#Bongo Joe Records

[nctrnm]

#NowPlaying: "PREMIERE | Bound By Endogamy - Stuck In A Loop [Bongo Joe Records] 2023" by 432Hz Social Club

[voodoorhythmrecords]

[kemetic-dreams]

House is a music genre characterized by a repetitive four-on-the-floor beat and a typical tempo of 120 beats per minute as a re-emergence of 1970's disco. It was created by DJs and music producers from Chicago's underground club culture and evolved slowly in the early/mid 1980s, and as DJs began altering disco songs to give them a more mechanical beat. By early 1988, House became mainstream and supplanted the typical 80s music beat

House was created and pioneered by DJs and producers in Chicago such as Frankie Knuckles, Ron Hardy, Jesse Saunders, Chip E., Joe Smooth, Steve "Silk" Hurley, Farley "Jackmaster" Funk, Marshall Jefferson, Phuture, and others. House music initially expanded internationally, to London, then to other American cities, such as New York City, and ultimately a worldwide phenomenon.

In its most typical form, the genre is characterized by repetitive 4/4rhythms including bass drums, off-beat hi-hats, snare drums, claps, and/or snaps at a tempo of between 120 and 130 beats per minute (bpm); synthesizerriffs; deep basslines; and often, but not necessarily, sung, spoken or sampled vocals. In house, the bass drum is usually sounded on beats one, two, three, and four, and the snare drum, claps, or other higher-pitched percussion on beats two and four. The drum beats in house music are almost always provided by an electronic drum machine, often a Roland TR-808, TR-909, or a TR-707. Claps, shakers, snare drum, or hi-hat sounds are used to add syncopation. One of the signature rhythm riffs, especially in early Chicago house, is built on the clave pattern. Congas and bongos may be added for an African sound, or metallic percussion for a Latin feel

One book from 2009 states the name "house music" originated from a Chicago club called the Warehouse that was open from 1977 to 1982. Clubbers to the Warehouse were primarily African, gay men, who came to dance to music played by the club's resident DJ, Frankie Knuckles, who fans refer to as the "godfather of house". Frankie began the trend of splicing together different records when he found that the records he had were not long enough to satisfy his audience of dancers. After the Warehouse closed in 1983, eventually the crowds went to Knuckles' new club, The Power House, later to be called The Power Plant, and the club was renamed, yet again, into Music Box with Ron Hardy as the resident DJ. The 1986 documentary, "House Music in Chicago", by filmmaker, Phil Ranstrom, captured opening night at The Power House, and stands as the only film or video to capture a young Frankie Knuckles in this early era, right after his departure from The Warehouse. 

In the Channel 4 documentary Pump Up the Volume, Knuckles remarks that the first time he heard the term "house music" was upon seeing "we play house music" on a sign in the window of a bar on Chicago's South Side. One of the people in the car joked, "you know that's the kind of music you play down at the Warehouse!" In self-published statements, South-Side Chicago DJ Leonard "Remix" Rroy claimed he put such a sign in a tavern window because it was where he played music that one might find in one's home; in his case, it referred to his mother's soul and disco records, which he worked into his sets

[projazznet]

Gato Barbieri ‎– Fénix (Full Album)

Fénix is an album by Argentinian jazz composer and saxophonist Gato Barbieri featuring performances recorded in 1971 and first released on the Flying Dutchman label. Gato Barbieri – tenor saxophone Lonnie Liston Smith – piano, electric piano Joe Beck – electric guitar (track 1) Ron Carter – electric bass Lenny White – drums Gene Golden – congas, bongos Naná Vasconcelos – berimbau, bongos

[dollarbin]

Shakey Sundays #6:

Neil Young and Promise of the Real's The Monsanto Years

Somehow this album is cursed in my biography. Every time I try to listen to it something goes deeply wrong. And it's no wonder: in the silly recording session photo above it looks like Neil is casting an evil spell on all of us. Monsanticus!

When the record came out in in the summer of 2015 I was suspicious; Neil had just released Storytone, and it sounded like he'd focused on painting the record's cover and washing his hogs rather than writing good songs. Plus I'd never even heard of his new backing band with their too terrible to be ironic name. Crazy Horse was alive and well; what was Young up to now?

But 20 years previously I'd been equally suspicious when Young got spooked by the Horse and buddied up with a different group of young hipsters to make Mirror Ball, and that record turned out to be awesome. And so I knew The Montsanto Years deserved my open-mindedness in spite of its clunky title and fairly gross cover art.

So I turned it up loud for the first time with my buddy Matt. It was a beautiful day and we had an open road with two hours of drive time ahead of us. Maybe we'd listen to it twice!

But halfway through the album's third song, People Want to Hear About Love, with its inspired-by-Stephen-Still's-very-own-Joe-Lala bongos, and its gather about me young squires chanting, not to mention Young's crankiest grandpa vocal stylings to date, Matt and I simultaneously announced that the song sucked. We put on Zuma instead.

