Format: Vinyl LP
And so to Volume 3. Some people may think that by the third volume steam is being lost and things are going downhill, but I’d argue otherwise. Volume 2 is a period of retrenchment, re-stating the basic formula, Volume 3 is where we truly get up, get into it and get involved. One listen to our latest offering should put you right on track with that.
The market is now stuffed with Breaks compilations, which for some reason seem content to recycle the same few tracks time and time again. If we issued Super Breaks 1 now we would find that its tracks were clogging up half a dozen other albums, but I’d just like to say – we had them first (bootleggers seem to be better at this sort of game, perhaps unsurprisingly, and are exempted from this particular criticism – but this one only). Bitter? Don’t be silly because, while they are not looking, I get to use some of my favourite breaks, which you’d have thought would have featured by now. Take Sly and the Family Stone’s Trip To Your Heart which featured as the distinctive sample on one of the most incendiary pieces of hip hop of the early 90s: LL Cool J’s Marley Marl-produced Mama Said Knock Me Out. We have it as no one else seemed to want to re-issue it (if I’m wrong here let me know at the usual address). The same seems to apply to Johnny Jenkins’ thunderous version of I Walk On Guilded Splinters which featured on both Beck’s Loser and Oasis’ Go Let It Out. The track itself and the album from which it is lifted is a brilliantly dark slice of swamp blues and has Eddie Hinton on percussion, so if I ever ask you the name of the last UK number 1 to feature Mr H you now know the answer.
But those are just two of our features. How about the Mad Lads, one of Stax Records’ finest vocal groups, who by some quirk of fate find their records sampled regularly, or, showing that we know what to keep an eye on, the Jurassic 5-sampled (and Brainfreeze mix-tape utilised) Westbound curio Music Man by Pleasure Web, here featured in unedited form for the first time ever. We also present Wendy Rene’s Wu Tang-sampled After Laughter Comes The Tears and the GZA and Mary J Blige-utilised The Masquerade Is Over by David Porter. Both are beautiful slices of Memphis ballad soul.
Those who like a good old school break are catered for here by the mighty T Plays It Cool from Marvin Gaye, BT Express’ This House Is Smoking and the Bar Kays’ Holy Ghost which between them surprise me in their much-sampled status as you would have thought the copies would have been worn out in the block party cutting contests. And if your old school is the brilliant late 80s sounds created by De La Soul and Tribe Called Quest we have something for you. For reasons best known to us we haven’t put a Funkadelic break onto Super Breaks yet, but now they arrive with the great Nappy Dugout which formed the basis of TCQ’s Ham And Eggs from their magnificent debut album. For the De La’s we have some Mad Lads, but also the underrated jazz guitarist Jimmy Ponder, with his space soul version of George Harrison’s beautiful Whilst My Guitar Gently Weeps.
I’m sure this load would be enough to convince you that we have a compilation that is on fire – but we’ve also included some under-used pieces – the Coasters’ Soul Pad, Hampton Hawes’ David Axelrod-produced groove Web and 50 Foot Hose’s psychedelic funk The Rose. And then a pretentious sleeve note intro saying how we tried to make the album a listening experience from start to finish. Well we did and, two months on, it seems to work (for me at least).