The Intruders (1967)

Geez...I was pondering for quite some time how to tackle The Intruders. If I picked just one album to write about I would be terribly unjust to their remaining body of work. On the other hand, writing just about one 7" single would be like eating a cherry off the top of a delicious ice-cream dessert and then leaving the rest to melt in the sun...Oh no, boy!...with the Intruders you gobble that dessert till your face is covered in chocolate and the zipper in the fly of your jeans is desperately hanging in trying to keep your pants from cracking open...

The only problem is: how does one start eating a dessert the size of a mountain with only a tiny spoon in hand?

Well, I could start this article by mentioning that The Intruders were a group of four guys from Philadelphia...I could tell you their names: Sam "Little Sonny" Brown, Eugene "Bird" Daughtry, Phillip "Phil" Terry and Robert "Big Sonny" Edwards...I could also say that they started off as a doo-wop group singing on street corners in the early 60s...or...I could just cut straight to the chase and tell you that the true 'spiritus movens' behind The Intruders are two guys, who don't appear on any of The Intruders' album cover photos. These two guys are: Kenneth Gamble and Leon Huff.

Gamble & Huff, as they are usually credited on records, are a legendary songwriting/production duo responsible for over 170 gold and platinum records. They wrote and produced songs for such fantastic acts as The O'Jays, Harold Melvin & the Blue Notes, The Jacksons, Teddy Pendergrass, Aretha Franklin, Archie Bell & the Drells, The Three Degrees, People's Choice, Dusty Springfield, The Trammps (damn, this list could go on, and on, and on). Gamble & Huff and their Philadelphia International Records label forged a unique sound that would be later dubbed: 'philly soul' and laid the foundations for nearly five decades of American dance music.

But hold on. Let's get back to the '60s and The Intruders. In the early years of the decade, The Intruders were a local, Philadelphia-based doo-wop group and Gamble & Huff were up-and-coming producers working for Atlantic Records, with which they had a few hits along the way (think: Soul Surivors). Their paths crossed in 1966 when The Intruders were signed to the newly created Gamble label and, under the guidance of the visionary duo of Gamble & Huff, release their first hit: '(We'll be) United'. The track goes all the way up to number 14 on the R&B Charts and a year later the group follows up with another banger of a tune called: 'Together', which also scores the charts. 1967 also brings us The Intruders' firsts album: 'The Intruders are Together'. However, it wasn't until 1968, when they release: 'Cowboys to Girls' that the group gets their first crossover hit and breaks through to the mainstream. The tune tops the R&B Charts and lands on number 6 on the pop side thereby introducing The Intruders to the wider public. The group also releases their second album: 'Cowboys to Girls' (surprise, surprise) which will prove to be their most popular LP.

The initial success of the group helps Gamble & Huff convince the Columbia officials to grant them money to create their own label: Philadelphia International Records, which will become one of the most successful soul labels of the early 70s. Meanwhile, The Intruders were facing some trouble. The lead singer - Sam 'Little Sonny' Brown - decides to leave the group and spend more time with his family. He is replaced by a nightclub singer - Bobby Starr - with whom The Intruders release their third album, entitled: 'When We Get Married'. The title track, a Dreamlovers covers, is their biggest hit, reaching number 8 on the R&B Billboard charts. Starr did not enjoy much success with the group, as 'Little Sonny' decided to rejoin The Intruders on their 1973 album: 'Save The Children', spawning such hits as: 'I'll Always Love My Mama' and 'I Wanna Know Your Name'.

Alright, there's the facts for you...Now, what is it about the Intruders that makes them so special to me? Well, it's a number of things, really.

First of all, Gamble & Huff are simply fantastic songwriters. When you take a look at tunes like: 'Together', what strikes me, is that they can create really catchy, heartwarming melodies and great hooks and yet, they make it seem so easy and straightforward. The simplicity of their songs, however, acts as a counterweight to the elaborate arrangements Gamble & Huff wrote.

That's really where the magic happens. Gamble & Huff took simple, catchy melodies and they built these rich arrangements around them, thereby creating a mouthwatering mix of fantastic harmonies and colourful sounds. Take: 'Cowboys to Girls'. You get these lush strings, piercing horns and the omnipresent, soul-soothing sound of the vibraphone. Add to that some warm basslines and a piano hook here and there and you got yourself a 'philly soul' blueprint.

Of course, the focal point of all their songs are the vocals. And boy, are they simply fabulous! I really love the harmonies that the lads create together (just listen to the intro to 'A Love That's Real' and you know what I mean) but it's also 'Little Sonny's' croaky, grab-you-by-the-nuts voice. What I really like, is that Sonny has a fantastic voice, but it's very 'down-to-earth' and 'mortal' at the same time. Bobby Starr is also a hell of a singer, and if you don't believe me, just check out 'When We Get Married' which is probably their most elaborate, sophisticated song - a true masterpiece and an homage to Gamble & Huff's songwriting skills. Starr really proved he ain't no pushover there (the other lads also did a hell of a job with the backing harmonies).

This is all pretty neat, but the song that first got me really hooked on The Intruders is 'Friends No More', which, contrary to my first impressions, is not a song about a guy who manages to escape the 'friend zone'. It's actually a story about two friends and one girl (oh, the cliche!) and some dirty business between them. The guys even manage to share some solid advice: 'Never trust a girl with your best friend'. But enough about that, let's get on the good stuff.

