Knight of the Round Tables

2010-08-27T15:24:00.006+01:00

Scorching, fresh nueva Cumbia business from Bogota, complete with jazzy synths and rattling percussion.

Anibal Velasquez

2010-08-27T11:21:00.008+01:00

Wicked album by Anibal Velasquez, accordionist from Barranquilla, Colombia, featuring a blend of Guaracha, Pompo, Guarija, Cumbia and fast african beats. Out on Analog Africa..... look out for the tuff track, 'Vestido Nuevo'.

Owiny Sigoma Band

2010-08-24T20:34:00.004+01:00

Bad ass tropical music via Kenya via London town - out now on Giles Petersen's Brownswood Recordings.

Thundertone Radio - We Have Explosive 005 Cloudcast by thundertone

2010-01-04T14:05:00.001Z

Thundertone Radio - We Have Explosive 005 by Thundertone on Mixcloud

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2010-01-04T14:04:00.002Z

Thundertone Radio: We Have Explosive: 004 by Thundertone on Mixcloud

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2010-01-04T14:03:00.002Z

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2010-01-04T14:01:00.002Z

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2010-01-04T14:00:00.002Z

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David 'Fathead' Newman (February 24, 1933 - January 20, 2009)

2009-03-02T11:33:00.001Z

The saxophonist Fathead Newman was the epitome of what is known in jazz as the “Texas tenor”, a gritty soloist steeped in the blues, but with the projection and tone to punch above his weight in any band.

In the 1950s he was the main saxophonist with Ray Charles, and his combination of pugnacious solos, making the most of the few bars he was given in Charles’s vocal arrangements, together with sinuous countermelodies to the vocals themselves, made him an essential ingredient in the formative sound of soul jazz.

Both before and after his time with Charles, Newman was also a brilliant exponent of bebop, the fast-paced style of modern jazz pioneered by Charlie Parker, and in recent years he toured widely playing this kind of music in a quintet with the trombonist Curtis Fuller, and the pianist Cedar Walton, with whom Newman had attended high school in the late 1940s.

On its albums such as Diamondhead, this band also gave Newman the opportunity to display his talents as a jazz flautist, on which instrument he was also a player of the first rank.

He was born Davis Newman Jr in 1933 in Corsicana, Texas, but grew up in Dallas, where he adopted the forename David. His nickname “Fathead” followed in his early teens, when his school music teacher spotted him playing with the sheet music upside down on his stand. The teacher had failed to notice Newman’s photographic memory, which allowed him to master almost any tune at a single glance.

Texas was a relatively small musical pond in the late 1940s, and so Newman came into contact with most aspiring jazz musicians of his own age, notably including the innovative saxophonist Ornette Coleman, and the two men played together in Red Connors’ band. During his time in high school and at Jarvis Christian College, Newman was to play in several other local bands, initially the jazz orchestra of Buster Smith, but, as time went on, more often the popular blues groups led by such stars as Lloyd Glenn, T-Bone Walker and Lowell Fulson.

“I was brought up a bebop musician but it wasn’t so acceptable, especially in Dallas,” Newman said. “You couldn’t make a living doing that, so I had to play rhythm and blues. I adapted to it easily, being from an area where blues was prevalent.”

Fulson’s pianist was Ray Charles, and when Charles formed his own group in 1952 he invited Newman to join him. Charles said he loved Newman’s ability to mix a sweet and tender ballad tone with the earthy blues of his home state. As a result, Newman played alto, tenor or baritone saxophone on virtually all of Charles’s recordings for the next 12 years, including such massive hits as Hallelujah I Love Her So, Night Time is the Right Time and I Got a Woman.

In 1958 Charles helped Newman to make his debut as a leader for Atlantic Records with Fathead — Ray Charles Presents David Newman. The title track, Fathead, was an intriguing blend of Newman’s bebop-influenced tenor sax, with the more orthodox blues accompaniment of Charles’s piano.

This disc was the start of a long and prolific recording career under Newman’s own name, which he continued until his death. His final album, The Blessing, is due out this year.

His work encompassed a huge range of stylistic territory from the deliberate African call-and-response of Congo Chant on his 1961 album Straight Ahead to the trappings of electric funk on the disc Captain Buckles.

In addition to this steady output of impressive recordings, Newman became one of the most in-demand session players for blues and soul records, contributing cameos to albums by Aretha Franklin, B. B. King, Joe Cocker and Doctor John, among many others. More recently he played on albums by the singers Natalie Cole and Roseanna Vitro. He maintained impressive jazz credentials as well, bringing his athletic bebop style to discs by Art Blakey and Red Garland.

In the early 1960s Newman left Ray Charles’s orchestra to battle heroin addiction, but he overcame this, briefly returning to Charles’s band in the early 1970s and then enjoying a long working relationship for almost ten years with the flautist Herbie Mann.

In the 1980s Newman frequently appeared alongside his former Ray Charles colleague, the alto saxophonist Hank Crawford, easily conjuring up the musical atmosphere of their 1950s heyday live and on record.

Thereafter, as well as the partnership with Fuller, he also played alongside many other big names in jazz, and was an established favourite on the international festival circuit. A tall, distinctive figure, with a trim grey beard and sporting a beret, Newman was a softly spoken and charming man, whose easygoing personality belied the fiery punch of his playing.

He was one of the coterie of top- flight jazz musicians recruited by Robert Altman to appear and play in the movie Kansas City in 1995. Almost a decade later he had the interesting experience of watching Bokeem Woodbine playing the character of “Fathead” alongside Jamie Foxx as Charles in the 2004 film Ray. He was not impressed and thought the part was a crude caricature of their real-life relationship.

Newman is survived by his wife, Karen, and four sons.

David “Fathead” Newman, jazz saxophonist and bandleader, was born on February 24, 1933. He died from pancreatic cancer on January 20, 2009, aged 75

Coxsone Dodd (January 26, 1932 – May 4, 2004)

2009-03-02T11:20:00.005Z

The Jamaican record producer Clement "Sir Coxsone" Dodd, who has died of a heart attack aged 72, nurtured the career of nearly every internationally renowned reggae artist. He was one of the first to record local talent, and an integral force in the development of ska. Having been involved in the development of reggae for more than 50 years, his contribution to the evolution of the island's music, from his Studio One recording facility, is simply enormous. It was at Studio One that he cut the first recordings by Bob Marley and the Wailers.

Dodd was born in Kingston, spent some formative years in the parish of Saint Thomas, and returned to the capital to learn cabinet making and train as an automobile mechanic. Dodd's father was a contractor-cum-mason who helped build the Carib Theatre, a landmark building in the Kingston Cross Roads business district. In the early 1950s, Dodd's mother ran the Nanny's Corner restaurant at the downtown junction of Lawes Street and Ladd Lane. There customers were entertained by the sound, if not the presence, of Billy Eckstein, Sarah Vaughan, Lionel Hampton and Louis Jordan wafted out of the family Morphy Richards radio.

In the early 1950s, Dodd worked as a farm labourer in the United States. Having seen the money being made at outdoor block parties he started thinking about an entry into the music business.

From the late 1940s, the Jamaican music scene was based around the sound systems, huge sets of portable equipment that played rhythm and blues at open-air dance events. In the early 1950s the leading sound was Duke Reid The Trojan, established by former policeman Arthur Reid, a friend of Dodd's parents. Dodd did guest spots, spinning his records on Reid's set, but then became Reid's biggest competitor with the Sir Coxsone's Downbeat sound system. It took its name from a noted Yorkshire cricketer whose batting skills Dodd was said to emulate.

Dodd had a superior selection of R&B and rare jazz discs; he also had toaster Count Machuki, a wisecracking DJ. Several other later famous figures worked for Dodd in this early phase. These included Prince Buster, a former boxer who staved off attacks from rival sound systems before striking out on his own in 1957, and Lee "Scratch" Perry, who began working for Dodd as a vocalist, talent scout and general dogsbody in 1961.

In 1956, Dodd began recording artists such as Bunny and Skully at Federal studio, usually with R&B echoes. An early hit, Theophilus Beckford's Easy Snappin, had a different beat, pointing the way to the ska that Dodd would champion by the end of the decade. By the early 1960s, he was ruling Jamaica with ska hits by Toots and the Maytals, the Gaylads and the Skatalites, Jamaica's premier ska group.

In October 1963, on the site of a former nightclub, The End, Dodd opened the Jamaica Recording and Publishing Studio - always called Studio One - close to the Carib Theatre at 13 Brentford Road. He signed Bob Marley and the Wailers, and gave them immeasurable guidance, selecting Marley as leader and scoring several number ones with them. He acted as something of a surrogate father to Marley during this period, even giving him a place to live on the premises.

When rock-steady briefly supplanted ska in 1966, Dodd found Duke Reid overshadowing him, but when the new reggae style emerged in 1968, Coxsone was back on top with enthralling recordings by the Heptones, the Abyssinians, Bob Andy and Marcia Griffiths. The organist Jackie Mittoo, who arranged much of this material, also scored instrumental hits of his own.

In the early 1970s, Dodd advanced Dennis Brown's career and made forays into dub. Although recuts of his rhythms recorded at his rivals, Channel One, subsequently found greater favour, he beat them at their own game with a Studio One renaissance in 1979, voicing new material with proto-dance hall singers such as Sugar Minott, Johnny Osbourne and Freddy McGregor, plus DJs Lone Ranger and Michigan and Smiley.

Then armed bandits attacked the Brentford Road headquarters. Dodd transferred Studio One to Brooklyn, New York, where he recorded during the 1980s and early 1990s. The music included dancehall works, with Frankie Paul and JD Smoothe sometimes voicing on new mixes of old rhythms. Reissues by Boston's Heartbeat records also kept his vintage material in focus.

In 1991, he received the Order of Distinction, Jamaica's third highest honour. Following his mother's death, Dodd moved back to Kingston in 1998 and reopened the Brentford Road for new recordings with veterans and young talent alike, while reissues and a documentary DVD released by London's Soul Jazz records brought Studio One's popularity to an all-time high. Last week, the Jamaican government renamed Brentford Road Studio One Boulevard.

Throughout it all, Dodd remained an avid music lover and an astute businessman. For the past few years, he had been plagued by arthritis. His wife Norma and several children survive him.

· Clement Seymour Dodd, record producer and entrepreneur, born January 26, 1932; died May 4, 2004

(Written by David Katz)

Lyn Collins (12 June, 1948 - 13 March, 2005)

2009-03-02T11:12:00.005Z

Lyn Collins was the featured vocalist with James Brown's Soul Revue between 1971 and 1976. Her powerful voice and compelling stage presence made her a natural foil for "The Godfather of Soul", although, she claimed later, "I would have preferred to sing more and scream less".

Brown, who dubbed her "The Female Preacher", signed Collins to his People label and produced her signature song, "Think (About It)", which first made the Top Ten in the US R&B charts before in 1972 crossing over to the mainstream charts. In the mid-Eighties, the feminist war-cry was revived by rare groove DJs in Britain and Collins's vocal ad lib "It takes two to make a thing go right, It takes two to make it out of sight" went on to become one of the most sampled funk moments, most famously providing the title and the infectious hook for "It Takes Two" by Rob Base & DJ E-Z Rock which became a UK hit twice over in 1988 and 1989. Eric B & Rakim, De La Soul, DJ Jazzy Jeff & Fresh Prince, Janet Jackson and Public Enemy are some of the 70-plus artists who have sampled "Think (About It)" over the last 20 years.

Other distinctive vocal performances by Collins, on "Mama Feel good" (from the soundtrack to Black Caesar, 1973) and the Isaac Hayes compositions "Do Your Thing" and "Ain't No Sunshine", have featured on recordings by the hip-hop acts Big Daddy Kane, Above the Law and Ol' Dirty Bastard. But because Brown paid a salary to his backing musicians and singers, and claimed authorship for most of their material, Collins did not receive substantial royalties.

Born in Dime Box, Texas, in 1948, Lyn Collins grew up in neighbouring Abilene. She made her recording début with a song called "Unlucky in Love" when she was 14 and subsequently gave a demo tape to James Brown after seeing him in concert in 1968. He was impressed enough to cut five songs with her - including her first solo single, "Just Won't Do Right"/"Wheels of Life". When the vocalist Vicki Anderson quit the Soul Revue at the end of 1971, Brown invited Collins to join his People label as well as his touring show.

