All posts by Kevin

James Brown plays James Brown

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In the wake of James Brown’s death, I’ve got some good stuff to share from his catalog this week. I won’t pretend to know everything about his career, but I will say that I started collecting his music as a result of his pervasive influence on hip-hop; he undoubtedly is one of the most sampled artists in hip-hop. I always thought that if I had the chance to see one artist live, it would be James Brown in his prime. And if I could recommend one album, it would have to be Revolution of the Mind, a mind-blowing live set that probably offers only a hint of what it was like to see him in concert.

As for my collection, I have a bunch of 45s I’ve collected here and there. The two full-length LPs I own are from Smash Records (a subsidiary of Mercury), where, from what information I can gather, Brown produced eight LPs, five of which were instrumental (via) with Brown playing the organ.

James Brown Plays James Brown: Today & Yesterday was his second instrumental album for Smash. It includes, as the title suggests, Brown playing instrumental versions of his own tunes. The recordings are as delightfully funky as they are corny, at least if you’re familiar with the original versions of the songs. The organ, of course, becomes the spotlight, and it’s got a thick sound but still plays nicely off the big band horns. On Papa’s Got a Brand New Bag (Parts I and II below), the horns are dominating presence, though (especially on Part II), Brown keeps a rhythmic, almost stuttering beat on the organ.

(The mp3s were converted from vinyl; pop and crackle included at no additional charge.)

James Brown | Papa’s Got a Brand New Bag (Part I)
James Brown | Papa’s Got a Brand New Bag (Part II)

Kurtis Blow: Christmas Rappin’

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I do believe this is becoming a bit of a yearly tradition. Also be sure to check out Soul Sides for A Cold Chillin’ Christmas, with Big Daddy Kane, Roxanne Shante and MC Shan.

My copy of Christmas Rappin’ comes from a 45 put out by Mercury. I think I found it on a record dig in Tucson.

Happy holidays and thanks for reading throughout the year. And update those bookmarks: www.somuchsilence.com.

Kurtis Blow | Christmas Rappin’

New design

(PLEASE UPDATE BOOKMARKS: www.somuchsilence.com. The old blogspot address still will redirect you.)

I’m in the process of a redesign, as you can see if you’re here. There’s some other glitches and such I need to work out. So if you’re here, welcome. Bear with me through some technical stuff.

In the meantime, you can go back to somuchsilence.blogspot.com while I figure out how to import the remainder of the posts. Thanks!

A redirect has been set up at the blogspot site, so you’ll land back here. I had about 18 posts hanging from the blogspot address that I needed to move over. I did that manually, so I’ve lost some comments, which bothers me.

Nevertheless, here’s the site, put together by Absolute Design and that new excellent banner was designed by my boy Dusty.

Again, I’ll have small things here and there to tweak. Please let me know if you stumble on something that needs fixing and/or improving. Frankly, this whole WordPress thing scares me a little.

Thanks again.

Favorite song of 2006

By about August, I had begun formulating year-end lists in my head. I was mentally shuffling songs and albums up and down and back and forth when it finally hit me earlier this month: Who cares? The overwhelming volume of year-end lists (Largehearted Boy is keeping track: A-M and N-Z) has watered down the process, although I still kept tabs on lists from bloggers and writers I especially admire (Chromewaves, Gorilla vs. Bear, Marathonpacks, Bows + Arrows, for starters).

There is nothing wrong with lists (I made two last year). At best they are tangible reminders of a year that was; at worst they are masturbatory exercises of self-importance. They do open up the author to all sorts of criticism (“What? No, TV on the Radio?!?”), although that’s half the fun, I suppose.

For me, the difference between, say, my 13th and sixth favorite albums is probably negligible and hard to quantify. So instead, I’ve whittled it down to one song and one album that moved me or commanded a majority of my attention.

Favorite song of 2006:
Elvis Perkins, While You Were Sleeping
(From Ash Wednesday, self-released in 2006 and due out on XL in February 2007.)

In the newspaper business (of which I’m a part), you’re taught that the lead to a story is vital – it will determine if someone continues to read a story. It’s a good analogy for records, though, in the case of While You Were Sleeping, track No. 1 on Ash Wednesday, I kept doubling back to listen on repeat.

No doubt, the rest of the album is golden. But While You Were Sleeping is something else: insightful, pretty, sad, plaintive. From the first note, when an acoustic guitar gently dives into what NPR calls “midnight ruminations of an insomniac,” the song slowly builds layer upon layer of instrumentation – acoustic guitar gives way to bass gives way to drum beat gives way to horns.

But Perkins’ writing – the imagery – carries the song. He’s singing to someone long asleep, a winding narrative of what is passing this person by in the stillness of slumber: “While you were sleeping, the time changed / all of your things were rearranged.” It’s a simple yet sort of eerie idea: that the world, time, people don’t stop just because you do.

Favorite line:
“While you were sleeping the money died /
machines were harmless /
and the Earth sighed.”

Elvis Perkins | While You Were Sleeping

I also really liked these:
Band of Horses, The Great Salt Lake.
Josh Ritter, Girl in the War.
The Walkmen, All Hands and the Cook.
The Long Winters, Hindsight.
The Roots (feat. Peedi Peedi and Bunny Sigler), Long Time.

