True Fuschnick (Shaheed’s Fix) – Fu Schnickens
from 12″ on Jive (1992).

Syeeda’s Song Flute – John Coltrane
from Giant Steps on Atlantic (1959).

Fu Schickens had a lot going for them in the early 90s: outsized personalities, excellent speed rhyme skills, and most importantly the production help of A Tribe Called Quest. As a young cat F.U. Don’t Take It Personal was one of my first purchases on the fancy new digital format called see-deez. While certainly not a genre defining album, it was an early favorite and a great spot of nostalgia for me, and it had two great singles (“True Fuschnick” and La Schmoove”). By the time the Fu’s second album came out in 1994 hip hop had left them behind, along with many less talented Das Efx disciples. It is disingenuous to call Fu Schnickens a Das Efx derivative even though they did the fast rap mumbity jumbity from time to time, because they had a strong style and nailed the whole kung fu fascination thing long before Wu Tang Clan.

Ali Shaheed Muhammed of ATCQ offers a remix of “True Fuschnick” for the single release that is quite hot. An excellent punchy drum loop, and a short sax note from John Coltrane form the elements for the instrumental. The horn sample isn’t a loop or even a riff, but a single note than gets chopped and shifted around a bunch of different ways throughout. So very nice. It should also be noted that this single achieved a real high point in hip hop single packaging with green vinyl and a clear plastic sleeve with translucent artwork.

Of course, while this track is great, the chance to put up “Syeeda’s Song Flute” from Giant Steps is cannot be missed (the sample source of course). Coltrane’s song dedicated to his daughter’s playful nature opens with one of the most recognizable drum fills in jazz and is a deserving all-time classic. Top marks specifically to Tommy Flanagan for his piano solo.

I’ll leave you with these words of wisdom from Chip Fu:
So eeney, meeney, miney, mo good goobelly goo I bumped my toe
Oh-oh, “oh-oh better get Maoco” chocolate Chip’s about to flow.

Channel Live: Mad Izm and Lock It Up
From: Station Identification [Capitol, 1995]

You may have noticed that I’m totally on a nineties rap tip at the moment. Having funked myself out over the last couple of months I’ve been digging in the rap crates and revisiting some of my forgotten gems. So it’s back to the back to the back to the hip hop today with the 1995 debut of Channel Live, produced by Mr Hip Hop himself, KRS One.

More than almost any other genre of music, the battleground of rap is littered with the remains of artists who burn brightly for a moment and then fade away and I guess Channel Live fall into that category. While the platinum success of their single Mad Izm did help the album go gold they faded from the scene as quickly as they appeared. However, unlike many of these rappers, Channel Live’s album actually delivered on the promise of the single, offering a mix of styles, quality verbal dexterity and some excellent production by KRS.

I couldn’t really offer up this record without posting up Mad Izm and it’s a track that’s stood the test of time remarkably well, its simplicity being a blessing as Hakim and Tuffy vary their flows and tone to create their own vocal melody over the minimalist strings and beat production. And KRS One turns up for good measure as well.

Lock It Up offers up a horn heavy beat from Salaam Remi reminiscent of ATCQ and the two MCs once again go to town on it, offering up a selection of fast, fluid rhymes notable for their wit as well as their technical ability.

I see that since then Channel Live did release a follow up EP and album in 2000 but I’ve yet to meet anyone who’s heard it. A shame really as it’s clear to hear that they’re a couple of highly talented artists. Guess it’s another one to add to the already stacked pile labelled Coulda Been Contenders…..

Honey Dove – Lee Fields & The Expressions
from 7″ on Truth & Soul (2004).

C.R.E.A.M. – El Michels Affairs
from 7″ on Truth & Soul (2006)
both also available on the compilation Fallin’ Off The Reel, Vol. 1 on Truth & Soul (2006).

The Truth & Soul label has been putting out great retro-modern funk and soul 7inches for the past few years. While they are relatively easy to find currently if your looking for them, the pressings are all pretty limited, which means whatever the equivalent of audio blogging is in 2025 young Ear Fuzz: The Next Generation will be posting up their pristine copies of these tracks. Well actually it isn’t enough to be rare (or rare-ish), but as I found out after picking up the compilation mentioned above recently the label is consistently wonderful. Picking tracks off the CD to post on was tough because they are all so good, so I stuck with a couple I had already known well enough to purchase the singles.

Lee Fields has been lending his emotional voice to soul/funk tracks for over 30 years, and recently has been putting some great stuff with the Sugarman 3 or The Expressions backing him. “Honey Dove” is dripping with Lee Fields raw vocals over The Expressions extra smooth keys and guitar music. Since it is break-up/love ballad that rough and smooth duplicity is extra appropriate. And just when you think it’s rounding out as a solid song, the horn section comes in and takes it to another level.

