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WELCOME to the Soulfunklifestyle Blog: Comin' at ya from a mindset in-tune with NYC/NJ's Underground Dance Music Movement (Past & Present).

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GET A LIST OF (all) POST TITLES AVAILABLE by using the archives. It's very simple, quick, and EFFECTIVE. Here's how:
SIMPLY locate the archives section located near the top of the right-hand sidebar. Now look for spinning-top-shaped figures (these are pointed downwards & sideways). Now start clicking on the top-shaped figures. You can even click THESE TOPS EXHAUSTIVELY - RESULTING IN A SPREAD OF ALL POST-TITLES AVAILABLE. This can even be done BEFORE going to any particular post.

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Tony Humphries, Club Zanzibar, & The Jersey Sound During The Late 80's/Early 90's

Ceybil Jeffries (of "Love So Special" fame) breaks it down proper: "The New Jersey sound is sweaty, it's smooth. The energy is very high-powered but yet it's a mellow type energy."

High-powered but yet mellow -- my exact thoughts concerning the Jersey sound. Whenever Tony Humphries zoned-out behind the DJ's console at Zanzibar and that musical energy fully connected with the dancers ... DAMN!!! It was a trance dance ritual in full effect ... everybody dancin' like nobody's watching. A testament to the true NY/NJ underground dance scene of yesteryears.

Check out this footage

And check out this 2nd post on "The Jersey Sound."

(Yeah, I already know this footage is old news; that it's been on the internet for sometime already. But I'm not gonna let that stop me from archiving it here... It's a good piece of documentation I might want to reference sometime in the future.)

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Been a Long Time Since Last Post....Anyway, Introducing Mr. Peabody Records

Been a long time since the last post. Wasn't even gonna to throw up this one you're reading now. Eventually said fuck it. Let me do this. Besides - as mentioned in an earlier post - this blog also serves as a personal archives of sorts, stocked with all types of music-related pieces (particularily on underground dance music). So with that said let me put y'all on to a short video about Mr. Peabody Records in Chicago..... YEAH, sure the SoulFunkLifestyles's Blog is rooted in discussions on The NYC Underground. So WHY big-up Chicago here? Well, aside from archival purposes we figure this video would be appreciated by Y'all. Plus serious NYC dance music heads remember the impact Chicago "house" music had in NYC and probably know more intimately than most the deep ties between NYC & Chicago in regard to the development of dance music culture. Personally remember the time when NYC specialty record shops held a small handful of Chicago tunes to the time when the market was flooded (in a good way) with product from Chicago. Fresh's "Dum Dum," Farley Funkin' Keith's "Funkin' With Drums," and Le Noiz' "Wanna Dance" were some of my earliest purchases of Chicago "house" tunes. All this started in NYC around 1984 on up to 1988. After 1988/89 shit started on its way internationally... A whole nutha story. Anyway, getting back on track, this video is mos def worth recognition here because these brothers at Mr Peabody Records, Mike Cole and Mark Grusane, are curators of some of the best music in the world. And we're not speaking here about "house music" per se. The connection is more aligned with the jams of yesteryears, well before the emergence of "house music," that helped set the foundation of dance music culture as we know it today. AND we're not speaking here of well-known club classics (i.e. classics that were regularly spun by legendary DJs at legendary spots such as The Paradise Garage, The Loft, The Warehouse, Club Zanzibar, The Music Box, The Shelter, etc.). Think here of the mountains of smokin-quality grooves that aren't considered club staples. Many consider these "B-side cuts" or "rarities." Mr. Peabody's Mike Cole & Mark Grusane are at the forefront helping to bring all this good music from the grave back into the light again. Props. Oh yeah, a comment on the original youtube posting reads the sound track to this video is "Night Drive Volume 1 -- compiled by the Mr Peabody Record's staff. X-tra props for this. Epecially like the first cut on the video...Check it out for yourself.



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Carol Williams Thanks “NYC Metro DJs”

Version 1
Promo Pressing & Regular Pressing (see photo above)
Both of these pressings were originally released in the early 80's and contain the exact same mixes - vocal & instrumental.

Version 2
Is a special pressing released on Vanguard Records in 2002 dedicated to "New York Metro DJs."
Carol Williams' message reads:
"Hi, this is Carol Williams, and I'd like to thank all of the New York metro DJs for supporting Can't Get Away. I'd love to say this in person, but that is impossible. So we at Vanguard have prepared a special mix, to show our appreciation for your support. Thank you New York metro DJs".
Carol Williams - Can't Get Away (From Your Love) ==> Special Club Dub Mix "dedicated to "New York Metro DJs..." (5:37)

Listen to Version 1 (original mix) here

Listen to Version 2 (special mix dedicated to NY metro DJs) here


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Chicago Big-Up Ten Classic Cuts

Not much here. Just a list of records. But what makes this list a lil’ more interesting are the comments made by four Chicago music heads. Cee White. DJ Gold-D. Chris Calloway. And the infamous Rahaan.

Artist/Name of album: The Crown Heights Affair/Foxy Lady
Year/ Record Label: 1975/ De-Lite Records
Staple songs: Dreaming a Dream (Disco), Foxy Lady
"Crown Heights is like a New York disco joint, said Cee White, "Coming up from 83 to now this song is synonymous with the records in my collection."

Artist/ Name of album Roy Ayers/ Let’s Do It
Year/Record company: 1978/ Polydor Incorporated
Staple song: Sweet Tears, Lets Do It
DJ Gold-D admires Roy Ayers, saying, "‘Let’s Do It’ by Roy Ayers is influential. He’s a veteran and is still consistent to this day."
"Roy Ayres can do no wrong ‘Sweet Tears’ is a beautiful song," said Chris Calloway

Artist/Name of Album: Bill Withers/ Just As I Am
Year/Record Label: 1971/Sussex Records
Staple Song: Harlem
Chris Calloway [??? Anyone wanna share some info on this cat, I’m not familiar with his output.] said, "You can play the classics up to the hot classics and if it’s a song they don’t know you can lose the crowd. I call these hot classics. It will give it (the party) the energy that it needs to turn it into a whole new party."

Artist/Name: Brass Construction/Now Is Tomorrow
Year/Record Label: 1976/United Artists Records
Staple Song: Now Is Tomorrow
"It’s smooth and you can dance real nice to it," said DJ Gold-D. "You feel like your flying but your dancing and it has a wonderful break in the middle of the song. Gold-D continues, "It’s an underground standard cut, in fact it’s a super-cut. The album has more than one song on it that’s why it’s a staple."

Artist/Name of Album: Mille Jackson/ A Taste of Mille
Year/Record Label: 1979/ Polydor Incorporated
Staple Song: Give It Up
Cee White said, "It’s a beater. She talkin shit. Give it up got damn. Give it up! Yeah, that stays in rotation." Rahaan agrees, "Give it up got damn isn’t a ‘sing along’."

Artist/Name of Album: TomTom Club/ Tom Tom Club
Year/Record Label: 1981/Sire Records
Staple Song: Wordy Rappinghood
"Wordy Rappinghood brings a different atmosphere because it has a story to it," said Chris Calloway. Nobody really understands that song. Nobody really remembers it. It’s a deep song."

Artist/Name of Album: The Police/Zenyatta Mondatta
Year/ Record Label: 1980/A&M records Inc.
Staple Song: When the World Is Running Down
"The song can make the party," Chris Calloway explains. Like ‘When the World Is Running Down’, or ‘Harlem,’ it will turn the party upside down inside out and will give the party the burst or injection that it needs.

