• Austria can be funky too! Superfly!

    13. Jan. 2009, 19:01 von averagewhiteboy

    Last year a new radio station got on air in Vienna,Austria. It is specialized on funky music from all decades with some nice rarities you don´t get on your normal FM...

    It streams also over the web, check it out
  • I wondered what would be the first 2009 album I's PPP - Abundance

    22. Jan. 2009, 10:32 von Spankmaster79

    I'm always excited what will be the first album of the year. I actually don't remember the first one last year......but creating a new playlist in iTunes, that fills up over the year gives me something.........Don't know why......weird....

    Anyway, so the first one this year is the new Platinum Pied Pipers album that I got in my hands. Although, some may hate it, because they switched their sound totally, I like it. It sounds more funky and they used more real instruments on it. It's not the typical PPP sounding album as there is no sign of the sound of the last one! It sounds like they reinvented theirselves. No song sticks to a formula that was formed on Triple P. This album is something totally different from the releases in the past.It's a new sound that is........just plain good!!!

    So go give it a listen......i will definitely. After hearing it 2-3 times now, it starts getting better and better.

    01. Angel (Feat. Coultrain)
    02. Smoking Mirrors (Feat. Karma Stewart)
    03. On A Cloud (Feat. Karma Stewart)
    04. Luv Affair (Feat. Coultrain)
    05. Go, Go, Go (Feat. Jamila Raegan)
    06. Sanctuary (Feat. Coultrain & Jamila Raegan)
    07. Ain't No If's Or Maybes (Feat. Coultrain)
    08. Pigeon Hole (Feat. Coultrain)
    09. Lovers & Haters (Feat. Coultrain)
    10. The Ghost Of Aveiro (Feat. Coultrain)
    11. Countless Excuses (Feat. Coultrain)
    12. American Pimp (Feat. Neco Redd)
    13. Dirty Secrets (Feat. Karma Stewart & Coultrain)
    14. Rocket Science (Feat. Coultrain & Karma Stewart)
    15. Goodbye/Abundance (Feat. Coultrain) (Hidden Track)
  • Q-Tip Live @ Conan O'Brian

    22. Jan. 2009, 12:40 von Spankmaster79

    Great live performance

  • [mix] Live DJ Set @ Club Djazzive (SJU) 06-02-2009

    20. Feb. 2009, 20:05 von zephirnl

    Since the last Mama's Funky Flow set was posted in 2009 but was about a recording from 2008, this is the first post of a 2009 set, recorded 6th of February. And as always it takes some time to make that track list, so once again we just present a steaming set with total lack of a track list.

    Remember to come pay us a visit sometime, for example at the next gig. Most recent mixes are also available on our website, and this one can be listened to and/or downloaded from this page or from Live DJ Set @ Club Djazzive (SJU) 06-02-2009. And for you readers/listeners there's a bonus part too: Live DJ Set @ Club Djazzive (SJU) 06-02-2009 (bonus).
  • Dwele with a little Dilla tribute

    3. Mär. 2009, 7:25 von Spankmaster79

    On his album Sketches Of A Man he has a track named Workin' On It that is kind of a little J Dilla tribute.

    And now here's a video to it.

  • The Soul Prophets Live @ SJU 13-02-2009

    12. Mär. 2009, 10:30 von zephirnl

    Recently I was one of the lucky people that went to the SJU on friday the 13th of february. The Soul Prophets played a huge storming & raw funk/soul set, filled with all kinds of classic tracks, including a few new classics of their own. One of these tracks, ‘Shitty Is Pretty (live @ sju)‘ has been served today as part of the Mama's Funky Flow podcast feed. And if you like what you hear, then you can listen/get the whole show at here: Live @ SJU 2009-02-13.
  • Psychedelic Rock timeline

    10. Mär. 2009, 14:57 von Cabinessence1

    An early version of Psychedelic Rock Music timeline. Most of the list will concentrate on music that was recorded in the studio. The timeline is Rock based only.

    1- Spring, 1965 The Psychedelic Rangers including future DOORS drummer John Densmore is formed in Los Angeles.

    2- Spring 1965- The Beatles "Ticket to Ride" Not only does the title indicate a possible double meaning (taking a ride/taking a "trip") but the droning/ jangly guitars and the distinctive drum pattern provide a blueprint for mantra/raga rock rhythm that would be present on "Tomorrow Never Knows".

