Saturday, June 25, 2011
Thursday, June 23, 2011
STARPOINT :: YOU'RE MY SUNNY DAY
One of my favorite overlooked track from Starpoint. This smoothed out, mellow stepper screams "Summer In The Park"!!! Crack open a cold one and cool out.
STARPOINT - YOU'RE MY SUNNY DAY 1980
2000BLACK :: DEGO :: NEW ALBUM
The debut solo album reveals Dego’s profound love for the simple physical pleasure of a perfect beat, but also his boundless curiosity for reinventing the most sophisticated elements of classic funk and electro.
Even within a single song, Dego manages to take listeners on a journey across time. “Late Night Fright,” for example, begins by harkening back to the heyday of dub and drum ‘n’ bass, the club ori-ented music of Dego’s youth, before slowly dissolving into a dreamy jazzy soundscape, mirroring Dego’s own musical evolution.
Elsewhere on the album, Dego joins forces with a carefully-selected roster of singers and instrumental collaborators. “We Are Virgo” is a collaboration with jazz multi-instrumentalist Kaidi Tatham, that blends several time signatures, drawing on a rich palette of analog synthesizer sounds. A funky tangle of old-school acid house arpeggios, mixed with a bouncing soul groove, featuring vocals by up
and coming British singer Obenewa, “All That She Knows”
Guests include Georgia Anne Muldrow, Taylor Mcferrin, Sharlene Hector
and many more.
ALBUM PREVIEW
GENE FARRIS :: SMOKE SESSION
While boxing records for my move, I re stumbled on this Gene Farris album from early 2000's. On its way towards my"Sale Crate" I said to myself, "Why did I buy this House LP"?. I skipped through most of the tracks, till I came across Smoke Session track and remembered why I picked up the LP.
Ahhhhhhhhhhh, the Down-Tempo lounge days...
ORIOL
I'm loving this guy Oriol right here. While most of you are sleeping, caught up in Dubstep and Boogie craze there's a new breed of artist pushing and fusing the lost genres of Broken Beat, Breaks and Electronic Dance Music.
Of Spanish and Trinidadian heritage, The Barcelona born (but Cambridge based) Oriol expanded his horizons and learnt his craft at London's broken beat related CDR (also home of Floating Points). With lush synths and a truly fresh sound evoking the summertime grooves of 70s soul and mid 80s electro with a twist.
Coconut Coast by oriol
MINI MIX
Oriol / Mary Anne Hobbs / Radio 1 DL by oriol
Monday, June 20, 2011
BOBBY HEBB :: SUNNY
It's going to be a beautiful day up and down the West Coast today!!! Caliente! Enjoy the sunshine, we could use it here in SF!
Sunday, June 19, 2011
HAPPY FATHERS DAY (POPs)
If it wasn't for this man, I wouldn't be the person I am today. I gave my parents HELL as a youth, but my Dad was always there for me! I'm very lucky!
Happy Fathers Day to all the Fathers and new Dad's out there.
Saturday, June 18, 2011
HAIGHT & SOUL PRESENTS :: JOE BATAAN :: MEET & GREET
HAIGHT & SOUL PRESENTS :: ORDINARY GUY MEET & GREET WITH JOE BATAAN ::
FREEEEEEEEE
I'm very excited to announce on Friday June 24th the "King Of Latin Soul" "Mr. Ordinary Guy" Joe Bataan will be at Milk Bar (SF) for a rare Meet & Greet appearance, one night only! This event will be from 6-10 pm. There will be Merch boths to purchase items, plus you can also bring in those vinyl records to sign. Arrive early for LIMITED EDITIO...N poster designed by P.R.O.P.S. plus FREE food catered by Papalote for the first 100 people .
Latin Soul Sounds by Sweater Funk DJ's & Soulero Familia's.
