Saturday, 1 December 2012

it's Winter-Funky-Land!!!

...Put the X to the MASS - IT'S XMASS! here on 'da filter, and all of us here at the rfsLounge would like to wish ALL you little st*rFUNKees out there a very funky xmas in a winter FUNKY land, presented by Bootsy Collins with guests John Peel, Johnny Otis, James Brown, Bob Dylan, Huey Freeman, Jazmine Dubois, Eddie Kendricks and a stellar cast of thousands produced in a haze of xmas cheer for rfs by enrique che pelligro...

...funky xmas all-stars...
bootsy collins - winter funkyland
james brown - xmas is love
stevie wonder - what xmas means to me
the staple singers - who took the mary outta xmas
ludacris - here comes santa claus
james brown - santa claus, go straight to the ghetto
the temptations - santa claus is coming to town
bootsy collins - jingle bellz
james brown - go power at xmas time
vince guaraldi trio - linus and lucy
ray charles - what child is this
bootsy collins - silent night
run dmc - xmas in hollis
james brown - hey america
miles davis and bob dorough - blue xmas
jackson 5 - xmas won't be the same
james brown - soulful xmas
bootsy collins - boot-off

...another QUATILY XMASS product...

Sunday, 23 September 2012

Jam Down Kernow - sep 2012


...join us again down andy's sh'been in the recently saved holy headland of the original, world record breaking pirate bay for more of that JamDownKernow vibration, in solidarity with Switzerland...

...anotherQUATILYproduct...

Friday, 17 August 2012

Pre-Release Album Stream: JJ DOOM – “Key to the Kuffs” feat. Radiohead, Portishead, Damon Albarn

by Jared Smith

One of the most anticipated cult rap albums has finally arrived! The long-awaited collabo between DOOM and producer/rapper Jneiro Jarel (hence JJ DOOM) are releasing their fifteen song album Key to the Kuffs on August 20 via Lex Records. Thankfully we don’t have to wait til next week as you can stream the whole thing right now. If you are a true DOOM-head, you probably already heard “Retarded Fren” featuring Radiohead’s Thom Yorke and Jonny Greenwood. The version included in the album is a little bit different. Other highlights you must hear are “Banished” and “Wash Your Hands”.

Tuesday, 22 May 2012

Killing Joke's 2012 Survival Guide

killinggood.jpg



If Americans in their thirties or forties ever heard a Killing Joke song, it was probably because "Eighties" was a standard at high-school dances for the latter half of that decade. The assistant principal never suspected that this was the band whom mothers and preachers ought to have been worrying about when they were breaking Elvis Presley and Black Sabbath records. Not only did the band write almost strictly about the end of capitalism and the world as we know it, but the members really were occult magicians who conferred with the spirits. The group even began with a ritual in 1979.

For those of us who blithely bopped to the spiritual descendants of Aleister Crowley and now drive mini-vans and fight the foreclosure of our homes, the band is still around. And they rock harder, heavier, and more beautiful than when any of us were young.

Timely as ever, Killing Joke has just released an emotional remedy for the age, their fourteenth album, MMXII. The Joke, back with the original line-up, did not jump on the 2012 bandwagon. They are finally having their I-told-you-so moment.

Singer Jaz Coleman said in a recent interview that he believes this year may bring a "revolution of consciousness," not catastrophe. Still, the new album follows where the last decade's three albums took off-with full-throatle fury at environmental decay, capitalism, and the erosion of individual rights. The opening track of MMXII describes, in a surprisingly upbeat tone, a shift in the magnetic poles, as well as the polarization of values. The shift is "calling on all of us to restore the biosphere." Another number warns that FEMA camps could just as well house dissidents like us. This is political guitar rock like we haven't seen in years, if ever.

A good part of the band's power is that they stand so unapologetically in contrast to media meant to sell. Killing Joke is what William Blake's visions or C.G. Jung's Red Book would sound like if they were recast as modern music: intense, mystical, personal, and incapable of embarrassment.

