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17 Sep 2016

Funk Inc. “Hangin’ Out” 1973 US Soul Funk









Funk Inc. “Hangin’ Out” 1973 US Soul Funk
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Highly regarded in soul-jazz circles, organ combo Funk, Inc. has specialized in a very accessible, groove-oriented blend of jazz, funk and R&B. The group was founded in Indianapolis in 1969 by organist Bobby Watley, who recruited tenor saxman Eugene Barr, guitarist Steve Weakley, drummer Jimmy Munford and conga player Cecil Hunt. In the early 1970s, the original lineup came to the attention of Bob Porter, a well respected producer who signed Funk, Inc. to Prestige and paved the way for the band to record five albums for that label. After stressing improvisation on its first three albums Funk, Inc., Chicken Lickin’ and Hangin’ Out, Funk, Inc. started to lose its way in the mid-1970s and turned to heavier production, more arranging and background vocals. This slicker approach led to tension within the group, and Funk, Inc. broke up in 1976. Watley continued to play live gigs on his own in the Midwest, and it wasn’t until the mid-1990s that he would organize a new Funk, Inc. lineup. With Britain’s acid jazz scene having focused attention on Funk, Inc.’s work, Watley organized a new lineup that included Hunt and newcomers Teddy Patterson (alto & tenor sax), Doug Swanigan (guitar) and Phil Brines (drums). Sadly, original members Munford and Barr had died. With this lineup in place and Funk, Inc. recording for Prestige once again, the band entered the studio in 1995 and recorded its first album in 21 years, Urban Renewal. It was also during that 1990s that Fantasy reissued some of Funk’s 1970s efforts on CD…… 

1. Smokin At Tiffany’s (5:30) 
2. Give Me Your Love (5:57) 
3. We Can Be Friends (5:11) 
4. Dirty Red (6:09) 
5. I Can See Clearly Now (6:02) 
6. I’ll Be Around (4:18) 

L'Orchestre Kanaga De Mopti “L'Orchestre Kanaga De Mopti” 1977





L'Orchestre Kanaga De Mopti “L'Orchestre Kanaga De Mopti” 1977  recommended…!
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LOrchestre Kanaga De Mopti is one of the best West-African modern orchestras which originated from a wide range of state funding. In 1977 the Malian government owned label Mali Kunkan, released a series of LPs including this HOLY GRAIL of Malian music. Now available again via an official reissue! …….. 

Malian music has received a lot of attention the past years, and it’s appeal will continue to spread with discoveries like this being exposed outside the record collectors market. Kanaga De Mopti has the sound of a West African orchestra - unified in rhythm and melody. This one found a place in our hearts as soon we heard it! TIP TIP TIP! 

Kindred Spirits kicks off its Mali-series with one of the most in demand Mali records, by L'Orchestre Kanaga De Mopti. They are one of the region’s modern orchestra groups, who were were able to flourish in the golden age of West African state music funding. In 1977 the Malian government owned label ‘Mali Kunkan’, released a series of LP’s, including this must-have gem……… 

Must-have reissue of this West African orchestra’s most in-demand album, originally recorded in 1977. Usually the preserve of knowledgable record collectors, 'Kanaga De Mopti’ can be viewed as some kind Malian answer to Pink Floyd - only a HELL of a lot funkier. Under the guidance of bandleader Sory Bamba, the group were one of eight regional orchestras set up during the golden era of state music funding, competing with the other seven in the Biennale Culturelle system and ranking second in the four between 1970 and 1976, defeated each time by the mighty Super Biton de Ségou. One of the defining features to the group’s sound is the dual rhythmelodies of Mamdou Soumaoro’s keyboards and a Grand Balafon, the larger version of a tuned percussion instrument akin to a marimba, whose combined Afro-futuristic timbres warrant the Pink Floyd comparison. Around 1977, together with sax, guitars, fula singers, tumba and drums the group settled on an augmented style of traditional Dogon music, the sound of an old, almost secret and and fierce culture, and documented their new sound at Radio Mali. 'Kanaga De Mopti’ is the result, a genuinely powerful, mesmerising set of six tracks ranging from celebratory dance music to reflective, symphonic compositions and including one outstanding track 'Kanaga’, a deliriously funky, echoic and engrossing masterpiece. Now fully remastered and presented in original full colour sleeve with sleevenotes, us lovers are treated to their stunning performance for the first time. TIP! ……… Boomkat Product Review: …. 

