I wrote this thing like 3 times and then trashed it, just trying to figure out the right way of putting it. I’m not really good at this type of thing – eulogizing people I guess – and it’s also still kinda fresh up in the mix. But Teena Marie left the planet today. She’s one of my most favorite R&B singers of all time. But to actually just refer to her as just an R&B singer really doesn’t do her justice. Through the string of pop hits and chart dominance of her time, it’s often overlooked that she was one of the finest female singer / songwriters of a generation. And I don’t know… I know there’s always a lot of talk about her being a “white girl with a black voice” and, while I know what they’re saying but also in a sense I think that marginalizes things. It wasn’t a “white voice” or a “black voice” it was HER voice. Truly unique, and absolutely brilliant. And her voice rang out for so much more than just music, but also for the rights for artists to do what they do naturally – to create and to be not hindered by label politics. Her internal conflict with her label Motown helped lay the framework for what is called The Brockert Initiative (after her born name, Mary Christine Brockert) which makes it illegal for a record company to keep an artist under contract without releasing new material for that artist, helping not just her deal but many more after the fact. She was a gifted singer, songwriter, producer, and multi-instrumentalist. She also was a strong independent woman who made strides in having control and independence over her career at a time when that was tough for any artist, not to mention for a female artist.
I told a friend lately that for 2011, I resolve myself to be able to say more with less. So I think I will start tonight, and instead of speaking about the woman, allow her to speak to all of us through her work. RIP Teena Marie.
Son Of Bazerk’s 1990 debut album “Bazerk Bazerk Bazerk” is without question one of my top ten all-time rap LPs. Like seriously. Shit is so funky and together, and was completely unique when it came out. Listening to it today, it still sounds fresh and not dated at all. But even more so, that shit was so far ahead of it’s time. Shit was like some futuristic James Brown Review as interpreted by The Bomb Squad funneled through a hesher’s perception of what Kingston is like, I dunno man. The only other dude in my entire life that I knew felt the same as me about it was this dude, but we can’t really judge normalcy by his taste, can we? I know the sacred cow that is “Nation Of Millions…” is considered the pinnacle of Bomb Squad production, but truth be told this album is not that far behind in my mind. Yeah, you can start to send the hate mail now, I can take it. And all these rappers these days talking about “swagger” – man, Bazerk and them fucking invented that shit on this album, know that. I can honestly say that this album changed my life. It came and smacked me over the head like a truncheon, and while I was seeing stars the group disappeared into nothingness. So imagine my surprise when, out of fucking nowhere, Son Of Bazerk comes back out with a brand new – and fucking HOT – jam. With the help of the one and only DJ Johnny Juice (whom I plan to talk about another time) behind them they dropped the smacking “I Swear On A Stack Of Old Hits” and after 19 years, finally are gracing the world with their incredible sound again. Peep game below, because this is really how it should be done.
So my man Jesse Serwer hit me up recently and told me that he’s doing a show with Son Of Bazerk, and I figured I would hip everyone to it. It’s tomorrow night at Knitting Factory Brooklyn and trust me, I will be in the house getting the fuck down. Oh yeah, and also rounding out the bill is the one and only Leaders Of The New School, Grandaddy I.U. and Sugar Bear. Pretty much adolescent Cosmo’s dream rap show. And while we’re at it, peep some great articles and interviews about the group here, here, here, here, here, & here. Saying, I guess I wasn’t alone. (PS: Mom I’m sorry I’ll stop cursing so much on my site, but I’m really fucking excited about this one right here!)
Thursday, December 23rd, 2010
Son Of Bazerk, L.O.N.S., Grandaddy I.U., Sugar Bear, Sputnik Brown & More
Edit: Okay so I came back to do a little editing of this post, and figured that I would up some WMDs for the fine folks out there that read this. Also, even though I’m straight gushing over the prospect of seeing S.O.B. play tonight, in no way does that lessen how much I love the other artists. I mean, Leaders Of The New School… are you fucking KIDDING? I remember the first time I saw those dudes at the very end of In Living Color – real heads know what I’m talking about. So, in honor of tonight’s “REAL NINETIES” (and I don’t mean that backpack nineties, you know what I mean…) here’s some JAMS. (Yeah I know Sugar Bear is eighties but I don’t care.) PEACE!
