Archive for December, 2009

When Hip Met House…

Thursday, December 31st, 2009

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I’ve been bumping Andres‘ LP for a minute now. One of the reasons I love it so, is the way that the Hip Hop (Dj Dez) and the house (Andres) both have their say in the thirty tracks they have to orate with. Check Anthony ‘Shake’s’ discography too. You’ll find four to the floor 808 pressure pushing up against the sub 100 bpm roll of the breakbeat. Saying this, its rare to see the two styles co-existing in the same sonic space….it wasn’t always this way though…

We’re moving into the second decade of the 21st century. Those of us who like to reminisce (which is most of us I think) should be able to stretch our mind back to a time where a rapper needed to generate a 120bpm flow to pay his bills. A time where record companies dropped serious money ensuring that the love-children of Larry Levan and Russell Simmons could roam unashamedly. On a personal level, I remember locking in to Centerforce FM (88.6), Sunrise and Pulse and listening to the lines between Hip-Hop, House and Hardcore being consistently blurred. U.S. cats like Fast Eddie and Tyree Cooper jacked alongside the U.K sound of the Cookie Crew, Silvah Bullet, Merlin and more. As usual, I’m an honest brother so no frontin’ – I’m far from an expert on this time….but the important thing is, I remember the buzz. This mini-documentary brought it all back for me….enjoy….

News: Winter Shook. Later is greater…

Wednesday, December 16th, 2009

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Simply put, SHOOK is an excellent publication. Always on point and always packed full of the things us musical miscreants need in our lives. Running a print publication which reaches out to a subculture in the height of a global recession is not an easy affair. That’s why it’s all important that those of us who can, support the cause.

The winter issue is out now. It was late – probably my fault as I didn’t submit my piece until way after the deadline…anyways, it’s here now. This is what SHOOK have to say about it:

With our FUNK FACTORY special covering some of the baddest bands on the planet (Dap-Kings, Breakestra, Whitefield Brothers, Lefties Soul Connection, Cookin’ On 3 Burners & Malcolm Catto of the Heliocentrics) and our focus on PLANET MU, whether we’re cold lampin’ with the original funki dred JAZZIE B or sweating to the tropical rhythms of GWO KA and TUMBELE in Martinique and Guadeloupe, SHOOK #07 goes deep in the science of rhythm. The launch of HOMEGROWN, the first major exhibition of UK hip-hop, is our excuse to go back in time with London Posse, Demon Boyz and many more. We get the DATA REDUCTION from ZOMBY and gOnj@$ufi. MAX ROMEO tells us how he almost burned down the offices of Island Records, HUDSON MOHAWKE talks about making tracks for Rihanna, while Stefan Lakatos remembers learning to play the trimba from MOONDOG. For all you jazz heads, CARL CRAIG, MARCUS BELGRAVE and WENDELL HARRISON give us the rub on the resurrected TRIBE RECORDS project; we get a dose of Ancestral Soul from BODDHI SATTVA; Guilty Simpson, Black Milk, Dilated Peoples, Planet Asia and more salute HEX MURDA; we smoke Cohibas in Cuba with GILLES PETERSON and blaze blunts in LA with GASLAMP KILLER, SAMIYAM, HOUSESHOES & RHETTMATIC. Plus TERENCE BLANCHARD explains all about his difficult choices post-Katrina. Elsewhere, we feature FELA! THE MUSICAL, we surprise NNEKA, find out all about the CANDY MACHINE, travel the world with DREPH, celebrate the release of STILL BILL and raise a toast to 30 years of VAGUE. So shut yourself away this Christmas with a copy of SHOOK and a bottle of brandy, and be a soul adventurer, travelling to places and spaces far and wide in the musical omniverse.

Oh, and we’ve got some very special subscriber offers this time around so make sure you check out our store for details.

Enjoy….

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Event: Johnny Clarke inna London Town!

Tuesday, December 15th, 2009

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Roots reggae is a deep thing. Despite virtually no mainstream support, it has managed to survive and reach out to a global audience for nearly 40 years. This Friday, the mighty Johnny Clarke steps out to bless the people with his outstanding vocal talents at Dalston’s much-loved Passing Clouds.

