ear fuzz

The New Mastersounds - Live in NYC - 7/8

noreply@blogger.com (b) — Mon, 06 Jul 2009 12:29:14 PDT

On a boat!

Rocks Off Cruise

In a nice moment of semi-synchronicity last night, I sat back after a busy busy long weekend to chill and enjoy Standing in the Shadows of Motown (a great film worthy of its own post). I left the film with the timeless, sublime sounds of The Funk Brothers running through my head, and, went off to reconnect with the world and check the 'ol email. My email kindly informed that soulful funky music was still alive and well in '09, and, it's coming to NYC this Wednesday in the form of England's The New Mastersounds.

Since the cruise is just a days/hours away, I'll jump to the point. In their own words (from the Rocks Off web site):

The New Mastersounds from Leeds, England are bringing their funking rhythms to the big old Temptress for a rollicking night out on the seas. You'll be truly surrounded by water as we sail past the Manhattan skyline, cuz everyone around you is gonna be dancing themselves into a sweaty mess, a really sexy, sweaty mess.

And, here is a taste:

So treat yourself. Get tickets. It's summertime. You deserve it.

Anatomy of a Sample V- Just Hangin' Out

noreply@blogger.com (Kevin) — Mon, 06 Jul 2009 01:39:34 PDT

Main Source: Just Hangin' Out
From: Breaking Atoms [Capitol, 1991]

Gwen McCrae: 90% of Me Is You
From: Rockin' Chair [Cat, 1975]

Sister Nancy: Bam Bam
From: One, Two [Techniques, 1982]

Skull Snaps: I Turn My Back On Love
From: Skull Snaps [GSF, 1973]

Ike and Tina Turner: Bold Soul Sister
From: Hunter [Blue Thumb, 1969]

Mike Bloomfield/Al Kooper/Steven Stills: Season of the Witch
From: Super Session [Columbia, 1968]

While the blistering sun is warming the asphalt in Portland today, I thought I would take the opportunity to bless your ears with a sample breakdown from Main Source's Breaking Atoms.

This record first dropped in the summer of 1991, right about the time when real hip-hop was being replaced by braggadocio and bling. The rhyming and production skills on this record are practically unparalleled in the history of hip-hop, with the dense, layered production enhancing the creative rhymes of Producer/MC Large Professor. Main Source went on to make one last attempt at stardom with the ill-fated Fuck What You Think in 1994, but Breaking Atoms is the one that sticks in my mind as a true classic.

The opening drum break is skillfully lifted from the 1:44 mark of Skull Snaps' gritty "I Turn My Back on Love". Shortly after this intro break, the main groove of the track is spliced from the seven second mark of Gwen McCrae's soulful "90 % of Me Is You." While the groove is flowing, the laid-back horns taken from the three second mark of Sister Nancy's "Bam Bam" create a relaxing vibe that is perfect for summer evenings. At around the 1:21 mark of "Just Hangin Out", a playful vocal part from the thirty-nine second mark of "Bam Bam" acts as a bridge from the main groove. Ike and Tina Turner's "Bold Soul Sister" and Mike Bloomfield's "Season of the Witch were also sampled on this track, but I can't for the life of me figure out which parts of these songs were sampled. If any of you crate-diggers and vinyl enthusiasts have any thoughts about where these samples came from, please enlighten me.

This concludes the Anatomy of a Sample for Main Source's "Just Hangin Out". I hope you guys have enjoyed this episode, and I would love to hear about the summer joints you were bumpin' in 1991.

Rare P-Funk - Parliament - 'Terrestrial Touch'

noreply@blogger.com (chuckdafonk) — Thu, 02 Jul 2009 16:13:11 PDT

Parliament - Terrestrial Touch

Sometimes I get so hung up on trying to tell you all about the music, it takes weeks to get a post up!

So let me be brief instead and get this one in.

A song that is labeled Parliament - and the title of the track is 'Terrestrial Touch'.

Its a funk burner, likely circa 1980, about the time Parliament's last album 'Trombipulation' was coming out. I just pinged Ron Ford on Twitter - http://twitter.com/RonProphetFord - to see if he can tell us more about this jamming P-Funk track that I believe he wrote and performed for the group. I was also trying to find a good web site that tells you all about Ron Ford, but I can't find that. I know Ford was instrumental in P-Funk's development in the late 70s into the 80s.

I'm not even sure how over the years I came across this track - but with lyric hooks like 'I tried to get that mouth, that mouth was on the house' + plenty of clippity clop horse type percussions + slap bass + pianos for days, this is late period Parliament at it's best.

I'm using that Terrestrial Touch - now let's get down y'all ... I'm sure we'll hear more in the comments. By the way, the artwork above made by George Clinton apparently for the CD that this song was reissued on, but again, I'm not sure how this track wound up in my collection.

Sun, Sea, And Squelching Funk: Masterfleet

noreply@blogger.com (Junior) — Tue, 30 Jun 2009 07:54:19 PDT

Masterfleet: Skull Stone (To The Bone) and Man & Child
From: High On The Sea [Sussex, 1973]

The weather outside is hot Hot HOT at the moment. Temperatures in the capital are tipped to hit 30 plus centigrade today and, while this may not be enough for mercury to start bubbling in my trusty thermometer, it's more than enough heat for your average pasty limey. With the temperature rising, The Dude's BBQ post couldn't have been more well timed and seems like the perfect jump off for welcoming summer sounds on to Ear Fuzz.

It's undoubtedly true that, played on a sunny day, most songs take on a summery feel. However I would argue that it's also true that certain songs that sound great when played on an average day also take off to new heights when combined with some glorious rays warming your body and your soul. A case in point is the two tracks featured today from Masterfleet.

I can find very little information about this funk band beyond what appears on the album cover which basically confirms that whoever was in charge of album design that day was channelling some kind of genius from a futuristic place. Sadly this 1973 album seems to be the only release the group did which is a shame as they fit more different styles and ideas in this one long player than a lot of bands manage in a ten year career. Flitting between proto disco sounds, ballads and squelching funk the group seem to be a dab hand at all the styles.

If you pick up an LP with a cover like the above and see it has a track called Skull Stone on it you're kinda hoping that it will at least partly live up to your expectations and this does easily. The band are undoubtedly influenced by the Temptations and Sly & The Family Stone of the early seventies but I've yet to hear any instance where this was a bad thing. Combining the laid back groove feel with electronic warbles and vocals that flit in and out of the melody this has a great stripped back sound that still manages to radiate warmth.

Man & Child is an even funkier number with a riff that always brings a smile to my face. The combination of solid groove and scat edged vocals again bring to mind Sly Stone but the band are careful to never lose the focus of this slow burning beauty. This really is a fantastic summer song that demands to be blasted out while doing nothing more strenuous than operating your drink sipping arm. Highly highly recommended.

More sunshine please.......

