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artist · daddy g
release · dj-kicks
year · 2004
genre · trip-hop
label · !k7
catalogue · !k7170lp
website · www.k7.com
date · 09-mar-2005
quality · 180kbps/44,1khz
source · vinyl
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a1 willie williams - armagideon time 2:30
a2 melaaz - non non non 4:34
a3 johnny osbourne - budy bye 4:24
b1 foxy brown - oh yeah 4:21
b2 nusrat fateh ali khan - mustt mustt [massive attack remix] 4:25
c1 barrington levy - here i come (dubplate version) 3:46
c2 leftfield - inspection (check one) 6:31
d1 massive attack & mos def - i against i 5:41
d2 les negresses vertes - face a la mer [massive attack remix] 5:35
playtime · 00h 41m 47s
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you may consider grant marshall, a.k.a. daddy g as spiritus rector
of what has historically become known as the "bristol sound". it┤s
that laid back sound that breathes dub, reggae, funk, disco and
hip hop, represented by protagonists like massive attack, smith &
mighty, tricky and portishead. a sound that left its global traces
for more than one and a half decades. and daddy g is its spiritus
rector because he was one of the founders of the wild bunch sound
system, out of which later massive attack emerged. besides
mushroom and 3-d, daddy g was both one of the core members of the
group as well as one of the group┤s main voices.
way before being part of a band though, daddy g was known as a dj.
as a ten year old he already recorded mix tapes, inspired by the
dj boyfriend of his older sister. 1980 he was one of the youngest
bristol djs, quickly establishing his name as a synonym for an
eclectic music style. at the parties at which g played, one could
always hear the newest in disco, fresh punk funk from ny, the
first rap imports as well as soul and dub reggae. when the wild
bunch sound system was founded, daddy g already was a local
celebrity. his dj sets were not only legendary because of their
selection and his mixing skills, but because he rocked the
microphone as versatile as the wheels of steel.
for his mix for the newest installment of the "dj-kicks" series,
daddy g dug deep in his record case. "rock steady baby," sings
aretha franklin on the penultimate cut of this mix. rocksteady, of
course, was also a jamaican style of the late 1970s, essentially a
kind of slowed-down ska. for daddy g, reggae is the source. this
mix kicks off with two tracks from the legendary studio one
stable, including his "most favourite record ever", willie
williams' 'armagideon time', and proceeds with 'non non non' by
melaaz, a languid french version of a studio one classic.
barrington levy's 'here i come' is a dancehall classic, foxy
brown's sassy 'oh yeah' is based on an old toots & the maytals
tune, and johnny osbourne's 'budy bye' is an early slice of
electronic reggae.
the meters are included with a song for daddy g's daughter, ava.
that and aretha's 'rock steady' square the reggae-soul circle, the
latter in the shape of danny krivit's inspirational but extremely
hard-to-find edit. this isn't the only rarety on the mix.
'aftermath' comes in tricky's original white label version. 'i
against i' was recorded by massive attack with mos def for the
blade 2 soundtrack and never released anywhere else. badmarsh and
shri's 'signs' appears, like several other tracks, in limited
edition dubplate form.
it┤s obvious that daddy g included many tracks by his original
crew, massive attack: apart from 'i against i' and a rare mix of
'karmacoma', daddy g has also included their groundbreaking
remixes of les negresses vertes and nusrat fateh ali khan ("the
most enjoyable mix we've ever done"), finally ending up with paul
oakenfold's subtle mix of 'unfinished sympathy'.
there are djs, that get their kicks from playing out obscure white
labels that no one knows. and then there┤s djs who simply enjoy
playing their favourite records. daddy g belongs to the latter. on
his mix for the dj-kicks series he simply says: "these tracks are
always in my box."
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