This song is simply great on so many levels, that I really am in awe every time I listen to it. I love the way the delicate intro, driven by this serene guitar and bell duo, fortifies gradually with the help of the chord-bashing piano and the bass and the drums. Then, the song bursts into the chorus and it's all the way down the hill from there! Every single part of this song is just great: from the octave-jumping bass, the sweet backing vocals, Sonny's croaky voice, the soul-soothing bells, to the gorgeous, lush strings topping the melody and accentuating the harmonies in just the right moments! I think mister Kenny and mister Gamble have really outdone themselves on this one. Chapeau bas!

It's a real shame, that The Intruders released only a few albums and just a handful of singles. But in case, like me, you're left craving for more, I'd suggest tracing their rich music heritage - and trust me, there's a lot to explore there.

The Intruders laid the foundations for the phenomenon that would soon take over the world - disco. Try listening to 'I'll always love my momma' (which, btw was sampled in Wally Lopez's 'Circus Parade' - you should see the look on my face when I stumbled upon this song by The Intruders...it took me nearly 10 years to find this sample). The hi-hat driven, upbeat melody would later come to define a new sound. Disco was born and before you knew it, everybody was doing 'the hustle'.

And that's not all. The way I see it, you can draw a straight line starting from The Intruders, through to the Salsoul Sound (Salsoul Orchestra, Instant Funk, Double Exposure, First Choice, etc.), to disco bands like The Trammps or Chic, to the early house sound of the late '80s/early '90s (e.g. Larry Levan, Nicky Siano, Frankie Knuckles), and finally to modern Electronic Dance Music. In my opinion they all share the same aesthetic that really stems from the street corners of '60s Philadelphia...Shit, if you ask me there's bits of philly-soul in most of the late Beatles tunes.

Don't believe me? Go ahead, see for yourself!

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SBB - SBB (1974)

Last week I was driving around my city looking for a parking spot when, after 10 minutes of venturing through the urban maze, I ended up in this tiny, long forgotten street. Looking around for a spot I sort of caught this small shop sign in the corner of my eye. To my astonishment, the sign read: 'MUSIC, CDs, VINYL'. Surprised and excited, I've managed to sneak a peek through the window and I thought to myself: 'Well, whatta you know, a decent record shop in my home city. I should definitely check it out'.

Wouldn't you know it, I was already in the shop the very next day, browsing through the records. Turns out the store is owned by a true music junkie, with a real passion for his hobby. Even more, it turns out that the guy hosts a weekly radio show on Radio Afera, every Sunday from 8 PM which I promised myself to check out one day. I also managed to find out that he runs a blog with album reviews and general everyday chit-chat (Viola!). Right...enough about the context, let's get to the good stuff.

With a little guidance from the store owner I managed to dig out the debut album of this polish rock band from the 70s called: SBB (Szukaj, Burz, Buduj - Search, Break, Build). They never made it really big, but they do boast a following of some sorts from the more devoted fans. The group consists of 3 lads: Jozef Skrzek, the band leader and multiinstrumentalist (bass, piano, synthesisers, vocals, harp); Antymos Apostolis, a son of greek immigrants (guitar); and Jerzy Piotrowski (percussion).

SBB formed around 1971 by the young Jozef Skrzek, who by that time has already been working with Tadeusz Nalepa's Breakout (Nalepa on Platinum Grooves). The Silesian Blues Band, as they were then known, began touring with the famous Czeslaw Niemen and managed to perform with him on a few festivals in Western Europe. However, as it  usually is when two powerful personalities crash, the group parted Niemen around the summer of 1973, and officially became SBB: Search, Break, Build. With regular concerts in the Silesian area and frequent radio shows, the group got more and more recognition.

It's around that time when they release their debut album on Polskie Nagrania Muza. The disc is actually a live recording from a 1974 concert they gave in the Stodola student club in Warsaw. The material is really peculiar, I must say. It's this free-flowing run of progressive rock jams with some bluesy piano-suites in between and plenty of solo improvisation. If I were to pinpoint their music I'd say it's like a mixture of McLaughlin's Mahavishnu Orchestra, Cream's trio-format sound and Pink Floyd's hazy aura; but I feel that it's just a facade, and that if I were to dig in more deeply I'd find a richer dimension to their music. There's also something really catchy and nearly hypnotic in Skrzek's vocals (which, for the love of god, reminds me of Robert Plant).

Well anyways, I'm definitely glad I got this record. Not only because I have a fetish for debut albums, but also because it inspires me to explore more polish rock which, admittedly, I still have a lot to learn about.

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tony tiptrip - we back in '82 (2009)

Been in a kitschy 80's mood recently so I figured I might share with you this mix I did back in 2009. It's called: 'we back in '82' which is a wordplay on this inside joke me and my friends shared back then. Well, without further ado, here's the mix along with the tracklist and a short info I wrote when the mix came out:

This time I'd like to take you on a musical journey through time and space...Hold on to your seats cause we're about to go back in time... 

The year is 1982: Atari has just introduced the hit game 'Pac Man', 'E.T.' earns millions of dollars in cinemas worldwide, Reagan declares his 'War on drugs' and Mr.T from the A-Team is just an anonymous, random bouncer in some dodgy nightclub... 

Think 1982, think 'Ghostbusters', think black leggings, tight Lycra mini skirts, leotards, leg warmers and green/pink nylon tracksuits! You get the picture?

Expect over-synthesised beats, soulful vocals, funky grooves and lyrics that are just as predictable as you'd expect them to be! Yeah, your right, it sure is kitsch, it sure is cheesy! But believe me - it'll make your ass go boompty-bop in no time! 

