Get ‘Em Mamis: Alpines Kickin’, Cold Summer, Soul Talk
From: Terawesome [Darkroom Productions, 2009]

Ok. Finally got a break and some time to get into what I started in January – ladies throwing down on the mic… thanks 2Shaney and E.Powers for the excellent suggestions; I’ve been digging on all the artists you mentioned. Let’s kick it off with a selection from 2Shaney’s list, something happening right now – Baltimore’s Get ‘Em Mamis. Their ‘Terawesome’ mixtape is a free and easy download and it is indeed a pleasing blend of terrific and awesome. The beats don’t skimp on booty and the ladies show no mercy on the mic.

From what I can glean from the internets, Roxzi and Symphony are a long time coming:  rap fanatics since childhood, they honed their craft for many years; writing, performing, and working together in different groups before streamlining to their current winning chemistry as a duo. With a pivotal career break in 2008, earning inclusion on HBO’s The Wire’s Beyond Hamsterdam soundtrack, they caught the ear of local Baltimore production crew Darkroom Productions. Recently, I’ve seen a few 2010 tour dates popping up (though mostly in MD… come to NYC!).

Throughout Terawesome, Get ‘Em Mamis prove themselves gifted vocalists with plenty of personality, versatility, and quality rhymes. Of the three tracks posted above, though, I’ll say ‘Soul Talk’ is my favorite as the song holds some of Roxzi and Symphony’s  most expressive lines:

while the whole world is sleeping or fucking
I’m up thinking of nothing but how I’m gonna give myself to the public
to make ‘em say that they want it, but I need it
Hip Hop will never be dead if I’m breathing

… and the hook hits it home. Sounds like they love what they’re doing. Look forward to hearing more.

Anyone else psyched about the return of the lovely Sade? [new album drops: 2.8.2010]

Sade: Soldier of Love
From: Soldier of Love [Epic, 2010]

I’m a long-time fan, and, the new single doesn’t disappoint. It retains her patented smooth and adds some nice trip hop elements. Pure class. Aging gracefully. Hard to believe she’s 50!

On a semi-related note: I’d like to devote some Earfuzz time this year to exploring our favorite women on the mic. To narrow the focus a bit, I’m thinking MC’s: Da Brat. Missy. Trina. MC Lyte. MIA. etc.

Readers, any votes/suggestions? I’d really like to get into this a bit.

Talen (featuring Sizzla): The Vibes-A Sizzla Tale
From: Kingston Book [Mouthwatering Records, 2009]

After the positive Fela! experience, I’m trying to not ignore promo emails so much. I’m glad; otherwise I would have missed out on this fine jam – a wonderfully successful collaboration between Winterthur, Switzerland based production/DJ crew Talen Bass System and Dancehall legends Sizzla and Cutty Ranks.

When I read “Switzerland” and “Sizzla” in the same sentence, my curiosity was peaked. I know absolutely nothing about the Swiss music scene so exploring the mp3 links seemed like a good learning opportunity. Indeed. The Vibes-A Sizzla Tale is quite literally a “tale”. Sizzla uses his time on the mic to do some story telling, and, it’s a good read- a sort of Reggae how-to coming-up success story all boiling down to… don’t fight the vibes. And, Talen do well providing some deep undeniable vibes. Massive kick, plenty of deep (almost acid’y) synth, and a rocking bass line. I think Talen themselves nail it when they describe their tune:

A mighty, yet playful, beat… Rock’n'Roll in a Dancehall costume, or rather vice-versa? Doesn’t matter – as long as the vibe is right.

For those interested, my good friend Deji Olukotun made his way to Eugene O’Neill Theater last week to experience Fela! On Broadway. Here is a brief sampling of his account:

… The story begins with the impending closure of The Shrine by the government. It’s as good of a starting point as any other. Fela, played by the Sierra Leonean Sahr Ngaugah, recounts his life through a series of flashbacks, charting the development of his music and remembering the key personalities in his life. We see glimpses of his life in London, his visit to America during the Black Power movement, and his fear of James Brown’s music, which swept through Africa and haunted him, because he both loved it and disliked its lack of African sentiment. We also watch as he meets the first and most influential of his eventual household of twenty-seven wives. He then explains his Afrobeat music by breaking it down instrument by instrument...

[click here for full review]

Sounds like a full success (despite an arguably out of place tap-dancing sequence… ha!) Cool. I’m psyched; it sounds like a great show.

Be back soon with some choice jams of both old and new school varieties.