Even so, People Want To Hear About Love, stayed annoyingly in my head all day, and that day was dedicated to attending our friend's younger sister's funeral. I couldn't shake crusty grandpa Neil off at the graveside as my friend's 20-something little sister was lowered into the earth, her life cut short by cancer that came with touches of abhorrent irony: she'd been a nurse; her dad was a cancer doctor. You're wrong Neil, I angrily thought, no one wants to hear about love. Nor do they ever want to hear your song again.

I've given the record sporadic second chances since then. And every time I get to the fourth track, Big Box, I perk up. After all, it opens with Neil alone, playing a demonstrative and churning, here's how it works kids, follow my lead, riff that sounds like it's lifted straight from Mirror Ball.

But before you know it Neil croons "Too Big To Fail" in overdubbed fashion and rhymes "excited" with "Citizens United" (you know, the Supreme Court case that gave corporations the power to essentially buy our elections) and, despite some pretty exciting guitar interplay whenever Young shuts his trap, rather than echoing Mirror Ball the whole thing sounds like Young is hanging out with Kai Ryssdal or David Brancaccio on Marketplace. Come on Neil, that's my least favorite show on NPR.

Yesterday I gave the record yet another try: but again, no dice; my 15 year old ipod (no, I don't own The Monsanto Years on vinyl; I got it in true Dollar Bin fashion by checking it out at the library) played me the first two songs, the lyrically regrettable opening track, which isn't amazing but does not suck, and the pretty lovely, quavering Wolf Moon, before the device (it's the kind with a dial on the lower half; there are 22 thousand songs on the thing, and around 1600 of them are Young's), perhaps disgusted by my choice for this week's Shakey Sunday, cried uncle and died in what appeared to be the very real Steve Jobs kinda fashion.

I was able to resuscitate it eventually but I'm unsure whether or not to risk resumption of the album. After all, it's cursed! And when the terrible day comes, and my ipod refuses to wake back up no matter how many times I pressed down all the buttons at once while cursing, will I need to find another way, either through a very nonDollar Bin purchase of the vinyl or through Neil's old timey, betamax website, to listen to The Monsanto Years ever again? Or can I just stick with Zuma?

Well, let's find out the answer. It's a Shakey Sunday and I'm about to roll my ipod's dice, press play, and go song by song through the rest of Neil's far too long screed against agrobusiness.

The fifth song, A Rock Star Bucks a Coffee Shop, is a big No vote for the record. Yikes. I'd rather drink a big cuppa GMO than hear Young rhyme GMO with Mont-san-to ever again. Whoever is responsible for the whistling in this song needs to never purse their lips in my presence again.

I suspect POTR (I refuse to ever type the band's terrible name out again; I wish they'd named themselves Promise of the Real Sausages instead) are big fans of Young's live bender record Time Fades Away. Working Man's got that vibe but it's slick instead of shakey. Yuck.

In Rules of Change Neil gives us yet another version of the story he's been telling over and over again for the whole record: the farmers have woes; climate change is real; we're doomed unless we get on Uncle Neil's groovy train of love. Look: I'm an environmentalist already. I do what I can to eat sustainably; I ride my bike to work alongside my sweet daughter as much as possible; and I've got a bootleg gray water system already running out the back of my house as we speak, watering my trees with our laundry water. The simple truth is that I never needed this concept album, or any of Young's too numerous to count environmental anthems. I already know this stuff. I'm already angry and I already vote and if Trump gets elected next fall I'll lose my mind a second time. Frankly, Neil, I'd much rather imagine sleeping with Pocahontas.

But it's when we get to the album's title track that I start to wish my ipod was indeed broken.

The song is a terrifying double to Danger Bird: it's slow and brooding with caveman vocals. But the guitar is mostly sickening instead of life changing and everyone's chanting "Safeway" instead of telling me about Carrie Snodgrass sleeping around with some still unknown famous enemy of Young's and ruining his life in 75. I guess Neil's right, people do want to hear about love. And Marlon Brando. And the Astrodome. And me.

I haven't got much to say about the final track, If I Don't Know. It occurs, and it sucks less than most of what we just sat through. What I fear is that Young is letting some young hipster solo at the end of the song while he stands by, contemplating corporate sin. Jimi Hendrix is dead, Ira Kaplan is busy, Richard Thompson isn't interested and Stephen Stills sucks; no other man on earth should be allowed to solo on a guitar while on stage with Neil.

(But I'd be more than happy to have any number of women do so, however, from Leslie Feist to Myriam Gendron to the recently resurgent Joni Mitchell herself.)

Okay folks we did it. We made it through The Monsanto Years. You have my permission to never listen to it again.

Me? As of this moment, while I hit post, I'm already half way through the record for the second time today, and I'm kinda digging my time at the Big Box store. Looks like I like the record anyway.

Neil Young: even his garbage swings.