Following the success of "Think (About It)", Collins cut an album of the same title. She duetted with Brown on "What My Baby Needs Now" and also contributed the innuendo-laden "How Long Can I Keep It Up" to the soundtrack of the 1973 Blaxploitation film Slaughter's Big Rip Off. Brown used Collins on most of his recordings of the period, building her as a proto-feminist and sassy soul sister and even penning a song called "Women's Lib" for her.

In 1975 she issued her second album, Check Me Out If You Don't Know Me By Now, but the following year cut her last single for People, "Mr Big Stuff", and retired from touring. She became a session singer and did clerical work at the Record Plant recording studios in Los Angeles.

In the mid-Eighties, when the rare groove scene sparked off a renewed interest in James Brown's galaxy of Funky People, Collins's albums were reissued. She recorded a comeback single, "Shout", and subsequently revived "Think (About It)" with the Jamaican dance-hall singer Patra in 1993.

Adored by British fans, Collins performed last month at the Jazz Café in London with her friend Martha High. She died as a result of complications from a seizure she had suffered after choking on food.

Lyn Collins, singer and songwriter: born Dime Box, Texas 12 June 1948; married (two sons); died Los Angeles 13 March 2005.

(Written by Pierre Perrone)

Vincent Ford (1940 - December 28, 2008)

2009-03-02T11:05:00.005Z

Vincent Ford is credited with writing one of Reggae’s best-loved anthems, No Woman, No Cry (1974), the song that helped launch Bob Marley as an international music star, and bring the reggae genre popular in the Carribean to a global audience.

The provenance of the song is hotly disputed by some Marley aficionados who claim that Marley himself wrote it and then credited it to his old friend, a fellow troubadour from their days growing up in the tough, crime-ridden ghetto of Trenchtown in Kingston, Jamaica. As Ford was a double paraplegic — confined to a wheelchair as a result of chronic diabetes — who ran a soup kitchen for the poor, it was claimed that Marley had attributed the song to Ford to enable him, as an act of philanthropy, to claim the royalties.

Others believe that Ford and Marley sat down one day in Ford’s flat and wrote the song together with Ford supplying the lyrics and Marley the melody. Marley confirmed in a 1975 interview that the song was penned at Ford’s flat while Ford himself always claimed that he wrote the song.

The song, an anthem for oppressed women, was inspired by Ford and Marley’s experience growing up in “Government Yard” in Trenchtown (now Bob Marley Yard), a public housing project comprising 16 cramped rooms in a tenement block.It is popularly claimed that while little time was spent inside the block, the tenants would gather around logwood fires at night to sup on communal broth and sing songs.

The song lyrics say: “I remember when we used to sit/ In the Government Yard in Trenchtown/ And then Georgie would make the fire lights/ And it was logwood burnin’ through the nights/ Then we would cook cornmeal porridge/ Of which I’ll share with you.”

Sometimes these sessions around the logfires would be a time to sing songs of comfort for local women who were victims of domestic violence. Hence the song’s ultimately uplifting refrain, “Everything’s gonna be alright”.

Ford, known as “Tata”, was able to live off the royalties for the rest of his life — which outlasted Marley’s by nearly 30 years. These considerable royalties were boosted by cover versions and samples by an eclectic group of artists, which includes Wyclef Jean, Joan Baez, the Fugees, Boney M, Pearl Jam, Jimmy Cliff and Faith Hill.

The royalty cheques helped to fund the Trenchtown soup kitchen. It still operates today and once doubled as a rehearsal studio for Marley and his band the Wailers. No Woman, No Cry first appeared on Marley’s album Natty Dread (1974). A rousing live version recorded at the Lyceum in London in 1975 became Marley’s first hit single in the UK. The song was voted No 37 in Rolling Stone magazine’s 500 Greatest Songs of All Time.

Ford was also credited with three songs from Marley’s album Rastaman Vibration: Positive Vibration, Crazy Baldhead and Roots, Rock, Reggae. Once again cynics claimed that Ford was not the original songwriter and that Marley credited the songs on the album to Ford and others, including his wife Rita, in order to avoid paying his record company a large portion of the royalties.

The debate over the authenticity of Ford’s songwriting for Marley continues to this day, but what is not in doubt is the deep and lasting friendship between them. Ford, who grew up in the same tenement block as the Marley family, taught Marley how to play the guitar. Five years his senior, the more streetwise Tata took Marley in hand, acting as a protective influence who kept the young Marley out of trouble on the streets of Trenchtown.

Diminutive in stature, Ford would later have both legs amputated as a result of his diabetes. A popular figure, Ford was often to be found at the Bob Marley museum in Kingston where he would keep Marley pilgrims entertained with a deep fund of personal anecdotes. Marley, who died of cancer, aged 36, in 1981, said of him: “Vincent Ford is a bredda from Trenchtown. Me and him used to sing long time. Me and him used to live in de kitchen together long, long time. Him good but him sick now.”

Ford is survived by two children.

Vincent Ford, songwriter, was born in 1940. He died of complications caused by diabetes on December 28, aged 68

Ray Barretto (April 29, 1929 – February 17, 2006)

2009-03-02T10:45:00.022Z

RAY BARRETTO’S chosen instrument was the congas, which he played with a powerful percussive style famous for its endless flexibility. Yet he was far more than the best conguero of his generation. As musical director of the legendary Fania All Stars, he helped to pioneer the Latin-jazz movement often referred to as “Nuyorican”, in recognition of its Puerto Rican roots and adopted New York base.

He also made a string of brilliant and influential records as a dynamic and adventurous band leader in his own right, and was a sought-after session player across the worlds of jazz, Latin and rock music. In the course of a career spanning more than half a century, he could boast that he had played with everyone from Charlie Parker to the Rolling Stones.

Born into a Puerto Rican family in Brooklyn in 1929, he grew up in the tough ghetto areas of Harlem and the Bronx, influenced not only by Latin rhythms but by the swing bands of Duke Ellington, Count Basie and Benny Goodman.

In 1946 he joined the Army and, while stationed in Germany, he began playing percussion at regular jam sessions at the Orlando, a GI jazz club in Munich. According to legend, he did not have a congas so he removed the strings from a banjo and used its skin as a drum head.

He was much influenced by Dizzy Gillespie’s groundbreaking Latin-jazz fusions, and on his return to Harlem he took formal percussion studies, jammed with jazz greats such as Charlie Parker, Max Roach and Art Blakey and reconnected with the rhythms of the Latin music of his youth.

By the early 1950s Barretto had joined Eddie Bonnemere’s Latin Jazz Combo and then graduated to the band led by the Cuban pianist, José Curbelo, before his big break came in 1957 when he replaced Mongo Santamaria in Tito Puente’s band. His first day as a band member was spent in the studio recording Puente’s Dance Mania, now regarded as one of the seminal Latin jazz albums of its era. He stayed with Puente until 1961, when he briefly joined Herbie Mann ’s band.

That same year he made his debut as a band leader with the album Pachanga with Barretto. It was followed immediately by Latino, an album of Latin jam sessions that took the traditional Cuban flute and violin line-up known as charanga and reinvented it with the addition of blaring sax and trumpet.

Switching to the Tico label in 1962, Barretto followed with Charanga Moderna, another excursion in the same style, and the following year he had a Top 20 hit with the Latin-pop novelty dance number El Watusi. Away from salsa, he kept his hand in as a jazz musician, playing sessions with the likes of Sonny Stitt, Eddie “Lockjaw” Davis, Cannonball Adderley, Freddie Hubbard, Cal Tjader and Gillespie.

But his brush with the pop charts for a while appeared to leave him uncertain in which direction to go, and it was not until he signed to Fania Records in 1967 that he again found his way. Starting with Acid (1967), over the next eight years he made ten superb salsa albums for the label, featuring various vocalists including Adalbarto Santiago, Tito Allen, Rubén Blades and Tito Gómez. Among his most memorable releases were Indestructible (1973), an album which also provided him with a popular nickname, and Barretto (1975), which was nominated for a Grammy award.

In 1968 he had become a founder member of the Fania All Stars, a glittering firmament of the biggest names in New York salsa. Founded by Jerry Masucci, the owner of Fania, and the singer Johnny Pacheco, Barretto became the band’s musical director as the All Stars went on to become one of the most influential bands in the history of Latin music, releasing a stream of brilliant recordings and becoming an explosive live attraction.

A sold-out concert at the New York Yankee Stadium was hyped as “the Latin Woodstock” and their live show was captured in the 1976 film Salsa. That same year they made their only British appearance at the Lyceum in London.

By the 1980s the All Stars was in decline, but Barretto remained an unstoppable force. After briefly leaving Fania for Atlantic in the late 1970s, he returned in triumph to make a string of fine albums, including an acclaimed teaming with the singer, Celia Cruz and his former lead vocalist Adalbarto Santiago on the 1983 album Tremendo Trio! A second album with Cruz, Ritmo en el corazón, won them a Grammy award in 1990.

In the 1990s he recorded with a sextet, New World Spirit, and in later years he returned to a more jazz-dominated style. His final release, Time Was — Time Is, appeared in 2005 and was nominated for a Grammy as best Latin jazz album.

Barretto suffered from asthma and was admitted to hospital in January after a heart attack. He was also treated for pneumonia and underwent quadruple bypass surgery.

He is survived by his wife, Annette “Brandy” Rivera, and their four children.

Ray Barretto, percussionist, was born on April 29, 1929. He died on February 17, 2006, aged 76.

OLD SKOOL RAVE/DANCE/TECHNO

2008-10-19T22:20:00.003+01:00

Thought I’d start with a mix of Hardcore classics, including some tunes from an array of labels that formed the building blocks of the whole UK dance music scene. Some tunes are more playable than others and some clearly need to be mixed, but this is where it all began…take a look in the Old Skool Rave/Dance/Techno section.

ASWAD - Warrior Charge

2008-10-19T14:48:00.006+01:00

Boomp3.com
Artist: Aswad
Track: Warrior Charge (from the film ‘Babylon’)
Label: Island
Catalog#: 12WIP 6646
Format: Vinyl, 12”
Country: UK
Released: 1980
Credits: Birnsley ‘Dan’ Forde – Guitar, Tony ‘Gad’ Robinson – Keyboards & Bass, Angus ‘Drummie Zeb’ Gaye – Drums. Featuring Vin Gordon - Trombone and Michael ‘Bammi’ Rose - Alto Sax. Produced and Arranged by Aswad and M. Campbell.

Aswad (which means ‘black’ in Arabic) were for the best part of a decade, the foremost roots band in Britain. They formed in 1975, in the Westbourne Grove area of West London, where the core members of the band grew up. Although they never broke through to U.S. or Jamaican audiences in quite the same way as Steel Pulse, Aswad have a prolific output totaling more than 21 albums.

Aswad's strongest recordings are probably from the late-70's/ very early 80's when British, militant roots Reggae was in full-swing. Here, Rastafarian and Reggae themes of black nationalism, alienation, displacement and police harassment where given a specific ‘born in the UK’ context and these themes dominated much of their work.

This track, the instrumental ‘Warrior Charge’, is built around the powerful horns section of Rose and Vin Gordon, and I feel, remains Aswad’s most musically powerful track to date (included here in its full 12” glory). Also check out; Steel Pulse, Matumbi, Black Slate, LKJ, and Dennis Bovell.

ORCHESTRA HARLOW – Freak Off

2008-10-19T11:59:00.003+01:00

Boomp3.com
Artist: Orchestra Harlow
Track: Freak Off
Label: Vampi Soul
Catalog#: 45017
Format: Vinyl, 7”
Country: Spain
Released: 2008
Credits:

Top Vampi Soul Jukebox Series reissue of ‘Freak Off’, originally released in 1971. Directed by Johnny Pacheco, Produced by Johnny Masucci. Recently featured on Giles Peterson's Fania DJ Series.

LEROY BROWN & THE ROOTS REBELS – Money Barrier

2008-10-19T11:56:00.002+01:00

Boomp3.com
Artist: Leroy Brown & The Roots Rebels
Track: Money Barrier
Label: Rhythm Gits
Catalog#: LB 2737
Format: Vinyl, 7”
Country: Jamaican
Released:
Credits: Written by Leroy Brown

There’s also another cut, ‘Colour Barrier’ on Flames Records, but this is by far the best and most sought after version.

