Time to shake that moneymaker to some Indian/Disco action from 1981. This unique project was proposed to singer Rupa Biswas after a successful three hour concert in Canada. It has recently been rediscovered and reissued by the kings of obscurity, the Numero Group.
At a certain point in listening to punk rock you realize it’s really just rock ‘n’ roll. Generally, it’s sourced from the gritty world of garage rock. Alongside The Seeds, The Monks are one of those foundational bands that help set the template for weirdo rockers all over the world. Dig the fuzz on that bass (not to mention the hair-dos)!
Karl Hector and the Malcouns are a German group devoted to all things funky. You can hear a little James Brown, Ghanian funk and krautrock all thrown into the mix. Perfect for some summertime BBQing action!
To celebrate 250 years of bullshit, we’ll take a listen to some of the words of Ice Cube off his incindiary debut album, produced by the all-mighty Bomb Squad.
By 1997 rolled around Coldcut were already electronic music legends. They had perfected the samping and mash-up style of production, been doing their “Solid Steel” radio show for 10 years and had created the extremely influential Ninja Tune label. After ten years of accomplishments they were not done innovating. This video created with A/V pioneers Hexstatic merged the worlds of music and video in a way that seemed nearly impossible for most people in the late 90s.
Gregory Isaacs was a certified reggae legend by the time he became an international star in 1982. Having come out with hit after hit since the roots era on the island, success had its downsides and for Isaacs it was an addiction to cocaine. By 1989 it would seem that things were better for him. He released “Warning”, an album filled with haunting tales for prospective rudeboys. Produced by King Tubby in the midst of the digital production revolution, “Warning” is a great encapsulation of a lot of what was going on at the time: technological changes and a breakdown in civilization caused by the crack epidemic. Long live the Cool Ruler!
In the early 90s, the North American rave scene was finding its legs. Crews in New York were starting to build and things were starting to make their way west. In the meantime clubs were still the main source of hearing the newest sounds from overseas. With the amount of import tunes trickling in DJs would have to get creative. Often you would hear a mix and blend of several different styles in one night: acid house, hip house, hip hop and hardcore.
One of the most unsung scenes in the States from back then was in Dallas, TX. The center of the scene was the Lizard Lounge, a refurbished old theater. Complete with chandelier, huge dance floor and multiiple levels of balconies, Lizard Lounge was a haven for those seeking to dance their butts off til morning. The city’s alternative station, The Edge, turned into Edgeclub on Saturday nights and would broadcast DJ sets directly from the club.
Two local DJs and producers got their records and gear together and formed NASA Project. DJ Red Eye and DJA1’s productions took the baton from overseas hardcore acts like N-Joi and The Prodigy and added their own unique Texan sense of humor to the mix. “Textasy” quickly became a classic in the worldwide scene. Contemporary electronic artist Textasy was so taken by the track to name himself after it. Tra-la-la-boom-de-yea!
Due to his parents’ Virgin Island roots, Sonny Rollins famously worked in some Caribbean flavor into his jazz recipe. The master has passed at age 95. Let’s have a little calypso boogie session to send out the genius of the saxophone. Rest in Power!
Much is made of the major phases of Miles Davis’ career: his two classic quintets, his modal compositions, his electrified sound. For me, some of the most enjoyable music was the stuff that happened in transition. “Fillles de Kilimanjaro” was a 1968 recording that saw Miles transitioning out of his second classic quintet and into a a more dark and brooding sound that would take him to some extreme places later. While electrified bass and keys hint at the sounds to come, the playing is laid back and subdued. Truly, the calm before the storm. Happy 100th, oh Prince of Darkness!
The late, great Miles Davis would’ve turned 100 this month. Amongst all the tributes, I feel like his first legendary quintet is getting neglected. Perhaps this is, in larger terms, impossible. Maybe everyone thinks that because of Coltrane’s involvement that this is already well-worn territory. While I do very much appreciate the second quartet and the tensions and textures that their style created, the first’s sheer effortlessness is forever fascinating. I particularly love the “Relaxin’ With” album. There was a decision to leave in false starts and studio chatter, which creates a certain anticipation that is utter satisfied with the burning performances that are subsquently captured, again, seemingly without any effort. Dig!
Ras G was a pillar of the LA beat scene in the 00s. Heavily influenced by Sun Ra, Ras’ music took several directions simultaneously. From abstract sample collages to broken beat house to bass-heavy headnodders, Ras kept the buttons pushed on his trusty Roland SP-404. This eight and a half minute EP displays just a few of his styles. RIP Ras G!
William Onyeabor turned his semolina flour mill business into an opportunity to create synth-powered funk music. He self-released nine albums before devoting his life to religion. In the 2010s David Byrne’s label Luaka Bop made his recordings more widely available. You can read more about him here.
Thanks to the above track by A Tribe Called Quest, Bob Power is probably the most known audio engineer in all of Hip Hop. He also worked on one of the more complicated tracks De La Soul ever made:
The whole thing was done on archaic samplers. Bob at one point had the whole thing setup and then changed one thing and ruined it, having to re-do the entire process. The final product took a couple of days.
For the more tech savvy amongst you, here is a great interview with Bob from Tape Op Magazine with lots of great engineering tips.
Rest in Power, Bob!
Last week saw the passing of the great Elaine Radigue. She worked in long form with feedback, the Arp 2500, tape and, towards the end of her life, with instruments and musicians. Here’s is her sonic life story, as told by her:
Mamman Sani was one of the first electronic musicians from Africa, but no one knew until 2013. Sani created his tunes with an Italian made Orla organ. He makes the most with the least, playing looping keyboard patterns along with onboard rhythms. The results are as funky as they are soothing. Big up the incredible Sahal Sounds label for unearthing these gems!
Ebo Taylor was a cornerstone Highlife musician from Ghana. He was in London with Fela Kuti n 1962. His tunes from the 60s and 70s are funky and infectious. His legacy will live on through his music. Rest in Power!
With his final recordings in 1967, John Coltrane set up a framework for avant garde jazz musicians to follow for decades to come. “Interstellar Space” consists of four pieces recorded with Coltrane and drummer Rashied Ali. Both play as hard as possible. The resulting music is intense, forceful and filled with details. You can feel the gravity such as planet within the performance.
When Curtis Mayfield left The impressions he made a big splash with his first album, “Curtis”. Not only did he appear larger than life on the cover, but nearly half of the album was taken up with mini-epics. While “Get On Up” takes most of the fame these days, this tune sets the tone for the album in dramatic fashion. He really seems to be going straight to Motown’s head with the grandiose arrangement and heady political commentary. The fact is that these recordings pre-date “What’s Going On” by a whole year and 56 years later, it all still rings frighteningly true.
Curtis Mayfield and The Impressions were a big influence on Jamaican music, as evident in this cover by Lloyd Charmers in 1975:
Sly Dunbar helped create more hits than most people in the entire recording industry have ever. Before getting involved with major artists from across the globe, Sly had his first hit at the tender age of fifteen with what is today still a major party starter. One year earlier, he made his first recording as an Upsetter for producer Lee “Scratch” Perry:
Rest in Power to a true GOAT!
When King Tubby decided to build his own studio in his home he set up one of the most unique studio setups on the island. His studio served only for recording vocals and mostly for mixing dubs. This environment helped to create a particularly creative space for art of dub. Here are two of the most abstract mixes performed by Tubby’s most renown apprentices: Prince Jammy and Scientist. Jammy nearly takes the drums completely out of the mix and replaces it was long, distorting echoes. I’m not sure what effect Scientist has on those drums, but they sound otherworldly!