Montag, 29. November 2010

Sister Carol - Liberation For Africa (vinyl rip, 1983)

One of the dancehall era's few successful female DJs, Sister Carol was something like reggae's answer to Queen Latifah: a strong, positive feminist voice who was inspired by her faith and never resorted to sexual posturing to win an audience. Leaning heavily on socially conscious material, Sister Carol delivered uplifting and cautionary messages drawn from her Rastafarian principles, while always urging respect for women.

She was more of a singjay than a full-time toaster, capable of melodic vocals as well as solid rhymes. Never quite a commercial powerhouse, she nonetheless enjoyed a lengthy career and general critical approval.

Sister Carol was born Carol East in Kingston, Jamaica, in 1959, and grew up in the city's Denham Town ghetto. Her father worked in the music industry as a radio engineer, and in 1973, he moved the family to Brooklyn in search of work. Carol got involved in New York's thriving Jamaican music scene, and tried her hand at singing; however, music wasn't a career prospect yet, as Carol earned a degree in education from CCNY and gave birth to the first of four children in 1981. Not long before the latter event, she met Jamaican DJ Brigadier Jerry, who inspired her to try her hand at dancehall-style DJ chatting rather than singing. She developed rapidly under Jerry's mentorship, winning talent competitions in both New York and Jamaica, and toured as an opening act for the Meditations. Her first album, "Liberation for Africa", was released in limited quantities on a small label the following year. Recorded for the Jah Life label, 1984's "Black Cinderella" was the album that established Sister Carol in the international reggae community, featuring the title track (her signature song) and "Oh Jah (Mi Ready)."

Carol subsequently formed her own Black Cinderella label, which gave her an immediate outlet for single releases in the years to come. Most notably, she cut a cover of Bob Marley´s "Screwface" in tandem with onetime I-Three Judy Mowatt, who issued the single on her own Ashandan label. It took Carol several years to come up with another LP, however, as she briefly turned to an acting career; she earned supporting roles in two Jonathan Demme comedies, 1986's "Something Wild" (which included her soundtrack cut "Wild Thing") and 1988's "Married to the Mob".

Sister Carol -Liberation For Africa (1983)
(160 kbps, front cover included)

Samstag, 27. November 2010

39 Clocks - DNS (single) (No Fun Records, NF 101, 1980)

This single is a killer track. A kickass lo-fi garage punk classic I played in my younger days on heavy rotation. Loved their Velvet-inspired style and their absurd lyrics: "I see Nixon in a bomber plane, drinking Cuba Libre".

It´s the first single from the German cult band "39 Clocks" and it appears in a different form, complete with driving alto sax line, on their subsequent LP "Pain It Dark".

This single was released on No Fun records in 1980.

39 Clocks - DNS (single, 1980)
(192 kbps, front cover included)

Chico Buarque - Construção (1971)

Chico Buarque's fifth album for Philips is a classic, where nearly all the songs became hits. Buarque was featured in an acoustic setting, almost completely aloof from the tropicália movement (the courageous orchestration of "Construção" is very reminiscent of the influential work by Rogério Duprat).

He delved into the Brazilian tradition of sambas and romantic or doleful songs, coming up with "Deus Lhe Pague" and "Construção," both having strong lyrics subliminally criticizing the military dictatorship; "Cotidiano," existentially thematic, revolving around the man-woman relationship routine; "Olha Maria" (written with Tom Jobim and Vinícius de Moraes), a sad separation farewell; "Samba de Orly," a reference to the French airport and city that became paradigms of the exiled Brazilians; "Valsinha," a beautiful love story; and other immortal songs in which the genius of the composer meets sensitively and reverently the heart of the Brazilian feel.

No link.

Samstag, 20. November 2010

Gary Clail - Another Hard Man EP

Gary Clail began his career in Bristol where he worked improvising raps on tapes released by On-U artists.

He was taken in by the label to work with Tackhead and the On U Sound System in the late '80s, resulting in a series of 12" releases from 1985-87 before his first full-length split release for Nettwerk, "Tackhead Tape Time" by Gary Clail & Tackhead.

