Mongo & Justo : Cumbia Tipica
taken from the album “Ubane” on Vaya (1976)

El Combo Candela : El Carbonero
taken from the mixtape “La Musica” by DJ Dusk (200?) originally ???

Lito Barrientos Y Su Orquesta : Cumbia En Do Menor
taken from the compilation “Colombia!” on Soundway (2007)

Lita Nelson : Navidad Negra
taken from the compilation “Cumbias” on RCA (196?) originally ???

Unknown Artist : Unknown Cumbia
taken from a CDR given to me by a random dood

*UPDATE* The previously unknown cumbia has been confirmed as “El Macho” by Lisandro Meza. Thanks to DJ Cheif Boima for the I.D. – so change your empeefree tags folks.

It’s been just a bit over a week since I heard the unbelievable news about my friend Monica. I didn’t really know her as well as I know most of my friends, (couldn’t even tell you her last name) but the strength of our connection was based on good music and dancing, things that we both care about deeply. She has been a regular to my weekly Latin night in Williamsburg for well over a year now. Every single Thursday night around 1AM I could expect to see this fiesty, five-foot jumping bean, shaking up the dancefloor in a flurry of tatoos and dreads. I’m not sure if Monica was Colombian, but it was clear that Cumbia was something she loved above all else. With a style all her own, she regularly magnified the energy of the small, tightly packed crowd into something epic and trancendental. She was hit by a car while riding her motorcycle home early on a sunday morning- after a night of music and dancing no doubt. It was a hit and run. Monica is now shaking her dreads at a party waaay bigger than my little Thursday night sweatbox sessions. I will continue to think about her every week when I drop jams like these that always brought her up to the DJ booth with a beaming smile on her face.

I also included one of my favorite tracks from a mixtape by the late, great DJ Dusk who was also hit and killed by a drunk driver just over a year ago now. I saw/heard him spin as part of the world-renowned Root Down party on a few occaisions, both in L.A. and here in NYC. His unique mixture of funk, hip hop, and obscure latin bombs (including many unknown Cumbia joints) hit me like a musical meteor and I am not ashamed in the least to admit that I jacked a handful of songs directly from his sets. He definitely makes my top ten list of most influential DJs of all time, and I hope to one day put out La Musica Vol. II to pay my respects properly.

As for this Colombia! comp. Little needs to be said about DJ Miles Cleret and the folks at Soundway records over in the UK. In the 3 years since dropping their first Ghanian funk compilation, they’ve firmly established their reputation as some of the headiest diggers in the game.

Finally, since I had such a good reaction with the unknown music titles last time round, I’m making another go at it. Some appreciative dood at the same aforementioned Thursday night gig came up and handed me a blank CDR without saying a word. There’s quite a few great tracks on it, some of which I recognized, but this one is a mystery to me. Any help would be appreciated.

Cinco De Mayo is just around the corner, use it as an excuse to turn these tracks into a house-party or a back yard BBQ and dance for the dead.

Unknown Ghanian Group : ???
taken from a mysterious unlabled piece of orange vinyl

Unknown Middle Eastern Artist : Jeitili
taken from a mysterious 7″ with an Express label

Unknown Malaysian Singer : ???
taken from an LP with no English on it except the label name: Eagle

Unknown Russian Group : ???
taken from an LP with no English on it

I usually restrain myself from bringing out the really otherly stuff in my collection: Hungarian sheep herding songs, Armenian lounge music, Puerto Rican political independence protest anthems… I dig this stuff in the proper setting, but I also acknowledge that it would be asking a lot of you all to share my appreciation for these sounds. My closest friends, even my own flesh and blood, have been known to give me strange glances when I play them the latest darbuka drumbreak I’ve uncovered on a forgotten bellydance album. But today’s mysterious selections aren’t here just to show off what weird things I enjoy, this time I’m looking for help from some of you. Perhaps there’s a reader in Russia (I think that’s the language on the cover) who can help identify this crazy black and green record (which also has a nasty drumbreak on it and some crazy heavy bass lines) or an Arabic listener who might be able to identify the voice singing “Jeitili”. I once played this orange West African record on my radio show and had a caller tell me that he believed it to be the Ghanian Army Band, but I’ve had no definitive confirmation of that thus far. And even if you don’t know any more information about these artists than I do, try to find something you can get excited about in here.