So getcha Ray-Ban's outta yer closet cause the '80s are now officially back!

Tracklist:

1. Shalamar - A Night to Remember (1982)

2. Dynasty - Love in the Fast Lane (1981)

3. The Whispers - It's a Love Thing (1980)

4. Midnight Star - Night Rider (1983)

5. The Whispers - In the Raw (1981)

6. Lakeside - Fantastic Voyage (1980)

7. The Whispers - Contagious (1984)

8. Midnight Star - Midas Touch (1986)

9. Midnight Star - No Parking on the Dancefloor (1983)

10. Midnight Star - Operator (1984)

11. Dynasty - I Don't Wanna be a Freak but I Can't Help Myself (1979)

12. Dynasty - Satisfied (1979)

13. Carrie Lucas - Dance with You (1979)

14. Ripple - The Beat Goes On and On (1977)

15. Instant Funk - I Got My Mind Made Up (Larry Levan mix) (1978)

We back in '82 by Tony Tiptrip on Mixcloud

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Sylvester - Over and Over (1977)

Long time no see, eh? Well, I'm back and full of new goodies to love and share.

To start off the new year with a bang, I got a tune that will definitely fit in with the festive NYE vibes that are still probably echoing somewhere in your heads. I'm talking about Sylvester's 'Over and Over'.

This fantastic upbeat disco joint comes from his/hers 1977 Fantasy Records debut album entitled: - surprise, surprise - 'Sylvester'. The song was originally composed by Ashford & Simpson, who gave it a more subtle touch with a lower tempo and a sweeter, ballad-ish feeling. Don't get me wrong, theirs is still a hell of a tune. But Sylvester's version...well, it just has that juice, that mojo!

Right, you might be wondering why the hell did I refer to Sylvester in both male and female terms. Well, did you ever see the guy...erm, woman? To keep things short, he was a gay singer and drag performer. His looks might seem confusing today, but back in the day Sylvester James blended seamlessly with the black and gay community that ran the disco scene. Nuff said.

'Over and Over', which was his first single, is a really joyful, upbeat, hands-in-the-air type of tune.  It's got a killer bassline, that's really the driving force of the song. Apart from that you get you're usual funky rhythm guitar, bunch of horns here and there and some strings to fortify the melody.

But there's really something special about this tune, something that makes it rather laid-back and so...sophisticatedly cool. It could be the instrumentation that leaves quite a lot of 'air' in the song making it different to your average in-your-face disco joints. It could be Sylvesters hazy, loose, nearly reluctant style of singing (try to distinguish the lyrics - you'll know what I mean). Or it could be the screams and shouts of the background singers (btw. 'Two Tons O'Fun' is the name of the duo of these rather hefty African-American singers that do the backing vocals on Sylvesters albums. Never heard of them? Well, it's the same girls that gave us the hit 'It's Raining Men')...all in all, put all these elements together, add a nice guitar solo in the middle (Tip Wirrick, who later wrote most of Sylvesters songs) and you got yourself a hit!

Also, if you're up for a more up-to-date rendition of the song, try John Julius Knight's 'Find a Friend' on Soulfuric Trax. It's a top, top house tune with a bunch of 'Over and Over' samples.

Last but not least, here's a little trivia for you. Sylvester was discovered by Harvey Fuqua who just departed from Motown and became a scout for Fantasy Records. Fuqua later became the producer of Sylvesters albums. Remember the guy? That's the same Fuqua who sang duets with Etta James and then broke her heart...or the other way round. (Here's Etta on Platinum Grooves)

(There might be better quality versions of the song on YouTube but this is one is really awesome in that it shows clips of the legendary Paradise Garage. See for yourself!)

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The Prodigy - Experience (1992)

Prodigy's debut album is the soundtrack to my early childhood. I remember the exact day when my mum, coming back from one of her business trips to London, brought me their CD. She clearly had no idea what she was buying, and neither did I...until I whacked the disc into my CD player...Fast forward a couple of weeks, and you'll see me and my friends play fighting to the sounds of 'Out of Space' (however embarrassing it may sound now, we thought we were the dogs bollocks!). Since then, The Prodigy have always held a special place in my personal sonic landscape; and rightly so - the 'Experience', as well as their two next albums ('Music for the Jilted Generation' and 'The Fat of The Land'), are really top class material.

Released in 1992 on XL Recordings in the UK and Elektra in the US, the Experience paints a very colourful picture of early 90s Britain, which (at least in the underground) was this hot'n'heavy collage of sweaty rave, fast-paced jungle and jaw-gurning hardcore. From this lethal combination, fueled with the digital power of synthesisers, beat machines and samplers, came Prodigy's debut album, which is basically a snapshot of urban life in post-Thatcherite England, with all its goodies (or should i say: good E's) ;)

The mastermind behind the group is none other than Mr. Liam Howlett, who produced all of the tracks and is the man responsible for this madness. The more widely recognized Keith Flint and Maxim Reality were merely dancers and MCs - check out the live recording of: 'Death of the Prodigy Dancers' (last track on the album) for a lil' demo of their drunken shouting.

The music, however, was solely Howlett's department and the guy is really a great producer. Nevermind the awesome, original and surprising sampling (vide the 'Charley Says' public information films for kids samples in 'Charly' or the iconic Max Romeo's 'Chase the Devil' sample in 'Out of Space'); nevermind the crazy, multi-layered breakbeats he created; nevermind the great sounds he managed to bring out of them synth-pads; he simply knew how to build fantastic tracks. Whenever I listen to his songs I have a feeling they are really well-thought out and that every 4-bar loop has its specific purpose. If you were to say that making electronic music is simply like playing with Lego bricks, then this guy would be one of them crazy motherfuckers that build 1:1 replica's of Darth Vader's 'Death Star' space ship from Lego.

