Friday, February 29, 2008

Snoop Dog - Sexual Seduction

GUILTY SIMPSON - Ode To The Ghetto (Madlib remix)

GUILTY SIMPSON - Ode To The Ghetto (Madlib remix) (Stones Throw) Comentários: Guilty Simpson was born in Detroit, the son and grandson of the family’s performing musicians in his father and grandfather. At age four, Simpson and his mother began traveling with an aunt in the military, living in California and Birmingham, Alabama, before settling back in the Motor City at 15. Big Daddy Kane, N.W.A, and Scarface were all major influences, but it was Queens-bred street bard Kool G Rap who made the biggest impression. “That’s my crème de la crème rapper right there,” says Simpson, his own presence among the latest in a rich lineage of heavy-handed MCs. For years Guilty Simpson has been a rock on the Detroit hip-hop circuit alongside those such as J Dilla, Slum Village, Eminem (whom Guilty still calls “Marshall”) & D12, Obie Trice, Proof, Phat Kat and Black Milk. A member of the Almighty Dreadnaughtz crew, Guilty emerged as a sound to be reckoned with after linking with producer Dilla in 2001. In the midst of recording an album’s worth of material on the MC – including the recently released duet “Take Notice” off of Dilla’s heralded Ruff Draft album – Dilla gave Simpson his first appearance on disc with “Strapped” (from 2003’s Jaylib album). 2006 marked his allegiance with Stones Throw Records – at Dilla’s behest – and appearances on both Chrome Children installments and subsequent tour. It’s taken years, but finally Simpson’s full-length solo debut, Ode to the Ghetto, brings him worldwide, chronicling a life led in the rough-hewn city that birthed him. Featuring an all-star cast of producers normally reserved for those signed to six-figure deals (J Dilla, Madlib, Denaun Porter of D-12), Ode to the Ghetto marks an evolution, incorporating a more topical and thought-provoking persona in addition to the extra-savage braggadocio Simpson is known for. “I want to make the consumer care about the music again,” the 31-year-old explains. Guilty’s testosterone-charged, inner city themes possess of a sense of humor at times so side-splitting, it only proves how serious he really is. This rapper was raised on the field of battle and he has more to say than just how fresh he is and how fresh “they” are not. As a matter of fact, he’s found that he’s here to remind the hip-hop world – currently captivated with that manufactured freshness – that life in the ghetto is real. The evidence shows excessive use of double entendres, too much flavor on public grounds, microphone assault, and verbal harassment of an officer of the law. On the counts of freshness AND realness: The Court of Hip-Hop finds Mr. Simpson to be Guilty. nota do editor [Para Ouvir/Samples]

Thursday, February 28, 2008

SA RA CREATIVE PARTNERS, The - Sonic Seduction Vol 2

SA RA CREATIVE PARTNERS, The - Sonic Seduction Vol 2 (Jazzy Sport Japan) Comentários: Incredible new Sa-Ra on the japanese Jazzy Sport label. 5 tracks of instrumental futuristic funk/soul drenched hiphop & beyond. This sh*t is so heavy... Again, like the first one, real nice artwork/packaging - so a big up to the Jazzy Sport atelier guys for that! Huge tip! in rushhour [Para Ouvir/Samples]

