Girl you're looking lovely, girl you're looking kinda fine Girl you're kinda special, I think about you all the time But you got me trippin, you got me so...so...trippin Girl you got me trippin, you got me so...so...trippin
The recently released FranzDiego.com EP has been draining the battery on my Ipod non-stop. There's much to love about it. First and foremost in the midst of our economic uncertainty it comes to you at the affordable price of "Download for Free". Secondly, while only 7-tracks in length, this EP is as diverse in subject matter as FranzDiego-Punto-Com's background.
The south Minneapolis rapper with Guatemalan roots and one-third of Illuminous 3 is a standout on multiple levels. His talents reach beyond the microphone, the embodiment of the Hip-Hop Renaissance man. Mr. Punto Com is a blogger, local organizer, artist, dables in producing and add podcaster to the list as well.
Getting back to the EP, there are a couple stand-out tracks in my own personal opinion. "Trippin" (chorus above) is an ode the beautiful intelligent women who unknowingly provoke us to make some not so intelligent decisions. For all of y'all who've ever decided to skip out on an important meeting or take a day off work to be with someone, this song is for you.
My other personal favorite is "Old Man" a pushback by FranzDiego to the status quo trying to define his identity and those of others. Its a challenge to push ourselves beyond stereotypes and falsely constructed images that serve to undercut achievement within our communities.
There's more to be said about this EP but I'll just let the music do the talking. To download the FranzDiego.com EP click here
Brandon Allday (pictured above to the right) is a rapper and producer from the hip hop group Big Quarters. Brandon, a recent nominee of the Twin Cities Hip Hop Awards "Best TC Hustler", has been a constant figure in the local hip hop scene for several years. Big Quarters is the brainchild of Brandon and his younger brother Zach aka Medium Zach. Lets find out more about Brandon as he answers some questions about himself and Big Quarters:
1. In one or two sentences, introduce yourself to FunkMass.
My name is Brandon Allday of Big Quarters. My president is a brown baby of a white mother.
2. How long have you been making music? What do you use?
I started making beats before I got into rapping - I think we put out our first beat cd in 2003 or 2004.
My MPC2000XL sampler is my instrument of choice.
3. What is Big Quarters Direct? How can I get it?
It's a brand new system that we happen to be early adopters of - and it allows us to stay connected with our fans.
We send you 5 songs every month, on the 5th of each month. For $5 per month.Subscribe now @ http://www.bigquarters.com
4. What are your plans for Big Quarters in 2009?
We're bringing our fans into our creative process through BQDirect. Some of my friends and fellow artists record 25-30 songs for what will end up being an 11 track album.
Through that process - they pass around CDs to their inner circle for feedback and critique - to eventually narrow down the tracklist.
Big Quarters is recording and sending out tracks through BQDirect - and through that process we are shaping our album.
And I should mention, subscribers will receive any album we print for FREE.
5. Who are your top 5 favorite rappers?
Common
Nas
Kurupt
Phil da Agony
Jay-Dee
6. What's one song you never get tired of listening to?
Common "The 6th Sense" produced by DJ Premier
7. If you could meet anybody, dead or alive, who would it be and why?
Jesus of Nazareth.
Or I'd like to meet my brother Phil for lunch - he lives in Charlotte, NC.
8. Besides making music, what else are you passionate about?
Working with young people.
9. How can people stay connected with you and your music?
17. Wilson Pickett - 99 1/2 Won't Do - '66 18. Stevie Wonder - I Was Made to Love Her - '67
19. The Impressions - We're a Winner - '67 20. Otis Redding - Hard to Handle - '67 21. Bobby & James Purify - I'm Your Puppet - '66 22. Sam Cooke - Good Times - '64
Set II 1. The Latin Breed - Si Yo Pudiera - '75 2. Womack & Womack - Baby I'm Scared of You - '83 3. Jorge Ben - Camisa 10 de Gavea - '76 4. Cloud One - Atmosphere Strut - '75 5. Ashford & Simpson - It Just Seems to Hang On - '78 6. Nick Straker Band - A Little Bit of Jazz - '81 7. Eddy Grant - Timewarp - '83 8. Atmosfear - Dancing In Outer Space - '79 9. Dam-Funk - Galactic Fun - '08 10. Donald Byrd - Miss Kane - '73 11. The Pharcyde - Otha Fish - '94
12. T-Baby - It's So Cold in the D - '09
13. Keith Murray - The Most Beautifulest Thing - '94
Before it was "Luxurious"(Gwen Stefani), before it was "Big Poppa" (Notorious B.I.G.), and a considerable amount of time after it was "Between The Sheets", the infamous Isley Brothers sample was used in A Tribe Called Quest's "Bonita Applebum (Hootie Mix)" from back in 1990. This song was actually in a way the inspiration for Biggie's "Big Poppa," as he had mentioned how he was gonna flip that Tribe song (in reference to the Hootie Mix).