Anyways, this album is a must-have. And, if you decide to go for the 2001 'Experience: Expanded' double-disc version, you're up for some b-side treats!

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Etta James - At Last! (1961)

Etta James' debut album - 'At Last!' - is really a hell of a record. Released in 1961 on Chess' jazz sub-label: Argo (later renamed Cadet Records), with the visionary brother duo of Phil and Leonard responsible for the production and orchestral arrangements, the album gives us a neat overview of Etta's musical sensitivity.

James, simply put, is really a great, all-round singer. 'At Last!' proves she feels just as comfortable doing jazz standards (like 'Stormy Weather' or 'A Sunday Kind of Love') as ripping the hell out of blues tunes ('Tough Mary' and Willie Dixon's 'I Just Want to Make Love to You'). And that's really the power of this album. Etta seamlessly moves from smooth, romantic phrasing to powerful, energetic blues 'shouting' with plenty of r&b and gospel infused singing in between.

Want an example? Well then check out: 'All I Could Was Cry', which was written for Etta by the 'head songwriter' at Chess - Billy Davis with the Gordy siblings - Berry and Gwen. History has it that the song was inspired by Etta's ordeal with her ex-boyfriend Harvey Fuqua (more on that gentleman, later), who, at the time of the recording of the song, was dating Billy Davis' ex-girlfriend - Gwen Gordy - and was just about to marry her. How's that for a love story, eh? The script writers from 'The Bold and The Beautiful' couldn't have come up with a more confusing arrangement. Nevertheless, Etta simply sounds true and authentic in this song, going from a dreamy, delicate singing voice in the beginning to a powerful, wall-trembling holler in the chorus.

The title track, on the other hand, shows a rather well-tempered Etta as she gives a fantastic rendition of this classic song, first recorded by Glenn Miller and his orchestra. James did a great job here, managing to retain the same vibe as the original tune but still giving it her own twist - an accomplishment that's really hard when it comes to cover songs.

Fair play, the tune is good. However, I find just as predictable as it is good. What really got my attention is the four bonus tracks you get if you decide to go for the 1999 CD reissue on Chess/MCA. These tracks feature Etta singing in a duet with her ex-boyfriend: Harvey Fuqua. That's where the magic starts. Try their version of Willie Dixon's classic: 'Spoonful'. A cheeky bassline, roaring horns and Etta's sexy blues cry. Bang!

With a completely different vibe comes: 'My Heart Cries', which is probably my favourite song from the album. Here, both Harvey and Etta keep on singing this beautiful melody over a constant 6-note guitar lick and some horns and a piano in the background. By joining their two voices, they manage to create a very vivid and colourful harmony which really got me hooked and perfectly suits this little love song. Spot on!

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Beastie Boys - The In Sound from Way Out! (1996)

The Beastie Boys have frequently proven that they feel comfortable in a variety of genres. The New York-based trio started off as a punk band in 1979 but some time around the mid-1980s they turned towards hip-hop and since then have sold over 40 million albums worldwide to much critical acclaim. However, their records have never been solely hip-hop flavoured. The group incorporated a variety of sounds in their albums, mixing fast-paced rock tunes with laid-back, funky grooves in between sample-heavy hip-hop joints. What glued it all together were the razor-sharp lyrics of Mike D, MCA and Ad-Rock and their trademark rap style. At times, however, the guys would abandon their mic's and jam out funk-filled instrumental tunes that would later work as interludes in their albums.

By 1996, the Boys, inspired by their French fan club which came up with the idea, decided to make a compilation album with the instrumentals from their previous records. And so, 'The In Sound from Way Out!' (which btw borrows the title and the cover art concept from the 1966 Perrey and Kingsley album) was released. The disc features 13 tracks, all of which have already previously appeared on: 'Check Your Head', 'Ill Communication' and the 'Jimmy James' and 'Sure Shot' singles.

Fair do's - there's no new material on the record, but it still is a pleasant listen. The album features a bunch of loose funk grooves with rhythmical wah-wah guitars, warm Hammond licks and laid-back, conga-heavy percussions, all neatly wrapped up in a jazzy vibe. But that's not all. With tunes like 'Eugene's Lament' and it's distinctive violin solo or 'Shambala' with the Tibetan monk chants in the background, the Beastie Boys give us a little taste of the Orient thereby keeping the album material fresh and interesting.

At any rate, this album will definitely not provide any big surprises if you know your Beastie's. But if you enjoyed bopping your head to their lazy funk joints on their previous records, then I really do believe it's an album worth having.

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Dang Thai Son & Frans Brüggen - Chopin's Piano Concertos 1 & 2 (2006)

Last year marked Chopin's 200th birthday anniversary. Among the thousands of celebrations all over the world dedicated to this most famous Polish composer, the National Fryderyk Chopin Institute in Warsaw released a very unique CD box-set. On 21 discs, it contains all of Chopin's works - from the early polonaises and songs of young Frycek (as he was affectionately called by his relatives), through to the many mazurkas, nocturnes and preludes he wrote throughout his life. The box-set showcases some of the most renowned pianists in the world - e.g. Nelson Goerner, Janusz Olejniczak, Kevin Kenner, Fou Ts' ong, Dina Yoffe, etc...

