Jimmy Sabater : Kool It (Here Comes The Fuzz)
taken from the compilation Explosivos: Deep-Soul From The Latin Heart on Vampi Soul (2005)

Lord Rhaburn : Disco Connection
taken from the compliation Cult Cargo: Belize City Boiil-Up on Numero Group (2005)

Don Atom ft. Tea Time : Mueve La Cintura (Live Version)
taken from the compilation Coconut FM: Legendary Latin Club Tunes on Essay Recordings (2005)

Long live the mix! And the mix masters responsible for putting out these collections that dig deep into worlds of oft-overlooked funky music, revealing to us our own ignorance yet again (just when we thought we was getting wise!). True, all the tunes I picked out have a Latin link, but beyond that, these albums all offer up some serious history lessons and celebrate the groovy side of globalization. Don’t put it past a record label (or a DJ for that matter) to be able to school you in more ways than rhythm and melody. Academics are all up in the mix, can’t avoid ’em.

If you’re looking to learn about the Latinized cross-pollinations of soul, rock, psych and funk that grew out of the late 60’s and early 70’s Spanish Harlem, then Explosivos is a very good starting point. Think you know a lot about Boogaloo and Shingaling already? Then check it out anyway, ’cause the cats at Vampi Soul are no joke! It’s a rare feat that’s accomplished here, where each song seems to be surpassed in quality by the next, rounding things off with the absolute dancefloor bomb Hit De Bongo by Tito Puente. Another highlight is the acid trip shakedown provided by Flash & The Dynamics. FUEGO!

I knew it was dangerous for the folks at Numero Group to start up some international business. After thoroughly enjoying their Eccentric Soul offerings, I thought they had built themselves a very comfy niche, and I wouldn’t have asked anything more than that they continue stirring up forgotten heart strings and wallowing wails from lesser known latter day saints. BUT BELIZE! Who would have known? Cult Cargo pulls together the best material from the ONLY record label that was recording in Belize through the 70’s (C.E.S.). With a wild assortment ranging from regggae to boogaloo to straight ahead soul to raw funk madness, it’s clear that Belize was finding inspiration in an array of Caribbean sources as well as drawing on styles from its relocated U.S. contingent. Disco Connection comes from Lord Rhaburn (pictured on the cover) who was perhaps the most prominent character from the scene, but other joints here include a breakbeat version of Theme From The Godfather played by the Professionals and the dirty, dirty Funky Jive Parts I and II from the Soul Creations. The liner notes make nice reading material with a substantial bit of historical background and scans of the original album covers. Get yourself a copy here.

Finally, I’m giving you one of the least kooky selections from Senor Coconut’s latest mix project. Coconut FM is a pan-latin ghetto booty bass work of art. Bridging the musical offspring of Cumbia, Reggaeton and Brazilian Funk Carioca (aka “Baile Funk” or just plain “Funk”) on a virtual frequency that “belongs to no terrestrial zone”, this radio station brings you the contemporary sound of our electrified globe (at least the spanish speaking portion of it), casio keyboards, 808 drum machines and all. It’s the latest in a line-up of releases from Essay Recordings, who brought us the groundbreaking collections of Balkan Beats from Shantel’s Bucovina Club, and the hype inducing Rio Baile Funk compilation. Check out what Pop Matters had to say about it. And look at some of the other work that Mr. Coconut has gotten himself into. If you’re not one who can appreciate a bit of humor with your groove or some kitsch with your cooking, then this probably isn’t for you. But for gumbo funkers such as myself, seeking the utopian union of our disparate forms of flavor, this is exactly what the doctor ordered. I could go on and on, “but half the story is already there in the edits, the beats, the borrowing. It’s all, at heart, the soundtrack of post-colonialism, where one person’s oil drum is another’s steel drum, where copyright takes a left turn and disappears in a crowded street packed with bootlegs, derivatives, and jury-rigged improvements humming with stolen electricity.”
–Philip Sherburne (taken from the liner notes)

ALSO, don’t sleep on the latest addition to our site: IX PICS. Our boy Ixley is putting his eyes up on display for you to scrutinize. Photos on the daily for pure eye-candy enjoyment.

Wayne McGhie: Going In Circles
Taken from the album Wayne McGhie and The Sounds of Joy on Birchmount (1970)

Paul Kelly: Don’t Burn Me
Taken from the album Hangin’ On In There on Warner Bros. (1973)

Chairmen of the Board: So Glad You’re Mine
Taken from the album Bittersweet on Invictus (1972)

Ah, the tenor croon… The plaintive wail of mid-range vocals straining at their uppermost threshold does something to me. The kind of tune that, try as I might, I simply cannot avoid singing along with. (My vocal faculties being what they are, it’s an added bonus that I have an equivilent, if vastly underappreciated, tonal range. Let my neighbors tell it.)