"Between the Sheets" has actually been sampled at least 27 times since it's release in 1983, which serves as a testament to how good the song actually is. Da Brat's "Funkdafied," Common's "Breaker 1/9," Aaliyah's "Old School," and Jay-Z's "Ignorant Shit" round out the list of songs with the sample; all good songs in themselves, and the Isleys certainly had a hand in that.
Now, I'm not here to give a history lesson (unless you're one of those people that thought Gwen Stefani sampled Biggie), I'm just saying that the "Hootie Mix" of "Bonita Applebum" is pretty fuckin' fresh and maybe Miguel V. and the DJ should give it a chance.
During my recent diggings and research, I've come across two illustrious artists that I've found out have a lot to do with each other, yet are distinguishable in their own right. Now, you might not hear works of Patrick Adams and Leroy Burgess on Clear Channel radio, but their music continues to live and can be "classified as (a) rare funk gems, (b) quiet storm classics, (c) Paradise Garage staples, (d) hip-hop sample fodder, or (e) all of the above." (R. Washington)
Before you continue reading I would like acknowledge the following sources that have guided me in blogging this story and is recommended for further detailed reading:
"The Undisputed; Leroy Burgess is the crowned king of boogie" by Rico Washington, Wax Poetics, #24, 2007
"Synthesizer Symphonies; Disco futurist Patrick Adams found his voice through keys" by Matthew Warren, Wax Poetics, #31, 2008
Last Night a DJ Saved My Life; The History of the Disc Jockey, Bill Brewster and Frank Broughton, 1999, Grove Press
The story begins in 1968 in New York City when arranger Patrick Adams meets a teenage vocal trio named Black Ivory, featuring the falsetto of Leroy Burgess. After few years of writing songs together, and touring behind a young Kool & the Gang, Adams was able to fund a recording session at Sigma Sound Studios in Philadelphia, home of engineer Joe Tarsia, the house band MFSB, and where songwriting producers Thom Bell, Kenneth Gamnle, and Leon Huff would record their hits for the Intruders, Delfonics, O'Jays, Spinners, Stylistics, Harod Melvin & the Blue Notes, etc. The session Adams produced a pair of sides that would be Black Ivory's debut the A-side being "Don't Turn Around" and the B-Side "I Keep Asking you Questions" released in late December of '71 The success of their first single demonstrates the group's ability to tackled the smooth ballad, and the pre-disco uptempo, dancefloor killer of the Philly Soul sound. This would lead to cut their 1972 classic debut album "Don't Turn Around" back in NYC with most of the songs written by Adams and the group. Along with the groups first sides, the album contained the groups biggest hit ballads, "You And I", and "I'll Find Away".
Don't Turn Around (#38 R&B)
"I Keep Asking You Questions" (sampled By Raekwon's "Criminology", a single off of his Only Built 4 Cuban Linx from '95).
"You and I" (#32 R&B, #111 Pop, sampled recently for Q-Tip's "Gettin' Up" for his 2008 The Renaissance album.)
While Burgess and group members proved that they were able to write gorgeous melodies, Adams had the idea of the group to record an album of songs composed by himself and fellow producer David Jordan, leaving Black Ivory out of the songwriting process. The album did achieve the same commercial success as "Don't Turn Around", it did not have that same artistic feel without the group's input. Black Ivory and Adams discontinued their work together, would cut more albums and singles until Burgess left the group in '75.
Adams would move on to pursue other projects, but in 1975 he found himself inspired by the underground New York disco scene at clubs like Paradise Garage, and the Loft. He also grew fond of the Moog synthesizer in the music of Stevie Wonder, Herbie Hancock, and Bernie Worrell of Parliament/Funkadelic which was used to show one's virtuosity, but also to create soundscapes to provide specific atmospheres and ambiance on record.
