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As a lead up to the release of Akoya's new album, let us revisit the first full length recording from this dynamic U.N. of A. (United Nations of Afrobeat). If you've read my review for the "U.S.A.(1)" single, you already know...
expand review where I stand on this tune. It burns like flags in Berkeley, brah! "Mutiny(2)" burns a little slower (forgot the kerosene, Johnson) until about three minutes in when the petrol gets to flowin' and the wind gets to blowin'. I love the playful horn lines leading into the solos on this tune, it really sounds like everyone's having fun. It's refreshing to hear that in these days of musicians either taking themselves way too seriously or being wild corny by trying to sell their enthusiasm to the audience. "Pelotera(3)" jumps from the gate and doesn't bother slowing down for anything or anyone. You best be ready to ride with this one. "Star Wars(4)" is basically the Hideki Matsui of the album, batting in the five spot and having the distinct honor of being my favorite. And much like Godzilla (Matsui's mad racist nickname here in NY) this song is beautiful in it's many complex layers and as a whole composition. As the cd title subtly suggests, this is the perfect introduction to the Akoya Afrobeat Ensemble. Be prepared to get to know them even better soon, big things are on the horizon. -Telekinetic Kat
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I wish current rap artists would take a cue from Brooklyn's Akoya Afrobeat. I mean, when is the last time you saw a full length album come out with six songs and no throwaways? I think Snoop's last album had...
expand review twenty-two tracks on it and maybe three were good. Of course, I wouldn't really want to hear Snoop rhyming over a thirteen minute loop, but the point I'm trying to make here is that quality still reigns over quantity. Akoya packs their second album, President Dey Pass, chock full of dynamic heaters with no filler. We've had some of these tunes on separate swift-selling singles, but to hear the entire album as one body of work really puts the depth of these compositions into perspective. Check "Fela Dey(1)" and "Oluya(2)" for the deep and deliberate slow burners. If you've been feeling the recent Nigeria comps from Soundway, you'll definitely want to give these a close listen. "Je Je L'Aiye(3)" featuring Cedric Im Brooks and "Wahala(4)" both have heavy afro funk flavors and are a good measure of Akoya's development since their last album. What I really like about them is the unique flavor that they put into their songs rather than being content to be mere revivalists. Instead they use a juicy bouillon cube of Fela's sound and stir in a lovely assortment of spices from around the globe. Put a cover on the pot and let it simmer in a secret studio in williamsburg, and you get something that tastes salty/sweet like "B.F.B.F. Panama(5)." It moves quickly, but digests nice and slowly. I love the way the horns work themselves into a frenzy right before the breakdown, making the vocals that much brighter when they come in. Lead vocalist Kaleta , who performed and recorded with Fela back in the day, gets authoritative and rugged as he steers the call and response into the sunset, a nice contrast to his more melodic moments throughout the album. There are quite a few Fela collaborators out there (Africa 70 + Eqypt 80 = at least 150 people saying they played with Fela once) and I actually stopped in to see a former horn player of his who was playing at this Nigerian cafe and performance spot around the corner from my crib two New Years' ago. I think there were eight people there. Granted it was three in the morning by the time I got there, but I still felt a little depressed, ate a delicious patty, went home, passed out, woke up the next afternoon and saw that they had closed shop forever. Needless to say, I'm happy to see Kaleta moving forward with a great group of musicians and performers who have no interest in just biting an old sound and claiming the right to do so by association. But then again, that wouldn't be a very Brooklyn thing to do, would it? -Telekinetic Kat
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Now available on CD! Cosmic jazz stunner. This is one of those upper-crust albums that easily holds down a spot in any seasoned selector's late night top ten - it's simply that timeless. From the first swirls of the title track(1), this...
expand review thing just carries you away - probably the closest legal thing to a big bong hit of Cali power skunk there is. Each tune is built on a different hypnotic string bass groove that bores into your mind. "Shiva-Loka(2)," "Stopover Bombay(3)," it's your pick. The tamboura (that's the metallic buzz that signals exotica in any B-movie) never lets up, and when Alice Coltrane flings some harp over it (or piano, in the case of "Something About John Coltrane(4)"), you've got a powerful mystic brew indeed. Recommended. -monk
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This is a reissue of Ananda Shankar's 1981 album which until this point was only available as a highly sought-after India-only release. If you liked the mixture of Indian textures and the breakthrough funk-rock moments on Shankar's classic "And His Music"...
