(Too) Long Time Coming: Best Mixing of 2007.

Thanks to Junior for getting us back online. Way back in January I was exploring my inner obsessive nerd and compiling "best of" lists for all the most important categories: album, movie, book, science paper, etc. So while I get some more posts in order and inspired by Matt W's mix from the previous post, I wanted to hit you all with my list for the five best mixes of 2007. (I know, I know...my God it's March and all...still I hope you find something good).

The criteria: I had to hear these for the first time in the calendar year of 2007, regardless of when they were made. Everything is rate on a five star scale, with five being the best. To put things in perspective, I've only ever give a ***** rating to maybe half a dozen mixes in my whole life (for what that's worth), an average mix is ***, and DJ Trainwreck is a 0.0. So after having made my way through 83 mixes in 2007, without further ado:

Number Five: ****.5 Monk One's Wax Poetics Mix from the Scion sampler Vol. 14.

Monk One makes some smooth mixes, and he really kills this collection of neo-funk and soul and instrumental hip hop. Butter smooth transitions and super dope track selection (choosing so much from the Daptone label is dangerous but genius). I probably dug this mix out of my CD stacks more often than any other in 2007 because of how often it fit the mood I was in or wanted to be in, namely serenely happy and open minded. Plus it is always good to hear a Diverse and Prefuse 73 track, which is what this snippet starts out as (note, you'll have to turn up the sound as the gain was accidentally low when i recorded these snippets).

Number Four: ****.5 Arthur King's Pop S#!+

My better half and I do not see eye to eye on many things music wise, but we both agree that the best thing for riding in the car are these ironic mix and mash CDs. Hollertronix, The Rub, and lots of other talented and cheeky folks get PT from us while we're burning fossil fuels. And this mix where Frenchy Arthur King puts together hip hop and the 80s pop confections that "inspired" them. Blends, sample references, lyrical references, all connections get play. But King's skills are on display for the opening cut-up in the snippet and then we get into a B.I.G. run captures the spirit of the CD well. Some how AK let's all the 60 odd tracks on this mix have their time in the sun alone and still fit in lots of dense transitions.

Number Three: ****.6 Play Anything by Sound Advice

Speaking of dense transitions, Brooklyn's Sound Advice made the independent-mobile mix of the year with their all styles and blends spectacular loosely linked to 80s stalwart / extreme skiing enthusiast John Cusack. Elsewhere and K.Ross made this mix years ago, but somehow it only got around to me early in 2007. Fun and inventive, and filled with great stuff from every source you can imagine. I don't even mind that they have a U2 track in there briefly and I hate U2 with such a fervently holy passion you would not believe. You can get the whole bloomin' mix at the duo's website.

Number Two: ****.6 Special Herbs Box Set by MF Doom

Something totally different from the other mixes on here is the 3 disc mix of beats MF Doom has produced for his long and well (internet fan boy) chronicled career. Doom is an exciting MC and in concert comes across as the most talented, brilliant homeless man you've ever stopped to talk with. But the genius of his beats never fully hit me until I was nodding along to collection, which is somewhat loosely mixed together by Doom with little to no cutting or blending. Maybe it is more of a compilation, but it is something beautiful. Doom beats are instantly recognizable as Doom beats and for that reason they can get lumped together and somewhat ignored, but for me it really clicked the subtle variation and cohesive vision throughout his work. Unique and yet extensive, now that is hard to do. This snippet is from the middle of the first CD, but maybe I should have picked something from the third CD which focuses on his time in KMD. Get your own copy.

Number One: ***** Gaslamp Killers by Gaslamp Killer

And finally the mix of the year. And a ***** effort to boot, maybe J Rocc should be nervous? Evidently this mix is also a few years old, but I'd never heard of GK until starting blowing my mind last year. His production has super tight drum programming while often pushing those drum samples to the point of distortion, but he kills with the intricate upper layer of melody or tone recalling early DJ Shadow (less introspective maybe) or RJD2 (but harder). This mix is hard core drums for over an hour, just blasting away at you with the lovely percussion. Some of them you'll recognize easily, others are from records I've never sniffed and probably never will.

Honorable mention mixes: Mason and DJ Zeph - Hip Hop Bebop; DJ FaceMe - Bingo Wings; J Rocc - Taster's Choice 5; and DJ Platurn - Best of ATCQ.

It's good to be back. Lots more posts coming. I hope you enjoy this.

