Foals is gonna be the most important band in 2008. Mm, that's right. The hype is now long gone and you know what? I found that very convenient. We can really concentrate on listening to the music now. And this band is really making good music.

Foals is a band from Oxford, UK. The band members went to university together and gave this up because they wanted to play music instead. Now, three years after the band was formed, they released their long play debut. Foals themselves describe their new album as a dualistic combination of dansable and thougthful music - an album for the friday nights but also an album you would reflect on at home. Furthermore, this description includes an odd artistic reference as Gwen Steffani. Refenrences the music press has offered are genres like dance pop mixed with afro beat and distinctly math rock. Actually Foals is doing anything in their power to avoid the manipulating, hyping music press - especially the british. And the ferocious press has been out there, just waiting to pronounce the coming of 'the next big thing', namely Foals. Right at the beginning the members agreed on their position on music. It should be pop music with a cutting edge, cointain elements from all over the world and first of all the music should be anti-élitist. They intend to maintain a close relationship to their roots. Foals make music for people to enjoy it, that's all.

With an admirable opinion to music Foals indirectly proclaime themselves as best new act this year. 'Antidotes' is an amazing album. Bringing a whole new musical perspective to life Foals has commited an absolutely original piece of musical art. These five guys from oXXXford invented their own retarded, stoned, anti-pop. Accompanied by the New York-based afro beat collective Antibalas Foals merged math rock and world music, and what came out of it is this exciting new pop music. Anti-pop, Antibalas, Antidotes.

All tracks are great but the brilliant ones are songs like 'The French Open', 'Olympic Airways' and 'Two Steps, Twice'. In the french opening is easy to hear their inspiration of world music. The horns and guitar rythems has a distinct foreign character. With the intensity increasing as the beat goes faster the first (french) words seems like punchlines for me: "Un peu d'air sur la terre" (a bit air on Earth) - building up a massive amount of energy and releasing it at once: "Wasted games / Rackets and gadgets". 'Olympic Airways' has an amazing passage with a double guitar figure while 'Two Steps, Twice' alike the first track is very energetic.

'Heavy Water' and 'Electric Bloom' are great live performance songs. Foals commited an absolutely fantastic gig at Train, Århus, the 8th of March.

Hummer EP, 2007

None of the previous myspace-hits or rather singles Foals made before the album is included on the album. All songs on 'Antidotes' are brand new and the first single is called 'Balloons'. Later on Foals launched 'Cassius' and 'Red Socks Pugie' as the second and third single from the record. The previous singles 'Hummer' and 'Mathetics' are to be found on the 'Hummer EP' from 2007 which also contain the brilliant 'Astronouts and All'. Foals did not want to release a record which people already heard.

Facts:

• Dave Sitek (from Tv On the Radio) recorded and produced but the final mix was declined by Foals. They wished a different sound.
• Foals was formed in 2005.
• Foals play math rock, afro beat and pop.
• Foals' friends are making their coverart and music videos. The guy who makes Foals' music videos works full time at a kebab bar.
• The famous afro beat band Antibalas made additional horn music on 'Antidotes'.
• Foals should be seen live (accompanied by Antibalas).

Foals on Myspace

Foals.com

Foals on virb.com

via Frolab who I actually met in person at Rhettmatic's Bday party at Nightlife

I got to hear a track from this by Akira S & As Garotas Que Erraram [which my friend told me translates to Akira S and The GIrls Who Made Mistakes -- awesome] and I was really intrigued. It sounded like a Brazillian Joy Division. Kind of a dark wave band with cold-as-steel synths and droning vocals. Of course, I only heard one song but I was definitely impressed and want to hear more.

Yuda - Dackin Dackino

I had the hardest time putting this album back. The smaller print beneath the big title reads: "A Celebration of rare and unreleased Afro-Beat quarried from across the continent." I got the chance to listen to the song on there called "Yuda" and it stopped me in my tracks. I'm sure to most it sounds like your average polyrhythmic occasion but my brain catches on cymbal-centric percussion. Definitely a gem/jam.

It's A Vanity - Gabo Brown & Orchestre Poly-Rythmo [SAMPLE]

First stumbled upon this gem/jam on Analog Africa and my mouth started watering. After some asking around, some rotten liar told me alllllll about this album and then told me I wouldn't be able to find it very easily. Why the lies?! I had resigned to this false truth and then while flipping through the Africa section this album appeared.  I bet most of my fellow shoppers must have thought I was schizophrenic because I started cursing the liar under my breath;  I had hung my heart on this album as a lost cause and then it showed up waaaay out of my budget. Expensive find but it's the jam. So, I urge you: find it, buy it and be redeemed.

