Submotion Orchestra - Fragments (Full Album)
Submotion Orchestra is a live 7-piece project from Leeds, incorporating deep bass-driven grooves and dense textures in their progressive live dubstep sound.
Leaving crowds inspired and often open-mouthed in their wake, this is not live dubstep to be taken lightly. The members have all cut their teeth on live dub, funk, reggae, jazz and even grime bands previously, so are no strangers to complex rhythm or rootical bass. Having been formed in early 2009 as an experimental live project, the band have quickly established themselves as one of the most exciting up-and-coming acts this year.
To mark the twentieth anniversary of A Tribe Called Quest’s 1993 classic Midnight Marauders, Chris Read has expertly crafted an exclusive mixtape for Wax Poetics and Who Sampled.
Listen up and enjoy!
1. A Tribe Called Quest – ‘Award Tour’ (Instrumental)
2. Chris Read – ‘Theme #3′ (Scratchapella)
3. Busy Bee & Rodney Cee – ‘MC Battle’ (Extract) (Sampled in ‘Sucka Nigga’)
4. Jack Wilkins – ‘Red Clay’ (Sampled in ‘Sucka Nigga’)
5. A Tribe Called Quest – ‘Sucka Nigga’
6. Roy Ayers – ‘Feel Like Makin’ Love’ (Sampled in ‘Keep It Rollin’)
7. A Tribe Called Quest feat Large Professor – ‘Keep It Rollin’
8. Bob James – ‘Nautlilus’ (Loop) (Sampled in ‘Clap Your Hands’)
9. The Meters – ‘Handclapping Song’ (Sampled in ‘Clap Your Hands’)
10. A Tribe Called Quest – ‘Clap Your Hands’
11. Lou Donaldson – ‘Ode To Billie Joe’ (Loop) (Sampled in ‘Clap Your Hands’)
12. Bola Sete – ‘Bettina’ (Sampled in ’8 Million Stories’)
13. A Tribe Called Quest – ’8 Million Stories’
14. Biz Markie – ‘Nobody Beats The Biz’ (Extract) (Sampled in ‘The Chase Pt II’)
15. Steve Arrington – ‘Beddy Biey’ (Sampled in ‘The Chase Pt II’)
16. A Tribe Called Quest – ‘The Chase Pt II’
17. Michal Urbaniak Group -’ Ekim‘ (Sampled in ‘Steve Biko’)
18. A Tribe Called Quest – ‘Steve Biko’
19. The Whatnauts – ‘Why Can’t People Be Colours Too?’ (Sampled in ‘Oh My God’)
20. Kool & The Gang – ‘Who’s Gonna take The Weight’ (Sampled in ‘Oh My God’)
21. A Tribe Called Quest feat Busta Rhymes – ‘Oh My God’
22. Jimmy McGriff – ‘Dig On It’ (Sampled in ‘God Lives Through’)
23. The JBs – ‘Gimme Some More’ (Extract) (Sampled in ‘God Lives Through’)
24. A Tribe Called Quest – ‘God Lives Through’
25. Clyde McPhatter – ‘Mixed Up Cup’ (Loop) (Sampled in ‘Lyrics To Go’)
26. Ronnie Foster – ‘Mystic Brew’ (Sampled in ‘Electric Relaxation’)
27. A Tribe Called Quest – ‘Electric Relaxation’
28. James Brown – ‘Just Enough Room For Storage’ (Sampled in ‘Lyrics To Go’)
29. Minnie Riperton – ‘Inside My Love’ (Sampled in ‘Lyrics To Go’)
30. A Tribe Called Quest – ‘Lyrics To Go’
Artwork: Leon Nockolds
Source: SoundCloud / Wax Poetics
Afrobeat historian Chris May celebrates the rarer and lesser-travelled corners of Fela Kuti’s extraordinary discography via VINYNL FACTORY
Words: Chris May
Had he still been alive, 15 October would have been Fela Anikulapo Kuti’s 75th birthday. The Afrobeat originator died in 1997, but his legacy lives on. Kuti’s complete catalogue of almost 50 albums has been released online and on CD by Knitting Factory Records, and the label has also started releasing vinyl. Two box sets, each including six LPs, have so far been issued. The first was curated by Questlove, the second by Kuti’s old friend and occasional drummer, Ginger Baker. Brian Eno, who produced Kuti’s son Seun’s magnificent From Africa With Fury: Rise in 2011, has begun work on curating a third box. KFR also plans to release single LPs.
