Because I Can

Lovely old school train set from DevilMaycare on Flickr



Created with Admarket's flickrSLiDR.

Guru vs Run DMC | DJHistory.com

R.I.P. Guru, so much said already, but check out this fantastic IV by Frank Broughton from DJ History

In 1993 Gang Starr front-man Guru released his landmark solo album Jazzmatazz on which he collaborated with a series of jazz veterans. The same year, Run DMC staged a come-back tour on the back of their Down With The King album, roping in the hottest producers of the moment to update their signature style. Frank Broughton brought them all together in the offices of Profile Records, with Guru quizzing the Hollis trio about rock riffs, God, the old days rapping in the parks and wearing glasses with no lenses i Guru vs Run DMC | DJHistory.com

REVIEW: DAEDULUS – RIGHTEOUS FISTS OF HARMONY

REVIEW: DAEDULUS – RIGHTEOUS FISTS OF HARMONY

Daedelus
Righteous Fists Of Harmony
Brainfeeder

Funky left-field electronic beat-smith Daedelus last surfaced in 2008, with his Love To Make Music To album.

Heavily influenced by the poppier end of break-beat driven rave scene of 91, Daedelus’ music showcased an originality of style that belied its mass-market influences. Fast forward to 2010, and Daedelus has re appeared on Flying Lotus’ Brainfeeder imprint, with Righteous Fists of Harmonyshowcasing a totally new introspective and brooding direction. With an artist as maverick as Daedelus , there is no shame in pushing the boundaries of your sound to create a new direction. Indeed the constant desire to innovate is what separates electronic and beat music from the worst of its plodding rock contemporaries.

However in this instance, it’s a shift in focus that is as confusing as it is different. Instead of looking to the heyday of outdoors raving, Daedalus has seemingly immersed himself in a psychedelic haze of stripped back ‘trip-hop’ and slow burning atmospherics. Similar to the introspective route mined by Massive attack over the last decade, the album delivers a slo-mo fusion sound that doesn’t quite work.

Not to say there aren’t some nice touches at work here, such as the dreamy Order Of The Golden Dawn, featuring the shimmering vocals of his wife Laura Darling, or the tense syncopation of Fin De Siècle that creates a tension sadly missing from the rest of the tracks on offer. In fact the majority of the album rolls very smoothly into one tripped out downbeat passage, teetering perilously close to the edge of mediocrity.

Whilst it’s great to see producers like Daedalus stretching their wings, in this instance its a case of too much atmosphere and not enough soul.

Toby Hemming

Friday Night at St Andrews

Interview I did last week for Bonafide

Far from being just the big guy in a shower hat behind Eminem, Detroit rapper Bizarre boats a musical legacy to rival even some of today’s more high profile rappers. Ahead of the launch of his solo album, “Friday Night at St Andrews” Bizarre took the time to speak to Bonafide about the hip-hop legacy of his home city, MC Battles and oh yes, the shower hat.

So to kick off, where is St Andrews and what’s so special about Friday Night there? “The name St Andrews refers to a club in downtown Detroit where we all started out. Fridays nights was the dope night, the night where we would all get up and spit our stuff. I started there, D12 started there, Marshall (Eminem) started there.” Is this the club featured in Eight Mile? “Yes the very same, but you know it was a lot madder than that- this place was pretty freaky you know. The people who went there used to look so different. People used to laugh at you for going there.“ So are you trying to catch that vibe on the record? “ Yeah you got it. Hip hop today’s kind of funny you know, people are doing that euro discos stuff and auto tuning all over the place? I think I need to, I got to, bring some of that rawness back, we come from the street and that what we be representing”

For all its post industrial gloom Detroit has consistently produced world beating musical acts across all genres, any reason for this? “Yeah you right, Berry (Gordy) put this place on the map, and then us and also not forgetting my brother Jay Dilla. We stuck in the middle you know? Between New York and the West Coast, you might say that we got the best of both worlds.” Tell me about Jay Dilla, you were working with him when he was relatively unknown? “Yeah, he was a genius flat-out. I love that boy, and I miss him so much, the things he was doing were unbelievable. I know he gets props but he deserved more you know? I think he could have gone on to rule the music world, not just hip hop but every kind of music. I got a loads of is stuff that aint never going to come out, and its raw man you just wouldn’t believe the styles he was capable of.”

So who’s making the music now that Dilla is unfortunately no longer with us? “This record has been produced by local producers, the new kids and the up and coming. I think if we are keeping it street then it’s the kids who are going to make it happen. I have sat around waiting for the phone to call I wanted to offer that same opportunity that I got out a bit further.” No turning to Dre or any of the big boys to get a sure-fire hit then? “If it’s about St. Andrews, it needs to sound raw and it needs to sound live. Every song on this album, I can hit it live, it’s something I can see myself performing.”