In Memory Of J Dilla

Rene Costy: Scrabble

Jackson 5: All I Do Is Think Of You

Stan Getz and Luiz Bonfá: Saudade Vem Correndo

The Cyrkle: The Visit

The Three Degrees: Maybe

Ahmad Jamal: Swahililand

A year to the day of Jay Dee's untimely death and the blog world is rightly filled with tributes to the brilliant catalogue of beats the producer left us with.

Not having anything unheard to add to the tributes out there I thought instead I'd just share a few of my favourite tracks that Dilla reinvented for his beats. It may just be a coincidence but to me what many of these originals share is a deep rooted soulfulness similar to the great beats that the man delivered time and time again during his lifetime.

While I tend to shy away from breaks posts the quality of tracks produced from the great songs above is justification in it's own right. May his music be celebrated for many years to come.

James Dewitt Yancey (February 7, 1974–February 10, 2006)

Normal Services Is Resumed, Now With Extra Fuzz

Ben & The Platano Group: Arte Pino Pasta
From: Paris Soul [Dare-Dare, 1971]

Five Stairsteps: We Must Be In Love
From: 7" [Curtom, 1969]

Joe Mcphee: Shakey Jake
From: Nation Time [CJR, 1971]

Lyn Christopher: Take Me With You
From: Lyn Christopher [Paramount, 1973]

So, apologies for disappearing for the last couple of days, these things happen you know, nothing like going on holiday and coming back to find you're forgotten to renew the site ownership.

However, let's not waste time talking about what's been and gone and instead get back to celebrating the hear and now.

As we enter the third year of Ear Fuzz it seems time for another shake up and that's why we're looking to you, yes you, to help keep this site the magnificent bastard that it is today.

We're looking for ladies and gentlemen who would be interested in writing for the site and joining the Fuzz family. By now you should have some idea of the kind of music we talk about on this site from hip hop to soul to funk to jazz to blues to library to psych to electronica and beyond so if you're interested in contributing to the site drop a line here and we'll go from there.

Just in case you need reminding of what we do, and because you've been deprived off new music for a minute, here are a few choice cuts of classic material.

Ben & The Platano Group's Arte Pino Pasta, taken from their 1971 album Paris Soul, is European funkiness of the highest order - an orchestration desperately in need of a high speed, gas guzzling car chase to accompany it's relentless rhythms, horn crescendos and dirty guitar.

I've stated before my love for the Five Stairsteps work and We Must Be In Love is a bonafide classic. Curtis Mayfield's touch is all over this from the rousing horns to the bongo drums to the sweet soul harmonies. It's tracks like this that prove just how great this group were at their peak, rivalling the best of any male vocal group out there, including the Jackson 5.

Next up we have 13 and a half minutes of heavy drums, great organ work and all round genius of Joe Mcphee's Shakey Jake off his 1970 album Nation Time. Drop this in the right club, at the right time, with the bass way up high, and pandemonium will ensue.

Lyn Christopher's Take Me With You off her 1973 Self Titled album, is one of those songs that makes the whole digging process worthwhile. While the rest of the album is reasonable, Carly Simon lite, folky music, Lyn hits the listener with this brooding, sexed up genius of a track. Pure perfection.

Thrust Into The Weekend

McNeal & Niles: Ja Ja and Punk Funk
From: Thrust [Tinkertoo, 1979]

So, after J.'s quickie yesterday I feel a bit guilty about holding back on my own textual diarrhoea, but, due to knowing squat about the artist involved I'm afraid I have no choice. Feel free to use up your allocated reading time with a game of solitaire, a call to someone you love or an extra long dump in your office toilets. You see? It's all love and giving at Ear Fuzz.

McNeal & Niles were a guitar playing husband and keyboard playing wife duo who (to my knowledge) released a single longplayer under their own names. Strangely out of sync with the disco sound of the time of it's release in 1979, its lush synthetic sound gives it more of a timeless feel.

Due to its across the board lack of success on original release the album has long been an eager digger's wet dream but with the recent reissue its class and quality can now be heard by those who don't have 600 dollars lying around and the right connections to get their sweaty paws on an original.

Ja Ja totally pulls all the right strings for me, featuring a simple keyboard melody that burrows deep inside and the kind of throbbing bass and stuttering meaty drums that I get tapped on the shoulder and asked to turn down when I'm rocking it on my Mp3 player. Understated and at the same time epic, I know I harp on about musical perfection in simplicity but, seriously, listen to this and tell me that it isn't absolutely sublime.