What's so special about it, you might ask? Well, what makes these CDs unique, in my opinion, is the fact that all of the recordings have been made using historical instruments - an 1849 Erard and an 1848 Pleyel; both made in Paris around the time of Chopin's early death. There's also an extra bonus: the CD marked NIFCCD OOO is a recording from a 1948 concert held at the Belvedere to mark the 138th anniversary of Chopin's birthday. The performer - Raul Koczalski - was a student of Karol Mikuli, who in turn was Chopin's pupil. Koczalski devoted his life to Chopin's music and considered himself a true heir of Fryderyk's style. Well, after all, Koczalski received lessons from a guy who took direct notes from Chopin himself! I really think that's the closest we can get to hearing what Chopin wanted his music to sound like.

Do the pianos make such a difference, you might ask? Well, quite frankly, they do. The pianoforte instrument, as we know it today, underwent many changes which shaped its current look. If you recall Miloš Forman's 1984 Oscar-packed film "Amadeus", then you might remember the weird-looking instrument played by Mozart. The white keys were black and vice versa...Well, that's the harpsichord, the predecessor of the modern-day pianoforte. The idea of the harpsichord was then 'upgraded' many times up until Chopin's era - the range was raised from 4 to 7 octaves, the frame was made of wood rather than iron and the hammers came to be made out of felt instead of leather. With these changes, a new instrument was created - the pianoforte - which, although stems from the idea of the harpsichord, is not directly related to it in its mechanical construction.

The differences between modern-day pianofortes and the ones contemporary to Chopin - like the use of single-escapement key mechanisms or the varying strike-points in the higher registers - meant that Chopin's music sounded completely different in the 19th century than it does nowadays. It is virtually impossible to achieve the same sostenuto sound that Chopin had in mind, with the pedal mechanisms we have in pianos these days.

And if that wasn't enough for authenticity, the piano concerto CDs were recorded with Frans Brüggen's 'Orchestra of the Eighteenth Century', which consists of nearly 60 musicians, all of them playing on historical instruments or on contemporary copies. The only two piano concertos Chopin has ever wrote - the E-minor op.11 and the F-minor op.22 - are far from being my favourite pieces by the composer. However, I really like the idea of 'historically-informed' performances and so I found this CD really interesting.

You can check out the recordings at: 

http://en.chopin.nifc.pl/institute/publications/musics/id/352

BTW - the http://en.chopin.nifc.pl/ portal (the National Fryderyk Chopin Institute website) is a fantastic resource for all your Chopin inquiries - whether it be biography, events, compositions, filmography, letters, etc. And apart from that, you can listen to all of the CDs from the box-set and buy them on-line. Check it out!

  

It's a real shame that Chopin died only a couple of dozen years before people figured out a way to record sound. We will therefore never be able to hear the great composer play his own work. However, these CDs, I believe, are really close to hearing the 'real deal'.

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Madlib - Shades of Blue (2003)

Otis Jackson Jr.'s moniker is actually a wordplay on the Latin phrase: 'ad libitum' (or 'ad lib' for short) meaning 'at one's pleasure'. In a musical context, it usually is an invitation for a performer to improvise a certain passage, play it at his own discretion. And it seems that Madlib does just that - he digs up samples, fiddles with them and pairs them up with neat breakbeats thereby 'improvising' a new sound.

The 'Shades of Blue' album is even more so interesting, because the samples used throughout the entire production come from the legendary Blue Note labels' archives. Madlib surely had a lot to choose from. Actually, saying that he merely samples old recordings would be a gross understatement. Rather than that, he uses the various bits and bobs he finds as instruments and, much like the head of an orchestra, creates a musical collage with a fresh and unique sound. No wonder then, that one of Madlib's alter egos is called 'The Beat Konducta'.

The results of his invasion of the Blue Note catalog are quite impressive. Madlib remixes many classics, such as: Gene Harris' "The Book of Slim", Donald Byrd's "Distand Land" and "Stepping into Tomorrow", Wayne Shorter's "Footprints" or Bobby Hutcherson's 'Montara', giving them a new appeal. There's also a bunch of skits and interludes thrown in for good measure, which tell the story of the Blue Note label and give us an insight into Madlib's answering machine (!).

Much like the title of the album suggests, the various tracks spread across the whole emotional spectrum. You can find tunes with a real hip-hop edge ('Please Set Me At Ease' with guest MC Medaphoar); some break-heavy jams ('Stormy' or 'Funky Blue Note'); slower, moody grooves ('Andrew Hill Break'); and tracks which might as well have had a 'nu-jazz' label stuck on them ('Song For My Father' or 'Peace / Dolphin Dance'). What all these tracks have in common, however, is the delicious, ear-pleasing production quality served by Madlib. Even the most raw and simple songs are filled with carefully picked sounds - there's an almost silent horn over here, a distant cowbell on the off-beat there, some barely noticeable vocals harmonising with the strings, a swinging piano in the background, etc. That's what really makes this album sound so good and I also believe that part of the fun with it is exploring these hidden gems.

'Shades of Blue' is also special for one more reason. Madlib is so far the only hip-hop producer ever to release an album on the legendary Blue Note label, which has in its roster such prominent artists as: Miles Davis, Clifford Brown, Art Blakey, Thelonious Monk, Sonny Rollins or Cannonball Adderley. Do you think he can match his label mates? Well, just see for yourself!