In 1989, he had his true debut album in "Gary Clail & On-U Sound System", released by the On U Sound label. The album helped forge him a place in the Bristol electronic underground, and paved the way for his later releases on RCA, which feature a number of singles and EPs as well as one full-length, 1991's "Emotional Hooligan". He also released another full-length for Yelen Records in 1996, "Keep the Faith".
Here´s the "Another Hard Man EP", released  in 1996, produced by Adrian Sherwood. It was the first single from the "Keep The Faith" Album.

1. another hard man (radio version)
2. another hard man (album version)
3. another hard dub
4. sparse mix
5. what's that sound mix
6. what's that sound dub mix

Tracks 3 & 4 were remixed by Adrian Sherwood, tracks 5 & 6 were remixed by Gary Clail and Andy Montgomery.

No link.

Donnerstag, 11. November 2010

The Poppy Family - A Good Thing Lost 1968-73

Susan Pesklevits and Terry Jacks met in the band Powerline.

They later married and formed the Poppy Family in 1968. With guitarist Craig McCaw and percussionist Satwan Singh, the duo's third single, "Which Way You Goin' Billy," became a hit in the U.S. and their native Canada, selling over two million copies.

The group recorded three albums in the early '70s: "That's Where I Went Wrong" and "Which Way You Goin' Billy" in 1970 and "Poppy Seeds" in 1971.

Terry and Susan were divorced by 1973, however, and both began solo careers. Susan released "Dream" (1976), "Ghosts" (1980) and "Forever" (1982), but Terry became more successful when his "Seasons in the Sun" single went platinum in Canada (more than 150,000 units). His albums include "Seasons in the Sun" (1974), "Y'Don't Fight the Sea" (1976), "Pulse" (1983) and "Into the Past" (1989).

Beyond The Clouds
Free From The City
What Can The Matter Be?
Which Way You Goin', Billy?
Happy Island
There's No Blood In Bone
A Good Thing Lost
You Took My Moonlight Away
Shadows On My Wall
That's Where I Went Wrong
Where Evil Grows
I Was Wondering
Winter Milk
Good Friends?
I'll See You There
You Don't Know What Love Is
I Thought Of You Again
Another Year, Another Day
Evil Overshadows Joe
Endless Sleep

No link.

The Poppy Family - Which Way You Goin´ Billy? (1969)

The Poppy Family was a late 1960s and early 1970s Canadian pop music group, based in Vancouver, British Columbia. Susan Pesklevits and Terry Jacks met in the band Powerline. They later married and formed the Poppy Family in 1968.
"In the late summer of 1969 the Canadian record buying public chose to endorse The Poppy Family by establishing "Which Way You Goin' Billy?" as the biggest Canadian hit ever. 'Billy' successfully climbed to the No.1 spot on all radio stations across Canada. Having watched The Poppy Family from Vancouver, British Columbia, evolve as a recording group has been a satisfying and rewarding experience. The constant creative growth, both musically and lyrically, within the group is evident in the album "Which Way You Goin' Billy?".
The versatility of the group, from Terry Jacks' meaningful writing, to his wife Susan's beautiful and emotion-packed voice allow them to explore avenues of musical expression hitherto uncharted. All the while The Poppy Family retain their own sound so unique to themselves". (Fraser Jamieson, President London Records, Canada - November 17 1969).
Managed and produced by Terry Jacks, with featured vocalist Susan Jacks (tambourine/bean pod) and musicians Craig McCaw (guitar/sitar) and Satwant Singh (tablas/drums), the group recorded two albums.
At their career peak, Terry and Susan Jacks performed "Which Way You Goin' Billy?" on Bobby Darin's 1970 television variety special, "The Darin Invasion". The special also featured a young Linda Ronstadt performing her first solo hit, "Long Long Time". They also appeared on numerous other variety shows including "Rollin' On The River" with Kenny Rogers, the Bobby Vinton Show and The George Kirby Special.

The Poppy Family disbanded in 1973 when Susan ended their five and a half year marriage, the same year their solo albums were released - Terry's "Seasons in the Sun" and Susan's "I Thought of You Again". Terry Jacks scored an international No. 1 hit with Jacques Brel's "Seasons in the Sun". which earned him Juno awards for Male Vocalist of the year 1973 and 1974 and top selling single in 1973 and 1974. It still remains the best selling single ever released by a Canadian artist with sales of over 13 million worldwide. He was also charted with the singles "If You Go Away" (#45 1974) (another Brel cover, previously a minor hit for Damita Jo), "Concrete Sea" (#16 1972), "Christina" (#9 1975), "Rock'N Roll (I Gave You The Best Years Of My Life)" (#22 1975) (a bigger American hit by Mac Davis), and the Buddy Holly cover "I'm Gonna Love You Too" (#7 1973). He has since faded from the recording scene.

