We start off the album with a mix of old school style hip hop (Tom Tom Club's "Wordy Rappinghood") with cool, funky disco in the form of Didier En Tom and Sylvie Marks. From there we delve into the depths of synth and electro pop. Bolz Bolz's "Take a Walk" and Space's "Magic Fly" is very mellow relaxing – their style reminds me of artists such as Air or Jean Michel Jare.
Our first classic track comes in the form of Depeche Mode's "I Just Can’t Get Enough" – an excellent tune that sparkles with glitter and glam. From here the mood darkens and slows as illustrated by Felix Da Housecat's "Cyber Whore" and Ferenc's "Yes Sir I Can Hardcore". There's a short interlude at track 13 before we resume with the crazy mix and mash-ups. Partick Hernandez's "Born to Be Alive" is a cheesy, funky, rock tune that sounds like it should be on Euro-Trash – it's so bad that it's good! I believe that this is a classic anthem in the making.
Things become more serious as we mix into New Order's "The Beach/Blue Monday" and Basement Jaxx's "Romeo" - these songs need no description, their quality speaks for themselves. Moving on swiftly, we are introduced to Scratch Massive's "Ice Breaker", in my opinion this is dark house at its best. The sound is reminiscent of Stakka & Skynet's dark, moody drum and bass beats. The mood slowly evolves in the next few tracks as we shift from an undercurrent of tension towards deep breakbeats in the form of Visage and Trance Mog – there's plenty of base and funky lines to keep your head bobbing and feet tapping here.
By track 21 there's a change of style and tempo as The Stooge's classic track "Lose" is mixed in. Somehow I feel that the introduction of such a track is out of place and feels disjointed. There's nothing to continue the rock momentum as we move onto the next track. Here, we revert back to the electronica/bastard style pop with Redagain P vs Keen K's "Body Noise". This song sounds very similar to La Tour's – "People are still having sex" – a pretty cool combination of beats and rhythms. From here, we mix things around with the introduction of L.F.O's hypnotic sounding "Butterslut" (it sounds like a mixture of robots communicating with each other / bullets being fired – creating a rhythmic wall of sound that you will either love or hate). There's a good mix of artists here such as Siouxsie and the Banshees, the Propellerheads and Basement Jaxx. For me though, the outstanding track in this album has to be Lego's excellent "El Ritmo De Verdad" – this is a classic Latin American tune with sexy vocals and laidback beats. The track was too short for me – listen to it and you'll agree that it should have been longer.
After the soothing, mellow sounds comes another tempo change. This is an assault to your senses are we chop and change again. Personally, I think this is what 2 Many DJs do the best. They have this ability to mix and mash up various styles and throw back at you – it can be disorientating, but at the same time a pleasure to listen to as we're taken on a musical journey into different genres and styles. The next 15 minutes illustrate my point perfectly. We initially kick things off with Fat Boy Slim’s "Star 69" and Kern Kraft 400's "Zombie Nation" – very dance orientated – but just as you get use to this, we're grooving to the funky sounds of Prince and DJ Buck. Then out of the blue The Specials' "Gangstar" turns up and injects a bit of reggae into the whole proceeding. Crazy I know, but things don’t end there! We’ve then got Cylob (funky breaks), MC Hammer and the Rolling Stones – all in a space of 3 minutes!
From this "ordered chaos" the pace slows, and the tracks become longer as we approach the finish line. However, before the album ends, we're introduced to two more musical gems. Firstly, Nitzer Ebb's "Join the Chant" is an excellent euro-house tune that is both catchy and cool. For me this track epitomises what 2 Many DJs do best – identify and introduce underground/alternative artists that are both creative and refreshing to listen to. Then there’s the final song - Saint Tropez's "Belle De Jour" – a sensational closing track – dramatic string quartet playing in the background – spoilt only by the introduction of a French guy whisper sweet nothings into you ear.
Overall this is another strong album from the brothers. It’s the sort of album that you'll either love or hate. Some may complain that the tracks are too short and it all seems like randomly skipping tracks. Others may love the combination of contrasting styles and the skilled mixing of various genres. For me i'm playing it safe and sitting on the fence – I do like this album – but not as much as their earlier work. My recommendation to new listeners is to get the older albums (for example, "As Heard On Radio Soulwax" Part 3/4/5 or the original Radio Soulwax shows). For the older fans this is a must have addition to your collection.
Get this album at:
Conjuring up some of the same beats that made Odelay a critical and fan favourite, Guero will have you bobbing your head and taping your toes — to lyrics about graves, the devil and maybe even a serial killer. And on this, his eighth album, Beck reunites with the Dust Brothers to bring back some of that kick-butt sound of Odelay.
Yes, the lyrics are just as sullen and dark as any on Mutations or Sea Change, but it's the beats that set this album apart. But while Guero is drawing comparisons to Odelay it is not a remake of that 10-year-old album. The layers are deeper, the rhythms more complex and the message more mature. Guero is the vision of a grown man, not a 20-something slacker, who has come to terms with the fact that day-to-day life won't ever completely live up to the promise.
"Qué Onda Guero" brings the sounds of the East LA neighbourhood where Beck grew up. The lyrics dance along to the Spanglish of barrio boys calling out to the guero (white boy) walking down the street. The funk and beats may be back but it still low to the ground stuff as exhibited by "Missing" with its strings and percussive musings. Here he combines jazzy Latino guitar beats with the words of a lost man lamenting a relationship gone wrong, giving the tune a hypnotic bossa nova sound that is a pleasure to listen to. "Hell Yes" revisits the two tables and a microphone but dances around the outside of the lines with a hillbilly harmonica, while "Scarecrow" feels like mid-era Cure stuff, kind of haunting and gothic at time, but still with enough bump in its ass to make you forgo the darkness. The Latin groove, and sense of foreboding, continues on "Earthquake Weather" ("Something's coming/sky is purple") and the funk-infused "Black Tambourine."
This is a must have album for this year - intelligent, yet laidback and soulful. Guero is the sort of album you can put on in the background while having a few mates around for a BBQ. Yes, the lyrics are dark but the mood of the album is far from foreboding, an excellent party album that is perfect for the summer. Coming on the heels of 2002's "Seachange," a somber acoustic album of mellow, even depressing songs, some may wonder whether "Guero" is meant to rekindle past glories amid slipping sales and unfavourable criticism.
Maybe, but what separates "Guero" from Beck's past albums is his maturity now: what he sings about and how he does it. He’s having fun with his morbid thoughts, and dancing his way through the graveyard. A highly recommended album.
2. Que' Onda Guero
5. Black Tambourine
6. Earthquake Weather
7. Hell Yes
8. Broken Drum
10. Go It Alone
11. Farewell Ride
12. Rental Car
13. Emergency Exit
14. Send A Message To Her
15. Chain Reaction
Diplo has previously been known for his production skills, but broke into the forefront with a megamix for RJD2. Florida is largely instrumental, but guest vocalists grace a minority of tracks to break up the music. Of course, in true Ninja Tune/Big Dada style, Diplo manages to squeeze in some slightly off-the-wall soundbites, which is becoming somewhat of a trademark of NT and it's subsidiaries.
The LP begins slowly with a laid back introduction, however soon picks up the funk with some violins by Big Lost. The string theme continues through Sarah, whilst adding some deft piano work and some trumpets for good measure. Martina Topley-Bird commences the vocals in Money Power Respect, with her soft haunting voice perfectly placed over some subtle bass, in what is one of the highlights of the LP. By Diplo Rhythm the pace begins to pick up, with some guest MCing by Sandra Melody, Vibez Cartel & Pantera Os Danadinhos, which provides a stark contrast to the opening tracks. Towards the end of the LP the tracks tend to merge into one, with nothing particularly outstanding, just some good eclectic sounds, fused with a high level of skill to re-create the mellow sounds that opened the album.
Diplo manages to fit alot of conflicting sounds together in Florida, but does it in a way that works. This LP won't be to everyone's tastes, but certain seems to align itself with the Big Dada sound.
Although essentially a hip hop label with the likes of Roots Manuva and Ty, Big Dada is managing to carve a whole new genre of its own with artists such as Diplo, a more chilled and mellow hip hop, whilst incorporating a whole host of other influences to keep things on the right side of interesting.
More information can be found at BigDada.com.
Pioneering DJ Grand Master Flash and the Furious Five, are among this year's nominees for the Rock and Roll Hall of Fame - the first rap/hip-hop artists to claim that distinction. Bands are eligible for the honour when their debut album is at least 25 years old (see below for more details). Flash's first album Super Rappin' was released in 1979.
The Sex Pistols, U2, Patti Smith, the O'Jays, Randy Newman, Gram Parsons and The Stooges have all been nominated for induction in the 2005 Rock and Roll Hall of Fame.
