1.8 Seconds

Ramsey Lewis Trio - Bach To The Blues (1964)

2012-02-26T23:02:00.000-08:00

Not quite classical yet not straight-ahead jazz, Bach to the Blues occupies a precarious spot on the 'soul' music spectrum. Frustrated with the rigidity of classical performance pieces, Lewis decided to take his trio in a new direction and incorporated elements of Jazz into their interpretation of Bach, Brams and Tchaikovsky. The result was an easy listening album ripe with deep cultural nuances. Listen for the balance between classical and blues.

Recorded at Ter Mar Recording Studio, Chicago 1/31/64

Ramsey Lewis, piano; Eldee Young, bass & cello; Richard Evans, bass; Red Holt, drums.

Cadet 732 - 70's re-iussue.

Vinyl ripped @320 kbps

Link in comments...

The Bar-Kays - Let's Have Some Fun 45' (1977)

2012-02-22T11:31:00.000-08:00

The Bar-Kay's are one of those bands who most people are familiar with but can't quite say why. The reason is they performed on a lot of Stax records coming out of Memphis during the late 60's and 70's. The band originally formed in Memphis in 1966 as a session group backing Stax artists and in 1967, were chosen by Otis Redding to play as his backing band on tour. On December 10, 1967, tragedy struck when on their way to perform in Madison Wisconsin, Redding and four of the band members died in a plane crash. The surviving two members rebuilt the band and went on to continue backing major Stax acts including Isaac Hayes on Hot Buttered Soul.

The early 70's saw the Bar-Kayes move in a new, funkier direction. With the departure of the original trumpeter Ben Cauley in 1971 and the introduction of funk guitarist Lloyd Smith in 1973, the Bar-Kays shifted grooves and established themselves on Mercury Records - which is a notable moment in the progression from soul to funk. This 45 features their super funky 1978 hit, "Let's Have Some Fun" which peaked at #11 on the US R&B charts.

Ripped @320 kbps

Interesting fact: Rapper "Jazze Pha" is the son of Bar-Kay's bassist James Alexander and is named after his late band mate Phalon Jones, who died in the crash.

Link in comments...

Heat Wave - Too Hot to Handle (1976)

2012-02-20T22:06:00.000-08:00

The band Heatwave is an international collection of outstanding musicians, who in 1976 gathered in England at Audio International Studios to cut their first record, Too Hot to Handle. The album was certified Platinum and reached a peak position of #11 on the charts. It features the hits "Always and Forever" and the classic, "Boogie Nights". More interestingly, the album was composed entirely by Rod Temperton - the same guy who penned MJ's "Thriller" and "Rock With You". This album is on par with anything produced by Quincy Jones when it comes to tightness and is an archetypal example of the Funk genre just before it shed its gritty past in search of a more sterile, dance-floor friendly groove.

Vinyl ripped @ 320kpbs

Link in comments...

Caesar Frazier - '75 (1975)

2012-02-13T14:04:00.000-08:00

This rare gem comes from funky soul-jazz organist Caesar Frazier. '75 was Frazier's follow-up to his debut album Hail Caesar! and is an album you do not want to pass by. It features Bernard "Pretty" Purdie on the drums and Cornell Dupree on guitar. The album also contains the track "Funk It Down" - made popular by Gang-Starr's "Ex-Girl to the Next Girl" as well as covers of Stevie Wonder's "Living for the City" and Seals and Croft's "Summer Breeze".

@320 kbps.

Link in comments...

Bruce Cloud - California Soul (1969)

2012-02-01T13:29:00.000-08:00

This fantastic album by West-coaster Bruce Cloud is not for everyone, but, it's a smooth-gem for those who enjoy his distinctive voice. Cloud originally reached stardom as second tenor with the group "Billy Ward and the Dominoes". After leaving the group in 1962, Cloud tried to make it on his own and in 1969 released California Soul. Cloud is an interesting character as much for his music as he is for his tragic personal life story. After failing to realize commercial success with his solo career, Cloud was forced to take a job at a drug store. Things were not going well for Cloud and his family and after nearly divorcing his wife, Cloud killed her and their two year old child before committing suicide.

