Eric Burdon & WAR

Eric Victor Burdon begun in England with The Animals in 1962. He joined WAR in California six years later.

Eric Burdon Declares War with the singles Spill the Wine and Tobacco Road. This double Black-Man’s Burdon, with the extra long WAR jam debute periode Paint It, Black style and other memorable peace and rock winner experiences. ABC released in 1976 Love Is All Around, include a live version of the Stones cover.

He don’t really leave his original rock projects with the albums Guilty, Sun Secrets, Stop, Survivor and Darkness Darkness. In 1986 Burdon published his autobiography entitled I Used To Be An Animal, But I’m Alright Now. Later he also played with Bon Jovi, Ringo Starr, Billy Preston and Lee Oskar from WAR.

On movies, he worked for Blowup and Zabriskie Point. Imagine his own Mirage with a soundtrack started to live in 2008. Meanwhile he appears on the Doors.



C’est bien le pressage belge mais il s’agit de la seconde version, toutes deux éditées en 1970 chez Polydor.

Ce quatrième opus des Chakachas (Be) contient le hit Jungle Fever que voici.

Et quelques pochettes amusantes



Vicky Edimo

Cet album produit au Nigeria ne paie pas de mine, je parie même que vous l’avez déjà aperçu. Dans son pressage français, ce second album solo vous propose un zouk éclaté qui évolue vers un funk bien calé, ce que l’on pouvait attendre d’un bassiste.

Repérez dans la collection la pochette qui a servi à la compil Nigeria 70 du label Struth.

Black Blood

Après Amanda et Chicano, Black Blood signe ce troisième album en 77 chez Chrysalis, ici l’édition anglaise.

Outre A.I.E. (A Mwana) qui ne sera malheureusement pour eux pas la version devenue classique dans le monde de la nuit de Lafayette Afro Rock Band, Blood Brother Blood Sister secrète quelques rifs qui n’attendent qu’à être redécouverts par une fine perle de la sélection contemporaine.

Turkish blend

Bosporus Bridges – A Wide Selection Of Turkish Jazz And Funk 1969-1978

is a selection of funky eastern flavours from Roskow Kretschmann (Jazzanova, Germany)

Bermuda Seytan Ucgeni Yesilcam

Ferdi Özbeğen’s “Köprüden Geçti Gelin” has been the track I’ve returned to most often just because it was sampled for an Action Bronson song and I have a friend who’s obsessed with the food-obsessed rapper. The song contains a wonderful hi-hat riding drum arrangement, and it’s easy to understand why a rap producer would want to chop it up. Erkin Koray is the name on here you may actually have heard of. His album Elektronik Türküler came to my attention years ago, because it is a masterpiece of Turkish-folk-infused psychedelic prog music. I’m pretty sure his is the only song on the compilation to use a Bağlama.

 » Besides that, I had to dig for information about each band. Most of them are fronted by percussionists it seems. Aksu Orkestrasi reach toward Sun Ra’s “Space Is The Splace” with “Bermuda Seytan Üçgeni” — opening the song with sounds of the seashore and closing it with crescendoing spacy keyboard jabs. Drummer Erol Pekcan contributes two excellent tracks. The first is a sprawling modal piano-centric jazz number (“Şenlik”) while the second (“Gel Sevgilim”) is more of a traditional call-and-response soul song equipped with a killer horn section. Drummer Okay Temiz probably contributes the most well-blended fusion of Western soul-jazz and Turkish folk for his track, while another drummer, Durul Gence, leads his group through “Hilal,” which is apparently a famous Ottoman military march jazzed up, disassembled, and put back together again. Gence, having worked with experimental-leaning artist Sonny Sharrock, frames the album’s context for those who need that kind of thing. » Mike Wojciechowski

Bosporus Bridges is an Istanbul suspension bridge. Marketing tells it’s a collection of extremely rare heavyweight funk, psycho-jazzy fusion with American influences.

