THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
Hot damn! The first two albums by this oft-overlooked classic '70s funk band, finally reissued as a 2-on-1 UK import disc. Jimmy Castor, he's the guy that sued the Beastie Boys over that "Hey LeRoy!" sample. Blending fat funk guitar, '60s astrologically-obsessed psych rock, Hendrix worship (there's a weird tribute to Jimi here, a Purple Haze/Foxy Lady hybrid cover), as well as doo wop, soul and some sappy r&b...they don't make 'em like this anymore. "It's Just Begun" will send you back, way back, to the time of the "Troglodyte". The cave man theme recurs, with "Phase Two"'s "Luther The Anthropoid (Ape Man)"... Heavy acid funk stomp, silly sexual primal urge stuff to be sure, mixed with some lighter, more 'spiritually' oriented cuts. As we move into album no.2, there are definitely some really bad moments of love song cheese to interfere with your enjoyment of the BAAADDD moments of troglodyte funk, but on the whole this is deep and weird enough to be essential to the dedicated funkateer. (Those who wish to avoid any of the lame tracks are directed to the "Everything Man" best-of Jimmy Castor compilation on Rhino, which will provide the 'hits' as well as some swell disco cuts from later in his career.) For fans of early Kool & the Gang, Parliament, B.T. Express, that sort of thing, but the best stuff here's got a dosed and primordial edge unlike anything else excavated from the early '70s era.
For those of you who missed out on the super limited handmade Five Pillars Of Soul cd-r's JWB released one at a time over the last couple years, you can once again thank your lucky stars, you've been saved. And those of you who did manage to get em, well, why not get this handy disc that collects all 5 cd-r's onto a real cd with even more extensive liner notes added.
While this is purportedly a tribute to soul music, the soul music seems to be mostly implied here, like 'soul' in spirit, in concept, in intention, but not in execution. Which is not a bad thing. This -is- soul music, but the way it can only be played by middle class, white, mid-western boys. All shrieking, skronking, sweaty, pounding, rocking and GROOVING. You can catch glimpses of the Make Up, the Blues Explosion, the White Stripes, New York Dolls, as well as Alice Donut (especially in the vocals). Weird and pretty wonderful. Spazzy, soulful, glammy ROCK AND ROLL. There are 5 volumes. Short and sweet (each clocking in at 10-15 minutes) and all in honor of JWB's peculiar ideas of the pillars of soul: Melvin Van Peebles, Tania Hearst (Patty Hearst with her SLA name), Albert Ayler, Marc Bolan and Yoko Ono. They also throw in some covers of the Zombies, the Fugs, and Mission Of Burma but turn them into punky soul-fuck explosions... Good stuff. Although I'm still clinging to the belief that the sixth pillar must be BRUCE WILLIS!!!
While this is purportedly a tribute to soul music, the soul music seems to be mostly implied here, like 'soul' in spirit, in concept, in intention, but not in execution. Which is not a bad thing. This -is- soul music, but the way it can only be played by middle class, white, mid-western boys. All shrieking, skronking, sweaty, pounding, rocking and GROOVING. You can catch glimpses of the Make Up, the Blues Explosion, the White Stripes, New York Dolls, as well as Alice Donut (especially in the vocals). Weird and pretty wonderful. Spazzy, soulful, glammy ROCK AND ROLL. There are 5 volumes (we have the first four). Short and sweet (almost too short, clocking in at 10-15 minutes) and all in honor of JWB's peculiar ideas of the pillars of soul: Mario Van Peebles, Tania Hearst (Patty Hearst with her SLA name), Albert Ayler, Marc Bolan and the as yet to be announced 5th pillar.
Nice handmade sleeves with cool/funny liner notes. They do covers of the Zombies, the Fugs, and Mission Of Burma and turn them into punky soul explosions... Good stuff, here's hoping the fifth pillar is BRUCE WILLIS!!!
While this is purportedly a tribute to soul music, the soul music seems to be mostly implied here, like 'soul' in spirit, in concept, in intention, but not in execution. Which is not a bad thing. This -is- soul music, but the way it can only be played by middle class, white, mid-western boys. All shrieking, skronking, sweaty, pounding, rocking and GROOVING. You can catch glimpses of the Make Up, the Blues Explosion, the White Stripes, New York Dolls, as well as Alice Donut (especially in the vocals). Weird and pretty wonderful. Spazzy, soulful, glammy ROCK AND ROLL. There are 5 volumes (we have the first four). Short and sweet (almost too short, clocking in at 10-15 minutes) and all in honor of JWB's peculiar ideas of the pillars of soul: Mario Van Peebles, Tania Hearst (Patty Hearst with her SLA name), Albert Ayler, Marc Bolan and the as yet to be announced 5th pillar.