And it’s that ability to pick up a mike and genuinely rock the house that seems to lead to where Bizarre is at the moment. “It’s the battles man, the battles are where I’m from and that’s what hip hop means to me personally. I can step up to anybody, and Im pretty sure that I can take them, that’s what this record is about. If you want pop then that’s fine, if you want the real thing then St Andrews is where it’s at.”

It’s refreshing to speak to somebody who has had such a close brush with superstardom and not only lived to tell the tale, but still shows such genuine respect for his roots. Bling culture generally means a rejection of where you are coming from in favour of where you are at, but Bizarre doesn’t feel that way at all. “No man, for me it’s the street and it will always be the street and that just me.” No Hollywood career of perfume range then? “Fuck no; I love the beats too much.” He laughs every so slightly sinisterly down the phone.

As Bizarre’s PR breaks the conversation up to signal another interview, I manage to ask the one question that I have been dying to pose all night. So what’s with the shower hat? “Why not.” he laughs, “I was goofing about in the hotel and it just kind of came to me. I wanna be a bit different you know? Not like all them other rappers. Hell who doesn’t? “

DAM FUNK

After several torturous tranatlantic phone calls, I finally managed to speak to Stones Throw legend Dam Fun. Excluively for Bonafide magazine....

Peanut Butter Wolf, master beat maker, vinyl aficionado and head man at US label funky, hip-hop, breaks label Stones Throw also has another not inconsiderable string to his bow. Not content with consistently delivering a fine menu of top-notch head nodding records in his own right, he also possesses an unnervingly fine talent spotting ability. Like a hip-hop Simon Cowell, but with taste, Peanut Butter Wolf has expanded his empire over the last year to include a string of releases from the best in leftfield underground beat music.

Latest member of the Stones Throw stable is veteran LA sophisticate and all together cool individual, Dam Funk. Responsible for the recently released concept album ‘Toeachisown’, Dam Funk is something of a California legend, having been involved in both crafting funk fuelled missiles of his own, and running legendary LA club Funkmophere for the best part of the last decade. The man himself recently touched down in the UK to brighten up the English winter with his funky flavours, and we were luckily enough to catch up to find out a little about what makes the man.

Dam Funk’s music has a smooth polished electronic edge that recalls the best of the early eighties boogie scene, tightened to perfection with a modern electronic edge. Lazily pigeonholing his style as retro however brings short shrift. “ My shit isn’t exactly what you call old fashioned you know? I like to think of my style as a continuation. Back to the times before hip-hop became what it is, where different ‘urban’ if you want to call it that, styles existed side by side. “

Pushed on the point Dam becomes animated as his smooth Californian drawl takes an almost urgent edge. “ The way I explain it is this, I want you to think about a different world, parallel universe if you like. A place where those cats that were listening to these funky joints didn’t hide those records and claim they was B Boys or something all of a sudden. Imagine if the record companies hadn’t just decided they wanted badass rappers on every record. Imagine that the funk, and I mean the REAL funk, was allowed to grow and do what it waned to do? That’s where I come in. Shit I love those old boogie joints and so forth as much as anybody, but what I’m doing is carrying on that tradition, so all those funky people don’t have to just listen to these records, in private, driving about in their cars or whatever. This is music for now and its music that means something in this day and age, you know what I mean?”

Listening to the Dam Funks productions and this idea of a parallel funkosphere starts to make sense. Tunes such as the title cut of his latest release echo the electronic funk masterpieces of Roger Troutman’s Zapp, or George Clinton’s more contemporary work, but it’s the modern sensibility of production and innovation that stop them being mere pastiche pieces.

Never shy of experimenting himself, he recently remixed art rockers, and fellow Californians Animal Collective, in a move to some that may seem outside of the realms of the typical urban music scene. “ The thing is the scene round here is so fertile at the moment. There are a lot of good people doing a lot of good things and that’s something I really dig you know? I don’t care about labels or whatever, if I like it then I want to get involved. Simple as that. “ So, are there any more collaborations in the pipeline? “ Hell yes, I want to get n the position where say, Talking Heads were in the early eighties. They used a lot of funk and disco producers on what was essentially a rock band, and if you listen to that you know that it worked. In fact my next record is going to be a cover of a Human League track, but filtered through how I see things. And I tell you what, it’s going to be the business man.”

