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Grooves & Glitches: Soul Jazz Records Presents New Orleans Funk – New Orleans: The Original Sound of Funk 1960-75

New Orleans Funk

With Grooves & Glitches, we hand-pick excellent vinyl from the past and present to bring straight to you, giving entire sides ripped and uncut.

Album Title: New Orleans Funk – New Orleans: The Original Sound of Funk 1960-75
Label: Soul Jazz Records [UK]
Release Date: Oct 23 2000

A fairly recently released collection of regional funk gems, with some real groovers and rarities.  Here’s side two, straight from the vinyl.

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MP3: Side Two

Track listing:
1. Eddie Bo – “Check Your Bucket”
2. Professor Longhair – “Big Chief”
3. Cyril Neville – “Tell Me What’s On Your Mind”
4. Lee Dorsey and Betty Harris – “Love Lots of Lovin”

From Soul Jazz Records:

This is a definitive collection of New Orleans Funk featuring acknowledged masters of funk next to some of the earlier artists who shaped the meaning of funk. The album is also filled with many rare, sought after and undiscovered funk tracks. It covers the period from the emergence of New Orleans Funk in the early 1960′s through to the mid-seventies. The record is an essential part of anyone in any way interested in Funk’s record collection. It has some vital ingredients in it that you can’t find elsewhere. With the sound of the New Orleans Funeral March Bands, Mardi Gras Indian Tribes and Saturday Night Fish Fries all as inspiration New Orleans Funk developed into a unique sound. New Orleans is a port town. Originally owned by the French, this was where many slaves were brought from the West Indies. Many of these slaves came from Haiti and brought with them the religion of Voodoo and its drums and music. It became one of the first parts of America to develop a strong African-American culture leading to the invention of Jazz in the early 1900s. A main feature of Jazz in New Orleans were the Jazz Funeral Marching bands. Solemn Brass bands accompanying a coffin would, on burial, be joined by a second line of drummers and dancers which would turn the event into a celebration of the spirit cutting free from earth. This African tradition is strong in New Orleans and still goes on to this day. The backline drums play a syncopated style that is neither on the beat nor the off-beat. It is these rhythms that are the basis of New Orleans Funk. The album comes with a booklet presenting a historical explanation to how and why this music came about, and with lots of information about the people involved.

Preview: AK Slaughter, Lizz King, more @ Load of Fun (2009.08.28)

bros

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MP3: Lizz King – Til’ They Do

Still have faith in the rock opera format, even after the Decemberists’ valiant but failed attempt at validating and reigniting interest in the genre earlier this year? Well, maybe Aran Keating, the AK from AK Slaughter, has the recipe for you in the form of Grundlehammer, a full-on and homegrown rock opera by the Baltimore Rock Opera Society.

Tonight’s show at the LOF/T in Load of Fun features AK Slaughter, Lizz King, Macgregor Burns, Wild Bonerz, and a host of others in a variety show benefit for the BROS production of Grundlehammer. Get in on it.

One Track Mind: Elvis Perkins in Dearland – “Doomsday” / “Slow Doomsday”

Elvis Perkins in Dearland @ the Ottobar

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MP3: Elvis Perkins in Dearland – Slow Doomsday from the forthcoming The Doomsday EP (Oct 20th)

MP3: Elvis Perkins in Dearland – Doomsday from Elvis Perkins in Dearland (2009)

Elvis Perkins in Dearland follow hot on the heels of their excellent self-titled release with word of an EP to flesh out the periphery of their ringleader’s musical vision, things that may have gotten left on the cutting room floor.

The Doomsday EP centers on a wondrous re-working of the already awe-inspiring ebullience found in “Doomsday,” a highlight from Elvis Perkins in Dearland.  With “Slow Doomsday,” you immediately know what to expect technically: a largo rendition of the eponymous track.  Beyond this, we find the more measured version brings us closer to the gospel roots of the track with its wide and stately expansion of sound and space.  The extra time on each and every note brings out untold levels of soul, wringing every last glorious feeling from each tone.  The coasting, newly formed solos are heartfelt and bracing testimonials, affirming Perkins soaring vocals in full affetuoso.

I would highly recommend you check out his live show, and keep Oct 20th on your calendars for a trip to the record store for this EP.

Check some videos after the jump.

