So, after a couple of months to collect themselves after their excursion to Plastic People, Phonica Records wade deep into the alternative bass music scene once more and come back clutching an impressive catch – one RAMP RECORDS showcase. If you followed that last link, you’ll notice information on the mysterious Ramp imprint is scant, but trust me, those who know, know. Hot on the release of Maxmillion Dunbar’s seminal ‘Cool Water‘ (Brian’s pick for album of the year – no mean feat!) our friends A.Child and Free Care present a wonderous night of bass, bumps and lovingly skewed beats. Line-up & links below:
When he released “Street Tuff” with Double Trouble (Michael Menson, Karl ‘Tuff Enuff’ Brown and Leigh Guest) in 1989, it was the first most people had heard of the Rebel MC. Truth is, he’d formed Double Trouble way back in the early 80s and Street Tuff was just the furthest reaching public display of his talent. Although frowned upon as a sell-out by the Hip Hop community, the cut has since been heralded as “the birth of UK Grime” by Dizzee Rascal amongst others. So, what has that got to do with Congo Natty? Well, everything. For those who don’t know (and I hope it’s just a handful), Rebel MC aka Michael West went on to record as Conquering Lion, Blackstar, Tribe Of Issachar, X Project, Ras Project and of course, Congo Natty. What is incredible is that since we saw him bounce on to the TOTP stage armed with fashion dreads, a backing track on DAT and his Double Trouble entourage playing dummy instruments, Micheal West has consistently released quality underground music with more than just money in mind.
Check ‘Black Meaning Good’(1991), a watershed release for the Rebel as his style evolved and his lightweight raps were replaced by conscious flows, Reggae, Techno and the emerging sound of Jungle. Guest appearances came from Barrington Levy, Dennis Brown and Tenor Fly….heavyweight business! Now the UK’s underground were on-side, and comparisons to the Ragga Twins (fellow Tottenham dwellers) and Shut Up & Dance were rife, the ‘Word Sound and Power’ (1992) collection cemented Rebel’s place in the Reggae tinged corner of the UK’s bubbling dance scene. Now a manifesting Rastafarian, West set up the Tribal Bass label in 1992 and it was this which gradually mutated to X-Project and finally into the Congo Natty imprint all old-school Junglists know and love.
So, almost 20 years on, and having recorded under an array of monikers, Congo Natty continues to roll out raw breaks, deadly deep subs and vocal performances from dancehall legends like Tenor Fly and Daddy Freddy to expectant audiences the world over. Now a fully fledged rasta living between the UK and Ethiopia, the conscious content and scathing attacks on our unbalanced sytems are stronger than ever. Even better, to add a fresh twist, the Congo Natty outfit now counts a full live band amongst its ranks. As somebody who recieved early musical tutilage from the Demon Boyz, London Posse, Shut Up and Dance and the Rebel MC (I think ‘Just Keep Rockin’ and ‘Street Tuff’ were among the first singles I ever bought alongside Public Enemy’s ‘Rebel Without a Pause’), I have to give my full respect to him for keeping it moving so strongly over almost two decades.
And the punchline, Heads High are in the zone with Congo Natty this Saturday 19th July. He’ll be accompanied by Connie Bell, Lady MC (Kool FM) and a full live band. Myself and Darren Judge will be rolling out selections spanning reggae, hip-hop and perhaps a few electronic, bass movements. It’s one to make time for….
If you haven’t been listening to our radio show, you might not know that LA’s favourite beat chemist TAKE is hitting the UK as part of his european tour. Even better, he’s dropping a live set at Heads High (Jul 3rd) to mark the beginning of summer. Those of you that know, we’ll see you there. For those of you thinking what the f*ck is this dude on about, listen and learn.
An influential figure on the much hyped LA scene since day one, TAKE has consistently pushed the boundaries of that off-kilter boom-bap in fresh directions. Co-founder of the legendary beat showcase session ‘Sketchbook’, TAKE (aka Sweatson Klank) has been shamelessly droppin audio science from way back when. That tradition continues to this day with new material for the All City, Poobah and Dublab labels, an as yet unsigned full lengther and a fresh mix for Mary Ann Hobb’s BreezeBlock. Describing his music as a journey down dust covered roads of bit-crushed melodies, molested jazz samples and walls of bass, we recommend you TAKE (sorry) the opportunity to check out his live show while he’s this side of the water.
In the meantime, the Duke sat down and broke some bread with the man with an all important seven questions on life, inspiration and mid-century modern furniture:
Who is TAKE?
TAKE is the music that comes out of the young man they also call Sweatson Klank. Contrary to what the name implies.. it doesn’t mean to take things as in to take and receive. Rather, the music is my Take on things.. its just music and creative impulses flowing through my filter…my take.
When TAKE wakes each day, what inspires him to do what he does?
I guess im very inspired by my surroundings..Shapes, sounds, shades of sunlight, textures, the city around me, nature, the ocean, food, architecture, pretty much everything plays a part in art… Sounds silly but if you break it down to the bare essence thats what it really is.
What is important to TAKE? How does his music reflect it?
Its important to be happy. Thats got to be #1. After that, (which is a full time job sometimes)comes friends, music, art, food, nature. I’de have to say, im really into food..love to cook, and break bread with friends around a good meal.
What does TAKE think about the digital world in which we all spend so much time? How does he feel it has affected the quality and longevity of the planet’s creative output?
Well thats a tough question. Part of me loves the digital age alot. Everything right there at the touch of a button. So much information. If you want to learn, its alot easier these days to obtain information. I like that. But in another light, im trying to spend less time in front of the computer these days. I feel like life happens outside. True experiences and life lessons happen in the real world. Too many people living their life on the Internet in my opinion. As for the longevity aspect of what we as artists and musicians do. I suppose only the future can tell. But its hard to think of things preserved in the same way these days. Thats why, its always a plus when a release or project gets documented and released on vinyl. It will be around forever, in a tangible form. I like that too.
How does TAKE get down when not creating sound?
If im not creating sound, then im probably out and about in the city or taking a trip to the nearest park or woods. Trying to find balance and peace of mind. I may be cooking, or digging thru thrift stores for anything vintage. Records, clothes, and especially mid century modern furniture.
What is TAKE listening to right now? What was he listening to when he was 10 and what will he be listening to when he’s 100?
Lately, Im listening to all my favorite beat producers during the day, and jazz at night..lol…just a funny habit. Always jazz at night. Coltrane, Elvin Jones, Bobby Hutcherson, and many more.. 60’s stuff really. Also, I really listen to alot of experimental electronic and synthesizer music from the 70’s.. Thats stuff is my favorite. Just incredibly inspiring for me. When I was 10 I was listening to Micheal Jackson and Madonna, Hall and Oats, and Eurythmics..lol.. When i’m a hundred I imagine ill be listening to the waves.
What is TAKE here to do?
Take is here to make you smile.
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