Guest Post From DZ

The Soul Messengers : Side A, track 4 and Side B, Track 3
details from the album haven’t been translated as far as we know…
Private Pressing (1978)

The Platina : Africa
taken from the album “The Girl With The Flaxen Hair” on MIO (2003, originally 1976)

Mordechai Ben David : SOUL
taken from the album “SOUL” on Aderet (1977)

Happy Chanukah to all you fellow Jews out there. This is DZ, your semitic guest blogger. Captain P has been bugging me to do an Israeli music post for a minute now, and the 7th night of Chanukah seems to be as good a time as any (yall’s oil better still be burning for another miraculous night). Now it’s no secret that my peoples are blessed when it comes to comic talent, but when combined with music the results have been, well, unmiraculous (think Adam Sandler’s Hanukah Song and the entire genre of Klezmer). But I’m here to let you know that there does exist some ridiculously ill funk and jazzish artistry born in the motherland of Israel.

The first two mp3’s up belong to Soul Messengers. I first heard some tracks from another LP of theirs on a Jewish audioblog called Hippocampus. I then came across this record on Ebay and dropped a stupid amount of loot on it during the tense final moments of a cutthroat bidding war. And don’t ask me how much. That is so Jewish of you. Anyway, it was worth it and you should feel blessed to be able to download not one, but two tracks off this ’78 rare-as-shit privately pressed LP for free. This is a group of Black Hebrews or Black Israelites (I’m not sure which is the preferred term) who lived and I believe still live in a commune in Jerusalem. It is still unclear to me if they consider themselves Jewish or if they emigrated to the Holy Land for other reasons. Either way, this isn’t just American funk/soul/disco transplanted to Israel. All these songs are sung in Hebrew, and seeing as Hebrew was actually the first language I learned, I have to say I was taken aback. Never have I heard the language infused musically with so much soul and funkiness. The first song is what good disco-funk is all about. Dope build-up, party horns, and the odd-but-ill reference to Steam’s “Na Na Hey Hey Kiss Him Goodbye”. The second song is a fast-paced joint also laced with some dope horns and funky guitar work. The Captain is far better at vivid, on-point descriptions of any given song than I am, so that’s as far as I go. Just listen.

The 3rd mp3 belongs to a jazz-fusion group called Platina. This album, titled “The Girl with the Flaxen Hair” was recorded in 1976 and re-released on CD by a small Israeli label called Mio Records. Good thing, too, because I don’t know how else I would’ve gotten my hands on a copy of this. I showed it a few weeks ago to my uncle visiting from Israel (shout-out to Rafi Adar) and he smiled and said he knew everyone on the cover personally. Nobody from this group went on to do anything particularly stunning, unless you decide to count the one member who went on tour in the states with Manhattan Transfer (dollar-bin diggers should be all too familiar with that name). Anyway, the 14 minute joint here is called Africa. Historical note here: When the U.N. considered potential locations for the state of Israel pre-1948, one area considered was Uganda. Imagine how different the world would be had that vision been realized. Anyway, you might expect something blatantly offensive from any song called Africa that was produced by a group of exclusively non-Africans, but actually this is pretty damn good. Again, I forgo the description in favor of you just listening.

The last song by Mordechai Ben David is from the Captain’s cassette tape collection (thus the not so great audio quality). Don’t expect other records from this cat to be nearly as funky, he’s definitely better known for his not so unique brand of Klezmer smegma.

Anyway, I hope you enjoy the songs. If you have a minute, check my boy’s travelblog from Israel: Dakotamodamowf. Have a happy new year and 7th night of Chanukah. Peace in the middle east.

