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.

Manu Dibango, Le Grand Kalle & Don Gonzalo : African Boogaloo and Kimbombo Kimbombo
taken from the album “L’African Team” on African (1970)

Manu Dibango : Iron Wood
taken from the library album “African Voodoo” on PSI (1972)

Manu Dibango : Bush
taken from the soundtrack “Kusini” on DST Telecommunications (1975)

Not enough time today for a lengthy post, but I wanted to share some links before they go cold. I need to update my blogroll yet again, but in the meantime, check out the two blogs responsible for Iron Wood and Bush (whoa! just realized how dirty those two song titles sound side by side!). I’m just putting up a couple songs, whereas these crazy cats offer the ENTIRE ALBUMS, both of which are extreeeeeemely rare. It really does boggle my mind how such high quality material remains unreleased today. Go get yours while it’s hot, and of course, check out the other offerings while you’re there.

matsuli.blogspot.com provided the Kusini soundtrack and also has an enourmous catalogue of vintage African goodness.

quimsy.blogspot.com is giving out the African Voodoo library BOMB and also features some amazing Brazilian rarities.

The old school latin tracks from L’African Team are my own contribution, but I definitely don’t have time to record the whole LP. How do these cats do it?!? The album is a great example of Latin music thriving in Africa- where boogaloo (several years after it’s stateside death) met Afrofunk wah-wah.

Vieux Farka Toure : Ana (Captain Planet Remix)
“Passport” Mali Music Special : Broadcast from Feb. 27th
with Jesse Brenner (Modiba Productions) and Derek Beres (Globesonic)

I’ve been meaning to put this out there for a while, sorry for sleeping.

Vieux Farka Toure, son of the legendary Malian blues guitarist Ali Farka Toure, has recently put out a beautiful album on the Modiba label. The record is a classic. In addition to making Vieux’s high caliber guitar skills finally available to listeners outside of Mali, the album also features the final recordings made by Ali in some beautiful duets with his son. In true Modiba fashion, 10% of proceeds go to a local organization in Mali which fights Malaria. SUPPORT THIS ORGANIZATION! BUY THE CD

All that was leading to this: the Remixed album. With the help of Derek Beres of Globesonic, Modiba has culled a very nice selection of Vieux remixes from folks like Nickodemus, Cheb-I-Sabbah, Chris Annibel, and DJ Center… to name a few. They have also done something pretty cutting edge in making sound files from the album publicly available for remixers to play with. There’s an open contest underway right now at CCMixter.org, so if you’re interested in participating HURRY! The deadline is in a couple of days. The winning remix will be added to the CD line-up and is a great way to get some proper intn’l recognition. Naw’m sayin? I spent a few frenzied days putting together this remix, and I think it came out pretty nice. Some afrobeat, brokenbeat, square-wave bassline biznizz dedicated to the dancefloor. I also had the pleasure of getting Jesse and Derek to come on my weekly radio show last Monday (sadly, Vieux couldn’t make it). So check out the show for more info on the whole project, exclusive live recordings of Vieux, and a sneak peek at some of the material from the upcoming remixed album.

Jonas Gwangwa and African Explosion : Switch No.1
taken from the album “Who (Ngubani)?” on Jamal (1969)

Assagai : Cocoa
taken from their selt-titled album on Contour (1971)

Assagai : Barazinbar
taken from the album “Afro-Rock” on Sounds Superb (1971)

Makhona Zonke Band : The Webb
taken from the album “The Webb” on Soul Jazz Pop (197?)

…look for signs of DuDu. DuDu Pukwana that is.

Alas, my lil’ brodie, the frequent contributor to this site known to the music fiending public as Murphy’s Law, the young man who harnesses the elemental power of chaos in constructing the most devastating DJ sets this side of the sun, left for South Africa late last night. He is perhaps too shy to say so himself, but he’s scored a role in a film (he’s been living in L.A. for a reason) that’s shooting in a tropical jungle outside of Jo-burg. Poor bastard. Well, for us at least, it means a bit of a slow down in posts to the crate. I’ll do my best to pick up the slack, but bare with me for the next couple months while the young buck is prancing about in military garb – I believe it’s a ‘Nam flick. As a proper send-off, I wanted to put up some of my favorite South African goodies. I’m guessing his absence will inspire at least another post of music from the area (Soweto Jive perhaps?) and if we cross our fingers, Murphy just might be able to check in at an internet cafe to post up his latest findings from the road (keep looking for that Dick Khoza LP dood!).

As for DuDu, check out his early work with Jonas Gwangwa (the first black South African to release an album!!!) and then the recordings he made later with his own group Assagai. They were definitely pushing the boundaries both stylistically (mixing genres) and socially (mixing races with an integrated band under apartheid law). There’s plenty more audible gems on these records (including open drum breaks on “Telephone Girl” and “Kinzambi” and even a Highlife cover version of “Hey Jude”), but I only have time to leave you with a taste.

The Makhona Zonke Band have nothing to do with DuDu, but it’s a great South African groove that I already had digitized. Sound familiar anyone? Clearly they were listening to Donny Hathaway records and could relate. “The Ghetto” = “The Webb”. This song is a re-post, so you can refer to the OG (see below) for more info.

Those of you who’ve been checking this blog for more than a minute will remember that I posted “Barazinbar” and “The Webb” a long time ago, but I’m pretty sure it’s new music to most of you. Speaking of which… this post makes it 2 YEARS OF CAPTAIN’S CRATE! Hell yeah! Happy b-day to me. 311 songs, almost a gig-and-a-half of music. Not bad.