incredibly lush musical history of the Zambians is scarcely recognized.

Acknowledging the Western impact on artists such as Amanaz should not, by any stretch of the imagination, lead to the conclusion that their material was derivative or unoriginal. For one thing, it's generally foolish to define the path of musical influence in terms of unidirectional flow. Additionally, Jimi Hendrix and James Brown brought the funk to pretty much everyone across the globe who had access to a radio~ the emulation of their styles was, and still is, a commonplace occurrence on every scratch of earth inhabited by humanity. Furthermore, any notes that Amanaz and other zam-rock pioneers may have taken from these greats are counterbalanced and accentuated by defining elements of their unique socio-political environment. In the tradition of great music worldwide, the songs these musicians crafted were born in a climate of unrest and burgeoning political dissent. Accordingly, Africa is readily distinguishable in the ways it's firmly planted in the spirit of the times, not to mention the fact that it bears the individual perspectives of all five bandmates.

Although it's still arguably a cohesive selection of material, Africa is an eclectic, multi-genre affair, which may project the illusion that a larger, more loosely aggregated collective of musicians was involved. "Sunday Morning" is perhaps not the best track in an objective sense, but it's so soulful and beautiful that I'm hoping it will reel in some potential members for Amanaz's woefully uncrowded fan club.

If you decide to cop this LP, you can get a virtually flawless remastered CD version through Stones Throw's website for $15.99. Wax enthusiasts, on the other hand, might want to save their lunch money for the vinyl copy released by Shadoks Music. You'll probably end up paying close to $50, but it's a second pressing on transparent yellow vinyl, and there are only 300 of them in existence. I've never personally ordered from them, but Insound is one of the few retailers who seems to still be carrying it.

Dig deeper...

"I Don't Want To Hear It Anymore"---Lorez Alexandria (zShare)

"I Don't Want To Hear It Anymore"---Lorez Alexandria (UserShare)

Those who've heard Lorez Alexandria's name in passing tend to primarily associate her with the genres of gospel and jazz, but anyone familiar with her repertoire can surely attest to her impressively wide-ranging style. As is the case with artists such as the late, great Nina Simone, Alexandria made her mark as a stunning interpretive vocalist. Her material encompassed such an incredibly broad spectrum, it's inconsequential and misleading to specify her artistry via any simplified means of categorization.

Lorez's In A Different Bag LP was originally released in 1969, and if nothing else, it certainly underscores her ability to stretch her talent into the reaches of soul, R&B, and popular music. Its accessibility and foray into more mainstream material rendered the singer equal amounts of criticism and acclaim. Some critics and fans felt she'd lost her sense of self, and perhaps even her mind, while others celebrated her uncanny ability to tackle fare such as The Beatles' "Hey Jude" and make it undeniably her own.

"I Don't Want To Hear It Anymore" is a cover of a song written by Randy Newman, and I have no doubt that for many, it will land somewhere in the middle of love-it-or-leave it territory. I personally think it's a phenomenal recording...fucking phenomenal even. I grew up listening to Jerry Butler's beloved rendition, and let's face it~ he set the bar ridiculously high as the first artist who committed it to wax. Many hits and misses were to follow: Dusty Springfield and Scott Walker both released truly worthwhile covers of the song...but there's no forgetting the PJ Proby version, which forces me into a state of despair so deep, I have to wonder if life's really worth living anymore. Proby's cover is considered by many to be the definitive version, but for me, Alexandria's take is the only one capable of holding significant weight against the Ice Man's powerhouse original. Disagree with me if you'd like, but someone has to take up for the overlooked efforts of the underdog!

In A Different Bag was out-of-print for many years, until it was reissued in 2001 with its 1968 predecessor, an album called Didn't We. Both LPs were originally released on Pzazz Records, a label started by New Orleans legend Paul Gayten. Gayten, who held things down at Chess Records during one defining moment in his career, acted as producer on both of these under-appreciated, yet ingenious, LPs. Lorez Alexandria: The 60's Pzazz Sessions is currently out of stock or unavailable via many online retailers, so if you happen to come across a copy, you might want to snag it right way.

As always, I'd encourage you to dig deeper..., and explore a wider scope of Alexandria's vast library of recordings. By now, most of you know better than to base your opinions solely on the oddball song selections of your humble scholar...right???

Peace and love, soul babies~ stay beautiful...

Word From Your Moms:

"On the other hand, what I like my music to do to me is awaken the ghosts inside of me. Not the demons, you understand, but the ghosts."---David Bowie

Souled On Samples: The Wonder Steady Edition

noreply@blogger.com (Scholar) — Thu, 14 Oct 2010 16:45:00 +0000

Soul children! Damn~ how we feelin' out there?

Many of you wrote to me this summer to inquire as to my well-being, and as always, I sincerely appreciate the show of love and support! Once again, however, I find myself in the unfortunate position of having to dispel an abundance of mythology and urban legends surrounding my sudden disappearance. To set the record straight, I haven't choked to death on a spam sandwich...my rising fame isn't attributable to membership in the Illuminati...I wasn't killed by Mahmoud Ahmadinejad as a ploy to distract attention from Iran...and...for fuck's sake, K-Fed didn't chop off his head and have it sewn onto my superhero, athletic frame!!!

One infallible truth, in a universe riddled with enigmas and unanswerable questions, can be relied upon for certain...I would never jump out of a chalk outline on the pavement and come back to you empty-handed. I had so many records stockpiled for this edition of Souled On Samples, that I had to scale back on 80% of what I'd originally planned to post. It's a schizophrenic mix, as usual, but I doubt you've come here seeking cohesiveness...or sanity.

I won't take so long between posts again, if you promise not to talk shit about me while I'm gone. Ha!

Catch you on the flip...Scholar

"I'll Never Sail The Seas Again"---The Detroit Emeralds (LimeLinx)
"I'll Never Sail The Seas Again"---The Detroit Emeralds (YSI)

Dig deeper...

Sampled On:

*Produced by Exile

"Will You Still Love Me Tomorrow"---Smokey Robinson (LimeLinx)
"Will You Still Love Me Tomorrow"---Smokey Robinson (YSI)

Dig deeper...

Sampled On:

"Devil In A Blue Dress"---Kanye West (LimeLinx)
"Devil In A Blue Dress"---Kanye West (YSI)

"As Long As I Have You"---Carolyn Franklin (LimeLinx)
"As Long As I Have You"---Carolyn Franklin (YSI)

Dig deeper...

Sampled On:

"I'll Never Be Ashamed"---The Sylvers (LimeLinx)
"I'll Never Be Ashamed"---The Sylvers (YSI)

Dig deeper...

Sampled On:

"Cut Out To FL"---RJD2 (LimeLinx)
"Cut Out To FL"---RJD2 (YSI)

"Free Angela (Thoughts...and All I've Got To Say)"---Bayete (LimeLinx)
"Free Angela (Thoughts...and All I've Got To Say)"---Bayete (YSI)

Dig deeper...

Sampled On:

*Produced by Just Blaze

*"Free Angela" was also flipped on:

"Twice"---Little Dragon (LimeLinx)
"Twice"---Little Dragon (YSI)

Dig deeper...

Sampled On:

"San Pedro"---Exile (LimeLinx)
"San Pedro"---Exile (YSI)

"La Voce Del Silenzio"---Dionne Warwick (LimeLinx)
"La Voce Del Silenzio"---Dionne Warwick (YSI)

Dig deeper...

Sampled On:

"Must Be Bobby"---RZA (LimeLinx)
"Must Be Bobby"---RZA (YSI)

"Thin Line Between Love And Hate"---Lost Generation (LimeLinx)
"Thin Line Between Love And Hate"---Lost Generation (YSI)

Dig deeper...

Sampled On:

"Taxi"---Mos Def/Whosane (LimeLinx)
"Taxi"---Mos Def/Whosane (YSI)

*Produced by Ski Beatz

*Note: A few blogs/websites have attributed the original to The Persuaders' version of "Thin Line Between Love And Hate". To my ears, that's erroneous, but feel free to engage me in a friendly debate if you disagree...

"Devika"---Lonnie Liston Smith & The Cosmic Echoes (LimeLinx)
"Devika"---Lonnie Liston Smith & The Cosmic Echoes (YSI)

Dig deeper...

Sampled On:

*Produced by Butterfly, Shane Faber, Mike Mangini

"You Can't Blame Me"---Johnson, Hawkins, Tatum & Durr (LimeLinx)
"You Can't Blame Me"---Johnson, Hawkins, Tatum & Durr (YSI)

Dig deeper...

Sampled On:

*Produced by Big Chop

*Also sampled on "Big Dreamers" by Reks, "When You Find" by Wiz Khalifa, "Represent" by Jester and and Don Martin, and "What Goes On" by Mobb Deep

"400 Girls Ago"---Billy Butler (LimeLinx)
"400 Girls Ago"---Billy Butler (YSI)

Dig deeper...

Sampled On:

"Potholderz (instrumental)"---Count Bass D/MF Doom (LimeLinx)
"PotHolderz (instrumental)"---Count Bass D/MF Doom (YSI)

"Tear It Down"---Blue Magic (LimeLinx)
"Tear It Down"---Blue Magic (YSI)

Dig deeper...

Sampled On:

"Just Out Of My Reach"---Sam Dees (LimeLinx)
"Just Out Of My Reach"---Sam Dees (YSI)

Dig deeper...

Sampled On:

*Produced by 9th Wonder

As always, if you have any additional knowledge to share, drop it in the box...

Word From Your Moms:

"Neither a lofty degree of intelligence nor imagination nor both together go to the making of genius. Love, love, love, that is the soul of genius."----Wolfgang Amadeus Mozart

There Is No Planet Sun Or Star Could Hold You, If You But Knew What You Are...

noreply@blogger.com (Scholar) — Thu, 15 Jul 2010 16:39:00 +0000

"My Love Is Showing"---Bettye LaVette (LimeLinx)
"My Love Is Showing"---Bettye LaVette (YSI)

Over the course of the past five years, it's been unimaginably uplifting to behold the wonder of Bettye LaVette as her gracious persistence in the music industry has finally begun to show its worth. With a few highly acclaimed studio releases under her belt, as well as a string of powerhouse live performances, the Great Lady of Soul is poised to show the world what she's made of now that she has our undivided attention. Critics are unanimously singing the praises of her latest LP, Interpretations: The British Rock Songbook, and the stunning vocalist is likely to turn even more heads as she opens for Robert Plant on his July tour (maybe even some metalheads, which...I dunno...would fuckin' rock, dude).

Having released her first single as a teenager in 1962, LaVette followed with numerous failed attempts at attaining commercial viability. While her records were fairly popular on the UK northern soul scene, it took most of America 40+ years to even begin to fathom what they were missing. This probably wouldn't be so frustrating if I hadn't recently witnessed a bunch of people getting misty-eyed about some kid on American Idol who had to work in a fuckin' paint store for a few years before being catapulted into superstardom. Our conceptualization of what it means to pay dues seems increasingly skewed as it becomes infinitely more facile to achieve fame with only the slightest moronic effort. We're all suckers for a good fairytale I guess, but if Justin Bieber gets inducted into the Rock and Roll Hall of Fame before Ms. LaVette, (in deep, ominous, psycho-killer voice) I don't know what I might do...

At any rate, as much as I'd like to offer up one of the many great selections from her Interpretations LP, I'm really hoping that you'll show the hardest working woman in show business some true love and actually purchase it. While the album debuted at a rather impressive #56 (all factors relating to the idiocy of the record-buying public considered), she still has a long-ass way to go before she can pull a tortoise move on all the spastic little hares who are blocking her way to the finish line.

"My Love Is Showing" is one of my favorites from her phenomenal repertoire, culled from her Child Of The Seventies LP. The album, slated to be her first full-length release, was recorded in the Muscle Shoals Sound Studio in Alabama in 1972 for Atlantic/Atco Records. At the last minute, the label made an abrupt decision to shelve the material and chalked it up as a loss. Although the Great Lady was understandably devastated, she soldiered on with her career in hopes that she would finally catch a break.

Decades later, she played her personal mono recordings of the album for Gilles Petard, who located the masters in 1999 and released them as Souvenirs on his Art and Soul label the following year. Rhino subsequently reissued the album in 2006 under the original Child of the Seventies title, including four Atlantic singles and a handful of unreleased material.

Despite the hardship and woes she's had to endure, LaVette is truly honored to finally be having her moment in the sun. At age 64, she's as dynamic, energetic, and fully charged as ever:

"If I’m gonna die, I’m gonna die on stage. If I’m sick in the dressing room, get me on the stage so I can die out there."

Word, Ms. LaVette. If that's not the imperturbable swagger of an authentic soul survivor, I don't know what is...

So much about Bettye to know and love, soul children: dig deeper

This is a clip of LaVette's jaw-dropping tribute to The Who at the 2008 Kennedy Center Honors. The performance made Pete cry, had Barbra snappin' her neck (although, was she listening to a different song?), and ultimately served as the inspiration behind the Great Lady's Interpretations LP. Also...for those who may be concerned...it's my understanding that Roger Daltrey had that sharp stick removed from his ass shortly after the show:

"Now"---Numaads (LimeLinx)
"Now"---Numaads (YSI)

Numaads is the brilliant fusion of two radiant stars who hail from the Netherlands. The duo's Now EP dropped a few short weeks before summer officially started, and its slow-burning vibe has provided a near-perfect complement to the sultry evening air these past few weeks. Esperenzah's enchanting vocals are as haunting as they are curiously inviting, while SENSE's multi-dimensional production enriches the atmosphere of their sound with layers of sampled and organic instrumentation.

One could easily rattle off an exhaustive list of probable influences, but what makes this record fresh is that the duo yields a uniquely beautiful creation from the diverse elements they incorporate into the mix. In that sense, listening to Now is analogous to being in a dream state: components of reality are certainly present, but they're colorfully enhanced by otherworldly illusions, fabrications, and textures.

Haha...I know some of you thugs prolly think I've lost what's left of my fuckin' marbles, but trust me. Smoke a bowl, assume a lotus position, fix your eyes on the velvet Jesus painting on your living room wall...whatever. Look for the open spaces in the structure of these songs, explore them, and ultimately create your own domain. It's a magnificent sonic landscape to suddenly find yourself hopelessly lost...

Dig deeper: Esperanzah; SENSE

This video highlights Robert Koch's remix of "Now" (a lush redux by J. Rawls appears on the EP as well):

"Mulatu"---Skeletons (LimeLinx)
"Mulatu"---Skeletons (YSI)

I admit to having a markedly unusual fascination with imaginary bands that are essentially the handiwork of a lone knob twiddler (I see you, Madlib). Okay...I inadvertently made that sound dirty...but actually it can be quite exciting when left in wildly creative and fully capable hands. {Hmmm...no matter how I phrase this, it appears to bear some unintentional sexual overtones, so I think I'll tap the enter key and make a more wholesome attempt at my next paragraph...}

Benedic Lamdin is a musician, producer, label boss and engineer who is perhaps best known to music lovers as the mastermind and ringleader of Nostalgia 77. Although I know that some of you will opine that such an undertaking is shady as fuck, Lamdin was commissioned some time ago to play forgeries and pastiches of African jazz for a library music company. Numerous musicians passed through his house to play during the sessions, but evidently they were never in the same place at the same time. Lamdin compiled various fragments of sound that were left behind, merged them with his own creative musings, and the highly infectious Skeletons project was born.

The politics of forgery get complicated to say the very least, but in an overall sense, I genuinely respect Lamdin's contributions to music culture. He's an accomplished multi-instrumentalist, one hell of a slick producer, and the material he and his compadres issue on their Impossible Ark label tends to be pretty freakin' amazing. Unlike artists who pilfer the archives of their musical ancestors without so much as a casual nod towards their inspiration, Lamdin maintains credibility by being forthcoming and giving credit where it's due. As just one example of this transparency, the song "Mulatu" on Smile outrightly pays homage to the great Mulatu Astatke, the father of Ethiopian jazz and a profound influence on Lambin's work.

When I first heard this album, I had no background information or contextual cues to base my opinion on, and my instinctual reaction was to bust some heartfelt (and perhaps humiliating) dance moves. Uhhh-ohhh, though...that means you should prolly forget all that shit I just talked so you can get loose without over-thinking it (I mean... no lie...even my own moms has to tell me to shut the fuck up sometimes). Strike my remarks from the record and proceed to get your undisturbed groove on, soul babies! Haha...

Dig deeper...

"Baby"---The Phenomenal Handclap Band (LimeLinx)
"Baby"---The Phenomenal Handclap Band (YSI)

I should have written about The Phenomenal Handclap Band a while ago, but the very lifeblood of Souled On is the staggering volume of past, present, and future records that demand their turn in the rotation. It's kinda obvious at this stage that I'm routinely grappling with thoughts of retirement, but nawwww...there's no feasible exit strategy as long as the crates keep stacking themselves to infinity and beyond. So much for chillin' on the couch in a diaper with a cocktail of Centrum Silver....I can't quit you, babies!

Anyway, PHB is comprised of a collective of musicians and artists primarily from Brooklyn and Lower Manhattan. Fathered by DJ/producers Daniel Collás (the Witch Doctor) and Sean Marquand (The Medicine Man), the idea for the group began to materialize as they ventured into writing their own material. Enlisting the help of a diverse cast of characters they'd formed relationships with along the way, they assembled a bad-ass supergroup whose sound refuses to be contained within the confines of any particular genre. While I appreciate PHB's tendency to wander off down seemingly disparate musical pathways, I took an instant liking to the straight-forward soul vibe they went for on "Baby". It sounds like a nostalgic recording that was unearthed and remastered, which must be celebrated as an invaluable find in the proverbial haystack of contemporary music.

PHB rolls eight members deep for touring purposes, but friends such as The Lady Tigre, John Spencer, and TV on the Radio's Jaleel Bunton frequently stop by the studio to make a musical contribution or lend their support. The group is currently on a world tour that includes gigs in Sweden, Spain, Portugal, and the UK. I've read nothing but wildly favorable reviews of their live performances, so you might want to hit up one of their shows if the opportunity ever presents itself...and as always, dig deeper.

"Tristess"---Dutch (LimeLinx)
"Tristess"---Dutch (YSI)

Dutch is the stunning result of a collaborative effort between Liz Fullerton and Jedi Mind Tricks' prodigious beatsmith, Stoupe. The two Philadelphia residents originally conceived of doing an album together many moons ago, and they actively worked on the project for a few years prior to Bright Cold Day's release last month. Music that's cultivated under the pretenses of intense forethought often loses its luster and spontaneity over time (Chinese Democracy, anyone?), but this eloquent recording is a breath of fresh air in every sense imaginable.

Born in California and raised in Mexico, Fullerton lived a nomadic lifestyle as a young adult, traveling the United States and accumulating life experiences that she would later transform into a lyrical medley of emotions and ideas. Her official breakthrough came when she relocated to Philly and laid down vocals on a Jedi Mind Tricks joint in Stoupe's apartment, but the ethereal songstress was still an apprehensive neophyte when the duo began sinking their teeth into their full-length creative endeavor. You wouldn't know it by the way Fullerton confidently rips through most of the tracks on the LP, but she unabashedly admits to having felt anxiety about everything from her lack of professional training to her tendency to express overwhelming sadness through her songs. After one of her first shows in Philly, an audience member reportedly asked her why she didn't just pass out razor blades. Say what you will about her melancholy nature, but Fullerton is easily one of the most sultry and mesmerizing fledgling vocalists to emerge on the scene in recent memory.

It's no small wonder that Stoupe's dark, atmospheric production style integrates so exquisitely with his partner's deeply cathartic musings. For those who are unfamiliar with Jedi Mind Tricks, suffice it to say that violent, brooding, and apocalyptic would all function as suitable adjectives to describe their overall aesthetic. Stoupe has always come across as sort of a strange motherfucker, infrequently consenting to interviews and almost always refusing to show his face. People have hated on his shadowy persona for as long as I can remember, but I come from the perspective that dude is probably weird because he's a genius. His beats are perhaps best described as lavish orchestrations, and few producers parallel his ability to make a living, breathing entity from the obscurest of sample sources.

I've been a longtime fan of JMT's work primarily on the strength of Stoupe's beat wizardry, because...if I may be honest...Vinnie Paz's lyrics are often too aggressive/disturbing/deranged to make for everyday listening. My favorite Tricks records will probably have to be pried from my cold, dead hands (I still don't like you, Charlton Heston)...but I'm beyond pleased to hear Stoupe spreading his expansive wings on this project, running with a sound more along the lines of Portishead or Bjork. JMT fans shouldn't despair, though~ I'm sure that Stoupe and Paz will reunite long before all of their cataclysmic prophecies come true.

Dig deeper...

"Too Much Pain"---Eugene Evans (LimeLinx)
"Too Much Pain"---Eugene Evans (YSI)

King's Serious Soul: Too Much Pain compilation has turned out to be one of my favorite recent discoveries. It was released nearly six years ago, but I never checked into it until one of the soul kids brought it to my attention a couple of months ago. As the title might suggest, there are a host of gritty southern soul offerings on this LP, the majority of which are rare recordings by relatively obscure artists.

I had honestly never heard of Eugene Evans prior to copping Serious Soul, and I was disappointed to eventually learn that he only cut a couple of sides throughout the entirety of his career. Both singles were originally issued on Hollywood Records, and may have even been recorded during the same studio session.

Evans himself is credited as the songwriter on "Too Much Pain", but the James Brown influence is palpable, emulating the Godfather's more tormented and highly emotive material. I'm not the least bit mad at the fact that this track borders on being derivative~ its familiar essence fits as comfortably as a worn pair of kicks. Never, ever hesitate to get up on your good foot, soul bambinos!

Word From Your Moms:

"Blessed are the dumbfucks."

"There's a fine edge to new grief, it severs nerves, disconnects reality--there's mercy in a sharp blade. Only with time, as the edge wears, does the real ache begin."

"Not unlike the toaster, I control darkness."

"The problem with being nuts, she thought, is that you don't always feel as if you're nuts. Sometimes, in fact, you feel perfectly sane, and there just happens to be a trailer-shaped dragon crouching in the lot next door."

Above quotes courtesy of Christopher Moore

I'll Gather Melodies From Birdies That Fly And Compose You A Tune...

noreply@blogger.com (Scholar) — Thu, 27 May 2010 16:48:00 +0000

Awww hell...I know. Only a few entries deep, and I've already gone back to relying on my mega-posting superpowers to capture your attention for the next 4 1/2 hours. I still plan to make a swift return to brevity and am working through the challenges of economizing my expression, but I took an unplanned hiatus that I thought worthy of a herculean virtual comeback. I apologize for the weight...and the wait...but I'm hoping you'll pass through more than once if necessary to cop grooves, gain knowledge, and shake your head in dismay at my ridiculous banter. I promise that next time, I won't do this crazy shit again...

Meanwhile~ be easy, soul bambinos...Scholar

"I'll Try Something New"---The Temptations & The Supremes (LimeLinx)
"I'll Try Something New"---The Temptations & The Supremes (YSI)

Even if you're not a fanatical Motown enthusiast, you're probably still aware that The Supremes and The Temptations frequently joined forces, appearing together on television specials and collaborating on both studio and live material. It was obviously an ingenious marketing strategy to unite a couple of top-selling supergroups for various collective projects, but these two entities were cosmically entangled long before Berry Gordy was positioned to exploit the seemingly endless potential of their harmonious fusion.

In the late fifties, following several changes in name, line-up, and location, a doo-wop trio called The Primes began making some noise in and around Detroit. It was the third city where they'd attempted to launch their career, and it seemed they were finally on the right track as their extraordinary performances were becoming the cornerstone of their regional popularity. Eddie Kendricks was emerging as the trio's superstar, and Paul Williams' powerful baritone resounded with a mysterious depth that was remarkably atypical of a vocalist his age. The third member, Kel Osbourne, had been singing with Williams and Kendricks since they'd formed The Cavaliers in their hometown of Birmingham, Alabama.

The Primes had landed in Motor City in a move that was orchestrated by their manager, Milton Jenkins. Shortly after they arrived, Jenkins decided to launch a sister group called The Primettes, comprised of four talented girls from the Brewster-Douglass Housing Project in Detroit: Diana Ross, Florence Ballard, Mary Wilson, and Betty McGlown.

The two groups became good friends and practiced together frequently, but contrary to popular belief, they never actually performed together onstage. As it turns out, The Primettes were in greater demand, laying down backing vocals on countless records issued by Detroit-based record labels. From this point onward, the two groups weathered various changes and took very different paths in pursuit of stardom. However, as you know, they both would ultimately sign contracts with Motown, reborn as The Temptations and The Supremes. By 1964, both of them were enjoying chart success~ The Temptations with "My Girl" and "The Way You Do the Things You Do"; The Supremes with their #1 hit "Where Did Our Love Go" (a track that they personally hated and were coerced into recording, by the way).

Fast forward to the late 1960s, and Motown was expanding, churning out successful singles, and widening their market to reach audiences overseas. However, the label certainly wasn't without its woes, and in some respects, 1968-1969 marked a highly critical turning point in its historic timeline. Their top songwriting team, Holland-Dozier-Holland, had departed following a dispute over royalties. David Ruffin had been fired from The Temptations, and was crashing gigs as well as engaging in a contractual dispute of his own. Florence Ballard had parted ways with The Supremes in 1967, and fans were seemingly less enthusiastic about her replacement, Cindy Birdsong. To say that the label was in trouble would perhaps be an overstatement, but certainly their far-reaching successes could no longer be taken for granted.

In this rapidly shifting climate, what better way was there to ensure a favorable outcome than reuniting The Primes and Primettes? Besides the fact that pairing the two groups was a sure win in terms of sales, racial politics certainly played into the marketing ploy as well. While The Supremes had been highly successful in appealing to white audiences, The Temptations hadn't crossed over in terms of their core constituency. Gordy saw the collaboration of the groups on both television and wax as an opportunity to make The Temptations more commercially viable.

The chart performance of their first studio recording, Diana Ross & the Supremes Join the Temptations, proves that the formula was successful...at least if you define achievement in terms of sales. The album reached #2 on the Billboard 200 and spawned a couple of hit singles in the US, not to mention that their cover of "I Second That Emotion" reached the Top 20 in the UK.

From a quality standpoint, the results were slightly less impressive. For aforementioned reasons, the scales are decidedly tipped towards The Temptations in terms of the focal point~ which isn't entirely a bad thing, but who orders a combo platter expecting one lousy ass piece of shrimp? It often feels like The Supremes are primarily playing a supporting role in the mix, and Diana Ross is the only one who has any solo parts on the album. Additionally, all the tracks on the LP are cover versions, which doesn't bode well overall since their interpretations frequently pale in comparison to the originals. To sum it up neatly, the record certainly isn't without merit, but minus the superstar effect, this offering isn't particularly compelling or extraordinary.

In all fairness, their rendition of "The Impossible Dream" is probably the most impressive, but I've always personally been partial to "I'll Try Something New" (the second single from the album). A lesser-known song from Smokey Robinson's repertoire, this particular version features an impeccable arrangement by the almighty Gene Page. Eddie Kendricks and Diana Ross sound lovely together on this joint, and of course only a blood-thirsty psychopath could front on lyrics this adorable! Flyin' birdies, castle-building, givin' love as warm as mama's oven...it's fuckin' beautiful, man...

Put your uzi down, pour a big glass of Ovaltine, and go hold hands with the one you love for a while. Then smile, children...'cause you know...sunshine is good for your teeth and shit.

Sampled On:

"Tower Of Ears"---MF Borat (LimeLinx)
"Tower Of Ears"---MF Borat (YSI)

*A remix of Doom's "Gazillion Ear" containing a sample of "I'll Try Something New"

For me, MF Borat is sort of like a collaboration between Osama bin Laden and the Tooth Fairy. Mf Doom (now just ominously rockin' Doom as his monikor) is, of course, the Osama bin Laden of the analogy. We think he's responsible for crafting some bomb ass shit, but rather than waiting around to receive punishment or propers, dude runs for the sand dunes like dust in the wind. Just when we figure he must be dead, he drops a mysterious tape on us, but so much conspiracy's involved, we never know if it's him or an imposter. Thusly, Sacha Baron Cohen's wildly popular Borat character is the Tooth Fairy, because legend has it that he possesses about 204 teeth, 3 of which are in his nose. Since that's just...fuckin' unnatural...the likely explanation is that he copped quite a few of those from under the pillows of unsuspecting, slumbering munchkins. Of course, this contention is also strongly supported by the fact that his character Bruno infamously descended on Eminem dressed in fairy wings and a thong... so...yeah.

As a result, I'm not going to treat the Doom + Borat collaboration as journalistic fact. Many writers are colossally failing to get the tongue-in-cheek element of the press release, but hey...if you believe that a based-out gypsy in Oakland is responsible for making this whole project fly, then please leave all your teeth under your pillow for me tonight. I know this chick from around the way named Polly Dent who'll front me a fortune for a bag of dentures, sun...

*If you dig this, you can snatch up other a few other free and legal MF Borat joints at the official spot (especially "So Good To Me" which simply shouldn't be missed, children)

"Don't Huzzle For Love"---The Apostles (LimeLinx)
"Don't Huzzle For Love"---The Apostles (YSI)

This is such a dope track, I'm disappointed in myself that I didn't share it sooner...

Not to be confused with Jesus' homeskillets or the myriad of other musical outfits who share the same name, these Apostles were a Nigerian folk/highlife/rock/pop/afrobeat/funk/gospel/reggae/kitchen sink outfit whose heyday was in the 1970s. Unfortunately, there's not a great deal of information readily available about these guys on the internet, but the almighty Discogs does have at least some of their releases and catalogue numbers listed. If anyone knows any firsthand information about them, please drop some knowledge in the box.

Up to this point, my broke ass hasn't managed to afford any of their albums on wax, but I have been able to gather a fairly impressive digital collection of their works with the help of my crate-digging cousins around the world. "Don't Huzzle for Love" kicks off their Black Is Beautiful LP, and it's one of those grooves I gravitate towards when I need a spontaneous burst of jubilation in my life. I've also found great satisfaction in attempting to utilize the word "huzzle" in a myriad of contexts, but...yeah...there's probably sort of a bold, geeks-only disclaimer written on that one...

"Back Home"---Yusef Lateef (LimeLinx)
"Back Home"---Yusef Lateef (YSI)

Yusef Lateef certainly deserves more fanfare than I have time or space to give him at this moment, so I'm gonna implore you to dig deeper until I get around to writing a more extensive commentary on his work. To the extent that I really only care to write about what's stirring in my soul at any given moment in time, I'm feelin' a genuine sense of urgency about passing along one of his many masterpieces to you today. I've probably listened to The Blue Yusef Lateef at least a hundred times over the years, but I swear I've just begun to really hear this album within the past couple of months.

Soul children who fiend for sampled ish are undoubtedly aware of at least one artist who's flipped Lateef's material~ The Beastie Boys, Pharcyde, MF Doom, Kool G Rap, Diamond D, Cormega, Aesop Rock and Sixtoo, just to name a few. You know that I'll be the last person to denounce sample-seeking as an avenue to musical discovery, but if you only cop a few selections from his discography, you're not only sleeping...we should keep it real and call that shit a coma.

Understanding that Lateef is a divinely supreme innovator of autophysiopsychic music (sounds emanating from one’s spiritual, physical and emotional being), it's hardly an overstatement to declare him one of the most essential artists in jazz/world music's illustrious history. In addition to being a greatly accomplished multi-instrumentalist, Lateef is also an educator, visual artist, author, philosopher, and composer.

While "Like It Is" tends to rightly be exalted as the standout track on The Blue Yusef Lateef (Atlantic/Wea, 1969), I love "Back Home" for a couple of different reasons. First of all, I have an affinity for his flirtations with blues music, which showcase how masterfully accomplished Lateef is at aurally exploring an incredibly rich tapestry of sounds. I actually consider this to be one of the more adventurous compositions of the bunch, and yet he manages to pull it off as flawlessly as if this style were his forte. Secondly, I make no apologies for my unabashed love of The Sweet Inspirations, who Lateef snagged to add backing vocals for this track and "Juba Juba".

Beautiful, mystifying stuff, children...

"Can't Get Used To Those"---Dimlite (LimeLinx)
"Can't Get Used To Those"---Dimlite (YSI)

Music lovers, feel me on this~ it's bittersweet falling in love with tracks that weigh in at a mere moment or two. It's impossible not to get greedy and just want...more!...but at the same time, you somehow realize that a degree of precision somehow preserves an integrity that often eludes longer compositions. Whatever...all that is essentially bullshit. I'm actually just tryin' to say that I'm enamored with this one minute and 31 seconds of sonic beauty from Dimlite's latest intriguing release, Prismic Tops.

When writers/critics/labels describe music as wonky, glitchy or blippy, I'm not particularly impressed. Those have become terms of endearment in the age of Flying Lotus, and if you're older than 12, perhaps you remember these same mechanically generated adjectives being hurled at the likes of Anti-Pop Consortium and Prefuse 73. Even if you thoroughly read the press release for Dimlite's album, you still can't honestly fathom what the fuck this guy's stuff is going to sound like (quote: "like John Cleese’s rubber face expressed as a post-modern work of musique concrete"). In fact, the only salient point made is that his music isn't likely to be canonized by The Source magazine, which at least lets us know that prismic tops aren't something people can use to pimp their ride. No disrespect to Stones Throw...because I am afraid of Peanut Butter Wolf...but is it even worth mentioning that their brand of hip hop isn't going to sit well alongside the drops and dimes that typically get covered in The Source???

Anyway...

A few rapid-fire facts you may actually want to know about Dimlite, aka Dimitri Grimm: 1) His first two 12"s were released in 2003~ "Sponsored By The Alphabet" got some attention via word-of-mouth and spins by Gilles Peterson 2) He grew up in rural Switzerland where the club scene was non-existent 3) He has several alter egos (isn't multiple personality disorder a prerequisite for being repped by Stones Throw?) and was part of a duo called The Slapped Eyeballers Are Dead 4) He has a quirky sense of humor: "Lullaby For Gastric Ulcer" is a choice title 5) He describes his sound as salty pop rocks.

There you have it, kids...go forth and be amazed that this joint sounds nothing like you'd imagined...

"You Had To Know"---Zulema (LimeLinx)
"You Had To Know"---Zulema (YSI)

My long-winded ass (somehow that sounds all wrong) is officially running short on time, but I have to close with this heartbreaker by Zulema...