So I’m going to take a little bit of a different lane today with today’s Breakbeat Tuesday. This time of year when the days grow short and the air is brisk, I find my listening tastes seem to go through a sort of shift. I definitely sway towards a dark and reflective sound this time of year. Now certain records remind me of – and seem to completely belong to – particular seasons. Donald Byrd’s “Love Has Come Around” says springtime to me with it’s musical exuberance . Ice Cube’s “Death Certificate” fits into summertime with it’s duel-edged passion and angst. And Van Morrison’s “Astral Weeks” is nothing but autumn to me with the introspective death / rebirth that is that particular song-cycle. But come wintertime, I find myself searching for a sound that’s more melancholy and moody, something that reflects the way the season relentlessly imposes itself upon me. We all are affected by the seasons, and if you find yourself reading my site then it’s safe to say that you probably are affected by music as well. To quote paraphrase Joe Walsh, we listen to things to “find a song to sing that is everything that I meant to say…” I have found that voice in Jim Sullivan.
Jim Sullivan was a Southern California base singer-songwriter that absolutely had it, but the world just never realized it. He had a unique voice that had a certain longing and desolation to it. That voice fit perfectly some of the subject matters of his compositions, those of lost highways, deserts, and strangely enough, UFO abductions. Jim got in the studio and recorded a bunch of records, but none hit as hard as his “U.F.O.” LP which was released in early 1970 on Monnie Records. That album was soon released again on Century City Records. But the Monnie release has a distinctive sound to it. The way that it was mixed brought the drummer – one of the godfathers of rock & roll drumming, Earl Palmer – all the way out into the front. The mix was like a perfect storm, combining these beautiful and bittersweet songs over powerful David Axelrod type production. Honestly there’s nothing quite like it that I’ve heard before or since.
Removing our focus from the music for a moment, the Jim Sullivan story is just as remarkable. Jim always seemed to be poised for bigger things. His positioning was perfect, as he surrounded himself with the right people at the right time on the nightclub circuit in the late 60s and early 70s, rubbing elbows with movie stars and “made” musicians alike. But even after his record releases, guest appearances with big name acts, and even a cameo in “Easy Rider” his break never came. So after years of toiling in the business he decided to take a break and leave California for Nashville. With his family behind, Jim was attempting to set up shop and hopefully start earning enough bread so that his family could join him and they could start a new life together in Tennessee. Leaving LA in 1975, he set off in the desert in his Volkswagen into the night. One night later he checked into a motel room in New Mexico. Two days afterwards, Jim’s car was found abandoned on the outskirts of town. All his belongings, including his guitar and his wallet, were still in his hotel room. Jim had simply disappeared.
There’s something about this record that compels me to keep returning to it. Musically it’s absolutely dynamite of course, but there’s something else. The sadness, and weariness in his voice really speaks to me in a way not much else does when I need it to. It’s been a few years since I first discovered this record, thanks to the brain trust that is the good folks at Soulstrut. There also was a post on this on Waxidermy (a site that specializes on “loner folk” and shit like that) which is so fascinating. Over 30 years after his disappearance several of Jim’s family and friends, in just doing random internet searches of his name, were directed to the site and began to share their personal stories with the world about the man. So the discovery of the album by some record collectors became even bigger. 1 month ago, Seattle’s Light In The Attic records gave “U.F.O.” a proper release, exposing the world to a talent that was, and that should have been. Visit Light In The Attic Records and purchase a copy of this unsung masterpiece. A full Cosmo endorsement, ten thumbs up or so. If you read this column and you know what I do and what I’m about then it’s a no-brainer. I can safely say that it’s one of the best albums that I have ever heard. Absolutely essential. And absolutely fitting to convey the way I am feeling today. Thanks for lending me your voice, Mr. Sullivan, and good luck wherever you are.
Greetings, all… and welcome to my brand new version of my website!I think it was about time that I moved into the 21st century and stopped having a jawn that was like 1997 HTML. Anyway, I’m really glad to have this up finally and it was a ton of work. But I wouldn’t have been able to do it without the help of my cousin Jonah Birns who designed this whole thing, and made it happen for me. He’s extremely talented and should get recognized for his work. Check out his site -the super super dope The Long Years – and drop him a line if you’re with it. Like I said, he really deserves the recognition. Also big shout to my friends Mike Davis AKA Mike The 2600 King of Twelve Car Pileup / Burlesque Of North America for the design of my fly logo that you see about, and also my main man Kenny Rodriguez who took the photo above (and all the official photos) that you see of me. Now there are a few things that I’m going to have to tighten up on the site but we’re off to the races for the most part. Expect the site to actually be going into overdrive with tons of brand new and cool content. AND, as an added bonus, you can finally leave comments on the jawn so if you like something, please let me know, and if there’s something that you want to see, don’t hesitate to ask. Now, with that all said, let’s delve into one of the site’s most popular features. It is Tuesday, after all…
This go-round for Breakbeat Tuesday, I have the pleasure of introducing you to my man The Gaff. Gaff hails from Saskatoon, Saskatchewan Canada, AKA the REAL Great White North. To be honest with you I didn’t really have any idea as to what it was like up there until several months ago when I got a chance to rock at the club where Gaff has his residency, Scratch. I was blow away with the openness and receptiveness of the people. As it turns out, Gaff has been steady serving the residents of that town with a healthy dose of rare and obscure funk and goodies, eventually training his denizens to get down to the most excellent and bizarre.