Related:
Favorite songs of 2005.
Favorite albums of 2005.

Youth Group: Sorry

In my many trips to record stores last year, my wife kept telling me to look for Youth Group for her. Youth Group this, Youth Group that. Skeleton Jar. Blah blah. Eventually we got our hands on a copy, and, as it turns out, I was pretty happy Annie kept after me about it.

It wasn’t so much that Skeleton Jar was all that awe-inspiring, but it seemed the promise for something better was looming. And the Aussies may have found it on Casino Twilight Dogs, due out Jan. 23 on Epitaph/Anti. The label is working extra hard on this one, too; I’ve gotten two promo copies. Their persistence is worth it. Casino Twilight Dogs is just really … pleasant. I’m not even sure I’ve ever used that word to describe a record. The melodies are sneaky – not so catchy right off the bat but they linger and reel you in until they’ve won you over.

On Sorry, like most of the group’s tunes, the guitars are big and sweeping and enhanced by an attractive string arrangement. We shan’t forget the cover of Alphaville’s Forever Young. And, oh, singer Toby Martin uses the word “infinitesimally” in the song Catching & Killing. That’s gotta count for something, right?

Youth Group | Sorry

Lifesavas (feat. Nas, Fishbone): Dead Ones remix

While we wait for the sophomore LP from Quannum’s Lifesavas (titled Gutterfly), I was sent this remix of a song whose original version I’m only guessing will end up on Gutterfly because it wasn’t on the group’s debut Spirit in Stone. Until I can confirm that, the only thing I’m sure of is that this is one of the more unique unions of musicians, with guest spots from Nas, who’s all over the place lately, and Fishbone, whose horns and sort of spooky chants in the chorus take me right back to those Truth and Soul days. I have yet to listen Nas’ new album, Hip-Hop is Dead – mostly for fear of another letdown (I’ve come to grips that there never will be another Illmatic). His turn here feels slightly off-kilter, if not a little preachy. He closes out the song by talking to nobody in particular, as some rappers are wont to do: “If you asking, why is hip-hop dead / there’s a pretty good chance you’re the reason it died” It’s too bad Nas feels the need to get a little righteous because Lifesavas turn in two great verses with metered rhyme schemes that better complement the beat and Fishbone’s horn play.

Lifesavas (feat. Nas and Fishbone) | Dead Ones (remix)

Editors: Camera (Rubber Bullets remix)

Just a quickie here … we decided to bring the ol’ laptop to Chicago, but I don’t have my full stock of records, 45s and my external hard drive from which to pluck.

So here’s a recent goodie sent via e-mail … another Editors remix. This time Rubber Bullets take on Camera for that remix EP that I previously mentioned.

Consider this a free grab without reading any of my nonsense. Lucky you.

Editors | Camera (Rubber Bullets remix)

Money Mark: Pick Up the Pieces

Money Mark is probably better known as the keyboardist for the Beastie Boys, though he does have an extensive discography, combining both solo and collaborative efforts. Pick Up the Pieces is the first single off his upcoming LP Brand New By Tomorrow, on Jack Johnson’s Brushfire Records (but don’t hold that against him … OK, that was a snobby thing to say). It’s touted as a break-up album, but if the rest of the songs carry the breezy, jazz-style instrumentation that’s on Pick Up the Pieces, then it may be hard to identify it as a somber affair. Let’s just say you won’t be moved to tears by any of the lyrics here: “You got me pickin’ up all my pieces / put ’em back in my pocket in case I need them.” Still, the interplay between the piano and bass carries the day. And that’s enough for me.

Money Mark | Pick Up the Pieces

ADMINISTRATIVE: Posting in the next couple of days likely will be coming from someone other than me (insert cheers here). We are headed for Chicago for the weekend, and for the first time I’m not looking forward to it. It’s for a funeral of a close family friend. Nevertheless, someone will prevent mold from building up around here while I am away.

Monsieur Leroc: I’m Not Young But I Need the Money

I blindly stumbled upon Monsieur Leroc because he’s part of the Cornerstone Recording Arts Society collective, also home to AWOL One, the Shape Shifters and $martyr (all of whom have been featured at some point here). I’m Not Young But I Need the Money (love the title) is the third release for Leroc, who’s from Germany. His funk-happy sound-collage style ensures that Beck, Cut Chemist and/or Jamie Lidell will be referenced as comparisons in practically every review and bio. Nevertheless, Leroc is the type of artist I feel I’ve gravitated toward more and more, especially this past year: a one-man show who finds comfort and something just right about being a little unorthodox (see also, the Gray Kid and Baby Dayliner). Some of the scattershot composition feels disjointed at first. Without the benefit of liner notes (got it at eMusic), I can’t be sure of what’s been sampled or what’s been played live. Still, the cut-and-paste arrangements are strangely compelling: part funk, part hip-hop, part lounge. Cooley McCoolsen, the lead track, is a perfect example of how Leroc somehow makes all these elements very agreeable.

Monsieur Leroc | Cooley McCoolsen