Friday, 31 July 2020

Do It

So it's FFF again already and it's been another funky run this month so we'll close it out with a customized collection of Beastie Boys instrumental cuts and various backing tracks. For over two decades these "rappers" [Michael "Mike D" Diamond (vocals, drums), Adam "MCA" Yauch (vocals, bass) and Adam "Ad-Rock" Horovitz (vocals, guitar, programming)] have also played instruments and collaborated with additional musicians to produce music that was far from simply, "hip-hop". They play funk, jazz, punk, grunge and a whole gamut of weird and wonderful stuff. With several dedicated instrumental endeavors and the additional material here, perhaps you'll catch a glimpse of this iconic group in a different light. Beastie Boys have released seven platinum-selling albums from 1986 to 2004, and have sold 20 million records in the United States, making them the biggest-selling rap group since Billboard began recording sales in 1991. They were the third ever rap group to be inducted into the Rock And Roll Hall of Fame. These guys got as big as you can get and managed to not let it go to their heads. In fact, they collectively used their privilege to help elevate those without ~ both via the music and their deeds. Most notably Adam "MCA" Yauch, who in 1996 alongside activist Erin Potts, organized the Tibetan Freedom Concert in order to raise awareness of humans rights abuses by the Chinese government on the Tibetan people. The events became annual, and shortly after went international with acts such as Live, Mike Mills and Michael Stipe of R.E.M., Rage Against the Machine, The Smashing Pumpkins, and U2. The recently released documentary film pays a fine tribute to Yauch who sadly passed away due to cancer in 2012. The film in my opinion however, had two drastic short-comings. First "Rhyming & Stealing" ... an incredibly prolific song for both Beastie Boys and pretty much all hip-hop to come. They start to tell story of how it was produced and then just cut to something else. I found it nearly infuriating and seriously wished that segment got at least several more minutes. Secondly, they talk about the creative explosion in their musicality spanning the early 90s and releases "Check Your Head" (1992) / "Ill Communication" (1994) culminating in their magnum opus "Hello Nasty" (1998). Wrong, wrong wrong. My all time favorite B-Boys album (what I would call their magnum opus), "The In Sound From Way Out" (1996) doesn't even get mentioned!!! Nor does the other instrumental album, "The Mix-Up" (2007). I get that these are the lowest of their commercial successes but to not even acknowledge them kind threw me off kilter for the remainder of the film. "The In Sound From Way Out" wasn't just an achievement in musicianship, but in overall confidence as artists. Not even to mention, it's super friggin groovy! All that said, it was decent otherwise and pretty humorous at times, touching at others.