The inductees will be announced in November and the induction ceremony will take place in March next year.
About the Rock and Roll Hall of Fame:
Artists become eligible for the Rock and Roll Hall of fame 25 years after the release of their first recording. The process of nominating five to seven inductees each year is based on the artists' \"influence and significance to the development and perpetuation of rock and roll.\" Ballots are then sent to about 1,000 performers, rock writers and industry executives, and those nominees who receive the highest number and more than 50% of votes are inducted. The Rock and Roll Hall of Fame was founded in 1983, and the first induction ceremony was held in 1986. The Hall and Museum opened its doors in Cleveland, Ohio, in 1995.
For more information try; http://www.rockhall.com/
Johnny Ramone, a founding member and guitarist of the pioneering punk act the Ramones died last week (15th Sept) at the age of 55. He died of prostate cancer.
Born John Cummings in New York on Oct. 8, 1948. He and three other musicians formed the group in 1974, taking the name from an alias Paul McCartney sometimes used in hotels. He is the third of the quartet's original members to have died in the past four years: vocalist Joey Ramone (real name: Jeffrey Hyman) succumbed to lymphatic cancer in 2001, while bassist Dee Dee Ramone (real name: Douglas Colvin) died from a drug overdose in 2002. The fourth original Ramone, drummer Tommy (real name: Thomas Erdelyi), left the band in 1978.
The band's bare-essentials music paved the way for such mega-successful ‘90s groups as Nirvana and Green Day. But the Ramones were never fully understood or embraced until it was too late. None of their songs (including Blitzkrieg Bop, I Wanna Be Sedated, The KKK took my baby away and We want the Airwaves) rocketed into the Top 10, because their music was primitive (four chords, a catchy melody, inane lyrics) and because their look wasn’t exactly camera-friendly (dark mop haircuts, torn jeans and leather jackets), the Ramones barely rose above cult status.
Yet their influence was great enough to land a 2002 induction into the Rock and Roll Hall of Fame. And in theaters now (and coming soon to the UK), is End of the Century: The Ramones Story, a documentary that details the band’s tumultuous history. It’s typical that artists who were underappreciated in their time are re-evaluated and celebrated after death. Now that Johnny’s gone, only one member of the original quartet is still alive: drummer Tommy Ramone.
For more on the band checkout their official website; www.ramones.com
Recommended listening: Ramones Leave Home & Rocket to Russia (both 1977) and Road to Ruin (1978).
Joe’s latest albums haven’t really been anything special. In fact, I didn’t take issue with Strange Beautiful Music because I expected him to come back with something that would really blow my mind. Unfortunately, the wait has resulted in a bit of an anticlimax as I am sorry to report that Is There Love In Space? is one of those rare things – a mediocre Joe Satriani album. There are melodies and riffs on this record that could have been on Crystal Planet, and that was like… 6 years ago or something. Employing a seven-string guitar is not particularly innovative and I’m sure that we’ve all come to expect more of Joe. With the exception of the title track and the wonderful flourish of If I Could Fly, the rest of the songs seem, well, a bit lost. It may just be the effects of middle-age and fatherhood taking place, but this reminds me of Bush aping Nirvana riffs, just that Joe apes his own.
Even if he brought out something totally nuts, like he did with Engines of Creation, or he released a record that was a departure from his previous ones, like his self-titled album, at least he would be bringing something new to the table. Something unique, something with a flavour of its own. This record is just lost and I honestly can’t find this album’s identity, not like the avant-garde of Not Of This Earth or the eclecticism of Time Machine. I wish I could come away with a more favourable review, but as it stands, I can’t.
2. Up in Flames
3. Hands in the Air
5. Is There Love In Space?
6. If I Could Fly
7. The Souls of Distortion
8. Just Look Up
9. I Like the Rain
This week has been an excellent week for the radio shows esp. for Radio 1. Currently there's a two hour set from the Scratch Perverts on the Essential Mix (Saturday 1am). This is a huge set with over 60 tracks and an eclectic mix of musical tastes. Checkout the tracklisting below.
Sunday saw another immense musical session take place with Gilles Peterson taking the helm at 11pm with special guests Sa-Ra Live In Session. It's another chilled out set with plenty of ambient, hip-hop and world music. Tracklistings below. After Gilles there's the One World mix which has Bent and the UK DMC Crew. This sessions starts off with some shilled out tunes and then moves through to hip-hop and ends with some excellent drum and bass. Look out for next week as it's DJ Krush and LTJ Bukem. 1am - One World. Tracklisting below.
DJ Plus One - 'Booty Cruncher Instrumental' (SPR)
LL Cool J - 'Headsprung' (DefJam)
Dr. Dre - 'Deep Cover' (Interscope)
Jadakiss - 'Kiss Of Death' (Universal)
Lumidee - 'Uh Oh' (Universal)
Dizzie Rascal - 'Fix Up, Look Sharp' (XL)
Marley Marl - 'Marley Marl Scratch' (White)
Nas - 'Thiefs Theme' (Columbia)
Ghostface - 'Rub' (DefJam)
Jay Z - '99 Problems' (Rocafella)
213 - 'Groupie Love' (TVT)
Twista - 'Twista' (White)
Scratch Perverts - 'Time' (SPR)
Foreign Beggars - 'Hold On' (Dented)
DJ Plus One - Turn Around [instrumental] (SPR)
Dynamite MC feat. Plus One - 'Industry Pt. 2' (Strong)
Brandy - 'I Tried' (East West)
Obi Trice - 'The Set Up' (Shady Records)
Lil' Jon - 'Get Low' (TVT)
Busta Rhymes - 'Make It Clap' (J-Records)
Norega - 'Full Mode' (DefJam)
Ja Rule - 'Clap Back' (White)
J-Kwon - 'Tipsy' (50 50 Def)
Lil' Kim - 'The Jump Off' (Atlantic)
Timbaland & Magoo - 'Cop That Sh*t' (Universal)
B5 2000 - 'Unknown' (White)
ET Boogie - 'Unknown' (Sunny View)
Esther Williams - 'Last Night Changed It All' (White)
Beastie Boys - 'Check It Out' (Grand Royal)
Foxy Brown - 'The Letter M' (DefJam)
Unknown - 'I'm A Man' (White)
Method Man - 'Method Man' (Loud)
Unknown - 'Unknown' (White)
Nina Sky - 'Move Your Body' (J-Time)
Shawna - 'Share That Sh*t' (DefJam)
Dead Prez - 'Hell Yeah' (Loud)
Dr. Dre & Ice Cube - 'Natural Born Killaz (Death Row Records)
Bone Crusher - 'Never Scared' (50 50 Def)
Dead Prez - 'Hip Hop' (Loud)
Blak Twang - 'So Rotten' (Bad Magic)
The Lady Of Rage - 'Afro Puff's' (Death Row Records)
The 45 Kings - '900 Number' (Tuff City)
Eric Sermon - 'Feel It' (Universal)
Mobb Deep - 'Got It Twisted' (Jive)
Method Man - 'What's Happening' (DefJam)
Busta Rhymes - 'As I Come Back' (White)
Jay Z - 'P.S.A. [Remix] (Roc-a-Fella)
Scatch Perverts - 'Come Get It' (SPR)
Egyption Lover - 'Dance' (Egyptian Empire)
Jon Spencer Blues Explosion - 'Bell Bottom' (Matador)
Paul Weller - 'Cosmos [Lynch Mob Mix] (Go Discs)
Jay Z - 'Dirt of Your Shoulder' (Roc-a-Fella)
Timbaland - 'They Ain't Ready' (Interscope)
Bubba Sparx - 'Ugly' (Beat Club)
Justin Timberlake - 'Cry Me A River' (Jive)
Nasty Nas - 'Halftime' (Columbia)
GZA - '4th Chamber' (DGC)
Scratch Perverts - 'Come Get It' [Remix] (SPR)
Big L - 'Devil's Son' (Columbia)
Dizzie Rascal - 'Jus A Rascal' (XL)
Diz - 'Purple Pills' (Shady)
Metallica - 'Frantic' (Vertigo)
