Seems I jinxed the weather after last Sunday's post - been p*ssing it down all week here! After a slightly overcast start this morning the clouds broke and it's been a fairly decent day in all. Picked up some decent Hip-Hop and late '70s Soul at the early Boot Sale, nothing at the afternoon one.
Anyway, since the sun has had his hat on today, I'm gonna post track two for the "Summer Selections" compilation. This is from the album "Neon" which I picked up a month or so ago at my local Record Shop. Paid £5 for an ORIGINAL SEALED copy (of which he had multiples). I did previously own this LP but it got ditched along with 1000 or so other records shortly after I split up from my children's Mum (can't remember if I've mentioned that tragic tale on here before. Heartbreaking at the time, I'm over it now though).
"The Visit (She Was Here)" is another beautiful song, with that kinda, Psychy, drifty, U.S. 'Sunshine Pop' sound. Everyone's favourite dead producer, Jay Dee, sampled it for Tribe's "Get A Hold" although it's not an instantly recognisable break, so listen closely. I had it recorded on tape from years ago and, for some reason, always associate it with Summer. It's one of those songs I never tier of no matter how many times I hear it.
So this is track two for those of you that can be bothered to download. Hope you enjoy it as much as I do...
The Cyrkle "The Visit (She Was Here)" (from "Neon". 1967 Columbia, U.S. LP)
A couple of Saturday's ago my kids were away for the weekend with their Mum so I took the opportunity to hit a few charity shops in the morning before lunchtime kick off at Fratton Park. I took the camera out to document the days digging but haven't yet got round to finishing the post (dragging those damn pictures about drives me mad). Anyway, one of the records I picked up on that day was Esther Phillips's 1975 Kudu release "Esther Phillips With Beck". It's an OK LP with a few decent tracks but nothing particularly outstanding. It does however feature a song which I immediately recognized as being sampled on a Hip-Hop record that I've been trying to track down for ages. I first heard "Mom Dukes" a year or two ago on a DJ Premier radio show from 1993 and although I'd asked quite a few people about the song nobody seemed to know who it was by. I'd pretty much given up on it until the sample popped up on this Esther Phillps LP. Now, I'm not really a great fan of 'The-Breaks' or any other similar website that straight up 'snitches', as Primo would say, but in this case I must say I'm quite grateful for the info. A quick 'artist search' for Esther Williams revealed that "Hurtin' House" was sampled by a group called 'Private Investigators' on the track "Mom Dukes". Bingo! Problem solved! I'd never heard of 'Private Investigators' before so next stop was Discogs, and luckily for me there was a plentiful supply of cheap copies available for sale. A week later and the record was finally in my hands.
So who exactly are the 'Private Investigators'? Well, it turns out 'they' were in fact The Redhead Kingpin (and his crew), which probably explains why I must have overlooked it in the racks at the time. 1993 was pretty much the peek of my Hip-Hop buying habits when I'd spend just about every penny I earned on vinyl. There wasn't much at the time that I didn't buy and even some fairly average records (in hindsight) were snapped up. Still, I don't remember seeing this about. Maybe I did, and maybe it was the Redhead Kingpin tag that put me off. I'm surprised I didn't at least give it a listen though - there's Diamond D remix on here for G*d's sake! Anyway, thanks to Esther Phillips (and the Scope Charity Shop it came from) "Mom Dukes", or the 12"s' A-Side title "Who Am I?", sits happily in the shelves alongside all the other classics featured on that DJ Premier radio show.
The record as a whole is pretty decent for a cheap pick up. You get three different mixes (and album Instrumental) of "Who Am I?" plus the album versions of "Mom Dukes" and "Mash Up The Mic". The latter is a typical party style tune from that era - think "Igpay Atinlay" by Black Madness or KGB's "Pick Up The Pace" - pretty cool for occasional play but slightly irritating after repeat listening. The title track in it's LP form features a hard, sinister beat but is let down by the rappers who sound like they wanna be the bastard sons of Onyx and Leaders Of The New School. Thank god for the instrumental. The Diamond D remix is vintage early '90s DITC production - deep bassline, screaming horns and hard hitting drums - Lord Finesse or Big L would have been so dope on this but unfortunately there's no vocal-less version to put their accapellas over. Shame. Anyway, all of these tracks are kind of a bonus for me since I only bought if for the timeless ode to mothers across the world, which I love. To hear DJ Premier cutting up doubles live on radio click here. Listen to the whole show and weep at the state of current Hip-Hop compared to the classics that were getting dropped weekly back then. At the same time remind yourself that not only is DJ Premier the best Hip-Hop producer to ever do it, he is arguably the greatest DJ too.
Private Investigators "Mom Dukes" (1993 Virgin U.S. 12")
Esther Phillips "Hurtin' House" (1975 Kudu U.K. L.P. track)
After a cold and rain soaked winter, resulting in far too many missed weekends of bootsale digging, my last couple of outings have proved really fruitful. Besides a good lot of highly collectible German Prog Rock, (which I've already shifted on for nice money) the Sunday just gone turned up Les McCann's "Layers" L.P. as well as the Blackbyrds self titled debut (I've wanted this for a long time for the "Me & Him" break). Today I took home the "Joe Farrell Quartet" album on C.T.I. as well as this - the original soundtrack for a film called "Black Fist".
I nearly sh*t myself when I pulled it out of a box of nothingness. I've never seen or heard it mentioned before and the cover ticks all the right boxes for a killer Blaxploitation score, besides maybe the date of 1977 which I was trying to convince myself wouldn't matter. Super cool dude sizing up on front cover - check, independent label - check, promotional copy - check (even better - maybe it didn't get a full commercial release), list of interesting artists - check (including drummer Paul Humphrey, as well as a load of other acts I've never heard of) and great song titles - check. My anticipation on the journey home hadn't been as high for a long time.
So obviously it's the first record on the turntable when I get in and settle down after making a nice cuppa. And after all the initial excitement, guess what? It's a bit of an anti-climax, and if I'm being completely honest, generally pretty disappointing. Paul Humphrey's sole track, "Humphrey's Overture", is exactly what I was hoping it wouldn't be - upbeat disco-tinged averageness, typical of the period. And the the same goes for much, if not, all of Side-A, with nothing being worthy of more than one listen. My concerns about the date were unfortunately being realised. Having said that, Side-B is an 100% improvement, kicking off with a half decent slow track called "L.A. Gray" by Geraldine Kaye. Nothing great or outstanding, but much better than anything on the flip. When track two begins though, with a dope Hip-Hop loop, all is forgiven. Art & Ron's (producer Ron Castle and arranger Art Freeman) "Can't Stop Talkin" sounds like a Ghostface break and is exactly the type of music I was hoping for throughout. Thankfully they deliver the goods again immediately afterwards with "I'm Your Man", another drama style instrumental I'll be recording and burning for repeat listening. Unfortunately that's about it though, the interesting sounding, and looking, artists like Sam & Jus' Us, Velvet Fire, Sam Shabrin, Denise Gordy and Bishop Mounger fail to deliver anything note worthy that I would ever feel the need to play again.
I know I shouldn't complain about finding records like this at my local booty for pence, and although I've got a couple of really nice tracks to come back to, overall, this is probably the most disappointing find I have had for ages. Popsike and eBay reveal going rates and asking prices of far more than I would ever recommend anyone paying. For the cover and the two tracks maybe I'd say a tenner is pretty fair - any more than that and I think, like me, you'd probably be pretty disappointed.
Anyway, check out "Can't Stop Talkin" cause it's a banger. I'm 99% sure this has been sampled and the name Tony Starks is definitely ringing bells, maybe Lewis Parker though. Gonna listen through some albums later and try to locate it...
Art & Ron "Can't Stop Talkin" (1977 Happy Fox Records)
OK, so I'm probably not breaking any new ground with a post about C.T.I. Records. In fact, I know I'm not - there's tonnes of great sites on the internet dedicated to the label and probably loads of blogs with individual album reviews and downloads. I couldn't, however, find anywhere else which includes what I have here - a nice little label catalogue from 1975. Initially I was only gonna post up the scans, but then decided it wouldn't hurt to delve into the crates and include some of my favourite albums as well.
I can't for the life of me remember where this catalogue, or 'katalogus' came from because I don't own any C.T.I. releases which aren't either U.K. or U.S. pressings, and as the spelling suggests, this must have been included in an Hungarian or perhaps German release? I've had it in my collection for around ten years now and no matter where it came from, it's a nice little reference point that I find myself going back to from time to time.
The booklet features a full list of releases up until 1975, on Creed Taylor's C.T.I. imprint as well as the subsidiaries 'Kudu' and 'Salvation'. It also includes photos of all the covers, which is what, for me, makes it something special. Although it is only reproduced in black and white the stunning graphic design and photography still translate well - a testament to the artists responsible, in most cases Pete Turner (Photography) and Bob Ciano (Design). In doing a little research for this post I've only just found out that Pete Turner had a book of his photography published in 2006 called "The Color Of Jazz". Looks like a 'must have' that I'll be adding to this years birthday present list.
So anyway, here's the scans...