Name checking both Talking Heads and Human League may be surprising for a man who posses a Californian drawl so horizontal there are times it barely breaks out of a whisper. So making any assumptions about his style turns out to be particularly misguided. The man reputedly throws a legendary live show, but not quite as you might expect. “ I’ve been doing this live thing for a few years now, its party time for me when I’m up there doing my thing. I got a band I’ve been on the road with for a few years, and we want to make sure that everybody is enjoying themselves as much as we are.” A bit like Parliament then, that sort of vibe? “Shit no, that style is old you can’t be saying I am getting up on the stage with a load of cartoon characters dressed up in nappies and stuff. My band aren’t a load of clowns.”

Any possible tension, is quickly relieved however by a drawn out baritone chuckle, and you have to admire the man for not getting hung up on the past, especially a past with so much influence. So what is your show like then? “We are tight man, I may have a lot of people up there but my style is more like Gary Numan you know. That kind of icey robot thing. “ Have you ever seen Kraftwerk I wonder? “ Yes, that’s the kind of shit I’m talking about, keeping it neat, no messing about, just the music.”

For an artist wit such an undeniable talent, located in the midst of a town so rich in musical heritage, Dam Funk’s attitude is not only surprising but also extremely refreshing. To have the vision to create your own version of a musical story that has been retold so many times it is ingrained in the very psyche of a generation, is brave to say the least. But it’s this vision that makes not only the man, but also his music so special.



Sit back and listen to debut long player, ‘Toeachhisown’ and the beauty is the sound of California Soul mixed with the best of European pop. Sound familiar? Well that’s because it’s the blueprint to the best popular music of the last century, a transatlantic fusion delivered by mavericks like Dam Funk who deserves the last word. “People tell me that the funk is a feeling, but its more than that. My music is a lifestyle, and if you choose to live that life then you aren’t ever going to be disappointed. Trust me, and come along for the ride.”

You know what? I think I will.

Toby Hemming

N.A.S.A.'s 'Spacious Thoughts' featuring Kool Keith and Tom Waits

Orbital Electro Mix

To be honest, Chime and Belfast aside, I never really had much time for Orbital. However they are veterans of the scene and redeemed themselves a little bit by throwing down this classic electro mix on 6 Music a couple of weeks ago:

Download here:

PHIL HARTNOLL OLD SKOOL ELECTRO MIX

Shannon - Let The Music Play
Newcleus - Automan
Kid Frost - Rough Cut
Roxanne Shante - Bite This
Hashim - We're Rocking This Place
Imperial Brothers - We Come To Rock
Afrika Bambaatta - Planet Rock
RSW - The Phantom
Ryuichi Sakamoto - Riot In Lagos

Here's a robot:

Down and Out with Toddla T

Interview I did last week for Bonafide with Bassboy Toddla T.

With his mixture of gruff Yorkshire burr mixed with rude boy patois, on first hearing Sheffield boy wonder Toddla T, it’s easy to dismiss him as a Northern Westwood wannabee. But this 23 year old club kid from Sheffield has enjoyed a meteoric rise from underage backroom rave gopher to toast of the scene, strictly on the back of his unique take on a contemporary British genre-hopping dance pop sound.

With Toddla about to drop the latest mix on the reliably consistent Fabric live series, home to such unshakable legends such as Grooverider, Tayo and Bukem, its seems he has finally been handed the official seal of approval.



Speaking to him down the phone from Fabrics’ London offices, where he was unashamedly “checking out the leather sofas and the inside of the fridge, “ I spoke to the boy himself about his first high profile mix CD and the background that has made him threw name to drop this summer for leftfield dancefloor aficionados.

“I’m loving where I am man, I came to playing beats through listening to a lot of US rap music and reggae as a kid. We used to go to these little parties, nothing flash just a few speakers and a shit load of bass. That where I learnt what I’m doing now. It wasn’t till later that my man hooked me up with house and techno, but to me it’s all the same, all about moving the crowd innit?”

The Fabric mix is a testament to this streetwise attitude showcasing the breadth of his own productions mixed with the cream of the underground. The 21 track mix is also scattered with a magnificent selection of collaborations, including a liberal selection with ‘red hot right now’ grime poster boy Skream. “Yeah I’ve know Skream for a few years now, his sound is killing it, I’m well glad that boys got the props he deserves and I definitely going to be doing more with him in the future.”