When it comes to Seattle hip-hop, there is Sir Mix-A-Lot and honestly nothing else if you're talking about national recognition. For a city that dominated mainstream music in the '90s with its grunge icons, Seattle hasn't broken its rappers in the same way it did with its alternative-rock acts. Ironically, Sir Mix-A-Lot was on the verge of a commercial breakthrough years before Nirvana, and you'd think a hip-hop revolution would've followed. Maybe it's because the Seattle rap scene hasn't found its voice yet, still trying to find its own identity from the overpowering shadows of East and West Coast hip-hop. Local talent Diano Garcia has the potential of turning that around. Built from parts of funk, rap, soul, psychedelic rock, and world music, Garcia has an adventurous style that could only emanate from the creative open-mindedness of Seattle.

Howie Mitchell: The Afro-Beat genre hasn't been absorbed by mainstream hip-hop, which seems to me suffering from creative stagnation. Why do you think that is?

Diano Garcia: I'm not really sure. They both spring from the same ancestral well. Of course in West African music you hear more and more hip-hop influences being absorbed into Afro-Beat music. I think Afro Beat needs more time to find its way into mainstream American music; maybe then we'll hear it seeping into hip hop.

Mitchell: Your music offers a variety of flavors, from psychedelia to world to funk. How did you become so eclectic in your tastes and creative expression?

Garcia: When I was a kid I listened to a lot of late '60s early '70s rock. At the same time I was really into War, the Ohio Players, Marvin Gaye, Steve Wonder. Eventually I got into Herbie Hancock. Miles' progression 
through the '70s still inspires me. I'd always been a vocalist, then in the mid-'90s I started studying traditional West African percussion. That opened the door to the amazing world of African music which obviously influences everything I do.

Mitchell: What artists moved you the most while growing up and in what ways did they affect you?

Garcia: I mentioned the artists and music I listened to growing up. Even though the styles were different, they all seemed to have to have a similar psychedelic effect on me. I grew up in a conservative suburban 
family. There wasn't a frame work for me to relate that kind of experience to, but that's how the music affected me. 10-years-old on the living room floor with the head phones on tripping balls. Definitely got me hooked.

Mitchell: You're based in Seattle, which is best known for grunge. How does your music fit into the musical menu of the Emerald City?

Garcia: Seattle has a lot of world music fans. There's also a vital hip-hop scene. It's obviously a rock town. Hopefully, what I do will relate to a cross section Seattle music fans.

Mitchell: What can people expect from seeing Diano Garcia in live performance? Do you have a band? What is the set-up like?

Garcia: People can expect a high energy, deeply grooving show with beautiful harmonies and rhythms that move you you from the inside out. I'm really excited about the band I've put together. They do an amazing job of interpreting the music into a live format. You can expect to hear all the music from Turn It On plus songs from an album I'm just now in the process of finishing. We like to stretch things out in the live performance. Play the songs as written while using the grooves as templates to improv off of.

http://www.dianogarcia.com

Jagua Nana - Orlando Julius & His Modern Aces

Ise Owo - Orlando Julius and His Modern Aces

This album immediately registers more as Afrobeat than any form of soul on my radar. I have to confess that my World Music cache is quite unimpressive. To be perfect honest, besides the random gems/jams in my catalogue, the only African musician that I am really familiar with is Fela Kuti. With that in mind I thought it might be helpful for me to use Kuti as a comparison specimen until I began to deconstruct what I was actually listening to and realized that I was being too literal for my own enjoyment.

My ear looks to recognize genre from an American perspective and I think I sometimes miss the nuances and just focus on the traditional, polyrhythmic percussion whose roots are traced back to West Africa. This album was released in 1966 in Lagos, Nigeria five years after both Nigeria and Ghana were granted their independence from Britain. Literally, what you're hearing is liberation music but technically what you are hearing is the lovechild of two different influences.

The first is a branch of Nigerian music called Highlife, supposedly West Africa's first popular music genre. This genre is most identifiable by it's guitar-based sound that Africanizes the European-influenced society bands and military marching bands. The next influence comes from the traditional worship music which incorporated 'kokoma' beats. An anecdote about Orlando Julius paints him following priests and worshippers around to their performances to observe and later mimic their music.