KIETH WORTHY – Moon Dance

2008-10-19T11:49:00.005+01:00

Boomp3.com
Artist: Keith Worthy
Track: Moon Dance (from the EP Detroit Beatdown Vol. 2 ep 3)
Label: Third Ear Recordings
Catalog#: 3EEP 097
Format: Vinyl, 12”
Country: UK
Released: 2008
Credits:

Following the Black and Tangerine EPs comes the Blue EP, the 3rd release in Third Ear’s ‘Detroit Beatdown Volume Two’. Keith Worthy has been making heads nod recently with releases on his Aesthetic Audio imprint. Here he drops a piece of deep grooving Detroit electronic funk at 120 bpm. http://www.myspace.com/worthyisdeep

TWILIGHT CIRCUS DUB SOUND SYSTEM – Bin Shaker Dub Plate

2008-10-19T11:42:00.004+01:00

Boomp3.com
Artist: Twilight Circus Dub Sound System
Track: Bin Shaker Dub Plate (from the LP ‘Dub Plates Volume Two”)
Label: M Records 180
Catalog#: M Records 180
Format: Vinyl, LP,
Country: UK
Released: 1999
Credits: Produced, Performed & Mixed by Ryan Moore.

Dub Plates Volume Two – a collection of special dubplate mixes and exclusive Twilight Circus tracks previously only available to Sound Systems and DJ’S. Mastered at the legendary Dubplates and Mastering studios in Berlin. Cut for maximum drum and bass on pure 180 gram vinyl.

Since that night in 1967 when selector Ruddy Redwood spun a vocal-less acetate in a Kingston dance hall and the midnight ravers demanded "Rewind!", ‘Dubism’ has been fine-tuned to the art of perfection. Unfortunately, some narrow-minded muzos claim the work of Tubby, Perry, Hudson and Scientist can never be bettered – purely because they get hung up on the subject of ‘authenticity’. However, in Dutch-based Ryan Moore, the Legendary Pink Dots and Tear Garden escapee, I believe we have found a contender for the contemporary Dub crown. Take a listen…. may you wince in fear for your speaker cones.

SON’Z OF A LOOP DA LOOP ERA – Far Out

2008-10-19T11:37:00.004+01:00

Boomp3.com
Artist: Son’z of a Loop Da Loop Era
Track: Far Out
Label: Suburban Base Records
Catalog#: Sub Base 008
Format: Vinyl, 12”
Country: UK
Released: 1991
Credits: Written & Scratched by Danny Break’z, Produced by Danny Break’z & Austin

Another classic straight outta Romford, Essex! The capital of hardcore. The vocal ‘Give yourself to me’ is sampled from 'I Need You Now' by Sinnamon.

RAGGA TWINS – Hooligan 69

2008-10-19T11:25:00.004+01:00

Boomp3.com
Artist: Ragga Twins
Track: Hooligan 69
Label: Shut Up & Dance
Catalog#: SUAD 5
Format: Vinyl, 12”
Country: UK
Released: 1990
Credits: Produced by Shut Up & Dance, Executive Producers, Smiley and PJ.

Ragga Twins consist of Flinty Badman (Trevor Destouche) and Deman Rocker (David Destouche). Both were respected MC's who starting out in a North London sound system called Unity, before forming the Ragga Twins in early 1990.

Shut Up & Dance, PJ & Smiley's pioneering dance label, was established in 1989 and operated out of 53 Belgrade Rd, Stoke Newington, London, N16. I may have to petition English Heritage to slam a blue plaque on this address.

ORBITAL – Impact U.S.A.

2008-10-19T11:20:00.003+01:00

Boomp3.com
Artist: Orbital
Track: Impact U.S.A.
Label: ffrr
Catalog#: 697 120 013
Format: Vinyl, 12”
Country: UK
Released: 1993
Credits: Produced by Paul Hartnoll & Phil Hartnoll.

Techno brothers, Paul and Phil Hartnoll, deliver a fine slab of sophisticated, early breakbeat – a far cry from the early days of using their father’s four-track and mastering directly onto cassette.

MI 7 – Rocking Down The House

2008-10-19T11:14:00.005+01:00

Boomp3.com
Artist: MI 7
Track: Rockin’ Down The House
Label: Chill
Catalog#: TUV 20
Format: Vinyl, 12”
Country: UK
Released: 1991
Credits: Produced, arranged and written by Unlimited Source,

The vocal sample is taken from Adonis, ‘We’re Rocking Down The House’ (Trax Records, 1986). Apparently when Adonis wrote the original, he wanted to make clubbers feel like they were literally ‘rocking down the house’ as they collectively danced to his record. MI 7 clearly retained this vision in their 1991 anthemic recording, ‘Rocking Down The House’. Check it.

BITIN’ BACK – She’s Breaking Up

2008-10-19T11:12:00.004+01:00

Boomp3.com
Artist: Bitin’ Back
Track: She’s Breaking Up
Label: Fokus
Catalog#: FK002
Format: Vinyl, 12”
Country: US
Released: 1991
Credits: Created by Mickey Finn, Programming & Additional Keyboards, Andy Whitmore.

The intro sample, ‘She's breaking up, she’s breaking up…. Steve Austin, a man barely alive…’ is taken from the opening credits of the cult 70’s American TV series, ‘The Six Million Dollar Man’ – played by Lee Majors. ‘She’s Breaking Up’ is my favourite record from this era.

BLAME – Music Takes You

2008-10-19T10:53:00.003+01:00

Boomp3.com
Artist: Blame
Track: Music Takes You (original version)
Label: Moving Shadow
Catalog#: Shadow 11
Format: Vinyl, 12”
Country: UK
Released: 1992
Credits: Written by Conrad Shafie, Produced by Rob Playford

The original white label release of ‘Music Takes You’ sampled ‘The Beginning’ by Seal and if I remember correctly, Seal’s lawyers got involved preventing the use of his material for the official Moving Shadow release. What an arse, Seal should have just OK'd the vocal sample, which would have in-turn ingrained him firmly in the minds of thousands of highly 'impressionable' (cough) hardcore ravers, thus boosting his career and record sales. I mean, where is he now?

DISCO/BOOGIE/NU-DISCO

2008-10-15T12:11:00.000+01:00

Right, some people love disco, some people hate disco. I think I used to be a bit of a disco hater, purely because I’ve been torturously subjected to the same old commercial disco records, time and time again, at parties and weddings. Come on, you know what I mean… pissed up individuals that know nothing about music, can’t dance and “just want to hear something they know” (coz it makes them feel safe and secure in their own little comfort zones). It’s like a bad disco 'Groundhog Day' moment that never seems to go away. The main culprits are; The Jacksons – 'Blame It On The Boogie', Abba – 'Dancing Queen', The Bee Gees – 'Stayin’ Alive', The Village People – 'YMCA', Rose Royce – 'Car Wash', Gloria Gaynor - 'I Will Survive', Chaka Khan – 'I’m Every Woman'… need I go on. (If I’ve missed anything, please tell me).

Thus, I can partially understand why US shock jock, Steve Dahl, orchestrated a very public demonstration against disco in 1979 (now known as The Day Disco Died) – but clearly Dahl took it to extremes… an act more akin to something you’d expect to see in Nazi Germany in the late 1930’s and early 40’s Vs America in the 1970’s.

Steve Dahl’s Disco Demolition – The Day Disco Died

Now, I’ve been thinking about this a lot recently… was it that Dahl was demonstrating against the commercial marketing of shit disco (at the expense of other forms of music) or was it that Dahl just didn’t know any hot disco records? Whatever the story, as a Knight of The Round Tables, I aim to prove that there are some amazing disco records out there and hopefully convert a few of you non-believers. In fact, right now we’re in the middle of a Nu Disco explosion, with some really exciting music floating around (and a f*ck load of dance floor re-edits). Feel free to take a peek in the Disco/Boogie/Nu–Disco section.

Oh, and by the way… next time you hit the floor, please bring these moves to the party;

SUBWAY - 'Simplex' (Gatto Fritto Mix)

2008-10-15T11:57:00.003+01:00

Boomp3.com
Artist: Subway
Track: Simplex (Gatto Fritto mix)
Label: Soul Jazz Records
Catalog#: SJR 182-12
Format: Vinyl, 12”
Released: 2008
Country: UK
Credits: Written and Produced by Alex James and Michael Kirkman.

Killer Nu Disco bomb fusing Ital/New York Disco with Detroit Techno and Krautrock in a DFA style! Gatto Fritto delivers a sublime mix, which undulates and moves all over the place. Catchy handclaps and top live guitars.

Some old Thundertone flyers...

2008-10-14T21:18:00.008+01:00

ZERO B - 'Lock Up'

2008-10-14T16:38:00.002+01:00

Boomp3.com
Artist: Zero B
Track: Lock Up (monolith mix)
Label: ffrreedom (a sister label of FFRR and a division of London Records)
Catalog#: TABX 102
Format: Vinyl, 12”, EP
Country: UK
Released: 1992
Credits: Written, Produced and Arranged by Zero B

SATIN STORM – ‘Satin Storm 1999’

2008-10-14T16:36:00.006+01:00

Boomp3.com
Artist: Satin Storm
Track: Satin Storm 1999
Label: Satin Storm
Catalog#: SSP 2 01
Format: Vinyl, 12”
Country: UK
Released: 1991
Credits: Written by Travis Edwards

Satin Storm was an independent label releasing music by... yes, you've guessed it... Satin Storm ... a label no doubt set up and run by Mr. Travis Edwards himself. 'Satin Storm 1999' is another classic that was a refreshing change at the time. This was/is breakbeat (not hardcore), except at the time there was not enough music like this around for the need to coin a new genre. As programming diversified, this obviously changed and the likes of Drum & Bass and Breakbeat emerged...

NATION 12 – ‘Listen To The Drummer’

2008-10-14T16:33:00.004+01:00

Boomp3.com
Artist: Nation 12
Track: Listen To The Drummer (B-Side to Remember)
Label: Rhythm King Records
Catalog#: EBU 1
Format: Vinyl, 12”
Country: UK
Released: 1990
Credits: Written by Tim Simenon/Foxx.

Nation 12 were comprised of Dennis Leigh, Kurt Rogers, Simon Rogers and Tim Simenon. 'Listen To The Drummer' samples ‘Welcome To The Terrordome’ by Public Enemy and ‘Human Beat Box’ by Fat Boys. I'm not going to go into boring muzo detail about the significance of this record, but it was truly ahead of its time and will remain a hardcore favourite of mine.

THE CLEPTO-MANIACS – ‘Positive Feedback’

2008-10-14T16:30:00.004+01:00

Boomp3.com
Artist: The Clepto-Maniacs
Track: Positive Feedback (climax mix – taken from The Positive Feedback EP)
Label: Fokus U.K.
Catalog#: FKUK 008
Format: Vinyl, 12”
Country: UK
Released: 1992
Credits: Created, mixed and arranged by Toby Grafty-Smith & Tin Tin. Programmed and Engineered at MNT Studios, Executive Producer D.A.D. THE CLEPTO-MANIACS – ‘Positive Feedback’

SL2 – ‘The Noise’

2008-10-14T16:29:00.003+01:00

Boomp3.com
Artist: SL2
Track: The Noise (Original version)
Label: XL
Catalog#: XLT-24
Format: Vinyl, 12”
Country: UK
Released: 1991
Credits: Written, produced and mixed by Slipmatt and Lime (real names Matthew Edward Nelson & John Fernandez). Engineered by Alan Zipper of New Age Productions.

Top tune! SL2 are apparently back – check http://www.myspace.com/thesl2

TIMEBASE feat. Kromozone – ‘Fireball’

2008-10-14T16:27:00.004+01:00

Boomp3.com
Artist: Timebase feat. Kromozone
Track: Fireball
Label: Boogie Times Records
Catalog#: B003
Format: Vinyl, 12”, Promo
Country: UK
Released: 1990
Credits: Written and produced by Mr. Time and DJ Krome. Recorded and mixed at SubBase studios.

A track with an unmistakable wicked sample; "No one can compete, coz I heat like a fireball!" – bring it... makes me want to stick my head in a base bin!

LENNY DE ICE – ‘We are I.E’

2008-10-14T16:25:00.003+01:00

Boomp3.com
Artist: Lenny De Ice
Track: We are I.E.
Label: I.E Records
Catalog#: I.E. 001 - RTOR
Format: Vinyl, 12”, white label, stamped
Country: UK
Released: 1991
Credits: Stamped with phone number 0850-327 336.

'We are I.E.' is on occasion mis-credited to Reel II Reel (real name John Aymer) when in fact Reel II Reel were largely responsible for putting out the first release of Lennie De Ice's seminal dance record. (I.E. Records was a Reel II Reel label).

