Monday, July 27, 2009
The Beatnuts - Watch Out Now b/w: Turn It Out
Watch Out Now (clean)
Watch Out Now (real)
Watch Out Now (instrumental)
Turn It Out (feat. Greg Nice) (clean)
Turn It Out (feat. Greg Nice) (real)
Turn It Out (feat. Greg Nice) (instrumental)
It's sunny sunshine summer time and this morning I woke up whistling the super catchy flute hook from a favorite summer record of mine: "Watch Out Now" by The Beatnuts. So I figured I should dig it out and post it up.
In the hip hop halcyon days of the 90's, The Beatnuts were more known as producers, DJ's, and crate diggers than rappers or lyricists. They built a solid rep for their production skills working with Chi Ali, Common, Fat Joe, and Pete Nice before dropping their debut in '94. But they didn't score a hit on their own until '97 with the classic east coast track "Off the Books", featuring the debut of Big Pun. Two years later, The Beatnuts hit us with "Watch Out Now", maybe one of the most fun hardcore rap songs ever, with one of the most fun flute hooks ever. So fun, in fact, that J-Lo sampled it for "Jenny From The Block" and scored a big hit with it.
The Beatnuts grabbed the sample in question from band leader/musician/engineer Enoch Light's 1975 disco track "Hi-Jack". Light was something of an eccentric, making music for older folks and pioneering the use of 35mm film as a recording medium. According to Wikipedia, he also invented the gatefold album cover, due to his rambling descriptions of his tracks. All I can say for sure is that his flute hook from "Hi-Jack" is fun to whistle and gets lodged in your head quite easily. Enjoy!
PS: If you're put off by colorful languange and adult themes, I'd steer clear of this one...
The Beatnuts - Watch Out Now
Enoch Light - Hi-Jack
Sunday, July 26, 2009
Cartoone - Knick Knack Man
Side A: Knick Knack Man
Side B: Mr. Poor Man
Atlantic Records, 1969
Abaco Dream - Life And Death In G&A
Side A: Life And Death In G&A
Side B: Cat Woman
A&M Records, 1970
Happy Sunday! I've got a bonus double shot of singles for you all on this fine Sunday afternoon...
First up is Cartoone. Cartoone were caught up in the late 60's London pop-folk craze...and they weren't very good. The bulk of their S/T debut was rather limp, notably only for the presence of Jimmy Page's playing. But if you're looking for some Zeppelin or even some Yardbirds riffage, best look elsewhere. Cartoone is content with being plush and soft rather than rough and tumble. The only track I'm going to bother with off this single is "Knick Knack Man", what with "Mr. Poor Man" being pretty unremarkable.
"Knick Knack Man" starts off with a pretty great whistled melody and soon you get the requisite harmonies of the genre. In all, the song has a general Beatles-esque feel to it. The harmonies, gentle strumming, and the lead vocal echo Cat Stevens' particular brand of folk which I reallllllly cant stand. But here it somehow works for me. Maybe the subtle soul influence in the singer's inflections or the melody or maybe I'm just playing the tough guy role and, deep down, I really like this pappy, fruity, pillow soft "rock". Let's hope its a fluke and not a trend.
Cartoone - Knick Knack Man
So, lets dispense with the soft, emasculating, twirling in the fields pop-rock and grab a hold of some funk. This is an interesting record, "Live and Death in G&A"'s songwriting credit is given to Sylvester Stewart and its generally held that this is Sly and The Family Stone trying out some more creatively risky material away from the prying eyes of record executives. This defines the coke fueled speed funk bass playing that Larry Graham is revered for. His pace pushes this track like a downhill locomotive. The bass groove is foretelling, almost note for note, of the Jimmy Castor Bunch funk classic "It's Just Begun". What a great great great song.
The B side is even more amazing to me. The songwriting credit goes to one Eric Siday, a composer of jingles and commercial music. He was also one of the earliest adopters of Moog Synthesizers and this song showcases them brilliantly. With a live drummer pumping out an almost no-wave/ESG/Gang of Four beat, "Cat Woman" sounds like something out of New York in the early 80's, with layers of odd vocals and gobs of funky Moog sounds. This record freaks my dog out.