Punk Funk is the heaviest track on the record and kicks things off with a hard as nails drum solo - I wish I could give credit to whoever played drums on this album but there's very little info out there. Any knowledge dropped would be appreciated. Again making no errors throughout the piece this funks hard with it's wah wah guitar and distorted synths.

One of those albums I turn to whenever I need reminding that there's still so much great music to be discovered and unleashed, I can't recommend this highly enough.

Harp And Soul

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.

Doing The Cha Tach Ka Slide

Bernard Estardy: Cha Tatch Ka and La Gigouille
From: La Formule Du Baron [CBS, 1967]

I was flicking through my stash at my planned posts here and realised that 99% of it was either a) Deep fried jazz or b) Soul/funk groups so decided that it was time to mix things up. It is by this logic that I lead on from J.'s post with some more French goodness.

Sometimes you hear a track and it's so far ahead of it's time it's heard to believe that it isn't some canny modern musician selling his work as some lost classic. Bernard Estardy's work certainly falls into this category. A sound engineer by day, compositional genius by night, Estardy put together the album as more of a sideline project than anything else, which partly explains the wonderfully diverse themes and ideas that ricochet round the album. From jazz, to funk, to synthesised library sounds to easy listening grooves.

You can read a recent, damn fine, interview with the man himself over at the French Attack website. Probably even better in the original french but it's a long time since I was taught it at school.

So what about the music then? Cha Tatch Ka is like some crazy proto Neptune's record with staccato drums accompanied by what seems to be a baby beatboxing over the top before the vocal melodics build and build harmonising the bass and tenor vocals. Um, I'm not selling this well am I? Just download it and hear for yourself, by the time the warping synths come in you'll be nodding your head in uncontrollable spasms to this gem.

La Gigouille is a more straightforward funk number with a big brass section, reverberating bassline and tinkling pianos. When Estardy add Hammond organ to the mix you wouldn't feel too shamed if you were fooled into believing that this was some experimental Bar-Kays 45 - no mean feat by any means.

There you have it, something different to treat your ears to. Back to the soul, jazz and rap later in the week but for now I'm rocking it with La Baron......

No Emotion Untouched

The Emotions: Blind Alley and If You Think It
From: Untouched [Volt/Stax, 1971]

I. Love. Breaks.

Ok, while you're still reeling from that shocking news let me expand a little. I love breaks partly because when they work on a rap record there's very little that's as rewarding or as invigorating in music. I also love them because in the early (and in today's case, later) years of my digging it encouraged me to seek out artists I may otherwise ignore and dismiss - before discovering that their music was far more than a five second sample. While I try to avoid posting songs based purely on their use as samples it does feature greatly in my record knowledge.

So with that out the way, I've got some gorgeous soul for you today in the form of female vocal group The Emotions. Comprising of three sisters the group have had a career spanning five decades moving from r&b to soul to disco to beyond. It's really not worth expanding on it too much here but you can read all about it on their official site.

Both song are from The Emotions 1971 album Untouched which is notoriously hard to pick up on vinyl and both songs were introduced to me via breaks. While the album was featured by Oliver on Soulsides a while ago if you haven't heard them you need to experience this. Blind Alley has one of the most recognisable breaks in the business, probably most famously used for Big Daddy Kane. The song itself is a lovely piece of summer soul with those gorgeous keys and horn arrangement.

If You Think is a classic song notably used very cleverly by RZA for Verbal Intercourse (how the hell did he come up with that?). The song itself is absolutely 100% stunning. A proper piece of energised soul, the track oozes that kind of impatient, vibrant yearning that just floors me everytime. Everything about this song, from the arrangement, to the vocals, to the strings, to the harmonies to the horn blasts is just pure perfection. I love breaks, but I love the originals ever more.

McDonald & Giles - Crimson Funk

McDonald & Giles: Flight Of The Ibis and Tomorrow's People
From: McDonald & Giles [Cotillion, 1971]

A change of pace today as we rock out to the proggish tones of King Crimson......... Well kinda anyway. McDonald & Giles were part of the original line up of the band but split from the group after the release of their debut album due to various cited reasons (one common rumour being that the duo fell in love on tour with the women pictured on the cover - can't blame McDonald then, she's rather fine).

While it would have been interesting to see where the band would have gone had McDonald and Giles stayed with them I can't say I'm disappointed with the split when the resulting album is as beautiful as this. While undoubtedly based in prog rock the album feels incredibly sunny and uplifting compared to most comparative records of the time, the duo ensuing the darker noise of their contemporaries for something of a more positive folk laden nature.

