Ernesto Djedje : Zadie Bobo & Zibote
taken from the album “Le Roi Du Ziglibithy” on Badmos (1977)

The Fatback Band : Wicki Wacky
taken from the album “Keep On Steppin'” on Event (1974)

Coke : Na Na & Te Amo Mas
taken from their self-titled album on Sound Triangle (1972)

Usha Uthup : Chhupke Kaun Aya
taken from the album “24 Carats” on Inreco (1981)

Today I’m initiating the cross-posting that I had mentioned earlier with a somewhat random assortment of funky music. Must there always be cohesion? Order? Reason? I think not. Especially when you’re dealing with something as intangible as music. Let this seeming jumble remind us of just how magical recorded sound really is; how the energy and vibrations produced from the dropping of a needle onto vinyl can cross continents and decades effortlessly- still delivering the desired effect to a hungry audience. Something tells me that the artists presented here wouldn’t have a problem sharing the stage with these unlikely comrades either. Maybe I’m being optimistic though.

Starting off with a record that I’ve loved for years now- ERNESTO! Why I hadn’t taken the time to digitize this earlier is a damn good question. I’ve been sneaking “Zadie Bobo” into DJ sets since ’02 when I first discovered this gem, always to a positive crowd response. In the Ivory Coast, where Djedje made his name, “Zibote” was the bigger hit, and can still be found popping up on compilations of today’s Ivoirian music. “The King of Ziglibithy”, need I say more?

*One note of warning for fans of Ernesto: DON’T BUY THIS CD VERSION OF HIS ALBUM. I made this mistake, only to realize that the CD is a bootleg recorded off a record being played at the WRONG SPEED! So, unless you want Ernesto chopped and screwed, steer clear.

The Fatback Band need little introduction for fans of funk, but I’ve been needing to put this classic bump on repeat for a while now and it’s so much easier to do that in MP3 format. This is one of those instances where a simple bass groove is enough for me.

Recently got my hands on this semi-rarity from Florida’s Coke (later re-named “Opus“). Don’t know anything about the group, but I’m feeling the record a lot. The album has a nice cover version of the early boogaloo hit “Bang Bang” (Joe Cuba? or was it Pete Rodriguez?) as well as some ballads and several more dirty, dirty drumbreaks. The LP I have from them as “Opus” is nice too, but “Na Na” is hard to top. Looks like you can cop it on CD too.

Finally, a real monster for you, the legendary HINDI version of “Don’t Stop Til You Get Enough”. Of course the production quality isn’t going to be quite as tight, but considering the sound quality of your average bollywood record, I’d say the uncredited studio musicians (Bappi Lahiri?) on this one are doing a pretty good job. Usha was one of the biggest Indian soundtrack singers in the 70’s and 80’s – Shalimar, Shaan, & Disco Dancer, to name a few, all feature her silky vocal stylings. I always get a kick out of playing this one and then watching the initial look of bewilderment spread. “Chhupke” ranks right up there alongside Arzu’s “Amor” in the world’s most-precisely-covered-in-another-language category. Well done Usha.

Hope you all enjoy the latest gumbo funk offering. And cheers to any new readers just finding out about the crate now through Soul-Sides! Stay tuned for more, as always.

Ted Taylor : Houston Town & Can’t Take No More
taken from the album “Taylor Made” on Ronn (197?)

Fred Hughes : Baby Boy, Don’t Let This Happen To Us,
& Who You Really Are
taken from the album “Baby Boy” on Brunswick (197?)

So it looks like, after nearly 3 years of blogging here at the Crate (almost 300 songs, not counting mixes and radio shows), a collaboration is in the works with the honorable O-Dub— creator of Soul-Sides.com. We’re not precisely sure what form this team will take, but expect to see/hear some of his posts right here in Captain’s Crate– at least for a lil’ while. What will this mean for you? well, mostly just that there will be more good music available for download right here. One less link to click for your tired and aching index fingers.

Soul-Sides was one of the reasons why I started this site to begin with. It seemed like such a novel idea back in 2004. And it’s still a great source for music, info and inspiration (not to mention sampler food). To celebrate this engagement, I’m sharing some recently gleaned soul cuts of my own. Perhaps they’ll even make their way onto his page (which might be part of the arrangement).

If any of Ted Taylor’s other records are as consistently top tier as this one, then it’s hard to imagine why he never crossed over on a bigger scale. Pretty impressive to hear material as well produced as this coming from a little Louisiana indie label. It’s one of those records where you can honestly drop the needle on any track and be pleased. Taylor’s wiry vocals remind me of the great Syl Johnson, climbing and darting down swiftly without ever slipping. Gotta love the fuzzed blues guitar on “Can’t Take No More” too. For a couple other tracks by Mr. Taylor, head over to Darcy’s Feel It Blog.