Front cover
Inside pages (click to enlarge)
Back cover (click to enlarge)
So that's the catalogue, now for a few records.
C.T.I. is one of my favourite non Hip-Hop labels that consistently turned out top notch Jazz throughout the seventies after Creed Taylor split from a production deal with A&M in the sixties to set up his own independent imprint. Finding a C.T.I. record in the wild is always really nice for me. Sure, you can probably pick up a good deal of the catalogue on eBay with great ease, but to find them at Bootsales and Charity shops in the U.K. is quite a struggle - when they do turn up it's a real bonus.
I'd say I've got around thirty or so albums (including releases on A&M and the two subsidiaries) and pretty much everything I've ever bought has been pure quality. From the heavyweight, high gloss, gate-fold sleeves, through to the lush production and arrangements, a record on C.T.I. near enough always guarantees a great package throughout.
Here's my top five tracks from the collection...
Bob James 'Nautilus'
Thought I'd start with what I consider to be the ultimate release on the label, Bob James' classic, 'Nautilus'. Recorded at the tale end of the 'Golden Era', featuring the staple line up of session kings (including Steve Gadd, Idris Muhammad, Ralph MacDonald, Grover Washington, Jon Faddis, Thad Jones, Hugh McCracken, Eric Weissberg, Gary King, etc...) as well as a full orchestra, all six tracks on this album are 'epic' scores of the greatest proportions.
I won't babble on too much about each individual song, who sampled what off them, etc, because like I said before, I'm not breaking any new ground, these are just my personal favourites. If you're into Jazz or collecting breaks it's more than likely you already own this album anyway. If you don't, you really should.
I can honestly say, I never tire of listening to 'Nautilus'. Play it back to back for an hour and it never drains - musical arrangements just don't come much better than this. As for samples? The list goes on and on...
'Nautilus' (1974 C.T.I. Records)
Stanley Turrentine 'Sister Sanctified'
Next up is an album that includes another 'ultimate break and beat' - 'Sister Sanctified' by Stanley Turrentine featuring Milt Jackson on Vibes. You should all know this track anyway with it's classic break, most notably made famous by Boogie Down Productions on 'My Philosophy'. Billy Cobham is rocking the funky drums with Ron Carter on bass. Bob James blesses the keys and Cornell Dupree does his thing plucking away on the guitar. This particular song was written and arranged by the late Weldon Irvine Jnr, and much like 'Nautilus' is a track I never tire of listening to. Many of Stanley Turrentine's albums can be kind of hard work unless you like cheesy Sax solos, but they seemed to have found a nice balance on this one.
Unfortunately I only own a re-issue of this L.P. from 1982 and as much as I avidly avoid them, the year of re-release sort of allows forgiveness in my eyes. Until I find an original that is.
'Sister Sanctified' (1972 C.T.I. Records)
Deodato 'September 13'
In much the same fold as Bob James, Eumir Deodato was a prolific arranger and keys man throughout his career and worked on a whole wealth of classic albums, like wise supplying many a 'break' or 'sample' for producers of later years. 'Prelude' was his debut L.P. on C.T.I. and produced a cross over hit in the shape of his arrangement of 'Also Sprach Zarathustra (2001)'. The track was released as a single and is the only 45 on the label that I have ever come across whilst out digging. I've had quite a few copies of this album over the years - I should imagine, thanks to the success of the single, it was the label's biggest seller.
Like most C.T.I. releases, there's a good load of sample material on the L.P. which you can check over at 'The-Breaks' or wherever, but I did recently notice the use of the drums from 'September 13' layered (I think) into Black Sheep's 'Try Counting Sheep'. Very subtle I know, but I'm pretty sure they're in there.
By the way, this is probably my favourite C.T.I. sleeve.
'September 13' (1972 C.T.I. Records)
Grover Washington, Jr. 'Knucklehead'
From the saxophone superstar's Kudu released album 'Feels So Good' I was hard pressed to pick a favourite between 'Knucklehead' and 'Hydra'. Most would probably choose the more obvious 'Hydra' as it features the instantly recognisable break that Black Moon used for their classic single 'How Many Emcees'. After weighing them up I eventually settled on 'Knucklehead' as I've always loved the remix of Yvette Michell's 'Everynight And Everyday' (featuring Doo Wop), which used a loop or two from this.
The album features pretty much all the same musicians I've already mentioned but it's worth noting Jimmy Madison hitting sticks hard on 'Hydra'.
I never noticed the halo round Grover's head until i scanned in the cover today. The glow is far more subtle in the flesh.
'Knucklehead' (1975 Kudu Records)
George Benson 'The Changing World'
Another great cover and another great album. Recorded during George's transitional period, there's hints of some of the cheese he was later to release, but still plenty of quality material on 1974's 'Bad Benson'.
I remember finding this album in an Antiques shop somewhere in South London about thirteen years ago with my mate Si. Can't remember the name of the town. Near Croydon somewhere. Doesn't really matter anyway but I do specifically remember getting goosebumps though the first time I played 'The Changing World' and the sample for Common Sense's 'I Used To Love H.E.R.' dropped in. I love finding breaks I don't know about, especially on songs that are quite emotive anyway, which 'The Changing World' definitely is.
If you haven't heard this track before, and have a short attention span you'll wanna skip to the 4min mark. If you like good music in general just hit play, sit back and relax - it's a beautiful piece of music.
'The Changing World' (1974 C.T.I. Records)
And before I go, thought I'd leave you with this "definition of a holy-grail"! Word to Soulman Phill...
Recently I've had a couple of people ask about the banner at the top of the page and if the head that replaces the 'Diabolical' one's is mine. Well, to set the record straight, no, it isn't. A lot of people that know me say I look older than my years and although I've got a few 'silver ones' poking through, my hair, or what's left of it, isn't yet as bad as the fella you see above, who is in fact U.S. chat show host Johnny Carson.
Mr. Carson presented the 'Tonight Show' from 1962 to 1992 and although I've never seen a single episode (I don't think it was ever broadcast in the U.K.) I am familiar with the name through references on various Hip-Hop records. So why did I decide to use his image to partly represent this site? Read on...
The initial concept of this blog was to talk about stupid records I've found over the years and upload MP3s that nobody would really want to download. It was originally intended to be a tongue in cheek dig at all those boring blogs that 'share' super rare albums with little or no background information on why they like it, where they got it, etc, etc. Just a download link and nothing else. That sh*t bores the f*ck out of me. Werner von Wallenrod's regular blog posts are far more interesting and rarely even include sound-clips, let alone full album rips. To me, the Daily Diggers have found the perfect balance for a great blog with knowledgeable write ups and accompanying snippets. Give me those two sites over the wealth of snore-fests any day. With 'Wonderful World Of Bizarre' I tried to follow those blueprints but from a slightly p*ss-takey point of view and have a laugh with it. So when putting together the site banner I flicked through my comedy records and for one reason or another decided to chop the head off Johnny and fix it to the body of Biz (from his iconic "Goin' Off" sleeve artwork) which I think represents the content of my babblings pretty well. If you're a regular reader of this site you obviously know all about the Biz 12" but may not have come across the "Tonight Show" album so here it is...
First of all, let me just say, when I'm out and about I usually buy any comedy record if it's fifty pence or less. This particular album turned up in a Charity Shop, still sealed, for twenty nine pence so was snapped up quick. Once home and opened a large fold out poster with very nice Graphic Design (unfortunately it's too big to scan) revealed itself from the two slices of wax tucked inside. Bonus. I like the design work on the front and back of the cover anyway but the poster really is something to keep. Now the vinyl is four sides of recording highlights from 25 years of the show and features interviews as well as performances by the likes of Aretha Franklin, Ike & Tina Turner and Bette Midler (you can read the full track listing by clicking on the image). I genuinely enjoyed listening to the entire album and found Carson to be very funny which I wasn't expecting at all - I usually can't stand American chat show hosts. His banter with in house 'band' leader Doc Severinsen is at times hilarious and leads me on to the excerpts I've recorded for you below. The sharp eared amongst you will notice several vocal snippets sampled by a certain 'Scratch Pharmacist' before Doc Severinsen and his Sweetheart Band belt out a funky version of "Ode To Billy Joe", nice break included. Enjoy...
Excerpts from the Tonight Show with Johnny Carson featuring Doc Severinsen and His Sweetheart Band 'Ode To Billy Joe'
Had some pretty good finds this weekend, actually, make that very good finds. My local Sunday bootsale was kind to me with a small but quality batch of Boosey & Hawkes Library LP's (nice early '70s Drama action - haven't had any Librarys for a while - good to know they're still out there), the Sound Experience "Boogie Woogie" album (classic breaks) and my first copy of Enoch Light's "Spaced Out" L.P. (been after this for years - Beatnuts heat). As well as those little gems I also picked up an album I'd never heard of or come across before - "Soul Survival" by U.K. sessioners 'Soul Sounds'. The track listing alone was good enough to take a punt on - covers of "Jump Back", "Sunshine Superman", "Philly Dog", "I Feel Good", etc, but I was set on buying it as soon as I laid eyes on the lovely cover. Turns out to be a great beat driven Hammond album featuring none other than everybody's favourite Cockney chappies 'Chas & Dave'. Released on E.M.I. / Columbia in 1967 and also featuring Nicky Hopkins, Carlo Little, Chris Lamb, Brian O'Shay, Bob Mather and Dick Errington. I've uploaded three tracks from it to accompany more music from my favourite 'find' of the weekend...
