Jive Time Turntable

Harmonia “Music Von Harmonia” (Brain, 1973)

Normally the tag of “supergroup” isn’t really all that desirable, but in the world of Krautrock the term is appropriate. Harmonia doesn’t disappoint on their debut, mainly because the combined forces of Neu! and Cluster compliment each other so well. While Neu! chiefly produced driving rhythms with occasional ambient soundscapes, Cluster was always a bit closer to Tangerine Dream atmosphere. Coupled together, their minimal styles stayed stripped down but achieved a fuller effect.

Also, “Music Von Harmonia” is in no way harder or more immediate than the groups they derived from; as a recording it isn’t demanding of your attention. Eno, Brian Eno, still liked it precisely because you can put this on in the background. It’s pieces are playful and curious, and it isn’t until a good quarter of the album is through that you hear pumping drums or anything resembling forward movement… Not a negative critique.

Fun for a home listen, attentive or not, on a cold day with coffee or tea. But then you can do the same in your auto or with earbuds for a good commute. Cosmic synth bloops, sanitary guitar licks and electric drums galore! -Wade

James Ferraro “Skid Row” (Break World, 2015)

Take in a steady dose of William Freidkin and John Carpenter flicks. Wash it down with a Starbucks latte. Browse Rodney King and Malcom X clips on the YouTube. Look out your high-rise condo window. Future R&B bass rattles your bones as infomercials play muted in the dark. Ads promote the safe use of fracking while Lockheed Martin toils away at work, unseen.

The audio aural equivalent? James Ferraro’s “Skid Row.” The always prolific, cynical electronic artist has been slowly asserting himself more and more into public consciousness, even recording his own vocals as of late. If his last album was a commentary on 9/11 and it’s New York aftermath, then this is the aftershock here and now in Los Angeles. And while that city is the perfect place to Snapchat police brutality, economic disparity and general moral ruin, we can still hear the crashing of a nation he’s arranging in sound collage for us anywhere.

Despite it’s interview clips, sirens, macbook text speak and Wang Chung samples, “Skid Row” is Ferraro’s most formed work to date. Nothing is wafting, every element is meticulously placed. He’s been on it that way at least since his “Far Side Virtual” release. But if that was mock-ideal of our global State, then this is a stare down at America’s dark heart. -Wade

UB40 “Signing Off” (Graduate, 1980)

What a debut album by reggae outfit UB40. Not only was “Signing Off” daring in it’s choice of subject matter, with issues including the yet-named globalization, but this thing charted pretty mightily. It’s powerful message was subdued by dub production, like it’s companion single “The Earth Dies Screaming,” and that message, still key, wafted over air waves like a chilled wind.

Sax melodies lead the way while a reggae / two-tone rhythm section switches on a dime frequently mid-track. But the pace is still swingable, low, “heavy” in it’s slow plodding. Two of the these numbers are covers that fit well within their rep, including Randy Newman’s “I Think It’s Gonna Rain Today” and the ever topical “Strange Fruit,” which still (STILL, huff) resonates today.

Here we are at the end of 2015. Echoes (dubbing) of Thatcherism on the way? Political rhetoric of killers and businessmen are in full swing, and UB40’s quiet, cold and cavernous assessment of their time still rings true here and now. -Wade

Kraftwerk “Electric Cafe” (EMI, 1986)

Smaller, kompakt, personal. Non-stop techno-pop tunes on “Electric Cafe;” real earworms. Set apart from Eighties synthesizer music altogether, Kraftwerk are in a league of their own, as they typically are.

Industrial rhythms mentioned in early tracks are still prevalent, though more sterilized than “Trans-Europe Express” perhaps? Cleaner, deeper, still sparse. Minimum-Maximum. And non-stop. Techno-pop tunes on Electric Cafe; smaller, kompact, personal. Synthesizer music by Kraftwerk, typically real earworms.