The last time Kuti’s complete catalogue was released on vinyl was in 1999 by the French label Barclay, with Talkin’ Loud the UK licensee. Until KFR’s vinyl programme has been completed, which may take a year or two, many of Kuti’s best LPs, particularly with his Africa 70 (and Afrika 70) band in the 1970s, are rare treasures. However, in addition to the Barclay/Talkin’ Loud LPs, earlier reissues can sometimes still be found on various African, European, American and Japanese labels.
Here are ten of the finest and the rarest…
Why Black Man Dey Suffer
Originally released on African Songs, 1971
In late 1969, following a ten-month spell in the US with his band, the highlife-based Koola Lobitos, Kuti returned to Nigeria, his political education much advanced by exposure to the ideas of contemporary African-American writers and activists such as Stokely Carmichael, Angela Davis and Malcolm X. With a new band, Africa 70, he began writing politically-charged lyrics and developing a new style of music, Afrobeat. Why Black Man Dey Suffer is a key foetal-Afrobeat album. Ginger Baker, who Kuti had befriended in London in the early 1960s, while he was studying at Trinity College of Music, guests on drums.
Originally released on EMI (Nigeria), 1971
Recorded six months after Why Black Man Dey Suffer, and with Tony Allen, who had played with Kuti since 1964, back on drums, Shakara marked Afrobeat’s transition from its foetal stage to something approaching full-grown form. Kuti’s use of Broken English, from this point onwards a feature of Afrobeat, extended its appeal beyond Yoruba speakers, making Kuti’s lyrics understandable throughout Anglophone Africa, and giving him, with the album’s side-one song, “Lady,” one of his first West African hits. Another of mature Afrobeat’s signature ingredients, solo and “tenor” guitars playing naggingly insistent, interlocking riffs, was also now in place.
Originally released on EMI (Nigeria), 1973
On “Gentleman” Kuti ridiculed the adoption of European clothing by post-colonial Africa’s emergent middle class, a trend he identified as symptomatic of a cultural inferiority complex blighting true African independence. “Him put him socks him put him shoes,” he sang, “him put him pants him put him singlet, him put him trouser him put him shirt, him put him tie him put him coat, him come cover all with him hat, him be gentleman, him go sweat all over, him go faint right down, him go smell like shit…I no be gentleman at all-o, I be Africa man, original.” There is much more. It is one of Kuti’s most perfect lyrics.
Before I Jump Like Monkey Give Me Banana
Originally released on Coconut, 1975
Recorded at the start of a three-year purple period during which Kuti released an extraordinary 23 albums of new material, “Before I Jump Like Money” was a call to action to Nigeria’s working class, labouring without the benefit of social security or decent public health and education systems, while the Nigerian elite was awash with oil money. If you are going to live like a monkey, Kuti sang, at least make sure the boss throws you a banana. The striking front and back sleeve paintings were created by Ghariokwu Lemi, whose vibrant Afrodelic style graced 26 of Kuti’s sleeves, starting in 1974.
Originally released on Africa Music, 1976
On the title track, Kuti again drew attention to the economic chasm separating the haves and have-nots of Lagos society. The lyric contrasts the exploitative mindset of residents of the prosperous suburb of Ikoyi to that of the poor inhabitants of the Mushin, Maroko, Ajegunle and Somolu areas, whose “sufferheads” formed Kuti’s core audience. Lemi’s front cover portrait shows a stumbling Ikoyi resident, blind to the social injustices around him. On the cover, Kuti announced Africa 70’s new name, Afrika 70, and his renunciation of his middle name, Ransome, which he considered a slave name, and his adoption instead of Anikulapo.
