60s jazz meets Japanese bamboo flute – all in a session with a great mix
of groovy and exotic touches! The record's a unique meeting of jazz
and folkloric elements – done in a style that's a bit like some of the
late 60s sessions of this nature on MPS, but a fair bit groovier overall
– as the tracks are shorter and more focused, and often have a nice
sort of bounce at the bottom. Flute is by Minoru Muraoka, and
arrangements are by Takashi Ikeda and Kozaburo Yamaki, conducting their
New Dimension and New Emotion groups respectively. Bits of sitar bring
in an even groovier sound to the record – and the flute itself has some
oddly off-kilter notes that further trip out the tunes.
A lost treasure from David Axelrod – an obscure 1970 rock project, and
one that's almost even hipper than his work with the Electric Prunes!
The style here is rock, but the sound is very much in an Axelrod mode –
quite spacious, and with this wonderful undercurrent of funk – bubbling
up beautifully from the drums, and given plenty of room between the
guitars in the mix, which appear to be both electric and acoustic.
There's some slight Latinesque tinges in the guitar – very much in
keeping with the barrio image on the cover, yet different than other
Chicano rock of the time – and the whole album's got a really poetic
feel, with lightly flowing lines that almost remind us a bit of Tim
Buckley at points, but with a definite Axlerod twist. Titles include "A
Hope", "The Truth", "In The Wilderness", "Proud Sorrow", and "Song Of
The Pirate".By Dusty Groove
Cult folk funk opus from two
Hawaiian sons of a dolphin whisperer, this self-titled album was written
and released 45 years ago but still sounds just as calming, alluring
and mystical as ever. The dreamy flutes and staggered tempo of "Wake Me
In The Morning", the gutsy ballad and soaring strings of "Joe Arnold",
the staccato bluesy pop of "Katy" and the positively Balearic classic
"High Tide"... Moments like this will always resonate. The only album
the Batteaux brothers ever released, relatively rare and prone to
bootlegs, this is the first official re-release in over five years and a
great chance to catch up.
A beautiful bit of funky rocking soul – and the one and only album by
the Deirdre Wilson Tabac – a group whose name is as strange as their
grooves are funky! The group are best known for their well-compiled
track "I Can't Keep From Cryin Sometimes" – an uptempo jazzy gem that
mixes skipping Hammond with soaring vocals and some really great horns –
and the rest of this set has a very similar feel – one that blends jazz
rock with more soulful vocals, in a groove that's totally unique!
Sonny Casella wrote, arranged, and produced the record – and he's also
the drummer in the group, so there's keen attention to rhythms on all
tracks.
Taste :
The Deirdre Wilson Tabac - I Can't Keep From Cryin Sometimes
The Deirdre Wilson Tabac - Get BackThe Dierdre Wilson Tabac
Dodson and Fogg is a music project led by writer and musician Chris Wade (previously known for his work with comedian Rik Mayall and Hound Dawg Magazine). It also features work from the likes of Toyah Willcox, Nik Turner of Hawkwind, Celia Humphris of folk band Trees and Judy Dyble. It has been described as psychedelic folk rock and also acid folk. The name seems to come from the novel The Pickwick Papers by Charles Dickens, where "Dodson and Fogg" is a firm of unscrupulous lawyers.
Taste :
Dodson And Fogg - All Day Long (with Celia Humphris)
Folk/psychelic rock band from San Francisco. It was formed by Meltzer
and his wife Tina, and also included Denny Ellis on lead guitar and
David Stenson on bass, both from The Grass Roots.
The band became a full rock outfit with the inclusion of John Payne on
organ and Clark Coolidge on drums. Ellis, Stenson, and Payne left
shortly after the first self-titled album was recorded, replaced by Bob
Cuff (from The Mystery Trend), on lead guitar and Jim Mocoso on bass. But the band didn't record another album, and disbanded in 1968.
Early 70s psych folk from DR Hooker – looking pretty biblical in the
cover photo – with a spiritual tilt to some of the lyrics, but in a
pretty tripped out way – and a wild mix of styles, from easygoing,
approachable folk pop, to untamed, fuzzed out psychedelia! We were
expecting some laidback psych folk, and there is some of that, but also
some full on psychedelic rock – with a mix of acoustic & electric
elements, from guitars, to dobro, synthesizer, organ & piano, vibes
& other percussion.