Nice handmade sleeves with cool/funny liner notes. They do covers of the Zombies, the Fugs, and Mission Of Burma and turn them into punky soul explosions... Good stuff, here's hoping the fifth pillar is BRUCE WILLIS!!!
While this is purportedly a tribute to soul music, the soul music seems to be mostly implied here, like 'soul' in spirit, in concept, in intention, but not in execution. Which is not a bad thing. This -is- soul music, but the way it can only be played by middle class, white, mid-western boys. All shrieking, skronking, sweaty, pounding, rocking and GROOVING. You can catch glimpses of the Make Up, the Blues Explosion, the White Stripes, New York Dolls, as well as Alice Donut (especially in the vocals). Weird and pretty wonderful. Spazzy, soulful, glammy ROCK AND ROLL. There are 5 volumes (we have the first four). Short and sweet (almost too short, clocking in at 10-15 minutes) and all in honor of JWB's peculiar ideas of the pillars of soul: Mario Van Peebles, Tania Hearst (Patty Hearst with her SLA name), Albert Ayler, Marc Bolan and the as yet to be announced 5th pillar.
Nice handmade sleeves with cool/funny liner notes. They do covers of the Zombies, the Fugs, and Mission Of Burma and turn them into punky soul explosions... Good stuff, here's hoping the fifth pillar is BRUCE WILLIS!!!
While this is purportedly a tribute to soul music, the soul music seems to be mostly implied here, like 'soul' in spirit, in concept, in intention, but not in execution. Which is not a bad thing. This -is- soul music, but the way it can only be played by middle class, white, mid-western boys. All shrieking, skronking, sweaty, pounding, rocking and GROOVING. You can catch glimpses of the Make Up, the Blues Explosion, the White Stripes, New York Dolls, as well as Alice Donut (especially in the vocals). Weird and pretty wonderful. Spazzy, soulful, glammy ROCK AND ROLL. There are 5 volumes (we have the first four). Short and sweet (almost too short, clocking in at 10-15 minutes) and all in honor of JWB's peculiar ideas of the pillars of soul: Mario Van Peebles, Tania Hearst (Patty Hearst with her SLA name), Albert Ayler, Marc Bolan and the as yet to be announced 5th pillar.
Nice handmade sleeves with cool/funny liner notes. They do covers of the Zombies, the Fugs, and Mission Of Burma and turn them into punky soul explosions... Good stuff, here's hoping the fifth pillar is BRUCE WILLIS!!!
This would have certainly been a great fit on our last in-between list of amazing Christian-themed oddities. Otis G. Johnson might be known to some who dug the Personal Space compilation of electronic soul from 1974-1984 we listed a while back. Johnson's track "Time To Go Home" suitably ended that release with a quietly funky, but intensely devotional hymn urging us to prepare for Heaven. Performed on Hammond organ with repetitive riffs and a rudimentary rhythm machine, Johnson's vocals emitting a hushed and mumbled gospel cry turned inward, repeating in a soulful mantra that "It's time". That song was of course from this lone 1978 private press record nicely reissued on the Numero Group label and it has to be one of the most minimal gospel records we've ever heard. In fact, it's almost the opposite of gospel, as its restrained devoutness is so personal and intimate that it seems antithetical to gospel music's more well-associated louder, boisterous display. Reminding us of a rare combination of Zomes' plaintive melodic loops and the soulful economy of Timmy Thomas, the Memphis organist and singer whose biggest hit was "Why Can't We Live Together". Johnson's skeletal organ funk has a distinct charm for being a late night religious listen, filled to the brim with the Holy Spirit, and whispering soft and sweet amens in your ear.
Oh Grace, we've missed you so! The world is a much more fun, wild and thrilling place to be when you step into the spotlight. It's been almost twenty years since her last album, and this new incarnation of Grace Jones is sounding pretty great! With folks like Tricky and Brian Eno on board for production on a few tracks we were happily surprised at how this doesn't sound like too much of a forced comeback. In fact its a much better record than anything she released since the early to mid '80s. While she's never been one for total consistency, when she's on she is on fire! There are some totally slow burning and powerful tracks on Hurricane that rank right up there with some of her most classic songs. With disco revival in full swing and folks like Glass Candy/Chromatics practically aping her persona and sensual delivery it's so nice to hear from one of the most iconic, influential and enigmatic voices in the musical world of the last quarter century. While she is more often appreciated for her amazing fashion, outlandish antics and incredible body, which is like a piece of art onto itself, she has made some truly amazing music over the years as well. If you haven't explored her back catalog we think everything from '77-'82 is totally worth checking out (Nightclubbing will always be an all time favorite) and those records from the late '70s with Tom Moulton display a much more airy and full on disco sound than the dark and smoky diva we've come to know over the years. Besides having a handful of super good songs, this has to be some of our favorite album art in ages. Grace Jones in a chocolate factory mass producing chocolate faces of herself! Hurricane is not without a few misses but overall it's a really welcome return from one of the strongest forces of musical nature to ever grace this planet!