Truth be told, one must always stew in KJ's new work a few days to find the beauty; at first listen, they convey a feeling as oppressive as the authorities they oppose. (The line "Out of the virus, immunity comes" is a refrain in the band's discography.) Yet under the surface is a sort of soundtrack to an alternative lifestyle built on permaculture, friendship, and spirituality. Every movement needs its Wagner, and Geordie Walker's guitars part the heavens just as well. Paul Ferguson's drumming is capable of rallying the tribe once everyone looks up from their smart-phones. (A 1982 song, "Chop Chop," has us down pat: "And the bodies go by, barely half awake/awaiting things to come again, nice things to come.") Finally, in spite of all of the reasons to feel anxious, Coleman's shouted choruses leave me feeling triumphant. Defiance at its most absolute, the jester would say, is celebration.

Here are five lessons gleaned from three decades of Killing Joke. They may be thought of as survival strategies for artists and visionaries from a band who knows how to persist, uncowed:

Lesson #1: It's time to practice spiritual syncretism. Coleman, whose mother's family comes from Indian Brahmins, is at once a long-time practitioner of magic as well as an ordained Anglican lay minister with a parish near his home in New Zealand. Geordie Walker, the guitarist, is a Kabbalist, and bassist Youth is a druid.

The timing couldn't be better to request all the help the world needs from any spiritual agency that is willing. The ultimate song on Killing Joke's MMXII, "On All Hallow's Eve," is a shuffle-stepping how-to manual for invoking the help of ancestors:

"Endless drumming,
rituals wake up the dead,
bring gifts and spirits:
good wine, just cheese and some bread,
incense of cigars and spices,
pleasures we shared,
light up the graveyards,
to show how much we all care."

How have we forgotten the dead? No wonder we grope blindly in the direction of cataclysm.

Lesson #2: Keep your core but invite the new. Killing Joke doesn't fit neatly into categories. Their music isn't exactly punk, metal, hardcore, synth pop, electronica, New Wave, death metal, dub, and definitely not reggae-though their sound refers to each genre. What have stayed the same are Coleman's mania, Walker's orchestral noise, and the pounding drums. Killing Joke survived break-ups, '80s hair, shirtless videos, reformations, publication problems, failed marriages, physical fights, and death, including that of their second, beloved bass guitarist, Paul Raven.

The band left their native UK and have skipped around between New Zealand, the US, Prague, Zurich, and Spain. Rock musicians, it seems, have no full-time residence, and the rest of us who have lost our homes follow suit. Coleman and Walker never parted, but for years the group stayed flexible and brought on drummers from Martin Atkins of PIL and Dave Grohl of Foo Fighters to a lad half their age before reuniting in 2008.

More than doom, the most common theme in later Killing Joke's oeuvre is friendship, the sharing of bread and wine. Their circle of friendship, uncommon in long-lasting bands, almost seems old-fashioned. They brawl and express fondness like Captain Aubrey and Stephen Maturin do in Patrick O'Brian's popular historical novels. We are encouraged to open up our "private space" -- that post-modern concept of a compartment where we can protect our stuff--and accept friends who will have flaws and the occasional stretch of lunacy. They are the better for their demons. Let them steal the salt shakers and break the glass coffee table if we may keep our camaraderie.

Lesson #3: Madness is a normal part of adult emotional life. A regular comment to appear beneath Killing Joke videos and interviews with Jaz Coleman is, in one form or another, recognition that he is mad.

Coleman toyed with madness just as he courted the occult. An encyclopedia of rock music hidden in the reference section of my high-school library contained an entry on Killing Joke with a picture of Coleman holding a tribal spear and implements for conducting rituals. He explains the band began with a ceremony; he and Paul Ferguson offered a prayer to find their soul-brothers and in a few weeks, the other two arrived.

A clip in an upcoming and long-awaited documentary on the band's history, The Death and Resurrection Show, has Jimmy Page, the Led Zeppelin legend, saying of Coleman, "He's either playing with magic, or magic is playing with him." One may wonder if, like a character from Tolkien, he may have delved too deeply into the dark arts. In his interviews, he rants and circles his tail. His punctuation is maniacal laughter. (Admittedly, he can also be subdued and is almost always friendly.)

