Trick or Beat? Goodbye summer.

Mariposa (f/ Carol C) - Nickodemus & Osiris
from 12" on Giant Steps (2001).

Another Lover (RJD2 Remix) - J-Walk f/ Pete Simpson
from 12" on Warner Music (2002).

Some travel for work and play has kept me off the interwebs the last two weeks, but here's to a fresh start. While out and about I realized that summer is over and in many places autumn is gone also leading to winter. As a last holla to the warm and sunny breezes up today is a "Mariposa" by Nickodemus and Osiris featuring the excellent Portuguese Spanish vocals of Carol C of Si-Se. A nice punchy beat beat augments the super familiar Latin piano lick. And whatever CC may be saying, it sounds great to me. It is always interesting when the word that describes something captures the aesthetic beauty of that thing (think "azure" or "Jean Seaborg") and even more interesting is when that word transcends translation. Butterfly in English, mariposa in Spanish, and papillon in French...all capture the beauty of the thing well as does this light summery track.

On the converse is the J-Walk track which has all the heartbreaking melancholy of a lonely, chilly day filled with brown leaves. RJD2 delivers a very signature sounding remix with almost scary "The Horror" sounding organ and little string touches to go with a steady soul beat. So what if RJ wants to produce the next Coldplay album or whatever, he's had the Midas touch when making this soft hearted stuff from way back. Happy Halloween.

Follow The Medicine Man

Gary Bartz NTU Troop: Standin' On The Corner and Sing Me A Song Today
From: Follow The Medicine Man [Prestige, 1972]

Where's the love for Gary Bartz? One of the most consistently high performers of the fusion scene, Bartz seems to have been labelled as a purely smooth soul jazz musician. This is no doubt mainly due to the great success of his classic Mizell Brothers productions such as Music Is My Sanctuary in the late seventies but Bartz had a lot more strings to his, eh, alto saxophone than this.

Having toured with Max Roach and Miles Davis (including soloing on the classic Live-Evil) Bartz knew his roots when he formed the NTU Troop in 1970. Combining influences from funk, soul, jazz and folk the band created a unique style that still hits home today.

Follow The Medicine Man is one of Bartz's grittiest albums from this period. I was looking for an easy comparison to this work but to be honest I'm hard pushed to think of one.

Standin' On The Corner is a laidback chilled piece of street corner funk with gorgeous production featuring a combination of great horn work, a continuous bubbling piano line and Andy Bey singing his heart out over the clashing cymbals and alto sax.

Sing Me A Song Today is like some proto drum and bass track twenty plus years before it's time consisting as it does of a proper tech step beat, warped trumpets and what can only be described as an ominous bassline. With a stop-start rhythm and stomping groove it was only on the third or forth listen that I really "got" this track - so far ahead of the game it's a little frightening.

Show the man some love.

Fuzz 45s

Joe Graves: It's Got To Be For Real (Rack 103)

The Creations: Footsteps (Zodiac, 1967)

The Trinikas: Remember Me (Pearce)

It's all gone a bit quiet on the Fuzz so thought I'd drop a couple of 45s for you that have been hanging around the system for a moment like this. Not much to link the tracks today apart from:

a) They all deal with pained expressions of love
b) They're all absolute superb

I know nothing, I repeat nothing, about Joe Graves or this song but it's so sublime it hurts me inside. I love the longing urge that broods through the track, from the falling chords to Joe's anguished vocals and those stabbing horns. What a track. Someone please hook Ghostface up with this to rap over on his next album. Many thanks to Ako for first bringing this to my attention.

Moving onto the next broken heart. The Creations 45 release, Footsteps, is a lovely slice of mid tempo frustrated love from 1967. I couldn't work out why there weren't any more releases from this group until it was pointed out to me that in actual fact the Creations were the far more prolific Brothers Of Soul under another name. This is pure northern soul heat at it's finest.

Finally we come to the Trinikas. A bass heavy, horn heavy, passion heavy track in every sense this 45 is one that started expensive and will continue to rise but is worth every exaggerated amount it goes for. The blend of the gospel vocals and funk make this a unique combination of haunting and footstomping and a genuine classic.

Webster Lewis: Live At Club 7

Webster Lewis: Do You Believe
From: Live At Club 7, Oslo [Counterpoint, 1971]

Being at work with a hangover is one of those things that always seem like less of a chore the night before when you're in the pub soaked in alcohol and telling all your workmates how much fun the next day will be.

Currently experiencing the cold sweat/dry mouthed reality of the situation I was zoning out to my headphones when this beauty came on and I thought I'd use my time wisely by sharing the genius with you.

Another highly influential and greatly underappreciated artist, Webster Lewis cut many a fine track in his long and distinguished career but that aren't many finer than this live version of Do You Believe.