    3- June 1, 1965, the Charlatans began an extended residency at the Red Dog Saloon in Virginia City, Nevada,

    4- "The Trip" 45 July, 1965 Kim Fowley released has some elements of Psychedelic Rock

    5- July of 1965 Yardbirds "Still I'm Sad" has some elements close to Psychedelic Rock.

    6- July on 1965 the Kinks "See My Friends" is released has some elements that resemble Psychedelic Rock.

    7- August- The Doors are formed

    8- September of 1965 The Doors- The Doors record demos "Moonlight Drive", "End Of The Night" and "Go Insane"

    9- The Beatles October, 1965 The Beatles record "Norwegian Wood" and The Beatles - Norwegian Wood (This Bird Has Flown) (Take 1) and take 2 could be considered containing elements close to Psychedelic Rock. "The Word" the first organ solo (technically harmonium) in a psychedelic rock context, and lyrically they voiced the drug-influenced peace-and-love sentiments that would color many psychedelic lyrics. November 1965

    10- November, 1965 The first ACID TEST is arranged in La Honda by KEN KESEY & THE MERRY PRANKSTERS. Local band the Warlocks, soon to be renamed the GRATEFUL DEAD perform at the event.

    11- December 19, 1965- Donovan records "Sunshine Superman"

    12- Dec 22, 1965 The Byrds The Byrds record "Eight Miles High", first version . The song fuses Coltrane and Ravi Shankar.

    13- The Beatles January, 1966 John Lennon writes "Tomorrow Never Knows" a song overtly dealing with concept of Psychedelia.

    14- Yardbirds February, 1966 The Yardbirds release the "Shapes Of Things

    15- The Byrds February 23, 1966 The Byrds record "Eight miles high", second (and official) version.

    16- March, 1966 John Lennon records demos for what was to become "She Said, She Said", a clearly LSD-influenced song.

    17- 13th Floor Elevators March 16, 1966 Live recording exists of 13th FLOOR ELEVATORS performing psychedelic material like "Roller coaster" on this date (the live KAZZ-FM tape

    18- Love March, 1966 Love release their self-titled debut LP, a few songs of which have psychedelic elements

    19- March, 1966 The Merry Pranksters- The "Acid Test" LP featuring KEN KESEY & THE MERRY PRANKSTERS is released in San Francisco. The contents and packaging are 100% lysergic.

    20- Early April 1966 The Beatles The Beatles record "Tomorrow Never Knows" and the classic psychedelic sounds of backward guitars, exotic Indian drones, and trance like background sounds from tape loops is invented in a psychedelic rock sound.

    21- April, 1966 The Dovers from California release "The Third Eye", a 45 that is clearly psychedelic

    22- May of 1966 Yardbirds "Over Under Sideways Down".

    23- May of 1966 The Velvet Underground record the highly drone influenced "Venus in Furs".

    24- May of 1966 The Rolling Stones "Paint it Black"

    25- May of 1966 The Electric Prunes release their debut 45, "Ain't It Hard.

    26- May of 1966 The Beatles release "Rain" and it's noted use of a backward vocal coda.

    27- May of 1966 "Season of the Witch" is a song by recorded by Donovan.

    28- June of 1966 Country Joe & The Fish record tracks for their upcoming "Bass Strings" EP

    29- Recorded June, 1966 The California band EUPHORIA record psychedelic material such as "Pick It Up". Except for a Mainstream label 45, the songs remain unreleased until the 1980s.

    30- July of 1966 The Byrds release the "Fifth Dimension" LP,

    31- August 5, 1966 The "Revolver" album by the Beatles released in the UK. It becomes the first Psychedelic number one album in both the UK and America and establishes Psychedelic rock in the process.

    32- August, 1966 SPIKEDRIVERS 45 with psychedelic B-side "Often I wonder"

    33- August, 1966 Rusty Evans & the DEEP record the "Psychedelic Moods" LP in Philadelphia. This is the first ever LP with a consistent psychedelic theme throughout.

