Quantic & Alice Russell – Look Around The Corner
Quantic + Alice Russell = Pure Sonic Heaven…if you’re in LA today or tomorrow, RUN, don’t walk, to Exchange LA and see them perform live along with the Robert Glasper Experiment.
Added bonus is this B+ short film for “Light At The Window,” shot during 2011’s London Riots…Pure Brilliance:
Still pretty busy, but at least here’s an updated playlist for y’all. Nice show featuring a lot of new music, from Robert Glasper Experiment feat. King, Holly Golightly, Quantic & Alice Russell, La Sera, Frankie Rose, Ceu and many more…enjoy!
Melting Pot on KPFK #79: First Hour
Melting Pot on KPFK #79: Second Hour
Playlist: 03-18-2012
{opening theme} Booker T & the MGs – Melting Pot – 7” (Stax)
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No Walls – Wanderlust – No Walls (Third Eye)
Love – A House Is Not A Motel – Forever Changes (Elektra)
The Chefs – Love Is Such A Splendid Thing – Records & Tea (Damaged Goods)
The Spectrals – Get A Grip – Bad Penny (Slumberland)
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Robert Glasper Experiment feat. King – Move Love – Black Radio (Blue Note)
Frankie Rose – Daylight Sky – Interstellar (Slumberland)
Barry Goldberg – Fool On A Hill – Reunion (Buddah)
La Sera – I’m Alone – Sees The Light (Hardly Art)
Wendy Rene – Deep In My Heart – After Laughter Comes Tears (Light In The Attic)
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Adrian Younge – The Love I Got – Adrian vs. Adrian 12” (Ubiquity)
24 Carat Black – I Begin To Weep – Gone: The Promises of Yesterday (Numero)
Gonjasufi – Time Out – MUZZLE EP (Warp)
Sureshot Symphony Solution feat. Moses Soulreal – Hate The Real – A Good Look EP (Self-released)
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Quantic & Alice Russell with the Combo Barbaro – Magdalena – Look Around The Corner (Tru Thoughts)
Rotary Connection – I Must Be There – Aladdin (Cadet Concept)
Gold Leaves – Future – The Ornament (Hardly Art)
Ceu – Chegar Em Mim – Caravana Sereia Bloom (Six Degrees)
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Georgia Anne Muldrow – Husfriend – Seeds (SomeOthaShip)
US Aries – Are You Ready To Come (With Me) – Personal Space (Chocolate Industries)
J.J. Barnes – You Owe It To Yourself – Best of Perception and Today (BBE)
Quakers feat. Dead Prez – Soul Power – Quakers (Stones Throw)
The Funk Ark – High Noon – High Noon (ESL)
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Holly Golightly & the Brokeoffs – Mother Earth – Long Distance (Damaged Goods)
Hunx – Your Love Is Here To Stay – Hairdresser’s Blues (Hardly Art)
Kool Man & Diamond T – One For The Road – 7” (Timmion)
La Chiva Gantiva – Pa Q’ca – Pelao (Crammed Discs)
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{closing theme} Dungen – C. Visar Vagen – Tio Batar (Kemado)
Jorge Ben – Eu Sou Da Pesada
Jorge Ben – Si Manda
Jorge Ben – Quanto Mais Te Vejo
Jorge Ben – Nascimento De Um Principe Africano
This record is currently up for auction on Ebay, support Melting Pot, grab some classic (and classy) brazilian sounds by clicking here to view the listing.
As I mentioned earlier, the reason I picked up this copy (and why I’m selling it) is an interesting story…I first came across this record for I think $9 at Ameoba in Berkeley. Being a fan of Brazilian music and a lover of Jorge Ben in particular, I was more than happy to take advantage of what I thought was a major error on the stores part. For a few years I really dug on the sounds, but when my big sell-off happened in 2004, this was one of the LPs I had to part ways with. I made a few copies of my favorite songs from it, just to keep the album in my mind.