Mopti, the Venice of MALI … As VENICE, young people are bored stiff. They are there to be bumming on the banks of river NIGER or either burn out dry on its tributary the sweet name of Bani (link is external). It was then that to brighten up the city formed REGIONAL ORCHESTRA MOPTI. This record dates from 1970 and was registered in the competition framework as was done at the time: Biennials. That year, the “first artistic and cultural biennale of youth”, they finished 2nd. They win in 1978. So this disc is a concert. In the “sacred high class concert.” I’m not going to play the etymology or history of my two. Huh. I prefer to speak German. I know you know look. 

The great success of this, it is the mixture, or merging as we said at the time. The cover is in this sense a very good cover. A mix of traditional and electrical assistance. Electric guitar rolling ass, trumpet makes a nod to the drums and other TAMA, who themselves are burning pace in speed and especially trans there any behind the melodic songs … in the heart .. . in an atmosphere that I would have loved to live … 

Orchestre_kanaga_de_Mopti Mali KunkanDaté 1977 “ORCHESTRA OF KANAGA MOPTI” wants to be a sound recording studio, this album is more accessible, through western with all that entails. Some will say to my right that it’s built better orchestrated, recorded better, better EVERYTHING. Yes ok agree, but I would say to my left that loses freedom, the pieces are now songs, less free stuff, more cramped, best dressed, with makeup, bagouzes and with much less structures wobbly. In short, this is bizarre. And that is why I prefer the first draft of 1970. Less Zouc. Over the earth. Less head. It is not moreover nothing emerges to Dogon masks on the cover .. …… 

Repressed. L'Orchestre Kanaga De Mopti is one of the best West African modern orchestras which originated from a wide range of state funding. In 1977, the Malian government-owned label Mali Kunkan released a series of LPs including this Holy Grail of Malian music, now fully remastered and available again via an official reissue! In the 1960s, during the First Republic of Mali, modern orchestras were encouraged and promoted by Modibo Keita’s government. Starting in 1960, Bani Jazz became the city and region’s main orchestra before the name changed to the Orchestre Régional De Mopti in the wake of Mali’s Second Republic in 1969. At the end of 1970, the band published its first album under the name of Orchestre Régional De Mopti. This record clearly helped to define Mopti’s vibrant cultural heritage under the aegis of bandleader Sory Bamba. Trumpet player, flutist, traveller and songwriter, Bamba already had a strong musical background when he took over the orchestra in 1969. Around 1976, the Mopti orchestra became Kanaga De Mopti, simply known as “Kanaga” by the listeners of Radio Mali, named after the large Dogon ceremonial mask. Under this new and slightly “more commercial” moniker, the band also performed at private functions and for various regional patrons. In July of 1976, after months of intense musical and cultural research, the orchestra visited the Radio Mali recording studio in order to document its new musical evolution. Six of these songs were featured on the only album by Kanaga De Mopti released in 1977 courtesy of Mali Kunkan, an ad hoc label formed around the Ministry of Youth, Sports, Art and Culture. On side one, the infectious “Kulukutu” and its mesmerizing vocal introduction focuses on the celebration and the joys of marriage between young men and young girls. “N'Do N'Do” digs deeper into the Dogon culture as it displays the masked dances and processions performed by kids on Ramadan nights. The call and response add up to the strong and fierce excitement one can sense within the recording studio. Closing side one, with its introductory bell gimmick, “Sare Mabo” is dedicated to the cloth weavers. Bamba plays the traditional fula flute at the end of that track, giving it a rural edge while the sturdy horns display their powers. Side two opens up with one of Bamba’s most amazing compositions, “Kanaga,” an homage to the Dogon mask and to the dancers who wear it during ritual ceremonies. The brass section is exceptional all throughout the record with tremendous riffs on that track. Electric guitar and organs swirl effortlessly around the melodies on songs like “Gambari” (trans. “green grass”), a griot-like song praising a powerful groom. “Sory Bamba” is another praise song which extols the virtues of its famous band leader. Stuck in the past but looking towards the future with its incredible mix of traditional and modern instruments, Kanaga instantly reaches the higher level of African music classicism. Finally, this timeless classic is available again including fully-restored artwork and audio. Also includes in-depth liner notes about Mali and L'Orchestre Kanaga De Mopti. ….by Forced Explosure….. 