Wednesday, February 27, 2008

VA - Droppin Science - Greatest Samples From The Blue Note Lab

VA - Droppin Science - Greatest Samples From The Blue Note Lab (Blue Note) Comentários: At least in its presentation, Droppin' Science: Greatest Samples From the Blue Note Lab suggests yet another appeal to hip-hop genealogists, the kind of people who obsess over and are diligent readers of Oliver Wang's blog. But this is not your run-of-the-mill "roots of rap" or "best breakbeats" compilation, and not just because you won't find "Impeach the President" (which has been, according to The-Breaks, sampled in 116 different rap songs) or James Brown's "Funky Drummer" (181 songs). A few songs on the album have been tapped for use only once, and more than half of these songs bear relevance solely to the early-'90s conscious-rap movement and groups like De La Soul and A Tribe Called Quest. The people who put together the compilation seem to be aware that the greatest samples often don't come from the greatest songs—a fact that often gets overlooked in the obsession over hip-hop's antecedents; quality and uniqueness, more than propensity to be sampled, seems to have driven the song selection here. Have you ever actually listened to "Impeach the President"? The sparse drumbeats, subtle groove, and the tepidly sung chorus make an only half-hearted call for revolutionary regime change. If you want to rile somebody up, better to play them Wu-Tang's "Wu Tang Clan Ain't Nothing to Fuck Wit," which samples "Impeach the President" but is eons more memorable than its ancestor. In spite of its subtitle, then, Droppin' Science offers more a snapshot of Blue Note history than a snapshot of hip-hop history. Once you get past the fact that the compilation doesn't represent all of sampling culture, though, and you tune your ears away from just beat analysis and sample recognition, a great listen awaits. All of the cuts on the album originate from the late '60s to the mid '70s, a time when the distinctions between jazz and the rest of mainstream pop music were not nearly as delineated as they are today. Listeners who think jazz ended in 1970 will certainly enjoy discovering some of the talents on display here. Although a few well-chosen swing, smooth R&B, and cinematic big-band tracks are thrown in seemingly for diversity's sake, it's the cool-tempered swagger found on Ronnie Foster's songs "Mystic Brew" (borrowed by A Tribe Called Quest for "Electric Relaxation"), Grant Green's "Down Here on the Ground" (Tribe, again, for "Vibes & Stuff"), and Lonnie Smith's "Spinnin' Wheel" (Tribe, Pete Rock & C.L. Smooth, and no joke, Brian Austin Green) that provides the album's dominant theme. Most of these bands run on the model created by Booker T. & the MGs: a tight rhythm section, sweltering B-3 organ runs, proto-funk guitar, and blustery horn ornamentals. Forty years ago serious jazz groups were averse neither to recognizable structures (verse–chorus–verse, even without vocals) nor the covering of pop songs; Lou Donaldson's version of the Isley Brothers' "It's Your Thing" rivals the MGs' rendition of "Twist and Shout" (itself sung by the Isleys before the infamous Liverpudlians, by the way) in how it reconstitutes the original's sexual, combustible energy into something wickedly understated and as beautiful as pure calculus. In a nod to earlier jazz eras, Joe Williams's surly "Get Out of My Life Woman" (sampled by Kool G and Biz Markie) saunters across a track of squawking horns and tinkling keys. David Axelrod's sweeping orchestral "The Edge" (probably the most ostentatious and instantly recognizable sample here, from Dr. Dre's "The Next Episode") may seem a little out of place, but listeners new to Axelroad's cinematic visions will surely not complain once they hear it, and they should seek out the essential Axelrod at Capitol, 1966-1970.The tracks on Droppin' Science take us back not only to those more optimistic days of the early '70s, post-integration and pre-urban decay, but also to the much tougher late '80s, when producers like Prince Paul sought a sunnier, more sophisticated ambiance as a contrast to the harsh sound collages of the Bomb Squad. It makes sense why jazz with both a palpable connection to the streets and an aesthetic of an aloof intelligence sounded so good accompanying the cool-kid witticisms of Q-Tip and Guru. By informing our appreciation of those early hip-hop heroes, Droppin' Science also points in the direction of its own voluminous back catalogue; these songs are "samples" in more ways than one. in Slant Magazine [Para Ouvir/Samples]

Friday, February 22, 2008

BAMBOOS, The - I Don't Wanna Stop

BAMBOOS, The - I Don't Wanna Stop (Tru Thoughts) Comentários: "Some great new stuff... Killer!" (Mr Scruff)"The funk album of the year" (BBC 6Music)"Most obscenely talented and ubiquitous funkateer in the UK" (Lance Ferguson - One Week to Live)"Incendiary... With the straight-up soul contributions from Kylie Auldist (sounding like Sharon Jones at her best on 'I Don't Wanna Stop') 'Rawville' is arguably the best funk album of the modern era." (I-DJ)"It's a sound you will want to dance around the kitchen to again and again" (The Independent on Sunday)...Just a few of the reactions to previous Bamboos projects on Tru ThoughtsThe Bamboos collaborate to dazzling, deep, funky effect with vocalist extraordinaire and new Tru Thoughts signing Kylie Auldist, on the soulful new single release of "I Don't Wanna Stop".Offering up a different experience to the original album version (on The Bamboos' 2007 album "Rawville") the exclusive Marc Mac Grown Soul Remix of "I Don't Wanna Stop" is the main event here, and the first of a generous six cuts on this 12". Marc (of groundbreaking Mercury Music Prize and MOBO-winning duo 4Hero) brings his deep grooves to the track and injects it with a seriously soulful feel, perfectly melding with Auldist's voice. The two gems that follow on the A-side, the Marc Mac Grown Soul Instrumental and the A Cappella version, present a rare chance to get right under the skin of this stunning song. When Auldist's powerfully soulful vocal takes centre stage...prepare to be wowed! The eclectic mix of treats continues – flip over for the upbeat Lanu (alter ego of Bamboos frontman Lance Ferguson) remix of The Bamboos' "Bring It Home" featuring Alice Russell. The AA2 track is an exclusive A Cappella version of "Get In The Scene feat Ohmega Watts". The smooth and clean spoken word from Watts (Ubiquity) here is mesmerising, and this version lends a different slant to the classic Bamboos track. Continuing in this showcase of great performances is the A Cappella cut of "Bring It Home" featuring Russell's feisty vocal in all its glory.Kylie Auldist's debut solo album will be out on Tru Thoughts in May 2008.The Bamboos have a Live CD & DVD scheduled for release and an album to follow later in the year. in timec [Para Ouvir/Samples]