First thing’s first: So help me God, Wayne McGhie will get a full post on The Crate dedicated to his squandered genius. Until then, a teaser:

Jamaican-born, and later emigrated to Canada, Wayne McGhie recorded only a single LP, the self-titled, uber-rare masterpiece Wayne McGhie and The Sounds of Joy. It’s a kaleidescopic, sprawling work that dips into rock steady, hard funk, pop R&B and slow burner soul throwdowns. In other words, and I think the Cap’n would agree, the very essence of Gumbo Funk. Throughout the record and it’s variegated stylistic tones one thing remains absolutely consistent: the potency of McGhie’s voice. Call me a sap, a song like “Going In Circles” slays shit. I’ll hit you with some of the funkier bombs and dancefloor numbers on a later McGhie post. For now, grab your girl and hold her tight.

Paul Kelly really deserves a full post as well, but seriously folks, who has the time (ha!). After a few unsuccessful 7″ releases, the Florida-based soul man hit the charts in the early seventies with his highly-controversial “Stealing In the Name of The Lord”, which brazenly defamed Southern Baptist preachers. On the strength of that release, Kelly signed with Warner Bros. and promptly went into the studio to record a strong series of tracks that were released initially as singles and later culled for Hangin’ On In There.

Last up, we’ve got Chairmen of the Board. Headed by General Johnson (nice name, buddy, nice name), the Chairmen created for themselves a unique Detroit soul sound anchored by the Good General’s wobbly tenor wail. Their biggest hit, “Give Me a Little More Time” (1970) is pretty jointly, however the real gems are on Bittersweet, released in ’72. On this album you’ve got some gritty na-na with “Men Are Getting Scarce” (to be posted later when I find a less scratched copy of this record) and, my personal favorite, “So Glad You’re Mine”. (The opening kinda reminds of that Method Man track from days of yore, “All I Need”.) It’s pretty scuffed-up, but let’s be honest, you’re singing along anyway.

L’Trimm : He’s A Mutt and Cars That Go Boom
taken from the album Grab It! on Hot Productions (1988)

Black Eyed Peas : My Humps
taken from the album Monkey Business on A&M (2005)

It was the year that Bush Numero Uno took office. Some of you wanted to be Axl Rose and others (who shall remain nameless) wanted to be George Michael. Personally, I wanted to be a member in the female rap group, L’Trimm.

Bunny B. and Lady Tigra who comprised the kiddie-pop duo, scored a moderate hit with the song, “Cars That Go Boom.” Sound familiar? There’s a good chance though that you missed the less familiar, but far more infectious, “He’s a Mutt.” This sassy moral tale – layered with the occasional dog bark – playfully rehashes close encounters with the promiscuous kind (not our growing mixed-race population as the song’s title might have you believe).

While L’Trimm’s brand of silly-girl-booty-bass was scoffed at by serious rap fans, the group easily struck a chord with post-feminist elementary school girls (and some boys) such as myself. What L’Trimm may have lacked in lyricism, musicality, or even fashion sensibility, they made up for with their ingenuity for unadulterated fun.

Clearly no match for the lyrically ferocious Salt-N-Pepa or Queen Latifah, it’s no surprise these ladies endured a rather short career. But not to worry folks, L’Trimm’s legacy continues to live on in such recent jewels like the Black Eyed Pea’s “My Humps”, not to mention the entire Fanny Pack catalog.

Christine, who self-admittedly can’t match a beat, goes by the name of DJ RHAP.

Tabu Ley Rochereau & L’afrisa International : Karibou Ya Bintou
taken from the album “Karibou Ya Bintou” on Sonodisc (197?)

Tabu Ley Rochereau & L’orchestre African Fiesta : Caroline Mama
taken from the album “Seigneur Rochereau” on Sonafric (196?)

Orchestre Regional de Kayes : Nanyuman
taken from the album “The Best ot the First Biennial of Arts and Culture for the Young” on Mali Music (1970)

I’ve often thought it would be quite alright to skip the majority of adulthood and go right into being a grandpa. I imagine it’s a lot less pressure than being an actual parent in the first degree. Rather than being the enforcer of rules and harbringer of spankings, I could be the spoiler, the precious gift giver, the kooky and eccentric source of history and wisdom. Perhaps I’d partake in a little cheek pulling and repetition of tale telling, but what really interests me most is kicking back in my rocking chair with a refreshing breeze ruffling what’s left of the hair on my head and a little block of soft wood to whittle with my wrinkly but agile hands. One signifigant detail which likely distinguishes me from the average American geriatric, is that somehow I picture myself growing old in West Africa. Don’t really know why, can’t explain it. I guess it might have something to do with my affinity for music like this.

Every music lover has an absolute weakness- if not several. It’s that soft spot in the ear drum that’s triggered by a specific combination of harmony, tone, fuzz, static, and something entirely supernatural. Once caught in the all-powerful rapture of this particular musical combination, the listener is rendered powerless in the world of mortals. Earthly concerns disintegrate, the fundamental separations that comprise our daily cognition become indecipherable, language is seen as the mere shadow that it always has been, and in the place of all our menial life’s travail, the listener is given a momentary glimpse of heaven’s horizon! This is the stuff that grandpas whittle for. While the phonograph spins another round under a Guinean moon.