The first regional orchestra of the Mopti region of Mali was the Bani Jazz, named after the river that joins the Niger near Mopti. Founded after the coup d'état of 1968, Ali 'Farka’ Touré was the first chef d'orchestre. He was also the first to exploit the enormous variety of traditional music from the Mopti region in a modern orchestra, with tracks like “Manden Po”. 

According to Ali (in an interview in 1989) things turned sour after two years, due to his relationship with Sory Bamba. When he discovered he lacked the support of the regional authorities, Ali left the orchestra. And the orchestra was taken over by Sory Bamba and renamed Orchestre Kanaga de Mopti. 

The lp Kanaga recorded in 1977 for the Mali Kunkan label is certainly one of their best. It is also, unfortunately, one of the few in which the orchestra is credited and which is not -like the albums released on the Songhoy and Sonafric label- presented as a solo project by self-acclaimed superstar Sory Bamba. 

I am somewhat cautious in labelling it The Best, because I suspect there may be more by Kanaga which at least I haven’t (fully) discovered. After discovering some fragments of tracks on a cassette I bought in Bamako, I have been looking for more; but so far I have only found more of the same… 
I am sure you will understand my frustration about this when you hear the two and a half minute fragment I have added as a bonus. 

I have several versions of this lp and can’t make up my mind which one to post. So here are two versions for you to download: the first is from a cassette I bought in 2000 and is at least almost complete (there is a bit missing in the track “Kanaga”) and of a consistent quality. ……. 

Tracklist 
Gambari 8:30 
Sory Bamba 6:18 
Kulukutu 9:00 
Kanaga 8:00 
N'do N'do 8:28 
Sare Mabo 6:34 

Black Sugar “Black Sugar “1971 + “Black Sugar II” 1974 Peruvian Latin Funk


Black Sugar “ Black Sugar “1971 + “Black Sugar II” 1974 Peruvian Latin Funk
Black Sugar “Black Sugar” 1971 first album  
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https://vk.com/wall312142499_2940

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https://open.spotify.com/album/7hahbYtAwtPVehCR7Qmsuv#_=_
Black Sugar  “Black Sugar II"  second album
full spotify
https://open.spotify.com/album/6ce4lv3wk5879EA8MiNfgi



Black Sugar “Black Sugar” 1971 ultra rare Peruvian Latin Funk Rock  first album  recommended….!

This is a great LP by Black Sugar from Peru, released in 1971, it’s a nice mix of funk, latin, jazz, soul and some funky guitars. Dig the groove! ……… 

Black Sugar, the brainchild of Victor “Coco” Salazar and Miguel “Chino” Figueroa, was formed in 1969 under the name Los Far Fen, mainly because the group had a Farfisa and a Fender amplifiers as their only electronic amplification equipment. 
In 1970 the group was given the name of Black Sugar by Jaime Delgado Aparicio, a jazz piano player and arranger that at the time was the artistic director of Sono Radio, a Peruvian label. 
Delgado Aparicio, recognizing the talent of the young musicians, gave the group an opportunity to record a long play in 1971. Original compositions like “Too Late”, “Viajecito” and “The Looser” made this LP an immediate best seller. Black Sugar “Black Sugar” was sold in all South America and there was a release of the LP in USA by a Miami based label. 
The success of Black Sugar was not due to luck or marketing.Their members were some of the finest , if not the best, young musician from Peru. The arranger, “Coco” Salazar was also a fantastic guitar player; Miguel “Chino” Figueroa was the composer of almost all the original songs by Black Sugar, besides playing keyboards, he was also an inspired organ player; Jose Cruz was one of the most promising young jazz drummers; it is hard not to mention the rest of the musicians, players like Roberto Valdez, Luis Calixto, Antonio Ginocchio, etc… deserve an extensive description of their abilities. ….. ~