Friday, February 15, 2008

The Third Unheard Connecticut Hip Hop 1979-1983

VARIOUS - The Third Unheard Connecticut Hip Hop 1979-1983 (Stones Throw) Comentários: Old school hip hop is the stuff of legend. The New York City gangs. A truce or two. Rocking block parties in The Bronx. Two turntables and a shoddy mixer. Young, musical visionaries taking then-contemporary breaks and beats from any funky source material and flipping those precious seconds into something wholly new. Don’t forget the microphone. DJs rapping, rappers probably wishing they could DJ (how backwards that must sound to today’s rap-reared youth!). It wasn’t long until this revolution was committed to wax, and the Sugar Hill Gang’s debut single spurred on releases by countless others. The famous, the not-so-famous and the downright obscure all found ways to testify on twelve inches of vinyl. New York-based labels like Sugar Hill, Enjoy and Peter Brown’s multitude of imprints recorded a chorus of thousands of voices.
Contributing to this legend are the snapshots of the fledgling stages of a burgeoning scene. Photographers like Jamel Shabazz captured the (re)rebirth of cool on the Big Apple’s streets. Pitchmen like Fab 5 Freddy exported the music and culture to foreign territories (as nearby as a SoHo art gallery). Historians and artists like Phase 2 committed to memory the oral tradition of the scene and designed flyers that, twenty-some years later, serve as colorful reminders of the landmark events where the music’s first heroes honed their craft. Documentarians like the aforementioned Freddy, Henry Chalfant, Tony Silver and Charlie Ahearn created films and books that perpetuated myths, lionized founding figures and influenced music fans the world over. in st [Para Ouvir/Samples] [Read More]

Thursday, February 14, 2008

DARU/REGGIE B - Future Music

DARU/REGGIE B - Future Music (4 Lux Holland) Comentários: 4lux is proud to present this first album on 4lux White, sublabel to 4lux, dedicated to soulful beats, hip hop and leftfield electronica. Future music is a mixture of hip hop, deep and infectious soul and funk, with powerful songwriting. This album is a very diverse one, and a good example of today’s nu-ground soul and hip hop. This will definitely appeal to all the beatheads out there. in clone [Para Ouvir/Samples]

SINGER, Hal/JEF GILSON - Soul Of Africa

SINGER, Hal/JEF GILSON - Soul Of Africa (Kindred Spirits Holland) Comentários: Following up the recent 10", Kindred Spirits now releases the reissue of the sought after birth act of the Afro- / Jazz-Parisian scene that fascinated so many musicians and music fans throughout the 70s and 80s. 'Hal Singer & Jef Gilson - Soul Of Africa' will be reissued for the first time ever on CD. Release comes with 2 special bonus tracks from the rare "Jef Gilson septet avec Lloyd Miller"10" released on Jef Gilson's own label Spirit Jazz." A very big tip! in rushhour [Para Ouvir/Samples]

Monday, February 11, 2008

ALLEN, Tony - Kilode (Waajeed reworks)

ALLEN, Tony - Kilode (Waajeed reworks) (Honest Jon's) Comentários: More Tony Allen remixes on the wonderful Honest Jons imprint - this time courtesy of Slum Village and the Platinum Pied Pipers don Waajeed, who re-starts T's tough Afrobeat protest song from scratch. This is jazzy and soulful, percussive and a little bit bruk, with stirring singing by Zaki Ibrahim, sounding not altogether unlike vintage London-style broken beat crossed with a twilight Sade vibe. Very nice indeed. in boomkat [Para Ouvir/Samples]

Monday, February 04, 2008

VARIOUS - Sister Funk 2

VARIOUS - Sister Funk 2: The Sound Of The Unknown Soul Sisters (Jazzman) Comentários: Jazzman Records proudly presents "Sister Funk Volume Two". A full five years in the making, the follow up to the hugely popular first volume finally sees the light of day, bearing with it the fruits of compiler Ian Wright's inexhaustible quest to unearth some of the world's toughest, most elusive and undeniably funky female 45s. nota do editor [Para Ouvir]

Friday, February 01, 2008

MF DOOM - Project Jazz / Garbage Day (Instrumentals)

MF DOOM - Project Jazz / Garbage Day (Instrumentals) Comentários: Killer limited edition 45 with two new MF Doom instrumentals. A-side beats come from the latest Hell Razah album, while the original vocal version of the flip an be found on KMD's classic 'Black Bastards'. Big hole, plain white sleeve, not cheap, 1000 only. in boomkat [Buy Here] [Myspace]