Lately we've fallen deeply under the spell of one of Grace Jones' best outings. While she might be best known for her amazing fashion, body, charisma, overall presence, and her appearances in the Conan and James Bond films, it's her early music that we've been totally obsessed with lately. So while this isn't a new reissue or anything we thought we'd share our love of this classic with you all.
Recorded in 1981 in the Bahamas, Night clubbing is the ultimate snapshot of the greatness of Grace Jones. Musically it's for sure her strongest moment, with Sly & Robbie as her rhythm section the mood is so totally seductive and irresistible. There are so many hits or should-have-been hits on this album. While there have been a few different collections and best ofs, we really think that this proper album blows all of them away. From start to finish Night clubbing just sizzles so hot! It's the perfect late-night, up-to-no-good soundtrack! The title track is of course the Iggy Pop song written by Bowie that somehow Grace takes to new drugged out heights. In fact the whole album feels like the kind of drugged out, raw space disco that you can't help but give into. Sassy, sultry and so damn sexy!
We've been loving us some hell-fire Gospel tunes lately, thanks especially to Tompkins Square's Fire in My Bones triple cd threat and of course the granddaddy of all Gospel collections, Dust to Digital's Goodbye Babylon box set. So we're extra excited about this release coming from Parlortone, the vinyl arm of Dust to Digital. While this is not a Gospel Music recording per se, the figure at this center of this recording, The Rev. Johnny L. "Hurricane" Jones was a popular Gospel singer in the sixties and seventies, but he was even more well-known for his sermons, and since 1960 has recorded many of them on reel-to-reel and cassette tape. He still preaches in Atlanta to this day at the age of 73! So this record is a collection of some of his best sermons including the 13 minute title track, Jesus Christ from A-Z which he preaches in alphabetical verse. But what makes these sermons stand out is the sounds of the choir and his congregation responding with Amens, whooops, shouts, and Hallelujahs. Even if you are not religiously inclined, just the field recording quality of the sounds makes it amazingly worthwhile.
Amy Winehouse might have used the Dapkings as her band to gain all sorts of fame and fortune earlier this year but make no mistake, it's Sharon Jones who is still the queen of modern day soul! 100 Days, 100 Nights is her third album and it's three for three now, as it's just as solid, stunning and soulful as her previous outings. In fact this could be her best yet and that's saying a whole lot since her other two albums are big time favorites around these parts.
Her voice is as strong and sexy as ever and the songwriting remains utterly top notch. Jones has this ability to transport us back in time to the late '60s when soul records sounded so warm, raw and punchy. It's incredible how her sound stands up when compared to the all-time great soul singers. Just put this on after some Candi Staton, Aretha Franklin, or Betty Lavette and it will be oh so obvious, that Jones will absolutely be remembered as another all time queen of soul!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
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There is no stronger authentic soul voice in the present day then Sharon Jones. She is the real deal, a woman who's voice and presence is completely timeless, as it would have been right at home in the golden era of soul. Making her records even that much better is that her band, The Dap-Kings are by far one of the tightest, most skilled, and tasteful makers of soulful sounds around. Anyone who has seen them live knows that it almost seems like they could play the songs with their eyes closed and play every note spot on, they are just that damn talented. But you almost forget about that aspect because it's kind of impossible not to get swept up by the voice and power of Sharon Jones. Her voice takes you to another place, another era, yet it's no put on, no gimmick, no mere retro act. She is living proof that true soul can and will live on forever. I Learned The Hard Way is another wonderful achievement in an already great string of records. These songs are so damn sensual, intoxicating, smoky and groovy. Anyone of these songs could be mistaken for the best track on one of the Eccentric Soul compilations from the '60s and '70s that we all freak out about. Filled with more slow burners that full on stompers, yet all filled with a fire that smolders just under the surface. So damn good and totally recommended!
RECORD STORE DAY 2015!!