Over the years I kept coming back to the music and finally this year I decided to reaquire this LP. After this copy arrived at my house I was shocked to find that the music on the album was TOTALLY different than what was on my original copy. What was on this record was the same music as the brazilian release O Bidu Silencio No Brooklin from 1967! But yet, I knew I had had this same looking LP but with different music. I then noticed that this copy was originally labeled as stereo, but then relabeled as mono, so I tracked down a stereo copy of the album in hopes that THAT record would have the songs I had been looking for…Nope, stereo version was the same as this.
Eventually I figured out that the music on that LP I used to own was actually not even Jorge Ben’s music! It turned out to be music from Wilson Simonal, a contemporary of Jorge Ben’s, with a slightly deeper, but quite similar voice. The tracks from the LP I used to have were spread out over 5 or 6 releases that Simonal cut in the mid & late 1960s. My thinking is now that somehow there was a record plant mistake, and since the music is all in Brazilian portuguese, no one noticed they had pressed the wrong records. (I might have tracked down the Simonal LP with those songs…I’ll update with a Dig Deep post when it finally arrives).
So, here I was with two copies of a record that was not the record I thought it was. O Bidu / From Brazil IS a great record, as Ben’s music shifts from more acoustic bossa/samba sounds to a swinging 1960s rock style (backed up by Os Fevers) that actually doesn’t show up on many of the subsequent records. I especially dig how many times Jorge Ben name checks the “Brooklin” area of Sao Paulo, almost like a precursor of Hip-Hop’s love affair with NYC’s own Brooklin. Having heard “O Bidu” from Brazilian pressings, I feel like this 4 corners release has a superior sound and if you’re looking for these recordings, this is one you want to search for…now here’s some extra pics for the Ebay peoples.
Cheers,
Michael
Wendy Rene – Give You What I Got
I have no excuse, no excuse whatsoever, for not having written anything until now about this fantastic collection put together by the folks at Light In The Attic. Many people had been raving about it since February, I just was too busy at the time to fully dig in and appreciate all of the goodness that was contained within. Wendy Rene was a soul singer from the Memphis area who released a series of sides with Stax and Volt in the mid-sixties, either by herself or with her family group The Drapels. Astute fans may recognize her song “After Laughter Comes Tears,” because of it’s prominent use as a sample in several songs, most notably, “Tearz” from Wu-Tang. Rene gave us so much more than that grand tune, as this collection more than attests to. In particular, “Give You What I Got” has skyrocketed into my personal list of favorite deep soul songs, with that classic gritty Stax backing and guitar work that just has to come from Steve Cropper, to those wonderful back-up vocals giving you “More, More, More, More…Ba-by,” and Rene’s emotion filled lead vocal, it’s just about as close to perfect as perfect can be.
So many new tunes for this week, couple things I’ve been eagerly anticipating, especially Alice Russell & Quantic’s new collaboration, Robert Glasper Experiment, Quakers feat. Aloe Blacc, Frankie Rose, Adrian Quesada vs. Adrian Younge, plus some things that I recently heard that I been expecting, including Kendl Winter, La Chiva Gantiva and the pretty fantastic Minimal Waves collection. Finally dug into the Wendy Rene retrospective from Light In The Attic, expect to hear more from that, it’s beyond stellar! Enjoy the show…
Melting Pot on KPFK #78: First Hour
Melting Pot on KPFK #78: Second Hour
Playlist: 3-11-2012
{opening theme} Booker T & the MGs – Melting Pot – Melting Pot (Stax)
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Quantic & Alice Russell with the Combo Barbaro – Travelling song – Look Around The Corner (Tru Thoughts)
Shahid Quintet – Invitation To Black Power Pt. 1 – Listen Whitey (Light In The Attic)
Adrian Younge & Venice Dawn – First Step On The Moon – Something About April (Wax Poetics)
Father’s Children – I Really Really Love You – Eccentric Soul: A Red, Green and Black Production (Numero)
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Kendl Winter – Shades Of Green – The Mechanics of Hovering Flight (K Recs)
Baloji – De L’autre Cote De La Mere – Kinshasa Succursale (Crammed Discs)