SLIGHT DELAY – ‘Sufi Surfer’

2008-10-14T16:21:00.004+01:00

Boomp3.com
Artist: ?
Track: ?
Label: Rong Music
Catalog#: RPR 22
Format: Vinyl, 12” – 4 track
Country: US
Released: 2008
Credits:

Not sure who or what this track is an edit of... but it’s definitely in that Grace Jones meets Sly & Robbie vibe. If anyone has any information about this tune, please share it with me.

PUNKIN’ MACHINE – ‘I need You Tonight’

2008-10-14T16:20:00.004+01:00

Boomp3.com
Artist: Punkin’ Machine
Track: I Need You Tonight (H-Track edit)
Label: H-Track
Catalog#: H-Track 1
Format: Vinyl, 12”
Country: US
Released: 2008
Credits: Hugh Herrera Edit.

Originally released on J.C. Records in 1981, this is a classy touching up of Punkin Machine's 'I Need You Tonight' (which was included on James Murphy and Pat Mahoney’s now-legendary Fabric compilation). Big, big tune.. just in case you missed it!

TONY ORLANDO – ‘Don’t Let Go’

2008-10-14T16:19:00.005+01:00

Boomp3.com
Artist: Tony Orlando
Track: Don’t Let Go (Pete Herbert Edit)
Label: Disco Deviance
Catalog#: DD04
Format: Vinyl, 12”
Country: UK
Released: 2008
Credits: PH Edit (The original was written by Jesse Stone and Produced by Jerry Wexler & Barry Beckett)

Originally released on Elektra Records in 1978, this was Tony Orlando’s take on the disco sound and with its lush strings and mellow instrumentation is a top slab of lesser known Disco history. Check: www.tonyorlandoonline.com

I very rarely say this about re-edits, but Pete Herbert’s mix keeps ‘Don’t Let Go’ totally dancefloor for 2008 – and in my humble opinion – is stronger and deeper than the original as it’s slightly ‘de-cheesed’. For those who don’t know Pete Herbert, he’s a bit of a disco don who goes under the guises Reverso 68 and LSB and is one of the former owners of the legendary Atlas Records, Soho, London. Atlas was the friendliest and most-cutting edge record shop in the land, until the fuckers from Westminster City Council doubled the rent, forcing its closure.

CLOUD ONE – ‘Patty Duke’

2008-10-14T16:17:00.002+01:00

Boomp3.com
Artist: Cloud One
Track: Patty Duke (instrumental)
Label: Sound of New York, USA
Catalog#: 703
Format: Vinyl, 12”
Country: US
Released: 2008 (reissue)
Credits: Written by Peter Brown

Nice spaced-out, slo-mo disco from the likes of Peter Brown and Patrick Adams, both producers in the late 1970’s disco scene that unwittingly (like so many) helped give birth to the rise of hip-hop. Back in the day, before the likes of Run DMC and The Beastie Boys, rappers would rock the mic over an instrumental track, usually the B-Side of a disco single (with an extended version). Cloud One by Patty Duke was a popular tracks to use, rapped on by the likes of Spoonie Gee, Scoopie and Family. Check it.

LABA SOSSEH – ‘Que Se Funan’

2008-10-14T16:08:00.004+01:00

Boomp3.com
Artist: Laba Sosseh Y Su Conjunto
Track: Que Se Funan
Label: N’Dardisc
Catalog#: 45-15
Format: Vinyl, 7”
Country: Senegal
Released: 1960’s (not 100% on the year)
Credits: Written by Laba Sosseh, Produced by L. Fourment

Having only recently discovered the wonders of Laba Sosseh’s work – particularly his collaborations with Dexter Johnson (and Super Star De Dakar) – I wanted to feature some of his music here as Laba Sosseh was an absolute landmark figure in the development of African-Latin music.

John Child (@ Descarga.com) compiled a detailed obituary about Laba Sosseh, some of which I have included here in slightly edited form. Trying to get a good, reliable write up on him is not easy.

Born: Laba Badara Sosseh, 12 March 1943, Bathurst, Gambia, Died: 21 September 2007, Dakar, Senegal.

Laba Sosseh was a Gambian-born singer and composer who was an early pioneer of the tradition of Africans journeying to New York to record with Latin musicians.

The son of a Senegalese father and Gambian mother, Laba was born and raised in Bathurst (renamed Banjul in 1973), the capital of The Gambia, a British colony at the time. Regarded as one of the greatest musical innovators in the Sene–gambia sub-region, he grew up listening to Cuban dance music of the '40s and '50s. Johnny Pacheco was one of his favourites and he became known for his perfect imitation of the Dominican bandleader's style.

From a family of griots (praise singers), he played the sabarr drum at traditional ceremonies and later joined the Foyer Jazz Band, with whom he began singing popular Latin numbers, and African Jazz dance band. In the early '60s Laba accompanied his father, a civil aviation worker, when he was redeployed to Dakar airport in Senegal. There he joined the Star Band de Dakar, founded in 1960 by Ibra Kassé as the house band for his prestigious Miami nightclub to celebrate Senegal's independence. Sidemen included the Nigerian sax player Dexter Johnson, singer Amara Toure and conga drummer Lynx Tall. Besides the Miami nightclub, Laba performed with the band in many clubs in Dakar, Bathurst and throughout the sub-region. In 1964 the Star Band fell out with Kassé and, renaming themselves Super Star de Dakar, relocated to the Etolie nightclub.

He accompanied Super Star to Abidjan, the capital of the Ivory Coast, where he took up residence and organised the Super International Band de Dakar, comprising Senegalese and local musicians, at the beginning of the '70s.

Circa. 1977 Sosseh recorded with the Special Liwanza Band, making his debut on Aboudou Lassissi's Ivory Coast-based Sacodis label. Lassissi took Laba to the U.S. where he recorded with some of New York’s finest Latin musicians.

In the early 80’s, Laba made a number of albums in Paris and performed with the Cosmos Band in Benin. In 1998 he sang ‘Afromanicero’ on Cheikh Ibra Fall by El Hadji Faye and Etoile 2000 de Dakar and later joined the ranks of Africando for their fourth album Baloba! In 2001 Laba Sosseh celebrated his 40th anniversary in the salsa africana field.

After a long illness, Laba Sosseh passed away in a private clinic in Dakar on Thursday September 20, 2007 at around 3:00 am local time. Pape Fall and guitarist Cheikh Tidiane Tall announced his death on RTS, Senegal's state-owned media corporation. He was buried at the Muslim cemetery in Yoff, Dakar, and is reportedly survived by 27 children.

NICO - 'Wrap Your Troubles In Dreams'

2008-10-14T15:57:00.008+01:00

Boomp3.com
Artist: Nico
Track: Wrap Your Troubles In Dreams (from the LP, Chelsea Girl)
Label: Verve Records
Catalog#: 2353025
Format: Vinyl, LP
Country: UK
Released: 1971 (originally 1967)
Credits: Producer - Tom Wilson, Arranged and conducted by Larry Fallon

This month sees a number of tribute concerts marking twenty years since Nico’s death, so I thought it appropriate to feature a track from 'Chelsea Girl', Nico's debut solo album.

So who the hell is this statuesque, German blonde equipped with a voice deeper than the foghorn on the Tirpitz? Nico (real name Christa Päffgen) was arguably the world’s first supermodel; a junkie muse, musical pioneer and formidable femme fatale – all rolled into one. Her music; folky and earthen – reminiscent of Mary Travers (Peter, Paul & Mary) – yet more elegant, isolated and inward.

For her debut album, 'Chelsea Girl', Nico recorded songs by among others; Bob Dylan, Tim Hardin, Jackson Browne and Velvet Underground members... Lou Reed, John Cale and Sterling Morrison. Lou Reed gave her the song ‘Wrap Your Troubles in Dreams’ (which did not surface as a Velvet Underground recording until it was included in the box set release, ‘Peel Slowly and See’) and for me this is the best track on 'Chelsea Girl'. Not bad for a gal who was tone deaf and couldn't hear in one ear!

The musical backing is hauntingly minimal, featuring one or two guitars. There are no base instruments or drums and the strings and flute arrangements (added in post) create a surreal, almost Baroque–Folk feel to the whole experience.

Nico’s life reads like a Shakespearian play, except her performance was equally romantic, tragic, dramatic…. complex, and for a girl of her fame, she died in rather mundane circumstances. On July 18th, 1988, in Ibiza, Spain, after enjoying a relatively rejuvenated stint (post heroin addiction), Nico suffered a minor heart attack while riding a bicycle, causing her to fall and hit her head. A passing taxi driver found her unconscious and had difficulty getting her admitted to local hospitals. She was incorrectly diagnosed as suffering from exposure and she died the next day. X-rays later revealed a severe cerebral haemorrhage as the cause of her death. She was 49.

Nico was buried in her mother's plot in Grunewald Forest Cemetery in Berlin. At her funeral, a few friends played a tape of ‘Mütterlein’, a song from the album, ‘Desertshore’.

Directions to Nico's grave

Nico's Grave

Check these two great tributes; Life Along the Borderline — a Nico Tribute, curated by John Cale, Southbank Centre, London SE1, Oct 11 2008 and Nico tribute concert curated by Lutz Ulrich, Volksbühne, Berlin, Oct 17, 2008.

Chelsea Girl was reissued last year on the 4 Men With Beards label.

ARTHUR RUSSELL - 'Soon To Be Innocent Fun/Let's See'

2008-10-04T10:20:00.007+01:00

Boomp3.com
Artist: Arthur Russell
Track: Soon-To-Be Innocent Fun/Let’s See (from the album 'World of Echo')
Label: Rough Trade/Audika
Catalog#: RTRADCD208
Format: CD
Released: 2004
Country: UK
Credits: Arthur Russell - Vocals, Hand Percussion, Cello and Echoes.

Yes, I know, I bought a CD, but I just had to listen to this experimental album in crisp digital sound. Originally recorded in New York between 1985-86, 'World of Echo' is a wonderful, ethereal, haunting, one of a kind album, featuring sparsely arranged songs for cello and voice, fused with electronic echo and delay effects. This is one of Arthur Russell’s seminal works and it exemplifies the folky, idiosyncratic, singer-songwriter side of his diverse musical practice (Arthur was also a composer of orchestral music and produced disco and leftfield electro tracks). This album was originally released while Arthur was still alive and has since become quite a sought after piece amongst collectors. It's still definitely pushing the boundaries.

THE PRODIGY - 'Android'

2008-10-02T14:46:00.007+01:00

Boomp3.com
Artist: The Prodigy
Track: Android
Label: XL Recordings
Catalog#: XLT-17
Format: Vinyl,12”
Country: UK
Released: 1991
Credits: Written, Produced & Mixed by Liam Howlett

The Prodigy started out as a solo outfit fronted by talented producer, Liam Howlett (then aged only 19) and this was The Prodigy's first excursion onto vinyl. The Prodigy official line-up eventually became Liam on keyboards and Leeroy Thornhill, Keith Flint and Sharky as dancers. Maxim was recruited at short notice to MC their debut gig at Labrynth in Dalston, East London. Sharky (dancer) left the group in 1990 after they got their record deal with XL, as she didn't want to devote more time to the band. The Prodigy briefly used the pseudonym Earthbound (6) (named after Liam's studio) for the original white-label releases of One Love in the summer of 1993. Leeroy (dancer) left the band in 2000.

The tracks on this EP – 'Android', 'Everybody In The Place' and 'What Evil Lurks' – became massive rave anthems and typify the tough sound emanating from Essex at the time. (Reference; N-Joi, Fantasy U.F.O, D Zone Records etc). Back in 1991, whilst exploring Thailand as a fresh faced teenager, just outta school, I was lucky enough to DJ at a Full Moon Party on Sunset beach, Koh Pa Ngan. There were no turntables, we all made do with tape decks and cassettes and one of the tracks I had the pleasure of dropping was ‘Android’.

Approximately 7,000 copies of the original were pressed. Due to high demand, a lot of bootlegs are in circulation. The official release comes in a typical silver and black XL Recording's house sleeve. All original copies have 'THE EXCHANGE' engraving in the run out groove of the vinyl. If this is not engraved, I’m afraid to say, it’s a fake record (even if it comes in an original sleeve). The EP has been officially reissued to commemorate the15th Anniversary of XL Recordings and I think it’s seriously worth tracking down a copy.

