Tito Puente : Batuka
taken from the album “Para Los Rumberos” on Tico (1972)

Armando Peraza : Viva Peraza
taken from the album album “Wild Thing” on Skye (1968)

I was guest hosting the Friday night dance music spot on 89.1 this past Friday, and I had a happy listener write to me wanting to link up after enjoying the set (which I’ll put up in MP3 segments under Loose Tape real soon). Turns out this listener is a sick DJ in his own right, hosting a classic latin and broken beat night at the Williamsburg hotspot Bembe. DJ Busquelo has a bunch of nice mixes on his website– check out the one with Martin Perna (of Antibalas and Ocote) playing flute on top. The “Soulnado” mix will also be a treat for anyone who digs funky broken beat. So, tonight I’m going to the Zap Mama show @ S.O.B.s, but tomorrow I’ll definitely be heading to check the vibes provided by Busquelo. In light of that, a couple of latin jammers for ya.

I first picked up “Para Los Rumberos” on cassette tape last summer, which as we all know, can be as painful as it is rewarding. The whole album is classic material, but I downright flipped when I heard “Batuka” for the first time. Of course, any time I wanted to play it for someone I had to search the whole tape- FF, REW, wait, ahhhhh. As much as I wanted to sample the heckfire out of the ridiculous repeating break, I knew deep down that an inescapable hiss would interfere. So I was thanking the gods when it turned up in its original vinyl form at a local record spot. I’m not about to try and tell you much about Tito, there’s no shortage of coverage on this guy, but I will say that I saw him perform live (with Cachao and Poncho Sanchez) in the last year of his life and it still stands as one of the top 5 musical performances I’ve ever experienced. I know this track has been remixed by several folks (including Masters at Work) inna house style. Makes perfect sense, the form of the tune, with repeating gradual build-ups and drop-outs, is really similar to a lot of house music. Climax and false stops always makes a dancefloor happy… it’s like playing a game.

Armando Peraza is a highly respected conga/bongo player with only one album title to his name; that kinda makes this piece of wax special. That also made me feel lucky when I was walking away from the fleamarket with it under my arm this past weekend. Coming outta Havana, Peraza worked with legends like Mongo and Patato before moving to Cali. Stateside he hooked up with Cal Tjader, Gabor Szabo and a buch of other cats in the worlds of jazz, latin and beyond. Backed here by giants like Johnny Pacheco, Sadao Watanabe and Chick Corea, this album also features the boogaloo bomb “Red Onions” that can be found on this highly recommended compilation. The track that I’ve picked for you has been compiled on this great collection from the groovy folks at HiTop. Gotta keep on dancin’.

Eddie Holman : Four Walls
taken from the album “I Love You” on ABC (1969)

Sonya Spence : Peace & Unity
taken from the album “In The Dark” on High Note (197?)

Dennis Brown : The Promise Land
taken from the album “Revolution” on Yvonne’s Special (1985)

Stella Chiweshe : Live on “Passport”
recorded during a guest spot on my radio show back in 2003

It’s another mixed bag, but not at all random. This week I got some love from blog bredren, so I felt obliged (especially because I’m so new to the blogosphere) to do what little I can to return the favor. Each one of these songs goes out to a particular person that has been feeding my incessant music habit for the past several months. They all have dope websites that do what I want to be doing, and they all (as far as I can tell) have a whole hellovalot going on beyond what you see on your screen. So check out the tunes here, and then go hit up each one of the sites that have been giving me inspiration. It’s like a dialogue see…

First off, a straight soul gem for my man O-dub at Soul-Sides. Word up. Crooner Eddie Holman has mainly been remembered for one hit song back in 1970, and from the looks of it, he’s still playing that same tune. This is not that tune, but it is a heart-breakingly beautiful plea, full of remorse and longing, and some serious vocal range. I gotta give credit to my little bro too; he dug this record first, and put it on a mixtape that he made directly after breaking up. Let’s not talk about that too much. You can always dance to funk. If you go out to a club, you’re guaranteed to hear the hypest, most blatantly movement-inducing music around. But I fondly remember the days of elementary school dances, when the only time you got to get up close with a girl was during the SLOW songs. Even the overweight scary 10-o’clock-shadow dude that DJ-ed your high school prom played the slow tunes, but you won’t hear ’em when you go out nowadays. At least I don’t. My sole request to O-dub and everyone else who downloads Four Walls: DANCE TO THIS SONG.

Sonya Spence is completely off my radar. I don’t know who she is or what her story is. That’s why I’m throwing this out there to my man Christopher Porter who hosts The Suburbs Are Killing Us. I feel like there’s a pretty good chance that he knows more than me about Sonya. Regardless of my ignorance, I do love this utopian tune. For not having much of a reputation, she definitely got the right backing band- Sly Dunbar, Ansel Collins, Tommy McCook, Vin Gordon and the I-Threes as back up singers! I dug it at the legendary two-dollar vinyl graveyard in Greenpoint, BK. Thus the crackle and pop. Honestly, I find MP3s with the rice crispy sound quite poetic (no pomo!). If anyone else knows something about Sonya, please share.