Fred Hughes is another nearly ungoogleable cat. I see that now-defunkt soul blog Number One Songs In Heaven posted another song off this album at one point, but other than that I can’t tell you much. This album has a rougher and rawer sound than Taylor’s but damn if the melodies aren’t catchy as hell. “Who You Really Are” in particular has that instantaneously familiar sound to it (could be a sample source I’m forgetting); and listen to that beautiful drum break!

On one last note- check out this other great blog I’ve been getting music from. Kikin Bakk brings out more of the nasty funky latin afrobeat soul and reggae that we love here in the Crate.

The Celebrant : Off Beats
taken from their Self-Titled album on Olumo (1978)

Marius Cultier : Piano A Marius Cultier & Zouk
taken from the album “The Way…” on Magidisco (1976)

The Afro Soul-Tet : Dom Gowa
taken from the album “Afrodesia” on Banyan (197?)

Gestu De Dakar : Ndiourel
taken from the album “Diabar” on Syllart (1980)

Take a couple cool records that you’ve picked up over the years, loved and appreciated, perhaps even taken the time to digitize, and then prepare yourself to say goodbye. Letting go of some of your most beloved (and possibly hardest to find) gems, may be exactly what it takes to make way for more of what you were looking for in the first place. I’ve recently been doing a bit of record trading, and it seems to be a win/win equation. I had to let go of my Gestu, a total treasure from the late 70’s, early 80’s Senegalese scene. But I found myself putting a pristine copy of “The Way…” down on the turntable in its place! This record is a truly unique blend of styles and innovation from Martinique’s musical genius Marius Cultier. Recorded in a clean but raw production style that really makes the whole set feel live.

The Celebrant has been one of those goodies that I’ve been hording all to myself; not wanting to share for fear that the heaviness of the music might just be enough to crush the rest of the world. I’m willing to conceed that a little selfishness was part of the reason for holding back, but you’ll have to find the record for yourself to experience the crushing power of “Celebration In The Ghetto”— another killer cut on this LP.

Despite my greediest inclinations, when I was recently faced with the possibility of getting my hands on the sounds contained in ultra-rare recordings like this one from The Afro Soul-Tet, you’d better believe I jumped at the chance to share my Celebrant bomb. You lucky cats get to skim the cream off the top. These songs are, to my ear, some of the finest from these records. But don’t let that discourage you from seeking them out on your own, I could listen to these records again tomorrow and pick a completely different set from the same albums.

***HEADS UP TO ALL NYC FOLKS***
Doing a big show with my group The Beatards (check the new website!) at Mercury Lounge this Friday with some cool cats on the Lex label. Come out and show some love!

Passport Broadcast 12.10.07 with guest DJ Ari
Haitian and African rarities that will soften your heart and spin your head.

Passport Broadcast 12.03.07
more sounds from around the globe.

Sorry. Never even got a chance to finish last week’s entry. I will be back with crazy fresh tunes really soon. Until then, enjoy these hard to find tropical sounds from heady record collector, DJ, and all-around cool guy Ari. And a classic pic from the one and only Malick Sidibe

Artist – “Song Title” – Album Name – (Label)

12.10.07 selections by DJ Ari
Patato & Totico “Mas Que Nada” Latin Sounds (Verve)
Combo Creole “Erzulie” S/T (Mini)
Orchestre Tropicana “Cherie Pa Retounin” Doux Tropic (Marc)
Weber Sicot “J’aime La Campagne” Haiti Holiday (Ibo)
Papa Wemba “Annah” Siku Ya Mungu (Black Music)
Dade Krama “Kronkohinkoo” Ancestral Music Of Africa (Akoben)
Ambrose Cambell & His Emergent Music “Yolanda” High Life Today (Columbia)
Spokes Mashiyane “Monate” Spokes Of Africa (Gallo)
Gwigwi’s Band “Mra” Kwela By Gwigwi’s Band (77)
Orchestre Hi-Fives “Mwana Wa Mraka” Hit-Parade African Pathe-Marconi (Pathe Marconi)
Orchestre De La Paillote “Kadia Blues” Vol. 2 (Editions Syliphon)
Thione Seck “Bamba” Chauffeur Bi (Private)
Orchestre Baobab “Sindicli” Une Nuit Au Jandeer (Musicafrique)

