Blue-in-Green:RADIO is a contemporary soul/funk/jazz/Latin internet radio station broadcasting an array of incredible shows from presenters and DJs from across the world.
Seeing how well 'BinG Loves Jazz!' has done, I'm jumping at the opportunity to compile our second mixtape focusing on contemporary funk numbers that I'm pretty sure many of you are going to enjoy.
These have become so much fun to put together and my mind is already racing for a theme for a follow-up mixtape. Like with jazz, I kinda feel contemporary funk doesn't really get its due so hopefully we can convert a few people with 'Wax On, Funk Off!'. I've had fun with some of the interludes as well so hope you enjoy...
As keen as I am to do another, in November, I'm hoping to unveil episode 8 of our 'get to know' series and the contenders have been whittled down to: Jimmy Jam & Terry Lewis, Eric Krasno and Casey Benjamin. Hopefully, we'll have that prepped within a few weeks from now.
In the meantime, please find the full tracklist below for "Wax On, Funk Off!"...
(Blue in Green Sessions intro)
'My Man Is A Mean Man' (DJ Spinna Remix) - Sharon Jones & The Dap-Kings
'Hit The Floor' - Breakestra
(Interlude I: Harrison Ford)
'It's Coming Up Again' - The Relatives
'The Magic Is Gone' - Chris Read f/t Myles Sanko
(Interlude II: 'Perception' drum break, Quantic)
'Move On Up' - Lettuce f/t Dwele
(Interlude III: Will Ferrell)
'Don't Take My Shadow' - Kings Go Forth
(Interlude IV: 'PSA' (IMS "Statement of Intent" Mashed Mix), Jay-Z)
'Oh Yes I Will' - Ed Meme f/t Myles Sanko
(Interlude V: 'Just Like U', Prince)
'There Was A Time' (Kenny Dope Remix) - James Brown
'Outta Control' - Plantlife
'Funk Is Ruling My Head' - Pitch & Scratch f/t Alex Prince
'Soul Intoxication' - Basement Freaks
'Mind Beam' (pts1&2) - Twisted Tongue
(Outro, Roy Ayers)
The more I think about it, the more I am considering anyone reading this to actively stop reading this. Seriously, stop reading this. If you’re a fan of Prince and have yet to pick up the new album with 3rdEyeGirl, ‘Plectrumelectrum’, then definitely stop reading this.
(Between you and me, I’m secretly happy that you are in fact still reading this :))
Since completing the review of ‘Art Official Age’ for the site recently, I’ve come to the realization that reviews of Prince albums over the last 15-20 years really tend to fall into two categories: people that relegate Prince’s only worthy output from 1978-1988, and people who tediously declare any release as a ‘return to form’ or ‘his best in years’. One notable reviewer described ‘Art Official Age’ as his best record in ten years. For my money, neither of the aforementioned reviews are correct. ‘3121’, released in 2006 and led by the infectious funk number, ‘Black Sweat’, was an incredible release; ‘Lotusflow3r’, released in 2010, again widely well-received and noteworthy for Prince’s indelible guitar work. For some reason, there’s an element of surprise if people like a new Prince record and it’s probably about time we move on from that.
As we discussed in the ‘Art Official Age’ review, ‘PlectrumElectrum’ – probably released a year later than everyone had expected – has seen several of its ‘Purple Rain’-esque, rockier style of songs released online within that time, and it’s those heavy guitars and sing-along choruses that this album presents here as well – it’s stadium music captured expertly through songs like ‘Fixurlifeup’ and ‘Pretzelbodylogic’, but it’s very much ‘Anotherlove’ that steals the show here (an excellent cover of the equally excellent Alice Smith tune from 2013). 3rdEyeGirl comprises of guitarist Donna Grantis, bassist Ida Nielsen and drummer Hannah Ford Welton, who also doubles as the album’s lead vocalist along with Prince, excelling on songs like ‘Whitecaps’ and ‘LOL (Live Out Loud)’, which is another song unfortunately not included here but still available online.
‘PlectrumElectrum’ and ‘Art Official Age’ – landmark albums for Prince & Co. and hopefully through the renewed relationship with Warner Bros, we’ll get more music from this foursome in due time. So remember, these albums are not to be ignored because they fall out of Prince’s golden period, and neither should they be hailed as the only good releases in the last ten years… they’re just really good Prince albums.
'What Kind of Cool' [Questlove Remix] - Cody ChesnuTT
I actually wanted to cite this song in the last 'What I'm Listening to...' post we did in September but I couldn't find the song posted then - thankfully it's here now! This version of the song (originally from ChesnuTT's 2012 sophomore album release, 'Landing on a Hundred'), is from the 2014 EP release 'B-Sides and Remixes' features excellent production from Questlove, reigniting their famed chemistry from 'The Seed 2.0'.