The amazing Zulema Cusseaux started out singing with The Lovelles and Faith, Hope, And Charity before making her way as a solo artist. A powerhouse vocalist who could hold her own against the likes of Aretha and Chaka Khan, Zulema (meaning "peace" in Arabic) was a pioneering female artist who wrote and produced quite a bit of her own material. Couple this with the fact that she was a gifted multi-instrumentalist whose work was critically acclaimed, and it makes no damn sense whatsoever that she failed to crack the Billboard Pop 100 even once during her solo years.

"You Had To Know" is a torch song from her 1975 R.S.V.P. album, and constitutes a perfect way to end the relationship we started on the first track of the post...when we were still innocent, in love, and trying something new. Now it's all over and you're holding your shredded heart in your hands~ but you can't quite get over how much you loved that person in the beginning. No worries, kid...it was prolly just the Ovaltine...

Dig deeper...

Word From Your Moms

“I believe that today more than ever a book should be sought after even if it has only one great page in it. We must search for fragments, splinters, toenails, anything that has ore in it, anything that is capable of resuscitating the body and the soul.”

“I must tell you that I was always afraid of the fury with which I loved you. It overwhelmed me. I thought it beyond comprehension, therefore my silence.”

“Scar tissue is stronger than regular tissue. Realize the strength, move on.”

~Above quotes by Henry Rollins

Souled On Samples: Above The Clouds Edition

noreply@blogger.com (Scholar) — Thu, 29 Apr 2010 16:48:00 +0000

Peace soul babies~ comment allez-vous?

There's nothing I dislike more as a writer than attempting to eulogize a musician I admire who's passed into the great beyond. It's difficult enough to generate the proper flow when reminiscing about a session player that no one's ever heard of, but when iconic artists take their last breath, the odds of uttering anything unique or original are savagely diminished.

Such was the case when Guru transitioned into the fourth dimension early last week. Even websites and publications that typically have no regard for hip hop were comin' through with articles chronicling the MC's life and death. After a while, the media saturation and sensationalism became too much to bear. I didn't want to heap one more useless commentary onto the literary junk pile, but children...this man's work has been a staple in my life for 20 long years. It seemed unconscionable not to present something in the way of a tribute, so I eventually sat down on the front stoop with a pen and pad.

What emerged wasn't exactly what I had expected. I quickly rejected the comforts of writing a third-person narrative, and started drafting a letter to the man himself. As I was writing, a barrage of Guru-related song/album titles started rushing to the forefront of my imagination. Instead of relegating them to my subconscious, I started integrating them into the framework of my letter. For those who may be less familiar with his material, I highlighted the titles in bold.

The process certainly wasn't without its stumbling blocks (never did figure out how the hell to work "Dwyck" into the equation), but I have to say it was a cathartic endeavor regardless. I tried to keep things as open and honest as I would if I had been writing to a friend. As such, I hope you won't judge the letter by literary standards~ it's more of a soul-driven freestyle than an exercise in cerebral gymnastics.

I'm punctuating the post with a few of my favorite Guru/Gang Starr samples for your digging pleasure. I've posted a few of them over the years, but good music always bears repeating.

Until next time, children...be easy and live life to the fullest...Scholar

Peace, brother Guru~ these humble words are for you...

It's been a little over a week since black Monday, the day you departed the planet and took a transit ride to the flip side of conscious reality. Trust me, man...those you left behind are struggling to bring some positivity to the situation of your death, rendering respectful dedications and looking through the darkness for guidance as we collectively grieve the loss of one of the illest brothers to ever bless the microphone.

Your absence is still beyond comprehension~ it's 2 deep to contend with the reality of how hastily our loved ones can be here today, gone tomorrow. Even those equipped with mad knowledge of self, who understand that the cycle of life is a never ending saga, struggle to be stoic in the face of death. Many of us have been listening to your records since we were babies, so now that you're gone it's hard not to take it personal. Living in this world is never more hectic than when we lose family, friends, and those who inspire us to rise above everyday circumstances. Our hearts are heavy, my brother, and your signature question endures...who's gonna take the weight?

It's impossible to explain to the unknowing how deeply your fans feel the music, and why our oath to respect the architect has formed such an unyielding common bond. With you travelling 2 steps ahead of rival MCs and DJ Premier in deep concentration, Gang Starr steadily rose through the ranks to become undisputed hip hop royalty. Most historians of the genre concur that Premier and the Guru dropped one classic album after another, making a mockery of silly scam artists who did it all 4 tha ca$h or just to get a rep. Because the two of you had skills and so much heart, you were able to step into the arena and achieve a level of credibility and mass appeal that is ridiculously hard to earn.

The words I manifest in this eulogy signify nothing if not gratitude and the utmost respect, but an uncomfortable moment of truth does seem to be in order. I'm not sure whether or not this is how you see things from the sky, but check it...your man Solar has officially become the Yoko fuckin' Ono of hip hop. There's no shame in my game and I'm not afraid to say it~ dude has been instrumental in every ill-advised personal and work-related decision you've rendered these past few years. Right up to the point of your departure from Earth, it seems as though there's been some sort of sabotage, betrayal, or behind-the-scenes conspiracy involved.

The deathbed letter that Solar is peddling to the masses understandably has us vexed, hexed and deeply perplexed. Unlike the lyrics you spit that we internalized and committed to memory, the words you allegedly wrote in your final days don't seem to be resonating with your audience in the least. Maybe we're deluding ourselves out of loyalty to your remembrance, but from the ground, it appears that Yoko may have single-handedly authored that entire soliloquy of chaos without your knowledge or consent.

I can't begin to fathom what powers are held from beyond the grave, but damn...for the sake of all things holy in hip hop...can you please execute a way to flip the script or brainstorm a game plan for getting this brother to take a rest? It may require shutting down the entire Solar system, but now is the time for him to honor your loved ones and fans by removing his opportunistic ass from the spotlight. His silence would enable us to keep our focus where it should be: on celebrating and upholding the legacy of Guru the Great.

For the infinite blessings you've bestowed upon your audience, it will forever be all love. I'm zonin' out on one of your tapes right now (yes, tapes...you know my steez), and it only reaffirms my admiration for you as both an artist and human being. You'll certainly be missed, but we can always look to the sun to find you~ keeping our eyes fixed miles above the clouds.

In Memory Of Keith Elam aka Gifted Unlimited Rhymes Universal

Souled On Samples:

"T Plays It Cool"---Marvin Gaye (LimeLinx)
"T Plays It Cool"---Marvin Gaye (YSI)

*Flipped on "Take a Rest"

"The Message From The Soul Sisters Parts 1 & 2"---Vicki Anderson (LimeLinx)
"The Message From The Soul Sisters Parts 1 & 2"---Vicki Anderson (YSI)

*Flipped by on "No More Mr. Nice Guy"

"Coffee Cold"---Galt MacDermot (LimeLinx)
"Coffee Cold"---Galt MacDermot (YSI)

*Flipped on "Werdz From The Ghetto Child"

"White Lightning (Imean Moonshine)"---James Brown (LimeLinx)
"White Lightning (Imean Moonshine)"---James Brown (YSI)

*Flipped on "I'm the Man"

"Ain't There Something Money Can't Buy"---Young-Holt Unlimited (LimeLinx)
"Ain't There Something Money Can't Buy"---Young-Holt Unlimited (YSI)

*Flipped on "Lovesick"

"Blind Alley"---The Emotions (LimeLinx)
"Blind Alley"---The Emotions (YSI)

*Flipped on "Comin' for Datazz"

"It's A New Day"---The Skull Snaps (LimeLinx)
"It's A New Day"---The Skull Snaps (YSI)

*Flipped on "Take It Personal"

Fundamental Supplemental:

My favorite Gang Starr videos are many...I don't wanna crash your browser, sun...but this is unquestionably a Top 10 contender:

Word From Your Moms:

"Guru, God and Self are one."~ Ramana Maharshi

It Felt Complex (But It's Really That Bass-ic)

noreply@blogger.com (Scholar) — Fri, 16 Apr 2010 16:38:00 +0000

What up, soul kids?!

It's a scorcher on the block where my shell-toe Adidas hit the street~ all the freaks and geeks who've been hiding in their houses these past few months are live and in full effect this afternoon. The sun is casting its glorious, cosmic rays onto the golden grill of Buck-Toothed Bobby; Jack-Ass Jimmy is holdin' down the corner where he religiously shakes down the locals for spare change; and Loretta the Loudmouth is hollerin' some unintelligible nonsense as she throws all her dude's shit onto the lawn in a fit of not-so-temporary insanity. Like an earthbound butterfly bursting out of its concrete cocoon, this is how things typically unfold when the funky citizens of my hometown begin to collectively celebrate their reverence for the sun. The ultra-colorful scenery is perhaps best described as a twilight zone of dysfunction, but still...you can't help but love the many splendors of spring!

My original intention was to upload a handful of soul ballads/slow jams today, but the atmosphere in my neighborhood completely rearranged my vibe. I decided to go with some tracks that you can at least snap your neck to...my guess is that most of us have a little bit of baby fat to work off this time of the year anyway. Holla if you hear me, Sizable Stan!

Peace, my dearly beloveds...

"Fair Skin Man"---The Afro-American Ensemble (LimeLinx)
"Fair Skin Man"---The Afro-American Ensemble (YSI)

*"Fair Skin Man" is a killer funk joint that made an everlasting impression on me the very first time I heard it. It took me a while to gather some facts about its history, but it was worth every ounce of effort as there's a really interesting story behind the song.

"Fair Skin Man" was first released as one of a few singles issued by a loose collective of Philly musicians recording under the alias of The Broad Street Gang. After achieving a degree of success on the R&B charts, some of the key players subsequently became involved in the recording of a "black rock opera" called Free The Black Man's Chains. Mitchell Rowe, the project's producer/arranger, claims that Ray Charles & The Raelettes, Daryl Hall, and Bobby Eli (founding member of MFSB) were all in attendance during the recording sessions, but none of them appear to be officially credited for their input. The Broad Street Gang's material was revisited for the ambitious project, and several new cuts were also recorded to round out the composition of the album (GSF,1972).

The underlying tale of the soul/gospel/funk opera surrounds the story of Julian Green, a man whose struggles with racism are examined in both a personal and socio-political context. The content stems from a conversation Green has with his son, who has returned from school asking his father some heavy-ass questions about slavery. Green relates the experience of moving north from the slums of Macon, Georgia to what he believed to be the Promised Land. When he arrived, his struggles with poverty persisted, but he greatly altered the course of his destiny by devoting himself to receiving an education. Having specialized in law during his collegiate years, Green utilized his knowledge and hard-won status to uplift people living in impoverished neighborhoods. Writing grants to build homes, establish schools, and found recreation/rehabilitation centers, he ultimately became a prominent figure in the black community. This led to him winning a seat in Congress, and finally, Green becomes the first African-American president of the United States. There are obviously some elements of this fictitious tale which now ring true, making this project as prophetic as it is brilliant.

A final word for all my crate diggers in the house~ if you run across this on vinyl in your lifetime, I can assure you there's no sane reason to deliberate. Snatch that sucka up with a sense of urgency...and tell 'em Scholar sent you!

"Vibration"---IV the Polymath (LimeLinx)
"Vibration"---IV the Polymath (YSI)

*The instrumentals on IV the Polymath's Never Sleep II were all created between the hours of midnight and 6 am. As a fellow insomniac, I can assure you that's when things get really funky. This Brooklyn native has an infectious sound that becomes more addictive with each successive listen, so I'd definitely encourage you to check into the sonic output of this "one-man musical energy". With the exception of the aforementioned release, his projects can be copped for free via his MySpace page.

"Taxi"--Ski Beatz ft. Mos Def/Whosane (LimeLinx)
"Taxi"--Ski Beatz ft. Mos Def/Whosane (YSI)

The snippet for this joint was released in November of last year, and if I'm lyin', I'm dyin'...it literally felt like an eternity before the full version hit the internets in mid-March.

David Willis (aka Ski Beatz) has enjoyed a rather industrious career in hip hop, beginning with his involvement in Original Flavor and The Bizzie Boyz during the 1980s. Going on to produce insane beats for the likes of Jay-Z and Camp Lo, Ski established a reputation for being one of the most talented, yet criminally under-appreciated, beatsmiths in the game. After spending a few years in his hometown of Greensboro, NC, he headed back to NYC to pursue new business ventures and further cement his legacy by releasing some of his finest production work to date. Many tracks from his upcoming 24 Hour Karate School mixtape (including "Taxi") have leaked onto the internets, and for the most part the reception has been exceedingly positive.

A bit of controversy about "Taxi" was sparked when Smiley The Ghetto Child claimed that he built this track with Ski for his joint "Love And Hate". I can't imagine that the two sides of the story on this will ever be reconciled, but meanwhile, there's no denying that Mos Def put a killing on this beat. Without a doubt, the music industry is hella grimy, but...sorry, man...this track still turned out to be all kinds of lovely.

FUNDAMENTAL SUPPLEMENTAL:

If you watch TV as infrequently as I do, you may never have seen this...

"New York Is Killing Me (Remix)"---Gil Scott-Heron ft. Nas (LimeLinx)
"New York Is Killing Me (Remix)"---Gil Scott-Heron ft. Nas (YSI)

I don't know about you, but I'm still madly in love with Gil Scott-Heron's latest album, I'm New Here. I've already far exceeded my intended word count for this post, so I can only hope you've been around here long enough to realize that I have nothing but the utmost reverence for the songwriter/griot/poet/godfather of rap/vocalist/the black Bob Dylan/musician/author that is the almighty GSH. Anyone who knows the hardships this man has endured with cocaine abuse and prison stints in the past decade should understand why we expected to spot him in an alley next to a trap house waaaaaaay before the new release rack at Best Buy. Due in some part to my dismay, I actually paid hard-earned money for this LP...and you should, too. As long as I don't find out that dude blew all the proceeds on crack, Gil and I will be cool people until death do us part.

I have ambivalent feelings about this remix with Nas, but I know that many of you will definitely be down with it. I personally wish that Nasir had come slightly harder with his verses, but all things considered, this joint is still pretty hot. Shout out to Spine Magazine for the blessing.

FUNDAMENTAL SUPPLEMENTALS:

A couple of GSH videos to promote I'm New Here:

Word From Your Moms:

“When the water starts boiling it is foolish to turn off the heat.”---Nelson Mandela

A Nod To Recovering Undercover Overlovers In The Place To Be...

noreply@blogger.com (Scholar) — Mon, 12 Apr 2010 16:35:00 +0000

As someone who drank the Kool-Aid in '97 and has been flyin' high on an insane sugar rush ever since, I consider myself the last space case you should trust to present an objective overview of Erykah Badu's latest LP, New Amerykah Part Two (Return of the Ankh). After formulating my own admittedly biased opinions as to the merits and flaws of the material, I decided to balance out my viewpoint by checking into some other writers' critiques on the album. Although I typically avoid reading music reviews to maintain some semblance of a unique perspective, I decided to loosen the fuck up and break my own idiotic/neurotic rule on this particular occasion. Sometimes soul superheroes have to be brave enough to walk the ledge, cousin!

In the years following the release of Baduizm, Erykah's wildly popular debut, the supreme vocalist has gradually progressed from being a flash-in-the-pan pop sensation to an increasingly misunderstood cult heroine. Due to the fact that her unbridled eclecticism and general weirdness has marginalized her captive audience to some extent, a shrinking subset of the population seems to take notice when she drops a new release. If for no loftier reason than the controversy surrounding her video for "Window Seat", New Amerykah Part Two (Return of the Ankh) has garnered more attention from critics than Badu's last couple of albums combined. Consequently, the pool of writers and publications that have thrown in their two cents has expanded well beyond the excited utterances of shameless overlovers such as myself. The purported truths are still entirely subjective, but perhaps less inclined towards preconceived favoritism. What follows are some of the more intriguing aspects of my findings:

Random adjectives/phrases used to characterize the material:

* Hypnotic; freeform; idiosyncratic; more personal than planetary; tripped out; fragmentary; the yang to Part One’s yin; a velvety, but still appealingly odd, exploration; a juicy slice of escapism; relaxed, personal funk that scans more like a sketchbook than an album; more like a series of vignettes than a feature film; organically joyous; a rich seam of mellow, rare groove moods; a quiet storm cocoon; an ambient amalgam of funk and soul; tender yet strong, fragile yet bold; as musically accessible as Erykah Badu can get ...

Words of praise for the album:

* "If only all of our addictions could sound as gorgeous as hers. Let the relapse begin."

* "Hers is the R&B album of the moment that actually has a hint of timelessness about it."

* "It is a smoother, more delicate and accessible affair, worthy of repeated listens not only because it’s a work of art but also because it’s so much fun. The songs go by so wonderfully and so easily, you’ll want to start over and hear it all again."

* "In an age of overprocessed music and manufactured pop stars, Badu’s free-flowing approach and quirky-cool vibe are a breath of fresh air, and when she tackles the oft-discussed topics of love and relationships, they feel new again."

* "Thankfully, Badu shows little interest in making generational claims—what's new or what's old about pop traditions—and is instead embracing whatever combinations of past, present, and future appeal to her ear."

* "The moody, soulful ambience complements Badu's insightful lyrics and mesmerizing vocals."

* "With a single flutter, she exudes both confidence and insecurity. With each fragile note, she conveys experience and doe-eyed enthusiasm, optimism and loneliness, and ends up wooing us and wowing us in the process."

* "Badu may have already invented a new genre of music - it just doesn’t have a name yet."

Those who weren't really feelin' it described it with sentences/phrases such as these:

* Oddly passive; a crashing disappointment; deliberately awkward; a truly great album that still disappoints

* "Badu's collection of samples and producers working somewhat against type result in a scattered, groove-oriented listening experience, far more intuitive and less "complete" than the previous volume."

* "Badu's music risks disappearing into its own mystic ambition. Like sand slipping through your hands, her music seems to get further away the harder you try to hold it close."

* "As too often of late, Badu sabotages her brilliance. There isn't one truly great song, though 'Window Seat' comes close."

Comparisons were drawn to the following artists:

* Marvin Gaye; Yoko Ono; Johnny Cash; Sly Stone; Prince; Curtis Mayfield; Miles Davis; Funkadelic; Ariel Pink; Sheena Easton; Pam Grier in Showtime’s L Word; Sade

** Please note: If this was a truly scientific undertaking, footnotes and citations would have undoubtedly been involved, but (shrugs) this is merely a blog for fucking entertainment purposes, sun.

There you have it, kids~ the squiggly bottom line on New Amerykah Part Two: Return Of The Ankh. As I'm sure you have observed, many writers have made an earnest attempt at pontificating about the material, but it's far too early in the album's evolutionary process for any of these assessments to be written in stone. Like any work of art, Return Of The Ankh will inevitably take on new dimensions and attributes as it undergoes the maturation process. Several years from now some of us will undoubtedly have a renewed appreciation for this album...while others will be trying to unload it on eBay for 63 cents or less. Either way, I think it will be interesting to witness how this particular narrative unfolds over time...

At any rate, despite my genuine efforts to provide a fair and balanced perspective (unlike the silly fucktards at Fox News), there can be no substitute for deciphering sounds via your own sensory perception. My favorite joint on the LP changes from one listening experience to the next, but at the moment, this track feels like the one:

"Love"---Erykah Badu (LimeLinx)
"Love"---Erykah Badu (YSI)

Fundamental Supplementals:

You thought Erykah's naked ambition in her video for "Window Seat" was mad inappropriate? It might be fun to argue that point with you, but on the contrary, I don't necessarily have a defense for that scandalous Annie girl. I mean, sheeeeit...even on a random good day, that chica still ain't tryin' to let you in on Victoria's Secret:

Souled On Sample:

If you've heard Erykah's second single from Return Of The Ankh, "Turn Me Away (Get Munny)", you should instantly recognize it as an interpolation of this Sylvia Striplin classic. This track was most notably flipped by Junior M.A.F.I.A (w/ Notorious B.I.G.) for their 1995 hit record "Get Money".

"Can't Turn Me Away"---Sylvia Striplin (LimeLinx)
"Can't Turn Me Away"---Sylvia Striplin (YSI)

Bonus Joints:

I'll leave you with a few more potentially unheard/forgotten Badu joints for you to reminisce on, soul children...

"A Child With The Blues"---Erykah Badu ft. Terence Blanchard (LimeLinx)
"A Child With The Blues"---Erykah Badu ft. Terence Blanchard (YSI)

"Poetry"---Roy Hargrove/Q-Tip/Erykah Badu/MeShell N'degeocello (LimeLinx)
"Poetry"---Roy Hargrove/Q-Tip/Erykah Badu/MeShell N'degeocello(YSI)

"Next Lifetime (Linslee Remix)"---Erykah Badu (LimeLinx)
"Next Lifetime (Linslee Remix)"---Erykah Badu (YSI)

Word From Your Moms:

"You don't see the head wraps anymore because I am the head wrap."---E. Badu

Souled On Samples: The Reflection/Rebirth Edition

noreply@blogger.com (Scholar) — Tue, 30 Mar 2010 16:53:00 +0000

How we feelin' out there, brothers and sisters? I sincerely hope that life on the big blue marble is tranquil, composed, and free of unnecessary strife. As for myself, my spirits have ascended into the exosphere (I submit to being a nerd, but c'mon...that's 5th grade science, sun). I'm mainly hyped because today's post is one of transformation, marking the next phase in Souled On's ongoing evolutionary process...

I've been planning to do some rebuilding around this curiosity shop for quite some time, but fucking Woodrow Wilson spoke to me several times (in a rather surrealistic dream series), chanting: "If you want to make enemies, try to change something." Last night, for whatever reason, I was finally ready for his ass. As soon as he appeared, I cussed him out for suppressing the anti-war movement, behaving like a racist douchebag, and enacting the first federal drug prohibition. Before I could manage to utter any further choice words, Wilson mysteriously disappeared in a storybook cloud of smoke. When the air finally cleared, Confucius was sitting at the end of my bed in a lotus position, tugging absent-mindedly on a jumbo-sized joint. I'm pretty sure it was the real dude, too, cuz homie didn't look a damn thing like Chow Yun-Fat. Regardless, all he said before easing on back into the fourth dimension was this:

"A scholar who loves comfort is not fit to be called a scholar. "

Perhaps he was too high to say anything else...or there was a triple pack of Twinkies waiting for him on the Other Side...who knows? All that matters is that what he said was as profound as it was concise. The time has come for change...and if Obama doesn't bring it...fuck it...I will.

Anyway, it's my solemn vow that nothing is going to change in terms of content. I'm still the same crazy ass individual you've come to know and...love??? The major difference is that the days of the mega-post are over for now, children. From now on, the updates will be shorter, but far more frequent. I'm gonna pack a powerful one-two punch and get my ass out of the ring before I catch a Tyson-inspired word salad/speech impediment. I know that sometimes change comes hard, but I sincerely hope you're still dooooooooowwwwn.

"In This World"---Reflection Eternal (LimeLinx)
"In This World"---Reflection Eternal (YSI)

Moving ever so swiftly into the selections of the day, I'd like to show some love to a track by Reflection Eternal (Talib Kweli + Hi-Tek) called "In This World". I'm sure that many of you have heard it by now, but it bears repeating for those who haven't yet had the pleasure.

I'm known to occasionally be overexuberant about music that I love, and before I have a chance to fully process what's happenin', I've attached a wicked string of superlatives to a track that's comparatively insignificant to everyone else. Blogging by its very nature implies a form of underlying narcissism I've lamented in previous posts. However, setting aside all delusions of taste-making and grandeur, the interests of my beloved readers should essentially outweigh even the most tempting rewards of self-indulgence. What I mean is that even if I've been vibin' on Miley Cyrus' emoto-tween pop (I accidentally typed poop the first time, but...ehhh...you be the judge), it's only right for me to simply keep those...ahem..tender moments to myself.

I guess the conclusion I'm haphazardly attempting to draw is that after much deliberation, I've decided that this joint is objectively dope...and far better than anything I've heard from Hannah Montana since she was conceived via the wild cowboy loins of Billy Ray Cyrus. Since that's probably not saying much, I'll put it like this...the Second Coming of Reflection Eternal might just be an epic, life-sustaining ordeal for hip hop. Their upcoming Revolutions Per Minute LP isn't going to sell more copies than (insert name of random lame-ass rapper here), but from what I've heard so far, Hi-Tek is in his zone and Kweli isn't lookin' to give up his position on the list of the greatest MCs alive. My hope is that the album will deliver on its potential to be one of the first classic releases of the decade.

"In This World" is lyrically tight from beginning to end, and Hi-Tek brought the noise with an obscure soul sample that heads were scrambling to identify the moment the track hit the internets (you know I'm getting ready to go there...hang on just a sec). He also managed to work Jay-Z's now-famous shout from "Moment Of Clarity" into the mix:

"If skills sold truth be told I'd prolly be/lyrically, Talib Kweli"

I was reading some forum posts about "In This World" the other day, and the track was getting mad love from around the globe...but...one particular human of the hater persuasion was arguing that Jay's line was an underhanded diss that the duo should have left alone. That line has always struck me as pathetically brilliant...it's a cleverly self-deprecating admission of sorts, but at the same time it's mind-boggling that Jigga casually admits to selling his fans a bunch of shit in pursuit of the almighty dollar. It also might be some sort of ego defense mechanism that Jay kicked into gear to justify his frequently lackluster abilities on the mic (yes, I'm a fan...but I ain't hardly scared of the truth). Regardless of where Hov was going with the analogy, the only MC he potentially ethered with that line was himself. Kweli already came with a snappy, albeit respectful, retort on "Ghetto Show" in 2004: "If lyrics sold then truth be told/I'd probably be just as rich and famous as Jay-Z."

For the record, if Kweli's gonna rap about life's struggles, he may as well acknowledge that, despite a co-sign from one of the most popular kids in school, his artistic integrity has seemingly relegated him to permanent placement in the underground sector. I'm sure the irony of the situation's not lost on him...there generally isn't a whole lot of glory associated with being your-favorite-rapper's-favorite-rapper. Dude knows he can't afford to kiss Hi-Tek on the mouth, wear expensive feminine sandals or piss Christal off the side of his yacht like the majors. Actions such as those are the exclusive domain of shit-peddling rappers who flip seven-digit SoundScan numbers with ease. Talib simply doesn't have the luxury of slipping up, because even though he generally stays on point, his street credibility and commercial viability continue to weigh in at approximately zero.

As per usual, Kweli spits a string of hip hop quotables on the track, coming in with some prototypical heavyweight verses right from the start:

Welcome to my longitude and latitude
My attitude is shaped by my surroundings
Skyscrapers, public housing
The sheep is running from the sun
The wolves is howling at the moon
It's tragic how you in the street
Cuz you ain't got no avenues

The rest of the track is just as nice, going straight for the jugular, and sometimes the heart:

There's a recession
What recession, dawg?
We been stressin'
Shit been a mess
And we been dealin' with this depression
Since way back

Kweli asserts an inarguable truth in these lyrics~ socioeconomic status is a huge determining factor in one's perception of an economic crisis. While this notion isn't particularly groundbreaking, hip hop's power in the universe tends to be most viable when confronting society with a much-needed reality check. If you don't think we need one, riddle me this~ why are there so many people who believe that hardship and sacrifice is all about downgrading from Starbucks to Folgers? For the more privileged, the plight of those who've never had a 401K plan or property to lose is often greatly misunderstood and quite frankly, not on their radar. Kweli's rhymes break down generational poverty into the simplest of terms, giving utterance to the fact that many of our brothers and sisters (and hell...me!) have been financially fucked since the beginning of time.

The rest of the joint knocks just as hard~ the reflection on everyday struggles is tempered by the inspirational/motivational vibe of the track as a whole. Spinning his own translation of Darwinian logic as a means of empowerment for the masses, Kweli spits:

Fight to the death/ Only the greatest left (in this world)

It sounds hella crazy, but the notion of being among the surviving fittest somehow engenders feelings of unity and strength...and even if Talib's John Malkovich reference throws a few...ummm...less evolved heads for a loop, by the end of the track we've all landed back on Earth, diggin' just how deeply rooted we are in the humanitree (pass the joint to the left, sun!). All sarcasm aside, it's no small feat to create music or pen lyrics this momentous and universally affecting. While comparisons to their Train Of Thought LP will undoubtedly ensue, I'm not expecting the same exact vibe so much as another round of quality output from the dynamic duo. Material of this caliber proves that Reflection Eternal has the capacity to return from a decade-long hiatus and blow our collective mind with the same impassioned energy they unleashed at the turn of millenium. To that I say amen, hallelujah...and a bunch of other enthusiastic expletives...

Don't let me philosophize about this into infinity~ I have to cut you loose sooner or later to give this ill track a run through your speakers! As my man Confucius might say, this joint is bananas...

Reflection Eternal - In This World (Official Video)

Reflection Eternal | MySpace Music Videos

SOULED ON SAMPLE:

"What In This World's Happening To Love"---Kimberley Briggs (LimeLinx)
"What In This World's Happening To Love"---Kimberely Briggs (YSI)

I don't care what anyone says, Hi-Tek is the bizness for blowing the dust off of this crazy-ass Kimberley Briggs track from her Passing Clouds LP. Most of the soul enthusiasts I've talked to about this track either had never heard it, or were a bit turned off by the rock overtones that make the song (and most of the selections on Passing Clouds) a genre-bending foray into somewhat experimental territory. Either way, Hi-Tek is obviously one of very few people who hasn't been sleepin' on this cut.

What can I say, children...this really is a weird track, but I certainly ain't mad at it for defying categorization. The track features some really unusual elements, like when the choir starts bustin' an interpolation of "Jesus Christ Superstar" in the middle of the song. There is perhaps no better way to describe it than a circus of sounds. The ending features a cacophony of screeching noises that makes perfect sense of why people who dig the smooth harmonies of say...The Delfonics...may not have as much affection for the happenings on this particular record. Different strokes, baby...but I'm one of those different folks who gets down with music that exists on the very fringe of whatever the established parameters may be. You don't have to call it soul music if you don't want to (although I unequivocally would), but give it a spin because it's definitely worth a listen.

A brief note about Kimberley Briggs~ some of you may know her as Kim Tolliver or remember when she recorded under the Big Ella alias. Although her name changed and her sound evolved quite a bit throughout the span of her career, she was always a supreme vocalist whose incredibly impassioned delivery was a consistent feature of her repertoire. In addition to her magnificent pipes, Briggs wrote much of her own material, and her compositions were also recorded by contemporaries such as Margie Joseph.

Tolliver's first recordings were issued as 7" singles on the Sure Shot and Rojac labels. After marrying Freddy Briggs, the couple rooted themselves in both Cleveland and Memphis, and Kimberley began releasing tracks on Superheavy and General American Records.

Passing Clouds was actually her first full-length LP, but she initially released the album as Who’s Kimberley? on her own Kimbrig label. When Fantasy picked the release up for distribution the following year, the LP was renamed Passing Clouds. In 1973 Chess released her second album, Come And Get Me I’m Ready.

Neither Fantasy nor Chess released any of the album cuts as singles...perhaps sensing that they didn't comfortably fit in the context of contemporary soul. As a direct consequence, both of these albums have languished in obscurity. I don't even own a vinyl copy of Passing Clouds~ I was just fortunate enough to score a digital version from a friend-of-a-friend-of-a-friend-of-a-friend some time ago. It's a pretty unique album, and I would definitely snap it up if you ever have the opportunity. Meanwhile, you can check out her biography and download more of her tracks via the almighty Sir Shambling.

Needless to say, Hi-Tek gets mad props for unearthing this treasure. For sample-based producers, finding extraordinary source material is as critical to the process as comin' with a fresh style and using ill techniques. The fact that Hi-Tek regularly demonstrates proficiency on all three measures makes him an unbeatable hip hop heavyweight...in this world...and far beyond.

One last thing to get you hyped about Revolutions Per Minute~ a fairly recent interview with Reflection Eternal courtesy of Okayplayer TV:

Word From Your Moms:

“In the world through which I travel, I am endlessly creating myself.”-Frantz Fanon

Live From Souled On California...

noreply@blogger.com (Scholar) — Wed, 03 Mar 2010 17:15:00 +0000

What's good, soul children? If you're not hyped already, all you have to do is tune into the frequency we're transmitting and prepare for flight. Today...Live from Souled On California...I proudly present the majestic sounds of the almighty KinG.

Hold on a minute, though~ before I send this out into the funky universe, I got a story to tell...Biggie-style...

A few light years ago, this virtual stranger named KinG (aka Sherwin Keith Rice) asked me for some feedback on a beat tape he'd produced. Theoretically I'm all the way down with supporting independent artists, but in practice very few deliver the caliber of material that I'd actually consider promoting. Consequently, I gave his offering a hesitant listen...and much to my surprise...Keith turned out to be a truly rare exception to my half-assed rules. His music resonated so deeply with me that it felt like I'd had the good fortune to discover water or air. (Hmmm...okay...using the elements in my metaphor may lean slightly towards the dramatic, but I knew I'd found a mad talented beatsmith at the very least.)

During chapter two, the KinG and I started corresponding frequently, and we came upon the idea of him dropping a new series of tracks tailored exclusively for the Souled On listening audience. We worked tirelessly on the project for weeks on end, with Keith digging for his own samples, as well as flipping records I offered up as source material.

One of the most essential things I learned about this man is that it's nothing for him to roll out several beats in the same day. Our difficulty came not from his lack of ingenuity, but rather how the hell we were going to edit the project into a concise representation of his abilities. I'm a stressed-out Virgo and KinG is an unrelenting perfectionist, so I'm sure you can imagine what our process looked like at times. In the end, KinG would simply describe the whole experience/phenomenon as Live From Souled On California...and it was finally a wrap.

I won't lie to you, kids...your humble scholar is probably biased as hell at this point. However, it's with the utmost sincerity that I proclaim this to (easily!) be one of the finest releases I've heard so far this year. If you dig it half as much as we do, you'll be bumping these tracks well into the foreseeable future.The selection consists of remixes, instrumentals, and vocal tracks constructed with a couple of Keith's emcee compadres. You can download the tracks individually, or the more adventurous can cop the project in its entirety right off the bat. A few of the original songs KinG used as an inspirational foundation for his beats are included in the post (along with some production notes), but you'll have to download them separately as those mp3s weren't packaged in the zip file.

