or start it here on youtube.
Thursday, September 15, 2011
Sunday, September 4, 2011
was not was - spy in the house of love
was not was is most famous for, "walk the dinosaur." The song features a tight, funky sound, punctuated by horns and cowbell, along with what sounds like cavepeople chanting in the background, while the lyrics relate to life in prehistoric times.
in fact, almost all of their singles can be considered taco bell jams, and have definitely earned their place among the t.b. canon.
Was (Not Was) is an American eclectic pop group founded by David Weiss (a.k.a. David Was) and Don Fagenson (a.k.a. Don Was). They gained popularity in the 1980s and early 1990s. Weiss and Fagenson were childhood friends who grew up together in suburban Detroit. Partly due to Fagenson's poverty they decided to form Was (Not Was) in 1979. The name of the band was derived from Fagenson's son Tony, who enjoyed contradicting words such as "Blue" with "Not Blue". Their first recording was "Wheel Me Out", a 12-inch dance record for the avant-garde ZE Records. It was also included on the 2000 compilation album Disco Not Disco.
Their first album Was (Not Was) (1981) was an amalgam of rock, disco, Weiss's beat poetry, Reagan-era political-social commentary, and jazz. On vocals they recruited Harry Bowens and "Sweet Pea" Atkinson, who proved to be distinctive, soulful front men, who frequently found themselves singing absurdist and satirical songs, alongside tender ballads. The MC5's Wayne Kramer, The Knack's Doug Fieger and Mingus trumpeter Marcus Belgrave were among the guest players.
In 1982, the group played on Don't Walk Away, a solo album for lead singer "Sweet Pea" Atkinson.
The eclectic Born to Laugh at Tornadoes (1983) had even more guest musicians, including Ozzy Osbourne rapping over electro, Mitch Ryder belting out a techno-rockabilly number, Mel Tormé crooning an odd ballad about asphyxiation, and an abstract funk piece called "Man vs. the Empire Brain Building". Singer Donald Ray Mitchell joined the group as third lead vocalist.
In 1988, they found their biggest hit with the album What Up, Dog?, which featured the singles "Walk the Dinosaur" and "Spy in the House of Love". Special guests included Stevie Salas, John Patitucci, Frank Sinatra, Jr., and a writing credit for Elvis Costello. Artist/animator Christoph Simon created videos to accompany some of their songs, such as "What Up Dog?", "Dad I'm in Jail", and the Tom Waits-style "Earth to Doris". These appeared on MTV's Liquid Television and in various film festivals, including the Spike & Mike festival. About this time, the Was Brothers developed separate careers as producers, film scorers, and music supervisors.
The group followed up with Are You Okay? in 1990, spearheaded by a cover of "Papa Was a Rollin' Stone". Guest musicians included Iggy Pop, Leonard Cohen, The Roches, and Syd Straw. After a tour with Dire Straits in 1992 and a UK Top 5 single with "Shake Your Head" (vocals from Ozzy Osbourne and Kim Basinger), Weiss and Fagenson drifted apart and nothing was heard from the band but a compilation albumHello Dad... I'm in Jail. Some members, however, did appear on Don's Orquestra Was project Forever Is a Long Long Time (1997), which re-interpreted Hank Williams in a jazz/R&B vein.
In 1997, Steve Winwood released a tune which borrowed not just the title of Was (Not Was)'s single "Spy in the House of Love" but also the bass line and other elements. However, no lawsuits ensued (or were settled out of court).Detroit's Metro Times described the band as "an endearing mess... ...a sausage factory of funk, rock, jazz and electronic dance music, all providing a boogie-down backdrop for a radical (and witty) political message of unbridled personal freedom and skepticism of authority."
Friday, September 2, 2011
this is the first attempt in what hopefully will be regular - unscheduled - yet frequently occurring archiving of the musical ambience furnished by taco bell.
Mr. Mister - Take These Broken Wings
Mr. Mister is an American pop rock band most popular in the 1980s. The band's name came from an inside joke about a Weather Report album called Mr. Gone where they referred to each other as "Mister This" or "Mister That", and eventually selected "Mr. Mister." Mr. Mister may be considered as representative of the melodic sound of 1980s pop rock. The band consisted of Richard Page on vocals and bass guitar, Steve George on keyboards, Pat Mastelotto on acoustic and electronic drums and Steve Farris on guitars.
Welcome to the Real World was the second album by American pop band Mr. Mister. Released in 1985, it climbed to #1 on the Billboard album charts during early 1986.