expand review album, this is a straight continuation. The album begins with the epic, 10 minute "Sa-Ra-Ga Machan(1)" which goes through several abstract movements before hitting the funk at the 6:20 mark. "Jungle King(2)" is the centerpiece for dusty heads, it starts off innocently, but transforms into a monster psyche jam with an uptempo percussion tail. Also checkout the demented, downtempo-ish "Monkey's Tea Party(3)" and the Indian surf rock sounds of "Charging Tiger(4)." This reissue also includes 4 bonus tracks from Ananda's even-rarer India Remembers Elvis EP, which was released in 1978 to commemorate the death of the King. These songs are kitschy covers of Elvis classics like the a deliciously mellow version of "Can't Help Falling In Love(5)" and a rumbling take on "His Latest Flame(6)." 14 tracks in all. -the mgmnt
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The Revola label is on top of its game with their Brazilian reissue CDs (Edu Lobo, Son Imaginario, etc). This is the last album Astrud Gilberto released on Verve, and because of the dynamics of the time (she released 3 albums in...
expand review 1969, Brazilian craze was dying down), it got buried in the shuffle and has practically earned the "lost" status (you rarely see it on vinyl). What is interesting about this particular album is it finds our songstress departing from her bossa past, and doing the pop-rock-kitsch thing. Purists might scoff, but with that sweet voice and some funky-esque backing, how can you go wrong? "Beginnings(1)" is quite an introduction to the album with its crisp, breakbeaty jazz backing and Astrud's fresh sound. If you're a fan of "Light My Fire" covers, you definitely have to check the version(2) here; it's all about Astrud's delivery. The other upbeat songs here include a surprising cover(3) of the Bee Gee's "Holiday" and "Let's Go(4)," the only track here that hints of bossa. The second half of the album slows down with ballad-esque tracks like the Beatles cover "Here There and Everywhere(5)," the perfectly poppy "Think of Rain(6)," and Nilson's "Don't Leave Me Baby(7)." It gets a little sappy at times, but just imagine Astrud is in your room, and you're straight. 11 tracks in all. -the mgmnt
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Full disclosure: I used to DJ with Daniel Collas, one of the fellows behind this project– a new album by one of Rio De Janeiro's nastiest bands of the '70s, recorded in Brazil with the original members. One thing that...
expand review I, and anyone who was at one of our parties could verify, is that the guy is a master of the terrain that lies between rock, latin and soul, and he loooves some handclaps. Sean Marquand, the other producer here, is one of the soulful saints behind the Baile Funk comps and DJs at the legendary Sunday Brazilian parties at Black Betty in B'burg. So, adding all these pieces together, what we have right here a goddamned funky, handclappin', soulful, Rio Black Power record. Check "Yeah Yeah Yeah(1)," or the album opener "Everyone's a Winner(2)" and see what I mean. The DJ sensibility is much appreciated, as many of the tunes have the little intro/break touches that make songs jump into the mix ("Africa Hot Band(3)," "Na Palma Da Mao(4)" and the "Spinning Wheel"-esque lead single "Been So Long(5)"). The changeup tracks are classy ("Astral(6)," "Tudo Azul(7)" and "Melo Do Luia(8)"), the band sounds good, and the post-production is minimal and unobtrusive. If this record had sucked I wouldn't have mentioned that I know Sean and Daniel, but since it is an undisputable asskicker I am proud to let everybody know we go waaay back. You did good, homeys. -monk
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Everyone (including myself, the mgmnt and even the choosy Shota The Database) flipped over Bob & Gene's "You Gave Me Love(1)" / "Your Name(2)" single when Daptone dropped it last year, and it's seemed like eternity waitin' for this CD to come...