Black Sugar is a funky Latin-rock band from Peru, mercifully reissued for a latter-day audience by Lazarus Audio Products. “Viajecito” is the essential track – the waka-waka guitar intro is the main attraction, although the basic track is funky, Latin, and mostly instrumental. “The Looser” and “Funky Man” also are hip, but lyrics on the corny side keep them from heavy play. The lead-in tracks on each side, “Too Late” and “Understanding,” are solid, and the rest are decent ballads. Although the singing is not the greatest, the acoustic guitar and conga interplay on the lighter tracks sound like something from Sabu Martinez’ Groovin’ with Sabu album. “Pussy Cat” is an ambitious jazz instrumental; with its Latin percussion, funky bass, and strings (not to mention the title), it could have been a cut from one of the better “blaxploitation” soundtracks. Black Sugar may not change many lives, but it does occupy a vital corner in the rare world of Latin funk…by allmusic… ~

Tracklist 
A1 Too Late 3:00 
A2 Viajecito 5:42 
A3 The Looser 4:10 
A4 This Time 4:21 
A5 Funky Man 2:03 
B1 Understanding 5:06 
B2 When You'r Walking 4:53 
B3 When I Needed Someone 2:42 
B4 Pussy Cat 4:54 









Story
The two acetatos that Black Sugar left us in the 70s, Black Sugar (1971) and Black Sugar II (1974), and that made it the pioneer of Latin funk, bring us back to those Peruvian nights of three decades ago: hot nights where his music played for hours that felt infinite for its flavor. Now that the group is playing their classical songs again in concert, a tasty time machine is made available that must be taken advantage of. What better pretext to try to reconstruct his story here. 
Black Sugar dominated the sound of Lima, the Peruvian capital, in the decade mentioned. An era marked by a military government that, after assuming power in 1968, brought with it, among many other consequences, the debacle of the first generation of Peruvian rock. With his repressive machinery he was in charge of discouraging everything that inclined towards the foreign, more precisely to the gringo. “The rock bands did not like the military, then the bands of the moment began to disappear, as was the case with Laghonia, Traffic Sound or the Mads, giving way to another type of music,” says Pacho Mejía, vocalist of Black Sugar. I think that precisely there was one of the keys to the success they had in those times: their Latin touch was the safe conduct for their survival in this hostile and repressive context
The roots of this band are in a group called Los Far-Fen (in reference to the musical communion between the Farfisa organ and the Fender guitar), formed at the end of the seventies by the guitarist Víctor “Coco” Salazar, with the aim of animating parties. “The Far-Fen seemed to me a sophisticated group. They made Latin music, but fine: Tito Puente, Ray Barreto, and also American romantic music and jazz. One good night, spontaneous, I went up to sing with them, and "Coco” loved the tone of my voice. He told me: let’s form a band, “continues Pacho. Thus, inspired by the sound of the first Chicago and Santana, and then the Californian Tower of Power, they began to develop a style that proved to have unusual success in the dances of the time, circa 1971. 
The breaking point of this stage as party entertainers occurred when his music reached the ears of Jaime Delgado Aparicio, perhaps one of the most transcendental musicians in contemporary Peruvian history of which little is known, and who sadly died at age 40 in 1982. At that time, the beginning of the seventies, the then young but already renowned Peruvian musician graduated from the Berklee school in Boston, had arrived in Lima after a season of music in Italy and was the manager of Sono Radio, one of the most important record companies in the country. It is Delgado Aparicio who proposes to abandon the repertoire of parties and record an LP with original material. There was born the sound of the group.
Re-named as Black Sugar and sponsored by Delgado Aparicio, they made their own for a season the recording studio owned by the label. As the trumpeter Antonio Ginocchio recalls, the other original member who has returned to the court: "The studio was gigantic, about the size of a soccer field [laughs]. I was prepared to record a big band, with modular rails, a console with 36 channels … and since Jaime was the manager, we had all the hours we wanted. We never got tired, we had about 20 years. ”
The first self-titled LP is officially released in 1971, and if one reviews now the Peruvian edition of that time, it is surprising to read the credits written in English: apparently, the look was outward. Pacho Mejía corroborates this deduction: “It is in English because we had a lot of contact with the US. There was the vision of reaching the North American market. The song "Too late” came to be in seventh place in the charts in Miami, in the list of songs most listened to “. At that time, indeed, the musicians received an offer to record the next album there. 

