FORT KNOX RECORDINGS PRESENTS...

International Velvet: Sitargazer
From The New Gold Standard 2 (Fort Knox Recordings , 2009)

Fort Knox Recordings is a record label based out of Washington, DC, and they've assembled another compilation featuring a mishmash of styles – reggae, funk, Latin, Indian, and more.

“Sitargazer” by International Velvet is the standout track on the compilation. With its bass heavy rhythm, the sitar gives it some Eastern flair creating an amalgamation of disparate styles that blend quite well together. If it had more aggressive drum programming, you'd almost think it was the Chemical Brothers. International Velvet also has a cover of Gordon Lightfoot's “Sundown” that features another sitar solo (certainly not a phrase you hear often) and is a modern twist of the adult contemporary original.

Other highlights include the South American “Cumbia” by the Empresarios with its skitterish synth sounds hiding behind a Latin-styled piano and impressive bongo work; Speedy Consuela's “Number One Fan” with its pouncing bass and keen record scratches; and the uptempo “The Sax Pusher” by the Fort Knox Five with the sax player taking center stage – it's enough to make Oliver Sain proud.

While it lacks cohesiveness as a whole, when taken individually many of the songs themselves work quite well. In the age of digital downloading, pick the songs that work best for you and get an early start on preparing your summer BBQ mixtape. It's not all golden treasure stored inside, but there are enough nuggets with luster in here that prove it's not fool's gold either.

GOSPEL AND GRIT: THE SOUND OF FUNKY FERVOR

The Inspirational Gospel Singers: Same Thing It Took
From Good God! Born Again Funk (Numero, 2010)

R&B, while built largely on the back of gospel music, has a somewhat dichotomous relationship with gospel's roots, at least from the viewpoint from the latter. During rhythm & blues' birth, many gospel supporters boiled over the idea of R&B artists using hymns as a basis for their songs that had a raunchy undertone and with a rhythm that was thought to derive straight from the devil. Even one of gospel's largest stars, Sam Cooke, wondered if he could ever go back to gospel if his pop career didn't pan out.

So it's surprising, in a sense, then, that songs that lyrically praise the Lord have a musical backing that uses a rhythmic style that would seemingly contradict it from a gospel purist's standpoint. Part of it may be that over time, that feeling subsided, even if only a small bit. On Numero's latest offering - Good God! Born Again Funk - that follows up its first gospel/funk compilation, the merging of styles is further discovered and investigated.

The most startling example is that of Ada Richards' “I'm Drunk And Real High” in which the words in the hook she uses actually sound like a soul that has been tainted by the dark side. She shouts and holy rolls with the best of them in tone and attitude, but with a line like “I'm drunk, Lord Jesus, and I'm real high!” it's no wonder that it hasn't made its way into the local church choir's weekly rotation.

Many of these songs with their lyrical content disregarded, in fact, sound straight out of the R&B canon. “The Same Thing It Took” by The Inspirational Gospel Singers is actually a reworking of sorts of the Impressions song of the same name. Interestingly enough, though, it's more R&B in its musical backdrop than its secular counterpart. With its chunky bass and Jean McInnis' (who sounds like she could be a long lost Franklin family member) vocals, the song is a shining example of what these two genres can sound like when married properly - where fervor and funk both shine equally.

If Heaven has a juke joint, Born Again Funk showcases what Jesus would be listening to while taking a shot of holy water. Some say that most people miss Heaven by 18 inches - the distance from your head to your heart. These songs highlight what gets your soul shaking in a body part 18 inches below your heart: your rump.

SOUNDS FROM ALL AROUND

Whitefield Brothers featuring Mr. Lif and Edan: The Gift + Taisho
From Earthology (Now Again, 2009)

Music just wouldn't be as fun without the Whitefield Brothers around. Sure, they aren't as well-known as they should be, but they consistently provide quality and they rarely stay in one place too long musically speaking.

We heard their take on thunderous funk in the mid-90s long before it was en vogue to do so. I'm talking pre-Numero and pre-Daptone. With as much respect I have for the Dap Kings, I'd still take “Augusta Georgia” and “Practice What You Preach” by the Whitefield gang in their multitude of band names over anything I've heard from SJ + DK. That's not to say SJ + DK don't deserve the praise they get; the WB just funk out even harder.

After a short stint with a little discofied funk as Syrup, they started going in a different direction with “In The Raw” on Soul Fire by adding more of an African tinge to their music. By 2008, they had advanced that sound even further with the Karl Hector And The Malcouns project. Now, we get their most diversified sound with “Earthology,” entitled so, at my best guess, as a study of the music from around the globe. This is true World Music.

Songs with an unfamiliar time signature like “Pamukkale” make sense within the frame of the album, although you might be thrown off if just heard by itself. The Eastern sounds of “Taisho” hit you right away before going off into a menacing bass groove. “Ntu” explores a variety of percussion, though not of your standard drum kit. Rap even makes its way on to the record by underground sensations Edan and Mr. Lif on “The Gift” over one of the more straightforward rhythms on the album.