    34- August of 1966 MALACHI The "Holy Music" LP by MALACHI is recorded

    35- September, 1966 The Charlatans version of "Codeine" is released

    36- September, 1966 The 13th FLOOR ELEVATORS record "Kingdom Of Heaven" and "Reverberation" in a studio in Houston.

    37- August - early September 1966 The Doors begin recording their debut album

    38- Cream "I Feel Free" recording is completed. Sept of 1966

    39- Yardbirds Happenings Ten Years Time Ago / Psycho Daisies October (1966) [Single

    40- October 10, 1966 The BEACH BOYS release the "Good Vibrations"

    41- October The CREATION release "Painter Man" Which featured Eddie Phillips playing his electric guitar with a violin bow. He was reputedly the first guitarist to use this technique

    42- October, 1966 The SHADOWS OF KNIGHT release their second LP "Back Door Men

    43- Pink Floyd "Interstellar Overdrive" was first recorded as a demo on 31 October 1966

    44 - October, 1966 "It's A Happening" by Philadelphia band the MAGIC MUSHROOMS released. It reaches the Billboard charts in November.

    45 - Oxford Circle release "Foolish Woman"

    46- October, 1966 The MONOCLES from Colorado release the great "Psychedelic (Where it's at)" 45 on the local Denco label. This may be the first 45 to use the term.

    47- Oct- November 1966 The Jefferson Airplane start recording their second album Surrealistic Pillow

    48- November- Blues Magoos release Psychedelic Lollipop one of the first to have the word “psychedelic” on the sleeve

    49- November, 1966 "Stone Free" is recorded by The Jimi Hendrix Experience

    50- November 1966 The Beatles start recording sessions for Sgt Pepper sessions and their landmark Psych/Prog song "Strawberry Fields Forever".

    51- November 1966 The Byrds start recording "Younger Than Yesterday" which has some overtly influenced psychedelic rock tracks.

    52- November, 1966 The ELECTRIC PRUNES release the "I Had Too Much To Dream" 45

    53- November 1966 PAUL REVERE & THE RAIDERS release the "Spirit of '67" LP, which contains several tracks with a psychedelic influence.

    54- November 30, 1966 "Psychedelic Sounds" LP by the 13th FLOOR ELEVATORS released

    55- December, 1966 "I Can Take You To The Sun" by the MISUNDERSTOOD released.
  • Check out the New James Brown Group on Last.FM

    5. Jan. 2007, 6:28 von pjebsen

    Since I believe that the Godfather of Soul (and Funk) James Brown is underrepresented on Last.FM, I just started the new JB group Soul Brother No. 1.

    Maybe you feel like contributing to the group's forum discussions, e.g.:
    Your Favorite JB Memories
    What's Your JB Top 10 (Including JB-Related Tracks)?

    Best regards,

    - Peter
  • Nicole Willis and the Soul Investigators

    3. Jan. 2007, 11:52 von papierene

    I had heard the song "If this ain't love (don't know what is)" playing on the radio several times and had heard about the band and their album, "Keep Reachin' Up", but I had never really paid that much attention to it. Until now, when I stumbled upon their myspace profile and I listened to a few of their songs. Their music brought an instantaneous smile on my face and I found myself inadvertently grooving out to their music. I immediately ordered their cd from a shop and got it in the mail this morning, now I have just been spending the day boogieing in my kitchen and I got so excited, that I needed to spread the word to all the people out there in land who like Soul music, so I decided to write my first journal entry. If you want to get down with some bitchin' grooves, check them out!

    Their profile is rather lacking and confusing, as for some reason there are several profiles for the same group, but their myspace profile is much more enlightening.

    Myspace profile of Nicole Willis and the Soul Investigators

    Nicole Willis and The Soul Investigators
  • Bootsy, Maceo, and Fred Talk About James Brown

    27. Dez. 2006, 23:37 von pjebsen

    To commemorate James Brown on my website, I have compiled excerpts of interviews I did with P-Funk musicians who used to be members of The J.B.'s (aka The Jb's):

    Here's excerpt #1 - from an interview with Bootsy Collins in 1990 (you'll find the entire interview here).

    New Funk Times: Let me ask you one of the standard questions about the difference between playing with George Clinton and playing with James Brown.