SYMPHONY SOUND - 'Pennywise'

2008-10-02T14:34:00.005+01:00

Boomp3.com
Artist: Symphony Sound
Track: Pennywise
Label: Symphony Sound Records
Catalog#: SYM003
Format: Vinyl,12”
Country: UK
Released: 1992
Credits: Mastered by Porky, Mixed/Produced by Neuromancer

An absolute classic of the pirates and raves from 1992. Check the broader than Broadway bass drop halfway though the record. I think the vocal sample, "they all float down here", is taken from Stephen King’s horror movie, IT (featuring a clown called Pennywise). Coulrophobia sufferers, watch out.

THE HOUSE CREW - 'Keep The Fire Burning'

2008-10-02T13:41:00.004+01:00

Boomp3.com
Artist: The House Crew
Track: Keep The Fire Burning
Label: Production House
Catalog#: PNT 029A
Format: Vinyl,12”
Country: UK
Released: 1991
Credits:

Track samples; "cut the midrange, drop the bass" is taken from 'All We Wanna Do Is Dance' (The Message) by The House Crew. "Got to keep the fire burning" is lifted from 'Day Dreaming' by Baby D (both Production House tracks). Also "why don't you move, dammit?" is sampled from 'Ring My Bell' by Monie Love vs Adeva. At first, The House Crew was just the pseudonym for the label's own in-house production team. After the success of 'Keep The Fire Burning', Floyd Dyce settled on the House Crew alias and had more hits with 'We Are Hardcore' (a collaboration with Acen) and 'The Theme'. Original member and frontman, Nino, went on to write, produce and remix hits for Baby D, Eternal, Peter Andre, Darkman, D.M.S., Sarah Cracknell (from Saint Etienne), X-static and Acen.

DJ EDGE - 'Compnded'

2008-10-02T13:21:00.007+01:00

Boomp3.com
Artist: DJ Edge
Track: Compnded
Label: Edge Records
Catalog#: EDGE 01
Format: Vinyl,12”
Country: UK
Released: 1992

DJ Edge (real name Gordon Matthewman) is still going strong as a renowned House Producer, DJ and Trumpet player. www.gordonedge.com www.myspace.com/djgordonedge
DJ Edge is not credited on the record. Re-presses of this record have an 0171 telephone number on the label. Absolute classic, still getting licensed today!

4 HERO - 'Mr. Kirk's Nightmare'

2008-10-02T13:14:00.005+01:00

Boomp3.com
Artist: 4 Hero
Track: Mr. Kirks Nightmare (from Combat Dancin’ EP)
Label: Reinforced
Catalog#: RIVET 1202
Format: Vinyl, Limited Edition EP, 12”
Country: UK
Released: 1991
Credits: Arranged by Mark Mac, Mastered by Reinforced Gus, Producer, 4 Hero, Written by Rebel, The, D. McFarlane, Reinforced Gus, Mark Mac

4 Hero (real names; Mark Clair & Dennis McFarlane) formed in 1989 in Dollis Hill, London, United Kingdom. Part of the scene from the very beginning, also founded the label Reinforced (amongst others). The ‘Give The Drummer Some’ sample is from 'Get Into Something' by The Isley Brothers. ‘Mr. Kirk... your son is dead...’ is lifted from 'Once You Understand' by Think.

JIMMY SCREECH - 'Let's Get Moving'

2008-10-02T13:06:00.003+01:00

Boomp3.com
Artist: Jimmy Screech
Track: Let’s Get Moving
Label: Banana Klan
Catalog#: BNC 001
Format: Vinyl, 7”
Released: 2005
Country: UK
Credits:

‘There's a young man/Living inna southeast London’... Jimmy rocks the party in a Lovers–Hip Hop fashaan. Floor filler, with more bounce to the ounce than something very bouncy (and heavy). Big tune, even though it only sold 2000 copies. Banana Klan is a London Hip Hop/Ragga/Reggae /Dub /Dancehall collective. Headed up by Roots Manuva with A&R from Gordon G. Check: www.myspace.com/jimscreechofficial

MR BEASLEY - 'Neon'

2008-10-02T12:59:00.001+01:00

Boomp3.com
Artist: Mr Beasley
Track: Neon
Label: Larkin Out
Catalog#: LOUT001
Format: Vinyl, 12”
Released: 2005
Country: UK
Credits: Vocals by Sarah J

Nice tronic-fucked up broken beat. Top slow mover.
Check: www.myspace.com/mrbeasleymusic

SON OF DAVE - 'So Good, So Wrong'

2008-10-02T12:51:00.004+01:00

Boomp3.com
Artist: Son of Dave
Track: So Good, So Wrong (B-Side to Old Times Were Good Times)
Label: Kartel
Catalog#: Kart 023
Format: Vinyl, 7”
Released: 2008
Country: UK
Credits: Written by B. Darvill, Produced by B. Darvill and Alex McGown. All instruments by Son of Dave.

Son of Dave (a.k.a. Benjamin Darvill) is also known as guitarist and harmonicist for Crash Test Dummies. Since 2000 he has been busy with this great solo project. As Son Of Dave, Darvill incorporates loops, beat boxing, old skool, lo-fi mic equipment and a quirky harmonica style to create a distinctive 21st Century blues sound. Top artist and top label. Check it. www.myspace.com/thesonofdave www.kartel.mu

NOMO - 'All The Stars'

2008-10-02T12:45:00.001+01:00

Boomp3.com
Artist: Nomo
Track: All The Stars (from the LP, Ghost Rock)
Label: Ubiquity
Catalog#: URLP 230
Format: Vinyl, LP
Released: 2008
Country: US
Credits:

Nomo incorporate elements of afro funk, jazz, krautrock and Congolese electronica (a la Konono Number One/Congotronics). ‘All The Stars’ is a powerful tronic-rootsy-afro number with full live instrumentation Vs programming. Great stuff. If you like this track, definitely check out the Congolese releases on Crammed Discs www.crammed.be

SOULWAX - 'You Can't Always Get What You Want'

2008-10-02T12:30:00.003+01:00

Boomp3.com
Artist: Soulwax
Track: You Can’t Always Get What You Want
Label: White
Catalog#: gET – 001 – A
Format: Vinyl, 12”, White
Released: 2008
Country: Belgium
Credits: David Dewaele, Stephen Dewaele (a.k.a. 2 Many DJs) (+ possibly the other half of what is technically Soulwax, Stefaan Van Leuven & Steve Slingeneyer)

Limited Soulwax remix of the Rolling Stones' ‘You Can't Always Get What You Want’. The Dewaele brothers rip up the original, throw down a sweet downtempo beat (for Soulwax standards at least) and transform the whole sonic experience into an almost-balearic piece of tronic, lounge-floor rock. Opened up with this at Secret Garden Party, 2008 – Pagoda Stage, on a beautiful warm summer evening. Everyone have sexy time! Check www.secretgardenparty.com

FUNK/SOUL/NORTHERN SOUL

2008-10-02T12:12:00.002+01:00

Here you will find, non-predictable funk and soul tracks, as I’m a really bored of hearing tunes that fit monotonous formulas. I will also be checking interesting Northern Soul sounds Vs well-known Motown and Stax recordings, which in my mind have been played to death.

DOUG PARKINSON - 'I'll Be Around'

2008-10-02T12:04:00.006+01:00

Boomp3.com
Artist: Doug Parkinson & The Southern Star Band
Track: I’ll Be Around
Label: Southern Star Records
Catalog#: K7339
Format: Vinyl, 7”
Released: 1978
Country: Australia
Credits: Co-written by Thom Bell and Phil Hurtt

Bit of a leftfield rarity here, but I just had to champion Doug Parkinson's Northern Soul cover of The (Detroit) Spinners 1972 classic, 'I’ll Be Around'. I can’t think of many (or any) credible Australian ‘soul’ artists (apart from maybe Rolf, Jason, Kylie, Danni, Natalie, Craig, Holly or Peter), so my hat goes off to you Doug.

Regarded in Australia as one of the hottest ensembles of its day, the relatively short-lived Southern Star Band played a smooth but powerful blend of soul, funk, jazz-rock and R&B. ‘I'll Be Around’ charted nationally (#22 in March, ‘78) and remains a favourite track for many Parko fans. The band also supported Bob Marley & The Wailers on their Australian tour.

Check www.dougparkinson.com I’ll be discussing Otis Gayle’s version of the same track in the reggae section soon.

THE FESTIVALS - 'You've Got The Makings Of A Lover

2008-10-02T12:00:00.003+01:00

Boomp3.com
Artist: The Festivals
Track: You’ve Got The Makings of a Lover
Label: Smash
Catalog#: S - 2091
Format: Vinyl, 7”
Released:
Country: US
Credits: Written by E. Moss

Great track I heard dropped at a night put on by some old Northern Soul boys at my local public house. Don’t know much about The Festivals or this track. If anyone has some info, please share it with me.

THE SHOWMEN - 'Our Love Will Grow'

2008-10-02T11:57:00.006+01:00

Boomp3.com
Artist: The Showmen
Track: Our Love Will Grow
Label: Swan
Catalog#: S – 4219 – A
Format: Vinyl, 7” Promo
Released:
Country:
Credits: General Norman Johnson – lead singer, Milton 'Smokes' Wells – bass guitar, Dorsey 'Chops' Knight – second tenor, Gene 'Cheater' Knight – first tenor, Leslie 'Fat Boy' Felton – baritone.

The Showmen were one of the R&B groups to bridge the gap between Doo Wop and Soul in the early '60s and are best known for their classic Rock 'n' Roll anthem, 'It Will Stand' – their only hit. Their music has the feel of The Drifters, but without the overly lush arrangements.

Originally from Norfolk, Virginia the group featured the distinctive and incredibly soulful lead vocals of Norman Johnson (who later went on to front Chairmen Of the Board) and great harmonies from the rest of the group. Most of their earlier sides were recorded in New Orleans so they had backing from some of the best R&B musicians in the business, including the production skills of the then barely known Allen Toussaint.

'Our Love Will Grow' became a classic Northern Soul track and is listed as number 382 on the Northern Soul All Time Top 500 (although I think these sorts of lists are rarely reflective of the quality of music out there, so how they are compiled is anyone’s guess).

BEAU DOLLAR & THE COINS - 'Soul Serenade'

2008-10-02T11:51:00.005+01:00

Boomp3.com
Artist: Beau Dollar & The Coins
Track: Soul Serenade
Label: Prime
Catalog#: 15248
Format: Vinyl, 7”
Released: 1966
Country: US
Credits: Written by King Kurtis (Curtis Ousley) and Luther Dixon

Beau Dollar's single may have been produced and inspired by a white Cincinnati guitar hero, but the guys got the feel of King Curtis' 1964 hit just right for the 1966 soul loving audience. At the time, their version became the theme tune for Radio Luxembourg 390 and the UK's main black music show on Radio 1, presented by Mike Raven…"Hi, I'm Mike Raven.... this is my R&B show... watch out... here we go”. William “Beau Dollar” Bowman was also a member of James Brown’s hard funk outfit, The Dapps. Soul Serenade is featured on Kent’s Cellar of Soul – an excellent compilation, worth checking out.

DORANDO - 'Didn't I'

2008-10-02T11:40:00.004+01:00

Boomp3.com
Artist: Dorando (misspelled, actually Darondo)
Track: Didn’t I
Label: Music City Records
Catalog#: MC 45-894
Format: Vinyl, 7”
Released:
Country: US
Credits: Written by Pulliam - Tanner

Amazing low-rider soul ballad from little-known artist, Darondo – a favourite track among soul collectors. Back in the day, Darondo could be seen cruising around New York in his white Rolls Royce (with a ‘Darondo’ license plate), wearing tailor made suits and rocking out with diamond rings. He once opened-up for James Brown and lived a colourful lifestyle hanging with folks like the notorious Fillmore Slim, but his career was short-lived and he faded into obscurity after three singles. Sounds a little too bling bling for my liking, but it’s hard to top this soul drenched beauty. Ubiquity Records put out Darondo – Let My People Go in 2006, a combination of old and new material. Not sure how good it is though… for me, it’s all about this one track.

LATIN/BRAZILIAN

2008-10-02T10:46:00.005+01:00

Some 12 years ago, I was lucky enough to take my Vinyl crusade to Central and South America, as a free, semi-skint but fearless, young Knight, fresh out of training. Whilst travelling around Colombia and Brazil I made it a matter of practice to go record hunting whenever I could. Some of the records listed here are tracks I found on my travels.