Susan Jacks went on to release three more solo albums and had a series of Juno nominated hits in Canada including "Anna Marie" (#20 1976), "All The Tea in China" (#93 1980), and "Tall Dark Stranger" as well as other hits such as "I Thought of You Again "(#7 1974), "You Don't Know What Love Is" (#3 1973) and "You're a Part of Me" (#41 1975) (later a Top 40 hit for Kim Carnes and Gene Cotton). In 1982, she moved to Nashville, Tennessee and, in addition to recording, became a staff songwriter for a Nashville publishing company. Several of her compositions have been recorded by Canadian artists, one of her songs being recorded on a Grammy nominated children's album. She recently returned to the Pacific Northwest and has resumed recording and live performances.

Album review:
While in recent years dozens of would-be hipsters have written about the dark undercurrents to be found in the music of the Carpenters, anyone looking for a truly great bummed-out soft rock experience needs to dig up the long out of print debut LP from Vancouver's Poppy Family. While producer, arranger, songwriter, and general straw boss Terry Jacks later found fame for his hit adaptation of Jacques Brel's "Seasons in the Sun," his greatest work was with his then-wife Susan Jacks and their group, the Poppy Family. Blending moody soft pop with light psychedelia, the group hit a rich vein of gorgeous melancholy that made sadness sound positively sensual (the album's token "upbeat" tune, "Happy Island," is significantly also one of the set's weakest moments). The album's two international hit singles, "Which Way You Goin' Billy?" and "That's Where I Went Wrong," are both tales of lovers on the run that sound as desperate as Del Shannon and as lonesome as Brian Wilson's worst nightmare, and such lost classics as "You Took My Moonlight Away" and "Beyond the Clouds" are every bit as strong, boasting clear but emotive vocals from Susan Jacks, brilliant if oddball Indian percussion from Satwan Singh, and melodramatic string arrangements from Graeme Hall. And the two side-closing "freakouts," "There's No Blood in Bone" and "Of Cities and Escapes," manage to be cheesy and powerfully effective at the same time. If the '70s were supposed to be about having a nice day, "Which Way You Goin' Billy?" shows the Poppy Family were one band waiting for a cloud to blot out all that annoying sunshine; at once kitschy and marvelously sincere, it's a great record worthy of rediscovery. (by Mark Deming,

Track listing:
1. "That's Where I Went Wrong" – 2:28
2. "Free From The City" – 2:15
3. "Beyond The Clouds" – 2:30
4. "A Good Thing Lost" – 2:00
5. "You Took My Moonlight Away" – 2:40
6. "There's No Blood In Bone" – 2:55
7. "Happy Island" – 2:45
8. "Which Way You Goin' Billy?" - 3:18
9. "Shadows On My Wall" - 2:25
10. "What Can The Matter Be?" - 2:17
11. "For Running Wild" - 2:14
12. "Of Cities And Escapes" - 3:45

Susan Jacks: vocals, percussion
Terry Jacks: guitar
Craig McCaw: guitar, sitar
Satwant Singh: tablas, bongos, percussion

No link.

Dienstag, 9. November 2010

Luciano Berio / Cathy Berberian - Recital I for Cathy / Folk Songs / Three Songs By Kurt Weill (1995, 3 Kurt Weill Songs)

Cathy Berberian, singer and wife of Luciano Berio, was one of music's true originals. Equally adept at Monteverdi and the wildest effusions of the avant-garde, her performances brought her husband's music to new and appreciative audiences, while permitting Berio to create some of his most gripping work at the same time.

Folk Songs is exactly what the title says - a collection of folk songs from around the world which gives Berberian the opportunity to demonstrate her ability to sing in different languages and styles. Recital 1 is something else again - a monologue for soprano that reveals the slow disintegration of her personality. It's a nervous breakdown in music. Berberian performs everything on this disc brilliantly.