DJ's:
*Vinylrichie
*Guillermo
*Allan Thayer
*The Souleros
Music
-Chicano, Modern, Rare, Soul
Location:
Mik Bar
6-10pm
Joe Bataan – King of Latin Soul, Boogaloo, Latin Soul, Rhythm and Blues, Salsa, Disco, Latin Funk, Latin R&B Latin Jazz, Rap .... What didn't Joe Bataan sing? Joe Bataan was born and raised in Spanish Harlem (East Side of Manhattan New York) in 1942 to an African-American mother and Filipino father.
His musical experience started in the street corner singing do-wops in the 1950's. Mr. Bataan didn't coin the phrase " Latin Soul " ...The phrase was used in the early 60's and perhaps late 1950's with La Lupe and Tito Puente. Mr. Bataan actually created the music as it should have sounded. By merging Latin music with R&B tunes in the late 60's, "Latin Soul" was officially born by the creator Joe Bataan.
Self taught on the piano, he organized his first band in 1965 and scored his first recording success in 1967 with "Gypsy Woman" on Fania Records. Other hits were "Subway Joe" and "I Wish You Love" on the "St. Valentine's Day Massacre" LP. In 1974 Joe Bataan released the Latin Soul ballad "Ordinary Guy" (Afro-Filipino) where he proclaimed - for the first time his ethnic roots.
Mr. New York Joe Bataan returned to the stage in 1995 after a 20-year hiatus from the music industry. Mr. Bataan was amazed that many showed up to his show and and remembered his music. In 2005, Joe Bataan released a brand new album titled "Call My Name" on Vampisoul records. Mr. Bataan maintained his trademark, vintage sound with the use of instruments such as clavinette, Hammond organ, groovy bass, funky drums, and Latin percussion. Bataan's voice of course still has its trademark soulfulness.
It is wonderful to have our King of Latin Soul back on the scene performing and touring again. He just completed a tour of Germany where he was received by enthusiastic crowds. In 2010 he toured Japan where he is an extremeley popular star. After all these years - it's great to know that someone many of us associate with the "music of our youth" is just as popular as ever - with many new fans all over the world!
His show at Yoshi's San Francisco is a historical event - the return of the Latin Soul King to the SF Bay Area. This is a show not to be missed!
Tickets are available now!
http://www.yoshis.com/sanfrancisco/jazzclub/artist/show/1890
Friday, June 17, 2011
Tuesday, June 14, 2011
HAPPY BIRTHDAY BOYS :: DAM FUNK :: JON BLUNK
If it weren't for these 2 guys the LOS ANGELES >>> SAN FRANCISCO Funk connection would of never happened. Thanks for making us one big family!!!! HAPPY BIRTHDAY!!!
REWIND: DAM FUNK @ SWEATER FUNK PICTURES 2008
Monday, June 13, 2011
RISK & COOZ :: JULY SHOW AT 111 MINNA
Kelly Graval and Nathan Ota, aka RISK and COOZ, will be opening a collaborative show, That Was Then, This Is Now. The show reunites two friends who respectfully became graffiti legends in the streets and revered artists in galleries and museums across the globe. What is pretty cool about their relationship is that they went to high school together. Long-time friends.
RISK and COOZ
That Was Then, This Was Now
Opens July 7, 2011
111 Minna Gallery
San Francisco, California
THE WESTSIDE MANHATTEN PROJECT
Located on Manhattan's West Side, The High Line, is a elevated public park project that utilizes an old section of railway that was once used to lift dangerous freight trains off Manhattan's streets. The second part of the part opened on Wednesday making the length of the park a mile-and-a-half-long.
Designed by landscape architects James Corner Field Operations, with architects Diller Scofidio + Renfro, the park is a must see if you are visiting New York.
Sunday, June 12, 2011
NEW DANGER MOUSE PROJECT :: ROME
DON'T SLEEP ON THIS LP!!!
