Curtis Mayfield & The Staple Singers : After Sex
taken from the Soundtrack album “Let’s Do It Again” on Curtom (1975)

Bill Conti : Reflections
taken from the soundtrack album “ROCKY” on Capitol (1976)

Kool & The Gang : Summer Madness
taken from the album “Light Of Worlds” on Dee-Lite (1974)

Shuggie Otis : Island Letter
taken from the album “Inspiration Information” on Epic (1974)

Ok, so this is not my official “Summer Songs” post, which is now going to be a dog days affair, but I want to let everyone know that I’m not dead and am still in love with music. I’ve been going through some pretty heavy stuff lately (basically a divorce, even though we weren’t technically married), and working in the studio more than is probably healthy (you’ll hear the fruits of labor soon enough), but I’m getting back to the blog for real now. I love this place and the chance to sit down with a lil handful of songs like these ones I picked out today feels highly therapeutic.

I heard Curtis Mayfield’s “After Sex” (an old forgotten favorite of mine) yesterday at my friend’s spot, and as I lay melting into the wheelchair that he uses as furniture (superior by far to any lazyboy) I realized that the song was expressing the exact the sound inside me right now. I found myself pulling the needle back at least 10 times. Bill Conti’s “Reflections” came to mind next, as an extension of the same sentiment. I still remember watching Rocky for the first time (it was a hot Summer day then too) and loving the scene where he’s alone in his grimey little apartment and he drops the needle on a record… “Reflections”. It wasn’t until I later scooped Kool & The Gang’s “Light Of Worlds” that I realized Conti was doing what appears to be a pretty blatant knock-off track for the soundtrack (doesn’t really take away from my appreciation of it somehow). And then, to complete the vibe, I knew a little Shuggie was necessary. So here’s to a peaceful and uplifting moment of inner exploration. We all know the feeling.

ps- R.I.P. Isaac Hayes

Stephanie McKay : Jackson Avenue & Oh Yeah
taken from the upcoming album that needs to be OUT!
but if you like this, DEFINITELY check her first release and her myspace with more tunes, videos & tour dates.

Chico Mann : Dilo Como Yo & Zumba Mama
taken from the upcoming album “Analogue Drift” that also needs to be out already!
But check the myspace for more tunes and get that first album

King Khan & The Shrines : Burnin Inside & I Wanna Be A Girl
taken from the new album The Supreme Genius Of… on Vice (2008)

Flying Lotus : Roberta Flack (Ft. Dolly) & Melt!
taken from the new album Los Angeles on Warp (2008)

In the face of too much mediocre blandosia and overhyped saltine steezoni (sorry, I’m not hating for hate’s sake, but come on…), here’s a hearty helping of freshy-fresh audible produce for your summer mixes. Some of these tunes aren’t officially out yet, but as long as a few of you readers catch on and support these artists by picking up their other releases (Stephanie’s first album is NECESSARY), then I figure they won’t get mad at me for sharing this little taste.

I’ve been feeling the Estelle album a lot, and a couple of the Aunt Jackie tracks, but honestly, Steph blows these chicks out the water. She smashes the reggae tunes (“Take Me Over”), destroys the retro soul (“Say What You Feel”), and comes with some otherly space-funk for the ears of tomorrow (“Money”). I’ve had the pleasure of doing a bunch of live shows with her and can testify to her ability to K.O. the crowd too. Like way too many other top-notch underrated artists, she’s been bucked around by labels with the usual drama, and thus this masterpiece of an album (which has been DONE for more than a minute) is still not out. It’s a total crime how the industry works sometimes, but at least we can support her by copping the first release and can keep spreading the good word until this one is officially released- check for the live shows too!

Chico Mann is no stranger to the Crate. When I posted the Antibalas remix of “Dilo Como Yo” a couple weeks back it reminded me that Chico’s (somewhat more danceable) version of the same song should be shared as well. He’s got more music to download on his myspace page and an album from a year or so back that’s definitely worth checking- but holy greatness, his new album is really gonna knock some heads around! Stay tuned.

King Khan was purchased on the strength of the cover art alone, and it delivered twofold what was hinted at on the packaging. I don’t know where they recorded this album of catchy psychedelic garage-rock-soul, but it sounds convincingly like they discovered a wormhole to the year 1968. A thoroughly enjoyable and lively record from the opening chords of “Torture” to the last fuzzy notes in “No Regrets”. Highly RECOMMENDED!

