#larry joseph

[c-40]

A-T-3 205 The Beat So Hot It Makes The Popcorn Pop 

Today is my birthday so two of the greatest hip hop records of all time Russell Brothers - The Party Scene and Fantasy Three - It’s Your Rock and seminal electro-funk Jonzun Crew - Space Is The Place

Looking for the perfect beat. The drum programming on Rude Movements (shared yesterday) is great, isn't it... the drum programming on Russell Brothers' The Party Scene is something else though. That is thanks in no small part to Larry Joseph who recorded for West End Records under the name Sparque, Pressure Drop for Tommy Boy Records, Krome for 25 West, ... It was common to release music on different labels under different names (Patrick Adams was the king of this) for legal reasons

Russell Brothers - The Party Scene Vocal

Fantasy Three - It’s Your Rock Instrumental. It's Your Rock was produced by Oscar Rodriguez of the Zulu Nation, he wrote most the early records that came out on C.C.L. Records (the ones in conjunction with Specific, Your Rock being the most successful), Pumpkin and Co are providing the backing. Charlie "Rock" Jimenez of the Fantasy Three founded C.C.L Records. We should point out every time there's a latino is making early hip hop as, even though they were there at the beginning, they get written out the story

It's said the arrival of Run DMC in 1983 marks the end to the two's the threes and the fours, meaning groups like Fantasy Three, Treacherous Three, Funky 4 + 1, etc

Russell Brothers - The Party Scene Instrumental. Believe it or not the instrumental of The Party Scene is harder than that of It's Your Rock, proper bboy record... what breaking in space should sound like

Jonzun Crew - Space Is The Place Instrumental. This is here not just because it is dark and heavy but because I love the drums. The Party Scene uses programmed drums, Pumpkin plays 'live' drums for It's Your Rock, Michael Johnson's masterpiece Space Is The Place expertly mixes live drums with drum machine. Mixed by Jellybean innit

Fantasy Three - It’s Your Rock Vocal. Believe it or not the vocals on It's Your Rock are hotter and have that live in the club feel more than Russell Brothers' The Party Scene

[loteknology]

Lonnie Liston Smith - Say You Love Me (Hitman Recods,‘84)

Sheesh! Alexander Nut put me onto this heat. Shouts to him. Shouts to Lonnie and shouts to Larry Joseph...goddamn.

[bobbyo-1967]

I can't believe I have to do this, but

In the 1 pm hour, she was seen complaining about me in the area of the County Building.

You would think I could go get my meds Re-dialed without getting dragged into anything.  I was wrong.  Not even locked away in a hospital playing the human lab rat role am I safe from some of the nonsense around here.

Some moron is spreading around the idea that you should write me in the 1st District Common Council Race.  Don’t.  The email doesn’t even sound like me, come from one of my emails,…

View On WordPress

[house-a-day]

Larry Joseph - Move & Groove (Dub)

[granta]

Larry Joseph on Rowan Ricardo Phillips

Louis Zukofsky wrote that “the test of poetry is the range of pleasure it affords as sight, sound, and intellection.” “Tonight,” the first poem in Rowan Ricardo Phillips’s The Ground, easily passes the test. Its range of pleasures is wide.

In the beginning was this surface. A wall. A beginning.

Tonight it coaxed music from a Harlem cloudbank. It freestyled

A smoke from a stranger’s coat. It stole thinned gin.

It was at the edge of its beginnings but outside

Looking in. The lapse-blue facade of Harlem Hospital is weatherstill

Like a starlit lake in the midst of Lenox Avenue.

Tonight I touched the tattooed skin of the building I was born in.

And because tonight is curing the beginning let me through.

And everywhere was blurring halogen. Love the place that welcomed you.

The poem’s last sentence—“Love the place that welcomed you”—urges us to read it in more than one way: first as an imperative (the poet instructing himself to love the place where his life began), then as a metaphor (identifying love as that “place” that welcomed him). “Great poetry”—Zukofsky again—“achieves a continual growth of meaning (total poetic emotion).” Each reading of “Tonight” deepens our sense of its emotional meaning, and as its meaning grows, so does the range of pleasures it affords.

We turn the page to “Song of Fulton and Gold” (two streets in lower Manhattan). “The eye seeking home / has to lower / lower / lower / lower. The eye seeking home has to lower.” Phillips repeats these words three times, in three identical sections, and concludes with a single declarative sentence: “There are no towers.” The poet—his eye now lowered to post-terrorist-attack street level—moves on to “Terra Incognita”: “I plugged my poem into a manhole cover / That flamed into the first guitar, / Jarred the asphalt and tar to ash, / And made from where there once was / Ground a sound instead to stand on.”

Like great poems, great books of poetry also achieve a continual growth of meaning. By the third poem in The Ground, the reader is aware that Phillips is engaged in the act of composing a book, determined, in the first instance, by its title’s metaphor. The Ground, you might say, is a book formed strategically from the ground up—from Harlem Hospital on Lenox Avenue, from the corner of Fulton and Gold, from “ground zero.”