Skinny Man - 'It's Over' (White)
NERD - 'Rockstar' (Star Trak/Virgin)
Red Hot Chilli Peppers - 'Californication' (Warner)
Ashad & Klashnikoff - 'The Message' (White)
NERD - 'Lapdance' (Virgin)
Freeway - 'What We Do' (Roc-a-Fella)
Clipse - 'Grindin' (Star Trak)
Radiohead - 'National Anthem' (Parlophone)
Squarepusher - 'Go Plastic' (Warp)
Metallica - 'Wherever I May Roam' (Vertigo)
Scratch Perverts - 'Stand By' (SPR)
Kelis - 'Milkshake' [Remix] (Arista)
Kelis - 'Milkshake' (Arista)
Missy Elliot - 'Pass The Dutch' (Warner)
White Stripes - 'Seven Nation Army' (XL)
Chemical Brothers - 'Come With Us' (Virgin)
Blackicious - 'Alphabet Aerobics' (Quannum)
Nirvana - 'Love Buzz' (DGC)
Ret Hot Chilli Peppers - 'Under The Bridge' (Warner)
Ret Hot Chilli Peppers - 'Blood Sugar Sex Magik' (Warner)
LL Cool J - 'It Gets No Rougher' (DefJam)
Prodigy - 'Fire Starter' (XL)
Squarepusher - 'My Red Hot Car' (Warp)
Ian Brown - 'F.E.A.R.' (Polydor)
Origin Unknown - 'Valley Of The Shadows' (RAM)
Bad Company - 'The Nine' (Bad Company)
High Contrast - 'Restoration' (White)
Calibre - 'Drop It Down' (Creative Source)
Zinc - 'Ready Or Not 2003' (White)
Fresh - 'Hooded' (RAM)
Nightbreed - 'Pack Of Wolves' [Remix] (RAM)
Krust - 'Follow The Vision' (Full Cycle)
Adam F & J-Magik - 'Metrosound' (Kaos)
Pendulum - 'Vault' (31 Records)
Fresh - 'Floodlight' (Dogs On Acid)
Andy C - 'Body Rock' (RAM)
Dilinja - 'Crunch' (Valve)
Roni Size - 'Trouble' (Full Cycle)
Pendulum - 'Another Planet' (Kaos)
Unknown - 'You Disgust Me' (Black Widow/Spider)
Ram Trilogy - 'Capture The Flag' (RAM)
Friction - 'Bogey Man' (True Playaz)
Ed Rush & Optical ft. Scratch Perverts - 'Get Ill' (Virus)
Dillinja - 'Twist Em Out' (Renegade Records)
Dillinja - 'Grimey (V Records)
Calibre - 'Mr. Majestic' (Creative Source)
Three Years Apart - 'Sunrise Séance' (Heardrums)
Abdullah Ibrahim - 'Did You Hear That Sound' (Toshio Matsuura Rework) (Enja)
Val Watson - 'Pass The Vibe' (Thump)
Zap Mama - 'Sweet Melody' (Luaka Bop)
Wale Oyejide - 'Slow Down' (Fat Beats)
Smoke - 'Everything' (MPS)
George Duke - 'Feel' (Spacek Rework) (MPS)
:::::Sa-Ra Live in Session:::::
Sa-Ra Creative Partners - 'Intro: Mighty Mouse' (Live in Session)
Sa-Ra Creative Partners - 'Spacewades' (Live in Session)
Sa-Ra Creative Partners - 'Rosebuds' (Live in Session)
Sa-Ra Creative Partners - 'Downtown' (Live in Session)
Sa-Ra Creative Partners - 'Fantastic Vampyr' (Live in Session)
Sa-Ra Creative Partners - 'Butterscotch' (Live in Session)
Sa-Ra Creative Partners - 'Hollywood' (Live in Session)
Sa-Ra Creative Partners - 'So Special' (Live in Session)
Sa-Ra Creative Partners - 'Outro We-R-Ra!' (Live in Session)
Sa-Ra Creative Partners - 'Glorious (Instrumental)' (ABB)
Pharoahe Monch - 'Agent Orange' (Rawkus)
Aaron Jerome - 'Man Troubles' (White)
Recloose Feat. Joe Dukie - 'Dust' (White)
Johnnie Taylor - 'What About My Love' (Beverly Glen)
Dena Deadly - 'I Don't Eva Wanna Stop' (White)
Madvillain - 'Accordian (Instrumental)' (Stones Throw)
Worldwide Family: Garth Trinidad (West Coast, USA)
Madvillain - 'Accordian (Instrumental)' (Stones Throw)
Nonameko - 'Mellowtone' (Over Tribe Called Quest) (Loud Minority)
Murs & 9th Wonder - 'Badman' (Def Jux)
GB Feat. Spacek - 'Simply So' (Sa-Ra Remix) (Sound In Color)
Madvillain - 'Eye (Instrumental)' (Stones Throw)
Meshell N'Dgeocello - 'Mumin' (White)
Dwight Trible - 'Ishmael' (Passin' The Vibe)
Gil Scott-Heron - 'Peace Go With You Brother' (Soul Jazz)
:::::Scratchin' Special & Bent:::::
Bent - The Waters Deep (Ministry Of Sound)
Bent - Comin Back (Ministry Of Sound)
Bent - I Cant Believe Its Over (Ministry Of Sound)
Bent - Sing Me (Ministry Of Sound)
Bent - Now I Must Remember (Ministry Of Sound)
Momma Gravy - Bottle Back (Pork)
The Egg - Wall (Squarepeg)
Ty - Look For Me (Big Dada)
Halftones - That Music (White)
Kelpe - Nat's Twirley Mug (Depth Charge)
Bauri - Hugs (Exceptional)
Butch Cassidy Soundsystem - Brothers & Sisters (Fenetik)
Diplo - Diplonicus (Fenetik)
Krush -Road To Nowhere
Jaakiss - The Champ Is Here (Sony)
Beats International - Dub Be Good To Me (East West)
Adam F - Where's My...(F Cuts)
Missy Elliott - Pass That Dutch(East West)
Justin Timberlake - Rock Your Body (Jive)
Fah - R n B (Breaks R Us)
Frank Sinatra - Nice & Easy (Reprise)
Fauna - You Might See Me (Ejector Seat)
UK Turntablist - Kutter's Choice (White)
Squarepusher - Red Hot Car (Warp)
Scratch Perverts - Beatdown (Ultimate Dilemma)
DJ Infamous - Midget Madness Beats (White)
Yousef Lateef - Blues For The Orient (White)
Nas -Rule (East West)
Ricci Rucker Utility Phongraph Record (White)
Ricci Rucker - Utility Phongraph Record 2 (White)
2 Tall - Rain (White)
Prodgiy - Poison (XL)
Billy Breaks - DJ Craze (White)
Adam F - Unknown (White)
Coldcut - Unknown (White)
Ricci Rucker - Breaks (White)
Wizzard Of Aahs - DJ Relm (White)
Soul Canva - Mike Boogie (White)
Nubreed - Oddworld (Mob)
Roni Size Vs Rodney P - Trouble (Riddim Killa)
Evil 9 - The Power (Marine Parade)
Let’s cut the crap. A young Paul Gilbert had just won the LA Guitar Wars, and had a reputation as one of the hottest players in Southern California, if not the world, back in the mid-‘80s. There was nothing left to do now but release a shred-saturated album on Mike Varney’s Shrapnel label for the guitar-hungry masses to devour. This album answered the prayers of every guitar-head in LA, from The Strip to the Guitar Centers dotted around the County. Full of kinetically-charged legato and string-skipping as well as Gilbert’s explosive picking, this was a shred-head’s wet dream. To most people, Paul Gilbert was Racer X and Paul Gilbert was Street Lethal.
What most people don’t know is that Street Lethal is chock-full of fine songs and performances from the whole band, not just the BC-Rich clad young knight. With a bass player of the calibre of John Alderete and a drummer like Harry Gschoesser, at times it seems like it’s Gilbert who’s trying to play catch up. For raw energy and technicality, this rhythm section was nigh unmatchable, and Jeff Martin’s relentless screams and rock swagger rounded the band out perfectly – it is impossible to imagine a better singer for the band.
The intro track Frenzy showcases Gilbert’s technique and control, before opening into the pulverising title track. The title track seems to have been written for Martin – a known motorbike freak – and has my favourite solo on the album. It can be best described as a rare moment of musical congruity when everything sounds as it should and there isn’t a note out of place. Other than Frenzy and the Moto Perpetuo-inflected Y.R.O, there are no other instrumentals on the album, allowing Martin’s voice to soar as high as Gilbert’s guitar, from the steady pound of Into The Night to Rock It, more classic rock than classical arpeggios.
Criticisms? The production can seem a little harsh in places, but this is hardly worth picking on as the band was on a budget and had to record the record in under two weeks (and it is a Shrapnel recording, let’s face it). I wish Alderete had more space to shine because his blazing bass lines are immense, and sometimes Martin’s deranged zeal (not a bad thing, I assure you) can sometimes take his vocals out of key. If you’re of a faint disposition, do not listen to this album. If you feel guitar wizardry is a trifle self-indulgent, then avoid this at all costs. But if you want to experience what metal would sound like at the extreme, then this is your sound.
