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Moka’s Sample Wishlist

 Image: Johan Prag.

A record producer. One of several dreamjobs I often fantasize about but will never have the guts to actively pursue. All said and done, I’ve actually been collecting throughout the years songs I’d love to sample if I were in fact a producer. I wont spill all the beans in this post but I will share with you 8 songs that I guarantee will get you enough money to buy at least 100 persian rugs and a yacht if treated properly. If I start seeing some of these choices in popular hip hop songs two or three years from now I’ll probably die in an envy fit. Do we have any producers amongst our readers? We do have Andras Fox posting awesome playlists every now and then over here and he makes some great sample-based music. Will he take my sample advice?
Either way, producer or not, these songs are amazing on their own and you wont regret adding any of them to your collection.

 

Captain Beefheart & His Magic BandObservatory Crest
Bluejeans & Moonbeams (1974)

It’s strange having the Captain showing off a romantic mood. This is such a lush intro, the first time I heard it I looped it about a dozen times thinking about all the little details and melodies you could add on top off it. To my knowledge no one has touched it yet which feels unexplainable to me (although Kid Loco did sample another mellow Beefheart song off this album for his track “she woolf daydream” and made a good job with it).

Dennis WilsonThe Dreamer
Pacific Ocean Blue (1977)

We really need to have more bass harmonicas in pop music. The funky riff in this song sounds more akin to Steely Dan or Little Feat than the Beach Boys. It’s almost heavy metal blues albeit with a gorgeous, relaxed groove. I feel like you could amp this up a bit to create a badass loop.

Psychedelic FursDumb Waiters
Talk Talk Talk (1981)

Another badass intro. At first I thought it was a synthesizer but I think it’s actually a saxophone and a guitar played at the same time. The whole mood of the song is very vicious so I think this one could fit a sleazy mood if it comes to that.

Jacqueline TaïebLe Coeur Au Bout Des Doigts
Bravo / Le Coeur Au Bout Des Doigts 7″ (1967)

I’m always raving about this song. Not only is this one of my favorite songs from all time, the horn section is completely sample-worthy, very catchy and upbeat. I’ve heard some edits of this one on soundcloud but nothing that makes me go crazy yet. I imagine it would fit best in an R&B track, it’s got that loose-limbed, organic quality that made ‘crazy in love’ and ’1 thing’ such huge hits. It also has one of those jumpy ye-ye basslines that stands pretty well on its own. Check out her ‘Bravo’ EP for extra horn goodness.

Lucio BattistiAncora tu
La Batteria, Il Contrabbasso, Eccetera (1976)

This is such a corny song but those flamenco disco guitars and that vintage synth figures on the verses are too catchy to be wasted. I’d love to isolate those and give them a better backbone, the drums and bassline are there but they don’t do anything special and they sound very tiny.

Marcos ValleParabéns
Contrasts (Far Out, 2003)

Smooth Brazilian-disco. This song is actually based around a sample of Marcos Valle’s own track ‘Wanda Vidal’ from 1971. I chose this one over the original since I like it way better and it has been remastered already. They also added a funky bassline and percussion to the mix. It gives you a better chance to pick whichever version has a better chance of clearance.

Esmeray –  Ayrilik Olsa Bile
Unutama Beni / Ayrılık Olsa Bile 7″ (1974)

I might be wrong but I’m fairly sure this song is actually a cover from an english song, I can’t find any information on it but I’m almost positive I’ve heard it in some other shape. I think it was even sampled on a hip hop record already? (I don’t know if I just dreamt about it, if you have any additional info on this one I’ll be infinitely grateful). Either way, despite the recording being lo-fi, this one oozes a subtle, domestic psychedelia vibe that it’s hard not to fall in love with. Also handclaps + humming.

William OnyeaborBetter Change Your Mind
Atomic Bomb (Wilfilms records, 1978)

Well, the production on this one is very low budget so it sounds very dusty, but there’s plenty of tidbits on this one that if mastered properly would make for some really funky loops. That intro alone is worth enough to bring it back from the dead.

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Category: Pop, Psychedelic, Rock

The Last Summer Splash

 

 

    • Pharrell & The Yessirs – That Girl
      Out Of My Mind (2007) 
[Epilogue]

…or Music for make babies.
I hope you had a great summer.

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Category: Electronica, Hip hop, Motel de Moka, Pop, Soul

Premiers Symptômes

Pattern: Catrin Lewis.

Living in Mexico City right now and it might be the first time in my life that summer has felt dim. The sun is barely a spot we see one or two hours each day and you go to bed without feeling you’ve caught a fever. This playlist captures my current mood in this summer, in this city. File it under groovy mellowness. Cloudy with a chance of blinding rays of light. It feels good to be back.