[zagreus-eats-your-bread]

I want extensive Scongo lore, I realize that I probably won't understand much bc I'm not intumately familiar with classic who or EU stuff, but Scongo sounds too iconic

Omg you're in for a wild ride and I am the perfect person to ask. This post probably won't be 100% complete tho bc its 6am and I am omw to work but I'll include some sources so you can become a real Scongler (Scongo scholar, not a real term I just made that up)

So Scongo (the best villain) is a fake, made up Dr Who character that was made up by the members of the TARDISposting Facebook group in 2017. The image is admin Joe Brennans friend Lenny but his face is made all weird:

The gig was basically to troll people of the main Dr Who Facebook group, many of which were elitist and kept calling people who didn't know every single classic who episode "fake fans", by claiming they are fake fans for not knowing about the iconic 60s villain Scongo.

Similar to tumblrs new Goncharov meme, TARDISposters were making up fake stories to go along with this fake villain to more successfully gaslight normal fans into thinking he is real. Quick side note in case you are wondering why hes called Scongo. It's just a silly name that they came up with that sounds Dr Whoey, it's not deep.

Sometime, I don't know when, they also made up Scongos brother/lover (no doubt a reference to the master, who writers tried to make the doctor's brother some time) the Wibbler, using a different picture of Lenny and a different effect on his face:

Now therere few iconic details about Scongo that no Scongo fan should be ignorant about, like his powerful Bongos, for example.

During Scongos Genesis (referring to both the creation period of Scongo as well as the iconic 80s episode) people were making fan art and shit, and the TARDISposting admins even recorded an audio drama called the Age of Scongo.

Another iconic thing to be aware about is the amount of Doctor Wbo actors who were asked to say Scongo is the best villain at cons, of which Colin Baker was the most enthusiastic imo. You can see all of the actors up to 2020 in Joes Scongo Video, which is a good resource to just watch entirely too.

Around spring 2018, I believe, TARDISposters got tired of the joke and it kinda faded and lay dormant for a while.

Fast forward to 2020, Scongo is suddenly back again. Many new memes are coming out (you gotta understand that lot of Scongo stuff is tied to the kinds of memes that were also going on in TARDISposting at the time, which is why someone asked Salad Man from The Woman Who Fell To Earth to say Scongo is the best villain, for example), there was even talks of an Age of Scongo sequel, which would turn out to be kinda hard since one of the admins who played i think Nardole in the first part? got kicked for being a weird pervert who sends gross messages to female members (something that got memed endlessly as well at his expense and was pretty funny).

Me, a member of Facebook and TARDISposting since just after the Scongo meme died and who was aware of him for a long time by then, I was thrilled by this and immediately introduced Scongo to my Discord server "looms".

This would be the start of the best era for the then only about 3 months old looms Discord server, as well as a pretty funny era for TARDISposting, with a few big problems for them which are also pretty funny to me.

So lets start with the new stuff on the Facebook side of things. A Scongo redbubble shop was opened, including breathtaking Scongle merch such as a bedsheet and a coffe to-go cup. There was also a TARDISposting Discord without rules that got, iirc, immediately spammed with scat porn so that rules were instated and memes were made about the ban of said material. Joe Brennan even joined the looms discord and is still there but hasn't written since 2020.

Simultaniously looms was taking the idea of Scongo and going crazy with it. We thought it unacceptable that the AO3 tag for Scongo was empty so we filled it. We made our own contributions to the Scongoverse which TARDISposting doesn't even know about, using a member of the server and turning them into Chad, a being of ant-time (as a parody of Zagreus, a real Dr Who character and being of anti-time) and the CEO of Chad Books, the publisher of Longbooby (Lungbarrow). There's a lot of silly stuff connected to this, lots of lore in the confines of the looms discord and it was a big time for looms social media but this is about Scongo, not looms.

There are 2 things that resulted from looms' contribution that you need to know about. The first is the Scongo era coming to Tumblr, something which we back then called the Scongo Renaissance. The second is the downfall of the TARDISposting Facebook group.

See, 2020 was a big year for transphobia, especially in Britain. TARDISposting was handling it as well as they could, kicking all the tories for example, which lead to a knock off tory TARDISposting and it's all very funny and pathetic. But this destableized TARDISposting. The critical hit would be served by my good bestie @factkinparadoxx posting the following meme:

It immediately sparked discussions, a lot of people reported one another leading finally to the banning of TARDISposting and Joe Brennan for terrorism (? Yeah.)

I personally was asleep through the whole ordeal, waking to only this post at the top of my facebook timeline and a broken link to the TARDISposting group, as it was no longer there. Here's a message from the admin to Clem that I found while looking for the meme that killed TARDISposting just now:

So following the death of TARDISposting a new group was made and there were some Scongo memes but after it died a lot of people didn't find the new group and after a while I stopped using Facebook so I can't give you any updates on Scongle Facebook.

The recent Goncharov meme, however, is opening a door to what I'd like to describe as the Scongo Enlightenment, a perfect time for Scongo to make a comeback on tumblr.

If you would like to know more about Scongo you may consult the Scongo page on TARDISposting wiki or the only archived version of TARDISposting before the disaster that i could find rn. There is also probably a live and active TARDISposting on Facebook right now if you look for it. But don't feel like you need to know any Scongo "canon" to participate. Just make shit up.