Kraftwerk; smaller, kompact, personal. Minimum Maximum. “Electric Cafe;” industrial rhythms, perhaps cleaner, deeper and sparser than “Trans-Europe Express?” And non-stop! And non-stop!

Typically in a league of their own, Kraftwerk are smaller, kompact, personal on “Electric Cafe.” And non-stop techno-pop tunes are still prevalent; though more sterilized industrial rhythms are cleaner, deeper. And non-stop. Set apart from Eighties synthesizer music.

Smaller, kompakt, personal. Non-stop techno-pop tunes on “Electric Cafe;” real earworms. Set apart from Eighties synthesizer music altogether, Kraftwerk are in a league of their own, as they typically are.

Industrial rhythms mentioned in early tracks are still prevalent, though more sterilized than “Trans-Europe Express” perhaps? Cleaner, deeper, still sparse. Minimum-Maximum. And non-stop. Techno-pop tunes on Electric Cafe; smaller, kompact, personal. Synthesizer music by Kraftwerk, typically real earworms.

Kraftwerk; smaller, kompact, personal. Minimum Maximum. “Electric Cafe;” industrial rhythms, perhaps cleaner, deeper and sparser than “Trans-Europe Express?” And non-stop! And non-stop!

Typically in a league of their own, Kraftwerk are smaller, kompact, personal on “Electric Cafe.” And non-stop techno-pop tunes are still prevalent; though more sterilized industrial rhythms are cleaner, deeper. And non-stop. Set apart from Eighties synthesizer music.

Smaller, kompakt, personal. Non-stop techno-pop tunes on “Electric Cafe;” real earworms. Set apart from Eighties synthesizer music altogether, Kraftwerk are in a league of their own, as they typically are.

Industrial rhythms mentioned in early tracks are still prevalent, though more sterilized than “Trans-Europe Express” perhaps? Cleaner, deeper, still sparse. Minimum-Maximum. And non-stop. Techno-pop tunes on Electric Cafe; smaller, kompact, personal. Synthesizer music by Kraftwerk, typically real earworms.

Kraftwerk; smaller, kompact, personal. Minimum Maximum. “Electric Cafe;” industrial rhythms, perhaps cleaner, deeper and sparser than “Trans-Europe Express?” And non-stop! And non-stop!

Typically in a league of their own, Kraftwerk are smaller, kompact, personal on “Electric Cafe.” And non-stop techno-pop tunes are still prevalent; though more sterilized industrial rhythms are cleaner, deeper. And non-stop. Set apart from Eighties synthesizer music.

Smaller, kompakt, personal. Non-stop techno-pop tunes on “Electric Cafe;” real earworms. Set apart from Eighties synthesizer music altogether, Kraftwerk are in a league of their own, as they typically are.

Industrial rhythms mentioned in early tracks are still prevalent, though more sterilized than “Trans-Europe Express” perhaps? Cleaner, deeper, still sparse. Minimum-Maximum. And non-stop. Techno-pop tunes on Electric Cafe; smaller, kompact, personal. Synthesizer music by Kraftwerk, typically real earworms.

Kraftwerk; smaller, kompact, personal. Minimum Maximum. “Electric Cafe;” industrial rhythms, perhaps cleaner, deeper and sparser than “Trans-Europe Express?” And non-stop! And non-stop!

Typically in a league of their own, Kraftwerk are smaller, kompact, personal on “Electric Cafe.” And non-stop techno-pop tunes are still prevalent; though more sterilized industrial rhythms are cleaner, deeper. And non-stop. Set apart from Eighties synthesizer music.

Smaller, kompakt, personal. Non-stop techno-pop tunes on “Electric Cafe;” real earworms. Set apart from Eighties synthesizer music altogether, Kraftwerk are in a league of their own, as they typically are.