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Category: Bedroom playlist, Pop

Sleepless

 Image: Cover of Yellow & Green album by Baroness

I’m not dead, Motel de Moka is not dead…
It’s summer… So, let’s go swim!

Pd.
Gracias a @inconexa@sonicgu y @gatosingracia por su -indirecta- inspiración.

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Category: Electronic, Hip hop, Motel de Moka, Pop, Rock

Imaginary soundtrack for a Wes Anderson movie.

Photo still: Hotel Chevalier

Wes Anderson’s long withstanding obsession with mellow, baroque pop and british invasion bands is fascinating to me. I keep uncovering my new, old favorite song every time I see one of his movies. I even have a playlist dedicated to his films, filled with songs and artists I discovered thanks to him and a few more songs that I think would fit in his next hypothetical movie. I’ve no idea what his next movie will be about but I’ve been thinking that his mostly muted, awkward characters would develop grandly in a fast-paced environment. It could be an interesting contrast. How about a movie about a speed racer? Or better yet, a road movie? A film about the life of a motorcycle drifter and his dreams of finding someone and settling down. Keep that thought while listening to this playlist. Hope you enjoy.

It seems film directors are returning to the truths all pop music devotees have long tattoed to their heart: the collision of medium and man matters not, if it don’t sound good. In a recurring series tracing the links between movies and the pop music scores to which they owe so much, we’ll look at Wes Anderson’s ultra-stylized The Royal Tenenbaums and its mastery of the perfect pop music score. Film and cinema. Consider it a two-fer and settle in nice and close.

Pop culture fans tend to be self-mythologizers, building an odd nest out of the twigs and scraps of the movies and albums around them and claiming a place beyond themselves from the miasma that evolves. We force the arts into defining elements of ourselves, and copy and paste the way we might live up to them. Wes Anderson’s film is a masterwork of just this self-mythologizing. The grandiose characters—part cartoon-script and part Shakesperean tragedy—, the exaggerated costumes—from Mr. Sherman’s almost neon-blue jacket to Chas’s funereal black Adidas jumpsuit—and even Anderson’s Hitchcockian auteurism and its use of the same actors in widely-divergent roles links each movie to a larger awareness than any single film can lay claim to. Hints are given and fingers are pointed, but the links are there for the audience to follow at their choosing. Anderson rubs things smooth with his hyperstylized sets and costumes, but ultimately the film depends on pop music to connect itself to a world beyond its own colorful walls, and thus to blend the myth with the movie until there’s no longer any differentiating between the two.

- A kiss after supper: The Royal Tenenbaums by Derek Miller.

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Category: Folk, Pop, Rock

With wonderful deathless ditties
We build up the world's great cities,
And out of a fabulous story
We fashion an empire's glory:
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And three with a new song's measure
Can trample an empire down. [1]


Down, down, down. Would the fall never come to an end! `I wonder how many miles I've fallen by this time?' she said aloud. `I must be getting somewhere near the centre of the earth. Let me see: that would be four thousand miles down, I think--' (for, you see, Alice had learnt several things of this sort in her lessons in the schoolroom, and though this was not a very good opportunity for showing off her knowledge, as there was no one to listen to her, still it was good practice to say it over) `--yes, that's about the right distance--but then I wonder what Latitude or Longitude I've got to?' (Alice had no idea what Latitude was, or Longitude either, but thought they were nice grand words to say.) [2]



O long-silent Sybil,
you of the winged dreams,
Speak out from your temple of light
as the serious constellations
with Greek names
still stare down on us
as a lighthouse moves its megaphone
over the sea
Speak out and shine upon us
the sea-light of Greece
the diamond light of Greece

Far-seeing Sybil, forever hidden,
Come out of your cave at last
And speak to us in the poet's voice
the voice of the fourth person singular
the voice of the inscrutable future
the voice of the people mixed
with a wild soft laughter--
And give us new dreams to dream,
Give us new myths to live by! [3]


So our princes who have lost their principalities after many years’ of possession shouldn’t blame their loss on fortuna. The real culprit is their own indolence, going through quiet times with no thought of the possibility of change (it’s a common human fault, failing to prepare for tempests unless one is actually in one!). And when eventually bad times did come, they thought of •flight rather than •self-defence, hoping that the people, upset by conquerors’ insolence, would recall them. This course of action may be all right when there’s no alternative, but it is not all right to neglect alternatives and choose this one; it amounts to voluntarily falling because you think that in due course someone will pick you up. If you do get rescued (and you probably won’t), that won’t make you secure; the only rescue that is really helpful to you is the one performed by you, the one that depends on yourself and your virtù. [4]