BBQ Rap

noreply@blogger.com (The Dude) — Sun, 28 Jun 2009 14:32:43 PDT

People Under the Stairs: Tuxedo Rap
From: Stepfather (basement Records Unknown, 2006)
Unquestionably if this was actually an acknowledged genre, People Under the Stairs would be kings. Upbeat, fun, laidback all at the same time. It's actually my only criticism of People Under the Stairs, I want those guys to get angry, sometimes it makes the best music. Then again, Stepfather is one of the most laidback hiphop records I have and I love it. I didn't even realize it, but this is a good little mini hidden tribute to Michael Jackson with a sample making a quick appearance.
Suggested food: Bratwursts/Hotdogs
Time Machine: The Wiggle
From: Make Some Noise EP (Glow-In-The Dark, 2004)
Time Machine I heard way back years ago when I was DJing and we got their Grime Machine EP. They've been active for awhile now but don't sound like what I would expect from a D.C. group. In fact this was initially supposed to be a LA Hiphop post but I had to scratch that when I realized I was out of my element on that one. In fact the pic above is Time Machine and People Under the Stairs hanging out together at UCLA. I've been vindicated! The wiggle is a real solid track, just a fuzzy upbeat rolling sample and some solid snares and drums.
Suggested Food: Corn on the Cob
Giant Panda: Plus (Bonus Party Cut)
From: (Tres Records, 2006)
The final part of my posts is Giant Panda who are definately from California. The production on Plus Bonus Party Cut sounds like Pete Rock transplanted across the Country to the West Coast in about 1992. 2 of the members from Giant Pand are from Seattle which has a pretty good hiphop scene going right now and is something I want to get to in a post some time soon.
Suggested food: Cheeseburgers (Ideally with BBQ sauce)

I've been increasing the frequency here this month and hopefully will double up come July. I've got some good stuff but I don't think I'm gonna be able to compete with Chuck, please man lower the bar!

For My Brother Prince Lasha

noreply@blogger.com (chuckdafonk) — Sat, 27 Jun 2009 13:40:14 PDT

Prince Lasha and Chuck Fishman - September 2008

Prince Lasha (w/ Don Cherry, Sonny Simmons, and Charles Moffett) - The Trane
Prince Lasha (featuring Herbie Hancock) - Kwadwo Safari
Elvin Jones & Jimmy Garrison Sextet - Just Us Blues

Introduction

I was just reading the recent "Jazz Issue" of Wax poetics magazine. I was touched by reading in depth and very personal articles on jazz producers Joel Dorn and Creed Taylor. The memories of sessions and players gone by, the way the writers capture the "in the studio" or "on the road" stories - well it's the kind of stuff I want to convey here, I'll try, it's a little more difficult for me to do it. So I'll point you to some other blog posts that do particularly well in capturing the story of the "mystery" of Prince Lasha.

Prince Lasha Biography + Thoughts

Sax and reed man Prince Lasha (born William Lasha, Texas 1929, died December 12, 2008, Oakland, CA) inspires the kinds of stories you read in Wax Poetics. Prince Lasha entered my life in 2008 before he passed on in December. We lost so many musicians last year, especially sax men (for instance David 'Fathead' Newman), therefore I understand why you may have not yet read about Prince Lasha in a magazine like Wax Poetics, or in any other related blog, jazz thang, etc.

So I can't even begin to explain who Prince Lasha is and why he is so special to me. He was a teacher to me, a person who had all the special insights on life. Here is a guy that could just make you laugh and laugh. Upon hearing I was Jewish, then he would go the other direction - go deep with me on the importance of Judaism and Jewish people (uh, ok Prince, I'm listening to your hustle). Prince's long time collaborator, saxophonist Sonny Simmons - has a detailed time line about Prince's career right here, with the most detailed discography to date.

My colleague over at Undercover Black Man points out the important beginnings of Prince Lasha's career:

A teenage friend of Ornette Coleman’s in Fort Worth, Texas, Lasha started out on alto. He befriended Sonny Rollins and John Coltrane early in his career. Lasha would record with Eric Dolphy and, perhaps most notably, with Coltrane’s rhythm section on the 1963 LP “Illumination!”

All About Jazz has a wonderful interview with Prince Lasha written by Clifford Allen (here). I also saw that Clifford Allen wrote about his time spent interviewing Prince Lasha, and this quote from that time nails the essence of Prince:

One thing which really struck me about getting to know someone as deep in the music as Lasha was how listening to his records became like another conversation with him – the cadences in his solos were exactly like that of his speech. Bubbly, vibrant and overflowing with joy and poetry, they were like a long laugh and more than a few gentle prods in the direction of a complexity far greater than earthbound thought. Lasha had the habit of giving everyone he befriended a new name; he said it went back to his friendship with Ornette Coleman in Fort Worth in the Forties, when Ornette was “Captain Hornblower” and he was “Peasant Prince.” I became “Allen’s Alley” for Allen Eager, and my then-girlfriend was “Trolley for Molly.” My mom, Susan, was “Sweet Sue.” And so on. When he had musician friends over, he would pass the phone to them so that we could meet, and I always felt invited to the party, even though I could never be there in person – Lasha lived in Oakland, California and as a funds-short writer and student, I never seemed to have the bread together to buy a plane ticket out there. I figured it would happen eventually, but it never did.

By the way, he didn't have a crazy nickname for me - Prince Lasha just called me "Brother Chuck" upon our first meeting. In 2008, I asked my friend Byard Lancaster (another great sax + reed man, I blogged about him for Earfuzz.com earlier) to introduce me to musicians in the Bay Area who I could work with. Oh man, Byard told me, well "Prince Lasha!" - a suggestion with great exclamation. I had already heard about Prince's colleague Sonny Simmons from some beatniks in on the "North Beach" - San Francisco scene. Some of these cats had played with Sonny Simmons, but when I mentioned I was going to try and hook up with Prince, they were like "nah, he's crazy! he carries a gun! he's nuts!".

Look, I called up Byard Lancaster and I was like, should I really call Prince Lasha? Byard says, "Call him!".

So after assured I went and listened to the only Prince Lasha track I could find, "Congo Call" from the record - "Prince Lasha Quintet feat. Sonny Simmons : The Cry". This song is really powerful, and I didn't post it because it's one of his most blogged about songs. Ubiquity even re-released the song on their "Jazz-Dance Classics, Volume 4". There was something I heard that was really different in this song "Congo Call" - all the riffs I could memorize. I don't listen to a lot of jazz, but there was just something here, I had never ever heard before in jazz. I can't even quantify it, it's some deep funk straight out of Texas with a spiritual jazz twist. But I also have told Prince Lasha directly, "there are only certain, very particular songs in your catalog like 'Congo Call' that are straight ahead enough for me to get connected to" ... some of them are above at the top of the post. I delve into why I connect with them here in a bit.

Prince Lasha, being the amazing man he is, totally got what I was talking about - like he knew exactly why I liked certain songs from his catalog and disliked others. He knew my tastes!

Nat Hentoff liner notes for the album "Prince Lasha + Sonny Simmons : Firebirds" ; signed by Prince Lasha

So obviously I found no such "craziness" only warmth when I did finally catch up with Prince Lasha. Sonny Simmons, though, explains why people were put off by Prince Lasha's honesty and warmth. I think only people like myself who are cut from the same weird funky cloth could get it. I'm going to get into breaking down the music here that I posted above, but first you should listen to Sonny Simmons' recollections on first meeting Prince Lasha. The recollections Sonny shares with Odean Pope also go into Prince Lasha and Sonny Simmons' time in the 1960's in New York City. These recollections from Sonny Simmons and Odean Pope are from Wanda Sabir's tribute radio show to Prince Lasha recorded in January 2009.

The Music of Prince Lasha - 3 Songs for Your EarFuzz

1) "The Trane"

Ok here's the review of the songs I posted. I told you about "Congo Call". One of my other favorites is "The Trane" from Prince Lasha's second album release "It Is Revealed". I barely know anything about this album. Anyone got insights? Please share below in the comments.

Prince Lasha : It Is Revealed(Zounds L71863)

recorded. 63.05.??
pressed. 1963

Songs: Lost Generation - The Trane - Prelude To Bird.