Starting with the kind of percussion arrangement that had heads swooning over Kruder & Dorfmeister's output in the mid to late nineties Webster takes the listener on a twenty minute journey through soul, jazz and funk as the track slows, stalls, and ups its tempo while maintaining it's relentless rhythm. Featuring organs, horns and a beautiful, beautiful, lead vocal this is the tonic a tired body and mind needs to get through the day.

Dreaming Into The Winter Season: The Montclairs

The Montclairs: Beggin' Is Hard To Do and Dreaming's Out Of Season
From: Dreaming Out Of Season [Paula, 1972]

DJ Still was right on point. Despite my heart praying otherwise, there's no doubt as I stare out the window at a grey and windy day that the season for hibernating is now upon us my friends. However I know all too well that if you can't beat them you better join them before you start losing the sensation in your limbs.

So, get your thermals on, get your cup of cocoa and your marshmallows to roast over an open fire and snuggle up to the sweet soul sounds of The Montclairs.

I feel to point out a soul group as underrated or cruelly slept on at this stage in my blogging life would be to somewhat labour a point, but, dammit, these guys were slept on, never even making the top 30 in the R&B charts. Considering the lushness of the harmonies it's surprising that they aren't more sought after today, maybe it's the lack of an equivalent to the Whatnauts funky break who knows, but these guys should really be right up there when considering sweet soul groups.

The first time I heard Beggin' Is Hard To Do it felt like a track I'd heard since my childhood. An absolute sweet soul classic full of sublime vocals and a heartbreaking string laden hook that floors me everytime I play out the track.

Dreaming's Out Of Season ain't far behind in the quality stakes either. It's a difficult task to make something this sweet without the gum rot setting in but these guys display their mastery of it, combining the anguish of the lyrics with the kind of effortless vocals that money just can't buy anymore.

Sadly the Japan only reissue of this album seems incredibly hard to come by but if you find a copy of this, the OG or the 2CD reish I'd highly recommend snagging it. It won't keep the winter nights away but at least you can warm your innerself with the brilliance of The Montclairs.

Time In The Wind

Kai Winding & The Gospelaires: "Time Is On My Side"
From: Verve 45 [Verve, 1963]

OK gang, today I'm squeezing in a post to let everyone know about Format Mag, an online magazine where I am features editor and I write a column called, All Beef, No Chicken. TIME, TIME, TIME is on my side, because I love the work I do and hopefully the global Ear Fuzz family can appreciate my work at Format. The focus at Format is on music, design, art and fashion. There is something for everyone!

Thanks for all the support, Ear Fuzz is my Internet home and I have mad love for it!

To the music!

Time is the message and "Time Is On My Side" is a painfully beautiful song that has me open. A lot of people believe the Rolling Stones made this song or Irma Thomas, but trombonist, Kai Winding, is the king that conquers "Time Is On My Side". The simplicity of the arrangement makes this soulful burner easy to remember, but the powerful vocals make the song unforgettable. The Gospelaires send shivers through my body and after I found out who they are everything made sense. The Gospelaires are Cissy Houston, Dee Dee Warwick and Dionne Warwick. No wonder those vocals hit so damn high!

Jerry Ragovoy, known better as Norman Meade, has written and arranged this song. Other than some amazing trombon work and all-star vocals, the arrangement is pretty simple. However, much like amazing graffiti, the simplicity of Ragovoy's arrangement is highlighted with infectious accents that work better without clutter. Another song to checkout is Garnett Mimms', "Cry Baby", another Ragovoy song with, from what I've read, The Gospelaires on vocals, but the record credits vocals to The Enchanters. I'll milk that 45 from my friend and the Ear Fuzz family can be the judge on this vocal controversy.

I play this song to people of all generations and the affect it has on people is amazing. From "That's way creepy, man" to "It's so beautiful," people really notice this song's emotional strength. Sure the lyrics are about make-up to break-up, but the idea of hope for something better is what really grabs me. This song moves me in a way that a motivational speaker gives hope to addicts.

LA ROCK YO RAPS

T La Rock: "Lyrical King (From The Boogie Down Bronx)", "Breaking Bells"
From: From The Boogie Down Bronx [Fresh Records, 1987]

Although it's 2006, I've been hearing a lot of rap productions that are similar to early T La Rock cuts, particularly cuts from T La Rock's, From The Boogie Down Bronx. Wiz Khalifa's "Oh No", from his mixtape, Prince Of The City: Welcome To Pistolvania, is the latest production that caught my attention with its hint of Kurtis Mantronik-style kicks.

The `80s were a magical time-minus the crack pandemic-for hip-hop culture and pioneering rappers. People like Jamel Shabazz were taking the flicks at block parties that showcased the vanity of normally humble communities. I think vanity, or utter coolness, is the reason rappers like T La Rock can have a cocky swagger without sounding like a ghetto-yuppie rapper.