So as we got to know each other, it happens that we both posted on the same record collecting website (#NerdAlert) and had a bunch of mutual friends. Then as we got to speaking about music and – in particular – record collecting, I found that this motherfucker has like some of the deepest crates of almost anyone that I have ever encountered. Just 2 weeks ago I sent him the MP3s of a very rare Turkish freakbeat record from the early seventies and he promptly sent me back a photo of him pulling it out of his stacks, saying “Oh you mean this one?” And the first time I was in Saskatoon I went over to his house to have a vinyl listening & ripping session with Vinyl Ritchie and Gaff and Ritchie just decided that he had to hit me off with a CTI 7″ of Deodado’s “Also Sprach Zarathustra.” Oh, and did I mention that Gaff makes some seriously DOPE party breaks? Okay, woith no further ado, I present to you Breakbeat Tuesday with special guest The Gaff:
When Cos asked me if I’d like to contribute to one of his “Breakbeat Tuesdays” shortly after looking through some records at my crib during the summer, I didn’t hesitate given I have my own private “Vinyl Ripping Mondays.” Upon going through one of my “playout” 45 boxes, he holds up Mel Torme’s “Comin’ Home Baby” and says “What’s the deal with this one, like, THE dude Mel Torme?” – And I’m like, “You know this song bro, it’s classic.”
Torme’s version released in 1962 whopping in at over 140 BPM, is a vocal take on a tune composed by Ben Tucker and recorded the year before with Herbie Mann at the Village Gate in New York, 1961. Ben played bass in the Village Gate session, and what a beautiful Latin infused session that was! Recorded with flute, 2 percussionists, bass, drums and vibraharp, the Village Gate session was heaviily influenced by a concert tour to South America earlier that year. Mel Torme (following the advice of his producer) popularized it the following year, singing it (with lyrics written by Bob Dorough of “3 Is The Magic Number” fame) on his debut Atlantic album, in which he also played the drums, and churned out a song & arrangement to be covered for the ages. Comin Home Baby has been covered numerous times, in various countries around the world, in a variety of styles.Peep Melvin Taylor’s funky contemporary guitar workout below:
I personally first heard it many years ago on the Herbie Mann “At The Village Gate” LP, and only after hearing some other cover versions did I come across the Mel Torme vocal original… COVERS, COVERS, COVERS. At some point in the mid 70’s, in one of the miracles of “covering” standards, some Japanese individuals were led to rethink the tempo, speed up the herbie mann arrangement, make it funky, keep it classy, put in some drum breaks and latin percussion for good measure and give you, in my beat-diggin opinion, the sweetest version in almost 50 years of the songs existence, easily trumping other versions by regular digging favourites (Booker T & The MG’s, The Peddlars, Soulful Strings, & Quincy Jones to name a few.)
There happen to be 2 prominent break laden flute instrumental covers of the song that I know about, both on rare & obscure LPs – one from Japan, oozing smooth class, and one from Finland with a rawer funk sound. Since I think people should do some of the work themselves, Cosmo gets both versions, and you the people get the other one… Definitely not cheap to produce! We actually used a scan of one of the photos from this book for the inside cover of the Trip Beyond album. The material on the “groove” side is all covers, super groovy covers actually of “Venus,” “House Of The Rising Sun,” Lalo Schifrin’s “The Cat,” “Comin Home Baby” etc… The last tune being the highlight with an intro break and even longer mid-track break – my ideal as a break loving / backspinning DJ. This cover is pure class, and I’ve used it for all sorts of occasions, namely to flip the sound of the night into a more classy affair – the sound of that flute FILLS a room!
But then again, I use cover versions of songs in almost every occasion as a DJ anyways… which leads me to go on to say that playing cover versions (hopefully from records you own) has always been a great way to stand out with a unique sound as a DJ. Enabling a person to really express their records / skills / knowledge as a DJ with their own sound and taste, popularize or bring back tunes, while still playing the melodies that people know and keep them dancing (or grooving depending on your time slot and engagement.) It blows me away that in 2010 we can rip a rare record, change it’s sonic structure to suit our needs, and instantly have “virtual doubles” to cut up (via Serato,) not having to wait to find a 2nd copy of a rare record with a break or loop. Every day that I rip records at home I feel like a kid in a candy store that gets everything two-for-one! More reason than EVER to go to your local record store, and buy a break knowing that you can rip it, flip it into an mp3 and cut it up in a matter of minutes. Record digging is a lifestyle and hobby unto itself aside from DJing (yet totally complementing it) and I’d like to give a big thanks to Cos for spending all this time educating the masses with this column.