expand review out! You really gotta go to Daptone's site and read the full story behind this album to appreciate it, but in short: in 1967, two friends (Bob & Gene; 15 and 16, respectively) in Buffalo, NY (I see you, Caps!) started recording these tracks in a basement studio set up in their neighborhood by a local renaissance man ("singer, saxophonist, factory worker, union leader and father of two.") The two recorded until the studio shut down in 1971, and these dusty, never-before-released recordings were discovered (after some footwork) by soul historian David Griffiths. If you ain't interested yet, just click on "Sailboat(3)," "Don't Leave Me Girl(4)," "Somebody's Doin' It(5)" or the title track(6) and tell me that's not some classic shit. 12 tracks; 34 minutes. Highly recommended. -Chris Lemon-Red
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The debut album from this Staten Island soul group. The Budos Band sound is definitely leaning towards West African funk, but they do it with an emphasis on the funk more than the African. So there's no overt Fela tributes here or...
expand review watered-down aping of "that sound," just tight instrumentals splashed with those synchronized low-tone horn blasts, clear rhythm guitar, and organ drones of death. Tracks range from the super mellow stuff like "Ghost Walk(1)" (I like this style best) to horn jump-ups like "The Budos Theme(2)" with most of it falling right in the middle. Their first single for Daptone had two of the real killers here, "TIBWF(3)" and "Up From The South(4);" also check "Volcano Song(5)" and their cover of "Sing A Simple Song(6)." -the mgmnt
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As if that scorpion on the cover didn't say it all - the Budos Band are back, and they mean business. 10 more tracks of unfadeable Staten Island instrumental Afro-soul, recorded live at the Daptone complex in luxurious Bushwick, Brooklyn. Right from...
expand review the jump, "Chicago Falcon(1)" grabs your ear with driving organ, a crisp, angular bassline and - goddamn, those horns! (The Budos' section contains 2 saxes, 2 trumpets and flute, not to mention numerous percussionists.) "Budos Rising(2)" keeps it rolling with a slightly Egyptian feel (is that PC?), before "Mas O Menos(3)" blows it all away - seriously, if this track came out on a Numero comp, it'd have me completely fooled. "King Cobra(4)" kicks off the B-side on a way more mellow - but no less sinister - note, all spine-tingling organ trills and staccato guitar stabs. The instrumental cover of the Temptations' "My Girl(5)" may catch you off guard, but let your prior knowledge of the track go and you'll find this a totally fresh and original take. The downtempo "Origin of Man(6)" may just be my favorite cut on the album, but really... it's hard to pick. You don't have to be a soul/funk aficionado, nor be familiar with the entire Daptone catalog, to enjoy this record (as proven by yours truly). Budos are truth. Recommended. -Chris Lemon-Red
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A lost Brazilian glam/psych curiosity from '73, the one and only album from this side project of Os Mutantes' Rita Lee and friend Lucia Turnbull. Originally recorded for Philips (and never officially released), these tunes were recently unearthed by some expat Brazilians...
expand review in Europa, professionally remastered and issued in a strictly limited edition (500 hand-numbered copies each for CD and vinyl). Early tracks like "Festival Divino(1)" have a sweet acid/folk boogie feel, buoyed (or maybe lifted) by Rita e Lucia's breathy dual vocals. Meanwhile the latter part of the record lets loose a bit with Cilibrinas' rock tendencies - check the rollicking garage glam sound on "Nessas Alturas Dos Acontecimentos(2)," zippy girl group vibes with "Minha Fama De Mau(3)," and "Gente Fina E Outra Colsa(4)." And for Mutantes fans, there's a nice treat in the form of two unreleased bonus outtakes, "Hoje E O Primero Dia Do Resto...(5)" and "Mande Um Abraco Para A Velha(6)." 12 tracks, 48 minutes. -Chris Lemon-Red
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CD pressing of this excellent afro-funk album that was released on the Desco label around 1998. The debate as to its African authenticity have long dried up (it's a band made of early Antibalas/Soul Fire/ Daptone members), and with those "controversies" out...