Two singles from the album, "Broken Wings" and "Kyrie" both went to #1 on the US singles chart.
This is truly a heavy weight in the annals of taco bell jamdom. The song was co-written with lyricist John Lang, who was inspired by a book called "Broken Wings" written by Kahlil Gibran. The lyrics "Take these broken wings and learn to fly again" may be a reference to The Beatles' song "Blackbird." The song is a mix of synth, digitally delayed guitar, bass and drums. The song's hissing intro was an effect created by the sound of crash cymbal played in reverse. There is a distinct guitar sound in this track thanks to Steve Farris' innovation of the electric guitar, managing to extract a delay effect at an odd timing to create a contrast to the steadiness of the bass and beat. The outro to the song features Page singing very high and lengthy falsetto notes. this song is peppered and spiced with amazing usage of the dx7 synthesizer.
In 2001, this song was sampled for a Tupac Shakur song on his posthumous album Until the End of Time, for the title song.
a better use of this sample can be heard on, "the boss," by rick ross from the album, "trilla."
i can't begin to fathom how many times i played, and then replayed, "the boss!" it also samples "Blue" by Diana Ross, and "Paul Revere" by Beastie Boys, in addition to breaking t-pain to the mainstream! although, there is no documentation of, "the boss," gracing the t.b. dine-in, rest assured our children's, children's, children's, children will be tapping their space boots to it on mars in some total recallish hell hole of taco bell, in between spurts of fire sauce and mr. mister.
Monday, July 25, 2011
Tuesday, July 12, 2011
i recently dove deep into the world of central african music. rumba, zouk, soukous congotronics and more. during my internet scowering i stumbled upon dr. sakis and my life changed. i'll let the vids and images speak for them selves...
so if your asking yourself at this point...
so if your asking yourself at this point...
In the late 1930s and early 1940s, Congolese musicians fused Afro-Cuban rhythms that were made available through the EMI G.V. Seriesand were not entirely foreign to the region, having been based - to varying degrees - on musical traditions from the area with Congoleseand other African traditional music. This music emerged in the cities of Leopoldville, as Kinshasa in the Democratic Republic of the Congo(DRC) was then called, and Brazzaville, then capital of the French Congo, now capital of the Republic of the Congo. Most of the musicians performed in Lingala language, but some also used Swahili, Tshiluba and Kikongo languages.
The big bands
Antoine Kolosoy, also known as Papa Wendo, became the first star of African rumba, touring Europe and North America in the 1940s and 1950s with his regular band, Victoria Bakolo Miziki.
By the 1950s, big bands had become the preferred format, using acoustic bass guitar, multiple electric guitars, conga drums, maracas,scraper, flute or clarinet, saxophones, and trumpet. Grand Kalle et l'African Jazz" (also known as African Jazz) led by Joseph Kabasele Tshamala (Grand Kalle), and OK Jazz, later renamed TPOK Jazz (Tout Puissant Orchestre Kinshasa, meaning "all-powerful Kinshasa band") led by Francois Luambo Makiadi became the leading bands.
In the 1950s and 1960s, some artists who performed in the bands of Franco Luambo and Grand Kalle formed their own groups. Tabu Ley Rochereau and Dr. Nico Kasanda formed African Fiesta and transformed their music further by fusing Congolese folk music with soul music, as well as Caribbean and Latin beats and instrumentation. They were joined by Papa Wemba and Sam Mangwana, and classics like Afrika Mokili Mobimba made them one of Africa's greatest bands, rivalled only by TP OK Jazz. Tabu Ley Rochereau and Dr Nico Kasanda are considered the pioneers of modern soukous.
1960s – 1970s
While the influence of rumba became stronger in some bands, including Lipua-Lipua, Veve, TP OK Jazz and Bella Bella, younger Congolese musicians looked for ways to reduce the rumba influence and play a faster paced soukous, inspired by rock n roll. A group of students calling themselves Zaiko Langa Langa came together in 1969. The energy of their music, and the high-fashion sense of the singers and dancers, inspired by founding vocalist Papa Wemba, made them very popular. Pepe Kalle, a protégé of Grand Kalle, created the bandEmpire Bakuba together with Papy Tex, and they soon became Kinshasa's most popular youth band, equaled only by Zaiko Langa Langa.
Other greats of this period include Koffi Olomide, Tshala Muana and Wenge Musica. Soukous now spread across Africa and became an influence on virtually all the styles of modern African popular music, including highlife, palm-wine music, taarab and makossa.
