soul sides

SMASHIN' UP

DJ Ayres: Get It Twisted/Ghostbusters
From The Rub's It's the Motherf***ing Remix

DJ Eleven: Kiss You Back/She Wants to Move/The Creator/What U Waitin' 4
From The Rub's It's the Motherf***ing Remix

Cormega: 62' Pick Up
From The Testament

I don't want to sound like a hater (but hey, I get labeled it anyways) but I really hope 2004 proved to be the year of the mash-up and that in 2005, we find some new ground to move to. It's not like I think mash-ups are inherently wack but jesus, once you have The Grey Album on top of everyone's "best of" lists for the year, once you have The New Yorker talking about "Frontin' On Debra" - people: this has officially transformed from trend to fad and that usually means its time to retire it like Von Dutch caps and Pabst Blue Ribbon.

But goddamnit, something like The Rub's It's the Motherf***ing Remix comes out and try as I might to resist, I always seem to make room for just one or two more cuts to enjoy. I highlighted two of the better remixes off the CD (just for the record, many of the remixes on here are cute but forgettable - such is the nature of the mash-up).

DJ Ayres tackles Mobb Deep's "Get It Twisted," itself a mash-up-influenced cut (using Thomas Dolby's cult hit, "She Blinded Me With Science"). Ayres stays in an '80s mode, flipping Ray Parker Jr.'s "Ghostbusters Theme" behind QBs infamous duo. This works, I mean, really works. How come no one ever thought to flip this before? (Prediction: I see a Killa Kam mixtape in '05 that uses this instrumental again).

DJ Eleven has his numbers down - juggling no less than four songs at once, working with the acapellas of Digital Underground's "Kiss You Back," and the Jungle Bros.' "What U Waitin' 4" and the instrumentals of N.E.R.D.'s "She Wants To Move" and Pete Rock's "The Creator." Personally, I wasn't all that into the N.E.R.D. splicing but when the bassline bounce of "The Creator" kicks in, I started grinning like a fool. Good times, good times.

Here's my thing with mash-ups - sometimes, they feel too forced, like the DJ is trying to jam it down our throats, i.e. "hey, listen to me, dude! I'm putting Biggie's lyrics over Yaz! I'm dope!" Sometimes, it's just better to be laid back about it and let the track do the talking. That's why I'm feeling Cormega's "62' Pick Up," a song off his buried late '90s CD, The Testament (which is about to get released, finally, in February). Anyone old enough to remember the '80s will pick up on the loop: it's the Hill Street Blues theme, one of the all-time GREAT t.v. themes. You really can't go wrong with it. Cormega's not a great MC - he lacks a commanding voice and his flow is awkward but with the right production, he can still come off compelling.

DON'T IT SOUND AMAZING?

(painting from hiphoppaintings.com)

Eric B. and Rakim: Microphone Fiend (Remix)
From 12" (MCA, 1989)

Originally was going to pair this with Too $hort's "In the Trunk" remix but those clever bastards at Can I Bring My Gat? beat me to it. So f- it: Rakim stands alone.

I'm not saying this remix is better than the O.G. - you can't possibly improve on the original version - but as far as remixes go, I like the different flavor it lends. 45 King does a nice job here - digging the scratch intro (even if it's not as clean as say, Roc Raida would have busted out. The bassline is simple and effective, just like the original beat. And regardless, the God Allah is at his finest with a song full of notable quotables.

SOUL TO GO

A-KO: Soul '69
From 45 (Melting Pot, 2005).

Damn!: Got To Go
Available on CD 5" (Raw Fusion, 2004).

Both also available on Loose Joints (Carhartt, 2004).

This mix-CD crossed my path recently and hey, I love being put up on new music from noteworthy artists (duh). Just thought I'd share two of my fave tracks from it.

A-Ko is scary. I mean, dude is like...11? Ok, he's really 17 but does it really matter? When I was 17, I was working food service at Magic Mountain, ok? I was driving a busted ass Chevy Citation, rocking an AM car radio with only one speaker, which was blown out anyways. I was not making ill funk-collage tracks in my bedroom and then pressing them on 7". I think I might hate him. Just a little bit.

I first saw Damn! at an Ikea grand opening in Emeryville where they played their fusion of Latin/Afro-Beat/Hip-Hop/Psych grooves next to the hot dog and soft serve stand. Ok, that's not really true but Damn! is from the land o' Ikea (Sweden) and their grooves are just as tasty (if not more so) than $1 cinammon buns. I should really stop with this whole Sweden/Ikea thing because it truly makes me seem like the only thing I know about the country is its mass-produced-yet-stylishly-designed-furniture. There's much more to Sweden than that - like their awesome jazz tradition that's one of the best in Europe. Or their porn. Stuff like that. I'll stop now. All you really need to know is that "Got To Go" kicks serious ass - has that same, feel good, rockin' appeal as The Roots' and Cody Chestnutt's "The Seed 2.0." This is the kind of music that N.E.R.D. should have been making instead of that wack second album.

DUSK TO DAWN

Funk Inc: Kool Is Back
From Funk Inc (Prestige, 1971)

Hardhouse: 11:55
From 12" (Easy Street, 198?)

De La Soul: Saturdays (6:00am)
From 12" (Tommy Boy, 1991)

For funk fiends, "Kool Is Back" by the aptly-named Funk Inc. is unbelievably perfect. From the opening guitar licks to the percussive build-up to the organ vamps and brass section, the first minute and a half is already stone solid but then you come to the second chorus and WHAM, one of the all-time classic, monster breakbeats (not to mention a sick ass bridge). Brings a tear to the eye, doesn't it?

The break's been sampled a zillion times but I wanted to highlight one track in particular: the Toddy Terry-produced "11:55." It opens with dialogue from the Hustler's Convention album and then slams straight into one baaaadass cut n' paste dance jam that lives up to the name "hard house."