Abaco Dream - Life and Death in G&A
Abaco Dream - Cat Woman
BONUS! Jimmy Castor Bunch - It's Just Begun
Wednesday, July 15, 2009
It Is Finished...1974
RCA Records, 1974
Com' by H'yere-Good Lord
Funkier Than a Mosquito's Tweeter
I Want a Little Sugar in My Bowl
Let It Be Me
Nina Simone was a legend. One part activist, one part artist, Simone took the kinds of risks and stances during and after the civil rights movement that seem so rare these days. Her stage shows were the stuff of legend…flying from full blown howl to dead silence, incorporating poetry and monologues, and always displaying her commanding presence. She equated her performances to “mass hypnosis” or if you’re feeling corny you could say she put a spell on the audience. Jesus, that was a terrible joke. Anyhow, The High Priestess could rock a clapping, soulful gospel jam or whisper her way through a sultry jazz ballad, all while showcasing her considerable chops on the piano and captivate the listener all the while.
“It is Finished…1974” was her final album for RCA and for all intents and purposes was to be her final album ever. Simone had grown disillusioned by the record industry and the USA in general and was about to commit herself to a self imposed exile. But before that, she was able to drop this final gem in our laps. Partially recorded live @ Philharmonic Hall in NYC, “It is Finished…” showcases Simone’s live skills. “Com’ by H’Yere – Good Lord” (or kumbaya, for the campfire inclined) has her rollicking in a spiritual mood. Contrast that with the bombast and anger on the next track, “Funkier Than a Mosquito’s Tweeter”, and you get the feeling of being on a rollercoaster. “Funkier…” is a pure groove…it contains one of the best B-Boy drum breaks I’ve ever heard and Simone’s vocal turn is all venom and hiss, her delivery pushed by some brilliant percussion throughout. On her standard, “I Want a Little Sugar in My Bowl”, you get to see some of Simone’s playful side and her great use of silence as she stumps her bandmates with a little stop in her piano line…It’s a fun version of her classic, fun being something that Simone was rarely accused of being. Then, with some ominous piano rolls and a sitar, Simone then haunts her way through Exuma’s “Dambala”. The raw, stripped down arrangement exudes a vibe not unlike a voodoo curse. Simone condemns you to your grave with such ferocity that you feel the dirt. Definitely spooky, evocative, and indicative of Simone’s ability to rapt a live audience. The first time I heard this version of “Dambala”, I got goose bumps for sure.
Legendary/Tragic Aspect: Nina Simone got pissed at two of her neighbor kids making too much noise and fired off a round of buckshot at them.
Availability: Easy to Find
Tuesday, July 7, 2009
Jimmy Smith (Arranged and Conducted by Lalo Schifrin)
Verve Records, 1964
Theme From Joy House
Basin Street Blues
Main Title From "The Carpetbaggers"
St. Louis Blues
Blues In The Night
So, Michael Jackson died while I was off. I've been seeing quite a bit of backlash against the coverage of Michael's death and I'm pretty tired of it as well. But I understand it. For about a decade, Michael Jackson may have been the single most recognizable and popular human on the planet. He reached Muhammad Ali, Pele, or the Pope type of fame. They interviewed a guy on TV who emigrated to Los Angeles from Africa in the 1980's just to be in the same city as Jackson. So imagine the kind of pressure Michael must have felt throughout his life. The expectations he shouldered were immense. He seemed like he felt he had to be perfect. You could see his attempts at gaining perfection in his face, through surgery...his records, through his choice of producers...his children, through a painstaking selection of donor wives...the guy was obsessed with meeting some impossible level of perfection that was by all standards, insane.
What does Michael Jackson have to do with The Cat? Well, the first time I laid eyes on this record I thought there was no way it could live up to the expectations of perfection that instantly materialised in my head. Jimmy Smith is roundly considered THE jazz organist. His skills on the Hammond are legendary, he made the instrument a band unto itself. Check out The Sermon or Live at the Root Down if you require proof. Dude killed it, but Jimmy is only half of the awesome that ballooned my expectations. When I saw that the record was arranged and conducted by the awe-worthy Argentine Lalo Schifrin I nearly buckled. Schifrin became well known for his ultra hip film/TV work (Bullitt, Cool Hand Luke, Magnum Force, Mission Impossible) and pairing him with Smith seems so right.