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Dimitri From Paris - live @ Djoon, Paris (8/04/2011)

Ok...Let's start off by saying that Dimitri from Paris is actually not from Paris. Dimitri Yerasimos, as is his actual name, was born in Istanbul to Greek parents. However, he grew up in France and from an early age was heavily involved in the French house scene. Taking inspiration from 70s disco and funk, he created a unique sound that quickly got him the recognition he deserved - in 1986 he was hosting the first house music radio show in France on Radio NRJ. Apart from that he was involved in producing runway soundtracks for such fashion labels as: Chanel, Jean-Paul Gaultier, Hermès and Yves Saint-Laurent. In 1996 he released his first album, entitled 'Sacrebleu', on Bob Sinclar's Yellow Productions label, which was a massive success - UK's Mixmag proclaimed it 'Album of the Year'. Dimitri is also responsible for tons of remixes, for such renowned artists as: Björk, The Cardigans, James Brown, New Order and Quincy Jones.

I'm writing about Dimitri cause just a couple of weeks ago I had the immense pleasure of hearing the man live at Djoon - the soulful mekka of all the househeadz in Paris and by far my favourite club in the French capital. And, I gotta admit, it was utterly mind blowing! Trust me, I've been to many clubs in my life, heard many djs play, but what Dimitri showcased cannot be expressed in human terms - it was a night of pure magic and a truly spiritual experience!

If I were to choose one word to describe it, it would definitely be: energy !...Dimitri is simply the god of the 12" realm. Throughout the night he was serving the groove-hungry crowd an eclectic mix of the finest cuts of beats out there. The ease with which he jumps between genres, mixing music from the whole spectrum of 'dance music' results in a hot and heavy mixture of pure joy. Simply dynamite!

I think that's what really separates the men from the boys. DJ-ing is seriously not only about getting the perfect, seamless blends. It's sooo much more! And if there's anybody who understands, it's gotta be Dimitri. The man was like a snake-charmer, hypnotising the crowd with the slightest move of the faders.Utilising tricks that in some societies could easily be classified as black magic, Dimitri took control of our bodies and souls for the whole night, creating a truly mystical musical journey. I mean, at several points during the night I found myself getting to the point where I thought I was gonna rip the hair off my head - if that's not Voodoo, I don't know what is!...Tune after tune, Dimitri manages to make your heart beat faster and faster, and just when you start thinking to yourself: 'My god, can he take it even further?'....straight away, he comes in with another banger of a tune, making you submit to his beat-infused mysticism!

Like I said before, the true magic in this mix stems from Dimitri's excellent intuition and his unmistakable eclectic style. There's soulful, disco-diva-styled vocals, hypnotic hard-hitting beats, fantastic percussion arrangements with plenty of mayfield-like congas and cowbells...all this is covered with fat, funky basslines and a steamy, red-hot groove! Tune, after tune, after tune!

So, if you wanna see for yourself what dance music is really about it, buckle up and let Dimitri hijack your soul!

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Booker T. & the M.G.'s - Green Onions (1962)

Recent weeks have been pretty hectic for me work-wise and it looks like it ain't gonna stop in the near future, so I'm really struggling to find the time to write stuff on my blog. Nevertheless, I'm just gonna try to keep it short and simple and let the music do the talking. And if there's any type of music that can tell a good story, it's gotta be blues!

'Green Onions' was the debut album of Booker T. & the M.G.'s. It was released in 1962 on Atlantic's memphis-based Stax division, which had in its roster such renowned artists as Otis Redding, Albert King, Sam & Dave and Isaac Hayes.

The group started off as a session band, providing the backbone for many Stax artists at the time. One day, in a break between recordings, they started jamming around with a couple of riffs and fiddled with a little song Booker T. Jones has written way back in high-school - 'Green Onions'. Jim Stewart, the then president of Stax liked their sound and decided to release their debut record with 'Green Onions' as the a-side and 'Behave Yourself' on the flip-side. The single enjoyed great success, selling over a million copies, and this prompted the band to release a whole album.

At the time of the recording of their first full-length release, the band consisted of 4 people: Booker T. Jones (organs, bass guitar, guitar, keyboards), Steve 'The Colonel' Cropper (guitar), Lewie Steinberg (upright bass) and Al Jackson Jr. (drums). Later on, the band replaced Steinberg with Donald 'Duck' Dunn, who has played with them ever since. You might remember both Dunn and Cropper from the legendary 1980 film 'Blues Brothers' - they were both featured in the film and were also members of the original 'Blues Brothers' band.

Booker T & the M.G.'s is kind of a peculiar band. All of the guys in it are really session musicians first and foremost. They have backed a plethora of famous singers on thousands of records, playing on and producing many hits. Booker T. wrote such great tunes as: 'I've Never Found a Girl (To Love Me Like You Do)', 'I Love You More Than Words Can Say' and Albert King's 'Born Under A Bad Sign', which was covered by such powerful bands as 'Cream', with Clapton on board, and The Paul Butterfield Blues Band (by far my favourite rendition). Suffice it to say, Sam & Dave's fantastic 'Hold On! I'm a Comin'' features Booker T. (playing the tuba!!!) and the rest of the M.G.'s with Donald 'Duck' Dunn's killer bassline.

Nevertheless, the group managed to record a great album, that has defined southern soul music for a whole decade. Bands on both sides of the Atlantic were trying to imitate that unforgettable sound of Booker's Hammond organs and Steve Cropper's Fender Telecaster guitar and the groove both of them created.