Earl Zero : Home Sweet Home
taken from the album “Visions Of Love” on Epiphany (1979)

Cultural Roots : Age Of Creation
taken from the album “Revolutionary Sounds” on Germain (1980)

Wayne Wade : Poor And Humble
taken from the album “Poor And Humble” on Live & Learn (1982)

Even the most high spiriterd folks need a little upliftment now and then. When the wallet is empty and the relationship is all fuss & fight, and the work is hard, and the future is hazy (or even glum)- for these trials and tribulations I thank the highest for the healing forces of roots reggae music. The bass and skank speak nostalgia for a Zion lost, sing acknowledgement of the brutality and injustice of Babylon, but low… within the void between the spaceous delay there too exists the room for change. Proudly prounounced with each hitting horn burst and throughout every wailing verse glimmers that promise of a brighter future for all righteous creatures. Feeling low myself, I dug out these forgotten gems- too many records to keep track of- and I’m starting to feel like I’m doing alright. Also helps to eat proper ital.

Earl only has 2 records by his own name, but it looks like he’s still keeping active by the will of Jah. “13 Months of sunshine all the time” sounds pretty nice to me right now (water is currently boiling for hot cup of tea #6). Really love the work from one Agustus Pablo on the melodica here. Guitar and musical production by Chinna. The album ends with a highly danceable steppers cut called “None Shall Escape The Judgement”, but you’re gonna have to dig for that one.

I like how Cultural Roots manage to rebel against scientific reasoning by saying that scientists “are only surmising”. No concrete evidence for the big bang? Sometimes I feel that fed up with the whole thing as well. Musical backing here by one of my all-time favorite reggae bands- The Revolutionaries. Another hot track on here is “Jah No Partial”.

Wayne Wade really speaks to me right now. Not just broke, but in debt (sorry gui), and the holidays are here and I got to get presents for people or else I look (and feel) real shmucky. But I’ll scheme up something, always do. I don’t know if I can claim to be humble- can anyone? It kinda seems like calling yourself humble is oxymoronic. But I’ll try… (cough, cough)

If you haven’t peeped the Defibrillator remixes we did, do so now, ’cause they’re SIIIIICK. Also, this party on Thursday night is gonna be really fun for all ye music lovers in the NYC vicinity. Spread love and get loved.

Trick Daddy, Big Boi, Cee-Lo, Vaughn Mason & Crew :
In Da Wind (Captain Planet Remix)
taken from the remix CD that we’re giving out at our party, so come out!

Yup, we been putting off our seasonal to the point where Fall is just about over, but the party is on nonetheless. If you live in the NYC area, then get your ass to Williamsburg this Saturday night for another proper Bashment- VIA stylee. Peep the flyer here.

We’ve got dope mix mastery from extended fam members Caps & Jones who have been making big moves recently. If you’ve never heard one of their mixes, then consider yourself inexperienced. Seriously, these guys have the artform DOWN! Also on the decks will be compadre DRM – ill cat and the Bastard Jazz overlord.

Hope to see you there!

Jimmy Sabater : Kool It (Here Comes The Fuzz)
taken from the compilation Explosivos: Deep-Soul From The Latin Heart on Vampi Soul (2005)

Lord Rhaburn : Disco Connection
taken from the compliation Cult Cargo: Belize City Boiil-Up on Numero Group (2005)

Don Atom ft. Tea Time : Mueve La Cintura (Live Version)
taken from the compilation Coconut FM: Legendary Latin Club Tunes on Essay Recordings (2005)

Long live the mix! And the mix masters responsible for putting out these collections that dig deep into worlds of oft-overlooked funky music, revealing to us our own ignorance yet again (just when we thought we was getting wise!). True, all the tunes I picked out have a Latin link, but beyond that, these albums all offer up some serious history lessons and celebrate the groovy side of globalization. Don’t put it past a record label (or a DJ for that matter) to be able to school you in more ways than rhythm and melody. Academics are all up in the mix, can’t avoid ’em.

If you’re looking to learn about the Latinized cross-pollinations of soul, rock, psych and funk that grew out of the late 60’s and early 70’s Spanish Harlem, then Explosivos is a very good starting point. Think you know a lot about Boogaloo and Shingaling already? Then check it out anyway, ’cause the cats at Vampi Soul are no joke! It’s a rare feat that’s accomplished here, where each song seems to be surpassed in quality by the next, rounding things off with the absolute dancefloor bomb Hit De Bongo by Tito Puente. Another highlight is the acid trip shakedown provided by Flash & The Dynamics. FUEGO!