Personal issues aside, this album resonates with the archetypal laid-backness common to Californian soul. It's surprising to hear such an easy going album come from a man who clearly had a lot on his mind. I remember reading somewhere a rebuttal from his sister, who claims that his death was actually a staged murder. She claims that the killer left a message by ransacking the house and only leaving the shoes - evocative of the tune "Walk In My Shoes". If I can track down the link to her comments, I'll be sure to post them. They have eluded me thus far but they provide an interesting counter-point to the amazing story of the life of Bruce Cloud.

"Your Papa may have, and your Momma may have, But God's gonna bless the child that's got his own"

Vinyl ripped @ 320

Link in comments...

Otis Redding - In Person At The Whisky A Gogo (1968)

2012-01-28T10:55:00.000-08:00

There's a reason they call him Mr. Pitiful. Following in the tradition of James Brown's Live at the Apollo ('63), Sam Cooke's Live at the Harlem Square Club ('63), and Ray Charles' Live in Concert ('64), Otis Redding recorded this performance live from the Sunset Strip LA at the Whiskey A Go Go club on March 30, 1966. Like the R&B giants who preceded him, Redding was looking to make the switch from the Rhythm & Blues Scene to the more popular 'crash pop scene' (think Sinatra and the Beatles), and this recording proves such. Redding belts out the classics: "Mr. Pitiful", "Papa's Got A Brand New Bag", "Respect" and the Stones' "(I Can't Get No) Satisfaction" with a heart that's clearly been broken and mended many times over.

Redding died in a plane crash in 1967 and is most commonly known for his sedentary "Sitting on the Dock of the Bay" - which was written and recorded less than a week before his untimely death and proved to be his post popular song. This album is of note because it shows Otis trying to appeal to the pop audience before his performance at the Monterey Pop Festival (organized by Jerry Wexler) in June 1967 - which is commonly acknowledged as signifying Redding's switch from R&B to Pop. That being said, the album was released a year after his performance at Monterey which shows it may have taken a while for the record execs to catch on to the fact that Redding appealed to all audiences.

Redding drops some of his R&B swagger but doesn't sacrifice intensity. Listen to the ferocity of his band. The album reached #7 on the US R&B charts and is soaked in soul, blues and pure emotion.

Vinyl ripped @ 320

On loan from J.M - many thanks!

Link in comments...

Earth Wind & Fire - All 'N All (1977)

2012-01-17T14:47:00.000-08:00

All 'n All features some of the, "most intense and gutsy funk", of the 1970's. Recorded at Hollywood Sound and The Burbank Studios, California, the album is super tight to the point that the whole band seems to morph into one mighty Power Ranger with Marice White as it's head.

The speed of the interplay between the horns and the percussion rivals that of a well tuned engine block and will certainly blow the lid off your head. Featuring singles such as "Serpentine Fire", "Jupiter" and "Magic Mind", this is a funk classic you do not want to miss.

So strip down to your skivvies, crank up the bass and get ready to dance around your apartment (not that I do).

@320 kbps

Link in comments...

Deniece Williams - This is Niecy (1976)

2012-01-15T17:37:00.000-08:00

This funky gem comes from Gary Indiana native Deniece Williams. This is Niecy came out at the same time that Williams was performing as a backup singer for Stevie Wonder and Minnie Riperton - which is amazing because it is full of original and unique material. It's also interesting to note the album credits as they pretty much list off all the members of Earth Wind and Fire.

This is Niecy came out a year before EWF's All 'n All - a veritable funk classic - and it's no surprise that the White's (the main family of EWF) were testing out some of their ideas on it. The album features Al Mckay on guitars, Jerry Peters on piano and Freddie, Maurice and Verdine White on percussion, drums and bass respectively. The album starts strong and arguably has one of the best B sides of any funk album from 1976 closing out with the smooth "Free", driving "Watching Over", and soulful ballad "If You Don't Believe." Look out for the similarities in groove between the EWF track "Serpentine Fire" and Williams' "Watching Over." Produced by Maurice White and Charles Stepney, this is a must listen to for any fan of EWF. The album is great sample material and even better to just groove to.

Ripped @ 320

Link in comments...