Finding good vinyl, the real bad ass tunes, even in musically rich countries such as Colombia and Brazil, was not as easy as I thought. One of my most memorable moments involved traveling into the depths of Bogota to locate this little man who sold discos out of a portable record shack, kind of like a portable Kebab van/trailer that was just dumped unceremoniously on the side of the street. The whole thing was rammed to the roof with vinyl and a multitude of homemade speakers - the guy hardly had any room to move, let alone get out. It was like someone had built his castle around him. The locals and Mr. Disco took me under their wing. The Salsa and Descarga flowed, as did the Aguadiente (which is to the Colombians what tequila is to the Mexicans). The local collectors pulled out tunes for me, Mr. Disco dropped them on his system and we danced in the street all night.

Whilst in Colombia I also fell in love with one the country’s most famous exports… Shakira! Shakira, if you’re reading this… I do love you and I’m sorry I left you standing in the rain like that, but my quest for the Holy Grail of Vinyl was (and still is) the most important thing in my life. Next time chicariña… I promise.

TEO AZEVEDO - 'Para Milton'

2008-10-02T10:42:00.005+01:00

Boomp3.com
Artist: Téo Azevedo
Track: Para Milton
Label: Central Park
Catalog#: CPD – 23 201
Format: Vinyl, 7”
Released: 1977
Country: Brazil
Credits: Written by Téo Azevedo

If anyone has any information on this Brazilian artist, please share it with me. Thanks.

FANIA ALL STARS - 'Son Cuero Y Boogaloo'

2008-10-02T10:32:00.005+01:00

Boomp3.com
Artist: Fania All Stars
Track: Son Cuero Y Boogaloo (from the LP, Fania All Stars Vol. 2 – recorded ‘live’ at the Red Garter)
Label: Fania Records
Catalog#: LP 364
Format: Vinyl, LP
Released: 1969
Country: US
Credits: Fania All Stars in this line up: Ray Barretto, Joe Bataan, Willie Colon, Larry Harlow, Monguito, Johnny Pacheco, Bobby Quesada, Louie Ramirez, Ralph Robles, Monguito Santamaria, Bobby Valentin. Special guest stars: Tito Puente, Eddie Palmieri, Ricardo Ray, Jimmy Sabater. Other members: La La, Hector Lavoe, Ray Maldonado, Ralph Marzan, Ismael Miranda, Bobby Rodriguez, Jose Rodriguez, Pete ‘El Conde’ Rodriguez, Barry Rogers, Adalberto Santiago, Oreste Vilato.

Fania Records poster group from the late 60’s/70’s New York Salsa scene in which anyone who was anyone in Latin Jazz featured in at some point or another. This is the first part (of a two-part series) in what proved to be an historic, live Latin concert/jam session and ‘Son Cuero Y Boogaloo’ is the best track on the album.

MANU DIBANGO - 'Cha Chan Nana'

2008-10-02T10:11:00.005+01:00

Boomp3.com
Artist: Manu Dibango
Track: Cha Chan Nana
Label: Philips
Catalog#: 424.831
Format: Vinyl, 7” EP
Released: 1968
Country: France
Credits: All tracks written by Manu Dibango

Absolute gem from the early part of Manu’s career. Cha Cha Nana melds mambo with the deeper, harder bugalu sound that was stirring on the New York scene (see my previous listing). Beautiful cover artwork too.

KAKO & HIS AFTER HOURS ORCHESTRA - 'Vitamina'

2008-10-02T10:01:00.007+01:00

Boomp3.com
Artist: Kako and his After Hours Orchestra
Track: Vitamina (from the LP, Tribute To Noro Morales)
Label: Alegre
Catalog#: LPA - 833
Format: Vinyl, LP
Released: 1963
Country: US
Credits: Too many to mention but the line up did include; Kako – Leader & Timbales, Charlie Palmieri – Piano, Luis Ramirez – Vibes, Hector Riviera – Piano. The LP was produced by Al Santiago.

Noro Morales, pianist, composer and orchestra bandleader died on January 14th, 1964, in the county of his birth, Puerto Rico, after many years of bandleading in the states. Kako, famed puertorican bandleader and percussionist and personal friend of Noro’s organised an 18 piece after hour band, thus called because the only way to unite these excellent musicians was to ‘kidnap’ them as they finished playing with their respective bands and hustle them over to Nola Studios at 5 A.M. for this Alegre session. Vitamina is a top Descarga number and my favourite track on the album.

CUBAN JAM SESSION - 'Theme de Perfidia'

2008-10-02T09:50:00.008+01:00

Boomp3.com
Artist: Cuban Jam Session under the direction of Julio Gutierrez
Track: Theme de Perfidia (from the LP Cuban Jam Session Vol. 1)
Label: Panart
Catalog#: 102 - 28041
Format: Vinyl, LP
Released: 1957
Country: US
Credits: I think it important to list them all here due to the improvised nature of this recording. Pianos – Julio Gutierrez, Pedro (Perruchin) Justiz, Trumpet – Alejandro (El Negro) Vivar, Alto Sax –Edilberto Scrich, Baritone –Osvaldo (Mosquifin) Urrutia, Tenor: Emilio Penalver, Tenor – Jose (Chombo) Silva, Flute – Juan Pablo Miranda, Bass – Salvador Vivar, Timbales – Jesus (Chuchu) Ezquijarrosa, Bongo – Oscar Valdes, Tumbadora ¬– Marcelino Valdes, Drums ¬– Walfredo de los Reyes, Jr. Orchestra led by Julio Guitierrez and Pedro (Perruchin) Justiz.

Open/improvised recording sessions, such as Ry Cooder’s Buena Vista Social Club, have a certain romantic appeal about them. However, Buena Vista Social Club was by no means a one off, especially in a land as musically rich as Cuba. The story behind Cuban Jam Session pre-dates Buena Vista by 40 years. Way back in 1957, Havana, the guys from Panart Records enlisted Julio Gutierrez to hold an open jam session to go through a number of interpretations of the various basic Latin rhythms and the response they got was overwhelming. They opened the studio doors at 10:30 P.M. and recorded about six hours of uninhibited, unhindered and unheard of before music. Using the various skills of Julio’s orchestra, the doors were open to all the talent in Havana that wanted to come buy and participate. The constant flow of musicians did not stop until about six hours later. All the numbers on this album were improvised and the results have been edited down only to the point of eliminating anything that would lessen the general flow of the full-improvised renditions. Enjoy!

PETER KING - 'Ajo'

2008-10-02T09:29:00.003+01:00

Boomp3.com
Artist: Peter King
Track: Ajo (from the LP, Omo Lewa)
Label: Spindle Records
Catalog#: SP-LP-08
Format: Vinyl, LP
Released: 1993
Country: UK
Credits: Arranged by Peter King, Produced by Sonny Roberts.

Originally released in 1976 on the Orbitone label, Omo Lewa exemplifies Peter King’s experimental approach to Highlife (his musical roots). Here he incorporated elements from Afro-Beat, Afro-Jazz, Afro-Funk, Funky-Highlife and Afro-Reggae, as exemplified by 'Ajo', the heaviest track on the album.

DR. NICO & L’ORCHESTRE AFRICAN FIESTA SUKISA - 'Afrique De L’Ouest'

2008-10-02T09:22:00.007+01:00

Boomp3.com
Artist: Dr. Nico & L’Orchestre African Fiesta Sukisa
Track: Afrique De L’Ouest
Label: African
Catalog#: African 90.449
Format: Vinyl, 7”
Released: 1970
Country: France
Credits:

It wasn't easy to find a reliable on-line biography for Dr. Nico, so I decided to post some solid facts courtesy of The Penguin Encyclopedia of Popular Music.

“Dr. Nico (born Nicolas, Kasanda Wa Mikalay, July 7th, 1939, Luluaborg, Zaire), graduated in 1957 as a technical teacher, but inspired by his musical family (his father was an amateur accordionist, his brother, Mwamba Dechaud, an excellent rhythm guitarist), he took up the guitar and in time became a virtuoso soloist.

"A founder member of the seminal group, African Jazz, led by Joseph Kabaselle, Nicolas became the influential guitarist in the modern Congo sound, acquiring the name ‘Dr. Nico’ following his performances with the band during the 1960 independence celebrations. According to influential soukous guitarist, Diblo Dibala, Dr. Nico was "the school of Zairean guitar".

"African Jazz split when Dr. Nico and singer Rochereau left to form the L’Orchestra African Fiesta, which became one of the most popular in Africa, spawning many imitators and making dozens of singles".

"He withdrew from the music scene in the mid-70’s following the collapse of his Belgian record label. Feeling that he’d been cheated, Dr. Nico played the odd show and made a few singles but waited for a better deal, which came in 1983 with Africa New Sound, based in Lome, Togo. He made a couple of LPs in Paris in 1984-85 and arranged for his first release on the African Music Gallery label, when his death robbed Africa of one of its best musicians. Dr. Nico died in Brussels on September 22nd, 1985".

Weird, as I researched this, it happened by chance to be September 22nd, so I played many a tribute record to the great man.

MERCHANT - 'Rock It'

2008-10-02T09:16:00.005+01:00

Boomp3.com
Artist: Merchant
Track: Rock It
Label: Hot Vinyl
Catalog#: POSP 764
Format: Vinyl, 7”
Released: 1985
Country: UK
Credits:

Classic Soca! Heard it twice at Notting Hill Carnival this year. Guaranteed to make dem girls whine dem baddy up! Ohhh lawwd!

CONJUNTOS OS ANJOS - 'Avante Juventude '

2008-10-02T09:09:00.005+01:00

Boomp3.com
Artist: Conjuntos Os Anjos
Track: Avante Juventude
Label: Merengue
Catalog#: MPA-4034
Format: Vinyl, 7”
Released: 1948?
Country: Angola
Credits:

Absolutely killer Angolan folk record, beautiful guitar layered over a vibrant rhythm section. This is the first and only Angolan folk record I have ever heard or seen. Slightly rough press, but who cares!

VICTOR OLAIYA & HIS ALLSTARS - 'Kiriji'

2008-10-02T08:56:00.009+01:00

Boomp3.com
Artist: Victor Olaiya and his All-Stars
Track: Kiriji (taken form the Olaiya’s Victories EP)
Label: Phillips
Catalog#: P 13403 R
Format: Vinyl, 10”
Released: 1961
Country: Holland
Credits:

Top 10” featuring some of Victor Olaiya’s best recordings.

A brief synopsis of Victor’s career up until the forming this group: Victor Oliaya’s journey into music started in East Nigeria where he was admitted to The African School in Onitsha. He enrolled in the school brass band and started learning the B flat Bombadine and the French horn.

Victor Olaiya moved to Lagos in 1947 and formed the Epkos Band. This was a typical street brass band with a composition of three brass instrumentalists, one side-drummer, one drummer, and six stick players.

In 1948, Victor broke into Sammy Akpabot’s Sextet as Assistant Bandleader and first trumpeter. Between 1950 – 1952 Victor founded and led the old Lagos City Orchestra and The City Tempo Orchestra and in mid-May 1952, wangled his way into Bobby Benson’s Orchestra. Here he became bandleader of Benson’s second band, often referred to as the Alfa’s Carnival Group.

Then in 1954, at the West End café, with Tax Oluwa on bass and Karl “Dizzy” Woody on trumpet, Victor made his first appearance as Victor Olaiya and His Cool Cats (which eventually became Victor Oliaya and his All-Stars in 1957). Enjoy….

ELLEN MCILWAINE - 'Higher Ground'

2008-10-02T08:51:00.004+01:00

Boomp3.com
Artist: Ellen McIlwaine
Track: Higher Ground (from the LP The Real Ellen McIlwaine)
Label: KOT’AI
Catalog#: KOT 3306
Format: Vinyl, LP
Released: 1975
Country: US
Credits: Drums – Christian St. Roch, Bass – Bill Gagnon, Guitar & Voice, Ellen McIlwaine.

Fresh Folk cover of the Stevie Wonder classic. Again featured on Giles Peterson Digs America – Brownswood U.S.A. LP comes in a gatefold sleeve complete with self-portraits by the artist, plus lyric sheet. Check Ellen out at www.ellenmcilwaine.com

MARVA JOSIE - 'He Does It Better'

2008-10-02T08:42:00.004+01:00

Boomp3.com
Artist: Maria Josie with Earl ‘Fatha’ Hines and his Orchestra
Track: He Does It Better (from the LP This Is Marva Josie)
Label: Thimble Catalog#: TLP4
Format: Vinyl, 12”
Released: 1973
Country: US
Credits: Too many to mention (she’s singing with an orchestra)

Great, versatile singer, still going strong. Check her out at www.marvajosie.net He Does It Better is featured on Giles Peterson Digs America – Brownswood U.S.A. – if you want to pick it up easily.