Self-produced and with only Primus’s Brain to accompany him on drums, Buckethead’s Colma has been called Experimental to Instrumental to New Age. Often mystified for wearing a KFC bucket on his head, an undeniable question mark hangs over his head. People often judge on appearances and Buckethead loses as much from this as he gains. People see it as a gimmick and a novelty, overlooking his creativity, audacity and remarkable talents as a guitar player, bringing together music from different arenas and making something tangible from it. People know him only for the horror-movie themes and crunching riffs, missing perhaps the most important thing of all.
That underneath the mask lies a person like any other. Buckethead has substantiated split-personas during interviews, that of the bemasked sorcerer, and that of his alter ego, Brian Carroll. Carroll possesses a gift to write and play music that is intensely personal and emotionally affecting, and it is on Colma that Carroll can express himself most clearly, albeit under a thin veil.
The music itself is simple and sparse in layout, but sonically full and tempting to the other senses, so heavy is its emotional burden that you could reach out and touch it, or taste it on your lips like salty kisses. There is only a simple and constant drum beat in the background – unelaborated but rhythmically substantial – and an accompanying bassline beneath that. The album is predominantly played on an acoustic or electro-acoustic guitar, with overdubs here and there, but there isn’t much more beyond this (in stark contrast with some of Buckethead’s techno-fest efforts). Each song has its own melody and atmosphere. Songs like Whitewash and Ghost are distant and cold, while Machete and the soaring Big Sur Moon provide emotional outlets, wordless yet dripping with lyricism, bittersweet in flavour. There are upbeat moments, like the placid calm of Hills of Eternity or the simplicity of Wishing Well, and there are deeply private moments on For Mom and Watching The Boats With My Dad.
A native of California (growing up in Huntington Beach and Claremont), it is clear that his album reflects Buckethead’s personal feelings regarding a side of him that many thought they would never see. The gratitude to his parent and family s is clear in the liner notes and the tenderness of songs like For Mom. The tie he feels to where he was born, raised and now lives is also palpable. Now living in the Bay Area around Berkeley and San Francisco, there are countless references to the landscape; Colma is the name of a town in the North Bay known for having more graves than inhabitants, and the reference to the epic Monterey coast down Carmel is clear on Big Sur Moon. Even without referring to the landscape, tracks like Hills of Eternity easily recall rolling hills on the way to the East Bay on route 101, or the splendour of Point Reyes. This all could be awfully incomprehensible, but Buckethead’s genius lies in making all of this universal so anyone could understand or appreciate it. Although not as structurally or harmonically rich as anything by a great composer, its simplicity makes it all the more affecting; pleasant enough to dip into but capable of wrenching feeling from all but the coldest of hearts.
As with my other reviews, this one’s been out a while, but I thought I’ve review it anyway. Reviewing things after other idiots like me have already talked garbage about it is often useful – it allows you to step back and really take a good look at it, without feeling any obligation to follow other people in praising or deriding an album. This has been the case with Mya’s Mood Ring. After it debuted to rather unfavourable views, I thought I would check it out regardless. I liked it. The more I listen to it, the more I enjoy it.
Mood Ring isn’t groundbreaking in any way but what it is is flavoursome and varied. Mya walks the line between R&B and what we normally associate with hip-hop more finely than other of her peers, and it’s this that keeps you guessing throughout the album. The songs allow her different virtues to emerge, from the intimate and vulnerable Anatomy One On One to the restless and strained lyricism of Fallen. Her vocal range is also fine, from hushed sex appeal to soaring gospel a la Christina Aguilera. It’s a shame that she’s being marketed more on image, as her singing talents are not inconsiderable – this isn’t just a pretty face. Admittedly, there are one or two clunkers like Whatever Bitch and the cover of Tom Petty’s hit Free Fallin’ (perhaps you will enjoy it, but the original is an old favourite of mine) but the overall impression remains that Mya really has done well on this album, and the rewards are there for those of us who actually listen out.
It’s familiar territory but it doesn’t mean it’s not enjoyable music. This is an album that encourages you to put back your expectations and prejudices and just listen, above everything else, and appreciate the music for what it is.
Show broadcast on Radio 1 on Thursday 22 July 2004
This week’s latest instalment of Radio 1's One World Mix comes from three artists. Evil 9 (aka - Tom Beaufoy and Pat Pardy) kick off the show with an eclectic session - deriving their musical flavour from multiple influences - hip-hop, punk, deep house, garage rock and techno - creating an original minimalism packed with emotive ability.
Next up is DJ Shadow (born Josh Davis) who needs little introduction. Since his debut album, 'Endtroducing...', he has shot to musical stardom. His musical mix of trip-hop, old school hip-hop and laid back cut'n'pasting has elevated him to God status in the DJing arena. This session shows his excellent taste in music and his skill in mixing.
Our final artist is Jimmy LaValle (Album Leaf). This is described as; \"Structural drum and bass undertones grounding and directing dreamscapes that are painted with varieties of organic instruments, making for sonic journeys that are as whimsical as they are epic\". Listen to his set to decide for yourself!
Prodigy Outta Space - DnB Bootleg (White Label)
Evil 9 - Crooked (Marine Parade)
Evil 9 - Devil Stuff (Marine Parade)
Evil 9 - Earth (Marine Parade)
Evil 9 - Restless (Marine Parade)
Evil 9 - Hired Goons (Marine Parade)
DJ Shadow - Intro (Universal)
DJ Shadow - Fixed Income (Universal)
DJ Shadow - What Does Your Soul (Universal)
DJ Shadow - Influx (Universal
DJ Shadow - Un Autre Introduction (Universal)
DJ Shadow - What Does Your Soul 2 (Universal)
Mike Ladd - Ladies Sail Away (K7)
Album Leaf - On Your Way (City Slang)
Album Leaf - Outer Banks (City Slang)
Album Leaf - Another Day (City Slang)
Album Leaf - Over The Pond (City Slang)
Dead Combo - You Don't Look So Good (Output)
DJ Zinc - Flim (Bingo)
Raw Q - Vital Soul (Bingo)
Beny Page - Sneaker Pimp (Cutterz Choice)
High Contrast - Twilights (Last Gleaming Hospital)
Adam F & Fresh - When The Sun Goes Down (Breakbeat Kaos)
Adam Freeland - Mind Killer (Marine Parade)
Grand National - Cherry Tree (Sunday Best)
Sex In Dallas - Berlin Rocks (Kitty Yo)
Alex - Smoke Flow (Soma)
Plumbline Pinpoint - AFC Mix (Hydrogen Dukebox)
Bark - Psychosis (Miss Abuse Fire)
Mr Psyche - Grin (Emotif)
Dub Pistols - AC DP (White Label)
I first came across Border Crossing when listening to X FM for one of the few times. I made a mental note and then swiftly forgot about them. However when browsing the local record shop I came across the album - and when a fan of the Bristol Scene Trip-Hop and Roots Manuva sees \"Think Roots Manuva - with a wide-screen vision last seen in the urban soundtracks of Massive Attack and Portishead\" (The Independent), you can see why I bought it.
On a first listen I wondered how that statement got to press, but further listening proved it was exactly that. I tend to listen to CDs in my car, and given that not many of my journeys are longer than half an hour, I don't often listen to the last part of albums, but that suits this album fine, as in my opinion the first 5 tracks are truely awesome. 'No Go Area' is a classic British Hip-Hop track speaking of street life, with lyrics such as \"Kids playing cricket in back streets/Milk crates as wickets and leap frog over dogs.../Slappers and sluts, jammed in Kappa and push prams.\"
'More To Life' is more turntable based with the silky lyrics of a female vocalist. 'Searching For Mr. Manuva' is perhaps the weakest of the first half. It's good, just a slightly boring ode to the modern founder/pioneer of UK Hip-Hop. 'Original Heads' gets slightly more funky than its previous tracks, and incredibly catchy, pulling classic lyrics from Beck such as \"Give me two turntables and a microphone\". 'Dance For Your Life' slows it down a touch, but keeps a catchy rhythm.
Here after I feel the album drops a peg, it turns more instrumental and laid-back. It's still great stuff, but an anti-climax after the pure wicked beats of the opening half. The Hip-Hop lyrics return thanks for Jehst on 'The Alias', though its not as strong as the previous. The last two tracks carry on the laid-back/instrumental theme from before 'The Alias'.
In summary, a superb album, and not just for (Tr/H)ip-Hop lovers like myself. The Hip-Hop is mellow compared to more commercial genres, and well worth checking out if you are unaware of it. This album is a good starting point to go onto artists such as Roots Manuva and the like.
Border Crossing are Alex Angol, Seorais Graham and Paul Mulvey, who hail from West London... not the most 'street' with respect to their musical style.