Although the album is a break diggers wet dream the first track I have for you is more melody, less beat heavy. Flight Of The Ibis isn't actually half as proggy as the title suggests. Instead the track offers a Beatle-esque vocal over some crisp drums and gorgeous piano and harpsichord work. This tune just makes me want to lie on my back in a grassy field and watch the clouds roll by.

Tomorrow's People is a break heavy banger of a song. Starting unexpectedly with a mixture of horns the track shows clear signs of it's original composition as a Crimson track with it's electronic vocals and more psychedelic overtones. What kills me about this song is that 2 minutes in the track breaks down into a funk groove and never really leaves it afterwards, with the drums and bongos coming hard as various instruments float in over the bass riff before the track literally comes to a stop and reawakens with funk and vocals united together. Funky prog my friends, funky prog.

Grant Green: Vibes And Stuff

Grant Green: Let The Music Take Your Mind and Down Here On The Ground
From: Alive! [Blue Note, 1970]

When it comes to live albums I'm normally a little bit reluctant to play them out, the poor sound quality and scatty nature not appealing to my listening preferences. However, it's a foolish man indeed who would ignore the live recordings of sixties funk and jazz. The performances often eclipse the studio versions, the improv nature of the gig allowing the artists to elaborate and develop on their themes, wandering off from the originals blueprint into something new and exciting.

A talented jazz guitarist, Green recorded a number of good jazz albums in the fifties and sixties for Blue Note, disappeared from the scene for a couple of years due to heroin addiction, and came back to record albums almost up to his death in 1979. Despite being a prolific performer, Green only ever appeared on two live albums and they're both killers. The first of the two, Alive!, marks the real moment when his focus turned away from jazz and more towards jazz funk and I personally don't think he ever came harder or funkier than this.

We'll start with another great, great, cover for you. Green's version of Kool and The Gang's Let The Music Take Your Mind is a classy piece of jazz funk. Warning, get your headnodding mode in full effect and turn up the bass cos the Idris Muhammad
drumming on this track is absolutely killing it. There's something about the live nature of this track which adds to the ambiance, the echo of the drums with Grants guitar and horns giving it an energy that I believe would never have been captured in a studio session.

Fans of ATCQ should have no problems recognising the first minute of Down Here On The Ground, those horn stabs and smooth percussion used to such effect in Vibes and Stuff. The track more than stands up on it's own two feet though, the way the keyboards slide in over the percussion is a masterstroke of composition as the rhythm builds up speed and intensity over the course of the playing.

I've never really understood why Grant Green isn't a lot more celebrated than he is, maybe it's his crossover from jazz or his heavy use of cover standards but when you hear tracks like these you know it's about time for a reappraisal.

You Don't Work, You Don't Eat

Marva Whitney: You Got to Have a Job and I'm Tired I'm Tired I'm Tired
From: It's My Thing [King, 1969]

It seems the perfect time for some funk sorbet to refresh your listening palette after the heavy duty nature of the last couple of posts. Part of the legendary triplet of James Brown divas with Lyn Collins and Vicki Anderson, Marva is possibly my favourite of the lot and comes across on record like a blast of raw soul.

It's hard to believe that her 1969 debut longplayer, It's My Thing, isn't in fact a best off, the consistent quality of the output astoundingly high. In fact, Marva's original debut album, a more mellow affair, was shelved after the label decided they wanted to present her in all her houseshaking glory. While I'd still love to hear the other album (rumours are circulating of it being issued) I can't say that I'm not thankful that this album got made. Full to bursting with classic cuts I've decided to avoid posting up her most heavily sampled songs from the album and focus on some of the more lesser known gems on offer.

Confession time, I tend to avoid listening to much of the JBs output these days. James Brown's greatest hits are always on the radio, adverts etc so I've never felt much of a need to revisit most of his 60s catalogue. However, revisiting his duet with Marva on You've Got To Have A Job (If You Don't Work, You Can't Eat) reminded me just how good this music is. Starting off in the most innocuous fashion the track's groove slowly works itself under your skin and before you know it you're entirely caught up in the power of the piece. I love the call and response aspect with Brown instructing Marva to call to Maceo and when she does it's shivers time as the horns and her voice blend together. You wouldn't believe it to look at her but this woman's voice is pure dynamite.

I'm Tired I'm Tired I'm Tired (Things Better Change Before It's Too Late) displays a more carefully controlled vocal performance by Marva over a downtempo but still resolutely funky backing. However, more controlled isn't to say Marva doesn't deliver the works, hitting high notes, low notes and everywhere in between as the band bring the trademark horns and percussion to the mix, JB shouting out in appreciation as Marva straight out kills it.