Industrial rhythms mentioned in early tracks are still prevalent, though more sterilized than “Trans-Europe Express” perhaps? Cleaner, deeper, still sparse. Minimum-Maximum. And non-stop. Techno-pop tunes on Electric Cafe; smaller, kompact, personal. Synthesizer music by Kraftwerk, typically real earworms.

Kraftwerk; smaller, kompact, personal. Minimum Maximum. “Electric Cafe;” industrial rhythms, perhaps cleaner, deeper and sparser than “Trans-Europe Express?” And non-stop! And non-stop!

Typically in a league of their own, Kraftwerk are smaller, kompact, personal on “Electric Cafe.” And non-stop techno-pop tunes are still prevalent; though more sterilized industrial rhythms are cleaner, deeper. And non-stop. Set apart from Eighties synthesizer music. -Wade

Prince Jazzbo “Ital Corner” (Clocktower, 1977)

Apparently an “Ital Corner” refers to where people live good today. This later Black Ark dub release is about high life (with low end) or living on the bottom in equal parts, but either way Prince Jazzbo is the vocal guide for the job.

Lee “Scratch” Perry is house engineer here, backed up by his Upsetters, and Prince happens to be a great subject for his producer foil. “Ital Corner” opens with an expansive self-titled track, and it becomes clear that this won’t be another wacky trip through the Blackboard Jungle… These tracks are low and cool and keep that way, utilizing few of the jarring tricks that Lee is known for pulling (pop-goes-the-weasel-horns, police sirens, rough mixing).

A ray of sunshine at the end of side one describes what to do at the Ital Corner… “You gotta live good for today,” Prince says, “justice, equality, humanity ev-er-y-day.” Fans of Upsetters need apply, and those put off by his production in the past? Turn the corner, live good today. -Wade

Can “Tago Mago” (United Artists, 1971)

Out with Malcolm Mooney and in with Damo Suzuki. At this point, the grooves provided by the most well known forerunners of Krautrock got a whole lot funkier… On “Tago Mago” these composers-turned-avant-rockers set a template that still influences musicians and electronic artists to this day with their strange brew of rhythms and sound collage.

“Paperhouse” and the oft-covered “Mushroom” open the album with more standard pastoral psych numbers and Velvet-drones, but the album turns on it’s head with “Oh Yeah” and “Halleluwah,” tracks that seem to last an eternity with simple relentless grooves and studio trickery (backwards voices, fade ins/outs, on the fly mixing). Mushroom head indeed.

This is Can’s second breath with Damo on the mic, and his style of vocalizing is unique unto himself. A mix of English, German, Japanese and gibberish, it all goes together in seamless coos, belted screams and “uh huh” nonsense. It’s rock, it’s avant, it stands the test of time… And you can dance to much of it. -Wade

The Flesh Eaters “A Minute To Pray, A Second To Die” (Ruby, 1981)

The Flesh Eaters is the name behind one Chris D. Taking his stage name from a 1964 cult film, Chris D. wrote for legendary fanzine Slash in the late ’70s and assembled the first of many Flesh Eaters lineups from heavyweights in the burgeoning L.A. punk scene. After releasing a ravenous EP and heart-ripping debut album, The Flesh Eaters unleashed their era-defining statement…

Originally released in 1981, “A Minute To Pray…” brings together the greatest band in American rock history: Dave Alvin (Blasters) on guitar, John Doe (X) on bass, Steve Berlin (Los Lobos) on sax, along with Bill Bateman (Blasters) and DJ Bonebrake (X) providing the album’s trademark percussive backbone. Chris D. leads the group like a man possessed. Through a series of grotesque vignettes, his lyrical prowess and indelible growl stand toe-to-toe with the music’s powerful shifts.