For the dusty-fingered cats at Ear Fuzz, I’m just playing off your last post. But it’s all good stuff. You haven’t actually given me any love yet, but I’m preempting it. I like your tunes. That Aswad dub version is siiick. Here’s the classic vocal version blessed by Dennis Brown, who doesn’t need much of an introduction.

And last but certainly not least for today, some quality African music; the likes of which you can regularly find at one of my favorite spots online: Benn loxo du taccu. After hip hop and funk, listening to African music opened my ears monumentally- and continues to do so. I happen to share Matt’s weakness for the Mbira. I’m actually a novice player. VERY novice (meaning I took four lessons). Two years ago I had the extreme pleasure of having contemporary Mbira innovator Stella Chiweshe on my radio show. She is otherworldly. Don’t know how else to say it. She’s constantly interacting with spirits while simultaneously walking on the same plane as you and I. I had known about the Hwa hwa drinking that takes place during Mbira ceremonies, but Stella was regularly sniffing white powder from a small wooden container during her visit to the studio. I might have questioned it if her music didn’t make me feel like I was sharing some of the intoxication.

Keep up the good work folks. PEACE.

Mulatu Astatqe : Mulatu
taken from the album “Mulatu of Ethiopia” on Worthy (1972)

Mulatu Astatqe ft. Fekade Amde Maskal : Ene Alantchi Alnorem
taken from the album “Ethio Jazz” on AMHA (1974)

I recently got a pre-release copy of “Gilles Peterson in Africa”, where you can find the song Mulatu. It’s a ‘wikkid’ compilation, as to be expected from the ‘Best DJ in the World’. Not too many surprises, but strictly solid picks that cover a lot of ground. One disc of 60s and 70’s gems, and another of modern club tracks that are keeping the groove alive. If you’re a semi-obsessive collector like myself, you’ll probably have a lot of the tunes already. If you don’t recognize the song titles, then pick it up. Anyway, Gilles came onto my show back in the Fall right after “Gilles Peterson in Brazil” came out. It was a real treat for me, and we ended up getting on the topic of Quantic- one of my favorite producers. It turns out that he’s currently working on a project with my favorite Ethiopian musical mastermind. I flipped out. I’m still drooling in anticipation of the undoubtedly sick results. You heard it here first (maybe).

Mulatu Astatqe is every rare-groove-record-collector’s-dream-come-true. These tracks, and every other song I’ve ever heard him produce, embody the perfect marriage of moody jazz and a groove that won’t quit. Even his ballads (like Ene, the title translated means “I Can’t Live Without You”) force you to bop your head. I first found out about him by taking out a CD from the NY Public Library- no joke. I couldn’t stop listening to it. Distant wailing horns, interesting time signatures (not featured here), murky funk, and a style of swing that comes directly from the traditional music of Ethiopia. Praises to the most high for the folks at Buda Musique who worked for years to re-issue so much of this music, on vinyl too! You wont hear me say this very often, but any self-respecting music appreciator NEEDS this album.

In part because of an incredibly strong national pride, Ethiopian musicians were generally closed off to influences from international music. The “Golden Age” of ethiopian pop music (1969 – 1975) was taking place during the end of the rule of the steel-spined Emperor Haile Sallassie I. So while much of West Africa was soaking up sounds from Latin music and Afro-American music, Ethiopia remained highly Ethio-centric; despite the lone attempts by our protaganist Mulatu. In addition to studying music and engineering in the UK, he lived and played here in NYC for a while back in the sixties, jamming with plenty of Latin cats at a time when the Nuyorican sound was reaching perfection. It’s actually a crew of Latin New Yorkers who make up the personnel on “Mulatu of Ethiopia”. Mulatu was literally the first Ethiopian musician to study abroad. In ’66 he released two ‘Afro-latin soul’ albums with his Ethiopian Quintet. This was still years before Manu Dibango or Fela Kuti (who was concurrently out in L.A. with Koola Lobitos) would really define their Afro-fusion sound. One wet funk number, and a wind wisped ballad that almost brings me to tears every time; this is just a teaspoon- keep diggin’.

Lafayette Afro Rock Band : Azeta
taken from the album “Voodounon” on Editions Makossa (1974)

R.D. Burman ft. Asha Bhosle & Kishore Kumar : Lekar Ham Diwana Dil
taken from the soundtrack album “Yaadon Ki Baaraat” on Odeon (1973)

R.D. Burman ft. Kishore Kumar : Bachna Ae Haseeno
taken from the soundtrack album “Hum Kisise Kum Naheen” on Odeon (1977)

Every year, for the past 4 or 5 years, I’ve had an incredible streak of record digger’s luck right around the time of my birthday- which is today, woohoo! I don’t quite know how to explain this phenomenon, I like to think of it as a sign that the records are actually looking for me, but it has happened now with enough regularity that I’m unable to avoid recognizing it. Last year I found a copy of the Black Blood album containing A.I.E. (A Mwana), and the year before that I picked the classic Buari record out of a dollar bin. But this year’s lucky b-day digging streak far surpasses all that. Friends of mine know that I’m occasionally prone to slight exaggerations of the truth, but not this time. I found all three of these precious gems in ONE week!