Prince Lasha : flute. Sonny Simmons : alto sax. Clifford Jordan : tenor sax. Don Cherry : trumpet. Fred Lyman : fluegelhorn. Bill Wood, Orwille Harrisson : bass. Charles Moffett : drums. Rec. in NYC, USA. Producer : Fred Lyman.

"The Trane" to me is just otherworldly, like it is just so tight and loose all at the same time. The band creates so much space in the music and it lumbers along for almost 10 minutes. Lasha's childhood friend Charles Moffett, here on drums, is just doing some next level things. Moffett plays with the beat so much but yet staying in pocket. Again this is another Lasha track where the opening riff is so memorable, that even at the most improvisational moment of the song, the main riff sticks in your head. The horn section is great. And sometimes Lasha almost is not there on 'The Trane' yet he's like the glue holding all the horns together here - playing the flute as if it were keyboard sustaining chords. Lasha's flute is really not prevalent in the mix, but it's there doing it's thing, listen! More prominent on 'The Trane' is trumpeter Don Cherry - which is so cool, because I didn't check the session notes first - I was just like who is this trumpeter - I need to know! You hear Prince yelling a lot in this track at the band, just catching vibes with the group. What a discovery 'The Trane' is .. My mind is blown.

2) "Kwadwo Safari"

Prince Lasha : Inside Story (CBS unreleased; Enja 3073)
recorded. 65.??.??
pressed. 1974

Songs: Ethereal - Flight - Kwadwo Safari - Inside Story - Mary.

Prince Lasha : flute, alto sax. Herbie Hancock : piano. Cecil McBee :
bass. Jimmy Lovelace : drums.
Rec. in NYC, USA. Producer : Prince Lasha.

Prince Lasha with Herbie Hancock. Who knew? Prince hadn't mentioned this record to me, the first few times we spoke. I found it on iTunes. "Kwadwo Safari" is the stand out track for me. Just the nice samba vibe, with Prince's flute leading us through. I read somewhere that Hancock felt uncomfortable on the session. I also love that Prince did the saxes. I mean this is all Prince. This record was not released after its 1965 recording and was not heard until the 1970s for the first time. I called Prince Lasha in early December of 2008 to profess my love for "Kwadwo Safari" - and that was the last time we spoke. He said he was going in for surgery, he was really not as sharp as usual, but he did pick up on the fact that I had just found this song and that I really liked it. There are some great chants in the background.

3) "Just Us Blues"

Elvin Jones/Jimmy Garrison Sextet - Illumination ! (Impulse AS-49) recorded. 63.08.08
pressed. 1963

Songs: Nuttin' Out Jones - Oriental Flower - Half And Half - Aborigine Dance In
Scotland - Gettin' On Way - Just Us Blues.

Prince Lasha : clarinet, flute. Sonny Simmons : alto sax, English horn.
Charles Davis : baritone sax. McCoy Tyner : piano. Jimmy Garrison :
bass. Elvin Jones : drums. Rec. in NYC, USA. Producer : Bob Thiele.

At my first lunch meeting with Prince Lasha, he informed me of the
album 'Illuminiation' which is essentially the John Coltrane rhythm
section led by Jimmy Garrison on bass, and Elvin Jones on drums. I couldn't find this one online for purchase, though Prince Lasha did show me that it has been re-released on CD. My favorite on this set is "Just Blues". It just is such a nice blues-jazz piece. The song is heart warming. And the drums by Elvin Jones just keep this one moving so well. Just love this one. What's kind of cool about the Prince Lasha songs that I do really get into, I remember the riffs so well. I can sing you the melody line to "Just Blues" anytime. It's very similar to what Clifford Allen wrote earlier - "the cadences in his solos were exactly like that of his speech." I can hear Brother Prince Lasha still talking to me in that way, just in that way man.

Honoring Prince Lasha

Oh yeah, I'm sure if you dig around the blogosphere, you will find more solved "mysteries" and more about Prince Lasha. For instance, I found this live concert in Philadelphia Prince Lasha recorded in 2005. I haven't listened yet. Also Bill Leikam wrote a last note about Prince Lasha over at All About Jazz.com. Finally, I see a post here about the California Jazz Foundation and how their donations saved Prince Lasha's teeth and allowed him to record a final record in 2008 which I hope to hear one day. Please make charitable donations in the honor of Prince Lasha to the California Jazz Foundation:

California Jazz Foundation,
1158 26th St.,
Suite 273,
Santa Monica, Calif., 90403
Attn: Director Sue Townsley

I was also working directly with Prince Lasha on some work for my group fONKSQUISh with producer G Koop. G Koop also told me he has some of his own tracks with Prince Lasha upcoming - so let's hope for some posthumous Prince Lasha releases. Some pictures of the fONKSQUISh - Prince Lasha sessions can be found in this photo album, and also some pictures of our lunches at Prince Lasha's favorite spot - we spent hours talking here at the Breads of India.

I knew those lunches with Prince Lasha were special. Good wine, good Indian food, and good friends. We'll miss you Brother Prince. At one of those lunches at Breads of India, I asked Prince Lasha about my favorite song of his of all time, the "Congo Call":

MIchael Jackson RIP

noreply@blogger.com (Junior) — Thu, 25 Jun 2009 17:08:28 PDT

Michael Jackson 1958 - 2009

Rest in peace to a man whose music recordings from the sixties, seventies and eighties has stuck with me throughout my life and who was a true childhood hero of mine. Despite all that has happened to him in the last twenty years at a time like this I'd like to separate the media stories from the music. I'll never forget practising my MJ dance in front of the mirror before school discos and his music will forever be associated with many great memories for me.

If you have the chance, play at least one Michael Jackson song today and remind yourself that, whatever is true or false with all the stories that have come out over the years, just how much amazing music he left behind in his forty year career.

Everyone has their own favourite period of Michael Jackson's career, be it his early soul, the move to the more loose funk sound, the disco or the power pop. The fact of the matter is that he made classics in all these genres.

There's not really such a thing as a rare Jackson release and I don't want to put up his entire catalogue so here are a few personal favourites that will be being played out in my household today.

Jackson Five: 2-4-6-8

Jackson Five: Maybe Tomorrow

Jackson Five: Mamma Got A Brand New Thing

Michael Jackson: Off The Wall

Freaky Styley

noreply@blogger.com (b) — Mon, 22 Jun 2009 14:11:51 PDT

Red Hot Chili Peppers: Jungleman, Nevermind, The Brother's Cup
From: Freaky Styley [EMI, 1985]

I'd like to try something kinda new here on Earfuzz: spotlight the work of a major-label, multi-platinum, globe-trotting, model/actress-dating, Billboard Chart-topping, cash cow juggernaut of an artist - Red Hot Chili Peppers. I think most anyone (fans & haters alike) would agree that it's a bit surprising this band weathered such drama and devastating lineup changes to last 25+ years and become a household name. 9 albums. Wha? How did this happen?

Well, let's take a trip back in time to the band's retrospectively "classic" album #2 - Freaky Styley (1985). Oh, the 1985 pop charts: 'Careless Whisper', 'We Are the World', 'Like a Virgin'... Beverly Hills Cop soundtrack... no mention of any Red Hot Chili Peppers. No, the Chili Peppers had not yet worked their way into the center lens of the pop-culture overmind, they were busy fighting to make a name for themselves and scrapping for their piece of the pie. One can hear this vitality and lust for life in the music. It's an exuberance not yet touched by the tragedies to come.

Freaky Styley: 14 songs comprising a singular statement: the style and music of this band is "freaky".

