The Blackfoot: Second Time and This Is My Time

From: The Footsteps [Zambia, 197?]

It’s been a little while since we picked up on some more Zambian rock on the site but rest assured that I’ve still been hunting these beauties down in an effort to recreate the jaw drop that I got from Tembo and Amanaz. The good news is that I’ve found another very worth addition to the ranks with The Blackfoot’s seventies release The Footsteps. Even my exemplary google search skills have turned up absolutely nothing about this release beyond confirmation that it is from the seventies and it is from Zambia so we’ll have to go on that for now then.

What I can confirm for you is that we have some absolutely fantastic fuzzed out rock to brighten up your Wednesday that features the winning combination of riffs and heavy organ accompaniment that so caught the ear of the previous releases from this period with that so necessary rough and ready edge.

More steadfastly rock than Tembo and Amanaz, the tracks mainly find a groove and work it for its all worth which is just fine with me. Second Time is relentlessly forward moving and, in a strange way, possibly down to the raw vocals, actually reminds me somewhat of late sixties Stones. I’ve kind of given up categorising this stuff though and am just happy to leave it up to the music to do the talking.

This Is My Time is a fine example of the unique sound that seemed to be coming out of Zambia at the time, with that strange mixture of late sixties organ riffs and the more progressive vocal track roughly layered over the top. Throw in a fuzzed guitar solo and we’re in a very happy place.

What captures my imagination more than anything with these albums is the almost mesmerising mix of passionate vocals and the hypnotic, fuzzed out, music accompanying it. I suspect that a nicely cleaned up version of these records would actually reduce my appreciation but I feel it is my duty to once again request that some kind of reissue of this takes place – more people need this in their lives.

Now, I’ve posted Amanaz and Tembo, am well aware of Witch and Peace and have checked out some Blo. What am I missing to add fuel to this obsession? Please help an addict out.

Index: Fire Eyes and Eight Miles High

From: Index [DC records, 1967]

Apologies for the break from posting for a little while, I’ve come into the possession of some fantastic soul and funk records and been busy going through them and picking out what I want to share with you the listener. Also, um, Modern Warfare 2 is really, really, addictive. While I put the final touches to my choices I thought that with the fantastic, rap, soul, funk and jazz we’ve had up here recently we’ve not really touched on the world of rock for a while so to balance it out thought I’d share a bit of some of the most fuzzed out psych rock I know of, Index’s self titled album from 1967.

It’s worth keeping the year this came out in mind when you listen to the album, I know that “ahead of it’s time” is an overused phrase in the world of old record appreciation but I’m going to have to use it here. The whole record is drenched in layers of feedback to the point where the guitars and percussion feel like they’re fighting to be heard over the ambient noise. For those tracks where vocals are also in the mix they appear to be sung in from an adjacent room, floating semi coherently through the wall of sound that covers the track like a sonic mist. If this sounds heavy or in any way unlistenable, I can only apologise as it’s far from it. Heavy heavy playing and a true garage sound make this record a hypnotic and fulfilling listen you’re unlikely to forget in a hurry.

Ike White: Love & Affection and Changin’ Times

From: Changin’ Times [LA International, 1976]

Back with the rare today and Ike White’s 1976 LP, Changin’ Times. This post will be of the mercifully short type due to my knowledge of Ike being limited to that he recorded this album while in prison, it was at least partially produced by Jerry Goldstein, the man behind War’s sound, and that it was endorsed enough by Mr Stevie Wonder for him to page the liner notes that accompany the great music. I can certainly see why Stevie felt drawn to this artist, the combination of beautifully produced jazz/soul is right up his alley as White ventures into many a noodling territory before always bringing the track back into the funk lane.

While the entire album is of a high quality there’s no doubting that the reason why it regularly goes for over 100 dollars is due to the inclusion of the much comped, much loved, Love & Affection. I couldn’t really feature this album without including this track just in case you haven’t been witness to its majesty before. A combination of great horns, cow bell, an irresistible groove and a more than slightly Sly approach to tune structure and vocals result in a true funk classic and one that never gets old. Absolute belter.

I was torn between throwing up Antoinette, a 9 minute jam that ventures from deep groove to cheesy jazz funk to beautiful groove and Changin’ Times, another nine minute track that is more of the mellow soul variety. In the end I had to plump for the title track, its mixture of soul and jazz too much to resist. Very much a slow burner, the track really takes off around the two minute mark as the strings enter the mix and, to my ears at least, the guitar work takes on an extra intricacy as the percussion also steps up a gear. Very smooth but never dull, and, in its own way, rather beautiful.