As the grammatically befuddling title might allude, English is not Paul
Bryan's native tongue, in fact Bryan is a Brazillian folk songwriter
whose real name is Sergio Sa. He assumed this faux-Anglo alter ego as an
outlet for his English language recordings made in 1973, inspired by
British and American acts like The Beatles and Stevie Wonder. Given how
accustomed we might have become to recent Brazillian reissues focussing
on tropicalia or bossa nove, these compositions do strike you as
incredibly 'westernised' in their presentation: the kinds of rhythms
associated with indigenous latin American musics are all but absent from
Listen Of, instead the arrangements take on a Burt Bacharach-like
syrupy richness, with only smatterings of incredibly technical
Brazillian folk style guitar playing giving the game away on occasions.
Given the warmth and richness of the string arrangements and the
ballad-heavy tone of the writing, you might expect this album to be
somehow schmaltzy in tone, or in some way excessively sentimental. Far
from it though, Bryan comes across as incredibly genuine and heartfelt,
responsible for music that's as beautifully recorded as it is melodic
and memorable.
Όταν είσαι στον χώρο του θεάματος-ακροάματος πάνω από τριάντα χρόνια,
όταν στην αρχή της καριέρας σου είχες χαρακτηρισθεί το «τρομερό παιδί» των
(ελληνικών) σόου-μπίζνες όταν στην εποχή της βασιλείας της ιδιωτικής τηλεόρασης
είχες διαπρέψει μπροστά και πίσω από την κάμερα, φτάνοντας στο σημείο να
σφετεριστείς ένα πετυχημένο αμερικανικό sitcom και να το μετατρέψεις σε «δική
σου» κωμω¬δία καταστάσεων, θα ήταν αδύνατο να μην είχες διαπρέψεις σε αυτό που
οι ξένοι ονομάζουν exploitation film.
Ο λόγος, φυσικά, για τον Νίκο Μαστοράκη,
ο οποίος, μετά «Το κορίτσι βόμβα» (η γαλανομάτα Μαρία Αλιφερη, άβουλη μαριονέτα
στα χέρια της Ανατολικογερμανίδας κατασκόπου Τζέσικα Ντάμπλιν προστατεύεται από
τους αεικίνητους και διόλου νωθρούς ζιγκολό Χρήστο Νομικό και Πάερ Γουίντερ),
υπέγραψε αυτό το τολμηρό για την εποχή του θρίλερ τρόμου, με πρωταγωνιστές δύο αδέλφια
και εραστές.
Θέλοντας να ξεφύγουν από τον Άγγλο αστυνομικό Φόστερ (Τζέραρντ
Γκόναλονς), που τους καταδιώκει για μια σειρά εγκλημάτων τους, ο Κρίστοφερ
(Μπομπ Μπέλινγκ) και η Σέλια (Τζέιν Ράιολ) έρχονται στη Μύκονο, αποφασισμένοι
να επαναφέρουν στο νησί την αρχική του αθωότητα, αυτήν που του στέρησαν οι
–κατ' αυτούς- διεφθαρμένοι κάτοικοι του.
Μία νεαρή ζωγράφος, ένας ομοφυλόφιλος (Ρέι Ρίτσαρντσον) και ο εραστής του, μια
πλούσια νυμφομανής (Τζέσικα Ντάμπλιν) μία τοξικομανής λεσβία σερβιτόρα (Τζέσικα
Μακ Κονελ) δύο χίπις και φυσικά, ο ίδιος ο Φόστερ συγκαταλέγονται ανάμενα στο
θύματά τους. Η Σέλια και ο Κριστοφερ τους σκοτώνουν όλους εν ψυχρώ, με
διάφορους τρόπους : τους φυτεύουν μία σφαίρα στο κεφάλι, τους σφάζουν με σπαθί,
τους βάζουν φωτιά με σπρέι, τους καρφώνουν με τσιγκέλι , τους αποκεφαλίζουν με
το πιρούνι μιας μπουλντόζας. Όταν η αστυνομία τους υποψιάζεται, φεύγουν στα
ορεινά και βρίσκουν καταφύγιο στη μάντρα ενός βοσκού (Νίκος Τσαχιρίδης), που
πετά τον Κρίστοφερ σ’ έναν λάκκο με ασβέστη και βιάζει την αδελφή του. Η βροχή
που πιάνει ενεργοποιεί τον ασβέστη και οι ηδονικοί αναστεναγμοί της Σέλιας
αναμιγνύονται με τα ουρλιαχτά του Κρίστοφερ, που σιγοκαίγεται!Η ανάμειξη των ερωτικών εικόνων (που
περιορίζονται στις προ και μετασυνουσιακές στιγμές) και των μοτίβων διαστροφής
(ο ηδονοβλεπτισμός των δύο πρωταγωνιστών, η εκστρατεία του Κρίστοφερ ενάντια
στους τοξικομανείς, τους ομοφυλόφιλους, τις λεσβίες και κάθε γυναίκα ελευθερίων
ηθών) με την απροκάλυπτη βία (την ωμότητα των τρόπων εκτέλεσης των –
διεφθαρμένων - κατοίκων του νησιού ), συνθέτουν μια σχεδόν σαδιστική
τοιχογραφία, με ερεθιστική εικονογραφία και φρικτά φονικά.
