All posts by hoatie@hotmail.com

This is an incredible female vocal led dub/reggae version of a King Crimson song. Little touches like the country twang at :45 seconds and some nice atmospheric bass really make this brilliant. and those soft drops at 1:36 and 1:52 just give me goosebumps. the reggae chords remind a bit of Supertramps ‘Dreamer’ the way they are played.

One eye goes laughing
One eye goes crying
Through the trials
And trying of one life

One hand is tied
One step gets behind
In one breath we’re dying

I’ve been waiting for the sun to come up
Waiting for the showers to stop
Waiting for the penny to drop
One time

And I’ve been standing in a cloud of plans
Standing on the shifting sands
Hoping for an open hand
One time

A musical meeting between musicians from Morocco, France, Algeria and England. This is about the traditional music of the Gnawa brotherhood of Morocco.

Mogador is the ancient name given to Essaouira. This mythical town of south Morocco was compared to the Tombouctou harbour. That is why most of the Gnawa people are living in this town. The Gnawa people come from the Guinea empire (today Senegal, Guinea, Mali). In the 16th century, they have been deported in North Africa as slaves of rich sultans and integrated this new culture and religion into their own. Just like the Haitian voodoo or the Brazilian candomblé, they use to express themselves playing music, singing, dancing, and by rituals of possession which induce the trance.

At the origin of the group Mogador was the meeting between Ali (addicted to the Moroccan band Nass el Ghriwane) and Julian (strongly influenced by Hendrix) in a bus to Essaouira. In this town, they learned Gnawa music with Hassan a member of the Gnawa brotherhood. He introduces them to the traditional instrument of the Gnawa called sintir : three strings stretched over a camel skin that produces an infra-bass sound which leads the dancers into the trance.

Back to France, they create the group Mogador with Sihem and Yves. After a serie of gigs in the North of France, they start a collaboration with Peter and Ben from London to create a cross cultural music where the traditional music of the Gnawa meets jazz, groove and world music.

Julien Raout – Sintir, djembe, electric guitar, backing vocals
Abdul Mohamed – Lead vocals, qarqabu, sintir
Sihem Merad – Lead vocals, backing vocals
Peter Dry – Drums, keyboards, bass
Benoit Viellefon – Electric, acoustic & classical guitars, derbouka
Luc Viellefon – Soprano saxophone
Yves Leguilcher – Derbouka

 

Shawn Lee

Shawn Lee's Ping Pong Orchestra-Kiss The Sky Live - YouTube

Shawn Lee (b 1963) is an American musician, producer, video game composer and multi-instrumentalist, who now lives in London, England. As Shawn Lee’s Ping Pong Orchestra, Lee has released 10 albums on US label Ubiquity Records. The different styles and genres his music takes you through is quite incredible. From psychedelic rock, to funk, fuzzed out tabla beats and hip hop, he’s a guy who cant sit still with one thing for too long. Heres a playlist of some of my favourite tracks.

 

Sam Fergusson known to many as Frenic is a fast emerging UK talent garnering an international reputation for producing music which shows his inspiration from many forms of dance and hip hop whilst hinting at deeper musical influence. Frenic first started making beats for hip hop MC’s after becoming inspired by listening to rap heavyweights Wu-Tang Clan, DJ Premier, and Pete Rock. Having bought a pair of turntables began his quest into understanding scratching and turntableism which then lead him to forming a live act called Lost Project. Popular on the U.K hip hop scene, they played many lives sets to great response, even supporting hip hop royalty like The Pharcyde, The Beatnuts, Task Force and Afrika Bambaataa.

https://soundcloud.com/rutabaga/sets/frenic

Tim Maia, THE Brazilian Funk Soul Godfather was the real thing. His 1970 debut album introduced his audacious talent, as well as North American soul and funk musical influences, forever changing Brazilian popular music. His legendary appetites sought out carnal AND spiritual fulfillment in equal measure. He bought 100 hits of LSD and handed them out to the staff of his record label.

Charles Stuart-Piano/Soul/Funk

Charles Stuart is a multi-talented musician, singer and songwriter who, drawing on his british/dominican heritage and his love of old soul/reggae/funk, creates snapshots of London life, armed with his sly and subversive wit to deliver a soulful dub, folk, experimental, groovy kind of leftfield pop.Stuart began writing music at 11 when a piano was donated “that somebody didn’t want. So I started teaching myself a few chords here and there… I’d learn one chord and write four songs around that. I’d learn another chord to go with it and write another 10 songs around those…”Being part of large family Stuart was exposed to every kind of music and you can hear this eclectic fusion of these influences in his writing. “My brother Paul was into jazz funk so I got to hear The Crusaders, Roy Ayers and Steely Dan. Another brother Peter was into the Human League and Two Tone stuff. My sister was into lovers rock, people like Carole Thompson, Janet Kay…I’d got into Scritti Politi, Duran Duran and rap and hip-hop was starting to filter in. It was amazing to have all this stuff going on.”Stuart mainly plays keyboards, but also uses a range of vintage synths and effects pedals, as well as guitars and drum machine/samplers to build his arrangements. He brings this flexibility to his live performances, whether accompanying himself solo on piano, or triggering loops and effects in duos and trios to working with a full band.

https://soundcloud.com/rutabaga/sets/charles-stuart

A New York City native, and founder/label manager for the Anticipate and Microcosm labels, Ezekiel Honig concentrates on his idiosyncratic brand of emotively warm electronic-acoustic music. Using the loop as more of a tool than a rule, Honig paints outside the lines, nestling into a comfortable, shared space between muted techno, ambient and slowmotion house – using them as reference points from which to stray, rather than as steadfast frameworks. Drawing on the rich history of musique concrete, Honig looks to incorporate a material nature into his music by imbuing it with a host of field recording/found-sound sources in the search for a balance between digital software innovation and the physicality of the world around us. His music is one of contrast and contradiction, combining minimal, abstract tendencies with a core of timeless harmonics – pairing inviting, fuzzy chords with clunky and dirty “mishaps.”