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Sound Off!: SMARTS

SMARTS

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MP3: SMARTS – Caring

MP3: SMARTS – Jules et Jim

How do SMARTS put on such a fierce live act? I mean, the trio uses a grand total of three instruments for chrissakes. While Whartscape stands as firm testament to the fact that they’re scootin’ along just fine without any of those fancy-pants six string guitars, a part of me still yearns to discover how their bass/drums/vocals combo ends up sounding so damn big. Lucky for us, 2009 has come through with some surprisingly mid-fi recorded material of theirs for all to scrutinize over.

SMARTS (their self-titled and self-released EP), is so straightforward that by the end of the second song, “Fresh Air,” you begin to have an in-depth relationship with each of the instruments. In a way, you know them, their tendencies, their limits. The bass is basically bound to two settings throughout the EP’s bulk: good-humored family fun, and its punch-throwing distorted alterego. The accompanying percussion rides out post-punk style at a perky tempo, gracefully leaving space to breathe between fills without feeling minimal. The vocals are those of a dog-tired punk rock, one that’s played fourteen shows too many this week and is about ready to cave in on itself. With this exhaustion setting in, you might anticipate that SMARTS doesn’t have a whole lot left to say. And on that front, you’d be right.

Fortunately, Harold Hughes happens to sing with this ever-pungent diehard emotional momentum, meaning that even though he may be done with his verse, you’re not necessarily going to stop feeling the impact potential of his words. Opening like a lighthearted game of tag in the backyard, the bass on their leadoff, standout track (“Caring”) finds time to dillydally around with Alex Dondero’s chipper percussion. Then, at uniform speed, the dynamic duo opts out for some good ol’ fashioned low-end thrashing. As dandy as that may sound, you can go ahead and pin the song’s benevolent outcome on Hughes’s breathless expression, building exponentially upon a solitary verse to outstanding effect: ”healthcare, car care, i care, no. We don’t care, i don’t care. No.”

Despite what all this might lead you to believe, I would never under any circumstances call SMARTS a punk band. Now that I think about it, I wouldn’t readily label them pop, rock, or experimental either. Hardcore, actually, is the word I keep coming back to. It takes no stretch of the imagination to picture SMARTS as a bare-bones hardcore band, to such a degree that all you’re getting is the ideology, and a subset of the equipment required. Really, you might want to take the word “hard” out of the equation entirely. “Core.” That’s what these guys are, the tiny ball of superheated iron that belongs at the foundation of every music group.

Photos / Live Review: Dungen, Woods @ the Ottobar (2009.08.17)

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MP3: Woods – The Number from Songs of Shame (2009)

Woods were a bit of an unknown quantity for me.  Going into this show, I had heard little from this Brooklyn quartet.  Coming out of their set, I wanted to hear everything they had.

They delivered a perfectly bewildered pop vision that I never knew I wanted, but in fact, depserately needed.  The vocal melodies are sun-drenched, but with the heavy modulation, the harmonic interplay becomes something much more interesting.  Combined with the often burnt out psych meanderings, the product is mysterious and foreign, yet oddly comforting and familiar, like a hazy recollection of a previous life.  Their sound tends to be a bit repetitive, but strangely never grows stale or old.  Probably a testament to the ever-captivating sight of their resident sound manipulator crawling around on all fours tweaking the knobs and tape-loops while tossing his tousled and mangled mass of hair back and forth singing through headphones modded to act as a mic.  An eerie vision calling to my mind a possessed cousin of the muppet Mahna Mahna.

Dungen are one of those unique musical entities that lives far longer in, and has far greater impact on, the consciousness of musicians than the public writ large, something owed to the evolution of their sound.  The Swedes’ musical origins are often described as psychedelic pop, and that is certainly evident in their smoldering breakdowns.  But they have evolved into something beyond these humble origins.  They manage to subtly toe the line between broad stroke atmospherics and technical wizardry.  While often very catchy, their loungey, jazz-fusion sound and laid-back approach turns off many to the intricacies and wonder of their compositions.

Unfortunately, some of their live set suffered momentum sapping from their mellower numbers.  I can pin this squarely on the overly technical, dispassionate feel of a number of their songs when performed live.  Instead of channeling the power of the many genres they blend, they often carved a much more sterile fascimilie.  Where recorded, many of these compositions feel like sprawling and expansive tracts full of ideas, live they rang hollow, a little too laid-back bordering on the dreaded segments of adult contemporary and smooth jazz.  Hardly the crossroads where an electric live performance lies.