Any other true Sconglers can reblog this with additions or iconic Scongo memes that I didn't care to look for atm. Sconge on.

[beanieman]

i think if shin played in symphonic band he'd play oboe. do you agree with this yes or no

also if you have instrument headcanons for everyone else i would like to hear them !

I could see him playing the oboe! I agree fully! However, I also have some instrument headcanon for the rest of the cast. 👀

Sara Chidouin - Sara can't play any instrument, but she could pick up one really easily if she tries.

Joe Tazuna - Joe can borderline play the kazoo. He bought a cheap one once to make his friends laugh, but whenever he was bored he picked it up and messed with it. He ended up learning how to play.

Gin Ibushi - If Gin could play an instrument, it would be a xylophone.

Keiji Shinogi - Keiji can play the guitar.

Alice Yabusame - Alice is just to uncoordinated to play an instrument well. However, he has tons of other talents that would be great for him to focus on that aren't music.

More Undercut

Reko Yabusame - Reko can play a ton of musical instruments, but her favorite is the electric guitar.

Nao Egokoro - If Nao played an instrument it would be the trumpet.

Kazumi Mishima - The music teacher at Mishima's school needed a substitute for awhile, and that lead him to learning how to play the triangle.

Q-taro Burgerberg - I want Q-Taro to play the banjo. So I'm going to say he plays the banjo.

Kai Satou - Kai can play the viola, but doesn't have many chances to show his skill.

Kanna Kizuchi - Kanna played the recorder a bit in school.

Shin Tsukimi - As we've established, he would play the oboe in a symphonic band!

Dolls

Ranmaru Kageyama - Ranmaru took a few musical classes when he was younger, but nothing ever held his interest longer then a few weeks. He wish he stuck with the guitar lessons though.

Naomichi Kurumada - A part of Naomichi would've loved to play the drums in a band. He thinks that would've been really cool if the boxer thing didn't work out.

Anzu Kinashi - In an AU where everyone lives, she asks Reko if she can teach her to play the bongo's. She thinks they sound super cool.

Mai Tsurugi - Mai would play the flute if you played anything.

Shunsuke Hayasaka - If Shunsuke played an instrument it would be the piano.

Hinako Mishuku - Hinako snaps to the beat of songs and she considers that an instrument.

[trevlad-sounds]

The Meld Well #003 on Eternal Fusion Radio. First broadcast 2023-11-02.

Artist track timestamp album label Year 1 Sam Gendel Bird of Paradise 00:00 Fresh Bread LEAVING RECORDS 2021 2 The Animals at Night Alpine Blinds 04:22 Future Colors 2021 3 Yves Malone Black Trucks Fill the Night, Empty Then Full 06:52 Kill the Copy In Your Head 2023 4 Bright & Findlay Fireflies 10:09 Fireflies Athens Of The North 2023 5 Chris Prine The Effort 13:10 Glacier Locked Werra Foxma Records 2022 6 James Holden Four Ways Down The Valley 16:43 Imagine This Is A High Dimensional Space Of All Possibilities Border Community Recordings 2023 7 Metamatics Vocodor Odour 20:04 Midnight Sun Pig Hydrogen Dukebox Records 2023 8 Sophos Other Sunlight 30:28 Tales from Urania Cyclical Dreams 2023 9 Pan-American Quarry A 34:10 In Daylight Dub Foam On A Wave 2023 10 The British Stereo Collective Something Wicked This Way Comes 39:30 Music is Vast: A Tribute to the Music and Legacy of Vangelis Castles In Space 2023 11 Don Melody Club Psychonauten 42:34 Pure Donzin Les Disques Bongo Joe 2021 12 Indian Wells Alcantara 47:03 Pause 2015 13 Puma & The Dolphin Mind & Feelings 52:54 Indoor Routine Invisible, Inc. 2020 14 Jonathan Snipes, William Hutson To Keep from Falling Of 57:49 Room 237 (Rodney Ascher's Original Soundtrack from the Documentary) Death Waltz Recording Company 2013 15 Panamint Manse Saline Sands 1:02:09 Undulating Waters 1-7 Woodford Halse 2022 16 Alan Braxe, Annie Never Coming Back 1:05:43 The Upper Cuts Singles (2023 Edition) 2023 17 Hawke, Bluetech Garden Of Your Mind - Bluetech’s Mountain High Mix 1:08:52 Phoenix Rising (Remastered Bonus Edition) Behind The Sky Music 2021 18 CV Vision Insolita 1:16:26 Insolita Growing Bin Records 2021 19 Aural Design Silver Clouds 1:19:04 The Dead Astronaut Woodford Halse 2023 20 Gravité Reptile 1:20:23 III Höga Nord Rekords 2023 21 Sick Robot Core Level 1:23:55 A Field in Yorkshire 2022 22 Lo Five Complex Entanglements 1:29:37 Persistence of Love Castles In Space 2023 23 Christian Kleine Beyond Repair 1:33:48 Beyond Repair 2021 24 The New Honey Shade Oganesson 1:41:20 Cinq / NEXUS Handstitched* 2022 25 Den Osynliga Manteln LILA SKOG 1:43:05 Under Grön Himmel Castles In Space 2023 26 Milieu Euflorian 1:47:30 Eufloria Milieu Music Digital 2011 29 Thomas Ragsdale & Richard Arnold Rings Of Grain 1:52:34 Elements Frosti 2023

[krispyweiss]

Album Review: Various Artists - Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971

Next time someone says, “Thank a taper,” mention Mack McCormick by name.