Definitely garnering a lot of attention is the roughly year-old partnership that has been formed between El Michels Affair and the Wu-Tang Clan (particularly Raekwon). The Affair’s rethinking of the Wu classic “C.R.E.A.M.” is stop-drop-&-roll fire. Like all wonderful covers it is familiar enough to hook you instantly and different enough to hold you for repeat listens and take you to new places. When that electric piano lick hits, it’s over! The flip to this single is another re-interpretation of a RZA track “Glaciers Of Ice” from Only Built For Cuban Links, which is also on the comp. This is the first in a series of Wu inspired efforts called the Shoalin Soul series, and here’s hoping they can live up to the promise of Vol. 1. El Michels Affair has done a lot of live backing for various Tang Clanners recently and you can find audio and video from some of those events at the Truth & Soul website under the media section.

One of my favorite CDs from 2006, definitely.

Dorothy Ashby: Soul Vibrations and Come Live With Me
From: Afro-Harping [Cadet, 1968]

What with all the continued drama and ups and downs that accompany the World Cup what better time to take a breather, sit back, and unwind your mind to the sounds of Dorothy Ashby.

The harp is not the first instrument that springs to mind when you think of funky, beat heavy, jazz and Ashby worked long and hard to garner respect for her talent, touring with more established musicians thoughout the fifties and into the sixties. However, the hard work was worth it as one listen of Ashby’s playing and it all makes perfect sense. Ashby’s skill with the instrument takes the harp out of the background, crafting sublime melodies and themes, it’s lush sound working beautifully with the arrangements of Richard Evans and the trademark bassy production of the Cadet label.

Afro-Harping is, in my mind at least, Ashby’s strongest work, capturing her at the height of her powers with a sound that’s as tight as they come. From the get go on Soul Vibrations it’s all about the power of the piece, coming across like a lost track from Axelrod’s Songs albums, exotic strings and thudding drums propelling the track forward with Ashby’s harp fluttering over the top exquisitely.

Come Live With Me is lazing on a sunny day captured on vinyl grooves. Blissfully laid back, the track glides by as Ashby’s harp and synthesised chords leave you floating away in a cloud of dreams. Absolutely gorgeous and the perfect tonic for a hectic month.

Shirley Butler - “I Really Really Need You”
[Houston International Records (H.I.P.) 196?]
Ernie Rivers - “A Message To Percy”
[Knox, 196?]

Open-relationships between husbands and wives are lame, and possibly damage their children’s post-education dreams. Damn, the hydro is being cut off, oh shit, the bank is foreclosing the home. Time to heavily drink and smoke cigarettes while lying about sleeping with prostitutes, running rails and gambling.

You see that little predicament sums up deep soul episodes and I laugh at the situations, why not, grown people bleeding their hearts on 45s is meant to be entertainment. The records are valued like food rations and the raw emotion these people release in their music is shivering. I cannot explain what soul is, but after watching Nina Simone’s “For A While” on Live At Ronnie Smith’s, I am witness to what soul is.

Sir Shambling has collected records for over 35 years, has collected over 25,000 and lends records for compilations. The man is married, has two cats and manages a low-income housing organization somehow while managing his passion for soul music.

I’ve heard Shirley Butler on rare occassions through friends, compilations (perhaps singles from Shambling or Larry Grogan’s 45 collections) and Internet resources, but I had not heard “I Really Really Need You” until recently. Butler is a product of Houston and cut records with Huey Meaux, a local cat that owned the Crazy Cajun lable. Meaux was behind Barbara Lynn’s “You’ll Lose a Good Thing” and worked with Joe Barry on “I’m A Fool To Care.” Let’s undress “I Really Really Need You.” Personally, 2:35 is sure shot timing for a hit in the `60s and the first 13-seconds of the song could wake up the dead. The minimal horn arrangement, light drums* and flirting guitar chords provide a sensual production that would have the preacher’s daughter open. Sincere lyrics matched with Butler’s raspy voice provide the perfect makeout song. Yeah, babies were made to this music.

“A Message To Percy” by Ernie Rivers is the first (and only) soul “answer song” that I’ve heard. Rivers did to Percy Sledge what Dipset is doing to Jay-Z, but 40 years before crafty publicists dictated music. The song is a response to Sledge’s “Take Time To Know Her” and assumes the character of the man that was left by a woman for Sledge. Come on now, this “answer song” is far more intelligent than Cam’Ron and Jay-Z’s Internet bickering.

Be sure to checkout Shambling’s site – it had me distracted from work for two days!

*The other day a friend commented on drum breakdowns from the `60s. He noted how easily people labeled drum patterns as “too sexy.” Well, the breakdown in Butler’s song is a huge “no, no.”