We've got just a handful of these babies left, the Record Store Day 7" release from popular modern-day soul queen Sharon Jones and band. This new track, "Little Boys With Shiny Toys" is a typically funky cut showcasing Sharon and The Dap-Kings' authentically vintage sounding, powerful sound. Groovy. The flipside features an instrumental version. Limited, of course, and packaged in a plain white sleeve.
Hot damn! This is some serious smokin' soul. It's no longer a secret that Sharon Jones & The Dap-Kings are THE go-to group for contemporary true sounding soul that does what real soul music is supposed to, make you move and feel!
They've proven it with their three great previous albums, and they've sealed the deal with what is probably one of the best live shows around, and they show no signs of slowing down. Soul Time! is a collection of tracks from various singles, a bunch of unreleased gems, including several songs that anyone who has seen them live will recognize as being show stoppers on stage like "What If We All Stopped Paying Taxes?" There's also a killer cover of the Shuggie Otis classic "Inspiration Information".
We've been blasting this like crazy and falling in love so hard all over again with the grit, chops, and soul that oozes from these songs. The Dap-Kings are without a doubt the tightest band around, and with Sharon Jones running the show with her commanding voice, this collection proves they aren't rehashing, but instead they are keeping the spirit of hard hitting soul alive and kicking. So damn good.
Daptone Records has been putting out some of the hardest, heaviest funk 45s this side of 1969 since emerging from Desco (responsible for the awesome afrobeat of the Daktaris) a couple years ago. This is the debut full length from Daptone staples Sharon Jones and the Dap Kings. Raised in the south on a diet of James Brown and singing in gospel choirs, Miss Jones is the real thing-- her voice overflows with "pure soul exitement," as per Daptone's mission. The Dap Kings recreation of a bygone era of funk is incredibly well executed and hits you right in the hips with infectious danceability, although the intentional anachronism is taken to pretty extreme levels. You won't find any release date on the album- and a Daptone magazine ad cheekily placed the release date in 1972. That aside, this is a great record regardless of era. "Dap-dippin'" pulls of feats such as infusing a cover of Janet Jackson's "What Have You Done For Me Lately" with a super-sized dose of bad ass soul- nice! Definitely one juicy bit of funk.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
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Now available on vinyl.
Daptone Records has been putting out some of the hardest, heaviest funk 45s this side of 1969 since emerging from Desco (responsible for the awesome afrobeat of the Daktaris) a couple years ago. This is the debut full length from Daptone staples Sharon Jones and the Dap Kings. Raised in the south on a diet of James Brown and singing in gospel choirs, Miss Jones is the real thing-- her voice overflows with "pure soul exitement," as per Daptone's mission. The Dap Kings recreation of a bygone era of funk is incredibly well executed and hits you right in the hips with infectious danceability, although the intentional anachronism is taken to pretty extreme levels. You won't find any release date on the album- and a Daptone magazine ad cheekily placed the release date in 1972. That aside, this is a great record regardless of era. "Dap-dippin'" pulls of feats such as infusing a cover of Janet Jackson's "What Have You Done For Me Lately" with a super-sized dose of bad ass soul- nice! Definitely one juicy bit of funk.
Hooooly Dap-Kings. Join Jones and her Dap-Kings on the righteous road to a Funky Soul Revival, child! If you love James Brown's JB's as much as I do, you'll be smitten with Sharon Jones, her Dap-Kings and their latest full-length, Naturally. Staccato guitar lines, horns, vibes, thee tightest drumming all smathered with honey sweet n' funky soul vocals. Jones' lead vocals are like a hot, golden afternoon in the Bronx. A breeze of African rhythms opens up a song or two to a whole new realm of beauty that Soul proper wouldn't necessarily touch. It's pretty remarkable that the production suggest to nearly all first-time listeners that Naturally was recorded in 1960s Georgia. Recommended.
This is the best Seu Jorge record we've heard since we were first turned on to his stripped down bossa interpretations of David Bowie songs for The Life Aquatic Soundtrack. And it's not just because all the songs featured here are covers. Backing him up this time around is a trio of Brazilian rock musicians (Almaz) who originally joined the singer to record one song for a soundtrack and the chemistry was so right that they ended up doing a full record and are currently touring together. We were never too keen on Jorge's previous records of original songs, because they carried too much of a global fusion vibe that held little of the magic of his pared-down reinterpretations. But Almaz hit the musical tone just right, keeping the grooves sleek and prominent with a tight focus on rich atmosphere with psych and dub flourishes and economic arrangements. The covers are mostly of classic and obscure Brazilian songs by Tim Maia, Jorge Ben, Noriel Vilela and Nelson Cavaquinho but Jorge also throws in English-sung covers by Michael Jackson ("Rock With You"), Kraftwerk ("The Model") and Roy Ayers ("Everybody Loves The Sunshine"). The Ayers track works best, adding a layer of sultry coolness with Jorge's rich deep voice, but keeping the rare groove of the original completely in tact. All in all, a direction we're happy to see the Brazilian singer headed towards and hope future releases are just as promising.