Whilst DJing at the 'Colours Doomed' art battle on Saturday night a rather attractive young lady approached my mate Bobby with a box of records she's just pulled from her car. Turns out she was doing a bootsale in the morning, noticed we were playing Vinyl and kindly said we were welcome to have anything we wanted completely free of charge. Her parents record collection of around 100 LPs consisted of the usual bootsale classics - James Last, Perry Como, Max Bygraves, etc, but tucked amongst them was Al Green's "I'm Still In Love With You' album, an import copy of the 'Shaft' soundtrack, an interesting looking Reggae 12" on Trojan and the record you see pictured alongside the Soul Sounds album - "Wingding Party" by a group called 'Trax Four'. I asked for the Al Green and Trax Four, Bobby had the other two. I already knew the Al Green, an obvious staple piece but took the opportunity to upgrade to a better condition copy. However, the Trax Four I had never come across before and with versions of "Watermelon Man", "Comin' Home Baby" and "Moanin" listed amongst the tracks was definitely worth grabbing for free. You can hear these tracks below - all top notch Hammond groovers that I was over the moon with. I can't remember the girl's name who bought the records in, but if by any extremely bizarre chance you ever read this, I just want to say "thank you" - I'll buy you more than a Diet Coke if I ever bump into you again.
Trax Four "Comin' Home Baby" (1966 Ace Of Clubs L.P. track)
Trax Four "Moanin'" (1966 Ace Of Clubs L.P. track)
Trax Four "Watermelon Man" (1966 Decca / Ace Of Clubs)
Soul Sounds "Jump Back" (1967 E.M.I. / Columbia)
Soul Sounds "Last Night" (1967 E.M.I. / Columbia)
Soul Sounds "I Feel Good" (1967 E.M.I. / Columbia)
Some of you who frequent the superb Daily Diggers blogspot might remember back in May, Kid Dynomite wrote a justified post moaning about the f*cked up Rail service in the Big Smoke and how it sometimes hinders his weekend digging excursions. Well I can definitely vouch for him on the state of our public transport system having spent plenty of time over the years sat stuck on sh*tty platforms waiting for yet another delayed choo-choo. However, just last week I experienced possibly the best train journey of my life. Read on...
I've just got back from holiday with my children down in the West Country. Crap weather all week, bar a couple of nice days, but we still had a great time visiting caves, waterfalls, rock-pool beaches and cycling miles on end. You're not here to read about that though - you wanna know what vinyl I picked up right? Well, I'd promised the girls before we left that there would be no Charity shops or Bootsales all week and I genuinely intended to stick to my intentions of spending that quality time without being distracted by the thought of hidden gems lurking in sleepy village thrift stores. As fate would have it that all changed on only our second day there...
We'd planned out our week by taking turns choosing places we'd like to visit or things we'd like to do. On the Monday I chose to visit Minehead and take the West Somerset Railway steam train down to Bishops Lydeard. The plan was to enjoy the train ride through the countryside, have lunch down in Bishops Lydeard and then head back to Minehead for the evening on the beach. We arrived at the station mid morning, purchased the tickets and made our way down the platform to wait for the next service which was to arrive about twenty minutes later. Halfway along the platform an old shop kiosk was open and selling second hand books to raise money for the upkeep of the line. Sat amongst the books was a small box of records which, of course, I had to sift through. From the fifty or so L.P.'s, I pulled out a desirable Annie Ross and Tony Kinsey Quintet album - 'Loguerhythms', Country Joe & The Fish's 'Together' album, Iron Butterfly's 'In-A-Gadda-Da-Vida' album, Charlie Mingus 'Blues And Roots' album and a T-Bone Walker album with a beautiful cover called 'Singing The Blues'. All original U.K. 1st pressings in absolutely stone mint condition. As I paid the £2.50 (50p each) I sheepishly asked if they had any more vinyl to which the friendly old boy replied "Yes I think so, come round to the side door and you can go into the back and have a look through the rest of them". I looked at the girls, who's faces said it all - 'here we go again....you promised you wouldn't look for records', but also with a slight forgiveness as if to say 'well OK then, but don't be long'. "I'll be done before the train arrives, I promise". So I head round the side, through the door and into a small storage area crammed with books. Amongst the books lay a shelf with a couple of hundred L.P.s and a few 45s dotted around on top. To cut a not very long story short I ended up pulling out a pile of forty-one albums and a couple of singles. The highlights are listed below but I've also written a little bit more about some of the best finds. Literally all of the records are MINT - I can't remember the last time I came across a good lot in such amazing condition. To top it all off I was only charged £10 for the lot! The lovely old bloke was over the moon and said that they are lucky to sell one or two records a week! I think the kids were pleased for me as they could tell I'd hit something a bit special. I finished in time for the next train and the rest of the day was spent on a total high enjoying the journey and then the evening down on the beach.
Normally when I find little spots that I think are untapped I keep it to myself. I'm not going to be down Minehead anytime soon so don't mind sharing the knowledge. Any locals that might be reading this or if you're planning a holiday down that way, pay it a visit. I totally cleaned it out, but it's probably worth checking every couple of weeks or so.
So there we go, my own little train story. Now read about some of the finds....
The Blue Monks - Emidisc 7" E.P.
I love obscurity and this definitely qualifies in that category making it my favourite find by a whisker. I've googled the group name and run-out groove details (RAY-1 A1 H / RAY-1 B1 H) and so far found nothing. The nearest I've come to ANY information is that they are possibly the same Blue Monks that recorded a track with Murray Head called 'You Bore Me' that appeared a couple of years back on a compilation LP - 'Take My Tip - 25 British Mod Artefacts From The 60s'. Of the four tracks that appear on this E.P. three feature vocals with one instrumental and I'm pretty sure all are cover versions. There's a cracking take on 'In The Midnight Hour' as well as 'Something You Got' plus the Blues standard 'Rock Me Baby'. The instrumental I'm sure is a Booker T & The M.G.s cover, if not, is very reminiscent of their sound. Anyway, check the sound clips below. If anybody out there has any info on the group or preferably this particular release please leave a comment.
The Blue Monks 'Something You Got'
The Blue Monks 'Instrumental'
The Blue Monks 'In The Midnight Hour'
The Blue Monks 'Rock Me Baby
The John Barton Combo at the Top Hat
It was a toss up between this and the above Blue Monks single to decide a favourite out of the haul. Both are obviously super rare (google once again came up with very little). This album is about as 'home-made' as you can get. The white labels have been hand stamped 'JOHN BARTON COMBO' and the front cover features an actual photo (pictured below) of the group stuck onto the budget screen printed flip-back sleeve. To add to the amateur feel of this release, the details on the back are actually upside down in relation to the front! Great stuff...right up my street. So most importantly, what is the music like? All I can say is, for this type of release - FANTASTIC. I've bought a ton of these 'Cabaret' albums over the years. Occasionally one or two turn up the odd decent track but most are completely duff. And surprisingly this album is consistent throughout with nearly every track having some kind of appeal - totally listenable all the way through. Recorded at Impulse Recording Studios, Monday 31st of August 1971, the highlights are covers of 'Vehicle' and 'Mercy, Mercy, Mercy' (both downloadable in high quality MP3 below - I'm good like that), but there's also note worthy takes on 'Be Young, Be Foolish, Be Happy', 'Something' and Henry Mancini's 'Sorta Blue' featuring lovely flute solos. If you ever come across this records on your travels snap it up! At a guess I'd say a maximum of 500 were probably pressed up and sold at 'The Top Hat' club where they were presumably the resident band. The Group consisted of - John Barton (Tenor and Piano), Doug Turner (Tenor, Flute, Baritone, Harmonica, Maracas and Tambourine), Pete Peters (Organ and Piano), Ginger Butler (Bass Guitar), Bill Waite (Drums), Dave Hammond (Vocals, Guitar and Tambourine), Audrey Roffe (Vocals), Val Pearson (Vocals) and Richie Slater (Vocals and Bongos). What a great group they were too...check 'em out below (click image to enlarge).
The John Barton Combo 'Vehicle'
The John Barton Combo 'Mercy, Mercy, Mercy'
Tubby Hayes and the Paul Gonsalves All Stars
This is probably the most valuable and desirable L.P. I picked up and my first Tubby Hayes album. I was always under the impression that the records released by W.R.C. were licensed re-issues produced for members of the World Record Club. A brief google search revealed they also released albums that were exclusively recorded for them, and this here album is one of them. The W.R.C. records were only available to club members and so were never commercially released making some of the exclusives highly desirable. Nearly everything Tubby Hayes related is sought after amongst the Jazz crowd and on listening to this album I can see why. In all honesty straight ahead Jazz isn't really my cup of tea but I can spot class when I hear it, and this is definitely classy stuff.