The 'Green Onions' album is a 35 minute instrumental voyage, filled with blues-infused soul goodies. The album features 12 songs, ranging from slower, kinda mellow tunes like: 'Stranger On The Shore' or 'Lonely Avenue', to faster, rock'n'roll-ish songs like: 'You Can't Sit Down' or 'Twist And Shout', and to the groovy bits like: 'Comin' Home Baby'. There's a bit of everything really. What they all have in common is the fantastic guitar work of Cropper, where hes able to subtly accompany Booker with delicate choruses but also jump into finger-twisting solos, and the great sound of Booker's organs which serve as a trademark sound for the whole album. Prime time soul music with a dash of an R'n'B feeling, a hazy blues aura and jazz sophistication. You might think to yourself - how the hell could they play Ray Charles' 'I Got A Woman' without a singer?! Well, the truth is, their music is so good you don't even realise that this song ever needed any lyrics.

You could have heard some of their songs before - a lot of the tunes were used as a soundtrack to 'Get Shorty' (starring Travolta, De Vito, Hackman and a few others), and 'Behave Yourself' was featured in the Coen brothers' awesome picture: 'Big Lebowski'. Rings a bell?

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Bob Sinclar - I Feel For You (2000)

I recently found an old, long-forgotten CD that was lying around my room, shoved in a corner years ago, covered in tons of dust, and.....it turned out to be a compilation of some old-school Bob Sinclar tracks. Quite naturally then, I felt a strong urge to browse through my record collection and dig out all the fine tracks Bob has graced us with in the late 90s / early 00s and reminisce on these happy vibes.

I also figured I should share a piece of Sinclar's beats with the rest of the world. And trust me, it was a mission and a half to actually pick an album/song for my blog - simply because Bob has made so many fantastic tunes! Nevertheless, in the end, I went for the 'I feel for you' LP...follow me and you'll figure out why!

...Bob Sinclar...the name has become nearly synonymous with house music. Christophe Le Friant, cuz that's his real name, is a true character - trying to grasp who he actually is and getting the gist of his persona would take some considerable research. In the meantime, let's just see what the man himself has to say:

"Who is Bob Sinclar? An international man of mystery, since he first emerged in 1976 his career path has taken in spy, jewel thief. Riviera playboy, mercenary, arms smuggler, Monte Carlo card shark, Studio 54 bellboy, high-class gigolo, sunglasses model and hardcore porn star. It's also rumoured he was roped in to teach John Travolta to dance for Saturday Night Fever, but we don't want to play with the rumours - the mere facts themselves are incredible enough. Now, since his autobiography was banned worldwide in order to protect NATO security, Bob has decided to tell his story via the medium of House music."

This is an extract from the liner notes of his first album - 'Paradise'. I don't think I could put it any better myself. If it still ain't enough, just know that he's responsible for over 80 releases, nearly 300 remixes (for such notable artists as: Ian Pooley, Jamiroquai, Dimitri from Paris, Moby and Madonna) and has made over 1,100 appearances on compilations, albums, mixes and videos. All this under various monikers: Bob Sinclar, Chris the French Kiss and Bob from Paris. Sinclar lives in Le Marais, the gay district of Paris and is currently involved in making shit music...what?!...yep, that's not a typo. A living legend, a leader of the french touch house scene, a visionary artist whose tracks have introduced me to house music, has now become a sell out, making plastic, commercial 'music' that ain't worth the vinyl it's pressed on. Sad but true...

Nevertheless, you gotta give credit where credit is due - his early stuff was mindblowing. The 'I feel for you' LP, which is the first single from his second album - 'Champs Elysées' (released in 2000 on his own Yellow Productions label), is simply French house at its best. The release features two tracks: 'I Feel For You' (with two r&b remixes) and 'Save Our Soul', plus two DJ tools - an accapella and a 'beatapella'.

The title track is a great disco-infused piece and has everything you'd expect from an early Bob tune - fantastic soulful vocals, a slamming beat and a funky rolling bass that keeps on driving the track. Where Sinclar really delivers is his sampling. He can take two records - Cerrone's 'Look for Love' and Weeks & Co.'s 'Knock Knock' - x-ray the tracks, scanning for the tastiest, sweetest bits and end up having a short sample, which after applying his filter magic, turns into an unforgettable hook that sends crowds of people crazy...that's pure musical instinct!

As for the B-side, 'Save Our Soul' is a lot more darker and deeper, but it still is a hell of a tune! Here Sinclar sampled the live version of Earth, Wind & Fire's 'Devotion' to create an awesome floorfiller that despite the heavier beat still has that 'feel-good' factor you'd expect from Bob. Personally, I really like the intro to the song, but I can't figure out where's the sample from. And also, is it just me or does the guy really say: 'Save us all' instead of 'Save our soul'? Do you think Bob knew about it? Did he do it on purpose?...It reminds me of 'Ride On Time' by Black Box, who only after several years after releasing their song admitted that the sample they used really said: 'Right on time' but they just misheard it :)

Adding up, the LP enjoyed massive success, being released in over 9 countries on labels such as: Defected (UK), Subliminal (US), Universal (Italy), Legato (Belgium), Vendetta (Spain) etc.etc. Credit must go to Julien Jabre who was the projects engineer and is responsible for that sweet sound. There are also many remixes worth checking out: 'Save Our Soul' was nicely edited by Brian Tappert of Defected and Kidstuff's 'Tear Our Soul Apart' mix is also a banger of a tune!