Ωστόσο, στην
αποφασιστικότητα του νεαρού να εξοντώσει τους παραβάτες της ηθικής (συχνά υπό
το άγρυπνο βλέμμα της αδερφής του),αντανακλάται ο σεξισμός του σκηνοθέτη που παραμένει ζωντανός ακόμα και
μετά την πικρά ειρωνική, κυνική και συνάμα ευτυχή κατάληξη.
Sometimes, a singer can act like a star, even though their actual place
in the musical universe is far from the limelight – and that's
definitely the case here with Dennis Caldirola, aka Dennis The Fox – a
vocalist who's not afraid to brashly lay down his own lyrics that filled
with offbeat wit, weird warnings, and a sense of presence that hardly
belies the tiny circulation the album got at the time! The whole
thing's a stripped-down, virtually-homemade production – but it's also
one of those records that hardly knows that at all – and the group are
surprisingly tight at times, even ripping off The Meters pretty heavily
on one of the album's funkier tracks.
Davy Graham needs no introduction here, as he is one of the UK’s most
influential and legendary guitarists. Drawing on influences as diverse
as folk, jazz and blues, “Godington Boundry” is one of his later
classics, which has (incredibly) been out of print on vinyl for decades.
Taken from the original analogue studio master tapes.
“With his unorthodox playing style, Davy Graham exploded onto the
1960s folk scene to become one of the UK’s most influential guitarists.
Drawing upon diverse folk, jazz and blues influences Davy flew in the
face of what was then deemed commercial, recording a string of
critically-acclaimed albums that reflected his exotic tastes. Revered by
his peers as much for his guitar prowess and for his musical integrity,
he is widely credited as the founder of ‘baroque folk’ and broke new
ground when he introduced elements of what might now be termed ‘world
music’ into his work. In keeping with the records Graham made for Decca,
“Godington Boundry” is an unashamedly esoteric blend of the influences
dear to his heart. As well as takes on the perennial ‘Worksong,’
then-contemporary covers of the Beatles’ ‘Mother Nature’s Son’ and the
Incredible String Band’s ’Everything’s Fine Right Now,’ jazz standards
such as ‘Round Midnight’ are also featured. Tabla player Kesh Sathe
contributes his mastery to ‘Afta’ and ‘Nadu Silva,’ and Holly Gwyn lends
her stunning vocals to ‘On Green Dolphin Street’ and the rousing ‘A
Mighty Fortress Is Our God.’ Enjoying cult status for a new generation
of fans, Davy Graham’s mystique endures and he remains one of the UK’s
foremost guitar greats.By lightintheattic
Britxotica - London's Rarest Primitive Pop & Savage Jazz
Label : Trunk
Value :
Not exotica, but Britxotica – a cool variant of the American postwar
love of the sounds of the islands and the jungles – served up here in a
really hip batch of tracks from the UK scene of the late 50s and early
60s! Many of these numbers are rooted in jazz, and there's definitely
some key jazz musicians in the mix – but you'll also hear lots of the
percussion, global instruments, and moody orchestrations you'd find on
American records by folks like Les Baxter or Martin Denny – although
sometimes with an even groovier vibe, and a nice London twist – similar
to some of the Croydon Municipal compilations from Cherry Red!By Dusty
Britxotica Goes East! – Persian Pop & Casbah Jazz From The Wild British Isles!