With Mustafa Özkent, Erkut Tackin, Fikret Kizilok, Erkin Koray, Ferdi Özbegen, Okay Temiz, Erol Pekcan, Durul Gence, etc

Harvey Averne Barrio Band

Music is life, this is a real predatorian kind of spanish bomb (like the Clash).

Note that two titles, ok, they don’t assume the copyright and Tito Puente or Mongo Santamaria are not afraid about a litle advertising, are covered by these guys.

Cucaraca Macara

Heavy Duty

are the two most exciting titles that you’ll easy recognize

Don’t miss the other tracks not so heavy but full of latino mushroom rock not so far from El Chicanos but minder expensive (this one is a reissue from 1971)

If this guitar kill fascist, my friend dave will recognize that these commercial roots can satisfy you. Life is hard and week enders love some positive distractions.

« I’ve been a big fan of Latin music for a long time. There something hypnotic about the intersecting sounds of all those different drums that are just good for the soul. As a teenage drummer, bashing away on congas, contemplating buying timbales (but never taking the plunge), I had to make due playing along with records. My first exposure to “Latin” sounds, were pretty typical for a kid in the 70’s, i.e. via Santana records. I heard some Latin jazz (mainly via my Dad’s George Shearing records, which featured Armando Peraza, who I would see backing Santana in ’79), and later on digging on Mongo Santamaria and Cal Tjader (among others). It wasn’t until I was in my 30’s that I was introduced to the sounds of boogaloo and Latin soul. The crossover sounds from the mid-to-late 60’s, where Latin bands started to mix in soul and funk sounds made for some of the most exciting records of the era. Many of these records were made by established Latin recording stars like Ricardo Ray (who’s version of ‘Nitty Gritty’ is a killer), Ray Barretto (who’s ‘Acid’ and ‘Hard Hands’ lps are classics of the genre) , Joe Cuba (‘Bang Bang’, ‘El Pito’), Mongo, Willie Bobo and Larry Harlow, who started to work a soul and rock sound in with their clave. One of the folks who got into creating these fusions with a passion was Harvey Averne. Averne (like Larry Harlow, a New York born Jewish cat* with no Latin blood to speak of) started out working under the stage name Arvito, with his own Latin dance band. Originally an accordionist, Averne was taught by Harlow to play the vibes. Working with arranger Marty Sheller (who also worked extensively with Mongo Santamaria) Harlow recorded albums for Atlantic, Fania and Heavy Duty that took the pop/Latin mix to new extremes. Averne’s recordings (under his own name, and with the Harvey Averne Barrio Band and the Harvey Averne Dozen) included a large amount of pop covers (Mamas & Papas, Beatles, Dusty Springfield, Sonny & Cher), and some smoking originals (the Atlantic 45 ‘Micro Mini’ is smoking hot). Today’s selection, ‘Stand’ from the LP ‘Brotherhood’ is not only one of Averne’s best cuts but also my fave Sly & The Family Stone cover. Opening with a drum break, and featuring Averne’s vibes prominently, the tune has a tasty horn chart. They take the tempo up a notch but manage to keep the funky vibe of the original. The arrangement by Sheller has a great rock edge to it, especially during the second half of the 45 where the vibes are up against some fuzz guitar and organ. While the feel may not be as tough as some of the Ray Barretto material from the same era, there’s enough grit to keep the dancers happy and Averne had an authentic feel for the pop and rock music of the day. Unfortunately the ‘Brotherhood’ album doesn’t seem to be in print. There are imports available of the two LPs by the Harvey Averne Dozen (‘Harvey Averne Dozen’ and ‘Viva Soul’) and the ‘Harvey Averne Barrio Band’ LP (check out Dusty Groove). *So beloved was Harlow on the Latin music scene that he was given the nickname ‘El Judio Maravilloso’ (the Marvelous Jew). Another great supporter of Latin music (and also a great NY Jew) was none other than the legendary ‘Symphony Sid’ Torin, who became enamored of Latin jazz in the 60’s and devoted much airtime (and the second half of his radio career) to the sound. » Larry Grogan