Showbiz and A.G. - “More Than One Way Out Of The Ghetto”, “40 Acres And My Props”
From: Runaway Slave [Payday, 1992]

Junior’s O.C. post fits like fresh Nike Dunks with tight fitted low-cut white socks in “hotter than July” weather; I mean to say, Junior posting O.C. compliments my Showbiz and A.G. post. D.I.T.C. alumni possess regal status on the campus of NYC Rap that sprung up in the `90s. I fully agree with Junior, a resurgence in `90s rap is blowing up and the Internet is an encyclopedia of rap music knowledge.

Anyway, in `92 George H. W. Bush puked on the Japanese Prime Minister, Mike Tyson rapes a Miss Black America contestant and war erupts in Bosnia – while the world is going to hell two cats from The Bronx release Runaway Slave, a rap album that was risky in a “people might not get it” way. Thank Lord Finesse for laying the D.I.T.C. foundation on his Funky Technician album, which is a piece of rap history in its own right.

Showbiz’s production on Runaway Slave has that jazzy bounce that early Digable Planets’ singles mimic, but A.G.’s hard lyrics keep Runway Slave in the intelligent street-raps realm. “More Than One Way Out Of The Ghetto” is genius. That early-nineties horn will forever linger as the soundtrack to my youth, I love it. A.G.’s lyrics on “More Than One Way Out Of The Ghetto” start off grimy in a tale of project welfare to hood rich ostentation. This song is a rap allegory that authority figures cannot comprehend (at the time), while youth soak up the reality of at-risk living.

In `92 Spike Lee releases the 202 minute bio-film Malcolm X and afro-centricity skyrockets. When I hear “40 Acres And My Props,” I immediately think of Lee’s 40 Acres & A Mule Filmworks company. Forty acres and a mule is an expression people would use after American slaves were freed in a post-Civil War America. Major General William T. Sherman announces 40-acre land distribution on January 16, 1865, but after President Lincoln is assassinated, President Andrew Johnson revokes distribution of the land. African-Americans in South Carolina, Georgia and Florida settle on 400,000 acres of land in 1865, but Johnson returns the land to the original owners leaving tens of thousands homeless; “40 Acres And My Props” is a brilliant street-rap fable.

O.C.: Time’s Up and Let It Slide

From: Word…Life [Wild Pitch, 1994]

There’s a famous story about Martin Scorsese’s adventures at the Oscars. Apparently one year little Marty turned up and found that his seat had been marked as a previous Oscar winner, the reason being that he could have won the award so many times that the organisers assumed he must have got the statue at some point or other.

A long and unnecessary tale yes, but similar still to me and O.C.. I’ve been digging his music for so long that I’d just assumed that at some point or other I’d done a post on him. However, trawling back through the archives, it appears not. Therefore to start making amends on this let me present you with O.C.’s debut album – Word…Life, the forgotten classic of 1994.

O.C. made his recording debut at the top of the chain guesting on Organized Konfusion’s Fudge Pudge before dropping his debut longplayer to widespread acclaim. Despite this acclaim for the debut and his follow up album, Jewelz, (expect a post on that shortly) O.C. is still more of a name spoken by rap fanatics than the general public.

Mainly produced by D.I.T.C. stalwart Buckwild, the album featured a variety of imaginative loops that were clearly drawn from the Diggin In The Crates style of sampling. This top level production merges beautifully with O.C.’s superior rapping skills as he shows his preference for complex rhymes, matching three syllable rhymes on the beat.

That’s what I consider real, in this field of music
Instead of puttin brain cells to work they abuse it
Non-conceptual, non-exceptional
Everybody’s either crime-related or sexual

Time’s Up is probably the most well known track from the album with it’s relentless bass line and O.C. spitting his deceleration of war. They are few things better in rap than an MC at the top of his game calling out the opposition over their lack of performance and this is near as good as it gets.

Let It Slide displays Buckwild’s imaginative use of samples and a great example of storytelling by O.C. Take a moment to stop and appreciate the flow of this man, it truly is something special.

Unfortunately this album still hasn’t been reissued but, with the recent flurry of interest in 90’s rap, it can only be a matter of time now, surely?

Brazillio has kindly pointed out that the album has been reissued which has just made my Friday and helped wipe some of the hangover I’m currently experiencing from too much beer and too little good football by the England team. Link to purchase updated above.

Tighten Up – The Majestics
from 7″ on Unique (2006).

Tighten Up (Album Version) – The Bamboos
from the album Step It Up on Tru Thoughts/Ubiquity (2006).