Thee Satisfaction – Queens – Awe Naturale (Sub Pop)
Nightwind – Why Can’t We – 7” (Sound Boutique)
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Frankie Rose – Moon In My Mind – Interstellar (Slumberland)
Class Info – Out Of Line – The Minimal Wave Tapes Vol. 2 (Stones Throw)
Fhloston Paradigm – Chasing Rainbows – Single (Hyperdub)
Slugabed – Rockin’ U – Single (Ninja Tune)
K.S. Chithra feat. Malaysia Vasudevan – Hey Maina – K.S. Chithra (Finders Keepers)
Hot Chocolate – What You Want To Do – Lou Ragland: I Travel Alone (Numero)
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Adrian Quesada vs. Adrian Younge – Final Word – Adrian vs. Adrian 12” (Ubiquity)
The Dirty Three – That Was Was – Toward The Low Sun (Drag City)
Mount Eerie – Distorted Cymbals – 7” (K Recs)
Steve Elliot – One More Time – Personal Space (Chocolate Industries)
La Chiva Gantiva – Por Eso Canto – Pelao (Crammed Discs)
The Funk Ark – Green Trees – High Noon (ESL)
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Spectrals – Confetti – Bad Penny (Slumberland)
Hunx & his Punx – The Curse Of Being Young – Too Young To Be In Love (Hardly Art)
Wendy Rene – Give You What I Got – After Laughter Comes Tears: Complete Stax Records Singles 1964-1965 (Light In The Attic)
Boogaloo Assassins – No No No – Single (Self-released)
Hans Dulfer & Ritmo-Natural – Candy Closet Pt. II – Spritual Jazz Vol. 2 (Jazzman)
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Robert Glasper Experiment feat. Ledisi – Gonna Be Alright – Black Radio (Blue Note)
The Lijadu Sisters – Osupa II – Mother Africa (Knitting Factory)
Kamuran Akkor – Ikimiz Bir Fidaniz – Istanbul 70: Psych, Disco Folk Classics (Nublu)
Quakers feat. Aloe Blacc – Sign Language – Quakers (Stones Throw)
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{closing theme} Dungen – C. Visar Vagen – Tio Batar (Kemado)
Aum – Bay Bridge Blues
Aum – Mississippi Mud
Aum – A Little Help From You
I picked this up over at Groove Merchant several years ago, and for some reason I’ve only now had the good sense to bring post this one here. Don’t know a whole lot about these boys, other than Aum were a San Francisco blues-rock trio led by a dude who calls himself “Wayne The Harp.” I know the band released a record called Resurrection on the Fillmore label, but I’m not sure which of these two records is their debut, since it appears both were released in 1969. I would guess this one was the second LP, only because it seems it’s only pressed on Sire / London records and that kind of deal would seem likely to occur after the postive vibes from the debut and their following at the Fillmore and other Bay Area haunts.
The group had a very solid sound, especially in Larry Martin’s drums, which are extra crispy on “Mississippi Mud” (a title, at least, that seems ultra-appropriate as Mississippi votes tomorrow in a particularly mud slinging presedential campaign). Most of the songs showcase Wayne The Harp, with his vocals and guitar work, though he also lays down some nice organ on “A Little Help From You” and does in fact play the harmonica on “Mud.” “Bay Bridge Blues” must have been a crowd favorite back in the day, especially with Martin’s drum work as the song progress. It’s the kind of song that I could totally see the band could jamming on all night long, “Dirty and Funky” seems an apt description of not only the woman he’s singing about, but also the sound of this group.
Cheers,
Michael
Mount Eerie – Distorted Cymbals
Been catching up on sounds from the tail end of 2011 and early 2012 lately, particularly on the indie-rock side of things. Mount Eerie is the alter ego for Phil Elverum who also performs in The Microphones and used to be a member of Old Time Relijun. “Distorted Cymbals” is part of Calvin Johnson’s Dub Narcotic Disco Plate series of singles, featuring the original on one side and Johnson’s remix on the flip. While Johnson’s take is interesting, I’m much more heavily enamored with the original version. To start with I love how hard the drums hit, combined with a bit of piano, those slightly absurd guitar riffs and of course the crashing cymbals. I’m not entirely sure if this was played live or mixed piece by piece, but I love the way everything comes together along with Elverum’s plaintive, unassuming vocals that seem to both be at odds with the music and totally at home with it. Mount Eerie apparently has two releases planned for 2012, here’s to hoping they are as engaging as “Distorted Cymbals.”