Lee Moses – Time and Place (1971)

2011-12-17T08:57:00.000-08:00

Booker T. High

Here is a true lost figure in the history ofR&B. The story starts March 13, 1941 in Atlanta, GA – where Lee Moses wasborn. Moses began playing the guitar while attending Booker T. Washington High Schoolfor the performing arts. God only knows how funky that school must havebeen.

Moses began his professional career during the 50’s in Atlantaplaying with a band called TheShowstoppers. After gaining local notoriety, Moses met producer JohnnyBrauntly in New York around 1965. Brauntly used him as a session guitarist(along with left-handed player named Hendrix) where he cut three singles forMusicor Records in 1967. Time and Placecame shortly thereafter in 1971. Backed by his own band called the Desciples (sic) (includingmembers of the Ohio Players) Moses managed to put out his only known full album.

After playing as second fiddle, it’s no surprise that Moses had a lot of pent-uptalent. Similar to Bobby Womack’s debut album Fly Me to the Moon, Time and Placeshows what happens when you let the funk out of the box. In it, Moses worksthrough a handful of original compositions and covers with the sweat andswagger normally associated with Sam Cooke and James Brown. It’s not that Moses was out to prove himself, but instead the album shows an artist who seems to thoroughlyenjoy what he’s doing. His haunting rendition of California Dreaming and truthfully soulful Hey Joe show how talented Moses was. His last known release was aversion of the soul classic “The Dark End of the Street” – which can be foundon this album. Moses died in Atlanta in 1997 to no fanfare, twitter updates orradio shout-outs. The album coming at you today was put out byCastle Music in 2007 as a compilation of Timeand Place and a couple other 45’s Moses put out on the Musicor, Dynamo and Gates labels during the 60's and 70's. It’s a shame his work wasn’t betterdocumented. Either way, his legacy lives on here.

Link in comments...

Tedeschi Trucks Band - Revelator (2011)

2011-12-11T10:08:00.001-08:00

"She wakes up in the morning / To a kettle on the stove / Peeling wallpaper / House next to a dusty road"

How's that for imagery? It's Sunday which means it's time to cozy up with your headphones and settle in to some wholesome, soul stirring groves. And what better way to do that than with the King and Queen of Southern Rock, Derek Trucks and his wife Susan Tedeschi.

Revelator is their debut album together along with their awesome 11 piece band - the Tedeschi Trucks Band. Steeped in southern gospel and gritty soul with a groove more common to rock, and funk, Revelator will take you on an aural journey to Memphis, Alabama, Texas and New Orleans (look for the hidden track Ghost Light). The album's content seamlessly shifts from blues' about broken hearts to rocking funk jams about movin' on. Something to watch for is the interplay between Trucks' signature Gibson and Tedeschi's Fender - totally different tones. Good thing it's ripped @ 320.

Happy Sunday!

~~Link + password in comments...~~

*I received a request from the IFPI on part of the DMCA to remove this post. If you want a copy of the album, email me and I can point you in the direction of where to find it.*

V/A - Classic Funk Mastercuts Vol. 1

2011-12-09T08:25:00.001-08:00

Here's a great compilation of some masterful funk breaks and beats. Featuring artists like The Fatback Band, Curtis Mayfield, The O'Jays, Mandrill, The Blackbyrds and Kool & The Gang, this is a sampler you do not want to pass up.

Link in comments:

Creative Source - Creative Source (1973)

2011-12-09T00:01:00.000-08:00

Staying on the West Coast, this next album comes from a super-group of West Coast studio veterans. Managed by former Fifth Dimension member, Ron Townson, Creative Source blends all the smoothness of the West Coast with a drive more common to Motown. Not surprisingly, the album was recorded in Detroit and mastered in LA.

The Creative Source's technical competence allowed them to dabble in various genres. The band even takes a funky stab at Steppenwolf's "Magic Carpet Ride". If you're an Earth Wind and Fire fan, this is the album to check out. Especially for the classic, "You Can't Hide Love" - later covered by D'Angelo.

The album contains their even funkier rendition of the Bill Whithers "Who Is He (And What Is He to You)" - which gained the group the most commercial success peaking at #69 on the US Hot 100 charts in 1974. Following this album, Creative Source managed to put out another three albums before loosing their record contract due to lack of sales. Sales aside, the self-titled debut of the Creative Source is a fantastic album and is a nice snapshot of the offshoots of the 5th Dimension.

