Tim Maia: Imunizacao Racional and Contato Com Mundo Racional”
Taken from the album Racional Vol. 1 on Seroma (1975)

Tim Maia: Quer Queria Que Nao Queria and O Caminho Do Bem
Taken from the album Racional Vol. 2 on Seroma (1975)

I’m digging deep into the crates of rareities to unleash on y’all a couple of the more delectable delights of mid-seventies Brazilian soul, courtesy of the one and only, the gargantuan (in both physical and musical terms) TIM MAIA!

This guy is truly an epic character in post-Tropicalia Brazilian music (often referred to as MPB) and this duo of albums hints at why…

It should be noted that the inspiration for these albums was devined from an obscure Brazilian cult, called Universo em Desencanto, which explains the bizarre cover art and also the fact that, if you were a Portugese-speaker, it would probably feel like ol’ Timmy was proselytizing the hell outta you over the course of these two albums. Like a south of de border Jerry Falwell, but funkier.

That said, the music speaks for itself. (No wonder, when City Of God came out, they couldn’t resist the employing “O Caminho Do Bem” to enhance the net effect of the film: namely, awesomeness.)

This post is, however, part of a larger ploy: I’m utilizing the particular dopeness of these tracks as bait to lure any self-respecting, groove-loving Angelenos out to the Short Stop in Echo Park (1455 Sunset Blvd.) FRIDAY NIGHT where I’ll be DJ’ing alongside the illustrious O-Dub, of Soul-Sides notoriety, for a scintillating journey through the vinyl vaults of SOUL, FUNK, LATIN, SALSA and BOOGALOO. We’ll be doing it all night long, so come early and stay late.

BONUS: in addition to a edited recording of the live set from tomorrow night which will be available to anyone who signs up on our mailing list, I will also bring a handful of CD copies of the REST of the blazing fire from the Racional albums, in addition to other rare Brazilian goodness. Ask and ye shall recieve. (First come first serve…)

See you tomorrow…

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.

Phirpo Y Los Caribes: Comencemos, Esa Pava Que and Mi Moooto
Taken from the album Parilla Caliente on Phillips (1973)

The holidays are a tricky thing. Surpluses of emotion, family drama, food, cold weather-related ennui, high school acquaintances and old friends flit and flitter, enter and exit, assert and reassert their power in ways that we manage to forget for most of the other eleven plus months of the year. More than anything, the holidays tend to overwhelm because they bring together so much in such a relatively short window of time.

For me things are further complicated by the fact that, after nine months in Southern Africa, and coming fresh off a blistering alter-hemispheric summer, I am in soggy, frigid San Francisco, wilin’ out with the fam (Captain included) and all of our concomitant family drama, trying to work out in my head the sheer density of stuff going on in a world I haven’t been part of for the last three quarters of a year.

And instead of driving myself batty, looking for solace in the stars or the good ol’ fashioned pulse of American post-Christmas commerce, I decided to turn to a few newly acquired records (homecoming gifts to myself), which have managed to allow me to feel decidedly mellow despite the swirl of circumstance going on around me.

Here are Phirpo and his Caribes: mysterious afro-latin funkers from Medellin, Columbia, who for today will transport you away–if momentarily–from your snowy family antics and harrowing gift-return missions to Macy’s, lift you across land and ocean and bring you to a warmer, sunnier place where the congas blaze and the horns blast; where the sand sifts through your toes and the palm trees sway… and you are dancing, just dancing.

To homecomings…

A gift to you all. Merry Holidays.

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.