Finally I leave you with the beautiful noise poetry of Flying Lotus. This record is abstract and earthy at once. Layered with cosmic dust and static, the album takes shape like a primordial organism from deep space that crash landed alongside the 405 and now shimmers in a blanket of neon steam emitting radioactive waves. Need I say more?

Gabo Brown & Orchestre Poly-Rythmo : It’s A Vanity
taken from the compilation African Scream Contest on Analog Africa (2008)

Action 13 : More Bread To The People
taken from the compilation Nigeria Rock Special on Soundway (2008)

Asiko Rock Group : Lagos City
taken from the compilation Nigeria Disco Funk Special on Soundway (2008)

Sir Shina Peters and His International Stars : Yabis
taken from the compilation Nigeria 70: Lagos Jump on Strut (2008)

With the recent onslaught of African music compilations coming out, I found myself wondering if the genre of afrobeat, after 40 years of relative obscurity, had finally become mainstream? There was the anomaly of Manu Dibango’s 1972 hit “Soul Makossa” which actually made it big abroad (to the extreme of being re-worked years later in Michael Jackson’s “Wanna Be Starting Something”), but for the most part, even the biggest names in African music were completely unknown to most audiences off the continent. Fela Kuti was certainly low on the radar in his time, but today, I feel like his name (and certainly the genre of “Afrobeat” as a whole) actually bears some weight in popular consciousness. I suppose recognition 30 years too late is better than none at all. I know that I, for one, am not complaining about the vast, continent-wide vinyl archeology dig that seems to be taking place.

Analog Africa have found a particularly overlooked niche within the world of Afrobeat – Togo & Benin. Holy hotness is this shit ever raw! Out of all the comps, this one’s probably my favorite. Aside from Poly-Rythmo and The Black Santiagos, I was unfamiliar with all the names on this collection. Nothing on here sounds like it was recorded after 1972- and ALL of it draws heavily from the power James Brown’s early 70’s material (which is about as good as it gets for me).

With the recent Soundway comps coming out back to back, it’s honestly a little difficult to discern clear distinctions in sound from one to the next, but again, when the material is this solid, I’m not putting up an argument. Both Action 13 and Asiko Rock Group are new discoveries for me- and mindmelters to boot. The drums on “Lagos City” are just about the hardest thing I’ve heard since maybe this.

Meanwhile, Strut records continues their resurgence on the scene with this second West African installment – the first Nigeria 70 initiated my ears to these beats back in 2001 or so. This one focusses more on the traditional highlife and juju side of things, but there’s some heavy funk cuts on here as well. One little thing that irks me about the Nigeria 70 records though: both this one and the original comp feature artists on the cover that aren’t even represented on the tracklisting! I mean, they’re cool photos and all, but I’m sure that there’s some good pics out there of the artists that are actually a part of the collection (the first one had Prince Nico Mbarga on the cover and this one is Oliver De Coque– I know cause I have the LPs- neither of whom make a musical appearance anywhere here). Still worth it for for the music though.

Grupo Fantasma : Se Te Mira
taken from the album Sonidos Gold on Aire Sol (2008)

Seun Kuti & Egypt 80 : Fire Dance
taken from their self-titled album on Disorient (2008)

Potato & Totico : Dilo Como Yo (Antibalas Remix)
taken from the album Verve Remixed on Verve (2008)

MRR-ADM : B1 Untitled
taken from their Untitled 10″ EP released without a label (2008)

Karl Hector & The Malcouns : Toure Samar
taken from the album Sahara Swing on Stones Throw (2008)

Jackson Conti : Sao Paulo Nights
taken from the album Sujinho on Mochilla (2008)

Chicha Libre : Sonido Amazonico
taken from the album Sonido Amazonico! on Barbes (2008)

Damn I was missing this place! After moving I was without internet for a full two and a half weeks (which felt like a solid month to a web-junky like myself) and I’ve been itching to put together a post. I have tons of new records and a beautiful new studio/music library to listen in, but no time! This is so far from the summers of yesteryear when the solstice meant “school’s out” followed by three months of blissful skateboard meanderings and rope swings that launched into cool lakes. But I can’t complain too much since my busy-ness is pretty much all music related. Even now, I know I can’t write enough to do this music justice, but I wanted to at least begin to get back on track. So hear this little offering of recent releases that have been filling my ears the past few weeks. I promise to post more very soon and get back to a regular schedule now that I’m reconnected.