Ginocchio continues: "But Jaime wanted to make some changes to the band, we were not going to travel all of them. He had his ideas, put some choristers … But the issue was that we had a lot of work here. And when they told us to travel, we thought, what are we going to do there? We did not want to go and we did not go. ” Therefore, that international recording was never made. 

The main argument is that they had a lot of work here, a situation that is hard to abandon. “We had solvency. When we played in the new year, we sent ourselves to make full costumes, even shoes, "recalls Antonio. And then there is Pacho, who swears he does not exaggerate: "In December we played so many times that, on one occasion, in 1972, I went directly to buy a car.”
However, it is hard not to think that this was a missed opportunity for what could be the significance of Black Sugar in a major market outside of Peru. Soon after, in 1976, problems began with the departure of Hermes Landa, manager of the group since its inception and perhaps the main responsible for its commercial success. In fact, it was the brain of the profitable logistics in which the group was held. 
Added to this, the curfew imposed by the military regime at that time caused the contracts to begin to diminish substantively, and the original members began to abandon the ship. “The same Jaime Delgado Aparicio lost interest,” says Antonio, “also, as we did not want to go to the trip, he forgot the matter.” And so, before the decade ended, the group no longer existed. 
Since then Black Sugar became an unwritten legend, until the year 2010, “Pacho” Mejía and Antonio Ginocchio made the decision to play together again after several meetings with the other members in which, motivated by nostalgia, old friends were healthy and swore that soon they would come together to rehearse again.
This new project by Pacho y Antonio, baptized as Blue Rhodes, had a varied repertoire that occasionally passed through songs by Black Sugar, such as “Too late” or “Checan”, and in which a different sensation flooded the atmosphere: the audience He recognized and asked for more. So finally decided and called the original members available, including the trombonist Lucho Calixto, and completed the other lines with young musicians. 
Since then, Black Sugar has returned to the search for new audiences, with the impetus of young people and the experience of the historical. With the voice of Pacho Mejía, now remember that we closed the conversation, invaded by nostalgia: “At that time, the most radical rockers had us a little” between their eyes “: Black Sugar was not a group neither rocker nor salsa … there was something of rock, salsa, jazz. That’s why in the history of rock we are not valued like others. But the fact that young people now listen to us avidly, and dance our songs, is something that fills us with satisfaction. ” 
Thus, despite the absence of “Coco” Salazar and keyboardist Miguel “Chino” Figueroa, formerly pillars of the group, the new ensemble began to take hold a couple of years ago, when the new formation was noticed in the scene Lima, arriving to record a few months ago a special for paid TV…..noisey…~ 



Black Sugar ‎ "Black Sugar II” 1974 second album

Tracklist 
1 Fuego 5:40 
2 Valdez In The Country 4:38 
3 Don’t You Worry About A Thing 2:51 
4 The Dawn Of My Madness 2:33 
5 I Want To Believe 3:18 
6 Checan 5:10 
7 Kathy 4:49 
8 All Your Love 3:45 
9 Wake Up 3:30 










Piero Umiliani “To-Day’s Sound” 1973 Italy jazz- rock-rhytm and blues-beat-undergroud -country
















