If You Catch Me At The Border I Got Visas In My Name

A month ago I watched the excellent documentary Matangi/Maya/M.I.A., a film about the life, music and politics of M.I.A. The film is made up of home video footage, TV appearances, time spent with Justine Frischmann and on the road with Elastica, interviews and various shaky, hand held video camera and phone clips. It’s a fascinating document, energetic and gripping. Much of the film centres around a visit to Sri Lanka which Maya extends longer than intended and the impact this has on her convictions and politics and the effect this then has on her music, her view of herself as an immigrant and a Londoner. As her music becomes more popular and widespread she walks into various controversies. She is accused by the US media of being a terrorist sympathiser (her father was a founding Tamil Tiger). She is set up by the New York Times and responds by tweeting the journalist’s mobile phone number. She is invited by Madonna to appear with her at half time during the Superbowl and gives the whole of Middle America the middle finger. Her ambition and attitude are evident from the star and she comes across very well too, likeable and genuinely questioning her own attitudes and beliefs. She has swagger and self- belief and has made some of the best pop songs of the 21st century.

I’ve posted this before but it never gets tired, a thrilling pop- rap blast riding in on that Mick Jones Straight To Hell guitar sample, Diplo’s production and M.I.A.’s lyrics about people’s perceptions of immigrants (hence the gun shots and cash registers of the chorus).

Paper Planes

The best use of a Clash sample? Maybe so. Norman Cook and Beats International made very good use of Paul Simonon’s bassline for Dub Be Good To Me in 1990, with Lindy Layton’s sweet vocal and The SOS Band’s song.

Dub Be Good To Me (LP version)

In 1994 Deee Lite sampled the wheezy organ from Armagideon Times for Apple Juice Kissing, a song about kissing on the back row of the movies and therefore a much less political song than Paper Planes, Straight To Hell or The Clash’s cover of Willie Williams’ reggae tune but all part of life’s rich tapestry. And a very smart use of a Clash sample too.

Apple Juice Kissing

Kissing In The Back Row, That’s How We Missed The Movie

Another Clash sampling song to start the week, following last week’s threesome and ¬†also suggested by Drew. This ¬†time it is from the righteous reggae rock of Armagideon Time, a two note organ riff played by Blockhead Mickey Gallagher and used as the basis for one of Deee Lite’s hippy-dippy house grooves Apple Juice Kissing. It’s a big jump from ‘a lot of people won’t get any justice tonight’ to ‘kissing in the back row, that’s how we missed the movie’ but it works really well.

Deee Lite are seen as a one hit wonder and there’s no doubting Groove Is In The Heart’s power to rock a party twenty five years after its release but there was more to them than that one single. The What Is Love? Holographic Goatee Mix is a bubbling, dancefloor treat.