"Lyrical King" is a mean production that sounds like an ominous back alley robbery anthem. It's possible that T La Rock felt he needed a strong presence, because it's no secret that a young LL Cool J squeezed a Def Jam contract away from T La Rock. (T La Rock's "It's Yours" is unofficially Def Jam's first release, long story short, released on Party Time/Street Wise, but a Def Jam logo was on the record.) I listen to the lyrics on "Lyrical King" and it's like T La Rock writes his mission statement to rappers and the people that made hip-hop culture.

Mantronik is a producer that needed a time machine so people could catch up to "his time". In 1987 a lot of people were not using samples, but Mantronik managed to fit Roy Ayres' "Brother Green" in T La Rock's "Breaking Bells", a production that has a gang of bells and whistles. T La Rock straight disses LL Cool J on "Breaking Bells", sure he doesn't say LL Cool J's name, but this record clearly places LL Cool J's "Rock The Bells" in last place.

Make You Wanna Do Wrong...

Anthony Hamilton: Coming From Where I'm From (DJ Still Life Algae Remix)


To piggyback on independant j's "Love and Happiness" post earier this week, thought I'd post this remix I hooked up a year or so ago. I too am a big fan of Exile's L&H edit, and spent all day running through different acappelas looking for the right one to lace it with. I think this one hits it pretty hard. Anthony Hamilton's original version is a lesson in reflective contemporary soul, and the lyrics fit the tone of the Al Green song quite nicely.

Two side notes. 1: If you're going to rock a shirt with your own picture on it, this is how it's done. 2: If you're feeling Exile's music, make sure you check out his brand new record on SiC (which just dropped two days ago). Quality music all the way through, and I gotta give some extra dap for including two San Diego emcees. Definitely a good look.

Wale: 21st Century Go-Go

Wale: Breakdown and Uptown Roamers

As displayed in J.'s post below, it's not all pre 1994 on this site. I never have, and never will, buy the notion that modern music is shite. While I love my old soul, jazz, funk and rap there's always an innovative, original, sound round the corner to reawaken the excitement of even the most jaded listener.

With this in mind it's time to shine a light on an up and coming talent from Washington DC - Wale (Wha-lay). Currently setting the world of MySpace alight this rapper actually has the music and talent to back up the hype as he and his crew go about reinventing Go-Go for the new millennium.

On the blistering Breakdown Wale lets fly over a combination of various drum breaks and synths that could have come straight from a classic Junkyard Band recording but here sound totally fresh and new. Seriously intense when played at high volumes, I want to be in a club when this drops.

Uptown Roamers flips it on a more Chopped & Screwed vibe as Wale delivers a fluent introduction to his city, it's inhabitants, and the culture over a heavy synth production, proving himself to be much more than just a party mc.

You can find a couple of other decent tracks from Wale at his MySpace page and download his mixtapes for free at his label's site Studio 43. With various deals in the pipeworks there looks like deservedly big things on the horizon for this particular MC.

(Thanks to honorary EarFuzz member Chuck for hooking me up to Wale's sound.)

Whole Lotta Love and Happiness

Love & Happiness - Al Green
from 7" on High Records (19).

Algae - Exile
from Phase 1/Phase 2 12" on Absence of Color.

Baby Please - Jurassic 5
from the album Feedback on (2006).

Love & Happiness Re-Edit - Shoes?
from white label 12" (2005).

Mini-mega-post today (doesn't that cancel to make a normal post?) concerning Al Green's super-classic "Love & Happiness" and all the love (& you know) its been getting from producers lately. First off we have the ultra essential, supremely wonderful original grack from Al Green. I know ear fuzz brings the rarities and more unknown stuff, but I didn't feel this post would be complete without this track...hopefully you know it, if you don't then I was right to include it. With the clean, short guitar lick and already isolated and punchy drums this track is a gold-mine to chop up.

LA-based producer Exile (part of Emanon, putting out work on the excellent label Sound In Color) put out this choppy tribute production originally on the grey market 12" for SiC called Absence of Color Phase 1/Phase 2. Quite a clever title also calling the track "Algae" but the real cleverness is in the beats. The guitar, the drums, even the little horn hook, it is all re-arranged so very well. When he goes a little crazy with looping up the guitar diddling I get tense and delighted all at once. The same basic structure was used for "Baby, Please" the best track on Jurassic 5's recent album Feedback with the crew vocally riding the beat well and just the tiniest bit of scratching added. Please J5 more like this and much less like the Scott Storch and Dave Matthews Band collabs on Feedback.

