Curtis Mayfield - Superfly OST (1972)

This soundtrack to the blaxploitation film by the same name could may well be the soundtrack to a whole decade - the 70s. And who could capture this distinct sound better than Curtis Mayfield? A legend, a pioneer, a ghetto poet - a genius!

Superfly, the film, (directed by Gordon Parks Jr. - the man who brought us Shaft) tells the story of a black drug dealer from Harlem, New York, who goes by the name of 'Youngblood Priest'. Said pusher, tired with the life he lives, decides to quit his successful career and so convinces his partner - Eddie - to organise one last score, earn a lot of dollah and get out of the business. Priest's story serves as a base for depicting, as it usually is with the blaxploitation genre, the gang-ridden streets of the ghetto with its corrupt cops, dodgy pimps, dirty hookers and desperate junkies.

Curtis' soundtrack does pretty much the same thing. He has already been known for his well crafted music with forcible and expressive lyrics from the time he performed with The Impressions quartet during the 60s. The Superfly OST was his third solo release, however, and it didn't show any signs of him losing it!

The album is a soul & funk masterpiece! A mixture of the trademark wah-wah guitar, deep, funky basslines, groovy keys, vivid percussions and a stinging horn section - all topped up with Mayfield's laid-back falsetto. Hell, you even get the odd strings every now and then giving it a disco-ish feeling. The music, however, only serves as a background to Curtis' incisive social commentary of black urban life in the 70s.

Besides the overall damning attitude, the lyrics just sound great and fantastically complement the music:

I'm your mamma, i'm your daddy

I'm that nigga in the alley

I'm your doctor, when in need

Want some coke, have some weed

You know me, i'm your friend

Your main boy, thick and thin

I'm your pusherman

I'm your pusherman

Ain't i clean, bad machine

Super cool, super mean

Feelin' good, for the man

Superfly, here i stand

Secret stash, heavy bread

Baddest bitches, in the bed

I think you can clearly see that Curtis Mayfield inspired and anticipated the whole rap/hip-hop vibe (with it's 'thug life' stories). Well it's no surprise then, that his tracks have been sampled by such great hip-hop artists as:
Pete Rock, Gang Starr, Biggie Smalls, Beastie Boys, Master P, Kanye West, Snoop Dogg, Ice-T etc. etc.


I strongly recommend watching the film to get the feeling of the music and the times. But for now, just check this out (definitely watch the first vid - it's an actual excerpt from the film):

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Muddy Waters - The Anthology (1947 - 1972) (2001)

I'm not a big fan of compilation albums, I'd usually rather go for the 'real deal'. But here, I'm very pleased to make an exception. This double disc set is a definite guide to one of the most iconic blues musicians of all time - Muddy Waters. If this name does not ring a bell, then this album is definitely for you.

Released in 2001 by Chess, it contains fifty essential songs Muddy recorded for this premier Chicago blues label. It showcases his biggest releases from 1947 till 1972. So, you pretty much get a cross-section view of Waters' recordings - from the raw, naked, Robert Johnson-influenced solo country-blues style of the 40s to the heavily amplified, energetic, urban Chicago blues that later defined Muddys sound and got him the recognition he deserved.

Anyways, the man's a freakin' legend! He was an inspiration for generations of musicians and I'm sure that if it wasn't for him, bands like The Rolling Stones, The Yardbirds or Led Zeppelin would not be what we know them today. Actually, Mick Jagger's group took their name from Waters' 1950 hit song: 'Rollin' Stone' - how's that for tribute?

If you were to list other Muddys songs that were as inspirational as 'Rollin' Stone', the list would be longer than the notorious Maxwell Street in Chicago. Nevertheless, let me name quite a few:  'I Feel Like Going Home', 'Train Fare Home Blues', 'Rollin and Tumblin', 'Got My Mojo Working', 'Long Distance Call', 'I Just Want To Make Love To You', 'Mannish  Boy', etc., etc. If you never heard of Muddy Waters, the two last songs are probably the ones you'd recognize nevertheless. The latter being used in many soundtracks, including Pulp Fiction.

By giving us an overview of Muddys works throughout the years, the compilation also exposes us to the various people Waters was working with. The album showcases such great musicians as: Jimmy Rogers (guitar), Little Walter (harmonica), Sam Lay (drums, who was also the drummer for the Paul Butterfield Blues Band), Willie Dixon (bass, but also a very prolific song writer - he once famously stated that it's no wonder that it's the bassists, who write the most songs  - they just have a lot of time on their hands to think while they're playing), Otis Spann & Sunnyland Slim (both pianists).

