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Monday (9/22) Habana Outpost 8pm-12am 757 Fulton Street, Fort Greene, BK
Tuesday (9/30) APT (upstairs) 10pm-4am 419 West 13th St. (9th & Washington)

Archive for 2008

Seis Por Ocho (192, 320)
Nuspirit Helsinki
Montana Roha Jazz EP, 2001

This track is enough to make me start playing saxophone again. “Seis Por Ocho” refers to the 6/8 time signature of the song (95% of songs western music is in 4/4, meaning four beats per bar). I love how the 6/8 rhythm makes the song feel fast and slow at the same time. Clearly it sounds fast (the ill drum pattern) but when you tap your foot to it, you’ll see it ends up moving pretty slow.

Nuspirit Helsinki are actually from Helsinki, as opposed to Architecture In Helsinki, who are from Australia. I don’t well them well enough to really talk about them so I’ll quote from their Compost Records page:

On the flip side the track Seis Por Ocho is an exploration of 6/8 beats and Latin influenced horn arrangements. Again the beat is based on the phenomenal work of live drums and percussion provided by Teppo Mäkynen and Mamba. The horn section featuring Jukka Eskola on fluegelhorn, Aleksi Ahoniemi on sax and Jay Kortehisto on trombone is flavored with the high voice of the young Cuban vocalist, Erick Jon. Seis Por Ocho has also a groovy live acoustic bass line performed by Anssi Växby.

This mix isn’t available on iTunes but you can get the “Original Jazz Session Mix” which is also great here (that link will launch your iTunes).

[to download, right-click (PC) or ctrl-click (mac) on 192 or 320 above and choose “save linked file as” or similar.]

September 2008 Chart

Turn It Up - Koncept Sparkz
Expansions - Hi Perspective
Spread It On Featuring Alice Russell - TM Juke And The Jack Baker Trio
Gettin Up (Extended) - Q-Tip
Desire (Moodymann Remix) - Jose James
Heard It All Before - Ghostface Killah
The Upgrade featuirng Posdnuos & Oddisee - J-Live
Ghetto Letto - Barry White
Prayer For Angry Young Men - Charlie Dark & Roger Robinson
Cold Water Music - Aim

Hope That We Can Be Together Soon (192, 320)
Harold Melvin & The Blue Notes (Featuring Sharon Paige)
To Be True, 1975

In my ongoing systematic effort to “lock down” my record collection (listen to every record, mark and record every good song, etc., see pics below) I get reminded of the foolishness of my task. That happened recently when I went back through my Harold Melvin & The Blue Notes records that I had I had originally marked five or more years ago. I looked at my old ratings with “I didn’t know any better” nostalgia. I can see how I was listening to records trying to find something I was looking for as opposed to just listening to hear what was there. Case in point, I pretty much passed over this song because (I’m guessing) it didn’t sound gritty. Of course, the rhetorical question is will my taste shift/expand to in the next five years?

Ghostface borrowed this for his “Teddy Skit” on his 2001 album Bullet Proof Wallets.

[to download, right-click (PC) or ctrl-click (mac) on 192 or 320 above and choose “save linked file as” or similar.]

Recommended


(click the flyer if you want to rsvp on myspace for reduced admission)
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Wise
Ghostface Killah
Hidden Darts, 2007

I used to work in publicity in the Epic Records “urban” music department many moons ago and…there were a lot less things to recommend that job than you might guess. One good thing was that the head of my two-person department had been around a long time and made her mark working R&B (Luther Vandross, Sade, etc.) and didn’t care that much for “little rappers” and every once in a while, that would work in my favor. The best example of that was when I had to take the top three editors of The Source to a studio for Ghostface to play them some music from Supreme Clientele for consideration for the cover of their magazine.

I (and most people at the label) hadn’t heard any of the music because Ghost wouldn’t let any out for fear of a leak. I also had never really heard music on $10,000 speakers at chest-rattling volumes. The first of two songs I remember clearly from that day was “Nutmeg,” which I think he played first. The Source guys were doing their Source-Guys thing, meaning, enjoying their clout in getting to hear the music and not acting overly interested while we were waiting for Ghost but when he played “Nutmeg” and the flute came in on the first verse (especially the two notes that drop down at :41) they suddenly looked like fans who won a Ghost contest (deep head nods, screwfaced, hands covering open mouths…and I was right along with them).

The other song that stood out from that day was this one, which didn’t make the album. I remember Ghost saying that it wasn’t a sample and that they re-recorded the song (”In The Rain” by The Dramatics, 1972), orchestra and all, which sounded absurd to me at the time. I didn’t realize until I finally heard the song again this week (thanks Jamal) that this was the first instance of Ghost rapping over an entire soul song, including the original vocals. He rhymed over The Delfonics “La-La Means I Love You” in 2004 on “Holla” (which I thought was the first time) and he rhymed over Johnny “Guitar” Watson’s “Superman Lover” last year on “Supa GFK” but “Wise” dates back to 1999.

So, Ghost got the cover:

But only after some shady dealings (over my head) which included them saying they would only do it if RZA was also in the picture (RZA only produced 2 songs on the album and was uninvolved in the overall crafting of the album). There were also some final negotiations over a lunch with my boss and the Epic marketing person working on the album, which I’m sure included a strategic purchase of advertising space in magazine.

The release of the cd was a complete mess, the info in the booklet didn’t match the info on the tray card and neither matched the music on the CD. This song, listed as “In The Rain” (unless there are two versions, which I doubt) made the booklet; I assume they thought they were going to come to a financial agreement with the publisher and failed to with not enough time to update the booklet.