It was interesting to note the copyright date on the back of my promo copy as 2008. While I don't know why it has set on shelf for so long (unless it the year was a misprint), it works well for continuing their legacy as well as that of Stones Throw/Now Again. The front cover calls it a World-Psych Masterpiece, a fitting description for an album that pulls its influences from all over. Left to lesser talent, both by the band and co-executive producer Egon, it might sound disjointed. Under their careful watch, though, we're treated to an exquisite album of sounds and textures. It's available digitally now from Stone's Throw online web store, and hits the racks in January everywhere else.

IN THE CHRISTMAS SPIRIT

Electric Jungle: Funky Funky Christmas
From In The Christmas Groove (Strut, 2009)

It's that time of the year again where we get to hear yuletide songs everywhere. Where I live there's a radio station that gets flipped every year (starting in late October/early November) to play only Christmas music. It can take its toll on your nerves as you hear standard after standard or (bad) cover after (bad) cover.

Don't get me wrong, Christmas music can be great, but it has about a one week shelf life year in and year out. The one exception for me is Donny Hathaway's “This Christmas,” which I could listen to on a hot July day (and have).

So if you need some new (or new to you) Christmas tunes to listen to, Strut has just released a great compilation that gathers some odds and ends from mostly unknowns, aside from Jimmy Reed and the Harvey Averne Band. Songs range from Reed's soul-blues “Christmas Present Blues” (wow, what a harmonica!!) to a sleigh bell-infused instrumental jam in Milly & Silly's “Gettin Down For Xmas” to an almost melancholy “Black Christmas” by the Harlem Children's Choir.

Electric Jungle takes you on a “Funky Funky Christmas” journey – not to be confused with this. Instead, they jam like they've OD'd on egg nog and are hyper from eating the plate of cookies left for Santa.

These are the kind of gifts you hope for as a stocking stuffer. Speaking of which, Daptone has a new 45 out of Sharon Jones & The Dap Kings on the A-Side with Binky Griptite spitting a holiday message on the flip that you can either 1) buy, 2) get free with the purchase of $30 from their online store, or 3) get a free digital copy of just by signing up for their online newsletter. You can preview the A-side here.

Now that's some Christmas spirit!

OCOTE SOUL SOUNDS SHOW US HOW A COCONUT CAN ROCK

Ocote Soul Sounds: The Revolt Of The Cockroach People + Cara de Yo No Fui (Ancient Astronauts Remix)
From Coconut Rocks (Deluxe Edition) (ESL Music, 2009)

Antibalas founder Martin Perna and Adriana Quesada of Grupo Fantasma have once again come together as Ocote Soul Sounds. Their latest album “Coconut Rock,” most recently released today in a digital-only deluxe form (the standard version can still be found at your local music store), finds their blend of various stylings really turning up the heat. Tacked on to the end of the standard album are 5 remixes of the standard version's original mixes.

From the opening baritone sax lines that repeat its catchy riff in “The Revolt Of The Cockroach People,” your ears have been prepared for the next hour or so. Fans of the El Michels Affair or the Menahan Street Band will immediately put this track on repeat as it has a spunk about it that resonates well after its all-too-short 3 minutes is up.

The reggae rhythm of “Cara de Yo No Fui” gets the remix treatment courtesy of Ancient Astronauts, another member of the ESL Music family. The remix starts with a spaced-out feel as you're given a sense of stepping out of the spin cycle before the drums kick in and set you straight. Those drums, which are not in the original version, give the track a real sense of urgency that complements the reggae stabs very well.

The album is a great blend of instrumental prowess that, even aside from its accompanied vocals, more than stands on its own as an accomplished work. There's a fuzzed-out electric guitar on “Return Of The Freak,” the aforementioned baritone sax riff, and even a light flute that permeates throughout that show Perna and Quesada, along with their other 5 bandmates, aren't going to be restricted to one style or sound. We, the listeners, are the greatest benefactors of their gifts and hard work.

DANGER IN THE WATER: MIGHT BE OVERTAKEN BY THE FUNK

Funk St Workshop: Water
From Unreleased (700 West, 197?)

Over the past couple of years I've been doing some research for Egon at Stones Throw/Now Again for a yet-to-be-released compilation on Indiana funk. During one of the interviews with Romeo Glenn, formerly of Little Murray And The Mantics, we discussed briefly another band he was in called Funk St. Workshop. According to Indiana45s.com they released two 45s as Funk St. Workshop on 700 West, although Romeo didn't remember the one called Errol Flynn (Pts. 1 and 2).

What was interesting to find on 700 West's website was this little cover of Graham Central Station's “Water” that went unreleased for some unknown reason (maybe the clearance to release it?). Thankfully they put it up for the world to hear. While no indication is given as to what year it was recorded, it was at least 1975 since that is when the OG was done.

You get the Larry Graham slap bass technique, but they have a tighter grasp on the rest of the song. The horns on this song absolutely wail as the band does a faster-paced version, which suits the groove better. Folks, this thing smokes. Is it better than the original? In a word, yes.