An untrained, Texas-based blues aficionado and curator, McCormick recorded nearly 600 reels of tape over the decades, three-and-one-half hours of which make up Smithsonian Folkways’ Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971, which represents the first compilation from this storied archive.

Think of it as an historical text. And this black-history book would doubtless be banned in modern Florida as the performers sing of sex, war, segregation, drugs, murder, prison and other popular subjects of the folk and blues traditions.

Across 66 tracks, listeners are treated to names both familiar - Lightnin’ Hopkins (“Mojo Hand,” “Blues Jumped a Rabbit”) and Mance Lipscomb (“God Moves on the Water”) - and previously unknown, as when George “Bongo Joe” Coleman stands on a street corner banging his drum and barking about the end on “This Old World’s in a Sad Condition” and a new beginning on “George Coleman for President.”

“Matchbox Blues.” “Rollin’ and Tumblin’.” “Deep Elum Blues.” “Little Red Rooster.” “St. James Infirmary.” “Corinne, Corrina.” These are among the titles that draw a straight line from Robert Johnson to Son House to Buddy Guy to Eric Clapton to the Grateful Dead and on to Dom Flemons. Any fan of any of these genres, titles and/or artists will want to listen to these musicians Playing for the Man at the Door and hope fervently this is not the last of the Field Recordings from the Collection of Mack McCormick to emerge.

Grade card: Various Artists - Playing for the Man at the Door: Field Recordings from the Collection of Mack McCormick, 1958–1971 - A

9/27/23

[burlveneer-music]

Mauskovic Dance Band - Bukaroo Bank - brand new from Amsterdam, but could pass for a Pop Group offshoot circa 1981 (Les Disques Bongo Joe)

Bukaroo Bank is actually Mauskovic’s second album. There, the band reinvents both their approach and their sound, while maintaining the rhythm-forward euphoria heard on their debut album and surrounding singles. It is one of those albums that sounds brashly live, like you’re in the room while the jams are being kicked out, but in fact uses the studio very shrewdly. Recorded in 2020, during one of the Netherlands’ intermittent lockdown bouts, for this one the MDB wanted to step up from their previous homebase, Garage Noord – an ad hoc Amsterdam space for recording, practise and after-hours parties. They chose Electric Monkey, operated by engineer Kasper Frenkel. His stacks of what Nicola calls “very strange equipment”, and ability to sprinkle magic dub dust over everything, suited the vibe perfectly. The results glow and shiver with assembled synth sounds, rhythms spliced and echoed in a way that hails late Jamaican dub great Lee Perry – maybe the band’s biggest influence. Some sections might remind you of Afro-disco or slightly older highlife, others industrial prototypes like early Cabaret Voltaire, or 1980s On-U Sound mainstays like African Head Charge, or NYC groovers such as Liquid Liquid... there are outbreaks of saxophone, congas, echo units, wah-wah disco guitars, beats that sound programmed but aren’t (a nod to MDB’s industrial side). If that sounds fun to you, be assured that Bukaroo Bank is an irrepressibly fun album – but one that contains multitudes. creditsreleased October 28, 2022 Mauskovic Dance Band is: Chris Bruining, Donald Mauskovic, Mano Mauskovic, Marnix Mauskovic, Nico Mauskovic All songs by Mauskovic Dance Band featuring Kasper Frenkel Frank Electric Monkey Dub

[chebmimo]

15.02.2023 - Tribute to Rachid Baba Ahmed - Radio Show notes

On the 15th of February, it was the 28th anniversary of the passing of Rachid Baba Ahmed. He was tragically assassinated by Islamic fundamentalists in front of his record store during the Algerian civil war. Rachid was a highly influential record producer from Algeria who modernised Rai music, elevating it to an international level. He owned a studio in Tlemcen that was modeled after Chris Blackwell's London Island Records studio (the same studio that Bob Marley recorded at), and he was always welcoming to up-and-coming Rai singers such as Cheb Khaled, Cheb Hamid, Sahraoui, and Fadela, among others.

Born in 1946 in the western Algerian city of Tlemcen, Rachid grew up in an artistic family with a musician for a father. He quickly learned and mastered the Oud and joined a band playing Andalusian music since his teenage years. He later ventured into pop rock and disco, forming a duo with his brother Fethi and releasing some of the best North African Disco 45s, including "Mnami Twil" and "Ana Gharib." Eventually, Rachid transitioned to more electronic music before finally focusing on Rai in the late 80s.