If you were to write a list of true school roots legends, Johnny Clarke would be somewhere near the top. Born in Whitfield Town, Jamaica in January 1955, he began his career winning the 1971 Tony Mack’s talent show, subsequently linking him up with producer Clancy Eccles. Eventually Leaving Eccles to hook up with producer Rupie Edwards, Clarke scored a clutch of hits including”Irie Feelings” the 1973 single that provided the template for the producer’s own massive success with “Ire Feelings (Skanga).”

The following year, Clarke cut a number of singles for a variety of different producers. Although he was already well-known, it was only after he joined forces with producer Bunny Lee that the singer reached his full potential. Lee,  famous for introducing the “flying cymbal” sound that swiftly became his trademark, delved into the possibilities of dub and helped inaugerate the shift from Rocksteady to the slower swing of Reggae. Together, the two men would unleash a host of unforgettable singles, opening with the massive hit “None Shall Escape the Judgement.”

Over the next two years, Johnny inundated Jamaica with hit singles including “Move Out of Babylon Rastaman,” “Rock With Me Baby“, “Enter Into His Gates With Praise“, “Too Much War”, “Joyful Festival.” and a cover of Bob Marley’s “No Woman No Cry,”.  The singer’s first two albums, 1974’s None Shall Escape the Judgement and the following year’s Moving Out, were both hits-heavy collections. There was little surprise when Clarke clinched the artist of the Year award in 1975 and 1976 (and then annually for another three years after that).

By 1976, the singer had come to the attention of the Virgin label’s Front Line subsidiary, to whom he now signed. The new relationship was cemented with the fabulous Authorized Version album, again produced by Bunny Lee and boasting another big hit, “Roots Natty Roots Natty Congo.” That album was masterful; Rockers Time Now was an absolute masterpiece. Lee’s house band, the Aggrovators, laid down a potent mix of roots, rock, reggae, whilst King Tubby added his raw heavy dub to the proceedings. The record remains one of the crucial releases of the roots era.

As the ’80s dawned, Clarke moved effortlessly into the age of dancehall with his Johnny Clarke meets Cornell Campbell in a New Style Collection. He left Jamaica for London town in 1983, hooking up with producer Neil “Mad Professor” Fraser and recording Yard Style, which included such crucial cuts as “Mount Zion” and “Nuclear Weapon.”. Over the rest of the decade, Clarke continued cutting excellent singles in partnership with longtime collaborator King Tubby (responsible for many of the singer’s B-sides), and more dancehall-flavored offerings with both Prince Jammy and Errol Thompson.

The reason I just dropped the paragraphs above is simple – the man’s contribution deserves to be recognised. Follow the links, listen to the music (if you don’t already know it) and know that if you miss this Friday’s session, you be missing something special.

Oh, did I mention that the Red Earth/Soothsayers crew will be in the house to lay down the backing tracks…..or that yours truly is spinning inna roots and culture style throughout the evening? You know what to do…info is below:

JohnnyClarke

Heads High vs. 12 Tone

Monday, December 14th, 2009

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We’ve had a lot of fun with the 12 Tone collective this year. Now our shared session at Vibe has been broken in, we’re getting comfy and beginning to experiment.

The last session of 2009 takes place this Sunday 20th December. It’ll be a good one, you should come. As usual, myself, Duke Etienne, DJ Judge and Cal Jader will hold down DJ duties with live collaboration from Connie Bell and musicians from the 12 Tone camp.

We’ve got some recordings (audio/video) to post from our previous events but for now, check out this  footage of RA! the United Vibrations single which was launched last Saturday and has been garnering attention from Giles Peterson amongst others.

Shuanise Says….

Saturday, December 5th, 2009

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Shuanise is on the brink of big things. Having first heard her word way back in March on the low-slung Jazz cut ‘Masudesante Naima’ (courtesy Eglo Records), we at Heads High have been steadily impressed with her sweet yet slanted vocal stylings. Her recently unveiled ‘Voice Of Reason’ E.P. (UpMyAlley Records) is being warmly received by those who know and judging by the strength of her catalogue thus far, we’re in store from some serious blessings in 2010.

The thing you first notice about Shuanise is how nice she is. We played a long game of voicemail Tennis before finally getting to talk and even the rays of sunshine in my mailbox told me that I was in the presence of goodness, and not that fake-it-for-the-cameras kind either. She’s the real deal….