All the tracks on here are original compositions with three penned by Hayes, two by Tony Crombie, two by Les Condon and one by Harry South. Personnel consists of Tubby Hayes (Tenor, Flute and Vibraharp), Ray Nance (Violin and Trumpet), Paul Gonsalves (Tenor), Tony Coe (Alto), Jack Sharpe (Baritone), Ronnie Scott (Tenor), Terry Shannon (Piano), Ronnie Stephenson (Drums) and John Lambe (Bass) - a stellar line up of British Jazz musicians.
Grab the super clean rip of 'Speedy Gonsalves' below...
Tubby Hayes and the Paul Gonsalves All Stars 'Speedy Gonsalves'
Nat Adderley Sextet
About eighty percentage of the vinyl I picked up is '60s Jazz and I'm slowly listening through it all. I've only had the chance to take in five albums completely after briefly skipping through all of them. This Nat Adderley album 'In The Bag' was the first to give me that spine tingling sensation upon discovering a used sample for the first time. I won't name names (although I'm sure it's probably listed on one of the many sample snitching websites somewhere), all I'll say is that the beautiful piano and bass loop around the thirty second mark was used by the greatest Hip-Hop producer of all time - check the snippet below.
Nat Adderley Sextet 'R.S.V.P.'
Charlie Mingus
Back in 1962 Mr Mingus was still know as 'Charlie' and released this album entitled 'Oh Yeah'. I've been after this L.P. for years purely for the artwork (it grabbed my attention in the superb 'East Coasting' book by Graham Marsh), but never wanted to pay good money for it. Well I got it now and after listening through found a sample I cannot place for the life of me. Take a listen to the snippet below and if you know who used the horns on the forty second mark please leave a comment and put me out of my misery. I've got Showbiz or Freestyle Professors rattling around in my head but I don't think it's either of those - sounds like a Bronx related sample though...
Charlie Mingus 'Wham Bam Thank You Ma'am'
Van McCoy
This is pretty much the 'odd one out' of the bunch. Nearly everything else is from the '60s and either Jazz, Blues or Rock related. I'd pretty much given up gambling on Van McCoy albums as nearly ever one I'd picked up previously turned out to be weak string saturated Disco. The only album of his that's stayed in the collection is 'The Real McCoy' and that's only for the three second Beatnuts "Get on down and party" vocal sample!!! Anyway, something told me to buy it - and I'm glad I did. By far his strongest album I've come across with a less polished feel and funkier rhythms (I hate that famous Disco beat he was known for). It earned a full listen after needle dropping and came up trumps with the track 'Soul Improvistations'. A killer smooth groove with shuffling drums, funky percussion (courtesy of Ralph McDonald), whaling horns, nice flute and guitar action plus a bumping bassline. The trademark strings are still present but not so prominant than on his later recordings. As well as being a great track throughout the real clincher is a dope-ass B-Boy break just after the three minute mark. Check it out below.
By no means the rarest album out of the batch, in fact taking a look on eBay, it's probably the most common, however it's something I would more than likely have over looked for any more than the 24p that it worked out costing. Real heads can check the track in it's entirety below and decide if they wanna persue a physical copy for cheap - MP3 leeches can grab a clean high quality rip.
Van McCoy 'Soul Improvisations'
I'll more than likely write some follow up posts as I work my way through the rest of the albums. For now though here's a list of the majority of finds - I'm gonna be selling some so won't put them down yet, I'll wait until I see what I get for them and keep you posted...
Charlie Mingus 'Blues And Roots' (1960 London/Atlantic U.K. Silver/Red label) Charlie Mingus 'Oh Yeah' (1962 London/Atlantic U.K. Silver/Plum label) Charles Mingus 'Mingus Dynasty' (196? CBS France) Charles Mingus 'Portraits' (196? W.R.C. U.K.) Nat Adderley Sextet 'In The Bag' (196? Riverside U.K.) Tubby Hayes & The Paul Gonsalves All Stars 'Change Of Setting' (1967 W.R.C. U.K.) Annie Ross & The Tony Kinsey Quintet 'Loguerhythms' (1963 Transatlantic U.K.) Dave Lambert, Jon Hendricks & Annie Ross 'Sing A Song Of Basie' (1958 HMV U.K. Gold/Plum label) John Coltrane & Don Cherry 'The Avante-Garde' (1966 Atlantic U.K. Plum/Red label) Miles Davis 'In Person At The Blackhawk Vol.II (1961 CBS U.K.) Joe Harriot Double Quintet 'Indo-Jazz Suite' (1966 Columbia/E.M.I. U.K.) Kenny Burrell & Jimmy Smith 'Blue Bash!' (1963 Verve U.K.) Modern Jazz Quartet 'Pyramid' (1960 London/Atlantic U.K. Silver/Red label) Modern Jazz Quartet 'One Never Knows' (1959 London/Atlantic U.K. Silver/Red label) Roland Kirk 'Hip!' (1963 Fontana U.K. Silver/Blue label) Milt Jackson Quartet 'Milt Jackson Quartet' (1963 Oriole/Realm U.K.) Cannonball Adderley 'Nippon Soul' (1963 Riverside U.K.) John Coltrane 'Ballads' (196? W.R.C. U.K.) Jimmy Smith 'Organ Grinder Swing' (1965 Verve U.K.) Dave and Iola Brubeck 'The Real Ambassadors' (196? CBS U.K.) Duke Ellington 'Latin American Suite' (197? Fantasy U.S.) Charles Mingus 'At Carnegie Hall' (1974 Atlantic U.K.) Jimmy Giuffre 'Four Brothers' (1960 Atlantic U.K.) Stan Getz 'Another World' (1978 CBS U.K.) Brownie McGhee & Sonny Terry 'At The Bunkhouse' (1965 Philips U.K. Silver/Black label) T Bone Walker 'Singing The Blues' (1960 Liberty U.K. Silver/Black label) The John Barton Combo 'At The Top Hat' (1970 U.K. white label) Country Joe & The Fish 'Together' (1968 Vanguard U.K. Silver/Black label) Iron Butterfly 'In-Gadda-Da-Vida' (1968 Atlantic U.K. Plum/Red label MONO) Manfred Mann 'Five Faces Of Man' (1966 HMV U.K. Black/Silver/Red label) V/A 'Raw Blues' (1967 Decca/Ace Of Clubs U.K.) Bonzo Dog Band 'History Of The Bonzos' (1974 United Artists U.K.) Van McCoy 'From Disco To Love' (1975 Buddah U.S.) The Blue Monks 'Untitled four track E.P.' (196? Emidisc U.K.)
Like I said, there's more to come - a couple of heavyweight items which I should get very good money for - I'll let you know about those as soon as the deals are done. Just goes to show though, there's still quality vinyl out in the wild if you look hard enough. A good bit of luck along the way always helps too!!!
So not all train services are bad Dyno - I highly recommend the West Somerset steam line if you're down that way!!!
Due to a few computer problems it's been a while since my last post but I'm back, and with something a little special for you all. Now, I've never done an interview before but following on from the interest in the 'U.K. Hip-Hop and the Record Collector Price Guide' post, I've been fortunate enough to get chatting with one of the artists responsible for a couple of the records listed in that book - veteran London producer Insane Macbeth. As well as producing the aforementioned Kinetic Effect "Borderin' Insanity" single, the man was also behind the boards on my favourite U.K. Hip-Hop 12" released this century - "True Heart" which featured another London legend - The Icepick. Insane Macbeth's knowledge on vinyl and production runs deep, so, without further a-do, let's get down to business...
First of all, thanks for taking the time out to do this interview. For the readers who might not be so familiar with Insane Macbeth, please introduce yourself...
My name is Keith Rodgers. I am a hip-hop producer/ beatmaker, and businessman. I go under the moniker of Insane Macbeth. I own two businesses…Insane Recordings, which is an independent record label; and Vicious Productions. I am from Brixton, south London…and I rep Brixton to the fullest. My sound is essentially known as ‘the dungeon vibe’, and it was The Icepick, who called my sound this. My sound and vibe, is essentially cinematic, dark, esoteric in nature. I like mood music, music that touches certain emotions. I am also very concerned with what are called ‘sonics’, and ‘psychoacoustics’. These two terms deal with the scientific study of the relationship between human hearing and its stimulus, essentially how the brain perceives sound. To understand this, in layman terms, understanding sonics is to do with how sounds are eq-ed, effects, reverbs…essentially to do with the final mix down, of a track.
Ok, so is music something you've studied at college?
No, I haven’t studied music theory, or the art of mixing. I basically studied a number of UK rap records in the mid-to-late 1980s, and knew that something was lacking in the low-end frequencies, when it came to these choonz being mixed. So when I recorded/ mixed my 1st release, Kinetic Effect’s “Borderin’ Insanity", b/ w “Beyond the Parameters Of Amateurs”, I ensured that K.E. and I went into a quality studio. We used what is called an S.S.L., or Solid State Logic, a high-end studio console, with the automated faders (known as ‘flying’ faders) on the channel strips. These (and Neve) have eq.s that go on for ever, on the channel strips, which essentially affect mixing. I always studied Dr. Dre, as he is ‘the man’, when it comes to hip-hop production, and mix downs (the general consensus in the U.S.A., is that he is the best producer, since Quincy Jones). Dre definitely has the best eq-ed drumz, so I have always followed his blueprint, and incorporated that, into my vibe.