Piero Umiliani  “To-Day’s Sound” 1973 Italy  ultra rare excellent jazz- rock-rhytm and blues-beat-undergroud -country  recommended..!
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Fantastic very rare and beatiful dooble LP of Piero Umiliani with top italien jazz - rock musicians, very interesant and innovative sound, jazz- rock-rhytm and blues-beat-undergroud -country -pop musiciens : Marcello Boschi - flute , Mario Midana,Dino Piana,Biadio Marullo -trombones, Antonello Vannucchi - organ hammond, Silvano Chimenti, Sergio Coppotelli - guitars, Maurizio Majorana - electric bass, Claudio Budassi - sound engineer, Oscar Waldambrini, Al Corvin,Marino di Fulvio - trumpets,Carlo Zoffoli- vibraharp,marimba, Sergio Carnini - organ lowrey , Giovanni Tomasso - bass, E.Restuccio , G.Munari,C.Ciro - percussions, F.Meloni - mastering Piero Umiliani - moog,piano fender,mexican marimba 21 tunes ……
What can I say? I’m obviously a huge fan of Piero Umiliani. This has to be the 3rd review I have done of his work, but honestly I could go all day! First off, it’s difficult to say which record of his is my favorite. But this one is definitely high on my list of top records period! To-Day’s Sound was recorded in his Luito studio and micro-pressed (300 or less) in the early 70’s. Some would consider this background music or a “library record” but I consider it more background music than anything. Note: The song “Open Space” was used for the 1973 movie Baba Yaga (check the trailer below). Each song is very expressive and demands the listeners full attention. Umiliani was definitely in his prime and the way the arrangements are written shows it bluntly, that I couldn’t even fit all of the material on one sound clip. HIGHLY recommended!! Enjoy ….
Originally released as a double album and conceived as a collection
of episodes destined to various tv sonorizations, To-day’s sound has
quickly become one of the most popular works by Piero Umiliani and it
certainly is one of the best ones composed in his career. Umiliani,
here on the job with Moog, Hammond and keyboards, is accompanied
by a good group of excellent and talented jazz players, like Franco
D'Andrea and Giovanni Tommaso (both in the Perigeo group),
trumpet player Oscar Valdambrini, guitar player Silvano Chimenti
from I Grès group, percussionist Ciro Cicco and many others.
With the original intent to offer radically different styles and
atmospheres, in order to promote the use of the tracks in movies and
tv series - in fact, the the psycho-funk Open space was used for
the opening credits of the movie Baba Yaga - To-day’s sound is
the perfect example of Umiliani’s incredible and varied talent, capable
of mastering diverse genres and sounds without losing his personal
touch. As stated on the cover: Rock, rhythm and blues, beat,
underground, country, pop, we can also add electronic music and
funk, in order to complete a sound palette that only very few other
composers had. It is hard to pick the best track in a record (a double
album to be specific ) so rich of gems, from the title track to Caretera
panamericana (with virtuoso Moog improvisations ), to Bus stop
and Music on the road , to end with the wonderful soul of Green  valley: it is better to enjoy Umiliani at his best!…..TO-DAY’S SOUND (1973)….
Bass – Giovanni Tommaso
Cover – Sandro Lodolo
Electric Bass – Maurizio Majorana
Engineer [Sound] – Claudio Budassi
Ensemble [Complesso] – The Soundwork-Shoppers
Flute – Marcello Boschi
Guitar – Sergio Coppotelli, Silvano Chimenti
Liner Notes – Stefano Gilardino
Mastered By – Francesco Melloni
Music By, Arranged By – Piero Umiliani
Organ [Hammond] – Antonello Vannucchi
Organ [Lowrey] – Sergio Carnini
Percussion – Cico Ciro*, Gegè Munari, Enzo Restuccia*
Piano, Piano [Clavichord] – Franco D'Andrea
Synthesizer [Moog], Electric Piano [Pianofender], Marimba [Mexican] – Piero Umiliani
Translated By [English Translation By] – Elisabetta Umiliani
Trombone – Biagio Marullo, Dino Piana, Mario Midana
Trumpet – Al Corvin*, Marino Di Fulvio, Oscar Valdambrini
Vibraphone [Vibraharp], Marimba – Carlo Zoffoli

Tracklist:
Side A
A1 Open Space
A2 Green Valley
A3 Caretera Panamericana
A4 Goodmorning Sun
A5 To-Day’s Sound
A6 Free Dimension

Side B
B1 Truck Driver
B2 Blue Lagoon
B3 Wanderer
B4 Lady Magnolia
B5 Pretty

Side C
C1 Railroad
C2 Country Town
C3 Bus Stop
C4 Cotton Road
C5 Nocturne

Side D
D1 Exploration
D2 Tropical River
D3 Coast To Coast
D4 Safari Club
D5 Music On The Road