1975 was a time when major labels began promoting and labeling their artists to "Disco" market. It was common practice For smaller independent labels (West End, Prelude, SalSoul, etc.) who were not able to promote their artists at such a high caliber would often have producers and arrangers cut records featuring session musicians and chorus singers, and the recording would be the only end product to push, hoping it ends up in the hands of NYC's popular radio DJ's at the time. Given this mode of production, Adams would write, arrange and record "Atmosphere Strut" by Cloud One, "Shake Your Tambourine" by the Universal Robot Band, and "In the Bush" by Musique between the period 0f '77-'78.
"Shake Your Tambourine" by Universal Robot Band ('77, #48 R&B, #93 Pop)
"In the Bush" by Musique ('78, #29 R&B, #58 Pop)
Adams' disco music would later influence Leroy Burgess' songwriting once Adams invited him to work on his projects, by composing the club anthem "Weekend" by Phreek. They also worked together on a brief reunion with Black Ivory for "Mainline" and on other studio projects such as Bumble Bee Unlimited and other established artists such as Eddie Kendricks and Herbie Mann. Adams would later produce the highlight of his career "I'm Caught Up (In a One Night Love Affair)" by Inner Life; Burgess would also lend Rick James to record his song "Big Time", the highest charting single for Burgess.
"I'm Caught Up (In a One Night Love Affair)" by Inner Life ('79, #22 R&B)
"Big Time" by Rick James ('80, #17 R&B)
By the start of the 80s, Pop critics were calling for the death of disco in the mainstream, but that did not stop club goers from dancing, nor did it ruin Burgess' career. He began utilizing a new style called "boogie" which is more mid-tempo disco/funk that featured synthesizers. In late 1980, he began recording with his main songwriting partners drummer Sonny Davenport, bassist James Calloway, what was to be a new album by their new group name, Convertion. After finishing "Let's Do It", it was cut as a single during the sessions on SAM records. Once they discovered that SAM were lcking funds for a decent budget for the rest of the album, The group took the songs to SalSoul released the self-titled album Logg. Although the group and title name were chosen randomly, this album feature some of his best work to date which also features lead vocal in a very proto-New Jack Swing style, and contained a charting single with "I Know You Will". An unreleased track from those sessions saw the light of day few years later as "Barely Breaking Even" by the Universal Robot Band, Adams' former studio group.
Burgess would continue to work in 80s with other artists, such as Fonda Rae on "Over Like a Fat Rat" and hooking up with Aleem (formerly the Fantastic Aleems, a group he used to songwrite and produce a few years back) on the hit "Release Yourself". Burgess and Adams would later collaoborate on WISH feauring Fonda Rae's "Touch Me All Night Long". Adams would go engineer some of New Jack Swing and hip-hop's most prominent albums including Keith Sweat's Make It Last Forever and Eric B. and Rakim's Paid In Full (which ironically features the Fonda Rae-"Fat Rat"-sampled "Eric B. is President") and Follow the Leader.
"Eric B. is President" by Eric B. & Rakim ('86, #48 R&B)
Highly Recommended Albums:
Black Ivory, Don't Turn Around (1972) Logg, Logg (1981) Patrick Adams, The Master of the Masterpiece, Vols. 1 & 2 Leroy Burgess, Anthology, Vols. 1 & 2
The success of their first single demonstrates the group's ability to tackled the smooth ballad, and the pre-disco uptempo, dancefloor killer of the Philly Soul sound. This would lead to cut their 1972 classic debut album "Don't Turn Around" back in NYC with most of the songs written by Adams and the group. Along with the groups first sides, the album contained the groups biggest hit ballads, "You And I", and "I'll Find Away".
By the start of the 80s, Pop critics were calling for the death of disco in the mainstream, but that did not stop club goers from dancing, nor did it ruin Burgess' career. He began utilizing a new style called "boogie" which is more mid-tempo disco/funk that featured synthesizers. In late 1980, he began recording with his main songwriting partners drummer Sonny Davenport, bassist James Calloway, what was to be a new album by their new group name, Convertion. After finishing "Let's Do It", it was cut as a single during the sessions on SAM records. Once they discovered that SAM were lcking funds for a decent budget for the rest of the album, The group took the songs to SalSoul released the self-titled album 