We are suckers for the sound of kids making their own rock or funk or soul or whatever. Of course we love The Langley School Music Project, and Rock Jack, and Evil Wicked Warrior, but we especially love it when little kids write, record and play their own songs. Jr. And His Soulettes were lead by the 10 year old Harold Moore Jr. and his younger brothers and sisters who ranged in age from 6-9 years old. They played around Oklahoma in the early 70's and pressed a record that never really saw the light of day, as their uncle ruined most of them trying to shrink wrap them using a meat packing machine at the plant he worked at. Luckily someone got their hands on the recording and it's now finally available on cd! And boy is this some seriously great raw & funky r&b, deep in the garage, complete with wah-wah organ, fuzzy guitar, driving instrumentals and some undeniably charming vocals. These were some talented and soulful kids!
Outside of Nigeria, most Nigerian artists from the golden era of Nigerian High Life live deep within the shadow of Fela Kuti. To be fair to Fela his output alone dwarfs all comers, and he was one of the founding fathers of the modern Nigerian sound. Orlando Julius, while not blessed with as large an oeuvre as Fela is as great an architect of the music. Julius cut his teeth playing in the early high life bands starting back in 1961. By the time Fela Kuti had returned from abroad with his head full of ideas, Orlando Julius had already started his band The Modern Aces and begun revolutionizing the stagnating music scene. It was his band that Fela looked to when he started his precursor to the Africa 70, Koola Lobitos. Now available for the first time outside of Nigeria are 9 tracks of soulful Nigerian high life recorded by Orlando Julius between 1969 and 1972. Includes historical sleeve notes by Miles Cleret.
It's on kick ass Japanese reissue label EM. It's a cd reissue of a 1978 Indian private press lp of far out and freaky Indian psychedelic funk. And it RULES! Really what else do you need to know?
One of our favorite EM releases in a while, every time we play this people flip out and need to figure out what the heck it is. And what it is, is a fantastical, dizzying collection of wild percussion, fluttery flutes, reverbed guitar jangle, chaotic drumming, heavy fuzzy bass, sexy grooves, wheezing organs, surf guitar twang, skronky horns, awesomely twisted Moogs, all wound up into totally off the hook seventies Indian party music, lots of influences from the US, from the Middle East, from Latin America, Eastern melodies wind around more traditional rock and pop, Indian folk music gets tweaked and twisted, old fashioned Indian pop gets a Joe Meek style kitchen sink makeover, guitars are distorted, processed, reverbed, melodies are playful and sunshiney one second, murky and mysterious the next, the sounds are festive and funky and so fun, definitely reminiscent of Dengue Fever's Cambodian pop, of some of the Sublime Frequencies collections, but somehow, more freaky and far out and psychedelic. We seriously can't stop listening to this. One of our favorite reissues this year so far...
This is indeed the best of both worlds. Touted as the first ever superstar, hip hop/R+B collaboration, ok maybe, but whatever. The pont is, this shit is goooood and I am digging this record like crazy. Imagine any of the last two or three Jay-Z records (and we
While it might not always seem like it, sometimes the thing we're craving for the most is some blazing, direct in your face on fire rock n' roll. The problem is that most groups who play that kind of stuff these days either come off as total burn outs or are way uninspired. So when we heard this for the first time we all smiled wide and started rocking out with wreckless abandon! It was exactly what we've been wanting to hear. King Khan has made some really good garage fueled rawk in the past with the BBQ Show, but this collection of songs with his soul soaked band The Shrines has caught our attention and interest BIG TIME. With a nine piece band including Rahn Streeter on percussion who has played for everyone from Curtis Mayfield to Stevie Wonder, the songs are filled with undeniable chops and King Khan's vocals have been giving us great flashbacks to primetime era Rocket From The Crypt and the Make-Up as well as folks like The Dirtbombs. These are songs that owe as much to the history of garage rock and Nuggets compilations as it does to the Stax sound and all sorts of scorching r&b. Feels so damn good to have some high octane tunes to blast throughout the summertime!
AFRO FUNK! Includes download code.