Prior to forming Beastie Boys, Michael Diamond was part of a number of bands such as the Walden Jazz Band, BAN, and The Young Aborigines. Beastie Boys formed in July 1981 when the Young Aborigines bassist Jeremy Shatan left New York City for the summer and the remaining members Michael Diamond, John Berry and Kate Schellenbach formed a new hardcore punk band with Adam Yauch. The band supported Bad Brains, the Dead Kennedys, the Misfits and Reagan Youth at venues such as CBGB, A7, Trudy Hellers Place and Max's Kansas City, playing at the latter venue on its closing night. In November 1982, Beastie Boys recorded the 7" EP Polly Wog Stew at 171A studios, an early recorded example of New York hardcore. On November 13, 1982, Beastie Boys played Philip Pucci's birthday for the purposes of his short concert film, Beastie. Pucci held the concert in Bard College's Preston Drama Dance Department Theater. This performance marked Beastie Boys' first on screen appearance in a published motion picture. Pucci's concept for Beastie was to distribute a mixture of both a half dozen 16 mm Bell & Howell Filmo cameras, and 16 mm Bolex cameras to audience members and ask that they capture Beastie Boys performance from the audience's own point of view while a master sync sound camera filmed from the balcony of the abandoned theater where the performance was held. The opening band for that performance was The Young and the Useless, which featured Adam Horovitz as the lead singer. A one-minute clip of Beastie was subsequently excerpted and licensed by Beastie Boys for use in the "Egg Raid on Mojo" segment of the "Skills to Pay the Bills" long-form home video released by Capitol Records. "Skills to Pay the Bills" later went on to be certified Gold by the Recording Industry Association of America (RIAA). Berry left the group in 1982 (later forming Thwig, Big Fat Love and Bourbon Deluxe) and was replaced by Horovitz, who had become close friends with Beastie Boys. The band also recorded and then performed its first hip hop track, "Cooky Puss", based on a prank call by the group to a Carvel Ice Cream franchise in 1983. It was a part of the new lineup's first EP, also called Cooky Puss, which was the first piece of work that showed their incorporation of the underground rap phenomenon and the use of samples. It quickly became a hit in New York underground dance clubs and night clubs. "Beastie Revolution" was later sampled for a British Airways commercial. Beastie Boys sued them over the use of the song, earning them $40,000 in royalties. Following the success of "Cooky Puss", the band began to incorporate rap into their sets. They hired a DJ for their live shows, New York University student Rick Rubin, who began producing records soon thereafter. "I met Mike first," Rubin recalled. "I thought he was an arrogant asshole. Through spending time with the Beasties I grew to see that they had this great sense of humour. It wasn't that they were assholes, and even if it was, they were funny with it." Rubin formed Def Jam Recordings with fellow NYU student Russell Simmons, and approached the band about producing them for his new label. As the band was transitioning to hip hop, Schellenbach was fired in 1984, with Diamond taking over on drums. In their 2018 memoir, Ad-Rock expressed regret for firing Schellenbach, which he attributed to her not fitting with the "new tough-rapper-guy identity". The band's 12-inch single "Rock Hard" (1984) was the second Def Jam record crediting Rubin as producer (the first was "It's Yours" by T La Rock and Jazzy Jay). In 1985, Beastie Boys opened for John Lydon's post-Sex Pistols band Public Image Ltd., and supported Madonna on her North American The Virgin Tour. Then headlining with Fishbone and Murphy's Law with DJ Hurricane and later in the year, the group was on the Raising Hell tour with Run-DMC, Whodini, LL Cool J, and the Timex Social Club. Thanks to this exposure, "Hold It Now, Hit It" charted on Billboard's US R&B and dance charts.  "She's On It" from the Krush Groove soundtrack continued in a rap/metal vein while a double A-side 12", "Paul Revere/The New Style", was released at the end of the year. The band recorded Licensed to Ill in 1986 and released it on November 15, 1986. The album was favorably reviewed by Rolling Stone magazine with the headline, "Three Idiots Create a Masterpiece". Licensed to Ill became one of the best-selling rap albums of the 1980s and the first rap album to go number 1 on the Billboard 200 chart, where it stayed for five weeks. It also reached number 2 on the Top R&B album chart. It was Def Jam's fastest selling debut record to date and sold over nine million copies. The fourth single, "(You Gotta) Fight for Your Right (To Party!)", reached number 7 on the US Billboard Hot 100. Although the group has sold over 26 million records in the US, this is their only single to peak in the US top ten or top twenty. The accompanying video (directed by Ric Menello and Adam Dubin) became an MTV staple. Another song from the album, "No Sleep till Brooklyn", peaked at number 14 on the UK Singles Chart. The band took the Licensed to Ill tour around the world the following year. The tour was troubled by lawsuits and arrests, with the band accused of provoking the crowd. This culminated in a notorious gig at the Royal Court Theater, Liverpool, England, on May 30, 1987, that erupted into a riot approximately 10 minutes after the group hit the stage and the arrest of Adam Horovitz by Merseyside Police. He was charged with assault causing grievous bodily harm. In 1988, Beastie Boys appeared in Tougher Than Leather, a film directed by Rubin as a star vehicle for Run-D.M.C. and Def Jam Recordings. After the success of Licensed to Ill, Beastie Boys left Def Jam and signed with Capitol Records. The second Beastie Boys album, Paul's Boutique, was released on July 25, 1989. Produced by the Dust Brothers, it blends eclectic samples and has been described as an early work of experimental hip hop. It failed to match the sales of Licensed to Ill, peaking at number 14 on the US Album Charts, but later attracted wide acclaim; Rolling Stone ranked it number 156 on its list of the 500 Greatest Albums of All Time. Check Your Head was recorded in the band's G-Son studio in Atwater Village, California, and released on its Grand Royal record label. The band was influenced to play instruments on this album by Dutch group Urban Dance Squad; with Mike D on drums, Yauch on bass, Horovitz on guitar and Mark Ramos Nishita ("Keyboard Money Mark") on keyboards. Mario Caldato, Jr., who had helped in the production of Paul's Boutique, engineered the record and became a longtime collaborator. Check Your Head was released in 1992 and was certified double Platinum in the US and peaked at number 10 on the Billboard 200. The single "So What'cha Want" reached number 93 on the Billboard 100 and charted on both the Rap and Modern Rock Chart, while the album's first single, "Pass the Mic", peaked at number 38 on the Hot Dance Music chart. The album also introduced a more experimental direction, with funk and jazz inspired songs including "Lighten Up" and "Something's Got to Give". The band returned to their hardcore punk roots for the song "Time for Livin'", a cover song originally by Frontline, a New York hardcore band from the early 80s. The addition of instruments and the harder rock sound of the album could be considered a precursor to the nu metal genre of music to come out in the later half of the 1990s. Beastie Boys signed an eclectic roster of artists to their Grand Royal label, including Luscious Jackson, Sean Lennon, and Australian artist Ben Lee. The group owned Grand Royal Records until 2001. Grand Royal's first independent release was Luscious Jackson's album In Search of Manny in 1993. Also in 1993, the band contributed the track "It's the New Style" (with DJ Hurricane) to the AIDS benefit album No Alternative, produced by the Red Hot Organization. Beastie Boys also published Grand Royal Magazine, with the first edition in 1993 featuring a cover story on Bruce Lee, artwork by George Clinton, and interviews with Kareem Abdul-Jabbar and A Tribe Called Quest's MC Q-Tip. The 1995 issue of the magazine contained a memorable piece on the mullet. The Oxford English Dictionary cites this as the first published use of the term, along with the lyrics from the band's 1994 song, "Mullet Head". That term was not heard in the 1980s, even though that decade has retroactively been hailed as the mullet's peak in popularity. The OED says that the term was "apparently coined, and certainly popularized, by US hip-hop group Beastie Boys". Grand Royal Magazine is also responsible for giving British band Sneaker Pimps their name. Ill Communication, released in 1994, saw Beastie Boys' return to the top of the charts when the album debuted at number 1 on the Billboard 200 and peaked at number 2 on the R&B/hip hop album chart. The single "Sabotage" became a hit on the modern rock charts and the music video, directed by Spike Jonze, received extensive play on MTV.  "Get It Together" reached Top 10 on the Billboard. Also in 1994, the band released Some Old Bullshit, featuring the band's early independent material, made number 46 on the Billboard independent charts. Beastie Boys headlined at Lollapalooza—an American travelling music festival—in 1994, together with The Smashing Pumpkins. In addition, the band performed three concerts (in Los Angeles, New York City, and Washington, D.C.) to raise money for the Milarepa Fund and dedicated the royalties from "Shambala" and "Bodhisattva Vow" from the Ill Communication to the cause. The Milarepa Fund aims to raise awareness of Tibetan human rights issues and the exile of the Dalai Lama. In 1996, Yauch organized the largest rock benefit show since 1985's Live Aid – the Tibetan Freedom Concert, a two-day festival at Golden Gate Park in San Francisco that attracted over 100,000 attendees. In 1995, the popularity of Beastie Boys was underlined when tickets for an arena tour went on sale in the US and Madison Square Garden and Chicago's Rosemont Horizon sold out within 30 minutes. One dollar from each ticket sold went through Milarepa to local charities in each city on the tour. Beastie Boys toured South America and Southeast Asia for the first time. The band also released Aglio e Olio, a collection of eight songs lasting just 11 minutes harking back to their punk roots, in 1995. The in Sound from Way Out!, a collection of previously released jazz/funk instrumentals, was released on Grand Royal in 1996 with the title and artwork a homage to an album by electronic pop music pioneers Perrey and Kingsley. Beastie Boys began work on the album Hello Nasty at the G-Son studios, Los Angeles in 1995, but continued to produce and record it in New York City after Yauch moved to Manhattan in 1996. The album displayed a substantial shift in musical feel, with the addition of Mix Master Mike. The album featured bombastic beats, rap samples, and experimental sounds. Released on July 14, 1998, Hello Nasty earned first week sales of 681,000 in the US and went straight to number 1 in the US, the UK, Germany, Australia, the Netherlands, New Zealand, and Sweden. The album achieved number 2 rank in the charts in Canada and Japan, and reached top ten chart positions in Austria, Switzerland, Ireland, Belgium, Finland, France and Israel. Beastie Boys won two Grammy Awards in 1999, receiving the Grammy Award for Best Alternative Music Album for Hello Nasty as well as the Grammy Award for Best Rap Performance by a Duo or Group for "Intergalactic".  