Right, so what exactly is the creative process involved when making an Insane Macbeth production?
Well, like all producers, it really depends on which direction I wish to take. I am not a particularly spontaneous person; I am very meticulous on what I like…and I very much like to plan the shape of an instrumental, before I start actually creating. If I am going to sample an ‘element’, that more often than not, will determine the tempo/ b.p.m. of the track. I don’t normally sample anymore, unless I really hear a sample/ element that makes me just go “yes, I just have to use this!”. For many years now, I’ve been creating my own musical scores…ideas that come from my mind. I don’t even do renditions of samples, like Dr. Dre does. I’ve only did that with “Last Call”. I create my own bar lines. I am also interested in key signatures, as I incorporate live musicianship in my tracks. Even if I do sample, there has to be a live element, on my track. On a track I released with The Icepick, called “True Heart”, I got my engineer Nigel to play live bass. Then I played the piano, in the same key as the bass. Damn! I always presumed that the True Heart beat was all sampled! Everything gels perfectly on that track.
The pianos came from the Korg Kawai K4 keyboard. It has some good bass sounds that I’ve used, as well as good clavinet, and strings sounds. However, Korg keyboards have the most authentic piano sounds. Yes, I love the pianos on “True Heart”. I have always worked this way. Therefore, when you listen to an I.M. track, it sounds like ‘real’ music. If I am not going to sample from a record, then I always programme my drumz, first. Again, this is to ascertain the tempo. The tempo normally drives the vibe, which then tells me where I’m going; whether the track is going to sound vicious, or more musical, etc. I will then go through a few sound modules. I normally know which banks/ libraries to go through, and Cavey knows exactly what I need. I’ll use the Proteus 2000, and/ or the Roland JV 3080. I also use the Korg NS-5R, sound module. It has a lot of good synth sounds, for if you’re messing with the 80s vibe. Plus, it seems that no-one’s really messing with it. I love the NS-5R! There are some other sound sources, that I get sounds from. Maybe we can do a part 2 to this interview, and I’ll reveal some more jewelz. I mess with a whole bunch of percussion: high hats, ride symbols, sleigh bells. That way, it keeps the creative juices flowing, and my productions interesting.
Can you remember the first bit of equipment you bought?
It’s really funny, Mr. Krum. You know what? I’ve never bought a piece of studio gear, in my life. A lot of my early ‘ideas’ were done at ‘No-Sleep’ Nigel’s house. We’d used the Akai S950, and Atari 1040, with Creator sequencer. My first serious instrumental was done at Marga’s house. Marga was the producer for Katch 22, a group that was down with south London legends, Hijack. We’d use the Akai S1000, with stereo sampling, and the Roland W-30 keyboard, which also had the capability to sample. Marga used to like using Cu Base, for sequencing, instead of Creator. With Marga’s gear, I made what became my first serious production: Kinetic Effect’s “Borderin’ Insanity”, b/ w ”Beyond The Parameters Of Amateurs” release, on my imprint. The only gear I own is the Casio FZ-1 synthesizer/ keyboard/ sampler. Its historical significance, is that I now own the keyboard/ sampler that Hijack’s DJ Supreme used, to make “Hold No Hostage”, and the “B.R.O.T.H.E.R.” track against South African apartheid.
That's definitely a nice object to own! So did you have a mentor type of figure who initially showed you the ins and outs of production/ equipment?
I would say that ‘No-Sleep’ Nigel was like a father figure, in regards to telling me stories of great underground/ esoteric artists. For example, Nigel was the person who introduced me to listen to the abstract jazz artist Sun Ra. Nigel has a broad knowledge of all musical genres. However, in regards to my own ‘vibe’, I always had my own ideas, in regards to the type of sounds I’d like to use. Definitely, especially when I started utilising live instrumentation, into my productions, in the late 1980s. I tapped into my personality a lot more, and also my interest in musical scores/ soundtracks, when making beats. In regards to studio gear, again, like with the crate diggin’ thing, I would never consider myself a gear head! I always left that to my infrastructure – people like ‘No-Sleep’ Nigel, and my assistant engineer (who I now do my pre-productions with), ‘Cavey’. I have always been primarily concerned with the creative process, and messing with a different array of sounds. I do however keep abreast of new technology, whether it be hard ware such as Open Labs computer music keyboard/ samplers, and/ or soft ware like Cakewalk. Just knowing what the top hitmakers use, often aids me, in keeping sharp, creatively! Which Hip Hop record in particular, if any, did you hear that was the one that made you say - I wanna do this too?
I would unequivocally state, that Eric B. & Rakim’s “Follow The Leader” record blew me away, and made me think, “yes, music production is the thing I wish to pursue!”
I remember around 1986, when people in the underground London scene started making records. Some of the artists included people like Freshki and Mo’ Rock, DJ Fingers and Crazy Noddy (The Sindecut), Jus’ Bad Crew (Mell’o’, Sparkii Ski, DJ Pogo and Monie Love), Hijack (Kamanchi Sly, DJ Undercover and DJ Supreme), plus others. It was an organic time, but what happened was that my school friend Apollo Belladona phoned me one day, in 1987. He told me that he was about to go into a studio, to record a track. Apollo invited to the studio session. I thought to myself, “raaaaaaah!”. “If my school friend can make a track, why can’t I?”! It was in this studio session, that I met the person who’d become my sound engineer. He went by the name of ‘No-Sleep’ Nigel. So this was a major reason, why I got interested in music production. Also, Apollo and I were really into Ultramagnetic MCs. We were really impressed with Ced-Gee, and the way he used to chop samples. Especially, on the “Critical Beatdown” album. I also was inspired by Marley Marl, who was the in-house producer for The Juice Crew, and Prism Records. I noticed, even back in 1987-8, that he’d eq his drumz differently to other producers. He definitely had a ‘sound’’! I was also impressed with DJ Mark The 45 King. The 45 King was definitely one of the best crate diggers, around 1987-8. The production unit for Public Enemy (The Bomb Squad – Hank and Keith Shocklee, and Eric “Vietnam” Sadler), were also great, at chopping samples, too. You've mentioned you like to combine the use of samples along with live instrumentiaton, similar to the way some of the influences you've listed above did with drum machines and loops or chops lifted off old records. So, from when you first started buying vinyl, were you looking specifically for stuff to sample or where you just buying records because you liked the music and if you ended up using them it was a bonus?
Well, when I first started buying records, I, like most people who became a part of the hip-hop fraternity, was purchasing hip-hop records. I was buying records, from I was around 13 years old. I had an extensive record collection (around 800 of my record collection got stolen, in 2000). However, I didn’t start buying ‘breaks’…so to speak, until after I left school, in 1986. I myself, and a close associate of mine, called Apollo Belladona, used to go to various spots in 1987-8. One spot we’d always go, was this shop in Croydon, south London called Timewarp Records. A guy called Terry Mac, used to run this shop. We’d buy doubles, of all the generic classic break beats, like “Dance To The Drummer’s Beat”, “I Can’t Stop”, “Bounce, Rock, Skate, Roll”, etc. The aforementioned titles, were just a few of the generic breaks that the old school Bronx deejays would cut up. I would buy breaks, but Apollo Belladona was more into collecting. I was just getting into the whole break-collecting and music production. I was definitely learning my trade. I also learnt a lot from two old school deejays/ producers. These being DJ Fingers of The Sindecut, and Mo’ Rock. Mo’ Rock used to produce for an emcee called Freshki. Mo’ Rock was especially helpful, in my development. He had an extensive record collection, even back then. He would allow me to go through his collection, and sometimes he would create these loop tapes; Mo’ Rock had this mixer with something like a 4-second sampler. Boy, I’m reminiscing now (l.o.l.). He’d loop up a bunch of obscure breaks. He was definitely the first person I heard loop up the Latin jazz artist, Eumir Deodato. Mo’ Rock was also messing with this kraut-rock group called Can, before anyone. Mo’ Rock was a real crate digger, even back in the mid-1980s, and I give him a lot of credit, for finding exclusive sh*t! DJ Fingers was also a very serious crate digger, but wasn’t as benevolent in sharing ‘jewelz’! But I’d credit those two, as the serious crate diggers, who I had to compete with. From hearing what DJ Fingers, and Mo’ Rock had in their collections, I knew that I had to go some way, in order to compete with them! As well as the proper record spots were you also digging in the charity shops and places like that?