In 1964, Julius formed the Modern Aces and released their first single "Jagua Nana" the following year. When the soul from the States began invading the airwaves acts like Smokey Robinson, Otis Redding and the rosters of influential labels like Motown, Atlantic and Stax began being incorporated into Julius' sound.

Overall, it's an interesting listen with mild echoes of recognizable elements of American soul music but is obviously more closely linked with more traditional West African sounds. Definitely worth a listen.

myspace.com/aiff

War, famine and disease

Dying, poor, and dirt

Dilapidated shacks, burden

Cue the "African" music

The sunshine and singing

Children with big smiles

Mixed with sad eyed faces

Clapping and dancing

Cue the plea for money

Any amount will help

Five dollars goes far

Please, send something

Staring eyes fill the screen

CAN WE CELEBRATE AFRICA'S HAPPINESS?

Nigeria's literary and music masters

Achebe, Soyinka, Okri and Adichie

Fela Kuti and King Sunny Ade

Afro-beat and ju-ju

Advanced civilizations

And influential empires

Lalibela, Gondar and Axum 

The Great Zimbabwe

           *******

When we see all of Africa

We will see ourselves

More completely and

Not see victims but

Human beings, living 

Nu jazz, Nu funk, Nu soul, Nu bossa, Nu eletronica (?!), Nu afrobeat... enfim... todo mundo NU nessa porra. Som delícia... ideal para se ouvir... NU, de preferencia com outra pessoa nua também.

1. Mishaps Happening
2. Use What You Got feat. Sonny Akpan
3. Sound of Everything feat Alice Russell
4. En Focus feat. Trinidad
5. Trees and Seas
6. Angels and Albatrosses
7. Furthest Moment
8. Don't Joke With a Hungry Man feat. Spanky Wilson
9. Prelude To Happening
10. When You're Through feat. Spanky Wilson
11. Perception
12. So Long feat. Alice Russell

Download Mediafire

Debo reconocer que tengo debilidad por el piano. Sin embargo en este caso la voz de Carmen fue lo que me llamó la atención. La primera canción que escuché me irritó.Si! Su voz me sonó molesta, como un chillido...y cuando eso me pasa no suelo pulsar el stop. Así que me puse a buscar más canciones y  zaz! el chillido se transformó en terciopelo.

Mi oído se acostumbra muy fácilmente a los sonidos de todos los días, a escuchar lo que me hacen escuchar en las radios, en la TV. Por suerte soy porfiada por naturaleza... 

Aquí está Carmen Souza.Su estilo como ella misma lo denomina es un algo "between jazz, folk and Africa...
La dejo para que la conozcan...

Album de estréia desse grupo da Nigéria, em memória ao Fela Kuti e com direito a um cover do James Brown.

Get ready to get your ass moving!

Download: Mediafire

Viaje pelas origens. Conheça as raízes. Isso vai te fazer compreender e muito de onde vem a musica que vemos na atualidade. Vai te mostrar como eram os comportamentos das pessoas, em cada época e lugar.

Eu gosto da África, demais. Acho que tudo que vem de lá, ainda mais antigo, é feito sem fórmulas, sem pensar no depois. É como um ritual, na África os rituais são fortes e intensos, de completa entrega da alma ao ritmo e harmônia de um som, aonde os participantes se unificam, através do som. E isso é uma experiência enriquecedora. Compreender, dar aquele sorrisinho do tipo "negrada foda!" também. Escute e compreenda, o mundo pode ser entendido se você escutar o que cada um, em cada parte, tem a dizer, mesmo em épocas diferentes.

Apesar de lançado em 2005, essa compilação é de sons dos anos 70.

Viaje nessa vibe malucona do oeste africano, o mix de influências e ritmos é enorme:

Qualidade: 192 KBps

Download: Mediafire

Mas não vou postar aqui os discos da fase ska e reggae "puro" e "simples" que ele fez durante os anos 60 e 70, simplesmente pq esses discos já foram cansados de serem postados por aí e não acrescentaria muito aqui no blog... apesar de serem sensacionais e obrigatórios pra quem gosta do estilo.