One sentence about each song/record:
This Grupo Fantasma record keeps the funky salsa & cumbia kicking with guests like Maceo Parker and Larry Harlow (who plays keys on “Se Te Mira”)- raw, organic, live sounding production makes you feel like the band actually squeezed inside your speakers somehow. Fela’s youngest son, Seun Kuti, brings his dad’s band (minus Tony Allen) back into the spotlight with a record of high energy, uptempo afrobeat that sounds like three Fela albums from the early 70’s rolled into one- catch the live show if you can. Staying on the afrobeat tip, NY’s own Antibalas deliver this solid remix of a rootsy latin classic- check out Chico Mann’s electro re-work of the same song which will hopefully be released soon! MRR-ADM is pretty mysterious to me, but I know it features Malcolm Catto on drums and that it was featured already on another blog that I like. Karl Hector & The Malcouns is the latest work from my favorite crew of funk revivalists Poets Of Rhythm (at least some of the members are involved)- new ethio-afro-funk-soul for fans of Budos Band and the like which has also already been given shine from another blog I like. Jackson Conti is the collab between the prolific blunted-beat maestro Madlib and legendary Brazilian drummer Mamao (of Azymuth glory)- smooth head nod niceness. And finally, Chicha Libre pay homage to the psychedelic cumbia scene of late 60’s Peru with a record that simmers like a bug on a cactus under mid-day desert sun.

Be back soon!

The Whispers : Needle In A Haystack & Seems Like I Gotta Do Wrong
taken from the album “Planets Of Life” on Janus (1973)
(originally released on Soul Clock records in 1971)

The Whispers : My Illusions
taken from the album “Life And Breath” on Janus (1972)

Between having to get my computer fixed and moving (way too many CRATES!!!), I’ve been seriously neglecting blog duties. Once things get settled down I’m going to go crazy with all the new music I’ve been acquiring lately, but first, a little quickie of sweet soul.

Let’s give it up to the Scott twins (Scotty and Walter) and crew who share the softer side of Watts while still keeping the message clear- and for sprouting some of the strongest facial hair in the game. While I have no shortage of love for their later hits like “And The Beat Goes On”, it’s this early material that seems a little more appropriate for their band name.

“Needle In A Haystack” is the easy crowd pleaser, with its punchy hook and driving movements that undoubtedly send dancefloors in Northern England ablaze. However, my favorite cut off this first album is the inquisitive melancholy monster “Seems Like I Gotta Do Wrong”. More in spirit than sound, the song brings Syl Johnson’s “Is It Because I’m Black” to mind.

Penned by master songstress Sugar Pie DeSanto, “My Illusions”, has me curling up into a ball like a little scared kitten with every listen. Is that an oboe in the intro that makes me feel like ghosts are in the room?

La Playa Sextet : Hong Kong, Hunca Munca , Olaya & El Chico Boogaloo
taken from the album Bailando El Boogaloo on Musicor (1967)

La Playa Sextet : Le-Lo-Lai & Sugar’s Delight
taken from the album Vaya Means Go! on United Artists (196?)

La Playa Sextet : Coco Seco/Anabacca & Mambo Inn
taken from the album The Exciting New La Playa Sound
on United Artists (196?)

I felt inspired to give La Playa (even THEY have a myspace page!) their due respect for several reasons. The first is selfish: I’ve been carrying these records in my crate consistently, week-in week-out, for probably a year now, and before I wear out the grooves on my favorite tunes, I wanted to retire the vinyl properly and let the music itself live on forever in digitally-preserved mp3/serato heaven. The second reason is because I’d also like to start doing a regular feature on somewhat overlooked latin groups. “Dura Obscura” or something like that. If I highlight a big name artist like Tito Puente or Eddie Palmieri, I’ll pick out something that is a bit lesser-known from their catalogue. La Playa seemed like as good a place as any to start. Chronologically, they rose to popularity on the Latin tidal wave that crashed in 1968 with the death of the Boogaloo and the subsequent birth of “Salsa” superpower Fania. Cha-cha, Charanga, Mambo, Bomba, Bolero all got branded conveniently under one banner, and La Playa somehow didn’t make the grade.

Most of what little I know about La Playa I picked up here and here. But without knowing about all the players and particulars, one of the major aspects of the group’s sound that stood out to me from the start, and caused me to seek out other titles, is the killer electric guitar playing by Payo Alicea. Beyond simply taking over the montuno parts traditionally played on piano, Payo really steered the sound of the group in a latin-rock direction (pre-Santana). “Hunca Munca” has that classic bluesy rock progression that sounds pretty dated today (maybe even tacky to some), but back then I imagine this was some pretty progressive stuff. I’m not sure what happened to the group after “Bailando..” was released, but their music is still heating up dancefloors here in Brooklyn on a weekly basis.