Yes, like a lot of producers, I have also found some good bits in second-hand shops. For example I found this Paul McCartney: “The McCartney Interview”, at a second-hand shop, that was selling bric-a-brac junk (l.m.a.o.). That record’s just got a bunch of interesting quotes, on there. Also, I have to credit Apollo Belladona for informing me on library music. I think that if you rely heavily on sampling from records, you have to move away from the generic funk/ jazz/ soul genres, which a lot of hip-hop music is founded on. For a track I did with east London rapper Malarchi called “Last Call”, Cavey and I replayed some weird strings, off an album called “Sneaking Up”, which is considered to be library music. I wonder whether DJ Premier, or The Alchemist, know about this album? I also did a track with Cardiff-based emcee, Ruffstylz. The track was called “Unf*ckwithable”. I chopped the drumz off a Cliff Richard record, called “Jesus”! Cavey and Darkjoint (Malarchi’s main producer) couldn’t believe that the drumz came from a Cliff Richard record, could sound so ‘big’ (l.o.l.)! Again, Apollo Belladona hooked me up, with that jewel. Yeah, I remember going into Across The Tracks in Brighton some time ago now and Alan, the owner, who knew I was into breaks and stuff pulled out that Cliff Richard record and said “I found some drums on a Cliff Richard album”. I wasn’t expecting much to be honest, but that is definitely a nice break!
When we spoke briefly on the phone, you mentioned the ‘Dirty Harry’ soundtrack, which was obviously an important piece to you. Can you break down the significance of that particular album?
Ok. For the readers out there, a number of the artists from Brixton, south London and the surrounding areas (Stockwell, Clapham, Streatham, etc.) were influenced by making really strong, aggressive records. What I used to call, ‘killer records’. Speaking for myself, when I first came into the music business, I wasn’t very concerned with obtaining major radio play. I guess that when I heard Hijack’s “Hold No Hostage, b/ w “Doomsday Of Rap”, I decided that, those two tracks were the template, the standard to reach. A number of the artists I was around, to a greater or lesser extent (I’m talking about Hijack, Katch 22, The ZombieHeadhunters, 17th Hangmen, Standing Ovation, and Hard Noise) were all messing with the ‘Dirty Harry’ soundtrack. So obviously, there was this subliminal competitive aura, as to who would use it the best. Hijack used ‘D.H.’ for “The Contract”, off ‘The Horns Of Jericho’ album; Katch 22 used it for “Service With A Smile”, off the ‘Diary Of A Black Man’ album [produced by Roughneck Scout, of The Zombie Headhunters}; Hard Noise used it, for Serve Tea, Then Murder”; Standing Ovation used it, for, I think the track was called “Nightstalkers” (it was unreleased); I used it ‘D.H.’ for Kinetic Effect’s “The Effect Of Fear”, his 2nd release on my label. In my opinion, in regards to creativity, I believe that I used it the best (l.o.l.). But…in regards to just pure listening pleasure, I thought that “Service With A Smile” was truly awe-inspiring. I actually wished, back in the day, that I produced that track. But yes, ‘Dirty Harry’ was a favourite amongst people like myself, DJ. Supreme, Roughneck Scout, and A.J. (producer from Hard Noise). The tracks you've mentioned above are amongst some of my favourite U.K. Hip-Hop records! So what are some of your favourite records you've used over the years that you don't mind sharing with us?
Bob Crewe and Charles Fox "Barbarella" O.S.T. I used some violins off this soundtrack (I'm not going to give titles), for Huntkillbury Finn's solo EP, "Mummy's Little Soldier". The track I produced, was called "Retrospective: U-XB". Released on SON Records.
Can "Ege Bamyasi" Mo' Rock introduced me to Can. I used to love their drumz. Especially, their tinny snares. Had a real live feel, to them. I used some drumz off this album, for something unreleased.
Can "Tago Mago" Like the one above, Mo' Rock had a whole leap of Can material. Mo' looped up the drumz, for one of those those breakbeat tapes, he'd drop on me. I later bought the album.
Lalo Schiffrin "Dirty Harry" O.S.T. It's really funny, because American producers weren't fukken with this album, apart from Dr. Dre. He used this on "Approach To Danger", off 'NIGGAZ4LIFE'. What was ironic was, that for Roughneck Scout, DJ Supreme, and myself, Dr. Dre was the template for hip-hop production, in 1991. So when Dre used the album, it sort of validated the fact that 'we' were messing with it!
Jimmy Smith "Root Down Live!" I used a baseline off this jazz album, for Kinetic Effect's "Man Bites Dog" single, released on my label.
Alain Goraguer "La Planete Sauvage" O.S.T. Around 2000-1, I was messing with a lot of European music, to sample. I was fukken with this, until I heard that avant-garde rapper/ producer Quasimoto/ Madlib, was sampling sh*t off this.
Barry White "Together Brothers" O.S.T. I myself, and producers from Standing Ovation, and The Zombie Headhunters, were messing with a lot of Barry White/ Love Unlimited material. I used some sinister violins, for a track called "The Catalyst", by Kinetic Effect. This track was off K.E.'s (unrealesed) mini-LP, 'The "Mortis" Experiments'. Tim Westwood did play it a few times, though...when he was on Capital Radio.
Donny Hathaway and Quincy Jones "Come Back Charleston Blue" O.S.T. Marga (Katch 22), and I were checkin' for a lot of Quincy Jones' stuff. And so was Dr. Dre. I used some abstract sounds off this album, for a beat for Kinetic Effect. The track was called "False Profits". However, we never did get to record that track.
Herbie Hancock "Death Wish" O.S.T. Another classic album, that DJ. Supreme, and myself would mess with. I raped this album (l.o.l.). I remember using some wierd sounds for "The Effect Of Fear II", off my (unreleased album) 'The "Retardation" Project'. It is known, that I was definitely the first, to be messing with this album.
James Horner "Gorky Park" O.S.T. DJ Supreme, and I raped this album, too (l.o.l.). Don't remember on what tracks I used this, though. Probably some beats, that I have on tape.
Nice selection! Theres a few albums there that I'm not up on - I'll have to keep an eye out for them.
I'd like to talk about the records you've put out yourself - in particular the 'Retardation Project'. Like I said, I haven't even heard this and I'm curious to know why you only pressed up 150 copies of what looks like, on paper, to be an amazing album. I also read somewhere about a track you were meant to record with Kamanchi Sly but for some reason or another didn't happen - any chances it will come about?
Ahhh yes, my ‘album’ that didn’t come out?!? Why didn’t I release my album? Well, I was planning to bring out my album. That’s why I initially pressed up 150 white labels. I only sold about four of those copies. One customer paid me something like £40, for a copy. All the rest went to industry figures, as I was trying to promote a project I was very happy with. However, I didn’t release the album in the end, for political reasons. So therefore, my album became a collector’s item; but that wasn’t my intention. I recently saw on www.discogs.com that a copy of my album was for sale, for 89 Euros. Hence, the artists that featured on there…The Ripper, Crazy Noddy, The Icepick, Grizzly, Huntkillbury Finn, Shaka Shazzam, and Kinetic Effect…are a part of a bit of history there. There is also truth to the rumour that Kamanchi Sly was offered to be on my album. He actually wrote some lyrics to a beat I submitted to him. The track was called “Masters Of The Art”. Kamanchi did spit some lyrics down the phone to me; the lyrics were in the same vein as “Doomsday Of Rap”. I was very pleased with what I heard. However, Kamanchi was also starting to move in a different direction, creatively. I do wish that we’d worked together, thou gh. I also asked T.L.P.-1 of Hard Noise, to feature on my album. For some unknown reason, T.L.P. did not cooperate, either! So what are you working on at the moment? Any future releases in the pipeline?
Since releasing Insane Macbeth f/ The ‘Legendary’ Icepick: “True Heart” 12” single, I decided that it was problematic to release vinyl, in the current music industry climate. In the digital domain, there is no demand for vinyl. I therefore had to restrategise; I am still recording new material, especially with Ruffstlyz, and Malarchi (I am open to work with other artists, especially K-lash-nek-off); but I now am only really seeking production placements. I now have a ‘situation’, where I am connected with a music industry executive called Sickamore. He is from New York, in the U.S.A., and his company is called The Famous Firm. Production placements is where I’m currently headed, right now! Also, my friend Darkjoint gave me a drumz library in 2006; a drumz library which contained thousands of ‘treated’ S.S.L. and Neve drumz. When I use the term ‘treated’, it means that they are already mixed. The consequence of this, is that I can now compete with A-list American producers, because of my library. I can match A-list Americans sonically, when it comes to drumz. So I am definitely still rolling. However, I’m trying to now make hit records, although I’m still messing with the ‘underground. We’ll see what the future brings.
And finally, what is your personal favourite track you have produced? I knew you were going to ask this question, and it’s a hard one to answer, too! I love everything I make. I do believe that some of my best beats, are instrumentals that haven’t even had vocals on them. However, if I had to pick one, I’d say Kinetic Effect’s “A Physical Exorcise” is my favourite track. A snippet of this track, is on my official website - www.insanemacbeth.com. Right. I just wanna say thanks again for spending the time to share the knowledge. Any last words or shout outs before we wrap thigs up?