Finally, an unknown (to me) producer put out this delightful re-edit "L&H" last year that is typically known as the Shoes Re-edit (there is a sneaker stenciled on one label side and the other is blank - presumably the No Shoes Re-Edit). Regardless, the Shoes re-edit keeps much more of the original order and chops much less than Exile but dubs some of the procussion, pushes the cymbal crashes way out and loops everything to make a very extended mix that is ultra useful for people DJing to the grown and sexy or for that matter the grown and fugly or anyone with taste and mellow steps. It is my favorite for this set although there are quite a few more "L&H" re-edits/remixes floating around especially in house circles.

End of Summer Soul

DJ Still Life: End Of Summer Soul Mix (2006)

---as one of the Earfuzz Oh Geez, I periodically like to drop in and lay some shit out for your listening pleasure, enjoy. Shouts to Junior, independant j & G147, you guys are holding it down in proper fashion--

I recorded this mix of soul records one recent afternoon looking out my window as the summer weather faded. I got most of these records during the summertime, and many provided a pleasent soundtrack an early evening porch sitting. The songs took on a more meloncholy feel as I looked at the clouds in the sky and the wind blowing through the palm trees. As I get geared up for the fall's record haul, I think these songs set the tone nicely.

--tracklist--

Syl Johnson- Wind, Blow Her Back My Way
Erma Franklin- Peice of My Heart
Delfonics- La La La La La (Means I Love You)
The Fuzz- I Love You
Willie Hutch- I Choose You Baby
Freddie Scott- Don't Let Me Fall
Mike James Kirkland- Hang On In There
Bootsy Collins- I'd Rather Be With You
Al Green- I'm Glad You're Mine
Eddie Kendricks- Intimate Friends

Evoking The Spirit Of Atlanta

Spirit of Atlanta: Freddie's Alive & Well and Auburn Avenue
From: The Burning of Atlanta [Buddah, 1973]

It's been a while since I dropped some straight down the line no frills funk so by the way of an apology and geed up by G147's post up of DJ Pump's disco fire, here's some hip shaking knee quaking funky goodness from the Spirit of Atlanta. A group put together by Tommy Stewart and featuring the drummer behind the legendary Amen break, G.C. Coleman, this band were only ever going to offer something you could shake your tailfeather to and they do not disappoint.

Caught in the blissful period between the end of straight funk and the dawning of disco the band combine the oncoming dancefloor positive vibes of disco with the gritty grooves of funk to stellar effect featuring a fiery mix of vocal and instrumental workouts.

Freddie's Alive & Well manages to have it's cake and eat it too by having a vocal and instrumental song in one. I can only assume that the subject matter is an answer song to Mayfield's Freddie's Dead but you can pretty much ignore the content of the vocals and instead concentrate on the foot stomping music. Featuring lots of wicky wicky wah wah guitar, strung out organ chords and an elongated drum breakdown this is a great example of what disco funk could achieve when put in the right hands.

Auburn Avenue is a strange mix of social commentary and sleaze as the narrator guides his honey through the rough streets with one eye firmly focused on his bedroom. Stewart's hand is very much in evidence with the organ led groove that runs throughout the track alongside heavy horns. As with many of the great dancefloor tracks the band save for the best till last as the many elements slide into place for the last rousing come on. i'd be very impressed if she still said no.........

Jazzy Piano Covers: Planet with a Fringe on Top

Planet Rock - Jason Moran
from album The Bandwagon on Blue Note (2002).

Surrey With The Fringe On Top - Ahmad Jamal
from the album At The Pershing / But Not For Me on Chess (1958).

It always piques my interest to hear songs redone in entirely new genres, whether it be some bluegrass band's take on Outkast or Ray Charles singing Country & Western tunes. Of course, many many times these efforts are corny and fall flat on their face. In the case of the first of today's two tracks (Jason Moran's live trio interpretation of Afrika Bambaataa's "Planet Rock") a seminal hip hop track is given an elegant and honorific jazz update. Nasheet Watts (drums) and Tarus Mateen (bass) mimic the stop & start percussion line of the original, while Moran's piano lines explore lots of new territory.

Today's other track comes from a far inferior starting point, as Ahmad Jamal (also recording live) covers "Surrey With The Fringe On Top" from the musical Oklahoma. Or maybe it was actually titled Oklahoma! I had a blissful childhood in Oklahoma (pointedly no exclamation), but this musical was the bane of a near idyllic existance because its ubiquity was nearly matched by its insipidness. However, the brilliant Jamal absolutely burns through a fast-fingered rendition of "Surrey" and puts all the sordid of When Harry Met Sally re-introducing the boring original to girls about the time I was starting to take interest in them. Jamal has so forever been highlighted and burdened by the praise Miles Davis laid on him for his use of negative space in his playing and composition that one can forget he could really scorch the keys with great technique when the mood called for it.