dirty martini

old music for new people

you can’t give a baby booze September 3, 2007

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 drinking and music just works.  given that we do not live in a musical and most of us aren’t one of the kids from fame, we need a little liquid encouragement to start shaking it in a public place.

alcohol has moved on during my clubbing lifetime. in my early 90s, underage with someone else’s fake ID days, we drank some disgusting concoctions. snakebite and black, pernod and black, malibu and pineapple. not forgetting of course the infamous taboo and mirage which were rubbish because they didn’t get you pissed as quickly. pimms was avoided for the very same reason. it was spirits, cider, lager and wine.

the alcopops invasion happened when i started university, with hooch and two dogs ‘lemonade’. the former made my throat hurt it was so acidic and the latter’s alcohol content seemed to be entirely derived from sugar. bacardi breezers are still going strong but others we have loved and lost – ginzing, jammin’ (loved the blue and silver ones, yellow banana one was yuck), decoda (cream soda, yum), metz, woody’s and the best ever, smirnoff mule.

when you’re a penniless student though, sod sophistication and refinement. your alcohol budget (all of your available cash not spent on bus fare and bagels) can be stretched further than six 79p alcopops from the offie. oh yes, you can make the ‘i’ve been tangoed’ by mixing lambrusco, gin and orange juice for that just been hit over the head feeling. the unpopular and therefore cheap castaway, mixed with diamond white for a cocktail that will render you senseless in the student bar. 

once you graduate and have a bit more cash (I did only say a bit) all three flavours of aftershock can be dumped into a pint glass containing a bottle of smirnoff ice to produce a deceptively misty looking yet lethal concoction best consumed when you have a designated driver. ok, as a girl, i have never done this but its a twentysomething male staple along with vodka and red bull for those morning after shakes.

now? well, if i order a cocktail that costs less than a fiver I congratulate myself on not going overboard. pathetic…

download here

2pac – pour out a little liquor

busta rhymes – pass the courvoisier

d’angelo – one mo’ gin

j-kwon – tipsy

jutbox and cassie – at the bar

omarion and usher – icebox

public announcement – put your drink down

snoop dogg – gin and juice

solange knowles – champagne chronic nightcap

tony toni tone – slow wine

too short – cocktails

ub40 – red red wine

young black teenagers – tap the bottle

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90s r&b – i collaborate therefore i am August 22, 2007

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there’s power in numbers. in fact, the perfect hook-up with the hottest property can launch (or relaunch) a lacklustre career.

in the mid 90s, duets and artist collaborations became less of an event. naturally, you would collaborate with labelmates, but a strategic feature spot could mean opening up your music to a whole new audience. the most popular hook up was r&b and hiphop, but some puff daddy collabos in the late 90s saw hiphop push the boundaries by mixing it up with rock bands, a trend jay-z has carried into the 00s.

so, for the r&b girls and boys looking forsome instant street, the most ubiquitous featured rappers of the 90s? jay-z, ll cool j and biggie by a mile, although a young foxy brown gave them a run for their money.

and if a hiphop act wanted to smooth things down? total, swv and mary j blige at your service.

the idea hasn’t slowed down at all, in fact, the standard r&b album has at least four collaborations and some albums (timbaland) are built entirely around that principle.

90s hook ups – download here

blackstreet and swv – can’t get you out of my mind

two of the biggest r&b bands of the 90s – worked so well they did it twice.

blaque and destiny’s child – she ain’t got that boom

how much hair can you fit in one room? one more member and they could have been an 80s jheri curl soul act. a subdued performance from beyonce on this one.

busta rhymes and zhane – its a party

not the most obvious hook-up to spring to mind but it worked.

jay-z and foxy brown – sunshine

jay-z and foxy collaborated so often you gave up trying to work out who was guesting for who.

junior mafia and aaliyah – i need you tonight

a mishmash of r&b, hiphop and 80s throwback hook and sample. shouldn’t have worked quite so well.

keith sweat and kut klose – get up on it

inevitable feature spot. on occasion the whole r&b don with cooing girl group could seem a little mysogynistic. there were worse examples though.

ll cool j and boyz ii men – hey lover

ll likes it both ways – guest features and inviting others on to his tunes, I mean.

mase and total – what you want

individually, not great. together it worked.

method man and mary j blige – you’re all i need to get by

one of the originals and a good example of how an r&b feature spot doesn’t need to water down the proceedings.

smooth and 2pac – p.y.t.

proto jay-z and foxy. 2pac must have rated young ms stokes as he didn’t guest spot with just anyone.

