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.
Tiger & Woods come out of the gates huffin’ and puffin’ with this one, providing us with a loop again that they create, re-create, and which you come to anticipate. The first recreation comes when they add the vocals and the bass, which give it the rhythm and flavor. At the minute mark, the next instrument comes in, some strummin’ and drummin’, which then gets complemented by the horns a little while later. In the mean time, the main canvas still is in place, with the bass as prime rhythm part. And so, for the remainder of the five minutes, they add and subtract, but with even more eye to momentum than ever before, as witnessed by everything that takes place around the two minute mark. It’s not solely about the hypnosis of the loop, but sometimes they shorten the window of change to get momentous joy in the ranks before resorting back to the main sounds. Awesome track by the duo.
Jeffrey Paradise gets the percussion in there first, slow and steady winning the race there. Then, a nice little guitar riff, one of that tropics kind to go with some of the vibes of the percussion. The bass sound nicely tops that off as well, slowly turning this one into a low-paced disco burner that makes your mind drift to the islands and a little beach party with cocktails and the likes. At about the 2:10 mark we get a bit of that nifty guitar playing coming through there, which then smoothly transitions to the synths. After about three minutes, for the first time, we get some far away vocals, and the instruments that come in after give it a little bit of punch to keep the defense honest. After which that guitar comes in again, and now who doesn’t love a bit of that?
I love the kick to start with, being balanced nicely by the constant synth and the snapping and shaking sounds that give it a bit of that extra percussion. Just before the minute mark the beat gets turned down, the synths take over with the aforementioned other sounds, and then the rhythm is added back with a deep bass. Then, the vocals, singing that they Love you more than before (and now who doesn’t love hearing that?). In the mean time it’s all building up that anticipation for the kick to come back in, and Luvless makes sure to tease before the please, building up that wall of synths until about 2:40 when the drum and everything comes back with a vengeance, working with the vocals to give you that full house vibe. You get that same turn-it-down-to-build-it-up later on the track as well, still working it’s sweet magic for that dancefloor.
This starts with all the percussion sounds, including some pretty sharp sounding ones at that, which then gets juxtaposed with a little bit of that slappin’ of the snares before the bass rhythm fully comes in there (and with it, some horns to give you a smattering of that extra joy). At 1:20 the track really gets rolling, putting everything on those two instruments, which sets that disco dancefloor alight. Love the sounds at 1:35 or thereabouts, that just is so in tune with the genre. Fouk dials it down slightly a bit later, though they are still keeping it moving. Then it’s snare upon snare, with the drums and bass setting the tone for the horns to come up on over. They even start adding some piano to the proceedings, to really get you that funk and play, the latter which they sure show with the transition at about 3:50 and the subsequent build up. Some of that modern disco for all those pretty dancers to get it going on to.
I love the vocals here, reminds me a bit of that Eighties Madonna action, and the track does have a sort of pop vibe going on as well. Angelica is singing that you are just giving all your love to Take it right back. In the mean time the track is moving forward with some drum, snare, and bass action, the latter especially prevalent in the choruses, where the vocals get some help and echo. At the two minute mark the vocals are given a bit of room, singing that she Will be all right, after which the drums already announce the coming of the chorus. Angelica Bess is also part of Body Language, so you know that was going to be all right from the get go, really.
From the start you know you are getting a bit of that downtown jazz club action, and when they start slapping that bass you know for sure it is in that club where that soul is going to go down. The guitar is helping out a bit, giving you that short riff play before the woman du jour comes in with that glittery long gown soul singer voice, singing that your love brings her through the day as the bass keeps helping this one chug along to shake them shoulders to. Loads of piano action is in there as well, giving that jazz backing band vibe all the way on through. At about the 3:20 minute mark you can hear all those instruments at work very clearly, seconds after which the vocals return for another go around. Another lovely release on that Street Muzik label.