This was the first and, as of 2008, only time that a band had won awards in both rap and alternative categories. Also at the 1998 MTV Video Music Awards they won the Michael Jackson Video Vanguard Award for their contribution to music videos. The following year at the 1999 MTV Video Music Awards they also won the award for Best Hip Hop Video for their hit song "Intergalactic". Beastie Boys used both appearances at the Video Music Awards to make politically charged speeches of considerable length to the sizable MTV audiences. At the 1998 ceremony, Yauch addressed the issue of Muslim people being stereotyped as terrorists and that most people of the Muslim faith are not terrorists. These comments were made in the wake of the US Embassy bombings that had occurred in both Kenya and Tanzania only a month earlier. At the 1999 ceremony in the wake of the horror stories that were coming out of Woodstock 99, Adam Horovitz addressed the fact that there had been many cases of sexual assaults and rapes at the festival, suggesting the need for bands and festivals to pay much more attention to the security details at their concerts. Beastie Boys started an arena tour in 1998. Through Ian C. Rogers, the band made live downloads of their performances available for their fans, but were temporarily thwarted when Capitol Records removed them from its website. Beastie Boys was one of the first bands who made mp3 downloads available on their website. The group got a high level of response and public awareness as a result including a published article in The Wall Street Journal on the band's efforts. On September 28, 1999, Beastie Boys joined Elvis Costello to play "Radio Radio" on the 25th anniversary season of Saturday Night Live. Beastie Boys released The Sounds of Science, a two-CD anthology of their works in 1999. This album reached number  19 on the Billboard 200, number 18 in Canada, and number 14 on the R&B/Hip Hop charts. The one new song, the single "Alive", reached number 11 on the Billboard's Modern Rock chart. In 2000, Beastie Boys had planned to co-headline the "Rhyme and Reason Tour" with Rage Against the Machine and Busta Rhymes, but the tour was canceled when drummer Mike D suffered a serious injury due to a bicycle accident. The official diagnosis was fifth-degree acromioclavicular joint dislocation; he needed surgery and extensive rehabilitation. By the time he recovered, Rage Against the Machine had disbanded, although they would reunite seven years later. Under the name Country Mike, Mike D recorded an album, Country Mike's Greatest Hits, and gave it to friends and family for Christmas in 2000. Adam "Ad-Rock" Horovitz's side project BS 2000 released Simply Mortified in 2001. In October 2001, after the September 11, 2001 attacks, Beastie Boys organized and headlined the New Yorkers Against Violence Concert at the Hammerstein Ballroom. In 2002, Adam Yauch started building a new studio facility, Oscilloscope Laboratories, in downtown Manhattan, New York and the band started work on a new album there. The band released a protest song, "In A World Gone Mad", against the 2003 Iraq war as a free download on several websites, including the Milarepa website, the MTV website, MoveOn.org, and Win Without War. The 19th and 20th Tibetan Freedom Concerts were held in Tokyo and Taipei, Beastie Boys' first Taiwan appearance. Beastie Boys also headlined the Coachella Valley Music and Arts Festival. Their single, "Ch-Check It Out", debuted on The O.C. in "The Vegas" episode from Season 1, which aired April 28, 2004. To the 5 Boroughs was released worldwide on June 15, 2004. It was the first album the band produced themselves and reached number 1 on the Billboard album charts, number 2 in the UK and Australia, and number 3 in Germany. The first single from the album, "Ch-Check It Out", reached number 1 in Canada and on the US Modern Rock Tracks chart. The album was the cause of some controversy with allegations that it installed spyware when inserted into the CD drive of a computer. The band denied this allegation, defending that there is no copy protection software on the albums sold in the US and UK. While there is Macrovision CDS-200 copy protection software installed on European copies of the album, this is standard practice for all European releases on EMI/Capitol Records released in Europe, and it does not install spyware or any form of permanent software. The band stated in mid-2006 that they were writing material for their next album and would be producing it themselves. Speaking to British music weekly NME (April 26, 2007), Diamond revealed that a new album was to be called The Mix-Up. Despite initial confusion regarding whether the album would have lyrics as opposed to being purely instrumental, the Mic-To-Mic blog reported that Capitol Records had confirmed it would be strictly instrumental and erroneously reported a release date scheduled for July 10, 2007. The band played several tracks from the album at the 2007 Virgin Festival at Pimlico Race Course in Baltimore, Maryland. The band subsequently confirmed the new album and announced a short tour that focused on festivals as opposed to a traditional tour, including the likes of Sónar (Spain), Roskilde (Denmark), Hurricane/Southside (Germany), Bestival (Isle of Wight), Electric Picnic (Ireland) and Open'er Festival (Poland). Beastie Boys performed at the UK leg of Live Earth July 7, 2007 at Wembley Stadium, London with "Sabotage", "So What'cha Want", "Intergalactic", and "Sure Shot". They worked with Reverb, a non-profit environmental organization, on their 2007 summer tour. They headlined the Langerado Music Festival in South Florida on Friday, March 7, 2008. They won a Grammy for The Mix-Up in the "Best Pop Instrumental Album" category at the 50th Annual Grammy Awards in 2008. In February 2009, Yauch revealed their forthcoming new album had taken the band's sound in a "bizarre" new direction, saying "It's a combination of playing and sampling stuff as we're playing, and also sampling pretty obscure records." On May 25, 2009, it was announced during an interview on Late Night with Jimmy Fallon that the name of their new album would be Hot Sauce Committee and was set for release on September 15th. In June, the group appeared at Bonnaroo Music and Arts Festival and performed the new single from the album titled "Too Many Rappers" alongside rapper Nas who appears on the track. It would be the last live performance by Beastie Boys as a trio. The group would have toured the UK later in the year in support of the new record. On July 20, Yauch announced the cancellation of several tour dates and the postponement of the new album due to the discovery of a cancerous tumor in his parotid gland and a lymph node. The group also had to cancel their co-headlining gig at the Osheaga Festival in Montreal as well as a headlining spot at 2009's Lollapalooza and also another headlining spot for the first night of the All Points West Festival in Jersey City, New Jersey. In late October 2010, Beastie Boys sent out two emails regarding the status of Hot Sauce Committee Pts. 1 and 2 to their online mailing list. An email dated October 18 read: "Although we regret to inform you that Hot Sauce Committee Part 1 will continue to be delayed indefinitely, Hot Sauce Committee Part 2 will be released on time as originally planned in spring of 2011." One week later, a second email was sent out, reading as follows: In what can only be described as a bizarre coincidence, following an exhaustive re-sequence marathon, Beastie Boys have verified that their new Hot Sauce Committee Part 2 will be composed of the same 16 tracks originally slated for inclusion on Hot Sauce Committee Part 1. The record (part 2 that is) will be released as planned in spring 2011 on Capitol. The tracks originally recorded for Hot Sauce Committee Part 2 (which now are actually back on Part 1) have now apparently been bumped to make room for the former Hot Sauce Committee Part 1 material. Wait, what? I know it's weird and confusing, but at least we can say unequivocally that Hot Sauce Committee Part 2 is coming out on time, which is more than I can say about Part 1, and really is all that matters in the end." says Adam "MCA" Yauch. "We just kept working and working on various sequences for part 2, and after a year and half of spending days on end in the sequencing room trying out every possible combination, it finally became clear that this was the only way to make it work. Strange but true, the final sequence for Hot Sauce Committee Part 2 works best with all its songs replaced by the 16 tracks we originally had lined up in pretty much the same order we had them in for Hot Sauce Committee Part 1. So we've come full circle. The official release dates were April 27, 2011 for Japan; April 29 in the UK and Europe, and May 3, 2011 in the US. The band was announced as an inductee into the Rock and Roll Hall of Fame in December 2011. They were inducted by Chuck D and LL Cool J on April 14, 2012. Yauch was too sick to attend the ceremony, having been admitted to New York–Presbyterian Hospital the same day, therefore the group didn't perform; instead Black Thought, Travie from Gym Class Heroes and Kid Rock performed a medley of their songs. Diamond and Horovitz accepted and read a speech that Yauch had written. On May 4, 2012, Yauch died from cancer at the age of 47. Mike D told Rolling Stone that Beastie Boys had recorded new music in late 2011, but did not say if these recordings would be released. He also said that Beastie Boys would likely disband due to the death of MCA, though he was open to making new music with Ad-Rock and that "Yauch would genuinely want us to try whatever crazy thing we wanted but never got around to". In June 2014, Mike D confirmed that he and Ad-Rock would not make music under the Beastie Boys name again. Founding Beastie Boys guitarist John Berry died on May 19, 2016, aged 52, as a result of frontotemporal dementia, following several years of ill health. He was credited with naming the band Beastie Boys and played guitar on the first EP. The first Beastie Boys show took place at Berry's loft. Yauch's will forbids the use of Beastie Boys music in advertisements. In June 2014, Beastie Boys won a lawsuit against Monster Energy for using their music in a commercial without permission. They were awarded $1.7 million in damages and $668,000 for legal fees. In October 2018, Michael Diamond and Adam Horovitz released a memoir, Beastie Boys Book. A few months ago, they released the fore mentioned documentary, Beastie Boys Story, directed by Spike Jonze.