Listening back to both tracks I've just noticed the companion nature of them, the former laying down the facts about working life, the latter not so much looking forward to change as praying that some thing's going to happen. Guess it's not so easy to avoid deep as I thought. Anyway, the "Soulsister No. 1" is still performing today and you can catch up on what she's doing at her Official Website

Soul On The Rocks

The Whatnauts: Hurry Up And Wait andWhy Can't People Be Colors Too?
From: On The Rocks [Stang, 1972]

Sometimes the high quality of an album actually makes it harder rather than easier to post about. I've spent waaaaaay too long with this album on rotation trying to decide which two tracks would best represent the quality of the Whatnauts 1972 release On The Rocks, and, after changing my mind over and over, I've come to some kind of decision on the matter and am finally in the position to put up their music.

Comprising three truly outstanding vocalists this Blatimore band never really hit the major big time that they deserved. Perhaps it's because their sound, while undoubtedly funky, was less immediately catchy than many of their contemporaries of the time, who knows. However, from a personal perspective, each time I listen to their music I notice new subtleties to the blend and it cannot be stated enough how talented these guys are.

Hurry Up And Wait displays the band's soulful class with aplomb. There's something about the change up in the chorus which near on breaks my heart everytime, the lead, tenor and bass vocals taking their turns to plead their message. Full of real soul and raw emotions this is wonderful, wonderful stuff.

Although the band's music did tend towards the soulful ballad the guys could funk when necessary and the classic Why Can't People Be Colours Too? is a damn fine example of this. Over a minimalist funk break the band give their usual top quality performances before halfway through the vocals drop from the mix and the meatiest of beats kicks in to carry the track home. Perfect.

Cry Baby Cry

Ramsey Lewis: Cry Baby Cry and Dear Prudence
From: Mother Nature's Son [Cadet, 1969]

At least 90% of cover songs are pointless exercises. This percentage is getting higher every year. For a cover song to prove it's worth and justify it's existence it needs to bring something else to the party rather than rehashing the original. Whether that something else is the vocals of the artist, the different genre they perform in, or a reimagining of the song itself, when it works the results can be amazing.

Proving that, when done right, it's certainly worthwhile is the cover album Ramsey Lewis' Mother Nature's Son. Recorded just months after the White album the record is Ramsey's own tribute to the Beatle's double vinyl. I seem to remember Oliver posting the great track Julia from this album on Soulsides in 2004 but there's no way I could do a series of posts on covers and not include one of my favourite cover albums of all time.

While a big fan of Ramsey Lewis - I'm always surprised by how slept on much of his output is - what really sells this collection is the production work of Chess/Cadet supremos Charles Stepney and Marshall Chess. As mentioned in my post on Rotary Connection, I'm a major fan of their brand of sound.

The first track I ever heard off this collection was on the outro to The BUMS Lyfe n Tyme as Ramsey's cover off Cry Baby Cry accompanied their spoken word agenda. Instantly hooked I tracked it down and it's been regularly played out since. It's hard to put my finger on what kills me on this but I love the way the song starts off as a faithful lounge style cover before Ramsey expands the sound, turning the original's intentionally simple melody into something on a grander widescreen scale.

Dear Prudence is another cracking cover, Ramsey building the track from it's mellow beginnings to an epic orchestral piece with that trademark Chess layered sound. Just listen to the crash of the drums on this and the momentum that builds as the piano playing become more frantic and the strings get louder, majestic stuff. A great covers album and a great album cover as well.

Take The Pepsi Challenge

The Mohawks: Pepsi
From: Pepsi/Mony Mony (KPM, 1969)

Back with some more library flavour today. Not just any old library sound either but a group of session musicians fronted by a legend among library musicians, Mr Alan Hawkshaw.

Most famous for the sampled to death The Champ, the Mohawks produced an album's worth of heavy Hammond organ funk in the sixties which rivals many of the big name artists of the day and there's no better example of their sound than on the follow up to The Champ, Pepsi.

Pepsi comes at you like a whirlwind of hammond funk. Check out the sublime bass and bongos introduction before Hawkshaw's trademark organ playing takes over proceedings. The rising horns then help build the songs momentum until it becomes an absolute dancefloor monster. What really gets me every time with this track though is the brilliantly sparse use of the vocals, these guys were funking hard but enjoying it immensely.

Originals of this cost around $400 so thank god for the reissue of this killer piece of funk. You now have no excuse not to buy it.