(Marva & Earl Hines)

GALT MACDERMOT - 'Lady, You Look Good To Me'

2008-10-02T08:25:00.004+01:00

Boomp3.com
Artist: Galt MacDermot and his Mid Manhattan Rhythm Section
Track: Lady, You Look Good To Me (from the Shapes of Rhythm LP)
Label: Kilmarnock
Catalog#: K-1001
Format: Vinyl, 12”
Released: 90’s Reissue (originally 1966)
Country: Canada
Credits: Bernard ‘Pretty’ Purdie – Drums, Jimmy Lewis – Fender Bass, ‘Snag’ Napoleon Allan – Rhythm Guitar, Galt MacDermot, Pianist & Composer.

At the time of this recording Bernard, Jimmy and ‘Snag’ where thee three musicians to work with in New York. They could regularly be found in the studios around the middle of Manhattan putting together backgrounds to inspire and support the popular singers of the day. It was with these men that MacDermot decided to cut Shapes of Rhythm in 1966.

Legend has it, enterprising New York rap producers and record collectors, knowledgeable that MacDermot had released limited runs of Kilmarnock Records, sought out the producer at his Staten Island home. One of the first was Ghetto Professional V.I.C., of The Beatnuts fame. He called the composer out of the blue inquiring about Shapes of Rhythm and was informed that MacDermot still had original copies in his basement. MacDermot invited him to his home, beginning a mutually beneficial relationship. V.I.C. bought records and distributed them to collectors and producers in New York City. And MacDermot learned about hip hop through V.I.C. and the friends he brought with him, notably JuJu, one of The Beatnuts key members and Lord Finesse. By 1995, previously unheard MacDermot gems, circulated throughout New York. Take a look at www.galtmacdermot.com he’s is a bit of a legend really and still going strong. He even composed ‘Hair’ the musical for Christ sake!

CALVIN KEYS - 'B.K.'

2008-10-02T08:12:00.005+01:00

Boomp3.com
Artist: Calvin Keys
Track: B.K. (from the LP entitled Shawn-Neeq)
Label: Black Jazz
Catalog#: BJ/5
Format: Vinyl, 12”
Released: 1971
Country: Brazil
Credits: Calvin Keys: Guitar, Bob Braye: Drums, Lawrence Evans: Bass, Larry Nash: Electric Piano, Owen Marshall: Flute, hose-a-phone, misc. Producer/Engineer – Gene Russell

B.K. is the stand out track on this rare, leftfield, Jazz Funk release on Black Jazz. Powerful Jazz guitar playing by Keys over deep, moody backing arrangements, touches of twisted electric piano, supported by a bad ass bass and driving back beat. I admit to occasionally turning all the lights off, turning the bass up (a little) and listening to this entire 9 minute 21 second masterpiece in the dark. Give it a crack.

JOHNNY HARRIS - 'Ripsaw'

2008-10-02T08:04:00.004+01:00

Boomp3.com
Artist: Johnny Harris
Track: Ripsaw
Label: Wanted Records
Catalog#: 711
Format: Vinyl, 7”
Released: 1963
Country: US
Credits: Written by Johnny Harris

Don’t know much about this one, but it makes me want to break out the buckshot and go shoot meself a large raccoon. Yeehaw!

THE PISTOLEERS - 'Bank Robber'

2008-10-01T21:22:00.006+01:00

Boomp3.com
Artist: The Pistoleers
Track: Bank Robber
Label: Raucous Records
Catalog#: RAUCLP 131
Format: Vinyl, 10”
Released: 2003
Country: UK
Credits: Written by Joe Strummer, Mick Jones, Topper Headon, Paul Simonon

Bank Robber is taken from ‘This Is Rockabilly Clash’, Raucous Record’s tribute to arguably the greatest Punk band that ever lived! The compilation features some of the best bands on the current Rockabilly scene performing their interpretations of Clash classics. When I played after DJ Andrew Weatherall at Pin Up, London (R.I.P), this was the last track in his Rockabilly set.

AU PAIRS - 'Headache' (Remix)

2008-10-01T21:13:00.004+01:00

Boomp3.com
Artist: Au Pairs
Track: Headache (Remix)
Label: Human Records
Catalog#: HUM 8/12
Format: Vinyl, 12”
Released: 1981
Country: UK
Credits: Lesley Woods, Jane Munro, Pete Hammond, Paul Foad

The Au Pairs formed in Birmingham in 1979, part of what became known as the ‘second wave’ of punk, or simply ‘post-punk’. These groups were beginning to realize what excellent potential this new musical form had as a means of information dissemination and propaganda. The Au Pairs were fronted by Lesley Woods on vocals and guitar (who was at the time one of only a handful of ‘out’ lesbians in the whole punk music scene). The other members included guitarist Paul Foad, bassist Jane Munro and drummer Pete Hammond. The Au Pairs were characterized by Munro's heavy and prominent bass lines accented by two choppy, Jamaican style guitars. The music was catchy and danceable and the band used their songs to take obligatory swipes at the conservative political climate sweeping England after Margaret Thatcher (The Iron Lady) was elected Prime Minister. The group released two studio albums, 'Playing with a Different Sex' in 1981 and 'Sense and Sensuality' in 1982.

BUZZCOCKS - 'Why Can't I Touch It?'

2008-10-01T21:03:00.006+01:00

Boomp3.com
Artist: Buzzcocks
Track: Why Can’t I Touch It?
Label: United Artists Records
Catalog#: UP36499
Format: Vinyl, 7”
Released: 1979
Country: UK
Credits: Shelley, Diggie, Garvey, Maher

Why Can’t I touch It?... a top, punk leftfield number that first appeared on the b-side to the single 'Everybody's Happy Nowadays'. Formed in 1976 by Pete Shelley and Howard Devoto after seeing the Sex Pistols in action, the Buzzcocks specialised in melodic buzzsaw punk and loud shirts with wing collars. The band made a stream of classics, veering away from traditional punk lyrics. To quote Melody Maker, Oct 1987, "The Buzzcocks more than anyone else, were responsible for wrenching the frenzied punk impulse into some sort of pop beauty. Making their debut with the infamous "Spiral Scratch" EP it was soon obvious that they had more to say than 'we are very angry'.... They managed to make the concept of boredom a luscious seduction. Only Manchester's other favourite sons Joy Division could ever come as close to articulating the heady intensity of thwarted desire without slumping into complacent indulgence”. Check the album "Singles Going Steady", if you want to get into this band, fast.

WARREN ZEVON - 'Werewolves In London'

2008-10-01T20:42:00.007+01:00

Boomp3.com
Artist: Warren Zevon
Track: Werewolves of London (featured on the LP, Excitable Boy)
Label: Asylum Records
Catalog#:
Format: Vinyl, 12” Promotional Picture Disc
Released: 1978
Country: UK
Credits: John McVie – Bass, Mick Fleetwood – Drums, Waddy Wachtel – Guitarand, Piano – Warren Zevon

'Werewolves of London' was penned by Zevon, with the songwriter LeRoy Marinell and the session guitarist Waddy Wachtel. Taking a title suggested to Zevon by Phil Everly, the three sat down one hot Californian afternoon. Marinell had a guitar arrangement, which had been floating around unused for some months. It was translated into a piano vamp by Zevon, a classically trained pianist, and Wachtel ad-libbed some lyrics: "I saw a werewolf with a Chinese menu in his hand / Walkin' through the streets of Soho in the rain / He was lookin' for the place called Lee Ho Fook's / Gonna get a big dish of beef chow mein”. But there was a problem with the rhythm section, Russ Kunkel and Bob Glaub, whose playing was deemed “too cute”. Someone suggested the drummer Mick Fleetwood and bassist John McVie. After Fifty-nine takes in the studio, the track was a wrap. Just before the album was finished, Zevon revisited the song, adding the final, cryptic line: "I saw a werewolf drinking a piña colada at Trader Vic's / And his hair was perfect." Lee Ho Fook is a Chinese Restaurant that is still in business on Gerrard St, Soho. Go check it out for some crispy duck.

APHEX TWIN - '.1993841'

2008-10-01T20:25:00.008+01:00

Boomp3.com
Artist: Aphex Twin
Track: .1993841
Label: Rephlex
Catalog#: CAT 008
Format: Vinyl, 12”
Released: 1992
Country: UK
Credits: Aphex Twin

Track .1993841 is early–dark–ambient–electronica at its best. The original vinyl comes in a brown paper bag with a quirky double-sided A4 insert (see below) containing places of interest in Cornwall (a beautiful County located in the South-West of England). At the time of this release, all the staff at Rephlex hailed from this magical part of the world and rightly wanted to big-up their hood. However, one vital slice of information Rephlex forgot to mention... was The Bowgie Inn. This use to be a slightly shambolic pub–by–day/disco–by–night affair, located on the cliff top at Crantock, West Pentire (check www.bowgie.com). For some years, this was thee place to rock out for all the kids in the area. It’s also where Mr. Aphex Twin began his DJ-ing career. The Bowgie use to have a Surf/Rock night on the Friday and a Dance night on the Saturday. I think it’s been gentrified now, but the old club nights will go down in history. May ye Old Bowgie R.I.P.

TO ROCOCO ROT - 'Mit Dir In Der Gegend (sehr)'

2008-10-01T20:11:00.006+01:00

Boomp3.com
Artist: To Rococo Rot
Track: Mit Dir In Der Gegend (sehr) (Paris 25 EP)
Label: City Slang
Catalog#: 04994-1
Format: Vinyl, 12”
Released: 1997
Country: Germany
Credits: Ronald Lippok, Robert Lippok, Stefan Schneider

Mit Dir In Der Gegend (Sehr) typifies the To Rococo Rot sound. Sumptuous and restrained instrumental soundscapes - full of intricate melodies - underpinned by Stefan Schneider's warm, somewhat melancholic basslines.

To Rococo Rot were formed in 1995, when the Lippok brothers were invited by the owner of a gallery (in which they were exhibiting their art) to record some music instead of providing a catalogue. Rising to the challenge, they invited bassist Stefan Schneider from Düsseldorf-based Kreidler, to join them… and ‘das Rot’ were born!

City Slang is an independent German label renowned for its eclectic roster encompassing everything from rock via post-rock to electronic music.

MATIAS AGUAYO - 'Argento'

2008-10-01T19:42:00.005+01:00

Boomp3.com
Artist: Matias Aguayo
Track: Argento (from A Night At The Tilehouse EP)
Label: Soul Jazz Records
Catalog#: SJR – 163-12
Format: Vinyl, 12”
Released: 2007
Country: UK
Credits: Mixed by Marcus Rossknecht, written and produced by Matias Aguayo.

Deep italo-disco and dark electronic grooves, slow on the BPMS, high on the atmospherics.

IL.EK.TRO - 'Tune In (To The System)'

2008-10-01T19:31:00.008+01:00

Boomp3.com
Artist: il.ek.tro.
Track: Tune In (To The System)
Label: Klang Electronic
Catalog#: KLANG 17
Format: Vinyl, 12”
Released: 1998
Country: Germany
Credits: Written by Carl A. Finlow, lyrics by Joe Finlow

Carl Finlow has been involved in numerous music projects for over ten years now, many of them in partnership with Ralph Lawson (the Back 2 Basics label co-founder). Check www.myspace.com/carlfinlow and www.siliconscally.com. Klang Elektronik was founded in July 1993 by Heiko Schäfer (aka M/S/O) and Atanasios Christos Macias (aka Ata). This is killer minimal-electro-infused-electronica!

PLANT 43 - 'Bronfraith'

2008-10-01T19:20:00.007+01:00

Boomp3.com
Artist: Plant 43
Track: Bronfraith (taken from the Grey Sky Cracks EP)
Label: Ai Records
Catalog#: Ai018EP
Format: Vinyl, 12”, EP, Limited Edition, Orange Fluorescent Translucent
Released: 2007
Country: UK
Credits: Mastered By [Uncredited] - Ken Odeluga (tracks: A2 to B2)

Excellent 4 track limited edition EP from Emile Facey a.k.a. Plant 43. http://www.myspace.com/plant43. According to the press release for this EP, Mr Facey sought inspiration from living out in the countryside during the lush autumn and long cold winter of 2006 (I hope he had a coat and some warm socks). Plant 43’s sound combines the intricate, soaring strings of classic Motor City music of the highest order with the raw analogue drum sounds of early Kraftwerk. This is without a doubt the epitome of sublime, cerebral techno/electro at its best.