In the future, Keith might end up charging a KinG's ransom for his work, but today the price of admission is...LOVE. If you like what you hear, all we ask is that you pass it along. Burn it and hand it out randomly to people on the streets...especially the ones who claim to be aliens. Toss it into the collection plate at church~ no doubt the deacon will praise you for it! Download the tracks onto your grandma's iPod, but turn the volume up loud so she can differentiate it from Frank Sinatra. Each one reach one, and Keith should be well on his way to forming his very own cult.

Enjoy this ridiculously ill music, children...

suited for the masses,

yet fit for a KinG.

Download all of Live From Souled On California in a zip file

INDIVIDUAL TRACKS/SAMPLE CUTS:

"99"---KinG (LimeLinx)
"99"---KinG (YSI)

Sample on "99":

"Aki & Ukthay (Brother and Sister)"---Ahmad Jamal

Oddly, I was reliving my childhood by watching old wrestling videos for days and this is the joint that came out of that. I found this album (The Ahmad Jamal Trio) while just doing some internet digging. Ahmad Jamal is pure genius. One of the best things about sampling, is being able to challenge yourself. I wanted to use a tiny sample of the song and be able to flip it and use it for the whole beat. You hear the same sample in the verse as you do in the hook.

"SFV (The Village)"---KinG (LimeLinx)
"SFV (The Village)"---KinG (YSI)

Sample on "SFV (The Village)":

"Let Me Down Easy"---Bettye LaVette (LimeLinx)
"Let Me Down Easy"---Bettye LaVette (YSI)

This sample was probably the hardest one to flip out of anything I was given by Scholar. There were no parts where Ms. LaVette wasn’t singing. So I took little pieces and played with the pitches of the sample. The parts I was able to use were slighty random, which is part of the reason it came out with a reggae feel to it.

"Erykah Badu's On & On (Kings New Pack of Strings Remixx)" (LimeLinx)
"Erykah Badu's On & On (Kings New Pack of Strings Remixx)" (YSI)

"Ghostface Killah's Mighty Healthy (Kings Mighty Freakn Wealthy Remix)" (LimeLinx)
"Ghostface Killah's Mighty Healthy (Kings Mighty Freakn Wealthy Remix)" (YSI)

"Get The Bread"---KinG (LimeLinx)
"Get The Bread"---KinG (YSI)

"2010 Boom Bap"---KinG (LimeLinx)
"2010 Boom Bap"---KinG (YSI)

"Celebration"---KinG (LimeLinx)
"Celebration"---KinG (YSI)

Sample on "Celebration":

"Try To Leave Me If You Can (Betcha Can't Do It)"---Bessie Banks (LimeLinx)
"Try To Leave Me If You Can (Betcha Can't Do It)"---Bessie Banks (YSI)

With this joint, I wanted to challenge myself by doing two things; do as little as possible to a sample and make a totally different beat using the same sample (which is what occurs at the end). The first version I did of "Celebration" had an ending that was lacking bump, so I had to go back and revamp it. I left the first half of "Celebration" empty because I felt that the sample had enough going on musically. I did a lot of chopping though, which is always fun.

"Out of Character"---KinG (LimeLinx)
"Out of Character"---KinG (YSI)

"The Band Needs To Warm Back Up"---KinG (LimeLinx)
"The Band Needs To Warm Back Up"---KinG (YSI)

Sample on "The Band Needs To Warm Back Up":

"Ooh Ah Ee"---Vern Blair Debate (LimeLinx)
"Ooh Ah Ee"---Vern Blair Debate (YSI)

"Keep It Rollin' (Feat. Hoodini)"---KinG (LimeLinx)
"Keep It Rollin' (Feat. Hoodini)"---KinG (YSI)

"Collins Ave."---KinG (LimeLinx)
"Collins Ave."---KinG (YSI)

Sample on "Collins Ave":

"Very Yes"---Bootsy Collins (LimeLinx)
"Very Yes"---Bootsy Collins (YSI)

"Very Yes" was one of the first samples I flipped. If you've heard it, you know it's a pretty long record. I had a lot of parts to choose from, so I just went through the whole song and took little parts. Throughout the song there are a lot of different synth sounds being played on the original record and they're panning right to left, giving the song a somewhat bigger sound.

"Valentine's Day"---KinG (LimeLinx)
"Valentine's Day"---KinG (YSI)

"3 Day Slump & Moo's Rough Draft (Feat. Moo)"---KinG (LimeLinx)
"3 Day Slump & Moo's Rough Draft (Feat. Moo)"---KinG (YSI)

Sample on "3 Day Slump":

"Be Ever Wonderful"-Earth, Wind, & Fire

I was having trouble coming up with something for 3 Days (obviously), so I decided to flip something that was common. The first version of the beat comes in on the second half of the track and features Mooruf.

I wasn’t really diggin the beat when it was first constructed. Moo hit me on twitter and said he wanted to take a stab at it. That same night he sent me back this version. From my understanding, it was a freestyle so kudos to him for killing that. The 2nd Version hits a lot harder, but I like the bounce that the 1st brings. For some reason I want to say that the 1st version is a tad bit more commercial, while the 2nd has an undeniable gritty feel to it.

"Cashmere Reality"---KinG (LimeLinx)
"Cashmere Reality"---KinG (YSI)

Sample on "Cashmere Reality":

"Save Their Souls"---Bohannon (LimeLinx)
"Save Their Souls"---Bohannon (YSI)

I usually never lean towards samples that have been flipped already. But when Scholar sent this, I remembered being asked to flip this by a friend a long time ago. Also I thought it would be a challenge to get it to sound totally different from Jay-Z’s “Cashmere Thoughts” and Musiq Souldchild’s “Caught Up”. While those versions stuck to the loop in its regular form, I chopped it. I really like the way it came out, 'cause it has a very loose but bouncy feeling to it.

"Something Cool 1&2 (Feat. Elemental P)"---KinG (LimeLinx)
"Something Cool 1&2 (Feat. Elemental P)"---KinG (YSI)

If you want to get at KinG...to stalk him or make him a superstar...hit him up at any of the following convenient locations:

KinG's Beatssss
Twitter
MySpace

Word From Keith's Moms:

"You must be smokin' if you think that little shit was funny."

On Second Thought: The When I Get That Feeling Edition

noreply@blogger.com (Scholar) — Thu, 11 Feb 2010 17:36:00 +0000

How we feelin' out there, soul babies? Sincerest wishes that all the good people in the funky universe are fat, happy and healthy on this fine February afternoon...

As for myself, I have to admit that I went through a brief phase when I didn't feel particularly inspired to write, but I'm back into my groove now~ and as I'm testifyin' in the title of today's post, I've finally got that feeling again...

Scrambling to make up for lost time, I quickly dug up another collection of soulful covers and ill remixes for your headphones. I wish I'd had sufficient time to produce something as large as last February's Love Lockdown series, but I tried to proceed with the same spirit of eclecticism that my friends and affiliates brought into the mix last year. I've got some of my superfriends lined up for upcoming posts, but for the moment I'm focused on delivering at least one track you truly dig.

Mad love and much respect to all of you...Scholar

"The Mexican"---El Michels Affair (LimeLinx)
"The Mexican"---El Michels Affair (YSI)

*Written by Alan Shacklock; originally recorded by Babe Ruth at Abbey Rd Studios in 1972 and was subsequently released on the band's First Base LP (Harvest Records EMI). The track also appeared as the B-side to their "Wells Fargo" single (HAR 5087).

* The original song interpolates "Per Qualche Dollaro in Piu" (aka "For a Few Dollars More"), a soundtrack theme song composed by Ennio Morricone.

*Babe Ruth hailed from Hatfield, Hertfordshire, England, but they ultimately enjoyed greater success in North America than their homeland.

*While it wasn't technically a hit single, ask any DJ worth the weight of their crates and they'll likely enthuse about what a monumentally large record "The Mexican" is. A key ingredient in Afrika Bambaataa and Soulsonic Force's "Planet Rock", the track was also sampled by other pioneering hip hop acts such as Funky 4 + 1 and Grandmaster Melle Mel and The Furious Five.

*The first semi-famous cover version of the song came in 1978, by way of a twelve-minutes-and-counting disco mix by The Bombers. John "Jellybean" Benitez followed suit in 1984, recruiting Babe Ruth's original lead singer (Janita Haan) to lay down her powerhouse vocals on his first #1 Hot Dance Music/Club Play single.

*Ultimate Breaks & Beats is a 25-volume compilation series that qualifies as a audible encyclopedia entry on the history of sampled music. Originally released on Street Beat Records between 1986 and 1991, this massive library of tracks with prominent drum breaks began with the intention of providing a quick go-to reference for beatsmiths and DJs. While the selections were tweaked and remixed to facilitate beat-juggling, contending with the vocals still proved to be a source of consternation for the average bedroom/basement producer.

As hip hop production increasingly lent itself to more user-friendly methodology and the internet aided in disseminating long-held secrets of source material, collections such as these undoubtedly lost some of their appeal and gravitas. In a calculating effort to regain relevance, Traffic Entertainment Group began to release all instrumental versions of some of these essential recordings, extending itself even further to reduce the difficulties associated with sampling and chopping.

Truth & Soul Records' funky president/co-founder Leon Michels (perhaps better known for his work with El Michels Affair) took the reins on the first volume of the newly revamped series, working with a stellar cast of studio musicians to revisit/recreate 13 of the most oft-sampled joints of all freakin' time. In less capable hands this project could have invited a shitstorm of criticism, but if you've witnessed El Michels take on the Wu-Tang songbook, you probably won't question Michels' ability to rise to the occasion. Some versions stray farther from the original material than others, but the common denominator amongst this baker's dozen is undoubtedly quality musicianship.

Since the release of this LP in 2008, two subsequent volumes in the series have dropped~one credited to Mr. Chops and Friends and the most recent installment, which focuses exclusively on rock songs. I haven't checked either of these out yet, so if you'd like to weigh in on their merits, please feel free.

"Inspiration Information"---Sharon Jones and the Dap-Kings (LimeLinx)
"Inspiration Information"---Sharon Jones and the Dap-Kings (YSI)

*Written by Shuggie Otis for his homonymously titled 1974 LP.

*Shuggie was born the son of R&B bandleader Johnny Otis, and as the stars would have it, his intense love affair with music seemed to have been inspired when he was an embryo. After playing in clubs at age 12 and recording sessions with Frank Zappa and Al Kooper at 15, Shuggie began his own complex and deeply curious foray into genre-bending, style-fusing soundscapes when he was still a young teenager.

Here Comes Shuggie Otis and Freedom Flight were both visionary, renegade excursions into musical territory that was not necessarily uncharted, but infrequently explored. To the casual listener, a lot of his material sounds dissonant and strange, but for those who tune into his frequency, the listening experience is immeasurably rewarding.

*For all the creativity he poured into his first two releases, Inspiration Information was perhaps his most delicately constructed body of work, a masterpiece that he devoted a few years of his life to composing. Otis had evolved into a virtual one-man band, playing guitar, bass, piano, drums, the organ, and the vibraphone. He wrote horn and string arrangements, and stayed on the cutting edge of burgeoning trends such as drum machine technology. His palette was a pastiche of diverse sonic styles, blended seamlessly by his fluency in speaking the robustly variegated language of music. In other words, Shuggie fuckin' rocks!

Like so many of the greats, Shuggie's timing was way the hell off~ it was as if people still believed that the world was flat, and Shuggie played as though it was round. He captured the attention of many acclaimed artists who invited them to share the stage or record with them, but as the man himself once quipped, the solo run beginning with Here Comes Shuggie Otis was sadly punctuated by an all-too-quiet 'there goes Shuggie Otis'.

*Otis all but disappeared in the years following the release of Inspiration Information. He occasionally did session work and an infrequent live gig here and there, but for the most part, he'd gone ghost. Shortly after the album was released, Billy Preston had called to ask him if he's be interested in replacing Mick Taylor on The Rolling Stones' upcoming tour, but Shuggie wasn't down with the idea. He was also reportedly offered the opportunity to have Quincy Jones produce a follow-up record, but of course this also never materialized. In retrospect, some would consider these two of the most ill-advised career decisions of all time, but consider the fact that Otis was still only 21 at the time. His creative potential as a solo artist likely seemed limitless in his young mind.

*While he's always been somewhat of a cult hero, Otis enjoyed a brief resurgence of interest in 2001, when David Byrne re-released Inspiration Information and four tracks from Freedom Flight on his Luaka Bop imprint.

The new millenium saw Shuggie's material being sampled by the likes of Dilla, RJD2, and even the flyest-bitch-in-the-game-wearin'-Hov's-chain, Beyonce (I'm not crazy about the chica, but obviously I'm in the minority). In 2004, Otis agreed to play guitar on Mos Def's "Blue Black Jack", further establishing his exalted reputation amongst crate-digging hip hop kids such as myself (not the illest Mos Def joint, but a collaboration that still sounds fly as hell on paper).

Otis' most recent appearance was on the 2008 multi-artist Novemberin' LP, where he played alongside Jimmy Vivino and Mark Lotito. Towards the end of last year he talked about the album on KKZQ with Jeff Duran, also hinting that he was in the process of recording new material. It was a bittersweet interview for myself, a longtime Shuggie fan, as compelling as it was disconcerting. Otis came across like the average guy next-door, living through the glory years of days gone past and struggling to find his relevance in the present and future tense. One of the most striking moments in the interview was when Shuggie fumbled his way through explaining his lack of knowledge about the internet, encouraging people to contact him through tribute pages set up by relatives and friends. Once again, it appeared as though Otis was cursed by being out of step with the vibe of contemporary culture, this time arriving too late rather than ahead of time.

*While Shuggie's material has been covered numerous times over the years, the most popular take on his music came by way of The Brothers Johnson's remake of "Strawberry Letter 23". The track appeared on the group's 1977 Right on Time LP, becoming an extremely popular dance-oriented flip that peaked at #5 on Billboard's Hot 100 that same year.

By far, my personal favorite is this ridiculously phenomenal cover by Sharon Jones and The Dap-Kings. The track was unleashed last year on the Red Hot compilation Dark Was the Night.

"Sexual Healing (Me & You Re-Edit)"---Hot 8 Brass Band (LimeLinx)
"Sexual Healing (Me & You Re-Edit)"---Hot 8 Brass Band (YSI)

*Written by David Ritz, Odell Elliott Brown Jr, Marvin Gaye; Gaye recorded the track in Belgium and released it as a 7" on Columbia in 1982. It also appears on his Midnight Love LP, his first album after being relieved of his long-standing contract with Motown.

*Holding its ground at #1 on Billboard's Hot Black Singles chart for ten weeks, the track earned the distinction of being the longest-running R&B number-one single of the 1980s.

*It's impossible to overstate the impact this song had on cementing Gaye's legacy. Gaye hadn't had a hit song for five years prior to its release ("Got to Give It Up"), and the single earned the legendary vocalist his first Grammy and American Music awards.

*The backstory on this internationally beloved tune is completely fucking bizarre. David Ritz, one of the song's co-authors, was interviewing Gaye for a biography ("Divided Soul: The Life of Marvin Gaye") when he noticed that the celebrated artist had an abundance of pornography in his room. He allegedly told the singer that he needed sexual healing, and the idea for the song was born.

Ritz was not listed in the original songwriting credits, although he did get in a shout in the liner notes. The writer claimed that Gaye had commissioned him to write a poem about sexual healing in the aftermath of their inside joke, and Ritz's words comprised the bulk of the lyrical content. Feeling unduly slighted, Ritz promptly filed a lawsuit, effectively ending his friendship with Gaye. The writer didn't win his suit or formal acknowledgement for his contribution until after Gaye was murdered.

*According to many accounts, "Sexual Healing" was the first hit single to use the Roland TR-808, an early programmable drum machine that later became a staple of hip hop and electronica.

*The song was christened #231 on Rolling Stone's list of the 500 Greatest Songs of All Time.

*The track was recorded in Belgium because Gaye spent approximately 18 months there trying to relax, regroup, and kick his drug habit. He had been so stressed out prior to his self-imposed exile that he seriously entertained the idea of becoming a monk.

*Upon achieving success with the single, Gaye left Belgium to go on a US tour in support of his album. The consensus seems to be that he began abusing drugs again, becoming increasingly depressed and mentally unstable. He moved back into his parent's home where his father eventually shot him in 1984, claiming self-defense. A physical altercation ensued when Gaye's mother and father were in the midst of a domestic dispute. Marvin Sr. was initially charged with first-degree murder, although his sentence was reduced after it was revealed that he had been beaten by Marvin Jr. a short while before the shooting. Many accounts suggest that Gaye jumped on his father merely to protect his mother. Regardless of the specifics, it remains unsettling that the gun Gaye's father used had been given to him by his son a few months prior to the incident.

*"Sexual Healing" has been sampled on tracks by artists such as Doug E Fresh, Fat Joe, Erick Sermon, M.O.B.B., and Big Daddy Kane, just to name a few.

*Artists who have covered this track include Ben Harper, Soul Asylum, Anita Lane, El Debarge, Mahogany, Hot Chip Ne-Yo, Michael Bolton, and Kate Bush's prolly-could-have-done-without-it Celtic-influenced take on the track. Yet and still, the oddest (but somehow apropos) rendition came by way of George Michael at Nelson Mandela's 70th birthday bash.

*To use a blistering/blazing/fire analogy to describe Hot 8 Brass Band's take on "Sexual Healing", I'd say this joint is a sonic inferno, children.

The New Orleans-based outfit is comprised of a constantly rotating cast of musicians, but the founders were tuba player Bennie Pete, Jerome “Bay Bay” Jones (trombone) and Harry “Swamp Thang” Cook (bass drum). Since their formation in 1995, the group has generally consisted of 8 or 9 top-notch musicians who are committed to delivering traditional styles to the next generation.

They initially released "Sexual Healing" on a New Orleans label called Louisiana Red Hot, but the devastation left by Hurricane Katrina wiped out the company, as well as the masters of the group's recordings. As if that alone wasn't a tragic enough loss, four members of the collective have passed away over the years, two of which were related to violent acts on the streets of New Orleans.

A stroke of good fortune finally blessed them due to the fact that Quantic had acquired a rare copy of "Sexual Healing" that Robert Luis and Paul Jonas of the Tru Thoughts imprint enjoyed immensely. The label first released the cover as a limited edition in the summer of 2007. The 500 copies they pressed were snapped up immediately, and the label responded accordingly by re-releasing the single as well as a full-length album (Rock With The Hot 8 Brass Band) later that same year. The effort garnered the group well-deserved praise, and my own two cents is that even when I'm a miserable bastard, this record lifts me up as a result of its mysterious powers to actuate levitation.

"Leila Dies, Lyrics Born"---dj BC (LimeLinx)
"Leila Dies, Lyrics Born"---dj BC (YSI)

*This track blends Philip Glass' "Leila Dies" and "Calling Out" by Lyrics Born; mix courtesy of Bob Cronin (aka dj BC)

*Mashes/bootlegs/blends are somewhat of a dime a dozen these days, and usually aren't nearly as interesting as they should be. The shock value sort of wore off after a while~ yes it is entirely possible to blend Barry Manilow with Nickleback and return a product that's inexplicably even more nauseating than the sum of its parts; this theory has been soundly proven, and pairing seemingly disparate genres isn't nearly as ironic as it was in the preceding millenium. That said, I am all about diggin' for the exceptions to whatever the rule may be.

Simply put, Bob Cronin is one of the nicest dudes to ever do the damn thing. In addition to his ultra-impressive techniques on the wheels of steel, dj BC has crates for days. While other mixologists are trying to figure out what shitty radio fodder they can blend with "Poker Face", BC is blowing the dust off of Vladamir Ussachevsky and Barry Martyn's Down Home Boys.

*Glassbreaks is one of my favorite BC projects to date~ unfortunately it's no longer available for download on his site. I'm quite certain that he is plagued by the same legal clusterfuck that DangerMouse found himself in when he dared to sample the Fab Four without EMI's express permission (cuz you know, their legacy is so much more well-preserved by 10 year-old Rock Band virtuosos). At any rate, it's a must to check his site frequently if you want to cop his projects before The Man does something sinister to it.

If you dig this and you want to hear the rest, you can still download the tracks individually via the good people at WFMU's Beware of the Blog.

"Air (fLako & Robot Koch Remix)" ---Dabrye/MF Doom (LimeLinx)
"Air (fLako & Robot Koch Remix)" ---Dabrye/MF Doom (YSI)

*Lyrics by Daniel Dumile (aka MF Doom); original beats by Tadd Mullinix (aka Dabrye); "Air" was released as as both 12" and on Dabrye's Two-Three album in 2006

*Although Dabrye's earlier releases caught the attention of elite underground hip hop heads such as Dilla and Fat Jon, his shit was too...something...to appeal to his target audience. Mullinax has said that his intention was to collaborate with his favorite MCs all along, but his beats were given the kiss of death by being labeled by the masses as *gasp* glitch-hop. In addition to prompting him to feel misunderstood as an artist, Mullinax had a degree of difficulty with the realization that most of his fans were pretentious douchebags. "I was playing for white boys that would stand there and stroke their chins, and that bothered me. Some would dance a little, but I was like, 'This music has sexiness in it and it needs to get to the right audience.'"

As a consequence of this painful exercise in self-awareness, Dabrye set out to make his sound more palatable to people who were willing to do a little dance and make a little love to his unique sonic creations. In order to achieve this coveted clout with the cool kids, he brought in masters of ceremony such as Doom, Invincible, Finale, Beans, Guilty Simpson, Paradime, Ta'Raach, Vast Aire, Big Tone, Phat Cat, Wajeed, Wildchild, etc.

Whether this venture was successful or not depends largely on who you ask, but "Air" was undoubtedly the track that garnered the most attention (with "Game Over" squarely positioning itself as a close second). Even when Doom's a bit lazy, he tends to be more interesting...and certainly more colorful...than the majority of his peers. His fanbase tends to be ridiculously loyal, and fortunately this joint was released before the MC was exposed for hiring actors to impersonate him during live shows. All in all, the collabo turned out to be a fairly good look for both artists.

*As of this writing, Dabrye still hasn't come with Three/Three, the final chapter of his musical trilogy. It remains to be seen whether or not he'll pull a George Lucas, but if Mullinax has his way, it sounds like he'd dig going a bit more mainstream with it. "The other idea, since I have so much momentum in the hip-hop community, is to go [to] the next level with MCs. If I could get Busta Rhymes on the album I'd be stoked!" Perhaps we shouldn't hold our collective breath for Lil Boosie to return his call.

*In my humble opinion, this remix trumps the original all day long. No disrespect Dabrye...but...I think these dudes may have sonned you on your very own track.

"Seven Nation Army"---The Dynamics (Limelinx)
"Seven Nation Army"---The Dynamics (YSI)

*Written by Jack White; the original version was recorded by The White Stripes at ToeRag Studios in London. The track appears on the group's Elephant LP, and was released as a single in the US on April 21, 2003.

*In 2008, Rolling Stone placed this song at #21 on its list of the 100 Greatest Guitar Songs of All Time. Perhaps more interestingly, the UK's Observer Music Monthly rated it at #2 on their list of the top 75 songs of the decade~ just behind "Crazy In Love" by Beyonce. What the bloody hell is that all about, children???

*Jack White told one of my favorite film directors, Jim Jarmusch, that the song "is about a character who is involved in the realm of gossip with his friends and family and is so enraged by it that he wants to leave town."

Initially plagued by much rumor and innuendo about the nature of his relationship to bandmate Meg White, it seems likely that this lyrical tale was at least semi-autobiographical. Prying into celebrities' personal matters is often an unflattering look for so-called journalists, but hey~this is the sort of madness that ensues after you tell folks that your ex-wife is your fuckin' sister. Just sayin'...

*"Seven Nation Army" is evidently what Jack White called the Salvation Army when he was a kid. That is so...cute?

*Let's be all the way real, children..."Seven Nation Army" covers fucking blow. Every cachophonous high school marching band in Europe and North America have pissed all over this joint at one time or another...and even The Oak Ridge Boys saw fit to having their ultra-strange way with it. The list of repeat offenders includes (but is sadly not limited to) Kelly Clarkson, The Flaming Lips, Nostalgia 77, Weezer, Audioslave, The BossHoss, Apathy, Pursued by a Bear, Hard-Fi, Rihanna, and the crackhead down the street...

Not to be confused with the R&B group from Detroit of the same name, The Dynamics who rendered this cover of "Seven Nation Army" hail from Lyon, France. With influences ranging from Curtis Mayfield to King Tubby, this phenomenal groove collective fuses deep soul sensibilities with reggae and dub influences to create a harmonious union of styles and sounds.

If you dig this track, you'll definitely want to check out their Version Excursions LP (Groove Attack, 2007), as well as their highly sought-after singles collection.

"Didn't Cha Know (Biscope Boot)"---Erykah Badu (LimeLinx)
"Didn't Cha Know (Biscope Boot)"---Erykah Badu (YSI)

*The album version of "Didn't Cha Know?" was written by Erykah Badu, James Yancey, and Phil Clendeninn.

Clendeninn was credited as a co-author after it was discovered that "Dreamflower" by his short-lived group Tarika Blue was sampled on "Didn't Cha Know?" without permission. The band's record company (Chiaroscuro) filed a lawsuit, and Universal/Motown and Badu agreed to pay a settlement fee. A renewed interest in the jazz fusion group's recordings was quickly ignited, and Chiaroscuro reissued both of Tarika Blue's '70s LPs on a self-titled CD. It was released on the company's Downtown Sound label in 2002.

*"Didn't Cha Know?" was the second single from Badu's Mama's Gun LP. The track peaked at #28 on the R&B/Hip-Hop charts.

*Mama's Gun features substantial contributions from several members of the Soulquarians collective, of which Badu and Dilla were members. More on the origins and influence of the Soulquarians here.

*Biscope has recently been making some noise on the internets, although there still isn't a great deal of information available about the Cape Town production phenom. Depending on who you ask, there are one to three members (a byproduct of the misinformation age, no doubt), but it's certain that Richard the Third is at the epicenter of Biscope's creations. Not only do I dig the laidback vibe of this mix, but anyone who labels their music love-step is unequivocally all right with me...

"He Ain't Heavy, He's My Brother"---Donny Hathaway (LimeLinx)
"He Ain't Heavy, He's My Brother"---Donny Hathaway (YSI)

*Written by Bobby Scott and Bob Russell; the song became a hit single for Buddy Holly in 1969. Neil Diamond actually recorded it first, but his version (also a success) wasn't released until 1970.

*When Bobby Scott and Bob Russell met in California, Russell was dying of cancer. It is said that they met only three times in person, but still managed to create one of the most beloved compositions of all time.

*In 1924, Roe Fulkerson published an article in Kiwanas magazine called "He Ain't Heavy, He's My Brother". This is the first known usage of the phrase.

There is also a possible connection to Father Edward J. Flanagan, the founder of Boys Town. As the story goes, Flanagan came across a line drawing in a 1941 edition of Louis Allis Messenger bearing the caption "He ain't heavy Mister — he's m' brother!" Flanagan felt that the drawing illustrated the work done at Boys Town and requested permission in 1943 to recreate the drawing in color with the caption "He ain't heavy, Father . . . he's m' brother." The phrase eventually became the motto of Boys Town (now known as Girls and Boys Town).

*Many listeners interpreted this song to be about soldiers in the Vietnam War and/or the civil rights movement. Whether or not that's what the writers had in mind is of little significance. In my opinion the hallmark of a great song is the ability to be brazenly open to subjective interpretations, bearing personal significance for everyone who hears it. Whether or not you like this song, you have to give it props on that particular measure~or else!

*Elton John played the piano on The Hollies' version.

*This is another frequently covered track, including versions by The Ruffin Brothers, Barry Manilow (ugh), The Housemartins, Rufus Wainwright, Olivia Newton-John (another nails-on-the-chalkboard rendition), The Osmonds (once again...ugh), Brotherhood of Man, Cher, Sanchez, and a bunch of tone deaf shitheads on American Idol.

*Hathaway's rendition has received mixed reviews. Some people obviously love it, but it's also gotten slammed for being too depressing. One writer expressed the following opinion: "Donny sings beautifully, but he sounds hopeless and defeated instead of confident of victory."

Scholar says: fuck that. Donny was and always will be one of the high priests of soul. Taking his interpretation in it's context, Hathaway's eponymous 1971 album arguably contains much of his darkest material. I've always thought that the LP was self-titled because its content and substance painted an incredibly honest portrait of the man himself, all posturing and artifice set aside. Like all of Hathaway's recordings, this one stays on steady rotation at chez moi.

The Best Of The Rest:

Because it's nearly Valentine's Day, here's some extra love for all of you beautiful people to enjoy~ two more amazing covers:

"Why Try To Change Me Now"---Fiona Apple (LimeLinx)
"Why Try To Change Me Now"---Fiona Apple (YSI)

*More beautiful than you can imagine, this remake of a Cy Coleman track is all kinds of lovely...

"Can't Tell Me Nothing"---Francis & The Lights (LimeLinx)
"Can't Tell Me Nothing"---Francis & The Lights (YSI)

*Many of the most impressive covers are so wildly different from the original that they make you look at a song from a whole new perspective. I adore this truly unique rendition of Kanye West's popular single for that very reason.

Word From Your Moms:

"But if these years have taught me anything it is this: you can never run away. Not ever. The only way out is in."---Junot Díaz

The More I Make Revolutions, The More I Want To Make Love...

noreply@blogger.com (Scholar) — Wed, 23 Dec 2009 17:38:00 +0000

*Artwork by Rodrigo Izolag

What's really good, soul babies? Peace and infinite blessings to all the good people in the place to be...

'Tis the season when most of you are tryin' to ho ho ho and pull your merry shit together, so it's probably not the best time to trouble you with an abundance of scholarly discourse...

Recently, I've been contemplating whether or not all the writing I've done has ultimately been to my detriment anyway. I mean, let's be real~ the blogs that attract millions of readers seem to have the whole economy of expression principle down to a disturbingly exact science. If only I'd had the foresight to draw cocaine sprinkles falling out of Lindsay Lohan's nose instead of...yawn...talking about music, maybe Will.I.Am and his manager would deem me worthy of an allegedly brutal assault. Sadly, I have yet to be given a simple nosebleed...and the implications of how utterly irrelevant this makes my life can occasionally be somewhat disconcerting. Like...yo...can I puhleez get my ass kicked up in here? Alas, the world evidently doesn't recognize that I should be strutting down the red carpet in a pimp suit instead of being the poor bastard who installs it...

The truth is, I'm well past suffering any delusions about becoming a blogger superstar. I'm cursed by these half-witted ideas about occasionally delivering meaningful content...and if you must know, I'm a colossal failure as it pertains to doodling. My revolution will not be televised or even broadcasted over the internet, but it will continue to spin steadily at 33 1/3. Through digging deeper, I've managed to find my own internal rhythm...and had the good fortune to synchronize with people all over the world who are tuned into the same frequency. We may be a quiet storm, children...but know this...together we comprise an entire symphony of beautiful noise.

Here's to vibing with each other well into the next decade. I'll be around if you still want to roll with me...

Sending out the very best to you and yours...

make revolution/make love...scholar

MUSIC:

"Lil' Girl"---Shafiq Husayn ft. Fatima & Stephen "Thundercat" Bruner (LimeLinx)
"Lil' Girl"---Shafiq Husayn ft. Fatima & Stephen "Thundercat" Bruner (YSI)

*Husayn's Shafiq En' A-Free-Ka LP was nothing if not triumphant, and this track easily falls into my top 5 singles of the year. Erykah Badu and Jay Electronica are in the video, too~ whaaaaaaaat???

Dig deeper...

"Four Walls"---Blockhead (LimeLinx)
"Four Walls"---Blockhead (YSI)

*Blockhead is a one of the most ingenious producers alive...period. Discovering that he reads Souled On is still one of the highlights of my...ahem...career. The Music Scene is another ill front-to-back listen in his canon of works...but I've come to expect nothing less than consistency from this prodigious beatsmith. Even though I think you should buy this instead of Taylor Swift's record, I'm going to resist all urges to storm the stage. I think it's a far better look for me if I keep my ass seated...

Dig deeper...

"All Of Your Things"---The RAah Project (LimeLinx)
"All Of Your Things"---The RAah Project (YSI)

No matter what kind of what music you dig, I hope you'll be adventurous and give this joint a listen. It's a cross-section of so many styles that it would be problematic to faithfully paint a picture with words...just an insanely beautiful piece of music.

Dig deeper...

"Walking"---J. Period/Nneka ft. Jay Electronica (LimeLinx)
"Walking"---J. Period/Nneka ft. Jay Electronica (YSI)

Nigerian born singer/songwriter Nneka still hasn't garnered a significant following in the United States, but hopefully this oversight is on the verge of being corrected. A week ago, Nneka and J.Period dropped The Madness (Onye-Ala), a free mixtape aimed at generating some hype for the talented artist prior to the February 2010 release of her Concrete Jungle LP. "Walking" is the project's phenomenal second single, and I'm certain it'll inspire you to head over to J.'s site to secure the mixtape in it's entirety...

Dig deeper...

"Southern Fried Chicken Pts. 1 & 2"---Bill Thomas & The Fendells (LimeLinx)
"Southern Fried Chicken Pts. 1 & 2"---Bill Thomas & The Fendells (YSI)

This may seem like a bold statement, but I usually don't fuck with songs about chicken. That said, this song is so damn funky, even your grandmother will be like shit! goddamn! get off your ass and jam. With this joint on the turntable (or in your iPod), it should be all too easy to get...uhhhhh...greazy. Cheap!

Dig deeper...

"I'll Hate Myself Tomorrow"--O.V. Wright (LimeLinx)
"I'll Hate Myself Tomorrow"--O.V. Wright (YSI)

If you find yourself in a financial position to afford a pricey imported box set at any time in the near future, seriously consider copping O.V. Box- The Complete Backbeat and ABC Recordings. Wright is arguably one of the most passionate and ruggedly individual soul artists to have ever walked the earth, but his tragic life story reads something like a Donald Goines novel. This emotive collection fully illustrates the ways in which the music was an extension of the man~ a must-have for any soul fans who've been touched by his work.

Dig deeper...