Polish Delights

Henryk Debich: Na Opak
From: String Beat [Muza, 1975]

Wojciech Karolak: Instant Groove
From: Easy [Muza, 1974]

Polish Jazz has to be one of the most coveted forms of the genre outside of the U.S., and it's rise to popularity has a deep history. After 1945, Poland fell under the dominance of Russia, quickly labeling Jazz music as music of the enemy and banning it alltogether. Like the course of Prohibition, jazz soon went underground, symbolizing the spirit of independence, noncomformity and cosmopolitnism in Poland. But after Stalin's death in 1953, jazz music quickly resurfaced, and fans in Poland were able to turn to the U.S. for inspiration, using it to mold their own brand of jazz. I'm glossing over this information rather quickly, but there's a plethora of coverage on the subject if you just Google "Polish Jazz."

Like killermike's post on Skalpel a few weeks ago outlined, Polish Jazz has become quite the hotbed for breaks and loops for contemporary music. Today, I'm posting up a couple tracks that clearly define the Polish Jazz climate of the mid 70's and I don't know much about them so I'm not going to front like I do.

The first tune comes from Henryk Debich, off of an album that has been called one of the holy grails of Polish Jazz. The first track "Na Opak" opens with a great drum break, and then introduces layers of instruments before coalescing into a classicly funky jazz track.

Wojciech Karolak I happen to know a little more about thanks to Wax Poetics Number 4. Born in 1939, Karolak studied piano and saxaphone at a music high school in Krakow, and played in various Polish jazz ensembles before switching to the Hammond organ in 1971. "Instant Groove" off his album Easy is a monster tune, utilizing Karolak's spacey keyboard synth work under a mellow vibe. Great bass work and open beats are all over this bad boy.

Show me how to sow your seeds

Sixtoo: The Honesty of Constant Human Error (Meaty Ogre remix)
From Remixing Glass 3" CD (2005, self-released)

Sixtoo's recent LP, Chewing on Glass and Other Miracle Cures, was largely devoid of the human voice, favoring dark, dense instrumentals over verses and choruses. On the short remix EP that followed, Chicago beatmaker Meaty Ogre did something interesting with one of Sixtoo's songs. In addition to the usual remix stylistics (re-sequencing, tweaking samples, etc.), Meaty recorded his own singing over what was originally an instrumental track, writing lyrics based on the song's title and adding a new dimension to the song in the process. Given that remix EPs and LPs are almost obligatory for any major hip-hop/electronic album these days, it's nice to see someone taking a somewhat different approach in flipping in the script.

Marcy Marc and the Funky Bunch

Marc Moulin: Tohubohu pt. I and Tohubohu pt. V
From Sam Suffy [CBS, 1974]

Marc Moulin is considered a jazz legend and pioneer of the sound which has been dubbed acid jazz. Pianist/keyboardist/producer, Moulin was heavily influenced by the vibrant European jazz scene of the early 60's, and later artists like Herbie Hancock, Jimi Hendrix, and Soft Machine, a sound which he wrapped up in a group called Placebo. The Placebo albums are great exercises in jazz, funk, and rock, but this post focuses on the 1974 sessions Sam Suffy, an imaginitive blend of jazz, soul, and early examples of integrated electronics and sampling, in effect formulating blueprints for acid jazz, hip hop, and beyond.

The line-up is simplified around the trio Marc Moulin (piano and synthesizers)/Richard Rousselet (trumpet)/Bruno Castellucci (drums), after too much dissipation with Placebo. The entire album is solid as a rock, but one of my favorites has to be "Tohubohu Pt. I" which was sampled by Automator and Prince Paul on the first Handsome Boy record. That one piano chord is eerily effective, and the water sample only adds to the track's desolate space. "Tohubohu Pt. V" plays like a continuation to its predecessor, telling an equally chilling tale through sequencers, Moog, and lazy instrumentation.

Unfortunately this album sort of got lost in the shuffle behind similar, more mainstream artists like Herbie Hancock and George Duke, but has been appropriately ressurected by jazz heads, producers, and record mongers, as well as Blue Note which recently re-released Sam Suffy to mark its 30th anniversary, not only featuring the groundbreaking work, but a totally worthwhile remix of "Tohubohu Pt. 1" as well.

Note: Earfuzz was recently featured in the Boston Globe alongside heavy hitters like Aurgasm, Sole Sides, and Tofu Hut. It's flattering to be recognized amongst such great company, especially after only six months of operation. Thanks to our readers, and all the other great blogs out there supporting us and doing what they love. You can read the article here and here.