Label : Trunk
Value :
Groovy Brit tunes with exotic Far East influences – affectionately
compiled by the deep digging geniuses at Trunk Records! Persian Pop
& Casbah Jazz From The Wild British Isles is an apt description,
alright – as the vibe is very much in a bright, groovy late 50s/early
60s Brit mode, with jazzy pop and hip soundtrack style to spare – with
lyrical and instrumental odes to the Far East that are sweet and
endearing in ways that transcend the cheeky exotica of the time.
Wonderful stuff – with tunes by The Beverley Sisters, Chico Arnez,
Johnny Keating, Tony Osborne, Ray Ellington and more. By Dusty
Taste :
Kenny Day The sheik of Marocco
Tropical Britxotica! – Polynesian Pop & Placid Jazz From The Wild British Isles
Label : Trunk
Value :
The Britxotica sound is back in wonderful form – that fantastic postwar
meeting of musical modes that happened every bit as much on the London
scene as it did in the US! In fact, given the Caribbean and colonial
ties of British culture, we might almost make the argument that some of
these tunes have more of an authentic imprint than American exotica of
the time – although "authentic" is hardly the name of the game here – as
the music really gets its charms from the way that the sounds of the
islands are reworked for the dancefloors of Soho at the end of the 50s. By Dusty
To 1975 στο φεστιβάλ Καννών προβάλετε το πορνογράφημα του
Lasse Braun (κανονικό του όνομα Alberto Ferro) με τίτλο
"Sensation".Το φιλμ προκάλεσε έντονες αντιδράσεις. Λογικό, αφού η ιστορία
έχει να κάνει με δυο Αγγλιδουλες οι οποίες ταξιδεύουν ως το Άμστερνταμ αναζητώντας
την απόλυτη σεξουαλική εμπειρία δίχως όρια και ενδοιασμούς. Προσπερνώντας το
στορρυ και παρατηρώντας τα πλάνα τη φωτογραφία (Falcon Stuart συνεργάστηκε με
Peter Blake και Robert Altman) την παράγωγη και την αισθητική βλέπουμε ένα αποτέλεσμα
που όμοιο του δεν υπάρχει. Ακόμα και η μουσική είναι γραμμένη εξ ολοκλήρου γι αυτό
το φιλμ απο κάποιον Richard Moore. Ένα mix απο prograssive rock,pop και funk! Δεν
ξέρω ποιος κρύβεται πίσω απ το όνομα Richard Moore. Ξέρω όμως ότι στο μπάσο ήταν
ο Adrian Shaw (The Crazy World Of Arthur Brown και Hawkwind) και στη παράγωγη
του δίσκου ξανά βλέπω τον Falcon Stuart ο οποίος ήταν μάνατζερ και μουσικός παραγωγός
αργότερα των X-Ray Spex,Adam and the Ants και της Danielle Dax. Τέλος το
Sensation είναι η πρώτη πορνογραφική ταινία που κυκλοφόρησε επίσημα στις ΗΠΑ.
Sensations is a 1975 hard core pornographic film written by Veronique
Monet and directed by Alberto Ferro. It stars the writer and Brigitte
Maier and features an appearance by Tuppy Owens. It was exhibited at the
Cannes Film Festival and became the first European pornographic film to
be distributed in the USA.
The music is a mix of prog rock , funk, and strange French 70s pop, with a small funk group backing.
Possibly the greatest album ever by the legendary Chicago soul singer
Terry Callier! Terry's rich mellow voice is mixed with superb
arrangements from the Cadet studio team, with Charles Stepney at the
head, and the result is completely sublime. The songs are longer than
on earlier albums – and spun out with a complex groove that mixes equal
parts of jazz, folk, and soul with the soaring spiritual vibe that was
running through the Chicago scene at the time. The first side alone is
the stuff that legends are made of – with classic tracks like "Dancing
Girl", "What Color is Love", and "You Goin' Miss Your Candyman" all in a
row, sewn together in a wash of love, soul, and emotion that you'd be
hard pressed to find on any other album from the time.By Dusty.
Arthur Verocai's long-lost solo LP straddles the continents to fuse Brazilian tropicalia with American funk, yielding a shimmering, dreamlike mosaic of sound that both celebrates and advances the creative spirit. Employing a dizzyingly lush 20-piece string section, stiletto-sharp bursts of brass, and electric piano melodies that twinkle like stars, Verocai's heady productions draw on folk, jazz, and pop traditions from both sides of the equator to make music that is both immediately familiar and quite unlike anything else you've ever experienced. While its sun-kissed arrangements and insistent rhythms clearly evoke its Brazilian origins, Arthur Verocai nevertheless seems to exist somewhere far outside of space and time.