Can't hide love...

V/A - Old School Vol. 5 (1995)

2011-12-08T00:01:00.000-08:00

Balance is key. For anything in life - which includes my blog. I feel like I've been stuck in the 70's. So I figured it was time to move on up. That's right, we're goin' from the Funk to the Old School. 14 funky fresh tracks that'll make you want to iron your Dickies, put on your Ray-Bans and go cruising in your lowrider - or in my case, a gold '99 Camry. Tracks to look out for include the sugar-coated razor blade "Murphy's Law"and the classic "West Coast Poplock"

Now you're not just knee deep,

Ya dig?

Bill King and Wayne McGhie - Blue Skies

2011-12-07T12:02:00.000-08:00

Here's a great clip of Wayne McGhie performing live with Toronto's own version of Dr. John - Bill King. King is the founder and director of the Toronto Beaches Int'l Jazz Fest. His son is Torontonian Reggae/Dub DJ - Dubmatix. From watching this video, you can see where his son probably got his influences from.

Wayne McGhie & The Sounds Of Joy - Wayne McGhie & The Sounds Of Joy (1970)

2011-12-07T00:00:00.000-08:00

There’s a reason it’s considered the “Holy Grail” of Toronto Funk. The story behind this album is as amazing as themusic itself. It begins in Montego Bay, Jamaica, 1947with the birth of Wilfred "Wayne" McGhie. McGhie first gainednotoriety playing on the Island circuit with the likes of the Celestials, DizzyBarker, and Jimmy Wisdom. In the 1960’s, after the Canadian Government relaxedimmigration policies, the streets of Toronto were no longer solely dominated bythe white European, Scotts and Irish. Instead there were pockets of immigrantcommunities springing up all over the city. The Jamaican community used the West Indian Federation Club located onBrunswick Avenue as one of their cultural embassy’s. Or as Harry Gairey wrote,“We felt it would be some place for West Indian girls to go on their day off.”

This is where Jo Jo Bennett was tasked withforming a house band and where our story begins. Bennet recruited McGhie fromJamaica and after gigging at the WIFMcGhie began to rise in local prominence. McGhie’s virtuoso was quicklyrecognized and found him writing songs like, “Chips-Chicken-Banana Split”, performedby Jo-Jo & The Fugatives and, “Mr. Fortune”, performed by the Hitchhikers –both featured on the Jamaica to Toronto compilation.

McGhie befriended Reggae superstar andco-founder of the Skatalites, Jackie Mittoo – with whom he would later play ina band. Mittoo recorded McGhee’s album at Art Snider’s Sound Canada Recording Center in 1969. (Interestingly enough, Art’s brother, Dave, was the founder ofthe famous Dave Snider’s music store on Yonge St.) The credits on the album readlike a best-of list featuring the likes of Alton Ellis, Ike Bennett, EvertonPaul and Lloyd Delpratt. The record was a hit and they knew it. Snider sawpotential in the record and made a deal with Quality Music’s subsidiaryBirchmount to distribute the album. Everything was going perfectly.

But! Just as WayneMcGhie & The Sounds of Joy was hitting the shelves, there was a fire atBirchmount’s warehouse destroying allremaining copies. After the record failed to initially sell, plans to re-issueit were abandoned and it seemed like this album would be lost to the sands of time.

After the albums commercial failure, McGhiereturned to Jamaica and continued to try and produce music. Moving betweenToronto and Jamaica, a dissuaded McGhie eventually dropped off the map – bothwith friends and the broader Toronto music scene. During all this, John Carraro, an NYC record dealer, managed to find a copy of the long-lost Birchmount original and sold it to P.M. Dawn (New Jack Swing duo) for a supposed $300. Side note, copies today go up to$584 USD. As word of the fat breaks and heavy beats on the album spread thanksto DJ’s like Q-Tip, Mr. Supreme, Pete Rock, DJ Sureshot, Buck 65, and Gary G-Wiz (Public Enemy), the album began to gain prominence in the funk world. Butwhere was Mr. Mcghee?