Anyways, if you feel like finding out more about Muddy and Chess Records, I'd recommend the 2008 'Cadillac Records' film, starring Adrien Brody (as the Polish immigrant, Leonard Chess, who started the iconic label), Mos Def (as Chuck Berry) and Beyonce Knowles (as Etta James [yep, that's right]).



So, pour yourself a nice glass of bourbon, sit back, relax and enjoy the fantastic sounds of Muddy Waters, the hoochie coochie man!

(love the moment when halfway through the track, Little Walter, after hearing Muddy constantly hollering that he's 'goin' down to New Orleans', shouts out: 'Awww, take me wit'ya man, when you go!', not sure if that was rehearsed or not. Awesome, nonetheless!)

and the unmistakable Family Guy:

 


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B.B. King - Sings Spirituals (1959)

B.B. King....the first thing that pops into your head when you hear this name is: great blues guitarist. That's true - the man can play! I had the pleasure of listening to him live many moons ago and I must agree. The 15 Grammy awards King keeps on his mantelpiece seem to prove he ain't no rookie!

However, the Spirituals album is something completely different. This time B.B. leaves his beloved Lucille (as he calls his Gibson ES-355 electric guitar) in the box and focuses on singing. And boy, he's actually quite good at it!

The album, released on Crown records in 1959, features 10 fantastic gospel songs - among them classics, like 'Precious Lord' and 'Swing Low Sweet Chariot' but also no less than 6 tunes from the repertoire of the 5 Blind Boys of Mississippi group. And, as with gospel, the arrangements are the 'industry standard', so to speak. Electric organs, piano, bass, drums, tons of joyful hand clapping, a fantastic backing choir and B.B.'s powerful, full-bodied voice.

Many blues musicians have flirted with gospel from time to time. However, for King it was not just a passing fling. He grew up singing in a gospel choir at Elkhorn Baptist Church in Kilmichael, USA - so for him, it was back to the roots!

The lyrics, as you might have guessed, are pretty predictable. With songs like 'Jesus Gave Me Water',  'Ole Time Religion', 'Servant's Prayer', 'Army of The Lord'....well, you get the picture. Don't be scared though. Even if, like me, you don't give a rat's ass about the Baby Jesus and the Virgin Mary, I'm sure you'll still be touched - everybody needs some spirituality every now and then. Besides, the lyrics and the general theme of the album give it a sense of authenticity - so yeah, it definitely is the real deal. Praise the Lord! ;)

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tony tiptrip - s'il vous PLAY (2011)

Been kind of busy lately so couldn't really find the time to post new stuff on the blog...but after a long hiatus I'm back with a bang!

This time I've prepared a very special treat - my own mix of some pretty banging soulful house tunes! Inspired by the past half a year I got to spend in Paris, it tries to capture the spirit of these joyful times.

I won't dwell on it too much cause, quite naturally, I'm biased. I'll just give you the tracklist so that you know what you're in for. S'il vous PLAY!




download the mix @ http://www.tonytiptrip.eu




1. Kings of Tomorrow – Make Believe [Defected UK, 2005]

2. DJ Hal – Don’t Give It Up (Lawnchair Generals Mix) [Blockhead Recordings US, 2004]

3. Rithma – Funk Is Still Alive (Joey Youngman Mix) [Om Records US, 2005]

4. Jay-J & Chris Lum - Without Love [Moulton Studios Recordings US, 2003]

5. White Lotus Society – Got It (Live Vocal) [Large Records US, 2007]

6. Tom Gianelli & Martin Ikin - All That I Need (Full Vocal) [Soul Purpose UK, 2004]

7. Kathy Brown – Give It Up [White Label, 2001]

8. Bongoloverz – Spirit Of House (Piano Mix) [Soulfuric Trax US, 2006]

9. Lenny Fontana pres. The Exclusive Club – Thinkin’ About Your Love (Classic Club Mix) [Distance FR, 1999]

10. Soulmagic – Come On Come On (Main Mix) [Soulfuric Deep US, 2005]

11. DJ Circle – Call It A Day (Shik Stylkø Remix) [Realbasic Recordings DE, 2006]

12. JT Donaldson – Trust Me (Broadway & Wilson Remix) [OM Records US, 2004]

13. Julien Jabre – Swimming Places (Original Mix) [Defected UK, 2005]



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A Guy Called Gerald - Voodoo Ray (1988)

'Voodoo Ray'...these two words make househeads all over the world go: 'Hell yeah!'. A true dance music anthem, a song that summed up an era, defined the movement and inspired generations of artists. It's like the year zero in the evolution of electronic music. A tune that forged the sound of the 90s and heralded a beginning of a new phenomenon that was to transform British society - one word, four letters: rave!...But hold your horses, let's start from the beginning...

