Music Reviews

Drexciya – “Neptune’s Lair ” – [Tresor]

Rococo   7/5/2005   12-inch, A Library

Drexciya: it’s not just music, it’s a mythology! Like the Saturnalia of Sun Ra, Drexciya’s aquatic electronics are perfectly integrated with theories about a sub-oceanic mutated species, the offspring of pregnant slave women who were thrown overboard with the sick and dying during ocean crossings. THE QUEST, Drexciya’s career-spanning previous release, was reported to be their last transmission from the murky depths, but happily that was not the case. NEPTUNE’S LAIR contains all-new material, every bit as unique and brilliant as their previous releases: part electro, part techno, and all Drexciyan. This is some of the most important music coming out of Detroit, period.

Dr. Alimantado – “Kings Bread ” – [I.S.D.A.]

Rococo   7/5/2005   12-inch, Reggae

Jamaican deejay Dr. Alimantado is primarily known for his deejay toasting and for his Lee Perry-inspired dub productions from the mid- 70’s. Unfortunately, this 1979 album features neither. (Check out BEST DRESSED CHICKEN IN TOWN for the “classic” Dr. Alimantado sound.) What this album does feature, however, is some fine roots reggae vocals by the good doctor, along with instrumental accompaniment from some of Jamaica’s finest, including members of the Revolutionaries, Roots Radics, etc. Until the next Pressure Sounds or Blood & Fire reissue, this’ll do just fine.

Dj Spooky Vs. Freight Elevator – “Futurism Ep ” – [Caipirinha]

Rococo   7/5/2005   12-inch, A Library

Half philosopher and half con artist, DJ Spooky is one of those musicians who remain interesting almost in spite of the erratic quality of their output. While I wasn’t particularly enthralled with his album FILE UNDER FUTURISM, the title track, offered up here in the album version plus two remixes from A Guy Called Gerald, was certainly the best thing on it. The (original) “Grooveprotocol Mix” is a relentless and funky beat barrage, like taking a more ordinary drum’n’bass track and puree-ing it in the musical veg-o-matic. A Guy Called Gerald offers up a more conventional drum’n’bass mix, plus an ambient mix of the track, and rounding out the EP is “Osmose” a trip-hoppy non-LP track that features an effective use of strings not unlike the more pastoral work of The Raincoats.

Diplomatics/Amnesty [coll] – [Now-Again]

Rococo   7/5/2005   12-inch, Soul

Master crate digger Egon of Stones Throw (and offshoot label Now-Again) dusts off two more rare-as-hens-teeth funk 45s and gives them a new life on this split 12″ for the more budget-minded funk lover. Combining the original 2-part tracks into one seamless groove on each side, this release showcases the output of Herb Miller’s Indianapolis-based Lamp Records, circa 1969-1972. The Diplomatics’ “Hum-Bug” kicks things off on the A side with a mid-tempo, Hammond-fueled instrumental featuring a chorus of funky horns and an extra long drum break. Then on the flip we get Amnesty’s “Everybody Who Wants to Be Free,” a prime slice of uplifting, Afro-centric soul from this eight-member vocal group. Thanks, Egon!

Cymande – “Cymande ” – [Janus Records]

Rococo   7/5/2005   12-inch, Soul

Cymande (pronounced Sah-mahn-day) was formed in 1970’s London by a group of Caribbean emigres. They refer to their style as “nyah-rock,” or rock music combined with nyabinghi rhythms. I don’t hear the rock influence as much as I hear the influences of soul, jazz, and reggae music from the same time period. But the African nyabinghi drum style is quite evident, making this one of the most unique musical fusions I’ve heard in a while. The album, Cymande’s first of three, features both instrumental and vocal tracks, including their biggest hit, “The Message” (no relation to Grandmaster Flash’s). There’s also some pretty cool Rastaman vibrations on the first and last tracks. A superb album.

Counts, the – “What’s Up Front that Counts ” – [Westbound Records]

Rococo   7/5/2005   12-inch, Soul

This six-piece funk band from Michigan started life as The Fabulous Counts before shortening their name and recording this amazing album in the early 70’s. Even with a running time of less than 30 minutes, WHAT’S UP FRONT is chock-full of breakbeats and samples that would make any modern hip hop DJ drool. Gloriously lo-fi and funky, The Counts offer up vocal and instrumental tracks featuring some slinky Hammond B-3 grooves and wild Funkadelic guitars. The Counts broke up in the mid-70’s, and two of their members went on to back disco star Hamilton Bohannon.

Byrd, Bobby – “I Need Help ” – [Polydor]

Rococo   7/5/2005   12-inch, Soul

Bobby Byrd earned himself a place in history as one of the original Famous Flames, alongside James Brown. I NEED HELP is his debut solo album, recorded in the early 70’s and produced by the Godfather himself. It’s a strange one, billed as a live album but with a radio fade on every song, topped off by canned applause that sounds as fake as a 60’s sitcom laugh track! Factor this in with the album title (I NEED HELP), plus the fact that Bobby’s face is intentionally obscured on both sides of the album jacket, and you’ve got to wonder: was James trying to make sure this album didn’t succeed? Musically, the album falls more on the soul side (a la “Please Please Please”), though there are a few of the James Brown- patented funk workouts. If you could strip out the audience noise on this record, you might have a damn fine debut album.