    Bootsy Collins: James... I think I learnt more from him as far as discipline was concerned. He runs it like an army, "you're in the army now!" It's no shuckin', no jivin', and it's a routine - which is great! I needed that because I was a kid growing up, I was 15 and James was more like the Daddy image. And I was the youngest thang in there, so I can look back at it now and say, without me having a daddy at home, that was great for me 'cause it gave me the discipline, and it also showed me how things should be run. He was so organized, and thangs ran like clockwork.

    And I said to myself, if anything ever happened with me, that's the way I want my stuff to run. The difference is, I got with George and it was totally reverse: unorganized, and that was good, too, 'cause at that time it was like, that's what we wanted. We wanted crazy, it was about acid, it was freaking out, it was the time when the bands was coming out-front, you know.

    I think I took the business end - the way James was - with me and the creative looseness end of George, and that combination is almost unstoppable.

    New Funk Times: In the liner-notes on one of the James Brown compilations you were talking about a show when you took a tab of acid and the bass was moving into your face...

    Bootsy Collins: Yeah, that was pretty strange. You know, I had always vowed not to never take nothing when I was with James 'cause we had to be so on it, and at that time acid was so new to us. Even though we was with James, I myself really wanted to stretch there a little bit and get freaky with it. But I didn't wanna do it on stage 'cause I figured something crazy would happen; I mean, we into counting, and we had to watch him and watch his hands, 'cause wherever his hands is at we gotta hit certain notes, it was like, I can't do no acid on this.

    One day I figured, well, we gonna be leaving pretty soon, anyway, so what the hey! And I did it, man, and that was like... I don't know exactly what happened that night, I don't remember playing... I do remember my bass looking like it was moving like a snake and like all my strings broke. And, sure enough, one string did break while I was playing - I thought all of 'em broke. When that one popped, it was like the whole world came to an end; 'cause I was trippin', I didn't know what the heck was going on!

    James called me back to the dressing room and he was telling me how much of a great show it was. And I'm really trippin' then 'cause I knew I was messing up! But that was James' way of dealing with us, he was always into reverse. When we thought we was wearing him out on stage, killing the audience, the audience was like, WOW!, we was killin' 'em dead, killin' James - when we'd do that, he'd call us back there and tell us: "Y'all ain't got it, y'all ain't got the One, y'all are not happening, we need some more rehearsal!"

    He was confusing us 'cause we was dead-on-it, and we knew it 'cause all of us was tight, tight, tight, as tight as you can get it! It took us a while to figure that one out. But I thank God for that one, too, 'cause it taught me a lot; it was like, okay, the old reverse thang, huh?

    New Funk Times: You said you knew you were going to leave James Brown. What made you so sure?

    Bootsy Collins: We just started feeling too loose within ourselves and we started wanting to do too much of our own thang, so I knew. I was young but I knew I wasn't gonna be there too much longer 'cause I started getting the hang of it and I started getting too comfortable with it - he couldn't surprise us 'cause we was so on it! For the first couple of years it was exciting; after all, we were with James! I'm not saying it wasn't exciting in the end but we got so familiar with the ways, and he could not fake us out.

    We wanted to start doing crazy thangs, I guess 'cause Sly & The Family Stone had came out with the band thang up-front and we started hearing noise about Funkadelic and what we should be doing - you know how it is when you're young and people tell you what you should be doing and you don't have to be backing nobody up; we was listening to that, too. But I knew that I had to stay there for a certain amount of time to get that schooling, whatever was there to get.

    When I started feeling like I had to get outta there, we had to go. And we didn't have no place to go, you know, it wasn't like everything was set up for us and George was waiting on us when we got out. It wasn't like that, it was all on the feeling. And all the moves just turned out to be the right ones.

    New Funk Times: You always mention Europe as an important factor for you to leave James Brown.

    Bootsy Collins: When we went to Europe for the first time with James in 1971, that's where we really got turned out on the fashions, what was happening and what we thought was hip. We stayed there for about three weeks, we went to Berlin, Amsterdam, Italy, Paris, all the places; and we found out that we couldn't go see live bands. They had discotheques, which we didn't know nothing about. On a day off we asked people: "Where can we go see a band?" - "Bands? No, discotheques! Records and DJs!" And we was like: "WHAT?"