The Spread to East Africa in the 1970s
As political conditions in Zaire, as Congo DRC was known then, deteriorated in the 1970s, some groups made their way to Tanzania andKenya. By the mid-seventies, several Congolese groups were playing soukous at Kenyan night clubs. The lively cavacha, a dance craze that swept East and Central Africa during the seventies, was popularized through recordings of bands such as Zaiko Langa Langa and Orchestra Shama Shama, influencing Kenyan musicians. This rhythm, played on the snare drum or hi-hat, quickly became a hallmark of the Congolese sound in Nairobi and is frequently used by many of the regional bands. Several of Nairobi's renowned Swahili rumba bands formed around Tanzanian groups like Simba Wanyika and their offshoots, Les Wanyika and Super Wanyika Stars.
In the late 1970s, Virgin records got involved in a couple of projects in Nairobi that produced two acclaimed LPs from the Tanzanian-Congolese group, Orchestra Makassy and the Kenya-based band, Super Mazembe. One of the tracks from this album was the Swahili songShauri Yako (meaning "it's your problem), which became a hit in Kenya, Tanzania and Uganda. About this same time, the Nairobi-based Congolese vocalist Samba Mapangala and his band Orchestra Virunga, released the LP Malako, which became one of the pioneering releases of the newly emerging world music scene in Europe. The musical style of the East Africa-based Congolese bands gradually incorporated new elements, including Kenyan benga music, and spawned what is sometimes called the "Swahili sound" or "Congolese sound".
The 1980s and the Paris scene
In the 1980s soukous became popular in London and Paris. A few more musicians left Kinshasa to work around central and east Africa before settling in either the UK or France. The basic line-up for a soukous band included three or four guitars, bass guitar, drums, brass,vocals, and some of them having over 20 musicians. Lyrics were often in Lingala and occasionally in French. In the late 1980s and 1990s,Parisian studios were used by many soukous stars, and the music became heavily reliant on synthesizers and other electronic instruments. Some artists continued to record for the Congolese market, but others abandoned the demands of the Kinshasa public and set out to pursue new audiences. Some, like Paris-based Papa Wemba maintained two bands, Viva La Musica for soukous, and a group including French session players for international pop.
Kanda Bongo Man, another Paris-based artist, pioneered fast, short tracks suitable for play on dance floors everywhere and popularly known as Kwassa kwassa after the dance moves popularized by his and other artists' music videos.
This music appealed to Africans and to new audiences as well. Artists like Diblo Dibala,Jeannot Bel Musumbu, Mbilia Bel, Yondo Sister, Tinderwet, Loketo, Rigo Star, Madilu System,Soukous Stars and veterans like Pepe Kalle and Koffi Olomide followed suit. Soon Paris became home to talented studio musicians who recorded for the African and Caribbean markets and filled out bands for occasional tours.
The fast soukous music currently dominating dance floors in central, eastern and western Africa is called soukous ndombolo, performed byDany Engobo, Awilo Longomba, Aurlus Mabele, Koffi Olomide and groups like Extra Musica and Wenge Musica among others.
The hip-swinging dance to the fast pace of soukous ndombolo has come under criticism amid charges that it is obscene. There have been attempts to ban it in Mali, Cameroon and Kenya. After an attempt to ban it from state radio and television in the Democratic Republic of the Congo in 2000, it became even more popular. In February, 2005 ndombolo music videos in the DR Congo were censored for indecency, and video clips by Koffi Olomide, JB M'Piana and Werrason were banned from the airwaves.
soukous extends well beyond cut and dry genre musicians.
MA BENZ, by NTM feat. lord kossity
that's a soukous guitar you here in this as well. just one note but it conjured the sound.
that's the rumba/zouk/soukous beat.
the guitar work in soukous especially reminds me of post rock and math rock guitar lines.
Math rock is a rhythmically complex guitar-based style of experimental rock that emerged in the 1980s. It is characterized by complex, atypical rhythmic structures (including irregular stopping and starting), angular melodies, and dissonant chords.
Math rock shares its place of origin in the late 80s underground music scene of the American Midwest. Some earlier bands have characteristics of both math rock and post-rock, using instruments for textures rather than melodies and riffs, featuring atypical rhythms and some dissonance. The genres soon diverged: math rock concentrated on angular melodies, atypicaltime signatures, start-stop rhythms, and dissonance, while staying closer to rock music in sound and instrumentation. Post-rock, on the other hand, concentrated on heavy use ofdynamics, creating soundscapes, and expanded the variety of instruments used, used a jazzier drumming style, and incorporated elements of shoegaze music.