After its stint as the most compelling act on Tommy Boy for 15 years, De La Soul was sold to Elektra, who summarily dropped them. Since these releases are Tommy Boy/Rhino comps, probably not a dime you drop for either will go to the band. Plus, the Mix Tape‘s remixes of “Me, Myself and I” and “Itzsoweezee” are a waste, and “More Than U Know” can be had for better value on Prince Paul‘s neglected Prince of Thieves. Live at Tramps is harder to resist. Mos Def, Common, and Jungle Brothers are on hand to remind you of De La‘s cultural worth, but unless you hear the band is getting a piece of this, then download it. You‘ll sleep better at night.
Blueprint Ruby
As soul-jazz evolved from its ‘70s origins with artists like Lonnie Liston Smith and Roy Ayers to ‘80s quiet storm and ‘90s acid jazz forms, it further incorporated a wealth of melodic chords and ambient synth pads. The aftershocks are felt today in projects like Blueprint, whose “Ruby” has a warm sheen similar to Coldcut‘s Balearic classic “Autumn Leaves,” mixed with producer Jimpster‘s snug beats. Blueprint plays all their instruments live and the Gerd remix here is as club-friendly as it gets.
30 Hz Eating The Dead
With an acid house revival in full swing, we‘re hearing squelchy Roland TB-303 bass sounds pop-up all over the place-like on “Eating the Dead,” a dark, zombie-inspired breakbeat roller. Personally, my ears linger longer on the flipside‘s “Mike Dyson,” featuring stripped down drum arrangements, low-low sub-bass waves, compressed percussion and haunted house screams. Calling all ravers.
Dalindeo Poseidon
Following on the success of the straight-ahead live jazz of their Five Corners Quintet releases, Finland‘s Ricky-Tick showcases Dalindeo, a year-old sextet that focuses on a breezy, Brazilian jazz-influenced sound. Dalindeo‘s flute, sax and trumpet solos embody the cool sparseness of classic West Coast jazz artists Art Pepper or Stan Getz, and are arranged in the style of classic Gerald Wilson or Wes Montgomery songs. A classy release for your hi-fi.
Mocky Are + Be
Are + Be has an ‘80s slow-jam vibe crashing straight into the kiddie rave and stumbling out the back door onto a grimy London alley. Or maybe it‘s an alley in Berlin, as that‘s where this ex-Canadian kicks it with old friends Peaches and Gonzales. Following his debut In Mesopotamia (equally abnormal, groovier flow), Mocky takes the piss out of commercial R&B. But he also hits a nerve with cheeky dichotomies of sweet soul and distorted pop, funk rhythms and fucked-up beats, swift rhymes and lumbering raps. Gravy it ain‘t, but the saucy blend is worth dippin‘ your bread in.
The Boats Songs By The Sea
Not the big, container shipping ones piled high with mass consuming largess, but small, delicate ones with carefully pitched masts, subject to the slightest breeze. Yes, those boats. Piloted by the inventive instrumentation of Craig and Andrew–whose acoustic instruments and brushed drums echo in the depths of their admiralty law-abiding CPU, and get buttressed by the humanizing ballast of Elaine‘s ready-to-evaporate vocals–this little craft‘s got some serious stealth tailwind, making life by the sea seem spookily enchanting.
Alexandroid False Starts
If only there was a “Where are they now?” special on late-night cable television for that hyped wave of Russian IDM. False Starts serves as a sprawling answer to where Andrey Antonets has been. It boasts 17 quite varied electro opuses-some with breathy girl vocals, some taut analog numbers, some 4/4 excursions and some more imaginatively orchestrated fugues, with the old-timey horn section-led brilliance of “Debil” a highlight. After investing the time for a thorough listen, you‘ll hope this proves no false start at all.
Galt Macdermot In Film
Two types of people know Galt MacDermot: dramafags and crate diggers. A prolific composer and arranger, he‘s done it all, from Hair to the Benny Hill Show to a string of Cotton flicks. And while one generation knows him for letting their hair down and the sunshine in, another knows Busta‘s “Whoo Hah!” hook which was lifted from MacDermot‘s “Pace.” Ironically, this South Africa-raised white guy was totally hip to the black sounds of rebellion and freedom; and while the samples may have provided some great MTV tunes, the uncut Hammond-Leslie trills and buzzing guitars give you a glimpse at a groovy heart.
Various Artists Chronicles: The Roots Of G-Funk
Maybe the reason why Dr. Dre‘s The Chronic “stank” so good was because there was some real soul behind the flow. There are priceless gems all over the G-Funk map, from Wilson Pickett‘s “Engine Number Nine” (as the inspiration for “Straight Outta Compton”) to Leon Haywood‘s “I Want‘a Do Something Freaky To You” (the blueprint for “Ain‘t Nuttin But a G Thang”). You best believe the original Afronaut, George Clinton, visits as the architect of “Let Me Ride,” but even if you don‘t listen to hip-hop this collection can stand on its own as a testament to ‘70s stoned funk.
Butch Cassidy Sound System Butches Brew
Not to be confused with the rapper who worked with Snoop Dogg and Xzibit, producer Michael “Butch Cassidy” Hunter‘s debut album fashions classic reggae and funk elements into upbeat, keenly musical pieces that remain true to reggae‘s sleepy vibe. The title cut is by far the strongest, punctuating catchy riffs with horns and verbal shout-outs, but it‘s Cassidy‘s keen ear for subtle musical touches that renders his musical brew cohesive and slippery smooth.