expand review of the way, you should know that this is easily one of the finest pieces of music to come out of the whole NY funk/afro-beat scene, or any other funk/Fela revival for that matter. Maybe because the concept was still fresh, the participants were still excited, and Desco was still breaking new ground, this Daktaris album is electric from start to finish. My friend Jo (aka Joplus) was working over there when this came out, and passed a cd on to me which I promptly ignored for about 6 months. By the time I figured out just how much I was into this album (while cleaning the house- always a good test), they had already sold through all vinyl copies. Fortunately for those interested, we've got this new cd repress and there's even some vinyl around as well. The whole album flows with a relaxed but precise style that distinctly sends up Fela, while chopping the format into easily digestible three minute tracks. It feels free-er than most Antibalas, et al recordings and completely unpretentious. Try tracks like their cover of "Upside Down(1), Musicawa Silt(2), Quiet Man Is Dead Man(3)," and their JB cover "Give It Up Turn It Loose(4)" on for size. Back to the authenticity issue, haters should read "Eltsuhg Ibal Lasiti(5)" backwards to catch the wind in their face. 10 tracks total. -the mgmnt
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Where to begin with the funky enigma that is Darondo? You probably clicked the "more info" button for one of two reasons: either you know Darondo's "Didn't I" as the lead-off slow-burner from Gilles Peterson's recent Gilles Peterson Digs America comp, or...
expand review you saw the dude on the cover -- the one who looks like a pensive, iced-out Screamin' Jay Hawkins -- and just had to know who it was. No matter what the reason, you've just lucked out, for Darondo has got to be one of the most unexpected and pleasant musical surprises of the past few years. An underground legend in the Bay Area, Darondo was recently tracked down by Ubiquity Records. Not only did he give them permission to reissue some of his classic recordings, but he also went into the studio and recorded additional vocals for some of his unfinished works. Darondo's got range, too: you get a little bit of everything from his broad pallette, from hard funk to smooth soul joints. 9 cuts in all, in a pic sleeve which features the man himself on the front and details the entire saga of Darondo on the back. -the mgmnt
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First time on CD! The benevolent Dusty Groove has done broke diggers the world over a favor by remastering and reissuing this rare Axelrod catalog nugget. Originally released in 1975, the accurately titled Seriously Deep is Axelrod at his funkiest, conducting a...
expand review gang of trained studio assassins (including Joe Sample, Ernie Watts and percussionist Ndugu Chancler) through six great jazzy excursions. The pulsing opener "Miles Away(1)" sets the tone for the rest of the record with its tight groove and loose (yet not overly jammy) solos, while the slinking "Reverie(2)" carries more of a classic Axelrod vibe at first but soon falls into a hypnotic loop with great bluesy guitar soloing and a haunting organ breakdown. Also includes "Go For It(3)," the break-laden "1,000 Rads(4)" and "One(5)." 6 tracks; 40 minutes. Recommended. -Chris Lemon-Red
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Ed Motta became an R&B star in Brazil at the age of 17 when his debut album was released in 1988. The nephew of 70s funk master Tim Maia, he is a multi-instrumentalist and composer with very refined tastes and influences. This...
expand review is partly due to the fact that he's one of Brazil's most notorious record collectors, aware of Brazilian music in all its sundry shapes and forms as well as possessing a wealth of knowledge of soul, jazz and everything else diggers around the world go nuts over. Although he's been responsible for a fair number of hits, his eclecticism and expansive tastes have often put him at odds with Brazil's record industry and marketplace. Apparently, he's too "sophisticated" for many. This hasn't kept him from doing exactly what his inspiration dictates, perfect example being this daring and beautiful album consisting almost entirely of instrumentals. "Dwitza" is like a digger's love letter to the crates, filled with references to everybody from Deodato to Roy Ayers, Gamble & Huff to Jorge Ben, James Mason to Steely Dan to Jobim to Herbie Hancock and beyond. Check out "Sus-Tenta(1)," for example, a funk tune built entirely on those jazzed-out chord changes you always wish would go on longer than they usually do. And "Linduria(2)" has a great Steely Dan feel that I'm sure D. Fagen would approve of. "Amalgasantos(3)" is a Bobby Hutcherson-style exercise with a delicious vibes solo. "Coisas Naturais(4)" is a smooth, melodic track whose melody is highly reminiscent of Brazilian digger favorites Joao Donato and Marcos Valle, both of whom the track is dedicated to. It's great to see a guy who loves old records so much get the opportunity (and have the talent) to create one based on all the bits he likes the best. Although this is labeled as his "personal" album, due to the fact that instrumental music just does not sell in Brazil, the fact of the matter is that virtually all of Ed's 7 albums display qualities similar to those found here, and all of them make the majority of US so-called "neo-soul" releases sound pretty weak. After hearing this LP, you'll definitely want to seek out more of Ed Motta's work. -gregcaz
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Full length offering from the Truth & Soul (Soul Fire) in-house boys, compiling all their previous 7" only singles (but not that one great 12, you gotta hunt it down yourself) plus about 6 brand new tracks. These guys are honest-to-goodness talented,...