This fluorescent orange coloured vinyl release is limited to 150 copies. The standard black vinyl pressing is limited to 500 copies. Apparently 6 test pressings are in existence, featuring hole-punched orange dots within the vinyl, but this idea was abandoned when the vinyl proved to be too difficult to manufacture for general release. One could always drop a couple of hot rocks onto your copy to create a similar effect, but this is not recommended. Let the six copy gang enjoy their little gang. I’m gonna rock out with the 150.

GRACE JONES - 'Private Life'

2008-10-01T19:07:00.005+01:00

Boomp3.com
Artist: Grace Jones
Track: Private Life (Long Version)
Label: Island
Catalog#: 12W1P 6629
Format: Vinyl, 12”
Released: 1980
Country: US
Credits: Produced by Chris Blackwell and Alex Sadkin with legends Sly and Robbie on bass/drums.

‘Private Life’ was originally written by Chrissie Hynde and included on The Pretenders' self-titled 1979 debut album. The following year, the track was covered by Grace Jones on her first post-disco album, Warm Leatherette. In the liner notes to Island Records' 1998 compilation, Private Life: The Compass Point Sessions, Hynde is quoted as saying; “Like all the other London punks, I wanted to do reggae, and I wrote Private Life. When I first heard Grace's version I thought, now that's how it's supposed to sound!” Private Life marked a new era in Jones' career as she left her disco persona behind her and began exploring genres like reggae and rock, combined with an entirely different image. The original video for 'Private Life' presented the famous Grace Jones mask for the very first time.

GLASS CANDY - 'Miss Broadway'

2008-10-01T18:42:00.007+01:00

Boomp3.com
Artist: Glass Candy
Track: Miss Broadway
Label: Italians Do It Better
Catalog#: TMU 190
Format: Vinyl, 12”
Released: 2007
Country: US
Credits:

Catchy slinky, disco slo-mo cover of the old Belle Epoque track. Great 1970’s-style production with seductive glitter ball vocals, big strings, all effortlessly propelled by a gentle italo synth pulse. Beautiful retro-looking disco bag. Clearly, Italians do ‘do it better’! Limited original edition of 500 copies. Limited repress edition of 1000 copies (released in January 2008). You need this record!

ANGELA - 'I Gotta Little Love'

2008-10-01T18:32:00.005+01:00

Boomp3.com
Artist: Angela
Track: I gotta Little Love
Label: Disco Promozionale
Catalog#: DTA 123
Format: Vinyl, 12”, Unofficial Release
Released: 2008 (originally 1984)
Country: UK
Credits:

Wicked 12" featuring this highly sought after electronic disco obscurity, featuring catchy-sassy vocals from Angela Werner. Original copies go for big notes since David Mancuso played it at the Loft. Sounds so good, with top production, it could be mistaken for a contemporary release, trying to sound 80’s. "Dance, dance, dance behind me... dance, dance, dance inside me"... oooh.. saucy stuff!

NEW FAST AUTOMATIC DAFFODILS - 'Big (Baka)'

2008-10-01T17:44:00.004+01:00

Boomp3.com
Artist: New Fast Automatic Daffodils
Track: Big (Baka)
Label: Playtime Records
Catalog#: AMUSE 7T
Format: Vinyl, 12”
Released: 1990
Country: Holland
Credits: Written By - New Fast Automatic Daffodils

Killer leftfield Indie number from New Fast Automatic Daffoldils. Big Baka is the mix to check. N.F.A.D. emerged from the burgeoning Manchester Indie scene in the late 80’s. Back then, three young men dreamed of forming a band – with Justin Crawford on bass, Dolan Hewison on guitar and Perry Saunders on drums. All that was missing was someone to sing and front the group. Legend has it, guitarist Dolan, had a vision one night of meeting a man who not only wore glasses and fell off his bike, but was also able to sing. And so, when Andy Spearpoint turned up to audition, wearing his specs and apologizing for his inability to stand up properly (as he'd just fallen off his bike), jaws dropped in unison. The name, New Fast Automatic Daffodils, was taken from an experiment by Liverpool poet Adrian Henri, who crossed a car maintenance manual with Wordsworth. After a few local gigs, percussionist Icarus Wilson-Wright joined the band in time to appear on this recording, their breakthrough single. Big (Baka) is the B side, kinda leftfield dance mix with wicked, cut up/transformed vocals. Check it.

WILL POWERS - 'Adventures In Success'

2008-10-01T17:32:00.004+01:00

Boomp3.com
Artist: Will Powers
Track: Adventures In Success (Dub Copy)
Label: White Label
Catalog#:
Format: Vinyl, 12”
Released: 2005
Country: UK
Credits: Mixed by Steven Stanley. Producer, Lynn Goldsmith. Written By L. Goldsmith, R. Palmer, Sting.

Essential leftfield dance classic! The 'Dub Copy' mix is a dubby slow chugging masterpiece. According to various reports, Will Powers is an imaginary character cooked up by NY fashion photographer Lyn Goldsmith and features the talents of quite a surprising array of stars including Sting, Robert Palmer and Todd Rundgren. Originally released on Island Records, 1983. Also featured on Sonar Kollektiv’s Computer Incarnations for World Peace compilation.

THE WILLIAMS FAIREY BRASS BAND - 'What Time Is Love?'

2008-10-01T17:18:00.010+01:00

Boomp3.com
Artist: The Williams Fairey Brass Band
Track: What Time Is Love? (from the EP, Acid Brass)
Label: Blast First
Catalog#: P12BFFP150
Format: Vinyl, 12”
Released: 1997
Country: UK
Credits: Release is subtitled Jeremy Deller presents Acid Brass. All tracks performed by the Williams Fairey Brass Band

Acid Brass was a musical collaboration between Turner-Prize-winning artist Jeremy Deller and the Stockport- based Williams Fairey Brass Band. The project was based on fusing the music of a traditional brass band with Acid House and Detroit techno. Deller saw a connection between the two apparently disparate genres, viewing them as "two authentic forms of folk art rooted in specific (working class) communities". The music has since been taken all over the world and was performed by the Fairey Band before a London crowd of 25,000 in July 2005. This track is a cover version of The KLF'S 'What Time Is Love?' (1988). Classic stuff...

MAX BERLIN - 'Elle Et Moi'

2008-10-01T17:10:00.005+01:00

Boomp3.com
Artist: Max Berlin
Track: Elle Et Moi (instrumental)
Label: Cloud
Catalog#:
Format: Vinyl, 12”, Promo
Released: 2007
Country: UK
Credits:

Originally on the label Public, released in 1987. Max Berlin was also part of a group called Cyclades. The killer instrumental version of Elle Et Moi (She and I) liberates us from the over-the-top, gallic witterings of the vocal version. The French, typical, they can get it sooo right and then sooo wrong at the same time.

THOMAS WHITE - 'Ivory Girl'

2008-10-01T16:57:00.005+01:00

Boomp3.com
Artist: Thomas White
Track: Ivory Girl
Label: Hitrun
Catalog#: HIT DD 21
Format: Vinyl, 12”
Released: 1979
Country: UK
Credits: Produced by C.S. Fletcher, K. French

Hitrun was a pre-On-U Sound label run by Adrian Sherwood. Ivory Girl is a cut to Dread Inna Jamdong from the Jah Lion LP, Colombia Collie.

AUGUSTUS PABLO - 'Jah Strength Ital Step'

2008-10-01T16:46:00.007+01:00

Boomp3.com
Artist: Augustus Pablo
Track: Jah Strength Ital Step
Label: Rockers
Catalog#: Format: Vinyl, 7”
Released: 1978?
Country: US
Credits: Produced & Arranged by Augustus Pablo

This is the B side to the original release of Pablo Meets Mr. Bassie. Serious, heavy duty Rockers.

BOB & RITA - 'Hold Onto This Feeling'

2008-10-01T16:06:00.010+01:00

Boomp3.com
Artist: Bob & Rita
Track: Got To Hold Onto This Feeling
Label: Wail ‘N’ Soul ‘M
Catalog#:
Format: Vinyl, 7”
Released: 1967
Country: Jamaica
Credits:

A beautiful soul-drenched cover of Junior Walker’s ‘Got To Hold Onto This Feeling’; recorded as a duet by (the then recently married) Bob & Rita Marley. This was the second release on the Wailer’s own Wail ‘N’ Soul ‘M label, distributed out of their record shack at 18a Greenwich Road, Kingston. My copy actually has 'Hold On To The Ceiling' written on it... I guess the previous owner was having a Lionel Richie moment.

SLIM SMITH - 'Hip Hug'

2008-09-30T14:06:00.018+01:00

Boomp3.com
Artist: Slim Smith
Track: Hip Hug
Label: Studio 1
Catalog#: WIRL – CS – 3078
Format: Vinyl, 7”
Country: Jamaica
Released: 1966
Credits: Written and Produced by C. Dodd

Re-pressed on a Studio One 7” in 2005 and a 10” on Music Lab in 2007, Hip Hug is one of the sweetest Rocksteady tunes ever recorded, and for me, typifies Slim Smith at his very best.

GATTO FRITTO - 'Bursting The Bubble'

2008-09-30T13:32:00.031+01:00

Boomp3.com
Artist: Gatto Fritto
Track: Bursting The Bubble
Label: Electric Minds
Catalog#: EMINDS003
Format: Vinyl, 12”
Released: 2008
Country: UK
Credits:

Top tronic-disco-boogie dance crasher that has all the hallmarks of the original disco sound, delivered for today’s dancefloors.

ELKIN & NELSON - 'Jibaro'

2008-09-30T13:26:00.018+01:00

Boomp3.com
Artist: Elkin & Nelson
Track: Jibaro
Label: CBS
Catalog#: CBS 650228-6
Format: Vinyl, 12”
Released: 1986
Country: Austria
Credits:

Arriving in Spain from Colombia in the early 70s. Elkin (Javier Marin Velez), with his brother Nelson (Leon Marin Velez), established themselves on the Spanish music scene. Fusing hot Latin songs with influences from James Brown, Santana, Afro-Cuban and Jazz-Funk, success in Spain and Latin America saw many number one albums including ‘Jibaro’. Thanks to the 88-89 Ibiza Balearic scene, DJs such as Paul Oakenfold and Pete Tong re-discovered ‘Jibaro’ lifting it to anthemic status – with Paul Oakenfold (& John Rocca) covering it as ‘Electra’. Elkin & Nelson also performed on some of the biggest hits with The Gibson Brothers – ‘Cuba’, ‘Que Sera Mi Vida’ and ‘Ooh! What A Life’. Elkin is now based in Mumbai (Bollywood), India. 'Jibaro' first Appeared On The ‘Angeles Y Demonios’ Album In 1974. 'Jibaro' was un-necessarily re-edited (if you can call it that) by Beatconductor on Spicy Records, 2008. No credit was given to Elkin & Nelson. I hate it when people do that...

PRINCE OF DARKNESS - 'Burial of Longshot'

2008-09-30T13:20:00.049+01:00

Boomp3.com
Artist: Prince of Darkness
Track: Burial of Longshot (Pt I)
Label: Downtown (subsidiary of Trojan Records)
Catalog#: DT441
Format: Vinyl, 7”
Country: UK
Released: 1969
Credits: Produced by Dandy Livingstone (a.k.a. Prince of Darkness)

A song about the death of a racehorse could be considered an unlikely contender for the subject of a song, but 'Burial of Longshot' is just one of many tunes devoted to the tale of the legendary Jamaican racehorse, Long Shot (the most famous song being 'Long Shot Kick de Bucket' by The Pioneers).

Long Shot was far from a champion horse, but he possessed serious guts and stamina. His ability to complete races 'a record 202 by 1969' made him famous in Jamaica. His name lives on in the Long Shot Trophy, awarded annually at Kingston's Caymanas Park race track. But in Reggae, it is his 203rd race for which Long Shot is best remembered. As Long Shot hugged the rail down the last straight, one afternoon in 1969, he dropped dead, four furlongs short of the finishing post. Both vocal and instrumental versions are killer.