Archive for the ‘Music’ Category

Curtis Mayfield – Hell Below (Leftside Wobble Edit)

Tuesday, January 19th, 2010

This past weekend we had the honour of welcoming Mr. Scruff back to Toronto at the Wrongbar. He played a monumental 4-hour+ set of the funkiest original grooves and re-edits around. One favourite is the following, which I absolutely had to track down after hearing it that night.

It comes courtesy Leftside Wobble, who describes it as: “[My] first edit of 2010 and it’s a cut of what is probably my all time favourite Curtis Mayfield track – spliced and diced with love into a 15 minute disco monster.”

I don’t normally link-out to other pages, but I have to give this man his due. Hope you all enjoy!

via Curtis Mayfield – Hell Below (Leftside Wobble Edit).

 
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Ain’t no words to this song …

Wednesday, July 15th, 2009

Michael Jackson's star on the Hollywood walk of fame, June 26 2009

I know this is a long time in coming, but I found it very difficult to write an appropriate musical eulogy for the best friend disco ever had: Michael Jackson.

MJ - c 1970

Right from the start, J5 singles smacked down dancefloors and burned up the charts. “I Want You Back” reached number one in January 1970, “ABC” shortly after. Those Motown years produced some monster tracks for disco including “Hum Along and Dance” which featured an 8 minute 11 second hardcore Norman Whitfield boogie and the refrain “Ain’t no words to this song …. you just dancin on and on …”.

That song was featured on the album “G.I.T.: Get It Together”, which transitioned each song seamlessly into the next, bringing the disco DJ experience to your livingroom. They continued recording disco jams like “Life Of The Party”, not released on any album and sold only 36,000 singles but one of the most underrated disco songs of the era and “Forever Came Today” a Diana Ross original reworked into a disco smash that claimed number one on the Billboard Hot Dance chart for three weeks in July ‘75.

Jackson 5 Gold

When The Jacksons left Motown for CBS they started by recording “Enjoy Yourself”, a favourite spin at Sweetback!, and followed it up with dancefloor classics “Blame It On The Boogie” and “Shake Your Body (Down to the Ground)”. But the Jacksons’ disco legacy was only a beginning for Michael.

During production of “The Wiz” where Michael Jackson starred as the scarecrow, the film’s score arranger Quincey Jones agreed to produce his new “little brother”’s next solo album. What came out of this collaboration was… indescribable.

The Glove : International Flag of Michael Jackson

“Don’t Stop ‘Til You Get Enough”, “Rock With You”, “Workin’ Day and Night”, “Get On The Floor”, “Off the Wall” and “Burn This Disco Out” really did burn disco dancefloors out as the spins mounted up. To this day, any of these songs will fill a dancefloor with wallclingers of all ages. They are just THAT good.

From this point the disco sound was starting to give way to the 80s, but Michael Jackson still gave us plenty to dance about with the Thriller album’s “Wanna Be Startin’ Somethin’”, “Billie Jean”, “Beat It”, “P.Y.T. (Pretty Young Thing)” and a beat driven duet with Pop icon Paul McCartney that Sweetback! still employs regularly: “Say, Say, Say”.

Jackson 5 : Dancing Machine

There are so many cuts I could have picked for this goodbye, but there was always one I would come back to. No matter how deep into the crate I dug, my fingers kept lingering on the most popular Jackson 5 disco jam that appeared not only as a 7″ and 12″ single, but also on two albums. Long before Michael Jackson debuted the moonwalk on Motown 25 in 1983, he popularized another dance move during a Soul Train performance of this song in 1973.

I hope you’re in a better place now MJ, doing the robot on a cloud:

 
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Found A Child – Ballin’Jack

Wednesday, May 13th, 2009

Ballin'Jack

A lot of people wonder “what was the first disco song?” Like anything subject to evolution, the true origins of a genre are difficult to pinpoint accurately, especially when considering something as subjective as music. What two people hear in any given song may be entirely different.

The most commonly accepted answers include “Soul Makossa” by Manu Dibango in 1973, the extremely danceable and highly syncopated “One Night Affair” recorded by Jerry Butler co-written by Kenny Gamble and Leon Huff in 1972, Isaac Hayes’ 1971 smash hit “Shaft”, or anything by Barry White’s Love Unlimited Orchestra. I propose however, that we rewind just a little further back.