The "soundtrack without a movie" album, an attempt to recreate the evocative sweep of a film score away from the screen, has a long and mostly ignoble history. The concept was flogged so hard in the 1990s, usually by dance producers desperate to break out of the club scene, that it was almost left for dead. It didn't help that most of these records were limp pastiches of old-school Hollywood orchestration that paled next to 99% of either actual film scores or real-deal pop albums.
All that bad product doesn't make the movie-less soundtrack a bad idea, of course. It's just that few of these projects have had the talent pool, or the commitment, to pull off a Rome. You can hear composer Daniele Luppi's love and respect for the brooding romanticism, fragile delicacy, and almost psychedelic spaceiness of classic Italian soundtracks in just about every note. In his partner Danger Mouse, he's found not only a similarly smitten collaborator, but a producer who's made a career out of accurately capturing the atmosphere of old records without (usually) coming off sterile. And they've got the moody vibe of those 60s soundtracks down on Rome, as much due to the vintage recording touches as to the Italian movie industry O.G.'s the duo drafted in to lend their hard-earned feel for this music.
But Rome isn't just about faithfully recreating a much-loved period in film history. It'd be a much more boring, if beautifully produced, record if it were. In addition to his work as a composer for film, Luppi's lent his talents as arranger and player to various pop acts, and Danger Mouse has spent much of his career using his crate-digger's ear to craft retro-minded albums that still work for a modern rock audience. Rome's real coup is that, despite its concept hook, you don't have to listen to it as if it were a potential film score. What the duo's made is a beguiling and true hybrid, halfway between pop album and soundtrack-minus-the-movie. If you've got no familiarity with the music Rome pays homage to, you can take comfort that much of it sounds, coincidentally, very similar to the gentle-but-dark 60s psych-pop Danger Mouse makes with Broken Bells, sans a singer. And while it's true that the bulk of the album is instrumental, more concerned with mood than hooks, it's sequenced masterfully, including a handful of well-placed (if purposefully subdued) songs.
Luppi and Danger Mouse cannily snagged two talented but obviously very different voices in Jack White and Norah Jones. White's natural eeriness and Jones' diffident eroticism certainly fit a sound built around mystical melodrama and chilly Euro heartbreak, but their voices are such complimentary opposites that they turn out to be what gives Rome much of its distinctness, keep it from being just another record collector (or film collector) exercise in getting everything period-perfect. And true to the album's slippery not-quite-an-album/not-quite-a-score form, their contributions can either work as the big showcase moments for pop fans, or just as part of the soundtrack-like flow. And whether or not the album succeeds for you as a score to your own invisible flick, inducing images of fog-swept villas and sigaretta-chomping villains in fedoras as the organs swell and the guitars pluck mournfully away, it's purely gorgeous.
FRANCISCO AGUABELLA
My good friend Allen Thayer (Gostosa / Wax Poetics) hooked me up the Francisco Agubella LP for my Birthday a few months ago. This is LP is solid including sounds of Latin Funk, Old Soul, and Up-Tempo tracks.
Master conguero Francisco Aguabella is a musician’s musician, a living bridge between the music of Africa, Cuba and North America and a composer who has contributed many standards to the Latin jazz songbook, including some of Tito Puente’s biggest hits. He’s also been a bandleader, session musician and music teacher, and recently won a National Heritage Fellowship from the National Endowment for the Arts for his role in helping to preserve America’s cultural diversity. His rhythmic virtuosity and knowledge of the religious drum lore surrounding the ceremonies of Santeria, Abacúa and Yezá have won him legions of fans, and he’s widely acknowledged as one of the century’s great hand drummers, right up there with Chano Pozo and Machito. Not too bad for a boy who grew up loading sugar onto cargo ships in the port of Matanzas for five cents a sack.
“That was my ’day job’ as a young man,” Aguabella says. “I lived in a house with my grandmother, and besides playing music all night, I worked as a longshoreman. All the sugar that left Cuba came through Matanzas, in 350-pound sacks of raw cane. It was piecework – you got five cents for each sack you hauled onto the ship. In eight hours I could haul 200 sacks of sugar, then when I was finished with work, I’d go play all night long.”
