Ananda Shankar: Streets of Calcutta + Dancing Drums
From Ananda Shankar and His Music (EMI India, 1975)

Manteca: Afro-Funky + Gozando Tropical
From Ritmo + Sabor (GRC/Sound Triangle, 197?)

The thing about funk’s entry in pop music in the late 1960s and forward was how artists would find ways to work in its rhythmic signature when you least expected it. (See this for a great example). Hearing the Ananda Shankar for the first time just blew my mind, probably because I assume Ananda’s sound would be more like his uncle Ravi’s but clearly, Ananda was on some experimental, world fusion tip by blending his training in classical Indian music with some Moog and a killer trap set drummer. Both of these cuts above are well-comped at this point but they still don’t fail to impress. Sitar funk for real.

Manteca is the nickname for master bongosero Lazaro Pla, a Cuban legend who used to play with Ernesto Lecuona and the Cuban Boys. His Ritmo + Sabor is one of the holy grail Latin funk LPs given its ridiculously funky percussion. It’s an interesting album for Manteca since he didn’t record out of Cuba much as a solo artist yet this album has been pressed up three times: GRC (Miami), Sound Triangle (Colombia) and Desca(?). And despite that, you’ll still end up forking over a few Franklins, unless you’re my man Adam M. who managed to cop one for $3 from Amoeba in Berkeley (that story still kills me). “Afro-Funky” is the outstanding cut here: the interplay between the basslines (which some opine might have been Cachao) and the percussion section is ridiculously funky not to mention pure rhythm – notice, there’s no melodic composition in the song at all. “Gozando Tropical” is more in a conventional Cuban dance style with its piano montuno riff but even here, the hard timbales (alas, uncredited) still put percussion first…sometimes I feel like the song is mis-engineered and should have cooled down the timbales a bit but then I shrug and figure if the drummer wants to get some, who am I to deny? This has been out of print on CD for a while but luckily, they’re about to bring it back later this month.

Gabo Brown & Orchestre Poly-Rythmo : It’s A Vanity
taken from the compilation African Scream Contest on Analog Africa (2008)

Action 13 : More Bread To The People
taken from the compilation Nigeria Rock Special on Soundway (2008)

Asiko Rock Group : Lagos City
taken from the compilation Nigeria Disco Funk Special on Soundway (2008)

Sir Shina Peters and His International Stars : Yabis
taken from the compilation Nigeria 70: Lagos Jump on Strut (2008)

With the recent onslaught of African music compilations coming out, I found myself wondering if the genre of afrobeat, after 40 years of relative obscurity, had finally become mainstream? There was the anomaly of Manu Dibango’s 1972 hit “Soul Makossa” which actually made it big abroad (to the extreme of being re-worked years later in Michael Jackson’s “Wanna Be Starting Something”), but for the most part, even the biggest names in African music were completely unknown to most audiences off the continent. Fela Kuti was certainly low on the radar in his time, but today, I feel like his name (and certainly the genre of “Afrobeat” as a whole) actually bears some weight in popular consciousness. I suppose recognition 30 years too late is better than none at all. I know that I, for one, am not complaining about the vast, continent-wide vinyl archeology dig that seems to be taking place.

Analog Africa have found a particularly overlooked niche within the world of Afrobeat – Togo & Benin. Holy hotness is this shit ever raw! Out of all the comps, this one’s probably my favorite. Aside from Poly-Rythmo and The Black Santiagos, I was unfamiliar with all the names on this collection. Nothing on here sounds like it was recorded after 1972- and ALL of it draws heavily from the power James Brown’s early 70’s material (which is about as good as it gets for me).

With the recent Soundway comps coming out back to back, it’s honestly a little difficult to discern clear distinctions in sound from one to the next, but again, when the material is this solid, I’m not putting up an argument. Both Action 13 and Asiko Rock Group are new discoveries for me- and mindmelters to boot. The drums on “Lagos City” are just about the hardest thing I’ve heard since maybe this.

Meanwhile, Strut records continues their resurgence on the scene with this second West African installment – the first Nigeria 70 initiated my ears to these beats back in 2001 or so. This one focusses more on the traditional highlife and juju side of things, but there’s some heavy funk cuts on here as well. One little thing that irks me about the Nigeria 70 records though: both this one and the original comp feature artists on the cover that aren’t even represented on the tracklisting! I mean, they’re cool photos and all, but I’m sure that there’s some good pics out there of the artists that are actually a part of the collection (the first one had Prince Nico Mbarga on the cover and this one is Oliver De Coque– I know cause I have the LPs- neither of whom make a musical appearance anywhere here). Still worth it for for the music though.