Artist/Name of Album: The O’Jays/Message In The Music
Year/Record Label: 1976/Philadelphia International Records
Staple Song: Message In Our Music
Cee White said, "Message in our music is a staple song within itself because it goes with everything you play. It puts me back in the standing of Ron Hardy at the ‘Muzik Box’." Interestingly enough Rahaan thinks this song is typical. "It’s a good song and I’ll play it. But the better version is by the Staple Singers."

Artist/Name of Album: Rose Royce/Strikes Again
Year/Record Label: 1978/Whitfield Records
Staple Song: That’s What’s Wrong with me
Rahaan said he gets frustrated because he can’t play what he’d like to. "It’s like the matrix out here."He believes most songs being played that are considered underground are typical. "But I’ll play Rose Royce."

Artist/Name of Album: Chantal Curtis/Get Another Love
Year/Record Label: 1979/Keylock Records
Staple Song: Get Another Love
"‘Get Another Love’ is a classic," said DJ Gold-D. "It brings sensuality." Cee White adds, "It’s a light sassy disco song. It’s got that rhythm that keeps you going."


Source: This is a copy & paste taken from http://chicityunderground.blogspot.com/
Check it out: I didn’t copy & paste the entire piece. There’s also the opening paragraph.

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Sapphire Lounge’s Recent Rebranding Efforts

Sapphire Lounge. Especially as of late, one of the more sought-after (smaller) venues for DJs. Over the course of Sapphire Lounge’s 15-plus years existence in Manhattan’s East Village, countless DJs (pedigrees ranging from barely-known to locally-known to internationally-known) had manned its decks, spinning all kinds of dance music flavors. Also noteworthy: compared to crowds at other NYC loungy-type venues, the crowds that pass through Sapphire Lounge consistently seem more connected to the music as the dancefloor’s rarely empty. So, yeah, I could feel the proprietor(s) recent rebranding efforts. Dig: here’s the breakdown.

Recently I came across a 2” x 1” piece of ad space for the spot in a local paper. Immediately I noticed they’ve deleted the word “Lounge” and just go by the name “Sapphire” now. My opinion? Adds a little more pizzazz to their brand. Also noticed they got a new logo where the designer flipped the “a” and “i” in the word “Sapphire.” A sapphire diamond replaces the letter “a” and a silhouette of a dude behind a turntable with his hand atop the platter as if cueing or scratching replaces the “i.” Further down reads “Dancing 7 Nights A Week.”

But what really catches my attention is the newly created tagline (like Nike’s “Just Do It” or McDonald’s “More Than A Billion served,” etc). This reads “Championing DJ Culture Since 1992.” See logo/website for yourself. (I would guess this website was very recently created; still seems to be a work in progress… another reason why I think this a recent rebranding effort.)

No doubt Sapphire’s proprietor(s) recognized the global popularity of DJ culture, decided to flip it to their benefit?” I say why not? Smart move.

A related SoulFunkLifestyle(s) post: DJs, Recognize Venue ...

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DJs, Recognize Venue if Gettin’ Paid is Foremost

Wanna say immediately this post is less likely applicable if you’re a DJs with “superstar” status … Also wanna say, while reading this post put aside for a minute that (still?) popular line of thought: “I DJ for the love of music.”

OK. Here's the deal as far as I'm concerned: recognizing venue owner’s/manager’s agenda can’t be stressed enough if you're serious about clocking worthwhile $$$s for your efforts behind the decks.

This is the person you as a DJ are really providing your services to – moreso than the crowd when you really think about it. In my opinion this is true even if it’s a given that a DJ should always be prepared and able to entertain the crowd before him. A DJ should also be wary that the music he plays doesn’t clash with the enjoyment of folks away from the dancefloor. Let’s paint a picture: folks looking up between downing drinks or chattering with friends, derisive looks on their faces, exclaiming “what the hell's the DJ’s playing!?” A not-so-good thing. I would bet venue owners watch for such a thing if finding a resident DJ is a top priority.

Come evening’s end, if the venue’s owner/manager is happy with the turn of events it’s because everything transpired as desired. The bar was well serviced and the majority of folks obviously enjoyed themselves (return visits???? YES!!!). And you as a DJ played your part to help make this happen. You recognized the venue’s brand or, in other words, what spot is known for, and came through accordingly. One more thing: recognize there are two basic types of venues:

Venues where the DJ is expected to keep the dancefloor packed (unfortunately dwindling in numbers).

And venues where the DJ is expected to program his music in a way that's conducive to keeping the bar steadily patronized all-nite as opposed to keeping the dancefloor packed all-nite. Loungy-type venues.

Guess that’s all I got to say right now (feedback appreciated).

Now whether you're compensated to your liking depends on your business savvy…

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Corkboard Items #3

ITEM #1
Got an interest in soulful techno (I do)? Then checkout these two well-respected figures in da game.
Patrice Scott:
“… DJ, producer and head honcho of the small but perfectly-formed deep house and techno label Sistrum Recordings. Scott, making his London DJ debut at Fabric recently, is in demand in Europe thanks largely to a limited but consistently-excellent clutch of releases on Sistrum since it was set up at the back end of 2006. And although tracks such as his, well, frankly atmospheric Detroit-house debut Atmospheric Emotions, the blissed-out dub of Motions and the deep-as-fuck Raw Fusion are now staples in many a rated DJ’s record box…”
Read entire Patrice Scott piece here.

ALSO
Robert Hood:
A bigga, BIGGA figga in circles trained on the sounds of “minimal.”
Dig this excerpt from an interview(notes) with Robert Hood featured on the Resident Advisor’s website:
"Robert Hood - Internal Empire (Tresor, 1994): The one [jam] that started it all - Hood's previous dabblings had hinted at his penchant for brittle, boiled-to-the-bone starkness, but this was truly the first techno record that deserved to be called 'minimal'. Check the track 'Minus' to hear just how inspirational this album has gone on to become."

I know virtually nothing about “minimal.” But I’m open to learning what all the noise is about as I was heavily into techno music from the late 80’s that kick-started this sound. Gotta say if not for the internet I’d probably never be on this here trip trying to educate myself about "minimal."(By the way: Any of Y'all ever wondered what I mean by the phrase "SoulFunkLifestyles Universally Converging?" Well, one aspect concerns this universal and unprecedented connection of music heads via the internet.)
Click here to check out entire interview with Robert Hood

ITEM #2
Video interviews with, Kevin Hedge (member of Blaze), Louie Vega, etc.
I especially dug the Kevin Hedge interview… probably because I've dug the output of Blaze since the group’s first record. That cut? A little known gem called "Yearnin.'" Alright, go ‘head, pitch this one down somewhat. I do… (LOL). Shit is kinda too fast … At least that’s how it sounded to my ears. Especially since the bulk of dance music back then was slower than "Yearnin'" which clocked in at, if I recall properly, 124-125 BPM. ("Yearnin'" was released in 1985) … However, these days -- with the tempo of much of underground dance music steadily increasing -- cats probably wouldn't even think to pitch this cut down.

ITEM #3
DJ/Producer Spinna:
“Spinna opened the talk with stories from his own background growing up in the magical, influential and intertwined music and street cultures of New York City in the late 1970s and 1980s. Along the way, audience members asked very thoughtful questions about his production work, current DJing technology, opinions on past and contemporary music and advice that he could offer to aspiring, young DJs and producers.”
Read entire piece here.