Rachid's eclectic and sophisticated catalogue earned him the nickname of the Algerian "Jean Michel Jarre," and he was undoubtedly a pioneer that left an incredible musical legacy for Algeria.

1 - The Essential Hamid by Rachid & Fethi - Intro & Instrumental - 1985

A call from a fan to the studio “Editions Rally”, asking for the new music produced for Cheb Hamid - first to answer the phone was Fethi before passing it to Rachid who asks the fan to stay tuned in to listen to the latest release. After the instrumental portion, Rachid follows up with the fan to ask for feedback on the track. The name of their label "Editions Rally" is related to the fact that both brothers are Rally Racing amateurs, and Rachid even won competitions on multiple ocasions.

2 - Rachid & Fethi - Mnami Twil - 1974

Rachid & Fethi's debut single introduced Algeria to the vibrant sounds of psychedelic funky soul music and marked a significant milestone as one of the first video clips ever produced by an Algerian band.

3 - Rachid & Fethi - Ana Ghrib - 1976

4 - Rachid & Fethi - Sidi El Maalam - 1975 This particular track exudes a surf pop rock vibe and could have been part of a Californian music documentary. It's evident that the artists draw inspiration from the western music culture, and this song perfectly showcases their eclectic style in their productions.

5 & 6 - Rachid Baba Ahmed - Album : Altitude 800 - O.D.B. + Asteroide V.2. - 1984

In my opinion, the top tracks by Rachid Baba come from what is likely my favorite album of theirs. This cassette stands out as a pivotal moment in their career, marking the shift towards producing more electronic disco music. Each track is named after a music recording element, , such as "Multitrack," "Line-out," "Limiters," and so on.

This album is a marker of the transition to the phase of their career where they started producing some more disco electronic stuff - in this album every track is called after a music recording feature - Multitrack / Line-out / Limiters / …

7 - Rachid Baba Ahmed - Racine - 1990

Recently reissued by Maghreb K7 Club, on the disco singles collaboration between the labels Sofa Records and Les disques Bongo Joe.

8 - Rachid & Fethi - Mexico - 1986

The legend says that Rachid composed this music in just 24 hours following Algeria's 3-0 victory over Tunisia in Tunis, which secured their spot in the Football World Cup in Mexico. The track is a testament to Rachid's Andalusian influences from his teenage years, with trumpets, guitarron, and mariachi sounds, combined with football chants vocals, to capture the excitement and anticipation surrounding the Algerian national team's journey to Mexico.

9 - Cheb Sahraoui - Aachki Aouel - 1983 A classic, nothing to say here apart from that I love the fact that Awesome Tapes From Africa started his Boiler Room set in Viva! Festival with this track!

10 - Chaba Zahouania - Goulou Lima (Tell my Mom) - 1988

Ryuichi Sakamoto, the pioneering Japanese producer, composed the music for the movie "The Sheltering Sky" and selected this track from Zahouania's album "Nights without Sleeping" produced by Rachid baba Ahmed to be included in the film.

11 - Cheb Sahraoui & Fadela - N’sel Fik - 1987

One of the most renowned Rai music tracks, this song has achieved global success and has been played in various corners of the world: from its origin in Tlemcen to Santa Monica, and throughout Europe. During the recording session of this track at Rachid's studio, Sahraoui introduced his wife Fadela and suggested to record the song as a duo. After the first take, Rachid declared it perfect, without the need for additional recordings.

Below a video of Fadela & Sahraoui live concert in Santa Monica, California playing N'sel Fik.

12 - Rachid Baba Ahmed - House Rai Music - 1988

"House Rai Music" appears to be strongly influenced by the dance music scene of its time, incorporating elements of acid house and electro with the distinct vocals of Fadela and Sahraoui. This fusion provides a rare glimpse into the early house music influences in the MENA region, and serves as a testament to raï's ascent to become a prominent 'world music' genre.

[sonmelier]

84. La Tène | Ecorcha/Taillée

🇫🇷 France | Bongo Joe Records | 33 minutes | 2 morceaux

La Tène, groupe de drone-folk expérimental originaire d'Auvergne, sait comment plonger son auditoire dans une transe méditative des plus profondes. Son colossal double album Abandonnée/Maléja, sorti en 2018, fait figure d’expérience sonore incontournable pour qui s’intéresse aux mutations les plus saisissantes d’un certain folklore médiéval et rural du centre de la France. Le septuor poursuit ici son travail d’exploration des frontières entre tradition et modernité, dans un format beaucoup moins imposant mais en conservant sa puissance d’évocation.

[voodoorhythmrecords]

Jan 26 - Reverend Beat-Man and Pierre Omer's Swing Revue - the Voodoo Rhythm Double Action Pack live at Bongo Joe Records in Geneva !!!!!!

