A number of years ago I would have found it inconceivable that anybody but dodgy old university music boffins or people running the late show on Radio 4 could have spliced together thrift-store folk, jazz and funk without it sounding faintly ridiculous. But what’s ridiculous and ungainly one day can be pretty vital and peachy the next. Those are the laws of physics. So it comes as little surprise to learn that another little white darling of hip-hop is about to be born: DJ Sharkey.
Of course, Sharkey is already fairly well known in hip-hop circles after teaming up with folks like Eminem, Everlast and Rick Rubin. A recent series of shows supporting Wyclef Jean and the immensely popular Black Eyed Peas with the Spark have failed to harm him either. But Sharkey goes back further still. As a member of The Crownsayers, Sharkey and the boys were tipped to be the next ‘big thing’. In fact 14 labels were rumoured to be chasing the band before they signed with the mighty Elektra label and scooped a “Big Daddy“ movie score credit some months later. Not bad for a band that had Danny De Vito turn up at their showcase at the Viper Room.
With guest contributions from Cannibal Ox, Zooks from The Spark, Jean Grae and The Pharcyde ‘Sharkey’s Machine’ is not short of ideas. But how could it fail to be? The album’s been co-produced by none other than Beastie Boy producer and all round ring-master, Mario Calado Jr. (responsible for all the Beastie Boy releases since 1992) as well as featuring the louche, funky touch of Beck mix-man and collaborator, Mickey Petralia (you heard his production work on Nicotine & Gravy, Peaches & Cream, Sexx Laws and Milk & Honey amongst others). With a pedigree like this, I bet you’re now expecting the album to be nothing less than a Bobby Dazzler. Well, you’d be right. It is indeed a Bobby Dazzler.
Although predominantly hip-hop there’s also major doses of easy-listening, jazz, soul, funk, flamenco and rock on offer. Whilst comparisons to DJ Shadow and Kid Koala may be inevitable, there’s way too much happening on this album to draw any kind of simple sound connection. Playful, amusing and choc full of warring samples and acoustic layers, ‘Sharkey’s Machine’ entertains the head as much as the hop. Interspersed with public information samples and curios from the sound library, the album is a funky little trick-bag of ideas. Check out the boot-shaking rootsiness of the ‘Little Cabin Song’ featuring Zooks with its gritty red-neck guitar, baggy beats and very well lubricated bass riffs. Or even the space age skiffle-hop of ‘The If It Fits’. Excellent tunes both of ‘em. Yet it gets better: the parping horns and the ska groove of the bubbling Jean Grae fronted ‘Summer In The City’ (Lovin’ It), the sleazy underworld jazz and funk of ‘Slo-Mo In The Grotto’ (a classic in the making) and the utterly plastictastic easy-listening croon fest that is ‘Snobird’ featuring The Pharcyde; a song that could easily slither its way into being this year’s sound of the summer.
‘Skateboarder’s Blues’ provides a timely commentary upon internet wanking and the demise of the ‘hood in favour of virtual neighbourhoods whilst the truly inspired piss-a-round, ‘Zooks Vs Connery’ – featuring a hilarious Sean Connery impersonation – provides the laughs. And with ‘Somethings Got To Give’ threatening to give Air and Zero 7 a run for their money in the come down area, it’s a sweet, sweet proposition indeed.
Don’t miss out. If you like anything that crosses over, you’ll love this.