Nigeria-born, London-schooled bandleader Peter King started his career in the '60s playing highlife and jazz before venturing into the James Brown inspired realms of afro-funk, of which "Shango" (named after the Yoruba god of thunder) is a prime example. These mostly instrumental tracks (there are some chanted vocal parts, often with a political message like "Freedom!") are super jazzy and groovy, with King's sax and flute joined by a bunch of other horns, percussion, and electric guitar/bass/drums. Recorded in 1974 but actually never released at the time, "Shango" was rediscovered when the Afrostrut label was putting together the excellent "Nigeria 70" compilation -- King's wife remembered the recording, and it turned out the tapes had actually been sitting beneath the bed of Peter King's son for who knows how many years! You'd think having something this funky under your bed would keep you up at night... Anyway, it's cool they found this, anyone into the soulful sounds of the "Nigeria 70" comp or all the other Afro-funk stuff that's been getting reissued recently will be glad to hear this.
For most casual listeners of music, Kool & The Gang will forever be remembered (and dismissed) for their platinum eighties mega-hit "Celebration". Which is a damn shame! That song alone has nearly built a wall so high over their past efforts that it's hard to convince people that in the seventies, there wasn't a harder working live band or tighter funk unit outside of James Brown & the JB's than Kool & The Gang. Even those familiar with their early funk hits, "Jungle Boogie", "Funky Stuff" or "Hollywood Swinging" (all from their 1973 album Wild and Peaceful) may not realize they put out five records of underrated solid grooves before that. Live At PJ's from 1971 was the band's third album, and their second live album released in a row. A hectic night after night touring schedule of gigs across the country had given the band the necessary chops to pull off one of the most exciting sets committed to wax. Not only were they tight on the funk side, but confident enough on the jazz side of things to get more exploratory and expansive. On the opener "N.T." (short for No Title), both funk and jazz sides are on full display at once. While they are known for having a killer horn section, the most amazing thing about this band is the flute leads, especially on "Sombrero Sam" and "Lucky For Me". Live at PJ's is largely an instrumental record, with occasional vocalizing on a couple of tracks, as the band at this point hadn't expanded much beyond it's soul-jazz roots into the full on funk band it would later become. But it's later hip-hop credentials become apparent on the last song (before the bonus track) "Dujii" as its opening groove became the foundation for "Jazz Thing" by Gang Starr. So awesome, that this underrated live set is available once again! Highly recommended.
**SALE **SALE* *SALE**
**LAST COPIES**
Anybody remember a Japanese hiphop artist named Shingo2? He was pretty rad, kind of in the DJ Shadow style. Shingo was based here in SF for a little while, that's how we encountered him, and probably how we ended up with these - we just discovered we had a bunch of copies of this cd-r, from 2005, documenting a live show by an instrumental, improvising band he was in called Kosmic Renaissance, which featured Shingo on mixer/sampler/synths (Vestax Faderboard, ARP Odyssey). The others in the KR trio were Sameer Gupta on drums & tabla, and David Boyce on saxophones, Microkorg, etc. It's pretty groovy, spaced-out stuff, heavy on the electronics and FX...
After a brief intro, they launch into the 25+ minute "Enter The Octagon" and get seriously deep and funky and out there - this is all improvised. "IO" and "Songs For Our Ancestors" follow in similarly sprawling, jammed out fashion. "IO" is nice and mellow, "Song For Our Ancestors" starts that way, then gets more intense, with some jittery digitally glitched-out Japanese vocal samples (?) towards the end. Pretty cool, spacey fusion improv with an Eastern inflection, presumably influenced by stuff like '70s Miles.
Most Americans (well, not most Americans, but the ones paying attention) were first introduced to the progressive versatility of Norwegian jazz singer Karin Krog back in the nineties when European distribution regulations finally relaxed enough for wider promotion and availability across the Atlantic, and what a discovery it was. Having performed and recorded since the early sixties, Krog was essentially a household name in her native country, having worked with the some of the most esteemed bandleaders and arrangers of the post-bop jazz world, Dexter Gordon, Archie Shepp, Jan Garbarek, Steve Kuhn, and John Surman among them. Her then 30 year old back catalog was a treasure chest for crate diggers and beat heads and sure enough compilations of her work along with other groove heavy "Black Forest" jazz figures from Scandinavia, Germany and Poland, like Wolfgang Dauner, Michael Urbaniak and Urszula Dudziak, began to crop up in the early 2000's.