Burger, Andreas – “Transducer, the ” – [Sabotage Recordings]

Rococo   7/5/2005   12-inch, A Library

A 1996 release from the ever-intriguing Sabotage label out of Austria. This six-track electro EP is more beat-heavy than bleep-heavy. “Device A” opens the circuit at a propulsive, trancey tempo, while “Device B” delays the signal to a more percolating groove. The standout component, though, is “Device F,” which combines knob-twiddly synths with sitar and some crunchy, John Bonham-inspired beats.

Brown, James (Sou (soundtrack) – “Black Caesar ” – [Polydor]

Rococo   7/5/2005   12-inch, Soundtrack

James Brown and Fred Wesley scored this blaxploitation gangster flick from 1973 that was written, produced, and directed by Larry “It’s Alive” Cohen. The album is fairly evenly balanced between instrumentals featuring the J.B.’s and vocal numbers from the Godfather of Soul. Singer Lyn Collins also features on one track, “Mama Feelgood.” The tracks that will make you feel REAL good are the openers and closers on each side. The rest is mostly filler.

Brooks, Cedric ‘im’ – “United Africa ” – [Aquarius Recording Co.]

Rococo   7/5/2005   12-inch, Reggae

There just aren’t enough records like this one: spiritual, uplifting jazz with Jamaican and African roots. Sax player Brooks was a crucial component of Coxsone Dodd’s Studio One sound, as well as Count Ossie’s Mystic Revelation of Rastafari. It’s the latter that provides the most influence here, as Brooks gathers an extraordinary group of singers and players, including Earnest Ranglin and Dean Fraser, to record a profoundly beautiful set of vocal hymns and instrumentals. Recorded in the late 70’s, it’s just one more reminder of the incredible musical magic that blossomed in Jamaica during the decade.

Black Dog, the – “Peel Session ” – [Warp Records]

Rococo   7/5/2005   12-inch, A Library

This EP of tracks from 1995 was a refreshing reminder to me of what “electronic listening music” was all about in the early 90’s: exploration and a sense of wonder. Before there was much of a “scene” to compare their work with or against, artists like The Black Dog were inventing a new musical language. And compared to much of today’s electronica, this sounds practically ambient. The tracks move at their own pace, stopping and restarting, or shifting rhythmic gears altogether, but always progressing, never redundant. There is some achingly beautiful music on here; thanks to Warp for giving us an opportunity to hear it after all this time.

Arovane – “Arovane Ep ” – [Din]

Rococo   7/5/2005   12-inch, A Library

Arovane’s 4-track debut EP comes to us from Germany’s Din Records, who’ve previously delivered fine releases from Pole and Monolake. It’s prime bedroom electronica, full of ratchety rhythms and melancholy melodies. A very austere and beautiful release, which should appeal to fans of Autechre or Funkstorung. (Like me!) Bonus points for inventive use of static as a percussion instrument.

Aphex Twin, the – “Digeridoo Ep ” – [R&S]

Rococo   7/5/2005   12-inch, A Library

Originally released in 1992, “Digeridoo” is one of the first half-dozen releases from Richard D. James, and quite a milestone in the annals of electronic dance music. There are no digeridoos here, only the sound of a Roland 303 synth that has been tweaked, processed, or otherwise manhandled to emulate the sound of that Australian aboriginal instrument. Alternating between fairly ambient passages and stabbingly propulsive beats, the sound of “Digeridoo” is in fact the sound of the drugs kicking in. The other three tracks here operate in similar sonic territory, but none quite as successfully as the title track.

Allen, Tony – “No Accomodation for Lagos ” – [Strut]

Rococo   7/5/2005   12-inch, International

Drummer Tony Allen is the most significant figure in the development of Afrobeat outside of Fela Kuti himself. A member of Fela’s band from the early days on up through the late 70’s, Allen developed the rhythmic patterns that lay the foundation for Afrobeat. This recording from 1978 was the third and final solo release that Allen recorded with Fela’s band, Africa 70. Musically it’s as strong as any Fela record, but vocally Allen falls short of the master, as he talks his way through both side-long tracks. The title track is a 17-minute political statement about a mishandled government relocation effort that occurred in the 70’s. “African Message” is a more intimate rumination on the uplifting power of African rhythms. While lacking the impact of Fela’s best work, it’s still great to have this significant and fairly obscure musical document back in print.