Thankfully, these moments were in the minority.  Set highlights like “Gor Det Nu” and “Panda” landed with alacrity, sweeping you away with tight compositions of rapid-fire bass, galloping drums, epic guitar and some of the most honeyed melodies you ever have the fortune to get drizzled into your ear.

Woods @ the Ottobar Woods @ the Ottobar Woods @ the Ottobar Woods @ the Ottobar Woods @ the Ottobar Woods @ the Ottobar Woods @ the Ottobar Woods @ the Ottobar Woods @ the Ottobar Woods @ the Ottobar Dungen @ the Ottobar Dungen @ the Ottobar Dungen @ the Ottobar Dungen @ the Ottobar Dungen @ the Ottobar Dungen @ the Ottobar Dungen @ the Ottobar Dungen @ the Ottobar Dungen @ the Ottobar Dungen @ the Ottobar

An Hour of Kindness: Episode 1 – Teenage Souls

Fledgling Baltimore video production company Polygon Tree (Miguel Sabogal [Polygons] and Matt Sterling) have graciously partnered with Aural States to present exclusive video footage of emerging artists performing in a secret, constantly in-flux underground bunker in Baltimore.  An Hour of Kindness will be aired in 3 segments over 3 weeks every month, either here or on the show’s Vimeo page.

This week’s segment features Teenage Souls and video artist Ann Everton.

Some background on the whole project, courtesy of Miguel:

What is An Hour Of Kindness?

Miguel Sabogal: An Hour of Kindness is a Baltimore-based 1 hour monthly program. It includes live performances by up and coming bands and videos by a monthly featured artist. All shows directed by myself and all audio is engineered by Matthew Sterling.

Origins of the name?

MS: In 1934 Max Ernst authored a surrealist graphic novel named “Une Semaine de Bonte”. It translates to “A Week of Kindness”. Part of the focus of the program is towards experimental film/video makers. I thought the name of the Ernst novel fit well because I’ve noticed there is a bit of a surrealist influence in a lot of the video and film work I’ve seen in the area. This of course doesn’t mean to imply that every video maker in Baltimore is only making surrealist art. I simply want to highlight those film/videomakers that are influenced by the movement.

What is your inspiration?  What is your goal with the project/your manifesto?

MS: My primary inspiration in starting the project is the Hexagon. Back in August 2008 when the club had just opened I had an idea for Hexagon TV, filming performances of bands at the club. That idea fell through immediately after realizing the immense lighting issues I was facing. It was going to be very awkward to just cram lots of lighting equipment on stage just to get a decent looking image. I considered that the best solution was to film bands on a set with decent lighting and controlled sound conditions.

Who is your audience?  Why should they be watching?

MS: The sets are being filmed wherever I live. I’m in the process of moving at this moment. This month’s episode was filmed at my prior residence in Hampden. The basement there has gone through various project stages of sound proofing. During one of those phases we decided to tile lots of soundproofing with these pyschedelically-patterned fabrics. I’m moving to a converted church right now and the next filming is going to happen there the following week. I’ve got a few ideas for set design that I want to start working towards but that ultimiately hinges upon the cooperation of the band. I think the ultimate goal is to have a set that represents the band and their music.

What can we expect in future episodes?

MS: Expect lots of Scruples in future episodes, the game not the noun. Scruples is a board game from the 80′s about moral dilemmas. It’s a really good way to bring people together or completely polarize them. In that sense it’s sort of like Thanksgiving.


An Hour of Kindness- Episode 1- Ann Everton- Brushing PSA from Polygon Tree Productions on Vimeo.


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Preview: Golden West Festival aka the Golden Westival (2009.08.20-23)

golden westivalTHE GOLDEN WEST CAFE FESTIVAL 2009 kicks off TONIGHT.
1105 W. 36th St

Tickets 6$ in advance, $8-$10 night of

$20 for all four nights.

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MP3: Crazy Dreams Band – Separate Ways

Thursday, August 20
Crazy Dreams Band
Jana Hunter (purportedly last Baltimore show of the year!)
Jones
Young & Rusty presents his Cocaine Sex Jams
Brian Adam Ant

Friday, August 21
Lo Moda
Ed Schrader
The Matrimonials
Benjamin Pranger (Payola Reserve)
Zach Kaufman

Saturday, August 22
Mishaps
CEX
Old Thunderheart
NECKLACE
the Midnight Society

Sunday, August 23
PILGRIM
Macgregor Burns & VCR
Mickey Free
Boner Jamz
Child Bride

Preview: Lichens @ the Hexagon

You should be at the Hexagon tonight. This guy (Lichens aka Robert A. Lowe) is performing.