Aguabella was born in Matanzas, Cuba, on October 10, 1935. He had six brothers and a sister, “but one brother died of typhoid fever as a child. The brothers and my baby sister stayed behind and still live in Cuba.” Like many Cuban musicians, Aguabella has music in his blood. “I can’t remember a time when I didn’t hear music,” Aguabella says. “My father and uncle played drums in local bands, but in Cuba everybody plays the drums, especially in my neighborhood.
“In Cuba we have the freedom to play drums in the street, to make music in the street. The first thing you hear when you wake up in the morning is the drums. It’s a national sport, as important as baseball. On my street there were five or six guys who had little bands, and on many days they’d all be out playing, having a friendly competition, drumming and dancing. Sometimes they’d close the street from 10:00 a.m. to 10:00 p.m. because they’d be out there playing rumba all day long.”
Matanzas, capital of Matanzas province, is known as one of Cuba’s most African cities, a place where people descended from the Yoruba, Calabar and many other West African ethnic groups stayed in touch with the bedrock rhythms that came to Cuba with the slave trade. These tribal rhythms eventually evolved into the rumba, a style that has gone on to influence much Cuban music and is also the cornerstone of Latin jazz and salsa. Los Muñequitos de Matanzas may be the city’s most internationally famous band, but the rumba is everywhere in Matanzas.
“You see a bunch of guys on the street, and someone will start clapping his hands, or tapping out a rhythm on a Coke bottle with the bottle cap,” Aguabella says. “Then they’ll be pounding on wooden crates, or a wall, or splashing in the puddles of water dripping out of an old air conditioner, or playfully tapping on somebody’s head. You can’t escape the rumba.”
The rhythms of the rumba are also closely associated with the Cuban religions of Santeria, Abacúa and Yezá, a hybrid of Catholicism and various African spiritual beliefs. “The rhythm is part of the religion, and it remains as strong as it was when I left in the ’50s,” Aguabella says. “There are people who go to Cuba to be baptized, and learn how to drum. There are even Africans that come to Cuba, because the bata – which was once played all over Africa – is today only played in one part of Nigeria, and in Matanzas.”
The bata, a two-headed drum used in Santeria rituals, was the instrument that first attracted Aguabella when he was a youth. “I was friends with Esteban Vega – his nickname was ’Chacha’ – an original member of Los Muñequitos. We both went to the same school and belonged to the same religion, Abacúa, which is only for men. It’s a ritual sacred society, a brotherhood. We dress in burlap pants, to let people know we are part of Abacúa. You know other members by how you shake hands and the words you exchange.
“Chacha began teaching me bata when I was 12. Later on, I learned the rhythms of Arara and Yezá, because my grandmother [was into] Yezá, and my stepmother went to ceremonies that used the Arara rhythms. The guy who owned the place we went to pray was named Mayito, and when he saw I was interested, he volunteered to teach me to play Arara, which is played with four drums and one bell. The patterns are very difficult to learn, which is why I’ve been teaching at UCLA for the past four years. I want to make sure this music is passed on.”
Aguabella began his professional career as a ceremonial drummer, and the different rhythms he’d picked up – Arara, Yezá, Abacúa – helped him find gigs. “Because I had strong family roots in the religion, I could go to a gig where all three rhythms were played, or go to three different ceremonies and play a bit of each.”
Eventually Aguabella branched out into secular music, playing in nightclub bands. He was a member of Conjunto Bibito Torriente and was the main drummer at Caberet Sansui, where the house band was led by Rafael Ortega. But his fortune took a radical turn in 1957 when he met the pioneering African American dancer Katherine Durham, leader of the Katherine Durham Dance Company. Durham was an ethnomusicologist as well as a dancer and choreographer, and had mastered a talent that’s rare even today. She discovered a way to make folk music pay, by adding a bit of show biz polish and spectacle to the traditional music she used in her presentations. When she decided to incorporate the rhythms of Haiti and Cuba into her work, she went to the source and hunted down the musicians who were living the tradition. In the ’50s she lived first in Haiti and later in Matanzas, where she met Aguabella.