The beginning is a good place to start. Like me, Shuanise spent her formative years North of the Thames border. Unlike me, she had managed to live in Nigeria and the deep south of the U.S. (Texas) before she even got there. Being a Pan-Africanist at heart, I couldn’t help but ask about her Nigerian roots and how they effected her introduction to music:

‘Music has always been around me in some way…I wanted to be like my Grandpa when I was younger so picking up instruments was the natural thing for me to do. My Grandpa was a businessman raising six kids In Ibadun…having music around was important to him. Music always brought out another side of my Grandpa, like he was in another world. He played the talking drums, Udu, and an old Middle Eastern Lute. He changed the way I thought about music. It was no longer just something coming out of the speakers but all around me, made with anything…I learnt a lot from just being back home and that’s where I really started to understand what music was. Things are done in a different way out there and life is different, my heritage has always had a thumb on what I make but more recently it has had an effect on what I make and do more than at any other point.’

Deep. I wanted an expansion though. What’s different about Nigeria?

‘I found Nigeria very different to the U.K. The people, hardships, politics, the lessons. Conditions and surroundings are things that motivate people to play certain music or write a certain song. If you think back to old Africans that were brought to America, it was the surroundings and the conditions that dictated the type of music they made…but no matter what condition one is in, Ibos, Hausas and Yorubas have songs for every situation. They speak through their music. In some situations you can see how much of a life-saver music can be.’

Getting back to the here and now, those vibes have been channelled into heavily Jazz infused Soul explorations. Listen to any one of Shuanise’s cuts and you feel the unmistakeable pulse of Jazz, both in her distinctive vocal delivery, and in the sonic canvas on which she paints.

Jazz makes me feel very welcome and at home, ‘Kind of Blue’ was the album that opened me up to discover other Jazz
artists and learn more about the way Jazz is played. It inspired me to try a lot of different structures.
Jazz has been very influential to me….It’s changed the way i think about and make music
.’

Luckily, she’s in good company when it comes to experimenting with new forms and structures, Jazz or otherwise. Eglo Records  has been her home for the past year or so and their exploratory musical aesthetic has given her the freedom she needs to create. Nestling in amongst the Orchestro-Jazz-Two-Step (a new genre didn’t you know) of Floating Points, the retro futurism of Funkineven 1956 and the astral-plane harmonics of the one Fatima, Shuanise has carved herself a creative niche from which to explore.

‘Eglo is family. They believe in the music they bring to peoples’ attention. They push boundaries and are not afraid to be a little different from the rest. Everyone at Eglo has something different to bring but they still work well as a unit. I like to experiment
with sounds and Eglo are open to it, they support what they like to the fullest.’

I’m a bit old-school. I think its nice when our creativity has a purpose (click here for a deeper explanation). What is it that Shuanise aims to achieve with the beauty she’s creating?

…[I want to] make people think about each other more, think about what we do and how it affects others, appreciate our journeys and respect each other and where we live…..’

And where can we expect that beauty to surface next? Eglo is due to drop an EP of Shuanise’s wares. If you can’t wait for that then in the meantime Portformat’s ‘Repeat Factor’ LP features two gems from the lady herself plus guest appearances from Georgia & Dudley amongst others…..heat! Of course, ‘Voice of Reason’ is out right now so click here to cop it.

Ever the team player, Shuanise also asked us to remind you that you can pick up Funkineven and Fatima’s ‘Kleer EP’ now on Eglo…..there, told you she was nice…..we are too so here’s her Masudasante Naima for free – just make sure you support if you like what you hear!

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Download Masudasante Naima

LINKS:

Shuanise’s Myspace

Eglo Records

UpMyAlley Records

Tokyo Dawn Records

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Insight: The Culture of Creation…

Thursday, December 3rd, 2009

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‘Told you we aint dead yet, we been livin’ through your internet. You don’t have to believe everything you think, we’ve been programmed, wake up, we miss you.’

As part of an underground creative network, we take pride in supporting, creating and exporting ‘progressive/forward-thinking/different-from-the-norm’ music. Noble principles. There is a deep value in this….. but when did we decide to dissociate these lofty principles from the rest of our lives?