Originally released on EMI (Nigeria), 1976
Kalakuta Republic was Kuti’s self-governing, live/work community in Lagos, and was subject to continual police and army harassment. Kalakuta Show tells the story of the first major assault, made by the police on 23 November 1974. Although it was on a smaller scale than the notorious army attack of 18 February 1977, when 1,000 soldiers burnt Kalakuta to the ground and committed numerous atrocities on its residents, it was a gruesome affair. Kuti himself was so badly beaten that he spent the next three days under police guard in hospital, no photographs allowed. Following a menacing introduction by the Afrika 70 horns, Kuti tells the story.
Originally released on Coconut, 1976
The army’s sacking of Kalakuta in 1977 was not brought about wholly by Zombie, but the album took the tension then existing between Kuti and the military regime to breaking point. On the title track, over an urgent, quick-march accompaniment from Afrika 70, Kuti ridiculed the men in uniform as mindless thugs, each of his lines punctuated by the female backing chorus’s taunt, “Zombie!” For the army, the lyrics were the final provocation, a direct attack on its pride and prestige, and probably more wounding for being made, in part, by women. Worse still, Zombie was a hit across Africa, adding an international dimension to the insult.
Originally released on Decca Afrodisia, 1976
“Yellow Fever” was the nickname Lagosians gave to traffic wardens, and Kuti borrowed the expression to describe and decry the fashion among Nigerian women for skin-whitening creams. The song is about cultural identity. Kuti cites skin whitening as an example of the post-colonial, cultural inferiority complex he believed was holding back the country’s development: skin whitening was not only harmful to beauty and health, it was also damaging to women’s psyches. The lyric addresses women much as 1973’s “Gentleman” addressed men, urging them to take pride in their own culture rather than aping their recently departed colonial masters.
J.J.D. (Johnny Just Drop)
Originally released on Decca Afrodisia, 1977
In his lyric for “J.J.D. Johnny Just Drop,” Kuti lampooned Nigeria’s “been-tos,” people who had been to Europe or America to work or study and then returned (“dropped”) home with European pretensions and an inferiority complex about African culture. Lemi’s front cover portrays a suited-up been-to, dressed like a cartoon British toff, as he parachutes into a Lagos street to the bemusement of the locals. The back cover shows a more funkily-dressed been-to, wearing US-style ghetto chic, but looking equally out of place. The “Ofersee Hairways” airplane from which this JJD has just dropped refers to his Afro hairstyle, which Kuti regarded as a foreign affectation.
Originally released on Phonodisk Skylark, 1979
“Unknown Soldier” addresses the 1977 army attack on Kalakuta, through the prism of the official enquiry which pronounced the military institutionally innocent of arson. An “unknown soldier” was blamed, when all the evidence – including the presence of senior commanders and the obstruction of the fire brigade – pointed to a co-ordinated attack sanctioned by the regime. Much of the lyric concerns Kuti’s mother, 78 years old in 1977 and a hero of Nigeria’s struggle for independence, who died a year later from injuries suffered in the attack. Finally, Kuti observes, “government magic” whitewashes the regime’s violence against its citizens.
Losing My Balance - J. Cole
Album: The Warm Up
Balance - Sara Tavares
Sara Alexandra Lima Tavares (born February 1, 1978) is a Portuguese singer, composer, guitarist and percussionist. She was born and brought up in Lisbon, Portugal, where she still lives. Second-generation Portuguese of Cape Verdean descent, she composes African, Portuguese and North American influenced world music. She composes in Portuguese and Portuguese-based creolelanguages. Although Portuguese is the main language of her songs, it’s not rare to find in her repertoire multilingual songs mixing Portuguese with Portuguese creole and even English in the same song.
My first encounter with Sara music was a sample from hip-hop artist, J.Cole of his 2009 mix tape release, “The Warm Up”. The sample comes fromof her 2006 release ”Balancê”.