expand review and not just in the "good at aping a sound" way that most of their counterparts seem ok with flaunting. The songwriting is really strong and their output happily jumps through straight funk and soul cuts like "Detroit Twice(1)" and "Too Late To Turn Back(2)," slow jams like "Behind The Blue Curtains(3)," latin edged pieces like "El Pueblo Uneido(4)" and more, which gives you a very thorough and not at all boring listen. Love the move of closing out the album with a cover of Ike Hayes" "Hung Up On My Baby(5)" too (yes, the song sampled for "Mind"s Playin Tricks On Me"). For me, this is the pinnacle of the new soul/funk sound, and an excellent choice to cop on cd. 11 tracks. -the mgmnt
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Sometimes it feels like Finders Keepers and B-Music could keep reissuing records into eternity and never run out of gems to dazzle us with. For this installment in their Anatolian Invasion series, they've brought us the "space age, electronic, progressive-protest, psych-folk-funk-rock" of...
expand review Ersen. If you liked the Mustafa Ozkent and Selda collections, this is for you. Ersen just blew the minds of about half the office (the other half had headphones on), so I won't even attempt to describe the excellent sounds within, but will instead point you towards these fine selections - "Temek(1)," "Bir Aynlik Bir Yoksulluk Bir Olum(2)," "Metelik(3)," "Guzele Bak Guzele(4)," "Zalim(5)," "Gunese Don Cicegim(6)." Right? Hearing is believing. Extensive liners, rare pics and background info included in the booklet. 16 tracks; 59 minutes. Recommended. -Chris Lemon-Red
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First ever collection of material from the late Bay Area guitar whiz, Eugene Blacknell. Despite a career that spanned over 20 years, Blacknell never released a single album, which makes these 25 tracks feel like an introduction and a "best of" at...
expand review the same time. It's divided into three segments, each marking a progression in the man's sound. The section devoted to his early years include R'N'B tracks like "Mo Self(1)" (with his band The Savonics) and the raw funk of "The Trip(2)," while the middle part of his career found him moving to the "East Bay party sound" with burners like "I'm So Thankful(3)" and "We Know We Have To Live Together(4)." The last segment finds Blacknell "experimenting with blues, soul and disco," and "experiment" is exactly the right word - check out the mad scientist on the disco-funk of "Hard Times(5)," the psych-influenced title track(6) and the chikka-chikka goodness of "Wah Wah Funk(7)." TONS of detailed liner notes and pics in the booklet, as Ubiquity / L'N'H does their typically thorough job. 25 tracks; 60+ minutes. -Chris Lemon-Red
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Sammy Campbell (aka Tyrone Ashley) and Funky Music Machine never managed to release more than a debut single during their heyday, but Truth & Soul has been quietly remedying that over the last few years. First there were a couple well-received 45s...
expand review ("Gotta Clean Up The World," Parts 1(1) and 2(2)), and now we get this - a full-length collection of tracks unearthed from Campbell's Record Hut studio. It's perfect that this should finally come out on Truth & Soul, since it has so many of the vintage sonic hallmarks that they seem to emulate - this is true soul, at times both warm and gritty, and always very funky. Check the elastic bass and driving horns of "Sing A Song Sister(3)," or the 8-minute slow-burner "Does Frankie Ever Call My Name(4)." Even the silly stuff (like the warbly cover of "I Can't Help Myself(5)") is so soulful and genuine that you can't help but love it. Campbell was a Plainfield, NJ, contemporary of one George Clinton, and though you can't hear many similarities to P-Funk in the music, you can catch Clinton's axeman Eddie Hazel and Billy Nelson on "Come On Home(6)." Plenty of pics and detailed liner notes in the booklet. Recommended. -Chris Lemon-Red
Finally, the highly anticipicated new mix from the Lab's dirty beat digger Gaslamp Killer! This is his third official mix and I'll have to say, it's a mind ringer. You should know his style by now - dark, swampy funk, with murderous...