Toddla’s trademark sound is a bass driven mash with a bit of grime and DnB thrown in for good measure, but it’s the West Indian influence that really holds the whole thing together. From Ragga chatting to the sonic textures of his own productions, his sound puts a focus on that key ingredient, the deep dirty bassline. “Its funny really because I think reggae gets overlooked when people talk about electronic music. There are some bat cuts out there that were way ahead of their times, loads of Jamaican producers were using synths and computers way before anyone else, so it aint anything special to me. If I’m spinning and I drop a ragga tune next to a grime or techno cut, as long as it works I aint bothered where it comes from .“

It’s this attitude and passion for his roots that makes Toddla stand out from the legions of his esoteric peers. There is certainly a different texture and flow to both is DJing and productions that marks him out from those schooled in the world of straight up 4/;4 music. Listen for example to Manabadman, his debut single featuring the voice of Serocee. Whilst it packs a heavy punch for the floor, the production style is reminiscent of a cyber version of rave pioneers Shut up and Dance, another crew who came to house music from sounds systems and eschewed traditional club music to plant the seeds for what became drum and bass.

Toddla’s style is definitely something else, and refreshingly future focussed, albeit with a healthy regard for the past. So what’s next for him, planned world domination perhaps? “I dunno man I’m just out there doing what I do, I’m lucky in that I’ve got the best job in the world playing my tunes and Im happy people pick up on it. I’ve just started my Radio 1 show, and with this mix dropping I’m pretty happy about where I am at the moment to be honest. “

Speaking to Toddla T is a refreshing insight into the possibilities today’s pick and grab culture could provide. Maybe through the democratisation of music, kids like Toddla may be able to fulfil the promise that acid house and punk failed to deliver. The idea of real genre crossing, picked from all the recorded music ever made is an exciting and very real possibility. For now he’s busy just starting the party. But if they carry on dreaming, its kids like this that might hold the key to the next big thing, and that’s something certainly worth watching out for.

Toby Hemming

Guru-Divine Rule

Not sure if this is the best, or worst thing I have heard all year. Ex Gang Starr frontman, and arguably best MC ever, rapping over Ceronne's 'Supernature'
Judge for yourself......

Incoming:BONAFIDE Magazine

Of recent there has been a definite lack of cool places to find quality beatbased journalism, either on the web or in print. With the likes of Hip Hop Connection, Jockey Slut and even The FACE, going to the wall, all thats left are mainstream musical publications either boring themselves to death with 'Classic Rock' or revving up the trancepowered lightsticks.

Step up Bonafide, which not only hosts some of the best words around, as importantly it looks fantastic and doesnt take itself too seriously (oh yeah, and they published this)

Check out the website here, and then SPEND SOME MONEY TO BUY A COPY.

DJ Vadim_ U Can’t Lurn Imaginashun

DJ Vadim first entered the consciousness through the Ninja Tunes camp and a definite association with trip hop, a genre so steeped in the nineties I last saw it down the Blue note sporting Carharrt jeans and Nike Huaraches.

Judging by the press release, time has not been kind to Vadim, encountering as he has a string of personal misadventures, including mass bereavement and ocular melanoma (eye cancer). Musically, however this purple patch seems to have invigorated the artist formerly known as Russia favourite cut n paste hero (probably)

Whilst being rather unsure of it role, this album showcases admirably Vadim exemplary production skills, and love for the bass driven end of black music in all its forms.

Schizophrenically switching styles from roots reggae to straight up breaks, via clipped hip hop and soul, the album meanders ingeniously but tastefully across a myriad of musical styles.

Opening with the laidback guitar led ‘Soldier’, lets the album down as the righteous roots vibe recalls a dozen student gaffs thick with the smell of cheap draw. The album soon moves into darker territory with the Kraftwerk meets Jammy’s uptown vibe of ‘Imaginashun’ (and yes this IS a good thing.) Digital dub as genre is about as fashionable as Piers Morgan, but Vadim carries it well, keeping tight to the groove with falling off into noodling territory.

Things get interesting again later on with the instrumental goodness of ‘Game tight’ beautifully sampling ‘Nadia’s Theme’ also used by a certain Miss J Blige, and the bouncy soulful closing jam ‘Hidden Treasure’, what’s known as a ‘banger’ and definitely the highlight of the record.

A few dodgy vocal performances aside, this is a real summer party record, Vadim has managed to throw off the clichés of his past and overcome his personal demons to create, not quite a masterpiece, but certainly a worthy record. Worth Checking.

Pop Art ?

Just cant fault this, came across these superb classic albums as Pelican books on Flickr

Anybody with a love for classic nineties albums and cheap paperback (isn't that everyone?) should take a look.

I'LL BE RIGHT BACK AFTER THIS WORD......

Slack on lack of content, watch this space.....

Giant Paper Robot Fight

Lets face it...WHAT MORE DO YOU NEED ???????

Giant Paper Robot Fight - Shin Tanaka Contest from elemental on Vimeo.