...In the 1980s, the only place in the UK where you could hear this weird, imported, American music called 'house' was Manchester's now legendary club, called the Haçienda. Opened in 1982 by Tony Wilson of Factory Records (the label that brought us Joy Division, Happy Mondays and New Order, among others), the club enjoyed its best years in the late 80s, when DJs Mike Pickering and Jon Da Silva opened up their ibiza-inspired night called 'Hots'.

It was on one of these nights when Gerald Simpson, a 20 year-old club regular from Moss Side, walked up to the DJ booth and handed Pickering a demo of a tune he'd been working on. Not even 10 minutes later Simpson, while dancing on the floor, thinks he might have heard the intro to his song. He thinks to himself: 'Nah, it couldn't be!'. Strangely enough, it turns out it was his song and it also turns out that everybody in the club is loving his tune. The DJs played the song two more times throughout the night, and with every single play, the crowd went even more mental about it. The ecstatic Simpson runs up to the DJ booth thanking the DJ for playing it.

Bam! The song gets released and Gerald Simpson becomes A Guy Called Gerald! History was made!

So...what's so special about this song then? Well...it was pioneering in the sense that it introduced a new aesthetic to the sound and paved the way for stuff like jungle, drum and bass and hardcore. Sure, the acid house sound with the iconic Roland TB-303 (a bass synthesiser for guitarists which got abused by acid house producers to make that famous, distinctive sound) was already out there, sure it was still 'four-to-the-floor', sure it had a beat made with a simple sequencer, sure it was just a couple of samples....but still, it somehow managed to spark a new movement that changed Britains racial, social and even legal context!

How come, you ask? Well....just check it out and maybe you'll find out for yourself if there's anything more to this tune than just a catchy story!

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Jaheim - Put That Woman First (Calibre Vocal Remix) (2003)

Todays musical journey will lead us to the realm of broken beats. Our guide for the trip will be the Belfast-based drum and bass producer who goes by the name of Calibre.

Dominick Martin, as this is his real name, got into the production scene quite late - his first release came out in 1998 on Quadrophonic, a short-lived Irish label (operated only for 2 years and had only 5 releases). He then later grabbed the attention of the legendary DJ Fabio, who signed him to his Creative Source label and helped him release, among other, fine EPs, his first album - the critically-acclaimed 'Musique Concrete' (2001). Two years later, Calibre starts his own label - Signature Records - which operates as an outlet primarily for his own productions and collaborations. Apart from that, he also runs Soul:r together with the Mancunian Marcus Intalex and ST Files.

Calibre is a very prolific producer, with a vast number of tunes signed under his moniker. He has worked with the likes of: Zero Tolerance, A-Sides, High Contrast, Klute, Bailey etc. etc...trust me, the list goes on and on....His records have been released on such influential labels as: Defunked, Samurai Red Seal and LTJ Bukem's Good Looking Records, among others.

The tune I've selected for you today is a remix of a 2002 "r'n'b" (*ekhm*) song, by Jaheim, called: 'Put That Woman First', which comes off his platinum album: 'Still Ghetto' (wink, wink, nudge, nudge). I haven't heard the original until today and, to be honest, it's nothing special, really, but not bad either. Just a lil' love song with a not-that-bad-at-all beat, a chilled-out guitar and some background keys and strings. Jaheim's baritone voice, I believe, is the strongest part of the tune...and that's precisely what Calibre must've thought, cause his remix seems to only have the vocal part in common with the original.

I think Calibre did a great job by turning this 'comme ci comme ça' song into a great, great drum and bass tune. It's really simple when you think of it. 

He took the vocal from the original, picked the nicest bits and sliced them up to his liking.

He added a fantastic beat - really soft and pleasant and not-so-in-your-face, like it usually is in drum and bass. It has a very delicate kick drum with a slight roll on the 1st and 3rd beat, a flat and bright snare and a rather pleasant, soothing hi-hat on the semi-quavers. Well, the beat just rolls and rolls throughout the tune giving it a really nice, 'liquid drum and bass' vibe.

Having done that, Calibre came up with an, again very simple, melody line. It consists of 3 major seventh chords (Emaj7, F♯maj7 and G♯maj7, if I'm not mistaken) played out on the piano (with an oscillating filter) and a bassline (which constantly plays the same motif, but its pitch alternates by a major second after every bar). Both the piano and bass complement each other very neatly, creating an awesome, groovy melody.

