DJ Shadow
Oliver Wang
supposed to come out with a domestically released version of itself.
However, Shadow is definitely coming out domestically on Solesides
Records. His cut is called "Hardcore" and the other side is gonna be a
fat cut by Chief Xcel called "Fully Charged on Planet X" and it
features Lyrx Born, Lateef and the Gift of Gab.
Peace,
O
J. Winston Chiong
piece on DJ Shadow. Apparently he's coming out with a remix of "Meiso" in
the next month or two, to be followed by a full-length album... both of
which, unfortunately, will only be available as Mo Wax imports (surprise,
surprise). Anyway, just something to look forward to...
--
____________________________________________________________________________
"Star light, star bright...we look up and we hope the stars look down, we
pray that there may be stars for us to follow, stars moving across the
heavens and leading us to our destiny, but it's only our vanity. We look
at the galaxy and fall in love, but the universe cares less about us than
we do about it, and the stars stay in their courses however much we may
wish upon them to do otherwise. It's true that if you watch the sky-wheel
turn for a while you'll see a meteor fall, flame and die. That's not a
star worth following; it's just an unlucky rock. Our fates are here on
earth. There are no guiding stars.
- Salman Rushdie, _The Moor's Last Sigh_
Femi
here in Toronto (Vibes & Stuff, 89.5 fm, Thursdays 10:00 p.m. - 12:00
a.m.for anyone in the area). Shadow did a good job on that remix. I
also got to give him props for the work he did on Krush's album. I heard
a track he did with the Soul Sides crew (did I get the name right). Some
wierd shit but nice still.
Femi
kati
cut it nice on my boys Zim. Legit 12". Good looking out Doom!
THE ONE
NoJokeDOXX
Blackalicious, Lateef The Truth Speaker, Lyrx Born, etc...
DOWN,
DOXX (Editor-In-Chief)
NO JOKE-Tha Bay Area Hip Hop Newsletter
Rechade Seecahid
>Shadow did a good job on that remix. I
>also got to give him props for the work he did on Krush's album. I heard
>a track he did with the Soul Sides crew (did I get the name right). Some
>wierd shit but nice still.
> Femi
DJ Shadow, Charlie "Attica" Blues, James Lavelle and some other guys
from Mo' Wax came into Perth on their "Headz" tour and it was
completely unlike what I expected.
I thought it would be mostly instrumentals and dubs of their Mo Wax
material but they came out and played track after track of classic
hip-hop: JVC Force, Stezo, BDP, Suga-Bear, ATCQ, EricB + Rakim,
Grandmaster Flash, JBeez, Chill Rob G, DoubleD+Steinski, old Brand
Nubian, etc. They went through alot of the "mega-mix" type records:
Fusion Beats II, Lesson 3, ColdCutts, London Beats, Paid in Full
remix. It's like they went out of their way to show everyone where
their music has come out of. They made some comment about how their
audiences are mostly full of trendies, and not truly into the music.
DJ Shadow took the show away on his set for me (grinning ear to ear
all the way through) when he did a flawless 15 minute
rare-groove/breakbeat mix, dozens of classic drum breaks. I wish I
had a tape of that. They all fully paid their respects to the
old-school going from original record to sampler's record a few times.
Most of the Beastie Boys were there and took turns playing drums for
Keyboard Money Mark. He had a funny set but the music was STRANGE.
He played in a recreation of his front room, with mantelpiece,
paintings, table lamp and all his equipment around the walls and came
out with all these wacky instruments people had given him or he had
wired up. He did a microphone feedback solo and a skin electrical
resistance song with solar powered gizmos. Most bands have DAT
backing but he set up a one-speaker portable casette next to a
microphone and that was his backing tape. The guy got funky in spots
tapping out Led Zep/Biz/Bam drum breaks live when he felt like it on
his keyboard. I've got no idea if his album is similar (it can't be),
but I want to hear it.
A funny point was when James Lavelle started to play a few techno
tracks, some jungle. MCA appeared on stage and started talking with
Lavelle, shaking his head and pointing out to the crowd. There was a
bit of discussion between them. By the next record MCA had got
Lavelle playing the Hip-Hop again.
I don't know why their records are called trip-hop. Why not stop
trying to take them out of context, ignoring their background, and
labelling them to be something separate and let everyone hear the
music for what it is.
Reshad.
Anthony Chapman
<res...@omen.com.au> writes
>
>I don't know why their records are called trip-hop. Why not stop
>trying to take them out of context, ignoring their background, and
>labelling them to be something separate and let everyone hear the
>music for what it is.
>
>Reshad.
>
Your absolutely right about trip-hop. IT DOES NOT EXIST, IT
NEVER HAS, AND NEVER WILL. Hip-Hop is Hip-Hop is Hip-Hop. Word is
Born!! Let's start a TRIP HOP DOES NOT EXIST thread, peeps.
I'm OUt!
--
DA BIG A.C.