Big-ups: I. M. would like to big up anyone who took the time to read what I had to say. Apollo Belladona, ‘No-Sleep’ Nigel, Cavey, Ruffstylz, Malarchi, Darkjoint, and Missedukated. Sickamore and The Famous Firm/ The Machines (I need them placements, Sick). I would like to thank Zach Katz, for replying to my business e-mails. I would also like to thank Sha Money XL/ Money Management XL representative, for requesting them 5 beats, off me. And of course, you Mr. Krum…for interviewing me, and giving me a chance to show the world, that I’m a serious music producer. I feel honoured, that at this stage of my career, I can still garner interest, as a music producer. Bless.
Seems I jinxed the weather after last Sunday's post - been p*ssing it down all week here! After a slightly overcast start this morning the clouds broke and it's been a fairly decent day in all. Picked up some decent Hip-Hop and late '70s Soul at the early Boot Sale, nothing at the afternoon one.
A couple of Saturday's ago my kids were away for the weekend with their Mum so I took the opportunity to hit a few charity shops in the morning before lunchtime kick off at Fratton Park. I took the camera out to document the days digging but haven't yet got round to finishing the post (dragging those damn pictures about drives me mad). Anyway, one of the records I picked up on that day was Esther Phillips's 1975 Kudu release "Esther Phillips With Beck". It's an OK LP with a few decent tracks but nothing particularly outstanding. It does however feature a song which I immediately recognized as being sampled on a Hip-Hop record that I've been trying to track down for ages.
So who exactly are the 'Private Investigators'? Well, it turns out 'they' were in fact The Redhead Kingpin (and his crew), which probably explains why I must have overlooked it in the racks at the time. 1993 was pretty much the peek of my Hip-Hop buying habits when I'd spend just about every penny I earned on vinyl. There wasn't much at the time that I didn't buy and even some fairly average records (in hindsight) were snapped up. Still, I don't remember seeing this about. Maybe I did, and maybe it was the Redhead Kingpin tag that put me off. I'm surprised I didn't at least give it a listen though - there's Diamond D remix on here for G*d's sake! Anyway, thanks to Esther Phillips (and the Scope Charity Shop it came from) "Mom Dukes", or the 12"s' A-Side title "Who Am I?", sits happily in the shelves alongside all the other classics featured on that DJ Premier radio show.
After a cold and rain soaked winter, resulting in far too many missed weekends of bootsale digging, my last couple of outings have proved really fruitful. Besides a good lot of highly collectible German Prog Rock, (which I've already shifted on for nice money) the Sunday just gone turned up Les McCann's "Layers" L.P. as well as the Blackbyrds self titled debut (I've wanted this for a long time for the "Me & Him" break). Today I took home the "Joe Farrell Quartet" album on C.T.I. as well as this - the original soundtrack for a film called "Black Fist".
So obviously it's the first record on the turntable when I get in and settle down after making a nice cuppa. And after all the initial excitement, guess what? It's a bit of an anti-climax, and if I'm being completely honest, generally pretty disappointing. Paul Humphrey's sole track, "Humphrey's Overture", is exactly what I was hoping it wouldn't be - upbeat disco-tinged averageness, typical of the period. And the the same goes for much, if not, all of Side-A, with nothing being worthy of more than one listen. My concerns about the date were unfortunately being realised. Having said that, Side-B is an 100% improvement, kicking off with a half decent slow track called "L.A. Gray" by Geraldine Kaye. Nothing great or outstanding, but much better than anything on the flip. When track two begins though, with a dope Hip-Hop loop, all is forgiven. Art & Ron's (producer Ron Castle and arranger Art Freeman) "Can't Stop Talkin" sounds like a Ghostface break and is exactly the type of music I was hoping for throughout. Thankfully they deliver the goods again immediately afterwards with "I'm Your Man", another drama style instrumental I'll be recording and burning for repeat listening. Unfortunately that's about it though, the interesting sounding, and looking, artists like Sam & Jus' Us, Velvet Fire, Sam Shabrin, Denise Gordy and Bishop Mounger fail to deliver anything note worthy that I would ever feel the need to play again.
Bob James 
Stanley Turrentine 
Deodato 
Grover Washington, Jr.
George Benson 
Recently I've had a couple of people ask about the banner at the top of the page and if the head that replaces the 'Diabolical' one's is mine. Well, to set the record straight, no, it isn't. A lot of people that know me say I look older than my years and although I've got a few 'silver ones' poking through, my hair, or what's left of it, isn't yet as bad as the fella you see above, who is in fact U.S. chat show host Johnny Carson.
First of all, let me just say, when I'm out and about I usually buy any comedy record if it's fifty pence or less. This particular album turned up in a Charity Shop, still sealed, for twenty nine pence so was snapped up quick. Once home and opened a large fold out poster with very nice Graphic Design (unfortunately it's too big to scan) revealed itself from the two slices of wax tucked inside. Bonus. I like the design work on the front and back of the cover anyway but the poster really is something to keep. Now the vinyl is four sides of recording highlights from 25 years of the show and features interviews as well as performances by the likes of Aretha Franklin, Ike & Tina Turner and Bette Midler (you can read the full track listing by clicking on the image). I genuinely enjoyed listening to the entire album and found Carson to be very funny which I wasn't expecting at all - I usually can't stand American chat show hosts. His banter with in house 'band' leader Doc Severinsen is at times hilarious and leads me on to the excerpts I've recorded for you below. The sharp eared amongst you will notice several vocal snippets sampled by a certain 'Scratch Pharmacist' before Doc Severinsen and his Sweetheart Band belt out a funky version of "Ode To Billy Joe", nice break included. Enjoy...
Had some pretty good finds this weekend, actually, make that very good finds. My local Sunday bootsale was kind to me with a small but quality batch of Boosey & Hawkes Library LP's (nice early '70s Drama action - haven't had any Librarys for a while - good to know they're still out there), the Sound Experience "Boogie Woogie" album (classic breaks) and my first copy of Enoch Light's "Spaced Out" L.P. (been after this for years - Beatnuts heat). As well as those little gems I also picked up an album I'd never heard of or come across before - "Soul Survival" by U.K. sessioners 'Soul Sounds'. The track listing alone was good enough to take a punt on - covers of "Jump Back", "Sunshine Superman", "Philly Dog", "I Feel Good", etc, but I was set on buying it as soon as I laid eyes on the lovely cover. Turns out to be a great beat driven Hammond album featuring none other than everybody's favourite Cockney chappies 'Chas & Dave'. Released on E.M.I. / Columbia in 1967 and also featuring Nicky Hopkins, Carlo Little, Chris Lamb, Brian O'Shay, Bob Mather and Dick Errington. I've uploaded three tracks from it to accompany more music from my favourite 'find' of the weekend...
Whilst DJing at the 'Colours Doomed' art battle on Saturday night a rather attractive young lady approached my mate Bobby with a box of records she's just pulled from her car. Turns out she was doing a bootsale in the morning, noticed we were playing Vinyl and kindly said we were welcome to have anything we wanted completely free of charge. Her parents record collection of around 100 LPs consisted of the usual bootsale classics - James Last, Perry Como, Max Bygraves, etc, but tucked amongst them was Al Green's "I'm Still In Love With You' album, an import copy of the 'Shaft' soundtrack, an interesting looking Reggae 12" on Trojan and the record you see pictured alongside the Soul Sounds album - "Wingding Party" by a group called 'Trax Four'. I asked for the Al Green and Trax Four, Bobby had the other two. I already knew the Al Green, an obvious staple piece but took the opportunity to upgrade to a better condition copy. However, the Trax Four I had never come across before and with versions of "Watermelon Man", "Comin' Home Baby" and "Moanin" listed amongst the tracks was definitely worth grabbing for free. You can hear these tracks below - all top notch Hammond groovers that I was over the moon with. I can't remember the girl's name who bought the records in, but if by any extremely bizarre chance you ever read this, I just want to say "thank you" - I'll buy you more than a Diet Coke if I ever bump into you again.
Some of you who frequent the superb Daily Diggers blogspot might remember back in May, Kid Dynomite wrote a justified post moaning about the f*cked up Rail service in the Big Smoke and how it sometimes hinders his weekend digging excursions. Well I can definitely vouch for him on the state of our public transport system having spent plenty of time over the years sat stuck on sh*tty platforms waiting for yet another delayed choo-choo. However, just last week I experienced possibly the best train journey of my life. Read on...
From the fifty or so L.P.'s, I pulled out a desirable Annie Ross and Tony Kinsey Quintet album - 'Loguerhythms', Country Joe & The Fish's 'Together' album, Iron Butterfly's 'In-A-Gadda-Da-Vida' album, Charlie Mingus 'Blues And Roots' album and a T-Bone Walker album with a beautiful cover called 'Singing The Blues'. All original U.K. 1st pressings in absolutely stone mint condition. As I paid the £2.50 (50p each) I sheepishly asked if they had any more vinyl to which the friendly old boy replied "Yes I think so, come round to the side door and you can go into the back and have a look through the rest of them". I looked at the girls, who's faces said it all - 'here we go again....you promised you wouldn't look for records', but also with a slight forgiveness as if to say 'well OK then, but don't be long'. "I'll be done before the train arrives, I promise". So I head round the side, through the door and into a small storage area crammed with books. Amongst the books lay a shelf with a couple of hundred L.P.s and a few 45s dotted around on top. To cut a not very long story short I ended up pulling out a pile of forty-one albums and a couple of singles. The highlights are listed below but I've also written a little bit more about some of the best finds. Literally all of the records are MINT - I can't remember the last time I came across a good lot in such amazing condition. To top it all off I was only charged £10 for the lot! The lovely old bloke was over the moon and said that they are lucky to sell one or two records a week! I think the kids were pleased for me as they could tell I'd hit something a bit special. I finished in time for the next train and the rest of the day was spent on a total high enjoying the journey and then the evening down on the beach.
