Mikis Theodorakis : Cafe Rock
taken from the soundtrack album “Z” on Columbia (1969)

Sum Sum : Mountain Beauty
taken from the album “Midnight Guitar” on Regal/EMI (196?)

Los Yaki : Las Estatuas De Marfil
taken from the album “Vol. II” on Pickwick/33 (196?)

Los Blue Caps : Tu Mujer, Yo Varon & Solo Vivo Por Tu Amor
taken from the album “Cuando Te Miro” on Parnaso (1970)

Imagine the immense awe that must have splintered into the core of the first fuzz guitarist when, upon strumming his coiled strings, he heard not the sweet melodious ring of a clean plucked note, but instead was met with the scream of electrical feedback that will forever voice the raw agitation of youthful rebellion. Did this forgotten string-strummer catch any glimpse at the vast impact of his forever raging bastard child? Was it done on purpose? Did he finally achieve the sound of his burning inner torment after exhaustive hours of experimentation, or was it an accidental buzz that stabbed him in the back when he innocently left the volume knob turned up too high? Whatever the case may be, today I’d like to celebrate a few obscure shrapnel nuggets that were flung in different directions across our planet in the aftermath of this explosive auditory revelation.

Mikis Theodorakis is perhaps one of the all-time greatest and most widely recognized Greek composers. I addition to scoring virtually all the major Greek theater productions of the 60’s, he achieved international renown for his film score to “Zorba The Greek” and then, “Z” (looks like he also did Serpico, which is such a badass film). Mikis has always had a serious lean to the left, and for this he was imprisoned and then exiled (before making Z). Included on the soundtrack (I still haven’t seen the film, but it looks like a winner) are several bootleg-sounding recordings of just Mikis singing and playing piano “in secret circumstances” (according to the liner notes). A true rebel indeed, and this short little fuzz bomb stands as proof.

Sum Sum is a mystery to me, but I really dig this record she made. Found it in a bargain bin recently and have put it on whenever I felt the need for a bit of Austin Power groovy-kitch.

Los Yaki are also pretty far off my radar, but they appear to be from Mexico. This album features them covering “Yellow Submarine”, “Good Love”, “secret Agent Man”, & “Sunny” (which they turned into “Sonia”) among others. The whole album isn’t the best listen, but I’ll ride for “Estatuas” any day. Hand claps, screechy vocals, B3 organ, and yes… gritty guitar full of fuzz.

Los Blue Caps (not to be confused with Renato E Seus Blue Caps) are another Mexican garage group that I know nil about. But this record is chock-full of pounding drums (yes breaks) and fuzz, fuzz, fuzzzzz. The vocals are a bit hit or miss (lil more on the miss side) but this is the birth of punk we’re talking about, so just roll with it.

*Last note: it happens to be my birthday today, so if anyone feels like sending a record my way (hint hint), hit me up with an e-mail. hehe. Also, the OTHER BLOG LINKS ARE NOW FINALLY FIXED.

Delta 5 : Mind Your Own Business
taken from the compilation Disco Not Disco on Strut (2008)

Set The Tone : Dance Sucker (Francois K Mix)
taken from the compilation Funky Nassau on Strut (2008)

Sonora Casino : Astronautas A Mercurio
taken from the compilation Obsession on Bully (2008)

The Funkees : Akula Owu Onyeara
taken from the compilation Nigeria Special on Soundway (2007)

Juan Bautista : Estoy Aqui Pero No Soy Yo
taken from the compilation Bachata Roja on iASO (2007)

Is it just me, or are there a higher percentage of compilations to new releases nowadays? It feels like the market for re-issued recordings is catching up with the market for brand new material- could just be my twisted, old-timer perspective though. Whatever the case may be statistics-wise, I’m certainly happy that there are so many other people devoting themselves to putting together great collections like these.