'Fade Away' - Gaelle
This is from Gaelle's one-and-only album release, 'Transient', from 2004 which I've finally got round to buying. I used to rock 'Separate Rooms' probably as far back as the album's actual release, but 'Fade Away' is the song which became the clincher.
'I Believe in You' - Black Dub
From the very cool self-titled album by Black Dub, this supergroup consists of jazz drummer Brian Blade, Daniel Lanois and vocalist Trixie Whitley. It draws on many influences, from dub, reggae and soul. One for good music fans!
With what was over a year’s worth of promotion which
included a brand new web site selling songs directly, a very well-received
appearance on ‘New Girl’, a hefty dose of performances including a run of
secret gigs amid a series of intimate London hot spots, new material from
Prince & 3rdEyeGirl was becoming increasingly anticipated, but amidst the
slew of exciting promotional activity, what no one saw coming after all these years was that Prince
would go on to realign himself with Warner Brothers: the Lex Luthor to his
Superman, the Joker to his Batman… well you get the picture.
Something else that people weren’t expecting was that the
project would evolve into not just a ‘Prince & 3rdEyeGirl’ release but also
a ‘Prince’ one as well.And that both
projects would go on to be released on the same day!Putting the actual releases of the albums
aside, it’s already been a helluva year for Prince and for his fans too.
Let’s tackle the ‘Art Official Age’ album first, the Prince
album which marks his longest gap in between studio releases since… well, since
probably ever.I mentioned the
3rdEyeGirl web site earlier which has featured songs for a lot of last year –
while it’s great that a few of these songs featured on both projects like
‘Breakfast Can Wait’ for ‘Art Official Age’, it’s unfortunate that
‘Extralovable Reloaded’ didn’t make the cut, and it’s baffling to me that
‘Groovy Potential’ is nowhere to be seen either!?But let’s not dwell on that, let’s talk about
what we do have: a strong, funky albeit slightly EDM-tinged opening number with
a guitar riff that you’ll want to hit the rewind button for, ‘Art Official
Cage’; a ballad that Prince described much earlier this year on the Arsenio
Hall show as being one of his favourites ever, ‘Breakdown’; an Andy
Allo-assisted ‘What it Feels Like’ which could have sat perfectly at home on
her (highly-recommended) ‘Superconductor’ release from 2012.
The most fascinating song though – as well as my favourite –
would be ‘Way Back Home’ and its subsequent reprise through the album-closer, ‘Affirmation
III’.It features a string-laden,
orchestral, airy sound and lovely backing vocals that are akin to an Imogen
Heap or Julia Easterlin record but what’s specifically fascinating about it is
the fact that Prince would even need affirmation – it’s a strange
vulnerability that I can’t recall seeing from him previously.Sure, he’s sung about heartbreak and being
cheated on (cue the masterpiece ‘I Hate You’ from ‘The Gold Experience’), but
this song seems to stem from a self-doubt which is refreshing in a strange way
from him: His introduction to ‘Pretty Man’ from ‘Rave Un2 the Joy Fantastic’ (“Don’t
hate me cos I’m beautiful”), or ‘Never B Another (Like Me)’ from ‘LOtUSFLOW3R’ –
each archetypal examples of Prince’s famed confidence.
The plan was to discuss ‘Plectrumelectrum’ here as well but
due to the length of this review, we’ll unveil that one in a few days
time.Suffice to say though, Prince is
easily one for two with ‘Art Official Age’ so fingers crossed equally nice
things can be said for ‘Plectrum’.
Myles Sanko epitomizes exactly the kind of artist that made
me want to start writing about my passion for music.Incredibly talented, amazing work ethic, and music
that will make you want to share it with everyone you know.
Readers of the site will know we’ve toasted the talents of
Myles Sanko before and were even crazy lucky to have secured an exclusive
sit-down interview back in June, which you can read here.
The release of Sanko’s debut EP in 2013, ‘Born in Black
& White’, laid the groundwork for an artist more than primed to make his
mark amidst today’s contemporary soul scene and, through Legere Recordings, the
payoff has arrived with the release of the full-length album, ‘Forever Dreaming’.I previously
described Sanko’s music as “horn-heavy, cheerfully-rousing, blissfully sweet,
soul music masterfully presented by an artist adept at commanding a packed
dance floor with uptempo funk numbers … while still being able to tenderly
whisk you away with ballads”.While ‘Born
in Black & White’ boasted a bevy of uptempo numbers, ‘Forever Dreaming’
opts to slow things down a little while still retaining Sanko’s charm,
personality and inimitable energy throughout.
