Listen Whitey!

No compilation seems more prescient than this one right now!

have a taste, get more here

Elaine Brown-Until We’re Free

Amiri Baraka-Who Will Survive America

Various artists: Listen, Whitey! The Sounds of Black Power 1967-1974 (2012 ) Light In The Attic Rec

Tracklist:
01. Shahid Quintet – Invitation To Black Power (Parts 1 & 2) (6:07)
02. Stokely Carmichael – Free Huey (4:51)
03. Eddie Harris – Silent Majority (Live At Newport) (5:50)
04. Elaine Brown – Until We’re Free (2:15)
05. The Watts Prophets – Dem Niggers Ain’t Playing (1:54)
06. Marlena Shaw – Woman Of The Ghetto (Live At Montreux) (10:06)
07. Gregory Dick – Black Power (2:50)
08. Kain – I Ain’t Black (5:51)
09. Roy Harper – I Hate The White Man (8:05)
10. Gil Scott-Heron – Winter In America (Solo Version) (6:28)
11. Eldridge Cleaver – Tim Leary (5:32)
12. John Lennon – Angela (4:09)
13. The Lumpen – Free Bobby Now (2:23)
14. The Original Last Poets – Die Nigga!!! (3:18)
15. Amiri Baraka – Who Will Survive America (3:06)

“Over a five year period in Oakland, CA – archivist Pat Thomas befriended key leaders of the seminal Black Power Movement, dug through Huey Newton’s archives at Stanford University, spent countless hours and thousands of dollars on eBay, and talked to rank and file Black Panther Party members, uncovering dozens of obscure albums, singles, and stray tapes. Along the way, he began to piece together a time period (1967-1974) when revolutionaries were seen as pop culture icons: Bobby Seale, Eldridge Cleaver, Angela Davis, Stokely Carmichael – and musicians were seen as revolutionaries; Gil Scott-Heron, The Last Poets, Bob Dylan, John Lennon and others. As a result, Thomas wrote a 70,000-word hardcover book entitled Listen, Whitey! The Sights and Sounds of Black Power 1965 – 1975 (published by Fantagraphics) which also includes some 200 full color images of obscure recordings that encompass rock, soul, jazz, comedy, poetry, and even religious sermons blended with Black Nationalism.

Light In The Attic present the companion ‘soundtrack’ to the book, “Listen, Whitey! The Sounds of Black Power 1967 – 1974”. For the time first ever, Black and White artists share space on a definitive anthology of the Black Power era. A cross-cultural overview that sees Bob Dylan’s out of print 1971 single “George Jackson” reissued for the first time along with several selections from Motown’s long forgotten ‘Black Forum’ label – Motown’s early 70’s Black Power militant imprint that has never been documented until now with provocative recordings from SNCC spokesman Stokely Carmichael, outspoken African-American poet Amiri Baraka, and Black Panther Party singer/songwriter Elaine Brown.”

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Eddy Giles-Southern Soul Brother

Eddy Giles- Southern Soul Brother: The Murco Recordings 1967-1969

01. Losin’ Boy
02. I Got The Blues
03. Don’t Let Me Suffer
04. While I’m Away (Baby, Keep The Faith)
05. Eddy’s Go-Go Train
06. Happy Man
07. Music
08. Baby Be Mine
09. Love With A Feeling
10. Soul Feeling, Pt. 1
11. Soul Feeling, Pt. 2
12. Ain’t Gonna Worry No More
13. Tingling
14. That’s How Strong My Love Is
15. So Deep In Love
16. Pins And Needles
17. It Takes More
18. Ain’t Gonna Worry No More (Alternate version)

this from the press release

“Shreveport, Louisiana’s Eddy Giles was the star of Dee Marais’ Murco label, on which he released a handful of singles between 1967 and 1969, scoring with the regional hit ‘Losin’ Boy’. “Southern Soul Brother” gathers together all his recordings for the label, for the first time ever, including the single that was licensed out to Silver Fox. It highlights a talented artist who was adept at covering all the bases required of soul singers of the time, from ballads such as ‘Happy Man’ and ‘While I’m Away (Baby, Keep The Faith)’ to the up-tempo dance style of ‘Eddy’s Go Go Train’.