Sadly this album still appears to be far from being reissued though as we so many of these, we live in hope. Nice heavy vinyl pressing please.

DMG: Psycho and I Ain’t Bullshitting

From: Rigormortiz [Rap-A_Lot, 1993]

Overloaded from the songs for lovers in the build up to and realisation of Valentine’s day over the last week, I desperately turned to something, anything, that would successfully clean the sweet aftertaste from my mouth. In moments like this the best cure for the sugar overload is always either angry rap or rock and, since this is a blog interested in the beats that bang, the winner had to be the hip hop and, specifically, DMG.

The DetriMental Ganxta, or DMG to his friends, started up in classic fashion by getting his tapes out there and into the ears of rappers he admired. In this case that rapper was Scarface which makes perfect sense when you hear DMG on the mic. A combination of Scarface deep tones and Kool G Rap at his angriest, DMG comes hard hard hard on his debut release, the underground classic Rigormortiz. An album almost solely interested in gangsta activity, the album’s production also stands up to the test of time, thanks to the involvement of N.O. Joe, the producer behind tracks for UGK, Devin and, of course, Scarface.

There seems to be a lack of other information about DMG so I’d be particularly grateful to anyone who can explain why there was a ten year gap between the release of such a great debut album and his follow up, Black Roulette. So instead, focus on the raw anger on offer as all images of cupids and the like are blasted away.

I know it’s a cliché these days but it was a real struggle picking just two tracks and I can’t help but feel you miss the real power of this album without playing the whole thing through. Did I mention that this comes hard?

Psycho is a perfect example of why many people at the time probably assumed this was a Scarface track rather than another rapper. It’s a classic early nineties southern track as DMG absolutely oozes menace over the crisp boom/bap (sorry) of the beats.

I Ain’t Bullshitting is about as mellow as DMG gets on the album, as he shows exemplary flow over a more laid back beat. Absolutely adore the organs that come in and out of the mix on this one, adding a slightly dreamy feeling to the track that contrasts to DMG’s every militant lyrical attack. My personal stand out from the album, this deserves to be loved by a far wider audience.

God damn, how did this album get overlooked? Oh yeah, a reissue wouldn’t go amiss you know?

Gil Scott Heron:

Did You Hear What They Said
From: Free Will [Flying Dutchman, 1972]
We Almost Lost Detroit
From: Bridges [Arista, 1977]
Angel Dust
From: Secrets [Arista, 1978]
Willing
From: 1980 [Arista, 1980]

Better late than never, it only seems appropriate that a site as immersed in soul and funk as Ear Fuzz should take a minute to appreciate that Mr Gil Scott Heron has released a new album. I’ve admittedly only given it a quick listen through so far but have to say that I’m impressed, the combination of Gil’s always powerful vocals and the updated accompaniment works extremely well. However, today I’m more interested in looking back to Gil’s past and highlighting a few tracks that may not be on everyone’s radar but certainly should be.
Not that long ago there was a pure record geekery discussion about who had the better discography, Curtis Mayfield of Gil Scott Heron. Without hesitation I plumped for Curtis as I expect most people would do. It was only when I had a moment to think about it that I decided to go back and revisit Gil’s albums and I must say that it’s perhaps not as clear cut as you’d automatically assume.
I’m skipping over Pieces Of A Man as this is unarguably Gil’s masterpiece album and, if you don’t have a copy already, please go out and buy it right now and immerse yourself in one of the great albums of the seventies. Instead we’ll take a look at the ten year period after Pieces Of Man and see what you think.

Tommy Mcgee: Come On and We Ought To Be Together

From: Positive Negative [MTMG, 197?]

In our typical understated and in no way unorganised manner, Ear Fuzz actually passed the five year anniversary over the past week. It seems like only yesterday when I closed down my own blog and moved here but over that period we’ve had numerous site breakdowns, been taken offline for a month, made lots of friends, had some harmless ebeef, changed colour and style about thirty times and also, with any luck, shared some great music with you all.

I don’t want to go all Gwyneth on here but I do feel that the following people have to be acknowledged as without them the site wouldn’t be where it is today. So shouts out to those who have since moved on including the originator DJ Maru (who has his own site now in case you haven’t checked), Killermike, dtglass, MattW, floodwatch and G10947. Also thanks as always to those who are still contributing, btieman, chuckdafonk, dane, Independent J, Kevin and of course Still Life who has been here since day one and is still going strong.

Damn it, I promised myself I wouldn’t cry.