1. No Go Area
2. More to Life (Ominous)
3. Searching for Mr Manuva
4. Original Heads
5. Dance for your Life
7. Rankins Move
8. The Return
9. Flight Path
10. The Alias
11. Future Blues
12. Late Night Skit
Label: RG Records
Here's an odd review for you - I bought this album, released January 2002, some time ago now. But it's worth a mention and things have been quiet around here, so why not? I haven't listened to this for a while and just whacked it on today on a whim. Prepare for another flaccid Steve review!
The motivation was the Jagz Kooner remix of \"film music\" - I picked up that single at the same time. I've always been a bit undecided about this sort of mogwai-ish guitar driven ambient, i'd say this was very much verging on \"good\" though. (Damning with faint praise there perhaps) Right from the offset \"the invisible dog\" sets a mood that's carried throughout - chilled, but still demanding a bit of attention.
Film Music is definitely the stand out track, and sounds as good today as it did when I bought it, but over the whole record there's a feeling that it's a one trick pony - I could definitely describe the whole album for you - repetitive, slowly speeding up into a crescendo, and then simmering for a bit before coming up for another boil!
Anyway - read my \"Kazaa is crap\" post, (that i'm just going to write shortly) then take a look around to see if you can get a hold of the Jagz Kooner remix of \"film music\". Now that's a record!
Formed in 1992, Berlin hardcore dissenters Atari Teenage Riot were seeking to reconnect music with political radicalism through ever more challenging, experimental hybrids. They seem like a younger Rage Against the Machine or Consolidated - combining various styles of music ranging from hardcore techno to heavy metal and drum 'n' bass. Whatever sound they produce, you can be assured that it is ear bleedingly loud and is full of raw energy and enthusiasm. A friend of mine once described the quartet's (two boys and two girls) sound and appearance as, Buck's Fizz being gang-raped by Ministry. All four ATRs are gorgeous, black-clad musical terrorists who wrench the most awesome breakbeat-metal holocaust sounds from their gear.
60 Second Wipe Out is their third album and was released in 1999. The songs themselves are pretty well formed and written with a political message in most of them (Revolution Action, Western Decay, U.S. Fade Out and Death of a President D.I.Y.!). The aggressive metal-breakbeat rhythms sometimes clash with the politically induced lyrics leading to a confused mix of musical mayhem - which can be difficult to listen to. The best song in my opinion is No Remorse (I Wanna Die) which was in collaboration with the death metal band Slayer, which was also featured in the Spawn OTS. This song combines drum 'n' bass beats with very heavy, aggressive guitars and manic vocals from the Slayer front man Tom Araya. It's loud, fast and extremely cool.
Overall this is a solid album that has progressed and improved from their previous two albums. Atari Teenage Riot are a great band in the same way the The Matrix is a great movie. They are larger than life, cool, loud and dumb - all at the same time. They've combined, collected and mixed up every influence into an overwhelming entertaining whole. The energy and poise of both will utterly sweep you away.
1. Revolution Action (Elias/Empire) - 4:09
2. By Any Means Necessary (Empire) - 2:38
3. Western Decay (Empire) - 5:50
4. Atari Teenage Riot II (Empire) - 6:08
5. Ghost Chase (Elias/Empire) - 4:34
6. Too Dead for Me (Elias/Empire) - 4:17
7. U.S. Fade Out (Empire) - 2:52
8. The Virus Has Been Spread (Empire) - 1:15
9. Digital Hardcore (Empire) - 4:11
10. Death of a President D.I.Y.! (Elias/Empire) - 4:43
11. Your Uniform (Does Not Impress Me!) (Empire/Melendez) - 5:48
12. No Success performed by Atari Teenage Riot / D-Story / Freestyle - 3:48
13. Anarchy 999 (Barreto/Elias/Empire/Melendez/Perez/Quiles) - 4:07
14. No Remorse (I Wanna Die) (Araya/Empire/Hanneman/King) - 6:47
After that record, the band went on hiatus to allow Crack (one of the band members) to seek psychiatric treatment and deal with declining health caused by long-simmering addictions. Unfortunately the break was not enough and Crack was found dead in his Berlin apartment on September 6, 2001. Since then there has been two more releases by them.
Greyboy's first release in three years, \"Soul Mosaic\" is pitched as \"a case study in beats, soul and funk\". This album is a little less than I expected - after hearing \"Got to be a love\" I was expecting the album as a whole to be similarily soulful, but it seems this stand-out track isn't really representative of the album as a whole.
So, the rest is pretty reasonable, but at times manages to sound (i'm sure I will get laughed at for this comparison) like a rough-edged Money Mark. The production is pretty sharp but generally I find it a bit edgy for my tastes...
To get back to the point, this review is unfairly corrupted by my disappointment at not getting an album filled with Sharon Jones vocals. It'll likely grow on me in time (and there'll probably be an addendum in the comments for this review in a couple of months) but for now, i'm wishing i'd spent that tenner on something by Quantic - since I think that would be a smoother introduction to Ubiquity Records.
This week on Solid Steel (7th to 14th) sees the long overdue debut of Strictly Kev's incredible Raiding the 20th Century - A History of
the Cut Up. Originally constructed for XFM's Remix Superchunk slot in January this year and available across the net via bootleg sites like
Boom Selection (who's server it managed to crash it was so popular). It contains over 130 tracks in 40 minutes and forms a trunkated history of tape loops, mash ups, boots, breaks and bleeps - all with
a healthy dose of humour to help digest the contents. DK completes the first hour with a new track from Wagon Christ aka Luke Vibert who
entertained the crowd at the last Solid Steel club night. The guest mix is french duo DJ lazy and Enforcer doing and all out funk mix interspersed with classic hip hop. All in all a record 184 tracks
over the whole show.
Hear the show here - http://www.totallyradio.com/
This set can be only be described as the mash-up's \"mash-up\". Strictly Kev uses the biggest mash-up artists to construct an eclectic mix of music ranging form hip-hop to jazz, pop to soul, etc...Check it out.
PART1 - Strictly Kev
Avril - Avril Plays The Beatles
Howard Zinn - Peoples' History Of The 20th Century
Loo And Placido - Safari Love
Braces Tower - Special Child
Jrb - Busta Vs Steptoe & Son
Flexus - Double Fantasy
Cropstar - Crazy Prado
Tacteel Vs Britney - Overprotected
Will Smith Vs Mr Trick - Nod Ya Head
Flexus - It Ain't Nothin'
Unknown - Spandau Fillet
Go Home Productions - Turn Out The Light Slave
Go Home Productions - Work It Out With A Foxy Lady
Beyonce - Crazy In Love (poj Mix)
Skatter - Diddy
Flexus - Bite Your Salami
Cassetteboy - Joliver
Frenchbloke & Son - Sound Of Da S Club
Lemon Jelly - Soft Rock
Dsico - Bille Jean Dancehall
Dsico - Flash In Herre
Missy Elliot - Pass That Dutch (poj Mix)
The Beatbox Saboteurs - Come Fighting
Flexus - Interelaxative
Flexus - White Love
Evil Twin - The Lady & The Lake
Justin Timberlake - Like I Love U (ochre Remix)
Dsico Vs Flexus - It's Getting Hot Hot Hot In Herre
Soundhog - Hating My Edge
The Breakbeatles - Feel Alright
Lionel Vinyl - Doctor On The Train
Bastard Runners - Don't Start Me Down
Exactshit - Crazy Humanoids
Frenchbloke & Son - My Name Keeps Coming Up
Dsico - Hey Pop Slut
Go Home Productions - Ray Of Gob
Madonna - Wtf?