If "11:55" is designed to amp you up, it's up to De La Soul and the
6:00am" mix of "Saturdays" to cool you down. This is, by far, my favorite hip house song, so laid back and patient (the drums don't kick in for at least 32 bars!) That chill vibe is just right to help you slide out of your evening and into the new day.

BLOGGING IS OUTTA CONTROL

The audioblog competition is red hot right now - not only are new ones being created everyday but in general, the quality of posts out there is likely going to force everyone to step up their game a notch.

A couple of sites worth mentioning at the moment:

Steady Bootleggin', from the same folks who brought you A Tribute To Ignorance. Obscure hip-hop.

Home of the Groove is doing it up for Mardi Gras.

Freemotion is on a Cold Chillin tear with songs by Biz and Big Daddy Kane, plus some old MOP. Salute!

I was getting ready to do a podcast about Shuggie Otis but then, wouldn't you know it, Evigan Funk beat me to it. "Inspiration Information" = one of the best songs ever.

The Rookie has some cool '90s random rap.

Speaking of more thunder-stealing, I was about to post up Too $hort's "In the Trunk" (DJ Premier remix) but them darn fools at Can I Bring My Gat? beat me to that too.

And as usual, Tofu Hut is running tings with another set of number-themed songs and commentary.

MASTER OF OUR DOMAIN

You all should have noticed - Soul Sides has its own domain name now: soul-sides.com. If you can, please update your bookmarks and blog rolls when you have a chance.

And tell a friend...

Thanks,

O.W.

TEEDRA + ADRIANA

Teedra Moses: Be Your Girl & No More Tears
From Complex Simplicity

Adriana Evans: Reality & In the Sun
From Adriana Evans (RCA, 1997)

My man Hua was the first to put me up on Teedra Moses when he played me her song, "Be Your Girl." I couldn't quite put my finger on what I liked about the song...Teedra's a decent singer certainly, has a Mary J. Blige-esque quality to her voice (you can definitely hear this on "No More Tears"), but it wasn't really her vocals that drew my interest. Then it dawned on me - the production of "Be Your Love," reminded me of something that Adriana Evans might have done.

I've always been a fan of Evans and her debut album from '97. I understand why her career never took off - compared to other neo-soul artists breaking out at the time, most notably Erykah Badu - Evans' vocal presence was a bit too bright, lacking the gravitas that fans gravitate towards in singers like Badu or Jill Scott or Angie Stone, etc. But Evans' voice had a light, pretty quality all its own and what she really had going for her was an ex-boyfriend, Dred Scott(1), who was able to lace her with these beautiful productions (just listen to "In the Sun" - so fantastic). Scott's tracks that were undeniably hip-hop in their heritage (his sampling aesthetic for example) but angled for sou and manages the weave the two together seamlessly. Compare that with what we've come to expect: take a famous hip-hop beat and then put an R&B singer over it, finis. Scott's production finds that elusive middle-ground and I think, on some of Moses' songs, she's able to find that same groove too.

1. Scott had a brief career as a rapper, starting with a cut off the Deep Cover soundtrack, then in '94 with Breakin' Combs, his one and only album.

FAB COVERS

Ben E. King: Don't Let Me Down
From Rough Talk (Maxwell, 1970)

Con Los Carrion: Y La Amo
From Exitos De Los Beatles (Orfeon, 196?)

Given that the Beatles are like, you know, the most famous band in history, the list of artists who've covered their songs go on and on and on. Hell, I could do a month's worth of posts on "Eleanor Rigby" covers alone (and believe me, you wouldn't want that). I plucked two off of some recent arrivals instead.

Ben E. King's "Don't Let Me Down," comes off a 1970 album that would prove to be King's last for several years - after blowing up on the strength of "Stand By Me," in the early '60s, his career waned and Rough Edges was his last LP until a brief revival in the mid-70s. The whole album is well worth hunting down (it's not ubër-rare) - there's quite a few covers and medleys on here, but as he does on "Don't Let Me Down," King transforms the arrangements and puts his own signature on it. Due credit goes to the rhythm section, they nail a fantastic groove the whole way through, especially the pianist.

The Spanish-language version of "I Love Her" aka "Y La Amo," comes from a Mexican rock band, Con Los Carrion ("with carriage"?) who cut an entire album of Beatles' covers. I wish the album had better fidelity - most of the arrangements are overly loyal and the sound of the album is flat - but "Y La Amo," comes through better, perhaps because the guitar melody is so prominent (and pretty). What's funny about this group and album is that they sing each song exactly like the Beatles, with every accent and inflection following John and Paul's, even though they're still singing in Spanish. If the song was more listenable, I would have included "Nina (Girl)" as an example.

ANOTHER DAY

DJ Day: Track 2
From Credit Is Due (2002/2004)

Act like you already knew that DJ Day's "What Planet, What Station" was one of the year's best singles. In the meantime, if you already have that 12" and wanted to know more - or - if you want an introduction to this So Cal's musical alchemy, pick up this re-release of his 2002 mix-CD. It’s been a while since I’ve heard a mix-CD this seamless and intricate – if you appreciated all the twists and turns Day took in his 12”, you can see how he’s developed that style here. Take Track 2 for example – Day goes from dropping a flurry of scratches over a funk break, then slides into “Blow Your Top” by the Soul Destroyers, then blends into an instrumental by the Poets of Rhythm for more scratch exercises and out of nowhere, he closes with a self-done remix of Big Daddy Kane’s lines from“Just Rhymin’ With Biz.” So sick the CDC is investigating.

You can find the CD and the 12" both at TTL. (One of these days, TTL really needs to design a permalink system to their merchandise. I'm just saying).