“When I met Katherine Durham she was looking for a drummer for her dance company, and to make a movie in Hollywood,” Aguabella says, laughing. “She wanted real Cuban drumming and asked me to come to the United States with her dancers. I played with them for a couple of months and got homesick, but she asked me to stay, ’just one more month’ she said, so we could do the movie. After the movie she asked me to stay until we finished a tour of Europe and Australia, and I stayed.” The two months eventually clocked in at seven years, during which time Aguabella’s incredible musicianship became well known in the Latin jazz and pop music communities. At this point, the two-month gig has become a career of 41 years.
Early on Aguabella hooked up with Dizzy Gillespie – Chano Pozo recommended him as a man who could play the “real Cuban rhythms.” He has also played with Peggy Lee, Frank Sinatra, Tito Puente, Eddie Palmieri, Malo and Carlos Santana, as well as leading his own band Francisco Aguabella y Agua de Cuba.
But as impressive as his pop music credentials are, it’s Aguabella’s contributions to Cuban music that have made him a legendary figure. He’s contributed to some of the greatest Afro-Cuban albums ever recorded, including Puente’s Dance Mania, Eddie Palmieri’s Lucumi Macumba Voodoo and Mongo Santamaria’s Yambo, the album that introduced many North Americans to the rhythms of Santeria for the first time.
“Mongo is not from Matanzas,” Aguabella explained. “But he wanted to do an album of traditional Cuban drumming. He called me up and said, ’I know you know more about the rhythms than I do. Why don’t you come to the studio and do the arranging, and we’ll divide the royalties.’ So I went in and made the charts and directed the production. I even wrote some songs for it.”
Aguabella also wrote a couple of Tito Puente’s best-known tunes: “Agua Limpia Todo” and “Complicación.” Where does his inspiration come from? “I’m a rumbero from Cuba, and for me rumba is a way of life. My music, like the rumba, starts in the street with the way you walk and talk, the way you move your hands when you talk, or maybe the sound of a bus driving by. When I was growing up and learning music, I learned a lot of rhythms and melodies and they stayed in my head. When Tito Puente came to me and said ’Write me a rumba,’ I put together those sounds I remember inside my head. For inspiration I rely on my memory. I may remember the walk of a pretty girl or how I felt when John Coltrane saw me play.
“As I’m thinking about these things, I listen to what the conga is saying, and the main line of the song will come out of the drum. Then I come up with a bass line that fits into the rhythm of the conga, write it down and give it to the arranger.”
Aguabella learned how to read music and play bass after he came to Los Angeles from New York City in 1958. “I took classes at Los Angeles City College – music theory and bass,” Aguabella says. “I knew if I wanted to work with people like Frank Sinatra and Peggy Lee, I’d have to read music. Everybody has their own style, and they don’t have time to teach you, so you have to read music.
“The bass I learned because I thought it would give me more versatility. For a while I practiced the bass for five hours a day, then I’d go out and play drums until three or four o’clock in the morning, but eventually the conga came out on top. I love the drums, and the more I play them, the more I want to play.”
Aguabella usually uses three drums, tumba, conga and quinto in the standard tuning: D, D Minor and A. “If I need another sound, I may retune them, but mostly I use the standard tuning.”
Aguabella keeps his hands in shape by playing; but if he has a blister or some pain in his fingers, he may play with a drumstick. “Some of the African rhythms I play on the bembe require a stick, but unless I’m having some pain, I prefer to play with my hands. Playing is the best way to keep in shape.”