Lewise Bethune: Chitown Boogaloo
A.C. Reed: Boogaloo Tramp
From Chitown Boogaloo (Goldmine Soul Supply, 2006)

For all the time I’ve spent researching Latin boogaloo, I realized I wasn’t focusing enough on the original boogaloo craze – the one born out of Tom and Jerrio’s “Boo-Ga-Loo” in 1965, spreading quickly throughout the R&B world and lasting for the next few years. From what I can tell, the R&B boogaloo trend didn’t have the same kind of focused intensity as Latin boogaloo but it does seem to have shared some parallels, especially in being focused around the Chicago/Detroit corridor. My research is all preliminary but I am glad to have come across the Chitown Boogaloo comp which offers a tantalizing glimpse into a collection of tracks from that Midwest boogaloo craze. Suffice to say, more research is needed but you gotta start somewhere.

The Lewise Bethune was very interesting, not the least of which was because it’s basically Don Gardner’s “My Baby Likes to Boogaloo” with new vocals thrown on top (but clearly nodding to Gardner’s original). It doesn’t outdo Gardner’s but this is a pretty fun cut regardless and I think it’s interesting how Bethune’s version actually lifts the “ooh” “aah” from Tom and Jerrio’s original “Boo-Ga-Loo” single that sparked this whole movement. The A.C. Reed is another 7″ I’ve owned for years but only recently came back to in the midst of my boogaloo curiosities: this one actually mashes up two different fads – the boogaloo and “Tramp,” the bluesy/funky classic by Lowell Fulsom. I like how terse and focused the rhythm section is here – the song sheds a lot of heat but keeps things close in and tight.

If anyone out there has more knowledge of the R&B boogaloo movement, holler. I need to get to reading this, no doubt.

The Impressions: Fool For You + I’m Loving Nothing
From This Is My Country (Curtom, 1968)

I know I just wrote about this album in my summer songs post but seriously, this LP is easily the best thing I’ve heard in months. I just cannot get enough of it and am marveling at its overall consistency and sheer sublimeness at times. I feel sheepish that it took me this long to get around to listening the Impressions’ solo albums but if they’re anywhere near this good, I’ll be copping the catalog soon.

I’ve been trying to figure out, in my own head, just what makes the sound of this album so incredible to me and so far, the best I can come up with is: everything. The vocals, the melodies, the rhythm section, the sense of drama, the sense of delicate lightness, the lilt in Mayfield’s voice, the hooks that haunt you; take your pick. I haven’t been this enamored by a soul album since…I don’t know…discovering Eddie Kendrick’s People…Hold On (and that’s one of my all-time favorites).

Bottomline: if you can’t feel these, especially “I’m Loving Nothing,” well, there’s just no hope for you. ;)

Solange Knowles: I Decided
From Sol-Angel and the Hadley St. Dreams (Geffen, upcoming 2008)

Bonus: Tammi Terrell: What a Good Man He Is
From Irresistible (Motown, 1969)

Question: exactly how many “next Amy Winehouses” can there really be? So far, in the last year we’ve heard about: Leona Lewis (more like the new Mariah), Duffy (voice so thin, you could shave with it), Adele (Tracy Chapman meets Madeline Peryoux), Gabrielle Cilmi (didn’t both Nicole Willis and Amy both do this same video already?), even Lykke Li (doesn’t belong in the same conversation), et. al.

It has been a curious phenom that in the wake of last year’s epic Sharon Jones + Winehouse one-two punch, everyone is rushing to jock the bandwagon, and especially with Amy, there’s a desire to find another personality who could loom as large (good luck! You’ll need more than a bee-hive to fill Amy’s coif). From my point of view though, the upside to all this is that 2008 is shaping up to be a summer chockfull of retro-soul-esque production. I mean, sure, a lot of it is derivatives of derivatives – is there such a thing as neo-retro-soul? Hmmm…) but frankly, I’d rather listen to a bad clone of a clone of Motown/Stax than some of the new music that’s the alternative.

Case in point, three more recent artists on the retro tip, all of whom I’ve found perfectly enjoyable even if two of them seem to be riding the bandwagon. I’ve installed a “Wine-O-Meter” to measure similarity (not quality).

Solange, aka that other Knowles sister, decided to go to the source and hire Mark Ronson to produce her new single, “I Decided.” I admit – I was initially really skeptical about the song but it’s grown for me. Here’s my main beef: that little, jaunty, handclap track is very Motown-ish but it’s an intro: after a bar or two, the real beat drops in and in this case, that’s all there is. It’s like the song is all build-up but never delivers a gorgeous melodic hammer that you’d expect. That said, once you accept that, it’s a catchy tune. Snap along!