Fela Kuti & Afrika 70 – Zombie
From: Zombie [Celluloid, 1977]

Fela Kuti & Afrika 70 – Sorrow, Tears, & Blood
From: Sorrow, Tears & Blood [Kalakuta, 1977]

Fela on Broadway Official Site

A few months ago, I received a PR email asking if I wanted to receive some “cool stuff” that might, perhaps, inspire Earfuzz to help spread the word about a new musical coming to town. The show was vaguely described as “an energetic mix of Afrobeat music and African dance, following the life of a famous musician.” Hmm, I thought, sounds Earfuzzy… who could this famous musician possibly be?… of course, it’s Fela Kuti. While I expected it to be Fela, I did harbor a fear it might be a half-baked off off off Broadway production about a fictional composite character based roughly on the life of Fela. Nope. It appears they are going large here and doing their best to channel the spirit of Fela Kuti- the man, the myth, the legend-through the lens of a Broadway musical production. For many reasons, I’m optimistic it will be a killer show… Why?…

Exhibit A - PR mystery box actually contained some “cool stuff”

The contents of the box and more, after the jump.

Cores: Babylon
From: Babylon EP [Noom Records, 1997]

A few months ago, we had a nice Earfuzz email powwow to get our summer posting outlook sorted. Each of the writers chimed in with enthusiasm in favor of delivering a steady flow of posts throughout the coming lazy days. I know summer isn’t quite over yet, but, thanks for all the warm weather jams everyone (let’s hope the warmth continues)! As well, Chuck, thanks for starting up and maintaining Earfuzz on Facebook. Readers, thanks for stopping by, listening, and commenting.

At the time of our email correspondence, I half mentioned to the other writers that I was falling into a Jungle/D&B hole and anticipated eventually posting some Trance. I was excited about the dubious challenge of finding some Trance that would fly on a Funk/Soul blog. Even if you’re an affirmed electronic or hard dance music fan, Trance/Techno music can be a bit overbearing and off-putting.

Now, four months later, I’ve since dug deep and far and wide to find some tunes I felt were soulful enough for you all; however in the end, only one track really felt appropriate.

Produced by Michael Kores, Babylon is a wonderful example of German Hard Trance gone right. The song opens sparingly with a deep heavy kick. This kick continues relentlessly as it gathers layers of sound. With each successive layering, Babylon seems to rush forward and quicken on its pulse. The sounds, thankfully, are all tasteful and organic; including the high-hat and vocal samples. Ultimately, the push and pulse gather momentum through a few extended snare builds before plateau-ing at 5:47. At this point, one can either mix in a new track, or, continue to enjoy the song as it empties its energy into space before regathering its layers and coalescing once again.

Deep, heavy, dark, and soulful. Hope you dig.

Break ‘N Spin: Break ‘N Spin [Singh Records, 1984]

This track is definitely hitting the spot in the midst of busy muggy summer; enough bounce to get you up, and, enough chill to keep you steady. 1984… who knew it could be this good?… apparently RealFreshBlog (thanks for posting!).

[[Does anyone else find the intro similar to the intro for the ubiquitous Jamie Foxx/T-Pain jam Blame It?]]

From what I can find on the web, “Break ‘N Spin” appears to be a one-off pseudonym for the very interesting funky and prolific Edwin Birdsong. Having just researched Edwin Birdsong, I’m somewhat surprised that this track was my introduction to the man. Long established since the 70’s, he’s worked and collaborated with the likes of Roy Ayers and Stevie Wonder. And, he’s still out there (as seen on his MySpace).

However, if you’re like me and this is the first time you’ve heard the name Edwin Birdsong, it’s very likely this is not the first time you’ve heard his work:

- Cola Bottle Baby, the lead track from his 1979 S/T album was sampled by Daft Punk in Harder Better Faster Stronger

- Rapper Dapper Snapper, his 1980 12″ release was sampled by De La Soul in Me Myself and I

Two classics both underpinned with Birdsong funk.

And, just to keep the party going, here is a slightly less old-school jam from ‘92.

Jump: Funkatarium [Dark Records, 1992]

Despite the recession and prudent financial sense, I picked both up on vinyl. So, if you are in the NYC area and looking for a public forum to share your favorite records, I invite you to join myself and friends at our monthly (next meeting: 8/10) Monday Night Vinyl Club “bring your own vinyl” collaborative DJ party. 2nd mondays monthly at The Bell House in Gowanus, Brooklyn. FREE

The New Mastersounds: Thermal Bad
From: Plug & Play [One Note, 2008]

On a boat! Rocks Off Cruise

In a nice moment of semi-synchronicity last night, I sat back after a busy busy long weekend to chill and enjoy Standing in the Shadows of Motown (a great film worthy of its own post). I left the film with the timeless, sublime sounds of The Funk Brothers running through my head, and, went off to reconnect with the world and check the ‘ol email. My email kindly informed that soulful funky music was still alive and well in ‘09, and, it’s coming to NYC this Wednesday in the form of England’s The New Mastersounds.

