The Marketts vs. Four Tet

The Marketts were a Hollywood-based group that gained slight fame during the surf craze of the 1960s. In fact, they weren’t really a band, but a collection of session musicians gathered and guided by Joe Saraceno (producer of The Ventures, Gene Mcdaniels, The Sunshine Company, The Routers, Bobby Vee). Their songs were mainly instrumentals, most of which had strong rock, soul, and weird sci-fi touches. They’re not terribly memorable, but nevertheless made some great recordings between 1961-1977.

If Marketts sound somewhat familiar, it’s because they appeared on the popular Pulp Fiction soundtrack. The song, “Out Of Limits”, was #3 on the charts in 1964 and remains their highest ranked single. My favorite of theirs is "Bella Dalena", and is actually the b-side to the famous single. It's short and succinct, has a steady groove, and is guided by some really great drums***. It’s the kind of song you can hear twice in a row.

***The drums you hear at the beginning were lifted and used on the Four Tet track below, “Carmella”.


“Carmella” is from the Four Tet: Remixes album, and uses a song by Beth Orton. The track builds slowly and the layering is superb (typical Four Tet), but is also about 6–minutes too long (typical Four Tet). Who would’ve thought Four Tet, Beth Orton, and The Marketts would mesh so well?

Anonymous Exuberance: The Numero Group is Killing It

Chicago-based archival label The Numero Group has emerged as one of the most reliable record labels in the world in the past five years. This post will focus on their Eccentric Soul series, which is exactly what it sounds like; lovingly detailed reissues of below-the-radar soul sides that have never been widely available outside of their respective localities. My curiosity was initially piqued by their stark packaging (one picture on the front, a number, and a plain white back cover with no further info, track titles, or clues as to the contents) yet deterred by high price tags (generally $20 or so for CDs and around $25 for wax). However, now that I've had a taste, I feel like I'm addicted to these comps, scouring eBay for originals I can't afford, re-reading liner notes, and finding things to like about the tracks that didn't initially stand out. My personal history with the label goes a little something like this (hit it!):

I was lucky enough to find a used copy of this one, and it was the gateway drug for one simple reason. I had no idea that there was a funk scene in Phoenix, AZ in the 60's. It seemed incongruous, but the evidence is in the grooves (technically it's in the digits, sadly this one's CD & Mp3 only). Centering on the various productions of 'Mighty' Mike Lenauberg, this one really opened my senses to some desert heat. My pick of the litter has to be "Loaded to the Gills," by Michael Liggins and the Super Souls, which was also re-issued in 12" format by the good folks at Now-Again. It is one of several tracks that feature some tough flute laid over the top, and what sounds like vocal percussion (On a personal note, I tend to really like songs where people vocalize the instruments; see the Mills' Brothers' version of 'Caravan', late-era Tom Waits, and the entire catalog of Biz Markie.) clip-clopping along in the background. This and the sixteen other tracks are bold assertions of vitality that got me thinking about the wealth of undiscovered or merely previously unpopular music I have been privy to, and the common thread that tied them together was an undeniable openness that I termed "anonymous exuberance." The basic unscientific thesis goes something like this: The fact that these artists never developed a national profile only enhances my ability to relate to their joys and sorrows. Much like underground MCs who portray an everyman persona despite dizzying lyrical skills, these extraordinarily talented performers were real people with real problems, and expressed them in an unhinged manner that would only have been diminished by participation in the studio-dominated international music business. My next encounter with this remarkable label would only deepen these initial reactions.