Lee Fields : Let’s talk it over

Angle 3 (1979) Reissue

First soul-funk album after a couple of 7 inch »

Wanna dance

She’s a love maker

« There aren’t too many artists making soul music today who had a release in 1969, back when R&B was first beginning to give the drummer some. Lee Fields, however, is one such artist–or maybe he’s better labeled a phenomenon. Since the late sixties, the North Carolina native has amassed a prolific catalog of albums and has toured and played with such legends as Kool and the Gang, Sammy Gordon and the Hip-Huggers, O.V Wright, Darrell Banks, and Little Royal. With a career spanning 43 years, releases on twelve different record labels, and having toured the world over with his raucous-yet-tender voice, it’s mind-blowing that the music he’s making today with Brooklyn’s own Truth & Soul Records is the best of his career.

With a catalogue that ranges from James Brown-style funk to lo-fi blues to contemporary Southern soul to collaborations with French house DJ/producer Martin Solveig, Lee Fields has done it all. Today, with The Expressions–Truth & Soul’s house band, Lee Fields continues to evolve, enmeshed into the group’s sweeping, string-laden, cinematic soul sound. Their first full-length together, My World, released in June 2009 on Truth & Soul, was called « one smoking mother of an old-sound soul record » and a « throwback done right » by Pitchfork.

While drawing comparisons to groups like The Moments, The Delfonics, The Stylistics, and–of course–James Brown, My World has been able to create a space of it’s own due to the group’s desire to interpret and further the formulas of good soul music rather then parrot and imitate them. Chalk that up to Truth & Soul producers and co-owners Jeff Silverman and Leon Michels, as well as the high level of musicianship of everyone involved. These are the same individuals that wrote, produced, and played on Aloe Blacc’s global smash hit LP Good Things for Stones Throw Records, and have provided the back drop for records by El Michels Affair, Adele, Liam Bailey, Ghostface Killah, and Jay-Z to name a few.

« In a curious case of musical evolution, the older Fields becomes, the closer he gets to perfecting the sound of soul that he grew up with as a young man, » so said music writer, scholar, and DJ Oliver Wang about Fields in a piece for NPR in July 2009. The latest LP from Lee Fields and The Expressions, titled Faithful Man, is the next step towards this perfection. A step that may find Fields, The Expressions, and Truth & Soul as a label, finally being bestowed the contemporary soul music crown. »

Fabulous Souls / Ebony Rythm Band (12″)

Fabulous Souls / Ebony Rythm Band

Bonus Edit the Fabulous Souls : Take me (also on Stones Throw)

P&P Funk

Reissues from the vault (P&P)

Dennis Mobley & Fresh Taste – Superstition (1977 Brown) Listen

King David – Hitch Hike One More Time (1977 Brown)

Eddie Owen – Determination (selfprod)

Flame And The Sons Of Darkness – Solid Funk (Brown) Listen

Ella Hamilton – I’m Gonna Fool (P&P)

Peter Brown – Hooker (Pt 1)

Peter Brown – Hooker (Pt 2)

Scott Davis And The Movements – New York Apple Jack (1979 Brown) Listen

Foster Jackson Group – Feel The Spirit (1979 selfprod) Listen

Otis Turner & The Mighty Kingpins – Do The Funky Donkey (Brown)

Smokey Brooks – Long Time Ago

Wild Honey – I’ve Been Working (Brown) Listen

Gary Davis and his Professor

Reissues (1982)

Got To Get Your Love (1979)

If you have some informations about this blaxrappatations P&P Brown kind of career (1980 about this track), leave me a drop

Also Edit (different versions) on the Kay-Gee for place to be people. This is the original format with funny joking music (ok it’s serious)