Check out the video below that gives an exclusive behind the scenes look at the making of Shafiq Husayn’s forthcmoing album, Making The LooP.
While writing this post, I also discovered this interview from The Revivalist: ‘The Divine Science and Words of Wisdom with Shafiq Husayn’. It’s been online for a while, but definitely deserves a read.
Shafiq was also the producer who first introduced me to the girl, her name is Miss Fatima…
Shortly after posting about Baba Brinkman‘s Rap Guide To Evolution at TEDxSMU, I noticed that Liverpool artist Robyn Woolston’s tweet about an independently organised TEDxMerseyside on Saturday 4th February.
You can buy tickets here.
“TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. Our event is call TEDxMerseyside, where x=independently organized TED event. At our TEDxMerseyside event, TEDTalks video and live speakers will combine to spark deep discussion and connection in a small group.
The TED Conference provides general guidance for the TEDx program, but individual TEDx events, including ours, are self-organised.”
Check out Dusk favourite Akala’s recent contribution to the project:
Following on from yesterday’s post comes a beautiful video from one of my favourite artists. All three movements of ‘Out My Mind, Just In Time’ were produced by Georgia Anne Muldrow. Badu has been directing her own shoots since 1997, and has just shared the second part to the video for the final track from her most recent album, New Amerykah Part Two: Return of the Ankh. (You can check my post about part one here.)
One hip hop album I go back to time and time again is The Message Uni Versa by Georgia Anne Muldrow and Dudley Perkins (G&D). It wasn’t particularly well received on its release by most influential online press. Don’t take that Pitchfork review seriously though, the album oozes fonk with an ‘o’. After this release, I found their output difficult to track, some albums were CD-only and some slipped me by completely.
I’m feeling their sounds again right now thanks to this feature length documentary about Dudley Perkins, using his Declaime alias, that was posted on the okayplayer website this summer.
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This documentary is available to purchase here; it comes packaged with Declaime’s new album, Self Study. You can also see his Red Bull Music Academy lecture here.
I’m an avid follower of Detroit’s musical output, and for like-minded diggers, this documentary sheds light on some of the scene’s key players, and the often overlooked contribution they continue to make in our community of music.
“Real Scenes is a series of films, supported by and conceived with Bench, in which we explore the musical, cultural and creative climate within electronic music’s key destinations. We’ll look at the role singular figureheads—producers, DJs, promoters—play in making their city’s music scene a point of world-wide interest. We’ll also look at places, spaces and inspirations, seeking out the essence of what gives these hyper-local scenes a truly global resonance.”
Real Scenes: Detroit from Resident Advisor on Vimeo.
For me, Seu Jorge’s version of the Roy Ayers classic will always be wrapped up in memories of the first SuncéBeat in Croatia.
The self-titled album collaboration between Jorge and the band Almaz, with members from Brazilian rock band Nação Zumbi, was issued by Stones Throw subsidiary Now-Again Records as a vinyl, CD and digital release last year. (I also love the accompanying silk-screened poster from their 2010 North American tour.)
This video, directed and edited by Rafael Kent, captures a live gig at Citibank Hall in São Paulo, on 25th March, 2011.
Seu Jorge & Almaz – Everybody Loves The Sunshine
My life, my life, my life, my life in the sunshine
Everybody loves the sunshine
Everybody loves the sunshine
Folks get down in the sunshine
Sunshine, folks get down in the sunshine.
Just bees and things and flowers
My life, my life, my life, my life in the sunshine
Everybody loves the sunshine
Everybody loves the sunshine
Folks get down in the sunshine
Sunshine, folks get brown in the sunshine.
Feel, wanna feel, wanna feel, wanna feel
What I’m feeling in the sunshine
Feel, wanna feel, wanna feel, wanna feel
What I’m feeling, yeah, in the sunshine.
Do what I do, what I do, what I do
What I’m doing, yeah, in the sunshine, sunshine
Do what I do, what I do, what I do
What I’m doing, yeah, in the sunshine.
Sunshine yeah, everybody loves the sunshine
Sunshine yeah, yeah, everybody loves the sunshine.
When I was writing yesterday’s post, I stumbled across these two videos, uploaded by YouTube user, details22. We aren’t given any clues about their source, only this brief but brilliant explanation: ‘Quasimoto listening to these obscure records on the backseat of the car while smoking a big ass blunt.’
The videos compile snippets of the original tracks that Madlib sampled for The Unseen, the classic debut album from his helium-voiced alter ego, Quasimoto. I realise that these videos probably aren’t of much interest unless you know the album inside out, but they are sample-spotting gold and I couldn’t resist posting.
If you really want to go deep, you can piece together partial track listings from the comments. (My wants list has just grown.)
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The Unseen is available here.
My most listened to album in 2009 was Madlib’s fifth and sixth installment of the Beat Konducta series. Both parts of this album are dedicated to the late J Dilla and feature samples and turntablism from J Rocc.
The unusual cover art comes from Stones Throw’s resident designer, Jeff Jank. Originally a library sound-effects record belonging to Peanut Butter Wolf, the water-damaged and moldy cardboard sleeve used for Beat Konducta Volumes 1 and 2 was rediscovered and reused following several coatings of spraypaint.
Last week on The Daily Habit, Mos Def premiered some strong new material over an edit of ‘Beat Provider (Through The Years)’ from Beat Konducta: Vol. 5. Is a full length collaboration in the works?
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You can still pick up the original double-album here.
Deolinda was born in 2006 when brothers Pedro da Silva Martins and Luis José Martins invited their cousin to perform a handful of songs they had written.
Ana Bacalhau brought along her double-bass playing husband, José Pedro Leitão, and the quartet, who have sold over eighty thousand albums to date, was complete.
Whilst they are often described as performers in the lineage of the traditional Portuguese genre, Bacalhau was quick to point out that the music of Deolinda should not be described as fado. Although stylistically influenced by its form, Deolinda’s theatrical stage show and playful, mischievous lyrics contrast the mournful longing that typifies the fado genre.
Last night’s sell-out crowd was mostly Portuguese, and snapped up every opportunity to stomp, clap and sing along to Bacalhau’s contagious and engaging lyrics. Amidst the humour and fast-paced musicianship though, were moments of cutting social commentary. ‘Parva que Sou’ (literally ‘The Fool I Am’) is a new and currently unreleased song that has been claimed as the anthem of a generation by young people in Portugal. Its first person critique of the outcome of university education being a lifetime of slavery to big business struck a chord, and the song, first performed in January, quickly went viral on the usual social networks. Ironically, ‘Um Contra O Outro’ asked us all to unplug from Facebook and Twitter, and live life the old fashioned way!
Uncertainty about the merits of social networking aside, their thoroughly entertaining performance last night left no doubt as to why they scooped the 2010 Songlines Award for Newcomer of the Year.
Their latest album, Dois Selos e um Carimbo, is out now in the UK on World Connection.
I’ve had De La Soul’s classic 3 Feet High And Rising on regular rotation since Greg Wilson chose it for December’s Living To Music.
I’d like to thank Kristian Collins for finding and sharing the link below to the original video press kit for the album, revealing the meaning behind the DA.I.S.Y. acronym, the truth behind the unshakable hippy tag, and unusual sources of samples.
Best of all though are Prince Paul’s closing comments, particularly relevant in the context of Living To Music:
“I mean so basically what can happen is that the whole family can surround the fireplace instead of watching the TV, and listen to the De La Soul album. And everybody I feel will enjoy it…”
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