Acontece que nos anos 90 deu a louca no velhinho e ele se reuniu com seu antigo pupilo Monty Alexander (o cara era aluno dele na Jamaica e posteriormente foi pros EUA ser pianista do Nat King Cole. dá pra ter uma noção, né?) para gravar um disco chamado "Below The Bassline", numa formação pouco comum em bandas de reggae e ska: baixo acústico, bateria jazz e guitarra semiacústica sem reverb e sem a clássica guitarrinha base tchacatchacanamutchaca. já dá pra imaginar que a fronteira do reggae com o jazz nesse disco ficou mais estreita do que nunca, né? e o resultado? o resultado foi a "ressureição" da carreira do Ernest e um disco bastante elogiado pela crítica... empolgado, ele acabou gravando outros discos, também postados aqui.

ah, o "modern answers to old problems" foi gravado na áfrica, e a percussão ficou a cargo de TONY ALLEN, nada mais nada menos do que o grande parceiro de um outro sang bom aí chamado FELA ANIKULAPO KUTI. sim, o pai, ou melhor, o dono da percussão afrobeat...

sem mais delongas, MR ERNEST RANGLIN!

Ernest Ranglin - Below The Bassline (1996)

01. Congo Man
02. Surfin'
03. King Tubby Meets The Rockers
04. Satta Massana
05. 54-46 (Was My Number)
06. Ball Of Fire
07. Black Disciples
08. Bourbon Street Skank
09. None Shall Escape The Judgment
10. Nana's Chalk Pipe
11. Below The Bassline

Download

Ernest Ranglin - Memories Of Barber Mack (1998)

1. Papa's Bag Juice 2. Fade Away (4:10)
3. For Juni (6:15)
4. Undecided (4:21)
5. Memories Of Barber Mack (6:41)
6. Stop That Train (5:36)
7. Mountain Breeze (7:04)
8. Lovebird (4:43)
9. Dancehall Fever (5:33)
10. Five Thirty (6:29)

Download

Ernest Ranglin - Modern Answers To Old Problems (2000)

1. Memories of Senegal (6:27)
2. Outernational Incident (5:50)
3. Kunene (5:14)
4. Many Roots (7:52)
5. Profiles (5:43)
6. What a Day (6:25)
7. Swaziland (4:52)
8. Sound Invasion (7:41)
9. Inflight (5:52)
10. Apinos (5:03)

Download

Monty Alexander & Ernest Ranglin - Rocksteady (2004)

1. Double Barrel
2. Confucius
3. Stalag 17
4. Marcus Garvey
5. Nightwork
6. East Of The River Nile
7. Israelites
8. Row Fisherman
9. Freedom Street
10. Pressure Drop
11. At The Feast
12. Redemption Song

Download

Quem quiser saber mais sobre a impressionante carreira e história do cara:

http://www.radiolarecords.com.br/interna_entrevistas.php?id_entrevista=4

Back in the summer of 1999 I was hanging out in Venice a lot with my brother in law's sister.  There was this one hippie, Vax, who always use to cruise by...usually while tripping on acid, and drop off gifts of one kind or another.  Well, one day he dropped of this album and I was like "Holy Shit!" 

And was like "What?" 

And I said "This is the shit!"

And he was totally like "I know, dude...you gonna eat that sandwich?" 

Released in 1973, this album ( like most of Fela's albums) is only three songs long.  But since a typical Fela track is something around 16 minutes long it just makes sense.  Basically you have a insane funky jam that lasts for half the song...then four minutes with lyrics...then another funky jam. 

 Of all his albums that I own (and I own a lot) this is the most angry and rightious of the bunch.  When Fela sings on 'Gentleman' he refers to the image on the cover as white Africa's vision of what a "civilized" black man should be.  "I no be Gentleman Like That!!" he screams.  Right on, Fela!  Listen below for the amazing opening breakdown.  If that doesn't make you want to dance, call the morgue because you are legally dead.

I could probably write a whole page about Fela, but that would violate the vision of this blog, so this will have to suffice.  Start digging people!

The Afrobeat remix of the American Gangster Album brought to you by DJ Mike Love.

Click HERE to download.