ITEM #4
DJ Producer Bobby Konders
I crossed paths with Bobby Konders mega years ago (think it was the late80’s/early 90’s) as he was exiting his Brooklyn home(?) with several crates of record. Possibly on his way to a DJing gig. I say possibly because, if I remember correctly, this happened during the early afternoon. Perhaps it was early-preparation for a gig later that evening. Leaning slightly out the passenger window of my friend's car, I told him I appreciate his stee as a DJ/producer. I always considered him a DJ’s DJ. For one thing he plays enuff B-sides cuts, like Crown Heights Affair’s “I Don’t’ Want To Change You" (see LP pictured above). Roy Ayers’s “Goree Island” is another example. I've never heard any other DJ play this cut. Cat was real cool that day. Just said, thanks.
Yes, Yes, Yes, Y'all!!! That’s the rugged sounds (even his mixing style) of Brooklyn’s DJ/Producer Bobby Konders. You can find a bunch of his mixes at www.deephousepage.com

O T H E R
Past “Corkboard Items” posts on the SoulFunkLifestyles’s Blog you may find of interest:
Corkboard Items #1
Corkboard Items #2

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DJ Kim Lightfoot

DJ Kim Lightfoot
Music sensibility demonstrates a clear respect for vintage soul-DANCE. A master mixer of what I would call bassment-type-grooves for dancers to really get off on…Consider him one of NYC’s best. Because he seems genuinely indifferent about fame and even seems to avoid the spotlight, I think, adds to his allure as a DJ. Brother's source of inspiration? Soaking up NYC’s dance music scene/culture from the 70’s on upward.

Hey, SoulFunkLifestylists, let's take a quick detour and read ITEM #3 now then pick up reading at this exact spot (it's located just below and speaks of Kim Lightfoot's "production skills"). OK, here it is: I don’t think Kim Lightfoot is known for producing. That part, I believe, is hype or someone stating shit without checking the facts. Personally I don’t know of anything he has produced. Perhaps as a silent partner of other people’s projects??? (Would appreciate any info concerning songs produced by Kim Lightfoot... you can comment here. Thanks.) I am aware, though, of Mr. Lightfoot's close affiliation with producer Kalim shabazz. Aside from all that, NY/NJ peeps down with the real shit know of this cat. Know he’s gonna bring the goods when he steps to the deck. Actually that’s good enuff for me.


MORE from other cyberstations on KIM LIGHTFOOT:

ITEM #1
“A true student of the game, DJ Kim Lightfoot has been a music collector and turntable artist for most of his life, yet somehow remains one of Brooklyn's best-kept secrets. With a cult following that stretches as far as the Land of the Rising Sun but that was born in the streets of Brooklyn, those who know about this deep and funny artist, know a party with him on the ones-and-twos is always a night to remember. In his first full-length interview, Kim shares the stories of his early days, his memories about classic Brooklyn dance music flavor and personal pictures from his many trips to Japan. The best part about this humble music maestro is that he's not afraid to give props to those who inspired and supported him along the way, while he outlines the blueprint for success as a result of very hard work. Kim’s mix [seems this is currently unavailable] has a creative twist with a heavy body moving groove …”
Source #1

ITEM #2
“Back in 1993, Afterlife was one of the hottest underground parties in NYC. It featured some of New York’s finest DJ’s of the time, including Nick Jones, Francois K, Kim Lightfoot, Naeem Johnson and a who’s who of the underground scene at the time…”
Source #2

ITEM #3
“Kim Lightfoot, widely respected around the globe for his DJ and production skills ... Underground Archives Your Flavor Station for Dance Music Artists and Culture ...”
Source #3: The "Undaground Archives" website from where this quote was pulled has been deleted. Was a damn good piece: which I’d archived it.


DJ KIM LIGHTFOOT IN THE MIX:
A 2006 mix featuring mostly classic selections for your listening pleasure, such as the Talking heads 12” pictured above. One of my absolute faves. Oh, I'm talking 'bout "Born Under Punches." Don't get it twisted, though: "Once in a Lifetime" is dope, too.

Hosted by the ClubHiroma2.com website (Time - 1:18:53)

INSTRUCTIONS To find mix:
Go to http://www.geocities.jp/clubhiroma2/deephouse.html then look for box labeled “Mix Tape.” Then look for mix at the very bottom of list labeled “Kim Lightfoot / Classic Mix / 2006”

Or CLICK HERE:
A friend thought you'd like this streaming media. Play it now with your RealPlayer:http://switchboard.real.com/player/email.html?PV=6.0.12&&title=Kim%20Lightfoot%2DClassic%20Mix%2D2005&link=http%3A%2F%2Fhiroma2.fc2web.com%2Fkimlightfoot2005.ram
Note: This content may require the latest RealPlayer, which is not available on Windows 95, Mac OS9 or Linux systems.

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Moodymann: NYC, Tomorrow (Friday, 4/25/2008)

@ APT
419 W 13th st. // Telephone: 212-414-4245
Mohagani presents Moodymann:
APT snags a rare visit from one of Detroit’s best. Kenny Dixon Jr., a/k/a Moodymann, combines outspoken revolutionary politics with a vintage soul sensibility, congealing a century of Black American music – and blaxploitation samples – into an abstract disco dream. With Karl Injex, Kai Alce, and Kamati upstairs. HAWKINS. 10 p.m., $10.00

Source: Village Voice, April 23 – 29, 2008 Edition

© SoulFunkLifestyles

The Jersey Sound (Mid 80’s to Early 90”s)

“The Jersey Sound” was even perceived as a movement of sorts, championed by legendary DJ Tony Humphries along the way into his tenure as resident DJ at New Jersey’s Club Zanzibar and on his mastermix show aired over NYC’s 98.7 Kiss, FM. (Hope one day to dig up and post a flyer I have for a club-date at Zanzibar specifically celebrating all this.)
Some of the producers who pioneered this sound in the mid 80’s (1985 and 1986 to be exact) include Blaze (Kevin Hedge, Josh Milan, and Chris Herbert who has departed), Paul Scott, Ace Mungin, and Backroom Productions (Cassioware, Derek H. Jenkins, and Spen Richardson) Some producers who carried the torch into the later part of the 80’s thru the early 90’s include Smack Productions; James Bratton; and Kerri Chandler.

Check the common denominator: all the artists listed above were NJ-based at the time. Not to say the New Jersey sound was strictly about NJ's producers. Grapevine says NYC-based Jovonn blessed Mr. Humphries with “Turn and Runaway” before its official release in 1990. The veracity of this I don't know. What I do know is Zanzibar's crowd luved this cut.

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Paul Simpson – You Don’t Know

Artist: Serious Intention (a/k/a/ Paul Simpson)
The JAM: “You Don’t Know.”
This cut exemplifies the meaning of CLASSIC MATERIAL.
An all-time fave??? Let me put it like this: if I was a well-known DJ presented with the opportunity to compile selections for the excellent dance music series "Azuli Presents ________ Choice: A Collection of Classics" (a well-known DJ's name fills in the blank ), I’d would add this gem-of-a-cut. I'd probably add this cut even if Azuli Record's executives decided the maximum number of selections a DJ could pick was limited to less than the up to 20+ actually offered in the series (The number of CUTS offered depends on which famous DJ's CD you buy, whether you buy vinyl or CD format, and on if you buy the mixed or unmixed format).
In my opinion, this cut is early “NYC house” at its best. (A little context: Nowadays, I could understand labeling this cut as "house." But check this out... NYC dance music heads didn't consider this cut "house" when it first dropped. This is true even though Chicago producers were being recognized and even praised at the time for dropping seriously raw tunes they labeled "house." Still, most NYC heads called tunes like "You Don't Know" "club" music or "dance" music. And those that discerned this music was to the left of what was considered commercial might have used the term "underground dance music.") Anyway, I remember this gem charting damn-near the top of Billboard’s dance chart. Not sure if it held the #1 spot and too lazy to research this right now. Presently I own just the OG pressing pictured above. The flipside has Pablovia Robon's 8:15 "Special Mix."
But did you know between 1984 and 1985 "EasyStreet Records" released several OG pressings of this cut? I'm most interested in the one pressed on 180gram vinyl (or "virgin" vinyl) with just Pablovia Robon's 8:15 "Limited Edition Special Mix" on both sides. (http://www.discogs.com/release/605355)
Had a copy. Lost it in a fire. Will eventually replace it. Mainly because this limited pressing is said to offer the best sonics and Mr Robon's mix is the only one I care to spin.
Usually cue-up this cut from the break around the half-way point ... yeah, that part with the isolated piano-stabs, then bring back with a second copy. Works everytime (LOL). Can’t nobody tell me “You Don’t Know” – let me get real old-school here – isn’t the BOMB !!! (LOL). Jam’s always appreciated no matter the setting, commercial or underground... ... Shit!!!, I see Kenny Dope already selected this cut for his “Azuli Presents:...” compilation.
Fug it. Gonna post this anyway (LOL)