FRANCISCO AGUABELLA - FANTASY 1977
EUMIR DEODATO
Packing records for Happy Hour last Friday, I was rummaging through stacks and pulled out Deodato's "Happy Hour" LP from 82. The track I'm sharing with you is on the slower tempo and the self titled album says it and all. Random fact, Deodato plays all Synths and Keys on this album
EUMIR DEODATO - JUST THIS ONE NIGHT 1982
GATO BARBIERI :: LATIN JAZZ FUNK
By the late 1970s Gato was recording for A&M and moved his music towards Jazz-Pop, Jazz Funk with albums like "Caliente!" (featuring his best known song, a version of Carlos Santana's "Europa") and "Tropico".
Though he continued to record and perform into the 1980s, the death of his wife Michelle led him to withdraw from the public. He returned to recording and performing in the late 1990s, playing music that would fall into the arena of smooth jazz.
GATO BARIERI - EVIL EYES 1978
Sunday, June 5, 2011
THE SOULEROS :: SOUL STRIVERS :: WAX POETICS PHOTO SHOOT :: SAN JOSE
The boys and I headed South this past Saturday for a BBQ / Photo Shoot with the Souleros & Soul Strivers familia in SJ who will be featured this fall in Waxpoetics Magazine. Allen Thayer has been hard at work producing this article which has taken over a year, from when we initially met the Souleros back in October 2010. We are very excited to announce photo's taken for the article will be provided by B+ of Mochilla.
When we arrived to Moe's place in SJ, we found out a Television crew was present, recording our kick back for a up and coming segment on the Soulero's Movement. Although the weather was shitty weather with minimal rain, that did not stop us from having a good time. We ate, drank, played records and made memories that will last a lifetime. These guys really made us feel at home and we appreciate Moe for throwing this BBQ.
Thank you Rachel for hooking up the Comida... Shaoooo
Enjoy the set of Pictures I took from our visit.
Friday, June 3, 2011
ASHANTI MUNIR :: SO SMOOTH :: OFFICIAL VIDEO
Ashanti Munir, you might remember her song "So Smooth" featured on my smoothed out, Modern Funk & Soul Mix "Trust In Me" from Early this year. This is official Music Video online for the world to see. Warning, this is Grown Folk Music, with a Grown Folk Video Shoot. We Love The Cheese, Extra Cheese!!!
Big Up to Wadz on the production. If you like good music pick up "So Smooth" on I-tunes etc.
Thursday, June 2, 2011
Wednesday, June 1, 2011
TITY SHAKERS
WHAT IS TITY SHAKERS, YOU ASK?
The sound? Well fundamentally it is as the name implies, any form of music that makes you want to tear off your shirt and shake your titties, spinning the nipple tassels you are naturally wearing underneath your garments like the blades on a helicopter. Typically you will be grinding to the frantic beat doing the ‘Monkey’ or the ‘Dog’ or the ‘Shing-a-ling’ or the ‘Push and Pull’ … whatever dance steps that takes you really.
The term tittyshaker is not representative of the contemporary culture of strippers and pole dancers, even if the two do obviously share origins. The pathways taken were very different and today when we talk about tittyshaker we acknowledge that contemporary shaker tracks are most likely recorded by artists of the Missey Elliot variety. The roots of tittyshaker can be traced back to 50′s America where in major cities through to backwater shacks and pit-stop bars the juke box would be wailing out sleazy, lo-down and dirty rock n’ roll or equally gritty Jazz music to provide the rhythm for a neighbourhood girl to get up on stage to entertain the locals by performing a striptease, commonly she would only go down to her lingerie, the emphasis was on the dance and the tease. As the fifties twisted into the swinging sixties a new craze emerged called Go-Go, it is this craze that today sits at the heart of tittyshaker – but confusingly is not the sum total, as I previously touched upon, tittyshaker is a term that can be appropriated to numerous genres, for example the Rockabilly scene is a haven for some of the most raucous shaker music I have ever heard.