Nice to be back on the airwaves with this week’s show, I only wish I didn’t have to do so many of these memorial tributes. 2012 has been a rough year, and now we add Davy Jones of the Monkees and Michael Davis of the MC5 to the stunning list of musicians who have passed in this very short year. Each hour begins with a tribute to each of these artists, elsewhere there is a bunch of new music, including tracks from Mount Eerie, Quakers (featuring Geoff Barrow of Portishead), Thee Satisfaction, Ruby Fray, and more than a few tracks I’ve been digging throughout the year from Ana Tijoux, Adrian Younge and the Dirty Three. Enjoy!
Melting Pot on KPFK #77: First Hour
Melting Pot on KPFK #77: Second Hour
Popcorn Wylie – E.S.P.
Popcorn Wylie – Lost Time
Popcorn Wylie – Both Ends Against The Middle
Recently ran into this gem of a record recently at Amoeba and just had to snatch it up. 
Richard “Popcorn” Wylie has the look of a big time player and he was a big time player in the Detroit music scene, even before Motown became “Motown.” Wylie was an original member of the legendary Funk Brothers laying down the music of the early Motown singles from around 1959-1962. After a fallout with Mr. Gordy, Wylie went on to produce and record a number of Detroit artists, particularly on his own labels Pameline and Soul Hawk, many of which have become cherished in the Northern Soul scene and by all lovers of great soul music (including this classic covered solidly by Mayer Hawthorne).
This LP was released in 1974 with a bevy of heavyweights, including Dennis Coffey, James Gadson, Melvin “Wah-Wah” Ragin, David Walker and a super young Ray Parker Jr. I first heard this album when Dusty Groove reissued it a while ago and I’ve been looking for a copy ever since. Part of the allure is certainly with the massive breaks on “ESP” and “Both Ends,” but it’s also just the quality of music and the sound of the album. The fact that the drums breakdown cleanly is one thing, but it’s that sound that makes this such a stunner. In addition to Wylie’s influence the record was produced by McKinley Jackson of the Politicans and it has this gorgeous, cinematic, expansive and slightly grittier Love Unlimited kind of style to it, best represented on the instrumental “Lost Time” with it’s languid and lazy guitar lines countered with the upbeat early disco style. Definite top shelf material from one of the best out of the motor city.
Cheers,
Michael
David Jones of the Monkees passed away earlier in the week at the age of 65. Growing up as a suburban latch key kid in the 1980s, I was lucky enough to have gotten into the Monkees TV show when it started to re-air during that time in the afternoon. This was far before I knew anything about music history, or cared about issues of authenticity, or made judgements about the value or relative worth of music. The Monkees introduced me to a world of 1960s pop music, and most of my current pop sensibilities come from being a fan of their extraordinary music. I have to admit that Davy was never my favorite in the group. I always gravitated towards Michael & Mickey’s tunes more than any other. I even liked Peter’s quirkiness over the smoother charms of Mr. Jones. But as I reflect back on things, I really appreciate Davy’s vocals, how perfectly phrased ever thing is, and I recognize that Davy was likely the most talented of the bunch. I also have to admit that that Davy Jones’ shuffle is a move that I still occasionally break out into when listening to 60s music. Here are a few of my favorite Monkees’ moments featuring Davy Jones, may he rest in peace.
This doesn’t come from the show, but instead from the film Head, which is exhibit A for me in why the Monkees should be more highly regarded than they were. The film is a 60s psychedelic trip and not at all the kind of thing you’d expect from a “pre-fab” pop group. I could never imagine any of today’s stars producing something so incredibly bizarre and self-deprecating as this film. It does contain a moment of pure entertainment courtesy of Davy Jones and Mickey Basil (Yes, THAT Mickey!) with this dance sequence for “Daddy’s Song,” which also proves that Davy could do a lot more than his signature shuffle.