Hearing lost recordings from Columbus, Ohio's Prix label was a revelation. It's one thing for a song to move my head to nod or my feet to tap, but a few of these tracks genuinely moved me on an emotional level. The entire selection is uniformly excellent, but there are a few tracks toward the end that really stand out. After a truly intriguing tape-spliced outtake of "studio moves" by the Harmonic Sounds Band comes a stripped down demo version of Eddie Ray's "You Got Me." Though the completed version is included on the release, I am partial to the rough outtake. It is the sound of a man alone with a guitar really singing his heart out, vocalizing all of the pain and elation that love can bring. The completed version, though a more full and polished arrangement, really loses something by the addition of the other players. I smooths off the rough edges of vulnerability that make the demo so endearing. Next up is the beautiful ballad "You and Me" performed by Penny & the Quarters. Atop the pillow-soft bed of the Quarters' harmonized backing vocals, Penny's voice cuts right to the heart of the matter; "If the stars don't shine, if the moon won't rise, if I never see the setting sun again, you won't hear me cry, this I testify, please believe me boy you know I won't lie, as long as there is you and me." It is the perfect encapsulation of young love at its most naive and triumphant. Though I have come to love this song deeply, the final track on the album somehow tops it. The sublime "You Got Me" (starting to notice a pattern with these titles?) once again by Eddie Ray, accompanied by a very funky hand drummer and Joe King's serpentine guitar, is one of the most unrestrained, passionate vocal performances I have ever heard. Halfway between and gospel shout and Otis-esque growl, he wrings the truth out of lines that in the hands of a lesser performer would come across as mere platitudes. I have come to regard this "throwaway" demo as one of the best songs in the world, and that's usually how I introduce it to people when I play it for them.

Home Schooled: The ABCs of Kid Soul is as close to a novelty record as these guys have come to releasing, and while it's organized around an adolescent theme, it can be a rewarding listen for the discerning soul-obsessed adult. More so than any other set in the series, this comp is a lot of fun. Initially, hearing kids sing about matters of the heart is a bit disconcerting, and the first night I brought it home, the roomies and I spent a lot of time wondering where the songs came from, and how many of these kids were "Joe Jackson-ed" into playing and recording them. My cut on this one is the boisterous "I'm Not Ready For Love." by Promise, a paean to the perils of precociousness with a world-class breakdown. Hearing the sweetly-sung assertions, "I'm not ready to fuss and fight, I'm not ready to cry all night, love is a thing I'm not ready to face, so you just better go your way," I can only smile, nod and agree. Me neither, kids. This one's a great party album, primo mixtape fodder, and a curious musical artifact all wrapped in one beautiful, lovingly assembled package. The pictures contained in the gate fold are easily worth the price of admission.

Though I've only recently become acquainted with Numero 007, The Deep City label, it's already revealing itself as one of the finest releases of this young year. The album opens with the haunting "Am I a Good Man" by Them Two. Penned by label founder Willie Clarke and the immortal Clarence Reid, the lush organ-fuelled arrangement and strong lead vocals recall Phil Spector-era Righteous Brothers. Further along, there are a few tracks by the secret weapon of the Miami soul scene, Helene Smith. Though none of them rival her performance on the stunning "You Got To Be a Man," (not included on this comp but recently reissued on 45) she provides backing vocals on 'good man' and contributes several strong solo tracks. A really nice feature about this album is that they close out the set with a full side of instrumental versions of some of the best cuts on the album, a practice normally reserved for hip-hop records that I'd love to see become standard practice in all genres.
Check back in a few weeks, we're preparing an interview with the hard-working founders of the Numero Group where we'll get to ask them about the process of discovering and re-issuing these and other lost gems.

--ed note: instead of posting these songs, we want to encourage you to peruse the numero website, where you can listen to snippets, purchase CDs, mp3s, and vinyl directly from the label at www.numerogroup.com

As long as the beat's fat, their shit'll be off the meat rack

This is one of my favorite hip hop moments from the past few years: two seasoned vets (Lord Finesse and Percee P, duh.) "battling" over Funky Drummer and just destroying shit on the lyrical tip. The cadences, word placement, and rhyme schemes are all first rate. These verses were the culmination of Edan's Funky Drummer mixtape, but here they are for your enjoyment without any editing:

Purple and Orange and Blue: Edan's Colorful Idols

Beauty And The Beat is like Daily Operation, or The Main Ingredient, or Midnight Marauders. Artistically speaking, all are third where early potential is realized and shown in sharp fashion.

So like me, you’re probably wondering when Edan will drop another album. Since Beauty And The Beat (one of the few truly great rap albums of the last ten years) he’s only done a few things here and there. But no full album, no next step in what he does, just glimpses thorugh singles, remixes, and guest appearances.