After a chance encounter with Jay Douglas(Torontonian reggae/soul artist), the great guys at Seattle based Light In The Attic Records were able totrack him down at his sister's house in Toronto. McGhee looks to be doing well and I’m sure he’s happy that his long lost album is finally gaining therecognition it deserves as the Holy Grail of Toronto Funk.

The album features Everton Paul and J. Joseph on drums. Listen for the distinct bass drum and complementary tight snare and hi-hat in the first four bars of "Dirty Funk". I'm not sure exactly how they recorded it, but the drums have a real punch, and in turn power the rest of the band. Tracks to look out for include the R. B. Greaves cover "Take A Letter Maria" and the feel-good classic "Na Na Hey Hey Kiss Him Goodbye". Enjoy.

Link in comments...

V/A - Jamaica to Toronto: Soul, Funk & Reggae 1967 - 1974

2011-12-06T00:00:00.000-08:00

With the changing seasons comes changing moods.Here’s a nice reprise from the heavy onslaught of Funk and it begins with a briefhistory lesson. In 1962 the Government of Canada abolished its racist immigration policy and in 1967, the Federal Government of Canada revised theImmigration Act streamlining the system and beginning to more speedily process the backlog of applicants. As a result, Canada received around 225 000 to 275 000 newimmigrants annually – many of whom brought with them their rich cultural traditions.At the time, Ike (Jo-Jo) Bennett – a Kingston-cum-Toronto native - wasassembling a house band for the WestIndian Federation Club located on Brunswick Avenue. With the “Third Wave”of Canadian immigration in full effect, Bennett recruited the likes of Alton Ellis, LloydDelpratt and Jackie Mittoo along with McGhie from Jamaica to play with him. The band played at the WIF and served as the cornerstone from which West-Indian culture in Toronto would grow.

Thus begun Toronto Funk and as they say, the rest is history – which I willleave for you to uncover. This album was compiled by Canadian artist andcurator Sipreano and the great folks at Light In The Attic Records in Seattle.It features 16 tracks by 12 different artists – each bringing their ownunique blend of funk, soul and reggae. For an interesting article about the history ofWest-Indian Torontonian culture, check this out.

I believe in music
I believe in love...

Hoctor Records Presents – Jazz On The Road - 12 Special Arrangements For Jazz Dancing

2011-12-05T07:28:00.000-08:00

Context – howimportant is it? I can tell you that the sexy lady on the cover is Robin Hoctor and that she was supposedly in Las Vegas when that picture was taken, but that's about all I can tell you about the album. The following is an example of how sometimes, context really isnot that relevant. Not much is known about this album. It was produced byHoctor Records – a now-defunct record company from Waldwick, NJ – whospecialized in dance instruction records.

It was made some time in the 1970’sby a group of musicians who never got credited. At this point, you’ve got towonder, could the same company that produced records like “Music for Ballet”and “Basic Pointe Class” produce a Funk album? The proof is in the pudding andI’ll let you decide. Enjoy this little experiment of eatingwith your eyes closed and indulge in this un-marked piece of Funk educationhistory.

Link in comments...

Neville Dickie - Boogie Woogies Fantastiques (1975)

2011-12-04T22:15:00.001-08:00

This album physically has all the elegance of aFrench pressing. But, when the needle drops, whatever illusions of Parisianrefinement you once had are quickly shattered and are replaced with the soundsof a rowdy 1930’s Kansas City. Well, not quite. But it’s somewhere in betweenthe two. I’ll explain.

The album is by Neville Dickie – an Englishman –but to fully appreciate what he’s playing, it’s important to understand wherethe Boogie Woogie he’s playing came from.

It started in Kansas City in the early 1930’s.The town was run by mayor Tom Pendergast who allowed for after hours gamblingand prostitution. A town full of vice and sin. And a town with a wickedly awesomemusic scene.

Known as “Barrel House Music”, Boogie Woogie musicwas distinct from it’s cleaner progenitor Swing in that it featured adirtier-driving left handed stride pianist with a right hand that would make ladiesquiver. There was however, a reason for it. The Boogie stride piano was anevolutionary response to the environment in which the music developed. ‘BarrelHouses’ were normally associated with mines and served as the local wateringholes. One of the most popular of which was the Sunset Cafe - which played host to some of the best Boogie players in the Mid West. In such an environment, the piano hadto be loud and abrasive to cut through the raucousness of the bar. As a result,Boogie features a lot of piano solos while the rhythm section just holds itdown. Solid as a rock.