"I Owe You Love"---Brighter Side Of Darkness (LimeLinx)
"I Owe You Love"---Brighter Side Of Darkness (YSI)

If I didn't know anything about the smooth soul harmonies rendered by Brighter Side Of Darkness, I ain't gonna lie...this silly ass cover would probably have stopped me dead in my tracks. I can't imagine the circumstances under which these outfits were fly, although I do believe that Moms owns a pajama set from Victoria's Secret that's along these same lines. She didn't get the hat, though...I have to tell her she got ripped.

Anyway, the Chicago-based BSOD was essentially a one-hit wonder. "Love Jones" earned the four young men a gold record, peaking at an impressive #3 on the R&B charts in 1972. "I Owe You Love" was their second single, but after it barely managed to crack the Top 50, the group disbanded in 1974. I truly dig this track, and I've never understood why listening audiences weren't more receptive. Their demise may have been due in part to the Jackson 5 effect; their lead singer Darryl Lamont was only 12 at the height of their popularity. Perhaps people weren't down because they saw the group as a less talented imitation of their rivals on Motown...or maybe it really was about those shiny ass pink suits...Notwithstanding their outfits, these guys were crazy dope.

BSOD performing "Love Jones" on Soul Train:

Dig deeper...

"Ambition"---K. Sparks & Pajozo (LimeLinx)
"Ambition"---K. Sparks & Pajozo (YSI)

K. Sparks is an MC hailing from Queens, while his compadre Pajozo is an ill Swedish beatsmith~ together they are the almighty duo known as Definition. "Ambition" is a jawn from their first proper release, a self-titled LP that sparked some noise in the underground sector last year and earned them comparisons to hip hop heavyweights such as Gang Starr and Pete Rock /CL Smooth. Recently, Definition dropped their sophomore full-length effort, Soul Food, which is now available for download via iTunes.

In the current climate of confusion, these guys obviously won't move units like Gucci Mane~ I mean Sparks is peddling rhymes about serious business like politics and abortion. The most insurmountable barrier to their success is that people wanna hear more fictitious realities about life in strip clubs and the trap house...right? Hmmmmm. I guess we'll never be certain until the silent majority starts demanding justice for quality hip hop. People are erroneously reporting that the genre's dying, and you can't blame them...things look pretty fuckin' bleak on the surface.

We can complain about the downward spiral continuously, but if we intend to flip the status quo, we have to start putting our money on artists who are doing their creative thing without airplay or major label support. Definition's stated intention is to globalize hip hop...steal it back for the people who understand this music as the collective voice of the disenfranchised, and an invaluable resource in building unity. If you share this vision, then be about it, kids. Definition did approximately 30,000 downloads...so let's be twice as engaged this time around and try to at least double those numbers.

P.S. It's true that there are MCs comin' even harder than Sparks...my rants are mad spontaneous and can lead to random what the fuck? moments...Don't. mind. me.

Dig deeper... (K.Sparks' MySpace page, complete with links to free mixtapes and singles. Show some love...)

I truly wanted to fall in love with Pac Div's album, but I... didn't. No worries, though~ as I said a second ago, it's probably me who's crazy. I dig "Whiplash" because it takes me back to the stark landscape of early Mobb Deep...but then I ultimately cast the album aside for bearing too many reruns and cliches. Doesn't really make sense, I know...how you can love and hate something for being a throwback, but it happens. No matter...."Whiplash" still took a turn rattlin' the windows on my Toyota...errr...Bentley.

Bonus mp3 (LimeLinx only): "Whiplash"---Pac Div

Dig deeper...

ART:

This video showcases an amazing collection of Chicago graffiti shot over the course of a decade by Mike Keas. This is the first in a three part series, focusing on expressions of life, community, and protest:

More revolutionary artwork by Rodrigo Izolag:

View an online gallery of Izolag 's phenomenal creations here.

POLITRICKS:

Project Censored presents the Top 25 censored news stories for 2009/2010...lots of key information that is currently being suppressed, and is likely to escape public awareness in the future.

LIFE:

*Miles Davis redux by Chris Gallani

This is still on the music/art tip, but that's what life's about as far as I'm concerned~ Paint My Album is a website featuring album covers redone using Microsoft Paint. The collection comes from ambitious upstarts all over the world, and the results range from jaw dropping to the completely absurd. There's also a Facebook group if you really get into it (or are just really bored).

Word From Your Moms:

After loss of Identity, the most potent modern terror, is loss of sexuality, or, as Descartes didn’t say, "I fuck therefore I am".

The probability of separate worlds meeting is very small. The lure of it is immense. We send starships. We fall in love.

The Buddhists say there are 149 ways to God. I'm not looking for God, only for myself, and that is far more complicated. God has had a great deal written about Him; nothing has been written about me. God is bigger, like my mother, easier to find, even in the dark. I could be anywhere, and since I can't describe myself I can't ask for help.

*Above quotes by Jeanette Winterson

Souled On Samples: The Word Is Bond Edition...

noreply@blogger.com (Scholar) — Wed, 11 Nov 2009 17:52:00 +0000

What's good, soul babies? I hope you're ready for me...cuz I. am. back.

I've been wanting to do a Souled On Samples post for quite a while now, but it's always somewhat of a painstaking process for me. I give mad props to the dudes who put together entire sample sets 3 weeks before a hip hop album officially drops, but for better or worse, that's really not my style.

I started this series years ago in the hopes of illustrating how much the hip hop generation owes to its musical predecessors and vice versa. At the time, I was mad frustrated by the lack of respect I saw on both sides of the fence...a lot of hip hop heads don't give proper acknowledgement to the genre's foundation, while many soul/funk/jazz/classic rock enthusiasts dismiss rap music as throwaway, low brow entertainment.

In order to cultivate an environment where we all can get along, I try to put a degree of forethought into the selections I make. Taste in music is always subjective, but if I share anything that you're really not feelin', you can trust that I did so with the best intentions. I'm doing my (unpaid) job when you leave here with not only an appreciation for some classic records, but also for the reincarnated afterlife that talented producers can afford them.

Consider this the anti-Babylon, kids~ we congregate here because on some level we speak the same language. Music has the power to transcend any differences we might identify, so let's hug it out and do this damn thing...

"Cross My Heart"---Billy Stewart (LimeLinx)
"Cross My Heart"---Billy Stewart (YSI)

Dig deeper...

Sampled On:

"Exhibit C"---Jay Electronica (Limelinx)
"Exhibit C"---Jay Electronica (YSI)

*Produced by Just Blaze

*This joint has had the internets goin' bananas for the past couple of weeks, but unlike most phenomena that incite a panoply of exaggerated exclamations, the hype and high praise in this particular instance is actually somewhat warranted.

While those of us who get all religious about Jay Electronica have known about his collabo with Just Blaze for quite a while, it seemed likely that the end result would be lesser than the sum of its parts. As a devoted hip hop enthusiast, I increasingly deem it necessary to employ a defensive stance in the interests of safeguarding myself from disappointment.

Call it a lesson learned, but I shoulda worn a helmet with Viking horns, a diaper and a bulletproof vest the day I first listened to Blueprint 3~ then I could have protected my ass, cerebral cortex, and cardiovascular system from the disillusionment and false hope that understandably ensued. Not only would I have been more fully prepared for the wackness, but the aforementioned attire tends to make for a sexy look in general...

Not long after one Jay fumbled, another one swiftly caught the mic~ a quick save that explains why we can't help but love "Exhibit C" for exceeding our rapidly diminishing expectations. When Blaze aired this track on Tony Touch’s Shade45 show, the response wasn't just overwhelmingly positive~it was...a relief.

Electronica's "God hop" may tend to be a little too pretentious and/or abstract for some, but "Exhibit C" goes a long way towards silencing the man's critics. Lyrically it's more accessible than many of his other tracks, but the rhymes are still clever and insightful enough to keep the thinkers, backpackers, and weirdos like me solidly in his camp. The ability to build a crossover audience is perhaps the most important distinction between the gods and the forgettables, and for the first time I have faith that Electronica possesses the wisdom and foresight to bridge the divide between the streets and the elites.

As for the beat, Just Blaze killed it~ sampling and chopping soul songs is undoubtedly his forte, and this joint is no exception. The Billy Stewart song he mined is definitely dope and his technique is admirable~ but if I can be honest, I think Exile put this record to bed on "It's Coming Down". J Cole recently flipped this Stewart joint too, which is either mad coincidental or further evidence that originality and self-styling are endangered concepts in the current hip hop aesthetic.

You can decide for yourselves if the glass is half full or half empty~ all three producers put a fairly unique spin on the source material, but is this epidemic really necessary in light of the infinite sonic possibilities the universe has to offer? As a very wise man once quipped, "I dunno"...

BONUS MP3s:

"It's Coming Down"---Exile (LimeLinx)
"It's Coming Down"---Exile (YSI)

"Get Away"---J Cole (LimeLinx)
"Get Away"---J Cole (YSI)

"Stay"---Yvonne Fair (LimeLinx)
"Stay"---Yvonne Fair (YSI)

Dig deeper...

Sampled On:

"Stay"---Ghostface Killah (LimeLinx)
"Stay"---Ghostface Killah (YSI)

*Produced by Skymark

*Ghostdini: Wizard of Poetry in Emerald City is quite possibly my least favorite offering from the veteran MC, but I can't help it~ I still kinda dig when Tony Starks throws down his signature ad libbing over a classic soul track. The playground of unrestrained pleasure and immorality that only Ghost can cultivate is still a uniquely entertaining place to be.

"Love On A Two Way Street"---The Moments (LimeLinx)
"Love On A Two Way Street"---The Moments (YSI)

Dig deeper...

Sampled On:

*Produced by Al Shux

But does anyone remember this, because...ahem...

"Supa Dynamite"---Asamov w/ Mr. Lif (LimeLinx)
"Supa Dynamite"---Asamov w/ Mr. Lif (YSI)

*Produced by Willie Evans Jr.

...the similarities are undeniable. "Supa Dynamite" was supposed to be Asamov's golden ticket to fame, but instead...they got fucked. Don't gasp at me, children...you know I'm right.

Interestingly, Kanye sampled the same Moments track for a Consequence joint a few years ago. The source material is more difficult to detect in this case, but trust...it's definitely "Love On A Two Way Street" as well.

"So Soulful"---Consequence/Kanye West/Khayree/John Legend
"So Soulful"---Consequence/Kanye West/Khayree/John Legend

More Souled On Samples:

"Didn't We"---Thelma Houston (LimeLinx)
"Didn't We"---Thelma Houston (YSI)

Sampled On:

"Comeback (Instrumental)"---Skyzoo/9th Wonder (LimeLinx)
"Comeback (Instrumental)"---Skyzoo/9th Wonder (YSI)

*This is one of my favorite 9th Wonder beats of all time~ check the last 30 seconds of the Thelma Houston song for the sampled portion.

"Deliver the Word"---War (LimeLinx)
"Deliver the Word"---War (YSI)

Dig deeper...

Sampled On:

"Betrayal"---Gang Starr w/ Scarface (LimeLinx)
"Betrayal"---Gang Starr w/ Scarface (YSI)

*Produced by DJ Premier/Guru

"I Can't See Nobody"---Nina Simone (LimeLinx)
"I Can't See Nobody"---Nina Simone (YSI)

Dig deeper...

Sampled On:

"The Ecology"---Fashawn (LimeLinx)
"The Ecology"---Fashawn (YSI)

*Produced by Exile

"Baby! You Oughta Think It Over"---Bobby Womack (LimeLinx)
"Baby! You Oughta Think It Over"---Bobby Womack (YSI)

Dig deeper...

Sampled/Interpolated On:

"Think It Over"---Dynas (LimeLinx)
"Think It Over"---Dynas (YSI)

*Produced by Illastrate

"Olé"---John Coltrane (LimeLinx)
"Olé"---John Coltrane (YSI)

Dig deeper...

Sampled On:

"The Hunt"---Aceyalone (LimeLinx)
"The Hunt"---Aceyalone (YSI)

*Produced by Mumbles

"Got To Be There"---Michael Jackson (LimeLinx)
"Got To Be There"---Michael Jackson (YSI)

Dig deeper...

"Hello"---14KT (LimeLinx)
"Hello"---14KT (YSI)

"I've Changed"---The Magictones (LimeLinx)
"I've Changed"---The Magictones (YSI)

Dig deeper...

Sampled On:

*Produced by RZA

In many ways "New Wu" was a return to form for the clansmen, but as for the visual element...uhhhhhhh...this video is dumber than dog piss, children.

"All Because Of You"---Leroy Hutson (LimeLinx)
"All Because Of You"---Leroy Hutson (YSI)

Dig deeper...

Sampled On:

"The F Word (RJD2 Mix)"---Cannibal Ox (LimeLinx)
"The F Word (RJD2 Mix)"---Cannibal Ox (YSI)

Word From Your Moms:

“To be a musician is really something. It goes very, very deep. My music is the spiritual expression of what I am - my faith, my knowledge, my being.”

“I never even thought about whether or not they understand what I'm doing . . . the emotional reaction is all that matters as long as there's some feeling of communication, it isn't necessary that it be understood.”

“Change is inevitable in music - things change.”

“All a musician can do is to get closer to the sources of nature, and so feel that he is in communion with the natural laws.”

“I’ve found you’ve got to look back at the old things and see them in a new light.”

---John Coltrane

...As If The Heart Were Not Enough...

noreply@blogger.com (Scholar) — Wed, 30 Sep 2009 16:39:00 +0000

Wassup, soul kids? How we feeling out there?

I know that I've probably been left for dead, or maybe plastered on the side of the milk carton you use to float your Cinnamon Toast Crunch, but there's no need to call Nancy Grace just yet. Despite all reports to the contrary, yours truly is alive and back to raise some long-awaited hell.

It's cold and rainy today, which reminds me that before long, I'll be spending the majority of my time in hibernation. That likely means trouble for all of you, since I'll have plenty of time to dream up stream-of-consciousness absurdities and any other nonsensical shit that happens to send an impulse across my synapses.

In the meantime, kindly enjoy these triple phat jams for your boomboxes.

Rock with me, snitches...

"Black and White"---Brittany Bosco (LimeLinx)
"Black and White"---Brittany Bosco (YSI)

If you haven't heard Brittany Bosco yet, you're going to be pissed for being late to the party, sun...

It's been well-documented in these pages that I'm relatively unforgiving about most contemporary R&B, and even neo-soul has morphed into a bastardized term to describe an ill-defined industry concept. However, this isn't a rant against the music biz, so much as a prelude to bestowing praise on Bosco for being such a bold exception to the laws of being average. Not only are her solo efforts beyond phenomenal, but Bosco can also claim partial credit for making Tanya Morgan's Brooklynati one of the nicest albums to drop so far this year.

It was challenging to decide which song of hers to post~ the fare on her Spectrum 2.0 EP ranges from the plaintive honesty of this particular track, to cleverly innovative homages to her musical predecessors, to fuzzy space funk and beyond. Bosco counts her influences as everyone from Sarah Vaughn to Radiohead, but credits life itself as her primary source of inspiration. The fusion of these multifarious elements yields an explosively refreshing sound, courtesy of an artist who's adventurous enough to cultivate her style from a garden variety of musical roots. Those who seek comfort with artists easily confined to a particular genre will likely find that there isn't a suitable box to accommodate the magnitude of Bosco's brilliance. Thank you, God.

You can download Spectrum 2.0 for free here. Also, check Bosco's MySpace page for upcoming shows, videos, interviews, etc.

"Oh Yeah"---Floyd Da Locsmif (LimeLinx)
"Oh Yeah"---Floyd Da Locsmif (YSI)

As a lifelong fan of both soul and hip hop, I'm never more satisfied than when a producer deftly marries the two genres to create some ill noise. On the other hand, I have a tendency to get pissy when they're blended haphazardly...just because I can. Seriously, though...if you can't flip interesting source material OR lace it properly, I'm falling asleep two or three tracks into your CD. Maybe sooner.

Enter Floyd Da Locsmif, who caught my ear a long while back with the dope beats he dropped for a few of my favorite MCs, as well as his killer mixtape, Outskirts: The Unofficial Lost Outkast Remixes. It's unfortunate, but since I'm constantly being bombarded with new music, I accidentally lost sight of Da Locsmif until he came back on my radar again just recently with Divine Dezignz #2. Suffice it to say that I fell so deep into this album that I'm now calling Floyd one of my favorite producers, while checkin' for every last jawn I may have missed.

People have asked me to pimp everything from Avon to astroturf, and I always refuse because I want Souled On to remain ad-free~ but really, children...you should buy this. Get out your credit card and melt some plastic, ask your daddy to take you to the mall, whatever...just do it (no promo).

"This Is The Lost Generation"---Lost Generation (LimeLinx)
"This Is The Lost Generation"---Lost Generation (YSI)

The Love Generation is best known for their song "The Sly, Slick and the Wicked", a successful single that reportedly earned Brunswick Records enough loot to afford a divorce from their parent company, Decca. Unfortunately, that was the only time that the Chicago-based group made a dent on the pop charts, although they did crank out several tracks that landed them a spot on the US Black Singles chart. Despite being blessed with songwriting assistance from Eugene Record of The Chi-Lites, the group hit a dead end and disbanded in 1974 after releasing only two albums. .

While their first album, The Sly, Slick and the Wicked (Brunswick, 1970), obviously sold more units, I've always liked Young, Tough and Terrible (Brunswick 1972) at least as well. First and foremost, it's hard not to love the fact that the album has this incredibly menacing title, but the cover depicts four unassuming dudes in vests and dress shirts hanging out on a hill. Definitely a what-the-fuck moment, but I'm sure these guys thought they were badasses, so whatever...

If you look past the irony and actually delve into their material, you'll find that there are a fair amount of good tracks on this record. I can dig their vibe even though I'm more of a southern soul fan, but "This Is The Lost Generation" gets played with much greater frequency than the rest of the album. Something about the harmonious politicking bears elements of the gods and the greats, like Bill Withers or even "What's Goin' On"-era Marvin Gaye. Beautiful stuff, kids~ listen up...

"Twice The First Time"---Saul Williams (LimeLinx)
"Twice The First Time"---Saul Williams (YSI)

I don't have too many heroes who are dead, and I'll be damned if I'm going to idolize someone who's still alive and has time to fuck up my good opinion. My friends and I joke about what a Jay-Z stan I am, but really...Saul Williams is the only man walking who is on some personal Jesus bizness in my world.

I'm sure I'm not the only one who lets their favorite music cool off for a while before picking it back up to enjoy that initial rush all over again. Lately I've been re-listening to Saul's Amethyst Rock Star LP, as well as a bunch of miscellaneous B-sides and compilation joints I've collected over the years...and the whole experience has been getting me hyped. I've always loved "Twice the First Time", but if it spoke to me before, now it's screaming. If this is your first time hearing this, hold your hand over your heart, sun.

"Living Thing"---Freebass 808 & Christian Rich (LimeLinx)
"Living Thing"---Freebass 808 & Christian Rich (YSI)

Mick Boogie has been in his zone for quite some time now, so I find myself checkin' his website frequently to see what the man's coming with next. Boogie currently holds the title of mixtape curator~ which means that he expertly warehouses...or Andy Warhols, if you will... some of the nicest producers and rhymesayers he can manage to assemble. His latest venture is Re-Living Thing, a collection of Peter Bjorn & John remixes, and it's certainly no exception. Resident beatsmiths 6th Sense, Remot, Cookin' Soul and a host of other talented producers keep the project tight musically, while lyricists such as Talib Kweli and GZA spit fire on the lyrical front. This is Boogie's most star-studded affair to date (Bun B, Black Milk, 88 Keys, Buckshot, Marco Polo, Wale...what???), so it'll be interesting to see how he approaches outdoing himself on future projects.

I've only managed to listen to this 2 or 3 times all the way through, so it's way too early to call an absolute favorite. I've been fuckin' with "Living Thing" since the first time around though, so posting it was sort of a given. In case you don't know, Freebass 808 is Geechi Suede from Camp Lo + producer The Apple Juice Kid, while Christian Rich is a twin Chicago duo who are just now getting some shine after years of producing hits for other A-list artists. Both of these acts are a little bit out of left field...which is all the more reason to turn the volume up, kid.

Dig deeper... (Download Re-Living Thing in its entirety)

"White Elephant Coat"---School Of Seven Bells (LimeLinx)
"White Elephant Coat"---School Of Seven Bells (YSI)

Bitchfork describes School Of Seven Bells' Alpinisms LP thusly:

Despite the band's modernist approach to emotions and sensations, their abstruse lyrics and spiritual overtones most directly recall John Lennon's late-1960s, post-India assimilation of the mundane with the mystical.

Children, I've been called pretentious and generally full of myself since the day after my mama's immaculate conception transpired, but if I ever start pretending to write record reviews or use phrases like "modernist approach to emotions", please seek out my government name and come shoot me in my fat head. Ugh.

True to form, I digress...

Alpinisms came out last year, but I am forever sleeping on good music because I spend 99% of my life listening to stupid shit that marketing fucks want me to hear (oops...some of you are very nice, and the bands you represent are actually quite good, etc.). As it turns out, this was a near fatal miss because I like most of this album quite a bit. However, I'm not going to attempt the fool's errand of trying to approximate their sound with words, and not only because I can't do so as haughtily as Bitchfork.

Opinions about music are always subjective, but especially so as it pertains to a group like this. Much like The Cocteau Twins and a bevy of others who loosely fall into the same category, I can't understand what the fuck Alejandra and/or Claudia Deheza are singing about most of the time. No matter~ I swore that Liz Fraser was saying "peanut butter, peanut butter" on one of my favorite Cocteau songs, and only retracted my position after no less than ten of my friends told me I was batshit crazy. Albums like this are best interpreted as a tapestry of textures and sounds, as opposed to being dissected by some half-witted jackass with a dizzyingly circular approach to language and reasoning. On that confounded note, your self-proclaimed scholar is shutting up now...

"Warning (Dave Wrangler Remix)"---Notorious B.I.G. (LimeLinx)
"Warning (Dave Wrangler Remix)"---Notorious B.I.G. (YSI)

Dave Wrangler regularly drops remixes in my inbox, but due to the aforementioned bulk of material I'm asked to listen to, I usually don't have an opportunity to play them more than once or twice. I happened to put this Biggie redux on my iPod though, and lo and behold...I fooled around and fell in love. It's more clubby than most of the music I gravitate towards...and I still ain't gonna rock no bright colors or skinny jeans...but honestly kids, this mix is downright ill.

*The lyric that just won't leave your head: Damn/ N words wanna stick me for my paper...haha...political correctness can be so silly sometimes...

Since Biggie should require no introduction (or are you in the wrong place again?), I'd implore you to dig deeper, and gain some knowledge on the homie Dave Wrangler.

MORE SOULED ON CERTIFIED CLASSICS:

"Protest 2"---The ARE (LimeLinx)
"Protest 2"---The ARE (YSI)

Dig deeper...

"Ololufe Mi (Messengers Remix)"---Fela Kuti/J.Period & K'NAAN (LimeLinx)
"Ololufe Mi (Messengers Remix)"---Fela Kuti/J.Period & K'NAAN (YSI)

"My Country / Small Axe (Messengers Remix)"---Bob Marley/J.Period & K'NAAN (LimeLinx)
"My Country / Small Axe (Messengers Remix)"---Bob Marley/J.Period & K'NAAN (YSI)

"Don't Think Twice"---Bob Dylan/J.Period & K'NAAN (LimeLinx)
"Don't Think Twice"---Bob Dylan/J.Period & K'NAAN (YSI)

"It's Alright, Ma"---Bob Dylan/J.Period & K'NAAN (LimeLinx)
"It's Alright, Ma"---Bob Dylan/J.Period & K'NAAN (YSI)

*All of the above from J.Period's unparalleled Messengers trilogy. Collect all three..

"Dear Daisy"---Alex Goose (LimeLinx)
"Dear Daisy"---Alex Goose (YSI)

*From the Blueprint 3 Outtakes: a collection of tracks submitted to Hova for BP3

Dig deeper...

"Road To Somewhere"---Ghost (LimeLinx)
"Road To Somewhere"---Ghost (YSI)

Dig deeper...

"Five String Serenade"---Mazzy Star (LimeLinx)
"Five String Serenade"---Mazzy Star (YSI)

*A dedication to my love, who has given me more than my fair share of papercuts. Ti amo.

Word From Your Moms:

"I'll tell you, my friends: it's all in the nerves. The nerves that tense and relax as you approach the edges of companionship and love. The razor-sharp edges of companionship and love."~Roberto Bolaño

Earth Sounds And Other Stories From The Granite Planet...

noreply@blogger.com (Scholar) — Wed, 26 Aug 2009 16:39:00 +0000

*Smoke Whisper by David Choe

What's good, family? Hope that all the people who make my world go 'round have been fat and happy since last we met...

All apologies (word to the homie Kurt Cobain)~ I haven't had much time or inclination to kick around verbs and nouns these past few weeks. Even so, I thought it necessary to spread some love by way of these infectious grooves~ several joints you might hear rattling the windows at the ill-reputed house of Scholar.

Enjoy the muzak...and be easy, kids...

MUSIC:

"You've Got Me"---King Floyd (LimeLinx)
"You've Got Me"---King Floyd (YSI)

Dig deeper...

"The Name Game"---14KT
"The Name Game"---14 KT (yousendit)

*Before you bust my chops because this track cuts off, please be advised that it hails from a mixtape, sun~ accordingly, the joints overlap. This is all the more reason to cop Nowalataz in its entirety...a free and legal download is available via illRoots. I have the utmost confidence that you won't be sorry~ the Dilla-inspired beatsmith is one of the most promising producers on the horizon...period.

Dig deeper...

"Bananas Foster"---The Misled Children/Odean Pope (LimeLinx)
"Bananas Foster"---The Misled Children/Odean Pope (YSI)

Dig deeper... (Misled Children aka Clutchy Hopkins)

Dig deeper... (Odean Pope)

"Under My Sensi"---Boozoo Bajou (LimeLinx)
"Under My Sensi"---Boozoo Bajou (YSI)

Dig deeper...

"Oh Happy Gabe"---Charles Wright & the 103rd St. Rhythm Band (LimeLinx)
"Oh Happy Gabe"---Charles Wright & the 103rd St. Rhythm Band (YSI)

Dig deeper...

"Manana"---Souleance (LimeLinx)
"Manana"---Souleance (YSI)

Dig deeper...

"Lord Don't Let It"---Bilal (LimeLinx)
"Lord Don't Let It"---Bilal (YSI)

Dig deeper...

"The Blues"---Mojoe (LimeLinx)
"The Blues"---Mojoe (YSI)

*Anyone who namechecks Nikki Giovanni can't be all bad...

Dig deeper...

*My favorite piece by artist David Choe

"Little Wing"---Jimi Hendrix (LimeLinx)
"Little Wing"---Jimi Hendrix (YSI)

Dig deeper...

"It's Alright Ma (I'm Only Bleeding)"---Bob Dylan (LimeLinx)
"It's Alright Ma (I'm Only Bleeding)"---Bob Dylan (YSI)

*Lyrically, one of the illest songs of all time~ any genre, any time, any place...

Dig deeper...

"Tangle In Your Lifeline"---Esther Phillips (LimeLinx)
"Tangle In Your Lifeline"---Esther Phillips (YSI)

Dig deeper...

Word From Your Moms:

"she had eyes
like two turntables
mix(h)er
in between
my dreams and reality
blend in ancient themes
the bas(e)is of isis
cross-faded to ankh
the beat drops
like a cliff
over looking my heart"

~Saul Williams

On Second Thought: The Shaken Up And Spun Out Over You Edition (Part II)

noreply@blogger.com (Scholar) — Tue, 04 Aug 2009 19:40:00 +0000

"Rebel To The Grain"---Blue Sky Black Death (LimeLinx)
"Rebel To The Grain"---Blue Sky Black Death (YSI)

*This track features original source material previously sampled on classic joints by the almighty Wu-Tang Clan . "The Way We Were/Try To Remember" by Gladys Knight & The Pips, Wendy Rene's "After Laughter (Comes Tears)", and "Is It Because I'm Black?" by Syl Johnson are a few examples of what's in the mix.

*Blue Sky Black Death, a Cali-based production duo consisting of Kingston and Young God, initially leaked "Rebel To The Grain" and "Slapbox With Jesus" in June 2007. Both tracks are firmly rooted in the early Wu-Tang aesthetic, but the Bay Area beatsmiths were remarkably innovative in their approach to revisiting the contents of RZA's bottomless crates.

*Currently, the joints are still pending official release as a limited 7" on Mush Records

*Blue Sky Black Death has a history of dropping beats for several Wu affiliates, including Holocaust, Sunz Of Man, Hell Razah, Shabazz the Disciple, and Prodigal Sunn.

Outside of the Clan circle, the duo has also worked (both independently and collectively) with many other stalwarts of the hip hop underground, such as Jean Grae, Jus Allah, Ill Bill, Ras Kass, Pep Love, Sabac Red, Chief Kamachi, Crooked I, Wise Intelligent, Awol One, A-Plus, and Mikah 9.

*Critically acclaimed for their masterful blending of samples with live instrumentation, the duo has received an enthusiastic nod from the likes of XLR8R, RapReviews.com, Allmusic, and PopMatters, in addition to earning a spot on URB's 'Next 100' list.

*Stay tuned to BSBD via MySpace

"Heart"---Cool Calm Pete (LimeLinx)
"Heart"---Cool Calm Pete (YSI)

*Released on the internets at the end of May, "Heart" was offered as a free and legal download courtesy of Def Jux Records. CCP fans remain hopeful that this digital-only single could trumpet the imminent release of the MC's long-awaited sophomore LP, Leonard Z.

*Once again, this joint was up for consideration as part of a Souled On Samples segment, but the fact that Pete engages and interacts with Nina Simone's vocals on the cut marginally qualifies it as a call and response/half-baked remake thing that's a little fuzzy in terms of categorization.

At any rate, I just mentioned several weeks ago that I'm skeptical about artists interpolating/sampling/chopping/emulating/shitting all over Nina Simone's work. Although CCP's hypnotically lazy wordplay doesn't match the caliber of Ohene's Nina Simone project on an intellectual level, I'm still thoroughly diggin' the rhymesayer's idiosyncratic approach to her material~ in.a.weird.way.

*If you aren't up on this crazy gifted MC/producer from Queens, NY, you should definitely check out Lost and the Loosies EP, as well as his work with the underground outfit Babbletron. Extra credit granted to my fellow geeks who elect to dig even deeper...

Souled On Sample:
*Stencil by Sinero

"Peace Of Mind"---Nina Simone (LimeLinx)
"Peace Of Mind"---Nina Simone (YSI)

*Sampled on "Heart" by Cool Calm Pete

*Written by Nick Woods and arranged by Horace Ott, Nina's rendition of this song first appeared on her 'Nuff Said! LP. It was also released as a B-side to the "Do What You Gotta Do" single in 1968 (RCA Victor 47-9602) and appears on several miscellaneous anthologies of her material.

*"Peace Of Mind", as well as the majority of the other tracks on Nuff Said!, was recorded at the Westbury Music Fair on April 7, 1968. From both a personal and historical perspective, this was undoubtedly one of Nina's most poignant and essential performances of all time. The show was held three days after the assassination of Martin Luther King, Jr., and her entire program that night was dedicated to his memory.

A very vocal and active participant in the civil rights movement, Simone made the following observation in her memoirs (I Put A Spell On You: The Autobiography Of Nina Simone):

"For a while people walked around in a kind of daze and I wept along with them, but I couldn't understand why they were surprised by Martin's assassination: we'd already lost Malcolm, Medgar Evers, Emmett Till, and hundreds, thousands of others down through our history. What happened on the 4th of April was no freak tragedy, it was the traditional white American tactic for getting rid of the black leaders it couldn't suppress in any other way. A desperate act by a country with nowhere to hide anymore. Stupid, too, because the thing that died along with Martin in Memphis that day was non-violence, we all knew that. It was a time for bitterness- almost funny if it hadn't been so sad."

*Three Dog Night also released a partial cover, "Intro Poem: Mistakes And Illusions/Peace Of Mind" on their 1971 Harmony LP.

The verdict? A valiant effort on the part of the popular American rock band, but you know...nothing surpasses Nina.

"A Change Is Going To Come"---Baby Huey (LimeLinx)
"A Change Is Going To Come"---Baby Huey (YSI)

(I initially posted this track in 2006, but the link is fucked and it definitely bears repeating)

*Written by Sam Cooke; first recorded by Cooke in December of 1963 at RCA's studio in Los Angeles. The song was released the following year, both as a single and on the Ain't That Good News LP.

*Cooke's inspiration for penning the classic tune was derived from a confluence of internal struggles and trying life experiences. As an artist and entertainer with broad commercial appeal, Cooke was perpetually tormented by the difficulty of balancing his personal convictions with the probability that taking a firm stance on racial issues would alienate his white audience. He aspired to writing more meaningful material than the light-hearted, bleached out, radio-friendly fare that sustained his popularity~ he became fully enthralled with the potency of protest songs such as Bob Dylan's "Blowin' In The Wind" (which Cooke honored with an outstanding cover).

The year that he wrote "A Change Is Gonna Come", Cooke and his bandmates made an attempt to register at a motel in Shreveport, Louisiana. Unbeknownst to them, they had entered a whites-only establishment, and the entourage was peremptorily arrested on a bullshit charge of disturbing the peace. This brush with the law was a particularly dehumanizing experience for Cooke, but it was certainly not an isolated incident. The singer suffered endless racial indignities throughout his lifetime and career, including being assaulted by police in Birmingham for drinking from a whites-only water fountain.

Cooke's impassioned lyrics bear a burdened sense of hopefulness that is undeniably rooted in the culmination of these painful and cataclysmic events. Having also endured the loss of his 18-month-old son earlier that same year, the strain and wearied optimism he struggled with is perfectly encapsulated in the lamentation/reconciliation of the final verse: "There have been times that I thought I couldn't last for long/but now I think I'm able to carry on/It's been a long time coming, but I know a change is gonna come."

*Nearly a year after Cooke recorded the track, he was fatally shot at a hotel in Los Angeles. "A Change Is Gonna Come" was released as a single two weeks later, rapidly climbing the charts and gaining historical significance as the soul man's distinctly memorable farewell.

*An enlightening interview with Peter Guralnick, author of Dream Boogie: The Triumph of Sam Cooke, is posted at Jerry Jazz Musician for those who wish to dig deeper.

*"A Change Is Gonna Come" was ranked at #12 on Rolling Stone's list of the 500 Greatest Songs Of All Time.

