ListeningOur brand-new musical department opens with a single but highly important gramophone recording by Britain's best (in the opinion of The Chap) purveyor of an increasingly pervasive new musical genre which has come to be known as Chap-Hop. Very soon we shall be adding to this department recordings by artistes from the 1930s and 40s whom we feel represent the ethos of the magazine. |
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Flattery Not Included
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The debut long player from Mr. B the Gentleman Rhymer, whose work has oft been highly praised within the pages of The Chap. This album showcases Mr. B's unique musical style, which he calls "Chap-Hop" with tunes such as Straight out of Surrey, Let Me Smoke My Pipe and the sublime Timothy, a silver-tongued critique of the life and work of vicar's son-turned-hoodlum Timothy Westwood: "Whatever happened to Timothy/I was at prep with him you see/we used to call him Spaz/and now he's on air chatting to Naz/He was a whizz with a cricket bat/But ne never used to talk like that." |
I Say!
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Mr. B continues in the same vein with his second longplayer, launched at the Second Grand Anarcho-Dandyist Ball. The album opens with his seminal tribute to this organ, "Hail The Chap!" and then touches on matters not usually of importance to hip-hop musicians, such as Lord Byron, Shooting one's cuffs, the misery of paid employment and Guy Debord, founder of the Situationist International. Chap-hop at its finest! |
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White Mink/Black Cotton Vol 1
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The Chap is naturally suspicious of anything that seeks to "reinterpret" the past, but there are of course exceptions. This long-player is one of them, being a sterling collection of musical offerings whereby contemporary disc jockeys have played around with authentic recordings of the 1920s and 30s, adding various frills and furbelows from their infernal contraptions. The other half of this double long-player presents a second batch of originals without anybody tampering with them. Visit this sound booth to hear a sample: Soundcloud.com | |
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White Mink/Black Cotton Vol 2
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Volume Two of the White Mink series continues ito wrap its curiously anachronistic/futuristic tentacles around the listener with a second double offering, split into two distinct gramophone recordings: the scratchy, breathy originals, in all their tainted shellac glory, coupled with the contemporary remixes, with their bloops and bleeps and a very different variety of scratches. | |