"Recital I for Cathy" (1971) typifies his "collage" technique. Recital includes a Monteverdi aria, more or less straight, a mock-Baroque aria Berio had written in the Forties, various phrases from Mahler, Schubert, Verdi, Prokofieff, Purcell, Schoenberg, and others, all set against a swirly, scintillating background. Berio requires his ex to turn from one to another after as few as three notes. This sort of thing could easily become pointless, but Berio provides a dramatic situation. A mezzo rehearsing for a recital waits for her accompanist to show up and becomes unhinged, skittering from one item in her repertoire to another. The work becomes a modern equivalent of the operatic "mad scene," a toothsome duck soup to Berberian. She certainly knows how to act while she sings, although less so when she speaks or sprechstimms – that is, speaks on approximate pitches in a specified rhythm. Consequently, the work succeeds best when Berio gives her actual pitches. For me, however, the main attraction is Berberian, rather than the work, which strikes me as too easy. It's Berberian who gives it class.

"Folk Songs", from 1964, yet another collage, this time mixes settings written over roughly two decades together in one work. Purists will find the work misnamed. It includes folk tunes, fake folk, and pop – 11 in all – from the United States, France, Italy, Sicily, Sardinia, Armenia, and Azerbaijan. To me one of the most beautiful vocal works of the post-war era, Folk Songs uses a chamber instrumentation of flute, clarinet, harp, viola, cello, and percussion. It begins with a fiddler "playing himself in" as the singer begins "Black is the color of my true love's hair" and moves into "I wonder as I wander," both by John Jacob Niles. Simple though these tunes may be, they are artfully simple. Berberian brilliantly catches their flavor by turning herself into a concert version of "mountain soprano" Jean Ritchie, thinning out the tonal heft while remaining sweet and true. As in Recital I, largely traditional settings are put into avant-garde environments. Yet, the tunes keep their vernacular character. The Italian set (including Sicily and Sardinia) surprised me the most, since most of them sound Falla-Spanish to me. The Sardinian "Motettu de tristaru" and the French "La fiolairé" (from Canteloube's Chants d'Auvergne) receive the most extreme treatment. Berio, to his credit, throws the spotlight on the basic material, rather than on his contributions per se. Nevertheless, it remains, in its post-modern eclecticism, a resolutely contemporary, even prophetic work. Throughout, Berberian virtuosically changes her vocal colors to suit the music and the text. In the French "Rossignolet du bois," she becomes a young girl on the edge of first love. In the Italian "A la feminisca," she becomes possessed by Spanish duende. In a second song from Canteloube, where Berio essentially translates Canteloube's orchestra to chamber proportions, "Malurous qu'o uno fenno" (roughly, "Women! Ya can't live with 'em, ya can't live without 'em"), Berberian manages to dance through sass, cynicism, and merriment. One of the finest performances by a singer who routinely turned out great ones.

The disc ends with three songs by Kurt Weill, two of them classics: "Ballad von der sexuellen Hörigkeit" (ballad of sexual dependency) from Die Dreigroschenoper, "Le grand Lustucru" (Lustucru the Great) from Marie Galante, and "Surabaya Johnny" from Happy End. Berio, for some reason, orchestrated these. After all, Weill, a master of instrumental color, orchestrated them himself. Berio differs from Weill, essentially offering up more wholesome timbres than the originals. I prefer Weill's sourer sound, reeking of spilled whiskey, urinal cakes, and stale cigarettes. Berberian sings both German items in English, translating them herself. She provides credible lyrics. I prefer Blitzstein's version of the "Ballad," but at least Berberian avoids the trap academic translators fall into, essentially so concerned with literal meaning that they forget Brecht's zip and wit. Again, these tracks' reason for being comes down to Berberian's performance. She has carved out her own niche with these songs, apart from Lotte Lenya, Gisela May, and the lesser Ute Lemper. For one thing, she sings them without the throaty rasp. However, what puts her in the exalted company of Lenya and May is once again the fact that she is such a splendid singing actress.