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DJs Roundtable

A round-up of DJs Mentioned on the SoulFunkLifestyles’s Blog:

Some of the DJs listed are very-well-known & others not so well-known. Some are also remixers, producers, etc. as well. The common denominator? I think if I went to a venue today featuring any of these DJs I would at least enjoy their sets, obviously to various degrees. You may also notice a good chunk are from the NYC/NJ area but the list isn’t limited just to DJs from this spot on the globe.

Naeem Johnson
soulfunklifestyle.blogspot.com/2007/10/pricey-records-take-or-leave-home.html
Reggie Wells
soulfunklifestyle.blogspot.com/2008/02/dj-reggie-wells-discohip-hop-pioneer.html
Afrika Bambaataa
soulfunklifestyle.blogspot.com/2008/02/afrika-bambaataa-still-doin-it.html
Leonard Part Sixx ** Jonas (aka JohnnyTooBad) ** Gavin Morrissey (aka Gmos) ** Sadar Bahar
soulfunklifestyle.blogspot.com/2008/03/four-groovalicious-mixes-lot-of.html
David Morales ** Timmy Regisford ** Tee Scott (R.I.P.) ** “Discovered The Ozone Layer with John Juliano Jr aka Dr. Hasan(R.I.P.) and David Morales**Discovered Danceteria with DJ Mark Kamins…”
soulfunklifestyle.blogspot.com/2007/08/boogie-define-this-part-2.html
John Juliano Jr. aka Dr Hasan (R.I.P) (see “comments” section) ** Timmy Regisford ** Sting International
soulfunklifestyle.blogspot.com/2008/01/music-dance-vol-2-pharoah-sanders-club.html
Bobby Konders ** Colleen Murphy (aka DJ Cosmo) ** David Mancuso ** Kool Herc ** Danny Krivitt ** John Crockett ** John Robinson ** “…(East Coast) legends – such as Tony Humphries, Larry Levan, Tee Scott, David Todd, Walter Gibbons, etc., etc., … – that set the foundation…”
soulfunklifestyle.blogspot.com/2008/01/cork-board-items-2-1242007.html
Moodymann ** Sadar Bahar ** Kid Capri ** David Siska (of the "Sonic Sunset" duo) ** Marlon D ** Timmy Richardson
soulfunklifestyle.blogspot.com/2007/10/cork-board-items-10132007.html
Daniele Baldelli ** Danny Krivitt
soulfunklifestyle.blogspot.com/2008/03/cosmic-disco-deep-space-also-balearic.html
DJ Omar Abdallah
soulfunklifestyle.blogspot.com/2008/01/omar-abdallahs-classic-mix-on-cyberjamz.html
Gilles Peterson
soulfunklifestyle.blogspot.com/2007/08/soulfunklifestyles-presents-forever.html
DJ Kim Lightfoot (Coming Soon)
---
DJ Harvey // Theo Parrish (Coming Soon)
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More (All NYC based): Herb Martin // DJ Cloud 9 // DJ Spinna

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So… How do YOU Define “Soulful?”

First a little context:
This write-up was originally part of another post I’m still working on (which I may or may not post). While writing that piece I used the word “soulful” then just went off on a tangent breakin’ down what “soulful” means to me. Decided to put what I had originally written on that post here.

Here’s my fifty-cents.

… Let me OPEN saying I as well as most everybody else already know the word/label “soulful” means different things to different people. I also noticed diverging sentiments on what the word means oftentimes leads to wack debates (albeit decent discussion sometimes, as well) on forums and other similar platforms in cyberspace. … I pretty-much roll with my personal definition. For me – originally – “soulful” was synonymous with gritty, heartfelt vocals backed by an amazingly complimentary beat that’s usually but not necessarily gritty as well. (I remember The Dramatics’s "Whatcha See Is Whatcha Get" when it dropped, 1971). But my definition has evolved through the years. That vocals are gritty is no longer a requirement (Anita Baker is “soulful”). I would also eventually come to think musical pieces void of lyrics (instrumentals / tracks) could be “soulful” too. …Let’s also look at “soulful” in terms of how it moves people physically & emotionally. You could guage how soulful a tune is to me by how I physically react to it. For example, if I’m dancing and completely in a ZONE then, yeah!!!, the tune playing is way, way, way, way soulful in my book. A lot of Roots reggae is amazingly soulful in my book. Heard a lot of instrumental dance-electronica by Virgo and Larry Heard that I would consider amazingly soulful. Stanley Clarke’s “I Wanna Play For You” is amazingly soulful. Isleys Brother’s “Say You Will” is amazingly soulful. A lot of music on Stax Record’s catalog is amazingly soulful. Talking Heads’s “Born Under Punches” is amazingly soulful. ETC., ETC., ETC. Soulful is as soulful as YOU are. Does that make sense (LOL)?

SoulFunkLifestyles Universally Converging !!!

© SoulFunkLifestyles

Last Weekend’s Visit To An Old Spot

The spot. Been years since my last visit. This past weekend, I couldn’t find it the first go ‘round. Didn’t remember exact street to get off the bus plus it was getting dark and I couldn't even see the bagel/deli shop through the window that I mentally filed years ago as a landmark telling me where to get off. Next day. Late morning. On same bus line. Recognize bagel/deli shop. Get off. A two-block walk. See the spot. A two-car garage. See the old man. See the heap of stuff he sells. Tightly-packed. Damn-near touches the garage’s ceiling. Occupies exactly 1/2 the garage's space (other side's completely bare). The same set-up, I remember, from years ago. See spot still has some records. Not much. A few sporadically-spread piles. Most are buried but still relatively easy to reach. Get the feeling, though, of seriously slim pickings. See a two-feet tall pile of LPs (and possibly 12” singles) on the floor. Reachable without moving or rearranging anything. File through. All garbage. Peep another small pile. Excavate it quickly. All garbage, too. Decide it’s time to split. Also make mental note: won't be coming back here no time soon. Old man remembers me. Possibly perceives I’m about to leave. Says he has a crate of 45 rpms. “About 200 pieces, he says, “you could have them all for fifteen-dollars.” He pulls a crate out from under a table stacked with crusty computer keyboards, vintage shelf speakers, comic books & other garage-sale-finds. A ten second look of contents in crate. Entire lot is nowhere near worth buying. Decide to quickly go through it, anyway. Might find a few pieces worth snatching-up. Found nine. Price? Can’t beat three for a dollar. Condition? All VG to VG+ by my estimate. And I’m very strict when it comes to grading vinyl (use Goldmine’s standard). As a record’s seller years ago I used to like to think that records I would rate VG+ others might rate VG++ or NM (near mint). Yes, all the 45 rpms I select are visually nice. Even the ones I grade VG. Suspect all will play virtually free of any major snapping, crackling and popping (LOL). What did I find? Nothing spectacular but very decent additions for the collection, nonetheless.

