The comedic value of hallways should never be forgotten.
Factories serve mostly as economic fodder. Chocolate and assembly lines only came to prominence when Lucille Ball developed a sweet tooth. Mirrors, for the most part, are not a force to be reckoned with. The Marx Brothers merely started a trend of fools outwitted by a clever mime. And it was only the mind of Charlie Chaplin that was able once again banana peels fresh. Consider that "The Tramp" was the one to suggest victims of fruit induced gags should not hit the floor at all, but instead fall down a manhole for added effect.
For his part, Benny Hill is more than the "Yakety Sax," man. Most situations are more palatable when accompanied by Benny Hill's theme song. Still, the British TV icon was more than a goofy song. The hallway chase routine has been imitated by the Looney Tunes, South Park and Scooby Doo to name a few; and has proven legendary it its own right
Light entertainment aside, the following post concerns halls, but of a different nature nature altogether. Far from anything worth laughing at, what follows are a couple dancehall tracks released within the past week.
Like the Trap God, walls contain the World Boss physically. Just because Vybz Kartel is behind bars, though, does not mean songs credited to his name will suddenly stop appearing. Such is the case of "Change Mi (Unruly)" which released on the web just this past Wednesday care of Gaza Priince Entertainment. The vocals combines two styles: the hook is features clean, auto-tune singing, as heard on last summer's "Miami Vice Episode," while the verse features rough, raspy singing not unlike what was heard "Mind Dutty." The rhythm, however, is new; the song below is performed over a "Brit Jam Flesh Riddim." In contrast to "Paradise," however, "Change Mi (Unruly)" is harder despite the smooth synth melody; more snare and crash cymbal does the trick. Then again, each song showcases a different character altogether. Free Addi Innocent (he ain't got clone).
Where dancehall mainstays are concerned, a new Beenie Man track also appeared this week. Granted, the artist in question is perhaps most familiar to American audiences due to content controversy. Even prior to the current progressive wave overcoming society in respect to same-sex relationships, Beenie Man's "slackness" was not taken too kindly. Still, the man is more than a past news item. As part of the Lockecity Music Group Promo released on Wednesday, "Hold Him" a quick song over the "Autoban Riddim." In addition to the kick/hi-hat/bell percussion, the rhythm is carried by electric guitar and synth. The overall feeling is somewhat old-school. Although run time just eclipses the two-minute mark, an introduction, two-bars, multiple choruses, and a bridge is heard; which is to say, the audience is treated to a full gamut of vibes
While not technically not a dancehall tune, what follows is too good to exclude. From Kingston by way of Sicily comes Alborosie and the Shengen band. Below is the group's first single of the year. A noticeably dub-y song, plenty of synth and reverb is heard throughout "Poser". The track, though, is carried by heavy bass and Alborosie's effortless toasting. A piano can be heard as well, but the arrangement strays from excess sounds. Despite the insertion miscellaneous effects, the melody does not distract from the song's main attraction: the front man. Best of all, "Poser" is available to download for free. A quick quick of the downward facing arrow is certainly recommended.
This last selection features a common name. For the second time in this post, Beenie Man make an appearance; now lending his talents towards a collaboration. In tune with the efforts of vocalist Savage and Victory Squad Entertainment comes "Dollars A Turn." Despite the noticeably imperfect mastering, as a whole the song is a pleasure. High and low pitched vocals play to each other well. Each of the production risks also elicit positive results. The melody, for instance, is carried by a combination of a short, nearly jungle-like, string phrase; interchangeable with the synth that follows. Ventures into vocal after effects provide a change in pace. The rhythm is carried by a hi-hat heavy beat, but it is the underlying bass which is the real killer. Unfortunately, it is this last portion, that would benefit most from revisiting the final mix because the bass frequencies groove heavy. Alas, this song is also available to download free of charge.
- John Noggle
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