If any singular exponent of the powerful Turkish Anadolu Pop scene
could be described as eclectic it would have to be Ersen. His chameleon
image in Turkey has teetered on the edge of versatile and schizophrenic
over his 40-year sporadic career and his versatile talents as a vocalist
have served as a refreshing alternative to his contemporaries in one of
the most progressive musical micro-cultures in the history of rock
music. Catapulted into prominence by the first ferocious wave of the Anadolu
Pop scene alongside the true cognoscenti of the fledgling phenomenon,
Ersen would go-on to record a smash hit single and a string of
stylistically disparate records which entertained, inspired, confused,
rejuvenated and offend his divided audience in equal parts. By today’s
standards Ersen’s erratic creative tendencies makes him one of the
strongest Turkish rock contenders to transcend changing musical trends
and geographic territories. As a singer he has one of the most unique
softly spoken vocal deliveries on the Anatolian Rock scene and as a
composer his use of long heavy rhythmical passages punctuated by his
signature ‘panting’ vocalisations and throbbing basslines are
unmistakable. To fans of early Eastern psychedelic music it will make
sense that, although at times in his career Dinleten may have been
regarded as an outsider, many attributes of his unique sound are
accountable to his open armed acceptance by the originators of the
Anadolu Pop scene – primarily, and namely Mogollar and 3 Hurel.
As an artist who had started out playing the type of romantic ballads
which wouldn’t sound out place in your local Turkish restaurant, Ersen
had been transformed into a credible ambassador for the much publicised
Anadolu Rock phenomenon and, to some sceptics dismay, he had travelled
via rock ‘n roll, traditional folk and pop trends along the way. In some
senses the Anadolu rock scene mirrored the likes of Brazil’s Tropicalia
movement where social politics could potentially eclipse the music, so
when the likes of Ersen chose to remain apolitical he was often
criticised by the unduly disappointed radicals of young Turkey. Where
the vociferous Selda Bagcan could be compared to Os Mutantes’s Rita Lee,
Ersen took the role as a politically pedestrian Roberto Carlos.
The recent resurgence in Ersen’s music amongst DJs and record
collectors and the recent commercial re-appropriation of his tracks via
advertising and sampling stands is testimony to his misplaced
accessibility. The A-side to Ersen and Dadaslar’s third single ‘Gafil
Gezme Saskin’ (Don’t Wander Heedless, Bewildered)
was recently sampled
by American Hip-Hop producer ‘OH-NO’ as part of Los Angeles based Stones
Throw collective who have embraced the resurgence of Anatolian Pop with
open arms. Recent joint DJ sessions with label boss Eothen Alapatt and
Finder Keepers have witnessed packed dancefloors rocking-out to dozens
of rare and unknown Turkish 45s while auction site eBay plays host to
hoards of frenzied bidders hoping to secure original copies of Turkish
LPs at inconsistent and regularly inflated prices. In 2007 traditional
English footwear brand Clarks went to great cross-continental lengths to
license the track ‘Gunese Don Cicegim’ for a national TV advertisement
which prompted heavy debates on internet forums amongst hungry vinyl
junkies trying to identify the mystery track.
Phoenix was one of the most prominent Romanian Rock and Roll bands of
the latest decades, and also the first one to take musical inspiration
from ancient Romanian folk themes.
Formed in the 1960s, it began by doing covers of Beatles songs.
However, they soon had to change their style since the Romanian
communist regime disliked any form of western culture. The communist
regime suggested that all rock oriented bands should look for
inspiration within the Romanian culture. These restrictions made the
band's leader Nicolae Covaci search within the Romanian folklore, which
gave them a unique sound.
A nice prog folk 45's for this group from Argentina.
Very calm with some acoustic guitar parts with nice folk vein. Nice lirics with a female balanced voice. Is
not a masterpiece but it's a good work made in Argentina in 70 décade.