Access to the Murco master tapes allows us to include three previously unreleased recordings: a bluesy alternative version of his final Murco single ‘Ain’t Gonna Worry No More’, the wistful ‘It Takes More’, and ‘Pins And Needles’, a country song given an exemplary soul treatment. ‘Love With A Feeling’ also verges on the blues, while ‘Soul Feeling’ is revered by fans of southern funk.

To hear Eddy’s voice at its best, we have decided, in the main, against adding the echo and reverb that featured on the majority of his singles, clouding some splendid soul singing. The notable exception is ‘Losin’ Boy’, where the studio techniques added to the dynamics of the performance.

The booklet notes document Eddy’s life, in particular his time at Murco, and the photo of a smiling Reverend Giles outside his Shreveport church indicates the story has a more than happy ending.”

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Stuff I Missed: Ikebe Shakedown

Kings Left Behind | Ikebe Shakedown

Ikebe Shakedown-Kings Left Behind

Tracklist:
1. Not Another Drop
2. Unqualified
3. The Witness
4. Mary’s Corner
5. Horses
6. Hammer Into Anvil
7. Over My Head
8. No Going Back
9. Kings Left Behind
10. Not Another Drop (Reprise)

SOMEHOW, and I mean that, because I am big fans of these dudes, this album flew under my radar.  I knew of a slew of single releases over the past year or two, but wasn’t fully aware of the album release.  Honestly it may be their best effort to date imo.  I’m sad I missed it.  Press release below.

“Ten years ago, Ikebe Shakedown began pushing the boundaries of instrumental music. Each new track and live set has sent them deeper into combining the primal elements of 70s soul, raw psychedelic style, and cinematic Western soundtracks with powerful grooves and soaring melodies. Now, with their new release, Kings Left Behind (Colemine Records), the band is giving listeners more mystery and majesty than ever before. The album features the entire group collaborating to produce tracks that deliver punches right to the gut, even as dreamy guitars and lush horn melodies and string arrangements capture the imagination.

The album was recorded by Ikebe’s bassist, Vince Chiarito, at Hive Mind Recording. Opened with Ikebe’s saxophonist, Mike Buckley, and another collaborator in 2017, Hive Mind has become a home base for the band, leading to more experimentation with the textures and sounds of a genre they define as Instrumental Soul.”

Anyway y’all know the routine, I missed something that I would’ve otherwise featured!

check out more reviews of the album here and here, it is fire!

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Hiroshi Nagai…Tower Records 40 Years and more

タワーレコード日本進出40年記念!タワレコ・バイヤーが時代を超えて ...

Japanese Mellow 1975-2012

My interest in the cover art of Hiroshi Nagai started with the series of Tower Records 40th anniversary compilations from 2019 (Japanes Mellow, Japanese Groove, and AOR Edition) and others, like the Pacific Breeze: Japanese City Pop cover below.  Also explore more of his art in the Pinterest link below.

VA: Pacific Breeze: Japanese City Pop, AOR and Boogie 1976-1986 (Light In the Attic Records)

This from the press release:

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent the Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

“Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.”

Image result for no music no life tower records

AOR Edition

No Music, No Life. Tower Records 40th Anniversary - cover art
“NO MUSIC, NO LIFE. TOWER RECORDS 40th ANNIVERSARY”
This compilation was compiled commemorate the 40th anniversary of 
Tower Records entry into Japan. 

Here, Tower Records buyers selected 40 gems
that are loved across eras and genres. 

The target age is not limited to the last 
40 years, but since 1960, when Tower Records was 
founded in the United States. 

From Elvis Presley's "I Can't Help You Like It" (1961) to Sam Smith
"Stay With Me." (2013) The songs have been selected by the audience
to reflect the nostalgia of the times.