As y'all can see - simple, yet bloody powerful and just plain g-o-o-d!

Part of the success of the tune should, however, be attributed to the person responsible for the mastering - i.e. Beau Thomas of Masterpiece Media, London. He's a much sought for engineer, having mastered releases of such artists as: Above & Beyond, Total Science, Commix, Logistics, Ed Rush & Optical, Alix Perez, Rusko, Pendulum, Booka Shade etc. etc. 

This guy is the reason why this tune just sounds so freakin' good!

Well, here it is - Calibre's fantastic remix of Jaheim's 'Put That Woman First'. It was released on a White Label, however it does have a sticker on it which says: 'Warner Music UK Ltd.'. Anybody wanna solve this mystery?

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Burning Spear - Marcus Garvey (1975)

I don't really feel comfortable around the reggae area because I ain't no specialist in the field. But I do know a couple of people who are, and they consider this album to be one of the best in the genre. Well, truth be told, you don't have to be a reggae-freak...hell, you don't even have to like reggae, to appreciate this great album. Lemme show you why...

Well, personally, what I think really makes it a great release is it's production quality, the sheer warmth of the sound of the record (which probably sounds even better on an oldschool valve amplifier, the type used by reggae bands back in the day, where the bass got thicker and heavier as the amp heated up). Winston Rodney, alias Burning Spear, got himself a pretty neat backing band - the Black Disciples, as they were called, had in their ranks:

• Bobby Ellis on trumpet
• Vincent "Trommie" Gordon on trombone and clavinet
• Carlton "Sam" Samuels on flute
• Herman Marquis on alto saxophone
• Richard "Dirty Harry" Hall on tenor saxophone
• Tyrone "Organ D" Downie on piano and organ
• Bernard "Touter" Harvey on piano, organ and clavinet
• Earl "Chinna" Smith on lead guitar
• Valentine "Tony" Chin on rhythm guitar
• Robbie "Rabbi" Shakespeare on bass
• Aston "Family Man" Barrett on bass
• Leroy "Horsemouth" Wallace on drums

No shit that's a pretty big band. Now you get it where that rich and moist sound comes from.

Still, another thing is to put all the pieces together. This was done at Island Records (the label that helped Bob Marley and Jimmy Cliff make it big) and the guy responsible for making it all work is Lawrence Lindo (aka Jack Ruby). Credit is also due to Errol Thompson, the sound engineer (who also worked on albums of Marley and Barrington Levy) for getting that sweet, sweet sound.

That magical quality, with the fat bass, the guitar twanging on the off-beat (the so-called 'skank'), the subtle piano and the soft, soothing horns, is perfectly complemented by the hypnotic force of Rodney's chants.

That's about it when it comes to the music....howbout the lyrics?

Well, let's start with explaining the awkward name of the band (which is also Rodney's "nom de guerre", so to speak). Burning Spear actually came from the first name of Jomo Kenyatta, Kenyas first prime minister and founding father of the nation. 'Jomo' is roughly translated in English to 'burning spear'.

Marcus Garvey, on the other hand, is a Jamaican national hero, a prophet, according to the Rastafari movement. He was a black nationalist, strong supporter of the pan-African movement (philosophy/ideology that aims to unite all Africans and people of African descent into a global African community by mass movement and economic empowerment) and the founder of the organisation called: Universal Negro Improvement Association and African Communities League (UNIA-ACL for short ;) ).

Then it's no wonder that Rodney's lyrics oscillate around topics like slavery, anti-materialism, anti-colonialism, black nationalism and poverty - in fact, most of his songs seem to be very politically engaged and promote the teachings of Marcus Garvey as well as the whole Rastafari movement. Burning Spear, then, tries not only to entertain us but also portrays a very engaged approach in that it aims to raise the social and political consciousness of the listener. Rodney very often criticizes the shape of society in his songs, like in 'Resting Place':

Where must I find my resting place?

Over the hills, across the valley

I'm sure I can see, I'm sure I can see

Too much pollution, too much pollution

I would like to see

A broad-shaded tree

Just I can rest my head, my head underneath

Cause the sun is so hot

What says the father

Oh gosh! Oh gosh! Oh gosh!

Well, what else can I say? It's a really fantastic album, an important part of music history. And even if reggae is not necessarily your cup of tea, you should definitely check it out. And, if, like me, you're a sucker for Jamaican accents then I'm sure you'll enjoy the album even more!

• Burning Spear - Resting Place

• Burning Spear - Marcus Garvey

• Burning Spear - Slavery Days

• Burning Spear - Old Marcus Garvey

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