Dsico - This Is Missy Country
Girls Aloud - S.o.t.u. (poj Mix)
Player - Angel Of Theft
Osymyso - Wegoddim
Flashbulb - Mama Said Knock You Out
Alvin Lucier - I Am Sitting In A Room
Pierre Henry - Souffle 1
Pierre Henry - DivintiZs IrritZes
John Cage - Imaginary Landscape
William Burroughs - Origin And Theory Of The Tape Cut-ups
Coldcut - Let Us Play Lp Outro
Marshall Mcluhan - The Medium Is The Massage
Steve Reich - Come Out
Radiophonic Workshop - Major Bloodnock's Stomach
Ed Solomon - The Beatle Flying Saucer
Kenny Everett - Double D Show
Cold Crush Brothers Vs The Fantastic 5mcs - Music Of Life
Worlds Famous Supreme Team - Radio Mix
Grandmaster Flash - Adventures On The Wheels Of Steel
Double D & Steinski - Lesson 2
Malcolm Mclaren - Buffalo Gals
The Latin Rascals - Kiss Radio Mix
Double D & Steinski - The Payoff Mix
Big Apple Productions - Genius At Work Vol. 2
Mr. K (aka Danny Krivit) - Rock The House
Double D & Steinski - Lesson 3
Buchannan & Goodman - Flying Saucer Pt.1
Bomb The Bass - Beat Dis
Steinski & Mass Media - The Motorcade Sped On
Coldcut - \"say Kids, What Time Is It?\"
Coldcut - Beats & Pieces
Eric B & Rakim - Paid In Full (coldcut Mix)
M/a/r/r/s - Pump Up The Volume
Eric B & Rakim - Micheal Jackson Got Soul
Dj Shadow - Lesson 4
Hiroshi & Kudo Feat. Dj Milo - Return Of The Original Artform
Derek & Clive - Records (dk Re-edit)
Invisibl Skratch Piklz Vs Da Klamz - Uv Deth
The Herbaliser - Wall Crawling Flying Insect Breaks
Cut Chemist - Lesson 6
Cassetteboy - Fly Me To New York
Jive Bunny & The Mastermixers - Swing The Mood
Stars On 45 - Stars On 45
The Jams - All You Need Is Love
Negativeland - The Perfect Cut
Christian Marclay - Pandora's Box
Jon Oswald - Way
Evolution Control Committee - Rebel Without A Pause
Jon Oswald - Brown
Tape Beatles - Concern About
Jon Oswald - Dab
Tape Beatles - Short History
The Klf - Rock Radio Into The Nineties
People Like Us - Sound Escape
Negativeland - The Letter U & The Numeral 2
Black Helicopters - Hammered Gods
People Like Us - Sound Escape
Tape Beatles - Thus
Forest J. Ackerman - Music For Robots
Osymyso - Intro Inspection
The Freelance Hellraiser - A Stroke Of Genius
Girls On Top - We Don't Give A Damn About Our Friends
Kurtis Rush - George Gets His Freak On
Copywrong - Too Much Freakin
Girls On Top - Being Scrubbed
2 Many Djs - Dreadlock Woman
Osymyso - Pat N Peg
The Freelance Hellraiser - Got My Lovely Money
The Freelance Hellraiser - Step On Man
Osymyso - John's Not Mad
Picasio - Do You Really Like It
Freelance Hairdresser - Marshall's Been Snookered
Mky - I've Created A Monster
B.r.k - Jackonim
Mr Oh - \"breathe, Don't Stop\"
The Freelance Hellraiser - Can You Lick Shots?
Skkatter - Madonna Is A Filthy Slut
Mcsleazy - Don't Call Me Song 2
Girls On Top - I Wanna Dance With Numbers
Kylie - Can't Get You Out Of My Head
Kid 606 - Straight Outta Compton
Jacknife Lee - Get Ur 9lb Cock On
Andy Partridge - The History Of Rock & Roll
Chris De Burger - Lady In Red
Bill Bailey - Cockney Medley
PART2 - DK
Wagon Christ - I'm Singing
Tigre Facile - Examine Mes Yeaux
Styly Cee - Once And For All
Ill Bill - Unstoppable
Bo Diddly - Hit And Miss
PART3 - DJ Lazy & Enforcer
Jimmie Walker - The Black Prince Has Arrived
Rahsaan Rolan Kirk - Freaks For The Festival
Curtis Mayfield - Mothers Son
Jimmy Mcgriff - The Bird
Talib Kweli - On Mission
The Blackbyrds - Do It Fluid
Fred Wesley - I Wanna Get Down
The Impressions - \"something's Mighty, Mighty Wrong\"
The Herbaliser - The Turnaround
The Whatnauts - Why Can't People Be Colours Too
Biz Markie - The Vapours
James Brown - Think
The Meters - Funky Miracle
Issac Hayes - Run Fay Run
The Soul Rebellion Orch - The Hitmen
Quincy Jones - Snow Creatures
Lord Finesse - Praise The Lord
Renaldo Domino - Let Me Come Within
The Vibrettes - Humpty Dump
A Tribe Called Quest - Youthful Expressions
Big Daddy Kane - It's Hard Being The Kane
Rufus Thomas - Do The Double Bump
Soul Searchers - Funk To The Folks
The Other Brother - No Class
Lyn Collins - Mama Feelgood
Apollis - What Is It
De La Soul - Say No Go
Roy Ayers - Aragon
Exit 9 - Miss Funky Fox
The Soul Lovers - Gonna Have Fun Tonight
Marva Whitney - You Got To Have A Job
Wee Willie Mason - Funky Funky
Cold Blood - Shop Talk
PART4 - DJ Lazy & Enforcer
David Shire - Blue
Lalo Schiffrin - Broken Mirrors
Beatnuts - 2 3 Break
Lords Of The Underground - What I'm After
Ol Dirty Bastard - Give It To Ya Raw
Dj Format - Here Comes The Fuzz
Da Bush Babees - We Run Things
Lalo Schiffrin - Another Victim
The Devils - The Excorcist
Brother Williams - Cold Sweat
Melvin Van Peebles - Sweetback Losing His Cherry
The French Connection - Penguin Talk
Alan Shelley - Lady Black Wife
Sharon Jackson - Fakin It
Sharon Jones - Got A Thing On My Mind
Speedometer - Foot And Mouth
Al Trahan - Can I Feel It
New Mastersounds - Bondo Sama
Solid Steel is available worldwide on the following stations:
Student Broadcast Network - campus stations throughout UK
Radio Campus - France
Radio Campus Brussels - Belgium
Radio Active - New Zealand
FSK Hamburg - Germany
The Move - XM Satellite Radio - USA
UMFM 101.5 fm - Manitoba – Canada
Radio FM 4 - Austria
Radio 3 Fach - Switzerland
Radio Magnetic - Scotland
Resonance 104.4 FM - London
Angélique is a Benin-born and Paris-based vocalist who mixes a wide variety of musical styles. On Black Ivory Soul, Angélique explores the musical and cultural kinship between Africa and Brazil, specifically her homeland and the province of Bahia. She incorporates numerous musical styles and influences varying from funk, salsa, soul and jazz to more traditional African musical chants and beats. There are so many musical highlights in this album that only I’ve picked out a handful to describe and discuss.
Olofoofo is a slow mellow tune that combines Spanish flamenco influences with traditional African vocals. A rich, unique sound is produced that is heavenly. Imagine Carlos Santana working with Enya – that’s the sound you’ll experience!
Black Ivory Soul – this has a distinct Latin-American/African influence. The amalgamation of Brazilian salsa beats with soothing background vocals gives a sense of mellow chill. This track would be a cross between ‘Everything but the Girl’ and ‘Ladysmith Black Mambazo’, a surreal marriage of contemporary and traditional styles.
Iemanja has rich, mesmerising vocals that swirl around in your head – I have no idea what she’s singing about but the vocals and music work in harmony with each other to produce yet another stunning track.
Afrika – Combines traditional Benin vocals with an uplifting funky calpyso beat. An energising track that makes you want to get down with your bad self!
Ces Petits Reins is a slow, seductive soul song which was originally by Serge Gainsbourg . Sang in French, it oozes style and class. Melancholy vocals combined with a laidback backing track. Sounds like a traditional jazz standard – probably is – but my knowledge of French Jazz is limited.
Kidjo uses her trademark lush harmonies throughout the album, and she's in great voice, even content to play second fiddle to Dave Matthews on Iwoya.
This is a ‘pleasure you can’t measure’ album. It has beautifully crafted songs that evoke a multitude of emotions. A musical journey that takes you through various uplifting songs, cool mellow tunes, hot Latin sala and jazz classics. My verdict - get this!
1. Bahia (Hebrail/Kidjo) - 3:33
2. Iwoya performed by Kidjo / Dave Matthews - 3:48
3. Olofoofo (Cantuária/Kidjo) - 4:14
4. Tumba (Brown/Kidjo) - 3:49
5. Black Ivory Soul (Faragher/Hebrail/Kidjo) - 4:36
6. Refavela (Gil) - 4:16
7. Iemanja (Brown/Kidjo) - 4:27
8. Afirika (Hebrail/Kidjo) - 4:14
9. Okam Bale (Brown/Kidjo) - 3:34
10. Ominira (Cantuária/Kidjo) - 4:23
11. Mondjuba (Hebrail/Kidjo) - 3:03
12. Ces Petits Riens (Gainsbourg) - 2:14
Cybotron are Juan Atkins (electronics, vocals), Jon-5 (electric guitar) and 3070 (electronics, vocals). This was previously released as Enter (Fantasy 9625) in 1983 – but somehow this album did not take off until the song Clear was released and used world wide in clubs. Thus their album was renamed and repackaged (1990).
Their mix of early electronica and pop was the next logical progression from such pioneering artists as Kraftwerk and Jean Michel Jarre. The sounds and concept was the brain child of Juan Atkins who used basic mixing equipment (using the Mitsubishi X-80 tape recorder) to edit, master and produce this stripped down, bare electronic/synth orientated album.