Good Old Days Of, the [coll] – [Jet Star]

Rococo   7/5/2005   12-inch, Reggae

Growing up in the 70’s, I was pretty sure that the decade sucked. But apparently I wasn’t listening to the right music. Here we have a dozen alternating tracks from two great 70’s Jamaican deejays, Dennis Alcapone & Jah Lloyd. Toasting over classic dub tracks recorded at Randy’s, Harry J’s, Channel One, and the infamous Black Ark, Alcapone and Lloyd rap about Jah, smoking herb, rude boys…you know, the usual stuff. Oh yeah, and there s one track all about Mr. and Mrs. Ronald Reagan. (Go figure.) I’m not sure I like the deejay battle approach to the sequencing; I’d have preferred one whole side of Alcapone, followed by a side of Lloyd. But whichever way you sequence it, these are some classic tracks.

Totem ?Totem? [Vampi Soul] (33 rpm)

Hunter Gatherer   6/28/2005   12-inch, International

Totem, from Uruguay, released their first and eponymous album in 1971. Originally on De La Planta, it was re-relased in 2004 by Vampi Soul, an interesting label that has been re-releasing vintage music – often out of print – from the 60’s and 70’s (check the insert in the album).

The genre of this music is ‘candombe-beat? a fusion of Western pop and the native Afro-Uruguayan rhythms of candombe (pronounced can-dome-bay). Candombe is played with three drums (or tambores): piano, chico, and repique. The beat came to Uruguay by way of African slaves.

The music is definitely a product of its time and the production sounds slightly dated. But they are rocking out with the extra percussion and rhythm guitar. The singing is smooth, bordering on crooning.
–Hunter Gatherer

Blendcrafters “Melody” [Up Above Records] (33 rpm)

Hunter Gatherer   6/28/2005   12-inch, Hip Hop

Blendcrafters is DJ Nu-Mark (of J5 fame) and Pomo. A year after their album, they are back with a 12″ single containing two songs.

There are 4 different versions of a remix of the first song, Melody: clean, non-clean, a cappella (which translates as ‘in the style of the chapel? by the way), and instrumental. M.F. Doom is featured on the remix, spitting out tongue twisters with twisty meanings just behind the beat. In the background is a piano playing jazz chords while a tenor voice asks, ‘What good is melody? What good is music, if it ain’t possessing something sweet?’ There is also a sound effect of a bat hitting a baseball just in time for summer!

The other song is Eddie Harris‘s Bold and Black with Carol Kaye overdubbing a fantastic bass part and Derf Reklaw punching up the percussion. It’s an instrumental and definitely as strong as the A side.

It’s not easy to combine jazz elements with hip hop, based on the semi-embarrassing attempts I have heard from other groups before, but Blendcrafters makes it seem effortless.
–Hunter Gatherer

Mccombs, Cass – “A ” – [Monitor]

mitch   6/16/2005   12-inch, A Library

Falling in between the ???Not the Way??? EP &
the ???I Cannot Lie??? 7??? single (both in the KFJC
library) is this debut full-length from Brooklyn
(by way of Baltimore) singer/songwriter CASS
MCCOMBS. The going here is slow and decidedly
innocent, though powerful & most endearing???
??????Aids in Africa, and cancer back home???.???
Acoustic guitar, piano, tambourine, + well-laid
melodies bestir this material, with best bets on
Side A ???What Isn???t Nature???, the deft details of
???A Comedian is Someone?????? ??????I spent my days,
shaking hands, forgetting names?????? sample also
Side B???s amiable ???Gee, it???s Good to be Back Home???,
the standout stanzas of ???When the Bible was Wrote???,
and an easygoing ???My Pilgrim Dear???. A former
PALACE player, MCCOMBS plays a swooning pop
of guitar and foreground emotion in oblique settings,
somewhere betwixt SIMON JOYNER + PEDRO THE
LION, and always, as noted by John Peel,
???Unobtrusively brilliant???.
MITCH June 2005

Vromb ?Rayons? [Ant-Zen]

Hunter Gatherer   6/4/2005   12-inch, A Library

Based in Montreal, Hugo Girard is the man behind Vromb. Rayons is his fourth full-length release.
Mr. Girard‘s intent with this release (and I know because I read the press pack) is to capture different types of rays – hence Rayons – and translate them into music. The rough audio cuts of the songs were given to photographer Alain Gauvin, who was inspired to take some pictures around Montreal which appear on the album cover and the CD insert that should be inside the album cover. These photographs in turn inspired Mr. Girard‘s final mixing of these tracks.

All the sounds on this album, except for a touch of voice on one track, are synthetically generated. Despite the emphasis on light, to me it has a dark, ambient feel. Some tracks are amorphous with the beats in the background or non-existent and others pulse with the regularity of a lawn sprinkler.
–Hunter Gatherer

Sitar Beat Vol. 2: Indian Style Heavy Funk [coll] – [Guerilla Reissues] (33 rpm)

Hunter Gatherer   5/22/2005   12-inch, Soul

This limited-release EP is the 2nd volume (there are three so far as of 5/05) of remixed psychedelic funk tracks featuring the sitar and the sounds of Bollywood and Pakistan. Each side has two funky tracks and a third track consisting of bonus beats for your mixing pleasure. Bend It Like Beckham meets Barney Miller. Enjoy!

One word review: Brownsploitation
–Hunter Gatherer