Also, congratulations to Piotr Bombol from Warsaw and Britton Lacey from Brooklyn for being the first to respond with the correct Anthony Hamilton info. Albums are on their way.

A Certain Ratio : Shack Up
taken from the album “Early” on Soul Jazz (2002)
-originally released as a single on Factory (1980)

Gang Of Four : Not Great Men
taken from the album “Entertainment” on Warner Brothers (1979)

Talking Heads : I Zimbra
taken from the album “Fear Of Music” on Sire (1979)

Pigbag : Sunny Day
taken from their self-titled EP on Stiff (1981)

First off, sorry for the lack of posts… Capt. P. working out of town plus young Murphy still in S. Africa equals not good for the blog. I will try to make it up to you all with a slew of music. So brace yerselves…

Second, the gracious people promoting Anthony Hamilton’s new album (see last post) have offered up two copies to giveaway. But you gotta be one of the first 2 people to answer this question in order to get yours:
What was the name and year of his first album???
e-mail answers to: captainplanet@bywayof.net

And finally, I was kinda shocked by the responses to the last post. I’m happy to hear what you all think of the selections, but one commentor actually called me a “racist bastard”… funny thing is, they must not have read what was actually written here, about how we really like the music of Amy Winehouse & Joss Stone. And maybe the said commentor missed the fact that this very blog was a part of the momentus hype- giving shine to that very same winehouse less than a month ago. I’m not too worried about being called out for what I write on here, this entire website is, after-all, a labor of love. Here in the crate we post music we love, sharing it with you in the hope that if you find yourself similarly moved by it, you’ll help spread the music even further. Perhaps bringing more attention and maybe even a few extra bucks into the hands of the artists through the purchase of an album or concert ticket.

However, in the event that you do feel inclined to criticize the opinions written here (and that’s quite alright by us), at least read what’s actually been written here first. One of the few perks in keeping this blog alive is receiving gracious comments or e-mails from you all, so please keep that coming as well – it is always appreciated.

Finally, lets all let off some collective steam in the best way I know how- whiteboy punk funk. Must one be white to enjoy the benefits of Punk? Certainly not. Does being funky require blackness? Please. We title our MP3s “Gumbo Funk” cause we tend to like it when genres (often historically defined by racial lines) blur, bend and mix.

A Certain Ratio is the shit. Gang Of Four is classic. Pigbag does not get enough propers. And Talking Heads we all know and love already, but lets play I Zimbra again just ’cause it’s so damn good.

Anthony Hamilton : Fallin In Love Again and Why
taken from the album “Southern Comfort” on Merovingian (2007)

Anthony Hamilton : The Truth
taken from the album “Ain’t Nobody Worryin'” on So So Def/Zomba/Arista (2005)

Anthony Hamilton : Comin’ From Where I’m From (DJ Still Life Remix)
the original can be found on the album “Comin’ From Where I’m From” on So So Def/Arista (2003)

Amy Winehouse and Joss Stone, talented and soulful as they may be, are definitely riding high on great white hype-ness. I’m not trying to criticize their music in the least, but the downpour of praise and attention seems to be apporaching Indonesian monsoon-type levels. It strikes me as being more than a little imbalanced when looking at other soul artists in the hustle, of a more traditionally dark complexion, who’ve been left nearly high and dry. Anthony Hamilton’s newest effort (which was actually recorded earlier and has been sitting unreleased), put out on the apparently indie Merovingian (no site yet???), is a perfect example of a contemporary soul baring gem that will likely get 1/3 the number of reviews and write-ups as “Back To Black”. Even after “Comin’ From Where I’m From” went platinum, pulled along by the ballad bomb “Charlene”, he’s still struggling to get props. While some of the production he works with is less than stunning, Hamilton rises far above the track with a voice that even brings Donny Hathaway’s greatness to mind.

The DJ Still Life remix was pulled from Ear Fuzz a while back, and does a nice job of fixing the shortcomings of the original song – namely a weak beat – by calling on the classic memphis stylings of Willie Mitchell. Maybe Hamilton needs a little help from the Dap Kings and Mr. Mark Ronson? Maybe he talks too much about the bible and not enough about rehab? Personally, I think the complete package here is more apt for repeat plays and rotation longevity. There’s a slight gimmick aspect to what I’ve heard from Winehouse and Stone, I’m not talking Matisyahu here, but just a hint of manufactured forcefulness that I don’t hear in Hamilton’s more relaxed and freeflowing croon. Maybe I’m biased though.

