He Did It For Us

Remembering The Dove, a journey into forgotten dreams and the best vibes

A slightly shorter missive than usual from me this week. The combination of a few days away for half-term and my annual bout of Covid (third time’s a charm!) have made for an interrupted schedule. When I’m under the weather I do tend to reach for more familiar records, a lot of which I’ve written about already, so the impetus to focus on new music was diminished. I did find the hazy quality of the American Dream Reserve LP a good match for the somewhat detached state I’ve been in, and also dug into a similarly off-kilter album in the shape of The Clouds record on DFA - more on that in the coming weeks I expect.

I also listened to a lot of De La Soul this week - Dave’s passing has been a tough one to reconcile. What a shame he didn’t make it a few more weeks to see the outpouring of respect and affection that I’m sure we’ll see when their back catalogue finally comes to the streaming platforms. It’s a battle that he, Pos and Maseo fought for so long and it’s a cruel blow that he wasn’t around to see their labours come to fruition. Fly high Dave, you did it for all of us.

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February 16th • De La Soul - Stakes Is High

Like many of you, I've been thinking about De La Soul a lot this week. Like many of you, they were the first rap group I discovered. And like many of you, Dave's untimely death has really shaken me.

I don't think I'd ever have said that De La were my favourite group, but when I look back at what they've achieved and what they created in their career that seems wrong. How many bands have legitimately made four classic albums, with two or three others not far behind? And the songs...from The Magic Number to Rollerskating Jam to Stakes Is High to All Good to Much More to Rock Co.Kane Flow...it's a remarkably consistent run of releases across almost four decades, against the backdrop of an industry that did it's best to break them.

Listening to this record today, which is probably my favourite of theirs, it occurs to me what a feat it is that they can go from the day-glo, carefree vibe of their debut to this in seven years and it seem totally natural. This is a moody, bold piece of work, and as they've discussed in interviews, it felt like their last chance after the lukewarm response to Buhloone Mindstate. 

It was a risk to break from working with Prince Paul, but their gutsy move paid off, resulting in a rich, focussed record. I sometimes feel like De La don't get the props they deserved for their skill as rappers, and this record is as good a reminder as any that their flows stand up alongside anyone else in the rap game. Dave's verse on the title track should be in a fucking museum - it's perfection. 

What I love most about them though is their heart. They have always been honest; defiantly, unashamedly themselves. To do this in a scene as obsessed with appearances as hip hop is a rare thing. De La showed us that all we needed to be was ourselves - Me, Myself and I would always be enough. For that alone they deserve our eternal thanks. RIP Dave - we love you.

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February 18th • Various Artists - American Dream Reserve

One of the joys of getting back to writing about records is the recommendations I get. I discovered so many great LPs back in 2021 and whilst this can be tough on the wallet I love having those personal associations tied so closely to the music. 

Shout out to Avi for this selection, which had totally passed me by, despite being covered in the Bandcamp Daily. Put together by record collector Charles Bals under the watchful eye of Smiling C founder Henry Jones, they describe it as 'an hour-long journey into the world of lo-fi drumcomputer folk, disco-pop-lounge, haunting ballads, obscure vanity pressings, and synthesized string ensembles.'

Hopefully many of you will be familiar with the movie Swingers, and the duo Marty and Elayne, the in-house band at The Dresden Bar that John Favreau, Vince Vaughn and crew hang out in. Imagine if Marty and Elayne went to a convention for their peers in the world of low-budget entertainment::: this compilation is what that would sound like. A mixture of whistful casio-drum covers, road-weary Americana and hotel foyer exotica it creates a hazy, oddly familiar soundscape.

The care and attention that Smiling C have put into this is extraordinary; just look at the sleeve with the die-cut cover allowing each artist to get their moment in the spotlight in a way that they could never have imagined. I love that there's no irony or archness in the approach; the artists are treated with respect and reverence, as they should be.

These are artists that took the hard road, chasing dreams when many others would have retreated into the world of 'proper' jobs and steady contentment. It has charm and heart and no shortage of real magic in it too. American Dream Reserve is the perfect title, and I hope this LP inspires a few more dreamers to keep on believing.

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February 19th • Bobby Hutcherson and Harold Land - San Francisco

When artists master a slightly niche instrument I always wonder how they got there. How do you figure out that you have an aptitude for the harp or the sousaphone? The decision to take the road less travelled and not just go for the more commonplace (piano or guitar) is an interesting one.

Maybe it's like being a goalkeeper in football, or a wicket-keeper in cricket. Sure, it's a different approach to most, but you're guaranteed a game... As any five-a-side or Sunday League player will tell you, having someone who is not only able but actually willing to stand between the sticks is a precious commodity.

My musician friends can no doubt corroborate or debunk my theory, but if it does hold up then I think Bobby Hutcherson can lay claim to being the Lev Yashin of the Vibraphone. Thinking about it, maybe a better sporting comparison is a leg-spinner in cricket:. Whilst they are often not needed or useful, in the right conditions, at the right time, they can enjoy the centre stage in ways that few will ever get to experience.

This record is right in the middle of Hutcherson's time in the Blue Note spotlight, starting with Dialogue in '65 and running through till Knucklebean in '77. Alongside regular collaborator Harold Land it features the legendary Joe Sample on keys and veers away from their regular hard bop into slightly more fusion-y territory. 

I could listen to Hutcherson all day - the vibraphone is an instrument that can fall into easy-listening comfort, but his ear for composition makes his work constantly surprising and innovative. Whilst it's not quite up there with my favourites Montara and Cirrus, it's still a great record, and another one of those that can withstand both casual and deep listening. The re-issue I've got came out pretty recently so go grab a copy if you haven't already.

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