OF TRUTH AND SOUL

Ghetto Brothers: The Ghetto Brothers Power
From The Ghetto Brothers Power/I Saw A Tear 7” (Truth And Soul, 2009)

Truth And Soul has put out its fair share of excellent releases already this year. A couple of them have paid homage to yesteryear's stars (Isaac Hayes and the Wu-Tang Clan) and others have been just as soulful in their own right such as the recent Lee Fields album, “My World.”

Sometimes, though, things come in smaller doses just to give you that quick fix. The Ghetto Brothers 45 shows 2 sides of the band – a tender, if somewhat uninspired ballad in “I Saw A Tear,” with the hook sounding a bit like Stevie's “I Never Dreamed You'd Leave In Summer” – and an uptempo, unabashed street party that was somehow written into wax grooves.

Right from the start, you get that early '70s guitar workout just before the bassist gets in on the act. Where the B-side relies too much on the technical ability to sing, the A-side uses a mean set of congas with the aforementioned bass riff to build a foundation upon which the singers can complement with an energetic performance that doesn't try to be more than what it is or needs.

Michael Leonhart And The Avramina 7: Gold Fever
From Scopolomine/Gold Fever 7” (Truth And Soul, 2009)

Michael Leonhart and the Avramina 7 have come together after various band members have been involved in numerous other projects in the soul and groove revival guild such as El Michels Affair, Antibalas, The Dap Kings, and the Phenomenal Handclap Band.

On this 45, the b-side features an afro-funk styled jam called “Gold Fever.” The only words are the hook in its chant of which I can't fully understand all the words outside of the title and “thousand eyes watching you.” During the rest of the song, they let their playing do the talking, and there's no mistaking what they're saying: Get off your ass and jam!

DISCO FUNK

Alice Russell: Living The Life Of A Dreamer (Mr. Scruff Remix)
From Pot Of Gold Remixes Vol. 1 (Six Degrees, 2009)

Recently I heard this tasty little gem by UK chanteuse Alice Russell, who has garnered all sorts of comparisons to other blue-eyed soulsters. The beat itself was constructed by her fellow British comrade Mr. Scruff and is featured on one of the remix suites to last year's Pot Of Gold album. The new remix suites are available now digitally or on December 15th in 2-CD physical format.

With its groove-heavy disco funk that replaces the original's jittery backbeat, Russell sings with an impassioned urgency. The track spins for a lengthy 8 minutes with long breaks that extend throughout in multiple spots. It's sure to find its way into your local club DJ's sets with a groove like this that is so hard to deny.

DY-NO-MITE!!!

If you didn't know any better, you'd think you were back at the cinema 35 years ago watching a Shaft spinoff. But you're not. It's 2009, and the blaxploitation craze is back after a long hiatus - ready to kick you in the teeth and then sleep with your lady.

The movie is being released slowly to various markets, but you can vote for it to come to a town near you here. What you don't have to wait on, though, is the funky music that accompanies the movie. There are 2 releases associated: the score and the soundtrack. (Take a listen to each in full over in the music section of the official movie site.)

The soundtrack pulls together various library music from the likes of Alan Tew, Brian Bennett, and Nino Nardini to name a few. Some of these tracks have been used in other crime drams previously, hence the “library” moniker. If you've heard other blaxploitation soundtracks before, then you know the sound well: fuzz guitar, funked-out bass, and plenty of bass clef piano thuds hinting at trouble waiting just around the corner.

The score was masterminded by multi-instrumentalist Adrian Younge. The record has such a vintage feel that it's hard to believe that this truly isn't some piece of unearthed long-lost goodness from the vaults. Much of the grittiness can be attributed to its recording process. Younge composed and played the album in his apartment on analog equipment.

No true blaxploitation score would be complete without a theme song. Sir Charles Hughes does the honor in coronating our hero. A brief introduction of Black Dynamite tells us how the grass withers wherever he walks and King Kong steps aside as he passes. Yes, he's a badass so step out of his way. That doesn't quite prepare us for “Chicago Wind,” with a haunting vocal that I'll be surprised if it isn't sampled by a Chicago native like Kanye West or Common in the next couple of years. It's already got the boom bap drums laid at its foundation and a slinky synth laid over top. The lyrics aren't as potent as the melody itself, but it's such a strong track, namely for the aforementioned vocals that breeze through like the gusty Chicago wind it speaks of through a cracked window, howling into your soul.

Early reviews of the movie indicate that it rides the line between homage and parody of the genre. The score is more the former as it's a reproduction of the sound. No new ground has been tread, but it's none the worse for wear. It reminds us of a time when composers other than John Williams told the story of characters not in visual action but in tone and soundscapes. It's nice to be reintroduced to that ideal.

MORE HELIOCENTRICS

Heliocentrics: Live In Paris

Over on the Now Again website, there is a 10-minute clip of the Heliocentrics throwing down in live style over in Europe from last year. The Heliocentrics took over due to Madlib having to pull out at the last minute.

Maybe we'll get lucky enough to get a full version of that show from the Stones Throw crew at a future date.