Shortly after recording MMXII, bassist Youth described with a sliver of humor how the singer spent a good deal of production alternating between depression and paranoia. In the new album's mildest, sweetest song, "In Cythera," Coleman begs his friends' forgiveness for having "lost the plot"; he goes on to invite them to meet on Aphrodite's island. He also has said that when he wears clown make-up and jester gear in concerts, mercurial energy is conjured, and the "masks" must be put away after a show, promptly.

One might also observe Coleman has lived a fuller, richer life than those of us who putt around in a mini-van. The late archetypal psychologist James Hillman wrote that periods of madness are probably normal in the emotional lives of healthy adults, but we cannot know for sure while the majority of psychological studies are performed on undergraduates. Killing Joke's example, on the contrary, begs the question whether we lost something in our inheritance of the Western tradition. Why did the Greek gods embody pathology? What if in our short lives we are wiser to seek the greatest range of experience and emotion, though we appear "unbalanced"? When is intensity, not merely going with the flow, the best gift?

Lesson #4: Intensity and paying the bills require mild side gigs. Killing Joke's guitarist happens to be an architect. Youth produced albums by Paul McCartney (the two collaborated as The Fireman), Dido, The Verve, and many others. Paul Ferguson restores art for the Rockefeller family. Coleman composes and conducts for orchestras including the Prague Symphony Orchestra. Classical music is where he says he places the Romantic impulse. Altering one's mode invites a larger and healthier range of expression. If Killing Joke is right, and the oil economy collapses, each of us will need to become jacks-of-all-trades.

Lesson #5: Get tougher with age, not softer. The biggest irony is that Killing Joke has lasted longer than many of the countless bands they initially influenced, including bands who went platinum. Killing Joke is the most important band almost nobody has heard of.

Kurt Cobain certainly was inspired by the band; they nearly sued him for copying riffs from "Eighties" in his hit "Come As You Are." But Cobain died first, a victim of the short-lived-artist myth. Killing Joke defies that myth. The puer aerternus, it turns out, does not last long. Their music is more ferocious and menacing as its members have entered their 50s. Coleman's voice, after decades of smoking, is capable of an unmatched, if not unearthly scream. Those of us who grew up hearing Killing Joke at prom are never allowed to shout like Coleman does, save at a bad accident. The neighbors would call a SWAT team. But Killing Joke - this group of shamans -- steps over boundaries on our behalf. They are waiting for us to pull up at the bonfire and dance.

Monday, 9 April 2012

Downtempo Remixes by Virgin Magnetic Material


"Virgin Magnetic Material" is a remix project by Shai Vardi, a musician and artist based in Tel Aviv.
Virgin Magnetic Material is a definition from the electronic world, describing core or shield material that has never been magnetized.

Wednesday, 4 April 2012

The 40 Best New Music From March 2012

The 40 Best New Songs From March 2012 from TooGoodForRadio on 8tracks.

by Jared Smith

What a fun month that was! We were treated to great stuff from all corners of the musical world, with plenty of good jams to bump while working, driving, doing homework, cooking, beaching, planning your revolution, whatever! Tracklist over at our Facebook and our kickass Tumblr. Download the mix below and stream the playlist via 8tracks.

Download: Best Music of March 2012

Sunday, 25 March 2012

Sunny Sunday Mash



Sunny Sunday Mash. Downtempo, funky, hiphop kinda vibes from the likes of
A.P.E. Quantic, Mother Earth, Carleen Anderson, Shara Nelson, Ballisict Brothers, Massive Attack, Mc Solaar, La Funk Mob, Sagat, Gangstarr, Galliano ....

kick back n enjoy x

Friday, 9 March 2012

JDK March 2012


...join us again down andy's sh'been in the recently saved holy headland of the original, world record breaking pirate bay for a message to the murderers and the powers that were on march 9, 2012, over to clif high...