I interviewed him a couple years ago for Slap Magazine (this is a side talk we had that I dig a lot more). Here’s what he had to say about “Fumbling Over Words That Rhyme”, a song from the album where he identifies his influences by name. Plus, I really like how he answers my last question. Here’s to your next album, Mr. Donavexxxxxx.

So why’d you write “Fumbling Over Words That Rhyme’’?
In my mind, just being a fan, I realize that I had assembled some sort of chronology. I felt like, in some ways it’s a good way to show respect and just it makes for a nice constructive song. I also had the sample for the main chorus loop and that basically posed the question of what would be a good embellishment for that hook? In other words, what would the verses have to be for that chorus to be the cherry on top? And that led me to do some emceeing, rather than kick some battle bullshit.

Describe the lyrics. Was it hard to pick and choose who to overlook and who to keep?
I basically took the opportunity to cite cats in order. And a lot of people are gonna say Biggie was the best, Ice Cube was the best, Jay Z is the best, but those aren’t the types of emcees that make me want to rhyme. They’re great, don’t get me wrong. But for whatever reason, the cats that made me want to rhyme had minds that were more like jazz musicians or like a sax soloists.

Explain that a bit more.
Their control of rhythm reminds me of Jazz. So cats like Rakim, or how [Big Daddy] Kane finesses it, they all are very conscious of what is going on. Emcees that I have an affinity for have dope voices or flavor that aren’t usually not mentioned. I also upped T La Rock because he was a pioneer that used big words and tried to sound futuristic. That became very popular during the ‘84-‘85 era, so he’s kind of a pioneer in that thing.

Talk about Cold Crush and Run DMC. What’s your take on them?
Well DMC has openly admitted that it was a Cold Crush tape that made him want to rhyme. And what Run DMC took most from CC was the bold, boisterous, hard delivery. There was nothing watered down about CC. They just expressed their music so well and one can see that they had an affinity for being entertainers and performers. They were raw and street, but polished it too. And Run DMC definitely made sure to keep those ingredients within their own sound.

I’m glad you touched on Slick Rick in the song.
I had to. I think when you heard The Great Adventures [of Slick Rick] it was apparent that his writing was vivid. His descriptive ability was beyond what most cats were doing. That’s why I basically called him a screenplay producer. He just had crazy style, but had just a knack for storytelling, pulling you into the moment with his writing.

What are your thoughts on Kane and his overall style?
Kane is just the prototypical emcee. His tongue was dexterous, but at the same time it could be nimble. He was raw on you and also, there was just the finesse and confidence to top it all off. An incredible voice also.

Let’s talk group dynamics. Who was better in your opinion; Fearless Four or Treacherous Three?
I’d say Treacherous Three. Flash and Furious Five, Cold Crush and Treacherous Three. The futurism that they brought to the table set a lot of things off. They’d do double time raps and other things that let you know they were very conscious of the artistry within rapping. I mean, Fearless was dope too. Just all around good producers and good writers. I would put Treacherous, Cold Crush and Flash as the dopest.

You praise Rakim. What strikes you about him?
I mean, sort of like in the way that Kane is a prototypical emcee, Rakim is the same. He just had this spiritual flavor, meshed with mysticism and street savvy. Its all you can ask for in hip-hop. And only a few groups can do that nowadays, for example Wu-Tang embodies that pretty well. Rakim was just dope. A lot of people cite him as the first to get deep.

He wasn’t the first. But maybe he was the first to be recognized for doing so.
Well, he might have not been that first rapper to kick something deep, but he definitely took it to a new plateau. His demeanor and voice, no one can surpass that shit. I think Rakim reflects the infinite possibilities of rhyming, but he also had such a vicious flavor to him. I mean, he was calling for his community to think of themselves as gods that were came from the beauty of the universe. And that’s what you want from an artist. You want someone who’ll tell you what you’re potential is.

Okay, let’s talk about Wu-Tang. Who’s is your favorite Wu-Tang member and why?
Ghostface. I love the way he’s blossomed into such a key player and such a consistent rapper. If you’d ask me 6 years ago, I’d tell you GZA was my favorite. But Ghostface has been killing it. I’d say my favorites are GZA and Ghostface.