STRUT RECORDS IS BACK! And I’m gonna shout about it. These guys put out some really enlightening comps when I was first getting into DJ-ing, and then in ’03 they closed up shop. This latest enstallment of the Disco Not Disco series brings us more hard to find indie 12″ cuts from an era when lenghty dubbed-out, electro dance music could be considered punk. On Funky Nassau, Strut pulled together a wide range of work from Chris Blackwell’s Compass Point Studios in The Bahamas to shed some light on a scene that I have always had a soft spot for. From big names like The Talking Heads and Grace Jones to lesser-knowns like Guy Cuevas, this record captures some of the best fusions of dub and new wave that came out in the early 80’s. It’s the sound of of NYC’s greatest party acts chilling out on the beach in a cloud of weed smoke with some of reggae’s MVP’s (Blackwell & Sly Dunbar).

The Obsession comp was tastefully pulled together by Mike at Academy Records, which has long been one of my favorite places to get schooled on cool records- and often take them home at reasonable rates. Wild psych monsters from the far reaching corners of obscurity is the bill here, and there’s really nothing short of behemoth in the line-up. Track by track liner notes with cool pics help too. This track from Sonora Casino is one that I’d heard about as a mythological anomaly for quite some time now, and finally can listen to on repeat!

Soundway really don’t need much introduction or explanation on this site. Everytime they put something out you can guarantee that you’ll be getting more than your money’s worth. These dudes are some of the heaviest collectors out there. While the set this time is less focussed on funk and dancefloor material, the overall vibe and richness of sounds is top quality.

And finally, something that is long overdue: a collection of old school acoustic bachata! Some readers might remember my discovery of Luis Segura a few years back on a trip to the Dominican Republic. And while I do not intend in anyway to detract from that man’s genius, I also have always had the nagging suspicion that his sound was part of a bigger scene that I needed to dive into. The soulful, pleading falsetto. The bouncing bongo taps and staccato guitar plucks. THIS IS THAT SCENE! The music that was banned under Trujillo, that survived in the campos and made it to the city and finally onto records in the 60’s. And to my knowledge, this is the first time that any of these songs have been available outside the DR. Thank you iASO.

Mel Williams : With A Little Help From My Friends
taken from the album “Stranger In Paradise” on Wampus (197?)

Eugene Paul : Chain Gang
taken from the 12″ on Third World (198?)

I don’t know a nickel’s worth about either of these artists, so I won’t front like I do. But both of them offered me a much appreciated respite in a time of need. I love how Mel has completely changed the tempo and swing of the whole song. Despite the poor recording quality, he really strikes a nerve when (right around 1:35) he lays behind on the beat and then jumps right back on top of it. The Eugene Paul cut, produced by Winston Curtis, has some serious gall to even dare take on a classic of such epic proportions. And while the production quality here might also distract some listeners, by the arrival of the first verse, I was entirely sold. When else has Sam Cooke received the raggae version? I’m running a blank. The 12″ also contains a nice rendition of “Wonderful World” and a not so nice B-side called “Rock Me”.

*** ALSO CHECK THE BLOGROLL UPDATE! ***
Finally. Some cool new ones I’ve been checking are added to the list at the right and some that are now defunkt or infrequent have been removed.

Kikin Bakk: more funk, soul & latin heat.

Missing Toof: electro, mash-up & dancefloor food.

One Day Later: home of U-Tern and his boogie & electro selections.

DJ Delights home of DJ Anonymous and a wide array of danceable tracks.

Mon Rivera : Lluvia Con Nieve &
Bobby Valentin : Coco Seco
taken from the compilation Fania DJ Series: Gilles Peterson on Fania (2007)

Nonato E Seu Conjunto : Tereco &
Freesom Orquestra : Rush
taken from the compilation Ultimate Brazilian Breaks & Beats #2 on Adventures In Paradise (2007)

I realize this is a late notice, but so was my spur of the minute decision to come out to L.A. to visit young Murphy. It was no coincidence that my trip happens to overlap with another Boogaloo session at The Shortstop, but rather divine intervention, I merely heeded the call. So if you’re like me and desperately need to shake loose some stodge, and are in the L.A. area, then come through and show some love and say hello. We’ll be spinning songs like these ones above, as well as tons of other musical firecrackers, amongst a moving crowd of dancers and friendly folk (look out for O-Dub!). Both brothers side by side behind the turntables = MAYHEM.