Do It doesn't really dig into the depths of the B-Boys discography. As previously stated it's just the instrumentals (and probably not complete at that). I've gathered nearly 60 backing tracks (bootlegged by the band itself) from classic albums Paul's Boutique, Check Your Head, Ill Communication and Hello Nasty, as well as various single instrumental edits into a folder. And I've included the 4 official instrumental releases -- In Sound From Way Out (1996), Hello Nasty Instrumental Sessions (1998), The Mix-Up (2007) and The Mix-Up Bonus Tracks EP (2008). The compilation tracks are largely sourced from vinyl rips and I've made no improvements so quality is lacking at times. All files are chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

Monday, 27 July 2020

GGG Presents Goodie Grab Bags Volume 51



Amnesty - Discography 1972-73 [12sides]

01. Amnesty - 1972 - Everybody Who Wants To Be Free [Part 1] (Lamp #88)
02. Amnesty - 1972 - Everybody Who Wants To Be Free [Part 2] (Lamp #88)
03. Amnesty - 1973 - Three Cheers For My Baby (700 West 731120)
04. Amnesty - 1973 - Lord Help Me (700 West 731120)
05. Amnesty - 1973 - Can I Help You (Unissued 700 West)
06. Amnesty - 1973 - Love Fades (Unissued 700 West)
07. Amnesty - 1973 - Mister President (Unissued 700 West)
08. Amnesty - 1973 - Free Your Mind (Unissued 700 West)
09. Amnesty - 1973 - We Have Love (Unissued 700 West)
10. Amnesty - 1973 - Trouble Will Remain (Unissued 700 West)
11. Amnesty - 1973 - We've Come A Long Way (Unissued 700 West)
12. Amnesty - 1973 - Liberty (Unissued 700 West)


9th Street Exit - Discography 1973-74 [4sides]

01. 9th Street Exit - 1973 - Let's Make Sweet Harmony [Part 1] (Solid Foundation 103)
02. 9th Street Exit - 1973 - Let's Make Sweet Harmony [Part 2] (Solid Foundation 103)
03. 9th Street Exit - 1974 - 9th Street (Solid Foundation 107)
04. 9th Street Exit - 1974 - Never Be The Man My Big Brother Was (Solid Foundation 107)


Hidden Strength - Discography 1975-76 [12sides]

01. Hidden Strength - 1975 - It Didn't Have To Be This Way (United Artists LP UA-LA555-G)
02. Hidden Strength - 1975 - Happy Song (United Artists LP UA-LA555-G) (UA 12'' SP-135)
03. Hidden Strength - 1975 - Angel Of Love (United Artists LP UA-LA555-G)
04. Hidden Strength - 1975 - Hustle On Up (Do The Bump) (United Artists LP UA-LA555-G)
05. Hidden Strength - 1975 - Why Does It Feel So Good To Me (United Artists LP UA-LA555-G)
06. Hidden Strength - 1975 - I Wanna Be Your Main Man (United Artists LP UA-LA555-G)
07. Hidden Strength - 1975 - Hustle On Up (Do The Bump) [inst] (United Artists LP UA-LA555-G)
08. Hidden Strength - 1975 - All We Need Is Time (United Artists LP UA-LA555-G)
09. Hidden Strength - 1976 - I Don't Want To Be A Lone Ranger (United Artists UA-XW847-Y)
10. Hidden Strength - 1976 - Happy Song (United Artists UA-XW847-Y)
11. Hidden Strength - 1976 - I Don't Want To Be A Lone Ranger (UA 12'' SP-135)
12. Hidden Strength - 1976 - Hustle On Up (Do The Bump) [extended 12'' mix] (Unissued)