George Clinton handles production while Fred Wesley and Maceo Parker handle horn arrangements; so, it's no surprise to read quotes like this from Jason Birchmeir of Allmusic: "Freaky Styley is the closest the Red Hot Chili Peppers ever came to straight funk. [it] is the quirkiest, loosest, and most playful album in their long and winding catalog." Birchmeir continues, "It's also one of the best if also one of their least heard."

This lineup is a real treat. Aside from the long-standing core of Anthony Keidis and Flea, we get founding guitarist Hillel Slovak and drummer Cliff Martinez fully fostering the "freaky". Slovak's influence on the band is the subject of much writing (much of it more informed than anything I could draft), so, I won't get too deep into it here. Instead, I will take a moment to give Cliff Martinez props. His drumming really stands out for me here. There's something uniquely funky about his playing that liberates this music in a way that would slowly change as the band migrated from punk/funk club jams to FM funk/rock with Jack Irons and then stadium arena heavy with the awesome powerhouse that is Chad Smith.

I'll stop here. Hope you dig.

Os Tincoãs

noreply@blogger.com (The Dude) — Tue, 09 Jun 2009 16:22:53 PDT

Os Tincoãs: Na Beira Do Mar and Obaluae
From: Os Tincoãs [EMI, 1973]

Now that its began to warm up, despite the fact that it hasn't hit 80 here in weeks, I've been digging into my Brazilian collection for some relaxed tunes perfect for getting outside without the need for a jacket. Both tracks are quissentially Brazilian. There's something about music from South America's biggest country that melds sounds from caribbean islands and indiginous traditions from both Africa and South America.

Listening to both of these tracks I can here the voices of Calypso, the instruments of mexican folk and the musical arrangements that are a blend of american and african rhythms. The multitracked voices are what really set them apart from other Brazilian groups. They are all in perfect cohesion. Its in contrast to some of the more wild vocalists of this time like Tim Maia, Toni Tornado or even Jorge Ben.

This is beach music all the way, the wind blowing, the sun open and refreshments with nowhere to be and nowhere better to go. Os Tincoãs are named after a brazilian bird that was said to be warn people of impending danger. They released three albums in 1973, 1976 and 1977 but I've found different years so I'm not sure on that. I don't have their last two but would love to track them down.

Now that its summer I hope to be posting more, at least once a week, possibly more. Come back often as I expect we all will have a few more posts up here at Ear Fuzz this summer.

Sounds From The Village: Eric Donaldson

noreply@blogger.com (Junior) — Thu, 04 Jun 2009 02:04:35 PDT

Eric Donaldson: Second Time and Look What You've Done
From: Kent Village [Dynamic Records, 1978]

Hi gang, sorry I've been away for a minute. Miss me at all? No? Oh well.

Refusing to take the lack of love to heart I'm bestowing an almighty album on you today, Eric Donaldson's 1978 release Kent Village. Even if you're not a massive fan of the reggae sound the name Eric Donaldson may ring a distant bell in the belfry of your mind as he was the mastermind behind the original Cherry Oh Baby back in 1971 covered by both The Stones and, um, UB40.

I'm always first to get in there and admit that my knowledge of reggae is vague at best but I still think I can spot a damn fine album when I hear one and Kent Village fits the bill. A mixture of roots and soul the album is consistently brilliant throughout its running time.

Second Time is one of those mini epics I'm so fond off. What first caught my ear with this track was the absolutely gorgeous production, the various elements skipping in and out of the sound all judged to perfection. Check out the organ that pops up in the chorus, the changes in drumming pattern and scattered horns. Fantastic song.

Look What You've Done is more roots reggae and is equally brilliant. Starting as a incredibly catchy track with a great little bass warp in the chorus it manages to incorporate it's own dub version within the playing time all in less than five minutes.

Sadly there doesn't seem to be a cheap reissue of this out there but the good news is that if you keep your eye on ebay it can turn up on there for a reasonably cheap as chips price pretty regularly....

Ike's Instrumental Rumpshakers

noreply@blogger.com (Kevin) — Mon, 25 May 2009 13:42:47 PDT

Ike Turner & His Kings of Rhythm: Ho Ho, Steel Guitar Rag, The Gulley and Trackdown Twist

From: Ike's Instrumentals [Ace Records UK, 2000]

I was working at Music Millennium when the sound of Ike Turner's blazing guitar leads first set my ears on fire. Bill Rhoades, Music Millennium's resident blues expert and harmonica player extraordinaire, turned me on to this phenomenal compilation of Ike Turner's early sides for little known labels such as Sue Records, Flair Records and a rare medley from Crown Records. While recording these singles during the period of 1954 to 1965, Turner recorded under an alias of Icky Renrut, a moniker that would prove to be fitting considering Turner's bad reputation with women.

While the "Kings of Rhythm" are no slouches, the focus on this record is undoubtedly on the wildly inventive, whammy-bar inflected guitar solos that Turner wrings from his instrument with reckless abandon. On the opening track, "Ho Ho", a steady backbeat provides the perfect backdrop to the ringing tones of Turner's guitar, reaching an almost ear-piercing level of sound that pushes this song into the red. Once the toe-tapping, country backbeat of "Steel Guitar Rag" segueways into a blindingly fast solo by Turner, there is no doubt in my mind that he was a true musical visionary who had the gift of blending disparate styles of music into a satisfying whole.

Elsewhere on this release, Turner provides a subtle guitar accompaniment to the slinky burlesque horns and snaking rhythm section on "The Gulley". This track is destined to be featured in a scene from a strip-club from a contemporay film-noir set in the middle 50's directed by Jim Jarmusch. In wrapping up this montage of tracks from Ike's Instrumental's, I have to say that "Trackdown Twist" features some of the most intense, lightning-quick guitar licks this side of Link Wray, while still leaving some room for a swampy sax solo at the end.

Turner's playing reveals someone who has honed their craft by spending countless hours learning the R&B and Rock n-Roll classics, while incorporating influences from diverse genres of music like funk, blues, rockabilly and western-swing. I implore you to try to set aside your misgivings about Turner's sordid past as you listen to these amazing songs.

As far as I can tell Ike's Instrumentals is out-of print, but you can find it online at one of the sharity blogs, or on Amazon starting at $25. I offer the best of luck to you in your search for this one, as it is truly worth the time and money spent.

I will be back soon with a mammoth Anatomy of a Sample post, so keep your eyes and ears tuned to Ear Fuzz.

Cinema Musique: Act One

noreply@blogger.com (Kevin) — Mon, 18 May 2009 21:02:32 PDT

Michael Small: Casting Office, First Disco, Laguran's Disco and Bree Followed on Street
From: Klute Soundtrack [Warner Brothers, 1971]

It's been awhile since I've introduced a new concept here on the Fuzz, so allow me to introduce the first act of Cinema Musique. I couldn't count the amount of times I've been disappointed with a film simply because the musical cues seemed to be manipulating me into feeling something that wasn't genuine. It's almost as if the music supervisor needed to squeeze the song into the scene to appease the director, but there was hardly any thought being put into the actual decision of the music selection. Granted, I'm sure that it is not an easy job to select music within a specific budget that pleases everyone from the director to the producers and from the writers of the script to the actors. But skimping on the type of music that is used in a film is like offering someone barbecue without the sauce.

So, while I was toiling away at my day job, I came up with this idea to create a series of posts that explore examples of music used in films that undoubtedly improved the quality of the finished product. Since I enjoy films almost as much as I love music, I should have no problem coming up with fresh entries to keep the readers interested. If any of you have suggestions for future posts in this series, I encourage you to speak up.