First off, The Lafayette Afro Rock Band. You can’t see it from your tiny .jpg image, but I left the price tag on this one- that’s because I got it for a buck 99! I know it’s super nerdy to brag about stuff like that, but gimme a break this time. It’s in perfect condition too. As for the actual music contained in the grooves of this beauty, it doesn’t get a whole lot better in the world of sick mid 70’s Afro-Funk-Psych-Rock. This same album was also pressed on a different label, with the addition of three other songs, under the title “Soul Makossa”. The real reason you want to pick up this album though, is to get your hands on the song “Hihache”. I could have given it to you, but it’s already out there on about a hundred afro-funk compilations (deservingly too, the track is ridiculous). So instead I bequeath to you “Azeta”, famously sampled by Kruder & Dorfmeister on the track “Deep Shit Pt. 1 & Pt. 2”. This group is made up of cats originally from the States, but after relocating to France, they started to absorb African influences from the strong immigrant community there. You might also know of their work under the name Ice. Still interested? Keep reading about them here.

Next up, TWO insanely wacky and groovy Bollywood soundtracks- both arranged and produced by my main man R.D. Burman. Each one set me back less than a five spot- no joke. I’ve got to admit, I haven’t seen either of these films, they’re currently ranked high on my “to do” list, but I had heard about them. Hum Kisise starts off with a funky Shaft sounding theme topped by a dubbed out wailing trumpet that I already had from this compilation. And actually, now that I’m doing my backchecking, both of the songs I’ve given you appear on this collection. Damn, and I thought I was hooking you up with exclusives, oh well. Like the movies themselves, these tunes unfold in a long series of abrupt twists and turns. Even the tempo will completely drop and pick up to near double time. It was really hard to pick which songs I put on the site, pretty much every groove on both of these records has a wealth of interesting sounds. “Lekar” has those sinister stabs and grimey shouts that are so common in the action sequences. If you’ve never experienced one of these films in its entirety, I implore you to remedy the situation asap. In generral, the fight sequences more closely resemble what you’ll find on WWF than anything from a Kung-Fu flick. Over the top is standard. I went with “Bachna” because of the heavy soloing at the start, and the little percussion breaks in the middle. I take it that this movie is about a diamond smuggling debacle between Africa and India, but some part of this film MUST take place in a disco.

If you’re somebody who loves the intensely bright indian imagery as much as myself, check this for a little inspiration. Also stay tuned, VIA extended family member Pandemonium Jones is soon to be a regular contributor to the Crate.

+

+

Ciara vs. Yaz : One, Two, Step (Captain Planet Remix)

Mark Morrison vs. Rich Harrison : Get Crazy Right (Captain Planet Remix)

Yeah, our party was fun. So BOOO-hooo to all who missed out.

Of course, things never go quite as planned. So most of the music I had arranged for my set just didn’t get played. That includes this mash-up of Morrison (the man who brought us “Return of the Mack” back in 1996) and Harrison (the man who produced the funky delectables “One Thing” & “Crazy In Love”). Something about a soulful mid-90’s crooner alongside an anonymous raggamuffin is a whole lot more appealing than the post-millenial, digitally corrected, high-pitched choking sound of J-Lo. And supposedly, she stole the bridge from Usher.

I did get a chance to drop the Ciara. So if you dug, now you can repeat the duggation. And enough already about Ciara being a hermaphrodite, I just had to give my entire class an unexpected lesson plan on chromosomes and genitalia– diagrams included.

The Nite-Liters : Theme from “Buck & The Preacher” ft. The New Birth
taken from the album “Different Strokes” on RCA (1972)

The New Birth : Got to Get a Knutt (excerpt)
taken from the album “Birth Day” on RCA (1972)

In the wake of O-Dub’s excellent homage to Fuqua, the lesser known North-American funk philosopher, I felt obliged to put my two cents in. Soul-Sides is one of the main reasons I got into this medium, and I want to pay my respects from the get go. The first Nite-Liters record I aquired came from Mexico City oddly enough. It’s a Mexican pressing of “Instrumental Directions” that fell into my hands via an ex-record-shop-owning German duf-duf who was living in Guatemala. On my copy, “Afro-Strut” is “Contoneo-Africano”, and track one reads: “Tema de Shaft”.

My favorite track from “Different Strokes” is this flute friendly theme from a movie that I’d like to see. The New Birth (= Nite-Liters + Love, Peace & Happiness) does a full vocal version of this tune as well, but I think this beat fills up quite enough space by itself. And yeah, mad props to Harvey for the arrangement here.

On “Knutt”, we get a taste of The New Birth without Fuqua-fication. I just gave you guys a little more than half of the full seven-minute song. It’s been sampled, but certainly not slayed. The DJ that manages to anoint this behemoth upon a crowd-in-motion is beyond bravery and courage, that DJ hath the deep-rooted power to freakify. Behold an orgy of sound.