Pierre Omer's Swing Revue Bongo Joe Records

Voodoo Rhythm Records (official)

[projazznet]

Chico Hamilton – Peregrinations

Peregrinations is an album by American jazz drummer Chico Hamilton featuring performances recorded in 1975 and originally released on the Blue Note label. Chico Hamilton – drums, percussion Arthur Blythe – alto saxophone Arnie Lawrence – tenor saxophone, soprano saxophone Joe Beck, Barry Finnerty – electric guitar Steve Turre – electric bass, trombone Abdullah – congas, bongos, percussion Jerry Peters – piano, electric piano Charlotte Politte – synthesizer programs Julia Tillman Waters, Luther Waters, Maxine Willard Waters, Oren Waters – vocals

[dollarbin]

Dollar Bin #38:

Carly Simon's Hotcakes

I'll bet you've never sampled Carly Simon's Hotcakes.

You've certainly never listened to the record and you've passed it by in the Dollar Bin a few dozen times in your life because, dude, the record is by Carly Simon and it's called Hotcakes.

Even so, I know you, you hipster, and I'll bet you believe, deep in your soul, that you could ace a brief true/false quiz on the record anyway.

Well, here you go, True or False:

Hotcakes includes the only Simon song you or I can actually sorta sing along to, You're So Vain.

Simon was married to Manasas frontman / bongo lord / and friend of Stephen Stills, Joe Freakin' Lala, at the time of Hotcakes and he does significant and brilliant work on the record.

My famous brother, whose complex taste is secondary to none, swears by Hotcakes, calling it "Simon's space-jazz-country-metal condemnation of the American soul."

But in actuality, the album sucks; that's why it's forever in the Dollar Bin.

Final question, for the win: Simon had no qualms whatsoever about using her curvaceous body to sell records; for proof check out the cover of the record after Hotcakes, below. But Hotcakes's comparatively conservative cover has a salacious back story: the record company airbrushed more clothes on Simon's otherwise naked form so as to avoid a censor's brown paper protection wrapper.

Pencils down, people. And stop staring at the above image already. Well, how'd you do?

I'm rooting for you, I really am, but I'm also guessing that you got a straight up zero because none of that stuff above is true.

This blog will not engage in whispered theory about the object of Simon's ire in You're So Vain. (Sure, maybe she was tasking an oblivious Mick Jagger with singing about himself; or perhaps the song is about my distant cousin Kris Kristofferson, cuz didn't you and I see that written somewhere? Or maybe about it's about one of the two hetero-male-70's-swinging-single-Austen-Powers-types-only-they-were-American, both of whom were pursuing Simon's peer and better, Joni Mitchell at the moment Hotcakes came out 50 years ago: Warren Beaty or Jack Nicholson.) Any of those theories may be correct but we will not go there because, well, you're wrong. You're So Vain is on her previous record.

And no, Joe Freakin Lala, who plays on every bad 70's record, doesn't appear on Hotcakes, which is part of what makes Hotcakes kinda great, nor were they married, though Lala certainly was working on making it happen because did we mention her curvaceous body? Simon was married instead at that point to Sweet Baby Sensitive himself, otherwise known as James Taylor, and he's all over this record.

Their marriage didn't last, however. One wonders how Jamesie felt about Simon's general lack of clothing on her album covers during their marriage; one also hopes she dumped his ass because she's actually a really great songwriter who went to Julliard and who wants to be married to the guy VH1 was essentially created for? But I'm getting ahead of myself...

When it comes to the third question, no, my famous brother does not sing the praises of this record; indeed he claims to have never listened to all of a single Carly Simon record in all of his august life.

And he's a dope for not doing so because Hotcakes is totally (or maybe I should say kinda) good! In fact, maybe it's time for a Carly Simon Renaissance, one that does not stoop to objectifying her for her looks even though this entire blog post has already fallen for that trap. She deserves better!

But we're not done grading your test yet so let's talk about the whole airbrushing thing. No one touched up Hotcakes; Simon's dress on the cover is real. Indeed, she donned clothes for this cover at least in part because of her "situation" as Jane Austen would put it; she was pregnant at the time. It seems that James Taylor was once good for helping to give birth to something other than Blue and early Carole King records.

But the airbrushing thing did actually happen on another Simon record, Boys In The Trees. She posed topless then the label covered her up.

Relax, of course, I'm gonna let you see that cover.

The airbrusher did some clever work here, no? Damn the airbrusher!

But look at me, here I am objectifying her all over again. Simon overcame childhood trauma, dyslexia and a stutter; she deserves more from me, dammit.

She was also the victim of some tough timing: Hotcakes was released simultaneously to both Planet Waves and Court and Spark.

I can relate. Every time I write a cool post about Gordon Lightfoot my brother posts something revelatory about Stereolab and then my wife walks from Point A to Point B; both their acts leave me gnawing on distant third place bronze.

I know, Dylan and The Band's Planet Waves is underrated and unappreciated. But it's also a big deal Bob Dylan record and Court and Spark is, obviously, one of the greatest pop records of all time. So Simon couldn't compete with either title at the time and she still can't compete today.