The most well know song is the title track Clear. This is a beautifully constructed tune which exudes a feeling of uplifting confidence. The deep, dark, funky beats – enmeshed with electro synth vocals makes the track stand out head and shoulders above the rest of the songs in the album. The song makes you want to get down and do some serious break-dancing. Personally I would be attempting to do the ‘worm’ and ‘robot’ dance to this track. An excellent song - one of the classic electro break-dance tunes of the late 1980s/ early 1990s.
It is a shame that the rest of the songs in the album does not match the quality of Clear. Enter is a dark, moody song with melancholy vocals and wailing electronic guitars in the background - the marriage of synth effects and guitars go surprisingly well to project a moody backing track to the repetitive vocals. However, this pales in comparison to the opening track. I believe that the closing track, El Salvador, comes closest to emulating the quality of Clear. The combination of simple synth samples weavers a musical tapestry that is reminiscent of Kraftwerk’s well known songs ( Radioactivity, Autobahn, the Robots).
Don’t buy this album unless you are a die-hard electronica fan. Although it is a defining album that helped shape modern dance music there is a definite lack of quality songs. I would recommend readers to try and download the song Clear. That in my opinion is the best tune in the album. It is on a par with such great songs as ‘Egyptian Lover’s’ Egypt Egypt, ‘Hashim’s’ Al-Naafiysh [The Soul], ‘Newcleus’ Jam On It, ‘African Bambaataa & Soul Sonic Force’s’ Renegades of Funk and ‘Herbie Hancock’s Rockit. Checkout these other songs – they are the pioneering tracks to the beginning of electro break-dance.
3. Cosmic Cars
5. Alleys of your Mind
6. Industrial Lies
7. The Line
8. Cosmic Raindance
9. El Salvador.
In the past couple of weeks Studio Brussels has updates and rearranged their Hang the DJ show. Now you can listen to a few of the most recent 2 Many DJ's mixes. I've got the Radio Soulwax sets and the tracklistings below. Basically go to; http://www.stubru.be/ - and look for the Hang the DJ show on the set. These are the original unedited mixes by the The Fucking Dewaele Brothers! There are 7 in total so check them out. (You'll need a fast connection to listen to them). There's other excellent mixes by talanted artists such as, The Cut Up Boys, The Glimmer Twins (aka Mo & Benoelie), Praga Khan & DJ Pat Ver Elst.
27-08-03 = Radio Soulwax 24
25-08-03 = Radio Soulwax 23
20-08-03 = Radio Soulwax 22
11-08-03 = Radio Soulwax 14
04-08-03 = Radio Soulwax 21
31-07-03 = Radio Soulwax 20
28-07-03 = Radio Soulwax 19
:::Radio Soulwax 24:::
merry christmas mix
white label - stupid
chemical brothers - music - response
queens of the stoneage - lost art of keeping a secret
the black neon - you're so vain
maurice fulton - my gigolo
sonovac - human fly
green velvet - la la land instrumental vs. sagat - fuk dat acapella
agent sumo - ain't got time to stop (sumo's disco mix)
zongamin - serious trouble
op - l bastards - don't bring me down
kiko - monique
super discount - prix choc
monkey - white 45
andromeda - white lines
beastie boys - alive (alan hawkshaw version)
dolly parton - 9 to 5
royksopp - eple
orchester gunter gollasch - es steht ein haus in new orleans
tiga & zyntherius - sunglasses at night
stereolab - percolator
:::Radio Soulwax 23:::
00:00 - intro
00:33 - barry white - killer don't do it
01:42 - daft punk - harder better faster stronger (jess and crabbe remix)
03:50 - chemical brothers - base 6
08:03 - the flying lizards - sex machine
11:00 - the cat in da hat - the real box revamped
12:35 - the jamie starr scenario - welcome to theelite
14:21 - brothers gonna work it out
15:07 - de buffalo's - de gantoise
15:58 - alan braxe & fred falke - running (intro) Vs. funkacise gang - funkacise
18:40 - the rolling stones - too much blood
20:50 - sexafonic - because (def offenders remix)
23:21 - wildbunch - danger!high voltage
27:00 - billie jean - bushwacka cut-up
30:13 - hell - suicide commando
31:37 - ray mang - playa de londres
33:00 - shumacher - good life
35:44 - la yellow 357 - quelle sensation bizarre
38:22 - i feel dub - morroder
39:54 - louie austen - grab my shaft
42:15 - dj rollifingaz - ugly
44:19 - ice t - you played yourself
45:54 - steve miller band - macho city
47:50 - freq nasty - boomin back atcha
49:43 - queens of the stone age - monster in the parasol
52:05 - polyester - j'aime regarder les mecs
55:06 - starfighter - groovin' on ecstacy (DJ 4t4 remix)
:::Radio Soulwax 22:::
00:00 - intro
00:33 - anne clark - the power game
01:24 - polyester - girls from ghent
06:42 - liquid liquid - lock groove
07:36 - everyday people - i like what i like(danny krivit edit)
09:56 - jungle brothers - what u waitin for?
11:30 - eazy-e - eazy chapter 8 verse 10
12:50 - le club - front page news
14:55 - fatboy slim - drop the hate (santos&laid remix)
18:06 - pop da funk - r.o.dance
19:59 - patrick cowley - do you wanna funk
21:46 - air - how does it make you feel (adrian sherwood remix)
24:59 - dave and ansell collins - double barrel
27:10 - die doraus & die marinas - fred from jupiter
28:40 - quick and brite - taking care of business (bastian remix)
30:32 - trans x - living on video
32:12 - timbaland and magoo - intro
32:20 - basement jaxx - head-a-pella vs. glimmer twins - liquid jungle
35:50 - flash and the pan - waiting for a train
38:18 - steve yanko - fever
40:30 - nothing lasts - missile 46.5
43:20 - the shamen - move any mountain (i.r.p.in the land of oz)
45:02 - roxy music - love is the drug
48:30 - fc kahuna - hayling
52:45 - robbie williams - well, did you evah...
:::Radio Soulwax 14:::
00:00 - intro
00:38 - chemical brothers - base 6
04:27 - party one - i'm so crazy vs. virgin prunes - baby turns blue
06:33 - black lodge - horse with no name
07:33 - vinyl fever (dirty ali & funky farid) - electronic for the children
08:33 - japan - adolescent sex
10:05 - dj neutron - on the dancefloor
11:06 - dynamo productions - steppin it up
12:13 - marvells - rock steady
13:52 - hip hop party booster for dj
16:00 - stretch-why did you do it (remix ed & kim compilatie)
18:43 - public enemy - fight the power
20:43 - lovage (nathaniel merriweather) - lovage (love that lovage, baby)
21:41 - sven vath and miss kitten - je t'aime moi non plus
24:00 - serge gainsbourg - requiem pour un con
24:21 - led zeppelin - communictation breakdown
25:06 - sigue sigue sputnik - love missile 11
28:46 - love unlimited orchestra - in the beginning was strange games
30:27 - krs one - step into a world
32:34 - blondie - heart of glass (parallel mix)
35:18 - kiko - italomatic
37:26 - garbage - cherry lips
39:18 - rolling stones - undercover of the night
40:50 - 7 hurtz with peaches and bitch lap lap - sexy dancer
44:09 - new order - confusion
45:05 - miss kitten & the hacker - dirty talk
46:57 - the bollock brothers - horror movies
48:29 - tycoon boy - everyone can do it
50:40 - les paul's - 6 strings of truth
54:14 - lovage (nathaniel merriweather) - ladies love chest rockwell
55:22 - pixies - where is my mind
:::Radio Soulwax 21:::
00:00 - Intro
00:41 - Kurtis Rush - Enter the Bitch (Metallica - enter sandman Vs. Missy Eliott - She’s a bitch)
03:53 - Le tigre - Très bien
06:29 - Kraftwerk - Pocket Calculator
08:41 - Basement Jaxx - Just one kiss vs. The Isley Brothers - Who's
11:42 - Red hot chili peppers - higher grounds
14:10 - Adult - Hand to phone (Carl craig remix)
14:38 - Red hot chili peppers - The Power Of Equality
15:28 - Adult - Hand to phone
18:00 - Anne Clark - Our darkness
21:50 - Producer link
21:57 - Jurrassic 5 - The game
24:21 - Danny Krivit - Feelin James (from James Brown)
25:53 - Michael Jackson - Don't stop 'til get enough
28:57 - Electric 6 - High voltage
31:57 - The Crazies (Arthur Baker vs. Felix da housecat)- Quiet Riot
33:48 - Peaches - Fuck the pain away
36:29 - DJ Pied Piper - Do You Really Like It vs. Axel F - Beverly Hills Cops theme
39:33 - Old dirty bastard - Shimmy Shimmy Ya
39:48 - Madonna - Don't Tell Me
41:28 - Bubba Sparks - Ugly
43:16 - Rolling stones - Monkey man
45:03 - Turntablerocker - A little funk
