The P&P reissue-a-thon continues this week as we're treated to
another pair of long out of press pearls from the classic New York
imprint. One of the most powerful disco cuts from the P&P Affiliate
'Land of Hits' Label, "New York’s Movin’" is faithful to the name. A
seven minute-plus disco gem of percussive breakdowns, a solid bass
groove, classic strings, and enough guitar licks to make Nile Rodgers
rip out his trademark hair with jealousy. Ahzz was a studio project by
Osborne Hunter and Steve Boston and despite the backlash of Comiskey
Park’s Disco Demolition in 1979 and the commercialization of Disco, it
was clear New York City was still movin’ in '81. Underground hits like
these were just undeniable, filling the floor at The Saint, Paradise
Garage and Mancuso's Loft parties. Like a lot of the titles on Peter
Brown’s labels, today "New York’ Movin’" is a rare and highly sought
after record, even a holy grail for some.
Wicked sound library funk from the 70s – an album that was originally
pressed on a tiny run of 300 copies, by the equally tiny Flipper sound
library label! The style here is nice and spare – less of the
orchestral funk of other records of this nature, and mostly focused on
rhythms from electric bass and congas, with wah-wah guitar lines that
riff up and down the groove! This approach is almost more organic and
homemade than some of the slicker sound library sets of the period –
with the feel of a small combo just coming up with sweet laidback jams
in the studio – and titles include "Rockfolk", "Sambasound", "Bassbeat",
"Afrotheme", "Percussion Blues", "Tumbasound", "Bossa Feeling", and
"Slow In Rhythm".
Η ομάδα The Buttshakin' Conspiracyδημιουργήθηκε το 2015 από 4 φίλους με την ίδια αγάπη και μεράκι για την μουσική!
Όλα ξεκίνησαν σε ένα σκοτεινό υπόγειο μια νύχτα που έβρεχε. Γιατί έτσι; Γιατί έτσι ξεκινάει κάθε ενδιαφέρουσα ιστορία!
Στα σκονισμένα ηχεία ακούγονταν ο Curtis Mayfield και όλη αυτή δυναμική
αυτών των αγαπημένων ήχων χανόταν σε εκείνους τους 4 τοίχους. Οι 4
ήρωες της ιστορίας μας είχαν αγνοήσει την πρόσκληση για άλλη μία έξοδο
όπου ο κώλος τους δε θα άφηνε την καρέκλα. Αυτό είπε ο Mister Vagz και ο
ήχος από το "Move on up" του Curtis Mayfield ήρθε διαβολικά για να τον
κάνει να πεταχτεί από την καρέκλα του λέγοντας με στυλ "Αυτό
χρειαζόμαστε!". Μουσικές υπάρχουν και πρέπει να ακουστούν συμπλήρωσε
ο Alex. O Afrodelik με ενθουσιασμό είχε ήδη σηκωθεί και ετοιμαζόταν να
βάλει ένα από τα βινύλια που αγόρασε πριν κάποια χρόνια από Βραζιλία.
Ο ρυθμός ήταν χορευτικός αλλά έμειναν σιωπηλοί και η ατμόσφαιρα άρχισε
να ηλεκτρίζεται επικίνδυνα. Κάπως έτσι τότε οι 4 φίλοι κοιτάχτηκαν
συνωμοτικά και ήξεραν ότι έπρεπε να κάνουν κάτι ενάντια στην καρέκλα
"The butt was meant to shake" είπε ο Βαλάντης και κάπως έτσι οι "The Buttshakin' Conspiracy" οργανώνουν την πρώτη τους
όχι-τόσο-μυστική-συνάντηση. Η
επόμενη σκηνή είναι στο La Soiree De Votaniqueτην Παρασκευή 15
Απριλίου όπου θα βάλουν σε εφαρμογή όλα τους τα σχέδια για να σε
προκαλέσουν να χορέψεις.
Μουσικές αποκλειστικά από βινύλια και cd, όχι απο laptop.