Classic Breaks

Found this great site called Embedr, which allows you to create bespoke video playlists. Messing about with it I came up with this totally non definitive list of classic breaks, and yes I know 'Take me to The Mardi Gras' isnt there, alongside a whole lot of others..... But its just an experiment OK ??
Watch this space as I amateurly try to match the breaks with classic hip hop 'joints'.....

Build your own custom video playlist at embedr.com

Soul II Soul vs Wild Bunch: Test Pressing

Head over to the excellent Test Pressing for a wicked live clash from NYE 1987 featuring heavyweight selectors Soul II Soul vs. The Wild Bunch (featuring the original line up of Massive Attack) Old School Soundlash Bristol/Camden style recorded live.

There was a Wild Bunch CD out a few years ago mixed by DJ Milo that was a pretty straighforward heavy weight disco, hip hop, reggae selection which is also the business.

M.M.M.M.Mantronix.....

Digging in the crates, well the cardboard box under the stairs this morning, looking for something to play in the car on a dark rainy morning I came across this.

Always loved a bit of Mantronix and this album in terms of energy and production detail is a blinder. Innovator, legend etc. are big shouts but Kurtis Mantronix is one of the few people to genuinely alter the path of electronic music.

Schooled in old school hip hop and electro from the school of Arthur Baker and Marley Marl, Mantronix pushed it as far as they could; combining peerless studio production techniques with the traditional electronic sounds of YMO, Kraftwerk and Neu and most tellingly the sonic sculptures of dub reggae. In fact Kurtis has a Jamaican /Canadian heritage, and it’s the simplicity and space in his sound that echoes the rhythmic mastery of dub that sets his work apart.

At the back end of the eighties Mantronix dropper rapper Mc Tee and embarked on a more club friendly direction, releasing proto swingbeat classic, “Got To Have Your Love” . It appears the trail soon went dead as he hung up his slipmats and drifted into obscurity before being rediscovered by London Soul Jazz collective in the 21st Century.

Here’s one of Kurtis el Khaleel aka Kurtis Mantronix’s finest moments:

Mantronix: Who is it? (Dub)

Too True

http://stuffwhitepeoplelike.com/2008/11/18/116-black-music-that-black-people-dont-listen-to-anymore/

Steinski - What Does It All Mean ?

Steinski

What Does it all Mean?

Illegal Art


Old School hip hop, three stripes, gold chains and big ass ghetto blasters eh?

That’s how it’s been written, and the guns and bling philosophy of modern rap, certainly has its feet carefully planted in reality, as hip hop remains the music of the streets. But the incubation of rapping over a beat came at fascinating time in the late seventies New York, where art was king and the idea of crossover was rampant.

So instead of the closed mentality of ‘keeping it real’ you saw boys from the Bronx rapping over uptown disco music (Rappers Delight) or icy Teutonic electro (Planet Rock). This melting pot of high end nightlife and bloc party grit also saw some unlikely individuals taking a prime role in creating what was to become an all conquering musical monolith.

One of these characters was Chris Stein, a self styled ‘nerdy white advertising geek’, who along with his partner in crime Double Dee (Douglas DiFranco) entered a Tommy Boy records competition to remix ‘Play that Beat Mr D’J by NY rappers Globe and Wiz kid. Instead of adding a new bassline or cutting up the vocal, the pair deconstructed the entire song meticulously splicing together clips of popular hits and sound bytes sourced from popular TV shows and adverts.

In today’s post –modern sampling world, it’s not that revolutionary to stick together your favourite bits of something else to create a new entity. But these were the fledgling days of sampling, and the agility and style with the duo approached the project created the now legendary Lessons One. Of course they won the competition and went on to create Lessons Two and Three, before Steinski chose to go alone, creating denser and more adventurous works as the decade progressed.

Of course the problem with nicking other peoples sounds is that they are unwilling to let you put it out under your own name. So for yours Steinski’s rocking dancefloor masterpieces existed only on white label bootlegs and dusty tapes recorded from the radio.

This release package goes some ways to restoring the legacy of those sessions, a beautifully complied Double CD and accompanying booklet, ‘What does it All Mean’ contains not only the original ‘Lessons’ series, but other seminal works such as the JFK assassination track’ The Motorcade Sped on’. Disk two brings things (almost) up to date with a full length mix recorded for Coldcuts legendary Solid Steel show.

Many works of art are deigned masterpieces, but in the canon of modern music, the tracks contained here certainly out punch their weight in terms of influence. Not merely abstract works of art, Steinski also had his finger on the groove, and its safe to say fathered a musical legacy from Public Enemy, through to DJ Shadow, The Chemical Brothers and most recently 2002’s mash-up craze. Pure gold dancefloor history- ignore at your peril.