First they ignore you. Then they ridicule you. Then they fight you....thus proving you have won.

Our collective victory over the entrenched elite spin machine BEGINS at 4:59pm pacific coast time on Friday, March 9, 2012. The word begins is shouted so that you will understand it will yet take time to complete, but the release language takes away their spin machine power....merely a matter of how long it will take to crumble. It starts going on that friday, and they never get it back....do not trust me on this...but give the process a few weeks before saying you're not seeing it...you may be particulary dense and be missing the early signs of it.

Monday, 27 February 2012

The Meters Concert Congo Square (New Orleans, LA) Apr 25, 1970









Listen to more The Meters at Wolfgang's Vault.

Concert Summary

Art Neville - keyboards, vocals
Leo Nocentelli- guitar, vocals
George Porter, Jr - bass, vocals
Zigaboo Modeliste-drums
Guest: Margie Joseph - vocals on 9, 10 &11

The New Orleans Jazz and Heritage Festival has become one of the world's greatest cultural celebrations, attracting hundreds of thousands annually, but in 1970 when the festival first began, a few hundred people turned up and the musicians and festival participants outnumbered attendees nearly two to one! Newport Jazz and Folk Festival impresario George Wein was hired to design and produce an event custom tailored for the city of New Orleans and The New Orleans Jazz & Heritage Foundation, a nonprofit organization, was established to oversee the Festival. Wein's concept of an outdoor music fair with multiple stages featuring a wide variety of indigenous music styles, Louisiana cuisine vendors and crafts booths, plus an evening concert series at Municipal Auditorium, would eventually prove a winning and enduring formula. The 1970 event lasted 5 days and was thrown under the moniker of New Orleans Jazz Fest and Louisiana Heritage Fair with an admission of $3. Headliners at the evening concerts included Duke Ellington, Al Hirt, Fats Domino, the Dukes of Dixieland, Germaine Bazzle, James Rivers and Sweet Emma Barrett. Outside four sound stages were erected featuring the best jazz, soul, Cajun, blues, brass band and gospel music and several tribes of Mardi Gras Indians appeared in full regalia for the first time ever on nontraditional parading days. For the outdoor events, reserved seating was nonexistent so listeners, both blacks and whites, simply stood around the stage enjoying the music together. This at a time when the American South was still emerging from nearly a century of segregation, and events attended by both races were still a novelty.

On Saturday afternoon April 25, 1970, adjacent to the Municipal Auditorium, in an outdoor area of what was then Beauregard Square (now called Congo Square); some of the greatest local talent presented a program called "Soul Saturday." The concept was not unlike a live outdoor "Soul Train" or American Bandstand type event, with listeners unabashedly dancing in the square. This was especially true for local hotshots The Meters who, in terms of sheer rhythmic force, had no equal. The history of this native New Orleans band dates back to three years prior, when keyboardist Art Neville recruited bassist George Porter Jr., drummer Joseph 'Zigaboo' Modeliste and guitarist Leo Nocentelli to form the quartet who many now consider the founding fathers of funk. The Meters would also became the house band for Allen Toussaint and his record label, Sansu Enterprises, where their trademark blend of funk, blues and dance grooves, fueled with a New Orleans vibe, graced countless recordings by other regional artists as well as their own albums and singles. At the time of this 1970 festival appearance, The Meters were just wrapping up their third and last album for the Josie label and would soon sign with Reprise.

In addition to several choice covers, this performance places an emphasis on singles culled from the The Meters self-titled debut, released the previous year, as well as both 1970 albums Look-ka Py Py and Struttin. Following a rousing introduction and a minute or so of tuning up, The Meters immediately kick into high gear with their signature instrumentals "Cissy Strut" and a revved up "Hear Comes The Meter Man" back to back. Even at this young stage, these musicians are masters of New Orleans meter, with drummer Zigaboo Modeliste conveying deep mastery of second-line rhythms. Leo Nocentelli's guitar and Art Neville's keyboards play both melody and rhythm, often working in tandem, not unlike Steve Cropper and Booker T. Jones of Booker T & The MGs fame, one of The Meters most overt influences. This combined with the underlying funkiness of Modeliste and Porter is what gives The Meters their distinctive sound.