Just one note about the songs: I’ve been meaning to post this Mon Rivera cut for like 2 years now as it’s one of the select few songs that I manage to play without fail every single week, and never seem to tire of. LISTEN TO THOSE TROMBONES!!!

Muddy Waters : I Just Wanna Make Love To You & Mannish Boy
taken from the album “Electric Mud” on Cadet (1968)

Howlin’ Wolf : Spoonful, Smokestack Lightning & Evil
taken from the album “The Howlin’ Wolf Album” on Cadet (1968)

Wynder K Frog : Into The Fire & Howl In Wolf’s Clothing
taken from the album “Into The Fire” on United Artists (1970)

It makes little sense to me, how after years of tirelessly searching the used bins at hundreds of music stores, religiously reading the record reviews in all types of periodicals, and more recently, scouring the vast savannas of the blogosphere for great sounds, somehow, I still have managed to miss some of the most fundamental things. Enter Muddy and Wolf.

I found these 3 records together at the same small local shop that I picked up those Super Blues & Bo Diddley LPs at a while back, and I have a hunch that they all came from the same collection. While I shamefully recognized back then that I had blindly slept on the funky rawness of the Super Blues trio (Diddley, Muddy & Wolf), I now feel like a total imbecile for not realizing the depth of these cats greatness. Shredding and pounding this hard back in ’68, these dudes almost make Hendrix seem less badass – almost. Now Wynder K Frog may not stand up to the monumental gangster that these guys represent, but at least he had the decent sense back then to recognize a good thing when it was going on and try to join the party. Some might recognize his tribute to Wolf, “A Howl In Wolf’s Clothing” (which is pretty clearly ripped from “Smokestack”), as the basis for a Handsome Boy Modelling School cut. Also nice to hear a raucous 30-second cowbell drumbreak at the top of side-A.

AND ANOTHER EXCITING NOTE: Ix Pics is back up and running! Yeah for Jefe being not lazy anymore! There’s some beautiful shots from his recent trip to Jamaica and Cuba among other. Check it out

Cortijo Y Su Bonche : Sorongo & Tiempo De Amor
taken from the album “Sorongo” on TICO (1968)

Cortijo Y Su Bonche : Agua Que Va A Caer & Ublabadu
taken from the album “Ahi Na Ma! Put It There!” on TICO (196?)

Cortijo Y Su Bonche : Pa’ Los Caserios & Pa Guayama
taken from the album “Pa’ Los Caserios” on Actuality (197?)

Sorry for lack of posts. Between the 102 degree fever that had me stuck in bed and doing several shows last week (being groggy on stage is where it’s at), I was short on quality record listening time.

Rafael Cortijo is a legendary figure in Puerto Rican music, being one of the first to bring the Bomba and Plena rhythms out of the slums and into the ears of the vast record buying public – in PR and elsewhere. He’s perhaps most famous for his early recordings with vocalist Ismael Rivera and his later more straight ahead salsa records, but for a brief stint while Rivera was in jail on drug charges, Cortijo put together this highly original group “El Bonche”. Before “salsa” was a widely recognized term (or musical concept), Cortijo used El Bonche to mix various Latin styles in new ways. Little bit of boogaloo, little bit of bomba, whole lot of descarga. These are the only three records I’ve seen with “El Bonche”, and they lead the way up to Cortijo’s one-of-a-kind foray into funk which was captured on 1974’s “Maquina Del Tiempo” LP (also highly recommended). While these songs lack the wah-wah and fuzz guitar prevalent on that album, they make up for it with their highly danceable swing and playful, catchy hooks (see: “Ublabadu”). You can credit Cortijo’s daughter, Fe, with the uncommon addition of female vocals – not sure why more Latin groups didn’t do this at the time, it sounds pretty cool on cuts like “Tiempo De Amor” and “Pa’ Los Caserios”.

The man’s output was such that I could easily do several more posts covering different periods of his carreer and have no difficulty coming up with hot tracks, but for now at least, that’s all you get.