“Valleri” is one of my faves from the tail end of the TV show. I’ve always thought this must have been one of the final videos that the group cut together because there just seems to be a lot of tension between them, but Davy shines, as usual, with a very cool bit of TV magic that allows him to float away from the group as he starts to go into the second verse.
Bar-none this was my favorite Monkees song and moment from the original TV show, until I found out what the song actually was about in my adult years…Despite being “potentially” inspired by a Hell’s Angels train, the song is a pure pop gem, with a little bit of bite courtesy of Harry Nilsson’s lyrics. Every thing just melts away though when you watch Davy dance and goof around with a dancer whose name I’ve never been able to track down.
In some ways this is the quintessential Davy song from the series, since EVERY episode found him falling in love with some new girl, generally being the problem that the other boys in the band had to solve. It’s also a really fantastic vocal performance, I’ve always loved his phrasing in the chorus and the whispery “Darling…I Love You” at the end.
For most people THIS is the quintessential song from Davy, and perhaps from the group too (though “I’m A Believer” might be as big), It’s not a song that I’ll be playing in my mini tribute to Davy Jones this weekend as Melting Pot returns, but it’s certainly the song that he’ll be remembered by most of all. Plus it gives us some of the best examples of that signature little finger popping shuffle that Davy Jones. That pure joy in performance is how I’ll always remember him.
The Dirty Three – Rising Below
Seems fitting to do this post on Leap Year day, since it’s been just about as rare to have new music from Australia’s the Dirty Three. For the past couple of months I’ve been dying to post something about this new LP, waiting for the release date to finally come. It’s been quite a long time since the last album, Cinder, was released, but the band is back with Toward The Low Sun out now on Drag City. Still comprised of founding members, Jim White, Mick Turner and Warren Ellis, the band doesn’t necessarily stride into any new territory, but they certainly don’t need to. When you have a sound as emotionally deep and perfect as this, all you need to do is turn on the microphones and record. Thankfully the band is back together and playing with renewed vigor, touring their native lands and making trips to a variety of festivals. Let’s keep our fingers crossed that they make their way here to LA and into our studios for a interview and performance!
Yet another legendary performer gracing us here in Los Angeles, Roky Erickson, founder of one of the greatest garage bands of all time, the 13th Floor Elevators, will be in town March 1st performing at the El Rey theatre. I actually have SEVERAL pairs for this show, so if you and a group of friends want to go, courtesy of Melting Pot, make sure to e-mail me at michael[at]meltingpotblog.com by 5pm on Wednesday for your chance to win tickets to see Roky Erickson!
Here’s the classic from the 13th Floor Elevators, quite possibly the best 1960s garage song of all time, “You’re Gonna Miss Me”…always blows my mind, when I see clips like this, just how amazing 1960s TV actually was:
As amazing as “You’re Gonna Miss Me” is, I think I dig this track even more from the band, especially because of just how crazy that electric jug sounds on this track:
Now, here’s an example of what the man sounds like today, with still quite a lot of fire on one of his signature tunes, “Two Headed Dog”!
Michael Davis, bassist for one of my all-time favorite bands, The MC5, passed away last week from liver disease. Given the fact that so much of the attention on the Motor City boys was on guitarists Wayne Kramer and Sonic Smith, or on vocalist Rob Tyner, it might be easy to forget just how important the rhythm section was to one of the most influential Rock’n’Roll outfits of all time…Here are just a few reminders. Expect to hear several of these when Melting Pot returns to the KPFK airwaves on March 4th.
“Future/Now”
One of the few times where Davis’ bass leads off the tune, and it really sets the tone for one of the MC5’s toughest grooves:
“Over & Over”
Another track from the band’s final record High Times, and another song where Davis’ bass features prominently in the mix and the sound:
“I Believe To My Soul”
Recorded live at the Grande Ballroom in 1968, with Davis’ fuzzed out bass much more prominently featured in the mix than on the Elektra album…this is probably how the band should have sounded on their debut.