Mood music from the 70s promoting Vanaos sun lotion (France, 197?).
A funky 7″ with a haunting choir (France, 1974).
Afrosound is a Colombian beat born during the early 70s, fusing cumbia, funk, disco and salsa. This 1981 track is by a band named after the movement. My copy is off a scratchy but kicking compliation realesed on the Fuentes label.
In my opinion Sofia Rotaru was the most beautiful singer in Soviet Union in 70s. She made her best records in 70s too.
Here’s dramatic disco-funk standart “Temp” (“Tempo” in Russian, 1979) with irreproachable arrangements:
And this is her soul side: heartstopper “Lebedinaya Vernost'” (“Swans Fidelity”, 1974). Each time I listen to this song I can’t hold back the tears.
Brasil ! lala lala lalalalaaaaa! Brasil ! Brasil !
This is an epic story, a fusion jazz track with a funky bassline, a few sci-fi sounds, great drums (Brasil for sure) and even more.
10 min to travel out of space.
In 2003-2006 Salsoul re-released almost whole its catalogue, but one compilation of “Salsoul Flavas” series – “Electrophonic Beats, Dubby Mixes & Black Underground Flavas” – didn’t see a light of the day. Greg Wilson (he selected the tracks) guesses that material seemed too experimental to copyright owners.
In 2008 Mr. Wilson published the tracklist in one of his article, but a few days ago this article disappeared from net. Now tracklist is here for your pleasure (192 kbps, 72:30, 99.6 Mb):
01. Aurra / Such A Feeling (pt 2 & 3) / Shep Pettibone Mix
02. Rafael Cameron / Boogie’s Gonna Get Ya (Instrumental) / Francois Kevorkian Mix
03. Weeks & Co / If You’re Looking For Fun (Dub) / Shep Pettibone Mix
04. Vaughan Mason / You Can Do It (Instrumental)
05. Sly Cabell / Feelin’ Fine (Club Version) / Shep Pettibone Mix
06. Leroy Burgess / Heartbreaker / Shep Pettibone Mix
07. Instant Funk / (Just Because) You’ll Be Mine (Extended) / Shep Pettibone Mix
08. Edwin Birdsong / She’s Wrapped Too Tight (She’s A Button Buster) (Extended)
09. Aurra / Baby love (Instrumental) / Shep Pettibone Mix
It’s always interesting to discover nodes where music flow changed its direction, especially when these nodes are the songs. Here are a few of such milestone songs.
“The Love I Lost” of Harold Melvin and the Blue Notes (Philadelphia International Records, 1973) gave to world “Four-on-the-Floor” rhythm pattern.
BTW 2nd pretender to the palm is Temptation’s “Law Of The Land” (Motown, 1973), but actually it has only 4/4 kick drum without hissing open hi-hat.
Certainly I could not miss the song that gifted its own standard rhythm pattern to Hip-Hop. This is fabulous The Soul Searchers’ “Ashley’s Roachclip” (Sussex, 1974). Short drum break on 3:31 and the rest is… 5 pages on whosampled.com.
A 1976 tune apparently available only in Japan.
The moves to the Walk are printed at the flip of the 7″ but what you get is a ridiculously simplified variation. The Walk was originally done a lot to Soul City Walk by Archie Bell & The Drells, and involved lines of people surging back and forth in unision as one unstoppable force on the dance floor. Every step took one beat. No improvising, you HAD to perform every move like everybody else, or else.
This is how the Walk was done. Starting with your right foot take 3 steps backwards. Right, left, right. On the count of 4, do a tap to the back with your left foot. That’s one-two-three-and-a tap. Then starting with the foot you just tapped with, the left foot, take 4 steps forward. Left, right, left, right. Next, repeat this whole pattern, stepping back and forth during 8 counts of music, starting with the same right foot you completed the first phase of the moves with. Next, keeping your body facing foward, take 3 sideways steps to the right like a crab, starting with your right foot that you just stepped foward with. That’s step to the right with your right foot, step to the right with your left foot which goes BEHIND your right one during this count of music, and then a step to the right with your right foot. On count 4, do a tap to the right with your left foot, in front of your right foot. Then do 4 steps back to the starting position to the left, starting with your left foot you just tapped with. When you do the steps to the left, spin completely around, clapping your hands on the final beat/step four.
Now you’re back in the starting position. To complete the action take step forward with your right foot and then step foward with your left foot. Repeat the same only stepping backward – back with the right, back with the left. Then staying in place in the starting position click your heels twice during 2 beats. Finally do 2 tap steps foward – not stepping anywhere, just tapping in place – with your right foot. That’s two taps foward during two counts of music, then two taps to the back. Then one tap foward, one tap back, one tap to the right side, and now we come to the tricky bit. For the next beat/tap step done during the 8th beat/count of this final phase of the series of moves, kick with your right foot in front of you while turning 90 degrees to the left, to face a new wall. Start the whole sequence again with your right foot, and repeat. After completing the patterns, you always turn 90 degrees to the left. Carry on doing this for hours till you reach the intended line dance nirvana.
The Walk later became the Bus Stop, the Los Angeles Hustle, and then the offical Line Hustle. In 1976/early 1977, the moves got capitalized by the makers of the Saturday Night Fever film fiasco who added naff stuff like pointing upwards with your finger. Of course, by that time nobody in their right minds would dance in a line anymore. Too bad as moving in a line with other people is not that bad at all. Now of course we’re back at it with the Zumba thing. I’ve been to a class twice. The moves are much more complicated than The Walk and you’ll start sweating like a pig after some 10 minutes. That’s the whole point. In other words a really good way to lose fat fast.
First there were The Yardbirds with 1965’s “Still I’m Sad” – 1st goth song ever (as some believe).
Boney M. made its heartfelt version in 1977.
But we took hairy & marasmic hard-rock cover made by Ritchie Blackmore’s hand (1975). Fantastic cowbell work turns it into sparkling funk-rock stick of dynamite.
Rainbow “Still I’m Sad” (How_Beezar Mad Cow Edit)
This one was written by François Feldman, a skinny white guy who used to produce awesome electronic funk in the early 80s and then, for unknown reasons, only utter pop garbage at the end of the decade.
A false sequel to Hard Dixo.
The first half is dedicated to hard electronic basslines and French stompers, the other one slows down a bit and features some oddities and exotic curiosities.
The tracklisting follows: (more…)