40周年コンピ

Japanese Groove 1977-2006

here’s a bunch more info

…and more to explore here...

Image result for no music no life tower recordsImage result for no music no life tower records

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Stuff I missed: Equidity Funk

Equidity Funk: Hard To Find Gems From The Vaults Of P&P Records

On any given day, Peter Brown will gladly let it be known that he has 500 records “that ain’t never been released” in the digital age. A legendary label mogul and businessman, Brown has witnessed and actively helped influence the evolution of black music in America throughout an illustrious career spanning over half a century. He was the independent entrepreneur who could instill fear in the major label big dogs. In a time when the music industry was more like the wild west than it’s present day blogosphere, Brown was on top of his game. When “Saturday Night Fever” was sweeping the nation, his disco and funk cuts on the Land Of Hits label were being played alongside acts like Chic and the Bee Gees. When Sylvia and Joe Robinson were living on Sugar Hill, Peter was putting out acts like Spoonie Gee that the Robinsons wanted to have as their own. For an accomplished man with such an extensive catalogue, it is unfortunately too often that we see many a compilations paying homage to him that fall short of the mark. It is easy for the compiler to have his mind boggled when attempting to get familiar with the man’s entire works. Equidity Funk, however, is a refreshing and welcomed exception Overseen by Peter Brown himself.

The album features choice selections from the P&P Records catalogue that have, for one reason or another, become rare and lesser known.  Equidity Funk manages to do something a lot of retrospective “old school” compilations can’t do, and that is remain a joy for music lovers to play. Peter Brown’s impeccable knowledge and memory of his own catalogue has provided the assistance to bring you only the best he could offer; vicious funk perfectly juxtaposed and complimented with a combination of Hip Hop and Electro throwdowns.  Highlights include the super rare Mistafide Hip Hop track “Equidity Funk,” as well as the hard beats of Super Coper’s “This Is The Way You Do The Break Dance,” and Stax’s lost gem, “New York Computer Break Dance’.

Tracklist

1 Stax (6) New York Computer Breakdance
2 Jesse Gee Let’s Do It
3 Mistafide Equidity Funk (Short Version)
4 Fly Guy Disco Hop
5 Marvin Wright (2) Robot Dance
6 Le’O Roy Pound For Pound
7 Super Coper & Clarence Breakers This Is The Way To Do The Break Dance
8 Ikim & Bacardi Funk Rap (Inst.)
9 Stack* Win Jesse Win
10 Lavaba & E. Mallison A Game Of Life ( Inst.)
11 Milton Floyd Anyway I Can
12 Little Starsky* Gangster Rock

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Jazz is Dead

For those of you who thought that Jazz was dead, you just haven’t looked hard enough.  I submit to you exhibit A.

This from the press release aka bandcamp:

“It feels like, every week something special is recorded in the Linear Labs recording studio, here in Los Angeles. But this right here? This right here is special. Over the last year Adrian Younge and Ali Shaheed Muhammad have been making music with the masters. Composing and producing brand new albums with their heroes. This is our first presentation of work that has come out of these sessions.”

Tracklist:

1. Hey Lover feat Roy Ayers
2. Distant Mode feat Gary Bartz
3. Nancy Wilson feat Brian Jackson
4. Conexão feat João Donato
5. Down Deep feat Doug Carn
6. Apocalíptico feat Azymuth
7. Não Saia Da Praça feat Marcos Valle
8. Jazz Is Dead feat The Midnight Hour

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Same Energy

Bill Frisell-In Line

My regular readers know my love of album covers, for today’s post I simply submit to you some album art, (more album art porn) all with the same type of energy to amuse.

McCoy Tyner-13th House

7th Wonder-Words Don’t Say Enough

The Cure-Boys Don’t Cry

Oso Oso-The Yunahon Mixtape

Lenny White-Big City

Tower Records 40th Anniversary

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