Today's edition is focusing on Michael Small's score from the 1971 Warner Brothers film Klute. While Klute wasn't exactly my cup of tea the first time around, I have grown to appreciate it more because of the stellar music featured on the soundtrack. It showcases a wild mixture of fuzz guitar-tinged funk , spooky interludes, orchestral jazz pieces and metaphysical middle eastern dirges. I wouldn't be surprised in the least if someone told me that David Axelrod and Dennis Coffey contributed music to this score in some shape or form.

It's been a while since I've seen Klute, so I don't remember exactly what scenes these songs have been taken from. I would venture a guess that "Casting Office" is probably the background music for one of the scenes in the movie where the lead detective is scouring the crime-ridden streets of New York for clues to a murder. With an intermingling of flutes, sitar, various percussion instruments and a haunting vocal performance, the sound of "Casting Office" can best be described as transcendental.

I can only guess that the funky floorburners like "First Disco" and "Laguran's Disco" are featured during the segments in the film that are shot in a discotheque. While I've never had a soft spot in my heart for the sound of disco music, these "disco" songs have a lot of SOUL. Finally, on "Bree Followed on Street", ominous piano chords, sparse percussion and various instruments that I can't even discern are juxtaposed together to create a chilling effect.

I hope you have enjoyed my first foray into the world of Cinema Musique. Please give me a shout if you have any questions, comments or suggestions.

Baby, It's You (who) Makes Me Yours

noreply@blogger.com (independent j) — Mon, 18 May 2009 05:01:55 PDT

Bettye Swann - Make Me Yours
from the album Make Me Yours on Money (1967).

Smith - Baby It's You
from the Death Proof Soundtrack on Warner Brothers (2007) and originally from A Group Called Smith on Dunhill (1969).

Greetings loyal ear fuzz listeners/readers. It has been ages since I connected with you for some music and thoughts. My apologies for my absence, and my thanks to the ear fuzz team for all their insightful musings and additions. A recent discussion here at fuzz HQ has led to some thinking about the nature of audioblogs and ours in particular. The access to any and darn near all music now has become (nearly) overwhelming. When in the past I could find some jazz nugget or even sample-based beat construction in my collection and write a post for tunes that had no internet presence beyond crazy virus laden Belarussian mp3 download "stores," probably the whole album is now zipped up somewhere waiting for you along with every deleted single by the artist/producer/label. For better (Numero Group and Now and Again) or worse (no names named) we're approaching the point of every tune being dug out of the crates on online. And what does all this access give us beyond a restructuring of one's definition of "rare" groove? It means we can always, eternally be awash in new music. So much of it can be beautiful and eye-opening that this is a thrill...and so much more of it can be unenjoyable garbage that it can be discouraging until that next diamond shines through. Hmmm...just like the old days, but faster and quicker and less sore knees from the boxes on the floor. And just like those good ol' days, the key is often the connective tissues that puts songs, albums, artists, images, and memories together for us. I know I'm not saying anything too new with this paragraph, but that almost goes toward proving my point.

Before I ramble too far afield, I'll stop and say, "It is good to be back. I hope to share some music and thoughts that might inspire, improve, or intensify your life however briefly before your on to your next discovery." To get me back in the groove, I'd like to offer up two of my favorite songs of 2008 (it has been a long time). Both of these tracks where huge hits in their day (the late 1960s), but neither had never really entered my brain until last year. Since that time they've remained delightfully lodged and have introduced me to more new and exciting things. Each is a powerful, heartfelt soul lament by a female vocalist...Swann's is an original by the artist and both launched and proved the zenith of her career & Smith also never reached the heights achieved by their perfectly different version of the Burt Bacharach tune originally made famous by the Beatles and the Shirelles.

On Random: Needs More Horns

noreply@blogger.com (The Dude) — Mon, 08 Jun 2009 02:50:48 PDT

Last year a friend was describing a new band to me and someone else, and halfway through his description I looked at him and said, "Do they have horns?". He replied, "No but...", at that point I cut him off and said "not interested." I was just fucking with him, the band actually turned out to be kind of cool, but rarely am I dissapointed with the use of some trumpets and trombones in a little funk, soul or even rock and roll. It works, more than it should in some cases. Unfortunately the days are long gone since when it was common. The closest you can routinely hope for is a hiphop sample. But pop music usually eschews the full rich sound that a brass section brings.

What I want to do with this post is focus on a few songs that popped into my consciousness by putting my music on random and some of the delisciousness I didn't even know I loved so much.

Willie Hutch: ~~Vampin~~
From: The Mack [Motown, 1973]
Pop this on and go for a drive through any downtown you like. It's best if you wear shades, and preferably a hat with a brim so wide half of it sticks out a window or preferably a drop top caddy. It's hard not to feel completely in charge of your surroundings while listening to a song like this. It's the kind of thing that makes you want to do battle, albeit in the nicest suit you can find, while wearing shoes made out of a reptile. (I don't endorse reptile skin shoes...but they do look cool as hell...fakes!) I'm surprised Tarantino hasn't used this in one of his films and I just checked Jackie Brown to make sure he hasn't. But it's the horn section that makes this song. They're firmly in step and ride above the dirty funk guitar and bongo drums that move so slippery at the base.

Curtis Mayfield: ~~Billy Jack~~
From: There's No Place Like America Today [Curtom, 1975]
Billy Jack is a slow burner. Just a little guitar, a bass rhythm and some drums this song is bleak. It's the sound of the problem chasing you faster than you can run away. It takes 3 minutes before the horns hit. And only for 20-30 seconds before dissapearing until the end of the song. But they bring a brand new soul into the song. It's a brief respite, and when they dissapear the song delves back in darkness. They rise back up as the song begins to close. Are they the sound of revenge or the positive hope to come out of the dark. I don't know but they are absolutely perfect.

100 Proof Aged in Soul: ~~Too Many Cooks (Spoil the Soup)~~
From: Somebody's Been Sleeping in My Bed [Hot Wax, 1971]
This is a song that's been attributed to both 8th Day and 100 Proof Aged in Soul. The band is basically the the same but released albums and songs as different groups in order to capitilize on different singles so that one song didn't knock off the other, or at least that was the supposed logic. It's hard not to be reminded of Sly and the Family Stone on this track but being from Detroit they have a less rock oriented rhythm. This is rock solid and the while the horn is prominent from the beginning it's around a minute or so in when it starts to take off and the vocals ride right over the top and soar at the same time. It absolutely takes this song from pretty good to great in my mind.

Outkast: ~~Spottieottiedopaliscious~~ ~~(Instrumental)~~
From: Aquemini [La Face, 1998]
If Atliens was Outkast at Ice Cold and Stankonia was Outkast on fire, Aquemini was like a houseboat on fire in arctic ocean. That makes sense to everyone else right? This is such as solid jam. It was one of those songs I remember having on my Ipod and walking around campus way way back. I can still remember the building I was walking through (Biology/hospital), the time of day (mid-late afternoon) and the weather (no rain, but grey skies). It's not that I hadn't heard the song before, but that was the day it got stuck in my mind. It was waiting til the part with the horns that come in and ride over the very Curtis Mayfield like slow jam underneath it all. I put up the instrumental since sometimes it seems as though Andre 3K and Big Boi can make almost anything sound good, I thought I'd add it minus the great ones.