The band here are genuinely top-tier and add so much to the
product rightfully warranting two pieces to demonstrate their worth without a
vocal, ‘Lonely Dreamers’ and the instrumental version of ‘To My Surprise’.Other notable songs on the release include ‘My
Inspiration’, ‘So Much Indeed’ and ‘Where We Need to Be’.
I’ll leave you with the new video for the album’s
title-track which I hope should justify my enthusiasm.‘Forever Dreaming’ is available to purchase
now.
This is one I've wanted to dip into the archives and retrieve for some time now: a one-on-one with a real hero of mine, Greg Boyer, that we conducted back in 2008. This interview was carried out shortly after Prince's 21 Night stint at London's O2 in 2007, hence the references, and I was always really appreciative that Mr Boyer took the time out that he did.
As another graduate from the schools of Parliament and Funkadelic (along with fellow alumni, Amp Fiddler and Mudbone), Greg Boyer has toured the world, with his trombone in tow, and played with some of the absolute greats of the soul and funk world. Many Londoners will know him from his 21-night stint with Prince at the O2 arena as a member of the New Power Generation, which still has London reeling from it’s summer of Purple Funk.
Playing trombone with Parliament/Funkadelic from the age of 19, and being the horn arranger for the P-Funk Horns, The P-Funk Allstar’s ability and natural talent was a standout of the group, and he now has a resume that extends to playing with Maceo Parker, The GAP Band, Candy Dulfer, Sheila E and Bootsy Collins (to name but a few).
Liberation Frequency were honoured when we were able to secure time with the man himself and find out his thoughts about his career so far, his 21 nights at the O2, Prince, Maceo Parker, Parliament/Funkadelic, and what lies ahead for the future.
IMRAN MIRZA: You started playing professionally at such a young age - is it something you stumbled in to or by then were you certain music was the direction you wanted to take your life in?
GREG BOYER: By that stage in my life, I had already decided that music was a better bet than baseball! In the 70's, playing in bands was very easy to do. There were lots of groups and places for them to play - I was lucky enough to know someone in a band that was looking for a tenor player. So as long as I was in the band, club owners didn't care how young I was, as long as I didn't try to buy drinks!
Can you talk a little about some of the artists that were a big influence on you?
Jimi Hendrix - he not only made the guitar "talk", it told very interesting stories as well (example, "Machine Gun"); Miles Davis - he was such a musical innovator, an intellectual. He thought way beyond the 'pyrotechnics' that so many became a slave to. Probably the one musician I related to the closest; John Coltrane - he wasn't just an extremely gifted musician, but his spirituality shone right through every note he played. He could (and did) play anything! Fred Wesley - not only is he the godfather of funky trombone, but he's a big reason why I write like I do.
Burt Bacharach, Stevie Wonder, Steely Dan - three of my favourite writers of all time.
James Brown, ground zero for funk, and in his day, a great source of pride for black people in the US.
How would you best describe your time with Parliament/Funkadelic?
In all honesty, I can't! Except maybe it was the most valuable education of music I had experienced - both on stage and behind the scenes. You’ve been playing with Maceo Parker for such a long time - how does that relationship work?
It works great, and has for almost 30 years! Maceo is more than a "one-off", a true funk original on sax. He's an absolute master of combining a drummer's timing, precussiveness (as well as a singer's emotional output) to his playing. I am blessed to have a musician of his magnitude as not only a colleague, but also a great friend.
How will you look back at your recent stint in London and the O2 as part of the New Power Generation?
I don't think I've ever been part of a movement that gave such a variety of music to as many people as those that graced us with their presence at the O2 - and I don't think I ever will again. That stay at the O2 is "one for the books!" How did you meet Prince and start making music together?
I first met him when he came to see the P-funk all-stars in Los Angeles in 1983 (he was there when we recorded "P-funk Live at the Beverly Theatre"). He didn't have much to say, but I could tell he was diggin' it! When he hired Maceo to join his band, I guess he thought it best not to break the chemistry between me and Mace. And I'm sure Maceo campaigning on my behalf had a little to do with it! Do you have any aspirations of taking centre-stage and releasing any solo material?
Yes, I do, but I'm in no rush. If I take my time, I'll be certain to release the best effort possible. My only question is what musical direction to take - between funk, jazz and salsa, I might just do all three! Are there any artists around at the moment that you’d like to work with, or that you’re just a fan of?
Far too many to mention, but whoever it might be, a plethora of fine music is bound to be the result!