GGB51

Friday, 24 July 2020

Staxx Of Gold

One thing I often find amusing in this on-going exploration of soul and funk music, is how some of the most obscure of artists aren't actually that obscure at all. Today we feature a fine example of that in African Music Machine. While only releasing a small handful of highly sought-after 45s in the early 70s, this group honed their skills backing some of the best in the business. The talent is undeniable but without the 'star power' named artist out front, AMM's singles never saw major distribution and therefore fell through cracks. Re-discovered, remastered and re-issued in 2000 -- the release even inspired the band's original leader to re-form the unit nearly 30 years later.


The African Music Machine was an eight-piece funk outfit from New Orleans, led by bassist/songwriter Louis Villery. They got their start as a house band for the Jewel/Paula label axis, playing on records by the likes of Fontella Bass, Little Johnny Taylor, Roscoe Robinson, Ted Taylor, Tommie Young, and singer/producer Bobby Patterson, among others. From 1972-1973 they cut several of their own singles for the Patterson-owned Soul Power subsidiary. Most of their work was done in a heavy, James Brown vein, sometimes with a bit of Creole influence mixed in. Their original 45s -- including "Black Water Gold," "Tropical," and "The Dapp" -- later became highly prized items among funk collectors, fetching outlandish prices. A compilation of singles, also titled Black Water Gold, was reissued in 2000. In 2001, Villery assembled a new version of the African Music Machine and released an eponymous album on Singular Records. ~ Steve Huey [allmusic]

Staxx Of Gold gathers this short but sweet collection of original sides and next generation album. And other than some slight production accents, the recent recordings pair quite nicely with the classics in my opinion. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, Enjoy.

Monday, 20 July 2020

GGG Presents Metamorphic Malfunktions Vol. 03



01. The Equatics - 1972 - What They Doin' (No Label LP RI3580)
02. Buddy Terry - 1971 - Abscretions (Mainstream MRLP 336)
03. Marvin Holmes & The Rush Experience - 1971 - Don't Worry (Unissued LP)
04. The Pac-Keys - 1967 - Dig In (Hollywood 1108)
05. Prophet & His Disciples - 1972 - You Fool, You Fool [Part 1] (Pressco 101)
06. Prophet & His Disciples - 1972 - You Fool, You Fool [Part 2] (Pressco 101)
07. Jesse Anderson - 1970 - Mighty Mighty (Thomas 805)
08. Dick Khoza - 1976 - Lilongwe (The Sun LP GL 1873)
09. The Lightmen Plus One - 1972 - The Phantom [alt] (Unissued)
10. 9th Street Exit - 1974 - 9th Street (Solid Foundation 107)
11. Elaine Armstrong - 19?? - That's The Way It Goes (Unissued)
12. Archie Russell - 197? - Help Me [Part 1] (Unissued Hotlanta)
13. Archie Russell - 197? - Help Me [Part 2] (Unissued Hotlanta)
14. Gold - 1974 - Ain't That Funky Enough [inst] (Unissued LP)
15. The Fifth Revelation - 1973 - Make Up Your Mind [inst] (Epic 5-11012)
16. Smokey Johnson & Company - 1969 - Tippin' Lightly (Intrepid 75006)
17. Margie Hendrix - 1967 - You Ain't Nothin' But A Tramp (Mercury 72673)
18. Bobby Byrd - 1972 - If You Got A Love You Better (Hold On To It) (Brownstone 4206)
19. Afrique - 1973 - House Of Rising Funk (Mainstream MRLP 394)
20. Machine - 1972 - Time Is Running Out (All Platinum LP AP-3010)


MM03

Friday, 17 July 2020

On The Road Home

Now I'd never call myself a jazz fan, but if I'm being entirely honest, a large majority of my preferred funk falls under that purview or is a jazz fusion at the very least. With close ties to (the previously featured) Prof Johnson's Kashmere Stage Band, Houston Texas' Bubbha Thomas took this fusion to soaring heights. A seasoned drummer rooted in soul and gospel, who later as a bandleader composed and played some pretty incredible jazz-funk. Thomas also tried his hand at production, worked in promotions and radio but was most notably remembered for his efforts as a music instructor and in establishing Houston's Summer Jazz Workshop.


Before becoming an artist and educator, Thomas was a Fourth Ward kid who grew up in a music-filled household. He attended Booker T. Washington High School, dividing his time between music and basketball. He excelled at both, earning all-state honors in basketball. Music found Thomas studying with Houston jazz legend Conrad “Prof” Johnson. Thomas continued his study at Wiley College, and was a Korean War veteran before he returned to Houston in the early 60s where he found work drumming on sessions for Don Robey’s Duke and Peacock labels starting in 1963. Thomas drummed on recordings by O.V. Wright, Buddy Ace and the Mighty Clouds of Joy. In 1970, Thomas released “Free As You Wanna Be,” with his band, the Lightmen. A half century later, the record still bristles with ageless energy as Thomas and his collaborators cut a new path through jazz that had a progressive sound and an international bent that felt earthier than the jazz fusion that was in vogue during that time. His was a soulful sort of jazz with a socially inclusive bent. With no real peer, it was dubbed “spiritual jazz.” Because the Lightmen albums became rarities, more people in Houston knew Thomas for his other job, founding and operating the Summer Jazz Workshop, which he launched in the early 1970s in collaboration with Johnson, a premier jazz player who worked as the instructor, organizer and orchestrator of Houston’s storied Kashmere Stage Band. Being so young, Thomas asked Johnson to join his staff to lend the Summer Jazz Workshop some weight. The program grew and sent musicians of all sorts into the world. The Summer Jazz Workshop turns 48 this year. Thomas and a remarkable team of instructors — including another drummer, Craig Green — ran a program that had an inestimable positive effect on the city and its aspiring musicians. The Lightmen albums were long out of print until 2019 when the Now-Again record label brought “Free As You Wanna Be,” “Energy Control Center,” “Fancy Pants” and “Country Fried Chicken”, along with a number of other rare recordings back into circulation via the career encompassing box set "Creative Works", and generated new interest in Thomas’ work as a composer, band leader and drummer. Sadly, Thomas passed away in March, just one year after this crowning release. Thomas is survived by his son William and two grandchildren. ~ (mostly) Andrew Dansby [Houston Chronicle]