Tabu Ley is a cat that lacks a pretty face, but more than makes up for it with his musical tastes. Although, I might suggest skipping over some of the “high octane soukous” of his late 80’s work. But that’s just me. The man has written more than 2,000 songs and his records still sell more than almost any other African artist- a living legend. As for the Ochestra Regional de Kayes, sadly this is their only record. And it has yet to be re-issued. Another beautiful song from this LP was recently compiled on the super-dope (required listening for people with similar soft spots) Love’s A Real Thing: The Funky Fuzzy Sounds Of West Africa.

Also, been meaning to post this for a hot minute. Some friends over in Austria really dug the Gumbo Funk EP and decided to put together this CRAZY music video for “The Don” in their free time (when they’re not shooting commercials and movies). Can’t really describe it, kinda gotta see it for yourselves. Check out the video from Illuminati Films right HERE.

Final Note: you can find a lot more classic African grooves at Aduna Blog. And there’s always Benn Loxo too!

Dom Um Romao : Lamento Negro
taken from the album “Spirit Of The Times” on Muse (1975)

Osvaldinho Da Cuica E Grupo Vai-Vai : Vendaval
taken from the album “Vamos Sambar” on Discos Marcus Perreira (1974)
note: the song title on the actual record label reads: “A Beleza E Voce Menina”, not sure which is the correct title.

Novos Baianos : Preta Pretinha
taken from the album “Acabou Chorare” on Som Livre (1972)

Swing is one of those things that’s quite difficult to put your finger on. It’s a bounce and a lag time. It’s the enemy of all things quantized. It’s far enough off beat to describe a whole lifestyle- that of the graceful yet wildly playful swinger. And swing also seems to be entirely at home in Brazil, where it evolved into a completely different genus than that somewhat tamer version which can be found here on records with Blue Note labels or the Creed Taylor stamp of approval. Not that American jazz is anything to goff at, ’nuff swing from Blakey and Roach, but Brazilian music seems unable to escape from swing’s grip. I’m not an expert in the area, like my man Gregzinho, but I feel like batucada, samba and bossa managed to thoroughly saturate the country’s musical output- at least enough to instill some of that swaggering swing as an ever-present Brazilian phenomenon. I’m giving you a funk-fusion track, a somewhat more straightforward samba joint, and a folk-rock hippie jump off here- all from 70’s Brazil, featuring some serious swing in effect. Maybe it’s just that shaker that I keep hearing?

Partly in the mood since lil’ brody proposed the highly tempting idea of trekking down south in the direction Rio, Sao Paulo, and Bahia during the rapidly approaching winter break. Trying to figure out right now if I can gather the necessary funds in time to make it happen. We’ll see…

Lucky for you, the Dom Um Romao album has been re-issued. Cop it here for a nice price. The Osvaldinho album is probably not so easy to find, but if you dig the soulful singing (loving that falsetto) from Papete, then you should look out for this album. The Novos Baianos album (really a beautiful collection) has also been re-issued, you can find it here.

Also, a Crate reader hipped me to this site where you can find TONS of ill Brazilian music (even some of the HIP HOP has swing!).

Gregory Isaacs: Slave Master
Taken from the soundtrack album Rockers on Island (1978)

Gregory Isaacs: Night Nurse
Taken from the 7″ Night Nurse on Island (1985)

Gregory Isaacs: Rock On
Taken from the album Rock On on X-Bam Records (197?)

Arzu: Amor
Taken from the 12″ Amor on VP (199?)

I never professed to be a cool kid. I don’t wear tight jeans; I can’t tell the difference between Air Force One’s and Air Force Two’s; perhaps most dazzlingly pathetic, I had never, until two nights ago, seen the movie Rockers. I’m a hack, I know. (To my credit, I know the soundtrack by heart.)

For anyone unfamiliar with the seminal roots-reggae film (all three of you), the only essential knowledge I can impart to you is that you must see it. It’s a virtual who’s who of late seventies rootical superstars: Robbie Shakespeare, Dillinger, Jacob Miller, Burning Spear, all essentially playing their colorful, stoned selves against the gritty backdrop of the smooth 70’s J.A. Oh, and of course, Gregory Isaacs.

I would give you more history on Gregory, but I’m cuddling right now, and don’t really have time for you jerks. Find out about Mr. Isaacs elsewhere. If his safe-cracking skills from the film don’t get you riled up, then surely his music will.

I’ve included in the post his epic performance from the soundtrack of Rockers, “Slave Driver”, as well as his coup de resistance, the ubiquitous, “Night Nurse”. For your listening pleasure, I’ve gone a step further to give you “Rock On”, one of the more heartbreakingly beautiful tracks from his vast catalogue that I recently discovered on a new compilation.

Lastly–and I can’t tell you what a stride in my generosity this is– I am putting up a track that I had avariciously vowed never to post on the grounds that it is simply too dope. ARZU!!!!!!!! Info on this cat is scarce at best. I believe he is either Peruvian or Venezuelan. The track pretty much speaks for itself: burning hot Spanish cover of Isaac’s Nurse. What more do you people want from me?!?!?

P.S. If anyone can fill in some of the blanks on Arzu, let me know. ‘Twould be much appreciated.