Ό κύκλος των δώδεκα
τραγουδιών τού δίσκου αυτού είναι
αποδεσμευμένος από τα μέχρι τώρα
μουσικοκοινωνικά μας πλέγματα και
δοσμένος σαν μια μετουσίωση της γνωστής
δομής. Έχει μια εσωτερική δύναμη, μια
ελεύθερη μουσική φόρμα και μια παράθεση
νέων μουσικών στοιχείων. Ένα διαφορετικό
βήμα σ εναν μεγάλο δίσκο,δώδεκα
καινούργια τραγούδια.Eιναι ή πληρέστερη
αξιοποίηση μιας νέας κινήσεως την οποίαν
θα θέλαμε να αυτό αξιολογήσουμε σαν μια
μουσική έκφραση απομακρυσμένη από την
ατμόσφαιρα της κουρασμένης επαναλήψεως.Όλη αυτή ή κίνηση ονομάζεται πρωτοπορία
με μια σοβαρή ενότητα απλού στίχου και
μελωδίας, Δέν μπορούμε να βρούμε ένα
στερεότυπο χαρακτηρισμό για το καινούργιο
αυτό κάτι.
Οταν παραμερίζουμε τα
συνηθισμένα μας μουσικά πλαίσια και
ξεφεύγουμε από όλη την παράδοση της
ελαφράς μας μουσικής για να δώσουμε ένα
νέο ύφος. Το πλατύ κοινό έχει πάντοτε
μια διστακτική γνώμη περιμένοντας τις
περαιτέρω εξελίξεις αυτής τής φόρμας.
Ενα τόλμημα λοιπόν για την Εταιρία
"ΜIΝΩΣ ΜΑΤΣΑΣ ΚΑΙ ΥΙΟΣ Α.Ε... και μια
απέραντη αισιοδοξία του καλλιτεχνικού
επιτελείου της.
Ή άφθαστη φωνητική τέχνη
της Λίτσας Σακελλαρίου ή οποία βρήκε
τόν ιδανικότερο τρόπο για να δείξει την
μεγάλη άξια της είναι ένα από τα μεγάλα
ατού τού δίσκου. Δίνει, με την απαιτουμένη
έκφραση ατά τραγούδια μία ξεχωριστή
πνοή. Επίσης ή ιδιότυπη φωνή τού Γιώργου
Γεωργιάδη είναι ένα αναπόσπαστο στοιχείο
του δίσκου αυτού.
Δώδεκα τραγούδια και
μια μικρή αναφορά στούς άμεσους
δημιουργούς τους: Ό Πέτρος Ζέρβας ένας
άφθαστος βιρτουόζος της κιθάρας και ό
Γιώργος Γεωργιάδης δυο αστήρευτες πηγές
μουσικών εμπνεύσεων έγραψαν τους στίχους
και τη μουσική επηρεασμένοι αποκλειστικά
και μόνον από προσωπικά βιώματά τους,
Δέν απομένει παρά μια μικρή επεξηγηματική
παρένθεση για τον τίτλο "ΔΩΔΕΚΑ
ΒΡΑΔΥΑ,, είναι ο σύντομος κύκλος μιας
ερωτικής ιστορίας με στιγμές ελπίδας
αγωνιάς ή ερημιάς. Δώδεκα βράδια για
ένα χωρισμό ή για μία παντοτινή συνάντηση.
Μιά μικρή αναδρομή στις δικές σας στιγμές
θα προσθέσει στον δίσκο τα απαραίτητα
στοιχειά για την απολαυστική σας ακρόαση. Απ τις σημειώσεις του δίσκου.
Lyn Christopher’s 1973 debut release on Paramount Records is once again available through Universal Music. The Lyn Christopher album contains 11 classic tracks showcasing Lyn’s sultry and iconic vocals that reflect the mood of early 70’s pop and soul optimism. Unfortunately, her debut found itself out of print after Paramount’s demise only months after the album’s original release.
This album marks the first ever appearance of KISS’s Gene Simmons and Paul Stanley on a major release as they lend their background vocals on the tracks “Celebrate II” and “Wedding”. Another KISS member, drummer, Peter Criss, also lent a hand in the form of hand claps on “Celebrate II”. The Lyn Christopher album also showcases the single, “Take Me With You,” a track which has seen a resurgence celebrated in a sample on LL Cool J and 50 Cent’s 2008 single, “Feel My Heartbeat”. “Take Me With You” was also recently sampled in 2013’s “Favorite Rap Stars” by Mobb Deep’s Havoc, featuring Raekwon and Styles P.