On The Road Home is blatant repacking of the fore mentioned box set ... the four albums (first two in both stereo and mono) with an additional folder full of rarities and alternate mixes. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

Monday, 13 July 2020

GGG Presents Deep Dish Delicacies Vol. 37



01. Roy Arlington - 1965 - Everybody Makes A Mistake Sometimes (Safice 337)
02. Bobby Long - 1964 - I Had To Come Back (Skymac 1011)
03. Emanuel Lasky - 1964 - Tomorrow (NPC 303)
04. Johnny Adams - 1963 - I Believe I'll Find Happiness (Watch 6330)
05. The Fabulous Dinos - 1963 - Retreat (Saber 105)
06. Winfield Parker - 196? - My Love For You [alt] (Unissued Ru-Jac)
07. Deanie Parker - 196? - Heartbreaker (Unissued Stax-Volt)
08. L.C. Cooke - 1964 - Put Me Down Easy (SAR 148)
09. The Ovations - 1964 - Won't You Call (Goldwax 110)
10. Fred Hughes - 1965 - My Heart Cries Oh (Vee Jay 703)
11. Big Al Downing - 1964 - All I Want Is You (Columbia 4-43028)
12. Mitty Collier - 1966 - My Party (Chess 1964)
13. The Capitols - 1966 - When A Man Loves A Woman (Atco 33-201)
14. Little Charles & The Sidewinders - 196? - Too Much Pride (Unissued)
15. James Carr - 196? - A Woman Is A Man's Best Friend [alt] (Unissued Goldwax)
16. Betty Harris - 1967 - Nearer To You (Sansu 466)
17. Cash McCall - 1966 - You Mean Everything To Me (Thomas 311)
18. Darrell Banks - 1967 - Here Come The Tears (Atco 33-216)
19. Kip Anderson - 1968 - I Went Off And Cried (Excello 2303)
20. Lyndon - 1969 - The Very First Time (Hi 2162)
21. Tony Ashley - 1968 - I Can't Put You Down (Decca 32342)
22. Otis Redding - 196? - Free Me (Atco SD 33-289 issd 1969)
23. Gary Allen - 1970 - Pride And Soul (Capitol 2808)
24. Elaine Armstrong - 1968 - Precious Minutes (King 6176)
25. Buddy Lamp - 1968 - I'm Coming Home (Duke 438)


DDD37

Friday, 10 July 2020

Groovin For The Groove

By the time Motown Records had firmly established D-Town as ground zero for all things soul and funk, they actually had little to no presence in Detroit, having moved to Los Angeles. Through the 60s, both directly and indirectly, Motown nurtured a bustling community of diverse and talented musicians and when they relocated, the ramifications to Detroit's recording industry were severe. The talent and the outlets were still there and but the means to majorly market and promote them had all but withered on the vine. Coupled with the economic crisis, decimating the manufacturing industries at the time, Detroit became a difficult city to be a successful musician in. By the early-mid 70's attention was turned towards Chicago and Philly, leaving lots of up and comers from Detroit in the lurch. Such was the case with The Propositions. Incredible young players from Detroit, who sadly never got anywhere near to the attention that they deserved.


As a teenager in a group called the Imperials lead singer Milt Harris made the doo-wop track Life Of Ease originally on Great Lakes Records. Moving on from the Imperials to become a producer, arranger, and writer he worked with various doo-wop artists at recording companies in Detroit, Michigan including Mutt Recordings and Correctone. Being based in Detroit through the 1960?s Harris rubbed shoulders and worked with many Motown musicians including William "Mickey" Stevenson, one of the unsung heroes behind the early success of the Motown sound. Harris had opened a studio on Warren Avenue with friend Robert Robertson on a whim that it might be something they could do in Detroit. It proved not to be Robertsons calling and he moved on as the 1960's became the 1970's. Harris moved the operations to 9120 Livernois St, and the New Dimension recording studio was born. "At the time I was working with several artists including a female vocalist called Vee-Vee and bands like the Psychedelic Lights and the Methods" says Harris. "I was looking for an in-house band for the vocalists I'd work with, and my friend James Ponder suggested I check The Prepositions" he adds. Ponder brought the band to studio. At the time they were made up of young teenagers, playing in a school band from Holland Park, Detroit. These were just 8 or 9 neighborhood friends that had got together to make music. Keeping an eye on their progress Harris soon decided the band could stand on their own. "They didn't just want to be a back-up band, so we decided to cut something with them," he said. A record release for the Prepositions would mean they could get more live gigs. They already played cabaret events, private parties, and anywhere they could get a gig with people who needed musical entertainment, including local army bases. "I held parties that featured all the bands I worked with in various halls across Detroit," said Harris. "But when singles were released the band had got to the point where they could be there own act, and not have to play with others." Three 7" singles were released during the bands existence. The first two were 'Funky Disposition' b/w 'Something Different' and 'Do What Ever Turns You On'. Playing across the city and into neighboring states the band quickly garnered a reputation and was held in the same esteem as legendary funk acts The Counts and The Ovations. Both singles sold-out 2 pressings, Harris estimates he printed 1000 of each title in total and that they sold mostly in Detroit and Toledo. They would practice at New Dimension Recordings and then cut at other studios including the spectacularly named Uncle Dirty Sound Machine. In the early 1970s Motown was going big, and Detroit became a breeding ground for smaller labels like Westbound and Tribe, and countless recording studios. Musicians, artists, and entertainment people mixed and networked in a very happening scene. The Local 212 hall was a place where bands of all calibers got to play, and the Prepositions appeared alongside The Floaters, The Fantastic Four, and many others. They also performed regularly at The 20 Grand, Mason Hall, High Chaparral and Cozy Corner. At their peak they appeared 3 or 4 times a week in the Summer. They even appeared as back-up band to David Ruffin and Eddie Kendricks and ZZ Hill, and scored opening slots for the Chi-Lites and O'Jays. As the Prepositions developed they introduced vocal tracks into their otherwise instrumental funk set, with drummer Jerome "Stix" Williams stepping up to the mic and broadening the bands appeal. "You could never duplicate those times, there was so much music. It wasn't really a competitive scene, but some bands were more visible and active than others. The Prepositions lived and breathed to play, they were everywhere!" explains Harris. "You had to be 21 to get in, so we had to cut deals with the club because the band members were too young to be inside." Despite aspirations to become professional musicians the third 7" single signaled a change for the band, and it would be the last record they would release together. First a typographical error on the record label meant that The Prepositions would now be known as The Propositions. 'Africana' would outsell the previous two singles and therefore the name had to stick. In fact the single sold so well it forced the band and Harris to consider whether they should release an album. Sessions were recorded, tracks written and produced, but unfortunately the times were changing fast and economics dictated that the album remain unreleased. "The epic gasoline shortage caused the cost of vinyl to go sky high. It was almost cost prohibitive to press an LP," explains Harris. "And to make matters worse the payola-thing had become so rampant that it wasn't worth trying to promote a record. When you also consider that the DJs were taking over and live bands being forced out, or to have to perform for only tiny fees, it's no surprise that we couldn't release the record. Everyone was disappointed, but they understood," adds Harris. When the album didn't materialize some of the band members decided to take different career paths. Others got more responsibilities with jobs and families, and their musical progress slowed, members dropped off and they began to break up. There was no animosity or ill-will, the life of the band had run its course, and economics forced them into quitting, an unfortunately regular occurrence for Detroit and a once burgeoning music scene. Harris continued to write for various people and perfecting his craft in the recording studio. He also dabbled with politics and to this day does jingle and other commercial music work.