Rinder & Lewis - Envy b/w Lust (AVI Records, 78)
Eddy Grant - Electric Avenue b/w Time Warp (Portrait, 82)
Dennis Coffey & The Detroit Guitar Band - Scorpio b/w Sad Angel (Sussex. 71)
Brick - Ain't Gonna Hurt Nobody (Bang Records, 77)
Maceo & The Macks - Soul Power 74 (People Records, 73)
Mastermind - Hustle Bus Stop b/w Runnin Away From Love (Prelude, 77)
Stylistics - People Make.. World Go Round (reissue? - Not "Avco" O.G. presssing)
Four Tops- Same Ole Song (reissue?, forgot label)
Quincy Jones - Secret Garden (Qwest, some sort of remix )

What about past pickings at this spot? I found my share of treasures. A near mint, O.G. copy of Rinder & Lewis’s “Seven Deadly Sins” LP which contains the cut “Lust.” A special song in my mind because it used to get play at block parties in my Brooklyn neighborhood when it dropped in the late 70’s. Also found a near mint copy of The Russell Brother's “The Party Scene.” Also found a lot of beautifully conditioned Sun Ra And Pharoah Sanders LPs. Plus many others. Anyway, I can’t say I enjoy digging as much as I did in the past but it’s always good to find tunes. Especially on Vinyl.

SoulFunkLifestyles Universally Converging !!!

© SoulFunkLifestyles

Payday in the Muzik Biz (According to Spin’s Latest)

Who Earns What: Music Industry Salaries Exposed
Source: Spin, April 2008
By David Browne

SoulFunkLifestyles’s Breakdown

… Paydays for 25 occupations in the music business, from “music blogger” to “rapper’s bodyguard.”

David Browne writes: “We won’t pretend to call this a scientific survey, but we can say that [everybody who participated in inquiries to make this survey possible] are all legitimate players and workers…”

The highest pay goes to an “artist manager” & “indie rapper/entrepreneur” at $500,000; the second highest pay on list goes to a “superstar touring dj” at $400,000.

The amounts for the remaining payouts fall steeply: Next highest amount is $150,000. Then $125,000, $120,000; (another steep dip here) $70,000; $60,000; $45,000, $40,000; $35,000; … … $25,000

Source’s Link: http://www.spin.com/articles/who-earns-what

I tend to think $400,000 is a nice, round-figure to put on front-street as the payout for a “superstar touring dj.” Even conservative. And I’m assuming this doesn’t include money earned for other projects DJ’s might get down with, such as putting out mixed (licensed) CDs, running digital music stores, producing other artists, holding down music-executive positions, owning clubs, etc.

But that $400,000 got to have muhfuckas drooling… hahaha…

Just signs of the times, baby.

Still, no doubt news like this contributes to "shit just getting quirkier and quirkier." That’s real.

SoulFunkLifestyles Universally Converging !!!


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“Cosmic Disco” & “Deep Space” (also “Balearic”) -- What's Up With All These Terms for Dance Music ???

When does re-labeling and re-labeling (dance) music terms becomes TOO MUCH. Is underground dance music culture - derived mainly but not exclusively from scenes initiated in stateside cities such as NYC/NJ, Chicago, and Detroit - such a global phenomena now that incessant re-labeling and regurgitation of terms are simply results of widening commercialization?

Are you familiar with the term “cosmic disco”? Basically it’s used to describe SLOWER dance music from a multitude of genres with a peculiar slant – a very addictive, groovalicious, mellow-type funk that is seemingly custom-made for dancefloors. From what I gathered the term has been around since 1979 but had never been universally popular until the internet became a part of virtually everyone's life, an everyday tool. Here is a little test: try entering “cosmic disco” into google’s search; the listing is lenghtly. One proponent of this term is the cosmicdisco.co.uk blog. This blog has an interesting post wherein one of its curators, Baggy, interviews Markus Leppelt (aka Gobo Dee-Jay) who is recognized as “one of Germany’s leading cosmic DJs.”

According to Markus Leppelt: “The genius of cosmic is that it can be absolutely any type of music. What defines it as such is the DJ. As long as the record has the right vibe and the proper dancey yet downtempo groove. From New-Wave to Reggae to Disco, each and every genre can be appropriated in order to create an explosively original sound, which characterizes the events we showcase.” Nicely put. Read entire post here.

Another reference concerns Daniele Baldelli who is looked upon as a bigga figga by the "cosmic disco" factions of the global dance music community. (Note: the above Daniele Baldelli link leads to piece that states "cosmic disco" goes back to 1979.) I think it’s telling that this appreciation and support DJs and dance music afficionadoes have for the “cosmic disco” scene is directly attributed to how deeply the internet plays into our lives and that many of the newer DJs contributing to this scene came into it with a mindset that recognizes, embraces and takes full advantage of the power of the internet. With the worldwide internet at our disposal a new musical concept (something truly innovative OR a whimsical derivative) could pop-up anytime and spark the curiosity of the global dance music community. The creator(s) may have long-term or short-term success or be completely looked over, deemed not worthy of even a buzz. "Cosmic disco" it seems caught on. Even the term "boogie" has caught-on worldwide.

STILL, in my opinion trying to justify having all these different genres because, for example, it makes it easier to find music, to identify venues, to keep thing fresh, etc., etc. is weak. The bottomline reason for reshuffling musical terms in this day & age is for marketing purposes. I would even add the re-labeling game is synonymous with rebranding, trying to put a fresh spin on something that has its roots CLEARLY ELSEWHERE. In your opinion is this a good or bad thing? Guess it is what it is.

Also, did you ever notice how much the blurringly rapid pace of digital technology seems to be contributing towards the watering-down of dance music culture. The scene has reached unprecedented levels of commercialization. Not necessarily a good thing. Sometimes I even think we are moving to quickly for our own good, just forging forward thinking it's all innovation to benefit us all.

Anyway, check out this concept for a weekly party in NYC called “Deep Space,” started years ago by NYC producer/dj/remixer Francois Kervorkian. It’s one of the more successful weeklies in NYC. It all goes down at Club Cielo, NYC. Read for yourself: "Deep Space:: Our Mission"

I know you’ve noted the similarities between the terms “deep space” and “cosmic disco.” The main difference? How about we start with this: Francois idea was to take his affinity for “dub” in all its manifestations, past & present, and create a unique soundscape for fellow dub lovers in a LIVE setting, starting with his residency at Club Cielo. Remember, though, the tempo of a lot of the music played at “Deep Space” isn’t even downtempo. But I could say a lot of the lower BPM tunes Francois might spin would make the playlists of DJs ardently into the “cosmic disco” scene. Check out a few "Deep Space" playlists.

Oh, and I haven’t even touched on another (seemingly) popular term floating around: "balearic." More Next Post. Or maybe not. I’m starting to think all the aforementioned speaks enough on this topic.

Still wanna read up on what's considered "balearic" music? The two links below provide a good starting point. Recommended.
http://theacidhouse.wordpress.com/2008/02/17/will-this-year-be-another-summer-of-love/

http://theacidhouse.wordpress.com/2008/11/03/if-i-was-a-balearic-dj-i%E2%80%99d-be-playin%E2%80%99-tunes-like-this-mix-dj-nova-back-again/

SoulFunkLifestyles Universally Converging !!!


© SoulFunkLifestyles

Four Groovalicious Mixes (A lot of Downtempo Stuff, YES!!!)

( A Special 50th post for The SoulFunkLifestyles’ Blog )

The SoulFunkLifestyles’ blog doesn’t post or host mixes or even offer downloads. However (as this blog serves sort of as a personal bulletin board) you may find intermittent posts showcasing internet mixes I’ve enjoyed or haven’t heard yet but wanna post as a reminder to give a listen. Of course, I hope that you all enjoy these mixes as well. And more likely than not you will if you dig mellower grooves from a variety of genres that embody that certain soul-funkiness.

