Droppin’ Science: Greatest Samples from the Blue Note Lab

Like most hip-hop heads, I always love to find the source material of a particularly dope beat, and in that vein, Blue Note’s Droppin’ Science: Greatest Samples from the Blue Note Labis a rewarding compilation. Containing the original material for elements of songs from acts like A Tribe Called Quest, Beastie Boys, Dr. Dre, DJ Shadow, Madlib, and many others, the album is an amateur (or armchair) DJ’s wet dream. In addition, many of the songs are restored or remastered versions, making the collection appealing to jazz aficionados as well.

Highlights: Davids Axelrod’s and Mccallum’s “The Edge,” as featured in Dr. Dre’s “Next Episode,” Jeremy Steig’s “Howling for Judy,” as featured in Beastie Boys’ “Sure Shot,” and Grant Green’s “Down Here on the Ground,” used in ATCQ’s “Vibes and Stuff.”

Bottom line: If you have listened to hip-hop in the last twenty years, you’re bound to appreciate at least 5 songs on this album. B+

Blue Note

Does Kenny Easterday of the Jerry Springer show have a penis?

UPDATE: According to emeraldgreengirl, Kenny does have all his man-parts and a butthole. I’m still unclear on the mechanics, but at least part of the mystery has been solved.

I was watching Jerry Springer this afternoon, and I guess it’s been a while since I have watched it, but in addition to a huge scale (akin to those used in the Salem witch trials), a puppet stage, and a crowd that chants every thirty seconds, there is now Kenny Easterday, someone who has a rare disability known as sacral agenesis. Continue reading Does Kenny Easterday of the Jerry Springer show have a penis?


The video below is “Mutescreamer” by Beans, an emcee formerly of the underground rap group Antipop Consortium. The track is featured in DJ Shadow‘s BBC Radio 1 Essential Mix, released via his website in limited edition as Diminishing Returns.

I saw Beans perform live a few years back when he opened for post-rock gods Tortoise. His performance was raw– he rapped over DAT beats or a cappella– but it was memorable. The video only hints at Beans’ prowess as an emcee; he is one who is blessed with both wit and flow, a welcome change to the formulaic rhyme-sayers flooding popular radio, which needs more artists like him and less like Soulja Boy.

Radiohead – In Rainbows

Jarring to record labels, Radiohead’s In Rainbows leaves the listener satisfied yet concerned that the band has lost its steam. After a prolific release schedule in the first half of the decade, Radiohead has been relatively quiet, allowing time for band members to work on solo projects and recuperate from being in one of the best bands on the planet.

In Rainbows picks up where 2004’s Hail to the Thief left off with the band tempering their experimentalism and avant-garde sensibilities so that they merely whelm the ears instead of overwhelm them, e.g. “Pulk/Pull Revolving Doors.” The band has found the happy medium between drums and drum machine, electric keyboards and acoustic piano, sample and electric guitar, and in so doing created an atmospheric record, marked with uncertainty for the future and bittersweet nostalgia for the past.

Every song is enjoyable in its own right as well as when placed within the context of the other songs on the album, but here are the highlights for me.

Bodysnatchers” is one of the more up-tempo songs on the record, riding a crunchy guitar riff and Thom wailing about the state of the body in the 21st century. It plays almost like a dance song (inasmuch as Radiohead can).

All I Want,” a lush tune with an accented bass line, is a song of devotion to the point of obsession. The song swells as it proceeds, ending with a terrific denouement with crashing cymbals, growing pianos, chimes and ominous moaning “it’s all wrong, it’s all right…” before ending abruptly, as if collapsing under its own weight.

In “Reckoner,” the band puts down the electric instruments, opting instead for an acoustic string, piano, and guitar arrangement with a slight reverb on percussion and Thom singing a slow falsetto. It is one of the most beautiful songs about death I have ever heard.

In Rainbows is good, but it sounds like the band is stagnating a bit. There are few surprises, and it doesn’t feel like Radiohead pushed the direction of their music much farther than they did on Hail to the Thief. Having said that, strings are much more prominent than they have been in previous records, and the addition pays off in creating a record that may not be earth-shattering in its originality but is still mind-blowing in aestheticism.