    Once we went to a discotheque and seen it - they had the floors lightened up and the DJ was up there pumpin' the sounds -, we couldn't get to it 'cause we was into live bands and we wanted to wear bands out on the stage. And then we started picking up on the fashions, like the girls was wearing hot pants and all the see- through stuff, and it was like, God, this is happening! So we kinda said when we was with James, okay, when we do finally leave James, this is gonna be our style! As a matter of fact, before we even left James... we started wearing hot pants with our street stuff, high boots, chains and capes; and then once we'd get to the gig, we'd take that stuff off and put the uniform on to go play. I knew we was getting ready to exit! The people was loving it, though, it wasn't like they didn't understand - they liked it! They wouldn't do it themselves, but they appreciated somebody to have enough nerve to do that.

    New Funk Times: What kind of places were you playing before James Brown?

    Bootsy Collins: [laughs] That's funny... we was playing places about as big as this hotel room - wine bars, Playboy clubs in Cincinnati, serious rat-holes. We did that for a while, and we started getting better and better. And we started hooking up with this small booking agency in Dayton, and he started booking us as opening act for Gladys Knight and the Pips, people like the Dells, [Aretha's sister] Erma Franklin, the Chi-Lites. When the people would see us, it was like: "God, who is them crazy guys?" But the kids loved us, and we weren't playing no Top 40, it was like all the stuff we'd made up, and - although they couldn't dance to it - they was liking it 'cause we had the nerve to come out there and do it. We were dressed all crazy, it wasn't like your average put your suit on, let's go out and hit it; we was always doing something that didn't fit - "where is these crazy boys coming from?" Of course, we got more experienced as the time went on and the different places we went.

    [Since we deeply care for our readers, we want to use the final part of this interview to enlighten you with some powerful anti- drug and anti-drunk-driving statements conveyed by Bootsy, an obviously repentant ex-participant in certain controversial recreational activities. Take this documentation as a public service type thang, and don't try any of the following at home! - NFT Ed.]

    New Funk Times: When did this famous Catfish story [Bootsy’s Brother Phelps "Catfish" Collins, guitar] happen, with the tab of acid in the milk-shake?

    Bootsy Collins: Well, that was close to the time when I had that meeting with James. Catfish's whole thang was, like, begging although he'd have money in his pocket. He, of all people, would be one to save his money - I think him and myself was good at saving, even the money we was making before we got with James, we'd always save a dollar or something out of it, and we kinda grew up with that; so when we was with James, we just saved everything. But Catfish went deeper than that - he would save to the point of not buying food while we was out on the road. He would pocket the per diem and go around with a fork and bum off of people's plates. And it became such a thing that it was funny: "Oh, here come Catfish with that fork, he's the fork bandit!"

    So, one day we was playing at a college in Virginia and we was staying out in front - myself, Chicken [Clayton "Chicken" Gunnells, trumpet] and Hasaan [Darryl "Hasaan" Jamison, trumpet]. So we standing out there talking, we got us a milk shake and we said, "maybe we should take this acid, crunch it up and put it in the milk shake; this way we can go in the place, and everybody be cool!" So we all did that - and here comes Catfish down the street, looking crazy, and I said: "Don't give Catfish none, whatever he say, don't give him no more!" - "Okay, cool!" - Catfish's first rap was: "What's in the cup? - Oh yeah, man, hit me with some milk shake!" I gave him some, and after that he was cool, went in and played the gig. We come off, get on the bus, we took off, getting ready to ride, everybody thought Cat was there, no signs of nothing. Next thing I know, Catfish was on the bus with his eyes like this [Bootsy takes off his glasses and produces a hollow stare - Ed.] for three days, sitting in the back with no rap!

    New Funk Times: Was he still playing?

    Bootsy Collins: I don't know what band he was playing with when he was playing but, you know, we kinda covered for him a little bit. He was just out of it, man, for three days. I couldn't believe it! He couldn't sleep, he had his little spot all the way in the back of the bus. We didn't tell him what was happening while he was going through this - maybe a year later we had the nerve to tell him. He said he knew something was going on.

    When we was with James, we wasn't seriously doing the drug thing but we was getting into it. George's thing really took the cake with the drug thing. We really got off over into it, 'cause we didn't have to pay attention like we did with James. It was our thang, and it was cool. And the people loved it!