Tracklisting:

1. Intro - "Army Arrangement" from, the Best Of Fela Kuti (2000), "VIP" from, VIP (1979) 
2. Pray - "Sorrow Tears And Blood" from, the Best Of Fela Kuti (2000)
3. American Dreaming - "Upside Down" from Album, Upside Down (1976)
4. Hello Brooklyn - "Mistake" from Live! (With Ginger Baker), (1971) 
5. No Hook - "Ariya" from album, Roforofo Fight/The Fela Singles (1972) (2006) 
6. Roc Boys - "Water No Get Enemy" from, Expensive Shit, (1975), "Mop / movement of the people" from  Live in Amsterdam (1984), "Stop The Violence" from, By Any Means Necessary-BDP (1988).
7. Sweet - "My Lady Frustration"  The'69, Los Angeles Sessions (1993)
8. I Know - "Confusion" from, Confusion (1975)
9. Party Life - "Viva Nigeria" from, The Los Angeles Sessions '69, (1993) 
10. Ignorant Shit - "Fear Not For Man" from, Stalemate (1977)
11. Say Hello - "Coffin For Head Of State" from, the Best Of Fela Kuti (2000), "Mr. Grammarticalologylisatitiona Is The Boss"  Monkey Banana, (1976) 
12. Success - "Swegbe And Pako" from, Open & Close (1971) 
13. Falling - "Mattress" from, Noise For Vendor Mouth (1975) 
14. Blue Magic - "Water No Get Enemy" from, Expensive Shit, (1975)
15. American Gangster - "Kalakuta Show" from, Kalakuta Show (1976), "Wayo" The'69, Los Angeles Sessions (1993)

Compilação reunindo vários nomes do funk africano e do afro beat... fodíssimo!

1. Afro Funk
2. Nkenga Special
3. Wanna Do My Thing - Matata
4. African Jive - Dick Khoza
5. African Battle - Manu Dibango
6. Blo - Blo
7. Oworchooche
8. Peace upon Kenemoland
9. Cocoa - Assagai
10. Lfetay
11. Chapita - Dick Khoza
12. Maku Penda - Mfalme
13. Switch No. 1 - The Who

Download

Zap Mama's latest record, Ancestry, is the culmination of collective culture told through music. While Zap Mama's eponymous debut was strictly vocal-a cappella style-each successive album evolves and incorporates each new place Marie visits. Her first record was made possible by David Byrne of Talking Heads fame. His interest helped expand Zap Mama onto the world music stage where artists like Sting sung the praises of the band's creative sound. It was only a matter of time before Marie integrated the sound of American soul music, and on the record, A Ma Zone, she utilized technology, adding percussion and keyboards, as well as some great guest appearances from members of The Roots and Arrested Development. The connection between Marie's African roots and American hip-hop was being forged.

The writing process for Ancestry and all subsequent Zap Mama releases are different, according to Marie. "It depends. Each song has a different story. I may have a sound that I loop, and the sound brings me to my imaginary world and it depends on where I am to develop my idea. Sometimes it may come from lyrics that I wrote somewhere that I write in different places like the airport or waking up in the night, and sometimes after a movie or after I listen to another artist. But mostly, with, me it's sounds that inspire me."

Songs like "Yelling Away" on Ancestry are fascinating experiments in vocal melody. It's unpredictable where the song will go, yet it seems as if the song is already there. Marie explains, "I learned this way from somewhere. I didn't go to school to learn about music and harmony, but I learned from the music I hear. I think it's because I'm born of two cultures. From my African heritage, I receive a lot of different harmonies and sounds and ways to express melody and probably all of this makes up what I do. And growing up in Europe, you have so much different culture. You have Italian, Spanish and Eastern European music, and I decided as a teenager to discover all of these different harmonies. Because of my double heritage, I said, ‘If these differences bring a plus [sic] on my culture, if I go to other country to discover these other vocal techniques, I will have more and more.'

"So I decided to discover as many as I could find. East European, Northern European, people of the Inuit from the North. I went everywhere. To India and Australia to discover all that I can!"

She adds, "What I decide to do is discover all these vocal techniques and bring them to the Western world."

Marie worked with the Philadelphia Roots Collective, made up of the hip-hop group The Roots, Common, Mos Def and many others. It's a collective similar to Afrika Bombaataa's Universal Zulu Nation, a group that later gave inspiration to affiliate hip-hop innovators, the Native Tongue Posse, which included such groundbreaking artists as De La Soul, Digable Planets, Queen Latifah, Tribe Called Quest, The Jungle Brothers and Black Sheep. Unity, peace and love are all part of these pro-culture and pro-active movements in music; Marie is also part of that sphere. She brings a voice from two cultures and propels an agenda of mixo-musiculturalism with her own brand of music.