From opener “Digging My Grave” (resembling a diesel-charged Magic Band) to the gothic groove of “Divine Horsemen,” each song is its own hairy beast. Inspired by African tribal music, ’60s garage-rock churn and Funhouse-era Stooges swing, A Minute To Pray remains (according to author / archivist Byron Coley) “the best rock record ever recorded.” -Superior Viaduct

The Raincoats “Odyshape” (Rough Trade, 1981)

The Raincoats hold it together just as much as their Delta 5/Au Pairs contemporaries, but the atmosphere provided by The Raincoats is much more melancholic and spacious. Known to many Americans as one of those bands to check off their Kurt Cobain-faves list, this London post-punk group was really one of the most adventurous bands emerging in their day.

While the other popular, predominantly girl bands had punk and funk flair to match or better Gang Of Four, The Raincoats instead went an alternate route, swapping many little instruments that enfolded tentative, folky vocals. The centerpiece is probably “Only Loved At Night,” all chimes, percussion, thumb piano and tinny guitar occasionally punctuated by bass tones.

Each song offers new sounds, new instruments, guest musicians including Robert Wyatt… This is the idea of post-punk as sound-on-record with little regard for continuity. Are you a fan of PiL, early Scritti Politti, the jazz of Art Ensemble Of Chicago and Don Cherry, far-out dub? If that sounds good, and you aren’t a Raincoats yet, this one will do the trick. -Wade

Armando “One World One Future” (Radikal Fear, 1996)

In the shifting world between Chicago and Acid, House was changing. Classics like “On and On,” “Your Love” and “Acid Tracks” seemed to come from other worlds and were made in totally different ways, but they all culminated into Warehouse music. Recognizable names to those merely interested in House may have heard of Jackmaster Farley, Marshall Jefferson, Mr. Lee, Mr. Fingers (“Washing Machine”), Phuture… Across the water the early converts were 808 State, A Guy Called Gerald, Sweet Exorcist.

But when it comes to a true original hailed by House Heads and the first wave of House pioneers alike, Armando was the one true treasure. While acting as a coveted resident DJ in Chicago, Armando Gallup also operated as a producer, prolifically creating singles that would eventually be collected by TRAX for many posthumous compilations… he passed after a battle with leukemia in the mid-nineties.

While many interviews with larger House artists show fanaticism over his work, the only official album release by Armando is “One World One Future.” This double LP shows the square-root of House: an infectious beat that keeps pumping, stark soundscapes, trippy loops. Not every track is a classic in the home listening sense, but each shows what you can be done on the floor with minimum/maximum production. Dancefloor optimal. -Wade

Maria Minerva “Cabaret Cixous” (Not Not Fun, 2011)

A bedroom songstress from Estonia, Maria Minerva has been making changes in recent years from hazy wafting jams to more clinical upended pop and dance. “Cabaret Cixous” was a major release for her, the first step out of limited-cassette territory, released by the always ear turning Not Not Fun label.

Maybe it’s the title that tips me off, but some of her “pop” songs here seem to share a sort of media collage kinship with Cabaret Voltaire in spirit if not sound. But it’s a modern update made in digital solid-state – new age samples backed with industrial clangor, serving many stylistic ends from track to track. Her voice is always hissing and panning and out of flux, veiled in digital sheen.

Where does this music belong? On vinyl and compact disc and cassette, and in little white earbuds, sure, but really it’s best where it was primarily made; on the lappy. This is the sound of growing musicians on the internet, where anything and everything can be explored and fashioned together. Like many artists on Not Not Fun, Maria Minerva is in a sea of style appropriators creating with abandon. Her prolific activity only allows us better access to her otherwise open/private world. -Wade

Double Exposure “Ten Percent” (Salsoul, 1976)

It’s soul, it’s disco, but “Ten Percent” wasn’t on the radio for more than a blip in ’76. It was in clubs where Double Exposure, a quartet with a soulful Philly sound by way of New York, would find success. What made the record a hit in the clubs, though, was the ever-present high-hat cast over extended grooves…

Early DJs in New York like Nicky Siano were really playing longer cuts of soul records, sometimes going between two copies to hold the rhythms longer, and the featured single of “My Love Is Free” is a perfect example of what was pumping through the P.A. around The Loft or The Gallery. Plinking guitar notes, walking bass lines and subtle metronomic drumming backed with lush strings isn’t a bad thing to have playing with beautiful people dancing all around you.