NOW THOSE MIXES:

The 1st mix:
DJ’s Tag – Leonard Part Sixx
Mixtape’s title – Press Play #12
Originally posted on Anothernightonearth.blogspot.com’s blog. Click here for OG post.
For direct link to listen: http://www.divshare.com/download/3786019-365

Playlist:
1. The Sunburst Band: God Is
2. Lovebirds: Midnight Stalking
3. Coco Steel & Lovebomb: Touch It
4. Side Effect: Always There (Part Sixx's Underdog Edit)
5. The Escorts: Make Me Over
6. Elijah John Group: Keep A Little Love For Yourself
7. Geno Washington: Caught In The Middle (Part Sixx's Underdog Edit)
8. BSTC: Jazz In Outer Space
9. Michele: Can You Feel It (Masters At Work vs. Underdog Re-work)
10. Escort: Karawane
11. Eddie Henderson: Say You Will
12. Wilbert Longmire: Black Is The Color

Got as far as the 3rd cut on my first shot listening to this mix. Seems like a bangin’ mix. Definitely wanna hear the rest…

The 2nd mix:
DJ’s Tag – Jonas (a.k.a. JohnnyTooBad)
Mixtape title – Going Downstream Mix
Originally posted on Cosmicdisco.co.uk’s blog
You can play on sites popup player or download mix:
http://www.cosmicdisco.co.uk/2008/02/22/johnnytoobad-going-downstream-mix/#comment-26772

Playlist:
1. Earth, Wind & Fire – Drum song
2. Hall & Oates – Method of Modern Love
3. Amplified 05 – The Duke
4. Linkwood Family – Piece of Mind
5. The Staple Singers – Slippery People (Instr.)
6. Fred Cherry – Bus Ride To The Zoo
7. Blancmange – The Game Above My Head
8. Patrick Moraz – Primitivisation
9. Paul Johnson – You’re no good (Deep House Mix)
10. Lindstrøm and Solale – Let It Happen (Instr.)
11. Neil Young – Sample and Hold
12. Kate Bush – Running Up That Hill (Ashley Beedle Re-Edit)
13. Dhar Braxton – Jump Back (Dubette)
14. Ilija Rudman – Under The Water
15. Osborne – Outta Sight
Very NICE!!!! program by DJ Jonas

INTERMISSION:
Both of the above mixes have a lot of downtempo groovers. YO!!!!!, who said SLOW GROOVES aren’t suitable for peak hours, best saved for closing out the evening? Kill dat noise! That ain’t nowhere near necessarily true. Provided the audience is a little more musically sophisticated and seeking more than just fast beats all night. I also heard more than a few club DJs bring the tempo WAY down, for a good stretch – during peak hours – and keep the party people in a dancing frenzy.

The 3rd Mix:
The 3rd mix is by "Irish deejay" Gavin Morrissey (a.k.a. Gmos) and was originally posted 10/19/2007 on the infinitestatemachine blog. Starts off mellow and builds in intensity & tempo. Really liked this mix. Earned an immediate rewind after 1st listen.

CORRECTION: I originally credited Chymera as the DJ of this mix. Pipecock, of the excellent Infinitestatemachine blog, notified me that the DJ is Gmos. (See “comments” section. Thanks, Bro.)

Playlist:

1 Gene Harris - Prelude

2 The Russell Brothers - The Party Scene (SV)

3 The Jones Girls - You Gonna Make Me Love Somebody Else

4 Family Tree - Family Tree

5 Theo Parrish - Rain For Jimmy

6 Rolling Stones - Miss You

7 Lenny Williams - Midnight Girl

8 M. Pittman - There’s Somebody Out There

9 No Way Back (Ron Hardy)

10 Class Action - Weekend

11 Loosefingers - Lamentation

12 Patrice Scott - Atmospheric Emotions

13 LHAS Inc - Captured

14 Smith N Hack - Space Warrior

15 The Other People Place - Let Me Be

16 Recloose - Kapiti Dream

17 Wardell Piper - Super Sweet

18 Oto Gelb - He Dances All Night

19 Loleatta Holloway - Catch Me On The Rebound

Click here for original infinitestatemachine post I originally wrote I hope link for this mix still works. Seem it's ready to go. Pipecock’s words: “that is a hot as hell mix, the link still works! I recommend everyone check it out.”

The 4th mix:
DJ’s Tag: Sadar Bahar:
Mixtape Title: "Old Radio Muzik, (Chicago" 4-Mar)”
Originally posted as Mix #1081 on http://www.deephousepage.com/
You can play it now with your RealPlayer using the link below:
http://switchboard.real.com/player/email.html?PV=6.0.12&&title=sadar0304a&link=http%3A%2F%2Fwww.deephousepage.com%2Fmedia%2Fsadar0304a.ram

Some cuts on Sadar’s mix include:
Ashford & Simpson – By Way of Love Express
Leon Haywood – I Wanna Do Something Freaky With You
The Whispers – Bingo
Dexter Wansel – Sweetest Pain
Ashford & Simpson – It Seems To Hang On
Isley Brothers – Hurry Up and Wait (Instrumental version)
(Anyone know the instrumental cut after this Isley Brothers’ tune)
Etc., etc.

Gotta come back to this mix. 1st listen was rushed through: played using the fast forward function so I could list some of the cuts here. From what I’ve heard this seems like another DOPE-ASS mix by Sadar Bahar.

Soulfunklifestyles Universally Converging !!!

© SoulFunkLifestyles

Seems Hip-Hop Birthplace Is Safe – For The Time Being???

The beginning to this story can be read as an “ITEM” on the The SoulFunkLifestyles’ post “Cork Boards Items #2 (1/24/2007).”

Here’s what it is at the present time: three accounts.

Source #1: “Metro” (Tuesday, March 4, 2008 // Free daily distributed in NYC)
“Bronx: A Bronx building where a young DJ pioneered Hip-Hop has been saved from a plan that would have moved it from affordable to market-rate housing, Sen. Charles Schumer said yesterday.

“Last year, tenents of the building reached out to DJ Kool Herc, and now the 100-unit apartment building has been deemed eligible to be listed on national and state registers of historic sites.”

Source #2: “amNY” (Tuesday, March 4, 2008 // Free daily distributed in NYC)
“There was new hope for the tenants of 1520 Sedgwick Ave. in the Bronx yesterday when the city nixed a deal to sell the building – the birthplace of Hip-Hop – to a real estate developer.

“Residents of the 100 units of affordable housing have been living in fear since learning that real estate mogul Mark Karasick had made an offer on the Morris Heights property where DJ Kool Herc pioneered the art of mixing beats on dual turntables in the rec room in 1973. The city could not legally listen to the Hip-Hop historical argument in considering the sale. But Department of Housing Preservation and Development spokesman Neill Coleman said the agency couldn’t see a way the rents allowed under Mitchell-Lama could cover the purchase price.

“Tenants currently pay an average of about $1200[???], the Urban Homesteading Assistance Board said.” (Matthew Sweeney)

Source #3: From NY Times (March 4, 2008)
http://cityroom.blogs.nytimes.com/2007/07/23/an-effort-to-honor-the-birthplace-of-hip-hop/ (A landslide of comments included.)

© SoulFunkLifestyles

Jazzy Jay & Afrika Bambaattaa PLUS… (in NYC)

A “Flashback” event featuring two pioneering figures of Hip-Hop Culture and two legendary dance music vets: Jazzy Jay, Afrika Bambaataa, Louie Vega, & Kevin Hedge. To read details on flyer click here for function to blow-up image.