expand review drums and sounds from beyond. Heavy beat brother Kutmah also jumps in on the action, for a straight hour of neck breaking evil breaks. If you're into that late 90's deep funk, eerie Mowax cuts, and spaced out instrumentals, look no further. Tracklist? Sorry, the Killer's M.O. is always a barrage attack, leaving no clues at the scene(I can only name the Flying Lotus and DJ Vadim's Motion Man "Terrorist" instrumental). Definitely something to enjoy while blasted on good headphones. Also, the sick artwork by Shepard Fairey makes GLK look as twisted as ever. Super recommended for the true beat fiend. -C'mish
A peek inside the mind of a serial DJ wacko. The Gaslamp Killer approaches DJing, beats, and life much differently than anyone I know; and it comes through in his DJ sets. Here's some unfiltered clues to Gaslamp's world with 15 unmixed...
expand review psyche gems from his personal stash. No tracklist for all the biters, but access is better than nothing. The final track is a exclusivo Gaslamp re-edit. Also look for an upcoming GLK beats 12" coming to Money Studies in the fall. Recommended. -the mgmnt
Another unmixed comp of dusty psyche gems from Gaslamp's personal stash! GLK is a complete mystery to most of us here in the BK office, but these collections (and his way too infrequent blog posts) tell us all we need to know...
expand review - this man is dangerous. 15 tracks, with no silly things like artist names or song titles to bind your mind. For some original Gaslamp beats, check his track on the Secret Hangout EP or his upcoming 12" from Money Studies. Highly recommended. -Chris Lemon-Red
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Sometimes you're really not sure with these rare groove gurus, when they're trying to sell you on some 1962 Doc Severinson b-side or something you've never heard of. You kind of have to take their word for it, but you wonder, you...
expand review know? If that shit really is so good, how come nobody but you's ever heard of it? Anyway, you can forget all that with this comp, cuz as much fun as it would've been to slag the perpetually boyish tastemaker supreme in the baggy turtleneck, this collection is really tight. Kicking things off with the tremendous wall of afrofunk that is Oscar Sulley's "Bukom Mashie(1)" (last seen on the essential Ghana Soundz LP) and including MAW's timeless Fela tribute "MAW Expensive(2)" is pretty good move, setting the tone for the two records (one covers vintage Afro cuts, the other contemporary facsimiles). Things stay on solid ground with two cuts from the superb Ethiopian vibist Mulatu and his cohort Feqadu Amde-Mesqel ("Mulatu(3)" and "Asmarina") and Peter King's longtime DJ/breakbeat fave "Ajo(4)." Thievery Corp's recent "Heart Is a Lonely Hunter(5)" gains some cachet rubbing shoulders with a typically wicked IG Culture remix of the Lekan Babalola (me neither) tune "Aso Kere(6)." The optimized levels on this crisp pressing will endear this to DJ folk, as will the diverse and powerful selection of 9 useful tracks. -Bartleby Hisamoto
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Have you listened to the full version of "The Revolution Will Not Be Televised(1)"? If your answer is no, don't front. This track is a piece of raw angst that will get you hyped. "The Revolution" is Gil's poetic classic with...
expand review a heavy funk backing by Pretty Purdie and the Playboys (on the entire LP). This album is probably Gil Scott's strongest work on the Flying Dutchman label, and for me ranks closely behind his Strata East classic "Winter in America." Although "Revolution" features Pretty Purdie at his funk best, most of the album has a more of a soul feeling to it. But let it breathe, and youll understand this record's true depth. "Pieces of a Man" is one of his most powerful and recognized works: "I saw the thunder and the lightning and felt the burden of his shame." Lead material. (Sampled nicely by KMD). The rest is up for the listener to discover and judge whether it hits in the gut or your personal wall. -the mgmnt
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