*The song has inspired an absolutely insane number of cover versions~ the most thorough list I know of can be found here. I'm only familiar with about half of the remakes cited, but Baby Huey's rendition is easily my favorite interpretation amongst those I've heard.

To briefly run down the history, I'll quote...ahem...myself:

Baby Huey's version appeared on his only album, The Baby Huey Story: The Living Legend. The LP was released on Curtis Mayfield's Curtom label in 1971, but unfortunately, Huey had passed away months prior to this, following a drug-related heart attack in a Chicago hotel room. Afterwards, The Baby Sitters briefly attempted to continue their career by replacing Huey with a teenage girl named Chaka Khan. The rest, of course, is soul history...

*The moral of the story is this: if you ever decide to record a version of this song, you should probably stay the fuck outta Holiday Inn for a long minute, son...

"I'm Through Trying To Prove My Love To You"---Millie Jackson (LimeLinx)
"I'm Through Trying To Prove My Love To You"---Millie Jackson (YSI)

*Written by Bobby Womack; originally appeared on his 1973 Facts Of Life LP

*Millie Jackson's exceptional cover appeared on her 1974 LP, Caught Up.

*Concept albums have always been somewhat of a rarity amongst soul/R&B artists, which is part of what makes Caught Up such a thoroughly engaging and essential masterpiece of the genre. Jackson's signature mistress schtick and occasionally bizarre album covers often led to her being misunderstood, underappreciated...laughable even...but if you fail to see any artistic value in her work, chances are you've missed the the boat.

The 'other woman' is perhaps one of the least respected and most reviled archetypes in all of modern society, and yet, most of us have slept with her or been her at some point in our heavily veiled, secret past. Truth be told, love triangles are every bit as essential to the story of human relationships as monogamy could ever hope to be. The problem with approaching this subject with a degree of honesty is that it somehow disrupts our fairy tale projection of love's imaginary ideal, and we simply can't live happily ever after if some other bitch is standing in the way. Right???

The genius of Millie is that she sort of had this all figured out before many of us were ready to hear it~ perhaps that's why she so often comes across as callous and unapologetic when singing or rapping about her scandalous little trysts. Society's outward indignance towards outside relationships and extramarital affairs clearly fails to apply when we're gettin' our own freaky on behind closed doors.

Caught Up is a dichotomous soul opera that explores the mistress' viewpoint on the A-side, and the wife's perspective on the flip. "I'm Through Trying To Prove My Love To You" is, for me, the indisputable centerpiece of the latter. Jackson's trademark ad libs reconstruct the Womack original, depicting a married woman who's grown tired of her husband's lyin', cheatin' ways. Not only has she finally gathered the strength to get the fuck outta Dodge, we discover that she has her own little piece of ass on the side. Niiiiccceee. While it still doesn't qualify as a feminist anthem, it certainly has more backbone than all those "i'mma stand by my man, even if he feeds me ALPO" songs that many of her female contemporaries were releasing at the time.

*If you can dig where Millie's comin' from, go deeper

"Wichita Lineman"---New Apocalypse (LimeLinx)
"Wichita Lineman"---New Apocalypse (YSI)

*Written by Jimmy Webb in 1968 for Glen Campbell, who released the song that same year. Campbells' version peaked at #3 on the pop charts, managing to hang out in the Billboard Top 100 for a total of 15 weeks. The single also made waves on the country and adult contemporary charts, and was certified gold in January of 1969.

*Not only did Rolling Stone rank it at #192 on its list of the 500 Greatest Songs Of All Time, but Blender magazine gave it a nod as one of the best songs ever as well. Their well-researched feature on the track details quite a bit of the backstory behind the song.

*Other covers of the song have been rendered by Young-Holt Unlimited, R.E.M., Dennis Brown, Ray Charles, The Fatback Band, Charlie Byrd, Cassandra Wilson, O.C. Smith, Johnny Cash, The Meters, Kool & The Gang, Sammy Davis Jr., and more. The worst rendition of all time? That dubious distinction likely belongs to Jim Nabors, aka Gomer Pyle. I mean...arrrgghhhh...what the fuck was he thinking?

*New Apocalyse's funky/jazzy remake of the track was released in 1967 on their Stainless Soul LP. A tight instrumental outfit that's often compared to The Meters, New Apocalypse had a short-lived contract with MTA Records. Famed recording engineer George Massenburg worked with the musicians to achieve their impeccable sound, but their material was regrettably overlooked.

Michael Meros, who played piano/organ with the group, went on to have a relatively successful career in music. Although he worked with well-known artists such as Leon Russell and Ringo Starr, his most memorable stint was as the Beach Boys' touring keyboardist from 1979 through 2000.

I've always hoped to come across this obscure album on one of my digging expeditions, but the stars haven't aligned themselves in my favor yet. Nevertheless, one of the soul children recently came through with a digital copy, and for the moment, just having it in my iPod will suffice (gracias David).

Stainless Soul is a rarity to begin with, but it's become increasingly elusive as DJs and collectors spread the word about how truly break-tastic it is. Their cover of "Get Out Of My Life Woman" has been sampled at least a zillion times, and the album is frequently sought after on the strength of that track alone. While I'm clearly not against digging specifically for original source material, anyone who's fortunate enough to cop this LP should definitely hang on every note that the rest of the album has to offer.

My favorite track on Stainless Soul is frequently interchangeable, but their take on "Wichita Lineman" has become an essential staple of my 3am insomniac grooves. This is no small feat considering that I'm not a huge fan of the original, nor most of the other interpretations I've heard (however, Smokey Robinson's graceful rendition is another noteworthy exception).

New Apocalypse's take starts out leaning a bit towards the sluggish side, but the excitement progressively builds until it has you by the throat, and you're caught up in the rapture, Anita Baker style (minus the charismatic vocal "calisthenics", of course). Good stuff, kids...good stuff.

"Dakari (Nicolay Remix)"---The Last Poets feat. Keith Murray (LimeLinx)
"Dakari (Nicolay Remix)"---The Last Poets feat. Keith Murray (YSI)

*The second installment in producer Nicolay's Off The Shelf series speaks volumes as to why I'm so hyped about the master beatsmith's recent decision to clear out his vault. His incredible "Dakari" remix dropped right on time as far as I'm concerned...nevermind that it spent the better part of five years accumulating dust.

It's always somewhat baffling when material of this magnitude gets held in reserve, but Nicolay posted a relatively straightforward breakdown on the delay:

Things don't always work out as you would hope, and the reasons why usually have little to do with music, and all the more with the people "behind the scenes", as the following example illustrates. Of course, not everyone in the music industry is a shark, but it certainly is my personal experience that the good people are exceptions that prove the rule.

At the end of 2004, I was contacted by a fairly well-known indie hip-hop label's A&R (Artist & Repertoire) director (who shall remain anonymous). The guy was working on a new project with legendary group The Last Poets, and he wanted to see if I could remix a song called "Dakari" track that also featured Keith Murray. The remix was intended for a 12" single to promote the album, and would potentially even be included on the album as they were not too thrilled about the beat that was used for the original track. Eager to expand both my range and my resume, I thought it would be a good opportunity for me to reach a new audience, and we came to an agreement that worked for all parties involved. I finished the remix in January of 2005.

To make a long story short, the A&R guy never held up his end of the agreement, and never made good on the agreed compensation, using every excuse known to man before falling off the map and abandoning the entire project. And so the remix never came out. Until today! Big up to The Last Poets (Umar Bin Hassan + Abiodun Oyewole) and Keith Murray. Enjoy, and thanks for listening, Nicolay

Be sure to catch up on any episodes of Off The Shelf you may have missed (especially his tribute to Bob James), and stay tuned for future installments at nicolaymusic.com.

"My Adidas (Nomadic Remix)"---Run-DMC (LimeLinx)
"My Adidas (Nomadic Remix)"---Run-DMC (YSI)

*"My Adidas" was the first single from Run-DMC's 1986 Raising Hell LP (b/w "Peter Piper"). It was written by Joseph Simmons and Darryl McDaniels; produced by Russell Simmons and Rick Rubin.

*While it didn't achieve the crossover appeal of "Walk This Way", anyone who knows shit about hip hop can explain why "My Adidas" is not only a classic, but a phenomenon. Not to be inhospitable, but you may not belong here if you've never heard this joint.

*DMC elucidates the song's origins:

*In the pre-NWA days, Ice Cube and Dr Dre had a regional hit with a parody of this song called "My Penis". It's crazy to ponder how the evolution of gangsta rap may have been altered if these guys had become the Weird Al Yankovics of hip hop...

*Please don't ask what prompted me to throw this in the mix today~ just feelin' this again for some reason. Nomadic's remix of "My Adidas" is from his 2006 Back To The Beat project...which makes it a throwback inside of a throwback, or something equally confounding that my brain can't quite decipher.

Anyway, I liked the majority of Nomadic's spins on old school hip hop classics, in part because he didn't aim to upstage the originals~ that's treacherous ground when you're remixing the likes of Run-DMC, Audio Two, Eric B and Rakim, The Beastie Boys, Grandmaster Flash, etc. His concept was grounded in simply paying a respectful homage to the music of his youth, and I can definitely get down with the laidback, soulful vibe he bestowed upon most of these tracks. The beat on his "My Adidas" remix samples "Give Me One Good Reason Why" by the Soul Children, and...what the hell...here you go:

FUNDAMENTAL SUPPLEMENTAL/SOULED ON SAMPLE:

"Give Me One Good Reason Why"---Soul Children (LimeLinx)
"Give Me One Good Reason Why"---Soul Children (YSI)

*More free Nomadic tracks and info via MySpace and Latchkey Recordings

"Shook Hands In Brooklyn"---Minty Fresh Beats (LimeLinx)
"Shook Hands In Brooklyn"---Minty Fresh Beats (YSI)

"Reckoner Encore (Instrumental)"---Jaydiohead (LimeLinx)
"Reckoner Encore (Instrumental)"---Jaydiohead (YSI)

*"Shook Hands In Brooklyn" is a mix containing lyrical elements from "My Downfall" by Notorious B.I.G. ; The "Reckoner Encore" instrumental samples "Reckoner" from Radiohead's In Rainbows LP.

*DJ/producer Max Tannone has as many aliases as Madlib or Doom, but I promise you that he's entirely worth the trouble. Many of his earliest tracks were credited to Minty Fresh Beats, but apparently he had to surrender that moniker for legal reasons. His most celebrated project to date was Jaydiohead, a highly acclaimed collection of Jay-Z vs. Radiohead mash-ups.

As you know, I try to incorporate Jay and Radiohead into a lot of my posts...sideways if necessary. Remarkably, I never did a feature on the project because I included a couple of the tracks in my Insomniac's Tribute To Radiohead mix. Despite the fact that I employed a rather subtle approach to giving Jaydiohead a shout, I was essentially on the same page with every hipster fuck on the interwebs who thought this could be the Second Coming of The Grey Album, or whatever...

Not long ago, I received 5 more tracks from Max called Jaydiohead: The Encore. To be honest, I wondered if this addendum was really necessary~ either too much of a good thing or grasping at straws to elongate the proverbial 15 minutes of fame. While I'm still not as in love with these as the first set he released, I've been listening to the instrumental versions on repeat. I never thought the day would come, but I'm...at least temporarily...a bit bored by hearing Jay's lyrics mashed and rehashed into infinity. The beats, however, are all kinds of lovely.

I went back and downloaded all of Tannone's work, and "Shook Hands In Brooklyn" emerged as a paragon of his abilities. Arguably, I could be just as fatigued by hearing Biggie mashed and rehashed once again, but dammit...this is dope.

*Stay up on the artist formerly known as Minty Fresh Beats via MySpace and Jaydiohead.com. Free downloads, hotdogs, kittens, party hats, and yeah...pretty much whatever you want.

Word From Your Moms:

"In order to rise from its own ashes, a phoenix first must burn."

"The only lasting truth is change."

~Both quotes by Octavia Butler; all due respect to esg

On Second Thought: The Shaken Up And Spun Out Over You Edition (Part I)

noreply@blogger.com (Scholar) — Sat, 18 Jul 2009 16:40:00 +0000

Heeeeeyyyy soul kids~ how ya feelin' out there?

Been a long time

I shouldn't have left you

without a dope beat to step to...

However, let's not waste time dwelling on my lackadaisical fuckery...

Instead, please allow me to serve you with another outstanding volume of covers, remixes, mashes, and interpolations. As usual, I chose an eclectic variety of selections, so I have faith that most of you will discover something that causes a little commotion in your soul. I decided to split this edition into two parts because I wanted to share too many tracks for them all to fit within a single post. If all goes as planned, you shouldn't have to wait an eternity between updates this time around~ part two is already in the making.

Several people have asked me why I didn't post a tribute to Michael Jackson, perhaps because I'm one of the few writers/music lovers who hasn't entered the conversation on his untimely passing. With very few exceptions, I prefer to cover music, artists, and subject matter that's been forgotten or overlooked by popular culture and mainstream media outlets. Television, radio, and the internets have been saturated with coverage of MJ's life and death, and as a result, I found it somewhat impossible to add anything relevant to the incessant conversation that has been taking place across the global grapevine.

In the interests of reluctantly throwing in my depreciated two cents, I will tell you that I grew up listening to the Jackson 5, and every solo album that Michael released into the late '80s stays on heavy rotation in my household. However...no disrespect whatsoever...but I began to grieve the loss of my childhood hero long before June 25th. There's a vaguely discernable point at which I honestly lost my feeling of connection to him as an artist~ however this wasn't abandonment so much as a concerted effort to protect and preserve the man's iconic status in my memory bank. For those of you who are fixated on the Michael who was little more than a tabloid freak show, I would suggest that you press rewind and concentrate on celebrating his immense contributions to the past, present, and future of music history. (This strategy may also prevent you from ruminating on why Invincible was such a shitty album...)

We've reached a point in time when many of soul music's most legendary artists are rapidly departing from Earth, but rather than cultivating a virtual graveyard, my energy remains focused on emphasizing their greatness and sustaining the immortality of their monumental creations. May all of our beloved superstars continue to prosper and harvest in the imaginations of the living...

Towards that end, I decided to kick this session off with a cover of a song that MJ made famous~ an inspired take on "I Wanna Be Where You Are" rendered by The Roots and Erykah Badu.

Put ya lighters up, kids...Scholar

"I Wanna Be Where You Are"---Erykah Badu/The Roots (LimeLinx)
"I Wanna Be Where You Are"---Erykah Badu/The Roots (YSI)

*Written by Leon Ware and Arthur "T-Boy" Ross, Diana Ross' younger brother. The song marked the duo's first songwriting collaboration, and was written specifically for Michael Jackson. The track was released on MJ's Got To Be There LP and was issued as a Motown 45 on May 2, 1972.

*MJ's original version was recorded at Hitsville West In Los Angeles, and featured production by Hal Davis. Ross and Ware provided the background hollers, while the instrumentation is credited to an assortment of local musicians.

*This was Jackson's third Top 40 hit of his early solo career. The track reached #16 on the Billboard charts and #2 on the R&B charts.

*A video of Jackson performing the song on American Bandstand in July 1972:

*The song has been covered by Marvin Gaye, Willie Hutch, Leon Thomas, Zulema, O'Donel Levy, Ronnie Dyson, and more. Although Leon Ware co-wrote the track, he delayed releasing his own take on the song until 2001.

*Erykah Badu and The Roots appeared on Jimmy Fallon's show to pay tribute to MJ, but most of the good stuff happened before the taping began and during the commercial breaks. Erykah takes ownership of the track despite remaining somewhat true to the original, and the legendary Roots crew tears it up as usual.

**FUNDAMENTAL SUPPLEMENTAL

"Wanna Be"---The Fugees (LimeLinx)
"Wanna Be"---The Fugees (YSI)

The Fugees leaked their own interpolation of the track a few years back~ easily one of the illest interpretations I've ever heard. Damn Lauryn~ can you please come back from batshit crazy??? We really miss you...

"I Put A Spell On You"---Demon Fuzz (LimeLinx)
"I Put A Spell On You"---Demon Fuzz (YSI)

*Written and originally recorded by Screamin' Jay Hawkins (w/ the Leroy Kirkland Orchestra); the track was issued as a 7" on Okeh Records and appeared on the At Home With Screamin' Jay Hawkins LP in 1958.

*While "I Put A Spell On You" was reportedly intended to be a refined blues ballad lamenting a lost love, the final product was anything but subdued. Hawkins screams, groans, and gurgles on the track like an unrestrained wild man whose heartache is both palpable and primitive. He later accounted for this dramatic change in tone by explaining that the producer "brought in ribs and chicken and got everybody drunk, and we came out with this weird version. I don't even remember making the record."

Although some sources state that Hawkins had actually recorded a more sedate rendition several years prior, there doesn't appear to be any definitive evidence to justify that claim. What is certain, however, is that the Okeh original was edited to override the song's initial ban from the airwaves. The alternate version allowed the song to sell over a million copies and crack the Top 40; no small feat for a track that had once been shunned due to its "cannibalistic sounds" and overtly sexual grunting noises.

Hawkins' newly found success ultimately led to his professional affiliation with famed DJ and radio personality Alan Freed. Hawkins had always been somewhat more flamboyant and ostentatious than the prototypical bluesman, but Freed soon had a bugged-out brainstorm that would forever alter the course of Jay's career. He imagined that if Hawkins developed an outlandish persona to match the eerie vibe of his popular recording, his live act was destined to garner quite a bit of attention. Freed had such confidence in the potential of this idea that he offered Jay a $300 bonus to pop out of a coffin at the beginning of one of his performances. The gimmick paid off, and Hawkins' outrageous onstage antics would come to include a number of voodoo stage props, including rubber snakes and a cigarette-smoking skull named "Henry".

The whole madman schtick was brilliant to the extent that it profoundly influenced later purveyors of "shock rock"such as Alice Cooper, Warren Zevon, Ted Nugent, Black Sabbath, Marilyn Manson, and even George Clinton. The downside of Hawkins' grossly exaggerated peculiarities and wildly theatrical live performances was that the emphasis predictably shifted away from the purity of his artistic potential. Like it or not, most snobby music elitists are reluctant to admit their fondness for the kooky guy in witch doctor regalia who sang his deranged heart out on jams like "Constipation Blues".

*In addition to the indelible mark he made on music history, Hawkins fortified his notoriety by fathering a whole shitload of unclaimed children. The deadbeat dad estimated that he had approximately 57 children in various parts of the world, although he only remained in close contact with one~ a puppeteer from Cleveland named Irene. At one point there was actually a website that sought to unite anyone who thought he might be their daddy. In 2001, the year following Hawkins' death, a fraction of his offspring gathered in Los Angeles for an event that was tauted as Screamin' Jay's Illegitimate Family Reunion. Accordingly, there's little doubt that the man's legacy will live on...and on...and on...

*Nina Simone was the first major recording artist to cover "I Put A Spell On You", although her interpretation was decidedly less maniacal than the original. Artists as diverse as Creedence Clearwater Revival, Arthur Brown, Bryan Ferry, Marilyn Manson, Bonnie Tyler, Nick Cave, Manfred Mann, The Animals, Joe Cocker, Fever Tree, Queen Latifah, and The Eels have subsequently put their own spin on the classic tune.

*Demon Fuzz has never been given their proper due in popular culture, but they certainly amassed a substantial cult following during and in the aftermath of their all-too-brief, 18-month musical career. The past decade has certainly seen a marked rise in their popularity, as record collectors, DJs and producers have become increasingly enamored with their material.

The group's inception is generally traced back to Paddy Corea, who reportedly conceived of the idea to blend a multi-genre mélange of musical styles while on an extended sojourn in Africa. Due in part to Corea's panoramic worldview, Demon Fuzz's sound is a large-scale synthesis of latin grooves, soul, funk, jazz, reggae, rock, calypso, highlife, the blues, Ethiopian church music, ska, etc. You name it and they likely experimented or were in some way influenced by it.

The London-based collective's music has been likened to Cymande, Sly & The Family Stone, Mandrill, Santana, and Funkadelic, but a simplistic comparative analysis is no substitute for actually listening to their material. Many writers are quick to describe recording artists as "unique", but these guys were legitimately innovative, if for no other reason than their deviation from many of the usual trappings of guitar-oriented popular music. Demon Fuzz were far more focused on exploring the infinite possibilities of rhythm and percussion, and their unorthodox time signatures and elaborate arrangements further added to the progressive vibe of their recordings.

The group's stirring rendition of "I Put A Spell On You" was originally issued as one of three bonus joints on an EP released alongside their five-song Afreaka LP (Janus 1970). The EP has long been somewhat of an obscurity, but those who are primarily seeking convenience should check out the remastered version (Castle 2005), which includes all 8 tracks. Diehard fans will also want to seek out the Roots & Offshoots collection, which has also been reissued on CD (Paco Media Inc 2006).

"Impossible"---Diz Gibran (LimeLinx)
"Impossible"---Diz Gibran (YSI)

*Contains an interpolation of Feist's "Intuition" (written by Leslie Feist) from her 2007 LP, The Reminder.

*"Impossible" by Diz Gibran appears on Crooks & Castles Presents: Soon You'll Understand, an ill collaboration between the Los Angeles-based MC and Moonshine, a producer hailing from Queens, New York.

*Some of you may be questioning why I didn't save this for the Souled On Samples series. Essentially it's because "Impossible" can't even be accurately described as sample-heavy~ Moonshine wisely allowed the Feist song to breathe and play out for a minute at the beginning of the track with very little technical interference. This approach is effective in that the plaintive mood of the original song is fully preserved, while Gibran's reflective lyricism graciously complements the track's already engaging atmosphere.

*Several months ago, Gibran told Vibe Magazine that he intends to work diligently towards "reshaping the perception of the West Coast". The up-and-coming MC views this transformation as being far bigger than hip hop~ he is of the mindset that this "renaissance" encompasses multiple aspects of style, culture, and creativity. Striving to modify the generic gangsta stereotype that's long plagued the Left Coast, Gibran is steadily making good on his promise to be a positive force in the expansion of the New West.

"Going In Circles"---Wayne McGhie & The Sounds Of Joy (LimeLinx)
"Going In Circles"---Wayne McGhie & The Sounds Of Joy (YSI)

*Written by Jerry Peters and Anita Poree; the song originally appeared on The Friends Of Distinction's 1969 Grazin′ LP. It peaked at #15 on the U.S. Pop chart, and #3 on the R&B chart.

*While Isaac Hayes released what I consider to be the definitive version on his Black Moses LP, the song has also been covered by artists such as Esther Phillips, Luther Vandross, and The Gap Band.

*Wayne McGhie & The Sounds Of Joy's self-titled debut is widely regarded as the first Canadian funk album, although the group expertly infused elements of soul, jazz, reggae, and R&B into their sound as well.

Shortly after the Kingston-born Jo Jo Bennett relocated to Toronto in 1967, he began performing regularly at the West Indian Federation Club. When asked to assemble a house band, Bennett requested that several Jamaican musicians join him, and Wayne McGhie left his home in Montego Bay to answer his call. The WIF club eventually became a popular hotspot, and McGhie triumphantly emerged as a highly sought-after singer/songwriter. During this time McGhie became acquainted with the legendary Jackie Mittoo, as well as many other artists who were affiliated with the "Motown of reggae", otherwise known as the famed Studio One label.

In the winter of 1969, McGhie assembled many of his affiliates and friends to begin work on the Sounds Of Joy album. The collective of musicians worked on their material during off-hours at Art Snider's Sound Canada Recording Centre, and McGhie forged a seemingly solid distribution deal with the Birchmount label.

The record was released the following year, but it fared rather poorly in terms of sales, due in large part to the fact that Birchmount neglected to promote the album. Months later, a fire at the label's pressing plant destroyed the remaining copies of the LP, and somewhat predictably, the record was never reprinted.

McGhie continued recording one-off projects for Studio One and his friend Jackie Mittoo, but by the end of the decade he had literally disappeared from the music scene. Evidently, the talented musician suffered from a severe chemical imbalance that resulted in him being homeless and out-of-touch with all of his friends and previous industry contacts.

In the mid-90s, a record dealer stumbled across the Sounds Of Joy album and sold it to Prince Be (of PM Dawn) for $300. Word spread quickly amongst crate diggers, and original copies of the record began raking in as much as $500. Pete Rock, Q-Tip, Buck 65, Mr. Supreme, and DJ Sureshot were amongst the bevy of hip hop producers who would eventually come to champion the long lost LP.

Light In The Attic Records embarked on a mission to contact the elusive McGhie, and in 2004 they discovered that he was living with his sister in Toronto. Their meeting ultimately led to the LP being reissued, both on compact disc and 180 gram vinyl.

While the funky drum breaks are worth the price of admission alone, the covers and original material on the album qualify this as one of the nicest LPs you've probably never heard.

"Just Ain't Gonna Work Out (Astronote Remix)"---Mayer Hawthorne (LimeLinx)
"Just Ain't Gonna Work Out (Astronote Remix)"---Mayer Hawthorne (YSI)

Mayer Hawthorne may look like that dude you want to do your taxes, but there's a reason why conventional wisdom preaches that appearances can be deceiving. I don't know how well the man flips digits, but I'm certain that his ultimate strength lies in his extraordinarily soulful falsetto...

*This lovely joint (described as Smokey meets J Dilla) was Mayer Hawthorne and The County's debut single. Released by Stones Throw as a heart-shaped 7-inch (STH7028), the 2008 track premiered on Gilles Peterson's show on BBC Radio 1. The 45, backed with "When I Said Goodbye”, was limited to a mere 1000 copies. Hawthorne wrote, recorded, sang and played on both tracks.

*Peanut Butter Wolf says that Hawthorne is the only artist he's signed on the strength of only two songs.

*Although he's since relocated to Cali, Hawthorne grew up in Ann Arbor, Michigan, just outside of Detroit. He reports being heavily influenced by the Motown sound, while drawing additional inspiration from Curtis Mayfield, Barry White, Smokey Robinson, Leroy Hutson, and Isaac Hayes.

*The crooner's debut full-length, A Strange Arrangement, is slated to hit the streets on October 6, 2009.

*Astronote is a DJ/producer/remixologist from Paris, France who has steadily been building his resume since 2004. His first drop was his killer spin on The Black Album, and he's been holding steady ever since. His most renowned project to date is Bigger & Better : The Notorious Remixes, hosted by Talib Kweli.

"All For The Best"---Thom Yorke (LimeLinx)
"All For The Best"---Thom Yorke (YSI)

*Written by Marc Mulcahy, ex-frontman for Miracle Legion; "All For The Best" appears on the group's Surprise, Surprise, Surprise LP (Rough Trade, 2000).

*This cover just hit the internets a few days ago (shout out to 2Dopeboyz)~ it's one of 21 tracks that will appear on the upcoming LP, Ciao My Shining Star: The Songs of Mark Mulcahy. Ciao is a tribute album being released to provide support for Mulcahy, whose wife's sudden death last year has left the musician to raise their three-year-old twins alone.

Clearly there's a charitable intention behind the project, but even if you're an evil-hearted bastard, the stellar line-up should persuade you to consider purchasing the LP when it's released in September. Yorke's fellow contributors include The National, Dinosaur Jr., Frank Black, Michael Stipe, Mercury Rev, Vic Chesnutt, and many more.

FUNDAMENTAL SUPPLEMENTAL:

"Ceremony"---Radiohead (LimeLinx)
"Ceremony"---Radiohead (YSI)

*Written by Joy Division's Ian Curtis (alongside Bernard Sumner, Peter Hook, and Stephen Forest), "Ceremony" was penned while the band was still called Joy Division. Following Curtis' suicide, the group reincarnated itself, and "Ceremony" (b/w "In A Lonely Place") was released as the first single under the New Order moniker. For the revamped NO version, guitarist Bernard Sumner took over the lead vocals, allegedly using a graphic equalizer to transcribe Curtis' lyrics from their rehearsal tapes.

Later that same year, New Order went back into the studio to record a second take, featuring Gillian Gilbert on guitar just before she formally joined the band. There are numerous differences between the two renditions New Order released, but to simplify the discrepancies, the earlier take was far more heavily influenced by Joy Division's signature bleak soundscapes than the latter.

There are also two known Joy Division versions of the song~ one is a live recording that appears on Still, while the other was included on their Heart and Soul four-disc box set. Unfortunately, in both cases, Curtis' lyrics are only partially comprehensible/audible.

*Xiu Xiu, The Morning Benders, The Echoing Green, and Galaxie 500 are amongst the many bands who have taken turns reinventing the track.

*Radiohead performed their stellar cover for their Thumbs Down webcast on November 9, 2007:

Word From Your Moms:

“The theme is the theme of humiliation, which is the square root of sin, as opposed to the freedom from humiliation, and love, which is the square root of wonderful.”

“The mind is like a richly woven tapestry in which the colors are distilled from the experiences of the senses, and the design drawn from the convolutions of the intellect.”

“It is a curious emotion, this certain homesickness I have in mind. With Americans, it is a national trait, as native to us as the roller-coaster or the jukebox. It is no simple longing for the home town or country of our birth. The emotion is Janus-faced: we are torn between a nostalgia for the familiar and an urge for the foreign and strange. As often as not, we are homesick most for the places we have never known.”

~Above quotes by Carson McCullers

It Ain't No Use In Jivin'; Some Souls Need Revivin'...

noreply@blogger.com (Scholar) — Thu, 25 Jun 2009 16:00:00 +0000

"A Song For You"---Merry Clayton (LimeLinx)
"A Song For You"---Merry Clayton (YSI)

~Appears on the Merry Clayton LP (Ode 1971)

Although "A Song For You" was written and originally recorded by singer/songwriter/musician Leon Russell, most soul fans tend to enthusiastically agree that the definitive version was rendered by none other than the late, great Donny Hathaway. While the lyrics themselves are undoubtedly imbued with a degree of poignancy, it was Hathaway's deeply affecting take on the song that arguably blessed it with such a palpable sense of sincerity and longing. His impassioned delivery epitomizes the very essence of what makes soul music so moving and evocative~ unless you have sociopathic tendencies, it's virtually impossible not to absorb and fully empathize with his pain.

Now that I've lavished Hathaway's rendition with such high praise, you may rightfully be wondering what in hell would possess me to post an alternative cover of the song. For one thing, of the 30+ versions of this song I've heard, Merry Clayton's take is easily amongst my favorites once you control for the daunting Hathaway Effect. I sincerely dig the way Aretha, The Temptations, and Ray Charles interpreted the song, but Clayton's enormous vocal talent is too often criminally overlooked, which keeps me perpetually inspired to champion her sound. I featured her stellar rendition of Neil Young's "Southern Man" quite some time ago, and while it arguably surpasses "A Song For You" in terms of overall quality, she has the chops to transform nearly everything she touches into a quasi-religious experience.

It also may be of interest that Clayton was actually the first artist to release a cover of "A Song For You". She and Hathaway both released their versions in 1971, a year that also saw covers issued by Bill Medley, Helen Reddy, and Andy Williams. Oddly enough, only Williams garnered any measurable commercial success with the tune, peaking at #82 on the Billboard charts. I've never been a big fan of the popular crooner's work, but evidently that makes me uncivilized~ old people think he's dope and Ronald Reagan once declared his voice a national treasure. I'm certain there has to be a Time-Life retrospective of his material floating around on eBay, so...you know...get busy, son.

Dig deeper...

"D.O.A. (Death Of Auto-Tune)"---Jay-Z (LimeLinx)
"D.O.A. (Death Of Auto-Tune)"---Jay-Z (YSI)

Souled On Sample:

"In The Space"---Janko Nilovic & Dave Sucky (LimeLinx)
"In The Space"---Janko Nilovic & Dave Sucky (YSI)

Only in the rapidly cycling age of the internets would a track that leaked 2 1/2 weeks ago be considered old school, but for all intents and purposes, "D.O.A." has already been thoroughly vetted. Not only has it already undergone intense scrutiny by the armchair army, it's also spawned an impassioned response from the community of artists who utilize Auto-Tune. I'm sure that most of you have heard this already, but it's all good. You probably missed this if...say...you just recently escaped the clutches of an extremist cult that forced you to marry your cousin, punished you for refusing to drink the kool-aid, and banned access to all forms of media (with the possible exception of Channel 18).

Jay declaring a moratorium on Auto-Tune doesn't particularly bother me, because I would bet my meager life savings on the fact that "T-Painin'" (formerly known as the Cher Effect) will go down in history as one of the tackiest trends to ever infiltrate popular music. There's no doubt that a handful of artists have used it imaginatively and effectively, but for the most part, the novelty has progressively worn off with every irritating instance of creative abuse. Perhaps my bitterness is biased because I'm positive that I deserve credit for inventing this shit in the early '80s~ I nearly ripped my face off once while singing an MC Hammer song into the back of my Auntie Peaches' metal blade 12 volt fan.

Much as I'm down with Hov , I gave up hoping a long time ago that he would drop something as lyrically impressive as his rhymes on Reasonable Doubt, or even The Black Album. That said, he flips some clever lines on this joint, and I don't think I'll be mad if the final version of Blueprint 3 contains material of this caliber.

I also included the song that producer No I.D. sampled on the cut~ a track from a dusty library record called Psyc Impressions. I'm kinda scratching my head at all the people who are going bananas over the production on this song. Don't kill me~ I'm a No I.D. fan from way back, and I give him an A+ for being an industrious crate digger. The entire record is full of creative possibilities that heretofore have been overlooked and I give him mad props for having the foresight to unearth it. My only issue is that it's so faithful to the original that it comes across as more derivative than imaginative.

All in all, this is a pretty good look for Hov, with the added bonus that wifey isn't all up in the cut singing some of that oh oh ooh oh oh ooh oh oh ooh oh oh oh shit...

"Can't Buy Soul"---Hebrew Rogers (LimeLinx)
"Can't Buy Soul"---Hebrew Rogers (YSI)

Funky Music Machine is one of the illest funk compilations ever released on the Soul Patrol label. I know that many purists prefer to search for the original 45s, but since that's not always probable or practical, I'm never ashamed to cop a set of killer funk and soul grooves.