Soul, Funk, Rhythm and Blues, Rare Grooves, Hammond Beat Essentials, Nu Funk.
Οι Buttshakin' Conspiracy είναι: Electric Looser Alex Flexible Sounds AfroDelik Mister Vagz
Marina Moran sings two refined tunes plenty of bossa-jazz flavours
"Un Desidero Per L'estate" and "Non Me Dire "Adeus" . The
first in Italian, the second in Brazilian. Arrangements and orchestra
Gianni Ferrio.The line-up features some important Italian jazzmen such
as Gino Marinacci on flute, Livio Cerveglieri on tenor sax, Enzo
Grillini on guitar, Biagio Marullo on trombone.
Taste :
Gianni Ferrio & Gino Marinacci - Non Me Dire "Adeus (feat.Marina Moran)
If any singular exponent of the powerful Turkish Anadolu Pop scene
could be described as eclectic it would have to be Ersen. His chameleon
image in Turkey has teetered on the edge of versatile and schizophrenic
over his 40-year sporadic career and his versatile talents as a vocalist
have served as a refreshing alternative to his contemporaries in one of
the most progressive musical micro-cultures in the history of rock
music. Catapulted into prominence by the first ferocious wave of the Anadolu
Pop scene alongside the true cognoscenti of the fledgling phenomenon,
Ersen would go-on to record a smash hit single and a string of
stylistically disparate records which entertained, inspired, confused,
rejuvenated and offend his divided audience in equal parts. By today’s
standards Ersen’s erratic creative tendencies makes him one of the
strongest Turkish rock contenders to transcend changing musical trends
and geographic territories. As a singer he has one of the most unique
softly spoken vocal deliveries on the Anatolian Rock scene and as a
composer his use of long heavy rhythmical passages punctuated by his
signature ‘panting’ vocalisations and throbbing basslines are
unmistakable. To fans of early Eastern psychedelic music it will make
sense that, although at times in his career Dinleten may have been
regarded as an outsider, many attributes of his unique sound are
accountable to his open armed acceptance by the originators of the
Anadolu Pop scene – primarily, and namely Mogollar and 3 Hurel.
As an artist who had started out playing the type of romantic ballads
which wouldn’t sound out place in your local Turkish restaurant, Ersen
had been transformed into a credible ambassador for the much publicised
Anadolu Rock phenomenon and, to some sceptics dismay, he had travelled
via rock ‘n roll, traditional folk and pop trends along the way. In some
senses the Anadolu rock scene mirrored the likes of Brazil’s Tropicalia
movement where social politics could potentially eclipse the music, so
when the likes of Ersen chose to remain apolitical he was often
criticised by the unduly disappointed radicals of young Turkey. Where
the vociferous Selda Bagcan could be compared to Os Mutantes’s Rita Lee,
Ersen took the role as a politically pedestrian Roberto Carlos.
The recent resurgence in Ersen’s music amongst DJs and record
collectors and the recent commercial re-appropriation of his tracks via
advertising and sampling stands is testimony to his misplaced
accessibility. The A-side to Ersen and Dadaslar’s third single ‘Gafil
Gezme Saskin’ (Don’t Wander Heedless, Bewildered)
was recently sampled
by American Hip-Hop producer ‘OH-NO’ as part of Los Angeles based Stones
Throw collective who have embraced the resurgence of Anatolian Pop with
open arms. Recent joint DJ sessions with label boss Eothen Alapatt and
Finder Keepers have witnessed packed dancefloors rocking-out to dozens
of rare and unknown Turkish 45s while auction site eBay plays host to
hoards of frenzied bidders hoping to secure original copies of Turkish
LPs at inconsistent and regularly inflated prices. In 2007 traditional
English footwear brand Clarks went to great cross-continental lengths to
license the track ‘Gunese Don Cicegim’ for a national TV advertisement
which prompted heavy debates on internet forums amongst hungry vinyl
junkies trying to identify the mystery track.