Groovin For The Groove gathers the complete recordings as The Propositions/Prepositions and includes the unissued album and a number of other unissued and alternate recordings, on top of the 3 issued singles. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

Monday, 6 July 2020

GGG Presents Goodie Grab Bags Volume 50




Nat Turner Rebellion - Discography 1969-72 [15sides]

01. Nat Turner Rebellion - 1969 - Tribute To A Slave (Delvaliant 100) (Unissued LP)
02. Nat Turner Rebellion - 1969 - Plastic People (Delvaliant 100) (Unissued LP)
03. Nat Turner Rebellion - 1969 - Fat Back (Unissued LP)
04. Nat Turner Rebellion - 1969 - Care (Unissued LP)
05. Nat Turner Rebellion - 1969 - McBride's Daughter (Unissued LP)
06. Nat Turner Rebellion - 1969 - Fruit Of The Land (Unissued LP)
07. Nat Turner Rebellion - 1969 - Never Too Late (Unissued LP)
08. Nat Turner Rebellion - 1969 - Going In Circles (Unissued LP)
09. Nat Turner Rebellion - 1970 - Love, Peace & Understanding (Philly Groove 164)
10. Nat Turner Rebellion - 1970 - Getting Higher Together (Philly Groove 164)
11. Nat Turner Rebellion - 1971 - Can't Go On Living (Philly Soulville 1422)
12. Nat Turner Rebellion - 1971 - Laugh To Keep From Crying (Philly Soulville 1422)
13. Nat Turner Rebellion - 197? - Right On, We're Back (Unissued)
14. Nat Turner - 1972 - Ruby Lee (Philly Groove 171)
15. Nat Turner - 1972 - You Are My Sun Sign (Philly Groove 171)


Power Of Attorney - Discography 1973-75 [14of15sides]

01. Power Of Attorney - 1973 - Changing Man (Nicetown 650)
02. Power Of Attorney - 1973 - Fillet Of Soul (Nicetown 650)
03. Power Of Attorney - 1974 - Turn Around (Polydor 14259)
04. Power Of Attorney - 1974 - Jelly Roll (Polydor 14259)
05. Power Of Attorney - 1974 - Life Is Nowhere In The Ghetto (Polydor LP  PD 6031)
06. Power Of Attorney - 1974 - Loving You (Polydor LP  PD 6031)
07. Power Of Attorney - 1974 - I've Been Thinking (Polydor LP  PD 6031)
08. Power Of Attorney - 1974 - The Children (Polydor LP  PD 6031)
09. Power Of Attorney - 1974 - Buck Naked (Polydor LP  PD 6031)
10. Power Of Attorney - 1974 - Turn Around (Polydor LP  PD 6031)
11. Power Of Attorney - 1974 - Jelly Roll (Polydor LP  PD 6031)
12. Power Of Attorney - 1974 - I Wanna Be Free (Polydor LP  PD 6031)
13. Power Of Attorney - 1974 - No More (Polydor LP  PD 6031)
14. Power Of Attorney - 1975 - You Got Over On Me (Nicetown 002)
15. Power Of Attorney - 1975 - The Boom Boom Song (Nicetown 002) **missing**


GGB50

Friday, 3 July 2020

Do The Dirt

So if the recent New Recipes wasn't a dead give away let me now be emphatic. I had a lot of fun digging into the funk month before last, and frankly, I still got a lot of making up for. So let's bring that beat back and dig into a second month of funk. I've got some relatively obscure stuff and some funky little surprises in mind this month, but before that, let's start with the most formative of outfits in southern funk. The Meters re-defined the Crescent City sound in the late 60s and by the early 70s were directly altering the course of not just rhythm n blues, but jazz, blues, rock n roll and even country music. New Orleans had been a recognized hub for musical ingenuity long before these bayou boys were even born so when they became the talk of the town, their sound spread like wildfire, with really little effort on their part. Considered by many to be the founding fathers of funk, The Meters created a unique sound that eclipsed the 60s, 70s and even the 80s. Their sound is defined by a combination of tight melodic grooves and syncopated New Orleans "second line" rhythms, under highly charged guitar and keyboard riffing.