It's been about 13 years since Crippled Dick released the first Krog survey, Raindrops, Raindrops, which mainly focused on her seventies work. Some of those tracks reappear here, like the great Herbie Hancock composition, "Maiden Voyage" and "We Could Be Flying". On Don't Just Sing, Light In The Attic expands that survey into the margins on both sides of her career from the sixties to the nineties, and truly highlights her wide range from funk-laden jazz pop to cosmic fusion explorations into freer modes of vocal expression and electronic experimentation. Krog's delivery can weave an incandescent tapestry no matter if the material is traditional or experimental. Her approach to standards is by no means by the book and indeed is quite innovative. Who else could turn the Mississippi Delta twang of Bobbi Gentry's "Ode to Billy Joe" into a Scandinavian jazz groover? Or transform John Coltrane's "A Love Supreme" into such blithely cool rapturous devotion? Krog's dry lilting voice is effortlessly breezy, at times near lackadaisical as it almost trails off a the end of a phrase - but also at times spitfire, full of life and in total control. "Don't Just Sing" is not only a track here exploring how much the voice can do without words, it's also a personalized mantra for how the voice can convey emotional and tonal complexities as well as transform audible worlds into poetic vision.
While we long for full reissues of her essential records like We Could Be Flying, Hi Fly (with Archie Shepp) and Joy, any survey of Karin Krog is warmly welcomed and this one is particularly great! Includes archival photos and liner notes including a Q& A with Krog herself. We cannot recommend this compilation enough! (Also be sure to check out her feature in this month's Wire magazine!)
Record Store Day 2013 release!
Two disk anthology of Fela Kuti's grand ouevre. As the title implies, one disk focuses on Fela's jazz oriented cuts and the other on his dance elements -- though parsing those two, which are so entwined in all his music, is somewhat tough. Never the less, this is a pretty good introduction to the music of Fela Kuti, spanning twenty years of his prolific career (with tracks from as far back as 1972 and as recent as 1992) and is recommended to those who are curious about his work, but have yet to make any commitments.
Fela Kuti is on of those artists that's really difficult to pull off putting together a "best of" collection. Not necessarily because it's just too hard to choose selections for such an anthology, but because his songs are just too damn long to fit much more than four tracks on a disc. That doesn't really make much of a greatest hits album. I'm not sure whether this was Quannum intent on putting this together, but a DJ mix running through some of Fela's greatest tracks works really well as a best of. As a continuous mix The Underground Spiritual Game is able to retain the feeling of Fela's extended song structure, but also give the listener a taste of a variety of Fela tracks. As such this disc makes a fine introduction to Fela for those yet to dive into his extensive oeuvre.
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
4 songs, recorded in LA in 1969; cover is replica of first Nigerian Fela Kuti record, LIMITED TO 1000 COPIES.
Years ago, we were introduced to the genius of the "James Brown of Afrobeat", Fela Ransome Kuti through a massive cd reissue campaign of his '70s albums, many with 2 albums on one cd. While we never managed to review any of them for the website, our three favorites releases he made with his band Africa 70 (Live! With Ginger Baker, from 1971, and Expensive Shit and He Miss Road, both from '75) have just been reissued on lp and they are definitively some of the best and essential Afrobeat we've ever heard.
Expensive Shit and He Miss Road were originally reissued on one cd (still available) collecting the five sprawling tracks of both albums together. But the two tracks from Expensive Shit, in particular, were some of the most politically charged grooves recorded. A little background: Africa 70, a band consisting of two large choruses (male and female) around a core of over a half-dozen musicians on horns, guitars, and percussion from the world over, was formed in the wake of a visit to Los Angeles and Kuti's exposure to the Black Panther movement. Changing his musical focus from love songs to social justice, he returned to Nigeria where he set up a commune like residence where his band could record and play and declared it independent of the Nigerian government. Singing in pidgen English so as to connect with the diverse populations of Africa and practicing Yoruba religion, as his music grew in popularity, he was subject to regular injustices by the government and military including illegal searches and seizures, travel restrictions and beatings.
Expensive Shit refers to a legendary incident where soldiers tried to plant a joint on Kuti, which he managed to eat, prompting the soldiers to take him in custody and wait until he shat out the evidence. Legend has it, he was eventually freed after he was able to swap his feces for another prisoner's and thus the police had nothing on him. But the song and the B side, "Water No Get Enemy" in their epic lengths and ecstatic rhythms also serve as a call and response indictment of authoritative corruption and the counterproductive means in which governments wield power over its citizens.
