PALOV feat. LADY FAYE: Troubles (2011)

Probably the best thing I’ve heard off the Cast-A-Blast label this year, Troubles is a big slice of soulful late-night reggae with a dope rnb-style vocal from Lady Faye along the lines of Katalyst and Stephanie Mckay‘s bomb track Day Into Night from back in March. The acoustic feel of Palov’s original gets a heavy dub-fuelled makeover from Jazz K Lipa and is all about the b-line and reverbed horns while Dirty Dubsters apply some jazzy junglist pressha. Also comes accompanied by the mellow skank and French accordion stylings of The Street Boys-sampling instrumental The Dude, the idea for which was apparently born out of an evening spent smoking little, tiny blunts made from Gauloise. Actually, I might have made that last bit up…(Out 14 July 2011 on Cast-A-Blast)

Palov ft Lady Faye – Troubles (promo mix) by Cast-a-blast Recordings

Palov is stepping to the forefront as an artist in his own right. His debut solo release “What’s That” made its way in radio, DJ play lists and compilations worldwide last year, revealing a top notch musicianship with guitarist and songwriter Angelos Angelides.

This time the two of them are meeting vocalist Faye and deliver a soulful vibrant reggae tune with a tripped-out jazz guitar solo, upright bass, distinct melodies and sweet emotion-packed lead vocals and harmonies.

Drum n Bass and dub fans will certainly love the jungle version by Dublin’s hardest working producers Dirty Dubsters, coming with their signature sound and the dub excursions suggested by the talents of Jazz K Lipa (Pepe le Moko, Resense).

6 Responses to PALOV feat. LADY FAYE: Troubles (2011)

  1. Peter Dimler says:

    Track 4, “The dude” is a remix from the record “Some folks” by the english group STREET BOYS changing the title songs name from “Some folks” to “the Dude” and putting his name Palov as the composer instead of crediting Sebastian WALTON the composer of this song. I know what I am talking about as I am the accordion player from the group STREET BOYS that you hear in this remix taken from the 1980 recording. Very dishonest.

  2. StoneMonkey says:

    It does appear that your band has been sampled by Palov and you’ll note that the post now recognises this. Here is a link to the youtube video for your band’s original track:
    The Street Boys – Some Folks video

    In Palov’s defence (and I do feel compelled to defend him for several reasons) while the term ‘remix’ is broad and open to interpretation, I think calling his track a ‘remix’ of The Street Boys’ track is stretching it beyond snapping point. Sampling and re-using a few bars (even if they do form a sonic motif on which the track rests) is NOT a remix. Sorry. Also, within the type of breakbeat music made by Palov and others like him, people expect producers to use samples which are often not credited. If I’ve understood you correctly though, your concern is not just that the sample is uncredited. You feel that people who hear the track may not realise that it is actually a sample and believe erroneously that Palov created the instrumentation. This is unfortunate but not, I think, intentional. In any case, as I say, people who listen to this sort of music are well aware that samples are used frequently and do not assume that any (and sometimes every) aspect of the song has been created and composed by the dj/producer. In fact this is the case to such an extent that there have even been times when I have assumed that something was a sample when in actual fact the producer had created it. What audiences of sample-based music do recognise however is that, even if the entire track is assembled and composed from found audio ‘objects’ (i.e. samples) it is the dj/producer who assembled the samples together and that the process of composing these samples into a whole is both a creative endeavour and entirely the work of the dj/producer.

    The arguments for and against sampling have been discussed at great length elsewhere but let’s just say, for brevity’s sake, that Monkeyboxing absolutely endorses sampling culture – credited or otherwise. It treats parts of songs as found objects and has placed them in creative contexts that were never originally intended sometimes with amazing results – a bit like Shakespeare stealing any number of sources and incorporating them into his dramatic body of work. He was somebody else who didn’t go out of his way to credit his sources – though it is fairly common knowledge that he was not the originator of many of his dramatic plots. The number of original recordings I have tracked down and bought as a result of hearing both credited and uncredited samples is beyond count. People ARE interested and they DO bother to find out – even if the sample is undeclared. Sampled artists DO benefit and get recognition – even if sporadically and indirectly. There are some senses in which the whole ‘sampling is stealing’ argument is part of a larger argument anyway. I’m sure you’re aware of the suspicious similarities between The Jam’s ‘Start’ and The Beatles’ ‘Taxman’ for example or The Doors’ ‘Hello I Love You’ and The Kinks ‘All Of The Day And All Of The Night.’

    Hopefully the changes I have made to the post and the link above provide some recognition for your band. Monkeyboxing often credits sample sources if I am aware of them. Unfortunately, in your case, I wasn’t. My understanding of sample culture is that it was originally a way of not just reinvigorating old music but of keeping it alive in people’s memories. In other words, tracks that sample provide a folk ‘archive’ of older music in one sense. Ironic really, since The Street Boys made folk music. If you still don’t ‘get’ sampling and the fact that samples are often uncredited and nothing in this response has changed your mind, you may have to find whatever comfort you can in the fact that folk music from 1982 is still being listened to by someone in 2012. Indeed, perhaps as a result of your contacting MB and my altering of the original post it may be that The Street Boys garner some new listeners. Though that may be a double-edged sword if the ungrateful bastards are then going to go on and sample you 😉

  3. Peter Dimler says:

    Thank you for your lengthy reply i shall forward this to Sebastian Walton the composer and our Editor,the later who i am sure is more in the know of what is considered sampling or not but your post was interesting. Thank you for bringing this to your readers attention. Thanks also for showing a link that has been viewed 1256 times although there is another link on YouTube that has been viewed 42455 times so we haven’t completely disappeared from memory before Palov’s version.

    I am a twin so i am use to having a clone as far as sampling goes i will have to get back to you on that 🙂

  4. Djouls says:

    As long as there’s no real commercial exploitation (and 500 copies vinyl or a few dozens digital sales is NOT commercial exploitation) sampling is just one of the many ways of creation.
    Crediting in that case is just to satisfy someone’s ego so it doesn’t really matter.

    When the track does get a commercial exploitation, then it gets cleared and the one who’s has been sampled gets his share. There isn’t any debate. No money = everyone does whatever he wants. Money = agreement or lawyers agreeing together.

    Now that’s settled, you gotta remember that 95% of the music industry is bootlegs and always has been. Big record companies have lost most of the contracts with time so most of what they reissue is bootleg too. My point being, everyone who’s whining is just not lucid.

  5. StoneMonkey says:

    Hear, hear!

  6. Peter Dimler says:

    Well, when i see that there is a 4 cd compilation on sale with our sampled song included distributed by Wagram music, That looks like a commercial exploitation to me? And not just a small time creative adventure. But who am i to complain? I’m just a small time musician who was produced by an independent producer and not one of your major record company’s so no match against a 95% bootleg industry. When i receive 50 emails over the last few months from fans telling me that they are happy that we have released an instrumental version of ‘Some folks’ i start to ask myself has the DJ added enough of his own touch so that people are not misled? Monkeyboxing have been kind enough to leave a link of our original song so that readers can listen to our original recording and the sample of our recording on palov’s version, there is a nice added guitar solo played for 50 seconds and the rest is my group playing for 3 mins with a few car horn hoots added and clinking beer glasses.Now if there was a new melody running on top of our theme i wouldn’t mind so much(it’s something which is done a lot these days) but that is not the case here.For sure, my small voice will not be heard on a blog that specializes in remixes and sampling and i will probably be accused of whining or being on an ego trip, so enjoy listening to ‘some folks’ for those of you that are too young to have heard it when it first came out in 1980 in spite of all the major record company’s that only wanted to signup groups that played disco music.