The Café Society

Boogie Woogie eventually made it’s way north toNew York in the late 1930’s and found a new home at the Café Society – a centrefor the local intelligentsia. From there it made it’s way across the Atlanticto Britain – which is where Neville Dickie – the artist on this album was from.Dickie was a member of the RAF and moved to London after his service. He playedin bars and eventually grew to prominence on the British airwaves after beingdiscovered by BBC Radio 2 director Doreen Davies.

Original Cover

This album was initially released in 1975 as Back to Boogie but was rebranded andre-titled as Boogie Woogies Fanstastiquesto cater to the French audience. Covers often betray a lot about the intent ofthe distributors and this case is no exception. Why wouldn’t the Frenchdistributors just re-title it in French and keep the original picture?

On the original British issue, there is apicture of Dickie on the cover (who is White). The French audience was known tobe very fond of African American Jazz musicians - who in turn enjoyed therelative lack of racism and the appreciation the French showed towards theirart. From what I’ve seen, when it comes to race, album art, and recorddistribution, record companies tended to not feature African American musicianson the covers of records they were trying to market to White audiences.Remember, the Boogie on this album is far removed from the nitty-grittyboogie of 1930’s Kansas City and has instead been highly refined in the sterilestudios of the BBC. If a record company did decide to feature the AfricanAmerican artist on the cover, it would show the artist playing to a predominantlywhite audience (Stevie Wonder My Cherie Amour, Joe Houston Rock and Roll with Joe Houston). In this instance, it may very well have been the exactopposite.

The French knew their shit and knew what was hot. They had an affinity for the African American jazz musicians because of their distinct African American style. The record-execs knew that Dickie's record was good stuff, but may have thought that the French audience would be reluctant to accept it if they saw a White guy on the cover. I think the recordcompany did not want the audience to know that Dickie was white in order toboost sales and add legitimacy to their product. Dickie sold 100 000 copies ofthe album upon it’s initial release in the UK and it’s quite possible thatFrench distributors sought to capitalize in France by re-marketing the same hit-sellerwith a different cover.

That being said, Dickie had played with famousFrench pianist Louis Mazetier before and therefore, it is likely that he wouldhave had some exposre to the French audience.

For all I know, maybe the distributor decided toscrap the original cover because it was too dull for his French pallet. Whoknows? Either way, Dickie swings hard.

Tracks to look out for:

· “Saint-Louis Blues” – Great halftime breakdownin the middle.

Pine Top

Event - Steve's Vinyl

2011-12-04T21:48:00.001-08:00

Therecords we listen to tend to reflect the type of people we are. You could call it a aural mirror of sorts. Let's be honest here, we're all narcissists at heart and we love our records because we can associate with them. They make us remember things about ourselves that no one else can. They're our sonic double.

When I make the trip to the next world, I know I definitely don’t want my hard-earned vinyl’s going to a bin in the Salvation Army. So what do you do when you’ve got a deceasedloved-one’s record collection to disperse? Throw a party!

This was one of the problems Cathy Busby faced when herbrother Steve, died in December 1993 from an AIDS related illness. He was bornin 1953 and was only 40 when he passed away. The event consisted of 200 ofSteve’s vinyl’s showcased on an 8-colour paneled wall. It was set up in such away that you would buy a ticket and be entered into a draw. When your numberwas called, you would choose one of Steve’s disks and after you took it downfrom the wall, you would draw your own rendition of the cover in its place. Theevent coincided with World AIDS week and all proceeds were donated to the AIDS coalition of Nova Scotia and the Khyber Centre for the Arts. Busby was hoping to raise$500 for each cause respectively.