I love obscurity and this definitely qualifies in that category making it my favourite find by a whisker. I've googled the group name and run-out groove details (RAY-1 A1 H / RAY-1 B1 H) and so far found nothing. The nearest I've come to ANY information is that they are possibly the same Blue Monks that recorded a track with Murray Head called 'You Bore Me' that appeared a couple of years back on a compilation LP - 'Take My Tip - 25 British Mod Artefacts From The 60s'. Of the four tracks that appear on this E.P. three feature vocals with one instrumental and I'm pretty sure all are cover versions. There's a cracking take on 'In The Midnight Hour' as well as 'Something You Got' plus the Blues standard 'Rock Me Baby'. The instrumental I'm sure is a Booker T & The M.G.s cover, if not, is very reminiscent of their sound. Anyway, check the sound clips below. If anybody out there has any info on the group or preferably this particular release please leave a comment.
It was a toss up between this and the above Blue Monks single to decide a favourite out of the haul. Both are obviously super rare (google once again came up with very little). This album is about as 'home-made' as you can get. The white labels have been hand stamped 'JOHN BARTON COMBO' and the front cover features an actual photo (pictured below) of the group stuck onto the budget screen printed flip-back sleeve. To add to the amateur feel of this release, the details on the back are actually upside down in relation to the front! Great stuff...right up my street. So most importantly, what is the music like? All I can say is, for this type of release - FANTASTIC. I've bought a ton of these 'Cabaret' albums over the years. Occasionally one or two turn up the odd decent track but most are completely duff. And surprisingly this album is consistent throughout with nearly every track having some kind of appeal - totally listenable all the way through. Recorded at Impulse Recording Studios, Monday 31st of August 1971, the highlights are covers of 'Vehicle' and 'Mercy, Mercy, Mercy' (both downloadable in high quality MP3 below - I'm good like that), but there's also note worthy takes on 'Be Young, Be Foolish, Be Happy', 'Something' and Henry Mancini's 'Sorta Blue' featuring lovely flute solos. If you ever come across this records on your travels snap it up! At a guess I'd say a maximum of 500 were probably pressed up and sold at 'The Top Hat' club where they were presumably the resident band. The Group consisted of - John Barton (Tenor and Piano), Doug Turner (Tenor, Flute, Baritone, Harmonica, Maracas and Tambourine), Pete Peters (Organ and Piano), Ginger Butler (Bass Guitar), Bill Waite (Drums), Dave Hammond (Vocals, Guitar and Tambourine), Audrey Roffe (Vocals), Val Pearson (Vocals) and Richie Slater (Vocals and Bongos). What a great group they were too...check 'em out below (click image to enlarge).
This is probably the most valuable and desirable L.P. I picked up and my first Tubby Hayes album. I was always under the impression that the records released by W.R.C. were licensed re-issues produced for members of the World Record Club. A brief google search revealed they also released albums that were exclusively recorded for them, and this here album is one of them. The W.R.C. records were only available to club members and so were never commercially released making some of the exclusives highly desirable. Nearly everything Tubby Hayes related is sought after amongst the Jazz crowd and on listening to this album I can see why. In all honesty straight ahead Jazz isn't really my cup of tea but I can spot class when I hear it, and this is definitely classy stuff.
About eighty percentage of the vinyl I picked up is '60s Jazz and I'm slowly listening through it all. I've only had the chance to take in five albums completely after briefly skipping through all of them. This Nat Adderley album 'In The Bag' was the first to give me that spine tingling sensation upon discovering a used sample for the first time. I won't name names (although I'm sure it's probably listed on one of the many sample snitching websites somewhere), all I'll say is that the beautiful piano and bass loop around the thirty second mark was used by the greatest Hip-Hop producer of all time - check the snippet below.
Back in 1962 Mr Mingus was still know as 'Charlie' and released this album entitled 'Oh Yeah'. I've been after this L.P. for years purely for the artwork (it grabbed my attention in the superb 'East Coasting' book by Graham Marsh), but never wanted to pay good money for it. Well I got it now and after listening through found a sample I cannot place for the life of me. Take a listen to the snippet below and if you know who used the horns on the forty second mark please leave a comment and put me out of my misery. I've got Showbiz or Freestyle Professors rattling around in my head but I don't think it's either of those - sounds like a Bronx related sample though...
This is pretty much the 'odd one out' of the bunch. Nearly everything else is from the '60s and either Jazz, Blues or Rock related. I'd pretty much given up gambling on Van McCoy albums as nearly ever one I'd picked up previously turned out to be weak string saturated Disco. The only album of his that's stayed in the collection is 'The Real McCoy' and that's only for the three second Beatnuts "Get on down and party" vocal sample!!! Anyway, something told me to buy it - and I'm glad I did. By far his strongest album I've come across with a less polished feel and funkier rhythms (I hate that famous Disco beat he was known for). It earned a full listen after needle dropping and came up trumps with the track 'Soul Improvistations'. A killer smooth groove with shuffling drums, funky percussion (courtesy of Ralph McDonald), whaling horns, nice flute and guitar action plus a bumping bassline. The trademark strings are still present but not so prominant than on his later recordings. As well as being a great track throughout the real clincher is a dope-ass B-Boy break just after the three minute mark. Check it out below.
My name is Keith Rodgers. I am a hip-hop producer/ beatmaker, and businessman. I go under the moniker of Insane Macbeth. I own two businesses…Insane Recordings, which is an independent record label; and Vicious Productions. I am from Brixton, south London…and I rep Brixton to the fullest. My sound is essentially known as ‘the dungeon vibe’, and it was The Icepick, who called my sound this. My sound and vibe, is essentially cinematic, dark, esoteric in nature. I like mood music, music that touches certain emotions. I am also very concerned with what are called ‘sonics’, and ‘psychoacoustics’. These two terms deal with the scientific study of the relationship between human hearing and its stimulus, essentially how the brain perceives sound. To understand this, in layman terms, understanding sonics is to do with how sounds are eq-ed, effects, reverbs…essentially to do with the final mix down, of a track.
I remember around 1986, when people in the underground London scene started making records. Some of the artists included people like Freshki and Mo’ Rock, DJ Fingers and Crazy Noddy (The Sindecut), Jus’ Bad Crew (Mell’o’, Sparkii Ski, DJ Pogo and Monie Love), Hijack (Kamanchi Sly, DJ Undercover and DJ Supreme), plus others. It was an organic time, but what happened was that my school friend Apollo Belladona phoned me one day, in 1987. He told me that he was about to go into a studio, to record a track. Apollo invited to the studio session. I thought to myself, “raaaaaaah!”. “If my school friend can make a track, why can’t I?”! It was in this studio session, that I met the person who’d become my sound engineer. He went by the name of ‘No-Sleep’ Nigel. So this was a major reason, why I got interested in music production. Also, Apollo and I were really into Ultramagnetic MCs. We were really impressed with Ced-Gee, and the way he used to chop samples. Especially, on the “Critical Beatdown” album. I also was inspired by Marley Marl, who was the in-house producer for The Juice Crew, and Prism Records. I noticed, even back in 1987-8, that he’d eq his drumz differently to other producers. He definitely had a ‘sound’’! I was also impressed with DJ Mark The 45 King. The 45 King was definitely one of the best crate diggers, around 1987-8. The production unit for Public Enemy (The Bomb Squad – Hank and Keith Shocklee, and Eric “Vietnam” Sadler), were also great, at chopping samples, too.
Yes, like a lot of producers, I have also found some good bits in second-hand shops. For example I found this Paul McCartney: “The McCartney Interview”, at a second-hand shop, that was selling bric-a-brac junk (l.m.a.o.). That record’s just got a bunch of interesting quotes, on there. Also, I have to credit Apollo Belladona for informing me on library music. I think that if you rely heavily on sampling from records, you have to move away from the generic funk/ jazz/ soul genres, which a lot of hip-hop music is founded on. For a track I did with east London rapper Malarchi called “Last Call”, Cavey and I replayed some weird strings, off an album called “Sneaking Up”, which is considered to be library music. I wonder whether DJ Premier, or The Alchemist, know about this album? I also did a track with Cardiff-based emcee, Ruffstylz. The track was called “Unf*ckwithable”. I chopped the drumz off a Cliff Richard record, called “Jesus”! Cavey and Darkjoint (Malarchi’s main producer) couldn’t believe that the drumz came from a Cliff Richard record, could sound so ‘big’ (l.o.l.)! Again, Apollo Belladona hooked me up, with that jewel.