Wine-O-Meter: 7

Estelle’s Shine is one of my more favorite albums of 2008 and a strong, second showing for this British artist. I actually don’t think she’s very much like Winehouse; her vibe is more like a throwback to the late ’90s if anything else. There’s that R&B-meets-classic-hip-hop flair on songs like “Wait a Minute” (shades of “Kick In the Door”) and “So Much Out the Way” (Beatminerz steez) plus the ragga flavor on “Magnificent.” I just really like how that whole song flows, especially with the heavy ska/dub influence and Estelle’s silken vocals. Sweet stuff but hey, she should have gotten Special Ed on here instead of Kardinal. That would have been offishall.

Wine-O-Meter: 3

As for Little Jackie…ok, now THIS is definitely on some post-Winehouse tip, not just musically (Adam Pallin does a pretty good flip on Ronson’s style) but also in terms of the attitude and spark in the songwriting. Here’s the confusing thing: Little Jackie is not the singer; it’s the group name. The vocalist is Imani Coppola, who some of you might remember from “Legend of a Cowgirl” from about ten years back. Vocally, she’s also more contemporary than throwback but as noted, the kind of wit and cutting-ness in the songwriting will likely remind folks of Winehouse…even though, if you think about, her career goes back at least half a decade earlier. True as that may be, it’s really hard to listen to something like “28 Butts” (which I’m pretty sure uses this song) on part of the rhythm section) or “One Love” and not make the comparison. The latter is straight up ’60s girl pop (and I’m feeling it!). Their album drops later this summer: I highly recommend it.

Wine-O-Meter: 9

This all said though, you still gotta ask: why go retro when you can still listen to the originals? The bonus track is by the late Tammi Terrell, from (tragically) her only solo album, Irresistible. This song is so soulful, so funky, so ridiculously good for something that’s nearly 40 years old. It’s artists like Terrell who set the bar – now let’s see who can pass it.

P.S. Peep when Terrell drops: “let this girl tear the world up” – loving it!

Grupo Fantasma : Se Te Mira
taken from the album Sonidos Gold on Aire Sol (2008)

Seun Kuti & Egypt 80 : Fire Dance
taken from their self-titled album on Disorient (2008)

Potato & Totico : Dilo Como Yo (Antibalas Remix)
taken from the album Verve Remixed on Verve (2008)

MRR-ADM : B1 Untitled
taken from their Untitled 10″ EP released without a label (2008)

Karl Hector & The Malcouns : Toure Samar
taken from the album Sahara Swing on Stones Throw (2008)

Jackson Conti : Sao Paulo Nights
taken from the album Sujinho on Mochilla (2008)

Chicha Libre : Sonido Amazonico
taken from the album Sonido Amazonico! on Barbes (2008)

Damn I was missing this place! After moving I was without internet for a full two and a half weeks (which felt like a solid month to a web-junky like myself) and I’ve been itching to put together a post. I have tons of new records and a beautiful new studio/music library to listen in, but no time! This is so far from the summers of yesteryear when the solstice meant “school’s out” followed by three months of blissful skateboard meanderings and rope swings that launched into cool lakes. But I can’t complain too much since my busy-ness is pretty much all music related. Even now, I know I can’t write enough to do this music justice, but I wanted to at least begin to get back on track. So hear this little offering of recent releases that have been filling my ears the past few weeks. I promise to post more very soon and get back to a regular schedule now that I’m reconnected.

One sentence about each song/record:
This Grupo Fantasma record keeps the funky salsa & cumbia kicking with guests like Maceo Parker and Larry Harlow (who plays keys on “Se Te Mira”)- raw, organic, live sounding production makes you feel like the band actually squeezed inside your speakers somehow. Fela’s youngest son, Seun Kuti, brings his dad’s band (minus Tony Allen) back into the spotlight with a record of high energy, uptempo afrobeat that sounds like three Fela albums from the early 70’s rolled into one- catch the live show if you can. Staying on the afrobeat tip, NY’s own Antibalas deliver this solid remix of a rootsy latin classic- check out Chico Mann’s electro re-work of the same song which will hopefully be released soon! MRR-ADM is pretty mysterious to me, but I know it features Malcolm Catto on drums and that it was featured already on another blog that I like. Karl Hector & The Malcouns is the latest work from my favorite crew of funk revivalists Poets Of Rhythm (at least some of the members are involved)- new ethio-afro-funk-soul for fans of Budos Band and the like which has also already been given shine from another blog I like. Jackson Conti is the collab between the prolific blunted-beat maestro Madlib and legendary Brazilian drummer Mamao (of Azymuth glory)- smooth head nod niceness. And finally, Chicha Libre pay homage to the psychedelic cumbia scene of late 60’s Peru with a record that simmers like a bug on a cactus under mid-day desert sun.

Be back soon!