As you can see, the song was re-recorded in Detroit with The Dramatics (the original singers), The Detroit Symphony and the legendary Dennis Coffey on guitar.

The bittersweet part of my Supreme Clientele experience was that I was listed in the thank you’s:

…right before he says “F— these record companies”

(Oh well…I think it was actually the A&R department that added everyone that worked on the album).

Songs are available for two weeks.

Where Will You Be
Yaw
Brownswood Bubblers 3, 2008

Where Will You Be
Khari Lemuel
Happy To Be, 2006?

I missed the first two discs in this series but I definitely need to go back and check them because this one is excellent (I would expect no less from Gilles Peterson). It was hard to decide what song to post (a close second place went to “How Bout Us” by Katalyst featuring Steve Spacek) but I decided on this one because I just received an extremely similar version the week before (thanks Pure P).

I first thought it was the same song with two different artist names but when I decided to get to the bottom of it, I realized they are actually different versions. Both artists are from Chicago and they’re in each other “top friends” on myspace. I wonder which one of them wrote the song. If it’s Khari, it must really suck that his version didn’t make it onto the Gilles Peterson compilation! Especially because I like it better so far. His singing seems a little rougher around the edges and has more of a distinct style. His version also has better dynamics. He drops the percussion out completely at the “oh oh oh” part (2:25) and uses more layers of harmony than Yaw, who just keeps the song moving along without really digging into that potentially cathartic moment. More plainly, that part of Khari version makes me put a hand in the air like I’m in church and the Yaw version doesn’t. Also, the ending of Yaw’s version just does a repeat-and-fade where the Khari’s version drops down to just bass and brass (3:41) and then moves into a much more interesting ending.

Give it up for friendly competition.

Songs are available for two weeks.

Mama’s Dead
Bloodfire
Doin’ James, 2008

This will probably be the house-iest song that I’ll ever post (well, never say ever). This is a relatively new compilation from Sweden’s G.A.M.M. Enterprises, a label I’m a big fan and the label that put out “Follow Me” by Red Astaire which I posted a couple years back. I feel like it’s safe to say that they’re the #1 bootleg remix label in the world for this kind of music (I suppose that is a pretty specific thing to be #1 for). This is only the second CD they’ve put out in their 5 or more years of existence (all of the other releases are on vinyl). I guess they are testing the waters to see if anyone comes after them or feeling increasingly confident because no one has yet.

This remix by Bloodfire (a.k.a. Daz-I-Kue of London’s Bugz in the Attic) is a re-working of a song by the same name from the movie Black Caesar (1973). I heard the remix before I heard the original which I suspected was a ballad (it is) and I’m totally impressed that he didn’t overpower the vocal which is so agonizing and personal (”my mama’s dead…no one to talk to when I feel alone…no one to stop me when I go to far…I need her…she tried so hard to make me a respectable man…she worked like a slave…and prayed hard every day…what did I do for her?…I wish I made her proud to call me son”). I assume that this song is related to a scene in the movie but when I first heard it, before I knew what album it came from, I thought, “Damn, when did his mom die? This sounds like straight therapy.” You can hear the original in all of it’s ballad-ic glory using the player in the top right corner of this page. I can’t help but prefer the remix, I’m like the hope it adds.

Songs are available for two weeks.

August 2008 Chart

Love Ritual - Al Green
DNA Metamorphosis - Simbad
Flat Foot - Horne Singers
Far Out - Crown Heights Affair
Kufanya Mapenzi (Making Love) - Ramsey Lewis
Daddy Rich - Rose Royce
Nights on Broadway - Candi Staton
Pencils For Dolphins - TM Juke
Brothers - 7 Samurai
This House Is Smokin’ - B.T. Express
Mutes And Drops - Hint

Desperate Times Call For Desperate Pleasures - Part 2

Pains of Love
The New Birth
It’s Been a Long Time, 1973

And This Is Love
Gladys Knight & The Pips
Neither One of Us, 1973

My Man’s Gone Now
Nina Simone
Nina Simone Sings The Blues, 1967

Love (Your Pain Goes Deep)
Frankie Beverley And The Butlers
The Sound Of Philadelphia, 197?

This is a response/continuation of a post on Captain’s Crate, one of my favorite mp3 blogs. The post is called “Desperate Times Call For Desperate Pleasures” and the four songs posted are about “The kind [of anguish] that can reduce a grown man to pathetic teary desperation.”

“The Pains of Love” by The New Birth was the song that immediately came to mind and gave me the idea to do a Part 2 on this theme. I love how this guy’s woman left him and he’s giving her a lecture on the pain that she’s going to be in. He’s just projecting away, “Why am I hurting this way?…you will say.” He ends the songs whispering “You’ll be lost, you’re gonna need me…”

The Gladys Knight song was sampled on “It Takes More” by Goapele. This one is definitely over the top. It’s basically a list of things objects/memories like “drinking too much pink champagne” that remind her of her former man. There are few interesting items like “how you used to cheat at checkers” and “a TV Guide.”

The Nina Simone song is a slow burner but builds to an intense ending. I actually recorded this from “The Best of Nina Simone” on RCA but wanted to give the original album info.

I found this pre-Maze Frankie Beverly track on The Sound Of Philadelphia compilation. It’s originally from this 7″. Not sure if there is an album or not. I love how he slow he says “now the pain keeps getting deeper” at :52, its as if the pain is affecting his speech.

Anyone up for doing a Part 3 on this theme? Send me a link if so.

Songs are available for two weeks.

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This day on their schedule said “surprise guest” or something like that until recently.

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