One of the obvious standouts on this particular collection is "Can't Buy Soul" by Hebrew Rogers. First released on the Original Sound label in 1973, the track was penned by the multi-talented Preston Epps. While Rogers remains a bit of an enigma, Epps is an accomplished percussionist who settled in Southern California after his tour of duty during the Korean War. While stationed in Okinawa he learned to play a number of different instruments, most notably the bongos. After being signed to Original Sounds Epps released "Bongo Rock" in 1959~ a hit single that climbed to #14 on the Billboard charts and was later covered by The Incredible Bongo Band. Epps subsequently released a full-length LP, and tried to mirror this early success with other bongo-themed joints such as "Bongo Bongo Bongo", "Bootlace Bongo", "Flamenco Bongo", "Bongo Boogie", "Mr. Bongo", "Bongo Shuffle", "Bongo in the Congo", "Bongo Rocket", etc. Perhaps it was bongo overkill, because none of these records touched the popularity or impact made by his first single, but Epps continued to work as a session musician and was a fixture on the SoCal club scene well into the 1990s. At any rate, I was impressed to learn that Epps wrote this extraordinary deep funk classic, and I'm also quite grateful that he avoided lacing the title with any of his standard bongoisms.

The Funky Music Machine compilation is becoming increasingly difficult to find through major retailers, but this particular gem is still available as the B-side to Deloris Ealy & The Roadrunners Band's "It's About Time I Made A Change" on Deep Groove Sounds, and was also compiled on BGP Records' SuperFunk Is Back- Rare And Classic Funk 1968-1977 LP in 2007. The latter has a bit more filler material than Funky Music Machine in my opinion, but it boasts a number of hard-to-find and previously unissued recordings that unquestionably inflate its overall worth.

"Words Of Wisdom (They Don't Know)"---Sam Sever and the Raiders of the Lost Art (LimeLinx)
"Words Of Wisdom (They Don't Know)"---Sam Sever and the Raiders of the Lost Art (YSI)

Although relatively few heads recognize Sam Sever's name these days, the NY-based producer has worked with a myriad of artists, including The Beastie Boys, Tricky Tee, Run-DMC, Oran 'Juice' Jones, Tashan, Ms. Melodie, Nikki D, Sham & The Professor, and A.D.O.R.

Although many hip hop elders still highly regard his early 90's hip-hop group with Bosco Money, Downtown Science, Sever (aka Sam Citrin) is perhaps most widely recognized for his affiliation with 3rd Bass. Having worked with both MC Serch and Pete Nice on their respective demos, he suggested that the two rival MCs work together, which ultimately lead to the group's formation. 3rd Bass scored a contract with Def Jam, and Sever stayed on board to produce a great deal of their material.

"Words Of Wisdom (They Don't Know)" was released by Sever on a Mo Wax 12" in 1995. What's That Sound? featured an ill side and a chill side, and this dope little throwback joint was one of three tracks featured on the latter. According to Can I Bring My Gat?, the spoken word on the track is courtesy of one of The Last Poets. This joint may be 14 years old, but its commentary on the recording industry couldn't be more relevant: “Record company is the pimp, artist is the ho, the stage is the corner, and the audience is the trick.” Word.

Dig deeper...

"The Truth Shall Make You Free"---King Hannibal (LimeLinx)
"The Truth Shall Make You Free"---King Hannibal (YSI)

*From the Truth LP (Aware, 1973)

King Hannibal starts off "The Truth Shall Make You Free" with a big wailing echo: "I wanna talk to all you addicts out there...that's got yourself a great big jones...and you done tried...the methadone...and you just can't leave that herion alone...I wonder...have you tried Jeeeee-zussssss." Those few lines speak volumes about a man who is perhaps one of the most interesting characters in all of soul music's history.

Born James Shaw, Hannibal started singing doo-wop in his hometown of Atlanta, GA. By 1954 he was singing with the Overalls, a group that included two future members of the Pips, Edward Patten and Merald "Bubba" Knight. He soon moved to LA and stepped out as a solo artist, releasing material on various labels as Jimmy Shaw, Hannibal, and the Mighty Hannibal.

By the mid-60s, Hannibal was beginning to fully realize his artistic potential. His vocal abilities were progessively more impressive, and he had developed a distinctive persona that involved his trademark turbans and an indescribably hypnotic stage presence. Upon returning to Atlanta, he signed with Shurfine Records and released two sides that were amongst the finest of his musical career, "Jerkin' The Dog" and "Hymn No. 5". Originally issued in 1966, "Hymn No. 5" became Hannibal's most commercially successful single, peaking at #21 on the R&B charts. Vividly depicting the horrors of the Vietnam War, the anti-establishment anthem was both radical and visionary in the sense that it preceded most of the protest music that would later be released. Despite the fact that many radio stations refused to play it, the record sold more than 3,000 copies in Columbus, Georgia alone, presumably because many of the soldiers stationed at Fort Benning could relate to the song's powerful sentiments.

Although this defining moment could have launched Hannibal into superstardom, the charismatic vocalist was spending more of his time pimping than performing, in addition to being consumed by a crippling heroin addiction. His gradual descent into hell-on-earth would be further punctuated by a stint a jail for tax evasion.

These trials and tribulations ultimately lead to Hannibal's re-emergence in the '70s as a reformed man with a newly signed contract with Aware Records. King Hannibal, as he was now calling himself, had officially traded heroin for Jesus, and he was enthusiastic about sharing the recipe for his triumphance with anyone who would listen. Understanding a bit of the backstory makes "The Truth Shall Set You Free" more than an in-your-face anti-drug anthem; it's the tale of a man whose life crumbled under his excesses until he found the strength to rise above his struggles and put himself back in the game. I'm not much for hyper-religiosity, but I can certainly appreciate the man's resilience, and besides...it's a funky-ass cut. (If you dig this, you might wanna check out his slight variation on this same theme, aptly titled "God's The Only Cure For The Crack". Seriously, cousin...)

Hannibal languished in obscurity for much of the '80s and '90s, but his career was jump-started when some of his music was featured in the film Velvet Goldmine. The artist is now blind and living in the Bronx, but he's still hustlin' CDs out of his apartment, and returned to Atlanta in 2007 for the proclamation of Mighty Hannibal Day.

Dig deeper...

"Fly Crow"---Tha Connection (LimeLinx)
"Fly Crow"---Tha Connection (YSI)

I think I may have mentioned this before, but Tha Connection's Trapeze was one of my favorite hip hop releases last year. Although 2009 is far from over, I feel confident in saying that their latest LP, The Love Royale, is likely to achieve the same elevated status this year when all is said and done.

Critical analysis/deconstruction isn't really my forte~ if I like something I like it, and I usually don't feel like bustin' out my thesaurus to justify whatever wild claims I'm making about a song or album on any given day (how fuckin' gangsta and anti-blogger of me). Consequently, I'll keep this relatively simple...What makes these guys so ill is their instinct for blending the soulful and the gritty. Their press release for The Love Royale vividly depicts their style as "pure nostalgic soul sounding vibes as sharp as blade winds".

If you had asked me in '93 what soulful hip hop sounded like, I would have probably referenced Gang Starr, Wu-Tang or Mobb Deep. RZA, Premier and Havoc were masterful at flipping some lovely old records, but those guys also knew how to keep it grimy. It would be ludicrous to blame the regression exclusively on Kanye's "chimpmunk soul" period, but that's roughly the straw that broke the proverbial camel's back. Soulful hip hop got saddled with an oversized pink backpack and it hasn't quite managed to regain its integrity, composure, or credibility ever since.

In any case, I have much respect for Tha Connection in the sense that their music is an authentic throwback to the raw soul and jazz-infused bleakness of the golden era's east coast vibe. Don't jump on this expecting the caliber of The Infamous or 36 Chambers, but appreciate what is undoubtedly a positive step towards reclaiming a long lost art. MCs SmooVth and Hus don't spit the wittiest rhymes I've ever heard, but they're ingenious at creating the sort of moody atmosphere that characterized a grip of venerable hip hop classics. .

I've been listening to this album for a couple of months now, and I keep getting stuck on different tracks that I'll play on repeat until I step to the next one. I just started diggin' "Fly Crow", but you'll wanna cop the whole album so you can check out other dope joints such as "Royale", "Dum Dum Dum", "Let's Go", "Fool In Love", "Get Live", and the revamped version of "Take It Higher".

Dig deeper...

"When It's Over"---Don Varner (LimeLinx)
"When It's Over"---Don Varner (YSI)

Although I'm guessing that many of you haven't heard of Don Varner, the raspy-voiced soul vocalist performed or shared the stage with the likes of Ray Charles, Billy Preston, Sam Cooke, and Jackie Wilson, just to name a few. Primarily issuing his singles on a string of obscure labels during the '60s and '70s, Varner recorded most of his material at Quin Ivy's studio in Muscle Shoals.

While the singer became somewhat legendary on the Northern Soul scene, his records enjoyed considerably less success in the States as compared to the UK. It's nearly impossible to justify why his talents were so underappreciated, but Varner is one of many accomplished artists who simply didn't receive the proper marketing and distribution to garner significant acclaim. In addition to his impressive baritone voice, Varner was also a prolific songwriter who stockpiled an abundance of original material in his vault.

The first proper collection of the artist's works, including previously unissued tracks, was released by RPM Records in the UK in 2005. Sadly, Varner passed away in 2002 and wasn't able to fully enjoy the rekindled interest in his material that was sparked at the turn of the millenium. His widow is fully committed to keeping the spirit of his music alive, and she was instrumental in laying the groundwork that led to the posthumous release of Finally Got Over!

Varner's tracks have appeared on various compilations, but I'd definitely recommend purchasing this excellent CD reissue of his recordings. "When It's Over" (an R&B twist on the same basic theme Cat Stevens explored on "Wild World" IMO) is merely one of 23 solid cuts from a man who epitomized the very heart of Southern soul music.

Dig deeper...

"See It All"---Fink (LimeLinx)
"See It All"---Fink (YSI)

*Appears on Sort Of A Revolution (Ninja Tune, 2009)

I'm thoroughly bored with writing in paragraph format, but I do want to share this one last song from Fink's captivating Sort Of A Revolution LP. A few random and potentially poorly organized facts:

*Born Fin Greenall, Fink was raised in Bristol in a musical household~ his father was a folk artist and his mother was a music manager. He started off his own career in the industry as a DJ and club promoter.

*Fink was the first traditional singer/songwriter to be on Ninja Tune's roster.

*He has worked in various capacities with artists such as Amy Winehouse, Nitin Sawhney, Zero 7, and Bonobo. His Sort Of A Revolution LP contains material he collaborated on with John Legend.

*Fink has drawn comparisons to artist such as Massive Attack, JJ Cale, Nick Drake, Nick Cave, Jeff Buckley, and John Martyn.

*His Sort Of A Revolution LP was preceded by Fresh Produce, Biscuits For Breakfast, and Distance And Time

*I didn't listen to Sort Of A Revolution very much at first, but one day not too long ago its brilliance just sort of crept up on me. In my experience it's often the albums that finally dawn on me after repeated listens that ultimately have the greatest replay value. "See It All" was the track that was coming out of the speakers when I experienced my little "holy fuck" moment...

Dig deeper...

Word From Your Moms:

"I am gonna write poems til i die and when i have gotten outta this body i am gonna hang round in the wind and knock over everybody who got their feet on the ground."---Ntozake Shange

How We Ever Gonna Get Up If That's How We Get Down?

noreply@blogger.com (Scholar) — Thu, 04 Jun 2009 15:59:00 +0000

How ya feelin' out there, soul children?

Hopefully things are starting to heat up in your part of the world, and there's nothing more potent than some scorching hot music to fan the flames. Whatever it is that may be ailing you, don't let it keep you down~ just sweat it out, kids. Like my grandmama used to always say, sometimes you gotta blaze up if you wanna stay lifted.

Be easy, fam...Scholar

"Funky Hi-Life"---CK Mann & Carousel 7 (LimeLinx)
"Funky Hi-Life"---CK Mann & Carousel 7 (YSI)

CK Mann (aka Charles Kofi Amankwaa Mann) is a renowned Ghanaian musician whose profound impact on the evolution of highlife music has made him a beloved and highly influential artist not only in West Africa, but in many other parts of the world as well.

A self-taught guitarist, Mann's illustrious career began in the 1960s, when he joined Moses Kweku Oppong's band Kakaiku. Once he had fully established himself as an artist, he struck out on his own to form the Carousel 7 , swiftly garnering success with a mega-hit called "Edina Brenya".

I won't torture you by rambling on about the complex history of highlife~ I'm pretty sure that a good many of you snitches are content in believing that the Black Eyed Peas constitute "world music" (although seriously, having an appreciation for "lovely lady lumps" doesn't necessarily make you sophisticated, playa). It's still important to note, however, that highlife music's relevance and viability was greatly threatened in the early '70s by the increasing popularity of the funk and disco movement. It was at this critical juncture that Mann began to innovatively fuse core elements of osode (a music sung by Ghanaian fishermen in the west of the country) and highlife with heavy, funkdafied basslines, effectively saving the genre from extinction.

One of the best records to emerge from this stylistic fusion was undoubtedly "Funky Hi-Life". Originally dubbed "Asafo Beson", this irresistible groove first appeared as the intro to a 1975 album-long party LP. The handclaps, footstomps, and vocals harmonies are reminiscent of highlife's origins, while the thunderous bass and whirling organs gave the track a more contemporary vibe that was favored by the younger generation.

This has long been one of my favorite summer records. Hopefully it will have a similar effect on all of you and get you hoppin' around on your feet and shit. If you've been sprawled out on your couch all winter, it's probably a good time to burn off some of that excess baby fat anyway, children...

"On And On (Deep Focus Remix)"---Erykah Badu (LimeLinx)
"On And On (Deep Focus Remix)"---Erykah Badu (YSI)

Deep Focus (aka Robin Andrews) is an unsigned producer from the UK who is extraordinarily masterful at creating lush electronic soundscapes. In addition to reworking tracks from a variety of genres, he's also dropped quite a few of his own beats on MySpace and his YouTube channel (be sure to check out his joint "Heavy Metal"). While his music is loosely categorized as drum & bass, the majority of his compositions bear a chilled out, relaxed vibe that you won't need copious amounts of amphetamines to appreciate. This reworking of Erykah's classic should serve as a proper introduction...

"Strange Fruit"---Ohene ft. Greg Soundz (LimeLinx)
"Strange Fruit"---Ohene ft. Greg Soundz (YSI)

As strongly as I believe that reinventing, remixing, and reimagining soul music is crucial in maintaining its relevance to coming generations, I get more than a little nervous when anyone tries to fuck around with Nina Simone. My reverence for her artistry runs deeper than I could possibly explain with words, and hacking away at her material to produce lame rap joints or shitty dance tracks is nothing short of blasphemy in my opinion. Consequently, the odds were greatly stacked against me appreciating...let alone endorsing...Ohene's magnificent tribute to the High Priestess of Soul.

What makes this project so outstanding is that Ohene is capable of channeling the same revolutionary spirit that made Nina one of the most impassioned, engaging, and socially conscious artists of all time. Dividing time between his homes in Philadelphia and Ghana, West Africa, this young griot's insightful storytelling and uncanny wisdom are undoubtedly rooted in his unique global perspective. Almost every line he utters is worthy of quotation, introspection and profound meditation, which has led to his work being analyzed and deconstructed in several university classrooms around the United States.

Although it may be challenging for Ohene to survive a climate where meaningful lyricism is progressively falling from grace, his music and message will undoubtedly have a strong and lasting impact on anyone who's willing to openly listen. His tribute to Nina Simone scratches the surface of his capabilities, but he's got several other releases you may want to look into as well. Be sure to cop his new free mixtape, The O Files, via Hip Hop Linguistics.

Dig deeper... (Ohene's MySpace)

"My Love Will Never Die"---Johnny Jenkins (LimeLinx)
"My Love Will Never Die"---Johnny Jenkins (YSI)

Johnny Edward Jenkins was born in 1939 in a rural area east of Macon called Swift Creek. His love for music was nurtured by the country and R&B music he heard playing on the radio, and at age 9, the self-taught guitarist built himself a crude version of the instrument with a cigar box and rubber bands that he played left-handed and upside down. His first performances were held at a gas station nearby, where he honed his skills while attempting to hustle the locals for tip money. After his sister bought him a real six-string, Jenkins grew to be quite a flashy guitar player, and his ostentatious and acrobatic antics had a seminal influence on a young Jimi Hendrix, who was profoundly affected when he saw him perform.

Despite Jenkins' own prodigious talents, the musician is perhaps best known for his somewhat rocky relationship with Otis Redding. After seeing Redding perform at a talent show, Jenkins invited the vocalist to join forces with his blues group, The Pinetoppers. By most accounts, Redding was primarily cast in the uneviable role of running errands and acting as the group's chauffeur.

However, the tides began to turn in Redding's favor when The Pinetoppers were invited to record an album in 1962 for Stax Records in Memphis. The sessions were reportedly disastrous and ended sooner than expected, but history was made when Otis asked if he could use the remainder of their studio time to sing some of his own selections. "These Arms Of Mine" was one of the tracks Redding recorded at that time, featuring Jenkins on guitar and Steve Cropper on piano. The song would, of course, become Otis' breakthrough single, and he alone was subsequently offered a recording contract.

It's often said that Jenkins was invited to join Redding's band, but declined the offer due to an intense fear of flying. However, Jenkins was known to occasionally make unkind remarks about the soul singer, including that he was "hell to get along with" and a bully.

Jenkins recorded a solo LP called Ton-Ton Macoute in 1970, accompanied by Duane Allman and other members of The Allman Brothers Band. Although the album was well received by critics, Jenkins grew weary of the trappings of the music industry and didn't release another solo record until Blessed Blues in 1996. He released two subsequent LPs in the new millenium, Handle With Care and All in Good Time, before dying of a stroke in the summer of 2006.

To be honest, I never checked out any of Jenkins' releases from the second phase of his career, but Ton-Ton Macoute remains a permanent staple at the core of my music collection. His cover of Dr. John's "Walk On Gilded Splinters" is easily the album's masterpiece, and the only reason I didn't offer it at this juncture is because I'm planning to feature it for an episode of a themed post in the near future. "My Love Will Never Die" more than holds its own, however, as a soulful, bluesy ballad that strikes right at the heart of Jenkin's inimitable flamboyance and enviable musical dexterity.

Dig deeper...

"Days Of Fire"---Nitin Sawhney ft. Natty (LimeLinx)
"Days Of Fire"---Nitin Sawhney ft. Natty (YSI)

Soul children in the UK are likely already well-versed in the versatile and creative talents of Nitin Sawhney, but for my peoples in the U.S., the genre-bending artist is still far from being a household name. It's difficult to observe an economy of expression when describing Sawhney's numerous achievements, but suffice it to say that this award-winning musician has garnered much worldwide acclaim as a multi-instrumentalist, DJ, songwriter, composer, and producer. Having worked with artists such as Paul McCartney, Sting, Jeff Beck, Brian Eno, and Sinead O’Connor, Sawhney has managed to not only establish himself with his growing fanbase, but also with many of the music industry's most high profile celebrities.

His most recent offering, the 2008 London Undersound LP, has largely met with praise and commendation, although the album has also been panned by a handful of the armchair critic elite. Inspired by the bombings of 7/7 and eventual shooting of Jean Charles de Menezes, the recounting of these tragic events understandably resonates rather deeply with many listeners. The undertaking of this stirring subject matter has, in fact, sparked a bit of controversy that's led to a array of unyielding opinions. Perhaps nowhere is this divergence of sentiment more evident than on the album's opening track "Days Of Fire", sung by Natty, who witnessed the 7/7 bus bombing and was in the Stockwell tube station at the time of the De Menezes killing. Here are a few examples that illustrate the dissenting public viewpoint on the track:

"Opening with hip-hop vocals by DJ Natty over folksy guitars and background samples that mimic half-heard train announcements, 'Days Of Fire' is the kind of first track that makes you both want to smack Sawhney for being so clever and bow down before the fact that he is, as he deftly mixes English and international influences in achingly modern protest songs for the 21st century."~ Music OMH

"Sadly, I can think of no worse start to an album than 'Days of Fire'. Featuring reggae-soulster, Natty, the track describes how Natty got caught up in events on the day Charles de Menezes was fatally shot in Stockwell. Where to begin? Perhaps the general inaccuracies of the story, or maybe just the plain, abhorrent insensitivity of using a tragic murder and miscarriage of justice to bolster your personal point-of-view. The plainest thing that comes to light is the complete selfishness of Londoners; there is no art in a smug exploitation of art masquerading as moral explanation."~ Drowned In Sound

"Natty's opening commentary on the shooting is impassioned but his Marley-lite voice can't convey the true horror."~ the BBC

"Starting with 'Days of Fire', reggae singer Natty speaks of somber realizations about how the citizens of the capital, and himself personally, have been affected by 7/7 and other disasters. The lyrics of the songs describes how things changed after the terror attacks. Natty sounds honest as he progresses with his description - one of the best on the album."~ Radioandmusic.com

"Natty’s gravelly delivery is strained in places, hinting desperation, to a deeper, lower approach, sounding somewhat detached and desensitised. In other places, he jaunts along as he talks us through his actions and his frame of mind throughout. Instrumentally simplistic and repetitive in its acoustic arrangement with only Natty traversing verbally, it only serves to effectively heighten his emotional state in his vocal tonal changes thus being extremely lyrically aware."~ DIY

There you have it, kids. Since there's a fair amount of geographic distance between myself and these dreadful events, I couldn't possibly weigh in on the intricacies of the song's merits in any meaningful way~ my goal, as always, is merely to provoke thought and emotion on the part of my readers. As a fan of Sawhney's work, I would implore you to explore his discography, but as far as how you receive it...well, that part's up to you.

Dig deeper...

"Love Is Pretty"---The Lovelites (LimeLinx)
"Love Is Pretty"---The Lovelites (YSI)

The Chicago-based Lovelites' foray into music began when three high school girls~ Patti Hamilton, her sister Rozena Petty, and Barbara Peterman~ joined forces in the 1960s. In 1968 Peterman left and was replaced by Ardell McDaniel, a year before the group scored a fairly impressive hit with "How Can I Tell My Mom & Dad". The song's lyrics seem to imply the theme of teenage pregnancy, a subject still widely considered as taboo at the time of the record's release.

On the strength of this one single, the vocalists were afforded the opportunity to found their own label, Lovelite Records, in 1970. The group endured further line-up changes and enjoyed success on the R&B charts with "My Conscience" in 1971, but by 1973 their label had folded and the members had gone their separate ways.

The Lovelite Years compilation passes over a few gems from their canon of works, but for the most part, it's a fairly solid retrospective. "Love Is Pretty" is so endearing, you can't help but embrace its syrupy optimism. Released as the flip side of the "Bumpy Road Ahead" single, the song's sentimental flavor is bound to satisfy your cravings for something sweet with absolutely no worries about tooth decay.

Dig deeper...

"Where Is My Boy?"---Faultline ft. Chris Martin (LimeLinx)
"Where Is My Boy?"---Faultline ft. Chris Martin (YSI)

Faultline is the moniker for DJ/producer David Kosten, an electronic musician whose affinity for synthesizers was cultivated after he burst a lung while playing clarinet for the National Youth Orchestra. This experimentation with new sounds ultimately led to the release of his Closer Colder LP in 1999, followed by Your Love Means Everything in 2002. The latter album was re-issued a couple of years later by Capitol/EMI, bearing a slightly revamped tracklisting.

Your Love Means Everything is a magnetically charming LP, imbued with a quiet melodrama and fragile ambience that allows for a thoroughly intimate listening experience. While the album boasts a number of accomplished guest vocalists, the main selling point is undoubtedly its spellbinding synthesis of gripping emotion and musical innovation.

I only find myself skipping through a couple of tracks on the album, but only one stays on repeat~ Chris Martin's profoundly haunting tale of lost innocence known as "Where Is My Boy?". This song, as well as the title track, were recorded by Martin before Coldplay became the worldwide juggernaut that it is today, and perhaps that's part of why it sounds so plaintive and honest. It must become exceedingly difficult to convey heartbreak and desperation when you're filthy rich, playing at packed arenas, and choosing baby names from the fruits and vegetables category...but what the fuck do I know?

Kosten apparently has nothing but positive regard for the Coldplay frontman: "With Chris, it wasn't a huge leap to imagine major success happening. So it feels good to be right, but more to the point I’m really happy with what he did on the record – it still stands up."

Martin apparently doesn't share these same warm and fuzzy sentiments about the collaboration. He's been quoted as saying that he's doesn't like "Where Is My Boy?" and is embarrassed by his performance on it. He obviously has a right to his opinion, but then I'm also entitled to think he sounded far better before he plummeted into such shameless douchebaggery. Just joking, kids...settle down.

"Shook (Sigur Rós vs. Mobb Deep)"---Emancipator (LimeLinx)
"Shook (Sigur Rós vs. Mobb Deep)"---Emancipator (YSI)

This mash-up was first released about 100 years ago (okay...maybe more like three), but for some inexplicable reason, it's been spreading across the internets like wildfire for the past couple of months. Which really makes me wonder, kinda like swine flu~ what's the pig deal all of a sudden? (Awwwwwww snap...that was cheap)

I first came across this bizarre phenomenon while checkin' to see if Emancipator had dropped any new projects or remixes lately. My query elicited an extraordinary abundance of search results for blogs and websites that were featuring this timeworn mix, and since I was at work (the only respectable place on Earth to kill time), I was actually bored enough to count how many times this track had been featured since April. I think I stopped at about 253, when I finally buckled under the glare of my boss' freaky evil eye.

What made this whole exercise in monkey-see monkey-do especially weird was that a large number of these posts were prefaced by a desperate-to-be-the-popular-kid disclaimer, such as: I know I'm late to the party, but I hope that you still believe in the weak-ass powers of my uber-geek hipsterdom and blahhh blahhh gurgle boo hoo blahhh.

Ugh.

Accordingly, there are a few life lessons to be learned here, children:

1) 99.9% of people are actually just sheeple in disguise.

2) Never apologize for being late to a party. If you have the right swagger, you can pimp limp into that bitch 40 years after it's over, and still look mad fly doin' it. Those jive turkies who had their mommies drop them off early might be supermad that you're superbad, but screw it...

3) Emancipator truly is an amazing talent~ it's not his fault that 253 of his fans are silly fucks. 254 if you rightfully include me in the mix...

Dig deeper... (Emancipator's MySpace)

"Get Down (Nick James Remix)"---Nas (LimeLinx)
"Get Down (Nick James Remix)"---Nas (YSI)

One of my most highly anticipated upcoming releases won't get any of the fanfare showered on mediocre major label artists, but it's destined to be one of the hottest efforts to drop this summer. Oakland producer Nick James is in the process of wrapping up his John Coltrane Project, a collection of instrumentals featuring samples of the jazz legend's finest material. Himself the son of an avant-garde jazz musician, James' production is heavily influenced by many of the genre's most accomplished artists, including Miles Davis, Archie Shepp, Ahmad Jamal, and McCoy Tyner. Combine those sensibilities with a penchant for Prince, Outkast, Talib Kweli, Jimi Hendrix, Madlib, Nina Simone, Pete Rock, Al Green, and J Dilla, and you have a production wizard who's drawing from the best possible pool of musical influences to craft his supreme beats.

This Nas redux is just one example of James' limitless artistic capabilities. Keep up with him via MySpace and The Free Experience: A Subsidiary of Nick James Music where you can freely download his remix projects, as well as some of the original material he's sampled on them.

Word From Your Moms:

"If there is a transmigration of souls then I am not yet on the bottom rung. My life is a hesitation before birth."

"Anyone who cannot come to terms with his life while he is alive needs one hand to ward off a little his despair over his fate... but with his other hand he can note down what he sees among the ruins."

"We all have wings, but they have not been of any avail to us and if we could tear them off, we would do so."

~All above quotes by Franz Kafka

One Had A Gift From Beyond; The Other Had Brought The Funk

noreply@blogger.com (Scholar) — Thu, 21 May 2009 08:15:00 +0000

What's happenin', soul children? I hope that the moon and stars are perfectly aligned in your universes, and all kinds of other ecstatically happy shit...

I'm actually feeling pretty euphoric myself today (and that's with no drugs involved, son), because I've been looking forward to doing this exclusive with Batsauce and Lady Daisey for quite a while now. I first became aware of their brilliant funkitude when cousin Travis emphatically urged me to give The Smile Rays a spin. Very few people understand the complexities of my musical leanings as well as he does, so his recommendations tend to hold considerable weight in comparison to...say...my grandmother.

Anyway, to make a long story pygmy-sized, I instantly dug their soulful sound and decided to feature their "Lonely Room" joint in this post from December '07. Bat was gracious enough to drop me a line thanking me for giving them some shine, and has occasionally blessed me with some of his ill beat selections from that point forward. His wife Daisey is every bit as genuine and down-to-earth, and when she and I started corresponding a few months ago, the idea for a collaboration was conceived (immaculately, of course).

To their credit, I had very little input in this process (except for the post title, which I shamelessly jacked from the name of a Steven López painting)~ I asked the dynamic duo to be unique and make all the important decisions in terms of what the content of the feature would be. As a result, the almighty Bat put together a 60 minute funk workout for you, while Daisey was good enough to share some of her artwork and a track from her upcoming solo project.

Don't worry~ it's nearly time for me to shut the hell up, but not before I elaborate just a little more on why I think these two are so AMAZING and worthy of this spot. Most of you know that I prefer classic records over just about anything that's being currently released. I never hold my tongue when it comes to preaching about the shameless lack of authenticity and lowering of standards that's plaguing today's music industry~ and 99.9% of the time, I politely pass on requests to spotlight artists because I've never wanted SO to be an infomercial peddling mediocrity. *takes deep breath*

Daisey and Bat are amongst the precious few who have the chops to rejuvenate my faith in post-millenial music, as they effortlessly rise above the sea of sound-alikes with their unparalleled ingenuity and uncompromisingly original sound. While they undoubtedly pay homage to music's rich tapestry by incorporating the finest elements of funk, soul, jazz and hip hop's history into their eclectic sound, they blend these ingredients with such original flavor and consummate artistry that the result is a supreme collage of all that was and will be.

Much propers and gratitude to Daisey and Batsauce for sharing their gifts with all of us, and to all the soul kids for once again patiently suffering through my verbosity before gettin' down with the music.

Peace be with you all...Scholar

A Brief History:

Batsauce and Lady Daisey literally met on stage! He was slinging beats at an open mic jam and she jumped up and grabbed the mic. At the end of the night he told her "Let's get up and make a Heavenly Noise!" (which later became the name of their first group) Ironically, when they DID get together, Daisey completely lost her voice for a few weeks - so they spent a little time chillin' and vibin' - 3 years later, they were married. It was around that time they hooked up with Paten Locke (aka Therapy of the ABs) and formed the old skool funky hiphop group - The Smile Rays . Things started moving at a lovely pace with tours, festivals, vinyl/cd releases in Japan, Germany, the U.S. and digitally through Rawkus. With their music now reaching its arms around the globe, it was time to bounce to the other side of the pond and see what's up. The Smile Rays did a '08 European tour opening for Akrobatik and Mr.Lif, rocked a 20,000+ hip hop festival in Czech, and made madd contacts - opening the door for both Batsauce (making beats for Mr.Lif and Surreal) and Lady Daisey (wrapping up her solo album, also produced by Batsauce). Since then, they've been chillin' in Berlin, rocking shows wherever they can, and currently lining up a Fall '09 US tour - coming soon to a city near you!

A Few Words From Lady Daisey:

So, I was told to "put something unique together" to send to Souled On. In addition to our music (Lady Daisey debut solo album coming this summer, yo!) I'm also a graphic designer, computer programmer and illustrator. It works out perfect, we're both in our respective studios until the sun comes up- Batsauce bangin' out those beats and Daisey slingin' pixels, shapes and colors.

And on that note, I'd like to introduce you to my friend, Phonobot.

He's on a galactic quest to find... the Funk! Enjoy!

Plant Some Funky Flowers In Your Soul...

....with an infectiously groovy joint from Daisey's upcoming LP (produced by Batsauce):

"Hometown"---Lady Daisey (LimeLinx)
"Hometown"---Lady Daisey (YSI)

And Now, A Ride In The Funky Batmobile...

A SOULED ON WORLDWIDE DEBUT:

Download the entire mix via Megaupload, or as four individual installments...

Booger Nose Part 1 Preview/Download via LimeLinx

01>
wilford's gone
didn't i fool you
supermarket blues
that beat keeps disturbing my sleep
in the land of milk & honey
all your goodies are gone
bare knuckles
disillusioned man
hercules
then yebthayet

Booger Nose Part 2 Preview/Download via LimeLinx

02>
satisfied
hard times
something right
i'm coming
the smile on your face
ain't no sunshine
if there's a hell below
dookey shoe
ain't there something money can't buy
hook & sling pt.2
bbd
90% of me is you
i'm talkin' bout freedom

Booger Nose Part 3 Preview/Download via LimeLinx

03>
i idolize you
i'll never sail the sea again
mushroom
funky skull pt.1
the way they do my life
deal with it
i'm a ram
funky cat
james brown
the boss
mother misery's favorite child
death wish (main title)
gimme shelter
funky dollar bill
no no yes yes

Booger Nose Part 4 Preview/Download via LimeLinx

04>
soul ecstasy
gator tail
who's gonna take the weight pt.1&2
blowout
things got to get better
super funk
message from man
right on
legs
miss funky fox
loving you

Also, be sure to check out Spy vs. Spy, Bat's latest collection of original beats (recently premiered @ WYDU):

Spy Vs. Spy Download via RapidShare

Missed The "Magical" Video Last Time It Was Posted?

Finally, some tasty links...

Batsauce's website

Lady Daisey's website

Batsauce on MySpace

Lady Daisey on MySpace

The Smile Rays on MySpace

Heavenly Noise on MySpace

Phonobot

Word From Bat & Daisey's Moms:

*"Make everything as simple as possible, but not simpler"- Albert Einstein

*"Keep it simple, stupid."- Anonymous

**"Those who dance are laughed at by those who cannot hear the music."- Anonymous

**"When the road you're on becomes too narrow... widen your mind."- Lady Daisey

*Universal truths according to Batsauce
**The philosophical wisdom of Lady Daisey

On Second Thought: The Mixed Up And Permanently Set Edition

noreply@blogger.com (Scholar) — Wed, 29 Apr 2009 16:10:00 +0000

What's crackin', soul kids?

I was inspired to deliver an especially fat post today, if for no other reason than to dispel the myth that I kevorked the On Second Thought/Cover Your Ass chronicles. I may be incorrigible...and lazy...but did you really think I'd be insensitive enough to hijack a series rivaled only by Souled On Samples in terms of overall popularity and...ummm...sex appeal???