Convicts On Parole: Big Mike and 3-2

noreply@blogger.com (Junior) — Mon, 08 Jun 2009 02:49:03 PDT

Convicts: ~~Free World~~
From: Convicts [Rap-A-Lot, 1991]

Big Mike: ~~Made Men~~
From: Hard to Hit [Rap-A-Lot, 1999]

Blac Monks: ~~Getos In The Mind~~
From: Secrets of the Hidden Temple [Rap-A-Lot, 1994]

I've touched on my worship of Big Mike before when I posted about the classic Somethin' Serious and have been holding off writing more about him as there's a reasonable amount floating about the blogging atmosphere already. However I recently got my hands on his third album, Hard To Hit, and it seemed as good an excuse as any to return to the subject.

For those unaware, Big Mike first hit the scene with rapper 3-2 as part of the duo The Convicts and Free World off their seminal self titled album is just one of the best starts to any rap album I can think off. The track kicks straight in with the loop and Big Mike's not far behind with all vocal guns blazing as he and 3-2 put down their unique take on parole pleas. Sounding as fresh today as it did 18 years ago I'm still waiting for the proper rerelease.

Next up, as mentioned, a track of the recently acquired Hard To Hit. While not as consistent as Somethin Serious this is a welcome return to form from Big Mike after the disappointing Still Serious. Made Men is one of the best tracks on the album combining a quality beat with Mike's distinctive and still sharp as ever delivery. I'm yet to get a hold of his releases after this but it will no doubt come around someday. Oh yeah, if you want more info definitely check out Noz's interview with Big Mike here.

For a bonus I though I'd throw in a track off of Blac Monks debut album as I only relatively recently discovered that one of this rap trio was none other than 3-2 from the Convicts (I know, it's amazing what you can discover when you actually bother to get past staring at the Rap A Lot cover art). A relatively slept on release it's an album I still get pleasure out of, Ghetos In The Mind is strangely reminiscent of Souls Of Mischeif without the irritation factor (something to do with the bass line and varying vocal pitchs I reckon) and a great mid nineties track.

Enjoy and have a good weekend.

Real Southern Soul: Tommie Young

noreply@blogger.com (Junior) — Mon, 08 Jun 2009 02:48:24 PDT

Tommie Young: ~~You Can Only Do Wrong So Long~~ and ~~Hit And Run Lover~~
From: Do You Still Feel the Same Way? [Soul Power, 1973]

I've been detouring all over the place on the Fuzz recently getting lost in the worlds of African gems and strange electronic soundscapes so, with the sun shining outside and all things seeming well in the world, it seemed the perfect time to travel back to one of my first loves, Southern Soul.

Tommie Young's debut album, Do You Still Feel The Same Way is one of those great albums that lives up to it's rare gem status, finally being reissued in 2003. The album showcases a strong confident soul singer with an earthy edge to her voice conveying passion and pain all over top notch production by the maestro Bobby Patterson. The songs were also almost entirely written by Patterson and Jerry Strickland and the quality of the compositions impresses over and over again.

You Can Only Do Wrong So Long is as sunny a slice of wronged woman soul that you'll come across. Starting with the lightest of percussion melodies Tommie's impassioned vocals float along over the instrumentation, the whole package controlled in its power but never even venturing towards smooth territory. Very southern soul, very great indeed.

Hit And Run Lover is also about a man fooling around (can you see a theme developing here?) and is probably the most upbeat song on the album percussion wise. Tommie acquits herself brilliantly again balancing her natural vocal power with a lightness of touch that doesn't swamp the melody. Great production again from Patterson who blends the strings low down enough in the levels so that they enrich rather than bloat the track.

As mentioned, this album is now widely available as a reissue for purchase by those who don't have a direct line to the southern soul bunkers which is good news all round. Killer front cover as well.

Three From '93

noreply@blogger.com (b) — Mon, 08 Jun 2009 02:47:19 PDT

Some real nice music in the Earfuzz currents as of late. Kudos everyone. Great stuff!

My last post celebrated the joys of discovering early 90's Jungle, Drum and Bass, and Breakbeat. Well, months later I'm still deep in the midst of absorbing this music. And, I've started picking up records. Man oh man, I'm spending way more on 12" 's than I ever did on full albums. My curiosity to hear these songs loud and in their natural vinyl'd state is getting the best of my wallet (cursed exchange rate and overseas shipping :) So far, I am pleased to say my purchases have been well worth it. My ears and speakers are quite appreciative: the records sound waaay better than mp3's. And, these records are quite simply a ton of fun to play for people.

Interestingly, most of the songs I've gravitated towards are from 1993. Since my only window into the cultural landscape associated with these tunes comes through scattered articles, very enthusiastic (and vividly nostalgic) Youtube comments, Discogs, and the music itself; I've come to recognize 1993 as a unique and pivotal year in the development of Amen Break related music and rave culture. Some describe the time as both a "kitchen-sink" sort of creative explosion, and, a point of divergence for many of the sub genres (of which I won't even pretend I know how to tell the difference) and their related club scenes.

Simon Reynolds does a nice job describing the "continuum" of this music in a recent lecture transcribed here.

DJ Solo - ~~Darkage~~ [Production House Records, 1993]
One of my favorite aspects of this music is how producers layer and craft the introduction of the beat. This track has one of my favorite bass drops. Heavy.

M-Beat - ~~Rough Like Me~~ [Renk Records, 1993]
I recall reading somewhere that Jungle producers liked to incorporate Reggae into their tracks as it was a very familiar groove for club crowds. People knew how to move and dance to Reggae; so, it became the perfect rhythmic Trojan horse to add bounce to some dirty driving breakbeat work. M-Beat knew this formula well and amassed a pretty fine catalog of tunes.

DJ Crystl - ~~Meditation~~ [Dee Jay Records, 1993]
Ah, what's not to love about the long player DnB/Breakbeat "epic"? For a song with such a relaxed ambient undercurrent, this track packs some surprising intensity. We've found it mixes quite smoothly into some 'Reign in Blood' era Slayer.

Hope you enjoy.

Entering The Electronic Maze: Phillippe Doray

noreply@blogger.com (Junior) — Mon, 08 Jun 2009 02:47:51 PDT

Philippe Doray / Asociaux Associés: ~~Dans Le Dedale~~ and ~~Contrechant Magnetique~~
From: Nouveaux Modes Industriels [Scopa Invisible, 1980]

Those eagle eyed visitors among you may have noticed a security warning on the site yesterday. I can happily assure you that it wasn't us guv and we were tarnished merely by association so feel free to browse safe in the knowledge that we have no current plans to infect your pc.

You may also notice that all the comments have suddenly vanished from the site, this is due to a long overdue update of our haloscan feed. Basically since taking over the site I've never had access to edit or delete the inevitable spam that appears and have been reluctant to update it due to some of the incredible comments we've received over the years. With the recent Runescape comment battering though now seemed an appropriate time but rest assured the old comments are still stored away for archive purposes. Thanks to Maru I have the password so all old comments are now back in action.

Anyway, this is a music site so probably best to put up some music eh? Something incredibly weird, sometimes wonderful and sometimes downright frightening for you today in the shape of Philippe Doray / Asociaux Associés 1980 experimental electronic album.

The "ahead of it's time" description is one that is bandied about way too freely in my opinion but this album, like Bernard Estardy and Silver Apples, is the genuine article, some of its production and instrumentation sounding as out there today as it no doubt sounded 29 years ago.

It's an album that will no doubt split listeners between loathing and loving and I'll be the first to admit that some of the tracks leave me cold and with a slight headache however, when it works, it's incredible stuff indeed.