The term ‘Go-Go Dancer’ originates from the legendary music venue ‘Whiskey A Go Go’ where in 1964 at a concert performed by Johnny Rivers (who incidentally was the act that opened the Go Go) a female DJ playing in a gilded cage that was suspended from the ceiling over the dance floor started shakin’ her stuff to the grooves she was spinning, she was performing all the current dance steps of the era and was quite literally shakin’! One can only imagine the type of sounds she was grinding to, but it must have been a significant sight to behold for the management made it standard practice to fill suspended cages with grinding dancers from that moment on. The girls in the cages initially wore mini skirts with kitten shoes, the Go-Go boots, a fashion based around the fascination for all things space age came a little later and indeed were not referred to as Go-Go boots until they had become so commonly associated with the caged dancers of the ‘Whisky a Go Go’ that they took on the name by association.
The mainstream was fairly swift in picking up on Go-Go dancing, helped through a TV show called Hulabaloo which had a special segment called ‘Hulabaloo A Go Go’ with dancers performing alongside the performer in all their shaker glory. It soon became commonplace for major artists to perform alongside Go-Go girls in venues and on television. Firmly established as a ‘craze’ when it eventually found it’s way onto family variety shows as a staple feature. The craze was enormous in its scale. Go-Go boots became one of the most desired items in a girls wardrobe next to the ever shrinking mini skirt. It was natural that such provocative dress and dancing styles coupled with the sexual elements present in the music played would eventually find their way to Mr Hefner of Playboy magazine. As you will read a few lines on, it was in Mr Hefner’s New York Playboy club that one of the greatest shakers was developed by legendary Jazz man Kai Winding.
So, tittyshaker has been around for a long time then, and it has never really disappeared, for years people have been reviving the essence of what it’s all about, there were numerous psychedelic dance parties in the late 80’s early 90’s around the midlands that had Go-Go girls coupled with explosive psychedelic visuals, and for the last few years Mr Finewine and DJ Franco have been hosting the sex-a-delic dance party “Vampyros Lesbos’ in New York City with dancing from the incredible Jaiko Suzuki and Viva Knievel. DJ Franco having now left NYC took the spirit of this scene with him back to his homeland of Berlin where he hosts one of the biggest nights in Europe playing rare funk, soul, beat shakers to a new breed of enlightened europeans. Activity in the UK has been pretty poor of recent years, partly due to lack of a dancers network that is so well established in the States and for some reason, Scotland aside here, we don’t seem to be as enthusiastic and supportive of something a little bit different as our friends in distant shores, even if it is, in truth, the answer to all the world’s problems. Only through shaking can you be happy..
WEE :: 70s MODERN SOUL
One of my favorite 70s Modern Soul Album. So pure, So sweet.
Columbus Ohio Soul, from Norman Whiteside. His lone album, under the pseudonym Wee, is firmly ensconced in Innervisions-era Stevie Wonder, with nary a trace of his work as a writer for Bill Moss’ Capsoul label a few years prior. Smooth, sexy, and synthy, You Can Fly On My Aeroplane is a peerless sprawling psychedelic soul concept album. The original nine song LP has been expanded to nineteen, including seven previously unreleased panty soakers. Lovers rejoice.
WEE - I WANT TO SHOW YOU 1977
PATTI & THE LOVELITES
Formed at a Chicago High School back in 1967 led by Patti Hamilton, the group was made up of Hamilton and her sister Rozena Petty and their friend Barbara Peterman. Hamilton was not only the trio’s lead vocalist but also its main song writer and the force behind the group’s success.
PATTI & THE LOVELITES - WE'VE GOT THE REAL THING
SHOCK :: LETS GET CRACKIN :: SHOCK TALK
Who remembers dancing to Shock and their Electrophonic Funk? Well I do, and I'm not the only one. Rumor has it that most of the original band members have gotten together to release some old and some new dance tunes...and even a video.
Check back here soon for more info.
Spread the word and Keep the Funk alive...now come on...Let's Get Crackin'
SHOCK - LETS GET CRACKIN
SHOCK - SHOCK TALK
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