And right it is. I LOVE this record. Schifrin lulls you in to complacency on "Theme From Joy House" before giving you a full blown, angular blast of horns to announce the big band's arrival. From there, its all quick cuts and horn splashes pushed by Grady Tate's sublime drum skills. It's a picture postcard from the swingin' 60's. All Hugh Hefner, martini's, slim suits, and beehives. Its a record that you could play in its entirety in a bar and people would love you for it. Its the theme music in all of our heads when we put on a crisp suit(or killer dress) and stroll through the crisp fall air. In New York. With Russian spies chasing you. It matches your expectations brilliantly and, at points, exceeds them. Wish we could say the same for Michael Jackson...
Legendary/Tragic aspect: Schifrin's working score for The Exorcist was tossed in to the parking lot of Warner Bros after it was rejected as "too scary". (thanks, Wikipedia!)
Availability: Easy to find
RIYL: Film Scores, Organs, The Early to Mid 60's, Madmen, Jazz, Clint Eastwood
Tuesday, June 23, 2009
Saturday, June 20, 2009
Betty Wright - If I Ever Do Wrong (from the album - Explosion)
If I Ever Do Wrong
Alston Records, 1976
Welcome to the first installment of the Saturday Singles Club. The name is rather self-explanatory, so I'll spare you details. I am going to be posting links to the songs, whenever possible. Some of this stuff may be hard to find, so if something you're in to is not shared, I apologize in advance.
Betty Wright was at the forefront of the disco movement in the early 70's in Miami. Starting her career in 1968 (at 15 years old!!) with the album "My First Time Around", Wright didn't begin gaining success until the early 70's. Being part of the legendary TK Records stable, Wright rode the massive wave of Miami disco to wider acclaim and peaked with a Grammy for "Where Is The Love?" in 1975.
As for the song, its on the Art Laboe/Quiet Storm late night slow jam tip. A brilliant horn+piano intro leads in to a torchy, sublime vocal from Wright. Some almost doo-wop backing vocals pepper the song throughout. Well known for her skills in the upper registry (she's been an oft used backing singer), Wright shows some real restraint on a song that is a bit of a departure from her disco-heavy output. Your standard RnB themes of infidelity and love show up lyrically and the unintentional humor is great. She's basically saying "Hey, if I cheat on you take heart that I put some thought in to it. But I'll try my best to be good". Its a morality play on wax.
This song is a gem, one of the hundreds of great soul ballads from the golden age. Sunny enough to accent a summer BBQ, dark enough for a rainy day. Enjoy.
Availability: Not too rare
Legendary/Tragic Aspect: Betty sued and won 35% of the royalties from Color Me Badd's massive hit "I Wanna Sex U Up" for non-clearance of samples.
RIYL: Soul, Sunshine, Art Laboe, Philadelphia, Motown, Stax, Aretha
Friday, June 19, 2009
Heavy Metal Kids
1. Hangin' On
2. Ain't It Hard
3. It's The Same
4. Run Around Eyes
5. We Gotta Go
1. Always Plenty of Women
2. Nature Of My Game
3. Kind Woman
4. Rock N Roll Man
5. We Gotta Go (Reprise)
Los Angeles is such a fucked up place. We've had some seriously legendary radio stations and record stores...but LA has that well worn reputation for not only lacking history, but preferring to bury it. I picked up this KMET play copy at Aron's Records, apparently at some cosmic intersection of tradition and obsolescence. Sad face.
There's a handwritten description on the back of the jacket, yet another idea once common and now missing, "combination of Humble Pie + Silverhead"...which sums up what you're getting in this record better than my ramblings could hope to. This is some serious British Boogie Rock, with singer Gary Holton doing his best to channel Steve Mariott/Paul Rodgers and the band bouncing around from Glam to Blues Riffs. There's some solid, backable jams like "Hangin' On" and "Nature Of My Game". And then there is a horrible reggae(?!?) sounding ballad, "Run Around Eyes" that should be played for every college student with an acoustic guitar. It would be like holding up a mirror to their Sublime-covering soul, the brutal honesty shaming them in to never attempting to filter a style built on reefer, sunshine, and poverty through their hands again. Put down the Bob Marley records, Chad...you just aren't getting it.
Legendary/Tragic Aspect: Singer Gary Holton died of a morphine/alcohol overdose in 1985.
Check out: http://en.wikipedia.org/wiki/KMET_(FM)
Availabilty: Easy to find on CD and Vinyl.
RIYL: Humble Pie, Boogie Rock, Sweet, Free, Sam Velde, England