Working with Anthony Tidd and Rich Nichols of The Roots for Ancestry helped Marie cross that short distance between world music and hip-hop. "The Roots. Well, I met them or the Ahmir (Roots drummer ?uestlove) at a Beastie Boys concert in Philadelphia, and he recognized me and said, ‘Are you Zap Mama? Are you the one that does the sounds with all the singers?' And I said ‘Yes.' And he said, ‘I like your feeling (style).' I had known of Rahzel (Roots human beat-boxer), and I loved what he was creating, and the sounds he created with the band were inspiring. I thought that I could hear my sounds in their music as well.

"Then, when [that] was said, the day after I was there in the studio. They invited me to do some of my sounds in one of their albums, and that was where the relationship develop[ed]. The hardest [thing was] that at the time my English was so little that I had no way to express myself, so I didn't know how it happened in the Philly world or the United States, or the way it work[ed] with studios. I was there, like in the middle of an ocean with my sounds, my spirit and my vibe. They knew what I felt at the moment, and they enjoy[ed] it. And I then asked them to do some beats for my songs, and they did two songs for A Ma Zone, and I called them asking them again if they want[ed] to do one or two more songs for my next record, and Richard (Nichols) said, ‘Send me a demo.'

"He got the demo and told me they could do the entire album. They love my sounds and love the spirit, and it was easy for me to work with them because I can express myself better. There are a lot of other people like Common and Bilal and Erykah Badu who are on the record."

If music is communication, then Marie is an example of how well sound translates feeling. She says, "The cool thing is finally I meet musicians that have the same relations with music that I have. Here in Belgium on my first album, there were only voices. There was looping, but organically it was us doing the same sounds over and over. Like singing ‘a, tet-tet/ a, tet-tet,' and I was telling stories in these sounds, and put the harmony and the composition of doing music isthe same of what the hip-hop world or The Roots was doing. It was the same with Michael Franti (Spearhead, Disposable Heroes of Hiphopcracy) in my first experience. They were doing this same thing within a loop, adding a beat, then adding a vibe, and we listen[ed], then [went] to eat and [came] back and listen[ed] again, one or two hours a night.

"We [came] back the day after and [found] the inspiration to add more sounds, and I [said] to them, ‘It's exactly the same way I create music,' and I was so happy. Finally I found my family. Because here in Belgium and in Africa, it's not exactly the same. The way I build my sound is the same way the Afro-American was doing music, and I say probably that this mixture of African and European that Americans have [done] since [a] long time ago, and it finally makes it easier for me to explain the similarity of the African and European. Those ancestral sounds are what connect us. Some say it's African music that I do, but definitely not. I'm not African at all. My harmony is from Europe. I use things from all over the place. I use all these sounds and people can hear it. It's because we are all human-we all want the same things.

"We all want to find a lover, fall in love, eating and sleeping and enjoying. Even when I spent time with the pygmies, it's the same thing. People are sharing a drink together and laughing. It's really after I discovered all the sounds I discovered people and how they really aren't that different. I try to find the essence of humans.

Whether when I was with the pygmies, they love the same way the big President Bush loves. The laugh is the same; they have different way[s] to see and different goals. But we have all the same problems too--the power and egos and sometime[s] the old people of the village struggle for the power, but that doesn't kill thousands of people. That is the difference of being a president of a country. I always was very shocked about the innocence of the people being abused or oppressed, so I try and focus on just being a human, and I love to spend time with kids.

"Kids are really more human than adults. I try and remind each person that we were that, each of us was an artist and a painter and a singer. We shouted and were climbing and that was our freedom moment. I try to remember all this early childhood when creating sounds."

Even though Marie's English was slightly broken in places, her eloquence in describing her passion and motivation to create is understood. Zap Mama will be heading out on the road in the United States this winter. Please take an opportunity to go and experience the band live.
This was one of those interviews that was exciting. It took me out of my comfort zone musically and helped me expand my palate. I was familiar with the Native Tongues and Roots Collective, but I went back and researched further, which turned me on to earlier movements in African American music such as Northern Soul, and Southern Soul (Stax), and inspired me to shell out some cash for that great Trouble Funk disc, Live/Singles on Henry Rollins import. Information leads you to something. Connection leads you to further discovery.

thebudos.com

myspace.com/budosband