 

hiphop love songs April 26, 2007

…collective sigh of relief, one blogger isn’t getting into the whole don imus thing. quite frankly, I don’t know enough about it. more interestingly what it does seem to have triggered is renewed interest in the crusade against misogynistic and violent hiphop lyrics, a cause currently championed by russell simmons.i’m not going to delve for examples of russell‘s back catalogue that contradict this stance. it’s not big and it’s not clever – people are perfectly entitled to change their opinions.

what i’m not clear on though, is why they think the campaign will work this time round. the number of hiphop devotees has multiplied more than every other genre since the mass media last rallied in the early 90s. then, they targeted just a handful of rappers, including too short, tupac and snoop. because that was more or less the scale of the ‘problem’, a couple of record labels, a lot of overblown egos and scores to settle.

in 2007 its a whole different ballgame – they’re not attacking a subsection of underground culture, hiphop is now popular culture. no doubt, the campaign will hold up tupac and biggie‘s deaths, which now happened more than a decade ago, as proof of hiphop beef taken too far. and they were far from an everyday occurrence, the isolation of the incidents involving these tragic figures is exactly what has created their legend. far more people die on the streets every day than have hiphop icons over the last 20 years. and i’m pretty sure most of the street incidents happened to the kind of person who was going to get caught up in that world anyway. listening to eminem in your bedroom does not magically transport you out of the suburbs to the kinds of places where you might face those kind of kill-or-be-killed decisions.

perhaps the real shock factor in these deaths was borne out of a naïve assumption that a celebrity can more effectively shield themselves from someone who wants to kill them than the average member of the same community. that they were granted some kind of immunity and had transcended their circumstances through fame, rather than in fact becoming more vulnerable and a greater scalp.

what we should remember is that genuine hiphop tries to reflect real life. nwa didn’t just rap about compton to entertain you, that’s where they’re from and who they are. they were trying to give their community a voice, not suggest that their reality is anything like yours and that their actions and reactions would be acceptable within other contexts.

in the worst neighbourhoods, shot or be shot is an almost daily dilemma. tupac and biggie‘s deaths weren’t the shocking result of fiction overstepping the boundaries of storytelling, rather a sad indictment of a lifestyle they glorified for cash rather than broke out of. there wasn’t any fiction involved and their late material implied an acceptance of their fate.

so, those that should know better are regrouping to decide how to remove offensive content from hiphop. instead of convening to tackle the real life incidents that inspire it. then the rest of us can pretend its not happening anymore. great, well done.

ten non-offensive hiphop classicsdownload here common and mary j blige – come close
2004 cut from ‘electric circus’. common recognises that relationships can be hard and require sacrifice, but worth saving…

guru – when you’re near
king of non-offensive hiphop, guru and then-acid jazz ingenue n’dea davenport from the brand new heavies flirt back and forth in 1993.

guerrilla black – you’re the one
even g’s get it bad sometimes.

common and jill scott – 8 minutes to sunrise
now this one could really be messy – common has woken up next to his best friend’s girl.

foreign exchange – all that you are

how many men actively try to treat their women right?

ll cool j and boyz ii men – hey lover
ll
pioneered the hiphop ballad with ‘i need love’, then in 1995 he went one better and recruited r&b crooner boyz ii men to assist this tale of an unobtainable crush.

roots and erykah badu – you got me
new relationships are hard…especially when you meet in paris and are worried the spark will fade once you get home.

pm dawn – set adrift on memory bliss

best use of a sample ever. end of.

ali and gipp featuring letoya – almost made you

these relative newcomers are doing their thing, with ex-dc starlet letoya on board.

ll cool j – around the way girl

how come someone as fine as ll never gets his dream girl?