Miguel de Deus ‎ “Black Soul Brothers” 1977 Brazil Soul Psych Funk






Miguel de Deus ‎ “Black Soul Brothers” 1977 Brazil Soul Psych Funk
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Miguel De Deus “Black Soul Brothers” (Copacabana, 1977) 
Funky music, terrible singer. I mean, like, the backing band is really in a deep groove, and De Deus is really, really annoying – terrible tone, grating personality, and a total spazz. I bet it was a lot of fun seeing him live – it’s a very high-energy performance – but on wax, it’s too manic and unmelodic for me, even worse than Tim Maia or most of the other Brazilian soul singers. Apparently this was his only solo album of his career, although earlier he recorded with the rock bands Os Brazoes and Assim Assado. I have to say, that while I find his singing to be irritating, the record itself is definitely a historical gem… If you’re seriously checking out classic Brazilian funk, this is a record you’ll want to track down. ……… 

I know that he was a member of Os Brazões, who backed Gal Costa for a period of time. But that group doesn’t appear to have recorded much beyond their debut. A lot of time passes from 1969 to 1977 when this LP is released. I’m sure I’ve missed some credits from Deus during that period of time, but even still there’s a lot to be discovered and rediscoverd about Brazil music in the 1970s. Black Soul Brothers is a somewhat strange kind of record. Virtually every song on the album doesn’t really have any lyrical structure, it’s more a phrase or a chant. It sounds as if Deus invited all his friends into the studio, without any actual songs, and just cut loose and messed around. Aside from “Fabrica De Papeis” songs have at best 2 lines of lyrics, sometimes even less. “Black Soul Brothers” only real line is “Black Soul Brothers,” either spoken or sung by the female back-up dancers. 

All the minimal songwriting aside, this IS a mighty funky record. I love “Black Soul Brothers” so much I was thinking of making it my ringtone. I mean that beginning where dude screams out “Bzzzzzzzzzzzzzzzzzzzzzzzz, Shaka Du Shaka Du Shaka Shaka Du Shaka Du Shaka…UUUh!” before some B-Boyrific drums kick in is just too cool. In addition to the title cut, “Mister Funk” and “Cinco Anos” have also been comped to death on Funky Brazil collections. Every track basically follows the same template, band plays funky, a gaggle of voices join in and things strut and slink to an eventual fade out. As much as I might like some actual songs here, it’s hard to complain when the result is so darn funky…….. 

Miguel de Deus was one of the most versatile musicians of the 70s, while less known to the general public. Miguel was born in Ilheus, Bahia. Already living in Rio de Janeiro in mid-1969 formed the band “Os Brazões” which exploited the African influences in music and manner of dress and dance. The band was a mixture of rock and psychedelia with elements of Brazilian and African music and even accompanied Gal Costa on one of his tours in the late 60. In 1974, Miguel de God created the band “Barbeque” very well “ inspired "in general goods group. 

In 1977,Miguel de Deus created perhaps the LP darkest of black music Brazilian seventies, the album, "Black Soul Brothers”. Invited by Copacabana Records to register it, the disc is glorious exercise of the Brazilian black movement. Illustrated by a powerful hair black power on the cover, Miguel recorded at the time its true aspect, the one that was always present in all musical phases enjoyed. Encased in pure party atmosphere, Miguel God recorded Black Soul Brother exactly as who was part of the music for the party, and not the opposite. 

It all sounds magically loose and averse to any tie or caricatural poses: it is not the main vocal the largest disc technical perfection, but the spontaneity with which loose and externalized catchphrases and proselytize on behalf of black and soul. So it is with “Cinco Anos”, and even a new version of “Pedaços, the same present in the disco band Assim Assado. Miguel was not afraid to turn roguish samba funk rock in ripping with vocal spontaneous and that climão. … 


A1 Cinco Anos A2 Pedacos
A3 Mister Funk
A4 Flaca Louca
B1 Black Soul Brothers
B2 Lua Cheia
B3 Pode Se Queimar
B4 Fabrica De Papeis 

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