Big up to our other contemporary soulsters who haven’t yet gotten their due shine:
Raphael Saadiq, Leela James, Eric Roberson, Stephanie McKay, Ledisi… add on to the list, there are many more out there.

Bobbie Houston : Make It With You
originally performed by Bread

Johnny Clarke : None Shall Escape

Matumbi : Law Of The Land
originally performed by The Temptations

King Sporty : A Year Full Of Sundays

all selections taken from the compilation “20 Tighten Ups” on Trojan (1974)

Sadly, I don’t have enough time today to sit down and formulate some proper paragraphs about these sweet and soulful reggae songs I recently uncovered on this excellent Tighten Ups collection. I didn’t have time all weekend, and I probably won’t have time for the rest of the week. I suppose that’s the point though. “Wouldn’t you like to live a year full of Sundays?… Only Sundays.” Naps, slow sunny strolls, plenty of time to read and write, to draw and paint, to make music…

Of all the funky cover versions and stanky skank rhythms on this compilation, somehow the King Sporty song, which reminded me immediately of “Put It On” by a young Bob Marley, hit home the hardest. Even without singing, Sporty’s straightforward philosophizing gripped the dreamer in me, helping me rise temporarily above the stained snowbanks and brick walls around me.

Akon : Mama Africa
taken from the album “Konvicted” on SRC/Universal Motown (2006)

Tiken Jah Fakoly ft. U-Roy : Justice
taken from the album “Francafrique” on Polygram (2002)

Alpha Blondy : Interplanetary Revolution
taken from the album “Cocody Rock” on Shanachie (1984)

Alpha Blondy : Jerusalem
taken from the album “Jerusalem” on Shanachie (1986)

Sir Victor Uwaifo & His Titibitis : 5 Days A Week Love
taken from the album “5 Days A Week Love” on Polydor (1977)

I know what you’re thinking: “Smack That“? “I Wanna Fuck You“? This is not the typical work we like to highlight here. “Rare, Funky and Soulful” is the general guideline, and those songs don’t exactly meet the criteria. Akon, like many artists in the mainstream, has definitely produced somewhat shameful material (even though I have a softspot for the track with Snoop). But let’s not place all the blame on him. It’s all too easy to hear solely the songs that corporate radio has decided will become “hits” while overlooking album and mixtape cuts where, arguably, more of the “real” artist actually shines through. Ok, forget “real” if you like, you can’t deny that this track (or the mini-African-history-lesson of “ATL to NYC to LA” with G-Unit) shows an entirely different side of the man.

When I first heard “Mama Africa” coming through my radio, not knowing immediately that it was Mr. Konvict, I was blown away. Beautiful, uplifting, contemporary roots-reggae is not as easy to come by as it should be. With Waah Gwan radio off the air (what the hell happened???), these past few weeks have been really tough. So here’s to Akon, for managing to slip a hearfelt one-drop anthem onto his multi-platinum seller. I mean, when was the last time you heard a top 40 artist shout out Senegal? I figure that for every hundred thousand duf-dufs that purchase his CD in order to put “Smack That” on repeat, at least a hundred will find this gem and actually prefer it. Perhaps I’m being optimistic.

These other classic African reggae songs were culled from my not-so-deep selection of similar tunes. There’s Lucky Dube, and Toure Kunda, and Daara J as well (another post may be warranted), but I don’t know of much else that fits the bill. If you’re hearing “Jerusalem” for the first time, then PLEASE force yourself to sit through one of the cheesiest intros of all time, I guarantee it will be worth the minute+ wait. Realize that you’re listening to the Wailers, post-Bob, recorded at TUFF GONG in Kingston, and that this highly unique vocalist from Cote D’Ivoire is singing in no less than 4 languages throughout the song. Blao.

ps- another interesting tidbit for those crazy raer beat heads out there. Through Soulstrut.com I found out that Akon is actually the son of the man responsible for this highly sought after and extremely rare slice of Afro Funk. Woah.