46:50 - Fpu - Crockett's Theme (from Jan Hammer - Crocket's Theme from Miami Vice)
48:51 - Op:l bastards - If i was your girlfriend
51:00 - Babarabatiri jazz cover
52:30 - Rah band - Clouds across the moon
53:45 - Chemical brothers - the test
:::Radio Soulwax 20:::
00:00 - Madonna - Music (Funked Up Mix)
04:20 - Chakka Khan - I Feel You (Soulwax Remix)
09:10 - Standards - Here We Go
09:55 - B52's - Red Leather
12:07 - Michael Jackson - Billy Jean (Demo Version)
14:18 - 2 Live Crew - Live
14:24 - Chemical Brothers - Come With Us
18:24 - Angie Martinez - Dem Thangz
20:58 - The Weathermen - Poison
23:11 - The Human League - Being Boiled
24:33 - James Brown - Hot Pants
25:46 - Darkus - The Wisemen Speech
26:27 - Lazy Dogz - I Don't Care
28:34 - Ladytron - Playgirl (soulwax remix)
30:41 - Paul Simon - Late in the Evening
33:36 - Tomba Vira - The Sound Of Oh Yeah
34:39 - OMD - Enola Gaye
35:49 - Freelance Hellraiser (Strokes vs. Christina Aguilera) - A stroke of genius
39:22 - B52's - Private Idaho
40:35 - Devo - Girl U Want
41:43 - Monsoon - Ever So Lonely
42:33 - P. Diddy, Black Rob & Mark Curry - Bad Boy For Life
47:19 - Mink Deville - Spanish Stroll
49:10 - Inner City - Good Life (Soulwax Remix)
51:34 - Killing Joke - S.O.36
52:55 - Coda - Honky Tonk Woman
54:13 - Stereo total - J'aime l'amour à trois
:::Radio Soulwax 19:::
Beach Boys feat Missy Elliot & Busta Rhymes - Freak Woo Ha Vibrations
The Undertones - My Perfect Cousin
Toni Basil - Hey Mickey
Stereo total - Automatic music
Maurice Fulton - My gigolo
2 Live Crew - I Cant Go For That
Transmog - Tanks for the platinum
Beny More and Perez Prado - Babarabatiri
Stone Roses - Fools Gold
James Brown - I'm coming
Prince - Controversy
Reel 2 Real - I Like To Move It Vs. Fatboy Slim - Love Island
Queen of Japan - White Horse
Bros - When Will I Be Famous
Acdc Vs. Missy Elliot - freak rock
Redman - Soopaman Luva 5
Bubba Heads - Blazin Hot
Lauryn Hill - Doo Wop (That Thing)
Peter Godwin - Emotional Disguise
Puff Daddy - Bad Boy For Life
Talking Link - Thoughts On Dying
The cramps - Human fly
Hip Hop Party Booster - Party Mix
Whispers - And the beat goes on
Sugarhill gang - Rapper's delight
DJs take control - DJs take control
Beastie boys - Brass monkeys
Robin S - Show me love
Monsoon - Tomorrow never knows
The Moldy Peaches - Downloading Porn With Davo
Nothing alienates people more than a simple argument by contradiction. So it is with some wariness that I launch into a direct contradiction of recent posting on the Streets second album. Nevertheless, I feel moved to leap to the defence of Mike Skinner and, in particular, the musical prowess exhibited in, A Grand Don’t Come for Free (AGDCFF).
Okay, fair enough, some of you guys aren’t feeling the Streets latest work, but its a huge leap from that to claim Skinner is crap.
He is, I would claim, a highly proficient, innovative producer; an MC of significant verbal dexterity and microphone presence and a musician of great originality and wit.
Firstly, the production technique. I would argue the Streets' production style is a retake of the first wave of new-school East Coast hip-hop of 1984/5 evident in the Boogie Down Production Crew’s work with JCV Force and the improbably named Castle D.
This is a very clean sound made up of just two constituents. The basis of which is an uncompromising programmed beat that drives the whole track. On top of this is layered a looped sample or jagged scratches, cuts, stabs and backspins. While modern mainstream dance production covers up unoriginal and turgid music with layer-upon-layer of samples and a polyphony of beats and synths, Skinner keeps it straightforward. He is confident about his beats and rightly so.
The byword is simplicity. Skinner has updated this mid-80s production ethos. The samples are not multifarious and complex but minimal and atmospheric, creating the context for the vocals. This is in evidence by the house-club track backing to build the environment in ‘Blinded by the Lights’ or the Coldplay-esque acoustic strum of ‘Dry your eyes’ to soundtrack Skinner’s bedroom after a break-up. The samples Skinner uses in his tracks brings one closer to the characters in the narrative, the House club, the bedroom, the football-clap of the betting shop, or the distorted beats of ‘Get Out of My House’ which makes one feel one is in the flat where the argument is taking place, feeling the bass of next door’s music reverberating through the walls with the line ‘you don’t give a damn about my broken TV’.
AGDCFF is a significant achievement. The 'garage musical' narrative concept works musically and lyrically. The narrative is so strong that the album is diminished if you don’t start listening to it from track one onwards. The only real singles as far as I can see are ‘Fit But You Know It’ and ‘Dry Your Eyes’ . They are the only tracks that have a distinct identity and internal cohesion, separate from the rest of the album.
Far from glorifying the nihilism of the ‘sex drugs and on the dole’ lifestyle, AGDCFF speaks articulately of the consequences of so living. There is no self-pity, nor is there self-revelry so prevalent in most hip-hop; just pathos and a frank, refreshing honesty. Take, for instance, Skinner's decision to keep the early take of the vocals on the first track, recorded when he had a sore throat because the harshness of his tones suited the raw edginess of ‘It Was Meant To Be So Easy’.
The decision to go for a strong narrative takes Skinner’s lyrics to a natural conclusion. As every music reviewer in the world has pointed out, the emphasis on this album is not sharply spat couplets but story-telling. His best tracks on Original Pirate Material are not just the manifesto statements of ‘Let’s Push Things Forward’ and ‘Sharp Darts’ but the narratives of ‘Don’t Mug Yourself’ and ‘Geezers Need Excitement’ .
AGDCFF picks up the claim Skinner made in ‘Turn the Page’ to: ‘Use defeat and past injury/ as my metaphor and simile’.
Such is his talent for finding metaphors for pathos in the everyday, Skinner doesn’t need to depart from the narrative to convey deeply felt emotion. His powers of description convey all he needs to. In ‘It was meant to be so easy’:
”Rushing to the cash machine, still a bit mashed and lean / Then of course a mandatory car, drives by and splashes me/ Get there the queue’s outrageous/ ladies taking ages/ My rage is blowing gauges/ how longs does it take to validate your wages?/ At last my turn comes/ press the 50 squid button/ Insufficient funds / Today I've achieved absolutely nowt/ In just being out of the house, I've lost out / If I wanted to end up with more now / I should've just stayed in bed, like I know how”
Skinner’s lyrics portray a phonetic love of language. In ‘Fit But You Know It’ he plays on the word ‘Rude’, ('Not rude like 'good' / but just rude like 'uncouth''). In the eerie and ominous ‘Blinded by the Lights’ Skinner underlines his loneliness through the transcription of a text conversation. In ‘Get Out of My House’ Skinner’s honesty pervades. Whilst the lyrics begin as an ordered call/response form, as the character looses his thread, so do the vocals. Repetition, restatement and self-contradiction threaten to unseat him. Finally, he takes refuge in his own inarticulacy; “Yeah, You're not exactly...fuckin'..y'know..”.
His vocal delivery adds to his rhetoric; managing to invest emotion and gravitas in a humble side-swipe. Whether he’s talking about ashtrays needing emptying or allegorising, (‘I saw this thing on ITV the other week’) Skinner places heartfelt and believable emotion into every line.
AGDCCF also exhibits a semiologist’s devotion to signs and symbols. Certain themes and signs repeat themselves and are cast in different illustrative roles: his broken TV, the vagaries of mobile phones and of course his £1000 sterling. More broadly, ‘Blinded by the Lights’ serves as a antithesis to the joyful and uplifting statement of raving in ‘Weak Become heroes’ ; while his use of the verbal imagery of the Roman garrison in ‘Empty Cans’ echoes the metaphors of ‘Turn the Page’.
AGDCFF doesn’t satisfy all those who loved the dance-floor potential of ‘Original Pirate Material’ but it is a remarkable achievement worthy of attention.