12.03.07
Kelenkye Band “Jungle Music” Bolingo (Comet)
Zaperoko “Bata Yeye” S/T (Montuno)
Aquarius Band “Sultana” Ultimate Brazilian Breaks & Beats (Murge)
Chico Mann “Who You Runnin’ From” Manifest Tone Vol. 1 (Kindred Spirits)
Soweto Stockvel Septette “Ice Cream & Suckers” Ice Cream & Suckers (Mercury)
Ananda Shankar “Brindavan Revel” A Musical Discovery Of India (EMI)
Sum Sum “Living In The Past” Midnight Guitar (Regal)
Youssou N’Dour “Dabbaax” Rokku Mi Rokka (Nonesuch)
Super Combo “El Gato De Chepa” A Bailar Cumbias (Felipe)
Sombory-Jazz “Nananina” Musiques San Paroles (Syllart)
Willie Colon & Hector Lavoe “No Me Den Candela” Guisando (Fania)

Chico Mann : Who You Runnin’ From
taken from the album Manifest Tone Vol.1 on Kindred Spirits (2006)

Pimps Of Joytime : Bonita
taken from the album High Steppin on Wonderwheel (2007)

Two weekends in a row, I’ve been lucky enough to take in some of the best live music that Brooklyn has to offer. It’s no coincidence that these bands are doing shows together either, seeing as how band members overlap and similarly-minded cats tend to magnetize each other. But if you’re not in the area, then I strongly encourage you too seek them out on your own – or hey, reach out and try to get them to come to your city. Setting up shows like this is actually easier than one might imagine.

It started off last Saturday, when I found myself at Studio BPM in Williamsburg, where DJ’s DRM and Nickodemus were spinning in between sets from Chico Mann and The Pimps. I had seen Chico Mann (who I guess is actually based in Derty Jerz) at Joe’s Pub like 6 months ago when they opened for Bronx River Parkway (which is a latinized incarnation of the El Michels Affair). They were good then, but they got WAAAAAY better. Victor Axelrod (aka Ticklah) was on keys, Vinia Mojica was on vocals, and my boy Telekinetic Kat was bringing the beats. “Afrobeat made with Nintendo sounds” is what DRM said, and I think it’s a rather appropriate comment. The recording is cool, but hearing it live really felt like witnessing the future. If their show is any gauge of what’s to come, expect bigger and badder sounds on Vol.2!

Then it was The Pimps Of Joytime, playing songs from one of the few albums I’ve actually had on repeat this year. Funky New Orleans flavored soul, with healthy touches of Prince and Fela in the mix. The whole set was on point, but when they brought up Cyril Neville (please tell me you know about where this man comes from), the whole place shook and shimmy’d. They ended the show in the way that all my favorite shows end, with the amps turning off and only hand-claps percussion remaining. They walked into the crowd and we all did call and response over a badass mardi-gras bounce for a solid five minutes before calling it quits with the whole place smiling.

I’ll tell you about this past Saturday when I get a minute, but right about now I’m 15 minutes late… stay tuned.

The Clefs Of Calvary : You Don’t Know What I’ve Been Through,
Standing Where Jesus Is, & Miracle Temple
taken from the album “God’s Light” on Prestige (1963)

The Mighty Imperials : You Shall Be Free,
God’s Love Is Like A Burning Fire, & Today
taken from the album A Look At The Mighty Imperials Of Dayton, Ohio on Creed (1973)

First off, happy Tofurkey day for all you Americans out there. Yesterday was spent, just as it should be, between cooking, catching up with family, feasting with friends (chez mois), passing out on the floor, and then getting a second wind to DJ till nearly dawn. I felt so good, so thankful, all day- I guess the Gospel just felt appropriate.

The Clefs record is such a stunner. It’s a perfect document of that transition period right before church music went pop and became soul. Since there’s no personnel listing on the LP jacket, I had initially thought I stumbled upon an early Sam Cooke record. However, a few google searches soon revealed that this unnamed lead crooner was one James Phelps— who clearly spent a good deal of time in the same circle as the posterboy of soul. Relaxing on the floor, belly full of delicious home-cooked food, surrounded by my best friends who were all similarly sedated, these harmonies carried me through a blissful dreamy stupor that’s just now beginning to wear off — that’s why I’m keeping these songs on repeat!

10 years later, The Mighty Imperials of Dayton, Ohio (not the same as the Daptone group) prove that the soulful gospel sound was still thriving (and staying pretty true to it’s roots). Can’t find any info on the web about these guys, but I love that instead of your typical liner notes, the group simply re-printed an entire page from James Baldwin’s The Fire Next Time. Here’s one line from that:

There is no music like that music, no drama like the drama of the saints rejoicing, the sinners moaning, the tambourines racing and all those voices coming together and crying holy unto the Lord.

Anyone who’s felt the raw power of a live gospel group knows the truth in that right there. Regardless of creed– Athiest, Jew, Muslim and Hindu alike can enjoy sounds as moving as these.