Massive grooves from a very unique group! These guys play guitar and
percussion all at once – in a flurry of fast grooves that rip away
tremendously, but with a style that's still plenty darn earthy! There's
definitely a bit of a global influence in the music overall, but the
sound comes out as pure funk in the end – tightly focused, and very
jamming – but not in a way that's ever too overindulgent. Some tracks
feature vocals by singers Leslie Vos and Renold Shearman, and
instrumentation includes guitars, organ, timbales, and congas.
1979 Λίγο πριν την ίδρυση των θρυλικών Lumbago και για ένα μικρό διάστημα παράλληλα
με αυτούς ο Θανάσης Ζλατάνος είχε δημιουργήσει μια πολυεθνική μπάντα με εξαίρετους
μουσικούς την οποία ονόμασε Medusa.
Ένα κράμα rock - jazz - funk που έγινε ιδιαίτερα αγαπητό στο μικρό χρόνο παρουσίας
του στο Όσλο της Νορβηγίας.
Ο τραγουδιστής John Dunne απο Ιρλανδία έβγαζε τα προς τα ζειν σαν μουσικός του δρόμου , όπου και τον άκουσε ο Θανάσης και μαγεύτηκε απ την φωνή με τις Van Morisson καταβολές. Έπαιξαν για ένα μικρο διάστημα μαζί και λίγο αργότερα προστέθηκαν οι Per Sveinsson Νορβηγός στο μπάσο, ο Luis Gambolini Αργεντινός στα ντραμς και ο Νορβηγός Bengt Jensen στα πλήκτρα.
Οι ηχογραφήσεις έγιναν στο στούντιο που εργαζόταν ο Sveinsson σαν ηχολήπτης το 1979.
A legendary record from one of the most unique Latin groups of their
time! In an early 70s world where many Latin combos were going for
class and poise, the Ghetto Brothers moved in another direction entirely
– working here with a fair bit of electric guitar alongside more
familiar Latin rhythms – all to push along some wonderfully soulful
vocals! The record's got a very different feel than most east coast
Latin work of the time – one that's a bit like some of the Chicano soul
of the west coast, but not nearly as smooth, and with a definite nod
towards both funk and singer/songwriter work of the mainstream! The
guitar's really upfront in the mix – riffing off at the start of most
tracks – and the vocals have a slightly sweet quality, supported by
harmonies from the rest of the group at times – making for a wicked
blend of modes that's extremely compelling.
Here is a rare funky gem titled "Blue Jeans" by Alberto Baldan. This track was featured on Balden's 1974 album The Soul Of Ali 'Ben' Djamballa,
which is a much sought after LP by record collectors worldwide. The
good grooves from this record don't just start and stop with "Blue Jeans", as the album features a number of other great tracks including "Black Coffee", "Take Six", and "Niger",
which all tend to blend euro "library music" grooves together with a
touch Afro-flavored funk. As you might imagine, the record features a
number of solid breaks and worthy sampling material. Overall, the
hard-to-find album represents a fine dose of funky rare grooves. Enjoy!By americanathlete
Ziad Rahbani is a cultural icon in Lebanon. The musician, pianist and
producer is also a renowned playwright and a political activist, one of
the most important exponent of the lebanese left-wing counterculture to
emerge from the 70s. ? Coming out of an illustrious artistic dynasty
(his father is the famous composer and musician Assi Rahbani, member of
group The Rahbani Brothers and his mother is the legendary Middle East
Diva, Fairuz), Ziad Rahbani started his music career during his late
teens, composing music for his mother. Rahbani quickly spread his
wings further. He started producing his own music during the early 70s
and released records under his own name at 17. Among these was "Abu Ali"
recorded in Greece at the EMI Studios in Athens in 1978 with a full
orchestra (there he also recorded his mother's album "Wahdon") and
released it as a limited run EP for the lebanese market. Legend has it
that the album was only pressed at 500 unit hence its rarity. The
result is a fabulous New York-meets-Beyrouth Disco exctasy developing
over two 13-min tracks and one of the most collectible albums on the
international dance and disco scene which Wewantsounds is happy to
finally make available.