© SoulFunkLifestyles

Afrika Bambaataa: Still Doin’ It

Inarguably, unquestionably – without any doubt – Afrika Bambaataa has earned the “legendary” tag. And he’s still at it, sharing the music. Props!

Question: does Mr. Bambaataa tour regularly? Oh, and the brotha’s philosophy, whether or not you agree, always seems to grab ears, too. Anyway, Bambaataa has a residency in Gotham City that might interest you.

Listing found in “The L Magazine (Feb 13 – 26, 2008 Issue)” reads:
Afrika Bambaataa
APT 10pm, $10. At his new electro, techno, Baltimore and funk residency, Bambaattaa is joined by Eamon Harkin and DJ Lindsey. Upstairs: Sean Holland.
419 W 13th Street, at Tenth Ave [A, C, E, L to 14th Street-Eight Ave] 212 – 414 – 4245

XTRA STUFF
Perhaps of interest: references about two more legendary DeeJays most recognize for their contributions to Hip-Hop culture:
DJ Kool Herc gets political (fairly recent coverage). See for yourself in Corkboard Items #2
DJ Kid Capri – Check out some old school soul & funk flavas that made this tapeking’s playlist at Corkboard Items #1

Now, consider DJ Reggie Wells (see last post)? Legendary? Perhaps not known as the three aforementioned DJs but in the eyes of SoulFunkLifestyles’ : YES!!!

SoulFunkLifestyles Universally Converging !!!

© SoulFunkLifestyles

DJ REGGIE WELLS (Disco/Hip-Hop Pioneer)

Reggie Wells had been spinning music for almost a decade before I heard him spin for the first time as the resident DJ at Justines. Justines was one of NYC’s premiere dance clubs (marketed for the “mature,” “sophisticated,” “dressed-up” type crowd) during the early 80’s. When reminiscing on club-hopping back in da dayz, I always recall this spot. Located just down the block from Madison Square Garden, it was also frequented by NBA ballers.

During my years of club-hopping in the early 80’s, I was also a student at Polytechnic University (then called Polytechnic Institute of New York). I knew nothing about the NYC underground at this point. A classmate seemed to always make a point of this. He was a regular at The Paradise Garage w/ Larry Levan and The Loft w/ David Mancuso and used to dis clubs like Justines. Basically said commercial spots were weak compared to his two favorite haunts. Said commercial spots were basically “fashion shows” where it was all about being seen, and where the DJs just played radio tunes with no imagination for music programming whatsoever.

I didn’t argue his stance. Actually didn’t feel obligated. Not in the least. Pretty-much just said: OK, that’s YOU. Basically shrugged off his opinion. Had I tried to be politically correct I could’ve argue that since I had never been to The Paradise Garage or The Loft (up to that point) any rebuttal I might had attempted would had been baseless. Not the least bit dissuaded by my classmate’s views, I just knew I always had a great time at spots like Justines.

But I also remember this classmate bringing a boombox to school one day with a tape. I just remember two joints on that tape: Second Images “Can't Keep Holding On” and Powerline’s “Double Journey.” (Elite's pressing // Prelude's pressing.) Hmmmm… so that’s underground dance music, I thought. Basically told my classmate, "Yo, those jams are hitting." It would be several years down the line before I would actually visit The Garage or The Loft, around 1984/85. From 1980 to 1984 basically all the spots I frequented were of the “commercial” variety. (I visited mainly nightspots throughout Brooklyn & Downtown to Midtown Manhattan.)

Still, in my opinion, commercial-or-whateva-da-fu*k-you-wanna-call-em-type-spots like Justines were the shit. Fun hang outs. Always an abundance of beautiful women in attendance. Music-wise, sure the DJs at these spots spun mostly radio/popular tunes, but NYC radio was way progressive then (especially in comparison to today). Hearing top-notch produced dance music was a regular thing. Some radio staples back then, off the top: Taana Gardner’s “Heart Beat(‘81),” Lace’s “Can’t Play Around(’82),” David Joseph’s “You Can’t Hide(’83),” All of the above are certified Paradise Garage classics too. Yes, Larry Levan played plenty of radio music, too – the main difference was CONTEXT when compared to how DJs at commercial-type spots programmed the same music. By the way, all the above tunes were spun by Larry Levan at The Garage before radio picked up on them.

From what I personally remember, Reggie Wells always served-up the music lovely at Justines. Always packed the floor. Wish I had heard him at those other spots where he spun tunes, particularly Club 371. The below article will enlighten you a little more about the legendary DJ Reggie Wells. He was one of the music tastemakers at a Bronx dance spot called Club 371 where, according to Mark Skillz, “the DISCO side of Hip Hop [I would also add within the context of a club-setting] was pioneered.”

Here is an excerpt of Mark Skillz’ written piece:
“A group called the Ten Good Guys owned Club 371, and it was there, that four deejays bought Harlem’s style to the Bronx. Men wore dress shirts, slacks and dress shoes and women got in their wares as well, when they went out to party at 371.”

Read entire piece:
http://hiphop101a.blogspot.com/2007/06/master-mix-those-number-one-tunes.html


MORE REFERENCES:
Seems Reggie Wells has a Myspace page

http://thehiphopcosign.wordpress.com/2007/10/26/hip-hop-history-eddie-cheeba-dj-hollywood-the-disco-side-of-hip-hop/

http://jayquan.com/

http://www.oldschoolhiphop.com/

Mastermixers on 98.7 Kiss FM (NYC) over the years - Reggie Wells included

© SoulFunkLifestyles

Another Article Corroborates Vinyl Will Neva Fade

Articles about vinyl's perseverance seem to regularly pop-up in the media. But it’s all good as this coverage strengthens the position that there will always be – at least – a boutique market for analog recordings – specifically vinyl records. YES!!!!!!!!!!

Article: "Vinyl is back in the Groove" (Originally televised on “CBS News Sunday Morning,” Feb. 10, 2008)”
Article is followed up with a long list of comments you may find interesting.

MORE REFERENCES about Vinyl (on the SoulFunkLifestyles’ Blog):
Heads Up, Vinyl Addicts

A Cratediggers Story

Pricey-Records-Take to Gig or Leave Home
1,000,001 Ways Manifested (Selling Records)

Indeed, the Romance for analog media lives. Even in the 21st century’s WAY digital era.

Soulfunklifestyles Universally Converging !!!

© SoulFunkLifestyles

Third World, Reggae Superstars(?): The Cream Always Rises To The Top

Wanna speak a little about Third World, a reggae group that seems to consistently come with the best they have to offer, pretty-much throughout their entire career. All this despite being (relatively speaking) one of reggae’s most successful and commercially-viable groups. That’s an accomplishment mostly only true artists might strive for. Seems commercial success didn’t hinder this group’s ability to remain as true to self as possible while remaining relevant on popular culture’s playing field..
Particularly noteworthy of Third World’s music output is that a lot of their tunes are recognized by DJs who don’t even play reggae music (and/or other “world music”) but who almost always seem to have cuts by this group in their crates or CD notebooks.
Why? Third World’s sound is SIMPLY DOPE. Why? Well. In my opinion BECAUSE of the group’s unsurpassed talent for making killa dancer’s grooves, often with distinct flavors. It’s almost uncanny that no matter the artistic direction the group takes it usually works. I’ll break that down by dropping the titles of some cuts.
First some examples of Third World super popular vibes for dancefloors (at least in NYC/NJ): “Try Jah Love,” “Dancing On The Floor,” “Sense of Purpose,” and of course their biggest stomper “Now That We Found Love.”
Some less popular but killa material for the dancefloor include “Prisioner of The Street,” “African Woman,” “Talk To Me (house remix avail as well),” “You’re Playing Me Too Close,” “Spiritual Revolution, ” and so many more tunes. (Their 1981 album, "Rock The World" is one of my faves.)
Commercial success usually involves conceding – to various degrees – to certain powers, but skilled and true musician/artists don’t sweat this too much, realize the cream always rises to the top. And not necessarily in regard exclusively to financial matters. IMO Third World earned the worldwide accolades they’ve received foremostly because they are extremely talented musicians.