Since the cruise is just a days/hours away, I’ll jump to the point. In their own words (from the Rocks Off web site):

The New Mastersounds from Leeds, England are bringing their funking rhythms to the big old Temptress for a rollicking night out on the seas. You’ll be truly surrounded by water as we sail past the Manhattan skyline, cuz everyone around you is gonna be dancing themselves into a sweaty mess, a really sexy, sweaty mess.

And, here is a taste:

So treat yourself. Get tickets. It’s summertime. You deserve it.

Red Hot Chili Peppers: Jungleman, Nevermind, The Brother’s Cup
From: Freaky Styley [EMI, 1985]

I’d like to try something kinda new here on Earfuzz: spotlight the work of a major-label, multi-platinum, globe-trotting, model/actress-dating, Billboard Chart-topping, cash cow juggernaut of an artist – Red Hot Chili Peppers. I think most anyone (fans & haters alike) would agree that it’s a bit surprising this band weathered such drama and devastating lineup changes to last 25+ years and become a household name. 9 albums. Wha? How did this happen?

Well, let’s take a trip back in time to the band’s retrospectively “classic” album #2 – Freaky Styley (1985). Oh, the 1985 pop charts: ‘Careless Whisper’, ‘We Are the World’, ‘Like a Virgin’… Beverly Hills Cop soundtrack… no mention of any Red Hot Chili Peppers. No, the Chili Peppers had not yet worked their way into the center lens of the pop-culture overmind, they were busy fighting to make a name for themselves and scrapping for their piece of the pie. One can hear this vitality and lust for life in the music. It’s an exuberance not yet touched by the tragedies to come.

Freaky Styley: 14 songs comprising a singular statement: the style and music of this band is “freaky”.

George Clinton handles production while Fred Wesley and Maceo Parker handle horn arrangements; so, it’s no surprise to read quotes like this from Jason Birchmeir of Allmusic: “Freaky Styley is the closest the Red Hot Chili Peppers ever came to straight funk. [it] is the quirkiest, loosest, and most playful album in their long and winding catalog.” Birchmeir continues, “It’s also one of the best if also one of their least heard.”

This lineup is a real treat. Aside from the long-standing core of Anthony Keidis and Flea, we get founding guitarist Hillel Slovak and drummer Cliff Martinez fully fostering the “freaky”. Slovak’s influence on the band is the subject of much writing (much of it more informed than anything I could draft), so, I won’t get too deep into it here. Instead, I will take a moment to give Cliff Martinez props. His drumming really stands out for me here. There’s something uniquely funky about his playing that liberates this music in a way that would slowly change as the band migrated from punk/funk club jams to FM funk/rock with Jack Irons and then stadium arena heavy with the awesome powerhouse that is Chad Smith.

I’ll stop here. Hope you dig.

Some real nice music in the Earfuzz currents as of late. Kudos everyone. Great stuff!

My last post celebrated the joys of discovering early 90’s Jungle, Drum and Bass, and Breakbeat. Well, months later I’m still deep in the midst of absorbing this music. And, I’ve started picking up records. Man oh man, I’m spending way more on 12″ ’s than I ever did on full albums. My curiosity to hear these songs loud and in their natural vinyl’d state is getting the best of my wallet (cursed exchange rate and overseas shipping So far, I am pleased to say my purchases have been well worth it. My ears and speakers are quite appreciative: the records sound waaay better than mp3’s. And, these records are quite simply a ton of fun to play for people.

Interestingly, most of the songs I’ve gravitated towards are from 1993. Since my only window into the cultural landscape associated with these tunes comes through scattered articles, very enthusiastic (and vividly nostalgic) Youtube comments, Discogs, and the music itself; I’ve come to recognize 1993 as a unique and pivotal year in the development of Amen Break related music and rave culture. Some describe the time as both a “kitchen-sink” sort of creative explosion, and, a point of divergence for many of the sub genres (of which I won’t even pretend I know how to tell the difference) and their related club scenes.

Simon Reynolds does a nice job describing the “continuum” of this music in a recent lecture transcribed here.

DJ Solo – Darkage [Production House Records, 1993]
One of my favorite aspects of this music is how producers layer and craft the introduction of the beat. This track has one of my favorite bass drops. Heavy.

M-Beat – Rough Like Me [Renk Records, 1993]
I recall reading somewhere that Jungle producers liked to incorporate Reggae into their tracks as it was a very familiar groove for club crowds. People knew how to move and dance to Reggae; so, it became the perfect rhythmic Trojan horse to add bounce to some dirty driving breakbeat work. M-Beat knew this formula well and amassed a pretty fine catalog of tunes.

DJ Crystl – Meditation [Dee Jay Records, 1993]
Ah, what’s not to love about the long player DnB/Breakbeat “epic”? For a song with such a relaxed ambient undercurrent, this track packs some surprising intensity. We’ve found it mixes quite smoothly into some ‘Reign in Blood’ era Slayer.

Hope you enjoy.