So the next time you hear 'Love Generation' on the radio, just remember that deep inside, hidden beneath that ton of plastic is Bobs true, vivid, colourful, funky soul - unfortunately it decided to hide for the time being. Let's just hope we will see it make an appearance once again!

French touch, baby!

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Hott 22 - Before I Let You In / 8th Wonder LP (2005)

Hott 22 is a New York based production duo of Chris Malinchak and Greg Bahary, which is responsible for delivering some of the finest house music of the last decade. With over 100 remixes and 20 LPs, their tunes have been showcased on compilation albums of such iconic labels as: Hed Kandi, Stero Sushi, Azuli and Defected. Their songs have that classic house touch that we don't get much of these days - feels good to reminisce on that sound from time to time.

The Before I Let You In / 8th Wonder LP, released in 2005 on the New Jersey based Gossip Records label, is a real banger! The duo delivers two fantastic tracks, both with a very positive, uplifting touch and a funky feel.

Before I Let You In features a great, driving beat with a thumping bass kick and some sweet congas in the background. Besides that, there's a funky 1-bar guitar loop and some soothing keys on top. But what really makes the difference in this track are the sweet vocals of Jocelyn Brown, sampled from Inner Lifes 'I'm Caught Up (In a One Night Love Affair)', which, slightly sped up and pitched, are combined with the short string sample to make a great, melodic vibe that will get you hooked in no time!

On the b-side, we find another great song - 8th Wonder - which is a bit more hazy and dreamy but equally delivers. The recipe is pretty similar to the tune on the other side of the vinyl - a nice beat with distinct shakers and congas, a rather simple, yet very catchy, funky bassline, a 1-bar synth loop, a 2-chord guitar lick, a single-note string in the background and some spoken word and heavily filtered vocals to top it of. Simple ingredients - great result! A true floor-filler that builds up really nicely and is guaranteed to send a smile to your face.

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Super Duo - Gitarolo (2011)

Today I'd like to share with you an album that's very special to me - it's my dad's bands new album, which came out only a couple of weeks ago.

Super Duo, as the band is called, was started by my dad and Cezary Krajewski in 1984. The group played music that oscillated around the flamenco/jazz areas - sort of like the famous Al di Meola/Paco de Lucia/John McLaughlin trio. The group has enjoyed quite a fair amount of success (bearing in mind their music ain't as catchy as Rihanna and the lot) and has been heralded by many as the best polish guitar duo. As a result, they had the great opportunity to tour many countries: Germany, France, Finland, Denmark, Russia, North Korea (!!!), Holland, England, etc. That was pretty neat for two guys stuck behind the Iron Curtain during a time when getting a passport was just as difficult as finding a decent piece of meat in a shop.

Besides that, they have frequented many festivals: Fama (1985), Jazz Jamboree (1985), Roskilde Festival Denmark (1986), Jazz Praha (1987), De-Bron Dalfsen Holland (1990), Muse Berlin (1990). They have also had the pleasure of sharing the stage with such great acts as Al di Meola and Take 6 in concert halls like the Royal Festival Hall and the Barbican Centre in London. Unfortunately, due to Krajewski's tragic death in 1997, the group ceased to exist.

But now, after 17 years of absence, Super Duo, together with one of the best polish flamenco/latino guitarists Przemyslaw Haluszczak, is back with a new album - 'Gitarolo'. This time, the raw sound of a guitar duo has been backed by grooves crafted by Grzegorz Kopala. As a result, Super Duo became....yep, you guessed it - a trio.

The 'Gitarolo' album features 8 tracks, 4 of which are new renditions of the band's old songs, while the other half constitute new compositions. The addition of Kopala's background vibes gave the band a bit more modern touch that should render the music more appealing to wider audiences. I must admit that I was initially quite scared of these experiments but hearing the older songs in their new versions was quite refreshing (maybe with 1 exception ;) ) and I'm glad that the tunes still have a similar feel and aesthetic as the 'originals'.

My personal favourite from the album must be 'Tarantos Ali-Baby' which is a slight twist on 'Fis-dur Ali-Baby' (a song from their 1994 'Super Duo 3' album). However, due to Haluszczak's 'break-down' solo in the middle of the song (btw, it really is a mutherfucker of a solo - i was truly impressed) the tune ended up having a slightly different form - hence the name change. Besides that, I really enjoyed 'Farruca' - a sweet, chilled out flamenco-ish track with fantastic vocals by Kopala - a perfect song for a lazy Sunday afternoon.

I also believe the bands music benefited from getting Przemyslaw Haluszczak on board. My dad has always been more jazz-oriented (which is reflected in his solos) and jazz-influenced (which I think is reflected in his compositions) and with Przemyslaw's spanish/flamenco approach they tend to complement each other quite neatly - with great benefit for the resulting sound.

Anyways, the album is a double-disc release with a bonus DVD on which you can find: a few video clips to the songs from the album, an interview with a world-famous luthier who is responsible for making the guitars used by my dad and Przemyslaw, interviews with notable polish artists (the conductors: Krzesimir Debski and Zbigniew Gorny; and actors: Katarzyna Skrzynecka and Witold Debicki) who explain the influence Super Duo's music had on them, some trivia and a video of a great flamenco dancer - Malgorzata Moskalewicz.

They used to call themselves: 'The fastest guitars in Poland'. Did they manage to keep up the tempo? Well, just see for yourself...

I've also managed to upload a few tracks from their first album - Gluche Krokodyle (1986). Check 'em out!

And last but not least - some oldschool footage from a lil' TV performance they did in Czechoslovakia (!) in 1986:

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