Sound Off!: Boogie Boarder

pizza hero

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MP3: Boogie Boarder – Bio Hassle

Let’s take a look at Boogie Boarder’s latest single, “Bio Hassle.”

For starters, the tune kicked everyone’s ass at Whartscape ’09. All of those MICA kids jacked up on Ponytail and Ecstatic Sunshine could just die for the slight variation in style Boogie Boarder have to offer. Imagine an equally fun, but jammier and more pop-oriented “Celebrate the Body Electric.” That’s the song, albeit less diverse and breathtaking. Let’s give ourselves a breakdown here: lo-fi stock fuzz-bass partners up with likeminded guitarwork, both busy producing divinely electromagnetic riffs around a maze of binary choruses and refrains that cascade in euphoria. Hot damn.

Odd thing is, that’s not even the best song on their debut album, Pizza Hero (the playful “Pig Pile” duo slams the likes of Ecstatic Sunshine, and I say this with love, into oblivion).  Some might say that Brooklyn’s Boogie Boarder sound a bit too much like our Baltimore art-rocking friends, but as it seems to me, they dwell in a class much less exclusive than that of the art-dash-genre. Which is not to posit that these guys aren’t arty–because are they ever, but unlike their most agile competitors from our hometown, the music associated with Boogie Boarder is more about rocking out than anything else. Moving you with skillfully placed atmospherics and tempo changes isn’t really Boogie Boarder’s thing; instead, the sugar-side of indie rock suits them quite nicely.

I should point out we’re only dealing with candy here. There appears to be no grand artistic vision behind Boogie Boarder. And if there is, it’s safe to say that these creative minds haven’t quite done themselves justice with Pizza Hero.

But that’s the downfall of most bands bent on manipulating predictability. See, rather than using astonishing instrumental feats or go-nowhere discourses, Boogie Boarder work the hard edges of repetition and suspense to their advantage. So unlike Ponytail’s Ice Cream Spiritual, you don’t have to listen through Pizza Hero four or five times before you get a handle on what the record’s about. It’s clear, concise, and above all, inherently fun. Pizza Hero might not be the most artistically credible album around, but it sure as hell gets my rocks off.

Photos / Live Review: Bat for Lashes @ 9:30 Club (2009.08.15)

I found myself more than a bit chagrined while driving down 95 to catch Bat for Lashes (Natasha Khan et al) on Saturday night. Not two weeks earlier had I been informed that Bat for Lashes contacted the promoter for her Baltimore stop at the Ottobar and cancelled. The reason? They were unable to provide speaker power with wattage equivalent to that found in stadium venues.

I have to say, Bat for Lashes used every watt of that power at the 9:30 Club. I felt every joule of energy blasting through every speaker cone in the entire venue. That’s when I realized, detractors who say Khan is aiming for some sort of earthy-crunchy, hippie/hipster fusion demographic have it all wrong. This isn’t easy listening, New Age music. This is all about power and scale. These songs aren’t meant for listening on the bus ride home on medium through ear buds. Every time you put this music on, you should be in an isolation room with no less than 1kW of speaker power, drowning you in a sea of sound. Only then, do you see the forest for the trees.

Khan’s pipes are impressive and glorious live, with clarion power and a mystical, ageless weight. It seems she has the ability to summon her remarkable vocal range from the record to live performance, effortlessly nailing everything from the highs of “Glass” to the lows of “Trophy.”  All this aural bluster was accompanied by a light show that spared no mystique, waxing and waning in front of the surreal backdrop of a wolf howling at the moon.The immediacy of the live show was exponentially raised by Khan’s backing band. In particular, her drummer provided no small amount of rich texture and other-worldly bombast to every song.  The set was well-balanced, featuring an almost even split between material from Fur and Gold (2007) and Two Suns (2009).  Highlights are honestly too difficult to call, as the consistency of her performance was through the roof.  If pressed, I’d have to say “The Wizard,” “Trophy,” and “Horses and I” were all beyond reproach.

I’m not the only one who shares this high an opinion, as she has received that oft sought after vindication by a foundational influence. Bjork herself has leveraged the adjective “amazing” at Bat for Lashes’ live performance.  The only thing I can fault this show after going in with such a bad taste in my mouth, is that it was far too short.  Even including the extra-long encore, this was done in a flash.

Bat for Lashes
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