Also, can I make some Breakbeat Tuesday guest requests Cos? 3 dudes I’d love to see what they bring to the table are Supreme, Uncle Nu, and Anonymous (Sampo) – 3 people who’s digging tastes have influenced ALOT of people including myself each in different ways over the years… (Okay I will work on that my dude – C)
Word, thank YOU Gaff! That’s is dope and efinitely doing the knowledge. I look forward to rocking with you again my man. And for those of you who don’t know please make sure to check out The Gaff’s Soundcloud – he has got funky shit for days! Thanks again for tuning in for yet another Breakbeat Tuesday!
Thursday November 21 – MF DOOM Book Release – Philly, PA 
I wrote this thing like 3 times and then trashed it, just trying to figure out the right way of putting it. I’m not really good at this type of thing – eulogizing people I guess – and it’s also still kinda fresh up in the mix. But Teena Marie left the planet today. She’s one of my most favorite R&B singers of all time. But to actually just refer to her as just an R&B singer really doesn’t do her justice. Through the string of pop hits and chart dominance of her time, it’s often overlooked that she was one of the finest female singer / songwriters of a generation. And I don’t know… I know there’s always a lot of talk about her being a “white girl with a black voice” and, while I know what they’re saying but also in a sense I think that marginalizes things. It wasn’t a “white voice” or a “black voice” it was HER voice. Truly unique, and absolutely brilliant. And her voice rang out for so much more than just music, but also for the rights for artists to do what they do naturally – to create and to be not hindered by label politics. Her internal conflict with her label Motown helped lay the framework for what is called The Brockert Initiative (after her born name, Mary Christine Brockert) which makes it illegal for a record company to keep an artist under contract without releasing new material for that artist, helping not just her deal but many more after the fact. She was a gifted singer, songwriter, producer, and multi-instrumentalist. She also was a strong independent woman who made strides in having control and independence over her career at a time when that was tough for any artist, not to mention for a female artist.
So as we got to know each other, it happens that we both posted on the same record collecting website (#NerdAlert) and had a bunch of mutual friends. Then as we got to speaking about music and – in particular – record collecting, I found that this motherfucker has like some of the deepest crates of almost anyone that I have ever encountered. Just 2 weeks ago I sent him the MP3s of a very rare Turkish freakbeat record from the early seventies and he promptly sent me back a photo of him pulling it out of his stacks, saying “Oh you mean this one?” And the first time I was in Saskatoon I went over to his house to have a vinyl listening & ripping session with Vinyl Ritchie and Gaff and Ritchie just decided that he had to hit me off with a CTI 7″ of Deodado’s “Also Sprach Zarathustra.” Oh, and did I mention that Gaff makes some seriously DOPE party breaks? Okay, woith no further ado, I present to you Breakbeat Tuesday with special guest The Gaff:
There happen to be 2 prominent break laden flute instrumental covers of the song that I know about, both on rare & obscure LPs – one from Japan, oozing smooth class, and one from Finland with a rawer funk sound. Since I think people should do some of the work themselves, Cosmo gets both versions, and you the people get the other one… Definitely not cheap to produce! We actually used a scan of one of the photos from this book for the inside cover of the Trip Beyond album. The material on the “groove” side is all covers, super groovy covers actually of “Venus,” “House Of The Rising Sun,” Lalo Schifrin’s “The Cat,” “Comin Home Baby” etc… The last tune being the highlight with an intro break and even longer mid-track break – my ideal as a break loving / backspinning DJ. This cover is pure class, and I’ve used it for all sorts of occasions, namely to flip the sound of the night into a more classy affair – the sound of that flute FILLS a room!
But then again, I use cover versions of songs in almost every occasion as a DJ anyways… which leads me to go on to say that playing cover versions (hopefully from records you own) has always been a great way to stand out with a unique sound as a DJ. Enabling a person to really express their records / skills / knowledge as a DJ with their own sound and taste, popularize or bring back tunes, while still playing the melodies that people know and keep them dancing (or grooving depending on your time slot and engagement.) It blows me away that in 2010 we can rip a rare record, change it’s sonic structure to suit our needs, and instantly have “virtual doubles” to cut up (via Serato,) not having to wait to find a 2nd copy of a rare record with a break or loop. Every day that I rip records at home I feel like a kid in a candy store that gets everything two-for-one! More reason than EVER to go to your local record store, and buy a break knowing that you can rip it, flip it into an mp3 and cut it up in a matter of minutes. Record digging is a lifestyle and hobby unto itself aside from DJing (yet totally complementing it) and I’d like to give a big thanks to Cos for spending all this time educating the masses with this column.