Anyway, I don’t want to waste any more of your time reminiscing so how about some music to reward you for sitting patiently through my ramblings? Kind of appropriate that I won’t even try and pretend that I have ever even been in the same county as the record I posted today but I just feel like I have to share its brilliance with you.

Oscar Brown, Jr.: A Dime Away from A Hotdog
From:Movin on [Atlantic, 1972]

Chuck Brown & The Soul Searchers: Bustin’ Loose
From:Bustin’ Loose [Source Records, 1979]

Phirpo Y Sus Caribes: Comencemos
From: Parilla Caliente [Phillips, 1973]

Bobby Pauneto: El Senor Sid
From: El Sonido Morderno [Mardi Gras, 196?]

Bobby Hutcherson feat. Harold Land : Goin’ Down South
From: San Francisco [Blue Note, 1970]

Max Roach: January V
From: M’Boom [Columbia, 1979]

Back with an odds and sods post today though be assured that this has been handpicked for that EarFuzz seal of quality and all tracks are suitably fantastic.

Kings Go Forth: One Day

From: The Outsiders Are Back [Luaka Bop, 2010]

Holy hell. This just dropped into my inbox and shook every single January cobweb out of my head. From the upcoming Kings Go Forth’s debut album, The Outsiders Are Back, this is an absolutely fantastic slice of soulful funk. Like something transported right out of my private mind garden the track has it all -  from the relentlessly driving rhythm section, to the horns, to the soaring vocals, to the breakdown, everything clicks. Excuse the gushing but this is something a bit special indeed.

Co-founded by Lotus Land record shop owner Andy Noble and veteran singer Black Wolf the album is also going to feature artwork by Ear Fuzz favourite Mingering Mike. Talk about ticking all the right boxes.

You can find out more about the artists and their release date here.

What a way to start the weekend.

Lou Ragland: Understand Each Other and The Next World

From: Is Conveyor [SMH, 1977]

So, been a while since I popped up with a music post but my fellow fuzzers? Fuzzists? have put up some sterling posts. Please do not sleep on the treasures on offer on the site, some stunning music in the last month alone.
On a positive note we now appear to be over the worst of the move from blogger to wordpress though drop me a line if you think something is still not right. One issue I am aware of is that the response/comment box link on the post is currently very small which I can only assume is the reason why people aren’t leaving comments left right and centre. Don’t be shy, mi casa es su casa and all that. Another plus point is that we’re now leaving songs up longer for you to get your mitts on because we’re that wonderful. Really, we are.

Anyway, on to the music and another shamefully hard to grab release, Lou Ragland Is Conveyor. An artist whose recording career started in the mid sixties, Ragland was already an old hand of the industry by the end of the decade, having been both a vice president of a record label (SARU Records) and a producer of the acts. Ragland then went on to form the first of his record labels and release his Hot Chocolate LP with the band of the same name. Not to be confused with the Errol Brown group of the same name, Ragland’s work was decidedly more funky.

Never stopping still Ragland then moved on and created a whole new label, SMH which is where he released the subject of today’s post, Is Conveyor. An album put together with the confidence and skill of someone who has earnt their place in the recording studio, it offers up a mixture of late seventies funk and smoother grooves which is just, for want of a better word, fantastic.

Understand Each Other starts off with a great descending guitar and organ line over drums before settling into six plus minutes of absolute top drawer soul music. The strangest thing about a track like this is that it’s so spot on, so polished, so obviously a classic of the genre that it boggles the mind to think that it’s rare as hell to get a hold off.

The Next World is more of that good shit. The funkier side of Ragland including organ stabs and semi psychedelic lyrics, it’s another great example of (a) what a talent this man has and (b) the absolute insanity that this hasn’t be reissued for the wider public’s consumption.

Don’t delay, listen today and respect the architect that is Ragland. Fantastic front cover too.

Willie Mitchell 1928-2010 Teddy Pendergrass 1950-2010

It seems I only pop up on here at the moment to mark the sad passing of another legend but while I had held off as long as possible I felt I had to post something to reflect the passing of both Willie Mitchell and Teddy Pendergrass.

Two extremely different artists, both men have soundtracked some of the most romantic and downright dirty moments of my life. This isn’t in anyway trying to cheapen their music, Teddy’s solo work was well versed on the art of seduction and heartbreak (that voice!) and Mitchell’s instantly recognisable sound was the perfect accompaniment to Green’s sexual growls and Peeble’s strident voice amog many others.

There’s been some great tributes to Mitchell on our blog list over the last week and I expect something similar for Pendergrass so I’ll leave you for now with a couple of youtube clips after the jump that sums up their talent. Back with some hopefully happier posts shortly.