The Meters next slow things down a bit and pay tribute to Curtis Mayfield by covering The Impressions hit "I'm So Proud," with Art Neville providing a soulful lead vocal fueled with style and grace. The deep grooves of title track from the band's second album, Look-ka Py Py follows. This is a fine example of Art Neville's versatility on the Hammond B-3 organ, where he vacillates between a key-paddling rhythmic style to unhinged leads. It also features a highly entertaining a cappella section, where the band continues instrument free, using only their voices to maintain the groove. No soul party would be complete without a cover of Sam & Dave's classic "Soul Man" which also gets The Meters treatment, which then segues directly into their new single at the time "Chicken Strut," a funky James Brown-style workout that elicits exclamations and screams from band members and dancers alike to close the set.

However, the performance isn't over and following the MC's call for a hand for The Meters, he brings the Meters back and introduces Soul Sister One & A Half, Margie Joseph to the stage. Frequently compared to Aretha Franklin, Joseph never gained the fame or critical success lavished upon the Queen of Soul, but she deservedly has become a soul cult favorite through a series of albums and singles for the Stax subsidiary Volt Records and later for Atlantic. Joseph first recorded demos in 1967 at the famed Muscle Shoals Studios for the ill-fated Okeh label. A year prior to this festival, Joseph signed with the Stax subsidiary Volt, releasing the underground favorite "One More Chance," which would be followed by "Your Sweet Loving," a minor R&B chart hit later in the year. At the time of this remarkable performance, her fine debut LP, Margie Joseph Makes a New Impression was just beginning to make waves and she is in superb form. With The Meters serving as her band, Joseph begins with an utterly unique arrangement of John Hartford's "Gentle On My Mind," which had won two Grammies in 1968 and was still quite popular from Glen Campbell's monster crossover hit. A more soulful version of this song one would be hard-pressed to find, with Joseph giving it her all. A single released on Volt the previous year, "Never Can You Be," is up next veering into blues territory. The Meters are equally adept here, with Nocentelli interjecting sizzling lead guitar between Joseph's passionate and powerful vocal lines. The set closes with the smoldering upcoming single at the time, "Your Sweet Loving," which would gain more notoriety decades later when it would be sampled in "None of Your Business" by Salt-N-Pepa. It's a tour-de-force closer that wraps up this memorable performance in fine style.

Throughout their time on stage, both with and without Margie Joseph, The Meters are superb and convey the youthful energy that made their early records so exciting for listeners more geared toward rock and soul. The Meters have come to define another root sound of New Orleans, strongly influencing their peers and subsequent generations of bands like Little Feat, The Radiators and of course Art's project with his siblings The Neville Brothers. The Meters music continues to influence countless musicians the world over, but what is most intriguing about this vintage 1970 performance is how such an incredibly tight band can still manage to sound so free and loose. (Bershaw)

...FULL CONCERT HERE...

Friday, 24 February 2012

Balkan Beat Box Mix - DJ Better Buds


Balkan Beat Box is an Israeli musical group founded by Tamir Muskat, Ori Kaplan of Firewater and Big Lazy, and Tomer Yosef (MC, vocals, perc, sampler unit). As a musical project they often cooperate with a host of other musicians both in the studio as well as live. Their current live crew consist of Tomer Yosef, Ben Hendler, Itamar Ziegler, Eyal Talmudi, Uri Kinrot, Ron Bunker, Jeremiah Lockwood, and Peter Hess. Amongst their other collaborators are Victoria Hanna, the Bulgarian Chicks, and gnawa player Hassan Ben Jaffar.
DJ Better Buds picked the pearls of Balkan Beat Box and created a smooth groovy mix for our ears...

