The Weekly Froth! A weekly take on six tracks, most of which have recently popped up somewhere in the blogosphere. Bit of a mixed bag with a slight leaning towards house, disco, and remixes, but generally just anything that for some reason tickled the writer’s fancy.
Track of the week: ‘Let It Carry You’ by Jose Gonzalez (Holy Ghost! remix)
I always love Holy Ghost!’s disco & synth sound, and here from the get go you get this lovely feel again. It’s got a nice drum beat to it, then you get the rhythm synth, and then a more atmospherical synth sound as the boys show off their hardware. Then the vocals come in, which add a hint of melancholy to the dancey affair. What I also like is how restrained the vocals are, but sometimes at the end of a line there’s this touch of rawness, which is nice. There are also some backing vocals in there at one point, and at 3:20 you have this moment where they’re really building up the sound for a minute just to have it all float back to this understated disco sound. There are multiple moments where you can definitely find them playing around with structure and flow like that. If you like the albums they’ve put out (and you should, gosh darn it!), then this is one to throw in that playlist too. Love the mixture of the tone in combination with this unrelenting drum & synth-for-a-touch-of-dancing action.
‘Holding On’ by Julio Bashmore feat. Sam Dew
The start definitely has this happy vibe to it, like you’re about to have fun. Julio’s got some glitchy looping going on, which is a nice modern contrast to the vocals. Which are, indeed, #broadwalk, as the SoundCloud page indicates. It’s got this old school vibe, but the looping keeps it grounded in the modern. At 1:20 it moves away from that a little bit, with the main sound now being a relatively poppy dance beat, which I can see the whole of America doing these lip dubs to. Also because it has this sense of happiness, and it does have this theatrical flair to it as well (also thanks to the multiple layers of vocals). There are moments where the beat is turned down to go back to those looping bits with the vocals, obviously to shift back to the fast paced pop action again a little bit later. Definitely a catchy tune this, with the different elements nicely keeping this one in balance.
‘Chicken Heads’ by Bobby Rush (Leo Zero edit)
Leo Zero brings the blues back to the dancefloor. He gets a nice little loop going for this edit of a Bobby Rush song, who is one of those blues guitarists from that time when there were still blues guitarists (and ones that were not victims of elder abuse at that). Leo Zero makes sure you get plenty of that blues vibe, bringing in loads of vocals and, more importantly, that nice little guitar riff that he rides and rides as he should. Obviously there’s also plenty of drums and percussion in there, as it is a dancefloor track, and a change-up like at 2:15 makes that abundantly clear (and makes it work, too). Now, I love me some blues, and these fellas know all about bringing some attitude to the mix, and Leo Zero makes sure he doesn’t forget to include that ingredient here. It’s just a really good edit of a blues man that includes the blues guitar, those blues vocals, a bit of spoken word as well, and even something that kind of resembles a chorus with the Let me in, let me in, let me in lines. It’s got the dancefloor rhythm and it’s got plenty of the original as well, and that’s all you want, innit? And for that I’ll forgive some of that production trickery like at 5:35-5:40. Don’t sweat it, just the kind of guy I am.
‘Slip And Do It’ by Betty Wright (Disco Tech Edits)
Got to have some Betty Wright in your life every now and again, don’t ya? And Disco Tech makes sure there’s a bit of a beat as well as a bit of the funk in this edit of Betty’s ‘Slip and Do It’. Just before the minute mark she comes in, with all the attitude she can muster, and the Disco Tech boys make sure she brings a bit of that guitar and some of those horns with her as well. She sings that When it feels so good, will you slip and do it?, which effectively summarizes the age old question of heart over head or not. And, luckily, she doesn’t mind being the other woman, so there you go. At the two minute mark she gets a bit of help from the girls at the back, as Disco Tech makes sure you can do some grooving to the bass that’s getting it on in the background. This is really an edit in that there are so many elements of the original, and Betty gets all the spotlight the world can buy, and that’s what makes it work. But the bass and the beat do make sure you can get funky to it on the dancefloor in your modern discotheque, and that’s all we want on a Saturday night (and whenever we’re at home, alone, with a bottle of whatever at our lips).
‘Once In A Lifetime’ by Talking Heads (Joey Negro edit)
Joey Negro starts this one off with some percussion and big drums, and a big, bushy bass, which seems a bit padded from the original track. That original track being ‘Once in a Lifetime’, from that band that just knows how to bring that city anxiety alive (if you haven’t succumbed to that in real life yet). After the minute mark we hear David Byrne coming out from the back to the front of the stage, with Joey Negro still riding the bass and, now, the line “same as it ever was”. In the mean time he’s having a bit of fun with some anxiety inducing synths as well, but he strips it all down to give Byrne plenty of room to do his verse, bringing the bass back near the end. When they enter the chorus, he introduces the guitar as well, after which we simply get the next verse instead of Joey Negro putting the chorus on repeat. At the three minute mark we get a bit of saxophone thrown in there to go along with the bass and other rhythm elements, which is a nice way to give some extra length to this edit. Not that it ends with that though, as obviously we always need some extra Byrne before the credits roll as the vocals make their encore. By the way, if you have never seen the video clip of the original song, do have a fun time slapping yourself in the face with that one.
‘Alright’ by Church Boy Lou feat. Paul Randolph
Church Boy Lou’s music is deeply rooted in the history of African-American music, both in terms of the piano house it evolves into after about the one minute mark, but also in terms of the humming vocals and the sounds-from-the-audience. I love how the humming seems to multiply, giving it this community feel that has always been a staple in gospel, house, but also blues music. Whilst the vocals and the organ lay down the vibe, the beat and the piano still keep this one rolling for anyone fancying a trip to the club. Near the very end the percussion shifts, which could easily lead one into a new dance track with a new feel to it so that you’re night out will never stop. Now, I don’t know what happens at the two and four minute mark (and there is always the hope that it is an uploading error, however faint), but the rest of the track oozes this atmosphere of hommage and pride whilst still working as something one could be giving a spin at the club.