Facebook Slider

The Weekly Froth! - 20160115

  • Written by  Stef Siepel


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: ‘Good Lovin’’ by PillowTalk

Love how PillowTalk starts this one of with those lovely vocals, this duet asking each other "to keep on loving me", as both he and she "really really need you baby". In the mean time PillowTalk gets a slow grooving bass sound in, on top of a bit of percussion. But it’s especially the bass providing the groove, leading the loving vocals to the right place. There’s also a smattering of keys there, providing the right atmosphere, adding some of that love duetting vibe right in there. The vocals, by the way, are Marvin Gaye and Tammi Terrell, so these are none to shabby obviously, with PillowTalk really getting the warmth and the slow soul working, with a bit of that love jazz feel as well. If you weren’t feeling the love of 2016 yet, hopefully this helps out a bit, with Terrell ending the track by repeating that "life is so wonderful, with you here in my arms".


‘Get On Down’ by Martin Hayes

Obviously, when you name your track ‘Get On Down’, you’d better make sure that we can get on down. And from the start, a bucketload of all kinds of percussion, including some Latin vibed ones, wash over the dancefloor to get your hips a-shaking. At the one minute mark the percussion slides to the background a bit as we get some guitar and horn work for the dirty and the disco. At about the 2:15 mark we get even more of all that jazz, letting the air in and, at one point, even the vocals, as they shortly appear at 2:50 before the track walks back to the dirty funk feel with the sax giving it some air of respectability as the rest of the instruments drag it down and low to the underground club. Before the four minute mark though, it moves its way to the glitterbox dancefloor, with the disco prevailing for a minute. And that combination, of a bit of down and dirty, and a bit of chic, le freak, that makes it such a surprising listen and an EP worth watching when it will be released first thing next month.


‘One For The Money’ by The Whispers (Pied Piper Full Blooded Disco Regroove)

How about that boogie for the start, eh? Add some horns in there as well, a little drums to make sure there’s a bit of a rhythm backbone there, and some organ too, and we’re off to the races with this regroove of an old The Whispers tune. And they make sure to add everything, including a bit of screeching guitar as well, but they also know how to keep that thing rolling, with the bass doing the groundwork so that everything else can live off of it. This including a big break for the horn section at about 1:20, giving you a bit of that funk before the vocals come in, telling you to "get on down". The organ keeps delivering, the guitar does its little riff in there, and the Pied Piper makes sure that all that boogie keeps on leading you to the dancefloor with all the holiness from all those other instruments. The vocals are old school, with the main vocalist doing the whole church thing as the rest of the band makes sure to get in a word edgewise as well. And how about all of that for close to nine minutes, eh? Though at about the 4:40 mark they do bring it down for a minute, just letting the rhythm section go at it for a moment, with only a bit of the keys on top of it. Soon enough though, the party gets blazing again, and it is just one of those things to get that disco dancefloor working.


‘The Queen On Her Throne’ by JKriv

JKriv gets the beat down in there as the classic sounds of this sublime track fill the void alongside of it. Soon the percussion sounds come in as well, helping out in the rhythm department, as he dials down the other sounds just before the minute mark to get the bass in (and some other instruments too). The harsh beat has faded to the background a bit, with the percussion and bass providing a warmer canvas on top of which JKriv builds his empire with the sounds of the original tune, coming to fullness around 1:45 where he does everything except adding those triple vocals. Obviously, at 2:20, here comes the main vocalist, admitting that, yes, you are his Darling darling baby, and JKriv first adds a little instrumental piece in there, not getting quite to the chorus just yet. And he shows restraint, going through a few more rounds of the Darlin’ darlin’ bit, after which he first throws in a nice bit of percussion with a nice, deep tom drum sound, adding to the funky feel of the track. Lighter sounds soon arrive, working up towards, yes, the chorus, with the vocals upping the ante. This before the beat gets stripped, with the main vocals now getting the room for themselves. At the six minute mark, we get the boys in the back as well, adding their ooooh-hoo lines to the whole proceedings. Just a lovely rework, with plenty of vocal goodness, a nice funky and smooth rhythm line, and enough subtle variation to have some 8 minute long dancing fun.


‘Christmas Will Break Your Heart’ by LCD Soundsystem

First we hear some festive sounds with the bells, but soon James Murphy starts telling you that Christmas will break your heart, with a sad sod arrangement in the back as Murphy is complaining that "your body is getting old". The composition has some piano, some drums, and slowly and slowly more and more things are added, with at one point even the background choir joining Murphy, who, despite everything, admits that he will be "coming home to you". Like a New York, I Love You, this track is a slow tale of woe, where the inner voices and emotions battle from quiet desperation to quiet love. At the end, the anxiety comes out, with the instruments building up a little wall in the background as Murphy yelps out What if you’re done?, screaming it out in the crescendo, before the track settles down again with the snow bells and a slow, clean drum. Obviously, this was the start of what since has become a little comeback announcement of the band that, for a certain group of people, did probably define a certain era a bit. And it’s good to see that they come with these Seasonal greetings, without feeling the pressure to come back with the next hit, dance, anxiety fuelled tune right of the bat. We just like to get new stuff from this expert band, so pretty chuffed to have them back as far as I’m concerned.

‘Under A Silious Moonright’ by David Bowie (Dimitri From Tokyo remix)

Dimitri From Tokyo, years ago, got grooving with this funk track by Bowie in his Nile Rodgers period. Dimitri adds loads of percussion, but makes sure that guitar riff gets the whole spotlight at the minute mark, and he knows to ride the bass after that. Sure, Bowie’s vocals, too, are brought to the fore as the weapon they are, with the horns complementing the moments the vocals are silent. And at 1:50, the chorus, where the main rhythm is still there even though some things are stripped away to make sure that Bowie can sing that his love For you, will break my heart in two. And as he sings Trembles like a flooooo-wer, all the other instruments are, literally, being turned down, before that funky rhythm gets back in there with the percussion, the bass, and the horns providing plenty of atmosphere to help out the vocals. Dimitri From Tokyo goes a bit club with it, before Bowie gets a bit jazz with it as the horns come in, and then the funk can be found underneath it again. It’s just one of those things I’ve got on vinyl that just shows the far reaching hand of Bowie. From his Ziggy Stardust glam rock to the cold Berlin sounds to the whole Fame thing and the Nile Rodgers stuff to, eventually, his very last new album; he was just one of those artists that did so much, and with that, inspired so many. And, luckily, we’ll be able to love and listen to his records, the sounds he inspired, and even the dancefloor edits for eternity and beyond.


Rate this item
(0 votes)
Login to post comments
back to top