Listen/purchase: George Benson Tribute by Amin PayneThis is Amin Payne’s 3rd journey into tributes. This time its through George Benson and it was done only this past month Using Vinyl ONLY samples, live instruments and percussion.
creditsreleased 02 October 2013
TA-KU,BEN BADA BOOM, DOC MASTERMIND, K SABA, MIMISMOOTH
Killing Fields - Remy Shand Live 2013
I just wrote and recorded this yesterday and wanted to share it with you. This song is not part of my public collaboration project. This is the final version.
Instruments: Vocals, SG (goddess) electric guitar, Echoplex, Roland JP8000, Lexicon reverb.
Written and performed by Remy Shand.
MF DOOM - An Introduction: The Best Of DOOM
CLICK HERE TO DOWNLOAD
MF DOOM is one of the dopest, and yet most inaccessible MC’s in Hip-Hop. His music is often very much an acquired taste. And some of his most brilliant tracks are simply too much for first time listeners unaccustomed to his style.
With this in mind, I’ve created a compilation for MF DOOM entitled “An Introduction: The Best Of DOOM” — not really a collection of purely his best songs, but his most accessible songs — tracks that would help ease a head into DOOM’s music and style.
MF DOOM is among the most enigmatic figures in Hip-Hop, and a man with more than a few aliases. Most notably known as MF DOOM, with MF standing for Metal Face or Metal Fingers, his alter egos include: Viktor Vaughn, King Geedorah, Danger Doom (with Dangermouse), Madvillain (with Madlib), and The SuperVillain. I have placed the alias he uses in parenthesis next to each song in the tracklist.
His rhyme flow and structure is both brilliant and unorthodox, with shades of both Nas and Kool G Rap, and an originality that is truly all his own. Listening to Jay Electronica, one of the games dopest new MC’s, you can hear DOOM’s influence in both delivery and style. It is this unorthodox style that DOOM brings that fans fell in love with… and it has also served as a double-edged sword; his delivery, as well as musical directions, can take some getting used to.
His lyrical content is also “love-or-hate” for many Hip-Hop fans. I think most fans who love DOOM, like myself, would agree that his lyrics and subject matter, metaphors and similes, often go over the head of the average listener, alienating a lot of heads.
So I say this: MF DOOM is not for everyone. Plain and simple. It would be fair to say that you’ll either love him or you won’t like him at all. But trust me when I say, the more you listen to him, the more you will like him. He is an acquired taste for many. I hope you give him a chance. One love.
01. MF DOOM - Absolutely
02. MF DOOM - Doomsday
03. MF DOOM - Rock Co.Kane Flow feat. De La Soul
04. MF DOOM (Dilla Doom) - Fire Wood Drumstykx
05. MF DOOM (Madvillain) - Accordion
06. MF DOOM (Viktor Vaughn) - Let Me Watch feat. Apani B
07. MF DOOM - Blacklist feat. Aesop Rock
08. MF DOOM - Kookies
09. MF DOOM (Danger Doom) - Sofa King
10. MF DOOM (Madvillain) - Figaro
11. MF DOOM (Viktor Vaughn) - Saliva
12. MF DOOM (Dilla Doom) - Sniper Elite
13. MF DOOM (Viktor Vaughn) - Lickupon
14. MF DOOM (JJ DOOM) - Winter Blues
15. MF DOOM (Madvillain) - All Caps
16. MF DOOM - Ballskin
17. MF DOOM (Danger Doom) - Crosshairs
18. MF DOOM - Rhymes Like Dimes feat. Cucumber Slice
19. MF DOOM - Tru Thug MC
20. MF DOOM (K.M.D.) - Sorcerers
21. MF DOOM - One Beer
22. MF DOOM - Vomitspit
23. MF DOOM (Madvillain) - Raid feat. MED
24. MF DOOM (Danger Doom) - Benzie Box (ft. Cee-Lo)
25. MF DOOM - Angelz feat. Ghostface Killah
26. MF DOOM (Danger Doom) - Mince Meat
Freddie Joachim - Golden Temple feat. Mar (FJ Remix)
Source: SoundCloud / melloworangemusic