El Cerrito Heat

El Cerrito High School Jazz Pop Ensemble: Celebrate
From Jazz at El Cerrito [Independent Release, 1977]

I lived in El Cerrito, CA for two years and probably the most exciting thing there was a recently opened Trader Joe's and a small record store that I used to visit from time to time. El Cerrito, in general, is not a very exciting town, especially since it lies on the outskirts of the always interesting Berkeley. I did however manage to find an old El Cerrito High School band record from 1977 that my stepdad had stashed away in his collection. He happens to be a jazz drummer and used to be a high school band leader/teacher, so his collection, while a bit soft at times, has provided some mild heat.

I was curious about this record simply because I know good high school band records are quite scarce and have become more in demand ever since DJ Shadow's Schoolhouse Funk compilation. One side is devoted to the Jazz Band while the other the Pop Vocal Ensenble, and all-in-all the record is consistently upbeat and funky at times. For me, the real face melter comes from the Ensemble's side with the track "Celebrate" which features the hardest drums on the entire record and solid female vocals, so I wasn't surprised to see it on the second installment of Schoolhouse Funk. My copy's in the mail, but supposedly this volume is a lot better than its predecessor not only in the quality of the tracks, but in the scarcity of some of Shadow's source material. And you best believe this El Cerrito High School record I have is going to be fetching some cheddar from now on.

Save Their Souls

Hamilton Bohannon: Save Their Souls and Getting to the Other Side
From: Stop & Go (Dakar, 1972)

Ok, so this is going to have to be one of those "let the music speak for itself" posts, because I don't know SHIT about Hamilton Bohannon. Which is just as well, because I don't think there's much to be said to aid in the appreciation of these tracks. I throw these on and sit on my porch and think "damn, Summer should be six months long."
Right, so I know the dude's a drummer, and that he came up with Stevie Wonder. I've also heard a decent amount of his later music, which doesn't have as much backbeat appeal as this record, but really is pretty solid dancefloor music. But this stuff, THIS stuff. I'm saying. Lemonade, man.

Galt MacDermot

Galt MacDermot: Coffee Cold
From Shapes of Rhythm [Kilmarnock, 196?]

Galt MacDermot: Space
From Woman is Sweeter [Kilmarnock, 1969]

Like legend David Axelrod, Galt MacDermot is considered one of the greatest music composers of the century. Born in Montreal, MacDermot was originally a pianist, but later began composing music for films and broadway plays, Hair and Two Gentleman of Verona probably being his most well-known works. Employing a unique blend of jazz, rock, funk, folk, and classical styles MacDermot's music managed to appeal to a variety of ears, and is largely what makes his music still relevant today as hip hop listeners and producers especially have found lasting appeal in MacDermot's music. I've selected two tracks from two albums he cut in the late 60's, both of which have been sampled prominently. "Coffee Cold" was actually recorded in '66, which is strange since it predates the rhythmic changes of James Brown's Cold Sweat yet still brings the funk in an eerily foreshadowing fashion, albeit in a much cleaner and controlled way. Prince Paul and Automator looped this to death on the first Handsom Boy LP, but what a sweet loop it is with the always exceptional Bernard Purdie on drums.

Woman is Sweeter was a soundrack to Martine Barrat's film, this time with jazz vet Idris Muhammad on drums. It's a little dirtier and rawer than Shapes of Rhythm while still maintaining his signature rhythms. It's pretty obvious, but "Space" was sampled for Busta Rhymes' breakout hit "Woo-Ha." Both albums are highly recommended, but those looking for more should check out his work for Cotton Comes to Harlem and The Nucleus, as well as a couple of nice compilations, one on Stones Throw and the other on MacDermot's Kilmarnock label I believe.

Hungarian Treats

Zalatnay Sarolta: Hadd Mondjam El and Ne Hidd El
From Hadd Monjam El [Pepita, 1973]

Finally got a copy of this record after seeing it on a number of wall of fames and hearing tales of it being heavily regarded as a beathead's dream. The cover alone is certainly enough to create intrigue as many diggers tend to be drawn to records fronting attractive vixens, but it's definitely more than a wall piece; the music inside is lovely Hungarian rock with a funky twist, and strong female vocals to boot.