This is a rare gem of a record from fantastic soul band "THE SOUL KIDS"
stemming from the Democratic Republic of Congo, including covers of
JAMES BROWN & The Mighty Flames' hit singles "Lickin Stick"
(1968),"Papa's Got A Brand New Bag" (1965), WILSON PICKETT " Hey Jude"
and a French vocal version of OTIS REDDING s' soul hit "Respect ".
This amazing young band, which released only four 7 inch singles and one
album, is a great example of the influence of soul music and French pop
bridging to the new Afro soul scene that the musicians of Kinshasa were
involved in during the time of post-independence.
Ngoma was one of the first record labels intent on providing local
artists' recordings from both sides of the Congo river to the people of
the DRC and West Africa. Created in 1948 by a Greek man by the name of
Nicolas Jeronimidis, the Ngoma label was active through 1968, pressed in
France until 1971, with a tremendous catalogue, including this
historical and essential soul masterpiece! Buy record here
Known as Pantaleon Perez Prado, was the younger brother of the famous
King of Mambo. Pantaleon, who came to Europe in the 1950s, recorded
several albums with Unifunk. A powerful Big Funk Band sound featuring:
Tullio De Piscopo, Mario Rusca, Giancarlo Barigozzi, Pino Prestipino and
others. Escandalo!, as Perez Prado states in the brief sleeve note, is
named after a new rhythm created by himself. A rhythm you can dance to in freedom, without specific steps.
In spite of this naive launching, the opening track Chicago Banana is a
declaration of intent, with its Sly Stone-esque groove. 9 out of 12
tracks are originals credited to composers of the Unifunk circle, but
the track list is careful to preserve Prados well-established Latin
appeal, by including three standards such as Brazil, El Manisero and
Tequila.
Bassist, percussionist and arranger Pantaleón Perez Prado (1928-83) the
younger brother of the famous Dámaso Perez Prado (King of Mambo) arrived
in Europe in the 1950s, whereupon he set about pursuing his musical
career in mambo. In the early 1970s, Pantaleón settled in Milan where he
recorded two LPs, Escandalo! (1972) and Perez Prado - Don Alfio (1973),
both featuring a powerful Big Funk Band sound and both still considered
to be two incredible musical gems. After the sunset of mambo fever,
Pantaleón was able to reveal a funky attitude that comes out in these
amazing recordings.
Value :
Funky funky stuff from Jimmy Smith – a killer late 60s album cut in
collaboration with Johnny Pate, who's very much at the height of his
blackploitation power here! The backings are full, but in ways that are
quite different than other Smith albums on Verve – such as the sides
done with Oliver Nelson – and Pate's groove here is plenty schooled in
soul, yet also leaves lots of room for Smith's organ lines as the main
solo vehicle. And as an added bonus, Jimmy also sings on the record –
in a rough, raspy style that might not work on a straighter jazz set,
but which really sounds great here – almost making the music come across
like some of those funky Quincy Jones soundtrack numbers with vocals.
Titles include "I Know What I Want", "Uh Ruh", "Dirty Roosta Booga",
"Spill The Wine", "I'm Gon Git Myself Together", and "Need Mo"
Williams meets the Cannonball Adderley Septet on this rather interesting session. The expanded rhythm section (which includes keyboardist George Duke and both acoustic bassist Walter Booker and the electric bass of Carol Kaye) gives funky accompaniment to Williams, while altoist Cannonball and cornetist Nat
have some solo space. Actually, the singer easily steals the show on a
searing version of "Goin' to Chicago Blues," and his own "Who She Do,"
and a few unusual songs, including Duke Ellington's "Heritage."