(Speaking of Planet Waves, hopefully its full sessions will benefit from a big Bootleg Series box at some point this year so as to avoid entering into the public domain, just as Dylan recently did with Pat Garret and Billy the Kid. Oddly this release has not happened yet even though it would be a great excuse to celebrate the recent passing of Robbie Robertson; what the hell is Dylan waiting for, A Series of Dreams?)

(And here's one related extra test question; I think you need the chance for extra credit: Name the only musician who appears on Hotcakes, Planet Waves and Court and Spark. Yeah, someone played on all three records. Come on, you've got this: he's better looking than Taylor and Richard Thompson used his playing as a basis for his own approach on I Want to See the Bright Lights Tonight. Please tell me you don't need another hint. You do? He just died and he's mentioned in the paragraph above. That's right, Robbie Robertson: a busy guy in 74.)

Anyway, no one has ever - until now! - considered Hotcakes as a piece of thoughtful art. And maybe that's fine; we don't need everything on our shelf to signal abrupt changes in the popular culture.

Artistic merits aside, Hotcakes still sold like, well, hotcakes; your mom bought a copy and so did mine. And then we all turned around and ignored our mom's sweet style. Damn us!

So let's talk about the record already...

Hotcakes opens with Simon strumming admirably and singing about strange times in Portland, Maine, dancing lobsters and the Chinese divorce rate before giving way to a sweet chorus.

Klaus Voorman, one of several candidates for the title of 5th Beatle, and one of the more oddly named of 70's musicians - he and Hugh McCracken should have got together back in the day and started a pretty sweet cult; I woulda joined up and renamed myself Cheesesteak Murphy in their honor - lays down some super fat and sweet bass and the always admirable Paul Buckmaster, the guy behind the string sections on everything from Tiny Dancer to Moonlight Mile, offers up warm, complimentary tones.

This song is weird and good! I wish the whole album centered around naked motorcycle gangs.

But sadly, no dice. The rest of Side 1 is a bit dull: Simon has her mind on her mustachioed VH1 man, she busts out a soft rock strut to announce that she's pregnant, she reminds us that she has a sister, and so on. Fairly flatulent horns are increasingly prominent; Buckmaster clearly was not consulted.

Happily, Side 2 brings things back into form. Simon's Misfit is a fitting prequal to Neil Young's own bizarro track of the same title; Simon's song seems directed at Taylor and tells him to chill the heck out and be a reasonable husband.

The tone is familiar to me; this is what it sounds like when your wife is a genius and you are not worthy:

Seriously, my wife might benefit from singing this to me every night around 8:45. I'm no longer young and I've never been an intellectual so I should not be miserable, even if Trump seems likely to reenter the White House in a few short months. Rather I could show her an itch I'd like scratched while Buckmaster supplies fifes and swirls. Sounds amazing.

But things go to an even lovelier level with the lyrically straight-forward Forever My Love. Sandy Denny was off making Like an Old Fashioned Waltz around this same time and a song like Forever My Love sits comfortably alongside Denny's more timeless and majestic ballads: sure Joni was making high art at that point; but Sandy and Carly were singing about love in lovely ways.

I'm going to go on the record here and make the claim that Brandi Carlile had this song, with its full tilt rock opera fade out, in mind when she called up Buckmaster at the very end of his long and productive life and asked him to arrange the strings for much of her record By the Way, I Forgive You. Take a listen:

Wow, intense video. I wish the whole thing were the old white grandpa lip syncing. Where were we? Oh yeah, the Buckmaster touch: it's a good thing.

Finally, Hotcakes ends with a pretty good quality 70's pop anthem. I bet my mom listened to this while I was in utero: it sounds pretty damn familiar and I feel like I need the message in it far more than I need any of the news currently swirling around us.

No pain! Happy Tuesday everyone.

[lezarde]

TOP ALBUMS 2023 (3/6)

[Jazz, Bossa Nova, Soul, Psychedelic] MORIAH PLAZA - Moriah Plaza (Batov Records) [Germany] https://moriahplaza.bandcamp.com/album/moriah-plaza

[U.K Jazz] YUSSEF DAYES - Black Classical Music (Brownswood Recordings) [U.K] https://yussefdayes.bandcamp.com/album/black-classical-music

[Latin, Cumbia] COCO MARIA - presents "Club Coco ¡AHORA! The Latin sound of now" (Les Disques Bongo Joe) [Mexico] https://lesdisquesbongojoe.bandcamp.com/album/coco-mar-a-presents-club-coco-ahora-the-latin-sound-of-now

[Afrobeat, Latin Funk, Cumbia] MITCHUM YACOUB - Living High in the Brass Empire (All-Town Sound) [Egypt / U.S.A] https://alltownsound.bandcamp.com/album/living-high-in-the-brass-empire

[African Eletronic] ONIPA - Off The Grid (Real World Records) [U.K] https://onipa.bandcamp.com/album/off-the-grid

[Jazz, Rock, Krautrock] DALES - Écorces (Araki Records) [France] https://dales.bandcamp.com/album/corces