Turnpike evaluation. For information, see http://www.turnpike.com/
STEPHEN OLIVER
>From: afo...@gnu.uvm.edu (Tone)
>Subject: Re: DJ Shadow - Trip Hop?
>Date: 10 Mar 1996 23:36:34 GMT
>Anthony Chapman (ac...@achap.demon.co.uk) wrote:
>: Your absolutely right about trip-hop. IT DOES NOT EXIST, IT
>: NEVER HAS, AND NEVER WILL. Hip-Hop is Hip-Hop is Hip-Hop. Word is
>: Born!! Let's start a TRIP HOP DOES NOT EXIST thread, peeps.
>I think you mean word is bond.
>I think you're going a bit too far on this. I must admit, the term
>"trip-hop" makes me cringe, along with "acid-jazz," "jazz-jungle," and
>various other A&R fabrications. But I've noticed that some people I know
>who feel the same way have begun to use "trip-hop" when referring the
>music of DJ Krush, Shadow and the whole Mo' Wax thang, for lack of a
>better, less annoying descriptive label (they get plenty of shit from me
>when they do...:) ). I personally refuse to, but I still feel there's
>something not quite adequate about calling that music just plain ol'
>hip-hop, even "avant-garde hip-hop," or whatever. Anyway, I've come to the
>conclusion that it's not worth worrying about.
I am completely supportive of the deconstrcution of labels in music, but, as
descriptive terms, they are very useful. You are absolutely right in saying
there is not something "adequate" in calling "trip-hop" hip-hop, because it is
not. As someone said, acid jazz might be just a re-hash of old Donald Byrd
and Roy Ayers albums (I, as I am sure many others, have a problem with such a
statement, but it is an interesting view of development), but trip-hop
incorporates elements which are more a reaction to, than common with, hip hop.
Trip-hop has automatically stepped outside hip-hop by utilizing hip-hop's
elements within its own structure. When one entity subsumes the elements of
another, they cannot be considered the same. I do think A&R
is responsible for so much of the labels we encounter, but I also think that
some of these labels genuinely emerge from music's genre development (and
subsequent splicing). Even the great deconstructionist himself, Goldie, makes
such distinctions by outlining the five important streams of twentieth-century
ghetto music: jazz, Shantytown reggae, Detroit techno, hip-hop, and
jungle/drum and bass (from "On the One" 2,7). And I can't think of anyone who
wants so fervently to keep music "real," dynamic, and underground as Goldie.
I like trip-hop for its use of hip-hop, and I certainly see the former as
developing out of the latter, but I cannot see them as the same thing. I
don't think this takes away anything from trip-hop; one the other hand, it
more explicitly defines it. Without the responsible use of such labels, we
will encounter a poverty of terminology. Especially on the internet, where
debate is so dynamic, it is important to be able to make such distinctions
through labels.
P R Wheatley
>"trip-hop" makes me cringe, along with "acid-jazz," "jazz-jungle," and
>various other A&R fabrications. But I've noticed that some people I know
>who feel the same way have begun to use "trip-hop" when referring the
>music of DJ Krush, Shadow and the whole Mo' Wax thang, for lack of a
>better, less annoying descriptive label (they get plenty of shit from me
>when they do...:) ). I personally refuse to, but I still feel there's
>something not quite adequate about calling that music just plain ol'
>hip-hop, even "avant-garde hip-hop," or whatever. Anyway, I've come to the
>conclusion that it's not worth worrying about.
Not that it really matters, but isn't that kind of music generally reffered to
as abstract beatz? Its pritty cool anyway.
--
Paul Wheatley
Always mail to : csx...@scs.leeds.ac.uk
----http://droopy.imag.fr/~elisei/Qtm----
----http://www.idg.co.uk/acornuser/acornuser/PD/index.html----
Solesides
but, as
descriptive terms, they are very useful. You are absolutely right in
saying
there is not something "adequate" in calling "trip-hop" hip-hop, because
it is
not. As someone said, acid jazz might be just a re-hash of old Donald
Byrd
and Roy Ayers albums (I, as I am sure many others, have a problem with
such a
statement, but it is an interesting view of development), but trip-hop
incorporates elements which are more a reaction to, than common with, hip
hop.
Trip-hop has automatically stepped outside hip-hop by utilizing hip-hop's
elements within its own structure. When one entity subsumes the elements
of
another, they cannot be considered the same. <<
It's plain silly to think that so-called "trip hop" constitutes a major
break from hip hop. If anyone knows history (and apparently very few do),
they would know that the hardcore instrumental hip hop that Mantronix, Ced
Gee, and the Bomb Squad put together almost a decade ago are the blueprint
for---and, more often than many would admit, the entirety of--- all the
supposedly new shit coming out of the UK and Europe today. Most of these
sampler-come-latelies can't hold Prince Paul's SP1200 instruction
booklets.
For the most part, artists working this so-called trip hop vein are not
reacting TO hip hop. Rather, they are working well within the genre, as
far as technology, technique, texture and sound goes.