We’ve mainly been discussing emcees-- let’s talk about production. What era is your favorite hip-hop production from?
The shit that blows my mind the most is the shit that isn’t really “produced”. I love the grimy park jam shit for the late ‘70s, early ‘80s shit you’d find on a cassette dub. Stuff from Cold Crush, or the L Brothers or like that old Fantastic Five. Treacherous Three are the most fucked up and the most crazy because you got people running breaks through a shitty PA with a distorted mics. I’d probably say about the ‘78-‘82 and ‘86-‘92 are the eras I’m most fond of.

The song is basically a list of your rap heroes. Why exactly do you dig all these artists so much?
I like people who view hip-hop as a potentially majestic art form.

We're so willin to throw Cold Chillin

Cold Chillin is one of the regular events put together by the WTTM Crew. It's basically a free range DJ night at our neighborhood bar. We play whatever we feel like, and the drinks flow. The official CC lineup is Cutso, Misa, David "It's Alright" Ma, Gabe, and I on the tables with our good friend Dridge on live visuals. If you're in or around San Jose, there are worse ways to spend an evening.

Expect to hear some Cee-lo, Freddie Scott, Beatles, Zombies, Contortions, Breeders, Camera Obscura, Eugene Blacknell, Helene Smith, Freda Payne, Antibalas, Tribe, Serge Gainsbourg, East of Underground, Stooges, Organized Konfusion, Edan, Persuasions, and Beirut... and that's just my set.

From Berlin to BK...

I'm not sure how late I am on this, but my close slicette (who is moving to Brooklyn soon) sent me this as her own lil' proclamation. A preemptive hood-repping set claim, if you will. Peep...



Thanks X-tine! I'ma miss you, goily.

Whatthefuck?! Volume 1

Here it is...the first installment of our "Whatthefuck?!" series. Look out for our other series "Gotdamn!" and "Whatchuknow."



found on: http://hindudewheresmycar.blogspot.com/2007_07_01_archive.html

Ghostface: Wiseman, Environmentalist, Hygienist, Relationship Counselor, Nutritionist

Today, I got my copy of The World According To Pretty Toney (the new self-help book written by Ghostface Killah) in the mail. The book comes complete with a companion audio CD (that doesn't feature Trife Da God) where Ghost Deini breaks down the science of life. From girlfriends, to hygiene, to fashion no-nos, to eating on-the-go and a myriad of other real-life issues and topics that concern us as adults.
And who better to shine some light on such touchy subjects than someone as charismatic and outspoken as Ghost? Personally, I wouldn't want to hear about "scrubbing my balls hard" from Prodigy of Mobb Deep. Jeru couldn't tell me nathan 'bout the etiquette of kissing babies*. I could see the Biz or Prince Paul swing this sort of project, though.

Cop it on amazon.com. I got it for cheap, and it came in like two days.

Here's an excerpt from the audio CD:



One!


*I DJ'ed for a post-Primo Jeru show a year ago. He was drunk and clowning on different folks in the crowd and gave a five minute speech about how he recently started drinking again, and how he loves to mix Henn with Heineken. It was sad and funny at the same time.

Sly alive, recording, ghostriding

I'm a little late on this one, apparently it was published in August of '07, but I was amazed by this recent picture of Sylvester Stone. First of all, he's looking extremely hyphy for a recluse who's pushing sixty. Secondly, what is he doing with his hands?

The article is an overview of his career told from the point of view of a lifelong fan culminating in a brief interview. In commemoration of the fact that one of the true funk pioneers is making a comeback and the fact he played San Jose (however briefly) last summer, here are a few somewhat obscure Sly tracks.



First up is "I Ain't Got Nobody" from tiny San Francisco label Loadstone, where the Family Stone spent its infancy.





As a bonus, I'll share "Stanga" from Little Sister, who's Sly's little sister Vaetta. According to the VF article she is the driving force behind his comeback attempt. here's a chance to hear her in her prime. This one was released on Sly's vanity label, the Atlantic-distributed Stoneflower.