The casual warm environment afforded me theopportunity to meet Steve’s sister and the organizer of the event - Cathy Busby.When I asked her about Steve, she described him as, “someone who really lovedlife”. I asked Cathy why she decided to hold the event and she called it ametaphorical spreading of the ashes. She wanted to make sure that Steve’svinyls were going to people that would appreciate them, and she also wanted tohave an event that would honour the memory of her brother. She said, “It’s nothing ifpeople don’t come and choose a record.” From looking at the number of peoplewho showed up, I’d say she was certainly successful. After the initial excitement andnail-biting over who was going to get what subsided, everyone began to loosenup. I won't scar you with pictures of my renditions of their covers, but I was very happy with my two finds - Bob Marley's Natty Dread and a French pressing of a Boogie Woogie record (which I'll post shortly). With great music being spun all night by DJ Al Barbour, an open bar and a tasty localselection of hors d'oeuvres, it wasn’t long before people were 'dancing the night away' to Steve’svinyl.

Buddy Miles - A Message to the People (Update)

2011-12-04T17:51:00.001-08:00

The album A Message to the People has proven to be a popular download. I've decided to scan and upload better quality pics. Let's face it, what music library is complete without high quality album art?

~Enjoy~

African Hand Drumming

2011-12-04T09:38:00.001-08:00

I'm currently taking an awesome class - the 'Art and Science of African Hand Drumming'. As part of our exam we have to listen and label a bunch of songs. I've decided to share some of these (particularly the latin ones) because they're just so damn funky.

Djambabies unite

Buddy Miles - More Miles Per Gallon - (1975)

2011-12-04T08:00:00.000-08:00

Last summer, me and a buddy were driving home from a breakfast on Queen East when I veered the car off to the right and announced that we had to check out the sidewalk sale we just passed. Reluctantly, my buddy joined me and in amongst the lame Quincey and Merle Haggard I came across this treasure. Unsure of what it was, I remember not listening to it right away, and I remember how much I regretted waiting after putting on the platter. I get the same feeling listening to it now as I type. More Miles Per Gallon, was released ~4.5 years after A Message to the People, and it shows in Miles' style. It's less psychedelic/Hendrix-esq and more straight ahead. I'm not sure if he was trying to conform with the more straight ahead dance rhythms of the late 70's (Boogie, Disco) or if he just decided to tone down the flamboyance. That being said, Miles still beats the hi-hat like it was his bitch.

The title of the album suits the content as it's a great disc for driving. Nearly every track is upbeat and features a funky bass line. Miles starts the album strong with the two power tracks "Rockin' and Rollin' On The Streets of Hollywood", and, "Do It To Me" - a thinly veiled reference to booty calling your ex. The album continues to chug along until the 7th track "Livin' In The Right Space" - a soulful ballad shmeared in reverb and fluffy love. It stays weak after that but whatever's lost at the end is made up for by Miles's solid drumming and tight band.

Strutt your stuff mama

Buddy Miles - A Message to the People (1971)

2011-12-02T19:15:00.001-08:00

Since I'm already some Electric Lady Studios 'ish, I figured I'd put up another funk classic cut by a friend of Jimi's. This album comes from the, "Baddest of the Bad" when it came to drummers. I'm not referring to his technical ability but instead to his ability - simply put - to kick ass on the throne.

Buddy Miles's A Message to the People was released the same year that Hendrix died which is significant as it was with Hendrix's Band of Gypsys that Miles first started his professional career. However, I'm not sure if A Message to the People was released after Hendrix's death or before. Tracks to look out for include, "The Segment +" and his sinfully soulful version of "Midnight Rider" - which has enough reverb to make Rudy Van Gelder jealous. The album artwork was done by Abdul Mati - the same genius who did Santana's Abraxas and Miles Davis's Bitches Brew. So check it out and remember that when "lust and fire have faded away, fantasies and moonbeams have the day"
cuz,

That's the way life is...

Mandrill - Mandrill Is (1972)

2011-12-02T17:42:00.001-08:00

This may be Mandrill's sophomore album but it shows that they are no amateurs. Each track is solidly rooted in hard pounding rhythms and funky horn harmonies. The group was originally formed by three brothers: Carlos, Lou and Ric Wilson from Panama. They grew up in Brooklyn which served to influence their musical style, fusing soul with latin and rock to make a unique breed of funk. Tracks to watch out for include the hard driving "Ape Is High", and the cosmic "Universal Rhythms".