I knew it was dangerous for the folks at Numero Group to start up some international business. After thoroughly enjoying their Eccentric Soul offerings, I thought they had built themselves a very comfy niche, and I wouldn’t have asked anything more than that they continue stirring up forgotten heart strings and wallowing wails from lesser known latter day saints. BUT BELIZE! Who would have known? Cult Cargo pulls together the best material from the ONLY record label that was recording in Belize through the 70’s (C.E.S.). With a wild assortment ranging from regggae to boogaloo to straight ahead soul to raw funk madness, it’s clear that Belize was finding inspiration in an array of Caribbean sources as well as drawing on styles from its relocated U.S. contingent. Disco Connection comes from Lord Rhaburn (pictured on the cover) who was perhaps the most prominent character from the scene, but other joints here include a breakbeat version of Theme From The Godfather played by the Professionals and the dirty, dirty Funky Jive Parts I and II from the Soul Creations. The liner notes make nice reading material with a substantial bit of historical background and scans of the original album covers. Get yourself a copy here.

Finally, I’m giving you one of the least kooky selections from Senor Coconut’s latest mix project. Coconut FM is a pan-latin ghetto booty bass work of art. Bridging the musical offspring of Cumbia, Reggaeton and Brazilian Funk Carioca (aka “Baile Funk” or just plain “Funk”) on a virtual frequency that “belongs to no terrestrial zone”, this radio station brings you the contemporary sound of our electrified globe (at least the spanish speaking portion of it), casio keyboards, 808 drum machines and all. It’s the latest in a line-up of releases from Essay Recordings, who brought us the groundbreaking collections of Balkan Beats from Shantel’s Bucovina Club, and the hype inducing Rio Baile Funk compilation. Check out what Pop Matters had to say about it. And look at some of the other work that Mr. Coconut has gotten himself into. If you’re not one who can appreciate a bit of humor with your groove or some kitsch with your cooking, then this probably isn’t for you. But for gumbo funkers such as myself, seeking the utopian union of our disparate forms of flavor, this is exactly what the doctor ordered. I could go on and on, “but half the story is already there in the edits, the beats, the borrowing. It’s all, at heart, the soundtrack of post-colonialism, where one person’s oil drum is another’s steel drum, where copyright takes a left turn and disappears in a crowded street packed with bootlegs, derivatives, and jury-rigged improvements humming with stolen electricity.”
–Philip Sherburne (taken from the liner notes)

ALSO, don’t sleep on the latest addition to our site: IX PICS. Our boy Ixley is putting his eyes up on display for you to scrutinize. Photos on the daily for pure eye-candy enjoyment.

L’Trimm : He’s A Mutt and Cars That Go Boom
taken from the album Grab It! on Hot Productions (1988)

Black Eyed Peas : My Humps
taken from the album Monkey Business on A&M (2005)

It was the year that Bush Numero Uno took office. Some of you wanted to be Axl Rose and others (who shall remain nameless) wanted to be George Michael. Personally, I wanted to be a member in the female rap group, L’Trimm.

Bunny B. and Lady Tigra who comprised the kiddie-pop duo, scored a moderate hit with the song, “Cars That Go Boom.” Sound familiar? There’s a good chance though that you missed the less familiar, but far more infectious, “He’s a Mutt.” This sassy moral tale – layered with the occasional dog bark – playfully rehashes close encounters with the promiscuous kind (not our growing mixed-race population as the song’s title might have you believe).

While L’Trimm’s brand of silly-girl-booty-bass was scoffed at by serious rap fans, the group easily struck a chord with post-feminist elementary school girls (and some boys) such as myself. What L’Trimm may have lacked in lyricism, musicality, or even fashion sensibility, they made up for with their ingenuity for unadulterated fun.

Clearly no match for the lyrically ferocious Salt-N-Pepa or Queen Latifah, it’s no surprise these ladies endured a rather short career. But not to worry folks, L’Trimm’s legacy continues to live on in such recent jewels like the Black Eyed Pea’s “My Humps”, not to mention the entire Fanny Pack catalog.

Christine, who self-admittedly can’t match a beat, goes by the name of DJ RHAP.