This record was actually one of Soul-Sides' first features back in June 2003, Oliver highlighting the strong drum breaks that were laced throughout. But that was back when mp3 blogs were just a dream, and a reader could only imagine what the writer was talking about, especially when it comes to rare titles like this one. So I present two killer tracks from this LP, both coincidentally featuring prominent drum breaks. The title track is rhythmically more furious, while the latter has more of a dusty fingers type vibe to it. I think the instrumentation is pretty strong throughout, and while some could find displeasure in Sarolta's singing, I tend to be drawn towards female vocals. And even though I can't understand a word she's saying, I think it only adds to the intrigue.

Pugh Tuning

Pugh Rogefeldt: Love, Love, Love and Signe
From: Ja Da A Da (Metronome, 1969)

Ok, ok, the front cover of this album may not suggest a world of funk riffs and headblowing drums lays in wait but you'll just have to trust me on this one because this is some stellar stuff. Still don't trust me? Well, check out the first few bars of Love, Love, Love and let your jaw drop as you realize that DJ Shadow lifted the intro in it's entirety for Mutual Slump.

Now we've settled that, let me fill you in a little more on the life of Pugh. Born in 1947, Pugh dabbled with the blues before sending his first testpress off to record companies in 1968. Unfortunately for Pugh, by the time his talent was recognized by the executives he had started his compulsory military service. However, luckily for us, that didn't stop plucky Pugh, he quickly went AWOL from the Army and got back in the studio to record the debut album that would be known as Ja Da A Da. While unknown to many English speakers, this album was a huge hit in Pugh's native Sweden and laid the basis for a career which still continues till this day. You can read a fuller biography here.

So, back to Love, Love, Love and that jawdropping opening. From the very off the track is driven by the intense drumming of Jan Karlsson. The thumping drums and crashing symbols draw the listener in before the track settles down to a slightly less frantic but no less funky pace. What really draws me into this track is the layers, with the relentless drumming and funk riff offset by the vocals of Pugh who sings this track like Sweden's answer to the Os Mutantes. As the layers overlap they create a psychedelic wall of sound that's hard to resist. Once again, a track that deserves to be considered in it's own right outside merely being a loopdigger's record.

Signe takes a different approach to the world of psychedelia, more sedately funky than Love Love Love. Starting with ominous strings it seems clear to me that Pugh had definitely been checking Love's classic Forever Changes album went he went into the studio to record this. He keeps the vocals light and sweet over the acoustic guitars before, half way through, the track dissolves into ghostly vocals and strumming. However, this is just the precursor for the track to finally kick in as a rolling bass and hard drums carry the track home in pure Swedish psychedelic funk style.

There, that'll teach you to judge a book by it's cover won't it.

It Ain't Easy

The Psycheground Group: "Easy"
From Psycheground [Lupus, 1970]

The Psycheground Group was an obscure progressive rock group from Italy, so obscure in fact that their exact makeup is not entirely known. Supposedly members of Nuova Idea and keyboardist Vince Tempera were members, but I just pulled that information from a random website. Nevertheless, they released this album in 1970 containing five instrumental tracks that span prog and psych while maintaining a funky jazz type of vibe. The standout cut is "Easy," an absolutely nasty exercise in funky drumming, hammond organ, guitar, and bass. The first time I heard this I seriously couldn't believe my ears. Now it's a top want of mine, and with only a supposed 50 copies produced, I know it's gonna be a tough hunt.

Heavy Beats in the Woodland of Weir

Little Boy Blues "Seed of Love"
From In The Woodland of Weir [Fontana, 1968]

The days of producers pulling old funk and jazz records for sample material are over; for the most part anyways. Sure they'll continue to loop and chop the fuck out of "Apache" or "Nautilus," but let's face it, that gets boring fast.

Enter the wonderful world of psych rock, a resource that many producers are finding relatively untapped, proving that there is definite heat a lurking under the wailing vocals and fuzzy guitars of the genre. Motown67 from Soulstrut played this for me a few weeks ago, a track called "Seed of Love" by Little Boy Blues which was sampled by Just Blaze for Jay-Z's The Black Album. The piano riff on this one is just nasty, while the keys, horns, drums, guitars, and vocals all fall nicely into place. This is the type of record every producer wishes they found first, and that everyone is after once somebody does.

Keep your eyes open for this one cause the album as a whole is rock solid.

Since posting this it was brought to my attention that another track on this album, "Dream Weaver," was sampled by Diamond D on Xzibit's "Bird's Eye View" way back in 1996. No surprise that Diamond of all people was up on this first, but I'm surprised he didn't hear any potential on "Seed of Love." Oh well, it just goes to show that it was in a producer's hands long ago, but it took eight years for it to hit the mainstream.