I mean, please. What's so new about "trip hop"? The fact that it mostly
doesn't have rappers? I'd hardly consider that a step forward. Perhaps
it's just sad commentary on the state of race relations in the UK and
Europe that (mostly white) producers and (mostly Black and Asian) rappers
just can't seem to find any common musical ground. The same goes, even
more so, for "trip hop" artists in the US, who have a well established
body of hip hop music to draw from, and no shortage of talented rappers to
work with.
The idea of "trip hop" has not had any impact on hip hop whatsoever, and
never will, because it is merely a temporary shelter for the meanderings
of young artists who haven't yet learned or simply haven't learned to
respect the legacy of hip hop in their own country. Again, this hardly
constitutes a break from hip hop---it's more like a symptom of genre
mortality.
In fact, "Trip Hop" as a concept doesn't have legs. It's mostly another
derivative that little smarty-pants Europeans and Americans have tried to
repackage for high-brow upper class folk. (See "acid jazz")
DJ Shadow would be the first to say that hip hop is the root from which
his music springs. Nobody that matters---not DJ Shadow, James Lavelle,
even the pundit-crowned "king of trip hop" Tricky, all of whom have
complex things to say about race, music and politics---wants to have
anything to do with the connotations and limitations of the concept of
"trip hop".
So why support it?
Let it die, just like "acid jazz".
Zen
Solesides Crew
Northern Cali
J. Winston Chiong
: I mean, please. What's so new about "trip hop"? The fact that it mostly
: So why support it?
Hmmm... I've been wondering about this myself. While I'm in complete
agreement that so-called "trip-hop" (personally, I'm thinking Krush,
Shadow, Attica Blues, some Ninjatune) isn't anything distinct from
hip-hop, I don't think it follows that we shouldn't have some kind of
label for talking about this guys, so long as we acknowledge that their
roots are in hip-hop. I mean, it's pretty clear that they share some
sensibilities that don't hold for hip-hop as a whole; in fact, given the
diversity of styles and influences that run through all of hip-hop, it
doesn't hurt to have some loose terms to distinguish one kind from
another. So what if groups like the Alkaholiks, BIG, the BUMS and Masta
Ace make our traditional geographic (West Coast/East Coast) distinctions
messy? I still know what you're talking about if you say you prefer East
Coast to West Coast or vice-versa. Similarly, at least I know what
someone's trying to say when they talk about "trip-hop", whereas someone
making general remarks about hip-hop could be talking about anything from
Too $hort to Les Sages Poetes. (Okay, so they probably wouldn't be
talking about Les Sages... but I'm trying to make a point here.)
As for the general lack of rapping - I don't know, some people (like my
girlfriend) just don't like to listen to people rapping. Is that a
problem? I don't think so. Shadow manages to say a lot more with
spoken-word samples and clever scratching than 90% of the mindless
rappers I can think of. And that girl on Attica blues matches their beats
better than any rapper (intelligent or otherwise) that I can think of.
Now all we need is for someone to come up with a decent name...
Oh, and how can I get another order form for Lateef's new one? I coulda
sworn I had the one you sent me around here somewhere...
____________________________________________________________________________
"For a man to say that sweet is bitter - that right is wrong - that light
is darkness - is not to injure the truth, but to stamp himself a liar;
and the like is true when they impute to us that of which we are not
guilty. We have the power of making our enemies slanderers, and this we
must do by showing ourselves worthy and respectable men."
- Martin Robison Delany, 1848
tris
(STEPHEN OLIVER) wrote:
>
>I am completely supportive of the deconstrcution of labels in music, but, as
>descriptive terms, they are very useful. You are absolutely right in saying
>there is not something "adequate" in calling "trip-hop" hip-hop, because it is
>not. As someone said, acid jazz might be just a re-hash of old Donald Byrd
>and Roy Ayers albums (I, as I am sure many others, have a problem with such a
>statement, but it is an interesting view of development), but trip-hop
>incorporates elements which are more a reaction to, than common with, hip hop.
>Trip-hop has automatically stepped outside hip-hop by utilizing hip-hop's
>elements within its own structure. When one entity subsumes the elements of
>is responsible for so much of the labels we encounter, but I also think that
>some of these labels genuinely emerge from music's genre development (and
>subsequent splicing). Even the great deconstructionist himself, Goldie, makes
>such distinctions by outlining the five important streams of twentieth-century
>ghetto music: jazz, Shantytown reggae, Detroit techno, hip-hop, and
>jungle/drum and bass (from "On the One" 2,7). And I can't think of anyone who
>wants so fervently to keep music "real," dynamic, and underground as Goldie.
>I like trip-hop for its use of hip-hop, and I certainly see the former as
>developing out of the latter, but I cannot see them as the same thing. I
>don't think this takes away anything from trip-hop; one the other hand, it
>more explicitly defines it. Without the responsible use of such labels, we
>will encounter a poverty of terminology. Especially on the internet, where
>debate is so dynamic, it is important to be able to make such distinctions
>through labels.
You are a ponce. Talk sense and don't use jargon you don't even understand.
Peace
Tris