In 1969, a horn-rock group formed in Seattle, Washington who would very quickly earn the reputation of stealing shows from the headlining bands they would open for. Their extended jam style and groove oriented, horn driven performances were such an intense and satisfying experience for concert goers, audiences would leave after their set, demonstrating no further interest in seeing the headliner. This didn’t bother Jimi Hendrix, a childhood friend of band members Luther Rabb and Ronnie Hammon, who asked them to open every show on his 1970 “Cry of Love” tour.

They would go on to release four albums between 1970 and 1974, all containing original drum lines, rich melodies, intense orchestration and extra helpings of “Wah-Wah” guitar; the building blocks of Disco life. After 1974, the members disbanded and continued to play music separately with top acts like Santana and War. The band’s music would disappear from relative popularity until 1989, when a rapper named Young MC would create his own Grammy Award winning single by famously sampling the dance break in Rabb and Hammon’s lead off song on their first album.

That track, off Columbia Record’s 1970 LP release and self-titled debut “Ballin’Jack”, is my candidate for the first song in true Disco style. If you can’t dance to this, you just can’t dance:

 
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I Need Your Lovin’ – Teena Marie

Saturday, April 11th, 2009

Sweetback Cover

The thing I have found about hip-hop is that so many of the truly great songs have borrowed their hooks and baselines from classic funk and disco tracks most people probably don’t remember, or the new generation never heard. To think of a few off the top of my head, would you know that Eminem’s “My Name Is …” was Labi Siffre’s “I Got The …”, J Dilla’s “Dilla Says Go” used The Trammps “Rubber Band”, and Dr Dre’s “Nothin’ But A ‘G’ Thang” was most recognizable as Leon Haywood’s “I Want’a Do Somethin’ Freaky To You” but also contained portions of Kid Dynamite’s “Uphill Peace of Mind”.

Well Hip hop has done it again, reviving a relatively obscure classic deserving of a second spin. When Jadakiss released his album “The Last Kiss” on April 7th, I listened through and found myself drawn to the track “By My Side” which was noticeably different from the rest of the cuts. On closer inspection I found that indeed we had another case of under-appreciated disco.

Teena Marie never won any awards for her own songs, all of which were written, produced, sung and arranged herself from 1980’s “Irons in the Fire” and going forward. She was also Rick James’ protege and together they recorded some great tunes, but what she would ultimately be recognized for was the song “Oh La La La” which reached the top of Billboard’s Hot R&B/Hip-Hop chart, and remains her only #1 single to date. You may remember this song re-interpreted as the chorus for The Fugees’ “Fu-Gee-La” in 1995 which remains The Fugees’ top selling single and certified Gold.

But in her first release as writer, producer, artist and arranger, Teena Marie would hit the top 40 with this song, a true dancefloor jam, and respectfully brought back to life by Jadakiss for us all to enjoy again:

 
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Helplessly – Moment Of Truth

Sunday, March 29th, 2009

Sweetback Cover

In the Bill Brewster & Frank Broughton book “Last Night A DJ Saved My Life”, Tom Moulton describes how he and his mastering engineer José Rodriguez were cutting 7″ metal blanks for Al Downing’s “I’ll Be Holding On” when Tom Moulton decided the spectrum wasn’t rich enough. He deduced that the grooves on a 7″ record were too small to carry a real bottom end since they were more geared toward radio play, preferring a sound that was all middle. So they tried it on a 10″ record and the sound difference was astronomical. They cut so many 10″ acetates that when they started the next project, Moment Of Truth’s “So Much For Love”, they had run out. So José suggested they try it on a 12″ blank and thus make the sound even louder. This was the birth of the DJs most effective tool… the very first 12″ single.

On one side they cut an extended mix of the song (Also known as a Tom Moulton Mix), and on the other an instrumental version. It was on the strength of that 12″ release Moment Of Truth was signed to Salsoul Records and their next release came with “So Much For Love” as the B side.

The A Side for that next release, the second ever publicly available 12″ Disco Single, is less known. But it is a monstrous raging carnivore of a disco song, complete with full-on orchestral arrangement, heavy horns, soulful vibes, rhythm guitar and sweaty black man emotion testifying throughout.

This is one I just don’t want to get out of my head:

 
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Sweetback – Ivan “Boogaloo Joe” Jones

Tuesday, March 24th, 2009

Sweetback Cover

Many people ask where we took the name Sweetback! from for our events. There is the obvious possiblity; the Melvin Van Peebles motion picture entitled “Sweet Sweetback’s Baadasssss Song”. Or the less obvious choice; Roosevelt Sykes classic “Papa Sweetback Blues”. But the real answer comes in the form of a hot little “groove jazz” number from 1975.

Here’s a 3 minute clip of that tune for your aural pleasure:

 
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