1. Recital I For Cathy: Se I Languidi Miei Sguardi (Monteverdi)
2. Recital I For Cathy: Amor, Dov'e La Fe (Monteverdi)
3. Recital I For Cathy: 'Ah! He Hadn't Been There Before...'
4. Recital I For Cathy: 'Clarinet That's The Sound That Has Been Haunting Me...'
5. Recital I For Cathy: Avendo Gran Desio (Berio-Da-Lentini)
6. Recital I For Cathy: 'Who Hasn't Taken A Piece Out Of My Life?'
7. Recital I For Cathy: Musician Exchange: 'These 5 Men...'
8. Recital I For Cathy: Exc: Mahler, Delibes, Rossini, Etc
9. Recital I For Cathy: Calmo E Lontano: 'Libera Nos'
10. Folk Songs: Black Is The Colour...
11. Folk Songs: I Wonder As I Wander...
12. Folk Songs: Loosin Yelav...
13. Folk Songs: Rossignolet Du Bois
14. Folk Songs: A La Femminisca
15. Folk Songs: La Donna Ideale
16. Folk Songs: Ballo
17. Folk Songs: Motettu De Tristura
18. Folk Songs: Malurous Qu' O Uno Fenno
19. Folk Songs: Lo Fiolaire
20. Folk Songs: Azerbaijan Love Song
21. Song Of Sexual Slavery
22. Le Grand Lustucru
23. Surabaya Johnny

"Recital 1 For Cathy" was composed in 1971 and ecorded on September 19-25, 1972 in EMI Studios, London.
"Folk Song"s (composed in 1964) and "3 Songs by Kurt Weill" were recorded on December 21 & 23, 1968, in Webster Hall, New York City.

Luciano Berio / Cathy Berberian - Reictal I for Cathy / Folk Songs /Three Songs by Kurt Weill
(192 kbps, cover art inlcuded)

Freitag, 5. November 2010

Grace Slick & The Great Society - Live At The Matrix (1968)

Before joining Jefferson Airplane, Grace Slick sang lead and played various instruments for the Great Society, who were nearly as popular as Jefferson Airplane in the early days of the San Francisco psychedelic scene. Instrumentally, the Great Society were not as disciplined as Airplane. But they were at least their equals in imagination, infusing their probing songwriting with Indian influences, minor key melodic shifts, and groundbreaking, reverb-soaked psychedelic guitar by Slick's brother-in-law, Darby Slick. Darby was also responsible for penning "Somebody to Love," which Grace brought with her to Airplane, who took it into the Top Five in 1967. The Great Society broke up in late 1966 after recording only one locally released single; after Jefferson Airplane became stars, Columbia issued this stunning live album of the Great Society performing at San Francisco's Matrix Club in 1966 (also released as "Collector´s Edition").

This album did not break any sales-records, but it contains splendid and psychedelic performances of the later hits "White Rabbit" and "Somebody To Love". Grace Slick proved herself a talented singer: She attempted to imitate the sound of an electric guitar and developed a unique and forceful singing style. "Sally Go Round The Roses" with it's extended instrumental-passage, is an example of what would later come from groups like Iron Butterfly.

Grace has always said that "White Rabbit" was intended as a slap toward parents who read their children stories such as Alice in Wonderland (in which Alice uses several drug-like substances in order to change herself) and then wondered why their children grew up to do drugs. For Grace and others in the '60s, drugs were an inevitable part of mind-expanding and social experimentation. With its enigmatic lyrics, "White Rabbit" became one of the first songs to sneak drug references past censors on the radio. Even Marty Balin, Grace's eventual rival in the Airplane, regarded the song as a "masterpiece."

The historical importance of this genuine live-document can´t be overestimated.

No link.

Rebel Soca - When The Time Comes

Soca? Isn´t that the ultimate party music? If you close your eyes, you may see a dancefloor teeming with revelers who, hands in the air, gyrate ecstatically to the liquid pulse generated by a throbbing, hypnotic bass and on-the-four bass drum countered with off-center percussion accents. Racheting rhythm guitar and stabbing horns supercharge the beat even further, making hip-shaking, belly-rolling, waist-winding almost an involuntary act. But there is even more...