A landmark album of Brazilian funk – the record that set the tone for so
many others to follow – and which can easily stand head to head with
the best American funk of the time as well! The group's headed by
Brazilian pianist Dom Salvador – who you'll know from 60s bossa nova
material and straighter jazz sounds – but here, Dom's got this
heavy-hitting left hand approach –which is a perfect balance to the
funky combo Abolicao – who play with this rich sound that's an equal
balance of jazz, funk, and Brazilian music influences. The record's a
great precursor to later Brazilian funk albums – like those by Banda
Black Rio or Unaio Black – but the influence of Salvador's piano gives
the record a jazzier edge, one that mixes extremely well with the wide
range of percussion on the set.
Nigeria had a unique music scene which began spreading rapidly in the
1970s. The era was based on unspoiled use of fuzz pedal, keyboards and
indisputable influences of the Psychedelic Blues bands of the West. In
1980 Effi Duke & The Love Family came out with their debut Mr. Love.
It was released by Homzy Records which was a home of many Afro-Funk
records, going strong from mid '70s toward '80s. Effi Duke & The
Love Family being one of their most energetic albums. The '80s were
definitely more into a jazzy sound with disco slowly infiltrating the
African music scene. What's so unique about Mr. Love is Effi Duke's love
for guitar based Jazz and together with African rhythms and funky bass,
his album is a Funk/Jazz/Disco hybrid. He's an incredible guitarist and
also at the time of this LP an ex-Wings member. They were one of the
most popular bands from Nigeria. Effi Duke was a key part of the scene
with being member of The Wings, The Visitors, The Apostles, he played
also the guitars on Mary Afi Usuah's fantastic second LP African Woman
(which will be also rereleased on PMG) and on many other great albums
including the incredible Folk 77 album.
Very groovy work from the legendary Janko Nilovic – a set that's every
bit as funky as some of his other records, but one that has a slightly
different twist as well! The "chorus" in the title is appropriate – as
there's a flurry of wordless vocals in the mix of this one – a group who
draw from some surprisingly soulful currents to appear on some of the
album's best tracks with a style that's more groovy soul ensemble than
other uses of chorus styles at the time! Given the mod styles of the
tunes, the whole thing almost feels like some lost funky Galt MacDermot
stage production – especially as the lead female singer in the group has
an especially great range, and might even be a better-known soul singer
working without any credit on the date. Janko's blend of keyboards,
basslines, and other instrumentation is wonderfu!By Dusty groove.
The album's titled Afro Progressivo, but it's got a sound that's also as
spacey as its cover image – served up here in a great blend of electric
instrumentation mixed with a fair bit of percussion – all then given
some very strange effects in the studio! The sound library set was
issued in early 70s Argentina, and it's got this great mix of the tribal
and the cosmic – not unlike the wonderful Mandingo albums from the UK
70s scene – which also had a similar blend of fuzz and funk!
Formed in Bermuda in 1968, The Invaders are responsible for what is
arguably the most sought after piece of Island Funk in history, their
lone long player, 1970s Spacing Out. Full of funky breaks, Meters-esque
guitar work, and tripped out horn lines, Spacing Out is not simply
collectible because of its exotic locale, it is a stone funk classic
that holds its own against such luminaries of the genre as The Meters,
The JBs, and the Nite-Liters.
One of THE indie soul treasures of the 70s – a wickedly funky record
that blends together jazz, soul, and club – and which stands out with a
sound that's all its own! You may well know the tag "moods and grooves"
– as the record's had an influence on countless scenes, and has been
referenced by many artists over the years. But nothing beats this
original set, a sublime batch of electric grooves performed by a core
combo of electric keys, bass, and congas – augmented by sweetened
strings and some occasional chorus vocals – bad-stepping around the
grooves in a mostly-instrumental mode that rivals (if not betters) some
of the best funky soundtrack work of the decade!