He Miss Road runs along a more communal trajectory across three tracks, but the sound is moodier and more hypnotic. Produced by Ginger Baker, who contributed and recorded regularly with Kuti throughout the 70's when Baker moved to Nigeria from England after the breakup of Cream and Blind Faith. The grooves are longer, jazzier and at the same time more abstract, punctuated by swelling organ riffs and Tony Allen's full-burn percussive rhythms.
Live! with Ginger Baker is a scorcher of a set with Ginger Baker as guest drummer alongside regular drummer Tony Allen and since it was recorded earlier than the others, it has a tighter feel. You really feel/hear the James Brown comparison on this one. All three pretty damn essential!!
Expensive Shit and He Miss Road, two amazing records from 1975 now on one cd collecting the five sprawling tracks of both albums together. But the two tracks from Expensive Shit, in particular, were some of the most politically charged grooves recorded. A little background: Africa 70, a band consisting of two large choruses (male and female) around a core of over a half-dozen musicians on horns, guitars, and percussion from the world over, was formed in the wake of a visit to Los Angeles and Kuti's exposure to the Black Panther movement. Changing his musical focus from love songs to social justice, he returned to Nigeria where he set up a commune like residence where his band could record and play and declared it independent of the Nigerian government. Singing in pidgen English so as to connect with the diverse populations of Africa and practicing Yoruba religion, as his music grew in popularity, he was subject to regular injustices by the government and military including illegal searches and seizures, travel restrictions and beatings.
Expensive Shit refers to a legendary incident where soldiers tried to plant a joint on Kuti, which he managed to eat, prompting the soldiers to take him in custody and wait until he shat out the evidence. Legend has it, he was eventually freed after he was able to swap his feces for another prisoner's and thus the police had nothing on him. But the song and the B side, "Water No Get Enemy" in their epic lengths and ecstatic rhythms also serve as a call and response indictment of authoritative corruption and the counterproductive means in which governments wield power over its citizens.
He Miss Road runs along a more communal trajectory across three tracks, but the sound is moodier and more hypnotic. Produced by Ginger Baker, who contributed and recorded regularly with Kuti throughout the 70's when Baker moved to Nigeria from England after the breakup of Cream and Blind Faith. The grooves are longer, jazzier and at the same time more abstract, punctuated by swelling organ riffs and Tony Allen's full-burn percussive rhythms.
Years ago, we were introduced to the genius of the "James Brown of Afrobeat", Fela Ransome Kuti through a massive cd reissue campaign of his '70s albums, many with 2 albums on one cd. While we never managed to review any of them for the website, our three favorites releases he made with his band Africa 70 (Live! With Ginger Baker, from 1971, and Expensive Shit and He Miss Road, both from '75) have just been reissued on lp and they are definitively some of the best and essential Afrobeat we've ever heard.
Expensive Shit and He Miss Road were originally reissued on one cd (still available) collecting the five sprawling tracks of both albums together. But the two tracks from Expensive Shit, in particular, were some of the most politically charged grooves recorded. A little background: Africa 70, a band consisting of two large choruses (male and female) around a core of over a half-dozen musicians on horns, guitars, and percussion from the world over, was formed in the wake of a visit to Los Angeles and Kuti's exposure to the Black Panther movement. Changing his musical focus from love songs to social justice, he returned to Nigeria where he set up a commune like residence where his band could record and play and declared it independent of the Nigerian government. Singing in pidgen English so as to connect with the diverse populations of Africa and practicing Yoruba religion, as his music grew in popularity, he was subject to regular injustices by the government and military including illegal searches and seizures, travel restrictions and beatings.
Expensive Shit refers to a legendary incident where soldiers tried to plant a joint on Kuti, which he managed to eat, prompting the soldiers to take him in custody and wait until he shat out the evidence. Legend has it, he was eventually freed after he was able to swap his feces for another prisoner's and thus the police had nothing on him. But the song and the B side, "Water No Get Enemy" in their epic lengths and ecstatic rhythms also serve as a call and response indictment of authoritative corruption and the counterproductive means in which governments wield power over its citizens.
He Miss Road runs along a more communal trajectory across three tracks, but the sound is moodier and more hypnotic. Produced by Ginger Baker, who contributed and recorded regularly with Kuti throughout the 70's when Baker moved to Nigeria from England after the breakup of Cream and Blind Faith. The grooves are longer, jazzier and at the same time more abstract, punctuated by swelling organ riffs and Tony Allen's full-burn percussive rhythms.
Live! with Ginger Baker is a scorcher of a set with Ginger Baker as guest drummer alongside regular drummer Tony Allen and since it was recorded earlier than the others, it has a tighter feel. You really feel/hear the James Brown comparison on this one. All three pretty damn essential!!