Literally, the term "soca" abbreviates "soul calypso" and came into currency during the 1970´s when calypso was streamlined in response to the disco-dance juggernaut spreading over the world. Calypso, of course, has had a long and venerable history in the Caribbean, with variants in nearly all English-speaking and some French-speaking islands. One can easily trace its origins to the 18th century but its roots stretch back to Africa. In many West African societies singers and poets have traditionaly been not only historians but also mouthpieces for the people. They speak, obliquely, through satire and parables and commentary on everyday events, to the leaders, who ignore such criticism and advice at their peril. In contrast to the smiling, tourist-pleasing image propaged during the 50s and 60s, the business of being a calypsonian was serious business. Although soca lyrics tend to be "party-hearty" celebrations of love and life, a significant percentage deal with more serious issues; calypso´s tradition of social commentary remains vital with today´s "Rebel Soca". A minority of culturally-conscious soca artist have adopted a pan-african perspecitve, incorporating elements of reggae, african music and other caribbean styles into their soca. "Rebel Soca" brings together some of the finest conscious soca tracks of the 70s and 80s which combine unbeatable dance rhythms and some of the sharpest political lyrics in world pop. Often their lyrics are confrontatinal, politically-oriented commentary - a focus for the concerns of oppressed people.

Rebel Soca - When The Time Comes
(mp3, 192 kbps, ca. 69 MB)

Donnerstag, 4. November 2010

Neil Young - Live at the Bottom Line, New York, May 16 1974

Three months after the 1974 opening of the New York club the Bottom Line, Neil Young gave a solo acoustic performance there that was among the more remarkable shows of his career. Even for an artist accustomed to throwing a new song or two into his concerts, this set was unusual: of the 11 songs, only one, "Helpless," had been released on record, with many of the others, including "Ambulance Blues," "On the Beach," "Roll Another Number," and "Pardon My Heart," later scattered among records like "On the Beach", "Tonight's the Night" and "Zuma". But it wasn't just the set list that made the show memorable. Usually reticent on-stage, Young was talkative and enjoyed a close interaction with the audience; he told stories, explained his feelings about his songs, even gave recipes. And he sang some of his strongest material of the mid-'70s.

Legend has it that Neil Young was at The Bottom Line to see Ry Cooder, and was so inspired by his gig that Neil followed with an off-the-cuff one-hour acoustic guest. Perhaps Neil had planned to play all along. Remember that Neil didn't tour as a solo act during 1974, though he did a brief and troubled tour with his on-again, off-again bandmates in CSNY.

This concert was released on the bootlegs "First Plane Outta Here" a.k.a. "Citizen Kane Jr. Blues".

No link.

Crosby, Stills, Nash & Young - Studio Archives (1969)

This is a very nice little bootleg, which spans the period between the release of CSN's debut album together, and "Deja Vu", the first CSN&Y album. The songs are taken from a few sources, including Stephen Stills home studio and the Wally Heider's Studio. Many unreleased songs, a couple of cover versions (many takes of the Beatles one), and more vasic, stripped down versions of released tracks. Enjoy!

Highlights include beautiful alternate recordings of “Triad”, “The Lee Shore” and “Almost Cut My Hair”, four gorgeous in-studio takes of “Blackbird”, some hysterical in-studio dialogue, and a lovely renditionof the Fred Neil track “Everybody’s Talkin’” which Harry Nilsson made popular on the “Midnight Cowboy” soundtrack.



1. Everybody's Talkin' (Fred Neil cover)
2. How Have You Been (John Sebastian cover)
3. Black Queen Riff / Dialogue
4. Triad (acoustic studio take)
5. Almost Cut My Hair (acoustic studio take)
6. Every Day We Live (Stephen Stills unreleased song)
7. Sea of Madness (Studio Take)
8. The Lee Shore (different vocal take)
9. Everybody I Love You (unedited basic track)
10. I'll Be There (Stephen Stills unreleased song)
11. Blackbird (Beatles cover, Takes 1-4)
12. Ivory Tower (Stills' unreleased song)
13. 30 Dollar Fine (Stills' unreleased song
14. Everybody's Been Burned (Nash version)
15. You're Wrong, Baby (Nash's unreleased song)
16. Everybody's Alone (Young's unreleased song)

No link.

Mulatu Astatke - Mulatu of Ethiopia (1972, vinyl rip)

Mulatu Astatke (surname also spelled Astatqé) is an Ethiopian musician and arranger. He is known as the father of Ethio-jazz.

Born in 1943 in the western Ethiopian city of Jimma, Mulatu was musically trained in London, New York City, and Boston, where he was the first African student at Berklee College of Music. He would later combine his jazz and Latin music influences with traditional Ethiopian music.

"Mulatu of Ethiopia" was released in 1972 on Worthy Records. Mulatu Astatke does some pretty amazing work on this album with it's unique "Roy Ayers meets Sun Ra with a hot dose of African funk" sound.

No link.