Whether by design or not all the upbeat tracks on Nouveaux Modes Industriels seem to take their basic vocal rhythm from The Stones Not Fade Away which is not necessarily a bad thing but was a bit of a curveball on first listen. Dans Le Dedale starts off in the above fashion with Philippe delivering his lyrics over a pulsating drum line before some fantastically emotive chords reminiscent of 80's house music cut through the dirty percussion. The layers of electronic production build up and up until you're left with a pulsating wall of sound. A truly outstanding and jaw dropping piece of work.

Contrechant Magnetique is arguably the most pop standard track on the album but considering the company it's keeping let's keep that in perspective. More easy going than most of the album the track features Philippe in laid back mood, half singing half saying his lyrics over a minimalist throbbing bassline, the loosest of guitar riffs and what sounds like slightly spasticated electronic instrumentation. Hypnotic stuff.

I've never actually picked up any of Philippe Doray's other work for fear that it might either a) break the spell I have from this album or b) Send me over the edge. Any heads up or tips would be much appreciated.

Som Três: Brazilian Fuzion

noreply@blogger.com (The Dude) — Mon, 08 Jun 2009 02:45:51 PDT

Som Três: ~~California Soul~~ and ~~Homenagem a Mongo~~
From: Som Três II [RGE, 1969]
Brazil is hard territory to crack. It's a country that's nearly the size of the United States. It's close enough to the United States to pick up on much of it's art including jazz and funk. Many Brazilian artists such as Gilberto Gil have worked with North American musicians going so far as to record collaborative projects that were big in both Brazil and the USA. However, since what seems like Brazil's popularity peak in the US was the early 60's it hasn't resonated as much since. However a few indie bands such as CSS and Bonde Do Role have made minor imprints.

Som Tres are one of many fantastic bands from Brazil that were able to meld a jazz, funk and blues sound while still remaining tight, varied and fun. What's amazing is that you will here great guitar lines, piano solos, organ grooves and tight drumming. The only negative thing I can say about Som Tres is their singing. The two track I picked are instrumental as is most of their catalogue. But they are proof that some bands don't need vocalists and in some cases have vocals that detract from the great music behind them.

The music covers so many different genres that it inspires so many different moods. Some tracks sound like the best television theme ever, while others could clearly soundtrack James Bond finessing his way amidst beautiful women, drink in hand near a beachside hotel. Others are dirty dirty funk done in what I can only assume are impeccable clean and sharp suits. I've never been to Brazil before and hope to go someday. If given the chance this will most likely be my official band of Brazil.

California Soul is an criminally short track at under 2 minutes. It kicks off with a piano line and some skuzzy organ. The two battle back and forth throughout the song even verging into Morricone territory. It's over before you knew it began, and don't forget the cowbell that hangs in there for most the song. Homenagem a Mongo goes the other way and showcases Som Tres' horn section including some bass horns that give it some extra thump. Basically if I were committing crimes in Las Vegas circa 1971 this song would play over my criminal home movies.

Found: Rare Glenn Goins - Summertime

noreply@blogger.com (chuckdafonk) — Mon, 08 Jun 2009 02:44:36 PDT

~~Glenn Goins - Summertime~~

Quickie here post folks, when you find something new, rare, you gotta get it up and out.

Don't know Glenn Goins, member of Parliament - Funkadelic, vocalist / guitarist? I guess get started at the brief Wikipedia entry. He is also the founder of the funk group Quazar. 'Summertime' is a recording from 1978, after he left Parliament-Funkadelic in February earlier that year. It could be an outtake from the 1978 Quazar album. Quazar and Glenn Goins also wrote and produced albums for others like the Crowd Pleasers (this track), and Glenn has appeared on albums like Johnny Taylor's 'Disco Lady'. There's a nice little MySpace tribute page over here as well for Glenn with a few streams of Quazar and P-Funk songs featuring Glenn.

Sorry to be so brief - it's Spring and I'm running off for the Easter / Passover holidays. Again this tune 'Summertime' was such a nice little find even though it's Spring! You have to love the breezy song here featuring Glenn's amazing gospel soul vocal work as always.

And of course we know Glenn for this classic P-Funk moment, when the mothership comes:

Here Come The Drums: Charly Antolini

noreply@blogger.com (Junior) — Wed, 06 May 2009 07:20:13 PDT

Charly Antolini's Power Dozen: ~~Uela Uela~~ and ~~Marabuena~~
From: Atomic Drums [EMI-Columbia, 1972]

April 1st today but the only foolish thing about this site would be if you chose to not check out the couple of tracks from Charly Antolini's breaktastic album Atomic Drums.

A Swiss jazz drummer, Charly's albums always offered up some fantastic playing but Atomic Drums stands out from most of his releases by combining this energy with an album's worth of tunes that fall more on the funkier side of the tracks. As you would expect/hope for an album with such a promising title (but rarely get) the tunes on offer here also have an insane amount of open breaks so any aspiring producers, do your worst.

Uela Uela may be familiar from a variety of mixes/compilations over the years as it's become a popular number with its call and response vocal and trumpet line and a relentlessly dancefloor orientated beat. As you would expect from Antolini, the percussion is fantastic.

Marabeuna, a track with far less publicity, is a fantastic rolling beast. With what seems to me to be heavy African influences, the tune once again features call and response vocals/horns along with an exceptionally funky organ riff as well. Great stuff indeed.

As is sadly often the case, despite being arguably Antolini's greatest album, this is a real git to find in the field, particularly if you're not in Europe. Still, dedication always pays off and if not, I'm sure there are blogs out there sharing the whole thing somewhere.

I would post more but I think the G20 protesters are about to make my afternoon very interesting. More tunes soon if I get out of this in one piece.......

King T

noreply@blogger.com (The Dude) — Wed, 06 May 2009 07:20:37 PDT

King T: ~~Bass (Remix)~~ and ~~Payback's a Mutha~~
From: Act a Fool [Capitol, 1988]
There's no denying that NWA, Dr. Dre, Ice Cube and Ice-T hit huge on the hip hop scene from the West coast. But sometimes because of the hype that surrounded NWA and later the Ascendence of Death Row, some of the earlier names from the West Coast get forgotten. King T is still known by his peers and much of the game, but ask most about him and they'd assume you meant Ice T or were talking about TI.

Both of these tracks stand out both for their production and for his work on the mic. The production is done by both King T and DJ Pooh. It has a lot more in common with East Coast production and reminds me of Marley Marl who King T would later have produce for him o The Triflin' Album, King T's third LP. These songs have much more in common with Tone Loc and Young MC then they do with the gangsta movement of NWA.

On Payback's a Mutha one of his first singles King T absolutely destroys the track. It's hard not to recall Marley Marl again and think of the rhymes of Big Daddy Kane even though King T beat Kane to the punch by 2 years. On King T's second album At Your Own Risk Ice Cube was featured on the track Played Like a Piano. The two sound similar the way they hit their rhymes and spend most of the time sounding like their about to take a bat to you.

In 1989 King T appeared on the posse cut We're All in the Same Gang, a cut produced by Dre and featuring nearly everyone from MC Hammer to Ice-T and Shock G. Later he would sign to Dr. Dre's Aftermath and was yet one of the many artists who failed to put out an album on the label finally releasing his album The Kingdom Come.

Eddie Bo Tribute on East Village Radio

noreply@blogger.com (dstill808) — Mon, 30 Mar 2009 21:17:38 PDT

DJ Still Life: Eddie Bo Tribute Set
From: Pain In My Heart on East Village Radio

Following up on Chuckdafonk's post on the sad passing of a New Orleans blues, soul, and funk legend Eddie Bo last week, I put together a tribute to the man on my weekly show Pain In My Heart on East Village Radio. Listening to so much of his music back to back really emphasized his contribution to the elusive groove he often called the pocket. RIP to a soul genius.