BIG THANKS V. Fockas (Mr. Vagz) & V.Bertolis ( JazzVandals)
Track List :
1 Gabor Szabo And The California Dreamers - San Franciscan Night 2 Igor Nazaruk Quartet - Approval 3 Janko Nilovic - Trumpet Sketches 4 The Invaders - Lost Time 5 Ju Par Universal Orchestra - Flute Salad 6 Aura Urziceanu - Surpriza 7 Houston Person - Soul Dance 8 Hinbal Butss - In The Pocket 9 The Rob Franken Organ-Ization - Scintilla 10 Roberto Pregadio - Erika Seq.18 11 Connie Boerman - Yes Tonight 12 Soul Swingers - Ca - Ba - Dab 13 The Majestics - Funky Chick 14 The Jimmy Ed Trio - Baby , Baby , Oh Baby 15 Roy Lee Johnson - Boogaloo #3 16 Cover Up 17 Leroy & The Drivers - The Sad Chicken 18 Electric Machine - Fancy Good 19 Collage - Do What You Gotta Do 20 Nata - Tu Sais Que Je T'aime Bien (edit) 21 Dos Mukasan - Betpak dala 22 Michel Gonet - Flower Dance A 23 Embryo - Knast Funk
Polish composer, arranger, vocalist and keyboardist Piotr FIGIEL
(1940.04.13 - 2011.12.22) is probably best known for composing music for
other artists, movies, TV, radio and theatrical plays. But in the
1960's he was an active musician himself, and toured Scandinavia with
The Clivers. Later he would concentrate on studio work, as a
collaborator with other artists in one capacity or another or for
recording material for a wide variety of purposes.
Figiel also
recorded and released a couple of solo albums: Piotr in 1971 (also known
as Organ Hammondy) and Music in 1976. Of these two productions it's the
former that will be of interest to fans of progressive rock, especially
if you have a soft touch for jazzrock and fusion. The latter appears to
be more of a purebred pop production, and from some descriptions
apparently more of a compilation in spirit, but issued under Figiel's
name.
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The mysterious Shades of Joy
recorded the wholly instrumental album The Music of El Topo in San
Francisco, the LP finding release on the Douglas label in 1970.
Co-produced by Alan Douglas (famous for his controversial posthumous work on some Jimi Hendrix
material), it's an odd but listenable mix of early jazz-rock fusion,
psychedelia, funk, and the kind of meditatively somber and pretty music
you might expect to hear on the soundtrack to a period drama.
And in
fact most of the compositions are credited to film director Alejandro Jodorowsky,
who was responsible for the early-'70s cult film El Topo. Fifteen
musicians are credited with playing on the album, the most noted of them
being occasional Grateful Dead/Jerry Garcia sideman Howard Wales
(on electric keyboards), though there are also numerous percussionists,
brassmen, and flutists; in fact, there are three combination
flutist/tenor saxophonists alone. (Jodorowsky himself does not play any of the music, however.) Martin Fierro
(who played flute, tenor sax, alto sax, and cowbells, as well as being
credited as a "scratcher") seems to have been the musician most involved
with the project, also doing the orchestration and horn arrangements.
The Music of El Topo, incidentally, is an entirely different album than
the Apple-issued El Topo soundtrack, for which Jodorowsky got composing credit for all of the music.By Allmusic
Recorded in San Francisco in 1970 on the Douglas label, this LP is
commonly associated with the visionary Western-on-acid epic film "El
Topo." It's an intriguing piece of urban jazz funk fusion.
And a somewhat confusing record. First, there are two versions – the
film score on Apple (which I hear is to be avoided) and this bay area
jazzfunk jam “inspired by the film” by the Shades of Joy on Douglas.
Alejandro Jodorowsky – the movie’s director is credited here with
writing all the music (which sounds improvised), yet appears to play no
instrument or take part in the session at all. But, of the people who do
actually play on this record, most noteable is funky keyboard legend
Howard Wales! The sound here ranges from all out funky get-downs, to
trippy, moody electric Miles Davis-esque excursions. Very highly
recommended.By Wax
Listen here to an exerpt from one of the more groovin’ tracks.