While Junior preps for England’s match tomorrow against both Trinidad & Tabago (two against one hardly seems fair), today here are two big drum funk stormers in honor of the lads. Both of these tracks are covers of “Tighten Up” by Houston, Texas’s own Archie Bell & The Drells (released in 1968). The Majestics version is from their album (also titled Tighten Up) and released some time in the late 60s/early 70s. That album is hard to come by and both in terms of rarity and $$$, but this track was re-released this year on the German label Unique with the flip featuring another (almost as good) cover of “Tighten Up” by Benny Gordon & The Soul Brothers. Great raw drums, bass, and horns on this with a huge open break.

Also from 2006 is The Bamboos’s cover from their debut LP Step It Up on Tru Thoughts. That whole album is fantastic, and I highly recommend it. The large amount of classic style funk coming out right now is simply wonderful, and this album is one of my favorites. Again the Bamboos take the chance to let the drums and bass get as big and driving as possible, as the extended break around the 2 minute mark attests. A sweet and frankly perfect touch is the addition of the flute, especially in the opening movement. Much more about the Bamboos can be found at their website.

Bonus trivia: One of my buddies pointed out to me that this track was also once covered (badly) by Homer Simpson in the Simpsons episode “Bart Gets Famous.” Evidence

Young Man’s Blues – Mose Allison
from Back Country Suite on Prestige (1957).

Parchman Farm – Mose Allison
from Local Color on Prestige (1957).

Your Mind Is On Vacation – Mose Allison
from I Don’t Worry About A Thing on Atlantic (1962).

All of the above also available on Allison Wonderland: The Mose Allison Anthology on Rhino (1994).

Much like the way Nina Simone performed in all kinds of styles (Broadway, soul, gospel, jazz, etc.) but always made everything her own and deeply soulful, Mose Allison is difficult to classify in a particular genre (boogie, Blues, bop jazz, western) but is always undeniably Cool with a capital Cee. Three short, famous tracks by this artist today to hip your mood.

“Young Man’s Blues” is definitive piano blues with the light drum and bass backing Mose used predominantly throughout his career. This is from his first album, and is actually a section of the multi-part “Back Country Suite.” Allison’s voice is smooth and never hurried even as fingers are flying around the keyboard.

“Parchman Farm” is also from a 1957 session and featured on his second album with Prestige. While the vocals are all blues about life in a prison work detail, the instrumental is a swinging boogie style that provides heightened tension and gathering speed throughout. The bridge between the two movements always gets my legs bouncing and head nodding. Nice M. Night Shamalanadingdong twist ending as well.

Finally, “Your Mind Is On Vacation” showcases Allison’s witty writing over a lazy boogie piano and walking bass. If silence was golden / you couldn’t raise a dime. Early example of punchline battle lyrics I guess. Allison has stated this track was a put down to mouthy know it alls, but also admitted it was definitely a self-indictment as well. We hear at Ear Fuzz may be mouthy know it alls, but we’ll take clues from Mose and keep it cool and fun.

Lots more Mose information can be found at his website including current tour dates. I’ve locked up some tickets for his visit to Berkeley, CA, and am already looking forward to it.

Cesar Mariano: Futebol De Bar
Jorge Ben: Ponta Da Lanca Africano (Umbabarauma)

From: Brazil – Musica De Futebol [Mr Bongo, 2006]

So you may have heard that there’s a little footy tournament starting today……

To say I’m hyped about this would be a serious understatement. Yes I know England won’t win and yes I know that even the glamour of the World Cup won’t make a match like South Korea vs Togo anymore exhilarating but still I can’t help myself and am determined to watch as much as possible.

Because of this commitment to football and drinking my posts may be even more sporadic and infrequent than normal over the coming weeks, at least until England get knocked out anyway. If they’re doing well expect lots of summer fried funk, if it all goes wrong expect Esther Phillips.

However, to kick things off I’ve trawled and trawled for some decent soccer related songs and come up with almost nada apart from the Brazilian gems that I give you today. Yes I know posting Brazilian music at the start of the World Cup is more than a little cliched but it’s the best I can do under the circumstances unless you fancy hearing Waddle and Hoddle’s Diamond Lights again. For those not in the know, don’t Google it, treasure your innocence.

Cesar Mariano’s Futebol De Bar is a lovely slice of rolling Brazilian goodness. Using nothing more than a piano and percussion the song conjures up that stadium feeling of anticipation and action with it’s rumbling drums and is also a great dancefloor number at the same time.

I’ve been meaning to do a proper post on Jorge Ben for a long time now but until I finally pull my finger out this will have to do. Ponta Da Lanca Africano (Umbabarauma), originally from his Africa Brasil album, is a lovely slice of dirty tinged funk with that summertime vibe in very full effect and quite possibly the greatest football related song ever.

Both are available on the linked album which, while there’s nothing outstandingly rare, is a nice little themed compilation and worth checking out.

Now, let the insanity begin………..