Saturday, 4 February 2012

Must Download Mashup Album: D.Veloped – Work: Party

by Jared

Now we’re not ThisSongIsSick.com. We don’t use the “MUST DOWNLOAD” label lightly. This is our equivalent of the DRUDGE ALARM. Stop what you are doing, and give this a listen. D.Veloped has been on this publication a few times with his intricate multi sample mashes including highlights of Childish Gambino vs The Backstreet Boys, Busta Rhymes vs The Offspring, Tech N9ne vs The Postal Service. All of these are included in this forty minute mash, including many other D.Veloped edits of Pretty Lights, Dillon Francis, Skrillex, Avicii, Ellie Goulding, and many more. You’ll also get some Workaholics quotes mashed in, which is always a plus. Stream and download immediately, since its “must hear” and all that jazz.

Tracklist:

The Skinny Boys – Jock Box
D.veloped Intro (VIP Edit)
Ben Samples – Back In Black Rmx (D.veloped Edit)
D.veloped – The Childish Games
Pretty Lights – Fly Like An Eagle Rmx (D.veloped Edit)
Love & Light – The Light We Bring (D.veloped Edit)
Dillon Francis – IDGAFOS (D.veloped Edit)
Quality Moombahton – Ni**as In Paris Rmx (D.veloped Edit)
Skrillex – Reptiles Theme (D.veloped Re-Edit)
Lil Jon – I Do (Pance Party Rmx)
The Naked & Famous – Punching in a Dream
Avicii – Levels (D.veloped Edit)
Eric Prydz vs LMFAO – Call on Shots (D.veloped Mash)
Black Eyed Peas – The Time (Zedd Rmx)
Ellie Goulding/Bassnectar – Lights (D.veloped Edit)
Flux Pavilion – I Cant Stop Ft. Jay Z & Kanye (Benzi Edit)
Skrillex – Scary Monster & Nice Sprites (D.veloped Re-Edit)
Gucci Mane – Iz You Rollin’ (D.veloped vs Pantyraid)
BOB – Strange Clouds
Zeds Dead – Coffee Break
D.veloped – My Dangerously Melodic Anthem
D.veloped – Son of a Nun ft. Nelly

Wednesday, 1 February 2012

JDK - Reggae Radio Feb 2012



...join us again down andy's sh'been in the recently saved holy headland of the original, world record breaking pirate bay for more of that JamDownKernow vibration...

Tuesday, 24 January 2012

NEVERMIND the BALKANS - the Best of Vols 1&2


...we're back, deep in ken's korner for the last word on the balkans...
01 eski kopenica - BULGARIA
02 gankino - BULGARIA
03 pomashko sirto - BULGARIA
04 hallemadhe - ALBANIA
05 gravsko horo - BULGARIA
06 leskovacka cetvorka - SERBIA
07 ararat hakketoon - ARMENIA
08 sandansko horo - BULGARIA
09 rumelaj - MACEDONIA
10 pare me parayioulaki - GREECE
11 tesko kavadarsko - MACEDONIA
12 izgralae mesecinka - BULGARIA
13 aghchka yerazanke - ARMENIA
14 malevisiotiokis horos - CRETE
15 evin - KURDISTAN
16 indijski chochek - MACEDONIA
17 baba dzurdzija - MACEDONIA
18 pendozalis - GREECE
19 karsilama - TURKEY
20 ani mori - ALBANIA
21 ovchepolsko oro - MACEDONIA
22 kopacka - SERBIA
23 krivo horo - MACEDONIA
24 kalyi jag - HUNGARY

...DANCE-ON...

Saturday, 21 January 2012

JB's Funky People - djTwolegs


JB's Funky People by Burts (Twolegs)

JB's Funky People mix by me. Vinyl only dooins. Shout out to the cats dancing round my car NYE, you know who you are !! :D

enjoy x

Sunday, 8 January 2012

JDK - Reggae Radio Jan 2012



...join us again down andy's sh'been in the recently saved holy headland of the original, world record breaking pirate bay for more of that JamDownKernow vibration...