Anyway, I genuinely hope that you will....uhhhh...shake your booty down to these fine selections, but...you know...I'm kinda relieved at the same time that I don't have to watch.

Forever spinnin' out of control,
Scholar

"California Dreaming"---Lee Moses (LimeLinx)
"California Dreaming"---Lee Moses (YSI)

*Written by John & Michelle Phillips; originally recorded by Barry McGuire for his This Precious Time LP. The Mamas & The Papas sang backing vocals on his rendition, subsequently releasing their own version as a 7" in November 1965.

McGuire was responsible for the group's first major break, as he connected them with Lou Adler, the producer and head of Dunhill Records. Adler likened his initial reaction to how George Martin must have felt upon discovering The Beatles, although he admits that the foursome were "very dirty and funky and had probably been in those clothes for quite a while." Ultimately, the group offered "California Dreamin'" to McGuire as gratitude for the opportune hook-up with Adler.

*The song did not achieve instantaneous success for The Mamas & The Papas. It was erroneously assumed that the song would be a hit in Los Angeles, but it actually was blessed with its breakthrough moment via a radio station in Boston. By early 1966 the song had peaked at #4, remaining on the pop charts for a total of 17 weeks.

*According to John Phillips, the song came to him as a dream in 1963 and he woke Michelle up to help him write it. The couple was living in New York at the time, and were members of the folk group The New Journeymen.

There's a longstanding rumor that Phillips wrote the song during his tenure at the United States Naval Academy, dreaming of warmer climates while enduring a harsh winter with short daylight hours. There doesn't appear to be any veracity to this claim whatsoever.

*The Mamas & The Papas broke up in 1968 due to what might be dubbed the Fleetwood Mac effect: drug abuse and complex interpersonal relationship issues. All four members released solo efforts, but none of their individual offerings fared nearly as well as "California Dreaming".

After disbanding, the group occasionally reunited until "Mama" Cass Elliot passed away. Elliot died, not of choking on a ham sandwich (as rumored), but of heart failure. She was staying in Harry Nilsson's flat in Mayfair, London at the time of her death. Strangely enough, Keith Moon (drummer for The Who) passed away four years later in Nilsson's flat as well. Apparently, Nilsson rented the property out to his friends during his sometimes lengthy absences. After Moon's death transpired in the same exact room as Elliot's, Nilsson was understandably spooked and immediately sold the flat to Keith's former bandmate, Pete Townsend.

*While the song has been covered by a wide range of artists (The Beach Boys, The Carpenters, Bobby Womack, The Four Tops, José Feliciano, George Benson, and more), Lee Moses recorded the only version as far as I'm concerned. I posted this track a long time ago, but I'm pretty sure the link is dead and it's supreme excellence makes it more than worthy of revisitation.

"That's How Strong My Love Is"---Laura Lee (LimeLinx)
"That's How Strong My Love Is"---Laura Lee (YSI)

*Written by Roosevelt Jamison; originally recorded by O.V. Wright and released as a 7" b/w "There Goes My Used To Be" (Goldwax, 1964)

*Although his rendition wasn't exactly a chartbuster (peaking at a modest #74), Otis Redding released what many consider to be the definitive version of the tune in 1965.

*The Rolling Stones also covered the track later that same year on their Out Of Our Heads LP. Redding reciprocated by recording a version of one of The Stones' most beloved songs, "(I Can't Get No) Satisfaction."

*Other takes on the song have been rendered by Percy Sledge, The Hollies, The Sweet Inspirations, Bryan Ferry, Humble Pie, Iggy Pop, Taj Mahal, and more.

*Laura Lee released her phenomenal rendition of "That's How Strong My Love Is" on her Women's Love Rights LP in 1972 (Hotwax, HA 708). Her unique style, gritty vocals, and willingness to tackle women's issues in a frank and uncontrite manner set her apart from many of her female contemporaries in the '60s and '70s. Without a doubt, the most enthralling and educational exploration of her legacy comes by way of my friend Colin's blog, Ms. Laura Lee: Dedicated to the Lady of Soul Music.

"Let Me Down Easy"---Cold Blood (LimeLinx)
"Let Me Down Easy"---Cold Blood (YSI)

*Written by Wreich-Holloway, an alias for Dee Dee Ford; originally recorded by Bettye LaVette and released as a 7" b/w "What I Don't Know (Won't Hurt Me)" in 1965 (Calla 102).

*"Let Me Down Easy" became LaVette's signature song (climbing to #20 on the Billboard charts), and has long been revered by Northern soul enthusiasts as one of the finest records of all time.

*LaVette has spoken rather candidly about what inspired her to lay down such stirring vocals on the track:

"When I was recording the vocal, the guy I was thinking about came into the control room, so I was singing the song to him. When we finished recording, everyone in the control room was in tears: except him."

*LaVette re-recorded the song in Detroit in 1990 and she was captured on film in the studio. It always fascinates me how effortlessly she belts out songs~ she inexplicably stays cooler than a fan, showing no visible sign of strain even when hitting her high notes. Not to mention the fact that she's seriously workin' those stunna shades...

*It's pretty much a soul commandment that thou shalt not place any covers of "Let Me Down Easy" before LaVette's stunning original. I can get down with that...I mean, I'm not hatin' on Steve Winwood, but I wish he hadn't gone there. That said, I'm unashamed to admit that I adore Cold Blood's rendition of the song. Lead singer Lydia Pense has always gotten the same dismissive once-over that many soul enthusiasts give Janis Joplin, but it's difficult to deny that Lydia has a whole lot of heart. I would gladly give away my mother-in-law to have seen the show Cold Blood did with the Ike & Tina Review, but then again~ I'm not sure that's much of a sacrifice.

"The Rip (Hidden Cat Remix)"---Portishead (LimeLinx)
"The Rip (Hidden Cat Remix)"---Portishead (YSI)

*Written by Geoff Barrow, Beth Gibbons and Adrian Utley; released both as a single and on Portishead's Third LP. The song was originally called "Mystic".

*The animated promotional video for "The Rip" (created by Nick Uff) is pretty fuckin' strange. I can assure you that even if you happened to...ahem...drop a ridiculous amount of acid in the '90s, you may still not possess the expansiveness of imagination to fully comprehend what's going on here:

*Jonny Greenwood and Thom Yorke performed an acoustic cover of the track backstage in St. Louis last year. In addition to exorcising his everyday demons, Thom Yorke may also be lamenting the fact that his hair stylist obviously doesn't love him anymore:

*Hidden Cat (aka Madison Bullard) hails from Raleigh, NC. His redux of "The Rip" is easily one of the illest remixes I've heard so far this year. More about Hidden Cat here.

"Heaven and Hell"---El Michels Affair (LimeLinx)
"Heaven and Hell"---El Michels Affair (YSI)

*Written by Corey Woods (aka Raekwon) and Dennis Coles (aka Ghostface Killah); the track was originally produced by RZA and contains a sample of Syl Johnson's "Could I Be Falling In Love?"; Blue Raspberry performed the backing vocals

*"Heaven and Hell" was Raekwon's solo debut single, released in October 1994. The joint later appeared on his Only Built For Cuban Linx LP, an album that's highly exalted by hip hop heads worldwide.

*El Michels Affair, a collective of ridiculously talented musicians based in New York, were approached by Scion in 2005 with the possibility of performing with Raekwon for their Metro concert series. The collaboration made for such a perfect synthesis that the group went on tour with the MC, as well as doing several live performances with other members of the Wu-Tang Clan. In 2006, El Michels headed into the studio to begin recording their instrumental interpolations of classic Wu beats, ultimately releasing singles as part of the Shaolin Soul series on Truth & Soul Records.

I've been trying to draw attention to these guys for years, and the release of their complete album of Wu covers on Fat Beats provides yet another opportunity to give these guys a well-deserved shout. So far, this is my favorite release of 2009~ hands down. Resist the temptation to grab a bootleg version...it's more than worth the purchase price. There are so few artists producing authentic soul music these days that we need to support those who are struggling to keep the art form alive and prosperous.

"Cash Run (The White Stripes + Notorious B.I.G. & 2Pac)"---Adrian Champion (LimeLinx)
"Cash Run (The White Stripes + Notorious B.I.G. & 2Pac)"---Adrian Champion (YSI)

*"Runnin' (Dying to Live)" by 2Pac and Biggie was the first single issued from the posthumous soundtrack album Tupac: Resurrection in 2003. The track was produced by Eminem, and featured a sample of Edgar Winters' "Dying To Live".

Pac and B.I.G. originally recorded the track in 1994, but it was produced by Easy Mo Bee and was called "Runnin' (From The Police)".

*"Cash Grab Complications" by The White Stripes appears as the B-side to the acoustic mariachi version of "Conquest".

*Adrian Champion was born and raised in Flint, Michigan, but relocated to California shortly after high school to pursue his creative aspirations. His many talents include rapping, producing, composing, singing, playing guitar, and songwriting. Although he's been a lifelong fan of hip hop, he's fully committed to pushing the boundaries of his creativity by continuously switching up his style and experimenting with fresh ideas.

Stars & Stripes: The White Stripes Reimagined, a dope collection of mashup mixes, can be downloaded for free here. Learn more about the making of the project and stay up on Champion's latest endeavors via his website.

"Happiness Is A Warm Gun"---Bobby Bryant (LimeLinx)
"Happiness Is A Warm Gun"---Bobby Bryant (YSI)

"Happiness Is A Warm Gun"---The Breeders (LimeLinx)
"Happiness Is A Warm Gun"---The Breeders (YSI)

*Written by Lennon/McCartney ; it was originally recorded by The Beatles at Abbey Road Studios in September 1968. The song was released on The Beatles LP, also known as The White Album in November 1968.

*The working title of the song was "Happiness Is a Warm Gun in Your Hand".

*The track is Paul McCartney's favorite on the album.

*In describing what inspired him, Lennon claims to have seen a magazine cover bearing the song title in the form of a phrase. He was quoted as saying "it was a gun magazine. I just thought it was a fantastic, insane thing to say. A warm gun means you just shot something."

*As is the case with most Beatles songs, there are plenty of rumors that have circulated to explain the song's underlying meaning. One tale asserts that the track was a metaphor for Lennon's sexual desire for Yoko One, to which I say...puke. Others seem to believe that the song references Lennon's heroin usage, which is seemingly substantiated by the repetition of the line "I need a fix cuz I'm goin' down". This theory may not hold much weight because muthafuckas claim that every Beatles song ever written contained a subliminal drug reference. Also, if Lennon's assertions are to be believed, his preference was to snort smack, not shoot it. The loaded gun reference seems to more likely imply the use of a syringe.

*Donating to the National Trust (a memorable phrase in the song) means pooping in a toilet.

*The song's multiple sections allegedly inspired Radiohead to break "Paranoid Android" on OK Computer into three distinct parts. After struggling significantly with perfecting the song's complicated arrangement, the Beatles finally fused the first half of one take with the second half of another to complete the full song. It apparently took around 100 takes to record the track to their liking.

*The BBC banned the song on the grounds of sexual symbloism, concluding that the gun must be some sort of phallic symbol.

*Artists who've recorded or performed this song live include Guns N' Roses, Tori Amos, U2, World Party and Phish.

*Happiness Is A Warm Gun" appears on Bobby Bryant's Earth Dance LP (World Pacific Jazz, 1968). The Breeders' version was released 22 years later on their Pod LP (4AD, 1990).

Obviously these two interpretations are very different in terms of their stylistic approach, but I love them both equally, depending on my mood.

"Foxy Lady (Rob Tex Remix)"---Jimi Hendrix (LimeLinx)
"Foxy Lady (Rob Tex Remix)"---Jimi Hendrix (YSI)

*Written and originally recorded by Jimi Hendrix; first released on his Are You Experienced LP in 1967.

*The US/Canadian version of Are You Experienced had a typo on the track listing~ the song name was erroneously printed as "Foxey Lady". To this day, fans in North America still recognize the song by its misprinted title.

*Hendrix was quoted as saying this was the only happy song he had ever written.

*Rolling Stone magazine placed the track at #152 on their list of the 500 greatest songs of all time.

*"Foxy Lady" has been covered by a wide array of artists including Cee-Lo Green, Booker T & the MGs, The Cure, James Taylor & The New Mastersounds, Giant Sand, and Paul Rodgers and Company.

*Does anyone know who the hell Rob Tex is? This man, vegetable, or mineral (whichever the case may be) has done some interesting re-edits and mashes of material by Marvin Gaye and Michael Jackson, too. He keeps a lower profile than I do though, and that's just wrong. He could be a fugitive, a masked phantom, or another one of Madlib's undercover aliases---who knows? Guess it doesn't really matter...this mix is pretty tight no matter what.

"Thriller (Instrumental)"---Speak Low (LimeLinx)
"Thriller (Instrumental)"---Speak Low (YSI)

*Written by Rod Temperton; originally recorded by Michael Jackson and released on his Thriller LP.

Temperton, once a member of the group Heatwave, also penned "Off The Wall" and "Rock With You" for Jackson.

*The track was produced by Quincy Jones and features a soliloquy from Vincent Price. The special edition version of the song released in 2001 features additional verses by Vincent Price that were cut from the final edit of the original.

Price was apparently given the option of taking $20,000 outright for his ghoulish rap or receiving royalties based on a percentage of the record's sales. Price opted for the $20,000, a decision which effectively cost him millions in lost revenue.

*Two working titles for the song were "Starlight Love" and "Starlight Sun".

*The track peaked at #4 on the US charts, and climbed to #10 in the UK.

*The 14-minute video for the track is considered by many to be the greatest of all time.

*The song has been sampled by numerous hip hop artists, such as Kool Moe Dee, Large Professor, Quasimoto, Public Enemy, NWA, DJ Jazzy Jeff & the Fresh Prince, and Biz Markie just to name a few.

*"Thriller" has also been covered by Ten Masked Men, Aerogramme, and Joe Dolce.

*Speak Low's jazz-funk homage to the MJ classic is a killer Hammond-driven remake that your dancin' feet can't help but appreciate.

"I'm Gonna Love You Just A Little More, Baby"---Kellee Patterson (LimeLinx)
"I'm Gonna Love You Just A Little More, Baby"---Kellee Patterson (YSI)

*Written, recorded and originally performed by Barry White; the song appeared on his 1973 debut album I've Got So Much to Give

*In the early parts of his musical career, White showed very little interest in being a recording artist. Producing, arranging, and writing songs for Felice Taylor, Viola Wills, and Love Unlimited, White had already established a viable career for himself behind the scenes.

One fateful night, however, he recorded himself singing a tune that would later be known as "I'm Gonna Love You Just A Little More, Baby". It crossed his mind that it might be plausible for him to record the song as an artist, but he was initially somewhat skeptical. After some time passed, White played it for Larry Nunes, his business partner, who subsequently spent the better part of two months encouraging him to record the track.

White eventually relented, and as the fairy tale ending goes, the song became a blockbuster hit. Selling more than a million copies, "I'm Gonna Love You Just A Little More, Baby" rose to #3 on the Billboard pop charts and occupied the top position on the R&B charts for two weeks in a row.

*The immensely popular track has been sampled on joints by De La Soul, Big Daddy Kane, Ghostface Killah, Mos Def, NWA, Eric B & Rakim, LL Cool J, Too Short, etc.

*Cookie Monster once parodied this on Sesame Street, calling his version "Me Going to Munch You, Munch You, Munch You". He was, of course, expertly backed by The Crumbs Unlimited Orchestra:

*Kellee Patterson's take on the track is pretty damn impressive as far as I'm concerned. My amigo DJ Prestige did a thorough write-up about her cover over at Flea Market Funk, so head over there to check out the interesting backstory.

"Stop, Look, Listen (To Your Heart)"---New Birth (LimeLinx)
"Stop, Look, Listen (To Your Heart)"---New Birth (YSI)

*Written by Thom Bell and Linda Creed; originally released by The Stylistics as a single and appeared on their 1971 self-titled LP.

*The song peaked at #39 on the pop charts and #6 on the R&B charts in the US.

*Many consider the definitive version of this song to be the rendition by Marvin Gaye and Diana Ross which appeared on their 1973 duet album (Diana & Marvin). They also covered "You Are Everything" on the LP, another track that was originally recorded by The Stylistics.

The duo actually recorded this particular song, as well as many of the others from the LP, in separate studios. During the first sessions, Ross reportedly got pissed off at Gaye for refusing to stop smoking in the studio, so Berry Gordy arranged for them to record in different locations.

*Other renditions of the song have been rendered by Barbara Acklin, Lionel Hampton, Johnny Mathis, and Michael MacDonald. New Birth's 1973 remake is my hands down favorite, appearing on their stupendous Birth Day LP.

"Whiter Shade Of Pale (Live)"---King Curtis (LimeLinx)
"Whiter Shade Of Pale (Live)"---King Curtis (YSI)

*Written by Keith Reid and Gary Brooker; originally recorded by Procol Harum and released on their 1967 self-titled debut.

The group's organist, Matthew Fisher, claims to have co-authored the song despite the fact that he was not listed in the songwriting credits. There has been a lengthy court battle over the matter for the past few years. There seems to be some validity to Fisher's claims of co-authorship, yet his right to royalties has been ruled against on the grounds that it took him 38 years to seek compensation. In November 2008, Fisher was granted permission to appeal this decision in the House of Lords~ as far as I know, the matter is still pending.

*The music in the song was heavily inspired by J.S. Bach (check "Sleepers, Wake!" and "Air on a G String" if you don't believe me).

*When the song was released, it hit the top of the charts in several countries around the globe. Rolling Stone magazine placed it at #57 on their list of the 500 greatest songs of all time.

*The curious lyrics were penned by Keith Reid, who has often scoffed at the idea that the song carries an overwhelming amount of literary baggage. Critics have mentally masturbated over the subject matter for decades, but in all reality, most of the stoned hippies who purchased this record probably didn't give a fuck if the lyrics referenced Chaucer, Milton, and/or Roman mythology. I mean, hey~ "sixteen vestal virgins" sound pretty groovy either way, right?

*There have been nearly a thousand known covers of this song, but few hold weight against King Curtis' sublime take on the track which appeared on his Live at Fillmore West LP. The album brilliantly showcases the saxophonist's prodigious talent, but regretfully, it was released only a week before the musician was stabbed to death outside his apartment on New York's Upper West Side.

Fundamental Supplementals:

In case ya ain't heard, my homeskillet Has-Lo dropped his remix project, You Can Live Thru Anything If Magic Made It, a few weeks ago at WYDU. I've pimped, exposed, and shamelessly endorsed Lo's music enough times that you should know by now how highly I think of his skills. If you want to cop some ill remixes at the amazingly low price of...free...stop by Trav's spot (at the link above) to get your download on...

Word From Your Moms:

"He reproduced himself with so much humble objectivity, with the unquestioning, matter of fact interest of a dog who sees himself in a mirror and thinks: there's another dog."

"It is a tremendous act of violence to begin anything. I am not able to begin. I simply skip what should be the beginning."

"Truly to sing, that is a different breath."

"All the soarings of my mind begin in my blood."

~all above quotes by Rainer Maria Rilke

Souled On Samples: The Cooler Kind Of Mild Edition

noreply@blogger.com (Scholar) — Tue, 14 Apr 2009 15:45:00 +0000

"The Pusher"---Final Decisions (LimeLinx)
"The Pusher"---Final Decisions (YSI)

From 7" b/w "I Feel What You Feel" LOVE 162 (1973)

Sampled On:

"Gangsta Boy (Instrumental)"---Jake One ft. M.O.P. (LimeLinx)
"Gangsta Boy (Instrumental)"---Jake One ft. M.O.P. (YSI)

Produced by Jake One
From the White Van Music LP (2008)

"Here I Am"---The Blue Notes (LimeLinx)
"Here I Am"---The Blue Notes (YSI)

From The Truth Has Come To Light LP (1977)

Sampled On:

"Mrs. International"---Method Man & Redman (LimeLinx)
"Mrs. International"---Method Man & Redman (YSI)

Produced by Buckwild
From the upcoming Blackout 2 LP

"Manhattan Island Serenade"---Leon Russell (LimeLinx)
"Manhattan Island Serenade"---Leon Russell (YSI)

From the Carney LP (1972)

Sampled On:

"Broken Van (Instrumental)"---Cunninlyguists (LimeLinx)
"Broken Van (Instrumental)"---Cunninlyguists (YSI)

Produced by Kno
From the upcoming Strange Journey Volume One LP

"You & I"---Black Ivory (LimeLinx)
"You & I"---Black Ivory (YSI)

From the Don't Turn Around LP (1972)

"The Real"---Tha Connection (LimeLinx)
"The Real"---Tha Connection (YSI)

Produced by 12bit
From the Trapeze LP (2008) (one of the most solid releases last year IMO)

"Groove City"---Chocolate Milk (LimeLinx)
"Groove City"---Chocolate Milk (YSI)

From the Milky Way LP (1979)

Sampled On:

"Let Your Hair Down"---Kidz In The Hall ft. Skyzoo & Lil Eddie (LimeLinx)
"Let Your Hair Down"---Kidz In The Hall ft. Skyzoo & Lil Eddie (YSI)

Produced by Double-O
From The In Crowd LP (2008)

"Look Up, Look Down"---Soft Touch (LimeLinx)
"Look Up, Look Down"---Soft Touch (YSI)

From 7" b/w "Plenty Action" Sundance 1976

Sampled On:

"Unstoppable Threats"---DJ Muggs/GZA/Prodigal Sunn/Masta Killa (LimeLinx)
"Unstoppable Threats"---DJ Muggs/GZA/Prodigal Sunn/Masta Killa (YSI)

Produced by DJ Muggs
From the Grandmasters LP (2005)

"Diamond Studded Eyes"---Bit 'A Sweet (LimeLinx)
"Diamond Studded Eyes"---Bit 'A Sweet (YSI)

From the Hypnotic 1 LP (1968)

Sampled On:

"Kissin' The Curb (Instrumental)"---Jake One ft. Bishop Lamont & Busta Rhymes (LimeLinx)
"Kissin' The Curb (Instrumental)"---Jake One ft. Bishop Lamont & Busta Rhymes (YSI)

Produced by Jake One
From the White Van Music LP (2008)

"Requiem 820 Latham"---The 5th Dimension (LimeLinx)
"Requiem 820 Latham"---The 5th Dimension (YSI)

From the Magic Garden LP (1967)

Sampled On:

"Benzoin Gum"---MF Doom (LimeLinx)
"Benzoin Gum"---MF Doom (YSI)

Produced by MF Doom
From the LP Special Herbs Vols. 3 & 4 (2003)

*A vocal version of this track was also released under Doom's King Geedorah alias as "Krazy World" featuring Gigan

"Don't Let It Go To Your Head"---Jean Carn (LimeLinx)
"Don't Let It Go To Your Head"---Jean Carn (YSI)

From the Happy To Be With You LP (1978)

Sampled On:

"Don't Let It Go To Your Head"---Brand Nubian (LimeLinx)
"Don't Let It Go To Your Head"---Brand Nubian (YSI)

Produced by Chris "CL" Liggio
From the Foundation LP (1998)

"That's The Way I've Always Heard It Should Be"---Lou Bond (LimeLinx)
"That's The Way I've Always Heard It Should Be"---Lou Bond (YSI)

From Lou Bond's self-titled LP (1974)

Sampled On:

"Marry Me"---Murs & 9th Wonder (LimeLinx)
"Marry Me"---Murs & 9th Wonder (YSI)

Produced by 9th Wonder
From the Sweet Lord LP (2008)

"I'll Take Care Of You"---Bobby "Blue" Bland (LimeLinx)
"I'll Take Care Of You"---Bobby "Blue" Bland (YSI)

From the Two Steps From The Blues LP (1961)

Sampled On:

"Forgive Me"---Blue Sky Black Death (LimeLinx)
"Forgive Me"---Blue Sky Black Death (YSI)

Produced by Blue Sky Black Death
From the Late Night Cinema LP (2008)

"Trouble So Hard"---Vera Hall (LimeLinx)
"Trouble So Hard"---Vera Hall (YSI)

Appears on Alan Lomax's Sounds of the South: A Musical Journey From the Georgia Sea Islands to the Mississippi Delta

Sampled On:

"Natural Blues"---Moby (LimeLinx)
"Natural Blues"---Moby (YSI)

Produced by Moby
From the Play LP (1999)

"Ammonia Avenue"---Alan Parsons Project (LimeLinx)
"Ammonia Avenue"---Alan Parsons Project (YSI)

Fom the Ammonia Avenue LP (1984)

Interpolated On:

"Heartless"---Kanye West (LimeLinx)
"Heartless"---Kanye West(YSI)

Produced by Kanye West and No ID
From the 808s & Heartbreak LP (2008)

Word From Your Moms:

"Somewhere in the archives of crudest instinct is recorded the truth that it is better to be endangered and free than captive and comfortable."

"Our individuality is all, all, that we have. There are those who barter it for security, those who repress it for what they believe is the betterment of the whole society, but blessed in the twinkle of the morning star is the one who nurtures and rides it, in grace and love and wit, from peculiar station to peculiar station along life's bittersweet route."

"Actually, there are countless ways to live upon this tremorous sphere in mirth and good health, and probably only one way - the industrial, urbanized, herding way - to live here stupidly, and man has hit upon that one way."

"Anybody who maintains absolute standards of good and evil is dangerous. As dangerous as a maniac with a loaded revolver. In fact, the person who maintains absolute standards of good and evil usually is the maniac with the revolver."

"If you believe in peace, act peacefully; if you believe in love, acting lovingly; if you believe every which way, then act every which way, that's perfectly valid - but don't go out trying to sell your beliefs to the system. You end up contradicting what you profess to believe in, and you set a bum example. If you want to change the world, change yourself."

*All above quotes by Tom Robbins

We Be So Sincere With This Here...

noreply@blogger.com (Scholar) — Fri, 27 Mar 2009 15:54:00 +0000

"The Waves Are High Today"---Don Adams (LimeLinx)
"The Waves Are High Today"---Don Adams (YSI)

Although I've been known to call out the pompous audacity of blah-blah-bloggers whose egos are too big for their tight-ass spandex britches, I have to speak for a moment with the bloated arrogance of a self-appointed tastemaker and declare this: you're stupid, uncool, and crazier than cat piss if you don't like Don Adams .

Not only was Adams a mesmerizing vocalist who could effortlessly channel the spirits of Jackie Wilson and Otis Redding, he was somewhat of an intriguing and enigmatic character as well. Born in Glasgow in 1942 (I see you, Styler), the amazing vocalist was the youngest in a family of seven children. He was a scrawny kid who got picked on quite mercilessly during childhood, but he literally came out swingin' after undergoing intense daily training to become a boxer. As legend has it, Adams (born Donald McKay) emerged a scrappy little ass-kicker, feared by...well...just about everyone.

Even as he began to pursue a career in music, it apparently wasn't uncommon for his violent temper to flare, often fighting people in the audience who didn't care for his performances. Perhaps not surprisingly, the first band Adams sang with was called The Macho's. He teamed up with the group in Germany, having moved there in the late '60s as a staff member of the musical Hair.

The ballsy singer became a regular fixture of the club scene, and would soon come to be known as "the black voice from Munich". From a purely physical standpoint, that particular description was no more reliable than the other label that's often haphazardly applied to his style~ blue-eyed soul (see the pic below to test the questionable veracity of these claims).

While the drive to categorize every-fucking-thing is a naggingly persistent feature of the human condition, it's often misleading and downright moronic to apply stereotypes or phony organizational principles to something as variable and unpredictable as music. Hearing Adams' stirring and incredibly affecting vocals will undoubtedly affirm this notion: the only way one can fully appreciate the immense gift of his artistry is to approach his material with absolute colorblindness and an uncluttered mind. Close your eyes and tell me the homie Don Adams ain't had no soul, children...

Watts Happening (a reference to the 1965 LA riots) was originally recorded in Munich in 1969 and was treated to a limited release on the German Sunset label. The record was such an obscurity that it was damn near impossible to obtain, until Sonorama graciously reissued the LP in 2007 (along with bonus tracks culled from the archives). In addition to showcasing Adams' immeasurable talent, the LP boasts an impressive array of musicians who once comprised the cream of the local jazz scene in Munich.

Following the album's original release date, Adams continued recording studio tracks, although the consensus was that his later material never matched the quality of his earlier efforts. In the '70s he appeared on German television as a member of Love Generation, and later relocated to Hamburg to join the Les Humphries Singers. However, according to the liner notes on the Watts Happening reissue, the vocalist's health and career began a downward spiral due to years of bad habits and excesses. He passed away in London in 1995 due to complications with his liver.

"Sometimes I Don't Like Myself"---Steve Colt (LimeLinx)
"Sometimes I Don't Like Myself"---Steve Colt (YSI)

APPEARANCES CAN BE DECEIVING: PART 2

The first Steve Colt track I was introduced to was "Dynamite", an irresistibly infectious groove that's highly revered by a good many collectors who really know their shit. Larry Grogan of Funky 16 Corners aptly described the single as follows:

"Speaking of brilliant proto-funk, Steve Colt's 'Dynamite' is as heavy as it comes. If ever another white guy laid down a 45 as heavy as this I haven't heard it. Colt grunts and screams his way through the tune backed by slamming drums and bass deep enough to throw the tone arm off the wax."

I never actually copped the original 7" (sometimes compilations make life way too easy), but I used to occasionally price it on the internets just to check the going rate. The first time I saw the label on the 45 I was floored. This dude lookin' like the long-lost brother of Potsie on Happy Days laid down those killer vocals on "Dynamite"? Noooooo shit...(furrows brows, rubs chin).

While the image on the label surely makes for a fascinating conversation piece, I didn't realize how badly I needed to have this side in my crates until DJ Blueprint (aka Mike from This Is Tomorrow) dropped the B-side ("Take Away") as one of his stellar contributions to the Love Lockdown series. Evidently I'm not the only one who fell in love with the song. Quite a few readers e-mailed me to see if I could possibly send them something else by Mr. Colt, so I decided to share one of the best songs from his Paradox LP (Vanguard, 1970).

This particular track, and Paradox as a whole, was quite a different look for Colt in comparison to the vibe he had goin' on with "Dynamite" and its flipside. There's the obvious fact that he grew a nice furry David Crosby porn 'stache in the interim, but the music itself also underwent a fairly radical transformation towards the softer side. Many of the songs were written and produced by Brand Harris, but the album also features soulful interpretations of "Walk Away Renee" and Dylan's "Memphis Blues Again". In sum, if you dig the Muscle Shoals/Stax-Volt sound, there's a very good chance that you'll be feelin' this record as well.

"Sometimes I Don't Like Myself" is arguably a bit maudlin and self-deprecating, but its vulnerability is also undeniably earnest and charming. You may find that it's more subdued and less gripping than "Take Away" in an immediate sense, but it's still tremendously affecting once the substance of the song settles in your soul.

If you missed the post with "Take Away", be sure to take a moment to rewind.

"Dumb I Sound/ATLiens (Tor Mix)"---Outkast vs. Sufjan Stevens (LimeLinx)
"Dumb I Sound/ATLiens (Tor Mix)"---Outkast vs. Sufjan Stevens (YSI)

It's not difficult to harbor some resentment towards Danger Mouse for dropping the Grey Album. I thought it was pretty damn terrific at the time, but who could have foreseen all the ugly little demon spawn that would be gratuitously birthed from its grossly overproductive loins?

Fast forward to 2009, and the guy who's trying to be adorably quirky by smashing apples and oranges into the fruity concoction du jour is a Canadian fella by the name of Tor. In all honesty, I downloaded his Illnoize EP fully expecting to loathe every horrific moment of it. I couldn't imagine that it was going to be particularly aurally delightful to hear Sufjan Stevens' songs of emasculated tenderness struggle beneath the weight of some of the heaviest hip hop lyrics of all time.

As it turns out, my fears were only half-assed justified~ a few of these mixes are actually rather legit. The Outkast redux is my favorite at the moment, but I fuck with a few of the other tracks as well. All in all, I gotta give Tor all due propers for...almost...changing the mind of a stubborn skeptic.

Download the EP in its entirety here

And...if (for some bizarre reason) you find yourself jonesin' for more Sufjan remixes, The Metermaids also dropped a free remix of Stevens mash-ups called...mmm hmmm...Illinoise.

"Hang On To A Dream"---Cissy Houston (LimeLinx)
"Hang On To A Dream"---Cissy Houston (YSI)

Hopefully most of you know a thing or two about Whitney's mama, but if not, here is a brief rundown...

Cissy Houston (born Emily Drinkard) entered the world on September 30, 1933 in Newark, NJ. Five years later she was already pursuing her musical aspirations, singing in a gospel act called the Drinkard Singers with her siblings. As a member of The Sweet Inspirations, she laid down backing vocals for countless artists and recorded a couple of albums with the group before deciding to go solo. In addition to recording her own material, Houston has performed in some capacity with the likes of Dionne Warwick (her niece), David Bowie, Nina Simone, Aretha Franklin, Elvis, Chuck Jackson, Luther Vandross, Patti LaBelle, Dusty Springfield, and of course, her daughter Whitney.

In 1970, the powerhouse vocalist recorded a supreme album for Commonwealth United, entitled Presenting Cissy Houston. In what can only be seen as an unfortunate turn of events, her contract was sold to Janus Records later that year. While she recorded quality material for the label well into the mid-70s, she never received the promotional support she needed to facilitate her success. A prime example of this is that she rendered the original recording of "Midnight Train To Georgia", a song that popular culture clearly associates with Gladys Knight and the Pips.

Midnight Train To Georgia: The Janus Years is a collection of her work with the label that showcases many of the forgotten highlights of her career. "Hang On To A Dream" is one of the finer moments, Houston's striking cover of a beautiful tune penned by Tim Hardin.

Houston has been granted most of her accolades for her gospel recordings, but if you're more interested in delving into her secular material, this digitally remastered compilation serves as quite a worthy introduction.

Dig deeper...

"Funky Cat"---James Knight And The Butlers (LimeLinx)
"Funky Cat"---James Knight And The Butlers (YSI)

The music scene in Miami during the late '60s and early '70s never achieved the same legendary status as Muscle Shoals, Memphis, or Motown, but the southeastern region of Florida undoubtedly spawned some incredibly heavy funk and soul acts in the years preceding the disco invasion. The Miami Funk compilation spotlights some of the region's funkiest citizens, celebrating not only the artists who released major hit records, but some who were rather underappreciated and obscure. James Knight was a phenomenal musician and frontman who unfortunately happened to fall into the latter category.