R E F E R E N C E S:
http://en.wikipedia.org/wiki/Third_World_(band)

Soulfunklifestyles Universally Converging !!!


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La Lupe: An Unsung Star in the Development of Salsa

La Lupe’s story is very interesting, plus educational in regard to salsa roots, hence this post…. Points of interest are highlighted.

La Lupe: Diva Atrevida
By Carol Amoruso
Source: “Batanga (Latin Music / http://www.batanga.com/)” Publication, February/March 2008

La Lupe (Lupe Victoria Yoli Raymond) aka La Yiyiyi fused sexuality and emotion into memorable musical expression and was an icon of the thrilling era of 1960’s Afro-Cuban band music.

When she arrived in New York in 1962, Lupe had already been turning heads with her scandalous performances in her native Cuba. She got her first break singing with Mongo Santamaria’s Latin jazz band, but would become renown in the mid-60’s when she joined Tito Puente’s outfit. Adding grit to Puente’s polish, she helped pave the way for the salsa era.

Performance after performance, she bared her heart and unbridled sexuality with her unmistakable raspy, brawny voice and unpredictability. Hollering, tearing off her clothes, and fondling herself as if possessed, La Lupe awed her fans [a true artist], but alienated those with power over her fame. Puente let her go, and then Fania, her record company soon followed. All this transpired while her rival Celia Cruz’s star ascended. Despite her unceremonious departure, La Lupe recorded 23 original albums over 20 years …[She] is celebrated as “La reina de la cancion Latina” and became a bellwether for future generations of daring Latina performers.

WOW!!!

See SoulFunkLifestyles other post on salsa music.

Soulfunklifestyles Universally Converging !!!

© SoulFunkLifestyles

Salsa, Gangsterism, NYC

Salsa music could be placed alongside gangster films, video games, rap music, the recent proliferation of “hood” novels, and other manifestations of pop culture from which the popularity, acceptance (high-tolerance-for), and commercialization of “bad boy” aesthetics has risen and seemingly continues to embed itself deeper and deeper into the world's collective psyche…

Below are specially selected excerpts corroborating NYC's connection to salsa's origin.
(See REFERENCES further down for actual source):

“The word salsa means ‘sauce’ and was first used to describe a style of music in the mid-70’s when a group of New-York based Latin musicians began overhauling the classic Cuban big-band arrangements popular since the Mambo era of the 1940’s and ‘50’s.”

“Salsa was born out of the encounter of Cuban and Puerto Rican music with the big-band jazz in the Latin Barrios of New York.”

“The powerhouse for the revival of Latin music and the emergence of salsa in the 70’s was New York’s Fania Records, created by 'musician-producer' Johnny Pacheco" who drew up the template connecting Salsa and gangster Imagery. (Please note Fania Records was started by Pacheco in 1964…)

“[Pacheco] earliest signings included a Brooklyn teenager, Willie Colon, and a young Puerto Rican singer, Hector Lavoe. Their 1967 debut album, ‘El Malo’ [which means ‘bad guy’], had a new, raw inner-city edge that pointed a direction for the label and its artists.”

R E F E R E N C E S:
[1] Source of above quotes: “World Music (The Rough Guide): Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific” --http://www.roughguides.com/website/shop/products/World-Music-Volume-2.aspx

[2] See Dustygroove's write-up of Willie Colon's LP "Original Gangsta" on Fania Records

[3] http://www.amazon.com/Crime-Pays/dp/B000V88DU0

[4] http://faniarecords.com/fania

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© SoulFunkLifestyles

Cork Board Items #2 (1/24/2008)

Photo: Chuck Schumer, Pioneer Dj Kool Herc, and ???

ITEM:
“Pharoah Sanders: Finest” – A nice LP to add to the collection.

ITEM:
Note to self: Need copy of Bobby Konders’ “A Lost Era in NYC 1987 – 1992.” Preferably on vinyl. … STILL(!) gotta replace my sold copy of his “House Rhythms” EP, featuring “The Poem.” Bobby Konders is oft-noted as a purveyor of Acid-House, Dancehall/Reggae and for his skills behind the decks. What y’all think about his song “As One” under the monicker “Jus Friends?” That’s a HELLA fire tune. Epitomizes the word “deep!” Love dat cut. Glad I still got my 12” of that one… just gotta track down a second copy(LOL) …

ITEM:
Anyone remember Colleen Murphy, aka DJ Cosmo and her “Soul School” radio show that aired over NYC airwaves at WNYU, 89.1, FM in the early 90’s. Check out this 2005 interview of David Mancuso's (most noted?) protégé.

ITEM:
(See Photo)
Headline reads “Savings Hip Hop 1st House: Chuck [Schumer], Dj Kool Herc Ask Stars to Help Buy Music’s Birthplace”
(Source: Daily News 1/16/2008)
The building of discussion is located at 1520 Sedgwick in the West Bronx. An online fundraiser was “launched” in hopes of achieving this goal. www.save1520.org

ITEM:
The legendary, NYC-based label P&P Records is mostly known for its catalog of rare grooves. It’s no accident these tunes are constantly sought after by collectors worldwide. Some damn fine dance tunes dropped before the ensuing boogie era. Check out these P&P Records compilations by Danny Krivit and Keb Darge. Then check out http://www.discogs.com/ for other P&P releases.
ALSO
Surf on over to the myfavouritesound blog. Get hip to some deep, deep groovers to “Keep Your Body Working!!!” Click Here!!!!! Even if you don’t download the offerings, the site is eye-candy for the more serious tunes collector.
One more: another blog with over 150 posts featuring – what its curators call – milkcratebreaks (not necessarily rare but some good stuff). Finally, if you dig the above sites you’ll probably find more goodies on their blogrolls.

ITEM:
“It was around 1985 when House Music came in from Chicago and hit NJ like a BOMB. EVERY club was playing house” ----- This is a quote from New Jersey-based DJ/Producer John Crockett. And the brother ain't lying. 1985 was a phenomenal time in the East Coast's underground dance music scene. WOW!!!
Yeah, Yeah, Yeah! – Presenting another East Coast purveyor of good vibes. SoulFunkLifestyle recognizes Mr. Crockett mainly for his classics sets, beautifully mixed and not the same ol’ songs (go to deephousepage.com). Brutha also released a new EP. Our opinion? Decent. So what do Y’all think. Feel free to post your favorite cuts from the EP in the comments section here.

Lately the SoulFunkLifestyles blog has been giving mad props to DJs. Why? Simply a show of appreciation for these guys music sensibilities. Plus these are the guys coming up behind the certified (East Coast) legends – DJs such as Tony Humphries, Larry Levan, Tee Scott, David Todd, Walter Gibbons, etc., etc., – that set the foundation. Ain’t nothing but a little bit of support on SoulFunkLifestyles’ part for the DJs/producers that will keep this scene thriving for the next generation.

ITEM:
Honorary mention: NYC-based DJ/Producer John Robinson (RIP): Always dug his productions. Spring's “No Time For Crying (Black Rain, 1992)” is melodic heaven on the soulful dancebeat tip. Clifton King's “Family Prayer,” produced by Willie Wall and James Moore and featured on John Robinson’s EP “Robinson Wall Project, Vol. 1(Black Rain, 1993)” stands out, too.

Other “Corkboard Items” Posts on The SoulFunkLifestyles’s Blog you may find of interest:
Corkboard Items #1
Corkboard Items #3

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© SoulFunkLifestyles