Tracklist
Eddie Bo- The Sissy Walk Part 1
Eddie Bo- Check Mr. Popeye Part 1
Chuck Carbo- Can I Be Your Squeeze
Little Bo- Baby
Mary Jane Hooper- Don't Change A Thing
Eddie Bo- Hook N Sling Part 2
Eddie Bo- I Just Keep On Rolling
Art Neville- Hook Line & Sinker
Oliver Morgan- Roll Call
Barbara George- Something You Got
Eddie Bo- Roamin-Itis
Chris Kenner- All Night Rambler
Eddie Bo- Check Your Bucket
Roy Ward- Horse With A Freeze
Tommy Ridgley- I Want Some Money
Inell Young- The Next Ball Game
Eddie Bo- Every Dog Has Its Day
Eddie Bo- Fence Of Love
Roger & The Gypsies- Pass The Hatchet
Eddie Bo- Baby I'm Wise
The Explosions- Hip Drop
Eddie Bo & Inez Cheatham- Lover & A Friend
Mary Jane Hooper- I've Got Reasons
Eddie Bo- All I Ask Of You
Curley Moore & The Cool Ones- Shelly's Rubber Band
Eddie Lang- The Love I Have For You
Eddie Bo- If It's Good To You, It's Good For You Pt. 2
Oliver Morgan- The La-La Man (Part 1)
Eddie Bo- Stone Graveyard
Eddie Lang- Souling
Marilyn Barbarin- Reborn
The Explosions- Garden Of Four Trees
Eddie Bo- Ain't You Ashamed
Eddie Bo & The Barons- Gotta Have More
David Robinson- I'm A Carpenter Pt.
Tommy Ridgley- In The Same Old Way
Eddie Bo- Just Friends
Eddie Bo- We Like Mambo
Mary Jane Hooper- I've Got What You Need
Curley Moore & The Kool Ones- Funky Yeah
Eddie Bo- Dinky Do
Doug Anderson- Mama Here Comes The Preacher
Eddie Bo- What You Gonna Do
Eddie Bo- Hook And Sling Part 1
Eddie Bo- Warm Daddy
Eddie Bo- This Must Me Love
Eddie Bo- From This Day On
Eddie Bo- Fare Thee Well

Boogie Funk and Rare "P-Funk Boogie Funk" - Part 2

noreply@blogger.com (chuckdafonk) — Wed, 06 May 2009 07:21:28 PDT

~~Bootsy's Rubber Band - Party on Plastic (Creative Nuisance Remix)~~

INCorporated Band Thang - Still Tight (Remix)

~~Funkadelic - Too Tight for Light~~

I hope you caught the first post I did on a discrete musical genre I dub "Rare P-Funk Boogie Funk". Here's the long explanation of the genre - please read it, and you'll get the idea - basically boogie funk, made by members of P-Funk, from about 1980 - 89. And we are picking 'rare-ish' records here that didn't necessarily make the mainstream of the funk releases during this time.

One of the best places to look for these rarities are the 12 inches put out by all the P-Funk side projects. Dance mixes galore!

Here I've got for you a special mix of Bootsy Collins' 1988 song "Party on Plastic". It appeared on the 12", and I had this on a CD single back in the day, when CD singles were the way to get your music out there. Likely this is one of the first CD's that went on my uber expensive CD player.

The "Creative Nusiance" Remix of "Party on Plastic" takes a totally different path than the original (see below for the original video). I'm not sure who did the remix here, but maybe Malcolm McLaren had something to do with it. At the time, Bootsy had just finished a funk-techno album with McLaren called "Waltz Darling", and it features the "Bootzilla Orchestra".

So the "Nuisance" remix pops off with a synth bass, and a nice funk chank, plus some samples of McLaren from the "Darling" record. You also get a verse from the female rap duo Pretty Fatt. From there, 90 seconds into the remix, it goes into this crazy timbale workout with opera singers singing over the top of it - I mean super spazz out! Later in the remix we go from Bootsy's space + fuzz bass workouts that appear in the original "Party on Plastic", on to angular guitar + synth work which sounds like it could be right out of current remix from Aeroplane (listen close about 3:30 in the remix). Then in at about 4:00 into the remix, I noticed xylophone plinkles over this space bass! I don't know who did this remix, discogs.com is no use, but this is nuts I say!! nuts!!! The executive producer of the 12" is Dollar Bill Waller, who is known more to be a manager than a producer. I guess I can holler at Bootsy about this "rare P-Funk Boogie funk" mystery! I will let you know what I find out.

I'm also offering up here a 12" remix from the INCorporated Band Thang, a cut called "Still Tight", from their album "Lifestyles of the Roach and Famous" - here's a little info about the group + the record. I mean this is a P-Funk record not labeled as a P-Funk record - no other way to split it, it's George Clinton + Bootsy Collins, plus the rest of the mob. Tracy TreLewd Lewis, George Clinton's son, is taking the lead vocals here on the song, and you can hear P-Funk lead vocalist Garry Shider, Andre Foxxe getting it in here too.

What can I say about this "Still Tight" 12" remix?? It's much more stripped down than the original, and you can really get to the vocals because of that. I notice on this 12" for "Still Tight" there is also a remix dubbed "Unecessary Hype Remix" - I never heard that one, and I wonder how it differs from the remix I offered up here. This regular remix of "Still Tight" focuses on those vocals, the snappy DX7 like keys, and a persistent snare shuffle with the congas.

Really this song "Still Tight" seems to me to be a re-work of an unreleased Funkadelic song called "Too Tight for Light" (at top of post). That song was led by George and Junie Morrison and was recorded I think around '79 or '80 and is some "rare P-Funk boogie funk" in its own right.

Ok, I'll be back with as many more "rare P-Funk boogie funk" tracks as I think are worth sharing here on Earfuzz.com. Don't forget to hit the Facebook fan page for Earfuzz to get the latest updates or of course your RSS reader.

Oh yeah, and here is the music video for Bootsy Collins' "Party on Plastic"! I first watched it with my dad on a Vermont ski trip on TBS's 'Night Tracks' music videos program. I was blown away by the video and my first brush with Bootsy, so I ran out and got the CD single! I think my dad was blown away too! Little did I know at the time, Bootsy Collins is connected to George Clinton, and that George Clinton is connected to Parliament / Funkadelic. These were all disparate acts I checked out as kid, just because they all seemed cool. Had no idea it was a P-Funk "mob" thing.

RIP Eddie Bo

noreply@blogger.com (chuckdafonk) — Sun, 22 Mar 2009 15:31:52 PDT

Man, another reminder folks here. Just for a minute, walk out of that studio, stop crate digging, sampling, and all that and go connect with a legend today. There are plenty of them still out there, and you can go get them on your session. Get those last vapors, because I feel many funk fumes are up and just being let out into the atmosphere right now without us acting on them. So what's this rant all about?? ....

RIP to funkmeister, vocalist and keyboard tickler Eddie Bo. The ever funkin on funkologist Oliver Wang, did a really nice post on Eddie Bo who just passed this week. Now you can also go over to NOLA.com and read this too, man of course the folks in New Orleans got the details. And of course we got EddieBo.com - so get it!

Man, because I'm ign'nt some times about the funk right around me, I didn't realize that Eddie Bo was out there being active up until his passing. Here's a great performance he did at Jazzfest 2008. I love how Eddie opens with the great impending question before the funk hits - "Ready?" Eddie proclaims - if you know your samples, you'll hear that infamous "Ready?" on Justin Timberlake's 'SexyBack'...