Born in Miami in 1946, Knight began playing the drums at age 2, joining a calypso band only four years later. At age 14, he started playing around on his brother's guitar, and became so accomplished within a short time that he was jamming with the likes of Sam & Dave, Gwen McCrae, Betty Wright, Frankie Beverly and Ben E. King by the following year.

Around the time Knight turned 19, he formed a group called The Butlers (aka The Fabulous Butlers). The ensemble started doing shows outside of the Miami area, and would eventually perform with Joe Tex, The Chambers Brothers, John Lee Hooker, The Persuaders, James Brown, Muddy Waters, and many more of the era's most popular artists.

While it certainly appeared that Knight was destined for success, his professional woes began shortly after he recorded his Black Knight LP in the '70s. According to the artist's website, the album was put on the back burner because studio executives cautioned him that the material was at least 20 years before its time. It's since been reissued and is available through many online retailers for a fairly reasonable price.

"Funky Cat" has probably been comped the most times (with "Fantasy World", sampled by DJ Shadow, running a close second), and in my opinion, it's the standout track on the LP. It's to your discretion whether your dollars are better spent on copping Black Knight or a more diverse collection of tunes such as Miami Funk. I've read glowing reviews that compare Knight to stalwarts such as Jimi Hendrix, Charles Wright, and Sly Stone, but other collectors have expressed a degree of disappointment with the album as a whole (individual tracks can also be purchased via Knight's website, linked below). I personally kinda dig it, but my suggestion is to stream those bitches before you unass any cash, children.

Dig deeper...

"Kickin' Afrolistics"---The Afros (LimeLinx)
"Kickin' Afrolistics"---The Afros (YSI)

One of the illest things about having a giant music collection coupled with a long-ass history of abusing weed is...aww snap...I forgot. Nah...I'm just playin'. What's dope about it is pulling out throwback joints that you haven't listened to in forever because...ta da...those shits get to be brand new all over again. I had love for this record back in the day (produced by Davy D and Jam Master Jay), but right now it might just sound better than ever.

If you skipped class on The Afros the first time or your silly ass wasn't born yet (dayuuuuummmm....it's hard to believe this album is almost 20 years old), get your learn on by diggin' deeper.

"Oh, Baby"---The Time (LimeLinx)
"Oh, Baby"---The Time (YSI)

Every once in a while, I have to throw in a jam that will ensure the future generation of soul children, so you know...quit reading and go make some beautiful babies for the love revolution.

Dig deeper...

Before you check out, one last little bit of feel good~ a video by my homies Lady Daisey and Batsauce called "Magical". It actually came out quite a while ago, but it never loses its sublime sweetness and power to uplift. More from these two coming soon at SO:

Word From Your Moms:

"A verbal art like poetry is reflective; it stops to think. Music is immediate, it goes on to become."---W. H. Auden

"It is the stretched soul that makes music, and souls are stretched by the pull of opposites--opposite bents, tastes, yearnings, loyalties. Where there is no polarity--where energies flow smoothly in one direction--there will be much doing but no music."---Eric Hoffer

"All paths lead nowhere, so it is important to choose a path that has heart."---Carlos Casteneda

I May Be Paranoid, But Not An Android

noreply@blogger.com (Scholar) — Wed, 18 Mar 2009 06:42:00 +0000

How we doin' out there, soul babies?

Apologies for momentarily dipping out on you again---I realize it only takes half a nanosecond to be forgotten in the vicious cycle of relevance peculiar to the blogosphere. Nonetheless, those of you who still throw down with me despite my erratic and often unpredicatible blogging behavior are the only people I really give a fat damn about in the first place. Thanks for staying true.

Anyway, I was working on a post the other night, but clearly I was too mentally tired to write/type anything remotely intelligible. At the same time, I wasn't able to sleep no matter how many fuckin' chubby white sheep I attempted to count. Somewhere in the midst of this wide-eyed and half-crazed dilemma, I started compiling some of my favorite Radiohead reduxes, and it was in the early hours of that morning that the I'm Kinda Sleep Ee mix was born.

My familiars know that I'm a Radiohead stan, but for the most part I'm a purist. Too many DJs have (inadvertantly?) done their damnedest to make a mockery of the band's music---I mean, hey...can we all agree that there's nothing particularly cute about mashing "Creep" with a Britney Spears joint, children?

In spite of said skepticism, I'm inexplicably inclined to peep the trainwreck, and find myself obsessively collecting the entire gamut of their remixed material. Even the most absurd reworkings can make for an entertaining conversation piece, and I'm Kinda Sleep Ee will hopefully provide substantial evidence that quite a few of these mixes truly don't suck. Some of them might even be described as borderline genius...or so said my sleep deprived brain, anyway.

For those of you who aren't feelin' Radiohead, I offer my sincerest heartfelt regrets. I'll be diggin' from the funk and soul crates again before you can say "Scholar's a silly fuck up" 99 times. Word.

Preview/ Download via Limelinx:
I'm Kinda Sleep Ee: An Insomniac's Tribute To Radiohead

Download the mix via Sharebee

Track List:
Sooo Tired---DJ Panzah Zandahz
Five Step---Overdub Bootleg
Nude---Shanghai Restoration Mix
Atoms For Peace---Four Tet Remix
Weird Fishes---AmpLive Remix
Reckoner---Elijah's Horrible Wind Remix
Skip Divided---Modeselektor Remix
Nude---Three Leaves & A Head Remix
Get Em High//Videotape---Hippomothamus
How Ya Want It---DJ Panzah Zandahz ft. Jungle Bros.
No Karma---Jaydiohead
Paranoid Android---B2 Mix
Nude---DR's Raggedy Anne Remix
Change Order---Jaydiohead
Nude---sayCet Remix

Fundamental Supplementals:

My man Mike from This Is Tomorrow requested that I share a link to the beat tape he just released, a collection of dope remixes he crafted in Sept/Oct. of last year. Check it here, where you can also find links to some of his other remixes and fantastic workouts on the ones and twos.

Track List:

01. Intro
02. 1nce Again featuring A Tribe Called Quest
03. Stakes Is High featuring De La Soul
04. Stick To Your Gunz featuring MOP And Kool G Rap
05. Universal Magnetic featuring Mos Def
06. The Light featuring Pharaohe Monch
07. Broad Factor featuring Quasimoto
08. Funkorama featuring Redman
09. Boom featuring Royce 5'9
10. The Man, The Icon featuring Big Daddy Kane
11. The Revolutionist featuring Guru
12. Outro

Word From Your Moms:

"Sleep is the most moronic fraternity in the world, with the heaviest dues and the crudest rituals." ~Vladimir Nabokov

"Sleep... Oh! how I loathe those little slices of death...." ~Henry Wadsworth Longfellow

"Happiness consists in realizing it is all a great strange dream" ~Jack Kerouac

Dead Men Walking Don't Dream...

noreply@blogger.com (Scholar) — Tue, 03 Mar 2009 16:25:00 +0000

MUSIC:

"Gotta Get Away"---Gloria Barnes (LimeLinx)
"Gotta Get Away"---Gloria Barnes (YSI)

I've been interested in hearing Gloria Barnes' Uptown LP for quite some time, but unfortunately I didn't treat it as a matter of great urgency. I have notebooks full of albums I plan to dig for at some point in the future, and I'd be hard-pressed to put the slightest dent in this ever-growing list before the Funky Mothership arrives to collect my soul. Thankfully I have some of the illest readers in the universe, and one of them sent me a rip of the LP a few weeks ago. Hearing this for the first time put me on the kind of natural high that record junkies live for, so I had to share some love with everyone who hasn't had an opportunity to hear this yet. If I was a contortionist, I swear I'd kick my own ass for failing to be up on this sooner.

The most reliable information and insightful commentary about Barnes I've run across comes by way of my friend Colin Dilnot's blog, In Dangerous Rhythm. Colin featured a breakdown of every track on this Harlem vocalist's killer LP, and was also involved with Uptown's reissue on Castle/Sanctuary Records in 2007. The reissue is part of the Outta Sight Soul Essential series, and is paired with The Chosen Few's Taking All The Love I Can LP for a ridiculously generous price. The common denominator of these fine albums is that they were produced by Johnny Brantley, whose underappreciated mastery is also evidenced on records he cut with the likes of Jimi Hendrix, Lee Moses, The Ohio Players, Jimmy Castor, and Hermon Hitson.

This stellar 2-for-1 release (aka Soul Twins Vol 2) is available as an import via Amazon for collectors in the US, and can also be purchased through numerous online retailers in the UK and beyond. I can assure you that the Gloria Barnes tracks are worth the price of admission alone, and The Chosen Few is another hands down Souled On favorite.

Enjoy.

"Let It Be Me"---The Voices Of East Harlem (LimeLinx)
"Let It Be Me"---The Voices Of East Harlem (YSI)

I think "Let It Be Me" is one of the sweetest love songs ever written, although David Hasselhoff put its good reputation in jeopardy by fucking it up beyond belief on an episode of Knight Rider (note: bad outfits, lip-synching, offensive amounts of hair spray and a giant disco ball were also abused during this travesty). Despite being lightweight emotionally scarred by that unfortunate incident, gratifying renditions by artists such as Roberta Flack, Nina Simone, Chuck Jackson & Maxine Brown, Betty Everett & Jerry Butler, and The Sweet Inspirations have gone a long way toward restoring my faith in the song. Ultimately, I had to just get over myself and...you know...drop it like it's Hoff.

"Let It Be Me" was originally a French song called "Je T'Appartiens". It was first recorded in 1955 by Gilbert Bécaud, who co-wrote the tune with Pierre Delanoë and Mann Curtis. The English version first came about when Jill Corey performed the song on the television series Climax. Corey released her version as a single in 1957, enjoying only a moderate degree of chart success. The song didn't fully penetrate mainstream culture until The Everly Brothers released their cover in 1960, a runaway hit that peaked at #7 on Billboard's Hot 100. Although they were hardly the only recording artists to popularize the tune, their harmony arrangement became the blueprint for countless versions that were subsequently released.

The Voices Of East Harlem were a vocal ensemble that was comprised of as many as 20 members, ranging in age from 12 to 21 years. They released four albums between 1970 and 1974, working with soul legends of the caliber of Donny Hathaway, Curtis Mayfield, and Leroy Hutson. The group's obvious gospel/inspirational overtones caused them to be widely overlooked by the soul/R&B community, although their material gradually moved towards a more secular vibe.

Their debut album, Right On Be Free, may have been more heavily steeped in the gospel tradition than its successors, but it's every bit as soulful as it is righteous. While I don't necessarily find it quite as listenable as their latter LPs, I've come to appreciate it as an essential link in the evolutionary chain between gospel and soul music. Their rendition of "Let It Be Me" is a fine example of this: it's instantly reminiscent of holy sanctified Sunday mornings, although there's only the slightest hint of religiosity to be found within the content of the lyrics.

Initially, the song struck me as somewhat of an oddball choice for a choral ensemble. The other renderings I've heard have been a far more intimate affair, and I'm still not sure that this is the sort of song best suited to interpretation by a massive group of kids, but one day the brilliance of this record just sort of dawned on me out of nowhere and I've given it quite a bit of play ever since. Hopefully the spirit of this groove moves some of you as well.

Dig deeper...

"Baba Nla Iya (Intense Suffering)"---Kaleta & Zozo Afrobeat (LimeLinx)

" Baba Nla Iya (Intense Suffering)"---Kaleta & Zozo Afrobeat (YSI)

While I'm on the subject of amazing ensembles, I've been remiss in failing to mention Zozo Afrobeat up to this point. This phenomenal 13-piece collective is fearlessly led by Kaleta (aka Leon Ligan-Majek), one of the mightiest living legends of African music. Having recorded and performed during his formative years with Nigerian kingpins Fela Kuti and King Sunny Ade, Kaleta's style remains deeply rooted in the provocative sociopolitical messages and captivating musicianship associated with his predecessors. That said, he embodies his own distinct contemporary flair, and has toured in recent years with the likes of Fela's son Femi and Lauryn Hill. Based in NYC, Kaleta and the rest of Zozo Afrobeat hail from various countries around the globe, forging an eclectic sound that effortlessly blends a cornucopia of diverse musical origins.

What I've posted for you is an instrumental edit of "Baba Nla Iya (Intense Suffering)" that originally appeared as the B-side of their "Country Of Guns" 7-inch (Tramp, TR-1008). A longer vocal version appears on the Country Of Guns LP, but my guess is that fewer of you have gotten to hear the flipside of the single. Despite its somber title, this is a groove you can actually dance to...or at least my ass has made the attempt.

I realize that a lot of you snitches are afraid of anything you might consider "world music", but if you're adventurous enough to give this is a spin, I think you may be pleasantly surprised...

Dig deeper...

"4 AM Instrumental"---6th Sense (LimeLinx)
"4 AM Instrumental"---6th Sense (YSI)

"AM Set"---6th Sense & Wildabeast ft. Andras (LimeLinx)
"AM Set"---6th Sense & Wildabeast ft. Andras (YSI)

6th Sense is easily one of the illest hip hop producers on the scene at the moment, and the fact that he's also a prolific songwriter/MC makes him all the more worthy of your undivided attention. Heavily influenced by J Dilla, Miles Davis, Jay-Z, Nas, Stevie Wonder, and Kanye West, 6th draws his inspiration from some of the greatest to ever do it. These lofty aspirations are quite evident in the impeccable quality and precision of his output, and these echoes of the past are part of what makes him such a formidable contender for hip hop royalty in the present and future.

His latest effort, It’s A 6th Sense Beat, Yo!, was released on February 3rd, and is available for free download via Nodfactor. If this is your first introduction to his work, you'll also want to check for his free mixtapes with Mick Boogie, the killer tracks he's released with Wildabeast, and his It's Coming Soon LP. You should definitely do some checking on your own, but a couple more spots where you can find lots of free and legal downloads are included below.

Dig deeper...

"Amnesia"---Blu (LimeLinx)
"Amnesia"---Blu (YSI)

"Just Relax (Dan Aikido Remix)"---Noah ft. Blu (LimeLinx)
"Just Relax (Dan Aikido Remix)"---Noah ft. Blu (YSI)

I waited for Blu's new mixtape, Her Favorite Colo(u)r, with the same pins and needles anticipation that causes old people to get grumpy when the morning edition of the newspaper doesn't arrive on time. Blu simply can't release music quickly enough for myself and other members of his cultlike fanbase.

For the most part, I'm not sure what kind of reviews writers, bloggers and critics have been giving it. I usually try to form my own opinion about things so that I don't find myself falling under the influence of other people's thought processes. However, I did come across one writer (no sense giving him a shout) who essentially argued that emotionalism has no place in hip hop. Now I won't front---lyrically, Her Favorite Colo(u)r stands in stark contrast to the standard fare issued by prototypical gun-toting MCs...think 808s & Heartbreak minus the Auto-Tune. However, hip hop really ain't shit if it isn't the voice of the people. There are plenty of releases geared towards those who prefer heavy doses of misogyny, playerism and pimpitude. By the same token, however, there is undoubtedly a growing audience clamoring for Blu's more confessional style of lyrical poetry. Anyone who's so uncomfortable with the latter that they want anything heartfelt to be excommunicated from the genre evidently has some issues with their manhood. Stop typing and start checkin' for your balls, son.

Anyway, I would guess that many of you are already up on Blu's new mixtape, so I threw in a couple of bonus tracks to accompany "Amnesia", my favorite joint from Her Favorite Colo(u)r. Dan Aikido's remix of "Just Relax" is representative of jazz-hop at it's very finest, and Billie Holiday's "Am I Blue?" is the phenomenal Lady Day track that was artfully sampled on "Amnesia".

Bonus:

"Am I Blue"---Billie Holiday (LimeLinx)
"Am I Blue"---Billie Holiday (YSI)

*Sampled On "Amnesia"

"Once I Have You (I Will Never Let You Go)"---The Originals (LimeLinx)
"Once I Have You (I Will Never Let You Go)"---The Originals (YSI)

Although The Originals have quite a few outstanding sweet soul offerings in their canon of works, their legacy tends to be overshadowed by many of their Motown labelmates who were infinitely more successful. The group's popularity climaxed in 1969 with the release of "Baby I'm For Real", followed the subsequent year with another successful single, "The Bells". Marvin Gaye produced these two hits for The Originals in addition to a handful of other tunes, and this formula undoubtedly resulted in some of the most memorable moments of the group's recording career.

By the time they released their Naturally Together LP, the group was already beginning to lose their commercial appeal. Although "God Bless Whoever Sent You" rose to #14 on the R&B charts, the album as a whole didn't sell nearly as many copies as its predecessors. That said, there are a few gems on this record that I wouldn't want to live without, and "Once I Have You (I Will Never Let You Go)" is certainly one of them. The soaring harmonies and unfeigned lyrical sincerity certainly push the song to the very edge of sappiness, but if you happen to be a fool in love, the syrupy flavor might just be to your liking.

If you're interested in seeking out more from The Originals, the collection pictured above serves as an excellent primer. I've always been forthcoming about the fact that I much prefer the grittier vibe of southern soul, but no matter how bitter one might be, a little spoonful of sugar every now and then ain't never hurt nobody.

Dig deeper...

"Hometown Glory (Chewy Chocolate Cookies Remix)"---Adele (LimeLinx)
"Hometown Glory (Chewy Chocolate Cookies Remix)"---Adele (YSI)

"Make You Feel My Love (Remot Remix)"---Adele (LimeLinx)
"Make You Feel My Love (Remot Remix)"---Adele (YSI)

I honestly had to swear off British blue-eyed soul divas for a while after my ex-girlfriend Amy Winehouse went and fell in love with a crack pipe. It made some sort of twisted sense at the time, but I was wrong to intentionally look past Adele for such a completely illogical reason. Truth be told, the differences between the two are every bit as relevant as their commonalities, despite the fact that the media has incessantly plugged Adele as a kinder, gentler answer to Winehouse's unique brand of frenzied delerium.

The fact that Adele is somewhat of a safer and more wholesome option doesn't necessarily add to her appeal in and of itself. Some of my favorite artists of all time were insufferably tragic human beings, but it can be quite a nerve-wracking affair to stand by and wait for someone you admire to spontaneously self-destruct. It seems that if Adele leaves us it won't be with eyeliner smudges running down her face and a big needle sticking out of her arm. No...she's far more likely to accidentally drown herself in a bowl of oat bran cereal or something equally innocent and seemingly innocuous.

All ridiculousness aside, I do often find Adele's 19 LP refreshing, and the melodic lullaby of her mellifluous vocals can be all too engaging when I'm in the proper frame of mind. That said, my love affair with her material has only gotten more serious after numerous DJs and producers started releasing killer remixes of the tracks from 19. In many instances, these reduxes have inflated the replay value of her work, and effectively preserved the viability of her music long before it could descend into tedium and monotony. The CCC and Remot remixes are a couple of first class examples of why it's still easy to catch me these days with Adele bumpin' out the windows of my ride. If you can't respect that, your whole perspective is wack.

Dig deeper and deeper...

ART:

For those of you who aren't familiar with the revolutionary artwork of Emory Douglas, please do your homework. In his role as the Black Panthers’ official artist and Minister of Culture, Douglas created countless provocative images that were regularly printed in the organization's weekly newspaper. His graphic illustrations were crucial in visually defining the organization's ideology, and became a vital means of extending their message and objectives, even to those who were unable to read or write. While the philosophy and methodology of the Black Panther Party continue to incite much controversy and debate, it is virtually impossible to deny Douglas his rightful iconic status. The historic, cultural and sociopolitical significance of the boldly symbolic images he created simply cannot be forgotten or overlooked.

In 2007, many of these visual artifacts were reprinted and preserved in the book Black Panther: The Revolutionary Art of Emory Douglas. I would recommend buying this book only if you intend to actually open it, as opposed to casting it off as a coffee table prop to make your friends think you're cooler and more intellectual than you really are.

Recently, Station4 in the UK teamed up with Douglas to produce a series of limited edition silk-screened prints that are signed and numbered by the artist himself. The first few are already available, although there will be 12 in total before the series is complete. I ain't gonna lie...these are some expensive-ass posters, but they may be a worthy indulgence for yourself or someone you love if you've got it like that. The irony of these prices being so...ahem...unrevolutionary hasn't been lost on many critics, but on the flip side, it's mighty difficult to avoid participating in the great paper chase. Any thoughts?

NEWS & POLITRICKS:

The Obama administration releases a top secret Bush memo authorizing warrantless seizures of terror suspects; vows to continue releasing previously protected documents.

God isn't responding to your prayers quickly enough? Have you tried leaving a message on his answering machine?

The fearless leader of the No Cussing Club edges closer to persuading LA County to honor a weeklong silence on four-letter words. Scholar says: Fuck yeah!

LIFE:

If this doesn't make you smile today, nothing will (assholes aside, of course):

Word From Your Moms:

"Reality is wrong. Dreams are for real."---Tupac Shakur

"Those who dream by day are cognizant of many things which escape those who dream only by night."---Edgar Allan Poe

Love Lockdown: The Souled On Music Edition

noreply@blogger.com (Scholar) — Sun, 15 Feb 2009 02:12:00 +0000

Well children...this is it...the final episode in the Love Lockdown series. I've been savin' all my love for you, Whitney Houston style, to make sure that my friends could get their collective groove on first. I would hardly consider this a grand finale considering the caliber of what has already been brought to the (turn)table this past week...but as the host of this prolific love jam, I thought it only right for me to throw in my two cents.

As far as my selections are concerned...yes, I dug a handful of "what the fuck?" records from the crates from my tiny little heart to all of yours. If you're a regular visitor to this spot, you know that I tend to feature a love song in almost every post. However, I usually primarily focus on classic soul, funk, and hip hop music, so I wanted to branch out a bit for this exercise and roll with some joints that might not otherwise get any play around here.

I have to tell you that for the most part, romantic love is an exceptionally bitter pill for me to swallow, although I do believe that it's absolutely essential for the fortification of the soul. I'm quite sure that these song choices will reflect my overall ambivalence, and like many of my fellow audiophiles, I ended up having to get a bit random in terms of what I elected to post. I can't claim these tracks to be objectively superior in any way, and on another day this list may have easily consisted of something altogether different. I will stand firmly behind them on one account, however...at some point in my life they have all profoundly resonated with me for some deeply personal reason.

Much gratitude to all of my friends for your outstanding input, and to the rest of the Souled On family for passing through to vibe with us during our countdown to Valentine's Day.

It's still all love, kids...

Scholar

"Do I"---Alice Smith (LimeLinx)
"Do I"---Alice Smith (YSI)

This track doesn't deviate from the norm quite as much as some of the others, but with relatively few exceptions, I don't fuck with a whole lot of post-1974 mainstream R&B albums. Despite this informal and arguably snobbish rule of thumb, Alice Smith is quite a different story altogether. Simply put, I unabashedly adore her.

For Lovers, Dreamers and Me is a fully engaging front-to-back listen, but "Do I" still gives me chills every time I hear it. It's evidently in my DNA to complicate the living shit out of...everything...and this is perhaps especially true as it pertains to matters of the heart. If by chance I find myself overanalyzing, scrutinizing, and anticipating the ultimate failure of a relationship, this track sort of grabs me by the nape of my neck and pulls my stupid head out of my ass.

Loving someone can be so easy when you allow your convoluted thought processes to take a momentary rest. Believe me.

Qualifying lyrics:

I don't wanna
have to think about
The ways that we'll be bad
I don't wanna think about
The days that we'll be sad
Do I?

"Jism"---Tindersticks (LimeLinx)
"Jism"---Tindersticks (YSI)

Let me qualify this selection by stating up front that this is not your typical love song with a title that doubles as a slang word for sperm. "Jism" is at first a far more elegant affair than its connotations and implications might otherwise suggest...it is however, one of the most beautifully troubling songs I've ever heard. The music somewhat deceptively lures you in by treading rather softly, but the song begins to bear a tremendous heaviness once the gravity of the lyrics finally settles into the imagination. Perhaps not the most suitable listening for the faint of heart, but a powerful depiction of love's morally reprehensible underside nonetheless.

Qualifying lyrics:

Need these paper cuts
Need those gravel grinds
Need those pinches to wake me
Give up the drugs
Take the power I offer
Oh the deeper I go
The further I fall
The more I know
The tighter your grip around me

"Move You Run"---Smith & Mighty w/ Tammy Payne (LimeLinx)
"Move You Run"---Smith & Mighty w/ Tammy Payne (YSI)

Without getting unnecessarily personal, suffice it to say that I often have an inclination to run like hell when love starts getting too close for comfort. Human nature rightly lends itself to a fight or flight reaction whenever one feels...ummm...threatened, and quiet as it's kept, I don't have a violent bone in my body. This song is intended as an apology for every time I've gone ghost like Swayze just as the intensity was beginning to build.

Qualifying lyrics:

I know you can see that I wanted to try

"Absolute Beginners"---David Bowie (LimeLinx)
"Absolute Beginners"---David Bowie (YSI)

When I pulled this song out the other day, it suddenly sounded somewhat dated. That said, it can never lose its personal relevance considering that it was one of the songs playing most loudly in the background the first time I fell in love. It serves as a painfully pleasant reminder that I will never be so fiercely innocent ever again. That's a miraculous blessing...and a wicked curse.

Qualifying lyrics:

I've nothing much to offer
There's nothing much to take
I'm an absolute beginner
And I'm absolutely sane
As long as we're together
The rest can go to hell
I absolutely love you
But we're absolute beginners
With eyes completely open
But nervous all the same

If our love song
Could fly over mountains
Could laugh at the ocean
Just like the films
There's no reason
To feel all the hard times
To lay down the hard lines
It's absolutely true

Nothing much could happen
Nothing we can't shake
Oh we're absolute beginners
With nothing much at stake
As long as you're still smiling
There's nothing more I need
I absolutely love you
But we're absolute beginners
But if my love is your love
We're certain to succeed

If our love song
Could fly over mountains
Sail over heartaches
Just like the films
There's no reason
To feel all the hard times
To lay down the hard lines
It's absolutely true

"Legs"---PJ Harvey (LimeLinx)
"Legs"---PJ Harvey (YSI)

There's an underlying pathology to this song that makes it as eeriely disturbing as it is undeniably compelling. PJ Harvey's first couple of albums (Dry and Rid Of Me) were especially riddled with crash-and-burn heartache and histrionics, which made her music an appropriate soundtrack to the classic unhealthy, angst-ridden, dizzyingly psychotic romance.

I was listening to Rid Of Me quite a bit when I first became involved with a very intense artist who stayed locked up in a bedroom for 3 days (on a strict diet of cigarettes and Dr. Pepper) in order to render a near-perfect portrait of Ms. Harvey as a gift to yours truly. It remains one of my most prized love artifacts to this very day.

Qualifying lyrics:

wail scream wail..."you were going to be my life/ damn it"

"Country Feedback"---R.E.M. (LimeLinx)
"Country Feedback"---R.E.M. (YSI)

Out Of Time is the album that sort of marked R.E.M.'s transition from indie darlings to a commercially viable mainstream act. A great deal of the LP's success can be attributed to its blockbuster international hits, "Losing My Religion" and "Shiny Happy People", but on my cassette, the tape was worn thinnest at the point of "Country Feedback".

Stipe sings the narrative so convincingly from a first-person perspective that the lyrics sound like a catharsis of his own inner demons. "Country Feedback" comes across as a tormented confessional, and it may be trite to say so, but you can literally feel his pain. The quiet chaos, desperation, and bumbling confusion Stipe exudes envelopes the listener in a whirlwind of contorted emotions, and the cyclone simply won't let your feet touch the ground until the very last chord is played.

Qualifying lyrics:

This flower is scorched
This film is on
On a maddening loop
These clothes
These clothes don't fit us right
I'm to blame
It's all the same
It's all the same

I was central
I had control
I lost my head
I need this
I need this

It's crazy what you could have had

"JC"---Sonic Youth (LimeLinx)
"JC"---Sonic Youth (YSI)

I've always been of the mindset that only pretentious assholes claim to understand the precise meaning behind your average Sonic Youth joint. My experience with their music is purely visceral...I think it's a grave error to overintellectualize just about anything from their canon of works. Their lyrics are confoundingly abstract, and it often sounds as if they tuned their guitars to the sounds of the subway, so it seems foolish to apply the usual standards for critical analysis to the majority of their output. For myself, I put on their records to simply lose myself in the throes of their emotive fuzziness.

Bearing that in mind, "JC" may not have actually been intended as a love song...or was it? For all the hell I know, they may have been enigmatically tipping their hat to Jesus Christ, or perhaps the whole affair was a blissful, psychedelic byproduct of a pleasantly drug-addled sunny day afternoon. Who knows...who cares? This is what love sounds like to me...bewitching, undefinable, and occasionally cacophonous.

Qualifying lyrics:

And air so thin it weighs a ton - you can see as far as fun
You're nothing but a history - a second here and then you're gone
Quicksand, quicksand all around - turn the corner just beyond
The shadows move and change the groove - and something tells me not to brood

You're walking through my heart once more
Don't forget to close the door - I'm not certain of what you found

"Leif Erikson"---Interpol (LimeLinx)
"Leif Erikson"---Interpol (YSI)

All forms of art are open to subjective interpretation, but I've always thought that the reference to Leif Erikson in this track's title is a metaphor for exploring uncharted emotional territory.

I found myself listening to this song a lot while a very long-term relationship was winding to a close. It seemed unlikely that anyone could understand what I was going through, let alone inspire a spontaneous regeneration of everything I'd lost, misplaced, or voluntarily severed during that period of my life. Emotional investment in the aftermath of a disastrous relationship is indeed analogous to learning a new language.

Qualifying lyrics: "she doesn't know that I left my urge in the icebox"

"Who Are You?"---Tom Waits (LimeLinx)
"Who Are You?"---Tom Waits (YSI)

Tom Waits' "Who Are You" is anything but everyday listening for me...in fact, I hadn't pulled out my Bone Machine CD in quite some time. It's strange even to me that it made this list, but many years ago this was one of my favorite 3 a.m. songs. After a night of partying or socializing, I usually spend an hour or more chain-smoking and collecting my thoughts before I go to bed. The records I choose to meditate on usually bear a hint of melancholy...they at least tend to encourage reflective contemplation more so than something along the lines of NWA that I might listen to during the day.

It would be a struggle to explain my intensely personal relationship to this track...it's complicated...but I will say that some of the lyrics are reminiscent of a particular love of my life, and all these years later, those same words continue to resonate.

Qualifying lyrics:

All the lies that you tell
I believed them so well. Take them back
Take them back to your red house
For that fearful leap into the dark
I did my time
In the jail of your arms
Now Ophelia wants to know
Where she should turn

Go on ahead and take this the wrong way
Time's not your friend
Do you cry? Do you pray?
Do you wish them away?
Do you still leave nothing
But bones in the way?
Did you bury the carnival
Lions and all?
Excuse me while I sharpen my nails
And just who are you this time?

How do your pistol and your Bible and your
Sleeping pills go?
Are you still jumping out of windows in expensive clothes?

Well I fell in love
With your sailor's mouth and your wounded eyes
You better get down on the floor
Don't you know this is war
Tell me who are you this time?

"Simple Twist Of Fate"---Bob Dylan (LimeLinx)
"Simple Twist Of Fate"---Bob Dylan (YSI)

Dylan's music has been dissected with the sharp-edged scalpel of some of the greatest writers of all time, so it would be complete foolishness for me to even attempt to analyze the composition of "Simple Twist Of Fate" from a critical standpoint. Rather than making objective assertions about its meaning, I only care to illustrate how I view the song through my personal lens.

I left home when I was a very young teenager, and as a result, I found myself living somewhat of a nomadic lifestyle in order to survive. It was typical for me to crash at people's houses for a few weeks and then move on to my next destination. No matter where I stayed, I always got around to asking if it was okay if I checked out the host's record collection. One of the places I stayed had a vinyl copy of Blood On The Tracks, and I remember listening to "Simple Twist Of Fate" throughout the tenure of my stay. I'm not sure that it was attached to anyone in particular...probably just some fleeting crush or something of that nature...but that song profoundly impacted my soul. It stayed in my head forever after that. I used to have to simply recall it in my mind until I was stabilized and able to afford my own copy. If that's not love, I don't know what is.

Qualifying lyrics:

They sat together in the park
As the evening sky grew dark,
She looked at him and he felt a spark tingle to his bones.
twas then he felt alone and wished that he'd gone straight
And watched out for a simple twist of fate.

They walked along by the old canal
A little confused, I remember well
And stopped into a strange hotel with a neon burnin bright.
He felt the heat of the night hit him like a freight train
Moving with a simple twist of fate.

A saxophone someplace far off played
As she was walkin by the arcade.
As the light bust through a beat-up shade where he was wakin up,
She dropped a coin into the cup of a blind man at the gate
And forgot about a simple twist of fate.

He woke up, the room was bare
He didnt see her anywhere.
He told himself he didnt care, pushed the window open wide,
Felt an emptiness inside to which he just could not relate
Brought on by a simple twist of fate.

He hears the ticking of the clocks
And walks along with a parrot that talks,
Hunts her down by the waterfront docks where the sailers all come in.
Maybe shell pick him out again, how long must he wait
Once more for a simple twist of fate.

People tell me its a sin
To know and feel too much within.
I still believe she was my twin, but I lost the ring.
She was born in spring, but I was born too late
Blame it on a simple twist of fate.

Fundamental Supplementals:

For those of you who miss my regular steez, here are a couple of my quintessential love jams from the soul side...

"You Are Everything"---The Stylistics (LimeLinx)
"You Are Everything"---The Stylistics (YSI)

"Give Me Your Love (DJ Danny Krivit's Extended Edit)"---The Sisters Love (LimeLinx)
"Give Me Your Love (DJ Danny Krivit's Extended Edit)"---The Sisters Love (YSI)

Word From Your Moms:

In the desert
I saw a creature, naked, bestial,
Who, squatting upon the ground,
Held his heart in his hand
And ate of it.
I said, “Is it good, friend?”
“It is bitter—bitter,” he answered;
“But I like it
Because it is bitter,
And because it is my heart. –Stephen Crane, “The Heart”