I’ve been observing the musical blogoshpere for a minute now and it has been a bipolar experience of delight and disappointment. Delight in the amazing creations we are continually blessed with and disappointment that there are virtually zero heads out there (Heads High included) that are willing to talk about much else but the music itself, or its associated media. Breaking bread with industry friends,it seems that any kind of vaguely political or spiritual topics have slim place in certain musical spheres – that people don’t want to be preached to. They’re right. But who are we if as tastemakers and opinion shapers, we’re too afraid to say anything apart from big up or take down the endless stream of product coming through our hands?

Our culture has been structured in a way that allows us to blot out realities in favour of consuming more of the same – in a different package. This particular thought stream was triggered by ‘The Story Of Stuff‘, a 20 minute treatise on the harsh realities of the production process which you’ll have heard of somewhere over the past year or so. Don’t worry, I’m not going to launch into a tirade against the evils of consumerism….I think we all get the picture on that….what does interest me though is the idea that cultures are created, maintained and perpetuated with the goal of neutralizing peoples opinions on things that matter.

I figure 90% of you reading this are music lovers….the word culture is almost holy ground to us.  We all take pride in the (sub)cultures we are part of. More than that, we actively direct and extend these cultures. So in truth, we’re in a curious space where we simultaneously control and are controlled by our cultural ‘norms’.

Back to the Story of Stuff. If you’ve seen it, you’ll agree that one of the most unsettling moments is the quote below:

The Real Meaning of Consumer Demand

Our enormously productive economy demands that we make consumption our way of life, that we convert the buying and use of goods into rituals, that we seek our spiritual satisfactions,our ego satisfactions, in consumption. The measure of social status, of social acceptance, of prestige, is now to be found in our consumptive patterns. The very meaning and significance of our lives today expressed in consumptive terms…. We need things consumed, burned up, worn out, replaced, and discarded at an ever increasing pace. We need to have people eat, drink, dress, ride, live, with ever more complicated and, therefore, constantly more expensive consumption.’

Sound like a familiar situation to you? A market analyst named Victor Lebow dropped this in his ‘Journal of Retaling’ which was published way back in 1955. An era which saw the rise of youth culture on both sides of the Atlantic. A generation which prided itself on its autonomous rule and individual identity while in actuality feeding the very same model described by Mr Lebow above. Sadly, in this respect at least, I feel we have progressed little in the past half century.

My basic point is, as Erykah says, we need to wake up. Technology has afforded our generation(s) a ridiculously high level of creative output but we seem to be wielding this potentially world altering weapon like children with toy swords.  Art is exceptionally important, and we celebrate it accordingly, but we are lost in a maze of the next big thing. The exact maze that Mr Lebow describes in his quote. The longer we remain lost, the longer our voices are ineffectual in the reshaping of a world which, in number at least, we should be in control of. When I flick through the new posts on my RSS feed reader, I can’t help but feel a little bit of shame. Shame at the fact that after an evolution on this planet of circa 300,000 years (the official figure), the majority of us appear to have limited our infinite capacities (including our creative vision) to boundaries set by those whose aim is for us to continue to walk in self-perpetuating circles.

I don’t believe it’s an accident that some of the most enduring icons are those which used their art to speak beyond the surface. Cats like Fela Anikulapo Kuti and Peter Tosh. who composed for human rights, John Lennon, who made noise for peace, and Sun-Ra, who stood out on a limb and opened minds to new realities – if they were ready. We’ve got our share of truth speakers now. Sa Ra, Georgia Ann Muldrow and Dudley Perkins are flying the flag for peaceful spiritual frontiers amongst others.  Heads like Mos Def and Immortal Technique are dropping truth on the lies of the men in suits and even Stones Throw’s James Pants has turned his attention to the esoteric with his latest ‘Seven Seals‘ offering. It would have been easier for any one of these artists not to have broached uncomfortable subjects, just as it is easier, and infinitely more socially acceptable, for us to talk air rather than truth.  I’m not saying that every song or blog post needs to be chanting down Babylon and discussing the nature of multi-dimensional reality, but I really do believe its time for our media educated generation to consider their purpose and objectives in a world which needs direction now more than ever.  We all have truth to tell. I for one would like to look back on what we produced in word, sound and image and know that it actually meant something….

‘We’ve been programmed, wake up, we miss you…..’