The story of the Meters starts with its frontman and at least ten years prior to their hey day. Recently deceased, Art Neville, was a staple of the New Orleans music scene for over five decades. Neville grew up in New Orleans, he was the son of Amelia (Landry) and Arthur Neville Sr. He started on piano and performed with his brothers at an early age. In high school he joined and later led The Hawketts. In 1954 the band recorded "Mardi Gras Mambo" with Neville on vocals. The song gained popularity and became a New Orleans carnival anthem. The band toured with Larry Williams. Neville performed regularly in New Orleans, joined the U.S. Navy in 1958, and returned to music in 1962. In early 60s Neville formed the Neville Sounds. The band included Aaron Neville, Cyril Neville, George Porter, Leo Nocentelli, and Ziggy Modeliste. Shortly after, Aaron and Cyril left the group to form their own band. The remaining four members continued playing at the Nitecap and the Ivanhoe nightclubs. The band backed many notable artists such as Lee Dorsey, Betty Harris and The Pointer Sisters. They  had a strong sense of groove and unlike traditional groups each instrument was free to lead and go anywhere musically. Over time the band's style came to represent New Orleans funk. In the late 60s the band changed its name to The Meters and became the house band for Allen Toussaint and his record label, Sansu Enterprises. In 1969 the Meters released "Sophisticated Cissy" and "Cissy Strut", both major R&B chart hits. "Look-Ka Py Py" and "Chicken Strut" were their hits the following year. After a label shift in 1972, Cyril returned to the unit but the Meters had difficulty returning to the charts. They did however, work extensively with Dr. John, Paul McCartney, King Biscuit Boy, Labelle, Robert Palmer and many other charting musicians of their time. In 1975 Paul McCartney invited the Meters to play at the release party for his Venus and Mars album aboard the Queen Mary in Long Beach, California. Mick Jagger of The Rolling Stones was in attendance at the event and was greatly taken with the Meters and their sound. The Rolling Stones invited the band to open for them on their Tour of the Americas '75 and Tour of Europe '76. That same year, the Meters recorded one of their most successful albums, Fire on the Bayou. From 1976 to 77 they played in The Wild Tchoupitoulas with George and Amos Landry and The Neville Brothers. Art and Cyril Neville left the band in early 1977, but The Meters still appeared on Saturday Night Live on March 19, 1977, during the show's second season. After the Nevilles' departure, David Batiste Sr. took over on keyboards while Willie West joined as the band's lead singer. Porter left the group later that year and by 1980 The Meters had officially broken up. After the break-up, Neville continued his career as part of The Neville Brothers, Modeliste toured with Keith Richards and Ron Wood, while Nocentelli and Porter became in-demand session players and also formed new bands. Nearly a decade later Art Neville, George Porter Jr. and Leo Nocentelli reunited as The Meters, adding drummer Russell Batiste Jr. to replace Zigaboo Modeliste. Nocentelli left the group in 1994 and was replaced with guitarist Brian Stoltz, formerly of The Neville Brothers. The band was renamed The Funky Meters. They were referred to as "the Funky Meters" as early as 1989. They were billed as such when playing in a tiny venue called Benny's Bar at Valence and Camp streets. The Funky Meters continued to play into the 2000s with Stoltz being replaced by Art Neville's son, Ian Neville, from 2007 to 2011 while he went to pursue a solo career. Stoltz returned to the band permanently in 2011. In June 2011 The Original Meters along with Allen Toussaint and Dr. John played the Bonnaroo Music and Arts Festival in Manchester, Tennessee. The six men performed Dr. John's album Desitively Bonnaroo which was originally recorded with the Meters, to a sold-out crowd. The Original Meters also played a set at the 2011 Voodoo Experience in New Orleans. On May 5, 2012 The Meters returned to New Orleans for a performance to a sold-out crowd at the Howlin' Wolf. In late 2012, Zigaboo Modeliste, Leo Nocentelli, and George Porter Jr. played concerts with Phish keyboardist Page McConnell under the name The Meter Men. During his time off from Phish, Page McConnell has continued to play with Porter Jr., Nocentelli, and Modeliste under the moniker of The Meter Men since those shows in 2012. The Meter Men had performed 16 shows together as of spring 2015, with their third annual appearance as a late night act during New Orleans' Jazz and Heritage Festival. As of 2017, The Funky Meters tour consistently performing songs by The Meters, while The Meters perform sporadically. The lineup of Neville, Porter, Nocentelli and Modeliste typically bill themselves as The Original Meters to avoid confusion with The Funky Meters. When not performing with The Original Meters, guitarist Leo Nocentelli leads his own group, The Meters Experience, which also performs the music of The Meters. As of 2018, the most recent performance of the original Meters (with all four of the founding members) took place at the Arroyo Seco Festival in Pasadena, California on June 25, 2017. Art Neville announced his retirement from music on December 18, 2018. Neville died just six months later, on July 22, 2019.

Do The Dirt delivers the complete classic studio discography by The Meters. Recorded between 1968 and 1977, we have all eight albums plus the Unreleased mid-70s LP 'Kickback', the (1968-75) Sansu Records compilation released on Rounder Records in 1990, and a complete singles collection, featuring a half dozen unissued sides and the 1969 single recorded by most of The Meters, billed as The Rhine Oaks. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

Wednesday, 1 July 2020

GGG Presents New Recipes Volume 04

Technical difficulties had me derailed for the last several days but back on track now and will be gaining ground in no time. Should have more Redux re-ups coming soonish, the treasure chest has been padded today, and here's a little something something out of left field.


01. Crowd Company - 2020 - On This Love You Can Count
02. Fusion Funk Foundation - 2020 - Sweet Bread [inst]
03. Ricky Hopkins - 2020 - Stranger Things [inst]
04. Lee Fields & Soul Providers - 2020 - Put It On Me
05. Speedometer w. Najwa Ezzaher - 2020 - Look No Further
06. Jungle Fire - 2020 - Slipshot [inst]
07. Flyjack - 2020 - Tell Me What You Want [inst]
08. The New Mastersounds - 2019 - Live Life Free
09. Diplomats Of Solid Sound - 2019 - Move On
10. Crowd Company - 2020 - Express 76 [inst]
11. The Soul Motivators - 2020 - Savalas [inst]
12. Tragic City - 2020 - BJCC [inst]
13. Solid Bronze - 2019 - The Critter Walk
14. Funky Butt Brass Band - 2020 - For The Marks [inst]
15. Don Bryant - 2020 - Your Love Is To Blame
16. Lee Fields & Soul Providers - 2020 - I'm A Millionaire
17. Black Market Brass - 2020 - War Room [inst]
18. Lettuce - 2020 - Good Morning Mr. Shmink [inst]
19. Gallowstreet - 2020 - Purple Whip [inst]
20. The Summits - 2020 - P's And Q's
21. Funky Butt Brass Band - 2020 - Dive [inst]
22. Antibalas - 2020 - Fist Of Flowers


NR04