The album is rich in cosmic mysticism and features some great harmony's and beats. Both the A and B sides end with solid closers - "I Refuse to Smile" and "The Sun Must Go Down" respectively, leaving you wanting more. The album was recorded at Electric Lady Studios in NY between December '71 and March '72 and is a great showcase of the sounds coming out of NY at the time. Rumour has it that Hendrix himself was supposed to play with the group (before his premature departure).

I remember hearing this album for the first time at Kops Records in Toronto and it blew my mind. I hope it does the same for you.

Here today, gone tomorrow....

The Brothers Johnson - Look Out For #1 (1976)

2011-12-01T22:39:00.001-08:00

This album is so funky it should beused to help the elderly rehabilitate broken hips. Haha I know, ok jokingaside, this is a seriously funky album draped in the smoothest of grooves withrhythms and bass licks that dive deeper than Marianas trench. Brothers Louis“Thunder Thumbs” on bass and George “Lightnin’ Licks” on guitar were first‘discovered’ by Quincy Jones in February of 1975.

Edward Eckstine (former president of Mercury records) recalls Quincy saying, “These are the two baddest cats I haveever heard” In the liner notes he writes, “When they walked into the studio andstarted to play I could not believe my ears. Louis, the younger of the two is20. He picked up the bass and started playing in a matter of ten seconds theentire studio was silent, with all eyes on him.”

This album captures the virtuosity ofthe two brothers at the very beginning of their professional career. It is rawwith badass bass lines, sultry guitar licks and of course it has that special‘Q’ treatment (crunchy synths, potent hand percussion et al).

Quincy was recording Mellow Madness at the time (1975) onwhich the Brothers ended up writing four of the songs. Interestingly enough, priorto joining ‘Q’, the Brothers cut their teeth while touring the States as a sideman with Billy Preston.

Songs to look out for include the harddriving Get The Funk Out Ma Face andthe Hendrix-esqe Land of Ladies. Not surprisinglyLook out for #1 reached #1 on the USR&B charts and #9 on the US Pop charts. It is a fantastic debut album thatis a must have for anyone trying to groove or just rehabilitate their hips. Asthe Brothers themselves say, “Thunder Thumbs and Lightnin’ Licks gonna get toyour soul in ’76!”

Beware...

V/A - Florida Funk 1968-1975

2011-12-01T13:14:00.001-08:00

I figured I’d start it off with a bang and give a little more. Here’s another nice piece of Florida Funk. It's a compilation put out by Now Again Records of Florida Funk classics from 1968-1975. If the picture alone doesn’t sell you on it, I don’t know what will. It’s nice to contrast this to the Little Beaver (featured on this album as well) as it shows the diversity of the funk scene in Florida. If there’s one theme that underlies it all, it’s the nitty-gritty sweaty-swamp soul that fills the room after you push play. Do not delay, get 'er right away!

Gators

Little Beaver - Party Down (1974)

2011-12-01T12:56:00.000-08:00

As the inaugural post for this blog, I figured it was appropriate to use one of my favourite albums from the 70’s soul era. Little Beaver – aka Willie Haley – was born in the, “jewel of the Delta”, Forrest City, Arkansas in 1945. His mother gave him the nickname Little Beaver because of his teeth and it seemed to stick with him for the rest of his career. Hale started at an early age, moving from Arkansas to Florida in the early 1960’s to pursue a music career. The move forced him to fuse his swampy funk with the refined Bauhaus elegance of Miami and he managed to get signed to the Cat label – an offshoot of the Disco giant TK Records.

Hale’s rise to fame was gradual and peaked in 1974 with his hit “Party Down” which reached #2 on the US R&B chart. Unfortunately, the soulful vocals and smooth arpegiated chords that made Hale such a hit in the 70’s led to his commercial demise in the 80’s, during which time, his music failed to compete with the dance-floor oriented Disco that was being produced. Regardless, Party Down has carved out a spot in the soul cannon and cannot be ignored. Enjoy!

Beaver

Welcome

2011-09-17T12:31:00.000-07:00

Welcome to 1.8 Seconds, a blog devoted to hi-quality Hi-Fi and all things good. I hope you enjoy listening to this feel-good wholesome music as much as I do. More to come soon....