This is really one of the first record releases to define Salsoul as dance label. Double Exposure released their first 12” dance single on Salsoul as well, the first of it’s kind. It was so successful, in clubs and financially, that other labels soon took notice, and that was the birth of the commercial remix. Dance culture now had a format. -Wade

Swing Sideways: Oakland’s Black Jazz Records

New York, Chicago, New Orleans, Fort Worth, Los Angeles… By the 70’s Jazz had gone through many form changes and developments, many defined by geographic location. Retrospect shows that these changes were refreshing; groups went electric or funky or free. But for many in the dark at the time, smaller developments unfortunately went overlooked as they veered ears toward Brubeck or Piven.

In Oakland, a small grouping of interesting musicians previously involved with Charlie Parker, Nat Adderly, Count Basie… is some fashion recorded a strange brew of music for Black Jazz Records, a small label set up by pianist Gene Russell. The label itself was one of the only active Jazz companies of the day run by African Americans. Like the Art Ensemble of Chicago, they could be political. Like Davis, they incorporated funk and soul. And like many free units of the 70’s, spirit and energy trumped virtuosity most of the time.

Active for only six years, Black Jazz ended abruptly after Gene’s passing in the early 1980s. Since then the master recordings have traded hands numerous times, and copies were used for samples by hip hop artists. Many key tracks recently ended up on a compilation curated by Detroit selector and DJ Theo Parrish (“Black Jazz Signatures: 1971-1976”), renewing interest in the label.

A little history on the movers and shakers…

R-2007750-1385445097-7070.jpegGene Russell himself made the recordings on Black Jazz happen. His best known album “Talk To My Lady” was self-released via the label and prior to that he had one obscurity lost in the shuffle from Decca. “Talk To My Lady” features a very interesting rework of “My Favorite Things” that alone is worth the price of admission…

R-3915079-1349083436-8351.jpegDoug Carn was most prolific for the Oakland label in the early 70s, putting out a release typically once a year. A principal funk and soul player back in the day, his style of jazz-funk was spacey but starkly recorded in contrast to Herbie’s sci-fi releases. Theo’s compilation features his infectious “Trance Dance” track, miles away from his earlier work with Earth Wind and Fire.

R-1397979-1284815604.jpegThe Awakening produced little but left a big impression in the way that reminds one of the Art Ensemble rhythm section, but not so much Roscoe or Lester, more like a conventional modal horn and reed format. Their work could move from tight and funky to cool. Only two albums were released by Black Jazz before they dissipated.

R-2007730-1377947574-9101.jpegCalvin Keys is a real heavy hitter from Omaha, Nebraska. As a jazz guitarist he has lent his talents to Ray Charles, Ahmad Jamal, Joe Henderson, Sonny Stitt, and later even M.C. Hammer! His playing is the least free but with plenty of flaying, and he’s confidently subtle in swing. Washes of cymbal crashes are a perfect foil for his pristine R&B spillage.

R-1135607-1387745892-6039.jpegRudolph Johnson was also a Ray Charles acolyte who made a name for himself as a solid and dedicated tenor sax player. He was virtually unknown outside his crowd in Oakland, where he recorded two Black Jazz LPs. Talented in equal measure, pianist John Barnes and drummer Ray Pounds helped Johnson create maybe the most conventional but tempered music on the label.

R-858532-1250347107.jpegWalter Bishop Jr. may have the highest rep, having played with Charlie Parker, Art Blakey and Stan Getz, but he only managed to put out one album as leader for Black Jazz. One turns out to be enough however: the ever desirable jazz flute is all over this LP, and an unexpected Latin influence presides. That makes it a unique release from this label already on the peripheral.